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Elizabeth gave an interview to Pinkvilla.Com about the sexual harassment in Hollywood and said this about it:

“Nothing about it surprises me. What surprises me is that people care to be honest; maybe that is a dark view, but I think it is an old story for women,” Reaser, 42, told IANS in a recorded response from Los Angeles.

“Women have been dealing with this in every industry since the beginning of time. It is a really challenging and scary thing to speak up. It is such an act of courage.”

“Usually people don’t believe you, or you become a victim again by sharing the story. There is a backlash. There are things that you can’t anticipate… that can go wrong by sharing the story. I really feel grateful to the people who have come forward because it is a heart-breaking and horrific truth of our world and the whole world in general.

“Women are still very vulnerable in show business because being a young or not-so-young woman, who wants to get a job, puts you in a vulnerable position. I think that dynamic is always tricky when a majority of people in power are men,” the actress added.

Reaser feels the outcry over the sexual harassment scandals will “make predators rethink some of their behaviour” and be “less inclined to these acts”.

“It is really up to us going forward on how one makes these decisions. Who do we want to put in power and in the power to tell stories or use the power to tell the stories… Hopefully, we will make everyone more accountable in every department because it is not just actresses (who are getting exploited).

“It is not just film industry. It is every industry around the world. The more we talk about it the more powerful it makes us all.”


Elizabeth gave an interview to Moviefone about Manhunt: The Unabomber, and you can read some of it here on the site.

What did you see in “Manhunt: Unabomber” that tripped your radar and said, “I think this is a project I want to be a part of?”

Well, the true crime stuff, I confess to being obsessed with! Any of those kinds of shows I get really sort of sucked into, and I thought the writing was really good and illuminated just a lot of stuff that I didn’t know about.

When I was growing up it wasn’t interesting to me, the Unabomber. I was young, so I learned a lot about it, and just how they caught him I thought was really interesting, and they were able to tell that story but also get into the domestic lives of these people, which made the whole thing feel very real and more high stakes in the way that it was at the time.

What was the thing that you learned about Ted Kaczinski that most surprised you? Because this is as high concept of a criminal as there ever was, what was the eyebrow-raiser about him or his story?

I was really fascinated by the brother aspect, with David’s relationship to Ted, and the fact that David -– and his wife actually, the wife of David Kaczynski -– really recognized his way of speaking in the manifesto that was published. She spoke to David Kaczynski and had to convince him, and then he had to convince himself, and take the step to turning his brother in. That was something I didn’t know about.

You really established yourself with some standout roles on television and then you went into one of the biggest movie franchises of all time. And now you’re back here in TV, where TV’s evolved into almost long-form movie-like quality. Tell me a little bit about that experience to be right in the thick of it during this significant evolution of how we watch our entertainment.

I just think we’re so lucky. At least as an actor and as someone who loves to watch, I just think it’s so much better. [Television is] so much better than the majority of movies I think, just from my taste. I know it’s hard to get people to go out and see movies, and I get why.

Are you drawn to darker material? Is that the stuff that you tend to want to be in?

I always was when I was younger, and I definitely am, but I think sometimes it’s just my face! It seems sad or serious or something, because in my real life, I would love to do comedy. I got to do a little bit of comedy on “Easy,” the Netflix thing, and some things here and there, but people just don’t see me, unless they know me, they don’t see me as a funny person.

They see me as someone who can cry and be dramatic, but I’m happy to do it. What more interests me, whether it’s funny or serious is just telling the truth and trying to be as honest as possible, whether that’s comedy or drama, whatever it is, I just want to tell a story that feels real to me. That’s always what’s the most funny, or the most moving or the most interesting to me, the moment-to-moment sort of reality.

What does it mean to you to sort of know that because of your “Twilight” experience, there’s always going to be a certain fanbase that’s going to check out whatever you do? They love you in those movies and they’ll say, “Oh, she’s in this? I’ll watch that.” Is that a cool extra to have as an actor?

It sure is. I’m very grateful to have done “Twilight,” first of all because it was just an incredible experience, and to touch -– touch sounds so weird, but to be able to reach that many people all over the world. I mean, that just doesn’t happen very often.

What was it like for you to step off that ride and look at what was next? Was it an unusual experience?

It was unusual. It was hard. It was hard trying to get jobs after that. I had some long stretches where I didn’t work very much. I was really trying to find my way back into feeling like an actress again, because when you do a big movie like “Twilight” a lot of times you don’t really do much acting. A lot of times you’re just getting your hair and makeup done, and you’re standing in front of a green screen, or you’re running through a forest. It’s all part of your job, and so lucky and grateful to be doing it, but it’s not like going and doing a play at Lincoln Center where you’re really being challenged as an actress.

I bet. What are you looking forward to? After these current projects wrap, what do you think’s next on this horizon?

Well, I don’t know. There’s some things, like, bubbling up, some more very exciting things, but I can’t really talk about it yet, but I just feel lucky. It’s funny because sometimes people don’t realize how truly hard it is to get an acting job, no matter where you’re at in your career, and every time I actually get a job, it feels like a miracle of some sort.


Elizabeth talked about Ouija with Den of Geek and you can read some of it here! To read the full interview click on the link! 🙂

Den of Geek: Did you watch the first movie and were you aware of the back history set up there?

Elizabeth Reaser: I was aware of it, but because it was a very different movie, a different filmmaker, almost such a different world, it was more important for me to invest in our world and in the ’60s and the relationships with the kids and with Henry. That was really the real focus.

How far did you go in terms of the physical stuff you did?

There was a stunt woman, thank god, that helped me, because I really can’t go flying across the room and land on my tailbone at this age. It’s just not a good idea. It was intensely physical and just exhausting. Plus all the crying and the high, high intensity emotional stuff is really exhausting.

Did you do any research into mediums? Have you ever been to one yourself?

I did and I have. Some of the stuff is weird and some of it’s really believable and even scary. I think psychics, there are some people that really are psychic and it doesn’t make sense, but why should it make sense? To me there’s so much we don’t understand about our world and I think it’s really fascinating to see these people come up with the stuff that they come up with. Some of it is BS, but a lot of it isn’t, from what I’m seeing.

Did you ever go to one where you felt like it was the real thing?

Yeah, I did. I went to someone who knew things that they shouldn’t have known or that they couldn’t have known and predicted things that ended up being true. It unnerved me because I think I’m suggestible to begin with. It’s interesting.


Elizabeth talked about Ouija with Too Fab and you can read some of her interview here! To read the full interview click on the link!

toofab: Were you a fan of horror movies beforehand or was that kind of something you typically stayed away from?

I mean I’m not overly a fan, I get too scared. I tried to watch “Oculus” before my meeting with Mike Flanagan and I just, I had to turn it off I couldn’t handle it. But this movie was so … I’ve never seen a movie like this, about a single mother who’s a widow and her daughters in the late ’60s. I just thought, wow, were going to do this horror movie, but it’s going to be about a family and I thought that that was so unusual.

toofab: How was it with having these two young girls on a scary movie set, how were they?

They’re great. [Lulu Wilson] is like a grown woman when you talk to her. I knew when I met her I couldn’t talk to her like a child. She was an actress first and foremost and that was very unnerving but also very exciting because she was bringing so much to the table just from the first day. And [Annalise Basso] I think is so heartbreaking because she’s really so innocent and not like a child actor, she’s a real person when you watch her on screen.

toofab: Without getting into spoilers, do you think this film sets up another potential sequel?

Certainly. That last sort of thing really sets you up for something insane down the line, I really hope they take it there!


Elizabeth talked with Too Fab.com about returning to Twilight and you can read what she said here on the site.

Elizabeth Reaser wants in on any future “Twilight” flicks.

While promoting her new horror flick, “Ouija: Origin of Evil,” toofab’s Brian Particelli asked if a potential sequel or prequel is something she’d like to see happen.

“I hope so, I mean I just heard that too and I thought that’s so great and I would love to revisit that in any way,” she explains. “Or see them revisit with other people. You’re not supposed to age, but some of us are aging faster than others [laughs], but I think it would be really, really fun, I love those characters.”

If they decide to go the prequel route, Reaser already has someone in mind to play a younger version of her character.

“I think Annalise [Basso] actually would be a great Esme, she would be wonderful,” Reaser says of her “Ouija” costar. “Someone with her vulnerability. She’s just very warm. There’s so many wonderful young actresses these days!”


Thanks to Claudia for letting me know that Elizabeth gave a interview to The New York Times! A picture of Elizabeth also comes with the interview and you can see it here! I’ve also added some of Elizabeth’s new Instagram photos which you can take a look at here.

Elizabeth Reaser sat down carefully.

“My tailbone is a little sore,” she said last month, settling into a corner table at the restaurant I Sodi, a few steps down from the Lucille Lortel Theater on Christopher Street, where she’s starring in “Permission,” a play by Robert Askins.

“Some scenes we wear these butt pads,” said Ms. Reaser, who is perhaps best known for roles in the “Twilight” films and on “Grey’s Anatomy,” and as the girlfriend of Josh Charles’s character on “The Good Wife.” “But I don’t have one on in the final scene, and I’m really getting whipped.

“Funnily enough, it doesn’t bother me. I guess I’m twisted enough that because my character loves it so much, I’ve convinced myself at that point in the play that I love it, too.”

Being cast in sexualized roles is something of a new thing for Ms. Reaser. She got a crash course when she played the troubled object of Don Draper’s obsession in the final episodes of “Mad Men”: a waitress who goes pelvis to pelvis with Don in an alleyway, straightens her mussed hair and heads back inside the diner to finish her shift.

“When I was younger, I never got parts like that,” said Ms. Reaser, who is 39. “It’s interesting when someone is casting a play about spanking and S&M and being whipped with a belt, and they think of you. I’m weirdly flattered by that.”

She would be even more flattered if this translated into an indecent proposal or two. “There’s someone in my life, but that being said, I feel that with this play I should be getting some hot action,” she said. “I feel I should be getting dates or calls after my display onstage. So far there’s been nothing.”

Ms. Reaser, who grew up in suburban Detroit and attended parochial school, seems a very game sort. Or maybe that’s what comes from playing an uninhibited character eight times a week. In any case, she gave admirably thoughtful consideration to a question about the comparative kissing skills of Mr. Charles and Jon Hamm, who played Don Draper.

“You’re catching me postshow,” she said. “My makeout with Josh would have been much sexier if I hadn’t had a cold. I’m sure he wasn’t appreciating my being sick, but he was very sweet about it. With Jon, it was like stepping into a fantasy. It was everything I imagined kissing Don Draper would be.

“What would be great would be a threesome with Will Gardner and Don Draper. That would be the dream.”

A few minutes later, Ms. Reaser revised the dream, apparently after recalling another role as Matthew McConaughey’s love interest on the HBO show “True Detective.” “Matthew would be a great addition to the threesome,” she said.

Dinner came (fried artichokes, pepper pasta and a glass of red wine), and Ms. Reaser dived in. “I’ll be 40 this summer, but I’m telling everyone I’m 40 now,” she said. “It’s sort of my ‘the hell with you.’ I’m loving getting older.

“As an actress, you’re so desperate and sad and tragic and dying for a job, and no one will give you a job unless you’re pretty and thin, and you try to be pretty and thin.” (For the record, Ms. Reaser, who was wearing a low-cut black dress, looked pretty and thin.) “And then suddenly you say, ‘I just don’t give a damn.’ It’s given me this new lease on life.

“I can only attribute that to being 40. You spend all this time being nice and sweet when you’re an ingénue, and, you know, that gets kind of old.”


Elizabeth gave two interviews talking about Mad Men and you can read the first one here and the second one here on the site from Vulture.com!

I’m so surprised that Matthew Weiner has brought you in, this major character, so close to the end.
What I love about his writing, I think he’s just such a great, great storyteller. He’s really committed to Don’s journey and telling his story. It made sense to me when I read it.

Explain how it made sense to you.
Well, Don seemed to me very disconnected from his life and lost. And then he meets someone who he connects with outside of his world. That can feel intoxicating. And it feels like home or something. I don’t know, I can’t speak for Jon or for Don, but it feels like these two people that saw each other and from that first moment sort of knew each other in some way, not in a literal way. And so it made sense to me that they would connect so quickly and so deeply.

Were you a fan of the show before you were on it?
Yes. I have been a huge fan for many, many years. And it was one of the toughest secrets because I was essentially lying to everyone in my life about where I was going [laughs]. It was so bizarre. My best friend [Justin Kirk from Weeds] and I would watch the show. We would go to his house and eat Twizzlers and just be obsessed, and we would re-watch it and watch several episodes at a time. And I had to lie to him and not tell him [laughs] that I was doing it. And it was absolute torture. But he was grateful that I didn’t tell him because he got to be surprised.

Did you watch it with him?
No because he ended up going to the premiere, and he actually invited me to go to the premiere with him, and I was not allowed to go so I had to then lie again and say, like, “Oh I can’t go, dammit. Don’t tell me anything.”

You couldn’t go and just pretend you were a viewer?
No, I couldn’t even do that, ’cause it’s so top-secret. So I had to say to my friend, “No spoilers.” And then he flipped out of course and was totally freaked out.

Did you watch the fans react on Twitter last night?
[Laughs.] Yeah, I caught some of it. I’m always fascinated by how people react. It’s great to see people’s immediate reactions to things.

Not everyone was nice, though.
Oh yeah, but that just means that people are invested in the show, ‘cause people love the show, and I get it. We all want what we want to see. And I’ve also had people saying a lot of bad things about me [laughs] in my time.

Is Diana the female version of Don?
That’s how I sort of read her without anyone telling me that. But I just felt like they were very similar in the way that they communicate, and people say, you know, “Diana is mysterious,” and I think she’s very direct. And I love that about her. And she’s been through so much that she has nothing left to lose. During that time period, and I could say the same for today, there is this idea of what it is to be a woman, and she’s really rejected that idea. And she’s decided to live outside what society has told her to do or how to behave or how to move through the world. She basically doesn’t give a fuck. I mean, she cares, and she has a deep, deep heartache and a tragedy [in her past] that is unrecoverable. So that sort of takes her outside of time and space, and it just means she’s almost like untouchable, when you’re that hurt, when you’re that broken by the world.

This may be a very silly question, but I’m just going to ask it — do you think Diana is a real person?
[Laughs.] I do. I do think she’s a real person, but what do I know? But yes, I do.

In last night’s episode, Don goes to her restaurant, she says she never wants to see him again, and then he gives her his card and she calls at 3 a.m. What happened between her shift and 3 a.m. that makes her change her mind?
[Laughs.] I think a few things. She’s extremely lonely, and she lives this very solitary, disturbed, desolate life. And she’s had a drink, and he’s Don Draper at the end of the day. And for her, if she can keep it as anonymous as possible — she doesn’t want to connect with someone. The problem is she really connects with Don Draper.

And he seems really into her.
Right, like he sees her. He really sees her and she sees him, and it’s like everything she doesn’t want, but it’s also like she’s alone in the world. You know that feeling of someone just gets you and sees you. I think that Diana, she has real courage. It’s how she moves through the world, and she doesn’t need Don. I mean, she wants him, but she’s fiercely independent in a way, in her grief.

Why do you think she left Wisconsin? How were you able to justify that and empathize with her and withhold judgment?
I guess she felt so real to me. I grew up in the Midwest and something about her just felt very devastating to me, and I think losing a child — I don’t know what that feels like — but I have to imagine there’s really no way to come back from that. And she made a real, like, ugly choice, but she did what she had to do. Which is horrible. I mean to abandon your other child, just from an outsider’s perspective, there’s a million ways you could judge her. But who knows what’s best at the end of the day for anyone else?

Did she break it off with Don last night? I couldn’t even decide what happened.
[Laughs.] I don’t know. I have my ideas, but I’m much more interested in how other people see it.

Can I hear your idea?
I think she doesn’t want to feel good. Like she says, “I don’t want to feel better.” I think that’s part of why she left her life. If she’d stayed in her life, she would have had to move forward in order to be a mother to that other child, to her living child. So she doesn’t want to do that. She wants to stay in her grief and not be released from that loss, the loss of her child. The problem with Don is that she’s fallen in love with him, and he feels good to her in every way. And it’s just a super-raw connection, so I think it’s a horrible thing of, how do you move away from someone who feels good to you? But also, she doesn’t want to feel good.

Did Matthew Weiner call and say, “I’ve got this part for you”? How did this come to be?
[Laughs.] No. I auditioned, and I knew nothing — I didn’t know who the character was, I didn’t know who the other character was, I didn’t know Don was Don. No one told me. But when you get the material, it was clear to me because I’m such a huge fan — it just felt like Don, the way that he was talking in the scene, and I just fell in love with his character. I just felt that the way that she talks to him — it’s just very powerful.

What do you remember about your audition?
I remember being so nervous because I’m always nervous , and I remember Matt Weiner and Scott Hornbacher, the director of the first episode. They were very warm, and the room was very kind. And I remember feeling like I needed to look sexy, which I always feel silly sort of sexing it up for an audition. And yet, it’s really what you have to do.

What’d you wear?
[Laughs.] I wore this, like, skintight black pencil skirt — which I’ve only worn one other time in my life because it’s just, like, it’s not comfortable. So I pulled that from deep in the closet. And the whole nine yards — the heels and the hair and I just sort of, I felt like I wanted to commit to the sexuality of the character ’cause I think she’s extremely sexual on top of all of her grief. I went in one time, I was not offered it that day. I felt like it had gone well. To me I just felt like this woman, I felt like I was the woman — I don’t know why, and it probably doesn’t speak very highly of me. But I felt very connected to her.

Of all these women that Don’s been with over the years, as a fan of the show, did you have one that you particularly liked him with?
I loved him with Betty. I just love Betty. I think Betty’s like one of the great characters, and I love January Jones’s acting and love her portrayal of her. I love when they like reconnected—

At the summer camp?
Oh my God! I just felt like that was so, so sexy. I just loved that. But I also loved Sylvia. She’s great, and I love Linda Cardellini.

Did you make up anything about Diana’s backstory?
Yeah, I had a whole notebook of her life.

What’s in the notebook?
I was really interested in her life before New York, and also coming to New York, and what was that like for her and finding an apartment and finding that little room she lives in.

What else is in the notebook?
Just, like, all the stuff about losing a child.

Did you name the children?
Yes, I did, but it’s all in the notebook [laughs]. I can’t, I just don’t think I can say any of that. That’s her whole inner life, you know?


Elizabeth was interviewed by New York Daily News and you can read the interview here on the site!

She did in with Don Draper in an alley. Now actress Elizabeth Reaser is getting ready to be spanked.

That goes with her role Off-Broadway in “Permission.”

“It’s very ‘Fifty Shades of Grey.’ But it’s based on Jesus and informed by Christianity,” says Reaser, who played a waitress on “Mad Men” on Sunday. “There is some spanking in the play.”

Reaser, now in rehearsals for the play running April 29-June 7 at the Lucille Lortel in the Village, has done her homework, researching the practice online.

“Real people do it and practice this discipline,” she says. “The husband is the HOH — head of household. The wife has agreed to obey everything he’s said. They set rules and she has to obey them. If she doesn’t, if she acts up, then she gets punished. She gets spanked. Or whipped.”

Reaser calls Askins “naughty and poetic and passionate and smart” and says the play is “about power and about sex and monogamy. Women aren’t in power and being spanked and told what to do. But there’s way more to it than that.”

Also did you all watch Elizabeth in Mad Men? If not be sure to watch the episode here! I have added stills of her in the episode which you can see in the gallery!


Elizabeth and Andrew were interviewed by Coming Soon.Net about One and Two and you can read parts with Elizabeth here on the site!

CS: How did the two of you meet for the first time?

Andrew Droz Palermo: Skype!

Elizabeth Reaser: Yeah, we met on Skype. Which is weirdly intimate in a weird way. I’m always afraid I’m going to make a terrible fool out of myself. I think I did, actually, and I said way too much. But I guess it worked!

Palermo: The film lends itself to talking about family. We were both, I think, very forthcoming about our own families, which is something that I really admired about her.

CS: You also had a partner in the writing of “One & Two.” How did that partnership form?

Palermo: Yeah, I wrote it with my childhood friend Neima Shahdadi. I had written a first draft and then brought Neima on to help me shape it up and to give me some fresh eyes.

Reaser: When I came on, it was a finished script. There were some changes along the way and when we were shooting. Andrew is the least precious writer I have ever seen when it comes to words. He’s the first to say, “This is terrible! I have to cut this!” It’s actually never terrible. It’s always pretty great. But he really knows what he needs or doesn’t need in the moment. It was always about finding the scene and not just finding some idea of the scene written a year and a half ago.

Palermo: Does that become more like theater rehearsals, then?

Reaser: Well, in theater, the director is kind of like the King and then the writer, if they’re alive, is kind of like God. You’re just hoping for the best. If it’s a new play, you can get rewrites every day. But once it’s written, you can’t change a syllable. That’s how I was brought up. You don’t improvise.

CS: The pairing of Kiernan Shipka and Timothée Chalamet works so well. How did those two come to join the cast and what made them right to play off one another?

Palermo: Also through casting. I had seen Kiernan on “Mad Men.” I hadn’t yet seen anything that Timothée had done, but I saw clips from “Homeland.” He’s a very, very different character on that show. When we first met, we talked a bit about that. I guess he’s kind of arrogant on the show. I haven’t seen it in the context of the show at all. I’ve just seen clips in isolation. I wanted him to be much more insulated and brooding. He’s trying to deal with everything and he feels kind of like he’s got the weight of the world on his shoulders. He’s trying to keep the family together in his way. He handled that so well. He’s such a smart, sensitive, perceptive young man. It’s great to watch because he’s reading a lot and watching a lot of movies. I don’t know if it reminds you, Elizabeth, of your youth or anything, but I really appreciate that thirst for knowledge.

Reaser: I hate to say it, but he doesn’t remind me of me. He’s so much more impressive! He’s not afraid of his energy. He’s not trying to be cool or to act older all the time.

CS: Did your schedule allow for much of a rehearsal process?

Palermo: There was no rehearsal process for this film. I would love to do that differently in the future, time permitting. It’s hard to do. Actors’ schedules are tough. Movie schedules are tough. Everyone is coming from different places. I do hope that everyone had time for what we needed on set. I never wanted to rush people.

Reaser: It was the least rushed I’ve ever felt on a movie in my life. We never went over.

Palermo: Yeah, we had a really well-run set and we’d sort of get the chance to rehearse on set. Jeff Keith was our AD and was amazing. He’d give me the room and I’d say, “Jeff, I’d like to talk with everybody. We’re going to work through it and talk about lines.” We’d maybe cut a line or add a line and then we’d bring in everybody, show them what we want to do, and then set up.

Reaser: I almost never don’t feel rushed and terrified. It was such a help because the movie needs for you to be allowed to be slow. You have to walk slowly and breath slowly. You have to slow down your whole inner life.

CS: You’re also acting within some truly beautiful environments. Does actually being in that world help influence your performance?

Reaser: I think it informs everything, really being there and being on location as opposed to faking it. We were definitely out in the middle of nowhere. There was no running to the store.

Palermo: Or cell phone reception, which was horrible for production, but also great for production. Everyone was forced to not sit around on their iPhones while waiting for the next set up.

Reaser: Yeah, people were forced to talk to each other and interact.

Palermo: (laughs) Yeah, they were forced to just talk or read. For me, that setting was perfect. The first time I went to that house, I wasn’t sold on it. I think it was just so hot. It was like 100 degrees. I just thought, “I don’t know about this house. This is crazy. I want out of here.” Then I revisited it with a sort of more open mind. Sitting on the front of that home and thinking about the fact that that would be all that the characters know. I would think of it being their home and owning the home, the barn, the animals and the land. It really helped me. Elizabeth befriended the donkey.

Reaser: The donkey, the dog and the chickens. There was always a dog around.

CS: There’s a very somber tone to the film itself. Does what’s going on behind the camera ever have to match that?

Reaser: Well, a lot of the tone behind the scenes had to do with Grant Bowler. He’s the craziest Australian jokester of all time.

Palermo: He’s a showman.

Reaser: He’s a showman and does a lot of accents and has a lot of stories. He would talk about Australia and so many other things. We had fun. Then, when it was time to work, he’d get so serious so fast.

Palermo: I found myself needing to kind of get into the zone a little more. Actors, I think, are so in tune with being able to get into the zone instantly. I had to kind of method direct. I would put my headphones in and just think about the movie. Like you say, Elizabeth, you sometimes feel very rushed on sets. When you’re the director, you know that you need to be hurrying up. You know there’s this machine happening around you while everyone is doing their thing. For me, it was so important to be able to have a shot and have it sit. Some shots, after it looked like the action was done, we’d just let sit there for 30 seconds. I would just sort of watch all the nature and breathe. I think that helped everyone take it a little easier.

Reaser: That’s so true. You somehow did, but I think that most directors don’t know that actually makes you feel more relaxed and trusting of the director because it makes you look so confident and controlled, which you are.

CS: When you’re dealing with a story that is, in many ways, allegorical, how important is it, Elizabeth, that you’re both on the same page as far as delivering what he may perceive as an underlying theme?

Reaser: It’s funny. If I had my druthers, I would have sat him down for days on end and just interrogated him until the cows came home. We didn’t have that kind of time, so I had to go do my homework. No director in the world wants to have that conversation with me. At a certain point, they’re like. “I don’t care. Just go away.”

Palermo: I would have welcomed it, if we had had the time!

Reaser: I’ve sort of learned over the years, though, that that’s my job. I have to figure it out and then bring my own story to the table.


Elizabeth gave multiple interviews at the SXSW Film Festival one she did was with the director of One and Two Andrew. You can read the questions and listen to their responses here.

The other two interviews you can see below!

I have also added another photo of Elizabeth at the festival which you can see here!