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wickedpact · 3 years ago

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heres a transcript of that gina & greg interview i mentioned yesterday. literally nothing new is in this, but theres a lot of info in this that was scattered in varying interviews/podcasts and i like having all of it in one place for future reference purposes

(link to vid)

Patrick: Hey everybody, this is Patrick Cavanaugh from comicbook.com here to bring you a very special conversation about Netflix's The Old Guard, which just debuted last week, and everybody has seen it-- I believe people have seen it by now, so that's very exciting. And to dive deep into this film, we're actually very lucky to have the film's director Gina Prince-Bythewood, who also directed Love And Basketball and Beyond The Lights here. Hello, Gina.

Gina: Hey.

P: And we're also joined by the film's writer, as well as the writer of the original comic book series, The Old Guard. Also, you might know him from his DC Comics work, Batwoman, and Lazarus, to name a few of his titles. We have Greg Rucka! Hello, Greg.

Greg: Hello!

P: So this film just first debuted last week, and I know you guys have been inundated with fans, just loving it. And let's just get to what fans want to know, right off the bat; I'm sure you're getting daily questions about this because there's so much for an expanded universe. So let's set the record straight: will there be a Tiger King crossover?

[everyone laughs]

Greg: Uh, we're planning an animated series with giant Mech suits, and, unbeknownst to a certain franchise, we're going to crossover with Transformers and-- no. Come on. [laughs]

P: Okay, alright, we’ll hold onto that big crossover stuff. And I know Netflix, of course, hasn’t fully announced what the future might be for Old Guard, but I'm just kind of curious if you guys have had any recent conversations about what you'd like to do in the future—theoretical, nothing concrete, of course. But since the film has come out and you've seen fan feedback…?

Gina: I will just say, obviously, it's an incredible compliment that people want to see more. It means we did our job in this. It was very important that this film has a beginning middle and end. We wanted to focus on this.

Greg: Yeah.

Gina: And get it right. Having people want more is an incredible gift and I would say those conversations were really… Greg and I, early on in talking through the story... knowing Greg knows where this thing goes --and it's pretty incredible-- helped me in terms of directing this one. So I will say we've had those conversations early on.

Greg: Yeah Gina’s absolutely right. One of the things that I'm really-- one of the many things I am proud of is that the movie is a whole, you certainly leave it going ‘okay, there could be more, I can see how there is more’. But it is a complete work. It is not contingent and does not need anything else. That said, there were plenty of times we were having conversations and would jokingly be like, ‘oh that'll be in the next one, we'll do that in the next one. We had to cut this so we’ll put it in the next one’.

P: I'm sure people would be very thrilled, as would I. So we’ll try to remain patient since it's only been out a week--

Greg: I think that's reasonable.

P: [sarcastic] I mean, fans are nothing but reasonable--

Greg: [very loud laughter] You know what 'fan' is short for right? Fanatic.

P: [laughs] So Greg, I'm curious. You know, since this is a pretty unique situation where you wrote the original books but then also came to write the script-- which doesn't always happen all that often. I was kind of curious what that process was like and if, when revisiting that core story, if you were tempted to kind of go off into a new directions, you know, uncharted territory? And how you managed to stay faithful to that story.

Greg: So when Skydance initially acquired The Old Guard, Matt Grimm and Don Granger were the guys that I was working with. And they were very clear that they had acquired it because they loved the source material. So when I was doing the adaptation, it was ‘adapt this story to be told in a screen format, there are changes that have to be made’. I didn't see it so much as like ‘I can go in a different direction!’ as ‘it's a really rare opportunity to have a second bite at the apple’. Most writers don't get to tell the same story twice. And even with the collaborative nature of comics, making a movie is far more collaborative. So… being able to benefit from a lot of very smart people-- and then when Gina came aboard, and working very closely with her on the screenplay, you know, taking her notes, and talking at length about it was… I mean, I love the comic we made, I'm very proud of it. But I think this is a superior story. Because it allowed me to fix mistakes I had made. And I think that it certainly works as the film that we wanted it to be, but it has a lot more nuance and a lot more ‘shading’ than the comics ever could have had. So yeah, I mean, I'm very proud of the work we've done.

P: Yeah, as you should be, definitely agree with that. And I know, Gina, you've spoken about how you treated the source material essentially as a Bible as the blueprint for adapting the movie. So a question kind of for both of you, I was curious what scene or sequence were you most excited to bring to life? And then what scene were you most apprehensive about whether or not you could pull it off as faithful to that original?

Gina: For me, I mean, there was there were certainly a couple... Joe and Nicky in the van.

Greg: [nodding] Yeah.

Gina: Such a beautiful moment in the comic. And I wanted to get it right. I knew the actors really wanted to get it right. As soon as we started shooting, I was like, 'oh yeah, they're killing it'. Also Booker in the mine, the speech that he gives to Nile, it's everything to his character. It explains both Booker and Andy; where they are, and why they are the way that they are in that moment of time. And I know that as a director, I saw a perfect take. But going into those, you hope that, ‘am I able to evoke what I need to evoke in the audience?’ I think that the hardest really was the Kill Floor, given how iconic it is in the comic. It's just so beautifully drawn by Leandro, it pops off the page. So ‘how am I going to be able to do the same thing on film?’ But it really kind of boiled down to ‘what is the story [of the scene]’ and really focus on that first, but also wanting to really give a bit of a homage to what Leandro did too, which was my use of silhouette throughout it.

Greg: Yeah, I think that… Gina just listed all of the scenes. I mean, I wanted to see the armored car, that was enormously rewarding for me… I couldn't wait to see the killing room floor... You know, when we talk about moments of adaptation, I actually —and I thought this was really well handled in the movie in particular— Nile’s death wasn't wasn't easy in the comic, because it needed to have heart. You know, Kiki's performance and the way it's shot is just, it's phenomenal.

P: And obviously you can't really talk about this movie, which is this big action-fantasy movie, without talking about that scene between Joe and Nicky. I'm curious what both of your reactions have been to seeing that moment hit so hard with so many fans.

Greg: I'm overjoyed that we're able to give that to so many people. I am also frustrated that it's so overdue. While I don't think that either Gina or I felt that this was… It was important and special because it was important and special between these characters. But, you know, I mean I’m in that place where I recognize why we are getting the response that we are, and, I'm frustrated by the fact that it's 2020. And… apparently we're the first people to have done this? And you can say that about a lot of the reactions, you can say that about the reactions to Kiki's Nile. You can say that about reactions about Charlize portraying Andy. There’s a piece of me that's like ‘guys, we didn't invent the wheel here. All we did was show you, THERE’S A WHEEL HERE!’. So.

P: Yeah, it's interesting and it is frustrating that it is 2020 and we have to refer to this as an anomaly. That this is not the norm, that as you said, this is we're showing people that the wheel exists. And so Gina, you know, between having a film with two powered, seemingly super-powered characters, in a comic book adaptation, which is largely been devoid of such characters. [I think he meant to say female powered characters?] and being a black woman, directing a comic book adaptation— again, something in 2020 that we have to treat as a shocking revelation— I was curious, if you felt any sort of pressure about that on set, or if it was like just a confidence in the material, and support from your collaborators, that it wasn't even an issue?

Gina: Um, are you talking about the scene-?

P: Just the project as a whole.

Gina: There was a reason I took this film, because it moved me. It has to start there. There's all these things; I love putting a black female in the world, I love putting Nicky and Joe in the world, I love putting Joe’s character in the world. Those are all such incredible driving forces. But foremost, I have to feel and care about the characters in the story. And I did. And so, for me, it felt... I mean I was honored to be able to be the one to give these characters a life up on screen... or in that big screen in your living room. There's, of course, enormous pressure. Not only just doing a film, like the bigness of it. Certainly me being a woman, me being a black woman, and doing this when nobody has done it before… It's about proving myself and proving that women like me can do this, that we do like action, that we can shoot action… Just changing that narrative. So there's pressure to get it right and do a good job, but I feed off of that. It made me work harder because I felt like I absolutely had a responsibility to get it right.

P: And we've talked about Kiki a few times as Nile, of course. And Gina, I know you said it was within five seconds of meeting her that you knew she was the right one to play Nile. I was curious, how did the rest of the casting process go? Did everybody get hired that easily? Or was it a harder search to round out the ensemble?

Greg: Yes. I’m curious too!

Gina: You know, I knew going into this that I wanted great actors for every role and it's pretty amazing how many of my first choices are in this film. I mean Matthias Schoenaerts who plays Booker is an incredible actor and I knew I wanted him from the get-go. We were told he doesn't do films like this, but he wanted to meet, which was the first thing, like, ‘oh my gosh it’s on me, don't blow this meeting’ and he said again to my face, ‘I don't do these movies, but I love this movie’ and he loved the character Booker. And after that conversation and hearing my vision, he was in, which was amazing. Marwan Kenzari, I saw him in this independent film called Wolf—

Greg: Yeahhhhhh.

Gina: Phenomenal. And he was supposed to read for the part. We had a meeting over FaceTime. Then, Zoom was not what it is now. And it was such an incredible meeting. He was so passionate about the material. So passionate about the character Joe. So passionate about wanting to give that speech. His energy… I just said 'you don't need to read, like, you're Joe'. Luca Marinelli, who plays Nicky, I saw his audition. He has this depth to him, those eyes.. where you just, you felt everything, you felt his soul. But I needed to do a chemistry reading, as I would with any love story. And so, we flew him in to read with Marwan. They did this incredible improv, and it was so obvious that these two were Joe and Nicky. It was a really beautiful moment as a director to just… know, and I was so excited to show everybody what they had. It leapt off the screen, their connection; they’d never met before but, immediate connection. Chiwetel Ejiofor, I mean… [awed silence]

Greg: Chiwetel... yeah.

Gina: Yeah. To hear that he wanted to be in this and work with me on this, I didn't need anything else at that point. He's truly a genius. Charlize, you know, there are very few women who can work in the space and we believe them. And that's the thing about her work, and her action, we believe her. And we needed that for Andy. And of course she's a great actress, so it was, you know, that was kind of a no-brainer. So, lastly Harry Melling, you know our villain. It's funny, Don Granger, at Skydance, says you've done a good job with your villain if the audience wants to punch him in the face. Harry brought that reality of those templates of Mark Zuckerberg and Martin Shkreli and really rocked it.

Greg: I had, you know, I'm the screenwriter, right? And I am pretty much involved in the production at the director’s sufferance, and Gina was so gracious to want me present-- and more than that, want me present and say things, right? As opposed to ‘stand here and be quiet’, but I remember when Kiki… when they knew they wanted Kiki, like in that window before all the paperwork was done and so on. Throughout most of the casting I wasn't hearing a lot from Gina, just the occasional update. Like ‘I think we've got…’ and then the Kiki audition came in, and Gina, you called me, Granger texted me, Grimm texted me. And it was all the same thing. It was all ‘we have found Nile, oh my god, there were these two scenes and she had us howling in one and weeping in the other and she is perfect’. And the exuberant joy, you know, I remember you on that call being like ‘NO, THIS IS HER!!’. It's like, this is gonna be awesome.

P: So, and to open things up a little bit more to the actual mythology of the film and the comic book series, I think one of the coolest things is that this film doesn't entirely explore is why these characters come back to life? But we also don't entirely need to know that to just… witness this slice of time in their journey. So I'm kind of curious, maybe Greg you have more insight on this, but I'm curious if either of you have those ideas in your head of what the root of this, you know, blessing or curse, the curse of immortality? Or is that just stuff that's entirely irrelevant to this journey?

Greg: I think it's irrelevant… to the journey of the first film. That the story is a self-contained story and you don't need to know why they are immortal. And I think that the film actually does tell you, not specifically, but the film does provide you with enough information to allow you to draw certain conclusions. Because there are really a limited number of ways that they're going to get this way, right? We do not, for instance, see Nile fall into a vat of regeneration juice, right? That's not why Nile comes back. There is a mythology. We know the mythology. We know the why and that's for later. Yes, maybe it will become relevant to the story, but for this story that was told as it was told? No, you don't need to know why.

Gina: The striking thing, when I read the script for the first time was I didn't… I didn't care. Like, I didn't need it. And that surprised me because I know Greg had talked about another company who was interested in the project [Gina doesn’t say, but it was Sony lmao] kept asking ‘you have to tell us why though, in this story, an audience needs to know why’. He was absolutely right [for disagreeing with Sony]. Because I didn't need to know why.

Greg: It's the Rian Johnson School of, you know, it's Looper. ‘We can spend two hours talking about time travel or you can accept that we're in time travel. Which is it going to be?’ And I think that that is one of the most brilliant storytelling decisions made in the last 20 years in film! Literally 'here it is—DOESN’T MATTER, MOVING ON!’ you know.

P: Yeah. It's definitely a bold direction to take. And to have an issue with 'oh, well, we never learn [about the] immortality!' proves that you just miss the point of what the movie is, and that that stuff is kind of irrelevant for right now. Although I do kind of hope that because it's on Netflix someone's expecting like a post credit scene, but it's the autoplay feature, right? [Greg and Patrick talk over eachother, laughing]

Greg: We did talk about that button as a post-credit scene, the Booker [scene]—

Gina: That was originally supposed to be a tag.

Greg: And there was, for a while, the contemplation of ‘maybe we can still [put the Booker scene in as a post-credit scene] and really that'll be like a great big reward for those people who actually watch credits on Netflix. It’s like, you got a bonus scene!’

P: So another, you know, people are loving the characters, they're loving the performances, but also the action is so cool in it, and it feels reminiscent of some other films. But the urgency and efficiency of all of the action sequences always feel like they have a point, and they're not just ‘look what we can pull off this week!’ You know, it's not John Wick on a horse fighting motorcycles because we don't need to do that. It's, you know, always to a point. So I'm kind of curious Greg, what does an action scene look like in your script? And then Gina, what was your whole motivation for putting these action scenes together?

Greg: I had two approaches in this script and used both. Sometimes I would write the sequence as you know, as a series-- this is what is happening, ‘he swings and then his head goes flying’ or whatnot. But knowing very well that unless the script needed to see-- because the script has to specify what is a must. It's a must. It's a must document. ‘We must see this’. ‘We must know this information’. So for a lot of the time, I would sort of drop into a narrative voice and say, ‘okay, now we watch the five of them proceeded to kick every ass and take every name that they come across and please bear in mind you are watching over 10,000 years of combat experience, combined between them’. And then that's the description of an action sequence, right? The screenplay… it's a construction document. It's not the interior decorator’s document. It's not even the Foreman's document. It's an architectural document. And then you give it to the Foreman of the whole production, who then goes, ‘I agree, these are the important things’, and then you get out of their way and watch them do the thing that they have, you know, become an expert at doing to make it happen.

P: Gina, what's your reaction when you read Greg’s script saying, ‘oh, you know, just five immortal warriors demonstrating 10,000 years of combat experience’?

Gina: It's like ‘oh shit’. [everyone laughs] Like that's a very cool thing to read—

Greg: But how do you film it?

Gina: Yeah, exactly! Then you start at the beginning of the scene and 'what character can we reveal in the scene'? And when you start like that, it's less overwhelming. Because the best action sequences for me, when I go to the movies, are those that have a story to them and that are character driven, that have an emotion. So I really started there in the vision of what they should be and just working with my incredible, incredible stunt team, Jeff Habberstad and Danny Hernandez and Bryson Counts[? I dont know who that is]. Designing these fights to tell this story, to showcase this part of character, to further the story. And that was important as well, that we never wanted this film to feel like… rushing through the story to get to each action sequence. All of this works seamlessly. The quiet moments are just as important as the action moments. And so that was exciting to me. But being able to tell the story, reveal character, that was fun. And then it's ‘yeah, how do we choreograph so it feels as if these characters finish each other sentences, so to speak, in terms of action, knowing where the other is going to be, knowing when somebody's out of bullets and need another clip?' Like all those things, the way that they're always picking up used guns and used clips, just this dance. And it was very cool, you know, to really put that together and see what the team came up with. And then to see the actors embody that, bring character, bring performance to that. Which is why it was so great that I had the actual actors doing most of the work, so that we can see that performance.

Greg: I think you used a word that I think clearly came from what Gina’s describing and talking about with working with Danny and Jeff and Bryson. Which is 'efficient'. Like, if you watch the film, you will see that there is only one sequence where Andy is ever firing more than twice, and it is on the killing room floor. After that, whenever she fires a gun, it's one bullet. It goes exactly where she wants it to go. Everything she does becomes an issue of ‘her style is efficiency—‘

Gina: Yeah, that was a big—‘brutal efficiency’ is a term we talked about often, where they know a kill shot. They are not the type that are going to go in an environment and spray. It's lazy and not who they are. They are not going to ever hit someone by accident. They are too good. And their moral code is not like an ordinary For Hire who are just trying to get the target by any means necessary.

P: Yeah, and also speaking to what I feel set these action sequences apart from other action films is, we're used to, you know, like thumping techno or hard rock or something kick in. You know, I don't think anyone had like, you know, Frank Ocean being in an action film on Netflix on their 2020 Bingo cards. So I'm just kind of curious how you put that soundtrack together and what that process was like.

Gina: Yeah. I love music so much. It's so much a part of me as an artist. And for me, I love songs for scores, songs that can evoke an emotion, and elevate a scene or the emotion of a scene without taking it over. And music for this film was so important, to the tone. It was such a balance. This is a violent film, yet I never wanted it to feel like a celebration of violence. The fact that there was a cost to the killing and then motion to the killing. So always wanted to keep that in mind-- and music really helped with that. There's also a thing of, you know, I'm the first audience and I actually don't like heavy metal. So, it annoys me when I watch a movie and it's this non-stop thump. In the rectory —spoiler alert— when Andy kills 19 people, the music I chose was important because it took away the sting of that. I didn't want an audience to revel in ‘oh my God, she killed 19 people’. No, it was ‘she killed 19 people and you see on her face that this was not fun, this was not easy’. You see that on Nile’s face when she walks out, and the music helped that. I wanted the music to feel operatic, because what happened in that room did have that depth of emotion, so music again— so important for vibe and tone and it was fun to find these songs that could do exactly what I wanted them to do.

P: Greg, the narrative is definitely very faithful to the first two Old Guard series and, you know, blends together in this compelling and unique way… Just as a —you know, we are comicbook.com— so coming from the purest sense of interpreting the narrative... [Greg laughs] like there's definitely the flashback with Achilles from the comic book, and then also the flashback to Booker's hanging scene. Those are our absent from the film. And I was just curious if those were ever in the script or if you want to rework them for the future…?

Greg: No, I mean we also had, in the original series, the flashback that sort of accounts the Joe and Nicky, ‘we killed each other’, ‘many times’ sequence as well. There were drafts where all of that was there. And sometimes in greater detail than others. There was a version where that hospital scene— [in the movie] you get just the right amount of… when Booker's relaying it to Nile in the mine. But, you know, there was more to that, and you can see sort of Achilles' story’s presence in the mine, right? There's a glimpse of the painting. So those things weren't erased as much as… when you make a comic, every choice you are making is an efficiency choice. ‘You have X many pages, how are you going to spend them?’ And I'm not a filmmaker. I'm the guy who wrote the thing. But one of the things I can tell you when watching is that it's the same calculus but exponentially. It is— every single thing you are doing is asking if it's serving your narrative. And I think the trade —because it is a trade— of the Achilles backstory to build the Quynh story has a benefit that the Achilles story alone didn't have, in that the Quynh story —especially as it's relayed in the movie— not only does it illuminate Joe, Nicky, Booker, and of course Andy, but it's also Illuminating to Nile, in a way that… talking about Achilles would have been repeating a beat. Because as beautiful, and as important, Achilles is to Andy's character… Booker conveys that heartbreak with his story, right? So it becomes an efficiency question as much as anything else. I mean, that that's really what it comes down to.

P: Speaking to some of the changes again, I don't want to get to spoiler heavy but there's definitely a big change with one character and their possible fate. Don't want to ruin anything for anyone, so trying to play it safe.

Greg: [laughing] Yeah, how are we supposed to answer this, Patrick?

P: Why don't we just text each other? [everyone laughs] Well, I'm kind of curious. One character's trajectory has changed a little bit. What were the discussions like over, you know, altering their trajectory and what that could mean, you know, for their future adventures?

Greg: Well, how do we talk around this?

P: Also, if anyone's been watching this for 40 minutes and hasn't seen the movie, they've got to adjust their priorities.

Gina: I would say, it was about adding more jeopardy and stakes. It absolutely did that. What I love so much about the story and what Greg created is that these characters are mostly immortal. So there is always that threat. But it just added another level to that. But it also crystallized so well… the fact that the moment that Andy is truly saying ‘I'm done’ a new Immortal shows up in Nile. So it just seemed to work really well and, you know, obviously having Greg be so on board with that and take it and run with it was really important.

Greg: It externalizes the conflict beautifully. And I believe I think David Ellison at Skydance likes the term downward pressure, I believe. [Gina smiles, Greg sees] Did you hear that? Did you hear that during editing? [Gina nods] But it does. Look, here's a fundamental problem; it's actually one of the problems at the heart of Force Multiplied: what's jeopardy to an immortal? Cuz it's kind of, you know, as Joe says, ‘what are you gonna do, tough guy? Kill me?’ You know, ‘if I go, I go. I don't know when I'm going’. So you you need to be able to inject into the story some level of jeopardy. You want to heighten the stakes. And it also externalizes that particular character’s conflict.

P: Gina, hopefully I don't put you too much on the spot with this question. But, you know, any time there's a big comic book project announced its, you know, fans start saying, oh, I'd love this person who's done action movies to do it’ or ‘this person who’s already done 10 Sci-Fi movies…’, you know, like Taika Waititi can't direct every movie.

Gina: I would love him to!

P: I'm just actually kind of curious, Gina, if there are any directors that you're particularly a fan of who don't necessarily have the same, you know, Marvel DC, Star Wars experience that that you'd love to hear get announced as tackling, you know, a big budget comic book movie.

Greg: I would like to know too.

Gina: Certainly, I'm excited about what Victoria Mahoney's going to be doing-- she just did second unit [director] on Star Wars, first woman to ever do that. I dig her brain so much and her aesthetic. I'm really excited to see what she's going to do in the action space, certainly.

P: Yeah, very cool. Really looking forward to her career for sure. And I think we're just about out of time here. We were down—

Gina: [raising her hand] Can I ask a question real quick? Sorry, I just need a definitive answer on this because I got called out on Twitter and I asked Greg--

Greg: [laughing] Ohhhhhhh—

Gina: So is Old Guard, is it a graphic novel? Or is it a comic?

Greg: You got to answer that Patrick.

P: Oh boy.

Greg: [laughing] Literally he's watching all credibility start to evaporate if he doesn't get this right. [holding up a comic of Opening Fire] This is a what?

P: I mean… part of me, knowing that it is part one of a three-part overall series… You know, my brain goes to ‘trade paperback’, you know, like it's a volume collecting a certain amount of issues. But if you ask me before volume 2 came out, it would be collected as a graphic novel, but… they're all comic books. They're all just comic books, everybody. Let's just take it easy.

Gina: Okay, thank you.

P: That's my answer.

Greg: Thank you. Thank you. I think that is the appropriate answer.

P: They're all just comic books. Take it easy.

P: Yeah, but I am curious. Of course, one of the interesting things about the film is that over the course of hundreds… thousands of years, these characters, the old guard have kind of influenced humanity in some definitely interesting ways… And ultimately for good, is a little bit of what we're seeing in the film. And I can't help but wonder… is it possible that the old guard could have unintentionally influenced the world for bad? And have some negative ripples come from their actions, or do I have to wait for a sequel for that?

Greg: I think that is a very reasonable and logical question to ask, especially when you know, there are 19 dead bodies lying in a church. You know what I mean? There is a certain amount— and it's almost fatuous to talk about it but there is always the doctrine of unintended consequences. I will say this goes to something else— and I'll say it really quickly because I know we're running out of time. I think one of the things that I really, really loved about what's being said, in the movie, is that at the end of the film… The definitive statement is, if you take away everything about immortality, what it's saying is that… our choices matter and our actions matter and they matter in ways and to people that we will never see and never know of. We try to put right in the world by doing right. And we do that without ever seeing what the ramifications of it are. And sometimes we're going to succeed, gloriously, and sometimes we're going to fail and we may never know that either, right? It's the choice paralysis that that you get from cheating in The Good Place, right? I can't eat or drink or move because morally it's all wrong, right? But the takeaway from the film is that, ‘yeah, your life matters and what you do with it matters and it matters to people that you're never ever going to see.’

P: So yeah. Yeah. Well, I mean, I think that's a great positive, you know, message for us to leave on. And I definitely think that comes across in the film, especially, you know, from the characters like Joe and Nicky just professing… you know, it's about the time that you have. And you don't know when your number is going to be up. So you just try and do as many good things before that happens as you can, and hopefully the world responds to that. So I really connected with that message in the film. Thanks so much for taking the time to chat with me. The Old Guard has been out for… five days. So I look forward to reuniting--

Greg: Does it feel longer to you. Gina? It feels like it's longer for me. [Gina laughs]

P: I look forward to reuniting in maybe 10 more days to talk about the sequel and spin-off and the prequel and all that sort of thing. [Greg laughs] But for now, The Old Guard is still on Netflix. And of course don't be tricked into watching any post-credit scenes because you might end up watching, you know, The Great British Bake Off. Well, thanks so much guys, it was a pleasure.

#tog interviews #i dont remember the tag i use for transcripts

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