WEBVTT - Ep13 - Ben Foster / "Hell or High Water" 0:00:17.520 --> 0:00:21.600 Welcome to Playback a Variety podcast. I'm your host, Variety 0:00:21.640 --> 0:00:24.800 Awards editor Chris Tapley. On today's show, a preview of 0:00:24.840 --> 0:00:28.320 the upcoming Critics Awards circuit and thoughts on Martin Scorsese Silence. 0:00:28.600 --> 0:00:30.400 A little bit later, I'll be talking to Heller High 0:00:30.440 --> 0:00:44.840 Water star Ben Foster, So stick around, all right, folks, 0:00:44.840 --> 0:00:47.960 I'm back with Varieti chief film critic Peter de Bruges. 0:00:48.280 --> 0:00:50.760 First time since Tell Your Ride exactly, we sat down 0:00:50.760 --> 0:00:52.440 and Tell Your Right to talk about those movies seems 0:00:52.479 --> 0:00:56.480 like a lifetime ago. And uh, Peter is fresh off 0:00:56.480 --> 0:00:58.120 of a screening that we're gonna want to talk about, 0:00:58.200 --> 0:01:01.880 which is Martin Scorsese Silence. Uh, kind of the last 0:01:01.920 --> 0:01:05.280 big movie to drop this year, and uh, you know, 0:01:05.280 --> 0:01:07.280 there's an embargo in place, so we'll be careful how 0:01:07.319 --> 0:01:12.520 we discussed this. But what's your immediate takeaway. Let's let's 0:01:12.560 --> 0:01:14.400 just go with that. Yeah, well, let's let's keep my 0:01:14.480 --> 0:01:16.039 opinion out of it and we can just talk about 0:01:16.080 --> 0:01:18.840 some kind of general things. But the I mean, we 0:01:18.880 --> 0:01:22.400 all kind of knew this was eight hundred pound Guerrilla 0:01:22.440 --> 0:01:24.680 in the center of You've got a Martin Scorsese movie 0:01:25.160 --> 0:01:28.120 dropping in December, and the last time there was kind 0:01:28.120 --> 0:01:31.000 of a late you know, year less couple of times, 0:01:31.000 --> 0:01:33.039 you know, those movies have gone on departed, you know, 0:01:33.319 --> 0:01:35.720 Wolf of Wall Street to do really well in the 0:01:35.720 --> 0:01:39.320 awards season. Um, this is a different kind of movie 0:01:39.360 --> 0:01:41.920 in that I mean, I think it is closer to 0:01:42.000 --> 0:01:46.040 something like Coundon in the sense of it's not an 0:01:46.080 --> 0:01:50.280 overly commercial film. It's long, it's two hours and forty minutes. Uh, 0:01:50.320 --> 0:01:54.120 it's uh mostly intellectual, and it has a lot to 0:01:54.160 --> 0:01:56.720 do with how much work the audience is willing to 0:01:56.760 --> 0:01:59.040 put into it, you know, in terms of what you 0:01:59.120 --> 0:02:02.200 bring to the table. And uh, the and it's a 0:02:02.200 --> 0:02:07.000 movie about faith and you know, heavy interior kind of issues. Um, 0:02:07.400 --> 0:02:09.639 it's a period piece set in Japan. All these kind 0:02:09.639 --> 0:02:12.760 of elements, you know, kind of make it something where 0:02:13.440 --> 0:02:15.760 it's the kind of movie that's not going to be 0:02:15.840 --> 0:02:19.200 some runaway box office phenomenon that powers it into the 0:02:19.200 --> 0:02:23.720 award season. That said, I mean, the it is a 0:02:23.760 --> 0:02:26.480 film to be contended with in terms of all of 0:02:26.520 --> 0:02:29.440 the elements that any Scorsese film would be, from the 0:02:29.440 --> 0:02:32.680 way it looks to the acting to them, you know, 0:02:32.720 --> 0:02:36.160 there's uh, they're they're all the I mean, we know 0:02:36.280 --> 0:02:38.520 to be looking for Andrew Garfield. He you know, did 0:02:38.520 --> 0:02:41.360 a terrific job in Hack Saw Ridge and now you know, 0:02:41.400 --> 0:02:44.359 here's another leading performance to movies that kind of are 0:02:44.400 --> 0:02:49.680 both about these, um you know, these characters of profound 0:02:49.720 --> 0:02:52.560 faith on personal journeys kind of against all odds, you know. 0:02:52.639 --> 0:02:55.800 But the uh, you know, I actually don't know the 0:02:55.840 --> 0:02:57.560 name of the actor, but that there was one who 0:02:57.639 --> 0:02:59.440 kind of jumped out at me. And the movie is 0:02:59.440 --> 0:03:03.520 worth camp painting it. It's the villain of the movie anyway. 0:03:04.000 --> 0:03:07.840 Is the character's name is is basically like the Japanese 0:03:07.919 --> 0:03:10.280 Christoph Waltz. It's as kind of as someone else said 0:03:11.040 --> 0:03:14.480 on Twitter, but it's the hans Landa like the New 0:03:14.520 --> 0:03:16.560 hans Landa or something, right. But I mean it's like 0:03:16.600 --> 0:03:19.359 it's just it's I mean, it's one of the it's 0:03:19.400 --> 0:03:22.400 one of the performances that reads the loudest or you know, 0:03:22.440 --> 0:03:25.240 kind of like catches you in a movie that's very understated, 0:03:25.360 --> 0:03:28.720 you know. Um so, I mean I think they would 0:03:28.720 --> 0:03:33.360 be you know, smart to to just sort of spotlight him. Yeah, 0:03:33.360 --> 0:03:36.400 it's a category that's very much open right now. It's interesting, 0:03:36.440 --> 0:03:38.000 you know, we had Garfield on the show a few 0:03:38.080 --> 0:03:41.440 months ago, and that was specifically for hacks All, but 0:03:41.880 --> 0:03:43.600 we talked about Silence, and I was like, both of 0:03:43.600 --> 0:03:49.000 these movies are about the hardship of maintaining one's faith, 0:03:49.280 --> 0:03:51.720 as you said, against all odds. Uh. And that's kind 0:03:51.720 --> 0:03:55.880 of a theme that Marty, excuse me, Scorsese like like 0:03:55.960 --> 0:03:57.960 he's my friend, like like we're on a first name 0:03:58.000 --> 0:04:01.440 basis us. All right. We just had lunch with Andy 0:04:01.480 --> 0:04:03.720 who came down to shake hands with all of the 0:04:03.840 --> 0:04:05.560 l a film cutter and you guys up. You know, 0:04:05.600 --> 0:04:07.320 it's like and I mean, you could tell that that's 0:04:07.360 --> 0:04:10.360 not something that was his idea and someone else, you know, 0:04:10.480 --> 0:04:13.320 wants him to do that. And to his credit, I 0:04:13.360 --> 0:04:16.800 think he's a very serious actor, has done to great performances. 0:04:16.800 --> 0:04:19.279 But go on, I greatly enjoyed talking to him about 0:04:19.279 --> 0:04:22.719 this stuff and Scorsese and Gibson both being interesting filmmakers 0:04:22.720 --> 0:04:27.240 and how they deal with those themes throughout their career. Actually, so, uh, 0:04:27.640 --> 0:04:30.920 you know, let me just ask a question that you're 0:04:30.960 --> 0:04:33.520 going to hate. I appreciate that you lead with some 0:04:33.560 --> 0:04:35.360 of the awards talk. I know that's not generally where 0:04:35.400 --> 0:04:37.880 you go, but is this the Best Picture Players is 0:04:37.920 --> 0:04:40.760 something that could unseat something like La La Land, which 0:04:40.839 --> 0:04:45.640 is perceived to be the front runner. It won't win, Um, 0:04:45.680 --> 0:04:48.560 it could be nominated in that if there's enough critical 0:04:48.640 --> 0:04:52.640 support for the movie, I think it could be, you know, 0:04:52.880 --> 0:04:55.920 one of the ten nine eight. However, many kind of 0:04:55.960 --> 0:04:58.440 get in there there. Um. I think that has a 0:04:58.480 --> 0:05:02.000 lot to do with this kind I've late late in 0:05:02.040 --> 0:05:05.000 the game play potentially, and the fact that Scorsese is 0:05:05.120 --> 0:05:09.120 so respected. Um, it's curious that this movie, I mean, 0:05:09.200 --> 0:05:12.240 it was being considered for a late last year release 0:05:12.279 --> 0:05:13.919 and then there was hope that it might show up 0:05:13.960 --> 0:05:16.320 a can or some of these festivals. I honestly think 0:05:16.320 --> 0:05:19.760 if it had premier it can say, it would have 0:05:19.960 --> 0:05:23.039 much better chances, because I think it's a movie that, um, 0:05:23.080 --> 0:05:29.799 there will be some very um big critical champions for it. Uh. 0:05:29.960 --> 0:05:33.039 I honestly, I'm going to take some time to digest it. 0:05:33.040 --> 0:05:35.640 I don't know that I could give my off the review. 0:05:36.080 --> 0:05:37.600 I don't know what side I'll be on. I'll tell 0:05:37.600 --> 0:05:41.279 you that, you know, it's like um the and um 0:05:41.760 --> 0:05:44.440 the because I have very mixed feelings, you know, and 0:05:44.440 --> 0:05:45.719 you've read the book. You said you're in the middle 0:05:45.760 --> 0:05:47.240 of your third read on the book, why you why 0:05:47.279 --> 0:05:49.400 do you keep reading this book? Well, I'll say that 0:05:49.680 --> 0:05:53.160 it's always been in preparation for this uh, and it's 0:05:53.160 --> 0:05:55.400 always been in audio book form, and I find that, like, 0:05:55.440 --> 0:05:57.640 I'll listen to twenty thirty minutes of it and realize 0:05:57.680 --> 0:05:59.600 I haven't been paying attention at all because it's very 0:05:59.640 --> 0:06:02.720 dense and it's a you know, a complicated story. But 0:06:03.760 --> 0:06:05.760 you know, there were times in the movie when I 0:06:05.800 --> 0:06:07.960 was having the same problem, you know, my my mind 0:06:08.040 --> 0:06:11.000 going to thinking about my sock drawer instead of what 0:06:11.040 --> 0:06:15.000 was on screener, instead of what, you know, was where 0:06:15.000 --> 0:06:16.960 it was supposed to take me. You know, it's it's 0:06:17.000 --> 0:06:21.400 not necessarily a gripping piece of material, and yet it's 0:06:21.400 --> 0:06:23.360 about this profound thing. I mean, we're talking about the 0:06:23.360 --> 0:06:26.839 themes of Scorsese movies. I mean, this is about a 0:06:26.880 --> 0:06:31.440 guy who um a priest, who travels to Japan to 0:06:31.920 --> 0:06:35.760 in in search of almost a kind of spiritual glory. 0:06:36.360 --> 0:06:39.440 He's watching all these you know, peasants who have converted 0:06:39.480 --> 0:06:43.440 to Catholicism being tortured in these gruesome ways, and he's 0:06:43.440 --> 0:06:46.760 almost envious of them, which, of course we know is 0:06:46.800 --> 0:06:50.240 like a venal sin. You know, it's like the uh, 0:06:50.800 --> 0:06:54.040 he's envious of them for uh, like you know, being 0:06:54.160 --> 0:06:56.520 martyrs when that's what he wants, he wants you know, 0:06:56.560 --> 0:07:01.200 the uh. And interesting refraction for today. Yeah, yeah, some 0:07:01.240 --> 0:07:03.080 of the things that's going on in the world. Well, 0:07:03.080 --> 0:07:04.920 it's I mean, it's curious to see a movie that's 0:07:04.960 --> 0:07:07.720 looking at Catholicism in a way that um, you know, 0:07:08.000 --> 0:07:11.240 our own countries and others and then in the world 0:07:11.280 --> 0:07:14.320 are kind of turning against you know, Muslims coming in 0:07:14.440 --> 0:07:16.480 and being very threatened by them. You know. It's like 0:07:16.680 --> 0:07:20.239 and also a flip on the kind of Catholic stories 0:07:20.280 --> 0:07:23.760 that the Crusades, the you know, Inquisition, all these kind 0:07:23.760 --> 0:07:26.280 of things where it's like there's been a very brutal 0:07:26.400 --> 0:07:31.040 history with Catholicisms towards you know, the Catholic religion towards 0:07:31.040 --> 0:07:33.920 other faith or non face and uh. And here it's 0:07:34.000 --> 0:07:37.160 you know, the they're the victims. They've they've come in 0:07:37.200 --> 0:07:42.280 as colonialists into a into a Buddhist culture, and the 0:07:42.720 --> 0:07:45.680 you know, the authorities they're kind of want to like 0:07:45.840 --> 0:07:50.560 rip this um, this vine, this you know kind of 0:07:50.560 --> 0:07:53.000 thing out by the roots, and the roots are the priests, 0:07:53.040 --> 0:07:56.600 you know. But I mean it's it's an interesting but 0:07:56.800 --> 0:08:01.160 not at all cinematic kind of set of themes or 0:08:01.240 --> 0:08:05.840 ideas that Scorsese being Scorsese, has found a very visual 0:08:05.880 --> 0:08:08.440 way to engage with. He's got a great DP. Has 0:08:08.520 --> 0:08:11.760 worked with Rodrico Prietzo the last couple of times and 0:08:11.840 --> 0:08:16.440 went back to film on this Fall Street was mostly film, 0:08:16.640 --> 0:08:19.720 but they dabbled with digital for nighttime stuff. But uh, 0:08:19.920 --> 0:08:21.840 I mean it is a gorgeous movie. And to me, 0:08:21.920 --> 0:08:25.400 the movie, it kept reminding me of his Apocalypse. Now. 0:08:25.440 --> 0:08:28.320 I mean it's this is a heart of Darkness story, 0:08:28.360 --> 0:08:31.400 except instead of it being I mean, you've got fog 0:08:31.480 --> 0:08:33.920 and missed as this kind of motif throughout the whole thing, 0:08:34.040 --> 0:08:36.840 and that's kind of the visual through line. But he's 0:08:36.880 --> 0:08:40.240 going in search of this lost priest who may be dead, 0:08:40.320 --> 0:08:43.800 may have been killed, may have apostasized. Uh and uh, 0:08:44.600 --> 0:08:49.000 the there's that kind of similar journey to you know, 0:08:49.040 --> 0:08:52.280 Martin Sheen's in that film. Yeah, maybe Rodrigo can finally 0:08:52.280 --> 0:08:55.000 get his oscar he managed. I thought he was gonna 0:08:55.000 --> 0:08:57.040 win for a broke Back Mountain, but I think he 0:08:57.120 --> 0:09:01.520 dropped it to what was that two thousand five Best Cinematography. 0:09:02.640 --> 0:09:09.040 He won't. But anyway, Yeah, you make a good point 0:09:09.040 --> 0:09:12.440 though about the late break. I mean, this does seem 0:09:12.480 --> 0:09:15.160 like a movie that would have benefited from I mean, look, 0:09:15.160 --> 0:09:17.440 we already are enough space with awards where it seems 0:09:17.440 --> 0:09:19.240 like in order to win Best Picture you need to 0:09:20.160 --> 0:09:23.360 lay a lot of track out, and that's why the 0:09:23.440 --> 0:09:27.080 last six seven, however, many winners have played Tell Your 0:09:27.120 --> 0:09:29.560 Ride or Venice. You know, they've they've come early enough 0:09:29.600 --> 0:09:31.920 to kind of get their message going. Well, let's say 0:09:32.080 --> 0:09:34.960 movies like Manchester by the Sea, Yeah, you know, which 0:09:35.000 --> 0:09:37.440 I gave a fresh look to on Monday of this week, 0:09:37.480 --> 0:09:41.040 you know, just to kind of clear up my own, 0:09:41.280 --> 0:09:43.480 you know, idea before going into the l a film 0:09:43.480 --> 0:09:47.040 critics voting this weekend. But or certain Women, these are 0:09:47.040 --> 0:09:49.880 movies that, by virtue of having kind of been looked 0:09:49.880 --> 0:09:52.520 at and championed early at Sundance, kind of had this 0:09:52.640 --> 0:09:56.440 chance to build interest and build a claim and be 0:09:56.559 --> 0:10:00.280 received kind of almost like comfortably enough by critics with 0:10:00.360 --> 0:10:02.680 the push that they needed and in a shorter span. 0:10:02.720 --> 0:10:06.080 I think, you know, Moonlight had a direct kind of 0:10:06.240 --> 0:10:08.640 as has La La Land, you know, momentum directly off 0:10:08.679 --> 0:10:12.880 of the fall festivals. Um, so you know, Silence only 0:10:12.960 --> 0:10:17.160 has the fact that it looks prestigee and is a 0:10:17.200 --> 0:10:20.160 Scorsese film. I think kind of doing that work for 0:10:20.280 --> 0:10:22.439 it and people, you know, there are people who will 0:10:22.720 --> 0:10:25.440 go because this is a Scorsese film, but it's so 0:10:25.559 --> 0:10:27.800 unlike any other film of his that you know, that 0:10:27.840 --> 0:10:31.760 doesn't necessarily translate into love or appreciation for it. But 0:10:32.080 --> 0:10:35.640 that will, you know. But otherwise our voters going to 0:10:35.640 --> 0:10:39.600 see this movie apart from its being a Martin Scorsese movie. Yeah, 0:10:39.640 --> 0:10:41.679 I don't know, and you mentioned couldn't done there. I 0:10:41.720 --> 0:10:46.080 know that I interviewed Filmo Schoolmaker for Wolf of Wall 0:10:46.080 --> 0:10:47.880 Street and they were just about to go into this one, 0:10:47.880 --> 0:10:50.680 and they were like, this definitely part of a trilogy. 0:10:50.720 --> 0:10:55.120 With that and the Last Temptation of Christ, this get 0:10:55.160 --> 0:10:58.320 the kind of spiritual trilogy feway. So that's very fascinating. 0:10:58.800 --> 0:11:00.439 I look forward to seeing it. I see at the weekend, 0:11:00.520 --> 0:11:03.440 So actually when you're voting, I'll be seeing it. So 0:11:03.520 --> 0:11:05.760 let's talk about the l A film critics, uh and 0:11:05.800 --> 0:11:07.880 the New York film critics, which are going to happen 0:11:09.120 --> 0:11:11.160 the day this air is actually, so who knows what's 0:11:11.200 --> 0:11:13.480 happening while this is up. But what do you think 0:11:13.480 --> 0:11:15.520 the critics are gonna do this year? What do you 0:11:15.559 --> 0:11:20.839 think are some spots that they feel like need some 0:11:20.840 --> 0:11:23.559 some some uplift you know, well, I mean just having 0:11:24.000 --> 0:11:27.040 sort of shared a lunch with a lot of the 0:11:27.160 --> 0:11:29.199 l A guys, it was you know, kind of a 0:11:29.280 --> 0:11:31.800 chance to read the room a little bit and uh 0:11:32.480 --> 0:11:35.439 the and do some informal polling almost. But I would 0:11:35.440 --> 0:11:38.440 not be surprised if this happens that one of the 0:11:38.440 --> 0:11:41.800 groups and the New York gets first salvo because they 0:11:42.400 --> 0:11:46.120 vote on Thursday. Uh, the one of the groups chooses 0:11:46.240 --> 0:11:49.200 Manchester by the Sea and the other one chooses Moonlight. 0:11:49.480 --> 0:11:52.360 I think that will likely happen. Uh. And the question 0:11:52.440 --> 0:11:54.559 is which way goes which? I know that the l 0:11:54.600 --> 0:11:57.720 A critics, while they would never admit this as a group, 0:11:58.480 --> 0:12:00.560 is very conscious of what New York is done and 0:12:00.640 --> 0:12:03.440 tries not to just kind of be redundant. It's not 0:12:03.480 --> 0:12:06.440 that it never happens, but it needs to be pretty 0:12:06.520 --> 0:12:09.720 like undeniable for it to happen. Like whenever you guys, 0:12:10.280 --> 0:12:12.720 I think hurt locker, maybe have hurt locker, you know, 0:12:12.760 --> 0:12:17.040 like l A confidential saving provat Ryan. They're very specific ones. 0:12:17.080 --> 0:12:19.400 I think that's those are to that. But I feel 0:12:19.400 --> 0:12:22.240 like both those two movies, Manchester and Moonlight are ones 0:12:22.280 --> 0:12:25.680 that you know, having kind of there is such critical 0:12:26.160 --> 0:12:28.719 love for them and having the critical kind of you know, 0:12:28.840 --> 0:12:31.559 muscle behind it kind of powers it forward. Of course, 0:12:31.920 --> 0:12:34.920 National Boarder Review just picked Moonlight, so that's already you know, 0:12:34.960 --> 0:12:38.920 it's like if that and um, I mean of the 0:12:38.960 --> 0:12:42.880 two Moonlight is the movie that I adore, you know, 0:12:42.960 --> 0:12:45.640 kind of like without any sort of reservations. Well, I 0:12:45.640 --> 0:12:47.240 mean those that's my number one and number two of 0:12:47.240 --> 0:12:49.920 the year right there, Moonlight and then Manchester. They're two terrific, 0:12:50.080 --> 0:12:52.560 terrific movies. Yeah. The question though, is like and not 0:12:52.679 --> 0:12:54.760 that critics need to think this way. I mean, certainly 0:12:54.760 --> 0:12:56.840 there I think their mission ought to be to just 0:12:56.880 --> 0:12:58.439 be honest with what they think the best of the 0:12:58.520 --> 0:13:00.680 year is. But those are two movies. They don't have 0:13:00.679 --> 0:13:03.920 a problem having a footprint in this awards season. Sure, 0:13:03.960 --> 0:13:05.640 you know, so is it is it worth it? The 0:13:05.720 --> 0:13:10.320 champion something else that could could use that kind of 0:13:11.160 --> 0:13:13.760 I think when it comes to those two groups and 0:13:13.840 --> 0:13:17.280 voting on Best Picture, they tend I mean, you've everyone's 0:13:17.280 --> 0:13:20.000 engaged with that category. It does go to something where 0:13:20.000 --> 0:13:23.160 the room really feels passionate about, you know, those films 0:13:23.520 --> 0:13:26.280 there you're not second guessing strategy. I mean, I think 0:13:26.320 --> 0:13:29.439 that the limit of that is just that question of 0:13:29.480 --> 0:13:31.760 you know, not trying to look like we're just echoing 0:13:31.880 --> 0:13:34.679 what another group said. And it's unfortunate that it's even 0:13:34.720 --> 0:13:37.640 a factor, you know, It's like, but what you do 0:13:37.679 --> 0:13:39.360 see with the l A Film Critics is and almost 0:13:39.400 --> 0:13:42.280 all of their other categories, some real eccentricity come out, 0:13:42.360 --> 0:13:44.200 you know, and they do. I mean, this is a 0:13:44.200 --> 0:13:49.320 group that you know, recognizes Korean and Romanian actors when uh, 0:13:49.360 --> 0:13:52.280 you know, when there are terrific performances in the race 0:13:52.360 --> 0:13:55.640 and they are looking internationally. Every year they go out 0:13:55.679 --> 0:13:59.000 of their way to find animated films at least to 0:13:59.040 --> 0:14:01.720 consider so that we're not just kind of rubber stamping 0:14:01.720 --> 0:14:04.680 the latest Pixar movie. And uh, I think that could 0:14:04.679 --> 0:14:07.440 be a shame this year because Utopia is such a 0:14:07.559 --> 0:14:10.440 terrific movie as the Disney kind of Behemmeth in the 0:14:10.920 --> 0:14:13.640 in the Race. But there are so many great Lindy 0:14:13.720 --> 0:14:16.800 ones and I know that my critical cohorts in the 0:14:16.800 --> 0:14:19.080 group are are giving them all a look. And I 0:14:19.080 --> 0:14:21.960 mean it's like a movie like Your Name, which opens 0:14:21.960 --> 0:14:25.000 Friday and uh in Los Angeles. Uh, you know that's 0:14:25.240 --> 0:14:28.320 that movie is done almost two hundred million dollars in Japan. 0:14:28.800 --> 0:14:30.560 So it is like I didn't know it had done 0:14:30.600 --> 0:14:33.560 that well hundred and seventy million dollars. I mean, this 0:14:33.600 --> 0:14:36.480 movie is the number one grossing movie of Japan this year. 0:14:36.920 --> 0:14:41.440 Is a phenomenon, and like we will as Americans look 0:14:41.440 --> 0:14:44.920 at it as like, oh, it's this little underdog from Japan. 0:14:45.280 --> 0:14:48.480 I mean, this is like there's Utopia and and it's 0:14:48.480 --> 0:14:51.240 a terrific, terrific movie. So I just hope that people, 0:14:51.640 --> 0:14:53.640 you know, give it a chance. And you know, it's like, 0:14:53.680 --> 0:14:56.040 I know, you know, a friend of mine is an 0:14:56.080 --> 0:14:59.480 Academy voter and just you know, was showing me that 0:14:59.520 --> 0:15:01.400 he was about to pop his screen or that in 0:15:01.600 --> 0:15:03.440 you know, kind of next to watch. They're required to 0:15:03.440 --> 0:15:05.240 look at them all, so it's like, you know, they'll 0:15:05.280 --> 0:15:10.040 get considered. It's just you know, Asian talent does not 0:15:10.320 --> 0:15:15.040 get compensated very often in the Academy Awards. Um silence 0:15:15.120 --> 0:15:17.400 is one thing. You know, It's like and it would 0:15:17.400 --> 0:15:19.240 be great if you know, the actor we were talking 0:15:19.240 --> 0:15:22.160 about were uh, you know, nominated. But when it comes 0:15:22.160 --> 0:15:25.720 to animation, unless you're Miyazaki, you know, it doesn't really happen. 0:15:25.800 --> 0:15:28.360 You know, it's like um and unless you're like Angle. 0:15:29.000 --> 0:15:32.760 Uh that's kind of where the list ends on the 0:15:32.840 --> 0:15:35.240 l A critics side. I know, you guys often you 0:15:35.280 --> 0:15:38.080 were talking about actors. I think lead actress is typically 0:15:38.080 --> 0:15:42.360 a spot where uh, you know, they they'll go outside 0:15:42.400 --> 0:15:45.880 the beaten path. I kind of feel like, well, who 0:15:45.960 --> 0:15:49.360 pair feels too obvious this year, though for for l A, 0:15:49.600 --> 0:15:52.840 you know, I don't. I don't know if it would 0:15:52.840 --> 0:15:54.560 be too obvious in the sense that I don't think 0:15:54.760 --> 0:15:57.400 that I don't think she's necessarily going to win other groups, 0:15:57.520 --> 0:16:00.800 and so I think from the it's I mean, those 0:16:00.840 --> 0:16:03.680 are the kind of statements that our group has made. 0:16:03.720 --> 0:16:05.480 I mean, we've given it to the lead actress of 0:16:05.520 --> 0:16:11.520 Mother Um, the lead actress of Seraphine. The yellon Moreau 0:16:12.320 --> 0:16:14.640 might be miss messing up the title of that film, 0:16:14.640 --> 0:16:19.000 but you know where she played the autistic artist the 0:16:19.560 --> 0:16:21.920 I mean, what was the there was a year that 0:16:23.680 --> 0:16:27.560 Vera Farmiga one for couples. The name of the movie 0:16:27.920 --> 0:16:31.680 something bone down to the bone, play it to the bone. 0:16:32.200 --> 0:16:33.880 You know that must have been because I don't think 0:16:33.880 --> 0:16:35.960 I've even ever seen that movie. That must have been before. 0:16:36.000 --> 0:16:37.840 I but but I feel like I feel like she 0:16:37.880 --> 0:16:39.320 won that year. It was it was before she was 0:16:39.560 --> 0:16:41.800 vera Farmiga. You know, So they kind of, I mean, 0:16:41.960 --> 0:16:46.280 they really do look for the best performances independent of 0:16:46.720 --> 0:16:49.400 because we don't have It's not like casting an awards 0:16:49.400 --> 0:16:51.640 show the way that you know, the Golden Globes is 0:16:51.640 --> 0:16:53.240 where you go to the biggest stars and you want 0:16:53.320 --> 0:16:55.160 them to show up. You know. In our case, it's 0:16:55.200 --> 0:16:57.560 like you go to the best talent and you know, 0:16:57.800 --> 0:17:00.680 the there's no guarantee. You may vote for the biggest 0:17:00.680 --> 0:17:04.040 star and they don't come. And you might vote for 0:17:04.400 --> 0:17:07.480 as we did, um Emmanuel Riva the Year of a Moor, 0:17:08.000 --> 0:17:10.720 and you know, we get a video acceptance speech. It's 0:17:10.760 --> 0:17:12.960 all the same. To us. It's like we've voted with 0:17:13.000 --> 0:17:16.359 our conscience, you know. The I mean, Easabel loop Air 0:17:16.560 --> 0:17:21.880 is the greatest living actress. This is not the this 0:17:21.960 --> 0:17:24.320 is not even her best performance, but it is I 0:17:24.359 --> 0:17:27.600 think the one that is likely to um get her 0:17:28.880 --> 0:17:32.560 seen by the whitest you know, contingent of different awards voters. 0:17:32.840 --> 0:17:34.800 It's a you know, it's a movie by Paul Verhoven. 0:17:34.880 --> 0:17:36.119 So it's like, you know, you've got a lot of 0:17:36.119 --> 0:17:38.240 factors working in her favor. Like now she's going to 0:17:38.280 --> 0:17:40.840 be in a Marvel movie in three years, let's hope 0:17:40.880 --> 0:17:42.080 not that you never know. I mean, like the fact 0:17:42.119 --> 0:17:44.080 that Tilda Squinton is like, you know, I never saw 0:17:44.160 --> 0:17:46.920 that coming, and yet that's a brilliant piece of casting. 0:17:47.000 --> 0:17:50.000 You know. It's like, I think Easabel Looper would only 0:17:50.000 --> 0:17:52.640 make a Marvel movie if it had an O tur director, 0:17:52.800 --> 0:17:56.880 which these days they're kind of getting, so it could happen. Yeah, 0:17:57.080 --> 0:18:00.000 Uh what about something like do you mind if I 0:18:00.040 --> 0:18:02.240 mentioned what your favorite movie is? Oh no, go ahead, 0:18:02.400 --> 0:18:04.480 Hell or high Water? Uh? Do you do you think 0:18:04.480 --> 0:18:07.320 that could pick up some more steam in other areas 0:18:07.320 --> 0:18:11.000 other than bridges, Like for instance, Ben Foster received a 0:18:11.760 --> 0:18:14.840 Independent Spirit Award nomination. He's the I'm interviewing him on 0:18:14.840 --> 0:18:17.879 the show today. Uh could he maybe get subtraction or 0:18:18.760 --> 0:18:21.720 you know, just like the cinematography of a film like that, 0:18:21.760 --> 0:18:25.400 a screenplay certainly liked. I mean, I have to say 0:18:25.400 --> 0:18:27.520 that I tend to be a little blinded by my 0:18:27.560 --> 0:18:29.639 own enthusiasm when it comes to movies like this. So 0:18:29.680 --> 0:18:33.040 I'm like, I suddenly see all possibilities being open. Do 0:18:33.119 --> 0:18:35.359 other people like that movie as much as I do? 0:18:35.400 --> 0:18:37.560 You know? Is kind of the question. I grew up 0:18:37.560 --> 0:18:39.840 in Texas, so there's even a part of Hill or 0:18:39.880 --> 0:18:41.919 High Water that just reads as being kind of like 0:18:42.240 --> 0:18:45.960 the most It's even a more authentic version of No 0:18:46.080 --> 0:18:47.879 Country for Old Men for me. You know. It's like, 0:18:47.880 --> 0:18:49.920 and there's a film that we gave Best Picture too, 0:18:50.080 --> 0:18:51.960 So when the movie comes along, that's better than a 0:18:52.000 --> 0:18:54.440 movie that we gave Best Picture to. Suddenly I see 0:18:55.040 --> 0:18:58.440 all these possibilities. But does everyone kind of you know 0:18:58.560 --> 0:19:01.960 that way we meaning Afca exactly. I think Lafka gave 0:19:01.960 --> 0:19:03.480 it to there will be blood Now, you're right, so 0:19:03.480 --> 0:19:08.960 I should probably, but fair point anyway, Uh, you're right. 0:19:09.400 --> 0:19:13.840 That was the year that New York did the No Country, 0:19:13.960 --> 0:19:15.760 taking it off the table and clearing the way for 0:19:15.840 --> 0:19:19.840 us to or there. Yeah. Yeah, it's it's it's a 0:19:19.880 --> 0:19:23.400 movie that has stuck around longer than I thought it would. Honestly, Um, 0:19:23.440 --> 0:19:25.960 I liked the movie, but I kind of thought it 0:19:26.000 --> 0:19:30.000 was going to remain this late summer Indi Jim and 0:19:30.119 --> 0:19:31.760 you know those kind of fade away all the time. 0:19:32.240 --> 0:19:34.840 I think that. I mean, the thing that's so gratifying 0:19:34.880 --> 0:19:36.920 about Heller High Water is that a movie like that 0:19:37.200 --> 0:19:40.119 found its audience and it had a release date that 0:19:40.160 --> 0:19:43.680 was counterintuitive to that. Um And I mean it felt 0:19:43.680 --> 0:19:45.520 almost like it had been kind of buried at the 0:19:45.600 --> 0:19:47.760 end of summer and instead it kind of found open 0:19:47.800 --> 0:19:51.040 sailing for a while. It had some real critical support, 0:19:51.040 --> 0:19:54.600 including I mean it's beloved by my colleague and Cleberman 0:19:54.640 --> 0:19:56.840 who saw it. It It can and um, you know the 0:19:57.080 --> 0:19:59.679 uh and I think a lot of critics have come 0:19:59.720 --> 0:20:01.920 on board with it, you know, the I think it's 0:20:01.960 --> 0:20:05.840 got a terrific, terrific screenplay. Um, it's got Chris Pine 0:20:05.880 --> 0:20:09.480 playing so much against type in terms of the I mean, 0:20:09.520 --> 0:20:13.000 he's just a handsome leading man. Who here is playing 0:20:13.520 --> 0:20:18.639 you know, just this this humble Texan farm boy. You know, 0:20:18.640 --> 0:20:23.280 it's like who um is, like his his appearances, you know, 0:20:23.520 --> 0:20:25.919 you know, persona is no part of that identity, and 0:20:25.920 --> 0:20:28.679 he's kind of reinventing himself for that role. Ben Foster. 0:20:28.720 --> 0:20:31.400 We've seen him play crazy before he does it. Well, 0:20:31.640 --> 0:20:34.400 you know, it's like that intensity, Um, and like, I mean, 0:20:34.720 --> 0:20:38.879 this is like yet another you know, home run for 0:20:39.000 --> 0:20:41.199 him in that range that we've you know, kind of 0:20:41.200 --> 0:20:44.840 grown familiar with. So it's almost two very different options 0:20:44.880 --> 0:20:49.119 there in terms of, you know, an actor who's challenging 0:20:49.280 --> 0:20:51.960 his um, you know, the way that he's perceived in 0:20:52.000 --> 0:20:54.840 another who's kind of like comfortably playing within his range. 0:20:54.880 --> 0:20:57.560 But Ben's like, you know, I was way more comfortable 0:20:57.560 --> 0:20:59.800 in this role. And he's like, don't tell too many 0:20:59.800 --> 0:21:02.320 people that this is kind of weird, but yeah, he 0:21:02.359 --> 0:21:05.280 seemed extremely at ease in the part. I mean Jeff Bridges. 0:21:05.359 --> 0:21:07.719 Of course, it's like he could practically do this kind 0:21:07.760 --> 0:21:09.840 of thing in his sleep. And yet that's what's so great. 0:21:10.040 --> 0:21:11.800 This is like a cop on the brink of retirement. 0:21:11.840 --> 0:21:13.840 So it's like he needs to look these are like 0:21:14.119 --> 0:21:18.840 comfortable Janes. You know. Um, have you ever talked to 0:21:18.840 --> 0:21:21.800 Taylor Sheridan before I met him at you know, an 0:21:21.800 --> 0:21:24.080 event that they did for the DVD launch? It like 0:21:24.560 --> 0:21:28.520 the barbecue thing. Yeah, the best barbecue joining Angels. That 0:21:28.600 --> 0:21:30.800 was good. I was probably hugging Taylor shared and you 0:21:30.840 --> 0:21:32.919 know it's like, no, seriously, I mean, like he and 0:21:32.960 --> 0:21:35.640 I have Texas in our DNA and so it's like 0:21:35.920 --> 0:21:39.360 it was kind of fun to compare notes. Yeah, definitely, Uh, 0:21:39.720 --> 0:21:43.200 last thing here, I guess, you know, like New York 0:21:43.320 --> 0:21:46.639 I said, will be announced by now, but maybe some 0:21:46.680 --> 0:21:48.520 of your l A brethren will be listening. What what 0:21:48.520 --> 0:21:53.440 What is one movie that you don't think maybe everyone's 0:21:53.440 --> 0:21:55.240 going to go in there thinking of that they should 0:21:55.320 --> 0:22:00.000 probably think about with you know, whether it's a certain 0:22:00.040 --> 0:22:02.760 performance or a certain screenplay, or certain just a certain 0:22:02.800 --> 0:22:04.520 element of a movie. Even is there is there just 0:22:04.560 --> 0:22:06.800 something out there that seems really unsung that you hope 0:22:06.840 --> 0:22:09.880 that the critics and particularly maybe your group can speak 0:22:09.960 --> 0:22:13.679 up for. Well, here's what I'll say to that is that, uh, 0:22:14.280 --> 0:22:18.800 I have long detested the musical biopic genre. To me, 0:22:18.880 --> 0:22:21.280 it's like they almost always hit the same formula, which 0:22:21.320 --> 0:22:24.879 is the kind of like you know, coming out someone 0:22:24.920 --> 0:22:28.840 coming out of nowhere, rising to stardom, starting to you know, 0:22:28.960 --> 0:22:32.000 do drugs, falling off, you know, and then having to 0:22:32.040 --> 0:22:34.960 kind of like have either dying doing that or coming 0:22:34.960 --> 0:22:38.040 to Jesus and getting their act together. I'lla ray and 0:22:38.200 --> 0:22:42.679 you know, um, the this year the movie that I 0:22:42.760 --> 0:22:44.880 need to catch up with before voting, because I can 0:22:44.920 --> 0:22:47.160 sense the Love from the group is Born to Be Blue. 0:22:47.440 --> 0:22:50.280 A lot of people really adore Ethan Hawk's performance, and 0:22:50.359 --> 0:22:53.000 so my homework between now and Sunday voting is to 0:22:53.000 --> 0:22:55.040 watch them move. You're gonna bring up miles Ahead. Actually 0:22:55.200 --> 0:22:57.639 Miles Ahead, on the other hand, is like the directorial 0:22:57.680 --> 0:22:59.399 debut of the year for me. I mean, I just 0:22:59.440 --> 0:23:05.200 think that um Don Cheatle does such crazy inventive, creative 0:23:05.240 --> 0:23:07.400 things with the way that he gets in and out 0:23:07.400 --> 0:23:09.679 of the way he kind of moves in and out 0:23:09.720 --> 0:23:12.600 of time. Uh, you know, it's like, uh, I mean, 0:23:12.640 --> 0:23:15.320 this is a wacky comparison to make. But you know, 0:23:15.480 --> 0:23:18.879 my almost like one issue with Manchester by the Sea, 0:23:19.000 --> 0:23:22.359 apart from the fact that it's, you know, a story 0:23:22.400 --> 0:23:26.120 about just more average white people in a year when 0:23:26.240 --> 0:23:29.000 I'm really looking for stories kind of outside of that scope. 0:23:29.080 --> 0:23:32.119 But you know, the please bring those stories to me. 0:23:32.119 --> 0:23:34.560 It's not like I'm going to crucify a movie you 0:23:34.600 --> 0:23:37.600 know that is good for omitting them, but it would 0:23:37.600 --> 0:23:39.320 be nice to have some people of color or some 0:23:39.600 --> 0:23:42.960 well rounded women in that movie. But my real beef 0:23:42.960 --> 0:23:45.159 with it is like this weird way that he plays 0:23:45.200 --> 0:23:48.159 the flashbacks, and they're very confusing and I get what 0:23:48.160 --> 0:23:50.280 he's going for. He's doing it the way that our 0:23:50.320 --> 0:23:53.399 minds where perceiving. Yeah, and so it's meant to be subjective. 0:23:53.800 --> 0:23:56.520 But I mean don Cheatle who just has like you know, 0:23:56.880 --> 0:24:00.439 in his first film, demonstrates this kind of understanding of 0:24:00.440 --> 0:24:02.920 of cinema and the way that like you know, uh, 0:24:02.960 --> 0:24:05.000 you know, something will be designed to kind of feed 0:24:05.040 --> 0:24:07.320 from a memory, you know, from the present into a 0:24:07.400 --> 0:24:10.399 memory into a fantasy and it's like you know, jumping 0:24:10.400 --> 0:24:12.320 and weaving through in through time. I mean I was 0:24:12.400 --> 0:24:16.320 just like, I mean, that movie is cinematic jazz. I mean, 0:24:16.359 --> 0:24:19.480 he understands, you know, kind of like what Miles Davis 0:24:19.480 --> 0:24:23.000 contributed to music, and he's trying to kind of find 0:24:23.040 --> 0:24:25.879 a like a visual I mean it's not just visual, 0:24:25.920 --> 0:24:28.520 but using the elements of cinema, you know obviously sound 0:24:28.520 --> 0:24:31.840 of music as well to kind of create you know, 0:24:31.920 --> 0:24:35.000 something that that mirrors that are captures that And I 0:24:35.080 --> 0:24:38.280 just found it intoxicating and electrifying. Yeah. I like both 0:24:38.320 --> 0:24:40.200 of those movies, Miles Ahead and Born to Blue. Maybe 0:24:40.200 --> 0:24:42.680 they'll get some love. We'll see what the critics do again. 0:24:42.680 --> 0:24:46.520 The l A Film Critics announced on Sunday, and uh, 0:24:46.560 --> 0:24:49.320 you know, all the various regional groups will be chiming 0:24:49.320 --> 0:24:50.959 in throughout the rest of the month. So thanks for 0:24:50.960 --> 0:24:53.760 coming on. Man, we've got Ben Foster coming up, Star 0:24:53.840 --> 0:25:17.920 of Hell or High Waters. To stick around for that, brother, 0:25:18.200 --> 0:25:22.000 I'm gonna get that money. They're going over the drawers. 0:25:22.359 --> 0:25:24.399 You got a gun on you all, man, You've damn right. 0:25:24.480 --> 0:25:26.440 I got a gun home. Do all are gonna steal 0:25:26.520 --> 0:25:28.239 my gun too? When you see him from you were 0:25:28.240 --> 0:25:31.960 sent from the bank. Wow, do you hear about these 0:25:31.960 --> 0:25:34.320 bank robberies? They get to have some fun before they 0:25:34.359 --> 0:25:36.280 send you off to the rock and chair. Yet, oh, 0:25:36.359 --> 0:25:42.400 may have one hunt left in me, Sam having its 0:25:42.440 --> 0:25:45.960 been a while, three months bank breathing out her neck. Everybody, 0:25:46.040 --> 0:25:50.280 get you've been here for a while a long. That's 0:25:50.359 --> 0:25:53.280 watch banking. Robb has been robbing me for thirty years. 0:25:54.720 --> 0:25:57.520 The boys all exactly what they're doing. They're kind of 0:25:57.560 --> 0:26:05.400 have raised a certain amount. That's my disk totally. It's 0:26:05.400 --> 0:26:09.520 a good thing. Here does more Dona very step of 0:26:09.560 --> 0:26:14.320 the way. Welcome back everyone. I'm here with Ben Foster, 0:26:15.280 --> 0:26:19.040 who's had a very busy year. Actually, uh four films 0:26:19.320 --> 0:26:22.680 Hell or High Water, Finest Hours, Warcraft and Inferno, which 0:26:22.760 --> 0:26:25.520 is out now. Thanks for coming on the show today. 0:26:25.560 --> 0:26:30.200 First of all, been really appreciate it. Uh. You know, 0:26:30.520 --> 0:26:32.240 first of all, we were just talking briefly before we 0:26:32.320 --> 0:26:37.199 started recording. Uh, Hostiles, you're coming off of Scott Cooper's 0:26:37.240 --> 0:26:39.560 new film Western down in New Mexico he was shooting. 0:26:40.880 --> 0:26:43.000 It's curious how how you liked working on that film, 0:26:43.080 --> 0:26:44.600 What what the experience was like for you. I'm a 0:26:44.680 --> 0:26:46.639 huge fan of the genre and you've been in a 0:26:46.680 --> 0:26:50.080 couple of westerns now, so what was that like for you? 0:26:53.240 --> 0:26:55.959 Joy to play with Scott, I mean, your pals with him. 0:26:56.000 --> 0:27:00.840 He's he's such a positive, spark, cinephile. He loves people, 0:27:00.880 --> 0:27:04.120 he loves stories. So again, to play in his world 0:27:04.200 --> 0:27:08.680 was it was terrific. A great cast, I mean Christian Bale, 0:27:09.640 --> 0:27:12.920 one of my favorites, Jesse Plemons, you know, just good, solid, 0:27:13.640 --> 0:27:17.760 beautiful builders. Yeah, he puts together great casts for his stuff. 0:27:18.800 --> 0:27:23.119 And Uh, in that movie, you tackle a really gnarly character, 0:27:23.320 --> 0:27:25.520 which I'm going to talk to talk about your characters 0:27:25.880 --> 0:27:27.679 coming up, but I just want to start with kind 0:27:27.720 --> 0:27:31.760 of a cliche question, if you'll forgive me, which is, uh, 0:27:32.200 --> 0:27:34.800 when and how did you know you wanted to be 0:27:34.920 --> 0:27:40.479 an actor early. Uh, I wasn't much of a student 0:27:42.520 --> 0:27:46.000 and was very much drawn to TV. I suppose, like 0:27:46.320 --> 0:27:52.119 a lot of kids uh uh TV and movies and plays, 0:27:52.200 --> 0:27:55.480 and I just I wanted to be a part of that. 0:27:55.800 --> 0:27:59.080 Not not so much as uh to be in the box, 0:27:59.160 --> 0:28:02.680 but I just looked her there. So I got into 0:28:02.720 --> 0:28:04.840 school plays when I was about eight years old, and 0:28:05.320 --> 0:28:08.920 and uh, just about in town of Iowa, and I'd 0:28:08.960 --> 0:28:10.399 be a box mover is what they call it. You 0:28:10.480 --> 0:28:12.719 just move boxes for the guys who had lines right, 0:28:13.520 --> 0:28:17.119 and then slowly I'd be given a line and it 0:28:17.200 --> 0:28:20.520 was just better. I liked building early on. I like collaborating, 0:28:20.800 --> 0:28:22.760 and like I said, I was a terrible student, so 0:28:22.960 --> 0:28:26.480 that worked out so far. Did you feel like you 0:28:26.520 --> 0:28:29.720 took to it immediately? Sure? Yeah? Did you like? What 0:28:29.840 --> 0:28:31.800 did you like about it? Just the the ability to 0:28:31.960 --> 0:28:35.600 escape into another persona or what it even is escape 0:28:35.600 --> 0:28:38.680 even the right word. Well, it's it's different at different 0:28:38.680 --> 0:28:41.560 ages and and it evolves. What what I saw was 0:28:41.840 --> 0:28:46.840 was just something so exciting and different and other. And 0:28:46.920 --> 0:28:49.800 then getting a taste probably when I was about eleven 0:28:49.920 --> 0:28:54.200 or twelve doing a one act play. It wasn't pursuing 0:28:54.240 --> 0:28:58.800 it professionally. I blacked out during the performance. I don't 0:28:58.800 --> 0:29:04.200 remember what happened, And people came up to me afterwards saying, 0:29:04.240 --> 0:29:05.720 how did you do that? What did you do? And 0:29:05.920 --> 0:29:09.320 I said, I have no idea what happened? Uh? And 0:29:09.480 --> 0:29:12.720 that was that was the first real hit of the drug. 0:29:13.200 --> 0:29:15.640 Was trying to get back to that place of getting 0:29:17.200 --> 0:29:21.120 lost or released or some people in athletics they call 0:29:21.200 --> 0:29:23.320 it the zone, or some people call it the pocket. 0:29:24.120 --> 0:29:27.640 Always chasing that dragon, something like a trance even sure, 0:29:28.720 --> 0:29:30.720 or a good dance when you just do you feel 0:29:30.800 --> 0:29:34.520 that song? How did you first get your SAG card? 0:29:34.560 --> 0:29:37.000 That's a question my colleague Jenelle Reiley always throws around 0:29:37.040 --> 0:29:39.040 at these Q and A s. I don't remember. You 0:29:39.080 --> 0:29:44.240 don't remember commercial or anything like that. No, what was 0:29:44.320 --> 0:29:49.720 the first job? Like, yeah, my first job was I 0:29:49.880 --> 0:29:52.440 was like, I don't remember the date of it. Um, 0:29:53.520 --> 0:29:56.320 that was my first job as a Disney show. So 0:29:56.360 --> 0:30:00.760 I relocated from from Iowa to Toronto. And I don't know. 0:30:01.360 --> 0:30:05.000 I was a kid, So it was fourteen, so the 0:30:05.040 --> 0:30:06.800 adults figured out what the car. I didn't know what 0:30:07.000 --> 0:30:10.280 any of the business was. I wasn't like I wasn't 0:30:11.080 --> 0:30:14.960 chasing industry. It just I was lucky. Yeah, I knew 0:30:15.000 --> 0:30:17.840 I wanted to make believe I knew that much. I 0:30:17.880 --> 0:30:23.760 had been writing plays. Uh So I didn't really know what. 0:30:23.880 --> 0:30:26.960 I didn't know the value of a SAG card, did 0:30:27.120 --> 0:30:28.520 none of them. I didn't know what a mark was 0:30:29.240 --> 0:30:31.040 on a set. These were all I learned as I 0:30:31.160 --> 0:30:35.600 went still learning. Yeah. Well, like I said, uh, I 0:30:35.760 --> 0:30:41.600 feel that your work is really uh kind of marked 0:30:41.720 --> 0:30:44.760 by very memorable characters, very just kind of leap off 0:30:44.800 --> 0:30:47.160 the screen at you. I specifically think of stuff like 0:30:47.280 --> 0:30:50.360 three Tender Yoma obviously Hell or high Water. It's a 0:30:50.480 --> 0:30:52.600 very interesting character there. You have this gnarly character to 0:30:52.640 --> 0:30:56.640 play in hostiles even something like Hostage I think of, 0:30:57.040 --> 0:30:59.840 or Alpha Dog. These these guys just really are are 0:31:00.200 --> 0:31:04.400 larger than life characters. I'm curious where you start to 0:31:04.480 --> 0:31:06.800 build on the character after you read the script. I mean, 0:31:06.840 --> 0:31:09.080 obviously it starts with what's on the page, But where 0:31:09.120 --> 0:31:13.120 do you start to go from there. It's it's a 0:31:13.400 --> 0:31:19.160 it's job to job. It changes. I suppose that at 0:31:19.200 --> 0:31:24.680 its best is you read something and uh, it resonates 0:31:24.720 --> 0:31:27.360 in a particular part of your heart, your mind, or 0:31:27.520 --> 0:31:31.840 you understand some part of that story and and and 0:31:31.960 --> 0:31:35.440 making that a personal connection to it. And then it's 0:31:35.440 --> 0:31:40.280 about bleeding the lines and doing research to support that connection. 0:31:41.320 --> 0:31:43.160 And that's the best part of the job as the 0:31:43.240 --> 0:31:50.920 research for me is Ideally there's a period of time 0:31:51.000 --> 0:31:53.240 to to explore the world or talk to somebody who's 0:31:53.280 --> 0:31:56.240 lived in a similar world to get a better connectivity 0:31:56.320 --> 0:31:58.960 to the material at hand, and then go through the 0:31:59.000 --> 0:32:01.960 script of the director, ideally page by page and start 0:32:02.000 --> 0:32:04.640 cutting it out, just cutting pages down. So so many 0:32:04.720 --> 0:32:13.480 scripts are feverishly overwritten and underdeveloped, where if if you're 0:32:13.520 --> 0:32:17.760 living in the skin, you can your behavior can speak 0:32:18.640 --> 0:32:21.720 for you. And that's ideally the middle ground we try 0:32:21.720 --> 0:32:25.240 to find because I'm a contractor, you know, come in 0:32:25.320 --> 0:32:27.840 and build a character and we got to see eye 0:32:27.880 --> 0:32:30.480 to eye on that. Could you elaborate on that idea 0:32:30.520 --> 0:32:35.400 of scripts often being overwritten underdeveloped, Well, as you know, 0:32:36.120 --> 0:32:38.480 it's a it's a business and you've got to pump 0:32:38.520 --> 0:32:41.120 out product. I mean, look at what happened with Samsung. 0:32:42.120 --> 0:32:44.160 I mean that's that's a lot of money put into 0:32:44.160 --> 0:32:47.040 a lot of technology that just didn't didn't quite work. 0:32:47.680 --> 0:32:51.600 It isn't different with with films, except the film won't 0:32:51.640 --> 0:32:54.440 blow up in the air, right. The problem is is 0:32:54.520 --> 0:32:56.880 that it may blow up in a narrative form of 0:32:56.960 --> 0:33:01.160 the character doesn't land. So my job is once I'm hired, 0:33:01.280 --> 0:33:04.960 is to go do my recon. I do a lot 0:33:05.040 --> 0:33:08.400 of field with recordings of people that have lived similar 0:33:08.480 --> 0:33:13.080 lives and spend time just asking questions. Once I feel 0:33:13.120 --> 0:33:16.040 that I have something substantial to bring back to the director, 0:33:16.160 --> 0:33:18.560 we talk about it and then we say, well, we 0:33:18.600 --> 0:33:20.320 can lose this, we can lose that. What if we 0:33:20.640 --> 0:33:24.000 we emphasize these elements so on the day we're not 0:33:24.520 --> 0:33:27.920 we're not intellectualizing it. That homework is done and we 0:33:28.040 --> 0:33:30.040 can we have we build a language where we can 0:33:30.160 --> 0:33:32.080 just be with each other and I know what he 0:33:32.160 --> 0:33:34.080 wants before he even says it, or I know what 0:33:34.240 --> 0:33:36.320 she's going to say before she says it. We can 0:33:36.400 --> 0:33:42.040 just like musicians, listen to each other subtle cues. I'd 0:33:42.120 --> 0:33:43.400 rather get all the chat out of the way and 0:33:43.520 --> 0:33:47.000 just go feel on the day, let's drill down specifically 0:33:47.080 --> 0:33:48.920 with all that in mind on hell or high water 0:33:49.080 --> 0:33:52.320 and this character of Tanner, and who did you talk 0:33:52.400 --> 0:33:54.160 to that kind of lived in this world? To help 0:33:54.200 --> 0:34:02.880 you develop this. Let's start there. Well, Ah, for whatever reason, 0:34:02.920 --> 0:34:06.920 I'm drawn to the South, and I take you. This 0:34:07.000 --> 0:34:09.080 is the first year I haven't taken an annual solo 0:34:09.239 --> 0:34:11.640 road trip across the country from the South. So we're 0:34:11.640 --> 0:34:17.480 part of North Carolina. Nice. Yeah, it's uh, it's if 0:34:17.520 --> 0:34:20.279 it draws you, it draws you. And I can't quite stay. 0:34:20.280 --> 0:34:24.480 I just got back from Nashville last night this morning. Actually, uh, 0:34:26.480 --> 0:34:30.279 the hours are blurring together. Good North. This life goes quick, 0:34:33.680 --> 0:34:36.960 so I and it might travel and I save a 0:34:37.040 --> 0:34:40.160 lot of field recordings. And I've met some rascals over 0:34:40.200 --> 0:34:45.320 the years, and Tanner is Uh. I think a kinder 0:34:45.360 --> 0:34:51.080 word would be to call him a rascal. M It 0:34:51.239 --> 0:34:55.239 started with the script. The script was it was the 0:34:55.360 --> 0:34:58.879 easiest fit I've had in a very long time. Those 0:34:58.960 --> 0:35:02.080 words felt very comfortable. His I knew what he looked like, 0:35:02.160 --> 0:35:04.680 I knew what he sounded like. I just I it's 0:35:05.120 --> 0:35:08.600 it was. It was less of an investigation with him 0:35:08.600 --> 0:35:11.320 and more of an unpacking. Yeah. Yeah, yeah, he's already 0:35:11.360 --> 0:35:15.480 in there. Let's uh, let's let him loose. Getting out 0:35:15.560 --> 0:35:17.640 of him. On the other hand, was that was curious 0:35:18.840 --> 0:35:23.239 winding out of them. That was He's very seductive to 0:35:23.360 --> 0:35:27.520 live in. Is that strange to say or feel, given 0:35:27.560 --> 0:35:30.680 who this guy is. Yeah? Sure, Yeah, well the best 0:35:30.800 --> 0:35:36.600 quality because it's like, uh, you can't talk about my friends. 0:35:37.360 --> 0:35:39.719 I can talk to it about my friends. It's that 0:35:40.360 --> 0:35:43.640 you can't tell mama, joke about my mama. That you 0:35:43.760 --> 0:35:45.680 just don't do that. So it's being critical of the 0:35:45.760 --> 0:35:48.279 people you you you fall in love with, and that's 0:35:48.320 --> 0:35:50.640 a character. It's just you have six weeks, two months, 0:35:50.760 --> 0:35:53.200 fall in love with someone, think about him every day, 0:35:53.760 --> 0:35:56.960 go to bed with them, wake up with them. You 0:35:57.080 --> 0:36:01.440 just spend time with that person. Uh, and then when 0:36:01.480 --> 0:36:05.080 it's done, sometimes you just you want to be with 0:36:05.200 --> 0:36:07.240 somebody real quick to wash him out of your system 0:36:08.560 --> 0:36:12.279 or east. They kind of float around and Tanner, Yeah, 0:36:12.280 --> 0:36:15.320 I almost moved to Texas. I didn't go. I didn't 0:36:15.320 --> 0:36:18.080 come home to New York. I just kept I stayed 0:36:18.120 --> 0:36:22.160 down South, almost bought a house. I was interesting if 0:36:22.239 --> 0:36:25.200 I fell in hard with him. He's Taylor did something 0:36:25.400 --> 0:36:27.640 did some good juju in that script. Yeah, he's a 0:36:27.680 --> 0:36:30.800 great writer, and he really feels he feels out the 0:36:30.840 --> 0:36:32.719 stuff that he writes really well, Like it feels like 0:36:32.760 --> 0:36:34.600 he knows what he's talking about what he's writing about. 0:36:34.880 --> 0:36:37.440 It feels well lived in, which is a term that's 0:36:37.440 --> 0:36:40.120 flying around a lot on this movie. Actually lived in. Uh. 0:36:40.280 --> 0:36:45.080 And it's true. And in fact, I saw a featurette recently, 0:36:45.160 --> 0:36:48.400 I think with you talking about how how much you 0:36:48.480 --> 0:36:51.080 identified with just kind of the disposition of this character, 0:36:51.239 --> 0:36:53.960 and you were like, don't don't tell anybody that I 0:36:54.080 --> 0:36:56.600 might not want to say that. Oh, now you're repeating it, 0:36:58.480 --> 0:37:02.120 but it's true. Um. And is that is that often 0:37:02.160 --> 0:37:04.160 the case for you that it takes long to to 0:37:04.960 --> 0:37:08.200 wind down out of it? It was a specifically a 0:37:08.280 --> 0:37:10.680 thing with this or is that consistently a thing for you? 0:37:11.280 --> 0:37:14.880 It's really like it's it's for me. It's like a 0:37:14.960 --> 0:37:21.640 bad crush or falling in love. Some of them actually 0:37:21.680 --> 0:37:23.200 get in and some of them you're like, what was 0:37:23.280 --> 0:37:30.919 I thinking? Others you they mark you? This one marked me. Yeah. 0:37:32.440 --> 0:37:35.040 The political climate this one lands in is very interesting. 0:37:35.120 --> 0:37:37.800 Obviously the script was shaped by the political climate in 0:37:37.880 --> 0:37:42.000 many ways. How did those socio political elements strike you 0:37:42.120 --> 0:37:48.000 when you first read the script? Wow, they're they're they're 0:37:48.080 --> 0:37:53.520 impossible to ignore after you've seen it. But in terms 0:37:53.600 --> 0:37:55.600 of making it, I was I didn't go in with 0:37:55.880 --> 0:38:00.759 with with an outsider's perspective, it was. I mean, the 0:38:00.800 --> 0:38:06.160 man that I'm playing is is recently released from h 0:38:07.280 --> 0:38:12.399 from prison and he's asked by his brother to help 0:38:12.520 --> 0:38:19.120 him save the family farm in the only way that 0:38:19.200 --> 0:38:22.640 they know how that plays to the strengths that the 0:38:22.920 --> 0:38:26.480 guy that I'm Tanner has, which has been a mayhem 0:38:26.680 --> 0:38:30.960 and a lust for life and just crazy enough to 0:38:31.040 --> 0:38:36.920 do the craziest thing for the right reason. M politically, 0:38:38.440 --> 0:38:41.560 just on an emotional level, I can speak to the 0:38:41.760 --> 0:38:44.680 question is what would you do for somebody love? How 0:38:44.760 --> 0:38:47.279 far would you go if their back was against the wall, 0:38:47.320 --> 0:38:49.799 What would you do to to to to ease their pain, 0:38:50.280 --> 0:38:53.560 make their life easier? And if you dig down deep 0:38:53.600 --> 0:38:57.759 inside your heart? Uh, that's something we all should probably 0:38:57.800 --> 0:39:00.680 ask ourselves at some point. Yeah, you have a little 0:39:00.680 --> 0:39:03.560 brother too, I do, so I'm sure those elements were 0:39:04.440 --> 0:39:07.440 bubbling up quite a bit. Oh yeah, yeah, let's talk 0:39:07.440 --> 0:39:11.160 about the director here, Mr Mackenzie. Uh, that's the other 0:39:11.239 --> 0:39:15.520 interesting thing. I mean, not that these issues are necessarily 0:39:16.160 --> 0:39:19.560 rooted in America, they can travel, but it's interesting to 0:39:19.640 --> 0:39:21.640 me that the Scotsman came in and handled this material 0:39:22.560 --> 0:39:24.879 so how did you like working with him and working 0:39:24.920 --> 0:39:27.399 on a character with him? I mean, David David, it's 0:39:27.680 --> 0:39:32.120 a true forgive the word artist's He's a deep feeler. 0:39:32.239 --> 0:39:38.319 He's uh really too smart for his own good. Uh. 0:39:39.520 --> 0:39:44.000 He has a dangerous understanding of the human condition. He's 0:39:44.040 --> 0:39:46.759 not a Scotsman first, He's a He's a human being first, 0:39:47.719 --> 0:39:50.400 and he comes with his own personal experience and an 0:39:50.440 --> 0:39:55.640 openness to others. His bullshit meter is very high. At 0:39:55.760 --> 0:39:59.520 is open to play. It's it's an ideal scenario for 0:39:59.600 --> 0:40:03.600 this kind the world. You know, I'm already a fan 0:40:03.680 --> 0:40:06.560 of his work after seeing Young Adam and start Up. 0:40:06.600 --> 0:40:09.360 I mean, this is this is truly a filmmaker who's 0:40:09.400 --> 0:40:14.160 a who's a thrill to work within watch. I wanted 0:40:14.200 --> 0:40:17.200 to circle back on that question about developing the characters. Uh. 0:40:17.440 --> 0:40:20.160 Something I've noted is just how much clothing is a 0:40:20.200 --> 0:40:23.120 part of a lot of your characters. Uh. I think 0:40:23.200 --> 0:40:26.040 of again three tend to hum. I think of Alpha 0:40:26.160 --> 0:40:29.160 Dog just kind of outwardly, How what what these guys 0:40:29.160 --> 0:40:32.320 are presenting. And I'm just curious if you ever like 0:40:33.360 --> 0:40:35.880 get involved on that level with like the costumers and 0:40:36.080 --> 0:40:41.359 and is that something that you're really big on for sure. Uh. 0:40:42.520 --> 0:40:47.000 I mean, no matter how subtle you think your clothing 0:40:47.160 --> 0:40:50.800 is that you're we're we are. We are transmitting a 0:40:50.960 --> 0:40:53.960 symbol on a signal of community. We're communicating part of 0:40:54.000 --> 0:40:56.719 ourselves that we don't care. But I don't care in 0:40:56.800 --> 0:40:59.839 this way or this is how I care about things. 0:41:00.040 --> 0:41:02.680 This is how I want you to think that I look. 0:41:05.600 --> 0:41:10.719 In terms of what I do, it's always a collaboration. 0:41:10.800 --> 0:41:12.560 It's the best part of the job being on a 0:41:12.640 --> 0:41:16.440 script or how they look or how they sound. It's 0:41:16.440 --> 0:41:19.560 a build. I'm a builder. That's as simple as I 0:41:19.600 --> 0:41:22.400 can say it. Come in and we'll I'll go out 0:41:22.480 --> 0:41:26.640 buy my own clothes. I've also worked with phenomenal uh 0:41:28.480 --> 0:41:34.719 wardrobe designers. You know, it's it's per job. I did see. 0:41:35.320 --> 0:41:40.000 I was in a restaurant, an Italian restaurant, I think 0:41:40.080 --> 0:41:42.480 I was actually in Italy at the time, and there 0:41:42.520 --> 0:41:47.000 was a giant nine sixties poster of Tarzan. It was cartoon, 0:41:47.160 --> 0:41:50.040 was like pop art, and there was a hunter that 0:41:50.280 --> 0:41:54.360 was chasing Tarzan through the jungle with a rifle and 0:41:54.440 --> 0:41:56.680 he was wearing a red button up shirt with rolled 0:41:56.760 --> 0:41:59.840 up slaves. And this is right before we started filming. 0:42:00.160 --> 0:42:02.839 That's Tanner. So I came to David and I said, 0:42:02.880 --> 0:42:04.799 how do you feel about Red? He said, well, how 0:42:04.800 --> 0:42:07.799 about maybe at the end? I said, okay, so then 0:42:07.840 --> 0:42:10.640 we don't it. Did that mean anything to you beyond 0:42:10.760 --> 0:42:13.839 just visually how it struck you or was there something 0:42:13.880 --> 0:42:16.800 about the feeling of what Red might mean for this character? 0:42:17.280 --> 0:42:19.359 I don't know. I saw the guy because Tarzan, right 0:42:19.400 --> 0:42:21.799 is supposed to be the hero of Tarzan's story, right, Well, 0:42:21.880 --> 0:42:24.640 that Hunter is the hero of his story, right, and 0:42:24.760 --> 0:42:26.640 that that means a lot to me in terms of 0:42:26.800 --> 0:42:30.239 how Tanner views his world. He's in the right. Yeah, 0:42:31.239 --> 0:42:34.080 and that's a lot of your characters are you know, 0:42:34.200 --> 0:42:38.560 you've played a number of bad guys really, you know, objectively, 0:42:38.640 --> 0:42:41.960 I guess, but like when it comes to subjectively dealing 0:42:42.040 --> 0:42:44.040 with the characters and not judging them as an actor, 0:42:44.160 --> 0:42:46.439 I mean, that seems like something you relish, I guess 0:42:46.560 --> 0:42:53.239 is what I'm getting at, absolutely uh it as a 0:42:53.360 --> 0:42:59.480 journalist or an actor, builder or human being. The best 0:42:59.520 --> 0:43:01.920 time that I know that I feel is when m 0:43:02.320 --> 0:43:04.160 Because it's easy to get piste off at people. It's 0:43:04.200 --> 0:43:09.760 easy to to to feel disappointed or or or angry, 0:43:09.840 --> 0:43:14.160 whatever it is. By exercising empathy and saying well why 0:43:15.480 --> 0:43:18.359 and trying to find a connection to people rather than 0:43:18.760 --> 0:43:23.399 distances a great privilege. My heart feels better that way. 0:43:24.080 --> 0:43:26.480 In terms of doing that and work, it's it seems 0:43:26.480 --> 0:43:28.600 like a great excuse to learn about things. I don't 0:43:28.640 --> 0:43:33.040 know anything about work. The work some compassion in there. 0:43:34.400 --> 0:43:37.360 Now you've dabbled in uh, you know, I think you 0:43:37.480 --> 0:43:39.520 thrive in some of these films like Hell or High 0:43:39.520 --> 0:43:42.800 Water or you know, Alpha Dog I talked about earlier. 0:43:42.960 --> 0:43:46.640 But you've certainly dabbled with X Men and war craft, 0:43:46.680 --> 0:43:49.320 these bigger Hollywood movies. I mean, how do you like 0:43:49.440 --> 0:43:56.000 that part of the business or do you Well, I'm 0:43:57.760 --> 0:44:00.320 I don't know how to answer that other than I 0:44:00.719 --> 0:44:03.960 think it's great to have a job. And having a 0:44:04.080 --> 0:44:12.080 job keeps me out of trouble. Uh. Some some summer 0:44:12.200 --> 0:44:17.440 jobs and summer Valentin's Hell or High Waters of Valentine. Well, 0:44:17.520 --> 0:44:20.800 let's talk about just curious working with Duncan Jones, because 0:44:20.840 --> 0:44:23.160 he's to me, he's an independent from my great heart. 0:44:23.320 --> 0:44:26.120 Certainly where it came from working on something as large 0:44:26.120 --> 0:44:29.920 scale as that. Uh, how did you like that collaboration 0:44:30.000 --> 0:44:34.800 with him. It was really tough. Really, yeah, it's there's 0:44:34.840 --> 0:44:38.520 so much money at stake. And I really loved Moon, 0:44:38.640 --> 0:44:43.040 but that was a tough shoot. The technology in these 0:44:43.160 --> 0:44:46.360 kind of pieces was the show center. It was the 0:44:46.400 --> 0:44:49.359 center piece, and we were pushing technology further or they were. 0:44:50.239 --> 0:44:55.040 Uh then any film had been pushed in terms of narrative. 0:44:55.080 --> 0:44:58.600 The legendary guys came in to to protect their material. 0:44:58.719 --> 0:45:00.800 There's a lot of built in audience. There was a 0:45:00.840 --> 0:45:06.440 lot of pressure, I think, well beyond anybody's ability, um 0:45:07.320 --> 0:45:09.360 to process, and a lot of cooks in the kitchen. 0:45:10.360 --> 0:45:14.000 I think, uh, you know, I I in all honestly, 0:45:14.040 --> 0:45:19.000 I haven't seen the film. Um it's it's a corporation 0:45:19.520 --> 0:45:22.000 that and what I do know, what I have seen 0:45:22.160 --> 0:45:25.840 of it in terms of effects blew my mind. I 0:45:25.880 --> 0:45:32.040 mean absolutely blew my mind. The and I would do 0:45:32.200 --> 0:45:35.480 another one, Um, maybe not. I don't think we're going 0:45:35.520 --> 0:45:39.080 to be doing another warcraft. But the shape of the 0:45:39.120 --> 0:45:43.799 size of it isn't isn't the deal. It's uh, oh man, 0:45:44.880 --> 0:45:49.920 it's a miracle anything gets made at all. Did that 0:45:50.000 --> 0:45:52.160 kind of stuff get in the way of your relationship 0:45:52.239 --> 0:45:53.920 with him? Like, would you work with Duncan again. Oh yeah, 0:45:53.960 --> 0:45:56.520 for sure. I does mean it's a tough shoot. It's 0:45:56.640 --> 0:45:59.080 in general, it's just it's it was. I don't mean 0:45:59.160 --> 0:46:00.640 like tough on me. I just mean it was a 0:46:00.719 --> 0:46:05.480 tough shoot. Uh, there's a lot to there's a lot 0:46:05.600 --> 0:46:08.840 to a lot of moving parts that I was not 0:46:08.960 --> 0:46:11.240 a part of. I don't know how about that suddenly 0:46:11.280 --> 0:46:14.840 we have mood lighting well at last, I think listeners 0:46:14.920 --> 0:46:16.760 know that sometimes the light cuts off because I always 0:46:16.800 --> 0:46:18.320 mentioned it. But I do want I do want to 0:46:18.400 --> 0:46:21.839 emphasize like Chuck Roban and and and and Duncan Jones, 0:46:21.920 --> 0:46:25.120 these are these guys are are brilliant at what they do. 0:46:27.840 --> 0:46:30.279 It was it was that particular film had a lot 0:46:30.400 --> 0:46:33.640 at stake And all I know is that China loved 0:46:33.680 --> 0:46:37.600 it sure did helped it out a lot. What what 0:46:37.800 --> 0:46:40.200 drew you to that one? To begin with Duncan Jones? 0:46:40.360 --> 0:46:44.399 It was Duncan Yeah. I do want to talk about 0:46:44.400 --> 0:46:46.200 a couple of other filmmakers that you've worked with that 0:46:46.480 --> 0:46:52.319 I really love Orn Moverman Rampart and The Messenger. Uh, 0:46:52.920 --> 0:46:55.080 he's a guy I wish would be able to make 0:46:55.120 --> 0:46:57.719 more movies. He is able to make move movies. How 0:46:57.760 --> 0:47:00.160 do you mean well, I mean he's he's making more, 0:47:00.200 --> 0:47:03.000 but I just mean I wish, I wish he could. Yeah, 0:47:03.000 --> 0:47:04.720 I think about him. I've also got the Polish brothers 0:47:04.760 --> 0:47:07.800 down here, like, these are interesting filmmakers to me that 0:47:07.840 --> 0:47:12.080 I wish could have the same opportunities that other lord 0:47:12.320 --> 0:47:15.000 bigger filmmakers have. You know. In terms of Oran, I 0:47:15.040 --> 0:47:17.400 mean Orang's my brother. He's the reason I moved to 0:47:17.440 --> 0:47:21.640 New York. He uh, he has director's cut. I mean 0:47:21.680 --> 0:47:24.200 that that he does what he wants how he wants it. 0:47:24.520 --> 0:47:26.279 I think more people should want careers like or and 0:47:26.360 --> 0:47:29.520 movermil That's the shame that I have the wrong perspective 0:47:29.560 --> 0:47:32.160 on it. Well, it's it is true that he seems 0:47:32.160 --> 0:47:33.799 I mean, it's not like he's getting backed into anything 0:47:33.840 --> 0:47:36.279 he doesn't want to do. He's not even built. He's 0:47:36.320 --> 0:47:39.680 not people to He's the most uncompromised person I've ever 0:47:39.760 --> 0:47:45.640 worked with. And I feel privileged to call Oran Moverman family. Um. 0:47:47.760 --> 0:47:49.920 He just he just directed a film called The Dinner 0:47:50.040 --> 0:47:54.320 that will be out this spring, which is absolutely fearless. 0:47:55.120 --> 0:47:58.040 I'm in awe of that man. And you say he's 0:47:58.040 --> 0:47:59.359 the reason you moved to New York. I was gonna 0:47:59.360 --> 0:48:01.160 ask earlier, as you were talking about how much you 0:48:01.239 --> 0:48:07.320 like the South, there are two different environments really, So 0:48:07.440 --> 0:48:10.080 do you do you feel like you thrive in New York? Well? 0:48:10.200 --> 0:48:15.960 I did thirteen years in l A And and and uh, yeah, 0:48:18.480 --> 0:48:20.800 I like I'm a walker. I like to walk, So 0:48:21.480 --> 0:48:23.799 New York is I'm better suited for that, I think. 0:48:25.000 --> 0:48:27.439 And if we're gonna choose coasts in terms of work, 0:48:28.160 --> 0:48:30.440 we don't even have to anymore. Businesses popped up in 0:48:30.560 --> 0:48:34.400 Nashville and it's popped up in Austin, And I mean 0:48:34.480 --> 0:48:36.160 it's a it's a it is a digital world, and 0:48:36.239 --> 0:48:39.680 we can travel and we're willing to. But I've been 0:48:39.719 --> 0:48:41.960 in New York nine years and I suppose I'll always 0:48:42.000 --> 0:48:45.200 have a base there. But in the future, I imagine 0:48:45.280 --> 0:48:48.960 raising kids if they are to show up at some point, um, 0:48:49.200 --> 0:48:51.520 probably something a bit more rural. Yeah, well, the way 0:48:51.520 --> 0:48:55.839 I was raised, which is a small town you know, Iowa, right. 0:48:57.360 --> 0:48:59.280 What was that experience like for you? How that develop 0:48:59.719 --> 0:49:04.759 your sensibilities when it comes to the arts. Uh, I'm 0:49:04.800 --> 0:49:09.359 bouncing around here. Channel surfing is not a problem here. 0:49:09.840 --> 0:49:13.440 Uh you know, how does your childhood inform who you are? 0:49:13.680 --> 0:49:18.880 It completely shapes you. H What I'd say is that 0:49:23.880 --> 0:49:26.840 I'm really grateful for the time I had alone in nature, 0:49:27.160 --> 0:49:29.680 as I feel that it informs who I am as 0:49:29.680 --> 0:49:35.000 a person. I feel much more comfortable in a in 0:49:36.160 --> 0:49:41.800 a forest than I do at a Hollywood party. And 0:49:41.880 --> 0:49:43.520 then to bring it back around to Heller high Water, 0:49:43.520 --> 0:49:45.480 I had Bridges on the show a few weeks back. 0:49:46.000 --> 0:49:49.000 I love that guy. Most of your stuff is with Crispines, 0:49:49.080 --> 0:49:51.920 so you didn't really get to work with Jeff unfortunately. 0:49:52.080 --> 0:49:55.439 But uh, just this crew of of people on this movie. 0:49:55.520 --> 0:49:58.080 What what has that camaraderie been like for you with 0:49:58.280 --> 0:50:01.360 with David and with Jeff and Chris and just the 0:50:01.360 --> 0:50:05.560 whole crew. I've had some fun stories. Yeah, well yeah, 0:50:06.320 --> 0:50:09.600 you know, it's a group of goers. You'd like to 0:50:09.640 --> 0:50:13.160 have a good time all of us. So, uh, Chris 0:50:13.320 --> 0:50:16.920 is so much respect for him, and and care and 0:50:18.480 --> 0:50:23.359 Jeff and I didn't share scenes, but it's been He's 0:50:23.440 --> 0:50:28.600 just as you've interviewing him, he's he's he's everything he 0:50:28.640 --> 0:50:32.319 wanted to be totally. He just he is. He's one 0:50:32.360 --> 0:50:37.560 of our greats and he's he said such a beautiful 0:50:37.640 --> 0:50:39.960 thing when he was talking about music. He said music. 0:50:40.040 --> 0:50:44.080 Has been a good friend to me. Just that turn 0:50:44.160 --> 0:50:48.480 of phrase. That's so much about him. Man, So that's great. 0:50:48.600 --> 0:50:51.920 David's uh, you know, I feel very close to him 0:50:51.960 --> 0:50:55.319 and Taylor. I feel like I've I've gained a brother. 0:50:55.480 --> 0:50:58.840 I mean, that is just a beast of a talent 0:51:00.040 --> 0:51:02.600 and a human being and a man. Just I just 0:51:03.400 --> 0:51:09.720 I enjoy his presence an awful lot. In this racket 0:51:09.840 --> 0:51:11.799 and the business that you do, you know, you come 0:51:11.840 --> 0:51:16.440 in contact with a lot of people. These people are 0:51:16.520 --> 0:51:19.120 are after it for the right reasons, as far as 0:51:19.160 --> 0:51:22.440 I can tell, reasons that are felt. Bridges is one 0:51:22.440 --> 0:51:24.680 of those guys that you have this idea of him 0:51:24.719 --> 0:51:28.680 and you finally meet him, and he just makes you 0:51:28.800 --> 0:51:31.800 glad that he didn't fail you, you know, when you 0:51:31.920 --> 0:51:34.680 finally get a load of him, because you know, there's 0:51:34.719 --> 0:51:37.040 a lot of guys that you are anybody really that 0:51:37.080 --> 0:51:39.239 you finally meet and they're just not who you hope 0:51:39.280 --> 0:51:43.040 they would be. It's not a character. He's he has 0:51:43.239 --> 0:51:47.719 that curiosity, that big hearted interest. There's a there's a 0:51:47.800 --> 0:51:52.239 Buddha brain that's just vibrating out of him. He's a 0:51:52.480 --> 0:51:59.320 big being and and vital and yeah, he's just a 0:51:59.360 --> 0:52:02.920 beautiful Bill Older. Yeah, Jeff is that word again, Jeff, 0:52:03.120 --> 0:52:06.120 motherfucking Bridges, the Beautiful Builder. I'll say that as a 0:52:06.239 --> 0:52:09.200 children's book, it's gonna be pop up though. Get somebody 0:52:09.239 --> 0:52:12.759 interesting to narrate it, maybe Bridges maybe. Well, what do 0:52:12.800 --> 0:52:17.600 you have next other than Hostiles? Um? Do you think 0:52:17.640 --> 0:52:21.080 cooking anything you're able to talk about? Yeah, I'm developing 0:52:21.120 --> 0:52:25.160 a few things with Oran Overman. Um. I'm hoping to 0:52:25.239 --> 0:52:29.200 direct something next fall distrected music video called Packing Nobody's 0:52:30.160 --> 0:52:34.799 by the artist Emily Wells. I'm doing uh this film 0:52:34.880 --> 0:52:40.320 called Galveston in the early year, Uh, with all fanning. 0:52:40.400 --> 0:52:44.520 I'm I'm excited, It's I'm yeah. So it's it's good 0:52:44.560 --> 0:52:49.359 to be busy. Yeah, directing something you want to keep doing? Well? Uh? 0:52:50.200 --> 0:52:52.600 I like telling stories, so I'll hold a light or 0:52:53.120 --> 0:52:55.440 if i'm if I'm giving the opportunity to direct a 0:52:55.960 --> 0:52:58.919 motion picture talkie and technicolor, I'll do that as well. 0:52:59.520 --> 0:53:02.439 I hope evans Man well, like I said, the movie 0:53:02.520 --> 0:53:04.319 is Hell or high Water. If you haven't seen it yet, 0:53:04.760 --> 0:53:06.680 check it out. He's got Inferno out in the theaters 0:53:06.800 --> 0:53:09.080 right now. Ben Foster, thanks again for coming on the show. 0:53:09.120 --> 0:53:15.680 I really appreciate, appreciate your talk. Thanks for listening everyone. 0:53:15.880 --> 0:53:17.960 Remember to subscribe and check back next week when I'll 0:53:17.960 --> 0:53:20.040 be talking to Lyon and the Man Who Knew Infinity 0:53:20.120 --> 0:53:23.440 star Dev Patel. You've been listening to playback f Variety