Jane McGregor Interview
The star of Slap Her, She's French speaks at the Breckenrdige Festival of Film Category: Festivals
Date: 23 September 2002
The following is a transcript of an interview that took place September 15th, 2002, between film critic Jeffrey Lyons, his son Ben Lyons, and actress Jane McGregor at an informal open forum at the Breckenridge Festival of Film. McGregor was there for a screening of Slap Her, She's French, in which she stars, along with Piper Perabo.
Jeffrey Lyons: We were talking before about titles in movies and how sometimes a quirky title of a movie can really work against the film, because the average person thinks it's a gimmick, and what's going to be on screen is not nearly as good. Now, when you were sent the script and you saw you're read a movie called "Slap Her, She's French", did those thoughts cross your mind?
Jane McGregor: Actually, it kind of intrigued me to read it. I was working at the time in Montreal. I'd been reading a few scripts and that one really caught my eye. So I read it and it cracked me up.
Jeffrey: Reading a script is a skill that comes after years of experience. I'm sent scripts occasionally and I try to send them back. I'm not good at it. I can't forward the script to anybody - it would be a conflict of interest. How did you get the script and how good are you now, just because, so far, this is your first starring role. You're one for one, as far as I'm concerned.
Jane: Well, thank you. Yeah, when I was working in Monrtral, I had just gotten a manager in LA, so I was starting to get these Hollywood scripts. When I first started reading I was sort of not too impressed with a lot of them. I was be frustrated, I'd read a couple pages in, and it's like, I don't know how I'm going to do this. I learned getting more and more scripts and when you actually follow through, it's important to read the whole script. Definitely. It's hard. It's hard because people can take a script and create a process. Everyone has a different opinion on how something should be made and you bring something and you have this idea about it and you go to make it, and this person has a completely different idea. It's hard to get the picture and idea just from reading a script. For me, I really need to meet and talk to the people, see what other stuff they've done, in order to get a better idea what the movie's really going to be like.
Ben Lyons: You told me earlier how for Slap Her, you were cast after Piper Perabo. Did you go back and watch Coyote Uglky and Some of her other films to realize who you were going up against?
Jane: Yeah. I watched Rocky and Bullwinkle.
Jeffrey: You were the one. I thought I was the only one. I get paid to see them, you know.
Jane: I thought she was fantastic in it, actually. So, yeah, I was curious to see what she was like. It was helpful. We had a couple weeks before we started filming to rehearse and stuff.
Jeffrey: The movie, you'll see tonight. The movie concerns a Texas high-school cheerleader who wants to pad her resume, and in order to do that they decide "oh, it would look great if we have an exchange student come". So hence the title Slap Her, She's French. Was there a time when either you were reading the script, or when the cameras were rolling, or when you were watching the finished product that you said, you know it also would have been intriguing for us to have switched roles? For you to play the French girl?
Jane: Hmm. I thought about, I mean I kind of always think about my characters and "oh, what would I have done with that" and "ok, this is what they did and I never would have thought of that but I probably would have done this". Know what I mean? I wouldn't have switched it.
Jeffrey: You said when you were filming in Dallas, you have to adopt a Texas accent without overdoing it, and you're from Vancouver. What did you do to prepare yourself?
Jane: For the auditions, I just kind of winged it, and it wasn't very accurate. I was told it was more of a Georgia drawl, whereas Texas is a twang. I had about... a-boot, I am a Canadian, so it was that much more of a stretch.
Jeffrey: That's the cold and sun up there bothering you, right?
Jane: And yeah, I had a week and a half of dialect coaching. We were both doing accents, me and Piper. She was doing French. So we had the dialect coach on set with us every day, and that was very helpful.
Jeffrey: What did they teach you, certain words or only the words in the script? That's what you have to learn.
Jane: No.I would have pages of like, Hey, May, saying that kind of thing, and just getting used to the placement of where you talk in your mouth when you're speaking different dialects, which was very helpful to me. Back of the throat. Back of the throat. And as soon as I would hear that, it would be like, yeah, it's tight and you close it in the back of your throat, and that was always very helpful to me to remember that.
Ben: The film was shot in Dallas, and Texas is a weird place for my eyes, coming from New York City, I mean, farther from reality. Did you go out in the community and meet people? Did you go out to bars or hang out? How did you get the Texas feel?
Jane: I worked on dance routines with a cheerleading squad. That was great, meeting the local... Very hospitable people. Other than that, I went to Billy Bob's, the biggest honky tonk in Texas, which has like the biggest disco ball saddle hanging in the middle of the dance floor, which was great.
Jeffrey: You were probably the only person in there unarmed. Anyway, did they look at your resume? A lot of work that you've done has been in Canada. Did they look at that or did they know your work when you came and was it important to you to be the fourth or the nineteenth or the thirty-second person they picked? Tell me about the audition process.
Jane: They'd been auditioning girls and they'd been looking for this character for quite some time. I think they were considering a couple other girls when they found my tape. I don't really care if there were other people in line.
Jeffrey: What were they looking for? Middle twenties, playing younger?
Jane: I think they were looking for a girl, a woman who can play comedy. I hope I pulled it off. I think, when I read the script, I was like, okay I understand this job, I know what they want, I know how they want it to be played. It just sort of clicked with me. So when I put myself on tape with my home movie camera in my apartment with my friend. I was wearing my pajama bottoms. She was reading and shaking the camera. That was what I sent. I just felt it was a part I could play. And I think they saw that too.
Jeffrey: Did you show them your TV work, the stuff you've done on television.
Jane: Well, I did an audition. I did the scenes. I'm sure my manager or agent showed them demo reel stuff. I'd never had a chance to do comedy before. They probably wanted to see the ability to do that.
Ben: You never did comedy. Did you go back and look at some of the great Canadian comedians? Because there's a lot, there's John Candy, Jim Carey, Mike Myers. An impressive list of Canadian comics. Are those some of your favorites?
Jane: Yes. I have a lot of comedians that I admire. And yeah, I find a lot of them are Canadian. Kids in the Hall, SCTV, Eugene Levy, Dan Aykroyd.
Jeffrey: Would you rather read from the script at hand at an audition or bring a scene of your choosing? Or does it make a difference?
Jane: I'd rather do the part I'm audtioning for, for sure.
Jeffrey: Because there it is, yes or no, take it or leave it?
Jane: Yeah. I think they're eventually going to want to see me do the role of the character. I find sometimes I want a director to be more up front with me, like "No, I want you to play it like this." If someone tells me how they want me to play it, I can give it a shot. Often directors are trying to be really careful with the actor. Actors are crazy and sensitive. They tend to really walk around, and they try to manipulate it out of you instead of saying it up front, saying I'd like it like this, not like that. And so that's why I would like a director to see other stuff I can do because then they can see "ok, she can do this. She just maybe not choosing to do it for this role"
Jeffrey: Flower and Garnet is the next picture. Explain the title. You're playing one of the title characters. First of all, it's very good for only your second starring role. Tell me about the film because you haven't seen it yet.
Jane: It just screened at the Toronto Film Festival. It's a Canadian film. Directed, produced by Canadians. The director also wrote it. I love when the director has written it because when a director doesn't understand the script, it can be frustrating. But when they've written it, they really know what the message is, and the point of scenes and whatever. It's a drama. It's very different from Slap Her, She's French which is kind of a wacky teen comedy.
Jeffrey: It's better than that, believe me. I wouldn't have asked for it if it weren't. Really, it's not just a wacky teen comedy. There's a twist at the end of the film and it's just wonderful.
Jane: Yes, but it's a lighter, more fun type crazy, which I like.
Jeffrey: Tell us about Flower-
Jane: It takes place in this small town in BC and it's about a family who's dealing with stuff. The director says it's about people who are really struggling to communicate and they're just words to get out, but they've been struggling so hard to talk about it because they need to survive. I play the daughter of the family, where the mom died when she gave birth to her little boy. And so I've been the mother to my little brother since I was six years old. And now I'm sixteen and I want to have my own family so I go and get pregnant, which isn't the best thing. It was a range I got to play that was pretty different.
Ben: Jon Favreau spoke yesterday about why he likes to shoot in America, as opposed to shooting in Canada. Why, besides being close to home, do you enjoy shooting in Canada?
Jane: Well, really I'm not particular really shooting anywhere. The more I get to travel, the better basically. So I like to shoot movies all over the place. But it is nice being close to home, which is great. I just like working on a movie that was filmed in Canada that was Canadian, which I've never done before, because obviously there's a lot of American stuff up there. And that was a great experience too.
Jeffrey: It's also American stuff - a lot of the times doubling for American locations. You shoot in Canada because it's cheaper.
Jane: Because of the money.
Jeffrey: You said something that makes you just the opposite of Michael Caine. Michael Caine says you can give him a script - he already has an Oscar - but you can give him a script and be a guaranteed Oscar, but if it's going to filmed in cold weather. He will not shoot- the only film he did in cold weather was one he did with Sean Connery for John Huston, and they wanted to work together. That was different. Are you still so new in the industry that you're willing to work anywhere and you don't have those sorts of preferences?
Jane: You get put into pretty weird situations being an actor. When we were filming Slap Her, She's French we had freak freezing weather in Dallas, and it was below freezing when I was doing my cheerleading scenes which was awful. And I only got one take. Not really too much of a dancer either. That was insane. But that's the thrill that you're all together, you know, there's crew people, you're all doing this crazy stuff in these crazy locations, it's sort of fun. You look back and you're like "it was such a great time", but during it you're like "oh my god, I'm never doing another movie again".
Jeffrey: What's the hardest moment you've had onscreen? I once asked Vincent Price, old character actor and horror movie lead, what's the hardest moment for him, and it came in The Fly, the original version of The Fly, and he was standing next to Herbert Marshall, who's a great Shakespearian actor and in the background the guy who's later played by Jeff Goldblum in the remake, he's being transformed into a fly. And you've got these two great actors and one, Herbert Marshall, thinking the camera would not catch him, and of course it did, said "What the hell are we doing here? This is not fun." That hasn't happened to you yet, has it?
Jane: Very interesting story. I found a lot of Slap Her, She's French, a lot of that kind of difficult, because it's comedy. And I found the comedy aspect tricky, and everyone's got to be on the same page and everyone's got to have the same idea about it. So there were a lot of times when I was going like "oh my god, this isn't working" and having doubts. But the hardest thing I've ever done on camera - I had to do a love scene in my last movie, and whoo!
Jeffrey: Who was the guy?
Jane: Freaky. He was a Canadian actor. I actually knew him from Vancouver. It was totally mild and I didn't have to take my clothes off or anything, but it was very stressful.
Jeffrey: Did you know there were 40 people on the set?
Jane: Well, it was very closed. And the great thing about working on this independent film was that it was a really bonding experience, and everyone that was on that movie from the onset prop person to the producer was so happy to be a part of that movie. So it was a good set to be on to do something where I was going to my limits boundary-wise.
Ben: You were finishing high school at the same time you were finishing filming a TV series. How did the other kids in your class react to you missing class to be a TV star? It's not something other kids do.
Jane: Well, I was missing class fairly regularly the last few years of high school, whether for work or not. I was really frustrated in school. I failed drama in grade eleven because I was away working on a movie, and my teacher wanted me to write a two-thousand word essay when I came back and I was like "I was away working, can I show you a tape of it? What is it going to take for you to give me credit for this?" People in PE who were doing gymnastics would have to take gym. I was frustrated. I felt like school wasn't encouraging me at all or helping me with something that I was kind of taking seriously and wanting to do as a profession. Like other places, Vancouver has a lot of film things done there, so people weren't that impressed, which was fine with me because I wasn't that impressed either.
Jeffrey: One of the things that impressed me in the brief time we've known each other is something you said almost casually about starting your own production company. A lot of actors do that, a lot of actors want to do that. It's not something done often years ago, and now it's much more common. What have you seen in your brief career that has made you want to make that turn?
Jane: All the movies I have been in and thinking about the way I would rather have done them. Reading a script, I have a pretty strong opinion on how I think it should done, and the changes that should be made on it. I just want to be able to make my own film, send my own ideas out there. I have my own ideas too, my own scripts I'd like to write. I guess I just really like movies, and I want to make my own where I can make them the way I like it.
Jeffrey: You said you were took a course on the history of film, and you had to leave to go to work, which is kind of ironic. What were some of the films they showed that you found a new experience that impressed you?
Jane: One of the most inspiring things I picked up from that course was this Alfred Hitchcock thing, that is a filmmaker that has a style. You see a movie, and you know it's them because it has a style. A style is a way any art is done, like a painter or whatever. That's what creates the emotion, and that's the personal touch that each individual can bring into their art, and that's the most important part of being an artist, having your own style. I thought that was very wise, and I liked that.
Jeffrey: That's easy to say for him, because he made all horror movies, or all suspense films. He's one of the few directors who, by showing his style, did not give away the story. Do you have a favorite Hitchcock film that you saw in that class.
Jane: I don't even think I've seen a Hitchcock film all the way to the end. I don't even know if they really scare me. But I do respect him as an artist. But for me, I did see The Birds, and I thought "Oh, birds, I see them every day and they didn't freak me out". I guess maybe it's because of the difference in the era and it just didn't affect me, I don't know why. Maybe I may need to watch them again.
Jeffrey: Who are the actors you want to work with 2, 3 films from now? I don't mean someday, I mean there's a lot going inside there. You want to start your own company, you've got a new film coming out. There are actors that you say "gosh I want that actor, either in my own comapny or in a big studio production with that person"
Jane: I see actors in movies and think they're so fantastic. One particular actor that I'm like "damn, I want that career, I love every movie that they've done" Comedy-wise, Christopher Guest and the movies that he makes and the people that he works with. I would honored and scared out of my mind to ever have a chance to audition or work with him. And I really am into the mockumentary.
Ben: Yeah, you mentioned that earlier. Are there certain subject matters that you would maybe want to take on in your mockumentarian? Did I just make up a word there?
Jane: I love it.
Ben: Is there something that you've seen that you're really attached to? Any mockumentary you've seen that really inspired you?
Jane: I would really like to make my own mockumentary of the film industry and being an actor, having personal experience there is way too much stuff to go into, it would probably be eight hours long. And I know that's been done a lot, but I've seen different version - well maybe not mockumentary - just sort of a joke on how goofy the industry can be, but never in the way that I would do it.
Jeffrey: It used to be, years ago, the more successful you got, the more compromises in your life you had to make, namely where you live. That is changing now. Whereas 15-20 years ago, if you made a movie and you got known and got jobs for six other films, you'd find yourself leaving mother Canada, moving to California, or maybe New York. but now, for instance, Andie McDowell, who's a successful well known actress, lives year round in Tennessee. Actors live where they want. Morgan Freeman lives in Clarksdale, Mississippi. We live in an era of faxes and pagers an cell phones and things like that. Ten, fifteen years from where you stand now, will you still be spending as much time in your native Canada, or do you see yourself as bring bicoastal, or just being open to anywhere the work takes you.
Jane: I love to travel for work, but only for that period of time for working, and I always want to have a base in Vancouver. LA is fine for me to go to every now and then, but usually by the end I'm ready to get (her Canadian accent slips through) oot. Aboot. Aboot ready to get oot.
Jeffrey: How many hours have you spent in New York? Three hours?
Jane: I love New York. I'd love to live there. And have some movies or theater. I'd love to go to London, do theater.
Jeffrey: You may be a changed person after you spend four hours in New York.
Jane: That's true.
Jeffrey: Anybody have any questions? You can interject.
Jeffrey: Who is your favorite commedienne?
Jane: I don't know if I have a one favorite. Lucille Ball. She was pretty awesome, I used to watch I Love Lucy a lot when I was little. Her physical comedy is fantastic. I love physical comedy, and being goofy. Catherine O'Hara, who was a member of SCTV, she's wacky. And so, she just gets into these characters. She's just brilliant I think. And totally nutty and quirky.
Jeffrey: Did you know Lucille Ball auditioned for the role of Scarlett O'Hara in Gone WIth The Wind? Can you imagine that? Scarlett O'Hara putting nuts in an outfit on a conveyer belt. But it's true, she auditioned to be Scarlett. So did Patty Hearst's mother, but that's another story. I guess Clark Gable would have come home and said (as Ricky Ricardo) "Honey, Hi, I'm home".
Question: Every time I read a book that I like, I cast actors into the roles in the book. Is there a book you've read that you'd like to be made into a movie that you'd like to cast yourself into?
Jeffrey: Is there a book you'd like to star in?
Jane: I don't know. There's this book I'm reading right now. It's a Canadian book.
Jeffrey: Big surprise.
Jane: It's called Fall On Your Knees and it's actually being made into a movie right now and I'm audtiioning for a part.
Jeffrey: Is it a drama or a comedy?
Jane: Well that's the interesting thing. I thought it was a disturbing, intense drama. And I was talking to the director and he thinks it's a comedy, so I don't know if I want to audition for it anymore. I'm slightly confused right now.
Jeffrey: You're going to audition for it?
Jane: I've auditioned and now I'm seeing him agian. It's sort of a character I've never played before. Frankie is a very angry girl and I have to show that I can get really angry.
Jeffrey: Did you read from the script or read a prepared...
Jane: I read from the script.
Question: Are there any issues you want to see different in the world you want to do films about that?
Ben: Are there any world issues you want to see filmed?
Jeffrey: How about a Miss. America?
Jane: (ditzy voice) I want to do charity for children and the privileged.
Jeffrey: She'll be here all week, folks, or at least until tomorrow.
Jane: Yeah, there's a zillion. Too many.
Jeffrey: We were talking before about how one filmmaker treats women, you're not too pleased with. I think he's one of the funniest great filmmakers of our time. I won't give any names, but he makes his movies in and around New York. But that's something that really got you passionate.
Jane: Being a young woman and being in the film industry, you have to deal with a lot of stuff that's really obnoxious. One being that there are a lof of roles out there that are one dimension. Characters that are pretty classic typical love interests. The pretty girl at school. You know, really as an actor, not something you can really experiement with or create a character around or you feel like veryone is kind of against you as you develop this person, they're like "no, she's got to be nice".
Jeffrey: But that's what you did so well in this movie. how many times have we seen the cheerleader, particularly the Texas, and given something new to it. And you'll see tonight, particularly the way the movie twists and turns, there are times we love your character, and other times we can't stand your character. But she's not without a heart and not without a basic goodness about her, but sometimes it's masked in being one of the peers, and being of the group, but finally when your character comes out, we feel about her altogther differently. That's probably what must have jumped off the script at you.
Jane: Yeah. I just thought, you know, with the comedy aspect too, I was like "oh yeah, I'd like to play this physical comedy in there", which is just quirky, and I'd love to experiment with this. I also too thought that the film comes off so perfect: she's the beef queen, she's the head cheerleader, she's the most popular girl at school, but the way she was written, in my opinion, she was so perfect, but she was just bubbling on the inside, and kind of like, you feel so much pressure to do all these things, and it made her a little mental. I think it would. I watched the Miss America pageant. Some of those girls eyes are poppin' out of their frickin' heads.
Ben: A much different cheerleader film, actually did a lot of good business, is Bring It On. Did you watch that as something maybe not to go and try to emulate? There was that other one about bank robbers.
Jane: I didn't see it.
Jeffrey: It's just as well.
Jane: I feel there's a lot of movies that are written for the cheerleader. At the beginning they are interesting scripts and they are cheeky scripts and making statements, and there's more scripts I'd be interested in doing. When a studio gets a hold of it, they're afraid to follow through with the full point of the movie and they take out all those smart parts and the kind of line crap and then it becomes just a cheerleadering movie. And that's frustrating to me because then to me it becomes about selling teen sex and that part of it bothers me.
Jeffrey: Marilyn Monroe was best in take 52, 53, maybe 54. Tony Curtis was better in take 1, 2, or 3, which is why they had so many problems with Some Like It Hot.
Ben: So was Jon Favreau, he talked about that with improv. If someone would latch onto something- if it wasn't working by the third or fourth try, they'd have to move on.
Jeffrey: Where are you? Are you different on the third or fourth take? Sometimes when you think you've gotten a take of what the director wants, will you try to sneak something in on the next take? And maybe they'll use that take.
Jane: Well, I personally like to really have something down in my head. I like to rehearse it a lot, and I like to know what I'm doing and have the base down and I'm confortable with it so that I can play with it. Because if I'm not then - sometimes I can get that way too- but for me, I find the director has more of a better idea about that, because they're the one watching, and watching yourself, it's hard to have a good idea.
Jeffrey: You mention rehearsals. Sidney Lumet always rehearses with actors for two weeks before they shoot. He did it on Serpico, he did it on Goodfellas, he did it on his first movie Twelve Angry Men. Even The Wiz with Michael Jackson, one of the worst, most unwatchable films. Unfortunately my seat was facing the screen. Did you ever see that film? Anyway. Sydney Pollack, who was here many years ago, will never rehearse. When you work with a director, and this will happen, who rehearses you, and the next film with a director who has not been an actor and doesn't want to rehearse with you, do you miss that?
Jane: Yeah. Every director is different, and every director is great for their own reasons. On Flower and Garnett, we didn't really rehearse, but he was such a wonderful man to work with and he's so sensitive and so gentle with his actors that I didn't care that we didn't rehearse because got out performances in me that were better not rehearsed. Working with a director can be frustrating because one time you're working with a director that you mesh so nicely with and other times you don't. That can make you feel insecure.
Ben: Sometiems it's difficult to shoot two pages a day because it tedious or long. THen again, it's dificult to shoot twelve pages a day because you're rushed. What do you like to work with? How many pages a day were you doing on Slap Her, She's French?
Jane: I think we were doing around six our something, maybe six to eight. The more time the better, for sure, because when you feel like you haven't gotten something right and you feel like you have to move on, it's awful.
Jeffrey: Brian Dennehy once told me that the difference between working in movies and working in tv, is that in TV they say they want eight pages fast, learn you dialog, and then go on to the next bit of dialog. Are you a quick study? Do you have tricks?
Jane: I never read a script more than twice. I work on my particular scenes. For me, if just the idea of the character is working in my head the dialog just comes out and I have to look at it just a couple of times. But if it's not then you really have to start memorizing because it doesn't feel natural, and that's tricky.
Question: What's the most fun about acting?
Jeffrey: What's the most fun about acting?
Question: Not being yourself?
Jane: The most fun about acting is exploring characters for me. Exploring people. I think that's one of the reasons I like Christopher Guest because I think he creates the characters that I've seen and I think they're so brilliant and he just transforms into these people. He brings up so many dimensions and he brings out so many parts of them and they're quirky and they're crazy and they're lovable. I think that's a pretty hard thing to do, to make someone so crazy so lovable.
Ben: What's the least fun about acting?
Jeffrey: Being interviewed?
Jane: No, I love interviews. I hate auditions. I hate them. I find them so scary. I get really nervous. Shooting for me can be just as bad, just because it's pressure, crazy pressure. The camera's on, and you can hear it going ar-ar-ar-ar-ar-ar-ar.
Jeffrey: You have to be up and in hair and make up at five o'clock in the morning.
Jane: I like all that stuff, though. It just helps you transform and not feel like yourself. In Slap Her, I was wearing clothes that I do not normally wear in real life, and an hour in makeup, an hour in hair, and by the time I was out of there, I was Starla. I just did not feel like me.
Jeffrey: You mention the character you play. James Earl Jones once said it takes him six months - he didn't want to do a broadway play more than six months, because it takes him a long time to shed the character and go on to the next work. I'm sure that doesn't apply to Samuel L. Jackson, who has made three films since we started interviewing you today. How long does it take you to get rid of the character, because you've done another film since Slap Her, She's French?
Jane: Well, when I finished Slap Her, She's French, I was really exhausted. I was stressed out because it was my first movie, and my first comedy. I was really high strung when I came home, and my mom said I used to sit on the couch and just be like wide eyed and "what do I do now?". I had a hard time just chilling out and relaxing. That was a pretty big part of my character - she was crazy on the go all the time. Determination, going after her goal. I felt like I was really - I needed to chill out, go to nature.
Ben: Is it difficult to leave a part that you played behind you? Do you want to return to old characters you might have enjoyed playing, one you thought was a strong individual and you've got a new role, and you think oh, I've got to do something similar to this character.
Jane: That's interesting. Actually, no, I've never done that before.
Jeffrey: Particularly if you produce the film. Tell us about how you heard about our festival, because we knew we had the film and we were surprised to hear that you wanted to come, and we said sure, put her on the next plane. Tell us how that happened.
Jane: My manager called me and said, would you like to go to Breckenridge for a festival?
Jeffrey: How did she describe it, because she hasn't been here either?
Jane: Actually, I didn't have much information.
Jeffrey: You came sight unseen, right?
Jane: I've been doing publicity for this movie for like the last three weeks, been to Toronto. I haven't really had time to think about much, so it's okay, let's go. Colorado, I've never been there.
Ben: The red carpet thing for the premiere - how was that?
Jane: I love attnetion. I'm an actor, I love it. But it was freaky - it wasn't that positive, nice attention. It was like psychotic shrill voices screaming my name. There were photographers and they all wanted me to look at their particular lens. I did not get any warning about the screaming fury that would be directed at me from like twenty-five, thirty people. So I get out of the limo and go to the carpet and it took them a moment to realize who I was. Oh, she's someone in the movie! Oh, bang bang bang. I didn't really think about how do you stand that looks sexy and cool. So I have one arm behind my back, so I look like I just have one arm. I kept doubling over and laughing because it's funny, it's really goofy.
Jeffrey: There's your mockumentary for you.
Jane: That could be a tease for the mockukmentary to come. And I kept looking over to my sister and my mom and her boyfriend. And I kept looking over and laughing. They were scared. They had to come out and save me.
Jeffrey: What theater was that?
Jane: The Academy.
Jeffrey: Wow. Do we have any other-
Question: Do you ever use your acting skills in real life?
Jane: No. Never. I don't know. Sometimes you're working a lot, and it's part of the job pretending to be people, pretending to say things really sincere. And when you work 14 hours a day and you go and have conversations, somtimes you can trip out in your mind. You just get sidetracked because you're so used to doing that. Okay, you're listening now. As soon as that happens, you know you have to go out and walk in nature or chill out because you're too stressed out.
Jeffrey: I want to thank you so much for coming. And when you see the movie tonight - you'll be there, right? - you're will know a lot more about how good she is in the film. The moment I saw this film, I thought we've got to close with this film. It's an upbeat film, you're all going to love it. It's as much fun as the title implies. So we hope yo see you there tonight. Thank you very much.
Ben: Thank you very much.
Jane: Thank you.
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