Name: Jessie Buckley On Becoming Agnes for 'Hamnet'
Uploaded: 2025-12-05T16:58:16.000Z
Duration: 13 min 24 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

過去形

Hi, I'm jessie buckley and this is how I became agnes.

動名詞

Is it true you know everything about a person by touching them here?

It was instrumental to how I became Agnes.

I remember when I was in New York filming the Bride, he was there filming History of Sound at the same time, and

we spent a little bit of time together and he said.

And I was a bit pissed off with him, if I'm being completely honest.

And I think, you know, he's such a giant artist and a giant heart and an incredible man and an incredible team player and co lead.

And it really felt like the element, the biggest elemental parts of each other could be held by each other in this.

And he's somebody I really feel that I'm going to meet at very important moments of my life and have very seismic shifts with as actors and also as people.

I mean, the Agnes that you see wouldn't exist without him.

Like, when I read the book the first time, it really just hit me so strongly.

And probably in my early days of prep and when I was nervous thinking, where do I go?

I was asking her, like, what books did you read?

And looking for where her embryo of inspiration might have come from.

They're like, how to Become a Tutor and stuff like that.

But we shared some Mary Oliver poetry together, which was.

I could just, you know, their poems are so distilled anyway, and I could just.

I could almost envision why she had that poem up in her.

She created such a rich character in the book.

And it was also, you know, sometimes books can be a bit stifling, but

Like they felt so human that it didn't feel like it was an end point.

It really felt like a beginning and somewhere that I could take the thread of it and create something beyond the book.

It's to die, to sleep, perchance to dream.

Chloe's process is about being as present as possible.

And she really isn't interested in a facade or a mask or Acting at all.

She wants you to be in a place of being, and

I want to be in that place of being, too.

I want to be in an unconscious reality of the world that we're all living in together.

And I think what she ignited in me was to discover Agnes language within myself.

And something that transpired throughout filming was.

it really became a tool for me to discover Agnes internal language, but

also her, like, language of nature, how she, you know, works with plants, how she navigates herself between life and death.

Yeah, so she kind of prompted that, I guess, just in how she works.

Well, whenever I'm building a kind of physical character, I just kind of follow my nose about what I'm responding to.

Like, the color red was very apparent to me when I read the book and read Agnes and read her in the script.

And Malgoja, both of us really spoke about, what is this?

Like, what does it represent in something very raw, almost like it was a beating heart that it needed to have that kind of density.

And then my friend who's a choreographer called Bobbi Jean Smith, has this incredible.

she has this incredible, incredible long hair that she's never cut her entire life.

So I was just taking pictures of her hair on set and the bride sending them back to the makeup artist, saying, like, I think she's never cut her hair in her life.

And then the, like, you know, giving birth.

And Anja is somebody who's so, like, uncompromisingly engaged and connected to her body.

And luckily, I just, like, been from working on the Bride, where we had been dancing a lot, and

It was really in my body by the time I came to shoot Hamlet.

I would take home or, like, the prosthetic pregnant belly that you can, like, strap onto, and

I'd, like, wear it around my house in the garden.

And my husband would see me, like, pulling bags of leaves with his, like, pregnant, prosthetic, pregnant belly in the back, just laughing at me.

But I wanted to know what the weight of that might be, you know?

And I also was really wanting to become a mother at that time.

And it was very moving to me to feel what that Might be.

I mean, I think her own relationship to her mother was so deep.

And I guess, I mean, what it meant to her was love.

Love is hardly enough of a word to describe what that is.

And like, with all kinds of love, it's so dangerous to love as intensely and deeply and stratospherically because you might always lose it, you know, and

We're all gonna die whether she goes first or they go first.

And she had that foresight that she was only ever going to have two children at her deathbed, not three.

So there was this, like, stalker almost surrounding this incredible new life in her children from the moment they were born.

字幕リスト動画再生

Jessie Buckley On Becoming Agnes for 'Hamnet'

ultimately

incredible

vulnerability

realize