WEBVTT - Ep26 - James Mangold / "Logan"

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<v Speaker 1>Welcome to Playback, a Variety podcast. I'm your host, Variety

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<v Speaker 1>Awards editor Chris Tapley. On today's show, we recount chaos

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<v Speaker 1>at the Oscars as Moonlight one over La La Land

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<v Speaker 1>in a twist no one saw coming. A little bit later,

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<v Speaker 1>I'll be talking to logan director James Mangold, so stick around. Well, Hey,

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<v Speaker 1>anything fun happened this weekend? What a cluster? I know,

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<v Speaker 1>it's like I don't want to like over sell it,

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<v Speaker 1>but I don't think you can. I was doing an

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<v Speaker 1>interview with German TV yesterday and they were like, you know,

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<v Speaker 1>would you consider this, like, you know, the biggest thing

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<v Speaker 1>to ever happen at the Oscars? And I was like,

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<v Speaker 1>uh yeah, hands down, without doubt. Yeah. I mean it's

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<v Speaker 1>it's one of those things like I still can't really

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<v Speaker 1>believe it happened. Me too. I woke up this morning

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<v Speaker 1>and like double checked. I've rewatched him multiple times. It's

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<v Speaker 1>like the Bruder film to me, and I was getting

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<v Speaker 1>mad because people had edited versions. I was like, no,

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<v Speaker 1>I want to see the whole thing from start to finish,

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<v Speaker 1>you know, I want to see that because of watching

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<v Speaker 1>at home. You know, there was that moment where the

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<v Speaker 1>stage hands rushed on and you could see like people

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<v Speaker 1>looking at each other and you you just knew. And

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<v Speaker 1>I was like thinking, oh my gosh, did they get

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<v Speaker 1>the name wrong. No, they couldn't, they couldn't. It's I'm sure.

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<v Speaker 1>Oh my god, Oh my god, I just love Twitter

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<v Speaker 1>exploded with literally all caps. What is happening? Happening? Yeah,

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<v Speaker 1>in case you've been under a rock, we're talking about

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<v Speaker 1>the Oscars where Warren Batty was handed the wrong envelope

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<v Speaker 1>for Best Picture. He was handed a duplicate Best Actress envelope,

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<v Speaker 1>had no idea how to proceed when he was looking

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<v Speaker 1>at Emma Stone's name on the card, which I guess

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<v Speaker 1>I can't blame you if you're like I mean, on

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<v Speaker 1>one hand, he's warm, baby like, like he's weathered the

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<v Speaker 1>spotlight his whole career, but known as an improviser. Is

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<v Speaker 1>I told I feel bad. I thought he was doing

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<v Speaker 1>a bit. Yeah. I think everybody thought he was just due.

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<v Speaker 1>I'm gonna act like I don't want to tell you

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<v Speaker 1>who it is, like, but no, he was like, uh,

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<v Speaker 1>there's a moment where he looks behind Fae like he's

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<v Speaker 1>looking off stage right. Yeah, in retrospect, you know, you

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<v Speaker 1>you see all the ways that people have tried to

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<v Speaker 1>get out of this, But at the time, I literally tweeted, um,

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<v Speaker 1>come on, Warren, this is an American idol and then

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<v Speaker 1>don't very bad done away, you know, bust his ball

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<v Speaker 1>and she's like, oh, you're impossible. Yeah, come on, He's like,

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<v Speaker 1>well here you read it. I think he was just

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<v Speaker 1>showing it to her, like he was just like, what

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<v Speaker 1>do we do here? And she's like, La La Land.

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<v Speaker 1>And but what's sounds crazy is by all logic, it

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<v Speaker 1>was supposed to be La La Land. So really the

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<v Speaker 1>snaff who shouldn't have mattered. But then the fact that

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<v Speaker 1>Moonlight was the winner was amazing. Yeah, that's that's that's

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<v Speaker 1>that's true. Like on top of everything, it's like like

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<v Speaker 1>they could have nobody would have known it had just

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<v Speaker 1>gone the way people expected because anyone made the comparison.

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<v Speaker 1>Yet I'm sure someone has that it's basically the year

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<v Speaker 1>Crash one in reverse, where where like, you know, we

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<v Speaker 1>were expecting Brokeback Mountain and then it was crashing. Everyone

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<v Speaker 1>was angry. He were expecting La La Land. But then

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<v Speaker 1>the movie that like regarding the reaction to yeah, it's

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<v Speaker 1>definitely the first time since Brokeback Mountain that you know,

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<v Speaker 1>like a movie kind of crashed on the waves of

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<v Speaker 1>on on on the on the shore of success as

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<v Speaker 1>another movie kind of is it the long Ahead? You know,

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<v Speaker 1>well it is. It's almost even more shocking because and

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<v Speaker 1>you know, I love Moonlight and I'm thrilled but at

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<v Speaker 1>one but it didn't win SAG Ensemble. You know, it

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<v Speaker 1>had no precursors to this was Colonel down into this.

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<v Speaker 1>But why should we predict anything next year? I know, right,

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<v Speaker 1>there's nothing. I early on, I was just like, okay,

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<v Speaker 1>this is gonna be an offer. And the weird thing

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<v Speaker 1>is I got the most random things right, like you know, editing,

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<v Speaker 1>hack saw, I think you picked Taxa. Oh you didn't, Okay,

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<v Speaker 1>so Tim and Taxa I thought I did, but I

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<v Speaker 1>guess I picked sound editing. Okay, Yeah I went with

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<v Speaker 1>you on that. Um, thanks Chris. So. Yeah, there was

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<v Speaker 1>a lot of things that I actually got right that

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<v Speaker 1>like I never would have gotten right, and then I

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<v Speaker 1>got huge things wrong like Best Picture and Actor. Yeah

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<v Speaker 1>there's another thing, SAG Best Actor combo. You know, the

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<v Speaker 1>last time the SAG winner lost, what was it, probably

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<v Speaker 1>George Clooney note Clooney, I'm so sorry Viola Davis when

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<v Speaker 1>she won for the specifically best Actors. Oh, you have

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<v Speaker 1>to go back to Johnny Depp for Parents of the Caribbean,

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<v Speaker 1>which is weird, which nobody thought he would really win

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<v Speaker 1>the Oscar for that, So that happened. I truely the

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<v Speaker 1>name of the podcast that happened. What else you know?

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<v Speaker 1>I personally am a little annoyed about the foreign film situation.

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<v Speaker 1>So you really think people voted as a protest. I

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<v Speaker 1>know there are people who think that movie is great

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<v Speaker 1>and think, oh, just one on its own whatever. There

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<v Speaker 1>are also people who don't think it's great, who think

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<v Speaker 1>it's as Gar's weakest film so far. Yeah, it wouldn't

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<v Speaker 1>have been my pick, but he still is the biggest

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<v Speaker 1>quote unquote name. But I just think no one's talking

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<v Speaker 1>about that statement obviously, but for other reasons. And it

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<v Speaker 1>just seemed like a statement quote unquote that wasn't going

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<v Speaker 1>to get much further than the steps of the theater.

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<v Speaker 1>Like it just seemed like you should make an honest decision.

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<v Speaker 1>I think about what you think the best film is

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<v Speaker 1>not giving a guy who's in London who can't make

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<v Speaker 1>a statement on his own who granted sent uh very

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<v Speaker 1>important people. Yeah, who was the woman? I was the

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<v Speaker 1>first I think, Yeah, it's great, it's a great story

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<v Speaker 1>in itself. But it's just I don't know, it's it's

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<v Speaker 1>one of those things we're being overtly political with awards.

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<v Speaker 1>It doesn't settle right with me. I don't even know

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<v Speaker 1>how to explain what I mean. I genuinely think that

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<v Speaker 1>most people who voted for the Salesman really picked the Salesman,

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<v Speaker 1>would have picked it otherwise. But and you know, I'm

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<v Speaker 1>who knows who even saw like, well, I know Tony Herdman,

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<v Speaker 1>there weren't fans. There weren't many fans left of that.

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<v Speaker 1>There were a lot of fans of the last ninety minutes. Yeah,

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<v Speaker 1>if they got there. I know a lot of people

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<v Speaker 1>who walked out of that and just just it takes

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<v Speaker 1>it a while for that movie to catch it stride,

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<v Speaker 1>you know. Yeah, I mean I think my my pick

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<v Speaker 1>probably would have been man called. Yeah, that's what I

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<v Speaker 1>thought was gonna happen. I think in the old system,

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<v Speaker 1>you know, before they sent the movies to everyone and

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<v Speaker 1>opened the voting to everyone, that probably would have won.

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<v Speaker 1>But so it's still strange to me, l wasn't nominated

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<v Speaker 1>in that category. I'm still strange to me, people thought

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<v Speaker 1>us about whoever was going to win Best Actress, me too,

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<v Speaker 1>But um, I've said that about other people who then

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<v Speaker 1>went on to win, So I'll just shut my mouth.

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<v Speaker 1>I just I didn't think that was ever in the cards.

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<v Speaker 1>It was great to see her at the Oscars, though.

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<v Speaker 1>Somebody was like saying making sort of making fun of

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<v Speaker 1>people at and after parties, saying like, oh, this person

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<v Speaker 1>thought you know, La La Land was going to sweep,

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<v Speaker 1>and I was like, yes, so did I. That's not

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<v Speaker 1>a c after fourteen nominations, by the way, six wins,

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<v Speaker 1>not to shock absolutely. That's another thing that's sort of

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<v Speaker 1>getting buried in all this that think happened. By the way,

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<v Speaker 1>what do you mean not winning? Um, I don't know.

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<v Speaker 1>I mean, like, do you think the backlash affected it.

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<v Speaker 1>I think it's like there's this combination of stuff, and

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<v Speaker 1>I don't think you can legitimately say it was any

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<v Speaker 1>one thing. All you can really say is Moonlight one

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<v Speaker 1>best picture, and that's amazing. It's amazing, I mean really

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<v Speaker 1>on so many levels. But the different things that like

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<v Speaker 1>you can look at our a yes, there was backlash.

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<v Speaker 1>Why was there a backlash? Well, then you look at

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<v Speaker 1>fourteen nominations, I think even those of us who love

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<v Speaker 1>Law the Land extremely I don't think it really would

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<v Speaker 1>be in that pantheon per se. That's interesting to me

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<v Speaker 1>because I think it's way better than Titanic, which I

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<v Speaker 1>know that's which by the way, I was watching Saturday night.

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<v Speaker 1>I love the movie and I and I probably I

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<v Speaker 1>probably like it more than All About Eve by the way,

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<v Speaker 1>Like I'm not a big All About E fan. Everyone's

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<v Speaker 1>like my brothers. Actually, wait, I dropped my monocle, but

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<v Speaker 1>just some some of the you know, it's it's it's

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<v Speaker 1>a little more modest in its various pieces. Then yeah,

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<v Speaker 1>and you shoot the fault of film because of that.

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<v Speaker 1>That's absolutely true. But I think that maybe that is

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<v Speaker 1>part of what happened, like suddenly it got a little

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<v Speaker 1>too big. I think, Uh, we love to lift things

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<v Speaker 1>up and then tear. Yes, And there's also obviously the

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<v Speaker 1>the entire mood of the country change in November. Uh,

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<v Speaker 1>the nominations were in like right after Trump was inaugurated.

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<v Speaker 1>I think, yes, sounds about right. So you know, reality

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<v Speaker 1>set in in that moment and you know, it's it's

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<v Speaker 1>also there's something said. Yeah, there's also something to be said.

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<v Speaker 1>I mean, we did there's a lot of change in membership, um,

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<v Speaker 1>and there's something to be said for Moonlight was the

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<v Speaker 1>movie that I don't think anyone hated. True, But at

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<v Speaker 1>the same time, I feel like you can't make the

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<v Speaker 1>argument that La La Land was divisive because it won

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<v Speaker 1>a preferential ballot at POP. So again, I'm not going

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<v Speaker 1>to predict anything next year. I'm done with I'm on

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<v Speaker 1>as long as I can get away with it. I'm legitimate,

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<v Speaker 1>legitimately serious about that. Like, look, why bother Until like

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<v Speaker 1>right before the nomination, I yeah, I didn't want to

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<v Speaker 1>predict anything until Sad came out because I really was

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<v Speaker 1>so close to call between Casey and Denzel for me,

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<v Speaker 1>you know, and then so I was like, I'll go

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<v Speaker 1>with the SAG winner, And well that was wrong. I

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<v Speaker 1>was happy for Casey. He looked relieved after a very

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<v Speaker 1>long I know. I mean, obviously a lot of it

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<v Speaker 1>is the culmination of going on of work. And yeah,

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<v Speaker 1>very happy for Kenn Flanagan. I held his Oscar at

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<v Speaker 1>the Amazon after party, which was only the second Oscar

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<v Speaker 1>I've held who is the first birdman achiev Oh photography. Well,

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<v Speaker 1>I am just an oscar slut because he held all

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<v Speaker 1>of his oscars, you know, the first, the first oscarer

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<v Speaker 1>I held. This is so random was Walton Goggins. I

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<v Speaker 1>was doing an interview at his place. He has an

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<v Speaker 1>oscar for short film, a short film called I Think

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<v Speaker 1>the Account Here Account Yes, which is a very good

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<v Speaker 1>little film. Not I forgot yes, and I was I

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<v Speaker 1>was at his house doing an interview and I was like,

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<v Speaker 1>what do you have an oscar? Or is Joel McHale

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<v Speaker 1>calls because it's far a short film, a daytime oscar um.

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<v Speaker 1>And then obviously, um, I think Spike Jones. I held

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<v Speaker 1>his one year um, which he didn't seem to like

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<v Speaker 1>too much. Um. Then I had Rita's. We did show

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<v Speaker 1>with him the day after, so I had all three

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<v Speaker 1>of his and I was trying to look like really bored,

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<v Speaker 1>like whatever, and um yeah. Then last year Achievo brought

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<v Speaker 1>all three of his to isshoot and then less um

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<v Speaker 1>I guess. Sunday night, I was leaving and Justin Hurwitz

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<v Speaker 1>was entering, and he asked if I wanted to hold

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<v Speaker 1>them and get a picture, and there was, and I

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<v Speaker 1>said something like I was like, oh, I don't know,

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<v Speaker 1>is that kind of OSTENTATIONO? Okay, So Jessin actually took

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<v Speaker 1>a photo of me holding his oscars, and then all

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<v Speaker 1>these people started gathering around and taking photos of me

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<v Speaker 1>because they wanted photos of the oscar. Sounds like it's

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<v Speaker 1>gonna be all these photos of like, who's this person?

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<v Speaker 1>I kept saying. I was like, he's he's actually belonged

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<v Speaker 1>to oscars mailed to her going on, I feel weird

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<v Speaker 1>about holding oscars. Well, it is like you gotta do it.

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<v Speaker 1>At least you don't have the chance. It only ever

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<v Speaker 1>happened when someone's literally like here held it out, like

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<v Speaker 1>Chiva was like here, check it out, and I was

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<v Speaker 1>like okay, and you know, Casey like handed me Kenneth

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<v Speaker 1>far against oscars like okay, wow, this is awesome. They're

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<v Speaker 1>heavier than next, and I just, yeah, my feeling is

0:11:51.040 --> 0:11:52.720
<v Speaker 1>you won this, this is yours, so like I don't.

0:11:52.760 --> 0:11:54.520
<v Speaker 1>I don't really feel like I should be touching it,

0:11:54.600 --> 0:11:56.160
<v Speaker 1>but they do. But like I think people who win

0:11:56.240 --> 0:11:58.559
<v Speaker 1>them get it. Like I remember backstage at the Golden Globes,

0:11:58.600 --> 0:12:01.160
<v Speaker 1>my friend who had just won a Globe was like here,

0:12:01.240 --> 0:12:02.959
<v Speaker 1>hold it, and I was like, no, this feels weird,

0:12:03.040 --> 0:12:04.920
<v Speaker 1>Like okay, you know, and then you have to get

0:12:04.920 --> 0:12:08.959
<v Speaker 1>the obligatory photo. Yeah, like I didn't. We we we

0:12:09.240 --> 0:12:12.200
<v Speaker 1>were fortunate to have both Damien Chazelle and Barry Jenkins

0:12:12.240 --> 0:12:15.440
<v Speaker 1>on our cover this week. I didn't uh touch their

0:12:15.440 --> 0:12:19.760
<v Speaker 1>oscars at the shoot? Do they bring them photos and whatnot?

0:12:19.880 --> 0:12:23.200
<v Speaker 1>And uh, really just I was happy we were able

0:12:23.240 --> 0:12:26.760
<v Speaker 1>to do that story because it's it was such an

0:12:26.840 --> 0:12:29.720
<v Speaker 1>interesting moment of seeing these two groups of people who

0:12:29.800 --> 0:12:32.439
<v Speaker 1>legitimately love each other, like going way back to tell

0:12:32.480 --> 0:12:35.320
<v Speaker 1>your ride when they all met. Uh, these movies premiered

0:12:35.320 --> 0:12:38.520
<v Speaker 1>two days apart, you know, law Land premiered in Venice

0:12:38.559 --> 0:12:41.360
<v Speaker 1>and on the thirty one of August, two days later

0:12:41.520 --> 0:12:44.520
<v Speaker 1>Moonlight premier. To tell your Ride, and uh, they've just

0:12:44.559 --> 0:12:46.240
<v Speaker 1>been on the circuit the whole time and they had

0:12:46.280 --> 0:12:49.120
<v Speaker 1>to endure the snaff food together and Jordan Horrowitz, producer

0:12:49.160 --> 0:12:51.559
<v Speaker 1>of La La Land, just handled it like a champ.

0:12:52.160 --> 0:12:55.120
<v Speaker 1>He showed what a great producer he is because nobody

0:12:55.200 --> 0:12:58.040
<v Speaker 1>was doing anything and he stepped up. He said, there's

0:12:58.040 --> 0:13:00.760
<v Speaker 1>a mistake grabbed. I saw some bill on Twitter were

0:13:00.800 --> 0:13:03.600
<v Speaker 1>angry that he snatched the card from Warren Beatty. I

0:13:03.720 --> 0:13:05.719
<v Speaker 1>was like, go back and look at Warren Batty's face

0:13:05.720 --> 0:13:08.800
<v Speaker 1>after he does that. He's not mad at all. He's like,

0:13:09.240 --> 0:13:12.720
<v Speaker 1>the guy is handling like it was and he said,

0:13:12.760 --> 0:13:14.400
<v Speaker 1>you know, I'm going to be proud to hand this

0:13:14.440 --> 0:13:17.000
<v Speaker 1>to my my friends, which was so beautiful and and

0:13:17.240 --> 0:13:19.120
<v Speaker 1>that's the truth. And that's why, you know, seeing these

0:13:19.160 --> 0:13:21.760
<v Speaker 1>two come together for that shoot and that story was

0:13:21.840 --> 0:13:25.440
<v Speaker 1>really awesome. And it's such an awesome mutual admiration society.

0:13:25.559 --> 0:13:28.000
<v Speaker 1>It really is. Yeah, And it's not like, you know,

0:13:28.040 --> 0:13:29.560
<v Speaker 1>I know a lot of people like pretend to like

0:13:29.640 --> 0:13:32.520
<v Speaker 1>each other on the campaign trail, but they genuinely like

0:13:32.640 --> 0:13:35.480
<v Speaker 1>they've had to spend so much time together, they love

0:13:35.520 --> 0:13:38.720
<v Speaker 1>each other's movies. It's it's really really, actually kind of heartwarming.

0:13:38.760 --> 0:13:40.320
<v Speaker 1>And when we did the interview, they had not seen

0:13:40.360 --> 0:13:43.320
<v Speaker 1>each other at the parties or anything. They finally that

0:13:43.360 --> 0:13:45.280
<v Speaker 1>morning we're able to compare notes and like, what was

0:13:45.280 --> 0:13:47.680
<v Speaker 1>it like for you? What was like, you know, these

0:13:47.720 --> 0:13:50.920
<v Speaker 1>two guys, we're gonna be seeing their work for a

0:13:50.920 --> 0:13:53.480
<v Speaker 1>long exactly. They're going to be back there. They're a

0:13:53.480 --> 0:13:57.400
<v Speaker 1>part of I think a very exciting new generation of filmmakers.

0:13:57.480 --> 0:14:00.400
<v Speaker 1>And I mean, this is this is the thing like

0:14:00.679 --> 0:14:02.880
<v Speaker 1>all throughout the year with the backlash and stuff, it's

0:14:02.920 --> 0:14:04.960
<v Speaker 1>like those of us who are like, we love both

0:14:05.000 --> 0:14:08.760
<v Speaker 1>of these movies, and it's kind of like that snaff

0:14:08.760 --> 0:14:12.720
<v Speaker 1>who allowed that moment to be seen. Like I'm not

0:14:12.800 --> 0:14:16.800
<v Speaker 1>saying this well, but it's just use your words and

0:14:16.920 --> 0:14:19.840
<v Speaker 1>use your words, Chris. It's just great to see them

0:14:19.880 --> 0:14:22.400
<v Speaker 1>both come together. And it's a weird moment and it's

0:14:22.440 --> 0:14:24.440
<v Speaker 1>like the way Barry put it to me, it was messy,

0:14:24.560 --> 0:14:26.760
<v Speaker 1>but it was gorgeous. It really was, I mean, and

0:14:26.800 --> 0:14:29.240
<v Speaker 1>you know, yeah, I wish it hadn't gone down that way.

0:14:29.280 --> 0:14:30.920
<v Speaker 1>I wish that, you know, it had been this pure

0:14:30.960 --> 0:14:35.000
<v Speaker 1>moment for Moonlight. But it's it's weirdly sort of appropriate.

0:14:35.040 --> 0:14:37.560
<v Speaker 1>And I know this has been mentioned at least on Twitter,

0:14:37.680 --> 0:14:41.360
<v Speaker 1>but like I think the funniest tweet I saw was like, hey,

0:14:41.440 --> 0:14:43.120
<v Speaker 1>La La Land, remember when you gave us a glimpse

0:14:43.120 --> 0:14:44.880
<v Speaker 1>of a happy ending and then tore it away. How

0:14:44.920 --> 0:14:48.480
<v Speaker 1>does its weirdly appropriate? It's like a current at all

0:14:48.520 --> 0:14:52.120
<v Speaker 1>creep Bridge. Oh my god, wow you went back for that.

0:14:52.960 --> 0:14:55.640
<v Speaker 1>I'm surprised no one's like I just thought about that yesterday.

0:14:55.640 --> 0:14:57.080
<v Speaker 1>I was like, it's kind of like a more romantic

0:14:57.200 --> 0:15:01.200
<v Speaker 1>version of the movie Yes, Happy the Happy End spoilt

0:15:01.680 --> 0:15:03.840
<v Speaker 1>if you've had sixty years to see a current at

0:15:03.840 --> 0:15:07.960
<v Speaker 1>home bridge and that, ye so, but yeah, I guess

0:15:07.960 --> 0:15:09.920
<v Speaker 1>what I'm trying to say is, well, those of us

0:15:09.960 --> 0:15:12.240
<v Speaker 1>who do this, we know what these two teams think

0:15:12.240 --> 0:15:14.880
<v Speaker 1>about each other. But that moment allowed the world to

0:15:14.920 --> 0:15:16.520
<v Speaker 1>see what these two teams think about each other. And

0:15:16.600 --> 0:15:19.120
<v Speaker 1>I thought that was really great. Yeah, you know, and

0:15:19.240 --> 0:15:24.920
<v Speaker 1>that's not necessarily normal either, because this is a cutthroat thing. Yeah,

0:15:25.120 --> 0:15:28.400
<v Speaker 1>I mean, you know, so gosh, what else is there

0:15:28.440 --> 0:15:31.840
<v Speaker 1>to say? Uh? This is did you like the show overall?

0:15:32.800 --> 0:15:36.040
<v Speaker 1>Not really see? I really did. I feel I thought

0:15:36.080 --> 0:15:37.920
<v Speaker 1>Jimmy was like a little tone deaf, like I thought

0:15:37.920 --> 0:15:43.720
<v Speaker 1>holding up the kid from Lyon with the lion Key music. Yeah,

0:15:43.720 --> 0:15:46.640
<v Speaker 1>I don't know that about that. Yeah. I don't want

0:15:46.640 --> 0:15:49.400
<v Speaker 1>to say racist, because that's a little but each stream,

0:15:49.800 --> 0:15:52.920
<v Speaker 1>but it felt a little weird and you know, making

0:15:52.920 --> 0:15:55.920
<v Speaker 1>fun of all the foreign sounding names. It's just that. Definitely,

0:15:56.240 --> 0:16:00.840
<v Speaker 1>Bob Hope, like, let's dial it back a bit. Some

0:16:00.880 --> 0:16:03.880
<v Speaker 1>people don't are like over the Jimmy Kimmel, Matt Damon feud.

0:16:03.920 --> 0:16:05.400
<v Speaker 1>I still think it's one of the funniest things ever.

0:16:06.000 --> 0:16:09.280
<v Speaker 1>It's funny, but it's chafing. Sure, maybe it shouldn't have

0:16:09.320 --> 0:16:11.000
<v Speaker 1>been And that was how it was supposed to end.

0:16:11.040 --> 0:16:13.520
<v Speaker 1>Did you hear that it was supposed to end with

0:16:13.840 --> 0:16:16.280
<v Speaker 1>Jimmy sitting next to Matt Damon, I assume saying something

0:16:16.280 --> 0:16:19.240
<v Speaker 1>like ha ha you lost. Yeah, exactly, But nope, he

0:16:19.280 --> 0:16:22.200
<v Speaker 1>had to be on stage fumbling with the rest of them. No,

0:16:22.280 --> 0:16:23.720
<v Speaker 1>I didn't. I didn't love the show. I did like

0:16:24.280 --> 0:16:26.760
<v Speaker 1>the open with Justin Timberlake. Some people were saying, this

0:16:26.760 --> 0:16:31.360
<v Speaker 1>isn't the Grammys. It's like whatever, I hate Twitter when

0:16:31.440 --> 0:16:34.000
<v Speaker 1>when the Oscars is going on, I hate I love

0:16:34.120 --> 0:16:36.400
<v Speaker 1>and hate it because there's some funny stuff out there.

0:16:36.400 --> 0:16:39.440
<v Speaker 1>You get to see a lot of ID at that time.

0:16:39.720 --> 0:16:43.080
<v Speaker 1>But I you know, I love that song. Um so

0:16:43.120 --> 0:16:46.120
<v Speaker 1>what you were singing it earlier before we turn on

0:16:46.160 --> 0:16:48.360
<v Speaker 1>the microphones. When I sing that song to my son,

0:16:48.720 --> 0:16:51.520
<v Speaker 1>he smiles so big. So how could I not like

0:16:51.640 --> 0:16:53.360
<v Speaker 1>that song? And I thought it was great coming through

0:16:53.360 --> 0:16:56.160
<v Speaker 1>the crowd and everything. You know it was were you? Um?

0:16:56.160 --> 0:16:59.240
<v Speaker 1>You went to the Independent Spirit Awards, right. Um, I

0:16:59.280 --> 0:17:02.280
<v Speaker 1>watched from home, which seems to be my new malu.

0:17:02.600 --> 0:17:06.639
<v Speaker 1>Uh and um. I thought it was a very risky

0:17:06.720 --> 0:17:11.040
<v Speaker 1>but absolutely hilarious bit where Andy Sandberg did the like

0:17:11.160 --> 0:17:13.119
<v Speaker 1>that you didn't see. I wondered how it layed in

0:17:13.119 --> 0:17:15.280
<v Speaker 1>the room because he came out as Eddie Veteran saying

0:17:15.320 --> 0:17:17.959
<v Speaker 1>I'm still alive. Instead of an in memorium segment, they

0:17:17.960 --> 0:17:19.760
<v Speaker 1>showed people who were still alive and I want, I

0:17:19.760 --> 0:17:22.800
<v Speaker 1>mean like, it was very risky and I wondered how

0:17:22.800 --> 0:17:25.160
<v Speaker 1>it played in the room. I thought it was hilariously

0:17:25.600 --> 0:17:28.040
<v Speaker 1>how it played because at the same time that news

0:17:28.080 --> 0:17:33.200
<v Speaker 1>was breaking about Greg P. Russell having his sound nomination. Uh,

0:17:33.280 --> 0:17:36.560
<v Speaker 1>the Academy embarrassing a thirty year guy publicly when they

0:17:36.560 --> 0:17:39.520
<v Speaker 1>could have dealt with this quietly, and embarrassing him for what.

0:17:39.800 --> 0:17:43.000
<v Speaker 1>On top of which, embarrassing him for something that everyone does, like,

0:17:43.040 --> 0:17:44.879
<v Speaker 1>I hope they don't stop with that. They they better

0:17:44.880 --> 0:17:49.199
<v Speaker 1>go rescind every Mirriamac's Best Picture nomination. Uh. It's that

0:17:49.280 --> 0:17:54.240
<v Speaker 1>was utter bullshit and uh. And then compounded with the academies,

0:17:54.600 --> 0:17:56.520
<v Speaker 1>you know, with the screw up at the Oscars and

0:17:57.119 --> 0:18:00.680
<v Speaker 1>not a great year even though they've you know, diversity

0:18:00.680 --> 0:18:04.680
<v Speaker 1>stuff was was nice. Uh, the Academy has had a

0:18:04.760 --> 0:18:07.320
<v Speaker 1>rough year. Yeah, and they have some changes to make.

0:18:07.359 --> 0:18:08.679
<v Speaker 1>I think I hope they make them. So will you'll

0:18:08.680 --> 0:18:11.240
<v Speaker 1>be running for Academy president to say it's your platform

0:18:11.280 --> 0:18:15.560
<v Speaker 1>to announce that. Nope, Christmas Patrick should run. I don't

0:18:15.560 --> 0:18:20.600
<v Speaker 1>know who that is. If you understood that reference, you

0:18:20.640 --> 0:18:22.560
<v Speaker 1>know why that's awesome. I'm going to have to do

0:18:23.000 --> 0:18:24.480
<v Speaker 1>it now. Are you going to tell us saying that

0:18:24.520 --> 0:18:26.879
<v Speaker 1>to the to the audience, it's it's the SNL sketch

0:18:26.960 --> 0:18:30.159
<v Speaker 1>that uh, what's his name Kyle Mooney does where he's

0:18:30.200 --> 0:18:33.679
<v Speaker 1>running for class president and it's like one of my

0:18:33.760 --> 0:18:38.159
<v Speaker 1>favorite sketches on Saturday Night Left. And I'm so tired

0:18:38.240 --> 0:18:40.480
<v Speaker 1>that I'm just rambling at this point. This is the

0:18:40.560 --> 0:18:46.080
<v Speaker 1>last show of season one of But you have what

0:18:46.200 --> 0:18:48.560
<v Speaker 1>I think should be an OSCAR nominated movie on the

0:18:48.560 --> 0:18:53.040
<v Speaker 1>show this week. I do Who is it? James Mannold

0:18:53.040 --> 0:18:56.040
<v Speaker 1>from Logan? I wanted to talk about Logan. Oh my god,

0:18:56.080 --> 0:18:59.159
<v Speaker 1>I loved Logan so much. I mean, you know, I

0:18:59.200 --> 0:19:00.679
<v Speaker 1>don't know if I can say it's the best X

0:19:00.680 --> 0:19:05.040
<v Speaker 1>Men movie because it's so different. I would, Yeah, it's

0:19:05.040 --> 0:19:07.520
<v Speaker 1>a Western, but it is. It's a straight up Western.

0:19:07.560 --> 0:19:10.520
<v Speaker 1>I am not kidding. I am being completely serious when

0:19:10.520 --> 0:19:13.720
<v Speaker 1>I say Patrick Stewart should be up for Oscar consideration.

0:19:14.119 --> 0:19:20.560
<v Speaker 1>He's so fantastic and Logan, Um, yeah, it's kids, but

0:19:20.960 --> 0:19:23.719
<v Speaker 1>hard are I'm letting the listeners just despite you. I'm

0:19:23.760 --> 0:19:26.440
<v Speaker 1>going to have children and taking them Logan this week.

0:19:26.560 --> 0:19:29.440
<v Speaker 1>I did suggest at the beginning of this podcast way

0:19:29.440 --> 0:19:31.800
<v Speaker 1>back in September that everyone take their kids to Sausage Party.

0:19:32.320 --> 0:19:34.439
<v Speaker 1>Maybe I should close by saying take kids of Logan.

0:19:34.840 --> 0:19:39.840
<v Speaker 1>It's it's the blood Fest. And we have some we

0:19:39.920 --> 0:19:41.760
<v Speaker 1>I'm not even kidding. We have movies that I think

0:19:41.800 --> 0:19:43.800
<v Speaker 1>will be in the Oscar Conversation next year. Coming up

0:19:43.840 --> 0:19:45.800
<v Speaker 1>this month, we have Logan. We have Beauty in the

0:19:45.840 --> 0:19:50.199
<v Speaker 1>East in two weeks. Um. Yeah, so look we're already

0:19:50.200 --> 0:19:55.919
<v Speaker 1>back start making them. But yeah, I think this has

0:19:55.960 --> 0:19:58.520
<v Speaker 1>been a great run of shows here. So thanks for

0:19:58.600 --> 0:20:02.680
<v Speaker 1>being here with me weekend and week out. And yes,

0:20:02.720 --> 0:20:28.960
<v Speaker 1>stay tuned for James Mangold right after this m who

0:20:29.000 --> 0:20:32.639
<v Speaker 1>got ourselves an next Minute fan? Maybe a quarter of

0:20:32.640 --> 0:20:37.719
<v Speaker 1>it happened. I'm not let this in the real world,

0:20:37.760 --> 0:20:41.359
<v Speaker 1>people die, Logan. I don't want to talk about it. Logan,

0:20:41.560 --> 0:20:47.560
<v Speaker 1>just stop, be careful. I need the girl. What girl

0:20:50.119 --> 0:21:20.680
<v Speaker 1>go get h No? No no? And where do She's

0:21:20.720 --> 0:21:27.240
<v Speaker 1>like you, very much like you. Where I am not

0:21:27.880 --> 0:21:32.160
<v Speaker 1>whatever it is you think I am. She needs our help.

0:21:33.480 --> 0:21:41.879
<v Speaker 1>I want to come off. Someone has come along. This

0:21:41.960 --> 0:21:48.600
<v Speaker 1>is what life looks like. People love each other at home.

0:21:51.720 --> 0:22:02.760
<v Speaker 1>You should take a moment feel it. Welcome back everyone,

0:22:02.800 --> 0:22:06.240
<v Speaker 1>I'm here with the director of Logan, James Mangold. Thanks

0:22:06.240 --> 0:22:08.240
<v Speaker 1>for doing the show man. I really appreciate it's good

0:22:08.240 --> 0:22:10.480
<v Speaker 1>to be here. I'm glad we could make it happen. Um,

0:22:11.200 --> 0:22:12.840
<v Speaker 1>we're just talking about all the travel you've been doing

0:22:12.880 --> 0:22:16.159
<v Speaker 1>for this movie. Yeah, we've done the kind of whirlwind.

0:22:16.480 --> 0:22:20.679
<v Speaker 1>Um of well, I was in Germany for the for

0:22:20.720 --> 0:22:23.520
<v Speaker 1>the Berlin Film Festival where we kind of had our premiere,

0:22:24.080 --> 0:22:26.680
<v Speaker 1>then went to London, um, and then did two stints

0:22:26.680 --> 0:22:29.120
<v Speaker 1>in New York before and after London, and now I'm

0:22:29.119 --> 0:22:31.679
<v Speaker 1>back in here. You doing this, Yeah, it's it's one

0:22:31.720 --> 0:22:34.560
<v Speaker 1>of those movies we all everywhere for it. We only

0:22:34.560 --> 0:22:36.879
<v Speaker 1>finished We only finished the movie about two and a

0:22:36.880 --> 0:22:38.840
<v Speaker 1>half weeks ago, so it's kind of that's more of

0:22:38.840 --> 0:22:40.640
<v Speaker 1>the feeling of Whirlwood that must have been the day

0:22:40.640 --> 0:22:43.439
<v Speaker 1>before I saw it practically, which, by the way, the

0:22:43.440 --> 0:22:45.760
<v Speaker 1>movie is awesome and a word thank you, and we're

0:22:45.800 --> 0:22:47.200
<v Speaker 1>gonna we're gonna talk about it in a minute. But

0:22:47.240 --> 0:22:49.080
<v Speaker 1>I was just thinking, I feel like I'd be remiss

0:22:49.680 --> 0:22:51.840
<v Speaker 1>if I didn't ask you about what every one's thinking

0:22:51.840 --> 0:22:55.120
<v Speaker 1>about this week. Did you watch the oscars Um? I did?

0:22:55.400 --> 0:22:59.760
<v Speaker 1>I did? Wow? Right, Wow, I guess wow. I mean

0:22:59.800 --> 0:23:02.800
<v Speaker 1>it's wow. But the thing for me, that's odds. I

0:23:02.840 --> 0:23:05.240
<v Speaker 1>was already at that point in the evening starting to

0:23:05.359 --> 0:23:09.399
<v Speaker 1>kind of tune out. But the partly just for me,

0:23:09.560 --> 0:23:17.639
<v Speaker 1>because however sacrosanct uh it is for me. The I

0:23:17.680 --> 0:23:21.720
<v Speaker 1>don't really care who wins um. The it's the every

0:23:21.760 --> 0:23:25.800
<v Speaker 1>one of those movies is brilliant um in its own way.

0:23:25.960 --> 0:23:28.520
<v Speaker 1>And the you know, whenever anyone says me, name your

0:23:28.520 --> 0:23:31.480
<v Speaker 1>five favorite Westerns, I like freeze. Whenever it says, name

0:23:31.560 --> 0:23:33.719
<v Speaker 1>the best three movies you saw this year, I freeze,

0:23:33.760 --> 0:23:38.520
<v Speaker 1>meaning I the kind of the reality show of picking

0:23:38.760 --> 0:23:42.280
<v Speaker 1>the best and having a discussion with someone like why

0:23:42.440 --> 0:23:46.200
<v Speaker 1>Moonlight or Lalla Land is better than one is better

0:23:46.200 --> 0:23:50.400
<v Speaker 1>than the other seems ludicrous on his face, even yes,

0:23:50.520 --> 0:23:53.560
<v Speaker 1>certainly too like so that so literally I got to

0:23:53.600 --> 0:23:56.200
<v Speaker 1>see I got to see both wonderful realities played out.

0:23:58.119 --> 0:24:00.520
<v Speaker 1>I've never seen anything like that, but it is I mean,

0:24:00.560 --> 0:24:03.879
<v Speaker 1>obviously it's more of a train wreck in the sense

0:24:03.920 --> 0:24:08.639
<v Speaker 1>of stage managing, but the uh um, but in a

0:24:08.680 --> 0:24:11.840
<v Speaker 1>way I see more pain for all the people who

0:24:11.840 --> 0:24:15.920
<v Speaker 1>are made mistakes and had it happen than anything delicious

0:24:15.960 --> 0:24:17.919
<v Speaker 1>to talk about. It kind of seems more like just

0:24:18.359 --> 0:24:21.240
<v Speaker 1>like what a nightmare. Well luckily too, I mean, we've

0:24:21.280 --> 0:24:23.480
<v Speaker 1>got both of those directors on our cover this week,

0:24:23.560 --> 0:24:26.800
<v Speaker 1>and they're friends. They love each other, The two camps

0:24:26.840 --> 0:24:29.520
<v Speaker 1>love each other, and it's it was an interesting moment

0:24:29.640 --> 0:24:31.560
<v Speaker 1>and kind of a lovely moment in the weird way,

0:24:31.720 --> 0:24:34.560
<v Speaker 1>so because they were both on that stage and everybody's hugging.

0:24:34.640 --> 0:24:37.399
<v Speaker 1>So anyway, it was and nasty is good, you know,

0:24:37.720 --> 0:24:40.159
<v Speaker 1>um in in the world of what I do? You know?

0:24:40.240 --> 0:24:44.120
<v Speaker 1>You you you hope something gets a sloppy and revealing

0:24:44.320 --> 0:24:47.480
<v Speaker 1>as as a moment like that. Yeah, well, this movie, logan,

0:24:47.920 --> 0:24:52.040
<v Speaker 1>it's a hard are hard our rating, obviously viciously violent,

0:24:52.080 --> 0:24:55.600
<v Speaker 1>lots of colorful language, which as I'm watching it, I'm wondering, Okay,

0:24:56.520 --> 0:24:59.480
<v Speaker 1>how did he defend these decisions to the studio because

0:24:59.480 --> 0:25:02.640
<v Speaker 1>this is a big guy p character for them, even

0:25:02.720 --> 0:25:04.359
<v Speaker 1>right down to the title. I mean, it's it doesn't

0:25:04.359 --> 0:25:07.480
<v Speaker 1>have Wolverine in the title, it's Logan. You've got like

0:25:07.560 --> 0:25:11.000
<v Speaker 1>three or four good questions in those senses. UM. The

0:25:11.040 --> 0:25:12.960
<v Speaker 1>first thing I'd say is that I never had to

0:25:13.000 --> 0:25:17.600
<v Speaker 1>defend the decision to go are that much? UM. Hugh

0:25:17.640 --> 0:25:20.040
<v Speaker 1>and I were pretty definitive and a pact we made

0:25:20.080 --> 0:25:23.280
<v Speaker 1>with each other about wanting the tone to change and

0:25:23.359 --> 0:25:27.960
<v Speaker 1>wanting to do something different, um, if only for selfish reasons. UM.

0:25:27.960 --> 0:25:30.960
<v Speaker 1>In my case, UM, I Hugh very much wanted to

0:25:31.000 --> 0:25:33.520
<v Speaker 1>give fans what they have been waiting for in terms

0:25:33.600 --> 0:25:38.520
<v Speaker 1>of UM physical UM, the display of the Berserker rage

0:25:38.600 --> 0:25:42.480
<v Speaker 1>in all its bloody glory. UM. My interest in the

0:25:42.600 --> 0:25:46.560
<v Speaker 1>R rating, though, was much bigger than just salty language

0:25:46.680 --> 0:25:49.400
<v Speaker 1>and violence, both of which I thought would be really

0:25:49.400 --> 0:25:51.359
<v Speaker 1>helpful to take the movie to a new place. But

0:25:51.400 --> 0:25:54.800
<v Speaker 1>it was also something else, which is that, UM, if

0:25:54.800 --> 0:25:56.600
<v Speaker 1>you can get a studio to agree to an R

0:25:56.720 --> 0:25:59.600
<v Speaker 1>rating in advance of a movie's release, particularly a tent

0:25:59.640 --> 0:26:03.320
<v Speaker 1>polepture like this. UM. There's a couple of things that

0:26:03.400 --> 0:26:07.280
<v Speaker 1>happened the obvious being the freedom to do, um, things

0:26:07.400 --> 0:26:11.080
<v Speaker 1>that you couldn't do in a PG PG film. But

0:26:11.119 --> 0:26:13.280
<v Speaker 1>there's another thing that happens, which is that the marketing

0:26:13.320 --> 0:26:15.720
<v Speaker 1>and distribution wings of the studio have to come to

0:26:15.880 --> 0:26:18.880
<v Speaker 1>terms with the fact that the movie is not going

0:26:18.920 --> 0:26:21.320
<v Speaker 1>to be marketed to children, and of course can't be

0:26:21.920 --> 0:26:25.399
<v Speaker 1>and um because it's not four children. And the second

0:26:25.480 --> 0:26:31.639
<v Speaker 1>that idea, that concept is swallowed by the studio, you

0:26:31.720 --> 0:26:34.240
<v Speaker 1>go from being a four box movie to essentially, I guess,

0:26:34.280 --> 0:26:37.199
<v Speaker 1>the two box movie. And what does that do to

0:26:37.240 --> 0:26:39.159
<v Speaker 1>you as a screenwriter. Um. I wrote the story for

0:26:39.200 --> 0:26:41.240
<v Speaker 1>this movie and co wrote the script with Scott Frank

0:26:41.280 --> 0:26:46.160
<v Speaker 1>and Michael Green, and suddenly we're writing We're no longer

0:26:46.200 --> 0:26:47.840
<v Speaker 1>having to worry, you know. One of the first scenes

0:26:47.880 --> 0:26:51.639
<v Speaker 1>I wrote early on was the first scene between Patrick

0:26:51.720 --> 0:26:55.679
<v Speaker 1>Stewart and and you, Jackman, UM when you when we

0:26:55.720 --> 0:26:59.720
<v Speaker 1>first meet Patrick, UM in a kind of startling new condition,

0:27:00.359 --> 0:27:04.080
<v Speaker 1>UM living inside this tipped water tower and then Mexican

0:27:04.119 --> 0:27:09.120
<v Speaker 1>desert and UM, it's a six to seven page scene. Um,

0:27:09.160 --> 0:27:11.680
<v Speaker 1>you can't write a movie that is for eleven year

0:27:11.680 --> 0:27:15.240
<v Speaker 1>olds with a six to seven page emotional dialogue scene

0:27:15.800 --> 0:27:19.879
<v Speaker 1>between two middle aged or Twilight aged men and the

0:27:20.720 --> 0:27:24.040
<v Speaker 1>um the freedom to make a movie for grown ups

0:27:24.080 --> 0:27:27.440
<v Speaker 1>without worrying about the films a platform for merchandising tie

0:27:27.480 --> 0:27:31.600
<v Speaker 1>ins or happy meals, or or the short or having

0:27:31.640 --> 0:27:33.960
<v Speaker 1>to resort to kind of or deal with the short

0:27:34.000 --> 0:27:38.000
<v Speaker 1>attention span, theater tempo of cutting, or making sure the

0:27:38.080 --> 0:27:42.720
<v Speaker 1>ideas are digestible by children. For children, UM, it's a

0:27:42.840 --> 0:27:46.840
<v Speaker 1>that's a more wholesale change UM and in a way

0:27:47.359 --> 0:27:52.520
<v Speaker 1>helped as an antidote or kind of um to the violence,

0:27:52.600 --> 0:27:56.119
<v Speaker 1>meaning that instead of the violence feeling sophomoric, I hoped

0:27:56.200 --> 0:28:01.040
<v Speaker 1>that it would actually feel um unfiltered. UM. Just a

0:28:01.119 --> 0:28:06.160
<v Speaker 1>kind of vision. Uh, it's not a numbing violence. It's

0:28:06.200 --> 0:28:09.360
<v Speaker 1>like you feel the repercussions of what's going on. Well,

0:28:09.359 --> 0:28:11.320
<v Speaker 1>that was the important thing to me. I didn't want

0:28:11.359 --> 0:28:13.919
<v Speaker 1>to do. You know, when people talk about the movie

0:28:14.000 --> 0:28:16.680
<v Speaker 1>and we'll refer to it and kind of talk about

0:28:16.680 --> 0:28:21.159
<v Speaker 1>the brutal action, my only anxiety about it all in

0:28:21.160 --> 0:28:24.040
<v Speaker 1>the film. And there was some care made to play

0:28:24.080 --> 0:28:27.320
<v Speaker 1>both ends, meaning to play into the operatic nature of

0:28:27.320 --> 0:28:30.920
<v Speaker 1>Wolverine's rage, but to also show something that you don't

0:28:30.920 --> 0:28:34.040
<v Speaker 1>see even in PG films. I feel UM, which is

0:28:34.080 --> 0:28:39.080
<v Speaker 1>that violence has consequences, and characters die. People you whether

0:28:39.160 --> 0:28:43.080
<v Speaker 1>it's um supporting characters or your principal characters, people you've

0:28:43.120 --> 0:28:46.040
<v Speaker 1>come to love, people you know, people who have lives,

0:28:46.200 --> 0:28:50.200
<v Speaker 1>personalities and a soul die. I think that what's interesting,

0:28:50.600 --> 0:28:52.200
<v Speaker 1>you know, is that in a lot of films that

0:28:52.280 --> 0:28:55.920
<v Speaker 1>we even rate on a level that are supposedly appropriate

0:28:55.960 --> 0:28:59.320
<v Speaker 1>for children, there's mass killings going on. It's just that

0:28:59.520 --> 0:29:03.760
<v Speaker 1>they're a little less read and wet, and you don't

0:29:03.760 --> 0:29:06.640
<v Speaker 1>get to know the people falling. It's just kind of

0:29:07.280 --> 0:29:11.360
<v Speaker 1>shadow play of bodies tumbling and under rolling busses and

0:29:11.440 --> 0:29:16.640
<v Speaker 1>crumbling buildings. But the the body count is probably high

0:29:16.720 --> 0:29:21.400
<v Speaker 1>multiples of ours. And yet so the b interesting question

0:29:21.440 --> 0:29:25.400
<v Speaker 1>for me always becomes what's more in a way traumatizing

0:29:25.400 --> 0:29:28.600
<v Speaker 1>for our culture showing mass killings that have no effect,

0:29:29.440 --> 0:29:34.000
<v Speaker 1>or showing mass killings that at least feel legitimately traumatizing. Yeah,

0:29:34.040 --> 0:29:36.960
<v Speaker 1>and that idea of of the violence with the repercussions,

0:29:36.960 --> 0:29:38.960
<v Speaker 1>I mean that's sort of crystallized as well in this

0:29:39.600 --> 0:29:42.680
<v Speaker 1>dialogue you take from Shane that you use in the film. Well,

0:29:42.680 --> 0:29:45.800
<v Speaker 1>it's it's it's central to the entire story of this character,

0:29:45.840 --> 0:29:48.480
<v Speaker 1>as well, UM, I mean for those who aren't X

0:29:48.520 --> 0:29:52.360
<v Speaker 1>men fans. UM. One thing has been essentially true about

0:29:52.400 --> 0:29:55.080
<v Speaker 1>Logan through his comic book history and movie history, which

0:29:55.080 --> 0:29:57.920
<v Speaker 1>is that he's carrying a ton of shame on his

0:29:58.040 --> 0:30:02.360
<v Speaker 1>back about dark needs he committed when he was younger

0:30:02.440 --> 0:30:06.120
<v Speaker 1>and called weapon X in his incarnation as a kind

0:30:06.160 --> 0:30:09.120
<v Speaker 1>of UM. When he was a gun slinger, he was, well,

0:30:09.160 --> 0:30:12.920
<v Speaker 1>he was a drug drug pumped killer. UM. But yes,

0:30:13.040 --> 0:30:15.480
<v Speaker 1>but in the metaphor of the Western he was he

0:30:15.560 --> 0:30:19.640
<v Speaker 1>was a gun slinger and UM and UM and a

0:30:19.640 --> 0:30:22.080
<v Speaker 1>lot of people were hurt, and they weren't all UM

0:30:22.120 --> 0:30:24.640
<v Speaker 1>in it. They weren't all guilty in some way. It

0:30:24.680 --> 0:30:29.760
<v Speaker 1>wasn't always the justified death, if you will. And the UM.

0:30:29.800 --> 0:30:32.200
<v Speaker 1>I think that that's something that's been played with throughout

0:30:32.800 --> 0:30:35.920
<v Speaker 1>UM as I said, comic book history with this character

0:30:35.960 --> 0:30:38.520
<v Speaker 1>and in the movies. But the the idea for me

0:30:38.600 --> 0:30:42.400
<v Speaker 1>of coming of this character, coming to terms um with

0:30:42.480 --> 0:30:45.880
<v Speaker 1>his life UM in a final film seemed to me

0:30:46.200 --> 0:30:50.240
<v Speaker 1>necessary to find some way to go deeper into his

0:30:50.320 --> 0:30:55.600
<v Speaker 1>own odd um relationship with violence. When did this kind

0:30:55.600 --> 0:30:58.959
<v Speaker 1>of conceit because it is it does have the DNA

0:30:59.040 --> 0:31:03.160
<v Speaker 1>of a Western, When did that did you go into

0:31:03.200 --> 0:31:05.080
<v Speaker 1>it with that concede in minor did it develop as

0:31:05.080 --> 0:31:09.680
<v Speaker 1>you developed a project like some of something that comes

0:31:09.720 --> 0:31:14.480
<v Speaker 1>along with just me? Meaning you know, my second film, Copland,

0:31:14.600 --> 0:31:18.600
<v Speaker 1>which by all outward appearances is a kind of Sydney

0:31:18.640 --> 0:31:24.959
<v Speaker 1>Lamett esque New Jersey, kind of Peyton Place cop movie. Uh,

0:31:25.720 --> 0:31:29.600
<v Speaker 1>was very much structured, actually built on three Tennyuma. The

0:31:29.680 --> 0:31:32.920
<v Speaker 1>idea of this kind of weakened mail in the center

0:31:32.960 --> 0:31:35.800
<v Speaker 1>of this town of gun slingers, who has called upon

0:31:35.960 --> 0:31:39.160
<v Speaker 1>to kind of find the reserves to stand up to

0:31:39.400 --> 0:31:44.640
<v Speaker 1>this um gun slinging bunch of corruption around him. Um

0:31:44.800 --> 0:31:49.040
<v Speaker 1>the That's all very much. Um was hugely Western influence.

0:31:49.080 --> 0:31:51.280
<v Speaker 1>And in fact that movie ends in a giant gunfight,

0:31:52.240 --> 0:31:56.320
<v Speaker 1>um the um, but a gunfight not like you'd see

0:31:56.600 --> 0:31:59.640
<v Speaker 1>in Heat, but one more like one you'd see in

0:31:59.720 --> 0:32:06.960
<v Speaker 1>hind And the Westerns had a powerful effect on me. Um.

0:32:07.120 --> 0:32:12.120
<v Speaker 1>I couldn't completely explain why, but in I'm kind of

0:32:12.120 --> 0:32:18.400
<v Speaker 1>a classicist, I mean I'm not. I I am from

0:32:18.440 --> 0:32:23.560
<v Speaker 1>the same generation, Um that a host of really talented

0:32:23.880 --> 0:32:27.080
<v Speaker 1>kind of postmodern directors have come from. Probably the leader

0:32:27.120 --> 0:32:30.200
<v Speaker 1>of all of them would be Quentin And I'm a

0:32:30.240 --> 0:32:32.360
<v Speaker 1>huge fan of his work, but I couldn't do anything

0:32:32.400 --> 0:32:39.600
<v Speaker 1>like that, Like it's not the whole uh uh. There's

0:32:39.640 --> 0:32:43.320
<v Speaker 1>something I'm always looking for, something very earnest. I miss,

0:32:43.600 --> 0:32:46.560
<v Speaker 1>I miss amid all the really wonderful films made along

0:32:46.600 --> 0:32:48.800
<v Speaker 1>the lines I was just describing. I miss movies that

0:32:48.960 --> 0:32:53.720
<v Speaker 1>mean it, that have something to say, that have a

0:32:53.800 --> 0:32:57.200
<v Speaker 1>kind of gravity to them, and are unashamed. It's in

0:32:57.240 --> 0:33:00.000
<v Speaker 1>this kind of most sardonic of ages, it's almost gotten

0:33:00.960 --> 0:33:07.040
<v Speaker 1>um uncool to actually represent a true feeling um that

0:33:07.160 --> 0:33:10.840
<v Speaker 1>without quotes around it or or a snicker, and that

0:33:10.840 --> 0:33:14.240
<v Speaker 1>that's something the Western for me embodies UM. And I've

0:33:14.240 --> 0:33:17.640
<v Speaker 1>always offered kind of guidance on on um if for

0:33:17.840 --> 0:33:21.400
<v Speaker 1>listeners who are hearing me describe, you know, Logan's backstory.

0:33:21.480 --> 0:33:23.800
<v Speaker 1>It's kind of very logical if you think about movies

0:33:23.840 --> 0:33:28.560
<v Speaker 1>like Shane or Unforgiven or Pale Rider or The Man

0:33:28.560 --> 0:33:30.680
<v Speaker 1>of Shot, Liberty Valance. There's a lot of movies that

0:33:30.840 --> 0:33:34.840
<v Speaker 1>in which the kind of bones lineage UM really lend

0:33:34.880 --> 0:33:40.920
<v Speaker 1>themselves to considering UM, considering how you might be able

0:33:40.960 --> 0:33:43.840
<v Speaker 1>to use some of those structures in a modern superhero movie. Yeah,

0:33:43.880 --> 0:33:46.840
<v Speaker 1>it fits like a glove really, since we're actually on

0:33:46.880 --> 0:33:51.200
<v Speaker 1>the the topic of the genre. I'll skip ahead a bit. Um.

0:33:51.280 --> 0:33:53.719
<v Speaker 1>You know, obviously you did your own version of Three

0:33:53.760 --> 0:33:55.800
<v Speaker 1>Tender Yuma, which is ten years ago, if you can

0:33:55.840 --> 0:33:58.760
<v Speaker 1>believe it. Yeah, we had been Foster on the show

0:33:58.760 --> 0:34:01.240
<v Speaker 1>a few weeks ago. He's so incredible, he is, He's

0:34:01.280 --> 0:34:05.320
<v Speaker 1>a monumental acting talent and a great guy. And indeed,

0:34:05.920 --> 0:34:09.080
<v Speaker 1>and and uh, I was I gonna ask you about

0:34:09.080 --> 0:34:11.520
<v Speaker 1>the Westerns. Let me flip my page, because, like I said,

0:34:11.560 --> 0:34:14.480
<v Speaker 1>I'm jumping ahead. Oh well, yeah, just the climate of

0:34:14.480 --> 0:34:17.680
<v Speaker 1>that genre in Hollywood. Uh. I was on the set

0:34:17.680 --> 0:34:20.240
<v Speaker 1>of one a few months ago that Ben actually was shooting,

0:34:20.920 --> 0:34:25.920
<v Speaker 1>and there were a couple going on, Christian and hostiles. Um.

0:34:26.040 --> 0:34:30.120
<v Speaker 1>The just is there is there a sense that there's

0:34:30.120 --> 0:34:32.719
<v Speaker 1>an interest in making Westerns in Hollywood? Or is it

0:34:32.960 --> 0:34:34.520
<v Speaker 1>is it difficult to get them off the ground for

0:34:34.520 --> 0:34:36.680
<v Speaker 1>any reason. I'm just I'm always curious those who have

0:34:36.760 --> 0:34:39.000
<v Speaker 1>worked in the genre. I think there's a lot of

0:34:39.120 --> 0:34:41.319
<v Speaker 1>raining assumptions. But but I think a lot of the

0:34:41.320 --> 0:34:44.320
<v Speaker 1>assumptions have gone out the window in the last few years.

0:34:44.480 --> 0:34:47.239
<v Speaker 1>Um or that um or, to put it differently, I

0:34:47.280 --> 0:34:50.400
<v Speaker 1>think studios are not sure if any of the things

0:34:50.400 --> 0:34:54.440
<v Speaker 1>they thought were true eight years ago are still true. UM.

0:34:54.719 --> 0:34:57.800
<v Speaker 1>More than just a convulsion in our political scene happened

0:34:57.880 --> 0:35:00.879
<v Speaker 1>last year, I think there was a convulsion on all

0:35:00.960 --> 0:35:04.480
<v Speaker 1>levels of just what it is, UM, what it is

0:35:04.560 --> 0:35:07.920
<v Speaker 1>movies need to be, what they need to become, whether

0:35:08.120 --> 0:35:10.759
<v Speaker 1>the and I think it's a very logical one. Like

0:35:10.800 --> 0:35:12.680
<v Speaker 1>if you look at movie history, there was a period

0:35:12.719 --> 0:35:17.359
<v Speaker 1>not unlike this one where movies where television was suddenly king,

0:35:17.560 --> 0:35:20.799
<v Speaker 1>and movies became all about spectacle and you came out

0:35:20.880 --> 0:35:24.600
<v Speaker 1>to the theater to see giant size todd a o

0:35:24.880 --> 0:35:28.440
<v Speaker 1>Cinerama Spectacle three D of course was born in this period,

0:35:28.920 --> 0:35:34.040
<v Speaker 1>and movies were trying to justify the theater experience with

0:35:34.040 --> 0:35:39.640
<v Speaker 1>with all these um immersive technologies UM and UM, and

0:35:39.680 --> 0:35:43.560
<v Speaker 1>it produced a lot more big scale, very often a

0:35:43.600 --> 0:35:47.400
<v Speaker 1>lot of mediocre productions UM than more intimate fair and

0:35:47.480 --> 0:35:50.120
<v Speaker 1>dramatic fair, which seemed to be more thriving on the

0:35:50.160 --> 0:35:54.839
<v Speaker 1>small screen. I think that in some ways we've entered

0:35:54.880 --> 0:35:57.879
<v Speaker 1>another period where that's been true, where there's a lot

0:35:57.920 --> 0:36:02.680
<v Speaker 1>of UH, it's also affected, but CG spectacles, comic book movies,

0:36:03.120 --> 0:36:05.279
<v Speaker 1>other things have come to the fore in a way

0:36:05.280 --> 0:36:07.919
<v Speaker 1>that we're in the fifties and sixties, but that it's

0:36:07.960 --> 0:36:11.560
<v Speaker 1>it's gotten to where the mainstay of theatrical movies for

0:36:11.600 --> 0:36:15.640
<v Speaker 1>the last period have been giant, giant movies that are

0:36:15.680 --> 0:36:18.440
<v Speaker 1>a theatrical experience that either promised you three D or

0:36:18.600 --> 0:36:23.200
<v Speaker 1>just a kind of big imax experience. Um. But something

0:36:23.239 --> 0:36:25.919
<v Speaker 1>has happened along with that. I have no problem with that,

0:36:26.000 --> 0:36:29.480
<v Speaker 1>but something's happened along with it. That is that the

0:36:29.480 --> 0:36:32.320
<v Speaker 1>the calculation in the scripting and design of these movies

0:36:32.360 --> 0:36:35.640
<v Speaker 1>has gotten a little repetitive, probably as it happened in

0:36:35.680 --> 0:36:39.200
<v Speaker 1>the fifties and sixties as well. And that that just

0:36:39.280 --> 0:36:41.359
<v Speaker 1>as a creative person, and I don't think I'm alone

0:36:41.400 --> 0:36:43.040
<v Speaker 1>in this. You're just looking for a way. And I

0:36:43.040 --> 0:36:45.560
<v Speaker 1>think the studios are to to just shake things up

0:36:45.600 --> 0:36:49.799
<v Speaker 1>because everyone feels, um that there's a certain amount of

0:36:49.800 --> 0:36:54.080
<v Speaker 1>exhaustion setting in with these movies as they in the

0:36:54.120 --> 0:36:57.640
<v Speaker 1>way they've been made, even some quite excellent, but just

0:36:57.640 --> 0:37:00.440
<v Speaker 1>just we can't keep doing the same movie over again.

0:37:01.239 --> 0:37:03.400
<v Speaker 1>I hope we get more in that genre, because you know,

0:37:03.400 --> 0:37:05.719
<v Speaker 1>it's it's it doesn't seem like it's on life supporting. Well.

0:37:05.719 --> 0:37:07.960
<v Speaker 1>People are frightened of period, you know, people are frightened

0:37:07.960 --> 0:37:12.040
<v Speaker 1>of period, and they're frightened that that um that that

0:37:12.120 --> 0:37:14.560
<v Speaker 1>the public is gonna have a hard time figure out

0:37:14.600 --> 0:37:17.239
<v Speaker 1>how to access into it. I think the beauty of

0:37:17.239 --> 0:37:20.560
<v Speaker 1>the Western um, for those that do love it, is

0:37:20.600 --> 0:37:23.400
<v Speaker 1>just simply is its simplicity. It's not the period. It

0:37:23.480 --> 0:37:25.719
<v Speaker 1>isn't it isn't in this in the same way a

0:37:25.800 --> 0:37:30.600
<v Speaker 1>period piece. Uh. It's really a kind of fantastical universe

0:37:30.719 --> 0:37:33.840
<v Speaker 1>that's hardly historically accurate in most cases, and more a

0:37:33.920 --> 0:37:37.680
<v Speaker 1>kind of fever dream of the American moment when the

0:37:37.719 --> 0:37:40.480
<v Speaker 1>Industrial Revolution kind of swept across the country in the

0:37:40.480 --> 0:37:43.520
<v Speaker 1>age of the outlaws and the wild lands and the

0:37:43.600 --> 0:37:47.040
<v Speaker 1>homesteaders came to an end and the train connected the

0:37:47.040 --> 0:37:49.600
<v Speaker 1>East and West coast. It's kind of a magical moment

0:37:49.600 --> 0:37:52.440
<v Speaker 1>that really, in historical sense, only existed maybe five years,

0:37:53.000 --> 0:37:58.080
<v Speaker 1>but has become the canvas for countless movies because I

0:37:58.120 --> 0:38:02.520
<v Speaker 1>think it's so represents and contains the American dream and

0:38:02.640 --> 0:38:06.560
<v Speaker 1>the you'r the yearning for freedom at the same time

0:38:06.600 --> 0:38:11.799
<v Speaker 1>as our sense of being part of of something much larger. Yeah,

0:38:12.600 --> 0:38:14.720
<v Speaker 1>I know you said you freeze, But what's your favorite

0:38:14.760 --> 0:38:18.000
<v Speaker 1>Western I'll tell you mine. I'll go first, Once upon

0:38:18.000 --> 0:38:20.239
<v Speaker 1>a Time in the West. Yeah, well that's easy for

0:38:20.239 --> 0:38:22.239
<v Speaker 1>me if you would having me say ten of them.

0:38:22.320 --> 0:38:25.000
<v Speaker 1>But is that? But then there's the like really weird

0:38:25.040 --> 0:38:28.279
<v Speaker 1>Claudia Cardinal, Jason Robarts cutaways where I'm like, my head

0:38:28.360 --> 0:38:30.759
<v Speaker 1>just hit some play and I'm like so. But if

0:38:30.800 --> 0:38:33.120
<v Speaker 1>you talk about the best last ten minutes in a

0:38:33.200 --> 0:38:38.640
<v Speaker 1>in a Western, the that that gunfight between Charles Bronson

0:38:38.680 --> 0:38:44.279
<v Speaker 1>and and Henry Fonda and Morricone's music and the flashback

0:38:44.320 --> 0:38:48.359
<v Speaker 1>on the summation of all the time, that that that

0:38:48.560 --> 0:38:53.400
<v Speaker 1>is a brilliant, brilliant um film. I mean, Shane to

0:38:53.480 --> 0:38:58.759
<v Speaker 1>me remains a kind of touchstone because of its tremendous beauty, um,

0:38:58.880 --> 0:39:03.120
<v Speaker 1>the sophistication of the acting, um, you know, the I mean,

0:39:03.239 --> 0:39:06.360
<v Speaker 1>just think about this this movie where where Jean Arthur

0:39:06.560 --> 0:39:10.320
<v Speaker 1>is is you know, the loyal life to Van Heflyn

0:39:10.480 --> 0:39:13.720
<v Speaker 1>in this in their homesteaders plot of land. But when

0:39:13.760 --> 0:39:19.000
<v Speaker 1>Shane arrives, you feel her, uh fall in love with Shane,

0:39:19.040 --> 0:39:20.960
<v Speaker 1>and you feel Shane fall in love with her. They

0:39:21.040 --> 0:39:24.520
<v Speaker 1>never touch each other, they hardly look at each other. Um.

0:39:24.560 --> 0:39:26.440
<v Speaker 1>But what is always most interesting to me in that

0:39:26.520 --> 0:39:29.040
<v Speaker 1>film is the beautiful work also Van Hethlen does where

0:39:29.080 --> 0:39:33.640
<v Speaker 1>you feel his own awareness that he's lost his wife's

0:39:33.680 --> 0:39:38.120
<v Speaker 1>admiration to this strange dark gunslinger who's sleeping in their

0:39:38.160 --> 0:39:43.160
<v Speaker 1>barn and um, and yet instead of lashing out or

0:39:43.920 --> 0:39:48.320
<v Speaker 1>berating her, his response is a kind of beautiful sense

0:39:48.320 --> 0:39:51.440
<v Speaker 1>of understanding that he has been so compromised by the

0:39:51.440 --> 0:39:54.440
<v Speaker 1>struggles they've gone through that he almost can't blame her

0:39:55.080 --> 0:40:00.960
<v Speaker 1>for admiring the kind of idealistic and the strength and

0:40:01.080 --> 0:40:04.600
<v Speaker 1>idealism of this hero who has entered their midst and Um.

0:40:04.600 --> 0:40:07.120
<v Speaker 1>There's so many complicated themes, and of course the child

0:40:07.920 --> 0:40:12.680
<v Speaker 1>um that beautiful performance, but of that child who is

0:40:13.360 --> 0:40:17.440
<v Speaker 1>who falls in love also with a surrogate um father.

0:40:17.640 --> 0:40:20.920
<v Speaker 1>In Shane, I use a lot of Yeah, Brandon to Wilde,

0:40:21.040 --> 0:40:23.560
<v Speaker 1>I Um, I used a lot of that, a lot

0:40:23.560 --> 0:40:25.680
<v Speaker 1>of those ideas. Even in three Tending Huma, I mean,

0:40:25.800 --> 0:40:27.880
<v Speaker 1>Logan Lehman's character kind of falls more in love with

0:40:27.960 --> 0:40:32.320
<v Speaker 1>Russell Crows and it's kind of completely disillusioned with with

0:40:32.320 --> 0:40:35.840
<v Speaker 1>with Christian in many ways. My Three Tending Human is

0:40:35.880 --> 0:40:39.719
<v Speaker 1>a bit of a kind of hybrid of Shane and

0:40:39.719 --> 0:40:42.480
<v Speaker 1>and and three the original three ten great scenery up

0:40:42.520 --> 0:40:45.799
<v Speaker 1>there to in the t tons obviously absolutely and and

0:40:45.960 --> 0:40:49.200
<v Speaker 1>one of the first UH films where they hold those

0:40:49.400 --> 0:40:53.080
<v Speaker 1>huge technicolor cameras out into the wild and you really

0:40:53.120 --> 0:40:57.440
<v Speaker 1>feel it. Definitely UH. Going back to Logan and this

0:40:57.520 --> 0:41:01.239
<v Speaker 1>character Wolverine, let's talk about that. The title was that

0:41:01.760 --> 0:41:03.640
<v Speaker 1>something you had to defend? Was that a difficult thing?

0:41:03.680 --> 0:41:06.520
<v Speaker 1>That interesting you're asking about that, Chris, because that was

0:41:06.640 --> 0:41:11.920
<v Speaker 1>the biggest um negotiation of the entire picture, the the

0:41:12.239 --> 0:41:14.920
<v Speaker 1>in some way or another. And I still pinched myself

0:41:14.960 --> 0:41:17.520
<v Speaker 1>and can't quite believe we got the movie through without

0:41:17.560 --> 0:41:20.720
<v Speaker 1>any struggle. But the rated are the script that we wrote,

0:41:21.120 --> 0:41:23.600
<v Speaker 1>the kind of story of the tone. We had no

0:41:23.719 --> 0:41:26.240
<v Speaker 1>issues when dailies were coming out, We had no concerned

0:41:26.320 --> 0:41:30.040
<v Speaker 1>visits to the set. We had nothing but encouragement. Um.

0:41:30.080 --> 0:41:32.000
<v Speaker 1>I think there was an opportunity for things to go

0:41:32.040 --> 0:41:35.440
<v Speaker 1>awry when we, you know, showed the film to test audiences,

0:41:35.480 --> 0:41:38.799
<v Speaker 1>because the question was gonna be does this alchemy of

0:41:38.800 --> 0:41:43.960
<v Speaker 1>of kind of rated our violence and adult themes mary

0:41:44.200 --> 0:41:49.080
<v Speaker 1>to an audience's expectations of a Wolverine movie. And the

0:41:49.120 --> 0:41:52.680
<v Speaker 1>response was so enthusiastic from the audiences we screened it

0:41:52.719 --> 0:41:56.399
<v Speaker 1>for that that hurdle was passed without a blip from

0:41:56.400 --> 0:42:00.120
<v Speaker 1>either side getting nervous, but the title was something I

0:42:00.160 --> 0:42:04.200
<v Speaker 1>had to push very hard. Um And ultimately Stacy made

0:42:04.239 --> 0:42:07.960
<v Speaker 1>the call and and uh and backed me on the

0:42:08.040 --> 0:42:14.160
<v Speaker 1>idea of separating us. However counterintuitive it was, yeah, Stacy

0:42:14.200 --> 0:42:21.600
<v Speaker 1>Snyder chairman. However counterintuitive, counterintuitive it was two, actually divorce

0:42:21.680 --> 0:42:25.480
<v Speaker 1>yourself from the known brand being Wolverine or X Men.

0:42:25.520 --> 0:42:27.960
<v Speaker 1>I mean, certainly, you know the first Wolverine movie couldn't

0:42:28.000 --> 0:42:30.440
<v Speaker 1>let go of either brand. It was like Wolverine semi

0:42:30.480 --> 0:42:35.040
<v Speaker 1>colon X Men. Yeah, it was. I mean it was

0:42:35.120 --> 0:42:38.520
<v Speaker 1>literally as if I hate those kind of titles. The

0:42:39.480 --> 0:42:42.040
<v Speaker 1>um and frankly, we were in a bit of a

0:42:42.080 --> 0:42:43.840
<v Speaker 1>quandary because what do you call this? There was a

0:42:43.880 --> 0:42:47.680
<v Speaker 1>movie called Wolverine Origins X Men whatever, and then there

0:42:47.760 --> 0:42:50.200
<v Speaker 1>was The Wolverine, which is the last one I made,

0:42:50.560 --> 0:42:53.279
<v Speaker 1>and then this one will will this beend? The Wolverine

0:42:53.320 --> 0:42:57.719
<v Speaker 1>two or Wolverine three, or Wolverine three, the Happening or

0:42:57.760 --> 0:43:00.359
<v Speaker 1>Wolverine three, the Great Ride? I mean, what would you

0:43:00.920 --> 0:43:03.399
<v Speaker 1>every one of those things becomes these I mean they

0:43:03.400 --> 0:43:06.400
<v Speaker 1>sound like some hermern Woke novel. I'm like I'm like, what,

0:43:06.600 --> 0:43:11.400
<v Speaker 1>why do they have these ponderous eight word titles? And um,

0:43:11.440 --> 0:43:13.280
<v Speaker 1>A lot of it has to do with this idea

0:43:13.440 --> 0:43:17.440
<v Speaker 1>of holding the movies together, um, whether you call it

0:43:17.440 --> 0:43:20.560
<v Speaker 1>a universe or it's the box set of DVDs to

0:43:20.560 --> 0:43:25.080
<v Speaker 1>come out later, some kind of unifying, unifying branding that

0:43:25.120 --> 0:43:28.840
<v Speaker 1>holds all the movies together, which, for whatever perverse reasons,

0:43:28.880 --> 0:43:32.000
<v Speaker 1>I am extremely resistant to. I really don't want my

0:43:32.080 --> 0:43:36.160
<v Speaker 1>movie held together, um with anything else, even my last movie.

0:43:36.280 --> 0:43:39.160
<v Speaker 1>Meaning I just there's some kind of Again, it's my

0:43:39.200 --> 0:43:42.200
<v Speaker 1>own puritanical way of looking at telling a story with

0:43:42.280 --> 0:43:45.480
<v Speaker 1>a beginning, middle and an end. Is that that's my job.

0:43:45.920 --> 0:43:47.960
<v Speaker 1>My job is not to make a platform for selling

0:43:47.960 --> 0:43:49.680
<v Speaker 1>the next movie. My job is not to make a

0:43:49.719 --> 0:43:53.680
<v Speaker 1>platform to connecting to other movies. My job is to

0:43:53.719 --> 0:43:56.719
<v Speaker 1>tell a good story within the confines of the of

0:43:56.840 --> 0:44:00.920
<v Speaker 1>the of the Fox logo and the end it and

0:44:00.920 --> 0:44:05.879
<v Speaker 1>and um that you feel satisfied by hopefully. Yeah, Well

0:44:05.880 --> 0:44:08.279
<v Speaker 1>it's perfect title. I mean it it grounds everything, and

0:44:08.320 --> 0:44:11.239
<v Speaker 1>it's and it signals to what was most important. I

0:44:11.280 --> 0:44:13.560
<v Speaker 1>think one the day with Stacy Snyder when she was

0:44:13.600 --> 0:44:16.400
<v Speaker 1>considering what to do, was I think that what was

0:44:16.600 --> 0:44:20.080
<v Speaker 1>most important to me was to get folks like yourself

0:44:20.200 --> 0:44:22.600
<v Speaker 1>and of course the public ready for a different movie

0:44:23.080 --> 0:44:25.160
<v Speaker 1>if we called it the same thing or kind of

0:44:25.200 --> 0:44:28.640
<v Speaker 1>just added a new digit. After the Wolverine, I had

0:44:28.640 --> 0:44:32.680
<v Speaker 1>a great fear that we would not be signaling with

0:44:32.760 --> 0:44:36.399
<v Speaker 1>a sense of continuity and unanimity, what that we were

0:44:36.440 --> 0:44:40.880
<v Speaker 1>making something different. We were doing something different um in

0:44:41.000 --> 0:44:45.400
<v Speaker 1>tone and and and in who the audience who we

0:44:45.400 --> 0:44:49.719
<v Speaker 1>were aiming at for audience with the Wolverine. Uh, did

0:44:49.800 --> 0:44:51.279
<v Speaker 1>you feel like you made the movie you wanted to

0:44:51.280 --> 0:44:53.720
<v Speaker 1>make there? And I only asked just because this movie

0:44:53.760 --> 0:44:57.160
<v Speaker 1>is so different. It feels like you were doing stuff

0:44:57.160 --> 0:44:58.680
<v Speaker 1>here that maybe you wish you could have done on

0:44:58.719 --> 0:45:00.880
<v Speaker 1>the other movie, or something like that. I I can't

0:45:00.960 --> 0:45:03.680
<v Speaker 1>I for for anything that anyone. I'm very fond of

0:45:03.719 --> 0:45:07.600
<v Speaker 1>the last Wolverine movie I made, and I always viewed

0:45:07.640 --> 0:45:11.040
<v Speaker 1>as a kind of fever dream of Japanese cinema and

0:45:11.760 --> 0:45:17.719
<v Speaker 1>UM Samurai Pictures, Hong Kong crime pictures, UM. But I

0:45:17.760 --> 0:45:21.080
<v Speaker 1>did feel like it got more clocke comic Bookie in

0:45:21.120 --> 0:45:23.400
<v Speaker 1>the third act than what we did in the first

0:45:23.960 --> 0:45:27.640
<v Speaker 1>two acts. And certainly this was a previous regime at Fox.

0:45:28.040 --> 0:45:30.040
<v Speaker 1>They were more worried about my first two acts than

0:45:30.080 --> 0:45:33.680
<v Speaker 1>the third. UM. But I think that I have to

0:45:33.760 --> 0:45:37.360
<v Speaker 1>own what works or doesn't work for people in my movies.

0:45:37.400 --> 0:45:42.239
<v Speaker 1>And I think that I, UM I too. It's it's

0:45:42.320 --> 0:45:44.600
<v Speaker 1>very you know, it's it's very hard to do it

0:45:44.760 --> 0:45:48.400
<v Speaker 1>different when when there are these all these default settings

0:45:48.480 --> 0:45:51.719
<v Speaker 1>for a genre or an idea. UM, the idea of

0:45:51.760 --> 0:45:56.600
<v Speaker 1>needing a really big UM CG spectacular in the third

0:45:56.600 --> 0:46:02.439
<v Speaker 1>act is a very difficult pressure to resist. And it's

0:46:02.440 --> 0:46:05.040
<v Speaker 1>not like it's coming from one person or they're demanding something.

0:46:05.080 --> 0:46:07.960
<v Speaker 1>It's it's a kind of snap to grid where it's

0:46:07.960 --> 0:46:10.040
<v Speaker 1>just like everyone's doing it. I guess this is what

0:46:10.120 --> 0:46:13.799
<v Speaker 1>you gotta do. And UM. It wasn't until I had

0:46:13.800 --> 0:46:15.880
<v Speaker 1>gotten the end of that process on that movie that

0:46:16.000 --> 0:46:18.800
<v Speaker 1>I came to terms in my for my own self

0:46:19.120 --> 0:46:22.320
<v Speaker 1>with what I loved most about the previous film and

0:46:22.320 --> 0:46:24.879
<v Speaker 1>and it was actually the front end, the kind of

0:46:24.920 --> 0:46:31.040
<v Speaker 1>the this kind of uh noir, Japanese noir with with

0:46:31.120 --> 0:46:35.600
<v Speaker 1>Logan in it, and UM, and what I went about

0:46:35.680 --> 0:46:39.480
<v Speaker 1>doing because I entered that movie midstream, meaning there was

0:46:39.520 --> 0:46:41.960
<v Speaker 1>already a script by Chris mcquarie when I came on.

0:46:42.080 --> 0:46:45.440
<v Speaker 1>And then Scott Frank and I worked on it and um,

0:46:45.480 --> 0:46:47.640
<v Speaker 1>but the and and and all of it was based

0:46:47.640 --> 0:46:51.360
<v Speaker 1>on a pre existing uh Wolverine narrative about his journey

0:46:51.360 --> 0:46:54.640
<v Speaker 1>to Japan and falling in love with Marco and um

0:46:54.640 --> 0:46:59.400
<v Speaker 1>facing these foes there. But for me with this movie,

0:46:59.800 --> 0:47:03.560
<v Speaker 1>the difference was it was like me writing Copland or

0:47:04.040 --> 0:47:06.840
<v Speaker 1>Girl Interrupted or Walk the Line or whatever it was.

0:47:06.880 --> 0:47:10.280
<v Speaker 1>I started with a blank page, um when it and

0:47:10.560 --> 0:47:13.719
<v Speaker 1>from absolute zero, I went about trying to construct a

0:47:13.800 --> 0:47:16.360
<v Speaker 1>movie that, even if I was making just a movie

0:47:16.360 --> 0:47:19.400
<v Speaker 1>on my own, about characters that were not marvel icons

0:47:19.520 --> 0:47:22.440
<v Speaker 1>or superheroes. This was an interesting story to tell about

0:47:22.440 --> 0:47:25.800
<v Speaker 1>a man caring for nailing father upon whose doorstep arrives

0:47:26.120 --> 0:47:29.760
<v Speaker 1>a daughter he won't accept eternity for and someone's chasing

0:47:29.760 --> 0:47:32.080
<v Speaker 1>her and forces them all out of their comfortable place

0:47:32.120 --> 0:47:34.480
<v Speaker 1>and onto the road where they're fighting for their lives.

0:47:34.560 --> 0:47:36.959
<v Speaker 1>And that that could easily be a movie that you'd

0:47:36.960 --> 0:47:41.319
<v Speaker 1>make without clause or mutant powers at all, which in

0:47:41.360 --> 0:47:44.359
<v Speaker 1>a sense to me is a better definition of how

0:47:44.400 --> 0:47:46.200
<v Speaker 1>to find a story than the other way around, the

0:47:46.320 --> 0:47:50.360
<v Speaker 1>building your story around around um their powers. Yeah, what

0:47:50.400 --> 0:47:53.319
<v Speaker 1>about visual ideas? Because I love those first two acts

0:47:53.320 --> 0:47:56.279
<v Speaker 1>of the Wolverine very much as well. And uh, and

0:47:56.360 --> 0:47:59.680
<v Speaker 1>I also note some imagery from the Frank Miller stuff

0:47:59.719 --> 0:48:02.279
<v Speaker 1>in there. It's really cool, especially in those arrows and

0:48:02.320 --> 0:48:06.680
<v Speaker 1>stuff going into the third act. But with Logan, I'm

0:48:06.680 --> 0:48:09.040
<v Speaker 1>not as a comic book reader as familiar with the

0:48:09.080 --> 0:48:11.319
<v Speaker 1>newer stuff that has this young character and stuff and

0:48:11.360 --> 0:48:13.080
<v Speaker 1>things like that. But I'm just curious if there were

0:48:14.000 --> 0:48:17.719
<v Speaker 1>any graphic references reference points for you at all. And

0:48:17.760 --> 0:48:19.120
<v Speaker 1>I think I kind of let go of that. I

0:48:19.200 --> 0:48:25.000
<v Speaker 1>kind of gave myself a prescription to do something original.

0:48:25.400 --> 0:48:28.279
<v Speaker 1>Um in all these things are in my head. I mean,

0:48:28.280 --> 0:48:31.000
<v Speaker 1>the biggest influence i'd say visually in a general way

0:48:31.200 --> 0:48:35.000
<v Speaker 1>was was old Man Logan and um, not from a

0:48:35.040 --> 0:48:37.440
<v Speaker 1>story point of view, as much we didn't do that story.

0:48:37.520 --> 0:48:41.600
<v Speaker 1>We couldn't from a character legal point of view that

0:48:41.640 --> 0:48:43.600
<v Speaker 1>we didn't have writes a lot of the characters in

0:48:43.680 --> 0:48:47.680
<v Speaker 1>that comic book, but from a vibe a look, um,

0:48:47.719 --> 0:48:49.960
<v Speaker 1>that was a lot of what we did. Um. And

0:48:50.120 --> 0:48:52.720
<v Speaker 1>it was a very big inspiration in terms of setting

0:48:52.760 --> 0:48:55.000
<v Speaker 1>a tone. And I think as much as you could

0:48:55.000 --> 0:49:00.440
<v Speaker 1>credit Deadpool and the changing marketplace and studios understanding that

0:49:00.440 --> 0:49:02.440
<v Speaker 1>that the world is changing for these movies, and we

0:49:02.480 --> 0:49:04.959
<v Speaker 1>have to keep changing with it. I think that old

0:49:04.960 --> 0:49:09.480
<v Speaker 1>man logan provided a kind of legitimacy for reimagining the

0:49:09.560 --> 0:49:13.680
<v Speaker 1>world of Wolverine in a very different environment in place.

0:49:14.239 --> 0:49:20.279
<v Speaker 1>But I really tried in every way to uh when

0:49:20.320 --> 0:49:22.719
<v Speaker 1>I say this that I felt like the best way

0:49:22.719 --> 0:49:26.960
<v Speaker 1>I could serve the fans would be to ignore it

0:49:27.040 --> 0:49:30.240
<v Speaker 1>all and just make my movie, meaning make a movie.

0:49:30.640 --> 0:49:34.360
<v Speaker 1>The best I could make a film. Um, come what may,

0:49:34.480 --> 0:49:36.720
<v Speaker 1>to tell a story about these characters in this world

0:49:36.960 --> 0:49:38.640
<v Speaker 1>in the same way when you bring up Frank Miller,

0:49:38.680 --> 0:49:43.240
<v Speaker 1>he did, meaning that that that um that the story

0:49:43.400 --> 0:49:45.960
<v Speaker 1>of the evolution of comic books is not a story

0:49:46.040 --> 0:49:49.800
<v Speaker 1>of universe building and continuity as much as it's a

0:49:49.880 --> 0:49:54.120
<v Speaker 1>story of shattering changes being made every eight years or

0:49:54.160 --> 0:49:58.319
<v Speaker 1>so in these in these different storylines, Superman doesn't look

0:49:58.360 --> 0:50:01.520
<v Speaker 1>the same as he did in one and Batman doesn't

0:50:01.520 --> 0:50:05.560
<v Speaker 1>look the same as when Bob Kane created him. And um,

0:50:05.760 --> 0:50:08.520
<v Speaker 1>Neil Gaiman certainly did different things with the Sandman than

0:50:08.600 --> 0:50:10.759
<v Speaker 1>what he was doing in the DC universe earlier. And

0:50:10.840 --> 0:50:14.600
<v Speaker 1>I could go on and on, um that the quest

0:50:14.719 --> 0:50:18.800
<v Speaker 1>for kind of unity and an unbroken style within a

0:50:19.040 --> 0:50:23.280
<v Speaker 1>comic book movie series is more. I think about again

0:50:23.320 --> 0:50:26.240
<v Speaker 1>that that perverse need to make a kind of box

0:50:26.280 --> 0:50:31.160
<v Speaker 1>set or a never ending, unspliceable nine hour version of

0:50:31.200 --> 0:50:34.279
<v Speaker 1>one of these sagas. And I think that's the enemy

0:50:34.320 --> 0:50:36.800
<v Speaker 1>of good filmmaking in a way. I think that taking

0:50:36.800 --> 0:50:39.960
<v Speaker 1>a director and saying, Okay, I want you to dream.

0:50:40.000 --> 0:50:41.520
<v Speaker 1>But when you get in this bed and dream, don't

0:50:41.520 --> 0:50:44.879
<v Speaker 1>move the pillows and don't touch the covers, and it's

0:50:44.920 --> 0:50:48.960
<v Speaker 1>like okay. And so you sit very stiff and and

0:50:49.040 --> 0:50:51.720
<v Speaker 1>intimidated in this bed, trying to do your best work,

0:50:51.800 --> 0:50:54.600
<v Speaker 1>but knowing there's ninety things you can't do that you

0:50:54.640 --> 0:50:57.120
<v Speaker 1>would do because someone's gonna get piste off at you.

0:50:57.360 --> 0:51:00.680
<v Speaker 1>And UM, a little bit, when you asked me about

0:51:00.680 --> 0:51:04.360
<v Speaker 1>the last movie, UM, I dipped my toe in the world.

0:51:04.560 --> 0:51:07.680
<v Speaker 1>You know, it was a trauma. Just to get his

0:51:07.760 --> 0:51:10.600
<v Speaker 1>hair approved different than the Flock of Seagull's look. That

0:51:10.800 --> 0:51:16.760
<v Speaker 1>was a monumental amount of negotiation. And UM, I fought

0:51:16.800 --> 0:51:19.640
<v Speaker 1>as many battles as I could. But but UM, with

0:51:19.760 --> 0:51:22.080
<v Speaker 1>this movie, I tried to kind of get the battles

0:51:22.080 --> 0:51:25.399
<v Speaker 1>result before we even started. I'm running out of time

0:51:25.440 --> 0:51:27.600
<v Speaker 1>with you, but I did want to mention Night and

0:51:27.719 --> 0:51:30.520
<v Speaker 1>Day got a raw deal. That movie is awesome. I

0:51:30.520 --> 0:51:34.560
<v Speaker 1>think it's awesome. I think Tom is incredible. It's everything

0:51:34.600 --> 0:51:36.759
<v Speaker 1>that he's so great at, all of his charisma, all

0:51:36.760 --> 0:51:39.120
<v Speaker 1>of his timing. I think I think two things happened

0:51:39.120 --> 0:51:41.239
<v Speaker 1>in the movie. One is it was called Wichita, and

0:51:41.280 --> 0:51:44.359
<v Speaker 1>we wrote it and we shot it calling Wichita, and

0:51:44.480 --> 0:51:50.120
<v Speaker 1>God loved Tom Rothman, but he became convinced that, uh that,

0:51:51.760 --> 0:51:56.680
<v Speaker 1>as did Jim g that that that the name Wichita

0:51:57.120 --> 0:51:59.880
<v Speaker 1>in Asia would be they won't know what it means.

0:51:59.719 --> 0:52:04.440
<v Speaker 1>It's bill call it wi Chita and uh, and we're like,

0:52:04.560 --> 0:52:08.799
<v Speaker 1>it's just a cool title and um, and it was

0:52:08.800 --> 0:52:11.719
<v Speaker 1>about where the story began and then went around the

0:52:11.719 --> 0:52:14.080
<v Speaker 1>world from there. But but the story about it is,

0:52:14.120 --> 0:52:16.280
<v Speaker 1>of course that they then came up with some market

0:52:16.320 --> 0:52:19.279
<v Speaker 1>tested title Night and Day, which sounded like just the

0:52:19.320 --> 0:52:23.640
<v Speaker 1>worst eighties comedy title ever attached to a film, and

0:52:23.920 --> 0:52:26.799
<v Speaker 1>um and of course Night and Day means nothing in

0:52:26.840 --> 0:52:29.080
<v Speaker 1>most of Europe and Asia as well, because the pun

0:52:29.480 --> 0:52:31.800
<v Speaker 1>with the k in the end means nothing in another language.

0:52:31.800 --> 0:52:35.319
<v Speaker 1>So the whole argument was, Uh, all I can say

0:52:35.360 --> 0:52:37.359
<v Speaker 1>is you live and you learn. But when you bring

0:52:37.440 --> 0:52:40.440
<v Speaker 1>up when I bring up the title. It's amazing, Like

0:52:40.480 --> 0:52:43.120
<v Speaker 1>when I was talking about Logan and the rating and

0:52:43.160 --> 0:52:45.440
<v Speaker 1>how it frees you to make an adult film. When

0:52:45.480 --> 0:52:49.120
<v Speaker 1>you title a movie with a stupid title, it signals something.

0:52:49.200 --> 0:52:51.680
<v Speaker 1>It activates the press who looks at it like a

0:52:51.800 --> 0:52:56.120
<v Speaker 1>kind of trivial film. It activates the The artwork and

0:52:56.160 --> 0:52:58.960
<v Speaker 1>the marketing and the trailer cutting all build around this

0:52:59.040 --> 0:53:03.160
<v Speaker 1>kind of more simpleton version of the movie. And in

0:53:03.239 --> 0:53:06.000
<v Speaker 1>many ways Night and Day Wichitas I like to call

0:53:06.040 --> 0:53:10.000
<v Speaker 1>it never recovered from the kind of effort to make

0:53:10.040 --> 0:53:15.200
<v Speaker 1>it UM a kind of very silly caper comedy as

0:53:15.239 --> 0:53:19.640
<v Speaker 1>opposed to a real tribute to movies like Charade, and

0:53:19.800 --> 0:53:22.600
<v Speaker 1>an effort to make a kind of UM a pretty

0:53:22.680 --> 0:53:26.880
<v Speaker 1>satirical look at the espionage, romance and violence around the

0:53:26.920 --> 0:53:31.680
<v Speaker 1>world in these days. And and also Tom Cruise taking

0:53:31.719 --> 0:53:35.799
<v Speaker 1>a pretty brave um poke at his own persona UM

0:53:35.960 --> 0:53:38.279
<v Speaker 1>and particularly in the midst of the moment we were

0:53:38.320 --> 0:53:41.320
<v Speaker 1>making that movie, I thought he was really brave in

0:53:41.320 --> 0:53:44.840
<v Speaker 1>in playing a part um about kind of the ultimate

0:53:45.000 --> 0:53:48.000
<v Speaker 1>can do guy, so can do that he kind of

0:53:48.160 --> 0:53:52.319
<v Speaker 1>makes you want to run UM and UM. I felt

0:53:52.360 --> 0:53:56.239
<v Speaker 1>like that went marketing and framing on that movie went

0:53:56.239 --> 0:53:59.200
<v Speaker 1>a long way to getting people turned off before they

0:53:59.200 --> 0:54:04.400
<v Speaker 1>even watched it. And then finally last thing here, Uhary

0:54:04.440 --> 0:54:09.800
<v Speaker 1>of Copland this year earlier. I look at that and

0:54:09.840 --> 0:54:11.960
<v Speaker 1>I see such an amazing cast and a great story

0:54:12.080 --> 0:54:15.440
<v Speaker 1>from a writer director. But I wonder how intimidated were

0:54:15.480 --> 0:54:18.839
<v Speaker 1>you buy that cast and in making that movie at

0:54:18.880 --> 0:54:20.920
<v Speaker 1>that stage in your career. I have to you know,

0:54:20.960 --> 0:54:24.520
<v Speaker 1>it's one of the really great stories of my career

0:54:24.920 --> 0:54:30.759
<v Speaker 1>on a on a friendship level, was the protectiveness of

0:54:30.840 --> 0:54:33.480
<v Speaker 1>Robert de Niro on that movie for being um he

0:54:33.520 --> 0:54:35.640
<v Speaker 1>worked the first month of that movie and then went

0:54:35.640 --> 0:54:39.040
<v Speaker 1>on to do a different show. And um there, to

0:54:39.160 --> 0:54:44.040
<v Speaker 1>a man, there wasn't another cast member ray Leota, Harvey Kitell,

0:54:44.600 --> 0:54:48.640
<v Speaker 1>sly Pete Burgh. God, there's so many people in that movie,

0:54:48.840 --> 0:54:53.000
<v Speaker 1>but the um there wasn't one of them who didn't

0:54:53.000 --> 0:54:55.959
<v Speaker 1>deeply respect Bob. And Bob was a neighbor of mine

0:54:56.360 --> 0:54:58.520
<v Speaker 1>downtown New York at that time, and the second son

0:54:58.600 --> 0:55:00.440
<v Speaker 1>in the movie. He made it this thing of getting

0:55:00.440 --> 0:55:02.719
<v Speaker 1>together every week and doing some research or sitting and

0:55:02.760 --> 0:55:07.040
<v Speaker 1>having ginger tea and talking about the script and um,

0:55:07.080 --> 0:55:10.440
<v Speaker 1>and he really befriended me. He kind of UM. And

0:55:10.520 --> 0:55:12.680
<v Speaker 1>he said this thing to me early on at one

0:55:12.719 --> 0:55:15.239
<v Speaker 1>of those get togethers, which is like, you know, I

0:55:15.239 --> 0:55:18.319
<v Speaker 1>don't usually work with young directors. And he goes, I

0:55:18.360 --> 0:55:20.359
<v Speaker 1>just don't want you in awe of me. Tell me

0:55:20.400 --> 0:55:22.400
<v Speaker 1>what you want. Always tell me what you want. And

0:55:22.400 --> 0:55:24.920
<v Speaker 1>I was like, okay, and he said, even in the

0:55:24.920 --> 0:55:27.520
<v Speaker 1>middle of when I'm acting, even better, don't say cut,

0:55:27.640 --> 0:55:30.480
<v Speaker 1>just tell me what you want while we're rolling. And

0:55:31.080 --> 0:55:33.080
<v Speaker 1>it was one of the most freeing things because in

0:55:33.120 --> 0:55:35.359
<v Speaker 1>the first week of shooting, here's Bob and he's doing

0:55:35.400 --> 0:55:38.600
<v Speaker 1>some scene at you know, the i A headquarters in

0:55:38.640 --> 0:55:40.719
<v Speaker 1>New York, and in the middle of the take, I'm like,

0:55:40.920 --> 0:55:43.879
<v Speaker 1>come with that again, come around and like stallonea leon

0:55:44.000 --> 0:55:45.360
<v Speaker 1>and all these other guys are looking at like you

0:55:45.440 --> 0:55:47.440
<v Speaker 1>just cut off Bob de Nero and are telling them

0:55:47.440 --> 0:55:49.960
<v Speaker 1>what to do and and Bob comes twice with twice

0:55:49.960 --> 0:55:53.080
<v Speaker 1>as much energy into the scene and and he said

0:55:53.120 --> 0:55:57.520
<v Speaker 1>a tone, UM, don't funk with this kid, And UM,

0:55:57.560 --> 0:56:00.920
<v Speaker 1>in many ways, I'll be eternally grateful to him UM

0:56:00.920 --> 0:56:03.640
<v Speaker 1>for that, because I think UM, to a man, they

0:56:03.640 --> 0:56:07.000
<v Speaker 1>all were really collaborative and lovely with me. UM. I

0:56:07.040 --> 0:56:09.600
<v Speaker 1>think I was. So it was a lot to handle

0:56:09.960 --> 0:56:12.759
<v Speaker 1>um as a second picture when your first movie was

0:56:12.760 --> 0:56:15.120
<v Speaker 1>was shot for two hundred fifty thousand dollars and all

0:56:15.160 --> 0:56:17.920
<v Speaker 1>took place in a little diner. But but I look

0:56:17.960 --> 0:56:21.239
<v Speaker 1>back with huge and fond memories about being surrounded with

0:56:21.280 --> 0:56:24.240
<v Speaker 1>that kind of talent and um and hearing my words

0:56:24.239 --> 0:56:26.920
<v Speaker 1>brought to life by those guys. It was incredible. And

0:56:26.920 --> 0:56:28.680
<v Speaker 1>we didn't talk about walk the line, but Man in

0:56:28.760 --> 0:56:31.600
<v Speaker 1>Black would have been this past weekend. Yeah, he just

0:56:31.640 --> 0:56:34.280
<v Speaker 1>would have turned. And you know, I thought about Johnny

0:56:34.360 --> 0:56:36.720
<v Speaker 1>Cash a lot as I've been working on this movie.

0:56:36.840 --> 0:56:40.080
<v Speaker 1>You know, A we used UM, we're using a song

0:56:40.200 --> 0:56:42.440
<v Speaker 1>of his to close our picture, and we used another

0:56:42.480 --> 0:56:45.480
<v Speaker 1>song of his UM in the marketing campaign for Logan.

0:56:46.840 --> 0:56:49.319
<v Speaker 1>But it's not it's not only that it works. I

0:56:49.360 --> 0:56:52.040
<v Speaker 1>think it had in both cases in use UM, but

0:56:52.200 --> 0:56:57.040
<v Speaker 1>that there's there's uh. You know, My work is very disparate.

0:56:57.160 --> 0:56:59.759
<v Speaker 1>You know, I've moved from genre to genre, but a

0:56:59.760 --> 0:57:02.680
<v Speaker 1>lot of things, if you look beneath the easy surface

0:57:02.760 --> 0:57:05.960
<v Speaker 1>of genre, stay very constant for me. And for instance,

0:57:06.000 --> 0:57:11.320
<v Speaker 1>Johnny Cash and Logan are brothers. Um. There is UH

0:57:11.360 --> 0:57:15.520
<v Speaker 1>for me, UM A deep understanding in john and always

0:57:15.680 --> 0:57:22.080
<v Speaker 1>was of feeling the outsider, UM, feeling ashamed of his past,

0:57:22.440 --> 0:57:26.240
<v Speaker 1>carrying a kind of shadow through life, UM, and trying

0:57:26.280 --> 0:57:29.240
<v Speaker 1>to understand how he could use his own darkness in

0:57:29.320 --> 0:57:33.800
<v Speaker 1>positive ways. UM. Well, and our interview if you want,

0:57:33.840 --> 0:57:35.520
<v Speaker 1>with a story that John told me of a couple

0:57:35.560 --> 0:57:38.920
<v Speaker 1>of weeks before he died, which was really moved me,

0:57:39.080 --> 0:57:42.479
<v Speaker 1>and UM relates to Logan in a big way, which

0:57:42.520 --> 0:57:47.320
<v Speaker 1>is that I after June Carter died, I continued speaking

0:57:47.320 --> 0:57:51.880
<v Speaker 1>to John um Um Saturday mornings via phone. And UH,

0:57:52.160 --> 0:57:54.840
<v Speaker 1>part of it was some of his family suggested it

0:57:54.880 --> 0:57:56.640
<v Speaker 1>was good for him just to keep talking about the movie,

0:57:56.680 --> 0:57:59.040
<v Speaker 1>because you know, he was grieving for the loss of

0:57:59.080 --> 0:58:02.640
<v Speaker 1>his lifelong partner and it was a stunning death. And

0:58:03.800 --> 0:58:05.520
<v Speaker 1>so we would talk on Saturdays. And I had really

0:58:05.520 --> 0:58:07.360
<v Speaker 1>gotten all I needed for the script at this point.

0:58:07.360 --> 0:58:08.720
<v Speaker 1>But there was one day I was just shooting the

0:58:08.720 --> 0:58:10.560
<v Speaker 1>ship with him and I started asking him about his

0:58:10.640 --> 0:58:15.040
<v Speaker 1>favorite movies and he and he says, you know, my

0:58:15.160 --> 0:58:20.160
<v Speaker 1>favorite movie was Frankenstein, and I go, really when you

0:58:20.200 --> 0:58:22.080
<v Speaker 1>see it? And he was like, when I was nine,

0:58:22.360 --> 0:58:26.000
<v Speaker 1>I saw it at the you know, the dis cinema.

0:58:26.000 --> 0:58:28.600
<v Speaker 1>There was little theater and Dias Mississippi, and he went

0:58:28.640 --> 0:58:32.440
<v Speaker 1>and saw the movie and he said it was stunning

0:58:32.440 --> 0:58:34.760
<v Speaker 1>to me because I looked around and all the other

0:58:34.880 --> 0:58:36.520
<v Speaker 1>kids and all the other grown ups in the theater

0:58:36.560 --> 0:58:41.240
<v Speaker 1>were like terrified of this monster. But I felt like

0:58:41.880 --> 0:58:44.720
<v Speaker 1>I identified with him. And he said, you know, I

0:58:44.760 --> 0:58:46.560
<v Speaker 1>was nine years old, but I felt like I was

0:58:46.600 --> 0:58:50.200
<v Speaker 1>made up of all these bad parts soon together. And

0:58:51.200 --> 0:58:52.800
<v Speaker 1>you know, I remember him telling you that story and

0:58:52.840 --> 0:58:56.240
<v Speaker 1>being really moved and thinking about what that must feel like.

0:58:57.080 --> 0:59:00.640
<v Speaker 1>And but I remembered it recently because I think that

0:59:00.680 --> 0:59:03.960
<v Speaker 1>cuts to the core of who Logan is. That he's

0:59:04.040 --> 0:59:07.280
<v Speaker 1>been um, that he walks through life carrying this ton

0:59:07.320 --> 0:59:10.960
<v Speaker 1>of shame and um, this feeling that he's not for

0:59:11.000 --> 0:59:14.040
<v Speaker 1>this earth and not good enough to deserve love or family,

0:59:14.720 --> 0:59:17.480
<v Speaker 1>and yet we know different as we watch him. UM,

0:59:17.520 --> 0:59:20.400
<v Speaker 1>And I think that, uh, that's something I really tried

0:59:20.440 --> 0:59:22.400
<v Speaker 1>to bring to this. And I think Hugh knocks out

0:59:22.400 --> 0:59:25.200
<v Speaker 1>of the park well Wolf. The movie is called The

0:59:25.200 --> 0:59:31.880
<v Speaker 1>Wolverine three Electric Boogaloo the movie. Go see Logan tomorrow.

0:59:31.920 --> 0:59:36.080
<v Speaker 1>It opens everywhere. It's amazing. And James, thanks again for

0:59:36.200 --> 0:59:38.560
<v Speaker 1>coming on the show. My pleasure, Chris, always interesting. Thank

0:59:38.680 --> 0:59:51.160
<v Speaker 1>thank you. Thanks for listening everyone. Remember to subscribe to

0:59:51.200 --> 0:59:53.400
<v Speaker 1>play back and check back for season two and a

0:59:53.440 --> 0:59:59.200
<v Speaker 1>couple of weeks you've been listening to playback at Variety,

1:00:00.800 --> 1:00:05.480
<v Speaker 1>Boo Fire,