I'm search your own and a nine play Jo March.

I am Timothy and I play Laurie.

Hey, I'm Laura and I play Marmee, and I'm Greta.

And I wrote the screenplay and I directed this movie.

And this is notes on the scene.

Sit down, Laurie.

Latin is a privilege.

Please.

You have to learn this.

Can't afford to lose his position.

Just returned to the sister.

Was girl out there?

No, there is no Mr Brooke.

There is a girl.

No, there is not.

Oh, there is a girl.

So this is in theatre Lawrence Laurie Lawrence's house with his tutor, John Brooke.

And Timid.

Came up with this idea that he would be standing on a chair and it was a good idea.

Who's funny?

We wanted the Lawrence has to be very late, grand and masculine and not cozy.

But it was actually an interesting thing, because the way that we structure the movie, we start in adulthood.

And that's one timeline.

And childhood is another time.

One I wanted childhood to have this golden glow.

So we shot with a very specific filter, and it kind of worked against the coldness of the Lawrence house because it still had the golden glow of childhood.

But so we wanted to do was give it scale and density.

That would kind of impart that same coldness without actually having cold color, because we wanted to save that for the adult section.

Hello, there.

Are you hurt?

I mean me.

Hello, Amy.

I'm Laurie.

I know you brought my sister back after the dance.

I would have never have sprained my ankle.

I have lovely small feet, the best in the family.

Thank you.

Never go home again.

Gives I'm in such trouble, Mr Davis, and hit me.

Amy is fleeing because sure, she's been hit by her teacher and she knows she's gonna be in trouble.

So she's running over to this house because she doesn't want to go home.

And she's very sad.

I was there when you shot that saying on and she did it like, 20 times, like one after the other.

It was amazing on every single time.

It was hilarious.

And she just, like, made it bigger and bigger every single time.

Yeah, I like I like in actors in general and Florence in particular.

I like actors who can go who can go almost too big.

Yeah, I find it really fun because I find then I always I want the thing either right before right after the one that's pushed too far.

But you kind of have to fling that way to get the thing.

That's interesting.

Tell servants I want this painting purchase for me immediately.

My hand so much, Lawrence, you wanna be the happiest boy in the world?

Can't live on books.

Ally could What did you do that thing?

I did nothing.

I did a drawing and that Mr Davis hit me.

This is one of those scenes where I have almost everyone in the room at once and here they all start to enter.

And this is sounds like, really boring to say, because obviously I'm very proud of how this scene was blocked, actually really hard to block scenes with this many people and figure out all of the ways that they're moving.

And I could only do because they memorized their lines.

So precisely that it was like a It was one of those scenes that was like a hot potato handle.

We rehearsed all of these like overlapping sands.

A lot in rehearsals, but then also with this one in particular.

Remember, it was a new location for all of us when we were used to being in the March house, which was smaller, and we couldn't do our way around.

So this was their first time shooting on this location, all of us together.

Nothing.

That familiarity with the setting or unfamiliarity with the setting is important because we knew that March house so well by the second week of shooting.

Or before that when it felt as all steer, maybe that's not the right word.

But, as you know, everything great was communicating before felt properly anonymous.

Columbus grandfather Scared.

I'm not scared of anyone.

He looks stern, but my grandfather was much more handsome.

Joe, we do not compare Grandfather's Laura enters just there and has her line just there.

And it was this timing.

I'm getting everyone to kind of be exactly where we needed them to be.

And I remember this was my partner.

Noah.

Noah bound back, always hit.

This was his favorite line, so we do not compare.

It was like for him.

It killed him.

Think it's think he's more?

No, actually, you are very handsome.

You, your mother's father.

You've got his spirit.

Oh, well, thank you, sir.

I'm saying this is an outsider.

It was not part of Lady Bird.

How?

No wonder she brought these two actors together.

Was watching the two of you on screen together or watching you both act?

It's like you're you just hurl every cell.

I mean, it's just todo todo.

I like people.

Leave it on the floor.

That's beautiful.

You are not to attend that school anymore.

Good.

That man has always been an idiot.

Joel teach you.

May I already teach back?

You're a good teacher.

Yes.

Women being taught at home is much more proper, I believe.

Only because the schools for women are so poor.

And these quite right.

I wish all the girls leave this horrible school in that he would die.

You did wrong and there will be consequences.

I didn't I didn't even do anything.

I just drawing.

Thank you so much for taking care of our eight course.

Girls have a way of getting into mischief, and so do I.

Well, then you'll run over and we'll take care of you, please and come over whenever you would like invite your sister Beth as well.

We blocked and rehearsed it.

Sort of like a dance for I would say, like an hour on a novice on.

Then we went away.

They set up the whole thing, and then we came in and shot for the whole day.

Well, what's particularly amazing as we're watching here is as she's defining the movement.

This dance for this part of the film every single moment, every move comes with a new dynamic of a different.

Like, for example, here Timmy and I are establishing this maternal nature that presented to him he doesn't have in his life.

You have John Berger and Meg sort of first flirtations you and the girls are dealing of Amy's sort of statue.

Is this and her stuff?

Yeah, they're dynamic Chris, who's sort of a lovely sort of paternal figure in a way to all of us and even me is something.

Yes, the man who has left the home.

But he's this neighbor over, you know, overseeing us also.

That was an amazing thing.

We were having to pay service to about 20 different sets.

True, and it was this kind of like everyone's noticing a different thing.

So Lorries in Love with Jo Jo's in love with books.

She's Madden annoyed Amy Mega sympathizing with Amy but makes also noticing.

John John is really noticing.

They like like all of these dynamics that keep shifting and kind of being inside of the emotionality of each character as they're moving around each other.

It's a trick of not just where you putting the camera.

It's Where are you putting your emotion with everyone?

Because what you want to feel that the end of it is that you were in the room and you felt everything that everyone was feeling.

And I love your filmmaking in this scene because it's like you never let the camera totally be arrest with it.

Life is messy.

You feel all these things, but it's not suddenly the director's choice to go.

Hey, guys noticed this moment it will be importantly, a fluid I like.

I like things that kind of passed you by.

Yes, that would adore the piano.

Is she the quiet?

Yes, that's her back told a little girl to use our Jabbar whatever book you like.

Can I come look at the paintings There's also a lovely greenhouse.

I'm going to take this todo todo Oh, Miss Meg, you've got your globe well, back to work.

So this dynamic of this whirlwind of people coming into the house and this excitement and then they're leaving and they're talking the entire way out.

What's happening in the end is just these men standing around.

That's my experience of my father and brother.

It's just my mom and my sister and I leave and they're like, Look, e, I love that about them.

And right after that Timothy, you do something that I couldn't I cut off, like, literally to the frame.

Right after that you go.

I was Technically, we have one more frame and he was like, No, I e.

Is it one more frame and no, no, it's good.

It's great.

I couldn't froze you.

Correct me.

If I'm mistaken, this is the best.

That's, uh, it's like the one we're the most.

This is the one you were the most.

We have a bunch of us that actually search ends up wearing at different what they end up switching vests.

The whole movie, because they were, you know, they're androgynous.

Other half, which is something that Jacqueline invented with the two of them.

And then, um, you wouldn't take your jacket self because you liked your billowy sleeves.

Yeah, yeah, yeah, yeah.

You didn't want to be encumbered by a jacket.

Costumes under Jacqueline Durant.

She's an incredible costume designer and I don't know.

I find that you work with someone who is an excellent of a department, and movies are against us in life when you realize that, like how good people can be a bad job kind of thing.

And Eagle iss, she's a very emotional costume designer.

She always comes at it from an emotional angle.

And I've been working Miller since I was, like, 12.

Really?

She did you know this for me?

It was very helpful to no that, like, the other girls, had to wear a course and I didn't.

And I and Joe chooses not to wear a hoop or sometimes even another discourse on.

So with the results, she just had this, like freedom of movement and fluidity.

And I could, you know, walk like a boy, and I could slay which, and I could do the Laura Dern on and hand move um so yeah, but all helps.

Color is always something that's very important.

Like everybody has their color.

You Amy has her blue skirt, which is her colors.

Sir Sha as Joe has this red cape and Emma, as Meg always has green and they have these specific colors and this is I mean, this is these type of nerdy, but this green scarf that Emma's wearing I remember the first time Jacqueline showed it to me and I thought, that is too bright.

That feels like short truce.

And she said, No, no, no.

In the 18 fifties, he just figured out how to die Fabrics really outrageous colors.

And we think of the past is being monochromatic because all of the photographs or sepia but actually they were dying there.

Ball gowns like bright orange or bright yellow and right, you know, like these really bright electric colors.

And so this woven scarf, which she had made, is actually with the dye that they would have had at the time.

And then the other beautiful thing that I'm gonna point out is Laura's colors, which is a little dimmer here.

But all of Laura's costumes we've the colors of the more girls in her costumes because she is all of them in one and different parts of her spirit went into each girl, and the same was true of her hair that she had a little pieces of each of them in her hair.

And it was just those kinds of details of character that to me it's like what helps me believe in this world that we're making?

And also I make movies that I want.

I hope some nerdy lady will watch it 20 times and the couple of the step, and I want them to have lots of goodies.

Anyway, I tried to keep things together as much as possible, but there was no way with the schedule with the We were Doing four seasons, 10 years, eight plotlines and there was no way to keep all of those in order.

We didn't shoot the end at the end on sketch on schedule, no ray sheets, no reshoots.

But it was they had to keep all of these things in their minds.

So they always had to know where they were because we were flipping back and forth much more.

I wish.

I wish it was the seventies when we could just be like, See you in springtime.

Yeah, I'm just gonna put a Big Sur and work on the way they did pottery.

There's a Richard Burton Elizabeth Taylor documentary about that movie they did in Big Sur, and he's a just drink a jug of wine.

And what could your bottle e goes like the scene from Ghost Barton's You could just see a Little Taylor like way.