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How did you find a way into playing the young Donna?Yeah.
I watched it over and over and over.
What was that like?Everywhere you look there were these movie legends, and it was very overwhelming.
It was so mad.
What was it like to have that group of young people together shooting the movie?It was wild.
There was the six of us on an island in Croatia for six weeks in the sunshine.
It wasnt like work.
Even Bob Yeoman, the director of photography whos worked on all Wes Anderson films.
Christine is so supportive.
She used to sneak into rehearsals, and she would watch us.
She was like, You girls are killing it.
She gave us a seal of approval, which really meant the world to us.
Its the iconic moment of both films.
InSorry to Bother You,you provided Tessa Thompsons white voice.
I think Tessa is an outstanding actor, and beyond that, person.
She has this whole energy moving through life.
She emailed me, Hey, do you wanna do this thing?
Im really looking forward to seeing how it all panned out.
I havent seen it yet.
Youre also inThe Guernsey Literary and Potato Peel Pie Societythis summer.
Between that andMamma Mia!
Here We Go Again, youve staked out a claim for doing movies with the longest possible title.
]Guernsey literally, I still cant get the title right.
I think in another territory, they called itDear Juliet, and I was like, there we go.
Theres a snappy title.
But its really charming, its about reading.
Its centered around a book club, and how book clubs have the power to transport you.
Its an English romantic drama at its most quirkiest and best.
I stayed in the accent the whole time.
I really liked being American.
Does doing the accent change your persona?I think theres a whole different energy.
With each accent comes a physicality, and American has this driving through to the end of a sentence.
Maybe that was just Donna, specifically.
Not a world Id want to live in.
This interview has been edited and condensed.
