Jessie Buckley on Awards Speeches, Red Carpet Dressing, and Traitors | PLUS Backstage at Rick Owens and Isabel Marant

Summary

The Run-Through with Vogue

Episode: Jessie Buckley On Awards Speeches, Red Carpet Dressing, and Traitors | PLUS Backstage at Rick Owens and Isabel Marant
Date: March 6, 2026

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Episode Overview

This episode of The Run-Through with Vogue dives into the intersections of fashion, culture, and creativity. The first half takes listeners backstage at Paris Fashion Week, with behind-the-scenes moments from the Rick Owens and Isabel Marant shows. The second half presents a lively, candid interview with acclaimed actress and singer Jessie Buckley, discussing her experiences during awards season, her role in Maggie Gyllenhaal's The Bride, red carpet fashion, memorable award speeches, backstage reading habits, and her love of low-brow reality TV. All conversations are infused with Vogue’s signature blend of expertise, wit, and enthusiasm.

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Backstage at Paris Fashion Week

Schiaparelli Reflections

Tiziana Cardini (Vogue Contributor, Milan), Chelsea (Producer), Nicole (Vogue Runway)

• Schiaparelli’s Venue Choice:

  • Daniel Roseberry returned the show to the Carrousel du Louvre, reviving classic 90s runway nostalgia.

    "It was a famous venue in the 90s. All the shows were held there." — Tiziana (01:23)

• House Vibes and Designer Energy:

  • Roseberry's approach is confident and playful.

    "He said he feels like his colleagues are his playmates and they’re trying to be as free as possible." — Nicole (01:39)

  • The importance of creativity amid industry pressures is highlighted.

Rick Owens Show Recap

Nicole and Tiziana reporting backstage

• Rick Owens, independent and avant-garde, is celebrated for his spectacles:

  "He is among most avant garde designers and an independent still in a city full of fashion giants." — Nicole (02:36)

• Men’s Show Inspiration:

  • References to wartime, resilience, Marlena Dietrich’s swan-down jacket, and bold, sculptural silhouettes.
  • The show energizes the crowd:

    "Everybody's living it up. People were clearly turned on by the show." — Nicole (04:07)

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Isabel Marant: 80s Club Glam and Literary Escapes

Arden Fanning Andrews, backstage with models and makeup artists

• Beauty and Hair Inspiration:

  • "'80s party club girl" look: luminous skin, bold blush, asymmetric hair, and sharp, modern eyeliner.
  • Makeup artist Diane explains:

    "It's quite a texturizing look... A bit 80s, a bit clubbing. So dry, asymmetric pinned to the side. Cool girl." — Damien, hairstylist (06:31)

• Runway Trends:

  • There’s a push for referencing the 80s and 90s — but with a future-facing, modern twist.
  • Arden:

    "It actually looks cool. It's not so referential that we feel like we're going back in time... It feels like the future of it." (08:07)

• Backstage Reading Culture:

  • Notable that many models are reading physical books, e-books, or listening to audiobooks between walks instead of doomscrolling.

    "It's 2026. Come on, guys. It's really hard to do it while you're backstage because you are getting pulled left and right." — Model Alex Khinzani (05:59)

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Jessie Buckley in Conversation

Setting the Stage

Interviewers: Taylor Antrim (Deputy Editor), Marlie Marius (Senior Features & News Editor)
Guest: Jessie Buckley (Actress, Singer)

[09:37] – Introduction

• Jessie Buckley joins the pod for the second time, celebrating her roles in The Bride (directed by Maggie Gyllenhaal) and the critically acclaimed Hamnet—with awards season accolades.

[11:17] – Awards Season and Real Moments

• Buckley reflects on winning awards among peers:

  "It's your people. It's like the people that you work with that you admire, that you kind of get down and dirty with the most." — Jessie Buckley (11:19)

• On the realities of the circuit as a new mother:

  "I have a 7 month old. Since this began, I've been kind of traveling with my daughter and up in the middle of the night and like changing a nappy and then you're like, put a dress on. What do you mean put a dress on? What does that mean?" (12:17)

• Authentic social moments at shows—highlighted by Teyana Taylor's daughter singing to her ("star in the making"):

  "I see you, woman. Like, I love all of what you are and what you're expressing. And then to see her bring her daughter and her daughter have that confidence... The next generation's already coming up behind me." (13:36)

[15:34] – The Bride and Embodying Roles

• On shifting between The Bride and Hamnet:

  "At the end Of Bride, my heart was like, cracked wide open. I had been so physically embodied. My mind was like a laser beam… And Bride is about love. It's about our capacity to love, really love." (16:45)

• Jessie describes the personal and physical transformation for the role, including bleach-blond hair and intensive dance prep:

  "I arrived into Hamnet rehearsals with bleached eyebrows, bleached armpit hair… They were having meetings about my eyebrows, wondering if they were gonna, like, return." (16:04)

[19:16] – Recurring Motifs: Rebellion & Womanhood

• On connecting her roles through themes of defiance and questioning:

  "I'm not an actress who ever wants to let go any of the education that these incredible women have given me… Where Bride met me and Where Hamnet met Me was like all that disobedience, the rebellion..." (19:16)
  "Not just an idea of a woman, but like, the totality of it." (20:09)

[21:05] – Working with Maggie Gyllenhaal

• Maggie's direction is described as charged, intentional, and transformative:

  "Maggie has a real vision… She wants to ask the uncomfortable question. You know, I think what she asks all of her actors and herself is to grow, step, ask the question that's going to challenge you." (22:05)

• Preparing for The Bride was an intensive year-long process of movement, character creation, and collaboration with Christian Bale:

  "I prepped for a year for Bride… I want to work in a way where once I get to set, I'm taking my hands off the wheel. And the most important thing is the person that’s standing in front of me." (21:27)

[23:49] – Physicality in Performance

• On learning choreography and loving the embodied aspects of acting:

  "I love being physical… Christian (Bale) is actually really annoying… I had to, like, literally tap dance. I was so bad at tap dancing at the beginning." (24:14)

[26:11] – Fashion and Self-Expression

• Buckley recalls referencing John Galliano and Pat McGrath for her Margiela premiere look:

  "That white skin, which became a kind of huge reference for us to kind of make her skin bleach." (26:54)

• On her evolving relationship with fashion—emotional, sometimes rebellious, now more open and expressive thanks to stylist Danielle Goldberg:

  "My body being very, you know, changing… and finding a way to not hide in clothes, but actually let myself be seen." (28:58)
  "I just want to see you. I want to just, you know… I felt like I could, like, breathe for the first time." (29:14)

[30:04] – The Art of Award Speeches

• Dubbed a “no notes” speech-giver, Buckley shares her approach:

  "You hope you can speak fluently. I do think about what I'm going to say because… I'm speaking on behalf of women. I'm speaking on behalf of motherhood and what this role has, how it's changed me." (30:33)

• On vulnerability and realness:

  "At the end of the day, I'm like, only human. And these moments are really overwhelming sometimes. And you're trying to take in the moment, which is a lot, and also find the moment." (31:56)

[33:24] – Dream Collaborators & New Challenges

• Jessie names dream directors: Pawel Pawlikowski, Jane Campion, Leos Carax, and expresses excitement to work with Alice Rohrwacher.
• Teases an upcoming adaptation, "Three Incestuous Sisters" (35:05).
• On Die, My Love and Lynne Ramsay, says:

  "It wasn't a palatable, like, film. Like, it was hard, but I was like, yeah, like, that's definitely somebody's story, and there's room for that here." (35:31)

[37:25] – Theatre: What’s Next?

• On her desire to return to stage:

  "I'm trying to set up a theater company...to kind of uncover what is our cultural conversation at the moment...I really want to take responsibility as an actor to help in the process of creating new language in scripts." (38:13)

[39:46] – What Jessie’s Reading

• Confesses to buying many books but having no time to read as a new mother.
• Recommends:
  • "All the Faces I Can See" (CS Lewis)
  • "The Feminine in Fairy Tales" (Marie-Louise von Franz)
  • "Sea State" (Tabitha Lasley)
  • "Constellations" (David Whyte):

    "His book called Constellations, he just takes one word and kind of philosophizes on that word...so good if you don't have any time and you want to feel like you've got a mind." (41:30)

[42:13] – Love of Reality TV

• On watching Celebrity Traitors and her fondness for "low culture":

  "It was called I Do Anything. It sounded desperate." — Jessie on her reality TV beginnings (42:26)
  "There's a group of us that get together...Usually led by Phoebe Waller-Bridge. And she dresses up as Claudia Winkleman and gets a deep pink tan black wig. And we take her room above a bar. You play some characters. We get really drunk and play this game." (42:50)

• On the emotional stakes of being a traitor:

  "Being a traitor is terrifying. But once you get into the river of a traitor, you're like—boom, boom, boom. And it's quite scary how good I can be at it." (43:24)

• 24 Hours In Police Custody documentary obsession:

  "I am obsessed with it. Like, I look weekly because they don't put up an episode every week..." (45:01)

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Notable Quotes by Timestamp

• On Awards Realness:
  "If you can have one great chat with somebody in those situations, it kind of… diffuses the kind of heightened nature of it and you just realize you’re just a bunch of people who've made something meeting in a room to celebrate each other." — Jessie Buckley (12:17)

• On Womanhood & Rebellion:
  "The journey of rebellion, to find some autonomy in myself in order to really challenge the relationships that I meet in my life..." — Jessie Buckley (20:09)

• On Fashion Vulnerability:
  "Find a way to not hide in clothes, but actually let myself be seen." — Jessie Buckley (29:00)

• On Award Speech Nerves:
  "It's not like a natural place for anybody… What's hard is to receive that, you know, and at the end of the day, it's about you, but it's also bigger than you." — Jessie Buckley (31:29)

• On New Theatre Work:
  "Surrounded by incredible artists… I really want to take responsibility as an actor to kind of help in the process of creating new language in scripts." — Jessie Buckley (38:13)

• On Reality TV Games:
  "There's a group of us that get together...Phoebe Waller-Bridge...dresses up as Claudia Winkleman...We get really drunk and play this game." — Jessie Buckley (42:50)

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Segment Timestamps

| Segment | Timestamps | |----------------------------------------|-----------------| | Schiaparelli and Rick Owens Recap | 00:28 - 04:50 | | Isabel Marant Backstage & Book Talk | 04:57 - 08:29 | | Jessie Buckley Interview Begins | 09:37 | | Awards Season Experiences | 11:17 - 13:36 | | The Bride / Hamnet Transition | 15:34 - 18:30 | | Themes of Rebellion & Womanhood | 19:16 - 21:05 | | Maggie Gyllenhaal & Physicality | 21:05 - 25:24 | | Fashion & Awards Red Carpet | 26:11 - 30:04 | | Award Speeches: “No Notes” | 30:04 - 32:52 | | Dream Collaborators & Theatre | 33:24 - 39:29 | | What’s Jessie Reading | 39:46 - 41:58 | | Reality TV Obsessions | 42:13 - 45:53 |

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Closing Thoughts

This episode is rich in both high culture and playful “low” pop-culture moments. Jessie Buckley shares candid, moving reflections on her craft, personal evolution, the demands and surprises of awards season, and the power of vulnerability. Meanwhile, the Vogue team delivers an energetic pulse check from Paris Fashion Week, blending high fashion, beauty tips, and the real-life backstage mood. For listeners, it’s a unique window into the worlds of cinema, fashion, literature, and the pleasures of binging a great reality show—always with a Vogue twist.

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For more industry insight, behind-the-scenes glimpses, and engaging interviews, stay tuned to The Run-Through with Vogue.

Transcript

[A]

Hi, I'm Arden Fanning Andrews, Vogue's beauty editor at large. My husband and I talk a lot of ebay strategy together because it is something that we have bonded over since the beginning of our relationship. We've known each other for 20 years and we've been using ebay for even longer than that, both of us. He's very proud of his five star review, which I have the same. We're pretty popular. We have a really good reputation on ebay.

[B]

This is Chelsea, producer of the Run through the Vogue. And right now Nicole is at the Schiaparelli show and I'm walking to find her so we can head to Brick Owens together. How was the show?

[C]

Hi, Chelsea, I'm Tiziana Cardini. I am a contributor to Bog Runway and bulk dot com. I live in Milan. I am Milanese. And yeah,

[B]

do you want to tell me your thoughts from Schiaparelli?

[D]

So Daniel, Rosemary for Schiaparelli, took us back to the Carrousel du Louvre. And Tiziana, what can you tell us about the Carrousel du Louvre?

[C]

It was a. A famous venue in the 90s. All the shows were held there.

[D]

Sort of like the Bride park tents.

[E]

Yes, exactly.

[C]

So it was also nice nod that time.

[D]

Daniel has been at Schiaparelli now for seven years. I don't think he's ever been as confident as he is today. He's also on the eve of a huge retrospective of Schiaparelli at the Victoria and Albert Museum in London. So it's a big moment for the brand and also for him. And I think he's feeling really good and really free and experimental. And he said that in the studio, you know, they're just having a lot of fun. He said he feels like his colleagues are his playmates and they're trying to be as free as possible. And I think in a moment where fashion is under a lot of stress, economic and, you know, global socio political, it's nice to know that there are still, you know, there are designers out there and teams out there who are prioritizing experimentation, creativity, you know, despite all of the difficulties.

[B]

So where are we going?

[D]

Right now we are headed to Rick Owens, the American designer in Paris who is among most avant garde designers and an independent still in a city full of fashion giants. And we love going to Rick's shows because he always puts on quite a spectacle. Although this time of year when he's showing fall, he is inside. And so we don't get pyrotechnics usually inside. But Rick is A genius designer, right?

[E]

Absolutely.

[C]

So we usually can't wait to get to his shows.

[B]

Okay, so we just arrived to the show.

[C]

Where are you going?

[E]

Backstage.

[D]

Do you want to come?

[F]

Sure.

[G]

But the Woodlands Easy Force and Extraction Documents and the silhouettes are the same. This time. I was thinking more about behavior during

[F]

all the time, and it made me

[G]

think Marlena Dietrich and I finally did these coats. So these coats, Marlena Dietrich's white Swans down to. He's always been kind of doing in my aesthetic touchstones.

[D]

We're backstage after the Rick Owen show, and everybody's living it up. People were clearly turned on by the show.

[B]

And there was Chapel. Ron was here. She was. And you just chatted with him. And what were some fun things that he said to you that you enjoyed? He said he was thinking a lot

[D]

about Marlena Dietrich in her Swans down jacket when she was performing cabaret, when he made those incredible goat hair coats. And, like, his men's show, he was thinking about designing in wartime and stepping up and not retreating.

[B]

Thanks, Nicole. There you are. We made it.

[F]

Yay.

[B]

And I got on audio. Okay. I'm Arden Fanning Andrews, Vogue's beauty editor at large, and we're about to go backstage at Isabel Marant, where the beauty look is sort of this, like,'80s party club girl. I love the hair. I love the makeup, but the skin is gorgeous. Is clinical. Is doing these massages for, like, drainage. And so everybody looks glowy and gorgeous. But also.

[C]

Hello.

[B]

Just showing our wristbands. But also, what's been fun is that I've seen so many models reading backstage physical books. Books reading on their phone, audiobooks. And so we're going to do a little breakout about what models are reading. And it's very much just inspired by this backstage because they have so much time between everything that now instead of doom scrolling and, like, making themselves anxious, they're sort of escaping into literature. And so here we go. Hello.

[E]

It's Alex Khinzani and Mona Tugaard.

[B]

Yes.

[D]

And we love to read.

[E]

And we love to read. Everyone should be reading. It's 2026. Come on, guys. It's really hard to do it while you're backstage because you are getting pulled left and right.

[D]

And, like, I also want to, like, read and pay attention because it's important.

[E]

Every page is important, and I need to be.

[B]

Yes.

[E]

The show starts in five minutes.

[D]

Sorry,

[E]

guys.

[B]

Damien, are you adding a little texture to the hair?

[G]

Exactly. I'm adding a little bit of texture.

[B]

Tell us a little about the look.

[G]

Yeah, the look is Quite texturizing look, I will say kind of a bit 80s, a bit clubbing. So dry, asymmetric pinned to the side. Cool girl.

[E]

This is Diane from the Queen.

[B]

Yeah.

[C]

Backstage is Bonne maron. This season, there is a little bit of a funky element. Really wanting to kind of keep that gorgeous, luminous, healthy skin. So we're just giving that skin tone, hitting the cheeks with a little bit of flush to make them look really glowing and healthy. And the eyes, everybody's getting an eyeliner, but some girls are getting it all across and out, and it's straight, a little bit more punky than wings. And then some girls, it's just halfway across, but everybody's getting a strong black liner, curling lashes, a little bit mascara on the outer corner, brushing eyebrows, filling in when necessary. And here we have the look.

[B]

She's making a motion toward me. What's the perfect eye like? What's the eyeliner of choice for this?

[C]

You know, first I use a pencil to do the shape, and then I go over the pencil with either, like, a liquid pen or cream liner. It's very clean and sharp.

[B]

Okay, great, too.

[C]

Yeah, yeah. It's not winged out, so it makes it more modern.

[E]

Yeah.

[C]

You know, as soon as you make it more wingy, then it gives you a reference of, like,'50s, a little rockabilly.

[E]

Am I right?

[B]

Yeah, it's a little different, so we

[C]

wanted to keep away from that. So, you know, and also, I think there's a little bit of 80s and 90s within it, and this is good,

[B]

because I Trend forecasted more 80s that we were going to see, and we've seen it all over the Runway, and I love the look today in the hair and the makeup, because it actually looks cool. It's not so referential that we feel like we're going back in time and obsessed with the past. It feels like the future of it.

[C]

Exactly. Yeah, yeah, yeah. Contemporary first.

[B]

It's a contemporary.

[E]

Thank you, Diane.

[B]

I know you have to get the first look. So happy to see you. Sweet to meet you. Bye.

[E]

Good luck. Bye.

[B]

Next up, we have Jessie Buckley in the studio with Marlee Marius and Taylor Antrim, two of my favorite editors. Can't wait for you to listen. I'll be doing the same.

[F]

We'll be right back with Jessie Buckley.

[A]

Whenever I'm looking for things with ebay authenticity, guarantee, it often ends up being sneakers. I'm not necessarily sneakerhead, but there are specific sneakers that I may have, like, fallen in love with and have been discontinued. And it's really nice to find them on ebay. And so it'll be just like a pair of platform Converse loafers. It will be a pair of vans, white slippers with like a very specific low toe. And so it's great with ebay to just be like, this is a real thing. It's in the size that you want, it's in the style that you want, and it's real.

[G]

I'm Taylor Antrim, deputy editor at Vogue.

[F]

I'm Marlee Marius, senior editor of features and news. And today we're popping in for the final day of Shark Week to host a very special conversation with actress, singer, and all around star Jessie Buckley.

[G]

We are big fans of Jessie Buckley here, and this is actually her second time on the pod. So we love. We love, and I also love a sort of culture takeover of fashion Shark Week. That feels absolutely right to me.

[F]

Crashing the party.

[G]

Crashing the party. The reason we have her here is the release of the Bride, exclamation point, which was written and directed by the incredible Maggie Gyllenhaal. And it's opening in theaters on Friday. It is a retelling of the Bride of Frankenstein. Both of us saw it, and it's really a spectacle.

[E]

It is.

[F]

And of course, she's also wrapping up the sort of awards season around Hamnet, which came out in the fall. So we're kind of talking a little bit about both projects. But from the critics choice to the golden globes to the BAFTAs to the SAG actor awards, she's sweeping. She has been sweeping and we have high hopes for her on Oscar Sunday. But let's see. She's been very gracious and very sort of present for the whole thing. And we hope that that continues. Enjoy our conversation with the lovely Jessie Buckley. Hi, Jesse. Thank you so much for being here.

[E]

Thanks for having me.

[G]

Repeat guest at the Rod through.

[E]

I am a repeat guest friend of the pod.

[F]

Huge.

[E]

Big friend.

[G]

Big friend.

[E]

Best friend, actually. Yeah, I'm actually your best friend.

[F]

You want to go first, guys?

[E]

Don't be nervous.

[G]

As it happens, Marlee and I were the two editors who were sort of running the coverage of the SAG Awards the other night. So we were up watching and editing the stories as they came through. And congratulations.

[C]

Thank you.

[G]

You're four for four for awards season.

[E]

I am. That was a really sweet one because, you know, it's your people. It's like the people that you work with that you admire, that you kind of get down and dirty with the most. So that was nice.

[F]

Yeah.

[G]

I wondered, how is Emily Watson as

[E]

a date oh, she's a great date. We actually dated before we even got to the ceremony.

[G]

Okay.

[E]

I was getting ready in the hotel and I was like, come over and get ready with me. So she came over and we got ready together and we were like, it was 1245 and we were like, is this champagne time?

[F]

Oh, absolutely. This is amazing.

[E]

She had hemlons. She's a good, She's a good hang. She's a good date. She's just a all around great, great woman. Oh, my God.

[G]

I was curious if over the course of these award shows it gets easier or you get more relaxed or how does it feel going back to. Back to back with these awards shows?

[E]

I don't know if it's like ever as sure as that. You know, I think you have moments where you feel totally intimidated. And you know, I have a 7 month old. Since this began, I've been kind of traveling with my daughter and up in the middle of the night and like changing a nappy and then you're like, put a dress on. What do you mean put a dress on? What does that mean? But then you do and you've got these incredible people who have really created such beautiful clothes and make you look nice. And then you go there and you meet your artists, you know, and you actually can have, if you can have one great chat with somebody in those situations, it kind of, it diffuses the kind of heightened nature of it and you just realize you're just a bunch of people who've made something meeting in a room to celebrate each other. And so, yeah, there's like real human moments amongst the kind of heightened moments of it. Right.

[G]

We all were so charmed by Teyana Taylor's daughter singing to you.

[F]

She was having the time of her life.

[G]

I mean, star in the making. That struck me as a one of those wonderfully spontaneous moments that can happen at a show like that.

[E]

Oh, I mean, Tyana, I found like maybe a few people that I've really got to know in this. Taana's been one. Wunmi has also been one. And I love those women. Like, I thought Tyana was extraordinary in one battle after another. And seeing her kind of just uncompromising mind and strength and sass and just, she's like effervescent Teyana. And so it's always so gorgeous to see her and just be like, I see you, woman. Like, I love all of what you are and what you're expressing. And then to see her bring her daughter and her daughter have that confidence of and expression I was like, I'm getting out of this job. I don't need to do. The next generation's already coming up behind me.

[F]

That's amazing. I mean, not to keep going on about Teyana Taylor, but she also has such a firm belief in herself and her own skills. Like, is not, like, shying away about being like, I want to do all the things. Like, I want to direct, I want to act. I'm here, everyone, like, prepare.

[E]

Like, why not?

[F]

It's amazing.

[E]

I mean, like, I think for every artist, like, the thing, the word that I keep, like, having at the back of my mind at the moment. And I think cause of Bride and with Maggie, the word what if. Like, what if you just, like, push the sandpit a little bit more out, you know, what if you do it all like Tiana? And I will say, you know, I'm sure. I know that strength isn't just about being completely sure of yourself all the time. You know, I think real strength comes from real vulnerability and stepping into unknowns all the time. And the people I most admire really choose to live from that place.

[F]

Yeah.

[G]

Speaking of the bride.

[F]

I was gonna say speaking of the bride. We both saw it, dazzled by it. Amazing stuff. Very different tonally in lots of ways from Hamnet. I know that you. I mean, you know, just to state the obvious, and that's fine.

[E]

I don't know what film you saw, but I thought they were pretty similar.

[F]

But you did that before Hamnet, right?

[E]

I did, yes.

[F]

How much time did you have? Like, what was that sort of transition from one project to the next?

[E]

Like, I had two weeks.

[F]

Goodness. I feel like that's always what it is.

[E]

Like, I arrived into Hamnet rehearsals with bleached eyebrows, bleached armpit hair, everything. They were having meetings about my eyebrows, wondering if they were gonna, like, return, because, you know, the woman of the woods doesn't have bleach on her hands quite yet. Oh, my God. Which I got quite a kick out of the idea that they were all having meetings about my bleached eyebrows. I was like, I don't. They're either gonna come back or they're not. And they did.

[F]

My God. Well, thank goodness. But, yeah, when you are kind of doing that gear shift, like, what does that sort of require? What do you kind of need to, you know, shed one thing and put on the next thing?

[E]

Well, actually, with that, it wasn't so much as shedding. It was, like, I had the instinct coming into Hamlet of, like, this, where I am, you know, at the end Of Bride, my heart was like, cracked wide open. I had been so physically embodied. My mind was like a laser beam. I was playing in a very, very new language of cinema and also a language of a woman, you know, that was kind of coming into their own and an autonomy of her own, which actually, when I came into rehearsals for Hamnet with Chloe, I was like, chloe, this is the entry point. Like, where I am now. There's no point, kind of. I was so vibrating after Hamnet. And actually, I guess the transition was to take all that kind of electricity and simmer it down into the ground and, like, root it into a woman like Agnes, who is embodied, who is like, has absolutely got a language onto her own and is a lover, you know. And Bride is about love. It's about, like, our capacity to love, really love. Not just, like, the idea of it or the idea of marriage, but, like, how much of me can you actually take? And then to have all of that at my fingertips into the role of a mother, which was something that I was definitely curious about and personally something I really wanted in my life, and to kind of have an alchemy of that strength and embodiment of the bride meets the mother and it be tenderized. It was a gift that's powerful. It was a real gift.

[F]

It is productive, actually. It is helpful.

[E]

I highly recommend one puzzle.

[F]

There you go, guys.

[G]

I mean, when I saw the Bride, I thought, this, to me, is very much like a familiar. It was a new kind of movie for you and a new part. But it struck all these notes that I'm familiar with from your other roles. It seemed about disobedience and mischief making. And that reminded me of Wicked Little Letters or Beast, which is one of my favorite movies that you've. So it seemed like maybe in a different register, like, really turned up to 11 kind of stuff, but in kind of a, you know, a bit of a line with some of the other roles you've done. Did you think about other parts you've had, or does that make sense to you?

[E]

It does make sense. I don't think I think about them when I'm going into a role, but I'm not an actress who ever wants to let go any of the education that these incredible women have given me. You know, they have categorically changed who I am and have really unraveled an education that doesn't serve me. For me to kind of step into my womanhood and get to know myself. I think what probably was like, Where Bride met me and Where Hamnet met Me was like all that disobedience, the rebellion, the. You know, even with women talking, the kind of questioning of ideology, of what our landscape is.

[G]

A kind of defiance.

[C]

Yeah.

[E]

And I guess in a conversation about womanhood, I think what Bride brought me to and what Hamnet brought me to was like, all of what it is to be a woman. I love my men. I want a relationship with everything. You know, I don't want to be on my own. I want a relationship with Frank. I want a relationship with the world. I want a relationship with my mind. And I think part of the journey of rebellion, to find some autonomy in myself in order to really challenge the relationships that I meet in my life and for. To kind of the capacity of it to grow and grow and grow. You know, that's kind of where I am now, and that's where it's led me to become a mother. You know, it's like not just an idea of a woman, but like, the totality of it. Right.

[G]

I know we need other people. I mean, that's what makes us sort of whole. But I was also curious what a Maggie Gyllenhaal set is like. This is your second film with her. And what was the sort of. What was the energy like on the set of the Bride? And what kind of sort of leader and director is she on the day to day when you're shooting a film?

[E]

Well, by the time we got to set, you know, by the time we did our first ever kind of camera test and even our first day of shooting, I had been in New York prepping. I mean, I prepped for a year for Bride because it was such a huge undertaking, you know, to really create three individual personalities, metabolize them, have them, be in conversation with myself, learn how to tap dance, learn Gaga dancing, find a body for Mary Shelley, a body for Ayden, and Body for the Bride. And then, you know, I want to work in a way where once I get to set, I'm taking my hands off the wheel. And the most important thing is the person that's standing in front of me. And that person happens to be Christian Bale, who's also, you know, he's not going to just kind of swim around the edges of it. He's also working like that. So when we got to set the kind of charge of all, that was super kinetic. Like, really, you could feel the edges, was so alive. But Maggie has a real vision. There's so much intention behind what she's trying to say with her stories and why she's Choosing to tell a story at all. And I think she wants to ask the uncomfortable question. You know, I think what she asks all of her actors and herself is to grow step. You know, ask the question that's going to challenge you. The need to tell these stories with each other. And also the care that we have for each other that we can, you know, look our monster in the eye and shake hands with it. That's very powerful. And she is one of the most important women in my life.

[F]

I mean, a set piece that I especially sort of enjoyed is when Ida and Frankenstein's monster, they've kind of. I guess they're running away from the cops. I feel like they're running from having gone to that movie. And then everyone sort of recognizing them as monsters. And then they run into a party and. And there's, like, choreography happening. There's putting on the Ritz happening. They're making eyes at each other. At one point, a chandelier falls. And I was, like. I was, like, so dazzled by what I was seeing anyway, but I was curious about filming a moment like that. I think of you as being quite a physical actor anyway, but, like, you talked about, like, having to learn choreo. How are you learning choreo? Do you enjoy doing that kind of work as well and, you know, in your process?

[E]

Oh, I love being physical. And it's actually quite a rare opportunity to get to be as physical as I was in the film the Bride. And something that moving forward in my work, I want everything to be singing together. Like, I can't just, like, work for my head, you know, When I started, I mean. I mean, Christian's actually really annoying. Can I just go dancer already?

[F]

That's crazy.

[E]

I had to, like, literally tap dance. I was, like, so bad at tap dancing at the beginning. And, you know, I would wake up at seven. I'd, like, go and go into studio, like, do the simplest steps for about an hour just to try and get it. And then. And he came maybe three weeks before, and we met to do a dance set, and he was like, flah, fla. Fla, fla, fla. And I was like, oh, my God. He would not say this. You know, he notoriously puts himself down all the time, but Christian Bale raises the bar in every capacity, and he's so fantastic in the film.

[G]

It's a cool moment. It's one of those moments where you're watching the movie and it seems to, like, you realize you're watching something that's taking a really big swing. Like, the movie is defying your expectations.

[E]

And it's the beginning of the revolution. You know, the establishment, the little hoity toity people are getting kind of. They're getting infected by the disobedience, they're getting infected by the revolution. They're. They're literally having a kind of exorcism of their establishment totally and being completely wild. And from that moment off, there's like, it's, you know, the match is lit now it's fouled.

[G]

The run through will be back with Jesse Buckley after the break.

[A]

Sometimes people ask me which search terms I use whenever I'm on ebay. So I search a lot of dead stock. That's a term that I throw in there a lot. Dead stock means that no one's ever worn it before, but it is like an archival piece or it's a vintage piece. And so that's a great thing to find on ebay. There's a ton of dead stock, vintage. And it's just kind of like comforting to know that, like, you're the first person taking this like, like peace on its maiden voyage, even if it's 50 years old. Ebay offers this departure from the everyday that ends up feeling totally you.

[G]

I really enjoyed seeing the Margiela look at the premiere out in the wild, because I remember when that show happened and like, the whole office was sort of galvanized. It was like a big news moment where we all had to spring into action to cover it properly. But I read, I think in the British Vogue piece about you getting ready for that premiere, the premiere of the Bride, is that you sent that idea to Danielle Goldberg, your stylist. And it made me wonder. Cause I remember I listened to the podcast you did a few years ago here, and you talked about how you were kind of getting into fashion. But I wondered if now you're someone who like, follows all the shows, watches, you know, reads the coverage proper.

[F]

Fashion girl.

[G]

How read in on fashion have you become?

[E]

Yeah, well, that show happened right in kind of prep for the bride. And I remember even designing the makeup and looking at Pat McGrath's incredible, like that white skin, which became a kind of huge reference for us to kind of make her skin bleach. Like the reinvigoration had bleached her eyebrows, bleached her eyelashes. And I think John Galliano is like a complete genius. I mean, I fawned over his 90s collection so many times and gone, you know, I think he's like one of a kind. I mean, that show for me feels like misfits you know, these beautiful, odd misfits that are otherworldly and transcendent and kind of like a whisper that just wakes you up. And I don't know if I'm a fashion girl. I really feel like I'm on a kind of journey of it. You know, I think I've had very. I've had many moments of clothes being a tool to express where I am in my life in ways that I probably don't even know, like when I moved to London first and. And the possibility of kind of redefining yourself. And I remember I go to, like, a market and buy, like, a bowler hat and, like, Doc Mart, which was like, I'd grown up around tracksuits and o' Neill's growing when I was at home or when I used to sing as a jazz singer, like finding old images of jazz singers. And then I've had moments where I probably have been intimidated by fashion.

[G]

Okay.

[E]

And have been in some way rebellious against it and wanted to be a punk. And now, you know, and I think with. Since I've met Danielle. Cause, hold on. Fashion is kind of intimidating.

[F]

Oh, no kidding.

[E]

But with Danielle, since I've met her, it's been such an interesting moment, having to come into this awards season as a new mom. My body being very, you know, changing and from breastfeeding to stopping breastfeed and finding a way to not hide in clothes, but actually let myself be seen. And in a way, she stripped back any kind of identity or idea that I might have, like, hidden a little bit of myself in. And right at the beginning, she was like, I just want to see you. I don't know if I've seen you. I want to just, you know, she put me in a role look for the Governor's Awards. And it was like I felt like I could, like, breathe for the first time. So, yeah, I think fashion is emotional for me. You know, I think shows. I really admire people's artistry. Sometimes I'm intimidated by it. But I think for me, in this moment of my life, I'm like, I really want to feel alive and like, I can be just myself in a. And expressive and.

[G]

Yeah, one of the things that I'm, like, so caught up in about you through these horror seasons is that you're a no notes acceptance speech giver.

[F]

And yet they're amazing.

[G]

Right? So just talking about no notes, bringing no notes, you don't have it. You're not pulling something out off the dome.

[F]

It's crazy.

[G]

It doesn't seem particularly rehearsed so tell me if I'm right. Like, do you prepare in your mind? Do you have anything set in your head? Or are you just going up and trusting that you can speak fluently and,

[E]

you know, well, you hope you can speak fluently. That's like some. You know, I do think about what I'm going to say because I feel like, you know, I'm speaking on behalf of something with this film. I'm speaking on behalf of women. I'm speaking on behalf of motherhood and what this role has, how it's changed me. And also the community that I feel so grateful to be in. I don't take it for granted. So I do think about it and I do, like, write things down, and I just hope to God that it comes out in some succinct form. And sometimes it does and sometimes it doesn't.

[G]

I mean, it seems to always. It always does, as far as I can tell.

[E]

I tell you, it's, like, kind. Kind of scary. I don't doubt that. Yeah, it's kind of. It's not like a natural place for anybody.

[G]

Right, right.

[E]

To kind of. What's hard is to receive that, you know, and. And at the end of the day, it's about you, but it's also bigger than you. You know, being completely honest, I really kicked myself up the arse after the baftas, because.

[G]

Why?

[E]

Because I got lost. And then I think what really shook me was Cillian Murphy giving me this moment, sharing this moment with me, and being the first Irish woman to win Best Actress, to receive it from Cillian Murphy and be in this room of artists who. I can't tell you, Like, I keep bloody seeing Paul Thomas Anderson. Like, I can't see anything up there. And then it's like, Paul, Paul, like, he's like a big red button. And I'm like, oh, my God, can somebody. You know, where's my husband? Like, where. Can somebody help me? At the end of the day, I'm like, only human. And these moments are really overwhelming sometimes. And you're trying to take in the moment, which is a lot, and also find the moment. And it can be all the things. Let's just. Where it is is where it is.

[G]

Oh, I loved that speech. I thought it was great. It's because it was so human. It's just you actually felt like we were watching you experience the moment in real time, you know, and the Cillian Murphy of it all actually did seem to have, like, an impact. And I thought to myself, who are tighter Is it the Irish actors or the Australian actors? Like, which group? Which clique is. Exactly.

[F]

Pick your fighter.

[G]

I mean, think. Maybe the Irish are.

[E]

Well, I don't want to get competitive about that.

[F]

Oh, my gosh.

[G]

You worked with so many amazing directors, though. Really? I was going down the line. It's really an incredible list of people. But I wondered if there were any other directors you're really dying to work with. Set the joking about Paul aside for a moment, but. Or maybe a genre that you haven't tried, that you would really like to plunge into. What are you really craving to stretch yourself next?

[E]

I don't really know anything about genre. I don't really kind of choose things like that. I mean, there's so many filmmakers I'd love to work with. I'd love to work with Pavel Pavlovsky. I'd love to work with Jane Campion. I know.

[G]

Quiet recently. I guess that's how she works, right?

[C]

Yeah.

[F]

She's doing the thing.

[G]

She's doing the thing, yeah.

[E]

Leos Carax, French filmmaker, who I really love, and also new filmmakers. You know, I'm working with Alice Roarker next. Who I am. So I love.

[G]

We're fans.

[D]

Yeah.

[E]

Very much so. I'm very excited to work with her.

[F]

Yeah. Can you tell us anything about, like, that project? It's a great cast. Like, I feel like reading, like, Sara Sherronen, Josh o', Connor, Dakota Johnson. I like me reading that list off. I was like, ooh, this is gonna be something. This is very exciting.

[G]

How many movies can Josh O'Connor make? That's the other question.

[F]

I'm like, keep them coming. There's an audience for them. I'm the audience.

[E]

I actually have no idea if I can tell you anything or not. I haven't even looked at the memo on that one, so it's probably better if I don't. Sure.

[F]

Stick a pin in that.

[E]

But I know it's based. It's been based off this amazing kind of graphic novel called Three Incestuous Sisters, which, if you haven't seen it, it's such a beautiful book. I've never, like, gotten something like that in script form where you're like, how do you make this?

[F]

Yeah, that's very exciting.

[G]

Did you see the Lynne Ramsey film Die, My Love with Jennifer Lawrence?

[E]

I did Die My Love.

[G]

What did you think?

[E]

I adore Lyn. I think she's incredible. I remember seeing Morven Keller and when I was first starting out, and just like, I think she's an extraordinary artist. And I thought it Was like, you know, Jennifer was incredible and Robert was incredible, and I like. Like, things that are kind of challenging, you know, it wasn't a palatable, like, film. Like, it was hard, but I was like, yeah, like, that's definitely somebody's story, and there's room for that here. Like, and all of those people are really incredible artists.

[G]

Like, it really unsettled me. So did the if I had legs, I'd kick you movies.

[E]

Yeah, Yeah. I love that.

[G]

Those are two movies that I just thought. But if they leave me a little unsettled, that's sort of what I look for.

[E]

I tell you what movie I loved was Bradley Cooper's film. Did you see it?

[G]

Oh, I loved it too.

[F]

Oh, you're talking to the two fans.

[E]

I thought it was so good.

[G]

Is this thing on, which was just fantastic. And I just thought Will Arnett turned in one of the best performances of the year.

[A]

He's amazing.

[E]

He was so good in it. And I really. I really love that film.

[G]

Robbed. I'd like to say right here that I knew he was robbed at a war season.

[F]

I know. I thought he was gonna get. And I said that. I was like, bradley's gonna get in. Like, Laura Dern's gonna get in.

[E]

Like, I kind of also love that he just went and made it, and it was just. It reminded me of, like, a Cassavetes kind of essence. He is such an incredible script writer. Like, his. His script, you know, the story on paper. I was like, oh, this is just gonna be, like, you know, cheesy. But it was midlife crisis movie. Yeah, yeah. But the. The script was fantastic. The performances were so good.

[F]

Christine Ebersole, everyone in it is.

[E]

I ab.

[F]

Yeah.

[G]

Yeah. I thought that was great.

[F]

But of course, you're, you know, quite an accomplished theater actor as well, and you. I mean, I will say that, like, I would. One of the more kind of worthwhile, sort of pandemic projects I remember watching was like, your. The national theater production of Romeo and Juliet that you did with Josh o', Connor, which was, like, so sick, but sick anyway.

[E]

Sick.

[F]

It was. It was so rad. But you have said that, you know, the experience of doing Cabra, it was, like, quite intense physically, emotionally, creatively. And it did make me wonder, is it gonna be a while, do you think, before you do theater again? Or is it just kind of like, if the right thing comes along, the timing makes sense? Like, how are you kind of thinking about your relationship to theater acting at this moment?

[E]

Oh, no, I'm, like, desperate to go back and do theater.

[F]

Okay.

[E]

Fingers. No, no, I am. I really am. At the moment, I'm trying to. Oh, I don't want to just do any theatre, you know. And I think actually where I am right now is like, I really want to, like, offer something back into this industry. I want to. We're surrounded by the most incredible artists and actors and writers who are really hungry. And I sometimes feel like there is a bit of fear around our industry to create new language. And I really want to take responsibility as an actor to kind of help in the process of creating new language in scripts, whether that be for theater or for film. And so at the moment, with a group of friends and a producer back in London, I'm trying to set up a theater company. Amazing. As a way to kind of uncover what is our cultural conversation at the moment. What are the things that aren't being allowed to kind of come up? Like, how do we get like a Beckett? You know, how do we get a new pin? You know where. And actually is a. As a body of actors together help form that.

[G]

So new work is what you want to produce, you think?

[E]

Yeah, I feel like people are hungry definitely to. I don't want to do a fusty old Ibsen place. No, I mean, no offense to Ipsen roll. I know, I know. I just don't want to do that.

[F]

Yeah, yeah. You're ready for something new.

[G]

Something totally in the British Vogue cover you talked about. You're reading one of my favorite writers, Rachel Cusk. And like, you know, I just. So what are you reading? And what function does reading.

[E]

This is the saddest question.

[G]

Oh, no.

[E]

To me. Because I. I cannot tell you how many books I've bought this last year that I just have no time to read.

[G]

Right.

[E]

Okay. I tell you what book I just bought. I love McNally Jackson's as well. When I come to New York, I went straight there yesterday and I picked up a CS Lew. All the faces I can see. And I think it's like. It's kind of a fable around the mythology of Psyche and Cupid. And then I have in my bag there is this one of young Carl Jung's right hand woman was a woman called Marie Louise von France. And I have a book about the feminine in fairy tales in my suitcase. And then another book in my suitcase is this book called Sea State, which is about a journalist who goes to the. Like up to Scotland to where the oil rigs are. And she wants to put herself into the epicenter of what it is to be in a Kind of isolated male environment. And she interviews all these oil riggers and ends up in this, like, complex sexual relationship with one of the oil riggers. But it's kind of about capitalism and about the transactional nature of love.

[G]

Yeah, that's the one I would read.

[E]

It's really good, actually. The thing that I have been able to read and find is this poet called David White.

[A]

Okay.

[E]

I discovered him on Rick Rubin's podcast. Rick Rubin does two episodes with him.

[F]

Wow.

[E]

He puts me to. I listen to, like, I miss him multiple times to go to sleep. It's the most delicious bath of words. And his book called Constellations, he just takes one word and kind of philosophizes on that word. There's two books of it. It's so good if you don't have any time and you want to feel like you've got a mind. Highly recommended.

[G]

I like the idea of falling asleep listening to Rick Rubin podcast too, except

[E]

he's kind of got this weird 50s jingle in the middle of it.

[G]

Here's what I really want to ask. So the beginning of the British Vogue cover story. You have just watched the season finale of Celebrity Traders.

[E]

Yes, yes.

[G]

So there is a little bit of low culture in your life as well as. Sorry, sorry. No, I'm committed to the Traders.

[E]

I love low culture.

[G]

Okay. So specifically because you also. Your career started with reality television, so

[E]

I wondered the lowest of the lower myself. Like, it was called I do it Anything. It sounded desperate.

[F]

I was watching clips. Incredible things happening. Crazy things happening.

[E]

Sweet. That moment.

[G]

Would you rather be a faithful or a traitor?

[E]

Oh, I play this.

[G]

You do?

[E]

Oh, yeah, Yeah, I play. There's a group of us that get together. Oh, my God. Usually led by Phoebe Waller Bridge.

[G]

Oh, my God.

[E]

And she dresses up as Claudia Winkleman and gets a deep pink tan black wig. And we take her room above a. A bar. You play some characters. We get really drunk and play this game I want to come next to. And anytime I've been a traitor, I like. It's quite terrifying. Being a traitor.

[G]

Yeah.

[E]

My husband can call straight away. I'm like, it's so. Have you ever played it?

[G]

No, I've watched all episodes.

[E]

Being a traitor is terrifying. But once you get into the river of a traitor, you're like. Like, boom, boom, boom. And it's quite scary how good I can be at it.

[G]

Oh. Oh, yeah.

[E]

For what we've been speaking about, I think I'd be more relaxed as faithful. But, like, let's have some, like, more exciting. More exciting, more Dangerous as a traitor. But I'm only. Obviously I can never play it now ever again because everyone's going to think I'm always a traitor.

[G]

When Alan Carr won Celebrity Traders and he, like burst into tears at the end, that was an incredible moment because I thought the emotional toll of being a traitor and win, it was pure gold.

[E]

I also thought the first episode where he. Where he became a traitor and he was given all the tasks.

[A]

Totally.

[E]

I like, it makes me sweat with laughter even thinking about that and him like, him like getting that flower. I mean, he was so bad at it. It was unbelievable.

[A]

Totally.

[E]

It was so good. He was so bad. It was so good.

[G]

Didn't he have to do a line of Shakespeare or something to someone? And he was like, yes, I'll do it, I'll do it. And then he pulled it off and then he won the whole thing. It was amazing.

[E]

My actual obsession. And I am so bad at technology, but I have found a way to get a VPN is to watch. Have you got one?

[G]

I don't, but I'm fascinated.

[E]

Tell me more.

[G]

Yeah, go on.

[E]

I am. I think it was actually my pregnancy craving was on channel. Channel 4 in the UK have this incredible show called 24 Hours in Police Custody.

[D]

I am.

[E]

I am obsessed with it. Like, I look weekly because they don't put up an episode every week. So I like look nearly daily to see if there's a new episode up. And Stephen Graham, who's also obsessed with 24 hours in police Custody, says he, like, based a little bit of adolescence off her.

[G]

Oh, my God.

[E]

It's unbelievable. But it's.

[F]

Surprise drops. How is it not like on a weekly cadence, like, how do you.

[E]

Because I guess to actually film people doing really bad things, there's some like, legality around what you can show and what you. But because they're just in every. We've got one, like, it's about the monster, you know, it's like the every person. Our capacity to do monstrous things. And you're just living a little life in Little Britain.

[F]

Wow.

[G]

Oh, my God. I gotta get a vpn.

[F]

There you go.

[G]

And then I've got to watch the show.

[E]

Yeah, there you go.

[G]

That sounds amazing.

[F]

We all have homework now.

[E]

I'm obsessed. God.

[F]

Well, well, thank you, Jesse.

[E]

This has been so fun.

[F]

I thought would be.

[E]

What a joy, Jo.

[F]

That's it for the run through and our final day of Shark Week. See you next week.

[D]

The run through is produced by Chelsea Daniel, Alex DePalma and Alex John Burns, with help from Emily Elias. This episode is engineered and mixed by Pran Bandy.

[A]

My first job in New York City was as a trend forecaster. I do trend forecasting still, and ebay is a part of that, because I'll search for things that I'm seeing around, and it will end up directing me in places that I could have never anticipated. And one of the trends that I'm seeing these days is crafting things that are made by hand. And so playing with clothes and accessories to create something kind of distinctive for your wardrobe is a great way of doing it. And getting supplies off of ebay is my favorite thing for it. I'll get, like, maybe a pair of slippers that I'm wearing right now and then cut them in a specific way, and then they're totally my own. And I feel like it's a great resource to create your own trends, because then you can both feel like you're bringing something back to life. You're already, like, pulling it out of the ebay archives, and then you're also adjusting it so that it really expresses your own style, which is something that, you know, people really want right now whenever they are feeling, like, so algorithmic about the style that's being pushed to them. That doesn't have to be perfect. Perfect things can have rough edges, and that sometimes makes them feel more special.