Sarah Snook

And so each time we did that scene, it was a 29 minute take from that room and then up onto the next level, following Jeremy up, Kendall up, and then coming back down. And then we would go up into the top level room and Yeah, it was hard. It was hard. We shot it over two days, though, that sort of sequence.

Yeah, I made a choice to do that on this one particularly because... particularly on that discovery moment, the lines that Jesse had written. This particular speech, I really wanted to learn exactly as he'd written with all the ellipses and the hyphens and the stuttered thoughts. I wanted to do it exactly as it was because it was so simple, the way he'd created that.

Yeah, I made a choice to do that on this one particularly because... particularly on that discovery moment, the lines that Jesse had written. This particular speech, I really wanted to learn exactly as he'd written with all the ellipses and the hyphens and the stuttered thoughts. I wanted to do it exactly as it was because it was so simple, the way he'd created that.

Yeah, I made a choice to do that on this one particularly because... particularly on that discovery moment, the lines that Jesse had written. This particular speech, I really wanted to learn exactly as he'd written with all the ellipses and the hyphens and the stuttered thoughts. I wanted to do it exactly as it was because it was so simple, the way he'd created that.

And I really could see that there were thoughts that she couldn't finish and there were things that were too difficult to be said. And she's going between all these sort of emotions. And

And I really could see that there were thoughts that she couldn't finish and there were things that were too difficult to be said. And she's going between all these sort of emotions. And

And I really could see that there were thoughts that she couldn't finish and there were things that were too difficult to be said. And she's going between all these sort of emotions. And

Like, I'm going to get dehydrated in a sort of practical sense because I'm going to be crying and I'm not going to be refueling enough with water. I'm going to get desensitized to the fact of my father dying. So I was doing stupid stuff to actively put myself into a different space.

Like, I'm going to get dehydrated in a sort of practical sense because I'm going to be crying and I'm not going to be refueling enough with water. I'm going to get desensitized to the fact of my father dying. So I was doing stupid stuff to actively put myself into a different space.

Like, I'm going to get dehydrated in a sort of practical sense because I'm going to be crying and I'm not going to be refueling enough with water. I'm going to get desensitized to the fact of my father dying. So I was doing stupid stuff to actively put myself into a different space.

And part of that came from being inspired by working with a young actress called Lily Latour in Australia on a film called Run, Rabbit, Run. And Dealing with really heavy things and dealing with really big scenes and seeing her ability to go into the scene, to be fully present, fully active, and then because she was using her imagination, because she was a kid, when they called cut, she was out.

And part of that came from being inspired by working with a young actress called Lily Latour in Australia on a film called Run, Rabbit, Run. And Dealing with really heavy things and dealing with really big scenes and seeing her ability to go into the scene, to be fully present, fully active, and then because she was using her imagination, because she was a kid, when they called cut, she was out.

And part of that came from being inspired by working with a young actress called Lily Latour in Australia on a film called Run, Rabbit, Run. And Dealing with really heavy things and dealing with really big scenes and seeing her ability to go into the scene, to be fully present, fully active, and then because she was using her imagination, because she was a kid, when they called cut, she was out.

She was doing cartwheels, she was doing other things. It was a real eye-opening moment to go like, oh, we're elastic. If you work hard enough, you can be elastic. If you lean on your imagination enough, you can come in and you can come out. You just have to be...

She was doing cartwheels, she was doing other things. It was a real eye-opening moment to go like, oh, we're elastic. If you work hard enough, you can be elastic. If you lean on your imagination enough, you can come in and you can come out. You just have to be...

She was doing cartwheels, she was doing other things. It was a real eye-opening moment to go like, oh, we're elastic. If you work hard enough, you can be elastic. If you lean on your imagination enough, you can come in and you can come out. You just have to be...

maybe as an adult, mindful of how you do it because you don't want to shortchange your performance, but to trust that there is that ability to do that.

maybe as an adult, mindful of how you do it because you don't want to shortchange your performance, but to trust that there is that ability to do that.

maybe as an adult, mindful of how you do it because you don't want to shortchange your performance, but to trust that there is that ability to do that.

That's so weird to listen to, hearing it back. I feel so sorry for them because you can hear it from more of an objective side. You're like, oh, no, you're such broken people. Yeah, filming that was so fun working with Matthew. He's so present and generous as an actor. He's so giving. but we rehearsed a little bit the night before, and so when we came in, it was really just like in us, I guess.