Zendaya & Nicole Kidman | Actors on Actors

You're a doonie. Yeah, there is doonies. I know that when I go for Mike and I go for Josh and there's three of us, okay. As soon as I heard it was called Baby Girl, I'm like... I'm interested. I want to be the baby girl. We're here. I'm so excited to do this with you. I have to say. I feel like we've passed each other, but I've never actually been able to properly meet you. Yeah. And I love you. That's exactly... We passed... I remember passing you. You were in a car. Yeah. And I was like, hi. And then it was like, oh, quick, quick. So when they said there was this opportunity to sit down and talk, I was like, I would love to do that. Yes. And we've both flown in. Yeah. From sets. We have the same schedule. Yeah, we were night shooting last night. Yes. And we're here now today. We're here now. So... And we're awake. Let's talk about your project. Okay. You have Challenges and you have Doon2. Yes. So which one would you like to start with? Because I'm... I don't know. A fan of both. Well, thank you. And I saw both of them in the cinema. Well, thank you. Yeah. I appreciate that. It's paid money. One I saw in London. Yes. At midnight. I saw Doon2 in London. It was a late... Yeah. And I was really jet lagged. I went with my husband and we were like, let's go. And I was like, riveted. Taking... I'm a Doonie. You're a Doonie. Yeah. There is Doonies in the world. Is that what they're called? There is a lot of... I don't know if there's a... I'm sure there is a more official... But I like Doonie. Yeah. So that's me and I'm obsessed. Yeah. So we'll get to that. Doon is so special. Yeah. It really is. And I think it's like... Yes, it is. It was one of those... It's one of those things that I remember when I heard that it was being made. I was like, I mean, I would love to just like get in the room or be able to kind of... I didn't know if there was a role for me at the time, but I really wanted to work... First with Denis, who's just like... He's so brilliant. I'm such a fan of his films. And then like finding out how passionate he is about the books because he kind of grew up on them. And I remember him saying that he like signed his yearbook like Muad'Dib or something. So this is like his baby. This is his passion project. And you can feel that in the films. You can feel how much... Absolutely. He cares. I just feel very lucky to like be a part of this like really massive, beautiful piece of work. Well, they need you. Well, I appreciate that. I hope they feel that way. Oh, yeah. Yes. It's just so like... They end on you. That is true. Yeah. It is true. I remember on the first one, it was like only a week of work because it was just like a dream sequence. But the whole thing feels like dream. It's crazy because you go in and out of this. It's like as though it's in different... It's different worlds, different realms. But it's funny and terrifying. But sorry to cut you off. Keep talking. Go ahead. I just feel like Javier Bardem, he does such a beautiful job like bringing levity and lightness and humor somehow to his character. Because there's like these moments where you just don't expect it to be funny. And he adds a little thing and yeah, I appreciate his character a lot. Because when you're working in that, you really realize that a lot of it is not there. Is that right? Yeah. So you're having to use... It's what I always say when you've been in acting class. You go, I'm never going to be using this mime work or this crazy stuff where it's like pretend this is there. I'm actually going to be on sets and there'll be a real chair. And now I think particularly in those films that are dealing with science fiction and you're trying to create other worlds, that's when you use those skills. Yeah, absolutely. But I also feel like what's so great about Denis is he is big on trying to make things as practical as possible. So how would that be? So some of the set pieces are like massive, gorgeous sets that you can touch, you know what I mean? And feel like they're real places. So the CH that we enter, all those things are real. And then also we're shooting out in the desert. Yes, because where did you shoot? We shot in Jordan, we shot in Abu Dhabi, we shot all over. I think there was actually one day where we were doing the Chani and Paul's kiss. Denis did this beautiful kind of sweeping shot. It was like 4 o'clock a call, you know, getting ready because we wanted to do sunrise for sunset. Alright, okay, so you do have all that. Yeah, so we're sitting there on the sand dune looking out at the dunes. When I tell you there's nothing changed about that shot. That's not special effects, that's what we were looking at. It was so gorgeous and unreal. I was like, this is our planet, this is where we get to shoot. And I see these beautiful locations that we get to be in. Inside of these beautiful rock formations and we're crawling around. I'm really also very impressed by the crew. Because the crew is having to come up with these incredible rigs just to shoot things. Because you're not in Petra or any of those places in Jordan. We didn't shoot in Petra but we were close, close. So you have all of that ancient, that feeling around you. Then that's the best of both worlds. You get to go and do that but then you're out there. I find that as an actor that you get to see the world. You get to go to places you normally... It's the best part. Yeah, and you're not just visiting as a tourist. You're living, working with crews, with people in those places. So you really become a part of it. It's one of the greatest parts of our job. Don't you find that? I also find the community that you create. I love sets also because of the friendships that you make with your crews. Coming in every day and being like, hey man, how's the kids? You have these little conversations with everybody in Crafty. You're checking in. Those are my favourites, creating these little pockets of community every time you do a film. Sometimes you run into people again. It's really nice. I love saying to the crew, because sometimes you have to be bubbled and you're trying to work. I love being able to go, okay, I've got to go away now. You sort of all get this language where you understand each other and everyone kind of vibes each other. Then it becomes like you don't have to use words. You don't have to say, look, I'm gearing myself up for this or we're going to be not looking at anyone right now because we're so lost in it. After a week or so, particularly if you're working with the same crew and you're doing a beginning and then a second film and a third or the director has their particular people that they use over and over, it becomes like there's a tacit language, and I love that. It's almost like telepathy starts to happen between you, the director, the cast members, everybody. That's exquisite. Did you feel like you found that when you were doing Baby Girl? Because I feel like that's such an intimate experience. You have to feel so safe. Your behaviour is unacceptable. Is it? You're dealing with intimacy and subject matter that's very kind of intimate and deep, and you're like, okay. Yeah, and I feel that the cinematographer and the camera operator is a huge part of that. Absolutely. You have to acknowledge we're all in this. It's not just the actors. It's like you become… That's so true. But you have to become unaware, so you have to be aware to start to become unaware. And before you know it, you're all in the room together, but you're not aware of where everybody is. Exactly. And that's special. And then a lot of times, particularly on Baby Girl, they capture things because they can come in and move around. It was very loose. It wasn't so structured. I don't know how it was with Luca, but our director, Helena Raines, she created a very warm environment, but it was also exploratory. Right. Which I love. So you could use the space. Yeah, you may be sitting in this chair, and then suddenly the scene is on the floor. Right. Because I was wondering, because there is that particular scene, and I was wondering how much was rehearsed, and how much was you guys just finding it? Both. So some of the very structured, the dialogue, there would be like the desk or when we're, you know, there's certain things, or when we have two big set piece scenes where we go into this room, the quiet room and sit there, and so that was structured. But even then me, how I leave, we didn't quite know how that was going to happen. So him having to get to the door and stop me or any of that, none of that was, that was all just finding it. And it would change every time. I love the loose. Spontaneity. Right. Yeah, because I think listening is probably the most important part of acting. Absolutely, yeah. You can come in with this plan, but the plan is not going to help you really. Right. You can have ideas, but listening and responding, as we do in life, is probably the best way to get something special. Right. Is that how you? Absolutely. I mean, it's like kind of, you know, it's the corny, but it's like acting is reacting, right? But it is true. It's the only way to react to me if you're present and you're listening and you're like. And you can tell. Absolutely. You're listening right now. Well, you can tell someone's thinking about what they're going to say or what they're going to do with their hand, you know, whatever. Yeah. And, you know, and I've caught myself doing that. Totally. Like, you know, when you kind of like dissociate mid-take and you're like, oh, present, I'm present, we're back, you know, or you start thinking too much. I'm like, why did I just do that with my eye? That was a really weird choice. And it's like, stop. Exactly. Yeah. Exactly. So you don't know what tennis is. What is it? It's a relationship. But I love what you were saying about, like, the technicalities of those kinds of scenes, because I got asked a lot about, like, the three-way kiss scene, and I was like, really, it's like a far five, six, seven, eight, nine-way kiss, because there's, like, so many people on the other side. Like, you guys just see the three of us, and there's a camera, like, coming at us at a certain time, and I know that when I go for Mike and I go for Josh and I go, and there's three of us, okay, and then when the camera comes in, I've got to move back, and then the camera's going to go over, and I've got to make sure, you know, it's like there's so many things that kind of are at play, and like I said, like having a rhythm with your camera operator, Bianca, actually, who was on Challengers, it's just kind of understanding the movement of the scene and, like, having a, it's just so much more than, like, what people see. You know, it's like I wish it was just as, like, you know, like it just. Yeah, but that's our job is to make it look like, and then also for the energy, because so much of acting is energy and the passing of energies, and how does that get captured? Right. And when you can capture energies amidst the choreography or the technique, that's really, that to me is what I'm always seeking. Yeah. And the magic happens. It's like you can't, otherwise everyone would be doing it. Like, stand there, do this, do that. Like, you've got to have that other, what is it, the sixth sense, the other thing that comes in that you can't really, I don't think it's teachable. I think it's more, it's discoverable. Yeah. And maybe you can learn to get better at it or you can get more relaxed or you can be given your freedom, trusted, encouraged. Yeah. That's why I always say different directors bring different things. They discover you through their lens. Right. And that's what I find still to this day, the thing that's like. So when you pick things, like when you pick projects, is it, are you focused on the story and the script or do you think about filmmakers and who you want to work with or like. I'm so. Is it different every time? Yeah. Right. Are you? I don't know. I think it's different every time. Yeah. For Dune, like Denis Villeneuve, like he's got such a, you know, beautiful body of work and I was such a fan of his work. And that's kind of how, I mean. Oh. Yeah. He's got prisoners. I mean, it's just, the list goes on and on. So I was such a fan of his work and was introduced to the Dune universe through him. So the Dune part came second, whereas Challengers, it was the script first. Right. And. And the screenwriter is. Justin Keritsky. That's right. Yes. He was very talented. Shout out to Justin. But he wrote this incredible script and, you know, kind of being on the producorial side of things and going, okay, well. So you were sent the script or you found it or you developed it. I was sent the script by Amy Pascal and I read it. I actually did kind of like a mock table read at my agent's house because everybody knows I'm bad at reading scripts. I don't know. I just, I get sidetracked. It's hard to keep my attention on one thing and they're like, you need to read this. And so we just did a mock table read at his house. Yeah. And I just loved it. I thought it was just so, I couldn't really call it any one genre. I felt like it was heartbreaking, but it was also funny, but it was sexy, but it was around sports, but not really about sports. And I couldn't really pin down what it was. And I liked that. And I think she was just a female character that felt very unapologetic and kind of just like was exactly who she was. And she didn't have to like explain why. Like there wasn't like the injury made her this way. She just is who she is. Yeah. I couldn't pass up the opportunity to play her. No. You know? And so, and then kind of when thinking about what, like what filmmaker this, who would connect with this material. I think Luca was kind of like the perfect fit. And he read it. So you sent the script or that, yeah. Yeah. We kind of collectively sent it to him. That was such a good idea. Such a great choice. Yeah. And he just like got it, you know? And I remember our first Zoom call about it. Because I was like, I was so, you know, you're always a bit nervous. Like you don't know if the director is going to respond to the material. You know? Also because like in that kind of situation, he can't cast me. So I was like, well, maybe he doesn't even want to work with me. Yeah, yeah. It's so awkward. Like what if he even likes me? You know? But he just had such a deep understanding of all three of these characters in like a really nuanced way. And saw things that kind of beyond the page. Because I always feel like there's, there's what's on the page. And then there's like the things that happen in between. And the silences. And the beats. Those are only things that kind of happen on the day. That just can't be written sometimes. And I think he found their like internal life. Because he's quite loose, isn't he? Like does he let things go? Or does he really structure the scene? You know, it's interesting. It's kind of both. Right. My favorite thing about Luca is that he will give you like these random ideas to do. Like what? I'm trying to think right now. Okay, I don't mean to put you on the spot. Yeah, I'm trying to think of a specific moment. Tell us something funny that happened on the set. Right, right, right. Anecdotes. But there was one I remember. It wasn't for me. But it was for Mike. There was a scene. Our characters are kind of, it's towards the end. And you can feel their marriages falling apart. And he's like, I want you to just drop your head on the bed. When she says like, if you don't do this, I'll leave you. He's like, just drop your head. And like I think in my head, I was like, that's kind of weird. That's like a weird choice to be like. You know what I mean? But then he did like the perspective of me. Like the camera was his head. And then, you know, it was so perfect. Yeah. And it's like there are certain things that he finds that while it might not be your first instinct, if you try it, you're like, damn, why didn't I think of that? You know what I mean? Yes. That's a great director. And I think he's great at like finding these just little things. And also just like the details of a character. Like our first conversation was like, what cream does she use to go to bed? You know what I mean? Like what kind of woman is she, you know? And he just kind of really gets that in a deep sense. Yeah, I love hearing about all the different. Because he's superb too. You get to work with the best directors. Very lucky. Very, very lucky that they want to work with me too because, yeah, I don't know. But it's also because you're hungry and wanting to and open and willing and, you know, so it goes both ways. Yeah, I think so. But it's definitely like it's case by case, you know, with projects, you know, at least for me. You know, it's like sometimes it's the director, sometimes it's the project. I don't know. Sometimes for me it's just the idea because I'm really interested in philosophy and I love just ideas. So even if it's not realised, I'm like I'm willing to just jump off the cliff and try this knowing that it may splat. But you can't be frightened of the splat. You can't be frightened of the failure. And I've always approached everything like that because otherwise you're going to be really safe. And that's fine but that's not my journey. My journey through the life I want to live is experimental and I want to learn, discover, grow and change. I want to be changed. So I go in going, change me. Or take me to a place that's different. And sometimes I'll make choices where I'm like, oh, wow, this isn't where I thought I was going. But I'm on the ride now. And I always say you always go in. Everyone, as long as we go in sort of obsessed, then something's going to come out of it because I love obsession. Like with? Yeah, with other people. I like us all being completely focused, obsessed and seeking and trying. I love the process of it. Right. I think, at least for me, every time that you start a new project, it's a risk, right? Yeah. Because you don't. Except it wasn't for Baby Girl. It was Helena Raine and I talking. Right. And as soon as I heard it was called Baby Girl, I'm like, yeah. I'm interested. I'm done. Right. I'm in. Right. I want to be the baby girl. Right. But I just sort of felt that I'd seen Instinct, which was a film that she'd done because I'm always looking for new filmmakers and different voices from around the world. And so she was over there in the Netherlands and I was like, okay, Helena. And we were developing something else and then she wrote Baby Girl. Oh, wow. So that arrived and I was like, I read it like in one sitting in my office. I was in Sydney and I called her and went, I'm in. Doing it. Yeah. That's so cool. And talked and talked and talked. And then it sort of developed and grew. And then it was like, well, now we have to find a Samuel. We have to find all the other people around because so much of it is the chemistry, how you create, you know, the people together when you're doing a film of this nature. It's not a one-woman show kind of thing. Right. Yeah. So like Challengers. So the structure, the finding of the people. So that's when she was like, what about Harris Dickinson? And I'm like, how'd you get that dog to calm down? I gave it a cookie. You always have cookies on you. Why do you want one? We zoomed with him and it just clicked. As soon as I saw his cat walk through. I was like, yeah, you're perfect. You're really, really good for this. Yeah. And he was just so nice. I was like, okay, this is going to be good. And then Antonio Vandaris who came in and went, I want to support you women. I want to give to you. And I want you to create something that I feel is really important. And to have those two men here with you. And they're so brilliant in the film as well. Yeah, and they're just very generous. Beautifully generous actors. I think that's how things get formed as well. Also, sometimes the stars just kind of align. Yeah. All the right pieces start falling into place and you're like, yeah. Yeah. This is where I'm supposed to be. And you like the people. Yeah. And so much of it is just, oh, we're having such good conversations anyway, just like what we'd be having around a dinner table talking or at a party or when I really know you, the intimacy and the ability to share and kind of share some of your deepest, darkest secrets. I'm sort of addicted to that. I love it. You know, I feel that way too sometimes. I'm like, let's skip all the small talk. Let's go there. Let's get to the real, like what are we doing here? Right. Who are you? What do you want to be? What is this world? What are we going through? What's just happened to you? And it's exquisite. I find that part of what we do, that's exquisite and rare. So when you were building the character, do you feel like how, I guess without being like what's your process, but do you feel like it's kind of one of those things where you work in tandem with the director and did you guys have rehearsal periods? Were you guys able to talk beforehand? Yeah, talk all the time. We would talk on the phone. We would Zoom. I would go and sit with Helena. I love sitting on the floor. So a lot of how I start is always can we sit on the floor and talk because I like to feel comfort. I like to lie on the floor. I just like for it to be, yeah, and then you can start to share. I still have a script where I'm like old school where I go, I bring in a script and a huge binder and I have notes and I have almost like my school bag. Let's get into it. Well, because that's how I start and I can't abandon that. So it's very hard for me to do it on a computer and retain like in my head. So I love little trigger notes and things and that's part of how I form. But a lot of it is just tell me what you're thinking. Yeah, and the same like Helena Raine with Baby Girl, it was very interesting because she's the same as Luca where she would have some physicalities that she would suggest and then I could sort of change them, make them more. She would have Harris and I or Antonio and I doing those things. But she, because she's written it and she's an actress, she would be able to play all of our roles. Right, right. And I would ask her to or she'd sometimes be Harris again with me being Romy so that it would really, yes, and she's very free with her body, which is great. And so her way of moving and I was able to kind of morph into the way she moved a little bit as well. That's really cool. Yeah, that's interesting. Because I guess having someone who acts as well, I think that's quite interesting. Yeah, as long as they're good. Someone who understands the physicality stuff, that's quite interesting. Yeah, or throws ideas to you actually can even be bad. Just give me some things that are not my initial instincts because I'm happy to be shaken out of my own place, you know, and then I can adapt. So I'm like a sponge. That's what I see acting as. You're sort of like a porous creature who's like absorbed. Taking in. Yeah, and then it comes out again, out of you in a different way. But it's like you're either the portal for things or you're the instigator where you're going, I'm going to drive this forward. But I love storytelling with knowing those themes. You know, I'm trying to philosophically explore and then I can be the portal for them. Yeah, and I'm so willing to try anything. Right. Maybe to a fault. But I think that's a great quality to have. I mean, I feel like sometimes for me, my hardest thing is I get so in my way because I'm such an over-thinker. Right. Right? And very self-critical and all these kinds of things. I find that being… Do you watch the thing back? So here's the thing. The monitor. I was talking about this earlier today, but being on sets is the only place that I feel like I can be spontaneous and be free because it's not me. I have to worry about the consequences of these actions. It's not my life, you know? And I can fall completely into somebody else's life and it's so freeing, you know? So I feel like I can watch myself back because I don't see it as me. It's not me. It's like there's another person we're creating. Tell me. That doesn't work? Let me know. I'll change it because it's like… I don't know. I feel like there's such a group of people and so many hands touch it. I'm like, best idea wins. Let's work all this together. I love having input. I'm not precious in that way. I just want it to do justice to the character, you know? And so I'm open to just try things. But it's so interesting because I feel like in my normal life, outside of this, I'm so rigid and nervous and whatever. I guess that's why I love what I do. Because it's the one place I can be. I don't watch the monitor. No? No. It freaks you out? I suppose I don't like to break where I am. A lot of the times I'll just… It's almost like in a trance where you can give me direction or talk or tell me to do things and it'll go in. But I may not… If the director's speaking off camera or something, I can hear it. But I wouldn't say, come out of character. It's weird. That's cool. It's weird. People are like, she's a little crazy. No. But I don't like the monitor because then I feel like I'm put into a… But then someone like Baz Luhrmann loves you to sometimes look because he'll be like, this angle, I need this. And then I'll go, okay. The technicality of it. I can kind of see that. But my preference is not to watch. Right. And if you make me, I will. But my preference is not to. Wow. Yeah. Okay. It's so funny because every, I think, actor is different. Is different. And there's no right or wrong. That's the other thing. Some people cannot watch themselves at all. I remember for Challengers, I would be like, you guys are so great. I loved watching them because I love going to set. And they are. They're great in the movie. They're so great. I loved watching them perform and I just, whatever. And then to them, they were just like, they hated going to the premieres watching themselves. They were like, we'll skip it. I'll see you after. And I was like, but you guys are so good. That's sweet. That's nice that you, so you can sit there and feel, that's very, very healthy. Yeah, I mean, I'm like, I love it. We did a good job, you know. I can kind of divorce myself from it. Also because I feel like to an extent, like, you know, it's not mine. It is the director's as well. Like I think you have to have a level of trust of like, because I remember there was a day on set. Luke is very, at least for this, like one, two takes, you know, he doesn't like to shoot it a lot. And I remember. That's like Helena, yeah. Oh yeah? You guys, really? We didn't have a lot of money either. Yeah. So we were like. That part. Quick, we gotta. Get the day. Yeah. But he, he likes to shoot quite quickly. And I remember like, he didn't do a lot of coverage in this one scene of Mike and I, and I was like, he was like, all right, that's it. And I was like, are you sure you don't want to like, he's like, no, no, I cut, he edits as he goes. So like, he's pretty much got the movie edited already, you know? And he's like, no, no, no. I'm going to cut to like, I don't need any closeup. I'm going to cut to a closeup after this. Wow. And I was like, oh. And he was like, what? You don't trust me? I was like, no, no, I'll never ask. I'll never ask again. I was like, you already know. I'm like, let me just go back to being an actor. But he kind of already saw the whole thing in his head. And so if he's happy, if your director's happy, I'm like, maybe for the first week, I'm like, they're lying to me. Like when they're like, we're good, we got it. I'm like, you're lying. I suck and you just don't want to tell me. You know what I mean? And then once I get past that, then I'm like, okay, if you say we got it, I got to like trust that you got it. I love that when you can go, okay, good. You feel confident? Let's go. And I will say quickly, because you mentioned Battle Storm, Moulin Rouge is like one of my favorite movies of all time. I love that movie so much. I could sing the whole soundtrack right now if you needed me to. Please. Come on. But it's true. It was actually when I did Greatest Showman, I kept referencing it so many times. Yeah, right. But I just had to say that because it was so special to me. Well, Baz has sort of been my, he's guided me through so many things. And I have that relationship with a lot of the directors that I've worked with, which I would think you have now too, where you get very close to them. But Baz was so formative for me. And he gave me, I just had wanted to do a love story. Like I'd always done these weird films, but I'd never done a love story. And I remember I was like in my head going, oh, gosh, I'm never going to get to do the great love story. I want a love story. And then Moulin Rouge came out of somewhere. And I'm like, a musical love story, huh? Gosh, I hope I can sing. And then I was like, I can't do this. I'm never going to be able to do it because I don't feel confident with the voice and everything. And then he slowly built me up. I'm glad he did because it's so special. I absolutely adore that movie. But tell me about Zendaya. Euphoria. Yeah. And Rue, right? And Rue. Come on. Well, TV. Spell the T. Well, TV, as you know, it's like it's such a different thing. Yes. You know, like so much so that like I've done so much TV because I started in TV as well. Like as a kid, I did sitcoms. Yes. Oh, I know. I know. I have a 13-year-old and a 16-year-old. So we've grown up with you. And we're obsessed. So yes, this is like the highlight for me because I get to go home and go, look. So shout out. Sunday and Faith. To your kids. Zendaya. Hey, your mom's cool. Do your homework. Yeah. So anyway, so like coming from like that kind of background, I guess, you get so like used to a character. Like you just, it feels like a skin that you just like slip on, you know? And I remember like there came a point in the first season of Euphoria where the skin thing happened where I was like, oh, now this becomes like second nature. Like that Rue just falls into me. Yes. You know? And I'm not thinking about it so much. It's just like, oh, there she is. She's here now. And she's taking over. And it's such a nice feeling because you get so much more time with characters, especially if you do more than one season, you know? And it's so intense. Super intense. So would you stagger out of that experience? You know what's so interesting? I feel like yes and no because while it was like emotionally and physically draining, it also was like so rewarding. And I was so proud of it. And also just like the stories and the people who I've met because of the show, like it connected with people in such a deep way. Yeah. In such an emotional way that I felt so grateful that I was like, okay. So like it was one of those, you know, there's some times where like when you make things and you're like, I think like what am I doing and why do I do this? And then there's moments where you, where people really connect with your work and you're like, oh, like what I'm doing isn't stupid, you know? It's like, oh, it actually does mean something to someone. Yeah. And it's so connected. Yeah. And it's a part of their life and a part of their story now. And like, and that gives me so much more life when I'm playing Rue. Now it's like, it's all worth it. You know, all the exhaustion that comes with her chaotic life and decisions. It's like, well, there's someone who's going to watch this and it's going to mean a lot to them and they're going to hate it. So it's like, it's worth it. Change their life actually. Well, you hope so. Yeah. You hope when you make things. With Euphoria. And then are you doing more? You're doing another one. Yeah. We have, we have another season. We're supposed to do another season. So you've done two. I've only done two. But it feels like, it feels like five, you know? One season of Euphoria is like. Yeah. I'll bet. That's why I mean, because I find sometimes that it's really taxing when you're going through all of that, those emotions that are so intense and deep and, and that your health actually, you get sort of, because I always say your mind doesn't know. No, that's fake. I know. Yeah. No. So your body, you're putting yourself through the trauma or all of it. You're actually putting yourself through it and you have to have ways to rid to get rid of that. What do you do? Oh, I've done all sorts of stuff. How do you shed it? I've done when I was, it was very intense on Baby Girl. And there were parts of Baby Girl that are not now in the film, but that fed into it that we shot that, that kind of, yeah, just after a period it was, it was exhausting, but it was also just emotionally disturbing would be how I put it. And then the same when I was doing Big Little Lies. That was disturbing to my body and my psyche because I couldn't tell what was real and what wasn't. So it was just like, whew, I'm not, this is hard. Yeah. And I would have the real bruises all over my back and body and like, so I'd be seeing it and my brain, my brain would say, well, hold on, you're down, you've, you're hurt. But, you know, so it's sort of, I do sort of these things that have, you know, clean my chakras and pray and do all of this, you know, and get out the sage. I know. Honestly, I'm like, I'll take whatever. Whatever I can. Just get me here so that I can step into the next place free. Right. And not scarred or damaged or wounded. Right. Which sounds like I'm bat shit crazy, but I'm not. I'm very just of here, but I'm also, as I say, open to. And so many people have come into my life, even just a massage, where suddenly you get a beautiful touch and massage. That's so healing. And we have to heal, you know. No matter what you're doing, it's important to just take care of yourself, which is not my number one. I'm not great at that. I'm very good. I'll take care of you. Like I was like, drink water Zendaya, you've been on the plane. But I'm like, my sense of my taking care of myself, I'm still learning not to sacrifice my body and myself. For one, the sake of the art, because part of me almost wants to. And to, you know, just having to value who I am. So it's a journey. It's a journey. And it's a balance too, right? But you seem very stable. Seem? No, I'm kidding. But I mean, you seem like you've got a great system around you. When I say stable, what I mean is you know how to do your work and then also like having your dog here. Yeah. But that's good. That's my emotional support. That's your support. So you've worked out the things that you need. Like I always say to kids, you know, when they're like, oh, I can't have this stuffed animal or you can have whatever you want. Your comfort is your comfort. So if you need to keep your blankie to your 85, you keep your blankie. Right. There's no medal for giving that up, right? Yeah. Who says you have to be this sort of perfect girl? You're allowed to have these things. So learning to take care of your body, your mind. Yeah. I feel like, I don't know, it's something that like I'm still learning, you know, and trying to figure out. But I do know that I like to have fun on my job. Like even if it's brutal or it's whatever, I still like to have fun. Yeah, have a lot. And I like to enjoy the process. Like I don't want to be miserable the whole time. Like you're in a prison. Yeah, just because the character's miserable, you know. And I do think that like for me, like with Euphoria specifically, you know, we'd have really, really tough days. And then I would just leave it. And I was like, and cut. And now we're going to talk about, you know, what are we doing, you know, later today? Yeah, go have a great meal. Yeah, what are we going to order for breakfast? You know, like just talk about normal stuff and like let's leave. Rue is here. Now Zendaya is here. And Zendaya wants to talk about like normal things. I don't want to talk about what Rue just went through, you know. And it kind of, I guess it can seem a little jarring. We'll laugh about it on set because I'll be like, you know, ordering my food or my lunch or whatever. And then I'm like, okay, got to go cry and knock down a door real quick, you know. And then I'll come back and be like, hey, Cheesecake Factory? Like what are we getting for lunch, you know? So I try my best to leave it at work. And, you know, it's not always easy. I mean sometimes you carry the residual effects like you're saying. Your mind is like it's fake, but your body doesn't always know and you can hold it still. But I do try my best to like leave them at work and then go home and like live my life and be a person. So I go home and I have a family, which is such a good balance because you have to be present and you have to be there and you have to be not sort of carrying all. So that's actually been an exquisite thing. I always say that to people when they say, can you have a baby and still do the ID? Yes, you can. Yeah. It's actually almost better because you're able to – you have to. There's no kind of – you can't indulge yourself. Yeah. But at the same time, it does – a lot of times the work will penetrate my dreams or my sleep, you know, those things. The subconscious I can't control. Yeah, and I will feel it. But I'm so lucky because I have an artist husband, so he's able to discuss the things with me and he's very, very open to allowing that, you know, and that's beautiful. And my kids too, my kids. So they've – yeah, it's interesting. But I – anyone, any actor, and I know a lot of this is for actors, you know, when we're sitting here talking. Exactly. No one else is interested. They're like, turn this off now. But, you know, trying to share what your knowledge or what you've learned along the way, especially me, I've been working since I was 14. You've been working since how old? Yeah, about the same. Yeah. So we have something that we can go, well, take it or leave it, but here's kind of some of the structure or some of the ways I do it. And also I just am a huge believer in working. Like, get in there. Yeah. If you can, if you get offered a job, sometimes overthinking and going, well, is it good enough? I mean, so many actors don't have a choice. Just jump in and do it. You never know where it's going to lead. And every job does produce something else. Right. You know, even if it's just in you. So when I was 14 and starting out, I was like, I just want to work. Yeah. Let me at it. Let me try it. So I always say that. Keeping that part of myself alive. Stay excited. Stay grateful, but stay open and really excited about the chances and the opportunities because it's so extraordinary. Do you prefer TV or film or is it just? I like it all. You like it all. I like stage as well. Oh, yeah. Yeah, yeah. You haven't done stage. I haven't done that yet. Come on. I'm so nervous. Huh? No. I think. I mean, it's nerve wracking. Yes. But once you're in it, it's the same. Yeah. I think it's just like. I think you'd be wonderful. I mean, we talk about like, you know, bringing it and then like trying not to take it home with you. I feel like with that, like doing that every day and then like delivering that every day to a live audience of people who's also like, that's a lot of energy coming at you too. And sometimes multiple times a day. I think I have such a respect for theater performers because it is such an emotionally demanding thing to do. But you're in there together. Yeah. And the energy of the theater and the people in there who have paid to come. Yeah. Who want to be there. They're not being forced to be there. They're there because they want to see this and be taken on an experience that incredibly invigorating. Like it's like you can just. It just brings you. It's definitely something I want to. Come on. I know, I know. I got to rip your bandaid off. You've got a lot ahead though. Yeah. I definitely have something I want to do. You've got the next dune. Yeah. You've got euphoria. Yeah. You've got. A lot of work to do still. Yeah. So. Yeah. Maybe, you know, one day I'll do it. I'll stop chickening out. Fabulous. Well, thank you Zendaya. And thank you for your time. Thank you for spending. Yeah. An hour with me chatting in these orange chairs. Soft orange. I keep rubbing. Yeah. Like we're like cats. No. And thank you. This was really special. And you're amazing. And I want to see you in everything. So I can't wait. One day hopefully we can work together. Yeah. We'll find the right thing. I would love that. Where we can. Have fun and explore. And then go. Okay. We're going home now. What are you having for lunch? Exactly.