WEBVTT - Ep07 - Andrew Garfield / "Hacksaw Ridge"

0:00:20.560 --> 0:00:24.320
<v Speaker 1>Welcome to Playback, a Variety podcast. On today's show, we're

0:00:24.320 --> 0:00:26.920
<v Speaker 1>talking about the recently wrapped New York Film Festival, where

0:00:26.920 --> 0:00:30.040
<v Speaker 1>Ang Lee's latest film faced some tough criticism. A little

0:00:30.040 --> 0:00:31.680
<v Speaker 1>bit later, I'll be talking to Hack's All Ridge and

0:00:31.760 --> 0:00:50.280
<v Speaker 1>Silent star Andrew Garfield. So stick around, all right, everyone,

0:00:50.280 --> 0:00:52.800
<v Speaker 1>I'm here with Janelle Riley again. How are you doing?

0:00:53.240 --> 0:00:56.080
<v Speaker 1>This room is very dusty and it's making my allergies crazy.

0:00:56.200 --> 0:00:57.960
<v Speaker 1>So if we sniffle the whole time, I'm doing the

0:00:57.960 --> 0:01:00.000
<v Speaker 1>same thing, that is my champion. I sound like Donald Trump.

0:01:01.640 --> 0:01:07.000
<v Speaker 1>It was not um. You know, the New York Film

0:01:07.040 --> 0:01:09.160
<v Speaker 1>Festival just wrapped up. Did you go out there at all?

0:01:09.440 --> 0:01:12.800
<v Speaker 1>I actually happened to be out there for the Hampton's

0:01:12.800 --> 0:01:15.360
<v Speaker 1>Film Festival and in New York, but kind of the

0:01:15.440 --> 0:01:16.920
<v Speaker 1>last thing I want to do on my day off

0:01:17.080 --> 0:01:20.840
<v Speaker 1>was go to and honestly, they weren't screened anything I

0:01:20.840 --> 0:01:24.040
<v Speaker 1>hadn't already seen. So yeah, well, the big story out

0:01:24.080 --> 0:01:26.160
<v Speaker 1>of there, and neither of us can really speak to

0:01:26.200 --> 0:01:28.759
<v Speaker 1>it because we haven't seen the film. But Billy Lynn's

0:01:28.760 --> 0:01:32.840
<v Speaker 1>long halftime walk really hit the skids with critics. A

0:01:32.880 --> 0:01:35.640
<v Speaker 1>lot of criticism aimed at the twenty frames per second,

0:01:35.760 --> 0:01:39.840
<v Speaker 1>which you know, I mean, I I can't. I haven't

0:01:39.880 --> 0:01:41.920
<v Speaker 1>seen the movie. I love Angle. I still am going

0:01:41.959 --> 0:01:43.760
<v Speaker 1>to see the movie. I have to say, I do

0:01:43.840 --> 0:01:48.080
<v Speaker 1>not like the multi frame rate. When I saw the Hobbit,

0:01:48.360 --> 0:01:52.520
<v Speaker 1>I mean had some problems, but really hated the way

0:01:52.520 --> 0:01:54.920
<v Speaker 1>it looked. And just reading what people were saying, and

0:01:54.960 --> 0:01:56.640
<v Speaker 1>they meant it as praise when they were saying how

0:01:56.680 --> 0:01:58.560
<v Speaker 1>crisp the picture was, and you can see the pores

0:01:58.600 --> 0:02:00.560
<v Speaker 1>on their nose, I was like, that's how it's awful.

0:02:00.760 --> 0:02:03.760
<v Speaker 1>That sounds. I feel like offers actors think that sounds awful.

0:02:05.240 --> 0:02:07.440
<v Speaker 1>Part of the idea here is to hide between those

0:02:07.520 --> 0:02:09.400
<v Speaker 1>those the flicker of the frames, you know, and you

0:02:09.440 --> 0:02:12.200
<v Speaker 1>can't hide makeup, you can't hide production design, you can't

0:02:12.280 --> 0:02:15.320
<v Speaker 1>hide background. I don't know that are just doing busy

0:02:15.320 --> 0:02:18.760
<v Speaker 1>work back there. Well for him, I I as I

0:02:18.800 --> 0:02:20.480
<v Speaker 1>understand it. It was, you know, it's just for the

0:02:20.520 --> 0:02:23.800
<v Speaker 1>war scenes, and it's too kind of carry across this

0:02:23.880 --> 0:02:27.120
<v Speaker 1>idea of the hyper real memory you had have of

0:02:27.200 --> 0:02:29.360
<v Speaker 1>a of a battle sequence and stuff like that. And

0:02:29.360 --> 0:02:30.640
<v Speaker 1>I get it. I mean, he's an artist, and I'm

0:02:30.680 --> 0:02:33.040
<v Speaker 1>sure he had a very artistic reason to use it, right?

0:02:33.040 --> 0:02:35.680
<v Speaker 1>Who am I to questioning? At the same time, I

0:02:35.720 --> 0:02:37.440
<v Speaker 1>find it takes me out of a movie. Yeah, well

0:02:37.560 --> 0:02:39.120
<v Speaker 1>we'll see when we see it. That's the other thing

0:02:39.200 --> 0:02:41.400
<v Speaker 1>is they couldn't even they couldn't have a projector over

0:02:41.440 --> 0:02:43.399
<v Speaker 1>here to to show it in that framework, right, don't

0:02:43.400 --> 0:02:47.840
<v Speaker 1>they have to show this movie properly? When it's released commercially,

0:02:47.840 --> 0:02:49.640
<v Speaker 1>there will only be two theaters in the country showing

0:02:49.639 --> 0:02:52.240
<v Speaker 1>it at frames per second, Which brings up my next point,

0:02:52.280 --> 0:02:54.760
<v Speaker 1>which is of the people that see this movie, you're

0:02:54.760 --> 0:02:56.480
<v Speaker 1>not going to see it this way, so you know,

0:02:56.520 --> 0:03:00.920
<v Speaker 1>if a tree falls in the woods, yeah, like what's

0:03:01.040 --> 0:03:04.000
<v Speaker 1>or if a movie bombs in New York in New York.

0:03:04.200 --> 0:03:05.679
<v Speaker 1>And that's the other thing. I think going to the

0:03:05.720 --> 0:03:07.960
<v Speaker 1>New York Film Festival might not have been the best

0:03:08.080 --> 0:03:11.680
<v Speaker 1>way to yeah this movie because take Life of Pie

0:03:11.680 --> 0:03:16.520
<v Speaker 1>there sentimental. I guess maybe he's been there with like

0:03:17.240 --> 0:03:20.280
<v Speaker 1>his Western what was that film called The Devil? I

0:03:20.280 --> 0:03:23.040
<v Speaker 1>feel like maybe that person who actually likes to the Devil,

0:03:23.080 --> 0:03:27.079
<v Speaker 1>I'm such a hardcore angle and the Criterion version. That's

0:03:27.080 --> 0:03:30.360
<v Speaker 1>because I own like every Western, But yeah, I think

0:03:30.400 --> 0:03:33.480
<v Speaker 1>you know, and he's they took the walk there last year,

0:03:33.520 --> 0:03:36.120
<v Speaker 1>Sony did. They've been taking movies there Captain Phillips the

0:03:36.160 --> 0:03:38.960
<v Speaker 1>last couple of years, so uh, it made sense for

0:03:39.000 --> 0:03:41.400
<v Speaker 1>them to go there, I guess. But this movie is

0:03:41.400 --> 0:03:43.080
<v Speaker 1>a particular movie, and it just seems like it didn't

0:03:43.080 --> 0:03:45.080
<v Speaker 1>work out for them. We'll see it in two weeks

0:03:45.080 --> 0:03:48.480
<v Speaker 1>when the projector finally gets over here. I don't know,

0:03:49.160 --> 0:03:51.600
<v Speaker 1>were in Los Angeles storeroom. They don't even know where

0:03:51.640 --> 0:03:54.440
<v Speaker 1>it's going to release commercially over here. I don't know

0:03:54.440 --> 0:03:56.720
<v Speaker 1>if they know in New York either, But what the budget?

0:03:56.720 --> 0:03:58.560
<v Speaker 1>Do you know? I don't I mean, this couldn't have

0:03:58.560 --> 0:04:00.800
<v Speaker 1>been a cheap movie. Yeah, I don't know. I I

0:04:00.920 --> 0:04:05.040
<v Speaker 1>so admire Angley, like, you know, taking chances and doing

0:04:05.080 --> 0:04:07.840
<v Speaker 1>new things, and when it pays off, it's amazing, you know,

0:04:07.920 --> 0:04:12.240
<v Speaker 1>Life of Pie, Crouching Tiger, Hidden Dragon. Um, But I

0:04:12.720 --> 0:04:15.360
<v Speaker 1>just don't know. I was. I was really disappointed to read.

0:04:15.640 --> 0:04:17.760
<v Speaker 1>I liked what he tried to do with Hulk oh.

0:04:17.880 --> 0:04:20.440
<v Speaker 1>I actually like it. Tried to bring a comic book alive.

0:04:20.480 --> 0:04:22.320
<v Speaker 1>It's kind of got the split screen stuff, and it

0:04:22.440 --> 0:04:24.720
<v Speaker 1>tried to put you there. I mean that's an example

0:04:24.720 --> 0:04:27.040
<v Speaker 1>of it. You liked it, apparently, but there's an example

0:04:27.080 --> 0:04:30.560
<v Speaker 1>of it, but I'm not really working. I'm a fan

0:04:30.600 --> 0:04:33.000
<v Speaker 1>of that one I see. I actually think it's funny

0:04:33.360 --> 0:04:37.080
<v Speaker 1>and you know, entertaining, and maybe I just love the Hulk.

0:04:37.720 --> 0:04:40.080
<v Speaker 1>Maybe maybe there's some lou for Rigno crushed from my

0:04:40.160 --> 0:04:42.839
<v Speaker 1>childhood that keeps to Comic CON's selling autographs for forty

0:04:42.880 --> 0:04:46.280
<v Speaker 1>bucks pop every year forty I think so. I used,

0:04:47.760 --> 0:04:51.479
<v Speaker 1>he's moving on up. But that was that was the

0:04:51.560 --> 0:04:55.160
<v Speaker 1>kind of the big premiere in New York, along with Duvernet, Uh,

0:04:55.600 --> 0:04:58.599
<v Speaker 1>which we kind of talked about years ago. You've seen

0:04:58.600 --> 0:05:02.240
<v Speaker 1>it since, God, so stunning and upsetting and beauty. You

0:05:02.240 --> 0:05:05.240
<v Speaker 1>agree with me that should be the best picture considered. Yeah,

0:05:05.920 --> 0:05:08.240
<v Speaker 1>I just said it. I said, that's that's my one

0:05:08.279 --> 0:05:11.160
<v Speaker 1>for this around. You know, she's she's serious. Yeah, it's

0:05:11.640 --> 0:05:13.200
<v Speaker 1>easily one of the best movies of the year. Yeah.

0:05:13.320 --> 0:05:17.120
<v Speaker 1>And yeah, and and and I think, uh, twenty Century

0:05:17.120 --> 0:05:20.080
<v Speaker 1>Women also screamed out there. I guess that would have

0:05:20.120 --> 0:05:24.400
<v Speaker 1>been the Was that the premiere I think it was

0:05:24.440 --> 0:05:26.599
<v Speaker 1>because it didn't premiere Toronto. Yeah, that was that was

0:05:26.600 --> 0:05:28.560
<v Speaker 1>the world premiere center. It was the centerpiece film in

0:05:28.560 --> 0:05:31.960
<v Speaker 1>New York. Yeah, said screened in l a screen just

0:05:32.080 --> 0:05:33.919
<v Speaker 1>ahead of that, and that's when I saw it, and

0:05:33.960 --> 0:05:36.600
<v Speaker 1>you saw it. I'm a fan. I like Mike Mills,

0:05:36.680 --> 0:05:39.159
<v Speaker 1>I like I like his voice. Yeah, he just really

0:05:39.160 --> 0:05:41.159
<v Speaker 1>does a good job of getting his voice into his work.

0:05:41.200 --> 0:05:44.040
<v Speaker 1>And I like Beginners better. I think it's a tighter movie.

0:05:44.040 --> 0:05:47.120
<v Speaker 1>Beginners is kind of perfect. Yeah, and and and I

0:05:47.160 --> 0:05:51.120
<v Speaker 1>think Twentieth Century Women starts to just wander a bit

0:05:51.160 --> 0:05:52.920
<v Speaker 1>in the middle of the movie. It loses its focus

0:05:52.960 --> 0:05:55.760
<v Speaker 1>a little, but I still love the tone. I loved

0:05:55.880 --> 0:05:58.360
<v Speaker 1>kind of luxuriating in the world he created. And I

0:05:58.360 --> 0:06:01.080
<v Speaker 1>thought that Bending was great. The actors are great. I

0:06:01.080 --> 0:06:04.840
<v Speaker 1>thought Greta Girlwig was It's the best, right. Yeah, I'm

0:06:04.880 --> 0:06:08.040
<v Speaker 1>glad someone else has said that, because l Fanning was fantastic. Yes,

0:06:08.120 --> 0:06:10.280
<v Speaker 1>she's good, but Gretta man, Yeah, I mean she's there's

0:06:10.320 --> 0:06:13.160
<v Speaker 1>so much going on with that character, and she's got

0:06:13.160 --> 0:06:16.000
<v Speaker 1>this history to kind of work through, and I think

0:06:16.000 --> 0:06:17.960
<v Speaker 1>it's her best performance. And I do think she has

0:06:17.960 --> 0:06:21.120
<v Speaker 1>a shot in the supporting category. Did you hear I

0:06:21.120 --> 0:06:23.719
<v Speaker 1>think someone told me that Mike Mills made Beginners for

0:06:23.800 --> 0:06:26.680
<v Speaker 1>his father and made Twenty Century Women for his mother,

0:06:27.200 --> 0:06:29.479
<v Speaker 1>and it is interesting how they are sort of the

0:06:29.520 --> 0:06:32.839
<v Speaker 1>movie Cousins, you know. Yeah, there's certain things he uses

0:06:32.839 --> 0:06:34.760
<v Speaker 1>in Beginners, you know, when he would show the pictures

0:06:34.760 --> 0:06:36.839
<v Speaker 1>and be like, this is what love looks like. He

0:06:37.000 --> 0:06:40.240
<v Speaker 1>does something similar in Twenty Century Women, but doesn't lay

0:06:40.240 --> 0:06:42.720
<v Speaker 1>it on too thick, So they are two very different movies. Yeah,

0:06:42.760 --> 0:06:44.880
<v Speaker 1>he's talked about that he likes to play with time

0:06:45.480 --> 0:06:47.920
<v Speaker 1>in his editorial, like, because you know, you don't really

0:06:48.360 --> 0:06:51.839
<v Speaker 1>experience time chronologically. You experienced it through memories and things

0:06:51.839 --> 0:06:53.080
<v Speaker 1>like that. So he tries to play with that and

0:06:53.160 --> 0:06:55.479
<v Speaker 1>the way he dits movies, and it definitely does that

0:06:55.520 --> 0:06:59.000
<v Speaker 1>in this one. And yeah, absolutely Beginners is like a

0:06:59.000 --> 0:07:00.560
<v Speaker 1>love letter to his father, and this is a love

0:07:00.640 --> 0:07:04.120
<v Speaker 1>letter to his mother, and and that Benning. You know,

0:07:04.279 --> 0:07:06.200
<v Speaker 1>I think there was a period where it was they

0:07:06.200 --> 0:07:09.640
<v Speaker 1>were keeping options open about supporting her lead she could.

0:07:09.680 --> 0:07:11.520
<v Speaker 1>I mean a lot of times when you see like

0:07:11.600 --> 0:07:15.040
<v Speaker 1>Alicia Vickender in Danish Girl and she goes supporting it's

0:07:15.080 --> 0:07:18.280
<v Speaker 1>like obvious category fraud. I have to say, this movie

0:07:18.320 --> 0:07:21.760
<v Speaker 1>is really kind of the main Boys story. Like I

0:07:21.800 --> 0:07:23.960
<v Speaker 1>actually think of a net Bennie went supporting it, would

0:07:24.000 --> 0:07:26.800
<v Speaker 1>I would get it. I feel the same way. I

0:07:26.840 --> 0:07:30.320
<v Speaker 1>mean the problem is he of all of the characters,

0:07:30.360 --> 0:07:31.720
<v Speaker 1>he's the one you don't really learn a lot of it.

0:07:31.960 --> 0:07:35.120
<v Speaker 1>He's very learned about everybody else, So everybody else kind

0:07:35.120 --> 0:07:37.280
<v Speaker 1>of stands out. And the Net having this big performance,

0:07:37.320 --> 0:07:39.600
<v Speaker 1>it feels like a lead in it. It's arguably a lead,

0:07:39.680 --> 0:07:42.680
<v Speaker 1>arguably supporting because she's a Net Benning. Like, I don't

0:07:42.720 --> 0:07:44.840
<v Speaker 1>know if anyone else think that's what the boils down to.

0:07:44.880 --> 0:07:47.440
<v Speaker 1>As far as an Oscar campaign is concerned, too, it's like, no,

0:07:47.600 --> 0:07:49.800
<v Speaker 1>not going. I mean, she's getting nominated in either category.

0:07:50.120 --> 0:07:52.160
<v Speaker 1>I think I feel the same way about Violet Davis

0:07:52.240 --> 0:07:54.880
<v Speaker 1>without even so even though we haven't seen it, we're like, like,

0:07:54.960 --> 0:07:57.720
<v Speaker 1>she's the front runner all around wherever she could go.

0:07:57.720 --> 0:08:00.560
<v Speaker 1>In the best director category we put it in. And

0:08:00.600 --> 0:08:01.960
<v Speaker 1>I know, a couple of weeks ago, I said that

0:08:02.040 --> 0:08:04.880
<v Speaker 1>lead is I mean that supporting is not happening. Uh.

0:08:05.440 --> 0:08:10.040
<v Speaker 1>I still feel pretty strong, but it is still a question.

0:08:10.320 --> 0:08:12.280
<v Speaker 1>And I think everyone's looking at that campaign, what is

0:08:12.320 --> 0:08:15.200
<v Speaker 1>she going to do? A lot of people would like

0:08:15.240 --> 0:08:18.160
<v Speaker 1>her to get out of that category because it frees

0:08:18.240 --> 0:08:20.720
<v Speaker 1>up space for you know, a Ruthnega or Taragi p

0:08:20.800 --> 0:08:24.000
<v Speaker 1>Henson perhaps or you know, assuming that the category is

0:08:24.040 --> 0:08:26.520
<v Speaker 1>laid out the way we assume it is, which is like,

0:08:26.560 --> 0:08:29.480
<v Speaker 1>you know Meryl, you think Meryl is a lock. I

0:08:29.480 --> 0:08:32.080
<v Speaker 1>think she's strong. She's Meryl. I think she's strong. But

0:08:32.160 --> 0:08:34.000
<v Speaker 1>I think in a year where you have people on

0:08:34.040 --> 0:08:36.400
<v Speaker 1>the bubble that could get in, like you know Amy Adams,

0:08:36.400 --> 0:08:39.560
<v Speaker 1>who's fantastic in two different movies. Um, I think Emma

0:08:39.559 --> 0:08:45.000
<v Speaker 1>Stones a lock. I mean, and that Benning so and

0:08:45.240 --> 0:08:48.600
<v Speaker 1>Natalie Portman, Oh yeah, obviously Natalie Portman. And then we've

0:08:48.640 --> 0:08:50.960
<v Speaker 1>got I feel this kind of fifth spot. It is

0:08:51.000 --> 0:08:54.680
<v Speaker 1>like assumably Viola if she's going lead, and I think

0:08:54.720 --> 0:08:57.480
<v Speaker 1>that she's probably strong enough to win in either category

0:08:57.600 --> 0:09:00.360
<v Speaker 1>wherever she is. Yeah, I mean, she wonted Tony and

0:09:00.360 --> 0:09:02.680
<v Speaker 1>she's Viola Davis. And you've seen the trailer. There's a

0:09:02.679 --> 0:09:05.720
<v Speaker 1>lot of snot going on. It worked in down, it

0:09:05.760 --> 0:09:07.840
<v Speaker 1>worked in doubt. You know, it's going to be a big,

0:09:07.840 --> 0:09:10.800
<v Speaker 1>powerful performance, you know. So it is in the play

0:09:10.800 --> 0:09:13.120
<v Speaker 1>a supporting role, and I've heard that they've beat it

0:09:13.200 --> 0:09:16.120
<v Speaker 1>up for the movie, but I mean, I am curious.

0:09:16.120 --> 0:09:19.000
<v Speaker 1>It's it's strange that usually if someone is lesser known,

0:09:19.040 --> 0:09:21.640
<v Speaker 1>like an Alicia Vickender, they put her in supporting even

0:09:21.640 --> 0:09:24.520
<v Speaker 1>when it's clearly a lead role. But if you're as

0:09:24.600 --> 0:09:27.640
<v Speaker 1>establishes Viola Davis, it works the opposite way. Sometimes you

0:09:27.720 --> 0:09:29.920
<v Speaker 1>get in the lead category when it's really a supporting role.

0:09:30.080 --> 0:09:32.360
<v Speaker 1>But with Viola, it may be a supporting role, but

0:09:32.480 --> 0:09:34.160
<v Speaker 1>is it a supporting performance? And I know that's a

0:09:34.200 --> 0:09:36.600
<v Speaker 1>weird thing to say, but like that's kind of what

0:09:36.640 --> 0:09:38.559
<v Speaker 1>we're talking about with the net. It's it's sort of

0:09:38.600 --> 0:09:41.920
<v Speaker 1>a leading performance but a supporting role. Well, I mean,

0:09:42.000 --> 0:09:44.560
<v Speaker 1>you know, the great example is Hannibal Lector in Silence

0:09:44.600 --> 0:09:48.760
<v Speaker 1>of the Lambs had something like, yeah, but you know

0:09:48.840 --> 0:09:51.960
<v Speaker 1>everybody wants from that movie, you know, talking about Hannibal Lector,

0:09:52.440 --> 0:09:56.920
<v Speaker 1>which is a weird comparison to make when I definitely

0:09:57.600 --> 0:09:59.959
<v Speaker 1>or at betting for that man. We'll see how different role.

0:10:00.240 --> 0:10:03.000
<v Speaker 1>But yeah, suffice it to say, everyone's keeping an eye

0:10:03.040 --> 0:10:06.520
<v Speaker 1>on that campaign. Yeah, I mean, you know, I really

0:10:06.559 --> 0:10:09.199
<v Speaker 1>want Amy I'm to be nominated for Arrival. Um. I

0:10:09.760 --> 0:10:12.880
<v Speaker 1>love that movie. I love that performance. Uh, she's kind

0:10:12.920 --> 0:10:15.120
<v Speaker 1>of on the bubble, you know. I'd like her to

0:10:15.160 --> 0:10:17.200
<v Speaker 1>have more secure slot. I think she's more secure than

0:10:17.240 --> 0:10:20.319
<v Speaker 1>merriw really. Yeah, I definitely disagree with you. Well, well,

0:10:20.360 --> 0:10:21.640
<v Speaker 1>we have to wait and see how the movie does

0:10:21.679 --> 0:10:24.480
<v Speaker 1>actually does, and they're gonna bring They're gonna be bringing

0:10:24.480 --> 0:10:26.640
<v Speaker 1>Florence back around too. It's not good like they're going

0:10:26.679 --> 0:10:29.360
<v Speaker 1>to be. They're gonna do their tastemakers and have their things.

0:10:29.400 --> 0:10:30.920
<v Speaker 1>And I know you and I are big fans of

0:10:30.920 --> 0:10:34.360
<v Speaker 1>Florence Foster Jenkins, and I love Hugh Grant's performance. And

0:10:35.040 --> 0:10:38.840
<v Speaker 1>is he a sure thing? Sure thing but pretty secure?

0:10:38.920 --> 0:10:40.280
<v Speaker 1>I think he's I think he's a good bet right now.

0:10:40.320 --> 0:10:44.319
<v Speaker 1>I mean, look, I have it for picture actress, supporting actor,

0:10:44.520 --> 0:10:47.040
<v Speaker 1>a couple of below the lines. Like, I think it's

0:10:47.040 --> 0:10:49.640
<v Speaker 1>a strong player across the board. Good Golden Globes are

0:10:49.640 --> 0:10:51.800
<v Speaker 1>going to be fit up to whenever it comes to that.

0:10:51.920 --> 0:10:53.840
<v Speaker 1>So I like your column today where you said, like

0:10:53.840 --> 0:10:56.480
<v Speaker 1>the Golden Globes Comedy Musical category is a race to

0:10:56.520 --> 0:10:59.040
<v Speaker 1>see who will lose to Lala basically, right. I mean,

0:10:59.080 --> 0:11:02.079
<v Speaker 1>it's just four more slots to fill there, and it's

0:11:02.080 --> 0:11:05.640
<v Speaker 1>a pretty thin race. I think beyond Florence Foster Jenkins

0:11:05.679 --> 0:11:08.040
<v Speaker 1>in La La Land, it's pretty wide open. You're right.

0:11:08.760 --> 0:11:11.720
<v Speaker 1>Literally got an email from Fox. What about Deadpool? You

0:11:11.760 --> 0:11:13.960
<v Speaker 1>know that's it's funny you would say that, because I've

0:11:13.960 --> 0:11:16.560
<v Speaker 1>heard a lot of people say that, Like Globes voters

0:11:16.600 --> 0:11:19.080
<v Speaker 1>really love Deadpool and they love Ryan Reynolds and he's

0:11:19.080 --> 0:11:23.880
<v Speaker 1>a big star. So that hp A there there are

0:11:23.880 --> 0:11:25.719
<v Speaker 1>fans of Deadpool and hfp A. Now, I don't know

0:11:25.760 --> 0:11:27.800
<v Speaker 1>how much of that is actual love for the movie

0:11:28.000 --> 0:11:30.400
<v Speaker 1>or actual love for Ryan Reynolds. But let's be honest,

0:11:30.440 --> 0:11:32.559
<v Speaker 1>how great would it be if they nominated a true

0:11:32.600 --> 0:11:35.360
<v Speaker 1>comedy It would be pretty Deadpool, yeah, absolutely, or the

0:11:35.480 --> 0:11:39.400
<v Speaker 1>nice guys, great guys. I would love to see Russell

0:11:39.400 --> 0:11:43.560
<v Speaker 1>Crowe nominated for performance. Ryan's already getting nominated, but like, like,

0:11:43.640 --> 0:11:46.080
<v Speaker 1>Russell Crowe was hilarious in that movie. Did you go

0:11:46.120 --> 0:11:48.760
<v Speaker 1>to the American Cinema Tech Award? I did not. He

0:11:48.960 --> 0:11:50.800
<v Speaker 1>kind of gave a good case for why he should

0:11:50.800 --> 0:11:54.040
<v Speaker 1>host the Oscars. Russell Crowe, Russell Crowell. I saw him

0:11:54.080 --> 0:11:57.480
<v Speaker 1>on Saturday Night Live. I was at the dress rehearsal

0:11:57.520 --> 0:12:00.000
<v Speaker 1>where there's like ten times more sketches that they cut,

0:12:00.280 --> 0:12:04.360
<v Speaker 1>and the guy is he's a chameleon and a comedic genius.

0:12:04.960 --> 0:12:06.920
<v Speaker 1>I mean, like some of the sketches they cut, I

0:12:06.960 --> 0:12:09.640
<v Speaker 1>wish I hope they put them online. Somewhere because he

0:12:09.840 --> 0:12:13.640
<v Speaker 1>is he is hilarious. Maybe they should uh tap him

0:12:13.679 --> 0:12:15.720
<v Speaker 1>to host the Oscars. You know, maybe they should announce

0:12:15.720 --> 0:12:17.640
<v Speaker 1>a producer. Maybe they should figure out what's going to

0:12:17.720 --> 0:12:20.959
<v Speaker 1>happen with this show, Like, isn't that weird? Like it's

0:12:21.000 --> 0:12:25.600
<v Speaker 1>October or whatever it is now and no producer announced.

0:12:25.760 --> 0:12:28.360
<v Speaker 1>We'll have winners before we have a producer. Yeah, it's crazy.

0:12:28.400 --> 0:12:30.520
<v Speaker 1>I know that there was three years where you know,

0:12:30.760 --> 0:12:33.559
<v Speaker 1>Zaden and Maren were a three year contract, so a

0:12:33.600 --> 0:12:35.319
<v Speaker 1>lot of their decisions were able to happen early in

0:12:35.360 --> 0:12:38.120
<v Speaker 1>August or September or whatever. You'd hear what the host is.

0:12:38.840 --> 0:12:41.839
<v Speaker 1>And now they're kind of starting fresh. I've heard that, Uh,

0:12:41.960 --> 0:12:45.160
<v Speaker 1>you know, nobody wants that gig after last year, but

0:12:45.280 --> 0:12:47.600
<v Speaker 1>he wants to produce the Oscars after last year. Talk

0:12:47.640 --> 0:12:49.640
<v Speaker 1>to the academy you hear something completely different. No, we've

0:12:49.640 --> 0:12:51.120
<v Speaker 1>got a lot of people. We're just trying to decide

0:12:51.120 --> 0:12:53.800
<v Speaker 1>who it's going to be. Anything about the host. Cluck

0:12:53.880 --> 0:12:55.840
<v Speaker 1>is ticking. No, I mean you need a producer first,

0:12:56.160 --> 0:12:58.360
<v Speaker 1>because that's that's gonna be where that decision comes from.

0:12:58.360 --> 0:13:00.880
<v Speaker 1>I assume we'll know both before the Governor's Awards in

0:13:00.920 --> 0:13:03.720
<v Speaker 1>mid November. But that's like three weeks away. Yeah, not

0:13:03.840 --> 0:13:06.880
<v Speaker 1>very far, so hopefully soon. I didn't expect to go

0:13:06.920 --> 0:13:08.719
<v Speaker 1>down that road, but I am like, what's going on

0:13:08.760 --> 0:13:10.839
<v Speaker 1>over there? Hey, maybe it's time to go back to

0:13:10.880 --> 0:13:15.280
<v Speaker 1>Brett Ratner just saying maybe wanted Eddie Murphy to h

0:13:15.760 --> 0:13:18.960
<v Speaker 1>that was all about that. Yeah, let's do it. What

0:13:19.000 --> 0:13:21.679
<v Speaker 1>else were we going to cover here? Opening this week? Oh?

0:13:21.720 --> 0:13:24.160
<v Speaker 1>By the way, the one movie opening this week that

0:13:24.160 --> 0:13:26.800
<v Speaker 1>that we need to talk about is Boo a Media Halloween.

0:13:26.880 --> 0:13:30.960
<v Speaker 1>Wait what, I have never seen a Tyler Perry movie,

0:13:31.120 --> 0:13:35.800
<v Speaker 1>and I'm this weekend to see Boo a Media Halloween.

0:13:35.920 --> 0:13:37.599
<v Speaker 1>I don't think it will struggle for box office. I

0:13:37.600 --> 0:13:41.160
<v Speaker 1>think everyone should go see Moonlight, which doesn't open wide

0:13:41.240 --> 0:13:44.240
<v Speaker 1>until later anyway, but it's opening limited this week. Such

0:13:44.280 --> 0:13:46.760
<v Speaker 1>a beautiful movie. And we've talked about that. Yeah, I

0:13:46.800 --> 0:13:48.559
<v Speaker 1>think we've talked a lot about it. How much we

0:13:48.640 --> 0:13:52.679
<v Speaker 1>love that cast. Yeah, and I actually did attend a

0:13:52.720 --> 0:13:56.160
<v Speaker 1>Q and A this weekend with Herschela Ali and Naomi

0:13:56.200 --> 0:14:00.000
<v Speaker 1>Harris and Andre Holland and you know, just audience. Actually,

0:14:00.280 --> 0:14:03.880
<v Speaker 1>I'm not sure to be honest, Um, well received, everyone

0:14:03.920 --> 0:14:06.720
<v Speaker 1>stuck around. Very well received. And just listening to those

0:14:06.760 --> 0:14:09.400
<v Speaker 1>three talks like a masterclass in acting. I look forward

0:14:09.440 --> 0:14:11.320
<v Speaker 1>to talking to Barry Jenkins at some point this year

0:14:11.360 --> 0:14:16.040
<v Speaker 1>because said him, yeah, and everyone said they were fans

0:14:16.040 --> 0:14:19.800
<v Speaker 1>of his first movie Moonlight for Melancholi Melancholic flight Medicine.

0:14:19.840 --> 0:14:22.960
<v Speaker 1>For me, I'm sorry, I just made the best mash

0:14:23.080 --> 0:14:28.760
<v Speaker 1>up Moonlight from Melancol Medicine Man Melancholic Melancholy from Moonlight.

0:14:29.040 --> 0:14:31.120
<v Speaker 1>But they were all big fans of his even before

0:14:31.160 --> 0:14:32.720
<v Speaker 1>they worked with him. In the way that they talk

0:14:32.800 --> 0:14:36.000
<v Speaker 1>about this director like they're so rhapsodic what he's able

0:14:36.040 --> 0:14:38.440
<v Speaker 1>to pull off with these three actors playing this one

0:14:38.520 --> 0:14:41.000
<v Speaker 1>character and you know, getting that performance out of Naomi

0:14:41.080 --> 0:14:44.000
<v Speaker 1>over the course of the weekend. You know, it's pretty

0:14:44.040 --> 0:14:46.280
<v Speaker 1>good stuff. So you should go see that film as

0:14:46.320 --> 0:14:51.000
<v Speaker 1>opposed to Boom Medea Halloween. You know, one of my

0:14:51.040 --> 0:14:53.960
<v Speaker 1>co workers did say he admires that Tyler Perry as

0:14:54.000 --> 0:14:56.440
<v Speaker 1>he continues to get, you know, more famous in his

0:14:56.520 --> 0:14:59.760
<v Speaker 1>movies are bigger and bigger, he still refuses to learn

0:14:59.800 --> 0:15:02.560
<v Speaker 1>that they sick tenants of filmmaking, and in a way

0:15:02.640 --> 0:15:06.680
<v Speaker 1>that that stubbornness is admirable. Well, he doesn't appear to

0:15:06.720 --> 0:15:10.280
<v Speaker 1>need to yet he clearly is doing something right. This

0:15:10.360 --> 0:15:16.000
<v Speaker 1>guy is a behemoth in the industry, so good for him. Yes,

0:15:16.520 --> 0:15:18.160
<v Speaker 1>and look he's a good actor. He was great and

0:15:18.200 --> 0:15:20.600
<v Speaker 1>gone girl. Yeah, I even saw the movie where he

0:15:20.600 --> 0:15:24.120
<v Speaker 1>played Alex Cross, and it's like, yeah, he's what was

0:15:24.120 --> 0:15:25.880
<v Speaker 1>the movie called? Was it called Alex? It was called

0:15:25.920 --> 0:15:29.360
<v Speaker 1>Alex Cross? Yes, well, go see both of those movies.

0:15:29.400 --> 0:15:31.600
<v Speaker 1>Screw it. You should should have or go see Moonlight twice.

0:15:31.640 --> 0:15:33.840
<v Speaker 1>That would be seen moon Like twice. I'm talking to

0:15:33.880 --> 0:15:37.120
<v Speaker 1>Andrew Garfield after this. Talked about hacks All Ridge a

0:15:37.120 --> 0:15:39.840
<v Speaker 1>few weeks ago. Loved it. More and more people are

0:15:39.840 --> 0:15:41.520
<v Speaker 1>seeing it and coming and telling me how much they

0:15:41.560 --> 0:15:43.800
<v Speaker 1>love it. It's a lovely conversation. I think everybody will

0:15:43.880 --> 0:16:06.480
<v Speaker 1>enjoy that, so stick around for that. I was dreamed

0:16:06.480 --> 0:16:09.800
<v Speaker 1>about being a doctor, but I didn't get my school.

0:16:11.200 --> 0:16:13.480
<v Speaker 1>I can't stay here all them go fight for me.

0:16:14.320 --> 0:16:16.040
<v Speaker 1>When you figured this war is just going to fit

0:16:16.080 --> 0:16:19.320
<v Speaker 1>in with your ideas. While everybody else has taken life,

0:16:19.320 --> 0:16:21.360
<v Speaker 1>I'm gonna be saving it. That's gonna be my way

0:16:21.360 --> 0:16:25.640
<v Speaker 1>to serve. This is a personal gift from the United

0:16:25.680 --> 0:16:28.720
<v Speaker 1>States government because I do bring death to the end

0:16:28.720 --> 0:16:31.800
<v Speaker 1>of it. Well, I'm sorry. Sorry, I can't touch a gun.

0:16:32.720 --> 0:16:35.720
<v Speaker 1>Shen't killed. You know, quite a bit of killing does

0:16:35.800 --> 0:16:39.480
<v Speaker 1>occur in war. Private Dots does not believe in violence.

0:16:40.320 --> 0:16:42.920
<v Speaker 1>You'll not look to him to save you on the battlefield.

0:16:44.400 --> 0:16:46.240
<v Speaker 1>I don't think this is a question of religion. I

0:16:46.400 --> 0:16:51.600
<v Speaker 1>think this is callous because you weren't like anyone else.

0:16:53.000 --> 0:16:55.120
<v Speaker 1>You're saying you could go to prison. But I don't

0:16:55.120 --> 0:16:57.080
<v Speaker 1>know how I'm gonna live with myself if I don't

0:16:57.120 --> 0:17:00.120
<v Speaker 1>stay truny to what I believe. With the world so

0:17:00.280 --> 0:17:05.080
<v Speaker 1>set on tearing itself apart, don't seem like such a

0:17:05.119 --> 0:17:06.800
<v Speaker 1>bad thing to me to want to put a little

0:17:06.840 --> 0:17:09.119
<v Speaker 1>bit of it back together. Welcome back, everyone. I'm here

0:17:09.160 --> 0:17:12.239
<v Speaker 1>with Andrew Garfield, the star of Mel Gibson's hacks all

0:17:12.359 --> 0:17:15.320
<v Speaker 1>Ridge j opens November four. Thank you for coming by today, man,

0:17:15.320 --> 0:17:19.000
<v Speaker 1>I appreciate it. Thank you for having me. Uh. It's

0:17:19.000 --> 0:17:21.960
<v Speaker 1>been ten years since Mel Gibson gave us a movie.

0:17:22.000 --> 0:17:24.280
<v Speaker 1>Apocalypto was the last one, and I just want to

0:17:24.320 --> 0:17:26.560
<v Speaker 1>talk quickly about that. Are you as big a fan

0:17:26.600 --> 0:17:29.080
<v Speaker 1>of that movie is as I think I am. Yeah,

0:17:29.359 --> 0:17:31.080
<v Speaker 1>I am a huge fan of that movie. I think

0:17:31.119 --> 0:17:34.880
<v Speaker 1>that's maybe my favorite movie of his that he directed.

0:17:34.920 --> 0:17:37.840
<v Speaker 1>It's it's such a bold movie to make. And I

0:17:37.920 --> 0:17:41.600
<v Speaker 1>remember when the trailer hit for that movie. I don't

0:17:41.600 --> 0:17:43.639
<v Speaker 1>know if people remember this, but there was a moment

0:17:43.800 --> 0:17:46.720
<v Speaker 1>in the trailer, like a couple of frames where he

0:17:46.800 --> 0:17:48.879
<v Speaker 1>just inserted a shot where he was hanging out with

0:17:48.960 --> 0:17:50.640
<v Speaker 1>like the guys that were playing the natives, and he's

0:17:50.680 --> 0:17:52.680
<v Speaker 1>like just cheesing with I think he had like a

0:17:52.720 --> 0:17:55.320
<v Speaker 1>cigaretto in his mouth or something. Really, it's just yeah,

0:17:55.320 --> 0:17:57.119
<v Speaker 1>it's just a really brief moment where he's just like

0:17:57.800 --> 0:18:01.120
<v Speaker 1>smiling in the middle of this big press trail line.

0:18:01.119 --> 0:18:04.480
<v Speaker 1>I don't remember that after this, but I'm just curious

0:18:04.520 --> 0:18:06.440
<v Speaker 1>if that speaks to how he is on the set. Yes,

0:18:07.160 --> 0:18:10.399
<v Speaker 1>that that's so funny and and interesting. He kind of

0:18:10.440 --> 0:18:13.760
<v Speaker 1>makes his own rules in that way as a filmmaker,

0:18:13.800 --> 0:18:18.399
<v Speaker 1>I think, and he's not precious at all about the

0:18:19.400 --> 0:18:22.879
<v Speaker 1>process or even about the moment. There's this kind of

0:18:23.000 --> 0:18:28.920
<v Speaker 1>very intuitive instinctive, a physical, visceral presence that he has

0:18:29.040 --> 0:18:30.920
<v Speaker 1>and that his movies have. I think is you know,

0:18:31.000 --> 0:18:34.040
<v Speaker 1>with Apocalypto is a great example of that. It's so

0:18:34.240 --> 0:18:38.159
<v Speaker 1>muscular and full of you know, blood and flesh, and

0:18:39.040 --> 0:18:40.520
<v Speaker 1>you know, you feel like you're there. And I think

0:18:40.560 --> 0:18:43.920
<v Speaker 1>Haxtell raises no exception to that. Um and yeah, and

0:18:44.000 --> 0:18:50.000
<v Speaker 1>I think it does come out of his um, his

0:18:50.359 --> 0:18:54.920
<v Speaker 1>his his presence on set, his kind of almost animal

0:18:55.119 --> 0:19:01.199
<v Speaker 1>instinctive way of making a film telling a story. Uh,

0:19:01.720 --> 0:19:04.680
<v Speaker 1>he is a figure. I think that looms pretty large

0:19:04.680 --> 0:19:07.080
<v Speaker 1>in this industry. So maybe you had expectations going in,

0:19:07.280 --> 0:19:10.280
<v Speaker 1>But even still, did he surprise you as a filmmaker

0:19:10.320 --> 0:19:14.640
<v Speaker 1>in any way that sticks out? Now? Yeah, I had

0:19:14.760 --> 0:19:17.000
<v Speaker 1>no idea what to expect, because of course you hear,

0:19:18.000 --> 0:19:20.920
<v Speaker 1>you hear so much, and you kind of go in

0:19:21.800 --> 0:19:25.520
<v Speaker 1>with any filmmaker really and of course you know Mail,

0:19:25.560 --> 0:19:28.000
<v Speaker 1>there's no exception to that. You go in with a

0:19:28.080 --> 0:19:31.720
<v Speaker 1>bunch of expectations and a bunch of ideas that that

0:19:31.840 --> 0:19:33.720
<v Speaker 1>you hope you can see past in order to just

0:19:34.720 --> 0:19:37.720
<v Speaker 1>be able to see the person clearly. And yeah, I was.

0:19:37.880 --> 0:19:44.320
<v Speaker 1>I was so so surprised he and by his um. Well,

0:19:44.520 --> 0:19:46.480
<v Speaker 1>to be honest, you know the main thing that I

0:19:46.600 --> 0:19:53.520
<v Speaker 1>was so um ah happy about and surprised maybe I

0:19:53.880 --> 0:19:55.680
<v Speaker 1>I don't know, I did. I didn't have any expectation

0:19:55.760 --> 0:19:57.959
<v Speaker 1>either way. It was just this ability that you had

0:19:58.000 --> 0:20:02.680
<v Speaker 1>to make everyone feel as important as each other in

0:20:02.760 --> 0:20:06.080
<v Speaker 1>a very sincere way, without any you know, there was

0:20:06.119 --> 0:20:08.359
<v Speaker 1>no strategy behind it. It was just we're all in

0:20:08.400 --> 0:20:11.680
<v Speaker 1>this together. And that feeling of a good dad on set,

0:20:11.760 --> 0:20:14.800
<v Speaker 1>that feeling of a good parent where you feel like

0:20:15.000 --> 0:20:19.159
<v Speaker 1>your work is um as important as his and in

0:20:19.280 --> 0:20:23.440
<v Speaker 1>fact he makes you feel totally vital to the process.

0:20:24.200 --> 0:20:26.720
<v Speaker 1>Um and he totally means it. It's the best idea

0:20:26.760 --> 0:20:33.560
<v Speaker 1>wins kind of scenario. And um, there's this very loving

0:20:33.720 --> 0:20:37.040
<v Speaker 1>energy that he creates on set, and very safe and

0:20:37.359 --> 0:20:41.359
<v Speaker 1>very playful and light and and as I say, kind

0:20:41.400 --> 0:20:43.399
<v Speaker 1>of loving in that in that really good way that

0:20:43.480 --> 0:20:45.440
<v Speaker 1>a good parent will set you up to have a

0:20:45.560 --> 0:20:48.960
<v Speaker 1>really fun play session with a friend. They'll create the

0:20:49.000 --> 0:20:51.280
<v Speaker 1>framework and then you just go and run riot and

0:20:51.480 --> 0:20:53.720
<v Speaker 1>you paint on the canvas however the hell you want,

0:20:53.760 --> 0:20:55.560
<v Speaker 1>and there's no right, there's no wrong, it just is.

0:20:56.440 --> 0:20:59.880
<v Speaker 1>And so that was really kind of a wonderful surprise.

0:21:00.000 --> 0:21:05.160
<v Speaker 1>I guess. Now this story is about desmondask conscientious subjector

0:21:05.280 --> 0:21:07.639
<v Speaker 1>who went to war without a gun and saved some

0:21:07.800 --> 0:21:10.600
<v Speaker 1>seventy people. An amazing story that I didn't know about.

0:21:11.160 --> 0:21:12.879
<v Speaker 1>Were you aware of it before you read the script?

0:21:13.040 --> 0:21:15.480
<v Speaker 1>Not at all. He's a He was a man that

0:21:15.600 --> 0:21:18.359
<v Speaker 1>didn't want his story told for a long time, or

0:21:18.480 --> 0:21:22.600
<v Speaker 1>just wasn't interested in having his story or his actions

0:21:22.640 --> 0:21:26.119
<v Speaker 1>glorified in any way. Um. A big part of who

0:21:26.240 --> 0:21:27.920
<v Speaker 1>he is is that he's a man of God. He's

0:21:28.520 --> 0:21:31.280
<v Speaker 1>a Christian man, more specifically a Seventh day Adventist. But

0:21:31.359 --> 0:21:35.320
<v Speaker 1>I do believe that his actions transcend any specific religion.

0:21:36.240 --> 0:21:40.120
<v Speaker 1>Is always he kind of as a human being, transcended

0:21:41.000 --> 0:21:46.359
<v Speaker 1>the dogma that he was raised in. Um. And it's

0:21:46.440 --> 0:21:48.760
<v Speaker 1>it's expressed in his actions. And he didn't he saved.

0:21:48.920 --> 0:21:50.879
<v Speaker 1>He saved more than seventy That was just one night.

0:21:51.440 --> 0:21:54.520
<v Speaker 1>You know. Throughout the war he saved countless, but this

0:21:54.640 --> 0:21:57.240
<v Speaker 1>particular night, and you know, he he actually said no,

0:21:57.320 --> 0:21:58.840
<v Speaker 1>it was less than that. I think it was probably

0:21:58.880 --> 0:22:02.280
<v Speaker 1>about twenty five or third. But then they counted, and

0:22:03.240 --> 0:22:06.320
<v Speaker 1>you know, and he was just for forever, sincerely, humble

0:22:06.359 --> 0:22:10.479
<v Speaker 1>man UM that didn't want a movie made until at

0:22:10.560 --> 0:22:14.280
<v Speaker 1>the kind of encouragement of his church eventually they said,

0:22:14.359 --> 0:22:17.520
<v Speaker 1>look this, this is a bit selfish of you, actually,

0:22:18.040 --> 0:22:20.879
<v Speaker 1>because because your story is so inspiring and it goes

0:22:20.960 --> 0:22:24.520
<v Speaker 1>beyond you, much like your actions went beyond you. This

0:22:24.640 --> 0:22:28.640
<v Speaker 1>story goes beyond you. And it's possible that if this story,

0:22:28.720 --> 0:22:30.840
<v Speaker 1>if this story is seen by more people than it

0:22:30.920 --> 0:22:34.159
<v Speaker 1>can create some very positive ripples in the world and

0:22:34.240 --> 0:22:38.800
<v Speaker 1>inspire other people to trust themselves more, to be in

0:22:38.960 --> 0:22:42.200
<v Speaker 1>tune with their true selves more, to say no to oppression,

0:22:42.280 --> 0:22:47.280
<v Speaker 1>to say no to people or an institution or a

0:22:47.359 --> 0:22:50.119
<v Speaker 1>culture that is telling them to be something that they

0:22:50.160 --> 0:22:53.080
<v Speaker 1>are not. And that's what he that's the path that

0:22:53.200 --> 0:22:57.480
<v Speaker 1>he walked. He walked that very hard line where his

0:22:57.600 --> 0:23:00.480
<v Speaker 1>own army was telling him to be different, was telling

0:23:00.520 --> 0:23:03.159
<v Speaker 1>him to fall in line and to say no to

0:23:03.440 --> 0:23:06.760
<v Speaker 1>to to the to the guys in charge. Is such

0:23:06.840 --> 0:23:10.160
<v Speaker 1>an act of rebellion. Really, it's kind of a revolutionary

0:23:10.200 --> 0:23:12.960
<v Speaker 1>act to be that devoted to walking your own path.

0:23:14.400 --> 0:23:18.120
<v Speaker 1>I'm always curious of actors whenever they play real life

0:23:18.160 --> 0:23:22.359
<v Speaker 1>people in your research looking into this man, was there

0:23:22.400 --> 0:23:26.240
<v Speaker 1>a certain quality about him that struck you that you

0:23:27.119 --> 0:23:30.920
<v Speaker 1>particularly wanted to carry across in your performance. Um, you know,

0:23:31.680 --> 0:23:36.159
<v Speaker 1>uh ah, there was so many things. That's one of

0:23:36.240 --> 0:23:38.760
<v Speaker 1>the things about the one of the joys and the

0:23:39.000 --> 0:23:43.840
<v Speaker 1>tricky things about playing someone who's who, who's lived, who's

0:23:44.240 --> 0:23:49.800
<v Speaker 1>who existed, and who exists in people's imaginations still, Um,

0:23:50.080 --> 0:23:52.800
<v Speaker 1>is that there's so much to honor. There are so

0:23:52.880 --> 0:23:57.320
<v Speaker 1>many qualities and aspects to bring to life. I would

0:23:57.359 --> 0:24:02.320
<v Speaker 1>say the foundation for me, the thing that really excited

0:24:02.400 --> 0:24:04.200
<v Speaker 1>me one of the things, one of the many things

0:24:04.240 --> 0:24:12.400
<v Speaker 1>that excited me about Desmond was um this in being

0:24:12.480 --> 0:24:16.960
<v Speaker 1>in tune with nature, being in tune with his own nature,

0:24:17.560 --> 0:24:21.760
<v Speaker 1>and being in tune with the world and being insuned

0:24:21.800 --> 0:24:24.440
<v Speaker 1>with what the world was asking of him. Um, I

0:24:24.520 --> 0:24:26.560
<v Speaker 1>say the world, but you can say God, you can

0:24:26.640 --> 0:24:30.800
<v Speaker 1>say Spirit, you can say mystery, the divine, the soul,

0:24:31.040 --> 0:24:34.400
<v Speaker 1>the deep self. You know, you know again he transcends

0:24:34.760 --> 0:24:37.879
<v Speaker 1>his religion in that way for me. So that was

0:24:37.960 --> 0:24:42.520
<v Speaker 1>the thing being being empty enough to listen and being

0:24:42.680 --> 0:24:46.520
<v Speaker 1>quiet enough to hear the messages coming from that very

0:24:46.600 --> 0:24:49.800
<v Speaker 1>still small voice that we all have within us, and

0:24:49.960 --> 0:24:52.119
<v Speaker 1>being in tune with nature. This was something that was

0:24:52.200 --> 0:24:55.399
<v Speaker 1>really exciting to me to explore and to kind of

0:24:55.480 --> 0:24:57.800
<v Speaker 1>luxuriate in. Remember that I think it was a Disney

0:24:57.920 --> 0:25:01.639
<v Speaker 1>as it was a Disney cartoon. Ferdinand the Bull, you know,

0:25:01.840 --> 0:25:04.639
<v Speaker 1>his his this this bull that is supposed to be

0:25:04.960 --> 0:25:09.320
<v Speaker 1>kind of seeing red and and and wanting to kill

0:25:09.560 --> 0:25:11.760
<v Speaker 1>human beings, but instead he just wants to smell the

0:25:11.840 --> 0:25:15.680
<v Speaker 1>flowers in the middle of the auditorium um, or in

0:25:15.720 --> 0:25:19.639
<v Speaker 1>the middle of the coliseum, or wherever bulls fight. Um Uh.

0:25:20.359 --> 0:25:23.159
<v Speaker 1>That is fascinating in the middle of a war situation,

0:25:23.280 --> 0:25:29.200
<v Speaker 1>to have this soul, this gentle um loving soul picking

0:25:29.280 --> 0:25:31.359
<v Speaker 1>up flowers, you know that that was that that was

0:25:31.600 --> 0:25:34.600
<v Speaker 1>such a beautiful thing to try and try and live out,

0:25:35.359 --> 0:25:38.879
<v Speaker 1>I imagine, particularly so in a society that's louder and louder,

0:25:39.280 --> 0:25:41.240
<v Speaker 1>you know. I mean there's so much noise and to

0:25:41.359 --> 0:25:43.640
<v Speaker 1>be able to, as you say, luxuriate in that must

0:25:43.680 --> 0:25:47.520
<v Speaker 1>have been an experience. Um. You know we've talked about

0:25:47.600 --> 0:25:50.080
<v Speaker 1>the the religious and spiritual aspects here is it's something

0:25:50.160 --> 0:25:52.359
<v Speaker 1>that strikes me about Mel Gibson's work. I think he

0:25:52.960 --> 0:25:56.480
<v Speaker 1>tends to make movies about faith in in interesting ways.

0:25:56.680 --> 0:25:59.920
<v Speaker 1>A lot of times it's about the difficulty of maintaining

0:26:00.359 --> 0:26:02.400
<v Speaker 1>one's faith, in fact, in the faith in the face

0:26:02.480 --> 0:26:08.800
<v Speaker 1>of any any number of adversities. Um. And that is

0:26:08.800 --> 0:26:10.720
<v Speaker 1>a quality that's in this film, and I think it's

0:26:10.840 --> 0:26:12.640
<v Speaker 1>from what I hear. I have not seen silence yet,

0:26:12.720 --> 0:26:16.440
<v Speaker 1>but a quality that's in Mr Scorsese's Silence as well.

0:26:16.960 --> 0:26:19.800
<v Speaker 1>And Martin Scorsais he also makes films very much informed

0:26:19.880 --> 0:26:23.800
<v Speaker 1>by his religious upbringing. So given that that's an interesting

0:26:23.880 --> 0:26:25.920
<v Speaker 1>kind of parallel here, I'm curious if there was anything

0:26:26.000 --> 0:26:28.760
<v Speaker 1>about these two filmmakers that struck you as similar as well?

0:26:29.280 --> 0:26:33.720
<v Speaker 1>Oh gosh, I think if if there, if there was

0:26:33.800 --> 0:26:36.440
<v Speaker 1>a similarity, well, I think, well, first of all, I

0:26:36.480 --> 0:26:38.840
<v Speaker 1>think they're both masters in their own way, in in

0:26:39.000 --> 0:26:42.480
<v Speaker 1>very different ways. But I also feel in terms of

0:26:42.520 --> 0:26:46.919
<v Speaker 1>the faith question, they are all too aware of their

0:26:46.960 --> 0:26:50.199
<v Speaker 1>own humanity. They're all too aware of their own fallibility,

0:26:50.400 --> 0:26:52.240
<v Speaker 1>you know, in a beautiful way, like they're in touch

0:26:52.320 --> 0:26:55.200
<v Speaker 1>with all of that human all of that messy human nous.

0:26:55.960 --> 0:26:59.520
<v Speaker 1>And yet they are also in touch with their own

0:27:01.080 --> 0:27:04.720
<v Speaker 1>um longing for the divine, I would say, longing for

0:27:05.119 --> 0:27:09.800
<v Speaker 1>their best selves, longing. You know, Marty's first um instinct

0:27:09.840 --> 0:27:11.440
<v Speaker 1>was to join the priesthood where as a kid, and

0:27:11.520 --> 0:27:13.920
<v Speaker 1>that was his first calling. He probably were were aware

0:27:13.960 --> 0:27:17.199
<v Speaker 1>of that um and you know, thank god he didn't,

0:27:17.359 --> 0:27:20.399
<v Speaker 1>so to speak, because otherwise we wouldn't have had the

0:27:20.560 --> 0:27:25.320
<v Speaker 1>high priest of film that he now has become. Obviously,

0:27:25.400 --> 0:27:27.399
<v Speaker 1>that was I feel I think we were. We'd all

0:27:27.400 --> 0:27:30.320
<v Speaker 1>agree that that was his destiny, and thank god he

0:27:30.359 --> 0:27:33.040
<v Speaker 1>followed it um and he's found a way to explore

0:27:33.480 --> 0:27:35.879
<v Speaker 1>Oh yeah, you know, religion in his own way sense

0:27:36.440 --> 0:27:40.080
<v Speaker 1>and his own messy humanity, with with with the with

0:27:40.200 --> 0:27:42.680
<v Speaker 1>the polar opposite. But I think that was interesting about

0:27:42.720 --> 0:27:44.800
<v Speaker 1>that that film is it is a it is a

0:27:44.880 --> 0:27:51.800
<v Speaker 1>man at odds with himself. And you know, I was

0:27:51.920 --> 0:27:55.640
<v Speaker 1>I would read a lot of Thomas Merton m while

0:27:55.640 --> 0:27:58.160
<v Speaker 1>I was getting ready and filming that that movie in particular,

0:27:58.320 --> 0:28:00.959
<v Speaker 1>and what I love about Murt was Mertin, the Trappist

0:28:01.040 --> 0:28:04.119
<v Speaker 1>monk Thomas Mertin, is that he he was so in

0:28:04.200 --> 0:28:06.280
<v Speaker 1>touch with this humanity and he would write about it

0:28:06.440 --> 0:28:11.960
<v Speaker 1>with such rawness and this idea that a life of

0:28:12.080 --> 0:28:14.879
<v Speaker 1>faith is not a life of certainty. A life of

0:28:14.960 --> 0:28:19.240
<v Speaker 1>faith is also equally a life of doubt, and anyone

0:28:19.320 --> 0:28:22.120
<v Speaker 1>who's living a life of certainty is not to be trusted.

0:28:22.200 --> 0:28:26.600
<v Speaker 1>He said, you know this, this this thing of you

0:28:26.640 --> 0:28:28.720
<v Speaker 1>know what we see with politicians all the times, and

0:28:28.840 --> 0:28:30.800
<v Speaker 1>and and and and strangely a lot of the time

0:28:30.840 --> 0:28:35.240
<v Speaker 1>with politicians who who claim Christianity is there as their

0:28:36.440 --> 0:28:38.920
<v Speaker 1>as that chosen faith. You know, you talked to George

0:28:39.080 --> 0:28:42.200
<v Speaker 1>w Bush about do you have any regrets about, you know,

0:28:42.280 --> 0:28:45.360
<v Speaker 1>invading Iraq and the destruction is I know it was

0:28:45.400 --> 0:28:47.520
<v Speaker 1>all it was, It was it was the perfect decision.

0:28:47.520 --> 0:28:49.480
<v Speaker 1>No regrets at all, No, there was, there was no

0:28:49.560 --> 0:28:53.040
<v Speaker 1>other choice, totally certain. That's this really scary stance. So

0:28:53.160 --> 0:28:57.040
<v Speaker 1>I think both of these films are investigating what it

0:28:57.160 --> 0:28:59.120
<v Speaker 1>is to live a true life of faith. And I

0:28:59.200 --> 0:29:02.680
<v Speaker 1>think the character and in Father Rodriguez in Silence begins

0:29:03.120 --> 0:29:06.080
<v Speaker 1>with this certainty, a bit of a scary certainty, and

0:29:06.160 --> 0:29:09.240
<v Speaker 1>of course experience changes him. Experience transforms him in this

0:29:09.440 --> 0:29:16.400
<v Speaker 1>alchemical way where he realizes that faith and being incarnate

0:29:17.520 --> 0:29:21.720
<v Speaker 1>in this world is a very complicated situation to be

0:29:21.880 --> 0:29:24.320
<v Speaker 1>And it's that and there's not there's not a set

0:29:24.360 --> 0:29:28.080
<v Speaker 1>of rules that applied to every situation. Sometimes there's there's

0:29:29.840 --> 0:29:38.000
<v Speaker 1>sometimes sometimes life. Sometimes life makes you have to break

0:29:38.040 --> 0:29:41.520
<v Speaker 1>the rules in order to live a life of humanity

0:29:41.560 --> 0:29:43.800
<v Speaker 1>and faith. This is a fascinating realm to be in

0:29:45.320 --> 0:29:48.520
<v Speaker 1>and and same for it for Desmond, you know, and

0:29:48.640 --> 0:29:52.200
<v Speaker 1>I think both melon and and Mardy, like any other

0:29:52.280 --> 0:29:59.160
<v Speaker 1>human being, struggles with these questions. I understand you had

0:29:59.200 --> 0:30:06.040
<v Speaker 1>a chance to see so once recently. What do you think. Um,

0:30:06.640 --> 0:30:11.560
<v Speaker 1>I don't want to say anything. I um, I don't

0:30:11.560 --> 0:30:14.560
<v Speaker 1>want to. I don't all right, I'll take you off. Well, no, no,

0:30:14.800 --> 0:30:19.720
<v Speaker 1>what I mean? Like, I can say, I we made

0:30:19.800 --> 0:30:22.400
<v Speaker 1>the movie that that and I really love it. I

0:30:22.560 --> 0:30:25.760
<v Speaker 1>love it. I can I will say it's unlike anything

0:30:25.800 --> 0:30:29.840
<v Speaker 1>I've ever seen. Silence accepted. What's your favorite Martin Scorsese film?

0:30:32.440 --> 0:30:36.920
<v Speaker 1>Oh gosh, how do you even? That's trick? It's impossible.

0:30:37.360 --> 0:30:39.160
<v Speaker 1>I'll start and I'll actually just tell you when I

0:30:39.240 --> 0:30:42.800
<v Speaker 1>think is hugely underrated bringing Out the Dead, Oh god,

0:30:42.880 --> 0:30:45.360
<v Speaker 1>da amazing. I love how that movie just owns the

0:30:45.440 --> 0:30:48.360
<v Speaker 1>Van Morrison song too. Can not listen to TV sheets

0:30:48.360 --> 0:30:51.720
<v Speaker 1>again and not think about an ambulance driving down the street.

0:30:52.320 --> 0:30:55.120
<v Speaker 1>I couldn't, you know what? I hadn't seen coundon when

0:30:55.160 --> 0:30:59.080
<v Speaker 1>I was getting ready for Silence, and I have to

0:30:59.120 --> 0:31:03.480
<v Speaker 1>say I found it so deeply beautiful and and moving

0:31:03.640 --> 0:31:11.440
<v Speaker 1>and layered and rich. Um. I rewatched Taxi Driver twice recently,

0:31:12.680 --> 0:31:14.520
<v Speaker 1>just for fun, just for fun, and it is but

0:31:14.600 --> 0:31:17.760
<v Speaker 1>it is fun weirdly, and that scene that Mark Marty's

0:31:17.800 --> 0:31:24.040
<v Speaker 1>scene in it is kind of crazy, like kind of incredible,

0:31:24.120 --> 0:31:29.840
<v Speaker 1>like something like like that's that's that's like some best

0:31:29.880 --> 0:31:35.440
<v Speaker 1>actor exactly, but incredible act, like proper acting where you go, wait,

0:31:35.560 --> 0:31:38.560
<v Speaker 1>who's the actor in this? Like really and DeNiro is

0:31:38.600 --> 0:31:41.800
<v Speaker 1>letting him, letting him go. It's beautiful, It is so

0:31:41.920 --> 0:31:47.640
<v Speaker 1>so beautiful. Um, he's given us far too much too. Two,

0:31:49.480 --> 0:31:52.200
<v Speaker 1>I don't know, he's given us far too much and

0:31:52.480 --> 0:31:55.800
<v Speaker 1>continues too. It's like this not slowing down, which no,

0:31:56.040 --> 0:32:00.160
<v Speaker 1>he's really not, he can't. It's thank god, do you

0:32:00.200 --> 0:32:04.560
<v Speaker 1>know he's so Yeah, he's given the world himself really

0:32:04.680 --> 0:32:06.880
<v Speaker 1>through through the stories and the movies and the characters

0:32:06.920 --> 0:32:08.880
<v Speaker 1>that he's given us. And speaking of Undoon, I I

0:32:09.280 --> 0:32:12.000
<v Speaker 1>interviewed Thelma Schoonmaker a few years back for Wolf of

0:32:12.080 --> 0:32:14.720
<v Speaker 1>Wall Street and she mentioned at the time that Silence

0:32:14.800 --> 0:32:18.960
<v Speaker 1>was kind of part of their little internal spiritual trilogy

0:32:19.080 --> 0:32:23.400
<v Speaker 1>with Kundoon and Lascitation of Christ, which just made me

0:32:23.480 --> 0:32:26.160
<v Speaker 1>more excited about as you have right now. So I

0:32:26.240 --> 0:32:28.240
<v Speaker 1>look forward to sing good good and yeah, Thelma, I

0:32:28.280 --> 0:32:33.040
<v Speaker 1>mean Thelma is you know, the other the other half

0:32:34.360 --> 0:32:37.360
<v Speaker 1>of of of of Mardi, you know, I they are

0:32:37.480 --> 0:32:42.080
<v Speaker 1>so one person in the edit room. Yeah, I can

0:32:42.200 --> 0:32:45.680
<v Speaker 1>understand now I've seen and she how she's like her

0:32:45.760 --> 0:32:49.280
<v Speaker 1>brilliance and her grace and her I don't know she's

0:32:49.440 --> 0:32:53.680
<v Speaker 1>she's a magician, I think with how she cuts absolutely,

0:32:54.320 --> 0:32:56.000
<v Speaker 1>I just want to venture out a little bit from

0:32:56.040 --> 0:32:59.719
<v Speaker 1>these two movies. Were you sad at all to hang

0:32:59.840 --> 0:33:05.880
<v Speaker 1>up to Spider Man tights? Specifically hanging up the tights

0:33:06.000 --> 0:33:10.480
<v Speaker 1>wasn't a sad moment? But yes, of course, you know

0:33:10.600 --> 0:33:14.440
<v Speaker 1>like that. But when any I think, when any chapter ends,

0:33:14.840 --> 0:33:16.840
<v Speaker 1>it's like the end of a relationship, and there's a

0:33:17.800 --> 0:33:20.080
<v Speaker 1>if I wasn't sad, i'd be a little bit cut

0:33:20.120 --> 0:33:23.480
<v Speaker 1>off from myself. I think. I think there's something wonderful

0:33:23.560 --> 0:33:28.280
<v Speaker 1>about about grieving something and saying goodbye to something. It

0:33:28.360 --> 0:33:31.120
<v Speaker 1>means it meant a great deal, and it means you

0:33:31.240 --> 0:33:35.560
<v Speaker 1>know it was, and it means it's over, which is

0:33:36.320 --> 0:33:41.720
<v Speaker 1>a blessing. And and also um, you know, full of

0:33:41.800 --> 0:33:44.360
<v Speaker 1>full of grief. I'm not very good at goodbyes anyway,

0:33:44.400 --> 0:33:46.680
<v Speaker 1>with with with I'm not very good at things dying,

0:33:46.880 --> 0:33:50.840
<v Speaker 1>not very good at relationships ending. So but it was

0:33:50.840 --> 0:33:56.040
<v Speaker 1>actually a beautiful thing to to to feel the you know,

0:33:57.280 --> 0:33:59.560
<v Speaker 1>watching it sail off into the sunset and me seeing

0:33:59.560 --> 0:34:06.360
<v Speaker 1>the other way. Um, and yet it wasn't like I

0:34:06.560 --> 0:34:09.840
<v Speaker 1>was holding onto it. Um. There was there was a

0:34:09.920 --> 0:34:15.920
<v Speaker 1>really nice feeling of Okay, that's done, like I'm I'm

0:34:16.000 --> 0:34:18.560
<v Speaker 1>good actually you know what I mean? Yeah, did you

0:34:18.640 --> 0:34:23.800
<v Speaker 1>come out of that episode in your career pointed in

0:34:23.880 --> 0:34:26.520
<v Speaker 1>a certain direction? Like did? Did? Did? Because you know

0:34:26.920 --> 0:34:29.600
<v Speaker 1>today that's such a big part of the business, the

0:34:29.680 --> 0:34:32.200
<v Speaker 1>franchises and everything, And I don't know what it does

0:34:32.280 --> 0:34:34.000
<v Speaker 1>to when you were a part of something, so it's

0:34:34.000 --> 0:34:36.440
<v Speaker 1>such a central part of something like that, what it

0:34:36.520 --> 0:34:39.080
<v Speaker 1>does to what you want to do? Like coming out

0:34:39.120 --> 0:34:41.000
<v Speaker 1>of it, did you have any kind of goal? Did

0:34:41.080 --> 0:34:45.040
<v Speaker 1>it lit you can speak to like what well? Um?

0:34:46.400 --> 0:34:49.839
<v Speaker 1>It having been in that environment for five years, which

0:34:49.920 --> 0:34:54.440
<v Speaker 1>is a very specific environment. UM, I was craving smaller.

0:34:55.719 --> 0:35:01.359
<v Speaker 1>I was craving um tighter. I was craving a bit

0:35:01.600 --> 0:35:05.160
<v Speaker 1>more pressure in a weird way. UM. And the first

0:35:05.160 --> 0:35:07.239
<v Speaker 1>film I shot after that wasn't the film called ninety

0:35:07.320 --> 0:35:09.800
<v Speaker 1>nine Homes, which was you know, my truck was my

0:35:09.880 --> 0:35:14.520
<v Speaker 1>trailer and you know it was it was mostly non

0:35:14.560 --> 0:35:18.080
<v Speaker 1>actors apart from me and Laura and Mike Shannon and

0:35:18.120 --> 0:35:22.720
<v Speaker 1>a few other people. Um. And there was a longing

0:35:22.840 --> 0:35:28.319
<v Speaker 1>to simplify, I think, and to strip away excesses. UM,

0:35:28.960 --> 0:35:31.799
<v Speaker 1>because obviously we we we we know that those those

0:35:31.880 --> 0:35:37.719
<v Speaker 1>movies are very very big in all ways and the

0:35:37.840 --> 0:35:43.360
<v Speaker 1>pressures of them are different. Um. And I wanted to

0:35:45.480 --> 0:35:49.520
<v Speaker 1>be able to fully focus on the simple job of

0:35:50.600 --> 0:35:56.080
<v Speaker 1>of being the storyteller as as the actor. Um. That

0:35:56.320 --> 0:35:58.000
<v Speaker 1>and that's kind of where I want to be anyway,

0:35:58.040 --> 0:36:00.880
<v Speaker 1>I think forever, you know, in as as long as

0:36:00.920 --> 0:36:04.600
<v Speaker 1>I'm doing movies and plays, I just want to anything

0:36:04.680 --> 0:36:08.759
<v Speaker 1>that takes away from the story is um is to

0:36:08.840 --> 0:36:14.160
<v Speaker 1>be sidestepped really and and you know, just trim trimm

0:36:14.200 --> 0:36:16.280
<v Speaker 1>the fat off and get to the thing that matters.

0:36:17.160 --> 0:36:19.680
<v Speaker 1>And I think there's a lot of agitation around those movies.

0:36:19.719 --> 0:36:26.440
<v Speaker 1>There's lots of excessive kind of weirdness around around those

0:36:26.520 --> 0:36:28.279
<v Speaker 1>kinds of films. I have nothing against them. I love

0:36:28.360 --> 0:36:31.279
<v Speaker 1>watching them, and I and there were elements of participating

0:36:31.320 --> 0:36:34.000
<v Speaker 1>that felt really really good and there are elements that didn't.

0:36:34.920 --> 0:36:38.400
<v Speaker 1>But um, but also I I was longing to be

0:36:38.600 --> 0:36:45.759
<v Speaker 1>on a set where um, you know it was it

0:36:46.000 --> 0:36:52.640
<v Speaker 1>was story first and theme first and um you know

0:36:52.880 --> 0:36:55.640
<v Speaker 1>where the where where that where? That was the list

0:36:55.719 --> 0:36:59.200
<v Speaker 1>of priorities. Yeah, I hear you. One of my favorite

0:36:59.200 --> 0:37:02.239
<v Speaker 1>films of last year. Thanks such such an amazing movie.

0:37:02.360 --> 0:37:03.920
<v Speaker 1>Cheers man, I thank you. That actually means a lot.

0:37:04.000 --> 0:37:05.440
<v Speaker 1>That means a great deal to hear that. Thank you

0:37:05.840 --> 0:37:09.200
<v Speaker 1>and another filmmaker you worked with that. I'm curious about

0:37:09.200 --> 0:37:11.000
<v Speaker 1>your experience with I hope he can make some more

0:37:11.040 --> 0:37:16.799
<v Speaker 1>movies Mark Rominett like I love Mark, and I love

0:37:16.880 --> 0:37:18.799
<v Speaker 1>him as a as a friend as well. He's um,

0:37:20.480 --> 0:37:23.239
<v Speaker 1>he's so himself. You know, he's so precise, and I

0:37:23.320 --> 0:37:28.799
<v Speaker 1>think this is why he doesn't make a movie very often,

0:37:29.320 --> 0:37:33.680
<v Speaker 1>is because he's so precise and he's so uncompromising in

0:37:33.800 --> 0:37:35.480
<v Speaker 1>what he wants to put on the screen and this

0:37:35.719 --> 0:37:37.279
<v Speaker 1>kind of story he wants to tell in the way

0:37:37.360 --> 0:37:39.839
<v Speaker 1>he wants to tell it. I know he's gotten close

0:37:39.880 --> 0:37:42.360
<v Speaker 1>to making a bunch of stuff recently, but it hasn't

0:37:42.400 --> 0:37:46.960
<v Speaker 1>worked out because of that very um specific vision that

0:37:47.040 --> 0:37:49.960
<v Speaker 1>he has. UM. I absolutely love him, and I think

0:37:50.040 --> 0:37:56.320
<v Speaker 1>he's visual and emotional sensibility is so fascinating. And I

0:37:56.560 --> 0:37:59.520
<v Speaker 1>share your feelings. I want him to make I want

0:37:59.600 --> 0:38:01.520
<v Speaker 1>him to keep making films as often as possible. The

0:38:01.560 --> 0:38:04.880
<v Speaker 1>film there has never let me go. UM and Uh,

0:38:05.239 --> 0:38:09.239
<v Speaker 1>the Johnny Cash Hurt video just phenomenal. Speaking of Mark,

0:38:10.320 --> 0:38:11.719
<v Speaker 1>you have some films coming up. I just wanted to

0:38:11.719 --> 0:38:16.160
<v Speaker 1>touch on. We were talking right beforehand about David Robert Mitchell,

0:38:16.719 --> 0:38:19.759
<v Speaker 1>director of It Follows. You're you're about to make this

0:38:20.080 --> 0:38:22.600
<v Speaker 1>kind of l a noir film with him. What's the

0:38:22.680 --> 0:38:24.960
<v Speaker 1>name of that? It's called Under the Silver under the

0:38:25.000 --> 0:38:28.840
<v Speaker 1>Silver Lake, that takes place in Silver Lake. Uh. It

0:38:28.960 --> 0:38:31.320
<v Speaker 1>Follows was an amazing movie last year. Just such a

0:38:31.360 --> 0:38:34.560
<v Speaker 1>singular kind of vision this guy has. How are you

0:38:34.640 --> 0:38:38.040
<v Speaker 1>finding kind of gearing up with him for this? It's great?

0:38:38.320 --> 0:38:42.120
<v Speaker 1>It's um again. He's so clear in his vision and

0:38:42.480 --> 0:38:46.800
<v Speaker 1>and yet collaborative simultaneously. UM. And I just love the

0:38:46.960 --> 0:38:51.320
<v Speaker 1>tone of his films and the atmosphere that he creates.

0:38:51.960 --> 0:38:54.239
<v Speaker 1>And this script is one of the best scripts I've

0:38:54.239 --> 0:38:58.800
<v Speaker 1>ever read. And it's so multilayered and so wild and

0:38:59.000 --> 0:39:03.920
<v Speaker 1>out there and um again, kind of unlike anything I've

0:39:03.960 --> 0:39:07.400
<v Speaker 1>ever I've ever I've ever read in script for UM

0:39:07.960 --> 0:39:11.680
<v Speaker 1>and it's I can name things that it's inspired by,

0:39:11.800 --> 0:39:17.120
<v Speaker 1>but yeah, it's totally its own thing. UM And it's

0:39:17.360 --> 0:39:25.240
<v Speaker 1>it's um. It's so weird and and and and funny

0:39:25.320 --> 0:39:32.520
<v Speaker 1>and sexy and terrifying and intriguing and mysterious. And um,

0:39:32.960 --> 0:39:38.319
<v Speaker 1>it's about so many things and yet about nothing. It's

0:39:38.360 --> 0:39:41.120
<v Speaker 1>so weird. And he's um and you know, he just

0:39:41.360 --> 0:39:43.719
<v Speaker 1>he is a he's a total cinophile. So he's just

0:39:45.000 --> 0:39:47.479
<v Speaker 1>sending me so many movies to look at his reference points.

0:39:47.560 --> 0:39:50.719
<v Speaker 1>And is that helpful or is that it's really helpful? Yeah,

0:39:50.719 --> 0:39:53.000
<v Speaker 1>because some people might feel like that gets in the way,

0:39:53.040 --> 0:39:55.360
<v Speaker 1>so I might serious how people. I love it, you know,

0:39:55.480 --> 0:39:59.600
<v Speaker 1>I I personally love it, um, I because I don't

0:39:59.680 --> 0:40:01.920
<v Speaker 1>have my time to watch many movies and unless the

0:40:02.040 --> 0:40:05.400
<v Speaker 1>homework really yeah, um and uh so yeah, so I

0:40:05.600 --> 0:40:08.440
<v Speaker 1>find it really really really useful. Well again, everyone, the

0:40:08.520 --> 0:40:11.920
<v Speaker 1>movie's hacks All Ridge. It opens November four, and Silence

0:40:12.000 --> 0:40:16.800
<v Speaker 1>will be later in December. Decembery limited, so look forward

0:40:16.840 --> 0:40:19.400
<v Speaker 1>for that. And thank you again man for coming by.

0:40:19.400 --> 0:40:30.640
<v Speaker 1>I appreciate it, Thank you for having me. Thanks again

0:40:30.680 --> 0:40:33.600
<v Speaker 1>for listening. Everyone. Remember to subscribe and check back next

0:40:33.640 --> 0:40:35.600
<v Speaker 1>week when I'll be talking to the director of hacks

0:40:35.640 --> 0:40:37.000
<v Speaker 1>All Ridge, Mel Gibson.