A Good Person with Florence Pugh

Zach's new film, A Good Person, comes out this weekend. We're so excited to welcome the star of the movie Florence Pugh to the podcast. She talks to us about how she got her first acting role, why she wanted to cut her hair in the movie, and what it was like to step into the producer role for the first time. 

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Episode Transcript

Speaker 1 (00:04):
Here's some stories about shore. We made about a bunch
of doctor nurses stories. So get around hereat around here.

(00:28):
Oh my goodness, hello, I was just crying watching you.
So this is a little we like that. We like that.
Um well, hey everybody, we'll just dive in this is
we'll sit here that I was gonna have it be formal,

(00:49):
but you know what, let's just do it informally. Um. Hello, listeners,
welcome to a special version of Fake Doctor's Real Friends. Unfortunately,
the only time we could do this is on Sunday,
right before our premier. And Donald is at a basketball
tournament with his son. As we all know, his son
is just incredible at basketball, and it's Donald's dream and

(01:10):
he wanted to be here so badly, but he's at
a big tournament with Rocco. But we do have the
fantabulous Joel Monique and DJ Danel happy to be here,
of course. And this is really special because those of
you who listen to the podcast know how important this
whole journey of this movie has been for me. We're

(01:31):
gonna go deep and talk about my journey of writing it,
which a lot of you have followed because I have
been writing it the entire time we've been doing this podcast.
And it's no secret that Florence and I were partners
and we did the whole pandemic together and the whole
experience of Mick together, and we made this beautiful piece

(01:52):
of art. Well, at least I think it's beautiful, and
I hope you all like it. And so I just
wanted to bring Florence on Florence High. But um, I'm
here instead of Donald. Yes, yes, your your personalities are
are both vivacious, loud, yeah, yes, yes, Hi you guys,

(02:19):
how you dan very well? Very well? Yeah? Yeah. To
Daniel's point, there were lots of tears as we were.
We were texting each other while we were watching, like,
oh my gosh, Florence is so talented. I got to
read the script. I have questions about what happened to
one of my favorite scenes. Yeah, well don't don't, don't

(02:39):
do any We have to be careful. But of course
I wanted you guys to weigh in, because, um, you know, Joelle,
I have to thank you. Joel's a very talented writer,
and I uh, I in the script stage, I said, hey,
I'm getting my writing friends input. Please read this and
and and give me any thoughts you have, because I
did that with a with a myriad of people, just

(03:01):
to kind of get notes and thoughts from other talented people. So, Joelle,
it must have been cool for you to see it
realized it was cool because so your scripts are very
um detailed and visual, and so you got like a
full like idea, like a movie mind map, if you will,
what was happening. And so I'm watching the phone, I'm like, yeah,
this is what I read. This is great. It's sort

(03:22):
of how I imagined it. That's different than how imagined it,
but it's really cool. Um. And then there was a
moment where I was like, wait, did I miss the scene?
It was one of my favorite scenes reading it in
the script, and then I didn't make it to the screen,
and I was like, what happened? I'm sure there's a
very valid reason, but yeah, I just give a hint
what scene was it? So I know which scene it.

(03:45):
I don't think it oils anything, but let me know, Zach.
Molly Shannon makes an important phone call from flows mom
in the film, and she makes an important phone call
to try to help her daughter, and it's so moving
and well written. But I know, sometimes even the best
written stuff, for the best performed stuff, you're like, over
time or for the pacing of the film, it just happened.

(04:06):
What happens is, you know, we shot this movie in
twenty six days, right, and so what happens is the
analogy always uses it's like a scavenger hunt. You go
out and in twenty six days, for minimum twelve hours,
you race and race and race and collect as much
stuff as you can, right, and then you get back
to and you're like out of breath and you get
back to the edit room and then you're like, what

(04:28):
did we get? And what often happens is once you
do the assembly, it's two hours three sorry, two and
a half three hours long. And so that's when you know,
most filmmakers will tell you a movie is made in
the edit room. That's when you start to go, Okay,
what this giant three hour piece of clay? Where is
our two hour movie? And you take stuff out and

(04:50):
then you go, ah, put that back, and then you
take big chunks out because I mean a half hour
to forty five minutes is a lot of screen time. Yeah,
but that's where you really truly hone in on which
story you're going to tell with your two hours. You know. Also,
sometimes as an actor, when your stuff is cut, even
if it's not seen or shown, and that's also really sad.

(05:10):
It does it does give you a piece of perspective
to the character that no one else does, and it
gets you from A to B without the audience seeing.
And actually sometimes it's just as much for you as
it is for what it serves to the storyline. So
actually you come out at the end of the story
even if that scene is not seen, with a deeper

(05:32):
understanding of who you're playing and where they were before
that scene and after that scene. So it actually does
serve a purpose even if it's not in the movie. Yeah,
and it's heartbreaking sometimes because you know, I cut scenes,
like you said, Joel, I could have seen that Joel
loved and that scene is amazing and maybe there'll be
maybe one day. I don't know if in the streaming
days they even do cut scenes, do they? They probably

(05:52):
do some streaming channels me too, the Disney Plus that
actually does a lot of it. Yeah, I'd always watch
the direct the cut scenes or scenes it didn't make it,
and they'd be the best blooper is on that. Well,
what's nice is like when you love a movie you
and you love the characters and you're kind of like,
I want more. Obviously, with the streaming series there'll be
another season, but with a movie, I guess you can go, well,

(06:15):
show me the cut scenes. I at least want to
watch those, you know for sure it gives you the
entirely different perspectives on types, to the characters and to
the directors or writers visions. Yeah, I love cut scenes.
Wait before we go, any furvitive vote, you guys should
like for people who don't know. If somehow you've been
living under rock and didn't see a trailer, what is
this movie about? What's it called? It's a good Person? Okay,
So the reason we're doing this for those of you

(06:37):
who might be joining us for the first time because
you heard Florence p was on our show. This just
normally rewatch Scrubs podcast, but during lockdown I wrote a
movie for Florence Pugh, called A Good Person and Florence.
I always wrote it with her in mind, and I

(06:58):
when I gave it to Florence, she became a producer
of the film and was incredible. It was incredibly collaborative,
she was giving me notes that were very helpful. She
was giving me script ideas. And her character is a
singer songwriter, not as a career, but as a sort
of a way of dealing with her emotions and her
almost like journaling. She writes music. And so I asked

(07:21):
Florence if she would because she is a song Well
do you want to say yes? I can already already
here interrupting me, So Florence will now take over. Well
that's not that's not who she is, Alison. Well you
tell me you're you're Alison time. So um, there's a
beautiful script. I wasn't allowed to read it until it

(07:42):
was completed. Zach was writing it during the pandemic, and
he'd go down to the office and would write for
like four hours or five hours a day, and we'd
come back up and would be very, very excited to
share with me all the things that he had learned
about these characters. And it was at the same time
when he was starting the podcast that he'd go down
sometimes in the morning and then we'd come back in
the afternoon and would say, I've written this amazing scene

(08:03):
between you and Daniel, and then we'd discuss it and
chew the fat and talk about why that's amazing, where
that could go. And so I kind of was very
much a part of the story from the beginning and
understood these characters on a deeper level than if i'd
just been given the script one day. And when I

(08:24):
finally got the script, I Alison goes through a load
of amazing and awful interactions with these characters that she
meets throughout this story, all because of an awful tragedy
that happens at the very beginning of the movie. And
she is in such a such a mental state that

(08:47):
I've never even come close to or seen really before.
And I think for me, I just I really had
to try and imagine what it is that I would
be feeling if I was in that position, and if
I had affected people's lives in the way that she did.
And I guess, just to figure out if I was
on the right path, I wrote a song for me.
In my life, I've always I've always digested life or

(09:10):
falling in love or going through heartbreaks and with songwriting,
and it's been like my diary form, I suppose, And
so with this, I was like, Okay, I'm going to
I'm going to write something and try and get in
the headspace of Alison and showed it to Zach, played
it to Zach and Zach said, that's great. Can it
be in the movie? Which I had no intention of
it actually being in the movie. I don't remember, like, yeah,

(09:32):
I do, because I I digested it. I was digesting
the character like that. I remember asking you, is this
is this how she is feeling? Well? But I feel
as I always wanted her to be. Yeah, she was
always going to be like a piano player. Yeah. Well, anyway,
however it occurred, Florence wrote these two incredible songs in
the character, which is something just really unique that you

(09:54):
know doesn't happen very often, that your your lead actress
can get in the heads base of the character and
then write a piece of music that the character might
write and then perform it in the movie. I thought
that was really just special. It's a unique form of collaboration.
I think specifically in like cinema for yeah, for a

(10:17):
song from an actor to appear, and it's really lovely
and it's so wonderful to hear you seeing Florence. I
wonder so you knew Zach was working on the script,
but you couldn't read it until it was done. Am
I right in assuming this is the first like script
where a character was written with you in mind to
play the character. I've had. I've had people write scripts

(10:41):
and have me in mind of the role when they've
written it, which is very flattering and wonderful. And maybe
they had me in mind to act in it, and
that's a different thing. Zach. Write with the intention of
having my voice in the essence of me coming through
in a character. I think that was the difference there. Yeah,

(11:01):
I really just um, you know, I just think Florence
is an incredible actress, and so I wanted to write
something to her, and because I know her so well
as I was writing, and I've never done this, you
know that. The two other features I've written, I've directed
four movies. The third one Going in Style, I didn't write.

(11:22):
It was a studio heist comedy. But the two others
I've written and wish I was here. I should note
I wrote with my incredibly talented brother Adam Brath. But
those were, you know, written for me. They were they
were things I was going through and dealing with, and
I knew that I'd be playing the character. So for
the first time I wrote something wanting to deal with

(11:45):
things I was dealing with and battling the grief of
losing my my sister and my father in the last
four years. And then, of course, as while I was
writing this, all of this happened with losing Nick to COVID,
our friend who is living on our property. So I
wanted to write about all this stuff, not tell those

(12:06):
specific stories, but write about the grief that I was
battling and people I loved were battling, you know, looking
at Amanda, cludes Nick's widow, looking at my mom, who
would sit by my sister's bedside every day, that was
just what was what what bubbled up for me in
the Pandemic was wanting to write about standing back up
after trauma and grief, but also with my own tone,

(12:28):
try and find a way to find the humor in it,
because I didn't want it to be too maudlin. When
you hear me talk about those subjects, you might be like,
oh my god, this is so heavy. And don't don't
get me wrong, the movie is emotional, but also there's
a lot of that. No, but I mean, you guys
can attest to it. That there's a lot of humor
as well. Oh of course, that's what you do so well,

(12:49):
is right lightness when people are in such darkness. That's
that's why I think it's so easy to watch your
movies that are about really depressing shit. Yeah. Yeah, I
think what I really enjoyed about it was the messiness
involved with like healing and standing back up. I feel

(13:10):
like a lot of times when we see it mapped
onto films, it's, you know, a rising arc and then
you reach a peak and then you're better, and that's
totally fine, But in real life it's a lot more
comple I think the most emotional scene for me is
again without spoiling thing, you go to a group Alice,
and the character goes to a group to get some
help and figure things out, and she's been encouraged to

(13:32):
for the first time, like speak her truth. They're like, hey,
you have to contribute if you're going to be here,
and it's such a vulnerable place and Florence obviously played
that so well. But then what's also happening underneath is
all the things she doesn't know yet, all the lies
she's still telling to herself, and it's such if you've
ever been in a position of having to take a

(13:55):
first big step. It's just it's huge. It's it's really hard,
and it makes you feel like just oh, it's so
awkward and I'm uncomfortable. And then there's also the absolute
certainty that they'll be failure following that. And I think
all of that somehow is embodied in a single moment,
and it was really beautiful. Thank you. I really I

(14:16):
really wanted that scene. I mean, she hasn't been honest
for maybe about an hour. She hasn't really truly spoken,
and she's very good at getting out of conversations and
getting out of being, you know, put on the hot seat.
And I think with that scene it was really really important,
and I really wanted that scene to be like, she
has to speak, she has to be truly honest and

(14:38):
actually talk about what she thinks she is and what
she knows she is. Otherwise I think after a while,
the audience would have been a bit like, oh my gosh,
she's getting out of another opportunity of talking about how,
you know, how flawed she is. And I think that moment,
you know, to film as well was hugely cathartic. It
was a scene that I was really really nervous to shoot,

(14:59):
partly because we all know what those scenes look like
when we watch movies. We know that it is a
sensitive scene. It's a sensitive topic. And also just in
all honesty, like the reason why I am I get
scared about playing characters that I play is because I
love the ugliness in humans and I love the rawness

(15:21):
of the characters that I get to play. And that
scene specifically is something that has to be done perfectly,
Like we have to nail it, and it has to
be achieved because you don't know who's going to be
watching this movie, and you don't know who it's going
to affect, who it's going to help, who it's going
to hurt, And a scene like that, both Morgan Morgan's
Share and My Share really needs to be like delicately

(15:46):
held and delicately directed. And also we cannot have to
nate it. You can't get scenes like that wrong's it's
it's so well said. And also I feel like someone
once said to me, the greatest scenes of all times
and movies that you love, whether it be Brea Endo
or you know, De Niro and Raging Bull, just insert
your favorite scene there. That was just like a regular Tuesday,

(16:06):
you know, and the actor got up and went to
their trailer and went to hair and makeup, and they're like,
it's time to do that scene. You know, I could
have been a contender. I think that's my line. And
you know, and I feel that way with with with
Florence and Morgan's performances in this movie, because there's some
scenes that you would just drop your jaw, you know.
And I'm someone who loves actors. This I've dedicated my

(16:29):
life to not just being an actor, but just loving
great actors. I go to the theater a ton as
you listeners know, I love it. And so those scenes,
I mean, there's several scenes in this movie where you're
just watching some of the finest acting and I just think,
I think, you know, as a director, you're so nervous, like, okay,
today is a scene that's super intense, and um, you know,

(16:53):
is Morgan in the right headspace? Is Florence in the
right headspace? How what was their morning? Like, you know,
was the coffee shit? And they're in a bad mood
like you you just you know, it's a director, you're
so nervous, you know, as an actor, more nervous, you know,
of hard scenes. But it's funny. I was in a movie.
One of my first movies was a movie called Broken
Hearts Club and Greg Berlanti, who's now become one of

(17:14):
the biggest show runners in town, but it was his
first directing thing, and he always say, you have a
big scene today. You ready for your big scene today,
And it was like, no, I would not on the
day he would, Oh god. But anyway, my memory of
it is, I'm sorry I did that because I remember

(17:34):
Greg being like and I'd be like, Greig, you're building
it up so much, and now I'm now I'm scared.
But um, but Florence, you you have you do deliver
every single time, and it's just such a joy to
to watch it happen because you know, for you know,
some actors need to stay in character, and there's no

(17:55):
there's no right way or wrong way to accomplish this
very hard task of being vulner on que go. Some actors,
as we all know, need to need to stay in
that for the day or stay in it for the
length of the movie. And you know, both Florence and
Natalie Portman are are wonderful actor says that I've had
a chance to work with who both can magically. I mean,

(18:17):
I want you to speak to this because it's your process,
but Florence also can do something that's such an incredible
moment and then kind of take a breath and like
you know, turn around and talk to the dolly grip
about like you know, you know, how is his dinner
last night? And what he ate? You know? And how
do you how do you want to know? But how
do you I guess for me, as someone who can't
necessarily be that easy with it, how do you do that?

(18:41):
I was actually talking about this in an interview esday someone,
a woman asked me a similar question, and I hadn't
really put that much thought into it, but I think
I really love living in the adrenaline of a moment
and a scene, and I really love that man magic

(19:02):
energy that happens between the actor and myself in front
of a camera right then and there. And part of
the thrillers that I get to live in it for
two or three minutes or a minute and a half,
and then it's almost like wrestling, and then you go, okay, break, break,
and then I kind of have to get out of it,
just almost so that I can jump in it in

(19:22):
the same excited and thrilling and energizing way as the
last time, unless, of course, it's like a major moment
where I need to go over something physically. I think
I'm a very physical actor, Like I need to know
how I'm going to react to something. So for example,
in the wrestling scene with Molly and I like figuring
out how I'm going to turn an ache or move

(19:43):
like that's really important to me and I'll definitely prep
over that. But when it's when it's about catching that
right moment, I love living in the adrenaline of that
moment for that second for that scene and then drop
like and come back to it when I can do
it again. It's a very it's a very very special skill.

(20:05):
I as an actor find that I can't really do
that as well the times where I have had to
do major emotional scenes. For in Garden State, for example,
it ended up I ended up making it about the
single tier and the tub and she collects it with
the cup, which ended up being great. But what I
had first initially written it as was that he has

(20:26):
a full emotional breakdown, and that happened in the Wide
Master shot. I was so present, Natalie was so good.
We had no crew in there except the two cameramen
and a boom mic, and I and I had this
really emotional release and then then I then I the
director moved the camera in tight to cover it, and

(20:47):
I just couldn't find it again. And so I said
to myself, as a young director, I said, you know,
if that's not happening, then that's not the scene, because
I have a very big pet peeve and I'm going
to hand it on to you audience. Now you will
see it and it'll bother you too. Actors who are
crying with their voice but there's no tears coming out

(21:10):
of their eyes, crocodile tears. I really like you. And
it's a big scene and you're like, oh, then they
should have just pivoted and the character. If the actor
isn't feeling it or it's not happening, then you need
to pivot. And that character's not crying. But as an actor,
I've always loved that about you, And I mean you

(21:30):
told me that anecdote years before we work together, and
I've always loved that because usually in script, especially as
a young actress, you'd always get this scene in even
in audition scenes where like she'd be saying something and
then the direction would be like and then a tear
falls down her face, and you're like, I don't know
people that actually cry openly. I don't. I always hide

(21:52):
my face or I go in a bathroom, Like, you
don't see people usually just crying all the time. It
doesn't happen. It just happens in movies. And I loved
when you kind of release that pressure of it. It's like,
if it doesn't happen, it's not supposed to happen. You
even tell me to take it out of the script. Yeah,
I did, which I thought was really cool because she
said because there were there were moments in my screenplay
where it would say, you know Ali's eyes well, and

(22:15):
she goes, would you mind just taking all of that
out because I need to feel it naturally. If it
happens on the day, it'll happen on the day. Um.
But I when I see it written, it makes me uncomfortable,
like it's and I totally I totally think that's why
it feels like you then have to take a box
with it. It's like you then I think when when
the when I mean obviously. For example, if there's like

(22:36):
a direction in a script where it's like gunshots go off,
everybody's terrified, Like, of course that makes sense, but no,
I know, and I'm saying, but with with emotion, it's
like it's it's completely depend on if a if the
script gets you there be if if it's making sense
with you and the other actor, And I just I've
always loved that about you just taking the pressure off.
I think it's a very kind thing to do as

(22:58):
a director. Well, thank you. I was just going to ask,
do you think it makes the writing stronger too, because
you can cue like oh and then they cry. Okay,
so now we know that the character is sad versus
you had to construct the dialogue in such a way
that it was emoting to both of the actor performing. Honest, yeah,
I think if someone says and then they cry, I
think that's quite lazy. It's like, well, why are they
just crying? Well, I would say that I think that's

(23:21):
a really well said jewel because I find as an
actor there are moments where I'm just reading the page
and my eyes will well and I'm like, wow, that's
been written in such a way that I'm naturally going
to feel that. But but I just think you know,
and it's if you're a young filmmaker or an actor

(23:42):
listening to this. My my two cents after making a
bunch of stuff is you know, if you're if, if
you want if, if you expect the actor to cry
or have a moment, it has to come naturally. And
then if it's not happening on the day, by all means,
do not have the person make crying noises and have

(24:03):
no tears in their eyes, because that, to me is
so false. And you will now I'm sorry, I've been
ruin a lot of movies for you. You will see
it all over the place. Now you'd be like, but
why are their eyes not teary? Like? Yeah, Now, if
you absolutely, if it is script dependent that the persons
eyes are, well, there's this thing. There's a cheat way

(24:25):
where you can blow um um. It's like a menthal
thing that and it makes your eyes cry. But you
have to shoot and then you have to get that,
you have to say action and then the tear comes out.
You don't have any time. Yeah, it's not like you
can do a two minute scene and then it well yeah, yeah, exactly.
It doesn't happen. And then also nowadays, it's true, you'll
see them now too. The the the age of CGI

(24:46):
tears has a role, I know. But I gotta say
one thing about CGI tears that is is that is
good and this sty know there is one thing probably
you should not. You should not use CGI t uh
as totally fake. But there are moments when you are
cutting a piece where someone is crying with continuity and

(25:07):
the most amazing take is natural and real, and then
you need to cut to the side angle for whatever
reason and there's no tiers. You're fucked unless you have
this new invention. So then it is fine to match No, no,
I'm okay with a CGI tier if it is matching
continuity for a actual emotion. That's my personal take, isn't it.

(25:28):
But I can tell you right now there is there.
We had no budget for cgo. Can we go back
a little bit. I know you've rehashed your career before,
but just for our audience who might not know, I

(25:48):
just I just think your story is so incredible and
I know you've spoken about it before, but just for
our audience who might not know it, will you talk
about how you were discovered you were, you were in
school and they were gonna make a movie with Maizie Williams.
So I was definitely at school. I was sixteen, sixteen,

(26:10):
seventeen years old and it was just finishing, I think
my second to last year of school, and everybody around
town was talking about this tape. Have you done this tape?
Have you done this tape? And essentially the BBC we're
making a movie called The Falling, directed by Carol Morley,
starring Mazie Williams, and they needed to fill a school's

(26:33):
worth of girls. They needed to find faces that could
be possibly from nineteen sixty nine, just like different interesting,
normal faces. You didn't need to be anything special other
than maybe you fit the look of a girl being
at this school during this era. And they basically just
needed to find as many girls as possible, some just

(26:55):
to be essays background and some to be extras and
some to be characters. But they were just trying to
find new talent. They didn't want anybody that was recognizable.
And honestly, it was like two months of everybody saying
I've done the tape. I heard its first come, first serve,
and every school from London to Oxford was talking about

(27:15):
this tape, this tape, and it was you just have
to do him one minute tape and you have to
say who you are, what your name is, what you're
good at, what school you're at, where you are, and
that's it. You had it in that tape and if
you didn't hear anything back, you didn't hear anything back.
And my brother had been in the industry for a
fair few years prior to this, and I'd been watching
his you know, entrance into the industry and just how

(27:37):
hard it was and how cutthroat it was, and how
you'd do hundreds of tapes every two weeks and no
one would ever get back to you. All they might
do and you have to be there at Friday at
nine am to do this you know, ten minute audition
and then they also might not tell you again, just
like the brutal reality of what it is to be
a young actor or just a new actor in the industry.
And my mum had very much helped him out of

(27:58):
figuring that out as well. And I remember when this
tape was going around, I was like, absolutely not, I'm
not doing this tape, Like I know, I know how
hard it is because I can see how hard it
is from my brother, and there's no way in hell
that anyone is going to be giving one of these
random one of us random girls a role in this movie.
And I remember the deadline was on Saturday and I
got back home from school. My mom was like, have

(28:21):
you done the tape? I literally rolled my eyes and
I was like, you're kidding, you know about this tape? No,
I haven't on the tape. What do you mean? She
was like, what do you mean you haven't done the tape?
I was like, well, mom, you know better than anyone. Like,
why the hell am I doing this leaf audition? I'm
not going to get it. No one's gonna get it.
It's going to go to someone famous. Why are we
doing this? This is ridiculous? And she was like no,

(28:42):
no, no no, I know you're not going to get it,
but why don't we just give it a go because
this is something that you want to do and maybe
we can just start practicing, you know, being on camera
and talking to camera and just start figuring it out,
because at some point we're gonna have to figure it out.
And I was like begrudgingly going like oh, fine, okay,
And I had like greasy hair and a sweaty stars
and I was so not okay to do a tape.
And I handed in this tape and I said it

(29:04):
and I even made a mistake in it. I forgot
how old I was, and my mum shouts from off camera,
going how old, and I go. And then on Monday,
I got an email from Shaheen Bay Casting, who cast
the movie, and she said that Carol Morley wanted to
meet me in two weeks time. Here are the sides

(29:27):
you get a meeting with a director. And I was
like absolutely dumb foundered because this is not what I've
been telling everybody at school. Anyway, I went in and
then after that it was like six months of re
auditions and cameras, detests and all of this stuff, and
it was mind blowing to me. I'd never done any
of this before, and I'd never gone to an audition before.
And when I went to my audition, I remember I

(29:47):
was wearing this little gray crop top, like like a
little like turtleneck gray crop top, and by the time
I went into the room, my sweatpatches were down below
my boobs and I was just like, I was so terrified,
and I'd been I'd caught a train with my mum
to which was really big, and it's like just all
the scary stuff that you know, as a seventeen year
old you're not usually doing job auditions or were you

(30:08):
were excited at me. I was so excited, but it
was just I just was like I was so nervous
that because of my um, because of not knowing how
to do it, that they were going to catch me out.
And I did my first audition and I remember literally
like the day later, I got another email saying Carol

(30:29):
Moore would like to see you again. And then each
time it was like Okay, wow, get again in the
mode of this learning all my life, you know, it
was just it was nuts, absolutely nuts. And then I
didn't find out until end of September. So I handed
in the tape in June maybe May, and I didn't
find out until September. It was a whole summer of
like coming in and then I got the movie and

(30:50):
I got the supporting role and it was playing I
was playing opposite Maizie Williams, and it was like, whoa,
I'm in a movie and I'm missing two months of
school and this is so cool. And I lived in
a house with all these beautiful young actors happenings happening.
Mazie Williams was and it is like the topest name
that anyone knows of, and we were just living in

(31:12):
a house together, and it was just quite possibly one
of the most amazing eye opening Oh my god, Yes,
this is exactly what I want to do. Thank God.
This has been my daydream since I was like six,
And it was just so cool to think that the
thing that I had been dreaming of doing was actually
really fun and I really loved it. And I remember
being on set the same thing as now, asking you
know what a prop master is and what they had

(31:32):
for dinner? And can I help you out? And can
I help clean things? And asking, but I just constantly
asking questions. What's a boom? What's a boom operator? Like
all of these, all of these fascinating things. I would
go to go back home and I'd be so excited
and high from the day that I wouldn't be able
to sleep. And I remember my alarm would go off
at three thirty or four and I'd leap out of
bed just out of excitement. And then when we completed

(31:56):
the movie, I ended up my actually, big, very very
kindly knew that she wanted to get me an agent,
and she wanted to help me get an agent, and
so she set up these meetings, and I had an agent.
And the whole plan usually was that I was going
to go to drama school and then after that i'd
probably get an agent or trying it an agent. But
now I had this agent, so it was like, okay, well,
all I need to do now is finished school, which

(32:17):
I did not want to do. My mom was like, babe,
just finish it. I don't care what you get. Just
finish it. Go to school, get it done, and then
we can crack on with it. And so that's what happened.
So in the last few months of school, I'd be
going to do auditions on the weekends. We're going to
do this with that and then and you never did
go to dramas. I never went to drama school. I
had my agent, and I got doing auditions, and then

(32:40):
I obviously had to realize that you don't ever get
the first job your audition for, and then I had
to figure out how to actually do audition. You had
the ultimate case of well, it's not luck because we've
seen what's become of your career. But you did have
a case of like getting the first thing you're well.
But I mean when when the young actors asked me like, oh,
how did you get into the industry, I go, do

(33:00):
not listen to me at all? Like my I think
every way into the industry is a fluke and every
way in is like hard work no matter how which
way comes, because ultimately, even if you get an easy
way in, it's what you do with when you have
the microphone, and it's what you do with when you
have the stage, and it's like if if, if you're shit,
it's not going to continue. And I think for me,

(33:21):
I had to be I was at the right place
at the right time, right age with the director that
wanted to find someone that was new and had a
new face. And I had a casting team that just
actually wanted to support me and get me an agent,
and she he and then cast me in Fighting My Family.
She cast me and Lady Macbeth like all these movies
that really made my career. Yeah, but also I mean

(33:42):
she discovered that you had a natural I knew what
to do when I had the mic Yeah. Yeah, Now
how long after was Lady Macbeth. Lady Macbeth was two
years later, so I did the Falling when I was seventeen,
finished school, turned eighteen, and then I had just a
year of doing all additions and trying to figure out
if I can do this, if I'm good at it,

(34:03):
And then I did a pilot in the first month
or two and I turned nineteen. That didn't go, and
then pretty much like two months later, I started choosing
Lady Macbeth, which, okay, so for those of you whom
I'm going to interrupt, you just say, for those who
haven't seen Lady Macbeth, you really need to see this movie.
It is really truly The following was Florence's first job,

(34:23):
and but Lady McBeth is what launched her on to
everyone's radar, and it was an incredible film. It doesn't
have anything to do with this Shakespeare's Macbeth, although the
character is. The title is probably a nod to behaviors
of the character dys It's a play, okay, so in

(34:46):
play it's an opera and a play, and it was
adapted to a very low budget independent film. I think
it takes almost place. I think it takes place almost
entirely in one house, one house and a few mores,
and we shot it in like two and a bit
weeks for a quarter of a million. Yeah, so it
was it cost a quarter million dollars to make, which,
if you don't know, movie budgeting is minuscule and two

(35:08):
weeks time and it's just an ultimate example. I'm not
just saying this because Florence is here. It is just
the ultimate example if if the writing is brilliant and
the acting is brilliant, you can have people on the
edge of your sheet and have a movie take place
in one house and every single person who loves actors

(35:29):
and acting who saw that movie said, who the hell
is this person? Because it was an incredible, incredible performance
and you were nominated for a Bathta I believe, or
did you win a Bafta? I want a Biffer And
I was nominated for a Bafta. Yeah at how old? Well?
I did the movie when I was nineteen, So there

(35:49):
you go. That's pretty incredible. Thank you. I highly highly
recommend that film. And my scene pawn is his Naomi Aki. Yeah,
wonderful Naomi Aki and Cosmo Jarvis who are doing wonderful
work and every time I see them at events. It's
like seeing like your sibling from when you were younger
and before you got adopted. It was like, it's truly like,

(36:12):
oh my god, there you are from from the past. Um.
And Naomi is doing incredible work and she's so unbelievably
talented and beautiful, and it's been so wonderful watching her
rise after playing Whitney m Did you see it? Um? No,
I didn't see the film, but I know that she's
an incredible actress because she's incredible in the movie. And um,

(36:34):
and I've I've watched I think some other things with her. UM,
So I don't um. And then, of course Midsommer. So
many people love that movie. Yeah, if you're weird, then
you love it. I think too. There some people come
up to me and they're like, oh my god, Midsummer

(36:54):
is my favorite movie ever. I watched it. I watch
it all the time, and I'm like, you're really would
I accept it? I cheer every time. Yeah. And every
time I watched with a guy, they're like, what are
you doing? I'm like, it's just so beauty. Chose yourself,
but it's so lovely. I love This movie has spawned
more fan art than any other film I've ever seen. Yeah,

(37:15):
he used to collect it. He used to collect the
fan and put them on a shelf. It was very cute. Well,
I there's so much fan art for Midsommart that I
would if Florence would look at some of it. But
I would go to deep dive because I just thought
it was I mean, there's so much talent. You know,
there's sculptures of her. There's actually actually would get things made,
like I know, I didn't I didn't commission them. I

(37:37):
would like find them and be like, how could Florence
not own this? She needs And I would DM the
artist and be like, are you selling this? Because I
know Florence Pew and she should own it. And the
person would be like, Florence is gonna own it? And
I know no one. I'd be like, I am not
taking it, your artist, beautiful. You name the price, and
I always obviously paid and then paid them, probably more

(38:00):
than they were asking. But there were a few things.
There were just you got me airings downy airings. Well,
there there was a pin, there were pins. Got the pin,
and I got the little sculpture. There's a sculpture. You
can go on Etsy and just go down on Midsummer
Art wormhole, the amazing posters from all around the world.
Didn't you give me the Japanese? Yes, there's a Japanese don't.

(38:20):
I don't know if it was their official poster or
if it was a special commission, but um, it was gorgeous.
You can google image it if you're curious. And I
and I and I hunted that down and bought that
for you. Um, I just think that's so cool. I
geek out like Florence, like with the with the with
the Black Widow toys. She's not nearly as interested as
I am, Like, am I look at it? I'm like, oh,

(38:40):
that's a little me. That's no. I remember pulling out
the Lego figurine. Now, first of all, Legos were my
favorite thing as a child, and I still love them
as an adult. Obviously, Um, Donald and I. That's another
thing Donald and I sharing common is our love of Legos.
But when the Black Widow, when the Black Widow Legos
set out set came out, I bought it and I
was running to Florence like, you're a fucking Lego figure

(39:01):
And She's like, that's so cool, that's so cool. I'm like,
you're not excited enough, but I got to see you excited,
which was it's just as good. Oh my gosh, I
listen on the Life Goals list. Uh. You know, I'm
honored to be a Funko pop but I really would
love to be a Lego figure that Lego Yeah, harrigan.

(39:21):
I don't know why Lego has not made the freck
from Obi one set yet. What's going on, guys? Yeah?
But um, so talk a little bit about black Widdow because,
as you know, um, Joelle and Donald in particular are

(39:43):
Marvel mega fans. Well, what do you want to know? Yeah,
we have the script for Thunderbirds. You want us to
read it? It's what's it called? Oh? I'm sorry, Come on, Joel,
would you like us to perform the Thunderbolt screenplay for you?
Right a? Please? Oh my gosh. Well, I'm giving you
a moment to ask any of your Marvel questions on

(40:04):
behalf of you and Donald's. She obviously can't say much,
but yes, yes, okay. Do you want to know who's
in Thunderbolts? Are we allowed to say? I don't even
know who's in Thunderbolts. I find out online. I'm like, okay,
all right, that's how secret. Well this isn't a secret
because I'll tell you stuff that has been on the
interweb that Harrison Ford, isn't it? Yes, you tell me that.

(40:27):
Actually that's my friend. Um, I believe what is that
amazing actress from The Bear? Yes, she's in it? Oh? Yes,
what's her name? I owe a debris. She's incredible, so funny.
I did squeal when I read that. I read that
on the interweb. She's in it. I'm going to be

(40:49):
her best friend, even if, even if I don't know
how I'm going to make that happen. I think that
you like tax Florence because we need to see the
drinking adventures of you. And yeah, yeah she um man,
I love the Bear and she's just fantastic in it.
Um I think um Sebastian stand and um, I believe

(41:10):
why it Russell is in it? Yeah, I mean that's it.
I think that's that's on the interwebs. Is Stephen this die? Thanks? Uh?
And I bet you Julie's dry fist is probably in it.
I I guys, this is tricky stuff. Yeah, we don't
want to get we don't. We don't want to but
I can't talk about the one that I have already

(41:31):
done and the series that I was already done. Yeah,
so on what was that like? I mean, just for
you know, a lot of our audience does love Marvel,
and um so tell us just you know, I know
you've spoken about it a lot, but but you know,
what's it like to step into a movie that gargantuan?
I mean the movie. I remember watching that movie and
being like, I just can't fathom the scale of this thing.
When you guys are when you win that that sequence

(41:53):
for example, of the skydiving with Scarlet and and I mean,
how does the fun did he? Was that even done? Know?
I mean I do know? So yeah, I mean saying
Yester project like that is all for the right reasons
terrifying because for me, it's a world that means so

(42:14):
much to so many and so many people know my
character better than I'll ever know it, and i'd lain
I had never been played before. It's also you know,
she's associated with Black Widow, with Scarlett's character who also
everybody has such a sensitive and tough time discussing her

(42:34):
character because of how how it all ended, and everybody's
very sad about that. And and so yeah, saying getting
involved with this film was like, oh my god, again
and again the same thing of like, I've got to
get this really, really right, because I don't want to
offend people, and I don't want people to be upset,
and I don't want people to think that it should
have been played by someone else Like that, to me

(42:55):
was the biggest fear. But just the nature of what
the film was was discussing and dissecting and tackling and
everything to do with its storyline, female subjugation, trafficking like
it was just I couldn't believe that Marvel were making
a movie like that and being very openly We were

(43:15):
openly discussing all of those in the script amongst our characters,
and Scarlett obviously was very much involved in the movie
and producer and actor in it, and then we had
Kate Shortland, who was just a fantastic director. It just
truly felt like one of those projects that wasn't just
doing a superhero movie. It was like we are we
are discussing a lot, and we are challenging a lot,

(43:38):
and it was terrifying stepping into it. But I'm so
so glad that I did. Also just the family that
I got from it, family of fans, family of all
the people at MCU. Did Scarlett share anything with you?
I mean, obviously, I mean something that you that you're
willing to share. But did she knew that you were
going to be stepping into these enormous shoes, obviously not

(43:59):
taking over her care, but entering the Marvel universe in
a giant way? Did she did? She? Did she guide
you in any way? The best thing that I learned
from her, and it was never ever. I mean, I'm
sure that there were specific things that she told me,
but I think the coolest thing about watching a woman
that has been in the industry ever since she was
a child and also in the MCUM for a decade,

(44:22):
was just like her her consistency of needing to have
fun and needing to enjoy the whole process, because otherwise
I think you could possibly get too bogged down with
it and it become too serious and it become too daunting.
But I think for me it was just really when
I stepped into the role, I was so stressed, and

(44:43):
I was so eager to be perfect, and eager to
train really, really hard and to learn how to do
the in the middle of the air flip role with
my dagger out, and I really wanted to do and
try and do all of my stunts and respect the
craft and respect the stunties and give it my shot.
And I just remember her from the very beginning being like,

(45:03):
you've got to enjoy it. You've you've got to let
the professionals do the things that they are professional for.
So like, no, you're not going to be jumping out
of a building and be just to enjoy the process.
Don't don't don't let it eat you, don't be don't
be nervous about about the world that you're stepping into,
and know that these these fans will love you like that.

(45:24):
That's that's why it's so wonderful. I remember we went
to Comic Con and it was so terrified because we'd
be walking around with masks on or going around with
cars and just the crowds of people that were there,
and we'd only just kind of release the information that
we were shooting and that it was me, and I
remember being so nervous that people weren't going to like
it or like me or want me to be the role.

(45:47):
And I remember Scarlett and I would just hold hands
behind the stage before we went out, and I was
just holding her hand and we were watching our trailer
go and it was nice to see that she was
nervous too. That was like quite cool. And then going
out and just this sea of people that I couldn't
see the back wall of the warehouse. I could not
talk it. Yeah, yeah, yeah, I could not see the

(46:09):
back wall. And it was just unbelievable. The instant adoration
that all these people had for our movie that hadn't
even come out yet and we only showed them a
small trailer was like truly. I mean, it's because of
that love and that support that makes doing those massive
movies I suppose possible. But shooting it was nuts. We
shot in so many different countries. And by the way,
you you loved being with the stunt I loved it,

(46:33):
and they loved you. And you really trained hard. And
even though your your stunt double did incredible work for
you, you you did, Taylor, Yeah, you believe you did do
a couple of things. You did run, you did run
down that wall, but I did. I also loved doing
It's so much fun and hanging out with stunties is
the coolest because, like the English call them stunties. That's fun,

(46:54):
that's amazing. We need to upgrade our language here in
the stunts better. And you know Flord's I can tell
you that I think like you and Jonathan Majors feel
like the feature of Marvel. I think these are the
two characters that people have really globbed onto the most
as we moved from like phase four to phase five,
and we're seeing it like grow and everything. I know

(47:16):
there's this like especially because I think villains are sort
of the new way for Marvel. Like we've had all
the iconic heroes and they're very shiny vestments and everything.
It's fun to get some of it, like when you
did Hawkeye. Like watching you with Haley was so much fun.
I was like, this the level of like cool badass

(47:37):
girls who feel very grounded. You know. I think there's
something about specifically those two characters. Those two characters specifically
feel like, oh, hey, yes, we're like women and it's
cool that we're here, but that has almost nothing to
do with our story. It's we're not here because we're women.
We're not here to try to like prove anything. We're
just badasses independently of anything else. And that's been really

(47:58):
fun to watch. I hope we get more of the
two of you. Oh well, that was so fun to do.
And I had such a small stint of shooting on
that show. I mean they were going on for months
and I just popped in and did some la. It
was a very funny Florence story. Um. So we she
shot Hawkeye um and that sequence at the Rockefeller Center

(48:20):
ice rink in Atlanta on a sound stage where they
had recreated the giant thing. And she shot that whole
sequence on a stage in Atlanta. They made the whole
thing to scale. Well not not all of thirty Rock,
but no, but the rink they built thirty Rockefeller Center. Yeah,
the rink and the walls would get the blue walls,

(48:42):
you know, all around. It was enormous. But anyway, so,
but she had never been to the real ice rink
at thirty Rock. And and when we wrapped was when
we wrapped a good person. Yeah, we wrapped a good person.
And it came to you, and Florence was like, I
really want to go to the ice rink because I
into it on the stage talent you we were, we

(49:06):
were here with our friends justin carry and before we'd
all go back to our corners of the world. We
were like, okay, well, let's have a few Christmasy days.
Let's go to a Christmas market. Let's go and have
a hot chocolate. And Zach was like, I know what
we can do. And Zach and Carry booked us slots
to go ice skating. Carry did. But it was like

(49:26):
an exciting thing that we all did. And we were
walking up and I'd kind of forgotten about it, and
as we were walking it was so Christmasy and We're
all holding hands and it was just like so sweet.
And then as we came up to the ice skating rink,
I was like, before we put on our ice skates
and I go, guys, this is where I shot my
action scene with Jerry Runner and everything like everything was

(49:49):
to scale. I was like, yeah, so this is where
the star came down on the ice and I kicked
him in the face. And even the fountain. I was like,
I have a picture of me by the fountain. Yeah.
She was like looking around the real dirty rock. She's like,
I've been here, but in Atlanta. Movie making well with

(50:17):
our last few minutes, Um, let's just circle back to
our movie A Good Person, Um, which is coming out
this Friday in theaters. Um, we hope. I hope, Florence,
and I hope that you go and check it out
in movie theaters. Oh you'll love it. I really think
you will, and I will hopefully affect you in all
the ways that you want it to. Um, I do think.
My my just sales pitch for seeing in the theater

(50:40):
is there is something really magical I believe in sharing
what this movie is about in a room full of people. Um.
You know, we've been traveling the country. I've been, I've
just been on a major tour, and I'm watching it
with audiences, and there's just something magical about when it's
pin drop silent, of course, emotional times when you hear

(51:01):
people sniffling, then when there's humor and everyone has a
laugh release And you know, people often say there's not
enough movies for grown ups out there. Well, I really
tried to make one. And that's my plea for you
to please check it out in theaters. And Joell, did
you have any more questions as a smart entertainment journalists

(51:22):
you wanted to ask us? I do, And again, Florence,
correct me if I'm wrong, But this is your first
producing credit right, it is okay, So you look with
a ton of women directors in your career. You talked
throughout this interview about your love and passion of just
being on set and learning all of the little jobs.

(51:43):
What did you love about producing? What are you excited
to do again? And have you considered directing at all?
That is such a good question, Joel, you nailed it.
They're also ready. Thank you. It's funny I have been
dipping my toe in the producing world. I think it's
something that I naturally end up doing anyway it on
a film, Like I want to be involved in in things,

(52:04):
even when obviously I've seen I've only got like the
finished script and I can only now kind of help
when we're shooting. But I think naturally, of the years,
I've always wanted to tweak things that aren't right or
are right or could be better, or have a saying
in who do we think should be cast for this?
Like it's something that I very much, not because I
want control, but because I want to be a part

(52:25):
of making it perfect. Like I really do want every
line to be fantastic for everyone, And I think I
have a good handle on dialogue. I think I'm very
I love when it makes sense and everything clicks. And
I think with this movie, when we were working on
it together, we had been discussing some character arcs or

(52:48):
something and we were just chatting it going through it,
and I was like, Zack, I think I'm a producer
on this movie and he was like ah, and I
was like, no, I think I am. I'm a producer
here on this movie. And then he was like, yeah,
of course you can be a producer on the movie,
and and so. But also just chatting about like casting,
I love. I love figuring out who's going to be

(53:10):
right for what and who deserves to have a role
like that. I think like one thing that was amazing
when sorry interrupt you, but she goes, she goes, you know,
Florence's friends with Alex Wolfe, and we had this amazing
scene for someone to come in and do and she goes,
do you think Alex would do it? And I go,
oh my god, Alex Wolfe would be perfect for that scene.
And obviously so many fans would love to see you

(53:31):
and Alex Wolfe go toe to toe in a scene.
And she's like, well, let me let me ask him,
and she asked him and Alex. She was like, oh
my god, I like Zax work a lot. I love
you like I'm in and she hangs up with him.
She's like, I'm the best producer. Yeah. I was getting
I was getting roles in and every time I would
do something, I put the phone down and be like,

(53:52):
z I'm a producer. But she was. She was not
only was she really helpful in casting, but a lot
of script stuff. I mean talk about the cutting of
the hair, conversation, cutting of the hair. Yeah, I wanted that.
I wanted to do that. I just wanted I think
I think when you're that low, there are so many

(54:13):
levels of trying to fix yourself or trying to change
something because you're kind of doing anything. Then look at
what it is that you are and what it is
that you actually need to change. And I just wanted
her to be like doing everything and anything possible, then
actually figure out what's wrong with her and what she
actually thinks of herself. And I think for me also

(54:36):
chopping the hair now watching it and seeing what people
have to say about it, I think getting rid of
the vanity is an amazing aspect to Alison, that it's
just gone like her her female long hair, her womanly
long hair is gone, and she butchered it and she
doesn't care, and it's like it's it's at a new

(54:57):
level of low. And I think also for an audience
to watch someone one in that state of distress for
a whole movie, the visual, I suppose it being so
pleasing to watch the visual of her vanity being destroyed
by herself, and that you're not getting distracted by anything.

(55:18):
You're not getting distracted by beauty or if it's esthetically pleasing,
or if her hair is in a bun or a
ponytail or platt or whatever. It's like you just get
to see this person on rock bottom with a raw
face and raw hair basically just falling. And then and
then when she came to me with that, I was like,

(55:40):
that is so brilliant and I love it. Here's the thing.
We're shooting in twenty six days, and we shoot completely
out of order, as you as you we tell you,
you folks who aren't an industry, everything's shot out of order.
And I said, Florence, that's brilliant, but logistically really impossible.
And she took a beat and she's like, you'll figure
it out. So then I go. So then I I

(56:04):
go to the team and I'm like, you know, the
first ad who's in charge of the schedule, and everyone
my amazing simatarier for Maro Furi, and you know when
the producer were all huddled up and I'm like, Florence
has this great idea. Don't don't freak out. But I
kind of like it. But I know it's gonna be hard,
but let's so they huddle for like a couple of
days and they're like, Zach, Zach, here's all the reasons

(56:24):
why that's not going to work. And so I go
back to Florence and I'm like, Florence, we tried, but
it's just it's brilliant. It's just not going to work
on our budget or our scale. She goes, you'll figure
it out and um, and so it was her. Well,
there's a great it made me think of Um, there's
like that awesome Industrial Light and Magic documentary. It's very

(56:46):
George las Yes, I really recommend that to anyone who
hasn't seen it. But in that documentary they talk about
how George when he would come to them and he
would say, I want you to do some insane thing,
and the animators would be like, that's not possible, and
he would just go think about it, right, is that
what he said, think on it. Yeah, and he would

(57:08):
go just think about it, and they could be and
then come back, Oh, George, we did huddle, this is impossible.
He goes, all right, just just keep thinking about it.
And and anyway, the point is, I want to thank
Florence because it did push us to figure it out.
And I didn't want to use wigs because wigs. Wigs
are pretty bad always the moment, the whole point, she
chops her hair and we wanted her to. We wanted
to really chop her hair off on camera. And we

(57:29):
also didn't want to use wigs because wigs, even with
a high budget are not great. Wigs on a low
budget are really bad. Yeah, and um, and so when
you see her cutting her hair off, it's really Florence
cutting her hair off. Um. Also, just so you know,
the whole week up to that, everybody was shit scared.
Zach was really worried. He was like, sure, like, how

(57:50):
short are we going, Let's do practice run, Let's do
a practice run. And everybody would be checking in with
me and being like, are you okay? You nervous about it,
be like no, I'm so excited. And then we started
to get a bit confused because I was like completely
thrilled about it, and even on the days, I was like, okay,
so I just want to go over, like where are
we going? Well, the hairstylus, the hair stylus came in
and I was like, all right, just sure where she

(58:11):
should cut and he was like, she knows, she knows, Like,
but just let me because you only you only have
you know, take one. And we actually had to cut
a port in the wall of this house because we
every single moment of this movie is shot on locations.
There's no sets because we just didn't have the money
for it, and so we took the medicine cabinet off

(58:34):
of the wall, and there's was no way to get
the shot we wanted. So we went to the homeowner
and we were like, can we cut a hole in
this wall. We're obviously patch it and make it look
brand new, but we in order to get the shot
we need, we need to cut what's called a camera
port in this wall. And they were like, okay, as
long as you promised to restore it. And we were like,
oh my god, we can't believe they said yes. So,

(58:55):
so in order to get those shots of Florence looking
in the mirror like like she does several times in
the movie, just a little for those of you filmmaking
geeks out there, we had to cut a hole in
the wall. But um, it turned out perfectly and it
was such a good choice. And I was just just
one of many examples of Florence and I'm a producer saying,

(59:18):
and you did a great job. I'd love to keep
I love it, yeah, and talk about filming. I definitely
have told her that she should be a director one
day and fold that into hers be a director. I
think I need to learn a bit more. I need
to soak it up. It's such a it's such a
tricky position to have and to lead, and to be

(59:40):
a leader on a film set, you really have to
be like you have to know your shit, and if
you don't, UM, a lot of people can get, you know,
twisted up by that. And I think for me, I
don't want to UM. I don't want to go in
and not know and then and and affect an actor
badly like you just it's something that you really should
go in knowing that you can do, so I think

(01:00:01):
I'm just gonna do a bit more learning. Well, if
you ever want to take the Zach Braff Camera Geek
Camera Toys workshop, I will give you a one on one.
Thank you, because I'm obsessed with it all. I hope
you direct because not only you have a great vision
and intelligence and clearer knowledge of acting, but you're a

(01:00:24):
great leader and I think you'd be a fantastic filmmaker.
So thank you guys for tuning in to this special
conversation with Florence Pugh. Our movie A Good Person comes
out this Friday. It comes out everywhere in the United States, Canada,
and the United Kingdom on Friday the twenty fourth. Really, so,

(01:00:48):
I know of getting a lot of people on social
media saying when in my country? When in my country?
I promise you it's calling coming to all Australia. I
know his end of April, but I can all I
can say specific now is this weekend in the United Kingdom.
In the United States. Wow, Um, it's on many screens.
It's not one of those ones that's on like one screen.

(01:01:08):
It's on lots of screens. So please go check it
out and thank you Joel and Danald for this awesome colors,
A lovely chat. Of course. It was lovely seeing you
guys again. I used to see during the pandemic randomly
every now and then. Remember when you came on and
made or remember when she came on and her martini.
That's basically just cold vodka. That's what it's cold vodka.

(01:01:31):
It is amazing inspiring times. All right, would you like
to count us out? Donald's not here? Would you like
to count you? Count down from five? Just really slowly? No,
you just like in tempo five six seven eighth, So
count up from five. I'm glad to know you're such
a fan of the podcast. I am. But you said
count down from five? Yeah? Like five six yeah, five

(01:01:52):
six seven, five six seven eight made. It's a nurses
san janitor who loved me here, I said, he's a
story NETEA should know. So gather around you here, Arb,
gather around you here are scot free. Watch your winds

(01:02:14):
and the mm hmmmm.