WEBVTT - Ep21 - Ruth Negga / "Loving"

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<v Speaker 1>Welcome to Playback, a Variety podcast. I'm your host, Variety

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<v Speaker 1>Awards Editor Chris Tapley. On today's show, the Oscar nominations

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<v Speaker 1>are in. What were the surprises and what can we

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<v Speaker 1>expect out of the eighty nine Annual Academy Awards. A

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<v Speaker 1>little bit later, I'll be talking to one of this

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<v Speaker 1>year's Oscar nominees, loving star Ruth Nigga. So stick around. Okay,

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<v Speaker 1>here we are and we have Oscar nominations to talk about.

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<v Speaker 1>Hello morning, and thank you for waiting for the day

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<v Speaker 1>after Oscar nominations. Because I was up to three a m. Yesterday,

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<v Speaker 1>I took a nap. Eventually, I hate you. I couldn't help.

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<v Speaker 1>I mean a certain point. Look, if you do anything else,

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<v Speaker 1>you will collapse right now. I had a very long

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<v Speaker 1>day because after it was the day of the Oscar dominations,

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<v Speaker 1>and then I had two Q and a S with

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<v Speaker 1>with two amazing redheads um first Amy Adams and Emma Stone.

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<v Speaker 1>So it ended up being being a pretty long day.

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<v Speaker 1>Did you eat a TV right in the morning? I did, yes,

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<v Speaker 1>uh no, And everybody patted me on the back for

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<v Speaker 1>managing to make it through this segment without getting sick. Well,

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<v Speaker 1>you know, not too many shockers. I guess beyond I

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<v Speaker 1>guess you know you just mentioned Amy Adams, so just

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<v Speaker 1>start there. That was the biggest surprise for everyone. Pretty surprising.

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<v Speaker 1>I mean you always wondered. Yeah, you said all along

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<v Speaker 1>you weren't sure she got in, and I wasn't sure either,

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<v Speaker 1>just because I don't know if sci fi gets the

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<v Speaker 1>respect it deserves. But then with the Golden Globe nomination

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<v Speaker 1>and the SAG nomination and the Critics Choice nomination, like,

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<v Speaker 1>she seemed very secure. And I hate to say that,

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<v Speaker 1>like one person pushed another person out, but um, obviously

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<v Speaker 1>you know there were some people who were considered on

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<v Speaker 1>the bubble who made it in and and Amy did not. Yeah,

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<v Speaker 1>it's a low key performance too, It's not like it's

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<v Speaker 1>this big Academy quote unquote performance in that way. So presumably,

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<v Speaker 1>I mean, you never know who's fourth, who's fifth. A

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<v Speaker 1>lot of people think it's Meryl Streep, like she somehow

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<v Speaker 1>on the afterburners. I mean, it could be Ruth, though

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<v Speaker 1>Ruth Negga didn't have any support, and you'll make itself

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<v Speaker 1>crazy thinking about it. I just I did not have

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<v Speaker 1>Meryl on my list for the longest time until after

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<v Speaker 1>her Golden Globe speech. I was like, Okay, she kind

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<v Speaker 1>of sealed it with that. But then it's disappointing because

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<v Speaker 1>the other omission that that was very sad for me

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<v Speaker 1>was Hugh Grant was not nominated from the same movie.

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<v Speaker 1>What do you think happened there? I think we take

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<v Speaker 1>him for granted to some extent, or maybe you know,

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<v Speaker 1>the movie didn't get I think only Meryl was nominated

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<v Speaker 1>from the movie. Um. Act, yeah, yeah, costumes were nominateds

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<v Speaker 1>were nominated. Okay. I mean it's possible the movie just

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<v Speaker 1>didn't connect with Oscar voters and Meryl got in because

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<v Speaker 1>she's Meryl. Um. I think it's also possible he might

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<v Speaker 1>have split his votes a bit. Some people might have

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<v Speaker 1>thought he was a lead. Yeah you know, um he

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<v Speaker 1>was nominated for lead at the Golden Globes. Maybe maybe

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<v Speaker 1>that wasn't a smart move on the studio's part to

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<v Speaker 1>position him that way there. Who knows. Something that was

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<v Speaker 1>interesting to me was, you know, ever since Nocturnal Animals

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<v Speaker 1>premiered at the on the festival circuit, people were talking

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<v Speaker 1>about Michael Shannon and then that sort of died down

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<v Speaker 1>and it became Aaron Taylor Johnson with the Globe in

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<v Speaker 1>bathtonom So seeing Michael Shannon's name was a huge He's

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<v Speaker 1>always creedy, Yeah that guy. Yeah, No, me too. That's

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<v Speaker 1>what's interesting, Actually this quote surprises were things that we

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<v Speaker 1>all thought was gonna happen early on that we stopped

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<v Speaker 1>thinking was gonna happen. Mike Shannon Twentieth Century Women for

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<v Speaker 1>Screenplay is an example too. I um, you know, regarding

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<v Speaker 1>Amy Adams, look, she's in good company and at Benning

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<v Speaker 1>wasn't nominated TOI p Henson wasn't nominated, was so holding

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<v Speaker 1>out hope that Taragi would get in. Uh, you know,

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<v Speaker 1>it was just it's just a testament to what a

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<v Speaker 1>great year was for actresses. But but it was pretty

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<v Speaker 1>shocking that also, you know, everyone loves Amy Adams. I

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<v Speaker 1>just she's had a lot of work. I mean, she

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<v Speaker 1>carried the load. You know, Dennis was off working on

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<v Speaker 1>Blay Runner. Uh, you know, I don't know, I didn't

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<v Speaker 1>really see Jeremy Renner around on this movie. I don't

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<v Speaker 1>know if she was working. They obviously loved really, i mean,

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<v Speaker 1>eight nominations, so to not nominate the person who is

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<v Speaker 1>sort of the face of the movie you know, holding

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<v Speaker 1>it together. You made your case for that. I certainly

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<v Speaker 1>did well. You said you did a Q and A

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<v Speaker 1>with her. Yeah, she was hilarious. I mean she you know,

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<v Speaker 1>I can't speak for her, but I got the impression that,

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<v Speaker 1>like I think Dennis Miller, before he went crazy years ago,

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<v Speaker 1>said something to the effect of, if the worst thing

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<v Speaker 1>that happens in your life is your show gets canceled,

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<v Speaker 1>you led a fucking charmed life. So I think she

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<v Speaker 1>has like really good perspective about it. Um, all I

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<v Speaker 1>can say is that she was in a great mood

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<v Speaker 1>last night. She was really funny. She is so happy

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<v Speaker 1>for Denny and for the movie, and um, you know,

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<v Speaker 1>she was just she's just great with the audience and

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<v Speaker 1>and seemed in really good spirits. Well here's the thing, Uh,

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<v Speaker 1>next time she's in the running, she probably went well,

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<v Speaker 1>you know, in a way, it might be the best

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<v Speaker 1>thing that could have happened, because she probably wasn't gonna win,

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<v Speaker 1>although for a while I was thinking she could. But um,

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<v Speaker 1>so now you know, it sets her up to be like, yeah,

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<v Speaker 1>she's she's building a great narrative, so you know, whatever's next. Yeah,

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<v Speaker 1>what else? Uh, Captain Fantastic didn't pan out. I mean

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<v Speaker 1>I think I had I had hopes that I knew

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<v Speaker 1>were a little you know, on on the precipice, and

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<v Speaker 1>none of them panned out. No Kevin Costner or no Taragi,

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<v Speaker 1>no Captain Fantastic. Although Vigo got in, which I'm thrilled about.

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<v Speaker 1>That lineup seemed locked in place year it was kind

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<v Speaker 1>of interesting. Um oh, I was still, you know, pulling

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<v Speaker 1>for Tom Hanks, but again, nobody feels sorry for Tom Hanks,

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<v Speaker 1>let alone Tom Hanks. America's dead. Yeah, let's see, let's

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<v Speaker 1>look at the Where are the freaking nominations? Do you uh?

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<v Speaker 1>Do you have any um p G A We have

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<v Speaker 1>p G A n SAG this weekend. Gosh, Well, the

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<v Speaker 1>PGA nominees are the Best Picture nominees plus Deadpool. Yes,

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<v Speaker 1>Deadpool did not make it, in which we both sort

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<v Speaker 1>of expected. Yeah. I think some people got their hopes

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<v Speaker 1>up on that, which is I think they did. Yeah,

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<v Speaker 1>but I mean, look, they weren't getting their hopes up

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<v Speaker 1>without you know, any evidence to support them. I mean,

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<v Speaker 1>a pre a WT nomination is pretty great. The sneeze at. Yeah,

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<v Speaker 1>here's the nominations. Mel Gibson got in yes End of

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<v Speaker 1>the Day, which was a little surprising to me, just because,

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<v Speaker 1>as I've said before, I thought he had a better

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<v Speaker 1>shot with the more vast d g A, where Garth

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<v Speaker 1>Davis was nominated for Lions. Like I would have thought

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<v Speaker 1>me too, That's exactly what I thought, Like Mel would

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<v Speaker 1>have been in for d g A and Garth would

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<v Speaker 1>have slipped in for Oscars. Lobster got that screenplay nomination.

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<v Speaker 1>About that U thirteen Hours got that sound nomination. Yeah,

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<v Speaker 1>Suicide Squad can call itself an Oscar nominee, and Passengers,

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<v Speaker 1>I mean, that's a look. I think Passengers is a

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<v Speaker 1>much better film than Suicide Squad, but I don't know

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<v Speaker 1>that's that's like giving a cannibal a knife and fork.

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<v Speaker 1>Passengers got two nominations. Thomas Newman got in, which I

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<v Speaker 1>was wondering what was going to happen there because that

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<v Speaker 1>branch the composers are so insular and they always nominate

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<v Speaker 1>their own, and this year there was like John Williams,

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<v Speaker 1>James Newton Howard had the Fantastic Beasts score, Thomas Newman

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<v Speaker 1>had Passengers, And you know, these are kind of lackluster

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<v Speaker 1>compared to what those guys usually put out, and meanwhile

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<v Speaker 1>there was all this new blood and some of it

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<v Speaker 1>got in, like Michael Levy for Jackets got in and

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<v Speaker 1>uh we all figured the lion uh composers would get

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<v Speaker 1>in Nicholas Burttel for Moonlight. So all the it's it's

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<v Speaker 1>it's uh, it's mostly new blood and then Thomas Newman

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<v Speaker 1>so just reminds you that they do take care of

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<v Speaker 1>their own. Still. I just rewatched Moonlight over the weekend

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<v Speaker 1>for the first time in months and was really struck

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<v Speaker 1>by how good the score is. Uh, that string stuff

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<v Speaker 1>is amazing when he out there in the water with

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<v Speaker 1>by the way, if I can plug, I did a

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<v Speaker 1>sag after a career conversation with Mirschel that's now online,

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<v Speaker 1>and it is like just listening to that man speak,

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<v Speaker 1>he's a charm. Yeah, it's hard not to like tear

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<v Speaker 1>up half the time. I was very proud of myself,

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<v Speaker 1>I must say, not to be a douche. The visual

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<v Speaker 1>effects a nailed and and and only because I went

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<v Speaker 1>to that bake off. Really, that really homework pays off.

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<v Speaker 1>It gives you a perspective that you wouldn't have otherwise, because,

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<v Speaker 1>as I've said before, that deep water Horizon Real was amazing.

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<v Speaker 1>The Kubo guys really made a passionate plea and they

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<v Speaker 1>both got in. Yeah. Over Arrival, I was kind although there,

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<v Speaker 1>but I guess Arrival wasn't as you know, flashy as

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<v Speaker 1>when you get down to it, it it really is. It's

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<v Speaker 1>very low key effects humanity. Yeah, but then so was

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<v Speaker 1>ex mckinna and not One, which was not something that

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<v Speaker 1>pleased that branch last year. Yeah, have we not talked

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<v Speaker 1>about that? There's an they Yeah, I mean this year

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<v Speaker 1>at the bake off, the guy made a little speech like,

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<v Speaker 1>remember your voting for the best visual effects, not the

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<v Speaker 1>best movie with visual effects, And some people took that

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<v Speaker 1>as like anti Arrival, but it had something to do

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<v Speaker 1>with the x macin of it all last year, beating

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<v Speaker 1>Mad Max and Martian and Star Wars effect these big

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<v Speaker 1>like but you know, it's a political branches, a political industry.

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<v Speaker 1>So all these major effects houses working on these movies

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<v Speaker 1>and then they lose TWEX Machina, which my answer is

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<v Speaker 1>if you don't like it, don't nominate x macinn in

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<v Speaker 1>the first place. Also, X main I had amazing great effects, Yeah,

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<v Speaker 1>especially considering their budget. So okay, let's take. We asked

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<v Speaker 1>for some questions this week, Yes, let's pull them up.

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<v Speaker 1>You know, I just had a thought, what have the

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<v Speaker 1>Amy Adams win SAG. I don't think it's gonna happen.

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<v Speaker 1>But you think you think Emma begins her march at say,

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<v Speaker 1>but it would not be surprised, Natalie Portman one, I

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<v Speaker 1>would actors love that movie? I love it. I'd be surprised.

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<v Speaker 1>You know, do you think Casey is a lock for

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<v Speaker 1>actor because if she doesn't win SAG, Ryan's not winning

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<v Speaker 1>SAG and it's not nominated for ensemble, so it's lain

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<v Speaker 1>walking out of SAG without an an award. You don't

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<v Speaker 1>think Ryan's winning? Say, I don't know. I really am

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<v Speaker 1>pretty sure that's going to cast. I mean, I'm very

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<v Speaker 1>excited for this weekend because we will have some answers.

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<v Speaker 1>You know, let's give these people some answers. Didn't okay,

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<v Speaker 1>Dennis kN Okay, Sorry dude. Uh. I think La La

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<v Speaker 1>Land is winning nine Oscars, but I'm not so sure

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<v Speaker 1>about screenplay and sound editing thoughts. I think Land is

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<v Speaker 1>probably winning screenplay. I don't understand why people are feel

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<v Speaker 1>like that's an issue. But against that winning screenplay, I

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<v Speaker 1>thought that was gonna win screenplay back when I thought

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<v Speaker 1>that was the only award it was gonna win. Like

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<v Speaker 1>it's it's a great screenplay. It's kind of the thrust

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<v Speaker 1>of the movie is what he's put on the page

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<v Speaker 1>in many ways that musicals don't have screenplays or something,

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<v Speaker 1>which is ridiculous. There's more dialogue than music in that movie. Absolutely,

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<v Speaker 1>it's a very witty screenplay and just exchanges and everything.

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<v Speaker 1>So I think he's good. Maybe it loses to Manchester,

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<v Speaker 1>but I don't think, yeah, that's the only thing it

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<v Speaker 1>can lose to. I think, yeah, I think you're right.

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<v Speaker 1>I don't think sound editing is going to happen. But

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<v Speaker 1>I didn't think the nomination was gonna happen. I was

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<v Speaker 1>a little dumbfounded by that. Who do you think it

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<v Speaker 1>could lose to Hacksaw? Okay, so it's like either Bullets

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<v Speaker 1>or Broadway basically, I mean I think that Oh wait,

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<v Speaker 1>I got a headline, hold on down. It's like an

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<v Speaker 1>old school variety headline coming in over the transom. I

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<v Speaker 1>think I think law law is gonna win. Sound mixing

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<v Speaker 1>musicals win sound mixing, Yeah, but sound editing if it

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<v Speaker 1>win's sound editing watch out. Yeah, I know, watch out

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<v Speaker 1>because I already think it's going to tie the record

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<v Speaker 1>for wins been Her and Titanic, and uh so you

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<v Speaker 1>have it winning everything everything except iund editing one of

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<v Speaker 1>the songs Ryan Gosling and one of the songs, and

0:12:03.840 --> 0:12:07.319
<v Speaker 1>Gosling is not Yeah, you know, he's definitely a creeper there.

0:12:08.600 --> 0:12:12.640
<v Speaker 1>Uh this says can anything stop La La Land? Clearly not. Um,

0:12:12.679 --> 0:12:15.320
<v Speaker 1>you know, fourteen nominations. We we kind of buried that.

0:12:15.440 --> 0:12:17.600
<v Speaker 1>But that's the lead of the day, was tying a

0:12:17.640 --> 0:12:20.960
<v Speaker 1>record that all about even Titanic had, and it probably

0:12:21.000 --> 0:12:22.840
<v Speaker 1>would have broken the record if they hadn't changed the

0:12:23.000 --> 0:12:25.160
<v Speaker 1>rooms about the songs. Yeah, it could have got three

0:12:25.160 --> 0:12:28.839
<v Speaker 1>songs back in the day, absolutely, and uh if it

0:12:29.000 --> 0:12:32.800
<v Speaker 1>you know, if there were some like makeup wizardry that

0:12:32.840 --> 0:12:34.400
<v Speaker 1>they had put into the movie or some a visual

0:12:34.400 --> 0:12:38.320
<v Speaker 1>effect situation, like yeah, it was. It's amazing how much

0:12:38.400 --> 0:12:41.640
<v Speaker 1>this movie took this town by storm. And uh no,

0:12:41.760 --> 0:12:45.280
<v Speaker 1>nothing's gonna stop it unless there's some closet and damien

0:12:46.000 --> 0:12:49.000
<v Speaker 1>skeleton and Damien's closet somebody wants to dig out. But

0:12:49.080 --> 0:12:54.040
<v Speaker 1>I think that like that. Yeah, but the way I

0:12:54.080 --> 0:12:56.000
<v Speaker 1>did a Q and A with the producers of La

0:12:56.080 --> 0:12:58.360
<v Speaker 1>La Land on Sunday, and I don't know why, I

0:12:58.440 --> 0:13:01.400
<v Speaker 1>just loved the story. But Mark Platt was talking about, um,

0:13:01.440 --> 0:13:03.600
<v Speaker 1>you know in the opening scene it's all one take,

0:13:03.880 --> 0:13:07.600
<v Speaker 1>or it's got to look like one take. Um, you know.

0:13:07.600 --> 0:13:09.520
<v Speaker 1>It just shows you how hands on the producers are,

0:13:09.600 --> 0:13:12.280
<v Speaker 1>like Mark Platt, producer of Wicked, producer of movies like

0:13:12.280 --> 0:13:15.360
<v Speaker 1>Bridge of Spies. Apparently they were having trouble getting the

0:13:15.440 --> 0:13:18.520
<v Speaker 1>door in the back of the truck tot up to reveal,

0:13:18.760 --> 0:13:21.160
<v Speaker 1>you know, the drummers. So Mark Platt was back there

0:13:21.200 --> 0:13:25.080
<v Speaker 1>pulling you forget that door to open. I love that.

0:13:25.080 --> 0:13:27.960
<v Speaker 1>That was one of the three cuts I think in

0:13:28.000 --> 0:13:31.760
<v Speaker 1>that sequence was when the door opens. Um that that

0:13:31.840 --> 0:13:35.040
<v Speaker 1>question was from no offense from Tom That's funny. I

0:13:35.040 --> 0:13:39.240
<v Speaker 1>just got that. Does Arrival have a realistic shot to

0:13:39.280 --> 0:13:41.440
<v Speaker 1>win any Oscars? I'm a big fan, but afraid it

0:13:41.440 --> 0:13:44.480
<v Speaker 1>will go. I think I think it might, really I

0:13:44.520 --> 0:13:46.640
<v Speaker 1>think it'll get something below the line. But you know

0:13:46.640 --> 0:13:48.640
<v Speaker 1>where I think it's best shot might be. And this

0:13:48.720 --> 0:13:52.040
<v Speaker 1>might be crazy, is adapted screenplay. It would have to be,

0:13:52.120 --> 0:13:54.840
<v Speaker 1>you might, it would have to be happening. But yeah,

0:13:54.880 --> 0:13:56.800
<v Speaker 1>I mean I could see that, or I could I

0:13:56.840 --> 0:14:00.319
<v Speaker 1>could see film editing or sound editing happening the way

0:14:00.360 --> 0:14:03.120
<v Speaker 1>I just realized Manchester wasn't nominated for film editing. Yeah,

0:14:03.200 --> 0:14:07.080
<v Speaker 1>I called that. I've heard editors kind of bemoan the

0:14:07.080 --> 0:14:09.440
<v Speaker 1>way they play with time in that movie. A lot

0:14:09.480 --> 0:14:12.160
<v Speaker 1>of them think they discovered it after the fact, like

0:14:12.200 --> 0:14:14.080
<v Speaker 1>it was a manifested thing, but it was in the

0:14:14.080 --> 0:14:17.679
<v Speaker 1>shooting script, the way he wrote the flashbacks in so

0:14:17.679 --> 0:14:20.160
<v Speaker 1>solid editing, I thought, but it was left on the sidelines.

0:14:21.200 --> 0:14:23.040
<v Speaker 1>But yeah, I think Arrival could win editing because of

0:14:23.080 --> 0:14:25.640
<v Speaker 1>its structure. I think it could win, which is funny.

0:14:25.680 --> 0:14:27.720
<v Speaker 1>It's kind of a similar structure to Manchester. So why

0:14:27.720 --> 0:14:31.560
<v Speaker 1>are they bitching about Manchester? Yeah, I don't know. I

0:14:31.600 --> 0:14:35.360
<v Speaker 1>think it adapted is you know, the darkest of forces,

0:14:35.400 --> 0:14:37.880
<v Speaker 1>but you know, worth mentioning because of what kind of

0:14:37.880 --> 0:14:40.600
<v Speaker 1>a story it is. And again sound editing, like if

0:14:40.640 --> 0:14:43.200
<v Speaker 1>they obviously they like a Rival more than they like Hacksaw.

0:14:43.480 --> 0:14:45.400
<v Speaker 1>I'm picking hacks all right now, just because it's a

0:14:45.400 --> 0:14:49.080
<v Speaker 1>war movie. But you know, I could see them thrown

0:14:49.120 --> 0:14:52.360
<v Speaker 1>at a bone there. But at the moment, yeah, I

0:14:52.680 --> 0:14:57.440
<v Speaker 1>think it walks away empty handed. Kyle says, is there

0:14:57.480 --> 0:15:00.600
<v Speaker 1>anyone who could surprise with a win. I'm keeping an

0:15:00.600 --> 0:15:03.240
<v Speaker 1>eye on Shannon and the Lobster. Well, I wouldn't keep

0:15:03.240 --> 0:15:06.360
<v Speaker 1>my eye on the Lobster. I mean, I love the Lobster,

0:15:06.480 --> 0:15:09.120
<v Speaker 1>but that's not something that I actually in original screenplay.

0:15:09.160 --> 0:15:11.720
<v Speaker 1>I think, yeah, it's too tough. But somebody said yesterday,

0:15:11.760 --> 0:15:15.400
<v Speaker 1>I think it was Kyle by Channon. Uh said, um that, like,

0:15:15.440 --> 0:15:17.360
<v Speaker 1>as much as he loves Merschel, Ali kind of wants

0:15:17.360 --> 0:15:20.800
<v Speaker 1>Michael Shannon to win just to hear the speech. Ye oh,

0:15:20.920 --> 0:15:23.080
<v Speaker 1>yeah he would. I'm sure you'd have something to say

0:15:23.120 --> 0:15:28.080
<v Speaker 1>about exactly h surprises. Let's see. I am, like I said,

0:15:28.120 --> 0:15:31.880
<v Speaker 1>I am not. I think there's gonna be some surprise

0:15:31.920 --> 0:15:34.000
<v Speaker 1>in one of the acting categories. I just don't know

0:15:34.040 --> 0:15:36.920
<v Speaker 1>what it is. I think I could see Casey fallen off.

0:15:36.960 --> 0:15:40.320
<v Speaker 1>That's my concern, like shocking, like, but I don't know

0:15:40.360 --> 0:15:44.880
<v Speaker 1>that it is shocking because um Denzel is so powerful

0:15:44.880 --> 0:15:46.640
<v Speaker 1>in the movie and so highly regarded, and I mean

0:15:46.680 --> 0:15:48.920
<v Speaker 1>he's got some stiff competition. It's a testament to how

0:15:48.920 --> 0:15:51.080
<v Speaker 1>good gays he is. That he's you know, he's been

0:15:51.120 --> 0:15:55.480
<v Speaker 1>so dominant. Yeah, yeah, so, and I we we talk

0:15:55.520 --> 0:15:57.800
<v Speaker 1>a lot about like, don't underestimate Ryan Gosling, don't I

0:15:57.800 --> 0:16:02.920
<v Speaker 1>start underwardsmate, bil Morton's in Viola is good to go.

0:16:03.160 --> 0:16:06.200
<v Speaker 1>I mean, if Viola doesn't win, it would be the

0:16:06.240 --> 0:16:08.840
<v Speaker 1>biggest shock. Some people think it's about who paris in

0:16:08.880 --> 0:16:10.520
<v Speaker 1>the running here. I just don't know a lot of

0:16:10.520 --> 0:16:12.840
<v Speaker 1>people do. I don't think so either. But again, a

0:16:12.880 --> 0:16:15.000
<v Speaker 1>lot of people to hate that movie. I was actually

0:16:15.000 --> 0:16:17.720
<v Speaker 1>surprised you got in. Ultimately, I was surprised she got

0:16:17.720 --> 0:16:22.400
<v Speaker 1>into Grainy Adams let's see, and you know other stuff

0:16:22.400 --> 0:16:24.880
<v Speaker 1>that I would say as surprises are the tech categories

0:16:24.920 --> 0:16:26.920
<v Speaker 1>that you know Jane would be bored. I was just

0:16:26.960 --> 0:16:29.240
<v Speaker 1>gonna say, wake me up, what you're done. I love

0:16:29.280 --> 0:16:31.440
<v Speaker 1>that we've established this narrative, but I just I don't

0:16:31.440 --> 0:16:35.960
<v Speaker 1>care about anything but the star Matthis wants to know.

0:16:36.080 --> 0:16:37.880
<v Speaker 1>Is there any chance Audition in City of Stars can

0:16:37.920 --> 0:16:42.240
<v Speaker 1>split in song? Our industry voters, industry talking about a

0:16:42.480 --> 0:16:45.240
<v Speaker 1>like allegations, So two firm Yeah, those are two different

0:16:45.280 --> 0:16:49.360
<v Speaker 1>questions regarding the songs. Yeah. Actually, I mean personally, I

0:16:49.400 --> 0:16:51.360
<v Speaker 1>think Audition is the better song because of how it's

0:16:51.400 --> 0:16:55.080
<v Speaker 1>used too, But I think the anthem it's the it's

0:16:55.880 --> 0:16:58.840
<v Speaker 1>the best song in the movie is Another Day of Sun,

0:16:59.480 --> 0:17:02.480
<v Speaker 1>which was it shortlisted or not? Yeah? That that and

0:17:02.480 --> 0:17:03.840
<v Speaker 1>it just goes on and on. That's why I love

0:17:03.920 --> 0:17:05.639
<v Speaker 1>that song. It just keeps going for like ten minutes

0:17:05.720 --> 0:17:09.399
<v Speaker 1>or something. But I could see it happening. Um, you know,

0:17:09.480 --> 0:17:12.719
<v Speaker 1>Moanna is sitting there with Lynn Manuel looking forward as

0:17:12.720 --> 0:17:18.399
<v Speaker 1>he got you know, yeah, actually and well yeah, you

0:17:18.400 --> 0:17:20.440
<v Speaker 1>know it was it? What was that year? Um, everybody

0:17:20.480 --> 0:17:22.399
<v Speaker 1>thought it was gonna be was it Lady Gaga and

0:17:22.600 --> 0:17:26.040
<v Speaker 1>Sam Smith? One? Last year? Was it last year? What

0:17:26.200 --> 0:17:29.280
<v Speaker 1>was that year? Like a decade? What was the child

0:17:29.440 --> 0:17:33.920
<v Speaker 1>of nineteen? Yeah, I'm still shocked by that. Unbelievable Yeah,

0:17:33.960 --> 0:17:35.400
<v Speaker 1>because I mean like you just went in the face

0:17:35.440 --> 0:17:38.760
<v Speaker 1>of everything, Like Lady Gaga was a bigger star. The

0:17:38.800 --> 0:17:40.639
<v Speaker 1>song was the front runner. It was a better song.

0:17:41.480 --> 0:17:44.040
<v Speaker 1>I don't know what happened there, unless people were just

0:17:44.119 --> 0:17:46.720
<v Speaker 1>put off by Diane Warren or something. She she does

0:17:47.160 --> 0:17:50.840
<v Speaker 1>get out there fierce, fiercely with her campaigns. She's been nominated,

0:17:50.920 --> 0:17:58.040
<v Speaker 1>like I believe it's a zility. Let's see alternative our

0:17:58.119 --> 0:18:01.040
<v Speaker 1>voters industry talking about affle like allegations. I mean, certainly

0:18:01.200 --> 0:18:06.600
<v Speaker 1>Constance wu Is you know, I haven't seen much else.

0:18:07.320 --> 0:18:09.200
<v Speaker 1>The funny thing is, I feel like people are talking

0:18:09.200 --> 0:18:11.119
<v Speaker 1>about it and that they're all asking why people aren't

0:18:11.119 --> 0:18:13.520
<v Speaker 1>talking about it, you know, And I'm like, if you

0:18:13.520 --> 0:18:15.679
<v Speaker 1>have something to say, like say it, but I you know,

0:18:15.920 --> 0:18:17.359
<v Speaker 1>I don't have anything to say that. I don't think

0:18:17.359 --> 0:18:20.320
<v Speaker 1>it's been said all right basically, So you know, could

0:18:20.359 --> 0:18:22.400
<v Speaker 1>that ding him at the end of the day, maybe

0:18:23.160 --> 0:18:25.040
<v Speaker 1>if there's some undercurrent, but I don't. I don't think

0:18:25.080 --> 0:18:30.920
<v Speaker 1>there is, so, you know, I think he's also um uh,

0:18:30.960 --> 0:18:33.760
<v Speaker 1>you know, by not speaking about it. I don't know, like, um,

0:18:34.200 --> 0:18:39.360
<v Speaker 1>yeah that's what I heard. Yeah, like that it has

0:18:39.520 --> 0:18:43.440
<v Speaker 1>I don't know. Maybe you know, if you can't talk

0:18:43.440 --> 0:18:45.080
<v Speaker 1>about it, then you can't talk you can talk about

0:18:45.080 --> 0:18:49.679
<v Speaker 1>I mean, he's it's been settled and there's legalities. It's like,

0:18:49.800 --> 0:18:54.280
<v Speaker 1>I don't know. Um, that's a much longer conversation, I think,

0:18:55.600 --> 0:18:59.239
<v Speaker 1>very clearly establishing here, Keith wants to know when does

0:18:59.320 --> 0:19:02.679
<v Speaker 1>backlash reach beyond the bubble and actually become detrimental to

0:19:02.720 --> 0:19:06.119
<v Speaker 1>a film's chances. Great question. It also depends on the backlash.

0:19:06.240 --> 0:19:11.520
<v Speaker 1>I mean, uh, I don't really know that it ever happens. Yeah,

0:19:11.560 --> 0:19:14.399
<v Speaker 1>you I mean in our circle like we get worried

0:19:14.400 --> 0:19:17.200
<v Speaker 1>about it, but then, like I remember the Argo backlash,

0:19:17.280 --> 0:19:22.200
<v Speaker 1>It's always question something that King's speech where there were people,

0:19:22.280 --> 0:19:24.240
<v Speaker 1>you know, who were piste off that it was winning

0:19:24.280 --> 0:19:27.159
<v Speaker 1>the guilds. But that was after Social Network spent like

0:19:27.480 --> 0:19:31.760
<v Speaker 1>entire entirety of December winning critics awards, So you know,

0:19:31.800 --> 0:19:34.160
<v Speaker 1>I don't know, Um, did you see, by the way,

0:19:34.160 --> 0:19:37.560
<v Speaker 1>every year they do those honest movie posters. Oh my god,

0:19:37.600 --> 0:19:39.440
<v Speaker 1>the one for La La Land was hilarious. And I

0:19:39.520 --> 0:19:41.679
<v Speaker 1>also don't know if you saw the US see if

0:19:41.720 --> 0:19:45.000
<v Speaker 1>I can find it, if you saw the Saturnight Live

0:19:45.040 --> 0:19:49.960
<v Speaker 1>sketch this weekend where Zizzaria, because that's as far past

0:19:50.000 --> 0:19:51.439
<v Speaker 1>the bubble as it goes. But that could have been

0:19:51.440 --> 0:19:53.280
<v Speaker 1>a funnier sketch. I thought, like, I thought it was

0:19:53.320 --> 0:19:55.960
<v Speaker 1>actually a very affectionate sketchy. I didn't think that they

0:19:56.000 --> 0:19:57.960
<v Speaker 1>were attacking La La Land. I thought it was done

0:19:57.960 --> 0:19:59.760
<v Speaker 1>with Like, I kind of thought it was going to

0:19:59.840 --> 0:20:02.479
<v Speaker 1>go in a different direction because I saw people tweeting

0:20:02.480 --> 0:20:05.560
<v Speaker 1>about it before it aired on the West Coast, and

0:20:05.600 --> 0:20:07.160
<v Speaker 1>I thought it was going to go in the direction

0:20:07.240 --> 0:20:14.960
<v Speaker 1>of uh shit. Sorry, I tuned up for trying to

0:20:14.960 --> 0:20:18.080
<v Speaker 1>put my words together, like use your words, use your words, Chris.

0:20:19.400 --> 0:20:20.560
<v Speaker 1>I just thought it was going to go in a

0:20:20.880 --> 0:20:24.879
<v Speaker 1>like in a backlash direction, like commenting on backlash basically

0:20:25.040 --> 0:20:26.480
<v Speaker 1>what I mean. And I didn't really do that. It

0:20:26.560 --> 0:20:31.199
<v Speaker 1>was just like, uh, you know, how dare you not

0:20:31.320 --> 0:20:34.000
<v Speaker 1>like this movie? But I really see that happening by

0:20:34.040 --> 0:20:36.120
<v Speaker 1>the way, I guess I kind of took it personally

0:20:36.200 --> 0:20:39.760
<v Speaker 1>like no one is saying, how dare you hate? Like

0:20:39.880 --> 0:20:41.840
<v Speaker 1>not like this movie? I think people are saying, like

0:20:42.720 --> 0:20:45.639
<v Speaker 1>why would you hate on it? I can't imagine why?

0:20:47.000 --> 0:20:50.800
<v Speaker 1>Why is this movie that like lions Gate completely took

0:20:50.800 --> 0:20:53.000
<v Speaker 1>a huge risk on. That's what cracks me up. As

0:20:53.000 --> 0:20:55.240
<v Speaker 1>people are like, oh, it's like Taylor to win Oscars,

0:20:55.240 --> 0:20:58.879
<v Speaker 1>And I'm like, did Damien Chaselle pitched to this to

0:20:58.960 --> 0:21:01.119
<v Speaker 1>these guys? And Sunday so a few years ago, this

0:21:01.240 --> 0:21:04.240
<v Speaker 1>this dream project he had for years with original music,

0:21:04.280 --> 0:21:07.920
<v Speaker 1>not by anyone music, and they put they put money

0:21:07.960 --> 0:21:10.439
<v Speaker 1>into this thing and it's paying off for them, Like

0:21:10.560 --> 0:21:13.240
<v Speaker 1>this is not like, this is not engineered. It's hilarious

0:21:13.240 --> 0:21:16.600
<v Speaker 1>to me. Okay, So then dot CEO dot K does

0:21:17.560 --> 0:21:21.960
<v Speaker 1>I'm sorry, what does these um honest movie posts? You

0:21:22.000 --> 0:21:24.920
<v Speaker 1>should check them out. So the Lala lamposter is funk.

0:21:24.960 --> 0:21:27.680
<v Speaker 1>The backlash we all need this right now? Well that's

0:21:27.800 --> 0:21:31.920
<v Speaker 1>that's in reality. Uh, this film is better than your life. Um,

0:21:32.040 --> 0:21:35.120
<v Speaker 1>Manchester by the Sea, is you thought Ben was miserable?

0:21:35.400 --> 0:21:39.160
<v Speaker 1>Sad flick round two? Ksey Affleck has entered the game. Um,

0:21:40.040 --> 0:21:43.760
<v Speaker 1>people themselves, Oh this you'll like this one. Um. Look

0:21:43.760 --> 0:21:48.720
<v Speaker 1>at the silence poster Godfellows, Godfellows starring Old Spider Man,

0:21:48.880 --> 0:21:52.359
<v Speaker 1>Kylo Wren and Oslan and it says from the director

0:21:52.400 --> 0:21:55.960
<v Speaker 1>of Koon Dunn and Hugo, and then underneath that it says, wait,

0:21:56.040 --> 0:21:57.879
<v Speaker 1>come back. He also made the Wolf of Wall Street

0:21:57.880 --> 0:22:01.000
<v Speaker 1>that the part of Gangs of New as Ship They're gone. Wow,

0:22:01.880 --> 0:22:04.760
<v Speaker 1>that's pretty honest. And Um, of course the Arrival one

0:22:05.000 --> 0:22:08.520
<v Speaker 1>is Amy Adams has more chance of actually discovering alien

0:22:08.560 --> 0:22:10.960
<v Speaker 1>life than winning a goddamn oscar at this point for

0:22:11.160 --> 0:22:14.000
<v Speaker 1>her the words I think the Arrival one should be

0:22:14.240 --> 0:22:16.919
<v Speaker 1>not the Charlie Sheen movie. Oh my gosh, that's hilarious.

0:22:17.240 --> 0:22:19.000
<v Speaker 1>There's some I just have to tell you the tagline

0:22:19.040 --> 0:22:22.320
<v Speaker 1>for loving their loving poster. Thank god they weren't called

0:22:22.400 --> 0:22:28.359
<v Speaker 1>Richard and Mildred Boning. Oh god, well, speaking of loving. Uh,

0:22:28.520 --> 0:22:31.680
<v Speaker 1>that's the interview this week, Ruth Nagar, Surprise and Trent

0:22:32.040 --> 0:22:35.080
<v Speaker 1>and the in the sweepstakes if you will talk to

0:22:35.080 --> 0:22:38.000
<v Speaker 1>her a while back actually, so this is hopefully not

0:22:38.040 --> 0:22:40.640
<v Speaker 1>too dated. And she had a cold at the time,

0:22:41.680 --> 0:22:44.639
<v Speaker 1>probably from working her as. Yeah, it was right before

0:22:44.640 --> 0:22:46.960
<v Speaker 1>she went off to do some some work and then

0:22:46.960 --> 0:22:48.879
<v Speaker 1>she came back. She came back at the right time

0:22:49.119 --> 0:22:51.080
<v Speaker 1>clearly because she she was gone for a bit and

0:22:51.119 --> 0:22:53.560
<v Speaker 1>then she came back just before ballots went out and

0:22:54.080 --> 0:22:56.600
<v Speaker 1>did some work and uh, and it paid off. I

0:22:56.600 --> 0:22:59.000
<v Speaker 1>mean she's one of what was it six actors, six

0:22:59.040 --> 0:23:03.520
<v Speaker 1>black actors or six actors of colors, seven actors of coloring. Yeah,

0:23:03.880 --> 0:23:05.960
<v Speaker 1>and I'm happy to say many of them did play back.

0:23:06.000 --> 0:23:10.440
<v Speaker 1>So thanks everybody. That's probably annomination, let's be honest. I mean, yeah,

0:23:10.600 --> 0:23:13.880
<v Speaker 1>Amy did play back to the power. So stick around

0:23:13.920 --> 0:23:16.159
<v Speaker 1>for Ruth Nagger right after this. Do you have a

0:23:16.160 --> 0:23:18.640
<v Speaker 1>PTA prediction or is it obvious? Oh? P g A yeah,

0:23:18.680 --> 0:23:22.920
<v Speaker 1>la la okay, oh sag entsemble. I'm staying fences. I

0:23:22.960 --> 0:23:25.520
<v Speaker 1>would not. I'm telling you I don't know. You know,

0:23:25.720 --> 0:23:28.919
<v Speaker 1>I think Manchester, A lot of people think Manchester. I

0:23:28.920 --> 0:23:35.040
<v Speaker 1>think my guesses Fences or Hidden Figures. Umid figures would

0:23:35.080 --> 0:23:38.080
<v Speaker 1>surprise me. But I'm blinking. I feel like I'm blanking

0:23:38.080 --> 0:23:42.320
<v Speaker 1>because there's also Captain Fantastic and Manchester. What's the fifth?

0:23:44.480 --> 0:23:48.080
<v Speaker 1>I know, right, how can we not know this? Captain

0:23:48.119 --> 0:23:52.399
<v Speaker 1>Fantastic Manchester by the Moonlight that could be the one

0:23:52.440 --> 0:23:54.720
<v Speaker 1>that wins. Actually, of course I could see moon Light winning,

0:23:54.720 --> 0:23:56.520
<v Speaker 1>but I think Fences is gonna win. I'm gonna stick

0:23:56.520 --> 0:23:59.920
<v Speaker 1>with Moonlight for now. But yeah, hidden Figures and Fences

0:24:00.200 --> 0:24:02.919
<v Speaker 1>would not be surprises. Um, I guess man just has

0:24:02.960 --> 0:24:04.879
<v Speaker 1>to win. Be surprised because three great actors from the

0:24:04.920 --> 0:24:07.480
<v Speaker 1>movie are nominated, but I feel like that will get dispersed.

0:24:08.160 --> 0:24:12.080
<v Speaker 1>Um yeah, I'll stick with Moonlight. Fences has run a

0:24:12.160 --> 0:24:15.640
<v Speaker 1>very smart ensemble campaign though, so I would not be surprised.

0:24:15.680 --> 0:24:17.040
<v Speaker 1>And I mean, look, it's like, oh my god, it's

0:24:17.040 --> 0:24:19.320
<v Speaker 1>a flawless ensemble. It's a flaws ensemble, and it's just

0:24:19.400 --> 0:24:22.040
<v Speaker 1>like every actor in that room wants to play those parts.

0:24:22.080 --> 0:24:25.119
<v Speaker 1>You know. I think that's what's gonna happen. We'll see anyway,

0:24:25.160 --> 0:24:51.200
<v Speaker 1>stay tuned for Ruth read after this. In me no,

0:24:51.359 --> 0:24:58.800
<v Speaker 1>the district of Columbia. I'm now'll pronounce you husband and wife. Ye,

0:25:07.760 --> 0:25:12.600
<v Speaker 1>rich went in bed with that woman his wife. That's

0:25:12.640 --> 0:25:18.359
<v Speaker 1>no good here, Richard Perry Lovey, being a white person,

0:25:19.040 --> 0:25:24.000
<v Speaker 1>and Mildred Jeter, being a colored person, did unlawfully cohabitates

0:25:24.080 --> 0:25:29.119
<v Speaker 1>man and wife. Richard. I believe this is about all

0:25:29.119 --> 0:25:31.479
<v Speaker 1>that could go all the way to the Supreme Court.

0:25:31.880 --> 0:25:35.440
<v Speaker 1>Were her name right, the thind of Virginia will argue

0:25:35.440 --> 0:25:37.480
<v Speaker 1>that it is unfair to bring the children of mixed

0:25:37.560 --> 0:25:45.879
<v Speaker 1>race into the world. Tell that woman coming aloys my

0:25:45.960 --> 0:25:53.760
<v Speaker 1>family here, I don't care. I can take care of you,

0:25:56.320 --> 0:26:03.359
<v Speaker 1>he contain. Welcome back, everyone, I'm here with one of

0:26:03.400 --> 0:26:06.359
<v Speaker 1>the stars of Loving Ruth Nega. Thanks so much for

0:26:06.760 --> 0:26:08.800
<v Speaker 1>doing my show. I appreciate it. Thank you for having me.

0:26:09.160 --> 0:26:10.639
<v Speaker 1>We talked to Jeff Nichols on the show a few

0:26:10.680 --> 0:26:15.240
<v Speaker 1>weeks back. Um, you know, his vision for this movie,

0:26:15.680 --> 0:26:19.919
<v Speaker 1>the story of the Lovings, was a very quiet vision,

0:26:20.240 --> 0:26:23.680
<v Speaker 1>which is why it's so bold. You know, you might

0:26:23.680 --> 0:26:29.440
<v Speaker 1>expect something with such uh dramatic and emotional under and

0:26:29.600 --> 0:26:33.879
<v Speaker 1>overtones to maybe be a bit bigger quote unquote, and

0:26:33.920 --> 0:26:35.840
<v Speaker 1>I thought it was interesting that he took that approach

0:26:36.359 --> 0:26:38.919
<v Speaker 1>and just out of curiosity, Uh, you know when it

0:26:39.119 --> 0:26:41.080
<v Speaker 1>comes to something like that, when this this is a

0:26:41.119 --> 0:26:44.240
<v Speaker 1>story with emotions that are charged underneath the surface, really,

0:26:45.359 --> 0:26:48.000
<v Speaker 1>do you feel like you wanted a release of like

0:26:48.040 --> 0:26:50.760
<v Speaker 1>a big moment as an actor or where you right

0:26:50.800 --> 0:26:53.520
<v Speaker 1>in the wheelhouse with what he was. I think that

0:26:53.640 --> 0:26:59.720
<v Speaker 1>thing about Jeff is um his priority is at verse

0:27:00.080 --> 0:27:04.159
<v Speaker 1>a very similarity, because he wants everything to be truthful,

0:27:04.320 --> 0:27:10.320
<v Speaker 1>you know, and authentic, and in order to honor the

0:27:10.440 --> 0:27:17.919
<v Speaker 1>loving story that involved in its an entirety, that meant

0:27:18.280 --> 0:27:21.600
<v Speaker 1>writing the screenplay that he did write and directing the

0:27:21.600 --> 0:27:24.360
<v Speaker 1>film that he did direct that you see in your screens.

0:27:25.600 --> 0:27:28.399
<v Speaker 1>And the thing about Jeff is that, you know, the

0:27:28.920 --> 0:27:33.159
<v Speaker 1>priority is maintaining the truthfulness of what happened and the

0:27:33.200 --> 0:27:36.679
<v Speaker 1>integrity of this couple. And I don't think that he

0:27:36.800 --> 0:27:42.520
<v Speaker 1>wanted to debase that um for sort of to meet

0:27:42.680 --> 0:27:49.680
<v Speaker 1>sort of sort of cliche standard of filmmaking, you know, um.

0:27:49.720 --> 0:27:53.919
<v Speaker 1>And I think it's Jeff Jeff, there's Jeff and his

0:27:54.000 --> 0:27:58.400
<v Speaker 1>work are devoid of cliche. He is not a director

0:27:58.560 --> 0:28:05.720
<v Speaker 1>that you know, is it. I think he's that terms

0:28:05.720 --> 0:28:08.199
<v Speaker 1>a gun for higher who just like you know, comes in,

0:28:08.440 --> 0:28:13.359
<v Speaker 1>does the job and heads off. He's an artist, and

0:28:13.480 --> 0:28:16.639
<v Speaker 1>you know, I mean, you think that's quite obvious. You know,

0:28:16.800 --> 0:28:24.920
<v Speaker 1>his back catalog and so, um, I think he circumvented

0:28:25.080 --> 0:28:30.960
<v Speaker 1>any sort of for pothole that might um suggest a

0:28:31.040 --> 0:28:34.640
<v Speaker 1>real standard paint by numbers kind of firm and too,

0:28:34.800 --> 0:28:36.480
<v Speaker 1>I think very much to his credit and to the

0:28:36.520 --> 0:28:40.320
<v Speaker 1>film's credit. You know, I think Jeff doesn't patronize his audience.

0:28:40.360 --> 0:28:43.840
<v Speaker 1>He doesn't patronize anybody. And I think that he gives

0:28:44.120 --> 0:28:48.600
<v Speaker 1>his audiences the respect they deserve in terms of resisting

0:28:48.800 --> 0:28:52.520
<v Speaker 1>that kind of spoon feeding emotion or you know three

0:28:52.600 --> 0:28:55.480
<v Speaker 1>quarters in having the big sort of reveal, or the

0:28:55.600 --> 0:28:59.560
<v Speaker 1>kind of the big dramatic kiss and or the kind

0:28:59.600 --> 0:29:01.960
<v Speaker 1>of you know, you know in this filments is this.

0:29:02.280 --> 0:29:04.720
<v Speaker 1>I think he has created this brilliant tension because you

0:29:05.200 --> 0:29:10.880
<v Speaker 1>are expecting, you know, you're expecting sort of something to

0:29:11.040 --> 0:29:17.040
<v Speaker 1>sort of explode almost and that tension becomes almost uncomfortable

0:29:17.080 --> 0:29:20.040
<v Speaker 1>in many ways. But what it does is that that's

0:29:20.120 --> 0:29:23.959
<v Speaker 1>reflective of the tension that it must have must have

0:29:24.000 --> 0:29:28.320
<v Speaker 1>existed then for this couple and many like them. Um,

0:29:28.360 --> 0:29:31.520
<v Speaker 1>you know, to live your life under a thresh of exposure,

0:29:32.040 --> 0:29:34.600
<v Speaker 1>you know, to have to live this sort of duality,

0:29:35.200 --> 0:29:40.760
<v Speaker 1>dual existence, you know, in secret and hiding, that takes

0:29:40.800 --> 0:29:43.600
<v Speaker 1>its toll, you know, and any anyone could be exposing you,

0:29:43.680 --> 0:29:46.440
<v Speaker 1>and any violence could be around the corner, because it

0:29:46.520 --> 0:29:49.840
<v Speaker 1>was for many people, you know, to speak up and

0:29:49.880 --> 0:29:52.360
<v Speaker 1>speak out. I mean, this is no surprise to anybody.

0:29:52.440 --> 0:29:57.960
<v Speaker 1>At certain points in history was to risk, um, risk

0:29:58.040 --> 0:30:01.760
<v Speaker 1>your life even you know, and and and and and

0:30:02.640 --> 0:30:06.520
<v Speaker 1>it could cost you. And I think that that that

0:30:06.680 --> 0:30:09.080
<v Speaker 1>is very much that that kind of energy is very

0:30:09.120 --> 0:30:11.160
<v Speaker 1>much present in this film. And I think that's more

0:30:11.160 --> 0:30:15.440
<v Speaker 1>interesting than that's sort of the run of the mill,

0:30:15.560 --> 0:30:19.000
<v Speaker 1>you know, because expected thing. And I don't think Jeff

0:30:19.000 --> 0:30:22.640
<v Speaker 1>does anything expected. And I think that that that it

0:30:22.640 --> 0:30:26.720
<v Speaker 1>It is for me. It's maybe a quiet film. But

0:30:27.920 --> 0:30:33.000
<v Speaker 1>you know, um, you know that word is. People have

0:30:33.040 --> 0:30:35.400
<v Speaker 1>attached many things to that word, and is do they

0:30:35.400 --> 0:30:37.960
<v Speaker 1>mean boring? Do they mean nothing happens? Because I don't

0:30:37.960 --> 0:30:42.680
<v Speaker 1>think that's reflective of our film, um, And I think

0:30:42.680 --> 0:30:46.640
<v Speaker 1>in a way it mirrors Mildred and Richard because they

0:30:46.640 --> 0:30:51.960
<v Speaker 1>are unexpected themselves. You know, I certainly don't think it

0:30:51.960 --> 0:30:54.200
<v Speaker 1>means boring for all the reasons we've lined out. I mean,

0:30:54.240 --> 0:30:56.120
<v Speaker 1>I think that'll probably give you a lot to play

0:30:56.160 --> 0:30:58.640
<v Speaker 1>with as an actress too, most definitely, And I think

0:30:58.720 --> 0:31:01.760
<v Speaker 1>you know that the Mildred A. Richard were in there.

0:31:01.520 --> 0:31:05.560
<v Speaker 1>We're a complex characters, you know, complex individuals as well,

0:31:05.600 --> 0:31:08.120
<v Speaker 1>and I think that we were careful not to diminish

0:31:08.160 --> 0:31:14.560
<v Speaker 1>that diminish their story. You know, Mildred, she's quite shy, unreserved,

0:31:15.760 --> 0:31:20.920
<v Speaker 1>but that doesn't mean she is weak or subservient or

0:31:22.960 --> 0:31:26.760
<v Speaker 1>um any of those things. In fact, the opposite. She

0:31:26.800 --> 0:31:31.360
<v Speaker 1>has an incredible sort of sense of herself and her

0:31:31.400 --> 0:31:35.400
<v Speaker 1>self esteem. She has a self esteem, self confidence, and

0:31:35.480 --> 0:31:41.000
<v Speaker 1>she has a belief in her beliefs. You may actually

0:31:41.000 --> 0:31:43.520
<v Speaker 1>just yeah, absolutely, and you may have just actually answered

0:31:43.560 --> 0:31:46.160
<v Speaker 1>my next question which I often ask actors who are

0:31:46.200 --> 0:31:49.040
<v Speaker 1>playing real life people like it, was there a quality

0:31:49.520 --> 0:31:50.960
<v Speaker 1>you know in your research? I'm sure you saw the

0:31:50.960 --> 0:31:53.520
<v Speaker 1>documentary and stuff like that. Was there a quality about

0:31:53.560 --> 0:31:57.160
<v Speaker 1>Mildred that was so captivating you wanted to make sure

0:31:57.160 --> 0:31:59.960
<v Speaker 1>that you carried it across in your performance? Oh for sure,

0:32:00.040 --> 0:32:03.480
<v Speaker 1>for sure, you know, and that the documentary and the footage,

0:32:03.520 --> 0:32:06.200
<v Speaker 1>the archival footage in the documentary that Nancy Birsky made

0:32:06.240 --> 0:32:10.520
<v Speaker 1>the Loving Story, which I urged anybody and everybody to see. Um.

0:32:11.400 --> 0:32:14.120
<v Speaker 1>It was really a gift for all of us, Jeff,

0:32:14.200 --> 0:32:17.320
<v Speaker 1>Joel and I and I I it really was my

0:32:17.400 --> 0:32:22.840
<v Speaker 1>sort of my Mildred handbook, as it were, Mum. And

0:32:22.920 --> 0:32:27.960
<v Speaker 1>in that in that footage, you know, there's a luminosity

0:32:28.000 --> 0:32:33.920
<v Speaker 1>to this woman. She she she radiates m charisma and

0:32:34.040 --> 0:32:42.960
<v Speaker 1>goodness and truthfulness and a lack of cynicism and ah,

0:32:43.840 --> 0:32:53.040
<v Speaker 1>you know, an innocence without naivety. And and and I

0:32:53.160 --> 0:32:56.080
<v Speaker 1>really I really worked hard. I think we ordered to

0:32:56.160 --> 0:33:02.080
<v Speaker 1>capture that the glow around this purple, both of them.

0:33:02.080 --> 0:33:04.840
<v Speaker 1>And I think that, you know, and I think I

0:33:04.880 --> 0:33:09.200
<v Speaker 1>think Joel did an extraordinary job of portraying Richard Um

0:33:09.760 --> 0:33:13.080
<v Speaker 1>and I think together we felt it was very much Um.

0:33:13.800 --> 0:33:15.640
<v Speaker 1>There was two of us in it, you know, and

0:33:15.920 --> 0:33:18.959
<v Speaker 1>I think we felt I certainly felt very supportive by

0:33:19.040 --> 0:33:24.240
<v Speaker 1>him Um and both as Ruth but also in my

0:33:24.360 --> 0:33:29.480
<v Speaker 1>performances Mildred. And I'm also I'm often curious about locations,

0:33:29.520 --> 0:33:31.640
<v Speaker 1>because like how they helped to inform what you're doing.

0:33:31.880 --> 0:33:33.680
<v Speaker 1>I asked the same question of Jeff, you're out there

0:33:33.680 --> 0:33:36.880
<v Speaker 1>shooting in and around Richmond, in the areas that this happened,

0:33:37.480 --> 0:33:39.440
<v Speaker 1>How does that help you as an actor to really

0:33:39.480 --> 0:33:42.960
<v Speaker 1>get in that heads very much. So, um, you know,

0:33:43.040 --> 0:33:48.920
<v Speaker 1>that was that was non negotiable. I think he insisted

0:33:48.920 --> 0:33:54.840
<v Speaker 1>on shooting in and in and around Richmond and body greed.

0:33:55.480 --> 0:33:58.320
<v Speaker 1>Uh not far from when where any of this happened.

0:33:58.360 --> 0:34:01.600
<v Speaker 1>You know that the court house, that's the actual courts

0:34:01.640 --> 0:34:03.840
<v Speaker 1>that they got sentenced to, the outside of the prison,

0:34:03.920 --> 0:34:08.319
<v Speaker 1>that's the prison that they stayed in. We couldn't, um,

0:34:08.800 --> 0:34:12.440
<v Speaker 1>we couldn't actually film in her cell that Mildred was

0:34:12.480 --> 0:34:16.120
<v Speaker 1>locked up, and because it was too flipping tiny, it

0:34:16.239 --> 0:34:21.279
<v Speaker 1>was really tiny, and I think that really brought it

0:34:21.320 --> 0:34:24.120
<v Speaker 1>all closer to home. It really made it really immediate,

0:34:24.239 --> 0:34:28.360
<v Speaker 1>you know, um, because you know, I know this sounds

0:34:28.360 --> 0:34:31.839
<v Speaker 1>really obvious, but histories have something that happened, happened back then.

0:34:32.640 --> 0:34:35.759
<v Speaker 1>But I think filming walking in their footsteps and you know,

0:34:36.160 --> 0:34:39.560
<v Speaker 1>being in that quarter with the four walls where this happened,

0:34:39.600 --> 0:34:42.319
<v Speaker 1>this actually happened, really resonated with us. It's sort of

0:34:42.320 --> 0:34:45.279
<v Speaker 1>I think it galvanized both Joel and I'm in fact

0:34:45.320 --> 0:34:50.279
<v Speaker 1>everybody into really I mean, we wanted to do his

0:34:50.520 --> 0:34:53.120
<v Speaker 1>best possible job as possible, you know, in the first place,

0:34:53.719 --> 0:34:57.279
<v Speaker 1>but it just gave an extra dimension you know, and

0:34:57.360 --> 0:35:02.760
<v Speaker 1>I do believe that places have energies. You know, they

0:35:02.840 --> 0:35:11.200
<v Speaker 1>retain traces of events. You know, there's a residue in buildings,

0:35:11.239 --> 0:35:13.920
<v Speaker 1>and you definitely felt an energy you know, around this

0:35:13.960 --> 0:35:16.960
<v Speaker 1>film filming in these places in addition to the fact

0:35:17.000 --> 0:35:19.440
<v Speaker 1>that it's very beautiful and so you sort of see

0:35:19.480 --> 0:35:23.600
<v Speaker 1>why you know, Mildred was connected to this place. You know,

0:35:24.520 --> 0:35:27.520
<v Speaker 1>I just spoke about her connection to nature, very key

0:35:27.560 --> 0:35:31.919
<v Speaker 1>element for him, and that that environment, so I spoke

0:35:32.000 --> 0:35:38.200
<v Speaker 1>to that as well home for for Mildred. From Mildred,

0:35:38.400 --> 0:35:40.839
<v Speaker 1>it feels like, you know, like when when you when

0:35:40.880 --> 0:35:43.600
<v Speaker 1>you starve a plant of sunlight and water, they wilt.

0:35:44.760 --> 0:35:47.680
<v Speaker 1>And you could very much see Mildred wilting and when

0:35:47.719 --> 0:35:50.200
<v Speaker 1>she had to live in when she was exiled at Washington,

0:35:50.280 --> 0:35:54.319
<v Speaker 1>d C. And also I think they exposed this sort

0:35:54.360 --> 0:35:57.759
<v Speaker 1>of the folly of these laws that that prevented someone

0:35:57.800 --> 0:36:01.160
<v Speaker 1>from raising their family where they wanted to raise them. Yeah,

0:36:01.719 --> 0:36:08.279
<v Speaker 1>it's really quite extraordinary. Um this year alone, quite the

0:36:08.280 --> 0:36:11.200
<v Speaker 1>whiplash of material I guess. You know, you have the

0:36:11.920 --> 0:36:14.240
<v Speaker 1>i'll use the word again, the quiet nature of of loving,

0:36:14.280 --> 0:36:17.800
<v Speaker 1>and then you have something like the grand massive scale

0:36:17.800 --> 0:36:21.320
<v Speaker 1>of warcraft and then the mania of something like TVs Preacher.

0:36:21.440 --> 0:36:27.640
<v Speaker 1>Is that variety like very important to you? Um, because

0:36:27.680 --> 0:36:33.719
<v Speaker 1>it's because it's it's very fulfilling, that's the bottom line,

0:36:33.719 --> 0:36:37.520
<v Speaker 1>and you get to explore different parts of oneself and others.

0:36:37.560 --> 0:36:39.680
<v Speaker 1>You know, it's very exciting to be allowed to do that,

0:36:40.560 --> 0:36:47.000
<v Speaker 1>you know, get paid for it. With regards to Tulip,

0:36:48.360 --> 0:36:50.560
<v Speaker 1>what's the most fun you had playing Tulips so far?

0:36:50.719 --> 0:36:53.239
<v Speaker 1>You think, Oh, we just laugh a lot on set.

0:36:53.400 --> 0:36:55.880
<v Speaker 1>You know, I love I like jovial sets, you know,

0:36:55.960 --> 0:36:58.720
<v Speaker 1>with the warmth and kindness and support, and you can't

0:36:58.719 --> 0:37:01.640
<v Speaker 1>help but laugh when them Joseph Gilgan and Dominic Cooper

0:37:01.640 --> 0:37:06.160
<v Speaker 1>are here, your playmates. It's such wild subject matter obviously.

0:37:06.200 --> 0:37:08.799
<v Speaker 1>And uh, Seth Seth Rogan was actually the first guest

0:37:08.800 --> 0:37:13.840
<v Speaker 1>on my podcast that pilot. The great word, the energy

0:37:13.840 --> 0:37:17.360
<v Speaker 1>of that pilot was just sensational. It's very reflective of

0:37:17.480 --> 0:37:21.319
<v Speaker 1>both Seth and Evan Silberg. Yeah, it's really you know,

0:37:21.440 --> 0:37:24.319
<v Speaker 1>I'm working with him as extraordinary because you felt that

0:37:24.320 --> 0:37:26.799
<v Speaker 1>that that that energy they have, you know, that kid,

0:37:26.920 --> 0:37:33.480
<v Speaker 1>the County Store energy very much um um um came

0:37:33.520 --> 0:37:35.399
<v Speaker 1>through it our in our pilot. It was very much

0:37:35.400 --> 0:37:40.640
<v Speaker 1>dictated a lot of sequences. Yeah, and did you get

0:37:40.640 --> 0:37:42.479
<v Speaker 1>a chance to see Sausage Party yet? By the way,

0:37:42.840 --> 0:37:47.279
<v Speaker 1>I count wait to see Sausage Party. It's funny he

0:37:47.600 --> 0:37:51.920
<v Speaker 1>and and Evan are like the pre eminent artists regarding

0:37:52.160 --> 0:37:57.040
<v Speaker 1>theology between you know, Preacher and Sausage Party has elements

0:37:57.080 --> 0:37:59.800
<v Speaker 1>and this is me and yeah, exactly, It's It's fascinating.

0:38:00.640 --> 0:38:05.440
<v Speaker 1>I can't wait to see Nick Reil paid a douche excited.

0:38:06.600 --> 0:38:11.319
<v Speaker 1>I love their voice, their their voices sensational. Um, I'm

0:38:11.400 --> 0:38:15.319
<v Speaker 1>just looking back at some things. An early movie break

0:38:15.360 --> 0:38:19.719
<v Speaker 1>for you was Breakfast on Pluto Jordan. What does that

0:38:19.760 --> 0:38:23.839
<v Speaker 1>mean for you? Oh? Well, that was? That was I mean,

0:38:23.880 --> 0:38:25.399
<v Speaker 1>I remember, I remember where I was when I heard

0:38:25.440 --> 0:38:29.040
<v Speaker 1>that news, and I just I was just wild with joy.

0:38:29.560 --> 0:38:31.600
<v Speaker 1>I was because I was living in and I wasn't

0:38:31.600 --> 0:38:34.680
<v Speaker 1>living at Dublin the time, and I wasn't really expecting

0:38:34.719 --> 0:38:38.279
<v Speaker 1>to get the call. To be honest, Well, if I read,

0:38:38.360 --> 0:38:40.480
<v Speaker 1>if I'm correct, I feel like I read that he

0:38:40.840 --> 0:38:42.840
<v Speaker 1>rewrote or wrote apart for you. I don't know if

0:38:42.880 --> 0:38:44.719
<v Speaker 1>that's a procophon, if I've made that up, or if

0:38:44.719 --> 0:38:47.080
<v Speaker 1>he actually said it, or I've just decided that he said,

0:38:49.120 --> 0:38:53.440
<v Speaker 1>let's stick with Neil said it. I'm assuming you were

0:38:53.440 --> 0:38:56.480
<v Speaker 1>a fan already gone. Oh yeah, huge fan, huge fan

0:38:56.600 --> 0:38:59.960
<v Speaker 1>and of Pat mcabe who wrote and he also wrote

0:39:00.000 --> 0:39:04.279
<v Speaker 1>Butcher Boy. Um oh, huge fans of them both Um

0:39:04.320 --> 0:39:07.480
<v Speaker 1>and Kelly and Murphy who played Kitten. It was. It's

0:39:07.520 --> 0:39:10.640
<v Speaker 1>just such a thrilling story, a really beautiful you know, Pat,

0:39:10.719 --> 0:39:13.520
<v Speaker 1>Pat McCabe is such an original writer, and Nila is

0:39:13.560 --> 0:39:16.960
<v Speaker 1>such an original filmmaker, you know. And and they remind

0:39:17.000 --> 0:39:19.080
<v Speaker 1>me of of of Jeff in that way, you know,

0:39:19.160 --> 0:39:23.120
<v Speaker 1>they you know, that's they They've carved their own path

0:39:23.280 --> 0:39:27.520
<v Speaker 1>really unique in original. They don't um you know, and

0:39:27.560 --> 0:39:29.680
<v Speaker 1>I think you can say that with many many people,

0:39:29.840 --> 0:39:32.839
<v Speaker 1>you know, um, you know, they have a style that's

0:39:32.840 --> 0:39:35.520
<v Speaker 1>all over their own. So just work and mean working

0:39:35.520 --> 0:39:40.320
<v Speaker 1>with Neil and Patton, like Declin Coe is a cinematographer.

0:39:40.360 --> 0:39:42.960
<v Speaker 1>I mean it was extraordinary and what Lawrence Kindlin Fellow

0:39:43.000 --> 0:39:45.920
<v Speaker 1>Irish got, you know, and Kinney was extraordinary as Kitten.

0:39:45.960 --> 0:39:50.920
<v Speaker 1>Brandon and Liam Neeson, I mean, Ruth McCabe, Mary Cockton,

0:39:51.000 --> 0:39:54.120
<v Speaker 1>I mean, like we're talking like just starting, I could

0:39:54.120 --> 0:39:55.960
<v Speaker 1>go on, so I mean, you know, and this is

0:39:56.000 --> 0:39:59.520
<v Speaker 1>this is ten years ago now, so, um, you know

0:39:59.800 --> 0:40:02.200
<v Speaker 1>it is such an honor. Do you ever see The

0:40:02.239 --> 0:40:07.040
<v Speaker 1>Good Thief's films? A Good Thief randomly throwing it in there?

0:40:07.080 --> 0:40:10.040
<v Speaker 1>I love that movie to remake. Melty is fantastic in it.

0:40:10.520 --> 0:40:12.359
<v Speaker 1>People haven't seen The Good Thief, they should check it out.

0:40:13.400 --> 0:40:17.720
<v Speaker 1>Check out Neil Jordan's filmography. In general, I think, um,

0:40:17.840 --> 0:40:20.560
<v Speaker 1>what do you want to do? A weird question, but

0:40:20.600 --> 0:40:22.840
<v Speaker 1>like going forward? Do you have any interest in getting

0:40:22.840 --> 0:40:25.319
<v Speaker 1>behind the camera? Do you have any interest in I

0:40:25.360 --> 0:40:30.040
<v Speaker 1>think I'm too lazy. Really, I don't know. I don't know.

0:40:30.200 --> 0:40:34.480
<v Speaker 1>You know. Actually, um, let's see, I don't know. I

0:40:34.560 --> 0:40:38.200
<v Speaker 1>really like I don't need to be a prolific worker.

0:40:38.760 --> 0:40:42.880
<v Speaker 1>That's another word for being lazy, right, I'm that use

0:40:42.920 --> 0:40:46.279
<v Speaker 1>that at work to see if I can get away

0:40:46.280 --> 0:40:50.960
<v Speaker 1>with it. Um, I have to say that this, you know,

0:40:51.719 --> 0:40:54.640
<v Speaker 1>doing Preacher, which I had door and then working with

0:40:54.760 --> 0:40:59.640
<v Speaker 1>Jeff on Loving I mean that you can't go really

0:40:59.640 --> 0:41:01.799
<v Speaker 1>wrong there. You know, I wouldn't mind doing if I

0:41:01.800 --> 0:41:04.160
<v Speaker 1>could do like Creature of Year Undo a film with

0:41:04.200 --> 0:41:08.759
<v Speaker 1>Jef Nichols. Here, I'd be happy at but not compelled to,

0:41:09.000 --> 0:41:12.640
<v Speaker 1>you know, produce and make projects happen anything like that.

0:41:12.719 --> 0:41:15.920
<v Speaker 1>I ask also because we find ourselves amidst this diversity

0:41:15.920 --> 0:41:18.880
<v Speaker 1>debate and as it pertains to the industry, and so

0:41:18.960 --> 0:41:21.360
<v Speaker 1>I'm just curious if if you know what people are

0:41:21.400 --> 0:41:25.560
<v Speaker 1>interested in doing, if they're interested in combating that people definitely,

0:41:25.600 --> 0:41:27.239
<v Speaker 1>I think, I think you know, and I think that

0:41:27.280 --> 0:41:30.120
<v Speaker 1>what you know, I wouldn't be an interest in combating it.

0:41:30.280 --> 0:41:32.319
<v Speaker 1>That you know, creating work for myself would be a

0:41:32.320 --> 0:41:37.000
<v Speaker 1>great idea. Leave it with me, Yeah, I mean, you know,

0:41:37.120 --> 0:41:38.640
<v Speaker 1>the thing is is that I think that we are

0:41:38.719 --> 0:41:41.319
<v Speaker 1>I mean, you know, there is a push which is great.

0:41:41.360 --> 0:41:46.719
<v Speaker 1>There is an agitation um to see diversity reflected under

0:41:46.760 --> 0:41:49.279
<v Speaker 1>the screens, and nuts can only be a good thing,

0:41:49.360 --> 0:41:52.360
<v Speaker 1>you know, I mean, and in many ways and many

0:41:52.600 --> 0:41:55.320
<v Speaker 1>with very different narratives, because there isn't just one narrashin

0:41:55.320 --> 0:41:57.560
<v Speaker 1>you know, there'sn't the black narratives. There's just the mixed

0:41:57.640 --> 0:42:02.440
<v Speaker 1>race narratives, many st and stories to be told. And

0:42:02.600 --> 0:42:05.640
<v Speaker 1>I think that's really exciting, you know, and I'm excited

0:42:05.640 --> 0:42:12.480
<v Speaker 1>to um hopefully maybe be a partial. Yeah, speaking earlier, Preacher,

0:42:12.520 --> 0:42:14.560
<v Speaker 1>you're co starring that Dominic Cooper. You guys have been

0:42:14.560 --> 0:42:17.000
<v Speaker 1>together for a few years, do you find it increasingly

0:42:17.040 --> 0:42:20.799
<v Speaker 1>difficult to keep your private life just to keep that

0:42:20.880 --> 0:42:24.319
<v Speaker 1>away from public scrutiny. Yeah, I mean I don't really

0:42:24.360 --> 0:42:26.279
<v Speaker 1>know how to answer that question really because I don't

0:42:26.320 --> 0:42:29.680
<v Speaker 1>really look myself up too often. Key is, do not

0:42:30.120 --> 0:42:35.440
<v Speaker 1>under any circumstances google and self. Oh yeah, in general,

0:42:36.480 --> 0:42:39.879
<v Speaker 1>look some of it beyond you can under control, you know. Yeah,

0:42:40.520 --> 0:42:42.880
<v Speaker 1>you can't really lose too much sleep about it because

0:42:42.880 --> 0:42:45.000
<v Speaker 1>of that, you know, you drive yourself crazy. So I

0:42:45.080 --> 0:42:48.480
<v Speaker 1>just leave that. I knew that one aloud. And then

0:42:48.520 --> 0:42:51.000
<v Speaker 1>what's next for you? I didn't, I didn't notice. If anything,

0:42:51.600 --> 0:42:54.360
<v Speaker 1>just sticking with the show for now. Maybe I'll just

0:42:54.400 --> 0:42:56.480
<v Speaker 1>stick with the show and if Jeff will have me back,

0:42:56.719 --> 0:43:00.800
<v Speaker 1>stick with him. Otherwise you're lazy, and you're like, I'm

0:43:00.840 --> 0:43:04.120
<v Speaker 1>I just I have this, um, I quite like just

0:43:04.160 --> 0:43:06.440
<v Speaker 1>staring at windows really to be on a stage dreaming,

0:43:06.520 --> 0:43:08.320
<v Speaker 1>and you know what, I actually think that's an integral

0:43:08.360 --> 0:43:12.040
<v Speaker 1>part of a little an actor actually and being an artist.

0:43:12.040 --> 0:43:13.600
<v Speaker 1>I'm being alive, you know. I don't think we do

0:43:13.600 --> 0:43:16.160
<v Speaker 1>it often enough. I think that it'll probably all have

0:43:16.760 --> 0:43:19.799
<v Speaker 1>better blood blood blood pressure levels if we did, you know, yeah,

0:43:19.960 --> 0:43:23.560
<v Speaker 1>take it easier. But should I should get off these screens. Well,

0:43:23.600 --> 0:43:25.799
<v Speaker 1>on that note, I think I'm the last one you've

0:43:25.800 --> 0:43:29.040
<v Speaker 1>been talking to today, so thank you for talking to

0:43:29.040 --> 0:43:31.080
<v Speaker 1>me at the end of a very long Pleasure. Ruth

0:43:31.120 --> 0:43:32.600
<v Speaker 1>has a bit of a head cold, so we wish

0:43:32.600 --> 0:43:34.800
<v Speaker 1>her well. So sorry I sound really bummed up and

0:43:35.760 --> 0:43:38.759
<v Speaker 1>stuffy with my apologies put out for the sniffles. Good

0:43:38.840 --> 0:43:40.319
<v Speaker 1>luck with the premier and good luck with the movie

0:43:40.360 --> 0:43:52.520
<v Speaker 1>as it opens. Thanks, thank you, Pleasure. Thanks for listening everyone.

0:43:52.600 --> 0:43:54.680
<v Speaker 1>Remember to subscribe and check back next week when I'll

0:43:54.680 --> 0:43:58.160
<v Speaker 1>be talking to Moonlight writer and director Barry Jenkins. You've

0:43:58.200 --> 0:44:09.160
<v Speaker 1>been listening to playback at the Boa