(relaxing music) - I guess the thing that I learned about Jo was I always felt like she was so much better than me.
Like I always felt like she was so much more coordinated and powerful and infallible, and then I got cast as her, and all of a sudden I was like, "Oh my God, well she can't be more coordinated than me because I have to play her."
(laughing) There's a big difference between acting in a classroom, acting in a play, and doing it as a job.
It's really much scarier.
Castles in the air need keys, and sometimes I dare to think that this is mine.
And so in sort of accessing my own vulnerability and wounds and clumsiness, I got to realize that even my hero had those things, too, that Jo had space inside of her for my faults in the same way that I had space inside of me for hers, and that kind of forgiveness and acceptance from even an imaginary character that I got to embody was a very powerful thing.
I can't help that I like boys' clothes, and work, and manners.
Being born a girl is the most disappointing thing that ever happened to me.
She wanted to be a boy because they were allowed to play more and learn more.
But she loves her body, like she loves running and playing and being active and she loves her mind and she loves to get to use it, and there was a real, between corseting and the lack of education, there was a real limit on women in that time for how they were allowed to use their bodies and their minds.
She's like her sisters in that they're all striving to be their best self.
They're all fundamentally honest and loving towards each other, and she's different in that she is not satisfied with her current circumstances.
She's not satisfied with the amount of education she's been allowed to have, with the clothes she has to wear, to the place she lives.
She wants more from life.
And I think that's something that people really connect to and I think that that's what makes her really individual.
(relaxing music)
