- This line is probably
one of my first lines I ever said on camera in
a professional job ever. Maybe my first line. Hi, I'm Carey Mulligan and I'm going to guess
some of my film quotes. (upbeat orchestral music) (typewriter clacks) (Carey laughs) "I don't want to lose my
virginity to a piece of fruit," is from "An Education". (bell dings) I don't want to lose my
virginity to a piece of fruit. Being nominated for "An
Education" was insane. I remember the first time
I saw it, I rang up my mom and I said, "Mom, it's so boring and everyone's gonna hate it." (laughs) And I said, "My face doesn't do anything and I look so stupid." And I just found the whole
thing sort of terrifying. And then this whole whirlwind happened. So when I was nominated it was like, I guess it's 5:00 in the morning. It was really early, and I was in LA I rang my mom and she was
lecturing at the time. She was a lecturer at university and she was taking a class trip somewhere and she had just bollocked her... Can I say bollocked? She had just bollocked her
class for using their phones, you know, so she'd just been like, "Put your phones away,"
whatever, and told them all. So I rang her and it rang for ages and she finally picked up
and she was like, "Hello?" I said, "Mom, I just just
got nominated for an Oscar." She went, "Darling, I'm just
gonna call you back." (laughs) Then hung up and I was like,
"What the fuck?" (laughs) So then I just stood there and
you know, raged for a second and then I found out
why she had done that. But yeah, it was wild. I don't think I even thought
it was gonna go into cinemas. It was just this sort of tiny indie film that we shot in like a month and it was a completely wild experience. Oh, "I hope she'll be a fool.
(typewriter clacking) "That's the best thing a
girl can be in this world, a beautiful little fool,"
is from "The Great Gatsby". (bell dings) (dramatic orchestral music) - And I hope she'll be a fool. That's the best thing a
girl in this world can be. It was a bizarre thing because I went from sort
of low budget indie films, lots of British TV and theater,
and then went to Sydney and made this enormous film. But I remember thinking
that Leo was so lovely. Oh, I love him. It didn't matter where the camera was, he was still incredible. I sort of thought, "Well,
when the camera's not on him, you know, he doesn't
really need to do anything, he's Leonardo DiCaprio." And every time it was on me and he was like next to the camera or behind the lens, he was just so... It was as good as it was
the other way around. And I thought that was so
generous, and it was all just mad. It was such a mad sort of Baz Luhrmann sort of circus, you know? It was just so much bigger than anything I had been in that point. I felt like the casting process was sort of like winning "American Idol". It was all so kind of big, you know? But I loved it, it was blast. "Can you guess what every
woman's worst nightmare is?" is from "Promising Young Woman". (bell dings) Can you guess what every
woman's worst nightmare is? I do remember that it's
very hard to say... I can't even do it now. Woman... Woman's worst nightmare. At one point, I said, "Can I
call myself a girl instead?" Because it's easier to
say in an American accent. But woman's worst... Anyway, I can't do it. But yeah, very difficult to say. Very good line. When I found out I was nominated for "Promising Young
Woman", I was at home. I decided to watch. I wasn't going to. I just thought, "I'll
just not think about it." "I'll just go and mow
the lawn or something." And then I decided that
I was going to watch it. So my husband and I, he put it on his TV screen in the studio away from the house,
away from the children. But my name alphabetically is
quite late in the alphabet. So it really looked
dicey for a second there. And do you know what, he'd written... He'd written out a bunch
of little post-it notes and put them all over the screen of reasons to not be sad if
I wasn't nominated. (laughs) But anyway, we didn't
need them in the end. But it was, yeah, it was very lovely. Emerald's direction was more, you know... She gave me a mood
board, she gave me music. Britney Spear's "Toxic" was
sort of top of the playlist. Paris Hilton, "Stars Are Blind". You know, she kind of
built the world for me. It was kind of a holistic thing. It was like, this is what
it's gonna look like, sound like, feel like. It should be like a
beautiful candy that you open and eat it and realize it was poisoned. You know, that was
always the sort of sense. And that there was an incredibly dark comedy
to the whole thing. "We feel they'll speak out if
they're not the only ones." "Safety in numbers."
(typewriter clacks) That took me a second to... I thought it was
"Suffragette" for a second. That's from, "She Said."
(bell dings) We feel they'll speak out if
they're not the only ones. Safety in numbers. The secret to playing Megan Twohey I think was first of all, just not being completely
overwhelmed by how cool she is. Megan Twohey and Jodi
Kantor are such deeply impressive women. And what I loved about the story was that it was putting at the
forefront, these women who did ignite a movement that
really changed the world, you know, Megan and Jodi, but also the survivors that came forward. So I think I felt humbled
by the whole thing. And what I loved about the way that Maria Schrader directed it is that there was sort of
lacking in sentimentality. It was really factual. There was something
pragmatic about the film. And I think that was putting
forward just the truth. Just things that were undeniable. Like this film could be this book that it was based on "She Said", but the film could also
be somewhat of a kind of time capsule just to say,
this happened irrefutably, you know, this has been
proven that this happened. And then the result is we
can all see and is still, you know, happening today,
but that this moment happened where all these brave women came forward and did this thing that seemed impossible. And then like the world
has changed after that. So I didn't think a huge
amount about journalism, but more just sort of
trying to honor who she was as a person and her courage
in doing what she did. "Oh, we need to build up a very strong connection."
(typewriter clacks) This is from "Maestro".
(bell dings) Oh, we need to build up
a very strong connection. Bradley said, "I want..." We were gonna shoot this stuff where they were young and they
were sort of falling in love. And we had this bit where
we were sitting back to back and he said, "I want us to play a game and we're just gonna play a
game and I'm gonna film it and the camera's gonna
come in on a crane shot and it's gonna find us playing this game." And my brother and I, when we
were little, played this game where we would pretend that
we had a telepathic connection or I would pretend that we had it. So my brother would tell my mom the number that he was thinking of and
then he would send it to me, you know, telepathically. And out of sight, my
mom would go like that. And I'd go, "Three." And my brother was just
completely blown away. And he'd be like, "Oh
my God, you're psychic." And for years this... I mean, for years, until we
were teenagers, this carried on. Anyways, when we were
sitting in the scene, I thought, "Well, let's
play the the numbers game." So we started the scene. I said, "Gimme a number
between one and 10." And so that's how we kind
of started playing that game and then play it again later in the film. And it became their kind of little motif. (light piano) It was amazing because what he
did as a director, you know, sometimes he would give
me notes traditionally like directors do, but
more often than that, he would direct me
through his performance. So he would, as Lenny, do a scene, and the way that he was
molding the take, it would be to elicit a certain response out of me. So he was directing me by
changing his performance to make my performance change. So, you know, it was so subtle. You kind of didn't feel like
you were being directed. You know, he'd done five years of prep. So by the time he got on set,
he just was that character. So I didn't... You know, it took a lot of
the acting out of it for me, 'cause you know, it was
just responding to someone. "The regiments are coming."
(typewriter clacks) "They're to be stationed the
whole winter in the village, just right there." It's a period drama. "Far from the Madding Crowd"?
(buzzer buzzes) Or "Pride & Prejudice"? (laughs) (bell dings)
Pride... "Oh, the regiments are coming!" Excited Kitty Bennet. Acting, yeah. The regiments are coming! (indistinct) They're to be stationed the whole winter." This line is probably
one of my first lines I ever said on camera in
a professional job ever. Maybe my first line. I think I only had about six
lines in "Pride & Prejudice", but I was in it a lot. 'Cause I was sort of in it,
just giggling in the background and sort of running around
parties with Jena Malone. But this was one of my lines. I was 19, I turned 19 on the job. Yeah, so I was 18 when
we started shooting. I turned 19 like a week into
filming or something, yeah. I love Jena Malone so much. I also had no idea what I was doing. I mean, I really had no
idea what I was doing. Lydia and Kitty were sort
of somewhat like twins, so I just copied her. I just did everything that she did. She was such a pro and she
really took me under her wing and was so wonderful to me. All of the sisters, we
all just loved each other. It was like a real family. It was so lovely. (upbeat orchestral music)
