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Speaker 1: All right, this is the I M Wrap PORP podcast.

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Speaker 1: I have Juliet. I want to tell you, I have

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Speaker 1: Juliet Lewis in the room in the studio. Isn't in

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Speaker 1: a fancy studio this place? You know, this is such

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Speaker 1: a studio where I would get in my bikini and

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Speaker 1: go jump in your pool. That's what the fun we're

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Speaker 1: trying to get going on over here, Julia. So Juliette,

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Speaker 1: have you? First of all, all right, this is the

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Speaker 1: I Am Wrapped Poor podcast. And when I started the podcast,

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Speaker 1: I said in the beginning different people I wanted to interview.

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Speaker 1: When I was like, I want to interview Robert Nero,

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Speaker 1: Joe Pesci, al Pacino, Alan Iverson, and I was like,

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Speaker 1: this is turning into a sausage fest. And the first

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Speaker 1: woman that I said was Juliet Lewis. Yeah, I said,

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Speaker 1: I wanted to interview you. Now I've known you, We've

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Speaker 1: been friends. I was thinking about this in the car

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Speaker 1: on the Platonic Friends for like fifteen years almost. I was, yeah,

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Speaker 1: way back in this day, like nine at like ninety

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Speaker 1: eve before. Well, you know what do you remember when

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Speaker 1: we first met? It was the movie what's that movie?

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Speaker 1: It made more of an impression on me than it

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Speaker 1: made on you. That when we first met, I was

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Speaker 1: filming a movie called True Romance. Yeah, I was right

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Speaker 1: True Romance with Brad Pitt and Christians Later and all

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Speaker 1: those people, and he was like, my ladies getting ready

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Speaker 1: to come, and I was like, who fun? You know,

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Speaker 1: it was like and then you showed up and it

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Speaker 1: was like, oh, you visited the set, and I was like,

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Speaker 1: and I had just seen No, I didn't see California yet.

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Speaker 1: I had seen Cape Fear and California was coming out,

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Speaker 1: and I was already sucking out of my mind doing

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Speaker 1: that movie because it was like I was in True Romance,

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Speaker 1: and it was like for me, it was like Brad Pitt,

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Speaker 1: Christians Slater, Dennis Hopper, Christopher Walking Tart, Tarantino, Big Tarantino,

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Speaker 1: and Tony Scott. And then you show up on the

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Speaker 1: set and like Brad Pitt was famous, but he wasn't

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Speaker 1: Brad Pitt, but you knew he was special, Like you

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Speaker 1: knew he was going to be a big star. But

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Speaker 1: I had I had been fun with you since vacation Christmas.

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Speaker 1: But then CAPE feel like I didn't correlate, you know,

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Speaker 1: correlate the chick from Vacation was the chick from Cape Fear.

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Speaker 1: But then a few days later, you guys invited me

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Speaker 1: or Brett Brad loved you. That. That's all I remember

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Speaker 1: is that that's when my first getting to know you

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Speaker 1: was he said, I have to meet you. That that

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Speaker 1: you're kind of who he bonded with on the set

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Speaker 1: that movie. Yeah, And and then I went to go

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Speaker 1: see California, oh yeah, screening, and it bugged me the

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Speaker 1: fuck out. That movie bugged me out because like at

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Speaker 1: the time, I mean when when I first saw that movie,

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Speaker 1: like I think at the time like an independent films

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Speaker 1: and like those kinds of performance and that kind of violence.

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Speaker 1: You didn't see that kind of violence in movies, particularly

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Speaker 1: you know, as graphic and as roy It wasn't it

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Speaker 1: was sexual, And I was like, damn, it was like

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Speaker 1: it was a kind of a disturbing movie to see. Well,

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Speaker 1: here's a trip about certain movies is it's you're getting

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Speaker 1: to know these characters and you know something dark is brewing,

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Speaker 1: but so it's not gratuitous violence. If you remember in

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Speaker 1: that movie California, towards the end is when early you

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Speaker 1: know Brad Pitt's character gets violent. And then the couple

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Speaker 1: which is um Dicutney and Michelle. Why am I forgetting

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Speaker 1: her lesson the dark hair? She's good? Yeah, yeah, she's beautiful,

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Speaker 1: beautiful actress. Um. But they're taking pictures that are very graphic.

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Speaker 1: But the whole thing is not much violence, and except

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Speaker 1: for towards the end, but you know it's imminent, so

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Speaker 1: it has that that doomed to it, so it's different

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Speaker 1: than the gratuitous kind of vibe. And then and then

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Speaker 1: it was also Brad's first time playing something that dark,

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Speaker 1: and I think that was exciting for people to say, yeah,

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Speaker 1: and it was exciting for people to see, but alone

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Speaker 1: from then it was Brad Pitt was the performance Like

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Speaker 1: that performance was like fucking dark and like the two

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Speaker 1: of you, like I remember, like I mean like like

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Speaker 1: the sex, like one time you were like sex in

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Speaker 1: the car and like he's looking at date and I

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Speaker 1: was like this is it was? It was. It was

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Speaker 1: bugged out for me from my perspective, I'm like in

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Speaker 1: the land of Adele and her that's like a childlike mine.

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Speaker 1: So I hear you. It was like when people saw

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Speaker 1: Cape here and they're like, oh my god, your character

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Speaker 1: and the sexual and you know, the sexuality, and all

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Speaker 1: of a sudden, I'm like, what, I'm just playing the

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Speaker 1: part of that girl, So I don't look at it

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Speaker 1: in the in the objective, you know, the way that

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Speaker 1: everybody else sees it. Yeah, well it was We're gonna

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Speaker 1: get to all that. We're gonna get to all that

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Speaker 1: ship all right, because you you you you were, like

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Speaker 1: I said, you were one of the first female I said,

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Speaker 1: I want to interview. Now. I haven't gotten to de Niro, Pacino,

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Speaker 1: none of those guys have showed up yet, so you're

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Speaker 1: the first one I got. But you were still in

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Speaker 1: that first list. So I'm gonna just throw these throw

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Speaker 1: these things at you when you get recognized. Do you

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Speaker 1: what probably what's this is the question I get asked, Like,

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Speaker 1: what's probably the because you've done iconic shit? Like I know,

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Speaker 1: to you, like, no, it's just a movie. When's the

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Speaker 1: next iconic shit? But like you've done, you've done iconic

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Speaker 1: like you've done. Like when I was going over the

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Speaker 1: list of things, you like, you've done like four or

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Speaker 1: five iconic roles and iconic movies. That's more than some

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Speaker 1: people doing a whole fucking career. Like that's real ship

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Speaker 1: and even like you know, like even when you go

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Speaker 1: back and like fucking Christmas Vacation that's iconic. No, that's

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Speaker 1: not like something you like, that's my best work, but

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Speaker 1: it's still a movie that it spans the test that

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Speaker 1: weird when you when you've you know, been around for

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Speaker 1: a couple of decades and you look back because I

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Speaker 1: had a run. I had to run. That part of it.

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Speaker 1: I can't say I had any you know, his luck

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Speaker 1: luck of the is timing and these other things. But

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Speaker 1: the other part is what I gravitated towards and what

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Speaker 1: and the people that validated and chose me and got

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Speaker 1: lit up by me, which is a Scorsese, Oliver Stone,

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Speaker 1: Losso Holstrom, even Catherine Bigelow for Strange Days. And some

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Speaker 1: of these movies didn't hit at the time and they

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Speaker 1: hit later, like even What's Eating Gilbert Grape that wasn't

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Speaker 1: All these things kind of became their own thing after

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Speaker 1: the fact, and Natural warn Killers continues to be its

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Speaker 1: own thing. I mean, I'm still shocked when teenagers today,

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Speaker 1: like my friend was my man was just telling me.

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Speaker 1: He was like, no, that's something that every generation kind

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Speaker 1: of cuts their teeth on watches some Natural warn Killers,

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Speaker 1: I guess. But but uh so I look back and

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Speaker 1: I have this pride. You know, I'm really proud about

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Speaker 1: it that that's that that happened. Um but uh oh,

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Speaker 1: so you're gonna ask what am I most recognized. It's

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Speaker 1: so even it is across the board. It's not what

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Speaker 1: you'd think, like just I know, Natural warn Killers is

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Speaker 1: a big deal to people because people don't necessarily that

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Speaker 1: don't often see women, uh play in those tones. Yeah, which,

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Speaker 1: by the way, I have a story about your buck

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Speaker 1: wild sentence. I had the greatest story. I've been quoting

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Speaker 1: you all week, all right, because you were getting ready

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Speaker 1: for this. Yes, well no, before we were going to

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Speaker 1: do the podcast. Should I digress? And sorry? Okay? So,

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Speaker 1: um my, man, I have a boyfriend. I threw him

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Speaker 1: a birthday dinner, right, and I'd never thrown It was

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Speaker 1: an intimate birthday dinner with all his friends, just his friends.

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Speaker 1: It was small. I was you know, I was nervous,

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Speaker 1: and I wanted to do right by him. I have

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Speaker 1: it be nice. So in my mind, I'm like, I know,

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Speaker 1: I have to do a toast at some point in

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Speaker 1: the thing. And so what And I was like, how

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Speaker 1: will I teat someone? Want to keep it short, you know,

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Speaker 1: I don't want to be too you know, steal the

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Speaker 1: floor in front of his friends. I want his friends

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Speaker 1: to say stuff. And I told him this later. I

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Speaker 1: never said this sentence, but every toast I imagine myself

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Speaker 1: giving him ended with the sentence. And to quote my

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Speaker 1: friend Mike Rapp, report your fuck styles, buck Wild, that's

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Speaker 1: what the funk up saying. So did you did you

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Speaker 1: toast him? Did you fuck? No? I didn't say that.

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Speaker 1: Did you say that to him? I said it? He

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Speaker 1: would be complimenting. I said it. I didn't have the

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Speaker 1: nerve to say it in front of all his friends,

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Speaker 1: even though that's where you wanted said. But I told

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Speaker 1: him in the car that that's what I wanted to say.

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Speaker 1: And to quote Mike Rapp, report your fuck styles. And

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Speaker 1: I've only ever heard you say that ship and I'm

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Speaker 1: on it. I'm a patent on that you should have

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Speaker 1: at your fox styles, buck Watch. I didn't make it.

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Speaker 1: A friend of mine said it a friend of mine.

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Speaker 1: It's it's good, right, and it says so much, you know,

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Speaker 1: like it gets so so much across the board, Like

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Speaker 1: it's just like you don't need to say much more.

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Speaker 1: That should be like a standard quote, like like a

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Speaker 1: like a toast, that's a fule. I appreciate that putting

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Speaker 1: your name in it, right, And then he's like what

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Speaker 1: the fun? Then then it's like wait, why why is what?

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Speaker 1: What's Mike Robinforts saying that ship? And then why did

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Speaker 1: he say that to you? But but but to tell

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Speaker 1: anonymous Juliet Lewis's man Me and Jules Lewis, and I

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Speaker 1: say this, like I consider you a friend like me

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Speaker 1: and you were like friends four thousand percent plutonic. We

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Speaker 1: we I think our bonding moment. And then we're gonna

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Speaker 1: make this about you because you know people people might

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Speaker 1: want to hear, like about we went to the Rolling Stones,

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Speaker 1: Like it is a huge moment for me. You you were,

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Speaker 1: You've been such a friend on so many levels. But yeah,

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Speaker 1: I don't know if you remember, but when I got

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Speaker 1: famous early on, I used to get panted and you

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Speaker 1: you like held my hand through that experience. It's Dodger

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Speaker 1: Stadium going to the Stones, that was a Catharsis for me.

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Speaker 1: That goes down as a huge turning point in my

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Speaker 1: Panic history. Um where we I could stand on the

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Speaker 1: ground floor and be a fan of the stones in

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Speaker 1: it like helped cure me of this this crazy I

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Speaker 1: used to get crazy panic attacks. But you were there

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Speaker 1: with me. I remember that. But the thing about you know,

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Speaker 1: like with you being a girl and and particularly at

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Speaker 1: that time and when when you were I mean you're

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Speaker 1: still very recognizable, but the kind of recognizable that you

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Speaker 1: were then let's just say the natural born killers recognize

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Speaker 1: like people used to. I remember people used to come

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Speaker 1: up to you extra hyped and like with a lot

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Speaker 1: of energy. So I don't know if the panic attacks

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Speaker 1: were you would have had him if you had been

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Speaker 1: on a soap opera, Yeah, I think I would have

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Speaker 1: had him. I was so introverted at that time, just

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Speaker 1: any extra but I was like two hit parts because

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Speaker 1: you saw me wild and funny. So I was like

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Speaker 1: introverted in public but extroverted with my friends. So I

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Speaker 1: was just But I do remember people coming up to you, like,

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Speaker 1: you know, like they were like get to you, like

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Speaker 1: you know, would be dudes and and and women, and

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Speaker 1: it would be like they would be like you know

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Speaker 1: it really not just excited to see you, like you

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Speaker 1: know they're seeing like they were like you know, like, yeah,

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Speaker 1: maybe it was little, it was the extra extra it

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Speaker 1: was it was it was that kind of like that ship,

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Speaker 1: that crazy zone, that crazy but like, you know, because

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Speaker 1: those movies were so you know, like the high stakes movies.

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Speaker 1: They had such intensity because even if I if I

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Speaker 1: wasn't the um what's the word not predator, even if

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Speaker 1: I wasn't the the aggressor like in Cape Fear, it's

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Speaker 1: all it's all de Niro, but the genre of it,

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Speaker 1: it turns on people's emotions really strong. And there was

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Speaker 1: a sexuality, but an inadvertent because this was this is

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Speaker 1: one thing that I was thinking about when I was

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Speaker 1: going to interview you, because it's a different although we

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Speaker 1: talked like this kind of but like when yeah you do,

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Speaker 1: you always are like yeah, but gone, no. But when

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Speaker 1: I was thinking about interview, like when I was thinking

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Speaker 1: about you as an actress and like what makes you

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Speaker 1: interesting as an actress? So why did I say Alan

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Speaker 1: Iverson and then Juliet Lewis as far as people I

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Speaker 1: want to interview, and I was like, there's never going

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Speaker 1: to be like, no one can bite your style as

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Speaker 1: an actress because what you brought to the game as

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Speaker 1: a female was so unique, and it was so it

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Speaker 1: was just like it was just something that you had.

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Speaker 1: It's an energy, like I think like acting is an energy,

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Speaker 1: like Christopher Walking has an energy. Everybody, everybody has their

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Speaker 1: own energy. But for you, as a female, there was

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Speaker 1: like this this energy and there was a sexuality, but

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Speaker 1: not like with any show. Have you ever showed you

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Speaker 1: titties on on screen? Well in a goofy way like

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Speaker 1: in California, but or in strange here. I had a

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Speaker 1: rule actually because dig this. There was a couple of scenes,

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Speaker 1: see my thing. Because American cinema is so crazy about sex.

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Speaker 1: I would do a full scene if I was talking

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Speaker 1: to my mom on the phone pizza. But I'm not

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Speaker 1: gonna show my tents if it's a having scene, you see,

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Speaker 1: because because it's so played, that's all they write on

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Speaker 1: out here in out here in America, in the States.

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Speaker 1: So but I love naturalism and I love realism. So

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Speaker 1: so to answer your question, like Nachur Warring Killers and

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Speaker 1: Strange Days, they were both written where I was supposed

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Speaker 1: to be nude during a sex scene and I said,

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Speaker 1: I'm sorry, you gotta have our clothes because I can't.

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Speaker 1: I just didn't want to do. It's just too much.

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Speaker 1: It's too I didn't want to be exposed in that way.

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Speaker 1: And um, yeah, you never showed vj on on camera.

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Speaker 1: I did this French film. I know I wore American,

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Speaker 1: but I was underwater American. For people who don't know,

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Speaker 1: it's like fake, it's a patch than Yeah, it was

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Speaker 1: this beautiful art film. I'm swimming underwater. That doesn't count.

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Speaker 1: So I'm naked underwater. But no, I've never done like

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Speaker 1: graphic sex scenes nude. You don't really see Va Gianus

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Speaker 1: too much. I don't want to see. You don't what

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Speaker 1: I like. Here's what I like. I like if you

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Speaker 1: literally focused on mouths or literally like sweat on skin,

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Speaker 1: like there's so much stuff that could be sexy. We

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Speaker 1: agree just what it is. I agree. We don't need

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Speaker 1: to show loafs like you know, like my loaf. I

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Speaker 1: don't need to show my loaf. You don't need any handlebars,

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Speaker 1: any love handles. You know, I'm saying your loaf like

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Speaker 1: I got. You're talking about your like gut. I'm talking

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Speaker 1: about you know what I can do. You have to

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Speaker 1: say I'm a fan of male nudity and you want

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Speaker 1: to see some loaf't hilarious. Yeah, but you mean in

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Speaker 1: sexual and sexuality or in terms. So you're saying you

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Speaker 1: want to see loafs, but you don't want to probably not.

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Speaker 1: I don't need to see I don't want to see

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Speaker 1: these things. If I want to see that, I got

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Speaker 1: my Internet. I like energy exchange, I like tension and

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Speaker 1: all these other things that play out in sexuality that

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Speaker 1: have nothing to do with orifices and organs. Absolutely all right,

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Speaker 1: Now I'm gonna go right to it because I don't

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Speaker 1: want to be like I gotta go I gotta meet

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Speaker 1: my sister. You don't you don't have your coffee. I

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Speaker 1: don't want you get in shape. Thing you got some

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Speaker 1: is this fun that we're talking and then other people

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Speaker 1: are going to listen to. Other people are gonna listen

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Speaker 1: and there, and they're either going to be bored to

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Speaker 1: fucking tears. They're gonna be here too. Yellers. Yeah, but

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Speaker 1: you're not. You're not really a yeller though, right, we

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Speaker 1: were yelling a little bit like it since twenty seconds ago. Fun,

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Speaker 1: all right, whatever, bring about Yeah, yeah, we'll mix it.

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Speaker 1: We'll put it in a mix. Well, make it seems

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Speaker 1: like we're calm people. All Right, So I'm gonna jump

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Speaker 1: jump right into my first question, which is Cape Fear

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Speaker 1: like you had done a TV movie? What was the

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Speaker 1: name of the TV movie you did? Too Young to Die,

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Speaker 1: which was really fucking good with Brad Pitt right with

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Speaker 1: Mr Pitt and you kicked asking that. It was a

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Speaker 1: huge turning point for both of us because he was

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Speaker 1: just coming from Dallas TV show like a soap opera.

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Speaker 1: I was coming from Sitcom's in the late eighties that

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Speaker 1: show no dramatic and you're kids and I'm a kid

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Speaker 1: sixteen that got the attention of DeNiro and Scorsese when

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Speaker 1: when they were casting. Yes, and here's the funny story,

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Speaker 1: um that they told me after the fact, I was

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Speaker 1: the first girl they met on UM out of five hundred.

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Speaker 1: They went all around the States to find this girl

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Speaker 1: who could play opposite de Niro, you know, and do

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Speaker 1: these intense, layered scenes because he's not just a villain.

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Speaker 1: And then she's like a little baby bunny and he

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Speaker 1: scares her. There's an exchange, there's all kinds of cerebral

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Speaker 1: and there's a dance that goes on in that main

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Speaker 1: scene in the auditorium, and so they're looking for somebody,

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Speaker 1: you know, who could hold that with him and do

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Speaker 1: that dance. And and so I met with him in

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Speaker 1: the Beverly Hills Hotel, just me and DeNiro. He was

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Speaker 1: watching TV, and I guess that the and I set

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Speaker 1: it up. It was all like could I hang with him?

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Speaker 1: Could I say hello? Could? I was? And that's the

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Speaker 1: thing about me. Then, I was such a dichotomy because

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Speaker 1: I was living on my own. I was, but it

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Speaker 1: was in a grown up relationship. Yet I was still

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Speaker 1: a teenager, so I had all that stuff that wouldn't

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Speaker 1: be able to play that part. And contrary to what

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Speaker 1: people thought, I wasn't that girl. They thought they thought

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Speaker 1: that's what my mentality was. And then that Scorsese just

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Speaker 1: discovered me, which you know, it was true to some extent.

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Speaker 1: But I wasn't that girl. I was, you know, acting

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Speaker 1: and knew what I was doing. But um, yeah, that

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Speaker 1: was a trip that they had. They couldn't believe. Oh yeah,

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Speaker 1: Marty told me later he was like, I was like,

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Speaker 1: why did it take two months to hire me? And

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Speaker 1: I kept going back and and auditioning, auditioning, and he

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Speaker 1: said they could not believe the first girl they saw

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Speaker 1: was the girl. They couldn't believe it. They kept looking

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Speaker 1: and looking and looking, and then they kept going back

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Speaker 1: to me, and uh, I just remember they kept telling me,

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Speaker 1: you know, I met them in New York. Because when

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Speaker 1: I first met with scenario Is in the hotel and

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Speaker 1: we just had a meeting conversation your seventeen six You're sixteen.

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Speaker 1: I was seventeen. And what did Robert de Niroll mean

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Speaker 1: to you at the time, because because like if you're

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Speaker 1: seventeen year ago, you're not like Raging Bull good Fellas,

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Speaker 1: Like what did he mean to you at the time?

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Speaker 1: Was he just an actor? Was like just some old guy.

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Speaker 1: He it was perfect because he I didn't know what

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Speaker 1: he meant to American cinema. I wasn't versed in it.

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Speaker 1: So all I knew where my agents were excited about

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Speaker 1: it and what they told me, like this is a

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Speaker 1: really big opportunity. So I knew that much. And then

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Speaker 1: only later after I got the job, I watched a

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Speaker 1: taxi driver Goodfellas and stuff like that. I think I

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Speaker 1: actually had seen or I saw good Fellas in the

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Speaker 1: auditioning process, so I knew, but that's all I knew about. Oh,

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Speaker 1: I was just regular nerves going in for a job audition,

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Speaker 1: and I remember, you know, I was not very articulate

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Speaker 1: at seven year seventeen. So and and Bob DeNiro nobody

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Speaker 1: knows much about him, but he is not articulate. So

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Speaker 1: it was like two introverts meeting. But he did help

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Speaker 1: hold the conversation. And there was some political thing that

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Speaker 1: was happening, so the news was on, and he just

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Speaker 1: sort of asked me about, yeah, some topical questions and

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Speaker 1: I just sort of bluffed my way through, and there

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Speaker 1: was just an energy and attention and then and so

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Speaker 1: I passed that phase. It was just like a twenty

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Speaker 1: minute meeting. And then and then went to New York

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Speaker 1: and did the auditioning phase. And when you and so

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Speaker 1: I know, it's a long time ago, and I know

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Speaker 1: like that I imagine that, you know, like for you

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Speaker 1: it's I mean, it's it's like you can't remember every

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Speaker 1: single detail of what the shoot was like, but like

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Speaker 1: comparing that experience to like stuff you know so much

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Speaker 1: more now about in filmmaking, But what do you remember,

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Speaker 1: like what stuck out to you now about like that

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Speaker 1: film that was different? It's well, it's so funny and

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Speaker 1: you know this because as we grow older, you and

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Speaker 1: it sucks that you don't what is they what do

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Speaker 1: they say? Youth has waisted on the young because at

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Speaker 1: the time you don't know what to appreciate and what

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Speaker 1: to be grateful for. And but what I do remember

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Speaker 1: is Marty's enthusiasm. The second you walked on set from

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Speaker 1: seven am to eight pm, he had the same energy

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Speaker 1: and it was as if, uh like a ten year

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Speaker 1: old lit up by cinema was making the movie. But

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Speaker 1: I mean in the enthusiasm. Of course, he's brilliant, and

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Speaker 1: he knew how he was gonna shot it, shoot it.

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Speaker 1: But I remember we were doing scenes where he was

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Speaker 1: doing all these close ups of the door locking and

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Speaker 1: to create tension and suspense, and he was so lit

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Speaker 1: up about the shots and how that's going to affect

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Speaker 1: the audience as well as when me and Bob did

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Speaker 1: the scene in the auditorium. He at that time he

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Speaker 1: was it was electric. It was electric. And I didn't

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Speaker 1: know why or how. I just I just prepared and

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Speaker 1: and did I call it the tango, the emotional tango,

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Speaker 1: because that's what that scene was. Um. But he was

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Speaker 1: so integral to my growth as a creative as an

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Speaker 1: artist as an actress. He validated my instincts. At that time.

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Speaker 1: I was just raw and all the intuition. And when

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Speaker 1: I did sitcoms, they tried to make me conform to

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Speaker 1: bad Oh my god, I was naturalism and they're like

401
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Speaker 1: trying to get me to do this other thing at

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Speaker 1: the time. And then I worked with Marty and he's

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Speaker 1: just like setting me free, you know, let me, letting

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Speaker 1: me do what I do, which was really internal, quiet,

405
00:21:53,320 --> 00:21:57,000
Speaker 1: complicated stuff, and and and all right, because I wanted

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Speaker 1: to Obviously, I have to talk to you about the scene.

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Speaker 1: I know you've talked about it many but no, you

408
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Speaker 1: haven't talked about it on the Iron Rappapor podcast, which

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Speaker 1: is with you, the Iron Rappor podcast. I don't know

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Speaker 1: if you know this, Jewels, it's a fucking worldwide phenomenon.

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Speaker 1: It is. I want it to be super fans of

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Speaker 1: each other. I have to tell everybody. When you do

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Speaker 1: the I Am Juliet Lewis podcast, you have me like

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Speaker 1: you can ask me a questions, Okay, so so let

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00:22:20,680 --> 00:22:23,480
Speaker 1: me just ask you, like, what what about Nicknolty, Because

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Speaker 1: he's such a great, talk about unique, one of a kind,

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Speaker 1: iconic American he's so American, Like what what do you remember?

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Speaker 1: Like he seems like he'd be like he doesn't I'm

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Speaker 1: gonna say, like tough, but he seems like he's like

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Speaker 1: a you know, like he seems like he could be

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Speaker 1: grumpy now he was younger then, yeah he was. You know,

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Speaker 1: here's what it was. I I learned about professionalism from

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Speaker 1: all three of them, from Jessica Lang, de Niro and Nicknolty.

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Speaker 1: Just what in terms of what they all had such

425
00:22:53,840 --> 00:22:58,280
Speaker 1: a good temperament, like really sweet. So when you mentioned Nicknolty,

426
00:22:58,320 --> 00:23:02,040
Speaker 1: I'm picturing his softness, like how what a kind man

427
00:23:02,160 --> 00:23:07,679
Speaker 1: he was then? And also, um, they're all really we

428
00:23:07,720 --> 00:23:11,160
Speaker 1: had a rehearsal process and they're all asking questions and

429
00:23:11,160 --> 00:23:15,080
Speaker 1: and delving into the part and the relationships and then

430
00:23:15,800 --> 00:23:17,879
Speaker 1: I don't know, they all show up on time. You know,

431
00:23:17,960 --> 00:23:22,040
Speaker 1: there's no egos. They they they just taught me a

432
00:23:22,040 --> 00:23:24,520
Speaker 1: lot of what it is to to make a dramatic

433
00:23:24,600 --> 00:23:28,879
Speaker 1: movie and how to give of yourself, um and be

434
00:23:29,040 --> 00:23:32,400
Speaker 1: kind to others and respectful of the crew. They all

435
00:23:32,440 --> 00:23:37,320
Speaker 1: had that, yet they all worked differently, so so that

436
00:23:37,400 --> 00:23:41,640
Speaker 1: was neat to see Marty direct them because Jessica Lang

437
00:23:41,800 --> 00:23:45,920
Speaker 1: was coming from theater where she kind of does it. Um.

438
00:23:46,480 --> 00:23:48,760
Speaker 1: What he told me was, you know, he wanted me

439
00:23:48,800 --> 00:23:51,280
Speaker 1: to add live off camera. I remember when we did

440
00:23:51,280 --> 00:23:53,560
Speaker 1: this one seemed to kind of to to get a

441
00:23:53,600 --> 00:23:57,760
Speaker 1: different reaction from her. Yeah. Yeah, And I was all

442
00:23:57,800 --> 00:24:00,399
Speaker 1: nervous about that, like what like, you're throwing a different

443
00:24:00,440 --> 00:24:02,560
Speaker 1: line and he wanted me to say something shocking to

444
00:24:02,600 --> 00:24:05,600
Speaker 1: her to get He wanted to get something different. And

445
00:24:05,640 --> 00:24:09,400
Speaker 1: then you have de Niro who is like coming up

446
00:24:09,400 --> 00:24:12,199
Speaker 1: with all. He would do him and Marty together like

447
00:24:12,240 --> 00:24:15,000
Speaker 1: de Niro would. I remember one time I was rehearsing.

448
00:24:15,040 --> 00:24:17,840
Speaker 1: I was talking with Marty and the trailer and He's like,

449
00:24:17,880 --> 00:24:20,080
Speaker 1: I'm going to Bob's trailer next, and I said, okay

450
00:24:20,160 --> 00:24:22,119
Speaker 1: or no, he says, I just came from Bob's trailer.

451
00:24:22,320 --> 00:24:25,240
Speaker 1: There was a gospel singer and they were speaking in tongues,

452
00:24:26,400 --> 00:24:29,199
Speaker 1: and there was an organ player or something all in

453
00:24:29,320 --> 00:24:31,760
Speaker 1: his trailer like this is all going down to prep

454
00:24:31,840 --> 00:24:36,920
Speaker 1: him for Max Katie. And but what's beautiful about Marty's

455
00:24:37,000 --> 00:24:40,879
Speaker 1: he would facilitate whatever each actor needed. He's going to

456
00:24:41,040 --> 00:24:43,959
Speaker 1: give to them and provide or have someone in the

457
00:24:44,000 --> 00:24:49,080
Speaker 1: production provide. And so de Niro's playing a sociopath, is

458
00:24:49,119 --> 00:24:52,159
Speaker 1: doing all this this, uh what did you call it?

459
00:24:52,240 --> 00:24:57,639
Speaker 1: Extant him? Oh, I'm losing a word something because he

460
00:24:57,720 --> 00:24:59,719
Speaker 1: was speaking, he was on that devil ship, was speaking

461
00:24:59,720 --> 00:25:02,520
Speaker 1: in Yeah, the fact that you just said that, Oh,

462
00:25:02,760 --> 00:25:05,440
Speaker 1: I was just in Bob's trailer and he had a

463
00:25:05,640 --> 00:25:09,480
Speaker 1: gospel saying speaking in tongue, give me the goose bumps. Yeah.

464
00:25:09,760 --> 00:25:12,200
Speaker 1: See that's the ship. That's Bob de Nero ship, that's

465
00:25:12,200 --> 00:25:15,399
Speaker 1: Bob Deniers. But dig this. He didn't bring that to

466
00:25:15,560 --> 00:25:20,440
Speaker 1: set right, so then when I worked with him. But yeah,

467
00:25:20,600 --> 00:25:23,400
Speaker 1: because you hear all when you're coming up all about method,

468
00:25:23,520 --> 00:25:25,560
Speaker 1: what method is? And I think we've all heard that

469
00:25:25,680 --> 00:25:29,720
Speaker 1: Dustin Hoffman story. Um in Laurence Olivier, why don't you

470
00:25:29,720 --> 00:25:32,520
Speaker 1: try acting my dear boy or whatever? For those of

471
00:25:32,560 --> 00:25:35,240
Speaker 1: you don't know, it was Dustin Hoffman stayed out all night,

472
00:25:35,240 --> 00:25:36,800
Speaker 1: he was hungover. It was all this, and he was

473
00:25:36,840 --> 00:25:38,720
Speaker 1: walking around with rocks and his shoes to make him

474
00:25:38,720 --> 00:25:41,240
Speaker 1: have a limb because he had to play this scene

475
00:25:41,680 --> 00:25:44,560
Speaker 1: where all those things were occurring. And then Laurence Olivier

476
00:25:44,720 --> 00:25:48,640
Speaker 1: saw this like tired, broken actor and was like, try

477
00:25:48,680 --> 00:25:52,200
Speaker 1: acting my dear boy, or whatever. Um, So we hear

478
00:25:52,280 --> 00:25:55,119
Speaker 1: these stories and we're like, which way which what is

479
00:25:55,160 --> 00:25:58,720
Speaker 1: the path? Because because for me, I'm so into committing

480
00:25:58,760 --> 00:26:02,920
Speaker 1: and giving a hundred thousand percent. But you can still

481
00:26:03,200 --> 00:26:07,200
Speaker 1: be you can be focused, committed and still be kind

482
00:26:07,320 --> 00:26:11,240
Speaker 1: and still be human. So you see DeNiro playing a sociopath,

483
00:26:11,359 --> 00:26:14,159
Speaker 1: but when we did our scene where he's basically wants

484
00:26:14,200 --> 00:26:16,400
Speaker 1: to murder me, you know, rape and murder the girl,

485
00:26:16,840 --> 00:26:18,679
Speaker 1: he's still at the end of the day gave me

486
00:26:18,680 --> 00:26:21,360
Speaker 1: a hug and was like, good job, you know. And

487
00:26:21,400 --> 00:26:24,840
Speaker 1: maybe he did that to me. I'm their and I'm

488
00:26:24,840 --> 00:26:27,320
Speaker 1: the young and maybe he is trying to create this

489
00:26:27,440 --> 00:26:31,040
Speaker 1: trust relationship because our characters are like that, right. But

490
00:26:31,080 --> 00:26:33,840
Speaker 1: also he's not a fucking animal. It's not a savage

491
00:26:33,920 --> 00:26:35,680
Speaker 1: and he's not gonna try to like I'm gonna really

492
00:26:35,720 --> 00:26:39,040
Speaker 1: scare this seventeen year old girl in the thinking. But sorry,

493
00:26:39,119 --> 00:26:41,720
Speaker 1: So to the scene in that film, what do you

494
00:26:41,760 --> 00:26:44,400
Speaker 1: remember about that scene? First of all, how a lot

495
00:26:44,520 --> 00:26:46,840
Speaker 1: you're asking, like, yeah, I mean it was a huge

496
00:26:46,880 --> 00:26:49,120
Speaker 1: movie from me, I mean lots, I remember a lot.

497
00:26:49,280 --> 00:26:52,800
Speaker 1: Was it was it written as was as it came out?

498
00:26:53,600 --> 00:26:56,359
Speaker 1: And did you know like this is the pivotal scene

499
00:26:56,359 --> 00:26:59,480
Speaker 1: for the character, and like, like, did you feel like

500
00:26:59,520 --> 00:27:03,320
Speaker 1: it was a scene? Yes, I mean all I knew

501
00:27:03,520 --> 00:27:06,160
Speaker 1: was a very long scene. And you know, we don't

502
00:27:06,200 --> 00:27:09,560
Speaker 1: often get I mean in retrospect when I watched it,

503
00:27:09,560 --> 00:27:12,639
Speaker 1: it was a nine minute scene, so it was mini

504
00:27:12,760 --> 00:27:16,600
Speaker 1: theater in movies. You never get scenes with in nowadays

505
00:27:16,640 --> 00:27:18,840
Speaker 1: it's like a two minute scene, it's all cut together.

506
00:27:19,359 --> 00:27:23,240
Speaker 1: But that was a nine minute scene of lots of

507
00:27:23,240 --> 00:27:28,960
Speaker 1: of um, you know, cat and mouse, a real psychological

508
00:27:29,080 --> 00:27:33,199
Speaker 1: tango of him trying to gain her trust, her not knowing.

509
00:27:33,400 --> 00:27:36,959
Speaker 1: I mean, all this beautiful stuff was in it, layered stuff,

510
00:27:37,200 --> 00:27:39,640
Speaker 1: so I knew it was rich with with a lot

511
00:27:39,680 --> 00:27:43,680
Speaker 1: of um stuff to play. Um. Yes, it was as

512
00:27:43,720 --> 00:27:46,600
Speaker 1: written except for like one or two lines, but the

513
00:27:47,080 --> 00:27:50,160
Speaker 1: majority of the scene that's exactly how it was supposed

514
00:27:50,160 --> 00:27:54,240
Speaker 1: to play. And then the infamous um thumb in the

515
00:27:54,280 --> 00:27:59,159
Speaker 1: mouth at the end. That was a DeNiro idea that

516
00:27:59,280 --> 00:28:01,760
Speaker 1: he had told Marty about, and the way it was

517
00:28:01,840 --> 00:28:05,200
Speaker 1: written was in that moment he says, can I put

518
00:28:05,240 --> 00:28:08,400
Speaker 1: my arm around you? So me as Juliette. Oh this

519
00:28:08,480 --> 00:28:12,840
Speaker 1: is funny if you watch that scene. Oh, I have

520
00:28:13,000 --> 00:28:19,080
Speaker 1: such a funny story. The motherfucker people want to hear. Um.

521
00:28:19,119 --> 00:28:20,879
Speaker 1: So I had started doing the movie, I had a

522
00:28:21,000 --> 00:28:24,639
Speaker 1: dream about Bob, like literally, I think the night before

523
00:28:24,680 --> 00:28:28,679
Speaker 1: and we were swimming in water. Nothing else happened, but

524
00:28:28,720 --> 00:28:31,679
Speaker 1: it was a dream you wake up from and I

525
00:28:31,720 --> 00:28:34,879
Speaker 1: all of a sudden have these soft feelings, okay, like

526
00:28:34,960 --> 00:28:37,960
Speaker 1: this different feeling, and then I knew we had this

527
00:28:38,000 --> 00:28:41,280
Speaker 1: big scene. And then I knew in the scene he's

528
00:28:41,320 --> 00:28:43,240
Speaker 1: gonna walk up and he says, can I put my

529
00:28:43,400 --> 00:28:46,480
Speaker 1: arm around you? So Max Katie says that to Danielle

530
00:28:46,840 --> 00:28:50,800
Speaker 1: me as Juliette knows that's de Niro is gonna be

531
00:28:50,840 --> 00:28:54,400
Speaker 1: coming close to me and then he's supposed to kiss her.

532
00:28:54,600 --> 00:28:58,920
Speaker 1: So that's how it was written. Um, Marty said to me, Hey,

533
00:29:00,200 --> 00:29:02,360
Speaker 1: he's gonna try something, and you know, Marty, He's like

534
00:29:03,720 --> 00:29:06,640
Speaker 1: he's gonna try something he's gonna do, so just just

535
00:29:06,640 --> 00:29:08,560
Speaker 1: just see what you do, you know, just go with

536
00:29:08,600 --> 00:29:11,040
Speaker 1: it that he said, like just he didn't want to

537
00:29:11,080 --> 00:29:14,440
Speaker 1: tell me, but he's wanted to make me aware that

538
00:29:14,480 --> 00:29:17,680
Speaker 1: there will be something different it's going to happen. So

539
00:29:17,760 --> 00:29:20,960
Speaker 1: what is there two rolling two cameras? Okay, so there's

540
00:29:20,960 --> 00:29:23,240
Speaker 1: two so the people don't so there's a camera on

541
00:29:23,400 --> 00:29:26,240
Speaker 1: Juliette and a camera Danira, So you're getting everything opposed

542
00:29:26,280 --> 00:29:29,200
Speaker 1: to goodness that Yeah, because what people don't know is

543
00:29:29,240 --> 00:29:32,280
Speaker 1: then you're getting these fresh reactions as they're occurring in

544
00:29:32,360 --> 00:29:35,840
Speaker 1: real time. Yeah. So that the scene where he comes

545
00:29:35,880 --> 00:29:38,200
Speaker 1: close to me, that's the first take. We only did

546
00:29:38,240 --> 00:29:41,040
Speaker 1: it twice. And what's in this scene or in the

547
00:29:41,080 --> 00:29:44,320
Speaker 1: movie is the first take, and you'll see an entire

548
00:29:45,000 --> 00:29:48,680
Speaker 1: so much expression happening. Is he tries to do the thumb,

549
00:29:48,800 --> 00:29:52,880
Speaker 1: she stops, like, no, that's weird. Then he persists, and

550
00:29:52,920 --> 00:29:56,960
Speaker 1: then she's going, Okay, is this good? You know? And

551
00:29:56,960 --> 00:30:01,680
Speaker 1: it's such a little kid, like a young It's people

552
00:30:01,680 --> 00:30:04,320
Speaker 1: talked about the sexuality because it is, but it's such

553
00:30:04,360 --> 00:30:07,760
Speaker 1: a young girl before they even know about sexuality. It's

554
00:30:07,760 --> 00:30:13,080
Speaker 1: more about pleasing and it's more about approval because there

555
00:30:13,160 --> 00:30:16,200
Speaker 1: she's having friction with her parents, so she's we know,

556
00:30:16,360 --> 00:30:21,040
Speaker 1: from his mind it's invasive and horrifying, but for her,

557
00:30:21,160 --> 00:30:23,360
Speaker 1: she's like, is was that good? And you could see

558
00:30:23,400 --> 00:30:27,840
Speaker 1: it in the face. It's so fucked up. And oh

559
00:30:27,840 --> 00:30:30,160
Speaker 1: but the story I was gonna tell you, Okay, there's

560
00:30:30,200 --> 00:30:32,560
Speaker 1: this there's a part and you can watch it where

561
00:30:32,960 --> 00:30:37,040
Speaker 1: he goes, can Danielle, I think he's says, Danielle, can

562
00:30:37,040 --> 00:30:39,760
Speaker 1: I put my arm around you? He does? Do you

563
00:30:39,800 --> 00:30:42,280
Speaker 1: mind if I put my arm around you? And there's

564
00:30:42,320 --> 00:30:47,360
Speaker 1: a delay, like I take ten seconds and the blood

565
00:30:47,600 --> 00:30:51,240
Speaker 1: from my head goes to my feet back up to

566
00:30:51,360 --> 00:30:55,480
Speaker 1: my cheeks. I blush, I'm burning hot. And then I

567
00:30:55,600 --> 00:31:00,440
Speaker 1: say no, I don't mind. And that ship is real.

568
00:31:01,840 --> 00:31:04,120
Speaker 1: If I watch that, it makes me laugh so much

569
00:31:04,160 --> 00:31:08,560
Speaker 1: because I am blushing. It's so real. So that was

570
00:31:08,640 --> 00:31:12,080
Speaker 1: pretty exciting. That's fucking unusual, you know what, I get

571
00:31:12,080 --> 00:31:16,560
Speaker 1: those moments. It's totally unusual. I mean. And then to

572
00:31:16,640 --> 00:31:20,520
Speaker 1: be working with those guys in a scene like that,

573
00:31:21,360 --> 00:31:25,200
Speaker 1: I mean, it's almost as if if you did another

574
00:31:25,240 --> 00:31:29,520
Speaker 1: Scorcese DeNiro movie, now you'd have a whole other experience

575
00:31:29,560 --> 00:31:32,160
Speaker 1: and a whole other like appreciation for not that you

576
00:31:32,160 --> 00:31:35,840
Speaker 1: didn't appreciate it, but because it's like now. I mean,

577
00:31:35,880 --> 00:31:38,160
Speaker 1: me and you have had DeNiro conversations. Me and remember

578
00:31:38,200 --> 00:31:39,800
Speaker 1: we went to go see Analyze this, and we were

579
00:31:39,840 --> 00:31:42,360
Speaker 1: we went to go see Day one at the fucking

580
00:31:42,400 --> 00:31:44,200
Speaker 1: Beverly Center. We were like, we're gonna go see Bob.

581
00:31:44,240 --> 00:31:46,840
Speaker 1: We're gonna go see Bob because were we like, will

582
00:31:46,960 --> 00:31:51,360
Speaker 1: to accept any DeNiro you want to do comedy? I

583
00:31:51,400 --> 00:31:53,880
Speaker 1: don't give a fun, right, that's because that's how we did.

584
00:31:53,920 --> 00:31:56,160
Speaker 1: I don't give a fuck. I'm going to see We

585
00:31:56,160 --> 00:31:57,400
Speaker 1: were in there like and there was no one there.

586
00:31:57,400 --> 00:31:58,840
Speaker 1: We went to go see it like early in the

587
00:31:58,920 --> 00:32:02,200
Speaker 1: day that analyze analysis because when he was doing a

588
00:32:02,360 --> 00:32:06,520
Speaker 1: send up, he was basically doing a bit spoofing himself,

589
00:32:06,680 --> 00:32:08,760
Speaker 1: which I think is great. I think I think it's

590
00:32:08,800 --> 00:32:11,320
Speaker 1: like when you when you've done as much as as

591
00:32:11,400 --> 00:32:15,280
Speaker 1: he has done, you could do that. You know, a

592
00:32:15,320 --> 00:32:17,000
Speaker 1: segment on the show that I do on on the

593
00:32:17,000 --> 00:32:19,240
Speaker 1: Iron Rapport podcast and the rest of the world knows.

594
00:32:19,280 --> 00:32:20,560
Speaker 1: You don't know because you haven't heard it, but it

595
00:32:20,920 --> 00:32:23,600
Speaker 1: is a worldwide phenomenon. I do it sometimes I do

596
00:32:23,640 --> 00:32:28,200
Speaker 1: the DeNiro line of the week. We're all talk about

597
00:32:28,240 --> 00:32:31,320
Speaker 1: a DeNiro line. I'll I won't perform it because I'm

598
00:32:31,320 --> 00:32:32,880
Speaker 1: not going to do that, but then I'll just talk

599
00:32:32,920 --> 00:32:34,960
Speaker 1: about what it means to me, what was so iconic.

600
00:32:35,280 --> 00:32:37,040
Speaker 1: So it's called the DeNiro line of the week. Who

601
00:32:37,120 --> 00:32:39,200
Speaker 1: already got one? What would be your DeNiro line of

602
00:32:39,200 --> 00:32:41,840
Speaker 1: the week? Oh ship, this is a what would be

603
00:32:41,920 --> 00:32:44,560
Speaker 1: your because of the movie. Well, first of all, I

604
00:32:44,600 --> 00:32:49,000
Speaker 1: want to say two things. One is people after Cape

605
00:32:49,000 --> 00:32:51,760
Speaker 1: hear people said to me, people in our business and whatnot.

606
00:32:51,840 --> 00:32:55,080
Speaker 1: They're like, you know you're going to be spoiled. And

607
00:32:55,120 --> 00:32:58,280
Speaker 1: I was like, what working with this thing, that this

608
00:32:58,360 --> 00:33:01,680
Speaker 1: caliber of people, you know you're gonna be spoiled. I

609
00:33:01,680 --> 00:33:05,200
Speaker 1: didn't know what they meant. But what happened was I

610
00:33:05,400 --> 00:33:07,280
Speaker 1: when I did that movie, I was like, oh good,

611
00:33:07,600 --> 00:33:10,600
Speaker 1: this is how it's gonna be from now on, like

612
00:33:10,760 --> 00:33:13,640
Speaker 1: because it was such it was just a dream experience.

613
00:33:14,120 --> 00:33:17,280
Speaker 1: And then you realize twenty years and know those are

614
00:33:17,320 --> 00:33:19,880
Speaker 1: the rare, those are the diamonds. If you're lucky enough

615
00:33:19,920 --> 00:33:23,600
Speaker 1: to get just a few gems in a career, then

616
00:33:23,640 --> 00:33:26,720
Speaker 1: that's that's what you live for. But that's it's the exception.

617
00:33:26,920 --> 00:33:30,840
Speaker 1: We know that's not you're the main thing. So um,

618
00:33:30,880 --> 00:33:33,880
Speaker 1: but yeah, the DeNiro line. People imitate these things to me.

619
00:33:34,000 --> 00:33:38,120
Speaker 1: I love DeNiro. Impressious, bad ones, good ones. Um. So

620
00:33:38,240 --> 00:33:43,400
Speaker 1: I get this one um from Cape Fear Uh it

621
00:33:44,040 --> 00:33:49,600
Speaker 1: come out, come out where are you? That's the DeNiro

622
00:33:49,680 --> 00:33:52,320
Speaker 1: line of the weekend. It was him out wherever you are?

623
00:33:52,600 --> 00:33:54,959
Speaker 1: That people people come up to and say that, right,

624
00:33:55,000 --> 00:33:57,280
Speaker 1: they do. Wait wait, that's the scene where he's out.

625
00:33:57,800 --> 00:34:01,800
Speaker 1: They try to he gets you know, he gets jump yeah,

626
00:34:02,160 --> 00:34:05,040
Speaker 1: trying to like yeah, bang him up, and he flipped

627
00:34:05,040 --> 00:34:09,440
Speaker 1: the script and and and then he goes, um um funk,

628
00:34:09,520 --> 00:34:17,520
Speaker 1: what's the I forget philosophies? You I'll I know what

629
00:34:17,520 --> 00:34:21,440
Speaker 1: you're talking about. After he beats the guys up, right, Yeah,

630
00:34:21,840 --> 00:34:24,719
Speaker 1: it's some dark and physically that was like, you know,

631
00:34:24,920 --> 00:34:28,400
Speaker 1: like probably the last DeNiro performance where he before he

632
00:34:28,440 --> 00:34:32,560
Speaker 1: got older and he physically transformed himself, Like I don't

633
00:34:32,520 --> 00:34:35,279
Speaker 1: think what age he was was that late forties? I

634
00:34:35,280 --> 00:34:39,120
Speaker 1: think that had I mean he was fucking in shape game.

635
00:34:39,160 --> 00:34:43,919
Speaker 1: He's amazing, Bob Demon and he had he his son

636
00:34:44,400 --> 00:34:49,160
Speaker 1: soaked and he had and yeah we're in Florida. And

637
00:34:49,200 --> 00:34:51,160
Speaker 1: you know what's like the thing about that performance, it's

638
00:34:51,200 --> 00:34:54,960
Speaker 1: like his his accent. People be like his accent sucked

639
00:34:55,000 --> 00:34:57,080
Speaker 1: his acting. It's like, first of all, who the funk

640
00:34:57,120 --> 00:35:00,440
Speaker 1: are you? What do you know about an accent? Second one,

641
00:35:00,480 --> 00:35:04,680
Speaker 1: it's like, you know, people have won oscars. I want

642
00:35:04,719 --> 00:35:07,280
Speaker 1: to name names, but people have won and been nominated

643
00:35:07,320 --> 00:35:10,960
Speaker 1: for Oscars with accents that orange, like you know people

644
00:35:11,160 --> 00:35:13,200
Speaker 1: you're not there. You know that I got criticized for

645
00:35:13,200 --> 00:35:15,279
Speaker 1: an accent and I was like, suck a fucking dick

646
00:35:15,360 --> 00:35:17,719
Speaker 1: with your fucking act. And they're like Bob DeNiro sucked

647
00:35:17,719 --> 00:35:20,040
Speaker 1: in his accident. Came feel like, what are you talking? Like?

648
00:35:20,200 --> 00:35:23,960
Speaker 1: Did he move you? Did he instill fearing you? I

649
00:35:23,960 --> 00:35:25,279
Speaker 1: I know what you're saying. You know what I'm saying.

650
00:35:25,400 --> 00:35:28,880
Speaker 1: That's more important for me. It's always what you feel

651
00:35:29,440 --> 00:35:33,160
Speaker 1: is way more important than technicality, because there are some

652
00:35:33,440 --> 00:35:38,160
Speaker 1: great technicians in acting. They're very good technically, but I'm not.

653
00:35:38,360 --> 00:35:43,480
Speaker 1: They don't stir my inside emotionally, emotionally spill it out

654
00:35:43,520 --> 00:35:45,640
Speaker 1: on the floor. I want to ask one more denial

655
00:35:45,760 --> 00:35:49,799
Speaker 1: question because you told me something one time, and you're

656
00:35:49,800 --> 00:35:51,520
Speaker 1: gonna be like, damn, Mike, you got a good memory,

657
00:35:51,560 --> 00:35:54,160
Speaker 1: but you know you said like you you were, you

658
00:35:54,200 --> 00:35:57,359
Speaker 1: said you ran into I'll just I'll remember the man

659
00:35:57,520 --> 00:35:59,600
Speaker 1: at a party, and it was it was at a restaurant.

660
00:35:59,600 --> 00:36:02,760
Speaker 1: Was that is called jar I think on on Beverly

661
00:36:02,800 --> 00:36:04,920
Speaker 1: and you sit or maybe was it a party? But

662
00:36:04,960 --> 00:36:06,959
Speaker 1: you said something about oh I I made up those

663
00:36:07,000 --> 00:36:12,080
Speaker 1: lines the whole thing, so I actually said that I

664
00:36:12,160 --> 00:36:16,480
Speaker 1: kept it was beautiful. I am actually said this. There

665
00:36:16,520 --> 00:36:19,000
Speaker 1: was a tribute where everybody was honoring DeNiro. So I

666
00:36:19,040 --> 00:36:22,239
Speaker 1: said this publicly, this story, but I was you know,

667
00:36:22,280 --> 00:36:24,759
Speaker 1: I was like eighteen or nineteen, and after doing so

668
00:36:24,840 --> 00:36:27,959
Speaker 1: much press and and I kind of developed a chip

669
00:36:28,000 --> 00:36:30,400
Speaker 1: on my shoulder because sometimes people try to take away

670
00:36:30,719 --> 00:36:33,400
Speaker 1: your credit or whatever they think, you know, like especially

671
00:36:33,440 --> 00:36:35,719
Speaker 1: I'm a young girl. They were like saying, so and

672
00:36:35,760 --> 00:36:39,520
Speaker 1: so got this performance out of me because Natural Warn Killers.

673
00:36:39,520 --> 00:36:42,279
Speaker 1: It was Oliver Stone and you know, so you sort

674
00:36:42,320 --> 00:36:45,719
Speaker 1: of can get um a little brash, especially I'm like

675
00:36:45,840 --> 00:36:50,040
Speaker 1: young too. So uh, let's see. I ran into Genniro

676
00:36:50,160 --> 00:36:53,239
Speaker 1: at a restaurant. I think I was twenty, and he

677
00:36:53,280 --> 00:36:56,719
Speaker 1: went he had seen Natural Warn Killers. And this is

678
00:36:56,800 --> 00:37:00,080
Speaker 1: Bob DeNiro going out of his way to tell me

679
00:37:01,320 --> 00:37:03,080
Speaker 1: you did a good job. You did a good job,

680
00:37:03,120 --> 00:37:06,080
Speaker 1: and in his stuff stammering way that he does, and

681
00:37:06,120 --> 00:37:08,359
Speaker 1: he's like, I just want to tell you I saw

682
00:37:08,400 --> 00:37:12,400
Speaker 1: that movie. You did a good job. And I went, uh,

683
00:37:12,520 --> 00:37:16,200
Speaker 1: rather than take the compliment like a fucking asshole, I go,

684
00:37:16,800 --> 00:37:19,719
Speaker 1: because it's insecurity. No matter which way you slice it,

685
00:37:19,800 --> 00:37:23,600
Speaker 1: it was insecurity. I go. I go, oh, yeah, well,

686
00:37:23,960 --> 00:37:26,440
Speaker 1: you know I made up like nine of my dialogue

687
00:37:27,000 --> 00:37:30,439
Speaker 1: because I improvise a lot, but that's neither here nor there.

688
00:37:30,600 --> 00:37:34,520
Speaker 1: He's paying me a compliment, say thank you, yeah, fucking

689
00:37:34,600 --> 00:37:39,080
Speaker 1: be humble. But because I was slightly insecure whatever he

690
00:37:39,280 --> 00:37:41,640
Speaker 1: and I said that, and he goes, no, no, no,

691
00:37:41,680 --> 00:37:44,239
Speaker 1: he cut me off, and he goes, don't ever, don't

692
00:37:44,239 --> 00:37:46,680
Speaker 1: ever take away from the writer. Don't ever take away

693
00:37:46,680 --> 00:37:49,040
Speaker 1: from the writer or the director, and he literally shut

694
00:37:49,120 --> 00:37:52,120
Speaker 1: me down. And that moment, there's a handful of moments

695
00:37:52,120 --> 00:37:56,200
Speaker 1: in this business where I completely changed, like I never

696
00:37:56,280 --> 00:37:59,200
Speaker 1: did that again. I fully absorbed the lesson he was

697
00:37:59,280 --> 00:38:03,000
Speaker 1: teaching me in that moment, and I went, oh, gosh,

698
00:38:03,040 --> 00:38:06,360
Speaker 1: I was being like not humble. I was that was

699
00:38:06,520 --> 00:38:09,799
Speaker 1: weird that I did that, right, you know, And so yeah,

700
00:38:09,840 --> 00:38:11,680
Speaker 1: I thought that was really sweet that I did that.

701
00:38:11,719 --> 00:38:14,000
Speaker 1: I remember, I remember what you told him that because

702
00:38:14,040 --> 00:38:16,920
Speaker 1: I was like, I understood that because that kind of like,

703
00:38:17,080 --> 00:38:19,160
Speaker 1: well they didn't do that. You're, yeah, yeah, it's weird.

704
00:38:19,360 --> 00:38:23,960
Speaker 1: Take the compliment, whether it's right, wrong, valid, half compliment, whatever,

705
00:38:24,719 --> 00:38:27,800
Speaker 1: Just thank the fun up and be happy that someone's

706
00:38:27,840 --> 00:38:30,319
Speaker 1: complimenting you on anything. I know, we learned, but we

707
00:38:30,440 --> 00:38:33,279
Speaker 1: learned because people. You people don't know half of it,

708
00:38:33,400 --> 00:38:35,840
Speaker 1: the struggles you have on certain films, and you're just

709
00:38:36,040 --> 00:38:39,440
Speaker 1: that and the other. Yeah, so you do Cape Fear.

710
00:38:40,120 --> 00:38:42,840
Speaker 1: You get nominated for Oscar, and I'm bringing it to

711
00:38:42,840 --> 00:38:45,760
Speaker 1: Allen Iverson because he's famous for corn rolls. But before

712
00:38:45,760 --> 00:38:50,960
Speaker 1: Alan Iverson, Juliette shows up at the fucking Oscars with

713
00:38:51,040 --> 00:38:54,160
Speaker 1: the motherfucking corn rolls. Before Alan Iverson, I think was

714
00:38:54,200 --> 00:38:58,960
Speaker 1: even in the NBA. That's just rolling back before Madonna,

715
00:38:59,000 --> 00:39:05,280
Speaker 1: before before like no, here's the whole, even before Snoop

716
00:39:05,280 --> 00:39:07,239
Speaker 1: Dogg came out with like it was just like I

717
00:39:07,239 --> 00:39:09,680
Speaker 1: got nominated for the Oscar too, and then you know what,

718
00:39:10,120 --> 00:39:12,120
Speaker 1: fuck it, I'm just gonna show up at the Oscars

719
00:39:12,120 --> 00:39:15,040
Speaker 1: with corn rolls. And I told you this before. I

720
00:39:15,080 --> 00:39:17,600
Speaker 1: was working on a film the night of the Oscars.

721
00:39:18,239 --> 00:39:20,480
Speaker 1: I was working on a film with your dad called

722
00:39:22,080 --> 00:39:26,239
Speaker 1: hold On Yes and and and the night of the

723
00:39:26,280 --> 00:39:29,360
Speaker 1: Oscars that you showed up with corn rolls. We're just

724
00:39:29,360 --> 00:39:34,200
Speaker 1: gonna keep saying that I was shooting lafem Nikita with

725
00:39:34,239 --> 00:39:36,360
Speaker 1: your dad, and I kept saying, I hope she wins,

726
00:39:36,360 --> 00:39:38,319
Speaker 1: I hope she wins. I hope she wins because I

727
00:39:38,400 --> 00:39:41,640
Speaker 1: was a fan and you didn't win. But let's talk

728
00:39:41,680 --> 00:39:44,399
Speaker 1: about the oscars and the blowback of the fucking corn

729
00:39:44,520 --> 00:39:47,279
Speaker 1: Rolls like like that, like that, like that, like like

730
00:39:47,400 --> 00:39:48,920
Speaker 1: the blow but I mean it was like it was

731
00:39:48,960 --> 00:39:51,160
Speaker 1: as if you had fucking showed up buttass snaked, like

732
00:39:51,200 --> 00:39:54,799
Speaker 1: people were like to break it down. Thank god, wait,

733
00:39:54,880 --> 00:39:57,080
Speaker 1: but thank god you should say this. Thank god Twitter

734
00:39:57,120 --> 00:39:59,560
Speaker 1: didn't existent, because imagine you showed up at the f

735
00:40:00,000 --> 00:40:02,920
Speaker 1: Screws and Twitter existed with the fucking cornroll But here's

736
00:40:02,960 --> 00:40:06,719
Speaker 1: the thing down, I didn't care. That's the thing is

737
00:40:06,920 --> 00:40:12,960
Speaker 1: I was I didn't know at all. I wasn't I

738
00:40:13,000 --> 00:40:16,439
Speaker 1: wasn't conditioned to think in those terms like we all

739
00:40:16,480 --> 00:40:19,440
Speaker 1: are now, like what you're wearing, your looks. It was

740
00:40:19,560 --> 00:40:23,840
Speaker 1: like I joked with my friend, um my man that

741
00:40:23,960 --> 00:40:27,480
Speaker 1: I was like a feral cat. Like but even in

742
00:40:27,560 --> 00:40:31,920
Speaker 1: the industry, I didn't have like a stylist or any training.

743
00:40:32,120 --> 00:40:34,359
Speaker 1: So for me, what did I go to? I went

744
00:40:34,440 --> 00:40:39,760
Speaker 1: to the ball. Here's the thing, the real what the

745
00:40:39,800 --> 00:40:42,759
Speaker 1: braids were for me was when I was a teenager,

746
00:40:43,680 --> 00:40:45,960
Speaker 1: the kids I was hanging out with they did my

747
00:40:46,040 --> 00:40:48,960
Speaker 1: hair like that, and I felt raw, I felt tough,

748
00:40:49,080 --> 00:40:52,239
Speaker 1: and I felt badass, and so my simple mind at

749
00:40:52,280 --> 00:40:54,640
Speaker 1: that time I was nineteen, I was like, oh, I

750
00:40:54,640 --> 00:40:57,319
Speaker 1: gotta go dress up. What should I do in my hair? Oh? Well,

751
00:40:57,320 --> 00:41:00,759
Speaker 1: I felt raw and tough and strong with this hair do,

752
00:41:01,560 --> 00:41:04,160
Speaker 1: so I'm gonna revert back to that. Like it was

753
00:41:04,200 --> 00:41:07,160
Speaker 1: such a weird, simple frame of mind. And then I

754
00:41:07,280 --> 00:41:09,600
Speaker 1: with the dress I wore, I went and bought at

755
00:41:09,600 --> 00:41:12,840
Speaker 1: a thrift shop, like I had no formal styling. But

756
00:41:12,920 --> 00:41:16,160
Speaker 1: when I showed up like that, the questions that kept

757
00:41:16,200 --> 00:41:18,879
Speaker 1: asking were like, what statement are you trying to make

758
00:41:18,920 --> 00:41:22,959
Speaker 1: with your hair? Like everybody thought it was some political thing,

759
00:41:23,040 --> 00:41:25,839
Speaker 1: and I was just like what I really like, I'm

760
00:41:25,840 --> 00:41:30,440
Speaker 1: fucking hip hop bitch. I just was walking through it.

761
00:41:30,440 --> 00:41:33,080
Speaker 1: It was pretty bizarre. The next film, I'm Gonna talk

762
00:41:33,080 --> 00:41:35,279
Speaker 1: to You about his Husbands and Wives, which to me

763
00:41:35,360 --> 00:41:38,319
Speaker 1: is one of my favorite Woody Allen films. You came like,

764
00:41:38,360 --> 00:41:39,840
Speaker 1: I know a lot of that was filmed where I

765
00:41:39,840 --> 00:41:41,880
Speaker 1: grew up in Manhattan on the Upper East Side, and

766
00:41:41,920 --> 00:41:44,279
Speaker 1: like you were like, and I know you're not like that.

767
00:41:44,520 --> 00:41:47,239
Speaker 1: Oh yeah, no, that's like not my world at all.

768
00:41:47,440 --> 00:41:52,200
Speaker 1: But you can all educated college knowing all those writers, Um,

769
00:41:52,400 --> 00:41:55,000
Speaker 1: you don't know what then, were the brilliant thing about

770
00:41:55,280 --> 00:42:00,839
Speaker 1: Woody Allen? Is he right? So good? Um? You know,

771
00:42:00,960 --> 00:42:04,359
Speaker 1: and riffs so good? The characters just sort of riff that.

772
00:42:05,280 --> 00:42:08,200
Speaker 1: I just resorted on what I always resort on, which

773
00:42:08,239 --> 00:42:12,280
Speaker 1: is committing commit ten percent if you believe, they'll believe.

774
00:42:13,080 --> 00:42:16,960
Speaker 1: And um, I'm playing a college student who's who's you know,

775
00:42:17,120 --> 00:42:20,560
Speaker 1: who's um gosh, so what's the word? Not precocious, but

776
00:42:21,200 --> 00:42:25,719
Speaker 1: you know who is a little bit cocky and yeah yeah,

777
00:42:25,719 --> 00:42:29,360
Speaker 1: and she's manipulative. So it was just something so well written.

778
00:42:30,000 --> 00:42:34,160
Speaker 1: But um, would he again? I'm walking into a thing

779
00:42:34,239 --> 00:42:37,360
Speaker 1: where he's given me all this freedom because Woody Allen

780
00:42:37,440 --> 00:42:42,799
Speaker 1: notoriously doesn't hold your hand. He doesn't direct much. He

781
00:42:42,960 --> 00:42:46,480
Speaker 1: just writes great material and then sets you up to

782
00:42:46,760 --> 00:42:50,880
Speaker 1: be filmed. And um, yeah, he didn't say much to me,

783
00:42:51,239 --> 00:42:54,520
Speaker 1: Isn't it? Isn't it? The ironic the most ironic ship

784
00:42:55,000 --> 00:42:57,480
Speaker 1: is that the if you do an episode, let's say,

785
00:42:57,480 --> 00:42:59,760
Speaker 1: a bad episode of TV, or you do a bad

786
00:43:00,239 --> 00:43:03,520
Speaker 1: unless you're working with someone who's really really specifically great

787
00:43:03,960 --> 00:43:07,280
Speaker 1: and they're into detailed specifics. But I have not worked

788
00:43:07,280 --> 00:43:09,640
Speaker 1: with those kinds of people. But the majority of the

789
00:43:09,680 --> 00:43:12,839
Speaker 1: great experiences that I have had, whether it being TV

790
00:43:12,960 --> 00:43:15,319
Speaker 1: or film, or when you're with people that let you

791
00:43:15,600 --> 00:43:18,040
Speaker 1: feel comfortable and that they like what you just said

792
00:43:18,040 --> 00:43:21,239
Speaker 1: about Woody and Scores, where they they tell you they

793
00:43:21,320 --> 00:43:23,600
Speaker 1: encourage you to bring things to that. Yes, they give

794
00:43:23,640 --> 00:43:28,400
Speaker 1: you the environment they said, they create an environment that's creative,

795
00:43:28,600 --> 00:43:32,200
Speaker 1: that that is fertile. Like Oliver Stone, he wanted the

796
00:43:32,280 --> 00:43:35,239
Speaker 1: best from you. He would love people to come up, improvise,

797
00:43:35,800 --> 00:43:38,640
Speaker 1: come up with ideas. I wrote scenes in Natural Boring.

798
00:43:38,920 --> 00:43:42,120
Speaker 1: Actually then yeah, I wrote a scene where like, there's

799
00:43:42,120 --> 00:43:46,080
Speaker 1: this one scene when Tom Sizemore visits Mallory in the

800
00:43:46,200 --> 00:43:50,799
Speaker 1: jail and I say, with the singing, yeah, before the

801
00:43:50,880 --> 00:43:53,279
Speaker 1: singing is written, but where I say to him, he's

802
00:43:53,320 --> 00:43:56,640
Speaker 1: sitting there and I say, because the subtext of the

803
00:43:56,640 --> 00:43:59,080
Speaker 1: scene is I'm just winding him. I'm reeling him in

804
00:43:59,200 --> 00:44:02,200
Speaker 1: like a know, a cat with a mask, or no,

805
00:44:02,440 --> 00:44:07,400
Speaker 1: like a spider with a fly, because yeah, the spider

806
00:44:07,440 --> 00:44:11,560
Speaker 1: sets a web the fly for the fly. I'm not

807
00:44:11,600 --> 00:44:14,960
Speaker 1: the one to do the analogies with the fucking animals, Juliet.

808
00:44:15,520 --> 00:44:17,960
Speaker 1: The people will know. The point is she goes, you

809
00:44:18,000 --> 00:44:22,320
Speaker 1: know what I've been thinking about flesh on flesh sex.

810
00:44:22,600 --> 00:44:26,080
Speaker 1: Fucking that when I wrote that, because what is she

811
00:44:26,239 --> 00:44:29,560
Speaker 1: She's going to a base level thing to just light

812
00:44:29,640 --> 00:44:32,800
Speaker 1: him up. And so I wrote that so on a

813
00:44:32,920 --> 00:44:35,879
Speaker 1: napkin in the hotel room, and he was like cool, yeah,

814
00:44:36,080 --> 00:44:39,080
Speaker 1: show al. He's like, good do it. Let's hear it.

815
00:44:39,239 --> 00:44:42,480
Speaker 1: That fucking film like to me, like, I've watched that

816
00:44:42,520 --> 00:44:45,719
Speaker 1: movie so many fucking times, and it's like you, I

817
00:44:45,760 --> 00:44:48,200
Speaker 1: still can't make total heads and tales of how it

818
00:44:48,280 --> 00:44:51,440
Speaker 1: was shot, the black and white, the eight million, like,

819
00:44:51,480 --> 00:44:54,960
Speaker 1: the whole mixed media, the whole thing. So now you're

820
00:44:55,000 --> 00:44:56,880
Speaker 1: still young, like you're on a fucking roll like you

821
00:44:56,920 --> 00:44:59,200
Speaker 1: did Cape Fear, you did the fucking Woody Allen movie.

822
00:44:59,360 --> 00:45:01,600
Speaker 1: I don't know if Range Days was before that. That's

823
00:45:01,640 --> 00:45:04,359
Speaker 1: straying days to the end of that of the thing.

824
00:45:04,440 --> 00:45:06,680
Speaker 1: And then I took time off. But but but but

825
00:45:06,880 --> 00:45:11,560
Speaker 1: natural Oh well, I didn't mean to skip over a

826
00:45:11,640 --> 00:45:13,879
Speaker 1: husband's wives. The point is to echo what you were

827
00:45:13,920 --> 00:45:17,520
Speaker 1: saying is the best directors they know, they just know

828
00:45:17,600 --> 00:45:20,040
Speaker 1: what they're looking for and they create it, and they

829
00:45:20,040 --> 00:45:24,359
Speaker 1: also create him an environment that you can excel and

830
00:45:24,440 --> 00:45:27,919
Speaker 1: bring your your best and they're not micromanager. They're not

831
00:45:28,360 --> 00:45:31,840
Speaker 1: scratching your nose or picking everything. You didn't say it

832
00:45:31,960 --> 00:45:35,359
Speaker 1: and you said yes, it's like I can't do it.

833
00:45:35,600 --> 00:45:38,760
Speaker 1: I can't do I'm like at this point, I'm just like, Okay,

834
00:45:39,040 --> 00:45:41,640
Speaker 1: I I I used to like fight in Oregon, and

835
00:45:41,680 --> 00:45:44,040
Speaker 1: I used to get mad when older actors didn't. But

836
00:45:44,080 --> 00:45:46,239
Speaker 1: now I understand. It's like, because you're not gonna win

837
00:45:46,280 --> 00:45:49,000
Speaker 1: that fight, you're gonna look crazy. Yeah. I think we're

838
00:45:49,239 --> 00:45:51,640
Speaker 1: both talking about similar jobs we've had. Like I'm doing

839
00:45:51,640 --> 00:45:55,719
Speaker 1: a TV show now that's creatively fulfilling and nurturing and

840
00:45:55,760 --> 00:45:58,480
Speaker 1: there I love my boss as my show creator. But

841
00:45:58,520 --> 00:46:02,239
Speaker 1: I've done another show where I did get micromanaged where

842
00:46:02,280 --> 00:46:05,200
Speaker 1: the guy if you said if you forgot to say

843
00:46:05,320 --> 00:46:10,640
Speaker 1: um and Shakespeare. The other thing is it's like why

844
00:46:10,719 --> 00:46:14,000
Speaker 1: did you hire my breath? You did this? Yeah? Why

845
00:46:14,080 --> 00:46:16,839
Speaker 1: why just hired? There's all kinds of robots, there's all

846
00:46:16,920 --> 00:46:19,480
Speaker 1: kinds of people, especially someone like you, Like you're your

847
00:46:19,560 --> 00:46:22,719
Speaker 1: bread and butter to me as an actress, Like I

848
00:46:22,840 --> 00:46:26,080
Speaker 1: know you're a technical actor, but your bread and butter

849
00:46:26,880 --> 00:46:30,200
Speaker 1: is your emotional depth, like to me, like when I'm

850
00:46:30,239 --> 00:46:33,600
Speaker 1: like whether it's comedy or drama or whatever, but like

851
00:46:33,600 --> 00:46:37,280
Speaker 1: when you like all right, like that that raw comfortable place,

852
00:46:37,320 --> 00:46:41,000
Speaker 1: whether it's like old school or fucking breaking ship in

853
00:46:41,360 --> 00:46:43,719
Speaker 1: Natural One Killers or even that fucking TV movie that

854
00:46:43,719 --> 00:46:45,920
Speaker 1: we talked about, like you're fucking like I want to

855
00:46:45,960 --> 00:46:49,000
Speaker 1: see this chick break a fucking table, Like that's like

856
00:46:49,080 --> 00:46:51,600
Speaker 1: your ship. So like, why do you think people like

857
00:46:51,760 --> 00:46:54,520
Speaker 1: to see me? They do like to see you nuts,

858
00:46:54,600 --> 00:46:57,120
Speaker 1: because I mean, you do it. It's so rare that

859
00:46:57,160 --> 00:46:59,440
Speaker 1: you see a girl doing you know what I mean?

860
00:46:59,480 --> 00:47:03,760
Speaker 1: And and like that's why I like watching you perform

861
00:47:03,920 --> 00:47:08,879
Speaker 1: live because that's seeing the gut roll stuff, this erroll

862
00:47:09,000 --> 00:47:13,520
Speaker 1: whatever we're you're doing somersaults like it was like I

863
00:47:13,560 --> 00:47:16,239
Speaker 1: believe we call but like I mean, because I think

864
00:47:16,239 --> 00:47:18,280
Speaker 1: there was even a project that we were talking about

865
00:47:18,280 --> 00:47:20,680
Speaker 1: at one point. I think it was a friend of mine.

866
00:47:21,480 --> 00:47:24,239
Speaker 1: They were talking about doing the Iggy Pop Story and

867
00:47:24,400 --> 00:47:26,680
Speaker 1: you were in discussions to play iggy Pop and I

868
00:47:26,760 --> 00:47:28,880
Speaker 1: was like, that makes fun, and he was like, I

869
00:47:28,960 --> 00:47:30,440
Speaker 1: think I might cast the girl. I think I want

870
00:47:30,440 --> 00:47:34,359
Speaker 1: to cast Julia Lewis, I go do it. I think

871
00:47:34,400 --> 00:47:37,560
Speaker 1: it was so fun and inspired. They never ended up

872
00:47:37,560 --> 00:47:40,799
Speaker 1: making that. It ain't over till it's over. Natural Born

873
00:47:40,920 --> 00:47:44,640
Speaker 1: Killers Was it a fucking nuthouse? Was it crazy like

874
00:47:44,840 --> 00:47:47,920
Speaker 1: we're seeing like like we're scenes, we're seeing we're the

875
00:47:47,960 --> 00:47:50,719
Speaker 1: beginning and ends to scenes. Was it like, was was

876
00:47:50,760 --> 00:47:52,600
Speaker 1: there a first a d because it seems like it's

877
00:47:52,640 --> 00:47:55,200
Speaker 1: just like anything was happening, and there's a bit of

878
00:47:55,200 --> 00:47:58,439
Speaker 1: a guerrilla production, like like all kinds because you girl,

879
00:47:58,560 --> 00:48:02,520
Speaker 1: meaning skeleton crew, you know, this crew shooting this, this

880
00:48:02,760 --> 00:48:06,600
Speaker 1: shooting this, and non narrative that was the other movie.

881
00:48:06,960 --> 00:48:11,160
Speaker 1: I had to just just be present. Just each scene

882
00:48:11,280 --> 00:48:13,960
Speaker 1: is its own animal, you know, like when we were

883
00:48:13,960 --> 00:48:16,200
Speaker 1: in the car and the cops are going to stop

884
00:48:16,280 --> 00:48:19,720
Speaker 1: us and we just took mushrooms. You know, as it's written,

885
00:48:19,920 --> 00:48:22,120
Speaker 1: you just have to play make believe the whole time.

886
00:48:22,160 --> 00:48:25,440
Speaker 1: We're just playing pretend and it's a bit psychedelic. And

887
00:48:25,960 --> 00:48:28,920
Speaker 1: he used Oliver used some of the stuff that's in

888
00:48:28,960 --> 00:48:33,319
Speaker 1: there was our screen test, so literally you're like we

889
00:48:33,360 --> 00:48:36,120
Speaker 1: put he he stood us in front of screens with

890
00:48:36,600 --> 00:48:39,840
Speaker 1: lighting going over us, and that was our screen test

891
00:48:40,239 --> 00:48:42,319
Speaker 1: in the film, and when he ended up using bits

892
00:48:42,320 --> 00:48:44,640
Speaker 1: and pieces in the film, so even him, he was

893
00:48:44,719 --> 00:48:46,880
Speaker 1: just sort of doing his raw. It was to me,

894
00:48:46,920 --> 00:48:50,040
Speaker 1: it's like Oliver's psychedelic movie. In a way, it was

895
00:48:50,120 --> 00:48:55,280
Speaker 1: like his breaking the mold. Filmmaking is great. Yeah, editing

896
00:48:55,280 --> 00:48:58,880
Speaker 1: in the film, editing is is off the charts because

897
00:48:58,880 --> 00:49:02,680
Speaker 1: if you knew how much was shot, the editor to

898
00:49:02,800 --> 00:49:06,760
Speaker 1: find to to to carve out that movie was a task.

899
00:49:06,840 --> 00:49:09,560
Speaker 1: I mean, that's a huge undertaket. And then Bob Richardson,

900
00:49:09,800 --> 00:49:12,600
Speaker 1: I have to say that DP. I mean, he's won awards,

901
00:49:12,440 --> 00:49:16,440
Speaker 1: he's amazing. Uh, it was a tough shoot. And then

902
00:49:16,480 --> 00:49:19,160
Speaker 1: the talking to the camera, like there's like I told

903
00:49:19,160 --> 00:49:21,319
Speaker 1: you one time, like I said, I was doing a show.

904
00:49:21,400 --> 00:49:23,560
Speaker 1: I actually got cut out, but I said to you,

905
00:49:24,239 --> 00:49:25,960
Speaker 1: I I said, I think I told you. I said,

906
00:49:25,960 --> 00:49:29,440
Speaker 1: I've stolen from you and Tupac as far as actors,

907
00:49:29,480 --> 00:49:32,279
Speaker 1: amongst other people. I've stolen from so many people I love.

908
00:49:32,960 --> 00:49:36,799
Speaker 1: But it's true, company On, that's true. I I say this, like,

909
00:49:36,880 --> 00:49:40,080
Speaker 1: but there was a there's a scene after the after

910
00:49:40,200 --> 00:49:45,200
Speaker 1: you guys killed the Indian. Yeah, why why? And I

911
00:49:46,160 --> 00:49:49,400
Speaker 1: in the camera, like is he saying say that? Like

912
00:49:49,400 --> 00:49:51,000
Speaker 1: like that's the kind of thing, like like what I'm saying,

913
00:49:51,040 --> 00:49:52,399
Speaker 1: was it a free frol Like did you look into

914
00:49:52,440 --> 00:49:54,440
Speaker 1: the camera, bri He didn't tell me to do that.

915
00:49:54,840 --> 00:49:57,360
Speaker 1: It was just that's the set I was on that

916
00:49:57,360 --> 00:50:00,160
Speaker 1: that's what I could do. And the camera, how the

917
00:50:00,200 --> 00:50:02,920
Speaker 1: time was in our face because it was handheld, and

918
00:50:02,960 --> 00:50:06,720
Speaker 1: he wanted that. He almost wanted to make he wanted

919
00:50:06,719 --> 00:50:10,040
Speaker 1: to make it really uncomfortable for people, and so the

920
00:50:10,120 --> 00:50:14,040
Speaker 1: filming represented that the way it was filmed. I remember.

921
00:50:14,560 --> 00:50:18,320
Speaker 1: One of my favorite stories is when we walked through rattlesnakes,

922
00:50:18,320 --> 00:50:22,000
Speaker 1: me and Woody's. So we're outside in the desert, it's night.

923
00:50:22,960 --> 00:50:29,040
Speaker 1: There's there's a rattlesnake wrangler. Okay, so that's a guy rattlesnakes.

924
00:50:29,640 --> 00:50:32,520
Speaker 1: I'm gonna tell you right now, there's real ones mixed

925
00:50:32,560 --> 00:50:36,239
Speaker 1: with fake ones all over. We're gonna keep it fun

926
00:50:36,280 --> 00:50:38,680
Speaker 1: and we're not gonna tell you which ones they are. Well,

927
00:50:38,800 --> 00:50:42,120
Speaker 1: I be you know, I'm I like to practice some

928
00:50:42,239 --> 00:50:45,400
Speaker 1: safety in my life. So I watched. I I talked

929
00:50:45,440 --> 00:50:48,960
Speaker 1: to the rattlesnake wrangler and here's what helped me. Before

930
00:50:49,080 --> 00:50:51,560
Speaker 1: we shot this scene where we're supposed to be tripping

931
00:50:51,640 --> 00:50:56,920
Speaker 1: and clumsy and on mushrooms and we walk through rattlesnakes.

932
00:50:56,920 --> 00:50:59,319
Speaker 1: They're supposed to be everywhere, and then he gets bit.

933
00:50:59,560 --> 00:51:03,680
Speaker 1: So that's the scene they had shot um a close

934
00:51:03,760 --> 00:51:07,120
Speaker 1: up of a real rattlesnake biting a gene. A fake

935
00:51:07,280 --> 00:51:10,520
Speaker 1: leg had a gene pant on it, and I watched

936
00:51:10,600 --> 00:51:12,920
Speaker 1: them film the scene and it took forever to get

937
00:51:12,960 --> 00:51:14,960
Speaker 1: the rattlesnake to bite the gene. And I was like,

938
00:51:15,400 --> 00:51:18,120
Speaker 1: I thought, rattlesnakes just go after you right away. And

939
00:51:18,160 --> 00:51:21,479
Speaker 1: the guy, the rattlesnake wrangler guy, he said, no, it's

940
00:51:21,560 --> 00:51:25,759
Speaker 1: cold when they're When they're cold, when they're coiled up,

941
00:51:25,880 --> 00:51:28,279
Speaker 1: it's really hard to get them. And most people it's

942
00:51:28,320 --> 00:51:31,680
Speaker 1: when it's hot, it's in the day and and rattlesnakes

943
00:51:31,680 --> 00:51:35,120
Speaker 1: will bite you. So when I saw that, it made

944
00:51:35,160 --> 00:51:38,719
Speaker 1: me feel slightly safer. I wouldn't want to walk into one,

945
00:51:38,800 --> 00:51:41,359
Speaker 1: but it made me know they're when they're coiled up,

946
00:51:41,480 --> 00:51:44,480
Speaker 1: like when they're cold, they just stay coiled. But anyway,

947
00:51:44,560 --> 00:51:47,080
Speaker 1: just to show you how, I'd like to give props

948
00:51:47,120 --> 00:51:50,560
Speaker 1: to me and Woody, the camera guy was like, I'm

949
00:51:50,560 --> 00:51:54,520
Speaker 1: out not doing it. Sorry, I draw the line at

950
00:51:54,520 --> 00:51:57,320
Speaker 1: walking backwards because he would have had to walk backwards

951
00:51:57,400 --> 00:52:00,080
Speaker 1: filming us. He's like, I'm not even though you're at

952
00:52:00,239 --> 00:52:03,279
Speaker 1: him a few feet away. He's like, I'm not doing this,

953
00:52:03,719 --> 00:52:06,799
Speaker 1: and so Oliver just got into other cameraman because there

954
00:52:06,880 --> 00:52:10,000
Speaker 1: was like two camera guys who would do it, which

955
00:52:10,000 --> 00:52:13,920
Speaker 1: I think was Bob Richards and um. But yeah, so

956
00:52:13,960 --> 00:52:16,120
Speaker 1: we didn't get bit but I like to say I

957
00:52:16,200 --> 00:52:19,920
Speaker 1: walked through Rattlesnake for for all for natural one killers

958
00:52:20,680 --> 00:52:24,520
Speaker 1: and and so and so that's show what my sister,

959
00:52:24,840 --> 00:52:28,600
Speaker 1: what is it? Fucking Brandy yell to fucking mind or

960
00:52:28,640 --> 00:52:32,000
Speaker 1: fucking business. You hear what you're doing? The iron rap.

961
00:52:32,200 --> 00:52:37,040
Speaker 1: We're paying to come to Hollywood. I was getting come

962
00:52:37,080 --> 00:52:41,239
Speaker 1: to Hollywood. You know it's my fucking my Yeah, fuck

963
00:52:41,320 --> 00:52:43,880
Speaker 1: that ship, and and and where's your fucking husband? Tell

964
00:52:43,920 --> 00:52:45,719
Speaker 1: him to take a funking. You need to do the

965
00:52:45,800 --> 00:52:49,600
Speaker 1: next podcast with Ethan. He'll school you all about art.

966
00:52:50,280 --> 00:52:54,919
Speaker 1: He's art. I'll with Ethan. Ethan's the best. You guys

967
00:52:54,920 --> 00:52:59,080
Speaker 1: will have so much everybody alright, So al right, so

968
00:52:59,120 --> 00:53:01,120
Speaker 1: let me let me skip. I can't talk about everything.

969
00:53:01,480 --> 00:53:05,360
Speaker 1: What's eating Gilbert great, great fuck movie, iconic, Johnny Depp,

970
00:53:05,840 --> 00:53:14,279
Speaker 1: Leonardo killing it in that movie, fucking Strange Days. Katherine Bigelow, Yeah,

971
00:53:13,320 --> 00:53:19,280
Speaker 1: where two years ago? I love the hurt Locker. She's intense.

972
00:53:19,640 --> 00:53:22,400
Speaker 1: She was intense. That was not a light set. I mean,

973
00:53:22,440 --> 00:53:25,160
Speaker 1: none of them are light. But she likes to do

974
00:53:25,280 --> 00:53:28,880
Speaker 1: things over and over and over again. Um, well she

975
00:53:28,920 --> 00:53:31,120
Speaker 1: did then. I don't know how she works now, but

976
00:53:31,200 --> 00:53:33,680
Speaker 1: that I only say that because it was She's a

977
00:53:33,840 --> 00:53:36,080
Speaker 1: she's a painter, and she says at herself, she she

978
00:53:36,080 --> 00:53:39,239
Speaker 1: approaches it like a painter. So she likes everything. And

979
00:53:39,280 --> 00:53:43,280
Speaker 1: that was a really ambitious movie. So she likes everything

980
00:53:43,320 --> 00:53:46,080
Speaker 1: has to be working right in it. And there was

981
00:53:46,120 --> 00:53:48,279
Speaker 1: a running joke with the crew they wanted to get

982
00:53:48,280 --> 00:53:52,120
Speaker 1: a shirt that said it's perfect, let's do it again,

983
00:53:52,960 --> 00:53:55,960
Speaker 1: thank you. Yeah, that was her vibe, like it's perfect,

984
00:53:56,040 --> 00:53:58,759
Speaker 1: but let's do it against she And then that's the

985
00:53:58,840 --> 00:54:01,480
Speaker 1: Kubrick kind of fashion where you just keep doing it

986
00:54:01,520 --> 00:54:04,200
Speaker 1: and doing it, but which I've never worked, Like, yeah,

987
00:54:04,239 --> 00:54:08,440
Speaker 1: kul Bricks the person you hear that he takes like

988
00:54:08,520 --> 00:54:12,360
Speaker 1: walking down the street from you, and I wouldn't. I don't, Stanley,

989
00:54:12,400 --> 00:54:14,040
Speaker 1: I love you and I would have loved to have

990
00:54:14,840 --> 00:54:16,279
Speaker 1: And he's a New York Jew and I feel like

991
00:54:16,320 --> 00:54:19,080
Speaker 1: we could have connected on that takes and the cameras

992
00:54:19,120 --> 00:54:21,960
Speaker 1: you know, down the street. It might not have worked Okay,

993
00:54:22,000 --> 00:54:26,520
Speaker 1: I want to skip forward. What about Old School? That was?

994
00:54:27,760 --> 00:54:31,040
Speaker 1: It was an opportunity just you're funny in that thank you.

995
00:54:31,680 --> 00:54:33,799
Speaker 1: It was funny because when when was that? Like ten

996
00:54:33,880 --> 00:54:38,880
Speaker 1: years ago? Nobody knew. You know, I'm lighthearted, you know,

997
00:54:39,040 --> 00:54:41,919
Speaker 1: so I still had the reputation. People when they would

998
00:54:42,000 --> 00:54:45,160
Speaker 1: meet me think I'm gonna like lose my temper or

999
00:54:45,360 --> 00:54:48,799
Speaker 1: break some ship. I'm gonna go schizo, run your head

1000
00:54:48,800 --> 00:54:51,560
Speaker 1: into a door. Yeah, I wish would be awesome, but

1001
00:54:51,960 --> 00:54:58,799
Speaker 1: I don't do that. So actually love that. Now. I've

1002
00:54:58,880 --> 00:55:00,840
Speaker 1: joked with people now when I meet them, I'm like,

1003
00:55:00,920 --> 00:55:03,320
Speaker 1: what do you want? You want me to smack you around?

1004
00:55:03,400 --> 00:55:06,520
Speaker 1: Because I get the vibe some people do want me

1005
00:55:06,600 --> 00:55:11,480
Speaker 1: to smack them around anyway. Um, so Old School was

1006
00:55:11,520 --> 00:55:14,440
Speaker 1: a great opportunity to be funny. It was just a cameo.

1007
00:55:14,600 --> 00:55:17,279
Speaker 1: Todd Phillips came to me for that. It was like,

1008
00:55:17,320 --> 00:55:19,479
Speaker 1: do you want to do this? It was to any

1009
00:55:19,520 --> 00:55:21,600
Speaker 1: idea that it was going to be that good, like

1010
00:55:21,640 --> 00:55:23,520
Speaker 1: from the script or like did you read the script?

1011
00:55:23,560 --> 00:55:25,239
Speaker 1: I knew the script is funny, but I had no

1012
00:55:25,320 --> 00:55:28,600
Speaker 1: idea it would be like this this movie that everyone

1013
00:55:29,120 --> 00:55:32,480
Speaker 1: saw and oh my god, will Ferrell Frank the Tank,

1014
00:55:33,000 --> 00:55:36,560
Speaker 1: I Live, We live for Will Ferrell in that movie.

1015
00:55:36,600 --> 00:55:38,920
Speaker 1: It's so good. So I just had that one scene

1016
00:55:38,920 --> 00:55:40,960
Speaker 1: in the beginning. I thought it was funny, gave me

1017
00:55:41,000 --> 00:55:43,520
Speaker 1: a chance to do to do a certain kind of

1018
00:55:43,600 --> 00:55:46,920
Speaker 1: girl that that is a different breed than me. And

1019
00:55:46,960 --> 00:55:50,080
Speaker 1: then and then Todd liked it, so they added another

1020
00:55:50,120 --> 00:55:52,880
Speaker 1: scene for me at the end with Will Ferrell, and

1021
00:55:52,920 --> 00:55:55,880
Speaker 1: we just improvised that whole scene in the grocery store.

1022
00:55:56,600 --> 00:55:59,520
Speaker 1: And I loved. I love doing that with those guys.

1023
00:56:00,440 --> 00:56:03,200
Speaker 1: And then what about the movie, Um that I felt

1024
00:56:03,200 --> 00:56:05,680
Speaker 1: like it was kind of like back in the drama

1025
00:56:05,719 --> 00:56:09,920
Speaker 1: Ship was the Hillary Swink Sam Rockwell foot which I

1026
00:56:09,960 --> 00:56:13,680
Speaker 1: love that And you you're like playing southern white trash. No, no, no,

1027
00:56:13,719 --> 00:56:17,920
Speaker 1: not southern. She was from Boston. Boston. Yeah. That talk

1028
00:56:17,960 --> 00:56:21,759
Speaker 1: about an accent that was really difficult in the trailer. Yeah,

1029
00:56:22,000 --> 00:56:24,839
Speaker 1: and and and that was I mean that movie. You know,

1030
00:56:24,880 --> 00:56:28,480
Speaker 1: I wasn't Boston. It was Massachusetts, in Massachusetts, but in

1031
00:56:28,520 --> 00:56:31,840
Speaker 1: the country like like it was. It was even different

1032
00:56:31,880 --> 00:56:33,880
Speaker 1: than the city. But anyway, but no, but not a

1033
00:56:33,960 --> 00:56:36,759
Speaker 1: lot of people saw that movie like convention, you know,

1034
00:56:36,840 --> 00:56:40,799
Speaker 1: like that's a really good film. I thought, so I thought,

1035
00:56:40,880 --> 00:56:43,399
Speaker 1: just because it's in it's a true story, I thought,

1036
00:56:43,520 --> 00:56:48,560
Speaker 1: Sam Rockwell's is really good. Um. That was special for

1037
00:56:48,600 --> 00:56:51,960
Speaker 1: me because it was two scenes. One of the scenes

1038
00:56:52,040 --> 00:56:54,400
Speaker 1: was one of the hardest things I've ever done because

1039
00:56:54,400 --> 00:56:57,640
Speaker 1: of all the twists and turns the character does within

1040
00:56:57,680 --> 00:57:01,040
Speaker 1: the scene. So all in my were looking for as

1041
00:57:01,440 --> 00:57:05,440
Speaker 1: things to test myself, to challenge myself, to do the untried,

1042
00:57:05,480 --> 00:57:09,160
Speaker 1: to be uncomfortable, to be you know, the opposite of

1043
00:57:09,160 --> 00:57:13,120
Speaker 1: a walk in the park. You know, that's what we do. Um.

1044
00:57:13,160 --> 00:57:17,040
Speaker 1: It's a I joke sometimes with people that I'm a

1045
00:57:17,160 --> 00:57:20,640
Speaker 1: massive I have a masochistic heart as a creative soul,

1046
00:57:21,240 --> 00:57:23,440
Speaker 1: because I don't know, you wanted to to hurt a

1047
00:57:23,440 --> 00:57:26,919
Speaker 1: little or feel uncomfortable. I don't know why, because you're

1048
00:57:27,080 --> 00:57:32,240
Speaker 1: going to depths. Then you know you've you've achieved something, um,

1049
00:57:32,280 --> 00:57:35,960
Speaker 1: and you've you've done something you didn't know you could do. Right.

1050
00:57:36,360 --> 00:57:39,440
Speaker 1: So conviction was one of those parts. And I had

1051
00:57:39,480 --> 00:57:41,720
Speaker 1: been I was with my band, you know, I had

1052
00:57:41,760 --> 00:57:44,760
Speaker 1: a rock and roll band for years and took off

1053
00:57:44,800 --> 00:57:47,680
Speaker 1: and did that and was touring and making That was

1054
00:57:47,800 --> 00:57:50,760
Speaker 1: my livelihood for a while, and then I came back

1055
00:57:50,800 --> 00:57:53,080
Speaker 1: to do that kind of drama. It was really exciting.

1056
00:57:54,760 --> 00:57:58,000
Speaker 1: What did that mean working with her? It it I

1057
00:57:58,040 --> 00:58:03,400
Speaker 1: don't know, august Osage County. It's from a Tracy Let's play,

1058
00:58:03,520 --> 00:58:06,760
Speaker 1: a play that want to pulled surprise. Um, they made

1059
00:58:06,760 --> 00:58:10,400
Speaker 1: a movie. It was a whole bunch of amazing actors

1060
00:58:10,480 --> 00:58:13,360
Speaker 1: were in it, but it was Meryl Streeps. So how

1061
00:58:13,440 --> 00:58:15,840
Speaker 1: good is she like when you're seeing her? Like, you know,

1062
00:58:16,040 --> 00:58:18,640
Speaker 1: to me, she's the our DeNiro. You know, you have

1063
00:58:18,680 --> 00:58:20,920
Speaker 1: your DeNiro and then there's Meryl Streeps, So I I

1064
00:58:21,280 --> 00:58:24,680
Speaker 1: she's everything you want her to be. And I connected

1065
00:58:24,720 --> 00:58:28,520
Speaker 1: with her on so many levels because she she again,

1066
00:58:29,080 --> 00:58:31,600
Speaker 1: she doesn't throw her weight around on the set and

1067
00:58:31,640 --> 00:58:33,600
Speaker 1: she is the queen when she is on the set

1068
00:58:33,640 --> 00:58:36,960
Speaker 1: that is that is our like Picasso or vantage. Yeah,

1069
00:58:36,960 --> 00:58:40,320
Speaker 1: it's a Picasso. And she's actually in between action and cut.

1070
00:58:40,760 --> 00:58:43,320
Speaker 1: Are you like wow? This? I mean like are you

1071
00:58:43,360 --> 00:58:46,720
Speaker 1: are you like seeing the greatness? Right? Yeah? She had

1072
00:58:46,760 --> 00:58:52,240
Speaker 1: a part where she was um dying of cancer and

1073
00:58:52,360 --> 00:58:55,960
Speaker 1: she was a piloddict and but funny like all these

1074
00:58:56,000 --> 00:59:00,160
Speaker 1: things and when she would turn it on and it's

1075
00:59:00,200 --> 00:59:03,200
Speaker 1: happening and the cameras rolling to me, I just Liken

1076
00:59:03,280 --> 00:59:06,400
Speaker 1: it to channeling because you work with other actors, they're

1077
00:59:06,440 --> 00:59:10,080
Speaker 1: like they're doing a good job, they're giving it. But

1078
00:59:10,160 --> 00:59:15,040
Speaker 1: she's it's otherworldly her talent and beyond that, what I

1079
00:59:15,120 --> 00:59:18,240
Speaker 1: learned from her is how it can be done, how

1080
00:59:18,320 --> 00:59:22,439
Speaker 1: you can sustain and have a life in this this

1081
00:59:22,640 --> 00:59:27,320
Speaker 1: uh wild while the industry we'rean and be graceful and

1082
00:59:27,400 --> 00:59:31,720
Speaker 1: loving and kind and humble and funny. You know, she's

1083
00:59:31,760 --> 00:59:35,080
Speaker 1: all those things. So so yeah, that was it was

1084
00:59:35,160 --> 00:59:38,480
Speaker 1: a real honor to spend time with her. And we

1085
00:59:38,520 --> 00:59:42,439
Speaker 1: had dinner, we and in at our house and did

1086
00:59:42,520 --> 00:59:45,240
Speaker 1: scenes and all that. And she's like regular in real life. Right,

1087
00:59:45,440 --> 00:59:48,720
Speaker 1: She's totally cool and fun and there's no like fucking

1088
00:59:48,760 --> 00:59:50,960
Speaker 1: weird old artists type of like, she's like cool, right,

1089
00:59:51,640 --> 00:59:55,640
Speaker 1: all right, two more questions. I know you gotta okay,

1090
00:59:55,680 --> 00:59:58,600
Speaker 1: here we go. Three If you had to bring three

1091
00:59:58,640 --> 01:00:00,680
Speaker 1: records with you, if you were going with Desert Island,

1092
01:00:00,720 --> 01:00:04,640
Speaker 1: I'll say five. You're never coming back and you've got

1093
01:00:04,640 --> 01:00:07,360
Speaker 1: to bring three records with you. What records would they be?

1094
01:00:09,320 --> 01:00:13,120
Speaker 1: What album CDs, doesn't matter what format, but what five

1095
01:00:13,160 --> 01:00:16,280
Speaker 1: records you get to bring? Okay, I'm gonna go. Neil

1096
01:00:16,400 --> 01:00:20,760
Speaker 1: Young Um I got this record. It's called Decades or something,

1097
01:00:20,920 --> 01:00:23,520
Speaker 1: so it's not even it's it's a bunch of his

1098
01:00:23,680 --> 01:00:27,200
Speaker 1: songs from other records, I believe, but I think it's

1099
01:00:27,280 --> 01:00:32,480
Speaker 1: decade or decades Neil Young. Um, that's one four more.

1100
01:00:32,960 --> 01:00:35,520
Speaker 1: It's tired because I have endless Bob Dylan. I'm just

1101
01:00:35,560 --> 01:00:38,440
Speaker 1: going to the classics. Sorry, five records. This is the

1102
01:00:38,480 --> 01:00:41,240
Speaker 1: rest of your life. I thought you said three five.

1103
01:00:41,880 --> 01:00:49,480
Speaker 1: Oh I needed some said three five. Jesus Uh. I

1104
01:00:49,520 --> 01:00:51,840
Speaker 1: don't even know records because I just have tons, but

1105
01:00:51,920 --> 01:00:54,479
Speaker 1: Bob Dylan. I gotta bring some Bob Dylan. I'll bring

1106
01:00:54,480 --> 01:00:58,240
Speaker 1: the record that has well God on my side. Um.

1107
01:00:58,960 --> 01:01:01,800
Speaker 1: How was another song and I was listen to. I

1108
01:01:01,840 --> 01:01:03,320
Speaker 1: don't know if it's on the same record, but she

1109
01:01:03,440 --> 01:01:06,440
Speaker 1: belongs to me. All Right, I want you. This is

1110
01:01:06,440 --> 01:01:08,160
Speaker 1: all Bob, just because I like you. You could bring

1111
01:01:08,200 --> 01:01:11,640
Speaker 1: the whole fucking Bob Dylan collection. Okay, you've got three

1112
01:01:11,640 --> 01:01:15,760
Speaker 1: more records, now you better pick record. Okay, just the record.

1113
01:01:15,840 --> 01:01:18,160
Speaker 1: It's not we're not bringing the greatest hits from anymore else.

1114
01:01:18,200 --> 01:01:23,360
Speaker 1: I'm gonna go Jimmy Hendrix, bold or access with it.

1115
01:01:23,800 --> 01:01:26,680
Speaker 1: It's not boldest love I know the album. It's the

1116
01:01:26,720 --> 01:01:28,920
Speaker 1: other one that's more trippy. You can listen to it

1117
01:01:28,960 --> 01:01:32,480
Speaker 1: from start to finish. I'm just gonna pick things that

1118
01:01:32,520 --> 01:01:36,640
Speaker 1: are coming to my mind. I'm going Miles Davis, bitches broke, okay,

1119
01:01:36,680 --> 01:01:39,000
Speaker 1: and you got one more? Actually, I would go Miles

1120
01:01:39,080 --> 01:01:41,680
Speaker 1: Davis star people. Not a lot of people have heard

1121
01:01:41,720 --> 01:01:45,000
Speaker 1: this record. It's beautiful, amazing. I was listening to it

1122
01:01:45,040 --> 01:01:48,680
Speaker 1: when I was one more record. Let's see what else

1123
01:01:53,240 --> 01:01:57,120
Speaker 1: I know. I thought of that, but you don't. I

1124
01:01:57,160 --> 01:01:59,480
Speaker 1: can't do greatst sits. I just know these greates is.

1125
01:02:00,040 --> 01:02:02,400
Speaker 1: I'm just gonna go around. But yeah, I was thinking

1126
01:02:02,560 --> 01:02:08,640
Speaker 1: of females. Come on, I'm gonna go Yeah. All that

1127
01:02:08,760 --> 01:02:12,600
Speaker 1: is is female proud. Okay, that's it. You cook some

1128
01:02:12,680 --> 01:02:15,880
Speaker 1: steak and eggs, right some? Oh my gosh. I'm traditional.

1129
01:02:16,000 --> 01:02:18,400
Speaker 1: I'm like loving. I take care of my man. I'll

1130
01:02:18,440 --> 01:02:21,200
Speaker 1: do his laundry stuff. Like some of these new feminists

1131
01:02:23,400 --> 01:02:25,400
Speaker 1: it right, They don't have it right. It's don't. It's

1132
01:02:25,520 --> 01:02:28,440
Speaker 1: man loving. I'm a man loving feminist. That's my quote.

1133
01:02:28,480 --> 01:02:30,400
Speaker 1: But because I'm saying, like, you know, like you could

1134
01:02:30,440 --> 01:02:31,720
Speaker 1: be a feminist, but can I get a ham and

1135
01:02:31,800 --> 01:02:33,960
Speaker 1: cheese sandwich? That's all I'm just saying. You know what

1136
01:02:33,960 --> 01:02:36,280
Speaker 1: I'm saying, we give and take, we give to each other.

1137
01:02:36,640 --> 01:02:39,560
Speaker 1: I think people got it confused. But feminism is just

1138
01:02:39,840 --> 01:02:43,040
Speaker 1: you just want to be, you know, have some equality

1139
01:02:43,160 --> 01:02:46,560
Speaker 1: and not just and not the constant sexualization. It's like

1140
01:02:47,000 --> 01:02:49,919
Speaker 1: it's just requiring people just to be a little bit

1141
01:02:50,080 --> 01:02:54,960
Speaker 1: more thoughtful in their approach. Right. Um, Okay, so let's see.

1142
01:02:55,480 --> 01:02:59,000
Speaker 1: I'm gonna I could go Fleetwood Mac or I want

1143
01:02:59,000 --> 01:03:01,240
Speaker 1: to go Velvet Underground like you said, But I can't

1144
01:03:01,280 --> 01:03:03,800
Speaker 1: think of that record that I just got, the anthology,

1145
01:03:04,120 --> 01:03:06,480
Speaker 1: bring the whole Boxer, bring the whole box that I'm

1146
01:03:06,480 --> 01:03:09,680
Speaker 1: getting Delvet Nage. Everyone else is going to just show

1147
01:03:09,720 --> 01:03:12,840
Speaker 1: up with five records, Juli, you're gonna scope with a whole. No,

1148
01:03:12,920 --> 01:03:14,720
Speaker 1: but people are gonna be out on this island of

1149
01:03:14,760 --> 01:03:16,640
Speaker 1: people with the records like they're gonna just have five

1150
01:03:16,680 --> 01:03:18,320
Speaker 1: of them, Like, why then does this broad have like

1151
01:03:18,360 --> 01:03:21,320
Speaker 1: a whole? Because I can't decide. I like diversity and

1152
01:03:21,360 --> 01:03:23,720
Speaker 1: it's in my music. Although I went to the Staples,

1153
01:03:24,080 --> 01:03:31,400
Speaker 1: the Staples got Jimmy Hendrix, Dylan Neil to be jealous. Okay,

1154
01:03:31,400 --> 01:03:35,080
Speaker 1: And then my final question, the same thing there's no

1155
01:03:35,160 --> 01:03:36,800
Speaker 1: there's there, there's no screwing around here. You get to

1156
01:03:36,800 --> 01:03:40,400
Speaker 1: bring five movies, the last five movies you're gonna watch

1157
01:03:40,440 --> 01:03:42,400
Speaker 1: the rest of your life. Pick them. I don't have

1158
01:03:42,440 --> 01:03:44,280
Speaker 1: to be in any of them. It's fine, go ahead,

1159
01:03:44,320 --> 01:03:48,000
Speaker 1: pick them. Five movies, Jewels, I'm gonna go to Okay,

1160
01:03:48,040 --> 01:03:50,800
Speaker 1: what about Bob Bill. That's good. You want some humor

1161
01:03:50,840 --> 01:03:52,840
Speaker 1: on this island because things are gonna get bleak. That's

1162
01:03:52,920 --> 01:03:58,560
Speaker 1: my happy place. That movie, Um, well bleak my. I

1163
01:03:58,800 --> 01:04:02,080
Speaker 1: like really your Matic Francis if but you might want

1164
01:04:02,120 --> 01:04:04,520
Speaker 1: to kill yourself after you well that. It's so dark.

1165
01:04:05,160 --> 01:04:08,800
Speaker 1: Midnight yes, Jessica Lang Francis about a woman that gets

1166
01:04:08,800 --> 01:04:13,200
Speaker 1: the lobotomy by her wonderful mother. Um, it's horrifying. Feel

1167
01:04:13,240 --> 01:04:16,680
Speaker 1: good movie too, yeah, Midnight Express never feel good movie.

1168
01:04:17,120 --> 01:04:20,200
Speaker 1: Loses his mind in your Turkish Prison, it's so beautiful.

1169
01:04:20,240 --> 01:04:22,840
Speaker 1: There's a scene where they're all walking around in this

1170
01:04:23,000 --> 01:04:25,520
Speaker 1: in a circle because they're bananas, and he wants to

1171
01:04:25,600 --> 01:04:28,880
Speaker 1: walk the other way. That scene could bring me to tears.

1172
01:04:28,960 --> 01:04:32,919
Speaker 1: I could pause that scene and talk about life with you.

1173
01:04:33,240 --> 01:04:36,680
Speaker 1: He just wants to walk the other way and they cannot.

1174
01:04:36,720 --> 01:04:39,360
Speaker 1: They're on automatic pilot. And he's just trying to upset

1175
01:04:39,360 --> 01:04:42,920
Speaker 1: the system, but not in any dark, horrible way, but

1176
01:04:43,040 --> 01:04:46,240
Speaker 1: just to go you can walk the other way. Sorry,

1177
01:04:46,280 --> 01:04:49,520
Speaker 1: I get I'm glad pass and you have to watch

1178
01:04:49,600 --> 01:04:52,080
Speaker 1: for that scene. That's what I want to hear from you.

1179
01:04:52,560 --> 01:04:54,480
Speaker 1: That's why I'm asking these questions. I want to get

1180
01:04:54,520 --> 01:04:57,520
Speaker 1: emotional about that scene. Like, that's why I'm about questions.

1181
01:04:57,560 --> 01:05:00,560
Speaker 1: That's you, and You're like, I just want to is turkey.

1182
01:05:00,720 --> 01:05:02,000
Speaker 1: But this is what this is the ship that I

1183
01:05:02,160 --> 01:05:04,000
Speaker 1: this I wanted to interview because I know you get

1184
01:05:04,040 --> 01:05:06,160
Speaker 1: excited about these things. Yeah, I think. But I didn't

1185
01:05:06,160 --> 01:05:08,880
Speaker 1: even know how much that scene meant to me because

1186
01:05:08,920 --> 01:05:11,080
Speaker 1: Med and Night expressed. Most people think, oh, he's trying

1187
01:05:11,080 --> 01:05:13,200
Speaker 1: to get hash and he gets put in the jail

1188
01:05:13,240 --> 01:05:15,840
Speaker 1: and all the torture. But to me, that scene is

1189
01:05:15,840 --> 01:05:20,560
Speaker 1: such a comment on the human spirit and his resilience

1190
01:05:20,640 --> 01:05:22,480
Speaker 1: and all this stuff. I love that you just said that.

1191
01:05:23,040 --> 01:05:25,160
Speaker 1: You know you've got two more movies, all right, so

1192
01:05:25,280 --> 01:05:28,640
Speaker 1: um oh being there with Peter Sellers, that's what I

1193
01:05:28,720 --> 01:05:34,200
Speaker 1: go to again. This is another movie that's almost philosophical. Um,

1194
01:05:34,240 --> 01:05:36,720
Speaker 1: it's beautiful. He kind of walks on water at the

1195
01:05:36,840 --> 01:05:39,240
Speaker 1: end and it messes up your mind a little bit.

1196
01:05:39,280 --> 01:05:41,120
Speaker 1: You're like, did we watch this or is it this?

1197
01:05:41,640 --> 01:05:45,480
Speaker 1: And and he's a savant um and he makes all

1198
01:05:45,480 --> 01:05:49,960
Speaker 1: these metaphors about gardening, and people think he's a brilliant

1199
01:05:50,440 --> 01:05:54,320
Speaker 1: philosopher and he was just a gardener. So again it

1200
01:05:54,360 --> 01:05:56,240
Speaker 1: has a little bit of this magic to it. Okay.

1201
01:05:56,280 --> 01:05:58,160
Speaker 1: And then speaking of magic, I'm gonna go to a

1202
01:05:58,160 --> 01:06:02,360
Speaker 1: Fellini movie called Knights of Area that I wanted to remake,

1203
01:06:02,520 --> 01:06:05,439
Speaker 1: but it was very hard to get the rights. Um,

1204
01:06:05,560 --> 01:06:09,080
Speaker 1: Juliette what's his her wife? And it's not juliet Messina,

1205
01:06:09,160 --> 01:06:13,320
Speaker 1: is it Julietta Messina. She's she's like a lucial ball,

1206
01:06:13,480 --> 01:06:16,440
Speaker 1: she has a lucile ball quality. She plays a prostitute,

1207
01:06:16,720 --> 01:06:19,040
Speaker 1: but she's a rebel. So these are all things that

1208
01:06:19,160 --> 01:06:22,120
Speaker 1: I identified very much with this in this that's a

1209
01:06:22,120 --> 01:06:24,680
Speaker 1: good choice. That's a good choice. Okay, these are my

1210
01:06:24,720 --> 01:06:27,720
Speaker 1: good too. I'm glad I passed that test Um. All right,

1211
01:06:27,760 --> 01:06:30,000
Speaker 1: that's it. The people are gonna want more. They're gonna

1212
01:06:30,000 --> 01:06:31,680
Speaker 1: be like, you didn't ask her this, you didn't ask

1213
01:06:31,720 --> 01:06:35,720
Speaker 1: her that. It's fine, she'll be back, and she needs feminism,

1214
01:06:35,800 --> 01:06:38,160
Speaker 1: like oh, so many things, loving your man like all

1215
01:06:38,240 --> 01:06:40,920
Speaker 1: kinds of topics. But I need something, you need some

1216
01:06:42,640 --> 01:06:44,680
Speaker 1: I got shipped to do to Juels. So this is

1217
01:06:44,680 --> 01:06:47,400
Speaker 1: the Iron Rappor Podcast. It's been my pleasure to interview

1218
01:06:47,440 --> 01:06:50,200
Speaker 1: my friend and and I was able to play your hand,

1219
01:06:50,680 --> 01:06:53,840
Speaker 1: Juliet Louis, and we're gonna we're gonna make sure and

1220
01:06:53,880 --> 01:06:57,400
Speaker 1: also tell the people at ABC for your new hit show,

1221
01:06:58,200 --> 01:07:01,240
Speaker 1: why is it on on demand? It's not. I don't

1222
01:07:01,240 --> 01:07:05,280
Speaker 1: know any of this. I'm yeah, because if a motherfucker

1223
01:07:05,320 --> 01:07:07,760
Speaker 1: wants to rewatch it, start interviewing the pockets, like going

1224
01:07:07,800 --> 01:07:09,640
Speaker 1: to what you know, like if you don't record it,

1225
01:07:09,640 --> 01:07:12,800
Speaker 1: I should be able to watch it whenever I want. Yeah,

1226
01:07:13,000 --> 01:07:15,600
Speaker 1: let me ask about the fucking higher uption and get

1227
01:07:15,600 --> 01:07:19,240
Speaker 1: that ship going. Just let him on demand ship. You

1228
01:07:19,320 --> 01:07:21,520
Speaker 1: know what I'm saying. Anyway, that's it. That's the Iron

1229
01:07:21,560 --> 01:07:24,000
Speaker 1: Wrapper Podcast. Are we out? Thanks for having me? Thanks

1230
01:07:24,080 --> 01:07:24,320
Speaker 1: Juli