The director gives you a free take here where you can improvise. Are there any examples of improv that make it to the last cut?
Yes, actually. There’s a scene in Sherlock’s apartment where I say, “Crazy idea. Have you considered a flatmate?” And “crazy ideas” are 100 percent improvisation. But yeah, I definitely applied some of my improv to it. And sometimes we keep it and sometimes we don’t. But in the end it’s really nice to be able to bounce those ideas off Harry [Bradbeer, the director] and he was very open and accepting.
I know you’ve said that Enola is much closer to you personally than Eleven from “Stranger Things.” When Eleven grew up, did you find that you are closer to him now?
No, still not. I’m not from a lab and I don’t have a shaved head. I have a great family [laughs]. I still can’t resonate. I don’t think I’ll ever resonate with that. I love it, you know, we have something in common that’s just the fact that we’re young women, but nothing — our characters are very, very different. So I have to say no. I think Enola and I are still very similar.
You’ve mentioned that being a part of story development is very important to you and I’m glad you’re the producer on this. Do you think this affects what we see on the screen?
Well, I mean yes. Obviously there are some things that — I mean, I have a different opinion than any other project I’ve been on. Yes, I would say so.