1 00:00:05,960 --> 00:00:08,479 Speaker 1: Hey, everyone, thanks for pulling up a chair today on 2 00:00:08,560 --> 00:00:13,440 Speaker 1: table for two, on this beautiful sunny Sunday. I might 3 00:00:13,480 --> 00:00:16,000 Speaker 1: add as we sit at the Sunset Tower here in 4 00:00:16,040 --> 00:00:20,680 Speaker 1: Los Angeles on what could be considered Hollywood's fifth season. Yes, 5 00:00:20,840 --> 00:00:24,240 Speaker 1: that's right. LA has five seasons and we are currently 6 00:00:24,280 --> 00:00:25,480 Speaker 1: in award season. 7 00:00:25,920 --> 00:00:27,480 Speaker 2: How are you Yeah, I'm pretty good. 8 00:00:27,720 --> 00:00:29,440 Speaker 1: Yeah, you're holding out? 9 00:00:29,560 --> 00:00:32,920 Speaker 2: Yeah, I'm great juggling which is nice. 10 00:00:33,000 --> 00:00:36,240 Speaker 1: Joining me at the table. We have a beautiful man, 11 00:00:36,680 --> 00:00:40,440 Speaker 1: an extremely talented actor, a fellow New Yorker, and the 12 00:00:40,520 --> 00:00:43,920 Speaker 1: youngest male lead to win an Oscar at the age 13 00:00:43,960 --> 00:00:46,959 Speaker 1: of twenty nine, and the front runner to take home 14 00:00:47,000 --> 00:00:50,080 Speaker 1: the gold this year for his role in the incredible 15 00:00:50,120 --> 00:00:55,200 Speaker 1: film The Brutalist, the story of an influential architect escaping 16 00:00:55,600 --> 00:00:59,240 Speaker 1: war torn Europe. Last low tos you hungry? Do you 17 00:00:59,240 --> 00:01:00,120 Speaker 1: want something to You. 18 00:01:00,120 --> 00:01:01,800 Speaker 2: Could eat something? How are we going to eat and talk? 19 00:01:01,800 --> 00:01:04,600 Speaker 2: I don't think well, you'd be surprised. It does entel 20 00:01:04,920 --> 00:01:07,199 Speaker 2: interesting curveball. No, No, I like Betel. 21 00:01:10,440 --> 00:01:15,520 Speaker 1: Yes, that is correct, mister Adrienne Brody. So sit back, enjoy, 22 00:01:15,800 --> 00:01:19,840 Speaker 1: and as always, thank you for joining me. I'm Bruce 23 00:01:19,880 --> 00:01:32,080 Speaker 1: Bozzi and you're listening to table for two. Adriane, thank 24 00:01:32,080 --> 00:01:33,520 Speaker 1: you for joining us today and. 25 00:01:33,520 --> 00:01:34,120 Speaker 2: Table for two. 26 00:01:34,240 --> 00:01:36,560 Speaker 1: Thank you many people pulling up a chair and having 27 00:01:36,640 --> 00:01:37,399 Speaker 1: lunch with us. 28 00:01:37,440 --> 00:01:39,319 Speaker 2: My pleasure for those of you listening. 29 00:01:39,360 --> 00:01:42,640 Speaker 1: I ran into Adriane last night at the Producer's Guild Awards, 30 00:01:42,640 --> 00:01:45,400 Speaker 1: and when we were leaving, you were speaking with Brian, 31 00:01:45,880 --> 00:01:47,440 Speaker 1: and I looked in your eyes. And then when I 32 00:01:47,480 --> 00:01:48,880 Speaker 1: walked away from you, and I said to Brian, I said, 33 00:01:48,880 --> 00:01:52,160 Speaker 1: do you see Adriane's eyes? The emotion that you live 34 00:01:52,240 --> 00:01:57,400 Speaker 1: in is very to the surface. And I thought to myself, 35 00:01:57,440 --> 00:02:01,160 Speaker 1: and then he thought, how difficult is that to be 36 00:02:01,280 --> 00:02:05,279 Speaker 1: so present to your emotional life. 37 00:02:06,040 --> 00:02:09,840 Speaker 2: That's a lovely observation. Really. It's funny, you know, people 38 00:02:09,880 --> 00:02:13,280 Speaker 2: make flippant comments or something on which I don't take personally, 39 00:02:13,320 --> 00:02:17,000 Speaker 2: but like on Instagram or they'll say, why do you 40 00:02:17,000 --> 00:02:20,359 Speaker 2: always look so sad or why do you always it's 41 00:02:20,400 --> 00:02:24,200 Speaker 2: misrepresented And I do see photos of me like, go boy, 42 00:02:24,200 --> 00:02:25,640 Speaker 2: I do look kind of sad there. And it's not 43 00:02:25,680 --> 00:02:30,000 Speaker 2: that I'm sad or upset or angry about something, but 44 00:02:30,040 --> 00:02:34,880 Speaker 2: I am. I'm very sensitive and very conscious of so 45 00:02:35,560 --> 00:02:41,040 Speaker 2: many layers in a moment, if that makes sense. Yes, 46 00:02:41,080 --> 00:02:46,200 Speaker 2: and it makes me a perfect candidate to be an actor, 47 00:02:46,560 --> 00:02:50,680 Speaker 2: because you do need a certain sensitivity and consciousness and 48 00:02:50,720 --> 00:02:57,160 Speaker 2: empathetic nature. And I'm quite an introspective and introverted person, 49 00:02:57,760 --> 00:03:02,160 Speaker 2: which is incongruous to most people's perception of an actor 50 00:03:02,200 --> 00:03:05,720 Speaker 2: in general at all, and they expect, oh, well, you 51 00:03:05,720 --> 00:03:12,040 Speaker 2: should be comfortable being up on stage or speaking to things, 52 00:03:12,280 --> 00:03:16,240 Speaker 2: and I am in a way comfortable that I've grown 53 00:03:16,240 --> 00:03:21,200 Speaker 2: accustomed to that aspect of my work. But I'm so 54 00:03:21,280 --> 00:03:22,959 Speaker 2: full of gratitude in this moment. I think what you 55 00:03:23,360 --> 00:03:27,880 Speaker 2: experienced is a sense of it's been a very long journey. 56 00:03:28,560 --> 00:03:31,880 Speaker 2: I began when I was twelve. It's almost four decades 57 00:03:32,040 --> 00:03:34,639 Speaker 2: of doing what I love and still loving what I do, 58 00:03:35,560 --> 00:03:40,160 Speaker 2: and seeing Brian and you. Brian's been in my corner 59 00:03:40,200 --> 00:03:43,160 Speaker 2: for a long time, and it's been very supportive of 60 00:03:43,800 --> 00:03:48,360 Speaker 2: me along the way in many ways as a friend, 61 00:03:48,440 --> 00:03:51,720 Speaker 2: as a representative, and so seeing him, I was a 62 00:03:51,760 --> 00:03:55,600 Speaker 2: bit extra grateful. And there were many people in that 63 00:03:55,680 --> 00:04:00,240 Speaker 2: room that, whether they've employed me directly or not, make 64 00:04:00,320 --> 00:04:04,080 Speaker 2: such a difference in a work that I've been so 65 00:04:04,160 --> 00:04:07,360 Speaker 2: fortunate to do for so many years, and so just 66 00:04:07,480 --> 00:04:10,320 Speaker 2: stepping out and seeing it I was on the stage, 67 00:04:10,320 --> 00:04:14,320 Speaker 2: and I tried to acknowledge the many contributions and the 68 00:04:14,360 --> 00:04:17,920 Speaker 2: tenacity it takes to be a producer and how hard 69 00:04:17,960 --> 00:04:20,880 Speaker 2: it is in this in this world to keep this 70 00:04:21,480 --> 00:04:24,159 Speaker 2: industry moving. And I don't know, it felt connected to 71 00:04:24,200 --> 00:04:24,440 Speaker 2: it all. 72 00:04:24,560 --> 00:04:25,400 Speaker 1: Yeah, you saw it. 73 00:04:25,520 --> 00:04:28,160 Speaker 2: I felt connected to it. And there are days I 74 00:04:28,200 --> 00:04:30,440 Speaker 2: just feel connected to nature and I'm equally as moved 75 00:04:30,440 --> 00:04:32,440 Speaker 2: and I'm away from all of this, and I'm so 76 00:04:32,560 --> 00:04:37,279 Speaker 2: grateful for being present in that moment and encountering some 77 00:04:37,839 --> 00:04:42,120 Speaker 2: animal or whatever it is that and I tend to 78 00:04:42,160 --> 00:04:45,440 Speaker 2: live like that. Which it's interesting because I I did 79 00:04:45,480 --> 00:04:49,080 Speaker 2: the I received an award at AARP earlier that day. 80 00:04:49,120 --> 00:04:50,560 Speaker 2: It's also was a very long day. It was. It 81 00:04:50,640 --> 00:04:52,279 Speaker 2: was like a twelve hour day. So at noon I 82 00:04:52,400 --> 00:04:55,000 Speaker 2: was on stage receiving. 83 00:04:54,880 --> 00:04:56,080 Speaker 1: The night before recognition. 84 00:04:58,200 --> 00:05:01,359 Speaker 2: Was that the night before. I'm still reeling from that. 85 00:05:01,480 --> 00:05:06,000 Speaker 2: I've already forgotten how the proximity of that. Yes, I'm 86 00:05:06,000 --> 00:05:09,560 Speaker 2: still reeling from that, which was quite wonderful and unexpected. 87 00:05:09,839 --> 00:05:14,760 Speaker 2: But AARP was remarkably moving to me in many ways, 88 00:05:14,839 --> 00:05:20,440 Speaker 2: and Lev Shreiver was very generous. He introduced me. It 89 00:05:20,480 --> 00:05:26,080 Speaker 2: was incredibly generous in his remarks, and he spoke about 90 00:05:26,160 --> 00:05:31,599 Speaker 2: how the film touched many things about his own grandparents' journey, 91 00:05:32,400 --> 00:05:35,719 Speaker 2: as it clearly did my own. And he spoke about 92 00:05:35,760 --> 00:05:38,719 Speaker 2: having son, he's asking him about the work that he 93 00:05:38,760 --> 00:05:41,480 Speaker 2: does and everything, and he said he was so grateful 94 00:05:41,560 --> 00:05:45,919 Speaker 2: for me and this film and what it speaks to 95 00:05:46,200 --> 00:05:48,720 Speaker 2: for our work and what we are striving to do, 96 00:05:48,800 --> 00:05:51,000 Speaker 2: and to be able to give some context. I thought 97 00:05:51,000 --> 00:05:54,960 Speaker 2: it was such a generous statement to make, and so 98 00:05:55,000 --> 00:05:56,320 Speaker 2: then by the time I got on stage, I was 99 00:05:56,320 --> 00:06:00,880 Speaker 2: already pretty moved, and I started speaking about my grandparents 100 00:06:00,880 --> 00:06:05,640 Speaker 2: and how they've influenced me, and how my mother's work 101 00:06:05,720 --> 00:06:09,640 Speaker 2: has influenced me, and and that I had recalled something 102 00:06:10,720 --> 00:06:13,960 Speaker 2: that I hadn't thought of in many, many years, which was, 103 00:06:14,520 --> 00:06:16,360 Speaker 2: as this was, we were aarp and there's a lot 104 00:06:16,400 --> 00:06:19,680 Speaker 2: of reference about grown ups and being an adult and 105 00:06:19,720 --> 00:06:21,960 Speaker 2: being mature and growing. 106 00:06:21,960 --> 00:06:24,760 Speaker 1: So jarring when you get that first, it's not. 107 00:06:24,640 --> 00:06:27,120 Speaker 2: So jarring anymore. It's jarring the. 108 00:06:27,120 --> 00:06:33,800 Speaker 1: First piece of material you get in the mail. Oh yeah, here, 109 00:06:33,839 --> 00:06:34,080 Speaker 1: I am. 110 00:06:35,160 --> 00:06:40,200 Speaker 2: Oh, that's good for my earthritis. But I, as a boy, 111 00:06:40,800 --> 00:06:44,720 Speaker 2: recalled that I prayed God to be a grown up. 112 00:06:45,560 --> 00:06:48,760 Speaker 2: I wanted to grow up so that I would have 113 00:06:48,839 --> 00:06:52,440 Speaker 2: some sense of control and a voice, and a voice 114 00:06:52,480 --> 00:06:55,680 Speaker 2: to not only advocate for myself but for others and 115 00:06:55,720 --> 00:06:57,920 Speaker 2: all that I saw that was uninjust in the world 116 00:06:58,520 --> 00:07:02,800 Speaker 2: as a boy, as a very little child, seven or eight. Wow. 117 00:07:02,880 --> 00:07:04,920 Speaker 2: And so that really struck me. So yesterday is kind 118 00:07:04,920 --> 00:07:08,080 Speaker 2: of reeling with that and the fact that those prayers 119 00:07:08,080 --> 00:07:11,440 Speaker 2: have been answered to my work because I do get 120 00:07:11,440 --> 00:07:14,480 Speaker 2: to speak. I do get to speak for all that 121 00:07:14,600 --> 00:07:17,680 Speaker 2: yearning inside of me and that yearning in others, and 122 00:07:18,400 --> 00:07:20,920 Speaker 2: so much that isn't right in the world that can 123 00:07:20,960 --> 00:07:25,480 Speaker 2: be discussed and contemplated in film. And so that yesterday 124 00:07:25,480 --> 00:07:29,560 Speaker 2: I was really kind of living through a moment of 125 00:07:29,640 --> 00:07:34,840 Speaker 2: real gratitude and awareness and you know, sensitivity to everyone 126 00:07:34,840 --> 00:07:36,000 Speaker 2: around me as well. 127 00:07:49,320 --> 00:07:51,000 Speaker 1: You know, one of the things that we shares. We 128 00:07:51,080 --> 00:07:53,360 Speaker 1: both grew up in New York, which I'm very proud 129 00:07:53,360 --> 00:07:56,160 Speaker 1: of coming from that place. And you talked about your 130 00:07:56,200 --> 00:08:00,520 Speaker 1: mother's the influence and your mother who left hungry and 131 00:08:00,800 --> 00:08:03,000 Speaker 1: left at a time where you know, you needed to 132 00:08:03,000 --> 00:08:05,600 Speaker 1: get out and made a career as a photographer and 133 00:08:05,640 --> 00:08:07,080 Speaker 1: worked for the Village Voice, and for those of us 134 00:08:07,120 --> 00:08:08,520 Speaker 1: who grew up in New York, the village voice was 135 00:08:08,600 --> 00:08:14,880 Speaker 1: very specific, very downtown newspaper. How did her images inform 136 00:08:14,960 --> 00:08:18,760 Speaker 1: you growing up and influence you like you just alluded to. 137 00:08:19,440 --> 00:08:24,640 Speaker 2: Yeah, her imagery definitely affected me. And it's more than 138 00:08:24,800 --> 00:08:30,640 Speaker 2: just growing up around impeccably beautiful imagery and sensitivity in 139 00:08:30,720 --> 00:08:35,480 Speaker 2: an artistic work. It's an extension of her being and 140 00:08:35,520 --> 00:08:40,880 Speaker 2: her sensitivity and what as an only child and probably 141 00:08:40,880 --> 00:08:43,719 Speaker 2: her favorite subject as well. So I had that as well. 142 00:08:43,760 --> 00:08:46,760 Speaker 2: That's informed my work. I grew up with a camera 143 00:08:46,800 --> 00:08:50,440 Speaker 2: on me, ever present from a very safe and loving place, 144 00:08:51,360 --> 00:08:54,240 Speaker 2: also not encouraging me to do something or act or 145 00:08:54,600 --> 00:08:57,640 Speaker 2: put something on. So I became very comfortable with that, 146 00:08:57,760 --> 00:09:02,080 Speaker 2: which I think is very helpful for a film. But 147 00:09:03,280 --> 00:09:05,920 Speaker 2: her awareness of the world and the way she sees 148 00:09:05,960 --> 00:09:10,599 Speaker 2: things and the way it's quite beautiful and poetic and 149 00:09:11,120 --> 00:09:15,200 Speaker 2: very unique and funny and sad at times, and I 150 00:09:15,280 --> 00:09:17,760 Speaker 2: relate to all of that. And I am the result 151 00:09:17,840 --> 00:09:20,960 Speaker 2: of of all of those influences and probably genetically through 152 00:09:21,120 --> 00:09:22,400 Speaker 2: what her being. 153 00:09:22,320 --> 00:09:25,840 Speaker 1: Right, the nature nurture thing, and you do see it 154 00:09:25,880 --> 00:09:28,960 Speaker 1: in your work a lot, the humor, the mix of 155 00:09:29,000 --> 00:09:32,000 Speaker 1: the dance of the two, because I think it's like 156 00:09:32,040 --> 00:09:35,000 Speaker 1: an EmPATH as someone who grows up. You know, we 157 00:09:35,080 --> 00:09:37,920 Speaker 1: both and we dig we we both. 158 00:09:38,080 --> 00:09:38,959 Speaker 2: It's so funny. 159 00:09:41,240 --> 00:09:42,079 Speaker 1: You know, you gotta eat. 160 00:09:42,080 --> 00:09:42,800 Speaker 2: It's part of the stuff. 161 00:09:42,880 --> 00:09:44,679 Speaker 1: Yeah, you know we're having chopped out of a chicken. 162 00:09:44,720 --> 00:09:49,679 Speaker 1: It's it's a Sunday. And do you have a think 163 00:09:49,679 --> 00:09:51,439 Speaker 1: about I don't like. 164 00:09:51,400 --> 00:09:54,640 Speaker 2: Fen Oh so I do a dish that's primarily fennel, 165 00:09:54,640 --> 00:09:57,840 Speaker 2: which I which I encountered in Australia doing thin red line, 166 00:09:57,840 --> 00:10:00,480 Speaker 2: which is one of the few good memories left of it. 167 00:10:00,679 --> 00:10:04,599 Speaker 2: But I they did this thin slice fannel with parmesan 168 00:10:04,720 --> 00:10:07,080 Speaker 2: and olive oil and lemon, and it's just fantastic. And 169 00:10:07,160 --> 00:10:08,319 Speaker 2: so that is great. 170 00:10:08,600 --> 00:10:12,520 Speaker 1: That is a delicious dish, thin slice fedel, parmesan. 171 00:10:12,080 --> 00:10:15,000 Speaker 2: Lemon and olive healthy, delicious. 172 00:10:15,080 --> 00:10:17,480 Speaker 1: So growing up in New York and like as a 173 00:10:17,559 --> 00:10:19,440 Speaker 1: kid when you're you know, we were on the streets. 174 00:10:19,520 --> 00:10:21,679 Speaker 1: We're going to be independent, you know. 175 00:10:22,080 --> 00:10:23,439 Speaker 2: Almost pretty independent. 176 00:10:23,080 --> 00:10:24,640 Speaker 1: You know where you're like hopping on subway as you're 177 00:10:24,640 --> 00:10:27,160 Speaker 1: walking to school. You know what, when you kind of 178 00:10:27,200 --> 00:10:30,960 Speaker 1: think about how that informed you or the nostalgia is 179 00:10:31,000 --> 00:10:34,160 Speaker 1: there something because I think that leads to that which 180 00:10:34,280 --> 00:10:35,160 Speaker 1: leads to this. 181 00:10:36,640 --> 00:10:38,880 Speaker 2: They all do. They all definitely very much shaped me. 182 00:10:38,960 --> 00:10:43,560 Speaker 2: I mean, I'm a bit nostalgic about those years just 183 00:10:43,600 --> 00:10:47,480 Speaker 2: because New York and it was deeply flawed and broken 184 00:10:47,520 --> 00:10:50,120 Speaker 2: in many ways, and it was terrible crime, and it 185 00:10:50,160 --> 00:10:52,440 Speaker 2: was very threatening at times, and I got jumped and 186 00:10:52,480 --> 00:10:54,280 Speaker 2: I would have to deal with all kinds of stuff 187 00:10:54,280 --> 00:10:57,120 Speaker 2: that I don't I'm glad I don't live through that 188 00:10:57,720 --> 00:10:59,880 Speaker 2: hardship now, but it didn't shake me and did give 189 00:10:59,920 --> 00:11:04,520 Speaker 2: me an edge and survival. Yeah, I mean, I've had 190 00:11:04,520 --> 00:11:07,199 Speaker 2: to work very hard to be less reactive and something 191 00:11:07,240 --> 00:11:09,760 Speaker 2: felt confrontational because you did have to react and respond 192 00:11:10,200 --> 00:11:12,839 Speaker 2: in a quite a powerful way in order to defend 193 00:11:12,880 --> 00:11:16,240 Speaker 2: yourself in the moment. That I think isn't healthy in 194 00:11:16,280 --> 00:11:20,000 Speaker 2: an adult life and healthy in other aspects. It was 195 00:11:20,120 --> 00:11:26,240 Speaker 2: necessary as a teenager. But I look back at the 196 00:11:26,280 --> 00:11:33,360 Speaker 2: beauty of being immersed in diversity and that cacophony of 197 00:11:34,160 --> 00:11:37,319 Speaker 2: it just being normal, that just chaos is going on, 198 00:11:37,440 --> 00:11:42,600 Speaker 2: and every kind of person and people helping one another, 199 00:11:42,679 --> 00:11:47,880 Speaker 2: people fighting, people alive and human and sneezing on you 200 00:11:47,920 --> 00:11:52,280 Speaker 2: on a train, and you know, every walk of life 201 00:11:52,679 --> 00:11:55,839 Speaker 2: on that in your frame in front of you. What 202 00:11:55,880 --> 00:12:03,520 Speaker 2: you're seeing every day is so vast and beautiful, and 203 00:12:03,600 --> 00:12:06,360 Speaker 2: it still exists, but it's different. I mean, the city's 204 00:12:06,440 --> 00:12:07,120 Speaker 2: changed a lot. 205 00:12:08,000 --> 00:12:08,839 Speaker 1: The ability I think. 206 00:12:08,880 --> 00:12:11,640 Speaker 2: I think most artistic people, not all artistic people, but 207 00:12:11,679 --> 00:12:13,480 Speaker 2: like artists who can't afford to live in a place 208 00:12:13,520 --> 00:12:15,679 Speaker 2: like that aren't. It's not attainable in the voice, so 209 00:12:15,720 --> 00:12:18,640 Speaker 2: they've moved out. In retrospect, if I said, I'm nostalgic 210 00:12:18,679 --> 00:12:22,520 Speaker 2: about because it was very hard, but those things shape 211 00:12:22,760 --> 00:12:27,160 Speaker 2: you and make things moving forward less hard. They have 212 00:12:27,200 --> 00:12:30,959 Speaker 2: the ability to anything that you know killed you makes 213 00:12:31,000 --> 00:12:34,680 Speaker 2: you stronger. It's very true. Hard hard work, experiences, hard 214 00:12:34,679 --> 00:12:39,360 Speaker 2: relationship experiences, hard upbringing all shapes who you become and 215 00:12:40,320 --> 00:12:44,200 Speaker 2: how you're able to deal with them, either gracefully or not. 216 00:12:44,480 --> 00:12:48,360 Speaker 2: And you can become if it's accessible to you and 217 00:12:48,400 --> 00:12:51,920 Speaker 2: you've learned from it. It's like a martial arts training 218 00:12:51,960 --> 00:12:54,520 Speaker 2: almost like the way I see it, It's like you've 219 00:12:54,559 --> 00:12:59,400 Speaker 2: practiced deflecting certain things so many times, and rather than 220 00:13:00,360 --> 00:13:03,400 Speaker 2: full on confrontation of going into battle, maybe deflect and 221 00:13:03,480 --> 00:13:06,680 Speaker 2: run or walk, deflect and protect yourself from those things. 222 00:13:07,040 --> 00:13:09,800 Speaker 2: Don't need to prove that you can annihilate your opponent, 223 00:13:10,160 --> 00:13:14,720 Speaker 2: but deflect the opposition in a way with grace, and 224 00:13:15,240 --> 00:13:20,160 Speaker 2: that's winning, not necessarily having to, you know, prove that 225 00:13:20,240 --> 00:13:23,440 Speaker 2: you are stronger or not. It's just a matter of 226 00:13:23,840 --> 00:13:27,800 Speaker 2: moving past it and carrying on with what's important. You 227 00:13:27,920 --> 00:13:30,559 Speaker 2: learn those through life, you. 228 00:13:30,600 --> 00:13:32,640 Speaker 1: Hope to because if not, you can't exist in a 229 00:13:32,679 --> 00:13:34,640 Speaker 1: state of rage about the way. 230 00:13:34,720 --> 00:13:38,840 Speaker 2: People who have been through those things can stay in 231 00:13:38,880 --> 00:13:44,200 Speaker 2: that they didn't get the treated fairly and forever they 232 00:13:44,280 --> 00:13:46,000 Speaker 2: have to prove now you're going to have to treat 233 00:13:46,040 --> 00:13:48,319 Speaker 2: me extra fairly. And we see a lot of that, 234 00:13:48,360 --> 00:13:52,720 Speaker 2: and but that's that's that's a whole different But the 235 00:13:52,760 --> 00:13:55,720 Speaker 2: way you do feel that New York, it definitely gave 236 00:13:55,800 --> 00:13:59,520 Speaker 2: me all the ammunition I needed to be a great 237 00:13:59,520 --> 00:14:02,080 Speaker 2: actor because it was all accessible to me on my 238 00:14:02,120 --> 00:14:06,000 Speaker 2: own curiosity and I think coupled with my mother's curiosity 239 00:14:06,040 --> 00:14:11,720 Speaker 2: and visual nature brought it all in and then I retain. 240 00:14:11,440 --> 00:14:33,160 Speaker 3: A Lotah, Welcome back to Table for two. 241 00:14:33,680 --> 00:14:36,800 Speaker 1: Today we're having lunch with Adrian Brodie and discussing his 242 00:14:36,960 --> 00:14:41,400 Speaker 1: new movie The Brutalist. I'm curious if his family's Hungarian 243 00:14:41,480 --> 00:14:45,920 Speaker 1: ancestry helped him or his co star Felicity Jones prepare 244 00:14:45,960 --> 00:14:49,400 Speaker 1: for their roles as a married couple escaping with the 245 00:14:49,480 --> 00:14:54,880 Speaker 1: Holocaust and war torn Europe hoping to find the American dream. 246 00:14:55,400 --> 00:14:58,280 Speaker 2: I saw some parallels, which is not something I discussed 247 00:14:58,280 --> 00:15:01,400 Speaker 2: with Felicia. But my grandmother was very bright and spoke 248 00:15:01,440 --> 00:15:07,280 Speaker 2: five languages, six including English, and that was very instrumental 249 00:15:07,360 --> 00:15:10,600 Speaker 2: and helpful for my grandfather and my mother, even for 250 00:15:10,640 --> 00:15:13,640 Speaker 2: them as a family unit to fill out the married 251 00:15:13,680 --> 00:15:16,560 Speaker 2: paperwork that was necessary, and as they were refugees in 252 00:15:16,680 --> 00:15:19,600 Speaker 2: Vienna and speaking German and then coming to America, and 253 00:15:20,760 --> 00:15:25,600 Speaker 2: it really was essential for them getting through. So Felicity 254 00:15:26,480 --> 00:15:31,600 Speaker 2: plays someone with a degree of language skills and understanding 255 00:15:31,680 --> 00:15:36,680 Speaker 2: and quite educated, and then she's not really able to 256 00:15:36,720 --> 00:15:41,320 Speaker 2: live up to her potential. She's there kind of supportive 257 00:15:41,360 --> 00:15:45,320 Speaker 2: of her partner my character, right, and they were parallels 258 00:15:45,320 --> 00:15:48,120 Speaker 2: of that. My grandmother actually was able to get work 259 00:15:48,120 --> 00:15:51,000 Speaker 2: in a way that my grandfather wasn't, unfortunately because of 260 00:15:51,040 --> 00:15:55,960 Speaker 2: his lack of clarity and eloquence with his own I'm 261 00:15:56,080 --> 00:15:57,680 Speaker 2: used of the English language, you know. 262 00:15:57,960 --> 00:16:01,320 Speaker 1: I don't think many people realize the complexities when you 263 00:16:01,440 --> 00:16:05,600 Speaker 1: leave a life that you've built to begin a new life. 264 00:16:05,840 --> 00:16:08,120 Speaker 1: And you know, I always find it's so fascinating when 265 00:16:08,160 --> 00:16:10,720 Speaker 1: I get into a conversation with someone in New York 266 00:16:10,720 --> 00:16:12,680 Speaker 1: who might be driving a cab, but where they came from, 267 00:16:12,720 --> 00:16:16,280 Speaker 1: they were, you know, surgeons and doctors, and they just 268 00:16:16,520 --> 00:16:19,680 Speaker 1: it's the whole reinvention of what you have to become. 269 00:16:20,240 --> 00:16:23,320 Speaker 1: You know. I was able to go to Hungry in 270 00:16:23,320 --> 00:16:25,960 Speaker 1: the summer of eighty eight, and I did it. I 271 00:16:26,040 --> 00:16:28,280 Speaker 1: took you know, I graduated. I did a europass and 272 00:16:28,360 --> 00:16:30,760 Speaker 1: I did too, probably around the same time. No, I'm 273 00:16:30,800 --> 00:16:32,080 Speaker 1: like one hundred years older than you. 274 00:16:32,240 --> 00:16:34,400 Speaker 2: I did that when I graduated high school. 275 00:16:34,680 --> 00:16:35,360 Speaker 1: Okay, that's right. 276 00:16:35,440 --> 00:16:39,120 Speaker 2: You got around them. I took a urorail by myself. 277 00:16:40,400 --> 00:16:42,720 Speaker 2: I was quite depressed, that's quite because I wasn't engaging 278 00:16:42,720 --> 00:16:45,480 Speaker 2: with people enough. I remember this euroail trip and I 279 00:16:45,520 --> 00:16:46,680 Speaker 2: went through Hungary. 280 00:16:46,440 --> 00:16:50,040 Speaker 1: Right, and it was right. 281 00:16:50,040 --> 00:16:52,160 Speaker 2: It was still common, very different. Yeah, I remember the 282 00:16:52,200 --> 00:16:56,080 Speaker 2: story of war torn. There were the buildings, people hiding 283 00:16:56,160 --> 00:17:03,160 Speaker 2: under the train trying to get through either not, and 284 00:17:03,200 --> 00:17:06,359 Speaker 2: they caught them on my car right underneath it, and 285 00:17:06,400 --> 00:17:09,680 Speaker 2: the police came and they maced them and they pulled 286 00:17:09,680 --> 00:17:11,600 Speaker 2: them out from the train. And my mom was there 287 00:17:12,240 --> 00:17:15,600 Speaker 2: in Hungary before I started my trip throughout Europe, and 288 00:17:16,080 --> 00:17:19,840 Speaker 2: she was taking pictures and they started getting aggressive and 289 00:17:19,920 --> 00:17:22,800 Speaker 2: I had to leave watching all this, and I was like, Mom, 290 00:17:22,920 --> 00:17:25,680 Speaker 2: just just don't get into it with them and put 291 00:17:25,680 --> 00:17:27,760 Speaker 2: it down. But I remember sitting on that train leaving 292 00:17:27,840 --> 00:17:29,520 Speaker 2: that started my euroeal. 293 00:17:29,160 --> 00:17:32,960 Speaker 1: Train, my own that it was. Yeah, we came from 294 00:17:33,040 --> 00:17:36,040 Speaker 1: when I did it. I came from Austria into Hungary 295 00:17:36,080 --> 00:17:39,320 Speaker 1: and it was, you know, a big difference when you 296 00:17:39,680 --> 00:17:43,320 Speaker 1: went through, and it was the border and the passport. 297 00:17:43,520 --> 00:17:45,760 Speaker 1: And they stopped somebody in the car that I was 298 00:17:45,800 --> 00:17:48,359 Speaker 1: in because they had a VCR and they wanted to 299 00:17:48,400 --> 00:17:50,560 Speaker 1: know where they got that VCR eighty eight. 300 00:17:51,000 --> 00:17:51,880 Speaker 2: You know, I believe it. 301 00:17:52,000 --> 00:17:56,560 Speaker 1: Wow. The and I stayed once a train station, rented 302 00:17:56,560 --> 00:18:00,240 Speaker 1: a room from an elderly Hungarian couple that didn't I 303 00:18:00,240 --> 00:18:03,000 Speaker 1: mean old. I mean I was twenty two. They might 304 00:18:03,040 --> 00:18:06,560 Speaker 1: have been my age. They were, you know, the home. 305 00:18:06,920 --> 00:18:12,640 Speaker 1: And so having been to Hungary and doing your thing, 306 00:18:12,760 --> 00:18:15,159 Speaker 1: what came up for you being immersed in the country 307 00:18:15,200 --> 00:18:20,400 Speaker 1: your character escaped and fled. Was there anything you drew from? 308 00:18:20,720 --> 00:18:23,800 Speaker 2: Sure? I mean it was a country that my mother 309 00:18:24,080 --> 00:18:26,600 Speaker 2: escaped and fled, and my grandparents escaped and fled, So 310 00:18:26,680 --> 00:18:32,840 Speaker 2: that resonates at any time. For sure. It was their 311 00:18:33,160 --> 00:18:35,960 Speaker 2: home that was lost and their sense of home, and 312 00:18:36,000 --> 00:18:38,760 Speaker 2: my mother as a twelve year old girl, to lose 313 00:18:38,800 --> 00:18:44,240 Speaker 2: her her friends and her sense of home, I think 314 00:18:44,400 --> 00:18:49,840 Speaker 2: has been very disruptive and hard for her. And I 315 00:18:49,880 --> 00:18:54,439 Speaker 2: remember she wasn't able to say goodbye to her best girlfriend. 316 00:18:54,840 --> 00:18:57,359 Speaker 2: Their parents only told her they were leaving twenty four 317 00:18:57,400 --> 00:19:00,479 Speaker 2: hours before they were leaving. Today they told her, and 318 00:19:01,040 --> 00:19:02,920 Speaker 2: she wanted to say goodbye to her friend and they said, 319 00:19:02,920 --> 00:19:05,520 Speaker 2: you can't tell her. So she went and saw her 320 00:19:05,520 --> 00:19:08,320 Speaker 2: friend just to see her and spend time with her, 321 00:19:08,359 --> 00:19:11,120 Speaker 2: but not say it. And my mom kind of gave 322 00:19:11,200 --> 00:19:16,360 Speaker 2: a very meaningful farewell, and her friend was like, well, 323 00:19:16,359 --> 00:19:19,280 Speaker 2: i'll see you. I'll see you tomorrow, and she goes, 324 00:19:19,359 --> 00:19:22,760 Speaker 2: I hope so or something. And it's so heartbreaking to 325 00:19:22,960 --> 00:19:25,879 Speaker 2: think about her having to let all that go for 326 00:19:26,440 --> 00:19:30,960 Speaker 2: these circumstances that are beyond you. So all of that 327 00:19:31,040 --> 00:19:33,239 Speaker 2: comes back when I go there and think about it. 328 00:19:33,280 --> 00:19:36,240 Speaker 2: But it's, you know, it's it's been a big, long 329 00:19:36,280 --> 00:19:42,000 Speaker 2: life and it's remarkable that she's begun a life again 330 00:19:42,000 --> 00:19:48,159 Speaker 2: and it's had a wonderful creative existence. And my dad, 331 00:19:48,359 --> 00:19:51,240 Speaker 2: who she met in New York, has been great to her. 332 00:19:51,359 --> 00:19:55,360 Speaker 2: And me, and all those hardships and sacrifice and her 333 00:19:55,359 --> 00:19:57,800 Speaker 2: own resilience have paved the way for me to have 334 00:19:57,840 --> 00:20:01,159 Speaker 2: this beautiful life to be born as an American actor, 335 00:20:01,240 --> 00:20:05,800 Speaker 2: and even all her encounters that helped me discover this 336 00:20:05,960 --> 00:20:11,800 Speaker 2: path and life's given us this journey, her own ways 337 00:20:11,840 --> 00:20:15,320 Speaker 2: of finding creative fulfillment and what that's afforded for me, 338 00:20:15,400 --> 00:20:18,440 Speaker 2: which is such a remarkable thing. 339 00:20:28,840 --> 00:20:31,159 Speaker 1: The way to that trauma that it puts on a person, 340 00:20:32,480 --> 00:20:35,600 Speaker 1: it's hard to imagine how to deal with that trauma. 341 00:20:35,760 --> 00:20:39,400 Speaker 1: I mean, how do you think, I mean, you saw 342 00:20:39,440 --> 00:20:42,359 Speaker 1: how you've been the recipient of watching your mother sort 343 00:20:42,359 --> 00:20:44,919 Speaker 1: of deal with that trauma and create a life for 344 00:20:44,960 --> 00:20:49,119 Speaker 1: herself and hence create life here. You know, when you 345 00:20:49,160 --> 00:20:54,320 Speaker 1: go to talk his trauma and the ownership of that, 346 00:20:54,560 --> 00:20:56,760 Speaker 1: you know, how do you think he claimed how to 347 00:20:56,840 --> 00:20:58,800 Speaker 1: deal with that oppression of that trauma. 348 00:20:59,320 --> 00:21:02,480 Speaker 2: It's a very good question. I mean, I think you know, 349 00:21:02,520 --> 00:21:08,639 Speaker 2: there's been tremendous suffering ancestrally, but just in the world 350 00:21:09,000 --> 00:21:15,200 Speaker 2: that is it's unfathomable, but it's comprehendible, and in my way, so. 351 00:21:15,200 --> 00:21:18,919 Speaker 1: Well said, it's unfathomable, but it's comprehendible. 352 00:21:18,440 --> 00:21:22,680 Speaker 2: And my work in The Pianist many years ago, in 353 00:21:22,720 --> 00:21:25,600 Speaker 2: my efforts to honor of a lot of slaves Spielman's 354 00:21:25,640 --> 00:21:30,480 Speaker 2: memoirs and portray a man who survived the very circumstances 355 00:21:30,480 --> 00:21:34,399 Speaker 2: that this character Loslow Toov is trying to come to 356 00:21:34,480 --> 00:21:39,360 Speaker 2: terms with. Right gave me a lot of deep insight 357 00:21:39,480 --> 00:21:44,880 Speaker 2: into a specificity of that time and those hardships. And 358 00:21:45,720 --> 00:21:48,199 Speaker 2: did a starvation diet. I did all these things. I 359 00:21:48,359 --> 00:21:52,520 Speaker 2: kind of isolated myself in many ways. I left my 360 00:21:53,720 --> 00:21:56,160 Speaker 2: sense of home. I put everything in storage, I disconnected 361 00:21:56,200 --> 00:22:01,960 Speaker 2: my phone, I stopped listening to contemporary music. I learned 362 00:22:02,000 --> 00:22:05,439 Speaker 2: to play chopin. I hid in my room and with 363 00:22:05,480 --> 00:22:08,679 Speaker 2: a piano and practiced hours and hours on end, and 364 00:22:08,760 --> 00:22:11,840 Speaker 2: had pano lessons for hours every day. And I felt 365 00:22:11,840 --> 00:22:15,159 Speaker 2: a profound shift as a person after that experience. So 366 00:22:15,240 --> 00:22:19,040 Speaker 2: before the movie was released, before I knew how or 367 00:22:19,240 --> 00:22:23,639 Speaker 2: what its response would be in the world, I was 368 00:22:23,720 --> 00:22:28,440 Speaker 2: a different person from that experience, and that never really left. 369 00:22:28,640 --> 00:22:31,280 Speaker 2: I was much younger than I thought I was then, 370 00:22:31,000 --> 00:22:33,840 Speaker 2: and I realized also how much I had taken for 371 00:22:33,880 --> 00:22:38,800 Speaker 2: granted in that in that by experiencing those moments and 372 00:22:39,560 --> 00:22:44,399 Speaker 2: that understanding, my relationship to even the freedom of having 373 00:22:44,440 --> 00:22:50,160 Speaker 2: food accessible to me, the awakening of an understanding of 374 00:22:50,880 --> 00:22:55,879 Speaker 2: hunger and the desperation that can immediately ensue with hunger, 375 00:22:55,920 --> 00:22:59,320 Speaker 2: and God forbid if your children are going hungry or 376 00:23:00,200 --> 00:23:03,040 Speaker 2: that changes everything, and the stakes of that let alone 377 00:23:03,119 --> 00:23:09,480 Speaker 2: shelter or other horrendous layers of persecution and violence. All 378 00:23:09,520 --> 00:23:13,400 Speaker 2: of that gave me the insight needed to portray this character, 379 00:23:14,040 --> 00:23:19,800 Speaker 2: in addition to the many conversations and memories that I've 380 00:23:20,280 --> 00:23:24,439 Speaker 2: had a chance to recollect with my mother and that 381 00:23:24,520 --> 00:23:27,880 Speaker 2: I remember even with discussing with my grandmother. And that's 382 00:23:27,880 --> 00:23:30,800 Speaker 2: the beauty of this work is that you can find purpose. 383 00:23:31,000 --> 00:23:35,040 Speaker 1: It's a beauty of how you choose to work, I 384 00:23:35,080 --> 00:23:37,439 Speaker 1: think as well. I mean, it makes complete sense that 385 00:23:37,720 --> 00:23:42,320 Speaker 1: when you choose to based on the work you're about 386 00:23:42,359 --> 00:23:45,920 Speaker 1: to do, make the choices to really go there what 387 00:23:46,119 --> 00:23:50,320 Speaker 1: you did, which it makes sense that you never come 388 00:23:50,359 --> 00:23:52,639 Speaker 1: back the same person. It's a gift. 389 00:23:52,920 --> 00:23:55,640 Speaker 2: I think it is a gift. It is it is 390 00:23:56,040 --> 00:24:00,000 Speaker 2: a privilege, you know, and it's it's part. It's like, look, 391 00:24:00,080 --> 00:24:04,199 Speaker 2: I did not seek out to find a role that 392 00:24:04,240 --> 00:24:08,840 Speaker 2: would require a great deal of discomfort and uncovering these 393 00:24:08,880 --> 00:24:12,600 Speaker 2: things or I wasn't actively looking for that. It found me. 394 00:24:13,840 --> 00:24:18,840 Speaker 2: And I understand my responsibility anyway. I understand what I 395 00:24:18,920 --> 00:24:22,679 Speaker 2: have to do, and also for my own way of 396 00:24:22,720 --> 00:24:27,520 Speaker 2: working to feel authentic in my work. I don't like, 397 00:24:27,640 --> 00:24:31,679 Speaker 2: you know, acting, The term acting is kind of a 398 00:24:31,760 --> 00:24:34,760 Speaker 2: terrible reference of what the job is. It's worse when 399 00:24:34,760 --> 00:24:37,760 Speaker 2: they call you talent or celebrity, God forbid. But you 400 00:24:37,800 --> 00:24:41,879 Speaker 2: know they're all intertwined. But to be great at acting, 401 00:24:43,680 --> 00:24:46,639 Speaker 2: you have to make contact with things and connect on 402 00:24:46,720 --> 00:24:52,640 Speaker 2: a level that requires a lot of work and sensitivity 403 00:24:52,680 --> 00:24:56,040 Speaker 2: and instinct. And it is a joy even when it's painful. 404 00:24:56,119 --> 00:24:59,480 Speaker 2: It's really a joyous thing. It's almost kind of spiritual 405 00:24:59,720 --> 00:25:03,840 Speaker 2: to have this finite window of where and when and 406 00:25:03,880 --> 00:25:08,600 Speaker 2: how you must connect to something so different to your 407 00:25:08,600 --> 00:25:14,760 Speaker 2: own set of circumstances, and you you're inevitably going to 408 00:25:14,960 --> 00:25:22,800 Speaker 2: convey it more the more you're experiencing emotionally, as as 409 00:25:22,800 --> 00:25:23,520 Speaker 2: that individual. 410 00:25:34,320 --> 00:25:38,000 Speaker 1: Never once when I was watching your film did I 411 00:25:38,040 --> 00:25:40,080 Speaker 1: think I was watching you great? 412 00:25:41,359 --> 00:25:44,840 Speaker 2: You know what, that's the objective, But you. 413 00:25:44,800 --> 00:25:48,400 Speaker 1: Know that doesn't often happen. No, especially when you're at 414 00:25:48,400 --> 00:25:52,359 Speaker 1: the level of success that you're at. Were you you 415 00:25:52,400 --> 00:25:55,760 Speaker 1: know you're not as a Yes. 416 00:25:55,520 --> 00:25:58,240 Speaker 2: It gets harder when you're seen, thank you. So it's 417 00:25:58,280 --> 00:26:00,960 Speaker 2: harder when you've seen Is that mean's mom? Yeah, it's 418 00:26:01,000 --> 00:26:03,880 Speaker 2: on silent, but my mom has the breakthrough really, yeah, 419 00:26:03,960 --> 00:26:06,560 Speaker 2: just in case, I love that. Yeah, my mom can 420 00:26:06,640 --> 00:26:09,240 Speaker 2: wake me up if need be. Yeah, I know, especially 421 00:26:09,240 --> 00:26:12,000 Speaker 2: if you see an actor work a lot, you've seen 422 00:26:12,040 --> 00:26:15,639 Speaker 2: the number of their films, it's important to really you know, 423 00:26:15,680 --> 00:26:17,560 Speaker 2: there are going to be qualities. I mean, you know, 424 00:26:17,640 --> 00:26:20,800 Speaker 2: you can change certain qualities about yourself and the way 425 00:26:20,920 --> 00:26:23,679 Speaker 2: convey things, but there should be a real shift. 426 00:26:23,440 --> 00:26:26,560 Speaker 1: In those characters, so to me, and I understand how 427 00:26:26,560 --> 00:26:29,600 Speaker 1: the brutals came to you and also sort of you've 428 00:26:29,640 --> 00:26:33,080 Speaker 1: discussed how you were really waiting for this, this opportunity. 429 00:26:33,760 --> 00:26:35,680 Speaker 1: You know. One thing that a couple of things stood 430 00:26:35,720 --> 00:26:37,199 Speaker 1: out for me in the film that I thought was 431 00:26:37,240 --> 00:26:40,040 Speaker 1: really interesting and tough was to me, you know, he's 432 00:26:40,119 --> 00:26:42,720 Speaker 1: very shrewd, very intense. You know, I found him to 433 00:26:42,720 --> 00:26:47,520 Speaker 1: be very direct, very honest in a way. Obviously you 434 00:26:47,560 --> 00:26:49,320 Speaker 1: had to submerge yourself, as you just said, and you 435 00:26:49,359 --> 00:26:51,720 Speaker 1: see example for when you were in the Pianists and 436 00:26:52,240 --> 00:26:54,520 Speaker 1: when you look at tot you can actually understand why 437 00:26:54,560 --> 00:26:58,920 Speaker 1: he needed drugs to sort of escape. You know, did 438 00:26:58,960 --> 00:27:02,680 Speaker 1: you have, like the filming of it, was there something 439 00:27:02,680 --> 00:27:05,760 Speaker 1: that you had to do to separate yourself when the 440 00:27:05,880 --> 00:27:09,280 Speaker 1: day was wrapped? And also in the brody world when 441 00:27:09,320 --> 00:27:12,920 Speaker 1: you're not is there something that you do to separate. 442 00:27:12,960 --> 00:27:15,320 Speaker 2: I've thought about it a lot. It's funny. I have 443 00:27:15,400 --> 00:27:19,320 Speaker 2: all these techniques to go in and it don't really 444 00:27:19,359 --> 00:27:22,600 Speaker 2: have a bag of tricks to get out. It's a 445 00:27:22,680 --> 00:27:27,440 Speaker 2: very strange thing. And partially the easiest way out is 446 00:27:27,480 --> 00:27:31,040 Speaker 2: to get another job and then have to jump into 447 00:27:31,200 --> 00:27:35,200 Speaker 2: the shoes of another person, because then you just purge 448 00:27:35,760 --> 00:27:38,400 Speaker 2: you have no space for this guy anymore. You've got 449 00:27:38,400 --> 00:27:41,560 Speaker 2: to start doing a whole bunch of research and work 450 00:27:41,640 --> 00:27:45,120 Speaker 2: to find what is it to key into that individual's 451 00:27:45,119 --> 00:27:48,879 Speaker 2: set of circumstances, and then there's less time to start 452 00:27:49,160 --> 00:27:53,919 Speaker 2: either wallowing in whatever residual elements are left that you 453 00:27:54,040 --> 00:27:59,200 Speaker 2: don't like. But I am very deeply immersed in my work, 454 00:27:59,200 --> 00:28:02,880 Speaker 2: and I'm very serious about that my work. But I'm 455 00:28:02,920 --> 00:28:07,119 Speaker 2: not ever at a loss to where I am within 456 00:28:07,240 --> 00:28:10,480 Speaker 2: my world. And yeah, and I you know, I think 457 00:28:10,480 --> 00:28:13,680 Speaker 2: there is some this connective. People think, oh, you're a 458 00:28:13,760 --> 00:28:17,439 Speaker 2: method actor. You come home and you're in shambles and 459 00:28:17,480 --> 00:28:20,200 Speaker 2: your nightmare to be around, and that you may be 460 00:28:20,320 --> 00:28:21,800 Speaker 2: I may be a nightmare to be around. There may 461 00:28:21,800 --> 00:28:25,480 Speaker 2: be other circumstances for that, and but and there may 462 00:28:25,520 --> 00:28:31,399 Speaker 2: be residual hardships that linger and require a bit of 463 00:28:31,560 --> 00:28:35,080 Speaker 2: space or solitude that you expect your family to understand. 464 00:28:35,160 --> 00:28:39,680 Speaker 2: And they do for the most part, but it dissipates 465 00:28:39,920 --> 00:28:44,880 Speaker 2: well enough. I think there are long term things that stay, 466 00:28:45,280 --> 00:28:47,880 Speaker 2: but I don't look at them. It's like I don't 467 00:28:47,960 --> 00:28:51,920 Speaker 2: I'm not afraid of ghosts. I'm not really afraid. It's 468 00:28:51,960 --> 00:28:56,520 Speaker 2: just like you've had relationships that were terrible, but there 469 00:28:56,720 --> 00:28:59,720 Speaker 2: they were full of beautiful moments and the person wasn't 470 00:28:59,800 --> 00:29:02,280 Speaker 2: right for you or you weren't right for them, And 471 00:29:02,360 --> 00:29:05,920 Speaker 2: sometimes we force it all out. Sometimes life just helps 472 00:29:06,000 --> 00:29:09,040 Speaker 2: us forget. But sometimes there are moments that come back 473 00:29:09,040 --> 00:29:12,120 Speaker 2: and you go that was really special. And those moments, 474 00:29:12,160 --> 00:29:16,400 Speaker 2: as complex as they were, really gave me understanding about 475 00:29:16,560 --> 00:29:20,920 Speaker 2: life and having a partner or my own growth one. 476 00:29:20,920 --> 00:29:23,480 Speaker 1: Hundred per you know, I mean one without the other. 477 00:29:23,720 --> 00:29:26,360 Speaker 1: It keeps you going forward. So like those bad. 478 00:29:26,200 --> 00:29:33,320 Speaker 2: Relationships and certain bad relationships with another character. You push 479 00:29:33,360 --> 00:29:36,000 Speaker 2: away the stuff that isn't pleasant. I mean, you know, 480 00:29:36,120 --> 00:29:39,280 Speaker 2: I can relate, like, for instance, playing a character with 481 00:29:39,360 --> 00:29:43,000 Speaker 2: an addiction, I don't need to. I've been addicted cigarettes. 482 00:29:43,040 --> 00:29:45,960 Speaker 2: So I actually got hooked doing a movie when I 483 00:29:46,000 --> 00:29:47,960 Speaker 2: was really teen. Either they were giving me packs and 484 00:29:48,000 --> 00:29:50,840 Speaker 2: packs of cigarettes back in the day when you didn't smoke. 485 00:29:50,880 --> 00:29:53,400 Speaker 2: Before that, I didn't I played around with a cigarette 486 00:29:53,400 --> 00:29:56,560 Speaker 2: and my girlfriend, or go with my friends and out 487 00:29:56,640 --> 00:29:58,320 Speaker 2: drinking and have cigarette. I was never buying packs of 488 00:29:58,320 --> 00:30:00,560 Speaker 2: cigarettes and I wasn't definitely not home, and then I 489 00:30:00,600 --> 00:30:04,880 Speaker 2: was smoking packs of non filtered packs packs. My dad 490 00:30:04,880 --> 00:30:10,600 Speaker 2: smoke eight cigarettes in one scene because you'd do six takes, 491 00:30:10,680 --> 00:30:12,920 Speaker 2: you'd light one beforehand to kind of not have a 492 00:30:12,920 --> 00:30:17,760 Speaker 2: head rush at nineteen puffing down a non filtered camera 493 00:30:17,840 --> 00:30:21,240 Speaker 2: or lucky, And by the time that film was over, 494 00:30:21,320 --> 00:30:26,800 Speaker 2: I was deeply hooked on smoking. And I felt at 495 00:30:26,840 --> 00:30:29,000 Speaker 2: that age it's very interesting because I felt, oh, I'm 496 00:30:29,440 --> 00:30:32,320 Speaker 2: I don't have an addictive personality. And my dad smoked 497 00:30:32,320 --> 00:30:34,200 Speaker 2: when he was younger. My mom smoked when she was younger, 498 00:30:34,200 --> 00:30:36,640 Speaker 2: and they both had quit and my dad, I remember 499 00:30:36,960 --> 00:30:40,120 Speaker 2: wisely advising me, don't play around with it. You don't 500 00:30:40,120 --> 00:30:42,480 Speaker 2: want to play around with it. You don't need that 501 00:30:42,960 --> 00:30:45,320 Speaker 2: additional burden in your life. Trust me, And I didn't 502 00:30:45,360 --> 00:30:47,000 Speaker 2: trust him. I didn't believe it. And it was also 503 00:30:47,760 --> 00:30:50,960 Speaker 2: an awakening from me because of the pain of suffering, 504 00:30:51,000 --> 00:30:57,000 Speaker 2: of trying to quit and eventually quitting. I remember acknowledging 505 00:30:57,040 --> 00:31:02,080 Speaker 2: that my dad was right at those early nineteen twenty 506 00:31:03,000 --> 00:31:07,760 Speaker 2: the recognition that I'm not quite as in the know 507 00:31:08,120 --> 00:31:09,880 Speaker 2: as I thought I am. I'm not quite the man 508 00:31:10,000 --> 00:31:13,920 Speaker 2: that I thought I am at that time. And it's good, humbling, 509 00:31:14,080 --> 00:31:16,880 Speaker 2: it is good, and but my point is that I 510 00:31:16,960 --> 00:31:19,719 Speaker 2: understand the suffering that comes with that. I also have 511 00:31:19,720 --> 00:31:21,800 Speaker 2: had many friends in New York who have succumb to 512 00:31:22,160 --> 00:31:26,600 Speaker 2: real drug addiction. I've lost friends through that. And the 513 00:31:26,600 --> 00:31:30,640 Speaker 2: more you live, the more you encounter this communal suffering 514 00:31:30,720 --> 00:31:35,000 Speaker 2: and within the community, and see how the blight of 515 00:31:35,840 --> 00:31:39,920 Speaker 2: drugs and hardship have affected families and loved ones. And 516 00:31:39,960 --> 00:31:42,840 Speaker 2: it's horrible, it is, and so and the need for 517 00:31:43,080 --> 00:31:45,400 Speaker 2: people to self medicate, and we all do in certain ways. 518 00:31:45,400 --> 00:31:47,280 Speaker 2: I it's great to have a drink, and that's what 519 00:31:47,280 --> 00:31:50,120 Speaker 2: I understood in the pianist, even having a piece of 520 00:31:50,120 --> 00:31:53,480 Speaker 2: sweets or having some caffeine or having a piece of 521 00:31:53,480 --> 00:31:58,760 Speaker 2: bread and butter is filling a void. You're not necessarily hungry, 522 00:31:58,800 --> 00:32:02,080 Speaker 2: but you are yearning for something that is empty. And 523 00:32:02,120 --> 00:32:05,200 Speaker 2: when you pull all that out for an extended period 524 00:32:05,240 --> 00:32:09,600 Speaker 2: of time, the depth of that hollowness and loss and 525 00:32:09,680 --> 00:32:14,520 Speaker 2: emptiness is much like the loss of a loved one 526 00:32:14,680 --> 00:32:17,040 Speaker 2: or the loss of a drug or substance that you're 527 00:32:17,040 --> 00:32:25,240 Speaker 2: physically craving. And they're all very powerful, and I have 528 00:32:25,400 --> 00:32:27,880 Speaker 2: an ability to pull it back. I know how to 529 00:32:28,440 --> 00:32:31,040 Speaker 2: that they don't really go, the great things don't really 530 00:32:31,040 --> 00:32:33,200 Speaker 2: go entirely, the painful things are ready go and I 531 00:32:33,360 --> 00:32:38,040 Speaker 2: and I can use those experiences to inform the need 532 00:32:38,120 --> 00:32:41,440 Speaker 2: for the complexity of addiction and the need to self 533 00:32:41,480 --> 00:32:44,120 Speaker 2: medicate through traumas and current pains. 534 00:32:44,160 --> 00:32:47,240 Speaker 1: And it's funny you say the examples you use. I 535 00:32:47,360 --> 00:32:50,640 Speaker 1: remember when I eventually did quit smoking, because it took 536 00:32:50,760 --> 00:32:53,320 Speaker 1: several times. Then all of a sudden, I kept thinking 537 00:32:53,360 --> 00:32:55,080 Speaker 1: like I was missing something in my day, like I 538 00:32:55,080 --> 00:32:59,000 Speaker 1: had lost a friend, Like I was like a lost love. Yeah, 539 00:32:59,040 --> 00:33:01,320 Speaker 1: I was like, oh that. And then of course the 540 00:33:01,360 --> 00:33:03,480 Speaker 1: amount of time you get back in your day, because 541 00:33:03,560 --> 00:33:05,120 Speaker 1: you know all the time you're like, I'll be right back. 542 00:33:05,200 --> 00:33:08,520 Speaker 1: You go outside smoke a cigarette, because eventually cigarette smoking 543 00:33:08,960 --> 00:33:12,400 Speaker 1: became just not popular. So when we grew up, you 544 00:33:12,440 --> 00:33:13,640 Speaker 1: could smoke in bars. 545 00:33:13,440 --> 00:33:15,280 Speaker 2: In La specifically, I was living in La at the time, 546 00:33:15,280 --> 00:33:16,920 Speaker 2: and I remember La was one of the first places 547 00:33:16,920 --> 00:33:18,800 Speaker 2: that you had to go outside. I remember feeling so 548 00:33:18,960 --> 00:33:21,440 Speaker 2: kind of ostracience eppisode outside. It wasn't quite like a 549 00:33:21,560 --> 00:33:26,080 Speaker 2: you're the cool kids. At that point, societal people were judged. 550 00:33:26,520 --> 00:33:50,920 Speaker 1: Yeah, thanks for joining us for Table for two. The 551 00:33:51,080 --> 00:33:54,480 Speaker 1: authenticity that Adrian Brody brings to his roles can be 552 00:33:54,640 --> 00:34:00,680 Speaker 1: quite captivating, especially when he is playing complex, flawed care characters. 553 00:34:00,920 --> 00:34:03,160 Speaker 1: How did he approach some of the most intimate and 554 00:34:03,200 --> 00:34:07,480 Speaker 1: tough moments of the brutalist as this character Laslo tough. 555 00:34:08,680 --> 00:34:11,160 Speaker 1: One of the things that I was really riveted to 556 00:34:11,680 --> 00:34:16,560 Speaker 1: Adrian with in your film of Many was the the 557 00:34:16,680 --> 00:34:22,560 Speaker 1: sexiness of you, especially in the first scene, that scene 558 00:34:22,600 --> 00:34:25,080 Speaker 1: when you're at the you know you're with the woman's 559 00:34:25,200 --> 00:34:29,120 Speaker 1: I guess it's a and you know you're the curve 560 00:34:29,160 --> 00:34:31,160 Speaker 1: of your body. The whole thing was very sexy how 561 00:34:31,160 --> 00:34:35,200 Speaker 1: it was shot. And then when you your hands, because 562 00:34:35,200 --> 00:34:38,240 Speaker 1: I find hands to be very just interesting, beautiful hands. 563 00:34:38,280 --> 00:34:41,520 Speaker 1: And then you you look at her and you talk 564 00:34:41,560 --> 00:34:47,000 Speaker 1: about the symmetrical piece between her eyebrows, which was so perfect, 565 00:34:47,160 --> 00:34:49,480 Speaker 1: I thought, and you do it also taught you have a. 566 00:34:49,560 --> 00:34:58,719 Speaker 4: Way having getting you know, fellatio like great. 567 00:34:59,200 --> 00:35:01,880 Speaker 1: And then and it's a very seductive scene because then 568 00:35:01,960 --> 00:35:04,520 Speaker 1: Loslow says that, and then your friends like can you 569 00:35:04,600 --> 00:35:06,719 Speaker 1: just get on with it? But you don't. And then 570 00:35:07,000 --> 00:35:08,839 Speaker 1: the woman comes out and she's like, well do you 571 00:35:08,880 --> 00:35:12,000 Speaker 1: there's these two beautiful brothers and even that doesn't affect 572 00:35:12,000 --> 00:35:15,319 Speaker 1: a lot tough in a way that was like there's 573 00:35:15,320 --> 00:35:19,080 Speaker 1: almost like a smile like no, there's no That was very. 574 00:35:19,800 --> 00:35:23,240 Speaker 2: No, there's no judjudge or anything. I appreciate it. 575 00:35:23,280 --> 00:35:26,560 Speaker 1: And then there was the rape which happens, and then 576 00:35:26,760 --> 00:35:30,080 Speaker 1: when your wife and you connect physically, which is quite 577 00:35:30,120 --> 00:35:33,080 Speaker 1: a powerful scene because there's so much so all that 578 00:35:33,239 --> 00:35:35,520 Speaker 1: was just all very riveting to me, and in this 579 00:35:35,600 --> 00:35:40,480 Speaker 1: particular like what are the significances of those moments and 580 00:35:40,520 --> 00:35:43,000 Speaker 1: did they help you understand Loaslow? And what did you 581 00:35:43,160 --> 00:35:46,720 Speaker 1: learn or need from that? And to mix it in 582 00:35:47,120 --> 00:35:51,600 Speaker 1: just when you and Brady who directed with the rape scene, 583 00:35:52,040 --> 00:35:55,240 Speaker 1: how was how to approach that you approach it very delicately. 584 00:35:55,400 --> 00:35:57,400 Speaker 1: It's like, how did that all kind of play into 585 00:35:57,400 --> 00:35:59,000 Speaker 1: the significance. 586 00:35:58,320 --> 00:36:02,400 Speaker 2: Of Well, there there are many intimate, for lack of 587 00:36:02,440 --> 00:36:05,560 Speaker 2: a better word, aspects of the character, and they reveal 588 00:36:06,560 --> 00:36:10,400 Speaker 2: so much and they and speak to so much Above 589 00:36:10,560 --> 00:36:15,520 Speaker 2: those moments, the relationship with sex worker, his personality that 590 00:36:16,120 --> 00:36:21,120 Speaker 2: is kind of being formed in that exchange, him not 591 00:36:21,280 --> 00:36:24,839 Speaker 2: feeling attractive, her saying well, you're ugly and he goes, 592 00:36:24,840 --> 00:36:28,759 Speaker 2: I know, I am. And his inability to be aroused 593 00:36:29,560 --> 00:36:32,879 Speaker 2: even though he's yearning for some kind of fix, it's 594 00:36:32,920 --> 00:36:36,279 Speaker 2: not quite working everything else in the chaos of it, 595 00:36:36,320 --> 00:36:41,840 Speaker 2: but it's a normal yearning, and that's you know, he's 596 00:36:41,960 --> 00:36:43,960 Speaker 2: just arrived and he's with a friend who's probably like 597 00:36:44,560 --> 00:36:46,960 Speaker 2: they're having something to drink or everything, bro, let's go, 598 00:36:47,080 --> 00:36:49,680 Speaker 2: and they find himself in a situation where he's like, 599 00:36:49,719 --> 00:36:52,040 Speaker 2: this isn't what I need to be doing. And so 600 00:36:53,480 --> 00:36:56,400 Speaker 2: I think all of that's quite wonderful and expressive and human. 601 00:36:56,880 --> 00:37:01,040 Speaker 2: I did to lawsy laws of these characters are quite 602 00:37:01,200 --> 00:37:05,600 Speaker 2: eloquently unveiled for us all. And then the reconnecting with 603 00:37:05,640 --> 00:37:08,719 Speaker 2: his wife, which I felt were the quite beautiful and 604 00:37:08,800 --> 00:37:12,400 Speaker 2: sensual and beautifully filmed, and the kind of veil of 605 00:37:12,440 --> 00:37:15,680 Speaker 2: pulling her stress over her face and keeping it there 606 00:37:15,719 --> 00:37:20,120 Speaker 2: in this kind of seductive moment, and even her pain 607 00:37:20,880 --> 00:37:25,319 Speaker 2: and his ability to help fix her pain with his 608 00:37:25,480 --> 00:37:33,120 Speaker 2: narcotics that he's been hiding from her is so profound 609 00:37:33,239 --> 00:37:38,160 Speaker 2: because it's also a confession. And to have this partner there, 610 00:37:38,440 --> 00:37:43,759 Speaker 2: your loved one now in with you in this is 611 00:37:43,800 --> 00:37:46,759 Speaker 2: also a very real thing, very real for someone who's 612 00:37:46,960 --> 00:37:50,239 Speaker 2: afflicted with addiction and concealing that for the world, So 613 00:37:50,640 --> 00:37:55,520 Speaker 2: that too is quite powerful and again very human. And 614 00:37:56,440 --> 00:38:00,560 Speaker 2: the scene at the end is a It was a 615 00:38:00,600 --> 00:38:04,520 Speaker 2: complex thing to do. We shot it in a much 616 00:38:04,560 --> 00:38:09,799 Speaker 2: more graphic way as well. Really, yes, I I was 617 00:38:10,360 --> 00:38:13,800 Speaker 2: portraying it also quite sick because the character was literally 618 00:38:14,480 --> 00:38:18,520 Speaker 2: practically oding and being taken advantage of in that moment, 619 00:38:18,600 --> 00:38:22,960 Speaker 2: and I think probably was too aggressive to show, but 620 00:38:23,040 --> 00:38:26,800 Speaker 2: we shot that as well. They ultimately you saw both. 621 00:38:27,120 --> 00:38:29,040 Speaker 2: I didn't see it. They didn't. They didn't make an 622 00:38:29,160 --> 00:38:33,400 Speaker 2: edit of it, but I experience and portrayed it with 623 00:38:33,560 --> 00:38:38,319 Speaker 2: literally like a great deal of with a close up 624 00:38:38,360 --> 00:38:40,000 Speaker 2: and a great deal of agony and a great deal 625 00:38:40,080 --> 00:38:45,680 Speaker 2: of illness amidst the moment and it was you know, 626 00:38:45,840 --> 00:38:49,200 Speaker 2: it's fine, it's representing what those circumstances were, and they 627 00:38:49,280 --> 00:38:52,040 Speaker 2: can make I think they handled it quite, it was well, 628 00:38:52,080 --> 00:38:53,560 Speaker 2: and yeah, they kind of were back. 629 00:38:54,440 --> 00:38:57,560 Speaker 1: Do you think it was his wanting to have you 630 00:38:57,640 --> 00:39:00,399 Speaker 1: submit to him, to recognize him. You have a lot 631 00:39:00,400 --> 00:39:01,560 Speaker 1: of power over this. 632 00:39:02,320 --> 00:39:04,320 Speaker 2: Yeah, I think it's a number of things. I mean, 633 00:39:03,920 --> 00:39:06,680 Speaker 2: I'm I didn't write the scene, and I'm just an actor, 634 00:39:06,840 --> 00:39:09,720 Speaker 2: but you know, I do interpret that. I have the ability, 635 00:39:10,680 --> 00:39:14,239 Speaker 2: and I think that the the beauty of something and 636 00:39:14,320 --> 00:39:17,560 Speaker 2: maybe I shouldn't even say what my subjective perceptions were 637 00:39:17,600 --> 00:39:20,120 Speaker 2: on it, but the beauty of of any creative work 638 00:39:20,200 --> 00:39:22,719 Speaker 2: is it's open to interpretation. And I think there are 639 00:39:23,719 --> 00:39:30,440 Speaker 2: bigger issues at play of hatred and dominating and resentment 640 00:39:31,120 --> 00:39:36,360 Speaker 2: that go beyond just a sense of control or it's personal, 641 00:39:36,440 --> 00:39:40,560 Speaker 2: But it's much bigger than that, and it's I think 642 00:39:41,040 --> 00:39:45,360 Speaker 2: in the storytelling, I would imagine it is referencing something 643 00:39:45,920 --> 00:39:52,680 Speaker 2: much greater about systemic dominance or overpowering of someone less powerful, 644 00:39:53,520 --> 00:39:58,120 Speaker 2: and also a hatred of others or people who are different, 645 00:39:58,360 --> 00:40:03,160 Speaker 2: and that kind of degree of darkness that goes beyond 646 00:40:03,200 --> 00:40:07,680 Speaker 2: any kind of other sexual urge or any other implied 647 00:40:07,719 --> 00:40:12,360 Speaker 2: in the kind of actual act of exactly. 648 00:40:19,280 --> 00:40:21,680 Speaker 1: What will you take with TAF Is there something from 649 00:40:21,760 --> 00:40:24,239 Speaker 1: this character that you know, as we've talked about in 650 00:40:24,320 --> 00:40:27,440 Speaker 1: relationships and in life, is there something that you feel 651 00:40:28,000 --> 00:40:29,480 Speaker 1: that will be with you? 652 00:40:30,040 --> 00:40:33,799 Speaker 2: I see there are qualities that I do relate to 653 00:40:34,040 --> 00:40:39,920 Speaker 2: that I respect, which is a yearning and a need 654 00:40:40,040 --> 00:40:45,600 Speaker 2: to tenaciously pursue your work in an artistic capacity. And 655 00:40:46,400 --> 00:40:50,800 Speaker 2: what that work must be in a sense of leaving 656 00:40:50,840 --> 00:40:56,640 Speaker 2: behind something of greatness. It's working and using your efforts 657 00:40:56,640 --> 00:41:00,840 Speaker 2: to leave behind something of lasting meaning and significance that 658 00:41:00,880 --> 00:41:05,000 Speaker 2: outlives you. And much like an architectural work, film is 659 00:41:05,040 --> 00:41:09,960 Speaker 2: a tangible creation that carries on. It's the permanence of 660 00:41:10,040 --> 00:41:12,920 Speaker 2: film is part of its beauty and the part of 661 00:41:12,960 --> 00:41:15,920 Speaker 2: the pressure and responsibility of being an actor in film 662 00:41:16,000 --> 00:41:22,360 Speaker 2: is that that performance and that participation lives on. And 663 00:41:23,120 --> 00:41:26,680 Speaker 2: we will fade away, and you know, we look back 664 00:41:26,719 --> 00:41:30,160 Speaker 2: and we see amazing things from work from other eras 665 00:41:30,200 --> 00:41:35,200 Speaker 2: of great filmmakers and artists and writers. Their work lives on. 666 00:41:35,280 --> 00:41:38,640 Speaker 2: They're long gone and they don't know or care at 667 00:41:38,680 --> 00:41:43,120 Speaker 2: this point, but they've left something in this world. They've 668 00:41:43,200 --> 00:41:45,520 Speaker 2: left the world a better place than it was without that, 669 00:41:45,840 --> 00:41:50,000 Speaker 2: and I yearned for that, and I'm working to try. 670 00:41:50,200 --> 00:41:53,520 Speaker 2: And you know, this is a business and you as 671 00:41:53,560 --> 00:41:57,279 Speaker 2: an actor have to work within. You know, that is 672 00:41:57,360 --> 00:42:00,000 Speaker 2: part of an aspect of the storytelling also where commerce 673 00:42:00,080 --> 00:42:03,880 Speaker 2: and art intertwined, and it is a little more complex 674 00:42:03,920 --> 00:42:06,960 Speaker 2: as an actor than a filmmaker. But even so the filmmaker, 675 00:42:06,960 --> 00:42:10,360 Speaker 2: if he wants to have an enduring career, those films 676 00:42:10,360 --> 00:42:13,960 Speaker 2: have to perform, meaning make money for the investors and 677 00:42:14,080 --> 00:42:17,080 Speaker 2: distributors and studios or else. They might think you're very 678 00:42:17,160 --> 00:42:19,800 Speaker 2: talented and interesting and creative, but they won't keep giving 679 00:42:19,800 --> 00:42:24,120 Speaker 2: you work. And I'm very conscious of those things and 680 00:42:24,200 --> 00:42:28,400 Speaker 2: have made choices in an experimental manner to be true 681 00:42:28,400 --> 00:42:31,920 Speaker 2: to me that I think have impeded my ability to 682 00:42:31,960 --> 00:42:35,360 Speaker 2: get more overtly commercial work because I think it makes 683 00:42:35,400 --> 00:42:38,719 Speaker 2: people not understand clearly what my motivation was in that 684 00:42:38,800 --> 00:42:40,759 Speaker 2: they just think it as a miss. But it's not 685 00:42:40,840 --> 00:42:43,719 Speaker 2: a miss. It's a choice to do something with a 686 00:42:43,760 --> 00:42:47,200 Speaker 2: degree of risk and is an opportunity for me to 687 00:42:47,320 --> 00:42:51,239 Speaker 2: grow and explore different things without those expectations. But then 688 00:42:51,680 --> 00:42:55,319 Speaker 2: if this subjective expectation is implied on everything that you do, 689 00:42:55,680 --> 00:42:58,520 Speaker 2: it removes some of those creative freedoms, and that was 690 00:42:58,520 --> 00:43:01,360 Speaker 2: something to learn after becoming weren't known as an actor 691 00:43:01,400 --> 00:43:04,080 Speaker 2: because earlier in my career I had much more freedom 692 00:43:04,120 --> 00:43:06,400 Speaker 2: to do that because people would see something and they say, oh, 693 00:43:06,440 --> 00:43:08,200 Speaker 2: that was really great. It may not see another thing 694 00:43:08,320 --> 00:43:11,480 Speaker 2: was relatively obscure. But then everybody kind of weighs in 695 00:43:11,560 --> 00:43:14,160 Speaker 2: on everything. Once you're somewhat there. 696 00:43:23,719 --> 00:43:26,399 Speaker 1: How does it feel being in this position right now 697 00:43:26,440 --> 00:43:30,440 Speaker 1: as you're on the journey to Oscar twenty twenty five 698 00:43:30,600 --> 00:43:34,960 Speaker 1: and having been the youngest male lee to win. Is 699 00:43:35,000 --> 00:43:37,680 Speaker 1: the process different? Is the journey different? Does it feel 700 00:43:37,680 --> 00:43:38,480 Speaker 1: different in any way? 701 00:43:38,520 --> 00:43:40,319 Speaker 2: It's different. I think it's a different time. I think 702 00:43:40,360 --> 00:43:43,319 Speaker 2: the whole everything is very different. I think, first of all, 703 00:43:43,360 --> 00:43:45,839 Speaker 2: it was a long time ago, but as I recall, 704 00:43:46,000 --> 00:43:48,719 Speaker 2: it was quite grassroots what we were doing, and there 705 00:43:48,719 --> 00:43:51,839 Speaker 2: were no cell phones and no social media and none 706 00:43:51,920 --> 00:43:56,640 Speaker 2: of the noise or extra commentary. Some of it's quite 707 00:43:56,719 --> 00:44:01,000 Speaker 2: good and propels actors forward, or visibility of a film forward. 708 00:44:01,080 --> 00:44:05,080 Speaker 2: And part of the beauty of this whole campaign season 709 00:44:05,200 --> 00:44:07,359 Speaker 2: is for people to see the work, right, you really 710 00:44:07,400 --> 00:44:10,880 Speaker 2: want to have people see it, and we all of 711 00:44:10,920 --> 00:44:15,160 Speaker 2: course would love to receive recognition, and I already feel 712 00:44:15,200 --> 00:44:17,200 Speaker 2: that I am a recipient of that, not just of 713 00:44:17,200 --> 00:44:21,719 Speaker 2: the past, but currently, because I think this film and 714 00:44:21,760 --> 00:44:24,960 Speaker 2: my work in this film has realigned people's way of 715 00:44:25,040 --> 00:44:29,120 Speaker 2: seeing me and my creative work and the way I 716 00:44:29,160 --> 00:44:33,520 Speaker 2: apply my creative work and have been kind of steadily 717 00:44:34,440 --> 00:44:37,200 Speaker 2: keeping my head down and trying to do my work. 718 00:44:37,239 --> 00:44:40,319 Speaker 2: And you know, it's very hard to have all of 719 00:44:40,360 --> 00:44:45,439 Speaker 2: these elements work together and blossom into something as such 720 00:44:45,680 --> 00:44:48,160 Speaker 2: a triumph as this, and that's not from a lack 721 00:44:48,200 --> 00:44:50,960 Speaker 2: of want or hard work from anyone's party. It's just 722 00:44:51,080 --> 00:44:56,080 Speaker 2: very challenging. And so this moment, I think I'm a 723 00:44:56,120 --> 00:44:59,520 Speaker 2: bit older and wiser and very firmly planted on the ground, 724 00:44:59,680 --> 00:45:05,479 Speaker 2: and I really appreciate the opportunities it's brought again and 725 00:45:06,360 --> 00:45:08,920 Speaker 2: the awareness of that work. And I don't know how 726 00:45:08,960 --> 00:45:11,360 Speaker 2: it was then and in the past. Actually I just 727 00:45:11,560 --> 00:45:13,799 Speaker 2: was very I think excited. It was much more of 728 00:45:13,840 --> 00:45:19,080 Speaker 2: a whirlwind. But that only ensued at the Academy Awards 729 00:45:19,120 --> 00:45:23,239 Speaker 2: and after because I had been nominated for every category 730 00:45:23,480 --> 00:45:26,359 Speaker 2: leading up to it and didn't win one. I didn't 731 00:45:26,360 --> 00:45:29,680 Speaker 2: realize that not one. I didn't win a SAG award 732 00:45:29,680 --> 00:45:32,360 Speaker 2: where I thought, oh, actors would understand this journey at least, 733 00:45:32,440 --> 00:45:36,319 Speaker 2: right right, you know, and all the way through the process, 734 00:45:36,400 --> 00:45:39,319 Speaker 2: and I was still very grateful to be considered and 735 00:45:40,000 --> 00:45:45,160 Speaker 2: in the conversation with all these tremendous, wonderful actors who 736 00:45:45,200 --> 00:45:48,120 Speaker 2: I admired, and then the fact that I was so 737 00:45:48,239 --> 00:45:51,880 Speaker 2: young and the youngest and all that it really was 738 00:45:51,920 --> 00:45:55,160 Speaker 2: a remarkable moment and very unexpected. 739 00:45:55,880 --> 00:45:58,480 Speaker 1: And there's something beautiful in that too. There's something really 740 00:45:58,520 --> 00:46:03,160 Speaker 1: beautiful in that process. No, no, no, no, and then yes, 741 00:46:03,760 --> 00:46:04,520 Speaker 1: we're gonna. 742 00:46:04,239 --> 00:46:11,000 Speaker 2: Do it, yes, yes, yes, no, which is anything possible. 743 00:46:11,320 --> 00:46:18,239 Speaker 1: I'm just saying, but I'm right, all right, right, It's 744 00:46:18,280 --> 00:46:20,359 Speaker 1: such an honor to avalanche with you. I have been 745 00:46:20,400 --> 00:46:22,600 Speaker 1: around you a few times. We share people that we 746 00:46:22,680 --> 00:46:26,640 Speaker 1: love together, and consistently, the one thing that is always 747 00:46:26,640 --> 00:46:28,839 Speaker 1: said when I have talked about you and talked about 748 00:46:28,840 --> 00:46:33,120 Speaker 1: today is the value that I find the most treasured 749 00:46:33,160 --> 00:46:36,000 Speaker 1: for me is kind. And that's everyone who has said 750 00:46:36,000 --> 00:46:38,200 Speaker 1: one thing about you said, oh, he's so kind. And 751 00:46:38,880 --> 00:46:42,239 Speaker 1: this is an incredible movie. I am quite confident that 752 00:46:42,280 --> 00:46:44,200 Speaker 1: things are going to go in the direction that they're 753 00:46:44,200 --> 00:46:47,320 Speaker 1: supposed to go this next month, for you and well deserved. 754 00:46:47,360 --> 00:46:49,920 Speaker 1: Thank you, so thank you for joining me today. Thank you, 755 00:46:57,160 --> 00:46:58,640 Speaker 1: thank you for pulling up a chair. 756 00:46:59,239 --> 00:47:03,279 Speaker 5: I love our launches and never forget the romance of 757 00:47:03,320 --> 00:47:06,520 Speaker 5: a meal. If you enjoy the show, please tell a 758 00:47:06,560 --> 00:47:10,600 Speaker 5: friend and rate and review us on Apple Podcasts. Table 759 00:47:10,600 --> 00:47:13,520 Speaker 5: for two with Bruce Bosi is produced by iHeartRadio seven 760 00:47:13,600 --> 00:47:17,640 Speaker 5: three seven Park and Airmail. Our executive producers are Bruce 761 00:47:17,680 --> 00:47:21,920 Speaker 5: Bosi and Nathan King. Our supervising producer is Dylan Fagan. 762 00:47:22,200 --> 00:47:26,040 Speaker 5: Our editors are Vincent to Johnny and Cas b Bias. 763 00:47:26,640 --> 00:47:30,080 Speaker 5: Table for two is researched and written by Jack Sullivan. 764 00:47:30,440 --> 00:47:34,799 Speaker 5: Our sound engineers are mel b Klein, Jess Krainich, Evan Taylor. 765 00:47:34,680 --> 00:47:38,759 Speaker 4: And Jesse Funk. Our music supervisor is Randall Poster. Our 766 00:47:38,760 --> 00:47:41,840 Speaker 4: talent booking is done by Jane Sarkin. Table for two's 767 00:47:41,840 --> 00:47:46,080 Speaker 4: social media manager is Gracie Wiener. Special thanks to Amy Sugarman, 768 00:47:46,480 --> 00:47:51,600 Speaker 4: Uni Scherer, Kevin Yvane, Bobby Bauer, Alison Kanter Graber. For 769 00:47:51,719 --> 00:47:56,680 Speaker 4: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcast, 770 00:47:57,160 --> 00:48:02,759 Speaker 4: or wherever you listen to your favorite show.