1 00:00:02,640 --> 00:00:06,040 Speaker 1: This is Alec Baldwin and you're listening to Here's the thing, 2 00:00:06,800 --> 00:00:11,119 Speaker 1: My chance to talk with artists, policymakers and performers, to 3 00:00:11,240 --> 00:00:15,480 Speaker 1: hear their stories, What inspires their creations, what decisions change 4 00:00:15,520 --> 00:00:23,159 Speaker 1: their careers, what relationships influenced their work. To be the 5 00:00:23,239 --> 00:00:28,000 Speaker 1: offspring of filmmaking genius Francis Ford Coppola is to eat, sleep, 6 00:00:28,040 --> 00:00:33,159 Speaker 1: and breathe cinema. Sofia Coppola should know. His youngest child 7 00:00:33,200 --> 00:00:36,720 Speaker 1: and only daughter, appeared on screen before she could talk, 8 00:00:37,320 --> 00:00:40,960 Speaker 1: playing an infant in his nineteen seventy two masterpiece The 9 00:00:41,000 --> 00:00:47,479 Speaker 1: Godfather as Hollywood Royalty. Coppola's success may have been predestined, 10 00:00:47,960 --> 00:00:51,440 Speaker 1: but her path to greatness was far from paved in gold. 11 00:00:52,120 --> 00:00:55,360 Speaker 1: Before turning twenty, she endured the sudden death of her 12 00:00:55,400 --> 00:00:59,240 Speaker 1: oldest brother, followed by a vicious media storm from critics 13 00:00:59,520 --> 00:01:04,440 Speaker 1: regard her performance in The Godfather Part three, and then 14 00:01:04,600 --> 00:01:08,800 Speaker 1: things changed. Now an Academy Award winning filmmaker in her 15 00:01:08,840 --> 00:01:12,160 Speaker 1: own right, it's safe to say Sofia Coppola has found 16 00:01:12,200 --> 00:01:18,080 Speaker 1: her stride. Her movies are extraordinary, arresting, and elegant these days, 17 00:01:18,080 --> 00:01:21,840 Speaker 1: the critics agree. At forty six, she's taken home more 18 00:01:21,880 --> 00:01:25,679 Speaker 1: rewards than some get in a lifetime, including an Oscar 19 00:01:25,800 --> 00:01:29,399 Speaker 1: for Best Original Screenplay and a Golden Lion Award for 20 00:01:29,480 --> 00:01:34,160 Speaker 1: Best Picture for My personal favorite Somewhere. This March, she 21 00:01:34,280 --> 00:01:38,160 Speaker 1: made history again as the second female filmmaker to win 22 00:01:38,240 --> 00:01:43,360 Speaker 1: Best Director at can. Finishing her most recent film, The Beguiled, 23 00:01:43,760 --> 00:01:48,000 Speaker 1: has sent Coppola into a familiar space wondering what's next. 24 00:01:48,800 --> 00:01:52,440 Speaker 1: I wait until I finished a film, and then there's 25 00:01:52,480 --> 00:01:54,840 Speaker 1: always kind of a panic I'm ever going to do 26 00:01:54,920 --> 00:02:01,760 Speaker 1: anything ever again? And then somehow something you know, sparked 27 00:02:01,800 --> 00:02:04,240 Speaker 1: some interest, but then you never know if that's really 28 00:02:04,280 --> 00:02:06,800 Speaker 1: what you're going to focus on. So yeah, usually after 29 00:02:06,840 --> 00:02:09,760 Speaker 1: I finished a project, I sort of think about what 30 00:02:09,840 --> 00:02:12,600 Speaker 1: I'm interested in and then and trying to be open 31 00:02:12,639 --> 00:02:15,960 Speaker 1: to different things. And then finally something keep snagging at 32 00:02:16,000 --> 00:02:18,440 Speaker 1: you that wants attention. And did that work with this 33 00:02:18,520 --> 00:02:20,399 Speaker 1: last film? Was that the case with The Lastime? Yeah? 34 00:02:20,400 --> 00:02:22,959 Speaker 1: This one was my my friend and Ross, who was 35 00:02:23,000 --> 00:02:26,519 Speaker 1: my production designer. She we were working on a commercials 36 00:02:26,600 --> 00:02:28,560 Speaker 1: after a film, and I didn't know what I was doing, 37 00:02:28,560 --> 00:02:30,800 Speaker 1: and she just said in passing, like you have to 38 00:02:30,800 --> 00:02:33,040 Speaker 1: see this Don Siegel film. The beguiled. I think you 39 00:02:33,080 --> 00:02:35,079 Speaker 1: need to remake it. And I was like, what, I 40 00:02:35,080 --> 00:02:38,600 Speaker 1: would never remake a movie. And I knew that people 41 00:02:38,760 --> 00:02:40,560 Speaker 1: I never saw the film. I didn't know about the film, 42 00:02:40,600 --> 00:02:43,919 Speaker 1: but people that really know, like Cinophiles, you know, love 43 00:02:43,960 --> 00:02:47,040 Speaker 1: that movie. It's it's a classic in that genre. And 44 00:02:47,080 --> 00:02:50,520 Speaker 1: I watched it and it was so not what I expected. 45 00:02:50,680 --> 00:02:53,440 Speaker 1: It takes a turn, and I just it just stayed 46 00:02:53,480 --> 00:02:55,519 Speaker 1: in my mind. It was so weird and just to 47 00:02:55,600 --> 00:02:58,400 Speaker 1: my mind. And then I kept thinking about how I 48 00:02:58,400 --> 00:03:00,760 Speaker 1: would do it this way, and I it's it's it's 49 00:03:00,919 --> 00:03:02,840 Speaker 1: you know, a story about the household of women, but 50 00:03:02,960 --> 00:03:05,880 Speaker 1: told from a real kind of macho guys point of view. 51 00:03:06,360 --> 00:03:08,440 Speaker 1: I thought it would be interesting kind of to tell 52 00:03:08,480 --> 00:03:11,399 Speaker 1: the same story, kind of flip it intil a different version. 53 00:03:11,480 --> 00:03:13,280 Speaker 1: So I found the book, which is out of print, 54 00:03:13,800 --> 00:03:16,280 Speaker 1: and it's told by the story of all the different characters. 55 00:03:16,919 --> 00:03:20,200 Speaker 1: But who wrote the book, Thomas Culligan? When did that 56 00:03:20,240 --> 00:03:21,840 Speaker 1: come out? How long ago? It looked like a kind 57 00:03:21,880 --> 00:03:25,360 Speaker 1: of pulp fiction of the sixties, not it's not quite 58 00:03:25,400 --> 00:03:30,120 Speaker 1: classic literature, and you know, very like genre. And then 59 00:03:30,160 --> 00:03:32,720 Speaker 1: I try to forget about the film. But had I 60 00:03:32,760 --> 00:03:34,480 Speaker 1: always hear people say that, and then I forget about 61 00:03:34,480 --> 00:03:37,160 Speaker 1: the film. Yeah, yeah, because you have things in the 62 00:03:37,160 --> 00:03:38,720 Speaker 1: back of your mind. I tried. I didn't watch it 63 00:03:38,760 --> 00:03:40,760 Speaker 1: again for you know, a few years, but it still 64 00:03:40,760 --> 00:03:42,120 Speaker 1: stays in the back of your mind, kind of like 65 00:03:42,400 --> 00:03:44,680 Speaker 1: a dream. I don't know if it's a memory, how 66 00:03:44,760 --> 00:03:47,320 Speaker 1: much is my imagination or what I remember from the 67 00:03:47,320 --> 00:03:49,960 Speaker 1: other film. But but yeah, I feel like it's always 68 00:03:50,000 --> 00:03:53,720 Speaker 1: different how you end up starting a project. Now, for 69 00:03:53,800 --> 00:03:56,640 Speaker 1: the uh, the film you shot? What was the location? 70 00:03:56,880 --> 00:03:59,480 Speaker 1: We shot in New Orleans, New Orleans. Yeah, we shot 71 00:03:59,520 --> 00:04:01,000 Speaker 1: in town one for the in two years and then 72 00:04:01,000 --> 00:04:05,160 Speaker 1: we shot at a plantation which one Madewood Plantation in 73 00:04:05,320 --> 00:04:10,280 Speaker 1: Napoleonville shot down that one Hampton and you know, we 74 00:04:10,280 --> 00:04:13,240 Speaker 1: were at the what's that famous hotel than the better one. 75 00:04:13,760 --> 00:04:15,360 Speaker 1: I don't know, there's something it will come to me. 76 00:04:15,440 --> 00:04:17,719 Speaker 1: But we shot at a place called not Away Plantation 77 00:04:18,360 --> 00:04:20,800 Speaker 1: which was out there and you'd have to uh, there 78 00:04:20,880 --> 00:04:22,720 Speaker 1: was a bit of a drive and when then we 79 00:04:22,720 --> 00:04:28,480 Speaker 1: we created a set of buy you Home in City 80 00:04:28,520 --> 00:04:31,440 Speaker 1: Park in the middle of town park one day. Yeah, 81 00:04:31,520 --> 00:04:33,880 Speaker 1: it's pretty amazing that that's in the middle of the city. 82 00:04:33,880 --> 00:04:36,279 Speaker 1: We shot like our wood scenes in City Park there. 83 00:04:36,920 --> 00:04:38,840 Speaker 1: You know, you've made how many films now is at 84 00:04:38,839 --> 00:04:41,359 Speaker 1: eight or nine or um? I think it was my 85 00:04:41,480 --> 00:04:45,159 Speaker 1: six six And when you make one, when you're there, 86 00:04:45,920 --> 00:04:50,000 Speaker 1: it's an exhausting process. And you have little kids. So 87 00:04:50,320 --> 00:04:53,480 Speaker 1: there's your life with your children mirror your childhood because 88 00:04:53,480 --> 00:04:57,400 Speaker 1: I read where you weren't parked in northern California going 89 00:04:57,440 --> 00:04:59,719 Speaker 1: to school and dad was in the Philippines for a year. 90 00:04:59,800 --> 00:05:02,400 Speaker 1: You went with your father and you guys were all together. Correct. Yeah, 91 00:05:02,440 --> 00:05:05,520 Speaker 1: we always went on location, which which I thought was 92 00:05:05,560 --> 00:05:09,160 Speaker 1: fun because it was exciting to go to set. And yeah, 93 00:05:09,200 --> 00:05:15,200 Speaker 1: my education is a little patchy. Yeah, yeah, I can't multiply, 94 00:05:15,360 --> 00:05:18,360 Speaker 1: but but yeah, but it was always exciting to live 95 00:05:18,360 --> 00:05:20,839 Speaker 1: in all these places. And we lived, you know, in Oklahoma, 96 00:05:20,880 --> 00:05:22,760 Speaker 1: and you know, but I would go to the local 97 00:05:22,760 --> 00:05:26,599 Speaker 1: schools everywhere. So it was a fun adventure. But you're 98 00:05:26,600 --> 00:05:28,440 Speaker 1: the same with your kids. They come with you. When 99 00:05:28,480 --> 00:05:30,839 Speaker 1: they were smaller, I brought them everywhere. But now the 100 00:05:31,240 --> 00:05:33,760 Speaker 1: older ones in fourth grade, it's harder to leave school 101 00:05:34,000 --> 00:05:35,880 Speaker 1: for them. So this it was a short shoot is 102 00:05:35,920 --> 00:05:38,360 Speaker 1: six weeks. So they just came and visited over Thanksgiving 103 00:05:38,440 --> 00:05:41,440 Speaker 1: and um, they stayed in New York with my husband 104 00:05:42,120 --> 00:05:45,280 Speaker 1: whom he's a musician, and he was now he's on tour, 105 00:05:45,360 --> 00:05:47,279 Speaker 1: so somehow it worked out that he could be here. 106 00:05:47,320 --> 00:05:48,840 Speaker 1: But they will come and visit, but they will come 107 00:05:48,880 --> 00:05:54,280 Speaker 1: to set. And they're older now little seven, seven and ten, 108 00:05:54,400 --> 00:05:57,200 Speaker 1: but they like being on set and and it's funny 109 00:05:57,240 --> 00:05:59,520 Speaker 1: because I remember, Yeah, it was always fun to hang 110 00:05:59,520 --> 00:06:02,600 Speaker 1: out on on set. Craft service is probably the most exciting. Well, 111 00:06:02,600 --> 00:06:03,880 Speaker 1: I was wanting to do any of them where they 112 00:06:03,920 --> 00:06:05,600 Speaker 1: like you like, do you see yourself? Whether they get 113 00:06:05,600 --> 00:06:07,840 Speaker 1: the bug and like you turn around, there's your You 114 00:06:07,880 --> 00:06:09,480 Speaker 1: have a boy and a girl. I have two girls. 115 00:06:09,480 --> 00:06:10,960 Speaker 1: And one of the girls got like an eyepiece and 116 00:06:10,960 --> 00:06:13,160 Speaker 1: they're looking through the lens and find the little one 117 00:06:13,240 --> 00:06:15,440 Speaker 1: was into looking through the lens and and her school 118 00:06:15,520 --> 00:06:17,640 Speaker 1: they did a little project and she was a cinematographer. 119 00:06:17,760 --> 00:06:21,520 Speaker 1: So um, the photography is extraordinary. And then film is 120 00:06:21,520 --> 00:06:24,159 Speaker 1: a beautiful film. You're a film the big guild. And 121 00:06:24,200 --> 00:06:28,799 Speaker 1: who's the cinematographer. His name's Felippe Lassore. He's a French cinematographer. 122 00:06:28,960 --> 00:06:31,640 Speaker 1: And yeah, I loved working with him. He's a real artist. 123 00:06:31,680 --> 00:06:33,320 Speaker 1: I think the last film he did was the Grand 124 00:06:33,320 --> 00:06:36,919 Speaker 1: Master with One car Y and he has a lot 125 00:06:36,960 --> 00:06:41,279 Speaker 1: of commercials in between. But he's been great and you 126 00:06:41,320 --> 00:06:43,560 Speaker 1: hadn't worked with him before. No, we shot a few 127 00:06:43,560 --> 00:06:46,800 Speaker 1: commercials and I knew about him from another cinematographer friend, 128 00:06:46,839 --> 00:06:48,240 Speaker 1: but it's the first time we did to film together. 129 00:06:48,880 --> 00:06:51,040 Speaker 1: Do you find for a director that as you grow 130 00:06:51,880 --> 00:06:54,200 Speaker 1: and as you change, you need to have your staff 131 00:06:54,320 --> 00:06:57,640 Speaker 1: change with you need to change partners in certain I 132 00:06:57,680 --> 00:07:01,000 Speaker 1: can't think of any more important than that cinematographer relationship. Yeah, 133 00:07:01,040 --> 00:07:02,760 Speaker 1: a lot of my crew we've worked together on a 134 00:07:02,760 --> 00:07:05,400 Speaker 1: lot of projects and it's great to work together and 135 00:07:05,440 --> 00:07:07,719 Speaker 1: have that shorthand and they really know me. But with 136 00:07:07,760 --> 00:07:09,440 Speaker 1: a cinematographer, No, I think it's nice to have his 137 00:07:09,560 --> 00:07:13,440 Speaker 1: ongoing relationships. I had a cinematographer, Harris VDS that I 138 00:07:13,440 --> 00:07:15,240 Speaker 1: did a few films with, who the one I did 139 00:07:15,280 --> 00:07:18,880 Speaker 1: in New Orleans He did no way. Harris was a 140 00:07:18,920 --> 00:07:21,960 Speaker 1: cinematograment I loved Roco with Harris, so when I met him, 141 00:07:22,000 --> 00:07:23,560 Speaker 1: I felt like, Oh, he's my guy, and he really 142 00:07:23,560 --> 00:07:27,440 Speaker 1: helped me so much. And then he passed away. UM, 143 00:07:27,520 --> 00:07:29,760 Speaker 1: so sorry to lose him as a friend and as 144 00:07:29,800 --> 00:07:33,840 Speaker 1: a collaborator, but he introduced me to Philip so Um, 145 00:07:33,880 --> 00:07:36,640 Speaker 1: and I really trusted him because because he was an 146 00:07:36,680 --> 00:07:40,880 Speaker 1: artist and and Philip really is about being, you know, 147 00:07:40,920 --> 00:07:43,840 Speaker 1: his priority is to make a beautiful being an artist. 148 00:07:44,280 --> 00:07:46,440 Speaker 1: You acted in a film, in one of your dad's films, 149 00:07:47,120 --> 00:07:49,400 Speaker 1: and how did that experience. Did that have any impact 150 00:07:49,400 --> 00:07:52,160 Speaker 1: on the way you deal with actors? And beyond that, 151 00:07:52,280 --> 00:07:54,320 Speaker 1: how do you deal with actors when you You've got 152 00:07:54,360 --> 00:07:57,760 Speaker 1: some pretty famous movie stars in this movie, and how 153 00:07:57,840 --> 00:08:00,240 Speaker 1: what does that experience like for you? Yeah, I mean 154 00:08:00,280 --> 00:08:02,960 Speaker 1: I think, um, having acted in a movie, it was 155 00:08:03,080 --> 00:08:05,960 Speaker 1: not my thing at all. Wasn't comfortable doing it, but 156 00:08:06,000 --> 00:08:07,240 Speaker 1: I was kind of an age We're like, oh, I'll 157 00:08:07,240 --> 00:08:09,720 Speaker 1: try anything. But now I feel like when I must said, 158 00:08:09,720 --> 00:08:12,240 Speaker 1: I know, I think I'm I know how vulnerable an 159 00:08:12,240 --> 00:08:14,440 Speaker 1: actor could be. Or I feel protective because I feel 160 00:08:14,480 --> 00:08:16,440 Speaker 1: like they have to try to make it as comfortable 161 00:08:16,480 --> 00:08:18,640 Speaker 1: as I can, because I feel like it's you have 162 00:08:18,680 --> 00:08:23,200 Speaker 1: to be comfortable to reveal yourself. And I don't know, 163 00:08:23,200 --> 00:08:26,200 Speaker 1: I try to make the atmosphere as much in the 164 00:08:26,200 --> 00:08:29,119 Speaker 1: feeling of the way you want the scene to be 165 00:08:29,280 --> 00:08:32,079 Speaker 1: and the tone of the room. Yeah, yeah, the whole 166 00:08:32,200 --> 00:08:33,880 Speaker 1: the whole, I think, the whole feeling on set and 167 00:08:33,920 --> 00:08:35,480 Speaker 1: where you are. I was fun it easier to shoot 168 00:08:35,480 --> 00:08:37,760 Speaker 1: on location than in a stage because you sort of 169 00:08:37,760 --> 00:08:42,439 Speaker 1: get the atmosphere of the real place. And I'm very collaborative. 170 00:08:42,480 --> 00:08:44,160 Speaker 1: I'm open to like I never like to plan out 171 00:08:44,160 --> 00:08:46,040 Speaker 1: how the scene is going to look before the actors 172 00:08:46,080 --> 00:08:48,440 Speaker 1: block it, because you don't know what the actors are 173 00:08:48,480 --> 00:08:51,960 Speaker 1: going to do and work ins from them. Yeah, yeah, definitely. 174 00:08:52,000 --> 00:08:55,520 Speaker 1: I could never storyboard before doing the scene because I 175 00:08:55,559 --> 00:08:57,000 Speaker 1: really it really starts from me when I see the 176 00:08:57,000 --> 00:09:00,520 Speaker 1: actors block the scene and you get ideas of, um, 177 00:09:00,520 --> 00:09:03,559 Speaker 1: you know what feels right, but working with them, it's 178 00:09:04,120 --> 00:09:06,000 Speaker 1: just from my experience, it is kind of an either war. 179 00:09:06,280 --> 00:09:09,080 Speaker 1: You know, there's people who walk in and in the 180 00:09:09,120 --> 00:09:11,240 Speaker 1: sense that someone has to decide what's going to happen. 181 00:09:11,720 --> 00:09:13,640 Speaker 1: A director will walk in and be very hands on 182 00:09:13,679 --> 00:09:16,480 Speaker 1: in terms of what you do. I have an idea before, 183 00:09:16,679 --> 00:09:18,400 Speaker 1: and the difference is how they sell it and how 184 00:09:18,440 --> 00:09:21,000 Speaker 1: they convey it. Some people will walk in and be 185 00:09:21,160 --> 00:09:25,440 Speaker 1: very precious about it and very polite about it and deferential. 186 00:09:25,520 --> 00:09:27,840 Speaker 1: Go well, I thought maybe, And there's other people were like, okay, 187 00:09:27,840 --> 00:09:29,679 Speaker 1: you walk over here and you do this, there's always 188 00:09:29,760 --> 00:09:34,080 Speaker 1: like a puppetry, which wouldn't makes sense. It's uh, it's 189 00:09:34,160 --> 00:09:37,240 Speaker 1: it's it's kind of exciting when someone is that clear. Yeah, 190 00:09:37,320 --> 00:09:39,439 Speaker 1: I always have to work really fast because it's low budget. 191 00:09:39,480 --> 00:09:41,880 Speaker 1: We don't have a lot of time to mess around. 192 00:09:41,960 --> 00:09:43,240 Speaker 1: So I felt we had to get in there and 193 00:09:43,280 --> 00:09:45,640 Speaker 1: block it. And then you see right away you can 194 00:09:45,679 --> 00:09:48,520 Speaker 1: tell what works. Did you have to luxuriate the most 195 00:09:48,559 --> 00:09:50,760 Speaker 1: in the schedule, Wi, I don't think I ever had, 196 00:09:52,400 --> 00:09:58,160 Speaker 1: I know, yeah, never. Now, when you cast, did someone 197 00:09:58,240 --> 00:10:01,920 Speaker 1: have a different title? It was always where? Yeah, but 198 00:10:02,000 --> 00:10:04,240 Speaker 1: that was probably we meandered the most in that because 199 00:10:04,280 --> 00:10:07,560 Speaker 1: there's not a lot of plots. Thank you. We were 200 00:10:07,559 --> 00:10:09,920 Speaker 1: being really indulgent. But when you cast, I mean that 201 00:10:10,000 --> 00:10:14,720 Speaker 1: was dorif uh and uh, you've got Nicole and Colin Farrell. 202 00:10:14,760 --> 00:10:16,800 Speaker 1: I mean you have these people in these films and 203 00:10:17,200 --> 00:10:21,080 Speaker 1: Kirsten Dunst. I would assume that an independent film this 204 00:10:21,280 --> 00:10:25,319 Speaker 1: cast consciousness has become suffocating. Yeah, yeah, I know it's 205 00:10:25,320 --> 00:10:27,960 Speaker 1: still like that. No, it's definitely like if you want this, 206 00:10:28,160 --> 00:10:31,480 Speaker 1: then you get this, And what is the words going 207 00:10:31,559 --> 00:10:36,600 Speaker 1: to do? Is there a vein of investors and financiers 208 00:10:36,600 --> 00:10:38,400 Speaker 1: who are in the Sofia couple of business, and you 209 00:10:38,480 --> 00:10:40,280 Speaker 1: go back to them to that well again and again. 210 00:10:40,440 --> 00:10:42,560 Speaker 1: I do have a few distributors that I always go 211 00:10:42,640 --> 00:10:46,280 Speaker 1: to and and um, and luckily they've supported what I've done. 212 00:10:46,280 --> 00:10:49,320 Speaker 1: But this film, the story was owned by Universal from 213 00:10:49,320 --> 00:10:53,200 Speaker 1: the previous film, so um, I asked him if they 214 00:10:53,200 --> 00:10:55,440 Speaker 1: would take it out of their library and let me 215 00:10:56,120 --> 00:10:59,800 Speaker 1: reinterpret it, and so I was really beholden to them, 216 00:10:59,800 --> 00:11:02,599 Speaker 1: and Focus as part of Universal came on board, and 217 00:11:02,600 --> 00:11:05,400 Speaker 1: I was happy that they let me do it. But um, 218 00:11:05,440 --> 00:11:07,960 Speaker 1: I think it's kind of odd project. So you know, 219 00:11:08,679 --> 00:11:12,200 Speaker 1: they was, you know, a small production. It's odd in 220 00:11:12,240 --> 00:11:15,000 Speaker 1: your mind, it's odd. Why why is it odd? Oh? 221 00:11:15,000 --> 00:11:16,640 Speaker 1: I don't know. I mean, I guessing I want to 222 00:11:16,640 --> 00:11:19,559 Speaker 1: redo this on Seagull Movie. Just the premise is pretty 223 00:11:19,600 --> 00:11:22,400 Speaker 1: I don't know on paper. Yeah. Yeah, and then that genre, 224 00:11:22,520 --> 00:11:24,960 Speaker 1: I mean, I think it's entertaining, and now when I 225 00:11:24,960 --> 00:11:26,240 Speaker 1: see it, I don't think it's but I think the 226 00:11:26,280 --> 00:11:28,880 Speaker 1: idea of pitching it was was sort of out there. 227 00:11:28,920 --> 00:11:33,480 Speaker 1: I think it's a conservative time right now for it wasn't. Yeah, 228 00:11:33,800 --> 00:11:37,800 Speaker 1: there's no Cathy Bates hobbling moment. Forever. It just wakes 229 00:11:37,880 --> 00:11:40,640 Speaker 1: up and it's bad news. Yeah for me, there's a 230 00:11:41,000 --> 00:11:43,280 Speaker 1: more gore than I've ever done with a little bit 231 00:11:43,280 --> 00:11:47,280 Speaker 1: of blood. But yeah, no, it's pretty discreet. So your 232 00:11:47,320 --> 00:11:50,360 Speaker 1: father was very kind and very gracious. I did this 233 00:11:50,440 --> 00:11:55,200 Speaker 1: documentary film about ken. Remember that we had fun. We 234 00:11:55,240 --> 00:11:57,640 Speaker 1: had fun. We did this movie Seduced An Abandon, and 235 00:11:57,679 --> 00:12:00,360 Speaker 1: we shot your dad. And I'm wondering for you as 236 00:12:00,400 --> 00:12:06,000 Speaker 1: your child was film watching film going both ordinary and extraordinary, 237 00:12:06,080 --> 00:12:08,000 Speaker 1: like did you watch the movies at all? The girls 238 00:12:08,000 --> 00:12:11,079 Speaker 1: your age did and go see movies and or were 239 00:12:11,120 --> 00:12:14,120 Speaker 1: you heavily influenced by your dad or both? Yeah, I 240 00:12:14,120 --> 00:12:16,480 Speaker 1: think I remember the first movie. I don't know if 241 00:12:16,520 --> 00:12:19,720 Speaker 1: it was Greece or bugsy Malone, but so I did 242 00:12:19,760 --> 00:12:22,440 Speaker 1: see some movies that were part of kid culture. But 243 00:12:23,000 --> 00:12:24,880 Speaker 1: my dad was a screening room and he was always 244 00:12:24,920 --> 00:12:27,680 Speaker 1: there's always movies being shown and we were always around, 245 00:12:28,520 --> 00:12:31,800 Speaker 1: and you know, so I remember they're watching Kurasawa or 246 00:12:31,840 --> 00:12:34,560 Speaker 1: you know, some movie that kids would normally watch, but 247 00:12:34,600 --> 00:12:36,000 Speaker 1: they were just around. So I feel like we were 248 00:12:36,000 --> 00:12:39,520 Speaker 1: exposed two interesting films. But then I would also go 249 00:12:39,600 --> 00:12:44,800 Speaker 1: to the local movie. Yeah, I remember Purple Rain was 250 00:12:44,880 --> 00:12:48,120 Speaker 1: my really seeing that in the theater when I was twelve, 251 00:12:48,360 --> 00:12:52,040 Speaker 1: like blew my mind. So I had a mix. What 252 00:12:52,160 --> 00:12:53,800 Speaker 1: was the first moment that when you were watching the 253 00:12:53,880 --> 00:12:57,640 Speaker 1: Kurasawa that that stable the film you sat there and said, 254 00:12:57,640 --> 00:13:01,360 Speaker 1: wait a second, there is cinema. Yeah, I don't, but 255 00:13:01,400 --> 00:13:03,480 Speaker 1: I feel we were. He was always watching all these 256 00:13:03,520 --> 00:13:05,760 Speaker 1: movies and I don't think it really registered. And then 257 00:13:05,800 --> 00:13:09,040 Speaker 1: somewhere has to have had lateness like that. Yeah. I 258 00:13:09,080 --> 00:13:11,520 Speaker 1: don't remember the time, you know, but remember him like 259 00:13:11,520 --> 00:13:13,640 Speaker 1: being on the I think on the porch watching you Jimbo. 260 00:13:13,720 --> 00:13:16,600 Speaker 1: Our dog was called Yo Jimbo after that movie. But um, 261 00:13:17,360 --> 00:13:20,320 Speaker 1: and and then like really weird, um there was this 262 00:13:20,400 --> 00:13:23,320 Speaker 1: movie like hitler Manamore. There was there was some really 263 00:13:23,360 --> 00:13:27,360 Speaker 1: weird German art film that was like it was creepy 264 00:13:27,440 --> 00:13:28,959 Speaker 1: and I remember seeing this a little kid, But there 265 00:13:29,000 --> 00:13:31,920 Speaker 1: was there was always he was watching cinema while we 266 00:13:31,920 --> 00:13:35,760 Speaker 1: were Um, so we were doing yeah exactly, so we 267 00:13:35,760 --> 00:13:39,600 Speaker 1: were kind of half watching it. And was there ever 268 00:13:39,720 --> 00:13:43,040 Speaker 1: a film that I'm not assuming your father was in 269 00:13:43,120 --> 00:13:45,320 Speaker 1: openess or was there ever a film that you turned 270 00:13:45,320 --> 00:13:48,280 Speaker 1: your father onto? Was there like a whole continent of 271 00:13:48,320 --> 00:13:50,920 Speaker 1: films your father wouldn't get near and you probably said, oh, 272 00:13:50,920 --> 00:13:52,760 Speaker 1: you gotta watch this, and he watched. He was like, hey, 273 00:13:52,800 --> 00:13:55,720 Speaker 1: that's not you know, it's really funny. Like years ago, 274 00:13:55,960 --> 00:13:58,560 Speaker 1: did you ever se this R Kelly hip hopera called 275 00:13:58,559 --> 00:14:00,760 Speaker 1: Trapped in the Closet? You know what that is? It's 276 00:14:00,840 --> 00:14:05,280 Speaker 1: so far out it's him doing this kind of Yeah, 277 00:14:05,760 --> 00:14:08,000 Speaker 1: trapped in the Closet R Kelly, it's really out there. 278 00:14:08,000 --> 00:14:09,400 Speaker 1: And we had the video and we were watching it 279 00:14:09,440 --> 00:14:11,720 Speaker 1: and my dad started watching it with us, and he's like, 280 00:14:11,760 --> 00:14:14,199 Speaker 1: this is really creative, but it's really this like it's 281 00:14:14,200 --> 00:14:18,000 Speaker 1: like a long hip hop video, but it's so everything's 282 00:14:18,040 --> 00:14:21,040 Speaker 1: really acted out and it's really out there. So it's 283 00:14:21,040 --> 00:14:24,240 Speaker 1: funny to see him get get into this. Yeah. I 284 00:14:24,240 --> 00:14:25,800 Speaker 1: feel like he would have never seen that, but he 285 00:14:25,800 --> 00:14:28,640 Speaker 1: watched it and he really appreciate it. And I remember 286 00:14:28,680 --> 00:14:31,320 Speaker 1: when I was a kid, we um for the screen 287 00:14:31,160 --> 00:14:33,000 Speaker 1: when we could pick movies we wanted to see. And 288 00:14:33,040 --> 00:14:36,040 Speaker 1: I had read about Prick Up Your Ears with and 289 00:14:36,040 --> 00:14:38,840 Speaker 1: so my favorite Yeah, And I was like, I don't know, teenager, 290 00:14:38,920 --> 00:14:40,720 Speaker 1: and I didn't really know what it was about, but 291 00:14:40,760 --> 00:14:43,000 Speaker 1: I had read about it and some of London it 292 00:14:43,040 --> 00:14:45,000 Speaker 1: was cool. So he got the movie, and then everyone 293 00:14:45,040 --> 00:14:48,320 Speaker 1: was like, Sophia, what is this movie? But he I 294 00:14:48,480 --> 00:14:50,680 Speaker 1: ended up knowing about Gary Oldman and appreciated him for 295 00:14:50,760 --> 00:14:54,520 Speaker 1: when he was casting Um Dracula. So Oldman is my 296 00:14:54,560 --> 00:14:57,840 Speaker 1: favorite actor. Oh he's great, He's amazing. He can do anything. 297 00:14:58,120 --> 00:15:00,000 Speaker 1: If you ever wanted to write something, did you write 298 00:15:00,080 --> 00:15:03,480 Speaker 1: Lost in Translation for Murray? I? Did? You did? I did? 299 00:15:03,520 --> 00:15:05,800 Speaker 1: It helps me a lot to picture an actor when 300 00:15:05,880 --> 00:15:09,960 Speaker 1: I'm when I'm writing, and I was picturing Bill and 301 00:15:09,960 --> 00:15:11,520 Speaker 1: and so then I was determined that it had to be. 302 00:15:11,640 --> 00:15:14,440 Speaker 1: Had you met him before? No, I had never met him. 303 00:15:14,440 --> 00:15:16,480 Speaker 1: I'd never met him, and I spent like a year 304 00:15:17,000 --> 00:15:19,520 Speaker 1: trying to track him down, and anyone I met as like, 305 00:15:19,520 --> 00:15:22,040 Speaker 1: do you know Bill Murray? And yeah? So but I 306 00:15:22,080 --> 00:15:23,520 Speaker 1: had I really had him in mind. I wasn't going 307 00:15:23,560 --> 00:15:25,920 Speaker 1: to make it unless he was doing it. So and 308 00:15:25,960 --> 00:15:30,280 Speaker 1: then what happened? How did you? Well? Mitch Glazer helped me. 309 00:15:30,400 --> 00:15:31,960 Speaker 1: He had showed it to him and I knew he 310 00:15:32,040 --> 00:15:34,720 Speaker 1: worked together. Yeah, he's a writer, and so I and 311 00:15:34,760 --> 00:15:37,040 Speaker 1: I was. I showed him something early drafts as a writer, 312 00:15:37,200 --> 00:15:39,520 Speaker 1: and then I said, you know, I want to get 313 00:15:39,560 --> 00:15:41,840 Speaker 1: Bill first. What do you think, and I think he 314 00:15:41,920 --> 00:15:44,560 Speaker 1: was impressed that I saw this kind of side a 315 00:15:44,680 --> 00:15:48,080 Speaker 1: Bill or He thought it was worthwhile and finally asked 316 00:15:48,280 --> 00:15:51,440 Speaker 1: Bill to to meet me. But it was a long process. 317 00:15:51,480 --> 00:15:54,000 Speaker 1: But thanks too much, I got. When you met him, 318 00:15:55,320 --> 00:15:58,040 Speaker 1: I'll never forget. He was wearing a Sear Sucker suit 319 00:15:58,240 --> 00:16:01,040 Speaker 1: and I think they were like El continor that restaurant. 320 00:16:01,520 --> 00:16:03,760 Speaker 1: Mitch called me, said you know, I'm here with Bill. 321 00:16:04,080 --> 00:16:06,120 Speaker 1: He says, come over, and I've been trying to meet 322 00:16:06,160 --> 00:16:08,760 Speaker 1: him me after a year. And I went over and yes, 323 00:16:08,800 --> 00:16:10,720 Speaker 1: and I remember he was in sure Sucker. He was very, 324 00:16:11,840 --> 00:16:14,840 Speaker 1: very gentlemanly, and we were walking out after and I 325 00:16:14,880 --> 00:16:17,880 Speaker 1: turned to Bill and there's a moment in sixteen Candles 326 00:16:17,920 --> 00:16:20,360 Speaker 1: where she's with the guy that she likes and she 327 00:16:20,360 --> 00:16:22,960 Speaker 1: sees her dad and she's like, Moles, that's the one. 328 00:16:23,080 --> 00:16:25,200 Speaker 1: And I had that moment with him, like, oh my god, 329 00:16:25,360 --> 00:16:27,840 Speaker 1: to Mitch about Bill. But I was thrilled for him 330 00:16:27,840 --> 00:16:30,800 Speaker 1: to even, you know, look at it, because it was 331 00:16:30,840 --> 00:16:33,240 Speaker 1: so hard to track him down, and it was a 332 00:16:33,320 --> 00:16:34,920 Speaker 1: tough to convince him to do the movie. I mean, 333 00:16:34,960 --> 00:16:37,520 Speaker 1: he's not the easiest person to corral. He's just not 334 00:16:37,720 --> 00:16:39,360 Speaker 1: comme at all. And like he didn't have an agent 335 00:16:39,480 --> 00:16:41,520 Speaker 1: or anything. And I was just trying an eight hundred 336 00:16:41,600 --> 00:16:43,960 Speaker 1: number and leave a message. Yes, I was leaving messages 337 00:16:44,120 --> 00:16:47,120 Speaker 1: on that eight hundred number and um for luck a 338 00:16:47,200 --> 00:16:50,440 Speaker 1: year and and then finally the NT he looked at 339 00:16:50,480 --> 00:16:51,760 Speaker 1: it and he said, yah, yeah, yeah, I might be 340 00:16:51,760 --> 00:16:53,640 Speaker 1: inclined to do it, but he never would say for sure. 341 00:16:53,680 --> 00:16:55,720 Speaker 1: And so we went to Japan, just like hoping he 342 00:16:55,760 --> 00:17:00,160 Speaker 1: would show up, and luckily he did desire wracking, but 343 00:17:00,200 --> 00:17:07,280 Speaker 1: didn't have a backup. Coming up, Sophia Coppola reveals her 344 00:17:07,320 --> 00:17:16,920 Speaker 1: father's advice for getting actors to do their best. In 345 00:17:17,000 --> 00:17:21,200 Speaker 1: her early days, Coppola struggled to find funding for her movies. 346 00:17:21,760 --> 00:17:24,560 Speaker 1: I talked with Jimmy Toback, with whom I co produced 347 00:17:24,880 --> 00:17:29,000 Speaker 1: Seduced and Abandoned, about just that. I found myself with 348 00:17:29,040 --> 00:17:34,000 Speaker 1: two million dollars cash, which I won in Vegas. By 349 00:17:34,040 --> 00:17:36,240 Speaker 1: the way, less the I R S be listening, my 350 00:17:36,400 --> 00:17:39,919 Speaker 1: net figure with Vegas is about minus fifty millions, so 351 00:17:40,320 --> 00:17:43,080 Speaker 1: please don't tell me I made money that way, as 352 00:17:43,160 --> 00:17:45,840 Speaker 1: anyone in Vegas will vouch. But in any event, I 353 00:17:46,080 --> 00:17:51,040 Speaker 1: had that two million. This is one and I thought, 354 00:17:51,359 --> 00:17:54,040 Speaker 1: christ I'm not going to hang around here anymore, pounding 355 00:17:54,040 --> 00:17:57,920 Speaker 1: on doors, chasing money. I'll just bribe Bagelman and get 356 00:17:57,960 --> 00:18:01,879 Speaker 1: the movie done. To hear more about Jimmy Toback's story, 357 00:18:02,400 --> 00:18:16,080 Speaker 1: go to Here's the Thing dot org. This is Alec Baldwin, 358 00:18:16,320 --> 00:18:20,400 Speaker 1: and you're listening to Here's the Thing. Sophia Coppola's Academy 359 00:18:20,440 --> 00:18:23,680 Speaker 1: Award in two thousand three made her the second ever 360 00:18:23,920 --> 00:18:28,800 Speaker 1: third generation Oscar winner, alongside Angelica Houston. But while the 361 00:18:28,880 --> 00:18:32,600 Speaker 1: soft spoken New Yorker caught the filmmaking bug early, her 362 00:18:32,640 --> 00:18:37,720 Speaker 1: mother didn't. After making a few documentaries, Eleanor Coppola released 363 00:18:37,720 --> 00:18:41,000 Speaker 1: her first feature of film last year, a movie titled 364 00:18:41,040 --> 00:18:45,120 Speaker 1: Paris Can Wait, in which I Appear for Sophia. Her 365 00:18:45,119 --> 00:18:49,920 Speaker 1: mother's new passion is a happy, albeit unexpected turn of events. 366 00:18:50,320 --> 00:18:52,040 Speaker 1: I was surprised. I mean, she was too kind of 367 00:18:52,119 --> 00:18:54,360 Speaker 1: art projects and she made her documentary, but I never 368 00:18:54,359 --> 00:18:57,719 Speaker 1: thought she would make this kind of film, you know, 369 00:18:57,800 --> 00:19:01,080 Speaker 1: kind of a narrative, because she's because she's more avant 370 00:19:01,119 --> 00:19:04,040 Speaker 1: garde with her art projects. So yeah, I was. I 371 00:19:04,119 --> 00:19:06,280 Speaker 1: was really surprised. Yeah, it's funny. Does she want to 372 00:19:06,280 --> 00:19:08,720 Speaker 1: make another one? I think now she's making the short 373 00:19:08,720 --> 00:19:10,600 Speaker 1: phone and she's like, I've got the bug. So yeah, 374 00:19:10,640 --> 00:19:12,280 Speaker 1: it's fun. It's fun to see that, you know, in 375 00:19:12,320 --> 00:19:15,480 Speaker 1: her early eighties, she's younger than all of us. She's 376 00:19:15,640 --> 00:19:19,040 Speaker 1: very entertaged, she's in she just wanted Tokyo yesterday to 377 00:19:19,320 --> 00:19:22,359 Speaker 1: her movie is coming out there. But but yeah, I know, 378 00:19:22,480 --> 00:19:24,919 Speaker 1: it's it's fun to see. It's a total surprise. What 379 00:19:24,960 --> 00:19:26,760 Speaker 1: I loved about her was that, and I don't not 380 00:19:26,760 --> 00:19:28,760 Speaker 1: have just saying this because it's your mom. What I 381 00:19:28,800 --> 00:19:30,399 Speaker 1: loved about her to be on the set with the 382 00:19:30,440 --> 00:19:33,880 Speaker 1: director who doesn't transmit their attension. Pachino had a line 383 00:19:33,920 --> 00:19:39,760 Speaker 1: once he said, we were shooting The Godfather's Funeral out 384 00:19:39,760 --> 00:19:44,639 Speaker 1: in Queens of Brooklyn, wherever it was. That's perfect, and 385 00:19:44,680 --> 00:19:48,800 Speaker 1: he said, I remember Francis was sitting on a slab 386 00:19:49,080 --> 00:19:52,399 Speaker 1: and he was crying. And I said, Francis, we just 387 00:19:52,440 --> 00:19:55,600 Speaker 1: had a great day and everything is fantastic. And I said, 388 00:19:55,600 --> 00:19:57,680 Speaker 1: why you're crying. He said, they won't give me one 389 00:19:57,720 --> 00:20:00,639 Speaker 1: more set up. I remember I've heard that start. And 390 00:20:00,640 --> 00:20:02,760 Speaker 1: he said that's when I knew we were onto something. 391 00:20:02,840 --> 00:20:06,640 Speaker 1: That Francis scared that much. And I thought to myself, wow, 392 00:20:06,800 --> 00:20:09,359 Speaker 1: you know it was like I remember him telling me, 393 00:20:09,440 --> 00:20:10,720 Speaker 1: and I don't know, I can't remember if it was 394 00:20:10,720 --> 00:20:13,840 Speaker 1: a quote from like von Brando or our original that 395 00:20:13,920 --> 00:20:16,120 Speaker 1: whenever I get the urge to act, I sit down 396 00:20:16,160 --> 00:20:18,480 Speaker 1: and wait for it to pass. Is that a famous one? 397 00:20:19,200 --> 00:20:23,600 Speaker 1: But I mean when you're when you're on a set, 398 00:20:24,520 --> 00:20:28,720 Speaker 1: let's assume ideally that of the time people are doing 399 00:20:29,080 --> 00:20:31,080 Speaker 1: basically what you want them to do. That's you know, 400 00:20:31,200 --> 00:20:34,919 Speaker 1: casting is a big part of directing. But when they're not, 401 00:20:35,000 --> 00:20:37,600 Speaker 1: what do you do? What's your technique? What do you do? 402 00:20:38,000 --> 00:20:40,200 Speaker 1: That's such a good question because I'm always worried about that. 403 00:20:40,200 --> 00:20:41,879 Speaker 1: I remember asking my dad, like, what do you do 404 00:20:42,000 --> 00:20:45,399 Speaker 1: in that situation? And what do you say? He told 405 00:20:45,400 --> 00:20:47,240 Speaker 1: me that he has them talk about their morning and 406 00:20:47,280 --> 00:20:50,439 Speaker 1: forget the lines and just be themselves and then and 407 00:20:50,480 --> 00:20:53,000 Speaker 1: then try it again to hope we try to kind 408 00:20:53,000 --> 00:20:55,120 Speaker 1: of forget, get them to forget the scene and just 409 00:20:55,520 --> 00:20:57,960 Speaker 1: be themselves again. But god, I don't know. I do 410 00:20:58,000 --> 00:21:01,399 Speaker 1: all kinds of things. Uh, you know that there's always 411 00:21:01,440 --> 00:21:03,640 Speaker 1: a panic, But I don't know. I've worked with such 412 00:21:03,640 --> 00:21:07,679 Speaker 1: great actress that usually it's minimal. Yeah, yeah, not an issue. 413 00:21:07,800 --> 00:21:10,240 Speaker 1: What about music in your films? Are you your husband 414 00:21:10,280 --> 00:21:13,920 Speaker 1: as a musician. Are you very music centric in your work? 415 00:21:14,480 --> 00:21:16,280 Speaker 1: I do. I listen. I listen to music and I'm 416 00:21:16,280 --> 00:21:18,560 Speaker 1: writing and it's a big part of kind of finding 417 00:21:18,640 --> 00:21:22,080 Speaker 1: the world or the atmosphere. And this. His band Phoenix 418 00:21:22,119 --> 00:21:25,040 Speaker 1: did the score for the film, which is it's more minimal. 419 00:21:25,080 --> 00:21:27,439 Speaker 1: It's not like their their music that they do as 420 00:21:27,440 --> 00:21:30,400 Speaker 1: a band. Um. So yeah, I just enjoyed that part. 421 00:21:30,680 --> 00:21:33,439 Speaker 1: That's what I love about film making it so visual, 422 00:21:33,440 --> 00:21:35,879 Speaker 1: but then you get to also incorporate music. And where'd 423 00:21:35,920 --> 00:21:38,120 Speaker 1: you cut the film? Here in New York? You kind 424 00:21:38,119 --> 00:21:41,720 Speaker 1: of here in New York at Harbor Downtown. No going 425 00:21:41,760 --> 00:21:44,720 Speaker 1: up to the family farm. No, No, my editor is 426 00:21:44,720 --> 00:21:48,280 Speaker 1: based here. Sarah Black and um York. I think Sarah 427 00:21:48,320 --> 00:21:51,960 Speaker 1: would have loved I know we used to we used 428 00:21:51,960 --> 00:21:54,560 Speaker 1: to mix out there. But I have kids in school 429 00:21:54,600 --> 00:21:56,640 Speaker 1: in New York. I'm in New York or now. But yeah, 430 00:21:57,160 --> 00:21:58,919 Speaker 1: what do you want you here? Yeah? Yeah, I grew 431 00:21:59,000 --> 00:22:02,280 Speaker 1: up in northern California, opening but no more Paris. We 432 00:22:02,320 --> 00:22:03,919 Speaker 1: have a plast in Paris with my husband's French so 433 00:22:04,000 --> 00:22:08,040 Speaker 1: we spent time there, but our kids are at school here. Yeah, 434 00:22:08,640 --> 00:22:10,520 Speaker 1: just fun to be there. But then I got home. Second, 435 00:22:10,600 --> 00:22:12,480 Speaker 1: did you really know? I love being in Paris, But 436 00:22:12,520 --> 00:22:16,520 Speaker 1: then it's nice too to be here and get to visit. Now, 437 00:22:17,320 --> 00:22:21,520 Speaker 1: before you took the direction that you took, you were 438 00:22:21,560 --> 00:22:23,800 Speaker 1: a girl most likely to what when you were young? 439 00:22:23,960 --> 00:22:27,040 Speaker 1: But you was it understood you would do this? No, 440 00:22:27,320 --> 00:22:30,560 Speaker 1: not at all. Um. Yeah, I definitely had a flaky 441 00:22:30,600 --> 00:22:33,600 Speaker 1: period in my twenties. I'm very grateful that there were 442 00:22:33,960 --> 00:22:36,679 Speaker 1: no no social media. Then there's no There are a 443 00:22:36,680 --> 00:22:39,359 Speaker 1: lot of photos around at that time, but no. I 444 00:22:39,400 --> 00:22:41,080 Speaker 1: went to art school. I wanted to be an artist. 445 00:22:41,080 --> 00:22:43,400 Speaker 1: I wanted to be a painter. I had so many interests. 446 00:22:43,520 --> 00:22:45,760 Speaker 1: It was really hard for me to figure out, um, 447 00:22:45,800 --> 00:22:48,199 Speaker 1: what I was supposed to do. I never occurred to 448 00:22:48,240 --> 00:22:51,639 Speaker 1: me to be a filmmaker. Yeah, it was really confused 449 00:22:51,640 --> 00:22:53,600 Speaker 1: because I had so many you know, I love music 450 00:22:53,600 --> 00:22:55,760 Speaker 1: and I loved photography and all the stuff I couldn't 451 00:22:56,320 --> 00:22:59,400 Speaker 1: I couldn't kind of land on one thing. And then um, 452 00:23:00,000 --> 00:23:02,920 Speaker 1: I made a short film which I enjoyed while I 453 00:23:02,960 --> 00:23:05,719 Speaker 1: was in art school and so made me think, oh, 454 00:23:05,800 --> 00:23:08,320 Speaker 1: I something. I was surprised that I kind of knew 455 00:23:08,320 --> 00:23:10,119 Speaker 1: how to do it. I didn't realize that I was 456 00:23:10,240 --> 00:23:12,040 Speaker 1: learning I spent a lot of time on my dad's 457 00:23:12,080 --> 00:23:14,959 Speaker 1: sets with all of his team, my whole life. And 458 00:23:15,000 --> 00:23:17,639 Speaker 1: then I read the book The Virgin Suicides and I 459 00:23:17,640 --> 00:23:19,320 Speaker 1: heard they were making a film event. I felt very 460 00:23:19,320 --> 00:23:22,160 Speaker 1: protective and I felt like, oh, I hope they don't 461 00:23:22,560 --> 00:23:24,200 Speaker 1: mess up this book I love. I hope they do 462 00:23:24,280 --> 00:23:26,720 Speaker 1: it this way. And I heard a guy was doing it, 463 00:23:26,760 --> 00:23:30,520 Speaker 1: and to me, it was so much a girl's story. 464 00:23:30,720 --> 00:23:33,600 Speaker 1: And um, so I started writing a working on the script, 465 00:23:33,640 --> 00:23:36,200 Speaker 1: which I didn't have the rights too, and then um 466 00:23:36,280 --> 00:23:38,439 Speaker 1: just kind of as an experiment to learn how to 467 00:23:38,440 --> 00:23:41,400 Speaker 1: adapt a book into a screenplay. And then I finished 468 00:23:41,400 --> 00:23:43,560 Speaker 1: it and I was very attached to it and I 469 00:23:43,600 --> 00:23:47,680 Speaker 1: felt like I had to try to let I made 470 00:23:47,720 --> 00:23:51,080 Speaker 1: it in nine. This was the late nineties. Um, I 471 00:23:51,200 --> 00:23:55,359 Speaker 1: was like twenty eight. Yeah, and I just I love 472 00:23:55,440 --> 00:23:57,040 Speaker 1: this book and I felt protective of it. So how 473 00:23:57,080 --> 00:24:00,280 Speaker 1: did that happen? The mechanics of how you end up 474 00:24:00,280 --> 00:24:01,800 Speaker 1: getting your hands on that and you get to direct 475 00:24:01,840 --> 00:24:04,639 Speaker 1: that project. So I met this couple, the Handleys, that 476 00:24:04,680 --> 00:24:06,560 Speaker 1: had the rights to it, and I said, we please 477 00:24:06,600 --> 00:24:09,440 Speaker 1: read my script and consider it, and they had someone else. 478 00:24:09,600 --> 00:24:12,400 Speaker 1: Somehow that fell apart and the script was the calling card. 479 00:24:12,440 --> 00:24:14,159 Speaker 1: They read the script and loved it. Yeah, they've read 480 00:24:14,160 --> 00:24:16,119 Speaker 1: the script and I had a real clear idea of 481 00:24:16,119 --> 00:24:18,959 Speaker 1: how to make it. Interview wanted to paint, and you 482 00:24:19,040 --> 00:24:22,040 Speaker 1: wanted to and you thought about photography and more visual things. Well, 483 00:24:22,080 --> 00:24:25,160 Speaker 1: how did the writing part begin for you? About stories 484 00:24:25,200 --> 00:24:27,439 Speaker 1: as a kid, And my dad always talked a lot 485 00:24:27,440 --> 00:24:30,000 Speaker 1: about screenwriting. That was that was where he started, and 486 00:24:30,040 --> 00:24:33,359 Speaker 1: so he was always talking about, you know, act structure 487 00:24:33,400 --> 00:24:35,280 Speaker 1: and writing. So I guess it was something that I was, 488 00:24:36,080 --> 00:24:38,280 Speaker 1: you know, he was talking about and I was learning about. 489 00:24:38,280 --> 00:24:42,040 Speaker 1: But um, I don't know. I I wrote this my 490 00:24:42,080 --> 00:24:45,840 Speaker 1: first script and somehow figuring out how to do it. Yeah. 491 00:24:46,920 --> 00:24:49,399 Speaker 1: How many days was that shoot for your first movie? 492 00:24:49,800 --> 00:24:52,359 Speaker 1: Regardless of your d n A for your first movie, 493 00:24:52,600 --> 00:24:54,239 Speaker 1: and people kind of limit you in a certain way 494 00:24:54,240 --> 00:24:57,359 Speaker 1: where the tight schedule, it was very, very very low budget. Um, 495 00:24:58,080 --> 00:25:00,239 Speaker 1: I've never shot more than like thirty days. You know, 496 00:25:00,320 --> 00:25:03,720 Speaker 1: it's always like twenty something days. You know. Actually, actually 497 00:25:03,720 --> 00:25:05,639 Speaker 1: Marie and Toinette was a longer schedule, and I prefer 498 00:25:05,640 --> 00:25:08,560 Speaker 1: a short schedule. I think it's so intensive. I'd just 499 00:25:08,600 --> 00:25:10,359 Speaker 1: like to like get in there and get it done, 500 00:25:10,400 --> 00:25:12,680 Speaker 1: and it's exhausting At a longer shoot. I feel like 501 00:25:12,720 --> 00:25:15,080 Speaker 1: it's hard to do a long shoot and um and 502 00:25:15,119 --> 00:25:18,040 Speaker 1: I let that schedule of having a problem solved quickly 503 00:25:18,280 --> 00:25:20,200 Speaker 1: and you know, have to just figure it out and 504 00:25:20,320 --> 00:25:23,560 Speaker 1: not you know, it's more intuitive or something to just 505 00:25:23,680 --> 00:25:28,199 Speaker 1: you have some directors who I've worked with that moment 506 00:25:28,320 --> 00:25:31,399 Speaker 1: when they're on the set directing the film, which is 507 00:25:31,600 --> 00:25:33,840 Speaker 1: I mean, obviously is the pre production. There's the shooting 508 00:25:33,840 --> 00:25:37,720 Speaker 1: and in the editing, and the preponderance of directors will 509 00:25:37,720 --> 00:25:39,639 Speaker 1: say to me that the editing things is their favorite 510 00:25:39,640 --> 00:25:42,359 Speaker 1: face because they're locked down and they're really making the movie. Yeah. 511 00:25:42,520 --> 00:25:44,960 Speaker 1: I like being in the editing room. You do because 512 00:25:44,960 --> 00:25:47,520 Speaker 1: it isn't the same amount of same time pressure and 513 00:25:47,560 --> 00:25:49,720 Speaker 1: you can kind of play around. But being on set 514 00:25:49,800 --> 00:25:52,640 Speaker 1: is exciting and fun because you have all your collaborators 515 00:25:52,640 --> 00:25:54,800 Speaker 1: and you're making something. You don't have to answer this question. 516 00:25:54,800 --> 00:25:57,200 Speaker 1: But so you ever where you show your father cuts 517 00:25:57,200 --> 00:25:58,560 Speaker 1: off your film and he has some advice for you 518 00:25:58,640 --> 00:26:01,440 Speaker 1: and you're like, no, you know, as your own point 519 00:26:01,480 --> 00:26:04,800 Speaker 1: of view, and you like, I want to do this. Yeah, 520 00:26:04,880 --> 00:26:07,840 Speaker 1: And early on, you know, I wasn't as confident. He's 521 00:26:07,960 --> 00:26:11,600 Speaker 1: the great master of films, So I would definitely take 522 00:26:11,680 --> 00:26:13,679 Speaker 1: his opinion, but I always end up doing what I 523 00:26:13,720 --> 00:26:15,480 Speaker 1: want in the end, because you know, you have to 524 00:26:15,680 --> 00:26:18,120 Speaker 1: so and this one I waited till I was finished 525 00:26:18,440 --> 00:26:21,120 Speaker 1: close to the end to show him. But you don't 526 00:26:21,119 --> 00:26:23,440 Speaker 1: want to have too many opinions. So he's nice, he's 527 00:26:23,480 --> 00:26:26,000 Speaker 1: he's always encouraging in support, but he definitely has ideas. 528 00:26:26,000 --> 00:26:28,479 Speaker 1: And I remember when I was working on Rantoinette, he 529 00:26:28,600 --> 00:26:31,280 Speaker 1: was talking a bit more about the characters of the husband, 530 00:26:31,320 --> 00:26:33,199 Speaker 1: and I said, no, it's not about him. It's about her, 531 00:26:33,359 --> 00:26:36,280 Speaker 1: you know, because I think about her. So everyone looks 532 00:26:36,320 --> 00:26:39,000 Speaker 1: at it from their point of view. But and I 533 00:26:39,040 --> 00:26:40,960 Speaker 1: feel like sometimes when I watched this last movie, there's 534 00:26:41,000 --> 00:26:44,240 Speaker 1: a very kind of artistic I made everyone the girl 535 00:26:44,400 --> 00:26:47,480 Speaker 1: walking down the lane with the weeping trees and the 536 00:26:47,520 --> 00:26:51,840 Speaker 1: mist and the costumes, and there's a real cinematic reach 537 00:26:52,000 --> 00:26:54,640 Speaker 1: you have. Now, Oh, I just I just love that. 538 00:26:54,800 --> 00:26:58,760 Speaker 1: And it's such a beautiful location. And I it's a 539 00:26:58,880 --> 00:27:03,159 Speaker 1: visual art forms of idea of making every frame the 540 00:27:03,200 --> 00:27:06,400 Speaker 1: most like a painting. The Godfather is like a painting, 541 00:27:06,440 --> 00:27:09,800 Speaker 1: and so many of the are so beautiful and and 542 00:27:09,800 --> 00:27:12,600 Speaker 1: and and it's it's beautiful I we tell people watched 543 00:27:12,600 --> 00:27:15,440 Speaker 1: the movie with a sound off. I saw the Radio 544 00:27:15,520 --> 00:27:18,080 Speaker 1: City recently, both of them. Is incredible to see it. 545 00:27:18,400 --> 00:27:20,679 Speaker 1: But I wonder if that's true with you? Which do 546 00:27:20,760 --> 00:27:23,879 Speaker 1: you want to deepen the texture? Do you want to 547 00:27:23,880 --> 00:27:27,440 Speaker 1: make your films you want to go further in terms 548 00:27:27,480 --> 00:27:30,679 Speaker 1: of design and beauty in a kind of almost Cubrickian 549 00:27:30,760 --> 00:27:33,439 Speaker 1: way of the sets and the costumes. Or are you 550 00:27:33,440 --> 00:27:36,879 Speaker 1: gonna make a movie like two Chicks Are in a Car. Yeah? No, 551 00:27:37,000 --> 00:27:39,199 Speaker 1: I like the visual part of it, and then how 552 00:27:39,280 --> 00:27:41,800 Speaker 1: you tell the story visually. I think that's I don't know, 553 00:27:41,880 --> 00:27:45,120 Speaker 1: that is exciting and interesting to me. This last one 554 00:27:45,160 --> 00:27:47,320 Speaker 1: of yours was probably the most voluptuous, small in terms 555 00:27:47,359 --> 00:27:50,560 Speaker 1: of the photography, the look of it. Yeah, and just 556 00:27:50,600 --> 00:27:55,560 Speaker 1: being in the South and like it even trying to 557 00:27:55,640 --> 00:27:57,920 Speaker 1: trying to feel the heat of it made it made 558 00:27:57,920 --> 00:28:00,880 Speaker 1: you more uncomfortable to see those women doing their little 559 00:28:00,920 --> 00:28:04,760 Speaker 1: modest field work and the little guarding in those full dresses. Yeah, 560 00:28:04,760 --> 00:28:08,080 Speaker 1: I wanted to fill them all buttoned up. Do you 561 00:28:08,119 --> 00:28:09,840 Speaker 1: do you sit there and go, God, why are where 562 00:28:09,840 --> 00:28:11,880 Speaker 1: are these these poor women? They must be like suffering 563 00:28:11,920 --> 00:28:15,200 Speaker 1: to death in this thing and sexual attention underneath it. 564 00:28:16,440 --> 00:28:19,800 Speaker 1: When you cast someone to play that part, what did 565 00:28:19,840 --> 00:28:22,479 Speaker 1: you want in an actor who played the lead role 566 00:28:22,520 --> 00:28:25,280 Speaker 1: that Farrell plays, What were you looking? Yeah, we had 567 00:28:25,320 --> 00:28:29,200 Speaker 1: to have I wanted a really masculine guy that could, um, 568 00:28:29,280 --> 00:28:32,119 Speaker 1: you know, handle all these women, but like charm at 569 00:28:32,160 --> 00:28:34,600 Speaker 1: twelve year old, you know, a woman or forties kind 570 00:28:34,600 --> 00:28:36,560 Speaker 1: of had to arrange. And I knew that he could 571 00:28:36,640 --> 00:28:40,360 Speaker 1: be complex enough that he was, you know, he could 572 00:28:40,400 --> 00:28:43,120 Speaker 1: be mysterious and complicated to them and really be a 573 00:28:43,160 --> 00:28:48,040 Speaker 1: contrast to their kind of delicate, pale, feminine world. So 574 00:28:48,080 --> 00:28:50,960 Speaker 1: he had to be, you know, have mystique and narcissistic. Yes, 575 00:28:51,240 --> 00:28:53,480 Speaker 1: he's like underneath every scene. It's almost like a new Colin. 576 00:28:53,520 --> 00:28:56,240 Speaker 1: Farrell obviously is a movie star. Is almost in every 577 00:28:56,280 --> 00:28:58,120 Speaker 1: scene he's like, go ahead, admit it, you want me 578 00:28:58,400 --> 00:29:01,120 Speaker 1: exactly want whatever age they were in the house, everyone 579 00:29:01,120 --> 00:29:02,720 Speaker 1: in the house, just just let's tell me up front 580 00:29:02,760 --> 00:29:04,560 Speaker 1: you want me, right? Yeah, he and he and he 581 00:29:04,600 --> 00:29:07,600 Speaker 1: was I like that he's like the thinking woman's sex object. 582 00:29:07,600 --> 00:29:09,960 Speaker 1: That he's just like they're you know, like the hunk. 583 00:29:10,040 --> 00:29:12,800 Speaker 1: But but hopefully there's more going on. And in the 584 00:29:12,800 --> 00:29:15,400 Speaker 1: book he was Irish immigrants. So when I'm at Colin. 585 00:29:15,440 --> 00:29:19,080 Speaker 1: I thought that just adds to his exotic charm. Being 586 00:29:19,160 --> 00:29:21,800 Speaker 1: in your family, would you say that there's been as 587 00:29:21,880 --> 00:29:24,160 Speaker 1: much down as there's been up as it's been hard 588 00:29:24,160 --> 00:29:27,400 Speaker 1: as well for you? Oh, definitely. I mean we've gone 589 00:29:27,520 --> 00:29:33,640 Speaker 1: we've gone through our Yeah, every family. Um, I mean, well, 590 00:29:33,640 --> 00:29:35,680 Speaker 1: my dad definitely had ups and downs in his career 591 00:29:35,800 --> 00:29:39,239 Speaker 1: where he was successful and then could lose everything, and 592 00:29:39,280 --> 00:29:44,200 Speaker 1: so yes, he's a gambler, but it was always exciting. Yeah. Yeah. 593 00:29:44,600 --> 00:29:48,080 Speaker 1: And then we had a personal loss with my lost 594 00:29:48,120 --> 00:29:52,480 Speaker 1: my brother as a teenager. So, um, you know I 595 00:29:52,560 --> 00:29:57,920 Speaker 1: was of teen Yes, yes, so I think you had. 596 00:29:58,080 --> 00:30:00,440 Speaker 1: I mean it had a big impact on her family, 597 00:30:00,560 --> 00:30:03,560 Speaker 1: so um yeah. So I feel like we've been fortunate 598 00:30:03,600 --> 00:30:06,880 Speaker 1: some ways, and then you know, you've experienced the worst 599 00:30:07,720 --> 00:30:11,560 Speaker 1: moments of life. So I can't imagine now having children 600 00:30:11,640 --> 00:30:13,320 Speaker 1: as a as a parent, because I may know how 601 00:30:13,320 --> 00:30:16,480 Speaker 1: it affected us as a family, but um, you tell 602 00:30:16,720 --> 00:30:19,520 Speaker 1: your children is the ultimate despair. Yeah, I know, I 603 00:30:19,560 --> 00:30:21,920 Speaker 1: can't even picture it. Your mom, on the other hand, 604 00:30:21,920 --> 00:30:24,960 Speaker 1: I mean your father, who I don't know well and 605 00:30:24,800 --> 00:30:27,160 Speaker 1: and don't think I could because he's just so whenever 606 00:30:27,200 --> 00:30:29,160 Speaker 1: you're around him, be so intimidating. Let's face it. I 607 00:30:29,160 --> 00:30:32,280 Speaker 1: mean you, he's your father, so it's different. But your mom, though, 608 00:30:32,480 --> 00:30:37,200 Speaker 1: is such a unique, speaking, very down to earth in 609 00:30:37,280 --> 00:30:40,320 Speaker 1: that situation with your brother, that she seems like something 610 00:30:40,360 --> 00:30:44,960 Speaker 1: that she she conquered that. Yeah, yeah, I know, I 611 00:30:45,000 --> 00:30:47,040 Speaker 1: know it was obviously a huge struggle for them, but 612 00:30:47,160 --> 00:30:52,240 Speaker 1: she she dealt with it in her personal ways and yeah, yeah, 613 00:30:52,400 --> 00:30:55,280 Speaker 1: and here's to a lot of people fall apart and 614 00:30:55,360 --> 00:30:59,600 Speaker 1: she was able to find some way to to go 615 00:30:59,720 --> 00:31:03,240 Speaker 1: on with her. Yeah, so she's strong. But she seems 616 00:31:03,360 --> 00:31:08,120 Speaker 1: petite and quiet, but she's strong. She's incredibly clear. That 617 00:31:08,240 --> 00:31:10,520 Speaker 1: just might opinion the brief two days I was there, 618 00:31:10,880 --> 00:31:14,080 Speaker 1: How would you say that for you? Beyond being a 619 00:31:14,120 --> 00:31:16,960 Speaker 1: mom and your issues with your raising your kids while 620 00:31:16,960 --> 00:31:19,920 Speaker 1: you're working and doing this very difficult work, how else 621 00:31:19,960 --> 00:31:22,240 Speaker 1: does that affect your work? You being a woman, I 622 00:31:22,280 --> 00:31:24,720 Speaker 1: don't know, because you put your personality, so I think 623 00:31:24,760 --> 00:31:28,320 Speaker 1: women have different qualities. I don't know. People have said 624 00:31:28,360 --> 00:31:30,760 Speaker 1: I'm like maternal on set or I don't know. I 625 00:31:30,760 --> 00:31:32,200 Speaker 1: think I just have a different point of view as 626 00:31:32,280 --> 00:31:34,719 Speaker 1: a as a guy, So I feel like that's an 627 00:31:34,760 --> 00:31:40,360 Speaker 1: advantage to have a different point of view. I think 628 00:31:40,360 --> 00:31:41,760 Speaker 1: I got that from my mom. When you said that 629 00:31:41,760 --> 00:31:43,920 Speaker 1: she keeps it together on set. People think I'm so 630 00:31:44,000 --> 00:31:46,160 Speaker 1: calm on set, and I think we're good at concealing 631 00:31:46,240 --> 00:31:48,560 Speaker 1: our our stress because you've got to keep it together 632 00:31:48,600 --> 00:31:50,280 Speaker 1: for your crew and everything. So yeah, I have a 633 00:31:50,280 --> 00:31:53,760 Speaker 1: different demeanor. So I'm sure, Um, you have a very 634 00:31:53,920 --> 00:31:57,440 Speaker 1: soothing demeanor. And the other person that I worked with 635 00:31:57,600 --> 00:31:59,480 Speaker 1: once I didn't even work with you, but someone I 636 00:31:59,520 --> 00:32:01,360 Speaker 1: worked with who had that come into mean is wouldy 637 00:32:02,240 --> 00:32:04,120 Speaker 1: and when you work with them, but it's it's such 638 00:32:04,160 --> 00:32:08,000 Speaker 1: a great it achieved such a great effect. That's if 639 00:32:08,040 --> 00:32:11,200 Speaker 1: you relax people, you're more likely to get to something good. 640 00:32:11,440 --> 00:32:15,960 Speaker 1: If they're relaxed, then if you're yeah, tormenting that exactly. 641 00:32:16,080 --> 00:32:19,000 Speaker 1: That's what a couple of directors were from the Torment school. Yeah. 642 00:32:19,040 --> 00:32:20,680 Speaker 1: I never understood that, And I know there's a lot 643 00:32:20,720 --> 00:32:23,520 Speaker 1: of hothead behavior, but you know, I feel like we 644 00:32:23,680 --> 00:32:26,160 Speaker 1: want to put everyone at ease and so everyone can 645 00:32:26,160 --> 00:32:29,000 Speaker 1: do their best. So did you ever get frustrated working 646 00:32:29,040 --> 00:32:31,360 Speaker 1: where you really literally lost it? I never lost it, 647 00:32:31,400 --> 00:32:34,920 Speaker 1: always keeping together. I've had frustrating moments for sure, But 648 00:32:35,480 --> 00:32:37,640 Speaker 1: do you go home and lose it? Yeah? Yeah, I 649 00:32:37,640 --> 00:32:39,920 Speaker 1: go home, Yes, I go home. Is it not not 650 00:32:40,000 --> 00:32:42,720 Speaker 1: so much? But I've had moments with Yeah, what's the 651 00:32:42,720 --> 00:32:44,520 Speaker 1: hardest part of it? I mean, I'm an actor who 652 00:32:44,560 --> 00:32:47,120 Speaker 1: directed one film, and I found it so difficult because 653 00:32:47,120 --> 00:32:49,000 Speaker 1: I wanted to map it out and I wanted to 654 00:32:49,080 --> 00:32:50,800 Speaker 1: lay it all out and have at least have a 655 00:32:50,880 --> 00:32:53,520 Speaker 1: plan which we could then deviate. Yeah, you have to 656 00:32:53,560 --> 00:32:55,280 Speaker 1: have a vision in your mind, Like I see it 657 00:32:55,320 --> 00:32:58,120 Speaker 1: all in my head beforehand, for sure, Like when I'm 658 00:32:58,160 --> 00:33:00,320 Speaker 1: writing it and I'm picturing the actors exactly how they 659 00:33:00,320 --> 00:33:02,320 Speaker 1: say it. Then you come on set and you see 660 00:33:02,320 --> 00:33:04,840 Speaker 1: how they do it, and it's like how you imagine. 661 00:33:04,840 --> 00:33:07,000 Speaker 1: But then they add something that you didn't expect. And 662 00:33:07,200 --> 00:33:09,680 Speaker 1: I think you just have to be really flexible and 663 00:33:09,680 --> 00:33:12,920 Speaker 1: and opened. Can you experience movies now with links and 664 00:33:13,000 --> 00:33:16,120 Speaker 1: DVDs and and oscar material and privately? And how or 665 00:33:16,160 --> 00:33:17,440 Speaker 1: do you go to the movies? I love going to 666 00:33:17,480 --> 00:33:20,760 Speaker 1: the movie theater. I mean I imagine, Yeah, so I 667 00:33:20,760 --> 00:33:22,880 Speaker 1: watch a lot of movies at home, but um, but 668 00:33:22,920 --> 00:33:25,120 Speaker 1: whenever I go to theater. I live near Film Forum 669 00:33:25,240 --> 00:33:27,560 Speaker 1: and and and just live in New York. Is so 670 00:33:27,560 --> 00:33:30,000 Speaker 1: exciting to get to see all these revival old films. 671 00:33:30,400 --> 00:33:33,160 Speaker 1: It's just such a different experience, especially nowadays with being 672 00:33:33,160 --> 00:33:35,760 Speaker 1: in contact and having your phone around all the time. 673 00:33:35,760 --> 00:33:38,320 Speaker 1: It's distracting at home to really get lost in a movie. 674 00:33:38,360 --> 00:33:40,600 Speaker 1: So I am. I keep telling people I hope they 675 00:33:40,640 --> 00:33:42,520 Speaker 1: go see it my theater. But I love going to 676 00:33:42,520 --> 00:33:45,400 Speaker 1: a movie theater. It's such a different experience when you 677 00:33:45,440 --> 00:33:48,840 Speaker 1: think about your nature, when you think about the time 678 00:33:48,920 --> 00:33:51,200 Speaker 1: you live in now and you're making films now in 679 00:33:51,280 --> 00:33:55,120 Speaker 1: our society now, are there films you look back on 680 00:33:55,520 --> 00:33:58,080 Speaker 1: historically or even currently. I think I wish I'd made 681 00:33:58,120 --> 00:34:00,560 Speaker 1: that film. That's a film I would make. That's funny. 682 00:34:00,560 --> 00:34:02,719 Speaker 1: I've never thought about that old film and that that's 683 00:34:02,720 --> 00:34:04,560 Speaker 1: a kind of movie I would make. No. I mean, 684 00:34:04,560 --> 00:34:07,160 Speaker 1: there's movies that I admire and I love, but I've 685 00:34:07,160 --> 00:34:11,560 Speaker 1: never movies are so personal. It's like your children or something. 686 00:34:11,560 --> 00:34:13,640 Speaker 1: It's it comes from you. So I can't imagine looking 687 00:34:13,680 --> 00:34:18,120 Speaker 1: another movie and thinking, not a female character in a 688 00:34:18,200 --> 00:34:20,799 Speaker 1: film that you think reflects who you are and how 689 00:34:20,880 --> 00:34:24,840 Speaker 1: you feel about life and your career and your family. No, 690 00:34:27,680 --> 00:34:29,479 Speaker 1: I can't. I can't think of one. But of course 691 00:34:29,480 --> 00:34:33,680 Speaker 1: there's there's so many that I admire, and love and um, 692 00:34:33,719 --> 00:34:35,960 Speaker 1: but I can't think of one. But where are Where 693 00:34:36,000 --> 00:34:38,360 Speaker 1: are you in your films? Are you in your films? 694 00:34:39,520 --> 00:34:42,080 Speaker 1: You feel about life? Where are you in this current film? 695 00:34:42,400 --> 00:34:44,279 Speaker 1: And all of them? This one I think it's a 696 00:34:44,280 --> 00:34:49,319 Speaker 1: little bit maybe my devilish side or you know, like, um, 697 00:34:49,360 --> 00:34:51,600 Speaker 1: I don't know. I was having fun with this. You 698 00:34:51,600 --> 00:34:56,880 Speaker 1: don't need to you don't need to explicate that in 699 00:34:56,960 --> 00:35:00,920 Speaker 1: this film. There's because there's there's al who's eighteen, and 700 00:35:01,520 --> 00:35:04,040 Speaker 1: Kirsten and then Nicole there there. I feel like I've 701 00:35:04,080 --> 00:35:06,640 Speaker 1: been each age of that woman in that kind of stage. 702 00:35:06,680 --> 00:35:09,160 Speaker 1: I'm not like those characters, but I can kind of 703 00:35:09,200 --> 00:35:13,080 Speaker 1: relate to kind of the girls of different stages. But 704 00:35:13,440 --> 00:35:15,880 Speaker 1: I don't always find it. I always put things about 705 00:35:15,880 --> 00:35:19,600 Speaker 1: myself and um um at that moment. But this is 706 00:35:19,640 --> 00:35:23,040 Speaker 1: the idea that we're always questioning who we are. We're 707 00:35:23,040 --> 00:35:25,440 Speaker 1: always questioning at least I am the life I have. 708 00:35:25,840 --> 00:35:28,480 Speaker 1: I'm always thinking of alternatives, well what about this and 709 00:35:28,520 --> 00:35:31,040 Speaker 1: what about this? Until you finally realize I'm doing precisely 710 00:35:31,080 --> 00:35:32,719 Speaker 1: what I was meant to be doing. What you want 711 00:35:32,719 --> 00:35:34,359 Speaker 1: to feel like you're doing precisely what you were meant 712 00:35:34,400 --> 00:35:36,799 Speaker 1: to be doing. I do. I do. I feel like 713 00:35:36,840 --> 00:35:39,759 Speaker 1: I'm doing what I well. I'm excited get to do 714 00:35:39,800 --> 00:35:41,399 Speaker 1: what I want to be Sorry that you didn't become 715 00:35:41,400 --> 00:35:44,239 Speaker 1: a painter. No, No, because I can always do I 716 00:35:44,280 --> 00:35:46,400 Speaker 1: can always have hobbies, you can always I feel like 717 00:35:46,400 --> 00:35:47,680 Speaker 1: you can do other things. But now I feel like 718 00:35:47,719 --> 00:35:51,040 Speaker 1: I'm doing what I enjoyed. Yeah, what are you gonna 719 00:35:51,080 --> 00:35:54,640 Speaker 1: do next? I don't know. I'm looking forward to summer 720 00:35:54,760 --> 00:35:58,200 Speaker 1: vacation with my kids and decompressing and getting the movie 721 00:35:58,239 --> 00:35:59,920 Speaker 1: out there. It's you know, it's that hustle, right, But 722 00:36:00,080 --> 00:36:02,279 Speaker 1: for Yeah, do you have a lot of you put 723 00:36:02,280 --> 00:36:03,719 Speaker 1: a lot of pots on the stove of things you 724 00:36:03,800 --> 00:36:06,000 Speaker 1: might do or or No. No, I haven't had a 725 00:36:06,080 --> 00:36:08,359 Speaker 1: few ideas when I was starting to think about this, 726 00:36:08,760 --> 00:36:10,520 Speaker 1: So now I'm going to kind of revisit. But I don't. 727 00:36:10,560 --> 00:36:12,200 Speaker 1: I have always heard that Woody Allen has a drawer 728 00:36:12,239 --> 00:36:23,839 Speaker 1: full of ideas. I don't have that drawer. As luck 729 00:36:23,840 --> 00:36:27,080 Speaker 1: would have it, she doesn't need one. This is Alec 730 00:36:27,120 --> 00:36:29,640 Speaker 1: Baldwin and you're listening to here's the thing