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Oscar-nominated actresses including Kate Winslet and Glenn Close discuss their films.
REBECCA KEEGAN: Hi and welcome to Close Up with the Hollywood Reporter Actresses. I'm your host, Rebecca Keegan, and I'm delighted to welcome all of our guests, Vanessa Kirby, Carey Mulligan, Zendaya, Kate Winslet, Andra Day, and Glenn Close. Kate, I'll start with you. What is something that people think acting is that it isn't?
KATE WINSLET: Oh my god. Why do you have to start with me? Something about acting people think that it is that it isn't. I mean, I have to say I do-- I've been doing this job now for, I realize, it's like 27 years or something now. I can't quite believe that.
But I do find myself getting almost agitated when I feel I have to explain just how hard the job truly is. And it is a massive just misconception. People-- and it doesn't matter how many times you say it, I'm sure all of you will agree, people do think it's glamorous. They absolutely do.
They don't understand the 3:00 AM wake ups and hour and a half in hair and makeup in the middle of the night, and then shoot at 12:00 sometimes longer, much longer hour day, particularly if you're doing a low budget film. I think people do underestimate how hard the-- not just the actual working day is but also the preparation part. I mean, for me, that's always been a really important bit. And I love it and try and give as much time to it as possible.
But I think people don't understand that preparation can take up to four, five, sometimes even six months, depending on the kind of role that you're playing, and also how absent, I think, you are from your family. I mean, even if they might physically be with you, which in my case is nine times out of 10, I'm fortunate that they are. But emotionally, I know that I'm gone. I'm just not there.
I'm just not mummy. I'm just not, you know, I'm not Ned's wife suddenly. I'm this other being.
And I think people-- and I do find that part quite upsetting sometimes. And I wish I had more of a balance with that. So I think it's a combination of all of those things really. And that's somehow wrapped up in, I think, people genuinely believing that it's glamorous.
REBECCA KEEGAN: Carrie what do you think? What do people think acting is that it isn't?
CAREY MULLIGAN: I'd say I think there's a bit of an idea, and maybe more even within the industry, that to make something great people have permission to behave badly. That you know, often times there's sort of the idea of someone being a creative genius or someone being-- you know, that they are so inspired that there's sort of a required level of darkness or unpleasantness that goes along with that, that you need to sort of put up with. And I think people get away with bad behavior.
In my experience, some of the most incredible people I've worked with just been also the most delightful. And so I think there's a-- yeah, that's the kind of common misconception. I think it's sort of more within the industry than anything else, that you know, there are people that sort of behave badly to sort of psych themselves up at work, or that the process is just sort of utterly miserable, which I think, you know, you can work really hard and it can be really hard work. But ultimately, you know, it is you know, the attitude on set should be one of like, warmth and enjoyment of something, as much as you can.
REBECCA KEEGAN: Zendaya, what do you think? What do people get wrong about acting?
ZENDAYA: That's a tough-- that's a-- it's a tough question and everybody's answered it so well. For me, at least, is that it's also a business, which is something that I've had to learn as a young person, because often you get into it just because you love it, and you just want to be creative, and you just want to do the fun stuff. But it is also a business.
And there are contracts involved. And you know, a lot of things that don't necessarily contribute to the creativity or contribute to this idea of the freedom you think you'll have. And I learned that-- or have been learning that as grow up, is there is bigger entities involved, you know, and it can be tough, you know, money, people there's just so much more to it than I think people really understand.
And I've just been grateful at least to have a positive experience, and to be able to learn the other side of the industry. And I often encourage young people who do want to do this too, to read your contracts, be aware, have those conversations, ask as many questions as you can, try to get advice from people, because it's easy to get stuck in a bad situation. And having that knowledge is really, really important.
REBECCA KEEGAN: Glenn, to Zendaya's point, how often do you think of yourself as a businesswoman in addition to being an actress, is that something that enters into your mind?
ANDRA DAY: No, not much. You know, I think a lot of people think that anyone can do it and that there are, of course, there have been documentaries and even some movies of people who are not trained as actors, I think that can happen in movies. I don't think it can happen in the theater.
I really take my craft seriously. And I think people don't know what they're talking about when they think that anyone can do it. I once had a brain surgeon who was the father of one of my daughter's middle school friends, to ask if he could actually, he actually said this, if he could come over and pick my brain about something. And so I said sure. He came over.
And he said, I find being a brain surgeon depressing. I really want to be an actor. And it was all I could do--
KATE WINSLET: Oh my god.
GLENN CLOSE: To not throw him out of my house. I almost-- but I have to make a living. So how do I do it?
It's just like, it was astounding to me that he would have such an ignorant idea of what acting was. For longevity it is a craft. And I take great pride, I'm always-- there's something new to learn every day.
But it is something that really does count. When you task yourself with becoming, looking through the eyes of another person, and telling a story that will have emotional impact, you know, that is craft. So I don't think everybody can do it. I think all of us are incredibly lucky to be doing what we're doing.
But yeah, it is hard work. It's everything that everybody's already talked about. But I don't think everybody can do it.
REBECCA KEEGAN: Yeah. And as a backup plan, I guess there's brain surgery, if you know, acting doesn't pan out.
GLENN CLOSE: Yeah.
REBECCA KEEGAN: Let's talk a little bit about looking at the world through the eyes of another person. Andra, I'm so curious how you go about finding the voice of Billie Holiday. How did you approach that?
ANDRA DAY: First it's-- she is very familiar to me, just because she is my foremost musical inspiration. Just again, to Glenn's point and again to Kate's point, you know, it was just-- I had a great team of people. I worked with this amazing dialect coach, Tom Jones. And one of the things we got to her voice through singing as well, because you know, I think singing sort of trains you a little bit to hear certain things and to hear certain tones.
And then through the breath, that was a huge thing. I remember him always talking about like, where is it coming from. You know, how is she breathing, and you know, the emotional part of it as well, too. My acting coach worked with me, because I was telling her I sort of look at Billie Holiday's voice as like-- I mean, all of our voices, but hers in particular, as a scroll, you know.
And so on her voice is really written, you know, her entire history, every time she had been raped, every time she had been hit, every time she victoriously sang Strange Fruit, every time she smoked a cigarette, and every time she slammed heroin, or did a speedball, or-- everything is written onto her voice. And so it was just really important for me to get that, to really get that-- all of the experience and all of her story on this kind of scroll, or at least that's what I call it.
It was important for me not to do an impersonation, you know? And that's something like Lee spoke to me about too. We don't want to impersonate her. But you know, sort of bring me through her. And so the breath was a huge way.
Tom Jones is just like an amazing dialect coach. So I can't really take too much credit for that. He really worked hard with me. They all worked really hard with me, because as she said, I feel the same way about acting, that you know, not everybody can do it.
And to be honest with you, I did not think that I could do it. And I'm still on the fence about it. But it was just, yeah, it was important to really, really take time and to really care about her voice, because I think it tells you a lot about her experience, and her person, you know.
REBECCA KEEGAN: Well you did it beautifully. I don't think anyone after seeing this film would have any question about whether you can do it, so.
ANDRA DAY: Thank you. Appreciate it.
REBECCA KEEGAN: Let's talk a little bit about physical transformation for a character and how that helps you. Glenn in Hillbilly Elegy, you're very physically transformed. How did the finding the appearance of that character help you find her?
GLENN CLOSE: Had everything. It really was where I began. I began, kind of, personally not wanting to be distracted by my own face. I wanted to have very subtle differences.
So that it was an experience of you get into the full hair, and makeup, and costume, and there she is, because she's very different from who I was. But we started with a portrait of Mamaw. The glasses, the hair, the ears, you know, I changed my nose a little bit, and was very, very finessed work to make it subtle enough that it wasn't me, but not so--
You know, I didn't want people to say there's Glenn Close with a really bad nose. You know, so that took a lot of wonderful collaboration, coming up with that. And then we had video. We talked to members of her family, who are incredibly generous in talking about her. And I asked just very specific questions.
You know, how did she walk. How did she hold her cigarette? How did she sit? What did she wear, which I mean, is basically what you see in the movie. She was a very much larger than life character.
You know, what was her atmosphere when she came into a room. I mean, all those kinds of things that just was a slow, slow buildup of the moment you walk on for hair and makeup. And you feel that, you know, there she is. But it was a great, kind of wonderful collaboration to get there.
REBECCA KEEGAN: Carrie, how about in Promising Young Woman? Your wardrobe in that movie is so interesting, because she's kind of a fantasy of what guys want, and then she turns it completely back on them. How involved were you in selecting that wardrobe and how helpful was it for you in creating the character?
CAREY MULLIGAN: Yeah. I mean it was-- it was hugely helpful. It's interesting with Promising Young Woman, because Emerald is very intentional about building a world that felt very enticing, that you know, what we're talking about in the film is so important, that you wanted to build a world, you know, film that you wanted to see, not something that you sort of needed or should see. And I think part of that world, and part of the way that Emerald first presented the film to me, was you know, this sort of Candy Land environment that you're in, and that Cassie's sort of lived in that, in the way that she you know, clothes herself.
And I think because she's somebody who is very practiced at living with her kind of rage, and her sadness, and her grief, she's kind of figured out that actually, in sort of hiding in plain sight, in looking like someone who's functioning, people sort of tend to leave her alone. So I think all of it's very kind of deliberate in that she has candy colored nails, and blonde hair, and first of, all she looks very unthreatening. So no one would ever suspect that she's about to destroy your life, but also that she's someone that you don't need to check on.
You know, she's-- you can leave her alone. So that was a big part of kind of the costume. And then obviously there's you know, other sort of looks that she takes on when she's sort of doing her nighttime things.
But her main, everyday look was just a way of saying, I'm absolutely fine. You don't need to look at me, because I'm so-- I'm just generic and a girl. And you know, you don't need to take me seriously, which is, because we so often trivialize the way that girls and women clothe themselves. It was just a very easy way of putting up a boundary between her and the rest of the world.
REBECCA KEEGAN: Kate, how about in Ammonite? How did you think about how this woman, physically, went out into the world, how she dressed, how she carried herself physically?
KATE WINSLET: Well, everything about Mary Anning is so, so held and so internalized. And there almost moments in the story where there's just very little dialogue for Mary to actually be saying, so I had to learn how to, essentially, do quite a lot of acting with my posture, or the back of my head, or the backs of my hands, or just sometimes, my eyeballs. And what that meant was that I had to really find a different rhythm for myself, because I'm a very animated person. I use my hands to describe things all the time.
And you know, I'm quite deliberate with my actions. If I'm moving things around, you know, cups or objects. And Mary Anning, was a-- she was a paleontologist, and she was a woman of extraordinary scientific brilliance who worked alone, was entirely self-taught, lived a life of poverty, and was humble and grateful for everything that she had, even though she lived in a world that was dominated by men who would take her finds and reappropriate them, and claim them as their own.
But she still somehow accepted that that was her lot in life. But this sort of-- the isolation of Mary and the quietness of how she lived, it had to be in every part of me so-- and that was the shoes. I mean, when I was learning how to fossil hunt on the freezing cold beaches of Lyme Regis, I wore her costumes quite a lot, just under my own rain jackets, just so I could understand how physically altering they were.
And actually, her shoes in particular, totally changed my posture and actually made my body ache enormously throughout. We made a decision that underneath her work dress, she would wear trousers, but not because we wanted to make her appear masculine in any way, but simply because I just didn't believe that as a woman who lived in 1840, that she would have had bare legs, or even just stockinged legs, on those freezing cold beaches. So it made sense to cover her legs in functional men's fisherman trousers, especially since she would have sustained lots of injuries through the work that she did.
And just reminding myself that, you know, every time I do this job, I feel the urge to disappear more and more into each character. You know, I think the longer that you do this, the more familiar audiences become with your mannerisms, and how you are or how you sound. And I just try to remove everything of myself.
And there were days when I would think, well, did I do anything or did I just do nothing today. And it would be really disconcerting. But just finding a completely quiet, physical stillness and heaviness to Mary came hand in hand with the costuming of her, and the look of her, and making her hair a little bit gray, and having no makeup, and you know things that-- just things that were important for her. But it all very much helped me.
REBECCA KEEGAN: Vanessa, you have a harrowing, I think it's more than 20 minute, childbirth sequence in your film. Can you talk about what that was like to shoot and how you prepared for it?
VANESSA KIRBY: Yeah, it was kind of terrifying, because I haven't given birth or been pregnant before. And so I think I felt like the closer I got to her, I sort of realized that you know, it's like the most universal human experience. You know, so many men have watched their women give birth. So many women have.
And we've all obviously come through that. And so I think I also was really struck by the fact that we've seen so many deaths on screen, we've so rarely seen birth. And I felt so privileged that there was an attempt to do it, and it come from a female writer. And it's like such a testament to why we need female writers from that, you know, to be able to even put that on paper, really.
And so I first started sort of talking to a lot of my friends. And a lot of them kind of had vague memories, or quite hazy memories of birth. And then I ended up like watching every documentary I could possibly find on it. And again, I was so surprised that kind of, it didn't teach me anything about like, the duration and the length, and the difference between when your water breaks and the contractions, and all those things.
And it was kind of like, more set sanitized and edited. And at that point, I realized that I might be in trouble. So I ended up writing to a lot of obstetricians, asking if they would let me come in and shadow them. And one said yes. And so I went to a hospital in north London and was on a labor ward for many days, which was quite unbelievable for me.
I kind of learnt a lot from the midwives, about how how, you know-- what the whole birthing experience is like. And it was one afternoon, and it was my very last afternoon at the hospital, and one of the midwives came round and she said, a woman's just come in and she's 9 centimeters dilated. And I'm going to ask if she'd mind you watching. And I just thought, there's no way in hell she's ever going to ever agree, like, to have some random person sit in and watch this like, really sacred moment of her life. But she did.
She said yes. And so I got to sit with her and watch her go through six hours of-- I mean, it was just probably the most profound afternoon of my life. And I never, ever could have acted it without watching her, because I saw her go on this unbelievable journey. And I saw the animal in her take over. You know?
And it was only because of that, really, that I then felt like maybe I had a chance at attempting it. And then when we came to it, I guess it was that. And it's really interesting to talk about it in an acting sense, because I think it's one of those things that I know I always like try and do, and so rarely am able to do, to like really switch off my mind and just let-- like, truly be present in the moment without getting distracted by something, or taken out the scene, you know.
It's always that in and out feeling, I always find. But with this, it was kind of so physical. And it was such a a sort of primal body thing, that kind of took care of it, really. And so we had a day of rehearsal. And we luckily, really last minute, got this amazing birth consultant called [INAUDIBLE] who's been a doula for many years to fly over from Portland, and she was with us in the rehearsal day.
And we didn't really do it. We sort of just planned like, which room we'd be in, and where we'd end up, and at this point, we should maybe end up in the bath. And so that was sort of quite terrifying. But then the morning of, we did four takes the first day, two the second, and I think the fourth one is the one in the movie.
And it was a bit like-- yeah, that the other privilege of it, it was a bit like doing a play, really, you know, where you just have to-- once you're on, you're on, and you can't stop. And there was something magic about that, because you couldn't spend any time doubting yourself. You just had to do it, you know? And so it was a truly amazing filming experience.
REBECCA KEEGAN: Zendaya, when you were making Malcolm & Marie, it was really the height of the pandemic. Can you talk about how that-- working in that environment shaped your-- shaped how you worked, and how the set functioned?
ZENDAYA: Right. Well, we had to, obviously, we wanted to do everything as safely as possible. So we kind of created a bubble. You know, it was-- we were all doing it on our own, you know. I was putting my own money into it, as was you know, everyone else.
And we were all really sharing, you know, kind of this film together. And so we went off, and we just kind of literally created a bubble, where we were living in like, a hotel esque kind of thing, that was empty. It was just us, because obviously, everything was shut down.
We were in the middle of Carmel. And we shot in this home that was kind of literally in the middle of nowhere, which was lovely, because everyone stayed safe. But we weren't allowed to leave for obvious reasons. And in that time of kind of quarantining together, we were allowed the time to work on the material, which is like a dream for me, just to be able to actually have the time to work with John David, who was with me, work with Sam.
We had-- when we got there we only had-- the script was only about like 70 pages and there was no third act, so through that process of every day just being together, sometimes in a parking lot, just working through every moment, and then getting its on its feet-- getting it on its feet, and having these really long discussions that often turn into other things about ourselves, about our characters, about relationships and how we treat each other in our relationships, how far would we go, versus how far would our characters go, I would never say that to somebody but she probably would, you know?
And have-- being able to have that time, that space with each other to figure it out, was really, really helpful and really not having any other distraction and just being in it every single day, and then being able-- I've never really been able to be so closely involved in something, also, when it came to like they're-- again, finishing the script and even while we were shooting it, writing things and coming up with things, and figuring things out as it was happening, you know? If something didn't work, we'd stop. And then we'd talk.
And then we'd say, OK, well what if we said this, what if we did this. And I mean, I'm grateful to Sam Levinson, who I obviously got to do Euphoria with. I mean he-- I asked him to help me make something. And he made this beautiful thing and he allowed me to be a part of it every step of the way, which is very, very rare to have that kind of creative freedom, and that ability to figure it out, with the people that you work with.
And I learned a lot about myself. I learned a lot about how to use this space, because obviously, given that, you know, we only had two-- it's just two actors, very small, small crew, so we're all doing like, four different jobs, I'm doing my hair and makeup, and using some of my clothes that I brought a set deck, and you know, trying to remember my continuity, because we don't have any ADs, or scripty, or anything, you know. But it was-- I learned a lot about myself, and trying to maintain interest, and trying to keep this story between these two people who love each other, but are clearly sometimes very toxic for each other, going when you're stuck in one space and only have so much room.
And you can't just yell the whole time, you know. You've got to figure out dimension, because it only takes place within a few hours. So it's how do we find this without completely losing people or just staying one note, or you know, dipping to-- people get bored or whatever. Like you know, I had to find a way to continuously go back and forth with John David, who is a powerhouse and has so much presence and definitely challenged me to meet him. And it was, yeah, it was very, very special. But yeah.
REBECCA KEEGAN: Vanessa, I mean, you're obviously-- you've been shooting the Mission Impossible sequel. Is there are a lot of pressure to maintain safety on these big sets? What does it feel like? How does it feel different?
VANESSA KIRBY: I mean. I'm-- I think I was lucky, because my sister's an AD. So when you guys are talking about what people misunderstand about acting, it's like, I feel so, so much I was always so surprised to learn when I started screen stuff that there's like, hundreds of people. It's not just the person in front of the camera.
And I always felt that really acutely, especially because of her. But so she started on a movie in the summer, I think it was the first one back. So I kind of learnt from her, like what the new parameters would be, and how to navigate.
And I and I was so hopeful when she went back, actually, because it was a funny feeling, I think for everybody, suddenly seeing kind of cinemas closed, theaters, you know, all the people that you love and you worked with unable to work in so many different capacities, including my sister. And it gave me a lot of faith. But I mean, you kind of-- you get used to it.
I mean, there's obviously many guidelines. There's masks and lots of testing, and things like that. But it does, it gives me faith in the resilience, actually. And then I feel like we will get through it. And I can't wait for the day when cinemas can open again.
REBECCA KEEGAN: One of the big sort of cultural movements that has happened in the last few years is #MeToo. And I have to admit, I was skeptical when that movement began, that there would be any kind of lasting change for women in Hollywood. But we do now have more female directors. We have intimacy coordinators.
Harvey Weinstein is in prison. Some things that I thought I would not see, have come to pass. I'm curious you know, what has been the biggest change for you personally since the #MeToo movement happened? Carey, what about you?
CAREY MULLIGAN: Gosh. I mean, and I do think what was so encouraging was the sort of concrete actions that were taken. Early on, I remember the first job I did after that start, that movement started, was a play at the Royal Court. And Vicki Featherstone, the artistic director, reacted, you know, immediately.
And she drew up sort of documents. And on the date-- [INAUDIBLE] I was a monologue, so I was the only person in it. But we still had to sit-- I had to sit with the writer and the director, and we had to read this document, and agree to it. And it was all a kind of code of conduct of behavior.
So I feel-- and as all of, you know, the other things you mentioned, the intimacy coordinator, but I think it's just a much-- it's had such a bigger effect even than those things. I think it's sort of-- I think coming into the industry now would feel different.
And I think, you know, so much of what our film about, in a way, is challenging the ways in which culture has affected the way we behave in society. Sometimes it feels sort of myopic to say, well, you know, these things have changed for us as actors, because obviously in the broader-- in broader terms, you know, things haven't happened as quickly. And there's still a lot going on in our society that isn't right.
But I do think that you know, we learn so much from what we see on screen. You know, we're so informed by the movies that we watch, and the TV shows that we watch, and also by this industry that has a huge spotlight on it. So it feels really positive that this-- you know, our industry does get a lot of attention in the way that people behave, because I think people are watching, and that hopefully has a bigger impact than just how it feels for us as actors, that you know, this is something that's really affecting people in their everyday lives.
REBECCA KEEGAN: Is there something, Kate, that you would demand now, that you wouldn't have felt comfortable demanding before #MeToo?
KATE WINSLET: I think the word demand is something-- it's a word that I steer away from. I don't-- I don't think of myself as a as a person who would ever place demands. But I know what you mean by the question.
The thing that I think is shifting, and is shifting in ways that will absolutely be long lasting, is how women's voices are being received. There is a space that has been created for a younger generation that is going to be safe. There is still a long way to go.
But I think that what's very important, and as you just said, Carey, coming into the industry now, my daughter is 20 and she has just come into the industry about a year and a half ago. And what's wonderful for me, as her mom, is just watching her have a courage of conviction and self belief that is-- it's just unwavering, because she's entering a time when we're clearing the shit away for them, these girls. These girls are going to change the world.
And they are going to be strong. And they're going to be powerful. And they're going to be [BLEEP]ing amazing. And that is because we're getting all the bad stuff out of the way for them.
And all they will know is to use their voice in positive, powerful ways, to lead with compassion, to be strong role models and friends. And that, to me, is the biggest thing that has shifted. And I think that that time as well, of women coming together, it's now. That is the time. This is the decade of women championing and supporting other women without judgment.
This is happening right now. And that has come as a result of the mass united swell that has emerged from #MeToo. We've all come together. Everyone is holding hands and walking in the same direction. And for me, that is the single most exciting thing that is coming out of the awfulness of the last five years, and those extraordinary women coming forward and sharing their painful, awful stories and horrendous Harvey Weinstein.
I mean, I could go on. But for me, this-- the time, now, is about leading in a different way, young women being able to lead with courage, in a way that I feel I certainly didn't have that sense of courage and sort of companionship with my peers, in a way that I think #MeToo too has done for this generation of women. It sort of automatically brings people together in a way that will, I think, transform their futures. I truly do.
REBECCA KEEGAN: And another big cultural shift that we saw was the explosion of the Black Lives Matter movement, globally. And at the time that it happened, a lot of media companies were sort of issuing statements, making large donations. And I'm curious, Andra, do you think there will be lasting changes from that movement as well? Will we, three years from now, be talking perhaps, the way we're talking now about #MeToo in terms of concrete things changing beyond, sort of, the statements?
ANDRA DAY: You know, I mean, my hope is yes. I mean, I do hope that this spawns lasting change. And I hope that it spawns lasting change that moves faster than it has moved in the past. And I'm hoping that this sort of-- is sort of an uprooting of this idea of pace yourself, you know, we need to make sure we make people comfortable.
And that's really not how you actually achieve lasting change. And yeah, we have to, because otherwise we can't survive. We can't survive like this. We will not survive.
It ends in what? It ends in our destruction. It ends in war. It ends in-- you know, just unrest.
It ends in-- and so we have to. And I think, you know, that was one of the things even on set, not to just bring it back to there, but there were so many-- there were a few moments on set that were really quite disturbing, I think, for the cast.
And I-- you know, we're shooting a movie that takes place in the '40s and in the '50s. And there were moments on set that we realized, oh, wow that has not changed. You know what I mean? It may have transformed. It may look a little differently.
Lynching looks differently. But it's not changed. And so-- which is huge to me. Which is why I even agreed to do the movie in the first place.
I think truth is going to be a huge, huge, huge factor in seeing lasting change, and sustaining, and transforming, and changing a generation. And as Kate talked about with the younger generation, I think they have such a need for transparency that will actually be very helpful. I think people can often look at it as, oh, this is a terrible thing.
But there's a part of that transparency and that truth that is detrimental to us moving forward and surviving, and thriving. And I think a part of doing the movie The Billie Holiday Story was that the truth of her story had never been told, because the truth of her story was intentionally kept from the public. And I think the retelling, or the sort of respinning, of narratives for people of color, or for marginalized people, or for women has been sort of a constant technique of oppression.
And I think that's going to be hugely important moving forward, is to-- we have to pop sort of the top off of these things. And we have to tell the truth about them and understand why the scope of certain groups of people, people of color, why their-- the scope of their pain has been minimized, or retold, or why the level of their contribution has also been changed, because you can't truly know a people and love of people, if you don't know how much they have contributed to your everyday life in society, and your ability to live free.
And so you know, I think one of the biggest things for me also, is that this idea that that you know, in regards to race, that Black people had no hand in the abolition of slavery, that it was just sort of one man who, you know-- so I think the retelling of these stories, which also has to do with telling the truth-- some-- the gritty ugly truth about maybe some of our heroes, that we have to say, OK, this isn't for the purpose of destroying people. But we need to know these truths so that we can actually move forward and not repeat them. So yeah. I mean, that is my hope.
REBECCA KEEGAN: I have a few lighter questions with the last few minutes before we wrap. One is complete this sentence, I wish Hollywood would let me make. Glenn, what would you-- how would you finish that sentence?
GLENN CLOSE: I knew you're going to ask me first. I wish Hollywood--
Would let me make?
REBECCA KEEGAN: Yeah.
GLENN CLOSE: Oh, lord. Oh god. I don't know, because I never know what I'm going to be attracted to until it comes along, make whatever I think is great.
I'm just-- I just have to say, I'm sitting here and I'm so inspired by what everyone has been saying. That you know, is quite overwhelming, is so articulate and so beautiful, you know, what everyone--
KATE WINSLET: But we've got you to look up to, Glenn. Glenn, we've got you to look up to, Glenn.
GLENN CLOSE: But I can't tell you. It's very moving to me, to hear all this. I've been an actress for 46 years.
And when I think of the change, the monumental changes, that in my short time have witnessed, and the expectation the-- is going to be phenomenal, when we finally can get back to doing what we are here to do. I think there's going to be an overwhelming amount of stories, and new ways of telling stories.
And so I'm thrilled. You've know we all just want a great role. Right? We want a great story. And I think all of us hope that those stories will come our way, and that it will inform us, and inspire us, and make us better at what we do.
REBECCA KEEGAN: This is a question for everybody. But we'll start with you, Zendaya. What will you do differently in 2021?
ZENDAYA: What will I do differently in 2021? Well, the world-- world is obviously different now. And I think it's important to keep that in mind.
And for me, it's definitely been about gratitude, not only just for my job, but I got to be in this situation with a global pandemic happening, and know that I had a job to go back to, or I know that I could create a job for myself if I needed it. And I think that, for me, it's going into this next year, with just an extreme amount of gratitude for every opportunity, for my job.
I try to just take all of it in, because I love it so much. And I'm very, very lucky to be in the position that I'm in. Whatever I can do to you know, again, tell more stories that I want to see be told, or make opportunities for people who absolutely need it. I mean, that was one of the coolest parts about Malcolm & Marie, is creating like a structure in which all of our crew members got points on the movie, so they got back end, so they got paid in a time where they didn't have an opportunity to make money.
So to me, that is really important, and keeping hope, for sure, because it feels very dark at times. And I have said it a bunch, but I'm very-- you know, I admire my peers, many of which are my friends, many of which are out in the front lines, on the streets doing the work. I just, again, gratitude.
REBECCA KEEGAN: Carey, what about you? What would you do differently in 2021?
CAREY MULLIGAN: Well, I mean, I think you spoke so beautifully. The first thing that came to my mind was that I'm going to go to the theater as much as I can, as soon as we can, and the cinema. And I'm going to sit around people and watch something together with them.
And it's just, it's shocked me how much I missed that. I don't miss-- I don't go to restaurants, or bars, or anything like that. But I've so-- I watched a sort of medley of musical theater on television a couple of weeks ago, and it just made me cry. I just want to be a part of that. It sort of sounds quite trivial. But I think that is something I'm looking most forward to.
REBECCA KEEGAN: What's a habit that you picked up during the pandemic that you intend to keep? Vanessa, why don't we start with you?
VANESSA KIRBY: Well, I learned how to make soup, which I've never known before. I've never made so much soup in my whole life. So that's probably a skill that will still be-- stay with me for life. But also, you know, I got like a really intense time with my sister. And it really reminded me that actually, what really matters is you know, the people closest to you
REBECCA KEEGAN: Yeah, you know. I actually, just to sort of piggyback off of what Vanessa just said, when I'm sort of in the rat race of things and busy, I do-- I'm not great at communication, honestly. And I get so caught up in what I'm doing. And so I've just connected with people more, with friends more, and family, just acquaintances.
And this time has sort of just taught me just the value of those interactions with people, the value of encountering, and appreciating, and celebrating other people's spirits. And so yeah. I think, and you know, to be better at communication. I think that's definitely something. Please God, let me keep it.
VANESSA KIRBY: You know I never give time to myself at all, really. I don't, you know. People will often say to me, oh, you need to get a massage. And I think, what. You've got time for that?
So actually, I just have enjoyed, quite honestly, just going really easy on myself. You know, if I had a week where I think, oh, I probably had too much toast, oh well, or well, you know, maybe I should do some more exercise, maybe I'll do that next week, and just kind of learning to go, oh, doesn't matter.
Doesn't matter. Life's too short. Just enjoy this time. And it doesn't matter about all that crap.
I've just-- I think I'd like to hang on to a bit of that, actually, because it's easy in this job to have to live by certain disciplines, whether it's just sleep patterns, or times that you eat, for example. And actually, just letting go of all of that has been really such a joy, not enforcing any degree of sort of stress or structure on stuff. I've loved all that. So I'll hopefully I'll carry that on.
GLENN CLOSE: Well, kind of taking from what people have said, I think do less, which means, to Kate's point, you-- it's OK to do something for yourself, even it's saying I'm going to read for an hour. I don't have to have it as a reward for doing something. I can just have it to do, because I so deeply enjoy it.
I think to keep connections with people that I've had new connections with during this time. And I also-- I don't know quite how to articulate, but I came-- I came here, where I live now, because my last three siblings are here and I had spent my whole adult life away from them. And we're now in the same town.
And so for me, work is so I can come back home. You know, it's kind of changed things. It's not like, I'm waiting at home until I go to work. It's really, really valuing the work, because it means that I'll be able to come home.
KATE WINSLET: Can I-- before we go, Glenn. Glenn, you just look [BLEEP]ing amazing.
ANDRA DAY: Yeah.
KATE WINSLET: You look so incredible.
VANESSA KIRBY: Literally sensational.
KATE WINSLET: I just honestly.
GLENN CLOSE: Thank you.
KATE WINSLET: You just are such an inspiration. And you just look amazing.
GLENN CLOSE: Thank you. Wow. That's very sweet, because I've watched-- I've looked my-- look at my face change in this last year to it-- it's yeah. You say this can't--
KATE WINSLET: Embrace it. You look so wonderful.
GLENN CLOSE: Thank you so much. That means the world. Thank you. Thank you.