I’d spun round and just grabbed
one part of him, and then I realised that
we were doing this way too soon.
And I basically, like, nearly grabbed his crotch
as I was like completely underneath him.
And that's just wrestling.
You grab things you shouldn't.
Hi, I'm Florence Pugh, and these are my film firsts with BAFTA.
I remember the first films that I was totally in love with and that was
Strictly Ballroom,
it was Charlie's Angels with Drew Barrymore,
and it was probably Moulin Rouge.
All of those. All of those ones.
Yeah. I actually told that to him the other night.
We were partying at the BAFTA afterparty,
and I went straight up to him
and I was like, “Hey, I adored your stuff
when I was a child and an adult.
And I even used to practice the Scott knee slide
with my brother across our floors when we were younger.”
And I just needed to tell him that.
And he was like, “You and your brother?”
And I go, “Yeah, my brother is actually here.”
And he was like, “I'd love to meet your brother.”
And so I took Baz Luhrmann over to my brother
and I was like, yep there you go.
Moment of the night made!
Probably shouldn't have watched Belle Epoque at a young age.
I don't know.
I think I was exposed to watching
foreign films that involved
maybe too grown-up love scenes, but I just appreciated it.
I think I've always grown up appreciating,
especially French movies and Italian movies
and Spanish movies because of, I suppose,
the way that they show women.
I remember in Dirty Dancing
when Baby is going up the stairs
and she's doing all the dance moves.
And I always thought that I wanted to do that dancing,
and do all of the lifting in the water.
Maybe I just fancied Patrick Swayze though so I don't know.
My first ever audition was The Falling,
and that was a complete fluke.
And no one should ever learn their lesson that way.
And they were doing a leaflet audition from Oxford to London,
and all the schools in the areas had to send in a tape.
They basically just needed loads of girls
that kind of didn't have like their hair dyed or their nails done.
They just needed girls that had individual faces.
And I remember everybody for months was like,
“Have you done the tape?”
“I’ve done the tape.” “I’ve handed it in”
“I've heard it's first come, first serve.”
And I didn’t do the tape
because my brother was in the industry
and I knew that's not how tapes work.
My mum said, had I done the tape
and I was like, “What?
Even you know that that's not how auditions happen.”
And she goes, “No, you're not going to get it,
but it's practice.” So I did it.
And then I ended up
receiving an email on Monday morning
and it was like mind blowing.
First day on the set of The Falling was the scene where
all of the girls are on the lakebank
and we're all looking up at the tree.
And our art teacher, Morfydd Clark, is teaching us
how to look at the beauty of the tree and draw it.
And I only had one line and I’d practiced it
for months and months and months
and I start the scene. And I completely forgot it.
And the take went on for like a minute and a half.
And then they said, “Okay, shall we go again?”
I was just so scared, I was so nervous
that I was going to get fired
or that they were going to find someone else.
Let's meet underneath it every day
the same year for the rest of our lives.
Maybe that's not perfect,
but it was basically something like that.
First mistake that I made...
I make mistakes every single day.
I make mistakes on every single set that I'm on.
I also make a lot of good decisions.
And I think that's the whole point of it
is that you're in a room full of people
that thrive on the fact that the plan changes.
And sometimes the best line reads that come out
or the best scenes that come out at the end of the day,
or when you have 10 seconds or 10 minutes
left to shoot this one thing
are because there was a mistake at the beginning of the day.
My first day of stunt training was the first real day that I met
Jack Lowden, I did my audition with him,
and we had our stunts together because obviously we were learning
how to wrestle together all together.
And we ended up getting ahead of ourselves
and we were trained
to do this move where I would basically have my head
like in between his legs and he would be spinning me round
and I’d spun round and just grabbed one part of him.
And then I realised that we were doing this way too soon.
I basically like, nearly grabbed his crotch
as I was like completely underneath him.
And that's just wrestling.
You grab things you shouldn't.
My first meeting with Greta Gerwig
was at Amy Pascal's house,
and then I remember Greta being like,
“So the thing is, so when you do Amy
and you know, when Timmy does...”
I was just sat there and I literally
was trying to compute
and remember the sentence that she said
and still listen to what she was saying,
but also realising that
oh my f*cking God, she just gave me the role!
So my conversation with Marvel,
I think we'd just been trying to figure out
if we were going to do something,
when we were going to do something,
When Black Widow came up with Cate Shortland and Scarlett,
I couldn't quite believe that this match was so perfect.
Like anything that means something
and like anything that’s important,
it takes a long time. I was just very grateful
to be on board a project like that.
My experience as a producer for A Good Person
was quite possibly the most freeing and rewarding
and unbelievably educational.
I think it's something that I've maybe accidentally naturally
been doing on things before.
My brain is always going and going and going
and thinking how it could be better.
And so I think when I was doing it on A Good Person
I kind of realised that
Oh, this is an itch
that I've been trying to scratch for a really long time.
And I had a wonderful freedom on set.
And of course, my relationship
with all of the crew was unbelievably easy
because everybody completely respected and looked up to Zach
and I think that tone on a movie is completely left up to the director.
My first day acting opposite Morgan Freeman was
the scene where he holds his hand out in the church,
when I see him for the first time in the AA meeting.
I always got worried when I was younger
that if you work with like a megastar,
does it mean you're going to be so transfixed by them
that you're going to forget to act or that
you're not going to be able to like,
give back what they're giving you?
And I think the coolest thing
about working with amazing actors is that it’s just easy.
And anything that you do,
even if you make a mistake, they catch you.
It was like playing tennis
with someone that you’d been training with
you know, and you've never met them before.