WEBVTT - Ep06 - Aaron Eckhart / "Bleed For This" and "Sully"

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<v Speaker 1>Welcome to Playback a Variety podcast. On today's show, we're

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<v Speaker 1>talking about varieties ten actors to watch who will be

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<v Speaker 1>honored at the Hampton's International Film Festival this weekend, as

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<v Speaker 1>well as this week's big controversial release, The Birth of

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<v Speaker 1>a Nation. A little bit later, I'll be talking to

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<v Speaker 1>Bleed for this and Sully star Aaron Eckhart. So stick around, Okay, everyone,

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<v Speaker 1>I'm here with Janelle Riley again, and beginning today is

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<v Speaker 1>the Hampton's International Film Festival. Yes, well you're listening to this.

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<v Speaker 1>I will be on a plane. You'll be on a plane.

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<v Speaker 1>We'll get there safely, heavily drugged, I'm sure. But we

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<v Speaker 1>talked about that on the podcast that I can't fly

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<v Speaker 1>flying thing because I think that I don't have a

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<v Speaker 1>fear of flying. I have a fear of crashing. Well,

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<v Speaker 1>that's what I always say people. People say. It's like,

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<v Speaker 1>I'm not scared of heights, I'm scared of falling from

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<v Speaker 1>a great height. I also have a little bit of claustrophobia,

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<v Speaker 1>so being in a metal tube is not easy on me.

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<v Speaker 1>It's but it's a wonderful airline, I believe, and I

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<v Speaker 1>will probably finally have time to watch Love and Friendship.

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<v Speaker 1>Oh good, yeah, delightful, little charmer. Well you'll be there.

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<v Speaker 1>You're you're going to be doing a Q, Q and

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<v Speaker 1>A with Aaron att Cart and varieties. Creative impact Oh shoot,

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<v Speaker 1>I'm going to mess us creative impact in acting. Yes,

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<v Speaker 1>and obviously Aaron isn't bleed for this and Sully this year.

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<v Speaker 1>I'll be talking to Aaron later on in the podcast. Actually,

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<v Speaker 1>so there you go. There're synergy for you, perfect um.

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<v Speaker 1>But regarding Hampton's variety, will be unveiling our ten actors

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<v Speaker 1>to watch for this year there, yes, um, I mean

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<v Speaker 1>we've already announced it, but they're featured in this week's

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<v Speaker 1>issue and wondering not unveiling them. And at least five

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<v Speaker 1>of them will be in attendance for A Q and A.

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<v Speaker 1>I'll be doing with them on Saturday afternoon. So yes,

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<v Speaker 1>Friday I spend with Mr Aaron Eckhard. Saturday will be

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<v Speaker 1>with our amazing actors to watch. Uh. Super of these? Well,

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<v Speaker 1>there's rizam Ed who I think we both were huge

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<v Speaker 1>fans of A Nightcrawler and we had actually selected him

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<v Speaker 1>for this list I think before Night Of premiered. And

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<v Speaker 1>so now everyone kind of knows the name a little better.

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<v Speaker 1>But he's also in Jason Borne, He's in obviously Rogue

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<v Speaker 1>one coming out. It's going to be huge. Um an actor,

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<v Speaker 1>I think I have talked a lot about and I

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<v Speaker 1>know my friends are sick to death of hearing his name.

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<v Speaker 1>Herschel Ali um so amazing in Moonlight. Um. I think

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<v Speaker 1>he should be a slam dunk Oscar nominee. Does he?

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<v Speaker 1>I keep wondering because he thought he was. But the

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<v Speaker 1>problem is there's the whole cast is fantastic and they're

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<v Speaker 1>all in supporting and so it's it's really hard for

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<v Speaker 1>a lot of people, and he's like one of the

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<v Speaker 1>three segments he's well, I don't think any male actor

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<v Speaker 1>is in more than one segment. Naomi's the one who's

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<v Speaker 1>in the whole thing, which gives her an edge. Uh.

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<v Speaker 1>And one thing that works from me Herschela in that

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<v Speaker 1>movie is he when he's gone, you miss him, keep

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<v Speaker 1>wanting him to come back to keep thinking like maybe

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<v Speaker 1>they'll flashback or something. But he's having a hell of

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<v Speaker 1>a year. He's in Luke Cage right now. He's the

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<v Speaker 1>villain in that. He has this indie film called Kicks

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<v Speaker 1>coming out and he is Taraji p Henson's love interest

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<v Speaker 1>in Hidden Figures, which is interesting because he made his

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<v Speaker 1>film debut as her love interest in Benjamin Button making

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<v Speaker 1>out with Taragi on film. I guess he is so fantastic.

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<v Speaker 1>He was also in Free State of Jones earlier this year,

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<v Speaker 1>and I thought he was really good in that and

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<v Speaker 1>embarrassingly and I have apologized to him repeatedly. I'm not

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<v Speaker 1>a regular House of Cards viewer. But right after we

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<v Speaker 1>announced this list, he received an Emmy nomination for his

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<v Speaker 1>work on House of Cards in the guest category. He

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<v Speaker 1>was unable to attend the Emmy uh ceremony they do

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<v Speaker 1>it the week before the televised because he was in

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<v Speaker 1>Toronto with Moonlight. But he didn't win anyway, So what

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<v Speaker 1>does it matter? Lucas Hedges, Lucas Hedges, So is he

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<v Speaker 1>a nominate? Do you think? I think he's a strong

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<v Speaker 1>contended a lot of people. He's It's a great character.

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<v Speaker 1>I mean a lot of that character is Kenneth Lannigan,

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<v Speaker 1>just like just you can tell in the writing of

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<v Speaker 1>how he's constructed the character and how the character interacts

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<v Speaker 1>with people, that's Kenny. Because he's just dour and just

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<v Speaker 1>he's got this thing, but Lucas nails it, and it's

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<v Speaker 1>kind of a hard disposition to really nail. And he's

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<v Speaker 1>great sparring with Casey in the movie, and there's emotional

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<v Speaker 1>moments to come for the character that are really unexpected,

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<v Speaker 1>and yeah, I think he's going to be a real

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<v Speaker 1>strong player. He has one scene in particular where he

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<v Speaker 1>I don't think it's given anything away to just say

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<v Speaker 1>he's like kind of having a panic attack, and it

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<v Speaker 1>is fantastic. It like it is so realistic. And that

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<v Speaker 1>was kind of the movement. Because I was so into

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<v Speaker 1>the movie. I didn't think about it at the time,

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<v Speaker 1>but looking back, I was like, that was really fantastic,

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<v Speaker 1>which too is how Casey's handling him in that scene,

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<v Speaker 1>because Casey's playing a completely different thing. They're like the

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<v Speaker 1>kids having his panetic attack, but Casey is in like,

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<v Speaker 1>oh crap, I don't know how to handle this territory,

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<v Speaker 1>and he's just as someone who has had panic attacks

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<v Speaker 1>and been around people with pan attacks, I've seen both

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<v Speaker 1>sides and they nail it. And um, speaking of getting

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<v Speaker 1>on planes, I've witnessed panic attacks on planes. Moonrise, Kingdom

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<v Speaker 1>is I think that was my favorite Wes Anderson movie

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<v Speaker 1>when it came in that I forgot is Lucas in

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<v Speaker 1>that too. Ye, Lucas has a small part. I brought

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<v Speaker 1>it up regarding Kara Haywards. Yes, carries on our list here,

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<v Speaker 1>but I didn't realize Lucas was. I think Lucas has

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<v Speaker 1>a small part in it because when I was sort

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<v Speaker 1>of researching him. But yes, Kara Hayward was obviously the

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<v Speaker 1>lead in moon Rise Kingdom she is has a small

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<v Speaker 1>part in Patterson this year, but really um is very

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<v Speaker 1>good in another small part in Manchester by the Sea.

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<v Speaker 1>That's a lot of great performance as a Manchester by

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<v Speaker 1>the Sea. He knows how to put together actors. John

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<v Speaker 1>Legend has a small role in La La Lad. It

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<v Speaker 1>is a small role, but it's actually the third biggest

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<v Speaker 1>role because that movie is so much Ryan Gosling and

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<v Speaker 1>Emma Stone that even though John Legends role as small,

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<v Speaker 1>if you actually look at the breakdown of the cast,

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<v Speaker 1>John Legend is kind of the third league. And we

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<v Speaker 1>were just talking right before we started recording. He does

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<v Speaker 1>a lot with his his limited time. Yeah, he's just

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<v Speaker 1>very charming and charismatic and I don't want to give

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<v Speaker 1>anything away because I know most people haven't seen the movie,

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<v Speaker 1>but he has one scene in particular that I thought,

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<v Speaker 1>you know, it's not easy to hold your own in

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<v Speaker 1>your film debut. Opposite Ryan Goss all the nar and reck,

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<v Speaker 1>We're gonna be hearing plenty of Obviously I don't apply,

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<v Speaker 1>and that was a no brainer from Hail Caesar. We

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<v Speaker 1>saw Hail Caesar, and he was like, this guy has

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<v Speaker 1>to go on the list. And then he became the

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<v Speaker 1>new Hans solo and has the Warren Baby movie coming out.

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<v Speaker 1>Was he end like a year or two ago? He listen.

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<v Speaker 1>I don't know if this is what you're thinking of,

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<v Speaker 1>but Beautiful Creatures. Actually I saw it on a play. Um,

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<v Speaker 1>so maybe I was heavily drug but I actually really

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<v Speaker 1>like that movie. I haven't seen it, but I remembered

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<v Speaker 1>hearing a lot of good things about him in it. Yeah. No,

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<v Speaker 1>he's really good. The lead girl, sorry woman, is really

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<v Speaker 1>good and Emma Thompson is very funny. Like like, I'm

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<v Speaker 1>that's a movie. I'm a little bummed because I think

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<v Speaker 1>there were maybe plans for sequels and it just didn't

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<v Speaker 1>do that well. And I'm going to read a couple

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<v Speaker 1>of these last Ones, Tavy Givinson, Yes, from on stage

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<v Speaker 1>in the Crucible. I saw her in the Crucible. She

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<v Speaker 1>was fantastic. And we have Anna d Armis, Yes, Hands

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<v Speaker 1>a Stone and war Dogs, Yes, Will and Blade Runner,

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<v Speaker 1>Rachel Brasnahan Yes, Agnom, House of Cards, Patriots Day later

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<v Speaker 1>this year, Yes, which I'm you know, have have really

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<v Speaker 1>hopeful expectations far. We talked about it last week. We

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<v Speaker 1>we like Peter Berg. Indeed, I'm saying again, Peter, please

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<v Speaker 1>do my podcast a Janeomie King for she's in How

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<v Speaker 1>to Get Away with Murder on TV, and she's also

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<v Speaker 1>in Birth of a Nation, which is coming out this week. Finally,

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<v Speaker 1>after everything, I'm so curious to see how it does.

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<v Speaker 1>Did you see Nate Parker's sixty minutes interview? I did.

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<v Speaker 1>It's it's I mean, I have so many emotions and

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<v Speaker 1>feelings about the subject at Birth of an Asian a

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<v Speaker 1>movie both of us really liked. I think neither one

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<v Speaker 1>of us was expecting to like as much as we did.

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<v Speaker 1>Um and I. It is painful to watch Nate Parker's

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<v Speaker 1>self destruct. He seems to be doing everything wrong. He

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<v Speaker 1>isn't the way he's answering questions that. I guess they

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<v Speaker 1>did this interview initially in June and had to come

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<v Speaker 1>back to all how they cut it together too, because

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<v Speaker 1>they tried to act like it was one interview, but

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<v Speaker 1>he clearly, you know, he had a mustache in the

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<v Speaker 1>recent one. He looked about thirty years older. Acted differently too. Yeah,

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<v Speaker 1>he was so happy in the June stuff, and then

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<v Speaker 1>the obviously the more. It's strange to me that sixty

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<v Speaker 1>minutes of all people missed that. Yeah, I mean, did

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<v Speaker 1>they miss it or do they choose not to bring

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<v Speaker 1>it up in June? I can't imagine they weren't. Would

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<v Speaker 1>they would not have It's I mean, I don't know. Look,

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<v Speaker 1>news media today has entertainment, so it's like even a

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<v Speaker 1>beacon like sixty minutes can do something stupid like that.

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<v Speaker 1>But I think they might have just not seen it.

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<v Speaker 1>They saw this great story of a black filmmaker telling

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<v Speaker 1>a black story and how well it did and sun

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<v Speaker 1>Dance and all of that, and to be a much

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<v Speaker 1>different story. That was the narrative people were going with

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<v Speaker 1>for a long time until gosh, about a month ago.

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<v Speaker 1>And now we're just left with seeing how the public

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<v Speaker 1>is going to respond, if at all to this movie.

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<v Speaker 1>I weirdly, I don't know about you, but I never

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<v Speaker 1>wavered in believing that it would still be a factor

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<v Speaker 1>in the Oscar Race because it is such a good

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<v Speaker 1>movie and um, the power of the film itself and

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<v Speaker 1>with you know, so many Best Picture nominations between five

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<v Speaker 1>and ten, I figured it would get in. Now I

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<v Speaker 1>really don't know. Yeah, I mean, it depends on how

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<v Speaker 1>radioactive something like that becomes. I mean I have said

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<v Speaker 1>it here before. I've had conversations with voter who really

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<v Speaker 1>just aren't looking deeply into that. They kind of want

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<v Speaker 1>to look at the art, not the artist kind of

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<v Speaker 1>a deal. But you know, the bottom line is if

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<v Speaker 1>the movie comes out tomorrow and just tanks, well there's

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<v Speaker 1>just nothing to build on, and so we'll just have

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<v Speaker 1>to see how that goes. I would like to just say,

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<v Speaker 1>I don't know what your personal feelings are and what

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<v Speaker 1>you've read in the media about this case, but if

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<v Speaker 1>you have an interest in seeing this movie, I think

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<v Speaker 1>you should see this movie. It's a really good movie. So, um,

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<v Speaker 1>I made the joke I feel like maybe on one

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<v Speaker 1>of our first podcasts that the person who benefits the

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<v Speaker 1>most from the birth of a nation scandal might be

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<v Speaker 1>Mel Gibson because he has a movie coming up this year. Yeah,

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<v Speaker 1>he does, and he's kind of on the forgiveness tour.

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<v Speaker 1>I just saw tax Outrage. I just did. I was

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<v Speaker 1>so unprepared for how much I would love it. I um,

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<v Speaker 1>you know, I like all genres, but war films are

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<v Speaker 1>probably my least favorite genre because of the violence or

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<v Speaker 1>because of what it's partially the violence. Again, I have

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<v Speaker 1>no problem with lens as long as it's not against dogs. Um.

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<v Speaker 1>It's like, I don't know that there's anything new to

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<v Speaker 1>uncover in a war movie. There's a lot of tropes

0:11:09.600 --> 0:11:14.480
<v Speaker 1>that just give exactly UM. And I I've always thought

0:11:14.520 --> 0:11:17.240
<v Speaker 1>Andrew Garfield as a good actor. He's particularly fantastic. I

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<v Speaker 1>saw him on stage and Death of a Salesman, so

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<v Speaker 1>I really knew what he could do. But you know,

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<v Speaker 1>I don't know that I've seen him as really the

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<v Speaker 1>lead of a movie, carrying a film. He's got silence

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<v Speaker 1>on the way, So I just did not I thought that.

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<v Speaker 1>And I know Mel Gibson as a great filmmaker. I

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<v Speaker 1>actually really love Apocalypto. It's amazing that Parkalypto is a

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<v Speaker 1>fantastic movie. I don't care. Yeah, so I expected it

0:11:38.920 --> 0:11:41.000
<v Speaker 1>to be a good movie. I don't think I expected

0:11:41.040 --> 0:11:44.880
<v Speaker 1>greatness and the story that it tells, you know, of

0:11:45.000 --> 0:11:50.520
<v Speaker 1>this conscientious the conscious conjector I haven't had my coffee yet,

0:11:50.760 --> 0:11:53.320
<v Speaker 1>who you know wanted to go to war to be

0:11:53.480 --> 0:11:56.280
<v Speaker 1>an army medic but refused to carry a gun. You know,

0:11:56.320 --> 0:11:58.439
<v Speaker 1>the first half of the movie is almost a little

0:11:58.520 --> 0:12:00.800
<v Speaker 1>like courtroom drama to something stent where they want to

0:12:00.840 --> 0:12:03.880
<v Speaker 1>court martial him and and there's humor in it, like

0:12:03.920 --> 0:12:07.040
<v Speaker 1>they're like, you're there's some era cheese going on earlier.

0:12:07.160 --> 0:12:09.480
<v Speaker 1>You're establishing the characters a little bit too, it kind

0:12:09.480 --> 0:12:12.800
<v Speaker 1>of because it's like g Gali fortis territory. Yeah. But

0:12:12.920 --> 0:12:15.960
<v Speaker 1>once it gets into the actual battle, yeah, um of

0:12:16.000 --> 0:12:19.440
<v Speaker 1>hacks All Ridge. It's it's, uh, a lot of those

0:12:19.480 --> 0:12:22.240
<v Speaker 1>tropes come into play, you know, the saving Private Ryan stuff.

0:12:23.280 --> 0:12:28.000
<v Speaker 1>I really do not like Saving Private Ryan. So for

0:12:28.040 --> 0:12:29.880
<v Speaker 1>me to like love this movie as much as I did,

0:12:29.960 --> 0:12:32.040
<v Speaker 1>why don't you like saving right? Oh my gosh. William

0:12:32.040 --> 0:12:36.079
<v Speaker 1>Goldman actually wrote an excellent essay um years ago that

0:12:36.200 --> 0:12:39.640
<v Speaker 1>nailed all my feelings about it. Um, I mean, look

0:12:39.640 --> 0:12:42.960
<v Speaker 1>as an as a directorial achievement, it's amazing. The acting

0:12:43.040 --> 0:12:47.840
<v Speaker 1>is fantastic. But like I would just say, read William

0:12:47.840 --> 0:12:50.760
<v Speaker 1>Golden's article, It's sort of sums it up for me.

0:12:50.800 --> 0:12:52.480
<v Speaker 1>But I have a feeling I agree with some of it.

0:12:52.480 --> 0:12:54.240
<v Speaker 1>I've always thought it's on a bit of a pedestal.

0:12:54.720 --> 0:12:57.920
<v Speaker 1>I mean, the book ends I have a real problem with.

0:12:58.240 --> 0:12:59.880
<v Speaker 1>I want everyone to know that the life just turned.

0:13:00.520 --> 0:13:02.280
<v Speaker 1>But but we didn't even blame, and we didn't blame,

0:13:02.360 --> 0:13:04.200
<v Speaker 1>we just went. We cannot see each other right now.

0:13:04.440 --> 0:13:06.439
<v Speaker 1>That is not a bad thing I am. I mean

0:13:06.480 --> 0:13:09.559
<v Speaker 1>no events to you. I look great. You know, you're fantastic.

0:13:09.600 --> 0:13:12.480
<v Speaker 1>You don't look like a newborn's father who hasn't slept

0:13:12.520 --> 0:13:16.120
<v Speaker 1>in days at all. Saw Ridge. Uh yeah. When it

0:13:16.160 --> 0:13:18.240
<v Speaker 1>gets into the into the gnarly stuff, and there are

0:13:18.280 --> 0:13:20.760
<v Speaker 1>gnarly moments in the movie, but it ends up in

0:13:20.760 --> 0:13:24.120
<v Speaker 1>a very emotional place too, obviously, when it inevitably transitions

0:13:24.160 --> 0:13:28.960
<v Speaker 1>to the real life. Desmond Dass a name that I

0:13:29.000 --> 0:13:30.840
<v Speaker 1>feel like should have been taught in schools and I've

0:13:30.840 --> 0:13:32.760
<v Speaker 1>never heard of him. I mean, the in fact that

0:13:32.760 --> 0:13:35.200
<v Speaker 1>he saved seventy people in that battle, at least seventy

0:13:35.240 --> 0:13:38.560
<v Speaker 1>because a gun. Yeah, and did you like Vince Vaughn

0:13:38.559 --> 0:13:43.080
<v Speaker 1>in it. I did. I thought it was woefully miscast,

0:13:43.160 --> 0:13:44.760
<v Speaker 1>but I love Vince Vaughn. It just I was looking

0:13:44.800 --> 0:13:48.320
<v Speaker 1>at the guy from Swingers aged a couple of years

0:13:48.320 --> 0:13:50.560
<v Speaker 1>and playing this drill sergeant. It didn't really work for me.

0:13:50.600 --> 0:13:53.280
<v Speaker 1>And I didn't love Hugo Weaving either, as his father.

0:13:53.480 --> 0:13:55.880
<v Speaker 1>I didn't at first because it is I'm not gonna

0:13:55.920 --> 0:13:58.040
<v Speaker 1>lie like it is very heavy handed in the beginning

0:13:58.200 --> 0:14:01.280
<v Speaker 1>and very like, yes it get it gets a lot

0:14:01.360 --> 0:14:06.760
<v Speaker 1>more subtle um and Hugh Hugo Weaving won me over. Yeah, well,

0:14:06.800 --> 0:14:08.240
<v Speaker 1>it'll be interesting to see how that does. It's the

0:14:08.280 --> 0:14:09.840
<v Speaker 1>lines of Gate movie we've talked about. They have a

0:14:09.840 --> 0:14:11.840
<v Speaker 1>lot of movies this year. There's nothing else like it

0:14:11.840 --> 0:14:13.440
<v Speaker 1>this year. I feel like I think it could do

0:14:13.480 --> 0:14:16.080
<v Speaker 1>really well. It's got crazy great reviews. You liked it.

0:14:16.080 --> 0:14:18.000
<v Speaker 1>You probably didn't love it as much as I. But

0:14:18.000 --> 0:14:20.200
<v Speaker 1>I didn't like it. And it's because Milkipson knows how

0:14:20.240 --> 0:14:22.920
<v Speaker 1>to make a movie. And you don't see there's certain filmmakers.

0:14:22.960 --> 0:14:24.880
<v Speaker 1>When you see them make a movie, you can tell

0:14:24.920 --> 0:14:28.240
<v Speaker 1>that they know how to visually story to them and

0:14:28.240 --> 0:14:29.960
<v Speaker 1>and he knows how to do it really well. And

0:14:30.000 --> 0:14:32.120
<v Speaker 1>we talked about Apocalypto. I that was one of my

0:14:32.120 --> 0:14:35.080
<v Speaker 1>favorite movies that year. Andrew Garfield mentioned I spoke to

0:14:35.160 --> 0:14:36.600
<v Speaker 1>him last week and that was like one of the

0:14:36.640 --> 0:14:38.160
<v Speaker 1>movies he brought up, and I was like, I'm so

0:14:38.200 --> 0:14:40.600
<v Speaker 1>happy you brought that up because it does not get

0:14:40.680 --> 0:14:46.560
<v Speaker 1>enough credit. Uh, best actor? Should he be in the conversation, Yes, absolutely, yeah,

0:14:46.560 --> 0:14:48.440
<v Speaker 1>I think he should too. But and you know, it

0:14:48.520 --> 0:14:50.320
<v Speaker 1>might be one of those things where he's amazing and

0:14:50.400 --> 0:14:53.640
<v Speaker 1>Silence as well, and has that become you know, so

0:14:53.640 --> 0:14:55.720
<v Speaker 1>so I don't know if he'll be nominated for Hacksaw

0:14:56.400 --> 0:14:58.600
<v Speaker 1>having not seen Silence, maybe that will override it. But

0:14:58.720 --> 0:15:01.240
<v Speaker 1>I he plays a tough part because he's Jimmy Stewart

0:15:01.240 --> 0:15:03.480
<v Speaker 1>in the first part, you know, and then I don't

0:15:03.520 --> 0:15:04.880
<v Speaker 1>even know what you would say he is in the

0:15:04.920 --> 0:15:07.440
<v Speaker 1>second part. It's a unique movie and a unique story,

0:15:07.720 --> 0:15:09.760
<v Speaker 1>and funnily enough, I'm talking to Andrew next week on

0:15:09.800 --> 0:15:13.440
<v Speaker 1>the podcast. A nice little plug for next week. In

0:15:13.440 --> 0:15:15.560
<v Speaker 1>the meantime, stick around for Aaron eck Card this week.

0:15:15.640 --> 0:15:42.320
<v Speaker 1>We'll be right back all right as made and devil

0:15:42.400 --> 0:15:45.680
<v Speaker 1>as it can. County Momorial Hospital tonight with a fractured neck.

0:15:46.880 --> 0:15:49.360
<v Speaker 1>If you let me do the fusion. I can guarantee

0:15:49.440 --> 0:15:51.280
<v Speaker 1>you'll be able to walk again, and he'll be able

0:15:51.280 --> 0:15:55.160
<v Speaker 1>to fight again and not fusing my neck. We're not

0:15:55.240 --> 0:16:00.080
<v Speaker 1>done him any the whole world outside the ring. Are

0:16:00.080 --> 0:16:02.920
<v Speaker 1>you sick of people talking nothing like him? Did? Okay?

0:16:03.000 --> 0:16:09.640
<v Speaker 1>I'm gonna fight again. No, you ain't beat Vid? No? No,

0:16:10.200 --> 0:16:11.520
<v Speaker 1>I mean you just don't know how to give up. No.

0:16:11.680 --> 0:16:13.480
<v Speaker 1>I know exactly how to give up. You know what

0:16:13.560 --> 0:16:16.480
<v Speaker 1>scares me, kivid, is that it's easy. Come on, this

0:16:16.520 --> 0:16:29.800
<v Speaker 1>is insane. Yeah, show me how you do things, Show

0:16:29.800 --> 0:16:39.000
<v Speaker 1>me how you live, Show me who do you want?

0:16:42.400 --> 0:16:45.480
<v Speaker 1>Welcome back everyone, I'm here with Aaron Eckhart, who uh

0:16:45.840 --> 0:16:47.920
<v Speaker 1>probably was excited to see that. Tell your right film

0:16:47.960 --> 0:16:50.480
<v Speaker 1>festival lineup this year at both of your films there.

0:16:50.920 --> 0:16:53.000
<v Speaker 1>Thanks for coming here. First of all, I appreciate you

0:16:53.040 --> 0:16:55.160
<v Speaker 1>being on the show. What do you think? I tell

0:16:55.160 --> 0:16:57.360
<v Speaker 1>you right, that's my favorite festival I go every year.

0:16:57.440 --> 0:16:59.360
<v Speaker 1>What did you think? I had a great time? Yeah,

0:17:00.200 --> 0:17:03.520
<v Speaker 1>you know, obviously, because it's just such a beautiful place

0:17:03.560 --> 0:17:06.160
<v Speaker 1>when you're flying in there and all the beautiful aspens

0:17:06.160 --> 0:17:09.480
<v Speaker 1>and you know, the gondola and the beautiful sort of

0:17:09.680 --> 0:17:12.679
<v Speaker 1>main street Um, so it was a pleasure to go

0:17:12.800 --> 0:17:14.760
<v Speaker 1>there first of all. But then, as you said, I

0:17:14.800 --> 0:17:18.000
<v Speaker 1>had two movies there, um Sully and Lead for This,

0:17:18.200 --> 0:17:20.760
<v Speaker 1>and UM I love both of the films and was

0:17:20.800 --> 0:17:23.840
<v Speaker 1>there with great people, and UM, I couldn't imagine a

0:17:23.880 --> 0:17:28.000
<v Speaker 1>better scenario world premiers for each. Uh you know, I

0:17:28.000 --> 0:17:30.160
<v Speaker 1>want to start with Sully. That's the movie in theaters now,

0:17:30.240 --> 0:17:32.639
<v Speaker 1>people can go see it. Now, people are seeing it. Obviously,

0:17:32.680 --> 0:17:34.280
<v Speaker 1>I think it's doing pretty well at the box office

0:17:34.320 --> 0:17:36.359
<v Speaker 1>so far, and Bleed for This is around the corner.

0:17:37.200 --> 0:17:40.440
<v Speaker 1>But working with Mr Eastwood, you know, I'm always curious

0:17:40.480 --> 0:17:44.000
<v Speaker 1>because he has a different kind of workflow. I think

0:17:44.080 --> 0:17:47.159
<v Speaker 1>kind of the one two takes, move on kind of

0:17:47.160 --> 0:17:50.399
<v Speaker 1>a thing. And I'm always curious how how actors respond

0:17:50.400 --> 0:17:52.679
<v Speaker 1>to that. Do you ever feel like you'd like a

0:17:52.720 --> 0:17:55.760
<v Speaker 1>couple more cracks at it? Or does it instill confidence

0:17:55.800 --> 0:17:59.199
<v Speaker 1>to be that thrifty Well, I think that, um, you know,

0:17:59.240 --> 0:18:02.480
<v Speaker 1>going into it, obviously, Clint is a whole different animal.

0:18:02.560 --> 0:18:05.199
<v Speaker 1>I mean, he is an icon. He's been working in

0:18:05.200 --> 0:18:07.920
<v Speaker 1>this business sixty plus years. At the top. He knows

0:18:07.960 --> 0:18:11.240
<v Speaker 1>what he's doing as an Academy Award winning director. Um,

0:18:11.320 --> 0:18:16.199
<v Speaker 1>there is UM Uh. You know, there's an admiration for

0:18:16.280 --> 0:18:19.919
<v Speaker 1>him built into him that that other directors just don't have,

0:18:20.359 --> 0:18:23.680
<v Speaker 1>you know. Uh, So you go in there very very

0:18:23.960 --> 0:18:27.439
<v Speaker 1>um compliant, UM, and you want to please him. He

0:18:27.560 --> 0:18:30.600
<v Speaker 1>also surrounds himself with his family, you know, I mean,

0:18:30.680 --> 0:18:34.600
<v Speaker 1>his crew has done multiple films with him. Um. You know, yes,

0:18:34.640 --> 0:18:37.160
<v Speaker 1>he has a reputation, but he also has implicit trust

0:18:37.160 --> 0:18:39.720
<v Speaker 1>in the people who he hires. And you know that

0:18:39.760 --> 0:18:44.000
<v Speaker 1>going in he hires the best and and so he

0:18:44.200 --> 0:18:47.520
<v Speaker 1>his whole thing about rehearsal and and and takes his

0:18:47.640 --> 0:18:50.240
<v Speaker 1>I've hired you, I have total trust in your ability

0:18:50.240 --> 0:18:53.359
<v Speaker 1>to give me what I want and UM, and so

0:18:53.440 --> 0:18:57.240
<v Speaker 1>just do what you do. There's never any talk about

0:18:57.240 --> 0:18:59.800
<v Speaker 1>one or two takes. It's you know, Clint said to

0:18:59.840 --> 0:19:02.240
<v Speaker 1>me many times because he goes, I know what I

0:19:02.320 --> 0:19:05.160
<v Speaker 1>have and you know, UM, I know when you've you've

0:19:05.200 --> 0:19:07.280
<v Speaker 1>given me what I want. UM, and you just don't

0:19:07.359 --> 0:19:11.359
<v Speaker 1>question that. There were times when I felt like I

0:19:11.400 --> 0:19:15.399
<v Speaker 1>needed another one, uh, and he gave it to me. UM.

0:19:15.480 --> 0:19:19.159
<v Speaker 1>But the sense of the sense on the set is

0:19:19.240 --> 0:19:23.520
<v Speaker 1>it's just so easy, it's so effortless. Um. Everybody's working

0:19:23.520 --> 0:19:26.640
<v Speaker 1>at their best and UM, you know, you get into

0:19:26.680 --> 0:19:29.919
<v Speaker 1>a rhythm really quick, and you learn to to you know,

0:19:30.160 --> 0:19:34.280
<v Speaker 1>trust yourself, um in in in in these circumstances and

0:19:34.280 --> 0:19:36.640
<v Speaker 1>and so it's never you never feel like you're being

0:19:36.720 --> 0:19:40.680
<v Speaker 1>robbed of takes. You feel like um, rather, you feel

0:19:40.680 --> 0:19:43.639
<v Speaker 1>like you're being led into the family and UM. For

0:19:43.680 --> 0:19:47.920
<v Speaker 1>an actor, obviously that's the most important thing, because trust

0:19:48.200 --> 0:19:51.360
<v Speaker 1>is the most important atmomsphere, on the set and um.

0:19:51.440 --> 0:19:56.439
<v Speaker 1>Sometimes directors don't know how to um uh create that

0:19:56.480 --> 0:19:58.639
<v Speaker 1>sense of trust, that safety zone, you know, where you

0:19:58.640 --> 0:20:01.040
<v Speaker 1>can do whatever you want to do. Also, we have

0:20:01.200 --> 0:20:04.919
<v Speaker 1>Tom Hanks, who is, um, you know, one of our

0:20:04.920 --> 0:20:08.320
<v Speaker 1>greatest actors, has given us some of our greatest films

0:20:08.400 --> 0:20:12.800
<v Speaker 1>and performances and UM. So here and you know, you

0:20:12.920 --> 0:20:15.040
<v Speaker 1>have Clint So he's the general and then you have

0:20:15.160 --> 0:20:19.440
<v Speaker 1>Tom and um, everybody's working off these two guys. I'm

0:20:19.480 --> 0:20:22.080
<v Speaker 1>working off Tom the whole time. I'm doing what Tom

0:20:22.119 --> 0:20:25.520
<v Speaker 1>does uh you know. So he's setting the tone on

0:20:25.560 --> 0:20:28.400
<v Speaker 1>the set for the performance, for the performance of the film,

0:20:28.440 --> 0:20:31.320
<v Speaker 1>you know, and he's working with Clint. So I learned

0:20:31.400 --> 0:20:35.520
<v Speaker 1>in this sort of circumstance. I learned pretty pretty quickly

0:20:35.520 --> 0:20:37.320
<v Speaker 1>in my career what to do which is laid back

0:20:38.640 --> 0:20:42.439
<v Speaker 1>watch observe, see what Clint, how Clint works, see how

0:20:42.480 --> 0:20:45.240
<v Speaker 1>Tom works. And then I just sort of, Um, I

0:20:45.359 --> 0:20:47.520
<v Speaker 1>just sort of worked my way into that and it

0:20:47.560 --> 0:20:49.800
<v Speaker 1>works out pretty good. I've always heard that he doesn't

0:20:49.840 --> 0:20:52.640
<v Speaker 1>really call action, that it's just like, all right, here

0:20:52.640 --> 0:20:54.040
<v Speaker 1>we go and you just kind of go into the scene.

0:20:54.040 --> 0:20:56.840
<v Speaker 1>Is that true? Yeah, that's true. And that's just one

0:20:56.880 --> 0:20:59.560
<v Speaker 1>of that's a great thing because I guess the story

0:20:59.720 --> 0:21:02.280
<v Speaker 1>is that, Um, when he was doing his television show

0:21:02.320 --> 0:21:04.840
<v Speaker 1>Clint and early in his career, they were always on

0:21:04.920 --> 0:21:08.320
<v Speaker 1>horses and they reacted, they reacted that they would always

0:21:08.359 --> 0:21:10.320
<v Speaker 1>scare the horses. So Clint finally said, why don't you

0:21:10.400 --> 0:21:12.000
<v Speaker 1>just you know, put up your finger or something and

0:21:12.000 --> 0:21:14.760
<v Speaker 1>we'll go right into it so you don't scare the horses. Um.

0:21:14.840 --> 0:21:17.600
<v Speaker 1>And it really works because you know, in real life

0:21:17.680 --> 0:21:19.800
<v Speaker 1>when we're talking, when you started this interview, you didn't

0:21:19.800 --> 0:21:22.479
<v Speaker 1>say action. You know, people don't say action when they

0:21:22.520 --> 0:21:25.240
<v Speaker 1>when we're talking. I mean, it's, um, it's sort of

0:21:26.480 --> 0:21:29.639
<v Speaker 1>an unnatural thing that movies have, um, you know, and

0:21:30.000 --> 0:21:32.240
<v Speaker 1>with Auto Preminger and all these guys in the past

0:21:32.280 --> 0:21:34.080
<v Speaker 1>with the bull horns and all that sort of stuff

0:21:34.119 --> 0:21:39.160
<v Speaker 1>that does nothing to create atmosphere on the set. And um,

0:21:39.200 --> 0:21:42.480
<v Speaker 1>you know, actors prepare for a scene and a lot

0:21:42.520 --> 0:21:46.840
<v Speaker 1>of times this preparation includes deep emotion and you know, hurt, sensitivity,

0:21:46.880 --> 0:21:49.400
<v Speaker 1>all this sort of stuff. And when you when you

0:21:49.440 --> 0:21:50.960
<v Speaker 1>when you get all that and you're ready to go,

0:21:51.040 --> 0:21:53.439
<v Speaker 1>and then somebody yells action and it's not even usually

0:21:53.440 --> 0:21:57.159
<v Speaker 1>the director, it's the first a d um it. It

0:21:57.200 --> 0:21:59.920
<v Speaker 1>disturbs that emotion that you've that preparation that you've created,

0:22:00.040 --> 0:22:03.880
<v Speaker 1>so um, and it feels like work when you yell

0:22:03.960 --> 0:22:06.639
<v Speaker 1>action or cut and Clint doesn't do that, so it

0:22:06.680 --> 0:22:09.199
<v Speaker 1>never feels like work. And I think what I was

0:22:09.240 --> 0:22:12.600
<v Speaker 1>with doing Erin Brockovich was Soderberg. I don't think he

0:22:12.640 --> 0:22:15.200
<v Speaker 1>did either. Yeah, it was just a very easy and

0:22:15.960 --> 0:22:18.679
<v Speaker 1>you know the way with Clint is that after the

0:22:18.760 --> 0:22:21.120
<v Speaker 1>day's done, whether that day is a six hour day,

0:22:21.200 --> 0:22:23.399
<v Speaker 1>an eight hour day, or a twelve hour day, you

0:22:23.440 --> 0:22:25.800
<v Speaker 1>never feel like you were at work. You feel like

0:22:25.880 --> 0:22:27.879
<v Speaker 1>you just want to have fun with a bunch of

0:22:27.880 --> 0:22:31.800
<v Speaker 1>guys and girls. You know, everybody knows each other and um,

0:22:31.840 --> 0:22:34.560
<v Speaker 1>and I think it's reflective in the performances. Yeah, I

0:22:34.600 --> 0:22:36.240
<v Speaker 1>was just on the set of a Western recently, and

0:22:36.240 --> 0:22:39.480
<v Speaker 1>they mentioned that actually that the horses will kind of

0:22:39.520 --> 0:22:42.680
<v Speaker 1>react to that. Um. You know both of these films,

0:22:42.680 --> 0:22:45.920
<v Speaker 1>you're playing real people. You're playing Kevin Rooney, the Great

0:22:46.080 --> 0:22:50.119
<v Speaker 1>Boxing Trainer and Bleed for This and the Unsung co

0:22:50.240 --> 0:22:54.040
<v Speaker 1>Pilot Jeff Skiles and and and Sully. Uh. Where is

0:22:54.080 --> 0:22:59.919
<v Speaker 1>the line I'm curious between you know, uh, accuracy and essence.

0:23:00.119 --> 0:23:01.720
<v Speaker 1>I guess you know there's you want to be true

0:23:01.760 --> 0:23:04.240
<v Speaker 1>to the real people, but you also are playing characters

0:23:04.280 --> 0:23:08.000
<v Speaker 1>who have dramatic thematic purposes. Yeah. I think what the

0:23:08.040 --> 0:23:13.360
<v Speaker 1>responsibility for an actor is. Um, there's two responsibilities. One

0:23:13.480 --> 0:23:17.560
<v Speaker 1>is to um not ruin the person's life that you're playing,

0:23:17.840 --> 0:23:20.440
<v Speaker 1>you know, because these movies are seen by millions of people,

0:23:21.000 --> 0:23:23.760
<v Speaker 1>and you want to You want it so that they

0:23:23.760 --> 0:23:25.480
<v Speaker 1>can be proud of the film and that they can

0:23:25.520 --> 0:23:27.119
<v Speaker 1>go see it and talk to their friends about it

0:23:27.119 --> 0:23:31.200
<v Speaker 1>and feel good about it. Um. In order to um

0:23:31.440 --> 0:23:34.160
<v Speaker 1>uh take off that box. Uh. You know you obviously

0:23:34.160 --> 0:23:35.679
<v Speaker 1>you have to do research and get as close to

0:23:35.680 --> 0:23:38.760
<v Speaker 1>that person as you possibly can in the in the U.

0:23:39.320 --> 0:23:41.359
<v Speaker 1>In both of these instances, with believe for this and

0:23:41.440 --> 0:23:45.240
<v Speaker 1>solely I wasn't able to be with them. Uh. Jeff

0:23:45.240 --> 0:23:49.360
<v Speaker 1>Skiles is an active pilot today, so he was working

0:23:49.600 --> 0:23:52.960
<v Speaker 1>and didn't have time. And UM, Kevin Rooney was in

0:23:53.000 --> 0:23:57.880
<v Speaker 1>the hospital with um dementia. So I had to go

0:23:57.960 --> 0:23:59.840
<v Speaker 1>on the internet. I had to find everything I could,

0:24:00.000 --> 0:24:02.760
<v Speaker 1>all the old interviews and get close to the people

0:24:03.240 --> 0:24:06.440
<v Speaker 1>and and for bleep. For this I I worked out

0:24:06.480 --> 0:24:10.280
<v Speaker 1>with his son. I went to Freddie Roach, the great

0:24:10.359 --> 0:24:13.080
<v Speaker 1>boxing trainer, allowed me to be a fly on the

0:24:13.080 --> 0:24:17.120
<v Speaker 1>wall in his training camp with Pacie versus Bradley, and

0:24:17.240 --> 0:24:20.480
<v Speaker 1>I was at his camp every single day and UM,

0:24:20.560 --> 0:24:22.479
<v Speaker 1>and then I went to Vegas for the fight. I

0:24:22.560 --> 0:24:25.520
<v Speaker 1>was ringside. I was in the hotel before, I was

0:24:25.560 --> 0:24:28.560
<v Speaker 1>in the UM. I was in the locker room before

0:24:28.640 --> 0:24:32.240
<v Speaker 1>and after UM, so anyway I could get connected with boxing.

0:24:32.280 --> 0:24:34.760
<v Speaker 1>I also met all the promoters. I met, you know,

0:24:35.280 --> 0:24:39.040
<v Speaker 1>all those characters you know, UM. And so that's how

0:24:39.040 --> 0:24:41.679
<v Speaker 1>I got into Kevin Rooney. UM. And I stayed with

0:24:41.720 --> 0:24:43.600
<v Speaker 1>him twenty four hours a day. I had his voice

0:24:43.600 --> 0:24:45.480
<v Speaker 1>in my head. I had his He's got a lot

0:24:45.480 --> 0:24:48.920
<v Speaker 1>of tape on him UM when he was with Tyson UM.

0:24:49.000 --> 0:24:52.800
<v Speaker 1>And then afterwards and then for Jeff Skiles, I, UM,

0:24:52.880 --> 0:24:55.840
<v Speaker 1>you know I talked to Jeff on the phone. Um,

0:24:55.920 --> 0:24:58.439
<v Speaker 1>and then I did my research again. You know, you

0:24:58.520 --> 0:25:00.359
<v Speaker 1>have the great thing about is you have a script,

0:25:00.440 --> 0:25:03.000
<v Speaker 1>right and you no matter what, you have to abide

0:25:03.000 --> 0:25:05.840
<v Speaker 1>by the script. So you have a template, you have

0:25:05.880 --> 0:25:12.120
<v Speaker 1>a guideline of blueprint. Um, you can get away with behavior.

0:25:12.160 --> 0:25:15.120
<v Speaker 1>I'm never gonna give you exact behavior, but I'm gonna

0:25:15.200 --> 0:25:17.160
<v Speaker 1>I'm gonna give you as close as I possibly can.

0:25:17.200 --> 0:25:20.359
<v Speaker 1>For example, Kevin Rooney, the way he stands, the way

0:25:20.560 --> 0:25:26.200
<v Speaker 1>the look, um, the way he talks. UM, that's pretty close. UM,

0:25:26.240 --> 0:25:28.560
<v Speaker 1>I mean I pretty I worked really hard to get

0:25:28.600 --> 0:25:33.480
<v Speaker 1>that close. Um. Uh. And uh, you know with Jeff Skiles,

0:25:34.400 --> 0:25:36.640
<v Speaker 1>you know, I think I did okay with that too.

0:25:36.680 --> 0:25:41.600
<v Speaker 1>And UM, sooner or later, the real people they have to, um,

0:25:41.720 --> 0:25:43.240
<v Speaker 1>they have to buy into the fact that this is

0:25:43.280 --> 0:25:45.480
<v Speaker 1>a movie and that we're actors and we're not going

0:25:45.520 --> 0:25:47.399
<v Speaker 1>to get it perfect and it's not going to be

0:25:47.440 --> 0:25:50.320
<v Speaker 1>the exact story or exactly what they did. That's just

0:25:50.359 --> 0:25:53.119
<v Speaker 1>not possible. Um. But I think that I try to

0:25:53.160 --> 0:25:56.159
<v Speaker 1>get it as close as I possibly can. And with Bleed,

0:25:56.200 --> 0:25:58.800
<v Speaker 1>you you know, you're you're dashing, good looks had to

0:25:58.800 --> 0:26:01.800
<v Speaker 1>take a back seat. Because you got the big receding hair,

0:26:02.000 --> 0:26:04.040
<v Speaker 1>and did you put on weight for them? Yeah, I

0:26:04.040 --> 0:26:08.680
<v Speaker 1>put him out forty pounds. I just went another version

0:26:08.720 --> 0:26:12.320
<v Speaker 1>of good looking and that you know, some some uh

0:26:12.560 --> 0:26:16.439
<v Speaker 1>some women you know dig that look. Uh yeah, you know.

0:26:16.960 --> 0:26:20.560
<v Speaker 1>But more so, I mean, I think when people talk

0:26:20.640 --> 0:26:22.280
<v Speaker 1>about the weight and the hair and stuff like that,

0:26:22.320 --> 0:26:24.480
<v Speaker 1>to say, oh, it's you know, they look at it

0:26:24.480 --> 0:26:26.960
<v Speaker 1>in terms of what I did as an actor. But

0:26:27.040 --> 0:26:29.360
<v Speaker 1>that's not the important thing. The important thing is how

0:26:29.400 --> 0:26:31.919
<v Speaker 1>do you get close to the real Kevin Rooney? You know,

0:26:32.119 --> 0:26:33.919
<v Speaker 1>this was the state that he was in, and he

0:26:33.960 --> 0:26:35.920
<v Speaker 1>wasn't always like that. He was a boxer, He was

0:26:36.000 --> 0:26:38.439
<v Speaker 1>a good boxer, training with Custom Moatto. He had a

0:26:38.560 --> 0:26:42.080
<v Speaker 1>he had an amateur and professional career. But after Don

0:26:42.200 --> 0:26:47.159
<v Speaker 1>King took uh took over Tyson and and put you know,

0:26:47.280 --> 0:26:50.320
<v Speaker 1>Kevin Rooney out on the street. Um he was a

0:26:50.320 --> 0:26:53.280
<v Speaker 1>big drinker, a gambler, he lost his way, he got depressed.

0:26:53.880 --> 0:26:56.560
<v Speaker 1>Um you know, he really didn't have a career after that.

0:26:57.080 --> 0:27:01.920
<v Speaker 1>So his weight and his attitude was a reflection of

0:27:01.960 --> 0:27:05.760
<v Speaker 1>what was going on in his life. And um, me,

0:27:05.880 --> 0:27:08.800
<v Speaker 1>gaining the weight and doing that put me in that mindset.

0:27:08.920 --> 0:27:10.840
<v Speaker 1>I was gonna ask if it's something, if it's that

0:27:10.920 --> 0:27:13.160
<v Speaker 1>kind of thing when you go through a physical transformation,

0:27:13.320 --> 0:27:16.240
<v Speaker 1>if it just only helps you further, or if it

0:27:16.280 --> 0:27:18.440
<v Speaker 1>feels like another layer you kind of have to act

0:27:19.720 --> 0:27:23.320
<v Speaker 1>for you. It's exactly the opposite. In fact, anything that

0:27:23.359 --> 0:27:25.800
<v Speaker 1>you can do, anything that any impediment that you can

0:27:25.840 --> 0:27:30.679
<v Speaker 1>give yourself as an actor that allows you to not act,

0:27:31.160 --> 0:27:34.880
<v Speaker 1>to not have to think about that thing is great. Um.

0:27:34.920 --> 0:27:38.160
<v Speaker 1>For example, uh, and Kevin Rooney, he has a particular walk.

0:27:38.240 --> 0:27:40.240
<v Speaker 1>In this walk is a result of his weight and

0:27:40.320 --> 0:27:43.720
<v Speaker 1>his mindset. Um, he's back on his heels. He doesn't

0:27:43.760 --> 0:27:46.240
<v Speaker 1>move his upper body a lot, he just uses his arms.

0:27:46.400 --> 0:27:49.520
<v Speaker 1>He doesn't do too much movement. That's all the reflection

0:27:49.720 --> 0:27:54.679
<v Speaker 1>of his physics, of his physical um, the weight and

0:27:54.720 --> 0:27:57.320
<v Speaker 1>all that. So if I put on the weight and

0:27:57.320 --> 0:27:59.080
<v Speaker 1>then go back on my heels, then I don't have

0:27:59.160 --> 0:28:01.440
<v Speaker 1>to think about that anymore. I can concentrate on what's

0:28:01.440 --> 0:28:04.800
<v Speaker 1>in front of Miles or Vini passiens, or or what

0:28:04.880 --> 0:28:07.879
<v Speaker 1>I have to do in the scene. So um, and

0:28:07.920 --> 0:28:11.560
<v Speaker 1>even if the if the audience doesn't see the impediment.

0:28:11.720 --> 0:28:13.399
<v Speaker 1>For example, if you put a rock in your shoe,

0:28:13.880 --> 0:28:15.639
<v Speaker 1>you know something as simple as that. And I have

0:28:15.680 --> 0:28:18.200
<v Speaker 1>a limp, why wouldn't I put a rock in my shoe?

0:28:18.359 --> 0:28:20.760
<v Speaker 1>And then I can forget about the limp. The limp

0:28:20.840 --> 0:28:23.000
<v Speaker 1>is going to be natural, right because I don't want

0:28:23.000 --> 0:28:24.840
<v Speaker 1>to step on a rock in my shoe, and it's

0:28:24.840 --> 0:28:27.440
<v Speaker 1>gonna be a better experience for the audience. So I'm

0:28:27.480 --> 0:28:30.280
<v Speaker 1>into that totally. And you've played with your look before.

0:28:30.280 --> 0:28:32.719
<v Speaker 1>You talked about Aaron Brockovitch. Earlier you had the biker

0:28:32.800 --> 0:28:37.399
<v Speaker 1>main going on. Yeah, the hair. I've gained weight three

0:28:37.440 --> 0:28:41.000
<v Speaker 1>times over forty pounds for your friends and neighbors. And

0:28:41.040 --> 0:28:47.120
<v Speaker 1>then another movie I did, and you know, uh, each

0:28:47.160 --> 0:28:49.440
<v Speaker 1>time it's put me in the mindset of the character.

0:28:49.440 --> 0:28:52.440
<v Speaker 1>And also when I look into the mirror in the

0:28:52.480 --> 0:28:55.800
<v Speaker 1>makeup trailer or at home, I don't see me anymore.

0:28:56.600 --> 0:29:00.560
<v Speaker 1>I see this other thing, you know. Um, I see

0:29:00.600 --> 0:29:03.800
<v Speaker 1>the character and and and people see the character. The

0:29:03.840 --> 0:29:06.360
<v Speaker 1>other actors do too. And that's the one thing about

0:29:06.520 --> 0:29:12.160
<v Speaker 1>green screen or computer generated like for example, The Dark Night. Um, yes,

0:29:12.240 --> 0:29:14.200
<v Speaker 1>I for two faced. I had makeup on this side

0:29:14.200 --> 0:29:18.320
<v Speaker 1>of my face, But it wasn't the computerated computer generated

0:29:18.360 --> 0:29:22.280
<v Speaker 1>makeup that I that the film eventually got to So

0:29:23.080 --> 0:29:27.240
<v Speaker 1>let's say that you're Gary Oldman or your Christian or whoever, um,

0:29:27.280 --> 0:29:29.280
<v Speaker 1>and you have to see two faces face for the

0:29:29.320 --> 0:29:32.760
<v Speaker 1>first time. Had you seen that computer generated face, you

0:29:32.760 --> 0:29:35.320
<v Speaker 1>would have had a different reaction because it would have

0:29:35.360 --> 0:29:39.560
<v Speaker 1>been horrifying, right, because it was so good. So it's

0:29:39.600 --> 0:29:43.200
<v Speaker 1>also good for actors who are playing opposite you, so

0:29:43.280 --> 0:29:45.480
<v Speaker 1>that they don't have to act that they can truly

0:29:45.480 --> 0:29:48.280
<v Speaker 1>be horrified or feel however they need to feel about

0:29:48.320 --> 0:29:52.560
<v Speaker 1>you as an actor. Um. So, I mean it's been

0:29:52.600 --> 0:29:55.360
<v Speaker 1>a tool since you know, I mean Bella, go see Shakespeare,

0:29:55.400 --> 0:29:59.240
<v Speaker 1>since the Greek That's why the two the masks, right, absolutely,

0:29:59.480 --> 0:30:01.160
<v Speaker 1>But you mentioned your friends and neighbors there. I wanted

0:30:01.160 --> 0:30:03.040
<v Speaker 1>to venture out a little bit. Did you have trouble

0:30:03.040 --> 0:30:05.320
<v Speaker 1>getting dates after in the Company of the Men? Yes,

0:30:05.600 --> 0:30:10.480
<v Speaker 1>I I from the second that movie was in Sundance

0:30:10.640 --> 0:30:12.560
<v Speaker 1>and nobody had seen the film coming up on twenty years.

0:30:12.600 --> 0:30:16.480
<v Speaker 1>That's twenty years I've been in this game pro and

0:30:16.680 --> 0:30:20.880
<v Speaker 1>um wow, And uh sorry, I didn't you put a

0:30:20.960 --> 0:30:24.360
<v Speaker 1>number on it? No, I actually I just I've been

0:30:24.400 --> 0:30:27.640
<v Speaker 1>thinking about that because I'm forty eight and I got

0:30:27.680 --> 0:30:30.200
<v Speaker 1>into started doing movies. I was twenty seven when I

0:30:30.240 --> 0:30:32.840
<v Speaker 1>did that movie. And but it's been a good twenty years.

0:30:32.840 --> 0:30:36.560
<v Speaker 1>It's been an interesting twenty years from me. Um, but

0:30:36.680 --> 0:30:38.600
<v Speaker 1>your friends and neighbors are in the Company of Men.

0:30:38.720 --> 0:30:40.680
<v Speaker 1>They came out of Sundance, you know, the people that

0:30:40.720 --> 0:30:44.360
<v Speaker 1>saw it came out and there I got the reactions.

0:30:44.440 --> 0:30:47.760
<v Speaker 1>I mean just I mean, if they could have spent

0:30:47.920 --> 0:30:52.960
<v Speaker 1>on me, they would. And I did have one instance where,

0:30:53.360 --> 0:30:55.080
<v Speaker 1>I don't know if it was months or years after,

0:30:55.120 --> 0:30:57.000
<v Speaker 1>in the Company of Men, girl comes up to me

0:30:57.040 --> 0:30:59.560
<v Speaker 1>and she goes, she and she was working with me

0:31:00.240 --> 0:31:04.160
<v Speaker 1>in some way, and she says, she said, um, she said,

0:31:04.160 --> 0:31:06.560
<v Speaker 1>I don't know why, but I just had this anger,

0:31:07.240 --> 0:31:10.400
<v Speaker 1>you know, towards you. And I didn't know why. And

0:31:10.720 --> 0:31:12.920
<v Speaker 1>I just felt sick when I would look at where

0:31:12.920 --> 0:31:14.480
<v Speaker 1>it's sick, was wrong where, But you know what, I

0:31:14.480 --> 0:31:16.600
<v Speaker 1>look at you, and she was I realized that it

0:31:16.640 --> 0:31:19.320
<v Speaker 1>was from me in the Company of Men's compliment. Man, Yeah,

0:31:19.360 --> 0:31:22.440
<v Speaker 1>I mean in that case, yeah, basically. And my actually

0:31:22.480 --> 0:31:26.880
<v Speaker 1>my my girlfriend at the time, who's actually in the movie, uh,

0:31:26.920 --> 0:31:29.880
<v Speaker 1>Emily Klein. She uh, her mom called her up after

0:31:29.920 --> 0:31:31.720
<v Speaker 1>the first time she saw that movie, and she goes,

0:31:32.240 --> 0:31:33.719
<v Speaker 1>She's like, I don't know if I can trust there

0:31:33.760 --> 0:31:37.400
<v Speaker 1>and anymore so. I mean, that's the power of the movies.

0:31:37.840 --> 0:31:40.800
<v Speaker 1>That's the power of the script that Neil wrote. It's

0:31:42.200 --> 0:31:44.000
<v Speaker 1>I love it so much. I think I saw it

0:31:44.000 --> 0:31:47.600
<v Speaker 1>in film school for the first time. So naturally, but

0:31:47.960 --> 0:31:49.760
<v Speaker 1>you think you'll work with Neil again. He's been doing

0:31:49.840 --> 0:31:52.160
<v Speaker 1>some TV lately. I think I just talked to Neil

0:31:52.320 --> 0:31:55.080
<v Speaker 1>the other day. Um, Neil's doing a play. He wants

0:31:55.080 --> 0:31:57.160
<v Speaker 1>to do a play on Broadway and asked if I

0:31:57.200 --> 0:32:00.239
<v Speaker 1>wanted to be in it, and unfortunately I can't. But

0:32:00.680 --> 0:32:03.680
<v Speaker 1>we're still very good friends. And you know, Neil has

0:32:03.720 --> 0:32:07.600
<v Speaker 1>been very very good to me. Uh and um, you know,

0:32:07.600 --> 0:32:10.240
<v Speaker 1>he always tries to include me and whatever he's doing. Uh.

0:32:10.280 --> 0:32:13.480
<v Speaker 1>The problem is it's just that, you know, schedules and

0:32:13.480 --> 0:32:15.200
<v Speaker 1>and all that sort of stuff. But we will definitely

0:32:15.200 --> 0:32:19.360
<v Speaker 1>work again. Awesome. I want to talk about Any Given Sunday.

0:32:19.960 --> 0:32:22.040
<v Speaker 1>I'm a huge fan of Any Given Sunday. I hope

0:32:22.080 --> 0:32:24.440
<v Speaker 1>you had a good time making the movie, because I

0:32:24.480 --> 0:32:26.360
<v Speaker 1>would like to talk about it. It's one of those movies.

0:32:26.400 --> 0:32:29.320
<v Speaker 1>It's it's so busy and like to me a good way.

0:32:29.360 --> 0:32:31.240
<v Speaker 1>It's like it looks like he shot a ton of

0:32:31.280 --> 0:32:34.280
<v Speaker 1>film and like, what's laying around that's not in the movie.

0:32:34.440 --> 0:32:37.239
<v Speaker 1>You know, Oh my gosh, working with Oliver Stone, What

0:32:37.320 --> 0:32:39.880
<v Speaker 1>was that experience like for you? I loved it, you know,

0:32:40.200 --> 0:32:42.360
<v Speaker 1>shooting a lot of film. I guess in those it

0:32:42.440 --> 0:32:45.640
<v Speaker 1>was on film, right. Um, he had three units working

0:32:45.640 --> 0:32:48.480
<v Speaker 1>at all times, Oliver. I remember one time I was

0:32:48.720 --> 0:32:51.720
<v Speaker 1>way up in the uh in the in the in

0:32:51.800 --> 0:32:55.280
<v Speaker 1>the coach's box up at Dallas Stadium, and I get

0:32:55.360 --> 0:32:59.200
<v Speaker 1>up there and and the other people were there to

0:32:59.280 --> 0:33:02.280
<v Speaker 1>do the scene and and but Oliver wasn't there. And

0:33:02.320 --> 0:33:04.880
<v Speaker 1>I was like it was a pretty major scene, you know.

0:33:04.920 --> 0:33:07.720
<v Speaker 1>I like, it's like, when's Oliver coming? Because Oliver's in

0:33:07.720 --> 0:33:09.960
<v Speaker 1>the locker room shooting Jamie Fox. They're doing this. But

0:33:10.480 --> 0:33:12.440
<v Speaker 1>so like a lot of times, all everyone wasn't there

0:33:12.920 --> 0:33:15.920
<v Speaker 1>because he was hooked into the monitor and blah blah blah.

0:33:16.160 --> 0:33:19.520
<v Speaker 1>So we did that scene without Oliver. Um. But that's

0:33:19.560 --> 0:33:22.320
<v Speaker 1>his style, I mean, the whole thing. I'll tell a story.

0:33:22.440 --> 0:33:26.080
<v Speaker 1>You like story I do. Let's hear it. Uh. We've

0:33:26.400 --> 0:33:30.640
<v Speaker 1>shot in on Miami Beach. It was it was in

0:33:31.200 --> 0:33:35.440
<v Speaker 1>s h um you know, uh pound sign t show

0:33:36.280 --> 0:33:40.360
<v Speaker 1>uh and Um. I went to set in the beginning,

0:33:40.400 --> 0:33:42.840
<v Speaker 1>and I wasn't working that day. I just went to

0:33:42.840 --> 0:33:45.720
<v Speaker 1>go look at it. And out in the fields, Pacino

0:33:45.920 --> 0:33:48.920
<v Speaker 1>was was working and they weren't shooting a scene, a

0:33:48.920 --> 0:33:51.880
<v Speaker 1>football scene. He was coaching and and Dennis Quaid was

0:33:51.920 --> 0:33:54.000
<v Speaker 1>over there, and and Oliver comes up to me and

0:33:54.000 --> 0:33:56.120
<v Speaker 1>he goes, He goes, you're ready for the big time eron.

0:33:58.040 --> 0:34:00.240
<v Speaker 1>I'm already scared of all of her, right, So I

0:34:00.280 --> 0:34:03.520
<v Speaker 1>was like, um, okay, yeah, sure. And he goes go

0:34:03.560 --> 0:34:06.040
<v Speaker 1>out there and say something to out and I go, Oliver,

0:34:06.520 --> 0:34:09.480
<v Speaker 1>I'm not even working today. I hadn't been through makeup.

0:34:09.520 --> 0:34:12.040
<v Speaker 1>I wasn't in costume or anything. He goes, he goes,

0:34:12.200 --> 0:34:14.040
<v Speaker 1>go out there and say something to him. I go,

0:34:14.680 --> 0:34:17.560
<v Speaker 1>so he he didn't care. So I go out there

0:34:17.560 --> 0:34:21.440
<v Speaker 1>and I have no idea what to say that you know,

0:34:21.520 --> 0:34:24.359
<v Speaker 1>Al's you know, Al doesn't know anything about football, right,

0:34:24.400 --> 0:34:26.760
<v Speaker 1>you know, at the time. So we're doing a scene

0:34:26.760 --> 0:34:29.160
<v Speaker 1>and and then so Oliver goes go over there in

0:34:29.200 --> 0:34:32.640
<v Speaker 1>the background and uh and coach these players, right, these

0:34:32.640 --> 0:34:35.640
<v Speaker 1>big football players. So I was like, okay. And what

0:34:35.760 --> 0:34:38.239
<v Speaker 1>happens is that they're, um, you know, one of the

0:34:38.239 --> 0:34:40.239
<v Speaker 1>coaches would throw the ball to the other they'd run

0:34:40.280 --> 0:34:42.520
<v Speaker 1>and give the drop the ball off and we threw

0:34:42.560 --> 0:34:43.960
<v Speaker 1>it and they would just go around in a circle.

0:34:44.800 --> 0:34:48.160
<v Speaker 1>And um, so we're doing it, you know, Oliver says

0:34:48.200 --> 0:34:51.359
<v Speaker 1>action we're weigh in the background, and and uh. And

0:34:51.600 --> 0:34:54.840
<v Speaker 1>halfway through the scenes, these guys quit, they quit the

0:34:55.200 --> 0:34:58.759
<v Speaker 1>doing their little practice, and I freaked. You know, I'm

0:34:58.800 --> 0:35:01.320
<v Speaker 1>their coach, right, So I get up in their faces

0:35:01.360 --> 0:35:03.520
<v Speaker 1>and I go, if you guys ever quit again, if

0:35:03.560 --> 0:35:05.680
<v Speaker 1>you ever stopped, I didn't tell you to stop. I'm

0:35:06.120 --> 0:35:09.440
<v Speaker 1>blah blah blah blah blah. Right. Well, these football players

0:35:09.480 --> 0:35:13.480
<v Speaker 1>had no idea who I was. They had no idea

0:35:13.520 --> 0:35:15.640
<v Speaker 1>what was going on. So all the film rolling on,

0:35:15.640 --> 0:35:17.960
<v Speaker 1>all of this, yeah, oh yeah. We were in the

0:35:18.040 --> 0:35:20.480
<v Speaker 1>middle of the scene and and so one of the

0:35:20.480 --> 0:35:22.480
<v Speaker 1>football players comes up to me goes, you ever talked

0:35:22.520 --> 0:35:24.680
<v Speaker 1>to me like that again, I'm gonna kick your you know,

0:35:25.440 --> 0:35:29.960
<v Speaker 1>And I said, I'm your coach. I'm an actor. Oliver

0:35:30.040 --> 0:35:33.280
<v Speaker 1>never introduced me to anybody, and so and then finally

0:35:33.280 --> 0:35:35.160
<v Speaker 1>when they when they said, I said, I'm playing the

0:35:35.239 --> 0:35:38.960
<v Speaker 1>offensive coordinator in this movie, then they all, you know,

0:35:39.080 --> 0:35:40.880
<v Speaker 1>we all had a good laugh for the first impression.

0:35:41.040 --> 0:35:43.879
<v Speaker 1>But that's the way Oliver works, and there's a there's

0:35:43.920 --> 0:35:46.520
<v Speaker 1>a method to his madness. I mean, he really gets

0:35:46.560 --> 0:35:50.560
<v Speaker 1>people to just go crazy and to give their best,

0:35:50.640 --> 0:35:55.200
<v Speaker 1>and he creates this atmosphere that it's uh, it's uh,

0:35:55.280 --> 0:35:58.440
<v Speaker 1>it's an animal atmosphere that you know, you know, because

0:35:59.360 --> 0:36:01.359
<v Speaker 1>you know football. The reason why you like that movie,

0:36:01.400 --> 0:36:03.640
<v Speaker 1>I'm sure, I mean, you tell me is that it's

0:36:03.680 --> 0:36:06.640
<v Speaker 1>just it's madness. I mean football is mad. All the Gladiator,

0:36:06.680 --> 0:36:08.759
<v Speaker 1>the stuff they cut into it, I mean, it's it's

0:36:08.840 --> 0:36:11.680
<v Speaker 1>the essence of it. And he creates that offset. So

0:36:11.719 --> 0:36:14.560
<v Speaker 1>the whole set is like that. Um, you know, people

0:36:14.560 --> 0:36:17.279
<v Speaker 1>don't know what they're doing. People, and he shoots forever.

0:36:17.320 --> 0:36:21.840
<v Speaker 1>We were doing twenty hour days for weeks and weeks, um.

0:36:21.920 --> 0:36:25.640
<v Speaker 1>But he gets results and that's why Olive are so great. Um.

0:36:25.680 --> 0:36:29.719
<v Speaker 1>I would definitely work with him again. Uh. Twenty years later,

0:36:29.760 --> 0:36:31.600
<v Speaker 1>I know a little bit more than I knew that,

0:36:31.719 --> 0:36:33.560
<v Speaker 1>you know, because I had just come off in the

0:36:33.560 --> 0:36:35.920
<v Speaker 1>company of men. But it was a great time. You're

0:36:35.920 --> 0:36:39.800
<v Speaker 1>a football fan, Oh yeah, who's your team? Raiders? Raiders? Yeah? Okay,

0:36:39.840 --> 0:36:42.040
<v Speaker 1>So what do you think of the Rams being back here? Yeah?

0:36:42.120 --> 0:36:46.600
<v Speaker 1>It's good. I mean I'm I would prefer that they

0:36:46.640 --> 0:36:49.759
<v Speaker 1>create l A's own team. You know, I know that

0:36:50.760 --> 0:36:53.279
<v Speaker 1>the Rams were here at one time, but you know,

0:36:53.680 --> 0:36:56.160
<v Speaker 1>I like that they're building a state stadium in the

0:36:56.200 --> 0:36:58.799
<v Speaker 1>middle of town. I'd like that so that everybody can

0:36:58.840 --> 0:37:02.680
<v Speaker 1>participate in the we don't have to go out for um.

0:37:02.719 --> 0:37:05.480
<v Speaker 1>I like football. I love football, so I'm happy that

0:37:05.520 --> 0:37:07.920
<v Speaker 1>they're here. I'm still a Raiders fan, and if Raiders

0:37:07.920 --> 0:37:09.680
<v Speaker 1>go to the Vegas I'm still going to be a

0:37:09.719 --> 0:37:13.480
<v Speaker 1>Raiders fan. Yes. Are You're from Kuppertina, right from A Yeah. Way,

0:37:13.520 --> 0:37:16.960
<v Speaker 1>So the Dark Knight you mentioned earlier, I think it

0:37:17.040 --> 0:37:20.279
<v Speaker 1>looms large on you know, anybody's filmography that was a

0:37:20.320 --> 0:37:22.920
<v Speaker 1>part of that film. Uh, I'm curious your thoughts on

0:37:23.000 --> 0:37:28.759
<v Speaker 1>just the ballooning sort of comic book franchise status quo

0:37:28.800 --> 0:37:30.400
<v Speaker 1>of the industry right now. You are kind of a

0:37:30.400 --> 0:37:32.880
<v Speaker 1>part of the most ideal scenario with that. You this

0:37:32.960 --> 0:37:36.880
<v Speaker 1>ohtour filmmaker who had a blockbuster sensibility, dictated what he

0:37:36.920 --> 0:37:39.560
<v Speaker 1>wanted to do with his trilogy and then got out

0:37:39.560 --> 0:37:42.919
<v Speaker 1>of it. Chris is an independent filmmaker and art who

0:37:42.960 --> 0:37:46.640
<v Speaker 1>makes the biggest movies in the world. So he the

0:37:47.200 --> 0:37:49.879
<v Speaker 1>essence through the atmosphere on the set. Is an independent film, Yeah,

0:37:50.320 --> 0:37:52.239
<v Speaker 1>but you have three of the largest green screens on

0:37:52.280 --> 0:37:55.800
<v Speaker 1>the planet, you have two of the only Alimax cameras made.

0:37:55.920 --> 0:37:58.440
<v Speaker 1>I mean, you know, the Batmobile, all this sort. But

0:37:58.520 --> 0:38:01.080
<v Speaker 1>he does it as an independent filmer, and he is,

0:38:01.160 --> 0:38:03.600
<v Speaker 1>as you said in our tour, he's the closest thing

0:38:03.600 --> 0:38:06.080
<v Speaker 1>that I've ever seen to what I felt like. Hitchcock

0:38:06.280 --> 0:38:10.239
<v Speaker 1>was at the consummate filmmaker, the consummate storyteller with his

0:38:10.280 --> 0:38:14.000
<v Speaker 1>own style, Chris. And then we had Heath who is

0:38:14.040 --> 0:38:18.719
<v Speaker 1>giving a performance. Uh, that wasn't a superhero performance. That

0:38:18.880 --> 0:38:26.000
<v Speaker 1>was a psychotic villain performance. Is psychotic like a method performance. Yeah,

0:38:26.000 --> 0:38:28.880
<v Speaker 1>I mean it was. It was real. It was visceral.

0:38:29.000 --> 0:38:32.240
<v Speaker 1>You know. You know he wasn't putting on a show

0:38:32.840 --> 0:38:36.160
<v Speaker 1>for the comic book. He was. I mean, anybody that

0:38:36.280 --> 0:38:40.000
<v Speaker 1>can take the joke Jack Nicholson's joker and then make

0:38:40.040 --> 0:38:43.719
<v Speaker 1>it his own has done a good job. You know,

0:38:44.600 --> 0:38:48.600
<v Speaker 1>Chris really gave us a novel for a script. When

0:38:48.600 --> 0:38:51.120
<v Speaker 1>I read that script, it was the scenario where some

0:38:51.200 --> 0:38:53.560
<v Speaker 1>guy goes to your house and waits in the garas

0:38:53.719 --> 0:38:56.400
<v Speaker 1>in the driveway while you read the script, and I thought,

0:38:56.480 --> 0:38:58.600
<v Speaker 1>how can Okay, I'll be two faced, but how can

0:38:58.640 --> 0:39:00.680
<v Speaker 1>you possibly with all these other characters, can there be

0:39:00.680 --> 0:39:03.560
<v Speaker 1>any room for character development as two face? And it

0:39:03.640 --> 0:39:05.919
<v Speaker 1>was all there. I mean, it was a novel. Um.

0:39:06.000 --> 0:39:09.480
<v Speaker 1>He managed to put all these subplots and characters and

0:39:09.520 --> 0:39:12.640
<v Speaker 1>give them all something to do, make them real characters,

0:39:12.719 --> 0:39:17.719
<v Speaker 1>and um, and weave them in the story. Um. You know,

0:39:17.800 --> 0:39:21.040
<v Speaker 1>as you said, that's it was different that trilogy because

0:39:21.080 --> 0:39:24.040
<v Speaker 1>of Chris, I think had more depth to it, It

0:39:24.120 --> 0:39:27.640
<v Speaker 1>had more social importance. Especially look at what's going on

0:39:27.680 --> 0:39:32.440
<v Speaker 1>today this very day. Um. Uh you know. Uh, So

0:39:33.840 --> 0:39:37.200
<v Speaker 1>I don't know that the other filmmakers out there are

0:39:37.280 --> 0:39:41.080
<v Speaker 1>doing have the vision that Chris does. And I don't

0:39:41.120 --> 0:39:43.560
<v Speaker 1>know if they're trying to solve the same problems that

0:39:43.680 --> 0:39:47.320
<v Speaker 1>Chris is and trying to teach us like Chris is. Uh.

0:39:47.480 --> 0:39:52.640
<v Speaker 1>You know. Um, here you have Gotham City that is

0:39:52.680 --> 0:39:58.280
<v Speaker 1>being overrun by a mob, by a personality you know. Um,

0:39:58.320 --> 0:40:00.600
<v Speaker 1>people are afraid to walk the stre reads, the old

0:40:00.680 --> 0:40:03.800
<v Speaker 1>lady can't go out, the police force is either bought

0:40:03.800 --> 0:40:06.920
<v Speaker 1>off or scared. Um. These are real issues that are

0:40:06.920 --> 0:40:11.680
<v Speaker 1>going on today. Um. You know. Uh, the threat was

0:40:11.840 --> 0:40:14.000
<v Speaker 1>very very real in the Dark Night, I don't know

0:40:14.120 --> 0:40:18.080
<v Speaker 1>that the threat is as real. And other super superhero movies,

0:40:18.680 --> 0:40:20.400
<v Speaker 1>I don't know if they even have the intention of

0:40:20.400 --> 0:40:22.600
<v Speaker 1>doing and the goal seems to be everything is shackled

0:40:22.640 --> 0:40:25.200
<v Speaker 1>by I P Really it's it's kind of like, we

0:40:25.320 --> 0:40:27.239
<v Speaker 1>need this thing that has a fan base that we

0:40:27.280 --> 0:40:29.560
<v Speaker 1>can create a product around. And that's what it feels

0:40:29.600 --> 0:40:31.560
<v Speaker 1>like in the industry. You know, I don't know how

0:40:31.640 --> 0:40:35.600
<v Speaker 1>much teaching is being done in superhero films. I don't know.

0:40:35.800 --> 0:40:39.480
<v Speaker 1>Now I'm forty eight, I'm not thirteen years old. I

0:40:39.480 --> 0:40:41.600
<v Speaker 1>mean I went to Greece, man, I went to Rocky,

0:40:41.719 --> 0:40:43.440
<v Speaker 1>but when I saw Rocky, I went out of there

0:40:43.440 --> 0:40:45.759
<v Speaker 1>going I can do it if I want. Well, that's

0:40:45.800 --> 0:40:48.960
<v Speaker 1>one of the themes, um, you know, David versus Goliath.

0:40:49.120 --> 0:40:51.000
<v Speaker 1>You know all these things that it made me a

0:40:51.040 --> 0:40:54.560
<v Speaker 1>better person Rocky did. Um, I don't know, and you

0:40:54.560 --> 0:40:57.239
<v Speaker 1>could tell me maybe better this Are these kids going

0:40:57.239 --> 0:40:59.560
<v Speaker 1>out of those movies better people? Are they learning something?

0:40:59.560 --> 0:41:02.480
<v Speaker 1>Are they using it in their real lives? Um, it's

0:41:02.480 --> 0:41:06.000
<v Speaker 1>a fair question. What are movies for? You know? One

0:41:06.040 --> 0:41:09.080
<v Speaker 1>thing about solely bringing it back to solely is you know,

0:41:09.680 --> 0:41:12.360
<v Speaker 1>when I read comments. You know, if I'm on Twitter

0:41:12.640 --> 0:41:15.520
<v Speaker 1>or whatever it is, you know, reading comments about the film,

0:41:15.760 --> 0:41:19.080
<v Speaker 1>people I think are getting something from the film. Um

0:41:19.160 --> 0:41:21.000
<v Speaker 1>And and the same thing with Bleef for this. You know,

0:41:21.200 --> 0:41:24.439
<v Speaker 1>Vinny was was a champ, broke his neck and and

0:41:24.440 --> 0:41:30.560
<v Speaker 1>and and out of his own desire, this maniacal desire

0:41:30.640 --> 0:41:33.680
<v Speaker 1>to box. He built himself back up and became five

0:41:33.719 --> 0:41:38.000
<v Speaker 1>time champ. I can learn something from that. Um So,

0:41:38.840 --> 0:41:42.880
<v Speaker 1>I don't look at things like an alien movie or

0:41:43.239 --> 0:41:45.759
<v Speaker 1>a superhero movie, or a drama or a comedy. If

0:41:45.800 --> 0:41:47.840
<v Speaker 1>somebody dies in an alien movie, it's the same to

0:41:47.840 --> 0:41:50.319
<v Speaker 1>me as they die in a drama. It's the same

0:41:50.920 --> 0:41:54.200
<v Speaker 1>acting as an actor. Um you know, flags that go

0:41:54.239 --> 0:41:55.960
<v Speaker 1>off in my head. I'm going to treat that as

0:41:55.960 --> 0:41:59.160
<v Speaker 1>a real death. You know. Maybe that maybe that's why

0:41:59.200 --> 0:42:01.520
<v Speaker 1>I'm where in my here because I haven't gotten a

0:42:01.600 --> 0:42:05.719
<v Speaker 1>freaking message. But um So, you're not compelled then to

0:42:05.719 --> 0:42:08.759
<v Speaker 1>to join into these big cinematic universes and be a

0:42:08.800 --> 0:42:13.279
<v Speaker 1>part of though. I'm more compelled to go direct and

0:42:13.360 --> 0:42:16.640
<v Speaker 1>write my own voice and find my own voice. I

0:42:16.680 --> 0:42:20.399
<v Speaker 1>don't need to have. Um Look, I mean, as we said,

0:42:20.440 --> 0:42:23.719
<v Speaker 1>I'm twenty years into this, I'm getting older. UM, My

0:42:23.800 --> 0:42:28.440
<v Speaker 1>whole thing would be to teach kids to um, to

0:42:28.520 --> 0:42:32.560
<v Speaker 1>be better people and to have the tools to weather

0:42:33.400 --> 0:42:37.239
<v Speaker 1>the storms that are coming through adolescence. And you know,

0:42:37.360 --> 0:42:40.879
<v Speaker 1>I've always I have in fact, an idea to write

0:42:40.960 --> 0:42:43.440
<v Speaker 1>my own superhero movie. But it has nothing to do

0:42:43.440 --> 0:42:46.400
<v Speaker 1>with superpowers. It has to do with I don't even

0:42:46.440 --> 0:42:50.759
<v Speaker 1>want to say, but it's it's tools that kids if

0:42:50.800 --> 0:42:55.480
<v Speaker 1>they learn them today as kids, they're there. There's social

0:42:55.520 --> 0:42:58.920
<v Speaker 1>interaction tools that if they apply these, they actually can

0:42:59.040 --> 0:43:02.719
<v Speaker 1>feel like superhero. UM. Well, I wanted to ask you

0:43:02.719 --> 0:43:05.239
<v Speaker 1>because we were starting to I'll close here. We were

0:43:05.239 --> 0:43:08.040
<v Speaker 1>starting to talk at the beginning before we recorded about

0:43:08.200 --> 0:43:09.799
<v Speaker 1>the project. Here. We're trying to get off the ground

0:43:09.840 --> 0:43:12.600
<v Speaker 1>as a director. So that's you're interested in in? Oh yeah,

0:43:12.680 --> 0:43:17.040
<v Speaker 1>creating definitely. I feel that you know. Yes, I want

0:43:17.040 --> 0:43:19.480
<v Speaker 1>to tell stories. UM. I want to have my own

0:43:19.560 --> 0:43:22.439
<v Speaker 1>voice out there. I also don't want to I want

0:43:22.440 --> 0:43:25.239
<v Speaker 1>to be free. I want to do what I want

0:43:25.239 --> 0:43:27.439
<v Speaker 1>to do in the movies and not have any talent

0:43:27.640 --> 0:43:30.239
<v Speaker 1>telling me that I can't do it. Um. I also

0:43:30.280 --> 0:43:33.840
<v Speaker 1>want to work with actors. I I want to What

0:43:33.960 --> 0:43:37.880
<v Speaker 1>I'm looking for a director is Yes, the atmosphere of

0:43:37.880 --> 0:43:39.600
<v Speaker 1>trust and all that sort of stuff. But I want

0:43:39.640 --> 0:43:44.160
<v Speaker 1>a director to say, it's not good enough. Go further,

0:43:44.280 --> 0:43:46.279
<v Speaker 1>go further, you can do better, you can do better,

0:43:46.360 --> 0:43:49.120
<v Speaker 1>you can do better, and push me even if it hurts,

0:43:49.200 --> 0:43:53.359
<v Speaker 1>so that afterwards, when we see the product, I say, wow,

0:43:53.360 --> 0:43:56.399
<v Speaker 1>I didn't know I was capable of that, Thank you.

0:43:57.239 --> 0:44:00.280
<v Speaker 1>And I work with actors, and I look at other actors,

0:44:00.280 --> 0:44:02.719
<v Speaker 1>and I look at the demands or the lack of

0:44:02.800 --> 0:44:06.120
<v Speaker 1>demands that actors put that directors put on actors because

0:44:06.160 --> 0:44:09.759
<v Speaker 1>directors oftentimes do not know what to say or how

0:44:09.840 --> 0:44:14.160
<v Speaker 1>to push an actor. Oftentimes directors are afraid of actors,

0:44:14.200 --> 0:44:17.560
<v Speaker 1>so the actors aren't getting the best of the director.

0:44:18.280 --> 0:44:22.280
<v Speaker 1>You know, um, and I would like to take actors

0:44:22.320 --> 0:44:25.560
<v Speaker 1>and push them hard so that we can get to

0:44:25.600 --> 0:44:28.560
<v Speaker 1>a place that we never imagined, so the audience can go, damn,

0:44:28.600 --> 0:44:31.160
<v Speaker 1>that was real. I felt that. I think a great

0:44:31.160 --> 0:44:34.880
<v Speaker 1>example of that is um is thirteen, the movie thirteen

0:44:34.920 --> 0:44:40.040
<v Speaker 1>by Katherine Hardwick. You know, she told me I was

0:44:40.080 --> 0:44:42.239
<v Speaker 1>working with her, not on a movie but something else,

0:44:42.239 --> 0:44:45.480
<v Speaker 1>and and she told me that, And you know, you're

0:44:45.560 --> 0:44:48.360
<v Speaker 1>you're taking people and giving the best performances of their lives.

0:44:48.480 --> 0:44:51.799
<v Speaker 1>What did it take to do that? How did the

0:44:51.840 --> 0:44:55.920
<v Speaker 1>actors buy into it? Didn't hurt? Was it uncomfortable? Um,

0:44:55.960 --> 0:44:59.600
<v Speaker 1>because I'm okay with uncomfortable. I'm okay with payne. Uh.

0:44:59.640 --> 0:45:02.239
<v Speaker 1>You know if it gets as closer to where we

0:45:02.239 --> 0:45:05.640
<v Speaker 1>want to be. Um, And so that's why I want

0:45:05.640 --> 0:45:08.319
<v Speaker 1>to direct. Awesome. Well, good luck with that, man, I

0:45:08.400 --> 0:45:11.200
<v Speaker 1>hope you do it, And good luck with these two films.

0:45:11.320 --> 0:45:13.880
<v Speaker 1>Everybody go see Sully. Pleave for this is around the corner.

0:45:14.160 --> 0:45:16.359
<v Speaker 1>And thanks again for coming by today and really appreciate it.

0:45:16.400 --> 0:45:28.080
<v Speaker 1>Thank you, m Thanks again for listening everyone. Remember to

0:45:28.120 --> 0:45:31.000
<v Speaker 1>subscribe and check back next week. You've been listening to

0:45:31.080 --> 0:45:44.760
<v Speaker 1>playback at Variety