1 00:00:06,640 --> 00:00:10,119 Speaker 1: I moved to a street called Arnaz Drive, and I 2 00:00:10,160 --> 00:00:13,280 Speaker 1: was a young guy twenty three, had been working at 3 00:00:13,360 --> 00:00:15,520 Speaker 1: NBC in New York and decided I wanted to come 4 00:00:15,560 --> 00:00:17,800 Speaker 1: to Hollywood and I wanted to become an actor. And 5 00:00:17,840 --> 00:00:19,960 Speaker 1: today I'm at the Four Seasons. In the Four Seasons 6 00:00:20,000 --> 00:00:23,759 Speaker 1: hotel is literally three blocks from where I was. And 7 00:00:23,800 --> 00:00:25,880 Speaker 1: in that period of my life, in the early nineties, 8 00:00:25,920 --> 00:00:29,320 Speaker 1: for me, I was ringing checks at the Palm restaurant, 9 00:00:29,320 --> 00:00:32,200 Speaker 1: which was working for my dad. I was going out 10 00:00:32,200 --> 00:00:36,120 Speaker 1: on commercial auditions. I was a shitty actor at that time. 11 00:00:36,680 --> 00:00:41,360 Speaker 1: Julia Roberts was hitting with Pretty Woman, George Clooney was 12 00:00:41,560 --> 00:00:44,239 Speaker 1: hitting with the R and I was a schlump. And 13 00:00:44,280 --> 00:00:46,960 Speaker 1: here I am today sitting at the Four Seasons waiting 14 00:00:47,000 --> 00:00:53,600 Speaker 1: to have drinks with Georgia Julia, George Clooney, thank you 15 00:00:53,720 --> 00:00:58,120 Speaker 1: for me. Georgia. Julia arrived with a posse of publicists 16 00:00:58,160 --> 00:01:01,240 Speaker 1: and assistants because they have spent the entire day promoting 17 00:01:01,440 --> 00:01:08,959 Speaker 1: their new movie, Ticket to Paradise. Has to do an interviews, nothing, 18 00:01:08,959 --> 00:01:11,320 Speaker 1: it would be filmed or anything. Right, No, I want 19 00:01:11,319 --> 00:01:14,800 Speaker 1: to take a selfie. But just as fast as the 20 00:01:14,840 --> 00:01:17,480 Speaker 1: storm of celebrity rolls into room two. Ten of the 21 00:01:17,520 --> 00:01:21,600 Speaker 1: four seasons, it rolls out again and I find myself 22 00:01:21,680 --> 00:01:24,840 Speaker 1: with a couple of old friends catching up over drivers 23 00:01:25,800 --> 00:01:33,520 Speaker 1: years drink. I'm drinking Rush. So this is a super 24 00:01:33,560 --> 00:01:35,680 Speaker 1: exciting day and just goes to show you you never 25 00:01:35,760 --> 00:01:38,560 Speaker 1: know what's going to happen when you pull up a chair. 26 00:01:39,959 --> 00:01:47,440 Speaker 1: I'm Bruce Bozzy and this is my podcast, Table for two. Okay, guys, 27 00:01:47,920 --> 00:01:52,600 Speaker 1: so welcome to Table for two. But it's table for 28 00:01:53,680 --> 00:01:56,360 Speaker 1: so when you want to have lunch your drinks with 29 00:01:56,480 --> 00:01:59,800 Speaker 1: Jury Roberts, sometimes you get George clearly when I get stuck, 30 00:02:01,320 --> 00:02:05,520 Speaker 1: I think it's on your shoulders. So today has been 31 00:02:05,600 --> 00:02:08,639 Speaker 1: all about your movie. And I don't know much about junkets, 32 00:02:08,680 --> 00:02:12,640 Speaker 1: but how you holding up incredibly well? And I think 33 00:02:12,720 --> 00:02:17,800 Speaker 1: for a couple of reasons that are unique. One, we 34 00:02:17,919 --> 00:02:21,760 Speaker 1: get to be together, which anytime, anytime you're with a 35 00:02:21,800 --> 00:02:26,240 Speaker 1: friend conversing, it's always just nicer. But you know, this 36 00:02:26,280 --> 00:02:30,440 Speaker 1: movie is so much about us and our friendship, our chemistry, 37 00:02:31,080 --> 00:02:34,280 Speaker 1: that to be able to promote it, which is what 38 00:02:34,400 --> 00:02:39,119 Speaker 1: the junk it is together is really fun. And that 39 00:02:39,200 --> 00:02:41,760 Speaker 1: we're actually not sitting in front of a computer screen 40 00:02:42,360 --> 00:02:45,520 Speaker 1: talking to people who are who knows where, probably without 41 00:02:45,520 --> 00:02:49,799 Speaker 1: pants on, right, I mean I'm not wearing pants. Yeah, 42 00:02:49,800 --> 00:02:53,000 Speaker 1: because we're on the radio is exactly. The radio is 43 00:02:53,520 --> 00:02:57,280 Speaker 1: the radio. It's fun to do a junket with Julie 44 00:02:57,280 --> 00:02:59,959 Speaker 1: also because I think people are shocked at how much 45 00:03:00,000 --> 00:03:02,560 Speaker 1: ship we still we will give each other. And I 46 00:03:02,600 --> 00:03:04,640 Speaker 1: think that's always fun too, because they're always like, oh, 47 00:03:05,040 --> 00:03:07,240 Speaker 1: I know there's a couple more than a couple, but 48 00:03:07,240 --> 00:03:11,519 Speaker 1: a few times today where somebody's like, is that okay? 49 00:03:11,880 --> 00:03:15,960 Speaker 1: The next question? Really like stopped dead in their tracks, 50 00:03:15,960 --> 00:03:18,480 Speaker 1: like super uncomfortable. Well, I mean that brings up a 51 00:03:18,560 --> 00:03:20,760 Speaker 1: question for me because you know, there's such chemistry between 52 00:03:20,800 --> 00:03:23,000 Speaker 1: you guys, and you know, we've seen it a multitude 53 00:03:23,040 --> 00:03:27,400 Speaker 1: of times in the movies, and there's you know, famous pairs, 54 00:03:27,520 --> 00:03:31,000 Speaker 1: you know like Um Turner on Hooch, Turner on Hoog, 55 00:03:31,840 --> 00:03:36,120 Speaker 1: Steve Martin and John Candy, Um we have no you know, 56 00:03:36,400 --> 00:03:40,760 Speaker 1: Clark Gable and Cladette we have a staring run. What's like, 57 00:03:40,840 --> 00:03:46,240 Speaker 1: what's chemistry? And how does that you? You like remember 58 00:03:46,640 --> 00:03:49,839 Speaker 1: Drew Barmore and Adam Sandler that they're really good. Yeah. 59 00:03:49,920 --> 00:03:52,320 Speaker 1: You know it's like when people ask, you know what 60 00:03:52,520 --> 00:03:54,520 Speaker 1: makes someone a movie start. You know, I don't really 61 00:03:54,800 --> 00:03:57,400 Speaker 1: I don't know what that is like, I recognize it 62 00:03:57,440 --> 00:03:59,640 Speaker 1: when I see it. I think chemistry in general is 63 00:03:59,640 --> 00:04:01,400 Speaker 1: one of those things where you go, I only recognize 64 00:04:01,400 --> 00:04:02,640 Speaker 1: it when I see it. I don't know how you 65 00:04:02,680 --> 00:04:06,000 Speaker 1: can describe it, because you know, you can do something 66 00:04:06,040 --> 00:04:09,080 Speaker 1: that doesn't work with people that you're really good friends with. 67 00:04:09,800 --> 00:04:12,520 Speaker 1: How does that feel like when that happens. I don't know. 68 00:04:12,600 --> 00:04:21,679 Speaker 1: I've never had that happen. We'll take that question. See, 69 00:04:21,839 --> 00:04:24,560 Speaker 1: this is what's been going on today, and we're all friends, 70 00:04:24,560 --> 00:04:28,960 Speaker 1: but people that don't know us were like that funny 71 00:04:29,000 --> 00:04:32,520 Speaker 1: am I supposed to Shame on you, George. I will 72 00:04:32,520 --> 00:04:36,760 Speaker 1: say this though, I only I think, like maybe last 73 00:04:36,800 --> 00:04:42,040 Speaker 1: week when somebody sent me something about our collective movies together, 74 00:04:43,040 --> 00:04:45,039 Speaker 1: said to me, I've never really thought of us as 75 00:04:45,120 --> 00:04:49,280 Speaker 1: seen as this pair and it brought me so much 76 00:04:49,360 --> 00:04:54,720 Speaker 1: joy and job security. I thought, okay, now we're talking, 77 00:04:54,960 --> 00:04:56,880 Speaker 1: but it really did bring me so much joy to 78 00:04:57,040 --> 00:05:01,280 Speaker 1: think that people see us as like a move be pairing. Right, 79 00:05:01,760 --> 00:05:05,000 Speaker 1: So for this particular movie, is it like I'll do 80 00:05:05,040 --> 00:05:06,560 Speaker 1: that movie if Julia is going to do it, well, 81 00:05:06,600 --> 00:05:09,039 Speaker 1: I'm not going to do it that it was absolutely 82 00:05:09,080 --> 00:05:12,000 Speaker 1: what we said. Literally, we first texted each other and 83 00:05:12,040 --> 00:05:14,680 Speaker 1: just said have you read it? And then both of 84 00:05:14,720 --> 00:05:16,520 Speaker 1: us are like, I'll only do it if you do it. 85 00:05:16,800 --> 00:05:20,000 Speaker 1: And I remember distinctly talking to Brian and saying, I 86 00:05:20,040 --> 00:05:22,960 Speaker 1: really just don't know how it works if it's not George, right, 87 00:05:23,360 --> 00:05:25,120 Speaker 1: I just not to say. I mean in a great 88 00:05:25,160 --> 00:05:28,279 Speaker 1: script and very funny. Obviously we made it, But for me, 89 00:05:29,040 --> 00:05:32,120 Speaker 1: the whole idea of that relationship and a divorced couple 90 00:05:32,200 --> 00:05:36,560 Speaker 1: and all that stuff, it really just the how well 91 00:05:36,600 --> 00:05:39,000 Speaker 1: we know each other and the history that we have together. 92 00:05:39,640 --> 00:05:41,960 Speaker 1: Like you said, the day you think that they have 93 00:05:42,120 --> 00:05:46,359 Speaker 1: the country thinks we actually are divorced. That's probably true, 94 00:05:46,760 --> 00:05:49,480 Speaker 1: I did. That takes a lot of the explaining in 95 00:05:49,520 --> 00:05:52,160 Speaker 1: the beginning off so that you can jump right into 96 00:05:52,160 --> 00:05:54,440 Speaker 1: the being rotten Another's sort of like when you don't 97 00:05:54,440 --> 00:05:56,480 Speaker 1: see a friend for a long time that you love 98 00:05:56,800 --> 00:05:58,800 Speaker 1: and you just jump right back into it like only 99 00:05:58,800 --> 00:06:01,680 Speaker 1: a day has gone by. So does that mean there's 100 00:06:01,720 --> 00:06:06,080 Speaker 1: going to be more couplings job security? I really hope. 101 00:06:06,120 --> 00:06:12,920 Speaker 1: So I'd be shocked if there wouldn't be. Well, what's 102 00:06:12,960 --> 00:06:15,719 Speaker 1: the process now for you to to get yourself in 103 00:06:15,760 --> 00:06:18,000 Speaker 1: front of the camera at this point in your life. 104 00:06:18,480 --> 00:06:20,080 Speaker 1: What has to jump for you to be like, Okay, 105 00:06:20,120 --> 00:06:21,719 Speaker 1: I'm gonna do this. I'm gonna work now, because you 106 00:06:21,720 --> 00:06:24,800 Speaker 1: know how, but the decades of doing your job, how 107 00:06:24,800 --> 00:06:32,760 Speaker 1: hard it is, many many, several decades, honest to god. 108 00:06:32,800 --> 00:06:37,400 Speaker 1: The one thing that's clear, and I learned decades ago, 109 00:06:38,040 --> 00:06:40,200 Speaker 1: was if the script doesn't work, that you can't do it, 110 00:06:40,640 --> 00:06:43,039 Speaker 1: and the story and then it's the director. I think 111 00:06:43,040 --> 00:06:46,119 Speaker 1: probably is the next thing that if we were looking 112 00:06:46,160 --> 00:06:50,239 Speaker 1: at something we've redescript, go, it's good, who's directing it? Okay? 113 00:06:50,279 --> 00:06:53,120 Speaker 1: And then that would be the conversation that I both 114 00:06:53,160 --> 00:06:56,640 Speaker 1: of us would have. I have, Yes, I completely agree 115 00:06:56,640 --> 00:06:59,400 Speaker 1: with that. And for me, I feel like from the 116 00:06:59,520 --> 00:07:03,080 Speaker 1: very big in even back when I really shouldn't have 117 00:07:03,120 --> 00:07:05,320 Speaker 1: been saying no to anything because I needed the work 118 00:07:05,360 --> 00:07:08,520 Speaker 1: and I needed the money, and um, I would read 119 00:07:08,520 --> 00:07:11,600 Speaker 1: a script and I just would feel it in my bones, 120 00:07:11,680 --> 00:07:13,640 Speaker 1: Yes I want to do this. No, I don't want 121 00:07:13,640 --> 00:07:17,000 Speaker 1: to do this. And only one time that I'm not 122 00:07:17,200 --> 00:07:19,240 Speaker 1: listened to my no, I don't want to do this, 123 00:07:19,440 --> 00:07:21,320 Speaker 1: and I did it and it was not it was 124 00:07:21,360 --> 00:07:24,080 Speaker 1: a mistake. Um it was a It was a personal 125 00:07:24,120 --> 00:07:27,920 Speaker 1: mistake because I didn't just go for the only time 126 00:07:28,040 --> 00:07:31,320 Speaker 1: with my instinct. Right to you, George, when you talked 127 00:07:31,320 --> 00:07:33,720 Speaker 1: about directors. So when you're working on a film like 128 00:07:33,760 --> 00:07:36,080 Speaker 1: Ticket to Paradise, are you actually sort of thinking that's 129 00:07:36,080 --> 00:07:39,680 Speaker 1: a shitty you know that it should go this way 130 00:07:39,880 --> 00:07:42,200 Speaker 1: from your experience. Are you've going like that should kind 131 00:07:42,200 --> 00:07:45,600 Speaker 1: of look like you can't you can't be second guessing 132 00:07:45,720 --> 00:07:48,440 Speaker 1: the director. You have to come before you take the job. 133 00:07:48,480 --> 00:07:50,200 Speaker 1: You can do all of that. You like, I don't 134 00:07:50,240 --> 00:07:51,920 Speaker 1: know I've seen these films, or I don't know about 135 00:07:52,480 --> 00:07:54,240 Speaker 1: or you check it. I just want to do this. 136 00:07:54,280 --> 00:07:56,680 Speaker 1: Guy does seventy takes of walking in the door. You go, 137 00:07:57,120 --> 00:07:59,160 Speaker 1: I don't really want to work like that. And their 138 00:07:59,200 --> 00:08:02,960 Speaker 1: directors like that know that, Yeah, lots of them where 139 00:08:02,960 --> 00:08:05,040 Speaker 1: you just go and there's directors that yell and scream. 140 00:08:05,120 --> 00:08:07,760 Speaker 1: I've worked with one or two and I've always said, 141 00:08:07,760 --> 00:08:10,480 Speaker 1: I'll never do that again. So you do all that 142 00:08:10,600 --> 00:08:12,560 Speaker 1: vetting before you get there, and once you get in 143 00:08:12,600 --> 00:08:15,720 Speaker 1: there and start to work, Um, you gotta let you 144 00:08:15,760 --> 00:08:17,880 Speaker 1: know the idea that you can go. You could put 145 00:08:17,880 --> 00:08:19,800 Speaker 1: the camera over there and shoot. I mean there were 146 00:08:19,800 --> 00:08:23,480 Speaker 1: a couple of moments on the set where the weather 147 00:08:23,560 --> 00:08:27,160 Speaker 1: for it it started raining and there was no chance 148 00:08:27,240 --> 00:08:29,880 Speaker 1: that it wasn't going to rain all day, and they 149 00:08:29,880 --> 00:08:32,240 Speaker 1: were trying to figure out do we wait or do 150 00:08:32,280 --> 00:08:35,080 Speaker 1: we not? And then it's like, you know my experiences 151 00:08:35,440 --> 00:08:38,080 Speaker 1: shoot it in the rain. Now it was so great, 152 00:08:38,120 --> 00:08:39,800 Speaker 1: and George was like, let's just shoot it in the rain, 153 00:08:39,840 --> 00:08:41,800 Speaker 1: because there came a point where you realize this is 154 00:08:41,920 --> 00:08:46,080 Speaker 1: a monsoon now the rain, so time is going by, 155 00:08:46,280 --> 00:08:49,160 Speaker 1: our window of opportunity is leaving us. And George was like, 156 00:08:49,440 --> 00:08:51,160 Speaker 1: let's just shoot it in the rain. We'll just shoot 157 00:08:51,160 --> 00:08:53,720 Speaker 1: it in the rain. And then when they finally agree 158 00:08:53,720 --> 00:08:56,480 Speaker 1: to shoot in the rain, and all these very correct 159 00:08:56,760 --> 00:09:01,600 Speaker 1: wardrobe people come out with water bottles, two sprits us 160 00:09:01,600 --> 00:09:03,720 Speaker 1: to make us look and Georgie's like, it's raining and 161 00:09:03,720 --> 00:09:07,280 Speaker 1: he just went outside got red. And I was like, okay, 162 00:09:07,400 --> 00:09:12,160 Speaker 1: this is your But in general, once you've signed off 163 00:09:12,160 --> 00:09:14,000 Speaker 1: on a job, right, you got to do your job 164 00:09:14,520 --> 00:09:17,040 Speaker 1: and we have to have faith in all, which we did. 165 00:09:17,360 --> 00:09:19,719 Speaker 1: And you know, you don't want to second guess him 166 00:09:19,760 --> 00:09:23,760 Speaker 1: and undercut him because you know, you know, Julia or 167 00:09:23,800 --> 00:09:27,120 Speaker 1: I on a set, we can really undercut a director, 168 00:09:27,160 --> 00:09:30,199 Speaker 1: and when you do that, it makes all the other actors, 169 00:09:30,360 --> 00:09:33,439 Speaker 1: who are you know, two three, four five on the 170 00:09:33,520 --> 00:09:38,160 Speaker 1: call sheet? Um, it oftentimes makes them treat that director 171 00:09:38,200 --> 00:09:41,360 Speaker 1: poorly as well, right, or just question like who do 172 00:09:41,400 --> 00:09:44,960 Speaker 1: I look to for what's right? And especially you know, 173 00:09:45,040 --> 00:09:50,000 Speaker 1: we're working with very good actors, but much younger. They 174 00:09:50,040 --> 00:09:52,520 Speaker 1: have less experience than we do. And I think it 175 00:09:52,640 --> 00:09:55,000 Speaker 1: was nice as time went by and we all really 176 00:09:55,000 --> 00:09:57,560 Speaker 1: got to spend so much time together. And you hear 177 00:09:57,600 --> 00:10:01,080 Speaker 1: other actors talking about, like some of the experiences they've 178 00:10:01,120 --> 00:10:04,280 Speaker 1: had with people who are in the positions of more 179 00:10:04,320 --> 00:10:07,760 Speaker 1: power and just saying it's just not fun. It's just 180 00:10:07,880 --> 00:10:09,760 Speaker 1: you see people with the power and they're kind of 181 00:10:09,800 --> 00:10:15,360 Speaker 1: throwing it around and and you kind of forget, like, oh, yeah, 182 00:10:15,520 --> 00:10:18,959 Speaker 1: we could be big fat jerks. Yeah that would be horrible, 183 00:10:19,000 --> 00:10:41,920 Speaker 1: but why would we be. I enjoyed the Yeah, welcome 184 00:10:41,960 --> 00:10:44,720 Speaker 1: back to my conversation with Julia Roberts and George Clooney 185 00:10:44,720 --> 00:10:47,240 Speaker 1: on Table for two. You know, something that I've always 186 00:10:47,280 --> 00:10:49,200 Speaker 1: loved about these two is that they really make you 187 00:10:49,280 --> 00:10:52,760 Speaker 1: forget that they are the Julia Roberts and George Clooney. 188 00:10:53,280 --> 00:10:55,480 Speaker 1: But of course That makes sense because those weren't always 189 00:10:55,520 --> 00:10:57,880 Speaker 1: household names. There was a time when George was a 190 00:10:57,880 --> 00:11:01,720 Speaker 1: struggling television actor and Julie you was praying for commercial gig. 191 00:11:02,160 --> 00:11:04,120 Speaker 1: So let's get back into it and hear about when 192 00:11:04,120 --> 00:11:07,480 Speaker 1: the tides started to shift in their careers. You've talked 193 00:11:07,480 --> 00:11:10,319 Speaker 1: to Julia mentioned a little bit about going with your 194 00:11:10,320 --> 00:11:12,720 Speaker 1: gut at a time when you shouldn't have even said 195 00:11:12,720 --> 00:11:17,040 Speaker 1: no to jobs. Right. It feels like with actors specifically, 196 00:11:17,080 --> 00:11:19,880 Speaker 1: there's a long time in one's career where you're you're 197 00:11:20,000 --> 00:11:25,000 Speaker 1: asking for work for validation, and then it doesn't flip 198 00:11:25,080 --> 00:11:27,240 Speaker 1: for a lot of people, but it flipped, and then 199 00:11:27,280 --> 00:11:29,559 Speaker 1: now you're in a different position. When did that happen 200 00:11:29,640 --> 00:11:31,440 Speaker 1: for you? And how did that feel? And how did 201 00:11:31,440 --> 00:11:37,160 Speaker 1: you how did that affect you making choices in the business. Well, I, 202 00:11:37,320 --> 00:11:40,840 Speaker 1: for one, I am so grateful for all of the 203 00:11:40,920 --> 00:11:43,920 Speaker 1: jobs that I wanted more than life itself that I 204 00:11:43,960 --> 00:11:48,040 Speaker 1: didn't get to do. I think about the commercials, I 205 00:11:48,080 --> 00:11:52,199 Speaker 1: think about the TV shows and I was like, oh God, 206 00:11:52,240 --> 00:11:54,360 Speaker 1: it was so close. How did I not get that job? 207 00:11:54,440 --> 00:11:59,120 Speaker 1: And I am so grateful now, so grateful because you 208 00:11:59,200 --> 00:12:01,440 Speaker 1: would have done them. And she wouldn't have had the career, yeah, 209 00:12:01,559 --> 00:12:03,960 Speaker 1: or you know, there would just be a document of 210 00:12:04,080 --> 00:12:07,560 Speaker 1: time that you don't want following you around or whatever 211 00:12:07,640 --> 00:12:10,520 Speaker 1: it is. And I just feel like she's pointing at 212 00:12:10,520 --> 00:12:12,520 Speaker 1: my career. Right. It's kind of like, you know, when 213 00:12:12,559 --> 00:12:19,240 Speaker 1: you think about mullet, it wasn't you know, it was 214 00:12:19,280 --> 00:12:22,480 Speaker 1: such a fully realized mullet, like it was commitment, and 215 00:12:22,520 --> 00:12:24,920 Speaker 1: I applaud you for that, thank you, And the mullet 216 00:12:24,960 --> 00:12:27,040 Speaker 1: is making a comeback. I was going to say, even worse, 217 00:12:27,800 --> 00:12:30,080 Speaker 1: it is making you comeback. It makes me sad. It's 218 00:12:30,120 --> 00:12:34,400 Speaker 1: like fully making a comeback. I have two teenage boys. 219 00:12:34,880 --> 00:12:38,920 Speaker 1: Finn doesn't, but Henry has a quasi mullet that actually 220 00:12:39,000 --> 00:12:41,440 Speaker 1: is pretty cool. I'll show you a picture. It's Danny 221 00:12:41,440 --> 00:12:42,760 Speaker 1: cut his hair. He was like, Dad, I want a 222 00:12:42,840 --> 00:12:44,520 Speaker 1: mullet and I was like, I said, Danny, I was like, 223 00:12:46,600 --> 00:12:53,200 Speaker 1: don't go full medium mullet. You know, when I think 224 00:12:53,200 --> 00:12:56,240 Speaker 1: about Georgia Julia, I think of how successful they've both been, 225 00:12:56,760 --> 00:12:59,040 Speaker 1: but it's so important to remember then, in order to 226 00:12:59,080 --> 00:13:01,760 Speaker 1: get to that six, both of them had to endure 227 00:13:01,840 --> 00:13:05,000 Speaker 1: failure first. But they're better for it, and they have 228 00:13:05,200 --> 00:13:07,959 Speaker 1: the careers that they do because of it. I mean, 229 00:13:07,960 --> 00:13:11,080 Speaker 1: as actors, aren't we like innately insecure and we suffered 230 00:13:11,120 --> 00:13:13,320 Speaker 1: from impostor syndrome and all that kind of stuff. So 231 00:13:13,400 --> 00:13:16,320 Speaker 1: even what someone else would say, this is the point 232 00:13:16,360 --> 00:13:18,600 Speaker 1: in George's career when he made it, like, that's when 233 00:13:18,640 --> 00:13:23,400 Speaker 1: it all turned. That's he probably has different feelings about it, 234 00:13:23,840 --> 00:13:26,920 Speaker 1: he being him being you sitting right here next time. Well, 235 00:13:26,920 --> 00:13:29,680 Speaker 1: I do that different for this, but only that. Um, 236 00:13:29,720 --> 00:13:32,360 Speaker 1: I failed in so many shows. You know. It was 237 00:13:32,440 --> 00:13:36,920 Speaker 1: on seven series before you Are and thirteen pilots, and 238 00:13:37,040 --> 00:13:41,199 Speaker 1: so I was almost successful a bunch. And by the way, 239 00:13:41,240 --> 00:13:44,280 Speaker 1: when you're an actor and you're on a series, you're 240 00:13:44,360 --> 00:13:47,600 Speaker 1: beating the odds by billions. So I felt like I 241 00:13:47,640 --> 00:13:50,360 Speaker 1: was successful, but I felt like I was sort of 242 00:13:50,360 --> 00:13:52,560 Speaker 1: a journeyman. I was stuck in doing some pretty bad 243 00:13:52,600 --> 00:13:54,680 Speaker 1: television along the way. I was bad, and I'm not 244 00:13:54,760 --> 00:13:58,040 Speaker 1: blaming them. Um. And then I finally and then e 245 00:13:58,200 --> 00:14:01,840 Speaker 1: R hit and he R was any million people week. 246 00:14:02,160 --> 00:14:05,679 Speaker 1: It was the most popular show ever. I watched it. 247 00:14:06,360 --> 00:14:10,800 Speaker 1: It was Thursday nights and it changed overnight, like a 248 00:14:10,920 --> 00:14:13,760 Speaker 1: week later, two weeks later, I guess we're in the 249 00:14:13,800 --> 00:14:16,840 Speaker 1: cover of news week. And so all of a sudden, 250 00:14:16,920 --> 00:14:18,840 Speaker 1: we walked down the streets in New York and everyone 251 00:14:18,920 --> 00:14:22,520 Speaker 1: not only recognized, but they knew our names, our actual name. 252 00:14:23,000 --> 00:14:24,680 Speaker 1: And I remember walking with Benny, who you know, my 253 00:14:24,720 --> 00:14:27,720 Speaker 1: buddy Benny and I just were walking to New York George, 254 00:14:27,880 --> 00:14:29,560 Speaker 1: and I was like, and I looked at Benny as 255 00:14:29,600 --> 00:14:33,320 Speaker 1: that I just got famous. And you know, it's a funny. 256 00:14:33,360 --> 00:14:35,320 Speaker 1: That's that bug light that you chase in a way 257 00:14:35,360 --> 00:14:38,400 Speaker 1: that you once you get there, it's like oops. But 258 00:14:38,520 --> 00:14:41,760 Speaker 1: it's because it's just because it's because of all the 259 00:14:41,760 --> 00:14:44,480 Speaker 1: other things that come around with the loss of privacy 260 00:14:44,600 --> 00:14:50,200 Speaker 1: and the responsibility, but your mentality is still you're working 261 00:14:50,280 --> 00:14:52,760 Speaker 1: and a struggling actor. And it was that way for 262 00:14:52,800 --> 00:14:56,200 Speaker 1: a while. So I took jobs along those lines with 263 00:14:56,280 --> 00:14:59,400 Speaker 1: the with the show, I took films that I got 264 00:14:59,400 --> 00:15:01,200 Speaker 1: an offer it okay, you know, oh my god, I'm 265 00:15:01,200 --> 00:15:03,840 Speaker 1: doing I want to do it, even to the point 266 00:15:03,840 --> 00:15:06,040 Speaker 1: of the one I was a joke about Batman, which 267 00:15:06,080 --> 00:15:07,680 Speaker 1: is a terrible fill my bad in it, but I 268 00:15:07,720 --> 00:15:09,840 Speaker 1: was thrilled when it was over the moon You're a 269 00:15:09,880 --> 00:15:14,160 Speaker 1: Batman and then and it's a big flop and that's okay, 270 00:15:14,320 --> 00:15:17,840 Speaker 1: But you know what. It taught that moment, that minute 271 00:15:17,840 --> 00:15:20,520 Speaker 1: of failure, and failures are real. That's where you learn. 272 00:15:20,640 --> 00:15:24,000 Speaker 1: You don't learn in success. And the minute I failed 273 00:15:24,520 --> 00:15:28,560 Speaker 1: and I realized, oh, I'm gonna be held responsible for 274 00:15:28,640 --> 00:15:32,160 Speaker 1: the movies, not for my performance anymore, but for the 275 00:15:32,200 --> 00:15:35,480 Speaker 1: films themselves. They get made because of making him on 276 00:15:35,520 --> 00:15:38,840 Speaker 1: my back. And so from then on my choices were 277 00:15:38,840 --> 00:15:42,720 Speaker 1: about screenplay and director. And the next three films for 278 00:15:42,960 --> 00:15:45,080 Speaker 1: me and I held out for other films were out 279 00:15:45,080 --> 00:15:47,560 Speaker 1: of Side three Kings and oh brother were Art Thou 280 00:15:47,680 --> 00:15:50,040 Speaker 1: and so it was all three of those. It was like, 281 00:15:50,440 --> 00:15:53,040 Speaker 1: that's like, oh, I get it. I'm gonna be held responsible. 282 00:15:53,280 --> 00:15:55,640 Speaker 1: So there was a moment of that I could point 283 00:15:55,640 --> 00:15:57,600 Speaker 1: to that said it. The career change was the are 284 00:15:57,880 --> 00:16:00,920 Speaker 1: and there was a moment which taught me how to 285 00:16:01,120 --> 00:16:06,160 Speaker 1: change that trajectory, and that was Batman for yourself. Yeah, 286 00:16:10,400 --> 00:16:13,640 Speaker 1: and you also did something with that which was I 287 00:16:13,680 --> 00:16:17,480 Speaker 1: think unique, becoming a television big television start and they're 288 00:16:17,480 --> 00:16:20,200 Speaker 1: becoming a movie star, which didn't really happen. It seemed 289 00:16:20,240 --> 00:16:23,080 Speaker 1: like it was box. Well. It's funny because it goes 290 00:16:23,120 --> 00:16:25,920 Speaker 1: in cycles, right, Because Clin east Wood was a TV star, 291 00:16:25,960 --> 00:16:27,520 Speaker 1: and he was a giant movie There are a few 292 00:16:27,520 --> 00:16:31,600 Speaker 1: guys that did it um, but then it became impossible 293 00:16:31,720 --> 00:16:33,960 Speaker 1: and they really shut down the door. And there were 294 00:16:33,960 --> 00:16:36,280 Speaker 1: guys like David Caruso and guys who left TV shows 295 00:16:36,320 --> 00:16:38,240 Speaker 1: to have a big film group, and they really made 296 00:16:38,240 --> 00:16:42,360 Speaker 1: it almost impossible to do. And it's changed considerably now, 297 00:16:42,400 --> 00:16:45,000 Speaker 1: don't you think I feel like that that's not now. 298 00:16:45,080 --> 00:16:48,600 Speaker 1: People don't look at different difference the way that they 299 00:16:48,800 --> 00:16:52,320 Speaker 1: just because there's so much more expansive TV with yeah, 300 00:16:52,360 --> 00:16:54,680 Speaker 1: because it's both people are allowed to kind of do 301 00:16:54,760 --> 00:16:56,920 Speaker 1: what they want. But I think for you, I can't 302 00:16:56,920 --> 00:17:01,080 Speaker 1: imagine what it would be like becoming why wildly famous 303 00:17:01,120 --> 00:17:05,400 Speaker 1: on a TV show, when you're in people's homes, when 304 00:17:05,440 --> 00:17:09,120 Speaker 1: people can sit in their slippers, they know you personally, yeah, 305 00:17:09,280 --> 00:17:10,960 Speaker 1: because you come to their house every week, and that 306 00:17:11,080 --> 00:17:13,720 Speaker 1: kind of fame. And remember this isn't just small TV. 307 00:17:13,880 --> 00:17:18,000 Speaker 1: This is I can't felt I got. I was on 308 00:17:18,040 --> 00:17:20,880 Speaker 1: a plane with a big movie star and we got off. 309 00:17:20,880 --> 00:17:24,080 Speaker 1: The plane was flying somewhere and they were like, you know, 310 00:17:24,119 --> 00:17:26,520 Speaker 1: oh my god, and they're all staying back, you know, 311 00:17:26,760 --> 00:17:28,560 Speaker 1: from the star, and then they see me. It's like 312 00:17:28,720 --> 00:17:32,639 Speaker 1: George and they grab you because they've seen you in 313 00:17:32,680 --> 00:17:34,920 Speaker 1: their in their house, and they've got a remote and 314 00:17:34,920 --> 00:17:37,560 Speaker 1: they can make you talk or not talk. And your 315 00:17:37,720 --> 00:17:40,160 Speaker 1: and your tiny compared to you know, in a big 316 00:17:40,200 --> 00:17:44,040 Speaker 1: movie star, so you really are personally there. You know, 317 00:17:44,400 --> 00:17:46,440 Speaker 1: they know you personally, and so there was a different 318 00:17:46,520 --> 00:17:50,080 Speaker 1: kind of energy and what people won't remember. But up 319 00:17:50,160 --> 00:17:53,159 Speaker 1: until Perfect Storm, which was the year I left the 320 00:17:53,560 --> 00:17:56,480 Speaker 1: show when my contract was up. Up until then and 321 00:17:56,560 --> 00:17:58,920 Speaker 1: I had like three Kings and a brother and Out 322 00:17:58,920 --> 00:18:01,760 Speaker 1: of Side and some other film. Up until that moment, 323 00:18:02,520 --> 00:18:06,080 Speaker 1: it was just every article was like he's not gonna 324 00:18:06,160 --> 00:18:10,720 Speaker 1: make it. Every art, every single piece, every question was 325 00:18:10,800 --> 00:18:14,040 Speaker 1: like he doesn't have it. In fact, there were directors 326 00:18:14,480 --> 00:18:19,280 Speaker 1: to quit um Sydney Pollock quit he was going to 327 00:18:19,400 --> 00:18:21,800 Speaker 1: direct Out of Sight, and he quit because he said, 328 00:18:22,200 --> 00:18:25,560 Speaker 1: he's not a movie star about me when I got 329 00:18:25,560 --> 00:18:28,080 Speaker 1: the job now and that happened to with a couple 330 00:18:28,080 --> 00:18:34,119 Speaker 1: of directors. I worked with Sydney later in Michael Clayton, 331 00:18:34,359 --> 00:18:36,240 Speaker 1: and I walked over and I said, hey, man, you 332 00:18:36,240 --> 00:18:41,040 Speaker 1: just listen, you know alright. I loved him, I really 333 00:18:41,080 --> 00:18:43,000 Speaker 1: loved him, and I didn't hold it against him at 334 00:18:43,040 --> 00:18:46,960 Speaker 1: the time. But the narrative was very different, and it 335 00:18:47,000 --> 00:18:49,399 Speaker 1: was a hard thing to cross over at that moment. 336 00:18:49,440 --> 00:18:52,080 Speaker 1: But there's divine intervention right there, because you end up 337 00:18:52,080 --> 00:18:56,680 Speaker 1: with Stephen and the movie is so great, and it's 338 00:18:56,920 --> 00:18:59,359 Speaker 1: so good that movie. Oh my god, I watch it 339 00:18:59,400 --> 00:19:01,280 Speaker 1: and I've watched more than once, which I can't say 340 00:19:01,359 --> 00:19:07,480 Speaker 1: for any of my movies. Yes, you you one myself. 341 00:19:07,680 --> 00:19:11,160 Speaker 1: I rediscovered I find every time I watched it, I go, God, 342 00:19:11,280 --> 00:19:14,159 Speaker 1: so good it's good. Don, Don was so good. Everybody 343 00:19:14,200 --> 00:19:16,600 Speaker 1: in the way it's cut everything and enjoyed. You know what. 344 00:19:16,640 --> 00:19:19,040 Speaker 1: The other thing was Stephen was coming off of three 345 00:19:19,240 --> 00:19:22,280 Speaker 1: not very or two, I guess, not fair, like The 346 00:19:22,359 --> 00:19:24,679 Speaker 1: Underneath and the movies that no one saw and weren't 347 00:19:24,720 --> 00:19:28,680 Speaker 1: really you know, it certainly weren't received well after having 348 00:19:28,800 --> 00:19:32,399 Speaker 1: such a great start. So we were both when we 349 00:19:32,560 --> 00:19:35,200 Speaker 1: met for this, and I was already attached, and then 350 00:19:35,720 --> 00:19:37,639 Speaker 1: we went over Danny DeVito was a producer, and we 351 00:19:37,680 --> 00:19:40,560 Speaker 1: went over Michael, you know, the Stacey shared Michael Jabers, 352 00:19:41,240 --> 00:19:44,600 Speaker 1: and there was that moment where, you know, I looked 353 00:19:44,640 --> 00:19:46,320 Speaker 1: at him and he looked at me, and we both 354 00:19:46,480 --> 00:19:50,080 Speaker 1: needed a success. We were both up against it, and 355 00:19:50,119 --> 00:19:54,360 Speaker 1: there's something really good about having your back against the wall, Stephen, 356 00:19:54,720 --> 00:19:56,840 Speaker 1: you know. And if you ask Steven the you know, 357 00:19:57,080 --> 00:19:58,840 Speaker 1: his best film, he'd put that as one of his 358 00:19:58,880 --> 00:20:01,760 Speaker 1: best films. You know. I think he put Rock abits 359 00:20:01,840 --> 00:20:05,160 Speaker 1: in Traffic, which is that that he made one after 360 00:20:05,240 --> 00:20:08,680 Speaker 1: the other in the same year. Yeah, yeah, that's insane. Yeah. 361 00:20:09,040 --> 00:20:11,760 Speaker 1: I remember when he was he wanted to ask Jules 362 00:20:11,880 --> 00:20:14,920 Speaker 1: is now wife out. We were doing Oceans, we were 363 00:20:15,000 --> 00:20:17,920 Speaker 1: in I think we were in New Jersey then and 364 00:20:18,000 --> 00:20:19,280 Speaker 1: he's like, I want to ask her out, but I 365 00:20:19,320 --> 00:20:21,199 Speaker 1: don't think so. And that was the morning that he 366 00:20:21,280 --> 00:20:26,199 Speaker 1: was nominated for directing both films Rock and Traffic, And 367 00:20:26,240 --> 00:20:33,119 Speaker 1: I said, Stephen, now listen to me. This beautiful water 368 00:20:33,960 --> 00:20:59,359 Speaker 1: it's today that is so fun. Welcome back to Table 369 00:20:59,400 --> 00:21:02,439 Speaker 1: for two. As my conversation with Julia Roberts and George 370 00:21:02,440 --> 00:21:06,520 Speaker 1: Clooney wanders some story to story, I'm reminded that even 371 00:21:06,640 --> 00:21:10,160 Speaker 1: big time actors can get star struck about those who 372 00:21:10,200 --> 00:21:13,480 Speaker 1: came before them. Do you ever think about some movie 373 00:21:13,520 --> 00:21:16,080 Speaker 1: star in the past no longer exists that you would 374 00:21:16,080 --> 00:21:20,359 Speaker 1: have loved to have worked with, well worked with I 375 00:21:20,400 --> 00:21:22,879 Speaker 1: don't know, but I mean to have met, to have 376 00:21:23,000 --> 00:21:27,160 Speaker 1: shared time with, I would say Katherine Hepburn. I mean, 377 00:21:27,320 --> 00:21:32,400 Speaker 1: she's the ultimate um Audrey Hepburn, who I did meet 378 00:21:32,640 --> 00:21:38,240 Speaker 1: one time, which was other where did you meet her? Okay, 379 00:21:38,720 --> 00:21:42,120 Speaker 1: say you've probably heard the story a thousand years ago. 380 00:21:42,160 --> 00:21:45,320 Speaker 1: But once upon a time I was in Europe with 381 00:21:45,359 --> 00:21:48,240 Speaker 1: friends and it just so happened that we went on 382 00:21:48,640 --> 00:21:53,400 Speaker 1: an Audrey Hepburn movie marathon, binge for like a long weekend. 383 00:21:53,560 --> 00:21:55,080 Speaker 1: Where are you? What part of you? I was in 384 00:21:55,119 --> 00:22:01,000 Speaker 1: London and flying back to America and I get on 385 00:22:01,040 --> 00:22:03,080 Speaker 1: the plane and get myself situated. Now, me on an 386 00:22:03,080 --> 00:22:09,000 Speaker 1: airplane is about five seconds of buckling my seatbelt and 387 00:22:09,280 --> 00:22:13,240 Speaker 1: you know, eleven and a half hours of sleeping. And 388 00:22:13,840 --> 00:22:15,639 Speaker 1: I get on the plane and I get all you know, 389 00:22:15,720 --> 00:22:17,840 Speaker 1: situated and stuff. And I'm sitting there and there's and 390 00:22:17,920 --> 00:22:25,159 Speaker 1: I was in first class, very very fancy, and not 391 00:22:25,320 --> 00:22:27,120 Speaker 1: a lot of people in first class. And I look 392 00:22:27,200 --> 00:22:28,879 Speaker 1: over so I'm sitting in the window seats. There's a 393 00:22:28,960 --> 00:22:31,560 Speaker 1: seat next to me, and there's middle section, and then 394 00:22:31,880 --> 00:22:37,800 Speaker 1: over there is Audrey had Burn. Wow. And I honestly 395 00:22:37,800 --> 00:22:40,920 Speaker 1: it's like, am I making this up? Is she really? There? 396 00:22:41,520 --> 00:22:46,920 Speaker 1: Is you? And I just like you, like I didn't 397 00:22:46,920 --> 00:22:49,399 Speaker 1: know what to do with myself anyway. I was beside myself, 398 00:22:49,560 --> 00:22:52,760 Speaker 1: beside myself, and I should I talk to her show 399 00:22:52,800 --> 00:22:53,840 Speaker 1: and I talk to her. I can't talk to her. 400 00:22:53,880 --> 00:22:55,399 Speaker 1: I can't talk to her, and talking to her go Hi, 401 00:22:55,520 --> 00:22:58,359 Speaker 1: I'm an actor and I just love you. And I 402 00:22:58,440 --> 00:23:02,439 Speaker 1: just didn't know what to do. So I did fall asleep. 403 00:23:02,560 --> 00:23:04,800 Speaker 1: And then when I wake up, when the wheels touched 404 00:23:04,840 --> 00:23:07,320 Speaker 1: the ground, which is my emma can do that, well, 405 00:23:07,359 --> 00:23:12,320 Speaker 1: thank you, and I think, Okay, there's long lines at customs. 406 00:23:13,119 --> 00:23:16,320 Speaker 1: I will pull myself together, put a piece of get 407 00:23:16,320 --> 00:23:20,080 Speaker 1: on my mouth and say hello, Well she doesn't have 408 00:23:20,080 --> 00:23:24,880 Speaker 1: an American passport. She's somewhere else. She's in the other line. 409 00:23:24,880 --> 00:23:27,560 Speaker 1: And I missed my chance. My chance is over. And 410 00:23:27,600 --> 00:23:32,919 Speaker 1: I'm so disappointed in myself and really disappointed. And I 411 00:23:32,960 --> 00:23:34,880 Speaker 1: go downstairs because this was back in the day when 412 00:23:35,680 --> 00:23:38,159 Speaker 1: I checked a bag, and I go down to baggage 413 00:23:38,160 --> 00:23:40,360 Speaker 1: claim and I get my bag and as I turn 414 00:23:40,400 --> 00:23:42,280 Speaker 1: around because you know, the guy takes your ticket and 415 00:23:42,320 --> 00:23:44,879 Speaker 1: looks at the thing standing right in front of me 416 00:23:44,920 --> 00:23:48,280 Speaker 1: with her check bag is Audrey Hepp And she turns 417 00:23:48,320 --> 00:23:53,760 Speaker 1: to me and she goes, you're wonderful and hugs me. 418 00:23:54,040 --> 00:23:56,760 Speaker 1: And he's just like I said, she has no idea. 419 00:23:56,840 --> 00:23:59,119 Speaker 1: She has no idea what is happening to my entire 420 00:23:59,240 --> 00:24:01,360 Speaker 1: life right now? And I had to call my friends 421 00:24:01,400 --> 00:24:05,640 Speaker 1: and like so every movie there was charay, she's right there. 422 00:24:06,400 --> 00:24:10,199 Speaker 1: I just could not, well, what a cool story. And 423 00:24:10,240 --> 00:24:12,720 Speaker 1: like yet again timing it wasn't meant to be on 424 00:24:12,760 --> 00:24:15,600 Speaker 1: the plane, That's what it was. Meant so magnificent and 425 00:24:16,080 --> 00:24:19,119 Speaker 1: unbeknownst to any of us at the time, she was 426 00:24:19,480 --> 00:24:25,320 Speaker 1: unwell and she was given a Screen Actors Guild Lifetime 427 00:24:25,520 --> 00:24:29,240 Speaker 1: Achievement Award and back in the day when they were 428 00:24:29,280 --> 00:24:33,119 Speaker 1: these kind of smaller things whatever, and she wrote me 429 00:24:33,200 --> 00:24:36,800 Speaker 1: a letter and asked me to receive it on her behalf. 430 00:24:37,440 --> 00:24:40,800 Speaker 1: And she wrote a speech and asked me to recite 431 00:24:40,800 --> 00:24:46,360 Speaker 1: the speech and Gregory Peck it and it was just 432 00:24:46,359 --> 00:24:49,560 Speaker 1: just my whole life. I just thought, what is happening 433 00:24:49,640 --> 00:24:53,120 Speaker 1: right now? Gregory peck is, I'm sort of the proxy 434 00:24:53,240 --> 00:24:56,200 Speaker 1: for Audrey Heppern, what is going on? And I read 435 00:24:56,240 --> 00:25:00,239 Speaker 1: this beautiful speech that she'd written. I mean, it was 436 00:25:00,960 --> 00:25:03,119 Speaker 1: I kind of forget that even happened to me because 437 00:25:03,119 --> 00:25:07,320 Speaker 1: it was so it just sounds like fiction, like, oh 438 00:25:07,400 --> 00:25:09,920 Speaker 1: so I'm on this plane, you know, I mean it 439 00:25:10,040 --> 00:25:13,120 Speaker 1: just it sounds like a made up story that all happened. 440 00:25:13,720 --> 00:25:15,920 Speaker 1: I love that. And she was, you know, I mean, 441 00:25:15,960 --> 00:25:18,159 Speaker 1: honest to God, when you look at like the epitome 442 00:25:18,280 --> 00:25:21,600 Speaker 1: of class class. She just was so elegant. And she 443 00:25:21,680 --> 00:25:25,880 Speaker 1: was elegant from Roman Holiday on. It was she started there. 444 00:25:25,960 --> 00:25:29,080 Speaker 1: She didn't have the mullet ears, you know, just started 445 00:25:29,119 --> 00:25:31,720 Speaker 1: with the ballet answer and just went and you and 446 00:25:31,800 --> 00:25:36,040 Speaker 1: a Seth and all that. I mean, amazing. Mr. Cluded, 447 00:25:36,160 --> 00:25:40,040 Speaker 1: You have somebody, Well, I have guys that I like. 448 00:25:40,119 --> 00:25:43,200 Speaker 1: For instance, I think that as an actor the guy 449 00:25:43,280 --> 00:25:47,800 Speaker 1: that moved me the most would always be Spencer Tracy 450 00:25:47,840 --> 00:25:50,879 Speaker 1: because I couldn't I couldn't take my eye off him anything. 451 00:25:51,680 --> 00:25:55,320 Speaker 1: So I loved him. You know. In the newer method actors, 452 00:25:56,119 --> 00:25:59,080 Speaker 1: I really loved the first one which people overlook often, 453 00:25:59,080 --> 00:26:02,800 Speaker 1: which was Monty clip before before Brandon, before jamesing his 454 00:26:02,880 --> 00:26:05,639 Speaker 1: money clip and if you watched, like he and lizbe 455 00:26:05,680 --> 00:26:08,680 Speaker 1: Taylor were place in the sun. Yeah, I don't think 456 00:26:08,680 --> 00:26:10,800 Speaker 1: there's two sexier people, and I don't think there's a 457 00:26:10,960 --> 00:26:15,840 Speaker 1: more beautiful sort of told tragic love story. There's that 458 00:26:15,960 --> 00:26:18,600 Speaker 1: shot where you just see her eyes over his shoulder 459 00:26:18,640 --> 00:26:21,240 Speaker 1: when he says, there's so much I wish I could 460 00:26:21,240 --> 00:26:23,800 Speaker 1: tell you, because tell mama, and you're like, I'll tell 461 00:26:23,880 --> 00:26:26,159 Speaker 1: your mama. I remember hearing a story that there was 462 00:26:26,200 --> 00:26:28,200 Speaker 1: a line in it that he says to her where 463 00:26:28,200 --> 00:26:32,639 Speaker 1: he says, I love you always, and he said I 464 00:26:32,760 --> 00:26:36,960 Speaker 1: love you always. I didn't know. It was just a 465 00:26:37,040 --> 00:26:41,080 Speaker 1: little just him kind of. But that's another example of 466 00:26:41,920 --> 00:26:46,720 Speaker 1: people that their friendship I think allowed them to really 467 00:26:46,720 --> 00:26:52,080 Speaker 1: be comfortable. She stuck up from later when he was Yeah. 468 00:26:53,080 --> 00:26:56,399 Speaker 1: Two other actors that that had a huge impact on 469 00:26:56,520 --> 00:26:59,800 Speaker 1: me in my life, which was I was friends with 470 00:27:00,000 --> 00:27:03,080 Speaker 1: Paul Newman and I was friends with Greveryback, and those 471 00:27:03,160 --> 00:27:06,480 Speaker 1: two men, first of all about the two most elegant 472 00:27:06,480 --> 00:27:08,840 Speaker 1: movie stars you could ever mean. But they were also 473 00:27:10,000 --> 00:27:14,160 Speaker 1: crazy funny and you know, had wicked sense of humor. 474 00:27:14,560 --> 00:27:18,760 Speaker 1: Newman played pranks on me and and and but they 475 00:27:18,800 --> 00:27:21,440 Speaker 1: also they were citizens of the world in a way 476 00:27:21,480 --> 00:27:25,280 Speaker 1: that I loved. They were the examples that I look 477 00:27:25,320 --> 00:27:28,560 Speaker 1: at and say, well, that's those are the people that 478 00:27:28,720 --> 00:27:32,640 Speaker 1: you aimed for, you know, and that that there that 479 00:27:33,080 --> 00:27:34,880 Speaker 1: light in the sky. But you look at it mean, 480 00:27:34,920 --> 00:27:37,679 Speaker 1: I think it's really clear that the two of you 481 00:27:37,720 --> 00:27:41,600 Speaker 1: sit in those seats with the younger generation of actors. 482 00:27:41,840 --> 00:27:45,520 Speaker 1: You talked about the sort of generosity of your work, 483 00:27:45,600 --> 00:27:47,959 Speaker 1: your generosity of spirit when you're with people, but you 484 00:27:48,040 --> 00:27:51,800 Speaker 1: also use your celebrity in such a powerful give back way. 485 00:27:52,040 --> 00:27:55,320 Speaker 1: Did you just know when that moment was to start 486 00:27:55,359 --> 00:27:57,760 Speaker 1: to use your voice? I can you know remember in 487 00:27:57,760 --> 00:28:01,760 Speaker 1: the nineties, you know, seeing you, watching you, watching you, 488 00:28:02,359 --> 00:28:04,120 Speaker 1: when did you kind of I was very young when 489 00:28:04,160 --> 00:28:08,600 Speaker 1: Julia was famous. I was a child watching her in 490 00:28:08,600 --> 00:28:13,399 Speaker 1: the theater. I remember those days when I came in 491 00:28:13,440 --> 00:28:17,920 Speaker 1: my covered wagon. Yeah. But you know, I think that 492 00:28:18,080 --> 00:28:23,159 Speaker 1: I think that we were always, you know, speaking up. 493 00:28:23,200 --> 00:28:25,840 Speaker 1: It's just that no one was necessarily listening until sort 494 00:28:25,880 --> 00:28:27,840 Speaker 1: of other things happened in life. Because I grew up 495 00:28:27,840 --> 00:28:30,720 Speaker 1: in the sixties and seventies, which is, if you weren't 496 00:28:31,040 --> 00:28:33,879 Speaker 1: talking about the civil rights movement, or the women's rights movement, 497 00:28:33,920 --> 00:28:37,280 Speaker 1: or the Vietnam you know, or the drug counter culture 498 00:28:37,320 --> 00:28:39,360 Speaker 1: or any of that stuff, you weren't having some opinion 499 00:28:39,360 --> 00:28:42,200 Speaker 1: and talking and defending some ideas, you weren't part of 500 00:28:42,240 --> 00:28:45,600 Speaker 1: the society. But don't you also think that being the 501 00:28:45,680 --> 00:28:50,080 Speaker 1: child of a journalist, you have a great like inside 502 00:28:50,080 --> 00:28:53,440 Speaker 1: track to really knowing everything that's going on in a 503 00:28:53,480 --> 00:28:56,040 Speaker 1: way that maybe some of the kids in your community 504 00:28:56,080 --> 00:29:00,400 Speaker 1: wouldn't have well probably understood. Also, my father, there's thing, 505 00:29:00,440 --> 00:29:04,040 Speaker 1: was always about challenging people, you know. So I remember 506 00:29:04,680 --> 00:29:08,680 Speaker 1: in a Catholic school and getting kicked out and I 507 00:29:08,720 --> 00:29:11,680 Speaker 1: think fifth grade for a week because I had written 508 00:29:11,720 --> 00:29:14,240 Speaker 1: a piece about Doubting Thomas and Dowdy Thomas was the 509 00:29:14,240 --> 00:29:16,360 Speaker 1: guy who said, I want to put my hand in 510 00:29:16,440 --> 00:29:19,160 Speaker 1: the wound to you said that Jesus rose again, I 511 00:29:19,160 --> 00:29:21,520 Speaker 1: want to put my finger in the wound or I 512 00:29:21,600 --> 00:29:24,120 Speaker 1: don't believe you. And he was, you know, sent away. 513 00:29:24,720 --> 00:29:26,640 Speaker 1: And I wrote a piece because they asked us to 514 00:29:26,680 --> 00:29:28,480 Speaker 1: write a piece about the Bible, and I wrote a 515 00:29:28,480 --> 00:29:31,960 Speaker 1: piece saying that doubting Thomas was a reporter and that 516 00:29:32,120 --> 00:29:34,640 Speaker 1: he was the you know, the most informed because he 517 00:29:34,680 --> 00:29:40,400 Speaker 1: said I'm in but I need some proof that gets 518 00:29:40,400 --> 00:29:43,000 Speaker 1: you in trouble in the Catholic school and suspended for 519 00:29:44,080 --> 00:29:46,959 Speaker 1: seventy My father was very proud of the fact that 520 00:29:47,000 --> 00:29:49,400 Speaker 1: I was kicked out. So I think I had a 521 00:29:49,440 --> 00:29:53,080 Speaker 1: great advantage because my father was always about asking questions 522 00:29:53,120 --> 00:29:55,760 Speaker 1: and not taking things a face value. So what gives 523 00:29:55,760 --> 00:29:59,560 Speaker 1: you hope today? What is as we sort of you know, 524 00:30:00,240 --> 00:30:02,880 Speaker 1: head towards the world following part? You know, it gives 525 00:30:02,920 --> 00:30:06,880 Speaker 1: me hope. Yeah, every time I'm around young people, you know, 526 00:30:06,920 --> 00:30:09,040 Speaker 1: when we were doing the marks for our lives, it 527 00:30:09,120 --> 00:30:12,000 Speaker 1: gave me incredible hope. I stand there and go they 528 00:30:12,400 --> 00:30:13,960 Speaker 1: they don't look at this and say this is the 529 00:30:14,000 --> 00:30:16,240 Speaker 1: status quo. They look at and go, you know, why 530 00:30:16,280 --> 00:30:20,440 Speaker 1: can't this be fucking changed? And I go, yeah, you're right, 531 00:30:21,040 --> 00:30:24,760 Speaker 1: because I fall into it at times where I'll go, well, 532 00:30:24,800 --> 00:30:27,600 Speaker 1: this is the best available, you know, this is the 533 00:30:27,600 --> 00:30:30,320 Speaker 1: best thing we can do now. And the truth of 534 00:30:30,360 --> 00:30:33,320 Speaker 1: the matter is it's right to reach, it's right to 535 00:30:33,440 --> 00:30:37,480 Speaker 1: push in a way that, um, I suppose that my 536 00:30:37,600 --> 00:30:41,520 Speaker 1: younger self would have. I could talk to Juliam George Browers. 537 00:30:41,800 --> 00:30:43,560 Speaker 1: And the fact that we're in a hotel room and 538 00:30:43,600 --> 00:30:46,360 Speaker 1: not a restaurant means there's no check to come or 539 00:30:46,400 --> 00:30:48,920 Speaker 1: meal to finish. So if it really could go on forever, 540 00:30:49,840 --> 00:30:52,680 Speaker 1: but these are people with a lot of commitments and 541 00:30:52,720 --> 00:30:55,719 Speaker 1: I gotta let them go. Well, I have to just 542 00:30:56,240 --> 00:30:59,160 Speaker 1: fan out. I love you both so much. I have 543 00:30:59,200 --> 00:31:04,520 Speaker 1: had the pleasure of really spending significant intimate moments intimate meaning. 544 00:31:04,720 --> 00:31:10,080 Speaker 1: Let me just say it this way. Oh okay, so um. 545 00:31:10,320 --> 00:31:14,280 Speaker 1: The people who don't know Bruce have to understand two things. 546 00:31:14,640 --> 00:31:18,000 Speaker 1: One is he's built like something Michelangelo's card out of 547 00:31:18,000 --> 00:31:20,320 Speaker 1: a piece of marble. True, this is true. I can. 548 00:31:20,400 --> 00:31:22,840 Speaker 1: I can. Number one and number two, he's the first 549 00:31:22,880 --> 00:31:25,560 Speaker 1: person to show you that at every party, at every dinner, 550 00:31:25,920 --> 00:31:28,080 Speaker 1: take it, take a shirt off, shirt comes off like 551 00:31:28,240 --> 00:31:32,920 Speaker 1: before dessert. Off comes Thelude to dessert. And I can't 552 00:31:32,960 --> 00:31:36,400 Speaker 1: tell you how many events parties I've been to where 553 00:31:37,080 --> 00:31:40,720 Speaker 1: the shirt comes off. And I remember one at our wedding, 554 00:31:40,760 --> 00:31:43,680 Speaker 1: Matt Damon pulls your shirt off, and I'm like, what 555 00:31:43,720 --> 00:31:48,200 Speaker 1: are you doing you? Bruce is here, put your shirt 556 00:31:48,240 --> 00:31:52,479 Speaker 1: back off, and this will harm me? And it well, 557 00:31:52,560 --> 00:31:55,760 Speaker 1: first of all, your wedding was epic. Yeah, I didn't 558 00:31:55,800 --> 00:31:57,800 Speaker 1: think about the moment when I left your wedding in 559 00:31:57,840 --> 00:31:59,959 Speaker 1: my tuxedo without a shirt on, and all of us 560 00:32:00,000 --> 00:32:02,000 Speaker 1: that and there was and now it's a trend. Now 561 00:32:02,160 --> 00:32:04,880 Speaker 1: jeans are showing up on red carpets with jackets on 562 00:32:04,920 --> 00:32:09,040 Speaker 1: and no shirt. He started. I just gotta say thank 563 00:32:09,080 --> 00:32:10,840 Speaker 1: you so much for joining me on Table for Two. 564 00:32:10,960 --> 00:32:13,160 Speaker 1: I love you both so much. I can fan out. 565 00:32:13,160 --> 00:32:15,920 Speaker 1: I love you. I love you, George Clooney, Thank you, 566 00:32:16,200 --> 00:32:24,400 Speaker 1: Thank you, brother. Thanks. Table for You with Bruce Bozzy 567 00:32:24,520 --> 00:32:27,360 Speaker 1: is produced by I Heart Radio seven three seven Park 568 00:32:27,640 --> 00:32:31,800 Speaker 1: and Air may Our. Executive producers are Bruce Bozzy, Jonathan Hoss, 569 00:32:31,880 --> 00:32:34,960 Speaker 1: Dressler and Nathan King. Table for Two is edited and 570 00:32:34,960 --> 00:32:38,040 Speaker 1: written by Tina Mullen and researched and written by Bridget 571 00:32:38,200 --> 00:32:42,719 Speaker 1: arsenalt Our sound engineers are Emil B. Klein, Paul Bowman 572 00:32:43,000 --> 00:32:45,840 Speaker 1: and Melyssa Midcalf. Table for Two is l A. Production 573 00:32:45,880 --> 00:32:50,560 Speaker 1: team is Danielle Romo and Lorraine Duraz. Our music supervisor 574 00:32:50,680 --> 00:32:53,760 Speaker 1: is Randall poster Our talent booking is by James Harkin. 575 00:32:54,000 --> 00:32:58,640 Speaker 1: Special thanks to Amy Sugarman, Uni Share, Kevin Euvane, Bobby Bauer, 576 00:32:58,800 --> 00:33:02,560 Speaker 1: Alison Cantor Ray and For more podcasts from my Heart Radio, 577 00:33:02,880 --> 00:33:06,280 Speaker 1: visit the I Heart Radio app, Apple podcast, or wherever 578 00:33:06,320 --> 00:33:14,840 Speaker 1: you listen to your favorite shows. H