- 7/1/2025
Variety 120 Screening Series presented by Barco presents 'All About Eve' Conversation with Creators of 'Sirens'
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00:00We only need the Cardi B song. However, we can't have any song but the Cardi B song. It's in the script.
00:17What I thought would be great, you know, before we start talking about Sirens is like what All
00:22About Eve means to you when you first saw it. I mean, I know we'll talk about this in a bit,
00:27but you hadn't seen it for a while. But Molly, I'm going to start with you. What was your first
00:31time? Like what do you remember about All About Eve? Well, I went to NYU with Colin and it was
00:39definitely part of our curriculum at the time to watch it. I will say that I'd forgotten how funny
00:45it was. And so when we started to work on Sirens and this very specific tone of Sirens, it was
00:52refreshing because it's so funny, but also it's really dark. So it's all the kind of things.
00:57But it's also just the way it tells a story that's cyclical and haunting, but also like
01:02we were all laughing. So, you know, we really just admire the tone of it. And our director,
01:08Nikki Casale, who's not here because she's in New York, but she talked about it constantly
01:11early on too. So it was really exciting to watch it again on the screen too and hear all
01:16of our giggles. It's good.
01:18Colin, what about for you? What was your intro at all about you?
01:22Well, yes, we saw it in graduate school together. But the thing that I remembered and seeing it now
01:32and kind of connection for me to Sirens is the powerful female roles in that and how strong
01:41they are and how interesting they are and how flawed they are. That was really kind of what I
01:49remember about it and connecting with it again.
01:53Catherine, what about for you?
01:55I think I first saw it in high school sometime, but I didn't remember it well. So I watched it again
02:01earlier this week and then again tonight. Yeah, it's a brilliant film. And again, the humor is the
02:09thing that really struck me, especially watching with an audience. But comparing it to Sirens,
02:15it's really interesting to think about how some of the tropes of how we portray women in media,
02:23we were playing with and trying to, you know, say that women are more of a product of their
02:30circumstance or something. Whereas this, I think you can tell that it's written and directed by men
02:37in a way that ours wasn't, you know. I think we're a little bit more compassionate towards
02:44our, at least, you know, our villain. And we play with that in a way that this film is a little bit
02:49more straightforward.
02:51We're totally going to talk about that because I think, you know, Sirens is that ambiguity, like,
02:56are they really evil? But no. And, you know, what's, what is their motive again, which does come
03:02back to, to all about Eve? What about for you, Greg? What was, what was your, I hardly remembered
03:08the film until I think, I remember, I think watching on PBS with my dad when I was a teenager, I think
03:13was the last time I think I saw it. The thing that struck me watching it now is when it was extremely
03:18funny, but I'm not too sure if it's as funny, if it's funnier now, because it's now I'm laughing at
03:22also the datedness of certain types of the stereotypes we're talking about. But also its view of, of it's sort of
03:27looking down, it's on the view of like the created identity of stars and the whole architecture
03:32of everything, which is like the created identity of, you know, the powerful characters
03:35in Sirens. And I, the perils are kind of amazing. And the, the tone of it was, that's, I could,
03:40I was, sorry, I was probably laughing too loud out there, but.
03:44Yeah, we can go full spoiler territory when we talk about Sirens, but, you know, you'd mentioned
03:51you hadn't, none of you had seen it till, I guess, this week or today or recently.
03:56Were you surprised, and you've sort of touched on it, how close the parallels were to all
04:05about it? But I guess it's like this influence it's had over the years on you subconsciously.
04:11Yeah, I think it's clear it's had a subconscious influence on this creative team, but also on
04:16all of us, right? Like, I don't know, I was very struck that Simone in Sirens, I think, I
04:22think the show sort of asked you to decide if she's a monster or not. We worked really
04:28hard to sort of not tip it, like not, and I, in the film, it's pretty, I think it's
04:33pretty clear. I think, right? Eve is, Eve is not good, right? But, but I think it was
04:40great to rewatch it, and that, just to think about the way we crafted Simone, and how I wonder
04:45actually, if it would have been, it would have felt a little easy, I think, if Simone
04:49was so clearly black and white a monster. So, I don't know, I was sort of studying how
04:54they did that in the film, and really admiring it, but also kind of like, I'm glad we didn't
04:59make that exact choice. I'm glad we left it a little bit of a puzzle for the audience
05:03to solve. At least I think so. What do you guys think?
05:05Yeah, because Eve is, Eve is like diabolical. Yeah, like, yeah.
05:08When she turns at the end of that look in her face, like, don't it be terrible with that
05:11together? It's kind of like, all planned from the beginning with her.
05:14Yeah, she's a sort of traditional villain, and I think Simone has ingredients of that,
05:18but we, we try to have more fun.
05:21I thought it was interesting, the backstory for each of them. Like, we find out, you know,
05:25that Eve has been lying about her backstory, and kind of covering up a darker, sadder story,
05:31and with Simone in Sirens, she is lying about her past, but it's actually a really sad,
05:41and it's almost like, kind of opposite. She's trying to hide the darkness because she doesn't
05:46want to talk about it, while I think Eve is using her, manipulating her background to get
05:54a foot in the door, which I thought was really interesting. And also, just the correlations
05:59between Bette Davis and Julianne Moore, to me, just like, the presence and strength and
06:07power that they both have, just seemed, I saw a lot of similarities.
06:11We know Julie's a fan of the movie.
06:14She was given it to watch as homework, all the actresses were.
06:17I believe that Nikki, again, our director, Nikki Cassell, was talking about this film a
06:20lot, and I believe that she and the cast talked about it at length and watched it at
06:23length. I can't testify to that, but I do believe that's what happened.
06:27Well, speaking of Simone, and I've said this, you know, I said this to you before we came
06:32in here, that I really love the ending. Simone, you know, with the house. Talk about writing
06:38that sequence and the ambiguity of it all, but also shooting it, because the cinematography
06:48of that is beautiful, and then cutting that sequence of what you wanted to say. Like, take
06:54us back and dissect it for us.
07:00Well, I will say that Colin and I were working on the finale while we were shooting. That's
07:04not always the case. You know, when you shoot a mini-series, a lot of times it's all written
07:08in advance. We like to make everyone really nervous, and we don't do that. We like to
07:13withhold the script until the last possible moment. But not to be mean, just because we
07:18are actually doing our job, which is we are watching what happens on set, we are watching
07:22the performances with the actors, and we're responding in real time. So Colin and I were
07:26on set when we shot the scene in the pilot where Michaela's out on the cliff, and it's
07:31one of the first shots of the, it's actually the first shot of the pilot, that Greg shot.
07:35And when we saw that shot, we were like, oh gosh, that's the end of the show. It will
07:40be the same shot with Simone out there. And it was like this little secret that we had
07:45that we were writing towards that while we were writing it. But it was also inspired by
07:48Greg's beautiful shot. So kind of very organic.
07:51Yeah, and the location and trying to find like where Julianne's perch would be or where
07:55she would be and all that. I just want to, I guess one thing about the finale was it's
08:01like her performance at the end is both kind of like, it's oddly heartbreaking, but also
08:04empowering and all these colorful things in her face, in Simone's face. But we really
08:09wanted to get, ideally, doing it at sunset for me is great because it's also like, it's
08:14kind of always the darkest before the dawn idea, but also it's about to get dark, which
08:18is also something about sunsets, which is kind of like foreboding in a way. And so having
08:21the whole thing set at sunset was great. And it was really tricky over a couple days to
08:24do that, sitting on the ferry on a different day. And we just got a great sunset, which
08:29we didn't always get. It was a pretty, pretty cloudy summer. And we get a lot of scenes in
08:33the backyard where pretty murky and drizzly, even with Julianne Moore's first day was raining.
08:39But then it always came together and we had the perfect sun for the perfect little moment
08:43at the end there.
08:44Yeah. And I also think you were talking about like making changes as the show was coming
08:50together on set. On the page, Julianne on the cliff was not the beginning of the pilot.
08:57And that happened pretty early in the editing process of the pilot. In Nikki's director's
09:02cut, we moved that scene first. It became evident very quickly that that was the way to launch
09:08the series. And you guys responded to that too, I'm sure, because you had, that cut, I think
09:13you had seen by the time that you were shooting five.
09:17Yeah.
09:18Yeah, but I didn't cut episode five. So I should mention that Laura Zempel and Jen Bryson
09:24cut it. They did an incredible job with that sequence. And I, I really love how, you know,
09:32you're not quite sure what Simone's smile means. It's a little, you've said Mona Lisa
09:37before. And of course there were dozens of takes of her close up there. And I really think
09:43that you guys all really landed on the right one.
09:46Yeah. Laura and Jen were like, this is the one, this is, it's a Mona Lisa and the gold
09:50is just crossing her face in that horrifying way. Yeah.
09:53Well, I mean, I want to come back to Catherine cause like, you know, I said like this whole
09:58series, like you, you, if you haven't seen it and you want to watch one episode, trust
10:03me, you'll end up staying up all night to finish it because these characters are so well written
10:10and they're so complex and you're like, I just want to know what comes next. Talk about
10:14a scene that was like, you know, a challenge for you to cut or something that you just enjoyed
10:20cutting, especially with these characters as they reveal themselves.
10:26Yeah. Well, I wouldn't say any of it was truly a challenge. I mean, we had the best footage
10:31with the best actors. So it was, it was, it's generous when it's like that. It's, it's a pleasure
10:37to put the scenes together. But I think the real thing that we, the challenge that we faced
10:43was finding the balance of the tone and making sure that we weren't setting up anything.
10:49that we didn't pay off too severely, even though we're sort of intentionally doing some misleads.
10:55Um, but I would say, you know, the, the first scene where all three of them are together
10:59in the guest house when Devin first meets, uh, Michaela and that, you know, the triangle
11:06between Devin and Simone and then Michaela when she comes in was really a fun scene to put together
11:14because it just finally, you, you know, it's the first moment where we have our triangle
11:19of sirens, you know, and just, and really being able to just narrow in on the dynamic between
11:27all three of them and the power that Michaela has over Simone and Devin's clocking that.
11:34And just, yeah, that was a really great scene to put together.
11:39Um, Molly, coming back to you. I mean, you know, I spoke with you many years ago.
11:44It feels like many years ago when you did made, um, and you know, coming to your work now on this.
11:51I love how you comment on class, like talk about that and exploring it, especially in the case of sirens
11:59and what you wanted to say.
12:02Well, it's nice cause my writing partner's here so I can dump some of this on him, but, well, but you know,
12:08Maid was a deep dive on class. Um, and coming out of Maid, we were a little depressed.
12:16Yeah.
12:17It was dark. It was a dark journey. Yeah. Yeah.
12:20Um, also a long shoot and rainy Canada. Yes. During COVID.
12:24So we were inspired to talk about socioeconomics, but maybe to have a touch more fun,
12:30maybe a touch of more heightened world with some bright colors.
12:33Um, but I think the, the class is really important to us, particularly when it comes to the story of the sisters and their father,
12:39because in America right now, it's, um, we're taking care of our parents and they're, and it's such a problem.
12:45And it's something that we aren't really talking about very much, but it is a socioeconomic issue.
12:50Um, and where these characters come from and the kind of great strain of trying to take care of an aging parent when you don't have money.
12:56And so we, we talked a lot about that.
12:58And I remember, uh, sirens is, uh, based on a play that Molly wrote, uh, which, uh, comes from an experience that's always been very powerful for you of working in Martha's Vineyard
13:13and being on the working class around this kind of society and this money.
13:19It's just kind of a really stark relief that you can see those two things.
13:23So we were very interested in that world and also just the color and the kind of splash and power that you get in Nantucket.
13:32I think it was a big draw.
13:35Yeah.
13:36What was that like taking, you know, a play that you had written and fleshing it out into, you know, this limited series?
13:43I really recommend it.
13:44I mean, so the last time I adapted something, it was this award winning memoir called Made, which is a piece of literature.
13:52I mean, it's gorgeous.
13:53And so it was a deep honor for us to adapt it, but we felt very beholden to it and also very, you know, we really wanted to do it justice.
14:01When you've written the IP and you've written it 15 years ago, it's really easy to be like, you know, this is garbage.
14:06Just throw it out, take what you like, you know, and, and expand it.
14:09It's, it's not precious.
14:10It's really, it's a really fun way to go about the writing process.
14:13So in our case are the five characters in the play are the three women, Jose and Ethan.
14:18So we kept the five characters, but the play is 90 minutes long.
14:21So we had to sit down and flesh out the entire world, make it five hours long.
14:25We got to introduce Peter, the husband who we hear about in the play, but we don't meet in the play.
14:30And then just also that we get to have a camera and, you know, to have an editor.
14:36And like, it's, it's really a exciting way to try to tell a story and very freeing.
14:41That was my experience.
14:43It was terrible.
14:44No, it, part of it for me was Molly's play is beautiful and to wanting to keep respecting that.
14:52But then we have to do something different.
14:55And eventually we're kind of, when we found sirens, when we found the mythology,
15:00it's kind of a way to kind of take these amazing characters that were in Molly's play and kind of get a larger world and a larger story to them to fit in.
15:13That kind of released us a little bit, but it was always nice.
15:16We had, we knew these kids, like I had been watching this play for 15 years as well, too.
15:21Like we feel like these characters are members of our family.
15:24So it was kind of fun to spend an extra four hours with them.
15:30No, I love that.
15:31And Greg, I mean, as I said, your, your photography and this was, was beautiful.
15:35Talk about the visual story that you're telling though, especially with Simone.
15:39Like what are the hints that you're, you know, whether it's the lighting or the colors that you're using when you're shooting her?
15:48Well, I mean, Simone has a few, she has, she has the most kind of transitions into what's going on with her too.
15:54Cause she has a panic attack at the end of the episode.
15:56You know, and so we get inside her head that way.
15:58So we tend to sort of change the environment, how we film things with her a little bit more than other characters.
16:03Um, the big thing is also like take the point of view with the whole, the whole world from the kind of optimistic and, uh, aspirational view that she has of this thing.
16:14It's both, it's kind of bright and colorful and shadowless, but it's also has an undertone of like, you know, hidden suffering and stuff that's going on.
16:21And so to keep the whole world from that point of view.
16:24So it is the fish out of water for Megan's character to be, for, for Devin to be like, what the, this, you know, this is crazy, right?
16:29You know, this is not what it's supposed to be.
16:31But to try and keep that point of view with Simone.
16:33Um, and also to really be close to her a lot of times, she could be very subtle with her face.
16:37She isn't the last shot of the show.
16:38And, uh, one of my favorite scenes is also in the finale when she's in the car and she's had her panic attack and they're taking her out.
16:44And she's just like quietly, like a tear comes down her cheek while she's watching the family.
16:48You're hearing the family fight over the current situation and how they're going to deal with it.
16:52Um, that kind of stuff is just trying to be observational of that and, and not always make the scene, uh, make the scene about like her reaction to things.
16:59Because there's so much going on in her.
17:01The one big difference between this and the film tonight is that like, you feel something for Simone.
17:05I don't think I feel anything for Eve.
17:06I was like, screw you, Eve, you know what I mean?
17:08Because Eve is like diabolical.
17:09But, but Simone is a broken person and, and, and, uh, but still deep, you know, that's what Molly writes is like a deep insight into people, right?
17:17Which is what's so fascinating.
17:19What's makes it so compelling.
17:20So.
17:21No, I love that.
17:22You do truly feel for Simone.
17:24And then Eve, you're just like, wow.
17:26Um, but again, you know, iconic character.
17:30Then let's compare that to, to Michaela and Julie.
17:34I mean, you know, Julianne Moore is phenomenal.
17:36Um, what's the visual story that you're telling there through your cinematography?
17:42Well, I think one, one thing, well, one thing that came up with me and Nikki was also in the script was its idea of like the sort of self hypnosis that happens around the sirening and sort of like idea, this idea of like, um, characters, you know, giving where they're powered.
17:56Like, oh, I just couldn't, I couldn't help myself.
17:57They made me do it.
17:58The whole, that, that all the, all the fucking man blaming ever, like, she made me do it.
18:02It's your fault.
18:03Like all this nonsense of them being like taking away their own authority or just, and, and characters doing that and to try and put the audience in that experience.
18:11Was to try and put the camera, like kind of within the scene sometime.
18:14So when, so Julianne Moore leans into the camera and goes like, I just couldn't imagine life without you.
18:18I mean, who, who would not be hypnotized and to try and create that space for the audience to have that experience a bit and make it kind of beautiful and insightful.
18:26Like, oh, I guess something's going on here.
18:28Like someone's willingly just going along this ride.
18:30And there's like two scenes in your script and the scripts were time disappears.
18:34You don't know what, in an episode one, they come down the stairs and it's like, I can't imagine my life without you, Simone.
18:39And they're suddenly at the bottom of the stairs at the beach when they were in the house, Simone before.
18:43And just trying to create that experience that way for the audience was really fun.
18:47And it was a tricky thing to do.
18:49And also amazing.
18:50Yeah.
18:51I think to the point that you made earlier about like, you know, as great as all about Eve is, it's still written from a male gaze.
18:59And, you know, here we are talking about these, the incredible characters in, in Sirens written, you know, with this female gaze.
19:06What, what was that like, you know, being able to, to bring these characters and have people discuss, especially online, I'm sure you've seen them all like, are these characters evil?
19:17Like, are they monsters?
19:18Like, what are their motives?
19:20And just having people talk about your career, people that you've actually created.
19:26Well, I was just thinking about it, actually, the, the male gaze of this movie, I think Greg just spoke about it.
19:33The, you know, we created this extreme close up so that the audience feels hypnotized by Michaela.
19:40But in this movie, in the film, when we first meet Eve, she sort of seems like a robot.
19:45She seems hypnotized.
19:47So, the point of view is the other way around.
19:49She's, she's, she's totally false, the entire movie.
19:51Yeah.
19:52There's not a single emotion that comes out of her as real.
19:54Yeah.
19:55And we are never invested in her point of view.
19:57So, we aren't experiencing the world like she does.
19:59And so, just in something that simple, we, the way we approach everything on cameras from, from a different lens.
20:06So, I don't know, that made me very excited.
20:10I saw that.
20:11But, you know, I think this, the Sirens myth, what we know about the Sirens is these monsters on the cliff
20:16who are singing and make the sailors crash.
20:18And all of that's from Homer's point of view, or it's the sailors' point of view.
20:22You know, we don't actually know what the women are singing about or who they are.
20:26And I don't know that Sirens, the show, explains that, but we sure do try to shine a light on that.
20:32You know, like, this is, this mythology is wrong.
20:36You know, this is, we shouldn't hear this story and assume they're monsters.
20:40We should ask, why do we think that?
20:42Why are they cast in this role?
20:43Why do, why is it so natural and easy to dump our problems and blame on the beautiful women?
20:49I don't know.
20:50I don't have an answer.
20:51I just thought we'd make a show about it.
20:53Well, we found this Margaret Atwood poem called Siren Song, where she does kind of turn, turn the lens,
21:01and put out this idea in the poem that the song that lures the sailors is actually, instead of an alluring song,
21:11it's a song of pain.
21:13And you actually hear it a little bit in Homer when he talks about that their song is, they have an unknown wisdom.
21:20There's something going on there.
21:23And this idea of this pain as alluring to the sailors also, I thought, was very interesting, kind of dark.
21:32But when we, with all three of our sirens, when I think about them at the end, and I think about Simone on the cliff,
21:41I kind of feel like, I think we wanted to, as writers, I care for each of them,
21:48and I feel like each of them made the right decision in their situation.
21:53And like Eve here, I kind of, I want to know why.
21:58Where does that drive come from?
22:01Because I feel in our show, Simone, we know she's fighting for survival.
22:08She's running from the trauma that is haunting her.
22:11And she really has no choice.
22:13She's left, go home with your abusive dad, or fight and stay here.
22:18And that's what she does.
22:20Coming back to Catherine's point, the tone of the show is so great.
22:25Like, how are you nailing that in the writers room, I mean, and ultimately in the edit?
22:31Like, are we nailing it?
22:34Absolutely.
22:36Movies like this remind me why we were so ambitious in our tone.
22:40Because, trust me, there were meetings that were like, can't this be a normal murder mystery?
22:44And we were like, no, it's not.
22:46It's not, no, it's all about Eve.
22:48It's funny.
22:49It's dark.
22:50It's funny.
22:51We're going to ask hard questions.
22:52There's twists and reversals.
22:53It's Greek mythology.
22:55Like, we're going to be heightened and larger.
22:57And not everyone recognizes that tone and really understood what we were doing.
23:01But it was our job to get everyone on board.
23:03And we did a great job with the creative team because we were all making the same show.
23:07And that is 99% of the battle that, you know, we're toning every line of the script, toning
23:13all five, you know, building the team, the editors, everyone.
23:16We all spoke the same tonal language.
23:19And that is the answer.
23:21So it's definitely not just the writers room.
23:23It's, yeah.
23:24Yeah, I mean, when we started to get the footage in post, to me, it was very clear what
23:29the tone was, even though it was unusual and it wasn't something, it was very hard to think
23:34of a comp, but it's funny because this movie sort of is, but it's, it's such a different
23:40era that you couldn't say it's what about, because Netflix would be like, we don't want
23:45a black and white movie from the 50s.
23:47Yeah.
23:48That's Ripley.
23:49That's where they would go.
23:50But, but it was very clear.
23:55Yeah.
23:56And I mean, you know, we, we did struggle with the balancing act.
24:00Like the, you know, how far can we go with the humor?
24:03How broad can the comedy be?
24:05And certain scenes where it was like, there were broader options.
24:09We, I think we pulled back a little and tried to play the humor straighter, but there
24:14are like running gags in the show, like the text message thread with all the staff is
24:20a gag that runs through the whole series, you know?
24:23So it was, it was tricky, but I think we, we landed it.
24:28We certainly tried.
24:30We tried very hard.
24:31I mean, tonally for, for me, the, there's a moment in episode three where we have this
24:36very powerful siren scene between Michaela and Devin in the bathroom.
24:42And it's a very kind of heightened moody scene.
24:45And then we cut to the car with a Cardi B song, which is very rated R.
24:55And it's, you get a little kind of whiplash.
24:58And as we were making it, I'm like, is this insane?
25:00Are we insane that we're doing this?
25:02But it just to me encompass that, that, that tightrope that we wanted to walk where it
25:08could be both very moving and very dark, but we are entertained by silly jokes and bathroom
25:15humor.
25:17So it makes us laugh throughout, you know, and, and having both those voices there, which,
25:22you know, I would say was a struggle sometimes communicating that and getting it made, you
25:27know, with executives and so forth.
25:29It's also a great progression of that joke's already been in the show.
25:32You know what I mean?
25:33It's like a great progression joke.
25:34It's like, of course, it's going to be this, like, it's, you know what I mean?
25:36We've never seen that, that moment of getting hypnotized.
25:39And I just love them.
25:40The thing I love about the scripts is the way we can laugh.
25:43I could, laughing at myself and being an idiot is kind of fun in a certain way, but it's not
25:48for everybody.
25:49Just like these characters are not being looked down on when we're laughing at them.
25:52But they're also, it's also really hysterical.
25:54And I find that, you know what I mean?
25:55So the point of view is very important.
25:57Um, Colin, I'm so glad you mentioned the Cardi B because I, as soon as I heard that,
26:02I said, oh, wow.
26:03Um, it's such a great moment.
26:04How did you, was that in the script or it was?
26:08Yeah.
26:09Yes.
26:10It's in the script.
26:11How easy was that to land a Cardi B needle drop?
26:14You mean the price tag or just?
26:17Just in general and getting it.
26:18Like if it's in the script and like, I mean, I know Netflix is great.
26:21We're getting some songs, but you're going to have a needle drop.
26:24I recommend just do the one, you know, cause that makes it easier.
26:27Cause we're like, we, we only need the Cardi B song.
26:29However, we can't have any song, but the Cardi B song it's in the script.
26:32And so, you know, uh, we, you pick your battles, but you'd know, uh, Netflix was excited to get it.
26:36They really felt that this was an iconic scene and I'm glad they felt that way.
26:41Um, yeah, uh, but we did put it in, but sometimes this is a trick, a fun trick writers do,
26:47but we will put songs in into a script if it's really like, if we would think it's worth the fight.
26:54Um, and we won't, you know, so yeah, but every lyric is in there.
26:58Yeah.
26:59And you won.
27:00Was there a backup just in case?
27:01Like there was not jazz, you know, everybody's going to go home and watch.
27:07If you haven't seen the show, they're all going to be like, I'm curious now.
27:10Um, but since we're talking about, you know, sirens and all about Eve, you know,
27:15all about Eve has got epic quotes that we've, we use in our daily, you know,
27:20what, whenever we're talking or like we'll send a meme and ask every single one of you,
27:26what is your favorite quote from all about Eve?
27:31Greg, I'm going to start with you.
27:33Oh my God.
27:34I was trying to, I'm terrible remembering jokes.
27:36I'm terrible.
27:37I can remember lines from favorite movies, but I need to watch four more times.
27:40There's, um, I have God, I can't think of one right now, but there's, I laughed.
27:45Oh, I, I laugh at, I just, I, I can't think of one right now, but I laughed many times in
27:51the movie, but there's, there's times when I can't remember which this, there's some of
27:55the stuff about, Oh, that tirade.
27:57I love, okay.
27:58I love the intro of, um, the director coming to like, Oh, this is so-and-so.
28:01Yeah.
28:02And then later, Oh, he just met her.
28:03Remember?
28:04He just met her just a moment ago.
28:05Remember that whole, that whole bit was hysterical.
28:07Like the sort of navel gazing of the, the director.
28:09It's like setting up the culture and everything he's about.
28:12And if it's just so, so just detached was hilarious.
28:15Love that.
28:16Um, yeah, I, I love the constant struggle of who the creative lead is.
28:22So when the, when the writer says, when, when is the piano going to realize it didn't write
28:28the concerto?
28:29I really like that.
28:35That's yeah.
28:36Uh, you just stole mine.
28:39No, uh, that was, it was a good one.
28:41The one I'm still thinking about is when she says, I just saw the heart of an artichoke.
28:45Do you guys know that line?
28:47Yeah.
28:48Stared into the heart of an artichoke.
28:50I'm just been puzzling over that one and just sticks in my mind.
28:53I don't know if I have something brilliant to say, but it was, it was a great line.
28:57I liked when someone described Eve as being on her knees and there was like, that she
29:03was apologizing on her knees.
29:04It was a little, but I also, the thing I think I'm going to keep thinking about with
29:07the film is, um, but it's a beautiful performance from Betty Davis.
29:11But when she says, I'm a woman, when she's talking about what it means to be a woman and
29:15that 6 PM, you have to look up and see your husband.
29:17And I think that's, I don't know.
29:19I think that there's a darkness in the depths to that, that I'm going to keep thinking about.
29:26Yeah.
29:27It reminded me actually of what you wrote in episode four, do you want to be me?
29:34Michaela's talking to Simone and like, do you like what you see in my life?
29:40Just kind of like the requirements of being Michaela seemed kind of similar to what she
29:45was talking about, what Margo was talking about.
29:48No, I love that.
29:49And for those who haven't yet seen Sirens, what would, how would you describe it so that
29:55they can all go home and find it on Netflix?
29:57It, it's, it's a lot like all about Eve.
30:03No, it's, it's a, it's a very contemporary story.
30:05It takes place over Labor Day weekend.
30:07It's a character piece, but much like the movie is about three powerful women who are
30:12sort of jockeying for position.
30:14It's about class.
30:15It's about family.
30:16It's about sisters.
30:17It's funny.
30:18It's dark.
30:19It's a little bit about Greek mythology.
30:21The costumes are gorgeous.
30:22The editing is gorgeous.
30:23The cinematography is gorgeous.
30:24The writing is very excellent.
30:25And the cast is fantastic.
30:27Starring Julianne Moore, Megan Fahey, and Millie Alcock.
30:30And we're so proud of it.
30:31Amazing.
30:32It is an incredible show and All About Eve is an iconic movie.
30:37And I want to say thank you all so much for coming out tonight.
30:41Thank you for that incredible insight into All About Eve and Sirens.
30:46And thank you again to the team at Variety and to Barco.
30:49Thank you, Jen.
30:50And Soho House, too.
30:52Thanks for coming out.
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