Sarah Paulson Breaks Down Her Most Iconic Characters

Sarah Paulson breaks down her most iconic characters, including her roles in 'American Horror Story,' '12 Years a Slave,' 'American Crime Story,' 'Studio 60 on the Sunset Strip,' 'Ocean's Eight,' 'Game Change' and 'The Goldfinch.' Sarah Paulson stars in 'The Goldfinch,' in theaters now!

Released on 9/20/2019

Credits

Starring: Sarah Paulson

Transcript

00:00
I think sometimes when you go through traumatic things
00:03
as a character, your mind knows that it's not real,
00:06
but your body doesn't know
00:07
that you're not going through something really awful.
00:09
So there is a point where it's like you have to try to,
00:11
I have to get better at calibrating for myself
00:14
how to go there, but then be able
00:17
to protect myself afterwards
00:18
so I don't need to be hospitalized
00:20
immediately after shooting.
00:22
[upbeat strings music]
00:27
American Horror Story.
00:30
Working with Ryan Murphy has been arguably
00:32
the greatest experience of my life
00:35
and has borne a tremendous amount of my acting fruit,
00:40
if that's a sentence one can use, but you know,
00:43
he continues to come to me,
00:45
on American Horror Story alone I've played,
00:47
I don't even know how many,
00:48
I mean I did eight seasons of that show
00:50
and in one or two seasons, I played multiple characters,
00:53
sometimes a reprisal of another character,
00:55
but in one season I had two heads.
00:56
So you know, there was, he just continues
01:00
to throw me opportunities to play
01:02
to stretch my acting muscle
01:04
and also I think he's giving me the greatest gift
01:07
which is not just the opportunity to work,
01:08
but he's already given the audience freedom and permission
01:12
to not expect one particular thing from me
01:15
which I think allows people to accept me,
01:19
I hope allows people to accept me in different parts
01:21
even ones that they have you know,
01:23
if you're on a show for seven or eight years
01:25
playing the same character that people love and you try to,
01:28
as an actor, step outside of that and play something else
01:31
in a movie or another television show,
01:33
sometimes the audience gets very protective of it
01:35
and they resist it whereas on American Horror Story,
01:38
I've played so many different parts
01:39
and it's part of what the audience likes
01:40
about watching the show
01:41
is seeing all the different actors
01:42
playing different things every year
01:44
and I think it allows for more elastic creativity
01:48
and a willingness on their part to buy it
01:51
when we play something different because they're already,
01:54
they're already down with that and that means hopefully,
01:56
I'll get to do, I'll get to work into my dotage
01:59
in a way that maybe would be harder
02:01
if there was a certain assignment put on me
02:05
about what I can or can't do.
02:07
The most challenging thing I've ever done
02:09
in American Horror Story was playing Bette and Dot
02:11
because you know, I'm one person and I have one head
02:14
and I was playing someone who had two of them
02:16
and they were, they had very disparate personalities
02:19
yet they shared a body.
02:22
♪ I've been a bad, bad girl ♪
02:27
Was the scenes Jessica Lange hated shooting,
02:29
shooting more than anything because she'd be like,
02:31
oh are we shooting with the twins today?
02:34
We'll be here for 20 hours and I'd be like,
02:36
thanks lady and she was like, well it's not you,
02:38
it's just, it's 20 ah, it just, we've just,
02:40
it just increased the length of our day
02:43
'cause you had to do everything twice.
02:45
It was really, really challenging
02:47
just from a physical standpoint.
02:48
Sometimes we would have a puppet that I would be,
02:50
for a while they had someone else trying
02:52
to manipulate the puppeteering and it was just too confusing
02:54
so I started doing it so I kind of became
02:56
a part-time puppeteer because I would know
03:00
when to rotate the opposing way if I looked one way
03:02
and wanted her to look the other way
03:03
'cause he wouldn't, the puppeteer wouldn't know
03:05
what I might be doing, but the character I was playing.
03:07
It was very heavy and we were shooting in New Orleans,
03:08
it was very hot and all the green screen stuff you know,
03:11
we were having to, it was just within a millimeter
03:13
of matching to, it was just really hard and you know,
03:16
at one time, I've talked about this a million times though,
03:18
like where I had to write with one hand,
03:20
but then act with another.
03:21
So I was playing one character,
03:22
but my body was doing the body reference
03:24
for the other part that I was playing.
03:25
It was an actual nightmare, but I am very proud
03:29
of having done it I don't think anyone had ever done
03:32
what we did on that show
03:33
even from a special effects standpoint at that point.
03:35
So it was a pretty, pretty extraordinary achievement
03:39
for everyone I think.
03:41
I think sometimes, when you go through traumatic things
03:43
as a character, your mind knows that it's not real,
03:47
but your body doesn't know that you're not going
03:48
through something really awful and it's something
03:50
that would happen to me a lot on American Horror Story
03:54
where I'd often spend a lot of time in peril
03:56
or running or screaming or crying.
03:58
Please, please no, no, no, please, please, no, no [screams].
04:02
Stop fighting.
04:05
Your body doesn't know that you aren't really being chased
04:07
and I suppose if I were a different kind of actor,
04:09
I could fake it better, but I don't know how to do that,
04:12
so I'm not the kind of person that will
04:13
like do a scene where I'm being pursued by a clown
04:15
and then I get up after they yell cut
04:18
and I'm just like, what's for dinner you know.
04:19
I'm the girl in the corner shaking.
04:21
So there there's a there is a point
04:23
where it's like you have to try to,
04:24
I have to get better at calibrating for myself
04:28
how to go there, but then be able
04:29
to protect myself afterwards
04:31
so I don't need to be hospitalized
04:32
immediately after shooting.
04:34
It's real adrenaline in your body you know,
04:38
you are really asking yourself to go somewhere very specific
04:41
so that you can simulate for the audience
04:44
that this is something you're going through,
04:46
but I don't know how to do it in a way
04:47
that feels like a simulation to me.
04:49
So that costs you something,
04:52
but I wouldn't trade it for anything.
04:54
I mean, I wouldn't trade it for anything.
04:56
Playing Lana Winters, prior to playing Marcia Clark,
04:59
that was the most extraordinary experience I ever had
05:03
in terms of what I felt about the character.
05:05
The barometer for it is like how devastated I am
05:07
when it's over, you know.
05:09
That was one of those years on American Horror Story
05:12
where I wished I could have just continued to play her.
05:14
[Nun] Remind me of your name.
05:16
Lana, Lana Winters.
05:18
Can I ask what Shelly did?
05:20
I assumed you were punishing her for something.
05:22
I assumed you were here to do a story on our bakery.
05:24
Oh believe me, no one loves that molasses bread
05:26
more than I do.
05:27
Played her through several ages you know, but that was,
05:29
I don't remember how old I was at the time,
05:31
but I played someone in their, I played Lana in her 70s
05:34
by the end of that series.
05:36
So I basically spanned a whole lifetime with this character.
05:39
I don't imagine my age
05:40
you'd be much interested in this skin.
05:47
I've thought about this.
05:51
And so I got very attached to it
05:53
and it was very hard to say goodbye.
05:56
Sometimes that happens where you get a weird blurred line
05:59
of you don't know where you stop and the character begins
06:01
and it feels very, it's like a haunting,
06:04
almost you've been haunted by a character and it's hard to,
06:06
you need an exorcism to kind of get them out.
06:09
[Female] What is is about a character
06:10
that makes you have that connection?
06:12
I don't know, I you know,
06:14
the Lana thing I think it was my first time
06:16
where I had a real leading role on something
06:17
and where I was so integral to the story
06:20
and Ryan had really trusted me with it and you know,
06:24
again, I spanned a lifetime with her.
06:26
So it almost felt like a life I had lived.
06:28
I had that with Lana winters, I had that with Marcia Clark
06:32
and I just had that with Mildred Ratched.
06:34
[beeping]
06:35
American Crime Story, The People versus OJ Simpson.
06:38
Playing Marcia Clark was probably,
06:41
at this point in my career,
06:42
the greatest opportunity I ever had
06:44
and it was something I really ended up learning a great deal
06:47
about myself as an actor when I played that part
06:50
because I didn't realize I had only, up until then,
06:52
although I had played real people,
06:53
I had never had such a surplus of information
06:56
and I never played a character, a real-life character
07:00
that was so integral to the plot.
07:03
The People versus OJ was, had a lot to do with you know,
07:06
sort of Marcia's story
07:08
and the misrepresentation of Marcia's story
07:11
in the media during that time.
07:14
Good morning Miss Clark, I think.
07:54
I had so much information to dive into and draw upon
07:59
and try to bring forward that I realized that as an actor,
08:02
I actually really prefer playing people, real people because
08:06
then there's such a foundational blueprint for me
08:09
to source where I don't have to wonder
08:12
what a character would do in a moment,
08:13
I have all this information that tells me,
08:15
'cause sometimes when you're creating a character
08:17
out of whole cloth or with a writer
08:19
and a director out of your imagination,
08:21
any choice you make could work,
08:23
but when you have a blueprint you can really,
08:25
really make confident choices and decisions
08:28
that you can really stand behind which I think
08:31
then ends up creating a more confident performance,
08:34
not because you think you're doing such a great job,
08:36
but because you can really get behind your choices
08:39
in a way where you're not ever wondering oh,
08:41
well I guess I could do it this way.
08:42
I could be more angry, I could be more injured,
08:45
I could be, I could very clearly say,
08:47
oh no, she would just be pissed here
08:48
or she would feel forsaken here or unseen here you know,
08:52
there was so much for me to to play with
08:56
in a way that I find really soothing
08:58
and ultimately very peaceful making
09:00
rather than stressful making, although I did worry
09:02
about getting it right for her and not disappointing her
09:05
and all of that, even though she wasn't involved in it,
09:07
so there was no way to really know.
09:09
This same DNA matched the blood you found
09:11
on the back gate at Bundy?
09:12
Yes, it does.
09:14
[Sarah] And does it match the blood you found
09:15
inside Mr. Simpson's Bronco?
09:17
Yes, it's all from the same individual.
09:19
And does it match the DNA and the blood you found leading
09:22
up to Mr. Simpson's house and on the sock
09:24
at the foot of his bed?
09:25
I mean, doing those courtroom scenes as Marcia Clark,
09:27
we were in that room with the lights on you know,
09:30
with everybody behind us that was there every day.
09:33
Whether it was the background artist or a member of the cast
09:36
that was playing someone that day who was just watching,
09:38
plus all the jury was there every day.
09:40
It was like walking into a real courtroom
09:42
and it was an absolute visceral experience.
09:44
Any time we had to get up there and you know,
09:46
Sterling or I or even someone on the opposing side having
09:50
to get up and give our closing arguments
09:52
or interviewer cross-examine someone,
09:55
you're doing it in front of all these people,
09:57
just like they were and she just was a fascinating woman
10:00
and I didn't want to say goodbye to it.
10:01
It just, I got real really confused when I was playing her,
10:05
like am I she or is she me or am I, it was just weird.
10:10
[upbeat strings music]
10:11
Studio 60, Studio 60 was my first sort of sparkly job
10:19
and it was the show that every single actor,
10:23
like every actor in town was auditioning for this
10:25
and you know, because it's Aaron Sorkin
10:28
and so it was really exciting.
10:30
Matthew Perry had just finished Friends,
10:32
Bradley Whitford had just come off The West Wing,
10:34
it was Aaron Sorkin.
10:35
It was a very nerve-wracking, scary time.
10:40
Matt?
10:41
Yeah.
10:42
I got into the Falstaff Society.
10:44
Hey great, are you the first woman?
10:46
I'm the eleventh woman.
10:47
Cool.
10:48
I am the first woman from the Great Lakes region.
10:50
You're quite a pioneer.
10:51
I am, I'm being inducted Saturday night
10:53
and I need to tell a joke.
10:54
We did a lot of walk and talks on that show.
10:55
Everybody was kind of making fun of that component of it
10:59
which was much like the West Wing
11:01
and other Aaron Sorkin shows as well,
11:03
but if there was a contraction.
11:05
If it was wouldn't instead of would not
11:07
and you said would not or if the reverse were true,
11:10
there was a woman whose job it was on set,
11:12
we called her the hawk.
11:13
Matthew Perry called her the hawk
11:15
because she would come up to you and you know,
11:17
you would have done a long walk and talk that took you know,
11:20
I don't know, was a single take all the way down the hallway
11:22
and then you'd see Wendy like walk towards you
11:24
and you're just like, oh my god.
11:26
Matthew would be like, ka-kaw, ka-kaw
11:29
because you know, you would think, really?
11:30
For saying wouldn't instead of would not and Aaron,
11:34
I think was a, majored in musical theater
11:37
or it was a music major in college so he was,
11:39
he's really focused on the rhythm of something.
11:42
So you could always tell when he was happy
11:44
or unhappy with something you had done
11:46
and he was usually around the rhythm of it
11:48
and part of the rhythm of it was designed
11:51
to have every word that was there be
11:52
for a very specific purpose.
11:53
So, it was almost Shakespearean
11:55
in terms of the way it was written and you just really had
11:58
to learn your lines to the letter, to the comma,
12:01
to the period, to the contractions.
12:03
It was really specific.
12:05
Especially 'cause it was early, I was barely 30 years old
12:07
when I did that show and it was sort of earlier on
12:09
in my career and I had come from a sort of dry spell
12:12
of not working and we'd been doing some theater in New York
12:14
and it was nerve-wracking because you don't want Aaron
12:19
to not be pleased with you and also,
12:21
you do know that from an acting standpoint,
12:23
you're only as good as your text
12:25
and when you have text like that, you just,
12:28
you're already ahead of the game,
12:30
but I think sometimes I was, when I look back and watch it
12:32
I'm like oof, I can tell I was so scared [chuckles]
12:36
of messing up the lines that it was sometimes hard.
12:40
It just felt, the whole thing felt a little nerve-wracking,
12:43
but I also did think, wow if they want me to be here,
12:46
if I'm included in this group then maybe,
12:49
maybe I have a future.
12:52
12 Years of Slave, but I played Mistress Epps
12:56
in 12 Years a Slave which was probably one
12:59
of the harder things I've ever had to do in terms
13:01
of the way playing something makes you feel after doing it.
13:07
There was a cruelty to her, there was a,
13:11
although it was my responsibility and Steve McQueen's desire
13:14
for me to not judge the character at all
13:16
because he didn't think it would help serve the story or me
13:19
or my portrayal if I was judging her too harshly,
13:23
but it was very hard to go to work every day knowing
13:26
that I had to treat Lupita the way I did.
13:29
Trying to reorganize my own personal beliefs
13:32
to stand behind something
13:33
I really found abhorrent about her.
13:36
[Sarah] Who is your master.
13:37
Master name of Freeman.
13:38
Was he and learned man?
13:41
[Man] I suppose so.
13:43
He learned you to read?
13:45
A word here or there,
13:49
but I've no understanding of the realtor.
13:50
Don't trouble yourself with it.
13:53
Same as the rest,
13:54
master bought you here to work, that's all.
13:58
Anymore will learn you 100 lashes.
14:00
But I just, I just knew that I had a real part
14:04
to play in the story, the telling of this story
14:07
that if I didn't lean into it
14:09
or if I tried to soft-pedal it,
14:10
it wouldn't have helped the overall narrative
14:13
and so my job was to help depict
14:16
the terrible life they were living
14:19
and it wouldn't have helped that story at all
14:21
if I had tried to engender some kind of kindness
14:24
between me and the audience.
14:25
It just, I don't think it would've gone well
14:28
which is something that, after playing that part,
14:31
I have sort of decided can be a wonderful part
14:36
of what you get to do as an actor.
14:37
It was through playing this part
14:39
that it kind of cemented this belief in me that you know,
14:42
we all have a responsibility as performers
14:44
to try to shed light on human behavior
14:47
and try to reflect back some of what we encounter
14:51
in our own lives and sometimes that isn't a pretty picture
14:54
and we all have people in our lives
14:56
or have dealt with people in our lives who,
14:58
or we all, if we're honest with ourselves,
15:00
have certain qualities that aren't pretty
15:05
and that are sometimes self-motivated
15:06
and I do think if you're gonna tell
15:09
a sort of three dimensional, if you're going to try
15:11
to paint a three-dimensional portrait of a person,
15:13
you have to have the underbelly to
15:15
and I do think sometimes it's hard because in the industry,
15:19
in order to get more jobs, you try to make sure
15:22
that the audience is on your side or you know,
15:24
but because I feel like I play more character parts,
15:28
I feel like I have more latitude to kind of go
15:32
to some darker places without worrying
15:34
whether people walk out of there liking me or not you know,
15:37
because my job is actually,
15:39
there's a larger responsibility there
15:41
in terms of just trying to help tell the story.
15:44
Oceans Eight, Oceans Eight was just so fun.
15:50
I mean, I've never been on a set probably with more
15:52
than one woman at a time in a story
15:54
that I might be part of telling.
15:55
Usually, there's a couple of guys and one lady
15:59
and I think we all kind of marveled at how unique it was
16:03
to be on a set and everywhere you looked,
16:06
your scene partner was a woman.
16:07
Deb, what are you doing here?
16:09
I thought you were in jail.
16:12
I got out.
16:13
Look at all this, thought you were tired.
16:18
I did.
16:20
Not as exciting as hijacking trucks
16:22
that are smuggling dishwashers from Canada, right?
16:24
Yeah, well I don't do that anymore, so.
16:26
But you were so very good at it.
16:27
Thank you.
16:29
So these are all for, for personal use, right?
16:31
What do you want?
16:32
And we all remarked how that had rarely been the case
16:37
and how wonderful it was and what an extraordinarily great,
16:40
fun dynamic it created.
16:42
What a wonderful makeup trailer it was
16:44
and the things that we all talked about were so you know,
16:47
family and friendship and motherhood
16:49
and it just, it was a really extraordinary set
16:52
to be a part of and obviously working
16:55
with some of the most celebrated actresses and you know.
16:57
Rihanna, she's she's the greatest and she's also Rihanna.
17:01
So that was like I think, all of us were,
17:03
it was a real highlight for all of us, I think.
17:06
I was the only nerd who like couldn't,
17:07
I would sing in front of her anyway and you know,
17:10
everyone would just stand behind me like just please, stop,
17:13
don't sing, but I'd be like, I tried to come up with songs
17:17
for her new album and she wasn't that interested in them
17:20
and I don't, I'm not quite sure why.
17:22
I thought some of them were really catchy.
17:25
Game Change, Game Change was another job
17:29
that came to me really after a weird dry spell.
17:32
I had a lot of like fits and starts like a sputtery car
17:35
in my career in the beginning of it
17:37
and it came after a drought and it was the second time
17:42
in my career where I was told by the director
17:43
that it was their, the third time,
17:45
that happened in Studio 60 as well,
17:47
I was told that the wives of the directors are the ones
17:49
who insisted that it be me
17:52
when it came down between me and other actress.
17:54
That happened on 12 Years a Slave,
17:55
Game Change and Studio 60.
17:58
[Woman] What do you attribute that to?
18:00
Women are smarter, I guess and they just you know,
18:03
I remember Christine Lahti telling me she's married
18:05
to Tommy Schlamme who directed Studio 60
18:08
and she was the one, it was between me and other actors
18:11
who I won't name, but who's incredibly good
18:13
and I think it was a real, it was a real neck-and-neck thing
18:17
and apparently it was Christine Lahti who,
18:19
and it was Susanna Hoffs who's married to Jay Roach
18:21
for Game Change.
18:22
She's just the lead singer
18:23
of The Bangles you guys, it's no big deal.
18:24
She was, there was another actress they were about to cast
18:27
who I think looked more like Nicole Wallace
18:29
and my tape came in quite late
18:32
and so it was Susanna Hoffs apparently,
18:35
who pushed Jay Roach into going with me
18:38
and then I think it was Steve McQueen's daughter
18:40
in 12 Years a Slave who was like watching my tape
18:42
and was like, Daddy she really scares me
18:44
and he was like, I should probably go with her for that one.
18:47
So Julianne Moore to me is arguably
18:49
one of our greatest actresses and I was totally freaked out
18:53
to work with her, but it was very stabilizing
18:57
that the first time I met her was not as Julianne Moore,
18:59
it was as Sarah Palin and my character was supposed
19:02
to be kind of stunned by the experience of meeting her.
19:06
You memorize these answers,
19:07
I'm sure you're going to nail this interview.
19:08
How do you know he'll ask these?
19:10
I was the White House communications director,
19:11
it's my job to figure out the questions.
19:13
Saakashvili.
19:15
Saakashvili, the president of Georgia.
19:18
Saakashvili, Saakashvili.
19:21
Saakashvili,
19:22
Saakashvili.
19:24
Let me ask you
19:25
about some specific national security situation.
19:27
Sir.
19:28
Let's start with Russia and Georgia.
19:29
Do you believe the United States should try
19:32
to restore Georgian sovereignty
19:34
over South Ossetia and Abkhazia?
19:36
So that was a very helpful reality for me
19:39
that I think the first time I met Julie was
19:41
in an elevator on her way up to rehearse a scene
19:42
and she was already fully, fully in the Palin look,
19:47
so that really helped.
19:48
She listened to her iPod a lot and I think she was listening
19:52
to Sarah's you know, speech pattern a lot, but she could,
19:56
she was not one of those actresses who was sort of be
19:58
in the corner with you know, like barriers around her
20:01
while she prepares to do something.
20:02
She's really remarkable that way.
20:04
There was a big scene in that first script
20:07
that was not there.
20:09
In the final product, there was a big scene
20:12
that was not there in the first script which is something
20:14
that Nicole had told them happened
20:17
that they didn't find out about until later
20:19
which was that Nicole didn't vote
20:20
and that was a sort of moving scene in that show
20:26
where I come up to Woody Harrelson and I tell him
20:29
that I couldn't, I couldn't vote
20:30
even though it was a member of my own party
20:32
and that I had been campaigning for McCain
20:34
and I couldn't bring myself to vote for him because of her.
20:38
There is something I have to tell you.
20:41
[Woody] Sure.
20:44
I didn't vote, I couldn't do it.
20:49
I didn't vote.
20:54
I couldn't do it.
20:56
It's okay.
20:57
That was a very illuminating piece of information to have
21:00
and when Danny strong, who wrote that
21:03
when we were talking about it, he said I think I have
21:06
to put that in the script and so he did which was great
21:09
'cause it was you know,
21:10
the thing about playing a real live person whose job it was,
21:13
she was a communications director for the White House.
21:15
So she had a lot of on-camera things for me to see.
21:21
I could go on YouTube and see,
21:23
but I could only see the public side of her
21:24
and what I was trying to bring to life
21:28
was the private side of her and I had nothing to reference
21:31
and I remember talking to Jay Roach
21:32
about whether or not I should try to replicate her voice
21:35
and he said you know, the thing is,
21:37
is that Nicole's really there, I mean,
21:39
she was obviously a big part of what happened,
21:40
but she's our eyes into the behind the scenes of this.
21:43
She's the audience.
21:44
So if you try to create a physical and vocal replica of her,
21:52
I fear that because she's not as well-known
21:54
as the the Palin voice and the McCain voice,
21:57
it'll be too much of that and I think we need
21:59
to have a way into the story that feels more personal
22:02
and our way through that story is
22:03
through Nicole's character.
22:05
So I didn't do anything to try
22:08
to adopt any physical communication of her self at all.
22:14
The Goldfinch, The Goldfinch was something
22:19
that I had wanted to do.
22:20
I had loved the book and I had said out loud in my bed
22:24
at night that I would love to play this part
22:26
if they ever made a movie and I didn't know
22:29
that I was a believer in manifestation,
22:31
but I did wish for it and I wished for it out loud
22:33
and it did come true so that was a sort of wild thing
22:35
and John Crowley, our director, I don't think envisioned me
22:40
because he had watched people versus OJ
22:41
and I think he could only see me as Marcia Clark
22:44
which happens sometimes and so I put on a wig
22:47
and a trashy outfit and got a spray tan and went in
22:51
and made an audition tape and I guess convinced him
22:54
that I could do it.
22:55
That was a very rewarding experience for me
22:57
to know that somebody had an idea about me
23:00
that made them I mean, almost say no we wouldn't,
23:03
we don't want even want her to come in, she's not right
23:06
and I was able to change their mind with my audition.
23:10
So it means I did something there that made him see me
23:13
in an entirely different way which means I guess,
23:17
I was able to transform myself in a way
23:20
that made me feel like a real actor and that's the job.
23:25
To me, I'm actually an actor who likes to work
23:27
from the outside in.
23:29
So it's always about the costume and the way the hair falls
23:33
and what the hair color is going to be and what my shoes are
23:36
and then all of a sudden, oh I can figure out how to walk
23:38
and you know, Xandra wore these insanely high shoes
23:41
and these very tight jeans.
23:42
Just the opposite of what I wear.
23:44
I would like to wear a giant bag at all times
23:46
and she just, it was incredibly body conscious
23:48
in a way that was so far from my comfort zone
23:50
that it actually made me walk different.
23:52
I walked more pitched forward and my ass was out
23:55
and you know, it's just a different way of carrying myself
23:58
and none of that is something I could have pre-planned.
24:01
It was something that happened to me
24:02
when I put on the costume.
24:04
I always like to work that way and that's why you know,
24:07
when you're lucky enough to work
24:08
with extraordinary costume designers.
24:10
I work with Ann Roth on The Post and you know,
24:12
she wanted a pocket in a particular dress I was wearing
24:15
just in case I needed a Kleenex in it
24:17
for this one scene and so it, and she thinks you know,
24:20
a lot of great designers think like actors
24:23
and they're imagining themselves in that environment
24:26
and what they would want and what you would really need
24:28
and not just coming up with an outfit that looks great,
24:31
but something that is useful.
24:32
If you're playing a person who is at home a lot
24:34
and you're cooking for your children,
24:36
you don't want to be wearing something overly tight.
24:39
Real people buy clothes that suit their lives, usually
24:42
and so when you work with really wonderful people
24:44
who think like that, it helps just,
24:46
it does half of your job for you
24:48
and it's incredibly exciting.
24:50
[light strings music]