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Speaker 1: Look man, oh, I see you? Why why? And look

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Speaker 1: over there? How is that culture? Yes? Goodness, let ding

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Speaker 1: Dong c it's just me and Bow because we are

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Speaker 1: we are postcoital right now, we're postcoital. We have postnut clarity.

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Speaker 1: Joy we Um didn't have all the time in the

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Speaker 1: world with our guests by now. You know it's Michelle Yo,

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Speaker 1: you're looking at the title the app. You know she's

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Speaker 1: been doing days of press for this movie, everything everywhere,

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Speaker 1: all at once, which you must see if you haven't already.

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Speaker 1: And in fact, we do get into some spoilers. So

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Speaker 1: just if you're listening now, just know, you know, maybe

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Speaker 1: hold off on listening to this episode. Please go see

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Speaker 1: the movie first. Yeah, implore you, because we really get

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Speaker 1: into you know, we really talked to her about what

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Speaker 1: it was like to work on this and it was

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Speaker 1: just such a special conversation. It's really I mean, this

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Speaker 1: is when I think one of my favorite moments we've

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Speaker 1: had on the podcast. Not likely because you know, she's

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Speaker 1: such an incredible icon of screen and just like cinema history,

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Speaker 1: but also she was a very real person and I

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Speaker 1: think that she had a lot to say that like

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Speaker 1: really resonated about how she prepares and how she's never

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Speaker 1: stops learning when she's on set, and she just really

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Speaker 1: a very grounded person and you wish that someone like

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Speaker 1: her gets her do like this, you know what I

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Speaker 1: really do, you really do? And it's that you know,

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Speaker 1: classic thing where at this point, you know, this is

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Speaker 1: something that Matt says all the time, which is can

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Speaker 1: anyone else do this role? Can anyone else you know

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Speaker 1: do which this actor does in any given project, And

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Speaker 1: we definitely feel like that's not the case with Michelle

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Speaker 1: and everything everywhere all once, like the role was written

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Speaker 1: for her. There there there aren't that many Asian female

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Speaker 1: actresses who can pull off action in a sci fi comedy,

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Speaker 1: who can pull off physical comedy as well as martial

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Speaker 1: arts like that is like she's I've listened to her

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Speaker 1: talk about the nuance and the difference between physical comedy,

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Speaker 1: which he's never done before and martial arts, which she has,

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Speaker 1: and like how much fun it was for her anyway,

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Speaker 1: We're really just like soaring from this interview. It was

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Speaker 1: so fun. It's a little bit tighter than usual because

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Speaker 1: of the time constraints we had, but so much fun.

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Speaker 1: I mean, it's just unreal because I've seen the movie

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Speaker 1: now twice as as you'll hear, and I'm so overwhelmed

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Speaker 1: because it's that thing bo you know, way back when

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Speaker 1: we first met the people that we we all met,

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Speaker 1: and like you had a feeling about certain people and

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Speaker 1: then coming to find out it happened to be true.

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Speaker 1: So Stephanie Shoe is like our old friend from college.

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Speaker 1: Like I think we probably all met when we were

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Speaker 1: like nineteen nineteen, I was probably I was eighteen. Yeah,

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Speaker 1: so but when his famously a little bit younger than us,

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Speaker 1: what she just mentioned, um, which was which was? Which

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Speaker 1: was not rude um at all to mention his young age.

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Speaker 1: But Stephanie is literally one of those people that you

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Speaker 1: meet and it's just yeah, she's truly limitless in terms

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Speaker 1: of what she's able to do. I'm also really happy

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Speaker 1: that she got to show off her beautiful voice in

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Speaker 1: this movie. Um. So it's everything I mean, and it

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Speaker 1: really bowled me over bow because more and more I'm

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Speaker 1: realizing that, like those people that we had a good

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Speaker 1: feeling about from way back, actually that was true, you know,

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Speaker 1: And how how lucky to be in the orbit of

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Speaker 1: some of these people. I Mean, this is such a

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Speaker 1: incredible performance, and all the performances are amazing, but I

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Speaker 1: have to like sit here and tally as well, you

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Speaker 1: know what I mean, Like you gotta see it to

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Speaker 1: believe it. I texted you right after I saw it

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Speaker 1: the first time. I was like, Steff is gonna blow

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Speaker 1: your fucking mind. And you know what's funny, It's like,

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Speaker 1: first of all, this is like the most Steph movie

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Speaker 1: of all time, like from everything from like from like

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Speaker 1: the Chaos of It to like the Bagel. I was like,

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Speaker 1: Steph found the step Shoe movie to do. And maybe

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Speaker 1: you know step from Marvelous Mrs masl or you've seen

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Speaker 1: her on Broadway. She was in SpongeBob and be More Chilled,

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Speaker 1: so people are aware of her, but now they're going

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Speaker 1: to become super aware of her. Just watching my friend.

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Speaker 1: It's crazy because she was there, like she does all

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Speaker 1: these different things, but she was there the whole time,

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Speaker 1: and I was like in this in this amazing way,

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Speaker 1: you know what I mean, And I was just like,

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Speaker 1: oh my god, that's step I know. You know, she

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Speaker 1: always says like, oh I gave up on comedy because

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Speaker 1: the hours were crazy and she had other things going on.

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Speaker 1: But like she was doing political subversities. It was the

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Speaker 1: show in New York City, like at the same theater

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Speaker 1: that pap Roulette did. Shows out like step Is, which

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Speaker 1: is one of those people that you would like kind

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Speaker 1: of run into all the time and be like, oh,

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Speaker 1: what are you working on? And to see her do

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Speaker 1: this is really incredible and I just were so so

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Speaker 1: so thrilled. We must have her on the podcast and

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Speaker 1: I'll sort of mention some stuff to her then, But

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Speaker 1: I'm just thinking back to the conversations we had in

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Speaker 1: college and truly like such a like a great friend,

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Speaker 1: and I just like I'm sitting around like emotional. I'm

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Speaker 1: so emotional about the movie because of the messages in it,

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Speaker 1: but also it's just really special to see someone that

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Speaker 1: you care about who's so talented, I know, just and

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Speaker 1: and so full of love and always was supportive of us,

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Speaker 1: which she would. We we shared a couple of days

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Speaker 1: on set together at Nora. This was right before she

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Speaker 1: was about to start. Daniels directed that episode of Nora.

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Speaker 1: The Daniels directed the flashback episode of Nora from Queens

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Speaker 1: where you know at all like it's Grandma telling Nora

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Speaker 1: like her story and it all kind of gets shot

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Speaker 1: in the style of like a seed drama or a

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Speaker 1: K drama, and you know, and that's where the Daniels

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Speaker 1: like met like Harry shrom Jr. Who's who's in the movie.

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Speaker 1: She's so funny, so great. I've never been more excited

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Speaker 1: to support a project that, like I had nothing to

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Speaker 1: do with, which sounds so disgustingly vain, But it is

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Speaker 1: weird when someone's like so hype for something that, like

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Speaker 1: in our business at least, like it's someone's hype for

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Speaker 1: something that like they hadn't no part of. Yeah, but

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Speaker 1: we need more of that. I totally agree, I I

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Speaker 1: because I always feel like that's how we get interesting. Yes,

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Speaker 1: I don't, I don't. I don't even know what I'm saying.

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Speaker 1: It's just like, I mean, that's really what I want

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Speaker 1: this podcast to be anyway as I would I would

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Speaker 1: love you know, that's so interesting talking about likesodes in

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Speaker 1: like what we wanted to be. But I guess that's

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Speaker 1: a good sign that, like, you know, now that we're

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Speaker 1: able to have access to someone like Michelle Yo, like,

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Speaker 1: it's so mind blowing. But I do think that, like,

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Speaker 1: especially nowadays, when people aren't necessarily going out to the theater,

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Speaker 1: Like I'm happy like that that, like there's things out

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Speaker 1: there that are there's really challenging things out there available

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Speaker 1: to us that we can go see. Like I'm going

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Speaker 1: to New York um next week and I'm gonna see

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Speaker 1: five Broadway shows and I haven't done that in years.

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Speaker 1: But I think there's like there's like a renewed interest

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Speaker 1: in me and like seeing things and absorbing things, and

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Speaker 1: I think that that's that's like a really important thing

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Speaker 1: now that the world is opening back up, as I

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Speaker 1: knock fucking would, but um, like gotta get out there

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Speaker 1: and see stuff and then share what you loved about

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Speaker 1: it with people. I mean, I know that's like a simple,

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Speaker 1: maybe like you know, sort of stupid thing to say,

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Speaker 1: but like tell people what you like, I mean like,

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Speaker 1: and I guess that's what is. So that's like this

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Speaker 1: podcast and that's what I want it to be. And

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Speaker 1: that's why I feel like, while this feels like a

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Speaker 1: crazy episode for us, because I never in a million

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Speaker 1: years bo that we started this on fucking Mercer Street

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Speaker 1: in New York thought that we would get to the

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Speaker 1: point where we could have Michelle Yo on our podcast.

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Speaker 1: But now that we can. It's like I'm so excited

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Speaker 1: because I genuinely feel like I can't express enough how

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Speaker 1: this movie enriched me um likewise, and like there aren't

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Speaker 1: that many movies that I can like rattle off that

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Speaker 1: have had such an effect on me like you have.

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Speaker 1: I didn't even get to say this to her. I

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Speaker 1: watched that movie. All I can think about is my mom.

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Speaker 1: And that's what that's what, that's what I that's what

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Speaker 1: I think about. I think by my mom all the time.

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Speaker 1: When I see Michelle Young movies. I remember going to

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Speaker 1: Crouching Tiger with my mom being like, wait, she kind

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Speaker 1: of talks like my mom does, and like she has

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Speaker 1: this same sort of like warmth and energy and strengthen whatever. Anyway,

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Speaker 1: I'm just talking about my mom now. But with everything

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Speaker 1: ever where everyone at all at once is literally the

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Speaker 1: story of this woman who's like, what if I had

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Speaker 1: done things differently? My mom in her loving way. She's

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Speaker 1: not saying this in like a way to like give

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Speaker 1: me an existential crisis or like throttle me into that

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Speaker 1: kind of crisis, but she always is, like you know,

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Speaker 1: I think about all the time if I had stayed

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Speaker 1: in China, like I would have been this very successful doctor,

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Speaker 1: I would have not had you because you're the second child,

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Speaker 1: because you know, back then it was one child only,

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Speaker 1: Like in Cheap it's a very common thing in the

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Speaker 1: immigrant experience, at least, not to make specifically about that,

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Speaker 1: to be like what if it's very much about that though,

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Speaker 1: no it and but it's a universal thing, like everybody

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Speaker 1: walks this going what if I had done things differently?

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Speaker 1: What if things were different enough that we're out of

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Speaker 1: my control? You know, like everyone is in that space

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Speaker 1: all the time, And it's the perfect concept to bring

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Speaker 1: into a multiverse movie. It's just so I loved this

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Speaker 1: movie so much. It's so smart on so many different levels.

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Speaker 1: And it's also fun and it's moving, and it's because

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Speaker 1: and it's because the thing about this film is and

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Speaker 1: we should just say, it's also wild. I mean, like,

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Speaker 1: it's a truly crazy movie. And you will be asked

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Speaker 1: asking yourself, what the hell is going on? You've never

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Speaker 1: seen anything like this, and then it becomes clear. But

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Speaker 1: the thing is, while it is so expensive and so

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Speaker 1: ambitious and so audacious, it's also very simple in terms

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Speaker 1: of the story. It's actually just about a family trying

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Speaker 1: to come back together, and it's about realizing what you have,

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Speaker 1: and it's about understanding possibility but embracing reality. And it's

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Speaker 1: just it's just so it's about accepting whatever reality you're in. Yeah,

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Speaker 1: and noticing, noticing it was so good and also especially

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Speaker 1: and blah blah blah. But in a time when everything

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Speaker 1: is a sequel or you know, a franchise movie, like

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Speaker 1: you gotta go out and support this movie. What we

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Speaker 1: say in the episode, like put on a mask if

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Speaker 1: that makes you feel better, if you haven't been out

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Speaker 1: to the theaters, like this is the movie to go see.

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Speaker 1: You won't regret it. You really won't regret it. It's

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Speaker 1: not the kind of movie that you will be like whatever, no, no,

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Speaker 1: no, no no, no no. At the very least, you'll have

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Speaker 1: a strong reaction. Yes, yes, yes, yes yeah. And isn't

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Speaker 1: it fun to go to a movie and potentially hate it.

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Speaker 1: I don't think you will, you won't. But but also

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Speaker 1: like I don't know, like it made me feel all

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Speaker 1: the feelings. I mean, I just I did not just

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Speaker 1: say yeah, but that's like it's just I don't know,

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Speaker 1: it really transported me back to like I don't know,

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Speaker 1: maybe even feeling like that childlike thing of like going

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Speaker 1: to the movies and something just is completely new. It's

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Speaker 1: movie magic. And she she not just not just spoil

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Speaker 1: the interview. And you know, if you haven't skipped all

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Speaker 1: the way to when Michelle Yo starts talking god Less,

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Speaker 1: you think you're listening to us talk, but she gets

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Speaker 1: into that, like, yeah, movie magic. Like it's this thing

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Speaker 1: that's kind of hard to come by. Especially I felt

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Speaker 1: this way before I saw the movie, Like I feel

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Speaker 1: like I've been a little desensitized, just a little bit

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Speaker 1: desensitized to like the viewing experience or the intake or

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Speaker 1: consumption of something that I'm watching because I'm like in

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Speaker 1: bed watching it like from a TV or an iPad

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Speaker 1: or like it's sedentary, it's passive. Like there's something so

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Speaker 1: literally activating about this movie that you watch it and

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Speaker 1: you cannot help but go, oh my god. Yeah, yeah, yeah,

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Speaker 1: that's sensory overload that happens in that atmosphere. Yes, yes,

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Speaker 1: that is not replicable at home. It really isn't unless

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Speaker 1: you have, like, you know, a crazy Dolby set up

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Speaker 1: or something. Unless you have a crazy Dolby set up, honey, experience,

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Speaker 1: it's it's really culture number four. You're not going to

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Speaker 1: get that experience, honey anyway, as do we have any

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Speaker 1: anything else to say? It's a bit of nothing else say.

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Speaker 1: I'm like so tapped from this conversation, Like I'm just excited.

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Speaker 1: I'm so excited. She was so generous with us, just

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Speaker 1: was so honest. She was giving ponytail through a white

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Speaker 1: baseball cap. Girl, can we talk about I guess people

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Speaker 1: know this already, but a hard reminder needs to be

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Speaker 1: set that, like this is a fucking style legend, glamour icon,

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Speaker 1: glamour icon. She just came out with her interview magazine

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Speaker 1: photos where she looks fucking amazing. Um, the Ring and

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Speaker 1: crazy rich Asians is her ring? Oh wow, did you

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Speaker 1: hear that? Have you heard the story? I think I

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Speaker 1: actually do like like like the props, like like like

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Speaker 1: because the ring is like a plot point. It's like

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Speaker 1: the like the Young Ring, and it's like the eleanor

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Speaker 1: Young Ring, and it's like they like did like a

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Speaker 1: pretty generic looking but still like you know, like something

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Speaker 1: that communicates wealth or whatever that this family has. But

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Speaker 1: she came on to set or she saw the ring

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Speaker 1: for the first time, she was like, no, one better,

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Speaker 1: I have a collection she has. This woman is like

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Speaker 1: very unassuming and a lot of ways. But also I'm

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Speaker 1: just reminded of the fact that she is married to

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Speaker 1: the former CEO of Ferrari. Oh Jesus, Like, this woman

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Speaker 1: knows fucking lavishness and luxury and yet she still is

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Speaker 1: like such an artist in her way, and like it

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Speaker 1: doesn't like would never let that show, like, doesn't let

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Speaker 1: that inform anything about her in her work. That brings up.

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Speaker 1: But I just I'm obsessed with that, Like she's a

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Speaker 1: fucking glamour she's like it's it feels old Hollywood. It

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Speaker 1: feels like so fucking Oh. I love it. It's so locks.

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Speaker 1: But anyway, it's her ring that giant fucking emerald. I

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Speaker 1: don't know what cut of diamond that is, but so beautiful. Yeah,

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Speaker 1: this was I mean, we're we're doing the fluffing of

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Speaker 1: the century here, this four player that we're doing with

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Speaker 1: the readers. I say, let's just play the episode. You're

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Speaker 1: gonna hear us ding dong again. The intro is very

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Speaker 1: short with her. I swear to god, we're getting to

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Speaker 1: MICHELLEO very very very soon. This feels like when you're

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Speaker 1: about to get on the roller coaster, but like there's

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Speaker 1: like a technical problem. It's like you waited for an

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Speaker 1: hour and then you get there and they're like, we're

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Speaker 1: experiencing technical difficulties and you're like, fuck off. Um, but

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Speaker 1: with no with no further ado bo, that's welcome, Michelle,

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Speaker 1: fucking come on, lost culture, racist calling oh boh, and

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Speaker 1: it's a moment in time. Man, again, what was the

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Speaker 1: last movie you saw multiple times in theaters? Besides everything everywhere,

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Speaker 1: all at once. I would have to go back, but

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Speaker 1: I can't remember, like sometimes a movie that I was

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Speaker 1: immediately excited to see again, you know, like that's how

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Speaker 1: it happened, especially in the theater, especially like pursuing the

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Speaker 1: IMAX experience of it. I was like, I have to

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Speaker 1: see this on a giant screen with a bunch of people.

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Speaker 1: I will say this, The last time I saw a

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Speaker 1: movie repeatedly, again and again and again was A Star

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Speaker 1: Was Born with Lady Gaga and Bradley Cooper, which I

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Speaker 1: famously did see four times opening weekend. Now that does

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Speaker 1: not mean that I wasn't equally moved by this new

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Speaker 1: film Every Everywhere, all at once, which I've seen twice

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Speaker 1: this week in the theaters and I know Bowen has

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Speaker 1: as well, and I have to implore all of the

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Speaker 1: readers of this podcast, everyone out there, to get to

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Speaker 1: the theaters to see this. Bowen, I know you were

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Speaker 1: as just as excited as I was. I was. It's

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Speaker 1: it's the superlatives are are there? Aren't enough? Do you

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Speaker 1: know what I'm saying. I think I told you immediately.

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Speaker 1: Our friends Stephanie Shoe is in it. We went to

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Speaker 1: college with her. I can't we can't wait to get

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Speaker 1: into this, can't wait to talk about it with our guests. So, um,

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Speaker 1: there's really no need to introduce her. I mean way,

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Speaker 1: She's truly a legend in cinema in so many ways. Um,

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Speaker 1: just we're so inspired and privileged to have her. So

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Speaker 1: please welcome Michelle Yo. Hello, Oh my god. What an

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Speaker 1: introduction to everything everywhere, all at once. I love you

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Speaker 1: boys already well, especially because you have friends with my

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Speaker 1: baby girls. Stephanie Shoe went to college with her. I

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Speaker 1: did sketch comedy with Stephanie Schue. I first met her

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Speaker 1: as you know, the hilarious, funny girl who could do anything,

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Speaker 1: and then as I got to know her, I realized

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Speaker 1: how she's so good with drama, musical. She's in completely

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Speaker 1: insane person. She's everything everywhere all at once. Absolutely yes,

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Speaker 1: I mean she is amazing in this She's amazing both

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Speaker 1: stop anything. So you are very lucky to have met

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Speaker 1: her at the early age and I can't wait to

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Speaker 1: see all the amazing things that she will continue to

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Speaker 1: do and the opportunity to do what was it like

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Speaker 1: to what was like to set up that relationship and

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Speaker 1: to sort of ground that into something that was very

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Speaker 1: very convincing because by the end, I mean, Matt and

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Speaker 1: I've talked about this, I I never cry at movies,

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Speaker 1: and I did. I did cry multiple times both times

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Speaker 1: I've seen it, especially in that last thing we won't spoil,

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Speaker 1: but there's the last moment with you and Stephanie's character Joy,

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Speaker 1: between Evalent and Joy, like, how how did you? What

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Speaker 1: was the process like just getting into that relationship? Okay,

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Speaker 1: but first of all, I really want I want to

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Speaker 1: say thank you for you too having given the shout

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Speaker 1: out about going to the cinemas this movie. It's shared

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Speaker 1: experience and hello, Matt, if you don't watch it more

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Speaker 1: than four times, I'm coming. Okay, Okay, it's the Lady Yaga.

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Speaker 1: Step aside. Okay, he's going to say to Bratt, out

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Speaker 1: of my way. That movie. This one is unique. It's different,

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Speaker 1: right and right. It is like the primal way of

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Speaker 1: our ancestors, where you sit under the stars and you

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Speaker 1: have a great story telling. You have to see it

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Speaker 1: in the cinema because that's when you devote yourself to

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Speaker 1: that magic of filmmaking. And it's like you don't want

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Speaker 1: to go on a roller coaster right by yourself. Never.

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Speaker 1: This is like the most incredible roller coaster ride that

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Speaker 1: you're going to have in the cinema, and you're doing it.

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Speaker 1: You have to do it with people. You have to

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Speaker 1: do it with your friends, your family and strangers. And

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Speaker 1: the most important thing is like having conversations afterwards all

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Speaker 1: the different issues, whether it's the mother and daughter, the

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Speaker 1: father and daughter, the husband and wife, just a relationship.

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Speaker 1: Look at the two antagonists, because you know the auditor,

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Speaker 1: the tax auditor, who is like that you think the

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Speaker 1: scariest person, but who is a real human being? And

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Speaker 1: you need and you don't want to be left out

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Speaker 1: of the conversation, do you When everybody's going have you

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Speaker 1: seen this movie? Do you know what we're talking about?

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Speaker 1: And God forbid, You're like, no, uh, it is that though.

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Speaker 1: It is a cultural moment, and I really do believe

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Speaker 1: that this movie is going to be something that as

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Speaker 1: more people see it, as more people talk about it,

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Speaker 1: is going to become a cultural conversation because it's unlike anything.

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Speaker 1: It's unlike anything. It is. The Daniels are just I

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Speaker 1: call them my evil geniuses because he had the audacity

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Speaker 1: the courage to put it all on paper. You know,

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Speaker 1: it's like five genres of filming in one movie. And

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Speaker 1: they took a very ordinary, totally unsuccessful immigrant Asian aging woman,

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Speaker 1: immigrant who is trying to pursue the American dream with

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Speaker 1: the love of her life, came here to the complete

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Speaker 1: disagreement and disapproval of her parents, especially of her horrible father.

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Speaker 1: I'm sorry to have to say that. It's almost like

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Speaker 1: a vicious circle. It's like, that's how you are. You.

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Speaker 1: You understand that your parents want the best for you.

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Speaker 1: They tell you what to do and you should do that,

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Speaker 1: and God forbid you disobey them. And it's like when

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Speaker 1: she sees her daughter, that is the one of the

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Speaker 1: core of the movies is this mother daughter relationship. And

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Speaker 1: you're right, Stephanie and I found the bond. We didn't

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Speaker 1: we didn't have you know, we are an independent film.

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Speaker 1: I only arrived in January. We had eight weeks to

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Speaker 1: shoot this, thirty seven days. Because you know, there is

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Speaker 1: a union. We can work like constantly, like twenty four seven. Right.

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Speaker 1: So we but every character from Stephanie, myself, Kei Kwan,

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Speaker 1: Jamie Lee, Curtis, James Hang, Peter Daniels, every character was

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Speaker 1: completely invested and knew who they were. I saw, I

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Speaker 1: see this woman on this we've passed by this Evelyn Wall,

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Speaker 1: the supermarket, or when we are if we're in Chinatown,

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Speaker 1: we see the mothers, the aunties, the grandmother's where they

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Speaker 1: are weighed down by the responsibility of keeping the family together,

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Speaker 1: keep being a business alive, you know, doing what is

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Speaker 1: right and helping the fact the family survived. And she,

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Speaker 1: you know, she doesn't walk straight. She literally waddles her

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Speaker 1: way through. She's waiting through all these like problems and things.

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Speaker 1: So what is the American dream? It is tough, It

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Speaker 1: is oh so tough. But the Daniels have given her

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Speaker 1: such a strong voice to highlight and to tell her

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Speaker 1: story and give her an opportunity to be a superhero

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Speaker 1: because at the end of the day, we believe in love,

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Speaker 1: we believe in our family, and we will never give

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Speaker 1: up on that, and that journey needed to be told

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Speaker 1: in this way. This is something I've observed, and I

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Speaker 1: don't know if this is what maybe jumped out at

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Speaker 1: you when you first read the script, but I feel

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Speaker 1: like in your career you portrayed power in such a

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Speaker 1: such a wonderful way through so many ranges, through such

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Speaker 1: a wide range of things, whether it's you know, eleanor

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Speaker 1: Young or you know Star Trek with uh, you know Philip,

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Speaker 1: Yeah yeah, but it's like I mean, you know, or

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Speaker 1: or even in Never Dies, Like I feel like the

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Speaker 1: Michelle Yo in her roles up to this point has

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Speaker 1: been about portraying a woman in power, which is wonderful.

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Speaker 1: But this is someone you look at, Evelyn, and this

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Speaker 1: is someone who is vulnerable at every level socially, economically, emotionally, physically.

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Speaker 1: Did you recognize that to be something unique and different immediately,

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Speaker 1: because you're right, like, this is a woman who've passed

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Speaker 1: on the street, who was basically invisible to a lot

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Speaker 1: of people. Like how how did you dive into that vulnerability?

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Speaker 1: That's a great question. Thank you for that. You know,

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Speaker 1: it's it's very i think at the beginning of my

416
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Speaker 1: career to show because we were all the ming boss

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Speaker 1: the Asian woman is like the fragile you know, needs

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Speaker 1: to be carefully catered too, and all those kind of

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Speaker 1: like what her the very stereotypical indication of what it

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Speaker 1: is to be an Asian woman, And for me it

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Speaker 1: was very important spell no, no, no, no, we're not that.

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Speaker 1: We are a mother. We are strong, where independent, we

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Speaker 1: are in control of our lives. And it was it's

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Speaker 1: a choice to portray and give a voice to that

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00:23:21,560 --> 00:23:25,359
Speaker 1: because we cannot be seen as the victims only. But

426
00:23:25,520 --> 00:23:30,480
Speaker 1: with Evelyn Wong, she's not a victim. She is trying

427
00:23:30,560 --> 00:23:34,280
Speaker 1: to be the strong, the successful and all that, but

428
00:23:34,560 --> 00:23:37,640
Speaker 1: life has beaten her down in every turn of the way.

429
00:23:38,080 --> 00:23:41,440
Speaker 1: And that's the reality that surround us. It's not that

430
00:23:41,560 --> 00:23:44,440
Speaker 1: everybody gets to be successful, even though they give it

431
00:23:44,480 --> 00:23:49,120
Speaker 1: their hundred and two percent, right, Unfortunately, that's the reality

432
00:23:49,240 --> 00:23:53,000
Speaker 1: of life. But to be able to say, yes, she

433
00:23:53,240 --> 00:23:55,760
Speaker 1: is a failure as so many things that she she does,

434
00:23:56,040 --> 00:24:00,280
Speaker 1: but every failure becomes it's an impact on our lives

435
00:24:00,680 --> 00:24:03,880
Speaker 1: and we have to learn to be, to learn from

436
00:24:04,000 --> 00:24:07,920
Speaker 1: that and be stronger with that. And I think for

437
00:24:08,080 --> 00:24:12,440
Speaker 1: Evelyn wrong, if she was not open to be always

438
00:24:12,560 --> 00:24:16,960
Speaker 1: trying to be better or do something, she would not

439
00:24:17,080 --> 00:24:20,440
Speaker 1: be able to go into these multiverses and tap into

440
00:24:20,600 --> 00:24:23,639
Speaker 1: that and have an open mind. And I think that

441
00:24:23,920 --> 00:24:26,680
Speaker 1: was what that really attracted, Yes, because we are all

442
00:24:26,800 --> 00:24:30,280
Speaker 1: flawed characters, We are all flawed human beings. And in

443
00:24:30,520 --> 00:24:33,879
Speaker 1: the beginning of my career playing the Strong, you know,

444
00:24:34,400 --> 00:24:39,600
Speaker 1: more and more dynamic characters were important because it empowers

445
00:24:39,720 --> 00:24:43,120
Speaker 1: you to believe that you can do this. And now

446
00:24:43,280 --> 00:24:45,640
Speaker 1: it comes to a stage where it's like, I want

447
00:24:45,720 --> 00:24:49,240
Speaker 1: to give the people who are not seen right the

448
00:24:49,440 --> 00:24:53,320
Speaker 1: chance to have a voice and say they can have

449
00:24:53,440 --> 00:24:56,800
Speaker 1: a different life too. And the Daniels have given us

450
00:24:56,840 --> 00:25:00,159
Speaker 1: a perfect opportunity to say, well, guess what, in a

451
00:25:00,240 --> 00:25:03,239
Speaker 1: science fiction world, we can you know, because you're going

452
00:25:03,280 --> 00:25:04,800
Speaker 1: to be able to go into all these kind of

453
00:25:04,880 --> 00:25:08,680
Speaker 1: worlds and see what could have happened. But what you choose,

454
00:25:09,359 --> 00:25:12,960
Speaker 1: that's very that is I think, and I'm actually emotional

455
00:25:13,040 --> 00:25:16,520
Speaker 1: even thinking about this um but what what moved me

456
00:25:16,680 --> 00:25:20,720
Speaker 1: so much about the film was the message of choosing

457
00:25:20,840 --> 00:25:25,040
Speaker 1: each other. And you know, even in seeing the vast

458
00:25:25,119 --> 00:25:28,760
Speaker 1: possibility in choosing the love in your life and in

459
00:25:29,000 --> 00:25:33,720
Speaker 1: noticing the things in your life that have actually given

460
00:25:33,760 --> 00:25:36,480
Speaker 1: you the strength that you didn't know. Because even though

461
00:25:36,680 --> 00:25:41,240
Speaker 1: Evelyn acquires skills, she uh and she's able to tap

462
00:25:41,359 --> 00:25:44,640
Speaker 1: into these different universes, it is her the whole time,

463
00:25:44,760 --> 00:25:47,800
Speaker 1: and she is the soul that we're with and and

464
00:25:48,000 --> 00:25:50,040
Speaker 1: she is the person at the end of the film

465
00:25:50,080 --> 00:25:53,760
Speaker 1: who makes the decision that she makes. And I cannot

466
00:25:53,920 --> 00:25:59,280
Speaker 1: remember being more moved than um towards the end of

467
00:25:59,320 --> 00:26:02,399
Speaker 1: the film when there is a specific montage with Keys

468
00:26:02,520 --> 00:26:06,879
Speaker 1: character and you are and I just want to say, Michelle, like,

469
00:26:07,240 --> 00:26:09,359
Speaker 1: there is so much power in the way that you

470
00:26:09,560 --> 00:26:15,360
Speaker 1: receive that you are outstanding in this movie. I mean,

471
00:26:15,480 --> 00:26:20,439
Speaker 1: it is an outstanding I will say it Oscar worthy performance.

472
00:26:20,520 --> 00:26:23,399
Speaker 1: I know it's whatever, but this is the kind of

473
00:26:23,520 --> 00:26:26,080
Speaker 1: thing where I just don't think there is another person

474
00:26:26,160 --> 00:26:28,520
Speaker 1: in the world that could do this. And when I

475
00:26:28,680 --> 00:26:32,040
Speaker 1: tell you how moved I was, it had so much

476
00:26:32,119 --> 00:26:34,359
Speaker 1: to do with keys performance, but also the way you

477
00:26:34,480 --> 00:26:38,760
Speaker 1: receive that and you can see the character realizing so

478
00:26:39,000 --> 00:26:41,920
Speaker 1: much about her life, her reality and what she wants

479
00:26:42,000 --> 00:26:45,720
Speaker 1: in that moment, so just that message I think is

480
00:26:45,880 --> 00:26:49,399
Speaker 1: so important, you know, in showing the beauty and the

481
00:26:49,560 --> 00:26:52,120
Speaker 1: love in a life that's big, but also a life

482
00:26:52,160 --> 00:26:55,760
Speaker 1: that feels quote unquote small. And so I just was

483
00:26:55,800 --> 00:26:57,639
Speaker 1: that something that jumped out to you in the script

484
00:26:57,720 --> 00:27:00,320
Speaker 1: and maybe maybe made you say like absolutely is it?

485
00:27:01,800 --> 00:27:06,680
Speaker 1: Oh my god, now you're making me emotional by the movie. No,

486
00:27:06,880 --> 00:27:09,119
Speaker 1: I think what it is. It's like because when you

487
00:27:09,280 --> 00:27:13,119
Speaker 1: read it, it resonates, you know, like you say with

488
00:27:13,280 --> 00:27:18,120
Speaker 1: the husband and wife relationship, any relationship is continuous work.

489
00:27:18,800 --> 00:27:23,080
Speaker 1: And sometimes we get sid swept, bobbed down by the things,

490
00:27:23,880 --> 00:27:25,960
Speaker 1: problems and all those kind of things that we start

491
00:27:26,040 --> 00:27:28,720
Speaker 1: looking at the other person like why couldn't you be

492
00:27:28,840 --> 00:27:32,480
Speaker 1: better at this? But then we forget why did you

493
00:27:32,560 --> 00:27:36,159
Speaker 1: fall in love with this person to change him? Right?

494
00:27:36,600 --> 00:27:40,560
Speaker 1: You love him because he's a little dorky. He knows

495
00:27:40,600 --> 00:27:44,240
Speaker 1: how to find like joy and beauty in the most

496
00:27:44,359 --> 00:27:48,440
Speaker 1: horrible places, and he's trying to instill happiness, and that

497
00:27:48,680 --> 00:27:50,639
Speaker 1: was why you loved him in the first place. And

498
00:27:50,680 --> 00:27:54,840
Speaker 1: you were ready to have you abandon your family, your

499
00:27:55,040 --> 00:27:57,760
Speaker 1: your parents, to go in search of a new life

500
00:27:57,840 --> 00:28:00,280
Speaker 1: because you love this man. And I think some sense

501
00:28:00,359 --> 00:28:03,720
Speaker 1: we get lost along the way, and I think what

502
00:28:03,960 --> 00:28:07,399
Speaker 1: happened was like it didn't hit her until when she

503
00:28:07,480 --> 00:28:09,960
Speaker 1: saw the divorce papers. They were like, what the f

504
00:28:10,160 --> 00:28:14,320
Speaker 1: are you talking? It real? And then it was right.

505
00:28:14,600 --> 00:28:16,720
Speaker 1: But that was his point. It was like, I don't

506
00:28:16,800 --> 00:28:19,200
Speaker 1: really want a divorce, but I think this will force

507
00:28:19,320 --> 00:28:22,639
Speaker 1: you to stop. Because it happened to somebody else. It

508
00:28:22,760 --> 00:28:25,880
Speaker 1: stopped them to think. It's like, do you really value

509
00:28:25,960 --> 00:28:29,720
Speaker 1: this relationship? And if you have lost complete respect and

510
00:28:30,240 --> 00:28:33,920
Speaker 1: for the man or the woman and the relationship, then yes,

511
00:28:34,359 --> 00:28:37,360
Speaker 1: maybe it's time to step away. Because you don't want

512
00:28:37,400 --> 00:28:40,200
Speaker 1: to hate each other because it's it's a very fine line.

513
00:28:40,480 --> 00:28:42,960
Speaker 1: But if there is real love, then you have to

514
00:28:43,160 --> 00:28:45,240
Speaker 1: fight for it. You have to fight for each other

515
00:28:45,320 --> 00:28:47,640
Speaker 1: and you have to continue to do that. I think

516
00:28:47,720 --> 00:28:50,680
Speaker 1: where the Daniels were very, very clever when they wrote

517
00:28:50,760 --> 00:28:57,160
Speaker 1: this is the emotional thread between each character with even

518
00:28:57,280 --> 00:29:00,200
Speaker 1: like the simple you know and job pack. Then when

519
00:29:00,280 --> 00:29:03,480
Speaker 1: he comes out with all these like amazing costumes and

520
00:29:05,720 --> 00:29:09,480
Speaker 1: costable but I looked into her eyes and I see

521
00:29:09,640 --> 00:29:15,200
Speaker 1: the longing of I'm looking for my mother, not you know.

522
00:29:15,560 --> 00:29:19,480
Speaker 1: Even though my mouth says nothing matters, your eyes don't

523
00:29:19,520 --> 00:29:23,040
Speaker 1: say that. And that's what I see from from that

524
00:29:23,200 --> 00:29:27,360
Speaker 1: what bonds us together, because that's what Evelyn is seeing. Right.

525
00:29:27,800 --> 00:29:30,120
Speaker 1: It's like you know how sometimes children they say the

526
00:29:30,200 --> 00:29:32,880
Speaker 1: worst things. They're like, I wish you're dead or your

527
00:29:32,880 --> 00:29:36,320
Speaker 1: blah blah blah. Would say it too because I wish

528
00:29:36,320 --> 00:29:38,960
Speaker 1: we never had you, Like what, don't be so ridiculous, Okay,

529
00:29:39,280 --> 00:29:41,880
Speaker 1: but you say things you think to hurt each other

530
00:29:42,520 --> 00:29:45,400
Speaker 1: because you want them to feel the hurt you are feeling.

531
00:29:46,240 --> 00:29:48,960
Speaker 1: And then you just take like sell things at each other.

532
00:29:49,360 --> 00:29:52,040
Speaker 1: But that's where you know when you're working with someone

533
00:29:52,160 --> 00:29:56,160
Speaker 1: like Key and Stephanie, who we look at each other

534
00:29:56,320 --> 00:29:59,280
Speaker 1: and we see lot and we know this is where

535
00:29:59,360 --> 00:30:02,120
Speaker 1: we have to go because if you don't believe that

536
00:30:02,280 --> 00:30:06,760
Speaker 1: you love me, nobody else is going to. You know,

537
00:30:06,880 --> 00:30:09,240
Speaker 1: your eyes are as an actor, the eyes had the

538
00:30:09,280 --> 00:30:13,120
Speaker 1: windows to someone's soul. And I believe the Evilyn Wong

539
00:30:13,720 --> 00:30:18,000
Speaker 1: as Stephanie believed enjoy and two parking. So you know

540
00:30:18,080 --> 00:30:20,440
Speaker 1: when we walk into and that even though she's like

541
00:30:20,680 --> 00:30:27,880
Speaker 1: clinging those adult toys around, what the hell? And that's

542
00:30:28,160 --> 00:30:31,920
Speaker 1: where the geniuses of the Daniels are. They put you

543
00:30:32,040 --> 00:30:38,080
Speaker 1: in the most unapologetic raunchiness silliness or whatever because you

544
00:30:38,160 --> 00:30:40,840
Speaker 1: are thrown off Alan's your head is getting like messed

545
00:30:40,920 --> 00:30:43,640
Speaker 1: up like Evelyn watch and then they pulled the rug

546
00:30:43,720 --> 00:30:50,240
Speaker 1: from under you and they watch you fall going as genius.

547
00:30:51,080 --> 00:30:53,360
Speaker 1: But this is something, This is like the opposite end

548
00:30:53,400 --> 00:30:55,600
Speaker 1: of what you've always said that you know martial arts

549
00:30:55,600 --> 00:30:58,960
Speaker 1: scenes are, which is there's always drama and emotional sticks

550
00:30:59,000 --> 00:31:02,280
Speaker 1: to any fight scene you done. And even with even

551
00:31:02,360 --> 00:31:05,400
Speaker 1: between these characters, even though there are all these insane

552
00:31:05,600 --> 00:31:09,760
Speaker 1: visuals going on, there's still that dramatic core, that thread

553
00:31:09,840 --> 00:31:14,440
Speaker 1: between these two characters that like makes you and you

554
00:31:14,680 --> 00:31:16,680
Speaker 1: can't take your eyes off me because you understand what's

555
00:31:16,680 --> 00:31:22,000
Speaker 1: going on on some different emotional, different level, the emotional

556
00:31:22,120 --> 00:31:24,840
Speaker 1: curve for these two women they're fighting. You know, if

557
00:31:25,040 --> 00:31:28,440
Speaker 1: it's like with Joebutupaki, she she thinks she's trying to

558
00:31:28,560 --> 00:31:33,080
Speaker 1: kill this woman that's her mother, right, but she she's

559
00:31:33,160 --> 00:31:35,640
Speaker 1: testing her to the limits is how much do you

560
00:31:35,760 --> 00:31:40,000
Speaker 1: actually want me? Right? It's like our children test us

561
00:31:40,160 --> 00:31:43,040
Speaker 1: all the time. From the minute they know how to crawl,

562
00:31:43,200 --> 00:31:46,440
Speaker 1: they test you to see, right. That's what we do

563
00:31:47,360 --> 00:31:49,320
Speaker 1: and that we do that with our friends, we do

564
00:31:49,440 --> 00:31:51,960
Speaker 1: that with our the people that we love, right, You

565
00:31:52,040 --> 00:31:54,280
Speaker 1: don't do that to people that you don't know because

566
00:31:54,960 --> 00:31:57,720
Speaker 1: the reason time right. But you you test your limits,

567
00:31:57,760 --> 00:32:01,000
Speaker 1: you test each other's limits constantly. But does that mean

568
00:32:01,080 --> 00:32:03,600
Speaker 1: that you don't you love that person? That's why you're

569
00:32:03,680 --> 00:32:06,080
Speaker 1: testing the boundaries. That's why you're you know, how much

570
00:32:06,120 --> 00:32:09,240
Speaker 1: more than I can I achieve from this? And even

571
00:32:09,320 --> 00:32:12,640
Speaker 1: with the fight sequences with like the Late lay Brothers,

572
00:32:12,800 --> 00:32:14,560
Speaker 1: you know, with the mud clouds and all this kind

573
00:32:14,560 --> 00:32:18,400
Speaker 1: of thing, it's all about survival. It's all about that

574
00:32:18,560 --> 00:32:20,480
Speaker 1: and what I loved right at the end, you know,

575
00:32:20,600 --> 00:32:24,640
Speaker 1: when I was doing it was like I opened my

576
00:32:24,920 --> 00:32:28,960
Speaker 1: arms and I find love. At first, I was really like,

577
00:32:29,000 --> 00:32:30,520
Speaker 1: what the hell are you two boys trying to do?

578
00:32:31,040 --> 00:32:33,360
Speaker 1: It's like, how do you fight for love? That's a

579
00:32:33,480 --> 00:32:36,680
Speaker 1: very interesting thing. How do you say I I'm going

580
00:32:36,800 --> 00:32:39,840
Speaker 1: to now not fight you with the physical like you

581
00:32:39,920 --> 00:32:43,360
Speaker 1: know you're coming with at me, with knives, at bombs,

582
00:32:43,520 --> 00:32:48,920
Speaker 1: you know, the whole staircase. Yes, the other Alpha's is like,

583
00:32:49,280 --> 00:32:52,080
Speaker 1: are they are ready to kill me? And ready to

584
00:32:52,160 --> 00:32:55,080
Speaker 1: kill Evelyn? Wrong? And she has the google eyes and

585
00:32:55,160 --> 00:32:58,280
Speaker 1: she suddenly realized all the googly eyes it is all

586
00:32:58,320 --> 00:33:01,360
Speaker 1: about love and joy and this, but how do you

587
00:33:01,520 --> 00:33:03,640
Speaker 1: present to them? It's like, I'm not gonna fight you

588
00:33:03,800 --> 00:33:06,600
Speaker 1: with my face. I'm gonna embrace you and fight you

589
00:33:06,720 --> 00:33:08,920
Speaker 1: with love. So we were standing that, going like, how

590
00:33:09,000 --> 00:33:11,680
Speaker 1: do you do that? How do you present that? Well?

591
00:33:11,760 --> 00:33:23,120
Speaker 1: I guess I would just go love your mama. This

592
00:33:23,320 --> 00:33:26,560
Speaker 1: is something you know. We are in the industry, so

593
00:33:26,720 --> 00:33:29,200
Speaker 1: we know this, but these films are shot out of

594
00:33:29,280 --> 00:33:32,720
Speaker 1: sequence and so and so. So that must be a

595
00:33:32,920 --> 00:33:36,880
Speaker 1: real mind f for you to sort of like, you know,

596
00:33:37,200 --> 00:33:39,200
Speaker 1: have the script and you're reading the script and then

597
00:33:39,240 --> 00:33:42,200
Speaker 1: you get a shoot schedule. And that is something that

598
00:33:42,400 --> 00:33:45,479
Speaker 1: is also really impressive about your performance. Is it all

599
00:33:45,640 --> 00:33:50,600
Speaker 1: feels it's extremely specific, emotionally and continuous, which has to

600
00:33:50,640 --> 00:33:53,840
Speaker 1: be incredibly difficult because you could be shooting one scene

601
00:33:53,880 --> 00:33:56,280
Speaker 1: that leads into another at the end of the shoot,

602
00:33:56,600 --> 00:33:58,360
Speaker 1: from the beginning of the shoot. So how did what

603
00:33:58,600 --> 00:34:02,800
Speaker 1: was your process for keeping that line that I am

604
00:34:02,880 --> 00:34:06,760
Speaker 1: going to post on my Instagram very soon my script?

605
00:34:08,280 --> 00:34:11,399
Speaker 1: How I normally work a script. It's like I tag

606
00:34:11,800 --> 00:34:14,000
Speaker 1: you know, when you get your script, and I tagged

607
00:34:14,080 --> 00:34:17,080
Speaker 1: them which are the scenes I'm appearing in? If it

608
00:34:17,239 --> 00:34:19,400
Speaker 1: was the action sequence, they get a red tag. And

609
00:34:19,440 --> 00:34:22,040
Speaker 1: if it was a very heavy dramatic one, it gets

610
00:34:22,080 --> 00:34:24,520
Speaker 1: like a blue So you know, you work it out.

611
00:34:24,600 --> 00:34:27,320
Speaker 1: And then because you have to see as the character,

612
00:34:27,880 --> 00:34:32,680
Speaker 1: you see the entirety of the script. And that was

613
00:34:32,760 --> 00:34:35,239
Speaker 1: how you the emotional arc of where you're going or

614
00:34:35,280 --> 00:34:38,759
Speaker 1: whatever it is. I think one movie that I had

615
00:34:39,040 --> 00:34:42,520
Speaker 1: was as challenging but not quite as this was The

616
00:34:42,640 --> 00:34:45,520
Speaker 1: Lady where it's spanned like twenty years of her life.

617
00:34:46,800 --> 00:34:49,400
Speaker 1: And like you said, we don't do it. Uh, you

618
00:34:49,520 --> 00:34:52,719
Speaker 1: know in order that you never do. I mean for

619
00:34:53,000 --> 00:34:56,279
Speaker 1: for so many reasons. So you have to know that

620
00:34:56,560 --> 00:34:59,839
Speaker 1: if you go into the eighties or then the twent

621
00:35:00,160 --> 00:35:03,439
Speaker 1: two thousand's, what is the mindset? Where are you going

622
00:35:03,880 --> 00:35:06,600
Speaker 1: from your hair, your wardrobe or whatever that helps you

623
00:35:07,239 --> 00:35:12,239
Speaker 1: recreate this this moment. But with everything everywhere all at once,

624
00:35:12,480 --> 00:35:16,440
Speaker 1: it is everything everywhere all at once, yourself then you're like, well,

625
00:35:16,600 --> 00:35:19,640
Speaker 1: what okay, I'm like back to this universe and then

626
00:35:19,680 --> 00:35:23,040
Speaker 1: I'm jumping into the jail whatever. You know. You but

627
00:35:24,560 --> 00:35:27,440
Speaker 1: when you see how I have tagged I am literally

628
00:35:27,719 --> 00:35:33,040
Speaker 1: every scene of the emotional art goes wook, work, work

629
00:35:33,880 --> 00:35:38,759
Speaker 1: go sideways, up and down and everything. It really is

630
00:35:38,920 --> 00:35:42,840
Speaker 1: insane and The amazing thing is like, even though she

631
00:35:42,960 --> 00:35:48,239
Speaker 1: goes into the other multiverse, Evelyn is still Evelyn Warm, right.

632
00:35:48,600 --> 00:35:52,759
Speaker 1: She sees what this multiverse is about. She doesn't live

633
00:35:52,880 --> 00:35:57,000
Speaker 1: that multiverse. It's not like Key his character Wayman when

634
00:35:57,040 --> 00:36:01,239
Speaker 1: he is travel right, but in at universe he is

635
00:36:01,320 --> 00:36:04,160
Speaker 1: who he is, like the CEO. He doesn't know about

636
00:36:04,200 --> 00:36:08,600
Speaker 1: the other universes, so he is very contained with who

637
00:36:09,200 --> 00:36:12,840
Speaker 1: Wayman is in that universe. But with her, it's like

638
00:36:12,960 --> 00:36:15,320
Speaker 1: she sees, this is like why am I here? And

639
00:36:15,560 --> 00:36:17,319
Speaker 1: can you imagine when she went into the hot Dog

640
00:36:17,400 --> 00:36:22,879
Speaker 1: duteiverse Nightmare and agonists Jamie Lee Curtis whose dear dread

641
00:36:23,640 --> 00:36:31,920
Speaker 1: whatever her name is like, and it's suddenly her lover

642
00:36:32,160 --> 00:36:35,120
Speaker 1: and coming at her with these like hot dog fingers

643
00:36:35,160 --> 00:36:37,759
Speaker 1: and wanting to hug her and kiss, said like, don't

644
00:36:37,840 --> 00:36:41,000
Speaker 1: touch me, you know. And that was the amazing thing

645
00:36:41,080 --> 00:36:44,640
Speaker 1: about the whole thing. It's like, first you have to

646
00:36:44,719 --> 00:36:48,040
Speaker 1: know your spirit. I am like Stephanie. She is brilliant

647
00:36:48,200 --> 00:36:51,400
Speaker 1: with ad living and you know she is quick to

648
00:36:51,640 --> 00:36:57,160
Speaker 1: change and do And I said, I don't do that

649
00:36:57,280 --> 00:37:00,840
Speaker 1: to me. Okay, I'm not I'm not gonna make up

650
00:37:01,800 --> 00:37:06,960
Speaker 1: not not. We have to a certain guidelines that we're

651
00:37:06,960 --> 00:37:15,879
Speaker 1: gonna do this the point. So then it's like when

652
00:37:16,000 --> 00:37:19,680
Speaker 1: you get into all these things. One thing I always

653
00:37:19,680 --> 00:37:22,760
Speaker 1: say to my dinos, you are my You're my anchors,

654
00:37:23,840 --> 00:37:25,879
Speaker 1: right because we are going to be jumping from here

655
00:37:25,960 --> 00:37:28,640
Speaker 1: to there all these kind of times. I'm gonna look

656
00:37:28,719 --> 00:37:32,480
Speaker 1: to you and say, okay, and we passed out? We

657
00:37:32,640 --> 00:37:35,840
Speaker 1: rock are we? I mean earlier? It's like and because

658
00:37:36,000 --> 00:37:40,360
Speaker 1: it's into cutting the whole time. Yeah, the two geniuses

659
00:37:40,440 --> 00:37:44,160
Speaker 1: know exactly where they're going with Lockin our DP, and

660
00:37:44,239 --> 00:37:46,080
Speaker 1: I think at the end of the day with Paul

661
00:37:46,280 --> 00:37:50,160
Speaker 1: our editor, oh my god, they had it down to

662
00:37:50,360 --> 00:37:53,920
Speaker 1: the tea. Like the action sequences, we don't have much

663
00:37:54,040 --> 00:37:56,839
Speaker 1: time to shoot it, right, We have like a day

664
00:37:56,880 --> 00:37:59,840
Speaker 1: and a half or two days maximum for the entire

665
00:38:00,080 --> 00:38:03,360
Speaker 1: sequence of you know, the thing and the dad and

666
00:38:03,560 --> 00:38:06,319
Speaker 1: the butt plugs and all those kind of things. They

667
00:38:06,440 --> 00:38:10,000
Speaker 1: have to know what they need and that time they

668
00:38:10,040 --> 00:38:12,719
Speaker 1: can get attle bit more, but they first have to

669
00:38:12,760 --> 00:38:15,160
Speaker 1: shoot what they need. I can't believe from like an

670
00:38:15,280 --> 00:38:18,560
Speaker 1: art direction and set decoration standpoint that this was shot

671
00:38:18,600 --> 00:38:21,279
Speaker 1: in eight weeks. That is crazy. That must have been

672
00:38:21,320 --> 00:38:25,719
Speaker 1: like stepping into a completely different film every day. I

673
00:38:25,800 --> 00:38:28,960
Speaker 1: think what grounded us was the I R. S Building.

674
00:38:30,000 --> 00:38:33,200
Speaker 1: You're very fortunate, you know, when you're you're an n

675
00:38:33,280 --> 00:38:35,880
Speaker 1: D film, you have to be creative. You have to

676
00:38:36,320 --> 00:38:38,920
Speaker 1: know where you can save the money and you know

677
00:38:39,040 --> 00:38:42,480
Speaker 1: put it where you need to spend it. And so

678
00:38:42,680 --> 00:38:47,239
Speaker 1: with this abandoned I R S Building, it grounded us

679
00:38:47,480 --> 00:38:51,800
Speaker 1: because we shot six weeks there in this place. You

680
00:38:51,880 --> 00:38:55,080
Speaker 1: could build little sets and things like that in there,

681
00:38:55,640 --> 00:38:58,080
Speaker 1: so we had a place to go to which we

682
00:38:58,200 --> 00:39:01,520
Speaker 1: were familiar with. I mean, it was a huge place,

683
00:39:01,800 --> 00:39:05,600
Speaker 1: but it us to to sort of have it centralized

684
00:39:05,640 --> 00:39:07,520
Speaker 1: in some way. And I heard this great story from

685
00:39:07,640 --> 00:39:11,880
Speaker 1: Keithway sharing having his dressing room next to Jamie Lee's,

686
00:39:12,200 --> 00:39:14,520
Speaker 1: but Jamie Lee never being there. And then he finally

687
00:39:14,640 --> 00:39:16,040
Speaker 1: was like, why are you ever in your dressing him?

688
00:39:16,040 --> 00:39:19,160
Speaker 1: And she was like, even with her career that spans decades,

689
00:39:19,200 --> 00:39:21,719
Speaker 1: she goes, I never learned anything in the dressing room.

690
00:39:21,760 --> 00:39:26,360
Speaker 1: I always learned everything when while I'm on set, she is.

691
00:39:27,000 --> 00:39:30,160
Speaker 1: She's not just an amazing talent, She's not just an

692
00:39:30,200 --> 00:39:36,280
Speaker 1: amazing actress. She's an amazing human being. Thoughtful, she's generous,

693
00:39:36,520 --> 00:39:39,719
Speaker 1: she's always giving, and she's always learning and that's what

694
00:39:39,880 --> 00:39:41,360
Speaker 1: we all need to do, is that you wake up

695
00:39:41,400 --> 00:39:43,640
Speaker 1: in the morning and not think I know everything, So

696
00:39:43,760 --> 00:39:45,600
Speaker 1: why don't you just go back to sleep? That right?

697
00:39:46,280 --> 00:39:49,800
Speaker 1: The whole process of being alive is about learning and

698
00:39:50,000 --> 00:39:53,839
Speaker 1: experiencing and being there. And Jamie is going to it's

699
00:39:54,000 --> 00:39:57,759
Speaker 1: it wants to direct her whole movie. She she will,

700
00:39:58,239 --> 00:40:01,320
Speaker 1: you know that she will. I mean has children's books,

701
00:40:01,520 --> 00:40:04,359
Speaker 1: she has her own podcast, she has so many things

702
00:40:04,640 --> 00:40:08,480
Speaker 1: she's ever ever inventing and creating and things like that.

703
00:40:08,840 --> 00:40:10,759
Speaker 1: So the next step for her is to tell her

704
00:40:10,760 --> 00:40:15,400
Speaker 1: own story or direct her own film. Right, He's right,

705
00:40:15,600 --> 00:40:18,360
Speaker 1: what is she going to live sitting in the you

706
00:40:18,440 --> 00:40:22,000
Speaker 1: know she has she's and she's always out there because

707
00:40:22,040 --> 00:40:27,080
Speaker 1: she loves people, always watching, and it's sometimes it's not fun.

708
00:40:27,360 --> 00:40:33,879
Speaker 1: It's like the legendary Jamie is watching your performance? Why

709
00:40:33,880 --> 00:40:37,520
Speaker 1: did you just go back have a cup of coffee? Break?

710
00:40:39,719 --> 00:40:43,040
Speaker 1: But our our friend Tally Metal is as plays Stephanie's girl.

711
00:40:43,800 --> 00:40:49,960
Speaker 1: She's so wonderful in this brob oh my god. Really

712
00:40:50,800 --> 00:40:55,920
Speaker 1: that relationship that she has very very little lines, But

713
00:40:56,040 --> 00:40:59,600
Speaker 1: it's not how much screen time you have, is what

714
00:41:00,160 --> 00:41:06,520
Speaker 1: do impact? And she does such a beautiful presence that

715
00:41:06,760 --> 00:41:10,560
Speaker 1: expressive eyes and face. She didn't have to say a word,

716
00:41:10,680 --> 00:41:13,360
Speaker 1: but you can, you know. So that's exactly it was

717
00:41:13,520 --> 00:41:18,520
Speaker 1: so well cast in that way she gave brilliant She

718
00:41:18,760 --> 00:41:22,120
Speaker 1: was saying that you were so so kind to her.

719
00:41:22,440 --> 00:41:25,759
Speaker 1: You were so just curious about her life. You made

720
00:41:25,800 --> 00:41:27,560
Speaker 1: her feel so at ease, and I just I I

721
00:41:27,719 --> 00:41:30,200
Speaker 1: read that she you know, she posted this to her Instagram,

722
00:41:30,239 --> 00:41:32,239
Speaker 1: and I just got so emotional. I wasn't surprised that

723
00:41:32,280 --> 00:41:34,560
Speaker 1: you were gracious, but I was like, I mean, yeah,

724
00:41:34,640 --> 00:41:36,759
Speaker 1: like you're the star. You're setting the tone and the

725
00:41:36,920 --> 00:41:39,719
Speaker 1: environment for that kind of project that is so ambitious,

726
00:41:39,840 --> 00:41:42,200
Speaker 1: and um, I don't know, I just I just I

727
00:41:42,280 --> 00:41:44,839
Speaker 1: just think that's so special that you and Jamie Lee

728
00:41:45,000 --> 00:41:47,279
Speaker 1: and Kihi Kwan just being like these three people who

729
00:41:47,360 --> 00:41:52,000
Speaker 1: have seen various signs to this business all coming together

730
00:41:52,360 --> 00:41:54,920
Speaker 1: kind of like handing it down to another generation of people,

731
00:41:56,640 --> 00:42:00,439
Speaker 1: not handing it down, not handing it down, being sharing.

732
00:42:00,440 --> 00:42:05,560
Speaker 1: I'm sorry, you know, like but but teaching and not yet,

733
00:42:05,600 --> 00:42:07,320
Speaker 1: not yet, not yet, I'm so sorry, but teaching it

734
00:42:07,400 --> 00:42:09,920
Speaker 1: in a way, you know, like I you know, I

735
00:42:10,000 --> 00:42:12,960
Speaker 1: don't think I am good enough. All we don't try

736
00:42:13,040 --> 00:42:16,160
Speaker 1: to teach. We try to share. And I think what

737
00:42:16,320 --> 00:42:19,719
Speaker 1: it is just like when you see someone young and talented,

738
00:42:20,640 --> 00:42:23,560
Speaker 1: you have to tell them that they are talented, but

739
00:42:24,480 --> 00:42:27,680
Speaker 1: making them understand. Don't just take it for granted. I

740
00:42:27,920 --> 00:42:32,640
Speaker 1: don't think I'm entitled. There is no entitlement. We have

741
00:42:32,760 --> 00:42:34,839
Speaker 1: been in the business so long and you look at

742
00:42:34,920 --> 00:42:38,000
Speaker 1: us and say, oh god, you guys are successful, legendary,

743
00:42:38,080 --> 00:42:41,800
Speaker 1: la la la la. But every day we learn, we

744
00:42:42,040 --> 00:42:45,040
Speaker 1: find things to learn. We don't just sit back and

745
00:42:45,120 --> 00:42:48,880
Speaker 1: go well, you know, abow down to know. And I

746
00:42:49,000 --> 00:42:54,520
Speaker 1: want them to already begin their incredible journey understanding. It's like,

747
00:42:54,800 --> 00:42:58,320
Speaker 1: as long as you are grounded, you will fly to

748
00:42:58,440 --> 00:43:01,359
Speaker 1: a lot of places, but you always feel the earth.

749
00:43:02,040 --> 00:43:05,160
Speaker 1: But can you imagine if you fly and you don't

750
00:43:05,200 --> 00:43:10,040
Speaker 1: know where to land, it's a long way down. You

751
00:43:10,440 --> 00:43:14,359
Speaker 1: want that, Yeah, And it's it's interesting to hear you acknowledge, um,

752
00:43:14,760 --> 00:43:18,719
Speaker 1: you know, people coming to you with this this verbiage

753
00:43:18,760 --> 00:43:21,920
Speaker 1: of legend like you know, and even the movie is

754
00:43:22,000 --> 00:43:25,560
Speaker 1: aware of that because when when you need to acquire

755
00:43:25,640 --> 00:43:28,200
Speaker 1: the skill of martial arts, you know, there's a funny

756
00:43:28,280 --> 00:43:31,760
Speaker 1: montage that cuts to essentially be roll of your life,

757
00:43:32,360 --> 00:43:35,239
Speaker 1: and it doesn't in form that. But I wonder, like,

758
00:43:36,400 --> 00:43:38,520
Speaker 1: what has it been that has kept you grounded and

759
00:43:38,680 --> 00:43:40,960
Speaker 1: kept that mind mindset? I mean, you've worked with some

760
00:43:41,360 --> 00:43:44,160
Speaker 1: incredible legendary people. I was looking at the list of

761
00:43:44,200 --> 00:43:49,000
Speaker 1: directors you've worked with. I mean Angley, Rob Marshall, you know, upcoming,

762
00:43:49,200 --> 00:43:53,560
Speaker 1: James Cameron. I mean, like, I'm gonna be asking about that,

763
00:43:54,000 --> 00:43:58,440
Speaker 1: but I just I bet I'm sure I can ask

764
00:43:58,640 --> 00:44:03,560
Speaker 1: and you will give me nothing you right now, But

765
00:44:04,080 --> 00:44:06,040
Speaker 1: is it that is that the people you've worked with

766
00:44:06,160 --> 00:44:08,120
Speaker 1: that have kept that instilled in you? What? What has

767
00:44:08,320 --> 00:44:13,480
Speaker 1: what has anchored you? My family and friends, my real friends?

768
00:44:13,840 --> 00:44:19,920
Speaker 1: You know, it's like I remember at the beginning, very start,

769
00:44:20,080 --> 00:44:23,040
Speaker 1: and someone says, you have to remember every time, don't

770
00:44:23,120 --> 00:44:29,640
Speaker 1: let every flash bulb like make you go. Always appreciate

771
00:44:29,920 --> 00:44:34,480
Speaker 1: your your opportunities that you are given. I love what

772
00:44:34,640 --> 00:44:37,080
Speaker 1: you do, because the data you don't love to do it.

773
00:44:37,360 --> 00:44:40,000
Speaker 1: That means maybe it's time to find move on to

774
00:44:40,160 --> 00:44:44,600
Speaker 1: something else that you find joy it. And yes, when

775
00:44:44,719 --> 00:44:50,239
Speaker 1: you meet it's very interesting. The more successful they really are,

776
00:44:50,680 --> 00:44:56,719
Speaker 1: the more grounded they are, they are not taken them

777
00:44:56,880 --> 00:44:59,920
Speaker 1: back by the bs of you know, glitz and whatever

778
00:45:00,040 --> 00:45:01,960
Speaker 1: it is. Yes, we love that, you know, when we

779
00:45:02,080 --> 00:45:04,440
Speaker 1: walk down the red carpet and all this, because this

780
00:45:04,600 --> 00:45:09,680
Speaker 1: is part and parcel of the allure, the magic the

781
00:45:09,840 --> 00:45:13,920
Speaker 1: movies or you know, TV, and that gives our audience,

782
00:45:14,120 --> 00:45:18,719
Speaker 1: our fans that Ah, it's not great. Yes, it's part

783
00:45:18,960 --> 00:45:21,400
Speaker 1: of the whole thing. I mean, you don't really want

784
00:45:21,440 --> 00:45:23,719
Speaker 1: to see your stars coming out in their sweatpants and

785
00:45:23,760 --> 00:45:29,560
Speaker 1: go like yeah whatever, you know, yes, and for a

786
00:45:29,800 --> 00:45:33,600
Speaker 1: night or two to dress up and have fun and

787
00:45:33,719 --> 00:45:38,000
Speaker 1: you know, look fabulous. Why not. It's it's nice, it's fun.

788
00:45:38,080 --> 00:45:39,520
Speaker 1: But do I want to do it every night now?

789
00:45:39,680 --> 00:45:42,440
Speaker 1: Absolutely not. But I think what it is is like

790
00:45:42,960 --> 00:45:47,600
Speaker 1: your real friends, your family, and it's not a lot

791
00:45:47,640 --> 00:45:51,560
Speaker 1: of times you make real friends in this world as well. Right,

792
00:45:52,080 --> 00:45:54,680
Speaker 1: They ground you because they remind you who you are.

793
00:45:55,600 --> 00:45:58,600
Speaker 1: You're not some character in a movie or a TV series.

794
00:45:59,120 --> 00:46:01,200
Speaker 1: You are who you are and you should never ever

795
00:46:01,320 --> 00:46:05,040
Speaker 1: forget that and be present, you know, appreciate what you have.

796
00:46:06,440 --> 00:46:10,239
Speaker 1: That's that's the thing that really grounds me. Wow, thank you.

797
00:46:10,400 --> 00:46:13,960
Speaker 1: I mean, just going back to your script being tagged

798
00:46:14,000 --> 00:46:17,560
Speaker 1: in all these ways, I mean, how did you develop

799
00:46:18,200 --> 00:46:20,440
Speaker 1: the sense of for lack of a better word, I'm

800
00:46:20,480 --> 00:46:23,239
Speaker 1: using this word again development, like because I feel like

801
00:46:23,280 --> 00:46:25,800
Speaker 1: it's always so finely tuned that you always matched the

802
00:46:25,880 --> 00:46:29,440
Speaker 1: tone of the project. But then this is just so

803
00:46:31,080 --> 00:46:33,560
Speaker 1: you know, to go from like wild West Hong Kong

804
00:46:33,719 --> 00:46:36,640
Speaker 1: beginning of Hong Kong cinema days where like no scripts,

805
00:46:36,880 --> 00:46:38,640
Speaker 1: you just go in, they tell you what to say

806
00:46:38,680 --> 00:46:40,400
Speaker 1: on the day and then you do it where you

807
00:46:40,560 --> 00:46:42,000
Speaker 1: know you you don't have to think about it, like

808
00:46:42,120 --> 00:46:46,000
Speaker 1: you know, on those sort of macro conceptual terms. But

809
00:46:46,239 --> 00:46:48,160
Speaker 1: now you I be hearing you talk. I could hear

810
00:46:48,160 --> 00:46:50,920
Speaker 1: you talk forever about the way you prepared for this roll,

811
00:46:51,040 --> 00:46:53,680
Speaker 1: Like what what was the process like for what was

812
00:46:53,719 --> 00:46:56,439
Speaker 1: your journey like to sort of get that instinct. It's

813
00:46:56,560 --> 00:46:59,719
Speaker 1: learning along the way. It's like from No Squids and

814
00:47:00,040 --> 00:47:02,719
Speaker 1: learning to shoot from the hip, you like whatever is

815
00:47:02,760 --> 00:47:04,839
Speaker 1: thrown at me. I mean when we started, we don't

816
00:47:04,880 --> 00:47:08,279
Speaker 1: have time for rehearsals. We have no rehearsals. You get there,

817
00:47:08,360 --> 00:47:11,120
Speaker 1: you get on the set, you're all dressed in your

818
00:47:11,560 --> 00:47:15,400
Speaker 1: your costume, and they will choreograph the action sequence. You

819
00:47:15,600 --> 00:47:18,319
Speaker 1: learn it, you shoot it, and you do something else.

820
00:47:18,440 --> 00:47:20,439
Speaker 1: And like you say, sometimes the lines are not given

821
00:47:20,520 --> 00:47:24,200
Speaker 1: and you're going like well in two, three, four, five, six, seven, eight,

822
00:47:25,160 --> 00:47:29,520
Speaker 1: n oh, yeah, many of many times. And then finally

823
00:47:29,560 --> 00:47:32,120
Speaker 1: when you see the final cut of New Oh, that

824
00:47:32,640 --> 00:47:35,800
Speaker 1: is what's going on in that because they edit and

825
00:47:35,960 --> 00:47:38,879
Speaker 1: they filmed so fast. I mean for the longest of time.

826
00:47:40,080 --> 00:47:42,800
Speaker 1: Even Jackie chand we didn't have we didn't use we

827
00:47:42,880 --> 00:47:46,840
Speaker 1: didn't dub our own movies, right, somebody else did it

828
00:47:46,960 --> 00:47:49,960
Speaker 1: for us. It was only from when I did the

829
00:47:50,040 --> 00:47:54,440
Speaker 1: song Sisters. That was the first time I actually it

830
00:47:54,680 --> 00:47:59,080
Speaker 1: was I think it was recorded on the set prior

831
00:47:59,160 --> 00:48:03,160
Speaker 1: to that, never because you know that it we didn't

832
00:48:03,200 --> 00:48:06,040
Speaker 1: have that kind of technology. It wasn't done and it

833
00:48:06,160 --> 00:48:09,200
Speaker 1: was much faster, easier after they edit and get someone

834
00:48:09,280 --> 00:48:11,600
Speaker 1: to do it as you know, some altanious while we're

835
00:48:11,719 --> 00:48:16,400
Speaker 1: filming the editor there someone is recording it. So that

836
00:48:16,680 --> 00:48:19,759
Speaker 1: process didn't really come into play because there was no

837
00:48:20,120 --> 00:48:22,960
Speaker 1: none of that time for it. But what you did

838
00:48:23,120 --> 00:48:25,560
Speaker 1: learn was that you watched and you listen and it

839
00:48:25,760 --> 00:48:29,040
Speaker 1: was like how these I was very fortunate to work

840
00:48:29,120 --> 00:48:31,399
Speaker 1: with some of the best actors in Hong Kong as well,

841
00:48:31,800 --> 00:48:34,040
Speaker 1: so I watched how they did it. It was like,

842
00:48:34,120 --> 00:48:36,279
Speaker 1: I was fascinating, how the hell do you cry on?

843
00:48:36,440 --> 00:48:41,040
Speaker 1: Like h Yeah, So what do you do? Where is

844
00:48:41,120 --> 00:48:44,839
Speaker 1: that coming from? Right? And I think that's the time

845
00:48:44,880 --> 00:48:47,640
Speaker 1: when you're young and you have to be like, I

846
00:48:48,080 --> 00:48:51,160
Speaker 1: am a ding dong, I have no I am I

847
00:48:51,280 --> 00:48:54,399
Speaker 1: am learning. And if I am so proud and say

848
00:48:56,120 --> 00:48:58,920
Speaker 1: then you look nothing, I would go into like Deanie

849
00:48:58,960 --> 00:49:04,120
Speaker 1: Yep and say please teach me. Wow. And you know,

850
00:49:04,480 --> 00:49:07,000
Speaker 1: then you work with like Jungen or you know, all

851
00:49:07,120 --> 00:49:11,560
Speaker 1: the amazing Maggie Chung and yeah, oh my god, we

852
00:49:11,680 --> 00:49:14,080
Speaker 1: were best friends. But you know, I'm not afraid to

853
00:49:14,160 --> 00:49:16,319
Speaker 1: ask my best friend. I have no clue what I'm doing. Okay,

854
00:49:16,360 --> 00:49:18,520
Speaker 1: maybe I can do martial arts better than you, but

855
00:49:18,640 --> 00:49:23,840
Speaker 1: when it comes to the performances, you guys, and Maggie

856
00:49:24,320 --> 00:49:27,800
Speaker 1: is like an award winning actress is to have a

857
00:49:27,920 --> 00:49:30,960
Speaker 1: conversation with her and like, so tell me how do

858
00:49:31,080 --> 00:49:35,200
Speaker 1: you do this? But I must say it's also the directors,

859
00:49:35,280 --> 00:49:38,640
Speaker 1: starting with you know, with Tomorrow That Never Dies really

860
00:49:38,800 --> 00:49:42,839
Speaker 1: was my first international sure, and we have a bond

861
00:49:42,920 --> 00:49:45,600
Speaker 1: girl in the zoom everyone, Okay, I have some respect

862
00:49:45,640 --> 00:49:48,000
Speaker 1: to this is our first bond girl ever. On last culture,

863
00:49:48,239 --> 00:49:53,480
Speaker 1: that's it's a huge moment. And I remember Rogers bodies

864
00:49:53,520 --> 00:49:55,759
Speaker 1: were turning to me, and he says, do you know

865
00:49:57,000 --> 00:49:59,480
Speaker 1: I can double you when it comes to the action.

866
00:50:00,080 --> 00:50:03,640
Speaker 1: Don't need uh the martial artists or whatever it is.

867
00:50:04,239 --> 00:50:07,719
Speaker 1: You are here because you demonstrated in your auditions that

868
00:50:08,440 --> 00:50:12,320
Speaker 1: you can carry the role of playing Willie Lynn. You

869
00:50:12,400 --> 00:50:15,840
Speaker 1: don't need us, uh, someone who can fight, because I

870
00:50:15,960 --> 00:50:20,839
Speaker 1: can't double you when it comes to the emotion emotional time. Right,

871
00:50:21,160 --> 00:50:23,239
Speaker 1: So that's where you learned that how you have to

872
00:50:23,320 --> 00:50:27,480
Speaker 1: be invested in the character. And every director gives you

873
00:50:27,640 --> 00:50:33,480
Speaker 1: something and taught me tremendously about giving the character a

874
00:50:33,640 --> 00:50:37,919
Speaker 1: full background. Yeah, that's very clear when you we watched

875
00:50:37,960 --> 00:50:40,759
Speaker 1: the film again last night, Crouching Tiger in preparation, in

876
00:50:40,840 --> 00:50:43,080
Speaker 1: preparation for this, and even when you first come in

877
00:50:43,200 --> 00:50:45,719
Speaker 1: and you see Chow Unfat for the first time, there

878
00:50:45,840 --> 00:50:48,520
Speaker 1: is so much history on your film and it is

879
00:50:48,800 --> 00:50:52,359
Speaker 1: very lived in and he's obviously an incredible director. Yes,

880
00:50:53,680 --> 00:50:57,000
Speaker 1: because I've had the privilege of working with like Danny Boyle,

881
00:50:57,120 --> 00:51:00,160
Speaker 1: like Rob Marshall and all these kinds of people. They

882
00:51:00,320 --> 00:51:04,520
Speaker 1: it's a learning process. But if you are ding dong

883
00:51:04,719 --> 00:51:08,400
Speaker 1: enough not to open your heart and mind to that,

884
00:51:09,000 --> 00:51:13,239
Speaker 1: then you've lost great opportunities to learn and so you know,

885
00:51:13,440 --> 00:51:15,919
Speaker 1: you gather all these kind of things and you learn

886
00:51:16,000 --> 00:51:19,320
Speaker 1: how important the script is, how important the director is,

887
00:51:19,440 --> 00:51:22,320
Speaker 1: how important your co stars are are because you know

888
00:51:22,560 --> 00:51:26,640
Speaker 1: that making a movie or TV series is not a

889
00:51:26,760 --> 00:51:30,760
Speaker 1: one person thing. It's true collaboration on all the different

890
00:51:30,840 --> 00:51:33,759
Speaker 1: levels and all the people behind the scenes. And um,

891
00:51:34,040 --> 00:51:36,320
Speaker 1: you know the crew that whether it's the gaff or

892
00:51:36,360 --> 00:51:40,760
Speaker 1: the DP. You know the set designer, the costume designer,

893
00:51:40,880 --> 00:51:44,320
Speaker 1: your hair and makeup. They help. They're the accessories that

894
00:51:44,560 --> 00:51:49,279
Speaker 1: make this character, that help build this character and make

895
00:51:49,360 --> 00:51:52,800
Speaker 1: a real They could really really, like you say, have

896
00:51:52,960 --> 00:51:57,000
Speaker 1: a life. And and I, just because I know you're

897
00:51:57,040 --> 00:51:59,239
Speaker 1: not gonna be able to tell us anything about the

898
00:51:59,360 --> 00:52:02,560
Speaker 1: plot of the Avatar sequels which you are here, this

899
00:52:02,800 --> 00:52:04,680
Speaker 1: is the question I will ask you. What did you

900
00:52:04,960 --> 00:52:08,560
Speaker 1: learn working with James Cameron on these films? If that's

901
00:52:08,560 --> 00:52:13,120
Speaker 1: something you can answer. He's a breaking genius. He is

902
00:52:13,360 --> 00:52:19,239
Speaker 1: so creative, He multitased like madness. He he's a writer,

903
00:52:19,480 --> 00:52:22,640
Speaker 1: he's the creator. He dreams of all these universes that

904
00:52:22,760 --> 00:52:25,719
Speaker 1: we can't even begin to fat Okay, the one thing

905
00:52:25,719 --> 00:52:27,640
Speaker 1: I said to him, can't you turn me blue? I

906
00:52:27,640 --> 00:52:33,680
Speaker 1: don't want to like hope belise. So I also learned

907
00:52:33,719 --> 00:52:37,040
Speaker 1: that he is also very resolute in his decisions. Yeah,

908
00:52:37,160 --> 00:52:40,320
Speaker 1: he seems to be a capital D director. Yeah, you

909
00:52:40,400 --> 00:52:42,799
Speaker 1: know what it is you have to be. Yeah, that's

910
00:52:42,840 --> 00:52:45,520
Speaker 1: how you have to be. You lead. It's a discipline,

911
00:52:46,280 --> 00:52:49,880
Speaker 1: is a determination, the discipline, you know, the do you

912
00:52:50,000 --> 00:52:51,759
Speaker 1: have to be the door. You have to be the

913
00:52:51,920 --> 00:52:56,120
Speaker 1: one that says yes no. I imagine I have to

914
00:52:56,280 --> 00:52:59,120
Speaker 1: visualize this. I have to fight for what I believe in,

915
00:52:59,360 --> 00:53:02,960
Speaker 1: and it's the director, like here in the Daniels cases

916
00:53:03,360 --> 00:53:07,360
Speaker 1: with them so, oh my god. Before but before I forget,

917
00:53:07,440 --> 00:53:10,919
Speaker 1: you mentioned Maggie Chung. I just I just think it's incredible.

918
00:53:12,040 --> 00:53:14,200
Speaker 1: It's it's an incredible everything everywhere all at once. It's

919
00:53:14,200 --> 00:53:17,440
Speaker 1: incredible for movie lovers just because you you can't believe

920
00:53:17,480 --> 00:53:20,440
Speaker 1: you're watching like snippets of a Wonk car Y film

921
00:53:21,040 --> 00:53:25,880
Speaker 1: like you doing Maggie Chung. You know, I was gonna say,

922
00:53:26,320 --> 00:53:29,279
Speaker 1: is doing Tony Long Like it's just so incredible, And

923
00:53:29,719 --> 00:53:32,200
Speaker 1: I just think back to you in this movie, like

924
00:53:32,440 --> 00:53:37,799
Speaker 1: for any after this would be so so so it's

925
00:53:37,920 --> 00:53:41,520
Speaker 1: steeping yourself in so much work on a technical love obviously,

926
00:53:41,680 --> 00:53:45,720
Speaker 1: it's just a masterclass. So Michelle, I'm just just congratulations.

927
00:53:53,840 --> 00:53:56,120
Speaker 1: We do do a thing on the podcast where we

928
00:53:56,400 --> 00:53:57,759
Speaker 1: brought this up to at the top, and I know

929
00:53:57,880 --> 00:54:00,080
Speaker 1: you can answer it. We asked the good question what

930
00:54:00,280 --> 00:54:03,000
Speaker 1: was the culture that made you say culture was for you?

931
00:54:03,600 --> 00:54:06,480
Speaker 1: And I just want to know what was it When

932
00:54:06,560 --> 00:54:09,359
Speaker 1: you can think back to your childhood or maybe when

933
00:54:09,400 --> 00:54:12,759
Speaker 1: you were, you know, a teenager, how did you decide

934
00:54:12,960 --> 00:54:15,520
Speaker 1: to go along this path of becoming you? Like, what

935
00:54:15,760 --> 00:54:19,000
Speaker 1: was that thing you saw or received from the universe

936
00:54:19,080 --> 00:54:24,560
Speaker 1: that made you say I'm gonna do this okay? As

937
00:54:24,640 --> 00:54:27,440
Speaker 1: a child, I think it was very open to the

938
00:54:27,600 --> 00:54:31,399
Speaker 1: world of music, dance, and my mom used to say,

939
00:54:31,560 --> 00:54:34,600
Speaker 1: you know, you could dance before you walked and so.

940
00:54:35,320 --> 00:54:37,640
Speaker 1: But I think one I never dreamed that I would

941
00:54:37,640 --> 00:54:40,840
Speaker 1: be an actish. I did not have that dream. I

942
00:54:41,160 --> 00:54:46,040
Speaker 1: was always like the ballet, so watching ballets and you know,

943
00:54:46,520 --> 00:54:50,680
Speaker 1: seeing these ethereal creatures on the stage. But one thing

944
00:54:50,800 --> 00:54:55,800
Speaker 1: that always fascinated me was the cinema. My mom was

945
00:54:55,880 --> 00:54:59,400
Speaker 1: an avid cinema goal so human. As small child, we

946
00:54:59,520 --> 00:55:02,279
Speaker 1: would go as a family to watch all these like

947
00:55:02,480 --> 00:55:08,200
Speaker 1: whether it was Indian movies, comedies, love stories, Dracula, you

948
00:55:08,320 --> 00:55:11,120
Speaker 1: imagine and my dad was like the nature of us

949
00:55:11,160 --> 00:55:16,480
Speaker 1: so documentaries Tarzan ben Her, But that that feeling of

950
00:55:16,680 --> 00:55:20,200
Speaker 1: the magic of cinema sitting there and I still see myself,

951
00:55:20,280 --> 00:55:26,720
Speaker 1: you know, like watching like the Sound of Music, Wizard

952
00:55:26,800 --> 00:55:29,359
Speaker 1: of Oz. It was like all the all the things

953
00:55:29,400 --> 00:55:32,480
Speaker 1: that I love into that. But I did not understand

954
00:55:32,640 --> 00:55:36,320
Speaker 1: at that point the magic of cinema, you know, telling

955
00:55:36,360 --> 00:55:40,120
Speaker 1: a story, true cinema. It was just enjoying it and

956
00:55:40,360 --> 00:55:44,400
Speaker 1: taking in that whole experience. Did it lead me to this?

957
00:55:45,320 --> 00:55:49,200
Speaker 1: I I think when I was given the opportunity to

958
00:55:49,400 --> 00:55:51,560
Speaker 1: join it, when I was went to Hong Kong to

959
00:55:51,640 --> 00:55:54,520
Speaker 1: do the commercial to watch commercial with the Jackie Chan

960
00:55:55,000 --> 00:55:58,719
Speaker 1: and I was given the opportunity to partake in this

961
00:55:59,719 --> 00:56:02,040
Speaker 1: war old and you go like, oh my god, I

962
00:56:02,160 --> 00:56:05,759
Speaker 1: remember the magic of it. Maybe I can be part

963
00:56:05,800 --> 00:56:09,719
Speaker 1: of that. Maybe that was the culture thing that drew

964
00:56:10,160 --> 00:56:12,080
Speaker 1: in And I had to say it sounds like it

965
00:56:12,280 --> 00:56:15,960
Speaker 1: was yeah, right, So I said yes. And today I

966
00:56:16,080 --> 00:56:18,319
Speaker 1: still recognize that as a fact. And I think when

967
00:56:18,719 --> 00:56:21,680
Speaker 1: we went to watch everything everywhere all at once in

968
00:56:21,800 --> 00:56:24,600
Speaker 1: south By Southwest, and I think for so many people

969
00:56:24,680 --> 00:56:26,400
Speaker 1: it was the first time they had gone to the

970
00:56:26,480 --> 00:56:29,600
Speaker 1: cinemas in two years. I think these last two years

971
00:56:29,680 --> 00:56:34,759
Speaker 1: has been such an impact on people's lives and so

972
00:56:34,920 --> 00:56:37,640
Speaker 1: many different levels. And you know, with our industry on

973
00:56:37,760 --> 00:56:40,840
Speaker 1: how it's been you know, touch and go and opening

974
00:56:40,960 --> 00:56:45,960
Speaker 1: up more like streaming and different platforms for creative people,

975
00:56:46,280 --> 00:56:49,399
Speaker 1: which is good. And sometimes you please don't just rush

976
00:56:49,480 --> 00:56:53,160
Speaker 1: into it and turn it all out, because good things

977
00:56:53,480 --> 00:56:56,759
Speaker 1: does take time, and time is something like we feel

978
00:56:56,800 --> 00:56:58,640
Speaker 1: that we're always think, oh, come on, come on, I

979
00:56:58,719 --> 00:57:03,000
Speaker 1: need more of but sitting in that cinema and watching

980
00:57:03,560 --> 00:57:10,040
Speaker 1: not just our our love on there, but sharing that experience, yeah,

981
00:57:11,880 --> 00:57:14,879
Speaker 1: with with everybody. Yeah, I was like, when you hear

982
00:57:14,960 --> 00:57:18,040
Speaker 1: them laugh and yeah, they actually find me funny. You

983
00:57:18,080 --> 00:57:22,160
Speaker 1: were like, you know what's funny? You were so funny,

984
00:57:22,200 --> 00:57:25,160
Speaker 1: and you were talking about how it's that communal experience.

985
00:57:25,240 --> 00:57:27,480
Speaker 1: The first time I saw it, I did go by myself,

986
00:57:27,560 --> 00:57:30,080
Speaker 1: but it was in a packed theater and during the

987
00:57:30,240 --> 00:57:32,280
Speaker 1: end of the movie, I truly cried during the last

988
00:57:32,320 --> 00:57:34,480
Speaker 1: thirty minutes, and I looked over at the guy next

989
00:57:34,560 --> 00:57:37,480
Speaker 1: to me and we were having the same experience, and

990
00:57:37,600 --> 00:57:40,400
Speaker 1: it was really fun because even though I didn't know him,

991
00:57:41,240 --> 00:57:44,880
Speaker 1: it was that community. It was community and connection and

992
00:57:44,960 --> 00:57:46,720
Speaker 1: that and I don't know anything about him, you know,

993
00:57:46,760 --> 00:57:48,400
Speaker 1: I don't know anything about his life. I don't know

994
00:57:48,440 --> 00:57:51,040
Speaker 1: anything about the woman he was sitting next to. But

995
00:57:51,360 --> 00:57:55,200
Speaker 1: we knew that we were receiving the same messages and

996
00:57:55,280 --> 00:57:58,000
Speaker 1: we were internalizing them. And maybe it meant something different

997
00:57:58,080 --> 00:58:01,200
Speaker 1: to him when he was thinking about his relationships in

998
00:58:01,280 --> 00:58:03,280
Speaker 1: relation to the movie than it was for me. But

999
00:58:03,440 --> 00:58:06,000
Speaker 1: we were both moved, And when I went back with

1000
00:58:06,160 --> 00:58:10,040
Speaker 1: my friends um last night, it was the same situation

1001
00:58:10,200 --> 00:58:12,800
Speaker 1: where I was just excited to share it. And so

1002
00:58:13,480 --> 00:58:16,400
Speaker 1: I would say to every everyone listening, if you've been

1003
00:58:16,480 --> 00:58:19,320
Speaker 1: hesitant about going to the movies, now is the time

1004
00:58:19,480 --> 00:58:22,200
Speaker 1: put the mask on. If it's gonna make you feel better, go,

1005
00:58:23,000 --> 00:58:26,360
Speaker 1: I mean, it's just it's a movie that, especially you

1006
00:58:26,440 --> 00:58:29,040
Speaker 1: know in the sequences where your reality is breaking, and

1007
00:58:29,120 --> 00:58:33,000
Speaker 1: they have those incredible montages, and kudos to the editor.

1008
00:58:33,280 --> 00:58:36,440
Speaker 1: Just watching that in the theater, it was breathtaking. It

1009
00:58:36,600 --> 00:58:41,640
Speaker 1: was just simply breathtaking. Nice. And with our last five

1010
00:58:41,720 --> 00:58:44,880
Speaker 1: minutes with you, we are gonna do I don't think so, honey.

1011
00:58:45,520 --> 00:58:48,880
Speaker 1: So this, Michelle, is our one minute segment on Lost Cultures.

1012
00:58:48,960 --> 00:58:51,360
Speaker 1: This this very podcast where we take something in pop

1013
00:58:51,480 --> 00:58:54,440
Speaker 1: culture or in our lives that are bothering us, and

1014
00:58:54,600 --> 00:58:57,360
Speaker 1: we do a rant for one minute about it, using

1015
00:58:57,440 --> 00:59:01,000
Speaker 1: the phrase I don't think so, honey. In the demonstration,

1016
00:59:01,120 --> 00:59:03,880
Speaker 1: first you're gonna get to one from Matt, one from me,

1017
00:59:04,160 --> 00:59:06,400
Speaker 1: and then you'll be all set to go. So for now,

1018
00:59:07,160 --> 00:59:09,520
Speaker 1: let's have Matt Rodgers go. This is Matt Rodgers. I

1019
00:59:09,520 --> 00:59:11,360
Speaker 1: don't think so many as time starts now, I don't

1020
00:59:11,360 --> 00:59:14,480
Speaker 1: think so, honey, Stephanie Shoe as a Texter girl, it

1021
00:59:14,600 --> 00:59:16,560
Speaker 1: takes you a day to get back to me, and

1022
00:59:16,640 --> 00:59:18,920
Speaker 1: I know you can text your old girl from college

1023
00:59:18,960 --> 00:59:21,920
Speaker 1: back sooner than that. I know you're in a worldwide

1024
00:59:21,960 --> 00:59:24,280
Speaker 1: press tour, mama. I know all of a sudden we're

1025
00:59:24,360 --> 00:59:27,680
Speaker 1: at International Film Star suddenly and about to pop all

1026
00:59:27,720 --> 00:59:30,439
Speaker 1: the way off into another stratosphere. But you can text

1027
00:59:30,520 --> 00:59:33,640
Speaker 1: me back because you listen. We have a sole connection,

1028
00:59:33,680 --> 00:59:36,480
Speaker 1: Stephanie Shoe and I connect. I remember when you were

1029
00:59:36,560 --> 00:59:39,320
Speaker 1: Flarge as a sketch character in college. This is just

1030
00:59:39,480 --> 00:59:41,280
Speaker 1: for me and you right now and people in hammers.

1031
00:59:41,720 --> 00:59:43,800
Speaker 1: But I remember all the trips we took. I've seen

1032
00:59:43,840 --> 00:59:46,360
Speaker 1: you get drunk on college campus as girl. I have

1033
00:59:46,480 --> 00:59:49,440
Speaker 1: photos of you. You do not want released so text

1034
00:59:49,520 --> 00:59:53,120
Speaker 1: paper within eighteen hours. Let's say I'll give you a

1035
00:59:53,240 --> 00:59:55,600
Speaker 1: day texting back with an eighteen You always get back

1036
00:59:55,680 --> 00:59:58,760
Speaker 1: and it's always very warm and happy. Don't forget about

1037
00:59:59,000 --> 01:00:01,640
Speaker 1: Matt Rogers. We used to have lunch and downstream we

1038
01:00:01,680 --> 01:00:05,360
Speaker 1: shared emotional connections. Stephanie Shoe as a texter, I don't

1039
01:00:05,400 --> 01:00:07,920
Speaker 1: think so, honey, step Issue as a person. I do

1040
01:00:08,120 --> 01:00:10,320
Speaker 1: think so honey. You're the most lovely person in the role.

1041
01:00:10,400 --> 01:00:12,040
Speaker 1: And I can't wait to hug you and squeeze you.

1042
01:00:13,120 --> 01:00:20,000
Speaker 1: We love you crazy Wow? We are we gonna be?

1043
01:00:20,080 --> 01:00:22,520
Speaker 1: Are we going to be the project that scares Michelle Yo?

1044
01:00:23,040 --> 01:00:27,040
Speaker 1: After so much project that Michelle your walks away from

1045
01:00:28,920 --> 01:00:31,440
Speaker 1: I can see where you You guys definitely went to

1046
01:00:31,520 --> 01:00:36,680
Speaker 1: the same college. Two crazy rents, just like that. I

1047
01:00:36,720 --> 01:00:39,040
Speaker 1: mean you should see. I mean, I think Stephanie Shoe

1048
01:00:39,120 --> 01:00:42,920
Speaker 1: and I think I've been in more situations with Steph

1049
01:00:42,960 --> 01:00:47,040
Speaker 1: Shoe and Bowen Yang than I can remember. But um, anyway,

1050
01:00:47,360 --> 01:00:50,000
Speaker 1: I love Steph. I just love I want to be

1051
01:00:50,120 --> 01:00:52,960
Speaker 1: texted back. She's got a text back. She is very busy, right,

1052
01:00:53,120 --> 01:00:57,960
Speaker 1: Maybe she did say, Stephanie, if you don't texting back,

1053
01:00:58,160 --> 01:01:01,360
Speaker 1: god knows what the nixt to be about. She has

1054
01:01:01,400 --> 01:01:03,680
Speaker 1: always been a flaky text r. I will say that

1055
01:01:03,880 --> 01:01:05,680
Speaker 1: some people are not good at texting. Are you a

1056
01:01:05,720 --> 01:01:11,400
Speaker 1: good texter, Michelle? I am the worst, the worst. I've

1057
01:01:11,480 --> 01:01:14,840
Speaker 1: gotten worse. Yeah, Boon has gotten way worse. Sorry, and

1058
01:01:14,960 --> 01:01:17,160
Speaker 1: again it's when it's when they get famous. I'm telling

1059
01:01:17,200 --> 01:01:21,320
Speaker 1: you were having other things to do. I'm not gonna

1060
01:01:21,360 --> 01:01:25,680
Speaker 1: say important things to do, but other other All right,

1061
01:01:25,720 --> 01:01:27,080
Speaker 1: Bowen Yang, Are you ready to do your I don't

1062
01:01:27,080 --> 01:01:29,840
Speaker 1: think so already. Boys, I don't think so, honey. His

1063
01:01:29,920 --> 01:01:32,360
Speaker 1: time starts now. I don't think so, honey. I Love

1064
01:01:32,480 --> 01:01:35,480
Speaker 1: Before Time by Coko Lee and the Crouching Tiger Hidden

1065
01:01:35,560 --> 01:01:38,480
Speaker 1: Dragon movie not winning Best Original Song at the Oscars

1066
01:01:38,520 --> 01:01:41,960
Speaker 1: in two thousand. Tell you can you guess which song

1067
01:01:42,120 --> 01:01:45,920
Speaker 1: one that year? I bet you can't. It was two thousand.

1068
01:01:46,000 --> 01:01:48,479
Speaker 1: It was Things Have Changed by Bob Dylan from Wonder Boys.

1069
01:01:48,960 --> 01:01:51,720
Speaker 1: Who cares All due respect to Bob Dylan. We love

1070
01:01:51,800 --> 01:01:54,960
Speaker 1: Bob Dylan on this podcast, but A Love Before Time

1071
01:01:55,160 --> 01:01:58,520
Speaker 1: is one of the most iconic Mandarin to English translations

1072
01:01:58,600 --> 01:02:02,680
Speaker 1: international hits seconds. Can you think of an international hit

1073
01:02:02,800 --> 01:02:05,280
Speaker 1: from that time? Like for a movie to cross over

1074
01:02:05,360 --> 01:02:07,000
Speaker 1: that way? And for the song to be nominated for

1075
01:02:07,040 --> 01:02:11,440
Speaker 1: the OSCAR and to impact nations, communities all around the world,

1076
01:02:11,840 --> 01:02:14,520
Speaker 1: and to not receive it to do is abominable to me.

1077
01:02:15,520 --> 01:02:18,080
Speaker 1: Song is auditory memory to me, it's sense memory to me.

1078
01:02:18,120 --> 01:02:19,640
Speaker 1: When I think about Crouch and take Your Hit and Dragon,

1079
01:02:19,680 --> 01:02:21,520
Speaker 1: I think about Michelle, I think about and Fat, I

1080
01:02:21,560 --> 01:02:23,760
Speaker 1: think about things z I think about everybody. But that

1081
01:02:23,960 --> 01:02:26,800
Speaker 1: song deserves more. I can't believe we as a culture

1082
01:02:27,000 --> 01:02:29,400
Speaker 1: have forgotten about a Love before Time by Coco Lee.

1083
01:02:29,480 --> 01:02:33,640
Speaker 1: That's one and that's one minute. Wow, absolutely correct, Bo,

1084
01:02:34,440 --> 01:02:40,360
Speaker 1: look at the show right now. You can do it.

1085
01:02:41,560 --> 01:02:44,480
Speaker 1: You can do it. I know there's something in pop

1086
01:02:44,560 --> 01:02:47,120
Speaker 1: culture that grinds your gears. Can you bring me a

1087
01:02:47,160 --> 01:02:53,840
Speaker 1: bottle of whiskey? Plea whatever, hell, you do it for

1088
01:02:53,920 --> 01:02:55,440
Speaker 1: as long as you want. We won't. It won't be

1089
01:02:55,480 --> 01:02:58,000
Speaker 1: the full minute. It's something that's like on your mind,

1090
01:02:58,160 --> 01:03:02,720
Speaker 1: maybe from this press tour. Perhaps, Okay, you know what

1091
01:03:03,080 --> 01:03:05,440
Speaker 1: I think. One thing that I would say is I

1092
01:03:05,560 --> 01:03:09,680
Speaker 1: don't think so, honey, and put your phone down and

1093
01:03:09,800 --> 01:03:13,040
Speaker 1: have dinner with your most adorable cuckoo. And all of

1094
01:03:13,160 --> 01:03:15,280
Speaker 1: you are still on the freaking phone. What are you

1095
01:03:15,400 --> 01:03:18,200
Speaker 1: affecting someone on the table that's next to you, and

1096
01:03:18,280 --> 01:03:20,520
Speaker 1: you can't have a real conversation. And when we go

1097
01:03:20,640 --> 01:03:23,800
Speaker 1: to the cinemas, you freaking put your phone down, sweet,

1098
01:03:24,440 --> 01:03:26,800
Speaker 1: and don't try and receive messages in the middle of

1099
01:03:26,880 --> 01:03:29,640
Speaker 1: a movie when your life sture so bright and you're

1100
01:03:29,640 --> 01:03:32,960
Speaker 1: taking me away from this amazing movie. Everything everywhere all

1101
01:03:33,040 --> 01:03:34,800
Speaker 1: at once, and if you don't look at it and

1102
01:03:35,160 --> 01:03:39,200
Speaker 1: watch your phone for two seconds, grip on what is happening.

1103
01:03:39,480 --> 01:03:41,600
Speaker 1: So I don't think so, honey that you can't put

1104
01:03:41,640 --> 01:03:43,800
Speaker 1: your phone down. You have to put your phone down

1105
01:03:44,000 --> 01:03:46,960
Speaker 1: because you want to have a gorgeous dinner with your

1106
01:03:47,080 --> 01:03:51,240
Speaker 1: adorable godmother or auntie or whatever it is, and you

1107
01:03:52,360 --> 01:03:54,840
Speaker 1: phone down, And if you're in the cinemas, if I

1108
01:03:54,960 --> 01:03:57,680
Speaker 1: see you one more time, I don't think so honey,

1109
01:03:57,720 --> 01:04:01,080
Speaker 1: you're gonna get away with it, because let the hell

1110
01:04:01,200 --> 01:04:10,560
Speaker 1: out of you that phone eat you? Okay that Michelle,

1111
01:04:10,760 --> 01:04:13,440
Speaker 1: you really very delete on that one. You were great.

1112
01:04:14,000 --> 01:04:18,840
Speaker 1: That was perfect? Oh my god, did that You know

1113
01:04:18,960 --> 01:04:22,200
Speaker 1: the Alamo Drafthouse where I saw the first time I

1114
01:04:22,280 --> 01:04:25,800
Speaker 1: saw um everything everyone all at once. I love they

1115
01:04:25,960 --> 01:04:28,680
Speaker 1: really they make it funny to like they're like seriously

1116
01:04:28,720 --> 01:04:30,760
Speaker 1: put the phone away, seriously put the phone away, and

1117
01:04:30,880 --> 01:04:33,120
Speaker 1: you do. But it's crazy that we have to get

1118
01:04:33,120 --> 01:04:36,360
Speaker 1: to this point where we're like threatening the audience because

1119
01:04:36,400 --> 01:04:39,520
Speaker 1: they really can't put the phone down. No, it's so crazy.

1120
01:04:39,560 --> 01:04:41,480
Speaker 1: And then they answered the phone. It's like, yeah, I'm

1121
01:04:41,480 --> 01:04:46,880
Speaker 1: watching a movie. Okay, yeah, yeah, the cinema. Okay, yeah, yeah, yeah,

1122
01:04:46,880 --> 01:04:49,200
Speaker 1: I'm in the cinema watching a movie. You're like, what

1123
01:04:49,440 --> 01:04:52,560
Speaker 1: the hell, Yeah, I know you're not on the movie

1124
01:04:52,560 --> 01:04:55,520
Speaker 1: anymore if you're on the phone. Wow, this was so

1125
01:04:56,000 --> 01:04:58,040
Speaker 1: so special. Thank you so much for taking the time

1126
01:04:58,080 --> 01:05:01,280
Speaker 1: to talk to us, Michelle, Thank thank you both of you.

1127
01:05:01,840 --> 01:05:04,920
Speaker 1: And the movie is everything everywhere, all at once, and

1128
01:05:05,240 --> 01:05:10,280
Speaker 1: luckily for you, it's now playing nationwide everyone, lucky audiences everywhere. Um,

1129
01:05:10,400 --> 01:05:12,240
Speaker 1: and you have to go. You have to go, and

1130
01:05:12,360 --> 01:05:14,480
Speaker 1: you you're gonna be moved by it. You're gonna be

1131
01:05:14,560 --> 01:05:17,520
Speaker 1: surprised by it. You will laugh, scream, cry, feel all

1132
01:05:17,600 --> 01:05:20,560
Speaker 1: the emotions. And isn't that why we go? It's why

1133
01:05:20,680 --> 01:05:23,200
Speaker 1: we go. Thank you so much, Michelle, Thanks, thank you,

1134
01:05:23,400 --> 01:05:26,120
Speaker 1: thank you, thank you Paul, and thank you Matt. It

1135
01:05:26,360 --> 01:05:29,200
Speaker 1: was a real pleasure talking to both. Thank you for

1136
01:05:29,240 --> 01:05:35,640
Speaker 1: saking the time of course. Well well, well there was

1137
01:05:36,600 --> 01:05:42,560
Speaker 1: um yeah, just really fantastic. This is I won't get

1138
01:05:42,600 --> 01:05:46,440
Speaker 1: over this. This is a highlight of my year. You

1139
01:05:46,600 --> 01:05:50,760
Speaker 1: texted me right after Cloud nine, Cloud nine, Cloud nine

1140
01:05:50,960 --> 01:05:54,280
Speaker 1: and thank you for bearing with this structurally different kind

1141
01:05:54,280 --> 01:05:56,880
Speaker 1: of episode. You know. She this opportunity to talk to

1142
01:05:56,960 --> 01:05:58,840
Speaker 1: her came in a little last minute and we were like, yes,

1143
01:05:58,920 --> 01:06:00,280
Speaker 1: let's we've got to make it work in under what

1144
01:06:00,880 --> 01:06:04,240
Speaker 1: I texted people like, you know, producers at work. I

1145
01:06:04,280 --> 01:06:07,440
Speaker 1: was like, I need this hour blocked off. I'm It's

1146
01:06:07,480 --> 01:06:09,120
Speaker 1: a very important thing that I have to do, so

1147
01:06:09,200 --> 01:06:11,760
Speaker 1: please don't schedule anything around it. I've never pulled that before.

1148
01:06:11,800 --> 01:06:14,600
Speaker 1: I was like, you need to leave this open so

1149
01:06:15,280 --> 01:06:18,200
Speaker 1: um completely worth it. I think, Yeah, this is amazing.

1150
01:06:18,520 --> 01:06:20,560
Speaker 1: And we only jumped on because we want to give

1151
01:06:20,600 --> 01:06:23,240
Speaker 1: the readers a full episode. Um well, you see we

1152
01:06:23,360 --> 01:06:25,520
Speaker 1: jammed in the culture question. We jammed in I don't

1153
01:06:25,520 --> 01:06:29,320
Speaker 1: think so, honey, and we're gonna jam in the fact

1154
01:06:29,880 --> 01:06:32,960
Speaker 1: that we finished every episode of the song great, Hi,

1155
01:06:33,000 --> 01:06:42,000
Speaker 1: I would still fun bye bye see in your eyes

1156
01:06:42,920 --> 01:06:52,200
Speaker 1: the world. I know they do tire. It's an amazing

1157
01:06:53,080 --> 01:06:58,080
Speaker 1: I love that. That was good. Listen to it. It's

1158
01:06:58,120 --> 01:06:59,800
Speaker 1: like it's like an R and B song mixed with

1159
01:07:00,080 --> 01:07:07,240
Speaker 1: a traditional Chinese like gujang bob like it's it's says

1160
01:07:07,280 --> 01:07:10,640
Speaker 1: and I agree, he did get quiet. We really like

1161
01:07:10,720 --> 01:07:13,160
Speaker 1: my gain is? My gain is off? Yeah, something happened.

1162
01:07:13,160 --> 01:07:15,600
Speaker 1: I thought you did it on purpose? No, no, did

1163
01:07:15,640 --> 01:07:19,240
Speaker 1: you touch the mic cons of saying um? I don't

1164
01:07:19,400 --> 01:07:23,400
Speaker 1: think so. How's how's it now? Is it better? Better? Yeah? Okay, okay,

1165
01:07:23,480 --> 01:07:25,920
Speaker 1: I think you have to sing it again. Really, I

1166
01:07:26,000 --> 01:07:31,520
Speaker 1: got quiet in the song very okay, and we're keeping

1167
01:07:31,560 --> 01:07:34,920
Speaker 1: this whole thing. You have to sing it again. I

1168
01:07:35,120 --> 01:07:48,440
Speaker 1: would do my by in your world. I no fades

1169
01:07:48,480 --> 01:07:54,520
Speaker 1: away before time time. I butchered the last little melody,

1170
01:07:54,640 --> 01:07:56,400
Speaker 1: but I think it was one of the most stunning

1171
01:07:56,520 --> 01:07:59,680
Speaker 1: vocal performances of the of the decade. I think Coco

1172
01:08:00,960 --> 01:08:03,440
Speaker 1: her name is Coco Lee. Can you think of a

1173
01:08:03,520 --> 01:08:06,680
Speaker 1: better pop star name? I can't, and I know names

1174
01:08:06,720 --> 01:08:11,400
Speaker 1: like Camila Cabe and I still think this name is better.

1175
01:08:12,000 --> 01:08:15,560
Speaker 1: Thank you well, goodbye bye. Do you hear the rest

1176
01:08:15,600 --> 01:08:19,519
Speaker 1: of that song? Listen to a love before Time Bye

1177
01:08:19,760 --> 01:08:22,800
Speaker 1: Coco Lee on the Crouching Tiger Hidden Dragon sound track.

1178
01:08:23,560 --> 01:08:27,960
Speaker 1: I'm putting it on a checklist for today, Bye Bye,