Angelina Jolie Talks 'Without Blood' & Her Own Experiences of Conflict (Exclusive)

What was the dynamic like working together on this project? I know it's quite a bit different. Yes, and it's, I mean, a very, very, very different situation. Yes, but it was home. In the tunnels, it was very big. There was a lot of people. It was fun, whatever. This one was home. It felt safer. Very different situation. Very different sets, very different. Probably polar opposite. Yeah, polar opposites, yes. But for me, it felt very intimate, and sweet in a way. I've never felt more safe on a set than on this one, and on the hands of this director. And I was really afraid going in. And we would find our way. And also, I really think we created a country that it was confusing at the beginning, but it also felt like home to me, even though it's not necessarily Mexico. It really felt like my country. And so, this was a really lovely, special experience. And I will always cherish it because of it. Angelina, this is for you. What a beautiful yet tragic story. When you first read Senza Segue by Alessandro Barrico 10 years ago, why did it become such an important book for you? For many different reasons. I think there's the micro and the macro, the personal and the global, in that as a person, it was a particular time in my life, and reading about conflict, and what we carry in our bodies, and how we come through it, and how we would like to sit at that table, and understand more about why, and try to listen, and understand, and feel understood. To try to actually move something forward, I think is something most people can relate to. Certainly, I can. And then, globally, I think that there is a lack of this. There is a lack of meaning what they do in this film. We don't see a lot as much today of really trying to find where we can agree and move forward, or solution-based, or sitting together and having very, very difficult conversations with the intention of trying to move something forward, not just sit on what's on the side, or... We're just not about being right. So I think diplomacy, this is partly where diplomacy sits internationally, and that we need more of. And above all, I've met many people who've been through real conflict, and I know they carry it the rest of their lives in their bodies, and it's not over when the war is over. So I thought that was an important thing to be reminded of and to discuss. Thank you for your answer. Salma, what was your first reaction when you read the book? It's a beautiful book. I was wondering, how is she going to make it into a film? Because when you read the book, it's not necessarily the most cinematic read that you've ever had. And then she showed me really fast, like way at the beginning when she decided to do this, she, by herself, did all these... How do you say these? Decks. And it was nothing. Like, I had a vision, and it was, like, Western-y, and the Godfather, and it looked like that. And it was gorgeous. The shocking part is that she actually managed to film exactly what she showed me in drawings and in pictures. And so when I first read the book, I was afraid it was going to feel like a play. I didn't see the cinematic aspect of it. And even when she showed me, I said, wow, how's she going to do it? It was really mind-blowing to see how she brought it to life. Thank you. And this question is for both of you. What was it like filming in Italy? Oh, it was fun. Yeah, Italy's wonderful. It's a wonderful place to shoot, and great crew, and... We took cooking classes. We took a cooking class with our kids. The food was so good. We learned a thing or two. I think that was that, by the way. Yeah, I completely forgot. I forgot the next day. But it was great. It was fantastic weather on top of it. Yeah, it was nice. And I think it was important it was nice, because when things are heavy, I think you need to try to have a nice environment. She didn't overwork us too much. Not too many hours, but it was intense. The hours we were there, we were working hard. She was ahead of time, which also helped. And I have a lot of friends there also, so I love shooting in Italy. And Angelea, this is being classified in the Western genre. What do you think of that? Is it? I heard that too. Oh, cool, yeah. I think that's great. I think it makes sense. Perfect. You know, and yeah, somebody told me it's like... What did you say, Angelea? It's a Western, telenovela, beautiful drama. Somebody said it's like my dinner with Andre. Somebody said it's a Western. It's another one of like... Somebody thinks it's very European. Yes, yes. But I think it's like maybe what... There was a tone to it that was certainly inspired by Westerns. And I think... And if a Western is kind of about like kind of being in these lands where you're like the people and the land and the feeling and the kind of moving through it to deal with your own... I don't know. I wonder what classifies a Western. Yeah, because this play doesn't specify a time or a space or a place. Because somebody also said there's a mafia feeling to it. That's what I'm saying. Right, so I wonder what... I don't know. Clearly, we're still figuring it out. There's something wrong. There's something wrong about it. You see, you don't see airplanes. You don't see... Maybe it's that. Maybe it's the... I don't know. But I think that's... I take that as a good thing. Perfect. And the last question is, what do you hope people walk away with after seeing your film? Their own thing. Yeah, I hope they're just thinking. I hope... want to convey and what you want someone to walk away with and have learned something or be short of this or feel this way. And in this one, I almost hope somebody goes back. You go home and you think about who you'd like to sit at that table with or what aspect of your life. Maybe where you... Some things maybe come more honest with yourself or maybe just have a little more grace and empathy for people you know have gone through conflict or that you think about. You know, that you don't know everything you think you know about yourself or the person sitting across from you. And also, you know, I think everybody is very attached to the concept of closure. One way or another. What does it look like, you know? And I think, how do you... How do we make closure always something that is... Something that makes you grow, you know? And that turns you into something better. That's what I think it should be.