Happy Sad Confused - Margot Robbie & Finn Cole & Miles Joris-Peyrafitte

Episode Date: November 17, 2020

Since breaking out in a big way with "The Wolf of Wall Street", Margot Robbie hasn't wasted any time, creating her own production company, and starring in a slew of varied projects. She joins Josh on this episode to talk about her latest Lucky Chap production, "Dreamland", alongside her co-star Finn Cole, and director Miles Joris-Peyrafitte. Plus the group geek out about their favorite comfort movies, from "Pirates of the Caribbean" to "Lord of the Rings. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

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Conditions apply, visit your local Volvo retailer or go to explorevolvo.com. Prepare your ears, humans. Happy, Sad, Confused begins now. Today on Happy, Sad, Confused, Margo Robbie and her Dreamland collaborators on their new film and their comfort movies, including Lord of the Rings. Hey, guys, I'm Josh Horowitz. Welcome to another edition of Happy, Sad, Confused. Switching up the format a little bit today, guys.

we've got the main event of today is a trio of guests at once talking about a new film, but also about the movies that they grew up loving. These are the themes that we keep returning to on this podcast, especially in this last year where we've kind of been celebrating comfort movies. I had the opportunity to chat not only with Margot Robbie, who of course is somebody that I've always enjoyed chatting with and since kind of exploding onto the scene in Wolf of Wall Street has just been, you know, succeeding in more and more different parts and variety of roles and now producing. But we also get a chance to talk to her leading man in this new film that she

produced, Finn Cole, you may know from Peakey Blinders or Animal Kingdom, as well as the director of this film, Miles Joris Parafit. I hope I pronounced that right. Miles, forgive me, if I got it wrong. Anyway, I spoke to these, this trio of collaborators on this new film Dreamland, which is a beautiful piece of work. It's a really stunning piece of work. I'm sad I didn't get to see it on the big screen, even on the smaller screen in my living room. It was impressive.

This is, as I said, a production from Margarabi's production company, Lucky Chap. They've been working on it for years and years. And finally, here it comes crossing the finish line. It's on demand by the time you hear this. And it's set in the 1930s in Texas during the Great Depression, Finn Cole plays a young man. It's a bit of a coming of age story with Margo playing an outlaw on the run who kind of comes into his life.

And they go on the run and he kind of comes into his own. And it's an interesting blend of a few different kinds of movies. And yeah, a great piece of work from Margo, Finn, who I haven't seen in much stuff, definitely acquits himself well. And Miles, who I believe this is just his second feature film also. impresses. And by the way, as we talk about later on in this conversation, Margo and Miles, the director, are actually hopefully going to collaborate again on a new version of Tank Girl. Yes, Tank Girl. So clearly they enjoyed working with each other, and hopefully they'll get a chance to make that beloved property into a movie. Another movie. You guys might remember

the old one from, I guess it was probably the early 90s with Lori Petty. Anyway, this was a fun conversation about Dreamland, but also about their comfort movies. The movies they grew up with, it turns out that two of the three guests love Lord of the Rings. We had some debates about which of the three Lord of the Rings films is the superior one. We talk a little Soderberg. We talk a little Pirates of the Caribbean. A lot of fun, geeky, nerdy movie discussion on this podcast, as is always the case. It just so happens. There are three guests instead of the usual one. Other things to mention, you know, I always have a lot of stuff going on. I got to chance to chat with Sersha Ronan for MTV News. That conversation is up on MTV News's

YouTube page. Highly recommended if you love Sircha as much as I do. This was a fantastic chat about Ammonite, her new film with Kate Winslet, as well as, of course, you know, just career stuff, where she's had in her career, working with Greta Gerwig, her friendship and collaborations with Timothy Shalame, whether she still wants to start in a franchise film. She's one of these amazing actors who, despite all the accolades, all the success, actually hasn't really done franchise stuff, which I'm not saying that as a negative. I think it's fascinating. But anyway, we get into that in the conversation. I really enjoyed catching up with Sershia. And that, as I said, is on MTV News's YouTube page. New episode of Stur Crazy, my series

for Comedy Central up this week. By the time you listen to this, it's probably up on Comedy Central's YouTube page, if not within a couple hours. It is with the delightful, the charming, the dashing Paul Bettney. A super, super fun episode with Paul, who of course you know from the MCU as Vision. He's also starring in a new film called Uncle Frank that's on Amazon Prime, just in time for Thanksgiving.

This is another wild and wacky one. Always enjoy exposing kind of the sillier sides of celebrities. And Paul, who I have done quite a bit with in the past, was certainly game. And I think if you're a fan of his, of Marvel movies, et cetera, you will enjoy this chat. Those are the big things to mention other stuff. I talked to Leticia Wright recently.

That conversation will be up on MTV News, social media platforms, YouTube page, et cetera. And just cranking away at, we're taping this week three episodes of Stir Crazy, so kind of banking the next few episodes. I don't want to jinx them just yet, but they are a trio of very, very cool folks that I think you guys will dig.

And a lot of podcasts. We might actually have to, I might do some double podcasts in the next few weeks. There's just so many guests out there. I'm trying to fit as many in as I can and not let my brain explode. But this week, actually, I think I might be publishing a second episode of the podcast.

So if you see a second little episode of Happy Say I Confused in your feed, you're welcome. No extra charge. Two for one deal. I will do as many of them as I can. like I said, without letting my brain melt and my body collapse. Anyway, let's talk about this week's episode.

Remember to review, rate, and subscribe to Happy, Say, Confused, Spread the Good Word. In the meantime, here's an episode with Margo Robbie, who, by the way, has never done Happy Say I Confused before, never done the podcast before. I've done so many things with her, but never the podcast. So happy to finally say she's a part of the Happy Sad Confused Podcast Library. enjoy this conversation with Margo and her Dreamland collaborators and yeah, spread the good word and enjoy this chat. Hey guys, how's it going, everybody?

Hello, how's it? What's up? Finn Miles, this is not exactly the usual way I meet people, but I'll take what I can get in these crazy times. That's great to meet you guys. Congratulations on the film. Yeah, sorry. Margo, always a pleasure.

I think the last time I saw you, we were trying to convince Leo to give up the goods on the end of Titanic and say, could he in fact fit on that door or not? That's right. What did he say? I think he said no comment. He said no comment like five times in a row. He stonewalled us. Very diplomatic of him. Yeah. Yeah. I stumped the greatest actor. I felt like he was saying, I agree with you guys. And I may have brought that up on the day and feel some indicated that I'm still being asked this decades later. But that's just the five I was getting. I don't know. I did feel good that you and Brad supported me.

It wasn't just me on there. You were like, yeah, give up the goods, man. It's time. You asked such a good question, too, when you said, what movie have you guys not seen that you feel like you should have seen? And they both said The Sound of Music. I know. Well, they also, and we're going to get into this for all of you guys.

I know I asked you all for your comfort movie picks. We'll get to that in a bit. But I know they also, I think Leo gave you some crap for Gone with the Wind. You'd never seen Gone with the Wind. Still? Still haven't. I have ticked a lot of movies off during lockdown. that I haven't seen, and going with a win of isn't one of them, though.

Okay, well, we'll get to that in a bit. I do want to talk about this great new film of yours. Congratulations, everybody, on Dreamland. I know this is a labor of love for all of you guys. I mean, this is a very early production that you got off the ground. Lucky Chap, your production company, Margot. Talk to me a little bit about what you were looking for in the early days of your production company.

What jumped out at you about this script and made it? an early one you wanted to put your muscle, your weight behind? We are, in the early days, it's obviously tricky when you're trying to get like a production company or any company up and running, but in the early days, we were kind of scouring the blacklist for material. And for those who don't know what blacklist is that, you know, industry professionals every year vote for the script that they are surprised hasn't been made yet. And then it gets put on this thing called the Blacklist. And Dreamland was ranking really highly on Blacklist. And so we checked out Dreamland.

numerous other scripts and we kind of fell in love with the it was like a really simple story obviously but the it felt it felt like it felt like you know it was an really emotional and kind of journey you've got this coming of age story that kind of turns into a bit of a bonnie and clide you've got the backdrop of the you know 1930s texas dust bowl era which in itself is lends itself to you know such cinematic sort of imagery and and we just liked, I don't know, the dreamlike quality of the writing and the story and the time and yeah, we all just kind of like, I don't know, we were quite captured by it. And at the same time, saw Miles's film that premiered at Sundance as you are

and were just so blown away by that. And I was like, I have to meet this director and then sat down with Miles and was like, just again, blown away, and asked him what he thought about Dreamland and that time period. And he had such incredible insight and ideas and went from there. We always talk in these kind of conversations about like visual references or tonal references. And seeing this film, you can't help but sort of think of things from, I don't even know, Malick and Bonnie and Clyde. There's a little Wizard of Oz. If it wasn't a house falling on, Dorothy, it's a bankrupt.

Robber played by Margo and this one, that's, you're the house that fell on somebody. I meant that in the nicest possible way. Miles, do you, when you read a script like this, I'm sure as a filmmaker, yeah, there's possibility, endless possibility and opportunity for you as, even as a young filmmaker, that must be tremendously exciting. What did you see in the script? Yeah, I mean, it was, I mean, first it's like a completely surreal experience in the sense that like Margot, Robbie is like, hey,

read this script and then like come and talk to me about it and and it was my first meeting in LA ever you know I was 22 and I made my first film and then now and then so I was like oh what what do you mean people want to make this kind of like old school cool movie like yeah you know so there was a part of it that was sort of I was like a little bit in in this in disbelief and then especially more when it's sort of like when our conversations started evolving and you know there was a margot was really clear about like i want i want this to be personal for you and i want you to be able to sort of make it such and so you know in that way it's sort of like that dream scenario um i also had never sort of even imagined that i would be directing somebody else's

script you know before you make a movie or you don't expect anyone would let you let alone want you to so there was also this kind of like very fun recalibration of like okay how do i learn that this part of the job now you know what i mean like looking back at a lot of my favorite directors and stuff like that from um the sort of like golden period or whatever a lot of it were movies that they were it wasn't like about their you know love affair with their best friend when they were 15 a lot of it was like these these like really well-written balanced screenplays that was all of a sudden like okay now execute this so the combination of that challenge and the openness you know that Margo and team had to saying, like, make this yours, do this in a way that's like,

feels exciting and fresh to you, felt like, felt like an unbelievable opportunity, you know. Finn, you're at the center of this. This is obviously your character's story. It lives and dies on your performance. No pressure. But was there a pressure? I mean, you've obviously, you've been acting for a bit, but this is a bit of a leap for you to be the lead, the center of a story like this. Do you feel that on a production like this? is Margo just saying, you know, back when I had my big break with Marty and Leo, it was like this and that. What did it feel like in the moment?

It's absolutely terrifying. These guys are horrible. No, they're great. I mean, I felt like, I think that you raise a good point. I mean, when I read the script for the first time, when I was auditioning for it at home, I think on a self-tape, I was really nervous and nervous to get in the room and meet these guys. but I think the minute the minute I met you guys

I felt really comfortable. I remember you guys brought in Shake Shack because there was a Shake Shack pop up in London. Hey, do you remember we had burgers? And you guys were sort of eating burgers as I walked into this audition or you guys might have walked in with the burgers. I was like, okay, these guys are cool.

These guys are making a movie the way that a movie should be made. And that's like, a catering is on point. We know what it's, yeah. Yeah, exactly. Well, it was just a lot of fun, a lot of positivity, freedom, and, you know, we were just,

I was just given the sort of luxury of being able to try things and not feel like an idiot for getting things wrong. And that is hard on film sets, you know, when stuff's moving quickly and there's a lot of pressures on a lot of people to be given that freedom is, I think, a luxury. And like Miles said, you know,

everyone that I came into contact with helped me be the best that I can be. So, yeah, just hoping that comes across. Were you, Margo, were you, like, in generally speaking, in the audition room, like when you were casting, like how hands-on were you in the casting process? And as an actor, you must have endless empathy for that process, having gone through it a thousand times yourself. What kind of environment did you want to create in the casting of this film? Totally. I mean, it's helpful to have been on the,

it's strange to be on the other side of it now because I know exactly how it feels. And I know that sometimes what you're doing on an audition, like some people are really good at self-tape. Some people are really good in the room. Some people just don't bring it unless they're on the set. And it might just be the off day. It might be a number of variables. So it's, I think, important to just gather as much information as you possibly can. So of course, there was a wide search for self-tapes and casting directors and stuff like that. And then it was really important to us to do chemistry reads. And important to me, important to Miles, I think they need to be done so much more often because especially with a movie like this, if that chemistry isn't

there between Eugene and Allison. I mean, what's the point of this movie at all? And it's nothing to do with acting ability. There are incredible actors that we just put two and two together. And I don't know, it just doesn't light up in the same way. And it's, so, yeah, the chemistry reprocess was super important. That's when we're eating burgers, just to reference that moment. And so, yeah, we wanted, I guess, and maybe Miles speaks to this better,

but we just wanted there to be like an environment when people felt like they could play around, try things and just kind of like see if it was there and not have the pressure on it if it's not like it's okay. We can take our time with this and if nothing comes of it like no big deal. But it was pretty clear. Like when Finn came in, it was,

we had like great chemistry, I feel. I feel like the work environment, that kind of like conversation between Miles and the two of us and where we could go with things was already, like, something to grab onto and get excited about. And also, it was a tricky casting choice for our Eugene because we needed someone who was on the cusp of childhood and adulthood and who could seem innocent and vulnerable

and who you don't want their innocence robbed from them. But at the same time, it's not going to be totally creepy when I kiss them sort of thing. So it was, and Finn just, you know, walk that tightrope. Well, you've segued into what is clearly a pivotal scene, and I don't want to reveal too much, but like I'm watching the movie, and I don't know if it's two-thirds of the way through, three-quarters, like there's these beautiful vistas in the film. It's got a good amount of scope for what I imagine was you probably had to, you know, do this on a budget. This is not like a giant studio film. That being said, one of the stand-out scenes is, I think it's like a six-minute unbroken shot, basically.

It's a scene between the two of you guys, the leads. you're in the shower, you're off camera for most of it, Margo. And it's kind of like the apex, it's the turning point of intimacy for this couple. I guess can you talk to me about that? Did that jump out in the script form? Was that like a big circle on the calendar? Like this is going to be an important sequence. And we should shoot it this way.

Did it present itself in an obvious way of the way you wanted to capture it, Miles? Just going to be a little background on that scene. Yeah, it was interesting because, you know, whenever you're kind of, there's almost like there almost feels like in these kinds of stories there's like certain obligatory scenes you know what i mean like the bank robbery that kind of goes wrong or the scene where they sort of have this experience um and there was something that i think all of us really felt which was whenever we were dealing with those things not the fantasy version that the kid is having of it you know what i mean when we're actually dealing with the experience of it that

that we wanted time to work differently than it did in the sort of fantasy of it. So the second bank robbery is also mostly just kind of one take, not in any way in order. It's not a very flashy one take, but the point is really to maintain the real time that that thing takes. And there was a process of him walking into that shower and having that experience and having that conversation that necessarily needed to be more about his sort of character, undergoing this growth and this experience and making a decision ultimately. And so, yeah, I mean, it's a lot of dialogue, you know.

And so I think that it was seven pages and one take, and Finn is working with an incredibly, at the beginning, incredibly small frame to sort of, you know, be performing with. So it, there were a lot of challenges all around it. And then it was one of those days that I just, once we got to it, I just had to sit back and then realize like, oh, my God, these actors are unbelievable. Like, this is a mate. Like, this is why we hired you guys.

Yeah, yeah. There's, you know, seven-page scenes of two people standing in a shower is not fun or, like, easy. or any of those things, but they did it in a way that communicated the difficulty and the growth and the scary part of it as well as the beautiful part. So, yeah, that really came into sort of how the approach of how we wanted to frame reality versus fiction in the story. Well, it reminds me of kind of what you were. Yeah, Margo, go ahead.

That was Finn's birthday. Yes, it was. Yeah, that was the weirdest birthday I've ever had, definitely. Wow. I want to put you on the psychiatrist's couch and ask some really deep glasses and meeting behind that. But it does kind of reminds me of what you're talking about before, Finn, about sort of, you know, the last thing an actor wants to be is tense on a set. You want the field of freedom. You want to feel like you have the opportunity to fuck up. And for a continuous take like that on your birthday with Margot Robbie in an intimate setting.

I mean, that's a lot on both of your shoulders. Do you guys, like, I don't know, do you get off on that kind of like pressure for both of you? Margo and Finn? I mean, just quickly, I think generally speaking, yeah, and day-to-day, I like, I mean, pressure of turning up on set and having to nail it, you know, against all the odds and, you know, waiting for light or whatever it's going to be, you know, you have to, there is that pressure. I mean, had that been the first day of shooting, it probably would have been a lot harder, you

know, asked you getting to know each other. By that point, I think we'd had a, we'd partied a couple times together and we'd hung out on set and we'd done, you know, so. By that point, it felt like two friends, but also two professionals that were getting together. And like I say, you know, everyone around that day was so respectful and it just gave us time to focus. And just to pick up on Miles's point in that scene,

you know, with the way that it was framed, the sort of the air in the scene was what was really important. And it was, that was really what was driving, especially Eugene to climb into that show. And kind of to make those moves, those pauses and those and those and those breaths and I think that um I mean it came together really well I was really happy with when I finally saw it I was so nervous to see it because it's so hard to know exactly what to do in those in those scenes but um I mean yeah the pressure is

pressure is pretty full on but it was I mean it was fun for the for the in the right way you know But there is also a certain, I mean, watching them to do that scene that you, that there is also when the scene is that long, there's a certain part of it where when you're in it, you're just have, you're in it and you have to get through it to the other end. And if you forget something or if something happens, there's actually a really exciting sort of spontaneity in it, you know, and there's stuff like that, you're in it. That, you know, you know, I remember things been even doing just with his hands as he isn't looking at her in the shower and moments like that that you can't really write that stuff, but all of a sudden when somebody is actually trying not to look at this person, you know what I mean, in the shower and feel creepy and all of a sudden is doing that and has seven minutes where they know they're going to live in this moment, both of them just all of a sudden were completely present and there and anything that the camera sort of wanted to go to in order to show that growth.

was real and and that's that's all you can ask for to a certain degree from your from your performers and and the tone also that they said because that they if they were weird and didn't you know we're uncomfortable with it that tone is felt throughout the entire thing there has to be a freedom and a and a sort of judgmentlessness on their part so it was that was like it was really moving to watch and also to put the trust and you know they didn't make me get coverage on the scene oh nice yeah which is like live or die this is going to be it yeah yeah you know so there was a part of it that was like i mean that was

something that they were done do you think maybe yeah what do you think uh and and it for me it was really important it was really important so that it didn't become another just kind of one of those scenes you know what i mean yeah that we've seen a hundred times so i was mentioning to you guys before. In this crazy year, I've been asking everybody to kind of pre-select a comfort movie to mention because we all need a little comfort these times. I've gotten some picks from each of you. Margot sent over a few options. I'm curious, first of all, you guys spent some time together. Can you guess what each other's comfort movies are? Did anything pop up as movies that? Never had that conversation. Margo is yours for romance? That's my favorite film, but it's not

my comfort film. Good distinction. Important distinction. So first of all, mention that Lord of the Rings came up twice here, but two different Lord of the Rings films. Finn Margo, would you like to debate fellowship versus two towers? What is more comforting than the Shire, which after the first one, you're not in the Shire anymore? You know what it is? It's because when I was growing up, I was obsessed with Gandalf the White, and he becomes Gandalf the White in that movie.

And that scene, to me, when I was like, probably like nine years old where I was just obsessed with and I thought he was the coolest person ever that's why but yeah I get the I get the Shire rest of the first half hour of fellowship it's like you're in the Shire

it's magical shit kind of kicks off with the dancing pony but then you're back in Ribbon Dale it's magical again like you're gonna take it again but you know a lot of it quite magical nice you know the stakes are still relatively

low as they can be for Frodo, but yeah, I, we can debate this. Yeah, I don't claim to be a big Tolkien scholar myself, but maybe that's why I go with fellowship. I do like the world building. I like the camaraderie, like Sean Bean by the there's a, I mean, Vico's amazing in it, but I can see, I can see both sides. By the way, Henry Cavill chose the entire trilogy, so he kind of copped out and did all three. Sorry, I should just think, get the rules to you next time. You also mentioned Margot, which made me just feel old. You mentioned Pirates, the first Pirates film.

Oh, that's a good one. So you were, by my math, about 13 when that one came out. Did that, it just made an impact. Again, just the flamboyance, the adventure. What was it about that? Everything. I'm big on movie scores as well, and that score, like, is still one of my favorites. Love Hans.

I don't know why. I just, I loved it. I don't know. Yeah, I was 13. I remember seeing it where I saw it. I went to the cinema so many times. times to see it. Yeah, it's one of those things that like comfort movie. I put it on all the time. I probably quote the whole thing. There's talk that you may be involved in a future

Pirates film. Is this? Maybe. Well, wait and see, but it. Early days, early days that I can't say no more for now. And Miles wins the cool points because he went, he went Soderberg. He went cool Soderberg. What do you pick Miles? Can I say really quick? I was going to say the Fellowship of the Ring. Really? And then because, and that's why when you said that, I was like, oh, I wrote that by it. And then because that's the movie I've seen the most in my life. I bought it on VHS the day I came out and me and my best friend Madison, who I wrote my first film with, who you guys know very well.

We would watch it in slow motion on his VHS player. And it's literally how we learned cuts and how they would do the trick area. going into the heads and stuff like that. So it's a beautiful, beautiful thing. But I picked out of sight because I've been watching it a ton recently. And even though it's a sort of pulpy, crimey thing, George Clooney and Jennifer Lopez together in that movie are just, there's so much charm.

And like no matter what the situation, it just, it makes you kind of, yeah, there's like a will to live that that character has that I find pretty remarkable. Yeah, really. Yeah. We were talking about films that have alluded us. Not only did Leo give you and Brad crap about Gone to the Wind, but Star Wars, does that remain?

Tell me you in this last year, Margo, you decided this is the time. I've got a lot of downtime. It's time. I'm going to Star Wars. I see your head going in the wrong direction. Nope. Because I relish this reaction. so much.

It gets people's blood boiling that I haven't seen any powers. I find it endlessly amusing how upset people get. And I totally understand, because this is like me when someone says they haven't read Harry Potter, but they're going to go and just watch the movies. And I'm like, I will come to your house and read it to you. Please just enjoy

the books first. So I understand the reaction, but I do find it so funny. And I'm just going to enjoy it for another couple of years. And then I'll just watch it all at once. What happens when you get the inevitable phone call from Lucasfilm saying, want you to be a Jedi. You're going to blow this, Margo. No, no. I'm not going to get that phone call.

What's a Jedi? Yeah, that's the answer. Please define your terms. Have any of you ever dressed as a character from any of your comfort movies for a Halloween party for any function? Oh, from a comfort movie. Well, another comfort movie of mine is the fifth element.

And every year I want to dress as Lily Dallas. and you know what you just got to be in pretty rock and shape to do that costume and every year I've been like oh maybe not this year maybe not a lot of fabric yeah it's not a lot of fabric

God she looks amazing what about you guys anything I would say that like one of my other comfort films would have to be one of the Harry Potter's I mean the first one for the same reason the fellowship is Margot's favorite it's that world seeing him kind of explore

hoggworts the first time again like my childhood just loved it but i definitely recall again being very young and trying to dress up as gandalf and and making a making a staff out of here this out of uh like rolled up paper you know if you get a massive like a three piece of paper you fold it really tight you can kind of make it like a long tube just sticking like eight of those together in a row and just walking around my house just terrorizing my four brothers and my parents. Stand, or Finn, how would we never have this obsession? There's something

like a child pretending to be an old man. That's perfection. Yeah. Yeah, it's great. I used to make Lord of the Rings costumes. Seriously. Bone arrows. Yeah. You guys are all secret geeks, who knew?

I really could have said cool movies that also accompanying like Paper Moon or Harold Moore, but I was like, I'm going to be really honest to you. I appreciate that. Going forward, Lucky Chap has been quite prolific. You've got another great movie I got a chance to see it early this year. Promising Young Woman is fantastic. It's great, isn't it? Amazing. Carrie Mulligan just kills it as always. No, pun not intended. But mandate going forward for the company, obviously produced like a big movie like Birds of Prey, smaller films.

Do you want to kind of do big, small, medium, everything? What's the goal? Everything. We're shooting a TV show right now in Canada and I mean, we've got 100 mil plus movies on the slate and we've got tier one, you know, we've got a $2 million movie on the slate. We love all kinds of sized stories and, you know, we really go after talent that we believe in. That's always been the, that's always kind of been the ethos at the company. That's, that's how Dreamland came about is we saw Miles and we sat with him and we were like, we have to do something with this guy. We just have to. And that hasn't gone away. That passion hasn't gone away. Emerald Fennell, who direct from a senior woman, that's her first feature film. I mean,

it's such a joy to work with such crazy talented people, and it's so thrilling when other people haven't yet seen how talented they are, and you get to be there on set, and then, you know, it's just cool. So, yeah, the grand plan for Lucky Chat, world domination, but... Kind of any, any size films in TV, we love it all. What do you think about in recent times, the Snyder cut seem to have been willed into existence by the fans. Now they're on to the next thing, the air cut. Would you want to see, it seems like David wants to see

his cut of Suicide Squad eventually. I never saw the air cut. I mean, I know we shot a lot of stuff that didn't make it into the movie. I'd be very curious myself. Yeah, and Jared's doing apparently a little bit as Joker for Zach. Did you hear that? Really? Yeah.

I didn't know that. Cool. Now is also Miles, you and Margo, are you guys developing Tank Girl? Is that still on the docket? It's been a very, very long conversation that we've been having because we both love this character. And it seems as though, as I think, you know, the film industry has been a little bit shaky for the last a little while. So I think that everyone's been like, hey, let's all look up when the world. is not an actual trash fire.

I hadn't noticed. So I know that that's something that is one of the closest projects to my heart, in the sense I've been a fan of it forever. But yeah, the world is where it is right now. I'm just curious, because my only relation to that character is from the Lori Petty film. I've never read the comic. I'm just curious that you guys just as a fan of that comic or source material, like, what's cool about Tank Girl for you, Margo?

It's funny as I've never seen the film. I've only read the comics. There you go. So what did you love about the comic? They're just so sick. They're just, it's amazing. Yeah, they're really, they're like completely, uh, free and anarchistic of, there's a lot of things in comic books now that we kind of take advantage or sort of, uh,

that really come from, come from that series and come from, uh, what, what, uh, Alan Hewlett did there. And I mean, from the art to the characters, to the politics, to sort of the fragmented nature of the kinds of stories that they're telling. Yeah, yeah, anyways, I don't know, it's just, it's, it's, it's too exciting to get too into. Okay, we're not going to jinx it right now. A long road to go on that one, I get it.

But we do know Finn, you are officially in F-9. Do you go to space with Vin Diesel? Do you get to go to outer space? no but his daughter did sing me ain't no mountain high enough on on set one day so i think that's as this as close as i got to vin diesel and it was pretty awesome um he uh i no i don't i don't even think i can i don't know how much i can talk about about that but that's happening it's a small little bit but it's very exciting and it was uh awesome to work with just and then he's just he's just the best so yeah pretty cool experience so as we wrap up have have any of you guys shot stuff in this

crazy new time, have you adjusted to the realities, the COVID protocols, et cetera? Has it stifled creativity? Do you worry about it stifling creativity? What's the environment like for you guys? Great time for our, you know, for the company. We've been incredibly busy and very, very productive as a production company. Obviously, everything's been put on hold of the projects I was a part of as an actor. Right. Yeah, on the producing side, it's been It's been nonstop. Yeah. Well, it's good that there are obviously different parts of the creativity

you can tap into even in these bizarre times that hopefully. The Finn's been shooting, and I know you've been talking about Miles. Yeah, I'm on location right now. It's been good. We're a pretty versatile company, I guess, in season five of Animal Kingdom now. So we've kind of got it down, and our producers, are fantastic and they've been getting us all the care and attention and the PPE and everything that we need. And it's made things take a little bit longer, but it feels super safe. And I'm just

so lucky to be at work and doing what I love. So yeah, we've been doing it and just hoping that no one gets any positives and just keep going. Good stuff. Glad to hear it. It's been a pleasure to get to know you guys, Miles and Finn. Margot, it's always a pleasure to catch up even in these insane times. congrats on the movie getting to the finish line. I mean, it's always an accomplishment. It's a struggle for any film nowadays to reach folks however they can. And this is honestly a really beautiful piece of work, and I hope people check it out.

Thanks, everybody. Thank you. Thank you so much. And so ends another edition of Happy, Sad, Confused. Remember to review, rate, and subscribe to this show on iTunes or wherever you get your podcasts. I'm a big podcast person. I'm Daisy Ridley, and I definitely wasn't pressured.

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