and this is everything I did in a day

on the set of "The Rhythm Section".

[upbeat music]

I play Stephanie Patrick but I'm also known as Lisa

but also known as Petra

and that's what happens in like an assassin spy movie,

you have so many different identities

and who is she really?

From the time I signed onto the movie,

just after I had my second baby

so I had eight months to get in just like

pretty crazy shape and that was rock climbing

and it was defensive driving training

and it exercising and swimming and just like,

I just eat donuts now, I can't remember that,

I block it all out.

So on an average day on set,

I probably woke up at 5:00 a.m.

but mostly because I was doing

Mama duty with my girls, have breakfast with them,

hang out with them, work out with them,

'cause I didn't want to wake up any earlier,

I'm not Dwayne The Rock Johnson,

I had to just get some sleep.

So I would actually wake up and work out with my girls

so I would sort of use them as weights

instead of wearing a weight vest, I got to wear my children.

So after working out I would eat some sort of steamed,

spinachy something healthy with like a poached egg

but I would always have these cookies,

there's a book called "Sweet Paleo"

and she makes these vegan chocolate chip cookies

and they're amazing!

And then in the car ride on the way to set,

I was working with my dialect coach,

a gentleman who was driving the car was British,

I was terrified to practice my British accent

while he was listening to me

so I'd make them blast the music

so it's like Britney Spears glaring in the front

while I'm doing a strange British accent in the back.

So we would go through the scene

but then we would also just talk to each other

in a British accent,

she'd make me tell her stories of my childhood

but it was very weird to like

talk about Arby's in a British accent,

those two don't really jive together.

So we filmed this movie in Ireland, Madrid,

Cadiz, Al Mariah,

basically anywhere they shoot "Game Of Thrones"

is where we shot this movie.

And then when we would go down the hill in Ireland,

I'd blast the "Game Of Thrones" main titles

because we were shooting there

and half of our crew was the "Game Of Thrones" crew

and spoiler alert, I kill the Night King in this movie,

actually the Night King, I get to kill him.

So the car ride from wherever I am to set

is anywhere from 40 minutes to an hour I would say,

all of this would happen usually before 7:00 a.m..

I'd get to set, sit down in hair and makeup,

I really didn't wanna cut my hair but I was wearing wigs,

basically pixie cut wigs,

so this amazing hairdresser would have to wrap

all of my hair into this tiny wig wrap.

I had prosthetics certain days,

I had these prosthetic eye bags.

If they would have waited a few years,

they wouldn't even had to have had the prosthetics,

we could have just shot right now, it would be perfect.

So Vivian Baker, who's amazing,

she's actually nominated for an Oscar this year

for "Bombshell", she's incredible.

She could do my eye bags in 15 minutes,

which is really amazing

and then the wig probably took 45 minutes

and then there was just a ton of detail work

that they would paint on me

from you know cuts and scrapes to bruises to,

I got a really bad hand injury on the set

so we actually had to sustain the injury

for the whole production.

They'd have to paint on bruises and blood every day,

which is a really surreal experience.

So when I was in hair and makeup,

I was usually asking the hair stylist, Sam,

to speak to me or to say my words in a British accent

'cause I noticed that with dialect coaches

no matter how good they are,

they sort of speak more beautifully than normal people.

So I would always cross check all my lines with her

just having her say it more casually and naturally,

making our poor hair dresser

be a secondary dialect coach for me.

It was when Taylor Swift's "Reputation" album came out,

so there was a lot of that blasting at all times.

After hair and makeup, go into wardrobe.

Where we were shooting was so freezing

that I had just so many layers of wardrobe

it was insane and heat packs.

Often times I'd have to take off my clothes again

because I'd get to set

and Jude Law and I would be wearing the same outfit.

True story, so many times.

We probably changed like six times.

We're both in like a very similar green sweater

and like brown corduroys or green corduroys.

Never had that experience before.

And at this point we're probably at 8:00 a.m., 8:15 a.m.?

We usually, often times get to rehearse.

There were a lot of on-ers on this movie.

So when you shoot an entire scene in one take.

It was tricky to get the choreography of the one take

so rehearsal sometimes would take an hour

if it was a day where we were shooting something

that was a one-er and then we shoot.

When you do one take,

you're just shooting one take all day long.

So the car chase was one take

but we shot it for, almost for a week.

What's special about this car chase

and I've never seen it in a movie before,

you're in the car with me the entire time.

So you are trapped, you're experiencing it as I am.

Rather than all these shots

where you're seeing this cool driving.

So it's really intense and scary and our DP

was trapped in the car with me.

Our focus puller who's making sure it stays in focus

is basically in like a luge situation

but he's strapped and he's in the trunk,

he looks like a hostage.

But he's there trying to pull focus

while we're driving pretty nutty.

So fight choreography was really exciting for me

because who doesn't want to have to have the ability

to kick someone's ass if you need to?

If you need to.

There is a fight that's one shot,

which is especially tricky because

you have to the choreography exactly right

and go hard enough where you're actually hurting each other

a little, but not too much.

And it's two actors, you can't switch out with stunt doubles

when it's one take and two actors.

So, Jude and I did that together.

Which is where I hurt my hand.

We shot something what you call french hours,

which is when you shoot a continuous day,

so you don't take any lunch breaks.

The reason you shoot french hours

and you don't break for lunch is because

when you're dependent on the daylight,

you have to shoot through the day.

So we shot from probably 8:00 a.m.

until it was dark, well, until I was rushed to the hospital.

And then we were even shooting in a location

that the bathroom was far away,

so it was just like a thing where all the crew members

and cast would sneak off into the bushes

and you would know just to give them their time

'cause you knew what was happening.

It's a little bit like a dog park

in that every body knew where everyone else pissed.

That was the set.

I'd say we'd probably wrap around eight, eight to 9:00 p.m.

each night, eight o'clock maybe, and then, hour drive home.

Normally I would be eating in the car on the ride home,

just like, whatever.

And then, my kids, they don't ever go to sleep, honestly.

We gotta invent something.

My kids have like a Pack and Play, almost like a crib,

and I would crawl in there and sing them to sleep.

And usually I'd fall asleep in there,

almost every single night, I'd fall asleep in there.

And then my husband would usually come in and be like,

"Hey, you're safe now, you can come to your bed."

And then I would, you know, come to bed.

At the end of the day I was very, very exhausted.

But it's okay, 'cause we only shot it for eight months, so.

It's fine.

The author of the book also wrote the script.

So while I read the book, we went such a different direction

with the movie by making it very grounded.

As an actor, it's one of the most rewarding movies

I've ever done, because the idea is

what would you do if you were in this scenario.

And so it's terrifying every moment

because you can really put yourself in that scenario

and say like, "If this were me, what would I do?".

Where, James Bond, he's got it, he's good.

But, you know.

It's kind of fun to see a real person in that world.