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Well, if I had known from earlier that I
would be playing her, I don't think I

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would have put the sex scene in because
it was probably one of the most

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uncomfortable things in my life.

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I love it.

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00:00:14,700 --> 00:00:19,120
Hello and welcome back to another
episode of the Walsh Sisters Companion

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00:00:19,120 --> 00:00:23,600
with me, Stephanie Prisner. And me,
Marion Keyes. And we are kicking the

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off by throwing straight to a clip.
Yeah, listen to this.

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Do you hear what I said?

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I did.

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We have tickets to Glastonbury and we
had seven laptops online and two phones

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just to get out of the queue.

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Poor Anna.

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And to discuss this phenomenal episode,
we have Louisa

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Harland with us, joining us via... The
miracle of satellite.

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00:00:53,820 --> 00:00:54,960
Welcome, Louisa.

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Thanks for having me. Hi, Louisa. Thank
you so much for being out of Anna Ward

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so beautifully.

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And actually, and you and Aidan are
beautiful together.

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Yes. I mean, I love Aidan. I mean, he
doesn't. But, you know, that scene in

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Glastonbury scene, obviously, Anna's in
shock. And, you know, that was her

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emotional state. And then when the
camera turned around on Aidan Quinn,

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when I would just like weep.

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You would genuinely weep.

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Yes. Because I wasn't allowed.

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I mean, you know, it wasn't a story. You
know, he was like letting out emotions.

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And when the camera turned around on
Aidan, I just, and I find him as daddy

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moving. I mean, I love him.

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He's a legend. But I just found him so
moving. And like, you really felt like

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was a father of women.

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You know?

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He was incredible with all of us.

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Did you mean Aidan Quinn or Samuel
Anderson as Aidan, Marion?

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Oh God, no, sorry, Aidan Quinn I meant.

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Oh, you meant Aidan Quinn. Yeah,
Quinners. We had to call him Quinners on

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because obviously Aidan. Yeah, Quinners.

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Yeah. No, I really feel Quinners has a
very loving, fatherly

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energy of him. Yeah.

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Oh my God.

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Like, totally.

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And he's so great to work with.

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Yeah, he just really moved me. Even, you
know, watching him with other sisters

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or watching some of the episodes back.
And I love the relationship he has with

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us all. I find, obviously, the
relationship he has with Maggie

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moving. And, you know, I'm incredibly
close to my dad. So, yeah, I mean, we

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just so lucky to have Aidan play Daddy,
weren't we? And I just loved it. But I

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did, I just found... I think as well
because Anna's in shock.

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But I obviously...

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you know, found the whole story so
emotional. I think I always, yeah, I

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were all crying so much, it has to be
said, weren't we?

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I remember in episode, Aidan Quinn in
episode six,

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when we, you'll get to episode six, was
quite like an emotional climax.

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And Anna has a speech that she delivers.

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And Aidan came to me afterwards and he
was like, That take, that is the take

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have to use. That woman is incredible.

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I've never seen someone move through a
speech like that.

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Where did you find that actress? She is
unbelievable. And I was like, I know.

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And kind of like flicking fake dandruff
off my shoulders because I was so small.

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I was like, she's incredible.

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But even that Glastonbury scene, like so
many, it's quite a strange scene. Okay.

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So she just found out that the love of
her life is dead.

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And her instinct is to go straight to,
hey, I'd like to sell these Glastonbury

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tickets. But she was in shock.

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She was in shock. I mean, she was
sidestepping reality because it was too

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Yeah. But people do things like that.

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Well, they definitely do in your books
and in your world. I suppose, maybe.

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I think they do in the real world as
well. I do think in real life as well.

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just doesn't fit the narrative, you
know, that we have of grief or

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That sense of finding out that he's dead
and her absolute lack of ability to

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process that information.

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Yeah. Like for the first half of a 600
page book, she is in denial. And but

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through letters. So it's much easier to
do. And you can't do letters on screen.

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Right. Like, how do I get the sense that
this girl, she's not crazy, but she is

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so broken that.

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She cannot process the fact that this
man is gone. And so that's how I came up

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with this sort of denial.

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But in the hands of another actor, she
could have seemed, like my husband is a

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widower and lost his wife.

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Kind of, they got married very quickly
when they realized that she was going to

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die. And he has watched these episodes
and he is always in bits about Louisa.

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doesn't know how he's able to tap into
that.

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It's so real.

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And in the hands of someone else.

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that scene with the Glastonbury could
have been very trite or whimsical or not

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grounded in the, you did so much work in
grounding, everything has to be

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believable. You said it every single
day, like has to be truthful, has to be

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truthful, has to be truthful.

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That is such a good point. Yeah, I mean,
I just always want to, I always want it

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like, you know, that we're real people
and we're really talking to each other.

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think that's always key. And the scene,
that scene is so jarring.

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like in a truthful way, but it is
jarring to watch. It was jarring to do.

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you know, that's like your book. Then
you have to find the humor in things and

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like almost finding out he died.

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And I mean, like how annoying because
he's lost all his tickets. Like how

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typical that he died because like we
tried so hard because he's lost all his

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tickets. And like so annoying and
difficult that he's dead.

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Yes. But like that makes a strange sort
of sense.

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You know, like it's not whimsical. And I
think with your gravitas, Louisa.

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you absolutely convinced us that, like,
it was a completely believable reaction.

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At no point did it seem silly or, or
what's the word, kind of played for

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It was nothing like that. It was the
sign of somebody in terrible shock and

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finding reality just way, just
impossible to process at that time.

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No, I also love Danny in that scene. And
Claire is the character who comes in

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and almost tries to burst the bubble, to
be like, no, Anna, you're being so

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weird. And I'm like, no, stop, don't
tell me I'm being weird.

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Like, leave me if you think so, because
this is how I'm dealing with it right

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now.

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Yeah.

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Danny's such a beautiful actor, and I've
known her.

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We went to Anne Kavanagh together, and
we did the Fresh Matthew together.

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It's so special to work with her on this
as well and play sisters because I was

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a fan of hers when I was a child. I
wanted to be her. I was basically the

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in the class and I want to be like Dani.
And then seeing how well she's done in

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her career and now just getting to work
together, it's just kind of the perfect

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project for us to work together for the
first time on professionally.

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When she gets into that bed with you,
it's just such a beautiful moment.

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the that is in this episode isn't it
yeah yeah um and then um again undercut

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by mammy you know i just love the idea
of like the sisters having this

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moment and then mammy being like god
these chairs are so uncomfortable and

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claire being like just leave it's like i
have this yeah go home go home um and i

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love that um like juxtaposition of like

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You know how beautiful Donny looks in
the bed and how put together she is. And

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obviously she has had, she's cried for
Anna. You know what I mean? She's had

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cry in the car and come back and she's
just this beautiful, you know,

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picturesque. And obviously Anna is
broken and wounded physically and

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emotionally. And her just lying beside
seeing those two sisters like that, I

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think it's a lovely image.

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It is.

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So Anna and Aidan Maddox, her fiancés,
journey is a

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short one but one that you worked really
hard to make sure was really truthful

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and while everyone around you is saying
but you don't even know this man like

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why like we needed the audience and us
needed to believe you do know him and

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this isn't just one of your phases that
you're going through um how was the

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process of working with Samuel Anderson
and kind of your making that

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relationship real when he's dead for a
lot of it.

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Yeah, I mean, I just really knew that,
like, you needed to believe

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that this relationship was real for
Anna, even if nobody else around her

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believed it. And I think that almost put
Anna into loving him more and, you

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know, going down even more for Aidan.

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I think we needed to believe that this
was real.

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And yeah, I mean, Sam's so lovely. And
yeah, we were lucky to have him as well.

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I mean, we were so lucky across the
board. I mean, it goes without saying,

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God, we were so lucky with the cast.

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Yeah, he was a great character because
he wasn't.

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He wasn't Mr.

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Sappy. Like, he wasn't Mr. Sweetness and
Light. You know, when Rachel arrived

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into the bedroom and he says, you know,
you don't knock.

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Like, I liked that he was quite, not
exactly abrasive, but he was not going

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people please, just to kind of win
friends and influence people.

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And then there's the scene when you're
walking from Black Rock Darts, Dayton,

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00:10:02,740 --> 00:10:07,200
and like you're so physically close to
each other. And he said, well, we're

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00:10:07,200 --> 00:10:09,760
going to have to come for lunch like
every week for the rest of our lives.

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And you said, well, no.

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He said, until we die. Until we die. And
you said, no, no, no, just until they

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die. And then even then you were so
like, sweet kind of, no, no, no, I

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have said that. And even the flowers
that they brought were such prestige

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00:10:25,740 --> 00:10:31,700
flowers. Yeah. You know, they were like
a good, a different couple to everybody

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00:10:31,700 --> 00:10:32,700
else. Yeah.

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00:10:33,400 --> 00:10:36,820
Like nothing like Rachel and Luke,
obviously, but nothing like Garv and

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00:10:36,820 --> 00:10:39,040
either. Yeah. And then Mammy holds up
the flowers.

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I think you need to see them to be quite
kind of like picturesque almost in the

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beginning. Then, you know, his physical
makeup lying in that bed with all the

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00:10:47,060 --> 00:10:53,500
tubes. It was so like, I found it so
harrowing and emotional, you know? And

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00:10:53,500 --> 00:10:54,960
way he can hardly speak.

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Yeah, and his little soul and eyelids.
Yeah. And then she's talking about

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like... Will we dance at the wedding
and... Yeah.

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00:11:04,510 --> 00:11:05,510
Anyway.

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00:11:05,730 --> 00:11:07,030
He was brilliant as well.

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00:11:07,230 --> 00:11:14,030
I mean, yeah, I think we, yeah, again, I
mean, we found that whole

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00:11:14,030 --> 00:11:18,010
week in the hospital so incredibly
moving. And what you do so well,

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00:11:18,050 --> 00:11:22,530
is, you know, you use humour and life in
horrendous situations, which is what

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00:11:22,530 --> 00:11:23,810
humans do.

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00:11:24,530 --> 00:11:28,790
And we had to try and force ourselves to
find the life within that week we were

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shooting in the hospital because, as
Steph will tell you, I really struggled.

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Like, I really was a broken woman. I
just found it very

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00:11:40,620 --> 00:11:44,240
real. And I think that was quite late in
our filming process as well, wasn't it?

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00:11:44,300 --> 00:11:49,420
Yeah, it was. We had already been
shooting for quite a long time when we

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00:11:49,420 --> 00:11:50,420
that hospital.

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00:11:51,040 --> 00:11:56,560
So, yeah, it was just... Like I was
saying in a previous episode about

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being the litmus test of, like, what is
real.

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00:11:59,580 --> 00:12:01,640
So trying to find a way where...

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00:12:02,030 --> 00:12:06,370
like Louisa where we could see that Anna
has been in a car crash but in order

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00:12:06,370 --> 00:12:11,390
for the audience to feel safe to go with
the humor and for the humor not to feel

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00:12:11,390 --> 00:12:16,330
like grotesquely insensitive yeah the
audience need the security to be like

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00:12:16,330 --> 00:12:21,210
she's okay so the first time we see Anna
we needed to be like okay Anna is

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00:12:21,210 --> 00:12:25,500
definitely not in jeopardy But you are
allowed to reserve your fear for Aidan

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00:12:25,500 --> 00:12:26,740
because things are not good there.

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00:12:27,200 --> 00:12:31,340
But I and that was a really difficult
balance to get because we needed to keep

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00:12:31,340 --> 00:12:34,280
it truthful. And Louisa is always on the
hunt for like what's truthful.

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00:12:34,580 --> 00:12:37,880
And so we're trying to find the balance
of like, I've been in a car crash. I've

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00:12:37,880 --> 00:12:43,900
got a punctured lung. I can't see my
fiance. Like, where can I pitch my,

191
00:12:43,940 --> 00:12:47,240
you know, my sadness, my fear, my
emotion.

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00:12:48,060 --> 00:12:52,000
So that was a really, really tricky
week. But I don't.

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00:12:52,790 --> 00:12:56,570
I don't think anyone else I certainly if
I was playing Anna wouldn't have been

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00:12:56,570 --> 00:13:00,670
able to do it like not in a million
billion years it would have been like

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00:13:00,670 --> 00:13:06,630
journey that you have to go on of like
denial shock anger

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00:13:06,630 --> 00:13:11,630
because okay let's laugh laugh and then
you have at the end of episode three

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00:13:11,630 --> 00:13:17,630
we're gonna play this clip now like you
find out yeah you think it's bad now but

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00:13:17,630 --> 00:13:19,530
yeah let's say that clip

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00:13:21,550 --> 00:13:26,210
I just spoke to your mom and I just
needed to hear your voice.

200
00:13:27,470 --> 00:13:32,150
How could I have been with you last week
and now you're gone?

201
00:13:37,010 --> 00:13:38,170
Alice Kremlberg.

202
00:13:38,410 --> 00:13:39,990
What an amazing Janie.

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00:13:42,190 --> 00:13:45,750
The one and only. I mean, the only
Janie. We were so blessed.

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00:13:46,030 --> 00:13:49,810
Really? Yeah, but that's also down to
casting director Louisa Harland.

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00:13:50,310 --> 00:13:56,250
Oh. Another one of Louisa's skills is
casting.

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00:13:57,370 --> 00:14:00,890
But also because Louisa is such a joy.
Anyone who's ever worked with her. Yeah,

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00:14:00,930 --> 00:14:02,870
wants to work with her again. Yes, same.

208
00:14:03,610 --> 00:14:04,610
I feel the same.

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00:14:04,890 --> 00:14:08,750
She was like, Alice can do it. She has a
working visa for...

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00:14:08,970 --> 00:14:12,850
Ireland we were like you're joking like
Alice Kremlberg from art is the new

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00:14:12,850 --> 00:14:17,950
black and the sinner and renegade now
Louise was like yeah and then we made it

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00:14:17,950 --> 00:14:22,970
happen Alice Kremlberg who read your
books Marion on her travels over to

213
00:14:22,970 --> 00:14:27,530
from New York or where in LA or wherever
she was at the time and is now your

214
00:14:27,530 --> 00:14:33,570
biggest fan yeah that particular scene
listening to the voice Aidan's voicemail

215
00:14:33,570 --> 00:14:35,450
and then obviously being interrupted by

216
00:14:36,440 --> 00:14:41,820
a call from Janie and then the key,
obviously, sentence is, you know, I was

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00:14:41,820 --> 00:14:45,860
you last week and now you're gone. How
is this possible? You know, that's the

218
00:14:45,860 --> 00:14:46,860
real clanger.

219
00:14:47,300 --> 00:14:51,060
That's another scene where I was crying
in between takes.

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I just,

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00:14:54,760 --> 00:14:58,680
you know, what I loved as well, what I
think made everything so much more

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00:14:58,680 --> 00:15:03,140
emotional as well on set was how much
the crew loved the story and, you know,

223
00:15:03,140 --> 00:15:05,540
loved these women and loved the book.

224
00:15:05,950 --> 00:15:10,310
and you know you really felt that you
know you really felt the support but it

225
00:15:10,310 --> 00:15:17,110
all it all just felt so so um so sad you
know and um

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00:15:17,110 --> 00:15:22,430
like during the scenes eva who's our
script supervisor would because because

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00:15:22,430 --> 00:15:24,950
she's sitting looking at the script the
whole time to make sure we're staying on

228
00:15:24,950 --> 00:15:26,210
point and she was crying

229
00:15:27,280 --> 00:15:29,900
because Louisa was performing so
beautifully.

230
00:15:30,200 --> 00:15:35,440
But then part of Louisa's story... I
mean, the writing is fairly good, I have

231
00:15:35,440 --> 00:15:39,320
say. Just all the elements is why
everyone found it so moving.

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00:15:41,420 --> 00:15:45,800
Louisa's storyline is that she can't
access those emotions and she can't cry

233
00:15:45,800 --> 00:15:46,699
she's in shock.

234
00:15:46,700 --> 00:15:51,160
So we'd have to be like, hold back, hold
back, hold back. Oh yeah, you can't cry

235
00:15:51,160 --> 00:15:52,160
yet.

236
00:15:52,180 --> 00:15:56,460
No, and Marion, I was listening to that
voice now in a couple of takes and then

237
00:15:56,460 --> 00:15:59,640
I just feel the tears coming down and
I'm like, sorry, and Ian's like, cut.

238
00:16:00,880 --> 00:16:04,180
We can do this, Louisa, we can do this.
And I'm like, no, no, no, we can do

239
00:16:04,180 --> 00:16:05,180
this.

240
00:16:05,320 --> 00:16:06,560
Cut. Again.

241
00:16:08,620 --> 00:16:09,620
Exactly.

242
00:16:10,750 --> 00:16:15,570
Can I just segue slightly here and say
how gorgeous Helen was trying to calm

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00:16:15,570 --> 00:16:19,630
down and doing the breathing and blow
out the candle, blow out the candle.

244
00:16:19,630 --> 00:16:21,970
never heard that before. That's so
sweet.

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00:16:22,890 --> 00:16:26,590
Yeah, I think that was improvised on the
day. I mean, Maryse is such a brilliant

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00:16:26,590 --> 00:16:31,270
actor. I remember a couple of years ago
when my best mate Siobhan rang me

247
00:16:31,270 --> 00:16:34,330
because she had just been working with
her and she used to ring me after set

248
00:16:34,330 --> 00:16:36,950
being like, you have to work with this
girl. She's fabulous.

249
00:16:39,450 --> 00:16:43,670
I've kind of been obsessed with Maraid
ever since. And I'm so, again, I know,

250
00:16:43,750 --> 00:16:46,250
broken record, but so lucky to have had
her, Helen.

251
00:16:47,750 --> 00:16:49,350
Yeah, she's beautiful in that scene.

252
00:16:49,630 --> 00:16:50,930
She really is.

253
00:16:51,330 --> 00:16:54,670
Because I think so much of the time she
feels she has nothing to offer. Yeah.

254
00:16:54,750 --> 00:16:56,530
And she was useful.

255
00:16:56,850 --> 00:16:58,510
She knew she was helping you.

256
00:16:59,000 --> 00:17:05,640
Like, it was lovely. And you can see
Helen fighting her, you know, fear and,

257
00:17:05,640 --> 00:17:09,480
know, worry for her sister in that
moment, to be strong for her sister in

258
00:17:09,480 --> 00:17:10,940
moment. Yeah, that she had to step up.

259
00:17:11,940 --> 00:17:12,940
Yeah.

260
00:17:13,400 --> 00:17:18,280
It was really... I loved it. And it's
such a small glimpse into, you know,

261
00:17:18,280 --> 00:17:20,359
I hope if we get to make season two.

262
00:17:21,020 --> 00:17:25,720
You know, it's those insights where you
get to see, like, Helen isn't just a...

263
00:17:26,739 --> 00:17:30,900
snarky commentator like she has all of
her own stuff and I got the sense that

264
00:17:30,900 --> 00:17:34,400
that scene she knows what Louisa's going
through she's had her own panic attacks

265
00:17:34,400 --> 00:17:38,720
she knows like what it's like to be in
this space and I just thought that was

266
00:17:38,720 --> 00:17:44,420
really moving yeah I loved it Louisa if
you wouldn't mind staying with us after

267
00:17:44,420 --> 00:17:51,000
the break we're going to talk about my
sex life so we'll be back after this

268
00:17:51,000 --> 00:17:52,000
thank you

269
00:17:54,850 --> 00:17:57,310
Welcome back to part two.

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00:17:58,010 --> 00:17:59,830
The bit that you've all been waiting
for.

271
00:18:01,430 --> 00:18:06,230
Maggie and Garv getting their moment
with their sex schedule. For those of

272
00:18:06,230 --> 00:18:08,470
who don't remember, let's have a little
reminder.

273
00:18:09,550 --> 00:18:10,550
What's this?

274
00:18:10,930 --> 00:18:14,810
I was doing this schedule for visiting
Anna and I thought I would make one for

275
00:18:14,810 --> 00:18:15,629
us as well.

276
00:18:15,630 --> 00:18:16,630
Right.

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00:18:17,270 --> 00:18:20,230
We are having sex every day for a week.

278
00:18:20,810 --> 00:18:21,810
More than a week.

279
00:18:22,670 --> 00:18:24,050
But I've put it into your calendar.

280
00:18:25,290 --> 00:18:27,090
And it'll just pop up on your screen.

281
00:18:27,710 --> 00:18:28,710
Sex now.

282
00:18:29,390 --> 00:18:30,390
What if I'm in a meeting?

283
00:18:31,070 --> 00:18:32,070
I'm joking.

284
00:18:32,270 --> 00:18:33,350
I'm not going to say that.

285
00:18:33,550 --> 00:18:34,850
It's just my name. Very subtle.

286
00:18:35,130 --> 00:18:36,150
No one will know.

287
00:18:38,730 --> 00:18:39,730
Oh,

288
00:18:40,790 --> 00:18:44,750
Maggie and Garb. I'm so fond of them. Oh
my God, I love them.

289
00:18:45,090 --> 00:18:48,150
Love Maggie and Garb. Yeah, they're
gorgeous.

290
00:18:48,990 --> 00:18:52,870
they're such good friends i just wish
she would stand up for him a little bit

291
00:18:52,870 --> 00:18:57,170
when all the girls are rinsing him about
his not paying his round and being

292
00:18:57,170 --> 00:19:03,210
stingy and dry and but that's definitely
a sign of um of love

293
00:19:03,210 --> 00:19:09,330
from the sisters yeah and closeness you
can tell how close they are with garth

294
00:19:09,330 --> 00:19:14,750
because they're so awesome yeah i guess
and it's almost like an instinct at this

295
00:19:14,750 --> 00:19:15,750
stage

296
00:19:15,879 --> 00:19:19,860
Do you know, like, nobody's kind of put
much thought into it. Yes, it's just...

297
00:19:19,860 --> 00:19:22,620
It's just what you do. Someone mentioned
money, we need to do something about

298
00:19:22,620 --> 00:19:23,720
Garve. Yeah, what do you mean about
Garve? Yeah.

299
00:19:24,180 --> 00:19:28,080
Like, there's barely any malice in it,
but it's a habit.

300
00:19:28,320 --> 00:19:30,040
Yeah. And it's just, yeah.

301
00:19:30,960 --> 00:19:34,160
It's always been done. What a great
performance from him as well.

302
00:19:34,460 --> 00:19:37,460
I love him. Has he done acting before?

303
00:19:38,120 --> 00:19:42,240
He has, yeah. And he's a stand -up
comedian. I knew he was a stand -up. I

304
00:19:42,240 --> 00:19:43,460
he's really good at this.

305
00:19:43,680 --> 00:19:45,200
Yeah, I think he's very, very good.

306
00:19:45,420 --> 00:19:49,020
Oh, he's so good. So natural. Also, such
a lovely energy to have on set. Just

307
00:19:49,020 --> 00:19:51,760
so, so funny. So sound.

308
00:19:52,280 --> 00:19:54,640
I love Garb and Maggie together.

309
00:19:54,940 --> 00:19:58,780
And there's something really... Even
though I think they're probably some of

310
00:19:58,780 --> 00:19:59,960
scenes where I laugh the most.

311
00:20:00,860 --> 00:20:02,880
You know, that's also...

312
00:20:03,340 --> 00:20:05,740
Because obviously, you know, this is
such harrowing stuff in this series. I

313
00:20:05,740 --> 00:20:08,040
mean, I find that storyline deeply sad
as well.

314
00:20:08,740 --> 00:20:11,760
Yeah, I didn't anticipate playing Maggie
when I was writing it.

315
00:20:12,500 --> 00:20:16,880
But we cast Anna and Rachel and Helen.
So then we were auditioning for Clare

316
00:20:16,880 --> 00:20:19,460
I was reading Maggie opposite Clare.
Wow.

317
00:20:19,880 --> 00:20:22,480
You know, I read opposite lots of the
actors for different roles.

318
00:20:22,700 --> 00:20:26,120
And Maureen Hughes said to me, you know,
you make a really beautiful Maggie.

319
00:20:26,560 --> 00:20:29,940
And I was like, I'm just reading, like,
I know the words so well now. And she

320
00:20:29,940 --> 00:20:32,180
was like, no, I think you should
audition for Maggie.

321
00:20:32,970 --> 00:20:37,350
And I was like, huh. And I didn't have
that immediate reaction of like, no, I'm

322
00:20:37,350 --> 00:20:42,790
not Maggie. This is not me. And where
Maggie and I overlap, like I've had my

323
00:20:42,790 --> 00:20:48,870
fertility issues and I had a sex
schedule, two failed rounds of IVF, just

324
00:20:48,870 --> 00:20:51,230
to get pregnant for years and like five
miscarriages.

325
00:20:51,650 --> 00:20:53,850
So I really relate to her and that.

326
00:20:55,540 --> 00:20:59,760
grief but it's sort of a nebulous thing
because it's like grief for a life that

327
00:20:59,760 --> 00:21:03,700
you want that's not definitely not
happening but might not be happening and

328
00:21:03,700 --> 00:21:07,420
also there's so much going on in the
family around her that she doesn't even

329
00:21:07,420 --> 00:21:14,200
really have time to fully go there um
and so I entertained the idea and

330
00:21:14,200 --> 00:21:20,600
then we did auditions and sent the
videos to all the you know people who

331
00:21:20,600 --> 00:21:26,800
say and that's how I came to be Maggie
but that's great Yeah, well, if I had

332
00:21:26,800 --> 00:21:30,640
known from earlier that I would be
playing her, I don't think I would have

333
00:21:30,640 --> 00:21:34,560
the sex scene in because it was probably
one of the most uncomfortable things in

334
00:21:34,560 --> 00:21:35,119
my life.

335
00:21:35,120 --> 00:21:36,120
I love it.

336
00:21:36,980 --> 00:21:37,980
Hello.

337
00:21:39,080 --> 00:21:42,560
You said 7 .30? I know, but I didn't
know how long it would take to find

338
00:21:42,560 --> 00:21:44,560
somewhere, you know, get set up.

339
00:21:44,840 --> 00:21:46,540
Set up? Did you bring a swing?

340
00:21:48,220 --> 00:21:49,220
I'm nervous.

341
00:21:49,320 --> 00:21:50,480
So am I. There's still people here.

342
00:21:50,840 --> 00:21:52,740
Yeah, but look, they won't see.

343
00:21:53,790 --> 00:21:55,250
Ready, Mr. Paul Garvin?

344
00:22:00,370 --> 00:22:04,050
You know, if we ever do conceive from
this, we can't tell the kids, okay?

345
00:22:04,750 --> 00:22:06,450
Deal? Maggie, stop.

346
00:22:25,900 --> 00:22:28,220
Fantastic. They're on a shared mission.

347
00:22:28,800 --> 00:22:29,739
They are.

348
00:22:29,740 --> 00:22:31,920
But on that day of the shared mission.

349
00:22:33,580 --> 00:22:39,000
So I met Stephen, who plays Garth. Yeah.
For the second time ever that morning.

350
00:22:39,300 --> 00:22:42,580
And we met the intimacy coordinator. And
what you do is you kind of like

351
00:22:42,580 --> 00:22:47,020
choreograph a sex scene and you show two
versions of it to the director and then

352
00:22:47,020 --> 00:22:47,759
he picks.

353
00:22:47,760 --> 00:22:51,860
So we had like one scene that you saw
and then another one where like my legs

354
00:22:51,860 --> 00:22:53,680
are up on his shoulders.

355
00:22:54,590 --> 00:22:58,010
and Ian saw that when he was like too
high comedy like let's try and keep it

356
00:22:58,010 --> 00:23:05,010
truthful yeah and so that was fine I had
my modesty underwear and we

357
00:23:05,010 --> 00:23:08,370
decided that we were going to do skirt
up knickers down rather than trousers

358
00:23:08,370 --> 00:23:13,630
down so costume were all involved and we
were doing implied nudity so there was

359
00:23:13,630 --> 00:23:17,950
this kind of like a scene or a shot of
my tie where you'd see kind of this

360
00:23:17,950 --> 00:23:21,640
modesty underwear which looked like I
had nothing on So that was fine. We did

361
00:23:21,640 --> 00:23:24,800
that all organized. And then it was
like, go back to the trailer and wait

362
00:23:24,800 --> 00:23:28,080
like four hours because we're going to
shoot a different scene and then we'll

363
00:23:28,080 --> 00:23:30,540
come to you. So I said, fine. We were
waiting for nighttime anyway.

364
00:23:31,480 --> 00:23:32,480
Three hours passed.

365
00:23:32,720 --> 00:23:35,040
Like, I better go to the toilet before
we get all this set up.

366
00:23:35,480 --> 00:23:36,480
Period. Arrives.

367
00:23:36,560 --> 00:23:37,560
Oh, God.

368
00:23:37,940 --> 00:23:38,940
Two weeks early.

369
00:23:39,340 --> 00:23:40,680
Out of absolutely nowhere.

370
00:23:41,060 --> 00:23:42,660
I was in bits. The body knows.

371
00:23:43,720 --> 00:23:45,280
Louisa, wasn't I just in bits?

372
00:23:46,640 --> 00:23:47,860
I was so...

373
00:23:48,510 --> 00:23:52,650
shook like so i rang the irony of it as
well i mean i think we were thinking as

374
00:23:52,650 --> 00:23:57,630
well at a certain point yeah all of us
were what do you mean thinking like all

375
00:23:57,630 --> 00:24:01,690
of the sisters like we're on the same
period oh thinking oh that's thinking

376
00:24:01,690 --> 00:24:06,610
right i get you yes you're catching each
other yeah yeah we just get texts into

377
00:24:06,610 --> 00:24:10,430
the whatsapp group from someone's
trailer being like oh that is so

378
00:24:10,430 --> 00:24:15,390
isn't it And I'd be like, guys, my
stomach's killing me. Is someone on

379
00:24:15,390 --> 00:24:17,430
period? And they'd all be like, yeah.
And I'd be like, what?

380
00:24:18,350 --> 00:24:22,850
Wow. And then, so we had to change the
whole thing. I had to wear, I was like,

381
00:24:22,930 --> 00:24:28,210
so I had to, she came with her, the
intimacy coordinator came with, like,

382
00:24:28,210 --> 00:24:31,230
period gear. She was amazing.

383
00:24:31,550 --> 00:24:32,129
What a legend.

384
00:24:32,130 --> 00:24:33,970
She had all of the options.

385
00:24:34,910 --> 00:24:38,010
And I was like, I just don't want to
have to tell, like, Ian, the director.

386
00:24:38,510 --> 00:24:42,190
JJ the cameraman yeah Johnny that's like
the first day I don't have to tell

387
00:24:42,190 --> 00:24:46,110
these people we're changing how this
looks now because I have my period and

388
00:24:46,110 --> 00:24:50,130
was like no that's fine that's my job
this is all fine but that's class yeah

389
00:24:50,130 --> 00:24:54,450
I got to wear my full briefs and we
changed the shots and whatever and there

390
00:24:54,450 --> 00:24:59,150
no embarrassment but it was very
stressful and I was sweating and in that

391
00:24:59,150 --> 00:25:05,140
I'm wearing like a silk like a silky
shirt thing and I was like sweating so

392
00:25:05,140 --> 00:25:08,820
out of nerves, which you'll know all
about, Louisa. Louisa's the sweetest

393
00:25:09,640 --> 00:25:10,640
I'm a sweater.

394
00:25:11,780 --> 00:25:17,080
But also, you know, we had this
incredible, lovely crew that, like, even

395
00:25:17,080 --> 00:25:20,960
did, you could say it. You know what I
mean? It was such a safe space, wasn't

396
00:25:20,960 --> 00:25:26,460
it? It was. I don't think I felt that
on, like, week three, though, you know?

397
00:25:26,460 --> 00:25:30,060
And for that particular scene. For that
particular scene. And I didn't want

398
00:25:30,060 --> 00:25:33,440
Stephen to know. And then she, because I
was like, I don't want him to be like,

399
00:25:34,300 --> 00:25:38,880
and he'll hear the rustle of something,
you know. And so then Ciara came with

400
00:25:38,880 --> 00:25:43,320
this, you know, like a Pilates ball. So
it's like an exercise ball, but smaller.

401
00:25:43,980 --> 00:25:48,120
And so she was like, I have this nine
inch Pilates ball. And I was like, why

402
00:25:48,120 --> 00:25:49,120
we talking about inches?

403
00:25:49,580 --> 00:25:54,900
So she was like, I have this half
deflated. So this will go in between

404
00:25:54,900 --> 00:25:56,000
pelvis and his pelvis.

405
00:25:56,280 --> 00:26:00,200
And so then he won't feel, no one will
feel anything and it will absorb a

406
00:26:00,200 --> 00:26:01,200
bit of the thrust action.

407
00:26:02,570 --> 00:26:04,490
I mean, that is really, really
innovative.

408
00:26:04,830 --> 00:26:06,090
Yeah. Kind.

409
00:26:06,330 --> 00:26:09,730
She has all of the tricks to make
everyone feel comfortable and safe.

410
00:26:09,950 --> 00:26:13,030
But it meant that in that bit where I
stand up and say, good job.

411
00:26:13,230 --> 00:26:16,510
Actually, there's a nine inch Pilates
ball falling on the ground from between

412
00:26:16,510 --> 00:26:17,790
legs, which you can't see.

413
00:26:18,410 --> 00:26:22,870
And then the high five at the end of
that scene was completely improvised by

414
00:26:22,870 --> 00:26:26,750
Garth. And I think by Stephen. And I
just think it's a beautiful moment. It

415
00:26:26,750 --> 00:26:27,750
really is. Yeah.

416
00:26:28,850 --> 00:26:30,610
They're a hugely convincing couple.

417
00:26:31,230 --> 00:26:35,510
So I really hope that they have success
on their journey. Oh my God, me too.

418
00:26:35,810 --> 00:26:37,590
Yeah. I mean, they've put enough into
it.

419
00:26:38,310 --> 00:26:39,310
They have indeed.

420
00:26:40,110 --> 00:26:41,110
Absolutely.

421
00:26:41,730 --> 00:26:44,990
I think we all fell in love with Stephen
a bit though, didn't we? On that night

422
00:26:44,990 --> 00:26:49,130
where we shot episode one, the first
night that we all shot with Stephen and

423
00:26:49,130 --> 00:26:53,610
just had us in stitches the whole night.
Like it was one of the only times

424
00:26:53,610 --> 00:26:54,610
where...

425
00:26:55,630 --> 00:26:59,270
I felt like everyone was annoyed with me
because I couldn't stop laughing.

426
00:26:59,830 --> 00:27:03,790
And Ian was like, come on, we can get
through it. And you know, then when

427
00:27:03,790 --> 00:27:05,470
start getting cross, it gets funnier.

428
00:27:05,750 --> 00:27:06,750
Definitely.

429
00:27:06,930 --> 00:27:10,510
But it was all Stephen's fault. He just
had us in hijinks the whole night.

430
00:27:12,010 --> 00:27:13,010
He really did.

431
00:27:13,050 --> 00:27:18,330
And, you know, yeah, I mean, just
thinking right there, I just love Ian so

432
00:27:18,530 --> 00:27:19,530
I know.

433
00:27:19,730 --> 00:27:23,310
One of the best directors I've ever
worked with. That is so lovely to hear.

434
00:27:24,319 --> 00:27:28,200
brilliant actor as well which makes a
brilliant director but just as a person

435
00:27:28,200 --> 00:27:33,940
mean instantly I think as soon as I met
him but you know as time went on and now

436
00:27:33,940 --> 00:27:39,100
obviously there's been a gap in film you
know I miss him yeah god yeah he has

437
00:27:39,100 --> 00:27:43,540
such respect for you too like anytime
I'm writing something and like I send it

438
00:27:43,540 --> 00:27:45,780
to him and we'll talk about it he's like
Louise is going to have a problem with

439
00:27:45,780 --> 00:27:50,040
this because this isn't there's no logic
to this Louise is going to need to know

440
00:27:50,040 --> 00:27:53,220
where she came from before this scene
and I'm like oh for God's sake

441
00:27:55,490 --> 00:28:01,530
Yeah, I mean, seriously, just, I mean,
such a great choice for the series and

442
00:28:01,530 --> 00:28:03,150
just got into such a shorthand.

443
00:28:04,570 --> 00:28:08,990
He just, you know, he just held the room
so well and all the crew and, you know,

444
00:28:09,010 --> 00:28:12,490
he has this, you know, no one makes me
laugh like he did, which I think was

445
00:28:12,490 --> 00:28:15,930
very, very useful for me playing Anna
and I think for all of us, obviously for

446
00:28:15,930 --> 00:28:17,930
Caroline and for us all, you know.

447
00:28:19,830 --> 00:28:22,150
I don't know if I've spoken about
Caroline, yeah, obviously.

448
00:28:23,500 --> 00:28:30,420
How amazing to have, like, to see
Rachel, such a beloved character, like

449
00:28:30,420 --> 00:28:36,380
of our lives, to see her come to life.
So, you know, yeah, she's amazing. I was

450
00:28:36,380 --> 00:28:40,220
going to ask you about that just before
we finish. Like you said, and I've said

451
00:28:40,220 --> 00:28:44,920
it as well, that this is kind of a love
story between Rachel and Anna and all of

452
00:28:44,920 --> 00:28:46,640
the stuff that Anna has to deal with.

453
00:28:48,840 --> 00:28:52,520
With all of the stuff that's after
coming up for Rachel, how did you sort

454
00:28:52,520 --> 00:28:57,980
juggle? those two I guess because those
are the two plates that are spinning for

455
00:28:57,980 --> 00:29:02,900
you like all of this is happening like
you can imagine a version where Aidan

456
00:29:02,900 --> 00:29:07,140
doesn't exist and Anna is just there but
Rachel's storyline is continuing and

457
00:29:07,140 --> 00:29:10,860
that will be really upsetting for Anna
also to be like Jesus Rachel's an addict

458
00:29:10,860 --> 00:29:13,880
and I didn't see it and what the hell am
I going to do but you're dealing with

459
00:29:13,880 --> 00:29:18,740
that on top of the Aidan stuff yeah and
the Janie stuff and the Janie stuff how

460
00:29:18,740 --> 00:29:22,480
is that like keeping Rachel in your mind
when all of the Aidan stuff is

461
00:29:22,480 --> 00:29:23,480
happening

462
00:29:23,980 --> 00:29:30,020
Well, I mean, she just had to convert
those emotions into anger and

463
00:29:30,020 --> 00:29:34,120
blame her for it. Yeah.

464
00:29:36,300 --> 00:29:38,800
Because it's too much.

465
00:29:39,040 --> 00:29:40,040
It's too much.

466
00:29:41,100 --> 00:29:47,720
It was far too much. She was so blinded
by it. I think it's in episode three as

467
00:29:47,720 --> 00:29:51,920
well where Anna realises just how...

468
00:29:53,679 --> 00:29:59,020
affected by substances, Rachel is, and
that guilt that she feels.

469
00:29:59,420 --> 00:30:04,640
And, you know, I think, you know, she
feels so guilty how she brushes it off

470
00:30:04,640 --> 00:30:05,499
with Luke.

471
00:30:05,500 --> 00:30:10,360
And I really love, I say this to Steph
all the time, and I know we don't get to

472
00:30:10,360 --> 00:30:14,260
see enough of it, but I really love Anna
and Luke's relationship because they

473
00:30:14,260 --> 00:30:15,440
know each other so well.

474
00:30:15,740 --> 00:30:16,740
Yeah.

475
00:30:17,880 --> 00:30:19,360
But yeah, I mean.

476
00:30:20,320 --> 00:30:23,340
Yeah, I mean, it is. It is a love story
between Anna and Rachel.

477
00:30:24,660 --> 00:30:29,620
I definitely had that the whole time in
my mind, you know. And also, I wasn't

478
00:30:29,620 --> 00:30:36,000
just grieving Aidan. I was grieving
Rachel because obviously we were apart

479
00:30:36,000 --> 00:30:37,000
we're never apart.

480
00:30:37,760 --> 00:30:41,180
Yeah. Yeah, and you having to deal with
all of that without her.

481
00:30:41,929 --> 00:30:45,170
Yeah. And kind of Helen. You can kind of
see that as well. Maybe Helen stepping

482
00:30:45,170 --> 00:30:49,650
in. The vacuum. Yeah. I'll help you to
breathe because probably it should have

483
00:30:49,650 --> 00:30:50,650
been Rachel or something.

484
00:30:51,270 --> 00:30:53,090
Yeah. And yeah, she does.

485
00:30:53,390 --> 00:30:59,810
She tries to turn her relationship that
she has with Rachel to find that with

486
00:30:59,810 --> 00:31:02,150
Helen. And I think she does, you know.

487
00:31:02,570 --> 00:31:04,110
But Helen's so different to Rachel.

488
00:31:04,390 --> 00:31:05,390
Helen's so mature.

489
00:31:05,970 --> 00:31:06,970
Yeah.

490
00:31:07,890 --> 00:31:10,030
In comparison to Rachel, obviously.

491
00:31:10,730 --> 00:31:11,589
Yeah, she is.

492
00:31:11,590 --> 00:31:18,450
That is what, as I wrote it, that Anna's
continuing and really trying

493
00:31:18,450 --> 00:31:23,470
to have this relationship with Helen
that is supportive like it was with

494
00:31:23,630 --> 00:31:27,530
Now, we can't give too many spoilers
away, but I love when we get to episodes

495
00:31:27,530 --> 00:31:31,170
four, five and six, you can see Anna
trying to...

496
00:31:31,500 --> 00:31:35,380
have conversations with Helen, but
they're going a completely different way

497
00:31:35,380 --> 00:31:37,260
they would if they were conversations
with Rachel. Yeah.

498
00:31:37,700 --> 00:31:39,360
You have to spell it out then.

499
00:31:39,760 --> 00:31:41,540
She's like, no, you're answering wrong.

500
00:31:41,780 --> 00:31:42,920
This is how Rachel answers.

501
00:31:43,340 --> 00:31:46,940
Yeah, that's not what I expected or what
I wanted to hear.

502
00:31:47,140 --> 00:31:48,140
Yeah.

503
00:31:49,660 --> 00:31:54,440
In three is the Mary Black, yeah? Were
we talking about that? Oh, stop it. Mary

504
00:31:54,440 --> 00:31:58,500
wants to discuss. Yes. I mean, I don't
know. Some people say it's the best song

505
00:31:58,500 --> 00:31:59,500
ever written.

506
00:31:59,630 --> 00:32:03,030
But it is gas that you were listening to
it, trying to make yourself cry.

507
00:32:03,890 --> 00:32:09,830
And the way Helen comes back in and
goes, Anna, just stop it, would you?

508
00:32:10,690 --> 00:32:11,750
That was very funny.

509
00:32:12,250 --> 00:32:17,610
I don't want to sound sycophantic, but
watching you do that scene, sometimes

510
00:32:17,610 --> 00:32:21,830
it's just like a masterclass in acting.
So obviously when we're recording that

511
00:32:21,830 --> 00:32:23,550
scene, the song isn't actually playing.

512
00:32:23,870 --> 00:32:25,370
Because we're in continuity.

513
00:32:25,910 --> 00:32:26,910
Right.

514
00:32:27,710 --> 00:32:32,710
But you can see that Louisa, her toes
are moving to the music that's not

515
00:32:32,710 --> 00:32:36,910
playing. Fair. Wow. When we add it over,
it all just looks so real.

516
00:32:37,150 --> 00:32:40,390
Yeah, it did. I remember watching it at
the time being like, you're a genius.

517
00:32:40,470 --> 00:32:41,610
Like, who thinks of that?

518
00:32:41,810 --> 00:32:43,110
And keep it going. Yeah.

519
00:32:44,070 --> 00:32:48,790
Have I just opened a door to the past?
Says Helen. Yeah. I love that. I know.

520
00:32:48,870 --> 00:32:52,670
And then the follow up line, sorry, I'm
colonizing your room. Just so clever.

521
00:32:52,990 --> 00:32:54,270
It's just so clever.

522
00:32:55,150 --> 00:32:56,330
Very. Yes.

523
00:32:57,999 --> 00:33:02,640
Oh, God, I just love these girls so
much. I want to go and watch it now.

524
00:33:03,140 --> 00:33:04,140
Yes.

525
00:33:04,480 --> 00:33:08,360
Thank you so much, Louisa. Thank you for
joining. You're an angel and, like, an

526
00:33:08,360 --> 00:33:09,360
amazing actress.

527
00:33:09,380 --> 00:33:10,380
So great.

528
00:33:10,660 --> 00:33:13,060
I mean, we could literally go on and on,
couldn't we?

529
00:33:13,460 --> 00:33:20,400
Before we finish, we're going to listen
to... I mean, you can stay with us

530
00:33:20,400 --> 00:33:23,320
if you want. We're going to listen to a
clip from Mammy and Daddy's ISO.

531
00:33:24,540 --> 00:33:25,540
You're...

532
00:33:25,760 --> 00:33:30,000
Intolerance is impossible to live with,
expecting us all to be perfect. Are you

533
00:33:30,000 --> 00:33:31,000
joking?

534
00:33:31,260 --> 00:33:33,960
You think I'm only happy when everyone
else around me is perfect?

535
00:33:34,860 --> 00:33:36,820
Well, no wonder I'm never fucking happy.

536
00:33:37,080 --> 00:33:39,800
Look, maybe this was a bad idea.

537
00:33:40,220 --> 00:33:42,320
We didn't come here to upset her.

538
00:33:42,700 --> 00:33:44,480
Jack, don't do that.

539
00:33:44,700 --> 00:33:45,339
Do what?

540
00:33:45,340 --> 00:33:46,500
You always do this.

541
00:33:46,720 --> 00:33:49,760
What? You're so uncomfortable upsetting
the girls. We don't need to be getting

542
00:33:49,760 --> 00:33:50,760
into fights here.

543
00:33:51,220 --> 00:33:53,900
It's not a fight. Sounds like a fight to
me.

544
00:33:54,200 --> 00:33:58,540
Yeah. Calling me intolerant. No, Rachel,
she said you were intolerant.

545
00:33:58,820 --> 00:34:02,300
Oh, shut up, you white beater. I'm not
putting up with this. This is batshit.

546
00:34:02,700 --> 00:34:04,060
She can't say that to them.

547
00:34:04,540 --> 00:34:08,980
Rachel, stop. I'm sorry, don't even make
me out to be some unreasonable bitch

548
00:34:08,980 --> 00:34:13,120
who grew up abusing their poor and meek
parents. You have no idea what it was

549
00:34:13,120 --> 00:34:14,098
like to live with them.

550
00:34:14,100 --> 00:34:16,260
The teeniest mistake was a disaster.

551
00:34:17,159 --> 00:34:18,159
Mum, tell them.

552
00:34:18,409 --> 00:34:22,230
About the time that you abandoned me,
all of us, because I ate Maggie's Easter

553
00:34:22,230 --> 00:34:25,870
egg when I was three. What are you
talking about? I ate Maggie's Easter egg

554
00:34:25,870 --> 00:34:27,810
you left for a week and you didn't come
back.

555
00:34:28,010 --> 00:34:29,429
When? I don't know.

556
00:34:30,330 --> 00:34:32,489
Easter? Grandad died, love.

557
00:34:32,790 --> 00:34:33,909
That's why she left.

558
00:34:36,150 --> 00:34:38,710
I only ever left for a week when my
father died.

559
00:34:39,090 --> 00:34:40,909
And you thought it was your fault?

560
00:34:43,670 --> 00:34:46,810
Yeah, I thought she was angry because I
upset Maggie.

561
00:34:48,500 --> 00:34:49,760
God, intense.

562
00:34:50,420 --> 00:34:54,400
I was just going to say, I've watched
that scene three times because I was so

563
00:34:54,400 --> 00:34:59,340
desperate to see it at the time. I read
on the page so well and I knew those

564
00:34:59,340 --> 00:35:02,600
three actors were just going to nail it.
And even the surrounding people in the

565
00:35:02,600 --> 00:35:06,220
cloisters, I just find it so moving. And
it still has the quintessential you,

566
00:35:06,300 --> 00:35:08,680
Marion, of that line about Easter.

567
00:35:09,140 --> 00:35:15,260
I don't know, Easter. Again, it's just a
moment of humour in such an intense

568
00:35:15,260 --> 00:35:16,300
scene. It's just perfect.

569
00:35:17,580 --> 00:35:24,280
I know it seems really brutal, but
that's what happens. That's kind of the

570
00:35:24,280 --> 00:35:31,280
point of those situations in rehab, that
people are, they break

571
00:35:31,280 --> 00:35:35,360
over, open each other's shells, you
know, to kind of get to the truth.

572
00:35:36,060 --> 00:35:39,280
And there were so many drafts that I did
of that scene. Oh.

573
00:35:39,500 --> 00:35:42,860
And different people kept saying, the
Easter egg thing isn't working. I don't

574
00:35:42,860 --> 00:35:47,520
believe it. The Easter egg, there's no
way that it's just, there's no way that

575
00:35:47,520 --> 00:35:48,900
she's carrying this Easter egg thing.

576
00:35:49,240 --> 00:35:55,540
And I think people who aren't addicts
don't understand how one tiny thing,

577
00:35:55,540 --> 00:35:58,760
from your past, can be held onto so
much. I shame you so deeply.

578
00:36:00,000 --> 00:36:04,420
And chronically. Yeah. Yeah, that it
never dissipates, that it remains as

579
00:36:04,420 --> 00:36:05,820
terrible as when you were six.

580
00:36:06,120 --> 00:36:10,960
Yeah. And I think that the Easter egg
being such a fundamental part of the

581
00:36:11,380 --> 00:36:14,960
Yeah. It can't be anything else. It
can't. It has to be this. Yeah.

582
00:36:15,540 --> 00:36:22,500
And I think, and I'm kind of interested,
Louisa and Marion, to think like,

583
00:36:22,540 --> 00:36:25,440
and Marion, your perspective will be
slightly different.

584
00:36:26,320 --> 00:36:30,880
So Rachel says, you left because I took
Maggie's Easter egg. Yeah. And then

585
00:36:30,880 --> 00:36:32,700
Mammy's like, my father died.

586
00:36:33,540 --> 00:36:38,220
Can you not see how self -centred you
are? And Rachel's saying, can you not

587
00:36:38,220 --> 00:36:42,600
how, as my mother, it was your job to
not make me feel like this for 20 years?

588
00:36:43,000 --> 00:36:45,140
Like, who do you think is right there?

589
00:36:45,340 --> 00:36:46,340
Both of them are.

590
00:36:46,660 --> 00:36:49,520
I agree, Mary. Both of them are. Because
it's just so truthful.

591
00:36:49,800 --> 00:36:53,820
Rachel was six and Mammy Walsh's dad had
just died.

592
00:36:54,100 --> 00:36:55,480
Like, they're both given.

593
00:36:56,000 --> 00:36:58,660
Like free get out of jail cards.

594
00:36:58,980 --> 00:37:05,380
I mean, neither of them were able to
fight their corner or like Mammy White

595
00:37:05,380 --> 00:37:10,640
didn't even realise it was affecting
Rachel or any of them because she's a

596
00:37:10,640 --> 00:37:12,400
being and she was a human being
grieving.

597
00:37:13,440 --> 00:37:20,360
And so you think that Rachel... But do
you not think that there's an

598
00:37:20,360 --> 00:37:24,120
onus on Rachel to say to her mother
later in life, here, this thing really

599
00:37:24,120 --> 00:37:25,120
me?

600
00:37:25,990 --> 00:37:31,230
I don't think that shame works that way.
Okay. Sometimes people are too ashamed

601
00:37:31,230 --> 00:37:32,470
to mention things.

602
00:37:32,710 --> 00:37:36,630
Because? Yeah, you know, because
defending herself or asking for an

603
00:37:36,630 --> 00:37:41,770
would involve like excavating the
terrible thing that she did. Yeah. And

604
00:37:41,770 --> 00:37:43,630
she's still thinking of that as a six
-year -old.

605
00:37:44,010 --> 00:37:48,830
And it was a terrible thing to do, to
eat your sister's Easter egg, like a

606
00:37:48,830 --> 00:37:50,610
Easter egg belonging to your good
sister.

607
00:37:50,890 --> 00:37:53,890
And she couldn't.

608
00:37:54,540 --> 00:37:58,840
Because the minute you start, she would
never have thought that she had any

609
00:37:58,840 --> 00:38:02,760
right to ask for an explanation, ever.
Yes, okay.

610
00:38:03,080 --> 00:38:07,880
And Mammy Walsh wouldn't even have known
it had anything to do with Easter eggs

611
00:38:07,880 --> 00:38:08,880
or Rachel or anything.

612
00:38:09,300 --> 00:38:15,560
And Louisa, when you saw that scene, did
you think that Mammy was out of order

613
00:38:15,560 --> 00:38:22,080
for dropping the Aidan bomb as she did
in the ISO? Or what was your reaction to

614
00:38:22,080 --> 00:38:23,080
it?

615
00:38:23,180 --> 00:38:27,800
No, I mean, I think it's such an
emotional space, you know, as you're

616
00:38:27,840 --> 00:38:29,520
such an intense space.

617
00:38:30,420 --> 00:38:31,560
No, I don't.

618
00:38:32,980 --> 00:38:34,740
You know, she can't think.

619
00:38:35,000 --> 00:38:37,600
She can't think in that moment.

620
00:38:38,120 --> 00:38:44,040
I love that moment. I mean, I know it's
so horrible, but I just, yeah, I just

621
00:38:44,040 --> 00:38:47,240
love that scene. I just, I love it. I
couldn't wait to see it. I loved reading

622
00:38:47,240 --> 00:38:49,800
it and I couldn't wait to see them do it
and actually seeing it.

623
00:38:50,610 --> 00:38:53,510
And yeah, I've watched it a few times
now.

624
00:38:53,930 --> 00:38:55,630
I rewind a few times.

625
00:38:56,510 --> 00:39:03,450
I think, yeah, that moment of her
dropping that bomb, like Aidan is dead

626
00:39:03,450 --> 00:39:04,450
didn't even think to ask.

627
00:39:04,990 --> 00:39:11,350
Just how, like there's just a bit of
Mammy Walsh in Rachel and a bit of

628
00:39:11,350 --> 00:39:15,390
in Mammy Walsh. Yeah. Like you're being
really inconsiderate here. Yeah.

629
00:39:16,110 --> 00:39:19,430
But you don't even know that you're
being. How bad you're being. Yeah.

630
00:39:19,430 --> 00:39:20,470
you're so riled up.

631
00:39:20,670 --> 00:39:22,750
Yeah. And Mammy Walsh is angry.

632
00:39:23,070 --> 00:39:26,050
Yeah. Like she's angry about a lot of
things.

633
00:39:26,330 --> 00:39:30,950
Yeah. And in that moment, she's very,
very angry with Rachel and it's a way to

634
00:39:30,950 --> 00:39:31,609
hurt her.

635
00:39:31,610 --> 00:39:33,390
Yeah. But that is. It is.

636
00:39:33,610 --> 00:39:37,330
It's a weapon. She uses it as a weapon.
She does. She uses it as a weapon.

637
00:39:37,890 --> 00:39:38,890
Yeah.

638
00:39:39,910 --> 00:39:43,950
I think Carrie Crowley as Mammy did an
amazing job there.

639
00:39:44,190 --> 00:39:45,190
Oh, completely.

640
00:39:46,359 --> 00:39:50,040
And then, I mean, God loved the pair
then, Mammy and Daddy Walsh.

641
00:39:50,260 --> 00:39:54,200
Like, you know, this isn't just about
the sisters, it's about their

642
00:39:54,200 --> 00:39:58,520
and the way that she feels constantly
undermined by him needing to be loved.

643
00:39:59,080 --> 00:40:01,240
He's got the please love me disease as
well.

644
00:40:01,720 --> 00:40:03,240
Although he's not an addict.

645
00:40:03,710 --> 00:40:08,690
Oh no I love Daddy Walsh so much. Oh no
I adore him. I adore him but I feel for

646
00:40:08,690 --> 00:40:11,830
Mammy Walsh because somebody has to be
the bad cop and it's her.

647
00:40:12,050 --> 00:40:14,830
And it's her. He's incapable of being
bad cops.

648
00:40:15,030 --> 00:40:17,250
He's giving money away left right and
centre.

649
00:40:17,590 --> 00:40:19,810
Like you can't be a bad cop and do that.

650
00:40:20,430 --> 00:40:27,150
I do also love the I think it's so
intense and so emotional that we

651
00:40:27,150 --> 00:40:31,810
really feel for Rachel I think for like
the first time in a really visceral way.

652
00:40:32,540 --> 00:40:39,300
Yeah. I mean, the utter horror of him
having died and it being her fault.

653
00:40:39,520 --> 00:40:44,680
Yeah. And nobody telling her, like, has
Anna tried, does Anna want to see me?

654
00:40:44,700 --> 00:40:48,020
Like, I need to talk to my sister. And
everyone's like, no, she doesn't want to

655
00:40:48,020 --> 00:40:49,100
see you at all. Yeah, she's not going to
talk to you.

656
00:40:50,040 --> 00:40:52,040
Yeah, like she's so abandoned.

657
00:40:52,720 --> 00:40:56,180
Like, she's been abandoned by the person
she loves the most, which is Anna.

658
00:40:58,020 --> 00:41:01,340
Well, I guess we're going to have to
hold off and wait and see if they can

659
00:41:01,340 --> 00:41:02,340
make it up.

660
00:41:02,620 --> 00:41:04,660
Yes. Watch this space.

661
00:41:05,120 --> 00:41:09,020
Absolutely watch this space. Louisa
Harland, you absolute legend.

662
00:41:09,280 --> 00:41:14,460
You are a complete gem, an icon, a great
actor.

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Thank you so much for joining us. And
thank you to everybody for listening to

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00:41:17,950 --> 00:41:20,850
episode three of the Walt Sisters
Companion Podcast.

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00:41:21,130 --> 00:41:27,730
Join us next Monday when we will review
and regurgitate episode four, which is

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00:41:27,730 --> 00:41:30,610
on Sunday night, 9 .30 on RT1. Thank
you.

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00:41:30,660 --> 00:41:35,210
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