Speaker 1: Welcome to Playback, a Variety podcast. I'm your host, Variety
Speaker 1: Awards Editor Chris Tapley. On today's show, we take reader
Speaker 1: questions at the end of the year. A little bit later,
Speaker 1: I'll be talking to Hidden Figure star Kevin Costner. So
Speaker 1: stick around. All right, we're back for our last episode
Speaker 1: of the year. Oh my gosh, is it really that's it?
Speaker 1: This is this is it? So it was nice knowing everybody.
Speaker 1: Welcome to Trump's America. We've thrown it out to reader
Speaker 1: questions for this uh last little literally run out of people,
Speaker 1: so put it in, put the words in our mouth.
Speaker 1: Let's just dive into it. Um Marshall Schaeffer, any predictions
Speaker 1: for how the guilds will change the narrative like they
Speaker 1: did with American Sniper, Dragon Tattoo, etcetera. Well, arguably they
Speaker 1: didn't try change the narrative with Dragon Tattoo because those
Speaker 1: nominations didn't really turn out to be Best Director of
Speaker 1: the Best Picture Academy. But I see what he's saying, Uh, guilds.
Speaker 1: I think the person the person, sorry, the film that
Speaker 1: will probably benefit the most as Hidden Figures. I think
Speaker 1: that's probably start to take it seriously with that I
Speaker 1: mean I think, look, I know there's plenty of people
Speaker 1: that think Arrival is in the thick of it. I
Speaker 1: could totally see it get p G A and dj
Speaker 1: A nominations. But you know, I could see that because
Speaker 1: he's come around late in the game and they had
Speaker 1: this big Christopher Nolan thing with him, and they're they're
Speaker 1: really pushing it. I think it could happen. But I
Speaker 1: still get Wait, what's the Christopher Nolan thing Q and
Speaker 1: A with him at the center family. That's very big
Speaker 1: of him, Like I would be like, and you're encroaching
Speaker 1: on my territory, right, I'm the tweety smart sci fi
Speaker 1: emotional like a little passing of the baton if you will. Um.
Speaker 1: But and we got this Blade Runner trailer that hit
Speaker 1: last year. Denny is hot right now, and I love him.
Speaker 1: I think he's an amazing I think he was overlooked
Speaker 1: last year for Cicario. He said, vibe and look, maybe
Speaker 1: I'm wrong. I keep getting this vibe around Arrival. I'm
Speaker 1: getting this Nightcrawler vibe. I'm getting this vibe yeah where
Speaker 1: it's like yeah, PGA nominee. I granted those two movies
Speaker 1: didn't get TG nominations, but it just maybe falls off
Speaker 1: at the end of the day. And I've been feeling
Speaker 1: the same way about Amy. We'll see. I'm happy to
Speaker 1: be wrong. I mean, it's not like I'm being definitive here.
Speaker 1: I'm just kind of going with my gut. I've always
Speaker 1: thought Amy was in on this race, and I've had
Speaker 1: people telling me I'm wrong this whole time because it
Speaker 1: is such a competitive category. The person that I've never
Speaker 1: bought is has a secure cure spot is Meryl Streep
Speaker 1: and Ruthnega. Not because they don't deserve it. They're both fantastic,
Speaker 1: but I'm just you know, Meryl really doesn't do press.
Speaker 1: She doesn't need it. Of course she's fantastic. We've all
Speaker 1: come to expect that. Um, and I don't know, like
Speaker 1: how how is Loving doing? M Well, not that that matters.
Speaker 1: I mean, like hand me voters, because I still thing
Speaker 1: is to like, we've got six seven new Academy members.
Speaker 1: That's that's the biggest leap we've ever had. It. We
Speaker 1: can no longer say, well the Academy yeah yeah, I mean,
Speaker 1: well you can never really say that, like you're basically saying, oh,
Speaker 1: the hundred people I talked to generous. Yeah, um, it's
Speaker 1: like one guy, you know, happy my ear off at
Speaker 1: a screening, who's like really pulling for Miles talent my
Speaker 1: makeup branch buddy. Yeah, those makeup people are serious man.
Speaker 1: Like I almost said, you know how they like narrow
Speaker 1: it down and you have to give a presentation. I
Speaker 1: almost feel like that's the way we should do best picture,
Speaker 1: Like I has to get up and over the months
Speaker 1: we narrow it down five. Yeah, Colin Llewellyn, which film
Speaker 1: didn't get enough recognition in two thousand sixteen? And which
Speaker 1: is your most anticipated going into two thou seven teen.
Speaker 1: I haven't looked ahead much yet. There's the James Ponselt movie,
Speaker 1: A movie, so I'm always there for PTA's new movies.
Speaker 1: What's that one? I forgot? Somebody helped me out on that.
Speaker 1: But look, I literally don't look ahead to the new
Speaker 1: year until it's the new year. Yeah, I mean that's true.
Speaker 1: I mentioned Blade Runner. I think Blade Runner looks kind
Speaker 1: of awesome. I mean I wasn't a huge I'm not
Speaker 1: a huge Blade Runner fan by the way, which is
Speaker 1: probably huge fan, and I'm very excited about this new one.
Speaker 1: And Roger Deakins is like, looks like he's crushing it.
Speaker 1: You know. The Circle is the name of the James
Speaker 1: ponsel I just I think he's a fantastic packer. Also
Speaker 1: The Glass Castle with Bree Lawson and I'm throwing out
Speaker 1: there now Best Supporting Actor contender Woody Harrelson playing her
Speaker 1: crazy dad. Wow, and he's got Wilson earlier in the year,
Speaker 1: so he might have quite a narrative. But he did Wilson.
Speaker 1: I've read that script of years ago. Yeah, it's going
Speaker 1: to be like a sun Dance early Spring movie. Though.
Speaker 1: He's a great actor, so he was so good an
Speaker 1: Edge of seventeen. Hey, wait, there's a movie that should
Speaker 1: have gotten more recognition Edge of seventeen because it didn't
Speaker 1: make any money and you've been talking about it. I
Speaker 1: still haven't. You still haven't seen it. Oh see, I
Speaker 1: don't want to oversell it because then we have a
Speaker 1: shallow situation, right where a movie is okay, but everybody
Speaker 1: is so surprised it's okay that No, um, yeah, it
Speaker 1: was great. It was on my top five list. I
Speaker 1: guess I would probably say Green Room. Yeah, I mean
Speaker 1: I think that I thought that did well. I mean
Speaker 1: it did well, but like you know, it in its frame,
Speaker 1: and then people forgot it and moved on to the
Speaker 1: other movies. And I think it stuck around as one
Speaker 1: of the best movies of the year, and it should
Speaker 1: have been May being singled out for that. If I
Speaker 1: had longer to think about this, maybe I'd come up
Speaker 1: with something else. How did Florence Foster Jenkins do at
Speaker 1: the box box office? Because I also really loved that movie.
Speaker 1: I think it did well in August and then they
Speaker 1: re released it, so I don't know how much they
Speaker 1: re released did, but I thought that that had a
Speaker 1: really good shot at a sag entseumble. Noom you know
Speaker 1: in the Golden Globes kind of brought it back, and yeah,
Speaker 1: I think it's a big crowdpleaser. There's a couple of
Speaker 1: movies like that are such late releases. I don't know
Speaker 1: if they're underappreciated yet. We both really like Patriots Day,
Speaker 1: you know, I'd like to see how that does, and
Speaker 1: it goes wide in January. Um still remains to be
Speaker 1: seen how Hidden Figures will do. But the Independence Day Resurgence,
Speaker 1: it only made three millions slop. Did you see certain women?
Speaker 1: I did not well. Nevertheless, rogue Observer would like to
Speaker 1: know what the outlook is on that for award season.
Speaker 1: Why has its buzz sort of faded away? I mean,
Speaker 1: I don't know that it had like hot buzz. Some
Speaker 1: critics gave it up for the like Lily Gladstone. I mean,
Speaker 1: if anything, that's that's a critics movie, and yeah, that's
Speaker 1: where it's gonna thrive. And you know, sometimes they move
Speaker 1: on to other shiny objects. Well, and also it's just
Speaker 1: such a crazy race this year for actress and supporting actress.
Speaker 1: You know, it's it's hard to get in there. This
Speaker 1: person wants to know if we will all live to
Speaker 1: see two thousand eighteen. No idea, I'll get back to.
Speaker 1: This person wants to know how I can dislike Swiss
Speaker 1: Army Man so much? You do you just like Swiss
Speaker 1: Army Man. I couldn't stand it. Oh, this is interesting
Speaker 1: because I thought I would hate it, and I was
Speaker 1: really really surprised by the fact that I liked it. Yeah,
Speaker 1: I mean, again getting back to what we said last
Speaker 1: week about movies that people just dogpile and I'm not
Speaker 1: like interested in tearing it apart, but like I appreciate
Speaker 1: that people love the movie and found Hard in it.
Speaker 1: I just it was it was the whole thing was
Speaker 1: a stunt to me. It didn't translate emotionally at all.
Speaker 1: And hey, that's where I fell. I commend A twenty
Speaker 1: for picking a movie like that up. I think they're
Speaker 1: you know, I do this thing every year that the
Speaker 1: superlatives like best Countless Thing, super lattice and I do,
Speaker 1: uh like Entertainer of the Year, and I think is
Speaker 1: the Entertainer of the Year, just because of their interesting,
Speaker 1: wide swath of the content between that the Lobster obviously Moonlight.
Speaker 1: Help me out what else Green Room? Uh didn't they do?
Speaker 1: They did Twenty Century Women, they did Amy last year.
Speaker 1: But yeah, I mean they're just I love their portfolio
Speaker 1: of stuff they've picked up from America, from America. Shout
Speaker 1: out to my boy Chad Hard again we got to
Speaker 1: film school together. Uh, David would like to know. Wait,
Speaker 1: he says, He says, no questions, just happy you're doing
Speaker 1: in all show We needed that. We really did at
Speaker 1: the end of this year, any shocks, no Golden globes
Speaker 1: results like last year brewing. But okay, let me make
Speaker 1: this an actual sentence. It wins another fan no Golden
Speaker 1: Globes results like last year brewing based on what you
Speaker 1: are hearing? Okay, Golden Globes, shockers on the horizon. Um.
Speaker 1: I mean the conventional thinking is that Moonlight will take
Speaker 1: drama and la Land will take musical. What if they
Speaker 1: surprised us in Moonlight doesn't take drama. I think they're
Speaker 1: both set. Actually, um, because I think they're I know
Speaker 1: law la Land is like collectively their favorite movie. Yes,
Speaker 1: and that's in the musical comedy category. That's a lock.
Speaker 1: What's Moonlight up against that could possibly take it? Not
Speaker 1: hidden figures but perfect there were no studio this hell
Speaker 1: or high Water Moonlight. Manchester by the Sea could be Manchester,
Speaker 1: uh one or the other two. It could be Manchester.
Speaker 1: But I don't think they liked that as much like
Speaker 1: they kind of fences? Is that nominated? Someone's yelling at us.
Speaker 1: I'm sure, I don't think. I don't think we're gonna
Speaker 1: get a shocking Best Picture Best Well. The year that
Speaker 1: they awarded Grand Budapest Hotel Best Comedy over Birdman, that
Speaker 1: was a surprise. Birdman was in like the less competitive
Speaker 1: category and went up because they Birdman won screenplay only
Speaker 1: from the Globes, which is, yeah, well that was a
Speaker 1: year of Boyhood when everybody was so share Boyhood was
Speaker 1: going to make a clean sweep and you know me
Speaker 1: not me either. I was like not that, you know,
Speaker 1: I wasn't a fan of the movie, but I was like,
Speaker 1: I think people are confusing critics with Oscar voters, and
Speaker 1: there's a very difference. That's why I'm like, I'm not
Speaker 1: calling a front runner in the Best Actor category yet
Speaker 1: until we get some gildin no. I mean like, yeah,
Speaker 1: all the critics are going with Casey Affleck, but it's
Speaker 1: pretty tough to Denye dends on Washington. And like I
Speaker 1: said last week, you know, if people see Bigo mortensand
Speaker 1: and Captain Paid Picture, uh yeah, I mean I think
Speaker 1: I still think Denzel is winning that, but I don't
Speaker 1: know what I mean. I mean, I kind of do too.
Speaker 1: I'm but like, there's you know, there's three people you
Speaker 1: know who I think are in the running, and they're
Speaker 1: also good. We say this on the air, I don't remember.
Speaker 1: I feel like there's a world where Ryan Gosling just yes,
Speaker 1: I do too. Yeah. So so until like the Guild speak, basically,
Speaker 1: until the SAG Awards, you know I'm hesitant to cry
Speaker 1: front run around and the only ones that matter personally.
Speaker 1: It's the only thing where the memberships kind of cross pollinate.
Speaker 1: Mary kring will Fit is back with I know you're
Speaker 1: an advocate for a best Ensemble category? Am I? I
Speaker 1: think she means me probably he sorry, Mary, Mary E
Speaker 1: r r y. It's it's a it's a an altered
Speaker 1: Twitter handle for the for the season. Uh says I
Speaker 1: know you're an advocate for but so you're not you're
Speaker 1: an advocate for that? Huh advocate? I mean yeah, yeah.
Speaker 1: I don't think that there's any correlate should between Best
Speaker 1: Ensemble and Best Picture. And I'll say that till I'm
Speaker 1: blue in the filtre Um. But I do love the
Speaker 1: ensemble category. I love that the SAG Awards, you know, ensemble.
Speaker 1: And this is a tough one for me because these
Speaker 1: are five true great ensembles. Um, I think Moonlight is
Speaker 1: the obvious choice. Um, that is up the perfect cast. Yeah,
Speaker 1: it'd be my pick two. Um, but hidden figures. Are
Speaker 1: we predicting or are we saying because he he must
Speaker 1: to know who should win this year? Moonlight? You think Moonlights? Yeah,
Speaker 1: we both think Moonlighters is the best ensemble. But you know,
Speaker 1: I do think that, Uh, I think it's gonna go
Speaker 1: to Fences. Really well, that would not be a bad choice.
Speaker 1: It's a perfect cast, and so I think Fences and
Speaker 1: Hidden Figures are real threats to Moonlight. I mean, all
Speaker 1: three of those casts are pretty remarkable, and um, Hidden
Speaker 1: Figures sort of has the advantage of it's be It's
Speaker 1: filled with a lot of familiar faces that people love.
Speaker 1: You've got Kevin Costner and Jim Parson, into Arshi be Henson,
Speaker 1: Octavia Spencer, who doesn't love Octavia Spencer? And then you
Speaker 1: know new faces like Janelle Monet, who's so good in
Speaker 1: a double nomine Moonlight. Yeah. I keep refreshing to see
Speaker 1: if someone will send us some more questions. Never happened,
Speaker 1: bunch of them. Um any any any Uh? What do
Speaker 1: you call it New year resolutions? I don't make New
Speaker 1: Year's resolutions? Um be in it, but no more than like,
Speaker 1: why do I want to set myself up for failure?
Speaker 1: But can I just say I'm so happy to say
Speaker 1: goodbye to this year? So happy too. And it's a
Speaker 1: weird thing to say, because like, I mean, look, I
Speaker 1: had to kid this, it's amazing, but like, but also
Speaker 1: the year started with my dog dying, and I said, like,
Speaker 1: you know, well, the year can't get much worse, and
Speaker 1: then it's been a rough one and it will be
Speaker 1: very interesting to see like just I mean, look, we've
Speaker 1: talked about it all year about La La Land being
Speaker 1: this movie you can escape with and how it makes
Speaker 1: it an easy pick almost after such a downer of
Speaker 1: a year. Can I tell you I don't I don't
Speaker 1: think I told this on the air. Um deb Akilla,
Speaker 1: who cast law the Land, who's like, she's an amazing
Speaker 1: casting director. She's probably cast all your favorite movies. I
Speaker 1: did a Q and A with her and some people
Speaker 1: from La La Land a couple of weeks ago and
Speaker 1: sort of asked like, you know why it was such
Speaker 1: a good time for this movie, and she talked about
Speaker 1: the song in Maine we need a little Christmas. You know.
Speaker 1: I love that song, and she's like, I just feel
Speaker 1: like it applies to this movie. We need a little
Speaker 1: La La right now. And I was like, yeah, well
Speaker 1: that that says it all. Follow La La La. That
Speaker 1: was such a corny joke. That was like from Swingers
Speaker 1: when he's like, well we all have stories and it
Speaker 1: just kills the mood. Anyway, on that note, would you
Speaker 1: and I can? I can? I can bring up my
Speaker 1: dead dog again listen. But I'm very sorry to hear
Speaker 1: that you have a new one though. Oh I was
Speaker 1: fostering one. Yes, but she went she went to a
Speaker 1: lovely home. Yeah, and let me tell you, I was
Speaker 1: getting like I was getting some celebrity help with this dog,
Speaker 1: like Joel Edgerton was offering too, because she had a
Speaker 1: when she curls up, she has a heart. I checked
Speaker 1: out my Instagram. I'll repost the picture and she's a sweetheart,
Speaker 1: and um, you know I was. I was saying, like,
Speaker 1: you know, she's she's been in the system quote unquote
Speaker 1: for a few years and it's never found at home.
Speaker 1: And Joel was like, well, you know, He's like, tell
Speaker 1: me if you want me to tweet it, like I'll
Speaker 1: post a picture of her. And Ryan Goslin said the
Speaker 1: same thing, and I was like, okay, but when you know,
Speaker 1: I want to make sure I get someone who's serious
Speaker 1: about the dog and just like a movie fan. But no,
Speaker 1: she found a wonderful, wonderful home. Let's just close with that,
Speaker 1: because that's a great story, this terrible year on and
Speaker 1: everyone have a happy New Year. Will be back next
Speaker 1: month with raw Oh and by the way, speaking earlier
Speaker 1: of Kevin Costner, Kevin hidden figures, and we don't just
Speaker 1: talk about hidden figures. We talk about like as much
Speaker 1: as I could do in thirty minutes. It was like
Speaker 1: a sprint through his career. He's got so many great stories.
Speaker 1: But one of my favorites that I've done here, So
Speaker 1: stay tuned to that. You know we're doing here. We're
Speaker 1: putting a human on top of a missile shooting into
Speaker 1: space and it's never been done before. I need a
Speaker 1: mathematician that can look beyond the numbers. Math that doesn't exist.
Speaker 1: You have someone fans. Katherine is a girl for that.
Speaker 1: She can handle in a numbers you put in front
Speaker 1: of them, you'll compute that nasty and then women handle
Speaker 1: that sort of Yes, that women do some things that
Speaker 1: massa Mr Johnson, And it's not because we're wear skirts.
Speaker 1: It's because we wear glasses. Do you've been last for
Speaker 1: see you? What's my mama going for twelveman a half days? No,
Speaker 1: but it felt like it. In fourteen days. Astronauts will
Speaker 1: be here for training everything we do canna matter to
Speaker 1: their wives, to their children. I really it's gonna matter
Speaker 1: to the whole country. I was already. There's no protocol
Speaker 1: for women attending, there's no protocol for ma certally nerdy side.
Speaker 1: We all get there together, we don't get there at
Speaker 1: all together. Let me ask you, if you add like mad,
Speaker 1: would you wish to be an engineer? I wouldn't have
Speaker 1: to already be one. Welcome back everyone, I'm here with
Speaker 1: the Star of Hidden Figures, Kevin Costner. Thanks for doing
Speaker 1: the show Man, Thanks for being here. It's a huge
Speaker 1: pleasure to have you on the show. I realized when
Speaker 1: I started preparing that I need way more than a
Speaker 1: half hour. Yeah, it is. It's I mean, we live
Speaker 1: in a world where you know, when you're going to
Speaker 1: television shows, it's like it's the ideas that they really
Speaker 1: want to hear what you say, but they really don't.
Speaker 1: It's all about you plug in your movie and then
Speaker 1: getting to the last joke and moving to the next guest.
Speaker 1: And it's only things like this where sometimes you can
Speaker 1: get below the surface and you're right, thirty minutes doesn't
Speaker 1: even really do it unless you're drilling down on a
Speaker 1: few ideas. That's what I'm gonna try to do. I'm
Speaker 1: gonna start with I think one of my probably my
Speaker 1: earliest cinematic memory. Actually, I'm curious if you remember your
Speaker 1: time on this the episode of Amazing Stories, right the mission,
Speaker 1: Steven Spielberg. Yeah, that was an interesting moment. A couple
Speaker 1: of things happened there. That was right after Fan Dango
Speaker 1: and uh, you know, Stephen was gonna move into this
Speaker 1: television idea and turned out he was gonna actually direct
Speaker 1: that episode, and I learned a couple of things about myself.
Speaker 1: Interesting enough, I love working with him, but I really
Speaker 1: wasn't at my best. Um, it came to them. We
Speaker 1: shot on a Monday, and I probably heard on a
Speaker 1: Thursday they wanted me to do it. And as it
Speaker 1: turns out, I'm not a quick study of lines. It's
Speaker 1: a really it's very difficult for me. I have a
Speaker 1: tendency to get completely off book, something like JFK or
Speaker 1: the movie I'm doing with Aaron Sorkin or the last
Speaker 1: movie I did. I learned it probably at least a
Speaker 1: month before we shoot, and then I'm sitting with it
Speaker 1: for a month and then shooting starts and I become
Speaker 1: very very comfortable. I was incredibly uncomfortable and sure as heck.
Speaker 1: He did a very long shot, a rolling shot that
Speaker 1: involved getting all the lines, and I struggled with it
Speaker 1: and it was a really hard moment for him. But
Speaker 1: you know, it was really beautiful looking. I'm happy that
Speaker 1: I did it, but I'm not happy with how I
Speaker 1: felt doing it because I wasn't really at my best
Speaker 1: and and so it I know that episodic TV it
Speaker 1: would be very very difficult for me, and I learned
Speaker 1: it on Amazing Stories diving into the water there with
Speaker 1: something like that with Spielberg too, I mean, were you nervous, Well,
Speaker 1: I I don't. I didn't get nervous about that, but
Speaker 1: I I felt like, you know, he's depending on me
Speaker 1: to be able to do anything he wants to do
Speaker 1: with the camera. I should be delivering with all the
Speaker 1: rhythms in the world, my my, and I think there
Speaker 1: was probably a moment where I might have looked a
Speaker 1: little stiff to him. I might have looked a little
Speaker 1: bit not like, you know, I wasn't that malleable in
Speaker 1: the sense that I was really I was not performing
Speaker 1: as much as I was just kind of like hoping
Speaker 1: to get all the lines right. So it's just a
Speaker 1: pattern for me that I learned to put it this
Speaker 1: way as a five year old. None of that showed up.
Speaker 1: It was a magical episode, And like I said, I
Speaker 1: think it's probably my earliest memory of just kind of
Speaker 1: sitting down a front Remember a movie marked me as
Speaker 1: a seven year old. You know how the West was
Speaker 1: one at the center. Imadn't totally that would have been awesome. Um,
Speaker 1: I wanted to, Like I said before we started talking,
Speaker 1: I want to skip a stone if I can across
Speaker 1: some of the things in your career. And one thing
Speaker 1: you just mentioned briefly, JFK. I think is one of
Speaker 1: the greatest films ever made. I mean, certainly one of
Speaker 1: the most impeccably shot and edited films I've ever seen.
Speaker 1: And it's celebrating its twenty fifth anniversary this year. Does
Speaker 1: it feel like twenty five years? It doesn't. But there
Speaker 1: was I tell you it was working with a lot
Speaker 1: of film stock. He was I think writing really well. Um.
Speaker 1: I think he was feeling it, meaning in a really
Speaker 1: good way. It was very passionate about that movie. It
Speaker 1: was a big bite that he took out of a
Speaker 1: difficult subject and I thought he kind of he brought
Speaker 1: people into that process, whether or not they believed in it.
Speaker 1: It was powerful filmmaking, absolutely, And what do you think
Speaker 1: the legacy is of of that movie. I don't know, Um,
Speaker 1: I don't know what. I don't know what it is.
Speaker 1: I think, uh, any generation that chooses to see. And
Speaker 1: that's what you have to keep in mind when you're
Speaker 1: actually making a movie that you know, you're not making
Speaker 1: them for opening weekend. Although that's the god that everybody's
Speaker 1: praying to out there, the reality is that there's gonna
Speaker 1: be five year olds, and certainly not for JFK, but
Speaker 1: for amazing stories. They're going to be people that it
Speaker 1: has a chance to mark. And a movie like JFK
Speaker 1: has a chance for generations to visit it when they
Speaker 1: come of an age where that interests them and the
Speaker 1: questions posed are really really important. And you know, there
Speaker 1: was a there was a shift in the country about
Speaker 1: you know, we used to think my parents thought certainly
Speaker 1: that people in power told you the truth, and it's
Speaker 1: really not. It's really not always the case. And we've
Speaker 1: seen that for the next sixty years. Absolutely, for the
Speaker 1: last sixty years, I think Uh, some thing that stands
Speaker 1: out to me, Like I mentioned that, the editing and
Speaker 1: the photography, just the manipulation of craft and filmmaking. I
Speaker 1: feel like that movie is a sterling example of it,
Speaker 1: Like what you can make of you or feel by
Speaker 1: how you juxtapose imagery, by how you shoot something. I mean,
Speaker 1: every time I talked to Bob Richardson, I asked him
Speaker 1: something else about that movie. You know, right, well, Bob
Speaker 1: was you know, Bobby has really bested himself in the
Speaker 1: imagery and storytelling, you know, alongside a lot of different directors,
Speaker 1: and it's a big imprint yea. And the cast too.
Speaker 1: I mean you you were an anchor for a massive,
Speaker 1: sprawling cast. There was a lot of great film TV
Speaker 1: even some theater actors in there. What was that camaraderie
Speaker 1: like with you guys, Well, it was good. Everybody that
Speaker 1: came was really ready to work. Uh. You know, um
Speaker 1: Oliver is uh, you know, he's really on point. You know,
Speaker 1: this is like you know, uh, he's he was. It was.
Speaker 1: It was a lot. It's a lot for me and
Speaker 1: it was gonna be a lot for them. And there
Speaker 1: was no there was no waiting. We needed to go
Speaker 1: and we needed to be sharp all the way through.
Speaker 1: And I knew that from myself, that that that that
Speaker 1: every day was gonna be a load or workload. It wasn't.
Speaker 1: There was nothing casual about that movie. Yeah. I could
Speaker 1: talk about that movie with you forever, but for both
Speaker 1: our sakes, I'll move on. But that was right podcast.
Speaker 1: People are going, yeah, thank god, get off that thing.
Speaker 1: It's only three letters, grow up, JFK. Come on, you
Speaker 1: were in that was in the middle of a great
Speaker 1: stride for you too. I mean you had come off
Speaker 1: of Field of Dreams and obviously Dances with Wolves, which
Speaker 1: is what I'm about to talk about. Uh, that film,
Speaker 1: which when I watch it, by the way, I watched
Speaker 1: the four hour version. Just sit there and marinate in
Speaker 1: that world. But uh, what did it mean for you
Speaker 1: at that time in your career to get that kind
Speaker 1: of a pat on the back from the industry. I mean,
Speaker 1: you were really the toast of the industry with that film,
Speaker 1: seven Oscars and all of that. What did that mean
Speaker 1: to you to get that kind of recognition at that
Speaker 1: point in your career, you mean off of Dan just yeah,
Speaker 1: well that was that was a great night, which you know,
Speaker 1: people have a tendency to look at that moment and
Speaker 1: not put my life in reverse. My life in reverse?
Speaker 1: Was that um that I I felt like I wanted
Speaker 1: to try to make this movie and I couldn't get
Speaker 1: anybody to give me any money, you know. Um and
Speaker 1: uh and uh actually postponed the movie one year because
Speaker 1: I didn't have the ending that I wanted. I couldn't
Speaker 1: solve the ending with me saying goodbye to all the
Speaker 1: major characters. I wanted each moment to be really pure,
Speaker 1: so I postponed it for a year. And uh, you know,
Speaker 1: what was that like for the industry. It's not so
Speaker 1: much what it was like for the industry. It's a
Speaker 1: It was a healthy reminder to me that when I
Speaker 1: do what I want to do, that everything else takes
Speaker 1: care of itself. You know. I wanted to make that
Speaker 1: movie by hook or by crook. I mortgaged you know,
Speaker 1: my house, so to speak. I put my salary up.
Speaker 1: I you know, we raised our money foreign We made
Speaker 1: that movie for sixteen million dollars and it was everything.
Speaker 1: And it was really even an undertone out there that
Speaker 1: was kind of ugly, which was Kevin's Gate. What's he
Speaker 1: doing at there? Was like Kevin's Gate like this movie
Speaker 1: as a disaster. I didn't know where that had come from.
Speaker 1: I know this. I had to turn down um Hunt
Speaker 1: for Red October because I had promised I was going
Speaker 1: to do dances. And you know, some people thought that
Speaker 1: me saying no to Red Hunt for Red October was
Speaker 1: that I needed more money. It wasn't more money. It
Speaker 1: was like I had already postponed dances for a year,
Speaker 1: a year earlier, and I wasn't going to do it now.
Speaker 1: I had all my things in place. In fact, if
Speaker 1: anything had caused me a lot of pain, because there
Speaker 1: was more money offered on Hunt for Red October than
Speaker 1: I've ever seen in my life. So I was like
Speaker 1: I So I was like doing the dumb thing. I
Speaker 1: was putting up all my money and leaving behind the
Speaker 1: biggest check I'd ever seen, only to have it all
Speaker 1: end up working, you know, its way into you know,
Speaker 1: into a you know, a pretty good movie, you know,
Speaker 1: but it was I did it with my friends out
Speaker 1: of acting class, where we none of us had any money.
Speaker 1: My friend who never had a screenplay produced wrote it.
Speaker 1: My friend who you know, who's you know, the big
Speaker 1: producing I could have had probably anybody in town produce it.
Speaker 1: Had a person that had no credits really to speak
Speaker 1: of to produce it, and we all want oscars. And
Speaker 1: we were working in a chemical plant down by the
Speaker 1: l A River in a class for actors and no
Speaker 1: one paid a dime because none of us had a dime.
Speaker 1: And so to have that work. Somebody wants to talk
Speaker 1: about that night, what was that like? But you know,
Speaker 1: for me, it was like I got my money back,
Speaker 1: I got my house back, you know. Um. And the
Speaker 1: music played seven times, because you know, when you win
Speaker 1: the awards, your music play. Yea, So it was a
Speaker 1: nice it was a nice moment that way. Um. But
Speaker 1: I had made up my mind what I wanted to do.
Speaker 1: And like I said, anybody out there listening, it's like
Speaker 1: if you get on. I mean it's a little bit
Speaker 1: like that with Hidden Figures, It's like it's like that
Speaker 1: for me with black or White. These movies I just
Speaker 1: wanted to do. And when I'm doing that, I'm usually
Speaker 1: in the best space that I need to be. Um, again,
Speaker 1: another movie I could probably just keep going on and
Speaker 1: on about. I think it's amazing. Um. You went into
Speaker 1: Perfect World not long after that, working with Clint one
Speaker 1: of my favorite of his movies. What have you retained
Speaker 1: from working with Clint? I'm always curious with when actors
Speaker 1: worked with Clint. He I like I'm saying, it's it's
Speaker 1: like I'm on a first name basis with Clint Eastwood.
Speaker 1: But you know, he's one of those guys I guess,
Speaker 1: but one or two takes and then move on. He's
Speaker 1: really confident in his actors. I'm always curious what actors
Speaker 1: take from that experience of working with him. Yeah, he Um,
Speaker 1: he gives himself one take or two take because I
Speaker 1: think he's really sure about how he acts. Um. I
Speaker 1: asked him for some more takes. Um. I did because
Speaker 1: I was working with a kid, and a lot of
Speaker 1: times a kid wasn't doing what I needed him to do,
Speaker 1: and I wasn't sure I was able to give him
Speaker 1: the moment that I needed to isolate. And uh so
Speaker 1: that was a really um really Johnny Lee Hancock wrote
Speaker 1: that movie. It was really great, and I wanted to
Speaker 1: really want it to be in it, but I was
Speaker 1: amazed that how Clint seemed to get his day pretty effortlessly.
Speaker 1: You know. Um, I always feel like when I'm out
Speaker 1: there directly, I'm struggling to get my day, and I
Speaker 1: felt that he managed to get his day pretty effortlessly, um,
Speaker 1: you know, and that was one of the big takeaways.
Speaker 1: But he allowed me a little bit of room because
Speaker 1: I said, look, it's I'm working with his kid, and
Speaker 1: I'm not working across another actor. And there's some beats
Speaker 1: that I hope editorially you have. And I can tell
Speaker 1: you right now that kid was way over here when
Speaker 1: he should be here, and so we're gonna we're gonna
Speaker 1: get stuck with one version and there's no you're gonna
Speaker 1: have no editorial choices. And so we got through the
Speaker 1: movie that way, and I think he really understood. And
Speaker 1: I watched I watched him at the kind of economy
Speaker 1: that he worked with. When I was growing up, Tin
Speaker 1: Cup was one of these movies. It was on HBO
Speaker 1: every day. Did you go to school man at all? Man?
Speaker 1: I just watched movies watching movies. I got it. I
Speaker 1: went to film school. Actually, yeah, it was on all
Speaker 1: the time, and I feel like I knew it by heart.
Speaker 1: Now I almost kind of want to say, can we
Speaker 1: get a sequel to that movie? Like you could have
Speaker 1: like your version of Creed yeah, you're like the old
Speaker 1: weathered golfer. There's a there's a theme there with Bodyguard
Speaker 1: two and with dances, the early years, the after years,
Speaker 1: you know, the body of the Bull Durham one and
Speaker 1: two and now he's a manager in the big leagues,
Speaker 1: and and of course you know um Tin Cup and
Speaker 1: and and right on. You know, along with a lot
Speaker 1: of those movies, everybody was looking for the two, you know,
Speaker 1: the two and the three, you know, or there's always
Speaker 1: the two is always not so good, and they apologize
Speaker 1: for two and they give you the third one because
Speaker 1: they basically go back in the truck up with the
Speaker 1: shovel and saying how big how much do you want?
Speaker 1: You know, So I haven't played at that smart and
Speaker 1: done all those two's. Well, I'm just pitching you. I
Speaker 1: think there's a there's a Tin Cup to to be Yeah,
Speaker 1: I think so. Well Ron would be the guy to
Speaker 1: get it right. Yeah, uh Ron Shelton For everyone wondering
Speaker 1: about that The Postman. Um, I have a funny story
Speaker 1: about the Postman. Now you make me feel like I
Speaker 1: really didn't go to school, but uh I was. I
Speaker 1: went to see that film. I went to like the
Speaker 1: last showing and uh, I didn't know the movie was
Speaker 1: three hours long, and so my dad was out front
Speaker 1: to pick me up, and I like, looking at my watch,
Speaker 1: I go a three hours long? I was. I think
Speaker 1: it was about two and a half, but it was.
Speaker 1: I don't even know if it was two and a half,
Speaker 1: but it was. You know, when they put the longer
Speaker 1: than I expected, an I had to go outside and like, Dad,
Speaker 1: it's not over yet. I'll be out in a bit.
Speaker 1: But uh, I'm always curious. Like that movie came a
Speaker 1: couple of years after water World, and those are two
Speaker 1: massive undertakings, both of them. So what gave you the
Speaker 1: energy to take on the someone after doing something like
Speaker 1: water World? Well, you know, I wish that Dances was
Speaker 1: a small movie. I wish Postman was a small movie.
Speaker 1: They just weren't. I mean, I would have been happy
Speaker 1: to do a haunted house movie from my first movie,
Speaker 1: but it just what I fall in love with I make,
Speaker 1: and I actually it was really charmed by the story
Speaker 1: of the Postman. I think I probably should have put
Speaker 1: something in front of it, you know, saying like once
Speaker 1: upon a time, so everybody understood that this was almost
Speaker 1: a fairy tale of the future. Once upon a time
Speaker 1: there was a Postman, and I was really charmed by
Speaker 1: a story of a person who is just trying to
Speaker 1: survive and through a couple of odd moves, suddenly as
Speaker 1: anointed with some kind of of maybe stature that he
Speaker 1: obviously knows he doesn't deserve. But the truth is he's
Speaker 1: getting fed, even getting laid. You know, there's a lot,
Speaker 1: there's a lot of things that are coming out of this,
Speaker 1: and so from a humanistic standpoint, from a human behavior,
Speaker 1: it's like, well, who wouldn't want to try to keep
Speaker 1: that going? But unfortunately the lie gets bigger and bigger
Speaker 1: and you and you're kind of waiting for that moment
Speaker 1: to say, hey man, I'm not a postman. I am
Speaker 1: a guy that was just trying to stay out of
Speaker 1: the way. Um. So I'm very fond of that movie.
Speaker 1: But that was a that's a big movie. Yeah. Well,
Speaker 1: like I said, how did you have the energy? I mean,
Speaker 1: we did it exhaust you going through that film? I
Speaker 1: think I was, but I I don't know. I like work,
Speaker 1: and once I'm working, you know, it's like there are
Speaker 1: fifteen hour days, you know, six days a week. I mean,
Speaker 1: you know those locations were big and um, we we
Speaker 1: really went at it. Yeah, one more before I get
Speaker 1: to the uh, the the movie you're here to talk about, uh,
Speaker 1: and that's Open Range. Uh. I think that that is
Speaker 1: one of the most underrated Western's ever. I'm a huge
Speaker 1: fan of the genre. I don't want to get greedy,
Speaker 1: but I kind of want you to give us another
Speaker 1: Western at some point if you, if you could, Yeah, no,
Speaker 1: I have one. I've been working on it. Let's about
Speaker 1: ten hours long house. Uh do it please? Yeah, I'm
Speaker 1: gonna do it. It's it's really definitely. I loved Open Range.
Speaker 1: I I I people talk about the final Gun Shooters
Speaker 1: being I've heard people say that they felt that that
Speaker 1: was the best gun shoot It felt shoot out, the
Speaker 1: sound design and all of that. And there's a line
Speaker 1: there too. I love this line. Um. It's when you
Speaker 1: and new vol are about to throw down there and
Speaker 1: you've got your chocolate in your pocket and you forgot
Speaker 1: about it, gets waited too long. He's like, oh, I
Speaker 1: guess I waited too long. But you say good is
Speaker 1: good melted or not? Yeah, good is good melted or not.
Speaker 1: That's that line kills me because it's like, I love
Speaker 1: the genre so much because there's something about complexity and
Speaker 1: simplicity in the Western job and it comes in the language.
Speaker 1: You know, everybody's looking for the shootout for Westerns, and
Speaker 1: the strength of them is when what gets said leading
Speaker 1: up to things, you know, because there is an oddity
Speaker 1: about how people talk. Yet it's our Shakespeare the American West,
Speaker 1: and uh, you know, I do watch a lot of Westerns,
Speaker 1: and I you know, I don't do them unless I
Speaker 1: think they can really really stand up um and and
Speaker 1: open range. I'm extremely proud of that movie. That was
Speaker 1: a Craig Stopper line. I needed a great job with that. Yeah,
Speaker 1: let's get that ten hour one man. You can do
Speaker 1: that for like TV. Or let's get that ten hour
Speaker 1: western going. Yeah, maybe I'll make three features out of it.
Speaker 1: There's a fourth one too, So it's truly a saga.
Speaker 1: Could you do TV like h I couldn't do TV.
Speaker 1: I could also make it like every six months, have
Speaker 1: a big Western that's tied together, like Jean de Florette
Speaker 1: and Man in O the Springs, you know, where there's
Speaker 1: a continuum. I think those are fun to watch, you know,
Speaker 1: and later go revisit, especially for a guy who doesn't
Speaker 1: go to school. Who wants to see every bit? It's
Speaker 1: I'm actually actually talking to the right guy. All right,
Speaker 1: let's get to what you're here to talk about. Let's
Speaker 1: that was a good sprint eighteen minutes through all those movies.
Speaker 1: I think I did pretty well hidden figures. Uh, you're
Speaker 1: playing Ah, I believe it's a fictional characters. But that said,
Speaker 1: were you able to talk to anyone to kind of
Speaker 1: help carve this out? And maybe well once that once,
Speaker 1: once it was going to become fictional is like, you know,
Speaker 1: who do you talk to? You know that we we
Speaker 1: didn't have the rights to that character, and there was
Speaker 1: about three of them that Ted Mulvey was drawing off of.
Speaker 1: And so, um, I didn't really sit with sit with
Speaker 1: anyone because it was gonna be a combination of of
Speaker 1: of everything of what we were, you know, trying to do.
Speaker 1: It wasn't really my movie. I was there to support it,
Speaker 1: you know, um the idea and and so we figured
Speaker 1: out we figured out the best way to try to
Speaker 1: do that. And we understood the personalities of the three men,
Speaker 1: but we couldn't turn them into one guy. And so
Speaker 1: you know, what we did was trying to understand that
Speaker 1: all this work on this movie, this personal story is
Speaker 1: set against a couple of big backdrops. Once the civil
Speaker 1: rights that was being you know, tested at every it
Speaker 1: has been tested since the beginning of this country, the
Speaker 1: formation of it. But it was certainly going through an
Speaker 1: evolutionary period, revolutionary, evolutionary, whatever you want to call it,
Speaker 1: right at that moment, a little bit of the we're
Speaker 1: dealing with the apex of it, you know in a way.
Speaker 1: Um and and and then you've got women's rights, uh
Speaker 1: in women in the workplace, and uh, you know, and
Speaker 1: this this this terrible racism that bleeds over into a
Speaker 1: corporate structure, you know, and with with a lot on
Speaker 1: the line, there was you know, we were behind and
Speaker 1: where we're gonna let these issues keep us, you know,
Speaker 1: from getting to where we needed to to be. You know,
Speaker 1: it's like a sports team, you know, it's like, oh,
Speaker 1: you're gonna keep your best player on the bench. Really, Yeah,
Speaker 1: it's opening into an interesting climate. Obviously to know a
Speaker 1: lot of people who saw the movie like right after
Speaker 1: the election, and they were all the more emotional because
Speaker 1: of that. So, uh, speaking of which, I guess it
Speaker 1: would be interesting if swing vote had come out this year.
Speaker 1: Thank you. I had the really I think a really
Speaker 1: underrated little comedy. Uh the ensemble. You know, I asked
Speaker 1: you about the ensemble for JFK. You guys actually just
Speaker 1: want a prize yesterday from the National Board of Review
Speaker 1: for Hidden Figures for the ensemble. What was that camaraderie
Speaker 1: like with this particular ensemble. Well, you know, for me,
Speaker 1: I I love the whole. You know, my part has
Speaker 1: to be good where I won't involve myself, um in
Speaker 1: my part. Actually, when I was approached on the film,
Speaker 1: wasn't I don't think very good? Um. I thought though
Speaker 1: the movie and what the girls were doing that was
Speaker 1: all really really beautiful. But you know the part that
Speaker 1: I had was a little bit it was confused. It
Speaker 1: was a little bit you know, I was looking for more.
Speaker 1: I was looking for, um, it to be substantial, for
Speaker 1: it to prop up the moment, uh their moments and
Speaker 1: advanced the idea of the movie as opposed to just
Speaker 1: somebody who's kind of there, who's clapping, going, you know,
Speaker 1: come on, let's get it together. Um. So you know,
Speaker 1: for me, um that had to happen. Um I could
Speaker 1: I told him, look at this still will be a
Speaker 1: really really good movie. But I think I think anybody
Speaker 1: can play this and and I think that that, you know,
Speaker 1: that's the way I look at it. And so I'm
Speaker 1: not it's not speaking to me. The movie is speaking
Speaker 1: to me, but not the part. And that's when he said, well, look,
Speaker 1: I've had a hard time putting that part together. I've
Speaker 1: concentrated so much on the girls, who's there's real story
Speaker 1: And he said, this other character, because I could never
Speaker 1: get the rights, has stalled me, and so there's like
Speaker 1: placeholders here. I said, well, it reads a little bit
Speaker 1: like that. And he said, well, you know, can we
Speaker 1: work on it together? And I said, we can, but
Speaker 1: can you because once you start a movie, it's very
Speaker 1: difficult to go home and write at night. You're directing
Speaker 1: a movie for fourteen hours a day or whatever it is.
Speaker 1: You know, um you uh, it's like can you gonna
Speaker 1: are you gonna want to answer the phone in Atlanta
Speaker 1: with a three hour time difference? And and us talk
Speaker 1: about this part when it's a supporting part, and that's
Speaker 1: what it is. And so you know a lot of
Speaker 1: times you say you can do that, but when it
Speaker 1: comes down to it, will you really do that? And
Speaker 1: Ted said, I will, it's worth it to me, and
Speaker 1: I thought to myself, well he answered, he answered that
Speaker 1: part right, But the proof is in how do you finish?
Speaker 1: Do you really do what you say you're gonna do?
Speaker 1: And Ted did because because let's face it, in this world,
Speaker 1: sometimes people can say anything to get you involved. Once
Speaker 1: you're involved, it's like, well, I've just ran out of time.
Speaker 1: I'm sorry, that's not a great outcome. That's just a
Speaker 1: great salesman. And Ted was true, and I have no
Speaker 1: doubt he was tired. But I think at the end
Speaker 1: of the day, it was really worth it for the
Speaker 1: movie for Al Harrison to be where he was, so
Speaker 1: you know, we didn't have to do the classic um
Speaker 1: cutaway shot that shows the sign for NASA to know
Speaker 1: where at NASA. We could go to my face and
Speaker 1: we knew that I stood for the Space program and
Speaker 1: that was probably you know, you know what I mean.
Speaker 1: You see television they show the apartment in New York
Speaker 1: and then you go inside, they show you the thing
Speaker 1: and it's the CIA headquarters and you're in the CIA,
Speaker 1: and they keep doing that to let you know where
Speaker 1: you're at. But if you if you develop enough presence enough, um,
Speaker 1: enough of a vocabulary about who you are that sometimes
Speaker 1: you know you can just come to person. I don't
Speaker 1: have to say anything. You know where you're at and
Speaker 1: you know what's going on. Because the movie certainly had
Speaker 1: a home life and then had this technical world. Are
Speaker 1: you a big fan of NASA movies, like you know,
Speaker 1: Public the Teen? Yeah, I thought that was that was
Speaker 1: a really interesting movie for me because, um, I had
Speaker 1: a chance to be in that movie, but I was
Speaker 1: going to do water World and again kind of like
Speaker 1: a Dances with Wolves. It was like I was committed,
Speaker 1: you know, so the idea. But what I thought Ron did, uh.
Speaker 1: And and the writer because it's a lot of this
Speaker 1: is the writing, you know, was that it was one
Speaker 1: of the times when I appreciated an ending that you
Speaker 1: already knew how it ended, it still felt very exciting. Absolutely,
Speaker 1: The Right Stuff is a movie I watch every Thanksgiving
Speaker 1: for some reason. Absolutely, who did the music? I can't remember. Yeah,
Speaker 1: I'm probably screaming at us right now saying it's the
Speaker 1: personal and somebody's looking at you going I didn't do
Speaker 1: my own work. I but yeah, A huge fan of
Speaker 1: that movie. Uh. Trying to think of some more. I mean,
Speaker 1: it's just there's a certain it just gives you a
Speaker 1: lot of pride. Absolutely, there's a and there's an aesthetic
Speaker 1: to those movies too that I guess it's Americana or
Speaker 1: something like that. I remember reading the book. Yeah it
Speaker 1: was Tom Wolf. Yeah, yeah, yeah, that with the whole
Speaker 1: passage in that book where he describes Chuck Yeager's that
Speaker 1: that last flight we see Chuck Yeager taking in the
Speaker 1: movie crashes. That whole passage in that book is phenomenal.
Speaker 1: If anyone's not read the book, you could read just
Speaker 1: that passage and just that guy was is the man? Uh?
Speaker 1: And you talked earlier about you know, getting off book,
Speaker 1: I mean talk about getting off book with an Aaron
Speaker 1: Sorkin script, and you're working with him now on Molly's Game? Uh,
Speaker 1: how do you like working with Aaron? And it's about
Speaker 1: time he directs? And you know, again, I had to
Speaker 1: I had to go I need to go to and
Speaker 1: and and as that instance, that part was really perfect.
Speaker 1: And I've I've been I've really enjoyed the in my career,
Speaker 1: I've had ten or twelve movies where we didn't really
Speaker 1: change a line, and that might be ten more than
Speaker 1: most people the way the way movies are, you know,
Speaker 1: manipulated and get halfway there and get the elements, and
Speaker 1: now we got a movie, and the director will fix it,
Speaker 1: or the actors will fix it, or somebody will fix it.
Speaker 1: But well, you know it's there, you know, starting with
Speaker 1: Lawrence kast and and and then Ron Shelton and Fielded
Speaker 1: Dreams and you know, No Way Out was a script.
Speaker 1: We didn't manipulate any lines except the title. Um, and
Speaker 1: probably not Untouchables either on that particular. On that particular
Speaker 1: one man that really hit it perfect, you know, uh,
Speaker 1: and he really did so Fandango there was no change
Speaker 1: in line Silverado um and you go right down the
Speaker 1: line in certain instances. So um, I'm trying to think
Speaker 1: of what the hell your question was. Working with Aaron,
Speaker 1: Aaron had wrote a pretty perfect script. In my mind,
Speaker 1: the character that I read was very unlike, for instance,
Speaker 1: a character I read and Hidden Figures where we did
Speaker 1: work on it, and Ted did deliver a great, nice
Speaker 1: supporting part of a really kind of Spencer Tracy just
Speaker 1: stand there and do your lines and support this idea.
Speaker 1: And Aaron's was really beautiful, very intense, and as an actor,
Speaker 1: I went to work on it, you know, and uh,
Speaker 1: you know, I did the lines this morning in the mirror,
Speaker 1: and I won't go back till January and I'll just
Speaker 1: keep working them. That has to be fun dialogue to
Speaker 1: chew on whenever you're working. He's very he's very special. Well,
Speaker 1: the movie is hidden figures. It's in theaters, uh now
Speaker 1: when this podcast airs, So please go see it and
Speaker 1: thank you again for coming on the show. Man. I
Speaker 1: hope I did all of that stuff justice. It was
Speaker 1: a sprint, but try edition something. Movies are things that
Speaker 1: that are obviously important to you, and so you know,
Speaker 1: sometimes it comes off as a job and other times
Speaker 1: comes off as a moment, you know, where you go, look,
Speaker 1: we could really have a chance to shoot the ship
Speaker 1: here about something that matters to you. And obviously the
Speaker 1: people that are following you that have a kind of
Speaker 1: a a similar appetite passion for the details that don't
Speaker 1: get talked about on TV. They just can't. They're looking
Speaker 1: for the cute story about your kids, or how you
Speaker 1: fell down on the set, or what in the world
Speaker 1: it is. And you know, here, you know, we ate
Speaker 1: up that time like it was nothing. Thanks man, I
Speaker 1: really appreciate that. Thanks for listening everyone. Remember to subscribe
Speaker 1: and check back next week when I'll be talking to
Speaker 1: thirteen director Ava Duverney. You've been listening to playback at
Speaker 1: Variety two four