’s Autumn de Wilde, what attracts you to artists who are still discovering their voices?
Autumn is the second woman director that you’ve worked with if I’m not mistaken. Have you identified certain advantages that a woman director brings to the table, especially when telling a woman’s story likeWhat was wonderful about Autumn and I was we became very, very close almost instantaneously.
You’re also the master of single-tear crying which you utilize in this film. Is this a skill you’ve acquired over time, or is it something you can do naturally? I wasn’t familiar with the actual dance steps, but I do think my knowledge of choreography and my ability to pick up choreography quickly put me in the right stead for that. I massively enjoyed those dance scenes because it’s presentation on top of presentation on top of presentation. You’re dancing in a certain way because you want to attract somebody, but you also have all of these steps for when you realize that the guy you want to pay attention to you isn’t paying attention to you.
It’s embarrassing sometimes because you’re like, “Don’t get too close; you’ll be able to see everything!” I guess I should be flattered by the fact that they want to have their lens so close to my face.. What did Edgar Wright evoke in you that no one else has so far? Yes, absolutely — especially with Chung-hoon Chung, our DP. He’s the loveliest, sweetest man, and he was so indulgent with me. He was creating all of these crazy new light tricks, and I just wanted to know how everything worked. So, he would show me how it worked, and I would do the scene. Afterwards, he would put in one of his crew so I could see the effect it was having on the camera.
anyataylorjoy On New Mutatns: “Technology nowadays is really amazing. I was visiting my parents [in London] for my dad’s birthday, and they managed to find a studio. So, I went in for an hour, did all of my ADR and left. So, you can do it; it’s just a very global affair.”
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