WEBVTT - Ep17 - Kevin Costner / "Hidden Figures"

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<v Speaker 1>Welcome to Playback, a Variety podcast. I'm your host, Variety

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<v Speaker 1>Awards Editor Chris Tapley. On today's show, we take reader

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<v Speaker 1>questions at the end of the year. A little bit later,

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<v Speaker 1>I'll be talking to Hidden Figure star Kevin Costner. So

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<v Speaker 1>stick around. All right, we're back for our last episode

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<v Speaker 1>of the year. Oh my gosh, is it really that's it?

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<v Speaker 1>This is this is it? So it was nice knowing everybody.

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<v Speaker 1>Welcome to Trump's America. We've thrown it out to reader

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<v Speaker 1>questions for this uh last little literally run out of people,

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<v Speaker 1>so put it in, put the words in our mouth.

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<v Speaker 1>Let's just dive into it. Um Marshall Schaeffer, any predictions

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<v Speaker 1>for how the guilds will change the narrative like they

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<v Speaker 1>did with American Sniper, Dragon Tattoo, etcetera. Well, arguably they

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<v Speaker 1>didn't try change the narrative with Dragon Tattoo because those

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<v Speaker 1>nominations didn't really turn out to be Best Director of

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<v Speaker 1>the Best Picture Academy. But I see what he's saying, Uh, guilds.

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<v Speaker 1>I think the person the person, sorry, the film that

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<v Speaker 1>will probably benefit the most as Hidden Figures. I think

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<v Speaker 1>that's probably start to take it seriously with that I

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<v Speaker 1>mean I think, look, I know there's plenty of people

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<v Speaker 1>that think Arrival is in the thick of it. I

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<v Speaker 1>could totally see it get p G A and dj

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<v Speaker 1>A nominations. But you know, I could see that because

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<v Speaker 1>he's come around late in the game and they had

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<v Speaker 1>this big Christopher Nolan thing with him, and they're they're

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<v Speaker 1>really pushing it. I think it could happen. But I

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<v Speaker 1>still get Wait, what's the Christopher Nolan thing Q and

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<v Speaker 1>A with him at the center family. That's very big

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<v Speaker 1>of him, Like I would be like, and you're encroaching

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<v Speaker 1>on my territory, right, I'm the tweety smart sci fi

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<v Speaker 1>emotional like a little passing of the baton if you will. Um.

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<v Speaker 1>But and we got this Blade Runner trailer that hit

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<v Speaker 1>last year. Denny is hot right now, and I love him.

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<v Speaker 1>I think he's an amazing I think he was overlooked

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<v Speaker 1>last year for Cicario. He said, vibe and look, maybe

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<v Speaker 1>I'm wrong. I keep getting this vibe around Arrival. I'm

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<v Speaker 1>getting this Nightcrawler vibe. I'm getting this vibe yeah where

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<v Speaker 1>it's like yeah, PGA nominee. I granted those two movies

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<v Speaker 1>didn't get TG nominations, but it just maybe falls off

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<v Speaker 1>at the end of the day. And I've been feeling

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<v Speaker 1>the same way about Amy. We'll see. I'm happy to

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<v Speaker 1>be wrong. I mean, it's not like I'm being definitive here.

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<v Speaker 1>I'm just kind of going with my gut. I've always

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<v Speaker 1>thought Amy was in on this race, and I've had

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<v Speaker 1>people telling me I'm wrong this whole time because it

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<v Speaker 1>is such a competitive category. The person that I've never

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<v Speaker 1>bought is has a secure cure spot is Meryl Streep

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<v Speaker 1>and Ruthnega. Not because they don't deserve it. They're both fantastic,

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<v Speaker 1>but I'm just you know, Meryl really doesn't do press.

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<v Speaker 1>She doesn't need it. Of course she's fantastic. We've all

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<v Speaker 1>come to expect that. Um, and I don't know, like

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<v Speaker 1>how how is Loving doing? M Well, not that that matters.

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<v Speaker 1>I mean, like hand me voters, because I still thing

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<v Speaker 1>is to like, we've got six seven new Academy members.

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<v Speaker 1>That's that's the biggest leap we've ever had. It. We

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<v Speaker 1>can no longer say, well the Academy yeah yeah, I mean,

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<v Speaker 1>well you can never really say that, like you're basically saying, oh,

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<v Speaker 1>the hundred people I talked to generous. Yeah, um, it's

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<v Speaker 1>like one guy, you know, happy my ear off at

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<v Speaker 1>a screening, who's like really pulling for Miles talent my

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<v Speaker 1>makeup branch buddy. Yeah, those makeup people are serious man.

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<v Speaker 1>Like I almost said, you know how they like narrow

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<v Speaker 1>it down and you have to give a presentation. I

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<v Speaker 1>almost feel like that's the way we should do best picture,

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<v Speaker 1>Like I has to get up and over the months

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<v Speaker 1>we narrow it down five. Yeah, Colin Llewellyn, which film

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<v Speaker 1>didn't get enough recognition in two thousand sixteen? And which

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<v Speaker 1>is your most anticipated going into two thou seven teen.

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<v Speaker 1>I haven't looked ahead much yet. There's the James Ponselt movie,

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<v Speaker 1>A movie, so I'm always there for PTA's new movies.

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<v Speaker 1>What's that one? I forgot? Somebody helped me out on that.

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<v Speaker 1>But look, I literally don't look ahead to the new

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<v Speaker 1>year until it's the new year. Yeah, I mean that's true.

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<v Speaker 1>I mentioned Blade Runner. I think Blade Runner looks kind

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<v Speaker 1>of awesome. I mean I wasn't a huge I'm not

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<v Speaker 1>a huge Blade Runner fan by the way, which is

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<v Speaker 1>probably huge fan, and I'm very excited about this new one.

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<v Speaker 1>And Roger Deakins is like, looks like he's crushing it.

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<v Speaker 1>You know. The Circle is the name of the James

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<v Speaker 1>ponsel I just I think he's a fantastic packer. Also

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<v Speaker 1>The Glass Castle with Bree Lawson and I'm throwing out

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<v Speaker 1>there now Best Supporting Actor contender Woody Harrelson playing her

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<v Speaker 1>crazy dad. Wow, and he's got Wilson earlier in the year,

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<v Speaker 1>so he might have quite a narrative. But he did Wilson.

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<v Speaker 1>I've read that script of years ago. Yeah, it's going

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<v Speaker 1>to be like a sun Dance early Spring movie. Though.

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<v Speaker 1>He's a great actor, so he was so good an

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<v Speaker 1>Edge of seventeen. Hey, wait, there's a movie that should

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<v Speaker 1>have gotten more recognition Edge of seventeen because it didn't

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<v Speaker 1>make any money and you've been talking about it. I

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<v Speaker 1>still haven't. You still haven't seen it. Oh see, I

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<v Speaker 1>don't want to oversell it because then we have a

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<v Speaker 1>shallow situation, right where a movie is okay, but everybody

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<v Speaker 1>is so surprised it's okay that No, um, yeah, it

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<v Speaker 1>was great. It was on my top five list. I

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<v Speaker 1>guess I would probably say Green Room. Yeah, I mean

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<v Speaker 1>I think that I thought that did well. I mean

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<v Speaker 1>it did well, but like you know, it in its frame,

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<v Speaker 1>and then people forgot it and moved on to the

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<v Speaker 1>other movies. And I think it stuck around as one

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<v Speaker 1>of the best movies of the year, and it should

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<v Speaker 1>have been May being singled out for that. If I

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<v Speaker 1>had longer to think about this, maybe I'd come up

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<v Speaker 1>with something else. How did Florence Foster Jenkins do at

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<v Speaker 1>the box box office? Because I also really loved that movie.

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<v Speaker 1>I think it did well in August and then they

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<v Speaker 1>re released it, so I don't know how much they

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<v Speaker 1>re released did, but I thought that that had a

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<v Speaker 1>really good shot at a sag entseumble. Noom you know

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<v Speaker 1>in the Golden Globes kind of brought it back, and yeah,

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<v Speaker 1>I think it's a big crowdpleaser. There's a couple of

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<v Speaker 1>movies like that are such late releases. I don't know

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<v Speaker 1>if they're underappreciated yet. We both really like Patriots Day,

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<v Speaker 1>you know, I'd like to see how that does, and

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<v Speaker 1>it goes wide in January. Um still remains to be

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<v Speaker 1>seen how Hidden Figures will do. But the Independence Day Resurgence,

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<v Speaker 1>it only made three millions slop. Did you see certain women?

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<v Speaker 1>I did not well. Nevertheless, rogue Observer would like to

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<v Speaker 1>know what the outlook is on that for award season.

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<v Speaker 1>Why has its buzz sort of faded away? I mean,

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<v Speaker 1>I don't know that it had like hot buzz. Some

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<v Speaker 1>critics gave it up for the like Lily Gladstone. I mean,

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<v Speaker 1>if anything, that's that's a critics movie, and yeah, that's

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<v Speaker 1>where it's gonna thrive. And you know, sometimes they move

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<v Speaker 1>on to other shiny objects. Well, and also it's just

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<v Speaker 1>such a crazy race this year for actress and supporting actress.

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<v Speaker 1>You know, it's it's hard to get in there. This

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<v Speaker 1>person wants to know if we will all live to

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<v Speaker 1>see two thousand eighteen. No idea, I'll get back to.

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<v Speaker 1>This person wants to know how I can dislike Swiss

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<v Speaker 1>Army Man so much? You do you just like Swiss

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<v Speaker 1>Army Man. I couldn't stand it. Oh, this is interesting

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<v Speaker 1>because I thought I would hate it, and I was

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<v Speaker 1>really really surprised by the fact that I liked it. Yeah,

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<v Speaker 1>I mean, again getting back to what we said last

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<v Speaker 1>week about movies that people just dogpile and I'm not

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<v Speaker 1>like interested in tearing it apart, but like I appreciate

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<v Speaker 1>that people love the movie and found Hard in it.

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<v Speaker 1>I just it was it was the whole thing was

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<v Speaker 1>a stunt to me. It didn't translate emotionally at all.

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<v Speaker 1>And hey, that's where I fell. I commend A twenty

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<v Speaker 1>for picking a movie like that up. I think they're

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<v Speaker 1>you know, I do this thing every year that the

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<v Speaker 1>superlatives like best Countless Thing, super lattice and I do,

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<v Speaker 1>uh like Entertainer of the Year, and I think is

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<v Speaker 1>the Entertainer of the Year, just because of their interesting,

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<v Speaker 1>wide swath of the content between that the Lobster obviously Moonlight.

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<v Speaker 1>Help me out what else Green Room? Uh didn't they do?

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<v Speaker 1>They did Twenty Century Women, they did Amy last year.

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<v Speaker 1>But yeah, I mean they're just I love their portfolio

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<v Speaker 1>of stuff they've picked up from America, from America. Shout

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<v Speaker 1>out to my boy Chad Hard again we got to

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<v Speaker 1>film school together. Uh, David would like to know. Wait,

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<v Speaker 1>he says, He says, no questions, just happy you're doing

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<v Speaker 1>in all show We needed that. We really did at

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<v Speaker 1>the end of this year, any shocks, no Golden globes

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<v Speaker 1>results like last year brewing. But okay, let me make

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<v Speaker 1>this an actual sentence. It wins another fan no Golden

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<v Speaker 1>Globes results like last year brewing based on what you

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<v Speaker 1>are hearing? Okay, Golden Globes, shockers on the horizon. Um.

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<v Speaker 1>I mean the conventional thinking is that Moonlight will take

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<v Speaker 1>drama and la Land will take musical. What if they

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<v Speaker 1>surprised us in Moonlight doesn't take drama. I think they're

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<v Speaker 1>both set. Actually, um, because I think they're I know

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<v Speaker 1>law la Land is like collectively their favorite movie. Yes,

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<v Speaker 1>and that's in the musical comedy category. That's a lock.

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<v Speaker 1>What's Moonlight up against that could possibly take it? Not

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<v Speaker 1>hidden figures but perfect there were no studio this hell

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<v Speaker 1>or high Water Moonlight. Manchester by the Sea could be Manchester,

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<v Speaker 1>uh one or the other two. It could be Manchester.

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<v Speaker 1>But I don't think they liked that as much like

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<v Speaker 1>they kind of fences? Is that nominated? Someone's yelling at us.

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<v Speaker 1>I'm sure, I don't think. I don't think we're gonna

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<v Speaker 1>get a shocking Best Picture Best Well. The year that

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<v Speaker 1>they awarded Grand Budapest Hotel Best Comedy over Birdman, that

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<v Speaker 1>was a surprise. Birdman was in like the less competitive

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<v Speaker 1>category and went up because they Birdman won screenplay only

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<v Speaker 1>from the Globes, which is, yeah, well that was a

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<v Speaker 1>year of Boyhood when everybody was so share Boyhood was

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<v Speaker 1>going to make a clean sweep and you know me

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<v Speaker 1>not me either. I was like not that, you know,

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<v Speaker 1>I wasn't a fan of the movie, but I was like,

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<v Speaker 1>I think people are confusing critics with Oscar voters, and

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<v Speaker 1>there's a very difference. That's why I'm like, I'm not

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<v Speaker 1>calling a front runner in the Best Actor category yet

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<v Speaker 1>until we get some gildin no. I mean like, yeah,

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<v Speaker 1>all the critics are going with Casey Affleck, but it's

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<v Speaker 1>pretty tough to Denye dends on Washington. And like I

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<v Speaker 1>said last week, you know, if people see Bigo mortensand

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<v Speaker 1>and Captain Paid Picture, uh yeah, I mean I think

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<v Speaker 1>I still think Denzel is winning that, but I don't

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<v Speaker 1>know what I mean. I mean, I kind of do too.

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<v Speaker 1>I'm but like, there's you know, there's three people you

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<v Speaker 1>know who I think are in the running, and they're

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<v Speaker 1>also good. We say this on the air, I don't remember.

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<v Speaker 1>I feel like there's a world where Ryan Gosling just yes,

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<v Speaker 1>I do too. Yeah. So so until like the Guild speak, basically,

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<v Speaker 1>until the SAG Awards, you know I'm hesitant to cry

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<v Speaker 1>front run around and the only ones that matter personally.

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<v Speaker 1>It's the only thing where the memberships kind of cross pollinate.

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<v Speaker 1>Mary kring will Fit is back with I know you're

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<v Speaker 1>an advocate for a best Ensemble category? Am I? I

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<v Speaker 1>think she means me probably he sorry, Mary, Mary E

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<v Speaker 1>r r y. It's it's a it's a an altered

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<v Speaker 1>Twitter handle for the for the season. Uh says I

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<v Speaker 1>know you're an advocate for but so you're not you're

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<v Speaker 1>an advocate for that? Huh advocate? I mean yeah, yeah.

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<v Speaker 1>I don't think that there's any correlate should between Best

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<v Speaker 1>Ensemble and Best Picture. And I'll say that till I'm

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<v Speaker 1>blue in the filtre Um. But I do love the

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<v Speaker 1>ensemble category. I love that the SAG Awards, you know, ensemble.

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<v Speaker 1>And this is a tough one for me because these

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<v Speaker 1>are five true great ensembles. Um, I think Moonlight is

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<v Speaker 1>the obvious choice. Um, that is up the perfect cast. Yeah,

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<v Speaker 1>it'd be my pick two. Um, but hidden figures. Are

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<v Speaker 1>we predicting or are we saying because he he must

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<v Speaker 1>to know who should win this year? Moonlight? You think Moonlights? Yeah,

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<v Speaker 1>we both think Moonlighters is the best ensemble. But you know,

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<v Speaker 1>I do think that, Uh, I think it's gonna go

0:11:37.920 --> 0:11:40.600
<v Speaker 1>to Fences. Really well, that would not be a bad choice.

0:11:42.679 --> 0:11:46.040
<v Speaker 1>It's a perfect cast, and so I think Fences and

0:11:46.080 --> 0:11:50.000
<v Speaker 1>Hidden Figures are real threats to Moonlight. I mean, all

0:11:50.040 --> 0:11:54.160
<v Speaker 1>three of those casts are pretty remarkable, and um, Hidden

0:11:54.160 --> 0:11:56.120
<v Speaker 1>Figures sort of has the advantage of it's be It's

0:11:56.160 --> 0:11:58.319
<v Speaker 1>filled with a lot of familiar faces that people love.

0:11:58.360 --> 0:12:01.080
<v Speaker 1>You've got Kevin Costner and Jim Parson, into Arshi be Henson,

0:12:01.320 --> 0:12:04.760
<v Speaker 1>Octavia Spencer, who doesn't love Octavia Spencer? And then you

0:12:04.760 --> 0:12:09.439
<v Speaker 1>know new faces like Janelle Monet, who's so good in

0:12:09.520 --> 0:12:13.680
<v Speaker 1>a double nomine Moonlight. Yeah. I keep refreshing to see

0:12:13.679 --> 0:12:16.040
<v Speaker 1>if someone will send us some more questions. Never happened,

0:12:17.640 --> 0:12:22.480
<v Speaker 1>bunch of them. Um any any any Uh? What do

0:12:22.520 --> 0:12:26.240
<v Speaker 1>you call it New year resolutions? I don't make New

0:12:26.320 --> 0:12:30.120
<v Speaker 1>Year's resolutions? Um be in it, but no more than like,

0:12:30.120 --> 0:12:31.760
<v Speaker 1>why do I want to set myself up for failure?

0:12:33.520 --> 0:12:35.400
<v Speaker 1>But can I just say I'm so happy to say

0:12:35.440 --> 0:12:38.040
<v Speaker 1>goodbye to this year? So happy too. And it's a

0:12:38.080 --> 0:12:39.760
<v Speaker 1>weird thing to say, because like, I mean, look, I

0:12:39.760 --> 0:12:43.040
<v Speaker 1>had to kid this, it's amazing, but like, but also

0:12:43.320 --> 0:12:46.280
<v Speaker 1>the year started with my dog dying, and I said, like,

0:12:46.840 --> 0:12:49.240
<v Speaker 1>you know, well, the year can't get much worse, and

0:12:49.240 --> 0:12:51.400
<v Speaker 1>then it's been a rough one and it will be

0:12:51.480 --> 0:12:54.320
<v Speaker 1>very interesting to see like just I mean, look, we've

0:12:54.360 --> 0:12:56.640
<v Speaker 1>talked about it all year about La La Land being

0:12:56.720 --> 0:12:59.280
<v Speaker 1>this movie you can escape with and how it makes

0:12:59.280 --> 0:13:02.080
<v Speaker 1>it an easy pick almost after such a downer of

0:13:02.120 --> 0:13:04.120
<v Speaker 1>a year. Can I tell you I don't I don't

0:13:04.120 --> 0:13:06.240
<v Speaker 1>think I told this on the air. Um deb Akilla,

0:13:06.559 --> 0:13:08.960
<v Speaker 1>who cast law the Land, who's like, she's an amazing

0:13:09.000 --> 0:13:11.559
<v Speaker 1>casting director. She's probably cast all your favorite movies. I

0:13:11.600 --> 0:13:13.040
<v Speaker 1>did a Q and A with her and some people

0:13:13.040 --> 0:13:15.280
<v Speaker 1>from La La Land a couple of weeks ago and

0:13:15.400 --> 0:13:18.040
<v Speaker 1>sort of asked like, you know why it was such

0:13:18.080 --> 0:13:20.840
<v Speaker 1>a good time for this movie, and she talked about

0:13:20.880 --> 0:13:24.320
<v Speaker 1>the song in Maine we need a little Christmas. You know.

0:13:24.320 --> 0:13:26.679
<v Speaker 1>I love that song, and she's like, I just feel

0:13:26.720 --> 0:13:28.480
<v Speaker 1>like it applies to this movie. We need a little

0:13:28.559 --> 0:13:32.480
<v Speaker 1>La La right now. And I was like, yeah, well

0:13:32.600 --> 0:13:37.840
<v Speaker 1>that that says it all. Follow La La La. That

0:13:37.880 --> 0:13:39.800
<v Speaker 1>was such a corny joke. That was like from Swingers

0:13:39.800 --> 0:13:42.679
<v Speaker 1>when he's like, well we all have stories and it

0:13:42.760 --> 0:13:45.800
<v Speaker 1>just kills the mood. Anyway, on that note, would you

0:13:47.160 --> 0:13:48.840
<v Speaker 1>and I can? I can? I can bring up my

0:13:48.840 --> 0:13:51.200
<v Speaker 1>dead dog again listen. But I'm very sorry to hear

0:13:51.280 --> 0:13:53.560
<v Speaker 1>that you have a new one though. Oh I was

0:13:53.640 --> 0:13:57.280
<v Speaker 1>fostering one. Yes, but she went she went to a

0:13:57.280 --> 0:13:59.640
<v Speaker 1>lovely home. Yeah, and let me tell you, I was

0:13:59.640 --> 0:14:02.920
<v Speaker 1>getting like I was getting some celebrity help with this dog,

0:14:03.120 --> 0:14:05.800
<v Speaker 1>like Joel Edgerton was offering too, because she had a

0:14:06.520 --> 0:14:09.280
<v Speaker 1>when she curls up, she has a heart. I checked

0:14:09.320 --> 0:14:12.600
<v Speaker 1>out my Instagram. I'll repost the picture and she's a sweetheart,

0:14:12.760 --> 0:14:14.640
<v Speaker 1>and um, you know I was. I was saying, like,

0:14:14.679 --> 0:14:17.240
<v Speaker 1>you know, she's she's been in the system quote unquote

0:14:17.280 --> 0:14:19.320
<v Speaker 1>for a few years and it's never found at home.

0:14:19.360 --> 0:14:21.440
<v Speaker 1>And Joel was like, well, you know, He's like, tell

0:14:21.480 --> 0:14:22.760
<v Speaker 1>me if you want me to tweet it, like I'll

0:14:22.800 --> 0:14:24.880
<v Speaker 1>post a picture of her. And Ryan Goslin said the

0:14:24.920 --> 0:14:27.440
<v Speaker 1>same thing, and I was like, okay, but when you know,

0:14:27.440 --> 0:14:29.040
<v Speaker 1>I want to make sure I get someone who's serious

0:14:29.040 --> 0:14:32.080
<v Speaker 1>about the dog and just like a movie fan. But no,

0:14:32.200 --> 0:14:35.200
<v Speaker 1>she found a wonderful, wonderful home. Let's just close with that,

0:14:35.240 --> 0:14:38.600
<v Speaker 1>because that's a great story, this terrible year on and

0:14:38.920 --> 0:14:41.160
<v Speaker 1>everyone have a happy New Year. Will be back next

0:14:41.160 --> 0:14:46.000
<v Speaker 1>month with raw Oh and by the way, speaking earlier

0:14:46.000 --> 0:14:50.160
<v Speaker 1>of Kevin Costner, Kevin hidden figures, and we don't just

0:14:50.160 --> 0:14:52.960
<v Speaker 1>talk about hidden figures. We talk about like as much

0:14:53.000 --> 0:14:54.560
<v Speaker 1>as I could do in thirty minutes. It was like

0:14:54.600 --> 0:14:58.560
<v Speaker 1>a sprint through his career. He's got so many great stories.

0:14:58.680 --> 0:15:00.520
<v Speaker 1>But one of my favorites that I've done here, So

0:15:00.680 --> 0:15:25.800
<v Speaker 1>stay tuned to that. You know we're doing here. We're

0:15:25.840 --> 0:15:28.240
<v Speaker 1>putting a human on top of a missile shooting into

0:15:28.320 --> 0:15:31.760
<v Speaker 1>space and it's never been done before. I need a

0:15:31.800 --> 0:15:35.720
<v Speaker 1>mathematician that can look beyond the numbers. Math that doesn't exist.

0:15:36.080 --> 0:15:39.880
<v Speaker 1>You have someone fans. Katherine is a girl for that.

0:15:40.240 --> 0:15:41.880
<v Speaker 1>She can handle in a numbers you put in front

0:15:41.880 --> 0:15:45.960
<v Speaker 1>of them, you'll compute that nasty and then women handle

0:15:46.040 --> 0:15:50.560
<v Speaker 1>that sort of Yes, that women do some things that

0:15:50.720 --> 0:15:55.440
<v Speaker 1>massa Mr Johnson, And it's not because we're wear skirts.

0:15:55.280 --> 0:15:59.560
<v Speaker 1>It's because we wear glasses. Do you've been last for

0:15:59.680 --> 0:16:03.640
<v Speaker 1>see you? What's my mama going for twelveman a half days? No,

0:16:03.880 --> 0:16:09.400
<v Speaker 1>but it felt like it. In fourteen days. Astronauts will

0:16:09.400 --> 0:16:12.600
<v Speaker 1>be here for training everything we do canna matter to

0:16:12.640 --> 0:16:15.080
<v Speaker 1>their wives, to their children. I really it's gonna matter

0:16:15.120 --> 0:16:20.000
<v Speaker 1>to the whole country. I was already. There's no protocol

0:16:20.040 --> 0:16:23.200
<v Speaker 1>for women attending, there's no protocol for ma certally nerdy side.

0:16:23.400 --> 0:16:25.360
<v Speaker 1>We all get there together, we don't get there at

0:16:25.360 --> 0:16:35.600
<v Speaker 1>all together. Let me ask you, if you add like mad,

0:16:35.880 --> 0:16:38.520
<v Speaker 1>would you wish to be an engineer? I wouldn't have

0:16:38.600 --> 0:16:41.480
<v Speaker 1>to already be one. Welcome back everyone, I'm here with

0:16:41.560 --> 0:16:44.560
<v Speaker 1>the Star of Hidden Figures, Kevin Costner. Thanks for doing

0:16:44.560 --> 0:16:47.640
<v Speaker 1>the show Man, Thanks for being here. It's a huge

0:16:47.640 --> 0:16:50.480
<v Speaker 1>pleasure to have you on the show. I realized when

0:16:50.480 --> 0:16:53.240
<v Speaker 1>I started preparing that I need way more than a

0:16:53.280 --> 0:16:57.680
<v Speaker 1>half hour. Yeah, it is. It's I mean, we live

0:16:57.720 --> 0:16:59.880
<v Speaker 1>in a world where you know, when you're going to

0:17:00.000 --> 0:17:05.200
<v Speaker 1>television shows, it's like it's the ideas that they really

0:17:05.240 --> 0:17:06.920
<v Speaker 1>want to hear what you say, but they really don't.

0:17:07.480 --> 0:17:10.800
<v Speaker 1>It's all about you plug in your movie and then

0:17:10.840 --> 0:17:13.960
<v Speaker 1>getting to the last joke and moving to the next guest.

0:17:14.080 --> 0:17:18.520
<v Speaker 1>And it's only things like this where sometimes you can

0:17:18.560 --> 0:17:21.480
<v Speaker 1>get below the surface and you're right, thirty minutes doesn't

0:17:21.480 --> 0:17:23.879
<v Speaker 1>even really do it unless you're drilling down on a

0:17:23.960 --> 0:17:26.560
<v Speaker 1>few ideas. That's what I'm gonna try to do. I'm

0:17:26.560 --> 0:17:29.600
<v Speaker 1>gonna start with I think one of my probably my

0:17:29.680 --> 0:17:33.879
<v Speaker 1>earliest cinematic memory. Actually, I'm curious if you remember your

0:17:33.920 --> 0:17:38.520
<v Speaker 1>time on this the episode of Amazing Stories, right the mission,

0:17:38.680 --> 0:17:41.680
<v Speaker 1>Steven Spielberg. Yeah, that was an interesting moment. A couple

0:17:41.680 --> 0:17:44.000
<v Speaker 1>of things happened there. That was right after Fan Dango

0:17:44.200 --> 0:17:49.240
<v Speaker 1>and uh, you know, Stephen was gonna move into this

0:17:49.480 --> 0:17:53.240
<v Speaker 1>television idea and turned out he was gonna actually direct

0:17:53.680 --> 0:17:58.399
<v Speaker 1>that episode, and I learned a couple of things about myself.

0:17:58.480 --> 0:18:01.400
<v Speaker 1>Interesting enough, I love working with him, but I really

0:18:01.480 --> 0:18:06.320
<v Speaker 1>wasn't at my best. Um, it came to them. We

0:18:06.440 --> 0:18:08.240
<v Speaker 1>shot on a Monday, and I probably heard on a

0:18:08.320 --> 0:18:12.879
<v Speaker 1>Thursday they wanted me to do it. And as it

0:18:12.960 --> 0:18:15.960
<v Speaker 1>turns out, I'm not a quick study of lines. It's

0:18:15.960 --> 0:18:18.399
<v Speaker 1>a really it's very difficult for me. I have a

0:18:18.480 --> 0:18:22.200
<v Speaker 1>tendency to get completely off book, something like JFK or

0:18:22.280 --> 0:18:24.760
<v Speaker 1>the movie I'm doing with Aaron Sorkin or the last

0:18:24.800 --> 0:18:28.000
<v Speaker 1>movie I did. I learned it probably at least a

0:18:28.080 --> 0:18:31.320
<v Speaker 1>month before we shoot, and then I'm sitting with it

0:18:31.440 --> 0:18:34.080
<v Speaker 1>for a month and then shooting starts and I become

0:18:34.200 --> 0:18:38.480
<v Speaker 1>very very comfortable. I was incredibly uncomfortable and sure as heck.

0:18:38.960 --> 0:18:41.840
<v Speaker 1>He did a very long shot, a rolling shot that

0:18:41.960 --> 0:18:45.600
<v Speaker 1>involved getting all the lines, and I struggled with it

0:18:46.000 --> 0:18:48.680
<v Speaker 1>and it was a really hard moment for him. But

0:18:49.040 --> 0:18:51.800
<v Speaker 1>you know, it was really beautiful looking. I'm happy that

0:18:51.920 --> 0:18:55.320
<v Speaker 1>I did it, but I'm not happy with how I

0:18:55.480 --> 0:18:58.720
<v Speaker 1>felt doing it because I wasn't really at my best

0:18:58.800 --> 0:19:04.240
<v Speaker 1>and and so it I know that episodic TV it

0:19:04.240 --> 0:19:06.720
<v Speaker 1>would be very very difficult for me, and I learned

0:19:06.720 --> 0:19:11.080
<v Speaker 1>it on Amazing Stories diving into the water there with

0:19:11.359 --> 0:19:15.040
<v Speaker 1>something like that with Spielberg too, I mean, were you nervous, Well,

0:19:15.080 --> 0:19:17.200
<v Speaker 1>I I don't. I didn't get nervous about that, but

0:19:17.280 --> 0:19:19.920
<v Speaker 1>I I felt like, you know, he's depending on me

0:19:20.240 --> 0:19:22.159
<v Speaker 1>to be able to do anything he wants to do

0:19:22.240 --> 0:19:25.520
<v Speaker 1>with the camera. I should be delivering with all the

0:19:25.640 --> 0:19:28.840
<v Speaker 1>rhythms in the world, my my, and I think there

0:19:28.960 --> 0:19:31.080
<v Speaker 1>was probably a moment where I might have looked a

0:19:31.160 --> 0:19:33.240
<v Speaker 1>little stiff to him. I might have looked a little

0:19:33.240 --> 0:19:37.040
<v Speaker 1>bit not like, you know, I wasn't that malleable in

0:19:37.160 --> 0:19:40.440
<v Speaker 1>the sense that I was really I was not performing

0:19:40.480 --> 0:19:42.240
<v Speaker 1>as much as I was just kind of like hoping

0:19:42.280 --> 0:19:44.560
<v Speaker 1>to get all the lines right. So it's just a

0:19:44.680 --> 0:19:47.399
<v Speaker 1>pattern for me that I learned to put it this

0:19:47.480 --> 0:19:50.320
<v Speaker 1>way as a five year old. None of that showed up.

0:19:50.720 --> 0:19:54.159
<v Speaker 1>It was a magical episode, And like I said, I

0:19:54.200 --> 0:19:57.240
<v Speaker 1>think it's probably my earliest memory of just kind of

0:19:57.280 --> 0:19:59.879
<v Speaker 1>sitting down a front Remember a movie marked me as

0:19:59.880 --> 0:20:01.639
<v Speaker 1>a seven year old. You know how the West was

0:20:01.680 --> 0:20:05.520
<v Speaker 1>one at the center. Imadn't totally that would have been awesome. Um,

0:20:05.840 --> 0:20:08.040
<v Speaker 1>I wanted to, Like I said before we started talking,

0:20:08.080 --> 0:20:10.199
<v Speaker 1>I want to skip a stone if I can across

0:20:10.240 --> 0:20:11.800
<v Speaker 1>some of the things in your career. And one thing

0:20:11.880 --> 0:20:15.320
<v Speaker 1>you just mentioned briefly, JFK. I think is one of

0:20:15.359 --> 0:20:18.000
<v Speaker 1>the greatest films ever made. I mean, certainly one of

0:20:18.000 --> 0:20:20.560
<v Speaker 1>the most impeccably shot and edited films I've ever seen.

0:20:21.359 --> 0:20:25.119
<v Speaker 1>And it's celebrating its twenty fifth anniversary this year. Does

0:20:25.160 --> 0:20:27.800
<v Speaker 1>it feel like twenty five years? It doesn't. But there

0:20:27.960 --> 0:20:30.439
<v Speaker 1>was I tell you it was working with a lot

0:20:30.480 --> 0:20:35.600
<v Speaker 1>of film stock. He was I think writing really well. Um.

0:20:36.119 --> 0:20:38.440
<v Speaker 1>I think he was feeling it, meaning in a really

0:20:38.560 --> 0:20:42.280
<v Speaker 1>good way. It was very passionate about that movie. It

0:20:42.440 --> 0:20:45.280
<v Speaker 1>was a big bite that he took out of a

0:20:45.400 --> 0:20:50.680
<v Speaker 1>difficult subject and I thought he kind of he brought

0:20:50.760 --> 0:20:53.960
<v Speaker 1>people into that process, whether or not they believed in it.

0:20:54.800 --> 0:20:58.719
<v Speaker 1>It was powerful filmmaking, absolutely, And what do you think

0:20:58.760 --> 0:21:02.959
<v Speaker 1>the legacy is of of that movie. I don't know, Um,

0:21:03.800 --> 0:21:05.399
<v Speaker 1>I don't know what. I don't know what it is.

0:21:05.520 --> 0:21:08.879
<v Speaker 1>I think, uh, any generation that chooses to see. And

0:21:08.960 --> 0:21:10.440
<v Speaker 1>that's what you have to keep in mind when you're

0:21:10.440 --> 0:21:13.000
<v Speaker 1>actually making a movie that you know, you're not making

0:21:13.040 --> 0:21:16.879
<v Speaker 1>them for opening weekend. Although that's the god that everybody's

0:21:16.920 --> 0:21:20.000
<v Speaker 1>praying to out there, the reality is that there's gonna

0:21:20.040 --> 0:21:23.200
<v Speaker 1>be five year olds, and certainly not for JFK, but

0:21:23.320 --> 0:21:25.520
<v Speaker 1>for amazing stories. They're going to be people that it

0:21:25.600 --> 0:21:29.040
<v Speaker 1>has a chance to mark. And a movie like JFK

0:21:29.560 --> 0:21:32.879
<v Speaker 1>has a chance for generations to visit it when they

0:21:32.920 --> 0:21:36.399
<v Speaker 1>come of an age where that interests them and the

0:21:36.560 --> 0:21:42.239
<v Speaker 1>questions posed are really really important. And you know, there

0:21:42.359 --> 0:21:44.439
<v Speaker 1>was a there was a shift in the country about

0:21:45.080 --> 0:21:47.119
<v Speaker 1>you know, we used to think my parents thought certainly

0:21:47.160 --> 0:21:50.000
<v Speaker 1>that people in power told you the truth, and it's

0:21:50.080 --> 0:21:53.320
<v Speaker 1>really not. It's really not always the case. And we've

0:21:53.400 --> 0:21:56.760
<v Speaker 1>seen that for the next sixty years. Absolutely, for the

0:21:56.840 --> 0:22:00.879
<v Speaker 1>last sixty years, I think Uh, some thing that stands

0:22:00.920 --> 0:22:03.040
<v Speaker 1>out to me, Like I mentioned that, the editing and

0:22:03.560 --> 0:22:07.399
<v Speaker 1>the photography, just the manipulation of craft and filmmaking. I

0:22:07.440 --> 0:22:09.320
<v Speaker 1>feel like that movie is a sterling example of it,

0:22:09.440 --> 0:22:11.560
<v Speaker 1>Like what you can make of you or feel by

0:22:11.640 --> 0:22:15.679
<v Speaker 1>how you juxtapose imagery, by how you shoot something. I mean,

0:22:15.680 --> 0:22:17.959
<v Speaker 1>every time I talked to Bob Richardson, I asked him

0:22:18.000 --> 0:22:20.120
<v Speaker 1>something else about that movie. You know, right, well, Bob

0:22:20.440 --> 0:22:22.639
<v Speaker 1>was you know, Bobby has really bested himself in the

0:22:22.720 --> 0:22:27.080
<v Speaker 1>imagery and storytelling, you know, alongside a lot of different directors,

0:22:27.119 --> 0:22:30.639
<v Speaker 1>and it's a big imprint yea. And the cast too.

0:22:30.640 --> 0:22:32.600
<v Speaker 1>I mean you you were an anchor for a massive,

0:22:32.680 --> 0:22:35.040
<v Speaker 1>sprawling cast. There was a lot of great film TV

0:22:35.240 --> 0:22:37.760
<v Speaker 1>even some theater actors in there. What was that camaraderie

0:22:37.840 --> 0:22:40.960
<v Speaker 1>like with you guys, Well, it was good. Everybody that

0:22:41.080 --> 0:22:44.359
<v Speaker 1>came was really ready to work. Uh. You know, um

0:22:44.480 --> 0:22:47.800
<v Speaker 1>Oliver is uh, you know, he's really on point. You know,

0:22:48.040 --> 0:22:52.480
<v Speaker 1>this is like you know, uh, he's he was. It was.

0:22:52.800 --> 0:22:55.280
<v Speaker 1>It was a lot. It's a lot for me and

0:22:55.560 --> 0:22:57.080
<v Speaker 1>it was gonna be a lot for them. And there

0:22:57.160 --> 0:23:00.560
<v Speaker 1>was no there was no waiting. We needed to go

0:23:00.960 --> 0:23:03.480
<v Speaker 1>and we needed to be sharp all the way through.

0:23:03.520 --> 0:23:06.399
<v Speaker 1>And I knew that from myself, that that that that

0:23:06.600 --> 0:23:09.280
<v Speaker 1>every day was gonna be a load or workload. It wasn't.

0:23:09.800 --> 0:23:13.320
<v Speaker 1>There was nothing casual about that movie. Yeah. I could

0:23:13.320 --> 0:23:15.520
<v Speaker 1>talk about that movie with you forever, but for both

0:23:15.560 --> 0:23:18.400
<v Speaker 1>our sakes, I'll move on. But that was right podcast.

0:23:18.480 --> 0:23:21.000
<v Speaker 1>People are going, yeah, thank god, get off that thing.

0:23:21.440 --> 0:23:25.560
<v Speaker 1>It's only three letters, grow up, JFK. Come on, you

0:23:25.600 --> 0:23:26.960
<v Speaker 1>were in that was in the middle of a great

0:23:27.000 --> 0:23:29.600
<v Speaker 1>stride for you too. I mean you had come off

0:23:29.640 --> 0:23:34.040
<v Speaker 1>of Field of Dreams and obviously Dances with Wolves, which

0:23:34.040 --> 0:23:36.879
<v Speaker 1>is what I'm about to talk about. Uh, that film,

0:23:38.119 --> 0:23:39.720
<v Speaker 1>which when I watch it, by the way, I watched

0:23:39.720 --> 0:23:42.200
<v Speaker 1>the four hour version. Just sit there and marinate in

0:23:42.320 --> 0:23:45.680
<v Speaker 1>that world. But uh, what did it mean for you

0:23:46.160 --> 0:23:49.320
<v Speaker 1>at that time in your career to get that kind

0:23:49.359 --> 0:23:51.080
<v Speaker 1>of a pat on the back from the industry. I mean,

0:23:51.119 --> 0:23:53.240
<v Speaker 1>you were really the toast of the industry with that film,

0:23:53.640 --> 0:23:56.200
<v Speaker 1>seven Oscars and all of that. What did that mean

0:23:56.280 --> 0:23:58.080
<v Speaker 1>to you to get that kind of recognition at that

0:23:58.160 --> 0:24:00.800
<v Speaker 1>point in your career, you mean off of Dan just yeah,

0:24:01.000 --> 0:24:04.600
<v Speaker 1>well that was that was a great night, which you know,

0:24:04.720 --> 0:24:06.720
<v Speaker 1>people have a tendency to look at that moment and

0:24:06.800 --> 0:24:09.360
<v Speaker 1>not put my life in reverse. My life in reverse?

0:24:10.240 --> 0:24:14.160
<v Speaker 1>Was that um that I I felt like I wanted

0:24:14.160 --> 0:24:16.320
<v Speaker 1>to try to make this movie and I couldn't get

0:24:16.320 --> 0:24:19.520
<v Speaker 1>anybody to give me any money, you know. Um and

0:24:19.920 --> 0:24:24.399
<v Speaker 1>uh and uh actually postponed the movie one year because

0:24:24.800 --> 0:24:27.359
<v Speaker 1>I didn't have the ending that I wanted. I couldn't

0:24:27.400 --> 0:24:29.879
<v Speaker 1>solve the ending with me saying goodbye to all the

0:24:30.720 --> 0:24:33.360
<v Speaker 1>major characters. I wanted each moment to be really pure,

0:24:33.440 --> 0:24:37.760
<v Speaker 1>so I postponed it for a year. And uh, you know,

0:24:38.680 --> 0:24:42.440
<v Speaker 1>what was that like for the industry. It's not so

0:24:42.560 --> 0:24:44.080
<v Speaker 1>much what it was like for the industry. It's a

0:24:44.200 --> 0:24:46.720
<v Speaker 1>It was a healthy reminder to me that when I

0:24:46.800 --> 0:24:50.240
<v Speaker 1>do what I want to do, that everything else takes

0:24:50.280 --> 0:24:52.760
<v Speaker 1>care of itself. You know. I wanted to make that

0:24:52.880 --> 0:24:55.480
<v Speaker 1>movie by hook or by crook. I mortgaged you know,

0:24:55.720 --> 0:24:58.120
<v Speaker 1>my house, so to speak. I put my salary up.

0:24:58.680 --> 0:25:01.520
<v Speaker 1>I you know, we raised our money foreign We made

0:25:01.560 --> 0:25:05.240
<v Speaker 1>that movie for sixteen million dollars and it was everything.

0:25:05.400 --> 0:25:07.720
<v Speaker 1>And it was really even an undertone out there that

0:25:07.840 --> 0:25:10.480
<v Speaker 1>was kind of ugly, which was Kevin's Gate. What's he

0:25:10.560 --> 0:25:12.600
<v Speaker 1>doing at there? Was like Kevin's Gate like this movie

0:25:12.640 --> 0:25:15.400
<v Speaker 1>as a disaster. I didn't know where that had come from.

0:25:15.960 --> 0:25:18.840
<v Speaker 1>I know this. I had to turn down um Hunt

0:25:18.880 --> 0:25:21.560
<v Speaker 1>for Red October because I had promised I was going

0:25:21.600 --> 0:25:23.600
<v Speaker 1>to do dances. And you know, some people thought that

0:25:23.840 --> 0:25:26.080
<v Speaker 1>me saying no to Red Hunt for Red October was

0:25:26.480 --> 0:25:29.359
<v Speaker 1>that I needed more money. It wasn't more money. It

0:25:29.520 --> 0:25:32.240
<v Speaker 1>was like I had already postponed dances for a year,

0:25:32.720 --> 0:25:34.800
<v Speaker 1>a year earlier, and I wasn't going to do it now.

0:25:34.920 --> 0:25:37.919
<v Speaker 1>I had all my things in place. In fact, if

0:25:37.960 --> 0:25:40.719
<v Speaker 1>anything had caused me a lot of pain, because there

0:25:40.760 --> 0:25:42.840
<v Speaker 1>was more money offered on Hunt for Red October than

0:25:42.840 --> 0:25:45.480
<v Speaker 1>I've ever seen in my life. So I was like

0:25:45.880 --> 0:25:48.080
<v Speaker 1>I So I was like doing the dumb thing. I

0:25:48.119 --> 0:25:50.920
<v Speaker 1>was putting up all my money and leaving behind the

0:25:50.960 --> 0:25:54.400
<v Speaker 1>biggest check I'd ever seen, only to have it all

0:25:54.560 --> 0:25:58.560
<v Speaker 1>end up working, you know, its way into you know,

0:25:58.840 --> 0:26:01.840
<v Speaker 1>into a you know, a pretty good movie, you know,

0:26:02.119 --> 0:26:03.760
<v Speaker 1>but it was I did it with my friends out

0:26:03.800 --> 0:26:06.000
<v Speaker 1>of acting class, where we none of us had any money.

0:26:06.440 --> 0:26:09.720
<v Speaker 1>My friend who never had a screenplay produced wrote it.

0:26:10.119 --> 0:26:13.320
<v Speaker 1>My friend who you know, who's you know, the big

0:26:13.400 --> 0:26:16.119
<v Speaker 1>producing I could have had probably anybody in town produce it.

0:26:16.480 --> 0:26:19.320
<v Speaker 1>Had a person that had no credits really to speak

0:26:19.400 --> 0:26:22.840
<v Speaker 1>of to produce it, and we all want oscars. And

0:26:23.280 --> 0:26:25.240
<v Speaker 1>we were working in a chemical plant down by the

0:26:25.400 --> 0:26:28.040
<v Speaker 1>l A River in a class for actors and no

0:26:28.119 --> 0:26:30.040
<v Speaker 1>one paid a dime because none of us had a dime.

0:26:30.840 --> 0:26:33.680
<v Speaker 1>And so to have that work. Somebody wants to talk

0:26:33.760 --> 0:26:36.760
<v Speaker 1>about that night, what was that like? But you know,

0:26:36.880 --> 0:26:38.560
<v Speaker 1>for me, it was like I got my money back,

0:26:38.640 --> 0:26:41.399
<v Speaker 1>I got my house back, you know. Um. And the

0:26:41.520 --> 0:26:43.479
<v Speaker 1>music played seven times, because you know, when you win

0:26:43.520 --> 0:26:46.200
<v Speaker 1>the awards, your music play. Yea, So it was a

0:26:46.359 --> 0:26:49.320
<v Speaker 1>nice it was a nice moment that way. Um. But

0:26:49.440 --> 0:26:51.119
<v Speaker 1>I had made up my mind what I wanted to do.

0:26:51.280 --> 0:26:53.440
<v Speaker 1>And like I said, anybody out there listening, it's like

0:26:53.800 --> 0:26:55.280
<v Speaker 1>if you get on. I mean it's a little bit

0:26:55.359 --> 0:26:57.359
<v Speaker 1>like that with Hidden Figures, It's like it's like that

0:26:57.520 --> 0:27:00.560
<v Speaker 1>for me with black or White. These movies I just

0:27:00.720 --> 0:27:04.160
<v Speaker 1>wanted to do. And when I'm doing that, I'm usually

0:27:04.200 --> 0:27:10.120
<v Speaker 1>in the best space that I need to be. Um, again,

0:27:10.160 --> 0:27:12.000
<v Speaker 1>another movie I could probably just keep going on and

0:27:12.080 --> 0:27:14.800
<v Speaker 1>on about. I think it's amazing. Um. You went into

0:27:14.880 --> 0:27:17.840
<v Speaker 1>Perfect World not long after that, working with Clint one

0:27:17.840 --> 0:27:20.720
<v Speaker 1>of my favorite of his movies. What have you retained

0:27:20.760 --> 0:27:23.119
<v Speaker 1>from working with Clint? I'm always curious with when actors

0:27:23.200 --> 0:27:27.280
<v Speaker 1>worked with Clint. He I like I'm saying, it's it's

0:27:27.320 --> 0:27:29.160
<v Speaker 1>like I'm on a first name basis with Clint Eastwood.

0:27:29.200 --> 0:27:30.760
<v Speaker 1>But you know, he's one of those guys I guess,

0:27:31.359 --> 0:27:34.480
<v Speaker 1>but one or two takes and then move on. He's

0:27:34.480 --> 0:27:37.080
<v Speaker 1>really confident in his actors. I'm always curious what actors

0:27:37.160 --> 0:27:39.800
<v Speaker 1>take from that experience of working with him. Yeah, he Um,

0:27:40.480 --> 0:27:43.879
<v Speaker 1>he gives himself one take or two take because I

0:27:43.920 --> 0:27:47.920
<v Speaker 1>think he's really sure about how he acts. Um. I

0:27:48.040 --> 0:27:51.880
<v Speaker 1>asked him for some more takes. Um. I did because

0:27:51.920 --> 0:27:54.080
<v Speaker 1>I was working with a kid, and a lot of

0:27:54.160 --> 0:27:56.800
<v Speaker 1>times a kid wasn't doing what I needed him to do,

0:27:56.920 --> 0:27:58.600
<v Speaker 1>and I wasn't sure I was able to give him

0:27:58.680 --> 0:28:02.720
<v Speaker 1>the moment that I needed to isolate. And uh so

0:28:03.119 --> 0:28:07.000
<v Speaker 1>that was a really um really Johnny Lee Hancock wrote

0:28:07.040 --> 0:28:09.600
<v Speaker 1>that movie. It was really great, and I wanted to

0:28:09.880 --> 0:28:11.600
<v Speaker 1>really want it to be in it, but I was

0:28:11.640 --> 0:28:14.840
<v Speaker 1>amazed that how Clint seemed to get his day pretty effortlessly.

0:28:15.880 --> 0:28:18.120
<v Speaker 1>You know. Um, I always feel like when I'm out

0:28:18.119 --> 0:28:21.040
<v Speaker 1>there directly, I'm struggling to get my day, and I

0:28:21.160 --> 0:28:25.240
<v Speaker 1>felt that he managed to get his day pretty effortlessly, um,

0:28:26.480 --> 0:28:29.600
<v Speaker 1>you know, and that was one of the big takeaways.

0:28:29.680 --> 0:28:33.440
<v Speaker 1>But he allowed me a little bit of room because

0:28:33.480 --> 0:28:36.920
<v Speaker 1>I said, look, it's I'm working with his kid, and

0:28:37.000 --> 0:28:40.160
<v Speaker 1>I'm not working across another actor. And there's some beats

0:28:40.200 --> 0:28:43.080
<v Speaker 1>that I hope editorially you have. And I can tell

0:28:43.120 --> 0:28:46.720
<v Speaker 1>you right now that kid was way over here when

0:28:46.760 --> 0:28:48.520
<v Speaker 1>he should be here, and so we're gonna we're gonna

0:28:48.520 --> 0:28:52.080
<v Speaker 1>get stuck with one version and there's no you're gonna

0:28:52.120 --> 0:28:54.880
<v Speaker 1>have no editorial choices. And so we got through the

0:28:54.960 --> 0:28:57.080
<v Speaker 1>movie that way, and I think he really understood. And

0:28:57.240 --> 0:29:01.840
<v Speaker 1>I watched I watched him at the kind of economy

0:29:01.960 --> 0:29:05.560
<v Speaker 1>that he worked with. When I was growing up, Tin

0:29:05.680 --> 0:29:07.680
<v Speaker 1>Cup was one of these movies. It was on HBO

0:29:08.120 --> 0:29:10.239
<v Speaker 1>every day. Did you go to school man at all? Man?

0:29:10.240 --> 0:29:12.960
<v Speaker 1>I just watched movies watching movies. I got it. I

0:29:13.000 --> 0:29:15.920
<v Speaker 1>went to film school. Actually, yeah, it was on all

0:29:15.960 --> 0:29:17.760
<v Speaker 1>the time, and I feel like I knew it by heart.

0:29:17.840 --> 0:29:20.840
<v Speaker 1>Now I almost kind of want to say, can we

0:29:20.880 --> 0:29:22.360
<v Speaker 1>get a sequel to that movie? Like you could have

0:29:22.480 --> 0:29:25.800
<v Speaker 1>like your version of Creed yeah, you're like the old

0:29:25.880 --> 0:29:28.959
<v Speaker 1>weathered golfer. There's a there's a theme there with Bodyguard

0:29:29.000 --> 0:29:31.800
<v Speaker 1>two and with dances, the early years, the after years,

0:29:32.320 --> 0:29:35.120
<v Speaker 1>you know, the body of the Bull Durham one and

0:29:35.200 --> 0:29:38.000
<v Speaker 1>two and now he's a manager in the big leagues,

0:29:38.080 --> 0:29:41.760
<v Speaker 1>and and of course you know um Tin Cup and

0:29:42.080 --> 0:29:44.400
<v Speaker 1>and and right on. You know, along with a lot

0:29:44.440 --> 0:29:47.400
<v Speaker 1>of those movies, everybody was looking for the two, you know,

0:29:47.560 --> 0:29:50.240
<v Speaker 1>the two and the three, you know, or there's always

0:29:50.360 --> 0:29:52.440
<v Speaker 1>the two is always not so good, and they apologize

0:29:52.480 --> 0:29:54.920
<v Speaker 1>for two and they give you the third one because

0:29:54.960 --> 0:29:57.240
<v Speaker 1>they basically go back in the truck up with the

0:29:57.280 --> 0:29:59.840
<v Speaker 1>shovel and saying how big how much do you want?

0:30:01.160 --> 0:30:03.480
<v Speaker 1>You know, So I haven't played at that smart and

0:30:03.760 --> 0:30:07.960
<v Speaker 1>done all those two's. Well, I'm just pitching you. I

0:30:08.120 --> 0:30:10.760
<v Speaker 1>think there's a there's a Tin Cup to to be Yeah,

0:30:10.800 --> 0:30:12.640
<v Speaker 1>I think so. Well Ron would be the guy to

0:30:12.720 --> 0:30:16.840
<v Speaker 1>get it right. Yeah, uh Ron Shelton For everyone wondering

0:30:16.880 --> 0:30:21.560
<v Speaker 1>about that The Postman. Um, I have a funny story

0:30:21.560 --> 0:30:23.120
<v Speaker 1>about the Postman. Now you make me feel like I

0:30:23.200 --> 0:30:26.760
<v Speaker 1>really didn't go to school, but uh I was. I

0:30:26.840 --> 0:30:28.320
<v Speaker 1>went to see that film. I went to like the

0:30:28.400 --> 0:30:31.200
<v Speaker 1>last showing and uh, I didn't know the movie was

0:30:31.240 --> 0:30:34.400
<v Speaker 1>three hours long, and so my dad was out front

0:30:34.480 --> 0:30:36.800
<v Speaker 1>to pick me up, and I like, looking at my watch,

0:30:36.840 --> 0:30:38.840
<v Speaker 1>I go a three hours long? I was. I think

0:30:38.880 --> 0:30:40.200
<v Speaker 1>it was about two and a half, but it was.

0:30:41.120 --> 0:30:42.440
<v Speaker 1>I don't even know if it was two and a half,

0:30:42.480 --> 0:30:44.200
<v Speaker 1>but it was. You know, when they put the longer

0:30:44.200 --> 0:30:48.880
<v Speaker 1>than I expected, an I had to go outside and like, Dad,

0:30:49.360 --> 0:30:51.080
<v Speaker 1>it's not over yet. I'll be out in a bit.

0:30:51.200 --> 0:30:54.080
<v Speaker 1>But uh, I'm always curious. Like that movie came a

0:30:54.120 --> 0:30:55.960
<v Speaker 1>couple of years after water World, and those are two

0:30:56.080 --> 0:30:58.760
<v Speaker 1>massive undertakings, both of them. So what gave you the

0:30:58.880 --> 0:31:01.200
<v Speaker 1>energy to take on the someone after doing something like

0:31:01.280 --> 0:31:04.400
<v Speaker 1>water World? Well, you know, I wish that Dances was

0:31:04.480 --> 0:31:06.880
<v Speaker 1>a small movie. I wish Postman was a small movie.

0:31:07.240 --> 0:31:08.920
<v Speaker 1>They just weren't. I mean, I would have been happy

0:31:08.960 --> 0:31:11.160
<v Speaker 1>to do a haunted house movie from my first movie,

0:31:11.240 --> 0:31:13.520
<v Speaker 1>but it just what I fall in love with I make,

0:31:13.680 --> 0:31:16.440
<v Speaker 1>and I actually it was really charmed by the story

0:31:16.520 --> 0:31:19.240
<v Speaker 1>of the Postman. I think I probably should have put

0:31:19.640 --> 0:31:23.680
<v Speaker 1>something in front of it, you know, saying like once

0:31:23.760 --> 0:31:26.680
<v Speaker 1>upon a time, so everybody understood that this was almost

0:31:26.720 --> 0:31:29.240
<v Speaker 1>a fairy tale of the future. Once upon a time

0:31:29.320 --> 0:31:32.200
<v Speaker 1>there was a Postman, and I was really charmed by

0:31:33.040 --> 0:31:36.160
<v Speaker 1>a story of a person who is just trying to

0:31:36.280 --> 0:31:39.560
<v Speaker 1>survive and through a couple of odd moves, suddenly as

0:31:39.560 --> 0:31:46.200
<v Speaker 1>anointed with some kind of of maybe stature that he

0:31:46.320 --> 0:31:49.720
<v Speaker 1>obviously knows he doesn't deserve. But the truth is he's

0:31:50.080 --> 0:31:53.120
<v Speaker 1>getting fed, even getting laid. You know, there's a lot,

0:31:53.560 --> 0:31:55.760
<v Speaker 1>there's a lot of things that are coming out of this,

0:31:55.960 --> 0:32:00.360
<v Speaker 1>and so from a humanistic standpoint, from a human behavior,

0:32:00.360 --> 0:32:02.240
<v Speaker 1>it's like, well, who wouldn't want to try to keep

0:32:02.280 --> 0:32:05.560
<v Speaker 1>that going? But unfortunately the lie gets bigger and bigger

0:32:06.160 --> 0:32:08.200
<v Speaker 1>and you and you're kind of waiting for that moment

0:32:08.280 --> 0:32:10.400
<v Speaker 1>to say, hey man, I'm not a postman. I am

0:32:10.480 --> 0:32:13.080
<v Speaker 1>a guy that was just trying to stay out of

0:32:13.120 --> 0:32:17.200
<v Speaker 1>the way. Um. So I'm very fond of that movie.

0:32:17.320 --> 0:32:19.800
<v Speaker 1>But that was a that's a big movie. Yeah. Well,

0:32:19.840 --> 0:32:21.400
<v Speaker 1>like I said, how did you have the energy? I mean,

0:32:21.440 --> 0:32:23.800
<v Speaker 1>we did it exhaust you going through that film? I

0:32:24.200 --> 0:32:26.680
<v Speaker 1>think I was, but I I don't know. I like work,

0:32:26.880 --> 0:32:28.840
<v Speaker 1>and once I'm working, you know, it's like there are

0:32:28.960 --> 0:32:31.880
<v Speaker 1>fifteen hour days, you know, six days a week. I mean,

0:32:32.160 --> 0:32:36.400
<v Speaker 1>you know those locations were big and um, we we

0:32:36.560 --> 0:32:39.719
<v Speaker 1>really went at it. Yeah, one more before I get

0:32:39.760 --> 0:32:42.800
<v Speaker 1>to the uh, the the movie you're here to talk about, uh,

0:32:43.040 --> 0:32:46.000
<v Speaker 1>and that's Open Range. Uh. I think that that is

0:32:46.680 --> 0:32:50.040
<v Speaker 1>one of the most underrated Western's ever. I'm a huge

0:32:50.080 --> 0:32:52.200
<v Speaker 1>fan of the genre. I don't want to get greedy,

0:32:52.240 --> 0:32:53.640
<v Speaker 1>but I kind of want you to give us another

0:32:53.680 --> 0:32:56.240
<v Speaker 1>Western at some point if you, if you could, Yeah, no,

0:32:56.400 --> 0:32:58.800
<v Speaker 1>I have one. I've been working on it. Let's about

0:32:58.840 --> 0:33:01.720
<v Speaker 1>ten hours long house. Uh do it please? Yeah, I'm

0:33:01.720 --> 0:33:05.440
<v Speaker 1>gonna do it. It's it's really definitely. I loved Open Range.

0:33:05.480 --> 0:33:08.520
<v Speaker 1>I I I people talk about the final Gun Shooters

0:33:08.560 --> 0:33:11.440
<v Speaker 1>being I've heard people say that they felt that that

0:33:11.640 --> 0:33:14.480
<v Speaker 1>was the best gun shoot It felt shoot out, the

0:33:14.600 --> 0:33:16.880
<v Speaker 1>sound design and all of that. And there's a line

0:33:16.960 --> 0:33:19.800
<v Speaker 1>there too. I love this line. Um. It's when you

0:33:19.880 --> 0:33:22.040
<v Speaker 1>and new vol are about to throw down there and

0:33:22.800 --> 0:33:24.840
<v Speaker 1>you've got your chocolate in your pocket and you forgot

0:33:24.880 --> 0:33:27.360
<v Speaker 1>about it, gets waited too long. He's like, oh, I

0:33:27.400 --> 0:33:29.800
<v Speaker 1>guess I waited too long. But you say good is

0:33:29.880 --> 0:33:32.480
<v Speaker 1>good melted or not? Yeah, good is good melted or not.

0:33:32.760 --> 0:33:35.040
<v Speaker 1>That's that line kills me because it's like, I love

0:33:35.120 --> 0:33:39.040
<v Speaker 1>the genre so much because there's something about complexity and

0:33:39.160 --> 0:33:42.400
<v Speaker 1>simplicity in the Western job and it comes in the language.

0:33:42.400 --> 0:33:45.160
<v Speaker 1>You know, everybody's looking for the shootout for Westerns, and

0:33:45.280 --> 0:33:48.160
<v Speaker 1>the strength of them is when what gets said leading

0:33:48.280 --> 0:33:50.840
<v Speaker 1>up to things, you know, because there is an oddity

0:33:50.880 --> 0:33:54.920
<v Speaker 1>about how people talk. Yet it's our Shakespeare the American West,

0:33:55.120 --> 0:33:59.240
<v Speaker 1>and uh, you know, I do watch a lot of Westerns,

0:33:59.280 --> 0:34:01.680
<v Speaker 1>and I you know, I don't do them unless I

0:34:01.760 --> 0:34:05.120
<v Speaker 1>think they can really really stand up um and and

0:34:05.440 --> 0:34:09.360
<v Speaker 1>open range. I'm extremely proud of that movie. That was

0:34:09.440 --> 0:34:13.480
<v Speaker 1>a Craig Stopper line. I needed a great job with that. Yeah,

0:34:14.160 --> 0:34:15.920
<v Speaker 1>let's get that ten hour one man. You can do

0:34:16.040 --> 0:34:18.200
<v Speaker 1>that for like TV. Or let's get that ten hour

0:34:18.320 --> 0:34:21.080
<v Speaker 1>western going. Yeah, maybe I'll make three features out of it.

0:34:21.200 --> 0:34:23.440
<v Speaker 1>There's a fourth one too, So it's truly a saga.

0:34:23.719 --> 0:34:26.000
<v Speaker 1>Could you do TV like h I couldn't do TV.

0:34:26.160 --> 0:34:28.239
<v Speaker 1>I could also make it like every six months, have

0:34:28.360 --> 0:34:32.280
<v Speaker 1>a big Western that's tied together, like Jean de Florette

0:34:32.480 --> 0:34:34.839
<v Speaker 1>and Man in O the Springs, you know, where there's

0:34:34.880 --> 0:34:38.080
<v Speaker 1>a continuum. I think those are fun to watch, you know,

0:34:38.200 --> 0:34:40.560
<v Speaker 1>and later go revisit, especially for a guy who doesn't

0:34:40.560 --> 0:34:44.160
<v Speaker 1>go to school. Who wants to see every bit? It's

0:34:44.640 --> 0:34:48.440
<v Speaker 1>I'm actually actually talking to the right guy. All right,

0:34:49.200 --> 0:34:50.719
<v Speaker 1>let's get to what you're here to talk about. Let's

0:34:50.800 --> 0:34:53.440
<v Speaker 1>that was a good sprint eighteen minutes through all those movies.

0:34:53.520 --> 0:34:57.600
<v Speaker 1>I think I did pretty well hidden figures. Uh, you're

0:34:57.640 --> 0:35:02.680
<v Speaker 1>playing Ah, I believe it's a fictional characters. But that said,

0:35:02.760 --> 0:35:05.239
<v Speaker 1>were you able to talk to anyone to kind of

0:35:05.320 --> 0:35:07.480
<v Speaker 1>help carve this out? And maybe well once that once,

0:35:07.800 --> 0:35:10.000
<v Speaker 1>once it was going to become fictional is like, you know,

0:35:10.719 --> 0:35:12.840
<v Speaker 1>who do you talk to? You know that we we

0:35:12.920 --> 0:35:15.239
<v Speaker 1>didn't have the rights to that character, and there was

0:35:15.560 --> 0:35:18.640
<v Speaker 1>about three of them that Ted Mulvey was drawing off of.

0:35:19.320 --> 0:35:23.840
<v Speaker 1>And so, um, I didn't really sit with sit with

0:35:23.920 --> 0:35:26.759
<v Speaker 1>anyone because it was gonna be a combination of of

0:35:27.320 --> 0:35:30.759
<v Speaker 1>of everything of what we were, you know, trying to do.

0:35:30.920 --> 0:35:34.000
<v Speaker 1>It wasn't really my movie. I was there to support it,

0:35:34.280 --> 0:35:38.440
<v Speaker 1>you know, um the idea and and so we figured

0:35:38.480 --> 0:35:40.880
<v Speaker 1>out we figured out the best way to try to

0:35:41.000 --> 0:35:44.400
<v Speaker 1>do that. And we understood the personalities of the three men,

0:35:44.480 --> 0:35:47.239
<v Speaker 1>but we couldn't turn them into one guy. And so

0:35:48.960 --> 0:35:51.719
<v Speaker 1>you know, what we did was trying to understand that

0:35:52.719 --> 0:35:56.400
<v Speaker 1>all this work on this movie, this personal story is

0:35:56.480 --> 0:35:59.879
<v Speaker 1>set against a couple of big backdrops. Once the civil

0:36:00.080 --> 0:36:04.200
<v Speaker 1>rights that was being you know, tested at every it

0:36:04.239 --> 0:36:07.640
<v Speaker 1>has been tested since the beginning of this country, the

0:36:07.760 --> 0:36:10.040
<v Speaker 1>formation of it. But it was certainly going through an

0:36:10.080 --> 0:36:14.200
<v Speaker 1>evolutionary period, revolutionary, evolutionary, whatever you want to call it,

0:36:14.640 --> 0:36:17.000
<v Speaker 1>right at that moment, a little bit of the we're

0:36:17.040 --> 0:36:19.279
<v Speaker 1>dealing with the apex of it, you know in a way.

0:36:20.120 --> 0:36:25.640
<v Speaker 1>Um and and and then you've got women's rights, uh

0:36:26.040 --> 0:36:30.239
<v Speaker 1>in women in the workplace, and uh, you know, and

0:36:30.360 --> 0:36:35.040
<v Speaker 1>this this this terrible racism that bleeds over into a

0:36:35.160 --> 0:36:38.400
<v Speaker 1>corporate structure, you know, and with with a lot on

0:36:38.440 --> 0:36:41.600
<v Speaker 1>the line, there was you know, we were behind and

0:36:41.719 --> 0:36:46.440
<v Speaker 1>where we're gonna let these issues keep us, you know,

0:36:46.600 --> 0:36:49.880
<v Speaker 1>from getting to where we needed to to be. You know,

0:36:50.160 --> 0:36:52.319
<v Speaker 1>it's like a sports team, you know, it's like, oh,

0:36:52.320 --> 0:36:56.000
<v Speaker 1>you're gonna keep your best player on the bench. Really, Yeah,

0:36:56.840 --> 0:37:00.040
<v Speaker 1>it's opening into an interesting climate. Obviously to know a

0:37:00.080 --> 0:37:01.799
<v Speaker 1>lot of people who saw the movie like right after

0:37:01.840 --> 0:37:05.080
<v Speaker 1>the election, and they were all the more emotional because

0:37:05.160 --> 0:37:09.239
<v Speaker 1>of that. So, uh, speaking of which, I guess it

0:37:09.239 --> 0:37:11.319
<v Speaker 1>would be interesting if swing vote had come out this year.

0:37:12.040 --> 0:37:14.920
<v Speaker 1>Thank you. I had the really I think a really

0:37:15.000 --> 0:37:18.960
<v Speaker 1>underrated little comedy. Uh the ensemble. You know, I asked

0:37:18.960 --> 0:37:21.680
<v Speaker 1>you about the ensemble for JFK. You guys actually just

0:37:21.719 --> 0:37:23.839
<v Speaker 1>want a prize yesterday from the National Board of Review

0:37:23.920 --> 0:37:27.000
<v Speaker 1>for Hidden Figures for the ensemble. What was that camaraderie

0:37:27.080 --> 0:37:31.440
<v Speaker 1>like with this particular ensemble. Well, you know, for me,

0:37:31.640 --> 0:37:35.000
<v Speaker 1>I I love the whole. You know, my part has

0:37:35.120 --> 0:37:39.360
<v Speaker 1>to be good where I won't involve myself, um in

0:37:39.480 --> 0:37:42.520
<v Speaker 1>my part. Actually, when I was approached on the film,

0:37:42.880 --> 0:37:47.200
<v Speaker 1>wasn't I don't think very good? Um. I thought though

0:37:47.280 --> 0:37:50.520
<v Speaker 1>the movie and what the girls were doing that was

0:37:50.600 --> 0:37:53.759
<v Speaker 1>all really really beautiful. But you know the part that

0:37:53.920 --> 0:37:57.560
<v Speaker 1>I had was a little bit it was confused. It

0:37:57.680 --> 0:38:01.000
<v Speaker 1>was a little bit you know, I was looking for more.

0:38:01.200 --> 0:38:05.120
<v Speaker 1>I was looking for, um, it to be substantial, for

0:38:05.320 --> 0:38:10.080
<v Speaker 1>it to prop up the moment, uh their moments and

0:38:11.400 --> 0:38:14.800
<v Speaker 1>advanced the idea of the movie as opposed to just

0:38:14.960 --> 0:38:18.400
<v Speaker 1>somebody who's kind of there, who's clapping, going, you know,

0:38:18.640 --> 0:38:22.960
<v Speaker 1>come on, let's get it together. Um. So you know,

0:38:23.080 --> 0:38:27.600
<v Speaker 1>for me, um that had to happen. Um I could

0:38:27.800 --> 0:38:30.000
<v Speaker 1>I told him, look at this still will be a

0:38:30.080 --> 0:38:32.960
<v Speaker 1>really really good movie. But I think I think anybody

0:38:33.040 --> 0:38:35.840
<v Speaker 1>can play this and and I think that that, you know,

0:38:35.960 --> 0:38:37.480
<v Speaker 1>that's the way I look at it. And so I'm

0:38:37.520 --> 0:38:40.480
<v Speaker 1>not it's not speaking to me. The movie is speaking

0:38:40.520 --> 0:38:43.640
<v Speaker 1>to me, but not the part. And that's when he said, well, look,

0:38:43.719 --> 0:38:45.759
<v Speaker 1>I've had a hard time putting that part together. I've

0:38:45.800 --> 0:38:50.800
<v Speaker 1>concentrated so much on the girls, who's there's real story

0:38:50.880 --> 0:38:52.960
<v Speaker 1>And he said, this other character, because I could never

0:38:53.040 --> 0:38:57.800
<v Speaker 1>get the rights, has stalled me, and so there's like

0:38:57.960 --> 0:39:01.120
<v Speaker 1>placeholders here. I said, well, it reads a little bit

0:39:01.239 --> 0:39:04.440
<v Speaker 1>like that. And he said, well, you know, can we

0:39:04.520 --> 0:39:06.440
<v Speaker 1>work on it together? And I said, we can, but

0:39:06.840 --> 0:39:10.040
<v Speaker 1>can you because once you start a movie, it's very

0:39:10.080 --> 0:39:13.080
<v Speaker 1>difficult to go home and write at night. You're directing

0:39:13.120 --> 0:39:15.520
<v Speaker 1>a movie for fourteen hours a day or whatever it is.

0:39:16.719 --> 0:39:20.919
<v Speaker 1>You know, um you uh, it's like can you gonna

0:39:21.120 --> 0:39:23.320
<v Speaker 1>are you gonna want to answer the phone in Atlanta

0:39:23.840 --> 0:39:27.759
<v Speaker 1>with a three hour time difference? And and us talk

0:39:27.800 --> 0:39:30.919
<v Speaker 1>about this part when it's a supporting part, and that's

0:39:30.960 --> 0:39:33.480
<v Speaker 1>what it is. And so you know a lot of

0:39:33.560 --> 0:39:36.440
<v Speaker 1>times you say you can do that, but when it

0:39:36.520 --> 0:39:39.560
<v Speaker 1>comes down to it, will you really do that? And

0:39:40.560 --> 0:39:42.560
<v Speaker 1>Ted said, I will, it's worth it to me, and

0:39:42.800 --> 0:39:46.920
<v Speaker 1>I thought to myself, well he answered, he answered that

0:39:47.760 --> 0:39:50.880
<v Speaker 1>part right, But the proof is in how do you finish?

0:39:51.000 --> 0:39:52.759
<v Speaker 1>Do you really do what you say you're gonna do?

0:39:53.440 --> 0:39:56.839
<v Speaker 1>And Ted did because because let's face it, in this world,

0:39:56.920 --> 0:39:59.759
<v Speaker 1>sometimes people can say anything to get you involved. Once

0:39:59.800 --> 0:40:01.960
<v Speaker 1>you're involved, it's like, well, I've just ran out of time.

0:40:02.000 --> 0:40:06.360
<v Speaker 1>I'm sorry, that's not a great outcome. That's just a

0:40:06.400 --> 0:40:10.560
<v Speaker 1>great salesman. And Ted was true, and I have no

0:40:10.719 --> 0:40:13.160
<v Speaker 1>doubt he was tired. But I think at the end

0:40:13.200 --> 0:40:15.600
<v Speaker 1>of the day, it was really worth it for the

0:40:15.719 --> 0:40:20.160
<v Speaker 1>movie for Al Harrison to be where he was, so

0:40:21.120 --> 0:40:23.399
<v Speaker 1>you know, we didn't have to do the classic um

0:40:24.320 --> 0:40:28.600
<v Speaker 1>cutaway shot that shows the sign for NASA to know

0:40:28.640 --> 0:40:32.160
<v Speaker 1>where at NASA. We could go to my face and

0:40:32.320 --> 0:40:36.759
<v Speaker 1>we knew that I stood for the Space program and

0:40:37.000 --> 0:40:38.920
<v Speaker 1>that was probably you know, you know what I mean.

0:40:39.080 --> 0:40:41.520
<v Speaker 1>You see television they show the apartment in New York

0:40:41.560 --> 0:40:43.960
<v Speaker 1>and then you go inside, they show you the thing

0:40:44.080 --> 0:40:47.040
<v Speaker 1>and it's the CIA headquarters and you're in the CIA,

0:40:47.120 --> 0:40:48.879
<v Speaker 1>and they keep doing that to let you know where

0:40:48.880 --> 0:40:54.440
<v Speaker 1>you're at. But if you if you develop enough presence enough, um,

0:40:56.320 --> 0:41:00.720
<v Speaker 1>enough of a vocabulary about who you are that sometimes

0:41:00.960 --> 0:41:02.399
<v Speaker 1>you know you can just come to person. I don't

0:41:02.400 --> 0:41:05.440
<v Speaker 1>have to say anything. You know where you're at and

0:41:05.600 --> 0:41:07.880
<v Speaker 1>you know what's going on. Because the movie certainly had

0:41:07.920 --> 0:41:12.160
<v Speaker 1>a home life and then had this technical world. Are

0:41:12.200 --> 0:41:14.680
<v Speaker 1>you a big fan of NASA movies, like you know,

0:41:14.800 --> 0:41:17.360
<v Speaker 1>Public the Teen? Yeah, I thought that was that was

0:41:17.440 --> 0:41:20.680
<v Speaker 1>a really interesting movie for me because, um, I had

0:41:20.719 --> 0:41:22.440
<v Speaker 1>a chance to be in that movie, but I was

0:41:22.480 --> 0:41:25.000
<v Speaker 1>going to do water World and again kind of like

0:41:25.120 --> 0:41:28.240
<v Speaker 1>a Dances with Wolves. It was like I was committed,

0:41:28.480 --> 0:41:32.880
<v Speaker 1>you know, so the idea. But what I thought Ron did, uh.

0:41:33.040 --> 0:41:34.640
<v Speaker 1>And and the writer because it's a lot of this

0:41:34.800 --> 0:41:38.160
<v Speaker 1>is the writing, you know, was that it was one

0:41:38.200 --> 0:41:41.360
<v Speaker 1>of the times when I appreciated an ending that you

0:41:41.400 --> 0:41:45.960
<v Speaker 1>already knew how it ended, it still felt very exciting. Absolutely,

0:41:46.360 --> 0:41:48.560
<v Speaker 1>The Right Stuff is a movie I watch every Thanksgiving

0:41:48.600 --> 0:41:55.439
<v Speaker 1>for some reason. Absolutely, who did the music? I can't remember. Yeah,

0:41:55.520 --> 0:41:57.960
<v Speaker 1>I'm probably screaming at us right now saying it's the

0:41:58.080 --> 0:42:00.800
<v Speaker 1>personal and somebody's looking at you going I didn't do

0:42:00.880 --> 0:42:03.480
<v Speaker 1>my own work. I but yeah, A huge fan of

0:42:03.560 --> 0:42:06.279
<v Speaker 1>that movie. Uh. Trying to think of some more. I mean,

0:42:06.360 --> 0:42:08.400
<v Speaker 1>it's just there's a certain it just gives you a

0:42:08.480 --> 0:42:11.000
<v Speaker 1>lot of pride. Absolutely, there's a and there's an aesthetic

0:42:11.080 --> 0:42:13.320
<v Speaker 1>to those movies too that I guess it's Americana or

0:42:13.400 --> 0:42:16.080
<v Speaker 1>something like that. I remember reading the book. Yeah it

0:42:16.200 --> 0:42:19.640
<v Speaker 1>was Tom Wolf. Yeah, yeah, yeah, that with the whole

0:42:20.239 --> 0:42:24.719
<v Speaker 1>passage in that book where he describes Chuck Yeager's that

0:42:24.960 --> 0:42:27.000
<v Speaker 1>that last flight we see Chuck Yeager taking in the

0:42:27.080 --> 0:42:30.799
<v Speaker 1>movie crashes. That whole passage in that book is phenomenal.

0:42:30.920 --> 0:42:32.840
<v Speaker 1>If anyone's not read the book, you could read just

0:42:32.960 --> 0:42:38.359
<v Speaker 1>that passage and just that guy was is the man? Uh?

0:42:38.400 --> 0:42:40.640
<v Speaker 1>And you talked earlier about you know, getting off book,

0:42:40.680 --> 0:42:42.839
<v Speaker 1>I mean talk about getting off book with an Aaron

0:42:42.880 --> 0:42:46.640
<v Speaker 1>Sorkin script, and you're working with him now on Molly's Game? Uh,

0:42:47.120 --> 0:42:49.560
<v Speaker 1>how do you like working with Aaron? And it's about

0:42:49.600 --> 0:42:52.840
<v Speaker 1>time he directs? And you know, again, I had to

0:42:53.480 --> 0:42:56.600
<v Speaker 1>I had to go I need to go to and

0:42:56.800 --> 0:42:59.560
<v Speaker 1>and and as that instance, that part was really perfect.

0:43:00.200 --> 0:43:04.280
<v Speaker 1>And I've I've been I've really enjoyed the in my career,

0:43:05.560 --> 0:43:07.920
<v Speaker 1>I've had ten or twelve movies where we didn't really

0:43:08.000 --> 0:43:11.160
<v Speaker 1>change a line, and that might be ten more than

0:43:11.239 --> 0:43:14.520
<v Speaker 1>most people the way the way movies are, you know,

0:43:14.600 --> 0:43:18.160
<v Speaker 1>manipulated and get halfway there and get the elements, and

0:43:18.200 --> 0:43:20.080
<v Speaker 1>now we got a movie, and the director will fix it,

0:43:20.200 --> 0:43:22.160
<v Speaker 1>or the actors will fix it, or somebody will fix it.

0:43:22.640 --> 0:43:25.880
<v Speaker 1>But well, you know it's there, you know, starting with

0:43:26.040 --> 0:43:29.640
<v Speaker 1>Lawrence kast and and and then Ron Shelton and Fielded

0:43:29.800 --> 0:43:31.680
<v Speaker 1>Dreams and you know, No Way Out was a script.

0:43:31.719 --> 0:43:36.400
<v Speaker 1>We didn't manipulate any lines except the title. Um, and

0:43:36.680 --> 0:43:40.840
<v Speaker 1>probably not Untouchables either on that particular. On that particular

0:43:40.880 --> 0:43:43.839
<v Speaker 1>one man that really hit it perfect, you know, uh,

0:43:44.080 --> 0:43:46.919
<v Speaker 1>and he really did so Fandango there was no change

0:43:46.960 --> 0:43:50.640
<v Speaker 1>in line Silverado um and you go right down the

0:43:50.719 --> 0:43:55.960
<v Speaker 1>line in certain instances. So um, I'm trying to think

0:43:55.960 --> 0:44:00.640
<v Speaker 1>of what the hell your question was. Working with Aaron,

0:44:03.560 --> 0:44:06.439
<v Speaker 1>Aaron had wrote a pretty perfect script. In my mind,

0:44:06.960 --> 0:44:12.280
<v Speaker 1>the character that I read was very unlike, for instance,

0:44:12.320 --> 0:44:14.440
<v Speaker 1>a character I read and Hidden Figures where we did

0:44:14.960 --> 0:44:20.680
<v Speaker 1>work on it, and Ted did deliver a great, nice

0:44:20.680 --> 0:44:24.440
<v Speaker 1>supporting part of a really kind of Spencer Tracy just

0:44:24.600 --> 0:44:28.120
<v Speaker 1>stand there and do your lines and support this idea.

0:44:29.000 --> 0:44:33.880
<v Speaker 1>And Aaron's was really beautiful, very intense, and as an actor,

0:44:34.200 --> 0:44:36.839
<v Speaker 1>I went to work on it, you know, and uh,

0:44:37.719 --> 0:44:39.839
<v Speaker 1>you know, I did the lines this morning in the mirror,

0:44:40.280 --> 0:44:43.040
<v Speaker 1>and I won't go back till January and I'll just

0:44:43.200 --> 0:44:47.040
<v Speaker 1>keep working them. That has to be fun dialogue to

0:44:47.120 --> 0:44:51.440
<v Speaker 1>chew on whenever you're working. He's very he's very special. Well,

0:44:51.480 --> 0:44:55.920
<v Speaker 1>the movie is hidden figures. It's in theaters, uh now

0:44:56.239 --> 0:44:59.279
<v Speaker 1>when this podcast airs, So please go see it and

0:45:00.000 --> 0:45:01.800
<v Speaker 1>thank you again for coming on the show. Man. I

0:45:01.880 --> 0:45:03.520
<v Speaker 1>hope I did all of that stuff justice. It was

0:45:03.560 --> 0:45:06.560
<v Speaker 1>a sprint, but try edition something. Movies are things that

0:45:07.880 --> 0:45:09.960
<v Speaker 1>that are obviously important to you, and so you know,

0:45:10.080 --> 0:45:13.279
<v Speaker 1>sometimes it comes off as a job and other times

0:45:13.360 --> 0:45:15.560
<v Speaker 1>comes off as a moment, you know, where you go, look,

0:45:15.760 --> 0:45:17.239
<v Speaker 1>we could really have a chance to shoot the ship

0:45:17.360 --> 0:45:21.480
<v Speaker 1>here about something that matters to you. And obviously the

0:45:21.600 --> 0:45:24.279
<v Speaker 1>people that are following you that have a kind of

0:45:24.360 --> 0:45:29.759
<v Speaker 1>a a similar appetite passion for the details that don't

0:45:29.800 --> 0:45:33.560
<v Speaker 1>get talked about on TV. They just can't. They're looking

0:45:33.600 --> 0:45:36.200
<v Speaker 1>for the cute story about your kids, or how you

0:45:36.280 --> 0:45:38.719
<v Speaker 1>fell down on the set, or what in the world

0:45:38.800 --> 0:45:41.640
<v Speaker 1>it is. And you know, here, you know, we ate

0:45:41.719 --> 0:45:44.160
<v Speaker 1>up that time like it was nothing. Thanks man, I

0:45:44.239 --> 0:45:52.280
<v Speaker 1>really appreciate that. Thanks for listening everyone. Remember to subscribe

0:45:52.320 --> 0:45:53.920
<v Speaker 1>and check back next week when I'll be talking to

0:45:54.040 --> 0:45:57.799
<v Speaker 1>thirteen director Ava Duverney. You've been listening to playback at

0:45:57.880 --> 0:46:07.240
<v Speaker 1>Variety two four