Aside from being one of the very best shows on television, Game of Thrones has helped launch the careers of many incredible actors and propelled others to stardom, introducing American audiences to a slew of them. One of my favorites is Rose Leslie, who played the stubborn badass archer kissed-by-fire, Ygritte, across three seasons of the HBO phenomenon. Rose is now in the midst of launching an American film career. That begins with Honeymoon, a horror movie from first-time director Leigh Janiak. She stars opposite Penny Dreadful star Harry Treadaway. The intimate psychological thriller chronicles a “soppy” gooey lovey-dovey relationship and its slow, painful disintegration, taking place on that singular marriage rite of passage: one’s honeymoon.

On the morning after the Emmy’s, I was lucky enough to find some time with Honeymoon star Rose Leslie and her bewitching Scottish accent, before she was whisked off to the set of the Vin Diesel blockbuster The Last Witch Hunter. In the following discussion, Rose reveals her opinions on the horror genre (can you believe that the woman who played Ygritte is a self-described “wimp”?), discusses the massive differences between shooting Game of Thrones and Honeymoon and proves that I know nothing about Scotland.

Andy: Not too hung over from the Emmy’s?

Leslie: Ohhhhh, see now that we’re getting into that territory…no, I’ve had lots of coffee, thank you. It wasn’t a particularly late night for me.

[commence communal giggling]

Andy: I wouldn’t tell anyone. I have to start by saying that Ygritte is my favorite character from Game of Thrones, and I’m going to miss you on the show.

Leslie: Aw, thank you so much, that’s a lovely thing to hear. Thank you.

Andy: I was wondering, what did you take away from Game of Thrones and how has that informed your career?

Leslie: I felt very touched, because on my last day, I was given Ygritte’s bow and arrow to keep. They had changed the handle, personalized it with a silver plaque that said “Kissed by fire,” along with an emblem of a rose, and it was really lovely, and very considerate and just charming. That kind of sums up the entire crew and my experience for three years, because I had a blast on Game of Thrones and truly, truly loved it. And having been a part of such a global phenomenon enabled me to knock on doors that I was never able to knock on before. It’s given me a chance to be represented out here in America, which is a wonderful, wonderful thing. So it’s been great.

Andy: What then, drew you to Honeymoon? On the surface, Honeymoon looks like another cabin in the woods horror movie, but really, it’s a psychological relationship thriller.

Leslie: Yes yes exactly. It’s an examination of a relationship. One that seemingly starts off with a strong relationship, well it is, it’s an incredibly strong relationship, where these two people are totally enamored by one another, and obviously, quite clearly, in that honeymoon phase. And then the cracks starts to appear and that was something that drew me to the project in the first place, because there is such a transformation within these two characters, who are so intimate from the top and have to be throughout the film. Never before had I worked on something where, I know it was on screen, but it felt like a theater piece, because it was so intimate. And you were leaning so much on the other person, and it was just really a fascinating experience.

Andy: You touched on the word I was going to use to describe the film: intimate. It’s almost even claustrophobic at times.

Leslie: Yeah, yeah.

Andy: A movie like this requires a lot of trust with the director [Leigh Janiak] and [costar] Harry Treadaway. Did you know them beforehand and how did that trust develop?

Leslie: I had never met Leigh prior to reading the script. We had a couple of Skype chats and then I read the script, and she’s a remarkably intelligent woman, and I trusted her in the sense of, even though, no not even though at all, I know it was her directorial debut, but she said such insightful things about one scene or another. There was a real depth there, and it wasn’t just going to be these two people within their own sickening bubble of love. It was actually gonna be more than that.

In regards to Harry Treadaway and myself…we knew each other very briefly prior to working together, because we happened to go to the same drama school [London Academy of Music and Dramatic Art, or LAMDA]. So that’s how we knew one another before. So there was already, I hesitate to use the phrase, foundation of trust, already, but it was a lovely thing in knowing there was a link there.

Andy: I imagine making Honeymoon was almost the exact opposite experience from working on something as massive as Game of Thrones. There were only four actors in the entire movie, and primarily it was just you and Harry. How was that like, and was that one of the reasons why you jumped in?

Leslie: Yes, exactly. It was because I had never really ever come across a project where there was so much hanging on these two people to basically get it right. I think that there was a risk in casting, you know there’s always a risk in casting a movie, but particularly for this, because it had to work at the beginning of the film, to actually feel some real empathy for the characters throughout. To really want to fight for them by the end of the transition, and to be involved in their world. That was something that appealed to me greatly, because Game of Thrones is not such an intimate shoot, and obviously with it being the colossal machine that it is, there’s a huge crew, and amazing equipment, and the production value is so high, and it’s a real, real privilege, and yet Honeymoon was a very different entity, and that was incredibly insightful. And also, a lovely thing to be a part of just because I was able to experience two different seeming worlds, even though they’re both with a camera onscreen in one way or another. It was a great, kind of like, balancing of the scale.

Andy: Where was Honeymoon filmed and how long did it take?

Leslie: Because it’s an independent movie, it was so tight, there was such a strict deadline. We shot in North Carolina, and we literally had about four weeks’ worth of six day weeks, we only had one day off a week, and it was just so intense. As you say, it was like jumping into the deep end with the project, and only really coming up for air once we wrapped at the end of the four weeks. We completely submerged ourselves into this world and into the realms of Bea and Paul, and just wanted to focus on the crumbling and the dissolving of this relationship, slowly but surely, and using a microscope into that.

Andy: You’ve referenced, sort of the two halves of this movie: the honeymoon phase and the crumbling of Bea and Paul’s relationship when weird and creepy things happen. Did you have a preference as an actor? Did you like to play the light-hearted stuff or the descent into horror?

Leslie: I personally loved the middle ground, where we weren’t so soppy and in love, not that it was soppy, but we were all over each other. But there was a middle part that was very interesting to me to play the subtext and subtlety of the cracks beginning to appear, and the distrust and the walls beginning to crumble between them and kind of playing that. Where everything is okay on the surface but Bea is in real turmoil underneath. That was something I really enjoyed playing, far more so than the blood and gore at the end.

Andy: That was also my favorite part. Perhaps this is a better question for Leigh or Harry, but your character [Bea] is the one who gets body snatched or taken or something has happened to you. We’re all curious and skeptical, along with Paul, when you return. But I really liked, that, if anything, Paul was just as creepy in his response, that it kind of went both ways. Was that intentional?

Leslie: Yeah, do you feel that was because he didn’t run off and freak out, and take the car keys? Is it because he stayed; is that just as creepy?

Andy: That’s partially it, but it was more so due to the intensity with which Paul reacts to Bea’s changed presence, and the almost abrupt switch that goes off with his character, along with the riff on the jealous boyfriend/husband stereotype, when we’re introduced to Bea’s former summer fling Will, and taking that a different way. I thought maybe something was wrong with Paul as well, perhaps Bea’s disappearance was misdirection, and that Paul was the changed one.

Leslie: Yes, yes, when I was reading the script, I was wondering: was Paul the one going mad or was Bea the one going mad? Is it both of them, or…is there actually something out in the woods that attacks her? I thought that was very clever too. It’s a testament to Harry being able to complete all those separate emotions all at once, really, because you’re right: you get freaked out by him and his reasoning behind his actions, or the actions themselves, than just seeing him as the pathetically jealous husband.

Andy: Are you a fan of the horror genre in general, and the body-snatching subgenre that this is a play on?

Leslie: Yes, I am a fan. It’s very interesting to play the body snatching element. I feel, when it comes to the horror genre, I’m harking back to my sentiments before of me being far more of a wimp than I like to admit. I prefer, and am speaking to, the psychological thriller side, rather than the gore and blood of horror.

Andy: That’s the scarier stuff anyways.

Leslie: Exactly, it messes with your mind!

Andy: With Game of Thrones and Honeymoon, you’ve definitely been a part of some decidedly adult, dark and gruesome things on camera. Is that something you look for, or is that just how it’s worked out?

Leslie: With Game of Thrones I absolutely responded to the character, loved the character, and knew that the book series was incredible and was so happy to be able to play Ygritte. As an actor I look for roles that have a certain versatility, so that as an actor I don’t totally become stale, and I am displaying different ranges as it were. It definitely keeps me on my feet, and makes sure that I don’t slow down in any way. But for me, it’s really about the writing, first and foremost.

Andy: Honeymoon comes out in theaters and on demand on September 12th, so I’m assuming you have a few very busy weeks ahead to promote the film.

Leslie: You know what, it’s really today. I’m currently in Pittsburgh, so I’m flying back to Pittsburgh tomorrow, and so the premiere is this evening, so we have press all morning and afternoon and this is our day to promote it, prior to the 12^th.

Andy: Sounds like a crazy day. What’s next for you after Honeymoon? I know you’re shooting The Last Witch Hunter [starring Vin Diesel].

Leslie: Yes, that’s what I’m shooting in Pittsburgh, exactly. So that’s where we are shooting until December; it’s a lovely long shoot. I’ve already shot a couple days, and it’s been great fun, so that’s the next project. [She also stars in Sticky Notes, a drama starring Ray Liotta, arriving in theaters March 1^st, 2015]

Andy: Before we go, I have to ask a question about Scotland. It was probably my favorite place I visited when I went backpacking, and when I return [AND I WILL], where should I go…what treasures off the beaten path await?

Leslie: My home city is Aberdeen, so I highly recommend it. Did you go to Aberdeen?

Andy: I unfortunately did not. I went through the highlands but not up to Aberdeen.

Leslie: I recommend traveling further north and going to Aberdeen, because it is a beautiful city, with a lovely beach, and some great cultural aspects, there really is. There’s beautiful countryside outside of it as well, the tracks up through the hills are absolutely beautiful.

PI: Scotland is unfairly beautiful. Thanks for the tip and for taking the time to talk with us!

[youtube http://www.youtube.com/watch?v=OrSh2CHmEW4]

As aforementioned, Honeymoon comes out on demand, and in theaters, this Friday September 12^th. Be sure to check it out, and read our review.

I’ll admit, I’m probably the wrong one to write any post on the FAST AND THE FURIOUS franchise. I watched the first one in the prime age of when I should love it (13-14), and didn’t really get it (though I appreciated the boobs). The only thing it did was solidify my love, adoration and absolute fear of Michelle Rodriguez.

I’m not a car guy; I’m one of the least knowledgeable people I know about vehicles and anything useful, and certainly one of the least macho people I met, mostly because I just used the word macho. The only car I wanted when I grew up was a DeLorean, or Chitty Chitty Bang Bang or Lola/All of the Above. I’m as far from teh F&F demo as you could reasonably ask for…except, unbeknownst to me, these films transcends demographics, appealing to anyone with a pulse.

I hadn’t watched any other FAST & FURIOUS movie (nor do I entirely get when I’m supposed to use the ampersand or AND or neither) until a few friends made me watch FAST FIVE last year. I was resistant, but once you accept the reality of the situation, these movies are ridiculous fun, and promote such holy virtues like family, embracing the wife beater religion and crime.

As the franchise has progressed, it’s essentially turned into the EXPENDABLES of car movies, adding star wattage, except said stars are up and comers, or relatively young by comparison. Plus hot men AND women get to be in on the action. Furthermore, F&F is a melting pot of ethnicity and race, a truer depiction of America I’ve not seen. The latest is another success, balancing an ensemble of characters as ably as Joss Whedon did in AVENGERS. I don’t mean that as sarcastically as I probably should, because indeed, every person gets a chance to shine, be it the Rock/Hobbs, Ludacris, Tyrese, Vin, Paul (RIP), Han, Gisele and admittedly, not really Mia.

With Wonder Woman (Gal Gadot, above), Groot (Vin Diesel), Dracula (Luke Evans) and probably Black Adam (The Rock) all in FAST & FURIOUS, it’s fair to wonder if FAST & FURIOUS takes place in the Marvel and/or DC cinematic universes. Considering every movie will eventually fall under those umbrellas, I think F&F again is ahead of its time.

Sometime in the near future, I hope to marathon all 6/7 movies and truly embrace the testosterone, wearing wife beaters and swapping needles with the bros. When “researching” this post, this note from the franchise’s Wikipedia page was one of the funniest things I came across:

This article’s plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise.

A drinking game for the most recent classic, FAST & FURIOUS 6 will have to suffice.

FAST & FURIOUS 6 is directed by Justin Lin, whose Hollywood career began in earnest with the impenetrable ANNAPOLIS (2006). The movie brought him and Tyrese Gibson together, ushering Lin into “the family” that Dom and O’Connor interminably tout. The Taiwanese filmmaker put his stamp on the franchise with TOKYO DRIFT, the third film in the franchise (and the one that judging by its trailer, made me erase the franchise from my consciousness).

After Paul Walker or Vin Diesel or both were missing from 2 and 3, they reunited in FAST & FURIOUS, a film that Justin Lin also directed. He continued the good thing with FAST FIVE and FAST & FURIOUS 6, one of the main components (though let’s be honest, The Rock is the biggest component) in turning FAST & THE FURIOUS from a dying franchise with a lot of tread on its tires, to one of the most profitable and largest mega-franchises in Hollywood. In between all the cars, he also directed three episodes of COMMUNITY (including arguably its best episode ever, “Modern Warfare”), which is a surefire sign that you’re going to hit the big time in Hollywood.

Innumerable master theses could be written about the life and career of Vin Diesel, a self-made powerhouse in Hollywood. While he had a brief appearance in SAVING PRIVATE RYAN, it was THE IRON GIANT that likely propelled his career into the direction he wanted. It’s also the best movie he’s ever been in, and I don’t mean that as an insult to his body of work. THE IRON GIANT fucking rules.

Then, PITCH BLACK and THE FAST AND THE FURIOUS hit in 2000 and 2001, and he could do whatever he wanted. That meant xXx, a bunch of other mediocre action movies and…THE PACIFIER. That movie effectively/justifiably wrecked his career until returning to the role of Dom Toretto in F&F. Now he’s in GUARDIANS OF THE GALAXY, has another F&F movie upcoming, RIDDICK might go on forever, and Vin looks to be returning in another Triple X movie. Vin Diesel has been the star of 3 different franchises, and has himself well positioned to be on the ground floor of a fourth in GUARDIANS. It’s really a fascinating journey. Diesel strayed from his m.o. and persona slightly, and has since counter-corrected in the complete opposite direction to massive success. Now, he probably can do whatever he wants, but that appears to be sticking with what works, and for any other actor, I might consider that boring, or greedy. For Vin Diesel, it’s smart. Say what you want about his acting talent or lack thereof, he’s perfect in FAST & FURIOUS, the gritty heart and soul of a franchise with a lot of moving parts. He also has one of the most loyal and active online fan-bases in the world, something he’s been on the forefront of embracing and cultivating.

So anyways, on with the drinking. You could probably substitute beer with Full Throttle, or steroids or something, but that’d be even stupider. Every round must begin with pouring a sip out for Paul Walker, an American hero.

A warning: it’s pretty impossible to play these rules. I will say that I did it. But don’t be an idiot: sleep on your bro’s couch afterwards, and don’t drink more than you can handle.

0. As with every film on 7 Inches of Your Time: sips for nips. That means man or woman, and for F&F6, you could black out from this rule alone thanks to all the man pecs.

1. Every time Tyrese is cheap, drink. Not a big sip, because you should respect Tyrese’s creed.

2. Every time there’s a new genre of vehicle (car/boat/plane/tank/etc.), have at that bottle.

3. Whenever our fateful heroes make a reference to “the life,” you should toast to the crew.

4. Whenever Dom and company reference “the family,” drink with them.

5. Drink for ever impossible car maneuver. Sorry.

6. Every time a character comes back from the dead, drink. Um, spoilers.

7. Drink for ridiculous car jargon!

8. Whenever some says, “I got this”/”I got your back”: drink. I really want to be able to say this un-ironically in my life time.

9. Drink when the maxim “Ride or die” happens.

10. You must drink whenever someone jumps from vehicles.

11. For every new wife beater, celebrate with a sip.

12. And lastly, drink for every “Oh shit.”

Expert Version: Drink whenever a car’s engine revs or someone switches gears. You’re welcome.