Speaker 1: Hi everyone, I'm Kitty Kuric and this is next question.
Speaker 1: Talk about a superstar lineup. Natalie Portman, Julianne Moore, Charles Melton,
Speaker 1: Todd Haynes. They're the talent behind May December, the gripping
Speaker 1: psychological thriller directed by Haines and written by first time
Speaker 1: screenwriter Sammy Birch. It's getting a lot of attention and
Speaker 1: it's been nominated for three Golden Globes. The movie is
Speaker 1: partially based on the shocking story of Mary Kay Latourno.
Speaker 1: If you're not old enough to remember, she was the
Speaker 1: school teacher from a suburb of Seattle who went to
Speaker 1: prison in the nineties after beginning a relationship with one
Speaker 1: of her students. At the time, she was thirty four
Speaker 1: and he was twelve. May December imagines a similar couple,
Speaker 1: Gracie and Joe, played by Julianne Moore and Charles Melton,
Speaker 1: and years after their relationship began, what would their life
Speaker 1: be like now, how did their story unfold, and what
Speaker 1: would happen if an actress Natalie Portman showed up to
Speaker 1: research her role portraying Gracie in an upcoming movie. That's
Speaker 1: how May December begins. It's a strange, twisty tale of love,
Speaker 1: lust and a not exactly age appropriate relationship given the
Speaker 1: Todd Haynes treatment. I interviewed the group following a screening
Speaker 1: and it was a fascinating conversation. I hope you enjoyed listening.
Speaker 2: To it, Natalie.
Speaker 1: I know that your production company originally found the script
Speaker 1: for this film and brought it to Todd. Why did
Speaker 1: you believe he would be the right person to tell
Speaker 1: this story?
Speaker 3: I kind of think Todd could tell any story beautifully.
Speaker 3: And such an admirer of his, I've wanted to work
Speaker 3: with him my entire career, and I've tried to times
Speaker 3: before unsuccessfully, and had sent him things in the past.
Speaker 3: And when I read Sammy's script, I was so blown
Speaker 3: away by how she was able to do so much
Speaker 3: with such kind of sparse language, like it almost it
Speaker 3: revealed itself every day when we were shooting it, their
Speaker 3: new subtext would just kind of come out through the
Speaker 3: silences and what was between all of the lines, which
Speaker 3: is so rare. And Todd is such a master of
Speaker 3: female complexity and also performance related to identity. I mean,
Speaker 3: it was such a great luck that he took to
Speaker 3: it and Todd when you first read Sammy script, and Sammy,
Speaker 3: I'll get to you in a second because I can't
Speaker 3: wait to find out your story.
Speaker 2: What did you think about it?
Speaker 4: I thought it was brilliant and devious, and that it
Speaker 4: put the reins into the It trusted the reader. You know,
Speaker 4: it's so rare and and someone so young and so
Speaker 4: you know, to have that confidence to really let the
Speaker 4: reader navigate against themselves and the and the knowledges that
Speaker 4: we bring in the you know, the fluency that we
Speaker 4: bring to watching movies and all the expectations we have
Speaker 4: for who to trust and who not to trust. And
Speaker 4: so it very quickly became inspiring to me. And as
Speaker 4: to how to turn it into a film, I will
Speaker 4: just add the idea of being able to cast dorg
Speaker 4: Unaley finally in something so complex and so witty, and
Speaker 4: then to have the second role sitting right there.
Speaker 1: This is your fifth collaboration, isn't it. Yeah, we'll talk
Speaker 1: about that in a moment. But Sammy, this is Sammy.
Speaker 1: This is your first come on woman, this is your
Speaker 1: first screenplay. You've got to tell I mean, tell me
Speaker 1: about yourself. I know that the story of Mary Kay
Speaker 1: letourno was the seed of this? How did this whole
Speaker 1: story come to you? Just tell us a little bit
Speaker 1: about why it struck you and why you wanted to
Speaker 1: kind of dig into this topic.
Speaker 5: Yeah, I mean, I think we're in such an interesting
Speaker 5: time right now with you know, re looking at all
Speaker 5: these nineties tabloid culture, you know, these stories and kind
Speaker 5: of picking them up again and a lot of times
Speaker 5: retelling them the same way, I guess, and I think,
Speaker 5: or in.
Speaker 2: Some cases through a different lens.
Speaker 5: I absolutely right, absolutely sometimes looking at them through the
Speaker 5: lens of now and how people were treated unfairly. But
Speaker 5: I think the seed really was this idea of thinking
Speaker 5: about that couple. I knew that they had kids, and
Speaker 5: at a certain point I thought, oh, they're probably adults,
Speaker 5: these kids, And this image of an empty house kind
Speaker 5: of came to me of just you know, being an
Speaker 5: empty nester at thirty six years old or you know,
Speaker 5: mid thirty, which is really young enough to start over.
Speaker 5: And so that was kind of the jumping off point
Speaker 5: of wanting to look at a couple like that with
Speaker 5: twenty years different, so there's just more air and more
Speaker 5: room and breath.
Speaker 1: Reworry when people were watching this film they would remember
Speaker 1: that actual story, or that they would be able to
Speaker 1: make a leap that this was, as Julianne told me
Speaker 1: recently inspired by it. But it wasn't that story, you.
Speaker 4: Know, as Sammy was sort of saying, I think I
Speaker 4: took it and I sort of accepted and as the
Speaker 4: sort of cultural raw material that we all share, right,
Speaker 4: but that it was something that could be interpreted as
Speaker 4: a fiction anew And the brilliant structure of the script
Speaker 4: is that it's set all these years later, so it's
Speaker 4: really about the excavation into the past and breaking through
Speaker 4: those barriers that have been erected to protect this family
Speaker 4: from that event in the role of this curious actress
Speaker 4: who we think we trust.
Speaker 6: And then things start.
Speaker 2: To get crazy.
Speaker 1: We're going to talk about the characters in a moment,
Speaker 1: but I did want to ask Julianne about your working
Speaker 1: relationship with Todd, as I said, this is the fifth collaboration,
Speaker 1: so talk to us about why this works so well?
Speaker 7: Oh man, I don't mean I'm so lucky. I don't know,
Speaker 7: I have no idea. I accept that. I mean I
Speaker 7: think that that we have a shared sensibility, you know,
Speaker 7: and from the very beginning when I auditioned for Safe.
Speaker 7: I remember I had a very clear idea of how
Speaker 7: I thought it should be performed, and I was desperate
Speaker 7: to get the job, really just desperate. But there was
Speaker 7: only one way I could see doing it. And I
Speaker 7: thought to myself, if he doesn't like it, then I'm
Speaker 7: just not the person for the job. And he did,
Speaker 7: and that was what And I think we've had that
Speaker 7: in all of our collaborations, where I feel like I'm
Speaker 7: able to understand and he's also able to very very
Speaker 7: clearly communicate what he wants, you know, to me through
Speaker 7: his direction in his storytelling. You know, Todd gives you
Speaker 7: tremendous scaffolding and context for absolutely everything you're doing, and
Speaker 7: so it's like.
Speaker 8: He does all the work for you. So I feel
Speaker 8: like I'm just the recipient.
Speaker 2: Okay, you're shaking your head, Can you go and say no?
Speaker 4: I mean, I had this extraordinary fortune of meeting a
Speaker 4: creative counterpart so early on in my career. You know,
Speaker 4: it was my second feature, and Juliet had a career
Speaker 4: on television and then was moving into film. But I
Speaker 4: didn't know your work. I saw shortcuts it was about
Speaker 4: to come out and people were like talking about this actor,
Speaker 4: Julianne Moore, and I didn't realize how challenging that character
Speaker 4: was until you embodied it, Like how almost impossible it
Speaker 4: was to play until she understood the other side of
Speaker 4: the mirror, right, And that's been what I've been experiencing
Speaker 4: you ever since. And I've said this, you know, I
Speaker 4: talk a lot about julian Natalie and Charles and these actors,
Speaker 4: but I learned something from Julie.
Speaker 6: Every time we return to.
Speaker 4: A project, there's things that happen in the room that
Speaker 4: I can'tnot see until I watch it on film. So
Speaker 4: there's this understanding of the medium that is just extrasensory deep.
Speaker 1: Up next, Julianna and Natalie give us a sneak peek
Speaker 1: into their process. How did they go about portraying these
Speaker 1: fascinating and unusual women. That's right after this. If you
Speaker 1: want to get smarter every morning with a breakdown of
Speaker 1: the news and fascinating takes on health and wellness and
Speaker 1: pop culture, sign up for our daily newsletter, Wake Up
Speaker 1: Call by going to Katiecuric dot com. And we're back
Speaker 1: with the cast of May December. I have to ask
Speaker 1: you Julianne about Gracie because she's such an enigma. I mean,
Speaker 1: all of these characters are so damn weird to me.
Speaker 2: But tell me.
Speaker 1: I mean, I'm just gonna say it. How would you
Speaker 1: describe Gracey?
Speaker 7: Well, I mean, it's funny that you said that too,
Speaker 7: because of course, you know, back to Sammy's script, it
Speaker 7: was deceptively simple, you know, I mean it was really
Speaker 7: really clean. And I read this and I'm like, oh,
Speaker 7: I got it, I got it. I got this, no problem.
Speaker 7: And then I started working on it and I called
Speaker 7: Todd and I was like, oh, I don't think I
Speaker 7: could do this. This is really hard. She's really complicated.
Speaker 7: And I think that what Sammy has done so beautifully
Speaker 7: in the script is that, you know, everyone is so
Speaker 7: desperate to express their narrative, to tell their story, and
Speaker 7: no one more so than Gracey.
Speaker 8: And Gracie's narrative is so complicated. And there was.
Speaker 7: Something in the script where I kept stumbling as I
Speaker 7: was working on it. She was so well, Gracie was
Speaker 7: very kind of commanding in her house, and I was like,
Speaker 7: I don't get it. She doesn't seem like a mother
Speaker 7: to me. She doesn't seem like she's in control. And
Speaker 7: then I started thinking it's because I was like, oh, oh,
Speaker 7: it's like, she's not the she's not the mom, she's
Speaker 7: not the queen. She's a princess. She's a princess who
Speaker 7: was rescued by her prince, and her prince was thirteen
Speaker 7: years old, and in order to make that work, she
Speaker 7: has to elevate him to being an adult, and she
Speaker 7: remains a child. She's forever that princess. So she's not
Speaker 7: the mom. She's a little girl with apron on a
Speaker 7: wooden spoon in her hand, you know, saying, and she's
Speaker 7: going to keep that's her that's her story. She's sticking
Speaker 7: to it. And the distance between that narrative and the
Speaker 7: huge transgression that occurred is vast, and there's so much
Speaker 7: tension in between, and that's where all that emotional volatility happens,
Speaker 7: so that when she's alone, you know, she just falls apart.
Speaker 7: So I was like, oh, whoa, Sammy, whoa.
Speaker 1: And it's it. They're all trying to convince themselves they're happy.
Speaker 1: And I'm curious about Natalie your role. You describe Elizabeth
Speaker 1: as so slippery. What do you mean by that exactly?
Speaker 1: And how would you describe her because she's so complicated too.
Speaker 3: Yes, well, I think she's slippery all as Gracie is
Speaker 3: as well, because there's at different points, and that's part
Speaker 3: of the brilliance of Sammy script. There's different points where
Speaker 3: you're with each of them and then they lose you.
Speaker 3: You know, you're with them and you kind of believe
Speaker 3: their version of the truth, like Julie was saying, and
Speaker 3: then you.
Speaker 8: Realize that they've been manipulating you.
Speaker 3: And I was just struck so much by the levels
Speaker 3: of artifice and performance and the embrace of that, and
Speaker 3: Todd's brilliance of using all of these mirror scenes and
Speaker 3: using the camera as the mirror so that even when
Speaker 3: they're looking at themselves, it's performance. That it's like always
Speaker 3: performance and you're just trying to ravel and find like,
Speaker 3: someone tell me the truth, And of course then Charles
Speaker 3: brilliantly is like true and honest, and you're so relieved
Speaker 3: because no one else is telling you anything to get deal,
Speaker 3: and so it's just, yeah, a beautiful construction that Sammy
Speaker 3: made for us.
Speaker 1: Even though that's a perfect segue to Charles, I have
Speaker 1: to ask you and Julianne about the nature of your relationship.
Speaker 1: When you all are that makeup scene speaking of mirrors,
Speaker 1: I expected you to start making out for some reason,
Speaker 1: and like I.
Speaker 8: Kind of heard sexual at tension.
Speaker 2: What did Natalie saying?
Speaker 8: I wanted to?
Speaker 1: I mean, how would you describe the dynamic between these
Speaker 1: two women. It's so it's such an interesting dance, isn't it.
Speaker 7: Yeah, I think they're in a struggle for dominance. You know,
Speaker 7: it's like who's going to tell this story? And I
Speaker 7: think the interesting thing for me as as Gracie is
Speaker 7: that her need, her desperation to tell that story and
Speaker 7: to have Elizabeth believe that story is so strong that
Speaker 7: she's going to do about everything she can to make
Speaker 7: her believe that, and including seducing her in a way.
Speaker 7: You know, seduction is another form of power, right, But
Speaker 7: what Natalie did so brilliantly as an actor and as
Speaker 7: a character as a colleague is that she managed to
Speaker 7: you know, it's like, you know, Gracie can experience as
Speaker 7: Elizabeth mimicking her. She sees her copy her gestures and
Speaker 7: movement and her dress, and.
Speaker 8: She approves of it.
Speaker 7: It feels good because she's like she's seeing me, like
Speaker 7: I want to be seen right, So.
Speaker 8: I feel a character that way.
Speaker 7: But then when I watched the movie and I see
Speaker 7: Natalie doing all this kind of crazy, like really commenting
Speaker 7: on you know, managing to imitate me and then comment
Speaker 7: on it when Gracie doesn't see, I was like, it
Speaker 7: killed me.
Speaker 8: It's so good, It's absolutely beautiful.
Speaker 7: So anyway, she was a tremendous partner, a great colleague,
Speaker 7: and we had the best time together.
Speaker 1: It was so fun to watch you too at work
Speaker 1: and just get lost in the roles, but also at
Speaker 1: the same time admire your incredible artistry and portraying these
Speaker 1: crazy ass women.
Speaker 8: Thank you. I just had to say that Julie's like my.
Speaker 3: All time like favorite actress, and I just was so
Speaker 3: dying to work with her and to get to do
Speaker 3: this together and realize how kind she was, generous and
Speaker 3: fun with all of it made it so possible to
Speaker 3: do all this nasty stuff to each other because it
Speaker 3: was like so safe when we were off camera, you know,
Speaker 3: was very clearly just playing together.
Speaker 1: I understand it was shot in twenty three days. How
Speaker 1: much rehearsing did you all do?
Speaker 9: So we had twenty three days to film and how
Speaker 9: many days to rehearse, zero days to rehearse. But leading
Speaker 9: up to filming in Savannah, Georgia, Todd would put together
Speaker 9: these dinners and we would just hang out with each
Speaker 9: other and get to know each other on a human level.
Speaker 9: And there was just this complete trust in Todd and
Speaker 9: the set that he built, in the atmosphere that he built,
Speaker 9: and we were all in this together. And I was
Speaker 9: so lucky to be with Natalie and Julie and just
Speaker 9: have the best scene partners, the masters of their craft,
Speaker 9: being led by Todd. So it was very every minute,
Speaker 9: every second mattered and counted when we were filming, and
Speaker 9: there's just some everyone brought their best and was elevated by.
Speaker 1: When we come back up and coming star Charles Melton
Speaker 1: on getting inside of Joe's head, and screenwriter Sammy Birch
Speaker 1: on watching her script come to life and we're back
Speaker 1: with the cast of May December. Well, you know you're
Speaker 1: getting a lot of attention Charles for your role, and
Speaker 1: I know that you just received the Gotham Award for
Speaker 1: Best Supporting Actor last night, so congratulations. Joe really is
Speaker 1: a fascinating, again complicated character. He's more honest perhaps Natalie,
Speaker 1: but he's still sort of simmering and you can't quite
Speaker 1: read what he's thinking, although towards the end I think
Speaker 1: he's like, holy shit, what have I gotten myself into?
Speaker 1: Right when he's watching the graduation. But tell us a
Speaker 1: little bit about how you approached this role. Did you
Speaker 1: read about Mary kay Laturno? I mean, how did you
Speaker 1: think about it?
Speaker 7: Yeah?
Speaker 9: There was there's so much source material to look at,
Speaker 9: but it really just started with Samy's script. I mean
Speaker 9: there was just so much in between the text, and
Speaker 9: I kind of saw this vast arena to explore with
Speaker 9: Joe and the sensibility of him having so much responsibility
Speaker 9: at thirteen, being a father. That mixed in with just
Speaker 9: public perception and you know, being a loving husband, and
Speaker 9: you know, I kind of looked at certain things in
Speaker 9: my life personally that I could apply or find a
Speaker 9: parallel to that wasn't so much the same experience, but
Speaker 9: the filling was similar. You know, my dad was in
Speaker 9: the army. I was an Army brat, and when I
Speaker 9: was eleven years old, he sat me down the night
Speaker 9: before he left to go to the Gulf War. I'm sorry,
Speaker 9: Desert storm. He did go to the golf wur but
Speaker 9: desert storm, and you know, it was like, you know,
Speaker 9: to step up and take care of my two younger sisters.
Speaker 2: You're the man of the house.
Speaker 9: Yeah, yeah, yeah, And like as a kid, you want
Speaker 9: to step up to the plate, you know, when your
Speaker 9: hero's telling you this, you want to do whatever you can.
Speaker 9: And in a way I could find draw that parallel
Speaker 9: with Joe for his kids and stepping up to the plate,
Speaker 9: and for Gracie too, So that was a little bit
Speaker 9: of what I looked at.
Speaker 1: Yeah, I know, you put on thirty pounds for the role,
Speaker 1: and I know, Todd, when you first consider Charles, who
Speaker 1: were like, there's no way. Why did you not think
Speaker 1: he was right for the role?
Speaker 4: Initially because he was so unimaginably handsome. I was like,
Speaker 4: there are no real people like that in walking, you know,
Speaker 4: through Tybee Island, Georgia.
Speaker 1: Why did you put on thirty pounds? Did you feel
Speaker 1: like you had to have a dad bought or something.
Speaker 9: I just wanted to enjoy life. No, But Todd and
Speaker 9: I we had a few conversations of what Joe not
Speaker 9: so much looked like, but what he would feel like,
Speaker 9: and it was kind of just you know, the uh,
Speaker 9: the green lights to just really go in and have
Speaker 9: five guys every night, pizza, ice cream, ranch, just.
Speaker 2: Out of a cup.
Speaker 9: I was eating it all.
Speaker 8: It was great.
Speaker 2: He was sort of sadly stunted, wasn't he sure?
Speaker 4: Yeah, yeah, yeah, there's like a.
Speaker 2: Larval state, this man speaking of monarch butterflies. Yeah.
Speaker 4: And the thing about what Charles you know, did is
Speaker 4: that I saw his picture, but then I saw his tapes,
Speaker 4: his self tape with Laura rose On, my casting director,
Speaker 4: and we were like, wait a minute, this is we
Speaker 4: saw some great actress for the role of Joe, But no, buddy,
Speaker 4: did this. Nobody approached it with such a minute sense
Speaker 4: of present tense where it was somebody pre verbal. It
Speaker 4: was somebody who hadn't yet learned how to see themselves
Speaker 4: and see what was going on. And that's what this
Speaker 4: film needed, because these were two women who were so
Speaker 4: adept at telling stories to get them through their lives.
Speaker 6: And also couldn't see themselves as a result.
Speaker 4: But you know, but that was their practice, that was
Speaker 4: their career, that was their profession. And then the third
Speaker 4: act opens up a space for Joe to begin to
Speaker 4: exist and take those tiny steps forward.
Speaker 1: Sammy, can you tell us a little bit about yourself.
Speaker 1: I mean, how weird is it sitting on this stage
Speaker 1: with all these people, and what has this experience been like?
Speaker 1: Just tell us about you. That was a very that
Speaker 1: was a very Barbara Walters question. Go ahead, Well, it's
Speaker 1: been very surreal obvious.
Speaker 5: I mean, obviously this is very surreal, and and even
Speaker 5: more so because the very first conversation with with Jessica Albaum,
Speaker 5: the first producer attached with her and Will Ferrell, it
Speaker 5: was the day before the pandemic shut down. So then
Speaker 5: everything that followed was very kind of like I was
Speaker 5: in my apartment still, but then it was like, oh,
Speaker 5: Todd Haynes is interested, We're going to zoom with him
Speaker 5: and Natalie Portman. I was like, okay, you know, like
Speaker 5: there's like a sort of unreality to it. But but
Speaker 5: from the beginning too, it's.
Speaker 1: Just been.
Speaker 5: So amazing with these people who are you know, artists.
Speaker 5: I've have meant the world to me their work, and
Speaker 5: then to find out they're also so kind and funny
Speaker 5: and generous, and and to get to watch up close,
Speaker 5: you know, the process of Todd.
Speaker 2: Making a movie.
Speaker 1: I mean, it's it's really it's quite amazing congratulations. It's
Speaker 1: an incredible story and I'm so thrilled for you. But
Speaker 1: sort of as a closing thought, you know, I think
Speaker 1: when I watched this movie, I was left with so
Speaker 1: many more questions than answers. You know, was Gracie sexually assaulted?
Speaker 1: You know? Is Elizabeth just this horrific narcissist who wants
Speaker 1: to wreak havoc wherever she goes and destroy people's lives?
Speaker 7: You know?
Speaker 2: Was She's a question? Yeah? Was Charles? You know? Was
Speaker 2: was Joe? Sorry, Charles?
Speaker 1: You know, just as I said, sort of tragically stunted?
Speaker 2: Was he happy? Or did he?
Speaker 1: Does he not even understand what happiness is? And I
Speaker 1: guess the question is anybody can take this who wants to?
Speaker 1: But was that the goal in a way to leave
Speaker 1: things leave you questioning? Because I kept thinking about these
Speaker 1: characters after I saw the film and really wondering about
Speaker 1: them and what made them tick? And is that sort
Speaker 1: of the goal todd of a film like this to
Speaker 1: leave things so enigmatic and unclear in a way?
Speaker 4: You know, this script in this project reminded me of
Speaker 4: the way films that I saw when I was young
Speaker 4: that triggered questions There were maybe a little beyond my
Speaker 4: grasp when I was the age I saw them, but
Speaker 4: that made you want to revisit them and made you
Speaker 4: want to see them again and think about them and
Speaker 4: talk about them with your friends.
Speaker 6: And that's what movies are to me. You know, movies
Speaker 6: are about asking questions that aren't easy to answer. They
Speaker 6: stay in your head that keep you.
Speaker 4: Going back and wondering and re examining them. And I
Speaker 4: think that's true for classic Hollywood, the great classic Hollywood films,
Speaker 4: for European art cinema, for independent film.
Speaker 6: Those are the films that, you know, keep me inspired.
Speaker 4: So this film, this project, and working with these guys
Speaker 4: and my whole crew, was an.
Speaker 6: Example of that.
Speaker 1: I have one other quick question, which is the music,
Speaker 1: which is so almost another character in the film, and
Speaker 1: I saw that it was Michelle Legrand, who died in
Speaker 1: twenty nineteen, and then I read that this was actually
Speaker 1: the score of a movie that was made in nineteen
Speaker 1: seventy one. Can you just explain that and how you
Speaker 1: repurposed it or how that worked.
Speaker 4: This is Marcelo's Arvis's, my composer's adaptation based on the
Speaker 4: score from the Go Between nineteen seventy one Joseph Lozi
Speaker 4: Film and Julie Christine Alan Bates and I saw the
Speaker 4: film when I was I think when it came out
Speaker 4: when I was young. But I saw it again on
Speaker 4: TCM last year while I was doing my image book
Speaker 4: and putting together references for this movie, and the score
Speaker 4: just knocked my socks off and put me on the
Speaker 4: lyric and made me question the film that would unfold.
Speaker 4: And I thought, that is along with the sort of restraint,
Speaker 4: alongside the kind of restraint of the camera and the
Speaker 4: observational style of this film, that's sort of someone else steer.
Speaker 6: I wanted something very strong.
Speaker 4: To trigger the audience to be like excited or invited
Speaker 4: into a process of thinking and questioning. But that would
Speaker 4: be pleasurable, you know, that would be like an enigma
Speaker 4: that you were trying to solve as you were watching it.
Speaker 6: So that was that we used that film. We use
Speaker 6: that music while.
Speaker 4: We shot the film as an example of what the
Speaker 4: music might be in the end. Oh really, then yes,
Speaker 4: We shot it from the very first shot that we
Speaker 4: set up. It was used through the entire film, every
Speaker 4: queue from Michell La Grand's score, and then it became
Speaker 4: part of the DNA of this film, so we couldn't.
Speaker 6: I had to go to Marcelo and.
Speaker 4: Say and say, dude, can we can we adapt it
Speaker 4: and make it your own and he.
Speaker 6: Did just that well.
Speaker 1: It really added so much, obviously to the film. Congratulations
Speaker 1: to all of you. It was fann.
Speaker 2: Thank you so much.
Speaker 1: Thanks for listening everyone. If you have a question for me,
Speaker 1: a subject you want us to cover, or you want
Speaker 1: to share your thoughts about how you navigate this crazy world,
Speaker 1: reach out. You can leave a short message at six
Speaker 1: oh nine five point two five to five five, or
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Speaker 1: of iHeartMedia and Katie Kuric Media. The executive producers are Me,
Speaker 1: Katie Kuric, and Courtney Ltz. Our supervising producer is Ryan Martz,
Speaker 1: and our producers are Adriana Fazzio and Meredith Barnes. Julian
Speaker 1: Weller composed our theme music. For more information about today's episode,
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