Mm-hmm.

And then there's sort of atmospheric and more kind of like emotional response stuff, so it can be much, I don't know, more abstract.

But it feels right.

Like it could be colors or I don't know.

It's hard to explain.

It's just, it's things that I'm sort of like naturally drawn to, and we'll put together this sweep of images that really isn't, um, like super defined, but it gives you an arc, I think.

Like, and then from there it's like once, you know, I'm actually working on the film, it becomes almost like you bring all of those ideas and areas into focus, and that's through thinking, research, conversation, like, you know, going often.

Wow.

Which is, I didn't know before starting this, so... [chuckles]

Actually, I mean, the interesting thing is he- my father really did not want me to do this, and my parents were very, you know, of course, they, you know, they were full of warnings.

But I think, you know, like, I obviously I think the big thing for me was growing up with, uh, you know, on the side of a film set was that I, I understood that it was a lifestyle, and it was actually an option.

You know, I think that when I think about my friends at school, like, they didn't really know that, you know, you could have a career in cinema, and I was exposed to it.

You know, it was, my mother was a film executive, so, like, the conversation at home was very much about film.

And, and I saw that it was a l- a lifestyle that was, you know, always changing and exciting and interesting and kept them, their marriage was so engaged and, you know, they, I don't know, it was just something that you couldn't deny the fact that, you know, my father got great pleasure out of his career.

And so even though they desperately wanted me to be a lawyer, and probably, like, the day that I got into law school was, I mean, they, the bragging about that was just, you know, it was like, I think it was in every, you know, Christmas calendar, Christmas card for years, you know, "Fiona's doing law." And, um, I don't know, I, I gave it my best shot, but it was just not, that was not where I was meant to go.

... figure out how to get into it? I mean, what were your steps? Did you go to film school? Did you, uh, get a job?

Is it the script is already written or in this case, did you read the book first? What I'm curious to hear is like where you first touch the story and what you start to see in your mind.

I had read the book and I'd read it just because I'd heard about it.

And so that was some years ago.

Then I'd heard on the grapevine like we all do, you know, that Chloe Zhao was coming to make this film and I was like, oh yeah, but actually wasn't available.

So I sort of didn't think much.

I remember thinking like, you know, lucky for some And then the timing worked out and I read the script.

It was such a great read.

Where did you take inspiration for that? How much of the sort of natural parts of the landscape were tailored to fit the symbolism of those parts of the film?

Where did you start with Hamnet? What was your first thing you, you focused on?

I always do, like, a kind of a two-pronged approach.

So I'll go historical accuracy, and we'll look at...

I'll understand what it was, and then I'll do, like, an emotional response.

So it's just gathering images from all over the place.

Can be, you know, paintings or photography or colors.

It can, you know, anything that feels like it's sort of resonating what I'm instinctively feeling about the script.

What, what was important to you about getting right about the Globe, and then what was important to you about being able to use your imagination about the Globe?