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Speaker 1: Well, if dreams come true, I think I'm dreaming. I

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Speaker 1: am sitting in the West Village in New York City.

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Speaker 1: I'm the most glorious, beautiful day. The sun is shining,

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Speaker 1: the air is perfectly crisp, people are out smiling, streets

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Speaker 1: are bustling, and I'm sitting at my favorite restaurant in

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Speaker 1: the West Village Via Kuroda and if you don't know,

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Speaker 1: via Coroda, it's an Italian restaurant on Grove Street. This

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Speaker 1: place is about as classic New York as it gets,

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Speaker 1: with a delicious menu, exposed brick walls, beautiful wooden floors,

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Speaker 1: and some of the best people watching this city has

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Speaker 1: to offer. Seriously, when you call me here, if you

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Speaker 1: have the chicken to catch you, the peppie and the

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Speaker 1: market green salad, you will be in heaven. And it's

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Speaker 1: so hard to get into. I'm telling you it's there's

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Speaker 1: always a line, and it's not because it's douche. It's

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Speaker 1: because it's so good. So today is a super fun

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Speaker 1: day I'm having launched with a very good friend, Scarlet

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Speaker 1: your handsOn, I mean TV show next door. Scarlett's entrance

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Speaker 1: goes surprisingly undetective, partly because of her face mask and

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Speaker 1: understated outfit, and partly because she arrives alone in Maneuver

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Speaker 1: without a publicist or assistant. In tone by you invited

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Speaker 1: me to a restaurant and there's a full movie production

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Speaker 1: happening next store. Scarlett comes into the private wine tasting

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Speaker 1: room we've taken over in the back of the restaurant

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Speaker 1: with the energy of any New Yorker who's running slightly late.

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Speaker 1: She's rushed but not stressed. Scarlett handsOn, I am sorry.

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Speaker 1: I did not get the I thought. Are these people

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Speaker 1: are all waiting for Bruce Bozzy? Do they know he's inside?

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Speaker 1: Pull up a chair, We're going to have some fun.

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Speaker 1: I'm Bruce Bozzy and this is table for two. Every

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Speaker 1: time I passed by a movie set in New York,

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Speaker 1: I get a feeling of both. I'd say warmth mixed

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Speaker 1: with panic mixed with pity. That makes sense. It all

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Speaker 1: is almost like if you have a post traumatic stress

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Speaker 1: because of you know, years old. Shooting in New York

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Speaker 1: is tough. Oh cheers, Bruce Bozzy. I remember we were

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Speaker 1: shooting Vicky Cristina Barcelona. In Barcelona seems ideal, right. Everybody's like, oh,

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Speaker 1: you're going to Barcelona for whatever two months or something

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Speaker 1: like that. You're gonna have the best time. It's so

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Speaker 1: beautiful and the food and the beach. And at the

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Speaker 1: time I was like twenty years old or whatever, it

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Speaker 1: seems like great gonna. It was. It was honestly going

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Speaker 1: to work every day I felt like I was suiting

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Speaker 1: up for battle because for so all Ellen I think

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Speaker 1: has reached like god levels this in Spain, some maud

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Speaker 1: is not is unjudgable there, and um so we would

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Speaker 1: have probably I'm kidding you not, I think probably six

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Speaker 1: hundred plus spectators, six hundred people. We would be shooting

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Speaker 1: this scene. I would be talking to Rebecca Hall. We're

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Speaker 1: across from each other at you know, a little cafe

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Speaker 1: and Barcelona, and we're lamenting our problems. And then behind

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Speaker 1: Rebecca Hall would be six hundred spectators, fifty Paparassi people

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Speaker 1: talking during the take. It was I don't know, it

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Speaker 1: was a nightmare. Honestly, have to say, I love my job.

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Speaker 1: I love you know, I'm I'm not complaining about it.

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Speaker 1: But you know what, maybe actors are are kind of

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Speaker 1: in a weird way, sort of gearing up for those

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Speaker 1: moments because you have to just suspend your disbelief and

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Speaker 1: go and the zone now. And we do it all

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Speaker 1: the time. Whatever is going on in your life, whatever

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Speaker 1: is going on in reality, you kind of figure out

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Speaker 1: how to use it or lose it. I remember one time,

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Speaker 1: what do you? And I were shooting someboding for smooth

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Speaker 1: that we did called scoop and it was the silliest

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Speaker 1: most scopuus scene. Where at the end of it, do

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Speaker 1: you know there's an English like delicate sn't know you

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Speaker 1: call a delicacy, but called spotted dick. You know what

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Speaker 1: that is? I don't know. I think it's I can't

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Speaker 1: even remember what I've seen, so yeah, I don't know

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Speaker 1: what it is. It's like maybe it's a dessert. It's

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Speaker 1: probably a sausage of some kind, and it doesn't have

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Speaker 1: to get involved this sausage anyway. At the end of

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Speaker 1: the road, he had to say something like, well, I've

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Speaker 1: got to be off, like it's spotted dick at the

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Speaker 1: hotel tonight or whatever. And he could not keep he

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Speaker 1: couldn't keep it. Take I didn't keep it. The first

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Speaker 1: two couple takes. It was like, Okay, it's like giggles,

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Speaker 1: giggless giggles and then it was hours like this one take,

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Speaker 1: he was so angry with himself to a point where

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Speaker 1: like it was hysteria where we were both like lack

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Speaker 1: pretty laughing before it was the joke wasn't even funny.

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Speaker 1: It was just we were so nervous that it wasn't

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Speaker 1: gonna happen anyway. We couldn't do it. We had to

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Speaker 1: stop the work day. You know the line he was like,

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Speaker 1: he was so it was crazy, and then then everybody

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Speaker 1: it was pissed. This is what the point is. Not

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Speaker 1: about the spotted dick, not about Bodian, but it's about

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Speaker 1: the fact that these people, you know, your crew, this

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Speaker 1: is just their work day and they have their family

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Speaker 1: and they got up at six in the morning where

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Speaker 1: and they need to get home because their kids have

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Speaker 1: homework and whatever other thing, and we need to come

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Speaker 1: back the next day and do it. And it was

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Speaker 1: I've never seen what he actually that is so angry

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Speaker 1: at himself. That's so the tape that's in the movie

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Speaker 1: is really not great. But anyway, point is the crew,

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Speaker 1: you gotta do the work, you gotta get out of

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Speaker 1: their office. They're all so the menus are in the

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Speaker 1: facts of your day A Scarlett, and I move on

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Speaker 1: from Spotted Dick. We ordered the Catchieri Peppi and a

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Speaker 1: fritatam gonna catch you to Peppi? Oh yeah, we have

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Speaker 1: our Tortino decartes Chophe. It's like a Tuscan stile for tota.

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Speaker 1: Can I get that without the protect? Very good, thank you,

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Speaker 1: and dive into the truly unique space that Scarlett occupies

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Speaker 1: in Hollywood. You bring up a horn, which I didn't

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Speaker 1: even think about as you have become more and more famous.

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Speaker 1: How would you get a scene downe if people are

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Speaker 1: just screaming scarrowed Scarlet. I mean we we couldn't even

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Speaker 1: take a picture on their carpet screaming to your name.

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Speaker 1: This is you know what I mean? I threatened violence? Probably?

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Speaker 1: How do you do you find that it's even on

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Speaker 1: day to day life like walking? In day to day

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Speaker 1: life walking, I'm usually the most unknowned recognizable words than probably,

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Speaker 1: And I think it's because I'm short. It's in seeing

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Speaker 1: because you, Scarlett, to me what I considered to be

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Speaker 1: a bomb show, and I've seen the movies where you

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Speaker 1: the bombshelling. This of you you're able to put aside

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Speaker 1: and of the past when I think of bomb shows

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Speaker 1: like Hayworth. No, they seemingly always have that they couldn't

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Speaker 1: get away on that. How do you sit in that

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Speaker 1: share so uniquely in Hollywood? Oh my gosh. You know what,

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Speaker 1: There was a period of time actually right around the

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Speaker 1: time I met your wonderful husband to Brian Lord. At

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Speaker 1: the time, I had been working for a long time.

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Speaker 1: I started working when I was eight years old, and

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Speaker 1: you know, kind of had different periods I worked. You know,

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Speaker 1: I worked in a movie when I was ten, Oldmanny

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Speaker 1: in Law, So that helped me kind of start getting

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Speaker 1: seen by bigger casting directors and stuff. And then I

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Speaker 1: got up cast in The Horse Whisper, which was a

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Speaker 1: huge deal for me. And then I was able to

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Speaker 1: read for even more established directors and ended up working

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Speaker 1: with the Cohen brothers, and I started around that time

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Speaker 1: kind of I did a movie with the Cohen Brothers

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Speaker 1: called The Man Who Wasn't There, And around the same

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Speaker 1: time I did Ghost World with Terry's wig Off, and

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Speaker 1: I kind of became like a non genuw sort of.

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Speaker 1: And I think that's just part of you know, the

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Speaker 1: young girls like that are really objectified, and that's just

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Speaker 1: a fact. You know, and so I think whatever box

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Speaker 1: they're put into, it sort of sets you on this

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Speaker 1: trajectory for how your life will go. Now, obviously women

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Speaker 1: are really able more now to choose their own paths.

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Speaker 1: But for me, it was like, okay, I kind of

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Speaker 1: started down this path oft on Gene and then you know,

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Speaker 1: I did whatever movies and movies and I did Lost

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Speaker 1: in Translation and and grow up proiring in By that point,

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Speaker 1: I was, you know, eighteen nineteen, and I was coming

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Speaker 1: into my own womanhood and learning with my own like

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Speaker 1: desirability and sexuality. And it was I think because is

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Speaker 1: of that trajectory that I had been sort of launched towards,

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Speaker 1: I really got stuck in this. And also it was

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Speaker 1: definitely a part of my management at the time. That

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Speaker 1: was a big part of it, you know, my agency

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Speaker 1: and all that stuff. But I was kind of being

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Speaker 1: groomed in a way to be this what you call

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Speaker 1: a bombshell type of after I was playing the other

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Speaker 1: woman and the objective desire, and you know, I suddenly

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Speaker 1: found myself cornered in this place like I couldn't get

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Speaker 1: out of it, and went right around that time is

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Speaker 1: when I'm met with Brian um I remember we had

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Speaker 1: we had lunch. I think it was lunch at Um

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Speaker 1: Joe Allen in Midtown. But Brian is so calm, and

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Speaker 1: he is such empathy, genuine empathy, and he's so understanding

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Speaker 1: and he's such a good listener. And it was like

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Speaker 1: I met this man. And of course he's very and

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Speaker 1: some and very you know, he's very alluring and way,

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Speaker 1: but he's just it's such a gentleman and he really

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Speaker 1: and he loves movies and he loves actors, and he

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Speaker 1: loves real work, you know, real great work and art

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Speaker 1: and performance, and he thrives I think on putting together

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Speaker 1: great creatives and like making the opportunity for people to

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Speaker 1: do compelling work. And he just got it, you know.

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Speaker 1: I mean it would be easy probably to sit across

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Speaker 1: from my someone in that situation and go, this is working,

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Speaker 1: you know, because of course why change it. But I

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Speaker 1: think for that kind of bombshell, you know that burns

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Speaker 1: bright and quick and then it's done and you don't

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Speaker 1: have opportunity beyond that. And I just felt like, how

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Speaker 1: is this burning out so quickly? And it was just

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Speaker 1: an interesting, weird conundrum to be in. But it really

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Speaker 1: come back to doing work to working at it and

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Speaker 1: trying to carve a place in different projects and work

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Speaker 1: in great ensembles. What were some of those projects? Host

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Speaker 1: that lunch and that started that you should said, okay,

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Speaker 1: you turned the corner on the road. So firstly, you know, well,

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Speaker 1: I got this incredible opportunity to work on the Second

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Speaker 1: Iron Man, which that part at the time was very

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Speaker 1: underdeveloped and over sexualized. But I wanted to form a

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Speaker 1: relationship with Jon Favreau, who I worked with a couple

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Speaker 1: of times after that, who's inspiration for me, and and

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Speaker 1: I also wanted to work with Kevin Feigy, who who's

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Speaker 1: the head of Marvel, who I knew had like a

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Speaker 1: vision for this big picture which at the time people

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Speaker 1: forget that genre was not what it's now. It was

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Speaker 1: the beginning of that time, and seeing anything the first

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Speaker 1: Ironman with Robert Downey was a sensation, you know, it was.

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Speaker 1: It was unprecedented in many ways, and so I wanted

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Speaker 1: to align myself with that. That was one piece which

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Speaker 1: turned out to be a very good, very That was

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Speaker 1: a good bet, right, It was very good. It's not

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Speaker 1: a lot of levels, but it took you through the

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Speaker 1: next decade of your life, definitely, and it was creatively

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Speaker 1: it turned out rewarding in every way, right, But that

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Speaker 1: that was that one piece. And then I did a

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Speaker 1: play in New York called A View from the Bridge,

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Speaker 1: the Arthur Miller play with Me Schreiber and Michael Christopher

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Speaker 1: and Jessica hacked me and that was that was a

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Speaker 1: few month disturing point for me. Well that you incredible

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Speaker 1: in that plight. You want Tony for that? We went

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Speaker 1: out afterwards, you wearing a green drag. We went to

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Speaker 1: karaoke bar on First Avenue in the fifties, like where

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Speaker 1: you used to live. Remember, I stuck my Tony on

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Speaker 1: the counter and nobody else was there. It turned out

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Speaker 1: to be like a show tunes bar, which was crazy,

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Speaker 1: so all the bartenders had insane voices. Also they did

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Speaker 1: it right right, and then we all just brought out

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Speaker 1: our best like Frank Sinatra impression, and well not we all,

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Speaker 1: but one person stood in this gorgeous green grass and

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Speaker 1: you say, fuck use it. I had no idea you

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Speaker 1: could seem like that to you, And that was quite

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Speaker 1: a choice with you saying, Okay, I'm gonna do this

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Speaker 1: to achieve the goal, to pivot it because you actually

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Speaker 1: walked away with a Tony you know what I needs,

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Speaker 1: you have the chalks. I was terrified. I mean I

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Speaker 1: was so terrified. I had this really interesting moment where

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Speaker 1: because I thought, oh god, you know, I'm just gonna

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Speaker 1: get ripped apart, Like I've never played in this playground before,

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Speaker 1: and people are going to think and say, they're going

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Speaker 1: to come there and they're just going to be hoping

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Speaker 1: that I fail, so they like, you know, can have

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Speaker 1: the I don't know what else statis after that, and

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Speaker 1: I remember just having this feeling, Oh my god, everybody

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Speaker 1: wants take it down. Everyone point And I remember Leam

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Speaker 1: Shriber said to me, and he said to me, he

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Speaker 1: was like, are you kidding. These people have spent up

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Speaker 1: boards of you know whatever, many hundreds of dollars for

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Speaker 1: a seat. They're having a night out on the town.

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Speaker 1: They went to a really nice dinner beforehand, or maybe

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Speaker 1: this is the first time they've ever seen a show,

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Speaker 1: and they scored these tickets last minute or whatever it is.

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Speaker 1: They want you to win. You know, they're rooting, right,

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Speaker 1: they are rooting for you. They want to see a

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Speaker 1: tort to force performance from everybody in this show. And

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Speaker 1: that was such a gift, that perspective that he gave me,

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Speaker 1: and I'd carried that with me. It changed my whole

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Speaker 1: state of mind. That's amazing. I mean the gifts of

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Speaker 1: a peer with that experience to be able to sort

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Speaker 1: of say me free, and then the when of the

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Speaker 1: accolade from your peers to say and you did. Welcome

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Speaker 1: back to my conversation with Scarlet, your Hansen on table

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Speaker 1: for two. As we settle into the wood paneled wine tasting,

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Speaker 1: an affable waiter occasionally pops into refill our wine glosses.

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Speaker 1: Our time together carries on uninterrupted as we dive further

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Speaker 1: into Scarlett's career. So if you have to sort of

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Speaker 1: say the game changer professional things in your life, I

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Speaker 1: mean what comes to mind, of course to me the

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Speaker 1: horse whisperer and you started shooting super early, and when

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Speaker 1: you want to play with Ethan Hawk, you're a little girl.

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Speaker 1: What would the jumps be for you if you how

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Speaker 1: look at it? Well, definitely, I mean getting Manny and Low.

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Speaker 1: At the time, that was a huge jump for me

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Speaker 1: because it was my first leading role. I was ten.

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Speaker 1: I know, it's interesting because early on when I was

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Speaker 1: auditioning as a child every single part I got was

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Speaker 1: a big step at the time when I was a kid,

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Speaker 1: Like there were a few actresses that are are still

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Speaker 1: working and have fantastic careers now, like Kirsten Dunst and

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Speaker 1: Natalie Portman and Levie Sobieski. At the time, those were

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Speaker 1: careers that I looked up to as a child actor

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Speaker 1: and they were all like a few years older than me.

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Speaker 1: And at that time, when your kid, it makes a

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Speaker 1: difference because if you want to host the twelve year old,

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Speaker 1: you're not going to hast to nine or eight year old.

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Speaker 1: So when I was younger, there were a lot of

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Speaker 1: small steps that got me into The Horse Whisper, but

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Speaker 1: that was huge. It was my first you know, big studio.

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Speaker 1: It was a huge part. It was like they auditioned

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Speaker 1: every person. It was a beautiful experience. If beautiful and

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Speaker 1: you it's shot beautifully. But more than anything, I've figured

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Speaker 1: out what acting was. It started to all make sense

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Speaker 1: to me and not just to be a natural okay

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Speaker 1: actor or whatever, but what is like how do you

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Speaker 1: create a performance? So that was that was a big

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Speaker 1: one for me. And then I would say lost in

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Speaker 1: translation because it sort of was my transition into my

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Speaker 1: adult career, and I would say, oh gosh, so hard

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Speaker 1: to after that, it's like a blur, definitely doing a

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Speaker 1: view from the bridge. Um, of course the first adventures

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Speaker 1: and and then after that it's been it's been a

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Speaker 1: lot of different you know. Yeah, I know, it's so varied.

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Speaker 1: It's just was something that came to morrow, and I

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Speaker 1: was thinking about your career and thinking about all the

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Speaker 1: movies I've seen you in and how diverse from I

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Speaker 1: mean to terrifying incredible performance of Under Under your Skin,

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Speaker 1: under the School. I mean that was crazy grain like

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Speaker 1: a terrifying movie. I know that performance. I just watched

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Speaker 1: this weekend because I've never seen it. The Girl with

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Speaker 1: the pro beautiful movie and plaudible performance. It's a very

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Speaker 1: emotional movie. E So I did Lost in Translation when

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Speaker 1: I was seventeen, and then I had like a few

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Speaker 1: weeks before I was going to shoot Girl with the

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Speaker 1: Pearl Earring, and um, I had a really hard time

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Speaker 1: doing Lost in Translation. I was seventeen. I was far away,

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Speaker 1: you know, I was working with Bill Murray, who was

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Speaker 1: like I was an enormous fan of and he was

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Speaker 1: you know, obviously he's has a very big personality and

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Speaker 1: He's a you know, sort of a formidable character at times.

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Speaker 1: And I was in this you know, characters have this

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Speaker 1: kind of real love from one another, this sun profound relationship,

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Speaker 1: and that was hard for me too, you know, I

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Speaker 1: was I struggled with that and for different reasons. But

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Speaker 1: when I came to do Girl with a Pearl Air,

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Speaker 1: it was very disorienting. And so when I came out

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Speaker 1: of it, I was kind of like I felt like

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Speaker 1: I was. It was like this weird fever dream and

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Speaker 1: I felt very unsteady. And I remember when we started

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Speaker 1: a Girl with a Pearl airing, I just I think

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Speaker 1: I started had my eighteenth birthday, like day, a couple

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Speaker 1: of weeks into shooting or something. It was so young,

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Speaker 1: and I was working with all these amazing English actors

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Speaker 1: and the cast is it Colin Firth? Is it in?

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Speaker 1: And now it's you know you look back and like,

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Speaker 1: oh my god, there's Eddie Redman, there's better Dick Coomer Batch,

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Speaker 1: you know, it has all these actors that were starting. Yeah,

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Speaker 1: but it was such an incredible experience. The set was

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Speaker 1: so beautiful and beautifully lit. My headward of Serran. The

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Speaker 1: movements were so quiet and and everything was so contained

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Speaker 1: in a way that was very It just felt it

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Speaker 1: was like it was like fed me, and you know,

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Speaker 1: I needed that. I needed that experience after this very

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Speaker 1: disorienting experience that I had. And I think it's reflected

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Speaker 1: in the movie. It really is in your performance. You know,

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Speaker 1: there's a lot, a lot of your performance is not

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Speaker 1: even in the worlds. It's in you. It's in your eyes,

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Speaker 1: it's in and it's in the actualist, it's in what

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Speaker 1: you're doing. So it was that's when I referred to

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Speaker 1: as being quiet in this beautiful way, because you really

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Speaker 1: emote so much that is not as dire, but you

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Speaker 1: understand it when she your character gets the pearlier rings

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Speaker 1: at the end, and the housekeeper chef of the house

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Speaker 1: for eas it to you and you I'm sent home

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Speaker 1: when the wife it's all upset obviously, and there's all

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Speaker 1: this affection between you and the husband, the painter or

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Speaker 1: the man about me, and you look at the ears.

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Speaker 1: I couldn't. I didn't know when you took them. You

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Speaker 1: open it and then you close them up. Your character

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Speaker 1: closes them up. If that was where what happened to

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Speaker 1: those right, and you want them? I love that. I

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Speaker 1: love you, what won't? I was like, is she happy?

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Speaker 1: Does she love? Is she angry? And complicated? Right? Yeah,

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Speaker 1: it's it's complicated, isn't it. It's like a gift, but

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Speaker 1: then it feels like a slight you know, it's like

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Speaker 1: it's thoughtful, but it's also sort of like, let's feel

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Speaker 1: like some like you're being paid off in a way.

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Speaker 1: It's complicated, complicated. I mean, that's a great answer. It's complicated.

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Speaker 1: It's layers so much about love and life. It's compl complicated.

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Speaker 1: Welcome back to Table for two. I'm sitting here at

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Speaker 1: Via Corona with my friend Scarlett Johnson, and as usual,

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Speaker 1: our conversation swings between the serious and they're not so serious,

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Speaker 1: and yet it always returns to flee. You gotta tell

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Speaker 1: this you wanted to just have a little so it's intense. No,

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Speaker 1: it's really good. I don't want cashio, Pope, I don't.

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Speaker 1: I'm skinny, I'm not hungry. If I knew we were

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Speaker 1: gonna be eating this bold meal Table for two with

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Speaker 1: Bruce Bozzy, it's about food, it's about wine. It's about us.

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Speaker 1: We're talking about us. Why don't we have to be

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Speaker 1: bloated and wind let's talk about food or sever You know,

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Speaker 1: I grew up in our house when we never saw

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Speaker 1: my dad who was over in the restaurant, so we

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Speaker 1: never did it together as a family, and my mother

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Speaker 1: would cook in commerce paying the picture the young siblings

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Speaker 1: kind of in because you guys grew up in Shells.

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Speaker 1: Grew up in the West Village, West Village and maybe

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Speaker 1: have maybe we moved around a lot before that, but

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Speaker 1: we eventually settled into West Village when he was like ten,

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Speaker 1: and we lived in a lower middle income housing uh project.

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Speaker 1: And you know, we didn't eat out ever, because we

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Speaker 1: never had money to My mom did most of the

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Speaker 1: cooking at home when I was little, and she had

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Speaker 1: her kind of meals on rotation. I think she enjoyed

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Speaker 1: cooking to some extent. My dad really enjoyed cooking. And

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Speaker 1: my dad was a really great cooking. His first wife

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Speaker 1: was Italians and like made an amusing like putin Esque

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Speaker 1: and all those like delicious Seuss like. My dad was

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Speaker 1: great at that and but we we all loved to eat.

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Speaker 1: Like My family is a foodie family. We you know,

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Speaker 1: my sister and I both look like love to cook together.

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Speaker 1: My sister is an excellent cup you growing up in

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Speaker 1: New York. I feel like if we were decades apart

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Speaker 1: but the same Burrow, I would have loved you. You

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Speaker 1: would have been I would have been your gayest right.

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Speaker 1: What sort of you know? You went to the children's

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Speaker 1: professional school? Yes? What was you know? What did your

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Speaker 1: sibls go? Hunters? Your twin enters my twin. So we

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Speaker 1: grew up in the city. I was born and raised

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Speaker 1: in Manhattan, and I was born in Lenoxell Hospital. I

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Speaker 1: have a twin brother who was born three minutes after me.

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Speaker 1: I have two other full siblings, Adrian in Vanessa, and

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Speaker 1: that was our family growing up. My mom subsequently adopted

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Speaker 1: a daughter who's now I can't believe it, fourteen years

402
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Speaker 1: old but um Fennon. And then my father has a

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Speaker 1: son from his first marriage, could Christian, and he's he's

404
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Speaker 1: old woman than I am. But we were raised with him,

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Speaker 1: and then we were just it was the four of

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Speaker 1: us growing up. My two older siblings both went to

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Speaker 1: Stuyvius in actually more yeah smarty piants um. And then

408
00:25:19,600 --> 00:25:29,560
Speaker 1: I was not as academically gifted, but lucky. Now I'm

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Speaker 1: half eating this for chatter with you. So I went

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Speaker 1: to the professional Children's school because I started working when

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Speaker 1: I was eight, and I went to regular public schools

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Speaker 1: up until it became impossible for me because I would

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Speaker 1: go away. Let's say I got a job and I

414
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Speaker 1: had to leave from October to you know, December fifteenth

415
00:25:49,480 --> 00:25:52,359
Speaker 1: or something, that I would leave, and then my school,

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Speaker 1: you know, the teachers were like, well, we're not going

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Speaker 1: to make a separate curriculum for you, We're just going

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Speaker 1: to fail you for being a time loser. Yeah. Yeah,

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Speaker 1: so I and it was quickly became clear that I

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Speaker 1: was I had to go to a school that would

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Speaker 1: accommodate that, because otherwise I was like never to be

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Speaker 1: having normal education. My mom made certain that I always

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Speaker 1: had you know, you have a teacher on set that's

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Speaker 1: like the onset tutor, and you have to bank certain hours,

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Speaker 1: and you know, it's very regulation now, because it wasn't

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Speaker 1: for a long time, and it was, you know, leading

427
00:26:27,960 --> 00:26:31,359
Speaker 1: to like these delin kids who like never you know,

428
00:26:31,400 --> 00:26:35,480
Speaker 1: they were they were really uneducated and kind of yeah,

429
00:26:35,520 --> 00:26:39,400
Speaker 1: they weren't taking again, they were taken advantage of as

430
00:26:39,400 --> 00:26:44,720
Speaker 1: I reached to refill my glass of wine, made Scarlett declines.

431
00:26:44,800 --> 00:26:47,320
Speaker 1: Because they had to audition people after this, so she,

432
00:26:47,720 --> 00:26:53,439
Speaker 1: unlike me, doesn't find wine helpful and professional settings. So

433
00:26:53,480 --> 00:26:56,560
Speaker 1: I went to professional towand school in eighth grade, and

434
00:26:56,800 --> 00:27:00,320
Speaker 1: it was a much like drastically smaller school that I've

435
00:27:00,400 --> 00:27:03,400
Speaker 1: been in. I was a New York City public school kid.

436
00:27:03,600 --> 00:27:06,400
Speaker 1: I guess it was a big adjustment for me. Um

437
00:27:06,520 --> 00:27:09,720
Speaker 1: and then but then you know, I went when I

438
00:27:09,760 --> 00:27:13,040
Speaker 1: got into the high school ninth grade, I made some

439
00:27:13,280 --> 00:27:15,840
Speaker 1: fantastic friends who I'm still good friends with today, who

440
00:27:15,920 --> 00:27:19,879
Speaker 1: you know most of them actually met most of them.

441
00:27:19,960 --> 00:27:22,959
Speaker 1: And you're the thing about a scarlet when she's referring

442
00:27:23,000 --> 00:27:25,240
Speaker 1: to is your home base of friends? Are the growser

443
00:27:25,320 --> 00:27:27,439
Speaker 1: you go up with. I mean they're really It's not

444
00:27:27,520 --> 00:27:30,640
Speaker 1: like there are movie start actresses. They're like real there

445
00:27:30,640 --> 00:27:34,800
Speaker 1: you Yeah, they're my peeps, and they're like my God's

446
00:27:34,920 --> 00:27:40,239
Speaker 1: you know, they're my trusted lifeline. Do you really got

447
00:27:40,440 --> 00:27:42,840
Speaker 1: now and look at that whole piece of your life

448
00:27:42,840 --> 00:27:44,720
Speaker 1: and say, holy sh it with where I am, with

449
00:27:44,840 --> 00:27:51,000
Speaker 1: what I've achieved. I don't know. Sometimes I have moments

450
00:27:51,080 --> 00:27:54,919
Speaker 1: like little glimpses into it, but it's hard for me

451
00:27:55,000 --> 00:27:57,640
Speaker 1: to see it all as a whole thing. You look,

452
00:27:57,720 --> 00:28:02,040
Speaker 1: you're also at an age world. I'm Buffy, twenty years

453
00:28:02,040 --> 00:28:04,199
Speaker 1: older than you get to a point of reflection as

454
00:28:04,240 --> 00:28:06,200
Speaker 1: you get older. I think you're the beauty of your

455
00:28:06,240 --> 00:28:09,879
Speaker 1: age is You're just present you need. Which makes sense

456
00:28:10,000 --> 00:28:12,360
Speaker 1: to me now that I asked the question, because I'm

457
00:28:12,400 --> 00:28:14,600
Speaker 1: coming from the point of view of like really kind

458
00:28:14,600 --> 00:28:17,000
Speaker 1: of looking back in certain decades of my thirties and

459
00:28:17,040 --> 00:28:19,760
Speaker 1: my forties and my twenties. When you're in your threties,

460
00:28:20,440 --> 00:28:24,000
Speaker 1: you're just in life. Yeah, every once in a while

461
00:28:24,359 --> 00:28:27,800
Speaker 1: I'll have like I have that more when I look

462
00:28:27,800 --> 00:28:33,040
Speaker 1: at my children where I'm I can't believe I have children,

463
00:28:33,040 --> 00:28:34,199
Speaker 1: and one of them is a bit you know, my

464
00:28:34,280 --> 00:28:40,040
Speaker 1: daughter Rose is eight years old. She's third grade. She's becoming,

465
00:28:40,480 --> 00:28:44,920
Speaker 1: you know, pre adolescent. She's a little girl. You know,

466
00:28:45,320 --> 00:28:50,560
Speaker 1: you're a very strong woman. You are very smart woman.

467
00:28:50,600 --> 00:28:54,400
Speaker 1: You are an incredible sense of business as well as

468
00:28:54,560 --> 00:28:58,400
Speaker 1: artistry about you. You just dear Scarlett that you're Rose,

469
00:28:58,520 --> 00:29:01,640
Speaker 1: who is also young. But I've spent time with a

470
00:29:02,360 --> 00:29:06,280
Speaker 1: really clear she's a self actualized eight year old. That

471
00:29:06,360 --> 00:29:08,280
Speaker 1: doesn't happen a lot, you know what I mean. Like

472
00:29:08,400 --> 00:29:10,960
Speaker 1: she comes in with a point of view. I think

473
00:29:11,720 --> 00:29:16,000
Speaker 1: your your journey thus far, You're gonna have your part

474
00:29:16,040 --> 00:29:21,160
Speaker 1: a lot, I hope. So I often remind her that I,

475
00:29:21,520 --> 00:29:24,040
Speaker 1: you know, I work hard, and she knews it too

476
00:29:24,040 --> 00:29:26,960
Speaker 1: because she sees it. And I let her know also

477
00:29:27,080 --> 00:29:30,960
Speaker 1: that I enjoy the work that I do. That's important,

478
00:29:31,200 --> 00:29:33,960
Speaker 1: which is so important for your kids to know. I'm

479
00:29:33,960 --> 00:29:37,000
Speaker 1: not leaving you for this job. That's uh. And I

480
00:29:37,040 --> 00:29:38,600
Speaker 1: can't want I want to go to work. I mean,

481
00:29:38,640 --> 00:29:40,400
Speaker 1: of course everybody has those days. We all do, right,

482
00:29:40,440 --> 00:29:43,240
Speaker 1: but to beep say, I'm going to work and it's

483
00:29:43,280 --> 00:29:45,080
Speaker 1: going to be a great day and then I'm going

484
00:29:45,120 --> 00:29:47,640
Speaker 1: to miss you. But I'm meeting you for a thing

485
00:29:47,720 --> 00:29:50,680
Speaker 1: that I love to do. And I think that's an

486
00:29:50,720 --> 00:29:56,440
Speaker 1: important lesson to teach girls and boys, is to pursue

487
00:29:57,400 --> 00:30:01,160
Speaker 1: work that is becau. That's fine, it's a big thing.

488
00:30:01,480 --> 00:30:05,960
Speaker 1: What do you love about? I love the technical part

489
00:30:06,000 --> 00:30:09,480
Speaker 1: of my job, which is probably a hard thing to explain,

490
00:30:09,760 --> 00:30:16,360
Speaker 1: but I love the nuance of it um And I

491
00:30:16,400 --> 00:30:26,440
Speaker 1: thrive on working with actors and directors that are sensitive

492
00:30:26,520 --> 00:30:30,880
Speaker 1: to that, to the small adjustments and um that like

493
00:30:31,480 --> 00:30:35,200
Speaker 1: honing a performance or one I'm talking about one scene

494
00:30:35,480 --> 00:30:39,560
Speaker 1: in one moment and like really getting in the pocket

495
00:30:39,640 --> 00:30:42,800
Speaker 1: of that and going, okay, that moved that. It's like

496
00:30:42,880 --> 00:30:44,960
Speaker 1: I can only imagine It's like if you're a painter

497
00:30:45,080 --> 00:30:48,040
Speaker 1: and you like make one strokery, switch one color. I

498
00:30:48,040 --> 00:30:51,320
Speaker 1: don't know. I'm not I'm not that kind of artistic,

499
00:30:51,400 --> 00:30:55,280
Speaker 1: but you know, I can imagine you get those jolts

500
00:30:55,320 --> 00:30:57,800
Speaker 1: of sort of satisfactory you're writing a song and you

501
00:30:58,000 --> 00:31:00,720
Speaker 1: figure out the hook of it or whatever it is.

502
00:31:00,840 --> 00:31:04,480
Speaker 1: There was there was little like victories. I love you.

503
00:31:04,480 --> 00:31:07,640
Speaker 1: You know. I once had don Riccardi, who is now

504
00:31:07,680 --> 00:31:10,240
Speaker 1: in the late eighties, who was the lover, and a

505
00:31:10,280 --> 00:31:14,160
Speaker 1: Cristopher Ishuel who still paints portraits. He shows a gift

506
00:31:14,280 --> 00:31:16,920
Speaker 1: somebody gave me, Brian gave me that, and our whole

507
00:31:16,920 --> 00:31:19,560
Speaker 1: family and you've seen them, and I'm you're looking at

508
00:31:19,640 --> 00:31:21,360
Speaker 1: him to do something in these page interpicture and his

509
00:31:21,560 --> 00:31:25,280
Speaker 1: upside down and it's ours and he literally will say

510
00:31:25,320 --> 00:31:28,040
Speaker 1: and he doesn't speak, and he says, do not move.

511
00:31:28,520 --> 00:31:32,800
Speaker 1: And I literally moved a millimeter and he said, you know,

512
00:31:33,400 --> 00:31:36,040
Speaker 1: move back, And so looking back, you know, over the picture,

513
00:31:36,080 --> 00:31:39,680
Speaker 1: so it's upside down. I'm thinking of myself, this thing

514
00:31:39,800 --> 00:31:41,600
Speaker 1: is done, like I see it. Okay, you got it,

515
00:31:41,680 --> 00:31:44,720
Speaker 1: and all of a sudden, he does one last strow

516
00:31:45,400 --> 00:31:47,320
Speaker 1: and I saw it in a compete in efferent way,

517
00:31:47,720 --> 00:31:51,200
Speaker 1: and I think that's the detail. You know, Woody Allen

518
00:31:51,320 --> 00:31:54,880
Speaker 1: is retiring. I am an ethically huge fan of this

519
00:31:55,000 --> 00:31:57,720
Speaker 1: man's work. He has romanticized the city that I love,

520
00:31:57,800 --> 00:32:00,840
Speaker 1: that he loves that you love. You're no good that

521
00:32:00,880 --> 00:32:03,320
Speaker 1: he's taught you from the director. You know, it's funny.

522
00:32:03,360 --> 00:32:08,640
Speaker 1: He has a very particular way of working, but similarly

523
00:32:08,760 --> 00:32:11,680
Speaker 1: to how you're you know, describing issue what it's like.

524
00:32:11,760 --> 00:32:15,360
Speaker 1: He so he doesn't have a monitor. He never watches

525
00:32:15,520 --> 00:32:20,200
Speaker 1: any physical monitor, and he maybe a couple of times

526
00:32:20,240 --> 00:32:22,160
Speaker 1: I've seen him with what we call a clamshell, which

527
00:32:22,200 --> 00:32:24,120
Speaker 1: is like a little teeny monitor. I don't even know

528
00:32:24,160 --> 00:32:26,360
Speaker 1: how you can see it, because he probably can't, you know,

529
00:32:27,440 --> 00:32:30,520
Speaker 1: I don't know how well he's seeing. But he never

530
00:32:30,600 --> 00:32:33,680
Speaker 1: uses a monitor rape So that that's that's really interesting

531
00:32:33,760 --> 00:32:38,280
Speaker 1: because he sits there and he listens to the dialogue,

532
00:32:38,560 --> 00:32:41,000
Speaker 1: and a lot of the time because he can't see

533
00:32:41,000 --> 00:32:44,520
Speaker 1: what the camera is seeing, he closes his eyes and

534
00:32:44,560 --> 00:32:48,960
Speaker 1: he like listens to the musicality of the words, and

535
00:32:49,600 --> 00:32:52,640
Speaker 1: that's how he knows whether he's got it or not.

536
00:32:52,960 --> 00:32:56,400
Speaker 1: And then sometimes you know he hasn't gotten it because

537
00:32:56,440 --> 00:32:59,000
Speaker 1: he can't see and he has a lot of he'll

538
00:32:59,080 --> 00:33:01,640
Speaker 1: he'll say, by the everything we shot a lot, you

539
00:33:01,640 --> 00:33:03,360
Speaker 1: know on that scene that was so great, bubble boggle,

540
00:33:03,400 --> 00:33:07,400
Speaker 1: it's all out of focus. So which is the one

541
00:33:07,480 --> 00:33:14,120
Speaker 1: downside of this very poetic method or whatever? But um,

542
00:33:14,160 --> 00:33:19,160
Speaker 1: I think, you know, it's actually true that these work.

543
00:33:19,240 --> 00:33:23,719
Speaker 1: I think that it has a rhythm of musicality to it.

544
00:33:23,880 --> 00:33:26,960
Speaker 1: If there's a line that's not working, and I will try.

545
00:33:27,440 --> 00:33:29,520
Speaker 1: My part is to make things to work that are

546
00:33:29,560 --> 00:33:33,280
Speaker 1: not not you know, play if it's tough, you got,

547
00:33:33,360 --> 00:33:35,640
Speaker 1: you gotta abandon it. But it might not actually be

548
00:33:35,680 --> 00:33:39,080
Speaker 1: the line. It's a problem. That's probably what a writer

549
00:33:39,080 --> 00:33:41,440
Speaker 1: would say, it's not the throb, and I go, well,

550
00:33:41,680 --> 00:33:45,600
Speaker 1: as an actual I have to disagree. Um, But you know,

551
00:33:45,720 --> 00:33:50,080
Speaker 1: there's there is a musicality to performance in any pasting,

552
00:33:50,240 --> 00:33:53,720
Speaker 1: and it comes in you know, physical movement and the

553
00:33:53,800 --> 00:34:01,520
Speaker 1: choices you make. When I was younger, my parents showed

554
00:34:01,600 --> 00:34:06,960
Speaker 1: us really age inappropriate movies, so crazy, but one of

555
00:34:06,960 --> 00:34:08,880
Speaker 1: them was Everything you wanted to know about sex. But

556
00:34:08,920 --> 00:34:12,279
Speaker 1: we're afraid to ask what I was watching that as

557
00:34:12,320 --> 00:34:16,200
Speaker 1: like a six year old. That's what did you understand

558
00:34:16,360 --> 00:34:18,400
Speaker 1: from that? I mean I remember seeing that even older.

559
00:34:18,400 --> 00:34:21,520
Speaker 1: I was like I was a little student. I didn't

560
00:34:21,560 --> 00:34:24,239
Speaker 1: get the whole thing. What did I get from it?

561
00:34:24,280 --> 00:34:27,520
Speaker 1: I don't know. There was like a giant bowling breast.

562
00:34:27,800 --> 00:34:35,759
Speaker 1: Are you going to direct? Are you the transition? I

563
00:34:35,800 --> 00:34:39,160
Speaker 1: don't know. I would like to direct, But I love producing.

564
00:34:39,360 --> 00:34:43,959
Speaker 1: I really love producing, and um, I love producing other

565
00:34:44,000 --> 00:34:49,400
Speaker 1: people's stuff and the development, like I think I could have.

566
00:34:49,640 --> 00:34:51,800
Speaker 1: I always stoked with Brian at the sneeze, like you're insane.

567
00:34:52,040 --> 00:34:56,120
Speaker 1: My ideal job is like a corner office on the

568
00:34:56,160 --> 00:35:00,560
Speaker 1: Disney lot, like a little bungalo. That's what I want.

569
00:35:01,000 --> 00:35:04,120
Speaker 1: That's all. So that makes me do this. Cities I

570
00:35:04,160 --> 00:35:07,560
Speaker 1: associate scarlets your Handsome with Paris, New York, l A.

571
00:35:07,960 --> 00:35:12,160
Speaker 1: Just each city get a different scarlet, each city inspire

572
00:35:12,239 --> 00:35:15,759
Speaker 1: you and over different word. Yeah, I definitely, I like,

573
00:35:16,160 --> 00:35:22,799
Speaker 1: I absolutely love Paris. I moved there, um when I

574
00:35:22,840 --> 00:35:28,080
Speaker 1: was in my mid to late twenties, and I think

575
00:35:28,120 --> 00:35:31,080
Speaker 1: it's it's kind of a sister city to New York

576
00:35:31,080 --> 00:35:32,640
Speaker 1: in a lot of ways. Like I love that it's

577
00:35:32,640 --> 00:35:36,600
Speaker 1: a more laid back pace than New York. But it

578
00:35:36,719 --> 00:35:42,960
Speaker 1: has It's like this small city with a huge attitude.

579
00:35:43,280 --> 00:35:47,480
Speaker 1: And I like that people are opinion needed there and

580
00:35:47,840 --> 00:35:52,400
Speaker 1: that people are like living there. Are lives in a

581
00:35:52,560 --> 00:35:57,880
Speaker 1: very aggressive kind of way. Um, and they like what

582
00:35:57,960 --> 00:36:00,279
Speaker 1: they like and they loathe what they loathe with then

583
00:36:00,360 --> 00:36:07,000
Speaker 1: it's passionate and um, the city is so beautiful. I mean,

584
00:36:07,000 --> 00:36:09,879
Speaker 1: it's such a beautiful they would say that it's I mean,

585
00:36:09,880 --> 00:36:13,120
Speaker 1: it's incredible, the way the light is, it's the buildings

586
00:36:13,160 --> 00:36:16,000
Speaker 1: in the afternoon. It's a magical place. The magical place

587
00:36:16,040 --> 00:36:19,200
Speaker 1: really is. I hope that you and Colin spend more

588
00:36:19,280 --> 00:36:22,960
Speaker 1: time this year in California. I hope I'm there more too.

589
00:36:22,960 --> 00:36:24,800
Speaker 1: I mean, I love to be with both of you guys.

590
00:36:25,960 --> 00:36:29,120
Speaker 1: As the outside world filters into our lunch and Scarlett

591
00:36:29,160 --> 00:36:31,600
Speaker 1: catches sight of the time, I try my best to

592
00:36:31,640 --> 00:36:34,040
Speaker 1: squeeze in just a minute more the way only in

593
00:36:34,120 --> 00:36:38,799
Speaker 1: New Yorker could at the expense of Staten Island. Did

594
00:36:38,800 --> 00:36:41,239
Speaker 1: you ever think of all the boroughs you fall in

595
00:36:41,239 --> 00:36:43,759
Speaker 1: love with the goth from State Island? I mean, come on,

596
00:36:43,960 --> 00:36:47,600
Speaker 1: I had never met a person's set, I mean, other

597
00:36:47,719 --> 00:36:50,279
Speaker 1: than at the Dead Island Zoo when I was nine.

598
00:36:51,000 --> 00:36:55,120
Speaker 1: All due respect to stand I cannot believe it. No,

599
00:36:55,400 --> 00:36:57,439
Speaker 1: I mean I didn't never I have never met somebody

600
00:36:57,480 --> 00:37:00,960
Speaker 1: from Salton. When I when Colin first, you know, kind

601
00:37:00,960 --> 00:37:03,480
Speaker 1: of had drinks, were like, so we know each other,

602
00:37:03,520 --> 00:37:06,200
Speaker 1: but you know where from type of Then he told

603
00:37:06,239 --> 00:37:11,279
Speaker 1: me it's from Statoland. I thought, wait, like you lived there,

604
00:37:12,040 --> 00:37:16,080
Speaker 1: like forevery lived there, or like you just spent He

605
00:37:16,320 --> 00:37:20,200
Speaker 1: is from there, he left, you know, Tyson, his parents

606
00:37:20,239 --> 00:37:22,399
Speaker 1: are from His mom is from Stadhil and his dad's

607
00:37:22,440 --> 00:37:25,160
Speaker 1: from Jersey but moved to s and so his parents

608
00:37:25,160 --> 00:37:27,000
Speaker 1: are from Saul to the earth. But it's like the

609
00:37:27,040 --> 00:37:30,760
Speaker 1: country to me. I know, it's it's but it's so close.

610
00:37:30,960 --> 00:37:34,879
Speaker 1: It's so close, and it's a it's a really it's

611
00:37:34,880 --> 00:37:37,600
Speaker 1: a whole like it has it's it's its own microcos out.

612
00:37:37,719 --> 00:37:40,280
Speaker 1: You know, it's safe to say, Scarlett, you are incident.

613
00:37:40,280 --> 00:37:43,400
Speaker 1: I really want to thank you today because it fills

614
00:37:43,440 --> 00:37:46,359
Speaker 1: my heart and so much that you've taken the time

615
00:37:46,400 --> 00:37:49,360
Speaker 1: that I like, being a mother of working. You have

616
00:37:49,440 --> 00:37:52,960
Speaker 1: to go now audition people that he came, he had

617
00:37:53,000 --> 00:37:55,640
Speaker 1: had lunch and did and this is what a table

618
00:37:55,680 --> 00:37:58,560
Speaker 1: for two looks like in the west Field and We're

619
00:37:58,560 --> 00:38:01,120
Speaker 1: gonna have dinner on Saturday. I'm so excited for our

620
00:38:01,120 --> 00:38:05,719
Speaker 1: dinner on Saturday, the first show back of SNL, So

621
00:38:05,800 --> 00:38:09,480
Speaker 1: that would be a real New York night. Go and

622
00:38:09,520 --> 00:38:12,719
Speaker 1: I'm gonna have Bruce Bozzy. I have to say, I

623
00:38:12,760 --> 00:38:15,960
Speaker 1: have Any opportunity to spend time talking to you is

624
00:38:16,000 --> 00:38:18,560
Speaker 1: a priority for me. I love you so much. You're

625
00:38:18,800 --> 00:38:25,320
Speaker 1: such a genuine feeling person and sensitive person, beautiful solving.

626
00:38:25,600 --> 00:38:30,240
Speaker 1: Just love our friendship and I love like meeting minds

627
00:38:30,280 --> 00:38:34,640
Speaker 1: with you. Thank you in any anybody over a table

628
00:38:34,719 --> 00:38:45,960
Speaker 1: for two or twenty or two thousand. Scarlett's exit from

629
00:38:46,040 --> 00:38:49,400
Speaker 1: Vita Curoota is the opposite of her insurance, this time

630
00:38:49,560 --> 00:38:53,520
Speaker 1: without a mask. The restaurant falls into a hushed silence

631
00:38:53,560 --> 00:38:56,480
Speaker 1: as eyes lock on Scarlet as she emerges from the

632
00:38:56,480 --> 00:38:59,880
Speaker 1: private timeing worm. After I talk her into a few selfies,

633
00:39:00,120 --> 00:39:03,040
Speaker 1: Scarlett spots or Uber and it's on with her day.

634
00:39:03,200 --> 00:39:10,320
Speaker 1: We're both left grinning from ear to hear. Table for

635
00:39:10,440 --> 00:39:13,520
Speaker 1: two with Bruce Bozzy is produced by iHeart Radio seven

636
00:39:13,600 --> 00:39:17,080
Speaker 1: three seven Park and air Mail. Our executive producers are

637
00:39:17,080 --> 00:39:21,080
Speaker 1: Bruce Bozzy, Jonathan Hoss Dressler, and Nathan King. Table for

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Speaker 1: two is edited and written by Tina Mullen and researched

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Speaker 1: and written by Bridget arsenalt Our sound engineers are Emil B. Klein,

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Speaker 1: Paul Bowman and Melyssa Midcalf. Table for two is l A.

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Speaker 1: Production team is Danielle Romo and Lorraine Vien. Our music

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Speaker 1: supervisor is Randall poster. Our talent booking is by Jane Sarkin.

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Speaker 1: Special thanks to Amy Sugarman, Uni Share, Kevin Uvane, Bobby Bauer,

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Speaker 1: Alison Cantor Raber, and Jody Williams, Rita Sodi and the

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Speaker 1: team at Via Corona in Manhattan's West Village. For more

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Speaker 1: podcasts from I Heeart Radio, visit the I Heart Radio app,

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Speaker 1: Apple podcast, or wherever you listen to your favorite show

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Speaker 1: wor