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Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

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Speaker 1: Three years ago, twenty three year old Lena Dunham made

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Speaker 1: a low budget art house film called Tiny Furniture. She

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Speaker 1: filmed the movie in her parents house and basically played herself,

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Speaker 1: a recent college graduate moving back into her childhood bedroom

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Speaker 1: while making plans for her future. Dunham was proclaimed a fresh,

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Speaker 1: original voice, a director with a bright future. Writer director

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Speaker 1: Judd Apatow was one of those who took notice, and

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Speaker 1: today he and Dunham executive produced Girls, a show she

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Speaker 1: created for HBO that premiered its second season on January.

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Speaker 1: You're good and I am so good at you kidding.

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Speaker 1: I've never been as well in my life. No, I know,

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Speaker 1: I mean you seem good. As the wedding was so

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Speaker 1: quick and unexpected, I kind of know how to process it.

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Speaker 1: Or if you like, yeah, well you tend to overthink

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Speaker 1: things and that's an issue for you. This is what

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Speaker 1: it's like when the hunt is over. I think Sandy

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Speaker 1: really likes me. I really like between. He's so nice

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Speaker 1: and funny when we have sex. There's no part of

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Speaker 1: me that once like pretend I don't exist, which is

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Speaker 1: a rarity. That's a awesome. He's kind of a Republican,

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Speaker 1: which feels weird. What's from the Republicans? It's just the

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Speaker 1: same as Democrat their older bags. Lena Dunham has achieved

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Speaker 1: an astonishing amount in just three years. Her portrayal of

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Speaker 1: Hannah Horvath and Girls recently won her a Golden Globe

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Speaker 1: Award for Best Actress in a Comedy Series. This past October,

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Speaker 1: she sold a book of essays and advice to Random House,

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Speaker 1: and her boyfriend is a rock star. Today, she hardly

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Speaker 1: resembles Aura, her character from Tiny Furniture. I thought I

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Speaker 1: wouldn't have much in common with Lena. She's half my

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Speaker 1: age and has been fiercely embraced by my daughter's generation.

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Speaker 1: But oh, how quickly we realized there was common ground

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Speaker 1: between us. Literally, my show is moving into the third

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Speaker 1: Rock stages. Yes, we're taking Silver Cup and Michael, we

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Speaker 1: were in Silver Cup. Then we went to Steiner because

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Speaker 1: we couldn't get our stages back because some show that

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Speaker 1: has one word that's about murder took it. And then

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Speaker 1: we are coming back because you guys are leaving, so

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Speaker 1: we're going to be on your stages and in your

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Speaker 1: office is Oh my god, no, no, I thought, isn't

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Speaker 1: Michael Fox coming there too? He is. We're I think

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Speaker 1: we don't take as much stage space as you guys did,

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Speaker 1: so we're going to have because we have fewer sets.

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Speaker 1: So I think is gonna have We're gonna have a piece,

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Speaker 1: and he's gonna have a piece. Now, as I'm sitting

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Speaker 1: here meeting you for the first time and talking to

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Speaker 1: you for the first time, you are nothing like I

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Speaker 1: imagined you would pay really nothing. I'm a bit thrown

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Speaker 1: here because you play someone who is I guess in

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Speaker 1: your mind, and I want to talk about your vision

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Speaker 1: of what kind of character you wanted to create. Is

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Speaker 1: a little bit a beat behind everyone else, or I'll

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Speaker 1: let you articulate that what you think she is. But

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Speaker 1: but what I want to say is you. When I

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Speaker 1: meet you, you seem like you could be like a

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Speaker 1: senator or the head of the corporation. I mean, you're

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Speaker 1: really very very You seem so together and smart, and

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Speaker 1: you look great, and you cut your hair and you

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Speaker 1: look gorgeous. That is firstly, very meaningful. I have to

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Speaker 1: not turn red and get excited because you said radio,

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Speaker 1: so don't care. I'll get good, perfect, and I'm wearing

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Speaker 1: my crew jacket and I really I should have dressed

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Speaker 1: up more for you. But that being said, you know,

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Speaker 1: it's funny. Firstly, the a beat behind idea really speaks

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Speaker 1: to me because I'm always sort of saying when people

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Speaker 1: ask about hand I'm always sort of saying, she's a

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Speaker 1: version of me, but she's a few years behind me,

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Speaker 1: and she's also sort of a few minutes behind everyone

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Speaker 1: around her. She really picked up on a concept that

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Speaker 1: I'm sort of always thinking about a little bit when

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Speaker 1: I play her and when I write her. But she's

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Speaker 1: who you used to be. You know, it's funny. I

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Speaker 1: think I used to I think I in order to

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Speaker 1: convince myself that I should play this character, or that

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Speaker 1: I should even write this character, I had to say, well,

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Speaker 1: I'm just writing myself. It's that easy. I'm just writing myself.

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Speaker 1: Because the idea of sort of creating an entire other

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Speaker 1: human can be so intimidating and in real life, in

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Speaker 1: real life, who are you? I think that Hannah is

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Speaker 1: someone who I'm very capable of being, who's wounded, ambitious

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Speaker 1: but doesn't know where to place it. Hannah sort of

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Speaker 1: the version of myself. If I had had less understanding

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Speaker 1: parents and sort of less drive to get things done,

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Speaker 1: and I think who I am as a person who

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Speaker 1: is always sort of if I had to describe the

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Speaker 1: war within myself that exists currently, it's sort of the

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Speaker 1: challenge of trying to reconcile the part of me that

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Speaker 1: that always thought I would be, like, you know, a

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Speaker 1: weird gender and women studies teacher who occasionally showed movies

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Speaker 1: at film festivals and hung out in my strange apartment

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Speaker 1: that was stacked high with books. Trying to reconcile that

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Speaker 1: with the part of me that has to like figure

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Speaker 1: out of Stone magazine exactly, was to shoot the rolling

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Speaker 1: cover of Rolling Stone magazine, was to figure out a

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Speaker 1: dress to where that for an event that everyone seems

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Speaker 1: to be worried about whether or not the dresses in stores,

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Speaker 1: because it has to be my own dress. And so

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Speaker 1: I'm dealing with all these sort of this strange ecosystem

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Speaker 1: and all these weird politics that I kind of never

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Speaker 1: imagined would happen to me in my lifetime. You never imagined, No,

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Speaker 1: you really never imagined it. I think I my dream

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Speaker 1: situation was that I would be someone who people thought, oh,

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Speaker 1: she's doing important work in her own little corner, like

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Speaker 1: a raws Chast cartoon character, exactly, like a ros Chast

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Speaker 1: cartoon character. Or like I think, because I went to

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Speaker 1: pretendious private school, the biggest dream you would have, you'd

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Speaker 1: be like, I'm going to be Joan Didion. That was

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Speaker 1: kind of where your brain was allowed to want to

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Speaker 1: maybe Nora from Maybe you'll make films, but you're not

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Speaker 1: going to be in film exactly. And I don't think

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Speaker 1: when I first started acting, I mean I never got

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Speaker 1: parts in high school. I never even I never was

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Speaker 1: able to. I think I had a twofold thing about it.

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Speaker 1: One is that I came from a family of artists,

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Speaker 1: and so the idea was sort of like you made

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Speaker 1: your work and then got out of the way of it.

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Speaker 1: Like part of what was I think I internalized the

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Speaker 1: idea that your work was supposed to speak for you.

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Speaker 1: You were not supposed to speak for your work, and

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Speaker 1: so I think I was self conscious about the idea

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Speaker 1: of being any self self promoting and although that's not

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Speaker 1: what acting is, it's it's become that. And then I

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Speaker 1: also think that I thought, well, there's people who are

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Speaker 1: professionals who can do this better than me. So I'm

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Speaker 1: just going to act until I have access to the

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Speaker 1: people who should be acting. And sometimes I still feel

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Speaker 1: that way. Sometimes I think, like, you know, I'll do

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Speaker 1: this a little longer and then Michelle Williams can play

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Speaker 1: me every day until I die. Something that's really nice

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Speaker 1: about making the show that isn't that is a comedy

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Speaker 1: that isn't stuck in any sort of I mean, thirty

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Speaker 1: Rock was able to bust out of a lot of

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Speaker 1: network sitcom tropes, but a lot of the time when

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Speaker 1: you're on a I think one of the biggest things

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Speaker 1: that networks prevent, besides curse words and showing your breasts

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Speaker 1: is development. I think that when you play, I think

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Speaker 1: so many sitcom characters end up playing the same version

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Speaker 1: of themselves in various scenarios. This is the thing as

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Speaker 1: God is my judge. This is the thing that we

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Speaker 1: talk about in the meeting to prep this thing with you,

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Speaker 1: which was shows I've seen where the protagonist male or female,

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Speaker 1: they're going through the same set of problems in season

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Speaker 1: six that they were in season one. It's just different

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Speaker 1: lines in different coasters. And with you, I'm wondering, do

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Speaker 1: you have a Bible on the show. Do you have

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Speaker 1: an arc in your mind, not even on paper, not

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Speaker 1: even approved with your other because you do this with

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Speaker 1: Judd correct. I do it with Judd and a woman

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Speaker 1: named Jenny Connor, who's the other executive producer. And we

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Speaker 1: have a great little writer's room. But our writer's room

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Speaker 1: doesn't really work like. It's not like we write a

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Speaker 1: script and then all sit together punching it up. It's

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Speaker 1: much more we sit together at the beginning of the

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Speaker 1: season and really talk through. It's like a giant therapy

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Speaker 1: session where we work out the emotional arc and then

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Speaker 1: we go to it. And when you work out that

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Speaker 1: emotional arc, do you think to yourself, are the things

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Speaker 1: that she's going through? Now? Your character and the other

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Speaker 1: characters where you're saying to yourself, and let's make sure

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Speaker 1: they're not going through this. There is a growth a

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Speaker 1: season from now or by the end of the season completely.

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Speaker 1: And that's why I feel like it's okay for me

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Speaker 1: to cut my hair, or it's okay for me to

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Speaker 1: start spinning, or it's okay for me you know whatever

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Speaker 1: I whatever to change to change because I feel as

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Speaker 1: though so much of what this show is about is

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Speaker 1: about seeing these girls off into their adulthood. Like in

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Speaker 1: my Bible, the ideal finale to the show would be

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Speaker 1: a feeling like, you know, they don't have to have kids,

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Speaker 1: they don't have to have husbands, but you look at

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Speaker 1: them and you kind of go there on their way.

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Speaker 1: They're more okay than they were when they started, or

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Speaker 1: they're less okay, but we have an understanding what kind

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Speaker 1: of adult we think they're going to be. So described

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Speaker 1: to me how that works? Because because the theme here

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Speaker 1: is control, and you are, like other brilliant comedy writing

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Speaker 1: chicks I've known over the years, you have this is

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Speaker 1: your show, this is your thing. So how does it start?

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Speaker 1: How does Whose idea was girls? Was it yours? It

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Speaker 1: was mine? Because I basically I went in, I made

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Speaker 1: this movie Tiny Furniture, and I made it. You know,

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Speaker 1: my mom and sister starred. We shot it in my

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Speaker 1: mom's house, my mom and dad's house. We um It

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Speaker 1: was totally populated with friends, some of whom have made

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Speaker 1: their way to Girls with Me. And what motivated don't

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Speaker 1: want to do Time Furniture. I had always wanted to

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Speaker 1: be a writer, and I used to think I wanted

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Speaker 1: to be a playwright. And then in college I sort

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Speaker 1: of had this revelation where I thought, like, plays, you rehearse,

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Speaker 1: and you rehearse, and then they happened twice, Like I

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Speaker 1: just felt so frustrated by the lack of permanence. Like

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Speaker 1: I'd always been sort of turned on by the fact

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Speaker 1: that when my parents as artists made work, like they

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Speaker 1: had these material items that would outlast them. And I

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Speaker 1: was frustrated that that wasn't a part of the theater experience.

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Speaker 1: So I started making short films, and I made my

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Speaker 1: first feature and went to south By Southwest Film Festival

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Speaker 1: with it, and then I just had and I've been

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Speaker 1: making web TV, and I just had this itch to

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Speaker 1: sort of tell the specific story, and I wrote the

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Speaker 1: script and the kind that's what I want to talk

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Speaker 1: about is is that itch meaning beyond the arc of

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Speaker 1: the shooting and the and and the career aspects of

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Speaker 1: it or the burgeoning career, What was it about what

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Speaker 1: was going on in your life that you want to

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Speaker 1: do that movie on a practical, real life level. I

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Speaker 1: wanted to talk about that moment between college and adulthood

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Speaker 1: that felt so floundering, and so every day I felt

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Speaker 1: like I was walking through the strangest, most surreal soup.

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Speaker 1: That would mean that on a deeper level, I kind

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Speaker 1: of wanted to talk about change, which is what I

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Speaker 1: always think is sort of the most interesting place to

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Speaker 1: find characters is in a time of intense change. And

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Speaker 1: so I sort of also wanted to capture this moment

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Speaker 1: where I was, I knew that I wouldn't live at

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Speaker 1: home forever, that my little sister wouldn't be sort of

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Speaker 1: seventeen and ambitious but also stuck in her bedroom forever,

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Speaker 1: that my mom was sort of looking in this beautiful

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Speaker 1: moment where she kind of was I mean, shilled murder

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Speaker 1: me for saying this, but she looked that kind of

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Speaker 1: beautiful way where it's like you're not quite old yet

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Speaker 1: and you just look kind of she just looked kind

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Speaker 1: of perfect to me, and I just like, a great, yeah,

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Speaker 1: And I just thought exactly, and I just thought, I

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Speaker 1: want to capture all of this. I want to capture

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Speaker 1: our cats, I want to capture our house. I want

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Speaker 1: to remember all of this. And so, so you really

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Speaker 1: love your mom. I'm obsessed with my mom. I love

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Speaker 1: my mom. And then but I'm saying, that's interesting that

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Speaker 1: you have that feeling, and that's what makes you so

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Speaker 1: of a what's around you wouldn't want to capture that

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Speaker 1: because I find typically people who are not happy, they

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Speaker 1: gotta wait a while until they can negotiate the pain

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Speaker 1: to go back and talk about that. It's one of

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Speaker 1: the biggest things that inspires me to make work is

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Speaker 1: this feeling of looking around and going, even if you're

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Speaker 1: not perfect, you're also perfect right now, let's let's capture

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Speaker 1: this and then you know, I'd love the feeling. I

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Speaker 1: was just watching like Panic in Needle Park last week,

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Speaker 1: that movie which is you know, Kitty Win, Kitty Gosh,

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Speaker 1: she's so good. Where did Kitty Win go? Yeah, let

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Speaker 1: me get that violin out for Kitty Win. She's incredible.

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Speaker 1: But so I was watching that and I was just

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Speaker 1: thinking about how exciting it was to be able to

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Speaker 1: watch sort of like al Pacino at that first moment

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Speaker 1: when he was sort of like he still almost looked

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Speaker 1: a little adolescent and he was still and he was

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Speaker 1: learning his craft and just behaving on film. Yeah, And

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Speaker 1: I just love capturing that. And that's something that I've

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Speaker 1: tried to do with girls too, is sort of grab

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Speaker 1: people and go, let's just let's just see you as

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Speaker 1: you are right now now. The Uh so the film

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Speaker 1: did well, So then how does girls happen? Girls happened?

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Speaker 1: Because so then I went to l A and kind

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Speaker 1: of did that. I went like, Okay, I guess what

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Speaker 1: you do next is get an agent, And I guess

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Speaker 1: what you do next is trying to figure out what

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Speaker 1: I mean. You're on the runway now, Yes, I was.

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Speaker 1: I was on the runway, and I was going around

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Speaker 1: l A doing the sort of what I call the

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Speaker 1: couch and water bottle tour of l A where you

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Speaker 1: meet everybody and have those kind of general meetings where

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Speaker 1: and I remember so funny because at first I didn't

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Speaker 1: understand that everybody says to you at the end of

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Speaker 1: the general meeting, oh, I'd love to find a way

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Speaker 1: to work with you. And so I would call my

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Speaker 1: agent afterwards and go, oh my god, it was amazing,

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Speaker 1: and he said he wants to find a way to

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Speaker 1: work with me, and many want would come clean his pool. Yeah. Basically,

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Speaker 1: I'd always been obsessed with TV. It always loved TV

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Speaker 1: and found it to be the most sort of comforting

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Speaker 1: medium and the one that what comforted you on TV,

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Speaker 1: what comforted me on TV was there was a range

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Speaker 1: of things that comforted me on TV. I love what

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Speaker 1: was the most, what was the weirdest. I mean, my

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Speaker 1: favorite show when I was little was Under the Umbrella Tree,

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Speaker 1: which is a Canadian show about a woman who lives

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Speaker 1: with three puppets, and it was on every morning at

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Speaker 1: seven am. There were three of them named Iggy, Gloria,

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Speaker 1: and Ja, and Iggy was an iguana, Glory as a groundhog,

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Speaker 1: and Jay is a blue jay and he lives out

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Speaker 1: back in a bird house. They like talked to you

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Speaker 1: about recycling or like help their old elderly neighbor who

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Speaker 1: fell down in the street. Like they're just like nice puppets,

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Speaker 1: but looking back, it feels like a child molester who's

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Speaker 1: on the lamb with her three. My guilty pleasure like

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Speaker 1: that was when I was in my twenties and I

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Speaker 1: go to my friend's house and we just had this

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Speaker 1: weird habit where like at four o'clock in the afternoon,

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Speaker 1: we make a drink and we'd roll the biggest joint

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Speaker 1: and we'd smoke pot and watch a show called Stairway

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Speaker 1: to Start Him that was on Public Access TV, and

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Speaker 1: Stairway to Start Him was this older man. It kind

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Speaker 1: of looked like Rod Steiger. He was like a burly looking,

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Speaker 1: tough looking older man and his wife and she kind

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Speaker 1: of looked like, uh, like Tammy Faye Baker. She was

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Speaker 1: like a big, big honeycombed shellack hair and she was

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Speaker 1: like this big, buzzy me older woman. And the guy

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Speaker 1: would come out and he had the funniest voice. He'd

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Speaker 1: be like, welcome everyone to stay away, to stop and

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Speaker 1: use and they'd sing a song and opening so and

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Speaker 1: they would bring out acts that would perform. They were

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Speaker 1: all like local queens, Brooklyn talent people singing parakeets. It

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Speaker 1: was like it was bizarre that sounds like the best

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Speaker 1: thing in the world was the best show in the world,

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Speaker 1: especially if you've smoked an enormous amount of marijuana an

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Speaker 1: enormous joint. So you're on the sofa ward bottle tour

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Speaker 1: and what happens Silfa water bottle Tour and my agent,

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Speaker 1: who I feel like you're not supposed to say you

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Speaker 1: love your agent because it makes you sound really hollywood

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Speaker 1: and out of everyone, I love everyone, And also I

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Speaker 1: have the best agent. He's like really been at it

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Speaker 1: for a long time. He's like a cigar smoking. You know,

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Speaker 1: he's what I imagined in Nation. His name is Peter Bennedeck,

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Speaker 1: Peter Bennedictine now Peter Benedeck, and he smoked cigars. He's

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Speaker 1: old school, he's old exactly, and he belongs to a

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Speaker 1: cigar club. Which one does he belong to? I think

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Speaker 1: it says it has a Cuban flares. I think it is.

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Speaker 1: I'm on the board of Grand Event, are you, Peter?

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Speaker 1: And I probably have seen him a Grand evat. Wow.

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Speaker 1: He always probably hung out there and smokes ours with him.

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Speaker 1: When you were still a gleam in your parents you

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Speaker 1: weren't even around God. Damn with the way of this

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Speaker 1: business works. No, no, no, So so he's your agent

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Speaker 1: and you love him. I love him, And he said

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Speaker 1: to me. I was sort of saying to him, like

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Speaker 1: maybe I could get I just wanted to make move

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Speaker 1: out of my parents house, and I thought and make

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Speaker 1: more movies. And I was like, maybe I could should

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Speaker 1: write aspect how I met your mother, and I could

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Speaker 1: get staffed on the show. I mean, I didn't know

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Speaker 1: any I didn't know how any of this worked. And

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Speaker 1: he said that I should go for a meeting an

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Speaker 1: HBO and I did, and I said, well, here's what

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Speaker 1: I'd want to see, is like a show about all

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Speaker 1: my girlfriends, like sort of like Tiny Furniture, but there's

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Speaker 1: more of us and we don't live with our parents anymore,

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Speaker 1: but it's still about that. It's like it was pitched

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Speaker 1: so weekly, like a year after my movie, but there's

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Speaker 1: more of us and it's a TV show. So the

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Speaker 1: conversation wasn't coming out of and Tiny Furniture in the

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Speaker 1: indie and in the festival world had a very good buzz.

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Speaker 1: There was no conversation, but used going right into films

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Speaker 1: and making more films. Normally they're gonna want to steer

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Speaker 1: some especially your age was very young. They're gonna go,

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Speaker 1: let's just keep making movies. Well, you know, there was

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Speaker 1: a conversation, but I think I picked up on the

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Speaker 1: fact very early going on the Couch and Water Bottle

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Speaker 1: tour that the kind of stories that I wanted to

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Speaker 1: tell we're not really being funded on a larger scale.

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Speaker 1: And film Tina says that sometimes the Tina I will

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Speaker 1: just finish work that that it's it's it seems like

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Speaker 1: it's more difficult to a to have the control you

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Speaker 1: wanted the film business and be to say what you

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Speaker 1: want to say it is. And the fact is I

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Speaker 1: could have kept saying what I wanted to say, you know,

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Speaker 1: making movies, but I wanted It's weird. The reason that

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Speaker 1: I like having some budget is not because you know,

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Speaker 1: I want to stage car crashes or I want to

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Speaker 1: have you know, ten makeup artists on set, although those

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Speaker 1: things would will would be lovely, but but it's more

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Speaker 1: because of the fact that I do so many jobs.

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Speaker 1: So it was so exciting to not have to worry

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Speaker 1: anymore about answering the doorbell, about returning the equipment, about

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Speaker 1: making sure that people had the pizza. Also, that's going

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Speaker 1: to happen in TV and what has money and HBO

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Speaker 1: has HBO is time warnering, but they have money, but

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Speaker 1: they use it in this kind of amazing there. It's

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Speaker 1: this amazing model, which is that they don't have to

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Speaker 1: answer to advertisers in the same way, so HBO can

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Speaker 1: sort of fulfill its odd little interests. And that's what

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Speaker 1: I started out as and I what I didn't predict

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Speaker 1: was how much I would love the opportunity to develop

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Speaker 1: characters in this way and the kind of the fiber

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Speaker 1: of TV itself, and they believe in you. Based on

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Speaker 1: my experience, I've never worked for them, but I've have

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Speaker 1: many friends and colleagues over the years who have worked

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Speaker 1: for them, and I've I've almost worked for them here

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Speaker 1: and there. You know, HBO is one of those places

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Speaker 1: like that. I think the most successful studios and networks.

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Speaker 1: The way they operate, which is that they vetted maybe

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Speaker 1: to a fairly well but if once they believe in you,

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Speaker 1: they're all in. It's your wors. They give you the

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Speaker 1: money that they it's not too intrusive now. So the

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Speaker 1: template of four women, and obviously HBO is no stranger

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Speaker 1: to the template of four women talking about but obviously

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Speaker 1: those women were older. And you've been a fan of

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Speaker 1: that show, Yes, I think that I can't find one

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Speaker 1: girl who isn't at least secretly a fan of sex

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Speaker 1: in the city who's my age. And I loved it.

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Speaker 1: And you know, I was very conscious when I was

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Speaker 1: first writing this show. I thought to myself, should I

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Speaker 1: put these girls in Boston? There was and I tried

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Speaker 1: to make it three girls because and Shoshanna was initially

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Speaker 1: not one of the girls. Shoshanna was Jesse as Jasha

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Speaker 1: Mamitt's character was Jess as Jemima Kirk's character's cousin, and

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Speaker 1: she kind of came in and out as a kind

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Speaker 1: of she was the most as a recurring in and

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Speaker 1: out goofball who was sort of supposed to call to attention. Seriously,

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Speaker 1: she does. She plays it beautifully. And but the reason

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Speaker 1: that I wrote her was to sort of call out

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Speaker 1: the sex in the City thing, like, this is the

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Speaker 1: girl who came to New York to have her cosmos

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Speaker 1: and her Manolo's and it's not going quite right. But

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Speaker 1: she was so wonderful and she added something that the

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Speaker 1: three of us didn't have on our own. And so

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Speaker 1: it became a four person delio, and so I tried

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Speaker 1: to make it three women. I tried to put it

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Speaker 1: in different city. But the fact is is that New

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Speaker 1: York is where it was supposed to happen and for women,

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Speaker 1: just somehow there's a symmetry to it that doesn't star

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Speaker 1: I'm going to do. I couldn't help it. I couldn't

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Speaker 1: help it. And so but the fact is that you know,

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Speaker 1: sexon City is a specter that hangs over in a

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Speaker 1: I mean in a positive way. Everything when female centric,

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Speaker 1: and you know, in the writer's room, every there were

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Speaker 1: so many episodes of sexon City and they tackled every

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Speaker 1: area of sexual function and dysfunction that there's almost nothing

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Speaker 1: you can pitch that they haven't done. But I found

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Speaker 1: that the women on Sex in the City, that those

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Speaker 1: women would have things happen, and they tended to brush

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Speaker 1: off the consequences pretty quickly, whereas the girls on your show,

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Speaker 1: the tone seems very different. Everybody seems to almost be

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Speaker 1: doubting what they're doing, or they have a kind of

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Speaker 1: a sense of fear or anxiety about it while they're

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Speaker 1: doing it. It It seems more real. Was that is that?

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Speaker 1: Was that deliberate in your part? Well? Something I feel

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Speaker 1: about being in your twenties, which is different than you know.

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Speaker 1: Sexon City was a show about women in their thirties

430
00:19:56,359 --> 00:20:00,960
Speaker 1: who had successful careers prerecession, the best, most supportive friends

431
00:20:01,000 --> 00:20:03,480
Speaker 1: they didn't have. I mean, they had little friend TIFFs.

432
00:20:03,480 --> 00:20:07,560
Speaker 1: But the characters on our show are tortured. It's sort

433
00:20:07,600 --> 00:20:10,159
Speaker 1: of impossible to get through your twenties without It's like,

434
00:20:10,200 --> 00:20:11,840
Speaker 1: if you ask Ale in her twenties, are you a

435
00:20:11,840 --> 00:20:14,680
Speaker 1: happy person? I think she can say I have happy moments.

436
00:20:14,760 --> 00:20:18,080
Speaker 1: But I don't think it's possible. Maybe i'm maybe people

437
00:20:18,200 --> 00:20:21,199
Speaker 1: radically disagree with me, but I don't really think it's

438
00:20:21,240 --> 00:20:25,480
Speaker 1: possible to be sort of an at peace human when

439
00:20:25,520 --> 00:20:30,439
Speaker 1: you are between twenty two and thirty, and so I

440
00:20:30,480 --> 00:20:32,600
Speaker 1: think there's still I don't because I think it's a

441
00:20:32,680 --> 00:20:36,000
Speaker 1: problem that I mean for me, that's something I've noticed

442
00:20:36,280 --> 00:20:37,919
Speaker 1: because I'm much older than you. And one thing that

443
00:20:37,960 --> 00:20:41,399
Speaker 1: I I noticed when I went to college, which is

444
00:20:41,440 --> 00:20:44,160
Speaker 1: a long time ago, an interesting number of people they

445
00:20:44,160 --> 00:20:46,200
Speaker 1: really knew what they wanted to be. They weren't quite

446
00:20:46,200 --> 00:20:47,960
Speaker 1: sure how to get there. That they had a dream.

447
00:20:48,200 --> 00:20:49,760
Speaker 1: I want to become a lawyer. I want to become

448
00:20:49,760 --> 00:20:51,320
Speaker 1: a doctor. I want to go into politics. I want

449
00:20:51,359 --> 00:20:53,960
Speaker 1: to go into and now people today it seems like

450
00:20:54,000 --> 00:20:56,240
Speaker 1: younger people, they really they think they have more time

451
00:20:56,280 --> 00:20:59,199
Speaker 1: to figure it out, returning and they really don't have

452
00:20:59,280 --> 00:21:01,480
Speaker 1: that picture in question. Do you agree? I do agree,

453
00:21:01,520 --> 00:21:03,920
Speaker 1: And I think a big part of it is being

454
00:21:04,040 --> 00:21:06,480
Speaker 1: I think the world the Internet has cracked things open

455
00:21:06,520 --> 00:21:09,760
Speaker 1: in a way that's both beautiful and that it helps

456
00:21:09,800 --> 00:21:12,240
Speaker 1: you find. There's so many things that I never would

457
00:21:12,240 --> 00:21:14,080
Speaker 1: have even known about, things that have been huge for

458
00:21:14,119 --> 00:21:16,359
Speaker 1: me that have existed because of the Internet, and I

459
00:21:16,359 --> 00:21:19,600
Speaker 1: think that I've been able to partially, you know, connect

460
00:21:19,600 --> 00:21:21,240
Speaker 1: with people who would be fans of the show because

461
00:21:21,240 --> 00:21:23,600
Speaker 1: of the Internet. I think, you know, it's always exciting when,

462
00:21:23,720 --> 00:21:26,400
Speaker 1: like I there's this website called Rookie mag dot com

463
00:21:26,400 --> 00:21:28,480
Speaker 1: that's run by this girl, Tovy Jevinson, and it's a

464
00:21:28,720 --> 00:21:31,320
Speaker 1: it's a smart teen magazine that exists only on the Internet.

465
00:21:31,320 --> 00:21:33,480
Speaker 1: And I just think if when I was a teenager

466
00:21:33,520 --> 00:21:36,560
Speaker 1: there had been that place and that message board, I

467
00:21:36,560 --> 00:21:38,960
Speaker 1: would have felt like the world was my oyster like

468
00:21:39,080 --> 00:21:42,760
Speaker 1: just meeting other weirdo girls who had the same who like,

469
00:21:42,840 --> 00:21:44,879
Speaker 1: you know whatever. At the time, I just wanted to

470
00:21:44,880 --> 00:21:46,960
Speaker 1: like talk to someone about Connor, o burst or something

471
00:21:47,040 --> 00:21:50,199
Speaker 1: on the internet, and that would have been possible. But

472
00:21:50,240 --> 00:21:53,160
Speaker 1: I think now the fact that like the Internet has

473
00:21:53,160 --> 00:21:55,760
Speaker 1: created so many strange specialized jobs and so many things

474
00:21:55,800 --> 00:21:58,560
Speaker 1: where it's like, you know, I'm a brand consultant, slash

475
00:21:58,640 --> 00:22:03,000
Speaker 1: blog enhancer or whatever. People are like suddenly the world

476
00:22:03,119 --> 00:22:06,840
Speaker 1: feels wide open, but there are less jobs available, and

477
00:22:06,840 --> 00:22:09,640
Speaker 1: so it's a really confusing moment to make any decisive

478
00:22:09,760 --> 00:22:11,840
Speaker 1: choice about what you want to do. It's interesting you

479
00:22:11,880 --> 00:22:13,959
Speaker 1: say that the Internet is responsible for that, and then

480
00:22:14,000 --> 00:22:16,919
Speaker 1: idea of having too many choices than you need you

481
00:22:16,960 --> 00:22:19,200
Speaker 1: wind up. That could also be a metaphor for like

482
00:22:19,640 --> 00:22:21,520
Speaker 1: men in their twenties dating. I feel like men in

483
00:22:21,560 --> 00:22:24,120
Speaker 1: their twenties, Like I once had dated a guy who

484
00:22:24,119 --> 00:22:26,000
Speaker 1: told me that he didn't feel like he could be

485
00:22:26,040 --> 00:22:28,560
Speaker 1: serious about anyone in New York because it would be

486
00:22:28,600 --> 00:22:31,160
Speaker 1: like eating at the same restaurant every night. In New York.

487
00:22:31,840 --> 00:22:35,240
Speaker 1: There's so many amazing choices. It's New York City. I

488
00:22:35,240 --> 00:22:38,040
Speaker 1: hope he chokes some restaurant he goes. I shouldn't say that.

489
00:22:38,040 --> 00:22:40,040
Speaker 1: That's me. That's wrong. I feel like that, So it's

490
00:22:40,040 --> 00:22:47,080
Speaker 1: helpful to have it backed up by Alec Baldwin. This

491
00:22:47,240 --> 00:22:49,600
Speaker 1: is a like Baldwin and you're listening to here's the

492
00:22:49,640 --> 00:23:06,840
Speaker 1: thing more in a minute. Lena Dunham didn't have to

493
00:23:06,880 --> 00:23:11,960
Speaker 1: look far to come up with her character on Girls. Physically,

494
00:23:12,000 --> 00:23:14,560
Speaker 1: I'd say, Hannah is I mean, she's me because I

495
00:23:14,600 --> 00:23:17,600
Speaker 1: play her, but she's It's funny because she's chubby, but

496
00:23:17,640 --> 00:23:20,399
Speaker 1: she doesn't. That's not where her anxiety comes from. Like

497
00:23:20,840 --> 00:23:24,359
Speaker 1: she's just not. I like playing a character who isn't

498
00:23:24,480 --> 00:23:26,840
Speaker 1: doesn't have a perfect body, but that's not the main

499
00:23:26,920 --> 00:23:28,760
Speaker 1: source of their anxiety. I feel like we have very

500
00:23:28,760 --> 00:23:32,640
Speaker 1: few female characters on television who don't look like models

501
00:23:32,640 --> 00:23:35,320
Speaker 1: and aren't constantly discussing it. So, of course, Hannah has

502
00:23:35,320 --> 00:23:38,840
Speaker 1: her moments of self consciousness, just like every woman does,

503
00:23:38,880 --> 00:23:41,239
Speaker 1: but that's not She sort of doesn't notice that her

504
00:23:41,240 --> 00:23:43,800
Speaker 1: clothes don't quite fit. She sort of doesn't think about

505
00:23:43,800 --> 00:23:46,080
Speaker 1: what she eats. And I am, clothes are just to

506
00:23:46,119 --> 00:23:48,399
Speaker 1: cover you up and keep you warm, exactly, have some

507
00:23:48,440 --> 00:23:50,080
Speaker 1: degree of style to the great, but less like a

508
00:23:50,160 --> 00:23:52,520
Speaker 1: character exactly. And I like she's more interested in like

509
00:23:52,560 --> 00:23:54,400
Speaker 1: whether her clothes are funny and witty, Like I don't

510
00:23:54,400 --> 00:23:56,680
Speaker 1: think she really cares about being sexy. She's more just like, oh,

511
00:23:56,720 --> 00:24:00,280
Speaker 1: this dress like has owls on it? How sweet. I

512
00:24:00,359 --> 00:24:02,720
Speaker 1: used to be much in college, addressed like a complete luon.

513
00:24:02,760 --> 00:24:04,080
Speaker 1: I feel like my dad always told me I look

514
00:24:04,119 --> 00:24:06,040
Speaker 1: like a lion tamer all the time. I've calmed down

515
00:24:06,119 --> 00:24:09,600
Speaker 1: just because I realized that you could have vests, so

516
00:24:09,640 --> 00:24:12,919
Speaker 1: many vests, so many red vests, so many like you know,

517
00:24:13,000 --> 00:24:16,040
Speaker 1: strange boots pulled over my weird leggings with a three

518
00:24:16,040 --> 00:24:19,399
Speaker 1: flounced skirt. I could never accessorize enough. It was oppressive.

519
00:24:19,960 --> 00:24:25,359
Speaker 1: But you're like in the Luftwaffe, Yeah, exactly. And so

520
00:24:25,359 --> 00:24:28,959
Speaker 1: so that's Hannah sort of physical I think emotionally some

521
00:24:29,000 --> 00:24:31,879
Speaker 1: facets of Hannah or that she is. You know, she

522
00:24:31,920 --> 00:24:33,800
Speaker 1: has a certain amount of wit and a certain amount

523
00:24:33,800 --> 00:24:36,399
Speaker 1: of sort of spunk, but she isn't really applying it

524
00:24:36,440 --> 00:24:39,480
Speaker 1: anywhere properly yet. And she's all smart and funny and

525
00:24:39,520 --> 00:24:42,679
Speaker 1: not mean because a lot of the people in that world,

526
00:24:42,720 --> 00:24:46,040
Speaker 1: in the improvisational comedy world, and funny and there me

527
00:24:46,200 --> 00:24:48,440
Speaker 1: and that meanness is the font that it comes from

528
00:24:48,560 --> 00:24:51,160
Speaker 1: that source, I know. And you know the thing about firstly,

529
00:24:51,240 --> 00:24:53,640
Speaker 1: my dad is like a manner's Nazi. So I think

530
00:24:53,680 --> 00:24:55,320
Speaker 1: that I grew up feeling like the worst thing you

531
00:24:55,359 --> 00:24:57,840
Speaker 1: could do was offend somebody could sit up straight in

532
00:24:57,840 --> 00:24:59,600
Speaker 1: that chair, and your dad told me to say that.

533
00:24:59,760 --> 00:25:01,679
Speaker 1: I oh my god, my dad still tells me to

534
00:25:01,680 --> 00:25:06,359
Speaker 1: sit up straight constantly. And then and it's funny because

535
00:25:06,400 --> 00:25:08,160
Speaker 1: both my my dad is an artist and he paints

536
00:25:08,200 --> 00:25:11,360
Speaker 1: these sort of outlandish intense I mean, he paints things

537
00:25:11,359 --> 00:25:15,280
Speaker 1: that are pretty pretty sexual images, pretty aggressive images, you know,

538
00:25:15,359 --> 00:25:18,520
Speaker 1: a man with I mean, they're funny, but They're intense.

539
00:25:18,600 --> 00:25:22,280
Speaker 1: It's like two men with penises for noses in a

540
00:25:22,320 --> 00:25:27,560
Speaker 1: war with guns and knives with three women. And I

541
00:25:27,560 --> 00:25:29,280
Speaker 1: grew up around it, but it was what was interesting

542
00:25:29,320 --> 00:25:30,800
Speaker 1: was that my dad was sort of like, you can

543
00:25:30,840 --> 00:25:35,720
Speaker 1: do that. Dad had penises on on the stage on

544
00:25:35,800 --> 00:25:38,280
Speaker 1: his face, on everyone's face. But you know, you I

545
00:25:38,280 --> 00:25:39,960
Speaker 1: grew up around it. But I think that my dad

546
00:25:40,000 --> 00:25:42,080
Speaker 1: always really showed me that there was a difference between

547
00:25:42,400 --> 00:25:43,880
Speaker 1: you know, what your work was and who you were,

548
00:25:43,920 --> 00:25:46,600
Speaker 1: and he's My parents are so polite and so sort

549
00:25:46,640 --> 00:25:49,240
Speaker 1: of they just I think so much of this. Again,

550
00:25:49,280 --> 00:25:52,280
Speaker 1: I've never had kids. I've you know, I don't know

551
00:25:52,320 --> 00:25:56,399
Speaker 1: what that feels like. But I think six and I

552
00:25:56,440 --> 00:25:59,720
Speaker 1: want kids, but I'm not ready. Please, I really just

553
00:26:00,000 --> 00:26:02,280
Speaker 1: to be out tomorrow. I just got already of birth

554
00:26:02,280 --> 00:26:05,160
Speaker 1: control pills for you serious kids. Now. I don't want kids.

555
00:26:05,160 --> 00:26:07,280
Speaker 1: I just gotta donk and everybody thinks I'm insane. I

556
00:26:07,320 --> 00:26:11,040
Speaker 1: just finished season two, starting season three. Well we're starting

557
00:26:11,040 --> 00:26:14,600
Speaker 1: season three and we're starting at the end of March.

558
00:26:15,920 --> 00:26:22,240
Speaker 1: So exciting. Therapist, that would be the most in the world. Bad, bad,

559
00:26:22,480 --> 00:26:24,359
Speaker 1: but I forget what I'm saying. But I'm glad you

560
00:26:24,359 --> 00:26:26,080
Speaker 1: don't think. I mean, I get too guilty if I

561
00:26:26,080 --> 00:26:28,920
Speaker 1: ever make a mean joke app what I'm saying, I do, well,

562
00:26:28,960 --> 00:26:31,960
Speaker 1: I'm terrified. It's one of the reasons I don't I

563
00:26:32,000 --> 00:26:34,840
Speaker 1: don't really feel like a comedy writer, because there's sort

564
00:26:34,840 --> 00:26:37,639
Speaker 1: of like a quickness and a harshness, and you need

565
00:26:37,680 --> 00:26:39,280
Speaker 1: to have those people in your bullpen there. Do you

566
00:26:39,280 --> 00:26:42,439
Speaker 1: have some more really traditional edgier We do have. I

567
00:26:42,520 --> 00:26:44,800
Speaker 1: have a couple of writers on the staff, um one

568
00:26:44,880 --> 00:26:47,320
Speaker 1: Murray Miller, who this season was really essential and sort

569
00:26:47,320 --> 00:26:50,520
Speaker 1: of bringing us just hard jokes, but no one on

570
00:26:50,560 --> 00:26:54,160
Speaker 1: our staff has that particular kind of darkness. I've been

571
00:26:54,200 --> 00:26:56,320
Speaker 1: around a lot of those comedy writers, and you know,

572
00:26:56,800 --> 00:26:58,560
Speaker 1: there's that feeling of like even when they're saying something

573
00:26:58,640 --> 00:26:59,960
Speaker 1: nice to you, they're kind of trying to murder you

574
00:27:00,040 --> 00:27:03,560
Speaker 1: with their eyeballs, and it's it's it becomes too much

575
00:27:03,560 --> 00:27:06,480
Speaker 1: salt to the soup exactly. It's impressive to me in

576
00:27:06,560 --> 00:27:09,159
Speaker 1: small doses, but terrifying. You've got to have it, but

577
00:27:09,200 --> 00:27:10,840
Speaker 1: you've got to mix it carefully. Like when we did

578
00:27:10,840 --> 00:27:12,520
Speaker 1: our show, there was that was a big issue where

579
00:27:12,760 --> 00:27:14,639
Speaker 1: like sometimes I would say, I just think this is

580
00:27:14,680 --> 00:27:16,760
Speaker 1: too mean, it's like we're gonna lose people like we

581
00:27:16,800 --> 00:27:18,159
Speaker 1: want to be we want to be mean, but we

582
00:27:18,200 --> 00:27:19,600
Speaker 1: have to decide who we're going to be mean too,

583
00:27:20,200 --> 00:27:22,359
Speaker 1: who deserves it. My thing is also I always I

584
00:27:22,400 --> 00:27:25,280
Speaker 1: only really make jokes about people I like. Like when

585
00:27:25,320 --> 00:27:27,919
Speaker 1: there's a joke that references a celebrity on the show,

586
00:27:28,320 --> 00:27:30,639
Speaker 1: it's usually a joke that I'm making because I have

587
00:27:30,840 --> 00:27:34,480
Speaker 1: really taken note of their work and him fascinated by

588
00:27:34,600 --> 00:27:35,960
Speaker 1: It's not because you slept with them and you want

589
00:27:35,960 --> 00:27:39,840
Speaker 1: to get even No, I don't have that that instinct.

590
00:27:40,119 --> 00:27:42,800
Speaker 1: So talk about two things. The level of control you have.

591
00:27:43,600 --> 00:27:46,880
Speaker 1: I mean, you are a very young woman, and I'm

592
00:27:46,920 --> 00:27:49,879
Speaker 1: assuming it's all you, correct, I mean it is. I mean,

593
00:27:49,880 --> 00:27:52,959
Speaker 1: I work with Jenny and Judd really closely, and I

594
00:27:53,000 --> 00:27:56,840
Speaker 1: definitely I think I'm constantly sort of telling myself I

595
00:27:56,880 --> 00:27:59,080
Speaker 1: have bosses around. It kind of comforts me. I mean,

596
00:27:59,200 --> 00:28:02,600
Speaker 1: and you don't do your not exactly. I have collaborators.

597
00:28:02,760 --> 00:28:05,160
Speaker 1: I have collaborators, but I have collaborators who I take

598
00:28:05,160 --> 00:28:08,680
Speaker 1: really seriously and who you need and who I need

599
00:28:08,880 --> 00:28:11,359
Speaker 1: and who I would never I think the minute you

600
00:28:11,400 --> 00:28:13,840
Speaker 1: get an attitude like it's my show, the ship runs

601
00:28:13,840 --> 00:28:16,800
Speaker 1: on Dunham and my way or the Highway. I think

602
00:28:16,840 --> 00:28:21,639
Speaker 1: it's broken exactly. I think you still want to feel

603
00:28:22,480 --> 00:28:25,440
Speaker 1: a little fear when you share a script with your collaborators.

604
00:28:25,440 --> 00:28:27,040
Speaker 1: You want to go, I hope they like this. I'm

605
00:28:27,040 --> 00:28:29,120
Speaker 1: going to listen to them. When they don't, I still

606
00:28:29,200 --> 00:28:33,720
Speaker 1: feel tremendously indebted to them and anxious about their reactions.

607
00:28:33,880 --> 00:28:37,040
Speaker 1: And I never feel like, you know, I'm the big

608
00:28:37,080 --> 00:28:38,760
Speaker 1: boss and you guys can all get with it or leave.

609
00:28:38,960 --> 00:28:42,080
Speaker 1: So when the so the Hannah character you start out,

610
00:28:42,080 --> 00:28:44,880
Speaker 1: I mean in tiny furniture, I almost feel like tiny

611
00:28:44,880 --> 00:28:50,400
Speaker 1: furniture is it's a it's a ways you you may

612
00:28:50,440 --> 00:28:53,640
Speaker 1: become one of these actresses now where it's all one series,

613
00:28:53,680 --> 00:28:55,240
Speaker 1: you know, it kind of is. It's funny when I

614
00:28:55,240 --> 00:28:58,000
Speaker 1: look at any character I've played in anything that I've made,

615
00:28:59,640 --> 00:29:02,320
Speaker 1: you it's me, and it's it's funny. I've never played

616
00:29:02,320 --> 00:29:04,520
Speaker 1: anyone whose name doesn't end with a I've made. I've

617
00:29:04,520 --> 00:29:06,680
Speaker 1: written all these characters who because I always have to

618
00:29:06,680 --> 00:29:08,480
Speaker 1: have a name that I think sort of likes in

619
00:29:08,520 --> 00:29:14,280
Speaker 1: the world. It's the two double syllables. Someone said to me,

620
00:29:14,320 --> 00:29:16,120
Speaker 1: to be a famous star, you need to have two

621
00:29:16,280 --> 00:29:20,400
Speaker 1: double syllable names. You do do you? Or to monos

622
00:29:20,440 --> 00:29:26,640
Speaker 1: of a Sean Penn, Marlon Brando, thank you, my mom.

623
00:29:27,080 --> 00:29:29,000
Speaker 1: My mom did tell me that she gave me my name,

624
00:29:29,080 --> 00:29:30,520
Speaker 1: which is so funny because it's not like we have

625
00:29:30,520 --> 00:29:35,320
Speaker 1: any actors in our family. Mom said, I'm named after

626
00:29:35,360 --> 00:29:37,200
Speaker 1: my Russian great grandmother. And my mom said that when

627
00:29:37,240 --> 00:29:39,040
Speaker 1: she named me, she thought, I don't know what you

628
00:29:39,160 --> 00:29:40,800
Speaker 1: want to do, but this is a great name if

629
00:29:40,800 --> 00:29:43,160
Speaker 1: she does want to be a movie star. That was

630
00:29:43,200 --> 00:29:45,240
Speaker 1: what my mom thought, which is so funny because it's

631
00:29:45,240 --> 00:29:47,560
Speaker 1: not like my mom's some crazy stage mom or like

632
00:29:48,040 --> 00:29:51,720
Speaker 1: she's a photographer and she what's the source of your

633
00:29:51,760 --> 00:29:53,520
Speaker 1: real closeness to to the extent you can say I

634
00:29:53,520 --> 00:29:55,240
Speaker 1: don't want to problem, Oh no, I don't mind. I've

635
00:29:55,360 --> 00:29:58,320
Speaker 1: clearly I don't mind. We are very similar in ways

636
00:29:58,320 --> 00:30:01,040
Speaker 1: that can be delightful and can be madnes Something I

637
00:30:01,160 --> 00:30:03,280
Speaker 1: like about both my parents and i'd imagine you're like

638
00:30:03,360 --> 00:30:05,760
Speaker 1: this with kids too, is they really talked to me

639
00:30:05,800 --> 00:30:08,920
Speaker 1: like I was an adult always, And I love that,

640
00:30:09,160 --> 00:30:11,680
Speaker 1: and I love I love talking to kids like they're adults,

641
00:30:11,720 --> 00:30:14,160
Speaker 1: because it's like they kind of come alive when you

642
00:30:14,280 --> 00:30:17,400
Speaker 1: just ask them real questions. And my mom always really

643
00:30:17,480 --> 00:30:18,920
Speaker 1: let me into a world and say, like, I'm working

644
00:30:19,000 --> 00:30:21,080
Speaker 1: right now, I'll talk to in ten minutes. And just

645
00:30:21,240 --> 00:30:25,440
Speaker 1: having that kind of access to her was amazing. Yeah,

646
00:30:25,480 --> 00:30:27,400
Speaker 1: And I've just I've always thought she was the coolest

647
00:30:27,440 --> 00:30:29,400
Speaker 1: and it's funny and it's nice to see it echoed

648
00:30:29,400 --> 00:30:32,320
Speaker 1: because all my friends think she's the coolest. To now, um,

649
00:30:32,480 --> 00:30:34,320
Speaker 1: you're going to do how many seasons of the show

650
00:30:34,360 --> 00:30:36,320
Speaker 1: are you signed on to do? Well? You know, it's

651
00:30:36,320 --> 00:30:39,160
Speaker 1: not clear. I mean HBO contractually has me, I think

652
00:30:39,200 --> 00:30:42,400
Speaker 1: as an actor for six years, but as a writer,

653
00:30:42,440 --> 00:30:44,560
Speaker 1: and I wish I should pay more attention to my deals.

654
00:30:44,560 --> 00:30:45,920
Speaker 1: But I'm just so excited to have my job. I

655
00:30:46,000 --> 00:30:49,560
Speaker 1: just go, okay, whatever you say. But I think my

656
00:30:49,680 --> 00:30:51,400
Speaker 1: dream world is that, you know, I want to kind

657
00:30:51,440 --> 00:30:54,320
Speaker 1: of follow like you know, British shows always no British

658
00:30:54,320 --> 00:30:56,680
Speaker 1: shows and thirty Rock always know just when to get

659
00:30:56,680 --> 00:31:01,320
Speaker 1: off the air. The question becomes how you can maybe

660
00:31:01,960 --> 00:31:05,280
Speaker 1: you know, do that TV show, and either the schedule

661
00:31:05,360 --> 00:31:09,160
Speaker 1: is how many months we do? Well, we've been doing ten.

662
00:31:09,280 --> 00:31:12,560
Speaker 1: I think uh, between you me and McGee, I think

663
00:31:12,560 --> 00:31:16,120
Speaker 1: we might do twelve next year. But I would love that.

664
00:31:16,280 --> 00:31:18,000
Speaker 1: I don't want to, Like, I don't have any desire

665
00:31:18,040 --> 00:31:19,560
Speaker 1: in doing like, you know, a twenty two episode. I

666
00:31:19,560 --> 00:31:22,360
Speaker 1: don't even understand how someone does the twenty two episode marathon.

667
00:31:22,480 --> 00:31:25,640
Speaker 1: But I do think that doing I think that a

668
00:31:25,680 --> 00:31:28,800
Speaker 1: little more would be just a little more storytelling real

669
00:31:28,880 --> 00:31:31,240
Speaker 1: estate and it would be amazing. But you know, so

670
00:31:31,320 --> 00:31:34,480
Speaker 1: I shoot four four and a half months out of

671
00:31:34,480 --> 00:31:37,400
Speaker 1: the year, then I'm editing, then i'm doing pressed, then

672
00:31:37,400 --> 00:31:40,720
Speaker 1: I'm writing, then I'm back. So so it's not four

673
00:31:40,720 --> 00:31:43,920
Speaker 1: a half months. So it's not it's it's actually more

674
00:31:44,000 --> 00:31:46,720
Speaker 1: like twelve months. And so did you make a movie

675
00:31:46,760 --> 00:31:49,160
Speaker 1: during the breakfice? Now? No, I couldn't because there was

676
00:31:49,240 --> 00:31:52,000
Speaker 1: just no time. I finished shooting in August, I was editing.

677
00:31:52,400 --> 00:31:54,080
Speaker 1: Why don't you make a deal with HBO with will

678
00:31:54,120 --> 00:31:56,000
Speaker 1: finance your films. You're working for them and it's all

679
00:31:56,080 --> 00:31:58,200
Speaker 1: in house. It's very smart. I mean, I I really

680
00:31:58,240 --> 00:32:00,360
Speaker 1: want to make a movie. I have two features grips

681
00:32:00,360 --> 00:32:02,280
Speaker 1: that I've been working on that I just I want

682
00:32:02,320 --> 00:32:04,560
Speaker 1: to make another before I make like a big, massive,

683
00:32:04,600 --> 00:32:07,360
Speaker 1: ambitious movie. I mean, I want to make a creatively

684
00:32:07,400 --> 00:32:10,240
Speaker 1: ambitious movie. But I want to make another small movie

685
00:32:10,320 --> 00:32:12,320
Speaker 1: I have. I have small movie ideas. Do you have

686
00:32:12,360 --> 00:32:15,880
Speaker 1: a massive, ambitious movie inside you? I do, but it's

687
00:32:16,720 --> 00:32:18,720
Speaker 1: you have an idea? I do, But it's so weird.

688
00:32:19,040 --> 00:32:21,920
Speaker 1: Four year old psychotherapist. There's there's a fifty four year

689
00:32:21,920 --> 00:32:24,760
Speaker 1: old somebody and I mean, I'll talk to you later

690
00:32:24,840 --> 00:32:27,000
Speaker 1: in traffic control. Working with you is one of my

691
00:32:27,040 --> 00:32:30,080
Speaker 1: long standing dreams. But I am and I'm also I'm

692
00:32:30,080 --> 00:32:32,840
Speaker 1: writing a book. So that's something that was really wired

693
00:32:32,880 --> 00:32:35,240
Speaker 1: about that. It's something that was really important to me

694
00:32:35,560 --> 00:32:37,520
Speaker 1: to start doing at this point in my career. And

695
00:32:37,720 --> 00:32:40,640
Speaker 1: you write and produce your own TV show and you're

696
00:32:40,680 --> 00:32:45,040
Speaker 1: writing a book. Who did that remind me? What are

697
00:32:45,040 --> 00:32:46,760
Speaker 1: you gonna write a book about? I'm writing a book. Well,

698
00:32:46,800 --> 00:32:48,840
Speaker 1: I guess it's about me, although it's a little less

699
00:32:48,840 --> 00:32:51,440
Speaker 1: about me because it also has advice an advice component,

700
00:32:51,440 --> 00:32:54,000
Speaker 1: but it's like personal essays. So is it like Paula

701
00:32:54,000 --> 00:32:56,720
Speaker 1: Pell's Hey Young Girls? Oh my God, I love Hey

702
00:32:56,800 --> 00:33:00,280
Speaker 1: Young Girls. Makes me so happy. Paula Pell is funny.

703
00:33:00,280 --> 00:33:05,200
Speaker 1: Paula Pel is someone who's funny and not mean. She's

704
00:33:05,280 --> 00:33:08,120
Speaker 1: just a dreamy person. But you know the thing that's

705
00:33:08,120 --> 00:33:10,200
Speaker 1: been so great about writing the book I've always loved

706
00:33:10,200 --> 00:33:12,400
Speaker 1: writing pros, and I wanted to make it a part

707
00:33:12,440 --> 00:33:14,680
Speaker 1: of my career sooner rather than later, because I didn't

708
00:33:14,680 --> 00:33:16,360
Speaker 1: want it to be like when I decided to write

709
00:33:16,360 --> 00:33:17,920
Speaker 1: a book in ten years, it was like, oh, look,

710
00:33:17,960 --> 00:33:21,200
Speaker 1: here's a celebrity memoir number fifty seven. I wanted it

711
00:33:21,240 --> 00:33:24,320
Speaker 1: to really feel like I'm a person who writes pros

712
00:33:24,360 --> 00:33:26,240
Speaker 1: and that it's a part of my life and career

713
00:33:26,240 --> 00:33:28,040
Speaker 1: for a long time. But unlike other people that are

714
00:33:28,080 --> 00:33:30,600
Speaker 1: writing books, they don't have TV shows that they're starring

715
00:33:30,640 --> 00:33:33,600
Speaker 1: in and writing. When you're done doing now not just

716
00:33:33,680 --> 00:33:35,520
Speaker 1: ten but twelve episodes, what do you have left to

717
00:33:35,560 --> 00:33:37,600
Speaker 1: go into the book? There's stuff that's just for the book.

718
00:33:37,640 --> 00:33:40,240
Speaker 1: There's an example. Well, like I write a lot about

719
00:33:40,280 --> 00:33:42,040
Speaker 1: my childhood. In the book, I write a lot about

720
00:33:42,080 --> 00:33:45,160
Speaker 1: my parents. I read a lot about UM college and

721
00:33:45,200 --> 00:33:47,120
Speaker 1: sort of like that. I read a lot about that period.

722
00:33:47,120 --> 00:33:48,600
Speaker 1: I read a lot about sort of the beginning of

723
00:33:48,640 --> 00:33:51,840
Speaker 1: being sexual person. I read about relationships. I'm writing a

724
00:33:51,880 --> 00:33:56,080
Speaker 1: lot about sort of female um to say about sexuality,

725
00:33:56,640 --> 00:34:00,880
Speaker 1: it's interesting. I've had to become more conscious about what

726
00:34:01,040 --> 00:34:02,840
Speaker 1: I say and what I promote, not in a way

727
00:34:02,840 --> 00:34:04,320
Speaker 1: that stifles me, but just in a way where I

728
00:34:04,320 --> 00:34:07,120
Speaker 1: realized now that there are seventeen year old girls who

729
00:34:07,160 --> 00:34:09,399
Speaker 1: come up to me and tell me that the show

730
00:34:09,440 --> 00:34:11,440
Speaker 1: means a lot to them, and this one of your

731
00:34:11,480 --> 00:34:14,279
Speaker 1: audience is influenced, this is what I learned from Some

732
00:34:15,400 --> 00:34:19,640
Speaker 1: of your is genuinely and in any way influenced by

733
00:34:19,640 --> 00:34:21,520
Speaker 1: what you do and say that's still tens of thousands

734
00:34:21,560 --> 00:34:23,960
Speaker 1: of people. It's amazing. It's an amazing thing, and it's

735
00:34:24,000 --> 00:34:26,400
Speaker 1: like it's a platform that you have to take seriously,

736
00:34:26,400 --> 00:34:28,239
Speaker 1: which is why sometimes it's like I used to be

737
00:34:28,280 --> 00:34:31,520
Speaker 1: really into Rihanna, that pop star, and then it's like again,

738
00:34:31,600 --> 00:34:34,040
Speaker 1: I don't want to ever, you know, throw stones from

739
00:34:34,040 --> 00:34:36,640
Speaker 1: my glass house, but I follow her on Instagram and

740
00:34:36,680 --> 00:34:40,200
Speaker 1: I just think about how many little girls, beyond what

741
00:34:40,280 --> 00:34:43,360
Speaker 1: I could even comprehend, are obsessed with Rihanna, Like, you know,

742
00:34:43,560 --> 00:34:47,080
Speaker 1: she left Barbados, She's had this amazing career, she's you know,

743
00:34:47,280 --> 00:34:51,080
Speaker 1: one Grammy, she's talented, and then she gets back together

744
00:34:51,120 --> 00:34:53,080
Speaker 1: with Chris Brown and post a million pictures of them

745
00:34:53,080 --> 00:34:56,560
Speaker 1: smoking marijuana together on a bed, and it cracks my

746
00:34:56,600 --> 00:34:57,959
Speaker 1: heart in half in a way that makes me feel

747
00:34:57,960 --> 00:35:01,479
Speaker 1: like Brown smoking by no, because she got back together.

748
00:35:01,480 --> 00:35:04,319
Speaker 1: It's going, oh, yeah, you you made a really good joke,

749
00:35:04,360 --> 00:35:06,799
Speaker 1: and I got too emotional and in my response, yeah,

750
00:35:06,800 --> 00:35:10,720
Speaker 1: because I want to be it's terrible enough. It's terrible.

751
00:35:11,080 --> 00:35:14,000
Speaker 1: But so you are as a role model. What won't

752
00:35:14,040 --> 00:35:16,440
Speaker 1: Hannah or the other girls in the quartet do? Jenny

753
00:35:16,440 --> 00:35:18,839
Speaker 1: and I talked about this a lot. We won't fuck

754
00:35:18,880 --> 00:35:21,120
Speaker 1: someone because they have a nice apartment. There's not going

755
00:35:21,200 --> 00:35:23,680
Speaker 1: to be any version of sort of like proceeding yourself.

756
00:35:23,719 --> 00:35:25,840
Speaker 1: There's not gonna be any version of dating somebody because

757
00:35:25,840 --> 00:35:27,920
Speaker 1: he can take you out to nice dinner. Wait. Wait,

758
00:35:27,920 --> 00:35:29,840
Speaker 1: you're putting down my whole playbook. This is all I

759
00:35:29,840 --> 00:35:32,040
Speaker 1: have left in my age. Wait a second, that is

760
00:35:32,120 --> 00:35:35,759
Speaker 1: so wrong of you. Come on, it's interesting. I have

761
00:35:35,840 --> 00:35:38,520
Speaker 1: so many friends who are so sort of tortured by

762
00:35:38,560 --> 00:35:40,640
Speaker 1: their romantic relationships, and I think such a big part

763
00:35:40,640 --> 00:35:42,840
Speaker 1: of it is that the desires of young men and

764
00:35:42,880 --> 00:35:44,960
Speaker 1: young women are not caught up with each other. And

765
00:35:45,000 --> 00:35:46,799
Speaker 1: I say to my wife, I do want to eat

766
00:35:46,800 --> 00:35:48,360
Speaker 1: in the same restaurant every night, but I want the

767
00:35:48,360 --> 00:35:51,000
Speaker 1: hostess to wear a different outfit every night. Perfect. But

768
00:35:51,000 --> 00:35:55,000
Speaker 1: but so you say, they won't monetize sex, they won't

769
00:35:55,000 --> 00:35:57,880
Speaker 1: monetize sex. And it's like even more subtle than that,

770
00:35:57,920 --> 00:36:01,120
Speaker 1: Like I don't like a storyline that's like unless it's

771
00:36:01,160 --> 00:36:02,960
Speaker 1: really saying something about where characters are. I don't like

772
00:36:03,000 --> 00:36:05,319
Speaker 1: a storyline that's like, you know, he bought me an

773
00:36:05,440 --> 00:36:08,359
Speaker 1: entire trousseau of dresses and so I'm his forever. Like

774
00:36:08,400 --> 00:36:11,080
Speaker 1: that's just not the way that I want to idealize anything.

775
00:36:11,120 --> 00:36:14,200
Speaker 1: I think that the characters, the characters can make mistakes,

776
00:36:14,200 --> 00:36:17,359
Speaker 1: but they have to be emotionally responsible for the things

777
00:36:17,400 --> 00:36:20,040
Speaker 1: that they've done. I don't ever want to like have

778
00:36:20,120 --> 00:36:23,319
Speaker 1: a makeover scenario where someone's doing better after they've put

779
00:36:23,360 --> 00:36:26,080
Speaker 1: on a great dress and you know, straight ironed their hair,

780
00:36:26,239 --> 00:36:29,360
Speaker 1: Like I just there's it's a really instinctual thing, but

781
00:36:29,440 --> 00:36:33,719
Speaker 1: it's just a feeling like I want women. This is

782
00:36:33,719 --> 00:36:35,279
Speaker 1: so kind of hippie tip, but I want them to

783
00:36:35,280 --> 00:36:37,799
Speaker 1: make their own choices. I want them to I don't

784
00:36:37,800 --> 00:36:40,680
Speaker 1: want people to live in service to sort of what

785
00:36:40,880 --> 00:36:43,319
Speaker 1: television things they should look like, their family things they

786
00:36:43,320 --> 00:36:45,720
Speaker 1: should act. How much do you think that women, Because

787
00:36:45,719 --> 00:36:47,719
Speaker 1: this is a very sensitive topic of me, because I'm

788
00:36:47,960 --> 00:36:49,839
Speaker 1: I'm not going to go Norman Mailer here, but I

789
00:36:49,880 --> 00:36:52,560
Speaker 1: feel like, you know, the the interesting thing for society

790
00:36:52,640 --> 00:36:55,000
Speaker 1: is if women, women have been allowed to make their

791
00:36:55,000 --> 00:36:56,839
Speaker 1: own choices, not for the most part, for the last

792
00:36:56,880 --> 00:36:59,919
Speaker 1: forty years, or at least for the last and that's

793
00:37:00,280 --> 00:37:03,480
Speaker 1: reaped enormous benefits for society, and forget about just women.

794
00:37:03,840 --> 00:37:05,560
Speaker 1: But at the same time, women are the only ones

795
00:37:05,600 --> 00:37:09,000
Speaker 1: who can have children, and therefore in the way that

796
00:37:09,040 --> 00:37:11,560
Speaker 1: we're trying to in the traditional family, even in a

797
00:37:11,560 --> 00:37:14,279
Speaker 1: gay family where a man and two guys want to

798
00:37:14,280 --> 00:37:16,040
Speaker 1: have a baby with a woman, or two women want

799
00:37:16,080 --> 00:37:20,200
Speaker 1: to have a child together, that balance of career and

800
00:37:20,600 --> 00:37:24,400
Speaker 1: ambition and so forth with family is that something that

801
00:37:24,400 --> 00:37:26,600
Speaker 1: you struggle with some numbers you even think not struggling to.

802
00:37:27,120 --> 00:37:29,280
Speaker 1: I mean I think about it all the time, actually

803
00:37:29,400 --> 00:37:32,080
Speaker 1: because I'm because you're the product of a happy poem,

804
00:37:32,440 --> 00:37:35,840
Speaker 1: and I want all the totally. I was raised to

805
00:37:35,880 --> 00:37:37,960
Speaker 1: think that the two most important things you could do

806
00:37:37,960 --> 00:37:41,239
Speaker 1: in your life were have a passionate, generous relationship to

807
00:37:41,239 --> 00:37:44,000
Speaker 1: your work and to raise children. And so you still

808
00:37:44,000 --> 00:37:45,600
Speaker 1: feel that one and I do still feel that, well,

809
00:37:45,600 --> 00:37:48,000
Speaker 1: I have children, big time. I'm so excited. I don't

810
00:37:48,040 --> 00:37:50,520
Speaker 1: want like to jolly pit the whole situation, but like

811
00:37:50,560 --> 00:37:53,800
Speaker 1: at least two, and I think all the time about

812
00:37:54,320 --> 00:37:58,280
Speaker 1: it's funny exactly. I might got Jenny Connor's daughter, Coco,

813
00:37:58,360 --> 00:38:01,400
Speaker 1: who's who's eight, and his dear friend. We like to

814
00:38:01,400 --> 00:38:04,000
Speaker 1: go out to see live music together. Cocoa one day

815
00:38:04,080 --> 00:38:06,080
Speaker 1: was like, when do you think you're gonna have children?

816
00:38:06,200 --> 00:38:07,880
Speaker 1: Just roughly? And I was like, I don't know. Cocoa, like,

817
00:38:07,880 --> 00:38:09,319
Speaker 1: you know, I'm twenty six, so I'd like to wait

818
00:38:09,360 --> 00:38:10,840
Speaker 1: till I'm like at least thirty. And she was like,

819
00:38:11,440 --> 00:38:13,719
Speaker 1: at that point, I think you should um not be

820
00:38:13,800 --> 00:38:15,960
Speaker 1: working on girls. And if you are working on girls,

821
00:38:15,960 --> 00:38:17,480
Speaker 1: you're going to have to cut your hours down to

822
00:38:17,560 --> 00:38:19,719
Speaker 1: like eight thirty to six because you need to be

823
00:38:19,760 --> 00:38:21,680
Speaker 1: able to be there when they wake up, and you

824
00:38:21,719 --> 00:38:24,160
Speaker 1: also need to be there with them at night. And she,

825
00:38:24,280 --> 00:38:26,279
Speaker 1: basically an eight year old, sort of to school me

826
00:38:26,360 --> 00:38:28,400
Speaker 1: in the way that my lifestyle would not allow for children.

827
00:38:28,400 --> 00:38:30,280
Speaker 1: And she was like, you know, your boyfriend. My boyfriends

828
00:38:30,280 --> 00:38:31,799
Speaker 1: a musician and he tours a lot, and she was

829
00:38:31,840 --> 00:38:33,840
Speaker 1: like and she was like, he might have to quit

830
00:38:33,880 --> 00:38:35,040
Speaker 1: his job. And I was like, I don't think he's

831
00:38:35,040 --> 00:38:36,279
Speaker 1: going to quit his job. And she's like well, that

832
00:38:36,320 --> 00:38:37,680
Speaker 1: might be hard for you too. You might have to

833
00:38:37,680 --> 00:38:39,560
Speaker 1: really talk of it. Like and even just now, I

834
00:38:39,600 --> 00:38:42,759
Speaker 1: just adopted a dog and I was really really it

835
00:38:42,880 --> 00:38:45,279
Speaker 1: was like instead of just meeting a dog, thinking it

836
00:38:45,320 --> 00:38:47,360
Speaker 1: was adorable and bringing it home, it was this tortured

837
00:38:47,440 --> 00:38:49,160
Speaker 1: thing of like, am I gonna be able to give

838
00:38:49,200 --> 00:38:51,640
Speaker 1: it what it needs? And what if it resents me?

839
00:38:51,719 --> 00:38:53,839
Speaker 1: And at a certain point, my mom, who is really

840
00:38:53,840 --> 00:38:56,279
Speaker 1: ready to play dog Grandma is planning to spend a

841
00:38:56,320 --> 00:38:58,839
Speaker 1: lot of time with the dog, was like she was like, Lina,

842
00:38:59,280 --> 00:39:01,800
Speaker 1: it's a fucking dog. She was like, it's at a

843
00:39:01,840 --> 00:39:04,320
Speaker 1: certain point she was like, I get it. I'm glad

844
00:39:04,360 --> 00:39:06,480
Speaker 1: you're thinking it through, but like, this is not like

845
00:39:06,640 --> 00:39:09,920
Speaker 1: adopting twins. Now. Two things that I think are kind

846
00:39:09,920 --> 00:39:12,480
Speaker 1: of connected, which is how do men present themselves? You

847
00:39:12,520 --> 00:39:14,200
Speaker 1: have a boyfriend, and I don't I don't want to

848
00:39:14,200 --> 00:39:16,040
Speaker 1: pry to your personal life, but you how do men

849
00:39:16,120 --> 00:39:19,600
Speaker 1: present themselves to you differently? You said that Hannah was

850
00:39:20,239 --> 00:39:23,160
Speaker 1: this and that and a chubby girl who and now

851
00:39:23,360 --> 00:39:26,960
Speaker 1: you're now the name Lena Dunham means something else to people.

852
00:39:27,160 --> 00:39:29,359
Speaker 1: How do men present themselves to you now different from

853
00:39:29,400 --> 00:39:31,279
Speaker 1: the way they used to it's interesting. I mean, I'm

854
00:39:31,400 --> 00:39:33,560
Speaker 1: so bad at knowing if anybody's hitting on me, Like

855
00:39:33,600 --> 00:39:35,160
Speaker 1: someone literally has to beat me on the head with

856
00:39:35,200 --> 00:39:37,040
Speaker 1: a drumstick and drag me back to their cave for

857
00:39:37,080 --> 00:39:39,640
Speaker 1: me to understand that it's going on, and then you

858
00:39:39,680 --> 00:39:41,600
Speaker 1: would press charges again, and then I would, and then

859
00:39:41,600 --> 00:39:44,360
Speaker 1: they and then and then I hire Gloria Alred is

860
00:39:44,360 --> 00:39:49,359
Speaker 1: my attorney. Yeah exactly. But you know, the thing is

861
00:39:49,360 --> 00:39:53,480
Speaker 1: is that sleazy people are attracted to and sleazy people

862
00:39:53,480 --> 00:39:57,600
Speaker 1: and not sleazy people are attracted to any sense of

863
00:39:57,960 --> 00:40:01,600
Speaker 1: gravity toss that someone might have. So so I definitely

864
00:40:02,160 --> 00:40:05,719
Speaker 1: have had more. I mean, I definitely had felt less

865
00:40:05,760 --> 00:40:08,680
Speaker 1: ignored by the opposite sex. But I'm also so bad

866
00:40:08,719 --> 00:40:11,360
Speaker 1: at perceiving any of it. And so, did you know

867
00:40:11,440 --> 00:40:13,640
Speaker 1: your boyfriend liked to Well, we got set up on

868
00:40:13,640 --> 00:40:15,160
Speaker 1: a blind date, so I knew he liked well, I

869
00:40:15,200 --> 00:40:17,400
Speaker 1: didn't know he liked me, but he was pretty disposed.

870
00:40:17,480 --> 00:40:19,120
Speaker 1: He was predisposed to like me because what we were

871
00:40:19,160 --> 00:40:21,200
Speaker 1: going on was a date. And then that was a

872
00:40:21,200 --> 00:40:23,239
Speaker 1: special situation because I went, oh, I think he likes me,

873
00:40:23,239 --> 00:40:25,480
Speaker 1: and I like him, And tell me if you don't

874
00:40:25,480 --> 00:40:26,920
Speaker 1: want to aswer this question, but I just find it charming.

875
00:40:27,080 --> 00:40:28,840
Speaker 1: Where did you go on your first date with your boyfriend?

876
00:40:28,880 --> 00:40:31,160
Speaker 1: We went to Blue Ribbon Bakery in the West Village.

877
00:40:31,400 --> 00:40:33,040
Speaker 1: And the reason I was happy is because I find

878
00:40:33,040 --> 00:40:36,759
Speaker 1: picking a restaurant so anxiety producing, because I feel like, yeah,

879
00:40:36,760 --> 00:40:42,719
Speaker 1: because it really is start. And also, what if I

880
00:40:42,760 --> 00:40:44,920
Speaker 1: choose the wrong restaurant and you have a bad association

881
00:40:44,920 --> 00:40:48,480
Speaker 1: with it or you think I'm sleezy Exactly, it's just

882
00:40:48,680 --> 00:40:50,239
Speaker 1: the worst. And like what if we go there and

883
00:40:50,239 --> 00:40:54,920
Speaker 1: you don't like muffin? Exactly? It's so stressful. So he said,

884
00:40:55,280 --> 00:40:56,680
Speaker 1: before I even had to say anything, he said, if

885
00:40:56,680 --> 00:40:59,279
Speaker 1: it's stressful for you, I can pick the restaurant. And

886
00:40:59,320 --> 00:41:02,120
Speaker 1: I felt like, okay, I'm going to be in great hands.

887
00:41:02,120 --> 00:41:03,839
Speaker 1: Where did you pick? And then you picked Blue and Maker?

888
00:41:03,880 --> 00:41:05,160
Speaker 1: And then I ate a cheese and then I ordered

889
00:41:05,160 --> 00:41:06,719
Speaker 1: a hamburger and he said, I think you should get

890
00:41:06,800 --> 00:41:10,560
Speaker 1: cheese on it. It's not nice. And you went, oh

891
00:41:10,600 --> 00:41:15,080
Speaker 1: my god, yeah, that's easily. I was so glad you, like,

892
00:41:15,120 --> 00:41:18,200
Speaker 1: did my mom call you for this date? And let

893
00:41:18,239 --> 00:41:23,680
Speaker 1: you know I like Yarlsberg exactly. Somebody is suggesting that

894
00:41:23,800 --> 00:41:27,359
Speaker 1: one of Yarlsburger And then and then you know you've

895
00:41:27,400 --> 00:41:30,960
Speaker 1: been dating for a while. Yeah, like almost a year.

896
00:41:31,160 --> 00:41:34,799
Speaker 1: It's been. He's a very very great person to meet

897
00:41:34,840 --> 00:41:38,000
Speaker 1: you and tell me if I'm onto something here. You

898
00:41:38,080 --> 00:41:40,480
Speaker 1: seem like someone that regardless of what you look like

899
00:41:40,680 --> 00:41:42,880
Speaker 1: or didn't look like, or what you had or didn't have,

900
00:41:43,280 --> 00:41:46,120
Speaker 1: whoever you were, you have a very very healthy and

901
00:41:46,200 --> 00:41:48,840
Speaker 1: kind of guileless sense of who you are, and you

902
00:41:48,920 --> 00:41:51,080
Speaker 1: presented yourself to people your entire life going this is

903
00:41:51,120 --> 00:41:52,480
Speaker 1: who I am, and if you like me, great, and

904
00:41:52,520 --> 00:41:56,120
Speaker 1: if you don't, there's another six point five billion people

905
00:41:56,120 --> 00:41:58,759
Speaker 1: out there to go for it. Am I Right? That's

906
00:41:58,800 --> 00:42:01,319
Speaker 1: a really stretched much. That's the most lovely way of

907
00:42:01,360 --> 00:42:03,800
Speaker 1: putting it. I mean, I think I think I always

908
00:42:03,800 --> 00:42:05,840
Speaker 1: had a feeling like if you just stick around and

909
00:42:05,840 --> 00:42:08,040
Speaker 1: continue to be yourself, the correct people will find you.

910
00:42:08,080 --> 00:42:10,080
Speaker 1: And that's something that's been so wonderful about the show

911
00:42:10,160 --> 00:42:12,479
Speaker 1: is that it kind of confirmed that for me, which

912
00:42:12,520 --> 00:42:14,799
Speaker 1: is not everyone watches it, but the people who watch

913
00:42:14,840 --> 00:42:16,879
Speaker 1: it understand it. And that feeling I'm sure you've had

914
00:42:16,880 --> 00:42:19,120
Speaker 1: this before of uniting with your appropriate audience and sort

915
00:42:19,120 --> 00:42:21,680
Speaker 1: of uniting with your people is like about as comforting

916
00:42:21,719 --> 00:42:31,000
Speaker 1: as feelings get. M you two can unite comfortably with

917
00:42:31,080 --> 00:42:34,120
Speaker 1: Lena Dunham over the unique discomfort of being a woman

918
00:42:34,200 --> 00:42:38,480
Speaker 1: in your twenties. Today, Girls is on Sunday nights on HBO.

919
00:42:40,520 --> 00:42:43,400
Speaker 1: This is Alec Baldwin and you're listening to Here's the

920
00:42:43,480 --> 00:42:43,680
Speaker 1: Thing