HIS THREE DAUGHTERS Interview! Natasha Lyonne, Carrie Coon, Elizabeth Olsen, Azazel Jacobs, Netflix

Natasha Carrie and Elizabeth how are the three of you today we see each we really enjoy spending time together and we take it as a gift because uh that's true we're busy pumpkins yeah I love that yeah the three of you look fantastic congratulations on this film I first saw this film last year at Tiff and I loved it I immediately went outside and called my dad because it moved me so much and we have a close relationship and I just felt so moved to call him I'm wondering for each of you you you know as actors and fans of films do you remember a time where you saw a film or a series that moved you so deeply that you wanted to call a family member or a friend Natasha oh yeah this is way too dark and revealing but uh when I saw Ellen Bon's performance in recream for a dream I H up my mother thanks let's just let's just let's gloss past that I I've made a show it's called Russian doll I wrote about it there I had to call my sister after watching the we were like whatever it was 15 years ago I like you gota watch it the way we were yeah that's so lovely I can't my I have two kids and I can't think of any titles of anything that made me do anything really yeah you're like I watch too yeah that's I've never seen it but I hear I'm watching a lot of universal monster movies right now oh that's great great that's a fun Deep dive yeah it's good yeah there you go that's fun well I love the editing and the cinematography in the film I felt like it was a huge part of the storytelling there's close-ups on your face and then towards the end we see all three of you together I'm curious since most of the film is set within the four walls of the New York City Apartment did that kind of help create the tension between the sisters and also develop the chemistry that you guys had carry did that help absolutely being stuck together does do that it does Foster intimacy I mean signing up for this film you know that that's part of the job right we have to play sisters right away but I have to say the the that was also written into the script the way that it's shot the the form of the film really is followed by its function which is that um you're so astute to notice that we're not in the same frame until about three quarter of the way through the film and so it's as our uh relationship to each other gets complicated as we start to unpack a little bit more of of the person who's actually in front of us that's also happening for the audience and I just I just have to say it's just really smart film making and really good writing that's all written into the script and it's such a pleasure to get to work on something that's not arbitrary and isn't shot in an arbitrary fashion so I feel like I have to give credit to them for crafting that feeling um when we were just kind of doing the you know doing the pages that were in front of us written as they were like Carrie had said briefly by signing up for this project we we were making this this movie in some vacuum no one knew it existed we all wanted to work with one another oza wanted to only make it with us he knew what his budget was based on whatever prior relationship which was super super small and so these restrictions were already kind of this amazing miracle that we're showing up making the time for and figuring like and we both show up to work as I think the professionals that uh we choose to be where uh we know part of the job is intimacy and so uh we kind of come out like you know unzipped and ready to go out the gate whereas not everyone does that and that's fine and that like you just work you figure out how to work with those people but we all three of us chose that and um and so I think intimacy and uh this sense of us having known each other um is we were all gamed to to to do that in in a real way and on both on camera and you know what's a small thing that I'm remembering that we did for each other is this kind of way of like shanding the fact that we were going all in right away uh remember we had to do those uh hair and makeup tests or something and we all got involved in each others and started touching each other and giving suggestions which is such an eccentric specific thing that is uh like otherwise inappropriate in a weird way like you would never do it to another actor but it's almost like we decided in that moment to be siblings and tell each other kind of um what our boundar should be around how we should even look which is so uh familiar way yeah it is well the three of you need to be in another film together again because you obviously work together great and got along great Three Sons coming out next September well they are wrapping me congratulations to the three of you Carrie I have to say the leftovers is one of the best series of all time those are special fans those leftovers the only people who ever recognize me are left and Natasha my dad and I watch Poker Face together we love that series shooting now we're shooting now we're almost halfway through and Lizzy Love and Death one of your performances today I'm a huge fan of the three of you and really appreciate the time thank you ladies bye congratulations on this film I first saw this film at Tiff last year yes and I just rewatched it again two nights ago but when I first watched it I left the theater and I went outside to call my dad and my dad and I have such a close relationship and it was just this movie moved me so deeply I just wanted to go and call him so it made me think you know for you as a director have you ever watched a film or a series that really emotionally moved you where you wanted to call a family member after and what film was it oh that's such a good question that is such a great question because I feel like there's been so many uh there's really been so many films I mean I should say that my father is a filmmaker my mother is an artist so just um we watched films was our part of our communication so so sometimes it'll be as simple as seeing a film like if I see lalance or king of comedy or some of these movies that we watch so much in the house um or puye Robert Almond's puye is something like uh forever he needs me the Shel Deval singing that is very very connected to my mom and so if I see that um I will do everything I can to reach out to her and and say like I feel her in in that performance and in that song in particular oh I love that I love popey too what a what a cool story well I love that the the cinematography and the way you shot the film really tells the story as well and I noticed specifically the second time around it seemed like we had some single shots of all of the daughters faces and then later on that's when we start to see more of them in the frame together talk about that and just how your editing style and the cinematography played a big part you know since it is Prim arily shot within the four walls of the New York City Apartment yeah so uh I'm so glad you saw that that was a huge part of this so Sam Levy who shot the film um we you know we we live nearby we were able to start this conversation very early he's somebody that I've seen work with space in such a beautiful way whether it's you know ladybird or Wendy and Lucy and then I saw raniel the standup that he had shot which is um and it's so it it's so specific on how the lighting and what the framing of that and so it really felt like oh Sam understands what I want which is like the separation to feel the separation between teacher between the the sisters whether they're inches away or not and then make a very specific decision about when they actually start sharing frames and with who and why did they start sharing frames so that was a conversation it felt like one of the things that we could really take advantage of and bring this story away from being a a stage such a stage play feeling to like what film can afford which is isolation and and connection did you always have Carrie and Elizabeth and Natasha in mind for these three daughters you know when you were writing the the story yeah I mean I would say that halfway through the first draft of the script I started realizing that I was not only picturing them but I was really hearing their voices there's so much of this film was written with a certain rhythm in mind which is why I also decided to edit the film which I don't usually do but I want I was chasing after a certain Rhythm that I felt these actors and I also wrote it for javana Depo also in mind so I was able to send them the script once I felt like it was in a good place they all responded well we held on to each other and that was the foundation of this this this film like it was really just began with us as a group and then figured out when exactly we can do this and how I was going to do it that's so cool I love Javon too I love that scene between him and Carrie it's so well done and i' of course like I I love so many scenes I don't want to give too much away but just the scene at the end completely melts me and I'm so excited for audiences to finally see this when it's in theaters and also Netflix so thank you so much for your time today and a huge congrat I'm so glad you were there for that first screening that was a really special moment in my life so thank you yeah I was there I sat in the Bel theater I sat in the balcony and watched it with one of my um girlfriends who you're going to be speaking to later today too and um yeah know we loved it so appreciate your time today