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‘I think it could be one of those films,’ she says.

‘A lot of people are saying it is going to be the next Twilight.

Ronan orders soft-boiled eggs, which arrive with soldiers stacked like Jenga pieces.

I half expect her to crack open the eggs with a pointy retractable thumbnail, as used by her Byzantium character, Eleanor, to dispatch her victims. ‘I was a good vampire, I only killed old people.’ Pale and pretty, Ronan is the type of girl you might walk straight past in Topshop. ‘I’m a bit of an Urban girl,’ she says, pointing to her chunky green jumper and short A-line skirt, worn with River Island brogues.

And that’s funny, and it’s also heartbreaking, and it’s also so American — there is an economic thread here, it’s about the class system, and the idea that we are still all trying to make a better life than the one we have.” Gerwig shows us in that on some level, the feuding mother and daughter share these aspirations.

On Sundays, they go to open houses and wander through mansions, wondering what it would be like to live there.

We are talking about how she keeps in touch with home (a small village in County Carlow, Ireland) when she is away on set and she has just admitted to Skype-ing her border collie.

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‘It’s more about the thought and the stillness and what comes out through [your] eyes.’ The Host presented a unique challenge: playing two parts in one body.

‘The thing is, I forget about people I want to work with and then suddenly, thank God so far, they’ve kind of popped up,’ she says brightly.

Recently Stephenie Meyer, the author of the bestselling Twilight trilogy, ‘popped up’.

Even so, the polish and the confidence of the work come as a shock. Her background is improvisation and fluid collaboration, but her teen girl coming-of-age movie is old Hollywood — the dialogue, banged out on a keyboard, is all Gerwig’s, shot as she wrote it, nary a word changed. Sharp, funny, humane, and uncommonly intelligent — let’s start with the reference in the first scene, set in the front seat of a car, where a mother (Laurie Metcalf) is driving her willful daughter (Saoirse Ronan), who calls herself Lady Bird, home to Sacramento from an abysmalwhere colleges are prestigious and exclusive and completely unaffordable.

This offends her mother on some deep level, and after a minute you realize why — it’s no random thing that they’re listening to books-on-tape Steinbeck.

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