Greta Lee

We also...

were encouraged to improvise quite a lot in it and to loosen it up.

The script was very good, but Tina was very open to seeing what happened on set.

So it was oddly experimental and oddly nerve-wracking at times, because you thought, how on earth am I supposed to improvise in the audience language?

But there is an element, it frees it up a little bit.

Well, she was very relaxed, very relaxed and very open to

seeing what happened you know we had the script which we rehearsed we would do and then she would just run the cameras so and she wouldn't call cut you know so we just carry on or we just or we gotta start doing it again so there was a

I mean, luckily we had a very interesting inventive cast, you know, Jennifer as used to making up on the spot, Jack Whitehall, absolutely charming.

Jack, uh, lovely Miss Phillips, Miss Phillips.

Um, she, so, um, we, we were all there and, um,

just in this position where we had this script and these characters, and Hayley was very good.

Now, a lot of it, the script is as scripted, but there are elements of this improvisation in the script, but it also loosened up the whole feel of it.

It gave a lot of freedom.

I mean, the characters are buttoned down.

Our Edwardian characters are somewhat buttoned down.

So it was always added to the strain of this,

shift going on I think this feeling of something unsettling in this this young woman represents this world that is no longer this generation of women you know when you think of it it seems like stating the obvious really that

You know, it's only 100 years ago that women were just not conceived as being able to look after themselves.

You know, they had to be provided for by a husband, or if they weren't provided for, these are middle-class and upper-middle-class women.

Of course, working-class women always had to get on with it and work.