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  • - [Interviewer] If you had one word

  • to sum up your award season so far, what would it be?

  • - Ffuleah.

  • (all laughing) (smooth guitar music)

  • - That's not really a word.

  • - It's a word in some circles.

  • - Oh, in some places, okay.

  • - In some places.

  • I mean, Marty, you hired me

  • because I'm good at the non-verbal acting.

  • - No, you're really good, yeah.

  • - That's, that counts. (smooth guitar music)

  • - No, that's true, I'm not saying,

  • I just, I'm wondering, (Lily laughing)

  • you said one word, so it's gonna be one

  • of those interviews that're gonna be tricky.

  • - Ah.

  • (smooth guitar music)

  • - I certainly feel like it's one

  • of the most important films I've ever worked on.

  • Marty's different ways in different films,

  • he sort of takes on the pathos

  • of this story in a lot of ways.

  • And in this movie, he looked me in the eyes,

  • it was a quiet moment, he said,

  • "I feel this story in my bones, it's in me.

  • I have to tell it right."

  • And he literally locked himself up in Oklahoma

  • for eight months, and was obsessive about forensically

  • getting to the truth of who these characters were,

  • how to tell this story the right way.

  • And you know, I felt like he took a great responsibility

  • in telling this story the best he possibly could,

  • I've never quite seen that.

  • And he's always obsessed about making a great movie,

  • but this one in particular was sort of different level.

  • (engine growling)

  • - I don't know what you said,

  • but it must've been Indian for handsome devil.

  • - Hey, shit. (both laughing)

  • - It's hard to explain how you find chemistry

  • between two actors, (tense guitar music)

  • your scene partner, it's just, it's there or it's not.

  • - I think we kinda discovered it as it went along-

  • - Yeah. - In a lot of ways.

  • I mean, there's the underlying story of deception

  • that is occurring, (tense guitar music)

  • but we knew the meeting between these two

  • had to be organic, and tangible, and real,

  • and there had to be a connection,

  • because frankly, that's what the Osage community

  • kept telling us adamantly. (tense guitar music)

  • These two people- - Yeah.

  • - Did fall in love, they did meet each other.

  • It became incredibly corrupt, and twisted,

  • and one of the most (tense guitar music)

  • twisted love stories I've ever

  • come across in my entire life, all true.

  • And so, the challenge was, you know,

  • how much she knew I was complicit,

  • how complicit I was

  • at every moment. (tense guitar music)

  • And that's something I think the three of us

  • kept toying with and talking about,

  • and doing multiple versions of, because-

  • - Mm. - We ultimately didn't know

  • how much Marty, I think Marty,

  • I'm not speaking for him, (tense guitar music)

  • but how much he wanted to divulge the backstory

  • to the audience while we're making the movie.

  • - Yeah, I feel like the complicity is in the narrative,

  • and if you're playing (tense guitar music)

  • the complicity, then it doesn't work.

  • - Right. - You play the love,

  • (Martin mmhmms)

  • and the complicity, and the betrayal comes out

  • of what is built with the love there.

  • - What I saw Lily do in,

  • let's say certain women, for example.

  • - Do you happen to know anyone in town

  • that could teach this class?

  • - I don't know anyone at all. (laughs)

  • (customers chattering)

  • - And how she commanded the space of the screen,

  • and the emotional impact of what appears

  • to be a kind of a minimal movement, you know?

  • It was very internal.

  • And that's who, ah, that's what I thought

  • I was looking for in terms of Molly.

  • We had just started really developing Molly,

  • and I felt that Lily had, in her,

  • that she would seriously find her,

  • so that we'd all sort of do it together, you know?

  • - My process for everything (tense guitar music)

  • that I do, when the camera's rolling,

  • when I'm in character, that's who I am.

  • I, if I stay there, I start spending it away from screen.

  • I spend it off camera, (tense guitar music)

  • so I, I'm precious with it.

  • Like, the time that I'm with the character is the time

  • that I'm with the other characters.

  • When the camera's not rolling, and we're in between,

  • then I just, I need to take the character off,

  • and be Lily. (tense guitar music)

  • I need to be silly if I'm doing drama. (laughs)

  • (Martin mmhmming)

  • A big part of how I found Molly was in the community,

  • and the community was on set with us.

  • There were over 200 (tense guitar music)

  • different tribal nations represented on set.

  • I needed to experience that as Lily.

  • And it was so important,

  • because that's what created the community,

  • and that's what really drove (tense guitar music)

  • the tragedy of it.

  • I feel like, Marty, a lot of the things

  • that you've expressed about working on this film,

  • and working there, (Martin mmhmms)

  • it was a transformative experience-

  • - And it was. - Being in community

  • like that.

  • (people laughing and speaking native language)

  • (tense thumping music)

  • - Marty gave me the framework and the inspiration

  • early on through "The Heiress,"

  • and Olivia de Havilland's work.

  • And I saw that as a real opportunity to fix

  • a native woman into the golden age of cinema,

  • and this great leading lady, which we were excluded from.

  • So, it was a dual charge playing an Osage woman

  • the way the community was telling me

  • Osage women conducted themselves then.

  • Osage women carried themselves as if

  • they were in the royal family,

  • and it really lends itself to that

  • golden age cinema leading lady.

  • I felt like it was a really important opportunity

  • to show that that's who native women are.

  • Oh, those were the role models our grandparents'

  • generations had when we were being told

  • that being Indian wasn't right, you know,

  • being who we were culturally

  • wasn't who we were supposed to be, you know?

  • Exalt and lift up the Elizabeth Taylors of the world,

  • the Lauren Bacalls, the Olivia de Havillands.

  • It felt like a real opportunity to balance those things,

  • and fix where we've always belonged.

  • (thumping folk music) - They're like buzzards

  • circling our people.

  • Hey

  • - We're still warriors.

  • Hey

  • - Every film is not for every person, you know,

  • every novel is not for every person, every reader,

  • I mean, every painting isn't, so,

  • I don't know if it's something that would be,

  • you know, universally accepted, but it felt right.

  • (Lily mmhmms)

  • This one felt right.

  • And I felt that while I was watching it,

  • I felt I was inside it,

  • and I'd made it.

  • - Yeah. - It was a big difference.

  • When I watched it again, and particularly when my,

  • I screened the mix.

  • 'Cause now you're working on the mix,

  • You're working on the sound of a car,

  • you're working on the dialogue,

  • you're going, oh, you're like this,

  • you're like this, you're like this.

  • (Lily laughs)

  • And then suddenly, you're like,

  • now we gotta look at the whole thing.

  • I said, wow, it's got all, it's a long one too.

  • I don't know, you know?

  • Instead, I