Kaley Cuoco, Elizabeth Olsen and more
Kaley Cuoco ("The Flight Attendant") and Elizabeth Olsen ("WandaVision") discuss their new roles as producers, and Emma Corrin ("The Crown") and Regé-Jean Page ("Bridgerton") talk about their breakthrough roles.
Ramin Setoodeh: Have you ever wished you could hang out with
some of your favorite Hollywood stars?
Regé-Jean Page: Everyone was stuck in their houses, feeling a
bit miserable, and we came with this joy bomb.
Ramin: Variety Studio invites you to listen in as today's
biggest actors talk to each other about their craft.
Kaley Cuoco: Have you ever done a sitcom before?
Elizabeth Olsen: No, it's so hard.
female: Obviously. male: Exactly.
Ramin: With Kaley Cuoco and Elizabeth Olsen and Emma Corrin
and Regé-Jean Page.
Ramin: Welcome to Variety Studio, "Actors on Actors."
I'm Ramin Setoodeh.
As you can see, we're still not back in our studio this season
but we know you'll enjoy these revealing conversations with
some of the best TV performers of the year from locations
around the world.
Ramin: Kaley Cuoco and Elizabeth Olsen play two of the
most talked about heroines premiering recently
on the small screen.
In "The Flight Attendant," Kaley Cuoco plays a woman on the run
who is wrongly suspected of murder.
female: Do not get arrested there.
The laws are, like, Byzantine.
Cassie Bowden: Right, yeah.
Well, how did you--how did you know
that I'm in Bangkok.
female: Oh, when we all took that girls' trip to Tulum we
turned on our "Find friend" thing 'cause, like, kidnapping
and, yeah, you just never turned yourself so--
Listen, you're not, like, actually in trouble or
something, are you?
Cassie: No, I'm hungover in Thailand.
Ramin: And in "WandaVision," Elizabeth Olsen finds herself
living in both a classic television sitcom
and a Marvel universe.
male: Mom, my head feels weird.
It's like, really noisy.
I don't like it.
Wanda Maximoff: Resting her eyes.
Wanda: As punishment for my reckless evening, I plan on
taking a quarantine-style staycation, a whole day,
just to myself.
That'll show me.
Kaley: First of all, you're in a bathroom.
I think we need to let--
Elizabeth: I'm in the bathroom.
Kaley: --everyone know.
Elizabeth: This is my first work-from-home in my home 'cause
I've been doing it and I've been in the UK for seven months and
I got back two days ago and my neighbor is doing so much
construction to their back yard and I can still hear it and I'm
in the furthest bathroom.
Kaley: Well, we can't hear it so you're gonna have to use your
acting skills to pretend like you don't.
Kaley: I feel, it's really crazy because when, first of
all, you know how much I love you.
I've loved you forever.
I wanna be best friends with you.
We always run into each other.
I'm like, "God, I love her so much."
Elizabeth: The feeling is mutual.
Kaley: Thank you, I just adore you but I have so many
questions for you, I don't even know where to start.
And I know you're shooting a film right now, right?
Elizabeth: I've finished "Doctor Strange 2."
Kaley: You're done--you've finished it?
Elizabeth: Yeah. Kaley: So how was that?
So were you shooting that in the UK too or you're doing--
Elizabeth: That's what I was shooting in the UK, so I
finished "WandaVision," it was, what month was it?
It was October, during this recent October.
We had--so we did two months during the pandemic and you shot
also during the pandemic.
Kaley: Yes, I wanna ask you how was that for you guys?
Elizabeth: Luckily, even though we filmed in Atlanta and
then we moved to L.A., we had a lot of the same crew so the mask
didn't feel as awkward as, you know,
there's still a fun spirit.
And I think we were just so excited to finish the show and
we wrapped in October on a Wednesday and they flew me to
London on a Friday and--
Kaley: Oh my God, and you've been there ever since?
Elizabeth: Mm, doing the same character for,
like, two years, almost.
Kaley: Wow, what is--well, I know what that's like,
but what is--
Elizabeth: Yeah, 'cause you're doing it.
You've been--you've done that for--I don't even know
how long, exactly.
Kaley: I was, like, what's it like to play the same
character--oh, I did that for 12 years.
Elizabeth: Is it 12 years?
Kaley: It was 12, yeah, which also feels like unbelievable.
Elizabeth: But, yeah, I mean, so you filmed in New York,
though, always, right?
Or you guys went to Thailand?
Kaley: Yeah, we were in Thailand and Rome which is so
wild to think for "Flight Attendant" we--
Elizabeth: You actually got to go to Rome?
Sorry, yes, for "Flight Attendant," which I loved so
much and I looked forward to watching it every week.
Kaley: Oh my God, you're so funny.
Elizabeth: It truly was part of, like, my England experience.
And it was so enjoyable.
I love it so much and you are so, so, so good in that, Kaley.
Kaley: Thank you.
Okay, this is gonna be a love fest.
Elizabeth: The tone that you got to go between, I don't--I
think only someone who's as, like, like you can't help but be
charming and to play that character makes her so lovable
that you're playing her and I just loved it.
And I love doing interviews where I get to talk to someone
else and ask them questions.
Kaley: Well, I think this is gonna be, like, a total
love--this is just a love fest of each other because we felt
the same way.
Actually, my husband and I binged "WandaVision" together.
We rarely watch the same things and so we were like, "We're
gonna watch this together and, like, bond over this."
You were so adorable and charming and real, it felt so
real to me, and my husband, obviously, loves all those
"Marvel" movies and so this was a bit of a new genre for me to
experience and--but I love you so much.
And then I went in to frickin' "Sorry For Your Loss," and my
soul broke into a thousand pieces.
That was, Lizzy, I cried and I mean this so as a compliment.
You broke my heart in that show.
And then knowing you produced that as well, so I knew all the
things you were probably going through, right, like, how did
you feel with all the different hats?
I've been getting asked that a lot and you probably got asked a
lot that too, as an actor and choosing things and producing
and looking at it from a different view.
Was that your first time doing that?
Elizabeth: It was, yeah.
And I loved it.
I loved it.
I was so excited to discover how we pick a crew, how to cast, the
pitching process, the whole thing.
Like, I loved the--I loved being a part of something from the
beginning to the end and I really enjoyed
that kind of obsessive mode.
I don't know how people do it back to back, like, I don't
know--I wouldn't know how to produce something else besides
that show and be in it back to back.
I feel like that would be really overwhelming, 'cause I think
eventually sometimes you just wanna be an actor
and not have all the control.
Kaley: I agree with you.
I liked the busyness and how busy it may--like, I was--as you
know, it doesn't end.
You can stay up 'til 2 in the morning
and be at it, or whatever.
The job doesn't really end.
But it was interesting and you probably saw this too, like, as
an actor, you know, we come in and do our job and it's great
and then we, like, move on to the next shop.
And what I learned through this process, the producing side of
it with "Flight Attendant," how all the work, a lot of work
starts the minute we leave.
I'm like, "Oh my God."
I remember when we wrapped--when I wrapped for the season and at
the very end and I said to the crew, I was, like, "You guys,
this was so eye-opening for me.
This--it was truly a train and if any wheel was wobbly, we
wouldn't--we wouldn't be here."
And I mean that for every single person on that set,
on and behind.
It was really cool and definitely gave me a whole new
view on how freaking hard it is to make a show.
Elizabeth: Yeah, and why people get--
look so tired at the end.
Why we all look so tired at the end.
Kaley: And a little irritated.
A little irritated and a little eyes open.
Elizabeth: Patience gone. Patience, forget about it.
The only people who get your patience are the people you work
with and everyone else in your life suffers.
Kaley: Oh my God.
Well, going back to--you started to say it
then we went on to something else.
Have you ever done a sitcom before?
Have you ever done--
Elizabeth: No, it's so hard.
Kaley: It's [laughing]
Elizabeth: So hard.
But--so, your sitcom life experience.
Picking "Flight Attendant," was the original material very dark
and then you added the levity and created the tone, based on
what your natural inclinations are with storytelling?
Kaley: Yes, so I found the book about four years ago, and I
read the book, and the book is extremely dark, very--there is
not one funny word in the book.
Like, there's nothing funny about the book.
It is tragic and she is super-tragic.
So I got--but I loved the book. I loved her so much.
The book was a great jumping off point.
I loved the book, but I loved her.
And I thought, "Okay, let me get the rights to this.
This should be interesting.
And maybe it's a movie." And then I started sitting on.
I'm like, "No, I think it's a show."
And then when we started, obviously, talking about tone
which I laughed so hard--the amount of times we used the word
"tone," I can't ever say the word "tone" again.
What's the tone? What's the tone?"
We never really had--I said, "The tone is it's me.
And we're gonna throw this girl into this horrible situation but
you're also gonna laugh and you're gonna cry.
Then you're gonna feel super-awkward and then--it
couldn't just be that darkness.
I had to bring--I had to bring a little of the levity and we had
to kind of walk that tightrope, which,
by the way, was a total challenge.
Elizabeth: But that's what made it great.
That's why I loved it 'cause I couldn't put it in a box.
Kaley: Thank you.
Elizabeth: And that's what made it so enjoyable and
thrilling to watch because you didn't know how things were
going to be solved because it didn't feel like
it followed a formula.
Kaley: Oh, that's so sweet. Thank you.
It definitely did not.
It did not follow a formula and it was also a little bit of
a--it was a little bit of a risk 'cause--or a lot of a risk.
The whole thing was a risk for me, for sure.
But we never--because we didn't know how we were gonna really
edit this 'cause it was such a crazy tone, I was, like, "Okay."
I kind of found myself doing just a million different takes.
In one, maybe this time I cried and the next I would laugh, and
the next--'cause I just--we didn't know how we were gonna
edit this thing together and it was--and I'd go home some
nights, like, I don't know if you did this, maybe on "Sorry
For Your Loss," 'cause it was so heavy for you, but I would go
home some nights and I'm, like, "I--this is not--I don't know
what I'm--this is wrong.
Why am I doing this?
This is the biggest mistake of my life.
I'm leaving. Okay, this is horrible."
And then, like, the next day, I'd like--we'd do a scene, I'm
like, "God, this is so good.
We're--" I would just go through these emotions.
Like, I was a psycho.
One minute I thought, "We have to shut down 'cause I'm so bad."
And then the next day, we--"Oh, we're gonna, like, we're nailing
this," so it was--it can really pull on the whole stress--the
Elizabeth: So how did you, because you were such a leader
on this, how did you communicate or work together
with the cast and the crew?
Kaley: Yeah, it was such a responsibility in my eyes.
I'm sure you too, like, what that tone was gonna be.
It all came from me, how I--when I came there in the morning, the
things that came out of my mouth, they're watching me and I
know that and so it felt also like such a privilege.
Elizabeth: Yeah, I mean, that was a big deal for Paul Bettany
and I both, on "WandaVision," because we hadn't had the
opportunity to--'cause we were always a part of the "Avengers"
ensemble films and we just, you know, take up our piece of the
puzzle and you don't really play any kind of leadership role.
And so it was really important to us when we were doing this
show, for that to be the vibe.
And I--we had the greatest time making it, even though
it was impossible.
The whole--every day felt impossible but I think
we all had--
Elizabeth: Yeah, we had so much fun.
Ramin: Both Emma Corrin and Regé-Jean Page saw their careers
explode after starring in hit series in this last year.
In the fourth season of "The Crown," Emma Corrin plays
a young Diana Spencer who marries into the Royal Family
and loses her independence and privacy
as the Princess of Wales.
Diana Spencer: You know, I think this might be the most
important conversation we've ever had.
Prince Charles: Yes.
Diana: And the solution is so simple.
Any time either of us feels like we're not getting what we need,
we simply need to give that very thing to the other.
'Cause if you learn anything from today, it's--
Charles: We both need the same as each other.
To be encouraged, to be supported,
and to be appreciated.
Diana: To be loved?
Ramin: In "Bridgerton," Regé-Jean Page makes hearts
flutter as the eligible bachelor, Simon Basset also
known as the Duke of Hastings.
female: Even if you believe Lord Berbrooke is taken care of,
our ruse is not finished.
I'm still in need of a husband.
Simon Basset: Though I am flattered, I'm afraid I must
reject your proposal.
female: Yes, I know.
You're not the marrying type.
But have you considered you are not the type
women wish to marry?
Simon: I do suppose if I were forced to take a wife, you would
be the least objectionable.
female: Is that meant to be a compliment?
Simon: Yes, but it is my matter, for you wish to marry
for love, do you not?
female: Of course I do.
Emma Corrin: Yeah, so obviously, mad year for you last
year and the show--and "Bridgerton" was,
like, was brilliant.
I think, I saw some, like, mad statistic that, like, an insane
number of people watched it which is just--
you must have thought, like--
Regé-Jean: Yeah, I mean, I can't imagine that a small
number of people watched "The Crown."
Like, you have some public interest there.
It's like, I can imagine you can relate, you know?
Emma: No, it's, yeah, no, that's so true.
Did you feel like you learned anything about, like,
relationships and intimacy and navigating that from doing?
'Cause I mean, you're, like, Simon's relationship, that's
such a nuanced one in "Bridgerton."
Regé-Jean: Yeah, no, loads, loads.
Because that's kind of what I tasked myself with at the
beginning of the job 'cause Simon's in an archetype that
already exists, you know?
He's Darcy, he's Heathcliff, you know, he's a tall, dark,
brooding, broken, emotionally stunted man.
And he's also a romantic hero.
So how do we--how do we bring the hero into that?
What makes him worthy of the romance that we're kind of
putting him on this pedestal for?
Emma: You mean, like, how do you humanize someone who is such
a, from the outside, like a archetype?
Regé-Jean: Yeah, but not even just how do you humanize him,
how do you make him worthy of the archetype?
And if he is just kind of emotionally toxic, why are we
rooting for that, you know?
So it's not taking the archetype but kind of going,
"What Lego bricks do we need to stick onto this for the 21st
century so that we're not just regurgitating Heathcliff or
Darcy, you know what I mean?
Emma: And I guess, yeah, I guess it totally was.
Like, put all this, like, the classics, the Jane Austen,
the everything, into the 21st century to make it more
relatable and to take the lessons that she introduced so
brilliantly into this century.
Regé-Jean: Yes, literally.
I mean, those are the conversations I had right at the
beginning before we started, 'cause that's one of the things
that you expect when you're working with Shonda Rhimes so
they're not gonna give you something you've seen before.
It's kind of--if someone had pitched "Bridgerton" to me, not
with Shonda Rhimes attached, it wouldn't have been anywhere near
as interesting because I wouldn't have expected them
to bring the sense of progressive mischief
that they have.
Emma: That's a great phrase, "progressive mischief."
Regé-Jean: No, but this is it, 'cause also
these are bad boys, right?
These guys are bad boys.
But mischief is so dangerous if you don't handle it
responsibly, you know?
'Cause, like, there's bad boys and then there's, like,
lionizing badness which is not where you wanna end up,
you know what I mean?
Don't wanna lionize, essentially, abusive behavior
with the whole just kind of like,
"Well, he's just like that.
That's what kind of bad boys--"
Emma: Yeah, yeah, yeah.
Regé-Jean: He starts with this and then we have to redeem
that in order for him to become a romantic hero.
He has to discover how to use all of that wit and kind of
destructive charm and intelligence in a progressive
way that is generous to the woman that he ends up marrying
and that's the journey for me, you know?
Does that make any sense at all?
Emma: No, that's it, yeah, yeah.
I think that's such an interesting concept, like,
the fact that you had to make the person worthy
of something that, like, is so --
Regé-Jean: But I mean, you would have been dealing with a
completely different--'cause you have a lot
of source material to work from.
And you're kind of navigating this world between acres of
source material, very--in living memory about real people,
Charles and Diana and the rest of the family.
And then you have your imaginative space here where you
guys get to play with fiction and how do you balance out in
your head as an artist kind of how much of this is useful to
you and what you want to do artistically with your
imaginative space here?
Emma: That's a really good question.
To me, I think, the bridge between the two things for me
was the scripts.
I know that sounds really weird, like, obvious, but I had about
three or four months when I got the role and started doing the
research and everything, when I hadn't yet got the script, and
it was a bit, I felt like I was freefalling in this, like, into
this dark hole of more and more research and more and
more--like, I mean, God, if you, like, google Diana, there's new
articles every day, which is even, like, now which is insane.
And you can read limitless biographies and newspaper
articles and videos and speculation and I was, sort of
like, "This is great, but it's all very factual," and I felt
like I wasn't learning anything new about her that would
actually help me, as you say, artistically tell her story.
But then I got the scripts and then I was, like, "Oh,
actually--" I sort of had this mad realization that, as much as
this is Diana, this character is almost fictional
and you should treat it as such.
I really could just work off what was on the page because at
the end of the day, it's sort of a love story, it's a marriage,
it's two humans, navigating these extraordinary
circumstances they're under by virtue of their position in
society and how that works out with their development as humans
and their relationship.
Regé-Jean: Yeah, well, I think that's the only way that
we understand stories.
We have to humanize them 'cause, otherwise, it's a documentary.
Like, my job is--
Emma: Yes, exactly, or watch a documentary.
Regé-Jean: -- hundreds of them.
You probably watched them all, do you know what I mean?
Emma: I--yeah, totally.
Do you remember, like, what your first thoughts were when you
first read the "Bridgerton" scripts?
Regé-Jean: So I got the "Bridgerton" script and I was,
like, "Okay, cool, it's a period drama."
Got a couple of hundred years between --
and where we're at now which means we've got, like, three,
four, five, six, waves of feminism since, so it was about
where are we carrying this torch, in what direction can we
run and how far can we take it and what can we offer
to who we pass it on to?
Do you know what I mean?
Emma: Yeah, yeah, totally.
Regé-Jean: And so that's kind of why I deconstructed Simon the
way I did 'cause I was, like, "Okay, cool, if you're
Heathcliff, well done, good for you.
What do you have to contribute to a 21st century audience?
And how can we do things differently in that way?"
Emma: I think Simon's journey was so interesting in terms of,
like, unpacking masculinity as,
especially male characters that--
Regé-Jean: Means I -- achieved, thank you.
Emma: No, I just think it, yeah, especially as you say,
like, what are you gonna do differently if you're playing
one of these figures, like Heathcliff or Darcy, who are so
complex but never really unpacked and I suppose, as you
say, like, this is really you have the chance
to do that in this series.
Regé-Jean: And it's like, when you say the word "hero," it
implies it's someone you look up to and, well, we talk a lot with
"Bridgerton" about it being kind of female-centric, but also,
like, what are men looking up to, what am I doing with this
icon of masculinity and saying, this is worth looking up to.
And what vitamins are we putting in there?
You know what I mean?
Like, what's making this meal actually worth eating?
And my first--I think of "Bridgerton" as a Happy Meal but
with, like, secret vitamins, just like pumped in there.
Emma: A Happy Meal but with vitamins?
Regé-Jean: Yeah, it's like, it's a secretly really, really
healthy, organic burger but it's a --
Emma: Yeah, yeah, yeah.
You really enjoy it but you also know that it's nourishing you in
some way, it's like the best of both worlds, yeah.
Regé-Jean: So, you joined "The Crown."
Tell us about that process.
Emma: Yeah, it's kind of a long story, but I'll try
and keep it quite short.
And I was working, like, jobbing, trying to earn money
and--in London and also manically auditioning, running
round, auditioning for anything I could.
And they asked me to come in and help read for some of the
chemistry reads they were doing between Camillas who they were
auditioning and Prince Charles for Season 4, but they
needed--they had--Peter had written some preliminary scenes
with Camilla and Diana and so they needed someone
to read in for Diana.
So I was, like, "Okay."
And it wasn't an audition, like, I was being paid to be there and
I wasn't gonna be on camera but there was gonna be a room full
of, like, the producers and the directors and casting people.
So we decided that I would just, like, prepare as it was an
audition and so I did.
And I worked on the voice with my mom who's a speech therapist,
and I just, like, had some fun 'cause I wasn't really doing
anything anyway at the time.
I had a lot of time. And--
Regé-Jean: Do you see a parallel in that?
Like, in terms of, like, that trip we just talked about to,
what's the name of the house where Diana goes and goes on the
hunting trip to impress the family?
Emma: Balmoral? Yeah.
Regé-Jean: So, like, Diana goes out there.
It's not an audition.
It's totally an audition.
Emma: Oh my God.
You're drawing parallels, it's mad.
Regé-Jean: But do you see what I mean, though?
Emma: I had never thought of it like that, though.
Regé-Jean: It's like, exactly the same thing, like you kind of
turn up to the family house and it's not an audition, we're just
hanging out, but can you play the games the way we play them?
How good are you at Ibble Dibble?
Do you know what I mean?
Emma: Oh my God, I'm having a mental breakdown.
This is literally, I'd never thought about it.
Regé-Jean: Ah, the lady doth protest too much 'cause you also
walked into the room knowing this, like, you were like, "It's
not an audition, but I'm gonna do it really well
and prep well."
Emma: What if it was sort of an audition?
How has no one ever drawn that parallel before?
Regé-Jean: No, they have, surely.
Emma: No, literally, the first.
I hadn't even thought about that.
Regé-Jean: Mate, that was your Balmoral,
was that the name of it?
Emma: That was my Balmoral. Oh my God.
Regé-Jean: And you absolutely killed it.
Like, you walked in and you charmed Philip and you made your
way into the family.
Emma: That's so insane.
I'm gonna be thinking about that all day.
Yeah, so obviously it's been a mad year.
I mean, with like--
Regé-Jean: Yeah, I mean, in every possible way
for the entire planet, it's been a mad year.
Emma: The entire planet, yeah.
But yeah, what was it like for, yeah, your show to come out in
quarantine and everything?
Like, and not have a press tour and not have--not to be able to
do--be with the cast and, yeah, everything like that?
Regé-Jean: Different, but not all awful.
I mean, we were lucky enough to kind of have
with the premiere.
Everyone was stuck in their houses, feeling a bit miserable,
and we came with this joy bomb, to kind of dump on everyone,
this sort of glamour and glitz and massive ballrooms and travel
and all the things that we couldn't do.
All that we couldn't touch each other, we couldn't be together.
We couldn't think about getting glamorous and dancing with our
friends and thinking about the perfect romantic love and we got
to kind of give all of that ambition into your living room,
all at once, and go--it's called--I think Nicola Coughlan
said it was like throwing a box of Quality Street
at the television.
Emma: Yeah, yes, that's very accurate.
Regé-Jean: It's what we're looking for.
Brilliant -- and so we were able to deliver that.
We kind of got given this purpose as a Regency Father
Christmas television program.
And it was--so it was a joy to kind of deliver that
and be part of delivering that.
And so the press tour became easier because you just get to
talk about delivering this joyful thing
that people could do with.
And I was particularly thrilled with that because I think
finding an integrity in joy is really important to our
industry, because I think often you'll watch really miserable
programs and they're,
"Oh, I didn't enjoy it very much?
But it was very good 'cause I'm sad now."
Emma: Exactly. Regé-Jean: Know what I mean?
Emma: It's not weighty in the same way that, like, really
hard-hitting stuff is but, weirdly, it should be because I
feel like especially during lockdown, this is probably why
there was such an amazing response as well,
as you're saying.
Regé-Jean: 'Cause I've done both.
I've done "rrrhh" and I've done "whoo," you know?
Like, I've done the kind of super-depressing and heavy and
hard-to-handle, and I've done the kind of super-joyful and
colorful, and the lesson I learned from promoting both of
those shows and doing both of those jobs,
is that the weight is the same.
They're just different.
They contribute different things to people.
And it's--was such a joy for me to realize that there is
integrity in making people happy as much as there is in kind of
gut-punching them, but I think that's the biggest thing that I
kind of took from that.
How was it with people receiving "The Crown,"
kind of in the year that we had?
Like, was there a difference in what you expected to kind of
what you received back from people?
Emma: I don't really know what I expected, to be honest.
I remember feeling quite sad that we weren't--I wasn't
together with the cast but it was--it felt like such an
ensemble to bring it to life when we were there on the job,
like, when there--those days when, like, we had all the Royal
Family in together, were so chaotic in the best way 'cause
everyone has an insane amount of energy.
And it was just pandemonium and it kind of felt like a very good
family Christmas Day where everything--you get to the end
of the day and you feel like, "I feel like I've used so much
energy, I'm so knackered, but in the best way."
And in a way, I think having the show come out in lockdown when
no one can leave their homes, means that more people watch it
so more people see your work and also there's less, like, flying
around and going to events and people commenting on what you're
wearing at events rather than you talking about your work.
You get to sit in half your pajamas
talking about the thing you love.
Ramin: We hope you've enjoyed our look inside the world of
"Actors on Actors."
Please join us again next time.
Elizabeth: I also have just noticed
that my husband put little books.
Kaley: I love that he set designed for you today.
He did a lot--is there craft service too?
What else is he doing?
Elizabeth: Oh, God, no, I made him breakfast.
Regé-Jean: I'm big on, like, shoes.
It's the silly thing.
Day one, I came off the plane, into a fitting, and I was, like,
"Can I have the boots please?"
Elizabeth: I wanna do all my interviews like this.
Kaley: Instant best friends.
I knew it was gonna happen,
I was just waiting for the moment.
Regé-Jean: It's very kind of--
Emma: Like this, and it's, like, yeah, exactly.
Kaley: We can't stop, Kate.
We can't stop.
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