WEBVTT - Ep16 - Viola Davis / "Fences"

0:00:16.840 --> 0:00:20.640
<v Speaker 1>Welcome to Playback, a Variety podcast. I'm your host, Variety

0:00:20.640 --> 0:00:24.320
<v Speaker 1>Awards Editor Chris Tapley. On today's show, we have top

0:00:24.360 --> 0:00:26.640
<v Speaker 1>fives for you, top five films of the year. A

0:00:26.680 --> 0:00:29.880
<v Speaker 1>little bit later, I'll be talking to Fences star Viola Davis.

0:00:30.440 --> 0:00:46.360
<v Speaker 1>So stick around. All right, we're back and here's Janelle Riley.

0:00:46.360 --> 0:00:48.960
<v Speaker 1>Good morning, and we're gonna give you our top five.

0:00:51.080 --> 0:00:53.960
<v Speaker 1>No no, although aren't you doing like a bmorary mentions.

0:00:54.080 --> 0:00:56.600
<v Speaker 1>I'm gonna throw a yeah, a little bit of a

0:00:56.680 --> 0:00:59.720
<v Speaker 1>cheap you have to mention that. But past you do

0:00:59.760 --> 0:01:05.000
<v Speaker 1>what you it's our podcast, ours really. I do want

0:01:05.000 --> 0:01:07.640
<v Speaker 1>to preface this by saying that this year has been

0:01:07.800 --> 0:01:10.679
<v Speaker 1>pretty bad for me for movies. You know. It's there's

0:01:10.720 --> 0:01:12.840
<v Speaker 1>a lot of stuff I really liked, but very little

0:01:12.880 --> 0:01:15.720
<v Speaker 1>I loved. I don't know what it was the deal, Like,

0:01:15.760 --> 0:01:18.399
<v Speaker 1>I just was every time I put like a screener

0:01:18.480 --> 0:01:24.800
<v Speaker 1>in that everyone's been recommending, I've just been disappointed. Um well,

0:01:24.840 --> 0:01:26.960
<v Speaker 1>it's funny you would say that, because last night I

0:01:27.600 --> 0:01:29.839
<v Speaker 1>wasn't joking when I texted you that I was watching

0:01:29.840 --> 0:01:32.360
<v Speaker 1>The Shallows because I felt like I couldn't complete my

0:01:32.400 --> 0:01:35.160
<v Speaker 1>list without seeing it. Because so many people had told

0:01:35.160 --> 0:01:37.640
<v Speaker 1>me how good it was. I did that with Don't Breathe. Oh,

0:01:37.720 --> 0:01:40.160
<v Speaker 1>I did like don't Breathe. But but then see, the

0:01:40.200 --> 0:01:42.000
<v Speaker 1>whole thing about like the shallows are don't Breathe is

0:01:42.000 --> 0:01:44.120
<v Speaker 1>that you're not expecting them to be good, and then

0:01:44.120 --> 0:01:47.279
<v Speaker 1>when you discover them, you feel awesome. And since everyone

0:01:47.319 --> 0:01:49.520
<v Speaker 1>had told me how awesome the Shallows was, I was

0:01:49.520 --> 0:01:51.600
<v Speaker 1>a little disappointed. So I did not make my top

0:01:51.720 --> 0:01:54.960
<v Speaker 1>So it did not make five. No, I'm sorry to say,

0:01:55.560 --> 0:01:58.640
<v Speaker 1>but it was very entertaining. But yes, so top five.

0:01:59.040 --> 0:02:04.160
<v Speaker 1>Do you want to do your hoorable mentions? First? First? Oh? Okay, Well, um,

0:02:04.160 --> 0:02:07.360
<v Speaker 1>I suspect we we tend to agree more than we disagree.

0:02:07.840 --> 0:02:13.079
<v Speaker 1>I think, um my top five plus honorable mentions list

0:02:13.160 --> 0:02:15.760
<v Speaker 1>is very electic. The honorable mentions that didn't quite make

0:02:15.760 --> 0:02:19.440
<v Speaker 1>the list were I love certain genre films like Captain America.

0:02:19.480 --> 0:02:23.960
<v Speaker 1>Civil War I thought was so fantastic and coming on

0:02:23.960 --> 0:02:28.520
<v Speaker 1>the heels of Batman versus Superman fantastic, Civil War fantastic. Well,

0:02:28.520 --> 0:02:31.880
<v Speaker 1>now you're giving away my top five. Um. I thought

0:02:31.880 --> 0:02:35.280
<v Speaker 1>it showed how you could actually make two superheroes that

0:02:35.320 --> 0:02:39.280
<v Speaker 1>you care about fight against each other and have real

0:02:39.360 --> 0:02:42.760
<v Speaker 1>stakes and have them both be right and both be wrong,

0:02:42.800 --> 0:02:46.440
<v Speaker 1>and I I thought it was great. I loved to Rival. Um.

0:02:46.480 --> 0:02:50.519
<v Speaker 1>I loved The Conjuring too, although there was a point

0:02:50.560 --> 0:02:52.560
<v Speaker 1>in that movie where I literally said to my friend,

0:02:52.600 --> 0:02:57.000
<v Speaker 1>why do I do this to myself? You have nightmares?

0:02:57.120 --> 0:03:00.160
<v Speaker 1>I'm freaking out. And then to feel Good movies that

0:03:00.160 --> 0:03:05.040
<v Speaker 1>that almost made the top five were Lying and Hidden Figures. Yeah.

0:03:05.200 --> 0:03:07.959
<v Speaker 1>I loved both of them, just sobbed at both of them.

0:03:08.000 --> 0:03:11.200
<v Speaker 1>They definitely win my Ugly cry Face of the Year

0:03:11.200 --> 0:03:14.119
<v Speaker 1>Award movies. But my top five is very colectic, obviously

0:03:14.280 --> 0:03:15.920
<v Speaker 1>when I get into it yet, oh no, let me

0:03:15.960 --> 0:03:20.160
<v Speaker 1>throw out my honorable motion. Only one of those is online,

0:03:20.160 --> 0:03:25.000
<v Speaker 1>which is lyon, hugely emotional, amazing story. I've got Birth

0:03:25.000 --> 0:03:27.880
<v Speaker 1>of a Nation on here. It's taken some knocks, I

0:03:27.919 --> 0:03:32.240
<v Speaker 1>think from some snobby critics. Frankly sorry, but you know,

0:03:32.280 --> 0:03:34.960
<v Speaker 1>I think it's just like a thunderbolt out of Nate

0:03:35.000 --> 0:03:39.080
<v Speaker 1>Parker's soul in a in a very great movie. Um.

0:03:39.120 --> 0:03:42.000
<v Speaker 1>I was pleasantly surprised by how good that movie was.

0:03:42.120 --> 0:03:44.440
<v Speaker 1>I did not expect it to be that good. I

0:03:44.480 --> 0:03:49.000
<v Speaker 1>have fences, It's basically the play understood, but when your subject,

0:03:49.120 --> 0:03:53.720
<v Speaker 1>when your source material is that powerful, it's going to

0:03:53.760 --> 0:03:55.760
<v Speaker 1>transcend into the film space. And it did for me.

0:03:55.800 --> 0:03:58.680
<v Speaker 1>I mean, it blew me away. Those performances are fantastic.

0:03:59.000 --> 0:04:03.440
<v Speaker 1>I don't think fire See the documentary necessarily works as

0:04:03.480 --> 0:04:06.240
<v Speaker 1>a work of art. By the way, before I get

0:04:06.240 --> 0:04:08.960
<v Speaker 1>into this one, that's a longer conversation. I think it's

0:04:09.040 --> 0:04:13.760
<v Speaker 1>juxtaposition of of kind of the ordinary things happening on

0:04:13.800 --> 0:04:18.080
<v Speaker 1>this island while the migrant crisis is happening, with what's

0:04:18.080 --> 0:04:20.920
<v Speaker 1>happening with the migrant crisis. I don't think that works artistically,

0:04:21.080 --> 0:04:23.240
<v Speaker 1>but nevertheless, I think it's important to see a movie

0:04:23.240 --> 0:04:24.520
<v Speaker 1>like that to know what the hell is going on

0:04:25.080 --> 0:04:27.599
<v Speaker 1>in the middle of the Mediterranean. It's pretty riveting for

0:04:27.640 --> 0:04:31.520
<v Speaker 1>that jungle book, right, you're a big Jungle Book fan.

0:04:31.600 --> 0:04:33.200
<v Speaker 1>I mean I'm a I'm a big fan of what

0:04:33.520 --> 0:04:37.719
<v Speaker 1>it portends for the business. Because, uh, they pulled it out,

0:04:37.839 --> 0:04:39.640
<v Speaker 1>pulled it off of the plum. I mean it's like

0:04:39.880 --> 0:04:42.040
<v Speaker 1>it's it's you know, if that's the future. I believe

0:04:42.040 --> 0:04:44.360
<v Speaker 1>they weren't in a jungle something. I know it's supposed

0:04:44.400 --> 0:04:45.960
<v Speaker 1>to be all c g I and a warehouse in

0:04:46.040 --> 0:04:50.159
<v Speaker 1>downtown Los Angeles is insane. I've got rogue one. I

0:04:50.160 --> 0:04:55.000
<v Speaker 1>have not seen Roquine well, no spoilers, but it's it's

0:04:55.040 --> 0:04:59.000
<v Speaker 1>everything that everyone seemed to think the Force awakens. I

0:04:59.080 --> 0:05:01.240
<v Speaker 1>was not. It was a It was pure confection. This

0:05:01.279 --> 0:05:02.919
<v Speaker 1>is the first time I've ever felt steaks in a

0:05:02.960 --> 0:05:05.000
<v Speaker 1>Star Wars and I'm not a big Star Wars fan,

0:05:05.040 --> 0:05:07.919
<v Speaker 1>by the way, So take take that with for whatever

0:05:07.960 --> 0:05:10.000
<v Speaker 1>you need. You know how I love in Star Wars?

0:05:10.120 --> 0:05:13.360
<v Speaker 1>Is that Mr spot guy. I'm just I'm just here

0:05:13.360 --> 0:05:15.760
<v Speaker 1>to piss off some narrators, of which I am one,

0:05:15.800 --> 0:05:18.120
<v Speaker 1>So I did it. They didn't even say that. I

0:05:18.240 --> 0:05:21.480
<v Speaker 1>love his scenes with Gandalf. And my last one is

0:05:21.600 --> 0:05:25.040
<v Speaker 1>a Sausage Party. Your favorite movie of the year, My

0:05:25.080 --> 0:05:27.839
<v Speaker 1>favorite movie the year's Passengers? What do you mean these

0:05:27.839 --> 0:05:30.719
<v Speaker 1>are the two movies I think we disagree on. Yeah, well,

0:05:30.920 --> 0:05:34.159
<v Speaker 1>Passengers certainly, I just look, my brain was at the

0:05:34.160 --> 0:05:37.320
<v Speaker 1>door for that one. But Sage Party, I I feel

0:05:37.960 --> 0:05:43.040
<v Speaker 1>Seth Romans like our our great theologian. Uh look, Sausage

0:05:43.040 --> 0:05:44.880
<v Speaker 1>Party was fun, it had some Really, I don't think

0:05:44.880 --> 0:05:46.880
<v Speaker 1>it's nearly as clever as it thinks it is. I

0:05:46.920 --> 0:05:48.680
<v Speaker 1>don't think it thinks it's clever. I think. I think

0:05:48.680 --> 0:05:53.039
<v Speaker 1>it's just Jerry proud of itself when it has things like, oh,

0:05:53.160 --> 0:05:55.520
<v Speaker 1>the crackers don't get along with the Grits, get it,

0:05:56.040 --> 0:05:59.520
<v Speaker 1>and the bagel sounds like necessarily, I think it's just like,

0:06:00.920 --> 0:06:02.360
<v Speaker 1>I mean, I hear what you're saying, and I understand

0:06:02.400 --> 0:06:04.200
<v Speaker 1>why you have that perspective, But I actually I don't

0:06:04.240 --> 0:06:07.840
<v Speaker 1>think that it's like going for that reaction personally. I

0:06:07.880 --> 0:06:09.719
<v Speaker 1>literally think it's stone people in the room coming up

0:06:09.720 --> 0:06:13.479
<v Speaker 1>with jokes together. It's very funny. So um, the opening

0:06:13.560 --> 0:06:17.200
<v Speaker 1>number is fantastic. Um. I hate that it sort of

0:06:17.200 --> 0:06:18.880
<v Speaker 1>sells itself out at the end. I don't want to

0:06:18.880 --> 0:06:22.680
<v Speaker 1>do spoilers, but it basically throws away the whole premise

0:06:22.760 --> 0:06:24.560
<v Speaker 1>and and goes for a cheap joke, which kind of

0:06:24.560 --> 0:06:27.080
<v Speaker 1>bummed me out. But look at what there are worse

0:06:27.120 --> 0:06:30.000
<v Speaker 1>ways to spend what was it, ninety minutes something like that?

0:06:31.600 --> 0:06:35.240
<v Speaker 1>Number five. I don't know that I necessarily ranked these.

0:06:36.920 --> 0:06:39.800
<v Speaker 1>I guess I kind of do it. I think I could. Um,

0:06:39.960 --> 0:06:43.839
<v Speaker 1>number five would be the Lobster. I loved this movie,

0:06:44.080 --> 0:06:47.760
<v Speaker 1>and you know, I have avoided seeing Dog Tooth because

0:06:47.839 --> 0:06:50.880
<v Speaker 1>the description sounded so unpleasant. And now that I get

0:06:50.920 --> 0:06:53.120
<v Speaker 1>this guy's style, I think I have to go back

0:06:53.160 --> 0:06:55.159
<v Speaker 1>and see it. I thought Colin Farrell was fantastic. I

0:06:55.200 --> 0:06:57.600
<v Speaker 1>think Olivia Coleman has the best line of the year

0:06:57.800 --> 0:07:01.320
<v Speaker 1>as the hotel manager who says, um, you know, uh,

0:07:01.400 --> 0:07:03.920
<v Speaker 1>if you're having trouble in your relationship, will assign you children.

0:07:04.120 --> 0:07:08.599
<v Speaker 1>That always helps. I just and I wish that the

0:07:08.680 --> 0:07:10.600
<v Speaker 1>screenplay was getting a little more love. I know that

0:07:10.600 --> 0:07:13.400
<v Speaker 1>there it did get. Yeah. Yeah, I think it's going

0:07:13.440 --> 0:07:16.160
<v Speaker 1>to be a nominee. By the way play, I really do.

0:07:16.240 --> 0:07:18.800
<v Speaker 1>I think that Branch would be one to to spark

0:07:18.840 --> 0:07:21.160
<v Speaker 1>to it. It's it is a good movie. It's got

0:07:21.240 --> 0:07:25.960
<v Speaker 1>like it owes a lot to Ionesco. Yeah, which is strange.

0:07:26.000 --> 0:07:30.320
<v Speaker 1>I never like I was going to ask, which is

0:07:30.560 --> 0:07:33.000
<v Speaker 1>you know, on paper, this movie is nothing I thought

0:07:33.000 --> 0:07:34.800
<v Speaker 1>I would like. And I went to see it because

0:07:34.800 --> 0:07:37.560
<v Speaker 1>I really like Colin barrel. Um. It also, you know

0:07:37.600 --> 0:07:41.880
<v Speaker 1>has my trigger in its you know what that is? Animals? Well,

0:07:41.960 --> 0:07:46.280
<v Speaker 1>a specific animal. Yeah, um, and yet it was important

0:07:46.280 --> 0:07:49.240
<v Speaker 1>to the story and um, that's a brutal moment. Yeah

0:07:49.360 --> 0:07:54.040
<v Speaker 1>it is. But but I would say necessary, yeah, yeah, Um. No,

0:07:54.080 --> 0:07:56.160
<v Speaker 1>I thought it thought it was a fantastic movie. My

0:07:56.320 --> 0:08:02.120
<v Speaker 1>number five. You were talking about genre movies green Room.

0:08:02.160 --> 0:08:04.880
<v Speaker 1>I did see Green Room. I love Jeremy Selnier. I

0:08:04.880 --> 0:08:09.200
<v Speaker 1>think he's an amazing filmmaker. Filmmaker. I mean he's made

0:08:09.200 --> 0:08:10.920
<v Speaker 1>two phone well, he's made three films. The first one

0:08:10.960 --> 0:08:12.760
<v Speaker 1>is really and he would admit this just kind of

0:08:12.800 --> 0:08:15.600
<v Speaker 1>throw away, but Blue ruin in this, I mean he's

0:08:15.720 --> 0:08:20.760
<v Speaker 1>mastered show don't tell. He's great with visual storytelling, uh

0:08:20.880 --> 0:08:23.480
<v Speaker 1>it is. You know, he's really great with geography, which

0:08:23.480 --> 0:08:26.560
<v Speaker 1>is crucial for a movie like this, and ten Cleverfield Lane.

0:08:26.560 --> 0:08:28.920
<v Speaker 1>By the way, I'm from that area too, you know,

0:08:29.280 --> 0:08:32.160
<v Speaker 1>really Portland area, so I have to say, like they

0:08:32.679 --> 0:08:35.280
<v Speaker 1>nailed it. Yeah. I told Patrick Stewart that when I

0:08:35.320 --> 0:08:38.480
<v Speaker 1>when we did our studio last year, because he you know,

0:08:38.920 --> 0:08:41.640
<v Speaker 1>I know, he interviewed him earlier this year for that. Yeah.

0:08:41.679 --> 0:08:44.080
<v Speaker 1>I mean it's I literally would line up for anything

0:08:44.080 --> 0:08:45.520
<v Speaker 1>this guy makes because I just love the way he

0:08:45.559 --> 0:08:47.360
<v Speaker 1>makes movies. And by the way, I mean, I was

0:08:47.360 --> 0:08:49.920
<v Speaker 1>looking at the Critics Circuit and the Best Actor winners.

0:08:50.679 --> 0:08:54.120
<v Speaker 1>Casey Affleck is nominating naturally, and only two other people

0:08:54.200 --> 0:08:56.840
<v Speaker 1>have won Critics Awards for Best Actor. Adam Patterson and

0:08:56.880 --> 0:08:59.880
<v Speaker 1>Denzel Washington, Adam Patterson, Adam, I mean Adam drivers he

0:09:00.080 --> 0:09:05.120
<v Speaker 1>before Patterson. Uh, and so I was Patterson believe in

0:09:05.360 --> 0:09:07.120
<v Speaker 1>is Adam Patterson. I just want to throw it out

0:09:07.160 --> 0:09:09.160
<v Speaker 1>to some in TRIPID group. I think Anton Yelchin is

0:09:09.160 --> 0:09:12.040
<v Speaker 1>great in this movie is Rest in Peace. I honestly

0:09:12.040 --> 0:09:14.640
<v Speaker 1>think it's probably his best performance. He really makes you

0:09:14.640 --> 0:09:17.080
<v Speaker 1>believe the terror of the of the situation and that

0:09:17.080 --> 0:09:21.000
<v Speaker 1>that's no, that's no short order. So anyway, green Room

0:09:21.040 --> 0:09:25.040
<v Speaker 1>is my number five. What's your number four? Well, continuing

0:09:25.080 --> 0:09:29.520
<v Speaker 1>the animal theme, it's Zootopia. Yes, animation made it. This

0:09:29.559 --> 0:09:32.079
<v Speaker 1>movie is so see this is this is where I

0:09:32.120 --> 0:09:35.640
<v Speaker 1>would say, like Sausage Party thinks it's being subversive because

0:09:35.679 --> 0:09:40.920
<v Speaker 1>it has like a talking douche, But Zootopia is actually okay.

0:09:40.960 --> 0:09:43.000
<v Speaker 1>But but why does the douchetop like it's supposed to

0:09:43.040 --> 0:09:45.520
<v Speaker 1>be talking food and then suddenly toilet paper and a

0:09:45.600 --> 0:09:49.360
<v Speaker 1>douche can don't get me started, You've got me started. Douches?

0:09:49.400 --> 0:09:52.079
<v Speaker 1>And supermarkets? Is it? Everything in a supermarket is live?

0:09:52.200 --> 0:09:55.440
<v Speaker 1>Is that the premise? I don't know, because sometimes it's food,

0:09:55.880 --> 0:09:59.000
<v Speaker 1>and then sometimes it's inanimate objects, and then sometimes it's

0:09:59.040 --> 0:10:02.319
<v Speaker 1>a piece of corn. Then it's kernels of corn, like

0:10:03.160 --> 0:10:06.240
<v Speaker 1>I'm gonna write a whole He thought really hard about

0:10:06.240 --> 0:10:08.760
<v Speaker 1>all this, harder than I think they wanted you to think.

0:10:09.160 --> 0:10:13.400
<v Speaker 1>But z Utopia is so subversive, so clever. I mean,

0:10:13.480 --> 0:10:16.480
<v Speaker 1>it's basically, uh, you know, a hundred million dollar Disney

0:10:16.520 --> 0:10:21.840
<v Speaker 1>animated movie about racism, and it done so it's so clever,

0:10:21.960 --> 0:10:24.480
<v Speaker 1>and it's so funny, and it made a lot of money,

0:10:24.640 --> 0:10:26.760
<v Speaker 1>made a lot of money. It's also just beautiful to

0:10:26.800 --> 0:10:28.640
<v Speaker 1>look at. It's it's horrible. I haven't seen it since

0:10:28.640 --> 0:10:31.480
<v Speaker 1>it came out. I've been meaning to revisit. Do I

0:10:31.520 --> 0:10:33.199
<v Speaker 1>do like it quite a bit? Yeah, No, it's it's

0:10:33.440 --> 0:10:35.560
<v Speaker 1>I it's another one that I would pitch as a

0:10:35.679 --> 0:10:38.800
<v Speaker 1>screenplay nomination. Yeah. I think it's in the hunt, especially

0:10:38.840 --> 0:10:41.560
<v Speaker 1>with those scripts that fell out of the original category recently.

0:10:41.840 --> 0:10:43.679
<v Speaker 1>And it's been a great year for animated movies. I mean,

0:10:43.720 --> 0:10:46.520
<v Speaker 1>I really like Milana, I liked Finding Dori, but like,

0:10:46.640 --> 0:10:50.000
<v Speaker 1>I just think Utopia is just like Heads and Tails

0:10:50.080 --> 0:10:54.200
<v Speaker 1>above everything else. My number four and if we get

0:10:54.320 --> 0:10:55.840
<v Speaker 1>I have a feeling we might be getting into this

0:10:55.920 --> 0:10:58.160
<v Speaker 1>place where I mentioned a movie that's still to come

0:10:58.160 --> 0:10:59.600
<v Speaker 1>on your list. It feel free to say as little

0:10:59.600 --> 0:11:01.920
<v Speaker 1>as possib until until you get to it. My number

0:11:01.920 --> 0:11:05.480
<v Speaker 1>four is Moonlight Barry Jenkins. Uh. It's obviously the year's

0:11:05.480 --> 0:11:08.520
<v Speaker 1>critical favorite, and I think there's a there's a definite

0:11:08.559 --> 0:11:11.319
<v Speaker 1>reason for that, which is this guy has a definitive,

0:11:11.840 --> 0:11:16.839
<v Speaker 1>clear vision, point of view, voice, and it ties so

0:11:17.360 --> 0:11:22.160
<v Speaker 1>interestingly with socio politics of today, identity politics certainly. Uh.

0:11:22.200 --> 0:11:25.080
<v Speaker 1>And it's incredible. I've said this before that he was

0:11:25.120 --> 0:11:29.040
<v Speaker 1>able to draw out the same spirit of of of

0:11:29.080 --> 0:11:31.400
<v Speaker 1>a character and three different actors the way he does.

0:11:31.640 --> 0:11:34.480
<v Speaker 1>And I watched it again last week. It's just a

0:11:34.520 --> 0:11:37.439
<v Speaker 1>powerful movie. It looks amazing, the editing is amazing, and

0:11:37.520 --> 0:11:40.000
<v Speaker 1>it's got the best I think ensemble performance over the year.

0:11:40.040 --> 0:11:42.920
<v Speaker 1>Everyone is so organic to the piece. And that's my

0:11:43.000 --> 0:11:45.960
<v Speaker 1>number four, Moonlight. Um. I will just add to that

0:11:46.040 --> 0:11:51.080
<v Speaker 1>mi herschel Ali, of course, Michel Ali. Of course, it's

0:11:51.080 --> 0:11:55.000
<v Speaker 1>a charmer, that guy. He definitely is. Uh. My number

0:11:55.080 --> 0:12:02.320
<v Speaker 1>three is number four. Um, My number three is Moonlight. Yeah,

0:12:02.360 --> 0:12:04.640
<v Speaker 1>perfect Um. And this is hard because, like I said,

0:12:04.679 --> 0:12:07.120
<v Speaker 1>I did not rank these and so I'm sort of

0:12:07.160 --> 0:12:08.640
<v Speaker 1>looking at them on the fly. I sort of have

0:12:08.679 --> 0:12:12.960
<v Speaker 1>a three way tie for number one. Um, but all uh,

0:12:13.320 --> 0:12:15.680
<v Speaker 1>you know, I'm actually a little surprised that you're number

0:12:15.720 --> 0:12:17.480
<v Speaker 1>four choice because I thought it was far and away

0:12:17.520 --> 0:12:19.320
<v Speaker 1>your favorite movie of the year. It was up there

0:12:19.320 --> 0:12:21.520
<v Speaker 1>for a while. Things just sift around when you start

0:12:21.559 --> 0:12:25.400
<v Speaker 1>to revisit things. Yeah, exactly, Yeah, I mean it's all

0:12:25.440 --> 0:12:28.240
<v Speaker 1>of these movies are for me, the cream of the

0:12:28.240 --> 0:12:30.079
<v Speaker 1>crop in a year that wasn't so great. Yeah, I

0:12:30.080 --> 0:12:31.760
<v Speaker 1>mean I could use it tomorrow. Moonlight might be not

0:12:31.840 --> 0:12:34.280
<v Speaker 1>my number one choice. Yeah, I was gonna say, actually,

0:12:34.360 --> 0:12:36.480
<v Speaker 1>these five I could definitely if we did this last

0:12:36.520 --> 0:12:38.000
<v Speaker 1>week or a week from now, like they might be

0:12:38.000 --> 0:12:40.400
<v Speaker 1>a different ranking. Yeah. For me, it's these it's these

0:12:40.440 --> 0:12:43.199
<v Speaker 1>top three that are really all number one for me.

0:12:43.840 --> 0:12:45.559
<v Speaker 1>But um, I'm gonna I'm gonna throw a bit of

0:12:45.600 --> 0:12:49.280
<v Speaker 1>a wild card in with my number one. That's all

0:12:49.280 --> 0:12:51.599
<v Speaker 1>you're gonna say about Moonlight? I mean, one more is

0:12:51.640 --> 0:12:54.800
<v Speaker 1>there to say? What else can you be? Like I

0:12:54.840 --> 0:12:57.320
<v Speaker 1>said last week, like, you know, do we even like

0:12:57.400 --> 0:12:59.160
<v Speaker 1>I feel like we shouldn't even put Moonlight in La

0:12:59.240 --> 0:13:01.680
<v Speaker 1>La Land on our list because they're so obvious. We

0:13:01.679 --> 0:13:05.080
<v Speaker 1>should open up those spaces to other movies. But you know,

0:13:05.200 --> 0:13:07.199
<v Speaker 1>I remember David Fincher said about the castine of Ben

0:13:07.200 --> 0:13:09.920
<v Speaker 1>Affleck and Gone Girl. Just because it's the obvious choice

0:13:09.920 --> 0:13:13.040
<v Speaker 1>doesn't make it the wrong choice. And uh, yeah it's

0:13:13.040 --> 0:13:18.520
<v Speaker 1>it's every performance in that movie is perfect, you know.

0:13:18.800 --> 0:13:23.760
<v Speaker 1>And yeah, it's it's just I've used up all my superlatatives.

0:13:23.800 --> 0:13:27.200
<v Speaker 1>You know what else can we say superlatatives? I don't know.

0:13:27.240 --> 0:13:29.240
<v Speaker 1>Did I make a word of man? I just put

0:13:30.040 --> 0:13:35.000
<v Speaker 1>on my pants and yeah, uh number three for me.

0:13:35.600 --> 0:13:38.640
<v Speaker 1>A lot of great documentaries this year. I mentioned Fire

0:13:38.640 --> 0:13:43.120
<v Speaker 1>at See Obviously O J O J Made in America

0:13:43.160 --> 0:13:47.360
<v Speaker 1>is amazing. Not a movie. The whole podcast could be

0:13:47.360 --> 0:13:49.360
<v Speaker 1>done about that. I don't have strong feelings about it.

0:13:49.400 --> 0:13:51.800
<v Speaker 1>But I don't have strong feelings, but I certainly understand

0:13:51.800 --> 0:13:53.360
<v Speaker 1>the people who have strong feelings that it's not a

0:13:53.400 --> 0:13:55.320
<v Speaker 1>movie that I'll say that. But I think the best

0:13:55.320 --> 0:13:57.640
<v Speaker 1>of them is Winer. Yeah, weener Is A is a

0:13:57.679 --> 0:14:00.520
<v Speaker 1>great documentary. I I would lean more towards their teenth

0:14:00.559 --> 0:14:05.520
<v Speaker 1>because it's just so powerful and timely and relevant. But Yeah,

0:14:05.559 --> 0:14:10.200
<v Speaker 1>weener Is it's pretty impressive talk about the socio politics.

0:14:10.280 --> 0:14:15.559
<v Speaker 1>I mean, it's so zegeist because it's about flawed heroes.

0:14:15.720 --> 0:14:21.000
<v Speaker 1>I've said this before and just media obsession with titillation

0:14:21.440 --> 0:14:23.840
<v Speaker 1>and letting that get in the way of analyzing substance.

0:14:23.840 --> 0:14:25.840
<v Speaker 1>I mean, is there another movie that could be more

0:14:25.880 --> 0:14:28.040
<v Speaker 1>sum up this year than that? You know? And the fact,

0:14:28.120 --> 0:14:30.080
<v Speaker 1>like you said, that they got the access that they did.

0:14:31.120 --> 0:14:33.040
<v Speaker 1>I think after the fact, he wishes they didn't have

0:14:33.120 --> 0:14:35.160
<v Speaker 1>that access, but I'm glad that they did because it's

0:14:35.200 --> 0:14:38.880
<v Speaker 1>such a revealing portrait. It is just frailty really and uh,

0:14:39.440 --> 0:14:41.240
<v Speaker 1>it's been one of the best movies of the year

0:14:41.360 --> 0:14:43.200
<v Speaker 1>since I saw it, like way back in the spring,

0:14:43.600 --> 0:14:45.280
<v Speaker 1>and it's my number three, and you know, I think

0:14:45.280 --> 0:14:47.120
<v Speaker 1>it would still be a great movie even even if

0:14:47.120 --> 0:14:49.680
<v Speaker 1>it wasn't for some of that got you stuff that

0:14:49.720 --> 0:14:53.280
<v Speaker 1>they got, you know, I mean they did again, the

0:14:53.360 --> 0:14:55.840
<v Speaker 1>access they got is just you look back on that

0:14:55.840 --> 0:14:58.400
<v Speaker 1>and you're like, who, okay this, but thank god they

0:14:58.440 --> 0:15:03.440
<v Speaker 1>did you number two? Um la la land. I mean again,

0:15:03.480 --> 0:15:06.160
<v Speaker 1>what more is there to say? It's singing for us

0:15:07.360 --> 0:15:10.120
<v Speaker 1>nobody wants, although I was doing that in the car

0:15:10.280 --> 0:15:14.440
<v Speaker 1>on the way here this morning. Yes, well, you know

0:15:14.480 --> 0:15:16.320
<v Speaker 1>this is funny. We may have discussed this before, but

0:15:16.400 --> 0:15:18.560
<v Speaker 1>my favorite songs are not even in the morning for

0:15:18.680 --> 0:15:22.240
<v Speaker 1>best song. Um I was singing another day of sun, yes,

0:15:22.840 --> 0:15:26.280
<v Speaker 1>and uh and the start of fires. That one actually

0:15:26.400 --> 0:15:30.480
<v Speaker 1>is eligible phenomination. But yeah, that's a very very catchy tune.

0:15:30.760 --> 0:15:35.600
<v Speaker 1>I mean, perfectly cast. Damien Chazelle is just what more

0:15:35.640 --> 0:15:37.600
<v Speaker 1>is there to say? I mean, you know, Whiplash was

0:15:37.640 --> 0:15:41.040
<v Speaker 1>my favorite movie of Oh yeah, well that was the

0:15:41.080 --> 0:15:43.120
<v Speaker 1>year of the compound word, and it was Whip Last Night,

0:15:43.120 --> 0:15:46.480
<v Speaker 1>Crawler and Birdman were my three favorite movies. But there

0:15:46.560 --> 0:15:48.800
<v Speaker 1>was just you know, this guy knows how to end

0:15:48.800 --> 0:15:52.320
<v Speaker 1>a movie. He's really talented and he uh more importantly,

0:15:52.360 --> 0:15:55.880
<v Speaker 1>he's very confident and that shows like it's it makes

0:15:55.880 --> 0:15:59.400
<v Speaker 1>me mad. Yeah, I know, because very humble. He is

0:15:59.440 --> 0:16:01.120
<v Speaker 1>thirty one year. He's one of the nicest guys you'll

0:16:01.120 --> 0:16:04.160
<v Speaker 1>talk to. Uh you know, hopefully he stays that way. Yeah,

0:16:04.680 --> 0:16:06.680
<v Speaker 1>you never know what this business does to people. One

0:16:06.720 --> 0:16:08.800
<v Speaker 1>of these days, Jacob Trompley is just going to be

0:16:08.840 --> 0:16:14.600
<v Speaker 1>the biggest bastard. Uh. If Damian Chisel wins Best Director,

0:16:14.640 --> 0:16:17.760
<v Speaker 1>he'll be the youngest Best Director winner ever. Yeah, but

0:16:17.840 --> 0:16:21.520
<v Speaker 1>I mean, like, very deserving, kind of hard to argue with.

0:16:21.680 --> 0:16:24.760
<v Speaker 1>He he isn't you know, he's a wonderin as they say,

0:16:24.880 --> 0:16:28.360
<v Speaker 1>I was going to say unfun terrible, but I've mispronouced

0:16:28.400 --> 0:16:31.320
<v Speaker 1>a word to day. My number two is Manchester by

0:16:31.320 --> 0:16:34.560
<v Speaker 1>the Sea Kenneth Lanagan. I keep using the word immaculate

0:16:34.640 --> 0:16:38.440
<v Speaker 1>to describe it because it's really just perfectly tuned. I

0:16:38.560 --> 0:16:41.840
<v Speaker 1>just watched it again last night. Um, he's I think

0:16:41.880 --> 0:16:47.320
<v Speaker 1>our foremost humanist and that comes out, you know, wonderfully

0:16:47.400 --> 0:16:49.480
<v Speaker 1>in the film. As I said at Casey Affleck has

0:16:49.520 --> 0:16:53.520
<v Speaker 1>dominated the critics circuit for acting, and I think it's

0:16:53.520 --> 0:16:56.840
<v Speaker 1>because it's an amazing performance, an amazingly internalized performance. There's

0:16:56.880 --> 0:16:59.840
<v Speaker 1>so much going on with him. He's a great act

0:17:00.240 --> 0:17:03.840
<v Speaker 1>he really is. Yeah, did you see No. I guess

0:17:03.840 --> 0:17:05.280
<v Speaker 1>I have to catch up to it. I'm telling you,

0:17:05.400 --> 0:17:08.280
<v Speaker 1>I bet he want a lot of fans. He was

0:17:08.440 --> 0:17:12.280
<v Speaker 1>really fantastic and and I was, I guess, not surprised

0:17:12.280 --> 0:17:14.440
<v Speaker 1>at how funny he was, but surprised that they gave

0:17:14.520 --> 0:17:17.920
<v Speaker 1>him guy, especially when you get him and Launergan together,

0:17:18.000 --> 0:17:20.119
<v Speaker 1>Like I saw them both at this like Amazon thing

0:17:20.160 --> 0:17:23.080
<v Speaker 1>a few weeks ago, and I was like, Launergan's hilarious.

0:17:23.240 --> 0:17:24.760
<v Speaker 1>I was like, can you get I was like, Kenny,

0:17:24.800 --> 0:17:26.560
<v Speaker 1>can you go like write a sketch for him? On

0:17:26.840 --> 0:17:28.800
<v Speaker 1>SNL that'd be great, and he's like, I did have

0:17:28.880 --> 0:17:32.240
<v Speaker 1>an idea broad comedy sketches. Well, I mean, I bet

0:17:32.280 --> 0:17:35.400
<v Speaker 1>he could deliver something interesting. It is very funny stuff,

0:17:35.400 --> 0:17:38.560
<v Speaker 1>and there is funny human stuff, absolutely, and they want

0:17:38.600 --> 0:17:40.760
<v Speaker 1>to make sure people point that out too, because I've

0:17:40.800 --> 0:17:43.520
<v Speaker 1>certainly used the term melancholy a lot and they're like,

0:17:43.640 --> 0:17:46.920
<v Speaker 1>stop saying that. And it's a freaking downer man. But

0:17:47.000 --> 0:17:50.679
<v Speaker 1>there's definitely a lot of Kenny Lawnergan humor, including when

0:17:50.720 --> 0:17:54.480
<v Speaker 1>he shows up as a cameo. You know, it's funny.

0:17:54.520 --> 0:17:58.359
<v Speaker 1>I think they're leaning into the sadness of it now

0:17:58.400 --> 0:18:00.720
<v Speaker 1>because in Casey athlex monologue, it's night life. He kept

0:18:00.760 --> 0:18:03.720
<v Speaker 1>stressing how depressing the movie, but don't really yeah, And

0:18:03.800 --> 0:18:06.320
<v Speaker 1>I was like, thank you for just being frank. Um

0:18:06.440 --> 0:18:09.720
<v Speaker 1>interesting notes from the Midwest. My mom called me last

0:18:09.800 --> 0:18:11.520
<v Speaker 1>night to say she had seen Manchester by the Sea

0:18:12.000 --> 0:18:14.400
<v Speaker 1>because she read in Parade magazine that Casey Afflect would

0:18:14.400 --> 0:18:18.440
<v Speaker 1>get an Oscar nomination and she was just like, kind

0:18:18.480 --> 0:18:23.280
<v Speaker 1>of surprised at how sad it was. Well, be warned,

0:18:24.320 --> 0:18:26.760
<v Speaker 1>it is a sad movie. What's your number? One? Um,

0:18:28.880 --> 0:18:32.000
<v Speaker 1>I might be a surprise to everyone but you Captain Fantastic.

0:18:32.800 --> 0:18:35.520
<v Speaker 1>Oh yeah, I forgot that I ruined it earlier. You did.

0:18:35.560 --> 0:18:37.760
<v Speaker 1>You ruin well when I said Captain Fantastic Civil War,

0:18:37.760 --> 0:18:39.359
<v Speaker 1>you said, don't win my list, and then I forgot

0:18:39.400 --> 0:18:40.600
<v Speaker 1>that it was on your list when you said that,

0:18:40.640 --> 0:18:44.440
<v Speaker 1>that's okay, we'll fix it in post um again. Moonlight

0:18:44.840 --> 0:18:47.720
<v Speaker 1>La La Land and Captain Fantastic. Every day you could,

0:18:47.760 --> 0:18:50.040
<v Speaker 1>you could change for my favorite, but I feel like

0:18:50.080 --> 0:18:52.200
<v Speaker 1>Moonlight La La Land have probably gotten enough love. I

0:18:52.280 --> 0:18:55.600
<v Speaker 1>am so happy that Captain Fantastic is getting attention. For

0:18:55.720 --> 0:18:59.400
<v Speaker 1>Vigo Mortenson, I'm so thrilled he got the Golden Globe

0:18:59.440 --> 0:19:02.040
<v Speaker 1>nomination in the SAG nomination and in the correct category,

0:19:02.119 --> 0:19:04.600
<v Speaker 1>and Golden Globes by the way, and the drama category.

0:19:05.119 --> 0:19:08.600
<v Speaker 1>And I really hope Matt Ross's script get some recognition. Um,

0:19:09.000 --> 0:19:16.080
<v Speaker 1>this is such an original, weird, funny, sad, uplifting sweet

0:19:16.119 --> 0:19:20.560
<v Speaker 1>movie times. Have you seen it only twice? Yeah? I

0:19:20.680 --> 0:19:23.200
<v Speaker 1>know I saw when, you know, right before it first

0:19:23.240 --> 0:19:25.960
<v Speaker 1>came out, and then uh, fairly recently, just so he

0:19:26.000 --> 0:19:29.280
<v Speaker 1>didn't see it a dance or anything like that. Yeah, yeah,

0:19:29.920 --> 0:19:31.840
<v Speaker 1>but you know what's funny, Matt Ross was one of

0:19:31.880 --> 0:19:35.040
<v Speaker 1>our directors to watch this year in January and he

0:19:35.160 --> 0:19:37.280
<v Speaker 1>came to our event and I saw him in Palm

0:19:37.359 --> 0:19:39.840
<v Speaker 1>Springs and I was like, oh, man, I love that actor.

0:19:40.160 --> 0:19:42.679
<v Speaker 1>You know, he's great and everything. And I went up

0:19:42.680 --> 0:19:44.680
<v Speaker 1>and started talking to him and then um it was

0:19:44.760 --> 0:19:47.199
<v Speaker 1>his birthday, no less, and then they were like, oh,

0:19:47.240 --> 0:19:48.960
<v Speaker 1>you know, we're gonna get started for the directors to watch.

0:19:48.960 --> 0:19:50.520
<v Speaker 1>And I was like, oh, are you presenting to someone

0:19:50.600 --> 0:19:52.600
<v Speaker 1>and he's like, oh no, I'm one of the directors.

0:19:53.119 --> 0:19:54.560
<v Speaker 1>And I was like, oh my god, I'm a sure

0:19:55.760 --> 0:19:58.000
<v Speaker 1>in that that. I kind of hoped somebody would throw

0:19:58.040 --> 0:20:00.920
<v Speaker 1>a bone to this year's Franklin. Frank clinch Ella how

0:20:01.200 --> 0:20:04.000
<v Speaker 1>I'm so happy I got him ensemble nomination because Catherine Hahn,

0:20:04.520 --> 0:20:07.800
<v Speaker 1>Steve's on Franklin Angela is It, and Owd who plays

0:20:07.840 --> 0:20:11.400
<v Speaker 1>his wife, Oh my gosh, I mean like, and these

0:20:11.560 --> 0:20:15.000
<v Speaker 1>kids who are for a while, I really thought maybe

0:20:15.000 --> 0:20:17.280
<v Speaker 1>some of them will relate it because they look so

0:20:17.480 --> 0:20:21.359
<v Speaker 1>much alike. It's just I, you know, I am best

0:20:21.400 --> 0:20:25.520
<v Speaker 1>actor is I think probably down to Denzel and Casey,

0:20:25.960 --> 0:20:28.800
<v Speaker 1>who are both very deserving, But I would love to

0:20:28.840 --> 0:20:31.440
<v Speaker 1>see Nigo. Morton's video continues to just get in there

0:20:31.480 --> 0:20:35.200
<v Speaker 1>for movies like this, because I think the movie. You know,

0:20:35.320 --> 0:20:37.959
<v Speaker 1>the problem is are people seeing the movie, but if

0:20:37.960 --> 0:20:39.680
<v Speaker 1>you see the movie, it's it's kind of hard to

0:20:39.760 --> 0:20:41.280
<v Speaker 1>not vote for him. Yeah. I know a lot of

0:20:41.440 --> 0:20:43.720
<v Speaker 1>hfp A people saw it late and they all were like, wow,

0:20:43.760 --> 0:20:45.160
<v Speaker 1>I liked this movie a lot, and then sure enough.

0:20:45.480 --> 0:20:47.080
<v Speaker 1>Well that's the advantage it has is that you know,

0:20:47.119 --> 0:20:49.159
<v Speaker 1>they got screeners out early. It came out early in

0:20:49.200 --> 0:20:51.680
<v Speaker 1>the year. I think that's why it helped do really

0:20:51.720 --> 0:20:56.639
<v Speaker 1>well with seg Um. Yeah. I just, I just I

0:20:56.680 --> 0:21:00.399
<v Speaker 1>think it's a fantastic movie. It's my turn, alright, go

0:21:01.000 --> 0:21:05.640
<v Speaker 1>My number one movie is Independence Day Resurgence. Oh stop.

0:21:05.880 --> 0:21:11.280
<v Speaker 1>I think this movie has something to say about the

0:21:12.359 --> 0:21:16.000
<v Speaker 1>horror that's about to be inflicted on this planet based

0:21:16.080 --> 0:21:21.159
<v Speaker 1>on what's happened in this selection. God god, I was like,

0:21:21.440 --> 0:21:25.240
<v Speaker 1>I was pretty sure, but I'm glad I got you.

0:21:26.880 --> 0:21:29.480
<v Speaker 1>Oh of course you hadn't done La La Land yet, Okay.

0:21:29.600 --> 0:21:31.879
<v Speaker 1>I mean, plain and simple, I responded to a story

0:21:32.280 --> 0:21:35.440
<v Speaker 1>about people still daring to dream. I mean it's really

0:21:35.440 --> 0:21:39.159
<v Speaker 1>as simple as that. Thematically speaking, Uh, it's you know,

0:21:41.400 --> 0:21:45.159
<v Speaker 1>holding off pragmatism and stability, all of that stuff really resonates.

0:21:45.720 --> 0:21:47.280
<v Speaker 1>And as we said when you were speaking about it,

0:21:47.640 --> 0:21:51.639
<v Speaker 1>he is hugely talented, Damien, he is hugely con I

0:21:51.680 --> 0:21:55.879
<v Speaker 1>mean it's like this, it's this expressionist musical, which is

0:21:55.960 --> 0:21:59.880
<v Speaker 1>really bold to just dive into something like that. Because

0:22:00.119 --> 0:22:01.800
<v Speaker 1>Scorsese he didn't bother with New York, New York for

0:22:01.840 --> 0:22:03.439
<v Speaker 1>a couple of years. You know, he got a lot

0:22:03.480 --> 0:22:05.080
<v Speaker 1>of things under his belt. But to just come out

0:22:05.119 --> 0:22:06.960
<v Speaker 1>with your second it is a second film, right, it

0:22:07.040 --> 0:22:09.000
<v Speaker 1>might be a third guy in Aline on a Park

0:22:09.040 --> 0:22:11.639
<v Speaker 1>Pass that was his Harvard thesis film. I don't know

0:22:12.200 --> 0:22:17.160
<v Speaker 1>if it even got released, Harvard Thesis film. Interesting term. Yeah,

0:22:17.200 --> 0:22:20.080
<v Speaker 1>he's I mean, he's just what can you say? What again?

0:22:20.160 --> 0:22:22.200
<v Speaker 1>What else can you say about this movie other than

0:22:22.320 --> 0:22:26.480
<v Speaker 1>people that are like ganging up on it now when

0:22:26.600 --> 0:22:28.560
<v Speaker 1>I don't know what this thing is? People people end

0:22:28.640 --> 0:22:31.200
<v Speaker 1>up responding to a movie's award season footprint. They're not

0:22:31.240 --> 0:22:33.800
<v Speaker 1>responding to the movie anymore. Suddenly, Argo is a piece

0:22:33.800 --> 0:22:35.600
<v Speaker 1>of ship because it's gonna beat Lincoln, right, Like, I

0:22:35.640 --> 0:22:38.120
<v Speaker 1>don't understand that I've been wanting to curse this whole time.

0:22:38.320 --> 0:22:40.280
<v Speaker 1>Sometimes it comes out of me. Sometimes it comes out

0:22:41.440 --> 0:22:43.879
<v Speaker 1>and that just bothers me like people are responding to

0:22:44.080 --> 0:22:46.119
<v Speaker 1>a response at that point, they're not really responding to

0:22:46.200 --> 0:22:48.000
<v Speaker 1>the movie. And I appreciate the people that have very

0:22:48.080 --> 0:22:50.119
<v Speaker 1>real criticisms of this movie, and I'll listen to them

0:22:50.160 --> 0:22:53.560
<v Speaker 1>and hear them out. But this time of year, these

0:22:53.600 --> 0:22:56.160
<v Speaker 1>dog piles start to happen and it just drives me bersert. Yeah,

0:22:56.160 --> 0:22:58.879
<v Speaker 1>of course it's a response to the the backlash, and

0:22:58.920 --> 0:23:02.000
<v Speaker 1>then there's the backlash again, the backlash, and yeah, you

0:23:02.119 --> 0:23:03.560
<v Speaker 1>just have to tune that all out, Like La La

0:23:03.640 --> 0:23:06.200
<v Speaker 1>Land is where it is because people genuinely love it,

0:23:06.960 --> 0:23:10.880
<v Speaker 1>and there was a movie. Oh I won't go down

0:23:10.920 --> 0:23:13.119
<v Speaker 1>that road. I was just gonna say, like, there's some

0:23:13.240 --> 0:23:15.840
<v Speaker 1>movies that like I don't get and then I can't

0:23:15.880 --> 0:23:18.199
<v Speaker 1>deny that I'm seeing other people have a genuine response

0:23:18.240 --> 0:23:20.879
<v Speaker 1>to it, you know, So why people want to deny it?

0:23:21.080 --> 0:23:23.600
<v Speaker 1>Like maybe it's the hip thing to do to hate

0:23:23.640 --> 0:23:26.560
<v Speaker 1>on the thing that everyone loves. But you know, I

0:23:26.840 --> 0:23:28.760
<v Speaker 1>well a lot of times things break down, like just

0:23:29.200 --> 0:23:31.600
<v Speaker 1>this is a very different movie than say, Manchester by

0:23:31.640 --> 0:23:33.800
<v Speaker 1>the Sea, but that's my number one and number two movies.

0:23:33.880 --> 0:23:37.280
<v Speaker 1>So look, I contain multitudes people. Chris is a very

0:23:37.359 --> 0:23:41.680
<v Speaker 1>calm person. Did you actually see Independence A Resurgence? The

0:23:41.760 --> 0:23:46.439
<v Speaker 1>worst movie I saw this year? Yes, I was profoundly disgusted,

0:23:46.640 --> 0:23:52.159
<v Speaker 1>but that's a whole other things. Yeah, anyway, that's our

0:23:52.200 --> 0:23:55.560
<v Speaker 1>top five so this week. So I think the by

0:23:55.640 --> 0:23:59.440
<v Speaker 1>the average mean probably La La Land. Well, let's see

0:23:59.680 --> 0:24:02.600
<v Speaker 1>you I had. We both had Moonlight and La La Land.

0:24:02.920 --> 0:24:05.320
<v Speaker 1>Those were the two. So we both had Lion on

0:24:05.359 --> 0:24:08.680
<v Speaker 1>our honorable mentions. That's right. And we both love Sausage Party.

0:24:09.880 --> 0:24:12.680
<v Speaker 1>I don't hate Sausage Party. There's some very funny stuff

0:24:12.680 --> 0:24:15.639
<v Speaker 1>in it. This week I'm talking to Violet Davis speaking

0:24:15.680 --> 0:24:20.320
<v Speaker 1>earlier offenses, who is just show stopping in the movie.

0:24:21.240 --> 0:24:23.000
<v Speaker 1>So uh and and we get into a lot of

0:24:23.080 --> 0:24:26.080
<v Speaker 1>interesting stuff. Suicide Squad talk about Soderbergh, a bunch of

0:24:26.119 --> 0:24:51.480
<v Speaker 1>different things to stick around for that. Hey, pop, I

0:24:51.520 --> 0:24:56.000
<v Speaker 1>ask you a question. How come youily never liked me

0:24:58.400 --> 0:25:01.800
<v Speaker 1>like you? What law is there? Say? I got to

0:25:01.880 --> 0:25:04.760
<v Speaker 1>like you? All right? Then? Don't you eat every day?

0:25:06.480 --> 0:25:08.040
<v Speaker 1>Answer me? When I talk to you? Don't you eat

0:25:08.080 --> 0:25:10.440
<v Speaker 1>every day? As long as you're in my house? You

0:25:10.560 --> 0:25:11.879
<v Speaker 1>put a sir on the end of it. When you

0:25:11.960 --> 0:25:14.080
<v Speaker 1>talk to me, you eat every day? That got a

0:25:14.119 --> 0:25:16.000
<v Speaker 1>roof over your head and got closed on your back.

0:25:16.480 --> 0:25:18.760
<v Speaker 1>Why do you think that is because of you? Hell,

0:25:18.880 --> 0:25:20.920
<v Speaker 1>I know it's because of me. But why do you

0:25:21.080 --> 0:25:26.200
<v Speaker 1>think that is because you're like me? Like you? I

0:25:26.320 --> 0:25:28.560
<v Speaker 1>go out of here every morning, I bust my butt

0:25:28.920 --> 0:25:31.800
<v Speaker 1>because I like you. You're about the biggest fool ever

0:25:31.920 --> 0:25:37.560
<v Speaker 1>sult A man is supposed to take care of his family.

0:25:37.880 --> 0:25:40.359
<v Speaker 1>You're living my house for your belly, with my food.

0:25:40.680 --> 0:25:43.360
<v Speaker 1>Put you're behind on my bed. Because you're my son.

0:25:44.640 --> 0:25:46.440
<v Speaker 1>It's my duty to take care of you. I owe

0:25:46.560 --> 0:25:49.399
<v Speaker 1>a responsibility to you. I ain't got to like you now.

0:25:49.440 --> 0:25:51.080
<v Speaker 1>I don't give you everything I got to give you.

0:25:51.160 --> 0:25:54.400
<v Speaker 1>I give you your life. Me and your mama worked

0:25:54.440 --> 0:25:56.560
<v Speaker 1>that out between us, unlike in your black ass wasn't

0:25:56.600 --> 0:25:59.600
<v Speaker 1>part of the bargain. Now, don't you go through life

0:26:00.040 --> 0:26:02.320
<v Speaker 1>in about whether somebody like you or not. You best

0:26:02.359 --> 0:26:04.840
<v Speaker 1>be making sure that they're doing right by you. You

0:26:05.000 --> 0:26:09.800
<v Speaker 1>understand what I'm saying. Everything that boy do he do

0:26:09.960 --> 0:26:12.560
<v Speaker 1>for you. It's not easy for me to admit that

0:26:12.600 --> 0:26:15.320
<v Speaker 1>I've been standing in the safe place for eighteen years.

0:26:15.480 --> 0:26:19.720
<v Speaker 1>I haven't den in with you. I get eighteen years

0:26:19.760 --> 0:26:21.800
<v Speaker 1>of my life to stand in the Saint w Is

0:26:21.880 --> 0:26:25.760
<v Speaker 1>you Welcome back everyone. I'm here with the lovely Viola Davis,

0:26:26.000 --> 0:26:28.879
<v Speaker 1>star of Denzel Washington's Fences. Thank you for coming in.

0:26:28.960 --> 0:26:31.960
<v Speaker 1>I appreciate it. Thank you, I should say, Star of

0:26:32.000 --> 0:26:37.480
<v Speaker 1>August Wilson's Fences by way of Denzel Washington. Right. UM,

0:26:37.880 --> 0:26:40.119
<v Speaker 1>I want to start, if you'll permit me, by flirting

0:26:40.200 --> 0:26:43.320
<v Speaker 1>with you just briefly. I find your eyes to be

0:26:43.600 --> 0:26:47.359
<v Speaker 1>very stunning, and I've thought that for a long time.

0:26:47.520 --> 0:26:52.200
<v Speaker 1>I think that the way you convey emotion and hide

0:26:52.280 --> 0:26:56.080
<v Speaker 1>emotion and betray emotion. I guess what I'm saying is

0:26:56.119 --> 0:26:57.960
<v Speaker 1>I think your eyes have been great tools for you

0:26:58.160 --> 0:27:00.720
<v Speaker 1>as an actress. And uh, I always wanted to say

0:27:00.720 --> 0:27:02.879
<v Speaker 1>that to you. Thank you well, I accepted and I

0:27:02.960 --> 0:27:06.560
<v Speaker 1>appreciate it. I want to start by talking about something

0:27:06.640 --> 0:27:09.520
<v Speaker 1>called trust, which keeps popping up with this film. I've

0:27:09.560 --> 0:27:12.080
<v Speaker 1>noticed you guys talk about that a lot, and and

0:27:12.160 --> 0:27:14.879
<v Speaker 1>how Denzel asked you guys to trust him when it

0:27:14.920 --> 0:27:16.680
<v Speaker 1>came to this project. And I want to talk about

0:27:16.720 --> 0:27:20.240
<v Speaker 1>the value of that as an actress. Uh. What why

0:27:20.359 --> 0:27:23.920
<v Speaker 1>is it so valuable on a project like Fences, where

0:27:24.000 --> 0:27:28.320
<v Speaker 1>you are, you know, dealing with emotionally volatile material and

0:27:28.760 --> 0:27:30.960
<v Speaker 1>you go to some really intense places. Why is it

0:27:31.000 --> 0:27:33.280
<v Speaker 1>so important on a film like this, Well, it's everything

0:27:33.359 --> 0:27:36.280
<v Speaker 1>that you just mentioned is going to those intense places

0:27:36.600 --> 0:27:41.040
<v Speaker 1>and having four page monologues and that takes you to

0:27:41.160 --> 0:27:49.000
<v Speaker 1>places that are extraordinarily vulnerable. That, Um, it's the trusting

0:27:49.080 --> 0:27:52.440
<v Speaker 1>yourself to to be able to go there and trusting

0:27:52.520 --> 0:27:56.119
<v Speaker 1>your work, but it's also trusting the director is going

0:27:56.200 --> 0:27:59.080
<v Speaker 1>to have your best interests at heart. A lot of

0:27:59.200 --> 0:28:01.440
<v Speaker 1>times you have to rectors who are more interested in

0:28:01.560 --> 0:28:05.879
<v Speaker 1>the shot. They're more interested in just other aspects of

0:28:05.960 --> 0:28:08.960
<v Speaker 1>the film other than your performance, and you don't know

0:28:09.080 --> 0:28:12.240
<v Speaker 1>what they're seeing. You know, when they're at video village

0:28:12.280 --> 0:28:15.800
<v Speaker 1>and they're looking at playback, you want to trust that

0:28:15.960 --> 0:28:18.479
<v Speaker 1>what they're looking at is something that at the end

0:28:18.520 --> 0:28:20.320
<v Speaker 1>of the day you're gonna be proud of and you're

0:28:20.359 --> 0:28:25.080
<v Speaker 1>gonna believe. Um. And the thing about Denzel and I

0:28:25.160 --> 0:28:27.000
<v Speaker 1>think it is because he is a great actor. He

0:28:27.240 --> 0:28:30.639
<v Speaker 1>knows the words that are going to unlock the thing

0:28:30.800 --> 0:28:33.520
<v Speaker 1>that's holding you back, and then he knows when to

0:28:33.640 --> 0:28:36.840
<v Speaker 1>step away and to let you fly. A lot of

0:28:36.880 --> 0:28:39.160
<v Speaker 1>people just don't know that because they just they don't

0:28:39.160 --> 0:28:41.680
<v Speaker 1>even know acting as a process and they're directing you.

0:28:43.520 --> 0:28:47.000
<v Speaker 1>He understood that, and that's where the trust comes in,

0:28:47.240 --> 0:28:49.280
<v Speaker 1>is knowing what to say no one, when to say it,

0:28:49.400 --> 0:28:52.320
<v Speaker 1>knowing when to step back, knowing when not to have

0:28:52.560 --> 0:28:56.040
<v Speaker 1>you drive your performance into the wall. Um. Because he

0:28:56.160 --> 0:29:00.320
<v Speaker 1>has such a a truth gauge, he knows when whatever

0:29:00.400 --> 0:29:11.360
<v Speaker 1>you're doing is bull crap um, and he respects August's words. Um,

0:29:11.600 --> 0:29:14.560
<v Speaker 1>I'm gonna get out of the way. Yeah. Well, you

0:29:14.680 --> 0:29:16.960
<v Speaker 1>mentioned truth there, and there's an interesting point I wanted

0:29:17.000 --> 0:29:20.440
<v Speaker 1>to talk about, which is, uh, you know, wrangling with

0:29:20.560 --> 0:29:23.800
<v Speaker 1>this material on the stage versus wrangling with it on

0:29:23.920 --> 0:29:27.280
<v Speaker 1>a film. Denzel's come at this question by saying that

0:29:27.600 --> 0:29:29.880
<v Speaker 1>you know truth is truth and the camera will catch

0:29:29.920 --> 0:29:33.520
<v Speaker 1>you lying, which is very wise. But still, do you

0:29:33.600 --> 0:29:36.920
<v Speaker 1>find yourself processing it at all differently in the two

0:29:36.960 --> 0:29:39.440
<v Speaker 1>different environments, and and how you kind of absorb it

0:29:39.520 --> 0:29:42.760
<v Speaker 1>and then reflect it back out as performance. Is any

0:29:42.800 --> 0:29:48.520
<v Speaker 1>of that differ? Well, it is different because because you

0:29:48.600 --> 0:29:51.200
<v Speaker 1>always have to be aware that you're not doing it

0:29:51.400 --> 0:29:56.360
<v Speaker 1>in an audience of twelve people. So it's not even

0:29:56.400 --> 0:30:01.040
<v Speaker 1>about the level of your voice. It's about rejecting emotion

0:30:01.920 --> 0:30:04.920
<v Speaker 1>that you don't. You don't have to project it as hard.

0:30:05.160 --> 0:30:07.120
<v Speaker 1>But at the same time, you know, it's a really

0:30:07.200 --> 0:30:11.680
<v Speaker 1>hard question. People are asking me that constantly because you

0:30:11.960 --> 0:30:14.960
<v Speaker 1>always have to be grounded in truth, even on stage.

0:30:15.920 --> 0:30:19.760
<v Speaker 1>It just has to be you gotta believe you're coming

0:30:19.840 --> 0:30:24.240
<v Speaker 1>from a place of truthfulness, that you're talking, that you're listening, um,

0:30:25.120 --> 0:30:30.920
<v Speaker 1>that you're engaged. Listen August wrote a four four page monologue.

0:30:31.080 --> 0:30:33.720
<v Speaker 1>One of the monologues is eleven page. Is actually one

0:30:33.760 --> 0:30:36.520
<v Speaker 1>of Troyes. It's got to go on for eleven pages.

0:30:37.640 --> 0:30:43.760
<v Speaker 1>So when that's happening, that's indicative of something emotionally emotional happening.

0:30:44.520 --> 0:30:48.440
<v Speaker 1>And whatever emotionally is happening with a four page monologue

0:30:48.520 --> 0:30:54.120
<v Speaker 1>or eleven page monologue is not understated. It's you know,

0:30:54.280 --> 0:30:56.959
<v Speaker 1>sometimes with film, I think people just feel like you've

0:30:56.960 --> 0:31:00.640
<v Speaker 1>gotta be understated, you've gotta be small. And so then

0:31:00.840 --> 0:31:04.160
<v Speaker 1>you go to movies and you see people actually acting small.

0:31:05.520 --> 0:31:10.160
<v Speaker 1>They're not really acting the moment, they were just acting small, um.

0:31:11.040 --> 0:31:13.440
<v Speaker 1>Whereas there's a lot of speeches and a lot of

0:31:13.560 --> 0:31:17.080
<v Speaker 1>moments not speeches, but but scenes in this movie where

0:31:17.240 --> 0:31:21.000
<v Speaker 1>it just can't be small. That whatever is happening is

0:31:21.160 --> 0:31:24.760
<v Speaker 1>highly traumatic that it's not about vanity, it's not about

0:31:24.880 --> 0:31:29.320
<v Speaker 1>holding back. It's about the pain that comes from the

0:31:29.440 --> 0:31:32.719
<v Speaker 1>surprises of life that make you feel like you are

0:31:32.800 --> 0:31:36.720
<v Speaker 1>going to die and you are fighting for your life.

0:31:37.800 --> 0:31:41.400
<v Speaker 1>The steaks are really, really high, and in those moments,

0:31:41.520 --> 0:31:45.479
<v Speaker 1>you can't think about being small. You've got to think

0:31:45.520 --> 0:31:48.479
<v Speaker 1>about playing the truth of the scene. You gotta think

0:31:48.520 --> 0:31:51.720
<v Speaker 1>about being that feral dog that all of a sudden

0:31:51.840 --> 0:31:54.600
<v Speaker 1>is backed into the corner by a dog catcher who

0:31:54.640 --> 0:31:58.040
<v Speaker 1>wants to euthanize them. And how are they going to act?

0:31:59.080 --> 0:32:01.480
<v Speaker 1>They're gonna claw, Oh, they're gonna fight back, They're gonna

0:32:01.520 --> 0:32:05.560
<v Speaker 1>fight for their lives. It's that kind those kind of

0:32:05.720 --> 0:32:10.440
<v Speaker 1>moments that you have to really step up to. And um,

0:32:12.360 --> 0:32:15.080
<v Speaker 1>I think that And the reason why I'm mentioning that

0:32:15.400 --> 0:32:18.320
<v Speaker 1>is I think that on the stage you really have

0:32:18.480 --> 0:32:20.840
<v Speaker 1>to go for it, and on screen you gotta go

0:32:21.080 --> 0:32:24.320
<v Speaker 1>for it. Well, you have different faculties to call on too,

0:32:24.360 --> 0:32:25.960
<v Speaker 1>I guess. I mean, like I mentioned your eyes, you

0:32:26.040 --> 0:32:28.280
<v Speaker 1>know that becomes a different tool to you when the

0:32:28.320 --> 0:32:31.720
<v Speaker 1>camera's right here and how you kind of convey not

0:32:31.880 --> 0:32:33.440
<v Speaker 1>that you're like telling your eyes to act well, you

0:32:33.480 --> 0:32:36.040
<v Speaker 1>know what I mean, like how the eyes convey the emotion,

0:32:36.840 --> 0:32:40.120
<v Speaker 1>uh and translate things that it becomes a unique tool

0:32:40.200 --> 0:32:41.920
<v Speaker 1>for you versus on the stage where the guy in

0:32:41.920 --> 0:32:44.840
<v Speaker 1>the back row can see your eyes, but the same

0:32:44.960 --> 0:32:48.080
<v Speaker 1>things may be happening, they just can't see it. It's alchemical,

0:32:48.240 --> 0:32:53.760
<v Speaker 1>do you know? Absolutely? Um? You started, uh, I believe

0:32:53.800 --> 0:32:55.960
<v Speaker 1>you're you know, your early stage career, you worked on

0:32:56.000 --> 0:33:00.200
<v Speaker 1>a number of August work and but since this is

0:33:00.280 --> 0:33:02.360
<v Speaker 1>the one that limbs so large, you know, so where

0:33:02.400 --> 0:33:05.760
<v Speaker 1>you just really eager to do that one eventually? Is

0:33:05.800 --> 0:33:08.080
<v Speaker 1>that a part that you always just wanted to sink into.

0:33:08.960 --> 0:33:12.600
<v Speaker 1>I want to sink into any part that's great. Yeah,

0:33:12.960 --> 0:33:16.400
<v Speaker 1>I mean yeah, that was one of them. I personally

0:33:16.480 --> 0:33:19.520
<v Speaker 1>loved all the August Wilson roles that I've gotten Tanyaan

0:33:19.600 --> 0:33:23.600
<v Speaker 1>King headily the second you know, Vera and seven Guitars,

0:33:23.720 --> 0:33:26.040
<v Speaker 1>Maddie and Joe Turners coming gone. I thought that they

0:33:26.080 --> 0:33:31.600
<v Speaker 1>were all great, and um, yeah, I'm always looking for

0:33:31.680 --> 0:33:34.000
<v Speaker 1>a great narrative. The thing that I love about Rose

0:33:34.240 --> 0:33:40.320
<v Speaker 1>is her journey is complete. It is a complete journey.

0:33:40.960 --> 0:33:44.240
<v Speaker 1>When you meet her, she's in the background, you know,

0:33:44.640 --> 0:33:48.800
<v Speaker 1>probably not knowing that she just is filling that role

0:33:48.840 --> 0:33:52.360
<v Speaker 1>in the background, but someone who is just trying to

0:33:52.560 --> 0:33:56.520
<v Speaker 1>make her life work, just trying to keep her family together.

0:33:56.800 --> 0:34:00.600
<v Speaker 1>That's where the center of her life exists. That her purpose,

0:34:01.080 --> 0:34:05.000
<v Speaker 1>that is how she matters. That's how you introduced to her.

0:34:05.640 --> 0:34:08.880
<v Speaker 1>And then this traumatic thing happens, and you see her pain,

0:34:09.440 --> 0:34:12.279
<v Speaker 1>You see her go through her pain, you see it,

0:34:12.560 --> 0:34:16.759
<v Speaker 1>you see her articulated perfectly, and then the and and

0:34:17.000 --> 0:34:20.800
<v Speaker 1>in the end you see how she redeems it, and

0:34:20.960 --> 0:34:25.320
<v Speaker 1>you ultimately see forgiveness and accountability. That to me is

0:34:25.360 --> 0:34:30.839
<v Speaker 1>a complete journey. Um, and any actor wants that, Any

0:34:30.960 --> 0:34:35.160
<v Speaker 1>actor wants that. Now, being such a student of his work,

0:34:35.719 --> 0:34:39.080
<v Speaker 1>I'm curious what you think of how he wrote women.

0:34:40.160 --> 0:34:42.840
<v Speaker 1>And you know, certainly specifically as it pertains defenses, but

0:34:42.920 --> 0:34:45.840
<v Speaker 1>just in general, how well do you think Augus Wilson

0:34:45.920 --> 0:34:48.360
<v Speaker 1>got into the mindset of women in the parts that

0:34:48.440 --> 0:34:53.000
<v Speaker 1>he wrote beautifully? And it's so funny because so many

0:34:53.120 --> 0:34:56.320
<v Speaker 1>of his plays are male driven, far more male characters

0:34:56.360 --> 0:35:00.320
<v Speaker 1>than female characters. But when the female character did step

0:35:00.400 --> 0:35:04.759
<v Speaker 1>into the narrative, she stepped in, she stepped in with

0:35:05.680 --> 0:35:10.920
<v Speaker 1>great insight. Um. What I love about August is none

0:35:11.440 --> 0:35:15.160
<v Speaker 1>of his women for me feel like they're just a device.

0:35:17.320 --> 0:35:21.840
<v Speaker 1>They all have their own voice. I mean with Tanya,

0:35:22.120 --> 0:35:25.640
<v Speaker 1>you just all in King Headley the second you understood

0:35:26.640 --> 0:35:29.360
<v Speaker 1>what it meant for a woman in the eighties. That

0:35:29.520 --> 0:35:32.640
<v Speaker 1>was a cycle in the eighties to bring a child

0:35:32.760 --> 0:35:36.359
<v Speaker 1>into the world. Um living in poverty, living in low

0:35:36.480 --> 0:35:40.120
<v Speaker 1>income housing, bringing a child into the world knowing that

0:35:40.400 --> 0:35:43.200
<v Speaker 1>she's probably going to bury them by the age of seventeen.

0:35:44.120 --> 0:35:50.080
<v Speaker 1>Um you understood that he for me, he captures their essence.

0:35:50.160 --> 0:35:52.880
<v Speaker 1>He always said that he was I think writing I

0:35:53.040 --> 0:35:56.480
<v Speaker 1>want to say, seven guitars, And as he was writing it,

0:35:56.600 --> 0:36:00.920
<v Speaker 1>all of a sudden a woman stepped in and he

0:36:01.800 --> 0:36:04.640
<v Speaker 1>was surprised. He was writing I guess wherever he writes

0:36:04.680 --> 0:36:08.320
<v Speaker 1>in his room in Seattle, or and a woman stepped

0:36:08.360 --> 0:36:10.360
<v Speaker 1>into the narrative and he was like, wait a minute,

0:36:10.480 --> 0:36:13.560
<v Speaker 1>who is this? And the first thing she said was hey,

0:36:15.320 --> 0:36:19.600
<v Speaker 1>and he was like hey, and she said I have

0:36:19.760 --> 0:36:26.959
<v Speaker 1>something to say and he said okay. And I feel

0:36:27.000 --> 0:36:30.200
<v Speaker 1>like that's where it always starts with an artist, is

0:36:30.440 --> 0:36:36.880
<v Speaker 1>being open enough to allow another human being into a narrative.

0:36:37.760 --> 0:36:43.000
<v Speaker 1>And when they come in there, you they absolutely demand

0:36:43.520 --> 0:36:48.000
<v Speaker 1>their space. And if you're an artist, you want to

0:36:48.080 --> 0:36:51.560
<v Speaker 1>give them a voice. And he had that need to

0:36:51.719 --> 0:36:54.719
<v Speaker 1>give his women a voice. And I think I I

0:36:54.880 --> 0:36:58.560
<v Speaker 1>think he did it beautifully. We were talking about Denzel

0:36:58.680 --> 0:37:01.799
<v Speaker 1>and and uh, how he knew exactly what to say

0:37:01.840 --> 0:37:04.400
<v Speaker 1>to unlock things. I'm curious if if he has always

0:37:04.440 --> 0:37:06.960
<v Speaker 1>had that as a filmmaker, because you go back to

0:37:07.080 --> 0:37:10.759
<v Speaker 1>his directorial debut on Antoine Fisher, and he's got another

0:37:10.800 --> 0:37:14.200
<v Speaker 1>film under his belt in the meantime and then now Fences. Uh,

0:37:15.680 --> 0:37:18.480
<v Speaker 1>how has he changed in your estimation as a filmmaker

0:37:18.600 --> 0:37:24.759
<v Speaker 1>and grown as as as a director since that time. Um?

0:37:25.680 --> 0:37:28.919
<v Speaker 1>People ask me that all the time. I maybe because

0:37:28.960 --> 0:37:33.279
<v Speaker 1>I'm a friend and a fan Denzel. I always thought

0:37:33.320 --> 0:37:38.440
<v Speaker 1>he was great. I did. I always because he's a

0:37:38.520 --> 0:37:44.600
<v Speaker 1>great actor. He knows the process of how to unlock UM.

0:37:45.920 --> 0:37:51.480
<v Speaker 1>I felt that with him and Derek Luke and Antoine Fisher. Um,

0:37:52.800 --> 0:37:55.279
<v Speaker 1>it's like that moment that he has in Glory where

0:37:55.360 --> 0:38:00.600
<v Speaker 1>he's just uh, he's just standing in he rips his

0:38:00.680 --> 0:38:03.080
<v Speaker 1>shirt off and he spits, and then you see the

0:38:03.160 --> 0:38:05.239
<v Speaker 1>scars on his back, so you see that he's a

0:38:05.320 --> 0:38:08.960
<v Speaker 1>rebellious slave and then he's being bitten in that and

0:38:09.360 --> 0:38:12.719
<v Speaker 1>he's being beaten, and in that in that moment, he's

0:38:12.800 --> 0:38:15.919
<v Speaker 1>choosing to be strong, to be rebellious, but to also

0:38:16.040 --> 0:38:20.080
<v Speaker 1>be vulnerable. Anyone who can make a bold choice like

0:38:20.239 --> 0:38:23.839
<v Speaker 1>that as an actor has a different head and has

0:38:23.920 --> 0:38:31.920
<v Speaker 1>a different vision of truth that that doesn't fit stereotypes. Um,

0:38:33.400 --> 0:38:35.759
<v Speaker 1>he knows how to come in and question why are

0:38:35.800 --> 0:38:40.080
<v Speaker 1>you doing that? Are you doing it just because you

0:38:40.160 --> 0:38:42.000
<v Speaker 1>feel like you need to be doing it? Because I

0:38:42.040 --> 0:38:45.280
<v Speaker 1>don't believe it. What if I took you a step

0:38:45.360 --> 0:38:50.120
<v Speaker 1>further and questioned you and a little bit to do

0:38:50.440 --> 0:38:54.560
<v Speaker 1>something else that is probably more rooted in truth. It's

0:38:54.600 --> 0:38:57.160
<v Speaker 1>a kind of truth that nobody wants to admit, nobody

0:38:57.239 --> 0:39:00.279
<v Speaker 1>wants to see. But I'm gonna give you that one

0:39:00.320 --> 0:39:05.080
<v Speaker 1>word that's gonna push you to do something different. What

0:39:05.400 --> 0:39:11.680
<v Speaker 1>if you did A instead of B and then all

0:39:11.719 --> 0:39:13.600
<v Speaker 1>of a sudden, you see that actor going in a

0:39:13.680 --> 0:39:18.400
<v Speaker 1>direction that they didn't expect, and ultimately the audiences and

0:39:18.920 --> 0:39:22.320
<v Speaker 1>and and it's unexpected for them. I mean, listen, in

0:39:22.520 --> 0:39:25.600
<v Speaker 1>the last scene in Fences, which I never got on

0:39:25.680 --> 0:39:28.359
<v Speaker 1>the stage, I was doing the scene when we were

0:39:28.440 --> 0:39:31.719
<v Speaker 1>rehearsing in Pittsburgh for the film, and he said, I

0:39:31.840 --> 0:39:34.040
<v Speaker 1>want you to walk up to Cory and after he

0:39:34.120 --> 0:39:36.319
<v Speaker 1>says he's not going to his father's funeral, I want

0:39:36.360 --> 0:39:39.640
<v Speaker 1>you to slap him? Do you tell Do you tell

0:39:39.719 --> 0:39:44.960
<v Speaker 1>him that? Ye? Okay? I said, really, he said, I

0:39:45.040 --> 0:39:48.520
<v Speaker 1>want you to slap the piss out of him, and

0:39:48.600 --> 0:39:54.360
<v Speaker 1>I was like, uh, okay. But then that was the

0:39:54.520 --> 0:39:58.520
<v Speaker 1>start unlocking the scene for me in a way that

0:39:58.719 --> 0:40:03.480
<v Speaker 1>was bold um and and in a way that I

0:40:04.000 --> 0:40:09.600
<v Speaker 1>would not have chosen to do. Right. Well, he's amazing

0:40:09.640 --> 0:40:10.960
<v Speaker 1>in the film as well. I mean, I think it

0:40:11.040 --> 0:40:13.600
<v Speaker 1>might be his best work. And the just the work

0:40:13.680 --> 0:40:18.080
<v Speaker 1>overall is is incendiary. I mean I I never saw

0:40:18.160 --> 0:40:20.600
<v Speaker 1>the play. I read it some time ago, but you know,

0:40:20.680 --> 0:40:22.279
<v Speaker 1>as great as the words are, seeing it on the

0:40:22.360 --> 0:40:24.440
<v Speaker 1>page and then seeing an actor really tear into them,

0:40:24.719 --> 0:40:27.520
<v Speaker 1>and then as a new father myself, this year added

0:40:27.560 --> 0:40:30.719
<v Speaker 1>a whole thank you, added a whole definition to the

0:40:30.800 --> 0:40:35.120
<v Speaker 1>whole thing. That's really really impactful. So, speaking of two

0:40:35.160 --> 0:40:37.120
<v Speaker 1>thousand two with Antoine Fisher, that was a great year

0:40:37.160 --> 0:40:38.640
<v Speaker 1>for you. I wanted to venture out a little bit.

0:40:39.080 --> 0:40:41.759
<v Speaker 1>You had Far from Heaven and you had uh what

0:40:41.920 --> 0:40:45.000
<v Speaker 1>was the other you had Solaris with with Soderberg and

0:40:45.080 --> 0:40:47.560
<v Speaker 1>I want to talk about Soderberg actually, because you worked

0:40:47.560 --> 0:40:50.000
<v Speaker 1>with him a couple of times traffic and out of Sight,

0:40:51.080 --> 0:40:53.600
<v Speaker 1>and uh, you know, since you worked with him so

0:40:53.760 --> 0:40:57.920
<v Speaker 1>early in your film career, I'm curious what you learned

0:40:58.280 --> 0:41:01.359
<v Speaker 1>from Steven Soderberg that you've kind of applied throughout your career,

0:41:01.920 --> 0:41:05.080
<v Speaker 1>besides the fact that he's the most relaxed filmmaker I've

0:41:05.080 --> 0:41:06.840
<v Speaker 1>ever met in my life. To the point where you

0:41:06.880 --> 0:41:10.160
<v Speaker 1>think something's wrong with him, I'm serious. There was one

0:41:10.239 --> 0:41:12.480
<v Speaker 1>point where I just wanted to shake him just to

0:41:12.560 --> 0:41:14.560
<v Speaker 1>see how he would react. But I don't think it

0:41:14.600 --> 0:41:19.840
<v Speaker 1>would have done anything. But um, I think that's the

0:41:19.920 --> 0:41:24.799
<v Speaker 1>one thing that I have learned from him is when

0:41:24.840 --> 0:41:29.160
<v Speaker 1>you work with Steven, it's easy. That's what it is.

0:41:29.320 --> 0:41:33.640
<v Speaker 1>It's it's very easy. It's a it's it's so relaxed

0:41:34.280 --> 0:41:36.960
<v Speaker 1>that what it forces you to do is to not

0:41:37.360 --> 0:41:42.560
<v Speaker 1>put anything on your acting, to just come in and

0:41:42.880 --> 0:41:48.200
<v Speaker 1>say the line. And you know, for an actor, you

0:41:48.320 --> 0:41:53.960
<v Speaker 1>all actors always want to be seen, even if they

0:41:54.040 --> 0:41:56.160
<v Speaker 1>have two lines in the back, they always feel like

0:41:56.239 --> 0:41:58.840
<v Speaker 1>the scene is about them. You know, It's like, you know,

0:41:59.040 --> 0:42:01.200
<v Speaker 1>someone else may have have all the lines, but I'm

0:42:01.280 --> 0:42:06.839
<v Speaker 1>coming in delivering the pizza, about the pizza delivery so um.

0:42:07.400 --> 0:42:15.200
<v Speaker 1>With him, everything is still and easy, and I believe

0:42:15.280 --> 0:42:18.680
<v Speaker 1>that's a reflection of him. That's a probably reflected It's

0:42:18.680 --> 0:42:20.600
<v Speaker 1>probably a better question for him of how he wants

0:42:20.600 --> 0:42:23.480
<v Speaker 1>to see the world, of how he sees people. But

0:42:23.600 --> 0:42:26.440
<v Speaker 1>I remember with out of Sight, I could never get

0:42:26.480 --> 0:42:29.680
<v Speaker 1>a role in film. It just was not happening for

0:42:29.840 --> 0:42:32.600
<v Speaker 1>me in film. And finally I got the audition for

0:42:32.719 --> 0:42:37.320
<v Speaker 1>out of Sight and I was like, Okay, whatever, Steven Soderbergh, whatever.

0:42:38.160 --> 0:42:41.240
<v Speaker 1>And I remember I had two lines for the audition.

0:42:41.320 --> 0:42:43.480
<v Speaker 1>I think it was to two or three. That's it.

0:42:44.320 --> 0:42:46.080
<v Speaker 1>And I said, I'm just going to say him that's it,

0:42:46.520 --> 0:42:48.879
<v Speaker 1>because I'm at this point, I'm pissed that no one's

0:42:48.960 --> 0:42:52.400
<v Speaker 1>hiring me. And I went to my agent's office in

0:42:52.480 --> 0:42:54.880
<v Speaker 1>New York, Jay Michael Bloom, I said the lines and

0:42:54.960 --> 0:43:00.719
<v Speaker 1>then I left. I was like, really crappy audition. When

0:43:00.719 --> 0:43:03.520
<v Speaker 1>I found out I got the role, I was in Shock,

0:43:04.280 --> 0:43:08.040
<v Speaker 1>playing Don Cheatle's girlfriend, and I remember asking Stephen So,

0:43:08.280 --> 0:43:10.759
<v Speaker 1>I said, what was it that made you hire me?

0:43:11.719 --> 0:43:15.360
<v Speaker 1>He said, it was a combination of my stillness and

0:43:15.480 --> 0:43:19.640
<v Speaker 1>my simplicity, along with my wild hair that I had

0:43:20.280 --> 0:43:24.080
<v Speaker 1>that he he saw it as a huge contradiction that

0:43:24.239 --> 0:43:27.640
<v Speaker 1>made him lean in. It was interesting. The contrast of

0:43:27.760 --> 0:43:34.319
<v Speaker 1>this kind of simple, straightforward woman with wild hair made

0:43:34.440 --> 0:43:37.600
<v Speaker 1>him want to know more. I remember, back in the

0:43:37.680 --> 0:43:39.520
<v Speaker 1>day I did my own hair. I used to braid

0:43:39.600 --> 0:43:42.120
<v Speaker 1>it into my hair. I used to buy hair from

0:43:42.239 --> 0:43:44.960
<v Speaker 1>this hair shop here in California. When I lived in

0:43:45.040 --> 0:43:47.480
<v Speaker 1>New York. I would get at ups to my apartment

0:43:47.520 --> 0:43:49.920
<v Speaker 1>in New York and I would braid so much hair

0:43:50.040 --> 0:43:52.759
<v Speaker 1>into my head. I looked like Sly from Sly and

0:43:52.760 --> 0:43:57.680
<v Speaker 1>the Family Stone back in the day. Um, he loved it.

0:43:58.760 --> 0:44:02.600
<v Speaker 1>He thought it was interesting. So I think that's kind

0:44:02.640 --> 0:44:05.560
<v Speaker 1>of reflection of him, that he's always looking for someone

0:44:05.680 --> 0:44:07.920
<v Speaker 1>that just wakes him up. Yeah, it sounds like he's

0:44:07.920 --> 0:44:11.600
<v Speaker 1>looking for something real. Um, you mentioned that time in

0:44:11.680 --> 0:44:16.280
<v Speaker 1>your life. What was that a rough time for you emotionally?

0:44:16.320 --> 0:44:19.040
<v Speaker 1>Since you were having trouble finding the work you wanted

0:44:19.200 --> 0:44:22.759
<v Speaker 1>or what was going on there? Think, Well, I can't

0:44:22.760 --> 0:44:24.879
<v Speaker 1>say it was. If I said it was a rough

0:44:24.960 --> 0:44:28.640
<v Speaker 1>time emotionally, I would be lying just to get a story. Um,

0:44:28.920 --> 0:44:32.000
<v Speaker 1>it was frustrating for me because I couldn't figure it out.

0:44:32.680 --> 0:44:34.800
<v Speaker 1>I couldn't figure out what I was doing to not

0:44:35.120 --> 0:44:39.040
<v Speaker 1>get the job. I would always get really really really close.

0:44:39.120 --> 0:44:41.120
<v Speaker 1>It was always down to me and the actress, and

0:44:41.200 --> 0:44:46.360
<v Speaker 1>me and two other actresses and um. And in the

0:44:46.480 --> 0:44:48.640
<v Speaker 1>midst of trying to figure it out, I didn't know

0:44:48.840 --> 0:44:52.120
<v Speaker 1>if I should change myself in a way. And I

0:44:52.239 --> 0:44:55.160
<v Speaker 1>didn't want it to implode and make me feel like

0:44:55.360 --> 0:45:00.840
<v Speaker 1>I'm all wrong, my look is all wrong. I wanted

0:45:00.920 --> 0:45:04.640
<v Speaker 1>to remain who I was. I wanted to retain my voice.

0:45:05.880 --> 0:45:10.840
<v Speaker 1>I wanted to work, and it just wasn't happening. Just

0:45:11.080 --> 0:45:15.759
<v Speaker 1>wasn't You never had to sacrifice that philosophy at all,

0:45:16.000 --> 0:45:18.480
<v Speaker 1>did you, or did you? I don't think that. I

0:45:20.960 --> 0:45:22.960
<v Speaker 1>don't think that, certainly not now, because you live by

0:45:23.040 --> 0:45:25.200
<v Speaker 1>that and you know, just your speech recently at the

0:45:25.200 --> 0:45:27.839
<v Speaker 1>Critics Choice Awards, and you know very clear that that's

0:45:27.880 --> 0:45:30.000
<v Speaker 1>what you live by. But you don't think you ever

0:45:30.080 --> 0:45:33.759
<v Speaker 1>had to. I don't think that I have now. The

0:45:33.840 --> 0:45:36.759
<v Speaker 1>people may have a different opinion about that, but I

0:45:37.640 --> 0:45:41.520
<v Speaker 1>I've always felt like I did the best I could

0:45:41.680 --> 0:45:45.800
<v Speaker 1>with what I was given, with the material that was

0:45:45.880 --> 0:45:48.800
<v Speaker 1>given to me, with the characters that was given to me.

0:45:48.920 --> 0:45:52.200
<v Speaker 1>Listening to help I could not approach a Bileen like

0:45:52.400 --> 0:45:58.440
<v Speaker 1>she was a size too runway model. Um. She has

0:45:58.520 --> 0:46:01.360
<v Speaker 1>described in a very specific way even in the book.

0:46:01.480 --> 0:46:05.000
<v Speaker 1>So I had to give myself over to that. That's

0:46:05.120 --> 0:46:07.440
<v Speaker 1>my job as an actor is to give myself over

0:46:07.560 --> 0:46:12.080
<v Speaker 1>to the given circumstances of the character. So I've always

0:46:12.160 --> 0:46:16.600
<v Speaker 1>felt like I was true to whatever I was given. Um,

0:46:17.440 --> 0:46:22.319
<v Speaker 1>I've always felt that. I I don't feel like ever

0:46:22.480 --> 0:46:28.839
<v Speaker 1>cow towd um. You know I don't. And how about

0:46:28.880 --> 0:46:31.800
<v Speaker 1>Michael Mann. I'm always curious about actress who worked with

0:46:31.840 --> 0:46:34.520
<v Speaker 1>Michael Man because he's so exacting and he you know,

0:46:35.360 --> 0:46:39.279
<v Speaker 1>comes with such a fleshed out thing for you that, uh,

0:46:40.239 --> 0:46:42.359
<v Speaker 1>it's fascinating. And you worked with him on Black Cats.

0:46:42.440 --> 0:46:46.239
<v Speaker 1>So I'd love to talk about Michael and working with him. Um.

0:46:48.000 --> 0:46:53.440
<v Speaker 1>Working with Michael was tough. It was in a good

0:46:53.520 --> 0:46:58.480
<v Speaker 1>way in a bad way, and either both both in

0:46:58.560 --> 0:47:02.920
<v Speaker 1>the sense. The good art was is his level of research,

0:47:04.120 --> 0:47:09.759
<v Speaker 1>his level of preciseness is great because that's what you

0:47:09.880 --> 0:47:12.600
<v Speaker 1>want as an actor. You don't ever want to just

0:47:12.800 --> 0:47:14.800
<v Speaker 1>walk in and do your own thing and it's not

0:47:15.040 --> 0:47:21.080
<v Speaker 1>based in any sort of truth. Um. So that was great.

0:47:22.160 --> 0:47:25.759
<v Speaker 1>The other part that was not so much. Great is

0:47:26.239 --> 0:47:31.319
<v Speaker 1>just feeling the restrictions of that for me anyway. UM,

0:47:32.280 --> 0:47:36.040
<v Speaker 1>some actors are really do well with that. UM, I

0:47:36.080 --> 0:47:39.880
<v Speaker 1>don't know if I was so successful with it. Um,

0:47:40.360 --> 0:47:43.440
<v Speaker 1>you feel you need to play a little more. I

0:47:43.560 --> 0:47:45.920
<v Speaker 1>feel like I need to put my stamp on it.

0:47:47.360 --> 0:47:50.200
<v Speaker 1>That's how I feel. I feel like if you tell

0:47:50.320 --> 0:47:55.200
<v Speaker 1>me anything, um about who someone should be based on

0:47:55.280 --> 0:47:57.920
<v Speaker 1>their profession and based on the truth of what that

0:47:58.040 --> 0:48:01.160
<v Speaker 1>profession is, I can tell you something about that person

0:48:01.560 --> 0:48:06.480
<v Speaker 1>that absolutely belies all of that, that is absolutely antithetical

0:48:06.640 --> 0:48:10.080
<v Speaker 1>towards all of that. You know, I can show you

0:48:10.239 --> 0:48:14.520
<v Speaker 1>a cancer patient who's actually obese. I can show you

0:48:14.960 --> 0:48:17.960
<v Speaker 1>a prostitute that actually does not wear a mini skirt

0:48:18.080 --> 0:48:22.120
<v Speaker 1>and fish net stockings but no makeup, bad skin, dirty jeans,

0:48:22.160 --> 0:48:27.400
<v Speaker 1>and some sneakers. UM that I wanted to put my

0:48:27.520 --> 0:48:30.600
<v Speaker 1>own mark on it. That that because I feel that's

0:48:30.640 --> 0:48:35.000
<v Speaker 1>what wakes people up. Because you talk about truth, that

0:48:35.280 --> 0:48:38.360
<v Speaker 1>is truth. The truth is no one can be placed

0:48:38.400 --> 0:48:42.239
<v Speaker 1>in a box. There are times when people can. There

0:48:42.280 --> 0:48:44.880
<v Speaker 1>are there are examples of that, but there are about

0:48:45.320 --> 0:48:48.800
<v Speaker 1>fifty million examples of that that can absolutely go against

0:48:48.920 --> 0:48:52.040
<v Speaker 1>any stereotype that exists. Yeah, it's very indicative of how

0:48:52.120 --> 0:48:53.880
<v Speaker 1>he works. I mean, I think he starts with what

0:48:54.680 --> 0:48:57.840
<v Speaker 1>a person does for a living, dictates who that person is,

0:48:58.480 --> 0:49:03.200
<v Speaker 1>and and that tends to uh yeah, like really guide

0:49:03.280 --> 0:49:05.200
<v Speaker 1>his hand. But I can see how that could be

0:49:05.560 --> 0:49:09.080
<v Speaker 1>troublesome for an actor who wants to add other dimensions

0:49:09.160 --> 0:49:11.360
<v Speaker 1>that maybe that doesn't allow. I mean the beauty of

0:49:11.480 --> 0:49:14.440
<v Speaker 1>what he does though, shooting in Hong Kong and Kowloon

0:49:15.120 --> 0:49:19.120
<v Speaker 1>in places, I think he really captures the essence of

0:49:19.320 --> 0:49:24.160
<v Speaker 1>his locations beautifully. I mean really beautifully this. I mean

0:49:24.239 --> 0:49:28.000
<v Speaker 1>you could almost smell it, you could taste it. It's

0:49:28.120 --> 0:49:32.040
<v Speaker 1>just palpable um. And I don't know how he does that,

0:49:32.320 --> 0:49:38.200
<v Speaker 1>but he does it beautifully, I think. Um. But as

0:49:38.280 --> 0:49:41.400
<v Speaker 1>far as mean as I was running to catch up

0:49:41.800 --> 0:49:45.239
<v Speaker 1>and to keep up, I hear you. I want to

0:49:45.280 --> 0:49:48.080
<v Speaker 1>talk a little bit about Suicide Squad because obviously completely

0:49:48.120 --> 0:49:51.040
<v Speaker 1>different film than Fences this year that you were in,

0:49:51.280 --> 0:49:54.080
<v Speaker 1>and and it's you dipping your toe into the kind

0:49:54.120 --> 0:49:57.920
<v Speaker 1>of big I P cinematic universe realm that very much

0:49:58.000 --> 0:50:01.240
<v Speaker 1>dictates a lot of this business lately as an actor.

0:50:01.640 --> 0:50:04.400
<v Speaker 1>How did you like being a part of a project

0:50:04.520 --> 0:50:07.360
<v Speaker 1>like that, I mean, I and this is no disrespect

0:50:07.400 --> 0:50:09.080
<v Speaker 1>to the artists involved with these films, but you can

0:50:09.120 --> 0:50:11.880
<v Speaker 1>be such a cog and a wheel of such massive

0:50:11.960 --> 0:50:14.839
<v Speaker 1>machinery that I imagine you feel like maybe you can't

0:50:14.880 --> 0:50:17.080
<v Speaker 1>put your stamp on certain things. But I don't want

0:50:17.080 --> 0:50:18.960
<v Speaker 1>to speak for you. How how how did that experience

0:50:19.400 --> 0:50:25.719
<v Speaker 1>come off for you? I loved it, and I think

0:50:25.760 --> 0:50:28.240
<v Speaker 1>that I loved it because I didn't think that deeply

0:50:28.360 --> 0:50:33.520
<v Speaker 1>about it. I just thought it was just fun. Ah

0:50:35.800 --> 0:50:39.560
<v Speaker 1>what was fun to me about Amanda Waller? And I

0:50:39.719 --> 0:50:42.800
<v Speaker 1>think it's just Amanda Waller. I think if I played

0:50:42.800 --> 0:50:47.120
<v Speaker 1>any other character in probably superhero Land, I probably would

0:50:47.160 --> 0:50:54.280
<v Speaker 1>feel differently. But Amanda Waller, who is heavy pearls afro

0:50:55.560 --> 0:51:00.920
<v Speaker 1>and has no superhuman strength but absolutely us puts fear

0:51:01.000 --> 0:51:04.600
<v Speaker 1>in the heart of all of these villains that she's

0:51:04.640 --> 0:51:10.439
<v Speaker 1>in charge of, appeals to me greatly. It really does.

0:51:10.800 --> 0:51:13.920
<v Speaker 1>I love it. I love that she was from the

0:51:14.080 --> 0:51:18.239
<v Speaker 1>Cabrini Green projects. There's something about her for me that

0:51:19.960 --> 0:51:22.880
<v Speaker 1>that was familiar. You could bring maybe some of your

0:51:24.000 --> 0:51:26.920
<v Speaker 1>absolutely that I could work I was working out the

0:51:27.040 --> 0:51:30.600
<v Speaker 1>bad girl, but I was working out the bad girl,

0:51:30.719 --> 0:51:35.480
<v Speaker 1>but from a space that for me is based somewhat

0:51:35.760 --> 0:51:40.759
<v Speaker 1>in the read in reality. That's what I liked about it.

0:51:41.000 --> 0:51:46.520
<v Speaker 1>I liked playing with that power. It's something so often

0:51:46.640 --> 0:51:51.360
<v Speaker 1>not given to women. We don't. We don't give ourselves permission.

0:51:51.480 --> 0:51:55.200
<v Speaker 1>No one else gives us permission to feel that kind

0:51:55.280 --> 0:52:02.520
<v Speaker 1>of unapologetic badassery. We just don't. We're always apologizing for it,

0:52:02.800 --> 0:52:06.800
<v Speaker 1>always feeling like it. Listen, people always asking me and

0:52:06.840 --> 0:52:08.800
<v Speaker 1>how to get away with murder? You know, do you

0:52:08.880 --> 0:52:12.560
<v Speaker 1>have a problem playing a character that's unlikable? And I'm thinking,

0:52:12.680 --> 0:52:16.440
<v Speaker 1>why don't people have to like me? Why does it

0:52:16.560 --> 0:52:18.800
<v Speaker 1>have to be a goal of being warm and fuzzy?

0:52:18.880 --> 0:52:22.520
<v Speaker 1>And do you ask James did you ask James Gandalfinie

0:52:22.560 --> 0:52:25.920
<v Speaker 1>that question for Anthony Hopkins or any character in the

0:52:26.000 --> 0:52:29.760
<v Speaker 1>Martin Scorsese movie or actor in the Martin Scorsese movie.

0:52:30.560 --> 0:52:33.160
<v Speaker 1>So that need, as soon as you pick up a

0:52:33.320 --> 0:52:36.440
<v Speaker 1>role or a script define what's likable and warm and

0:52:36.680 --> 0:52:41.640
<v Speaker 1>fuzzy is somehow can be a misstep on our part.

0:52:42.400 --> 0:52:44.840
<v Speaker 1>So it's great to have a character where it becomes

0:52:44.880 --> 0:52:53.360
<v Speaker 1>a great exercise on being on apologetically bad. I can

0:52:53.400 --> 0:53:02.000
<v Speaker 1>tell you that funs like well, speaking of badastery Uh,

0:53:02.200 --> 0:53:04.040
<v Speaker 1>that's a nice segue to my final question here. I

0:53:04.080 --> 0:53:07.440
<v Speaker 1>want to talk about your Harriet Tubman project. Um. First

0:53:07.480 --> 0:53:09.120
<v Speaker 1>of all, I'm a little behind on the news cycle.

0:53:09.320 --> 0:53:11.279
<v Speaker 1>Have you got a director for that project yet? No

0:53:12.160 --> 0:53:14.160
<v Speaker 1>zeroing in or you don't have to give me your

0:53:14.200 --> 0:53:16.640
<v Speaker 1>short list, But I'm curious what kind of a director

0:53:16.760 --> 0:53:22.480
<v Speaker 1>you think that material needs? Well, right now, right now,

0:53:22.600 --> 0:53:26.600
<v Speaker 1>we're we need a script, right now, we need a

0:53:26.680 --> 0:53:31.320
<v Speaker 1>script because it's it's really, Um, the narrative really is

0:53:31.400 --> 0:53:35.719
<v Speaker 1>about the lab the later part of her years, when

0:53:35.800 --> 0:53:39.520
<v Speaker 1>she's older, when she is part of the Cumby River Raid. Yeah.

0:53:39.680 --> 0:53:41.760
<v Speaker 1>I was reading about that recently. That sounds so awesome.

0:53:41.800 --> 0:53:43.960
<v Speaker 1>A great way to meet her. Oh yeah, absolutely. I

0:53:44.400 --> 0:53:46.520
<v Speaker 1>mean it's towards the end of her kind of the

0:53:46.600 --> 0:53:53.640
<v Speaker 1>underground railroad. Um. The thing about Harriet Tubman is that

0:53:54.880 --> 0:53:59.759
<v Speaker 1>it is it's like being Sherlock Holmes finding out who

0:54:00.120 --> 0:54:03.960
<v Speaker 1>she is. You can imagine during that time in the

0:54:04.080 --> 0:54:08.279
<v Speaker 1>eighteen hundreds that you weren't so forthcoming with who you were.

0:54:09.320 --> 0:54:12.040
<v Speaker 1>She was a spy after all, and she was operating

0:54:12.120 --> 0:54:15.800
<v Speaker 1>in the height of slavery and then Jim Crow laws.

0:54:16.520 --> 0:54:19.200
<v Speaker 1>It wasn't exactly a time where you can live your

0:54:19.280 --> 0:54:22.239
<v Speaker 1>authentic life and just be who you are and be

0:54:22.520 --> 0:54:28.920
<v Speaker 1>candid and open. So finding out what is her center

0:54:29.120 --> 0:54:32.600
<v Speaker 1>and what is her motivation and who she is in private,

0:54:33.200 --> 0:54:36.920
<v Speaker 1>not just what she did that was so heroic, but

0:54:37.080 --> 0:54:41.160
<v Speaker 1>who she was. You know, It's like I always tell writers.

0:54:41.239 --> 0:54:43.920
<v Speaker 1>I mean, I'm telling writers now, I want you to

0:54:44.000 --> 0:54:49.800
<v Speaker 1>write Harriet. I just want you to write her. I

0:54:49.880 --> 0:54:52.879
<v Speaker 1>don't want you to write the hero I think that's

0:54:53.000 --> 0:54:57.920
<v Speaker 1>just a byproduct of her driving need to make a difference.

0:54:58.480 --> 0:54:59.960
<v Speaker 1>But who she is at the end of the day

0:55:00.200 --> 0:55:06.160
<v Speaker 1>has gotta be something else. That's been the biggest issue

0:55:06.239 --> 0:55:10.000
<v Speaker 1>with me, and it needs a director who's not going

0:55:10.200 --> 0:55:15.080
<v Speaker 1>to shrink from all of that. And the what I

0:55:15.200 --> 0:55:17.760
<v Speaker 1>mean by that is towards a later part of her years,

0:55:17.840 --> 0:55:20.520
<v Speaker 1>she actually met her husband and she was with him

0:55:20.600 --> 0:55:25.239
<v Speaker 1>until he died, Nelson Davis. So when she was forty two,

0:55:25.360 --> 0:55:27.800
<v Speaker 1>this woman that you see in pictures, you know, with

0:55:27.880 --> 0:55:30.360
<v Speaker 1>the scarf on her head, you know, you know, with

0:55:30.480 --> 0:55:34.000
<v Speaker 1>her back kind of humped over, you know, found love,

0:55:35.200 --> 0:55:39.120
<v Speaker 1>found someone who fell in love with her. So is

0:55:39.520 --> 0:55:46.680
<v Speaker 1>sexualized not sexy. Sexualized is someone who obviously was lonely,

0:55:48.360 --> 0:55:51.120
<v Speaker 1>is someone who could could not have been mad at

0:55:51.239 --> 0:55:56.719
<v Speaker 1>God even though she had a just passionate belief in him. Um.

0:55:57.520 --> 0:56:01.880
<v Speaker 1>I want someone who's able to explore the heroic in

0:56:02.000 --> 0:56:07.239
<v Speaker 1>the mess. That's the only way for me I can

0:56:07.320 --> 0:56:09.640
<v Speaker 1>do it. That's the only way I can do it.

0:56:09.719 --> 0:56:12.680
<v Speaker 1>I don't know how to play heroic. I don't know

0:56:12.800 --> 0:56:14.320
<v Speaker 1>how to play that. I know how to play a

0:56:14.440 --> 0:56:19.279
<v Speaker 1>person whose need is to matter, I could do that,

0:56:20.480 --> 0:56:23.960
<v Speaker 1>But I don't know how to play someone who's slaying

0:56:24.080 --> 0:56:27.440
<v Speaker 1>dragons all the time and never has a weak moment,

0:56:28.000 --> 0:56:30.560
<v Speaker 1>like an icon. Try to play an icon. So why

0:56:30.760 --> 0:56:35.080
<v Speaker 1>biopics are difficult Because nobody wants to be disrespectful to them,

0:56:35.200 --> 0:56:38.000
<v Speaker 1>so no one wants them to be seen as bad

0:56:38.640 --> 0:56:43.560
<v Speaker 1>or messy, when in fact we all are. And Um,

0:56:44.719 --> 0:56:48.360
<v Speaker 1>for me, that's what makes someone even more more heroic

0:56:48.880 --> 0:56:51.400
<v Speaker 1>that in the midst of all of that stuff that

0:56:51.560 --> 0:56:54.080
<v Speaker 1>can be shameful, that can be putrid, that can we

0:56:54.160 --> 0:56:57.000
<v Speaker 1>could be struggling with, we can sift through it and

0:56:57.120 --> 0:57:01.320
<v Speaker 1>somehow live a life bigger than ourselves. That's truly interesting

0:57:01.440 --> 0:57:04.799
<v Speaker 1>to me. But other than that, I don't really want

0:57:04.840 --> 0:57:08.000
<v Speaker 1>to do a paint by numbers biopics. So finding the

0:57:08.080 --> 0:57:10.760
<v Speaker 1>director and finding the writer has been quite a task.

0:57:11.360 --> 0:57:15.200
<v Speaker 1>I don't know. Maybe Mr Soderbergh get back together. Yeah,

0:57:15.400 --> 0:57:20.920
<v Speaker 1>maybe cut him in a good moment. Martini, Well, I

0:57:21.000 --> 0:57:22.520
<v Speaker 1>look forward to that when you finally get it together.

0:57:22.600 --> 0:57:26.040
<v Speaker 1>It's an amazing sounding project and uh again, everybody go

0:57:26.200 --> 0:57:30.120
<v Speaker 1>check out Fences. It's phenomenal film, one of the year's best,

0:57:30.320 --> 0:57:33.120
<v Speaker 1>and she gets one of the best performances Bylla Davis.

0:57:33.160 --> 0:57:34.760
<v Speaker 1>Thank you for coming on the show. I really appreciate it.

0:57:34.920 --> 0:57:42.320
<v Speaker 1>Thank you, Thanks for listening everyone. Remember to subscribe and

0:57:42.400 --> 0:57:44.520
<v Speaker 1>check back next week when I'll be talking to Hidden

0:57:44.560 --> 0:57:47.920
<v Speaker 1>Figure star Kevin Costner. You've been listening to playback at

0:57:48.000 --> 0:58:01.800
<v Speaker 1>Variety three