0:01 I knew when I shut the door after my
0:03 audition and then and then I forgot my
0:05 CD case you know and I went back in the
0:07 room and this was like every major
0:09 producer Sam everyone I was like sorry I
0:11 forgot my cdks that I could tell in
0:14 their faces I was like you did it you nailed
0:20 it bring it [Music]
0:22 [Music]
0:26 on I'm and I'm loud I'm going to make
0:27 you proud
0:30 ofen your cat Toren
0:34 let go me and my girlfriends loved
0:36 watching cheerleading competitions and
0:38 also beauty pageants so that's why I
0:39 dropped it gorgeous because I wanted to
0:42 see that I read bring it on and I talked
0:44 to pton Reed the director and he was so
0:46 smart and cool like we just talked on
0:48 the phone and I knew oh this guy is
0:50 going to make something really clever
0:52 but none of us knew that that would be a
0:54 success in the way it was like we just
0:55 thought we were making a little
0:57 cheerleader movie in La Hoya and San
0:59 Diego I can't believe You' do that to
1:03 Aaron do what especially with him what
1:06 are you talking about oh don't play dumb
1:07 we're better at it than you you're hav't
1:10 cheer sex with him I mean I was the
1:12 youngest of everybody and so they were
1:14 having a lot more different fun than I
1:15 was they were in a hotel and I was in a
1:17 house with my mom so they were going to
1:21 Mexico on like a weekend and I was
1:24 having my girlfriends come down and like
1:26 singing Alanis morc going to see The
1:28 Blair Witch you know or the new Dixie
1:29 Chicks album going to see Blair Witch in
1:31 the theat theaters so was a I got along
1:34 with everyone great but I was definitely
1:36 still the innocent one on set I did
1:38 mostly everything I mean I don't know
1:40 how to do a backflip I was a base in
1:42 junior high but I flew and bring it on I
1:45 was a flyer in that too you know dancing
1:46 and everything it's always been a part
1:48 of my life I loved learning routines I
1:50 loved doing all of that at that age okay
1:52 guys let's go out there and do our best
1:55 nothing hits the floor we stick
1:58 it on I mean that's kind of who I was
2:00 you know that was another side to me
2:01 like I had The Virgin Suicides in me and
2:03 then I had the Bring It On gal in me
2:06 which I think is all teenage women you
2:09 know it's like when you hear certain
2:11 musicians for the first time you're like
2:13 oh that is the way I feel but you need
2:16 help expressing that when you're that
2:18 age you haven't found all the words yet
2:20 or I didn't when you're young teenage
2:23 girl you're really discovering how to
2:25 put your feelings into words and
2:28 everything is very
2:45 wow great reflexes I wasn't a comic book
2:48 reader as a young girl I was a deas
2:51 reader remember the deas catalog a hard
2:52 candy girl it was a long process
2:55 Spider-Man I was working on crazy
2:57 beautiful I really wanted to meet Sam I
2:59 met with Sam and then it was a very long
3:01 time before for my screen test and I
3:03 think Toby McGuire was driving down
3:04 Sunset Boulevard and saw me in those
3:06 remember those Gap ads that used to be
3:08 on the whole building he was like what
3:10 about Kirsten and so I kind of maybe
3:11 came back in the fold I'm not really
3:13 sure how it happened and then I was
3:15 working in Berlin on a film and they all
3:18 flew out to screen test me Toby and I
3:20 had amazing chemistry together we're
3:22 both very vulnerable actors and and it
3:24 just fell I knew when I shut the door
3:26 after my audition and then and then I
3:29 forgot my CD case you know like my huge
3:31 CD case I'd carry around with me I
3:32 remember I had like a little knit hat
3:35 with cat ears thought it was so
3:39 cool not so I remember I left my CD case
3:41 and I went back in the room and this was
3:43 like every major producer Sam everyone I
3:45 was like sorry I forgot my CD case that
3:48 I could tell in their faces I was like
3:50 you did it you nailed it I did do a lot
3:53 of my stunts in Spider-Man and I
3:56 remember one stunt that they tested on
3:59 me once and they like pulled me up
4:01 basically to the top of a Sony Sound
4:04 Stage which is enormous and they let me
4:07 freef fall until the very last second
4:08 and I was like should have done that on
4:16 [Music]
4:19 again it was like a bungee jump and I'm
4:21 not that like I don't need that
4:24 adrenaline personally so that was I put
4:26 my foot down I was like I'm never doing
4:40 Sam Ry is a very romantic gentle soul
4:43 but he gave me this book before we did
4:46 that Spider-Man kiss of like famous
4:49 kisses from different photographers and
4:51 it was in a little book and Sam had such
4:53 a childlike beautiful way of the way he
4:55 would describe Spider-Man and Mary Jane
4:57 and their romance and so there wasn't a
4:59 specific picture but I was like the
5:01 feeling of making
5:05 something that will last forever in film
5:07 if we can do that and accomplish that I
5:09 wanted to be there to make that happen
5:12 for him the actual filming of it was
5:14 really difficult Toby was getting water
5:16 up his nose he could barely breathe it
5:18 was torrential rain that they made and I
5:22 was freezing and but it looked
5:25 great I remember we were going to make
5:28 another Spider-Man for I think we were I
5:30 can't remember to be honest we'll see
5:33 what happens I mean that universe is
5:37 very open it's anything so for me to be
5:39 a Spiderman movie again or something
5:42 it's possible I
5:44 guess Interview with a [Music]
5:59 Vampire I want some more that was a lot
6:02 a lot of auditions a lot of screen tests
6:04 and I worked very hard with my acting
6:06 coach and he would give me tools to make
6:09 things look like maybe I had a sexy look
6:12 on my face he would say you know pretend
6:14 you your brother's looking for his toy
6:15 and you know where it is but you're not
6:17 going to tell them and that immediately
6:19 gives someone like a mischievous look
6:21 without having to deal with any of the
6:23 inappropriate things for that age I
6:25 remember him having me slam doors a
6:28 bunch of times because it's scary to go
6:31 to those places as a young person I was
6:34 very protected um unset I I don't even
6:36 think I watched the whole movie I sat
6:38 there and my mom would cover my eyes for
6:41 a lot of that film can I Lou be like her one
6:48 day W you more Melancholy nonsense I
6:50 swear you grow more like Lou every day
6:52 soon you'll be eating rats I felt like
6:54 Brad's little sister and Tom made me
6:57 feel like a princess I mean at Christmas
6:59 time he were like this gorgeous tree and
7:02 in my dressing room and they just
7:04 spoiled me in a really sweet way and
7:07 also the clothes I mean Mar and Tanetta
7:08 had fabulous outfits too but like
7:10 interview was a production that still to
7:13 this day I haven't experienced in uh
7:16 film everything was mostly practical so
7:18 the lack of special effects and like a
7:20 lot of stunt work homes on fire that
7:23 they built specifically to light on fire
7:25 and the sets were just incredible I mean
7:28 I remember dancing with Brad in this
7:30 gorgeous place and Paris to shoot in New
7:33 Orleans and Paris and London on one
7:36 production it's just those times of
7:38 making movies like that they they just
7:43 don't exist anymore do you want me to
7:48 Forever you don't why not can't I change
7:51 like everybody else you know I think at
7:53 that point all of these scenes almost
7:54 felt like a play I knew them so well I
7:57 had auditioned all of them and it was
7:59 such a long process getting that role I
8:01 was like a racehorse ready to go you
8:05 know and I wasn't afraid to you
8:07 know go there when I think about that
8:09 that movie I'm just like we we literally
8:11 were vampires we we lived at night we
8:15 shot at night always so it was weird to
8:17 you know get up and do homework at like
8:19 300 p.m. and then go to
8:23 work Eternal Sunshine of a soless
8:26 mind you should not have seen this I apologize
8:34 this is a hoax right and this is Clint I
8:43 no I read Eternal Sunshine and I thought
8:44 this was the best script I've ever read
8:48 in my life all Charlie scripts are like
8:51 reading a brilliant book I actually had
8:54 to kind of Chase that movie I met
8:57 Michelle I remember our meeting you know
8:58 he wasn't sure I was the girl from
9:01 Spider-Man you know what I mean so a lot
9:03 of people see saw me maybe as that and I
9:06 just wanted to do that movie so badly a
9:08 lot of the way of working with Michelle
9:11 was following the actors really and
9:13 having a fluidity and a very
9:16 naturalistic way of filming it you know
9:17 had the idea of swirling in my chair
9:19 instead of just sitting there and we had
9:20 already done a bunch of takes but none
9:21 of that matters with working with
9:23 Michelle we just did it again in a
9:25 different way and also a lot of things
9:27 were done practically which was really
9:29 cool like I remember Jim KY would change
9:31 costumes quickly and theyd pan to
9:32 something else and then he'd have a
9:34 beanie on or whatever it was or just
9:36 holding up like a screen in front of the
9:39 camera to blur something out I was very
9:41 impressed by all the Practical special
9:43 effects that were very simple it's
9:45 beautiful you look at a baby and it's so
9:50 pure and so free and so clean and adults
9:54 are like this mess of sadness
9:57 and phobias we're both
10:00 sober we weren't smoking weed all my
10:01 scenes were with Jim he had a you know
10:04 the brain helmet thing on I don't even
10:05 remember what it's called and he was
10:07 just lying in bed asleep those were like
10:10 his break days I guess just listening to
10:12 me and
10:14 Mark pgeon
10:18 suicides I thought you died in
10:20 there are you done hogging in the
10:32 do you mind I remember reading the
10:34 script and being actually really nervous
10:37 because Lux was a little bit promiscuous
10:39 and I was so nervous about any scene
10:41 like that which Sophia handled so well
10:42 for me I didn't even have to kiss the
10:44 guys on the roof like she was just like
10:45 just pretend and move your hair in front
10:47 of your face and just like nuzzle into
10:50 their neck or something so she saved me
10:52 with that stuff cuz I I was a very
10:57 innocent 15 16 year old she's very soft
11:00 sopia and very kind and generous and it
11:02 was kind of a Nob brainer you know to
11:04 work with her but I was nervous to play
11:07 that role it's like I I wasn't playing
11:08 footsie with dudes under a table you
11:10 know I was playing with Barbies probably
11:13 for far too long to be honest the scene
11:16 that made me the most nervous was having
11:18 to jump on Josh heartnet in the car and
11:21 make out with
11:24 him and I remember once he was like oh I
11:26 think you bit me and I was like oh my
11:29 God I was so mortified and one time his
11:33 wig got weird and like I mean I had
11:35 kissed a guy in real life before but I
11:37 had never jumped on it some you know and
11:41 in the car and it was I just was very
11:45 innocent and that was like a lot for me
11:47 I mean Sophia played music so it' be a
11:49 little bit more relaxing I think she
11:50 played the music that's actually in the
11:53 movie as I remember I think the roles I
11:56 picked were scripts that I wanted to see
11:59 whether it was a comedy or with the vir
12:01 suicides I wanted to work with Sophia I
12:04 just chose what I wanted to see and if
12:06 that was what other people wanted to see
12:07 then it was successful and if it wasn't
12:09 then it wasn't I saw Sophia's short film
12:12 lick the star and I just knew that
12:15 because of the way she grew up she would
12:17 do an incredible job I mean being on
12:20 sets your whole life and bringing this
12:22 story together I also like the idea of
12:24 being a Sisterhood again like in Little
12:27 Women I really enjoyed that experience
12:29 you know what's interesting is the scene
12:32 where you don't see me pass die in
12:34 Virgin Suicides you just see my arm
12:36 outside the car window in the garage and
12:38 that's Sophia's arm cuz I couldn't be
12:39 there right I don't know why I like
12:41 wrapped early or they needed a shot so
12:44 that's not even my arm in
12:47 Sophia's Mar
12:49 Anette let them eat
12:52 cake that's such nonsense I would never
12:54 say that well first of all I would do
12:57 anything Sophia wanted me to do I met
12:58 her at the Chateau and she gave me this
13:01 like and Antonio Frasier novel of Maran
13:02 tonette she's like I want you to play
13:06 Maran tonette I like really okay wasn't
13:08 you know I was very intimidated by the
13:11 idea of it but knowing Sophia she wanted
13:13 to portray you know the essence of her
13:15 and and really what she went through
13:18 which was being a very young woman and
13:20 and thrown into this situation that she
13:25 was so unprepared for and Sophia always
13:27 brings the small moments the in between
13:29 moments to life in such beautiful ways
13:32 where you really get to be with a person
13:35 privately which are always my favorite
13:37 scenes in in film I feel like most of the
13:38 the
13:40 movie most of the movie is private
13:42 moments with Mar andette we only shot at
13:46 Versa on Mondays and then we decorated a
13:49 chatau with different rooms to be Versa
13:51 it was interesting to see the back
13:52 quarters that no one gets to see like
13:54 their little toilets and stuff like that
13:57 it was so crazy that was the the coolest
14:00 thing to me is their private quarters
14:01 which were very tiny and then you go to
14:03 these Grand things so it's all just such
14:06 a performance you know for me it was
14:08 just a a fish out of water really Mar
14:11 Anette and also isolation and not
14:19 it for that scene where I bowed to the
14:22 crowd I was thinking about her death and
14:25 like giving them my head in a way and
14:46 melancolia I was working in Montreal and
14:48 they were like Lars vontre wants to meet
14:50 you I think we just talked on the phone
14:51 to be honest but I got the script I read
14:55 it immediately and the script is you it
14:57 was also written like it felt like a
15:00 play or something and and actually the
15:01 reason I got that role was because of
15:04 Paul Thomas Anderson told Lars like you
15:06 should hire Kirsten for this role that
15:09 was really amazing of him I loved
15:11 working on melancolia it did feel like
15:12 we were making a play and that it was
15:15 very intimate and I always like making
15:17 movies when you feel like you're not
15:19 worried if anyone's ever going to see it
15:21 or what you do or anything so there's a
15:24 freedom to it that you just are having a
15:27 really special time and nothing else
15:29 matters really you know it just is that
15:32 movie felt that way you're not even
15:34 halfway through
15:44 right I have to pull myself together
15:47 honestly when you're in the best part of
15:50 yourself I think you can go to the the
15:52 worst places IID wrapped the day and we
15:55 were all staying at this Swedish Hotel
15:58 slash there was homes on the property
16:00 and I'd get my risotto and have a glass
16:01 of wine and watch some crappy TV you
16:03 know what I mean like you got to relax
16:05 after days like that but also I'm so not
16:07 afraid to go there I have no fear of of
16:09 going to really difficult places we
16:12 rehearse but we rehearsed for feeling
16:14 the feeling of something not rehearsed
16:17 the actual scenes but like Charlotte and
16:21 I would kind of uh do an improvise of
16:24 like me trying to eat something and her
16:25 trying to encourage me to eat or me
16:27 trying to fold clothes or anything that
16:29 was around her house she was staying in
16:31 like we were just kind of getting that
16:33 sister Dynamic and for Lars to be able
16:36 to see the feeling I guess is the best
16:55 it me and Charlotte instantly were
16:57 actors that really listened to each
16:59 other and we no one has any pre-planned
17:02 way of doing something I mean I'm sure
17:04 she does her own work and how to prepare
17:07 for something and so do I so but when we
17:09 actually come together we're with each
17:13 other and she's so natural and certain
17:15 people it's it's so easy there's a flow
17:17 to it where it doesn't even feel like you're
17:28 acting left to right I think also it has
17:29 to do with who's behind the the camera I
17:31 think that doing a lot of H handheld
17:33 stuff A lot of times allows you that
17:35 freedom and it feels more like you're
17:37 documenting someone's life but then a
17:39 lot of things were really planned and
17:42 set up so you know I think as an actor
17:44 and a director you migrate to people
17:46 that have similar sensibilities in some
17:48 ways I like people who do things
17:50 different you know and who are very
17:52 provocative filmmakers and it's fun I
17:54 mean I got I love making movies and I
17:56 want to make movies that matter to
18:06 Fargo I ran over him hit and run and and
18:07 then you stabbed him with a gardening
18:09 tool the cops do you think they're going
18:12 to believe us I don't know but but
18:14 people are going to look for him but but
18:16 look I I was careful I I drove the
18:19 backway all the way home Peggy Peggy
18:21 Peggy Peggy was one of the most fun
18:24 roles I've ever played I think and I met
18:25 my husband it's just like roles like
18:28 that aren't written like I loved her crazy
18:29 crazy
18:32 illusional mind and I love doing dark
18:34 comedy and that was just the perfect
18:36 role for me because you get those
18:37 scripts not you know you don't get all
18:39 of them at once you know sometimes they
18:43 like what is Bey doing now like oh my
18:46 god what did I just
18:48 see you going to be
18:51 nice for Peggy it was just like like
18:53 nicking someone or like you know like
18:55 whatever it was was it's not a knife to
18:57 her you know what I mean I forgot what
19:00 my thought was behind that process cuz
19:02 it's been a long time now but I it
19:04 definitely wasn't I'm stabbing someone
19:06 it was probably like I was like you're a
19:08 naughty little boy you know and that was
19:11 the vibe more we cover the damage file a
19:15 report and then I mean that should do it
19:17 we got rid of the I mean the guys all
19:20 grown up and you burned his clothes you said
19:21 said
19:24 so once the car is fixed
19:27 it's we're free it was so fun to to
19:29 balance all of that
19:31 and working with Jesse we really fell in
19:34 love creatively first and we rehearsed a
19:37 lot together and it was just certain
19:39 actors you just fly with creatively it's
19:42 so effortless because we both are very
19:43 hard workers and then when you come
19:45 together with someone that has the same
19:48 work ethic as you it's it's the most fun thing
19:50 thing
19:52 ever Little
19:54 Women are limes the fashion now of
19:56 course they are it's nothing but limes
19:59 now everyone keeps them in their desk
20:00 and trades and for beads and things and
20:02 all the girls treat each other at recess
20:03 if you don't bring limes to school
20:06 you're nothing you might as well be dead
20:07 right after Interview with the Vampire I
20:10 did Little Women so that was the perfect
20:12 J position of being on a very
20:14 male-dominated set and then being with
20:16 like the most powerful females so it was
20:20 a great balance my dearest family I am
20:23 well and safe our Balian is encamped on
20:25 the patomic
20:27 picomic Jillian Armstrong was the
20:29 director and I was working with you know
20:31 Susan sandon and her daughter and I
20:33 would make lemonade stands at lunchtime
20:36 for the crew and it just felt like so
20:39 cozy compared to it was it was such a
20:41 weird balance but I think that kind of
20:44 set up the foundation for my choices in
20:45 life and for the rest of my career
20:47 because I worked with such powerful kind
20:49 men and then I worked with really
20:52 incredible powerful women you know I I
20:54 never thought oh she's a female director
20:57 that's it didn't matter to me ever their
20:59 influence on me yeah a huge [Music]
21:01 [Music]
21:05 deal I shall miss my little women I just
21:07 felt so comfortable and cozy and I
21:09 looked up to Claire and went on a rider
21:13 and I just felt special being able to be
21:15 a part of the legacy of telling that
21:17 movie and that
21:20 book dropped at
21:23 gorgeous I'm Amber Atkins and I'm
21:26 signing up cuz um my two favorite people
21:29 in the whole world competed in pageants
21:33 my mom and Diane Sawyer I just loved
21:35 watching Beauty pions so much I
21:37 auditioned for that movie and I wanted
21:40 it so badly I just I love doing comedy
21:43 and that was the perfect dark comedy
21:45 sensibility that I love and I loved
21:47 Ellen Barkin and Alison Janney and I
21:49 knew Britney Murphy very well and we
21:51 made another movie together after that
21:53 it was fun doing the fight scene with
21:55 Denise Richards well as my mother says
21:57 it's Sunday dinner come and get it get
21:59 it I'll get it all right take seconds
22:01 you want seconds I'll make sure I had
22:03 never done that and I have never had a
22:05 cat bik before because that is very not
22:07 who I am so it was kind of fun to live
22:10 out that
22:13 feeling the power of the
22:17 dog she Drew chalk Stars by our names on the
22:22 Blackboard I wonder why it was Stars she gave
22:23 gave
22:29 us why not diamonds why not hearts
22:32 why not Fades Jesse got the script first
22:33 and was like I'm meeting with Jane campy
22:36 and I was like I'm like you're doing
22:37 this movie you don't even need to read
22:40 the script I had met Jane had I met her
22:41 no she had written me a letter I had
22:43 saved in my email forever you know I
22:46 just saved certain things about working
22:47 together on something and it never came
22:49 to fruition but then Jesse was doing the
22:52 movie and she had cast someone else in
22:54 my role and then they couldn't do it and
22:58 then Jane came to meet me and yeah it
23:01 really worked out for me but I she's
23:05 been someone you know an idol of mine
23:06 since I've saw the piano and knew of her
23:09 work you know you don't get to see women
23:12 portray roles like that and she's also a
23:14 master filmmaker well you know what was
23:17 hard about making that movie is was we
23:19 had a house but it was there was nothing
23:20 inside the house so we did all the
23:22 exteriors for the entire film first and
23:25 then Co happened and then we did all the
23:28 Interiors for the film after even even
23:29 though that's how movies are made you
23:32 never make things in order it was hard
23:34 because I when you're not in every day
23:35 and then suddenly you're like running
23:37 out of the house crazy but you haven't
23:38 done all these other scenes you're the
23:40 girl that comes up on set and is just
23:42 acting crazy and you know what I mean
23:43 but you haven't done any of the other
23:45 scenes that build up to it so sometimes
23:47 I felt
23:49 ridiculous Benedict and I didn't really
23:51 have any scenes together real scenes we
23:53 have one where we really talk to each
23:55 other but barely so I really had to
23:59 create my own monster and all of it
24:01 because Rose is really in her own weird
24:04 movie and you know there's sweet scenes
24:06 with Jesse but that's not really what's
24:08 going on with her too you know your own
24:13 mind go you know playing with itself and
24:15 messing with yourself and meanwhile no
24:17 one's there no one's there no one's
24:20 there but yes the piano I did learn
24:22 because the whole purpose of that scene
24:24 is that like his Artistry is so
24:26 beautiful and effortless and here I am
24:28 clunking away at the piano so I imagine
24:30 like someone else performing something
24:32 and knowing that I will never be able to
24:35 reach that level and I'm having to hear
24:37 it and then I'm having to go in after
24:39 this person you know what I mean like so
24:41 I just would set up little scenarios
24:43 like that for myself to make myself feel
24:47 like and then I was fine after I
24:50 really can't dance you're
24:54 dancing here this Mo forward Jesse and I
24:56 on the Mountaintop was like gorgeous
24:59 surroundings we I was blown away but I'm
25:01 not going to lie I felt so dorky doing
25:04 that scene because it's like we have our
25:05 tea and we're and meanwhile we have like
25:08 a child together and just such a polite
25:10 interaction of like two people first
25:13 kind of falling in love and dancing and
25:15 like all the beauty in in a very polite
25:19 reserved way so to me I it felt really
25:23 dorky I knew like the first moment that
25:25 I met him I I remember the meeting at
25:27 LAX I remember my one of my best friends
25:28 was like I remember remember you telling
25:30 me that you'll know him for the rest of
25:31 your life and that was like two weeks
25:33 into filming I just you you just he was
25:36 a soulmate connection of
25:39 mine Civil
25:41 War like why didn't I just tell him not
25:43 to shoot them they're probably going to
25:45 kill them anyways how do you know he
25:47 doesn't know but that's besides the
25:50 point once you start asking yourself
25:52 those questions you can't stop so we
25:55 don't ask we record so other people ask
25:57 want to be a journalist that's the job I
26:00 got pregn right after power of the dog I
26:02 had another child so I hadn't worked for
26:06 a little while and then this
26:09 was so exciting I've been a fan of Alex
26:11 garlands for so long and I mean it could
26:14 have been like me alone in a room with
26:16 like a chicken and I would have done the
26:18 film you know I mean like I don't again
26:20 like I'll do whatever with a great
26:22 director it it doesn't matter to me but
26:24 this happened to be the script and I was
26:26 on the edge of my seat when I read it
26:28 and I knew that he was doing something
26:31 extremely provocative and I had never
26:32 done a movie like this you know there's
26:35 a lot of action in it and portraying a
26:37 photographer you know a very different
26:39 role from what I'd played in the past
26:42 for me that movie and what starts to
26:43 happen to her towards the end of the
26:46 film is really an unconscious your her
26:49 unconscious mind I think taking over
26:52 warning her not to keep going so I think
26:54 her physical body is literally like
26:56 working against what she's trying to do
26:59 to stop her I know you're really angry
27:01 about it and I know you think I don't
27:03 know but I'm not angry about that
27:06 Jesse I don't care what you do or don't
27:10 know okay but you are angry with me
27:13 there is no version of this that isn't a
27:16 mistake I know because I'm it I started
27:18 to work with her and I immediately fell
27:20 in love with her I was like we're the
27:21 same in the way we like to work I said
27:23 what if like I'm your long lost mother
27:25 and you're my long lost daughter just so
27:27 that even though we're talking about
27:29 what gei needs there's something that's
27:31 immediately like a really strong pull
27:33 those are the kind of things I like to
27:35 play with with another actor and she's
27:38 very was very receptive too and loved
27:49 together it was mostly CGI in terms of
27:52 obviously all of the Washington DC stuff
27:55 they built roads and these huge
27:57 blockades that we shot with tanks and
27:59 explosions and they built part of a
28:01 Downtown City so it was because of
28:03 shooting in order for the last 2 weeks
28:07 it was so loud and so intense I mean I
28:10 would wear earplugs because I would be
28:13 like this otherwise like I'm so not an
28:15 action girl you know like let's get in
28:18 there who cares even hearing like the
28:20 blanks hit the tanks it's like was so
28:23 loud and I yeah so that's good that I
28:24 did something that's very out of my
28:28 comfort zone because it it was like hell
28:31 for me to do things like that and some
28:33 people get high off of it I think and I
28:35 think that's what my character is you
28:40 know adrenaline junkie but I personally
28:43 really yeah after those two weeks I was
28:46 a little bit like whoa I mean now I'd
28:50 like to do a comedy again I like when
28:53 female directors write roles that are
28:55 like women we haven't seen before so
28:57 that's really interesting women basically
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