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I'll bet you guys were really surprised.
I came all the way through the audience
and then hung out over there in the dark, like you
didn't know I was coming.
MOLLY DECKER: Everyone was like, hi, Anna.
[INAUDIBLE] But we're here to talk about Anna's book,
"Scrappy Little Nobody."
If you haven't read it--
MOLLY DECKER: --it is hilariously funny.
It made my miserable New Jersey commute enjoyable.
Oh, that's great.
MOLLY DECKER: Yes, it did.
MOLLY DECKER: Well, it took one day-- one day to read it,
so one day of commuting.
ANNA KENDRICK: Yeah, it took me a day to write it.
It's no big deal.
It's a year of my life.
MOLLY DECKER: But to get started, if--
ANNA KENDRICK: Sorry, I insisted that we use hand mics.
So I'm a jerk, but it's just because I need a prop.
MOLLY DECKER: But in the book, you talk about the paparazzi.
But other than that and just talking to you
backstage, you seem completely unfazed by fame.
And obviously, you're really famous.
ANNA KENDRICK: Yeah, it's just where I'm really comfortable.
MOLLY DECKER: So my questions are A, is that true?
And B, what's the creepiest thing a fan has ever done?
ANNA KENDRICK: I don't want to put anybody on blast.
They might be in the audience.
Well, I don't know.
People have shown up at my house,
and I'm always like, bro, you can't be my house.
It's like a nine-year-old girl.
And I'm like, dude, come on.
Come on.
But that's always like, I don't know
what I'm supposed to do about that, other than be like,
I'm in my bathrobe cleaning.
So I guess this picture was worth it for you.
But I did once have a-- this wasn't really even about me.
But I was shooting one of the later "Twilight" movies
in Vancouver.
And I was in an American Eagle, and I was looking at underwear,
as a lady is wont to do.
And a girl came up to me, and she was like, hi,
are you going to see Taylor Lautner soon?
And I was like, yeah, because we were filming.
And she was like, I have something for him.
And I was like, I really need to say no to this girl,
because I was really worried it was going
to be a thumb or something.
Why does she have it with her?
I was just in a store, and she ran into me.
And why did she have a thing?
She carried a thing at all moments
for Taylor Lautner in case she ran into him
or somebody that knows him.
And I thought, this can't be good.
This is going to be a lock of hair or anthrax.
I don't know.
I can't be a part of this.
MOLLY DECKER: What was it?
ANNA KENDRICK: I don't know, because I was like,
ma'am I really can't.
I called her ma'am.
She very young.
But I was trying to keep my distance.
MOLLY DECKER: That is hilarious.
ANNA KENDRICK: Because I didn't want to see a severed hand.
MOLLY DECKER: I'm sure you've seen it all.
So you're an actress.
You're a singer.
So everyone knows she sings.
And I recently saw your lip sync battle with John Krasinski.
And it's like, oh, she can dance.
I was like, great.
She can do everything.
Now she's an author.
ANNA KENDRICK: That was just me like sticking out
my butt pretending to dance.
It was supposed to be funny.
It was awesome.
But I was like, oh, and now she can write.
She wrote a book.
She's an author too.
ANNA KENDRICK: I am amazing.
Is that your question?
MOLLY DECKER: You really are.
MOLLY DECKER: Well, she is.
How long did it take, and what was
the impetus for you writing?
What made you want to write a book?
ANNA KENDRICK: Well, I wrote a piece
for "Vogue," that looking back on it, I had to turn it in.
It was supposed to be a diary of an Oscars weekend one
of the times I was presenting.
And I had to turn it in Monday morning after the Oscars.
And you're out pretty late that night.
So I wrote it really quickly and on very little sleep,
so looking back on it, I'm like mmm eh.
But that's when I started getting approached
about writing a book.
And I think I thought at some point
somebody was going to stop me.
I was like, yeah I'll do that.
And I was expecting somebody to be like--
I was expecting to turn in a couple of chapters
and mutually go, this probably wasn't a good idea.
Let's not do this.
And that didn't happen.
So I wrote--
I think I wrote the bulk of it in this 45 day
where I knew that I was never going
to become that person that could write on my lunch break
and find time and find balance--
not really my thing, balance.
So I was between movies, and I had this 45-day period.
So I wrote 2,000 words a day every day for 45 days.
And it didn't have to be good, but I had
to write something 2,000 words.
And I had to be really strict with myself,
because if I give myself an inch, I'll take a mile.
I'm a really bad person.
So that was where I wrote a lot of it.
And a lot of that stuff wasn't good and isn't in the book.
But that was kind of where I started.
And then the year after that was about expanding on things
that were interesting and losing things
that weren't interesting.
And in a lot of cases, that meant entire sections.
The section about being nice didn't
come until right toward the very end,
because I was in a bad mood and was like, oh,
here's this stupid thing I wrote.
You're probably not going to use it.
And my editor liked it a lot, so.
Oh, that's wonderful.
ANNA KENDRICK: [GASPS] Whose phone just went off?
MOLLY DECKER: For those of you who haven't seen "Camp,"--
so you talk about "Camp" in your book your, first movie 2003.
It's amazing.
And I love the show must go on scene.
I must of watched on YouTube a million times.
Loved it.
ANNA KENDRICK: Oh, thanks.
MOLLY DECKER: I love it.
I just watched it this morning with somebody,
because I was like, I love it that much.
But you talk a lot about how that experience shaped you.
You worked with a lot of younger actors and actresses on set,
like a camp, like a real kind of camp.
MOLLY DECKER: And so the question
is, what about that experience do you still
hold on to in that character specifically, Fritzi,
what do you still hold on to from that?
ANNA KENDRICK: Well, the character was so--
was such an interesting experience for me, because
at the time, I was 16 or 17.
And I just like wanted to have my makeup done and be like--
and be able to be like, guys, like I'm in a movie.
And I'm playing someone normal.
And that wasn't the case, because Fritzi
is the smelly girl.
And now, I would love to play a character like that.
It was just about getting--
realizing that vanity just has no place in performance or art
it's just going to hold you back, so.
MOLLY DECKER: You know the scene where--
is it the director-- was like, you're a creepy little girl.
I was like, this is a hilarious character.
I know.
MOLLY DECKER: I loved it.
But there were definitely times when the director had
to convince me, because I was like, everybody
is going to hate me.
Everybody's gonna hate this character.
It was definitely a lesson.
But when you're 16, you don't want to play the smelly girl.
But it is great.
You've got to watch it for anyone who hasn't.
In the book, one of my favorite quotes from the book
was when you said your dad only cries
when describing the storyline of the movie "Rudy."
ANNA KENDRICK: That is a true fact.
MOLLY DECKER: I was just like--
I literally laughed out loud.
I thought that was hilarious.
ANNA KENDRICK: Then, they come in, and they--
they put their shirt down.
And they say, this for Rudy.
This is for Rudy.
I was like, what the fuck is happening right now?
We were in an Applebee's.
MOLLY DECKER: That's so funny.
MOLLY DECKER: But similarly, the title of the book "Scrappy
Little Nobody," and you talk about sticking up
to the bully in the school.
You love that whole underdog, David versus Goliath
sort of thing, which is kind of what "Rudy" is all about.
So it seems like similar to your dad.
MOLLY DECKER: Did you not make that connection?
ANNA KENDRICK: I'm not a very smart person.
I don't know why they let me write a book.
MOLLY DECKER: So as I was reading it, I was like, wow,
she loves the underdog.
Her dad loves the underdog.
What is it about being the underdog, and what are you--
why do you miss being like this scrappy little nobody?
ANNA KENDRICK: Well, I think everybody feels that way.
No matter where you come from in life,
you feel the insecurities that you have.
You carry those with you your whole life.
And the best thing you can do with them
is turn them into something productive.
So that's why I sing so loud.
And because I have no technique.
MOLLY DECKER: You once--
[LAUGHS] This cracks me up too.
There's so much in this book that is
just-- you will laugh out loud.
You said once on Twitter that your dream
is to live in the Thanksgiving episode of a '90s sitcom.
MOLLY DECKER: Which I can totally relate to,
I totally get.
And I was equally as excited in the book
when you started describing all the holiday
parties that you will no--
you'll never throw.
But you have a vision of them.
ANNA KENDRICK: Yes, that was really fun to write.
MOLLY DECKER: And I just want to know,
what's up with that whole holiday section?
ANNA KENDRICK: I don't know.
And I think there was only one of those
that I had to come up with.
Because it wanted it to have a nice kind of pacing to it.
The rest of them, I genuinely have planned parties
in my head with great detail and talked about them
with one of my best friends.
And the Christmas party especially, every single detail
I had laid out in my head.
MOLLY DECKER: Every room has to be
decorated with Christmas decor.
ANNA KENDRICK: I think it's because I
don't have much of a social life,
because I have turned myself into a workaholic.
So I'd fantasize about having parties and having friends
MOLLY DECKER: But you never throw them.
ANNA KENDRICK: So yeah, I don't know what that's about,
other than like--
I don't know.
Does anybody else do that?
MOLLY DECKER: I can relate, but I don't plan--
ANNA KENDRICK: Plans their dream-- no?
MOLLY DECKER: I don't plan them out that way.
But I can relate.
I love the holidays.
I love "Home Alone."
You talked about "Home Alone," in the book.
That There's a holiday theme.
I think it's--
I don't love Christmas.
It makes me really stressed.
Any forced fun, like birthdays and New Year's and stuff,
like have the best time of your life right
now is-- it seems counterintuitive to having
a good time.
But the season around it, I really do love.
I know I'm supposed to hate Christmas music.
Fuck you, you hate Christmas music.
Christmas music's great.
So I love just decorating everything
with tacky tinsiley garbage.
MOLLY DECKER: Who doesn't?
It's great.
So you describe a lot of hustle.
So as a young girl, you would take the bus
from Maine, where you lived with your brothers, sometimes
your dad, into New York City.
You were on theater, performed a lot, worked
a lot as a young kid, really.
MOLLY DECKER: How old were you?
ANNA KENDRICK: I started coming to New York
to audition when I was 10, I think.
And I got--
I did the-- my first Broadway show at 12.
And yeah, I don't know.
I didn't think a lot about it.
It just felt like it was my only option.
It's just what I wanted to do.
I remember particularly when I moved--
I think at 12, it seemed more like--
people just assumed that it was my parents being--
MOLLY DECKER: Pushing you to do it.
ANNA KENDRICK: --creepy.
But particularly when I moved to LA when I was 17,
there was a lot of like, whoa, I could never do that.
And it was like, I had to.
I didn't have a choice.
It was the only thing I could think to do.
It just was necessary.
MOLLY DECKER: What advice would you
give-- there's people old, young,
all types here in the audience.
But what advice would you give younger, up-and-coming,
working on your career in New York City?
What would you give the younger 12-year-old you advice?
ANNA KENDRICK: The shitty thing about this
is I only have a piece of truly terrible advice.
I say this in the book.
And I do feel that it's terrible advice.
But I was told very, very young, like when I was 11 years old,
don't have a backup plan.
That's terrible advice.
But I think if I had one, I would have caved.
I absolutely-- there was not--
even though I felt like I have to do this,
this is completely necessary, and this was my only choice,
I never felt like so that means it's going to work out.
ANNA KENDRICK: So there were definitely
times where I felt like I wish I hadn't listened to that advice
and I did have my backup plan.
Because I wanted to opt out.
MOLLY DECKER: Yeah, and you moved to LA--
still young.
You didn't go to college, moved to LA.
ANNA KENDRICK: Yeah, did not go to college.
MOLLY DECKER: Bought your Ikea furniture
and just worked and went on auditions.
It's like actually--
ANNA KENDRICK: Yeah, so my advice
is don't have a backup plan.
MOLLY DECKER: It's OK, don't have a backup plan.
ANNA KENDRICK: And do drugs, I guess.
MOLLY DECKER: Hilarious.
All right.
We'll take our first audience question.
So first of all, thank you so much for taking the time
to be here.
You're hilarious.
ANNA KENDRICK: It's my pleasure.
AUDIENCE: I want to know a fun question.
What has been your favorite set to work on,
your favorite movie set, and your least favorite?
And why?
That is a really hard question.
ANNA KENDRICK: I like that.
I did like "Up In The Air" a lot, because it
felt like we were making a really small movie,
especially because I mostly interact with George.
And I interact with Vera Farmiga a little bit in that movie.
It felt like it was just the three of us making that movie.
And it was kind of a big production and a big budget.
But at the same time, doing something like "Into the Woods"
was so dream come true.
I remember standing with Tracey Ullman, who's like a goddess,
and being on that set in Pinewood Studios in London,
where a lot of the-- some of the scenes in the woods
we did outside in the woods.
But some of it was on a stage, and the stage was so enormous
that you couldn't-- we couldn't tell where it ended.
And Chris Pine was riding in on a horse,
and Tracey and I were just like, can you
fucking believe that we're here?
And I was like, I can't fucking believe
I'm having this conversation with Tracey Ullman.
And it's how you think every film set will be,
that it'll be this production where
you get to wear this corset and this period costumes.
And that's really the only experience
that I've had like that.
And to make it interesting, I'll say that was also
my least favorite set.
Because it was cold all the time,
because they built a real forest in a studio.
And it was so huge that we couldn't keep it warm,
and there were dirt everywhere.
And they had to pump so much smoke into the studio
to get the atmosphere right that I would-- this is gross,
but I'll just share.
I would go home and blow my nose, and it'd be black.
So it was one of those things where
I was so happy to be there.
And then, my ribs and feet hurt at the end of the night,
because the costumes were very unforgiving.
So it was one of those sets where
I had to be like so grateful to be here and remind yourself,
this is a dream job.
So happy.
AUDIENCE: Thank you.
MOLLY DECKER: That's awesome.
In the book, you talk about wanting
to be a doctor when you were little.
That's the story that your mom loves.
ANNA KENDRICK: That's when I thought I was smart.
MOLLY DECKER: You were going to be a doctor,
but you're an actor/singer.
You didn't have a backup plan.
But if you weren't doing this, because you clearly love it,
what do you think you'd be doing?
ANNA KENDRICK: I'm hoping I'd have
one of those bullshit racket jobs, where
I was a life coach or a personal organizer or something,
one of those made up.
I mean, I'm sure there are people who do it well and are
effective, but I'd just be really bad at it
but convince people.
I'd have a nice aesthetic on my Instagram,
so people would be like, she seems
like she's onto something.
MOLLY DECKER: Are you good at advice in general,
outside of the career advice?
Very bad.
MOLLY DECKER: So that's just what you would like to do?
MOLLY DECKER: That's hilarious.
ANNA KENDRICK: Just ruin people's lives willfully.
OK, question over here.
AUDIENCE: Thanks for coming, by the way.
Thank you for speaking into the microphone,
even though it's clearly not on.
I like that about you.
You're a rule follower.
I like it.
AUDIENCE: Often, I think at Google,
we get asked what our five-year plan is,
and you're very successful.
in the next five years?
What are your goals?
ANNA KENDRICK: Do you know?
I don't fucking know.
Do you guys know?
Do you have answers when people ask you that?
Can I have a show of hands?
Do you have a teed up answer?
You're Google.
What the fuck is going on?
No, I think that's one of those insane questions.
I feel like a sociopath would have a great answer
for that question.
But I don't have a plan.
Honestly, sometimes I feel like my plan
is to work as hard as I can until I
have a nervous breakdown and have to say
that I have lupus or something.
I don't know.
I'm excited all the time and terrified all the time.
How do you feel?
AUDIENCE: I feel-- that's great.
ANNA KENDRICK: How do you feel about my life?
AUDIENCE: I feel like you've got it all figured out.
I need a lot of validation.
I appreciate that.
MOLLY DECKER: OK, we'll go over here.
So I was in acapella group in college and recently went--
I'm not going to sing with you, don't worry.
ANNA KENDRICK: No, I wasn't gonna do that either.
AUDIENCE: Recently went to ICCA Championships
in New York, which were definitely not as fun
as the movie, "Pitch Perfect."
And I'm just wondering if you can
talk about how just making that movie in general,
how fun it was, the musical rehearsal that went into it?
ANNA KENDRICK: Well first of all,
I can tell you the reason that real acapella competitions,
while very impressive, are not as fun as the movie,
"Pitch Perfect," because they actually
have to sing live and dance.
So the dance moves are more like walking.
And we are trying to get down to the best
of our non-dancer abilities.
So we fall on the floor after the dance numbers.
So obviously, we can't actually sing during them.
If you could do an ICCA--
this is a real competition.
If the ICCAs could prerecord their vocals
and then dance to them, they'd really be on to something.
But then, they'd just be like pop stars in the '90s.
Burn on pop stars in the '90s.
Is that-- I don't know.
Did that answer your question?
AUDIENCE: Not really.
But I--
What else did you need to know?
AUDIENCE: Just curious if you could
talk about just how much fun it was
to make the movie in general?
ANNA KENDRICK: It was really fun.
AUDIENCE: OK, good talk.
MOLLY DECKER: All right.
All right.
We're going over here.
I was just wondering, since you mentioned earlier that you
wanted to play more roles like that 16-year-old smelly girl--
Oh my god, you think I could pass for 16?
Thank you.
AUDIENCE: Well, I'm 19.
ANNA KENDRICK: I don't understand
what's happening, but great.
AUDIENCE: It just kind of made me
think about what kind of advice you would give to someone who
isn't really comfortable in the position they're in, like how
you would find an environment where
you are safe to be yourself.
ANNA KENDRICK: My friend, Ben Platt--
ANNA KENDRICK: Oh, that was the biggest name drop of the night.
I think he said it best in his Tony speech.
He said, what makes you different
is what makes you powerful.
And I was like that thing, yes, what he said.
So yeah, it's--
I think finding your tribe is important, whatever that means.
And I always hate that--
I hate that thing of like when adults
are like, oh, none of this will matter in the real world.
Because if you're in it, it sucks for you now.
If somebody asked me to suffer through four years of feeling
targeted and ostracized, I would be like,
I really don't want to do that.
And you telling me that it will be over in four years
doesn't make it better.
So I think just trying to like find strength
in yourself if you feel misunderstood
and knowing that you are powerful,
and the things that make you odd and the things
that people don't understand are the things that give you
value in the world, I think.
I'm just paraphrasing what he said.
He said it better.
MOLLY DECKER: That's great.
AUDIENCE: Yeah, thank you.
You seem like a pretty grounded person.
So I'm wondering, what do you focus on
outside that industry that makes you grounded
or makes you happy?
ANNA KENDRICK: I don't know.
I should probably have a more profound answer for this,
but I grew up in like a black Irish humor kind of family.
And finding humor was always the thing that--
how we got through everything.
And I'm a big fan of gallows humor
and just undercutting everything.
So I idolize comedians.
I just did a movie with Chris Morris.
I don't know if you guys know the British comedian, Chris
He's just the darkest motherfucker around.
So that kind of thing just reminds me.
It's basically like I can't hang out with my older brother
all the time anymore, because we live across the country.
But he would be the guy to be like, you're being
a pretentious piece of shit.
Like, chill.
And since I can't have that, it's
like I just try to look at Morgan Murphy's
Twitter accounts and stuff like that.
MOLLY DECKER: I have a related question, sort of
like outside the industry.
If you were on "Jeopardy" and could preselect the category,
what would it be?
What do I know a lot about?
The script of "Clueless"?
Oh, that's a good question.
And it really makes you realize the things you know really well
are mostly embarrassing.
I guess like 30 screwball films, I guess.
I like those a lot.
MOLLY DECKER: You know those-- the lines by heart,
know all the characters' names and scenes?
MOLLY DECKER: That's awesome.
OK, we're going to take you over here, Richard.
So I became familiar with you from
your early theatrical career.
I saw "High Society" when I was trying out in San Francisco.
ANNA KENDRICK: What the--?
I went to Latin Club.
I was very popular.
But then I saw "Camp" when it was in theaters.
And I was curious, what motivated
you to go from theater to film and if you would ever
consider a return?
ANNA KENDRICK: Well, when I did "High Society" in New York
Randy Graff was in it, and she--
I became very close to her.
And I loved her very much.
And her cousin, Todd Graff, directed the movie, "Camp."
So she told me that I should audition for this movie.
And especially because that movie
was about musical theater kids, that
seemed like the right thing to do.
And then, I had such an amazing experience
with Todd and with those kids and kind of realized
that while there are--
you're more likely to run into assholes,
I guess, in terms of movie actors.
But I think actors are out of their minds
but wonderful presences to be around.
And I had such a great experience on that,
that I wanted to keep doing that.
And I also started to actually understand
the mechanics of making a movie, and that was exciting.
Because the first movie was mostly
me being totally terrified and going like, wait,
I have to look over here, even though she's
standing over there and not understanding
what was happening.
Learning about the filmmaking process
was really exciting to me.
I don't know if that was interesting.
AUDIENCE: [INAUDIBLE] And are you considering going back
to theater at some point?
ANNA KENDRICK: Yeah I would love to.
I look at Bette Midler in "Hello, Dolly!",
and she can do that because she's Bette Midler.
So I think I would want to do a new piece so that it
wasn't-- just selfishly, to take the pressure off myself.
Just I wouldn't want to follow up
on anybody else's performance to do a revival,
but I would love to do a new piece.
MOLLY DECKER: When were you the most nervous?
Because you did an opening number for the Oscars, right?
That must been a little nerve-wracking.
ANNA KENDRICK: Yeah, I think the--
I can tell you that the times in my life I've-- the three times
I've been most nervous was doing [INAUDIBLE] stage at Carnegie
I did this weird performance when I was like 13 years old,
and Julie Andrews was there.
So that was terrifying.
And then the first time I did David Letterman,
like fully thought I was going to pass out.
And then the performing at the Oscars.
MOLLY DECKER: The Oscars, yeah.
The Oscars is a big one.
All right, let's take a question over here.
AUDIENCE: So before you mentioned
that vanity will hold you back.
And I was wondering-- obviously there was a point in your life
when you transitioned between auditioning for roles
and not having a name and having the celebrity status
and people knowing you.
What did that transition look like,
and how did it impact you as a person or your career?
I'm assuming you don't audition anymore?
ANNA KENDRICK: I don't know if this is exactly what you're
talking about.
But the point where I suddenly started
going on red carpets and stuff and promoting the movie
and getting dressed, and people were doing my hair and makeup
stuff, I've never felt more hideous.
Because people, like teams of people
are putting hours of effort into how you look.
And that's never happened before.
And then, you go on a red carpet,
and Joan Rivers is like, C-minus.
And you're like, what the fuck?
This is the best I've ever looked in my life.
So that is a rude awakening.
I had also never been in a position
to be compared to Natalie Portman.
That shouldn't happen to any woman ever.
So I always thought like, I do OK.
I get mine.
And then I was like, no, no, no no.
I'm not supposed to be compared to Blake Lively, which is
the movie I'm doing right now.
So that's good for my self-esteem.
But yeah, it just took me kind of saying like,
the best thing I can do with what is happening in my brain
right now is know that I have never had to lie awake at night
and go, do I offer anything?
Am I only getting the work that I'm getting because I'm so hot?
And that I have to just go, well,
that's a blessing, because at least I know I have value.
So really, let's say a prayer for the really, really pretty
They're the ones who have it rough.
Am I right?
Those poor things.
AUDIENCE: Real quick follow-up.
Oh, never mind.
ANNA KENDRICK: I have no idea if that was the question.
I honestly was thinking about how weirdly soft
this microphone is.
AUDIENCE: Yeah, thank you.
MOLLY DECKER: Over here.
AUDIENCE: Hello really big fan.
So I guess I was wondering--
you've written this book.
You're working on a lot of movies.
How do you manage your time?
How do you manage doing all these things
that you want to do that you do for your career?
ANNA KENDRICK: That is such a great question,
and I will tell you when I figure it out.
Honestly, I've tried to do a couple of things
recently to correct the fact that I felt like I was--
I'm going to get really real--
I was letting everybody in my life down.
Because I just didn't--
I had spread myself too thin and said yes to too many things.
And therefore, I was constantly--
I felt like everybody was mad at me.
I wasn't maintaining friendships and family relationships
and have recently tried to make sure that that is happening.
So I guess just having to say to people,
no, I absolutely can't do that.
I think I forget that when somebody
wants you to do something, you can't really
gauge how important it is, because it's
just what they want.
So actually saying, this is how much I really
don't want to do this, so let's talk
about how important these things are and make some decisions.
And that's a really uncomfortable place to be.
Because normally, I feel more like I'm going,
is there any way that we could?
And the second that I get that, ooh, we kind of planned,
and this has been worked on.
And it's been decided.
I was like, oh, then, totally.
Then, totally.
And having to assert that no, I'm
going to have to like compartmentalize here and make
some time for my momma.
AUDIENCE: Thank you.
ANNA KENDRICK: She gets really mad at me.
MOLLY DECKER: Back to the book for one second.
Just in writing it, what's your hope or one thing
you want people to take away?
Is it more laughter or story of you?
ANNA KENDRICK: That was what I wanted people
to take away from it.
I was like, I just want it to be really funny.
That was my goal.
And since I'm not a writer by trade
or a comedian or something, that was like the best thing
that I could hope is that people would laugh.
And my editor was like, maybe put
some serious stuff in there.
And I was like, ugh, ew.
But actually, I think the thing that I get comments on the most
is the section about being nice and how it's just not something
that I'm prioritizing anymore.
So fuck all of you.
And that was something that I thought
for sure I would send it to my editor, and she would be like,
you're coming off a little bitter in this section.
But she was like, no, this is right on.
MOLLY DECKER: It's authentic.
And to the question you just had--
it's you.
It's you.
MOLLY DECKER: That's great.
Question over here.
AUDIENCE: So you mentioned that going into "Camp,"
it felt pretty natural since it was
more musical theater oriented.
And I was curious how it felt to go
into the role in "Rocket Science," where
it was heavily debate-based.
And it's a weird culture to begin with.
So I was just wondering your opinion on that.
ANNA KENDRICK: Well it was really fun.
And the writer and director came from policy debate,
and he did have an intense stutter.
And he didn't join because of a manipulative psychotic girl,
so I was made up.
But I had a great time with that because I knew that he was
getting all the details right.
They had this really specific thing about what boxes we--
yeah, look at your face--
we used.
And knowing that like certain subcultures
can be explored in each--
in different movies was exciting and knowing that you
would get that recognition of--
and when I watch movies about theater or making movies,
I love it when they get everything right.
And it's really frustrating when they don't.
So I think it's always fun to be able to honor that and know
that somebody is going to go, those fucking boxes.
AUDIENCE: Well, thanks.
AUDIENCE: Hi, thank you for coming.
And I love you.
Don't worry, I won't show up at your house, though.
But my question is, why did you want to include Google
as part of your book tour?
We need affirmations too.
ANNA KENDRICK: You guys seem smart.
I don't know.
Like I always think it's crazy that you guys would want--
professional people would want to talk to me.
And I always feel like I get something out of it too.
And you guys have asked really great questions,
and you're all young and attractive, so just
looking to get laid, really.
How's that for-- is that a good affirmation?
AUDIENCE: That was perfect.
ANNA KENDRICK: Very attractive group here at Google.
AUDIENCE: Thank you.
MOLLY DECKER: Over here.
AUDIENCE: Hi I know we talked a little--
or mentioned your Twitter account.
And I just wanted to ask you about that.
I actually don't have Twitter.
I don't really do Twitter.
But when I see funny tweets being posted elsewhere,
they're often yours, and they're often very funny.
AUDIENCE: So I was just wondering,
how does that-- that's always a question.
How do you-- do just wake up and think of funny things
and then post them?
Or how do you go about creating your Twitter?
ANNA KENDRICK: It's just when I think of something funny.
I follow Andy Richter from Conan.
And when I go on Conan, he was like, you should tweet more.
You're funny.
You should tweet more.
And I was like, I am not holding back.
It's not a quality control thing.
It's a supply and demand brilliant thing on my part.