- You Vision are the peace of the mind stone
that lives in me.
- That's a crazy [beep] to say [laughs].
You are the peace of the mind stone that lives in me.
That's like speaking in a foreign language
where you're like this means something.
Hi, I am Elizabeth Olsen and I am about to start
re watching scenes from my career.
I've never watched myself in front of people before.
This will be fun.
[upbeat inspirational synth music]
[tape fast forwarding]
[piano music]
This I have no memory of.
My sisters are so cute.
- Do you know how to get to seventh Street?
- It's right over there silly.
- I had a speech impediment.
I couldn't really say my R's.
I got that.
- It's right over there silly.
- Basically my whole childhood I went to school
and then there was like afterschool care,
was like just like going to set 'cause there are a lot
of adults around that can watch you
and sometimes they would throw me in things
and sometimes I would just read or do homework or whatever.
Going to set felt like a job and so I think
it actually made me not wanna work as a child.
I don't know if it had some, if it, if it somehow
just through like osmosis I just felt like
I was always supposed to do this job
and it was really about me accepting it or not.
[upbeat synth music]
[tape fast forwarding]
- A family is forever.
We could never truly leave each other even if we tried.
You know that right?
- It's so funny, I always think of these projects
as like so fast moving.
This is like, feels very slow to watch right now.
But maybe it's just the experience I'm having.
- Thanks for choosing me to be your mom.
- Those boys are so cute.
Oh my goodness, they look so much older now.
It's a crazy thing to ask someone to, to say goodbye
to their kids knowing that that yeah,
that they're dying, basically.
What I really thought was important was
like when you're on an airplane and you're scared,
you as a a parent, I'm not a parent
but I would assume you would try to not make it
such a big deal so that your kids don't feel scared.
And so I think the whole time I was just thinking
about them just going to bed which is so crazy
to analyze and talk about and think about.
She's just trying to be brave.
- What am I?
- You Vision are the piece of the mind stone
that lives in me.
- That's a crazy shit to say [laughs].
You are the piece of the mind stone that lives in me.
That's like speaking in a foreign language
where you're like this means something you know?
And I have to understand the meaning but it means something
and I'm just saying the things that I think it means
so I have to translate it for myself.
And at this point she is accepting the fact
that no matter what, he will be a part of her
regardless if he's physically there or not.
So I think of it as that which I deeply
believe with people you lose and death.
- We'll say hello again.
[slow melancholic music]
- I have to say that while he is purple, while he has dots
on his face and while his last layer of makeup is glitter
and then when he kisses me it's on my mouth.
I mean it's just, the whole thing is a mess.
When we were doing press for the show,
we talked about snot gate because this was
the only time Paul and I actually had a genuine argument,
ever, in our six years of working with each other.
And it was because I said that he snotted on me
and I asked him, I asked his makeup artist
to get him a tissue and she said it was my snot
and we, he was actually mad at me [laughs],
so bizarre.
And it was our first fight and it was 'cause of the scene,
'cause I said he snotted on me and he thought it was mine.
And I don't know how I, you can't really snot
on yourself in that way but whatever.
- So long, darling.
- It's a similar arc in Multiverses Of Madness
that it is in Wanda/Vision.
There could be parallel stories being told there
of dealing with grief and loss.
Why propose that to the writers
who wrote Multiverse Madness? [laughs].
I said, "Do you know what we're doing in Wanda/Vision?
Have you seen it?"
And no, they had not seen it 'cause it wasn't finished yet.
So I had to try and I don't know,
play it differently, right?
I had to attack the same themes
in order for it to be interesting for me, I think,
and potentially for the audience.
I just had to come at it from a different point of view
so that it wasn't repetitive.
[upbeat synth music]
[tape fast forwarding]
[upbeat disco music]
Oh, I didn't realize there were so many minutes
we would watch ourselves.
No one needs to hear me sing, that's for sure.
I just can't stop looking at my upper mouth sweat.
That's a place on me that sweats so quickly.
There's a few reasons why I really liked
the opportunity to shoot this scene.
One of them was because I really don't like disco
and because there's a lot of disco in this show
I'm now obsessed with disco because of it.
And every time this song comes on the radio I am so happy.
I'm the type of person that can listen to the same thing
every day over and over and over again.
And so it actually makes me like something more
and not hate it.
Candy for the first time is wrestling
with the idea that she might be sharing
that she actually murdered someone.
She has not admitted it to anyone until this point.
And so I was trying to figure out
what could be going on in her mind.
And I think she's also trying to let it go
because I think until this moment she's been in denial
and also trying to perform in a way that rewrites history.
So I think of that smile potentially as being one of
these like pick yourself up by the bootstrap.
Like there's no reason to be upset kind of moment.
I'm just like it will be okay.
- Who are you covering for?
- No one.
- Tom Pelphrey is so tan [laughs].
Sorry.
So many dead animals in that room.
It was wild.
That desk has many, many taxidermy pieces.
It's one of the crazier things I've ever seen.
I was just staring at a snake like the whole scene.
- Marilyn didn't do it.
- You're sure? - Positive.
- How can you be positive?
- Because I did it.
- What?
- I did it.
- And then when she says it for the first time
there's like anger, a lot of anger because if you just
look at the words that she says in the court, in the trial
which is all we really have to go off of 'cause she never
participated in interviews after the trial
except for this one book.
And so what I have are her words
and she was so mad at the woman that she killed.
She wasn't mad at herself.
She was so angry that she was put in that position.
- I don't believe you.
- She came at me.
So I did it.
- I worked to just defend the character
and I struggled to defend her a lot.
The entire act of hypnosis is something I just can't accept.
I just think of her as a more controlling person than that
and I couldn't really understand why someone like that
would fall under hypnosis easily.
I even like met with a hypnotherapist and I was really
trying to figure out how this could possibly be something
that would work for her in court and that I, I just
had to kind of, what's the phrase?
Suspend my disbelief?
That's what I had to do
[upbeat synth music]
[tape fast forwarding]
♪ I will never find another lover sweeter than you. ♪
Outta context.
This is embarrassing.
I just thought that's, that was Aubrey's personality.
I love working with her
because she's kind of like a loose cannon
and you don't really know what's gonna come out of her
and that was thrilling to me.
She was blending our journey of getting to know you
with the characters and I was like really there
for that and thought it was really funny.
I approached it by consuming a lot of content.
I got like a Taylor Sloan Instagram
and I started following certain people that were sources
of inspiration for the character and then there were just
like other people that I would see behave in interviews.
Like when people like sing along in cars
and like I don't know like how people like move like that.
There are things that I just felt like,
"Oh, I'll take that one.
I'll take, I'll take that."
I had never opened Instagram
in my life until we had started.
And what I learned about me is that I'm incapable
of being comfortable with trying to sell, sell myself
as a certain way in an authentic fashion.
I don't really know how to do that.
But I do think people like Taylor
think they're being authentic.
And I do think that's why there are certain people
out there where audiences are like, "Oh I like them
'cause they're so honestly themselves or something."
I think there is something about people trying to trick you
into an authentic version of themselves.
Either if they're saying like
this is why I'm sad or whatever.
But the truth is, is like that is a really
fucked up way to present to be authentic
because you're constantly presenting yourself in a fashion.
Even if you're presenting yourself as like being sad
or whatever, it's still messed up [laughs].
[upbeat synth music]
[tape fast forwarding]
- Hi, everybody, I want you to meet my sister.
This is Martha.
[slow jazz music]
- I haven't watched this movie in a very long time.
I look so tan.
Good for me.
I felt like I was really self-conscious.
It didn't feel like a, the safe space that we had
before when we were shooting as we were,
we were kind of like this little actor troupe
and then all of a sudden all these strangers were there
and I was like, oh shoot, how do I do this now?
- What's your name?
- I'm Mike.
[slow jazz music]
Can I get you something to drink?
- The thing that I loved about this job
that I will like take with me forever
is I really love having my version of reality,
being able to make choices that the reality
that a character is having is different
than maybe what's clearly happening.
I felt like I understood her from the audition process
and Sean Durkin, who directed this, I think he hired me
because of what I had in my brain.
I still don't know in his mind what he believes
is what he wants the audience to think at the end
of the movie versus what I was experiencing or thinking.
He just kind of allowed me to have my own version of reality
and I'm okay with not being, having that conversation
'cause I do think it can make for a more
interesting experience for the audience
to not be fully aligned in that endeavor.
- You think you're so fucking smart.
[slow jazz music]
- Are you all right?
Hey, hey, what is going on?
- He's a fucking liar.
- Who?
- We have to leave.
- I don't really think much
about my experience playing a part.
I don't really care how something affects me.
Like if whatever, if I like start shaking or something
finishing a scene or if something leaves me winded
or sad or whatever, I just don't care.
I amped myself up to a place if I need to be somewhere
when a scene starts but in this, this all has to happen
in front of the camera, the like calm before the storm,
the storm and then the panic.
And I think that was hard technically for me
having just started doing this job.
We also shot at all in a oner.
So it was all just one shot.
So I think there's also pressure
of trying to figure out the timing
but I guess I came from like long scenes and theater.
So there was a version where I, I guess maybe
somewhere I understood how to technically figure it out.
I don't know, maybe I fuck with myself a bit
before starting a scene but afterwards
I just try and like reset.
I don't sit in it, I don't like wallow in it.
I don't know if it's healthier or like meaner.
If I'm just like, "Shut up Lizzy.
It doesn't matter.
What matters is this other thing."
[Elizabeth laughing]
I care more about doing the job better the next take.
[upbeat synth music]
Thank you so much for watching me watch myself
and try and remember what I experienced
while watching myself.
Goodbye.
[upbeat inspirational music]