WEBVTT - Ep08 - Mel Gibson / "Hacksaw Ridge"

0:00:19.400 --> 0:00:23.360
<v Speaker 1>Welcome to Playback, a Variety podcast. I'm your host, Variety

0:00:23.360 --> 0:00:26.520
<v Speaker 1>Awards Editor Chris Tapley. On today's show, we throw around

0:00:26.520 --> 0:00:28.880
<v Speaker 1>a few ideas for Oscar's host and take stock of

0:00:28.960 --> 0:00:32.520
<v Speaker 1>Moonlight's big box office weekend and limited release. A little

0:00:32.520 --> 0:00:34.519
<v Speaker 1>bit later, are we talking to hacks All Ridge director

0:00:34.560 --> 0:00:50.839
<v Speaker 1>Mel Gibson. So stick around, okay, folks, I'm back here

0:00:50.840 --> 0:00:54.200
<v Speaker 1>with Janelle. Good morning, Good morning. Now I'm just Janelle.

0:00:54.240 --> 0:00:58.160
<v Speaker 1>I'm not Janelle first name, Deputy Awards and Features Editor,

0:00:58.680 --> 0:01:01.280
<v Speaker 1>Queen of all the Fish in the Ocean, and smiling

0:01:01.360 --> 0:01:03.960
<v Speaker 1>Janelle Riley, I am smiling on a Monday. That's weird.

0:01:04.040 --> 0:01:09.920
<v Speaker 1>Smiling Janelle. Yes, so Moonlight, oh so happy? Crushed it

0:01:09.959 --> 0:01:12.759
<v Speaker 1>at the box office release. What were the numbers? Did

0:01:12.760 --> 0:01:16.240
<v Speaker 1>you have those pulled up? I did one second ago. Um,

0:01:16.280 --> 0:01:21.720
<v Speaker 1>it was basically four Street and fourteen thousand, seven hundred

0:01:21.720 --> 0:01:24.960
<v Speaker 1>and forty opening weekend in four theaters for a per

0:01:25.000 --> 0:01:30.160
<v Speaker 1>location average of a hundred and three six hundred seventy five. Man,

0:01:30.840 --> 0:01:32.920
<v Speaker 1>I think people like us deserve some credit for that.

0:01:33.200 --> 0:01:35.520
<v Speaker 1>Oh yeah, I mean, come on, we're sitting here talking

0:01:35.520 --> 0:01:37.399
<v Speaker 1>about these movies since tell you right now much we

0:01:37.440 --> 0:01:38.959
<v Speaker 1>love them and the people that go out to see

0:01:38.959 --> 0:01:41.160
<v Speaker 1>these movies and you know when they're on four screens

0:01:41.280 --> 0:01:44.880
<v Speaker 1>or like the film intelligencia community, right, you know, I

0:01:44.920 --> 0:01:46.480
<v Speaker 1>had a lot of it were clearly dying to see

0:01:46.480 --> 0:01:48.200
<v Speaker 1>the movie. Yeah. I had a lot of people come

0:01:48.280 --> 0:01:50.640
<v Speaker 1>up to me this weekend and just ask if i'd well,

0:01:50.680 --> 0:01:52.760
<v Speaker 1>funny they ask if I've seen Moonlight, and then they

0:01:52.800 --> 0:01:54.200
<v Speaker 1>just tell me, you know, they saw it. It's the

0:01:54.200 --> 0:01:57.720
<v Speaker 1>most beautiful movie they've ever seen, like just repsodic about it.

0:01:57.720 --> 0:02:01.040
<v Speaker 1>It's it's it's really awesome. Every time someone asked me

0:02:01.080 --> 0:02:03.760
<v Speaker 1>this year, what's the best thing you've seen, I instinctively

0:02:03.840 --> 0:02:05.960
<v Speaker 1>say Moonlight, really and it's and then I don't go

0:02:06.000 --> 0:02:07.840
<v Speaker 1>on to talk about it for a long time. I

0:02:07.880 --> 0:02:09.840
<v Speaker 1>haven't even written about it since. Tell you right, It's

0:02:09.880 --> 0:02:12.560
<v Speaker 1>one of those things that's such an absolute It's like, look,

0:02:13.040 --> 0:02:15.799
<v Speaker 1>it's an amazing film, Like, yeah, factually, what can you

0:02:16.280 --> 0:02:18.120
<v Speaker 1>argue with that? What could I add to this equation?

0:02:18.160 --> 0:02:20.200
<v Speaker 1>I think Ao Scott's review and the New York Times

0:02:20.200 --> 0:02:24.000
<v Speaker 1>actually was beautiful and he headlined it is this the

0:02:24.000 --> 0:02:26.240
<v Speaker 1>best movie of the year. And I saw the headline

0:02:26.240 --> 0:02:28.240
<v Speaker 1>in other places too. I mean, it's kind of just like,

0:02:29.400 --> 0:02:31.360
<v Speaker 1>you know, it's funny because I do this movie no

0:02:31.520 --> 0:02:33.959
<v Speaker 1>service when people ask me what it's about. I was

0:02:33.960 --> 0:02:36.240
<v Speaker 1>actually at a Q and A the other night for Moonlight,

0:02:36.360 --> 0:02:39.320
<v Speaker 1>and the bartender was asking me beforehand, oh, I've heard

0:02:39.320 --> 0:02:41.480
<v Speaker 1>about this movie, like what is it about? And I

0:02:41.520 --> 0:02:44.880
<v Speaker 1>tried to explain it, and halfway through I was like, A,

0:02:45.200 --> 0:02:48.200
<v Speaker 1>I'm terrible at elevator pitches and be I am not

0:02:48.360 --> 0:02:50.600
<v Speaker 1>helping this movie by trying to describe it. Just go

0:02:50.720 --> 0:02:53.760
<v Speaker 1>see it. But Merschel Ali actually said when someone sent

0:02:53.840 --> 0:02:56.600
<v Speaker 1>it to him, they said it's the Black broke Back Mountain,

0:02:57.080 --> 0:02:59.440
<v Speaker 1>which I don't think is really accurate. But if it

0:02:59.480 --> 0:03:01.440
<v Speaker 1>gets p weill to see it. Yeah, if that helps.

0:03:01.480 --> 0:03:05.359
<v Speaker 1>I mean it's certainly reductive. I think the best thing

0:03:05.400 --> 0:03:08.680
<v Speaker 1>to say is it's like, it's what it's about. It's

0:03:08.720 --> 0:03:11.280
<v Speaker 1>about a black youth who comes from a troubled home

0:03:11.400 --> 0:03:16.320
<v Speaker 1>who uh learns to just come to terms with his

0:03:16.360 --> 0:03:19.160
<v Speaker 1>budding homosexuality. And when anyone sees this film, they will

0:03:19.200 --> 0:03:21.440
<v Speaker 1>be able to relate to it. That's a crazy thing.

0:03:22.360 --> 0:03:25.959
<v Speaker 1>That my next trademark. It's it's about looking for a connection.

0:03:26.080 --> 0:03:27.960
<v Speaker 1>It's about there's just no way to go to this

0:03:28.000 --> 0:03:31.760
<v Speaker 1>movie and not feel what the artist behind the movie

0:03:31.840 --> 0:03:34.359
<v Speaker 1>is trying to convey. And Barry Jenkins is a genius.

0:03:34.600 --> 0:03:37.480
<v Speaker 1>I mean, I've never seen Medicine from Melencholi and neither

0:03:37.520 --> 0:03:40.520
<v Speaker 1>I'm embarrassed to say, because apparently everyone loved this movie

0:03:40.520 --> 0:03:42.800
<v Speaker 1>and I've never even heard of it. I was at

0:03:42.800 --> 0:03:44.640
<v Speaker 1>an art house theater last night and there were all

0:03:44.640 --> 0:03:47.080
<v Speaker 1>these um post it weirdly doing a Q and A

0:03:47.120 --> 0:03:50.920
<v Speaker 1>for Arrival, and uh, there were all these posters out

0:03:51.200 --> 0:03:53.960
<v Speaker 1>for movies I've never heard of, and I mean, I

0:03:54.000 --> 0:03:58.240
<v Speaker 1>think we're fairly well informed. Were these like asylum movies,

0:03:58.280 --> 0:04:02.080
<v Speaker 1>like transmorphor legitimate movies? One of them had Vincent Cassell

0:04:02.160 --> 0:04:04.400
<v Speaker 1>in it. I was like, wait, Vincy Cassell, is he

0:04:04.440 --> 0:04:07.760
<v Speaker 1>the one who's married to Monica Bellucci. Yes, I'm thinking

0:04:08.040 --> 0:04:11.280
<v Speaker 1>Vincent Cassell and see more. Cassell confused smour Cassell was

0:04:11.360 --> 0:04:14.200
<v Speaker 1>married to Monica Blushi. Good, good jobs, not that you

0:04:14.240 --> 0:04:16.360
<v Speaker 1>have Vincence the one. But you know, speaking of Arrival,

0:04:16.400 --> 0:04:18.720
<v Speaker 1>it's it's I'm so happy Moonlight is out because I

0:04:18.720 --> 0:04:21.280
<v Speaker 1>can talk to people about it. Arrival is another movie

0:04:21.320 --> 0:04:24.279
<v Speaker 1>that I absolutely loved, but I feel like difficult to talk. Yeah,

0:04:24.400 --> 0:04:26.600
<v Speaker 1>you can't we've already upset some people or I have

0:04:26.839 --> 0:04:30.719
<v Speaker 1>on this podcast for that's right. Yeah, I got yelled

0:04:30.720 --> 0:04:33.760
<v Speaker 1>at at a screening because they felt you spoiled something.

0:04:35.600 --> 0:04:39.760
<v Speaker 1>Yeah yeah, I was like, I will pass that punch, Chris. Yeah,

0:04:39.880 --> 0:04:43.360
<v Speaker 1>So go see Moonlight whenever it finally, I don't know

0:04:43.360 --> 0:04:47.040
<v Speaker 1>what it's released them, but fourth it goes wide. I

0:04:47.080 --> 0:04:50.200
<v Speaker 1>don't know how wide, but but it is the biggest

0:04:50.360 --> 0:04:53.320
<v Speaker 1>per screen average of the year so far. That's great. Yeah, no,

0:04:53.520 --> 0:04:56.359
<v Speaker 1>very happy. That's good news for people like Barry making,

0:04:56.640 --> 0:05:00.400
<v Speaker 1>you know, movies that aren't immediately financed in this war. Yeah,

0:05:00.600 --> 0:05:05.359
<v Speaker 1>like and really a cast of mostly unknown or unproven

0:05:05.560 --> 0:05:08.480
<v Speaker 1>um you know Mershel Ali and Andre Holland and Naomi

0:05:08.560 --> 0:05:11.839
<v Speaker 1>Harris have. You know, they've definitely been around and they're

0:05:11.880 --> 0:05:14.120
<v Speaker 1>well respected. But do they get a movie greenlit when

0:05:14.120 --> 0:05:16.720
<v Speaker 1>the central character is played by three people, No one's

0:05:16.760 --> 0:05:20.560
<v Speaker 1>ever really right and all fantastic. In fact, Trevante Rhodes,

0:05:20.640 --> 0:05:22.880
<v Speaker 1>who plays the older version of the character, used to

0:05:22.920 --> 0:05:25.400
<v Speaker 1>be a waiter. Like a film filmmaker friend I know

0:05:25.520 --> 0:05:27.680
<v Speaker 1>was like you really think this Trevante Rhodes guys like

0:05:27.720 --> 0:05:29.599
<v Speaker 1>a supporting actor possibility, and like he deserves to be

0:05:29.600 --> 0:05:32.440
<v Speaker 1>in the conversation and this guy says he used to

0:05:32.480 --> 0:05:39.240
<v Speaker 1>serve me drinks like restaurant. I hope. Honestly, the whole

0:05:39.440 --> 0:05:41.760
<v Speaker 1>supporting actor category I feel like could be filled with

0:05:41.760 --> 0:05:45.679
<v Speaker 1>actors from Moon might Yeah. Absolutely. Yeah. Uh, well, let's

0:05:45.720 --> 0:05:49.039
<v Speaker 1>let's jump over the next topic to, you know, speaking

0:05:49.040 --> 0:05:51.320
<v Speaker 1>of supporting, I guess I have a little bit of

0:05:51.360 --> 0:05:54.520
<v Speaker 1>egg on my face since is now officially going supporting.

0:05:54.520 --> 0:05:55.960
<v Speaker 1>But I think it's just a symptom of the fact

0:05:56.000 --> 0:05:58.880
<v Speaker 1>that they they were at ends at odds with each

0:05:58.880 --> 0:06:01.520
<v Speaker 1>other internally, I think for a while on the offences

0:06:02.680 --> 0:06:04.560
<v Speaker 1>as to where she would go. It's also hard to

0:06:04.600 --> 0:06:06.520
<v Speaker 1>talk about because we haven't seen the film, and I

0:06:06.520 --> 0:06:08.520
<v Speaker 1>feel like a lot of people are rushing to judgment

0:06:08.600 --> 0:06:12.000
<v Speaker 1>and assuming it's category fraud, whereas I don't know if

0:06:12.040 --> 0:06:14.080
<v Speaker 1>you've seen the play, but I haven't seen it. Yeah,

0:06:14.160 --> 0:06:17.279
<v Speaker 1>in the play, it's a supporting role, and I feel like, hey,

0:06:17.360 --> 0:06:19.280
<v Speaker 1>you know, let's see the movie. It might be a

0:06:19.320 --> 0:06:22.800
<v Speaker 1>supporting role. I know she's Viola Davis, but you know,

0:06:23.560 --> 0:06:26.880
<v Speaker 1>the play really kind of is the Denzel Washington character story. Well,

0:06:26.880 --> 0:06:29.000
<v Speaker 1>if anyone has a complaint, they can direct it to

0:06:29.000 --> 0:06:31.080
<v Speaker 1>Miss Davis. It was her decision. I finally saw the

0:06:31.080 --> 0:06:33.080
<v Speaker 1>film last week and she said, look, I think that,

0:06:34.080 --> 0:06:36.920
<v Speaker 1>um my role is in support of the other characters.

0:06:37.200 --> 0:06:39.040
<v Speaker 1>That was her take. I mean, if you want to

0:06:39.080 --> 0:06:41.880
<v Speaker 1>be cynical and say there's an gaming of things going

0:06:41.920 --> 0:06:44.080
<v Speaker 1>on or trying to find an angle on things, because

0:06:44.120 --> 0:06:46.400
<v Speaker 1>obviously it seems clear that she's going to be a

0:06:46.440 --> 0:06:49.000
<v Speaker 1>dominant possibility to win and support, she would be an

0:06:49.040 --> 0:06:51.880
<v Speaker 1>either category. I feel. I agree, Yeah, so you know,

0:06:52.360 --> 0:06:54.400
<v Speaker 1>we'll see. But like I I can't wait to see

0:06:54.400 --> 0:06:58.600
<v Speaker 1>the film, and she has made a lot of women's

0:06:58.680 --> 0:07:02.400
<v Speaker 1>day by eating that lead category. I mean, for me,

0:07:02.480 --> 0:07:05.320
<v Speaker 1>I had Ruth Negga on the outside. Yeah, definitely, and

0:07:05.360 --> 0:07:08.720
<v Speaker 1>now she's coming. Now she has a path to a nomination.

0:07:09.600 --> 0:07:12.360
<v Speaker 1>I mean, because who are locks are? Emma Stone, um,

0:07:12.440 --> 0:07:15.000
<v Speaker 1>Natalie Portman and a net betting and then there's a

0:07:15.040 --> 0:07:17.440
<v Speaker 1>lot of amazing women. You know, I'm a big fan

0:07:17.480 --> 0:07:21.000
<v Speaker 1>of Amy Adams and Arrival, Ruth Nega Isabelle who pair,

0:07:21.440 --> 0:07:25.400
<v Speaker 1>We'll see how Taragi is. Haven't even seen Hidden figures.

0:07:25.720 --> 0:07:28.440
<v Speaker 1>Meryl is pretty strong personally, yes, Meryl um I was

0:07:28.480 --> 0:07:30.640
<v Speaker 1>a big fan of Susan Sarandon in the Meddler movie

0:07:30.680 --> 0:07:33.440
<v Speaker 1>came out probably too long ago, but you know, great

0:07:34.200 --> 0:07:36.400
<v Speaker 1>matter the category Actually before I feel like, because I'm

0:07:36.400 --> 0:07:39.960
<v Speaker 1>having deja vu Sally Field, there's a perforce, so it's

0:07:40.000 --> 0:07:42.880
<v Speaker 1>nice that you know there'll be a Spetisica, Chess Dane

0:07:42.880 --> 0:07:46.000
<v Speaker 1>and Miss Loan. I mean, it's it's insane this category.

0:07:46.080 --> 0:07:47.720
<v Speaker 1>The people who are on the bubble. What do you

0:07:47.720 --> 0:07:50.560
<v Speaker 1>think about Jessica and Misslan? I really are we let's

0:07:50.560 --> 0:07:52.080
<v Speaker 1>talk about it. I don't know if there's an embarkment.

0:07:52.080 --> 0:07:53.840
<v Speaker 1>I haven't been told, so let's just talk. Okay. Well,

0:07:53.880 --> 0:07:56.640
<v Speaker 1>I actually really liked miss Loan, you know, and most

0:07:56.640 --> 0:07:58.920
<v Speaker 1>people I talked to her like yeah, you know, it's

0:07:58.960 --> 0:08:00.960
<v Speaker 1>it's good. It's kind of like sark and esque, and

0:08:01.040 --> 0:08:04.360
<v Speaker 1>I'm like, I know, that's awesome. I kind of I

0:08:04.400 --> 0:08:06.960
<v Speaker 1>compare it to Michael Clayton sometimes, just just in terms

0:08:06.960 --> 0:08:12.920
<v Speaker 1>of structure and the general trajectory of the main character. Yeah, no,

0:08:13.120 --> 0:08:15.560
<v Speaker 1>I was. I was with it the whole time. And

0:08:15.600 --> 0:08:17.480
<v Speaker 1>the funny thing, I don't want to make anyone think

0:08:17.520 --> 0:08:20.000
<v Speaker 1>that the movie is all about a twist, because it's not.

0:08:20.080 --> 0:08:22.679
<v Speaker 1>But like the bet, when there's a twist in a movie,

0:08:22.960 --> 0:08:25.840
<v Speaker 1>the best ones are, oh, I should have seen that coming,

0:08:26.280 --> 0:08:27.760
<v Speaker 1>you know. And that's why I like, there are certain

0:08:27.760 --> 0:08:30.280
<v Speaker 1>movies that, like, you know, are predicated on a twist

0:08:30.280 --> 0:08:32.760
<v Speaker 1>and you're like, yeah, that was pretty obvious. Some of

0:08:32.760 --> 0:08:37.400
<v Speaker 1>them in theaters right now. But like something happened in

0:08:37.440 --> 0:08:39.640
<v Speaker 1>miss Loan that like, and it's not what the movie

0:08:39.720 --> 0:08:41.040
<v Speaker 1>is about. So I don't want to say, like, go

0:08:41.120 --> 0:08:43.240
<v Speaker 1>see this movie because there's a big twist, but it's

0:08:43.320 --> 0:08:47.760
<v Speaker 1>so clever and I just thought the dialogue crackled. I

0:08:47.800 --> 0:08:51.600
<v Speaker 1>thought Jessica was fantastic. I really liked this movie. I

0:08:51.640 --> 0:08:54.080
<v Speaker 1>don't I don't know how it all play, but I

0:08:54.120 --> 0:08:56.199
<v Speaker 1>think it'll play well for her, just because we've never

0:08:56.240 --> 0:08:58.560
<v Speaker 1>seen her, even in Zero Dark thirty, we haven't seen

0:08:58.559 --> 0:09:01.559
<v Speaker 1>her play this kind of a role, like really strong

0:09:01.640 --> 0:09:05.880
<v Speaker 1>willed shark of a person. She's a lobbyist, and h

0:09:06.600 --> 0:09:08.760
<v Speaker 1>it's yeah, she's she's great in the movie. John Madden

0:09:08.840 --> 0:09:11.120
<v Speaker 1>directed the film, by the way, um, and I feel

0:09:11.120 --> 0:09:13.880
<v Speaker 1>like like I personally haven't really seen a movie about

0:09:13.880 --> 0:09:16.320
<v Speaker 1>a lobbyist before. Well, it's got to be a hard

0:09:16.480 --> 0:09:19.720
<v Speaker 1>thing to make entertaining, and they your way in is

0:09:19.720 --> 0:09:21.760
<v Speaker 1>through an interesting character, and I think that's what they

0:09:21.760 --> 0:09:24.040
<v Speaker 1>have here, So she's going to be a possibility in

0:09:24.040 --> 0:09:25.560
<v Speaker 1>the lead actor. Yeah, I would love to see her

0:09:25.600 --> 0:09:28.800
<v Speaker 1>get in. We'll see how that shakes out. Um, by

0:09:28.840 --> 0:09:31.640
<v Speaker 1>the time, um, you know this is all decided, hopefully

0:09:31.679 --> 0:09:33.839
<v Speaker 1>there will be an Oscar house. Yes, look at Jael

0:09:33.920 --> 0:09:37.600
<v Speaker 1>with the segus. Thank you, thank you very much. Hopefully,

0:09:37.640 --> 0:09:41.439
<v Speaker 1>I mean we apparently there an announcement is imminent. We're

0:09:41.480 --> 0:09:43.400
<v Speaker 1>recording this on Monday, so maybe by the time this

0:09:43.480 --> 0:09:47.040
<v Speaker 1>runs on Thursday. Uh, they'll have producers lined up. But

0:09:47.120 --> 0:09:49.160
<v Speaker 1>Janelle and I want to just chew on some some

0:09:49.320 --> 0:09:52.880
<v Speaker 1>host possibilities. Can we just say, like, I just hope

0:09:52.920 --> 0:09:55.760
<v Speaker 1>they don't return to the Billy Crystal well, yeah, I

0:09:55.800 --> 0:09:58.960
<v Speaker 1>mean he was a great Hosts, but like, let's that's

0:09:59.000 --> 0:10:01.640
<v Speaker 1>its own era. Time to move. It was great when

0:10:01.640 --> 0:10:03.959
<v Speaker 1>he came in and saved the day, you know whenever

0:10:04.000 --> 0:10:05.960
<v Speaker 1>they was that the Eddie Murphy year, Yes, I think

0:10:06.000 --> 0:10:09.080
<v Speaker 1>it was. He came in saved the day and that

0:10:09.120 --> 0:10:11.360
<v Speaker 1>was nice. But like, I need some new blood and

0:10:11.400 --> 0:10:15.040
<v Speaker 1>not well in Hathaway James Franklin, which was clearly we

0:10:15.040 --> 0:10:17.640
<v Speaker 1>need new blood unless Hugh Jackman is available, unless Hugh

0:10:17.720 --> 0:10:19.920
<v Speaker 1>jack woke. Yeah, he counts his new blood because he

0:10:19.960 --> 0:10:24.199
<v Speaker 1>probably such a fresh He's a showman from top to bottom.

0:10:24.280 --> 0:10:27.120
<v Speaker 1>It's the only Oscars that I actually own a DVD

0:10:27.320 --> 0:10:31.400
<v Speaker 1>of thecar have them internally. I got them, that is

0:10:32.040 --> 0:10:36.960
<v Speaker 1>through Bill Condon actually directly let me just sorry, sorry, sorry.

0:10:37.360 --> 0:10:39.120
<v Speaker 1>That was the reason that show was so great was

0:10:39.160 --> 0:10:42.520
<v Speaker 1>Bill Condon and Lawrence Mark where the producers musicals. He's

0:10:42.559 --> 0:10:44.920
<v Speaker 1>a showman, he also is a movie guy, and so

0:10:44.960 --> 0:10:48.120
<v Speaker 1>he knew how to translate the idea of a movie

0:10:48.200 --> 0:10:51.160
<v Speaker 1>into the show. And so you started with like the

0:10:51.320 --> 0:10:55.520
<v Speaker 1>design elements and then you moved on into you know, script,

0:10:55.679 --> 0:10:57.920
<v Speaker 1>which was interesting because that year they had the script.

0:10:58.640 --> 0:11:01.280
<v Speaker 1>I think the scripts were announced first or like early

0:11:01.320 --> 0:11:03.360
<v Speaker 1>in the show, because the idea was, this is we're

0:11:03.360 --> 0:11:04.880
<v Speaker 1>going to take you through the making of a movie.

0:11:04.880 --> 0:11:07.240
<v Speaker 1>So you start with the script, go to design elements.

0:11:07.360 --> 0:11:09.360
<v Speaker 1>I just thought, have a great idea, what's that Harvey

0:11:09.360 --> 0:11:11.600
<v Speaker 1>Weinstein should produce it? And let me tell you why.

0:11:12.640 --> 0:11:14.960
<v Speaker 1>I wish you guys gonna see Christmas face just now.

0:11:15.240 --> 0:11:17.200
<v Speaker 1>It was if you had water would have been spittake.

0:11:17.760 --> 0:11:21.920
<v Speaker 1>Did you see the Stronger Together show where where Broadway

0:11:21.960 --> 0:11:25.200
<v Speaker 1>got together and did a fundraiser for Hillary. It was

0:11:25.480 --> 0:11:28.640
<v Speaker 1>excellent and it did produce that I believe, so Yeah,

0:11:29.000 --> 0:11:33.560
<v Speaker 1>and you know, and who knows movies better than Harvey Weinstein. Yeah,

0:11:33.600 --> 0:11:36.120
<v Speaker 1>everything would be a clip package of Weinstein movies. Yeah,

0:11:36.120 --> 0:11:38.240
<v Speaker 1>it would just be all about Lyon probably, which actually

0:11:38.280 --> 0:11:40.760
<v Speaker 1>I'm okay with. Yeah, great movie, you know, I love

0:11:40.840 --> 0:11:43.120
<v Speaker 1>me some Lyon Huge, Iman would be great. I've always

0:11:43.120 --> 0:11:44.959
<v Speaker 1>thought Kevin Spacey would be a really good host. He's

0:11:45.000 --> 0:11:48.480
<v Speaker 1>just kind of got the showman thing about him. Yeah,

0:11:48.520 --> 0:11:52.120
<v Speaker 1>he does too. Theater background. Once again, I mentioned Russell Crowe.

0:11:52.559 --> 0:11:54.920
<v Speaker 1>I love that idea. I've been thinking about it more.

0:11:54.960 --> 0:11:56.280
<v Speaker 1>And Mark, you should just have a drink in his

0:11:56.280 --> 0:11:58.800
<v Speaker 1>hand all the time. It's kind of surly, you know.

0:11:58.840 --> 0:12:00.679
<v Speaker 1>Alec Baldwin and Steve Mark and I thought the year

0:12:00.679 --> 0:12:03.719
<v Speaker 1>they hosted, we're pretty great. And if we could ever

0:12:03.720 --> 0:12:06.040
<v Speaker 1>get Eddie Murphy to maybe be into it again, that'd

0:12:06.080 --> 0:12:08.520
<v Speaker 1>be great. Well, you know, he's I don't he doesn't

0:12:08.520 --> 0:12:10.679
<v Speaker 1>really campaign, but he sort of put himself out there

0:12:10.679 --> 0:12:13.160
<v Speaker 1>this year for Mr. Church, which was a movie that

0:12:13.240 --> 0:12:17.480
<v Speaker 1>I actually liked. Um. I mean, look it's you know,

0:12:17.520 --> 0:12:19.560
<v Speaker 1>it's it's not a great movie, but like it reminds

0:12:19.559 --> 0:12:22.360
<v Speaker 1>you what a good actor he is. And yeah, I

0:12:22.360 --> 0:12:24.719
<v Speaker 1>would love it if he would host. Some people have

0:12:24.720 --> 0:12:26.319
<v Speaker 1>talked about Kevin Hart in the past. I don't know

0:12:26.360 --> 0:12:28.560
<v Speaker 1>if it was just because he was kind of the

0:12:28.600 --> 0:12:31.120
<v Speaker 1>it thing at the time. What do you think about him?

0:12:31.160 --> 0:12:33.880
<v Speaker 1>You know, I have a weird like, you know, I

0:12:34.160 --> 0:12:38.079
<v Speaker 1>go see every Kevin Hart movie. I well, it's weird

0:12:38.120 --> 0:12:41.079
<v Speaker 1>because I don't know why. Like I wouldn't call myself

0:12:41.120 --> 0:12:44.880
<v Speaker 1>a fan, but there is something infectious about him, you know,

0:12:45.120 --> 0:12:49.079
<v Speaker 1>And so I I just I just like seeing him

0:12:49.120 --> 0:12:51.880
<v Speaker 1>on screen, Like it would be okay with him hosting. Sure,

0:12:51.920 --> 0:12:54.400
<v Speaker 1>why not? You know, he'd be great. The Rock, Oh

0:12:54.440 --> 0:12:56.440
<v Speaker 1>my god, The Rock is He sings in Moana, so

0:12:56.480 --> 0:13:00.200
<v Speaker 1>he's able to sing. Maybe he would work out. The

0:13:00.280 --> 0:13:02.360
<v Speaker 1>Rock is one of the greatest Saturdayight Live hosts ever,

0:13:03.040 --> 0:13:05.160
<v Speaker 1>so let him do it. I sometimes feel like they

0:13:05.240 --> 0:13:07.400
<v Speaker 1>use Saturday Night Live as a place to vet hosts

0:13:07.440 --> 0:13:10.719
<v Speaker 1>because the year James Franco and Anne Hathaway hosted, they

0:13:10.760 --> 0:13:13.000
<v Speaker 1>had both done really well on Saturday Night Live. Yeah

0:13:13.040 --> 0:13:15.640
<v Speaker 1>that's true. Yeah, and look how that turned out to Tom. Yeah,

0:13:15.760 --> 0:13:18.400
<v Speaker 1>Tom Hanks just hosted last week. He should Tom Hanks

0:13:18.400 --> 0:13:20.959
<v Speaker 1>would be awesome Oscar host, But would it be a

0:13:21.000 --> 0:13:23.640
<v Speaker 1>conflict of interest since he might win. Bastranco had twenty

0:13:23.640 --> 0:13:26.040
<v Speaker 1>seven hours out there. Yeah, but he wasn't winning. Yeah,

0:13:26.080 --> 0:13:28.880
<v Speaker 1>but I don't think Tom Hanks is winning. You don't

0:13:29.080 --> 0:13:31.960
<v Speaker 1>know for some more. The more this season goes on,

0:13:32.000 --> 0:13:34.000
<v Speaker 1>the more I think Tom Hanks could win. Wow. No,

0:13:34.080 --> 0:13:36.160
<v Speaker 1>I don't think that at all. But you know, do

0:13:36.200 --> 0:13:39.440
<v Speaker 1>you think he's getting nominated? Not at the moment? Really

0:13:39.480 --> 0:13:42.280
<v Speaker 1>you think there are five Best Actor potentials that were

0:13:42.320 --> 0:13:45.240
<v Speaker 1>stronger than him. What do we have? We have Casey,

0:13:45.800 --> 0:13:50.400
<v Speaker 1>Casey's the Lock, Denzel Um, Andrew Garfield. I'm I've gotten

0:13:50.440 --> 0:13:52.120
<v Speaker 1>there for Silence at the moment that I'd love to

0:13:52.120 --> 0:13:54.600
<v Speaker 1>see him nominated for hacks our Ridge. I'm pulling up

0:13:54.640 --> 0:13:58.080
<v Speaker 1>my predictions. Joel Ledgerton. I don't have Joel in there.

0:13:58.120 --> 0:14:03.000
<v Speaker 1>You don't Um obviously, Ryan Gosling, Ryan Gosling I have

0:14:03.040 --> 0:14:05.200
<v Speaker 1>in there. But I do feel like he could fall out.

0:14:05.440 --> 0:14:07.240
<v Speaker 1>Just we've talked about it before. It's the kind of

0:14:07.360 --> 0:14:13.120
<v Speaker 1>role that can be thankless. Um, here we go. McConaughey

0:14:13.120 --> 0:14:16.640
<v Speaker 1>and Gold. Mcconaughan, Gold, Yes, it just seems like a

0:14:16.679 --> 0:14:21.760
<v Speaker 1>fun performance that's possible, you know. Uh, Jenneal's being very

0:14:21.800 --> 0:14:25.240
<v Speaker 1>quiet right now about gold. I know, but I don't

0:14:25.240 --> 0:14:27.320
<v Speaker 1>want anyone to read anything into that. I think Matthew

0:14:27.360 --> 0:14:29.320
<v Speaker 1>McConney is definitely a contender for gold. That's all I

0:14:29.360 --> 0:14:32.000
<v Speaker 1>can say. Awesome. Yeah, he looks like he's having a blast,

0:14:32.000 --> 0:14:33.760
<v Speaker 1>and I think people would enjoy having him back on

0:14:33.800 --> 0:14:37.520
<v Speaker 1>the circuit. Maybe they're not part of Uh this is

0:14:37.640 --> 0:14:44.600
<v Speaker 1>a second reconnaissance. Yeah, the mcconnaissance the WiFi and here

0:14:44.640 --> 0:14:46.880
<v Speaker 1>is amazing. So I'm not pulling up my predictions, but yeah,

0:14:46.880 --> 0:14:48.240
<v Speaker 1>those are the five I have. And I mean, I

0:14:48.240 --> 0:14:50.080
<v Speaker 1>guess Tom could get in. I mean, look, they're gonna

0:14:50.200 --> 0:14:52.360
<v Speaker 1>but there's also an athlete coming down the pike, Benn

0:14:53.600 --> 0:14:56.800
<v Speaker 1>the older Uh, you know, so we'll see how I

0:14:56.840 --> 0:15:00.600
<v Speaker 1>lived by night is um. Look, by the way, I

0:15:00.640 --> 0:15:02.400
<v Speaker 1>don't know what I can say about rules don't apply.

0:15:02.440 --> 0:15:05.320
<v Speaker 1>I'm pretty sure the embargo doesn't apply to podcasts. Embargo

0:15:05.400 --> 0:15:09.360
<v Speaker 1>doesn't apply, So embargo doesn't apply. But I think Warren

0:15:09.360 --> 0:15:12.400
<v Speaker 1>Beatty was pretty good in the movie for lead actor. Yeah,

0:15:12.560 --> 0:15:14.360
<v Speaker 1>I think it's a lead now, you know. Warren Beatty

0:15:14.440 --> 0:15:17.160
<v Speaker 1>is such a good actor. Can I like bad trek record?

0:15:17.200 --> 0:15:20.920
<v Speaker 1>On lead versus supporting this year, but I think he's

0:15:20.920 --> 0:15:23.960
<v Speaker 1>a lead in this movie. He um in Bugsy was

0:15:24.000 --> 0:15:26.240
<v Speaker 1>one of my favorite performances, and I know that year

0:15:26.280 --> 0:15:28.840
<v Speaker 1>it was all about his directing, but I it just

0:15:28.880 --> 0:15:30.560
<v Speaker 1>reminded me what a great actor he is. That year

0:15:30.640 --> 0:15:33.360
<v Speaker 1>was all about jfk in my opinion, was it? Yeah,

0:15:33.560 --> 0:15:36.000
<v Speaker 1>and the Beast you got a better memory than I do.

0:15:36.920 --> 0:15:40.600
<v Speaker 1>The science of the lamps Wow, speaking of you know,

0:15:40.680 --> 0:15:42.760
<v Speaker 1>we talked about that last week screen time as it

0:15:42.800 --> 0:15:46.880
<v Speaker 1>pertains to category placement. But we'll see what the Academy

0:15:46.920 --> 0:15:49.560
<v Speaker 1>decides if they've did you ever get an answer to

0:15:49.600 --> 0:15:51.880
<v Speaker 1>your question? You asked if someone has ever won the

0:15:51.960 --> 0:15:57.400
<v Speaker 1>Tony and he's the only one hoarding or featured as

0:15:57.400 --> 0:15:59.320
<v Speaker 1>they call it, was featured in the Tonys. It was

0:16:00.040 --> 0:16:02.080
<v Speaker 1>the ra was called the King, and I I think

0:16:02.080 --> 0:16:04.320
<v Speaker 1>there was there's something that people were talking about. I

0:16:04.360 --> 0:16:05.960
<v Speaker 1>didn't get into it, but there was something about the

0:16:06.040 --> 0:16:08.560
<v Speaker 1>rules back then we're different. Well, it's interesting because I

0:16:08.600 --> 0:16:10.480
<v Speaker 1>thought that Joel Gray one for lead actor in a

0:16:10.600 --> 0:16:14.000
<v Speaker 1>musical the Tony and then went to supporting. But but

0:16:14.040 --> 0:16:17.560
<v Speaker 1>it was supporting at the Tony's when Alan Cumming won

0:16:17.560 --> 0:16:19.800
<v Speaker 1>in the lead category when they did the revival and

0:16:19.800 --> 0:16:22.360
<v Speaker 1>then as we know, Mary Alice won supporting for Fences

0:16:22.400 --> 0:16:27.200
<v Speaker 1>and then viol the one lead for the revival. Yeah,

0:16:27.360 --> 0:16:30.640
<v Speaker 1>and uh, potentially we'll join just youal Brenner as the

0:16:30.680 --> 0:16:33.000
<v Speaker 1>only two. That's kind of interesting history, I guess. Yeah.

0:16:33.080 --> 0:16:36.040
<v Speaker 1>I'm just shocked that Youl Brenn, who was a featured

0:16:36.200 --> 0:16:38.680
<v Speaker 1>actor for The King and I did you see it?

0:16:40.400 --> 0:16:42.040
<v Speaker 1>My mom took me to see The King and I

0:16:42.200 --> 0:16:44.640
<v Speaker 1>and I counted the screen time. Maybe it felt that way.

0:16:45.920 --> 0:16:47.640
<v Speaker 1>So do you have on the podcast? This week? We

0:16:47.680 --> 0:16:51.400
<v Speaker 1>have Mel Gibson. Mel Gibson and we have a great chat.

0:16:51.440 --> 0:16:53.920
<v Speaker 1>I think we talked about hecks all Ridge a couple

0:16:53.960 --> 0:16:56.640
<v Speaker 1>of times. Such a great movie. Yeah, and more and

0:16:56.680 --> 0:16:59.240
<v Speaker 1>more people are seeing that and like they were skeptical

0:16:59.440 --> 0:17:02.040
<v Speaker 1>when I said that how much I adored it, And

0:17:02.080 --> 0:17:04.359
<v Speaker 1>they're coming up and they're like, that is a great movie.

0:17:04.520 --> 0:17:06.680
<v Speaker 1>And by the way, UM, I don't want to out anybody,

0:17:06.680 --> 0:17:09.479
<v Speaker 1>but a couple of people here at work, we're very

0:17:09.520 --> 0:17:11.800
<v Speaker 1>split on Vince Vaughn. A couple of people feel the

0:17:11.800 --> 0:17:14.119
<v Speaker 1>way you feel, and then a few people feel the

0:17:14.119 --> 0:17:15.880
<v Speaker 1>way I feel, which is that Vince Vaughn is great

0:17:15.880 --> 0:17:17.520
<v Speaker 1>in this movie. Well, this is the thing, like, I

0:17:17.560 --> 0:17:19.720
<v Speaker 1>don't it's not like I want to look away. It's

0:17:19.800 --> 0:17:23.639
<v Speaker 1>just way not what I'm expecting in the moment. So

0:17:23.720 --> 0:17:26.920
<v Speaker 1>I'm just like, I'm looking at casting against type. Yeah, yeah, yeah,

0:17:27.040 --> 0:17:30.040
<v Speaker 1>And and you know, I'm just looking at your money

0:17:30.040 --> 0:17:32.680
<v Speaker 1>baby the whole time. Which, by the way, Swingers just

0:17:32.720 --> 0:17:38.640
<v Speaker 1>celebrated a tenth anniversary get out. I mean, oh god Jesus, yeah,

0:17:38.840 --> 0:17:41.359
<v Speaker 1>you're making me feel young for a second. That's one

0:17:41.359 --> 0:17:43.520
<v Speaker 1>of my favorite movies. Made me realize you can just

0:17:43.600 --> 0:17:45.520
<v Speaker 1>go make a movie. Yeah, and how I mean I

0:17:45.560 --> 0:17:48.160
<v Speaker 1>love that Jon Favreau, what that career has turned out

0:17:48.160 --> 0:17:49.520
<v Speaker 1>to be. He had the script in his trunk of

0:17:49.560 --> 0:17:51.920
<v Speaker 1>his car for like just months, and he just showed

0:17:51.920 --> 0:17:54.360
<v Speaker 1>it to a friend at a party and off it went.

0:17:54.600 --> 0:17:57.080
<v Speaker 1>That's so great. But in any case, stick around for

0:17:57.320 --> 0:18:20.480
<v Speaker 1>mel Gibson. Right after this, I was dreamed about being

0:18:20.480 --> 0:18:25.480
<v Speaker 1>a doctor. But don't get my school. I can't stay

0:18:25.520 --> 0:18:28.480
<v Speaker 1>here all them go fight for me. What you figured

0:18:28.520 --> 0:18:30.640
<v Speaker 1>this war is just going to fit in with your ideas.

0:18:31.359 --> 0:18:33.760
<v Speaker 1>While everybody else has taken life, I'm gonna be saving it.

0:18:34.119 --> 0:18:37.800
<v Speaker 1>That's gonna be my way to serve it. This is

0:18:37.840 --> 0:18:40.639
<v Speaker 1>a personal gift from the United States government because I

0:18:40.840 --> 0:18:44.080
<v Speaker 1>don't bring death to the end of it. Well, I'm sorry, sorry,

0:18:44.440 --> 0:18:48.280
<v Speaker 1>I can't touch a gun. She don't kill, No, you don't.

0:18:48.320 --> 0:18:51.520
<v Speaker 1>Quite a bit of killing does occur in war. Private

0:18:51.560 --> 0:18:54.680
<v Speaker 1>Dogs does not believe in violence. You'll not look to

0:18:54.840 --> 0:18:58.440
<v Speaker 1>him to save you on the battlefield. I don't think

0:18:58.480 --> 0:19:00.399
<v Speaker 1>this is a question of religion. I think this is

0:19:00.480 --> 0:19:07.080
<v Speaker 1>callous because you weren't like anyone else. You're saying you

0:19:07.160 --> 0:19:09.280
<v Speaker 1>could go to prison. I don't know. I'm going to

0:19:09.359 --> 0:19:11.919
<v Speaker 1>live on myself. I'll stay trived of what I believe.

0:19:12.920 --> 0:19:17.880
<v Speaker 1>Like the world so set on tearing itself apart. Don't

0:19:17.880 --> 0:19:19.760
<v Speaker 1>seem like such a bad thing to me to want

0:19:19.760 --> 0:19:21.760
<v Speaker 1>to put a little bit of it back together. Welcome

0:19:21.760 --> 0:19:25.080
<v Speaker 1>back everyone. I'm here with the director of hexs all Ridge,

0:19:25.320 --> 0:19:27.720
<v Speaker 1>and he's many other things. Obviously he's an icon and

0:19:27.760 --> 0:19:30.680
<v Speaker 1>we're very happy he's here. Thank you. Mel Gibson coming

0:19:30.720 --> 0:19:33.520
<v Speaker 1>onto my show. Well, I'm glad to be here. We

0:19:33.520 --> 0:19:35.320
<v Speaker 1>were just talking. This is your first podcast, do you

0:19:35.359 --> 0:19:37.840
<v Speaker 1>think I think it is? I you know, I've got

0:19:37.840 --> 0:19:40.679
<v Speaker 1>a shocking memory, so maybe I've done one before, but

0:19:40.720 --> 0:19:44.000
<v Speaker 1>I think I'm pretty sure this is my premiere. Wow.

0:19:44.720 --> 0:19:49.080
<v Speaker 1>Well thanks man. Uh it's been ten years since you're

0:19:49.119 --> 0:19:52.800
<v Speaker 1>in the director's chair, and uh, I think listeners know,

0:19:53.160 --> 0:19:55.879
<v Speaker 1>I feel like I've come up with some reason to

0:19:55.920 --> 0:19:59.200
<v Speaker 1>mention Apocalypto on a number of episodes so far. I'm

0:19:59.200 --> 0:20:02.280
<v Speaker 1>a big fan of the movie. So, uh, I'm just

0:20:02.359 --> 0:20:07.040
<v Speaker 1>curious creative creatively for you in that time, do the

0:20:07.119 --> 0:20:10.480
<v Speaker 1>ideas just start to stack up and you're eager to

0:20:10.560 --> 0:20:13.199
<v Speaker 1>get there again or are you not really in that

0:20:13.240 --> 0:20:16.159
<v Speaker 1>headspace over that period of time. Well, that period of time, no,

0:20:16.240 --> 0:20:18.960
<v Speaker 1>I wasn't that headspace, but it's you know, something like

0:20:19.320 --> 0:20:25.760
<v Speaker 1>uh you know, for example, well, Braveheart was easier because, um,

0:20:25.800 --> 0:20:27.040
<v Speaker 1>you know, I was more of a kind of a

0:20:27.119 --> 0:20:29.840
<v Speaker 1>hot box office ticket at that stage, so it was

0:20:29.880 --> 0:20:33.280
<v Speaker 1>easier to get that made. But um, something like The

0:20:33.280 --> 0:20:36.600
<v Speaker 1>Passion and Apocalypto, nobody wants to make those films, so

0:20:36.880 --> 0:20:38.520
<v Speaker 1>you really have to kind of reach in your own

0:20:38.560 --> 0:20:41.560
<v Speaker 1>pocket to do it. And U and of course you

0:20:41.600 --> 0:20:44.320
<v Speaker 1>know then they paid dividends, but it's hard for other

0:20:44.320 --> 0:20:47.919
<v Speaker 1>people to see that. Um, and the stuff that I

0:20:48.000 --> 0:20:52.680
<v Speaker 1>wanted to do were like those, Um, you know, I

0:20:52.800 --> 0:20:56.000
<v Speaker 1>had a thing I wrote about Vikings and some other

0:20:56.040 --> 0:20:59.600
<v Speaker 1>stuff i'd written, you know, about the fifteenth century in

0:20:59.640 --> 0:21:03.840
<v Speaker 1>Europe and some other stuff. And I guess my vision

0:21:04.000 --> 0:21:08.600
<v Speaker 1>isn't automatically, you know, a great thing for for other people.

0:21:08.680 --> 0:21:11.920
<v Speaker 1>So and uh, I wasn't reaching into my own pocket

0:21:11.960 --> 0:21:15.600
<v Speaker 1>this time, because that has that has just some downside

0:21:15.600 --> 0:21:18.239
<v Speaker 1>to some potential downside. You know, you can end up

0:21:18.240 --> 0:21:22.199
<v Speaker 1>in the pauper's bank. So you feel the pressure then

0:21:22.480 --> 0:21:27.159
<v Speaker 1>when whenever that yeah, and and so you know, in

0:21:27.200 --> 0:21:29.960
<v Speaker 1>the absence of my doing it myself, which I had

0:21:30.000 --> 0:21:32.359
<v Speaker 1>done the two previous times, no one else was going

0:21:32.400 --> 0:21:34.440
<v Speaker 1>to step in. So I guess a lot of stuff

0:21:34.480 --> 0:21:36.880
<v Speaker 1>didn't happen. But you know, I kept busy with other things.

0:21:36.920 --> 0:21:40.560
<v Speaker 1>I wrote a film and produced the film that time,

0:21:40.600 --> 0:21:42.240
<v Speaker 1>and then I was in a couple of other films.

0:21:42.240 --> 0:21:45.200
<v Speaker 1>So you know, it's uh, you know, you stay busy

0:21:45.480 --> 0:21:48.159
<v Speaker 1>kind of try and keep keep the rust from building up.

0:21:48.200 --> 0:21:51.200
<v Speaker 1>Although you know, I had to blow the cylinders out

0:21:51.240 --> 0:21:53.280
<v Speaker 1>on this one. I think it was. But it was

0:21:53.320 --> 0:21:54.720
<v Speaker 1>great to get back in the chair. And it's like

0:21:54.800 --> 0:21:59.280
<v Speaker 1>riding a bike, um, except for now you know, ten

0:21:59.359 --> 0:22:05.959
<v Speaker 1>years later. Um, the budgetary limitations and and and the

0:22:06.040 --> 0:22:10.080
<v Speaker 1>time limitations are the challenges are greater in that regard.

0:22:10.160 --> 0:22:14.160
<v Speaker 1>So you have to um go in and be far

0:22:14.240 --> 0:22:19.000
<v Speaker 1>more judicious uh with your direction and how you shoot

0:22:19.040 --> 0:22:22.480
<v Speaker 1>and what you shoot. Um and if you can edit

0:22:22.520 --> 0:22:25.880
<v Speaker 1>the screenplay before you get going, and you know you

0:22:26.040 --> 0:22:28.840
<v Speaker 1>one has to be you know, a lot more frugal

0:22:28.920 --> 0:22:31.119
<v Speaker 1>in in the way one works and trying not to,

0:22:31.800 --> 0:22:36.440
<v Speaker 1>you know, strangle your creativity for the sake of expedients

0:22:36.480 --> 0:22:39.439
<v Speaker 1>and uh and the interests of saving money. But you know,

0:22:39.520 --> 0:22:42.960
<v Speaker 1>it's not the same industry as it was. If you're

0:22:42.960 --> 0:22:46.080
<v Speaker 1>not making a superhero movie about somebody in spandex, nobody

0:22:46.080 --> 0:22:50.480
<v Speaker 1>gives you a budget, you know. So we we did

0:22:50.520 --> 0:22:55.240
<v Speaker 1>a lot on this for not so much. Yeah, and

0:22:55.240 --> 0:22:57.879
<v Speaker 1>and it's it's one of those movies. It looks like

0:22:57.920 --> 0:23:00.480
<v Speaker 1>it costs more than it did. It probably costs, so

0:23:00.600 --> 0:23:03.000
<v Speaker 1>that's always good. It looks like it cost a hundreds

0:23:03.000 --> 0:23:06.320
<v Speaker 1>of mill it really does. Uh. This story, Desmond Daws's

0:23:06.359 --> 0:23:09.320
<v Speaker 1>story is extraordinary. We had Andrew on the show last

0:23:09.320 --> 0:23:11.719
<v Speaker 1>week talking about it. Were you aware of it at

0:23:11.720 --> 0:23:15.000
<v Speaker 1>all before the project kind of came to you? I

0:23:15.080 --> 0:23:17.440
<v Speaker 1>had heard of Desmond DAWs, but not in a way

0:23:17.480 --> 0:23:21.720
<v Speaker 1>that I delved into. The project came my way three

0:23:21.720 --> 0:23:25.840
<v Speaker 1>times like Caesar with the Crown, you know, and uh

0:23:26.000 --> 0:23:30.280
<v Speaker 1>I I rejected um being the director of it twice

0:23:30.840 --> 0:23:36.120
<v Speaker 1>over the last maybe ten years, and finally it kind

0:23:36.119 --> 0:23:39.159
<v Speaker 1>of came again. I looked at it, and sometimes you know,

0:23:39.200 --> 0:23:41.440
<v Speaker 1>it's just you're in the right headspace the right time

0:23:41.800 --> 0:23:44.639
<v Speaker 1>I read it. I was incredibly moved by it, and

0:23:44.680 --> 0:23:47.000
<v Speaker 1>I thought, I think I can add my skills to

0:23:47.080 --> 0:23:51.760
<v Speaker 1>this and and tell this story. Um, and so off

0:23:51.800 --> 0:23:56.280
<v Speaker 1>we went off to the races. Uh it's Desmond Is

0:23:56.800 --> 0:23:59.119
<v Speaker 1>And that's when I really found out about this character,

0:23:59.200 --> 0:24:02.720
<v Speaker 1>and he was something. He's amazing. Yeah, I mean wow,

0:24:02.960 --> 0:24:06.240
<v Speaker 1>not too many like him. Yeah, absolutely. And the story

0:24:07.119 --> 0:24:10.000
<v Speaker 1>the film, I feel it shares DNA with a number

0:24:10.040 --> 0:24:13.479
<v Speaker 1>of your films, which is it kind of deals with

0:24:13.520 --> 0:24:16.000
<v Speaker 1>this idea of hardship of faith in a way, how

0:24:16.000 --> 0:24:18.879
<v Speaker 1>difficult it can be to maintain one's faith in the

0:24:18.920 --> 0:24:22.639
<v Speaker 1>face of adversity. And I'm just curious, not to like

0:24:22.680 --> 0:24:24.879
<v Speaker 1>put you on the couch or anything, but beyond just

0:24:24.920 --> 0:24:26.800
<v Speaker 1>like you know, the Catholic upbringing. Do you think there's

0:24:26.800 --> 0:24:30.119
<v Speaker 1>any reason that these themes you keep coming back to

0:24:30.160 --> 0:24:33.400
<v Speaker 1>them in your work. Well, you know, and I tell

0:24:33.400 --> 0:24:35.520
<v Speaker 1>you probably hit on something there. I mean I was

0:24:35.560 --> 0:24:40.920
<v Speaker 1>always taught, um, from when I was very young, that

0:24:41.960 --> 0:24:50.080
<v Speaker 1>some thing's ideas or some things were more important than life.

0:24:50.520 --> 0:24:54.199
<v Speaker 1>So you know a lot of these characters um in

0:24:54.359 --> 0:24:58.960
<v Speaker 1>films that I've shown, they actually have that attitude. And

0:24:59.080 --> 0:25:03.399
<v Speaker 1>Desmond was one of those guys. I mean, you know,

0:25:03.640 --> 0:25:07.399
<v Speaker 1>through filial love he wouldn't touch a weapon, but also

0:25:07.440 --> 0:25:11.680
<v Speaker 1>through filial love he wanted to serve and he went

0:25:11.760 --> 0:25:15.960
<v Speaker 1>beyond that in the ultimate sort of active of love

0:25:16.040 --> 0:25:18.080
<v Speaker 1>is to you know, lay your life on the line

0:25:18.119 --> 0:25:25.920
<v Speaker 1>for somebody else. And I think, uh, there's very few

0:25:25.960 --> 0:25:30.280
<v Speaker 1>people who can actually, you know, do that and maintain

0:25:30.359 --> 0:25:35.560
<v Speaker 1>their equilibrium. I mean, you have an ordinary man doing

0:25:35.680 --> 0:25:40.479
<v Speaker 1>extraordinary things in incredibly different, difficult, difficult circumstances. And I

0:25:40.520 --> 0:25:46.840
<v Speaker 1>think there's very few people that can maintain their their

0:25:46.920 --> 0:25:54.399
<v Speaker 1>higher self, uh and maintain that equilibrium and inter calm um.

0:25:54.400 --> 0:25:58.560
<v Speaker 1>When everything around you is telling you to become an

0:25:58.600 --> 0:26:01.359
<v Speaker 1>animal and everyone you know, you get down to the

0:26:01.440 --> 0:26:05.120
<v Speaker 1>level of an animal. It's just primal. And this guy

0:26:05.480 --> 0:26:10.560
<v Speaker 1>went into that and uh with armed with nothing but

0:26:10.720 --> 0:26:16.159
<v Speaker 1>his faith, and did the most extraordinary things Um, this

0:26:16.320 --> 0:26:18.360
<v Speaker 1>to me is like and it's true story, so it's

0:26:18.359 --> 0:26:20.840
<v Speaker 1>like it's not I'm not faking anything or making it up.

0:26:20.840 --> 0:26:25.240
<v Speaker 1>I mean, it's astounding to me. Um. And I think

0:26:25.240 --> 0:26:30.440
<v Speaker 1>that you know, as storytellers, were exploring stories, hero stories

0:26:30.720 --> 0:26:34.359
<v Speaker 1>to inspire others and to give us some kind of

0:26:34.400 --> 0:26:38.280
<v Speaker 1>indication of who we might be, what we're capable of,

0:26:38.840 --> 0:26:41.320
<v Speaker 1>what at least some members of our race are capable of,

0:26:41.400 --> 0:26:44.200
<v Speaker 1>and maybe you know we can we can take something

0:26:44.240 --> 0:26:46.960
<v Speaker 1>from that. I know Desmond was the first man to

0:26:47.080 --> 0:26:51.800
<v Speaker 1>receive the Congressional Medal of Honor um and he was

0:26:51.840 --> 0:26:56.160
<v Speaker 1>a conscientious subjector. But actually I think he inspired many

0:26:56.240 --> 0:26:59.320
<v Speaker 1>because there have been more of those guys since who

0:26:59.400 --> 0:27:02.399
<v Speaker 1>go into bad without a weapon, who are medics and

0:27:02.440 --> 0:27:06.200
<v Speaker 1>they just do extraordinary things and it's generally a kind

0:27:06.240 --> 0:27:10.880
<v Speaker 1>of a a strong faith and conviction that they have. Yeah,

0:27:10.920 --> 0:27:13.960
<v Speaker 1>And regarding the primal nature, I think Andrew called it

0:27:14.000 --> 0:27:17.600
<v Speaker 1>the messy human nous kind of working through that, And

0:27:17.640 --> 0:27:19.680
<v Speaker 1>it's fascinating that you come back to that in your work.

0:27:19.920 --> 0:27:21.800
<v Speaker 1>You're attracted to making that kind of art? Are you

0:27:21.960 --> 0:27:24.960
<v Speaker 1>attracted to that kind of art? Like, for instance, what

0:27:25.680 --> 0:27:27.080
<v Speaker 1>I kind of looked around to see if I could

0:27:27.119 --> 0:27:29.320
<v Speaker 1>find anything. But what are your favorite films? Do they

0:27:29.320 --> 0:27:31.280
<v Speaker 1>tend to have this kind of a theme. Oh my god,

0:27:32.840 --> 0:27:36.239
<v Speaker 1>I have so many favorite films, everything from you know,

0:27:37.680 --> 0:27:39.919
<v Speaker 1>see what I mean. I like Scorcesese films, I like,

0:27:40.119 --> 0:27:42.560
<v Speaker 1>you know, copple As films, and like I like old

0:27:42.640 --> 0:27:45.920
<v Speaker 1>classics and Westerns and war films. Oh my god, what's

0:27:45.920 --> 0:27:48.840
<v Speaker 1>the favorite Western? Favorite Western? I think was something called

0:27:48.880 --> 0:27:52.000
<v Speaker 1>a Big Country, which I'm a huge fan of the genre.

0:27:52.080 --> 0:27:54.399
<v Speaker 1>So yeah, yeah, it's a it's a that's a good Western.

0:27:55.119 --> 0:27:59.359
<v Speaker 1>And um, you know, of course the Godfather films. You know,

0:27:59.400 --> 0:28:03.760
<v Speaker 1>how can you not dig those movies? The just the

0:28:03.800 --> 0:28:06.840
<v Speaker 1>sheer artistry and the naturalism, and you know, it was

0:28:07.119 --> 0:28:10.919
<v Speaker 1>it was the seventies. Man, it was like they're so cool. Um,

0:28:11.080 --> 0:28:12.800
<v Speaker 1>is there any hope for getting back because we talked,

0:28:12.960 --> 0:28:14.719
<v Speaker 1>we touched on this just where the business is now.

0:28:14.760 --> 0:28:16.360
<v Speaker 1>Is there any hope for getting back to that kind

0:28:16.359 --> 0:28:19.359
<v Speaker 1>of a mentality? Oh? I think so. I mean one

0:28:19.400 --> 0:28:23.160
<v Speaker 1>of the best compliments I received when people watched Hacksaw Ridge,

0:28:23.200 --> 0:28:25.879
<v Speaker 1>they went, Wow, it's like the way they used to

0:28:25.880 --> 0:28:28.240
<v Speaker 1>make films, And I said, you mean, like back in

0:28:28.280 --> 0:28:30.560
<v Speaker 1>the forties. He says no, like back in the eighties,

0:28:31.000 --> 0:28:33.639
<v Speaker 1>you know, and like it's ancient history. Yeah, like it's

0:28:33.680 --> 0:28:38.520
<v Speaker 1>ancient history because I guess, um, you know, the character

0:28:38.600 --> 0:28:44.560
<v Speaker 1>of the of of you know, feature film business has changed. Um,

0:28:44.600 --> 0:28:47.520
<v Speaker 1>you know, it's like chain food restaurants or something. So,

0:28:48.200 --> 0:28:51.960
<v Speaker 1>you know, but I believe that I believe that if

0:28:52.000 --> 0:28:57.400
<v Speaker 1>something's good, it's gonna resonate. Um, it's just gonna have

0:28:57.400 --> 0:29:00.280
<v Speaker 1>a harder time being heard because it's it's not an

0:29:00.560 --> 0:29:03.720
<v Speaker 1>They get obliterated by the by the marketing budgets. I mean,

0:29:03.800 --> 0:29:06.600
<v Speaker 1>nobody has any nobody's got enough nerve to sort of

0:29:06.600 --> 0:29:09.000
<v Speaker 1>put the money where the mouth is, you know, unless

0:29:09.040 --> 0:29:14.160
<v Speaker 1>it's unless the guys wearing spandex. So people often go to,

0:29:14.440 --> 0:29:17.400
<v Speaker 1>uh to Braveheart, but uh, you know, maybe they forget

0:29:17.440 --> 0:29:19.400
<v Speaker 1>that your directorial debut was a few years before that

0:29:19.480 --> 0:29:21.600
<v Speaker 1>Man Without a Face, which is from I like a lot.

0:29:21.840 --> 0:29:23.800
<v Speaker 1>Uh it was. I remember it was one of those

0:29:23.840 --> 0:29:25.920
<v Speaker 1>movies that was on HBO like every weekend when I

0:29:25.960 --> 0:29:27.720
<v Speaker 1>was growing up, so I saw it so many times.

0:29:28.880 --> 0:29:31.440
<v Speaker 1>When you first got behind the camera to direct, was

0:29:31.440 --> 0:29:34.000
<v Speaker 1>it like a like, you know, a bucket of cold

0:29:34.000 --> 0:29:36.720
<v Speaker 1>water to the face or were you very prepared and

0:29:36.760 --> 0:29:40.280
<v Speaker 1>ready to take it in stride, and I was not prepared.

0:29:40.440 --> 0:29:44.360
<v Speaker 1>I think, Um, I just well, I kind of had

0:29:44.400 --> 0:29:48.200
<v Speaker 1>an idea of what was required, simply from being around

0:29:48.200 --> 0:29:50.160
<v Speaker 1>the Hub for so many years and watching how the

0:29:50.200 --> 0:29:53.360
<v Speaker 1>directors who I admired kind of step in and do it.

0:29:53.400 --> 0:29:55.920
<v Speaker 1>But when I was about to get going, I was terrified.

0:29:56.040 --> 0:30:01.200
<v Speaker 1>I remember calling. I bumped into Peter Weir and I said, man,

0:30:01.240 --> 0:30:03.800
<v Speaker 1>I'm scared, and he said you should be stopped. Don't

0:30:03.840 --> 0:30:07.440
<v Speaker 1>say that. A yea, thanks Pale and uh and he

0:30:07.480 --> 0:30:09.160
<v Speaker 1>said no, and he said don't worry. He said, all

0:30:09.160 --> 0:30:12.400
<v Speaker 1>you gotta say is action and cut and of course

0:30:12.440 --> 0:30:15.680
<v Speaker 1>that's not true, but he was just trying to make

0:30:15.760 --> 0:30:19.120
<v Speaker 1>me feel better. And then um, and I also called

0:30:19.160 --> 0:30:21.640
<v Speaker 1>Cleant Eastwood, I remember at the time who he just

0:30:21.680 --> 0:30:26.520
<v Speaker 1>directed Unforgiven, which I liked very much, And I called

0:30:26.600 --> 0:30:30.280
<v Speaker 1>him and I said, hey, Clean, I'm scared. You know that.

0:30:30.320 --> 0:30:33.360
<v Speaker 1>I called the tall one and he said, don't be scared.

0:30:33.400 --> 0:30:37.040
<v Speaker 1>And I'm like, why why? And he said, there's a

0:30:37.080 --> 0:30:39.360
<v Speaker 1>bunch of subliminal ship in your head and you're gonna

0:30:39.400 --> 0:30:42.760
<v Speaker 1>remember when you need to. I said, thanks Clean. He said,

0:30:42.840 --> 0:30:48.440
<v Speaker 1>don't mention it you click, you know, was that he

0:30:48.480 --> 0:30:51.840
<v Speaker 1>was he was very cool and um was he right? Yeah?

0:30:51.920 --> 0:30:55.160
<v Speaker 1>A lot of stuff just came out. Not that I

0:30:55.200 --> 0:30:58.920
<v Speaker 1>didn't need some. There was a few good learning experiences

0:30:58.960 --> 0:31:03.080
<v Speaker 1>that I read had to get onto, but I found

0:31:03.120 --> 0:31:05.360
<v Speaker 1>I learned as I went. I mean, we had a

0:31:05.440 --> 0:31:09.200
<v Speaker 1>really good, uh director of photography who is like an

0:31:09.240 --> 0:31:13.640
<v Speaker 1>old drill sergeant, a guy called Don McAlpine who was

0:31:13.680 --> 0:31:18.760
<v Speaker 1>like phenomenal and he was like, um, you know where

0:31:18.800 --> 0:31:23.320
<v Speaker 1>I was deficient in my dayrectorial experience, he'd been there

0:31:23.320 --> 0:31:26.360
<v Speaker 1>and done everything, and uh so it was like it

0:31:26.480 --> 0:31:29.880
<v Speaker 1>was great to have a guy like that. I think

0:31:30.600 --> 0:31:33.800
<v Speaker 1>dud I believe he did. Yeah, yeah, yeah, pretty good.

0:31:34.000 --> 0:31:36.280
<v Speaker 1>I mean he's he's and he's shot a man without

0:31:36.280 --> 0:31:39.960
<v Speaker 1>a face and was like you know, and would take

0:31:40.000 --> 0:31:42.640
<v Speaker 1>my ideas and go, yeah, let's try that. Because he's

0:31:42.760 --> 0:31:45.800
<v Speaker 1>he's just he's youthful. He still is. I saw him

0:31:46.080 --> 0:31:48.040
<v Speaker 1>not so long ago and he's not a youngster, but

0:31:48.080 --> 0:31:50.960
<v Speaker 1>he's still like a kid. He's got that youthful enthusiasm.

0:31:51.120 --> 0:31:54.240
<v Speaker 1>Like a lot of the Aussie um directors off it's

0:31:54.320 --> 0:31:58.360
<v Speaker 1>the film guys, the camera guys. They maintained their childlike

0:31:58.800 --> 0:32:01.719
<v Speaker 1>enthusiasm from what it is that they do. Like Dean Samler,

0:32:01.760 --> 0:32:03.400
<v Speaker 1>I mean the guy is amazing. Yeah, he's like a

0:32:03.440 --> 0:32:06.880
<v Speaker 1>big kid. Yeah absolutely, And uh you went, you went

0:32:06.920 --> 0:32:08.959
<v Speaker 1>on to work with John Tole the next time with

0:32:09.680 --> 0:32:13.320
<v Speaker 1>Hole is amazing. Yeah, Toll is like amazing. He just

0:32:13.320 --> 0:32:16.520
<v Speaker 1>shot Angle's war film he did. Have you seen that yet?

0:32:16.560 --> 0:32:18.600
<v Speaker 1>I haven't seen it. No, Yeah, very curious because I'm

0:32:18.600 --> 0:32:21.480
<v Speaker 1>a big fan of tolls work. So yeah, he's not amazing. Man.

0:32:21.560 --> 0:32:26.160
<v Speaker 1>I just remember John, I think, had done his first

0:32:26.200 --> 0:32:30.800
<v Speaker 1>director of photography job on Legends of the Fall and uh,

0:32:30.880 --> 0:32:32.960
<v Speaker 1>I went into an editing room just to look at

0:32:33.000 --> 0:32:35.760
<v Speaker 1>his work on that, and I said, Wow, this guy

0:32:35.840 --> 0:32:38.480
<v Speaker 1>is amazing. And I hired him on Braveheart and he

0:32:38.520 --> 0:32:40.200
<v Speaker 1>went back to back Oscars and he won back to

0:32:40.280 --> 0:32:44.280
<v Speaker 1>back Oscars. Yeah, absolutely, absolutely right, he got He got

0:32:44.320 --> 0:32:47.320
<v Speaker 1>back to backs. So I pulled the right rayin there.

0:32:47.360 --> 0:32:51.480
<v Speaker 1>I also stole the editor from from Legends of the

0:32:51.480 --> 0:32:55.680
<v Speaker 1>Falling guy called Steve Rosenblum, who to this day is like, yeah,

0:32:55.840 --> 0:32:58.920
<v Speaker 1>he's He's in a handful of editors that I think

0:32:58.960 --> 0:33:01.720
<v Speaker 1>he's just like amazing. Yeah, there's a few, there's a

0:33:01.720 --> 0:33:04.680
<v Speaker 1>few of those guys around. Well, speaking of Braveheart, I'd

0:33:04.680 --> 0:33:08.240
<v Speaker 1>love to just kind of go back Oscar night that year.

0:33:08.440 --> 0:33:12.520
<v Speaker 1>It was March, which gosh, I imagine if the oscars

0:33:12.520 --> 0:33:14.480
<v Speaker 1>were late March still it would be such a long

0:33:14.480 --> 0:33:17.720
<v Speaker 1>stretch of time before getting to the oscars. But do

0:33:17.760 --> 0:33:21.160
<v Speaker 1>you remember that night? Oh? Yeah, pretty well? How was it?

0:33:21.200 --> 0:33:26.520
<v Speaker 1>The sweaty? I was tired. It was. It was you know,

0:33:27.040 --> 0:33:29.240
<v Speaker 1>kind of when you're counting down to the Oscars and stuff,

0:33:29.280 --> 0:33:30.920
<v Speaker 1>you end up doing a lot of Q and A's

0:33:31.080 --> 0:33:34.440
<v Speaker 1>breakfasts and this talking to a lot of people, and

0:33:34.760 --> 0:33:36.840
<v Speaker 1>by the time you get to it, you're sort of numb.

0:33:36.880 --> 0:33:41.120
<v Speaker 1>It's like being on you know, the election campaign or something,

0:33:41.160 --> 0:33:43.920
<v Speaker 1>and you start to wonder, why am I doing this?

0:33:44.120 --> 0:33:47.800
<v Speaker 1>You know, it's like and then you know, they call

0:33:47.880 --> 0:33:49.320
<v Speaker 1>your name and you go up there and you you

0:33:49.440 --> 0:33:52.600
<v Speaker 1>kind of got the butterflies, and you're excited and very

0:33:52.640 --> 0:33:57.480
<v Speaker 1>gratified that your fellows and your peers recognize your work,

0:33:57.840 --> 0:34:00.680
<v Speaker 1>and it's, uh, you know, it's always a it feels good.

0:34:00.920 --> 0:34:04.200
<v Speaker 1>You know. It's an interesting Oscar history footnote to me

0:34:04.320 --> 0:34:08.600
<v Speaker 1>because that year Ron Howard's Apollo thirteen was very strong,

0:34:08.760 --> 0:34:11.040
<v Speaker 1>felt like the one to beat really going into the Oscars.

0:34:11.080 --> 0:34:13.719
<v Speaker 1>You pulled it out and you guys were working on

0:34:13.800 --> 0:34:15.640
<v Speaker 1>Ransom at the time, that's right. And then a few

0:34:15.719 --> 0:34:18.560
<v Speaker 1>years later you presented him his Oscar for Best Director here,

0:34:18.880 --> 0:34:23.319
<v Speaker 1>so no hard feelings. I guess it for Beautiful Mind.

0:34:23.360 --> 0:34:25.839
<v Speaker 1>Yeah there. Yeah. I think that was pretty quick after,

0:34:25.960 --> 0:34:28.040
<v Speaker 1>wasn't it. Yeah, it was like two or three years. Yeah,

0:34:28.360 --> 0:34:33.000
<v Speaker 1>that's right. Um. You know, I wanted to talk a

0:34:33.000 --> 0:34:35.839
<v Speaker 1>little bit about this sequel, for lack of a better word,

0:34:36.400 --> 0:34:38.479
<v Speaker 1>to the Passion of the Christ that you you've talked

0:34:38.480 --> 0:34:40.520
<v Speaker 1>about recently, where you're going to go and work on

0:34:40.520 --> 0:34:44.879
<v Speaker 1>the resurrection. Uh. You know when when someone comes back

0:34:44.960 --> 0:34:50.280
<v Speaker 1>into the spotlight after airing a dark chapter publicly. Uh.

0:34:50.320 --> 0:34:52.719
<v Speaker 1>And I think the public nature of that is what's

0:34:52.760 --> 0:34:58.520
<v Speaker 1>so unusual and difficult maybe for people to to relate to. Uh.

0:34:58.520 --> 0:35:01.360
<v Speaker 1>So I'm just kind of fascinated the choice of subject

0:35:01.440 --> 0:35:03.960
<v Speaker 1>matter here. Um. Again, not to put you on the couch,

0:35:04.080 --> 0:35:07.440
<v Speaker 1>but do you feel like where you're at in your career.

0:35:07.480 --> 0:35:11.839
<v Speaker 1>You've talked about your sobriety of ten years, congratulations on that. Uh,

0:35:12.080 --> 0:35:16.279
<v Speaker 1>just a general feeling of getting back on track. I mean,

0:35:16.360 --> 0:35:18.160
<v Speaker 1>is there any of that that's drawing you to the

0:35:18.200 --> 0:35:20.399
<v Speaker 1>idea of the story of the resurrection. I can't tell

0:35:20.440 --> 0:35:23.000
<v Speaker 1>you what's drawing me to that, but it's it's it's

0:35:23.040 --> 0:35:26.799
<v Speaker 1>a calling. So it's um so, I think it's it's

0:35:26.800 --> 0:35:29.680
<v Speaker 1>out of my hands, but I'm compelled to go there again.

0:35:29.840 --> 0:35:33.200
<v Speaker 1>And I think, um and I think I can tell

0:35:33.239 --> 0:35:35.920
<v Speaker 1>that story. And it's a difficult story to tell because

0:35:36.200 --> 0:35:43.480
<v Speaker 1>it isn't just some kind of facile rendering of events. Um.

0:35:43.520 --> 0:35:46.960
<v Speaker 1>It's beyond that. You have to extract far more from

0:35:47.000 --> 0:35:51.000
<v Speaker 1>what's there than appears to be. I think you can

0:35:51.040 --> 0:35:55.480
<v Speaker 1>do it by juxtaposing other things from other eras against it,

0:35:56.480 --> 0:35:59.960
<v Speaker 1>um and then kind of make a statement that in life,

0:36:00.040 --> 0:36:05.040
<v Speaker 1>these people um so, you know, going back into and look,

0:36:05.080 --> 0:36:08.120
<v Speaker 1>that's a that's a while away too. I think I'm

0:36:08.120 --> 0:36:11.320
<v Speaker 1>sort of working on that with the scribe of Braveheart,

0:36:11.520 --> 0:36:15.880
<v Speaker 1>you know, and he's uh he and I are throwing

0:36:15.960 --> 0:36:19.279
<v Speaker 1>ideas around about that, and you know, we're getting some

0:36:19.320 --> 0:36:21.319
<v Speaker 1>pretty good ideas. But the more you talk about it,

0:36:21.360 --> 0:36:25.240
<v Speaker 1>the more it seems to open up. And and uh

0:36:25.360 --> 0:36:28.200
<v Speaker 1>so it's a very big story and I'm not quite

0:36:28.280 --> 0:36:31.960
<v Speaker 1>sure how to tackle that monster yet. But it's um

0:36:32.840 --> 0:36:34.880
<v Speaker 1>it I think it's going to be good when it happens,

0:36:34.960 --> 0:36:37.359
<v Speaker 1>because there's a great deal of thought and consideration going

0:36:37.400 --> 0:36:41.600
<v Speaker 1>into it. Would you bring back Caleb Dischanel, He's the

0:36:41.640 --> 0:36:45.360
<v Speaker 1>greatest man? Wow? And then the same question for Jim Caviezel.

0:36:45.400 --> 0:36:46.879
<v Speaker 1>Would would this be the kind of thing where you'd

0:36:46.880 --> 0:36:49.359
<v Speaker 1>want all that connective tissue or Cavizel would be great,

0:36:49.800 --> 0:36:52.360
<v Speaker 1>you know. And he hasn't even aged, right, you know,

0:36:52.520 --> 0:36:55.600
<v Speaker 1>he just looks the same, you know, easily, just perennially.

0:36:56.520 --> 0:36:58.799
<v Speaker 1>You know, he's always gonna look like he's thirty years old,

0:36:58.800 --> 0:37:05.120
<v Speaker 1>this guy. And um, you know Caleb, you know, I

0:37:05.160 --> 0:37:09.000
<v Speaker 1>asked him for a moving Caravaggio, you know, and so

0:37:09.040 --> 0:37:12.280
<v Speaker 1>we were looking at Caravaggio's paintings instead of light sources

0:37:12.320 --> 0:37:15.160
<v Speaker 1>and all this kind of stuff and the movement in them,

0:37:15.200 --> 0:37:20.200
<v Speaker 1>and um, and he he kind of showed me some

0:37:20.200 --> 0:37:22.719
<v Speaker 1>some of the first days of Rushes. I'm like, oh

0:37:22.760 --> 0:37:25.239
<v Speaker 1>my god, I said, it is a moving Caravaccio. And

0:37:25.280 --> 0:37:29.120
<v Speaker 1>he said that's what you wanted, wasn't it. It's like, no, biggie,

0:37:29.320 --> 0:37:31.839
<v Speaker 1>you know, he just like threw that one off as fantastic.

0:37:32.880 --> 0:37:37.200
<v Speaker 1>And so, you know, a guy's amazing, and he's acquainted

0:37:37.320 --> 0:37:43.040
<v Speaker 1>himself now with the digital medium, as all cinematographers must.

0:37:43.080 --> 0:37:44.799
<v Speaker 1>Really we took the big dive on that in two

0:37:44.800 --> 0:37:49.000
<v Speaker 1>thousand and six with Apocalypto and Dean Yeah Genesis Man. Yeah,

0:37:49.120 --> 0:37:52.000
<v Speaker 1>kind of a prototype now, but it was good enough

0:37:52.880 --> 0:37:55.440
<v Speaker 1>and uh we were able to scan that on the

0:37:55.520 --> 0:37:59.920
<v Speaker 1>film easily, so and it didn't suffer any I be

0:38:00.080 --> 0:38:04.120
<v Speaker 1>him a big fan of digital at that point. We

0:38:04.200 --> 0:38:06.160
<v Speaker 1>shot the whole thing in digital. I don't think an

0:38:06.320 --> 0:38:10.000
<v Speaker 1>entire feature had been shot digitally. Maybe like Michael Mann

0:38:10.040 --> 0:38:13.960
<v Speaker 1>had done something Collateral, Yeah, like like Collateral or one

0:38:13.960 --> 0:38:17.640
<v Speaker 1>of those. Yeah, But but he used that other camera.

0:38:17.840 --> 0:38:19.320
<v Speaker 1>I forgot what it was called. He was doing a

0:38:19.360 --> 0:38:23.320
<v Speaker 1>lot of different things with little a little little different

0:38:23.320 --> 0:38:25.480
<v Speaker 1>cameras that he you know, he was in a very

0:38:25.520 --> 0:38:28.080
<v Speaker 1>different world than like I think the world that led

0:38:28.120 --> 0:38:31.240
<v Speaker 1>into the Alexa and stuff like that. Yes, it was different.

0:38:31.400 --> 0:38:33.920
<v Speaker 1>But what was it called the Scorpion or something had

0:38:33.920 --> 0:38:35.960
<v Speaker 1>a weird name. And the stuff he did in Ali too,

0:38:35.960 --> 0:38:37.719
<v Speaker 1>where he had this little pin camera where you just

0:38:37.719 --> 0:38:39.520
<v Speaker 1>get in there on the action like holding it like

0:38:39.560 --> 0:38:43.480
<v Speaker 1>this very unique stuff that hees. Yeah, No, he's he's

0:38:43.520 --> 0:38:46.279
<v Speaker 1>exciting I mean, he's like, some of his stuff is

0:38:46.320 --> 0:38:51.120
<v Speaker 1>amazing and uh yeah. But going in there with the

0:38:51.160 --> 0:38:54.399
<v Speaker 1>Genesis was like wow. And there were things that couldn't do,

0:38:55.000 --> 0:38:57.600
<v Speaker 1>but there were things that could do really well. Like

0:38:57.760 --> 0:39:01.320
<v Speaker 1>Dean Simmler was like a kid and that handy store going, well,

0:39:01.400 --> 0:39:04.920
<v Speaker 1>look at this. I'd be outside with the actors and

0:39:04.960 --> 0:39:06.880
<v Speaker 1>I couldn't even see them. I sat Dean, it's too

0:39:06.960 --> 0:39:09.040
<v Speaker 1>dark out here because I'm still thinking film, you know,

0:39:09.960 --> 0:39:12.839
<v Speaker 1>and he's calling to me from inside this black tent

0:39:13.920 --> 0:39:16.160
<v Speaker 1>and he has, you know, all the knobs and whistles

0:39:16.200 --> 0:39:18.400
<v Speaker 1>in there to adjust the picture and the exposure and

0:39:18.440 --> 0:39:20.359
<v Speaker 1>everything else, and he's going, now, it should be right,

0:39:20.800 --> 0:39:22.879
<v Speaker 1>and I'm like, Dean, I can't see the actors. He's

0:39:22.880 --> 0:39:25.120
<v Speaker 1>don't worry about it. Shoot it. I'm like, oh jeez,

0:39:25.480 --> 0:39:27.800
<v Speaker 1>So we shoot it, and of course later on you

0:39:27.840 --> 0:39:30.360
<v Speaker 1>see it and it's just fine. Yeah, it's amazing. But

0:39:30.480 --> 0:39:33.960
<v Speaker 1>digital it really opened up the canvas. You know, You've

0:39:33.960 --> 0:39:36.800
<v Speaker 1>got more than two stops in either direction now, way

0:39:36.800 --> 0:39:39.960
<v Speaker 1>more you can do anything. Yeah, it's exciting, and it

0:39:40.040 --> 0:39:42.600
<v Speaker 1>kind of democratizes the form a bit too, for it does,

0:39:42.920 --> 0:39:47.000
<v Speaker 1>and you know, I mean, it's really about what's going on?

0:39:47.120 --> 0:39:48.839
<v Speaker 1>And I mean it's great if you can have those

0:39:48.880 --> 0:39:52.160
<v Speaker 1>beautiful images and it's pristine, you know, whatever you want,

0:39:52.280 --> 0:39:55.719
<v Speaker 1>you know the effects that you want. Um. But but

0:39:55.800 --> 0:39:58.640
<v Speaker 1>it's really about what's going on inside the camp. You know,

0:39:58.719 --> 0:40:00.799
<v Speaker 1>what's going on, what's the story going on in there?

0:40:00.800 --> 0:40:04.440
<v Speaker 1>What are you telling? What's happening in the actor's eyes? What? Um?

0:40:04.600 --> 0:40:09.240
<v Speaker 1>So that um? You know, I think that the means

0:40:10.320 --> 0:40:13.919
<v Speaker 1>or the opportunity for anybody, even an enterprising college kid,

0:40:14.000 --> 0:40:17.880
<v Speaker 1>to make a masterpiece now on an iPhone, it is possible.

0:40:19.120 --> 0:40:21.719
<v Speaker 1>I just need a couple of those I touched on

0:40:21.760 --> 0:40:23.960
<v Speaker 1>this and I'm not going to belabor the point. But

0:40:24.719 --> 0:40:27.680
<v Speaker 1>we find ourselves often in a kind of art versus

0:40:27.760 --> 0:40:31.680
<v Speaker 1>artist debate, separating the art from the artist. Uh. You know,

0:40:31.719 --> 0:40:34.000
<v Speaker 1>I think that Nate Parker this year is dealing with

0:40:34.520 --> 0:40:36.280
<v Speaker 1>you know, there's people who feel like they can't support

0:40:36.360 --> 0:40:39.040
<v Speaker 1>him or see his film. And there's people that feel

0:40:39.040 --> 0:40:41.840
<v Speaker 1>like they can't support you or see your films after

0:40:41.920 --> 0:40:44.279
<v Speaker 1>your history, And I'm just c what is it do

0:40:44.320 --> 0:40:47.200
<v Speaker 1>you think that? Just be clear about what do you

0:40:47.239 --> 0:40:49.239
<v Speaker 1>think it is that? What do I think? What is

0:40:49.440 --> 0:40:52.080
<v Speaker 1>that that would make people not support my film after

0:40:52.120 --> 0:40:54.600
<v Speaker 1>my history, like what aspects. But I can't speak to

0:40:54.680 --> 0:40:56.200
<v Speaker 1>the to to why they would feel that. I mean,

0:40:56.200 --> 0:40:58.200
<v Speaker 1>I'm talking about your two thousand and six episode and

0:40:58.560 --> 0:41:01.400
<v Speaker 1>in the slur and whatnot that we're caught on camera

0:41:01.640 --> 0:41:04.560
<v Speaker 1>and I mean on microphone. And again I don't want

0:41:04.560 --> 0:41:06.839
<v Speaker 1>to be labor The point my question to you is

0:41:07.040 --> 0:41:09.480
<v Speaker 1>how do you respond to that? How do you process that?

0:41:09.600 --> 0:41:12.040
<v Speaker 1>Is it something you just write off and figure you

0:41:12.080 --> 0:41:15.160
<v Speaker 1>can't control it? Or do you doesn't make you feel

0:41:15.280 --> 0:41:18.600
<v Speaker 1>as if you want to change perspectives all the more? Well,

0:41:18.640 --> 0:41:21.319
<v Speaker 1>that's pretty old stuff. It's ten years old. It's an

0:41:21.400 --> 0:41:26.080
<v Speaker 1>unfortunate incident. I was loaded and angry and arrested, you know,

0:41:26.719 --> 0:41:31.440
<v Speaker 1>so you know, these things happen. I was recorded illegally

0:41:31.680 --> 0:41:34.960
<v Speaker 1>by an unscrupulous police officer who was never prosecuted for

0:41:35.000 --> 0:41:39.719
<v Speaker 1>that crime, and then it was made public by him

0:41:39.880 --> 0:41:44.359
<v Speaker 1>for profit and by you know, members of we'll call

0:41:44.400 --> 0:41:49.720
<v Speaker 1>it the press. Uh. You know, So I'm not fair, Okay,

0:41:49.719 --> 0:41:53.160
<v Speaker 1>So I guess as who I am, I'm not allowed

0:41:53.160 --> 0:41:55.960
<v Speaker 1>to have a nervous breakdown ever, especially when the you know,

0:41:56.040 --> 0:41:58.160
<v Speaker 1>when the pressure is great, and the pressure was great,

0:41:58.239 --> 0:42:01.319
<v Speaker 1>you know, but and years have elapsed. This is an

0:42:01.320 --> 0:42:04.879
<v Speaker 1>old story, my friend, and old I've forgotten it. I've

0:42:04.880 --> 0:42:11.440
<v Speaker 1>forgiven now whether I've been forgiven not for what? For what? Really?

0:42:11.600 --> 0:42:14.160
<v Speaker 1>Forgetting lowd and saying some stupid stuff that people put

0:42:14.160 --> 0:42:16.960
<v Speaker 1>on micro now I apologize for it. Has the apology

0:42:17.000 --> 0:42:20.040
<v Speaker 1>been accepted? I don't know, But that's not my job.

0:42:20.120 --> 0:42:24.640
<v Speaker 1>I made it. Uh. Ten years have gone by, I'm

0:42:24.680 --> 0:42:28.920
<v Speaker 1>feeling good, I'm much better sober, all that kind of stuff,

0:42:29.160 --> 0:42:31.160
<v Speaker 1>and for me, it's a dim thing in the past.

0:42:31.280 --> 0:42:33.239
<v Speaker 1>But others bring it up, which kind of I find

0:42:33.280 --> 0:42:37.120
<v Speaker 1>annoying because I don't understand why after ten years it's

0:42:37.160 --> 0:42:40.680
<v Speaker 1>any kind of issue. Um. Surely, if I was really

0:42:40.719 --> 0:42:46.000
<v Speaker 1>what they say, I was some kind of hater, you know, Um,

0:42:46.120 --> 0:42:49.239
<v Speaker 1>there'd be evidence of actions somewhere. There never has been.

0:42:49.280 --> 0:42:53.759
<v Speaker 1>I've never discriminated against anyone or done anything that sort

0:42:53.760 --> 0:42:58.960
<v Speaker 1>of supports that reputation, you know. And for one episode

0:42:59.440 --> 0:43:01.800
<v Speaker 1>in the back of a police car on a double

0:43:01.840 --> 0:43:05.959
<v Speaker 1>tequilas to sort of dictate all the work, life's work

0:43:06.040 --> 0:43:08.600
<v Speaker 1>and beliefs and everything else that I have and maintain

0:43:09.440 --> 0:43:13.640
<v Speaker 1>for my life is really unfair. But some people talk,

0:43:13.719 --> 0:43:15.520
<v Speaker 1>you know, they took it upon themselves to sort of

0:43:15.560 --> 0:43:18.400
<v Speaker 1>have a crucifixion. So there you go. I understand, and

0:43:19.280 --> 0:43:21.839
<v Speaker 1>I'll just I've talked more about this with you than

0:43:21.880 --> 0:43:27.439
<v Speaker 1>with anyone else. But it's like, you know, that's that's

0:43:27.440 --> 0:43:29.680
<v Speaker 1>where I'm at. I'm in a better place. I'm healthy,

0:43:29.719 --> 0:43:33.279
<v Speaker 1>I'm happy. I got you know, family members that I

0:43:33.360 --> 0:43:35.440
<v Speaker 1>love and support. They love and support me. And I

0:43:35.440 --> 0:43:39.520
<v Speaker 1>have many friends, um, and many friends in the industry,

0:43:39.560 --> 0:43:43.000
<v Speaker 1>but they were always there. Um. Well, again, the reason

0:43:43.040 --> 0:43:44.440
<v Speaker 1>I bring it up is just this idea of the

0:43:44.520 --> 0:43:46.560
<v Speaker 1>art versus the artist. I feel. I feel very strongly

0:43:46.560 --> 0:43:49.440
<v Speaker 1>that if you feel strongly about the actions of someone,

0:43:49.560 --> 0:43:51.520
<v Speaker 1>that should not bleed into how you feel about the

0:43:51.600 --> 0:43:54.840
<v Speaker 1>art that they've potentially created. Well, that's true also, and

0:43:55.160 --> 0:43:59.960
<v Speaker 1>I think, uh, the art that they create, um speaks

0:44:00.040 --> 0:44:03.600
<v Speaker 1>loud to do who that person is. Um. You know,

0:44:03.960 --> 0:44:06.120
<v Speaker 1>people say, oh, let's say what you will about this

0:44:06.200 --> 0:44:08.960
<v Speaker 1>piece of you know shit, he made a great movie.

0:44:09.000 --> 0:44:13.560
<v Speaker 1>Well that doesn't make sense, you know, because i'd make

0:44:13.600 --> 0:44:15.640
<v Speaker 1>a piece of ship movie. You know, I hear you,

0:44:15.719 --> 0:44:18.719
<v Speaker 1>and I don't think I have. I'll end on a

0:44:18.800 --> 0:44:23.520
<v Speaker 1>lighter note, which is uh leathal weapon is uh, you know,

0:44:24.080 --> 0:44:28.160
<v Speaker 1>looms large Martin Riggs. Amazing character that you brought four

0:44:28.440 --> 0:44:31.239
<v Speaker 1>in the property has taken on life again. It's a

0:44:31.280 --> 0:44:33.719
<v Speaker 1>TV show. Have you seen the show? I haven't got

0:44:33.719 --> 0:44:37.920
<v Speaker 1>a chance. I don't wanna. Yeah, they've taken the procedural

0:44:38.000 --> 0:44:40.120
<v Speaker 1>route with it, you know, so it's like me like,

0:44:40.200 --> 0:44:44.280
<v Speaker 1>you know, here's the crime of the week on this episode.

0:44:44.360 --> 0:44:46.040
<v Speaker 1>Kind of so it's kind of like what they did

0:44:46.160 --> 0:44:49.200
<v Speaker 1>with Hawaii five. Oh but you know, Shane Black was

0:44:50.000 --> 0:44:52.560
<v Speaker 1>recently over the summer promoting his film and talking about

0:44:52.600 --> 0:44:54.719
<v Speaker 1>what his pitch for Lethal Weapon five would be, which

0:44:54.760 --> 0:44:56.520
<v Speaker 1>I thought sounded kind of cool. It's like you guys

0:44:56.520 --> 0:44:59.600
<v Speaker 1>in a blizzard in New York or whatever. My question

0:44:59.640 --> 0:45:01.880
<v Speaker 1>as a and of the franchise and the characters, is

0:45:01.920 --> 0:45:04.600
<v Speaker 1>that something that we can at all hope for or

0:45:04.640 --> 0:45:07.600
<v Speaker 1>do you think that that chapter is Definitely I think

0:45:07.640 --> 0:45:10.080
<v Speaker 1>it's a cool idea. Yeah, you know, and I like

0:45:10.200 --> 0:45:12.799
<v Speaker 1>the idea of Shane doing it, you know, but I

0:45:12.840 --> 0:45:16.279
<v Speaker 1>wonder about Donner, you know, be Gooder to get him back?

0:45:16.320 --> 0:45:19.040
<v Speaker 1>Well yeah, little he directed all those things, and I

0:45:19.120 --> 0:45:21.919
<v Speaker 1>kind of was like wondering, Hey, where's Donner and all this? So,

0:45:22.040 --> 0:45:23.799
<v Speaker 1>you know, we need we need to get that guy

0:45:23.840 --> 0:45:28.520
<v Speaker 1>back behind the camera. Um. But but yeah, it's a

0:45:28.520 --> 0:45:32.040
<v Speaker 1>cool idea, I think, uh, I think maybe Warner Brothers

0:45:32.040 --> 0:45:34.080
<v Speaker 1>are kind of is it warners that put the TV

0:45:34.200 --> 0:45:38.360
<v Speaker 1>thing out? Is that I don't know actually TV Fox, Okay,

0:45:38.560 --> 0:45:41.840
<v Speaker 1>you know, I hope they make a buck. Yeah, I

0:45:41.880 --> 0:45:43.239
<v Speaker 1>don't know. I haven't seen it. What's it like? Is

0:45:43.239 --> 0:45:46.000
<v Speaker 1>it good? You know? I'm glad Damon Wayne's is working.

0:45:46.000 --> 0:45:49.000
<v Speaker 1>I'll put it that way. Damon and he's funny. Is

0:45:49.000 --> 0:45:51.600
<v Speaker 1>he funny? He's funny. I saw the pilot, that's all

0:45:51.600 --> 0:45:53.840
<v Speaker 1>I saw, and he was good. And it's they'll have

0:45:53.880 --> 0:45:56.000
<v Speaker 1>a good character dynamic. I think these characters are strong

0:45:56.080 --> 0:45:58.480
<v Speaker 1>enough that any two good actors that play them, they're

0:45:58.480 --> 0:46:01.880
<v Speaker 1>going to have a fun on camera relationship. So hopefully

0:46:01.920 --> 0:46:04.600
<v Speaker 1>we'll get lead the Weapon five with you soon. Uh

0:46:04.840 --> 0:46:08.000
<v Speaker 1>So again, the movie is hacks All Ridge opens November four,

0:46:08.600 --> 0:46:10.279
<v Speaker 1>and so everyone goes see it. It's a great movie

0:46:10.320 --> 0:46:12.200
<v Speaker 1>and we're happy to have you back in the director's chair. Sir.

0:46:12.239 --> 0:46:13.920
<v Speaker 1>Thank you for coming onto the show. I appreciate it.

0:46:22.440 --> 0:46:25.160
<v Speaker 1>Thanks again for listening. Everyone, don't forget to subscribe and

0:46:25.239 --> 0:46:27.279
<v Speaker 1>check back next week when I'll be talking to MS

0:46:27.280 --> 0:46:31.319
<v Speaker 1>Sloane star Jessica Chastain. You've been listening to playback at

0:46:31.400 --> 0:46:43.440
<v Speaker 1>Variety