Obviously Tilda is a rocker in this movie and Ralph has got his record producing background, but Penelope, she has also has a sort of rocker vibe to her, she’s very apathetic. What were you trying to build in there?
KAJGANICH: To me, what’s interesting about Penelope is she’s learning this language from Harry, this kind of provoking, pitiless language she has with the world. And is trying that on for size because she sees how it benefits him. What I love about the way that Dakota played that character is that she really understood that whole role as a performance and we only get one moment where we see her face and it’s not performing for anyone anymore. What was written into the part was the intentionality of that character as always wanting to fuck with someone. And always trying to tweak the story to amuse herself. And it’s such a dangerous way to play with the world and I think she played it really well.
There is this fantastic element to her too, where in the original film she is sort of this unrealized, simple ingenue. But she’s written in this as a woman who is very clearly trying to be that ingenue, the uncomplicated, not self-aware ingenue of the first film.
KAJGANICH: It was all of these things were a collaboration with the actors, we did a lot of one on one rehearsal and group rehearsal. It was exciting to write a character who is really performing the whole time. You can sort of guess what she’s after, but she’s very smart and gone a lot without guidance. She absorbs different kinds of influences in a way that’s very unfiltered. She’s like a sponge, a postmodern sponge. And I think her new interest is this guy Harry who has this very weird way of provoking in the world.
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