00:25I
00:26think many women growing up, we aren't taught how to
00:29pursue our own desires, but receive desire and to give
00:33other people desire. Growing up, there's so much
00:38put towards becoming a mom and taking care of other
00:42people and caring for others versus actually looking in
00:46and thinking, what do I want? We're always thinking about
00:50how to help other people get to where they want to be.
00:54I think Alex is a perfect example of that, where
00:58she's done everything
01:01right, but she hasn't necessarily asked herself what she
01:05wants and whether or not the relationship she's in is
01:08actually what she really wanted to be in.
01:12And then Kiana, she's
01:15seemingly done everything she wants to do,
01:20but I feel like on her end of things, when she meets Alex, like
01:25I said earlier, she's able to put down her barriers a little bit
01:28more and have this more softer side to her. And I think she
01:33starts to realize like, oh, I can actually have like more deeper
01:37conversations with Alex than I can with Matt and have and talk
01:41about my dreams without necessarily being ridiculed
01:45by Matt because I picture Matt like hearing Kiana's dreams to a certain
01:49extent and then maybe being like, oh, that's kind of like dumb or
01:53something, you know, like Matt and Kiana, I think, have a really good
01:56relationship and it started from a good place. But sometimes people that
02:00you're close with can put you down in ways without really knowing it. And I
02:04think that's probably a part of the downfall of their relationship when you see
02:08like Matt downplay Kiana being able to take charge in their plans and such.
02:15So money in the bag or I'll blow your f***ing head off.
02:20What? Why are you yelling?
02:23It is a bank robbery. You're supposed to yell, right?
02:27People panic when you shout at them. You don't want that.
02:32Chill out, stay calm, try again.
02:38What was interesting, and I think you mentioned this too, Bethany, is the aspect
02:41of the gaze. Now, I'm not talking about the male gaze or female gaze, but I'm just
02:45saying the actual gaze, the way you each look at each other or you look at other
02:50people or the way the other characters, where it's Joey or Matt, look in reverse
02:55and how you're looking at them. And that seems to be a very specific
03:00motif or something that you focused on.
03:02I guess it's primarily through Alex because the film is in her perspective largely, but
03:07she is a character who you really don't know a lot about.
03:13And then I think there's this sort of, I like it.
03:15It's a moment sort of midway through later in the film where you get this kind of a little
03:20bit of a, like the floodgates opening up and you start to hear more about what she wants
03:25when it's sort of coaxed out of her by Kiana, which I think is a really fun moment because
03:29like up until that point, she is kind of dancing around the things that she wants and who she
03:34is. So there's like this kind of game.
03:37But I think in terms of shooting in the forest, which was like provided many challenges, but
03:44it was really fun because it also gave us a lot of opportunities.
03:47And it gave me and the cinematographer, David Scott, we had a lot of opportunities to use
03:51a very versatile environment to our advantage.
03:54So I think it was very fun because, yeah, there's just a lot of moments where you can
04:00kind of have somebody peering through the trees or you can see someone through the trees.
04:04So it's like it changes the way, even if it's just a shot of somebody like having the
04:09trees as foreground or having them like, you know, whether they're feeling like they're
04:13really close to the camera, really far away, it can feel like it's a cage or it can feel
04:17like it's sort of a pastoral, like a little, you know, framed moment.
04:21And so they kind of offer a lot of tricks to change the just context of how we're just
04:28seeing a person because you can kind of play with what I don't know.
04:31So I guess that's kind of.
04:36Money in the bag will blow your head off.
04:39You don't need the second part.
04:40You're holding a gun.
04:41It's implied.
04:42Keep it simple.
04:44Money in the bag.
04:46Money in the bag.
04:50Money in the bag.
04:52What?
04:53It's so funny.
04:54Are you doing the voice on purpose?
04:57Who voice?
04:58Like you sound like, oh, but Gino.
05:00No, I don't.
05:01You do.
05:03Don't try and sound tough.
05:05Be casual.
05:06Just talk.
05:07Were there kinds of touch tones?
05:08Like, I mean, when they're in the bus, obviously, I think of Midnight Cowboy.
05:13In a way, it's with the two of them.
05:15Or you could talk about prisoners.
05:17Villanueves.
05:18Yeah.
05:18You know, that's another one because of their prisoners in their own sort of adventure.
05:22Yeah, we'd actually.
05:23Well, we did talk about prisoners a little bit.
05:25The bus definitely.
05:27This is not a super subtle reference, but we talked a lot about the ending of The Graduate.
05:31It as like a sort of more so than Midnight Cowboy, I would say.
05:35And then for The Forest, I mean, we had a bunch of like, I really love Altman.
05:40He's like a big influence.
05:41And we talked a lot about Thieves Like Us as a sort of influence.
05:44And also McCabe and Mrs. Miller, too.
05:45It's a movie that I like more, but it's maybe slightly less of a literal relation to this film.
05:50And then also another one is Old Joy by Kelly Reichardt, which is, you know, it's it's different.
05:56It's not a thriller, but there's so much tension in that film.
05:59And there's and I think she has a quote that I can't remember.
06:02So but I remember thinking about it a lot when we went into it.
06:04And it was just like, you know, two two people go into the forest and, you know, it's like they're
06:09either going to I don't even want to say it because I feel like I'm going to misquote her.
06:12But it's like, you know, something's going to happen.
06:14Right.
06:14It's like, you know, and she used that so much in that movie, even though it's more of a drama.
06:18And then.
06:23Money in the bag.
06:26Whoa.
06:27I just got shivers.
06:30Your turn.
06:35Money in the bag.
06:37That was pretty good.
06:41Money in the bag.
06:42All right, enough community theater.
06:43I was just showing her how.
06:45Gun is not a toy.
06:46You can't just take it for your little games.
06:48And she doesn't even know how to rob a bank.
06:51She works in a office.
06:52She's not a criminal.
06:54I love your Altman reference, because I'm going to ask you about that in relation to directing both these, because
06:59I just talked to Tim Robbins and he brought up the player.
07:02And he basically said all the department heads and the actors will come in and say, including him, he would
07:07sit there.
07:08What do you want to do?
07:09You know, and they were all asking the director, what would you like?
07:12And he's he's like, well, I don't know.
07:13And Robin said that Altman said he really he's like, do you really not know?
07:19He's like, no, I know exactly what I want, but I want to be open to those choices.
07:24Other people will bring us.
07:26And I thought that was very interesting.
07:28Could you talk about that in terms of directing these two ladies?
07:31I feel like I can't say anything about directing following a quote from Robin.
07:37So thanks to lead into it.
07:38Gloria was brilliant.
07:40She she so brilliantly positioned the audience in a way to watch what was going on to the point where
07:47as an actor, all I needed to do was feel my feelings and have the internal world.
07:52Right. So I wasn't thinking about any of those things, about the distance through the trees or or when it
07:58was a nice and close and, you know, building tension.
08:01Were you thinking about the environment and how claustrophobic it was?
08:05Absolutely. Yeah.
08:06So, of course, we're going to as an actor for myself, I'm going to put it in context and the
08:10discomfort to comfort or, you know, however, that's going to the danger to safety arcs.
08:16But even when you're talking about the gaze, I was like, I didn't I don't think we talked about that
08:22once.
08:22I don't think we talked about how to look at each other once.
08:25It happened because of the chemistry in the script and and it all lent itself as we built relationships.
08:33And as we, you know, I think we knew point A to point B and Gloria was really clear about
08:37blocking.
08:38But in terms of what we were allowed to bring as actors emotionally, she was really like I got to
08:43shoot the ending scene five different ways just because I kind of had all these concepts of, you know, after
08:50because we basically shot in order.
08:51After we'd gone through all of that, you know, these different feelings that that Alex would be processing on the
08:58bus.
09:00Bye.
09:02Bye.
09:09Bye.
09:11Bye.
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