- 7/7/2025
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00:00Often I feel like I get too nervous to reach out and be like, hey, can I get some advice, you know?
00:05And in truth, it's a real gift.
00:07If there's any kind of experience, strength, and hope that you have that you could actually impart to someone, so reach out.
00:14I will. I'll get everybody's contact information after this.
00:18I will help you set up the bakery.
00:20Yes.
00:21You do baking, and then you do pottery, and then you mix it up.
00:24You would think I could help you with the pottery, but unfortunately, I cannot.
00:28Okay, okay.
00:30I just got that.
00:32I was joking about.
00:35That's what I was joking about.
00:58Welcome to the Hollywood Reporter Actress Roundtable.
01:09We have a remarkable group of actresses with us here today.
01:13Let's dive in.
01:14I guess, show of hands, who here has ever signed on for a role that you were really excited about, and then gone home and thought, what have I just done?
01:23Yeah?
01:24Zoe?
01:25Yeah.
01:25I think more often times than not.
01:29The series that I'm doing right now, Lioness, which was a show that was very dialogue heavy, and I wanted to challenge myself and sort of address my dyslexia and my anxiety by taking on a character that really was commanding with a lot of dialogue.
01:47And the moment I said yes, I went home and I looked at my partner, and I was like, I don't think I can do this.
01:53And then, obviously, the next day was just, you know, roll your sleeves up and just, you know, create all the tools that you need to get there.
02:03Can I have anyone to do that?
02:04But it was really nerve-wracking.
02:05I don't think I've ever done that, but I do remember the first film I made when I was, it was the second film that I made, but I was in every shot of it.
02:15I remember going home after one night's shooting and lying in the bath and trying to plan how I would break into the British Film Institute, which was making the film, to seize the dailies and destroy them.
02:29My love for you just grew, really figuring it out.
02:35I knew Rathbun Place, which is the street in London.
02:38I was figuring out, there'll be a night watchman.
02:41What could I do to distract him?
02:42I was really going down that line.
02:45But why, why?
02:45I know, I was just going to see the dailies.
02:47Why?
02:48I think, to be honest, I just couldn't imagine that any film in which I was in every frame was going to be anything other than that.
02:59Unbearable.
03:00And I, there was no, you know, the first film I was in, I wasn't in every frame and there were lots of other people and I was always interested in seeing their scenes play out.
03:08I would go and watch them work.
03:10But when you're in every shot, yeah, yeah, it's, it's, it's difficult to imagine.
03:17I mean, whenever I see a film that I'm in, for the first few times I see it, my face is kind of fuzzed out, like on those police videos, you know,
03:25and then slowly, like the third screening, I'll go, oh yeah, it's you.
03:30Yeah.
03:30Does anybody relate to that?
03:32I mean, I think the first few times watching it through, it's always a little bit of the dissecting of what you've done,
03:39what you could have done to then step back and be able to then really take in the whole, let, let go of your own ego attachment to what other people think.
03:51Where you can then really kind of embrace.
03:54But even now, can you watch yourself?
03:57I don't mind looking at myself.
03:58I find it very hard to hear myself.
04:00I can't, I can't watch myself, I can't.
04:02I don't like hearing myself.
04:03Same.
04:03I don't.
04:04No.
04:04I'd rather watch myself.
04:05You have such a beautiful voice, that's so interesting.
04:08But do you feel that?
04:09Would you rather, if you had a choice, would you rather watch yourself silent or hear your voice?
04:14I don't like either.
04:15I really have trouble watching myself too, I don't.
04:17There's many films I've never seen, there's things I don't, I can never watch dailies.
04:21I don't, I don't enjoy watching myself.
04:24There's films you haven't seen.
04:26Yeah.
04:26Wow.
04:27That must be very tantalizing.
04:32Aren't you tempted?
04:35No, because I don't know.
04:37I think like you, you know, we all probably have more discomfort with the presentation of self as much as I love the work.
04:45I love the process.
04:46I don't want to think about what I look or sound like or else I don't know if I'd be as free.
04:50Yeah.
04:50Exactly.
04:51And, and then I think once it's over, I do want an audience to connect, but I don't, I, there's nothing I can do.
05:01Yeah.
05:02So.
05:02Do you feel the same way over the films that you've directed versus the ones that you've performed in?
05:07No.
05:08I'm better when I'm not in it.
05:09Yeah.
05:09Yeah.
05:11Yeah.
05:11You can sort of separate and watch, watch your work objectively, right?
05:15Yes.
05:16When you, when you direct it versus, yeah.
05:17Yes.
05:18Zendaya, what are you thinking as you're hearing this?
05:20You've been quietly listening.
05:22No, no, I'm like, I just, it's so interesting because like I said, I'm such a fan of everyone here.
05:28So it's so, now I'm just like, I'm just taking it in.
05:32And sometimes it's hard to go, oh, I should speak too, but because I want to ask a lot of questions.
05:36But, but yeah, you know, I, I find for me at least that I, I'm a very self-conscious person.
05:45Like everything I do, I'm very self-critical.
05:48And I find that being on a set is one of the few places that I like just don't judge myself.
05:53And I can just like be super free.
05:55Cause I'm like, wait, it's not me.
05:57Like, you know what I mean?
05:57I wouldn't make that decision.
05:59I'm not that I'm not like, I can just exist in this person.
06:03And I feel almost like, while still very attached to them, also detached to them.
06:07So like, I feel like I love when a, when a director's like, Hey, come here and just point something out.
06:12And I don't mind watching myself.
06:13Cause I'm like, it's not me.
06:14You know what I mean?
06:15It's like this weird thing.
06:17And I don't actually ever get weird about it until I go, Oh, people are going to see this.
06:22That's one, like once it's like time to promote something and actually like, I'm like, Oh,
06:27Oh, now I'm self-conscious about the work that I just made.
06:29But up until this point, I was like, just in my little bubble of like creative freedom.
06:34And it's not until you realize like, Oh, this won't belong to just me forever.
06:37Like the world will consume it at some point that you start kind of, my head starts going.
06:42So I like living in that little creative pocket.
06:46That's a really beautiful way that you're, that you're holding that.
06:50I think it's a very, um, evolved place to be in actually.
06:56Yeah, it is because I think it takes a lot to get past that part where we are able to not be self-conscious.
07:05I think that that is a real gift.
07:07I'm going to just take that little gem.
07:08But it's also what you're, you're, you're speaking to is when you look at yourself on
07:14a monitor or even in the film, eventually it isn't, it's not just not you, it's not yours
07:21because it's the light, it's the makeup, it's the costume, it's the design.
07:27I remember once years and years ago, the second film when I was in every frame.
07:32And I remember like in week 10, thinking, I want a little bit of praise.
07:38Where am I going to get it from?
07:39But I was too proud to ask anybody for anything.
07:43So I thought, I know what I'll do.
07:44I'll ask the editor.
07:45I'll ask him which is his favorite shot in the movie so far, because I'm in 99%.
07:50And so I went to the editor and I said, what's your favorite shot?
07:56And he said, oh, that's really hard.
07:59There's that shot in the close-up of you.
08:01And then this, I'm thinking, I'm in with a chance.
08:04He finally said, yeah, I think, I think I got it.
08:07It's this close-up of you in this moment.
08:11I don't know how he did it.
08:14And it was genius.
08:16It like cured me in that moment.
08:17I thought, yeah, he's right.
08:19How did the cinematographer do that?
08:21How did the cinematographer frame it and light it?
08:24Correct.
08:25Not actually much to do with me at all.
08:27So I never asked for any praise ever again.
08:29It cured me completely.
08:30And that's what you're speaking to.
08:32Because you look in the monitor and you go, well done, well done, everybody.
08:36And you're in there somewhere.
08:37Yeah.
08:38But it's not just you.
08:39So it's such a collective thing.
08:41Absolutely.
08:42Well, you truly are like an amalgamation of all these genius people's ideas.
08:47I mean, that's what we were just talking about with directing.
08:49Because I would love to direct one day.
08:52And you've been able to do it in a beautiful way.
08:56And something that makes me so nervous is that.
08:58And she was like, but there's people to help you.
09:00Like there's this gorgeous team of people that we get to work with that create, I think,
09:05just as much as we do the characters that we play.
09:07So yeah, I agree.
09:08Mikey, when I think about having a lack of self-consciousness on set, I think about the
09:13opening scenes in Anora where you're in this nightclub.
09:17And as I understand it in the script, there was not a lot of direction for you, right?
09:22You were just told to go up and approach customers, potential customers.
09:26Can you talk a little bit about what that was like?
09:28Yeah.
09:28So all of that is improvised.
09:31Sean created an entirely live set.
09:35So there's music blasting and DJs playing.
09:37There's my coworkers all over the club, men everywhere.
09:42And Sean shot it on a long lens.
09:46So he was in the corner of the club and he would just follow me around, picking up men,
09:52talking to people, talking to my coworkers, trying to get guys to come to the back room
09:59and get a dance with me.
10:00So we just shot 30 minutes straight of that and then whittled it down to a couple minutes
10:08of the film, which is the introduction into Annie and who she is.
10:13It's a great intro.
10:14It's so incredible.
10:16It's such a wonderful intro.
10:18And that's exactly what we get, is that absolute, you're so entrenched, you're so embedded in
10:25the world of it.
10:26You don't for a second not believe that.
10:28It's really wonderful doing the film.
10:30Absolutely.
10:31You should be very proud.
10:32Talking with the consultants was the most important part of the preparation.
10:38I think it's just understanding how psychological of a job it is to be a sex worker.
10:46However, it's not only physically demanding, but it's mentally demanding as well because
10:51you're having to walk up to someone and immediately try to connect with them, try to in that moment
10:57understand what it is you can offer them, what kind of connection you guys can have together.
11:02And it's this instant, very intimate setting that you're in.
11:07And so I think it can be quite draining mentally and then physically as well.
11:13You're on your feet all day, dancing in these really tall stilettos.
11:18And so I think it's just understanding the stamina that comes with that kind of profession.
11:25Being able to get to know the sex work community has been one of the most impactful things that's
11:33ever happened to me because these people are just incredible.
11:36And I have so much respect for what they do.
11:39And I think that the film would be completely different and Annie would have been a completely
11:44different character if I hadn't have done any of that preparation.
11:47Did you have a different idea of who they were before you had a chance to really get
11:52to know them as people?
11:53I think I went into my research like very naively.
11:57I honestly knew very little about sex work and what that was like.
12:02And I had never been to a strip club before.
12:05So I knew I needed to dedicate a lot of time to that.
12:08But I was just able to get to know these women as people, like just woman to woman.
12:15And I've made a lot of incredible friends.
12:18Zoe, it was so fun to watch you dance in a million bucks, by the way.
12:24What was it like to get back to dance, which is really how you began in this industry?
12:31I felt like it was a true gift.
12:33I was given the opportunity to reconnect with parts of me that unconsciously I just left behind.
12:39And I was yearning.
12:42I was just yearning and missing them a lot.
12:44And as a New Yorker, you know, I've been saying this a couple of times, you're born with jazz hands.
12:50And then you spent like your whole life un-jazzing your hands because at any moment you're like, duh.
12:58But when you grow up in New York, you know, if your grandmother saves some money, then she'll buy some raffle tickets, you know, some tickets.
13:06And then she'll take you to the theater or you'll go to Lincoln Center.
13:09And I remember being a child and walking by Lincoln Center and she would go, look, look, look, while she was like smoking her cigarette.
13:16Like, one day, one day you're going to be there.
13:18And I remember thinking, like, what is she saying?
13:20And then it's very beautiful when things come full circle.
13:24But I do believe that you do have to find a way to manifest them.
13:28Do you think you manifested this right?
13:30I did.
13:31I did.
13:31By really wanting it.
13:34I think that after a certain while, you, at least for myself, I just, I fell into this pattern of going, being an autopilot constantly.
13:45And I was a part of really successful films that became franchises.
13:50And I have no regrets.
13:51They gave me so much.
13:53I worked with amazing people.
13:55But they're very time consuming.
13:57And this is all happening whilst I'm starting a family.
14:00So that desire to grow, to sort of shatter whatever glass ceiling I felt like I was falling under, was growing more and more, you know, as the years went by.
14:14And I just, I wrote a list.
14:17A couple of years before booking Emilia Perez, I wrote a list with my team.
14:21And I said, well, these are the top five directors that I would love to work with.
14:25And, like, I think that Jack was in the top three.
14:29He was always somebody that I loved.
14:33And I love the fact that Jack challenges me to question whether or not, you know, I have enough humanity when I look at people.
14:41You know, who do we consider redeemable?
14:44And Emilia Perez was this story with four women that are not perfect.
14:48They are damaged.
14:51They're products and they're victims of their environment.
14:54But they're making their own decisions.
14:56And they're on a quest for their most authentic freedom.
15:00I loved the fact that, in the end, it's a very simple story.
15:05And it's just peppered with all this complexity of their environment and their choices.
15:09And you start out in the movie and you look at, you know, Rita.
15:14And you're like, well, if you're a lawyer, you know damn well what's the difference between right and wrong.
15:18Why are you defending this criminal?
15:20And why are you going with manitas?
15:21And why are you doing all these things?
15:23And, but you can't really look at a woman or a person this way.
15:27It's what, what is, what does she want?
15:31She deserves to want something.
15:34She wants power.
15:35She wants success.
15:36She wants beauty.
15:38She wants money.
15:39And, and that's great.
15:42So once I, once I inhabited sort of that, that body of hers, there was, nothing was going to stand in my way.
15:52It was, it was quite exciting to be in Rita's world, knowing that the unthinkable was about to happen.
16:01She was going to get this opportunity to break free from these chains and she was never going to look back.
16:07And dance and sing.
16:08And dance and sing.
16:09That was, that was like the icing on the cake.
16:11Yes, yes, yes.
16:13It was, it was amazing.
16:14And, and the rehearsals were grueling and I welcomed it every single day.
16:19I wasn't dancing.
16:20Rita wasn't dancing.
16:21Rita was exploring and Rita was thinking and feeling.
16:26So those breaths of, of song and dance were just her thoughts and her emotions.
16:31So once I, I, I think about it from that sort of perspective, um, I just needed to know that all those moves were going to be in my body so that I would not be in, limited by them because they were not dance moves.
16:47They were just expressions, expressions, exactly.
16:50And be able to blend, um, so many parts of me.
16:54Spanish is my first language and it's the, it's the language that I was sung to for the first time, all the lullabies.
17:00That's how my mother healed me, she made me, she made me, she cooked for me, loves me, like in, in her, in my language.
17:07And, and as, and as, as I grew older, I felt like an imposter living double, like a double agent where, and, you know, behind closed doors, this is who I am.
17:18And, and, and outside, this is, this is, this is this other person because I am American.
17:22And, but I felt like my craft was really, um, not getting the best of me because, I don't know, there's something really beautiful about being able to incorporate so many parts of you and what you do that, um, makes it a much more thrilling experience, you know, to go through.
17:40And, and a much more passionate process for me.
17:44So it was, it was a great gift.
17:46Had you made other films in Spanish before?
17:48I mean, I've, I've said a couple of lines here and there, but never a Latina, you know.
17:55Yeah.
17:55How was it also then working with the director who essentially speaks French?
17:59It was amazing.
18:00There's something really beautiful about Jack.
18:03This is not the first film that he does in a different language of his own.
18:07He's not limited by language.
18:08And it wasn't, you know, the set wasn't only a Spanish and a French set.
18:13There was, there was a lot of English.
18:15There was a lot of Italian.
18:16There was a lot of any language that we needed to be able to communicate.
18:21But, you know, when you're synced with people, it's, a language is just, you know, one more tool.
18:29So that, uh, it was, it was a beautiful process.
18:32Angelina, when we talk about singing as a tool, you spent six months learning to sing like Maria Callas.
18:41What did you learn about yourself in that process?
18:45Oh, so much.
18:47I'm, I'm so happy to be here at this table to talk to all of you.
18:51It's so nice.
18:51She's, she's an artist.
18:53So it was the first time I'd played an artist.
18:55And so to have this discussion has been interesting because so much and your connection to your body, to your music is so exciting to see you do so many things that, you know, hadn't yet seen you do on screen.
19:06And very exciting as a fan to, to see that.
19:08Um, I was really frightened because it's something I'd never done.
19:14And I had someone in my life, uh, say that I couldn't sing.
19:18You know, when you have someone, it could be anybody, but just someone, it could be a passing and somehow it had this effect.
19:25I, I, I, I didn't realize how much that had blocked me.
19:29And also I didn't realize how much, and I think singing or not, just as women and performers, I'd lost my voice.
19:37I didn't know my voice.
19:39I think I didn't understand how much life changes your voice, whether it be childbirth or death or someone you love or sickness or whatever it may be.
19:52But we hold things in our body.
19:55We, we, we change the way we are.
19:58And somewhere along the way, 49 years old, somewhere along the way, I lost my voice.
20:04So it was such a gift.
20:07To have these seven months, to have someone hold my hand and help me take a deep breath and try to make sound again.
20:15And I didn't realize I could sing.
20:18And I didn't know I was a soprano, which made no sense to me because I'm, I don't think I have that voice.
20:24And to discover opera, which is such a beautiful art form and one that I felt somehow wasn't for me.
20:32I don't know why.
20:33I think it's, there's certain things that maybe we think, oh, I didn't, whether it's a language, right?
20:38That this is a language that isn't for me.
20:40It's people who are raised here or more familiar with this or it's very sophisticated or very, you know, and, and so I felt like I was able to learn about this world and make sounds in a different way and, and use my body and my voice in a different way.
20:58And if you haven't tried to sing opera, I recommend it to everyone because it's the only thing I've ever done where you, you have your full physical body, your full vocal and your full emotion.
21:11And we, especially as women are very rarely allowed, asked, encouraged to give that.
21:20To use our own voice.
21:22With everything.
21:23Well, our full power.
21:24All of it.
21:25All of it.
21:26With everything we've got and not feel we are adjusting to the room, to our children, to a man, to society, to let, right?
21:36Something along the way forms us and we don't bust out with everything that we are, especially.
21:42So I felt like it was a gift, as you said, and, and Maria Callas is one of us.
21:47She's, she was a woman and spent a lot of time in her process alone, which is why this is so lovely sitting here and realizing, thinking of her and being at, she didn't have this table.
21:56Right.
21:57Um, a lot of women in the past didn't have this table, right?
22:00There weren't as many women doing certain things and they didn't have a community in this way.
22:04And so important that, you know, I was also surprised I got here today.
22:08So many of us have been aware of each other.
22:10We've never met.
22:11It's quite strange, you know, really.
22:14We don't have many opportunities to just actually connect in the form of community and really, you know, just even reflect as artists or experience or process.
22:26It is a bit of an, it can be, let's say, a bit of an isolating experience.
22:31It can.
22:32You are encouraged to be isolated, right?
22:34Well, I feel, I feel like it used to be that, that notion that you needed to always stay super hyper-focused on your journey and, and, um, and not seek support, right?
22:46Or not, not lend support.
22:47And I feel like it's, it's the most important thing.
22:50But it's such a mirage because.
22:52Exactly.
22:53Yes, it is.
22:54It's not real.
22:54I mean, we all know how important our women friends are to us.
22:59It's everything.
22:59It's everything.
23:01And there's a sort of strange trap door in society that people kind of slip through.
23:07And they're not aware of it.
23:08I mean, men.
23:09So true.
23:10Give the impression that they're not aware of it.
23:13They also give the impression that they don't have the same kind of, you know, collective feel together.
23:18That's their affair.
23:20And they have to figure it out if it's true.
23:22It's probably not true.
23:23It's probably not.
23:23But at least there is a strange kind of myth around it.
23:26But this is a beautiful table.
23:28This is a beautiful moment.
23:30I mean, you know, the glamour at this table, except for me, is.
23:33You are incredibly glamorous.
23:35But let's imagine that, seriously, that this is, you know, this must be encouraged to just see it and shoot the breeze as women and acknowledge.
23:49And also this whole idea that women don't make movies.
23:52I mean, as we all know, women have been making films as directors, and I don't just mean as performers, since the very beginning of cinema.
24:00Alice Kees.
24:01Editors.
24:01Lois Weber was the very first director in 1904 or something.
24:06Wow.
24:08And that's the reality.
24:10But there's a strange sort of mesmerism around it.
24:14We're all supposed to forget it.
24:16And also, we're all supposed to be pitched against each other.
24:19That's the thing, is that it isn't a competition.
24:22And that's been the illusion that somehow that's been bought into versus this idea that when one rises, we all rise.
24:29Yes.
24:29And that when we walk the path not alone, we also expand exponentially.
24:35Yeah.
24:36It's so important.
24:37But I think it's something my sense is, to generalize, that it's the collective kind of view is something that comes so naturally to women.
24:46More naturally.
24:47The whole idea that there's only room for one may suit men better or the society of men better.
24:53But I don't think it suits women.
24:54I think we know how to do this.
24:56This is what we do.
24:57Yes.
24:58You know, we sit around tables and we chat.
25:01And we support each other.
25:03And we witness each other.
25:04Absolutely.
25:05To me, the substance is so much about the way women's bodies are criticized, the way we criticize our own bodies.
25:11What was it that drew you to that theme?
25:14I mean, first of all, the script was such an interesting out-of-the-box read, like something I'd never read before.
25:22And the way in which it was exploring the issue of aging.
25:27And while the circumstances were set in Hollywood, it was an actress, which I think just heightened and kind of grounded it in something that everyone could identify with.
25:38The thing that really grabbed me was the exploration of the violence we can have against ourselves.
25:43It's that way in which we can dissect and criticize and that I have found, at least in my own experience in life, that it's really not what anyone else has ever done to me.
25:56The impact has always been on what I do to myself.
25:59Yes.
26:00Internalized.
26:00There was that powerful scene.
26:03The going out scene?
26:04Yes.
26:05Oh, my Lord.
26:06It just spoke.
26:07It was such an intimate and just raw, transparent portrayal of what we can do to ourselves, how we commit self-harm on a daily basis sometimes without even touching our bodies.
26:22We can just be so like, you're not worthy of going out and the removal of the makeup.
26:27And even in the way that you were looking at yourself, you were so self-critical.
26:34And I felt it, and it was so powerful.
26:38I'm so grateful she came to you.
26:40I'm so grateful.
26:42That was a good idea.
26:43I mean, it was really definitely, I think the other thing as an actor that I've never explored is I didn't really have other people that all of my scenes were almost all alone.
26:55Yeah.
26:56And I had no dialogue.
26:57So everything was in that kind of odd, intimate moments we have with ourself where we are often naked, looking, dissecting, thinking.
27:08And it was a really interesting challenge to step in and really create a full life for her at all times so that it was alive always because I didn't have someone else to kind of feed off of.
27:22So it was, and it was also very technical.
27:26So there, a lot of times the technical aspects, which you've done a lot where there's the technical, sometimes takes priority over the sensitivity of an actor's process.
27:36Right.
27:36Or that she sometimes liked to start this close instead of a little wider to find it.
27:42But it was, but that was really it.
27:45I think that it was so relatable in a way that it felt like it was an important message that needed to come across for us to all start to reevaluate how we're holding ourselves.
27:55That, that need of greater gentility, you know, it's, I've had obviously a lot of conversations having three daughters.
28:06And one of the things that my middle daughter said at one point is she says, I want to quit wasting time focusing on all that I'm not when I could be celebrating all that I am.
28:17Beautiful.
28:18Beautiful.
28:18And not, first of all, I said, maybe I've done a good job.
28:21Yeah.
28:22But also that that is it.
28:24That is, that is, that is it.
28:26That makes me want to know.
28:28So if we do this to ourselves, how do we break out of it?
28:30Because it's ultimately about self-acceptance.
28:33It's about really looking and appreciating who we are as we are right now.
28:37Where, and that involves changing.
28:40Like we change, we evolve, and it isn't the same reflection in the mirror.
28:45And I think it's that idea is what I trade having, you know, as one woman said, she's just more loosely wrapped.
28:54Would I trade being more tightly wrapped for the wisdom that I've gained and who I've become as a woman today?
29:00Right.
29:01I don't think I would.
29:02Mm-hmm.
29:02And, and at the same time, appreciating all of the different parts of me that have brought me to where I am today.
29:10It's like embracing the shadow sides, the sides that, you know, when we can look at our triumphs that have come through our obstacles, our challenges, our failures.
29:20We can see them not as a failure, but as an opportunity for growth and a win.
29:26Mm-hmm.
29:27Mm-hmm.
29:28Zendaya, we have become, as an audience, used to seeing you play a kid, used to seeing you play a teenager.
29:35And challengers, for a good portion of the movie, you're a grown woman.
29:38Yeah.
29:39What was that like?
29:39Um, you know, it's a, it was, it's kind of like the scary step in a person's career where you go from like, for so long, I feel like I was playing a teenager pretty much way past where I, when I was one.
29:53And, and, um, I, and I appreciated that so much.
29:59I mean, being able to play Rue has been one of the greatest gifts of my life.
30:03But, um, there comes a time where you gotta start playing your own age and beyond.
30:09And, um, you know, it was a scary thing.
30:11And also, you know, challengers, too, it was kind of like my first time in like a leading lady role and, and, and kind of taking that responsibility as well.
30:18And, um, and, and, and being a part of the producing, you know, aspect as well.
30:25It was all, um, very exciting and also very like daunting, you know?
30:30Um, but I think for me, I think, I, I think when you read certain characters, you're like, I just can't pass the opportunity to play this woman.
30:39Like, I, she just was refreshing to me in her, uh, unapologetic nature, you know?
30:44She doesn't apologize for, you know, her behavior, which I, I, I appreciated it in, in this way.
30:50And, um, her sense of control, um, or her need for control as her life is kind of falling apart and her vicariously having to live through other people.
30:59And I think it, it spoke to me because I love my job so much.
31:03I'm so grateful that I get to do this for a living.
31:05And I think like, what if it was all taken away?
31:08And for her, her, her true love was tennis.
31:10That was like, that's all she ever wanted.
31:14And it, and, and there, you know, thankfully I get to do this for as long as I really want to.
31:19Um, but an athlete, you know, you only have a limited amount of time until your body doesn't do what it used to do.
31:25And, um, I think an injury is like when it gets snatched, you can't reverse that.
31:33And it gets snatched from her so quickly.
31:34And I, um, and she, in her own way, loses her voice, you know, it's like, she doesn't know who she is anymore without this thing.
31:42And I think that's something that in my own life, I was understanding as a young woman coming into the scene.
31:47Like I've been working since I was a kid and I was like, wait, who am I when I'm not working?
31:52Like, do I have a life?
31:54What do I even like to do?
31:55Like, what are my hobbies?
31:56What, what, what are my interests?
31:58Like, who is Zendaya outside of this?
32:00And so I just deeply related to that idea of like desperately wanting to hold on to this love and this thing.
32:05And, um, and, and her, it manifested in maybe some more toxic, um, actions, I'll say, but not to judge her because I know where it's coming from, you know,
32:15it's coming from a place of truly vulnerability.
32:18Like I remember one of our first conversation was like, what kind of like cream does she use before bed?
32:24You know what I mean?
32:24Like what, what is her like, what, what is like being this, this woman or this presentation is so important to her, how people see her, how people view her, um, how she comes off to other people.
32:36And so she's got to have the best stuff and it's, you know, it's soaked to bed and it's, you know, all these things.
32:41And then you see it kind of unraveling and falling apart and she's just trying to hold everything together, like hold this, this, this, uh, this ideal.
32:49Um, so yeah, I just, uh, it was nice to explore a character who, like I said, is unapologetic.
32:57And while she makes very different decisions than I would personally, um, it, it was, it was, there was a freedom there.
33:05Um, and being guided by Luca in that way as well.
33:09And again, back to the amalgamation of everybody, Siam Boo, who's incredible and made it look gorgeous.
33:14And, um, our costume, uh, Jonathan Anderson did the costumes, which was amazing to kind of see his artistry come out through that.
33:23And, um, um, felt very like supported, um, in this kind of becoming a woman on, on camera, you know?
33:32Yes.
33:33And one thing that was really powerful in, in your character that I resonated with me and, and, um, it's emotions that we suppress that we never like to admit that we feel.
33:43Your character felt so much jealousy that these men that in her, in her mind were so undeserving of this gift of this talent.
33:54And I, I, it was, it was just amazing to see that, to see a woman be equal to a man when it came, when it comes to aptitude, when it comes to talents, when it comes to wit and all of these things.
34:07And, and, and her competition weren't other women, it was the partners in her life.
34:11It was, it was quite interesting.
34:13Her, her boys.
34:14Yeah.
34:16Um, yeah, well, I appreciate that.
34:18And I, you know, um, again, it was exploring parts of, uh, a life that I haven't lived yet, having kids or being, getting married and, you know, these kinds of things.
34:27She's already had this part of her life.
34:29So it, it was, I was strange to kind of embody that part of myself that hasn't quite existed yet, you know?
34:37Um, but I guess that, that is my job, but, but it was, you know, it's a different touch point, you know?
34:43It's a different, um, part of yourself that hasn't quite been explored yet, but yeah, I just, I don't know.
34:48I appreciated that she just said whatever the hell she wanted to say.
34:51And I was like, girl, maybe we should stop slapping people, you know what I mean?
34:56And then getting a little crazy, but, um, I mean, she's entirely herself and, and I, and I appreciate that, um, both Justin, who, who, who wrote, wrote the,
35:06uh, screenplay and, and Luca allowed her to be, um, exactly who she was.
35:11It was never trying to like explain why she was like this.
35:14She's just like this.
35:15She was like this when she was younger, you know?
35:17It's like, it wasn't necessarily the injury that made her this way.
35:21She just is this way.
35:23Um, and I just, I appreciated being able to explore that.
35:26It was unapologetic also in her ambition and her drive, which is what I loved.
35:31And, and, and that when there was that, because of what was so beautiful was the subtlety of the grief that I felt you held underneath and then just activating it into like chant, you channeled it over into their success.
35:46You're saying, you said it beautifully.
35:48But also I think to back to like a bigger conversation of this idea of like not ever being able or allowing, uh, women the space to like to grieve or to have a moment to yourself.
35:58I think she's so conditioned to be like next, like there's no time to like feel sorry for yourself.
36:04There's no time to like to grieve to, you know, and she just immediately pivots and she's like, okay, new plan.
36:11And I think that that is that thing of like allowing ourselves moments, like be a person and we don't have to hold it all together.
36:19We don't have to like our humanness.
36:21Yeah.
36:22Be responsible.
36:23It's about a relationship with success.
36:25The whole idea of success being the Holy Grail that you're going for, whatever that means.
36:31I mean, for a, for a sports person, it means something very, very clear.
36:35Yeah.
36:35And that everything else takes second or third or fourth place.
36:39And where does the living happen?
36:40Yeah.
36:41Well, it's also that question of identity, like who am I without?
36:45Yeah.
36:45Because who, what we do isn't actually who we are.
36:49It's just what we do.
36:50But I think that takes time to kind of find, find within yourself.
36:57You know, it's like early part of life, you're just striving to see what you can do.
37:02And then if you find enough of it, it's like then having to separate and live and have more of a balance in your existence.
37:13Zendaya, did you feel like you've figured out what your hobbies are and who you are when you aren't working?
37:18I think it's still working on that.
37:19Next question.
37:20Next question.
37:21Next question.
37:21Next question.
37:21I think it's just, it's, it's, it's a thing that I'm figuring out and I'm learning as I go along.
37:27I think having time off accidentally really was time for me to go, okay, we gotta, we have to have like a person outside of, you know, your job.
37:39It's really all I know.
37:39And I also think like, because I'm so passionate, I mean, I'm lucky that like my hobby is the thing that I do for a living.
37:45It is my thing that I would want to do if I wasn't going to work every day.
37:49Like it is everything to me.
37:51But, but what other than that, you know, is, is brings me joy.
37:57And I think that for me, it's been about just trying new things.
38:03As stupid as it sounds, like, uh, pottery or, you know, anything with your hands or something, learning new skills or crafts.
38:13And even if it's like, okay, well, I tried that for like a week, you know, but I tried it.
38:18You know what I mean?
38:19Oh yeah.
38:20Try making sourdough bread.
38:22I got into baking.
38:23Oh my God, what a humbling experience.
38:25I got into baking.
38:26I did.
38:26I can make a good scone now, you know, but.
38:29Wow, that's impressive.
38:30Scone?
38:30A good scone.
38:31I got you.
38:32But, um, but it's just trying to find other things that, that can bring you joy and, and
38:39make you happy and, and try to discover who, um, my life is outside of like the presentation
38:45of who I am, you know, and, and not being so tough on yourself all the time, you know?
38:52Well, when you've worked from when you were a child, which most of us have not had that
38:57experience, when did you start working, Mikey?
38:59I was about 16, almost 16.
39:02That's pretty young still, isn't it?
39:05It's, I mean, it's, I, I, I take my hat off to both of you.
39:08It's quite an achievement to work as young people.
39:12I mean, it's hard enough when you're older, but to work as young people.
39:16And, but for you to have worked since you were so young, to, for that to have been part, because
39:20the rest of us, we were, you know, climbing trees and not making any money.
39:26It, it's, it's, it's an, it's odd.
39:29It's, it's odd.
39:30And I have a, um, complicated relationship with the idea of like child actors or child
39:35acting in general, um, because I've seen it be detrimental to people.
39:41And, and, um, I don't know.
39:43I just, uh, I am grateful.
39:45I'm so grateful that this is how it turned out.
39:47I wouldn't change it, but there are things that I like, I'm like, dang, I, I'm, there
39:51are things I wish I kind of lived, uh, privately, you know, and tried to like, cause you're
39:57figuring out who you are, uh, in front of the world.
40:01And you're like, I'm trying to do this right.
40:02And I want to make everyone happy, but like, I don't really know who I am yet.
40:06You know what I mean?
40:07I'm still figuring it out.
40:08I have no idea what I'm doing, you know?
40:10Um, which I guess that is true for all of us at any point in your life.
40:13You know, I, I say my mom had like her butterfly moment at 50 when she got her first tattoo
40:18or I, I pushed her to get her first tattoo and now she's covered.
40:21She's got like sleeves basically.
40:22Um, so I think, you know, you can reinvent yourself and butterfly at any point in your
40:28life, which I think is beautiful.
40:29But, um, but yeah, it is odd to do it so young.
40:33I'm excited for you finding all your fabulous life.
40:37Yeah.
40:37Well, thanks.
40:38I appreciate being pottery and scones, but I appreciate being able to have moments like
40:43this because I feel like at least now the connections are made, like the people I can
40:47reach out to and ask questions because all of you have such experience and, um, that's
40:53so valuable, you know?
40:55And, and often I feel like I get too nervous to reach out and be like, Hey, like, can I
40:59get some advice, you know?
41:00Um, because this kind of community is so important, you know?
41:04And like, um, it's special.
41:06And in truth, it's a real gift to feel like if, if there's any kind of experience, strength
41:11and hope that you have that you could actually impart to someone, like that actually is enriching
41:19to the other person.
41:20Absolutely.
41:20Like to be able, like, and we, I, I, I certainly forget that.
41:24Forget because I want to not be vulnerable.
41:28I want to not think that I don't have it figured out, you know?
41:31Yeah.
41:32So reach out always.
41:34I will.
41:35I think it's like, I'm texting, you know, getting everybody's contact information after
41:40this.
41:41I will help you set up the bakery.
41:43Yes.
41:44Yes.
41:45And it's like, you do baking and then you do pottery and then you act as well.
41:49You would think I could help you with the pottery, but unfortunately I cannot.
41:53Okay.
41:54Okay.
41:55I just got that.
41:56Yeah.
41:57That's so funny.
41:59We actually did that in Euphoria.
42:01We did.
42:01Oh, you did?
42:02Oh my God.
42:02We did a real food of that in Euphoria.
42:04I just realized it.
42:05Sorry.
42:05I was a disaster with the pottery.
42:07You were?
42:07Oh my gosh.
42:08I mean, mine literally looked like, the pots I made looked like kindergartner pots.
42:13I feel like they're probably collector's items.
42:15Ghosts.
42:16Ghosts.
42:16Ghosts.
42:17That's what I was joking about.
42:18That's the right place.
42:19Oh my God.
42:20I think I just got it too.
42:21It took me a second.
42:23I was like, oh.
42:24I can't imagine.
42:25I imagined me sitting there like that.
42:28And it all kind of flooding back.
42:31Tilda, Pedro Almodovar works fast, I hear.
42:35Like, he's a one take, two take kind of guy.
42:38Yeah.
42:38And in this film, you have some long monologues.
42:41Were you doing this one takes, two takes, move on?
42:44Or did you ask him for more?
42:45Um, both.
42:47Uh, there was begging, but nope.
42:50He seems to know what he wants.
42:52And I was nervous about that.
42:54I was nervous that he was going too fast for us to have an opportunity to squeeze the orange,
43:02you know, every which way, which I love to do.
43:04I've worked with David Fincher, who everybody is, you know, the legend is that he'll go 100 takes.
43:10And I happen to love that too.
43:12Really?
43:12Because then you know you've done it.
43:14You know you've, you know.
43:15It's all there, yeah.
43:16It's all there, and you know, you figure it out.
43:18But it's very challenging, I find, that the two take thing, or even the one take sometimes,
43:23especially with a lot of dialogue.
43:25Do you ever ask for another?
43:27Do you often ask for another?
43:28Definitely.
43:29Yeah.
43:29Yeah.
43:30Yeah?
43:31There are definitely, I mean, on Sean's films, there would be times where we'd be stealing
43:36shots.
43:37We'd bring this film camera into restaurants, clubs, and to a pool hall once, just filming
43:44on the street, and like, trying to steal things, and sometimes I don't, you don't feel like
43:49you got it, and so it's like, well, let's, maybe let's just go in one more time, but you
43:52kind of can't.
43:54And then obviously, our film being such a small budget, there were some days where we're just
43:58like, jam-packing scenes in, trying to get things done, and I'm like, wait, like, I just,
44:03I just need something more.
44:05But I think actually, watching it back, the things that we did end up getting was just right
44:11in the moment, because the film is so, it's so hectic and frenetic, and you're feeling
44:18that as an actress, trying to make sure that you got it, and it's not possible, really.
44:24It's not possible.
44:24There's no such thing.
44:26It's not possible, and I actually believe that this is, for me anyway, this is possibly
44:30the most difficult part of the work, is letting things go.
44:34Yes.
44:34It's moving on, and having the discipline to just go, do you know what, I didn't think
44:40I got it, but you know what, getting it is impossible, and what do I know anyway?
44:46Yes.
44:47Because very often, we think we got it, and you can speak to this, Angelina, as a director,
44:54that the performance thinks it's been nailed, but actually, that's the overshot one.
45:02That's the one where it's burst, and the one that felt a little rickety, and there was some
45:07kind of weird energy around it, that's the golden thing.
45:10But you can't necessarily feel that inside.
45:13That's why a director can say, trust me, we got it, we're moving on, and you have to go,
45:20okay.
45:22I trust you.
45:23I trust you.
45:24You're Pedro Almeida.
45:25Sometimes easier than other times.
45:28Yeah.
45:29It's a feat of faith.
45:31Yeah.
45:32Angelina, do you feel that way coming into Maria, having directed, does that change the
45:39way you work as an actress?
45:40I have more of an understanding.
45:43I was always an actress that loved the crew, and I was always an actress that understood
45:46I was a piece of a whole, and loved that.
45:51But after being a director, you are much more aware of all the pieces and all the needs,
45:58and you are very conscious that an actor is important, but a piece.
46:03And if you've, I loved casting.
46:07I found casting very interesting as an actor, and I think if any of you directed or will direct,
46:11that as an actor, you maybe are looking for something else, because you know when you're
46:18in the pocket, you know your authentic self, and you know it's not some perfect presentation
46:24or some idea of this or some perfect reading.
46:26You know it's this, like, someone that has something behind those eyes, someone who's a
46:33little messy, someone who's a little brave.
46:36There's all these other things you look for.
46:37A person.
46:38I think a lot of what makes an interesting actor is an interesting person.
46:43And then if you build a family, which is very much the set, and you kind of encourage
46:51everybody to bring their best, then you have this space where everybody shows up in different
46:58ways and collaborates.
47:00And I tend to find that I'm, the actors know I push them and I root for them.
47:07But I try to, you know, you communicate.
47:10And every actor's different.
47:11It's very interesting.
47:12I have my process in learning about the other needs of other actors that are so different
47:16from me to make sure I, you know, am there for what they need in their process.
47:21To me, in the third act of The Substance, you're wearing tons of prosthetics.
47:25You become this creature.
47:27And I just wonder, what was the process like of putting all that on and figuring out how
47:32to act through it?
47:35Well, you know, it's interesting.
47:36It's so delicate and fragile.
47:38It's not like you have practice time with everything on.
47:42It's kind of, you're finding it in some respects on the day.
47:46I mean, there was some preparation.
47:48I mean, the time for me in the chair was anywhere from six to nine and a half hours, which is
47:56a lot.
47:57It's a lot.
47:59And also because there's a surreal element to this, trying to also figure out what's the
48:05logic.
48:06Like, what's, you know, oh, I'm degraded and aged, but I can also run like a bat out of
48:14hell.
48:14And, you know, so there's like kind of that kind of practical, logical part of my brain
48:22that was really wrestling with what it was.
48:24And I will also say, and you also must know this too, Zoe, but it's a much easier read
48:32on paper than the physical of like being in there.
48:36And at the same time, I also think the time in the chair, which it's helpful if you can
48:43get very still and zen, also allows you to actually move into embodying and shifting.
48:51Like for me, it was like a slow progression over that time and allowing it to kind of become
48:57part of me.
48:58Mm-hmm.
48:59Yeah.
48:59Mm-hmm.
49:00It is a grueling process.
49:02Yeah, I was going to say.
49:02Six to nine hours.
49:03Six to nine.
49:04Six to nine and a half hours.
49:05No.
49:06When it was, when we had to do the whole body.
49:09Yes.
49:09Okay.
49:09It makes sense.
49:10The legs, everything, right?
49:12And it's very delicate.
49:13You can't really eat or drink because it's so delicate.
49:16Things will fall apart.
49:17And I think probably the most challenging is having somebody touch you constantly.
49:22All the time.
49:22Yeah.
49:23That was, that, that was what required patience.
49:27The taking it off is the really long bit, isn't it?
49:30No, it's actually much quicker.
49:32You open up that bottle of wine, you put your music on, it'll say, I'm cook, and you're like,
49:36I'm done.
49:38You're digging all that green off.
49:39It's always a funny word.
49:41I mean, she's on the left and the left.
49:43Isopropyl mirror state?
49:44Is that it?
49:44The stuff that you take it off is that.
49:46Yeah.
49:47Isopropyl on or something.
49:47Yeah.
49:48Where you're scraping away.
49:49Oh, my God.
49:50I mean, I will say, Coralie was one of those who loved to do many takes.
49:55Many, many takes.
49:56It's like wiping the makeup off my face with each section was 15 takes at least.
50:03Wow.
50:05And that, I could have used a few less, perhaps, on that one.
50:10But I never like to give up.
50:13If they feel like, if they're saying the director says they need it, like, I want to keep going.
50:19Yeah.
50:20I think it's important to have that communication.
50:23It's when they really tell you what's going on.
50:25And it's when you have no communication from Video Village.
50:30And you just keep going over and over again.
50:32Because you just don't, it feels like you're just throwing spaghetti on the wall.
50:37Like, give me something, an adjective.
50:39Give me any kind of direction.
50:40One sentence, five words.
50:42And then they'll explain to you.
50:42And then I can give you five more takes.
50:44That it's actually not about you.
50:46It's because the wind is not hitting the trees right.
50:48I know.
50:49And then you feel like, oh, why am I here, Holly?
50:50You're perfect.
50:52It's just, the light's not.
50:54So then you're not sitting there going, what am I not doing right?
50:56And you're like, what's wrong with this?
50:58Let's go again.
50:59Let's give that wind a chance.
51:02Zendaya, in Dune 2, you're in the middle of the desert.
51:06And it's this big, epic sci-fi movie.
51:08But it's sort of built upon this romance.
51:10And I'm kind of curious how you figured out how you were going to flirt in space.
51:15In space.
51:16What was the trick?
51:17I think it's really leading.
51:18It's Denny.
51:20He's such a, I mean, a special filmmaker, obviously.
51:23But, like, just very easy to work with in the sense that he always knows what he wants.
51:29And it's very clear.
51:29But also gives you room to play as well.
51:32Where you feel kind of supported.
51:34And I think for that, it was like, you know, they're not, it's not like, you know, a normal scene.
51:41Like, what's up?
51:42Like, you know, you're cute.
51:44Like, you've been here before.
51:45You know, this is.
51:46I think that would have worked too.
51:48There's a version of that, you know.
51:49That's more you in space.
51:52Yeah.
51:54So, we're like, how does this fit into the Dune universe?
51:57How do we, you know, get these two people that are technically young people falling in love?
52:03You know, this whirlwind romance.
52:04Also, stealing shots in between.
52:06Because there is so much.
52:08It's such a massive piece of work.
52:12And we really are just, like, a little part of it.
52:14Also, like, being in the desert.
52:16And you have limited time to shoot every day because the sun is right in this perfect place.
52:22And, you know, so I think my thing was just, like, being as prepared as I could.
52:26And then trying my best, like, in those.
52:28There was, like, one scene that we could only really shoot for, like, an hour a day.
52:33So, we kind of, like, over the course of a few days shot, like, a scene.
52:37Because of the light?
52:37Because of the sun.
52:38Yeah.
52:39And so, you're trying to, like, okay, we were here yesterday.
52:43But how do we get back into that, the tenderness and finding these moments?
52:47And Denny, in the beginning, he would say, I'm going to do, like, a glances pass.
52:51I'll ask you guys to, like, just look at each other from across the room.
52:53And I find that there's, like, so much you can do without words and without scenes.
52:58Just, like, a glance between the two of them really built this love story and made you believe it.
53:05Because, again, there's so much going on.
53:07So, it's, like, how are we going to tell this story when there's, like, all this action?
53:10Like, so many storylines to fill and build and make it make sense.
53:15So, it was, the glances pass, you know, just these little moments of, like, oh, I see you across the room.
53:23And it says so much for the characters.
53:26So, yeah, I just felt very lucky to be a part of it, you know, like, from the beginning.
53:31I was just, like, I'll play, like, a tree, the sandworm.
53:33Like, what do you need, you know?
53:35Like, this is just so cool.
53:37Like, I just want to be there.
53:38How much does what's going on in the outside world, politically, geopolitically, affect your choice of projects and your choice of how you spend your time and your work?
53:47Is that something that figures in at all?
53:49I remember very early on in my career, I felt a couple of times at my, you know, these self-made crossroads where being a daughter of immigrants and being Latina in America, as you start to grow in your career, you carry on this responsibility to represent your community.
54:10And I stopped that.
54:14I made that choice.
54:16And it felt risky.
54:18But I made it with all my heart in hopes that it was the right decision that would help my community by following my heart.
54:25But that's not to say that I may one day feel compelled to make a decision on a material that has a very important conversation around a cause or an event that should be present in people's minds and in people's tables, you know, when they're having dinner.
54:43That's not to say I'll never, ever, you know, consider that.
54:47It's interesting to hear, as I always say, that felt like a risk.
54:50And I wonder when you reflect on your own careers, what's a moment that felt like a risk?
54:56I think the things that I think when you look at something where you know you're being pushed out of your comfort zone that scares you is are those moments that you are taking a risk in a certain way.
55:11It's we take a risk every time.
55:13We don't know.
55:14There's no guarantees.
55:15There's no formula.
55:17I think at least and I think it's the risk that makes it exciting.
55:23It's the risk that because, you know, if you step into something that, you know, that you're you're going to be better on the other side, you know.
55:32As you were talking, Zoe, I was just thinking about.
55:35Do you guys any of you feel like that in a way that roles find you as much as you find them?
55:42Yes, absolutely.
55:42Right.
55:43And that there are things that you gain from it.
55:45Not that you always know, but that you get from the other side, that there are parallels for sure.
55:51Well, everybody has their own comfort zone.
55:55And so, as you say, to go out of that comfort zone is always going to feel like a growing possibility.
56:03My comfort zone is to work in very close collective communication with people.
56:09I've always done that from the very beginning.
56:11And for me, a massive risk would be to go and work with people that I didn't know.
56:16That would be the biggest risk.
56:18But I know, and this is one of the reasons I've always found it very difficult to name myself an actor, because I know that in general, actors don't work this way.
56:26Actors generally work alone and encounter a loneliness a lot of the time and are going with great my admiration into these foreign territories with all their talent and all their inspiration kind of within their own arms.
56:43And they'll go into these foreign lands and bring it to bear.
56:46I'm incredibly impressed by that.
56:48But I can't work that way.
56:50And I don't know that I ever have really gone into a foreign territory.
56:54I'm a coward in that way.
56:56I think a lot of people would disagree.
56:58Yes.
56:59It's your right.
56:59We are coming toward the end.
57:03And I wanted to wind down.
57:05I actually told I wanted to share something you had said in an interview, which was interesting.
57:10It's good.
57:11It's good.
57:11You were talking about your friendship with Pedro and how you had met.
57:16You said you met at a Hollywood party where you bonded over feeling like outsiders.
57:20And you said you were, quote, both shy and tickled pink and pinching ourselves, but not confident enough to step in and talk to, say, Angelina Jolie.
57:31She was there.
57:32She was one.
57:33It was a South Park moment.
57:35And we had Liza Minnelli over here.
57:37And we had, you know, Sacha Baron Cohen over there.
57:39And Angie was there.
57:40And both Pedro and I were, like, scorched with the glamour of it.
57:45We just couldn't believe that we were present.
57:47And I was probably because I never go out really alone and not sure anybody wanted to talk to me and probably would have, I would have been so happy had they said hello.
57:58This is the truth of human animals.
58:00Yes.
58:01We're all shy, right?
58:02Yes.
58:04And I guess this is why we're here.
58:05I mean, how lovely to see you all connect like this.
58:09Thank you so much for being here.
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