1 00:00:07,600 --> 00:00:10,840 Speaker 1: I'm Alec Baldwin and you're listening to Here's the thing. 2 00:00:18,640 --> 00:00:21,959 Speaker 1: This music is from the soundtrack of The Way, a 3 00:00:22,079 --> 00:00:27,040 Speaker 1: film starring Martin Sheen and my guest today, his son, actor, 4 00:00:27,240 --> 00:00:41,160 Speaker 1: writer and director Emilio Esteveez. The music plays as father 5 00:00:41,240 --> 00:00:45,040 Speaker 1: and son hike along the famous pilgrimage route, the Camino 6 00:00:45,159 --> 00:00:49,599 Speaker 1: de Santiago in northern Spain. Emilio himself has come a 7 00:00:49,600 --> 00:00:52,920 Speaker 1: long way since his days as a movie star in 8 00:00:53,000 --> 00:00:57,200 Speaker 1: such films as The Breakfast Club, Repo Man, and The Outsiders. 9 00:00:59,280 --> 00:01:02,480 Speaker 1: He took a show our detour away from his brat 10 00:01:02,480 --> 00:01:06,360 Speaker 1: pack career to become one of the most admired and 11 00:01:06,680 --> 00:01:13,560 Speaker 1: stubbornly anti commercial independent filmmakers in the business today. Estevez's 12 00:01:13,680 --> 00:01:18,200 Speaker 1: latest film is The Public. It's a fictional standoff between 13 00:01:18,280 --> 00:01:22,080 Speaker 1: cops and a group of homeless people occupying the Cincinnati 14 00:01:22,120 --> 00:01:26,440 Speaker 1: Public Library. We discussed the movie at the Bay Street 15 00:01:26,480 --> 00:01:29,880 Speaker 1: Theater in sag Harbor as part of the two thousand 16 00:01:29,920 --> 00:01:35,560 Speaker 1: eighteen Hampton's International Film Festivals Conversations with series. So many 17 00:01:35,600 --> 00:01:39,319 Speaker 1: things to cover, but one thing that comes to my is, uh, 18 00:01:39,440 --> 00:01:42,080 Speaker 1: your family, and you're growing up in a family where 19 00:01:42,120 --> 00:01:45,679 Speaker 1: your dad, of course is this legendary movie star, and 20 00:01:45,720 --> 00:01:48,480 Speaker 1: he worked on Broadway his career and later in life. 21 00:01:48,520 --> 00:01:52,120 Speaker 1: I saw him do the Shakespeare with Pacina, with the 22 00:01:52,120 --> 00:01:55,560 Speaker 1: Republic when they did Julius Caesar in the eighties, and 23 00:01:55,560 --> 00:01:57,040 Speaker 1: then the you know, then he has a career in 24 00:01:57,120 --> 00:02:00,120 Speaker 1: television later in his career, which is as as big 25 00:02:00,200 --> 00:02:01,680 Speaker 1: as you can get on a huge hit show. When 26 00:02:01,680 --> 00:02:03,440 Speaker 1: I was wondering growing up in your family, you and 27 00:02:03,480 --> 00:02:06,600 Speaker 1: your brothers, was did that seem an inevitability or you 28 00:02:06,600 --> 00:02:11,480 Speaker 1: weren't sure? You know, so much of it was having 29 00:02:11,840 --> 00:02:16,959 Speaker 1: access um to seeing how the sausage is made. And 30 00:02:17,040 --> 00:02:19,360 Speaker 1: you know, I grew up I was five six years 31 00:02:19,360 --> 00:02:23,640 Speaker 1: old backstage at the Public Theater and watching productions of 32 00:02:24,440 --> 00:02:28,079 Speaker 1: you know, Shakespeare in the Park where he was playing Romeo, 33 00:02:28,360 --> 00:02:30,960 Speaker 1: or or the Naked Hamlet, which was Hamlet as happening, 34 00:02:31,240 --> 00:02:34,600 Speaker 1: not really understanding what it was that my father did, 35 00:02:34,720 --> 00:02:38,600 Speaker 1: but it seemed fascinating enough to say, you know, what, 36 00:02:38,600 --> 00:02:41,440 Speaker 1: what is I might want to do that that's interesting 37 00:02:41,480 --> 00:02:45,400 Speaker 1: to me. He never pushed or no, in fact, they 38 00:02:45,560 --> 00:02:48,680 Speaker 1: they stressed that that I should, you know, go on 39 00:02:48,760 --> 00:02:51,400 Speaker 1: and get a further my education and get a degree 40 00:02:51,440 --> 00:02:54,880 Speaker 1: in something, and you know, have a have a solid foundation, 41 00:02:55,120 --> 00:02:58,440 Speaker 1: did you, And I did not. I did not. In fact, 42 00:02:58,440 --> 00:03:02,400 Speaker 1: they still think I'm in medical school. What's the first 43 00:03:02,400 --> 00:03:05,519 Speaker 1: thing you do professionally? Well, the first thing I did 44 00:03:05,760 --> 00:03:08,520 Speaker 1: non professionally was when I was about ten years old. 45 00:03:08,919 --> 00:03:12,639 Speaker 1: My folks bought a movie camera, like an eight millimeter camera, 46 00:03:13,080 --> 00:03:14,919 Speaker 1: and and that was at a point where you know, 47 00:03:15,000 --> 00:03:16,919 Speaker 1: they came into cartridges and you put the cartridge. It 48 00:03:16,960 --> 00:03:19,359 Speaker 1: was very easy to load and very easy to shoot. 49 00:03:19,760 --> 00:03:22,080 Speaker 1: And so I started making home movies when I was 50 00:03:22,160 --> 00:03:26,560 Speaker 1: when I was ten years old. Um. It wasn't until um, 51 00:03:27,600 --> 00:03:30,320 Speaker 1: I was in high school that I got involved in 52 00:03:30,320 --> 00:03:34,680 Speaker 1: the theater department, started acting on stage in school, wrote 53 00:03:34,760 --> 00:03:38,560 Speaker 1: my own play, uh, performed it, and my father came 54 00:03:38,600 --> 00:03:40,520 Speaker 1: to see that play. It was just a public school, 55 00:03:40,520 --> 00:03:43,720 Speaker 1: to Sana Monica High School, and he after after the show, 56 00:03:43,800 --> 00:03:46,800 Speaker 1: he said, oh my god. He says, Uh, you got 57 00:03:46,840 --> 00:03:49,880 Speaker 1: the bug. You got it you and he understood that 58 00:03:50,160 --> 00:03:52,400 Speaker 1: there was something going on inside of me where I 59 00:03:52,400 --> 00:03:54,560 Speaker 1: could not not do it. Your mother was an actress 60 00:03:54,560 --> 00:03:57,600 Speaker 1: as well. No, she was a painter. She she got 61 00:03:57,680 --> 00:04:00,440 Speaker 1: a scholarship to the New School as a fine artist, 62 00:04:00,480 --> 00:04:03,720 Speaker 1: and she um, she met my father Uh. In fact, 63 00:04:03,960 --> 00:04:06,520 Speaker 1: he was living on a on a couch at a 64 00:04:06,640 --> 00:04:08,760 Speaker 1: mutual friend of their house and Jim tear off and 65 00:04:08,840 --> 00:04:11,640 Speaker 1: Jim wanted my dad off of his couch. So he says, hey, 66 00:04:11,680 --> 00:04:14,400 Speaker 1: I got a great gal for you and uh. So 67 00:04:14,560 --> 00:04:16,839 Speaker 1: they went out of date. My mother hated him. Uh. 68 00:04:16,880 --> 00:04:19,480 Speaker 1: And yet three weeks later they were they were living 69 00:04:19,520 --> 00:04:23,080 Speaker 1: together in New York and um and they've been together 70 00:04:23,120 --> 00:04:29,680 Speaker 1: ever since. It's fifty seven years. Yeah. Yeah. So the 71 00:04:29,760 --> 00:04:31,839 Speaker 1: first job for your professional job is at a TV 72 00:04:31,880 --> 00:04:34,240 Speaker 1: show or a film. It's a film called Text, so 73 00:04:34,279 --> 00:04:40,800 Speaker 1: you do text with with Matt. Matt basically the audition process. Um, 74 00:04:40,839 --> 00:04:43,880 Speaker 1: you know, I've been Yeah, I would. I've been auditioning 75 00:04:43,920 --> 00:04:46,799 Speaker 1: since I was about sixteen. My friends in high school 76 00:04:46,800 --> 00:04:48,400 Speaker 1: would drive. I didn't have a car, so they drive 77 00:04:48,440 --> 00:04:51,160 Speaker 1: me to h to an audition. My first, my first 78 00:04:51,160 --> 00:04:54,400 Speaker 1: professional audition was for Alan Parker, uh where he was 79 00:04:54,440 --> 00:04:58,120 Speaker 1: directing a film called The Fame. So I auditioned. I 80 00:04:58,160 --> 00:05:00,200 Speaker 1: didn't really know what the hell I was doing, but 81 00:05:00,400 --> 00:05:03,280 Speaker 1: I started. I didn't get my first job until I 82 00:05:03,320 --> 00:05:05,840 Speaker 1: was eight teams day I graduated high school. It was 83 00:05:05,880 --> 00:05:09,320 Speaker 1: an after school special and U and it was you know, you. 84 00:05:09,400 --> 00:05:10,680 Speaker 1: Back back in the day, you had to have a 85 00:05:10,680 --> 00:05:13,160 Speaker 1: piece of film. It wasn't you know. I had a 86 00:05:13,200 --> 00:05:16,400 Speaker 1: couple of monologues. I had a William in Dark at 87 00:05:16,400 --> 00:05:18,719 Speaker 1: the Top of the Stairs, and I had a Shakespearean monologue. 88 00:05:18,800 --> 00:05:21,120 Speaker 1: And you go in and you would audition for for 89 00:05:21,520 --> 00:05:25,000 Speaker 1: casting directors, but they're like, okay, um. But it wasn't 90 00:05:25,040 --> 00:05:26,520 Speaker 1: until you had a piece of film that you could 91 00:05:26,560 --> 00:05:29,800 Speaker 1: show and and and you know, use that to hopefully 92 00:05:29,839 --> 00:05:32,080 Speaker 1: get help you get jobs. So once I had that 93 00:05:32,120 --> 00:05:35,359 Speaker 1: thirty minute after school special, it sort of launched me 94 00:05:35,400 --> 00:05:39,360 Speaker 1: into getting better auditions for better directors. It really was 95 00:05:39,440 --> 00:05:42,520 Speaker 1: this suffocating catch twenty two, which is you be in 96 00:05:42,520 --> 00:05:45,120 Speaker 1: a room and you'd audition and someone would say, man, 97 00:05:45,200 --> 00:05:49,240 Speaker 1: I think you're fantastic, and the moment someone else hires you, 98 00:05:49,240 --> 00:05:52,279 Speaker 1: you call me, uh, you know, bring me your film, 99 00:05:52,320 --> 00:05:53,839 Speaker 1: bring me the clip of you in a movie that 100 00:05:53,920 --> 00:05:57,080 Speaker 1: someone else puts you in. They all needed for someone 101 00:05:57,120 --> 00:05:59,680 Speaker 1: else to valid at you. You know. I auditioned initially 102 00:05:59,720 --> 00:06:03,280 Speaker 1: for Um sixteen Candles, which was John hughes first film, 103 00:06:03,400 --> 00:06:05,400 Speaker 1: and so I walked into the audition. It was for 104 00:06:05,680 --> 00:06:07,520 Speaker 1: the role that was eventually played by an actor called 105 00:06:07,520 --> 00:06:11,080 Speaker 1: Michael shuffling, and and I prepared for it, and I 106 00:06:11,120 --> 00:06:13,200 Speaker 1: came in and I killed it. I mean I killed 107 00:06:13,240 --> 00:06:15,560 Speaker 1: the audition. I thought, man, I've got this hands down. 108 00:06:15,600 --> 00:06:17,200 Speaker 1: I walked out of the room. I was like, yes, 109 00:06:17,680 --> 00:06:20,240 Speaker 1: this is mine. Michael chants, who if you remember, was 110 00:06:20,320 --> 00:06:24,880 Speaker 1: a casting director. Universal walks me out and he says, hey, listen, man, um, 111 00:06:24,960 --> 00:06:27,160 Speaker 1: you're not gonna get this role. So what do you 112 00:06:27,160 --> 00:06:29,080 Speaker 1: mean I I killed? He say no, no no, no, he says, 113 00:06:29,360 --> 00:06:31,520 Speaker 1: it's not gonna happen. But here's what is gonna happen. 114 00:06:31,520 --> 00:06:32,840 Speaker 1: He says, you're gonna get in your car and you 115 00:06:32,960 --> 00:06:36,239 Speaker 1: drive over to Santa Monica Venice area. There's Vicky Thomas 116 00:06:36,360 --> 00:06:39,640 Speaker 1: is casting this film called Repo. Man, you're gonna go 117 00:06:39,680 --> 00:06:41,480 Speaker 1: audition for that, and now you've got a better shot 118 00:06:41,480 --> 00:06:44,080 Speaker 1: at getting that films Like so, I was so angry 119 00:06:44,320 --> 00:06:47,280 Speaker 1: about not getting sixteen Candles. I drove over to this 120 00:06:47,440 --> 00:06:50,200 Speaker 1: audition with all of that anger, which I think fueled 121 00:06:50,279 --> 00:06:54,320 Speaker 1: me getting the part. This is before Outsiders, just before 122 00:06:54,320 --> 00:06:57,760 Speaker 1: Outsiders before Okay, So yeah, I remember when you're in 123 00:06:57,760 --> 00:07:00,400 Speaker 1: those early days of casting. It is so are Like 124 00:07:00,400 --> 00:07:03,719 Speaker 1: I'll never forget I did a TV show for CBS, 125 00:07:03,760 --> 00:07:05,960 Speaker 1: and the woman who was the head of talent or 126 00:07:06,000 --> 00:07:09,880 Speaker 1: I forget her title was Christopher Guest's mother, Jean, who 127 00:07:09,920 --> 00:07:12,200 Speaker 1: was this very elegant, lovely woman who had this big 128 00:07:12,200 --> 00:07:15,560 Speaker 1: office and uh TV City in l A. And there 129 00:07:15,600 --> 00:07:18,040 Speaker 1: was an executive who worked with her on never your 130 00:07:18,040 --> 00:07:19,880 Speaker 1: first starting out and you don't know what's what. I mean, 131 00:07:19,920 --> 00:07:21,520 Speaker 1: I didn't know what's what. You come from a family 132 00:07:21,560 --> 00:07:24,720 Speaker 1: where you probably have that that advantage over me. And 133 00:07:24,760 --> 00:07:27,240 Speaker 1: I go there and uh and the pilot we did 134 00:07:27,280 --> 00:07:29,360 Speaker 1: bombed and we're in a room and they don't worry 135 00:07:29,360 --> 00:07:31,120 Speaker 1: about it. We're gonna sign you to a holding deal. 136 00:07:31,120 --> 00:07:33,240 Speaker 1: We're gonna sign you to a network holding deal when 137 00:07:33,280 --> 00:07:35,400 Speaker 1: we pay you money, not a lot of money, just 138 00:07:35,440 --> 00:07:37,320 Speaker 1: to not work for anybody else. And you're gonna work 139 00:07:37,320 --> 00:07:39,240 Speaker 1: for us. And this guy leans in and goes, we 140 00:07:39,280 --> 00:07:41,520 Speaker 1: think you're great, man. We're gonna make you the next 141 00:07:41,560 --> 00:07:47,880 Speaker 1: Bill Bixby. Remember sitting there going, you know, man, I 142 00:07:47,920 --> 00:07:50,040 Speaker 1: guess they think that's a good thing. I should probably 143 00:07:50,200 --> 00:07:52,240 Speaker 1: I should probably think that's true. Well, you know, and 144 00:07:52,240 --> 00:07:54,800 Speaker 1: and and oftentimes as actors, we did criticize why did 145 00:07:54,840 --> 00:07:57,480 Speaker 1: you make that choice? Why did you do it? Sometimes 146 00:07:57,480 --> 00:07:59,160 Speaker 1: it doesn't come down to a choice. Sometimes the movie 147 00:07:59,200 --> 00:08:01,800 Speaker 1: picks you. You know what. I the day I auditioned 148 00:08:01,800 --> 00:08:04,280 Speaker 1: for Breakfast Club, I had audition for a Chips episode, 149 00:08:04,440 --> 00:08:06,800 Speaker 1: I had audition for a Taco Bell commercial, and it 150 00:08:06,880 --> 00:08:09,920 Speaker 1: was just like they just happened to say yes, right, 151 00:08:10,120 --> 00:08:12,200 Speaker 1: And and sometimes it is just a matter of that 152 00:08:12,720 --> 00:08:15,640 Speaker 1: and someone you know casting you in their film, and 153 00:08:15,680 --> 00:08:19,480 Speaker 1: it's and it's luck, and it's timing and and oftentimes 154 00:08:19,520 --> 00:08:21,800 Speaker 1: were criticized for why did you make that choice? The 155 00:08:21,880 --> 00:08:24,840 Speaker 1: choice wasn't up to us who directed people. Man Alex Cox, 156 00:08:25,160 --> 00:08:26,760 Speaker 1: he went on and he did in a great picture 157 00:08:26,760 --> 00:08:30,920 Speaker 1: after that called Side. Nancy describe what the process was 158 00:08:30,960 --> 00:08:35,560 Speaker 1: like with Coppola. Oh, well, you know, Francis um likes 159 00:08:35,559 --> 00:08:41,240 Speaker 1: a very long, protracted casting uh sessions, and so he 160 00:08:41,360 --> 00:08:44,800 Speaker 1: and he likes to sort of create a gladiator mentality. 161 00:08:44,920 --> 00:08:48,320 Speaker 1: So he had actors from all over town. In fact, 162 00:08:48,320 --> 00:08:50,880 Speaker 1: I think some of these audition tapes have made the 163 00:08:51,000 --> 00:08:54,200 Speaker 1: rounds online. But you've got Dennis Quaid and make You 164 00:08:54,280 --> 00:08:58,240 Speaker 1: Rourke and and Tom Cruise and everyone in town at 165 00:08:58,240 --> 00:09:00,880 Speaker 1: the time who could have been right for film. We're 166 00:09:00,880 --> 00:09:03,160 Speaker 1: all in this pit. And he and Frances saying, now 167 00:09:03,160 --> 00:09:04,560 Speaker 1: you're gonna play this part, and you're gonna and so 168 00:09:04,640 --> 00:09:07,480 Speaker 1: you may have just auditioned for a specific role and 169 00:09:07,520 --> 00:09:10,800 Speaker 1: now you're watching Patrick Swayze do it, or you're watching 170 00:09:11,040 --> 00:09:13,040 Speaker 1: Rob blow Door Tom Cruise do it, and it's like, 171 00:09:13,080 --> 00:09:14,800 Speaker 1: oh God, he's so much better than me. I'm never 172 00:09:14,840 --> 00:09:17,520 Speaker 1: gonna get this. Uh. And it was and it created 173 00:09:17,640 --> 00:09:21,439 Speaker 1: a real sense of competition and and it was exhausting. Uh. 174 00:09:21,480 --> 00:09:24,800 Speaker 1: And then he took I think four or five finalists 175 00:09:24,880 --> 00:09:27,040 Speaker 1: from the from the l A additions. We all flew 176 00:09:27,080 --> 00:09:29,520 Speaker 1: to New York and we did the same process at 177 00:09:29,520 --> 00:09:33,599 Speaker 1: the Brill Building and it was it was exhausting. Um. 178 00:09:33,640 --> 00:09:37,439 Speaker 1: But ultimately I think that Francis knew who his guys 179 00:09:37,480 --> 00:09:40,319 Speaker 1: were going to be and and and those were the 180 00:09:40,760 --> 00:09:42,160 Speaker 1: ones that did flat in New York were the ones 181 00:09:42,240 --> 00:09:44,319 Speaker 1: that ended up in the Phone. But was he experience 182 00:09:44,360 --> 00:09:49,120 Speaker 1: like shooting the Phone? He Um, he was early days, 183 00:09:49,240 --> 00:09:51,720 Speaker 1: he was. He was involved in um chromic I think 184 00:09:51,720 --> 00:09:55,240 Speaker 1: it's called chroma key, where you can basically affect the 185 00:09:55,280 --> 00:09:58,160 Speaker 1: background of a location. You'd stand, we'd stand on an 186 00:09:58,160 --> 00:10:01,840 Speaker 1: empty set and we would shoot basically the entire film. 187 00:10:01,880 --> 00:10:03,680 Speaker 1: So it was two weeks for her. So you remember 188 00:10:03,679 --> 00:10:06,080 Speaker 1: back in the day, it wasn't a question of whether 189 00:10:06,160 --> 00:10:07,800 Speaker 1: or not you were going to give two weeks. You 190 00:10:07,880 --> 00:10:10,440 Speaker 1: gave two weeks of rehearsal. It was you showed up 191 00:10:10,480 --> 00:10:12,880 Speaker 1: two weeks early for so that was for the two 192 00:10:12,920 --> 00:10:16,760 Speaker 1: weeks prior to shooting, we had completed top to bottom 193 00:10:16,960 --> 00:10:20,280 Speaker 1: shooting the entire film. But now you're lucky. If your 194 00:10:20,280 --> 00:10:23,640 Speaker 1: actors show up the day before you start shooting, you 195 00:10:23,679 --> 00:10:28,240 Speaker 1: don't seem like you're all in on the movie stardom thing. Well, this, 196 00:10:28,240 --> 00:10:31,160 Speaker 1: this seems like a piece of you that's uncomfortable. And 197 00:10:31,280 --> 00:10:34,920 Speaker 1: is that accurate because it seems like you describe that well, 198 00:10:34,960 --> 00:10:38,040 Speaker 1: you know, it's I never got into this business to 199 00:10:38,080 --> 00:10:42,000 Speaker 1: be famous. I got into it to be a working actor. 200 00:10:42,360 --> 00:10:44,360 Speaker 1: Like my father. He he sort of set the tone. 201 00:10:44,400 --> 00:10:46,280 Speaker 1: He in fact, when I when I was starting, and says, 202 00:10:46,280 --> 00:10:48,240 Speaker 1: you know what, no one's gonna remember your name, no 203 00:10:48,280 --> 00:10:50,880 Speaker 1: one's gonna know your name. Just do work, do work. 204 00:10:51,240 --> 00:10:53,120 Speaker 1: And he just kept stressing that, and he says, and 205 00:10:53,120 --> 00:10:56,600 Speaker 1: if you're lucky enough, you'll keep working until you're old. Um. 206 00:10:56,760 --> 00:11:00,199 Speaker 1: But uh, and so I've been very lucky, and I've 207 00:11:00,280 --> 00:11:02,200 Speaker 1: made some good choices and I made some bad ones. 208 00:11:02,280 --> 00:11:05,920 Speaker 1: But but um, I've never been comfortable with with the 209 00:11:05,960 --> 00:11:09,679 Speaker 1: autographs and the selfies and now, um, but all the 210 00:11:09,720 --> 00:11:12,640 Speaker 1: stuff that comes with it, because it felt like it 211 00:11:12,679 --> 00:11:17,040 Speaker 1: was so far away from the reason we became actors 212 00:11:17,200 --> 00:11:20,560 Speaker 1: to begin with, that whole thing of like gaming your career. 213 00:11:20,720 --> 00:11:22,959 Speaker 1: You know. My agents said to me, we're going to 214 00:11:23,000 --> 00:11:25,200 Speaker 1: send a script over to you, and it's for a 215 00:11:25,240 --> 00:11:27,120 Speaker 1: movie that was with a big director. It was it's 216 00:11:27,200 --> 00:11:30,000 Speaker 1: kind of an action film, kind of a very you know, 217 00:11:30,120 --> 00:11:33,280 Speaker 1: crazy action drama, and it was the most money I 218 00:11:33,320 --> 00:11:35,920 Speaker 1: would ever be paid in the movie. And he sends 219 00:11:35,960 --> 00:11:37,680 Speaker 1: the script over and the messenger comes and I opened 220 00:11:37,720 --> 00:11:39,800 Speaker 1: the door. When I sit down, I just devour it. 221 00:11:39,840 --> 00:11:41,480 Speaker 1: I just sit right down and meet it and I 222 00:11:41,520 --> 00:11:44,160 Speaker 1: call it my agent and I go, you know, got out. 223 00:11:44,200 --> 00:11:46,080 Speaker 1: I want to love it, man, I want to love it. 224 00:11:47,000 --> 00:11:48,880 Speaker 1: I really wanted. I mean I never wanted to love 225 00:11:48,920 --> 00:11:52,040 Speaker 1: a movie more in my life than this movie. I said, 226 00:11:52,040 --> 00:11:53,599 Speaker 1: but I can't do it. I don't get it. I 227 00:11:53,600 --> 00:11:55,240 Speaker 1: don't get what they want. I don't want how I 228 00:11:55,240 --> 00:11:56,800 Speaker 1: could do that. I mean, maybe they need a different 229 00:11:56,880 --> 00:11:58,800 Speaker 1: kind of guy. And he goes, do me a favorite. 230 00:11:59,080 --> 00:12:00,720 Speaker 1: He says, why don't you come over to my office? 231 00:12:00,720 --> 00:12:01,800 Speaker 1: And he goes, and I want you to read the 232 00:12:01,800 --> 00:12:04,880 Speaker 1: script again in my office because and we have a light. 233 00:12:04,960 --> 00:12:08,079 Speaker 1: We have a special light be have in the office. 234 00:12:09,200 --> 00:12:12,000 Speaker 1: And the light we have projects onto the page the 235 00:12:12,040 --> 00:12:15,600 Speaker 1: amount of money you're going to get to be in 236 00:12:15,640 --> 00:12:18,400 Speaker 1: the movie. Would you do that for me? Would you 237 00:12:18,400 --> 00:12:20,199 Speaker 1: come over to the office and be the script again 238 00:12:20,440 --> 00:12:22,199 Speaker 1: with our special light we have here at c A. 239 00:12:23,200 --> 00:12:25,640 Speaker 1: And I laughed at everything, but I mean, you realize 240 00:12:25,640 --> 00:12:29,200 Speaker 1: that getting it right, getting it well, I always I 241 00:12:29,240 --> 00:12:30,720 Speaker 1: kind of gave up. I was like, I don't know 242 00:12:30,760 --> 00:12:34,600 Speaker 1: what the right answer is here? You know. Uh, Now, 243 00:12:34,640 --> 00:12:38,280 Speaker 1: as you're going along and making films, you work with Hughes. 244 00:12:38,880 --> 00:12:40,640 Speaker 1: What was he like to work with? He was very 245 00:12:40,720 --> 00:12:43,679 Speaker 1: childlike left him. He was very he was very curious 246 00:12:44,480 --> 00:12:47,480 Speaker 1: about everything. And that's what made him, I think, such 247 00:12:47,480 --> 00:12:50,959 Speaker 1: a terrific filmmaker is that he asked questions about you 248 00:12:51,080 --> 00:12:53,000 Speaker 1: all the time, said, how are you feel? What's going on? 249 00:12:53,080 --> 00:12:55,160 Speaker 1: You lever r now? And and and you know, look 250 00:12:55,160 --> 00:12:56,680 Speaker 1: at this old draft of the script and what do 251 00:12:56,720 --> 00:12:58,600 Speaker 1: you think of you know, I cut this out and 252 00:12:58,720 --> 00:13:01,120 Speaker 1: maybe you can figure out how to this work? He 253 00:13:01,200 --> 00:13:05,479 Speaker 1: was very collaborative and and it takes a lot of confidence, 254 00:13:05,960 --> 00:13:08,640 Speaker 1: I think, and especially as as I think it was 255 00:13:08,679 --> 00:13:10,880 Speaker 1: his second time that he had directed at that point 256 00:13:10,880 --> 00:13:13,520 Speaker 1: with me, and but to have the confidence to trust 257 00:13:13,559 --> 00:13:16,360 Speaker 1: your actors the way that he did during that experience 258 00:13:16,440 --> 00:13:18,719 Speaker 1: was it was a real lesson for me. He's the 259 00:13:18,720 --> 00:13:20,720 Speaker 1: only person I know who rolled the camera and he 260 00:13:20,800 --> 00:13:23,680 Speaker 1: write notes on like a que card with a magic 261 00:13:23,720 --> 00:13:26,640 Speaker 1: marker while we were rolling, right, So you're sitting there 262 00:13:26,679 --> 00:13:29,480 Speaker 1: and and Elizabeth McGovern would say, asked me, you know, 263 00:13:29,880 --> 00:13:32,120 Speaker 1: I was supposed to be the sophisticated, rich kid, and 264 00:13:32,120 --> 00:13:33,800 Speaker 1: I've been all over the world. She's like, well, god, 265 00:13:33,840 --> 00:13:36,439 Speaker 1: you must have been everywhere. You've been so many places. Well, 266 00:13:36,480 --> 00:13:38,200 Speaker 1: you know, tell me about some of the placest band 267 00:13:38,360 --> 00:13:40,200 Speaker 1: And he would write a city and then he write 268 00:13:40,200 --> 00:13:44,200 Speaker 1: like a really crude association. He write Berlin lesbians, and 269 00:13:44,200 --> 00:13:46,960 Speaker 1: he'd hold it up and I go, well, you know, Berlin, 270 00:13:47,520 --> 00:13:51,080 Speaker 1: you know, just teaming with lesbians and uh, and I'm 271 00:13:51,120 --> 00:13:56,440 Speaker 1: reading this up the card and he's like, you know, uh. 272 00:13:56,520 --> 00:13:58,440 Speaker 1: He was crazy. He was really really so much fun 273 00:13:58,800 --> 00:14:00,920 Speaker 1: music too, and he played music can drive the sound 274 00:14:00,920 --> 00:14:04,080 Speaker 1: people nuts. But during during the filming of a scene. 275 00:14:04,160 --> 00:14:07,439 Speaker 1: We just start some music. Cameron Cameron Crap has a 276 00:14:07,480 --> 00:14:10,040 Speaker 1: lot of music. Now, at what point that you're doing 277 00:14:10,080 --> 00:14:13,480 Speaker 1: this because you work with some you know, fantastic directors, 278 00:14:13,840 --> 00:14:17,920 Speaker 1: does the directing thing begin to dawn on you? Well, 279 00:14:18,360 --> 00:14:21,400 Speaker 1: you know, I had written I did an adaptation of 280 00:14:21,440 --> 00:14:24,000 Speaker 1: an ss hit novel and it was perhaps the least 281 00:14:24,000 --> 00:14:28,160 Speaker 1: successful of the four that were that were turned into films. 282 00:14:29,040 --> 00:14:30,840 Speaker 1: It was it was a movie called that was in 283 00:14:30,960 --> 00:14:34,120 Speaker 1: This is Now, and for a lot of different reasons, 284 00:14:34,280 --> 00:14:37,000 Speaker 1: picture just didn't work. And so I was very frustrated 285 00:14:37,000 --> 00:14:38,800 Speaker 1: coming out of that experience. And I was twenty three 286 00:14:38,840 --> 00:14:41,040 Speaker 1: years old, and I said, that's not gonna happen. Next time. 287 00:14:41,040 --> 00:14:44,520 Speaker 1: I'm going to direct. And I surrounded myself with with 288 00:14:44,840 --> 00:14:47,640 Speaker 1: I wrote the script that was terrible, and and I 289 00:14:47,680 --> 00:14:52,280 Speaker 1: surrounded myself with an amazing group of of technicians. Robert 290 00:14:52,320 --> 00:14:54,640 Speaker 1: Wise was my executive producer and ended up being a 291 00:14:54,640 --> 00:14:57,680 Speaker 1: mentor to me. Michael Cohn, who Spielberg's editor, cut it. 292 00:14:57,880 --> 00:15:02,560 Speaker 1: Dennis Gastner was our production designer. Um Danny Elfman wrote 293 00:15:02,560 --> 00:15:05,040 Speaker 1: the score. I mean, I was surrounded and supported by 294 00:15:05,040 --> 00:15:09,280 Speaker 1: this extraordinary group of people, and I had a terrible script, 295 00:15:09,320 --> 00:15:11,440 Speaker 1: and I shot it anyway, and I was convinced that 296 00:15:11,440 --> 00:15:12,960 Speaker 1: no one was going to tell me what to do, 297 00:15:13,400 --> 00:15:15,360 Speaker 1: and I should have listened to them. Uh, And they 298 00:15:15,360 --> 00:15:18,000 Speaker 1: should have told me what to do. No, no, no, 299 00:15:18,080 --> 00:15:24,720 Speaker 1: this is another movie for her call anyway, So you've 300 00:15:24,720 --> 00:15:30,880 Speaker 1: got a couple of verse. So anyway, uh And and 301 00:15:30,960 --> 00:15:33,360 Speaker 1: so I came out of that experience bruised and broken, 302 00:15:33,400 --> 00:15:35,200 Speaker 1: and I said, well, I'm gonna do it again. And 303 00:15:35,240 --> 00:15:37,920 Speaker 1: that was another film that I did with with Charlie, 304 00:15:37,960 --> 00:15:39,520 Speaker 1: which was lighter, and it was mean at work and 305 00:15:39,560 --> 00:15:42,960 Speaker 1: it was silly, and and my mother pulled me aside, 306 00:15:43,160 --> 00:15:45,720 Speaker 1: and she's she's sort of been. She's the rock of 307 00:15:45,760 --> 00:15:49,680 Speaker 1: the family and she's the most practical one in our group. 308 00:15:50,480 --> 00:15:52,640 Speaker 1: And she just said, you know, you're making movies about 309 00:15:52,680 --> 00:15:56,480 Speaker 1: things you don't know anything about. Make films about what 310 00:15:56,520 --> 00:15:57,920 Speaker 1: you know, and what do you know? You know about 311 00:15:57,960 --> 00:16:02,400 Speaker 1: family and about people. And so I focus changed. I 312 00:16:02,440 --> 00:16:05,800 Speaker 1: make folk movies. I believe I make folk movies. And 313 00:16:06,080 --> 00:16:08,320 Speaker 1: it started with you know, I did this deal with 314 00:16:08,360 --> 00:16:12,120 Speaker 1: the Devil. I agreed to do a third Mighty Ducks film, 315 00:16:12,240 --> 00:16:16,760 Speaker 1: which with for Disney in exchange for the funding to 316 00:16:16,840 --> 00:16:19,400 Speaker 1: do a pet project of mine. It was a movie 317 00:16:19,440 --> 00:16:22,600 Speaker 1: called The War at Home where I played a directed 318 00:16:22,640 --> 00:16:26,560 Speaker 1: and played a character who was suffering from PTSD Vietnam veteran. 319 00:16:27,240 --> 00:16:32,440 Speaker 1: And so I do a Mighty Ducks and I go 320 00:16:32,520 --> 00:16:35,200 Speaker 1: off to Texas and I make War at Home and 321 00:16:35,680 --> 00:16:38,200 Speaker 1: Cathy Bates is in it, and my father plays my father, 322 00:16:38,280 --> 00:16:40,680 Speaker 1: Kimberly Once. It's a forehander, and it's based on James 323 00:16:40,760 --> 00:16:44,720 Speaker 1: Duff's play Home Front, which Carol Connor originated the role 324 00:16:44,800 --> 00:16:46,680 Speaker 1: that that my father played. So I thought, you know, 325 00:16:46,840 --> 00:16:48,520 Speaker 1: this is I got this in hand. This is four 326 00:16:48,560 --> 00:16:52,360 Speaker 1: people in a house. Uh, this is something I know. 327 00:16:52,400 --> 00:16:54,640 Speaker 1: It's about a dysfunctional family. I know a lot about that, 328 00:16:55,320 --> 00:17:00,240 Speaker 1: so most of us do. So. Um. The movie was 329 00:17:00,280 --> 00:17:04,080 Speaker 1: released on four screens and uh, and sort of disappeared 330 00:17:04,080 --> 00:17:06,359 Speaker 1: and outside of the festival circuit, not many people ever 331 00:17:06,400 --> 00:17:09,000 Speaker 1: heard of it. But but that experience sort of informed 332 00:17:09,240 --> 00:17:12,840 Speaker 1: moving where I was going to go, and it was 333 00:17:12,920 --> 00:17:15,399 Speaker 1: to make movies that that mattered. I didn't care what 334 00:17:15,520 --> 00:17:19,200 Speaker 1: the cost was. Uh. Emotionally to me, I knew that 335 00:17:19,280 --> 00:17:21,320 Speaker 1: there was the road that I was gonna take was 336 00:17:21,359 --> 00:17:24,159 Speaker 1: going to be very difficult. Um, but I wanted to 337 00:17:24,200 --> 00:17:26,800 Speaker 1: make films. I wanted to change the direction of my career. 338 00:17:27,560 --> 00:17:29,359 Speaker 1: There's a lot on this reel that I'm not proud of. 339 00:17:30,600 --> 00:17:36,560 Speaker 1: I mean, it's just some fun yea. Um but but 340 00:17:36,720 --> 00:17:39,800 Speaker 1: but at that point when you say you make this decision, 341 00:17:40,240 --> 00:17:43,720 Speaker 1: is coupled with that decision? Uh, side by side with 342 00:17:43,800 --> 00:17:46,320 Speaker 1: it with that decision. Do you think and I'm willing 343 00:17:46,359 --> 00:17:49,320 Speaker 1: to stop not deciding, but you're willing to stop starring 344 00:17:49,320 --> 00:17:50,920 Speaker 1: in films as an act of films you don't want 345 00:17:50,920 --> 00:17:53,919 Speaker 1: to make anymore? Sure? Oh yeah no, And you have 346 00:17:54,000 --> 00:17:55,840 Speaker 1: to say this is a sacrifice I'm willing to make. 347 00:17:56,119 --> 00:17:58,400 Speaker 1: I wanted to. I literally want to make a right 348 00:17:58,440 --> 00:18:01,280 Speaker 1: hand turn. And uh and and I think, you know 349 00:18:01,400 --> 00:18:03,840 Speaker 1: much the dismay of agents and managers who were making 350 00:18:03,880 --> 00:18:05,879 Speaker 1: a lot of money off of some of the poorer 351 00:18:05,880 --> 00:18:11,800 Speaker 1: decisions that I was making. Um, they were you know, uh, 352 00:18:11,880 --> 00:18:17,040 Speaker 1: they were not necessarily as supportive as you would have imagined. Right. 353 00:18:17,480 --> 00:18:19,560 Speaker 1: I love when you do a movie and you know 354 00:18:19,800 --> 00:18:22,399 Speaker 1: I would make some decisions like I think, yeah, I 355 00:18:22,400 --> 00:18:24,560 Speaker 1: don't want to take my wife on a vacation to Rome. 356 00:18:25,680 --> 00:18:29,320 Speaker 1: And so they this all this is all appended to 357 00:18:29,800 --> 00:18:31,879 Speaker 1: someone saying come to Rome. And make this movie. And 358 00:18:31,880 --> 00:18:34,040 Speaker 1: it was a really bad It was such a bad movie, 359 00:18:34,119 --> 00:18:36,240 Speaker 1: you know, And but of course it all sounds better 360 00:18:36,320 --> 00:18:38,200 Speaker 1: when the person on the otherment in the phone is Italian, 361 00:18:38,280 --> 00:18:43,000 Speaker 1: you know, they're they're like, you come and the the 362 00:18:43,000 --> 00:18:48,040 Speaker 1: the movie is a video game, but the movie and 363 00:18:48,920 --> 00:18:52,159 Speaker 1: you are the game master. You're like a floating ahead 364 00:18:53,320 --> 00:18:55,960 Speaker 1: in the screen, and you were talking to all the 365 00:18:56,000 --> 00:18:59,600 Speaker 1: people trapped in the maze, and you say to them, 366 00:18:59,680 --> 00:19:03,040 Speaker 1: you know, you have certainly well proceed to level five, 367 00:19:03,200 --> 00:19:06,040 Speaker 1: you know, and you are the game master. And I'm like, 368 00:19:06,119 --> 00:19:09,840 Speaker 1: I'm like, that doesn't sound that bad. I'm taking my 369 00:19:09,840 --> 00:19:11,920 Speaker 1: wife to Rome for two weeks. I'm like, yeah, we'll 370 00:19:11,920 --> 00:19:13,800 Speaker 1: do that. And then afterward you're like, oh god, what 371 00:19:13,920 --> 00:19:18,679 Speaker 1: have I done? And it lives forever, especially at night 372 00:19:18,720 --> 00:19:29,600 Speaker 1: when you're girling. A main library is now closing. Please 373 00:19:29,720 --> 00:19:34,040 Speaker 1: access the building once again? What's going on? Nobody's leaving? 374 00:19:34,520 --> 00:19:37,840 Speaker 1: Patron just digging in action. What are they protesting? Frison 375 00:19:37,920 --> 00:19:43,600 Speaker 1: it death? What's it gonna be? Mr Goodson? Either one 376 00:19:43,640 --> 00:19:47,560 Speaker 1: of us are one of them? Right? That's a clip 377 00:19:47,720 --> 00:19:51,439 Speaker 1: from the public Amilio esteve As, his latest film starring 378 00:19:51,520 --> 00:19:56,760 Speaker 1: Taylor Shilling. Michael Kay Williams, and Emilio himself, among many others. 379 00:19:57,400 --> 00:20:00,760 Speaker 1: When we come back, Amelio Estevez talks a it about 380 00:20:00,840 --> 00:20:04,400 Speaker 1: his dad's arrest record, the role of libraries in America, 381 00:20:04,800 --> 00:20:18,879 Speaker 1: and what I was doing in his dreams. I'm Alec 382 00:20:18,920 --> 00:20:23,000 Speaker 1: Baldwin and you're listening to here's the thing. The activism 383 00:20:23,160 --> 00:20:25,800 Speaker 1: at the core of Ameilio Esteve, as his new movie, 384 00:20:26,359 --> 00:20:30,639 Speaker 1: is rooted in the Sheen families long history of political engagement. 385 00:20:31,160 --> 00:20:34,680 Speaker 1: The public is a celebration of non violent civil disobedience. 386 00:20:35,200 --> 00:20:38,040 Speaker 1: I grew up in a household where that was celebrated. Uh, 387 00:20:38,119 --> 00:20:41,119 Speaker 1: you know, my father has been arrested sixty eight times 388 00:20:41,920 --> 00:20:49,639 Speaker 1: for all all civil disobedience, peaceful going against the nuclear proliferation, immigration, 389 00:20:50,200 --> 00:20:53,879 Speaker 1: and and homelessness. So thank god we've solved all three 390 00:20:53,920 --> 00:20:57,400 Speaker 1: of those problems. I love that, you know the exact number. 391 00:20:57,600 --> 00:21:01,040 Speaker 1: I see the household, she house, and he comes out 392 00:21:01,080 --> 00:21:02,520 Speaker 1: of jail, and everyone's there with a cake with a 393 00:21:02,640 --> 00:21:07,879 Speaker 1: number on it. Congratulations dad, number, We're proud of you. 394 00:21:08,520 --> 00:21:12,840 Speaker 1: Jail on the cake, handcuffs. In the late eighties and 395 00:21:12,880 --> 00:21:16,480 Speaker 1: the nineties, he would regularly, uh it would end up 396 00:21:16,520 --> 00:21:19,040 Speaker 1: on the evening news. Sometimes the national news, and he 397 00:21:19,119 --> 00:21:21,600 Speaker 1: would be carted off to jail and and cuffs, and 398 00:21:22,240 --> 00:21:24,200 Speaker 1: and he'd be screaming at the top of his lungs, 399 00:21:24,240 --> 00:21:27,359 Speaker 1: either the Lord's Prayer or the Tagore poem, Let my 400 00:21:27,440 --> 00:21:32,200 Speaker 1: country Awake. And he looked like a lunatic. And and 401 00:21:32,400 --> 00:21:34,480 Speaker 1: and I would say, and my my mother would just 402 00:21:34,560 --> 00:21:37,440 Speaker 1: be shaking her head and and you know, and I 403 00:21:37,480 --> 00:21:40,600 Speaker 1: didn't really understand. I understood it fundamentally. I understood what 404 00:21:40,680 --> 00:21:44,040 Speaker 1: he was doing, but I didn't understand it spiritually. I 405 00:21:44,119 --> 00:21:48,440 Speaker 1: didn't get it. Um, But I do now. I understand 406 00:21:48,520 --> 00:21:51,480 Speaker 1: that we have to stand up and we have to 407 00:21:53,040 --> 00:21:56,879 Speaker 1: embrace what Reinhold neighbor called the sublime madness, and and 408 00:21:57,080 --> 00:22:00,680 Speaker 1: that is you know you're going to lose, but you 409 00:22:01,280 --> 00:22:04,480 Speaker 1: but you cannot not do it. Um. It's uh, it's 410 00:22:04,560 --> 00:22:07,720 Speaker 1: the it's the Jean Paul Start quote. I don't fight 411 00:22:07,800 --> 00:22:10,200 Speaker 1: fascist because I think I will win. I fight fascist 412 00:22:10,280 --> 00:22:18,000 Speaker 1: because they're fascist, but I'm not. You know again that 413 00:22:18,160 --> 00:22:20,399 Speaker 1: that was at the core of who my father is. 414 00:22:20,480 --> 00:22:23,560 Speaker 1: And I think that that is informed to circle back 415 00:22:23,600 --> 00:22:27,000 Speaker 1: around the kinds of films that that I'm interested in making. 416 00:22:27,040 --> 00:22:30,880 Speaker 1: I'm I'm I'm interested in in in emotional and spiritual transformation. 417 00:22:31,400 --> 00:22:33,960 Speaker 1: As I said, I'm interested in movies about people. I 418 00:22:34,000 --> 00:22:35,720 Speaker 1: don't know how to make a movie. And outer space 419 00:22:35,920 --> 00:22:39,400 Speaker 1: I've never been there, right, and it doesn't particularly interest 420 00:22:39,440 --> 00:22:41,240 Speaker 1: in me. We've got a lot to solve on this planet, 421 00:22:41,359 --> 00:22:43,600 Speaker 1: so let's focus on what It's funny when you said that, 422 00:22:43,680 --> 00:22:46,280 Speaker 1: your mother said, do movies you know, and I thought, 423 00:22:46,400 --> 00:22:48,960 Speaker 1: you know, I thought your response would have been something like, 424 00:22:49,040 --> 00:22:51,600 Speaker 1: you know, well, Kuprick didn't go to outer space, model 425 00:22:51,760 --> 00:22:54,520 Speaker 1: and Copla never went to Vietnam. Right, I'm sure you 426 00:22:54,560 --> 00:22:57,280 Speaker 1: could make an argument for all of them. Um, that's 427 00:22:57,280 --> 00:22:59,640 Speaker 1: not your filmmaking. You want to do what you know. Yeah, 428 00:23:00,000 --> 00:23:02,200 Speaker 1: and I also have to work within the parameters of 429 00:23:02,280 --> 00:23:04,000 Speaker 1: the of the budgets something We're going to get to that. 430 00:23:04,520 --> 00:23:06,800 Speaker 1: But YouTube movie like Bobby that looks like it's a 431 00:23:06,840 --> 00:23:10,040 Speaker 1: lot of money, it wasn't familiar. We started that original budget, 432 00:23:10,119 --> 00:23:13,439 Speaker 1: started it around five five uh, and it had an 433 00:23:13,520 --> 00:23:16,240 Speaker 1: enormous cast. It's a big again, and that was sort 434 00:23:16,280 --> 00:23:18,240 Speaker 1: of one of the challenges, as it was with the 435 00:23:18,280 --> 00:23:21,040 Speaker 1: public and a less less to a lesser degree, but 436 00:23:21,960 --> 00:23:25,280 Speaker 1: balancing everybody's schedules because so on Bobby as on this, 437 00:23:25,440 --> 00:23:28,000 Speaker 1: we've we've you've got Sharon Stone for five days, You've 438 00:23:28,000 --> 00:23:29,840 Speaker 1: got to me more for six They're supposed to be 439 00:23:29,880 --> 00:23:31,920 Speaker 1: in the same couple of the same scenes, but they're 440 00:23:32,080 --> 00:23:34,760 Speaker 1: scheduled on different during different weeks. How do we figure 441 00:23:34,800 --> 00:23:36,840 Speaker 1: this out? You've got Bill Macey, You've got Tony Hopkins, 442 00:23:36,840 --> 00:23:38,560 Speaker 1: you've got Elijah Would, You've got Lindsay Low and you 443 00:23:38,600 --> 00:23:40,520 Speaker 1: won't come out of a trailer. You've got so you're 444 00:23:40,720 --> 00:23:44,240 Speaker 1: you're doing this whole, this juggling thing, and you're on 445 00:23:44,280 --> 00:23:46,320 Speaker 1: a very tight budget. So it's like you're watching the 446 00:23:46,400 --> 00:23:48,440 Speaker 1: sun go down, the hours take away, and it's like, 447 00:23:48,760 --> 00:23:52,359 Speaker 1: how are we going to make this impossible schedule? And 448 00:23:52,720 --> 00:23:54,600 Speaker 1: and so that is the challenge when you don't have 449 00:23:54,680 --> 00:23:55,919 Speaker 1: a lot of money and you don't have a lot 450 00:23:56,000 --> 00:23:58,960 Speaker 1: of time to make it look flawless, to make it 451 00:23:59,080 --> 00:24:01,920 Speaker 1: look like and make it look like a movie, and 452 00:24:01,960 --> 00:24:03,760 Speaker 1: make it look like everybody was there at the same time, 453 00:24:04,240 --> 00:24:06,120 Speaker 1: which I think we accomplished, and we did it again 454 00:24:06,200 --> 00:24:09,439 Speaker 1: here on the public. But I just I watched myself 455 00:24:09,520 --> 00:24:13,560 Speaker 1: sort of age right and and not slowly. I just 456 00:24:13,640 --> 00:24:16,800 Speaker 1: watched myself get more and more tired. And if you're 457 00:24:16,840 --> 00:24:18,440 Speaker 1: shooting out of sequence, of course, and you need to 458 00:24:18,480 --> 00:24:20,480 Speaker 1: be tired at the end of the movie, like we are, 459 00:24:20,640 --> 00:24:22,800 Speaker 1: like I am in the Public. It's it creates a 460 00:24:22,880 --> 00:24:24,800 Speaker 1: bit of a problem with each movie you make. Do 461 00:24:24,880 --> 00:24:27,239 Speaker 1: you do you come out of the movie? I mean 462 00:24:27,280 --> 00:24:29,400 Speaker 1: I like movies because when you come out of the movie, 463 00:24:29,400 --> 00:24:32,120 Speaker 1: you've learned so much. Is that the same way it's 464 00:24:32,119 --> 00:24:34,840 Speaker 1: for you directing? It is? And I think as a director, 465 00:24:34,880 --> 00:24:36,960 Speaker 1: and if your volts are written the screenplay, you have 466 00:24:37,080 --> 00:24:41,080 Speaker 1: to be accountable to every character. And so when an 467 00:24:41,119 --> 00:24:43,159 Speaker 1: actor comes the night before shooting, it's like, who is 468 00:24:43,200 --> 00:24:45,320 Speaker 1: this guy and what's he doing? And you know how 469 00:24:45,760 --> 00:24:48,000 Speaker 1: how did he get here? And what's his relationship to zones? 470 00:24:48,200 --> 00:24:50,520 Speaker 1: You've got to write backgrounds for a lot of these 471 00:24:51,080 --> 00:24:54,040 Speaker 1: characters and so um, that's just a whole another layer 472 00:24:54,119 --> 00:24:56,440 Speaker 1: of work. Uh. And again I've had a lot of 473 00:24:56,680 --> 00:24:59,760 Speaker 1: years too, in particularly on the Public. I've been working 474 00:24:59,800 --> 00:25:03,040 Speaker 1: on the from for almost twelve years. It's a fifth 475 00:25:03,160 --> 00:25:05,639 Speaker 1: of my life I've devoted to this. So I had 476 00:25:05,640 --> 00:25:08,600 Speaker 1: a lot of time to think about it. And you know, 477 00:25:08,800 --> 00:25:12,280 Speaker 1: the the are there films you right or or you 478 00:25:12,440 --> 00:25:14,480 Speaker 1: develop with other writers their films that you have like 479 00:25:14,600 --> 00:25:16,840 Speaker 1: pots on the stove that you that you find that 480 00:25:16,880 --> 00:25:18,320 Speaker 1: you chucked them and you just say, I'm not going 481 00:25:18,359 --> 00:25:20,560 Speaker 1: to make that. You don't know you never had that 482 00:25:20,640 --> 00:25:24,400 Speaker 1: experience painful. I did write a sequel to The Way 483 00:25:24,960 --> 00:25:27,560 Speaker 1: Uh that I tried to convince my father to do, 484 00:25:27,760 --> 00:25:29,520 Speaker 1: but you couldn't afford him. I couldn't afford him. And 485 00:25:29,520 --> 00:25:31,560 Speaker 1: he says, I'm not going there and I'm not doing 486 00:25:31,600 --> 00:25:34,320 Speaker 1: I'm not I'm too old to walk again. And I said, well, 487 00:25:34,359 --> 00:25:37,000 Speaker 1: you go be on trains and now. So, yeah, that 488 00:25:37,160 --> 00:25:40,800 Speaker 1: was that's probably the only one so far that had 489 00:25:40,880 --> 00:25:45,440 Speaker 1: to get right. Yeah, the public. Nearly everything that's plaguing 490 00:25:45,480 --> 00:25:48,000 Speaker 1: in this country right now is touched upon in this film, 491 00:25:48,720 --> 00:25:52,040 Speaker 1: in terms of community, in terms of education, in terms 492 00:25:52,080 --> 00:25:56,119 Speaker 1: of poverty and homelessness, in terms of identity, spirituality, what 493 00:25:56,240 --> 00:25:58,200 Speaker 1: have you. This so much that I think was really 494 00:25:58,280 --> 00:26:02,280 Speaker 1: really wrong with our country today, beyond what you see 495 00:26:02,320 --> 00:26:04,760 Speaker 1: on the surface and what's covered by the news, that's 496 00:26:04,840 --> 00:26:07,600 Speaker 1: that's touched upon in this film. And I was I 497 00:26:07,720 --> 00:26:11,600 Speaker 1: was wondering, when you write a screenplay like this, do 498 00:26:11,720 --> 00:26:16,880 Speaker 1: you write a hundred screen and then well, I wrote 499 00:26:16,920 --> 00:26:19,520 Speaker 1: this coming off of Bobby. I was feeling, and again 500 00:26:19,560 --> 00:26:21,920 Speaker 1: the movie is what it is. And but there was 501 00:26:21,960 --> 00:26:25,280 Speaker 1: a lot of attention around around the film, and we 502 00:26:25,359 --> 00:26:27,119 Speaker 1: were nominated for a Goal of Globe for Best Picture, 503 00:26:27,200 --> 00:26:29,280 Speaker 1: we got the SAG nomination, and so there was a 504 00:26:29,359 --> 00:26:32,000 Speaker 1: lot of energy about what I would be doing next. 505 00:26:32,440 --> 00:26:34,640 Speaker 1: So the first draft of the Public was a hundred 506 00:26:34,680 --> 00:26:37,080 Speaker 1: and fifty five pages, and I said, I'm not changing 507 00:26:37,080 --> 00:26:41,480 Speaker 1: a word, and of course, you know, we ended up 508 00:26:41,480 --> 00:26:44,720 Speaker 1: with a hundred eight hundred nine page a final draft. 509 00:26:45,119 --> 00:26:49,359 Speaker 1: But it was as inflated as as as I could 510 00:26:49,440 --> 00:26:52,120 Speaker 1: possibly get it, because I thought, there's so many other 511 00:26:52,119 --> 00:26:53,800 Speaker 1: stories I want to tell, There's so many other characters 512 00:26:53,840 --> 00:26:56,399 Speaker 1: I want to I want to explore, and so I 513 00:26:56,520 --> 00:26:59,359 Speaker 1: just kind of had this enormous canvas. The story was 514 00:26:59,400 --> 00:27:02,640 Speaker 1: initially formed by a by a piece in the Early 515 00:27:02,720 --> 00:27:06,040 Speaker 1: Times written by a former librarianship Ward who was retiring, 516 00:27:06,560 --> 00:27:11,080 Speaker 1: and the thesis of the essay was that libraries have 517 00:27:11,160 --> 00:27:14,119 Speaker 1: become the facto homeless shelters, librarians have become the facto 518 00:27:14,440 --> 00:27:18,520 Speaker 1: social workers, and I can't sustain this any longer, and 519 00:27:18,600 --> 00:27:21,080 Speaker 1: this is an epidemic. And so I was so moved 520 00:27:21,119 --> 00:27:23,000 Speaker 1: by the piece that I began to do the research 521 00:27:23,119 --> 00:27:26,440 Speaker 1: and began to write, began to write the script. Is 522 00:27:26,480 --> 00:27:28,960 Speaker 1: there ever a thought for you that you're not going 523 00:27:29,040 --> 00:27:30,720 Speaker 1: to play these roles in the films and you're gonna 524 00:27:30,760 --> 00:27:33,119 Speaker 1: cast somebody. Did you always say to yourself, I got this, 525 00:27:33,720 --> 00:27:35,360 Speaker 1: You're going to play that part. I'm looking for the job. 526 00:27:35,560 --> 00:27:39,080 Speaker 1: Yeah no, no, no, no, I'm just saying because you know, 527 00:27:39,440 --> 00:27:40,600 Speaker 1: you know, I want you know, I want to work 528 00:27:40,600 --> 00:27:43,800 Speaker 1: with you again. Yeah you don't you all you all 529 00:27:43,840 --> 00:27:47,920 Speaker 1: heard it now as good as ink on a page. Now, buddy, 530 00:27:48,000 --> 00:27:49,840 Speaker 1: I'm looking I'm looking at you. Know what I mean? 531 00:27:49,920 --> 00:27:52,440 Speaker 1: Is I directed one movie. It was I hated every 532 00:27:52,480 --> 00:27:54,360 Speaker 1: minute of it. I did. It was not my thing. 533 00:27:55,040 --> 00:27:59,000 Speaker 1: I didn't have the pages for it. I just didn't say. 534 00:27:59,040 --> 00:28:01,440 Speaker 1: You forgot to cover yourself. You know you've covered everybody else. 535 00:28:01,720 --> 00:28:03,080 Speaker 1: We go into the editing room and I turned to 536 00:28:03,280 --> 00:28:06,119 Speaker 1: my assistant director, the director assistant, and I go, we 537 00:28:06,200 --> 00:28:07,800 Speaker 1: have a super tight closive in that shot that who. 538 00:28:08,080 --> 00:28:10,359 Speaker 1: She looked at the page to go, no, we don't. 539 00:28:10,440 --> 00:28:13,040 Speaker 1: And I was like, I with the person who The 540 00:28:13,080 --> 00:28:15,760 Speaker 1: person whose performance was the most neglective was my own. 541 00:28:15,840 --> 00:28:18,240 Speaker 1: And I played the lead in the movie. But but, 542 00:28:18,359 --> 00:28:21,399 Speaker 1: but What was interesting was is that I realized that 543 00:28:21,520 --> 00:28:23,560 Speaker 1: it is tough. I mean, what a muscle you have 544 00:28:23,720 --> 00:28:26,440 Speaker 1: to have to star in and to direct a film. 545 00:28:26,480 --> 00:28:28,720 Speaker 1: You really really have to have a special gift. And 546 00:28:29,000 --> 00:28:31,440 Speaker 1: I'm wondering, has it ever been problematic for you? Do 547 00:28:31,440 --> 00:28:33,440 Speaker 1: you ever think to yourself that you, you know, there's 548 00:28:33,480 --> 00:28:35,119 Speaker 1: a lot of great You know, Ronnie Howard is a 549 00:28:35,160 --> 00:28:37,200 Speaker 1: great director, had a huge career as a TV star, 550 00:28:37,560 --> 00:28:39,000 Speaker 1: and you never see him in his movies. You ever 551 00:28:39,080 --> 00:28:41,080 Speaker 1: want to go back to directing? Only? Sure? I mean, 552 00:28:41,080 --> 00:28:42,680 Speaker 1: I think it would depend on the story. And I 553 00:28:42,800 --> 00:28:45,000 Speaker 1: think if if it just didn't make sense for me 554 00:28:45,120 --> 00:28:47,480 Speaker 1: to be absolutely I would step back. And you know, 555 00:28:47,520 --> 00:28:48,840 Speaker 1: in the way I had a very small role and 556 00:28:48,920 --> 00:28:52,040 Speaker 1: Bobby had a very limited role. Um, so it was 557 00:28:53,880 --> 00:28:57,120 Speaker 1: I think, sure, I'm open to that. So the last 558 00:28:57,200 --> 00:28:58,880 Speaker 1: question I'll ask before we go out into the house 559 00:28:58,960 --> 00:29:02,800 Speaker 1: here is that you make uh, studio films and big 560 00:29:02,840 --> 00:29:05,160 Speaker 1: films in your lifetime. You go in and your shoot, 561 00:29:05,200 --> 00:29:06,880 Speaker 1: and you're an actor, and you you can want it. 562 00:29:06,960 --> 00:29:09,240 Speaker 1: At the time that they're finishing that movie, you've shot 563 00:29:09,280 --> 00:29:10,920 Speaker 1: two or three more movies in that time, you know, 564 00:29:11,400 --> 00:29:15,280 Speaker 1: and now you are uh, you are prepping the movie, 565 00:29:15,560 --> 00:29:17,920 Speaker 1: and you are shooting the movie, and you're posting the movie, 566 00:29:18,160 --> 00:29:19,960 Speaker 1: and you have to raise money for the movie is 567 00:29:20,000 --> 00:29:21,960 Speaker 1: gonna and then you're gonna sell the movie and market 568 00:29:22,040 --> 00:29:24,560 Speaker 1: the movie. Take us through that process, just give us 569 00:29:24,560 --> 00:29:26,560 Speaker 1: a little bit of Well I left this film. I 570 00:29:26,680 --> 00:29:29,320 Speaker 1: left Los Angeles for Cincinnati, where we shot the film 571 00:29:30,080 --> 00:29:33,400 Speaker 1: right after the election. Uh it was I drove out 572 00:29:33,720 --> 00:29:36,760 Speaker 1: from from Los Angeles, I started the prep and that 573 00:29:36,880 --> 00:29:41,040 Speaker 1: was November of two thousand sixteen. Uh So, when you 574 00:29:41,240 --> 00:29:45,240 Speaker 1: commit to making a film, especially independent film, you know 575 00:29:45,440 --> 00:29:49,440 Speaker 1: you're in it a minimum of two years. The editing 576 00:29:49,480 --> 00:29:53,320 Speaker 1: process can be again a very long period. I'm a 577 00:29:53,400 --> 00:29:57,360 Speaker 1: big fan of of test screenings, which you know, of 578 00:29:57,440 --> 00:29:59,360 Speaker 1: course every studio wants to do, and I'm all for it. 579 00:29:59,400 --> 00:30:01,360 Speaker 1: I think that the only way well, I think that 580 00:30:01,400 --> 00:30:02,920 Speaker 1: the only way to know how your film is playing 581 00:30:03,040 --> 00:30:04,520 Speaker 1: is to is to take it for a test drive. 582 00:30:04,840 --> 00:30:08,920 Speaker 1: See how it's it's It's about ten grand to to 583 00:30:09,360 --> 00:30:11,560 Speaker 1: to run these what we are called n RG National 584 00:30:11,600 --> 00:30:13,960 Speaker 1: Research Group test screenings, and you have to fill an 585 00:30:13,960 --> 00:30:16,560 Speaker 1: auditorium three four h people and and the price goes 586 00:30:16,640 --> 00:30:19,280 Speaker 1: up depending of how big that auditorium iss The theater 587 00:30:19,480 --> 00:30:23,280 Speaker 1: is so so these these items just start racking up. 588 00:30:23,440 --> 00:30:26,320 Speaker 1: And uh. You know, we were fortunate enough to have 589 00:30:26,480 --> 00:30:30,040 Speaker 1: an Ohio tax credit which came at at a terrific 590 00:30:30,200 --> 00:30:32,920 Speaker 1: time in the process, so it gave us an influx 591 00:30:33,000 --> 00:30:35,400 Speaker 1: of cash. Uh, and we were able to get to 592 00:30:35,600 --> 00:30:38,920 Speaker 1: to continue working on the film. But again, because as 593 00:30:38,960 --> 00:30:41,960 Speaker 1: you mentioned, this movie deals with so much, it is 594 00:30:42,080 --> 00:30:47,000 Speaker 1: a it is a big giant adult portion. I wanted 595 00:30:47,040 --> 00:30:50,200 Speaker 1: to make sure that we got it right. Um. I 596 00:30:50,240 --> 00:30:51,920 Speaker 1: took the film down to the a l A conference 597 00:30:51,960 --> 00:30:55,840 Speaker 1: down in in New Orleans, uh and screened for thousands 598 00:30:55,920 --> 00:30:59,800 Speaker 1: of of of crazy librarians and uh and and they 599 00:31:00,040 --> 00:31:03,960 Speaker 1: and they went wild for the film. But again that's 600 00:31:04,000 --> 00:31:06,640 Speaker 1: a that's a process getting it their three screenings in 601 00:31:06,640 --> 00:31:08,680 Speaker 1: the middle of a big conference. You commit to doing 602 00:31:08,720 --> 00:31:12,480 Speaker 1: all of that, You commit to uh an extended period 603 00:31:12,520 --> 00:31:14,880 Speaker 1: of time where you're gonna think about nothing other than 604 00:31:14,920 --> 00:31:17,160 Speaker 1: this film. So you know, next month it will be 605 00:31:17,240 --> 00:31:20,200 Speaker 1: two years where I have been living, breathing, and and 606 00:31:20,400 --> 00:31:23,880 Speaker 1: and dreaming about this movie. In fact, you popped up 607 00:31:23,920 --> 00:31:26,840 Speaker 1: in my dream recently, um, and and it was it 608 00:31:27,000 --> 00:31:29,920 Speaker 1: was odding an oscar in your dream. You might have 609 00:31:29,960 --> 00:31:33,280 Speaker 1: been yeah, yeah, yeah, you might don't know. It was 610 00:31:33,320 --> 00:31:35,680 Speaker 1: a lot darker. You had framed me for some crime. 611 00:31:36,200 --> 00:31:38,400 Speaker 1: You framed me for some and and it was so 612 00:31:38,520 --> 00:31:41,320 Speaker 1: obvious that I hadn't donne the crime and admitted this murder. 613 00:31:41,440 --> 00:31:44,480 Speaker 1: But and it was you. You were the villain. Yeah, 614 00:31:44,800 --> 00:31:47,960 Speaker 1: it was odd and and and yes, and yet and 615 00:31:48,120 --> 00:31:50,760 Speaker 1: yet you were standing there and survived. And I was 616 00:31:50,800 --> 00:31:53,480 Speaker 1: trying to convince him. I said, please, Alec Baldwin killed him, 617 00:31:53,480 --> 00:31:56,360 Speaker 1: not me. And and I killed somebody. Yeah, oh no, 618 00:31:56,440 --> 00:31:57,880 Speaker 1: you killed something and I was but I was the 619 00:31:57,920 --> 00:32:00,720 Speaker 1: one covered in blood. And h was a very bizarre 620 00:32:00,760 --> 00:32:02,400 Speaker 1: dream I meant to tell you about. This was the person. 621 00:32:02,480 --> 00:32:05,160 Speaker 1: I'm not sure, but you framed it on me anywhere 622 00:32:05,200 --> 00:32:14,640 Speaker 1: near the Supreme Court. No, I mean, I'm just saying that, 623 00:32:14,840 --> 00:32:22,760 Speaker 1: you know, okay, I can't see back there. He's got 624 00:32:22,800 --> 00:32:25,840 Speaker 1: their hand. I'm right on the as right there. I 625 00:32:25,960 --> 00:32:28,360 Speaker 1: was just wondering if you thought there would ever be 626 00:32:28,480 --> 00:32:32,360 Speaker 1: a world without libraries, would they ever become absolute? Could 627 00:32:32,400 --> 00:32:34,680 Speaker 1: you ever imagine that? Do you think they still will 628 00:32:34,720 --> 00:32:38,160 Speaker 1: continue to be relevant in the future? Well, are you 629 00:32:38,240 --> 00:32:42,720 Speaker 1: aware of this piece that Forbes posted online about I 630 00:32:42,760 --> 00:32:45,320 Speaker 1: don't know about six weeks ago talking about now that 631 00:32:46,120 --> 00:32:49,000 Speaker 1: now that we have Google and Amazon, the libraries are obsolete. 632 00:32:49,760 --> 00:32:55,280 Speaker 1: Librarians around the world shouted this piece right off line. 633 00:32:56,000 --> 00:32:58,960 Speaker 1: Forbes was forced to take it down. So I don't 634 00:32:59,040 --> 00:33:03,240 Speaker 1: envision a world where, uh, where we don't have libraries. 635 00:33:03,320 --> 00:33:06,040 Speaker 1: I think that Tony Marks, who's the president of the 636 00:33:06,080 --> 00:33:09,720 Speaker 1: New York Public Library System, he was quoted just yesterday 637 00:33:09,760 --> 00:33:13,280 Speaker 1: in an article where he said libraries are quietly the 638 00:33:13,360 --> 00:33:16,920 Speaker 1: place where democracy can be saved. And I also just 639 00:33:17,000 --> 00:33:20,280 Speaker 1: wanted to mention that it's Halloween, and every Halloween I 640 00:33:20,400 --> 00:33:22,880 Speaker 1: like to break out nightmares. And I watched that piece 641 00:33:22,920 --> 00:33:25,360 Speaker 1: that you do when you get sucked into the video missions. Yeah, 642 00:33:25,680 --> 00:33:27,320 Speaker 1: that was one of those ones on the resume that 643 00:33:27,360 --> 00:33:34,600 Speaker 1: we talked about earlier. Excuse me, is there a movie 644 00:33:34,680 --> 00:33:36,800 Speaker 1: that you haven't done yet that you're looking forward to 645 00:33:36,880 --> 00:33:38,640 Speaker 1: doing that you could share it with this small group 646 00:33:39,440 --> 00:33:46,080 Speaker 1: small minux film with Alec. There's a there's a script 647 00:33:46,120 --> 00:33:48,200 Speaker 1: that I've been working on for a while about immigration, 648 00:33:48,560 --> 00:33:51,360 Speaker 1: and unfortunately it's not a timely issue, so I've had 649 00:33:51,400 --> 00:33:53,560 Speaker 1: to put that on the back burner. So no I 650 00:33:53,600 --> 00:33:56,360 Speaker 1: wrote a comedy about immigration, about rediscovering America through the 651 00:33:56,400 --> 00:34:00,560 Speaker 1: eyes of an immigrant and so that's, um, that's slowly 652 00:34:00,600 --> 00:34:03,280 Speaker 1: coming into the front burner. Now are you going to 653 00:34:03,320 --> 00:34:04,800 Speaker 1: play the lead in that movie too? Are you going 654 00:34:04,840 --> 00:34:09,279 Speaker 1: to get out of the way people? Is a is 655 00:34:09,320 --> 00:34:12,840 Speaker 1: a Latina? So I'm probably outside the top of my 656 00:34:13,000 --> 00:34:17,600 Speaker 1: right Okay over here, Uh, just going back aways. What 657 00:34:17,800 --> 00:34:19,640 Speaker 1: was it like on the set of The Breakfast Club? 658 00:34:19,760 --> 00:34:23,520 Speaker 1: And how did the cast get along on the Breakfast Club? 659 00:34:23,600 --> 00:34:28,200 Speaker 1: We everybody got along really well. Um. You know, I 660 00:34:28,360 --> 00:34:30,000 Speaker 1: was I was twenty one at the time. I was, 661 00:34:30,120 --> 00:34:32,520 Speaker 1: you know, a few years out of high school. Uh. 662 00:34:32,840 --> 00:34:37,520 Speaker 1: They they put Judd and and Ali and I back 663 00:34:37,840 --> 00:34:41,560 Speaker 1: into high school. We we started attending classes just to 664 00:34:41,600 --> 00:34:43,680 Speaker 1: sort of get that high school vibe. And again we 665 00:34:43,760 --> 00:34:47,480 Speaker 1: could we could be in a school and be anonymous. Um, Anthony, 666 00:34:47,840 --> 00:34:51,040 Speaker 1: Michael Hall and and Molly. We're still teenagers and still 667 00:34:51,360 --> 00:34:54,440 Speaker 1: uh you know, still had uh still I think we're 668 00:34:54,480 --> 00:34:57,879 Speaker 1: still going to school at the time. So uh, but yeah, 669 00:34:57,920 --> 00:35:01,040 Speaker 1: we got along. We got along very well. Um. I 670 00:35:01,120 --> 00:35:04,279 Speaker 1: don't really attend any of the Breakfast Club reunions, and 671 00:35:04,320 --> 00:35:08,600 Speaker 1: I've been criticized for that. Um and and but in 672 00:35:08,719 --> 00:35:11,680 Speaker 1: my my castmates are you know, they're they're They've been 673 00:35:12,080 --> 00:35:15,719 Speaker 1: very vocal and sort of wondering why I never show up, 674 00:35:15,920 --> 00:35:18,239 Speaker 1: but I don't. How do you feel about doing retrospectives 675 00:35:18,280 --> 00:35:21,200 Speaker 1: and doing the doing the I think don't do. To 676 00:35:21,280 --> 00:35:23,320 Speaker 1: be honest with you, I think that it depends on 677 00:35:24,040 --> 00:35:25,879 Speaker 1: the nature of the film, you know, Like these people 678 00:35:26,000 --> 00:35:28,040 Speaker 1: talk about how much the movie means to them at 679 00:35:28,080 --> 00:35:29,839 Speaker 1: that point in their life. And I hear people all 680 00:35:29,840 --> 00:35:31,920 Speaker 1: the time talk about Breakfast Club helped me get through 681 00:35:32,000 --> 00:35:34,759 Speaker 1: high school, you know. So with that in mind, I think, 682 00:35:34,840 --> 00:35:37,480 Speaker 1: what could possibly be wrong about going to the retrospective, 683 00:35:37,520 --> 00:35:39,440 Speaker 1: you know, I mean, really it has great meaning to them, 684 00:35:39,480 --> 00:35:41,640 Speaker 1: and even though you don't share that, it's a job 685 00:35:41,719 --> 00:35:43,640 Speaker 1: you did and you play a character. I'll let people 686 00:35:43,640 --> 00:35:45,000 Speaker 1: come up to me and say, oh I love this 687 00:35:45,160 --> 00:35:47,560 Speaker 1: or I love that, and I said, they're go, oh, well, 688 00:35:47,640 --> 00:35:50,000 Speaker 1: thank you and uh, you know, best of luck to 689 00:35:50,040 --> 00:35:52,640 Speaker 1: you or whatever. But for you, if they have these 690 00:35:52,719 --> 00:35:55,160 Speaker 1: retrospects and like, oh my god, let's go, I'll go 691 00:35:55,280 --> 00:36:00,640 Speaker 1: with you. Let's goast reunion. That's how like a blast? 692 00:36:01,520 --> 00:36:07,759 Speaker 1: Thank you for being Thank you so much. That was 693 00:36:07,960 --> 00:36:12,399 Speaker 1: Amelio Estevez. The Public is his latest movie and it's 694 00:36:12,480 --> 00:36:15,520 Speaker 1: currently on the Festival circuit. I'll let you know when 695 00:36:15,560 --> 00:36:20,520 Speaker 1: it's out in wide release. I'm Alec Baldwin and you're 696 00:36:20,640 --> 00:36:21,879 Speaker 1: listening to Here's the Thing