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HB: Is there one scene that stands out to you as the weirdest to film or the most difficult? MS: Perhaps the ones where I'm alone doing coke, in my room or in the house, because I didn't have a partner for those.
It was just me playing around on my own brain to get somewhere weird and fucked up. HB: How do you film those cocaine scenes?
What were you using? MS: We used B, the vitamin. You just snort it. They bought me a Neti Pot to keep my sinuses clear [laughs]. HB: Do you think the ending of White Girl left things on a hopeful note?
MS: In some way, yes, but I do think by the end, she's lost a lot of hope. She's lost a lot of the gusto and excitement and enthusiasm for life that we see throughout the film.
But I think that's okay and that is part of growing up and that is good, to learn that the world isn't always your oyster or isn't everybody's oyster.
So I don't know if hopeful is how I would describe it at the end, but more conscious, or something. HB: How was making this film different than any other project you worked on before?
MS: Well, I've made a few independent films now and a few movies with Disney and I've done TV. I really love independent films.
There's something so determined about the people who work on them. I mean, it was a day shoot, which was tight and tough.
It also was in New York. The last thing I shot [was] in Nashville, the thing before that was in Salt Lake City, the thing before that was in LA.
So it was funny to actually come home at the end of a long day instead of just a hotel. It was interesting. But also the work that we put into the character and the script before we shot was by far more than anything else I've ever done.
It was the lowest budget of a project I've ever worked on and the longest rehearsal period, and that really was spectacular and I think really important in expediting what we needed to do on the day.
HB: What did you take away from making this film? What did you learn about yourself? MS: It was my first proper "big lead" role and like I said, when I signed on I was scared, but I felt like if I could do this—if I could create this whole character—it would tell me a lot about my career.
I had done a play right before it, and that kind of shook my acting brain in a weird way as well, my first play in New York. I learned to understand the distance a character can be from yourself and how important rehearsal can be to creating a person that feels like a person that isn't you.
And now it's hard to do things like auditions, because you don't want to put weeks of work into just an audition.
But I am realizing, even as I've met with directors since then, how exciting a real collaboration can be, like I had with Elizabeth, but also how much work you can put into it and how it actually does something.
They bought me a Neti Pot to keep my sinuses clear. HB: You got a whole new look for the film. Where did those bleached curls come from? MS: I loved it.
I thought it was so fun. Elizabeth and I had a lot of modern-day, young, druggy girls as inspiration and we would compile a bunch of images from movies as well.
The day I dyed my hair, it was so fascinating to see how I was perceived differently on the train or walking around the city, how more eyes would go to me and people would call on me more.
I, Morgan, was very shy from that, but Leah would love that attention and would thrive on that attention. It was really interesting. Because we had so much time leading up to it, I was able to change my appearance and see how people responded to it.
One thing about New York is you can understand how you're perceived really easily if you just get on the train, by the way people look at you.
But there's still an anonymity in it. Elizabeth was frequently trying to encourage me to understand my sexiness and what made me feel hot and powerful.
HB: What do you say to critics of the fil m who find the movie salacious and shocking? MS: I don't say anything. They're allowed to have their opinions, but I do think it's important to look past those things.
I find it really weird that sexuality is still so taboo in films and violence isn't. It really bewilders me. Gun violence is almost promoted onscreen in these huge blockbusters and then sex is still so shocking.
But I also can understand that people find it uncomfortable, which I think is cool. We've been asked, "Why do you show this if you know it's going to make the audience uncomfortable?
It's an honest portrayal of sex, in some way. HB: And in a total , you're playing a nun in your next film. MS: [Laughs] Yeah, the film is called Novitiate.
It's another female director, first time feature, and I play a young nun in the early '60s around when the Pope passed Vatican II.
It takes place in a little town in America, in a little convent. The pope passed this huge thing that shifted Catholicism in a huge way.
It kind of eradicated all of the harshest laws of sacrifice and shook up the convents and the practices. It's really interesting. HB: What else are you working on?
MS: I go back to school in a few weeks. I'm starting my second year. I'm studying math at the University of Chicago, so I'll head that way soon. HB: Do you consider yourself to be more left or right-brained?
MS: I get asked that a lot because people say, "You're studying math but you're so creative," but to me, even the creative things feel mathematic, almost.
So I guess left, perhaps? HB: Do you have a dream role you'd love to play, or someone you really want to collaborate with? From White Girl.
Morgan Saylor kissing a guy as he moves his hand down and tries to put it up her skirt. We then see her topless as she and the guy have sex against a wall, showing both breasts as the guy holds her up and she continues to make out with him.
Morgan Saylor topless as she has sex with a guy in the back of a moving cab, her breast flashing into view a few times while she rides the guy.
Morgan Saylor pulling her dress down to expose her left breast briefly while sitting across from the table from a guy during a prison visit.
Morgan Saylor naked on top of a guy, having a guy rub her breast as she rides him, showing almost full-frontal nudity as she as sex with him and throws her head back while grinding against him.
Morgan Saylor walking through a dance club and pulling her shirt down to go topless as she makes her way through the crowd.
She dances and steps up next to the DJ, showing her breasts before a friend ties her shirt on again. Morgan then goes topless once more as she first leans over and the shirt hangs open, and then with her shirt removed entirely once more.
Morgan Saylor first seen giving a guy a blowjob briefly in a dance club bathroom, sucking on a fake penis before she stands up and has her skirt lowered to expose her panties.
Morgan Saylor of Homeland fame making out with a guy while they undress each other, Morgan showing her bra and panties first.
We then see Morgan naked on top of the guy on a bed after sex, her bare butt in view first. She then lifts herself up slightly and her right breast comes into view before she lays back down on the guy.
From Being Charlie. Morgan Saylor lying on top of a guy on a laundry room floor, partially wrapped in sheets as she talks to the guy and kisses him.
He rolls her onto her back before she once again ends up on top of him, her right breast possibly flashing into view quickly as she they are interrupted and she rushes to cover up.
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