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Speaker 1: Yeah, all right, I am Rapp Reports stereo podcast coming

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Speaker 1: live in director. All right, I'm gonna tell you something

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Speaker 1: about today's episode. Today's episode is with Alec Baldwin, iconic actor,

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Speaker 1: and I have to let you know. We recorded this

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Speaker 1: episode on January nine. It's a fantastic episode. We did

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Speaker 1: not discuss the tragedy, uh what took place on that

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Speaker 1: film set with the cinematographer and the director being accidentally shot.

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Speaker 1: It's a tragedy. Anybody who's been on a film set,

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Speaker 1: television set knows that something like that is it just

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Speaker 1: a terrible, terrible mistake. I do not support, do not

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Speaker 1: like the politicalization of the situation. My sentiments, my thoughts,

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Speaker 1: my prayers go with the woman Helena Hutchinson, the DP

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Speaker 1: who was accidentally shot and passed away, along with the

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Speaker 1: director who also was shot, and everybody who was there,

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Speaker 1: because I'm sure everybody has been traumatized by the event

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Speaker 1: and people's lives have been changed forever. It's easy to politicize,

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Speaker 1: scrutinize somebody like Alec Baldwin who's had a boombastic off

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Speaker 1: screen persona, but I'm sure he is just mortified and

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Speaker 1: has so much sorrow about what happened. That being said,

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Speaker 1: we did not discuss that. I didn't feel like it

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Speaker 1: was appropriate. This is a fantastic episode about acting, about

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Speaker 1: his career, my career, about different actors, al Pacino, Kate Blanchett,

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Speaker 1: Robert de Niro with Alec Baldwin, and once again, my thoughts,

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Speaker 1: my prayers, my sentiments go out to Ms Hutchinson and

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Speaker 1: her family and I'm wishing um them nothing but the

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Speaker 1: best going forward and trying to deal with their life

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Speaker 1: that will never be the same. Enjoy this episode of

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Speaker 1: the Iron Rappaport Stereo podcast. Very excited about this podcast,

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Speaker 1: got notes and everything with highlighted information. I am Rappaport

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Speaker 1: Stereo podcast with a man that needs no introduction who

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Speaker 1: I've been a fan of New Yorker from Long Island,

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Speaker 1: been in everything. I was going through all the films

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Speaker 1: and it's been decades. Glen Garry, Glenn Ross, Working Girl,

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Speaker 1: Miami Blues with the great Jennifer Jason Lee. Love that film, Beetlejuice,

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Speaker 1: The Hunt for Red, October's The Royal Tannem Bombs Departed

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Speaker 1: Blue Jasmine, which is one of my favorites. Thirty rock

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Speaker 1: philanthropist classical music lover, father of seventeen or eighteen children.

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Speaker 1: The Excellent, Curious, the Curious Alec Baldwin is with me

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Speaker 1: on the Iron Rapp Reports Mario podcast. My Pleasure, My Pleasure.

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Speaker 1: Did you see I haven't been doing these things? You

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Speaker 1: know what I mean? When I see you online, I

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Speaker 1: see your your Instagram and I'm always like, you can

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Speaker 1: hear me laughing in the other room, because there's very

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Speaker 1: few people who tell it as straight as you do.

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Speaker 1: You know, online is a crazy why are you online?

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Speaker 1: I know why I'm online, and some people say to

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Speaker 1: me why am I online? But when I see you

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Speaker 1: online sometimes I'm like through the good, the bad, the Trump,

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Speaker 1: the pandemic, even this week, and every time, every time

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Speaker 1: you get online, it's like controversy, questioning what why are

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Speaker 1: you even on social media? Well? I think that number

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Speaker 1: one on we found and maybe we found it, maybe

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Speaker 1: my wife figured this out. Probably we found that on accident.

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Speaker 1: Is that you wind up um thwarting paparazzi press when

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Speaker 1: you're putting out a whole bin of your own images

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Speaker 1: of your kids and yourself. The more you post online

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Speaker 1: certain stuff, the less the value there is to their pictures.

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Speaker 1: Of you, So they don't unless they got my wife

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Speaker 1: pregnant walking down the street, you know, which is often

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Speaker 1: but um and for me I find Instagram uh can

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Speaker 1: be fun in terms of and I don't mean to

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Speaker 1: to do these rambles where I'd like I would talk

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Speaker 1: about a topic, which I liked doing that because it's

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Speaker 1: you unedited. Yes, like I've I've done pieces where the

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Speaker 1: most coaching things I said, as you well know, get

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Speaker 1: cut out and I get frustrated with that. So I

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Speaker 1: kind of stopped doing that for now. But I would

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Speaker 1: do these rambles we called them, and I would speak

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Speaker 1: to people in the audience about a topic. But most

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Speaker 1: of it's like I just think, I think it's funny

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Speaker 1: with my kids and so forth. And it's like a

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Speaker 1: pr thing that you control. I agree that you control,

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Speaker 1: you know, like during the elections pandemics, you would get

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Speaker 1: on there and like you get into stuff and like

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Speaker 1: you're a great speaker, you have a lot to say,

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Speaker 1: You're an iconic actor. So I would be fascinated watching

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Speaker 1: you do your stuff because it's like I look at

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Speaker 1: it as performance art, you know, like I think, if

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Speaker 1: you can make it funny, I mean there's people who obviously,

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Speaker 1: who are the biggest stars in the world. Who I mean,

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Speaker 1: think of some movie stars who have nothing to do

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Speaker 1: with social media, very few left. Yeah, like Leo and

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Speaker 1: people like they don't bother. He'll post something to promote

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Speaker 1: some environmental things. Penguins. He only post about penguins and

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Speaker 1: grizzly bears. That's it. But we know you're Leonardo, we

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Speaker 1: know you're on there. Yeah, or we love Leo. But

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Speaker 1: but the of course, But the thing is is that

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Speaker 1: once you say you don't want to do you know,

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Speaker 1: Hanks will do little things every now and then. And

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Speaker 1: who's more of a movie star than Hanks? But the uh,

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Speaker 1: it depends on what you do. I used to want

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Speaker 1: to pontificate and I didn't think it was pontificating, but

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Speaker 1: other people, well it's pontificating. It's great pontificate with pontificate. Yeah, okay,

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Speaker 1: but I I kind of slowed down on all that.

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Speaker 1: Now really good. But the problem is is what forum

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Speaker 1: do you communicate with an audience through. You do TV

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Speaker 1: interviews and they cut them. You do an interview with

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Speaker 1: someone and they shape it and talk about you a

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Speaker 1: certain way. I think I've always said this in the past,

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Speaker 1: I had one guy when I was making a movie

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Speaker 1: in New Orleans. I had one guy from the Times,

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Speaker 1: Pickyune down there, who actually was my favorite interview because

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Speaker 1: he wrote exactly what I said in the paper and

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Speaker 1: he really had the spirit of what I was trying

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Speaker 1: to say. And everybody else it's the new journalism where

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Speaker 1: they're going, well, what he really meant was and what

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Speaker 1: he seemed like was and there's a element of psycho

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Speaker 1: analyzing that they're not qualified to do. I agree. I agree.

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Speaker 1: Your history with the paparazzi and being followed in the

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Speaker 1: marriages and the divorces and your stuff with the paparazzi

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Speaker 1: is unique. And it's been for decades. It's been for decades.

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Speaker 1: I mean you've this since the nineties. Yeah, I met

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Speaker 1: my ex wife, so you've been dealing with it on

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Speaker 1: a different level. Like it's not to say what I

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Speaker 1: think is important is and again, this doesn't excuse anything.

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Speaker 1: I'm not saying this as an excuse. I think there's

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Speaker 1: a profound difference between an excuse and an explanation, And

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Speaker 1: the explanation is that nothing was ever unprovoked. If a

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Speaker 1: guy was seventy ft away from me with a long

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Speaker 1: lens that he wanted to take my picture. I didn't care,

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Speaker 1: but if he walked up and he almost chipped my

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Speaker 1: wife's teeth with the lens of the camera. My favorite one,

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Speaker 1: and I don't mean favorite in terms of I enjoyed this,

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Speaker 1: but when I the most absurd one was this huge guy.

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Speaker 1: He had to be like six four, probably waited about

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Speaker 1: two fifty. He's backing up from me with the camera

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Speaker 1: and he's taking my pictures. I'm walking in the direction

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Speaker 1: and he's walking backwards and he slips and falls and

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Speaker 1: sits on a baby and a stroller and lands on

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Speaker 1: the baby. He trips and lands on my neighbor's child

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Speaker 1: and sits on the baby. And I thought to myself,

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Speaker 1: this is like, you know, this is really not right.

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Speaker 1: And all of the altercations that I've had with people

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Speaker 1: like that, it's always been provoked where they some guy

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Speaker 1: walks him and goes, you know, you know, what are

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Speaker 1: you doing with this woman? My wife? I mean she's

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Speaker 1: a whore. You know, they'll say horrible things. Debate you

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Speaker 1: because that guy doesn't want the confrontation. What what he

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Speaker 1: wants is for the third guy across the street to

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Speaker 1: film the confrontation, right, it's like three card Monty guys,

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Speaker 1: three the journalistic equivalent of three card months do you

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Speaker 1: find out that? And I think it's good that the

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Speaker 1: paparazzi they're a little bit leary of you, which I

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Speaker 1: think is good they should be. I don't think they

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Speaker 1: care because I'm so old now they don't. They don't

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Speaker 1: think that they care. I really do think that, like

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Speaker 1: like how you feel. And I don't say this with

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Speaker 1: any I'm not celebrating this at all, but it's like

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Speaker 1: you see people now, I mean, I'm old enough now

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Speaker 1: and they'll say, oh, I went and sold this movie

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Speaker 1: with so much so when I'm thinking, I have no

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Speaker 1: idea who that is. I don't know who anybody is anymore.

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Speaker 1: I mean, I'm gonna be sixty five in April and

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Speaker 1: I don't know who anybody is. The younger actors, well,

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Speaker 1: we get older and we have a different was different.

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Speaker 1: It's like Long Island. I have with this house on

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Speaker 1: Long Island and we've been out there forever. And when

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Speaker 1: I first went out there, people would say, the old

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Speaker 1: timers that I met would say, oh, it's changed. And

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Speaker 1: I go home and think, I think it's pretty great.

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Speaker 1: You know, I just just got out there. Now, I've

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Speaker 1: been out there for forty years and it's changed. Your

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Speaker 1: perspective change when you get older. Now you have on

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Speaker 1: two watches. Is this? Uh? I gotta add what? What

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Speaker 1: is this? A child cardiac? This is my e k

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Speaker 1: G cardiac thing from my doctor. Yeah, you know. This

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Speaker 1: is a brightening that my wife got me that I love.

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Speaker 1: That's my favorite. Uh, the super which a lot of

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Speaker 1: brightning fans. I have a lot of watches, as I'm

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Speaker 1: sure you do. I don't. I this is the only

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Speaker 1: I'm not a watch. You know when I stopped wearing

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Speaker 1: watches when I had my first kid because it was

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Speaker 1: when I was holding him and always get stuck on him,

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Speaker 1: and then I stopped. I have a lot of watches,

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Speaker 1: and I have some just stunning watches. But this I

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Speaker 1: wear because it's an e k G program And you

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Speaker 1: do that. It bluetooths to your phone and you send

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Speaker 1: it to your doctor because I've been doing a lot

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Speaker 1: of cardiac testing now that I'm gonna gotta do it. No,

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Speaker 1: let me just say this. There's a couple of things

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Speaker 1: besides just your acting. And I said to see you

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Speaker 1: the one time I spoke to on the phone. I've

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Speaker 1: always loved that you're such a fan, a fan of actors.

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Speaker 1: You're a fan of classical music, and you're you're not

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Speaker 1: a shy fan. You like to fan out on other actors.

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Speaker 1: You like to talk about your experience with other actors

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Speaker 1: that you love, that you admire, and you've done it openly,

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Speaker 1: which is something that I really appreciate respond to. I

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Speaker 1: remember at one point you were I don't know if

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Speaker 1: you still are, but you were, I would think was

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Speaker 1: on Letterman. You had been high on vegetarian vegan and

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Speaker 1: all this like you were talking about like this was

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Speaker 1: like something you were like passionate about. And I think

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Speaker 1: you were when a Letterman or the Tonight Show or

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Speaker 1: some show and you were just like I was like,

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Speaker 1: what the fund does he doing? He's just talking about

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Speaker 1: eating in food And are you still vegetarian liquid? I know, yeah,

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Speaker 1: I eat fish, and even that I got sick of

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Speaker 1: during the like my taste. I didn't have COVID, at

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Speaker 1: least I don't think I did. I didn't have any

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Speaker 1: positive tests, and I lost my appetite for a couple

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Speaker 1: of things. One is chocolate. I don always like chocolate. Well,

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Speaker 1: I mean, I don't hate it, but it's like, I'm

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Speaker 1: not a chocolate person. I'm a chocolate person. I used

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Speaker 1: to like chocolate, and uh, I don't have a taste

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Speaker 1: for it any I like really sweet things make me

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Speaker 1: kind of gag, you know. I mean, I'm trying to

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Speaker 1: get my blood sugar down always all the time. But

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Speaker 1: I find I don't know what you're like. But I

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Speaker 1: find that with my podcast, I do it because of

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Speaker 1: my curiosity. And you know, we try to have famous

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Speaker 1: people musicians, actors, what have you, people in the arts, writers,

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Speaker 1: but we also try to have people were there's some issue,

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Speaker 1: like well, I'm gonna interview a guy tomorrow who just

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Speaker 1: has a book out and he was the principal obituary

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Speaker 1: writer for the Wall Street Journal. Actually want to talk

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Speaker 1: to him. We always have an array of people where

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Speaker 1: the topic is what's interesting to me, and um, but

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Speaker 1: I don't know what you're like. But you know, I

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Speaker 1: never want to talk about Like if I go to

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Speaker 1: a film festival, this is the best example, and they say,

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Speaker 1: we want you to come and be an honor ree

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Speaker 1: at a film festival. What film of yours do you

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Speaker 1: want us to show? And I know, and I'll say,

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Speaker 1: oh God, I don't want you to show any of

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Speaker 1: my movies. I want you to show Red River with

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Speaker 1: John you know, I mean, I don't don't. Let's show

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Speaker 1: him a great film and we'll talk about it. But

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Speaker 1: I don't really like to draw attention to myself in

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Speaker 1: terms of acting in my work because I really believe that, Um,

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Speaker 1: I've never once had a satisfying experience making a movie

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Speaker 1: in my whole life. Ever. Never in terms of the work.

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Speaker 1: Meaning it's like when you your honor to Scorsese says,

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Speaker 1: come and do the Departed, come and do the Aviator.

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Speaker 1: Those are small roles and you're honored to be there.

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Speaker 1: You're so appreciative of all the people you're working with.

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Speaker 1: When I did Glen Garry and things like that. But

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Speaker 1: in terms of my own satisfaction, only sometimes in the

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Speaker 1: theater did I feel because you could have more time.

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Speaker 1: You know, you rehearse obviously and make. But in films,

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Speaker 1: I can't name one film I've ever done that I

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Speaker 1: was fond of during or the results either. No, no

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Speaker 1: doing was The memories are of the people, the memories

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Speaker 1: of the of the time that I never sit there

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Speaker 1: and say, oh, we shot that scene, and watch how

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Speaker 1: I say this line. I just don't even bother with that.

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Speaker 1: But I'll sit there and go, you know, I'll never

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Speaker 1: forget talking to Jack Lemon, or talking to George C.

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Speaker 1: Scott or someone I really deeply admired, driving in the

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Speaker 1: van and hearing those things move. It will come on

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Speaker 1: and I'll see a scene and I'll go I remember

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Speaker 1: that day. That's when I had a flat tire on

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Speaker 1: the Ventura Freeway and I was late to working out,

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Speaker 1: you know, whatever it was. But I never looked at

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Speaker 1: films of mind and go watch this, you know what

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Speaker 1: I mean? Like I'm I mean, it's probably changed throughout

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Speaker 1: the years, But when you're working on a set and

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Speaker 1: you're doing a scene in a good movie or a

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Speaker 1: good show, are you struggling to satisfy yourself? Like are

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Speaker 1: you able to sort of self direct and self monitor?

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Speaker 1: Like I've gotten to the point where and I think

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Speaker 1: some of it is because when I've done television, directors

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Speaker 1: come in and out where you go. That was good

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Speaker 1: to myself, Like, because I can't defer to a stranger,

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Speaker 1: you know, I can't defer to somebody, say, you know,

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Speaker 1: like when you're as a young actor, like was that good?

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Speaker 1: Was that good? But do you struggle in between takes?

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Speaker 1: Do you like when you say nothing's ever been satisfying?

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Speaker 1: You don't go home and go I did what I

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Speaker 1: attempted my goals. I think about is what I should

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Speaker 1: have done. Really, I go home and I go I

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Speaker 1: always I do what I call rear view mirror acting.

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Speaker 1: I look at myself in the rear view mirror and

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Speaker 1: I'll go listen to me, Bob, you know, I'll say

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Speaker 1: the line right, and I go, oh, that's how I

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Speaker 1: should have said the line. But, like you were saying,

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Speaker 1: we all have had to become self directing. There's more

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Speaker 1: jobs out there, there's more square mileage now in the business.

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Speaker 1: Then there are good directors, and so when you go in,

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Speaker 1: we've all had to develop that self directing muscle. When

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Speaker 1: you go on the set and you're with a great

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Speaker 1: director like Marty or somebody like that, you just stand

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Speaker 1: there and you know he's got it worked out. He's

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Speaker 1: got it worked out. He knows what he wants to

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Speaker 1: see and he knows the rhythm of it. Say that

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Speaker 1: line faster, come in quicker, do this? Do that? You

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Speaker 1: welcome that, but with a lot of other people. Now

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Speaker 1: you go in and you made at my age. Here

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Speaker 1: they're saying, I made more movies than everybody on this set.

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Speaker 1: I've I know more about acting than everybody on this

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Speaker 1: and unless I'm with somebody who's one of the greatest,

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Speaker 1: and I just you have to be come self directing

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Speaker 1: and stuff. I'd rather be directed. And what do you

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Speaker 1: makes a great director? You've worked with Woody Allen, who

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Speaker 1: I worked with who is director lists almost and it's

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Speaker 1: almost actor proof. I've never worked with Scorsese. I couldn't

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Speaker 1: director you loved? Would he Spike Lee, Tony Scott for

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Speaker 1: different reasons, Nora f Fron for different reasons. But I've

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Speaker 1: never all those directors that I worked with, it wasn't

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Speaker 1: the direction, it was the confidence they gave you or

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Speaker 1: the belief they gave you. Even with Woody Allen, where

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Speaker 1: you do one or two takes and you go, well,

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Speaker 1: at first, it was like, what what the funk? You're like,

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Speaker 1: you know, I've been practicing this for six months, you know,

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Speaker 1: But then you know, well, he knows he's got it.

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Speaker 1: Even though you want to keep going because you're having

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Speaker 1: such a good time, like Nora f Fron. I would

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Speaker 1: ask her questions. She go, I don't know, but let's

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Speaker 1: figure it out later. Tony Scott. Similar thing Spike Lee

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Speaker 1: and in Tony Scott True Romance. And I was really young.

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Speaker 1: I mean I was twenty four, and you know, I

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Speaker 1: was like, you know, on the sets Christopher Walking, Val

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Speaker 1: Kilmer and Christians and I'm like, what the big people?

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Speaker 1: You know? But he made me feel like, you know,

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Speaker 1: I'm trying to actor ship like this. He goo that's good,

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Speaker 1: that's not good, but keep asking me questions. And that

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Speaker 1: made me feel like all right. But you know when

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Speaker 1: people ask me non actors like what is the director,

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Speaker 1: I've never had like a magic sauce or somebody sort

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Speaker 1: of wave a magic one and you're like, oh, that's

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Speaker 1: it looks like for you, what is a good director? Well,

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Speaker 1: I mean one thing that comes to mind that there

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Speaker 1: in reference to what you said, that I thought was

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Speaker 1: interesting was I had a director once say to me,

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Speaker 1: and I'll never forget this, And it was not in

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Speaker 1: the beginning of my career, was later in my career,

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Speaker 1: and he said to me, we will do a couple

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Speaker 1: more takes. And I said that maybe were like four

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Speaker 1: or five takes, and he goes, I think, cause I

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Speaker 1: think we got it, and I know that everybody's in

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Speaker 1: a hurry time was they want to move on? And

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Speaker 1: if they got it? And I go, can we do

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Speaker 1: one or two more takes? He goes, yeah, he goes,

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Speaker 1: but I just want you to keep in mind, goes,

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Speaker 1: Sometimes you knocked the guy out in the first round.

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Speaker 1: Sometimes you knock him out in the tenth round. He goes,

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Speaker 1: what does it matter? You knocked him out, That's all

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Speaker 1: that matters. You probably would rather knock him out in

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Speaker 1: the first or the second round to get it, you know,

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Speaker 1: I mean, he said, you know, sometimes we get it

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Speaker 1: early and sometimes we don't. And I'll tell you. And

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Speaker 1: I trusted him once he said that. I trusted that

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Speaker 1: he was observing things in a way that I could appreciate.

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Speaker 1: And Uh, for me, a good director is somebody who

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Speaker 1: they make you see the movie like a symphony. A

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Speaker 1: symphony has its highs and lows. It's adagios and it's

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Speaker 1: pitz cicados and what have you. And I want someone

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Speaker 1: who they're gonna tell me what am I in their movie?

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Speaker 1: An ingredient in a salad. I don't need to come

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Speaker 1: in here and jerk off and make myself look powerful

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Speaker 1: and and clever and all these other things. What am

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Speaker 1: I in your movie? And tell me that one of

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Speaker 1: the things I do now and have for the last

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Speaker 1: several goes, I'll say, tell me the story of the movie.

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Speaker 1: Tell me about your movie like it's a story. And

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Speaker 1: you'd be surprised how many directors can't do that. It's

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Speaker 1: a good question. But then there's ones who will tell

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Speaker 1: it to me, Well, this is a story about a

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Speaker 1: guy or a woman or whatever, and I only want

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Speaker 1: to come in and give you what you need in

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Speaker 1: the movie and resist that temptation to want to pull

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Speaker 1: focus and do too much. You know, Podcast, you've worked

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Speaker 1: wood you on a couple of times throughout the year,

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Speaker 1: smaller parts. Do you enjoy when he would give you

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Speaker 1: only your scenes in the script? Well, I didn't. You know. Listen,

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Speaker 1: when you work with Woody, you're working with somebody who

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Speaker 1: we were in. It'll for the opening of to Rome

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Speaker 1: with Love with Jesse Eisenberg and Greta Gerwig and Elliott Page.

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Speaker 1: We were there and I the press, the Italian press

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Speaker 1: really only wanted to talk to Woody, So all of

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Speaker 1: us are on a dais and they'd say, okay you

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Speaker 1: and the reporter would go, o the you have a

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Speaker 1: question for the wood and they'd ask what he was. Finally,

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Speaker 1: what they asked us a question, what does this mean

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Speaker 1: to you? You know, to work with Woody? And I

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Speaker 1: had worked with him in this movie Alice with Me

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Speaker 1: a years ago, and I said, you know, the thing

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Speaker 1: about what he is is that as a star, as

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Speaker 1: a comedic performer, as a movie star, as a writer, producer,

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Speaker 1: would have you, I said, the thing that you got

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Speaker 1: to remember is that first and foremost what he as

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Speaker 1: a writer, and at the corner of mine, at the

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Speaker 1: end of the tip of you saw would he nod? Like?

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Speaker 1: That's the thing I think he takes the greatest pride,

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Speaker 1: and that he writes these movies, these movies which are

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Speaker 1: like I'm not joking when I see if I'm really depressed,

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Speaker 1: like if I can't get out of bed, and which

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Speaker 1: those days were not often with seven children, But if

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Speaker 1: I'm really down, then I really don't feel like the

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Speaker 1: world is what I'd like it to be. I watched

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Speaker 1: Broadway Danny Rose, and I feel great, I'm on my feet,

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Speaker 1: you know what I mean? I mean, like the brilliance

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Speaker 1: of that writing and the way he time that movie

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Speaker 1: and with him it's ridiculous. Yeah, I mean it's like

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Speaker 1: with him, that film particularly is ridiculous. It's so goddamn

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Speaker 1: good cinematically, the writing, the blocking, the cinematography, the editing,

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Speaker 1: the way he sets up the shots that I was

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Speaker 1: just talking about it. I watched maybe six I watched

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Speaker 1: that movie all the time, fawning over it. I watched

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Speaker 1: it with all the time. Who's the cheese eater? May

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Speaker 1: God forgive me Bonnie Done? Then they cut back to

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Speaker 1: the guys at the cafe Bonnie Done. You remember he

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Speaker 1: was the stuttering ventriloquist, so did Danny. I mean that

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Speaker 1: whole sequence, I am just crying laughing, And the mobsters

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Speaker 1: in the mob there's faces that like, you know, making

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Speaker 1: it's one of the first ones where he made mobsters funny. Yeah,

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Speaker 1: you know, it came with a time. We're like, you know,

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Speaker 1: like he's like sort of comedic Moss Snares, Johnny you marries,

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Speaker 1: he sets him up on the bounty. I mean. But

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Speaker 1: the thing is is that it's like, what's something that

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Speaker 1: can or movies that you can go back to that

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Speaker 1: really just resonate for you. I mean, I love old movies.

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Speaker 1: When Bob Osborne was alive, he had me come down

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Speaker 1: and do a lot of this guest programming with him

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Speaker 1: on Turner Classic Movies. I tell you it was one

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Speaker 1: of the greatest times in my life. I love Bob.

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Speaker 1: He was the loveliest guy in this business. He invited

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Speaker 1: me to come down there and do three rounds of that.

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Speaker 1: Eventually the producers were like, get him out of here.

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Speaker 1: You know, we know enough of him. But I came

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Speaker 1: down and did it with Bob three times. We did

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Speaker 1: the rap arounds for the Essentials, and you know, they'd

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Speaker 1: send me the discs and they'd say, you know, watch

424
00:22:51,560 --> 00:22:53,720
Speaker 1: these movies. And some of them I didn't have to

425
00:22:53,760 --> 00:22:55,080
Speaker 1: like half of them or more. I didn't have to

426
00:22:55,080 --> 00:22:57,480
Speaker 1: because I've seen him already. And then I watched something

427
00:22:57,480 --> 00:23:00,320
Speaker 1: that I didn't I had never seen before. And uh,

428
00:23:00,520 --> 00:23:05,000
Speaker 1: I think people have forgotten movies that can actually reach

429
00:23:05,080 --> 00:23:07,359
Speaker 1: inside of you, you know, I mean, it really affect you.

430
00:23:07,840 --> 00:23:10,280
Speaker 1: I agree. I think that more and more movies now

431
00:23:10,320 --> 00:23:14,439
Speaker 1: are just escape and I think movies in general areists.

432
00:23:14,520 --> 00:23:17,760
Speaker 1: It's a really sad you know. I was watching Tutsie

433
00:23:17,800 --> 00:23:20,399
Speaker 1: this weekend. You know what, I'm like, this is not

434
00:23:20,520 --> 00:23:23,200
Speaker 1: even close to being ever made ever again, Like, why

435
00:23:23,240 --> 00:23:25,000
Speaker 1: would this ever be? You know, it's never gonna be

436
00:23:25,040 --> 00:23:29,040
Speaker 1: made again. It would be some weird, obscure, tiny movie

437
00:23:29,119 --> 00:23:31,560
Speaker 1: that maybe would make it to Sundance and do well,

438
00:23:31,560 --> 00:23:35,159
Speaker 1: it's Sundance and this is a baby. It wouldn't get

439
00:23:35,200 --> 00:23:37,800
Speaker 1: me to be appropriation oh all of it, yeah, the

440
00:23:37,840 --> 00:23:40,080
Speaker 1: whole thing, but just the kind of movie, the way

441
00:23:40,119 --> 00:23:43,359
Speaker 1: it was shot. I know you're a fan of Um Scorsese.

442
00:23:43,520 --> 00:23:46,720
Speaker 1: And it's funny because you mentioned the TNT classic movies

443
00:23:47,200 --> 00:23:49,960
Speaker 1: that was almost like a podcast before podcast, and that's

444
00:23:50,000 --> 00:23:51,879
Speaker 1: one of the things where I was like, and this is,

445
00:23:52,200 --> 00:23:53,840
Speaker 1: you know, in the nineties when you're a star, but

446
00:23:53,920 --> 00:23:57,119
Speaker 1: you're talking about films, which I really love that and

447
00:23:57,280 --> 00:24:01,719
Speaker 1: respect that. I know you're a Scorse fan. I know

448
00:24:01,800 --> 00:24:04,480
Speaker 1: you were a fan before you started working as an actor.

449
00:24:05,720 --> 00:24:10,280
Speaker 1: What was your departed experience, your aviator experience. What is

450
00:24:10,280 --> 00:24:13,600
Speaker 1: it like being on set with Martin Scorsese as a

451
00:24:13,640 --> 00:24:17,640
Speaker 1: director and how do you separate fan and now we're

452
00:24:17,640 --> 00:24:20,080
Speaker 1: working together. Well, I did a lot of even though

453
00:24:20,119 --> 00:24:24,600
Speaker 1: it wasn't uh necessarily applicable to the to the shooting.

454
00:24:25,160 --> 00:24:28,480
Speaker 1: I did a lot of research for the Aviator because

455
00:24:28,520 --> 00:24:31,919
Speaker 1: one trip President and the I guess the founder of

456
00:24:32,280 --> 00:24:39,280
Speaker 1: pan Am. His family lived in East Hampton. His daughter Betsy,

457
00:24:39,400 --> 00:24:41,600
Speaker 1: who was married to this guy. Her name was Betsy D. Becky.

458
00:24:42,160 --> 00:24:46,160
Speaker 1: Friends of mine new where she was older, and um

459
00:24:46,320 --> 00:24:48,560
Speaker 1: I got connected with her and when I sat and

460
00:24:48,560 --> 00:24:49,960
Speaker 1: had lunch with her and talked to her for a

461
00:24:50,040 --> 00:24:53,159
Speaker 1: very long time about her dad, and she described what

462
00:24:53,200 --> 00:24:55,639
Speaker 1: he was like and uh and and she said to

463
00:24:55,640 --> 00:24:58,560
Speaker 1: me at one point, you know, very very elegant woman.

464
00:24:58,600 --> 00:25:01,320
Speaker 1: And she said, she goes, well, I see where you're

465
00:25:01,480 --> 00:25:05,800
Speaker 1: my dad. It's going to say that horrible word because

466
00:25:05,800 --> 00:25:08,520
Speaker 1: I say fuck at one point, and she goes, I

467
00:25:08,520 --> 00:25:10,960
Speaker 1: see he's gonna say that horrible word because dad would

468
00:25:10,960 --> 00:25:13,600
Speaker 1: never say that word. He would never say that word.

469
00:25:13,840 --> 00:25:16,480
Speaker 1: So I called up Marty and I go, I don't

470
00:25:16,520 --> 00:25:18,240
Speaker 1: know what to say, but she said that he probably

471
00:25:18,240 --> 00:25:21,640
Speaker 1: wouldn't say that word. And it's a loan pause goes,

472
00:25:23,560 --> 00:25:26,639
Speaker 1: I need you to say fuck. It's like but what

473
00:25:26,880 --> 00:25:29,800
Speaker 1: And I love that, Like, here's the clarity, here's what

474
00:25:30,040 --> 00:25:33,600
Speaker 1: I want you to do. This is my movie. And

475
00:25:33,640 --> 00:25:36,600
Speaker 1: then when we did Aviator, that's cool. We shot the

476
00:25:36,640 --> 00:25:39,200
Speaker 1: scenes very We did the one scene in the restaurant,

477
00:25:39,200 --> 00:25:41,440
Speaker 1: but the stuff where I'm out the door and I'm

478
00:25:41,520 --> 00:25:45,640
Speaker 1: kind of taunting Leo, we shot those very quickly because

479
00:25:45,640 --> 00:25:47,920
Speaker 1: it was a whole day of Leo. Remember the milk,

480
00:25:48,000 --> 00:25:50,360
Speaker 1: Remember the milk, Remember the milk? You know, Leo naked

481
00:25:51,040 --> 00:25:53,440
Speaker 1: in the other room with the bottles of piss everywhere,

482
00:25:54,160 --> 00:25:58,080
Speaker 1: And they wanted to get this as efficiently as possible,

483
00:25:58,080 --> 00:26:00,280
Speaker 1: and I understood the to move on to number one

484
00:26:00,320 --> 00:26:03,280
Speaker 1: on the call sheet and get Leo cracking up inside

485
00:26:03,320 --> 00:26:06,200
Speaker 1: that room. So we did that, and then on the departed,

486
00:26:07,200 --> 00:26:10,640
Speaker 1: I just remember it was like a lot of testosterone,

487
00:26:10,680 --> 00:26:14,280
Speaker 1: you know what I mean. Wallberg and Matt and Leo

488
00:26:14,520 --> 00:26:16,600
Speaker 1: and all these guys there. And I didn't have any

489
00:26:16,640 --> 00:26:21,800
Speaker 1: scenes with Jack, but um, I remember Marty was in

490
00:26:21,880 --> 00:26:24,120
Speaker 1: really good spirits. I think he was excited to make

491
00:26:24,160 --> 00:26:28,280
Speaker 1: that movie, very excited. Is he in complete control the set, like,

492
00:26:28,400 --> 00:26:30,119
Speaker 1: is he very clear what he's doing or is he

493
00:26:30,240 --> 00:26:33,840
Speaker 1: finding it as he's going. I would imagine other people

494
00:26:33,880 --> 00:26:37,520
Speaker 1: who have a more profound history with him, it's different.

495
00:26:37,920 --> 00:26:40,159
Speaker 1: I'm sure that he and Bob have a different you

496
00:26:40,200 --> 00:26:43,600
Speaker 1: know thing and pass and I'm sure. And when Leo now,

497
00:26:43,640 --> 00:26:47,040
Speaker 1: because Leo is his you muse now, but I think

498
00:26:47,080 --> 00:26:50,960
Speaker 1: that um, when you're working with him and the guys

499
00:26:51,000 --> 00:26:52,760
Speaker 1: that know what they want Mike Nichols I had had

500
00:26:52,800 --> 00:26:55,520
Speaker 1: small part and working girl, you just stand there and

501
00:26:55,560 --> 00:26:57,840
Speaker 1: just you know, say sir, yes, sir, you know because

502
00:26:57,840 --> 00:27:00,640
Speaker 1: they know when you're with other guys who sit there

503
00:27:00,640 --> 00:27:03,720
Speaker 1: and go what do you think how the scene shot?

504
00:27:04,080 --> 00:27:06,320
Speaker 1: That's when you're in trouble. Well you have to develop

505
00:27:06,359 --> 00:27:08,439
Speaker 1: that muscle to think about that and to have some

506
00:27:08,520 --> 00:27:11,040
Speaker 1: answer to that eventually. But what do you say to that?

507
00:27:11,119 --> 00:27:14,000
Speaker 1: Because that makes me nervous? What do you think the

508
00:27:14,080 --> 00:27:16,359
Speaker 1: scene should go on? This is that when you're in

509
00:27:16,400 --> 00:27:20,000
Speaker 1: a scene with other people, you're being asked to give

510
00:27:20,320 --> 00:27:23,960
Speaker 1: an opinion, and then if the director isn't going to

511
00:27:24,040 --> 00:27:27,639
Speaker 1: take control, they're trying to get you to appeal to

512
00:27:27,680 --> 00:27:31,359
Speaker 1: the other actor and sell them on your idea. If

513
00:27:31,400 --> 00:27:34,400
Speaker 1: you're working with another actor who doesn't want that responsibility

514
00:27:34,440 --> 00:27:36,640
Speaker 1: to say, and you're sitting there going well, I thought

515
00:27:36,640 --> 00:27:39,639
Speaker 1: I'd walk in, but I wouldn't sit down because I

516
00:27:39,680 --> 00:27:42,159
Speaker 1: want to feel there's a certain tension. Then that tension

517
00:27:42,160 --> 00:27:44,199
Speaker 1: gets to relieved when you say blah blah blah. Then

518
00:27:44,200 --> 00:27:46,400
Speaker 1: I said, you know, whatever your thing is, and you're

519
00:27:46,440 --> 00:27:49,880
Speaker 1: talking about the scene, you've got to sell the director

520
00:27:49,880 --> 00:27:51,639
Speaker 1: and the other I like when the director walks in

521
00:27:51,760 --> 00:27:55,880
Speaker 1: and goes, Rob Reiner, come in, sit down, turn sit

522
00:27:56,800 --> 00:27:59,520
Speaker 1: you know, get the bottle of water, say Charlie. He's

523
00:27:59,520 --> 00:28:01,480
Speaker 1: got a little worked out. And he just says to

524
00:28:01,520 --> 00:28:04,560
Speaker 1: you and you say, great, tell me what movie you

525
00:28:04,560 --> 00:28:07,080
Speaker 1: want me to make, because I'm not going to cut

526
00:28:07,080 --> 00:28:10,240
Speaker 1: the movie. I'm not making the movie. In the theater,

527
00:28:10,840 --> 00:28:13,720
Speaker 1: you can rehearse, and you're working with if it's a revival,

528
00:28:13,760 --> 00:28:16,400
Speaker 1: you're working with material that works well. And in the

529
00:28:16,400 --> 00:28:19,920
Speaker 1: theater you can have more I mean, once you open,

530
00:28:20,040 --> 00:28:22,920
Speaker 1: especially and the director is gone, you can have a

531
00:28:23,000 --> 00:28:26,199
Speaker 1: little bit more nuance of whatever. But in movies, the

532
00:28:26,280 --> 00:28:29,480
Speaker 1: rule to remember is you're not making the movie. He's

533
00:28:29,760 --> 00:28:32,720
Speaker 1: or she. They're making the movie director, and you need

534
00:28:32,760 --> 00:28:35,080
Speaker 1: to just say what can I give you? Right? Because

535
00:28:35,119 --> 00:28:36,480
Speaker 1: if I don't give you what you need and you

536
00:28:36,560 --> 00:28:38,960
Speaker 1: go into the cutting room, you know, then everybody's miserable.

537
00:28:39,080 --> 00:28:41,880
Speaker 1: I agree, you worked with so many people. I want

538
00:28:41,920 --> 00:28:46,280
Speaker 1: to play a game of what makes them great? Okay,

539
00:28:46,440 --> 00:28:48,480
Speaker 1: I'm gonna name different actors and I want you to

540
00:28:48,480 --> 00:28:52,120
Speaker 1: say what makes them great. Blue Jasmine is really one

541
00:28:52,120 --> 00:28:57,120
Speaker 1: of my favorite films and a ridiculous performance, ridiculous character,

542
00:28:57,880 --> 00:29:01,080
Speaker 1: the writing and the performance from Blue Jay as Kate Blanchet.

543
00:29:01,120 --> 00:29:04,400
Speaker 1: What makes Kate Blanchet great? She's indefatigable. She just has

544
00:29:04,560 --> 00:29:08,960
Speaker 1: energy to spare. She's got no self pity. She's not.

545
00:29:09,080 --> 00:29:11,280
Speaker 1: I mean, there are men and women I work with

546
00:29:11,360 --> 00:29:13,680
Speaker 1: who not many, I don't want to say not many,

547
00:29:13,800 --> 00:29:16,480
Speaker 1: who were very indulgent and it's all like my hair

548
00:29:16,720 --> 00:29:18,800
Speaker 1: and they're in the makeup trailer for a long time

549
00:29:18,840 --> 00:29:20,760
Speaker 1: and they get on the set and they touched them

550
00:29:20,800 --> 00:29:24,000
Speaker 1: up again and everything is like like proposing for a

551
00:29:24,080 --> 00:29:27,479
Speaker 1: still camera, like for photography, and Kate as somebody who

552
00:29:27,520 --> 00:29:29,560
Speaker 1: was like fuck that. She went out in the hallway

553
00:29:29,560 --> 00:29:32,560
Speaker 1: and drank like two espressos and she'd come back in

554
00:29:32,560 --> 00:29:34,280
Speaker 1: the room and we had to do this fight scene.

555
00:29:34,840 --> 00:29:38,520
Speaker 1: And she's just really really tough, and she's really really

556
00:29:39,240 --> 00:29:44,160
Speaker 1: blazingly talented, but she really really just had bottomless energy.

557
00:29:44,680 --> 00:29:47,240
Speaker 1: She could do take after take after taking. Yeah, I

558
00:29:47,240 --> 00:29:48,760
Speaker 1: thought she was going to clock me right in the

559
00:29:48,760 --> 00:29:50,800
Speaker 1: face one scene and I was like go right ahead,

560
00:29:50,800 --> 00:29:53,000
Speaker 1: and I don't give a ship. This is amazing watching

561
00:29:53,040 --> 00:29:56,840
Speaker 1: you do this. So I love that. Yeah, damn, I

562
00:29:56,920 --> 00:30:00,200
Speaker 1: love that so much. Powerful it Harris. What makes him great?

563
00:30:00,000 --> 00:30:03,440
Speaker 1: Eat Well? I think Ed is someone who has the

564
00:30:03,480 --> 00:30:07,280
Speaker 1: great blessing of the great movie stars where he has

565
00:30:07,360 --> 00:30:12,040
Speaker 1: the facial symmetry. Ed's face, the mask of his face,

566
00:30:12,200 --> 00:30:16,760
Speaker 1: pulls you in. He's so compelling looking those big watery

567
00:30:16,840 --> 00:30:20,720
Speaker 1: blue eyes of his and that real cowboy you know, tough,

568
00:30:21,480 --> 00:30:26,040
Speaker 1: square jaw thing. And he can dial up I don't

569
00:30:26,040 --> 00:30:28,800
Speaker 1: want to say menace, but an aggression, and he can

570
00:30:28,840 --> 00:30:30,920
Speaker 1: dial it down and be very sweet as well, so

571
00:30:30,960 --> 00:30:33,960
Speaker 1: we can go do. I always call this my phrases,

572
00:30:34,040 --> 00:30:36,880
Speaker 1: the sweet and sour. He can do the sweet and sour,

573
00:30:37,000 --> 00:30:39,280
Speaker 1: and a lot of it has to do for most

574
00:30:39,320 --> 00:30:42,800
Speaker 1: movie stars that I can recall, the ones that are

575
00:30:42,800 --> 00:30:45,160
Speaker 1: the most memorable, the people who you can see into

576
00:30:45,200 --> 00:30:47,600
Speaker 1: their eyes. They used to say that if you were

577
00:30:47,640 --> 00:30:50,240
Speaker 1: working with an actor who you couldn't see into their eyes,

578
00:30:50,280 --> 00:30:52,960
Speaker 1: they play a villain. That the hero always had to

579
00:30:52,960 --> 00:30:55,720
Speaker 1: be some of you could read them and look into

580
00:30:55,760 --> 00:31:00,280
Speaker 1: their soul. And Ed just has that amazing face of his,

581
00:31:00,400 --> 00:31:03,120
Speaker 1: you know what I mean? And always has. And I've

582
00:31:03,160 --> 00:31:05,520
Speaker 1: always been jealous of him because he's guys, just got

583
00:31:05,520 --> 00:31:09,440
Speaker 1: this enigmatic face all the time. I love that Meryl Street,

584
00:31:09,480 --> 00:31:11,480
Speaker 1: who I'm sure you were a fan of before you

585
00:31:11,520 --> 00:31:14,880
Speaker 1: started working as a film actor. You got to work

586
00:31:14,920 --> 00:31:17,520
Speaker 1: with her, play with her. What makes I mean if

587
00:31:17,520 --> 00:31:20,000
Speaker 1: you could even get into what that's tough because there's

588
00:31:20,040 --> 00:31:22,600
Speaker 1: so many things to say. But from my experience, I

589
00:31:22,640 --> 00:31:26,240
Speaker 1: would say that with her, she doesn't let anything throw her.

590
00:31:26,680 --> 00:31:31,320
Speaker 1: She doesn't get upset about anything. She doesn't allow any thing.

591
00:31:31,480 --> 00:31:35,680
Speaker 1: This is just my opinion to blow her sales off

592
00:31:35,760 --> 00:31:39,000
Speaker 1: the course that she's on. If the scene isn't going

593
00:31:39,080 --> 00:31:42,320
Speaker 1: the way the director wants or the you know, whatever

594
00:31:42,440 --> 00:31:44,880
Speaker 1: is happening in the scene or off the set or

595
00:31:44,880 --> 00:31:48,000
Speaker 1: what have you, she comes on the set and she

596
00:31:48,200 --> 00:31:53,880
Speaker 1: is gracious, and she is wise and she's generous. I mean,

597
00:31:53,920 --> 00:31:58,040
Speaker 1: she's all the things you'd want a legendary actor or

598
00:31:58,080 --> 00:32:01,120
Speaker 1: actress to be toward you if you weren't really at

599
00:32:01,160 --> 00:32:04,000
Speaker 1: their level and you were intimidated. Because when I did

600
00:32:04,240 --> 00:32:09,200
Speaker 1: the movie with her, the director Nancy Meyer said to me,

601
00:32:09,800 --> 00:32:12,960
Speaker 1: she's nine years old with the new and the men

602
00:32:13,120 --> 00:32:17,960
Speaker 1: in the movie business have no problem dating and dialing

603
00:32:18,000 --> 00:32:22,440
Speaker 1: down the ages of their leading ladies some years. It's ridiculous.

604
00:32:23,000 --> 00:32:27,200
Speaker 1: She said, the men do that. Why doesn't. It's complicated

605
00:32:27,240 --> 00:32:29,280
Speaker 1: as the movie And she said, how do you feel

606
00:32:29,280 --> 00:32:33,320
Speaker 1: about that? I said, listen, I said, my character doesn't

607
00:32:33,360 --> 00:32:35,560
Speaker 1: want to have sex with his wife, his ex wife.

608
00:32:35,760 --> 00:32:38,000
Speaker 1: He's still in love with his ex wife. There's a

609
00:32:38,040 --> 00:32:41,120
Speaker 1: big difference. And Meryl is a very easy person to

610
00:32:41,120 --> 00:32:43,480
Speaker 1: fall in love with. So when we did the movie,

611
00:32:43,480 --> 00:32:45,720
Speaker 1: it didn't make any difference to me about age and whatever.

612
00:32:46,160 --> 00:32:48,520
Speaker 1: And Meryl is a very easy person to fall in

613
00:32:48,520 --> 00:32:51,400
Speaker 1: love with, as she's an amazing great person. What I

614
00:32:51,480 --> 00:32:56,760
Speaker 1: love this film, smaller film, Miami Blues, the great Jennifer

615
00:32:56,840 --> 00:33:03,240
Speaker 1: Jason Lee. What makes her great? Fearless and no self

616
00:33:03,320 --> 00:33:07,120
Speaker 1: consciousness and uh, you know she was there were many

617
00:33:07,200 --> 00:33:10,840
Speaker 1: things that I liked about her and she and the subtlety.

618
00:33:10,920 --> 00:33:13,120
Speaker 1: I mean, she was a she is a master of

619
00:33:13,160 --> 00:33:15,960
Speaker 1: subtlety and did all these little small things and with

620
00:33:16,120 --> 00:33:18,720
Speaker 1: facially and what have you. But she was fearless, Like

621
00:33:18,760 --> 00:33:20,680
Speaker 1: one time we're doing a scene and I have to

622
00:33:20,720 --> 00:33:22,880
Speaker 1: have sex with her or just you see the early

623
00:33:24,160 --> 00:33:27,200
Speaker 1: blushes of that, and I'll never because she turned to me.

624
00:33:27,240 --> 00:33:29,640
Speaker 1: I didn't know her, and she goes, now, you can

625
00:33:29,680 --> 00:33:33,240
Speaker 1: do anything you want to me in the scene, and

626
00:33:33,240 --> 00:33:35,080
Speaker 1: when they say cut, you have to stop. But like,

627
00:33:35,120 --> 00:33:37,560
Speaker 1: whatever impulse you have, because as long as you don't

628
00:33:37,640 --> 00:33:40,200
Speaker 1: hurt me, she's whatever impulse you have to do something.

629
00:33:40,280 --> 00:33:42,080
Speaker 1: She goes, you can do it in the scene. But

630
00:33:42,120 --> 00:33:46,240
Speaker 1: when they say cut, you stop. She's like, you understand,

631
00:33:47,000 --> 00:33:50,600
Speaker 1: and I'm like and I'm like, yeah, oh yeah, yeah, yeah,

632
00:33:50,720 --> 00:33:55,680
Speaker 1: I understand. And that's an interesting She was very very

633
00:33:55,720 --> 00:33:59,840
Speaker 1: I don't wanted to say professional, she's very wise, I agree,

634
00:34:00,040 --> 00:34:01,280
Speaker 1: is a woman that showed up on the set of

635
00:34:01,280 --> 00:34:04,160
Speaker 1: a film. She was very young, and you know, it's

636
00:34:04,200 --> 00:34:09,439
Speaker 1: like what made Brando Brando. Brando figured it out while

637
00:34:09,440 --> 00:34:13,000
Speaker 1: he still had the sheen of his youth and his beauty.

638
00:34:13,080 --> 00:34:16,640
Speaker 1: They handed him a Rubik's cube that meant the highest

639
00:34:16,719 --> 00:34:20,160
Speaker 1: level of virtuosic film acting, and he went, it's it's it's,

640
00:34:20,239 --> 00:34:22,680
Speaker 1: it's it and he went, you mean like this, and

641
00:34:22,719 --> 00:34:25,560
Speaker 1: everybody was like, oh my god. And he figured it

642
00:34:25,600 --> 00:34:28,160
Speaker 1: out so young that we're were the challenges for him

643
00:34:28,239 --> 00:34:31,920
Speaker 1: later on, which is why he became so petulant. And

644
00:34:32,040 --> 00:34:35,200
Speaker 1: Jennifer was kind of the same way Christin Stewart. Stewart,

645
00:34:35,320 --> 00:34:38,560
Speaker 1: I mean I turned to her when we did Still Alice,

646
00:34:39,160 --> 00:34:40,839
Speaker 1: and I made a fool of myself and I said

647
00:34:40,840 --> 00:34:43,200
Speaker 1: to her, we're doing a scene, and I go, you

648
00:34:43,280 --> 00:34:46,920
Speaker 1: remind me of Marlon Brando. She looks at me, like what,

649
00:34:47,120 --> 00:34:48,920
Speaker 1: and I go, I said, I have no idea what

650
00:34:48,960 --> 00:34:51,279
Speaker 1: you're gonna do. Take to take, to take, And the

651
00:34:51,400 --> 00:34:56,320
Speaker 1: variety wasn't that wide ranging, but she would do little

652
00:34:56,360 --> 00:34:59,200
Speaker 1: things and little things. And I think that Christian Stewart

653
00:34:59,239 --> 00:35:01,600
Speaker 1: is a great actress. I do too, Are you a

654
00:35:01,719 --> 00:35:05,680
Speaker 1: take to take person um in terms of try this,

655
00:35:05,800 --> 00:35:08,120
Speaker 1: try that, try this, try that, or you like this

656
00:35:08,200 --> 00:35:10,120
Speaker 1: is this sort of parameter. I mean there's a little tries,

657
00:35:10,160 --> 00:35:12,000
Speaker 1: but like, are you like I want to do one loud?

658
00:35:12,040 --> 00:35:13,440
Speaker 1: I want to do one not loud, I want to

659
00:35:13,440 --> 00:35:17,320
Speaker 1: do one soft. I want to do one angry. We're approached.

660
00:35:17,360 --> 00:35:19,000
Speaker 1: I think what it comes down to for me is

661
00:35:19,040 --> 00:35:22,240
Speaker 1: that when I see the movie and if the director

662
00:35:22,280 --> 00:35:25,280
Speaker 1: agrees with me, there's a music to it. There's a rhythm.

663
00:35:25,320 --> 00:35:28,440
Speaker 1: If the scene says Jack drives up in a car,

664
00:35:28,560 --> 00:35:31,239
Speaker 1: gets out of the car, goes into the bank, let's

665
00:35:31,239 --> 00:35:33,759
Speaker 1: just shoot the fucking shot twice, get out of the

666
00:35:33,760 --> 00:35:35,359
Speaker 1: car and going to the beak. Let's move on, because

667
00:35:35,360 --> 00:35:37,880
Speaker 1: we can't love every scene. And then when you're in

668
00:35:37,920 --> 00:35:41,640
Speaker 1: the scenes with people that you are more you know,

669
00:35:41,640 --> 00:35:44,759
Speaker 1: they're a little bit more intense and more layered. I

670
00:35:44,880 --> 00:35:48,840
Speaker 1: like to I mean, I have a silly rule, especially

671
00:35:48,840 --> 00:35:51,080
Speaker 1: if I work with younger actors, where I say, let's

672
00:35:51,080 --> 00:35:55,080
Speaker 1: do it slow, medium, and fast in terms of the pace.

673
00:35:55,120 --> 00:35:59,960
Speaker 1: Because there are scenes I've seen. I can't quantify how many,

674
00:36:00,120 --> 00:36:02,200
Speaker 1: but there are scenes I've seen in films that I've

675
00:36:02,239 --> 00:36:05,880
Speaker 1: done where they cut the scene because you can't speed

676
00:36:05,960 --> 00:36:09,040
Speaker 1: up the energy of the scene in editing. Interesting if

677
00:36:09,080 --> 00:36:10,759
Speaker 1: people are doing the scene and they're kind of like,

678
00:36:11,239 --> 00:36:13,040
Speaker 1: you know a lot of young actors do this. Ready,

679
00:36:13,040 --> 00:36:14,319
Speaker 1: see you and I do a scene and they go,

680
00:36:15,800 --> 00:36:20,360
Speaker 1: what time is it? It's uh, it's five to eleven.

681
00:36:25,960 --> 00:36:28,160
Speaker 1: Did you say five to eleven? Now now it's four

682
00:36:28,160 --> 00:36:30,919
Speaker 1: to eleven. I know what you mean, and you want

683
00:36:30,920 --> 00:36:33,200
Speaker 1: to go. You gotta energize the scene because you know

684
00:36:33,239 --> 00:36:35,680
Speaker 1: what's gonna happen. They're gonna cut the scene right if

685
00:36:35,719 --> 00:36:37,640
Speaker 1: it sits different. So I always say to people, let's

686
00:36:37,640 --> 00:36:39,759
Speaker 1: pace it up. That pace it up, past it up.

687
00:36:39,800 --> 00:36:41,759
Speaker 1: That's smart. We'll have a better chance of being in

688
00:36:41,800 --> 00:36:45,520
Speaker 1: the movie. That's my opinion. That's smart. That's smart. You

689
00:36:45,560 --> 00:36:48,759
Speaker 1: didn't get to work with him in Glen Garry. What

690
00:36:48,960 --> 00:36:51,719
Speaker 1: makes al Pacino great? You've spoken about him, You've done

691
00:36:51,760 --> 00:36:57,160
Speaker 1: impressions of them. You're a fan of his passion, he says,

692
00:36:57,200 --> 00:37:00,000
Speaker 1: even to this day, even to this day, we did

693
00:37:00,040 --> 00:37:03,319
Speaker 1: the thing for the studio. The Actor's Studio was their

694
00:37:03,360 --> 00:37:07,120
Speaker 1: seventy fifth year, their anniversary last year, and now this

695
00:37:07,320 --> 00:37:13,000
Speaker 1: celebration and the programming to celebrate the studios anniversary overlaps

696
00:37:13,120 --> 00:37:16,760
Speaker 1: this year, this past fall into next spring, this spring,

697
00:37:17,719 --> 00:37:21,279
Speaker 1: and uh, they had they showed Dog Day Afternoon at

698
00:37:21,360 --> 00:37:23,480
Speaker 1: some famous movie theater that I forgot. It's up in

699
00:37:23,520 --> 00:37:25,400
Speaker 1: Harlem or way uptown. It's like up on a hundred

700
00:37:25,400 --> 00:37:30,000
Speaker 1: and thirty street. And this theater is gigantic, like sea.

701
00:37:30,040 --> 00:37:31,600
Speaker 1: It's like I don't know what, it was like two

702
00:37:31,600 --> 00:37:35,680
Speaker 1: thousand people people. It's like a big musical or whatever.

703
00:37:35,960 --> 00:37:37,359
Speaker 1: I don't know the name of it, but I think

704
00:37:37,360 --> 00:37:39,239
Speaker 1: it's a it's a it's a movie theater. Because they're

705
00:37:39,280 --> 00:37:43,000
Speaker 1: screening the film. They showed Dog Day. Places packed now

706
00:37:43,000 --> 00:37:45,960
Speaker 1: many people bought V I P tickets and for to

707
00:37:46,040 --> 00:37:48,360
Speaker 1: benefit the studio, to go to a little party afterward,

708
00:37:48,400 --> 00:37:51,320
Speaker 1: and you know, backstage and then but the bulk of

709
00:37:51,360 --> 00:37:53,759
Speaker 1: the people there, the overwhelming majority of people there, are

710
00:37:53,760 --> 00:37:55,640
Speaker 1: there to watch the movie. I mean, they fill a

711
00:37:55,760 --> 00:37:59,440
Speaker 1: theater way uptown in New York in the dead of

712
00:37:59,480 --> 00:38:02,840
Speaker 1: winter or was pretty cold, and showed dog day afternoon.

713
00:38:03,719 --> 00:38:06,160
Speaker 1: And then I interview Al afterwards on stage. We come out,

714
00:38:06,200 --> 00:38:08,719
Speaker 1: we do a little Q and A. And I mean,

715
00:38:09,200 --> 00:38:11,920
Speaker 1: you know, people are like pissing their pants, you know,

716
00:38:11,960 --> 00:38:15,359
Speaker 1: they just love him. Al is somebody who I mean,

717
00:38:15,400 --> 00:38:18,680
Speaker 1: I've said this before and I feel bad to repeat this,

718
00:38:19,239 --> 00:38:20,640
Speaker 1: but it's the only thing I can think of, and

719
00:38:20,640 --> 00:38:23,239
Speaker 1: that is I said other actors. I said this, said

720
00:38:23,280 --> 00:38:27,600
Speaker 1: the Lincoln Center Tribute to Al, I said other actors.

721
00:38:27,960 --> 00:38:32,439
Speaker 1: When the movie is over, you're done. They've made you laugh,

722
00:38:32,760 --> 00:38:36,319
Speaker 1: they've scared you, they've thrilled you, they've terrified you, they've

723
00:38:36,320 --> 00:38:38,840
Speaker 1: made you fall in love. They've done all these things.

724
00:38:39,600 --> 00:38:41,919
Speaker 1: And they're very funny, or they're very charming, or they're

725
00:38:42,000 --> 00:38:45,480
Speaker 1: very sexy, whatever. But when the movie is over, you're

726
00:38:45,520 --> 00:38:47,400
Speaker 1: done with them. You're ready to get out of the theater,

727
00:38:48,120 --> 00:38:51,839
Speaker 1: I said, with all you've never done. When the movie ends,

728
00:38:51,880 --> 00:38:53,359
Speaker 1: you want to go no, no, no, no, you know

729
00:38:53,719 --> 00:38:58,560
Speaker 1: you want more. There's a humanity to ol Uh, there's

730
00:38:58,560 --> 00:39:02,640
Speaker 1: a sensuality to I mean, Al has everything and he's

731
00:39:02,680 --> 00:39:06,200
Speaker 1: still loves He got up there and he was talking

732
00:39:06,200 --> 00:39:09,279
Speaker 1: to the audience and he would make these comments and

733
00:39:09,480 --> 00:39:12,640
Speaker 1: you could just tell he still loves acting, loves it,

734
00:39:12,719 --> 00:39:17,000
Speaker 1: loves it, loves it. What did you think rewatching dog Day?

735
00:39:18,760 --> 00:39:22,960
Speaker 1: How sad it was that Causal died? Was great? I mean,

736
00:39:23,000 --> 00:39:26,680
Speaker 1: cause was so great. He was so great. You know

737
00:39:27,400 --> 00:39:30,160
Speaker 1: Deer Hunter. You know here Hunter is a movie that's

738
00:39:30,160 --> 00:39:34,120
Speaker 1: really tough to watch. It's tough to watch. But the

739
00:39:34,200 --> 00:39:38,120
Speaker 1: people who like Bob, you know this is this. You

740
00:39:38,160 --> 00:39:40,360
Speaker 1: look at Bob and you're like, you know, I was

741
00:39:40,400 --> 00:39:43,160
Speaker 1: gonna pivot to Bob. You got to interview Bob on

742
00:39:43,200 --> 00:39:47,960
Speaker 1: your NBC show, that ABC show, ABC show. You love

743
00:39:48,040 --> 00:39:50,040
Speaker 1: Bob like I love Bob. You got to work with

744
00:39:50,080 --> 00:39:54,120
Speaker 1: Bob as a director, just you were gonna, I interrupted,

745
00:39:54,120 --> 00:39:57,480
Speaker 1: you like Bob, talk to me about breakdown. Bob, You're

746
00:39:57,480 --> 00:40:00,759
Speaker 1: always an actor. It's when you interviewed him, were you

747
00:40:00,800 --> 00:40:03,640
Speaker 1: able to get because I gotta be honest, Alec. When

748
00:40:03,680 --> 00:40:05,840
Speaker 1: you got to interview, I was jealous because I was like,

749
00:40:06,600 --> 00:40:09,800
Speaker 1: I would interview, but I've yet to see someone get

750
00:40:09,920 --> 00:40:12,560
Speaker 1: and you were trying. You were I've yet to see him,

751
00:40:12,760 --> 00:40:14,719
Speaker 1: like to talk about him. I get him on the

752
00:40:14,760 --> 00:40:17,239
Speaker 1: phone then I go. He goes, uh, you want me

753
00:40:17,320 --> 00:40:21,000
Speaker 1: to do this show of yours? Okay? And he said,

754
00:40:21,120 --> 00:40:24,919
Speaker 1: the people told me it's an hour. It's an hour.

755
00:40:26,080 --> 00:40:27,600
Speaker 1: What are we going to talk about for an hour?

756
00:40:28,400 --> 00:40:31,200
Speaker 1: And I like, kind of frozen. I said, well, I

757
00:40:31,200 --> 00:40:33,479
Speaker 1: thought we would start with your movie career Man. Maybe

758
00:40:33,480 --> 00:40:34,880
Speaker 1: that would take us through an hour. He was like,

759
00:40:36,160 --> 00:40:39,280
Speaker 1: you're very funny, Alex, You're very funny. And he comes

760
00:40:39,680 --> 00:40:42,600
Speaker 1: and uh, when I think I said to him that

761
00:40:42,680 --> 00:40:44,880
Speaker 1: I really meant and he was very kind about this

762
00:40:44,960 --> 00:40:47,759
Speaker 1: and accepted this was I said, do you realize how

763
00:40:47,800 --> 00:40:51,080
Speaker 1: much you mean to other people? I said, people come

764
00:40:51,160 --> 00:40:55,759
Speaker 1: to acting as a fan of other people's acting. When

765
00:40:55,800 --> 00:41:00,520
Speaker 1: you love acting. I don't know one person. I don't

766
00:41:00,520 --> 00:41:03,680
Speaker 1: know one person who came into this business and film

767
00:41:03,719 --> 00:41:06,280
Speaker 1: and TV. And of course the array can be anything.

768
00:41:06,280 --> 00:41:07,879
Speaker 1: It could be the Dick Van Dyke Show, it could

769
00:41:07,880 --> 00:41:10,520
Speaker 1: be Raging Bull. You don't give a ship, it can

770
00:41:10,560 --> 00:41:15,839
Speaker 1: be friends, it can be uh superman. People come into

771
00:41:15,880 --> 00:41:19,760
Speaker 1: the business and they spent significant parts of their life

772
00:41:20,160 --> 00:41:23,759
Speaker 1: appreciating other people and watching other people, and you're having

773
00:41:23,840 --> 00:41:27,080
Speaker 1: borderline obsessions with other people. How many times have I

774
00:41:27,120 --> 00:41:30,400
Speaker 1: watched Raging Bull? How many times have I watched The Godfather?

775
00:41:30,480 --> 00:41:33,440
Speaker 1: How many times have I watched Psycho? You know whatever?

776
00:41:33,960 --> 00:41:37,960
Speaker 1: And you just can't get over You watch the acting

777
00:41:38,000 --> 00:41:40,839
Speaker 1: at the highest level, and you're sitting there going, oh,

778
00:41:40,880 --> 00:41:43,400
Speaker 1: I hope one day I have even an opportunity, not

779
00:41:43,480 --> 00:41:44,759
Speaker 1: that I'm going to do it, but I even have

780
00:41:44,800 --> 00:41:47,839
Speaker 1: a chance to do something even close to that. And

781
00:41:47,880 --> 00:41:49,520
Speaker 1: I said to Bob and the talk show, I said,

782
00:41:49,719 --> 00:41:53,279
Speaker 1: do you realize what you mean to other people? What

783
00:41:53,360 --> 00:41:55,640
Speaker 1: you've did. They've seen you and watched you in all

784
00:41:55,680 --> 00:42:00,120
Speaker 1: these films. Do the greatest acting, you know, among the

785
00:42:00,160 --> 00:42:04,480
Speaker 1: top fifty men or whatever, and then women are in

786
00:42:04,480 --> 00:42:07,600
Speaker 1: a different category as well. And he kind of he

787
00:42:07,640 --> 00:42:09,960
Speaker 1: was like, oh, thank you, thank you, thank you. But

788
00:42:10,000 --> 00:42:15,280
Speaker 1: I really meant it, you know. It's like al Al Nicholson, Dustin.

789
00:42:16,640 --> 00:42:19,720
Speaker 1: I mean, I could go on and on a Kitel Newman,

790
00:42:20,239 --> 00:42:24,200
Speaker 1: Beatty Redford of that generation. I know I'm leaving out

791
00:42:24,440 --> 00:42:32,239
Speaker 1: Robert Duval, just Duval, Gene Hackman Duval. We always say, uh,

792
00:42:32,640 --> 00:42:34,880
Speaker 1: the greatest performance in the movie is when he played

793
00:42:34,880 --> 00:42:37,239
Speaker 1: Boo Radley, because he breaks your heart. He doesn't have

794
00:42:37,280 --> 00:42:40,600
Speaker 1: one line, doesn't say one line, not one. And there's

795
00:42:40,640 --> 00:42:44,440
Speaker 1: the same guy who pulses I mean, Duval is kind

796
00:42:44,440 --> 00:42:49,480
Speaker 1: of amazing, who pulses this sensitivity and this suffering and

797
00:42:49,560 --> 00:42:53,160
Speaker 1: plays that character so beautifully one of his first film roles.

798
00:42:53,520 --> 00:42:56,160
Speaker 1: And that's the guy on the beach going, you know,

799
00:42:57,239 --> 00:43:01,040
Speaker 1: playing Kilgore in Apocalypse. I mean that ray ange of

800
00:43:01,120 --> 00:43:05,960
Speaker 1: what I call disposition. Is the character powerful in the world,

801
00:43:06,600 --> 00:43:09,560
Speaker 1: is the character strong in the world. Look at Orson

802
00:43:09,680 --> 00:43:13,400
Speaker 1: Welles and Citizen Kane, how commanding and how fascile he is,

803
00:43:14,239 --> 00:43:18,480
Speaker 1: and how amazingly sharp he is and seamless. And then

804
00:43:18,520 --> 00:43:24,399
Speaker 1: you see someone play a part like um And I'm

805
00:43:24,400 --> 00:43:27,160
Speaker 1: always looking for people who they play characters with that

806
00:43:27,320 --> 00:43:31,040
Speaker 1: character is strong and confident and fearless, and then someone

807
00:43:31,040 --> 00:43:34,440
Speaker 1: who's struggling and in a lot of pain, and can

808
00:43:34,480 --> 00:43:38,040
Speaker 1: they who do both those things? And he seemed because

809
00:43:38,080 --> 00:43:40,319
Speaker 1: I was really thinking about his performances the other day

810
00:43:40,360 --> 00:43:42,440
Speaker 1: when I saw he turned ninety two. I mean that

811
00:43:42,640 --> 00:43:45,080
Speaker 1: character in Apocalypse Now, it could have been a joke.

812
00:43:45,719 --> 00:43:48,719
Speaker 1: You know, his character in the Great Santini The Apostle,

813
00:43:49,360 --> 00:43:53,319
Speaker 1: which he acted and directed and which is insane. You

814
00:43:53,360 --> 00:43:56,520
Speaker 1: never saw him acting, and these are characters. It's like

815
00:43:56,560 --> 00:43:59,440
Speaker 1: he's an actor. You just didn't see acting. It's almost

816
00:43:59,520 --> 00:44:01,839
Speaker 1: one of those people who imagined, like people go, oh,

817
00:44:01,880 --> 00:44:03,880
Speaker 1: you're not acting when you're acting, which is a compliment

818
00:44:03,880 --> 00:44:06,959
Speaker 1: also in a disrespect because you don't understand the craftsmanship,

819
00:44:07,000 --> 00:44:12,080
Speaker 1: because it's seamless. With Robert Daval. I just love him

820
00:44:12,120 --> 00:44:14,480
Speaker 1: so much and such an appreciate that he's alive, you

821
00:44:14,480 --> 00:44:15,640
Speaker 1: know what I mean, even I don't know if he's

822
00:44:15,680 --> 00:44:20,319
Speaker 1: making films anymore. All Daniel day Lewis, you know, I mean,

823
00:44:20,360 --> 00:44:22,200
Speaker 1: I mean he to me as somebody who was like,

824
00:44:22,800 --> 00:44:24,480
Speaker 1: I mean, I'm joking when I say this, but I

825
00:44:24,520 --> 00:44:30,360
Speaker 1: always felt like Spielberg and Tony Kushner and Daniel de

826
00:44:30,480 --> 00:44:35,000
Speaker 1: Lewis get together to do Lincoln and whatever source material,

827
00:44:35,040 --> 00:44:41,480
Speaker 1: there was still photographs, written accounts of how Lincoln behaved,

828
00:44:42,600 --> 00:44:45,920
Speaker 1: audio recordings. I think that maybe there were some. I

829
00:44:45,960 --> 00:44:49,160
Speaker 1: don't think there was any film footage of him, and

830
00:44:49,200 --> 00:44:54,080
Speaker 1: I see Daniel day Lewis as somebody who says, Okay,

831
00:44:54,200 --> 00:44:59,120
Speaker 1: I'm gonna survey all of this material, but in the end,

832
00:44:59,200 --> 00:45:02,479
Speaker 1: I'm gonna come up with character, and that's Lincoln, right,

833
00:45:02,920 --> 00:45:06,719
Speaker 1: and for all eternity in people's minds, that will be

834
00:45:06,840 --> 00:45:10,680
Speaker 1: Lincoln right. I'm going to create the Lincoln that's going

835
00:45:10,760 --> 00:45:13,480
Speaker 1: to be the Lincoln right from now on, as opposed

836
00:45:13,520 --> 00:45:17,080
Speaker 1: to um Raymond Nassey who did it early on years ago,

837
00:45:17,440 --> 00:45:19,879
Speaker 1: and nothing wrong with his performance. But I think that

838
00:45:19,960 --> 00:45:22,759
Speaker 1: you see guys who just by the sheer force of

839
00:45:22,840 --> 00:45:40,800
Speaker 1: their talent, you know, podcast, What actors do you remember

840
00:45:40,800 --> 00:45:42,480
Speaker 1: throughout the year, And I mean I just named a few.

841
00:45:42,520 --> 00:45:44,279
Speaker 1: I mean you've worked there should be you know, they

842
00:45:44,280 --> 00:45:46,600
Speaker 1: do six degrees of Kevin Bacon, but you're at a

843
00:45:46,640 --> 00:45:48,400
Speaker 1: point where it could be six degrees of Alc Botwin.

844
00:45:48,440 --> 00:45:51,200
Speaker 1: Of people that you've worked with. What actors do you

845
00:45:51,239 --> 00:45:54,080
Speaker 1: remember throughout the years. It could be recent, it could

846
00:45:54,080 --> 00:45:56,760
Speaker 1: be when you were younger, where you're in a scene

847
00:45:56,800 --> 00:46:00,000
Speaker 1: and you're like, they're so good, We're just for a moment.

848
00:46:00,040 --> 00:46:03,560
Speaker 1: Meant during a take or a rehearsal or a close

849
00:46:03,640 --> 00:46:05,480
Speaker 1: up where you go they kind of take you out

850
00:46:05,520 --> 00:46:06,920
Speaker 1: of it and you're watching. I was going to do

851
00:46:06,960 --> 00:46:08,680
Speaker 1: a movie and we went and did a reading of

852
00:46:08,719 --> 00:46:11,800
Speaker 1: the script at a hotel in l a. And de

853
00:46:11,880 --> 00:46:13,520
Speaker 1: Niro was going to do the movie, and he dropped

854
00:46:13,520 --> 00:46:15,120
Speaker 1: out because he thought he wasn't right for the part

855
00:46:15,400 --> 00:46:17,920
Speaker 1: because the guy was kind of very waspy. I did

856
00:46:17,960 --> 00:46:21,480
Speaker 1: this movie, The Edge, with Tony Hopkins, which was originally

857
00:46:21,520 --> 00:46:24,480
Speaker 1: called Bookworm, and it was much more baroque and much

858
00:46:24,480 --> 00:46:27,160
Speaker 1: more psychological. They turned it into like an action film,

859
00:46:27,200 --> 00:46:29,080
Speaker 1: you know, an adventure film with the bear and everything.

860
00:46:29,120 --> 00:46:32,399
Speaker 1: But when they called me, I was on vacation with

861
00:46:32,440 --> 00:46:34,879
Speaker 1: my ex wife and they called me and they said

862
00:46:35,080 --> 00:46:37,240
Speaker 1: Tony Hopkins is going to do the movie. I crushed

863
00:46:37,239 --> 00:46:40,319
Speaker 1: hard to cry and I thought, oh my God. And

864
00:46:40,400 --> 00:46:43,160
Speaker 1: I showed up there to go to work and the movie,

865
00:46:43,760 --> 00:46:45,319
Speaker 1: you know, had a lot of things wrong with it,

866
00:46:45,400 --> 00:46:48,439
Speaker 1: and I was not wild about how it turned out.

867
00:46:49,040 --> 00:46:51,440
Speaker 1: But I got to do this movie with Tony Hopkins,

868
00:46:51,480 --> 00:46:55,200
Speaker 1: and I was so that was the greatest experience I've

869
00:46:55,239 --> 00:46:57,319
Speaker 1: ever had shooting a movie because it was a lead role.

870
00:46:58,000 --> 00:46:59,839
Speaker 1: You know, if I do Bob's, if I do Um

871
00:47:00,320 --> 00:47:02,720
Speaker 1: the Good Shepherd, if I do Good Shepherd with Bob,

872
00:47:03,120 --> 00:47:04,440
Speaker 1: you know, that was just in and out in a

873
00:47:04,480 --> 00:47:07,600
Speaker 1: couple of weeks. And Marty and people like that, Nichols

874
00:47:07,640 --> 00:47:11,080
Speaker 1: smaller roles, but when you play a lead role with

875
00:47:11,160 --> 00:47:16,960
Speaker 1: somebody who you really like. Harold Becker, who did See

876
00:47:16,960 --> 00:47:20,280
Speaker 1: of Love and Uh, he did other great films. Taps.

877
00:47:21,200 --> 00:47:23,600
Speaker 1: We did this movie Malice, which was this very tepid

878
00:47:23,680 --> 00:47:26,720
Speaker 1: kind of thriller with me, Bill Pullman and Nicole Kidman.

879
00:47:27,000 --> 00:47:28,880
Speaker 1: But I learned a lot from Harold. He was great.

880
00:47:28,960 --> 00:47:32,160
Speaker 1: He was really very actor friendly. So but I must

881
00:47:32,160 --> 00:47:36,200
Speaker 1: say that the time we spent up in Canada shooting

882
00:47:36,200 --> 00:47:38,280
Speaker 1: The Edge with Tony, that was probably the greatest experience

883
00:47:38,280 --> 00:47:41,879
Speaker 1: I've ever had. That's awesome. When you did Glen Garry,

884
00:47:41,920 --> 00:47:45,880
Speaker 1: Glenn Ross, you showed up one day, two days we shot,

885
00:47:46,640 --> 00:47:49,320
Speaker 1: we rehearsed, and then we came back and I shot

886
00:47:49,320 --> 00:47:50,800
Speaker 1: it over the course of two days. It might have

887
00:47:50,840 --> 00:47:52,160
Speaker 1: been two and a half. I don't remember that, but

888
00:47:52,280 --> 00:47:55,120
Speaker 1: it was two days to cover everybody. You know. The

889
00:47:55,120 --> 00:47:57,799
Speaker 1: film has been quoted, it's sort of been. It's an

890
00:47:58,000 --> 00:48:03,200
Speaker 1: iconic film, iconic scene, the lines, the actors. When you

891
00:48:03,239 --> 00:48:05,520
Speaker 1: look back at that time, what do you remember, What

892
00:48:05,560 --> 00:48:08,120
Speaker 1: do you take away from that experience? And the way

893
00:48:08,160 --> 00:48:12,319
Speaker 1: you approach that scene, would you approach it differently now?

894
00:48:12,400 --> 00:48:17,520
Speaker 1: Not it? Maybe you turne it down and maybe you

895
00:48:17,680 --> 00:48:22,439
Speaker 1: just a click meaning he said to me, Foley, he said,

896
00:48:22,480 --> 00:48:25,120
Speaker 1: this is like the scene. And because I was very

897
00:48:25,200 --> 00:48:29,120
Speaker 1: uncomfortable doing the scene with these guys, because I well,

898
00:48:29,160 --> 00:48:31,400
Speaker 1: I admired all of them, and I had to be

899
00:48:31,480 --> 00:48:34,640
Speaker 1: so abusive to them. And I called up Moment on

900
00:48:34,680 --> 00:48:37,960
Speaker 1: the phone and I said, you won the Pulitzer Prize

901
00:48:38,000 --> 00:48:40,600
Speaker 1: for the play. Why do you feel the need to

902
00:48:40,960 --> 00:48:44,280
Speaker 1: amend the play? I said, you want it's the big prize.

903
00:48:44,880 --> 00:48:47,040
Speaker 1: He said. None of these men have a criminal nature,

904
00:48:47,120 --> 00:48:49,520
Speaker 1: and they're about to commit a crime. And I need

905
00:48:49,560 --> 00:48:51,680
Speaker 1: someone to come in there and ratchet everything a little

906
00:48:51,719 --> 00:48:55,160
Speaker 1: tighter for them, make everything more taught and difficult for

907
00:48:55,200 --> 00:48:57,520
Speaker 1: them so that they will commit. So you come in

908
00:48:57,560 --> 00:49:00,120
Speaker 1: and your scene is going to be to incite them

909
00:49:00,160 --> 00:49:02,960
Speaker 1: to commit a crime. And then I said, oh god,

910
00:49:02,960 --> 00:49:05,240
Speaker 1: I've you know. When it came time to shoot the scene,

911
00:49:06,440 --> 00:49:09,920
Speaker 1: Foley said, it's like that scene in Patent when he

912
00:49:09,960 --> 00:49:12,800
Speaker 1: slaps the guy in the tent who got shell shock

913
00:49:13,440 --> 00:49:16,480
Speaker 1: and he says, you call yourself a soldier. And Polly

914
00:49:16,520 --> 00:49:18,680
Speaker 1: said to me we're gonna do. Call this the you

915
00:49:18,760 --> 00:49:22,160
Speaker 1: call yourself a salesman scene. He's like, you're coming down here.

916
00:49:22,160 --> 00:49:24,920
Speaker 1: It's for their own good. You're not doing this to

917
00:49:25,000 --> 00:49:27,280
Speaker 1: be mean. This is for their own good. They need

918
00:49:27,320 --> 00:49:30,560
Speaker 1: this or they're going to be dead. We're in battle here,

919
00:49:30,600 --> 00:49:33,200
Speaker 1: it's a war. You go out that door, you gotta sell.

920
00:49:33,640 --> 00:49:35,080
Speaker 1: And he goes and I need you to crack all

921
00:49:35,120 --> 00:49:36,840
Speaker 1: of them right across the face as hard as you

922
00:49:36,880 --> 00:49:38,719
Speaker 1: can and get him to snap the funk out of it.

923
00:49:39,080 --> 00:49:42,919
Speaker 1: And I literally remember electricity going through my body because

924
00:49:42,960 --> 00:49:46,480
Speaker 1: I needed someone to explain to me. I call authorization,

925
00:49:47,360 --> 00:49:50,279
Speaker 1: what authorizes me to do the scene that way? And

926
00:49:50,280 --> 00:49:53,400
Speaker 1: when he told me that, I was like, Okay, I'm ready,

927
00:49:53,400 --> 00:49:56,440
Speaker 1: and I got up and we go and uh. It

928
00:49:56,560 --> 00:49:58,040
Speaker 1: was not easy, because I mean not you have to

929
00:49:58,040 --> 00:50:01,000
Speaker 1: say all these horrible things to them. But the thing

930
00:50:01,040 --> 00:50:04,319
Speaker 1: I remember most has nothing to do with that. The

931
00:50:04,360 --> 00:50:06,160
Speaker 1: thing I remember most was that was one of the

932
00:50:06,280 --> 00:50:11,000
Speaker 1: earlier I'd done a few, but not many, of the

933
00:50:11,120 --> 00:50:17,200
Speaker 1: great monastic cinematographers in the business. One of the greatest

934
00:50:17,360 --> 00:50:19,960
Speaker 1: joys of making films is to work with great cinema.

935
00:50:20,040 --> 00:50:24,000
Speaker 1: To I worked with ball House, with Nichols. I worked

936
00:50:24,000 --> 00:50:28,200
Speaker 1: with Bob Richardson, I worked with Don McAlpine on the Edge,

937
00:50:28,280 --> 00:50:32,600
Speaker 1: and I worked with Wan Ruise and Chia who photographed

938
00:50:33,480 --> 00:50:37,880
Speaker 1: Glen Garry and he's just unbelievable. Explained to non actors

939
00:50:38,080 --> 00:50:41,520
Speaker 1: why it's great to work with a great cinematographer. As

940
00:50:41,880 --> 00:50:44,000
Speaker 1: you watch Glen Garry and it's like a painting, you know,

941
00:50:44,040 --> 00:50:46,720
Speaker 1: with all the black and white kind of it's a film,

942
00:50:46,719 --> 00:50:49,200
Speaker 1: it's in color, and sometimes you feel like you're being

943
00:50:49,920 --> 00:50:54,480
Speaker 1: seduced into it being black and white. John told one

944
00:50:54,480 --> 00:50:56,719
Speaker 1: of the I think there's only two men told is one.

945
00:50:57,360 --> 00:50:59,560
Speaker 1: I think there's one more. I can't remember who won

946
00:50:59,600 --> 00:51:03,000
Speaker 1: the os for cinematography and back to back years. I

947
00:51:03,000 --> 00:51:05,479
Speaker 1: think he wanted for Brave Heart, and then he weren't

948
00:51:05,520 --> 00:51:08,719
Speaker 1: Randy for Legends of the Fall. I believe he wanted

949
00:51:08,760 --> 00:51:11,000
Speaker 1: from one of those movies. I know he won for

950
00:51:11,040 --> 00:51:13,480
Speaker 1: Brave and he was a Braveheart. No Braveheart he did,

951
00:51:13,840 --> 00:51:16,000
Speaker 1: and then the year before that he did Legends of

952
00:51:16,000 --> 00:51:18,279
Speaker 1: the Fall. I think not River runs through it. It's

953
00:51:18,280 --> 00:51:20,560
Speaker 1: either River runs through it or Legends of the Fall.

954
00:51:20,640 --> 00:51:22,239
Speaker 1: So he won the OSCAR two years in a row,

955
00:51:22,560 --> 00:51:25,000
Speaker 1: and you're with this guy, and you're like, and when

956
00:51:25,000 --> 00:51:28,680
Speaker 1: you when you shoot, because they'll make this is a movie. Yeah,

957
00:51:28,920 --> 00:51:32,160
Speaker 1: we're making a movie here. Someone's gonna put the camera

958
00:51:32,239 --> 00:51:35,040
Speaker 1: on you and do it. And this guy who shot

959
00:51:35,080 --> 00:51:38,360
Speaker 1: Glenn Gary, he just was like all the great dps.

960
00:51:38,360 --> 00:51:41,719
Speaker 1: They never transmit any tension. They're like, woke up to

961
00:51:41,719 --> 00:51:44,600
Speaker 1: you and they go, could I ask you a question?

962
00:51:45,400 --> 00:51:49,600
Speaker 1: Could you please just a lean? When he talked, you

963
00:51:49,760 --> 00:51:52,680
Speaker 1: leaning this way to see a little bit. And I

964
00:51:52,719 --> 00:51:54,719
Speaker 1: go there and we line up and I go, you

965
00:51:54,719 --> 00:51:59,799
Speaker 1: mean like this? He's like it's so good and you're like,

966
00:52:00,800 --> 00:52:04,239
Speaker 1: I'm here to put this on film, right. So when

967
00:52:04,280 --> 00:52:06,759
Speaker 1: you have guys that are really and women who are

968
00:52:06,800 --> 00:52:11,880
Speaker 1: really really uh strong cinematographers, God, you feel so confident.

969
00:52:12,400 --> 00:52:14,879
Speaker 1: Look it's gonna look good, you know. And so being

970
00:52:14,920 --> 00:52:17,360
Speaker 1: on the set cursing at Jack Lemmon, who must have

971
00:52:17,400 --> 00:52:20,880
Speaker 1: been a fucking a sweet guy. You're cursing it at Harris,

972
00:52:20,920 --> 00:52:24,759
Speaker 1: You're cursing at Alan Arkin. Are you having fun? Are

973
00:52:24,960 --> 00:52:27,360
Speaker 1: having no? No? No? No, no no? You do you

974
00:52:27,400 --> 00:52:30,640
Speaker 1: play these characters? And are these tough characters? I said

975
00:52:30,680 --> 00:52:33,080
Speaker 1: when I did street Car on Broadway, I get into

976
00:52:33,120 --> 00:52:34,560
Speaker 1: like the sixth week of it, I want to go.

977
00:52:35,120 --> 00:52:36,600
Speaker 1: I want to say to Blanch, why don't we sit

978
00:52:36,640 --> 00:52:38,520
Speaker 1: down and have a drink, Blanch and work everything out?

979
00:52:38,600 --> 00:52:42,640
Speaker 1: And like, you get tired of being, you know, at

980
00:52:42,680 --> 00:52:45,799
Speaker 1: that level. And when I do movies where you have

981
00:52:45,920 --> 00:52:50,680
Speaker 1: to kind of lose it or you're cruel in some way,

982
00:52:51,120 --> 00:52:54,719
Speaker 1: it's never fun. Never fun. You know what's fun is

983
00:52:54,760 --> 00:52:56,759
Speaker 1: when you do Like when we did thirty Rock. That

984
00:52:56,880 --> 00:52:59,960
Speaker 1: was fun because those people were so creative and Tina's

985
00:53:00,040 --> 00:53:03,640
Speaker 1: so unique her talent as a writer, and Robert Carlock

986
00:53:03,719 --> 00:53:06,360
Speaker 1: in their whole stable of writers that I'd come to

987
00:53:06,400 --> 00:53:08,840
Speaker 1: work and they were like they'd hand us the script

988
00:53:09,400 --> 00:53:12,120
Speaker 1: in the morning and we'd be in makeup and we're

989
00:53:12,120 --> 00:53:14,320
Speaker 1: going to do the read through for the network that afternoon.

990
00:53:14,320 --> 00:53:16,879
Speaker 1: They would pipe us to burn Bank from a room.

991
00:53:16,880 --> 00:53:19,359
Speaker 1: We go into a conference room and so we take

992
00:53:19,480 --> 00:53:23,960
Speaker 1: lunch on a Wednesday and do the read through and

993
00:53:23,960 --> 00:53:25,640
Speaker 1: they'd hit me the script of the morning and I'd say,

994
00:53:25,880 --> 00:53:28,840
Speaker 1: I'd walk up to Robert Carlock and I'd say, you

995
00:53:28,880 --> 00:53:31,759
Speaker 1: want me to play this Patty Duke thing with myself?

996
00:53:32,520 --> 00:53:34,840
Speaker 1: And the other side of it is I'm a gay

997
00:53:35,000 --> 00:53:39,719
Speaker 1: Mexican soap opera star, and Robert Carlock would always like say,

998
00:53:40,000 --> 00:53:41,680
Speaker 1: it's a big swing, and I know it's a big swing,

999
00:53:41,760 --> 00:53:43,719
Speaker 1: but we have faith in you. We believe in you.

1000
00:53:43,880 --> 00:53:46,160
Speaker 1: He was always like, you know, giving me the business.

1001
00:53:46,200 --> 00:53:49,040
Speaker 1: But that was fun because they were so fucking funny.

1002
00:53:49,200 --> 00:53:51,000
Speaker 1: Did the speed of it throw you off at first?

1003
00:53:51,080 --> 00:53:53,480
Speaker 1: The speed of television? No, they knew well the speed

1004
00:53:53,480 --> 00:53:56,680
Speaker 1: of shooting. It was a lot of work. I mean,

1005
00:53:56,719 --> 00:54:01,399
Speaker 1: I'm not complaining, and we were compensated. But it's like, uh,

1006
00:54:01,640 --> 00:54:03,560
Speaker 1: we had a line, or I had a line with them,

1007
00:54:03,560 --> 00:54:05,560
Speaker 1: which was you give the sea and the stick to

1008
00:54:05,600 --> 00:54:08,160
Speaker 1: the finish line. Like in horse racing. You just you

1009
00:54:08,719 --> 00:54:11,880
Speaker 1: don't pause, don't You gotta just let the audience and

1010
00:54:12,040 --> 00:54:14,560
Speaker 1: our audience will keep up with us. And I thought

1011
00:54:14,560 --> 00:54:17,640
Speaker 1: it was genuinely funny, as opposed to so many films

1012
00:54:17,640 --> 00:54:19,840
Speaker 1: and TV shows I see now that are more cute

1013
00:54:19,840 --> 00:54:23,360
Speaker 1: than funny. Agree. Um, when I was talking on the phone,

1014
00:54:24,320 --> 00:54:25,960
Speaker 1: you gave me a very big compliment. I don't even

1015
00:54:25,960 --> 00:54:27,920
Speaker 1: know if you remember it, but it stuck with me.

1016
00:54:28,000 --> 00:54:31,000
Speaker 1: You said you called me the Lawrence Olivier a fuck

1017
00:54:32,640 --> 00:54:36,120
Speaker 1: And I consider you one of the great cursors in

1018
00:54:36,200 --> 00:54:38,680
Speaker 1: cinematic history. Along with the Great Dennis Farina, the late

1019
00:54:38,680 --> 00:54:43,760
Speaker 1: great Dennis Frina, of course, Bob de Niro, Frank Vincent's um,

1020
00:54:43,840 --> 00:54:48,000
Speaker 1: Joe Pesci, Alec Baldwin, the great Alpaccino. So I wanted

1021
00:54:48,080 --> 00:54:51,680
Speaker 1: to have a funk off with you, and I wrote

1022
00:54:51,680 --> 00:54:53,880
Speaker 1: some lines down and I'll say them, and I wanted

1023
00:54:53,960 --> 00:54:55,799
Speaker 1: you to say them as well, and we could go

1024
00:54:55,840 --> 00:54:58,520
Speaker 1: back and forth a little almost like an actor, um,

1025
00:54:58,560 --> 00:55:02,600
Speaker 1: you know, warm up routine. Here, some yes, some Miisner stuff.

1026
00:55:03,880 --> 00:55:10,400
Speaker 1: Fuck you, Michael Rappaport, Fuck you, Michael Rappaport, Fuck you,

1027
00:55:10,600 --> 00:55:16,600
Speaker 1: Michael Rappaport. Fuck you, Michael Rappaport. Fuck you, Michael Rappaport,

1028
00:55:17,840 --> 00:55:24,879
Speaker 1: Fuck you, Michael Rappaport. You motherfuck? Are you you? Motherfuck?

1029
00:55:24,960 --> 00:55:36,240
Speaker 1: Are you you? Motherfuck? Are you you? Motherfuck? Are you you? Motherfuck?

1030
00:55:36,280 --> 00:55:46,560
Speaker 1: Are you? Motherfuck? Are you? You? Are a cock sucker?

1031
00:55:48,120 --> 00:55:55,920
Speaker 1: You are a cocksucker. You're a cocksucker. You're a cocksucker.

1032
00:55:57,920 --> 00:56:03,759
Speaker 1: You're a cocksucker. You're a cocksucker. Did we get it?

1033
00:56:05,160 --> 00:56:07,920
Speaker 1: I'm in heaven. I'm almost done. Now. I want to

1034
00:56:07,960 --> 00:56:09,640
Speaker 1: ask you a question. I want to interview you for

1035
00:56:09,680 --> 00:56:13,960
Speaker 1: a second, which is my nature. So in your career. Now,

1036
00:56:15,280 --> 00:56:18,520
Speaker 1: do you find that these types of work you don't

1037
00:56:18,560 --> 00:56:21,520
Speaker 1: want to do, Like I would imagine a TV series

1038
00:56:22,200 --> 00:56:25,040
Speaker 1: could be in your hand tomorrow. You don't want to

1039
00:56:25,080 --> 00:56:27,680
Speaker 1: commit to a series and be grinding that app for

1040
00:56:27,719 --> 00:56:29,520
Speaker 1: five or six years. No, I would love to find

1041
00:56:29,920 --> 00:56:33,360
Speaker 1: a good one. It's crazy now because a television series

1042
00:56:33,440 --> 00:56:37,440
Speaker 1: that is good in that last and there's such incredible,

1043
00:56:37,600 --> 00:56:42,759
Speaker 1: ridiculous great stuff on TV you kind of want to

1044
00:56:42,800 --> 00:56:45,839
Speaker 1: be a part of the great ones. I mean, there's

1045
00:56:45,880 --> 00:56:48,560
Speaker 1: so much good stuff on television. What are you watching

1046
00:56:48,560 --> 00:56:51,080
Speaker 1: on television? What do you get to watch besides football?

1047
00:56:51,600 --> 00:56:54,640
Speaker 1: Probably a lot of SpongeBob, Teletubbies and all this. Ye

1048
00:56:54,840 --> 00:57:00,920
Speaker 1: Sonny Bunny is um mo wanna Frozen? We watched Frozen.

1049
00:57:01,960 --> 00:57:04,239
Speaker 1: All my kids they all go down, you know what

1050
00:57:04,239 --> 00:57:06,920
Speaker 1: I mean. So now there's two the toddlers there in

1051
00:57:06,920 --> 00:57:10,840
Speaker 1: that phrase. And my daughter Luthia, she can't say olaf,

1052
00:57:10,880 --> 00:57:14,280
Speaker 1: she says, oh waff And when she sees me, she's

1053
00:57:14,320 --> 00:57:16,720
Speaker 1: the most wonderful. She kisses me, she hugs me, then

1054
00:57:16,760 --> 00:57:21,760
Speaker 1: she goes waff like she wants to go watch Frozen.

1055
00:57:21,880 --> 00:57:27,240
Speaker 1: So um, I would say, um what I've watched? I

1056
00:57:27,400 --> 00:57:30,360
Speaker 1: watched the one with kind of Ali and Naomi Watts.

1057
00:57:30,520 --> 00:57:35,479
Speaker 1: Uh um, yes something, Yes, The Watcher, Yes, that was good.

1058
00:57:35,560 --> 00:57:40,400
Speaker 1: I watched that. I devoured The Crown obsessed with production value.

1059
00:57:40,560 --> 00:57:44,160
Speaker 1: But there's things you're gonna see. There's sets and photography

1060
00:57:44,200 --> 00:57:47,280
Speaker 1: and design, and there's a reality there and going into

1061
00:57:47,280 --> 00:57:49,080
Speaker 1: the world of those people that you're just never going

1062
00:57:49,120 --> 00:57:52,800
Speaker 1: to see anywhere else. And then I, um, I'm trying

1063
00:57:52,840 --> 00:57:54,720
Speaker 1: to think of what else did you watch? White Lotus

1064
00:57:54,720 --> 00:57:59,520
Speaker 1: season two? No, you gotta watch why it's fucking ridiculously

1065
00:57:59,600 --> 00:58:04,440
Speaker 1: good of writings, ridiculously You're gonna be like, oh ship.

1066
00:58:04,600 --> 00:58:07,200
Speaker 1: I always say to myself, I'm not quite sure how

1067
00:58:07,240 --> 00:58:09,800
Speaker 1: interested in I am. I am in shows about like

1068
00:58:10,200 --> 00:58:15,720
Speaker 1: romantic and sexual intrigue. It's not that it's it's not Dynasty, No, okay,

1069
00:58:16,160 --> 00:58:20,720
Speaker 1: it's you're gonna be like, oh shit, and it's this

1070
00:58:20,800 --> 00:58:24,880
Speaker 1: second season excellent. It's amazing to hear you say that excellent.

1071
00:58:25,160 --> 00:58:27,760
Speaker 1: It's so good. You're like, this is fucking you watched

1072
00:58:27,760 --> 00:58:30,720
Speaker 1: all of those are great? I watched all of those

1073
00:58:30,760 --> 00:58:32,520
Speaker 1: are and I just got a little freaked out because

1074
00:58:32,760 --> 00:58:34,800
Speaker 1: whenever they wrote themselves into a corner, they start of

1075
00:58:34,800 --> 00:58:38,080
Speaker 1: shooting people, so that was like West World. I went

1076
00:58:38,120 --> 00:58:39,640
Speaker 1: all the way with Westworld, even though I was a

1077
00:58:39,680 --> 00:58:43,320
Speaker 1: little bit disappointed and how that I wanted something more

1078
00:58:43,880 --> 00:58:47,200
Speaker 1: relatable to happen. But I will tell you and maybe

1079
00:58:47,280 --> 00:58:49,240
Speaker 1: I have a feeling, maybe you feel the same way.

1080
00:58:49,440 --> 00:58:51,440
Speaker 1: One of my favorite shows. I always say this to

1081
00:58:51,480 --> 00:58:54,160
Speaker 1: people all the time, and I'm amazed that people didn't

1082
00:58:54,200 --> 00:59:02,320
Speaker 1: catch this was the night of the Tarantino Touro did

1083
00:59:03,280 --> 00:59:06,160
Speaker 1: and the kid gets busted and they only did the

1084
00:59:06,200 --> 00:59:09,880
Speaker 1: one season and Richard Price and Xalien did the writing,

1085
00:59:10,640 --> 00:59:13,920
Speaker 1: and that I think He's Alien did the directing. That

1086
00:59:14,120 --> 00:59:16,080
Speaker 1: show was so good. That was one of the gain

1087
00:59:16,120 --> 00:59:18,680
Speaker 1: Delphini shot the pilot. Then he died, so they did

1088
00:59:18,760 --> 00:59:21,640
Speaker 1: go back and be cast and reshoot it. But um,

1089
00:59:21,720 --> 00:59:24,439
Speaker 1: oh my god, I love that. I love that show.

1090
00:59:24,960 --> 00:59:27,840
Speaker 1: Michael Michael kay Williams, Yes, who I worked with in

1091
00:59:27,840 --> 00:59:31,360
Speaker 1: this movie The Public with Amelia. Now that's the director

1092
00:59:31,400 --> 00:59:34,680
Speaker 1: I love was Amelia. I worship Amelio Esteves. He's a

1093
00:59:34,680 --> 00:59:36,680
Speaker 1: good director, right, He's a great director, and he's he's

1094
00:59:36,720 --> 00:59:38,880
Speaker 1: the loveliest guy in the face of the earth. And

1095
00:59:38,920 --> 00:59:41,800
Speaker 1: we did this movie The Public, and Michael Kay Williams

1096
00:59:41,840 --> 00:59:45,160
Speaker 1: was in it and when I saw him and his energy,

1097
00:59:45,720 --> 00:59:48,000
Speaker 1: I completely blank. And then I walked up to him

1098
00:59:48,000 --> 00:59:50,640
Speaker 1: like day four and I go, you're the guy from

1099
00:59:50,680 --> 00:59:56,200
Speaker 1: the Night Of and he's like yeah, and I was like,

1100
00:59:56,480 --> 00:59:59,840
Speaker 1: I love that show. That people should watch that HBO.

1101
01:00:00,200 --> 01:00:04,000
Speaker 1: You know what else is excellent And even though you're

1102
01:00:04,200 --> 01:00:10,360
Speaker 1: happily married, I'm happily married to Fleishman's in Trouble on

1103
01:00:10,560 --> 01:00:14,360
Speaker 1: FX with Jesse Eisenberg and Claire Danes. It's based on

1104
01:00:14,400 --> 01:00:20,000
Speaker 1: a book and it's really about these two people going

1105
01:00:20,040 --> 01:00:25,360
Speaker 1: through their divorce and a great portrayal also like Blue

1106
01:00:25,440 --> 01:00:30,840
Speaker 1: Jasmine of a woman going through a mental breakdown. Fucking excellent. Now,

1107
01:00:30,840 --> 01:00:35,160
Speaker 1: why would my marriage be because soiled? If I know

1108
01:00:35,200 --> 01:00:38,600
Speaker 1: your marriage wouldn't be soiled, But for me, I had

1109
01:00:38,600 --> 01:00:41,440
Speaker 1: went through a divorce with my kids and it was

1110
01:00:41,760 --> 01:00:45,720
Speaker 1: that show really captures it. No, I mean in a

1111
01:00:45,760 --> 01:00:51,600
Speaker 1: real way. The movie with Adam Driver and Scarlett Marriage Story,

1112
01:00:51,960 --> 01:00:56,320
Speaker 1: Marriage Story that I went from the screening was at

1113
01:00:56,320 --> 01:00:59,000
Speaker 1: the Hampton's Film Festival when I was out there and

1114
01:00:59,080 --> 01:01:03,080
Speaker 1: I walked out into the hallway and Noah was there

1115
01:01:04,520 --> 01:01:06,640
Speaker 1: and I had tears in my eyes and I said,

1116
01:01:07,320 --> 01:01:09,640
Speaker 1: this is like you had a camera hidden on me

1117
01:01:10,200 --> 01:01:12,400
Speaker 1: in my during my divorce. You know you're remarried now.

1118
01:01:13,080 --> 01:01:16,040
Speaker 1: So you were married once yea, twice twice before, no

1119
01:01:16,200 --> 01:01:20,640
Speaker 1: once before, once before, and now I'm married the second time.

1120
01:01:20,920 --> 01:01:23,080
Speaker 1: And I said to Noah Bomback, I said, I can't

1121
01:01:23,120 --> 01:01:26,920
Speaker 1: believe this is so close to the bone to me.

1122
01:01:27,040 --> 01:01:30,000
Speaker 1: It was. It was painful. Yeah, I agree, I agree.

1123
01:01:30,280 --> 01:01:34,800
Speaker 1: Excellent movie, excellent, ridiculous movie. Fleishman's in Trouble, which is

1124
01:01:34,880 --> 01:01:37,720
Speaker 1: it's all New York or I'll check it out. I'll

1125
01:01:37,800 --> 01:01:40,560
Speaker 1: check that out in White Lotus because you said so.

1126
01:01:41,240 --> 01:01:43,280
Speaker 1: Everybody else tells me White let Us. I'm like, yeah, yeah,

1127
01:01:43,280 --> 01:01:44,560
Speaker 1: I don't. I don't want to see a bunch of

1128
01:01:44,600 --> 01:01:49,240
Speaker 1: people banging each other. You love, You're not that you're

1129
01:01:49,280 --> 01:01:50,600
Speaker 1: gonna go. I want to be on white load of

1130
01:01:50,680 --> 01:01:54,320
Speaker 1: season three, I guarantee you. The writers of fucking It's

1131
01:01:54,360 --> 01:01:57,640
Speaker 1: seven episodes and each one you're just like, I mean,

1132
01:01:57,680 --> 01:01:59,800
Speaker 1: there's times where I put me and my wife like, god, damn,

1133
01:01:59,840 --> 01:02:02,959
Speaker 1: this it's ridiculous. It's just that good. And the under

1134
01:02:04,160 --> 01:02:07,760
Speaker 1: it's great. It's not Dyning's names, not not Landing, It's

1135
01:02:08,280 --> 01:02:12,800
Speaker 1: relationships and dysfunction and what's being said and what's really

1136
01:02:12,800 --> 01:02:16,560
Speaker 1: not being said. Imperioli is on the show now f Murray,

1137
01:02:16,560 --> 01:02:22,720
Speaker 1: Abraham Aubrey Plaza. Some people have never seen excellent. It's

1138
01:02:22,720 --> 01:02:28,680
Speaker 1: really good. Yeah, he's great, He's it Alec Baldwin. I

1139
01:02:28,720 --> 01:02:30,360
Speaker 1: could go on and on and on and on and

1140
01:02:30,400 --> 01:02:34,520
Speaker 1: ask questions. My final question, what is your Trump predictions?

1141
01:02:35,120 --> 01:02:38,320
Speaker 1: It's well, what do you think it's gonna happen? Well,

1142
01:02:38,360 --> 01:02:40,680
Speaker 1: I do believe that there's a chance, I don't feel

1143
01:02:40,720 --> 01:02:45,680
Speaker 1: strongly about this, that this conservative cabal that withheld the

1144
01:02:45,840 --> 01:02:49,440
Speaker 1: vote for McCarthy to be the speaker, they're going to

1145
01:02:49,520 --> 01:02:54,800
Speaker 1: continue to try to tip over the canoe for that group.

1146
01:02:54,880 --> 01:02:57,600
Speaker 1: The Republicans are in the majority, and I'm not quite

1147
01:02:57,640 --> 01:02:59,200
Speaker 1: sure they're going to hold on to the majority. I

1148
01:02:59,240 --> 01:03:01,800
Speaker 1: think that they're going to be more and more of

1149
01:03:01,840 --> 01:03:05,400
Speaker 1: the press is willing to call it. Like, for example,

1150
01:03:06,040 --> 01:03:09,400
Speaker 1: every time there was a moment when things changed and

1151
01:03:09,440 --> 01:03:13,520
Speaker 1: you would hear on the media, the press would say

1152
01:03:13,680 --> 01:03:16,360
Speaker 1: Trump that said the collection was told, which has been disproven.

1153
01:03:16,400 --> 01:03:19,640
Speaker 1: They would label it a lie. The news media would

1154
01:03:19,800 --> 01:03:21,840
Speaker 1: come right out and say that's a lie. And I

1155
01:03:21,840 --> 01:03:25,840
Speaker 1: wonder if they've become more aggressive in terms of citing

1156
01:03:25,880 --> 01:03:29,640
Speaker 1: that with everybody. So I think that the Republicans are

1157
01:03:29,760 --> 01:03:35,360
Speaker 1: very factured and that may hurt them for holding onto

1158
01:03:35,400 --> 01:03:38,960
Speaker 1: the House. And number two, I can't imagine that anybody

1159
01:03:39,000 --> 01:03:40,880
Speaker 1: is going to be the nominee other than to Satis.

1160
01:03:41,400 --> 01:03:45,960
Speaker 1: He seems to be positioned himselself very adroitly for that.

1161
01:03:46,680 --> 01:03:49,680
Speaker 1: I agree, But I go back and forth. I go

1162
01:03:49,760 --> 01:03:52,680
Speaker 1: back and forth. Well, n Trump is cooked, He's cooked,

1163
01:03:52,880 --> 01:03:55,360
Speaker 1: He's all the stuff that's come out. Now. You know

1164
01:03:55,360 --> 01:03:58,480
Speaker 1: when you tell Americans that, it means like I, for example,

1165
01:03:58,560 --> 01:04:01,640
Speaker 1: believe you should have a ace of what income taxes

1166
01:04:01,760 --> 01:04:05,320
Speaker 1: or a minimum tax. So let's say Michael Rapp report

1167
01:04:05,400 --> 01:04:08,120
Speaker 1: makes ten million dollars. That would be great. Well let's

1168
01:04:08,160 --> 01:04:11,200
Speaker 1: say you're in a bracket, so you will four million

1169
01:04:11,240 --> 01:04:13,600
Speaker 1: dollars to the I R S. And what we say

1170
01:04:13,640 --> 01:04:16,600
Speaker 1: is we don't want to disincentivize philanthropy, So we say

1171
01:04:16,720 --> 01:04:21,440
Speaker 1: you can deduct two million, but you must pay no

1172
01:04:21,800 --> 01:04:24,840
Speaker 1: less than twenty percent of your income, no amount of

1173
01:04:24,960 --> 01:04:29,880
Speaker 1: rite offs, nothing, your baseline or like alternative minimum tax.

1174
01:04:30,000 --> 01:04:34,360
Speaker 1: Similar is you must pay everybody in a certain category.

1175
01:04:34,400 --> 01:04:36,520
Speaker 1: Then we knock those numbers down for people who make

1176
01:04:36,600 --> 01:04:39,120
Speaker 1: less money. But it's like this idea that Trump paid

1177
01:04:39,120 --> 01:04:42,439
Speaker 1: no taxes. You want to go, you know, you gotta

1178
01:04:42,440 --> 01:04:45,480
Speaker 1: pay twenty of your income minimum to do that. And

1179
01:04:45,520 --> 01:04:49,240
Speaker 1: I think that when people realize that Trump said his

1180
01:04:49,360 --> 01:04:51,880
Speaker 1: taxes were withheld, and you see that he paid no

1181
01:04:52,000 --> 01:04:54,320
Speaker 1: taxes at all, I think some of his base is

1182
01:04:54,360 --> 01:04:56,440
Speaker 1: going to be They're going to find that offensive. I

1183
01:04:56,480 --> 01:04:59,480
Speaker 1: hope they do, because the Trump is cooked, He's finished.

1184
01:04:59,560 --> 01:05:02,200
Speaker 1: He yeah. I mean there's a people want to win

1185
01:05:02,240 --> 01:05:04,120
Speaker 1: the White House and they know they're never gonna win

1186
01:05:04,160 --> 01:05:06,000
Speaker 1: with Trump, and they know that the Santas They've got

1187
01:05:06,000 --> 01:05:09,520
Speaker 1: a good show, right all right, Alec Baldwin, I am

1188
01:05:09,560 --> 01:05:13,520
Speaker 1: wrapped por stereo podcast. Thank you. I appreciate it so much.

1189
01:05:13,560 --> 01:05:15,160
Speaker 1: It's awesome. Good to see you.