WEBVTT - Ep60 - Laurie Metcalf / "Lady Bird" 0:00:00.080 --> 0:00:03.880 You're listening to playback a Variety podcast. I'm your host, 0:00:03.960 --> 0:00:28.680 Variety Awards editor Chris Tappily. Hey, how you doing? Grab photo? 0:00:29.880 --> 0:00:33.280 Let me just watch my hand, noord. Oh well, they've 0:00:33.320 --> 0:00:36.360 got you on a tour of PMC today, like a 0:00:36.440 --> 0:00:39.720 t C A event or something. I'm gonna sit outside. 0:00:39.720 --> 0:00:42.880 Actually okay, they're just like you more than another shorter 0:00:43.000 --> 0:00:48.560 Yeah yeah, yeah, more like a half hour director's chairs. Yeah, indeed, 0:00:48.960 --> 0:00:50.440 we'll see what we can do. Are you good with 0:00:50.479 --> 0:00:54.040 that chair there is? Okay, So she's just gonna grab 0:00:54.040 --> 0:00:57.480 a couple of quick candidates so we can chat about 0:00:57.480 --> 0:01:00.760 what you have for breakfast? Oh yeah, or something. I 0:01:00.840 --> 0:01:05.600 was in the hotel room and I ordered the locks 0:01:05.600 --> 0:01:10.760 in bagel. Wasn't tasty? Yes, I I get that. Where 0:01:10.760 --> 0:01:13.560 am I at the Beverly Hilton, which is where the 0:01:13.640 --> 0:01:16.560 luncheon is? So oh yeah, you're going right there at 0:01:16.640 --> 0:01:18.760 right after this? Me too, so I'll see you there. 0:01:18.800 --> 0:01:23.000 But um, usually ordering that is just an excuse for 0:01:23.040 --> 0:01:25.640 me to eat a bunch of capers. That's what I 0:01:25.680 --> 0:01:29.600 really got it. I had a shake. You had a 0:01:29.640 --> 0:01:32.959 shake for trying to be good. So there is a 0:01:33.000 --> 0:01:37.960 real luncheon right there. This food, real food, obviously good. 0:01:38.280 --> 0:01:43.720 All right, thank you, Priscilla. All right, grab my questions here. 0:01:45.520 --> 0:01:48.480 I love this. Yeah, it's it's gonna feel like it's 0:01:48.480 --> 0:01:50.440 gonna fall on you, but I swear it's not. It's 0:01:50.480 --> 0:01:52.640 just a drafting table we're using. We're like in the 0:01:52.640 --> 0:01:57.760 middle of red building a podcast studio here, but we 0:01:57.800 --> 0:02:00.880 are recording and we'll dive right in. All right. We've 0:02:00.880 --> 0:02:04.920 got Laurie Metcalfe here, the Oscar nominated actress, and Ladybird, 0:02:04.960 --> 0:02:06.880 which were just discussing, which is one of my favorite 0:02:06.880 --> 0:02:09.639 movies of the year, one of everyone's favorite movies seems 0:02:09.680 --> 0:02:13.480 to be. It's doing for you. All right, we're talking 0:02:13.520 --> 0:02:16.720 this morning, just before the nominees luncheon, which you know, 0:02:17.280 --> 0:02:19.560 I assume you're really looking forward to that. I have 0:02:19.680 --> 0:02:21.679 no idea what to expect. I know that there's that 0:02:21.760 --> 0:02:25.799 that iconic photo taken which I've looked at over the 0:02:25.880 --> 0:02:29.240 years and never thought i'd actually participate in. Now you'll 0:02:29.240 --> 0:02:33.480 get to kind of play the wears Waldo. Yes, I will, 0:02:33.520 --> 0:02:36.680 I will. I'm looking forward to seeing everybody in that room. 0:02:36.840 --> 0:02:40.480 My god, and uh, the quality of all the movies 0:02:41.480 --> 0:02:44.400 this year, it's a great year and so diverse. You 0:02:44.440 --> 0:02:46.640 know you're looking forward to meeting anybody in particular you 0:02:46.639 --> 0:02:49.639 haven't bumped into on the circuit. Well, I it's funny 0:02:49.720 --> 0:02:52.480 I have started to see on the Did you call 0:02:52.520 --> 0:02:54.760 it a circuit or a circus, because it's a little 0:02:54.760 --> 0:02:57.040 bit of both. I've I've I've come to find out 0:02:57.200 --> 0:03:00.440 again I had no idea, no clue that that this 0:03:00.480 --> 0:03:04.960 is what happens when you're in such a such a explosive, 0:03:05.120 --> 0:03:08.480 you know, hit movie. But um, yeah, I've started to 0:03:08.560 --> 0:03:11.160 run into people that I never would have been able 0:03:11.200 --> 0:03:15.040 to meet anywhere else. You know, Willem Dafoe I can 0:03:15.040 --> 0:03:19.280 say hi to now, you know, Martin McDonough, Sam Rockwell, 0:03:19.320 --> 0:03:23.400 Octavia Spencer, Francis McDorman. You know, my god, it's a 0:03:23.400 --> 0:03:27.040 great bunch, it is. It really is. Well, as I said, 0:03:27.080 --> 0:03:29.440 you know, finally an Oscar nominee. But yeah, in some ways. 0:03:29.480 --> 0:03:32.440 You know, you've got three Emmy's you've nominated throughout the 0:03:32.440 --> 0:03:36.360 wazoo for for your various appearances on TV. What has 0:03:36.400 --> 0:03:39.760 been the most surprising thing, I guess or unexpected thing 0:03:39.800 --> 0:03:42.800 about being a part of this whole Oscar whirlwind? What's 0:03:42.840 --> 0:03:45.600 interesting about it? What's so different about it now I've 0:03:45.640 --> 0:03:49.000 never experienced it before. Is usually if I wrap something 0:03:49.040 --> 0:03:53.480 that's on TV or stage, there's a quick toast afterwards, 0:03:53.560 --> 0:03:55.880 and you either you know, pack your suitcase and fly 0:03:56.000 --> 0:03:59.240 home the next day and never revisit it again. But 0:03:59.600 --> 0:04:03.240 but with a movie, Um, I mean everybody else in 0:04:03.280 --> 0:04:05.600 the world knows this. I just didn't ever put two 0:04:05.640 --> 0:04:09.840 and two together. But like eighteen months later, you know, 0:04:09.920 --> 0:04:14.040 you're talking about the movie and about what that experience was, 0:04:14.320 --> 0:04:19.520 and it's just, um, a new phenomenon for for me 0:04:19.839 --> 0:04:23.520 to revisit something that you've done in the past and 0:04:23.520 --> 0:04:27.680 and you know, like be present with it again. So 0:04:27.760 --> 0:04:30.800 other projects I've just basically walked away from and that 0:04:30.880 --> 0:04:32.760 and that was that. I guess that deepens the whole 0:04:32.760 --> 0:04:34.680 experience a little bit, right, It gives you a whole 0:04:34.680 --> 0:04:40.080 different Yeah, it really does. And and where else do 0:04:40.240 --> 0:04:43.599 you go you know that something that you did, what say, 0:04:43.600 --> 0:04:46.240 a year ago, is then released and you see the 0:04:46.320 --> 0:04:50.360 response to it. Um, because like I do a lot 0:04:50.360 --> 0:04:54.560 of theater, and the response is only uh in the 0:04:54.680 --> 0:04:56.880 in the moment. You know, if you've got the immediate 0:04:56.920 --> 0:05:01.600 feedback from the audience every night or eight times a week, 0:05:01.640 --> 0:05:06.320 and so you know how it's being received. In this instance, 0:05:06.560 --> 0:05:10.400 I had no idea at all, um, how how it 0:05:10.440 --> 0:05:14.159 would be received. Literally, Yeah, theater's interesting. An actor once 0:05:14.160 --> 0:05:15.800 put it to me. It's like drawing in the sand. 0:05:16.680 --> 0:05:18.200 Next day you do it all over again. It's a 0:05:18.240 --> 0:05:21.919 different uh, you know, circumstance in this Uh. You know, 0:05:21.960 --> 0:05:23.920 theater has been a huge part of your life, obviously 0:05:23.920 --> 0:05:26.159 Stepping Wolf and everything. And one thing I want to 0:05:26.200 --> 0:05:27.800 jump ahead to here is in this movie, you got 0:05:27.800 --> 0:05:30.640 a chance to work with Tracy Lets the first time ever. 0:05:30.680 --> 0:05:33.240 We've known each other for a hundred years and we've 0:05:33.279 --> 0:05:37.800 always wanted to work together on stage and never have 0:05:37.920 --> 0:05:40.440 been able to have a project to do together. And 0:05:40.480 --> 0:05:43.440 so it took Greta Gerwig bringing us together into a 0:05:43.480 --> 0:05:46.840 movie where you know, we could. I knew immediately that 0:05:47.000 --> 0:05:51.159 um working with Tracy was going to be but well, 0:05:51.480 --> 0:05:55.000 I was going to say a breeze and it was, Yeah, 0:05:55.040 --> 0:05:58.120 it was a breeze. Because we have a history, we 0:05:58.120 --> 0:06:01.320 should have a similar sense of humor, and so we 0:06:01.360 --> 0:06:03.160 have an ease with each other. And I was just 0:06:03.200 --> 0:06:06.760 hoping that that would come across in the parents relationship 0:06:07.000 --> 0:06:09.800 and uh, but everything else. You know, all we did 0:06:09.880 --> 0:06:13.640 was take our cues and clues from Greta's script. It 0:06:13.760 --> 0:06:16.960 was all on the page for us. Well, uh, let's 0:06:16.960 --> 0:06:18.960 talk about Greta actually, I'll go into that. You know, 0:06:19.000 --> 0:06:20.560 what kind of director is she on the set? What 0:06:20.600 --> 0:06:23.440 kind of energy does she establish that's you know, unique 0:06:23.520 --> 0:06:28.000 compared to other filmmakers that you've worked with. It's all 0:06:28.040 --> 0:06:31.480 about her energy, I think. And the energy on the 0:06:31.520 --> 0:06:36.520 set was a one of collaboration, of support and feeling 0:06:36.560 --> 0:06:41.080 protected of watching her watch the monitor with this big 0:06:41.120 --> 0:06:43.440 grin on her face and knowing that she was in 0:06:43.480 --> 0:06:47.320 her element, she wouldn't want to be anywhere else and 0:06:47.400 --> 0:06:51.640 that she had our back, and that made everybody in 0:06:51.680 --> 0:06:58.320 the cast and crew feel very protected. Um. And uh, 0:06:58.360 --> 0:07:02.360 there was a lightness about the set and maybe even 0:07:02.400 --> 0:07:05.719 a maternal quality because um, you felt that she was 0:07:05.720 --> 0:07:08.480 watching out for everybody. Now, she had to have been 0:07:08.520 --> 0:07:13.720 going through stressful days, because I think that's inevitable as 0:07:13.720 --> 0:07:19.160 a director. Um maybe and also a first solo director. Um, 0:07:20.160 --> 0:07:24.280 nobody knew if that was the case. Um, she just 0:07:24.360 --> 0:07:26.680 has an ease. She's just a natural at it. You'd 0:07:26.680 --> 0:07:29.200 never know it was her first time. Yeah. Well, as 0:07:29.200 --> 0:07:31.200 I said just before the show. I first saw this 0:07:31.240 --> 0:07:34.360 movie at Tell You Ride where it premiered. UM, and 0:07:34.400 --> 0:07:37.120 I walked out and I tweeted something like I love 0:07:37.200 --> 0:07:39.880 Ladybirds so much I can't stand it. And H four 0:07:39.960 --> 0:07:43.239 is used it in their advertising, which, yeah, that's the truth, 0:07:43.320 --> 0:07:45.280 I mean. And what's interesting to me is that it's 0:07:45.280 --> 0:07:48.280 been such a universally a loved movie this year. I mean, 0:07:48.960 --> 0:07:51.320 all the talk of the critically acclaimed, the rotten Tomato score, 0:07:51.320 --> 0:07:53.080 all of that. Why do you think that it struck 0:07:53.120 --> 0:07:55.320 such a universal core? You know, I saw it for 0:07:55.320 --> 0:07:58.239 the first time, I tell you right. Also, um And 0:07:58.560 --> 0:08:02.960 I was so, I was right in the middle of 0:08:03.000 --> 0:08:05.520 a group of with you seeing it for the first time. 0:08:05.840 --> 0:08:08.880 And I was literally seeing most of the movie for 0:08:08.920 --> 0:08:11.760 the first time myself because all my scenes were with 0:08:12.480 --> 0:08:15.960 and no, no, I'm in like I don't know it. 0:08:16.200 --> 0:08:18.920 And so I was having a blast seeing what all 0:08:18.960 --> 0:08:25.200 the high school scenes were about. UM And and when 0:08:25.360 --> 0:08:28.560 I walked out and where, and I was hearing people 0:08:28.800 --> 0:08:32.160 saying I've got to call my mother, I want to 0:08:32.160 --> 0:08:36.559 see this with my daughter. Um father's or men saying 0:08:36.960 --> 0:08:41.480 I have witnessed that mother daughter relationship and have also 0:08:41.559 --> 0:08:44.200 felt like I was the outsider, like Tracy's character is 0:08:44.240 --> 0:08:49.160 like just just just wanting to be um, non confrontational 0:08:49.400 --> 0:08:52.680 about it and not really understanding it, not understanding how 0:08:53.200 --> 0:08:56.800 they can flip on a dime, like in the thrift 0:08:56.840 --> 0:08:59.760 store scene where they're looking for a dress together and 0:09:00.080 --> 0:09:05.480 arguing that the classic passive aggressive banter going back and forth, 0:09:05.559 --> 0:09:08.520 and then they find the perfect dress. Um, it's a 0:09:08.720 --> 0:09:12.360 it's a complex relationship as far as the mother daughter 0:09:12.640 --> 0:09:15.840 scenes go. That Greta was able to walk such a 0:09:15.880 --> 0:09:19.679 fine line and find the balance so that one is 0:09:19.720 --> 0:09:22.439 just not an ogre, you know, one is not doing 0:09:22.480 --> 0:09:26.040 all the button pushing. The mother doesn't exist, just to 0:09:26.160 --> 0:09:30.440 show what the daughters homelike as home life is like, 0:09:30.559 --> 0:09:32.720 and what she has to put up with with parents 0:09:32.720 --> 0:09:35.960 who don't understand her. You know, she really I guess 0:09:36.040 --> 0:09:40.440 that's what people are responding to that it's it seems 0:09:41.200 --> 0:09:47.160 very it's very detailed. Um, it's not our own individual 0:09:47.280 --> 0:09:50.800 details that are up there on the screen, but it's 0:09:50.920 --> 0:09:55.280 so close. Yes, I mean for me, and and in fact, 0:09:55.440 --> 0:09:58.559 some of the specifics do ring true because you know, 0:09:58.640 --> 0:10:01.360 I graduated high school in ninety nine, so the period 0:10:01.400 --> 0:10:03.480 of the movie, I knew the guy who smoked clothes 0:10:03.520 --> 0:10:05.679 and was trying to be cool and the shallow may 0:10:05.720 --> 0:10:08.199 of it all and just all of these different moments 0:10:08.480 --> 0:10:12.200 really just you know, I recognized them. Yeah, there was 0:10:12.240 --> 0:10:17.280 always um, the struggle to fit in, whether it's with 0:10:17.480 --> 0:10:21.320 your best friend or you're the popular friend who you 0:10:21.520 --> 0:10:25.240 you know, there's all it's just finding yourself what makes 0:10:25.280 --> 0:10:28.480 me different? You know? And God, I just can't wait 0:10:28.520 --> 0:10:31.840 to get out of here and start over and reinvent myself. 0:10:32.360 --> 0:10:35.040 But and it's only in hindsight that you see that 0:10:35.200 --> 0:10:37.880 all these influences, the people who raised you and the 0:10:37.920 --> 0:10:41.400 people that you grew up with and the town that 0:10:41.440 --> 0:10:45.600 meant so much UM are a part of you that 0:10:45.600 --> 0:10:49.560 that has provided that shape. Yeah, absolutely, and I love that, 0:10:49.679 --> 0:10:53.160 you know, Ladybird can can embrace that at the end 0:10:53.920 --> 0:10:57.480 in hindsight, it's just so but it But like Gretta's 0:10:57.600 --> 0:11:00.199 writing is so delicate. Nothing, none of this is hit 0:11:00.240 --> 0:11:01.840 over the head. You know. There are a lot of 0:11:02.240 --> 0:11:05.080 little bitty lines that go by that have such weight 0:11:05.120 --> 0:11:08.760 to them, but they're just done with ease and delicacy. 0:11:08.800 --> 0:11:10.800 You know that people have been quoting like, you know, 0:11:10.840 --> 0:11:12.640 I just want you to be the best version of 0:11:12.679 --> 0:11:14.960 yourself that you can be. What if this is the 0:11:15.000 --> 0:11:19.680 best version you know that, just say so much and resonate, Um, 0:11:19.720 --> 0:11:22.400 but just go by, you know, in the blink of 0:11:22.440 --> 0:11:26.000 an eye. I think that it warrants uh, second viewing, 0:11:26.080 --> 0:11:29.120 second third viewing. This movie does because it's it's just 0:11:29.440 --> 0:11:32.240 in those tiny details. There's something to be said about 0:11:32.360 --> 0:11:36.240 finding the profound within the mundane exactly, you know, And 0:11:36.240 --> 0:11:38.480 that's that's a real trick. And she pulled it off. 0:11:38.480 --> 0:11:41.840 She did. Um. I had both Greta and Sarsha on 0:11:41.840 --> 0:11:44.440 the show earlier this year, and you know, part of 0:11:44.480 --> 0:11:47.000 this is obviously a dance with Sarsha on the screen. 0:11:47.080 --> 0:11:49.079 So let's talk about working with her. Oh my god, 0:11:49.640 --> 0:11:52.400 she's like the the the the best scene partner that 0:11:52.480 --> 0:11:58.200 any actor could hope to have. She's fully present, um 0:11:58.240 --> 0:12:03.480 in in every moment on camera. But what she does 0:12:03.559 --> 0:12:06.440 she's amazing because um, well, first of all, I looked 0:12:06.480 --> 0:12:09.000 to her for guidance because she has so much more 0:12:09.080 --> 0:12:14.720 film experience than I do. UM, but I know, I know, 0:12:14.840 --> 0:12:19.959 and talk about a natural you know, Um, she has 0:12:20.520 --> 0:12:26.200 a really great work ethic. You know, she is prepared, 0:12:26.280 --> 0:12:29.400 she's done her homework every day. She takes it seriously. 0:12:29.520 --> 0:12:32.720 She takes the job seriously. It's not a lark, you know. 0:12:33.040 --> 0:12:36.000 But yet at the same time, she can find the 0:12:36.120 --> 0:12:39.840 lightness during the day, you know. Um, and and she 0:12:39.960 --> 0:12:45.400 brings that lightness to the set, to to the hair 0:12:45.400 --> 0:12:47.920 and makeup trailer when she steps in and the because 0:12:47.920 --> 0:12:50.520 she she's there, She was there, you know, she's in 0:12:50.520 --> 0:12:54.680 every frame. Practically, she carries the movie with such ease 0:12:54.760 --> 0:12:58.120 and such grace that she really she and Gretted together 0:12:58.160 --> 0:13:01.600 set a tone that was just had a lightness about 0:13:01.640 --> 0:13:06.200 it and that everybody wanted to Everybody got very attached 0:13:06.240 --> 0:13:08.400 to the movie in a personal way and wanted it 0:13:08.440 --> 0:13:10.040 to be the best that it could be, to to 0:13:10.280 --> 0:13:14.480 support Greta and to support Serscha, who were both um, 0:13:14.480 --> 0:13:18.320 just setting this lovely tone about the day. And but 0:13:18.480 --> 0:13:22.160 it literally Sarsha walks into hair and makeup trailer with 0:13:22.280 --> 0:13:27.560 just a joyful attitude and it's in infectious that helps 0:13:29.440 --> 0:13:31.560 the shoot. I think I heard Greta say that it 0:13:31.600 --> 0:13:33.960 was thirty five days you were on four. Oh, I 0:13:33.960 --> 0:13:37.080 don't know, probably, um, a couple of weeks, yeah, a 0:13:37.080 --> 0:13:40.080 couple of weeks here and there, you know, sporadic. Well, 0:13:40.120 --> 0:13:43.520 I must say, I feel this is, you know, one 0:13:43.559 --> 0:13:46.520 of the most low key, brilliant performances of the year. 0:13:46.559 --> 0:13:48.760 And I say low key just because there's so much 0:13:48.800 --> 0:13:51.640 going on underneath the surface that could be played much 0:13:51.679 --> 0:13:54.040 bigger than you play it. And I just kind of 0:13:54.080 --> 0:13:56.480 am curious what you were drawing on personally. I mean, 0:13:56.480 --> 0:13:58.840 you have daughters, so I assume a lot of that, 0:13:58.960 --> 0:14:01.280 But just what what were you drawing on personally to 0:14:01.400 --> 0:14:05.760 kind of craft this incredibly complex mother without being big 0:14:05.800 --> 0:14:12.720 you know right right? I was, um relying on Greta. 0:14:13.000 --> 0:14:16.840 I knew that we talked early on about the fact 0:14:16.920 --> 0:14:19.800 that there are so many arguments between the mother and 0:14:19.800 --> 0:14:21.760 the daughter that we didn't want them all just to 0:14:21.800 --> 0:14:24.480 feel the same, repetitive after a while, because then you 0:14:24.480 --> 0:14:27.200 would just tune them out. So we wanted to even 0:14:27.200 --> 0:14:30.080 though even though she had crafted it, and so she 0:14:30.280 --> 0:14:36.680 knew where where the triggers were, she walked me through it. Um. 0:14:36.720 --> 0:14:40.720 We had a couple of rehearsals with with me, Sersha 0:14:40.840 --> 0:14:43.080 and Greta in the room to make sure that we 0:14:43.080 --> 0:14:47.240 were all on the same page. Um and uh. And 0:14:47.280 --> 0:14:50.600 then I think she just sort of trusted us with 0:14:50.720 --> 0:14:54.920 the material, which was also confidence building, you know, because 0:14:56.520 --> 0:15:00.480 you know, obviously she had spent years crafting this script 0:15:00.920 --> 0:15:03.840 and to turn it over to us was I felt 0:15:03.840 --> 0:15:06.560 the responsibility of that, you know. But if I ever 0:15:06.600 --> 0:15:09.120 had a question, I could go straight to the source 0:15:09.680 --> 0:15:14.200 because our director was the screenwriter, um, which was which 0:15:14.320 --> 0:15:16.480 was a comfort to have on the set. And Greta 0:15:16.600 --> 0:15:20.160 just has the ability to know how to talk to actors, 0:15:20.160 --> 0:15:24.360 not all just because she's an actor. That doesn't come 0:15:25.520 --> 0:15:32.320 with the with the job. Most actors don't know how 0:15:32.360 --> 0:15:35.480 to talk to other actors and make to me, make 0:15:35.640 --> 0:15:40.840 lousy directors um um, because we fall into the same 0:15:40.840 --> 0:15:43.080 trap that a lot of directors do, which is just 0:15:44.640 --> 0:15:49.120 blurting out what you want the result to be. Be funnier, 0:15:49.440 --> 0:15:52.840 be sadder, be you know, something like that, and it 0:15:52.920 --> 0:15:55.600 gets in the actor's head and becomes a barrier and 0:15:55.720 --> 0:15:58.760 all of a sudden you've turned them self conscious and 0:15:59.040 --> 0:16:01.880 the day is screwed, you know. But so you can 0:16:01.960 --> 0:16:04.640 do a lot of damage. So it's the rare director 0:16:04.680 --> 0:16:08.520 who knows how to um toss out a couple of 0:16:08.680 --> 0:16:15.920 suggestions that spark an actor's imagination and that are doable. Um. 0:16:16.800 --> 0:16:21.120 But so yeah, I I, um hadn't done a film 0:16:21.200 --> 0:16:23.720 in a long time. So as far as the broadness 0:16:23.800 --> 0:16:25.960 of the character, you know, I I think that I 0:16:26.040 --> 0:16:29.440 was overly wary of being too big because I just 0:16:29.520 --> 0:16:37.160 stepped off thousands seat stage of yes, of playing to 0:16:37.200 --> 0:16:40.920 the back row. Yeah, And so UM I tried to be. 0:16:41.400 --> 0:16:43.640 I tried to follow the lead of everybody else in 0:16:43.640 --> 0:16:50.520 the room of how um minimal and nuanced the role 0:16:50.600 --> 0:16:52.800 could be. And one of my leads on that was 0:16:52.920 --> 0:16:59.200 Tracy because um, I've always admired his minimalist acting style, 0:16:59.440 --> 0:17:03.480 you know, very intelligent and and and so low key. 0:17:03.560 --> 0:17:07.800 And he's he was like the rock of all the scenes. Um, 0:17:07.880 --> 0:17:10.399 so I was I was trying to be. I was 0:17:10.440 --> 0:17:13.760 trying to look around and read the room. Well, how 0:17:13.800 --> 0:17:17.040 about specifically reading the room, the environments, the production design, 0:17:17.240 --> 0:17:20.159 the stuff like that living room. I mean it just 0:17:20.320 --> 0:17:23.800 you know, it feels so legit and textured. He always 0:17:23.800 --> 0:17:26.119 has to help your performance, it does. Yeah, there was 0:17:26.160 --> 0:17:30.239 no way that you could walk into Ladybird's bedroom and 0:17:30.320 --> 0:17:33.480 not feel that a seventeen year old had lived in 0:17:33.520 --> 0:17:37.119 there for fifteen years and decorated it exactly how she 0:17:37.200 --> 0:17:41.920 wanted it done. The details were extraordinary. Um. I went 0:17:42.160 --> 0:17:45.480 with um Greta early on because I think I was 0:17:45.520 --> 0:17:47.440 one of the only actors who were who were in town, 0:17:47.480 --> 0:17:50.919 because she wanted to do a lighting test in the 0:17:50.960 --> 0:17:54.480 house that she had chosen to shoot all the interiors 0:17:55.080 --> 0:17:59.280 and it was pretty bare. There was hardly any furniture 0:17:59.320 --> 0:18:01.439 in there. But just had me walk from room to 0:18:01.560 --> 0:18:06.600 room and see how the light played. UM and and 0:18:06.600 --> 0:18:09.919 and uh she thought. I think that it was really 0:18:10.000 --> 0:18:13.639 valuable because she I don't know it just it just 0:18:13.920 --> 0:18:20.720 lent a um a real realism to her that all, 0:18:20.840 --> 0:18:23.760 and to me to walking through before it was even 0:18:23.840 --> 0:18:27.480 deck set decorated, that oh, this is our house. Okay, 0:18:27.640 --> 0:18:30.600 I get it now, I understand this family a little more. 0:18:30.800 --> 0:18:34.240 The flow stuff like that probably helps. Yeah, for sure. Well, 0:18:34.280 --> 0:18:37.960 you know you've you've received more critical awards than than 0:18:38.080 --> 0:18:41.160 any other actress in your category this year. I believe 0:18:41.160 --> 0:18:43.280 you're do one more. I hope you. I'm going to say, 0:18:43.320 --> 0:18:46.800 I hope you. Want to ask her a couple of 0:18:46.880 --> 0:18:49.040 random things here, I just want to branch out. You know, 0:18:49.119 --> 0:18:51.920 this isn't even really a question, it's uh, I guess 0:18:51.920 --> 0:18:54.960 it's a confession. I was a big fan of Scream 0:18:55.000 --> 0:18:57.760 and I put together a group of seventeen people in 0:18:57.800 --> 0:19:00.520 eleventh grade to go see Scream too. So anyway, I 0:19:00.560 --> 0:19:02.320 just want to throw that out. Did it not disappoint 0:19:03.480 --> 0:19:06.320 It was an interesting film. I think that the reveal 0:19:06.720 --> 0:19:12.359 was pretty clever. Yeah, mom, yeah, absolutely, yeah, exactly. You 0:19:12.400 --> 0:19:13.880 have to go off the hinge a little bit. I did. 0:19:14.359 --> 0:19:17.240 Was that fun? Yeah? Who was the director on that? 0:19:17.320 --> 0:19:19.960 Was okay? Yeah? What was he like to work with? Oh? 0:19:20.040 --> 0:19:24.200 He was fantastic, like like wicked sense of humor? Yeah. Yeah, 0:19:25.040 --> 0:19:27.800 And then listeners realized by now, any time I ever 0:19:27.840 --> 0:19:30.600 have anyone on the show who was in JFK, I 0:19:30.680 --> 0:19:33.439 have to talk about working with that cast, working with 0:19:33.480 --> 0:19:36.120 Oliver Stone. Does anything kind of immediately come to mind 0:19:36.119 --> 0:19:39.040 about that production? Wow? You know what, I want to 0:19:39.040 --> 0:19:41.000 see it again because I saw it once when it 0:19:41.040 --> 0:19:44.400 first came out, and that's been way too long. Um. 0:19:44.840 --> 0:19:50.200 I was I didn't get to work with that many actors, 0:19:50.320 --> 0:19:53.239 you know, because it had such a deep bench of 0:19:53.800 --> 0:19:58.800 really great actors in all those roles. Um theater actors too, Yeah, 0:19:58.840 --> 0:20:02.760 there were there were. Um. I just remember, you know, 0:20:03.280 --> 0:20:07.840 being in New Orleans and like stepping out in the 0:20:07.920 --> 0:20:10.320 morning to go to work, to go to the set 0:20:10.400 --> 0:20:14.400 like at six am and being immediately drenched in sweat. 0:20:14.440 --> 0:20:20.400 You know, it was balmy. But yeah, and uh, and 0:20:20.520 --> 0:20:24.720 working with Kevin Costner was was great. Uh he said 0:20:24.720 --> 0:20:28.920 a great tone on that film also, as did Oliver. Yeah, 0:20:29.160 --> 0:20:33.560 how do you like Oliver? I loved him, I wanted 0:20:34.040 --> 0:20:39.479 I was almost gonna work with him again. And I 0:20:39.520 --> 0:20:42.439 can't remember the project name, but it fell apart shoot. 0:20:42.800 --> 0:20:48.320 But anyway, um though he was he was fantastic. But 0:20:48.880 --> 0:20:51.000 you know, like I've I feel like I've only done 0:20:51.000 --> 0:20:54.040 a handful of movies and so my references are just 0:20:54.080 --> 0:20:58.199 so scattered. You know that I don't have my bearings 0:20:58.280 --> 0:21:04.040 within that world yet. Um so, and and it was 0:21:04.080 --> 0:21:06.280 so long ago, it was sort of dreamy. It seems 0:21:06.280 --> 0:21:08.879 sort of dreamy. Now, Yeah, you should watch it again. 0:21:08.960 --> 0:21:11.280 I need one of my favorite movies. I think it's phenomenal. 0:21:11.520 --> 0:21:13.440 I need to. I want to. I've actually I think 0:21:13.440 --> 0:21:15.320 within the last year, we've had Kevin on the show, 0:21:15.359 --> 0:21:18.280 we had Donald Southerland. Earlier this year, we had Gary 0:21:18.440 --> 0:21:21.120 Oldman on the show. We're doing good on JFK. Cast 0:21:21.160 --> 0:21:23.919 members here play back, And then I want to talk 0:21:23.920 --> 0:21:27.560 about Roseanne coming back. You know, it's interesting because this 0:21:27.640 --> 0:21:30.880 is one of an absolute slew lately of TV reboots, 0:21:30.920 --> 0:21:32.520 and this isn't really a reboot so much as we're 0:21:32.520 --> 0:21:35.120 getting the band back together and continuing the story. But 0:21:35.480 --> 0:21:37.520 we've got things like Magnum p I, Cagney and Lacey. 0:21:37.520 --> 0:21:39.639 I didn't think they would ever reboot Cagney and Lacey, 0:21:39.640 --> 0:21:42.520 but they're going to. They brought Will and Grace back, 0:21:42.520 --> 0:21:45.240 they brought brought Murphy Brown back. What do you think 0:21:45.280 --> 0:21:48.360 about all? I didn't even breaking news for you. Yeah, 0:21:48.400 --> 0:21:51.879 they're bringing Murphy Brown back. Wow. I mean what, I 0:21:51.880 --> 0:21:54.640 guess it's good with the bad on stuff like that, right, 0:21:54.800 --> 0:21:57.600 I guess it's just you know, it's nostalgia. Yeah, I 0:21:57.640 --> 0:22:00.639 guess it's just like a craving fool or you know, 0:22:01.080 --> 0:22:06.639 take me back to you know, nineteen whatever. Um. But 0:22:06.720 --> 0:22:09.240 it's interesting. But I think that the Rosanne one is 0:22:09.800 --> 0:22:13.639 fascinating because you take the Connor family, who everybody knew, 0:22:13.680 --> 0:22:16.400 well a lot of people knew or even grew up with, 0:22:17.040 --> 0:22:19.960 and it was a unique family for in the day, 0:22:20.680 --> 0:22:24.359 blue collar and people who looked not like other people 0:22:24.440 --> 0:22:28.280 on camera on on TV shows and now and and 0:22:28.359 --> 0:22:32.040 so you're automatically curious about as what what what is 0:22:32.280 --> 0:22:34.840 those family members doing in the year two thousand and eighteen, 0:22:35.240 --> 0:22:38.800 So it has a legit curiosity factor to it, I think, 0:22:39.240 --> 0:22:41.120 And and we did nine of them, and I think 0:22:41.119 --> 0:22:44.199 that the writers wrote very true to the characters and 0:22:44.240 --> 0:22:46.680 the stories, and it has little arc, which is nice 0:22:46.680 --> 0:22:48.199 when you when you know you're just going to do 0:22:48.280 --> 0:22:54.840 the nine um it dress. It addresses uh, some issues, 0:22:55.119 --> 0:23:00.000 some you know, um, current events, Yeah, current current events, 0:23:00.080 --> 0:23:05.119 but also issues that haven't changed since the family was 0:23:05.200 --> 0:23:08.040 dealing with them, and then some new ones also. But 0:23:08.200 --> 0:23:12.320 the Roseanne Show because of the groundwork that Rosanne laid 0:23:12.440 --> 0:23:17.360 early on, I think about being willing to sacrifice laughs 0:23:17.480 --> 0:23:19.560 in a particular show to make it to make the 0:23:19.600 --> 0:23:22.840 episode about an issue. It was always a show that 0:23:22.880 --> 0:23:27.679 could handle some weight and could go to some dark places, um, 0:23:27.680 --> 0:23:31.520 whereas on other sitcoms that might have been too jarring. Um. 0:23:31.560 --> 0:23:34.840 And so these there are a handful of those moments 0:23:34.880 --> 0:23:37.760 again in these nine that come up and maybe a 0:23:37.760 --> 0:23:40.400 lot of it also has to do with the maturity 0:23:40.440 --> 0:23:45.040 of the characters. Is fascinating to watch the two daughters, 0:23:45.200 --> 0:23:49.040 who are in their forties now have an argument in 0:23:49.080 --> 0:23:54.679 the same kitchen and they really do literally have a 0:23:55.000 --> 0:23:58.160 thirty year history together because they grew up as sisters 0:23:58.160 --> 0:24:01.320