Anya Taylor-Joy and Johnny Flynn say capturing the perfect screen kiss is usually 'choreographed and very technical.' (July 10)
ANYA TAYLOR-JOY: Mine was James McAvoy.
JOHNNY FLYNN: Wow. That's a good one.
ANYA TAYLOR-JOY: Yeah, but he is pretending to be an 8-year-old boy, and my eyes had to be open the whole time. So it was-- and I felt really bad for him because James and I got along really well, and I could tell that he didn't-- He was just like, I am so sorry.
So that was-- that was my one.
JOHNNY FLYNN: Mine was, do you know Ophelia Lovibond? Do you know who I mean?
ANYA TAYLOR-JOY: Yes.
JOHNNY FLYNN: She's really cool.
ANYA TAYLOR-JOY: Great name.
JOHNNY FLYNN: I think it was, I did-- I had to kiss two people in the film. It was her and Stephanie Leonidas. And I don't know which one was first, but it was--
ANYA TAYLOR-JOY: Johnny.
JOHNNY FLYNN: [INAUDIBLE] really nervous.
It's a weird-- it's a weird part of our job, but it helps, yeah, if you're just mates.
ANYA TAYLOR-JOY: Yeah.
- Yeah, it must be weird. It's like, how do you get into the headspace of that? It's like, sorry, I just want to kiss you.
ANYA TAYLOR-JOY: I don't want to ruin it, but it's just-- it's-- it's-- it's choreographed.
JOHNNY FLYNN: It's [INAUDIBLE]
ANYA TAYLOR-JOY: Yeah, it's very technical.
JOHNNY FLYNN: Yeah. These days, they have intimacy coordinators, which is a good thing because it's like a-- anyway. But I don't think we did because it wasn't like--
ANYA TAYLOR-JOY: No, we just went for it.
JOHNNY FLYNN: But I would say, if you've done lots, [INAUDIBLE] you just-- you-- you do get quite blase about it. And it, like everything in filmmaking, it's very technical, and you still have to think about hitting the lights.
ANYA TAYLOR-JOY: Angles and lights, and-- yeah.
- Sounds very romantic.
ANYA TAYLOR-JOY: It's super romantic. It's romantic in the film. That's why I said I didn't want to, like, ruin it. Yeah, sorry.
JOHNNY FLYNN: Shouldn't have done that.
ANYA TAYLOR-JOY: It was-- it was very romantic. Yeah.