Kate Winslet Talks Goodbye June, Directing, and More | Skip Intro | Netflix

The babies I could put in front of a camera for 30 minutes a day. So that's literally someone standing there with a stopwatch when you say action and hitting it when you say cut. Kate Winslet, it is so lovely to see you. I can't tell you how much it means to me to sit across from you because I think about my whole career adjacent to watching you do your whole career. Yeah, it's crazy isn't it? Yeah, all these things in tandem, you know, meeting each other at certain intersections and you are, you know, you making your directorial debut and obviously starring in Goodbye June. And then Connor and you and dad, Helen, can stay with Julia. Yeah, yeah, great, whatever. Yeah, absolutely fine. That's a very good idea. Plenty of room. Yeah, okay. Okay, that's good. I am just thrilled that Netflix has it and that I get to talk to you about it. Oh, thank you. And that you finally effing did it, by the way. I finally effing did it. It is an interesting one, the topic of, like, directing and why hadn't I done it before and why now. But the interesting thing that has been asked is why hadn't I done it before? And, you know, there are so many things I used to say because I remember Danny Boyle coming up to me on the set of Steve Jobs and he said to me, you know, you think like a director, when are you going to direct? And I was like, oh my God, please don't make me. Because I had been married to a director and fully know that the process of directing a film is not come in and out like an actor does. It is a year, if not more, of your life because there's pre-pre-production, pre-production, you shoot, then you go into the edit, there's grade, the sound, it all goes on. But there's also the development process of the script that is part of it too. So it's a sort of an end-to-end job, which is wonderful. And, you know, the reality is, Krista, I've been a mother. So juggling an acting career and raising a family was always challenging. And I could pull that off. But there's just no way that I would have been able to sidestep my mothering duties any earlier than now. And it happened in my 50th year. And I do feel actually really ******* great about that. That is great. And I'm going to bring you way back much earlier because you, I saw Heavenly Creatures and I never got over it. I'm still not over it. It was just like one of the most unbelievable films, two incredible performances. And from that second on, I was like, I stand Kate Winslet for now until eternity. And I still stand by that. But I think about that. You were so young at that time. And obviously Sense and Sensibility, Jude. Again, these movies were so like great and heavy. And it leads me to something that when we were doing our second Hollywood cover, and I'm going to show you this because I've had Cameron and Claire and now you on the podcast. And we've all talked about it. And I remember Cameron cut her hair that morning. She did. And arrived on set. And Annie was like, oh, yeah, you were in the middle of Titanic. And it was one of my career highlights at that time because I was just so in awe of your talent and you that I had to be your stand in because you were coming from, you know, it was coming from Rosarito. Right, the water. I was coming that morning. So when we shot Titanic, and I remember this very, very clearly. When we shot Titanic, it was a seven month shoot. And four months of that shoot were by night. And we did six day weeks throughout. So we were totally topsy turvy. But I remember I had wrapped. It was a Sunday morning and I'd wrapped at 530 a.m. And I got in a minivan with crew who were coming home to L.A. to see their families for the weekend. And I hitched a ride and came and did this Vanity Fair shoot. And so I'm standing that I had no sleep. I'd come straight from I'd literally come straight from set. And I do remember how much those shoes hurt. Yeah. To this day, I remember. But it was a great cover, wasn't it? I love to see that the all three of you are still performing at the top of your game. And it's just like thrilling for me is. It's wonderful. An assistant on that shoot, you know, doing these things that I went on to do. You know, I did it for 25 years. So that to me is just an amazing to sit across from you. It's just like, oh, look how far you've come. Look at you now. And you look at us both now. Look at us both now. Exactly. We've got to celebrate our wins. OK, I have to do this because since then, how far we've come. And I'm not going to read my accolades. I'm going to read yours. Oh, no. Oh, gosh, I have to read it. Ready? Let's have an Oscar nominations total, including a win for the reader. Two Emmys, five Golden Globes, five BAFTA. IMDB says one hundred and nine wins and one hundred and ninety nominations overall. And I reread my cover story on you. And when Leo, my favorite quote, it's like she is hands down the best actress of her generation. So I'll stop there because I'm not going to embarrass you anymore. But I wholeheartedly agree with him. That's really very kind. I love that you decided to direct and you're also in this film. Yes, because I produced it, too. So the two jobs weren't enough. And so I had to do three. What on earth is wrong with me? But I loved every second of it. I loved every second of it. I didn't want it to finish. I could have gone on forever. And I think that's really because I love the script. I was extremely drawn to it. I had such a personal connection with it. But I loved all of our brilliant actors. And they all had said yes. And when my son had written it and let me read it, he couldn't believe it when I said to him, well, we're going to have to make this into a film. And he was like, it's not some assignment you have to make me feel good about, mum. Honestly, it's like, no, darling. No, no, we are. You need to go and finish it because he still had like 20 pages to go. I said, finish it. And then I think we really should talk about this seriously. And he was freaking out. So part of my exercise in getting him to understand that I really meant it was to get him excited about the possibility of who might be in it and crew that we might have. Because the great thing about being a producer is that that's your job. You reach out to the people you admire. You reach out to the people you love and have known for a long time. Even sometimes you call in favours from those people. Like that's sort of how it goes. And I love that side of the job that I now do. So I wasn't going to direct it initially. I didn't think about that at all. I was going to produce it and play Julia. And then right at the point that the script was ready after about a year and a half of development with Joe, I suddenly said to him, I can't, we can't, we can't give it away. I said, because as soon as a director comes on board, it will become theirs. And that's, that's right. That's the right thing. But I don't want that for us. And I don't want it for you. I want you to feel like you're part of it. And if it had been anyone else, Joe would have come to the read through and he would have come for a set visit in the middle and maybe like a dinner that no one wants to go to anyway, right at the end. And I didn't want that for him because he's a really smart person. And he's incredibly passionate about film. He has a film language that seems to be innate within him. And I wanted him to be there and to learn and to see it come to life. And so we wrote down a list of all these actors that we dreamt might play these parts. And, um, and they all said, yes. I mean, Kate, it is a murderer's row of British. I mean, it's like, well, and Tony Collette is not British, but the Helen Mirren, it's unbelievable. Andrea Riseborough, Timothy Spall, like you're just like one after another. Everyone is so, so good. But I want to go back a little bit, um, for, for our listeners. So, and this is, and correct me if I'm wrong, but so your son is at film school, right? And he says, Hey mom, read this. I don't know if it's, if it's any good or not. And really lie to me if it's terrible, but you know, can you give me some notes on it? What was that first read like for you when you started? Well, you have to remember that I am very close with, I'm very close with all of my children, um, and they all need very specific, different things from me. And I, I'm no stranger to reading things that my son has written because he's always written. So he was a very talented writer at school, um, actually part of his extended personal project. And they do that at the age of 18 before leaving. And he actually was feeling really ambivalent about having chosen to do English literature because he didn't want to be annotating endless old texts. And he found that really hard and he found it was stifling his desire to write creatively. And I said, well, what would make you happy instead of that? And he said, I just want to write monologues and poetry. I said, do that then instead, do that as an extended personal project. And he got the most extraordinary results for that work that he had done. So I'd read all of that and I'm very familiar with his capacity as a writer, but it's a a screenplay with a real structure and real characters that have to jump off that page and live and breathe and, and, and become something that is a narrative that pulls people in and, and, and he had done it. And what he had done that struck me most of all was he had somehow been unafraid to explore the different, very complicated themes of family. So pursuing comedy as well as tragedy and having those things live side by side with each other under extreme circumstances involving multiple characters and lots of children. And I said to him, I said, how did you, how, how did this kind of come to you in this way? And he said that when he was in the screenwriting course, he had a brilliant tutor who'd said, just write what you know. And Joe, at that point was like, well, you know, I lived through COVID and all the restrictions and things that happened in our country to teenagers and they were literally not allowed to go out for months on end. And it was ruinous, ruinous for them. So there was that, but he really remembered very clearly losing his grandmother, my mother in 2017, and was so struck by how everyone came together. You know, people hadn't seen each other for a really long time, people working away, living in different countries. Just the sheer geographics were phenomenal in this all coming together. And it was kind of miraculous. And we gave her a passing that was wonderful. And he took that as a backdrop and inspiration and created this completely fictional story from there because he realised that for so many people, actually being present when someone passes away is almost unheard of. And that was how it began. So the first read was, it was really quite amazing. Well, what I responded to so much is a lot of it is, he just nails that British ethos and the kind of chaos and complexity of all the siblings, how you relate as adults and how your parents become the children and how one parent, the parent that's ailing, what does that mean to the other parent? I love so much of it, it's so funny. And it's just, they are, these characters are so layered, even though we only sit with them for two hours. And the casting is so well done. I think obviously, you know, rightfully so, actors jumped at the chance to do this because they could bring so much to these parts. There was so much meat on the bone. And I've watched it a few times and it just, that there's one particular, there's so many scenes. But the first thing, one, I was just so happy and proud that you had directed it. Second of all, I love that this is what you chose to do. And then I was like, wait, is she mad? She's working with like seven kids. Oh my gosh, yeah. And they always say no children and no dogs, right? And here you are, you had like babies. Yeah. Oh yeah. So I had, so I had, so seven children, and actually that was eight, because the baby was identical twin girls. And so working hours are very, very different for children than they are to adults, but they're also very different depending on the age of the child. So the babies I could put in front of a camera for 30 minutes a day. So that's literally someone standing there with a stopwatch when you say action and hitting it when you say cut and adding up the minutes of actual on-screen time that that child has been a part of. And it's a really, it's a fantastic system. And thank God that we have these kinds of protections for people, for young children who work in the film industry. But then I also had two five-year-olds, one of whom had special needs. Then I had a, I had a trans girl. I had one of them was also, one of the children was high-functioning autistic. So, but what was so wonderful about it was that it only added to the texture of family, real family and real family of today. And children bring the joy in everything. And also what's wonderful about children is that they observe and they can feel what's happening to the grownups around them in delicate situations. They don't necessarily understand what they're seeing. They clock it. They feel it. But then they just get on with hiding under the bed covers because it's a huge empty hospital bed with funny buttons that they can press, you know, and looking at the cute things on the Christmas tree and trying to sneak the, you know, the chemically foods that they're not supposed to have. And forming friendships in a whole other way, you know, and actually what's lovely about the film and a part of it that I am proud of is that you really do feel those children start to come together and bond in ways that the adults are completely incapable of doing. And it's so true of life. Children don't discriminate. They don't care. They see someone who smiles at them and says, do you want to come and play? And they go and play. And it's wonderful, that innocence. And I was thrilled to be able to capture that. But my God, it was the most extraordinary juggle. I can't tell you. And I only had 35 days to shoot the entire film. And I only had Helen Mirren for 16 of those 35 days. Well, let's talk about Helen Mirren, because I have read that there's a few things that she said, I'm never going to play. And one of them was a dying person. And what was it that got you to get her to play her? Because June, she's unbelievable. I know, she's just incredible. It's actually one of my favorite things, I think, that she's ever done. And so I spoke to her. I called her. I had worked with Helen before, a very long time ago, and had bumped into her many times at things. And so we sort of know each other a little bit. I spoke to her and I told her what the story was. And I explained that I was going to send her this script. And I explained that at that point, I was going to be directing it. And I had never done that before. And she was very excited about that. And then she said, darling, I am going to have to stop you because I just need to tell you that I have always said I would never play anyone with dementia and I would never play anybody who has cancer. So you just need to know that. And I said, OK, we'll read it anyway and see what you think. And she was just very, very touched by the story. And she did love the role. She sort of didn't want to do it. There was a part of her that was resisting like mad. And in her own words, she said, I don't really want to do it because I know it's going to be terribly hard. And I do have those two rules that I told you about, but I'm actually going to break those rules. And I'm going to do this for you because I think that you will do a good job. And I feel like I will be in safe hands. And I was so blown away, was so blown away. And then, of course, I completely freaked out because I'm thinking, oh, my God, I'm going to be directing Helen Mirren and Tim Spall. I mean, they're veterans of this film world. But I did know straight away that there would have been no point in me trying to, you know, give them a bit of direction that they've never heard before or shock them into something or try and be a bit tricksy because as actors, you're really clever. You know, I sniff that stuff out if a director tries that with me. And, you know, it's just not, it's just not helpful. So I thought, well, the best thing I know that I can do for those two actors in particular, because they do have such quiet, important scenes together that needed to feel really intimate. I knew that I was going to be able to change the atmosphere of those spaces for them by making them as decluttered as possible. So I didn't have any overhead boom mics, not once in the whole shoot, partly because when you have seven children, exactly, they would be staring up in the air at the man with them waving the big pole in the sky. But for me as an actress, I'm pretty good at blocking things out. But my one thing that I do find very hard is not seeing that boom or seeing the person in the corner holding the boom with their arms shaking because it's a six and a half minute take. It's very hard to tune that stuff out because you actually worry about that person's arms, you know? So I worked with our sound designer, Denise Yard, and I said, look, how can we do this without having that stuff? And she said, well, we'll just mic everybody, including the children, and we will have lots of hidden mics absolutely everywhere, which is what we did. So the day that Helen Mirren said to me, do you know, I must say, the sound department on this, they're really very invisible. She said, I just hardly feel they're there. I mean, I literally put my fists into the air and making sure as well that actors had their radio mics put on them at the same time as getting into costume separately to walking onto set because there's a thing that happens as an actor, and this is never really talked about. But you come into work and you're in a certain mindset for the day that's coming up depending on the scene that you have. And sometimes that mindset can be that you just need to be quite quiet. And so when you've got lots of people and hair and makeup and fussing and fiddling it can really rattle that frame of mind. And so I said, we just need to make sure that everyone has their microphones put on before they come to set because otherwise the actor comes to set ready to go and half of it all has to come off again. And you've got three people trying to figure out how to hide the wire and bits of tape coming in. And someone's had a, you know, the boom person might've had a cigarette with their morning coffee and you can smell their fingers under your face. Like, it's just a strange, almost assault to the senses and it's no one's fault, but it can be difficult. So where I could, I used the things that I have found disruptive and I got rid of them. And I also was able to do something I have dreamt of as an actress and I've never actually experienced it myself but I've always wondered if it would be possible to set cameras, set the focus and have everybody walk out of the room. So I had a lot of locked off cameras in this and it changes the space. It changes the feeling that I was able to give to those actors in letting them really be alone and really quiet and really having those hard conversations in a private way. It changes the texture of the words as they come out of their mouths because they don't feel watched. And it meant a great deal to them to be in those spaces. And actually Helen said, I don't think I've actually been in a scene with locked off cameras since I did a sex scene at the age of 35. She said it's never happened to me before. And I was happy about that because I was happy for her that she'd had it at the age of 80. And it was terrific. And it also meant that the kids could just be kids. We would very silently roll cameras a lot of the time and they would of course never know. And the way that you get two little boys to jump into a hospital bed and pretend they're playing hide and seek under the sheets is to tell them that you've hidden something in that bed and it's their job to go. And we would actually say go, we didn't say action because it would make the children suddenly self-conscious. Right. So we would just say and go and we would suddenly, then all the actors knew we were in the scene but the children didn't have a clue. So I got children being children. You really created such an intimacy with every single one of the characters even though there's sometimes six of them, seven of them, 12 of them in one room. You're getting all the big overarching action and dynamics but then you're just dropping into these incredibly intimate moments that are so moving and then the next minute hilarious. Well that is great. I'm so thrilled that you felt that because I never wanted to sit on the emotion for too long because if you stay on it for too long it becomes indulgent, becomes saccharine and suddenly you don't feel for these people anymore. So keeping that humour alive, having that wonderful scene with Johnny Flynn who plays Connor, the only son of the family and Helen Mirren playing June where he's reading her that poem, that beautifully moving scene which for a lot of people is the first time they start crying actually within the film and then snapping people out of it by having Tony Killer enter the room in the next frame playing a turtle-shaped whistle looking like a carnival and being completely free and hilarious. And Tony was absolutely fantastic at getting the measure of that humour, really placing it correctly so that it was never ever too much and never felt forced and she's just so brilliantly, she can just do anything. I mean she's so talented. All these actors could do anything. They were, it was amazing and I'm thinking about one scene that was particularly affecting for me and I've seen the film a couple of times and I wanted to live in the moment again because it felt like I was almost reliving that with my mom and you can see I gave a little emotion in my voice. But when your character, right? So you're the second oldest, right? And you're the one that's got this ---- together, right? You're the one that takes care of everybody. You're the one that's on paper most financially successful, seems like you have it and there's this real quiet moment of the two of you. You don't mind if I die, do you darling? No. Good, that makes me feel better. The expression on your face, all the emotion that you go through in that seconds and then you turn to her and you're, of course, mom. How was that directing yourself? It's so intimate. Did you have to see the scene and then go back and be like, did we get it? Do we have to do it again? I mean, how is that when you're acting in it? I love that you mentioned that scene because it is actually, it's just one of my favorite scenes in the film in terms of how it was, how we shot it and we had a lot of reflections that were available to us because of how it was lit and you could see the snow outside of the window and the snow is a very symbolic part of the story. And I just really love it and it sort of sits perfectly in terms of where it lands within the story at that point. It was very hard for me, that scene, having lost my own mother and also saying things that I didn't necessarily say to her, didn't necessarily get to say, conversations we didn't actually have. Similarly, directing Tim and Helen in those very quiet scenes between Bernie and June in the sort of back third of the film, actually the last quarter of the film, I felt like I was witnessing conversations between my own parents that I never witnessed, you know? I don't know what was said between the two of them in the final days of my mum's life and suddenly it was almost as though that was coming to life again. So I did, there were things that were just inevitably very, very hard and I think, you know, that line between what's real and what isn't became just completely blurred for me and it actually did for most of us as actors because the majority of us have actually lost a parent. It was hard directing myself. I had to just rely on instincts, which is something I've learned to do in my life, but I also had to be ready with how many different ways I wanted to try something. But the most wonderful thing about working with actors of that calibre is that no matter what I might have planned, it would always come out differently based on what I was being given and that's what great actors do. You give each other things that completely change the way you may have anticipated you yourself were going to play a scene. It can literally just flip it on a dime and in actual fact, the way Helen delivered that line to me, it wasn't how I'd heard the music of it in my own head when I'd been learning the scene and prepping for it. It came out differently and actually I think part of my reaction that you see on camera to that line is almost, it is startling because she's so startled by, of course the question, yes, but the fact that her mother is choosing to say it to her. She's looking for that permission from this one daughter. So in that moment, Julia, my character, finally feels seen by her own mother rather than just, for want of a better description, slightly taken advantage of because she has the financial means and she's responsible and she's practical and she's probably got people back home who help her do stuff like an assistant, et cetera. And Julia is very different to the rest of the family in that capacity and is way too lent upon. So there's no space for Julia to have real emotions about what's going on because everyone else's emotions are so much bigger than hers. But that's a long-winded answer to the question of, it was really hard directing myself in that scene and also directing Helen too because I'm sitting there watching her face and then trying to find a way of wanting to kind of give her a note or a thought and not being able to just kind of say, cut. OK, so that was really great, but in this next one, can you do blah, blah? I mean, it's just finding the right tempo, actually, and timing of when to offer something up and when to leave and act to be. It came to me relatively instinctively, but there were definitely times when I would think to myself, I think it's better to just let them be for this moment rather than add something that might throw them or change a plan that they had that I don't know about yet. And it was always so fascinating to see, quite honestly, how odd everyone is, you know? Actors are odd creatures and this is a family of messy, chaotic siblings who have lost their way with each other and being free and open to that and letting them all be as messy as they wanted was absolutely, it was just delicious. It was just delicious. Well, you answered one of my questions because you do have like the, you know, this. Obviously, we've talked about the cast. I was going to say is did they surprise you with how, you know, you read it on the page and you think you hear and you just answered it with like Helen Mirren was able to surprise you and how she delivered something, which I love that actors you think about it and and yet they, you can read it on a page, but yet what everyone else brings to it just keeps it alive and the humor that's that comes across, too, is something that I just, like I said to you earlier, it's an easy watch. I loved watching it, even though it's about something. It's so universal because we all experience it. No one is 100% guaranteed. Yes. I mean, like no one gets out of it, out of experiencing this. No, it's something that happens to all of us. And you know what? We don't talk about it in our, you know, Western culture. We are really not very good at talking about loss. We don't even know what to do when someone has passed away and you find yourself phoning like a funeral hotline or a coffin company to order a coffin. I mean, it's the most it's the strangest set of circumstances for any human being. And yet in our culture, we have absolutely no infrastructure emotionally or roadmap of any kind. You know, in other cultures, you know, they sometimes embalm a body and keep it in the family home for up to a year until they actually bury it, until they're ready to. I mean, it's just extraordinary to think about that as an idea. And, you know, we lose someone and we we bury them or cremate them within a matter of weeks. There's something it's just interesting to think about the amount of stuff that we don't discuss. And also the emotions facing, knowing that someone's going to go, making sure that you've said everything and also making sure that I think when facing losing a parent, making sure you've asked them about their life. Tell me everything. But I do remember actually doing that with my own mother. Just tell me again about that section of your life between 16 and 25. And she told me things that I've never heard her say before. But the actors, you know, in terms of did they surprise me or not? I think we all surprised each other. And I think Helen Mirren surprised herself, to be honest, because she was resisting a lot of what it took to play this part. You know, she's an 80 year old woman. She doesn't want to play somebody who's about to die. She didn't want to play somebody with that thinning hair and that that non costume by virtue of the fact that it's a hospital gown. And she did. She found that hard. She did. And she would say to me, I don't like it. I'm struggling with this now. You're going to have to look after me. And I'd say, absolutely. Well, I'm right here. What do you need? Just tell me what to do. All right. OK, well. And I would talk her through exactly the timeline where the scene was landing, how many days until we get to the final five minutes of the story. And we would go through it beat by beat and actually being quite practical with her when she was having those moments of not distress, but just yeah, mild discomfort that seemed to help. Come on, Helen, you can do this. Come on. Off we go. OK, we've got two and a half hours to shoot this scene. Everybody ready? Let's give it a go. And just carrying on. And actually, it was that energy of me kind of just running at it and being determined not to go over budget, not to go over a day. And I didn't. I delivered everything on time. I did everything that was expected of me. And I was there from start to finish through all of it. And I absolutely loved it and didn't want it to end. And how is it working with Joe on set? It was fantastic. But you know what? I'll tell you, which is like doubly ridiculous about my my son. And he's so humble that he'd hate to hear me say these things. But we were gearing up to shoot. We were getting so excited and he went and got cast in East of Eden for Netflix and was in New Zealand for half of my shoot on Good by June because he was gone for like three and a half months. And by the time he came home, I was three weeks in. And then he had the remaining four weeks with me. And it was it was just wonderful. I loved being able to show him things and and and reveal to him just how much of a fully functioning family all of these people had become. I mean, we did a Q&A the other day, the first one actually of his whole life. He's never done that before. And he said he found it so he found it so freaky how he arrived on set three weeks in and everybody, they were playing the characters that he'd written, but they had become theirs. They weren't his anymore. They were living and breathing and they were wearing the costumes that I had put together with them and the costume designer. And they'd come to life. And, you know, there's Connor spending the whole of story day one in his pajama trousers, because that was how his day began. And it just stayed that way. And the textures that Joe could feel from the performances that everyone was already giving it just it just it was it was wonderful. It was wonderful. And he had really also great opinions, too. You know, I say, what do you think of that take? He'd say, that was really good. But I sort of think I kind of preferred the one before. And I'd be like, yeah, so did I. And so it was it was just magical. You know, we learn a whole other side to one another. And it was just it was really fantastic. All right. I'm going to ask you. We're going to go now to the questions that I ask everybody on that comes on the podcast. These are some of my favorite. And there's one that's been amazing because I've learned so much about myself and about my guests to this question. And it surprised me when I first asked it. But how has your birth order shaped who you are in life? Well, I suppose one thing I could say is that because I was the second I'm the second eldest. And I think my with a first child, and I know this myself, having been a parent, there's a there's a certain degree of sort of not anxiety around that child, but kind of really hovering and making sure that they're ready to go off into the world that goes on. And so perhaps, perhaps I skipped a bit of what my sister may have had. And I don't actually know if this is true or not, but I may have skipped a little bit of that kind of protectiveness from my parents. And I certainly felt very I certainly felt very trusted and free. And so I think what that has done in terms of shaping my life path, a very, very good question. Excellent from you, Krista. Well done. I think the way that that has shaped my life path is that I've never I've never questioned my own. I've never questioned my own choices because I was always empowered to make them from quite an early age and supported to do so. And I've never thought about it in that context. But I think that's possibly how it shaped my life path. OK, what are things that you are so excited to miss out that other people love doing? We call this Jomo here in America, the joy of missing out. So the joy of missing out. Oh, my goodness. I absolutely love not going to after parties that go on till three o'clock in the morning. Oh, the joy of just saying, do you know what? I'm going to have to get back for the sitter. I hope you don't mind. Oh, my God. Heaven on Earth. That's that's just that's my answer. That is so good. That is what we do. OK, my last question. Core memories. So what was one memory that's like etched into your mind forever? Is older, new, big or small? Like it was yesterday that was like pivotal in your life. It is quite an extraordinary memory to have almost to the extent that I can't quite believe this happened. And it's a wonderful memory. So I was about a year into my life beyond being married to Sam Mendes and I was on a holiday with about there were about 10 of us, I think, and we were on a boat and it was myself and my two children, Mia and Joe, who at the time would have been, you know, five and eight or six and nine or something. And my best friend, his name is Emma and we all call her Lemon because when she when Joe was little one day, he said Eskumi, Lemon, and it just came out as Lemon instead of Emma. Anyway, we were on this holiday with Lemon and we were on this boat and we were in the Sea of Cortez and we all woke up in the morning and it was just the most beautiful sunrise. It was incredible. The sea, the sky was on fire. The sea was lit up. It was flat like a mill pond. It was absolutely gorgeous. And then suddenly all around us were dolphins. And we were like, oh, look, there's a dolphin there. There's another one there. Oh, there's another one there. Oh, my God. And we started moving the boat and they just came with us. And as far as the eye could see, there were dolphins. And suddenly they were journeying with us and we were journeying with them. And it was a moment of pause because I really thought this isn't happening for no reason at all. I am on a new journey with my children and we're all going to be OK. And I'm not a huge believer in signs, but it was a sign. And we have been OK. We've been more than OK. And it was a it felt like a turning point memory moment. And so that's why I share that one. Oh, I love that. And I love what you said as a mom. I have two boys and I love what you said earlier at the top of our conversation about being, you know, knowing three different children and knowing exactly what they need from you. Yeah, it's very true. What they need from me. And they're all very, very different needs. Yeah, I love it. Well, it's so great to see you. Great to see you. You're going to have to come back because you're going to have to do another movie. And I hope it's for us. Oh, thank you. And now I'm obviously going to have to get Joe Anders on for East of Eden. I can't wait. Oh, yes. Oh, my goodness. I will be looking for him. Yeah. I mean, Florence Pugh. It'll be fantastic. It's going to be great. Well, congratulations on Goodbye, June. It really is just. Thank you. Beautifully done.