1 00:00:03,520 --> 00:00:06,400 Speaker 1: This is Alec Baldwin and you were listening to Here's 2 00:00:06,440 --> 00:00:11,000 Speaker 1: the thing, I admit. I looked at Maggie Jillenhall's Wikipedia 3 00:00:11,039 --> 00:00:13,440 Speaker 1: page and it does get. 4 00:00:13,360 --> 00:00:14,160 Speaker 2: Some things right. 5 00:00:15,760 --> 00:00:18,919 Speaker 1: She was nominated for an Academy Award for her work 6 00:00:18,920 --> 00:00:22,239 Speaker 1: in Crazy Heart. She did get a Golden Globe Award 7 00:00:22,320 --> 00:00:25,759 Speaker 1: for her performance in the British TV show The Honorable Woman. 8 00:00:26,600 --> 00:00:29,520 Speaker 1: Maggie gillen Hall has worked in big budget films like 9 00:00:29,560 --> 00:00:33,000 Speaker 1: The Dark Knight and Nanny McPhee, but still finds time 10 00:00:33,120 --> 00:00:37,840 Speaker 1: for off Broadway plays. She did graduate from Columbia University 11 00:00:38,120 --> 00:00:41,600 Speaker 1: and she is married to the actor Peter Sarsgard, but 12 00:00:41,720 --> 00:00:44,400 Speaker 1: she did not appear in a production of Uncle Vanya, 13 00:00:44,680 --> 00:00:48,160 Speaker 1: directed by Martin Scorsese. Her new movie is The Kindergarten 14 00:00:48,240 --> 00:00:52,360 Speaker 1: Teacher and it comes out this Friday from Netflix. I 15 00:00:52,440 --> 00:00:56,200 Speaker 1: spoke with Jillen Hall last Friday at the Hampton's International 16 00:00:56,200 --> 00:00:59,920 Speaker 1: Film Festival Live at the Bay Street Theatre in sag Harbor. 17 00:01:01,280 --> 00:01:04,160 Speaker 1: You were born in New York and raised in LA 18 00:01:04,480 --> 00:01:09,480 Speaker 1: and what was your childhood like in terms of film 19 00:01:09,640 --> 00:01:12,440 Speaker 1: culture theater where you're like a big maven and you 20 00:01:12,480 --> 00:01:14,800 Speaker 1: watched everything. Were you home watching Gilligan's Island like the 21 00:01:14,840 --> 00:01:15,400 Speaker 1: rest of us. 22 00:01:17,040 --> 00:01:20,360 Speaker 3: Well, my parents were from New York. Well, my dad 23 00:01:20,400 --> 00:01:22,640 Speaker 3: was from Pennsylvania. My mom was from New York, from Brooklyn, 24 00:01:22,840 --> 00:01:25,880 Speaker 3: and they were kind of new to LA you know. 25 00:01:25,920 --> 00:01:28,920 Speaker 3: They were filmmakers and they drove across the country with 26 00:01:28,920 --> 00:01:30,800 Speaker 3: me when I was I think ten months old. 27 00:01:30,840 --> 00:01:32,000 Speaker 2: They were not there to make movies. 28 00:01:32,160 --> 00:01:37,360 Speaker 3: Yeah, yeah, and so they were lovers of movies. I 29 00:01:37,400 --> 00:01:41,840 Speaker 3: don't know. I wasn't really allowed to watch like Gilligan's Island, 30 00:01:41,880 --> 00:01:44,760 Speaker 3: to be honest, it's kind of that's good range. But 31 00:01:44,959 --> 00:01:48,320 Speaker 3: I was allowed to watch Sesame Street. My mom actually 32 00:01:48,360 --> 00:01:50,400 Speaker 3: was one of the people who she was like a 33 00:01:50,400 --> 00:01:52,280 Speaker 3: pa on Sesame Street. She was one of the people 34 00:01:52,280 --> 00:01:54,200 Speaker 3: who started the electric company. So I was allowed to 35 00:01:54,200 --> 00:02:01,040 Speaker 3: watch those and the Cosby Show that was what it's 36 00:02:01,080 --> 00:02:07,160 Speaker 3: allowed to watch. And a little bit of a Little 37 00:02:07,160 --> 00:02:10,200 Speaker 3: House on the Prairie, And after Little House in the 38 00:02:10,200 --> 00:02:12,799 Speaker 3: Prairie came on Chips and I was like, I kind 39 00:02:12,840 --> 00:02:15,200 Speaker 3: of like snuck in a little Chips. 40 00:02:15,760 --> 00:02:19,639 Speaker 2: What what? Okay? So what was it the Julia to Chips? 41 00:02:19,639 --> 00:02:20,760 Speaker 2: What'd you like about Chips? 42 00:02:20,800 --> 00:02:24,240 Speaker 3: I was really, can I be honest with you, that 43 00:02:24,360 --> 00:02:26,919 Speaker 3: was like one of the first kind of like whoa, 44 00:02:27,000 --> 00:02:29,440 Speaker 3: what is this feeling I'm feeling type of moment. 45 00:02:30,960 --> 00:02:33,000 Speaker 2: Likes motorcycle, like the. 46 00:02:33,160 --> 00:02:36,639 Speaker 3: Drivers and yeah, just the beginning, just the credits. 47 00:02:36,680 --> 00:02:39,200 Speaker 1: That was like, all, I that's why I like Gilligan's Island, 48 00:02:39,480 --> 00:02:42,720 Speaker 1: Remote Island Women There, Marion Ginger. 49 00:02:43,360 --> 00:02:44,600 Speaker 2: That was the first time I had some of those 50 00:02:44,639 --> 00:02:45,520 Speaker 2: feelings you have. 51 00:02:46,160 --> 00:02:49,200 Speaker 3: Yeah, But then my parents, It's funny, they were they 52 00:02:49,280 --> 00:02:54,280 Speaker 3: loved movies and every weekend we would go see a 53 00:02:54,320 --> 00:02:56,280 Speaker 3: movie for a long time, and they took us to 54 00:02:56,360 --> 00:02:58,560 Speaker 3: a lot of things that I would never have taken 55 00:02:58,600 --> 00:03:00,840 Speaker 3: my kids too, like really not appropriate. 56 00:03:01,360 --> 00:03:03,560 Speaker 1: So your parents are like they don't want you to 57 00:03:03,600 --> 00:03:06,079 Speaker 1: watch certain kind of TV. But then when you don't, 58 00:03:06,120 --> 00:03:07,480 Speaker 1: look now you know what I mean, they want to 59 00:03:07,480 --> 00:03:09,480 Speaker 1: go see like really eclectic films. 60 00:03:09,880 --> 00:03:11,919 Speaker 3: But it was really my husband who was like, oh, 61 00:03:11,919 --> 00:03:13,959 Speaker 3: you haven't seen this, you haven't seen Cassavetti's, you haven't 62 00:03:13,960 --> 00:03:15,960 Speaker 3: seen this, you haven't seen that, and like really clued 63 00:03:16,000 --> 00:03:21,120 Speaker 3: me into and also to you know, cool seventies movies 64 00:03:21,120 --> 00:03:24,960 Speaker 3: but also like really amazing actresses. I feel like he's 65 00:03:25,000 --> 00:03:27,799 Speaker 3: such as well, Like he showed me all the General 66 00:03:27,840 --> 00:03:32,560 Speaker 3: Rolands movies. He was. He used to tell me, I 67 00:03:32,639 --> 00:03:34,480 Speaker 3: feels are embarrassing saying this, because it was like a 68 00:03:34,560 --> 00:03:36,440 Speaker 3: sort of a I think he was just flirting with me, 69 00:03:36,520 --> 00:03:39,400 Speaker 3: but he's saying he thought I reminded him of Diane Keaton, 70 00:03:39,480 --> 00:03:41,800 Speaker 3: like only in my wildest dreams. I mean, she's amazing. 71 00:03:41,840 --> 00:03:44,040 Speaker 3: But he showed me some of her like great movies. 72 00:03:44,160 --> 00:03:48,640 Speaker 1: And I wanted to dinner with Peter once with another 73 00:03:48,640 --> 00:03:50,840 Speaker 1: girlfriend of his, and he said the same thing to her, 74 00:03:52,160 --> 00:03:53,760 Speaker 1: you remind me of Diane Keaton. 75 00:03:54,160 --> 00:03:56,360 Speaker 3: It totally works. Yeah, it totally works. 76 00:03:56,440 --> 00:03:57,320 Speaker 2: It works like a charm. 77 00:03:57,480 --> 00:04:02,080 Speaker 3: Young guys out there, keep that in your pocket. 78 00:04:02,480 --> 00:04:05,800 Speaker 2: But he's a movie nut, well expand he. 79 00:04:05,800 --> 00:04:09,200 Speaker 3: Really taught me like here's some here's some things that 80 00:04:09,200 --> 00:04:13,240 Speaker 3: that you should see. And then still we were actually 81 00:04:13,320 --> 00:04:15,320 Speaker 3: joking that someone was telling us we had to see 82 00:04:15,320 --> 00:04:18,240 Speaker 3: the Watergate documentary and I was like, yeah, that's like 83 00:04:18,279 --> 00:04:21,360 Speaker 3: a Peter date night movie. Like he's like, we have 84 00:04:21,400 --> 00:04:24,359 Speaker 3: a moment together. Actually, oh do you know that movie, Gomorah. 85 00:04:25,279 --> 00:04:29,359 Speaker 3: It's an amazing movie, but it is brutal. And he's like, oh, 86 00:04:29,440 --> 00:04:31,640 Speaker 3: we're just about to get married right near here. I 87 00:04:31,640 --> 00:04:34,280 Speaker 3: heard this movie is great. Let's go see Gomora, Yeah, 88 00:04:34,320 --> 00:04:37,000 Speaker 3: you know, or white Ribbon. He took me on. 89 00:04:38,960 --> 00:04:41,320 Speaker 2: Thanksgiving one. Let's watch straw Dogs. 90 00:04:41,920 --> 00:04:44,280 Speaker 3: Totally, you guys should go Thanksgiving. 91 00:04:44,640 --> 00:04:48,120 Speaker 1: So when you you grew up in LA and your 92 00:04:48,240 --> 00:04:51,480 Speaker 1: parents are making films and you start acting when you're 93 00:04:51,520 --> 00:04:52,919 Speaker 1: there when you're very young. 94 00:04:52,960 --> 00:04:56,080 Speaker 3: I mean not really, it's funny. I I think it's 95 00:04:56,120 --> 00:04:58,920 Speaker 3: in my Wikipedia page, like some of the other very 96 00:04:59,000 --> 00:05:00,000 Speaker 3: untrue things we were talking. 97 00:05:00,120 --> 00:05:01,679 Speaker 2: Your Wikipedia page is a mess. 98 00:05:01,760 --> 00:05:02,479 Speaker 4: Yeah, totally. 99 00:05:02,760 --> 00:05:06,440 Speaker 3: We're going to get to that. That that I that 100 00:05:06,560 --> 00:05:09,599 Speaker 3: my debut was in Waterland, you know, which was a 101 00:05:09,640 --> 00:05:11,480 Speaker 3: movie that my dad made. And in fact I saw 102 00:05:11,560 --> 00:05:14,000 Speaker 3: Waterland just the other day because they did a screening 103 00:05:14,040 --> 00:05:16,719 Speaker 3: of it at Colombian and invited my dad, and so 104 00:05:16,800 --> 00:05:19,120 Speaker 3: I went up to see it. I am in Waterland 105 00:05:20,440 --> 00:05:25,279 Speaker 3: for five seconds. And my dad had been making the 106 00:05:25,320 --> 00:05:28,599 Speaker 3: movie in London and they had maybe four weeks in 107 00:05:28,640 --> 00:05:32,159 Speaker 3: Pittsburgh and I was in school in LA and it 108 00:05:32,279 --> 00:05:34,120 Speaker 3: was like a way I could go see my dad. 109 00:05:35,040 --> 00:05:36,960 Speaker 3: It wasn't really my film debut. 110 00:05:37,839 --> 00:05:39,440 Speaker 2: Now, when you when you went to Columbia, where'd you 111 00:05:39,480 --> 00:05:39,960 Speaker 2: go study? 112 00:05:40,800 --> 00:05:42,520 Speaker 3: I studied English literature. 113 00:05:43,080 --> 00:05:44,680 Speaker 2: You didn't want to study theater drama. 114 00:05:44,880 --> 00:05:48,440 Speaker 3: I started doing plays there I did. I did a 115 00:05:48,480 --> 00:05:52,400 Speaker 3: lot first. I mean I had one teacher there who 116 00:05:52,480 --> 00:05:56,320 Speaker 3: I learned a lot from, this woman, Joan Rosenfels. But 117 00:05:56,440 --> 00:05:58,080 Speaker 3: I don't know. I guess I was a Columbian. I 118 00:05:58,080 --> 00:06:03,360 Speaker 3: sort of felt like Columbia, like I should study Columbia 119 00:06:03,400 --> 00:06:04,040 Speaker 3: does best? 120 00:06:04,520 --> 00:06:05,320 Speaker 2: Were not acting? 121 00:06:05,480 --> 00:06:05,840 Speaker 1: Yeah? 122 00:06:05,920 --> 00:06:07,400 Speaker 2: Yeah, I tell people that now. 123 00:06:07,839 --> 00:06:12,400 Speaker 1: Who are students who go to degree granting universities for drama? 124 00:06:12,800 --> 00:06:15,840 Speaker 1: And I say, don't just take drama and acting. Take 125 00:06:16,279 --> 00:06:17,480 Speaker 1: something where you're. 126 00:06:17,320 --> 00:06:18,960 Speaker 2: Going to read a lot of books, philosophy and the 127 00:06:19,080 --> 00:06:21,640 Speaker 2: nature history. But you're there, get to do. What's the 128 00:06:21,680 --> 00:06:23,520 Speaker 2: first production you do in New York? Do you remember? 129 00:06:24,640 --> 00:06:25,840 Speaker 3: Like my first one? 130 00:06:25,920 --> 00:06:27,960 Speaker 2: You had to Columbia? You did plays? What did you do? 131 00:06:28,279 --> 00:06:32,720 Speaker 3: What did I do at Columbia was the first one? Oh? 132 00:06:33,440 --> 00:06:38,000 Speaker 3: I did a student production of No Exit with this 133 00:06:38,040 --> 00:06:43,440 Speaker 3: guy who became my boyfriend named Dante, who was actually 134 00:06:43,440 --> 00:06:46,360 Speaker 3: twenty five and had already graduated from college. 135 00:06:47,040 --> 00:06:48,560 Speaker 2: He was in a student's production. 136 00:06:48,680 --> 00:06:48,960 Speaker 1: Doctor. 137 00:06:49,080 --> 00:06:50,760 Speaker 3: Yeah, he's sweet. 138 00:06:50,839 --> 00:06:53,680 Speaker 2: Me in prison. Now that happened correctly. 139 00:06:54,560 --> 00:06:57,840 Speaker 3: So I did that. I also did The Tempest and 140 00:06:57,920 --> 00:07:01,080 Speaker 3: I played prosper in that too. No, no, no, he 141 00:07:01,120 --> 00:07:04,400 Speaker 3: didn't make it in that one, but yeah, that was 142 00:07:04,400 --> 00:07:06,719 Speaker 3: the first one. Was no exit when. 143 00:07:06,880 --> 00:07:09,920 Speaker 1: When you graduated with a degree in literature, was acting 144 00:07:10,000 --> 00:07:11,640 Speaker 1: the goals or that what you wanted to do? 145 00:07:12,200 --> 00:07:14,960 Speaker 3: Yeah? I did. I always wanted to be an actress. 146 00:07:15,120 --> 00:07:17,440 Speaker 3: And I feel like, yeah, yeah, okay, yes, and college 147 00:07:17,440 --> 00:07:19,960 Speaker 3: you can read. Although there's so much you're supposed to read, 148 00:07:19,960 --> 00:07:23,240 Speaker 3: I feel like I never had read all of it. 149 00:07:23,480 --> 00:07:26,640 Speaker 3: But I feel like I really learned to write in college. 150 00:07:27,320 --> 00:07:29,880 Speaker 3: And I don't know about you, but I feel like 151 00:07:29,880 --> 00:07:32,760 Speaker 3: there's been so many times where I've had, you know, 152 00:07:33,000 --> 00:07:38,160 Speaker 3: lines I wanted changed, or a cut that I wanted shifted, 153 00:07:38,480 --> 00:07:41,200 Speaker 3: or something I had to sort out on a set 154 00:07:41,240 --> 00:07:43,560 Speaker 3: that I had to write an email or even have 155 00:07:43,600 --> 00:07:46,520 Speaker 3: a conversation where I had to organize my thoughts before 156 00:07:46,560 --> 00:07:50,000 Speaker 3: I had it. Where I think, thank god I went 157 00:07:50,040 --> 00:07:53,440 Speaker 3: to college because I was able to say what I 158 00:07:53,560 --> 00:07:54,320 Speaker 3: meant to say. 159 00:07:55,040 --> 00:07:56,160 Speaker 2: You know what helps if. 160 00:07:56,080 --> 00:07:59,840 Speaker 1: You have that background, Because did you feel there was 161 00:08:00,080 --> 00:08:00,800 Speaker 1: progression for you? 162 00:08:00,840 --> 00:08:01,440 Speaker 2: In the beginning? 163 00:08:01,480 --> 00:08:05,120 Speaker 1: You were timid and shot, you know, less assertive, And 164 00:08:05,360 --> 00:08:08,320 Speaker 1: I want to find out when did that begin to change. 165 00:08:08,360 --> 00:08:09,800 Speaker 1: Was there a moment you sat there and you said, 166 00:08:11,200 --> 00:08:13,400 Speaker 1: I need to defend my position and I think I 167 00:08:13,440 --> 00:08:14,640 Speaker 1: know what's best for me. 168 00:08:17,280 --> 00:08:21,120 Speaker 3: I think, you know, I don't know that it was. 169 00:08:21,720 --> 00:08:25,920 Speaker 3: I think basically it was progressive, right, like basically right. 170 00:08:26,160 --> 00:08:28,560 Speaker 3: I was younger and newer, and it was harder for 171 00:08:28,600 --> 00:08:31,240 Speaker 3: me to say what I wanted, and it's gotten easier 172 00:08:31,280 --> 00:08:33,800 Speaker 3: as I've had more experience. But I also think that 173 00:08:34,280 --> 00:08:39,480 Speaker 3: different sets give way to a different way of working. 174 00:08:39,559 --> 00:08:41,520 Speaker 3: So first, I'm a jobbing actress and I'm trying to 175 00:08:41,520 --> 00:08:44,000 Speaker 3: get jobs and I come in for two days or 176 00:08:44,120 --> 00:08:47,840 Speaker 3: one afternoon or whatever, and you're like, oh, okay, you 177 00:08:47,880 --> 00:08:52,520 Speaker 3: want me to do it like that. I know, I 178 00:08:52,600 --> 00:08:54,640 Speaker 3: don't know. It doesn't sound really very good to me, 179 00:08:55,080 --> 00:08:58,360 Speaker 3: but I'm afraid to say, let's say, or maybe I 180 00:08:58,520 --> 00:09:01,720 Speaker 3: do try to say and I get shut down and 181 00:09:01,760 --> 00:09:04,880 Speaker 3: I accept it and whatever. That's like, you know, it's 182 00:09:05,000 --> 00:09:07,400 Speaker 3: very hard to do when you're coming in for one second. 183 00:09:07,440 --> 00:09:10,080 Speaker 3: It's like going to a new school where everybody knows 184 00:09:10,080 --> 00:09:13,240 Speaker 3: each other and you're there for an afternoon. But then 185 00:09:13,280 --> 00:09:17,000 Speaker 3: like when I worked on Secretary, which was really early on, 186 00:09:17,320 --> 00:09:23,319 Speaker 3: I mean I was twenty two, I had a real 187 00:09:23,440 --> 00:09:26,120 Speaker 3: point of view about what I wanted to say. And 188 00:09:27,840 --> 00:09:30,520 Speaker 3: Steve Shanberg, who directed it was really interested in that. 189 00:09:30,880 --> 00:09:34,439 Speaker 3: And I also think he knew that things were happening 190 00:09:34,440 --> 00:09:36,280 Speaker 3: that I didn't have any idea were happening. 191 00:09:37,440 --> 00:09:38,320 Speaker 2: Wasn't all on the page. 192 00:09:38,440 --> 00:09:42,800 Speaker 3: And also my twenty two I think I'm being very intellectual, 193 00:09:42,880 --> 00:09:45,880 Speaker 3: and I've come from college and I studied feminist theory 194 00:09:45,960 --> 00:09:48,040 Speaker 3: and everything, you know, and I think I'm saying this, 195 00:09:48,200 --> 00:09:50,040 Speaker 3: and I think, I mean, he's twenty years older than me, 196 00:09:50,320 --> 00:09:53,240 Speaker 3: that he was able to see. I know she thinks 197 00:09:53,240 --> 00:09:57,120 Speaker 3: she's saying this, but this whole other thing is also happening. 198 00:10:00,080 --> 00:10:02,199 Speaker 3: Put all that in the film. But so that was 199 00:10:02,240 --> 00:10:05,640 Speaker 3: a space where I felt I was totally able to collaborative. Yes, 200 00:10:06,000 --> 00:10:07,720 Speaker 3: And then I went to work on a movie after that, 201 00:10:07,760 --> 00:10:10,680 Speaker 3: which I won't name, where I was totally shut down 202 00:10:11,080 --> 00:10:12,720 Speaker 3: and I was shocked by it. 203 00:10:13,600 --> 00:10:16,240 Speaker 1: I always remember, like you go to a movie and 204 00:10:16,280 --> 00:10:18,440 Speaker 1: this is just you know, my opinion, but like you 205 00:10:18,480 --> 00:10:20,440 Speaker 1: do a film and you want to be told what 206 00:10:20,520 --> 00:10:23,400 Speaker 1: to do. Basically, my whole thing is you're making the movie. 207 00:10:23,440 --> 00:10:25,880 Speaker 1: What movie are you making? How do I fit in? 208 00:10:26,640 --> 00:10:26,840 Speaker 2: I do. 209 00:10:27,040 --> 00:10:29,400 Speaker 1: One of the first movies I did, I was lucky. 210 00:10:29,920 --> 00:10:32,040 Speaker 1: I did this movie Working Girl with Mike Nichols, and 211 00:10:32,120 --> 00:10:33,400 Speaker 1: Nichols says, you're. 212 00:10:33,240 --> 00:10:34,000 Speaker 2: Gonna have sex. 213 00:10:34,400 --> 00:10:36,360 Speaker 1: He goes, you're gonna have sex with this woman and 214 00:10:36,400 --> 00:10:40,400 Speaker 1: she catches you having sex? How would you have sex 215 00:10:40,400 --> 00:10:43,160 Speaker 1: that are being caught? And I go, well, and I 216 00:10:43,160 --> 00:10:46,160 Speaker 1: try to think of, like what's the most comical thing, 217 00:10:46,200 --> 00:10:49,280 Speaker 1: and he goes, he goes, he was very gracious. He's like, 218 00:10:49,440 --> 00:10:52,120 Speaker 1: that's not a bad idea. That's not a bad idea. 219 00:10:53,080 --> 00:10:55,160 Speaker 1: But what I think really sells it if she's just 220 00:10:55,320 --> 00:10:58,280 Speaker 1: completely naked and you're completely naked, and she's just sitting 221 00:10:58,360 --> 00:11:01,960 Speaker 1: right on top of you and me and they actually 222 00:11:01,960 --> 00:11:06,920 Speaker 1: were like, oh, we had a much more chaste and 223 00:11:07,000 --> 00:11:08,480 Speaker 1: kind of like silly version of that. 224 00:11:08,840 --> 00:11:10,360 Speaker 2: And me and the girl were like. He was like, okay, 225 00:11:10,760 --> 00:11:12,480 Speaker 2: come come now, close off, let's go. 226 00:11:12,800 --> 00:11:15,600 Speaker 1: But then idea of that clarity time saving somebody who 227 00:11:15,640 --> 00:11:16,080 Speaker 1: comes as. 228 00:11:16,000 --> 00:11:19,720 Speaker 3: As this, Yeah, but the thing is, well, I always 229 00:11:20,960 --> 00:11:24,520 Speaker 3: use my fantasy movie I would have made with Mike 230 00:11:24,640 --> 00:11:28,320 Speaker 3: Nichols as like the example of if Mike Nichols is 231 00:11:28,360 --> 00:11:30,680 Speaker 3: directing this, yes, I want to be told exactly what 232 00:11:30,760 --> 00:11:33,640 Speaker 3: to do, please, Like I watch his movies and I'm like, 233 00:11:35,640 --> 00:11:40,920 Speaker 3: he's directing everybody. He's like pushing everybody further and deeper 234 00:11:41,000 --> 00:11:44,520 Speaker 3: and funnier and wilder than they ever would go. In fact, 235 00:11:44,559 --> 00:11:47,079 Speaker 3: the one time I worked with Mike Nichols was on 236 00:11:47,160 --> 00:11:49,800 Speaker 3: this reading. It's not a not a movie or even 237 00:11:49,920 --> 00:11:51,400 Speaker 3: a play that was ever produced. It was just a 238 00:11:53,160 --> 00:11:56,360 Speaker 3: few day long reading of a play that Alan Alda wrote. 239 00:11:56,720 --> 00:11:59,400 Speaker 3: Bob Ballaban directed the reading, but Mike was sort of 240 00:12:00,640 --> 00:12:03,960 Speaker 3: producing it. I guess he came up to me after 241 00:12:05,240 --> 00:12:09,439 Speaker 3: a day of rehearsal and he just said, she's feral 242 00:12:11,120 --> 00:12:16,280 Speaker 3: the character. And I've often thought that was the best 243 00:12:16,320 --> 00:12:18,800 Speaker 3: direction I've ever gotten, because it doesn't say, like, you know, 244 00:12:18,840 --> 00:12:20,160 Speaker 3: I don't know directors ever come up to you and 245 00:12:20,240 --> 00:12:22,880 Speaker 3: say like, I'm worried that we're not going to tell 246 00:12:22,920 --> 00:12:27,600 Speaker 3: that you're mad because you're acting so nice, and I'm 247 00:12:27,760 --> 00:12:30,160 Speaker 3: worried that it's not going to communicate, you know, Or 248 00:12:30,160 --> 00:12:33,120 Speaker 3: I'm afraid that you're going too far in this direction, 249 00:12:33,280 --> 00:12:38,000 Speaker 3: or I'm afraid that you're, you know, gonna confuse people 250 00:12:38,240 --> 00:12:41,520 Speaker 3: by something that you're doing. I have been told that before, 251 00:12:42,720 --> 00:12:46,000 Speaker 3: but Mike Nichols is basically going, like, go further, like 252 00:12:46,080 --> 00:12:48,920 Speaker 3: in any direction you could possibly go, Like what he 253 00:12:48,960 --> 00:12:52,559 Speaker 3: said to you, you know, go all the way she's feral. 254 00:12:53,000 --> 00:12:56,120 Speaker 3: I was playing Murray Currie and he's saying like she's 255 00:12:56,200 --> 00:12:57,880 Speaker 3: a wild animal. 256 00:12:58,000 --> 00:12:59,600 Speaker 2: She's a wildcat. 257 00:13:00,320 --> 00:13:02,839 Speaker 3: Because the other parts taken care of. She's Marie Curie. 258 00:13:03,120 --> 00:13:07,680 Speaker 2: You know, all the French radiologists knew that background. She 259 00:13:08,000 --> 00:13:09,840 Speaker 2: was wild, that Marie Currie. 260 00:13:10,360 --> 00:13:13,080 Speaker 3: So I want to be told what to do. Yes, 261 00:13:13,280 --> 00:13:15,720 Speaker 3: I wish for that kind of collaboration, but I don't. 262 00:13:16,160 --> 00:13:19,280 Speaker 3: I don't go in expecting that it's going to happen. 263 00:13:19,679 --> 00:13:21,160 Speaker 3: I wanted who. 264 00:13:21,000 --> 00:13:23,200 Speaker 1: Was a director you worked with, because I think you 265 00:13:23,200 --> 00:13:25,439 Speaker 1: and I maybe share this what you said where we're 266 00:13:25,480 --> 00:13:28,600 Speaker 1: not out to offend anyone, but you don't think of 267 00:13:28,600 --> 00:13:31,280 Speaker 1: somebody who it was really just great you loved working with. 268 00:13:32,960 --> 00:13:34,880 Speaker 2: Other than your current collaboration. We're going to get to that, 269 00:13:35,120 --> 00:13:36,160 Speaker 2: which I did love. 270 00:13:36,040 --> 00:13:41,040 Speaker 3: My current collaboration. I have a few that I've really loved. 271 00:13:42,360 --> 00:13:44,960 Speaker 2: Martin Scorsese on Vanya, right that. 272 00:13:45,240 --> 00:13:50,680 Speaker 3: Martin Scorsese directed, supposedly according to Wikipedia, me and my. 273 00:13:50,720 --> 00:13:54,800 Speaker 5: Husband and and uncle Vanya. 274 00:13:56,120 --> 00:13:59,680 Speaker 3: At CSC's a good tiny black box theater in New York. 275 00:13:59,800 --> 00:14:02,240 Speaker 1: Is a Martin Scorsese directed the check out and I'm going, 276 00:14:02,480 --> 00:14:05,280 Speaker 1: my god, this is like the seismic thing that got 277 00:14:05,320 --> 00:14:07,080 Speaker 1: by me. It's like, it's like someone will come to going, 278 00:14:07,160 --> 00:14:10,040 Speaker 1: you know, the Lindberg baby was kidnapped, right totally. 279 00:14:10,160 --> 00:14:11,160 Speaker 2: No, I didn't know that. 280 00:14:11,280 --> 00:14:14,600 Speaker 3: And then in this Wikipedia entry that Alec just showed me, 281 00:14:14,679 --> 00:14:17,720 Speaker 3: it then goes on to quote a terrible review of 282 00:14:17,800 --> 00:14:19,360 Speaker 3: me in the play. 283 00:14:20,520 --> 00:14:25,080 Speaker 2: That's not a good section of that not direct No, but. 284 00:14:25,040 --> 00:14:27,320 Speaker 3: Austin Pendleton did. And he is one of the most 285 00:14:27,320 --> 00:14:30,880 Speaker 3: incredible directors I've ever worked with in my life. Austin. 286 00:14:32,960 --> 00:14:36,960 Speaker 3: It's funny Austin asked me to do uh Uncle Vanya 287 00:14:37,400 --> 00:14:41,720 Speaker 3: and he when when they offered it to me, they 288 00:14:41,720 --> 00:14:44,880 Speaker 3: sent me this interview with Austin and it basically talks 289 00:14:44,880 --> 00:14:47,960 Speaker 3: about this sort of incredible way that he likes to 290 00:14:48,000 --> 00:14:52,200 Speaker 3: work with actors, you know, where everyone's free to respond 291 00:14:52,240 --> 00:14:54,240 Speaker 3: to each other in the moment on stage. You know, 292 00:14:54,320 --> 00:14:56,720 Speaker 3: all the fantasies that actors have of a way that 293 00:14:56,760 --> 00:15:00,080 Speaker 3: you could actually really work together, which rarely happens. And 294 00:15:00,120 --> 00:15:03,280 Speaker 3: I was like, Austin, I'd love to do this, I'd 295 00:15:03,320 --> 00:15:05,640 Speaker 3: love to work this way, you know, where it's all 296 00:15:06,040 --> 00:15:08,400 Speaker 3: just reacting to the reality of the moment with the 297 00:15:08,440 --> 00:15:12,800 Speaker 3: other person on stage and how everybody says that's what 298 00:15:12,840 --> 00:15:15,040 Speaker 3: they want to do, how are you actually going to 299 00:15:15,160 --> 00:15:17,720 Speaker 3: do it? And he's like, well, you got to come 300 00:15:17,760 --> 00:15:20,600 Speaker 3: and work with me to find out. And the truth is, 301 00:15:20,880 --> 00:15:25,960 Speaker 3: I don't know how he created this situation where everybody 302 00:15:26,000 --> 00:15:30,560 Speaker 3: on stage had deep respect for each other, even though 303 00:15:32,160 --> 00:15:34,200 Speaker 3: it was clear to me that there were actors who 304 00:15:34,200 --> 00:15:37,320 Speaker 3: were stronger than others that there were, but it made 305 00:15:37,440 --> 00:15:39,560 Speaker 3: no difference, you know. I know one way he did it. 306 00:15:39,680 --> 00:15:43,560 Speaker 3: I remember the first day of rehearsal, he said, however, 307 00:15:43,640 --> 00:15:50,200 Speaker 3: you imagined Sonia, whatever fantasy you had of who Sonya 308 00:15:50,320 --> 00:15:52,360 Speaker 3: was going to be when you read this play, Sonia 309 00:15:52,600 --> 00:15:56,120 Speaker 3: is her. Sonia's this person, and all the feelings you 310 00:15:56,200 --> 00:16:01,120 Speaker 3: have about this person, about the way that that ricochets 311 00:16:01,320 --> 00:16:04,080 Speaker 3: off what you anticipated when you read the play, that's 312 00:16:04,120 --> 00:16:07,280 Speaker 3: all useful. But Sonya is her. And so we did 313 00:16:07,320 --> 00:16:11,520 Speaker 3: create this little black box theater situation where and I 314 00:16:11,560 --> 00:16:14,160 Speaker 3: did it with my husband and he's a brilliant actor, 315 00:16:15,000 --> 00:16:17,520 Speaker 3: so that was cool. And we got to pretend we 316 00:16:17,520 --> 00:16:19,480 Speaker 3: were having an affair. Both checkofs we did. We were 317 00:16:19,480 --> 00:16:21,840 Speaker 3: playing people who were having affairs, which was really hot 318 00:16:21,880 --> 00:16:26,120 Speaker 3: and great, you know, but I loved working with Austin. 319 00:16:26,200 --> 00:16:32,000 Speaker 3: I also loved I loved Hugo Blick, who directed The 320 00:16:32,000 --> 00:16:32,760 Speaker 3: Honorable Woman. 321 00:16:34,280 --> 00:16:36,440 Speaker 1: You got a Golden Club for that. Yeah, that was 322 00:16:36,440 --> 00:16:38,320 Speaker 1: that you mentioned me. That was one of the longest 323 00:16:38,320 --> 00:16:40,360 Speaker 1: times you were overseas and away from home. 324 00:16:40,520 --> 00:16:43,360 Speaker 3: Yeah, and it's funny. I really admire what you said 325 00:16:43,400 --> 00:16:50,600 Speaker 3: about how for you your trust is a director's to lose. 326 00:16:52,480 --> 00:16:55,480 Speaker 3: I wish I could be like that, but I'm not. 327 00:16:56,440 --> 00:17:04,400 Speaker 3: And I go in with my guard up and secretly 328 00:17:05,160 --> 00:17:11,199 Speaker 3: I want the deepest, most intense artistic collaboration possible, but 329 00:17:12,359 --> 00:17:16,600 Speaker 3: I don't. It's not easy for me. And with Hugo, 330 00:17:16,960 --> 00:17:19,960 Speaker 3: I think we were both like that. And you know, 331 00:17:20,000 --> 00:17:22,800 Speaker 3: it was eight hours of television. I'd only ever done 332 00:17:23,320 --> 00:17:26,280 Speaker 3: a two hour movie before. I didn't know how to 333 00:17:26,320 --> 00:17:29,080 Speaker 3: do that. And I'm in every minute of every scene 334 00:17:29,080 --> 00:17:33,160 Speaker 3: and it's super intense. Yeah, and it could have been terrible, 335 00:17:33,520 --> 00:17:36,080 Speaker 3: you know. But I remember about two thirds of the 336 00:17:36,080 --> 00:17:38,760 Speaker 3: way through, somebody I came over to him and I 337 00:17:39,160 --> 00:17:41,000 Speaker 3: just sort of said something in his ear about the scene. Oh, 338 00:17:41,000 --> 00:17:42,439 Speaker 3: I think we need to shift this and actually can 339 00:17:42,480 --> 00:17:44,160 Speaker 3: we move this here? And could this happen over here? 340 00:17:44,400 --> 00:17:47,600 Speaker 3: Just almost shorthand at this point, and he was like, yeah, absolutely, 341 00:17:48,320 --> 00:17:50,800 Speaker 3: and someone sitting next to him said, do you just 342 00:17:50,840 --> 00:17:54,960 Speaker 3: do whatever she says? And he said he's English. Also 343 00:17:55,000 --> 00:17:58,639 Speaker 3: he said I trust her completely like that, and I 344 00:17:59,200 --> 00:18:03,480 Speaker 3: took it in like, whoa, Actually he was kidding, but 345 00:18:03,560 --> 00:18:07,320 Speaker 3: I kind of think he does. And then at the 346 00:18:07,480 --> 00:18:09,879 Speaker 3: very end, on the very very last day, I had 347 00:18:09,920 --> 00:18:12,399 Speaker 3: this voiceover to record which plays at the beginning of 348 00:18:12,440 --> 00:18:18,880 Speaker 3: every episode, and it's basically about trust, and it basically, 349 00:18:18,920 --> 00:18:23,399 Speaker 3: I think it says something like you have to just 350 00:18:23,600 --> 00:18:26,000 Speaker 3: I mean not in these words, but what it meant 351 00:18:26,200 --> 00:18:30,400 Speaker 3: was you either trust nobody or you just jump off 352 00:18:30,440 --> 00:18:33,840 Speaker 3: the cliff and you trust. And I was like, he'd 353 00:18:33,880 --> 00:18:35,760 Speaker 3: put me in this little room to record it because 354 00:18:35,760 --> 00:18:38,359 Speaker 3: we'd forgotten to record it, and I was like, you go, 355 00:18:39,359 --> 00:18:41,760 Speaker 3: do you mind if I say it to you? And 356 00:18:41,800 --> 00:18:43,679 Speaker 3: so he came in the room with me, and I 357 00:18:43,720 --> 00:18:47,200 Speaker 3: basically the subtext I guess of what I was saying 358 00:18:47,200 --> 00:18:49,959 Speaker 3: to him was I trust you. 359 00:18:49,960 --> 00:18:50,240 Speaker 4: You know. 360 00:18:53,200 --> 00:18:56,880 Speaker 1: Maggie Jillenhall, she said in an interview, but she would 361 00:18:56,880 --> 00:18:59,440 Speaker 1: probably be a different person by the end of her 362 00:18:59,440 --> 00:19:28,639 Speaker 1: work on The Honorable Woman. This is Alec Baldwin and 363 00:19:28,720 --> 00:19:33,200 Speaker 1: you're listening to. Here's the thing. Sarah Colangelo directed Maggie 364 00:19:33,280 --> 00:19:37,480 Speaker 1: Jillenhole's new movie, The Kindergarten Teacher. Jillen Houll told me 365 00:19:37,560 --> 00:19:40,119 Speaker 1: she heard about the project at a holiday party. 366 00:19:40,760 --> 00:19:44,040 Speaker 3: Two people at the party said, have you heard about 367 00:19:44,040 --> 00:19:47,719 Speaker 3: this script The Kindergarten Teacher? It's coming to you And 368 00:19:47,800 --> 00:19:49,880 Speaker 3: I don't know about you, but for me, and it's great. 369 00:19:50,240 --> 00:19:53,320 Speaker 3: And for me, I think it's really really rare to 370 00:19:53,359 --> 00:19:55,960 Speaker 3: read a great script, and also to have two people 371 00:19:56,000 --> 00:19:57,880 Speaker 3: in one night out of nowhere to say like, there's 372 00:19:57,920 --> 00:20:02,600 Speaker 3: this great script and it's coming to you. I was like, okay, okay. 373 00:20:02,840 --> 00:20:04,960 Speaker 3: I was waiting every day after that for the script 374 00:20:05,040 --> 00:20:08,000 Speaker 3: to come, and it took a while, and when it came, 375 00:20:08,040 --> 00:20:12,959 Speaker 3: I read it and I I had that feeling like 376 00:20:13,000 --> 00:20:15,520 Speaker 3: you just I've had it like three times, you know 377 00:20:15,960 --> 00:20:18,680 Speaker 3: where I was like, and also, if you have seen 378 00:20:18,720 --> 00:20:21,080 Speaker 3: the movie, and I won't give anything away, the ending 379 00:20:21,240 --> 00:20:24,480 Speaker 3: is pretty great. And I closed the last page of 380 00:20:24,480 --> 00:20:28,680 Speaker 3: the script and I was like, I want this movie, 381 00:20:28,960 --> 00:20:30,520 Speaker 3: you know. And it wasn't clear to me that it 382 00:20:30,560 --> 00:20:33,240 Speaker 3: was offered to me, which actually just increased my appetite 383 00:20:33,240 --> 00:20:36,600 Speaker 3: for it more. Of course, they say now it always was, 384 00:20:36,680 --> 00:20:39,840 Speaker 3: but I didn't know that, and one of the producer's 385 00:20:39,880 --> 00:20:42,199 Speaker 3: mothers was having an operation in the hospital, and like 386 00:20:42,240 --> 00:20:44,200 Speaker 3: nobody got back to me for a few days after 387 00:20:44,240 --> 00:20:47,679 Speaker 3: I like really energetically raised my hand and was like, yes, please, 388 00:20:47,800 --> 00:20:50,879 Speaker 3: what do I gotta do? And again, just waiting just 389 00:20:50,920 --> 00:20:52,640 Speaker 3: made me want it more. And then then they came 390 00:20:52,680 --> 00:20:54,200 Speaker 3: back and they were like, oh, yes, we always meant to. 391 00:20:55,840 --> 00:20:56,040 Speaker 5: Yeah. 392 00:20:56,040 --> 00:21:01,680 Speaker 3: It's based on an Israeli movie, which I haven't seen. Literally, yeah, yeah, 393 00:21:01,720 --> 00:21:04,600 Speaker 3: I mean I probably should see it now. I've heard 394 00:21:04,680 --> 00:21:08,440 Speaker 3: wonderful things about it, and I've heard that narratively it's 395 00:21:08,560 --> 00:21:13,520 Speaker 3: very similar, and yet it tells an almost entirely different story. 396 00:21:13,600 --> 00:21:22,480 Speaker 3: So our movie, I think, is really about the consequences 397 00:21:22,920 --> 00:21:27,439 Speaker 3: of what happens when you starve a vibrant woman's mind, 398 00:21:29,520 --> 00:21:32,480 Speaker 3: told from the point of view of a group of 399 00:21:32,520 --> 00:21:37,679 Speaker 3: women filmmakers, and our conclusion is that it's fucking dire, 400 00:21:38,240 --> 00:21:41,600 Speaker 3: you know. That's and I think this Israeli movie, which 401 00:21:41,600 --> 00:21:47,080 Speaker 3: has a very similar narrative, is much more about masculinity 402 00:21:47,320 --> 00:21:51,840 Speaker 3: in Israel and art in a country at war, and 403 00:21:52,040 --> 00:21:54,640 Speaker 3: very different things, even though the story itself is very similar. 404 00:21:55,560 --> 00:21:57,359 Speaker 3: So yeah, so I got the script then and I 405 00:21:57,640 --> 00:22:01,120 Speaker 3: signed up and then, you know, it was not easy 406 00:22:01,240 --> 00:22:05,560 Speaker 3: to get our money. In fact, at Sundance when we 407 00:22:05,600 --> 00:22:09,320 Speaker 3: first premiered, I shook the hands of fifty executive producers 408 00:22:09,359 --> 00:22:13,240 Speaker 3: who had, you know, all together somehow helped us cobble 409 00:22:13,280 --> 00:22:14,960 Speaker 3: together the money to make it. So we spent a 410 00:22:15,000 --> 00:22:19,480 Speaker 3: while doing that, and then we made it in twenty 411 00:22:19,680 --> 00:22:21,440 Speaker 3: three days in New York. 412 00:22:22,000 --> 00:22:25,040 Speaker 2: In New York, now, when you work with. 413 00:22:26,400 --> 00:22:28,240 Speaker 1: This sounds like a silly thing, but I always think 414 00:22:28,280 --> 00:22:32,400 Speaker 1: about this in terms of the brevity of schedules now 415 00:22:32,440 --> 00:22:35,320 Speaker 1: and the pressure to shoot efficiently now. 416 00:22:35,359 --> 00:22:38,399 Speaker 2: But with children, I find it's very specific. 417 00:22:39,000 --> 00:22:42,320 Speaker 1: And in the movie from My Money, the young boy 418 00:22:42,400 --> 00:22:43,080 Speaker 1: what's his name. 419 00:22:43,880 --> 00:22:49,000 Speaker 5: Jimmy Parker Parker, the boy who we had the funniest 420 00:22:49,000 --> 00:22:52,040 Speaker 5: moment yesterday because I said, this kid's fantastic after the movie, 421 00:22:52,160 --> 00:22:53,520 Speaker 5: and somebody from the festival said. 422 00:22:53,359 --> 00:22:57,840 Speaker 2: Well, he loves Boss Baby. He's like, how old is he? 423 00:22:57,960 --> 00:22:58,280 Speaker 2: Like five? 424 00:22:58,600 --> 00:22:59,320 Speaker 3: He's six. 425 00:22:59,600 --> 00:23:02,080 Speaker 1: So we got and I'm like, this is amazing. You're 426 00:23:02,119 --> 00:23:05,200 Speaker 1: doing like this really hypnotic, creepy drama, which is great. 427 00:23:06,200 --> 00:23:10,200 Speaker 1: And I'm in Boss Baby. I mean, you and I 428 00:23:10,359 --> 00:23:11,600 Speaker 1: have so much in common. 429 00:23:11,280 --> 00:23:13,080 Speaker 2: You and I. You know, we're both in the business, 430 00:23:13,800 --> 00:23:15,920 Speaker 2: different wings of the business. 431 00:23:15,640 --> 00:23:19,159 Speaker 1: Maybe Parker, but we had a lot of fun with him. 432 00:23:19,200 --> 00:23:20,800 Speaker 1: But when you're working with somebody, like a lot of 433 00:23:20,840 --> 00:23:24,720 Speaker 1: times kids are performing and the kids that climb the 434 00:23:24,760 --> 00:23:28,159 Speaker 1: ladder a little bit in that division, they're very you know, 435 00:23:28,480 --> 00:23:31,160 Speaker 1: they're ready to come, you know, sing tomorrow on Broadway. 436 00:23:31,760 --> 00:23:33,320 Speaker 2: And he's not. 437 00:23:33,640 --> 00:23:36,159 Speaker 1: No, he's very real. 438 00:23:36,440 --> 00:23:39,760 Speaker 2: Yeah, And was that a decision? You and she talked 439 00:23:39,800 --> 00:23:41,000 Speaker 2: about you and yeah. 440 00:23:41,040 --> 00:23:43,520 Speaker 3: I mean I felt a couple of things very strongly. 441 00:23:43,600 --> 00:23:45,720 Speaker 3: I have a child who's six and who was five 442 00:23:45,760 --> 00:23:48,280 Speaker 3: when we made it, just like Parker's five, so it's 443 00:23:48,320 --> 00:23:50,960 Speaker 3: hard to remember what it's like to be five. I mean, 444 00:23:51,160 --> 00:23:54,760 Speaker 3: how different the world is unless you're five. You have 445 00:23:54,800 --> 00:23:57,200 Speaker 3: a five year old, I know, right yeah, or unless 446 00:23:57,200 --> 00:23:59,080 Speaker 3: you're living unless you're living with a five year old, 447 00:23:59,200 --> 00:24:03,600 Speaker 3: and then you're in that mind kind of. So I 448 00:24:03,680 --> 00:24:06,119 Speaker 3: felt two things. I felt. I almost didn't do the 449 00:24:06,160 --> 00:24:10,639 Speaker 3: movie at one point because I thought, no movie, no 450 00:24:10,720 --> 00:24:13,280 Speaker 3: matter how much I love it or think it's important 451 00:24:13,359 --> 00:24:19,760 Speaker 3: or whatever, is worth disturbing a child, even for a 452 00:24:19,800 --> 00:24:24,119 Speaker 3: few minutes. So I was like, how are we going 453 00:24:24,200 --> 00:24:27,560 Speaker 3: to do this? And I also don't think five six 454 00:24:27,640 --> 00:24:30,119 Speaker 3: year olds are actors. I just don't believe that, and 455 00:24:30,119 --> 00:24:32,000 Speaker 3: I don't think it's fair to ask them to be actors. 456 00:24:32,040 --> 00:24:34,560 Speaker 3: So I felt like so basically we worked in a 457 00:24:34,600 --> 00:24:37,000 Speaker 3: couple ways. I learned this from Emma Thompson, actually, who 458 00:24:38,160 --> 00:24:41,399 Speaker 3: I'm in love with, and who who did Nanny McFee. 459 00:24:41,400 --> 00:24:43,439 Speaker 3: We did Nani McFee together, and we had tons of kids, 460 00:24:44,040 --> 00:24:47,480 Speaker 3: and so often, especially with the very littlest one, we 461 00:24:47,520 --> 00:24:49,920 Speaker 3: would just be like, stand on the X now, look 462 00:24:49,920 --> 00:24:52,200 Speaker 3: at that big black X on the on the wall, 463 00:24:52,480 --> 00:24:55,040 Speaker 3: and turn your head when I say so when I clap, 464 00:24:55,200 --> 00:24:57,240 Speaker 3: turn your head and say I don't want to go, 465 00:24:58,920 --> 00:25:00,760 Speaker 3: and he would we would clap, turn his head, he'd 466 00:25:00,760 --> 00:25:03,520 Speaker 3: say I don't want to go, and I would say no, no, no, 467 00:25:03,680 --> 00:25:05,520 Speaker 3: sing it like me, I don't want to go, I 468 00:25:05,720 --> 00:25:08,920 Speaker 3: want to go. No, and then he would just sort 469 00:25:08,920 --> 00:25:10,720 Speaker 3: of repeat. I would be like, you have to sing 470 00:25:10,800 --> 00:25:14,160 Speaker 3: it like to Parker sing it, and so then he'd 471 00:25:14,240 --> 00:25:18,040 Speaker 3: kind of just imitate my inflections. That was one way 472 00:25:18,080 --> 00:25:20,000 Speaker 3: we worked with him, so that it was just a song. 473 00:25:20,520 --> 00:25:22,879 Speaker 3: It wasn't like he actually you can't say to a 474 00:25:22,920 --> 00:25:25,119 Speaker 3: five year old I wanted to get in touch with 475 00:25:25,480 --> 00:25:28,399 Speaker 3: away and with you. I'm like, but the other thing 476 00:25:28,480 --> 00:25:31,639 Speaker 3: you can do with five year olds is that they 477 00:25:31,720 --> 00:25:34,840 Speaker 3: will forget that the camera's on them sort of. So 478 00:25:35,200 --> 00:25:37,560 Speaker 3: we ran all the kindergarten stuff as if it were 479 00:25:37,560 --> 00:25:39,919 Speaker 3: a kindergarten. I mean, you see them singing those songs 480 00:25:40,000 --> 00:25:42,680 Speaker 3: with me, or painting or you're not going to say, Okay, 481 00:25:42,840 --> 00:25:44,800 Speaker 3: we're going to pretend to paint, or we're going to 482 00:25:44,840 --> 00:25:47,080 Speaker 3: like pretend to write x's on a piece of paper. 483 00:25:47,160 --> 00:25:50,800 Speaker 3: We're just going to do it. And we choreographed the camera. 484 00:25:51,080 --> 00:25:52,760 Speaker 3: I would sort of see where the camera was going, 485 00:25:53,520 --> 00:25:56,520 Speaker 3: almost like a documentary, and then I would just like 486 00:25:57,000 --> 00:25:59,240 Speaker 3: scoot over to wherever the camera was and begin the 487 00:25:59,320 --> 00:26:01,680 Speaker 3: scene with whoever I needed to be talking to in 488 00:26:01,760 --> 00:26:05,280 Speaker 3: that scene. And then the other funny thing about kids 489 00:26:05,320 --> 00:26:09,159 Speaker 3: and the like short schedule is there were quite a 490 00:26:09,240 --> 00:26:12,600 Speaker 3: few times where I did scenes with our first ad 491 00:26:12,840 --> 00:26:15,000 Speaker 3: or our gaffer who would read off camera for me 492 00:26:15,240 --> 00:26:18,960 Speaker 3: because the little boy had to go. And I'd be like, 493 00:26:19,960 --> 00:26:24,440 Speaker 3: this is really weird, but huh, you know, like the 494 00:26:24,480 --> 00:26:26,399 Speaker 3: way you can trip yourself out as an actor kind 495 00:26:26,400 --> 00:26:28,200 Speaker 3: of and you can be like, oh, there's helicopters going 496 00:26:28,240 --> 00:26:29,960 Speaker 3: over all the time, we have to keep stopping the middle. 497 00:26:30,000 --> 00:26:31,800 Speaker 3: I'm really frustrated, and then all of a sudden, the 498 00:26:31,880 --> 00:26:35,440 Speaker 3: frustration just goes back into the scene. So this one, 499 00:26:35,480 --> 00:26:37,760 Speaker 3: I was like, oh, this is like a hairy fifty 500 00:26:37,840 --> 00:26:40,720 Speaker 3: year old guy with like a scrubby you know, beard, 501 00:26:40,960 --> 00:26:44,680 Speaker 3: you know, no, no, our first ad our, first d 502 00:26:45,720 --> 00:26:49,080 Speaker 3: And he's lying on the ground slating also, and I'd 503 00:26:49,119 --> 00:26:51,359 Speaker 3: be like, oh, but I'm okay. So I'm basically talking 504 00:26:51,400 --> 00:26:53,440 Speaker 3: to this child as if he's a man. You know, 505 00:26:53,520 --> 00:26:55,360 Speaker 3: you just figure out the way to throw it back 506 00:26:55,440 --> 00:26:57,399 Speaker 3: in because what else are you going to do? 507 00:26:57,560 --> 00:26:57,679 Speaker 2: Well? 508 00:26:57,680 --> 00:26:59,680 Speaker 1: I'd love it if on my next film you would 509 00:26:59,720 --> 00:27:01,720 Speaker 1: come and do that ex acting with me. Would you 510 00:27:01,800 --> 00:27:04,359 Speaker 1: be there for me? It would be my mirror Rostova, 511 00:27:04,440 --> 00:27:07,720 Speaker 1: you know, like off the sack okay, and turned to me, 512 00:27:08,840 --> 00:27:10,040 Speaker 1: I said, I didn't. 513 00:27:09,840 --> 00:27:14,119 Speaker 2: Want to go to prison. I don't want to go 514 00:27:14,200 --> 00:27:16,440 Speaker 2: to prison for TAXIV. I don't want to go to 515 00:27:16,520 --> 00:27:20,359 Speaker 2: prison for taxi vasion. You know we could do that. 516 00:27:21,040 --> 00:27:22,400 Speaker 2: You'd be my acting cart. 517 00:27:24,240 --> 00:27:27,280 Speaker 1: The now. 518 00:27:27,320 --> 00:27:30,120 Speaker 2: What about Sarah? How many films had she made before 519 00:27:30,200 --> 00:27:30,960 Speaker 2: she made this film. 520 00:27:31,160 --> 00:27:34,320 Speaker 3: I loved working with Sarah and it was a totally 521 00:27:34,600 --> 00:27:38,600 Speaker 3: different kind of experience than I had ever had before, 522 00:27:39,680 --> 00:27:42,000 Speaker 3: and in some ways I like to think it's it 523 00:27:42,119 --> 00:27:44,720 Speaker 3: was a very feminine set. Right, Sarah wrote and directed it, 524 00:27:44,840 --> 00:27:48,760 Speaker 3: our financiers were women, our producers were women. It's all 525 00:27:48,800 --> 00:27:53,320 Speaker 3: about a woman. But I'd worked with a lot of 526 00:27:53,400 --> 00:27:57,000 Speaker 3: other women and had very different kinds directly, I have. 527 00:27:57,160 --> 00:27:58,760 Speaker 3: I've worked with many. I mean even on The Deuce 528 00:27:58,840 --> 00:28:01,800 Speaker 3: last season, seven out of eight directors were women. 529 00:28:02,160 --> 00:28:04,320 Speaker 5: You know, is there a difference, Well. 530 00:28:04,240 --> 00:28:06,920 Speaker 3: There is a difference, Yeah, there is, but that's not 531 00:28:07,200 --> 00:28:11,320 Speaker 3: necessarily what made I think my collaboration with Sarah and 532 00:28:11,440 --> 00:28:18,919 Speaker 3: are set on the kindergarten teacher. So I don't know, unusual. Yeah, feminine, 533 00:28:19,720 --> 00:28:22,520 Speaker 3: but I don't even totally know what that means. Even 534 00:28:22,560 --> 00:28:25,960 Speaker 3: when I watched the movie, I'm like, this is feminine, 535 00:28:26,920 --> 00:28:31,080 Speaker 3: Like what does that mean and why? And my husband 536 00:28:31,119 --> 00:28:33,720 Speaker 3: after he saw it last night, he was like, I 537 00:28:33,800 --> 00:28:37,760 Speaker 3: wish someone would send this to Senator Flake. But I 538 00:28:37,800 --> 00:28:41,440 Speaker 3: don't really know totally why. Right, it's not political movie, 539 00:28:41,680 --> 00:28:48,280 Speaker 3: but it's it's like somehow it's really kind of straight, 540 00:28:49,240 --> 00:28:52,200 Speaker 3: purely feminine thing. You know, it makes me think of 541 00:28:52,280 --> 00:28:55,040 Speaker 3: the piano, not this movie. I would never compare it 542 00:28:55,120 --> 00:28:56,840 Speaker 3: to that, But the experience I had when I saw 543 00:28:56,920 --> 00:28:59,360 Speaker 3: the Piano and I was like sixteen or something and 544 00:28:59,440 --> 00:29:03,680 Speaker 3: I had never seen anything like it, I was like, what, Like, 545 00:29:04,600 --> 00:29:12,640 Speaker 3: I guess I think in some ways, girls women my age, 546 00:29:13,440 --> 00:29:15,880 Speaker 3: we get so used to having to relate to a 547 00:29:15,920 --> 00:29:18,480 Speaker 3: male character or even let's just say like a sort 548 00:29:18,520 --> 00:29:21,280 Speaker 3: of masculine point of view on something. We're like, yeah, yeah, 549 00:29:21,320 --> 00:29:23,440 Speaker 3: that's not exactly my experience, but I could twist it 550 00:29:23,480 --> 00:29:26,400 Speaker 3: around and make it relatable to me, and that muscle 551 00:29:26,480 --> 00:29:29,760 Speaker 3: is very exercise. I think in most women we're like, yeah, yeah, 552 00:29:30,240 --> 00:29:33,040 Speaker 3: get I know it's not exactly my way through the world, 553 00:29:33,160 --> 00:29:36,920 Speaker 3: but I could. I could just twist a little and 554 00:29:37,040 --> 00:29:40,160 Speaker 3: it's cool. I get it, and thank God, because otherwise 555 00:29:40,160 --> 00:29:41,920 Speaker 3: we'd have very little to relate to. But then, like 556 00:29:42,000 --> 00:29:45,120 Speaker 3: when I saw the Piano, I was like, WHOA. I 557 00:29:45,240 --> 00:29:50,640 Speaker 3: also relaxed. I don't have to twist anything, and I 558 00:29:50,760 --> 00:29:53,960 Speaker 3: felt that way when I read Sarah's script, I just 559 00:29:54,080 --> 00:29:55,280 Speaker 3: like went straight. 560 00:29:55,040 --> 00:29:58,440 Speaker 1: In and when I saw this last night, but I 561 00:29:58,480 --> 00:30:00,840 Speaker 1: loved it. It's not a bad I don't give it away, 562 00:30:00,840 --> 00:30:02,480 Speaker 1: but the dynamic of the home is not all bad. 563 00:30:03,120 --> 00:30:06,800 Speaker 1: But there's things that maybe in my mind you know, 564 00:30:07,560 --> 00:30:10,840 Speaker 1: are missing as soon as you want, yeah, gone and 565 00:30:10,920 --> 00:30:12,800 Speaker 1: connections and feelings exactly. 566 00:30:12,880 --> 00:30:15,360 Speaker 3: It's a much easier movie if her home life is 567 00:30:15,440 --> 00:30:19,440 Speaker 3: like if everything's just awful instead. 568 00:30:19,640 --> 00:30:20,240 Speaker 2: See I'm not going to. 569 00:30:20,240 --> 00:30:22,640 Speaker 1: Give away the scene on the phone and your husband's like, 570 00:30:23,080 --> 00:30:26,160 Speaker 1: he's ready to, you know, do a little dance with you, 571 00:30:26,280 --> 00:30:29,080 Speaker 1: and then the phone rings. Oh my god, yeah, oh 572 00:30:29,160 --> 00:30:29,520 Speaker 1: my god. 573 00:30:29,960 --> 00:30:34,040 Speaker 2: Crazy. Yeah, really upsetting. See yeah, so fucked up. 574 00:30:34,280 --> 00:30:36,080 Speaker 3: Yeah, it's true. 575 00:30:37,080 --> 00:30:40,240 Speaker 2: Of the really fucked up scenes in this movie. That's incredible, 576 00:30:40,440 --> 00:30:40,960 Speaker 2: it's true. 577 00:30:41,720 --> 00:30:43,480 Speaker 1: One more thing before we take some questions, do we 578 00:30:43,520 --> 00:30:47,200 Speaker 1: have the MIC's poised for the questions we do? Okay, 579 00:30:47,280 --> 00:30:49,200 Speaker 1: one last question I have for you, which is, so 580 00:30:49,320 --> 00:30:50,920 Speaker 1: you're doing the deuce you're on HBO. 581 00:30:52,200 --> 00:30:54,000 Speaker 2: How did that happen? Meaning? How did they wheel you in? 582 00:30:54,080 --> 00:30:55,520 Speaker 1: I mean, I'm not just saying this for your benefit. 583 00:30:55,800 --> 00:30:58,640 Speaker 1: You're one of the most admired movie actresses in the business. 584 00:30:59,280 --> 00:31:02,880 Speaker 1: Everybody says this, everybody. You're you're you're gorgeous, and you're talented, 585 00:31:02,920 --> 00:31:03,760 Speaker 1: and you're all these things. 586 00:31:03,960 --> 00:31:05,800 Speaker 2: So when you go to do the TV thing, how 587 00:31:05,840 --> 00:31:09,040 Speaker 2: did they hook you? Well? 588 00:31:09,320 --> 00:31:12,200 Speaker 3: Huh, I just it's so funny though, because like in 589 00:31:12,280 --> 00:31:14,280 Speaker 3: the first three episodes, which was all I read of 590 00:31:14,400 --> 00:31:16,960 Speaker 3: The Deuce, Candy didn't really have all that much to do, 591 00:31:17,520 --> 00:31:17,680 Speaker 3: you know. 592 00:31:17,680 --> 00:31:18,640 Speaker 2: That's why you took the job. 593 00:31:21,240 --> 00:31:23,160 Speaker 3: No, but it's weird because I was just talking with 594 00:31:23,240 --> 00:31:25,080 Speaker 3: Peter about this when we were walking on the beach 595 00:31:25,160 --> 00:31:28,440 Speaker 3: here today. I was like, yeah, when I first there, 596 00:31:28,560 --> 00:31:32,520 Speaker 3: wasn't she turned so amazing. I mean, I love playing Candy, 597 00:31:32,600 --> 00:31:35,760 Speaker 3: I really do. But I just had like a feeling. 598 00:31:36,680 --> 00:31:39,680 Speaker 3: I don't know. I was It was David Simon and 599 00:31:39,800 --> 00:31:42,280 Speaker 3: George Pelicanos. I mean, they've made some pretty damn good 600 00:31:42,320 --> 00:31:44,920 Speaker 3: TV and I had done The Honorable Woman with Hugo, 601 00:31:45,000 --> 00:31:47,040 Speaker 3: who I told you I loved so much. So it 602 00:31:47,240 --> 00:31:50,520 Speaker 3: wasn't my first time in TV. I wasn't like snobby 603 00:31:50,560 --> 00:31:53,440 Speaker 3: about TV. I wanted it, you know. I wanted a 604 00:31:53,760 --> 00:31:56,440 Speaker 3: good job, you know that that I could count on 605 00:31:57,120 --> 00:32:00,800 Speaker 3: but also stay home, yes, and to be But also 606 00:32:00,880 --> 00:32:02,160 Speaker 3: I was like, I don't know, I just had a 607 00:32:02,200 --> 00:32:03,680 Speaker 3: good feeling. I was like, I just want to play 608 00:32:03,680 --> 00:32:05,440 Speaker 3: this woman. I want to I want to try it. 609 00:32:05,600 --> 00:32:07,200 Speaker 3: I want to see I want to see if I 610 00:32:07,240 --> 00:32:10,160 Speaker 3: can do this. It was so far outside of my 611 00:32:10,400 --> 00:32:13,480 Speaker 3: experience to play a sex worker in nineteen seventy one. 612 00:32:16,200 --> 00:32:20,360 Speaker 3: I just like liked her. I just had a I 613 00:32:20,520 --> 00:32:22,120 Speaker 3: just had like this feeling about it. 614 00:32:22,320 --> 00:32:25,160 Speaker 2: You signed for three seasons, three seas, had a long contract. 615 00:32:25,240 --> 00:32:28,280 Speaker 3: No, that's cool, and I guess I will. And you know, 616 00:32:28,440 --> 00:32:30,120 Speaker 3: there was this whole thing where I was like, guys, 617 00:32:30,200 --> 00:32:33,600 Speaker 3: I've only read three. There's going to be twenty four. 618 00:32:34,760 --> 00:32:35,400 Speaker 5: How do I know? 619 00:32:35,920 --> 00:32:37,920 Speaker 3: I mean, I think you guys are all right, but 620 00:32:39,760 --> 00:32:42,239 Speaker 3: what if this becomes something? I mean I never had 621 00:32:42,280 --> 00:32:46,080 Speaker 3: signed on something like that before. Well that's true, but again, 622 00:32:46,240 --> 00:32:49,240 Speaker 3: like I said, I don't trust that. Well, so I 623 00:32:49,520 --> 00:32:52,000 Speaker 3: asked them if I could be a producer. And the 624 00:32:52,080 --> 00:32:54,800 Speaker 3: thing is is when And everyone said to me, you 625 00:32:54,960 --> 00:32:57,680 Speaker 3: are never going to get that on a big HBO show. 626 00:32:58,000 --> 00:33:01,320 Speaker 3: You've never produced television before. You didn't develop it, like 627 00:33:01,440 --> 00:33:04,880 Speaker 3: good luck, Maggie. But then they were like, okay, let's 628 00:33:04,920 --> 00:33:08,120 Speaker 3: be partners. Good for you, And I was like, oh, wow, 629 00:33:09,720 --> 00:33:09,880 Speaker 3: for you? 630 00:33:10,840 --> 00:33:13,640 Speaker 2: Do we have a who do we have over here? 631 00:33:13,760 --> 00:33:13,920 Speaker 4: Yes? 632 00:33:13,920 --> 00:33:17,760 Speaker 2: Sir? How did you prepare for your role as a teacher? 633 00:33:17,840 --> 00:33:20,280 Speaker 2: Did you interview teachers? Did you shadow teachers? 634 00:33:21,680 --> 00:33:25,240 Speaker 3: Well? I yeah, I felt in this movie where this 635 00:33:25,400 --> 00:33:28,360 Speaker 3: woman ends up doing a lot of really problematic things. 636 00:33:28,720 --> 00:33:33,440 Speaker 3: The movie only really works if you are on her 637 00:33:33,600 --> 00:33:37,960 Speaker 3: side for a really, really long time. You're on her side, 638 00:33:38,040 --> 00:33:41,080 Speaker 3: even when she's crossing lines. You would never imagine you 639 00:33:41,120 --> 00:33:44,840 Speaker 3: would be on anyone side while they were crossing. And so, 640 00:33:45,560 --> 00:33:47,080 Speaker 3: you know, it was important to me that she'd be 641 00:33:47,120 --> 00:33:51,760 Speaker 3: a great teacher, like a really extraordinary teacher. So, yeah, 642 00:33:51,920 --> 00:33:55,320 Speaker 3: my daughter was. I had one older daughter that I 643 00:33:55,360 --> 00:33:57,800 Speaker 3: had a daughter who was in preschool, and I asked 644 00:33:57,840 --> 00:33:59,960 Speaker 3: her preschool teacher, do you know, like a great kinder 645 00:34:00,040 --> 00:34:02,840 Speaker 3: garden teacher who's not at this school because I didn't 646 00:34:02,880 --> 00:34:04,840 Speaker 3: really want to mix it with my kids' school. And 647 00:34:04,920 --> 00:34:06,760 Speaker 3: she recommended this woman on the Upper West Side. And 648 00:34:06,800 --> 00:34:09,640 Speaker 3: I went up there all the time, sat in our classroom. 649 00:34:10,120 --> 00:34:12,600 Speaker 3: I got so much from her. She had dinner with 650 00:34:12,680 --> 00:34:14,600 Speaker 3: Sarah and I once and gave us like some more tips. 651 00:34:14,640 --> 00:34:18,200 Speaker 3: But I yeah, shadowed her. I sat there for hours. 652 00:34:18,239 --> 00:34:19,279 Speaker 3: I learned a ton from her. 653 00:34:20,000 --> 00:34:20,520 Speaker 1: She was great. 654 00:34:22,520 --> 00:34:24,000 Speaker 2: Somebody up there in the back. 655 00:34:24,760 --> 00:34:27,520 Speaker 4: We saw your film last night, and your performance was stunning, 656 00:34:27,560 --> 00:34:29,359 Speaker 4: and I did want to thank you for that. I'm 657 00:34:29,400 --> 00:34:35,320 Speaker 4: wondering you picked such unconventional roles I can help. But 658 00:34:35,440 --> 00:34:39,200 Speaker 4: wonder if the role that you felt you executed the best, 659 00:34:39,440 --> 00:34:41,520 Speaker 4: was it the same role that your critics thought you 660 00:34:41,640 --> 00:34:46,239 Speaker 4: executed the best? You know from inside out? Does you 661 00:34:46,320 --> 00:34:49,239 Speaker 4: know do those two things match up for you to. 662 00:34:49,280 --> 00:34:50,719 Speaker 2: You and your critics think the same. 663 00:34:52,080 --> 00:34:54,400 Speaker 3: Well, one thing I think is interesting you say that 664 00:34:54,600 --> 00:34:59,000 Speaker 3: they're unconventional roles. But I just when you said that word, 665 00:34:59,239 --> 00:35:06,160 Speaker 3: I thought, Actually, the thing I love about the few 666 00:35:06,280 --> 00:35:08,760 Speaker 3: roles that I've done that I feel the most proud 667 00:35:08,840 --> 00:35:11,640 Speaker 3: of that I think I executed the best. As you 668 00:35:11,719 --> 00:35:15,480 Speaker 3: put it, I think are actually sort of the most 669 00:35:16,160 --> 00:35:21,520 Speaker 3: human people, so maybe the most conventional in terms of 670 00:35:21,600 --> 00:35:24,160 Speaker 3: being like we actually are. And I know the woman 671 00:35:24,239 --> 00:35:27,879 Speaker 3: in the movie does things that many of us would 672 00:35:27,920 --> 00:35:30,520 Speaker 3: never ever do, but in so many other ways she's 673 00:35:30,680 --> 00:35:34,440 Speaker 3: like I relate to her so much, you know, she 674 00:35:35,160 --> 00:35:37,120 Speaker 3: totally could be a friend of mine. And even the 675 00:35:37,200 --> 00:35:42,120 Speaker 3: ways she's confused, or the fact that she's confused, I understand, 676 00:35:42,280 --> 00:35:45,040 Speaker 3: I have compassion for I don't know in terms of 677 00:35:45,480 --> 00:35:49,279 Speaker 3: I don't know about whether I guess I would say 678 00:35:49,360 --> 00:35:53,640 Speaker 3: this recently, I would say since the honorable woman, I 679 00:35:53,840 --> 00:35:58,279 Speaker 3: think I've had this feeling where I'm most proud of 680 00:35:58,480 --> 00:36:03,200 Speaker 3: the last thing I've done, which I feel really grateful for. 681 00:36:03,840 --> 00:36:06,640 Speaker 3: Like I feel like, Okay, I'm making the choices that 682 00:36:06,680 --> 00:36:10,840 Speaker 3: are right for me right now because I'm I feel 683 00:36:10,920 --> 00:36:17,919 Speaker 3: like I keep I don't know, learning about what I'm doing. 684 00:36:18,520 --> 00:36:21,319 Speaker 3: As time goes on. I'm sure I'll take a dip 685 00:36:21,480 --> 00:36:24,480 Speaker 3: and take a wrong route for a while, But at 686 00:36:24,520 --> 00:36:28,560 Speaker 3: the moment, it's been like I feel, yeah, the most 687 00:36:28,640 --> 00:36:31,040 Speaker 3: proud of the of the most recent work. 688 00:36:32,920 --> 00:36:34,640 Speaker 1: And an actor won't say to me, I was this 689 00:36:34,840 --> 00:36:37,200 Speaker 1: very funny guy, older god when he was very good. 690 00:36:37,200 --> 00:36:39,120 Speaker 1: He said, remember one thing about reviews. He said, when 691 00:36:39,120 --> 00:36:41,839 Speaker 1: they say you're bad, you're never as bad as they 692 00:36:41,920 --> 00:36:44,000 Speaker 1: say you are. I mean, if it's not great, you're 693 00:36:44,080 --> 00:36:46,080 Speaker 1: never as bad. And when they say you're really good, 694 00:36:46,160 --> 00:36:47,760 Speaker 1: you're great. You're always even. 695 00:36:47,680 --> 00:36:50,320 Speaker 2: Better than they said. People they're even better than that. 696 00:36:50,800 --> 00:36:52,680 Speaker 2: They never get it right. They don't know how. 697 00:36:53,080 --> 00:36:53,320 Speaker 5: I know. 698 00:36:53,640 --> 00:36:55,960 Speaker 3: That's so funny that like I got to like take 699 00:36:56,120 --> 00:36:58,759 Speaker 3: that little piece of that Wikipedia thing and like put 700 00:36:58,800 --> 00:37:03,000 Speaker 3: it up somewhere. This is so mean. With the Daily News, 701 00:37:03,680 --> 00:37:07,399 Speaker 3: the Daily Movie, they hated Maylena were right. 702 00:37:07,320 --> 00:37:10,880 Speaker 1: There here, sir, who's straining out of your chair the 703 00:37:10,960 --> 00:37:14,680 Speaker 1: restroom is down to the right, sir, How do you 704 00:37:14,800 --> 00:37:16,759 Speaker 1: define feminine and masculine? 705 00:37:17,520 --> 00:37:17,560 Speaker 5: No? 706 00:37:17,760 --> 00:37:19,600 Speaker 3: See, I can't, That's what I'm saying. I don't want 707 00:37:19,640 --> 00:37:22,400 Speaker 3: to be reductive about it, and I can't define feminine 708 00:37:22,400 --> 00:37:25,160 Speaker 3: and masculine. I'm just trying to say there's like something 709 00:37:25,360 --> 00:37:29,000 Speaker 3: and it doesn't okay. I mean, I don't want to 710 00:37:29,000 --> 00:37:31,480 Speaker 3: get like super There's just things that are on my 711 00:37:31,600 --> 00:37:33,520 Speaker 3: mind right now, Like what does it mean to make 712 00:37:33,560 --> 00:37:35,960 Speaker 3: a feminine movie? I don't know the answer to that. 713 00:37:36,120 --> 00:37:37,920 Speaker 3: I just know that if you're living in a masculine 714 00:37:38,000 --> 00:37:41,719 Speaker 3: world fundamentally, which I'd say, it's pretty clear we are 715 00:37:42,800 --> 00:37:47,840 Speaker 3: even a misogynistic world, right. It's it doesn't just because 716 00:37:47,880 --> 00:37:49,879 Speaker 3: you're a woman who directs a movie, or just because 717 00:37:49,880 --> 00:37:52,400 Speaker 3: you're a woman who writes a movie, doesn't mean it's feminine. 718 00:37:52,719 --> 00:37:52,879 Speaker 1: Right. 719 00:37:53,080 --> 00:37:55,920 Speaker 3: You have to twist yourself and fit yourself all your life. 720 00:37:57,239 --> 00:38:00,880 Speaker 3: Like Virginia Wolf in Room of One Zone has this 721 00:38:00,960 --> 00:38:05,600 Speaker 3: whole thing about how like even even Charlotte Bronte, she 722 00:38:05,680 --> 00:38:09,200 Speaker 3: said she's not really making purely feminine work because she's 723 00:38:09,239 --> 00:38:12,840 Speaker 3: like hiding her paper under her sewing or whatever. And 724 00:38:13,040 --> 00:38:16,319 Speaker 3: so that's what I mean when I say I saw 725 00:38:16,520 --> 00:38:20,719 Speaker 3: the piano and it had some like like an effect 726 00:38:20,880 --> 00:38:24,120 Speaker 3: on me. When I was sixteen, there I did this 727 00:38:24,320 --> 00:38:25,880 Speaker 3: interview with Trevor Noah. 728 00:38:26,200 --> 00:38:26,360 Speaker 1: You know. 729 00:38:26,600 --> 00:38:28,160 Speaker 3: It was about the Deuce. Actually it wasn't about the 730 00:38:28,200 --> 00:38:30,440 Speaker 3: kindergarten Teacher, but he'd seen the preview for the kindergarten 731 00:38:30,480 --> 00:38:33,000 Speaker 3: Teacher and he was like, I saw the preview. He said, 732 00:38:33,480 --> 00:38:36,680 Speaker 3: is it a thriller or is it like an intimate 733 00:38:36,800 --> 00:38:39,040 Speaker 3: movie about a woman's mind? Or is it like a 734 00:38:39,239 --> 00:38:44,239 Speaker 3: horror movie? And I loved that, and I keep coming 735 00:38:44,280 --> 00:38:46,719 Speaker 3: back to it because I think it's not any of those. 736 00:38:46,840 --> 00:38:51,520 Speaker 3: It's new, and I think it might be new because 737 00:38:51,560 --> 00:38:57,440 Speaker 3: it's feminine. It doesn't tick the boxes we're used to. 738 00:38:58,520 --> 00:39:00,440 Speaker 3: But again, I don't know. I'm a little confus about this. 739 00:39:02,440 --> 00:39:04,120 Speaker 1: We have just time for a couple more quick ones. 740 00:39:04,960 --> 00:39:06,560 Speaker 1: The lady right there on the able do two more, 741 00:39:06,800 --> 00:39:07,600 Speaker 1: two more quick ones. 742 00:39:08,719 --> 00:39:11,160 Speaker 3: I have a very quick question. If you weren't an actor, 743 00:39:11,600 --> 00:39:13,800 Speaker 3: what would you do or what would you want to do? 744 00:39:15,400 --> 00:39:18,520 Speaker 3: Oh man, I'm really I'm not good at very many 745 00:39:18,600 --> 00:39:21,719 Speaker 3: other things. I mean, I'm like an okay cook. I 746 00:39:21,800 --> 00:39:23,960 Speaker 3: have a friend who's a professor, which i'd love to think, like, 747 00:39:24,040 --> 00:39:26,160 Speaker 3: maybe I could be an English teacher or something, but 748 00:39:26,280 --> 00:39:28,400 Speaker 3: I wouldn't be any good at it. I mean, were 749 00:39:28,440 --> 00:39:29,440 Speaker 3: you good at other things? 750 00:39:34,239 --> 00:39:34,959 Speaker 5: So good? 751 00:39:36,600 --> 00:39:38,319 Speaker 2: You never I'm good at it. I'm so much better 752 00:39:39,320 --> 00:39:41,640 Speaker 2: to believe I'm so good and I'm not with you 753 00:39:41,760 --> 00:39:45,520 Speaker 2: that bad at any of it. It's just you never 754 00:39:45,560 --> 00:39:46,640 Speaker 2: read any thoughts about. 755 00:39:46,520 --> 00:39:48,160 Speaker 3: Maybe professional ice skating. 756 00:39:54,360 --> 00:39:54,600 Speaker 2: Wow. 757 00:39:56,080 --> 00:39:59,520 Speaker 1: Yes, okay, considering what you've said about literature and being 758 00:39:59,520 --> 00:40:01,840 Speaker 1: an English major, and you're probably a great reader. 759 00:40:02,239 --> 00:40:04,560 Speaker 3: If you good option a book and do your movie 760 00:40:04,719 --> 00:40:06,200 Speaker 3: but not be in it, what would you do? 761 00:40:06,800 --> 00:40:06,960 Speaker 4: Well? 762 00:40:07,080 --> 00:40:10,800 Speaker 3: I did actually just option a book and I'm not 763 00:40:11,040 --> 00:40:13,439 Speaker 3: going to be in it. I'm adapting it and I'm 764 00:40:13,560 --> 00:40:16,680 Speaker 3: going to direct it. And it's called The Lost Daughter 765 00:40:16,920 --> 00:40:18,000 Speaker 3: by Elena Ferrante. 766 00:40:21,840 --> 00:40:24,600 Speaker 2: All Right, so my last question is a two parter 767 00:40:25,040 --> 00:40:26,120 Speaker 2: because we're going to be out of time. 768 00:40:26,160 --> 00:40:28,320 Speaker 1: My last question is a quick two parter. Now, I 769 00:40:28,440 --> 00:40:31,000 Speaker 1: had a very fleeting role in Looming Tower with your husband. 770 00:40:31,040 --> 00:40:32,399 Speaker 1: Got to work with your husband for the first time, 771 00:40:32,680 --> 00:40:35,520 Speaker 1: Peter Sarsguard. And my first question, which is the silly question, 772 00:40:35,560 --> 00:40:37,640 Speaker 1: is your husband really as sweet as he seems? 773 00:40:37,960 --> 00:40:41,080 Speaker 3: Yeah, I've ever met in my life he's a damn 774 00:40:41,160 --> 00:40:43,719 Speaker 3: good husband. I'm thrilled with him. 775 00:40:43,800 --> 00:40:44,640 Speaker 2: And what's that like for you? 776 00:40:44,719 --> 00:40:46,719 Speaker 1: Being two people who are working all the time, very 777 00:40:46,800 --> 00:40:50,680 Speaker 1: successful movie actors. That's is it wonderful to be with 778 00:40:50,800 --> 00:40:53,719 Speaker 1: somebody who understands what you're going through? I'm married you, 779 00:40:54,040 --> 00:40:54,800 Speaker 1: it's not in the business. 780 00:40:54,840 --> 00:40:57,640 Speaker 3: And sometimes yes, Like sometimes I'll be like, when are 781 00:40:57,760 --> 00:40:59,879 Speaker 3: you coming home? I don't understand when are you coming? 782 00:41:00,360 --> 00:41:02,720 Speaker 3: Like we have planned such and such, and he's like, Maggie, 783 00:41:02,920 --> 00:41:05,239 Speaker 3: you know, I don't know the answer to yeah, you know, 784 00:41:05,320 --> 00:41:06,879 Speaker 3: I'm like, oh, yeah, yeah, yeah, yeah, yeah. 785 00:41:06,920 --> 00:41:08,920 Speaker 2: My wife is like I watched Sometimes it's like, Alec, 786 00:41:08,960 --> 00:41:10,120 Speaker 2: why are you so dramatic? 787 00:41:12,960 --> 00:41:13,160 Speaker 4: Duh? 788 00:41:15,160 --> 00:41:18,000 Speaker 2: Anyway, now you're telling all Everyboddy. 789 00:41:32,320 --> 00:41:36,200 Speaker 1: And Now. An update after a newspaper story appeared about 790 00:41:36,239 --> 00:41:42,440 Speaker 1: this conversation, Jillen Hall's Wikipedia page has been revised. Maggie 791 00:41:42,560 --> 00:41:45,400 Speaker 1: Jillen Hall's new movie The Kindergarten Teacher comes out. 792 00:41:45,560 --> 00:41:49,480 Speaker 2: On Netflix October twelfth. I'm like Baldwin, here's the thing. 793 00:41:49,600 --> 00:41:51,800 Speaker 2: Is brought to you by iHeart Radio.