00:00This house will always be home.
00:01We will find somewhere else just as nice
00:03with the money father left us.
00:05What money?
00:07No!
00:09Daisy and Esme, you guys are, of course,
00:11sisters in the film,
00:13two halves of the sense and sensibility.
00:15Which scene between Eleanor and Marianne
00:18do you feel like felt the most emotionally real?
00:21It's where they're at the most disconnected
00:23and actually at the end,
00:24they come together again where Eleanor finally says,
00:27you know, I'm feeling all of this heartbreak
00:29you just didn't, you know,
00:30I just present it differently to you.
00:32And I remember that that was our audition scene together
00:35and actually so often when you're exploring a character,
00:39you know, when you're doing it in the vacuum of your own home,
00:41you wonder who, you know, whether, who they'll be.
00:44And actually the moment I did that scene with Esme,
00:46I felt like I'd clicked and found my Eleanor
00:49because of how brilliant she was
00:50and how much I learned from that scene.
00:52So, yeah, but although I found it very hard
00:55to play the moments where they weren't friends
00:57because it was so fun.
00:59Every scene, I think, for us was very real.
01:01I think in all of our moments across the spectrum of emotion,
01:04we were very embodied in these characters
01:07and I think we're doing a lot more feeling
01:09than we were acting on this movie,
01:11like specifically just by nature of being so,
01:16I think, vulnerable with each other
01:18and with Georgia and with the girls
01:21and they started to feel like real women in our lives
01:25that we kind of knew and loved.
01:26Is not Hans missing?
01:29You go.
01:32Katrina, I love that your character
01:34doesn't take on the typical mother role
01:37that you normally see in a period piece.
01:39Did that tonal switch give you a little bit more freedom,
01:42do you feel like, with your character?
01:43It's so lovely to play this woman
01:47that she didn't have to assume this mantle
01:50of being very calculated,
01:53that she could just freely love her daughters
01:57and freely watch them go through these trials
02:00and tribulations.
02:01And not that it doesn't cause her pain
02:03or that she doesn't worry,
02:04but that she really has such a deep trust in them.
02:07One of the things that I love the most
02:09is when they all go to Barton
02:11and it's this huge fall from, you know,
02:14from grace in a way,
02:15like financially and economically,
02:17they're just destitute
02:18and they're in this cottage
02:19in the middle of nowhere,
02:20but the resilience
02:21and they make it instantly
02:23this beautiful, warm home
02:25that's full of love and full of life.
02:28And I think that that's the kind of sentiment
02:31that I feel like Mrs. Dashwood represented.
02:34The handsome gentleman saved Marianne's life.
02:36The Colonel is so patient
02:38and steady throughout the film.
02:41And in a story of so many big emotions,
02:44how do you make kind of that more quiet love
02:47feel compelling?
02:48Is it the smolder?
02:50Oh, yeah.
02:51It's all about the smoldering.
02:53No, I don't know.
02:54I felt...
02:56When I read the script
02:57and talked to Georgia, our director,
03:00it felt like he's overwhelmed with feelings
03:03and he doesn't know how to communicate them.
03:05And he's extremely kind and reserved
03:08and I think, in my mind, honorable.
03:11So it felt very good playing him
03:12because it was a nice...
03:15I look up to him a lot.
03:17Such spirit is all too rad.
03:21Willoughby is one of literature's biggest charmers,
03:25but also ends up being kind of a disappointment, too.
03:29How do you approach a character like that?
03:30Are you playing him almost as a secret villain?
03:34Are you trying to find empathy with him?
03:36He's a very divisive character
03:39and Georgia and I certainly didn't want to play him as a villain.
03:43He's definitely a young man
03:46who could have done better,
03:48makes terrible mistakes.
03:49I think part of the art form of acting
03:52is you have to approach your characters with compassion
03:54and you have to sort of understand
03:56why they behave the way they do.
03:58And I felt that Willoughby's actions speak for themselves.
04:02So what I tried to get behind was his more exuberant, poetic, joyful, loving qualities.
04:09I believe he did love Marianne
04:11and I tried to lean as much into that as possible.
04:14And your characters are unique in that
04:16they're obviously both kind of vying for the attention of the same woman.
04:20How do you build that tension between the characters
04:23and kind of that underlying competition that they have
04:25when you don't actually have a ton of time on screen together,
04:29but we still manage to feel it?
04:31That's the script and Georgia Oakley
04:33and all the scenes with the girls,
04:37you know, lovely trying to figure things out.
04:39So the tension is kind of built by the other characters.
04:44But it was lovely to have the duel scene
04:46and to kind of let go of all the held emotions.
04:52Hmm.
04:52Yeah.
04:53I think Willoughby just thinks Brandon's just a...
04:56Boring.
04:56...an idiot, you know.
04:59He's so dismissive of him.
05:00You mentioned the duel and we have to talk about that.
05:03I love that the film,
05:04the relationship between all of them kind of culminates in that.
05:07Take me behind the scenes a little bit of that day.
05:10Were you kind of like living your dream,
05:12getting to be a Peaky Blinder for a minute?
05:14Yeah, a little bit.
05:15It was lovely.
05:16A really nice, cool, fun day.
05:19We had to learn how to duel.
05:22We had these beautiful old weapons,
05:26which were made...
05:28Snowing.
05:29Snowing.
05:30It was very...
05:31It felt epic.
05:33One of my favorite lines in the book and in the movie is,
05:36I will be mistress of myself.
05:38It's so simple, but it's so powerful.
05:40And I'm curious what that line means to all of you.
05:43Yeah, I found that line very painful to play.
05:47And I found that whole day of shooting very painful
05:49because, yeah, Eleanor is just so heartbroken.
05:54And he's come to visit.
05:56And in her head,
05:58the worst thing that you could do to a character like Eleanor
06:00is try and see her vulnerable,
06:02is see her react.
06:03And so for her,
06:04she's mortified that he's going to potentially see her crumble.
06:07So that whole thing is just like such a brilliant way
06:11of expressing really what she's been through the whole film,
06:13which is, oh my goodness,
06:15I have this absolute storm within,
06:17constantly trying to get its way out.
06:19And all I'm doing every day
06:20is just trying to keep it buttoned.
06:22So I will be mistress of myself is such a like,
06:26it's like I will,
06:27I will be able to handle my emotions.
06:30I won't let him see my pain.
06:33And that's like both a beautiful thing
06:35to witness somebody have that strength
06:36to be able to collect themselves,
06:38but also at that moment,
06:40you're like, let him see,
06:41let him see what, you know, how you feel.
06:43So it's kind of a happy, sad thing.
06:45Yeah.
06:49You're like,
06:49you're like,
06:49you're like,
06:49you're like,
06:49I'm so sorry.
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