1 00:00:05,920 --> 00:00:08,559 Speaker 1: Hey, everyone, and thanks so much for joining me today. 2 00:00:08,840 --> 00:00:11,959 Speaker 2: It's a very special, exciting day because this episode kicks 3 00:00:11,960 --> 00:00:15,040 Speaker 2: off the second season of Table for Two. We're thrilled 4 00:00:15,040 --> 00:00:16,880 Speaker 2: to be getting back into the swing of things at 5 00:00:16,880 --> 00:00:19,239 Speaker 2: my favorite joint in Hollywood, the Tower Bar. 6 00:00:19,600 --> 00:00:21,840 Speaker 3: Oh my god, Hi, Hi sweet Hi. 7 00:00:22,560 --> 00:00:24,480 Speaker 2: You might notice that the room is buzzing a bit 8 00:00:24,520 --> 00:00:27,600 Speaker 2: more than usual, and I think it's because everyone knows 9 00:00:27,600 --> 00:00:31,400 Speaker 2: we're having lunch with today's guest. She's a brilliant actress 10 00:00:31,400 --> 00:00:35,440 Speaker 2: who has acted on Broadway, television and in many incredible films. 11 00:00:35,920 --> 00:00:38,960 Speaker 2: Her latest movie, The Holdovers, has earned her a Golden 12 00:00:39,000 --> 00:00:43,000 Speaker 2: Globe Award, a Critics Choice, a BAFTA, and a Screen 13 00:00:43,040 --> 00:00:44,000 Speaker 2: Actors Guild Award. 14 00:00:44,400 --> 00:00:45,800 Speaker 1: To top it off, she's. 15 00:00:45,640 --> 00:00:48,559 Speaker 2: Been nominated for an Academy Award for Best Supporting Actress. 16 00:00:48,720 --> 00:00:51,519 Speaker 4: If I could get a saucer, water and Arnold Palmer, 17 00:00:51,560 --> 00:00:52,480 Speaker 4: that'd be perfect. 18 00:00:52,800 --> 00:00:53,199 Speaker 3: Thank you. 19 00:00:56,680 --> 00:00:59,160 Speaker 1: That's right. Today we're having lunch with the one and 20 00:00:59,200 --> 00:01:01,000 Speaker 1: only enjoy Randolph. 21 00:01:01,280 --> 00:01:04,160 Speaker 2: So pull up a chair, grab a glass of rose, 22 00:01:04,640 --> 00:01:07,720 Speaker 2: and join us for the first episode of season two. 23 00:01:09,240 --> 00:01:12,920 Speaker 2: I'm Bruce Bossi and this is my podcast, Table for two. 24 00:01:22,680 --> 00:01:25,880 Speaker 2: You know what's really amazing about you is And I 25 00:01:25,920 --> 00:01:29,280 Speaker 2: had no idea your parents took a job. 26 00:01:29,319 --> 00:01:31,759 Speaker 1: You grew up in Hershey and they were house parents, 27 00:01:32,959 --> 00:01:33,399 Speaker 1: is there. 28 00:01:33,680 --> 00:01:34,520 Speaker 3: Which is interesting. 29 00:01:34,640 --> 00:01:35,160 Speaker 1: Yeah. 30 00:01:35,240 --> 00:01:40,000 Speaker 4: So I grew up in Philadelphia and then in eighth grade, 31 00:01:40,520 --> 00:01:43,080 Speaker 4: my parents got a When I was in Philadelphia, I 32 00:01:43,120 --> 00:01:45,640 Speaker 4: went to prep schools. My mother in particular, because my 33 00:01:45,640 --> 00:01:49,360 Speaker 4: mother is an educator, they made sacrifices so that I 34 00:01:49,360 --> 00:01:54,880 Speaker 4: could go to private schools and prep schools my entire education. 35 00:01:55,480 --> 00:01:56,800 Speaker 4: But I was a what do they call it a 36 00:01:56,920 --> 00:02:02,360 Speaker 4: day so I would get bused from the inner city 37 00:02:02,440 --> 00:02:06,960 Speaker 4: and go to these like beautiful suburbs and have this 38 00:02:07,040 --> 00:02:10,240 Speaker 4: whole other life and come back. I remember coming back 39 00:02:10,320 --> 00:02:13,120 Speaker 4: and the first time I had sushi. 40 00:02:13,200 --> 00:02:15,760 Speaker 3: At school and just being like, well, what is this? 41 00:02:15,880 --> 00:02:16,440 Speaker 3: I love it? 42 00:02:16,800 --> 00:02:19,080 Speaker 4: And I remember my parents sat me down and they said, 43 00:02:19,600 --> 00:02:21,360 Speaker 4: you have to promise us, if you're going to have 44 00:02:21,440 --> 00:02:25,840 Speaker 4: these opportunities, that when you come back home, you introduce 45 00:02:26,240 --> 00:02:29,880 Speaker 4: us to it, you introduce your friends to it, so 46 00:02:29,919 --> 00:02:33,040 Speaker 4: that this world is not just your own. Bring back 47 00:02:33,080 --> 00:02:37,520 Speaker 4: what you learn and share, right. They their parents were 48 00:02:37,560 --> 00:02:40,720 Speaker 4: adamant about We're going to still live in the inner city, 49 00:02:41,480 --> 00:02:44,200 Speaker 4: but we're going to go have that experience and then 50 00:02:44,240 --> 00:02:47,120 Speaker 4: you bring back what you've learned and you bring that 51 00:02:47,160 --> 00:02:50,200 Speaker 4: back into your community. And that's something that I'm still 52 00:02:50,880 --> 00:02:54,079 Speaker 4: aimed to do right and try very hard to do. 53 00:02:54,160 --> 00:02:56,000 Speaker 3: So that was up. 54 00:02:56,000 --> 00:03:00,320 Speaker 4: Until eighth grade, and then we moved to Hershie because 55 00:03:00,320 --> 00:03:04,160 Speaker 4: there's a very big boarding school there. The difference with 56 00:03:04,200 --> 00:03:07,160 Speaker 4: that boarding school is that at the time we're there, 57 00:03:07,200 --> 00:03:10,000 Speaker 4: it could have changed. I'm not sure, but the mission 58 00:03:10,360 --> 00:03:14,000 Speaker 4: was that it was it first turned off that Milton Hershey, 59 00:03:14,040 --> 00:03:16,799 Speaker 4: the man who made the chocolate bar, his wife couldn't 60 00:03:16,840 --> 00:03:20,440 Speaker 4: have kids, and so they created an orphanage and it 61 00:03:20,480 --> 00:03:23,800 Speaker 4: was a boy's only orphanage. Then it was boys and girls, 62 00:03:23,840 --> 00:03:26,040 Speaker 4: and then that orphanage then turned into a school. 63 00:03:26,639 --> 00:03:29,840 Speaker 3: So where I think, and I don't know how all 64 00:03:29,919 --> 00:03:32,320 Speaker 3: schools are ran of these kind of like boarding. 65 00:03:32,000 --> 00:03:34,800 Speaker 4: Schools, but this is a boarding school. At that time, 66 00:03:34,880 --> 00:03:38,040 Speaker 4: there was a bit more for at risk youth, so 67 00:03:38,200 --> 00:03:41,800 Speaker 4: less of like affluent families dropping their kids off. It 68 00:03:41,840 --> 00:03:44,320 Speaker 4: was more of at risk youth giving them an opportunity. 69 00:03:44,600 --> 00:03:46,480 Speaker 4: Some how, I had opportunity to. 70 00:03:46,440 --> 00:03:48,320 Speaker 3: Go to these places. And so my. 71 00:03:48,360 --> 00:03:51,680 Speaker 4: Parents were house parents are like dorm parents, and so 72 00:03:51,800 --> 00:03:56,000 Speaker 4: we had this big house and we had like ten 73 00:03:56,040 --> 00:03:57,240 Speaker 4: to twelve kids. 74 00:03:57,840 --> 00:03:59,080 Speaker 1: That is kind of crazy. 75 00:03:59,280 --> 00:04:04,760 Speaker 4: Yeah, so I know, not only going to school in 76 00:04:04,800 --> 00:04:08,280 Speaker 4: these environments and then living in this environment all throughout 77 00:04:08,400 --> 00:04:11,800 Speaker 4: high school. So yeah, I definitely think that had an 78 00:04:11,880 --> 00:04:15,400 Speaker 4: influence on it, and how my parents had to be 79 00:04:16,279 --> 00:04:19,920 Speaker 4: parents to all of us, especially because it's you know 80 00:04:19,960 --> 00:04:22,839 Speaker 4: what I mean, So some people don't have parents in 81 00:04:22,880 --> 00:04:25,600 Speaker 4: their life. For some people are raised by their grandparents 82 00:04:25,839 --> 00:04:28,279 Speaker 4: or you know what I mean, whatever their situation is. 83 00:04:28,400 --> 00:04:30,840 Speaker 3: And so it's always remember how. 84 00:04:32,160 --> 00:04:35,640 Speaker 4: When some kids got left for the holidays or you know, 85 00:04:35,880 --> 00:04:38,680 Speaker 4: parents couldn't take them or whatever for whatever reason, how 86 00:04:38,680 --> 00:04:40,320 Speaker 4: my parents would try to make it a little extra 87 00:04:40,360 --> 00:04:46,239 Speaker 4: special or you know, I've experienced holdovers before my mom 88 00:04:46,680 --> 00:04:49,239 Speaker 4: as a teacher, so that never stopped. 89 00:04:48,800 --> 00:04:49,440 Speaker 1: You know what I mean. 90 00:04:49,560 --> 00:04:53,119 Speaker 4: And their house parents, so it's not like a dorm 91 00:04:53,200 --> 00:04:56,640 Speaker 4: person in a college sense, where like they only step 92 00:04:56,680 --> 00:04:57,719 Speaker 4: in when there's a problem. 93 00:04:58,320 --> 00:05:01,680 Speaker 3: They're in middle school, high school, they're very hands on. 94 00:05:01,920 --> 00:05:04,640 Speaker 1: The develop Yeah, exactly, big response. 95 00:05:05,000 --> 00:05:06,880 Speaker 3: They were parents to all of them. Yeah, and I 96 00:05:06,920 --> 00:05:10,800 Speaker 3: had to share my parents with them. Wow. 97 00:05:21,440 --> 00:05:24,400 Speaker 2: I mean, you go to Temple, you get a Bachelor 98 00:05:24,400 --> 00:05:27,839 Speaker 2: of Arts, You go to Yale, you get an MFA. 99 00:05:28,120 --> 00:05:32,839 Speaker 1: Like that's like a big deal, did you? Like you know, 100 00:05:32,920 --> 00:05:33,600 Speaker 1: I know that you. 101 00:05:33,839 --> 00:05:36,640 Speaker 2: Pursued a career as an opera singer and a singer, 102 00:05:36,680 --> 00:05:38,120 Speaker 2: and like, which is something you know? 103 00:05:38,160 --> 00:05:39,080 Speaker 1: I just no idea. 104 00:05:39,160 --> 00:05:42,000 Speaker 2: And then you sort of pivot when you realize, oh, 105 00:05:42,200 --> 00:05:44,760 Speaker 2: the acting bug, the acting that's in you you want 106 00:05:44,800 --> 00:05:45,359 Speaker 2: to pursue. 107 00:05:45,520 --> 00:05:47,560 Speaker 3: No, no, that's actually not how it happened. 108 00:05:47,839 --> 00:05:51,240 Speaker 4: So I've always loved music, but growing up I had 109 00:05:51,240 --> 00:05:53,960 Speaker 4: a lot of interests. So my parents were kind of like, 110 00:05:54,640 --> 00:05:57,240 Speaker 4: we're cool with what. I was always told, We're cool 111 00:05:57,320 --> 00:06:00,320 Speaker 4: whatever you want to do, but whatever you do, get 112 00:06:00,640 --> 00:06:04,440 Speaker 4: the best education in Canada and be very good at it, right. 113 00:06:04,760 --> 00:06:09,640 Speaker 4: And so education and competitiveness is in my blood, right, 114 00:06:09,880 --> 00:06:11,280 Speaker 4: It's just it is what it is. 115 00:06:11,720 --> 00:06:15,960 Speaker 3: And so when growing up, when people. 116 00:06:15,680 --> 00:06:17,000 Speaker 4: Were like, oh I want to be a this a 117 00:06:17,080 --> 00:06:20,360 Speaker 4: that I jingled for very like, very very late, I 118 00:06:20,360 --> 00:06:22,479 Speaker 4: did not know really what I wanted to be. No 119 00:06:22,600 --> 00:06:24,880 Speaker 4: high school, I didn't even know. I didn't know what 120 00:06:24,960 --> 00:06:28,440 Speaker 4: my career path was going to be. And I remember 121 00:06:28,480 --> 00:06:30,760 Speaker 4: in high school there was a girl who came from 122 00:06:30,839 --> 00:06:33,279 Speaker 4: Canada a new student, and she was talking about this 123 00:06:33,320 --> 00:06:38,120 Speaker 4: performing art school that she went to and I just 124 00:06:38,200 --> 00:06:41,880 Speaker 4: was like, this sounds amazing of what she's speaking of. 125 00:06:42,200 --> 00:06:43,920 Speaker 3: So I blindly auditioned for it. 126 00:06:44,440 --> 00:06:47,680 Speaker 4: I got there and it was all classically based, like 127 00:06:47,760 --> 00:06:48,760 Speaker 4: they had jazz. 128 00:06:49,600 --> 00:06:53,200 Speaker 3: It mused instrumental, but not like a jazz vocal. 129 00:06:53,520 --> 00:06:55,320 Speaker 4: And I grew up a more like jazz and R 130 00:06:55,360 --> 00:06:57,120 Speaker 4: and B and soul and that kind of thing right 131 00:06:57,240 --> 00:07:01,120 Speaker 4: with Philadelphia, and like the Philly was sound yeah, and 132 00:07:01,240 --> 00:07:03,560 Speaker 4: so that was like a shock to me. I was 133 00:07:03,600 --> 00:07:06,320 Speaker 4: just digging around because I was like, I don't know 134 00:07:06,360 --> 00:07:10,200 Speaker 4: what this is, so I was like faking it. And 135 00:07:10,280 --> 00:07:13,840 Speaker 4: so then we auditioned for an opera and I ended 136 00:07:13,880 --> 00:07:15,400 Speaker 4: up getting one of the leads and I was like, 137 00:07:15,680 --> 00:07:18,200 Speaker 4: this doesn't even make sense. Wow, So this is a 138 00:07:18,800 --> 00:07:23,160 Speaker 4: pipe yeah, it's I knew I had singing, but. 139 00:07:25,720 --> 00:07:26,720 Speaker 1: Question mark right. 140 00:07:27,120 --> 00:07:29,880 Speaker 4: And so this was in Traverse City. This is like 141 00:07:31,080 --> 00:07:33,000 Speaker 4: two three hours away from Detroit. 142 00:07:33,320 --> 00:07:33,880 Speaker 3: But where this. 143 00:07:33,920 --> 00:07:37,360 Speaker 4: Magical beautiful place is. It's like on a lake and 144 00:07:37,480 --> 00:07:39,960 Speaker 4: all these pine trees. So there's like but we're like 145 00:07:40,000 --> 00:07:43,720 Speaker 4: in cabins, right, So we're roughing out in cabins and 146 00:07:43,800 --> 00:07:46,200 Speaker 4: I got sick due to like the mold and stuff. 147 00:07:46,520 --> 00:07:48,440 Speaker 3: So I ended up completely losing my voice. 148 00:07:48,480 --> 00:07:52,200 Speaker 4: Okay, So I'm out of performing our school with no 149 00:07:52,400 --> 00:07:55,800 Speaker 4: voice as one of the leads. But I will never 150 00:07:55,800 --> 00:08:00,680 Speaker 4: forget that experience because I feel like it was a 151 00:08:00,840 --> 00:08:06,360 Speaker 4: very spiritual, soulful experience in which, in that moment I 152 00:08:06,400 --> 00:08:09,600 Speaker 4: was a junior in high school, I was understanding what 153 00:08:09,640 --> 00:08:12,920 Speaker 4: it meant to be an artist and to begin to 154 00:08:13,000 --> 00:08:16,200 Speaker 4: think of process. And I never had thought of stuff 155 00:08:16,240 --> 00:08:19,840 Speaker 4: like that before because I couldn't speak, so my inner 156 00:08:19,920 --> 00:08:22,360 Speaker 4: voice was the loudest voice. 157 00:08:22,120 --> 00:08:22,720 Speaker 3: I could hear. 158 00:08:23,280 --> 00:08:25,160 Speaker 4: And everyone around me is having a good time and 159 00:08:25,240 --> 00:08:29,280 Speaker 4: expressing themselves creatively and I can't. So it's like I 160 00:08:29,320 --> 00:08:31,840 Speaker 4: had to rely on other senses, and I was so 161 00:08:31,920 --> 00:08:34,680 Speaker 4: internal that it allowed me to begin to I think 162 00:08:34,720 --> 00:08:37,400 Speaker 4: that truly was the place of me birthing. 163 00:08:37,000 --> 00:08:38,160 Speaker 3: Myself as an artist. 164 00:08:38,240 --> 00:08:38,560 Speaker 1: Okay. 165 00:08:39,160 --> 00:08:39,600 Speaker 3: And so. 166 00:08:41,200 --> 00:08:44,920 Speaker 4: Magically I get my voice back the day of the show. 167 00:08:45,280 --> 00:08:48,439 Speaker 4: It's weird, It's really it doesn't make sense. My parents 168 00:08:48,480 --> 00:08:50,360 Speaker 4: were there. I'm like, why are you coming? I don't 169 00:08:50,360 --> 00:08:52,480 Speaker 4: even have a voice. My voice comes back. 170 00:08:52,679 --> 00:08:57,240 Speaker 1: It magical, So they not replaced you like somebody. 171 00:08:57,040 --> 00:09:01,640 Speaker 4: Understudy one of the sweetest women girls in the world, 172 00:09:02,160 --> 00:09:06,040 Speaker 4: and literally the teacher because they made me come to 173 00:09:06,080 --> 00:09:06,800 Speaker 4: all the rehearsals. 174 00:09:06,960 --> 00:09:08,560 Speaker 3: I was like, this is brutal. Why are you doing 175 00:09:08,559 --> 00:09:08,880 Speaker 3: this to me? 176 00:09:09,080 --> 00:09:11,199 Speaker 4: They made me come to rehearsals and I never get 177 00:09:11,200 --> 00:09:15,360 Speaker 4: the teachers like just lightly part your lips and breathe 178 00:09:15,920 --> 00:09:19,679 Speaker 4: as everyone's singing around you. Because and this happened when 179 00:09:19,679 --> 00:09:22,000 Speaker 4: I went to a Barbara Streiss concert and I said 180 00:09:22,040 --> 00:09:24,160 Speaker 4: in like the tenth row, and I did it again, 181 00:09:24,200 --> 00:09:28,319 Speaker 4: like as an adult, our vocal chords vibrate the sound 182 00:09:28,400 --> 00:09:30,920 Speaker 4: we're hearing. So that's like, have you ever gone to 183 00:09:31,000 --> 00:09:33,960 Speaker 4: like a rock concert or like where someone's like screaming 184 00:09:34,720 --> 00:09:37,320 Speaker 4: and when you go home you either literally have a 185 00:09:37,360 --> 00:09:40,439 Speaker 4: sore throat or you're like you just feel like right, 186 00:09:41,080 --> 00:09:43,760 Speaker 4: it's because our vocal cords are vibrating to match that. 187 00:09:45,120 --> 00:09:47,439 Speaker 4: When I went to the Badge concert, I was in 188 00:09:47,679 --> 00:09:52,280 Speaker 4: beautiful voice. I was like, oh, she has beautiful forbes 189 00:09:52,720 --> 00:09:57,840 Speaker 4: because my vocal chorus feel yummy, right and so extinctively, 190 00:09:58,080 --> 00:10:02,640 Speaker 4: I guess my body the anatomy I was rehearsing though 191 00:10:02,679 --> 00:10:05,559 Speaker 4: I was not phonating, and so I was able. 192 00:10:05,320 --> 00:10:09,240 Speaker 5: To do and it was healing. It was healing, yeah, 193 00:10:09,400 --> 00:10:13,120 Speaker 5: and to wait, so now it's getting very close to 194 00:10:13,160 --> 00:10:16,520 Speaker 5: the night that you're gonna have this performance. Do you 195 00:10:16,840 --> 00:10:18,640 Speaker 5: all of a sudden started saying. 196 00:10:19,000 --> 00:10:23,040 Speaker 3: Why did you? Was the day of the morning they say. 197 00:10:23,240 --> 00:10:25,320 Speaker 4: The teacher was like, we're going to do vocal warm up, 198 00:10:25,360 --> 00:10:29,600 Speaker 4: and I was like, why, I'm not performing tonight. And 199 00:10:29,640 --> 00:10:31,400 Speaker 4: we started doing vocal warm up and it was like 200 00:10:31,440 --> 00:10:34,400 Speaker 4: the first time that I was starting to phone it. 201 00:10:34,400 --> 00:10:36,760 Speaker 3: This is a crazy story. And I literally am like. 202 00:10:37,400 --> 00:10:41,959 Speaker 4: Oh my god, I'm going up the register and I'm 203 00:10:42,000 --> 00:10:46,560 Speaker 4: going higher and higher and I never get I asked 204 00:10:46,600 --> 00:10:47,040 Speaker 4: the girl. 205 00:10:47,520 --> 00:10:48,560 Speaker 3: She was in the room with me. 206 00:10:48,600 --> 00:10:50,480 Speaker 4: I could not believe this understudy was in the room 207 00:10:50,720 --> 00:10:52,480 Speaker 4: and I was looking at her and I'm crying and 208 00:10:52,520 --> 00:10:54,720 Speaker 4: I'm like, I'm so sorry because I'm. 209 00:10:54,520 --> 00:10:57,360 Speaker 3: Going and she was so sweet. 210 00:10:57,360 --> 00:10:59,120 Speaker 4: I was like, just let I said, let me go 211 00:10:59,240 --> 00:11:01,240 Speaker 4: on tonight because my family is here. 212 00:11:01,679 --> 00:11:03,560 Speaker 3: You can do the rest of the shows. Just give me. 213 00:11:03,960 --> 00:11:04,520 Speaker 1: Wow. 214 00:11:04,640 --> 00:11:06,400 Speaker 3: Yeah, no, she's been doing it the whole time. I'm 215 00:11:06,400 --> 00:11:08,360 Speaker 3: not gonna sit. But I was like, just give me 216 00:11:08,400 --> 00:11:10,320 Speaker 3: this one. It was opening up, but just give me 217 00:11:10,360 --> 00:11:13,839 Speaker 3: this one. Parents are here. We could do the rest, right. 218 00:11:14,120 --> 00:11:17,280 Speaker 3: So at this one, I'm now like schools are coming. 219 00:11:17,480 --> 00:11:21,240 Speaker 3: All the stuff Julliarden. You know Manhattan's College, you know the 220 00:11:21,280 --> 00:11:22,839 Speaker 3: School of Music. Everyone's there. 221 00:11:22,880 --> 00:11:26,480 Speaker 4: So I was like, okay, I guess I'm an opera singer. 222 00:11:27,040 --> 00:11:30,240 Speaker 4: Went to Temple for the teacher. Opera to me was 223 00:11:30,280 --> 00:11:32,760 Speaker 4: like what Shakespeare is to some people, right, you gotta 224 00:11:32,760 --> 00:11:35,640 Speaker 4: imagine I'm from inner city Philadelphia. 225 00:11:35,840 --> 00:11:38,720 Speaker 3: I wanted you know how when you sometimes can watch 226 00:11:38,720 --> 00:11:41,080 Speaker 3: Shakespeare and it's literally like a foreign like you don't 227 00:11:41,080 --> 00:11:41,599 Speaker 3: know what that person is. 228 00:11:42,280 --> 00:11:44,360 Speaker 1: It takes a while to get the ears you even 229 00:11:44,440 --> 00:11:44,920 Speaker 1: understand that. 230 00:11:45,040 --> 00:11:47,680 Speaker 4: My teacher says, that's when they're doing it for themselves, 231 00:11:49,200 --> 00:11:52,640 Speaker 4: when you're doing it for the service of the work. 232 00:11:53,920 --> 00:11:55,760 Speaker 3: Because think about it, it's just. 233 00:11:55,720 --> 00:11:59,439 Speaker 4: Old English, yes, And when people were watching Shakespeare it 234 00:11:59,480 --> 00:12:04,200 Speaker 4: was in the bottom it was actually like very broad 235 00:12:06,000 --> 00:12:11,839 Speaker 4: comedy and drama that even uneducated people could understand and right, 236 00:12:12,679 --> 00:12:16,360 Speaker 4: but when we sometimes put this high falutin thing on it, 237 00:12:17,720 --> 00:12:18,640 Speaker 4: same thing for opera. 238 00:12:18,679 --> 00:12:20,840 Speaker 3: The only difference is quite literally in another language. 239 00:12:21,040 --> 00:12:23,440 Speaker 4: So I was like, I want to make sure my 240 00:12:23,520 --> 00:12:26,480 Speaker 4: reasoning for wanting coaching, and guess what we're gonna call 241 00:12:26,520 --> 00:12:30,839 Speaker 4: it was so that my family when they came could 242 00:12:31,040 --> 00:12:35,960 Speaker 4: understand and other inner city people who came where tip 243 00:12:36,080 --> 00:12:40,720 Speaker 4: was the city school could understand what was happening, which 244 00:12:40,760 --> 00:12:42,120 Speaker 4: to me they connected. 245 00:12:41,840 --> 00:12:44,240 Speaker 2: Brings me back to when your parents said, no matter 246 00:12:44,440 --> 00:12:49,559 Speaker 2: what you learn, you write, that's right party exactly. 247 00:12:50,160 --> 00:12:52,440 Speaker 4: Somehow they thought I was in the mix as someone 248 00:12:52,480 --> 00:12:56,040 Speaker 4: that was now trying to leave the music department to 249 00:12:56,040 --> 00:12:57,280 Speaker 4: go to the theater department. 250 00:12:58,559 --> 00:12:59,640 Speaker 3: Was not the case. 251 00:13:00,160 --> 00:13:02,760 Speaker 4: I just wanted to make it make sense for the 252 00:13:02,880 --> 00:13:05,920 Speaker 4: viewer because I was very much so sold at this 253 00:13:05,960 --> 00:13:08,880 Speaker 4: point on being an opera singer. But my teacher told me, 254 00:13:08,920 --> 00:13:11,400 Speaker 4: I can go travel the world, eat pasta, eat really 255 00:13:11,400 --> 00:13:13,160 Speaker 4: good food, men are gon a dote with me. I 256 00:13:13,160 --> 00:13:16,400 Speaker 4: can wear gowns, furs, lots of money. I was like, 257 00:13:16,480 --> 00:13:18,120 Speaker 4: this is me, this is me? 258 00:13:18,280 --> 00:13:19,880 Speaker 3: Are you kidding? This is me? 259 00:13:20,240 --> 00:13:24,280 Speaker 4: And so I was very much into this. I was this, 260 00:13:24,840 --> 00:13:28,240 Speaker 4: are you going to tell me no griping with what? 261 00:13:30,200 --> 00:13:31,840 Speaker 3: Please me? 262 00:13:32,800 --> 00:13:37,600 Speaker 4: So they got upset and they essentially flunked me up. 263 00:13:38,480 --> 00:13:42,080 Speaker 4: Really m junior year in conservatories it is really like 264 00:13:42,080 --> 00:13:47,240 Speaker 4: your senior year. It's like your big all culminating, almost 265 00:13:47,240 --> 00:13:48,640 Speaker 4: like your senior thesis. 266 00:13:48,440 --> 00:13:49,480 Speaker 3: That happens in your junior year. 267 00:13:49,960 --> 00:13:52,880 Speaker 4: You do an aria and every language with every like 268 00:13:52,960 --> 00:13:53,840 Speaker 4: the romance linguage. 269 00:13:53,880 --> 00:13:56,120 Speaker 3: So I don't know Germans on the romance things, but. 270 00:13:56,559 --> 00:14:03,199 Speaker 4: German English, Uh, Spanish, Allian, French. And then you may 271 00:14:03,240 --> 00:14:05,360 Speaker 4: do like one other English or like another for free 272 00:14:05,400 --> 00:14:06,120 Speaker 4: you can throw in there. 273 00:14:06,160 --> 00:14:09,920 Speaker 3: Yeah, but it's like six seven pieces they flung to me. 274 00:14:10,880 --> 00:14:12,280 Speaker 3: No way had a full ride. 275 00:14:12,559 --> 00:14:36,560 Speaker 2: Yeah, welcome back to Table for two. Today we're having 276 00:14:36,680 --> 00:14:39,280 Speaker 2: lunch with Dave and Joy Randolph and talking about her 277 00:14:39,320 --> 00:14:41,960 Speaker 2: path to acting. Before the break, she was telling us 278 00:14:42,000 --> 00:14:46,680 Speaker 2: about leaving the music program at Temple University unexpectedly, So 279 00:14:47,000 --> 00:14:49,200 Speaker 2: how did she make the pivot to the stage? 280 00:14:50,600 --> 00:14:51,960 Speaker 3: So why what's happening? Right? 281 00:14:52,120 --> 00:14:52,320 Speaker 1: Yeah? 282 00:14:52,600 --> 00:14:55,680 Speaker 4: It was if it was like the store is closed, right, 283 00:14:55,800 --> 00:15:00,040 Speaker 4: like the great is coming down or up rather for me? 284 00:15:00,120 --> 00:15:02,560 Speaker 4: And I was like, and it was this thing of 285 00:15:02,600 --> 00:15:06,400 Speaker 4: this inner monologue of this isn't about you. 286 00:15:07,240 --> 00:15:08,800 Speaker 3: Don't let this penetrate you. 287 00:15:09,840 --> 00:15:14,600 Speaker 4: This isn't your story, right, so don't even attach yourself 288 00:15:14,640 --> 00:15:17,800 Speaker 4: to it. Right, So this is happening and they're saying this, 289 00:15:18,040 --> 00:15:21,200 Speaker 4: and there's just like there was a disassociation. 290 00:15:21,160 --> 00:15:22,160 Speaker 3: I think a healthy one. 291 00:15:23,040 --> 00:15:26,120 Speaker 4: And I called my mother and I'm I'm blistened. This 292 00:15:26,160 --> 00:15:28,000 Speaker 4: is my junior year. 293 00:15:28,440 --> 00:15:29,840 Speaker 3: You're like senior year is. 294 00:15:29,840 --> 00:15:33,520 Speaker 4: Just about what opera house or what symphony am I 295 00:15:33,560 --> 00:15:34,360 Speaker 4: gonna be connected to? 296 00:15:34,480 --> 00:15:34,760 Speaker 3: That's all. 297 00:15:34,800 --> 00:15:37,160 Speaker 4: The senior year is putting you at what what house 298 00:15:37,160 --> 00:15:38,240 Speaker 4: are you going to be at? 299 00:15:40,680 --> 00:15:43,280 Speaker 3: And so my mom, cool as. 300 00:15:43,160 --> 00:15:47,360 Speaker 4: A cucumber, said, I'm gonna give you the weekend to, 301 00:15:47,600 --> 00:15:50,880 Speaker 4: you know, feel everything you're feeling, and then on Monday, 302 00:15:51,520 --> 00:15:54,720 Speaker 4: you're gonna go across the street and you're going to 303 00:15:55,040 --> 00:15:59,800 Speaker 4: apply and see if your credits can transfer over into 304 00:15:59,800 --> 00:16:03,920 Speaker 4: the theater department. I will never forget I was on 305 00:16:03,960 --> 00:16:08,480 Speaker 4: the street. I had a tantrum in the middle. I'm 306 00:16:08,520 --> 00:16:09,360 Speaker 4: not an actor. 307 00:16:09,680 --> 00:16:13,080 Speaker 3: I don't want to losing it. My mom was like, 308 00:16:14,320 --> 00:16:15,160 Speaker 3: do you trust me? 309 00:16:16,920 --> 00:16:21,240 Speaker 4: I'm telling you see if the credits can transfer. 310 00:16:21,400 --> 00:16:22,520 Speaker 3: She said. I looked online. 311 00:16:22,520 --> 00:16:25,000 Speaker 4: It seems like most of your credits can transfer. You're 312 00:16:25,000 --> 00:16:30,960 Speaker 4: gonna still graduate on time. Go across the street and 313 00:16:31,040 --> 00:16:37,000 Speaker 4: apply to the acting department. I came there dragging my 314 00:16:37,200 --> 00:16:39,400 Speaker 4: you know, our little kid just drags their backpack as 315 00:16:39,400 --> 00:16:41,000 Speaker 4: a and I'm. 316 00:16:40,880 --> 00:16:46,440 Speaker 3: Literally like, here's my actor. She's like, there are you short? 317 00:16:46,680 --> 00:16:52,960 Speaker 4: Like no ants come here later like a four year old, 318 00:16:53,000 --> 00:16:56,560 Speaker 4: like well, you can't even literally like I'm gonna let 319 00:16:56,600 --> 00:17:00,840 Speaker 4: it and she was like okay. Well, and so I 320 00:17:00,920 --> 00:17:04,359 Speaker 4: was there for a year and I'm so grateful because 321 00:17:04,400 --> 00:17:09,360 Speaker 4: they saw something in me. And I was only there 322 00:17:09,400 --> 00:17:13,440 Speaker 4: for a couple of months before December approached that next 323 00:17:13,520 --> 00:17:17,080 Speaker 4: year and I had to apply. Well, if you wanted to, 324 00:17:17,119 --> 00:17:19,280 Speaker 4: that would be the time that you applied for graduate school. 325 00:17:20,200 --> 00:17:24,199 Speaker 4: And remember we came back from Christmas break and the 326 00:17:24,280 --> 00:17:28,600 Speaker 4: Dan asked me to come into his office and he 327 00:17:28,640 --> 00:17:31,320 Speaker 4: had four applications on his desk. He said, I just 328 00:17:31,320 --> 00:17:33,240 Speaker 4: need you to sign right here. I said, what is this? 329 00:17:33,720 --> 00:17:36,160 Speaker 4: And he was like, you're applying for graduate school? 330 00:17:36,320 --> 00:17:36,840 Speaker 3: Now? Mind you. 331 00:17:36,920 --> 00:17:41,119 Speaker 4: I'm literally in just survival mode of like diploma, nothing 332 00:17:41,160 --> 00:17:44,760 Speaker 4: else done. And I was like, no, sir. He goes, well, 333 00:17:44,760 --> 00:17:46,920 Speaker 4: what else are you going to do when you graduate? 334 00:17:47,000 --> 00:17:48,719 Speaker 4: I was like, well, I don't know, but I love 335 00:17:48,760 --> 00:17:51,359 Speaker 4: to say. He goes, well, that's you always will have that. 336 00:17:52,160 --> 00:17:55,200 Speaker 4: But you have a gift here, and I just want 337 00:17:55,200 --> 00:17:59,879 Speaker 4: you to explore it. You gotta taste. I mean, moms, nothing, 338 00:18:00,000 --> 00:18:03,119 Speaker 4: I knew nothing of it. But then I'm looking at 339 00:18:03,160 --> 00:18:06,359 Speaker 4: these and I'm like, yale n yu. 340 00:18:05,960 --> 00:18:09,159 Speaker 3: What like the top one's top ones? I don't even 341 00:18:09,200 --> 00:18:10,680 Speaker 3: know what acting is really yet. 342 00:18:11,359 --> 00:18:19,520 Speaker 4: And Yale was my first one and. 343 00:18:17,040 --> 00:18:20,680 Speaker 1: I just went just one interviewed, did an audience. 344 00:18:21,040 --> 00:18:24,000 Speaker 4: Yes, and all these kids are crying and throwing up 345 00:18:24,040 --> 00:18:26,320 Speaker 4: in the corner, and I'm like, what is this? 346 00:18:26,880 --> 00:18:29,600 Speaker 3: This is why I don't like these actors. They're weird and 347 00:18:29,680 --> 00:18:31,000 Speaker 3: too you know what I mean, Like. 348 00:18:31,240 --> 00:18:34,520 Speaker 4: Musicians are a lot, but Jesus, you're actually like a 349 00:18:34,600 --> 00:18:47,879 Speaker 4: tenors too much. And I had one of my first 350 00:18:47,920 --> 00:18:52,320 Speaker 4: interviews and it was Ron van Lutz, who's a god. 351 00:18:53,040 --> 00:18:55,119 Speaker 4: I don't know who this man is. And he's like, 352 00:18:55,200 --> 00:18:56,840 Speaker 4: do you know where you're at? And I was like, 353 00:18:57,240 --> 00:18:59,480 Speaker 4: oh my god, did I come to the wrong school? 354 00:18:59,600 --> 00:19:00,840 Speaker 4: Because they were like, pa, you know. 355 00:19:00,880 --> 00:19:03,399 Speaker 3: I was like, I came to the wrong school. He cause, no, no, no, no, 356 00:19:03,520 --> 00:19:06,560 Speaker 3: You're at the right place. But do you know where 357 00:19:06,560 --> 00:19:07,920 Speaker 3: you're at? I said. 358 00:19:07,920 --> 00:19:10,479 Speaker 4: They told me it was the Yell School dramaser and 359 00:19:10,520 --> 00:19:15,159 Speaker 4: he was like, go downstairs and just walk the hallway 360 00:19:15,280 --> 00:19:18,760 Speaker 4: and come back. So I walked downstairs to their cabaret 361 00:19:19,320 --> 00:19:24,239 Speaker 4: and on the walls it's pictures of students from the 362 00:19:24,280 --> 00:19:31,200 Speaker 4: past as students. So I'm seeing Meryl Street in the boat, 363 00:19:33,760 --> 00:19:40,400 Speaker 4: I'm seeing Paul Giamatti with a clown nose on Leev Schreibern. 364 00:19:42,640 --> 00:19:47,160 Speaker 4: I'm seeing Angela Bassett with Lauren Fishburn and in August 365 00:19:47,200 --> 00:19:52,040 Speaker 4: Wilson productive like, what is this place? 366 00:19:52,280 --> 00:19:58,080 Speaker 3: Yea, and I come back upstairs and I was like, okay, cool, 367 00:19:58,119 --> 00:19:58,639 Speaker 3: you know what I mean? 368 00:19:59,359 --> 00:20:02,879 Speaker 4: He I was like, I went downstairs, I saw it, 369 00:20:02,960 --> 00:20:05,800 Speaker 4: and he was like, you're different. 370 00:20:07,800 --> 00:20:09,760 Speaker 3: There's not one like you. 371 00:20:10,240 --> 00:20:13,439 Speaker 4: So this is gonna be difficult for you, this path 372 00:20:13,880 --> 00:20:14,880 Speaker 4: of being an actor. 373 00:20:15,359 --> 00:20:18,960 Speaker 3: And he was like al Pacino, de Niro, a MARYL. 374 00:20:19,040 --> 00:20:22,240 Speaker 4: Street, there was no them before them, he says, So 375 00:20:22,280 --> 00:20:24,720 Speaker 4: it's going to be a hard and lonely road because 376 00:20:24,720 --> 00:20:27,800 Speaker 4: you won't necessarily have a blueprint or something too sure, 377 00:20:28,560 --> 00:20:30,840 Speaker 4: you're gonna we're gonna make this up as we go. 378 00:20:31,280 --> 00:20:34,040 Speaker 4: And he was like, but if you trust me, I 379 00:20:34,080 --> 00:20:35,520 Speaker 4: will give you everything you need. 380 00:20:36,480 --> 00:20:38,960 Speaker 2: At this point, like people are crying in the hallways, 381 00:20:39,280 --> 00:20:40,760 Speaker 2: he's saying, you're in. 382 00:20:41,440 --> 00:20:42,280 Speaker 1: Well not you're in. 383 00:20:43,000 --> 00:20:46,679 Speaker 4: But I just know as an actor, this is going 384 00:20:46,760 --> 00:20:49,080 Speaker 4: to be a long, hard road, you know what I mean. 385 00:20:49,720 --> 00:20:54,160 Speaker 3: But with the right people, you can get what you need. 386 00:20:54,920 --> 00:20:59,320 Speaker 4: And he said too of like, you know, don't compare 387 00:20:59,359 --> 00:21:03,560 Speaker 4: yourself because you lose every time. Just don't even do that, 388 00:21:04,280 --> 00:21:05,919 Speaker 4: I said to him. When I said to other schools, 389 00:21:05,920 --> 00:21:06,520 Speaker 4: he was the first. 390 00:21:06,400 --> 00:21:06,760 Speaker 3: One, right. 391 00:21:06,840 --> 00:21:09,320 Speaker 4: So I still had other schools I had to audition for, 392 00:21:10,320 --> 00:21:12,280 Speaker 4: and when I asked all of them, because you all 393 00:21:12,320 --> 00:21:14,440 Speaker 4: have an interview and they say like, what do you 394 00:21:14,480 --> 00:21:16,920 Speaker 4: what would you like from this program? And I've said 395 00:21:16,920 --> 00:21:19,520 Speaker 4: to everyone, I want to have the skill set and 396 00:21:19,600 --> 00:21:26,720 Speaker 4: toolbox to be able to play any character ever written. 397 00:21:27,359 --> 00:21:32,159 Speaker 3: No matter what I look like. Every single school No, 398 00:21:33,000 --> 00:21:33,640 Speaker 3: well no. 399 00:21:33,480 --> 00:21:36,879 Speaker 4: Because you're this where that Yale was the only school 400 00:21:37,280 --> 00:21:40,000 Speaker 4: that was like But of course that is exactly what 401 00:21:40,040 --> 00:21:42,480 Speaker 4: our curriculum is based off of. So I knew deep 402 00:21:42,560 --> 00:21:45,359 Speaker 4: down just from that answer alone, this is where I 403 00:21:45,440 --> 00:21:45,840 Speaker 4: want to go. 404 00:22:04,720 --> 00:22:06,480 Speaker 1: Thanks for joining us on table for two. 405 00:22:06,880 --> 00:22:10,160 Speaker 2: Last year, Divine starting the critically acclaimed movie The Holdovers 406 00:22:10,280 --> 00:22:12,720 Speaker 2: as Mary Lamb, the head cook at a New England 407 00:22:12,760 --> 00:22:15,679 Speaker 2: prep school. I adored her performance and want to know 408 00:22:15,840 --> 00:22:18,280 Speaker 2: all about how she prepared for the role and what 409 00:22:18,440 --> 00:22:21,120 Speaker 2: it was life working with director Alexander Payne. 410 00:22:23,040 --> 00:22:25,560 Speaker 1: So congratulations on The Holdovers. 411 00:22:25,760 --> 00:22:29,119 Speaker 2: Thank you and if you haven't seen it, you gotta 412 00:22:29,160 --> 00:22:33,800 Speaker 2: see this movie. And Devine's been nominated for Best Supporting 413 00:22:33,800 --> 00:22:35,680 Speaker 2: Actress for the Academy Awards. 414 00:22:35,720 --> 00:22:37,400 Speaker 1: Congratulations on the Golden. 415 00:22:37,119 --> 00:22:40,919 Speaker 2: Globe, Like, holy Canoli, it's a big deal. Tell me 416 00:22:41,000 --> 00:22:43,360 Speaker 2: about the story. What resident and you know you're working 417 00:22:43,400 --> 00:22:48,480 Speaker 2: with Alexander Payne and you know, yeah, and what resonated 418 00:22:48,520 --> 00:22:50,680 Speaker 2: with Mary Lamb and what kind of. 419 00:22:50,640 --> 00:22:52,560 Speaker 1: How did you relate to her? 420 00:22:52,760 --> 00:22:56,399 Speaker 4: The script came with such a level of detail and 421 00:22:56,520 --> 00:23:00,040 Speaker 4: authenticity that I usually. 422 00:23:01,200 --> 00:23:03,280 Speaker 3: That like, I don't know how to say it. 423 00:23:03,280 --> 00:23:05,879 Speaker 4: It's like, you know, how you have your standard of 424 00:23:05,960 --> 00:23:09,080 Speaker 4: doing something, whether it's cleaning. Let's let you have your 425 00:23:09,119 --> 00:23:12,000 Speaker 4: standard of cleaning cleaning person comes over. Let's say your 426 00:23:12,040 --> 00:23:14,800 Speaker 4: friends come over, stay in the weekend, and the thing 427 00:23:14,920 --> 00:23:16,240 Speaker 4: is like cool, do whatever you want. 428 00:23:16,280 --> 00:23:18,800 Speaker 3: I'm not going to charge you. Just clean up after yourself. 429 00:23:19,640 --> 00:23:22,320 Speaker 4: They clean different than you clean right, and you other 430 00:23:22,359 --> 00:23:24,760 Speaker 4: than go behind them and cleaning. That's kind of how 431 00:23:24,800 --> 00:23:28,359 Speaker 4: it's been for acting, really right that like script wise 432 00:23:28,840 --> 00:23:32,399 Speaker 4: and the details of the character, it wasn't at the 433 00:23:32,520 --> 00:23:36,320 Speaker 4: level that I had hoped it to be prior, so 434 00:23:36,400 --> 00:23:38,320 Speaker 4: a lot of times I would have to go then 435 00:23:39,240 --> 00:23:41,800 Speaker 4: not behind them, but kind of and be like great, 436 00:23:41,920 --> 00:23:46,000 Speaker 4: So if you're willing, I would love to collaborate and 437 00:23:46,080 --> 00:23:49,959 Speaker 4: bringing in these details and bringing in these nuances. Can 438 00:23:50,000 --> 00:23:56,480 Speaker 4: you give me an example, because a lot of times 439 00:23:56,480 --> 00:23:59,160 Speaker 4: it comes down to the script and there's certain things 440 00:23:59,160 --> 00:24:02,240 Speaker 4: a lot of times that are generalized that's like, well, 441 00:24:02,640 --> 00:24:04,000 Speaker 4: let's pontificate on that, like. 442 00:24:03,960 --> 00:24:05,359 Speaker 3: What do you mean? 443 00:24:05,920 --> 00:24:09,240 Speaker 4: Or or you have her doing this, so is that 444 00:24:09,280 --> 00:24:11,800 Speaker 4: what you mean to happen? It feels like there's a 445 00:24:11,840 --> 00:24:15,760 Speaker 4: missing step, or you have this happening for her, but 446 00:24:16,040 --> 00:24:19,960 Speaker 4: nowhere have you explained her history her do you know 447 00:24:20,040 --> 00:24:24,399 Speaker 4: what I mean? Like oftentimes I'll deal with like, especially 448 00:24:24,480 --> 00:24:27,159 Speaker 4: in TV, she's kind of just there, yeah, to the 449 00:24:27,200 --> 00:24:31,639 Speaker 4: service of others, obviously the lead. And so what was 450 00:24:31,720 --> 00:24:36,000 Speaker 4: so exciting for me for this script that when I 451 00:24:36,040 --> 00:24:39,200 Speaker 4: read it, I was like, Oh, they've already done. 452 00:24:39,359 --> 00:24:40,800 Speaker 3: A really good portion of this. 453 00:24:42,040 --> 00:24:45,640 Speaker 4: So that immediately got my attention and I was like, Aha, okay, 454 00:24:46,119 --> 00:24:51,719 Speaker 4: this is different in regards to the caliber and quality. 455 00:24:51,200 --> 00:24:54,760 Speaker 3: Of the script. Usually I'm having to fill in the blanks. 456 00:24:54,800 --> 00:24:57,480 Speaker 3: I say, a lot of the blanks are filled in. 457 00:24:58,000 --> 00:25:00,800 Speaker 4: And what was really cool when I I spoke with 458 00:25:02,000 --> 00:25:04,119 Speaker 4: when Alex had being called me initially to have the 459 00:25:04,160 --> 00:25:08,240 Speaker 4: director's meeting, I wanted I didn't talk too much, and 460 00:25:08,280 --> 00:25:12,000 Speaker 4: I wanted to just get an understanding of his sensibility 461 00:25:12,680 --> 00:25:16,160 Speaker 4: in regards to storytelling overall and in particular to this project, 462 00:25:16,160 --> 00:25:19,040 Speaker 4: and even more so with this woman. And what I 463 00:25:19,080 --> 00:25:22,919 Speaker 4: thought that was so amazing is that someone who is 464 00:25:23,000 --> 00:25:27,320 Speaker 4: so well decorated and lauded and like and it's like 465 00:25:27,320 --> 00:25:28,120 Speaker 4: a Hollywood dollar. 466 00:25:28,200 --> 00:25:29,520 Speaker 3: I don't know what you call it, the male version, 467 00:25:29,560 --> 00:25:33,720 Speaker 3: but he's very revered and loved within this industry. There 468 00:25:33,800 --> 00:25:38,040 Speaker 3: was no ego. There was a willingness to understand and learn. 469 00:25:39,840 --> 00:25:42,359 Speaker 4: He was very clear of like, you know, there are 470 00:25:42,359 --> 00:25:44,520 Speaker 4: some things culturally that I'm not going to know about. 471 00:25:44,960 --> 00:25:48,840 Speaker 4: I'm leaning on you to help me with that. Or 472 00:25:48,960 --> 00:25:51,240 Speaker 4: I've seen this before, and I think this would be 473 00:25:51,280 --> 00:25:55,040 Speaker 4: really a beautiful moment to show this detail. For example, 474 00:25:55,119 --> 00:25:59,360 Speaker 4: rollers and like some of the clothes, so when she's 475 00:25:59,400 --> 00:26:02,199 Speaker 4: watching the New and she's like in her little like 476 00:26:02,480 --> 00:26:08,560 Speaker 4: nightgown whatever, overcoat, nightcoat, whatever you call it, purple. Yeah, 477 00:26:09,040 --> 00:26:11,560 Speaker 4: I think initially he wanted her to predominantly be wearing 478 00:26:11,920 --> 00:26:16,080 Speaker 4: stuff like that at all times. And I was like, no, 479 00:26:16,920 --> 00:26:20,840 Speaker 4: she's still working, even though it's a holiday, she's still working. 480 00:26:20,840 --> 00:26:23,240 Speaker 4: And this is a woman who takes pride Like I 481 00:26:23,359 --> 00:26:26,159 Speaker 4: wanted it to look like she has. She may not 482 00:26:26,240 --> 00:26:30,600 Speaker 4: have much, she has a beautifully well curated closet. You know, 483 00:26:30,680 --> 00:26:32,679 Speaker 4: you have some friends where it's like they're more of 484 00:26:32,720 --> 00:26:35,879 Speaker 4: like a minimalist with clothing, but everything they put on 485 00:26:35,960 --> 00:26:38,480 Speaker 4: us ad. I wanted it to be like that, you 486 00:26:38,560 --> 00:26:40,480 Speaker 4: know what I mean, Like she doesn't have a lot, 487 00:26:40,600 --> 00:26:43,120 Speaker 4: but you better believe she started all through. 488 00:26:43,720 --> 00:26:46,040 Speaker 3: Everything is well put together. She takes great. 489 00:26:45,800 --> 00:26:47,359 Speaker 2: Care of her Yeah, and you see that when you 490 00:26:47,400 --> 00:26:50,840 Speaker 2: open up and then you know you end up also 491 00:26:51,040 --> 00:26:52,280 Speaker 2: on your son's uniform. 492 00:26:52,320 --> 00:26:55,360 Speaker 1: Yeah, but you really see. Yeah, it's like the suit. 493 00:26:55,240 --> 00:26:59,159 Speaker 4: Is starch, yes, and she's always touching things. She's a 494 00:26:59,280 --> 00:27:02,840 Speaker 4: very tactile person. Her nails are very like, you know, 495 00:27:03,040 --> 00:27:06,520 Speaker 4: manicured and just very put together. Her little jewelry like 496 00:27:06,880 --> 00:27:08,840 Speaker 4: everything has a place and a purpose. 497 00:27:09,600 --> 00:27:11,879 Speaker 3: And similar with the rollers. He was like, oh, I 498 00:27:11,880 --> 00:27:14,679 Speaker 3: would love it. She's like rocking rollers. I was like, cool. 499 00:27:15,280 --> 00:27:18,400 Speaker 3: But in the privacy of her room, right, because she's working. 500 00:27:18,440 --> 00:27:20,160 Speaker 4: Also, this is a black woman in the predominantly all 501 00:27:20,160 --> 00:27:24,720 Speaker 4: white environment. There's a certain level in which she's never 502 00:27:24,760 --> 00:27:27,320 Speaker 4: gonna and that's part of who she is. She's never 503 00:27:27,400 --> 00:27:30,320 Speaker 4: gonna literally and figuratively let her hair all the way down. 504 00:27:30,880 --> 00:27:32,400 Speaker 3: She's never right. 505 00:27:32,600 --> 00:27:36,480 Speaker 4: Yeah, and so but that was cool because I was like, oh, 506 00:27:36,520 --> 00:27:39,760 Speaker 4: I don't know, you know, he is who he is, 507 00:27:39,840 --> 00:27:43,920 Speaker 4: and I mean literally the utmost respect that sometimes you're 508 00:27:43,920 --> 00:27:46,560 Speaker 4: gonna have a little bit of pushback, and there wasn't any. 509 00:27:46,800 --> 00:27:51,080 Speaker 2: It's interesting because now that you share that, that scene 510 00:27:52,040 --> 00:27:54,680 Speaker 2: now takes on something, you know. I think I felt 511 00:27:54,760 --> 00:27:59,680 Speaker 2: it were when the intimacy of him coming into your 512 00:27:59,760 --> 00:28:02,840 Speaker 2: space and you're sitting on the couch and you have 513 00:28:02,920 --> 00:28:06,280 Speaker 2: the rollers and you're watching the dating the Newly game, Yes, 514 00:28:06,640 --> 00:28:13,480 Speaker 2: and you understand that you're now in Mary's. 515 00:28:12,400 --> 00:28:17,720 Speaker 4: Like very into this space, and it's different than what 516 00:28:17,800 --> 00:28:20,880 Speaker 4: you've seen Mary when she's not only. 517 00:28:20,920 --> 00:28:24,159 Speaker 2: In the kitchen, out of the kitchen, in her uniformer, 518 00:28:24,240 --> 00:28:25,600 Speaker 2: in her exact street. 519 00:28:25,680 --> 00:28:27,080 Speaker 3: There's a coldness. 520 00:28:27,520 --> 00:28:33,360 Speaker 4: When she's in the kitchen, everything still and industrial and 521 00:28:33,400 --> 00:28:37,399 Speaker 4: like sterile to be clean for those purposes. Even in 522 00:28:37,440 --> 00:28:39,920 Speaker 4: the when they're like walking throughout the halls of the school, 523 00:28:40,360 --> 00:28:44,560 Speaker 4: there's a coldness. There's a warmth when she's in her space, 524 00:28:44,960 --> 00:28:47,480 Speaker 4: when she's in her sister's space, and when she's in 525 00:28:47,520 --> 00:28:50,840 Speaker 4: the living room. I wanted to bring this sense even 526 00:28:50,840 --> 00:28:55,520 Speaker 4: with the clothing of you wanted I wanted people to 527 00:28:55,600 --> 00:29:00,280 Speaker 4: want to touch her or no instinctively upon scene, what 528 00:29:00,320 --> 00:29:02,720 Speaker 4: that fabric is and what it feels like. I want 529 00:29:02,760 --> 00:29:06,680 Speaker 4: it to be a sensory experience in that science bingo. 530 00:29:06,960 --> 00:29:08,000 Speaker 1: I mean it really is. 531 00:29:08,280 --> 00:29:08,360 Speaker 4: Now. 532 00:29:08,360 --> 00:29:11,320 Speaker 2: I'm even you know, picturing the dinner when you're invited 533 00:29:11,360 --> 00:29:14,960 Speaker 2: to have the dinner, like just to hear everything about. 534 00:29:14,640 --> 00:29:18,120 Speaker 3: It is like, that's like her Sunday's best. 535 00:29:18,200 --> 00:29:21,600 Speaker 4: Yes, right, that dress shows up at a funeral, at 536 00:29:21,600 --> 00:29:25,120 Speaker 4: a wedding, at a graduation, any kind of celebration, right, 537 00:29:26,040 --> 00:29:26,840 Speaker 4: that's her best. 538 00:29:26,920 --> 00:29:29,719 Speaker 2: And when you go visit your sister and really, if 539 00:29:29,760 --> 00:29:31,840 Speaker 2: you're you gotta see this movie people you got to 540 00:29:31,880 --> 00:29:33,840 Speaker 2: see when you go and you're driving there and now 541 00:29:34,200 --> 00:29:38,520 Speaker 2: the characters at this point have really created it's a 542 00:29:38,680 --> 00:29:41,200 Speaker 2: very complicated relationships. 543 00:29:41,200 --> 00:29:43,640 Speaker 1: It's a very it's a very heartfelt. 544 00:29:43,680 --> 00:29:47,959 Speaker 2: These are complicated people who have been pain in your life. 545 00:29:48,080 --> 00:29:50,720 Speaker 1: And you know you're being driven by Paul. 546 00:29:50,720 --> 00:29:52,840 Speaker 2: They're going to drop you off when they go to Boston, 547 00:29:52,960 --> 00:29:56,160 Speaker 2: and you know you're and the way you present there, 548 00:29:56,960 --> 00:30:03,720 Speaker 2: you know, and it's the format versus it's also very 549 00:30:03,760 --> 00:30:06,760 Speaker 2: important in the relationship you have with Paul's character in 550 00:30:06,760 --> 00:30:09,080 Speaker 2: the young man's character, the young man forgetting his name 551 00:30:09,120 --> 00:30:11,840 Speaker 2: dominic sss very good, very talented. 552 00:30:11,560 --> 00:30:15,360 Speaker 1: Very talented, I mean Alexander really yeah. 553 00:30:15,440 --> 00:30:18,760 Speaker 4: I think that's one of those many strong suits as 554 00:30:18,760 --> 00:30:23,880 Speaker 4: well casting and bringing people together. I think a lot 555 00:30:23,920 --> 00:30:26,479 Speaker 4: that we looked out on is we genuinely did and 556 00:30:26,560 --> 00:30:31,160 Speaker 4: do have amazing chemistry together, especially me and Paul. There's 557 00:30:31,200 --> 00:30:35,000 Speaker 4: something that was just instinctually there, I think, in regardless 558 00:30:35,040 --> 00:30:38,840 Speaker 4: to the technical elements in regards to share acting and 559 00:30:38,840 --> 00:30:44,360 Speaker 4: by us both being under the same curriculum, but there's 560 00:30:44,440 --> 00:30:49,160 Speaker 4: just something kindred about us that showed up. And so 561 00:30:49,320 --> 00:30:51,520 Speaker 4: a lot of times we did you know, sometimes we 562 00:30:51,560 --> 00:30:54,440 Speaker 4: can do a scene, especially as you're geting to know 563 00:30:54,480 --> 00:30:57,640 Speaker 4: the person, there's a dialogue and there's a talking of 564 00:30:58,000 --> 00:31:00,160 Speaker 4: what do we want to create and dadada, and we 565 00:31:00,240 --> 00:31:01,640 Speaker 4: never did really. 566 00:31:01,560 --> 00:31:04,880 Speaker 3: We just was, you know, we would do. 567 00:31:05,000 --> 00:31:07,680 Speaker 4: We did two to three weeks of tablework, and that 568 00:31:07,840 --> 00:31:10,000 Speaker 4: was weird because people have asked like, oh, it's improv 569 00:31:10,400 --> 00:31:12,640 Speaker 4: and the answer is yes and no. We did two 570 00:31:12,680 --> 00:31:15,840 Speaker 4: to three weeks of rehearsal and tablework, which is unheard 571 00:31:15,880 --> 00:31:19,880 Speaker 4: of and we use that time. But we all were 572 00:31:19,880 --> 00:31:23,160 Speaker 4: there together all the actors, right, David who is the 573 00:31:23,200 --> 00:31:25,880 Speaker 4: writer as well as the director, and we went through 574 00:31:25,880 --> 00:31:26,480 Speaker 4: the whole. 575 00:31:26,280 --> 00:31:29,320 Speaker 3: Script scene by scene, and then it was like does 576 00:31:29,360 --> 00:31:31,480 Speaker 3: this make sense? Do we like this? 577 00:31:32,960 --> 00:31:35,680 Speaker 4: But we used that time to go through it scene 578 00:31:35,720 --> 00:31:37,840 Speaker 4: by scene and then at the end of that we've 579 00:31:37,840 --> 00:31:43,040 Speaker 4: seen Evenson say okay, great, so does this seem real? 580 00:31:43,920 --> 00:31:46,760 Speaker 4: Does this make sense? Is there anything we should take away? 581 00:31:46,800 --> 00:31:47,720 Speaker 4: Anything we should add? 582 00:31:47,800 --> 00:31:49,440 Speaker 3: Because for me it happened quick. 583 00:31:49,960 --> 00:31:54,240 Speaker 4: He offered it to me basically like Thanksgiving weekend, okay, 584 00:31:54,520 --> 00:31:56,640 Speaker 4: and then we started filming January. 585 00:31:56,200 --> 00:31:58,200 Speaker 3: First, so I had a lot to do in a 586 00:31:58,200 --> 00:31:58,960 Speaker 3: little bit of time. 587 00:31:59,320 --> 00:32:02,600 Speaker 4: Paul had known about it for a while, and Dominic 588 00:32:02,640 --> 00:32:06,120 Speaker 4: had gone through I think you said, like eight auditions 589 00:32:06,120 --> 00:32:08,880 Speaker 4: and callbacks, so he had been in the whole process. 590 00:32:09,440 --> 00:32:10,720 Speaker 3: It was new for me. So I had a lot 591 00:32:10,720 --> 00:32:13,400 Speaker 3: to do in a little bit of time of smoking the. 592 00:32:13,440 --> 00:32:17,200 Speaker 4: Dialect, not really brushing up on my cooking, but cooking 593 00:32:17,280 --> 00:32:20,880 Speaker 4: like just getting into the world. Working with Wendy Chuck, 594 00:32:20,920 --> 00:32:25,280 Speaker 4: who's the amazing costume designer, we pulled all venture things 595 00:32:25,320 --> 00:32:27,960 Speaker 4: and if we didn't, we couldn't get the vintage thinger. 596 00:32:28,000 --> 00:32:31,360 Speaker 4: You know, Ventace is fragile, so certain things putting on 597 00:32:31,480 --> 00:32:33,720 Speaker 4: at a rip or something like that. We then source 598 00:32:33,840 --> 00:32:36,840 Speaker 4: vintage fabric and make custom stuff back. So it was 599 00:32:36,920 --> 00:32:38,920 Speaker 4: really again about like the text. 600 00:32:38,640 --> 00:32:43,400 Speaker 2: Tie, I mean you feel from the car, to the weather, 601 00:32:43,520 --> 00:32:45,440 Speaker 2: to the couch everything. 602 00:32:45,640 --> 00:32:51,240 Speaker 4: Yeah, And I always wanted to mix a lighter, sheer, 603 00:32:51,800 --> 00:32:54,720 Speaker 4: more romantic choose very. I warn't because I'm really the 604 00:32:54,760 --> 00:32:58,080 Speaker 4: only female outside of one other character. I felt really 605 00:32:58,120 --> 00:33:04,400 Speaker 4: responsible of showing femineity and womanhood in this era, in 606 00:33:04,440 --> 00:33:09,040 Speaker 4: this film, and so I always wanted to mix something 607 00:33:09,200 --> 00:33:16,040 Speaker 4: sturdy and practical or something soft and like whimsical or angelic, right, 608 00:33:16,160 --> 00:33:19,280 Speaker 4: and so like when we go to that Italian restaurant, 609 00:33:19,520 --> 00:33:23,000 Speaker 4: I have on like this corduroy pencil skirt, but it's 610 00:33:23,040 --> 00:33:26,840 Speaker 4: like periwinkle with these like really dainty like little bouquets 611 00:33:26,880 --> 00:33:30,200 Speaker 4: of Paisleys and flowers. But then a very soft, sheer, 612 00:33:30,320 --> 00:33:32,160 Speaker 4: powder pink like pussy bow. 613 00:33:34,520 --> 00:33:35,640 Speaker 1: Yeah there's a rap. 614 00:33:36,840 --> 00:33:38,440 Speaker 3: Oh yeah, I had a coat that I just draped 615 00:33:38,440 --> 00:33:38,880 Speaker 3: the total. 616 00:33:39,560 --> 00:33:42,360 Speaker 4: I always wanted to show these notes of like Jackie 617 00:33:42,400 --> 00:33:43,840 Speaker 4: O vibes or like. 618 00:33:44,040 --> 00:33:46,840 Speaker 3: Coreta cut Scott King vibes, or I wanted. 619 00:33:46,600 --> 00:33:49,960 Speaker 4: To have this sense of like the quintessential woman that 620 00:33:50,080 --> 00:33:52,800 Speaker 4: I wanted to make sure or like the dainty necklace 621 00:33:53,400 --> 00:33:58,440 Speaker 4: and little small dainty earrings. I wanted that energy to 622 00:33:58,680 --> 00:34:06,640 Speaker 4: somehow intercut with this very masculine, antiquated, you know, English almost. 623 00:34:06,760 --> 00:34:09,120 Speaker 3: Vibe that you know prep schools can give. 624 00:34:10,000 --> 00:34:15,840 Speaker 4: It's a constant pressure cooker the entire movie and filming it. 625 00:34:15,920 --> 00:34:23,279 Speaker 4: I felt so uncomfortable to constantly be putting a lid on. 626 00:34:24,800 --> 00:34:29,040 Speaker 4: She's so contained in a way that I'm not, and 627 00:34:29,080 --> 00:34:32,880 Speaker 4: it felt so uncomfortable. But I knew that I was 628 00:34:32,920 --> 00:34:37,200 Speaker 4: at the right space. So some of those things is 629 00:34:37,280 --> 00:34:44,480 Speaker 4: also divine. Feeling uncomfortable. You know, There's a deliberateness. She 630 00:34:44,640 --> 00:34:48,319 Speaker 4: talks much slower than I do. She takes her tom 631 00:34:48,520 --> 00:34:50,759 Speaker 4: you know what I mean. I'm very like I'm a 632 00:34:50,800 --> 00:34:58,560 Speaker 4: Gemini tours. So it's like and she's like, well, we'll 633 00:34:58,640 --> 00:35:02,799 Speaker 4: see right, chop the onions, let's start there. Yeah, you know, 634 00:35:04,719 --> 00:35:12,400 Speaker 4: but yeah, there's it's something beautiful to that broken things 635 00:35:13,600 --> 00:35:17,560 Speaker 4: can also heal other broken things and it's not that 636 00:35:17,719 --> 00:35:21,320 Speaker 4: stigmatism that you need to And this is a beautiful message. 637 00:35:21,320 --> 00:35:23,799 Speaker 4: I hope that people catch. You don't need to be 638 00:35:23,880 --> 00:35:26,520 Speaker 4: perfect or whole in order. 639 00:35:26,400 --> 00:35:31,120 Speaker 6: To be there or help or be a listening ear 640 00:35:31,400 --> 00:35:35,680 Speaker 6: yes for someone and in doing so, more likely than not, 641 00:35:36,480 --> 00:35:38,760 Speaker 6: some healing will trickle one to you as well. 642 00:35:38,840 --> 00:35:50,319 Speaker 2: Yeah, today's lunch with Devine has been apic. She is 643 00:35:50,360 --> 00:35:52,279 Speaker 2: a true star in her eyes, and you can tell 644 00:35:52,400 --> 00:35:54,040 Speaker 2: she's got so much success. 645 00:35:53,680 --> 00:35:56,680 Speaker 1: Ahead of her. She's also a total professional. 646 00:35:56,719 --> 00:35:58,800 Speaker 2: So before she has to leave us to run to 647 00:35:58,880 --> 00:36:02,200 Speaker 2: a photo shoot, I'm curious about what projects she has 648 00:36:02,239 --> 00:36:02,920 Speaker 2: on the horizon. 649 00:36:05,040 --> 00:36:07,560 Speaker 1: I gotta say, you're really one of her kind, and 650 00:36:07,760 --> 00:36:10,000 Speaker 1: you really are. This is your time. 651 00:36:10,280 --> 00:36:11,680 Speaker 2: I mean, you have and I just want to I'm 652 00:36:11,719 --> 00:36:14,880 Speaker 2: going to just say you have brideheard coming up. 653 00:36:15,120 --> 00:36:18,200 Speaker 1: Yes, you have Shadow for Rebel Wilson. 654 00:36:18,239 --> 00:36:19,920 Speaker 2: You're starting in that you have an actually thriller with 655 00:36:20,000 --> 00:36:21,239 Speaker 2: Kerrie Washington, who I love. 656 00:36:21,280 --> 00:36:22,879 Speaker 1: Our kids in school together, like. 657 00:36:24,520 --> 00:36:27,400 Speaker 2: Exactly shadow of course, and we're talking about your fashion 658 00:36:27,480 --> 00:36:30,440 Speaker 2: like this is the year of devind. 659 00:36:30,680 --> 00:36:33,120 Speaker 3: Thank you so much. I'm really excited. 660 00:36:33,160 --> 00:36:36,360 Speaker 2: Oh this is really exciting and I'm super super excited 661 00:36:36,360 --> 00:36:39,200 Speaker 2: that we got to spend thank you this time together 662 00:36:39,280 --> 00:36:42,000 Speaker 2: because you're just an incredible person. You're forcing you give 663 00:36:42,040 --> 00:36:44,200 Speaker 2: back and I love that if anyone's taking anything away 664 00:36:44,520 --> 00:36:46,799 Speaker 2: I just feel like what you've taught me today is 665 00:36:47,320 --> 00:36:48,760 Speaker 2: share what you learn. 666 00:36:49,320 --> 00:36:51,680 Speaker 3: Because it'll come back to you with what you need 667 00:36:51,719 --> 00:36:52,040 Speaker 3: to learn. 668 00:36:52,120 --> 00:36:52,279 Speaker 1: Right. 669 00:36:52,400 --> 00:36:54,960 Speaker 4: That's what I've found in me giving up my knowledge 670 00:36:54,960 --> 00:36:58,840 Speaker 4: to someone else. I always like within a month to 671 00:36:58,880 --> 00:37:00,839 Speaker 4: the point where I can clock it. Yeah, of like 672 00:37:01,000 --> 00:37:04,600 Speaker 4: ah me giving in that way, I've been received in 673 00:37:04,680 --> 00:37:05,240 Speaker 4: this way. 674 00:37:05,440 --> 00:37:06,480 Speaker 3: It's all reciprocal. 675 00:37:06,560 --> 00:37:08,799 Speaker 1: Yeah, You've got a big heart. De mind. Thank you 676 00:37:08,880 --> 00:37:11,120 Speaker 1: really do. Thank you so much for pulling up a 677 00:37:11,160 --> 00:37:14,680 Speaker 1: today on Table for two with bb I absolutely do you. 678 00:37:21,760 --> 00:37:24,840 Speaker 2: Table for two with Bruce Bosi is produced by iHeartRadio 679 00:37:25,120 --> 00:37:28,920 Speaker 2: seven three seven Park and Airmail. Our executive producers are 680 00:37:28,920 --> 00:37:32,080 Speaker 2: Bruce Bosi and Nathan King. Table for two is researched 681 00:37:32,120 --> 00:37:36,080 Speaker 2: and written by Bridget arsenalt Our sound engineers are Paul 682 00:37:36,120 --> 00:37:39,879 Speaker 2: Bowman and Alyssa Midcalf. Table for two's la production team 683 00:37:40,000 --> 00:37:44,480 Speaker 2: is Danielle Romo and Lorraine Verrez. Our music supervisor is 684 00:37:44,600 --> 00:37:45,320 Speaker 2: Randall poster. 685 00:37:45,560 --> 00:37:47,520 Speaker 1: Our talent booking is by James Harkin. 686 00:37:47,760 --> 00:37:52,440 Speaker 2: Special thanks to Amy Sugarman, Uni Cher, Kevin Yuvane, Bobby Bauer, 687 00:37:52,600 --> 00:37:56,080 Speaker 2: Alison Kanter Raber, Barbara and Jen and Jeff Klein and 688 00:37:56,120 --> 00:37:58,440 Speaker 2: the staff at the Tower Bar in the world famous 689 00:37:58,440 --> 00:38:02,520 Speaker 2: Sunset Tower Hotel. For more podcasts from iHeartRadio, visit the 690 00:38:02,560 --> 00:38:06,440 Speaker 2: iHeartRadio app, Apple Podcasts, or wherever you listen to your 691 00:38:06,480 --> 00:38:07,240 Speaker 2: favorite shows.