1 00:00:05,519 --> 00:00:07,720 Speaker 1: Thank you for pulling up a share on my podcast 2 00:00:07,800 --> 00:00:11,000 Speaker 1: Table for Two. We're back in New York at Via Carota, 3 00:00:11,360 --> 00:00:15,320 Speaker 1: and we're having lunch with a vivacious, super fit and 4 00:00:15,640 --> 00:00:17,320 Speaker 1: wildly talented actress. 5 00:00:18,000 --> 00:00:20,200 Speaker 2: I hear, my beautiful friend. 6 00:00:24,360 --> 00:00:27,240 Speaker 1: If you missed my Table for two lunch with Anna Winter, 7 00:00:27,880 --> 00:00:30,920 Speaker 1: I bring it up because her breakout role was in 8 00:00:30,960 --> 00:00:34,280 Speaker 1: the devil Wares product. She's done so much more since then, 9 00:00:34,760 --> 00:00:38,320 Speaker 1: including playing Mary Poppins and starring in the breakout hit 10 00:00:38,440 --> 00:00:42,920 Speaker 1: A Quiet Place with her husband John Krasinski. Her new film, 11 00:00:43,080 --> 00:00:52,160 Speaker 1: Christopher Nolan's Oppenheimer, comes out next week. It's really good, delicious, 12 00:00:55,120 --> 00:00:57,760 Speaker 1: funny and charming. Don't do her justice. And I know 13 00:00:58,000 --> 00:01:00,160 Speaker 1: we're going to have a great time. So I have 14 00:01:00,160 --> 00:01:03,440 Speaker 1: a glass of rose because today we're having lunch. You 15 00:01:03,520 --> 00:01:07,800 Speaker 1: guessed it with Emily Blunt. I'm Bruce Bosi and this 16 00:01:07,880 --> 00:01:09,959 Speaker 1: is my podcast Table for two. 17 00:01:17,319 --> 00:01:19,520 Speaker 2: This is the deal. Everybody who's listening. 18 00:01:19,560 --> 00:01:21,200 Speaker 1: They pulled up for sure to have like sort of 19 00:01:21,240 --> 00:01:25,320 Speaker 1: like a brunch lunch with us. You Emily is schlunked 20 00:01:25,319 --> 00:01:26,120 Speaker 1: it in from Brooklyn. 21 00:01:28,080 --> 00:01:32,240 Speaker 2: Throw up, it's a new It's you schlunked it in. 22 00:01:32,480 --> 00:01:34,560 Speaker 1: Yeah, when you get home and you say to John, 23 00:01:34,840 --> 00:01:36,160 Speaker 1: I schlocked he's going. 24 00:01:36,160 --> 00:01:39,400 Speaker 3: To be flunked across Brooklyn to get to him. And 25 00:01:39,480 --> 00:01:43,000 Speaker 3: he sends you so much love, so much, I love 26 00:01:43,040 --> 00:01:43,560 Speaker 3: your husband. 27 00:01:44,360 --> 00:01:48,160 Speaker 1: When we met, everybody, it was an instant love fest. Yeah, 28 00:01:48,360 --> 00:01:51,160 Speaker 1: with the three of us, you do something, you and John. 29 00:01:51,200 --> 00:01:53,400 Speaker 1: You did it in la and you've done it in Brooklyn. 30 00:01:53,760 --> 00:01:55,360 Speaker 1: When you lived in l A, you have like your 31 00:01:55,440 --> 00:01:58,680 Speaker 1: community you lived with, you know, on the same block 32 00:01:58,720 --> 00:02:03,400 Speaker 1: with Jimmy and Molly Kim, you know, Lucy and mad Damon. 33 00:02:03,680 --> 00:02:04,520 Speaker 3: They're in our building. 34 00:02:04,640 --> 00:02:05,800 Speaker 2: You're in your building here. 35 00:02:05,680 --> 00:02:07,160 Speaker 3: There, we're like some weird commune. 36 00:02:07,240 --> 00:02:08,520 Speaker 2: I know, what is that about? 37 00:02:08,919 --> 00:02:10,960 Speaker 3: Like I don't ever see Matt Damon not in his 38 00:02:11,000 --> 00:02:13,680 Speaker 3: slippers anymore, you know, it's just always in his slippers. 39 00:02:13,680 --> 00:02:16,160 Speaker 3: I haven't seen him in regular shoes in a long time. Really. Yeah, 40 00:02:16,160 --> 00:02:17,600 Speaker 3: that's because we live in the same buildings. We just 41 00:02:17,639 --> 00:02:18,919 Speaker 3: pop down to see each other. 42 00:02:19,080 --> 00:02:20,080 Speaker 2: And I love that. 43 00:02:20,280 --> 00:02:20,960 Speaker 3: It's the best. 44 00:02:21,120 --> 00:02:22,120 Speaker 2: What made that happen? 45 00:02:22,160 --> 00:02:22,280 Speaker 3: Like? 46 00:02:22,280 --> 00:02:22,799 Speaker 2: How did that? 47 00:02:23,120 --> 00:02:25,160 Speaker 3: Well? I mean we I've been close with Matt since 48 00:02:25,480 --> 00:02:27,560 Speaker 3: I worked with him years ago. I did this film 49 00:02:27,600 --> 00:02:30,839 Speaker 3: called Adjustment Bureau, and the four of us all hung 50 00:02:30,880 --> 00:02:32,840 Speaker 3: out a lot you know, Lucy and Matt and me 51 00:02:32,880 --> 00:02:36,000 Speaker 3: and John and and we just it's quite rare when 52 00:02:36,040 --> 00:02:38,799 Speaker 3: you really take someone away from a movie. You know, 53 00:02:38,320 --> 00:02:41,560 Speaker 3: you can love someone on a film, but it's whether 54 00:02:41,600 --> 00:02:44,080 Speaker 3: it's whether it's lasting or not is another thing. You know, 55 00:02:44,080 --> 00:02:47,160 Speaker 3: whether it extends past this insular experience on a film 56 00:02:47,360 --> 00:02:50,320 Speaker 3: is a whole other level of friendship, right, because you 57 00:02:50,400 --> 00:02:53,160 Speaker 3: have such accelerated friendships with people on a movie. 58 00:02:53,800 --> 00:02:58,760 Speaker 1: It's absurd how much the amount of time you're spending. 59 00:02:58,400 --> 00:03:01,320 Speaker 3: Tea in the intensity of what you're creating. And it's 60 00:03:01,360 --> 00:03:04,519 Speaker 3: just it's a world that is that everyone else is 61 00:03:04,560 --> 00:03:07,640 Speaker 3: shut out of, including your partner, including everyone. It's just 62 00:03:08,440 --> 00:03:11,399 Speaker 3: it's just a strange experience for three months to work 63 00:03:11,440 --> 00:03:14,680 Speaker 3: on something like that and build something together. But then 64 00:03:15,360 --> 00:03:20,400 Speaker 3: Matt is just the most easygoing, beautiful person. Lucy is 65 00:03:20,919 --> 00:03:25,080 Speaker 3: even more beautiful. Sorry, Matt, but we all became friends. 66 00:03:25,600 --> 00:03:28,239 Speaker 3: And then they moved to Brooklyn. They said, we found 67 00:03:28,520 --> 00:03:31,680 Speaker 3: that there's this amazing building, and of course we were like, 68 00:03:31,840 --> 00:03:35,680 Speaker 3: we'll live in the same building. But there's really lovely, 69 00:03:35,800 --> 00:03:39,400 Speaker 3: cool people living in Brooklyn and we have Sunday night 70 00:03:39,480 --> 00:03:40,960 Speaker 3: dinners and it's. 71 00:03:40,920 --> 00:03:45,280 Speaker 1: Yeah, just throwback, yeah, and I think it's great because 72 00:03:45,320 --> 00:03:48,400 Speaker 1: so often, like we go into these corners and like 73 00:03:48,480 --> 00:03:51,280 Speaker 1: we've lost the sort of community of family and friends 74 00:03:51,320 --> 00:03:53,880 Speaker 1: as a result of the easiness of that. So it 75 00:03:53,960 --> 00:03:59,280 Speaker 1: reminds me of Lucy Etho, Ricky and Fred, you know, 76 00:03:59,520 --> 00:04:02,200 Speaker 1: the island of Lucy. So if you had a sort 77 00:04:02,240 --> 00:04:07,640 Speaker 1: of cast in this foursome, Yeah, who's sort of like 78 00:04:07,760 --> 00:04:08,320 Speaker 1: the Lucy. 79 00:04:08,560 --> 00:04:10,520 Speaker 3: I mean, I'm Lucy, righty. 80 00:04:10,600 --> 00:04:17,039 Speaker 1: I always like somehow getting people in trouble, always. 81 00:04:16,560 --> 00:04:18,680 Speaker 3: Like something goes wrong, always up to something. 82 00:04:19,000 --> 00:04:21,560 Speaker 1: But that's kind of great just to come down and 83 00:04:21,600 --> 00:04:23,640 Speaker 1: be like Lucy, come on down and the kids. 84 00:04:24,000 --> 00:04:27,680 Speaker 3: The kids love each other. And Brooklyn's a funny sort 85 00:04:27,720 --> 00:04:30,120 Speaker 3: of like certainly where we live is like a Sesame 86 00:04:30,200 --> 00:04:34,120 Speaker 3: Street sort of Norman Rockwell thing. I mean, it sounds 87 00:04:34,160 --> 00:04:37,080 Speaker 3: so idyllic and but it really is. And for me, 88 00:04:37,160 --> 00:04:39,440 Speaker 3: it's one of the only places I could really live 89 00:04:40,560 --> 00:04:43,799 Speaker 3: in America because I do miss London, I do miss home, 90 00:04:44,120 --> 00:04:49,200 Speaker 3: and yet this community is so intoxicating that I just 91 00:04:49,320 --> 00:04:53,239 Speaker 3: can't picture leaving it. London has beckoned to me many 92 00:04:53,279 --> 00:04:56,440 Speaker 3: times over the last fourteen years. I've sort of been 93 00:04:56,440 --> 00:04:59,640 Speaker 3: living in America and I miss it. I missed the attitude, 94 00:04:59,680 --> 00:05:04,279 Speaker 3: I the irreverence. I miss the vibe of the Brits. 95 00:05:04,400 --> 00:05:07,680 Speaker 3: I love them. And even though I had got an 96 00:05:07,720 --> 00:05:10,360 Speaker 3: American passport and I'm married to America, my children American, 97 00:05:10,480 --> 00:05:12,960 Speaker 3: I feel so English still. 98 00:05:23,560 --> 00:05:26,200 Speaker 2: So we've been at several weddings. I was at your wedding. 99 00:05:26,440 --> 00:05:28,480 Speaker 3: That was the best. By the way, my mother still 100 00:05:28,720 --> 00:05:33,880 Speaker 3: talks about my mother. You spun her around the dance 101 00:05:33,920 --> 00:05:38,120 Speaker 3: floor like a spinning top. And she literally said to me, 102 00:05:38,279 --> 00:05:42,200 Speaker 3: she still talks about it, how sexy you made her feel. 103 00:05:42,920 --> 00:05:45,119 Speaker 3: Not just that she thought you were sexy, but she did. 104 00:05:45,400 --> 00:05:47,600 Speaker 3: But she went and you know what, he made me 105 00:05:47,640 --> 00:05:52,400 Speaker 3: feel so sexy, And I went, that's great, mom, Like 106 00:05:52,440 --> 00:05:55,200 Speaker 3: if I cringe out. 107 00:05:54,800 --> 00:05:57,200 Speaker 2: She loved it was that was great. 108 00:05:57,360 --> 00:05:59,640 Speaker 3: You're the best person to have on a dance floor 109 00:05:59,640 --> 00:06:02,279 Speaker 3: because you're so delighted by the whole You can see 110 00:06:02,400 --> 00:06:05,840 Speaker 3: you are delighted by it. You spin everyone into a frenzy. 111 00:06:06,000 --> 00:06:09,640 Speaker 3: Everyone wants to be Oh, you lean in, you full 112 00:06:09,800 --> 00:06:10,880 Speaker 3: throttle the dance floor. 113 00:06:11,320 --> 00:06:15,120 Speaker 1: Do you find that now? I mean, your body work 114 00:06:15,240 --> 00:06:15,880 Speaker 1: is incredible. 115 00:06:16,000 --> 00:06:16,520 Speaker 3: Thank you. 116 00:06:16,560 --> 00:06:18,360 Speaker 1: And then you know, I just watched the Curry again, 117 00:06:18,920 --> 00:06:22,760 Speaker 1: which wow, man, you were just moving that was a 118 00:06:22,800 --> 00:06:29,080 Speaker 1: tough movie. Yes, tough character, super hard physically and really 119 00:06:29,120 --> 00:06:31,719 Speaker 1: intense as far as you know obviously the subject matter 120 00:06:31,760 --> 00:06:32,080 Speaker 1: and everything. 121 00:06:32,160 --> 00:06:34,040 Speaker 3: Yeah, we're amazing, Thank you, Thank you. 122 00:06:34,120 --> 00:06:38,400 Speaker 1: Do you find two things? One is like having to 123 00:06:38,440 --> 00:06:40,839 Speaker 1: stay in like the top form that you're in, which 124 00:06:40,880 --> 00:06:43,560 Speaker 1: you are so it seems part of the business you're in. 125 00:06:43,920 --> 00:06:46,960 Speaker 2: And then also sort of making sure everything because. 126 00:06:46,680 --> 00:06:53,280 Speaker 1: You know, being a mother, being a professional personall. 127 00:06:52,279 --> 00:06:56,960 Speaker 3: It does and it doesn't well, not always well, you know. 128 00:06:57,200 --> 00:06:58,839 Speaker 3: It's one of those things when people like, how do 129 00:06:58,880 --> 00:07:01,120 Speaker 3: you balance it? I never feel I'm doing it right, 130 00:07:02,160 --> 00:07:06,080 Speaker 3: you know, but I'm this year, I'm not working. I 131 00:07:06,160 --> 00:07:08,280 Speaker 3: just need to be. Yeah, I just need to. I 132 00:07:08,680 --> 00:07:12,480 Speaker 3: worked quite a bit last year, and my oldest baby 133 00:07:12,600 --> 00:07:16,280 Speaker 3: is nine. I were in the last year of single digits, 134 00:07:16,400 --> 00:07:21,120 Speaker 3: and I just feel there's cornerstones to their day that 135 00:07:21,200 --> 00:07:24,280 Speaker 3: are so important when they're little, and it's will you 136 00:07:24,320 --> 00:07:26,880 Speaker 3: wake me up? Will you take me to school? Will 137 00:07:26,920 --> 00:07:28,640 Speaker 3: you pick me up? Will you put me to bed? 138 00:07:29,800 --> 00:07:31,840 Speaker 3: And I just need to be there for all of 139 00:07:31,880 --> 00:07:34,880 Speaker 3: them for a good stretch, and I just felt that 140 00:07:34,960 --> 00:07:37,880 Speaker 3: in my bones. I had a beautiful time on the 141 00:07:37,880 --> 00:07:41,600 Speaker 3: projects I did last year. Some were more intense than others, 142 00:07:41,840 --> 00:07:46,040 Speaker 3: some were harder than others, someone more time consuming than others, 143 00:07:46,160 --> 00:07:50,320 Speaker 3: and the ones that are time consuming, I think for 144 00:07:50,400 --> 00:07:54,040 Speaker 3: me are becoming few and further between because of just 145 00:07:54,080 --> 00:07:59,200 Speaker 3: the emotional cost on me, on the kids. On balance, 146 00:07:59,800 --> 00:08:03,120 Speaker 3: and I'm very prone to guilt, and I think maybe 147 00:08:03,160 --> 00:08:07,520 Speaker 3: all mothers are. You're just prone to feeling bad for 148 00:08:07,720 --> 00:08:11,480 Speaker 3: God forbid, wanting something outside of being a mother. I 149 00:08:11,520 --> 00:08:14,520 Speaker 3: am a huge advocate for it. I'm a huge advocate 150 00:08:14,560 --> 00:08:17,240 Speaker 3: for women being ambitious. I love the word ambition. It's 151 00:08:17,360 --> 00:08:19,720 Speaker 3: just dreams with purpose. That's all it is. It's not 152 00:08:19,760 --> 00:08:21,920 Speaker 3: another world it is, That's what it is. 153 00:08:22,000 --> 00:08:23,000 Speaker 2: That's what it means. 154 00:08:23,120 --> 00:08:25,600 Speaker 3: And it's just and I want my kids to grow 155 00:08:25,680 --> 00:08:27,640 Speaker 3: up and find something that they adore doing. 156 00:08:28,000 --> 00:08:31,520 Speaker 1: And your kids watching you do something that you adore, Yeah, 157 00:08:31,720 --> 00:08:32,439 Speaker 1: so important. 158 00:08:32,520 --> 00:08:35,960 Speaker 3: It's so important. And of course they're just horrified by 159 00:08:35,960 --> 00:08:37,600 Speaker 3: the fact that I'm an actress, which is sort of 160 00:08:37,640 --> 00:08:39,400 Speaker 3: so embarrassed by and I have no desire to watching 161 00:08:39,440 --> 00:08:42,640 Speaker 3: me in anything, which is very healthy because they just 162 00:08:42,679 --> 00:08:46,480 Speaker 3: want me to be their mom. So the balance is 163 00:08:48,080 --> 00:08:50,880 Speaker 3: usually it sways in extremes, like I'll work too much 164 00:08:50,920 --> 00:08:53,920 Speaker 3: and then I'll have like a complete reaction against it 165 00:08:53,960 --> 00:08:55,800 Speaker 3: and an aversion to being on a film set for 166 00:08:55,840 --> 00:08:58,720 Speaker 3: a long time, and then I'll want to desperately work again. 167 00:08:59,240 --> 00:09:01,600 Speaker 3: So I don't know if I do it moderately. I 168 00:09:01,640 --> 00:09:06,560 Speaker 3: think I just have these pulls towards it and against it. 169 00:09:07,040 --> 00:09:09,240 Speaker 1: Well, that's so beautiful that you now, and we're going 170 00:09:09,320 --> 00:09:12,000 Speaker 1: to talk about because you do. You have a number 171 00:09:12,040 --> 00:09:14,400 Speaker 1: of projects that are about to be reallyasing exactly. 172 00:09:14,480 --> 00:09:15,920 Speaker 3: This sort of gives you an idea of what last 173 00:09:16,000 --> 00:09:20,560 Speaker 3: year was, you know, and that's why I need to Yeah. 174 00:09:20,120 --> 00:09:22,640 Speaker 1: So the idea that you've made a sort of formal 175 00:09:22,720 --> 00:09:25,560 Speaker 1: decision in your life that you make it is very 176 00:09:25,559 --> 00:09:28,319 Speaker 1: empowering to say, I'm going to take a break here 177 00:09:29,080 --> 00:09:31,960 Speaker 1: where you wake up just peaceful, peaceful. 178 00:09:32,000 --> 00:09:36,440 Speaker 3: I sleep great because when I work, I which I 179 00:09:36,440 --> 00:09:39,640 Speaker 3: also love about it. I find it a heart racing experience. 180 00:09:39,760 --> 00:09:43,320 Speaker 3: When I work, I love it. There's clearly this fire 181 00:09:43,440 --> 00:09:47,640 Speaker 3: in me that I need to give room to. But 182 00:09:48,160 --> 00:09:53,240 Speaker 3: I race with it for months leading up and then 183 00:09:53,440 --> 00:09:57,640 Speaker 3: during and so when I finish a project and once 184 00:09:57,720 --> 00:10:01,440 Speaker 3: it sort of expelled from me, I sleep again. So 185 00:10:01,480 --> 00:10:04,000 Speaker 3: I don't know if I sleep great or I think 186 00:10:04,040 --> 00:10:06,440 Speaker 3: straight when I'm working, and it's funny. 187 00:10:06,720 --> 00:10:10,040 Speaker 1: I understand that completely. And I also think just being. 188 00:10:09,800 --> 00:10:12,240 Speaker 2: A parent in and of itself, yeah. 189 00:10:12,080 --> 00:10:15,240 Speaker 1: Not even having a job and a career like yours, 190 00:10:15,240 --> 00:10:18,840 Speaker 1: which is so big, and that is part of the 191 00:10:19,000 --> 00:10:21,680 Speaker 1: just the gig is you have to leave to do it. Sure, 192 00:10:22,520 --> 00:10:24,480 Speaker 1: Guilt is just a part of being a parent. It's 193 00:10:24,520 --> 00:10:27,280 Speaker 1: like a minute the kid pops out, You're. 194 00:10:27,120 --> 00:10:30,959 Speaker 3: Like, guilty, doing righty guilty. I'm like, wow, I'm not 195 00:10:30,960 --> 00:10:33,480 Speaker 3: doing facilating. The moment they come out. 196 00:10:33,320 --> 00:10:36,480 Speaker 4: Of your body, it's just like, oh my god, Yes, 197 00:10:44,640 --> 00:10:46,160 Speaker 4: what are like the little things? 198 00:10:46,360 --> 00:10:46,880 Speaker 3: Yeah? 199 00:10:47,000 --> 00:10:49,680 Speaker 1: That you really if it's not too personal for me 200 00:10:49,720 --> 00:10:51,720 Speaker 1: to ask, like which on like little? Like the little 201 00:10:51,800 --> 00:10:53,640 Speaker 1: is it a walk in the park? Is it like 202 00:10:54,360 --> 00:10:55,720 Speaker 1: a couple of coffee in the morning. 203 00:10:56,040 --> 00:11:01,840 Speaker 3: It's usually the morning. We got a puppy who's absolutely beautiful. 204 00:11:01,960 --> 00:11:04,440 Speaker 3: Because we got this puppy like idiots, even though I'm 205 00:11:04,440 --> 00:11:05,360 Speaker 3: completely obsessed with her. 206 00:11:06,280 --> 00:11:10,040 Speaker 2: This was a year to get it because and I knew. 207 00:11:09,800 --> 00:11:12,120 Speaker 3: This was the time, because you know, it always falls 208 00:11:12,120 --> 00:11:16,960 Speaker 3: on mom less burial, that's burial. And I wasn't wanting 209 00:11:16,960 --> 00:11:19,160 Speaker 3: to get a dog, but the kids were pushing for it. 210 00:11:19,200 --> 00:11:21,680 Speaker 3: And he and John was up for it. So we 211 00:11:21,760 --> 00:11:24,440 Speaker 3: rescued this beautiful little She's not little, like she's going 212 00:11:24,480 --> 00:11:28,160 Speaker 3: to be vast. We're realizing she's part massive, realizing, oh 213 00:11:28,320 --> 00:11:31,839 Speaker 3: my god, she's already like a horse. She's five months. 214 00:11:32,400 --> 00:11:36,600 Speaker 3: She's absolutely vast. I was like, I fell in love 215 00:11:36,600 --> 00:11:38,240 Speaker 3: with her, fell in love there, couldn't care less. She 216 00:11:38,280 --> 00:11:40,920 Speaker 3: had diarrheal last week. Imagine that in an apartment, no 217 00:11:40,960 --> 00:11:46,040 Speaker 3: outdoor space. That's fun to wake up too, just Jackson 218 00:11:46,160 --> 00:11:51,560 Speaker 3: pollocked all over the walls, just the little things that 219 00:11:51,640 --> 00:11:57,120 Speaker 3: I do. So that was a rough week, that is, 220 00:11:57,160 --> 00:12:00,800 Speaker 3: aside from our usual peaceful morning. But I like that 221 00:12:00,920 --> 00:12:03,360 Speaker 3: quiet moment. I don't mind getting up early with this 222 00:12:03,400 --> 00:12:06,160 Speaker 3: puppy because it means that John and I can kind 223 00:12:06,160 --> 00:12:09,640 Speaker 3: of talk in the morning and catch up and really 224 00:12:09,679 --> 00:12:12,959 Speaker 3: talk before the kids are awake and everything. Because the 225 00:12:13,080 --> 00:12:15,920 Speaker 3: day gets away from you so quickly once once the 226 00:12:15,960 --> 00:12:19,200 Speaker 3: tornadoes are up, it's just sort of game over. So 227 00:12:19,280 --> 00:12:23,160 Speaker 3: I love those moments. I love watching movies. I love 228 00:12:23,240 --> 00:12:26,200 Speaker 3: going for dinner with friends, love all of that. I 229 00:12:26,200 --> 00:12:27,520 Speaker 3: love watching things like The Voice. 230 00:12:27,559 --> 00:12:30,080 Speaker 2: I mean we love The Voice. 231 00:12:29,640 --> 00:12:31,600 Speaker 3: Only the blind auditions. After that, I get a lot 232 00:12:31,640 --> 00:12:32,120 Speaker 3: I agree. 233 00:12:32,240 --> 00:12:55,679 Speaker 1: The blind auditions are showing really good. Thanks for joining 234 00:12:55,760 --> 00:12:58,640 Speaker 1: us on Table for two. Emily has started in many 235 00:12:58,720 --> 00:13:02,560 Speaker 1: films and has had an amazing career, and I'm wondering 236 00:13:02,920 --> 00:13:06,079 Speaker 1: what really grabs her as an actress when she's considering 237 00:13:06,080 --> 00:13:09,920 Speaker 1: a role. I mean, I don't think one looking at 238 00:13:09,920 --> 00:13:12,840 Speaker 1: your career would So you've stayed in a lane. I 239 00:13:12,840 --> 00:13:16,280 Speaker 1: mean from the movie that sort of launched you to 240 00:13:16,840 --> 00:13:20,839 Speaker 1: the Mary Poppins to being in Siargan blowing people up, 241 00:13:21,200 --> 00:13:26,800 Speaker 1: killing you know, and girl on a train, it's like you're. 242 00:13:26,679 --> 00:13:27,480 Speaker 2: Hitting it at all. 243 00:13:27,679 --> 00:13:30,040 Speaker 3: I do try to. It's sort of a conscious effort 244 00:13:30,120 --> 00:13:35,280 Speaker 3: to keep experimenting. Really, I do have the desire still, 245 00:13:35,520 --> 00:13:38,840 Speaker 3: I know in me I don't want to play it safe. 246 00:13:38,960 --> 00:13:41,520 Speaker 3: I do continue to want to rip the face off stuff. 247 00:13:41,640 --> 00:13:42,079 Speaker 4: I do. 248 00:13:42,160 --> 00:13:42,920 Speaker 2: Oh I love you. 249 00:13:43,080 --> 00:13:46,880 Speaker 1: I just love how you speak. That is like a visceral. 250 00:13:47,080 --> 00:13:48,800 Speaker 1: That's kindly blunt visceral. 251 00:13:49,160 --> 00:13:51,880 Speaker 3: You want to rip the face off. And I want 252 00:13:51,920 --> 00:13:56,200 Speaker 3: to keep sort of challenging myself and not discovering the 253 00:13:56,240 --> 00:13:58,640 Speaker 3: bag of tricks. I would love not to stay in 254 00:13:58,679 --> 00:14:02,960 Speaker 3: a lane. So I do find it scary every time, 255 00:14:03,160 --> 00:14:04,360 Speaker 3: you know, you kind of put your feet to the 256 00:14:04,360 --> 00:14:06,360 Speaker 3: fire and do something new or something I've done before. 257 00:14:06,559 --> 00:14:10,920 Speaker 3: I remember Marlon Brando said, you only have so many faces, really, 258 00:14:11,120 --> 00:14:13,240 Speaker 3: and it's interesting, and I think that's the encouragement to 259 00:14:13,280 --> 00:14:16,120 Speaker 3: be selective about what you choose to do, you know, 260 00:14:17,000 --> 00:14:21,080 Speaker 3: And I am aware of that of like, well, what 261 00:14:21,160 --> 00:14:25,800 Speaker 3: have I done before? What's new? What's scary? What do 262 00:14:25,840 --> 00:14:28,520 Speaker 3: I when I read it? Do I have no idea 263 00:14:28,680 --> 00:14:29,920 Speaker 3: how to play it? I like that. 264 00:14:30,280 --> 00:14:32,760 Speaker 2: Okay, yeah, that's very interesting. 265 00:14:32,840 --> 00:14:35,160 Speaker 3: I like it when it doesn't strike me immediately. 266 00:14:36,160 --> 00:14:39,920 Speaker 1: Are there people actresses or actors from the past that 267 00:14:39,960 --> 00:14:43,800 Speaker 1: you that inspired you growing up, or that you or 268 00:14:43,840 --> 00:14:47,360 Speaker 1: that you look at and say that's the kind of 269 00:14:48,400 --> 00:14:50,960 Speaker 1: or work you know someone that's it's such. 270 00:14:50,760 --> 00:14:53,560 Speaker 3: A range of people, really. I mean it's one of 271 00:14:53,640 --> 00:14:57,360 Speaker 3: my first experiences, rather inappropriately watching a film I shouldn't 272 00:14:57,360 --> 00:15:01,480 Speaker 3: have done, was watching Pretty Women, and I remember just thinking, 273 00:15:02,960 --> 00:15:04,680 Speaker 3: I can't remember how old I was too young to 274 00:15:04,720 --> 00:15:05,240 Speaker 3: be watching it. 275 00:15:05,360 --> 00:15:07,240 Speaker 1: You were young, because I could tell you the movie 276 00:15:07,280 --> 00:15:09,680 Speaker 1: theater I was sitting in, and it was nineteen ninety 277 00:15:09,880 --> 00:15:10,520 Speaker 1: ninety one. 278 00:15:10,800 --> 00:15:18,240 Speaker 2: Yeah, you're born in the eighties, which is okay. 279 00:15:18,320 --> 00:15:23,440 Speaker 1: I was about to graduate high school, so you were Yeah, 280 00:15:23,520 --> 00:15:24,680 Speaker 1: you were quite young to see that. 281 00:15:25,040 --> 00:15:27,480 Speaker 3: You were basically theater. I'm sure I saw it. I 282 00:15:27,560 --> 00:15:29,160 Speaker 3: know I saw it when it came out on like 283 00:15:29,320 --> 00:15:32,640 Speaker 3: video cassettes, so I'm not that young, like there were 284 00:15:32,840 --> 00:15:37,320 Speaker 3: DVD's guys. I remember when I remember when she pulls 285 00:15:37,320 --> 00:15:40,320 Speaker 3: out the condoms and she fans them, yes, yes, which 286 00:15:40,320 --> 00:15:42,760 Speaker 3: again I said, what are those? 287 00:15:42,880 --> 00:15:43,080 Speaker 1: Dad? 288 00:15:43,160 --> 00:15:45,800 Speaker 3: And he goes, they're sweet? Yeah, candy, candy. 289 00:15:48,720 --> 00:15:51,880 Speaker 2: Shock, thank you. 290 00:15:52,400 --> 00:15:56,960 Speaker 3: That's I just couldn't don't know what they were, right, So, 291 00:15:57,280 --> 00:16:01,960 Speaker 3: but I remember watching her and then in every movie 292 00:16:02,040 --> 00:16:06,560 Speaker 3: I saw afterwards, just being completely bewitched by her because 293 00:16:06,560 --> 00:16:10,640 Speaker 3: she was so free and charming and yet brilliant, and 294 00:16:11,200 --> 00:16:14,480 Speaker 3: when she would cry, it was this emotional force of 295 00:16:14,560 --> 00:16:18,200 Speaker 3: reality and truth. And I just felt like she could 296 00:16:18,280 --> 00:16:22,320 Speaker 3: do anything and she was. She just lit things up, 297 00:16:22,400 --> 00:16:25,280 Speaker 3: and I thought, that's a movie stuff. Wow. But she's 298 00:16:25,280 --> 00:16:27,680 Speaker 3: also just an incredible actress. So she was sort of 299 00:16:27,680 --> 00:16:31,080 Speaker 3: my first experience with like really being inspired by an 300 00:16:31,120 --> 00:16:37,440 Speaker 3: actor totally completely. And then of course the Meryl Streeps 301 00:16:37,480 --> 00:16:41,640 Speaker 3: and the Diane Weese and like all those incredible actresses 302 00:16:41,680 --> 00:16:44,880 Speaker 3: who I've loved in so many different things. I remember 303 00:16:44,960 --> 00:16:47,480 Speaker 3: Edward Sissahans just being just in love with Diane. We 304 00:16:47,520 --> 00:16:48,640 Speaker 3: just wanted her to adopt me. 305 00:16:49,360 --> 00:16:53,560 Speaker 2: She was always just lit up the screen, which she incredible. Yeah, 306 00:16:53,880 --> 00:16:58,360 Speaker 2: but that's interesting. I always wonder like who inspires Street? 307 00:16:58,440 --> 00:17:00,400 Speaker 1: So just to touch upon it you've talked about a 308 00:17:00,400 --> 00:17:02,400 Speaker 1: million times, but it's like, what was that like for 309 00:17:02,480 --> 00:17:04,719 Speaker 1: you as such a young girl to work with this 310 00:17:04,800 --> 00:17:08,200 Speaker 1: woman and not only sort of have to like live 311 00:17:08,280 --> 00:17:10,280 Speaker 1: up to something but hit it out of the park. 312 00:17:10,480 --> 00:17:10,760 Speaker 3: Yeah? 313 00:17:11,040 --> 00:17:11,320 Speaker 2: Was that? 314 00:17:11,440 --> 00:17:11,560 Speaker 3: Like? 315 00:17:11,720 --> 00:17:13,320 Speaker 2: How'd you walk on that set? The first thing? 316 00:17:13,400 --> 00:17:17,760 Speaker 3: I mean, the table read itself was sort of goose bumpy, 317 00:17:17,840 --> 00:17:23,359 Speaker 3: stomach churning, exciting. Found it very nerve wracking, you know, 318 00:17:23,760 --> 00:17:27,000 Speaker 3: listening to it's like in a table read, which are 319 00:17:27,040 --> 00:17:31,440 Speaker 3: the worst things on earth? Just terrifying because everyone's sort 320 00:17:31,480 --> 00:17:33,560 Speaker 3: of marking it. But then you feel if you mark it, 321 00:17:33,600 --> 00:17:35,080 Speaker 3: people are going to kind of judge you for it 322 00:17:35,119 --> 00:17:36,480 Speaker 3: and be like, is that all she's going to do? 323 00:17:36,680 --> 00:17:38,520 Speaker 3: You know, and like, but yeah, you kind of don't 324 00:17:38,520 --> 00:17:40,239 Speaker 3: want to go all out because then you don't want 325 00:17:40,280 --> 00:17:42,560 Speaker 3: to look keen. So it's just that it's a terrible 326 00:17:42,600 --> 00:17:44,639 Speaker 3: balance to try and stride and the best things you 327 00:17:44,720 --> 00:17:46,440 Speaker 3: were probably just to kind of mutter your way through 328 00:17:46,440 --> 00:17:46,760 Speaker 3: it and. 329 00:17:46,640 --> 00:17:47,280 Speaker 2: Not really do it. 330 00:17:47,520 --> 00:17:50,520 Speaker 3: But I felt, you know, no one knew who I was, 331 00:17:50,560 --> 00:17:52,280 Speaker 3: and this was kind of a big part for me 332 00:17:52,359 --> 00:17:55,080 Speaker 3: to get and it was just a big opportunity. So 333 00:17:56,560 --> 00:17:58,399 Speaker 3: not to say I went full throttle, but I didn't 334 00:17:58,440 --> 00:18:01,520 Speaker 3: mutter my way through it, you know, so consciously. But 335 00:18:01,600 --> 00:18:03,919 Speaker 3: I remember listening to them reading the scenes leading up 336 00:18:03,920 --> 00:18:07,760 Speaker 3: to my first line and just bricking it just I 337 00:18:07,760 --> 00:18:08,840 Speaker 3: don't know if you know what that means. It's a 338 00:18:08,840 --> 00:18:14,000 Speaker 3: British term shitting bricks. So when you're bricking it, you're bricks. 339 00:18:15,720 --> 00:18:18,439 Speaker 1: So I was waiting for each person going around, you're 340 00:18:18,480 --> 00:18:19,640 Speaker 1: just getting more. 341 00:18:21,080 --> 00:18:23,879 Speaker 3: So then it came up to my first line and 342 00:18:25,200 --> 00:18:28,639 Speaker 3: I said my first line, which I can't remember what 343 00:18:28,720 --> 00:18:32,120 Speaker 3: it was, something about human resources certainly have an odd 344 00:18:32,160 --> 00:18:34,680 Speaker 3: sense of humor, or something about poor Annie hath the 345 00:18:34,720 --> 00:18:38,240 Speaker 3: Way's character. And Meryll did this sort of low, rumbly 346 00:18:38,400 --> 00:18:42,240 Speaker 3: laugh to herself, and I was like, and I was 347 00:18:42,320 --> 00:18:45,000 Speaker 3: so thrilled. And whether or not she found it funny 348 00:18:45,440 --> 00:18:47,359 Speaker 3: is besides the point. It's just the fact that I 349 00:18:47,400 --> 00:18:51,320 Speaker 3: think she she can read the room. She knows when 350 00:18:51,359 --> 00:18:54,560 Speaker 3: people need a little bolster or a little lean or 351 00:18:54,640 --> 00:18:58,440 Speaker 3: some little catch. And she's a master of reading the 352 00:18:58,520 --> 00:19:01,440 Speaker 3: room and reading people, which is why she soaks people 353 00:19:01,560 --> 00:19:03,880 Speaker 3: up and she probably puts them into all of her characters. 354 00:19:04,920 --> 00:19:08,639 Speaker 3: But she's also dealing with And we talked about it afterwards, 355 00:19:08,640 --> 00:19:10,720 Speaker 3: you know, we've done three films together now, and she said, 356 00:19:10,720 --> 00:19:12,840 Speaker 3: you know, she's basically a lot of the time, I 357 00:19:12,880 --> 00:19:15,399 Speaker 3: realized dealing with doing two jobs, which is one of 358 00:19:15,440 --> 00:19:19,479 Speaker 3: which is the scene and the other one is dealing 359 00:19:19,480 --> 00:19:21,119 Speaker 3: with the other actor going oh my god, I'm in 360 00:19:21,119 --> 00:19:23,119 Speaker 3: a scene with Meryl Street. So it's sort of a 361 00:19:23,119 --> 00:19:26,240 Speaker 3: two prong job. I think someone of her stature and 362 00:19:26,240 --> 00:19:28,600 Speaker 3: I think she just wants to be treated like everybody else. 363 00:19:29,119 --> 00:19:31,680 Speaker 3: She wants the notes, she wants, she wants the screws 364 00:19:31,680 --> 00:19:33,440 Speaker 3: tightened on he like everybody else. 365 00:19:33,600 --> 00:19:36,440 Speaker 2: Yeah, I would imagine. I've never even thought about that. 366 00:19:36,560 --> 00:19:39,520 Speaker 3: Yeah, if you're revered that much, you know, how do 367 00:19:39,560 --> 00:19:40,000 Speaker 3: you know? 368 00:19:40,320 --> 00:19:43,800 Speaker 1: How do you how do you separate the two when 369 00:19:44,160 --> 00:19:46,640 Speaker 1: you know that there's so much pressure because the person's 370 00:19:46,720 --> 00:19:49,720 Speaker 1: looking at you, they can never really actually lose himself 371 00:19:50,119 --> 00:19:53,600 Speaker 1: potentially completely the character. 372 00:19:53,359 --> 00:19:58,119 Speaker 2: Because you're like, oh my god, what she thinking? Living 373 00:19:58,200 --> 00:19:59,240 Speaker 2: up to it? 374 00:19:59,440 --> 00:20:02,280 Speaker 3: Yes, that's very interesting. I think about that with quite 375 00:20:02,280 --> 00:20:06,119 Speaker 3: a lot of people who are either supremely revered or 376 00:20:06,160 --> 00:20:11,359 Speaker 3: supremely famous, or the double whammy of both, and that's 377 00:20:11,440 --> 00:20:14,000 Speaker 3: a lot of energy coming at you. Like I remember 378 00:20:14,359 --> 00:20:17,240 Speaker 3: there was that thing where Brad Pitt was at the 379 00:20:17,240 --> 00:20:20,760 Speaker 3: Golden Globes and everyone was up there going, oh my god, 380 00:20:21,440 --> 00:20:24,040 Speaker 3: remember that, freaking out that they were in front of him, 381 00:20:24,359 --> 00:20:26,359 Speaker 3: And I thought, what's that like? If you're on the 382 00:20:26,400 --> 00:20:29,600 Speaker 3: receiving end of that kind of energy all the time, 383 00:20:31,160 --> 00:20:32,120 Speaker 3: that must be rough. 384 00:20:43,119 --> 00:20:46,840 Speaker 1: When you say yes to a part and you're excited, 385 00:20:46,920 --> 00:20:48,560 Speaker 1: do you ever wake up going like. 386 00:20:49,480 --> 00:20:53,080 Speaker 3: Why would I do it? All the time? All the time? 387 00:20:53,200 --> 00:20:56,119 Speaker 3: I mean constantly, I've riddled with self doubt leading up 388 00:20:56,119 --> 00:20:58,320 Speaker 3: to it. The whole first week. I'm like, this is terrible. 389 00:20:58,640 --> 00:21:02,240 Speaker 3: I'm terrible. You know, it's just that's fine. You kind 390 00:21:02,240 --> 00:21:03,920 Speaker 3: of go with the flow with that. I've learned to 391 00:21:03,960 --> 00:21:08,000 Speaker 3: kind of ride those times out, but most of the 392 00:21:08,280 --> 00:21:10,840 Speaker 3: time now because I'm probably much more selective about what 393 00:21:10,880 --> 00:21:13,520 Speaker 3: I choose to do and who I want to work with, Like, 394 00:21:13,600 --> 00:21:16,200 Speaker 3: there's obviously people who will hit your life's too shortlist 395 00:21:16,240 --> 00:21:18,840 Speaker 3: where you're like, oh god, never again, or no, that 396 00:21:18,880 --> 00:21:23,960 Speaker 3: doesn't sound fun. But yes, I'm usually frozen with fear 397 00:21:24,040 --> 00:21:28,800 Speaker 3: leading up to it and and then you get taken 398 00:21:28,840 --> 00:21:29,439 Speaker 3: over by it. 399 00:21:29,560 --> 00:21:32,800 Speaker 1: Yeah you have, so we talked about it earlier, so 400 00:21:33,040 --> 00:21:34,800 Speaker 1: the next year you. 401 00:21:34,760 --> 00:21:37,800 Speaker 2: Have a lot of stuff coming out. Yeah. Fog Guy 402 00:21:37,880 --> 00:21:39,280 Speaker 2: with Ryan Gosling. 403 00:21:39,160 --> 00:21:43,200 Speaker 3: Yes, Oh my god, it was such I can't eat. 404 00:21:43,000 --> 00:21:45,400 Speaker 1: To start with the Fog because Far Guy. I grew 405 00:21:45,480 --> 00:21:48,719 Speaker 1: up watching The Fun Intelligence What drew you that? And 406 00:21:48,760 --> 00:21:50,800 Speaker 1: working with Ryan who's so incredible. 407 00:21:50,960 --> 00:21:56,399 Speaker 3: He's an incredible guy and such a talent. And I think, 408 00:21:56,560 --> 00:21:59,680 Speaker 3: you know, I love David Leech's work, and he's just 409 00:21:59,840 --> 00:22:06,280 Speaker 3: a He's caught this like pop culture kinetic visual stride 410 00:22:06,359 --> 00:22:09,040 Speaker 3: that is just so exciting and rare, and it's really modern. 411 00:22:09,160 --> 00:22:11,600 Speaker 3: I think I felt I hadn't done something contemporary for 412 00:22:11,640 --> 00:22:13,480 Speaker 3: a little bit, and I've been I mean, I love 413 00:22:13,560 --> 00:22:15,640 Speaker 3: I love a period drama. I'm like all about it. 414 00:22:16,160 --> 00:22:18,800 Speaker 3: But I think I wanted to do something funny and 415 00:22:19,000 --> 00:22:23,560 Speaker 3: big and sort of lights out really and I love 416 00:22:23,640 --> 00:22:29,080 Speaker 3: that TV series too and the movie. When I signed on, 417 00:22:29,440 --> 00:22:32,520 Speaker 3: they were still developing the script and I love that 418 00:22:32,640 --> 00:22:36,760 Speaker 3: open armed thing of come into the fold, let's build 419 00:22:36,760 --> 00:22:40,920 Speaker 3: this together. It was very open armed and very collaborative, 420 00:22:41,160 --> 00:22:44,919 Speaker 3: and I think because Ryan is so free you know, 421 00:22:45,040 --> 00:22:50,320 Speaker 3: he's so free spirited as an actor and is always 422 00:22:50,480 --> 00:22:52,960 Speaker 3: trying to search for something more interesting in the scene. 423 00:22:53,000 --> 00:22:56,760 Speaker 3: So it means the scenes have this completely singular life 424 00:22:56,800 --> 00:22:58,520 Speaker 3: where you don't kind of know where the scene's going 425 00:22:58,600 --> 00:23:01,120 Speaker 3: to go. And I loved it improv and he loves 426 00:23:01,160 --> 00:23:04,640 Speaker 3: to improve, and so it was it was about every 427 00:23:04,720 --> 00:23:06,840 Speaker 3: day was about this kind of chase and we would 428 00:23:06,920 --> 00:23:09,320 Speaker 3: laugh saying on this movie it was like the escape 429 00:23:09,359 --> 00:23:13,840 Speaker 3: from everything. We get out because the film is a 430 00:23:13,880 --> 00:23:16,439 Speaker 3: really big idea and it's all about, you know, the 431 00:23:16,520 --> 00:23:19,720 Speaker 3: stunt world and the fact that we were also celebrating 432 00:23:19,760 --> 00:23:24,639 Speaker 3: stunt men who do not get enough accolades in this industry. 433 00:23:24,680 --> 00:23:27,320 Speaker 3: The fact that there is no award at the Oscars 434 00:23:27,320 --> 00:23:30,560 Speaker 3: for a stunt team is terrible when every other department, 435 00:23:30,800 --> 00:23:33,240 Speaker 3: Mad Max doesn't happen without a stunt team, Like none 436 00:23:33,240 --> 00:23:36,600 Speaker 3: of these big Best Picture nominally nominees, they don't happen 437 00:23:36,640 --> 00:23:37,600 Speaker 3: without a stunt team. 438 00:23:37,840 --> 00:23:38,600 Speaker 2: Never thought about that. 439 00:23:38,680 --> 00:23:41,119 Speaker 3: They don't like the mission Impossible is the Top Guns, Like, 440 00:23:41,320 --> 00:23:44,480 Speaker 3: where does that happen without your stunt team? And they 441 00:23:44,520 --> 00:23:47,359 Speaker 3: put their lives at risk for all of us to 442 00:23:47,480 --> 00:23:49,760 Speaker 3: kind of mosey in and do a couple of chops 443 00:23:49,760 --> 00:23:51,520 Speaker 3: in the air and a punch and they make us 444 00:23:51,520 --> 00:23:56,000 Speaker 3: look amazing while they're getting dragged across gravel and you 445 00:23:56,080 --> 00:23:57,679 Speaker 3: do the close up on a green screen. I mean, 446 00:23:57,680 --> 00:23:58,760 Speaker 3: it's like ridiculous. 447 00:23:59,280 --> 00:24:00,640 Speaker 2: That's so true. 448 00:24:00,720 --> 00:24:03,000 Speaker 3: And they just they literally put themselves out there every day. 449 00:24:03,000 --> 00:24:05,000 Speaker 3: And Dave Leech, who was a stunt man and was 450 00:24:05,000 --> 00:24:06,800 Speaker 3: one of their best stunt men in the industry. He 451 00:24:07,000 --> 00:24:09,879 Speaker 3: stunt double Brad Pitt and Matt Damon and all those boys. 452 00:24:09,920 --> 00:24:14,520 Speaker 3: And you know, he wanted to do all the stunts practically, 453 00:24:14,600 --> 00:24:18,280 Speaker 3: which means without cgi and anything like that. And we 454 00:24:18,280 --> 00:24:20,800 Speaker 3: were trying to break really big records in the stunt 455 00:24:20,800 --> 00:24:22,439 Speaker 3: well for what we were able to do, and it 456 00:24:22,480 --> 00:24:27,440 Speaker 3: was just thrilling. I loved it. It's so funny this movie. 457 00:24:27,440 --> 00:24:29,440 Speaker 3: It's so romantic and so funny. 458 00:24:29,760 --> 00:24:33,160 Speaker 1: So and you're so physical and so that's I can't 459 00:24:33,200 --> 00:24:33,800 Speaker 1: wait to see that. 460 00:24:33,880 --> 00:24:35,360 Speaker 3: Yeah, you'll love it. You'll love it. 461 00:24:35,560 --> 00:24:38,159 Speaker 2: Then Pain Hustlers. 462 00:24:37,800 --> 00:24:40,160 Speaker 3: Yes, Yes, that's Netflix. 463 00:24:40,440 --> 00:24:42,160 Speaker 2: Yes, talk to me about that. 464 00:24:42,400 --> 00:24:48,080 Speaker 3: So that one. That's July, No, that's October. So Pain 465 00:24:48,200 --> 00:24:52,119 Speaker 3: Hustlers was a project that came to me, which was 466 00:24:52,160 --> 00:24:55,879 Speaker 3: sort of the first time I think I veered in 467 00:24:55,960 --> 00:25:02,760 Speaker 3: to do something political, contemporary, hard hitting. It's really an exploration, 468 00:25:03,040 --> 00:25:05,880 Speaker 3: I felt, deep down of the shadiness in all of us. 469 00:25:06,560 --> 00:25:09,280 Speaker 3: And isn't that interesting to have a character at the 470 00:25:09,320 --> 00:25:12,320 Speaker 3: center of it who is a good person but does 471 00:25:12,359 --> 00:25:15,560 Speaker 3: some really fucked up things and gets she gets caught 472 00:25:15,640 --> 00:25:20,840 Speaker 3: up in the intoxicating world of selling pharmaceuticals and knows 473 00:25:20,880 --> 00:25:24,760 Speaker 3: it's corrupt, can't get out for a variety of reasons, 474 00:25:24,760 --> 00:25:29,040 Speaker 3: some out of her control. And it's about accountability, it's 475 00:25:29,080 --> 00:25:32,040 Speaker 3: about guilt, it's about all of these things, like what 476 00:25:32,200 --> 00:25:34,560 Speaker 3: keeps you up at night when you're staring at the ceiling, 477 00:25:34,680 --> 00:25:37,359 Speaker 3: questioning whether you're a good person or that. And I 478 00:25:37,480 --> 00:25:40,440 Speaker 3: just thought that exploration of the shadiness in a character, 479 00:25:40,560 --> 00:25:42,480 Speaker 3: and you don't often see it in a female character, 480 00:25:42,480 --> 00:25:46,200 Speaker 3: because I feel strongly that most female characters in Hollywood 481 00:25:46,880 --> 00:25:49,240 Speaker 3: are usually held up to some sort of feminine ideal. 482 00:25:49,280 --> 00:25:51,520 Speaker 3: And I'm always hearing this, like is she likable? I'm 483 00:25:51,560 --> 00:25:53,320 Speaker 3: I don't give a fuck if she's likable, you know, 484 00:25:53,920 --> 00:25:56,080 Speaker 3: And no man is ever asked that, Like none of 485 00:25:56,080 --> 00:25:58,440 Speaker 3: those guys in the Big Short or Wolf of Wall Street, 486 00:25:58,440 --> 00:26:00,879 Speaker 3: where we're never concerned if they were likable and they 487 00:26:00,880 --> 00:26:04,679 Speaker 3: were doing terrible corrupt things. So I really was inspired 488 00:26:04,720 --> 00:26:07,080 Speaker 3: by this idea and very much supported by David Yates 489 00:26:07,119 --> 00:26:09,760 Speaker 3: who directed it. It was real. We were sort of 490 00:26:09,840 --> 00:26:13,600 Speaker 3: trying to build this case for a woman who does 491 00:26:13,680 --> 00:26:18,119 Speaker 3: some bad things and how does she cope with that? 492 00:26:18,200 --> 00:26:21,879 Speaker 3: And it's done in this very dynamic visual way the 493 00:26:21,920 --> 00:26:22,640 Speaker 3: whole movie. 494 00:26:23,920 --> 00:26:26,480 Speaker 1: Yeah, that's great, that's great that you should have look 495 00:26:26,520 --> 00:26:28,480 Speaker 1: at it through that lens and you're sort of an 496 00:26:28,560 --> 00:26:34,600 Speaker 1: advocate for how women are perceived perceived in your industry 497 00:26:34,720 --> 00:26:36,680 Speaker 1: and like, is bullshit. 498 00:26:37,040 --> 00:26:39,280 Speaker 3: It is bullshit, and how women are sort of perceived 499 00:26:39,320 --> 00:26:42,840 Speaker 3: in society as well, and like the different rules that 500 00:26:43,000 --> 00:26:48,360 Speaker 3: women are more held to than men, And so yeah, 501 00:26:48,440 --> 00:26:52,439 Speaker 3: I just thought this intoxicating world of selling pharmaceuticals and 502 00:26:52,480 --> 00:26:57,160 Speaker 3: this hard hitting, fast paced, corrupt world was an interesting 503 00:26:57,200 --> 00:27:01,159 Speaker 3: exploration because it's very prominent right now. There are so 504 00:27:01,840 --> 00:27:06,080 Speaker 3: there's so many deaths from opioid abuse and this has 505 00:27:06,119 --> 00:27:10,879 Speaker 3: been completely put this a crisis is born out of 506 00:27:10,960 --> 00:27:15,040 Speaker 3: natural events, and this is really the colossal crime behind 507 00:27:15,080 --> 00:27:19,399 Speaker 3: the crisis, and that's through the pharmaceutical companies and the 508 00:27:19,400 --> 00:27:21,400 Speaker 3: governments that support them completely. 509 00:27:21,440 --> 00:27:24,160 Speaker 2: I just watched that documentary as Sacler documentary. 510 00:27:24,200 --> 00:27:26,040 Speaker 3: Yeah, so this is what it's based on. This is 511 00:27:26,080 --> 00:27:27,200 Speaker 3: what the movie is based on. 512 00:27:47,600 --> 00:27:50,600 Speaker 1: Welcome Back to Table for two. One of this summer's 513 00:27:50,680 --> 00:27:55,600 Speaker 1: biggest films is Oppenheimer by famed director Christopher Nolan. Emily 514 00:27:55,640 --> 00:28:00,679 Speaker 1: Star says Kitty j Robert Oppenheimer's wife, it's an unorthodox blockbuster, 515 00:28:01,119 --> 00:28:07,440 Speaker 1: a movie with a message for humanity. Let's talk about Oppenheim. Okay, 516 00:28:07,760 --> 00:28:11,600 Speaker 1: let's talk about Kitty. Let's talk about Nolan. Let's talk 517 00:28:11,640 --> 00:28:13,159 Speaker 1: about that cast. 518 00:28:14,200 --> 00:28:15,600 Speaker 2: What was that like it? 519 00:28:16,080 --> 00:28:21,000 Speaker 3: That was a true master class like that you kind 520 00:28:21,000 --> 00:28:23,919 Speaker 3: of run to work every day to just see what 521 00:28:24,119 --> 00:28:28,600 Speaker 3: he's going to dream up Chris, because he is he's 522 00:28:28,640 --> 00:28:33,680 Speaker 3: an extraordinary force. He is talk about someone who has 523 00:28:34,760 --> 00:28:38,840 Speaker 3: an authority to them, and he's got his own intimidation 524 00:28:39,040 --> 00:28:45,040 Speaker 3: factor that is there. But it's partly I mean to me, 525 00:28:45,160 --> 00:28:48,800 Speaker 3: I didn't find him intimidating. I adored him. He's so English, 526 00:28:49,240 --> 00:28:53,720 Speaker 3: he's most British person. He's like my family. So when 527 00:28:53,800 --> 00:28:57,760 Speaker 3: he's happy with the take, he goes yeah, good, happy, yeah, 528 00:28:57,800 --> 00:28:59,880 Speaker 3: and I'll go yeah, and he goes okay, good, moving on, 529 00:29:00,000 --> 00:29:07,280 Speaker 3: moving okay, And to me, I'm like, dad, you know, yeah, 530 00:29:07,320 --> 00:29:14,840 Speaker 3: So I loved it and the whole experience of working 531 00:29:14,880 --> 00:29:17,800 Speaker 3: on it that yes, it's a biopic. But when I 532 00:29:17,840 --> 00:29:19,920 Speaker 3: first read it at his house, you know, you go 533 00:29:20,000 --> 00:29:21,840 Speaker 3: over to meet him, and I didn't care if it 534 00:29:21,920 --> 00:29:24,920 Speaker 3: was a scene I would be wanting to do this movie. 535 00:29:25,040 --> 00:29:27,600 Speaker 3: I didn't care. I just wanted to work with him. 536 00:29:28,040 --> 00:29:31,120 Speaker 3: And I read it and I thought, yes, it's a biopic. 537 00:29:31,160 --> 00:29:35,200 Speaker 3: But it was so emotional. It moved like this Chase thriller. 538 00:29:35,480 --> 00:29:38,680 Speaker 3: And when you watch it, it grabs you by the throat 539 00:29:38,720 --> 00:29:41,000 Speaker 3: in the beginning, and it's like a horror movie. It's 540 00:29:41,040 --> 00:29:43,440 Speaker 3: like a horror movie. Trojan Horse is a biopic. I mean, 541 00:29:43,440 --> 00:29:49,920 Speaker 3: it's just Killian Murphy, my dear friend, is so extraordinary, 542 00:29:49,920 --> 00:29:55,080 Speaker 3: and he's absolutely mesmerizing and holds the whole thing together 543 00:29:55,160 --> 00:29:55,880 Speaker 3: so delicately. 544 00:29:56,240 --> 00:29:59,280 Speaker 2: Will you tell the people that pulled up a chair what? 545 00:30:00,720 --> 00:30:05,560 Speaker 3: So the story is about? So the story is about Oppenheimer, 546 00:30:05,880 --> 00:30:09,200 Speaker 3: who created the atomic bomb, and it follows his whole 547 00:30:09,240 --> 00:30:12,680 Speaker 3: life story from a brilliant child physicist in college up 548 00:30:12,760 --> 00:30:15,720 Speaker 3: until when he was enlisted to create the bomb. Bill 549 00:30:15,840 --> 00:30:19,560 Speaker 3: Los Alamus and then goes into another time period when 550 00:30:19,600 --> 00:30:22,680 Speaker 3: he was kind of dragged through the calls in his 551 00:30:23,320 --> 00:30:26,960 Speaker 3: security hearing during the McCarthy era, where he was accused 552 00:30:27,040 --> 00:30:30,800 Speaker 3: of communism because of his relationships with his wife who 553 00:30:30,840 --> 00:30:33,520 Speaker 3: dabbled in communism who I play, his girlfriend who was 554 00:30:33,560 --> 00:30:37,440 Speaker 3: a communist, his brother who was a communist. So it's 555 00:30:37,520 --> 00:30:42,960 Speaker 3: just the rise and fall of a brilliant brain. The 556 00:30:43,080 --> 00:30:46,080 Speaker 3: trauma of a brain like that of living with that 557 00:30:46,160 --> 00:30:50,120 Speaker 3: kind of genius brain is depicted so visually and so 558 00:30:51,360 --> 00:30:55,440 Speaker 3: frighteningly in the movie. It's about him, but it's about 559 00:30:55,480 --> 00:31:01,720 Speaker 3: these themes of ambition and male ego during war and 560 00:31:01,800 --> 00:31:05,160 Speaker 3: that pursuit of something that would change the world forever, 561 00:31:05,280 --> 00:31:07,520 Speaker 3: the pursuit of something that's bigger than all of us, 562 00:31:08,080 --> 00:31:12,200 Speaker 3: that will have ramifications for the rest of time. It's 563 00:31:12,320 --> 00:31:16,360 Speaker 3: just it's really incredible. What is the restlessness in us 564 00:31:17,080 --> 00:31:20,840 Speaker 3: that even hearing this could be potentially bad, that you 565 00:31:20,960 --> 00:31:24,920 Speaker 3: could unleash something that would have a negative effect psychologically, 566 00:31:25,040 --> 00:31:30,440 Speaker 3: emotionally on the earth, on us as humans, on the environment. 567 00:31:30,680 --> 00:31:34,640 Speaker 3: Is what is the pursuit that still restlessly lives in us? 568 00:31:34,720 --> 00:31:36,840 Speaker 3: You know, it's just terrifying when. 569 00:31:36,760 --> 00:31:38,600 Speaker 1: You work in an ensemble like that and there's such 570 00:31:38,720 --> 00:31:39,560 Speaker 1: brilliant actors. 571 00:31:39,840 --> 00:31:44,440 Speaker 2: Yes, is it harder? Is it more uplifting for you? Like? 572 00:31:44,560 --> 00:31:48,400 Speaker 2: How do you find your sort of place in that? Oh? 573 00:31:48,440 --> 00:31:51,520 Speaker 3: It's so easy, you know, because there is simply one 574 00:31:51,920 --> 00:31:54,520 Speaker 3: voice on set, and it will be Chris's. You know, 575 00:31:54,640 --> 00:31:57,200 Speaker 3: there's no there's one lead dog and it's very clear, 576 00:31:57,880 --> 00:32:01,680 Speaker 3: and we're all just there to to just try and 577 00:32:01,680 --> 00:32:03,720 Speaker 3: deliver something to him. 578 00:32:04,040 --> 00:32:06,200 Speaker 2: And when you have Matt. 579 00:32:06,200 --> 00:32:09,720 Speaker 3: Matt Damon's in it, Killian Murphy's in it, Robert Downey 580 00:32:09,760 --> 00:32:12,720 Speaker 3: Junior is in it, Florence Pugh's in it, like there's 581 00:32:12,880 --> 00:32:16,840 Speaker 3: just wonderful people. Male Yeah, Romie Maleck's in it. I mean, 582 00:32:17,040 --> 00:32:19,840 Speaker 3: Ksey Affleck said it. Just the list goes on and 583 00:32:19,880 --> 00:32:22,600 Speaker 3: on and on of people. Kenneth Branna is in it. 584 00:32:22,840 --> 00:32:26,160 Speaker 3: The people who showed up to do one day on 585 00:32:26,240 --> 00:32:29,760 Speaker 3: this film and they raise their hands willingly and immediately 586 00:32:29,880 --> 00:32:32,680 Speaker 3: for Chris. And then you know why, when you're on set, 587 00:32:32,680 --> 00:32:35,600 Speaker 3: you go, that makes sense. Of course they do? They run? 588 00:32:35,760 --> 00:32:38,240 Speaker 1: You know, you think so when we see this movie, 589 00:32:38,280 --> 00:32:40,720 Speaker 1: I haven't obviously seen it without giving anything away, do 590 00:32:40,800 --> 00:32:42,720 Speaker 1: you leave thinking hope? 591 00:32:42,840 --> 00:32:45,920 Speaker 2: Do you leave thinking Wow, this was really bad. 592 00:32:46,360 --> 00:32:50,680 Speaker 3: I think it's just the most thought provoking film. It 593 00:32:50,800 --> 00:32:53,240 Speaker 3: will kidnap you and you're going to think about it 594 00:32:53,280 --> 00:32:55,000 Speaker 3: for a long time afterwards. 595 00:32:55,280 --> 00:32:56,720 Speaker 2: Yeah, it's like one of those. 596 00:32:56,840 --> 00:32:59,280 Speaker 3: It's one of those. It's not a film, it's an experience. 597 00:32:59,520 --> 00:33:00,800 Speaker 3: It's away try. 598 00:33:11,160 --> 00:33:13,440 Speaker 1: You know when you guys did the A Quiet Place 599 00:33:13,680 --> 00:33:16,400 Speaker 1: and and this is just funny. I don't know if 600 00:33:16,440 --> 00:33:18,880 Speaker 1: this will actually read if you've pulled up a chair today, 601 00:33:18,880 --> 00:33:24,640 Speaker 1: But like Eva and I, that movie was we just 602 00:33:25,360 --> 00:33:27,760 Speaker 1: loved it. We watched it over the summer and we 603 00:33:27,760 --> 00:33:31,240 Speaker 1: were like, in bed at night, it's scary as fox. 604 00:33:32,400 --> 00:33:33,920 Speaker 2: And so then we played the game. 605 00:33:34,560 --> 00:33:36,400 Speaker 1: So like we'd be like in the kitchen and like 606 00:33:36,440 --> 00:33:39,600 Speaker 1: there's at my parents' house and there was a garbage but. 607 00:33:39,520 --> 00:33:41,800 Speaker 2: You pull out from a drawer. 608 00:33:42,160 --> 00:33:45,040 Speaker 1: Yeah, and we'd be like okay now, and I'd be 609 00:33:45,120 --> 00:33:48,160 Speaker 1: like I'm like, like I point like she had to 610 00:33:48,200 --> 00:33:50,040 Speaker 1: throw it out, and she'd look at me and she'd 611 00:33:50,640 --> 00:33:54,280 Speaker 1: knowing that the thing was about to go, and then 612 00:33:54,360 --> 00:33:57,760 Speaker 1: I would just wave goodbye to her like that was 613 00:33:59,080 --> 00:34:03,720 Speaker 1: like that's oh why that was really? Was that an 614 00:34:03,800 --> 00:34:06,840 Speaker 1: unexpected sort of very success? 615 00:34:07,040 --> 00:34:11,000 Speaker 3: Yes, I mean the first one was made for sixteen 616 00:34:11,160 --> 00:34:14,319 Speaker 3: million dollars and we shot it in six weeks, and 617 00:34:15,960 --> 00:34:18,560 Speaker 3: it was very pressured, and I think John was just 618 00:34:18,600 --> 00:34:20,759 Speaker 3: trying to make an art movie. And of course when 619 00:34:20,840 --> 00:34:23,319 Speaker 3: you do these sort of lower budget horror movies, the 620 00:34:23,320 --> 00:34:25,400 Speaker 3: studios always talk about, you know, this is our model 621 00:34:25,480 --> 00:34:27,480 Speaker 3: for like you know, and he said, well, I don't 622 00:34:27,520 --> 00:34:29,680 Speaker 3: want to make a slasher movie I'm making. I want 623 00:34:29,680 --> 00:34:31,320 Speaker 3: to make an art movie. And they're like, fine, you 624 00:34:31,360 --> 00:34:34,520 Speaker 3: still have six weeks. So it's just it was pressured, 625 00:34:34,560 --> 00:34:39,279 Speaker 3: and I thought the concept was so brilliant. It's so simple, right. 626 00:34:39,840 --> 00:34:41,680 Speaker 3: I love ideas in movies where you can wrap your 627 00:34:41,760 --> 00:34:43,959 Speaker 3: arms around it like that. Right, if you make noise, 628 00:34:44,000 --> 00:34:46,799 Speaker 3: you die? Right? So simple? And how has no one died? 629 00:34:46,800 --> 00:34:48,080 Speaker 3: It's so simple that you're like, how has no one 630 00:34:48,080 --> 00:34:51,560 Speaker 3: done this? True? And then you're like, has anyone done 631 00:34:51,600 --> 00:34:55,600 Speaker 3: this before? And no, they really haven't. So he fell 632 00:34:55,640 --> 00:34:58,520 Speaker 3: in love with this specscript that he got sent. He 633 00:34:58,600 --> 00:35:00,839 Speaker 3: pitched it to me. I said, you should direct. You've 634 00:35:00,840 --> 00:35:02,600 Speaker 3: got a whole world that you're building in your head 635 00:35:02,600 --> 00:35:04,120 Speaker 3: and you should do it. He was terrified to do it, 636 00:35:04,160 --> 00:35:07,400 Speaker 3: but did it again? Support Sport, Yeah, come on, like 637 00:35:07,480 --> 00:35:10,440 Speaker 3: you can do it, and of course he made a 638 00:35:10,440 --> 00:35:13,000 Speaker 3: beautiful movie. I think as it goes with every director 639 00:35:13,040 --> 00:35:15,520 Speaker 3: and even myself in the editing process in a film, 640 00:35:15,600 --> 00:35:18,120 Speaker 3: I can't see a film anymore after you see fifteen 641 00:35:18,160 --> 00:35:20,160 Speaker 3: cuts of it. I'm like, I don't know if it's good, 642 00:35:20,200 --> 00:35:24,080 Speaker 3: Like I have no idea anymore, lose perspective. So I 643 00:35:24,120 --> 00:35:27,360 Speaker 3: remember us driving to south By Southwest, which is this 644 00:35:27,400 --> 00:35:33,759 Speaker 3: great film festival, very supportive sort of movie crowd. No 645 00:35:33,800 --> 00:35:35,560 Speaker 3: one had seen the film, ten people had seen it, 646 00:35:36,239 --> 00:35:38,120 Speaker 3: and he was bricking it, you know, in the car 647 00:35:38,160 --> 00:35:42,280 Speaker 3: on the waves, just bricks left all around our Texas 648 00:35:43,400 --> 00:35:45,960 Speaker 3: And I said, I think it's incredible. I don't know 649 00:35:46,000 --> 00:35:48,160 Speaker 3: what anyone else will think, but I think it's incredible. 650 00:35:48,360 --> 00:35:50,560 Speaker 3: He was like, couldn't even speak by catatonic was fear. 651 00:35:51,600 --> 00:35:54,080 Speaker 3: And then it started to play in the movie theater, 652 00:35:54,360 --> 00:35:57,160 Speaker 3: and it probably that moment will probably go down as 653 00:35:57,160 --> 00:35:59,520 Speaker 3: one of the most unforgettable experiences, not just in my 654 00:35:59,600 --> 00:36:04,000 Speaker 3: career but my life. And people stopped eating during it, 655 00:36:05,520 --> 00:36:10,440 Speaker 3: and it was so silent it was it added to 656 00:36:11,040 --> 00:36:14,360 Speaker 3: the trauma of the movie, as if people felt a 657 00:36:14,440 --> 00:36:18,000 Speaker 3: part of trying to keep this family alive exactly it 658 00:36:18,000 --> 00:36:21,239 Speaker 3: went deathly quiet, and then people started to laugh a bit, 659 00:36:21,280 --> 00:36:23,200 Speaker 3: and John went, Oh my god, why they're laughing, And 660 00:36:23,239 --> 00:36:27,719 Speaker 3: I said, because they're shitting it. They're so scared. And 661 00:36:27,760 --> 00:36:30,920 Speaker 3: I remember when the film ended and my character cocks 662 00:36:30,960 --> 00:36:35,040 Speaker 3: the big rifle and everything, and people jumped up like 663 00:36:35,120 --> 00:36:37,640 Speaker 3: it was a Beatles concert. It was like they blew 664 00:36:37,680 --> 00:36:41,360 Speaker 3: the doors off the place. And I instantly cried because 665 00:36:41,360 --> 00:36:44,480 Speaker 3: it was just so beautiful and such a relief. And 666 00:36:44,520 --> 00:36:46,719 Speaker 3: because of that film festival, and I will give south 667 00:36:46,719 --> 00:36:48,440 Speaker 3: By all the credit for why the movie then went 668 00:36:48,480 --> 00:36:51,200 Speaker 3: on to do so well. And as much as I 669 00:36:51,200 --> 00:36:53,319 Speaker 3: have such an aversion to social media and don't do it, 670 00:36:54,480 --> 00:36:57,360 Speaker 3: I saw the benefit of that because it just spread 671 00:36:57,520 --> 00:36:59,040 Speaker 3: like quick fire. You gotta see this movie, got to 672 00:36:59,040 --> 00:37:00,759 Speaker 3: see this, got to see this, gotta se this movie. 673 00:37:01,200 --> 00:37:03,440 Speaker 3: And so by the time the film came out, it 674 00:37:03,480 --> 00:37:07,840 Speaker 3: had some colossal opening weekend that we have never anticipated ever. 675 00:37:08,560 --> 00:37:10,440 Speaker 2: It was truly captivating. 676 00:37:10,680 --> 00:37:14,120 Speaker 1: Yeah, it's a beautifulrifying, and your performance was great and 677 00:37:14,239 --> 00:37:17,120 Speaker 1: John's and you get so scared. 678 00:37:17,480 --> 00:37:26,800 Speaker 4: Yeah. 679 00:37:26,920 --> 00:37:30,799 Speaker 1: I could talk to Emily all day, but sadly, all 680 00:37:30,880 --> 00:37:34,080 Speaker 1: lunches must come to an end. And as we wind down, 681 00:37:35,000 --> 00:37:39,920 Speaker 1: I wonder what's next if you sort of had to 682 00:37:39,920 --> 00:37:43,640 Speaker 1: do a trajectory of the next piece of your professional life, 683 00:37:43,640 --> 00:37:46,520 Speaker 1: which has been so rich, Emily, and you're so talented, 684 00:37:47,040 --> 00:37:49,160 Speaker 1: were is there is there something like burning in you 685 00:37:49,280 --> 00:37:51,840 Speaker 1: to sort of do or you just sort. 686 00:37:51,600 --> 00:37:52,680 Speaker 2: Of like open. 687 00:37:53,840 --> 00:37:57,799 Speaker 3: I continue to want to see things through more if 688 00:37:57,800 --> 00:38:02,359 Speaker 3: they've come to me in their early stages and I've 689 00:38:02,440 --> 00:38:05,520 Speaker 3: helped build them, and then you can release your baby 690 00:38:05,520 --> 00:38:07,640 Speaker 3: out there to the world, see that something come to 691 00:38:07,640 --> 00:38:09,839 Speaker 3: fruition that way that I would like to do much 692 00:38:09,880 --> 00:38:13,320 Speaker 3: more of. I find it terrifying and exciting all at once, 693 00:38:13,520 --> 00:38:17,480 Speaker 3: you know, I see more of that. I don't know 694 00:38:17,600 --> 00:38:21,120 Speaker 3: about directing, because I've also seen what it does to them. 695 00:38:24,239 --> 00:38:28,439 Speaker 3: It's so consuming, but I think at some point, yes, 696 00:38:28,560 --> 00:38:30,120 Speaker 3: I would. I'd like to try that. 697 00:38:30,600 --> 00:38:34,440 Speaker 2: You definitely should be cool. I mean, you're a baby, 698 00:38:35,719 --> 00:38:36,160 Speaker 2: you are. 699 00:38:36,840 --> 00:38:40,480 Speaker 1: This has been one of the most enjoyable launch I'm 700 00:38:40,719 --> 00:38:42,359 Speaker 1: really honored. 701 00:38:42,520 --> 00:38:44,080 Speaker 3: An amazing interview. 702 00:38:44,320 --> 00:38:46,600 Speaker 2: I am. Yes, thank you. 703 00:38:47,000 --> 00:38:50,920 Speaker 3: It's so natural and it's like butter it's wonderful. 704 00:38:52,640 --> 00:38:55,760 Speaker 2: Exactly. But it's very easy. 705 00:38:54,960 --> 00:38:59,800 Speaker 1: To sit with someone you love but you admire or 706 00:38:59,880 --> 00:39:04,640 Speaker 1: you and whether I knew you before, like we do 707 00:39:04,920 --> 00:39:05,239 Speaker 1: or no. 708 00:39:06,120 --> 00:39:10,240 Speaker 2: Thank you, Thank you, and I hope that everyone enjoyed today. 709 00:39:10,480 --> 00:39:11,680 Speaker 2: Thank you, it was wonderful. 710 00:39:11,800 --> 00:39:16,640 Speaker 3: Thank you so much for this highly Carl, I love you. 711 00:39:16,680 --> 00:39:18,839 Speaker 2: Can deserve every car. 712 00:39:19,040 --> 00:39:22,719 Speaker 3: We're going to get dessert now, all right, well, thank 713 00:39:22,760 --> 00:39:25,560 Speaker 3: you for joining me today. 714 00:39:26,880 --> 00:39:36,600 Speaker 1: I love you, I love you. Table for two with 715 00:39:36,640 --> 00:39:39,959 Speaker 1: Bruce Bosi is produced by iHeart Radio seven three seven 716 00:39:40,040 --> 00:39:43,880 Speaker 1: Park and Airmail. Our executive producers are Bruce Bosi and 717 00:39:43,960 --> 00:39:46,799 Speaker 1: Nathan King. Table for two is researched and written by 718 00:39:46,800 --> 00:39:51,880 Speaker 1: Bridget arsenalt. Our sound engineers are Paul Bowman and Alyssa Midcalf. 719 00:39:52,200 --> 00:39:55,680 Speaker 1: Table for two's la production team is Danielle Romo and 720 00:39:55,760 --> 00:40:00,200 Speaker 1: Lorraine Verrez. Our music supervisor is Randall poster. Our Ellent 721 00:40:00,280 --> 00:40:03,600 Speaker 1: booking is by Jane Harkin. Special thanks to Amy Sugarman, 722 00:40:03,920 --> 00:40:09,239 Speaker 1: Uni Cher, Kevin Yuvane, Bobby Bauer, Alison Kantor Graber, Jody Williams, 723 00:40:09,360 --> 00:40:12,320 Speaker 1: Rita Sodi, and the team at Via Carota in Manhattan's 724 00:40:12,320 --> 00:40:17,040 Speaker 1: West Village. For more podcasts from iHeartRadio, visit the iHeartRadio app, 725 00:40:17,320 --> 00:40:21,000 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.