AUP S2E8: The Silent Twins
AUP S2E8: Transcript
TRANSCRIBED: Albert Parnell
Cortney Wills Hello and welcome to Acting Up the podcast that dives deep into the world of TV and film that highlights our people, our culture and our stories. I’m your host, Cortney Wills entertainment director at theGrio. And this week we are jumping in to the silent twins. I sat down with the film’s director, Agnieszka Moshinsky, also known as Agar, the Polish director, at the helm of this riveting, true story. I also sat down with the film’s two stars, Letitia Wright and Tamara Lawrence, who take on the roles of two twin sisters whose true story is stranger than fiction. The film from Focus features theaters nationwide on September 16th and tells the astounding true story of twin sisters who only communicated with one another. As a result, they created a rich, fascinating world to escape the reality of their own lives. Based on the bestselling book The Silent Twins is a truly fascinating tale. So before we get into this, I just want to explain what a unique project this is, not only because it’s based in truth, but because I think that it was handled with such delicacy. And I think that that sensitivity was really necessary to tell the true story of these two girls who grew into women and whose story for the longest time was kind of like folklore. I mean, I didn’t even know halfway through the film the first time where to put it in my brain. It felt like I was a fly on the wall of this really peculiar but really interesting and confusing story that I just didn’t really know what to make of. I found myself researching the true story of these twins who were born in Barbados and moved to the UK when they were young and suffered really terrible brutality at the hands of their all white schoolmates. It’s hard to sum up like the complexity of their story in just a few words, but I’m going to give it a go. These twins were immigrants to the UK.
Cortney Wills They were bullied relentlessly by their classmates and ended up kind of cutting themselves off from the world by refusing to speak to anybody. Not their parents, not their older sister, like they were silent, literally silent. Hence the title Silent Twins to the Outside World. But when they were behind closed doors in their bedroom, they were talking up a storm, usually in this language that they created themselves, which was a mix of its sped up patois and English spoken really fast, but no one else could decipher it. No one else could understand them. And that’s exactly how they wanted it. They would walk in, sink, move in, sink, eat and sink. And even though they were literally attached at the hip, oftentimes they would break out into these violent spats between each other. Usually when one of them seemed like they might decide to talk or interact with someone else. The schools didn’t know what to do with them. They were bullied so badly that they were released from school a few minutes early every day just to like try and outrun the bullies that would undoubtedly be following them. And eventually they were institutionalized alone in their rooms with each other. They would create these fantasy stories. They wrote poetry, they created characters, they had these elaborate imaginations and even got themselves published. So even though they were pretty mute to the outside world, their internal lives were very rich. As teenagers, they started experimenting with alcohol and drugs and boys and getting into a little bit of trouble. Nothing nuts, nothing insane like petty theft of things like pencils and erasers.
Cortney Wills They started a fire like they were definitely getting into mischief, but nothing that would ever warrant being institutionalized for an extended amount of time, which they were. I don’t want to give too much away, but you can Google the silent twins. You can read the book. You can look at this really fantastic story in The New Yorker from a very long time ago called We Too made one to get more information. But I was really struck by this film. I was very moved by it. I was very perplexed by it. And I wanted to find out from the director, you know, what her approach was, what her motivation was for telling this story, and how she handled the delicate balance of representing these lives accurately and showing what was responsible for these tragedies, really. The performances by Letitia Wright and Tamara Lawrence were incredible. I mean, I’ve really never seen anything like it. And I really wanted to sit down with these two actors to find out how they tapped into these characters and what it took to pull off these roles, which they both did just such a remarkable job doing. So if you haven’t seen it, I highly recommend getting yourself to the theater and watching the Silent Twins, or at least getting your hands on the bestselling book, The Silent Twins, before jumping into this episode. Here we go.
Cortney Wills I am so grateful for you taking the time to talk to me today. This project was so powerful when I saw it and really quite puzzling and kind of haunting after I saw it. I found myself halfway through my first watch, having to stop for a second and actually Google the real life twins, because I couldn’t really comprehend that this was true. And I felt like I needed I needed to know first what I was about to see in order to, like, even know where to file in my brain, if that makes sense to you.
Agnieszka Smoczynska Yes.
Cortney Wills And and I read the production notes and I’m really glad that I did, because that cleared up a lot of things that I think I was grappling with as a viewer. And that was you know, it was a heartbreaking story. I felt just crushed for these girls that I felt like were failed by so many systems, you know, by society, by their family, by their teachers, by the people who institutionalized them, by their doctors. But then there was this other part of me that couldn’t help but wonder, like. You know, is there something supernatural going on? Like, it was eerie and creepy and and like I said, very haunting. And I didn’t quite know. Where to place all of that. But one takeaway I had for sure is that these girls were absolutely victims of immense racism and really a tortured childhood. And I wondered for you particularly coming to this, as you know, a Polish woman, like, what was your understanding of that racism piece in their story when you came to the project?
Agnieszka Smoczynska You know, when I I remember when I for the first time, when I read the story, I didn’t know the story. I didn’t know about John and Jennifer. And then I started to go to the same what you what you did. I just started to read about them on the Internet. And I found that in Poland there was some articles about them. And I was you know, I was told to say I was shocked and I was really, you know, my I was really shocked. And most how they because they grew up in the hub of what was one of the most racism town was during this time they were also. One of the Black family in the in this area in Haverfordwest. And I felt very, very sorry for them. And I also was so. Moved that their silence. What I understood and what also was heartbreaking, their silence was a choice for me and it was for me. It was the respond to the systemic racism at school. That’s what that’s how I wanted to treat it, that it was the whole story and the movies about their response to the racism and they decided to exclude the things from themselves, from the outside world, because how the outside world treated them. What I got to know also they were set free home during a school of 5 minutes before the well in the school and because because how the kids you know treated stems and everything.
Agnieszka Smoczynska For me this was very I you know I couldn’t to I couldn’t imagine it and then I what also moved me very deeply that they stay inside and in their own room very strong vivid and they decided to completely devote to the art in some way and to communicate with the outside world lived everything communication. And this this what I found very for me it was very. How to say removing the statue. I don’t know if I can find the word, but this is what I found. And also, I started to read about John and Jennifer. And then the buckets, the. That’s what you have to know. It’s not that. It’s not exactly. So this is based on Marjorie book. And that’s what I like very much in the script that Andrea Segal decided to tell the story. Also from their point of view and to for me and for Leticia Tamara, we decided to tell the story full of respect and tell the story how extraordinary they were and also ordinary at the same time. Because what I didn’t like, I didn’t like that there were so many evil queens and strange queens. I wanted we wanted to tell the story about them as artists, as the girls. We’ve. Beautiful, limitless imagination and how they and how they decided to. To exclude from the society on this one level. But on the another the decided to. To to write books and to communicate with the outside world, with their books. And they want to stay and how they want to be heard and how they want it to be read. And at the same time, they didn’t they didn’t want to be victims. They wanted to. They wanted to response to this racism, which, you know, which they had to face.
Cortney Wills Yes. I think that the film, what I read first was a really extensive New Yorker piece.
Agnieszka Smoczynska Yes, yes, yes, of course. And yeah.
Cortney Wills And as I read that, like I said, I was halfway through the movie and really it felt pretty, almost chronological to the movie. Like the movie felt like it was reflecting what I was reading even in that article before I came to the book. And then there were also pieces there that provided, I think, a little bit more insight and. I grappled with all of the things that you just mentioned. Being very moved. Feeling very sorry for them. Feeling like they were indeed responding to this immense cruelty and misunderstanding and kind of excusing themselves from a world that was so unkind to them. But I was also kind of afraid of them. You know, like there were they were also kind of, you know, I didn’t trust them with each other. And then, you know, it wasn’t until the end where I realized. You know, and even in reading that article, they elaborate more on this love hate relationship that they had with each other. And I think that’s what felt a bit frightening to me. I think I emailed the publicist of this film halfway through and said, Is this like a horror movie? You know, are we presenting this almost like horror movie now. I mean. It was hard to confront. Whether there was real mental illness or whether they were driven to a certain level of psychosis. You know, they’re quoted in their diaries as saying, you know, she’s not my real twin. My real twin died at birth and this is some imposter. And, you know, I’m, like, chained to her. Like, they were victimized by each other. And yet they also, like, loved each other so much. And it’s hard to believe any of the diagnoses that they receive from any of these doctors or institutions. Yes, we got them so late in life after so much trauma. And it’s hard to kind of reconcile that beauty that we see in that imagination and like the innocence of them with these really kind of dark, twisted, troubling imaginations that they had. I mean, their stories were not about rainbows and unicorns. They were kind of dark and violent and scary. Do you think that that art was a reflection of the maybe emotions that they actually felt as in response as well to their treatment?
Agnieszka Smoczynska Yes. Yeah. I think that’s very interesting. Which is. Yeah, yeah, I think that’s I remember when I was reading the writings, I was really surprised that I called it that you call it unicorns, rainbows, I call it in some way naive and innocent, but also banal imagination is what I found in their their their visions. And the writings were very complex but deep also because they were not only they’re not I don’t call them as a horror stories, but rather with the huge. Somebody who’s very sensitive. Somebody who had to suffer. Somebody who has a great sense of humor at the same time, somebody who has to cope with the outside world and how you transfer and transfer the your feelings. And that’s what you see and how you have to face the outside world into the imagination and into the writings. For me, this level of the stories also beautiful. But also those said at the same time stories about young artists who want to communicate with the outside world and who want who, whose writing are not banal and are not pop. You know what’s popular? You know what I mean? In this kind of the and this was fun because myself, I found myself and also my collaborators when we started to read their works released. Pepsi Cola at the disco mania. Of course not the whole. But the gist will be will be published now. So I found it amazing only for some people. This was what was very strong. Powerful said that complex and deep. It’s not so it’s not going to be it’s not on me know I wouldn’t call it it’s only horror but yeah that’s what you said about it. That’s how they put out the outside world resonate in their feelings I think I think it’s not it’s it is very interesting what you said the trial also I found that I ask people to collaborate with with us to visualize and to bring Jennifer’s story to the to the oldies.
Cortney Wills Yes. And, you know, I know Latisha. I’ve known her for a long time. I’ve interviewed her through several projects. I think both her and Tamara were so fantastic. I mean, this film is brilliantly acted, but I also know enough about Leticia to know that she wouldn’t take on this kind of role. Without putting a lot of thought and intention behind it and really wanting to humanize these characters. And I think that they did that. I think that she in particular really did that. And yet there still was that element of. She’s kind of scary. You know, like they’re kind.
Agnieszka Smoczynska Yes. Yes. You know, very complex, you know? Yeah. Yeah.
Cortney Wills And I wondered, you know, for me, watching it with all of my background and what my focus is on, you know, the intersection of entertainment and storytelling and race, I know what I came to with this project, but I couldn’t help but wonder what someone who does not have any experience in that, who doesn’t spend time pondering the effects of racism or understanding them like what a certain demographic of audience could come to come away from this with feeling like they just saw a freak show and feeling like, Oh my God, those crazy twins. And I felt a little bit of God, why do they have to be Black? You know, like, why? What if it was? If they weren’t, then this would just be a weird thriller, kind of. Can you believe this thing happened? But the element of race makes it so much more intricate. And I wondered if you gave any thought to that kind of audience, audience that might miss the racism piece of this.
Agnieszka Smoczynska You know, I yes, of course, we are talking about this with location, Samarra and all of this. What you mentioned we are talking about is from the starting point, from the from the very beginning, how we because you have to know this when when we started we work with Leticia from from the beginning just before I started to think about the movie, she was the, the person who agreed to be in the project. And that’s what you mentioned. That’s that we work together. We are on the same page that we will. That’s what we didn’t want to tell. We didn’t want to make a horror movie. We didn’t want to show them as a lead creatures how they used to be. So in the previous works, not, of course, not in articles on my book, but there was some, some, some and other stuff. And so we also felt how to present them in this. In this in this world and what? Because it’s it’s not only me telling the story, we are telling the story. And then when we are working on it, we are spent because of the pandemic, too.
Agnieszka Smoczynska We spent three months via Zoom, sitting in the room and reading together Marjorie’s book, chapter by chapter, and to talk how we want to present them as human beings as the two Black occurs during these times. And to we, this is this story about the response to the racism and how that’s why we focus so much about their imagination and their writings and their how they behave in terms of the outside world. Because it was a it was very unique and powerful for us. And this is this was something what we wanted to tell the. About John and Jennifer and their response to the system, the systematic system system, systemic racism to the outside world. And it was very powerful because then we started to go with Letitia and Tamara, who two into their heads. And we started to go into their heads and into their. Sensitivity and what they could feel from porn to porn and how they could want to be present in the in the in the movie. And it was very crucial for us. And I remember that we are talking about this all the time, not only before the movie, but also during shooting the movie. It was because we we decided to work like in the theater together, like a team. And this is our teamwork. And then I’m very happy that they trusted me. Leticia And tomorrow because they had to. They have to trust and they when they look into my eyes, we started to talk. The teacher said, okay, we can do this together. Yes.
Cortney Wills Wow. Oh, gosh. I had a question on the tip of my tongue for you. Oh. Did you get any cooperation or insight from. Family. You know, their real family or their remaining sister is Jennifer, right? That’s who’s still alive. June, June, June is still alive. I wondered if you pondered what the effect of a movie coming out like this might have on her in real life. I’m sure she’s enjoying some privacy now. There might be some renewed interest know what does that.
Agnieszka Smoczynska Do to give her blessing for the movie? And she’s very happy that the movie’s going to happen and that she wants to live in her private life. And so we decided to respect this. We are of course, she gave the blessing. She’s very happy that the movie is looks like this and how the movie cause the story and how the movie represents the writings and their souls. But at the same time, she wants to be private. So you want to see you know, she wants us to be private. And we we respect this very, very of course we respect this. We are she’s she was very much also looking to us and we’re very close. So we we just yeah, this is the most important for us. That’s what she wants. She wants to live her private life. And but for me as filmmakers and for us as a filmmaker and the morality of the whole thing, the most important is her blessing. And as you know now, her Pepsi-Cola edict will be republished and also the and the years and now in a few days will be republished and also released. The Digital is Jennifer’s book, which was never published, will be published.
Cortney Wills So there might be a bit of a silver lining for her. I don’t know if she’ll get paid from that, but at the very least, it will be seen, you know, and read now. Wow. That’s really incredible. One more thing. And I’m and it’s not to be controversial, but there was a point, particularly after reading The New Yorker story, where they had talked so much about in diaries and journal about each other’s deaths. That you know, when? When. When Jennifer died, I couldn’t help but wonder if June had something to do with that. Does that make sense? Like I felt like there was a lingering like. You know, I think that said, you know, there was something like she. Like she started talking once her sister was was gone. And like she was kind of free to live this different life without her twin. So aside from the obvious sadness, it was almost like there was a sense of like relief. Yes. I wondered if you ever crossed your mind in reviewing their story or even as you, you know, decided to, to to include or not include there, you know, her death. Did it ever cross your mind that it was either suicidal or, you know, they had decided, okay, I’m going to go. You’re going to go?
Agnieszka Smoczynska Yes. There is also interview with Marjorie Wallace, which is one of the book of Marjorie’s when when Jules says that she set me free. And you remember in that in this movie. But I don’t know if you can spoil the story to the audience, but yeah, Jules, June is sure that Jennifer set her free. And June is sure that it was Jennifer’s decision. Because in the movie and also in the book is when Jennifer says, I’m going to die, I just know and she says, I’m going to die. I just feel it. And for me, it’s very beautiful. Sacrifice in the name of love because she felt that to you remember there is also in the movie ones we can’t. It’s going to be. You can’t go like this anymore when they’re sitting abroad on the. On the floor. Mm hmm. We. We’re talking about it. And Jennifer. Yes, I know. No more fighting. And Jennifer is normal fighting because it’s also taken from the diaries. And this is a normal fight. And this, again, the fights after this. And Jennifer’s. And this is what is the boppy story? This is what is the pugilist story when the Bobby is sacrificed himself into you know, when Bobby gives his own heart to to small way.
Cortney Wills Yeah.
Agnieszka Smoczynska It’s like. And this is. This is Jennifer, and this is what’s in the eye for me as a director of this movie. For me, this is a beautiful story about sacrifice and about the love which can set you free and full. And she resigned for herself in order to set free her sister, because on the finally the decided that the the prison is not only brothel, the prison is also the relationship into and to when when Jennifer died and when June was crying. So, you know, she was in grief for four years. But she knows that, yes, she set me free. And that’s why at the end, you know, at the end, that’s why we decided, you know, to put this song because we want to it, too, because this is on the grave, on the Jennifer’s grave, what John decided to put. And now it was our laughing. It was I was smiling now. And now I’m that and you. This is your crying. And this is the part which is in the song. This is the part which was in Jennifer’s diary before she passed away.
Cortney Wills Wow. Thank you so much for your time and your candor. This is a really, like I said, just a powerful, really resonant film unlike I’ve ever seen before. So thank you for sharing your thoughts. Yes, absolutely.
Agnieszka Smoczynska You’ve caught me so much.
Cortney Wills You take care. I hope I see you again.
Cortney Wills Yes.
Cortney Wills Take care. Okay. Bye. Bye.
Cortney Wills Bye.
Cortney Wills Hi, ladies.
Tamara Lawrance Hi.
Cortney Wills Hi. Tamara. It’s nice to meet you. And Letitia. It’s nice to see you again. It’s been a while.
Letitia Wright Been a while.
Cortney Wills My goodness. Yes. So, first off, I have to tell you, I don’t know that I’ve been as haunted by something that I saw learned about a story that was told to me. And, you know, ever as I have been with the silent twins, like it is so. Mind boggling not only the brilliance and the beauty of your performances in this film, but the realization that it’s true kind of made it all the more impactful and kind of stayed with me. It took me a long, a long time to digest and decide where I should file this, you know, in my brain and reading through the production notes, a lot of the things that both of you said mirrored me, mirrored my feelings. Tamara, you said that you were continually disturbed that this was true. And I really felt that way, too. So my first question for each of you is. How do you even go about tackling such. I think a complicated such a complicated characters and and mere, you know, paired with the fact that you have a huge responsibility to represent them as authentically and compassionately as you did.
Tamara Lawrance Yeah. Thank you for that question. I think it’s so interesting with parts of stories or scenes already difficult, there is something I find useful about approaching them, sort of approaching characters like this, like technically as well. So understanding like the movement and the voice and you know, the research and doing that body of work. But then at some point you have to enter into kind of somewhere a bit more vulnerable. And I think we were fortunate enough to have each other and have a production that was compassionate and understood the need for sensitivity around this subject matter. And so I think yeah, I think we. We had check ins. We spent a lot of time, we spent every night together. And so we checked in at the end of every day. And I think. Yeah. I think it was also useful after the projects to, to decompress and we had a, we both wrote a lot of poetry actually after the project, which I think to me helped to kind of objectified some of the things that I was experiencing. But yeah, I think taking care of yourself becomes quite paramount when you deal with characters and stories such as this.
Cortney Wills Letitia. How about you?
Letitia Wright Yeah. It was about finding a team. Firstly, that could be an empathetic towards what the twins experience, you know, is important for us to find, you know, a co-lead in Tamara and how she carried herself, you know, in relation to the story was really important to. And thankfully that was all in sync. It’s it’s a challenge. You know, you we all are vessels, you know, for stories. And we try to do that as best as we can each day. And like, yeah, we try to stay as connected as we could throughout the whole journey. And, and that that that was, that was what you’re seeing on, on, on screen. But yeah, like we had many days where we had to just like pick each other up and, and get through it because the reality of the situation was that we were portraying real women, you know, real stories. And that was heartbreaking for us.
Cortney Wills Yes, I told Aga that halfway through my first watching the film, I had to stop and and find the true story. And the first thing that I read was a New Yorker piece, I think that was called The Two of US Made One, because I just was like, okay, wait, what am I actually like, Where do I put this? What am I watching? I’m pregnant with twins right now. So happily was like looking at my belly like, you know, kind of creeped out. You know, there’s a bit of eeriness and creepiness to it, especially when you don’t know the real story or where the complexities are coming from. And I realized just how much care went into the approach from from all three of you, from both of you lead actors, as well as the director, to really not make this a freak show, to really not make this. Oh, my God. Did you hear about this crazy story with these weird twins? Because it very much could have been presented like that. It could be digested like that. When I saw that it was a Polish white woman at the helm, I felt very uncomfortable. But actually seeing Letitia as a executive producer, I knew you wouldn’t take on a role or a part in a story without insisting on, I think, the dignity that it deserved. And that made me feel comfortable. But I wondered once you understood what this was and what was it like or what was the task at making it balance, particularly working with a white woman director?
Letitia Wright That’s a great question. From the very beginning when, you know, I knew the story prior to meeting Aga. So when Aga came and met me as she wrote the book and she said, I want you to greenlight this film the off the bat, I was like, Firstly, I have to be involved creatively. And whoever playing, whoever is going to be playing my sister has to be involved creatively. Not only am I a producer, but also Tamara’s also an executive producer. So we needed our voices to be at the table. We needed Black women’s voices to be at the table. And we took that extremely seriously. So, you know, she knew she she she was very aware that she was white and she’s Polish. And but what we found that connected all of us all together was her empathy towards the story and her respect for our voices.
Letitia Wright And, you know, that was that’s still happening today. We’re still making decisions, executive producing decisions. You know, in the emails about the post is about how the videos are going out the way the clips are going out, you know, what’s being used. So that wasn’t a challenge because they were willing to listen and they were willing to give us a seat at the table. And we took it we took it right to the bank. And we just made sure that we didn’t make this into, as you said, a freak show, because that’s not what they deserved. I think the media really misrepresented them in the eighties and the nineties, and we wanted to do something different. We wanted to show that creativity, the beauty, and we wanted to make the outside world weird and the inside the inner world rich and to to put a mirror on the outside world, like, wow, you guys really messed up and you really lost out on beautiful human beings and beautiful creative minds. That could be Nobel Prize winners right now. But you’re gone. You’re done, gone and messed it up.
Tamara Lawrance And can I also just like add to that an insanely beautiful point. I also think there’s something about working with with someone that has a language barrier specifically that I thought was like very beautiful I because watching somebody that has- there’s a gap between the translation and the understanding. And so I think because Aga knew that not only did she not understand. But she also didn’t understand. She worked extra hard to include in both in both ways. And it was like really beautiful to watch her take the time to speak to us in English and to kind of communicate. To communicate. And I learned something about the communication through her, but also through this job. There is like a yeah, there is amazing kind of like symbiosis happening there. And she was very she was extremely open and gracious. She knew she knew that she there were things. That her plans would never be able to see. And she gave us the chance to to speak on it daily. So I thought it was we were very lucky to have a director like that.
Cortney Wills Yes. And told me that June. June is the remaining twin, right?
Letitia Wright Yes. It’s still.
Cortney Wills So she said that June gave you guys her blessing. And I was really concerned for June when I realized that she was still alive and this movie was coming out because I thought, how could the media not descend upon her again when they relearned their story? Or once a new generation learns the story and she seems to be enjoying a private existence? But she said that she did want to remain private. I wondered, was there one moment or one piece of this story that was particularly particularly important for you to to kind of have her approval on? I know for me, there are parts of this that still are really disturbing. You know, for me, it’s I think it’s the the sex with the same boy part. And it’s also the parents part. When we hear a tragedy like this, it’s hard not to want to place blame and say the school failed them, the psychiatric facilities failed them, their family failed them. You know, why didn’t anyone help these girls? So I wondered for you, is there one particular part that’s that was especially hard to get right or that you were especially intent on, you know, landing well with those who are who are still here.
Letitia Wright As an incredibly great question. I think it’s hard for us as artists to point the finger or to to say you’re to blame or this person’s to blame. I think when we look back at the story, everyone really tried their best under the circumstances that they were given. I think you. I think the prime. I don’t know the prime. Problem is that you have two beautiful young girls going to school, being picked upon because of the color of their skin, and that that that chain reaction, that family can only try their best to to solve it as best as they could. You know, they try to protect themselves as any means necessary. I think for me, representing June, it was very important for me to to showcase her humanity alongside her sister’s. It’s hard to speak about June without speaking about Jennifer because that’s so one they’re so intertwined. But it was important for for her creativity that creativity to be showcased. It was important for, you know, the love that they have between them to be showcased and not just for it, not just just to be one thing. It’s in a way non-linear. It’s really complex. And I wanted her to feel proud that, you know, it’s not a direct depiction of their lives, but it’s an inspired attempt to show the world what they missed out on in these two beautiful young women. So after, you know, hearing the feedback of her feeling that we we we showed the humanity of who her and her sisters, her sister, you know, were back then. You know, that made me feel very proud for her to give a stamp of approval means the world to us. So we just tried to show them as human beings for rounded, beautiful human beings, as everyone is in this world.
Cortney Wills Thank you both. I really appreciate it. My did you have anything to add before we wrap?
Tamara Lawrance No, I think she pretty much said it. Thank you.
Cortney Wills You were you both were really exquisite in the film. Thank you. Take care. Thank you for tuning into Acting up. Download theGrio App to listen to Acting Up and other great podcasts. See you soon.