okay we're so in because we both have sisters and know that like Dynamic of the closeness but also you're right and well in this show you're right we all have our own stories did that resonate with you yeah I think the thing that's so special about this script which which is also super language forward that our our writer director oza Jacobs wrote and wrote for us in mind funny enough is is it really starts with this idea of the um our own what is perceived of us the role we play in our family and then even us willing to play that role because it keeps it easier totally you don't right and you don't want to shake the boat there's something weird about going back to your house as an adult and you're still like that child and you're still playing the same role and you're like but I wasn't like that with my own family and now I'm I'm morphing back into this thing cuz you assume this of me and supposed to just make keep it easy and so this is a film that really is are these three women who at at this point of dealing with their father in hospice they they have an opportunity and circumstances that disrupt I think on every level whenever a child a gr even grown goes home we all revert back into it did and that happens to us even now does that happen does that happen in in your life when you get home they're like oh you're the blank one and your sisters are the ex- ones and however you describe and you can't you can't shake that no matter how much you've grown no you almost play into it yeah and there's six of us in my family yeah there's a I didn't know there that many pars are incredible yeah two two moms but well both moms baby before and then a middle child um 10 years later wow yeah so each per each has their role you feel like completely I think yeah and we just we just make assumptions and and uh and I think OA puts it so beautifully in this film and the performances with watching Natasha come on when you said they had you in mind when writing this so did that so you guys were pre-selected before is that what it sort of felt like so I worked with oza Jacobs before um he's directed me in a TV show I did called sorry for your loss and um he had worked with Carrie Coon's husband Tracy let's on two movies so he knew us very well he knew Natasha only socially and so while he was writing this he realized that he wanted us well he started he realized that he was hearing us and so he approached us with the idea of we want to shoot this I want to shoot this on 35 mm I this is the budget I know I can get um it will be ours we'll make this for nothing but we'll all be a part of it and so we all found these three weeks to shoot it over 17 days and we're really proud of it and you were in this New York City apartment so it was this really intimate yes if the both the film feels intimate but it must have been with these other actors too it was it was amazing and while we we've shot in order which never happens which was also part of the things that felt like a play almost yeah and we learned from it because of it but we were also as people and actors learning about each other while our characters were as well and so it kind of it fed into the performances and the decisions we made and the choices we made and we never get the opportunity to shoot in order so it was really a treat and also their hilariously brilliant smart women and it was so fun working with them we would like be entangled on Sofas in between scenes just playing the New York Spelling we heard you got really into spelling G Queen be did you ever play categories I'm no I I have played but not as a grp well you need to shoot another film yeah to play category wow Elizabeth thank you so much this is a very very good film his three daughters hit Select theaters tomorrow it's going to stream on Netflix by the way on September the 20th I love that speaking of great movies there's lots to look forward to this year we're going to give you a sneak peek of some Buzzy fall films right after this I know that looks good right this is such a