Claire Foy recently read an original short story by writer Miranda Collinge for a charity project! Check out below the article taken of Esquire UK’s website:
Esquire’s Summer Fiction series, in aid of Unicef UK, brings together some of the world’s finest writers, and greatest actors, for a collection of original stories and readings that offer, we hope, a ray of light in these dark times, as well as the chance to raise funds for Unicef’s Generation Covid campaign. (Read Unicef ambassador and Esquire editor-at-large Andrew O’Hagan’s piece on why the campaign is so vital here).
Where a child is already experiencing hardship, outbreaks of diseases bring a new emergency to an already precarious situation. This is the story of Generation Covid. For vulnerable children all over the world, it poses the biggest threat since the Second World War. Please enjoy these stories, then visit Unicef UK’s Generation Covid page to donate and hear a special message from Unicef UK High Profile Supporter Claire Foy.
They’re separated by a two-metre stick but their chemistry is as strong as ever. The Crown stars on their socially-distanced take on Lungs; lockdown diets and naked drawings
Claire Foy and Matt Smith are describing the odd experience of rehearsing a play while a stage manager holds a two-metre stick between them. The pair are preparing for a second run of Lungs, an intimate two-hander about the travails of modern coupledom that was first staged last year at the Old Vic in London. Their characters fought, made up and slept together on stage. This time, however, they won’t even be able to get within hand-holding distance of each other.
The stick is there to ensure that physical distance remains at all times in accordance with lockdown rules, Foy explains, adding that the stage manager, Maria Gibbons, beats them apart with it. Smith reminds her that the guidance for distancing has “just been reduced to one metre, so snap her stick in half!”
The two actors have a Tigger-ish enthusiasm in their conversational to-and-fro, even on a Zoom call at the end of a day of rehearsals. They first met six years ago on the set of Netflix hit The Crown. Foy had already got the part of young Elizabeth II and was in the room when Smith came in for his screen test. “She was very generous,” he says, “and there was something that worked about it.” They proved to have a remarkable chemistry and it is clear from their exuberant banter now that they spark just as well off-camera. They joke, tease and even finish each other’s sentences.
“We’re friends,” says Foy, “and after The Crown we said, ‘Wouldn’t it be fun if we did something together again?’ I didn’t know if anyone would let us and then we independently read this play and went, ‘Shall we just do it?’”
Lungs centres on a well-meaning, if smug, middle-class couple who talk about saving the planet and debate whether to have a baby or not. This production, performed in the theatre’s empty auditorium and filmed on Zoom, is live-streaming to audiences, to raise money for the Old Vic, which has been dark for over three-months and is in a precarious financial situation. This is the first in a new series of shows from the theatre, made to earn some income in lockdown. Matthew Warchus, the theatre’s artistic director and this show’s director, is also a seasoned film-maker, Foy points out, so he is doing some “very, very clever things into camera”.
Though both actors enthuse about the innovations of this production, they miss the physicality of the stage. “I knew that in this play we depended entirely on our connection and the other actor’s performance, but I didn’t realise how much I relied on being in each other’s physical space – being able to touch one another and engage in that way,” says Foy. “It’s making me a bit blue because you lose an element of what being an actor is. There is something vital missing. But I don’t think that it’s going to be any less because of that, but it can’t be like this for ever!”
Like all good plays, they think, this one works in various different contexts: its messages around climate disaster and environmental damage may well resonate differently in the midst of the Covid-19 pandemic. “Essentially,” says Foy, “this couple is asking, ‘Is love enough? Is our good intention enough?’ It’s a conversation about how we live our life. In lockdown, I’ve heard people saying the idea of no planes in the sky and less pollution feels like a real opportunity to start again. At the same time, everyone is desperate to get Heathrow back up and running and go on holiday.”
Smith thinks lockdown has offered a quietly significant pause for thought. At the beginning, the playwright Simon Stephens suggested Smith “embrace the stillness of it”. It was hard to do at first, he says, but it felt important to succumb. “With all the different movements going on now, politically, socially and ideologically, if you don’t reframe the way you think, then you’re living on another planet!”
Is he referring to the Black Lives Matter protests in the aftermath of George Floyd’s killing in Minnesota? “Yes, of course. If your filter hasn’t shifted, or at least improved slightly, then what does it take?”
There is also their growing concern about the future of the creative industries. Earlier this month, UK culture secretary Oliver Dowden said he was convening medical and arts experts to help get live performance back on its feet. How do they feel about that?
A financial bailout would be the best kind of help, says Smith, given that the arts sector contributes billions to Britain’s economy. “A significant amount of money would be a start. It’s what they’ve done in Germany, and we could do a lot to look to the Germans, particularly in the way they have supported the arts.”
“It’s important to remind people what’s special about theatre,” adds Foy. “We learn about ourselves by watching plays, we learn about our society. You watch something and it changes you. You walk out and you think about it for days, weeks, years.” She is worried for all those freelancers who fall through the furlough net, and about losing a new generation of talent. “I went to drama school,” says Foy, a graduate of Oxford School of Drama. “That was training I could only have got in this country because our grants were so incredible.”
Foy had just got back from a Unicef trip to Lesotho and Smith had returned from filming in Morocco when the entertainment industry came to a standstill in March. He had been working on The Forgiven, John Michael McDonagh’s film adaptation of Lawrence Osborne’s acclaimed novel, also starring Ralph Fiennes and Jessica Chastain. “All my bits were finished, but they needed another couple of weeks to get the whole film done, which is a shame. Getting all the actors together in Morocco again is going to be tough.”
How have their lockdowns been? “Good and bad,” says Smith. “Obviously there’s things you miss. I’m looking forward to the pubs opening this week, and the cinemas. But I try to keep my head in creative avenues and explore other things, whether that be reading or learning things outside the box.”
To that end, he has been memorising poetry and going over old Alan Partridge episodes to keep his spirits up. Foy has watched the BBC’s Pride and Prejudice again and turned her hand to life drawing, though she admits this latter fact only after Smith has let the cat out of the bag: “She’s like a north London Frida Kahlo,” he says.
Foy laughs nervously: “It’s weird because I’ve seen so little other human life but I’m doing life drawing.”
“Nudes?” asks Smith.
“Well, I’m looking at stuff on a tiny iPad. It’s just not the same. But there’s also been lots of eating crisps and pizza and drinking beer and essentially becoming a giant pig.”
She speaks of her immense gratitude at not having to face the stress that so many others are contending with right now, but there’s a vague sense of fomo: “There’s so much opportunity in life that I always feel I should be climbing a rock face or learning French.”
What about being a mother at this time and keeping her five-year-old daughter, Ivy Rose, entertained? “She’s back at school. The most important thing for kids at this point is to have contact with other children. I find myself thinking, ‘Is my child going to grow up in a world where everyone is wearing a face mask?’ I’ve tried to be very calm about it because I don’t want her to think the world is scary.”
Lockdown interrupted the plan to take Lungs to New York. “We were sending each other messages making plans,” says Smith. “But in true Claire Foy fashion, she said about two months before lockdown that, ‘It’s not going to happen. This virus is going to take over.’”
“I’m a massive disaster-scenario person,” Foy explains.
Do they think, post-lockdown, that the film industry will emerge slightly more intact than theatre? “Organising a film is a logistical nightmare,” says Foy. “It’s like organising the Queen’s coronation every single day. But I don’t doubt they will be able to figure it out – they are amazing. There’s going to be a lag and a time when new things are not coming out. But we all need more stuff to watch. I know I do!”
Until then, there is socially distanced theatre and two-metre sticks but also the delicious prospect of some romantic rule-breaking, suggests Smith. “I’ve threatened Claire that I might break all lockdown rules during the play and kiss her anyway.”
• Lungs is streaming on the Old Vic’s website until 4 July.
Source: The Guardian.
After the Emmys 2018 nominations were out, Claire Foy stated how grateful she was for the support on The Crown. Check out below what she said:
ET Canada – “I am so grateful for and honoured by the Emmys continued support for ‘The Crown’. I am so proud to have been part of such an extraordinary cast, crew and production team and I share this nomination with them. To be nominated alongside such incredible actresses is a true honour thank you Emmys….see you in September!!!” – Claire Foy, Lead Actress In A Drama Series for “The Crown”
Claire Foy talked, recently, to Collider about Lisbeth Salander, The Girl in the Spider’s Web and how her character fits the #MeToo era. Check it out below:
Lisbeth Salander is one of those instantly iconic literary characters that taps into something primal and universal in audiences. Since making her debut in Stieg Larsson’s 2005 mystery The Girl with the Dragon Tattoo, the character has been brought to screen by two different actresses — Noomi Rapace in the beloved Swedish trilogy adaptation and Rooney Mara in David Fincher’s 2011 film — and now, Golden Globe-winning The Crown breakout Claire Foy will put her stamp on the punk hacker turned sleuth in The Girl in the Spider’s Web.
However, this version of Salander is a little different than what we’ve seen before. Don’t Breathe director Fede Alvarez takes the helm for the latest spin on the Millenium series, and he turned to the fourth book for inspiration. Written by David Lagercrantz after Larsson’s death, The Girl in the Spider’s Web has never been brought to the screen, featuring a bit older version of Lisbeth, toned down from the extreme punk aesthetic, who takes center stage in a twisting mystery that somehow leads back to her own dark past.
Back in March, I had the opportunity to visit the set of The Girl in the Spider’s Web in Berlin, Germany and sit down for a chat with Foy about how she’s reinventing the iconic character once again. Foy was filming her character’s introduction in the film that day — a ferocious reminder of who Salander is and how she wields her vigilanteism. With a fearsome white war paint like a mask and hair spiked in a ragged mohawk, Foy joined a small group of journalists to talk about her take on the character, from costuming to creating her persona, Lisbeth’s relationships in the film, why she’s the anti-superhero, and how she fits into the conversations surrounding #MeToo, and more.
First and foremost, you’re obviously so transformed, and this look is amazing. I wanted to ask about a) what it feels like to live in that skin, and b) the makeup. It looks a little… superhero-y. Is that sort of a little bit of what’s evoking, or is it a different thing?
CLAIRE FOY: No, she’s not a superhero. I think the most amazing thing about Lisbeth Salander is that she doesn’t have any special powers, you know. She’s sort of an underdog, she has been an underdog her entire life. And the only power that she really has is that she’ll never give up, and she’ll fight to the bitter, bitter end. She’s sort of the most human person I’ve ever played, really, for that reason. This makeup is very specific, it’s not what I have the whole movie or anything like that, it’s partially practical to kind of disguise her face, but it’s also what Lisbeth does a lot, which is to try and scare people away so that they don’t underestimate her, I suppose.
As regards to living in her skin, she’s a huge contradiction and she’s incredibly strong and intelligent and sort of powerful in her own right, but at the same time she’s so vulnerable and she has so, so damaged by what’s happened in her life. And she doesn’t necessarily work from an entirely conscious level, you know what I mean? Because of all the things that have happened in her past, she lives her life in a kind of… she’s very, very closed off, and very, very- got her defenses up the majority of the time, and I suppose this sort of film is about her growing up a bit.
Does she do a lot of vigilante work?
FOY: Vigilante- do you mean to sort of suggest that she’s against the establishment? Or to mean she’s against government? She has no respect for authority whatsoever, because when have they ever helped her? Why would she have respect for them, really? They let her down at every single opportunity in her life.
So, I don’t think she’s a vigilante. And I don’t think that Lisbeth, in my head, when it comes to this story, as the story of the end of the 3 books, which was the fact that she was free of her identity that had been created for her. That she was a ward of the state and that she was in some way not like everybody else, that she was a menace to society. That she didn’t have the intellect that other people had, that she was somehow lesser than everybody else. And she doesn’t have that around her anymore, that’s been got rid of for her, in a way. And then she’s got to find her own identity and what she is, and I think you see her at the very beginning of the film doing what she can’t help, which is that she can’t help but get drawn into the injustice of the way women are treated, or the way powerful men take advantage. I think that’s what she’s just like, “I have to right that wrong.”
She’s moved to do it, she’s not just like, “What cause can I fight now, what can I do now.” It’s very specific, what she finds galling and she wants to right that wrong — I keep forgetting that I’ve got this face and I’m really sorry! I forget that I’ve got loads of wet paint on my face, so sorry, it’s been a bit intense.
When it comes to the look, her look is very extreme and I could see some people stepping into an outfit like this and the face paint and just feeling really out of sorts. How do you command her look?
FOY: Well, for me it was very, very important that it’s me playing the part, I can’t just put the costume on and go, “This is the character.” Because that’s a lie. We’ve always, all of us together, have questioned and gone, “Did this feel right? Does it look right, is it too much of a cliché, is it too much of a- does this actually fit with who she is?”
I think I have always, from the very, very beginning of any character, start with nothing, start with the basics. I never like to put stuff on because it’s what people expect or anything like that. I always think less is more, so I always start with the bare bones, and then as time goes on you sort of think, “does that feel right or not?” So yeah, it’s been a process that we’ve all sort of done together. But I love the Lisbeth that we’ve created in the sense that she’s really, really composed and in complete possession of herself at some points, but at other points she’s like a 12-year-old girl who has been a victim and treated like a victim her entire life, and she’s like, “I’m not. I’m not a victim, I’m not, I’m not, that’s not who I am.”
Something that- when I was reading the books- that I really, really understood and made a lot of sense for the character for me was that from the outside, people, especially with victims of sexual assault, things like that, they find the victim, they find the person. It’s that the predator finds the victim as opposed to someone just walking around being a victim, they find the person that they want. And Lisbeth, to me, is that. From the outside she’s so easy to underestimate and say, “She’s vulnerable, I could take her.” But then if you try she’d cut your balls off.
This Lisbeth is way different from the one in the previous movies. How do you approach that, you are talking a lot about in books but I meant in previous movies. Obviously, you saw them, I guess, but the whole purpose is to do something different here?
FOY: No, I think this is character and this story has been told before, I think our version of this film is obviously the fourth book, so you sort of have a little bit more leeway in the fact that it is a different story. You’re not telling the story which was, especially the first book, which was the story of the murder and the thriller element of it, which was trying to find out and the investigation and those things. We’re not retelling that story, obviously, because everyone’s seen it and they’d go, “We know the ending!”
But I think by virtue of someone else playing a part, it’s always different, as story is always different. I don’t think we have attempted or tried to make it different, because I think if you try and do that then the audience will just see straight through the fact that you’re like, “Look, guys, we’re trying something crazy here.” I don’t think you can- you have to accept the world that you’re living in and I think people do that with this character. They are immediately drawn to her and her circumstance and what she’s going through as opposed to anything outside of her.
No, is the answer. I don’t know. I think the Swedish versions were incredible, I think the David Fincher version was amazing, and I think Rooney and Noomi are amazing. It’s just I’m doing it this time, which is weird for me, but so many things about it haven’t felt weird, which I find encouraging. I think that Fede is incredible, I think he is genius. I think Pedro, the DP, is genius, and I think it’s exciting for that reason, it’s a really exciting combo.
We’ve been talking to people obviously about, this falls within a certain period in the entertainment industry, with #MeToo, and how do you feel about this coming out in November and this presenting a very strong female, action-led drama, with real weight to it, as well. It’s not just kind of an action hero. In the midst of that, who is specifically a vigilante for women who have been victims of abuse.
FOY: Well, I think to say that, you can’t underestimate the fact that, when did the books come out? I don’t know the exact date of the books coming out, you know, this story’s been around for well over a decade. With that, I think the film was out 8 years ago… I think you can- I’ve done period drama where I’ve been asked that question. “What’s relevant about this story today?” And the point about stories and the point about dramas is it always is, because there’s people in it, and we’re all people.
I think that it sort of, to say that Lisbeth is around and that the story is around because it’s popular or it’s part of the zeitgeist, is slightly wrong. Because she’s, this character, has always been around, really essentially. I just think it’s the fact that it’s about people want to see women in the central roles, and she just happens to be a woman who has experiences what a lot of women experience. But she’s able to right the wrongs, I suppose, and it’s about seeing that fulfilled, really. But this film hasn’t come out yet, so I don’t know what the reaction’s gonna be, and I don’t know where it’s gonna sit, this conversation. You know, 6 months ago we wouldn’t have been having this conversation, so, you know, I live and hope that in 6 months time it will be an even bigger, wider conversation as well. So who knows, really.
What are Lisbeth’s feeling towards her sister? I always think they’ve been estranged for quite a long time, do you think that’s kind of needling at her? Is there a desire to reconnect there, or has she left her sister behind in a way?
FOY: I think Lisbeth has left herself behind, in the sense that as soon as she left the children’s hospital, that was it. Whatever happened pre- that date didn’t exist anymore, because it was too painful and too awful and how can someone live with that and think about it, actively think about it? And so I think that she genuinely has cut everything out of her mind and her life that would make her feel pain or make her feel anything, really. That’s one of the most fascinating things, I think, about her, is how much she feels or whether how much, it’s all just up here. You see that change. That’s why I think that the film really works, because you do see that crack and that, hopefully, letting in of the light a bit into the heart.
I think the relationship that anyone has with a sibling or a family member is always going to be something that your subconscious is in charge of and not you. I think she thinks, “No, I can- whatever, I don’t care, ugh.” But, deep down, you know, it’s always there, like little kind of… yeah, broke her heart a bit.
I think this a character that maybe on the surface might seem easy to oversimplify, because of the look and the intensity. You talked about it in your early process stripping it down to the basics, what were the keys that helped you understand her?
FOY: I think it’s always really, really luck when you’ve got some books. Because you have an insight. But there were things about her that I really found incredible, I really admire about her. I admire her lack of judgment, I don’t think she judges anyone. I think she finds people sort of interesting and bit weird, and there’s a lot of detail in the book about how when she’s hacking into people’s computers, she finds all sorts of things. Whatever people’s sexuality is, what they’re sexually- what gets them going, she’s just like, “Huh. That’s interesting.” She’s not judgemental, and that’s why I think people like the books. It’s because she doesn’t really give a shit. She doesn’t live within the realms of what society tells you- you should be married, you should have kids, you should be doing this. She’s just like, “Should I? Don’t want to.”
She doesn’t have to fit within that idea, and therefore she can work outside of that. She’s sort of on the fringes and she can observe society for what it is, really. I love that about her, I love that she’s bisexual and she just loves sex and has absolutely no qualms about enjoying it with whoever she enjoys it with. And Fede was very about this as well, she’s just not comfortable in her own skin. Although she puts up a defense and although she seems like she knows what she’s doing, she’s very easy to find her buttons, I think. She’s very easy to find what would make her feel uncomfortable and vulnerable and she has a purpose, really. It’s like people, places, and things. She has avoided being in situations with those people at those- you know, that’s what she does, she avoids them.
The look is a defense, it’s not like, “I’m super cool and I’m amazing and I belong to this group of people.” It’s not that. It’s a porcupine, it’s like, “Don’t come anywhere near me. Don’t even think about touching me.” That’s what it is, it’s not a statement. If someone said she was cool, she’d be like, “Huh?” She just wouldn’t get it.
There’s an interesting moment in the book where she’s just hacked into the NSA and left a message for Ed Needum. And in the moment, she feels really self-righteous and then afterwards she feels kind of empty, I think it says. Do you think she’s kind of a character who needs to constantly be doing something?
FOY: Yeah. Well, that’s what I mean about the fact that I think at the beginning she’s a bit bored. She has survived for so long fighting that when she has money, she’s like, “What’s next? Hang on. Oh, it’s me. I’m next, dear God, no! I don’t wanna think about myself!” And that’s why I think she then goes into that whole situation and why playing always helps her get a new job or whatever. I think the interesting thing with Lisbeth is what happens when she doesn’t have a task. And I think what I found really great about the second book was that after she solved that whole story and she’s fallen in love with Michel a bit and she’s had her heart broken, she just goes to Granada and reads about mathematical theorems. She has to engage her brain in something to distract from what she’s really, achingly needing to figure out, which is herself. She sort of goes into all these things, and that’s the thing with life, unfortunately, or fortunately, whatever way you look at it, that it catches up with you. There’s a line in this script which is that “You can’t outrun the darkness.” Or, “you’re in shadow.” Which one is it. Can’t remember. “You can’t outrun your own-“
Either one applies.
FOY: Yeah. You can’t outrun it, it’ll always find you. And that’s definitely in the story of this, that she tries her best to look in the other direction.
You said that Fede is a genius, can you elaborate a little bit more?
FOY: He just is. He just is, and I sort of knew from the moment I met him, really. He sort of is like a concert trained pianist. He’s incredible. He just has an understanding of film and story and audience that I think very few people do. It is studied in a way, but it’s not studied. He loves film and he is able to see, to go, “It needs to be …” He sees the rhythm of it. “It needs to be this, this, this. And then that. And then
Photo by: Michael Campanella. Getty Images for Sony Pictures Releasing International. 2018 Getty Images it needs to be this, this, this. And then THAT!”
He creates a beautiful image with Pedro, they’re just an incredible team, they just have such beautiful eye. And it’s always slightly different to what you would think it would be. I haven’t done a single shot in this which has been like, “Well now we have to cross you and we have to get you all close…” That hasn’t been the case at all. It’s never felt like a formulaic way of making anything. I think he’s full of heart as a person, and really cares about this movie, which is very, very rare. It’s not a vehicle for him, he’s in it, and that’s lovely.
Can you just quickly talk about how her relationship with Blomqvist has evolved, and being ex-lovers and the tension and the intimacy in working together, how is that playing out?
FOY: Well, I think it’s that thing that she- from the outside as a spectator you sort of are like, “Go on! Get together! Be happy!” If that was the normal, commoner garden story. But it sort of diminishes how interesting they both are as characters. I think it makes it slightly different, the [inaudible 00:18:54] were close, much closer in age. I mean obviously I’m not supposed to be able to say, slightly younger than I am. But, I think that makes it sort of more interesting in a way because it’s not an age difference thing, it’s not like “Young girl, older man.” It’s actually that we have a deep connection and a deep understanding of one another, but it’s like, in what world would these two people ever make it work? And it’s not just the fact that she’s a vigilante sort of person, but it’s more the fact that… how do you even begin to cross that bridge of differences between them?
But I think in this one they have a shorthand, they’ve gone past that point. I think it’s at the end of the third book where he sort of, he’s at her front door and he’s like “Alright, can I come in?” I think Steig says something about letting her back in, she let him back into her life. And I think we haven’t don’t that in this one, what we’ve said is the fact that they haven’t seen each other for three years. And where have they gone? He’s missed her and she’s got over him, you know what I mean?
So that’s the interesting thing, where you find that she’s like, “No, no, no! I don’t care about you at all, I don’t care!” And he’s like, “Come on!” And whether she goes for that or not is the thing. They’re certainly not gonna walk down the aisle, yeah. That’s never gonna happen.
Recently, Vanessa Kirby (Princess Margaret on The Crown) and a big friend of Claire spoke up to Vulture about the payment gap between Claire Foy (Queen Elizabeth II) and Matt Smith (Prince Philip) on The Crown that became public recently, check it out below:
One of the biggest stories that emerged from the show’s second season was the gender pay gap. How surprised were you to learn that Claire Foy was being paid substantially less than Matt Smith?
I’ve spoken to Claire recently about it, and she’s talked so eloquently about the whole thing. It’s incited a change in her and all of us. The best thing about it is now the conversation is open and it’s less likely to happen again. This is partly why I feel proud at the moment to be in this industry, because for better or worse, us women are talking about it. Hopefully, this will impact other sectors and industries that don’t get the media coverage. If Angelina Jolie or Gwyneth Paltrow talk about these issues, people are reading about it. I hope we can be the instigator of change. I’m sure Claire felt like that too.
I was surprised how openly the producers admitted the disparity, and how they assured it won’t happen again. You don’t see that level of candor a lot.
I’m so glad you said that. It’s true. Suzanne [Mackie], the producer, is the most amazing woman. What she did was actually begin the conversation that was so essential. I think that it’ll help a lot of people.
After the disparity was revealed, did you investigate how your pay compared to men’s roles?
My situation is separate, really. It wasn’t comparable with Claire’s issue. I think a lot of it has to do with market value, and there’s a lot of problems with that, too, in the sense that women haven’t been giving as many opportunities for leading roles for men. You’re actually at a disadvantage, even when people are negotiating for you, because you haven’t had as many opportunities to get your position in the market. There are a lot of complications, which is why the pendulum has to swing as much as possible with everything that we do know. For all women as much as possible. It’s desperately unequal.
Yeah, whether someone’s “market value” is a justifiable argument to be made or not. Even if Claire wasn’t too well known in America at the time, she was the crown.
Totally. Also, I think it’s about people getting conscious and mindful of the norms and questioning them. Challenging them. Trying to do things differently. Having a commitment to change. It’s crucial. I definitely feel galvanized, as I’m sure women across our industry do, to speak up and stand up for equal rights and equal representation on the screen. A representation of women we can identify with as being women we would know, who are idiosyncratic and real and flawed and messy and brilliant. We have to really fight for that representation on screen now. I felt so blessed to find Margaret in that way.