Tessa Thompson

But it creates an imbalance.

So happy or not, it hurts you both.

So as I said, I would lean on some of my, you know, new friends who worked in the space to go through my copy.

But also with that scene as we were developing it, I also asked them, like, what feels right?

You know, Anna is someone who is...

newly back or trying to regain her footing in her professional world and meanwhile is having to contend with a lot of choices that she made in her personal life.

And so I think you get to see her in this moment.

She's someone that deflects a lot and is probably projecting onto Richard, but really she is really talking about herself.

Completely.

Oh, my goodness.

So many things.

I mean, I think to your point, these pieces are ripe for adaptation because they're dexterous enough to handle them.

But for my money, I always think if you're going to do a classic, you kind of have to implicate yourself.

You have to have a good reason to want it because they're so perfect.

It's like, why take it apart and put it back together unless you have something, you know, to say or you want to take a big swing or you want to do something daring that both...

you know, satisfies the original material, but maybe takes it a step further or uses it in a way that pushes even the boundaries of what the original, you know, writer was intending.

And I think Nia did that in spades.

A couple of different ways.

I mean, you also add sort of the dynamics of upper society, post-war UK that has its own sort of affect.

Nia in general thinks of the 50s as the time of great pretending.