Florence Pugh might dare in her DNA.

At San Diego Comic Con last summer, Pugh revealed that she had a major stunt in Thunderbolts: jumping from Merdeka, the world's second-tallele building, the 118-storey skyscraper in Kuala Lumpur, Malaysia. Most grandparents frightened the horror feat, but Pug's grandmother, affectionately called "Granzo Pat", did not seem to hit the eyelashes in the London premiere of the Marvel movie.

"She loved the movie. She said, 'Glorious, dear. Very excited.' But I didn't ask her what she thought about jumping," Pugh told type A few days later, in Los Angeles. "She's crazy, too, like she's the guy who does something crazy, so maybe she just thought it was a walk in the park."

Pugh added the "Guinness World Record Holder" to her already impressive resume with a once-in-a-lifetime stunt, but she didn't do it for personal glory. “I want to do this because I know it means we all have to do it. “In Malaysia that day, it was an achievement for all of us. We all have to say that we are engaged in stunts, which is an impressive and powerful way to shoot! ”

Indeed, Freefall emphasizes the idea that "Thunder*" is now a completely different Marvel movie in the theater - it uses its action to remind viewers that Pugh's kick-ass mercenary Yelena Belova doesn't really like her job. That was the early vibe of director Jake Schreier's superhero film, which called out anti-hero crew members - Black Widow Agent Yelena Belova (Florence Pugh); Bucky Barnes, also known as the Winter Stan; Russian Super Soldier - Yelena's adoptive father - the Red Guardian (David Harbour); the shameful former "Captain America" ​​John Walker (Wyatt Russell); the invisible spy ghost (Hanna John Kaman); and the combat expert mission director (Olga Kurylenko) - face his darkest side.

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This starts with a powerful statement because the movie is about depression and painful shame – things you won't expect from summer blockbusters. What is it like to dig deep into these topics?

Indeed, I was impressed by the fact that Marvel wanted to do this version of the movie. They made some amazing movies with amazing stunt sequences, but it was so cool to be able to say the movies we made.

This movie will help a lot of people. The basic information is that we need to get along with each other. We need to be open. We need to connect. For me, it would be an impressive movie anyway, not to mention it is a miracle movie that thousands of people would go to see.

You have described Yelena as a very primitive character, but she is also very understanding and very lonely. Having the opportunity to take her on this journey, she finally found her own team, the family she was looking for?

One thing I love her is that she has been trying to help people who may not be that powerful, or may need a little love. She did it with Kate Bishop (in Hawkeye); she did it with Bob. She saved the hamster - she adopted Fanny Longbottom. It’s like she’s someone who really understands the feeling of needing help.

Because she left when she was young and because she had an open relationship with her sister, it meant she was very sympathetic to people, even though she experienced her own trauma in the film, it still existed like that. She still wants to save the hamster, she still wants to help Bob, which is a very beautiful thing. So yes, she is primitive, but she loves it too. Even if she felt depressed, she loved it. I like her.

It was great to watch her realize that suppressing pain was not the right answer. Then you and David have a heartbreaking scene where Yelena breaks down all her regrets. What do you think about this when you read it on the page? What do you want to explore through that father-daughter relationship?

It doesn't exist on the page - it has a version, and it's good, but it doesn't allow us to yell at something important.

In the original script, it has nothing to do with Natasha. They just found everything annoying to each other, and it was just something David and I firmly decided. Like, we can't let these characters discuss the elephants in the room. We can't let these two people pretend that it didn't happen in the last few years. They have to shout at each other. That's what they're angry about. They did not communicate with each other; they were not in each other's lives.

Sadness sometimes does this. Sorrow is a painful, embarrassing and terrifying hole where you are stuck. They both have flaws, and it takes a moment to be like shouting at each other, telling each other that they love each other. So we were passionate about it - Jack was so excited that we just went through the version that each other wanted to say.

And then on that day, when we went to do it, I loved working with David. He's so big, he's so loud and emotional - both characters are so impressive - it's really cool to be able to fight. Basically, they just need to hug.

To be precise, this will solve it. When you and you find out Robert Downey Jr., now, there are many more people.

Many people.

Are you still scared of finding them in there too? I screamed when I saw Sir Patrick Stewart and Sir Ian McKelland announce it.

100%! Oh my goodness, there are so many people in it (choose)! Obviously, Pedro Pascal is forever. Paul Rudd, yes, it's so funny. Really, the idea that all of these people will be in the same movie is nut butter.

As you continue to make the film, Yelena will now play the “domain-oriented role” she requests. Are you most looking forward to the opportunity to explore her new side?

I hope she is happy now. I want her to be satisfied, just as she has a purpose. I wish we could see some of her light again, her charm and her color, as I used to like to play.