1 00:00:02,400 --> 00:00:05,440 Speaker 1: I'm Alec Baldwin and this is Here's the Thing from 2 00:00:05,519 --> 00:00:09,479 Speaker 1: My Heart Radio. I'm Carrie Donohue and this is Here's 3 00:00:09,520 --> 00:00:14,000 Speaker 1: the thing from my Heart Radio. Carrie, what are you doing, Alec? 4 00:00:14,080 --> 00:00:16,200 Speaker 1: Don't you remember the staff of the show is going 5 00:00:16,280 --> 00:00:19,439 Speaker 1: to be hosting episodes from the archives every other week 6 00:00:19,480 --> 00:00:22,280 Speaker 1: for the rest of the summer. I completely forgot that. 7 00:00:22,720 --> 00:00:27,240 Speaker 1: Well it's happening. Oh okay, well, best of luck, carry 8 00:00:27,640 --> 00:00:33,239 Speaker 1: thanks Alec. It happens pretty often on the show, but 9 00:00:33,400 --> 00:00:36,199 Speaker 1: I'm a sucker for when Alec talks with other actors. 10 00:00:36,800 --> 00:00:39,720 Speaker 1: Two of my favorite interviews he's done, we're with Julianne 11 00:00:39,720 --> 00:00:43,240 Speaker 1: Moore and Maggie Jillen Hall. They are both so talented 12 00:00:43,360 --> 00:00:47,760 Speaker 1: and often take on surprising, challenging projects. Alec talked with 13 00:00:47,800 --> 00:00:52,400 Speaker 1: Maggie Jillen Hallanden just after the release of The Kindergarten Teacher. 14 00:00:53,000 --> 00:00:57,160 Speaker 1: We'll get into that conversation shortly. Alex's conversation with Julianne 15 00:00:57,160 --> 00:01:01,680 Speaker 1: Moore took place in Julianne Moore has been nominated for 16 00:01:01,840 --> 00:01:05,320 Speaker 1: five Academy Awards Boogie Nights, The End of the Affair, 17 00:01:05,560 --> 00:01:09,360 Speaker 1: Far from Heaven, The Hours, and she won Best actress 18 00:01:09,600 --> 00:01:13,280 Speaker 1: for her work in Still Alice. She played a linguistics 19 00:01:13,319 --> 00:01:17,920 Speaker 1: professor diagnosed with Alzheimer's disease soon after her fiftieth birthday. 20 00:01:18,040 --> 00:01:21,960 Speaker 1: Alec Baldwin played her husband. They worked together again on 21 00:01:22,080 --> 00:01:26,080 Speaker 1: Thirty Rock. Julianne Moore was very funny as Jack donnegheese 22 00:01:26,160 --> 00:01:30,679 Speaker 1: high school crush Nancy Donovan. They share something else in 23 00:01:30,760 --> 00:01:35,480 Speaker 1: common to Alec and Julianne Moore both started on daytime soaps, 24 00:01:35,840 --> 00:01:38,520 Speaker 1: which came up when they talked about going to drama school. 25 00:01:39,200 --> 00:01:41,039 Speaker 1: It was for some reason, thinking about a friend of 26 00:01:41,040 --> 00:01:42,959 Speaker 1: mine who didn't go to drama school in the car 27 00:01:43,000 --> 00:01:44,399 Speaker 1: on the way here, and I wonder what it was 28 00:01:44,440 --> 00:01:48,160 Speaker 1: like for her, because she hasn't seemed to need it, 29 00:01:48,520 --> 00:01:50,680 Speaker 1: And there are a lot of things that I didn't 30 00:01:50,760 --> 00:01:52,680 Speaker 1: drama school that I think I didn't need either. But 31 00:01:52,720 --> 00:01:55,320 Speaker 1: then in retrospect, I'm like, no, it's helpful. Did you 32 00:01:55,360 --> 00:01:59,520 Speaker 1: go drama school? Where'd you go? Okay? Did you go 33 00:01:59,640 --> 00:02:02,800 Speaker 1: straight onto search for tomorrow? Then the doctors, I don't 34 00:02:02,800 --> 00:02:05,840 Speaker 1: believe you just said that. I can't believe why, because 35 00:02:05,880 --> 00:02:07,200 Speaker 1: I have in front of me. I wasn't going to 36 00:02:07,280 --> 00:02:11,080 Speaker 1: go there. Right off that window, you were Fanny and 37 00:02:11,160 --> 00:02:15,640 Speaker 1: Sabrina Hughes. That's right, Franny, not Fanny, Franny and Sabrina. 38 00:02:15,760 --> 00:02:19,920 Speaker 1: Someone else was Fannie Hughes. You were Franny, Yeah, exactly, 39 00:02:20,160 --> 00:02:23,280 Speaker 1: I know. I mean, couldn't have been Fancy for was 40 00:02:23,400 --> 00:02:27,400 Speaker 1: Fanny's you were? You were Fanny and Sabrini used on 41 00:02:27,440 --> 00:02:30,440 Speaker 1: World Turns and before that you did EDGE. I did Edge. 42 00:02:30,480 --> 00:02:32,280 Speaker 1: Well you want to edge? See if you're on soaps? 43 00:02:32,320 --> 00:02:35,160 Speaker 1: Only when you're on soap? Can you say Edged? Search 44 00:02:36,280 --> 00:02:40,240 Speaker 1: World Turns days days? That's so funny because I was 45 00:02:40,280 --> 00:02:43,320 Speaker 1: on Edge when they were on East forty Iron Street 46 00:02:43,320 --> 00:02:46,400 Speaker 1: and that really really tiny studio. Remember now Rachel Ray 47 00:02:46,400 --> 00:02:49,919 Speaker 1: shoots there and really, you're gone. I know they're gone. 48 00:02:49,919 --> 00:02:52,160 Speaker 1: They're gone, so gone. This is a couple of his 49 00:02:52,240 --> 00:02:54,359 Speaker 1: four soaps left, and I worked with people. The guy 50 00:02:54,400 --> 00:02:57,680 Speaker 1: that played my dad, Don Hastings, he started on that 51 00:02:57,720 --> 00:03:00,880 Speaker 1: show two months before I was born, so he had 52 00:03:00,880 --> 00:03:03,120 Speaker 1: been on that show my entire lifetime when I got on, 53 00:03:03,200 --> 00:03:05,280 Speaker 1: and he when the show was gone, he was still 54 00:03:05,280 --> 00:03:07,480 Speaker 1: on it too. He was the most wonderful guy. So funny. 55 00:03:07,560 --> 00:03:09,680 Speaker 1: But do you feel in some ways, I mean, in 56 00:03:09,760 --> 00:03:11,880 Speaker 1: some ways I don't want to be exaggerate, But wasn't 57 00:03:11,960 --> 00:03:14,040 Speaker 1: doing a soap like some of the most honest work 58 00:03:14,080 --> 00:03:19,200 Speaker 1: you've everard? Absolutely, because you have nothing to help you. No, No, 59 00:03:19,400 --> 00:03:22,880 Speaker 1: there's no dialogue. I mean the dialogue is so rough, 60 00:03:23,560 --> 00:03:27,760 Speaker 1: so basic. All you're doing is is establishing story. I 61 00:03:27,800 --> 00:03:29,480 Speaker 1: used to do what they called emotional I called it 62 00:03:29,480 --> 00:03:32,760 Speaker 1: and any emotional applicate where if I had to say 63 00:03:32,800 --> 00:03:35,760 Speaker 1: something that was really just plot oriented, I try to 64 00:03:35,840 --> 00:03:38,360 Speaker 1: like cry on top of it or laugh on top 65 00:03:38,360 --> 00:03:41,640 Speaker 1: of it or anything just to make it mean something. Right, Yeah, 66 00:03:41,680 --> 00:03:45,000 Speaker 1: because it's all exposition. Well, I read somewhere where you 67 00:03:45,040 --> 00:03:50,120 Speaker 1: said that doing the soap gave you experience and confidence discipline. 68 00:03:50,160 --> 00:03:52,880 Speaker 1: It was discipline and confidence because I loved that. Yeah. 69 00:03:52,920 --> 00:03:55,400 Speaker 1: Because no one, no one has time to help you. 70 00:03:55,400 --> 00:03:57,480 Speaker 1: You know, the directors are working really fast, the writers 71 00:03:57,480 --> 00:03:59,800 Speaker 1: are working fast, the other actors are working really quickly. 72 00:04:00,080 --> 00:04:02,920 Speaker 1: You're just on your own. Remember Marissa tom May, she 73 00:04:03,000 --> 00:04:06,320 Speaker 1: played my best friend Marcy. She said, we got into 74 00:04:06,320 --> 00:04:08,960 Speaker 1: the we got into the elevator and she looked at 75 00:04:09,000 --> 00:04:12,360 Speaker 1: me and she goes, remember l is for lunch because 76 00:04:12,360 --> 00:04:14,440 Speaker 1: that was where the lobby was, and so in that 77 00:04:14,600 --> 00:04:17,200 Speaker 1: cafeteria and that was like the best piece of rice 78 00:04:17,279 --> 00:04:21,320 Speaker 1: because it was remember hell is for lunch. And then 79 00:04:21,360 --> 00:04:23,880 Speaker 1: we did a scene together and it went by so quickly, 80 00:04:24,040 --> 00:04:26,719 Speaker 1: you know, we did one wanted to have takes and 81 00:04:26,839 --> 00:04:29,680 Speaker 1: because you feel terrible, don't you? I said, Oh, she goes. 82 00:04:29,880 --> 00:04:32,040 Speaker 1: It happens all the time. You'll get used to it. 83 00:04:32,800 --> 00:04:35,360 Speaker 1: You're gonna wok at her from the crappy two out 84 00:04:35,360 --> 00:04:37,640 Speaker 1: of five days of the week. I just remember when 85 00:04:37,680 --> 00:04:39,640 Speaker 1: I did that show. You had to show up on time. 86 00:04:40,240 --> 00:04:43,440 Speaker 1: I didn't know your dialogue, and no matter how excruciating 87 00:04:43,480 --> 00:04:45,720 Speaker 1: it was, if you didn't, they fired you. You had 88 00:04:45,720 --> 00:04:47,039 Speaker 1: to be there at seven o'clock in the morning and 89 00:04:47,120 --> 00:04:49,240 Speaker 1: rehearse you were on camera. I would have sometimes thirty 90 00:04:49,240 --> 00:04:50,919 Speaker 1: pages of dialogue a day for three it was like, 91 00:04:51,000 --> 00:04:52,719 Speaker 1: you know, for three years. So it was like a 92 00:04:52,760 --> 00:04:55,640 Speaker 1: boom boom boom boom boom and then you finished maybe 93 00:04:55,720 --> 00:04:59,040 Speaker 1: seven thirty eight nine if you go late. You know, 94 00:04:59,120 --> 00:05:00,520 Speaker 1: it was crazy. A long did you do this? So? 95 00:05:00,680 --> 00:05:03,080 Speaker 1: For the World Turns was your contracts? My contract? It 96 00:05:03,120 --> 00:05:05,360 Speaker 1: was a three year contract for three years. CBS they 97 00:05:05,400 --> 00:05:08,800 Speaker 1: gave they would do three years, the ABC once would 98 00:05:08,800 --> 00:05:10,720 Speaker 1: do two years and stuff, but they never gave me 99 00:05:10,760 --> 00:05:12,520 Speaker 1: an option, although they had the option to fire me 100 00:05:12,560 --> 00:05:17,040 Speaker 1: at any time. And when you finished What You Do? 101 00:05:17,960 --> 00:05:20,520 Speaker 1: I went to the Guthrie Theater actually, and I did 102 00:05:20,560 --> 00:05:25,920 Speaker 1: Hamlet with Hamlet. I saw you, you did not. I 103 00:05:25,960 --> 00:05:29,160 Speaker 1: saw you come on to something. Yeah, I can tell 104 00:05:29,200 --> 00:05:32,200 Speaker 1: you right now. I did Loot with him on Broadway 105 00:05:32,240 --> 00:05:35,640 Speaker 1: in six You did it with Jelco. You did the 106 00:05:35,680 --> 00:05:40,080 Speaker 1: show the following year and eighty seven. I flew to 107 00:05:40,160 --> 00:05:44,000 Speaker 1: Minneapolis to see I saw you do. I saw you 108 00:05:44,080 --> 00:05:46,000 Speaker 1: do Hamlet at the at the Gut three Well. I 109 00:05:46,040 --> 00:05:48,560 Speaker 1: was in the Hamlet. I was a feeling Hamlet. I 110 00:05:48,600 --> 00:05:50,840 Speaker 1: saw you. What did you think? I thought it was fantastic. 111 00:05:51,160 --> 00:05:53,520 Speaker 1: You don't remember me? Do you want to know something? 112 00:05:53,640 --> 00:05:57,119 Speaker 1: I do? And Shelkovanick, you were very young, you were child. 113 00:05:57,720 --> 00:06:01,560 Speaker 1: And Shelvonick he was probably one of the best Hamlets 114 00:06:01,560 --> 00:06:04,000 Speaker 1: I've ever seen because he didn't have to push. He 115 00:06:04,120 --> 00:06:06,559 Speaker 1: seems like a very dark, kind of complicted, just seemed 116 00:06:06,560 --> 00:06:08,719 Speaker 1: like a very young man. You know. I think that 117 00:06:08,800 --> 00:06:11,360 Speaker 1: was interesting that both Jolco and I are very very small, 118 00:06:11,680 --> 00:06:14,960 Speaker 1: very slender and tiny, and we looked like teenagers kind of, 119 00:06:15,000 --> 00:06:17,680 Speaker 1: you know. So who directed Garland Wright? Who I adored. 120 00:06:17,839 --> 00:06:20,720 Speaker 1: He passed away, but why I loved Garland. He was great. 121 00:06:20,720 --> 00:06:24,480 Speaker 1: It was a really interesting production, ching that people strained 122 00:06:24,480 --> 00:06:28,080 Speaker 1: for when they play Hammot that he has and she 123 00:06:28,120 --> 00:06:29,920 Speaker 1: did the Gut three and then and I went to 124 00:06:29,960 --> 00:06:32,320 Speaker 1: the I Wing to Actor's Theater of Louisville and did 125 00:06:32,360 --> 00:06:35,560 Speaker 1: some plays there and Arthur Coppit play and and then 126 00:06:35,640 --> 00:06:37,000 Speaker 1: there wasn't an idea that you want to kind of 127 00:06:37,040 --> 00:06:39,280 Speaker 1: strap yourself into the rocket sled here and get going 128 00:06:39,880 --> 00:06:42,640 Speaker 1: l A TV movies now now, I mean I just 129 00:06:42,720 --> 00:06:44,720 Speaker 1: did also worked. I worked at the Public, I did 130 00:06:44,720 --> 00:06:46,400 Speaker 1: some place, and then I met Andre Gregory and I 131 00:06:46,400 --> 00:06:48,800 Speaker 1: did Vanya and all along though I was I was 132 00:06:48,839 --> 00:06:51,560 Speaker 1: auditioning for stuff, and I got TV movies and things, 133 00:06:51,640 --> 00:06:56,200 Speaker 1: and but it wasn't until I was twenty nine that 134 00:06:56,279 --> 00:06:58,719 Speaker 1: I got my first movie, which was an HBO movie 135 00:06:58,839 --> 00:07:01,520 Speaker 1: called Cassidadly Spell. And then I did and the Rocks 136 00:07:01,520 --> 00:07:03,280 Speaker 1: a Cradle, and then I did Shortcuts and I did 137 00:07:03,400 --> 00:07:05,360 Speaker 1: Safe and then and then my movie career didn't really 138 00:07:05,360 --> 00:07:08,080 Speaker 1: start happening till I was thirty. So for fruit was 139 00:07:08,160 --> 00:07:10,280 Speaker 1: just theater Shortcuts was the biggest break you out at 140 00:07:10,320 --> 00:07:16,200 Speaker 1: that time? Well, what happened was. I did shortcuts Bonnie 141 00:07:16,240 --> 00:07:18,640 Speaker 1: and Street and Safe. So it's kind of the beginning 142 00:07:18,640 --> 00:07:22,760 Speaker 1: of the independent theater movement, if you will. And they 143 00:07:22,800 --> 00:07:25,400 Speaker 1: all came out within the same year, and I went 144 00:07:25,440 --> 00:07:27,720 Speaker 1: from being an actress who had no profile at all 145 00:07:27,760 --> 00:07:30,520 Speaker 1: in film, none because I couldn't. I couldn't get arrested 146 00:07:30,520 --> 00:07:34,480 Speaker 1: doing movies. I mean, I would never get cast I 147 00:07:34,520 --> 00:07:37,520 Speaker 1: don't know, you know, honestly, I wouldn't. Just didn't get him. 148 00:07:37,560 --> 00:07:40,120 Speaker 1: I didn't get him. And in the eighties I can remember, 149 00:07:40,360 --> 00:07:41,960 Speaker 1: I mean I just for a ton of things. Remember 150 00:07:42,000 --> 00:07:43,720 Speaker 1: audition for the lists of merch and ivory movies. I 151 00:07:43,720 --> 00:07:45,320 Speaker 1: always wanted to get one of those because those were 152 00:07:45,320 --> 00:07:48,040 Speaker 1: such a big deal. I would action for big comedies. 153 00:07:48,600 --> 00:07:52,120 Speaker 1: I just didn't get them. And I was like, you know, 154 00:07:52,240 --> 00:07:54,280 Speaker 1: I remember the same thing. You'd be sitting there going, man, 155 00:07:54,320 --> 00:07:56,400 Speaker 1: I want to give me one of them John Sales movies. 156 00:07:56,440 --> 00:07:59,520 Speaker 1: That's why to be one of those. Auditioned for him constantly. 157 00:08:00,040 --> 00:08:02,920 Speaker 1: Ever bought them. I actually got really close to a 158 00:08:02,920 --> 00:08:05,840 Speaker 1: few things, but I never got anything where I did 159 00:08:05,920 --> 00:08:09,160 Speaker 1: really well. Wasn't television. I kept like booking TV things, 160 00:08:09,400 --> 00:08:11,360 Speaker 1: but they would put you on hold and then they 161 00:08:11,440 --> 00:08:13,800 Speaker 1: do pilots for them, and that's the other thing. To 162 00:08:13,840 --> 00:08:16,800 Speaker 1: my pilots holding deals, they would wouldn't get picked up. 163 00:08:17,520 --> 00:08:20,720 Speaker 1: Whenever anybody says, how do you plan your career? You know, 164 00:08:20,760 --> 00:08:22,840 Speaker 1: I mean you left because we don't have any control. 165 00:08:22,920 --> 00:08:25,720 Speaker 1: There's the thing about it. You seem like somebody who's 166 00:08:25,760 --> 00:08:29,160 Speaker 1: had a plan. Once you started making films with the 167 00:08:29,200 --> 00:08:31,040 Speaker 1: things you just didn't do anymore. Did you try to say, 168 00:08:31,120 --> 00:08:33,559 Speaker 1: I'm going to put all my eggs in this basket. No. 169 00:08:33,920 --> 00:08:37,240 Speaker 1: Most of the time we just do with what you're offered. 170 00:08:36,679 --> 00:08:39,480 Speaker 1: You do the best of what's you're what you're offered, 171 00:08:39,800 --> 00:08:41,720 Speaker 1: you know. I think after I was on the soap, 172 00:08:42,760 --> 00:08:44,600 Speaker 1: I did you know, I didn't spend a lot of money. 173 00:08:44,600 --> 00:08:45,760 Speaker 1: I kept my money in the bank. So then I 174 00:08:45,800 --> 00:08:47,719 Speaker 1: spent some time doing theater because I really felt like 175 00:08:47,760 --> 00:08:50,320 Speaker 1: I wanted to do that, you know yourself. Yeah, I 176 00:08:50,320 --> 00:08:52,240 Speaker 1: wanted to do that kind of stuff. And then I 177 00:08:52,240 --> 00:08:54,120 Speaker 1: would do some TV movies and try to get you know, 178 00:08:54,320 --> 00:08:56,080 Speaker 1: and then the holding deals to that. You make money 179 00:08:56,160 --> 00:08:59,680 Speaker 1: doing that, But in between short cuts, yeah, and playing 180 00:08:59,679 --> 00:09:02,000 Speaker 1: Sarah A Palin. There's not a lot of TV in 181 00:09:02,000 --> 00:09:04,240 Speaker 1: between there. Once you start the movies, big time you're 182 00:09:04,280 --> 00:09:06,360 Speaker 1: making movies. Yes, that's you don't go back to TVA 183 00:09:06,480 --> 00:09:09,720 Speaker 1: very much at all. No, No, because also it's kind 184 00:09:09,720 --> 00:09:11,600 Speaker 1: of it changed, you know, because there was a period 185 00:09:11,679 --> 00:09:13,800 Speaker 1: to where because now now it's sort of like called 186 00:09:13,800 --> 00:09:15,520 Speaker 1: you know, now it's the Golden Age for television. Now, 187 00:09:15,559 --> 00:09:18,760 Speaker 1: there there was such kind of interesting quality stuff until 188 00:09:18,880 --> 00:09:21,960 Speaker 1: you know, great writing, great acting, and you know, so 189 00:09:22,000 --> 00:09:23,720 Speaker 1: I think things have changed, But there was a period 190 00:09:23,720 --> 00:09:27,000 Speaker 1: when TV was very basic. Network stuff was not terribly interesting. 191 00:09:27,400 --> 00:09:29,640 Speaker 1: What was it like when you met Altman? Oh Man, 192 00:09:30,559 --> 00:09:32,720 Speaker 1: he came to see Vanya, you know, we were doing 193 00:09:32,800 --> 00:09:34,840 Speaker 1: Uncle Vanya and he sat there and I couldn't believe 194 00:09:34,920 --> 00:09:37,560 Speaker 1: he was there. I don't even know if I said 195 00:09:37,600 --> 00:09:39,680 Speaker 1: anything to him that day, because he was. He's the 196 00:09:39,720 --> 00:09:42,000 Speaker 1: reason that I feel like I'm a film actor. Because 197 00:09:42,360 --> 00:09:44,000 Speaker 1: when I would school in Boston, they were all the 198 00:09:44,080 --> 00:09:47,600 Speaker 1: revival houses. To remember revival houses. This is like Grandpa, 199 00:09:47,840 --> 00:09:55,160 Speaker 1: Grandma shame remember that. Remember take your walk? Would I 200 00:09:55,160 --> 00:09:58,960 Speaker 1: want you to brittle Theodore in Harvard Square? Harvard Square, 201 00:09:59,320 --> 00:10:01,160 Speaker 1: So the brittle was revival house and used to have 202 00:10:01,200 --> 00:10:04,640 Speaker 1: all these different weird double bills and stuff. And I 203 00:10:04,720 --> 00:10:09,640 Speaker 1: saw three women Altman's Three Women, and somehow I made 204 00:10:09,640 --> 00:10:12,640 Speaker 1: it through the seventies without seeing Nashville or or Bruster 205 00:10:12,760 --> 00:10:16,640 Speaker 1: McCloud or Became Mrs Miller any of those movies. So 206 00:10:16,760 --> 00:10:19,880 Speaker 1: I'm watching mash and I was like, who made this movie? 207 00:10:19,960 --> 00:10:22,120 Speaker 1: This movie is incredible. And it was the first time, 208 00:10:22,160 --> 00:10:24,720 Speaker 1: as a young person that I noticed directorial hand you 209 00:10:24,720 --> 00:10:26,679 Speaker 1: know where. I was like, this is a specific kind 210 00:10:26,679 --> 00:10:30,199 Speaker 1: of storytelling and it's eliciting, specific kind of act thing. 211 00:10:31,240 --> 00:10:32,559 Speaker 1: I kind of walked out of there and I thought 212 00:10:32,840 --> 00:10:34,959 Speaker 1: I want to do that, and of course it wasn't 213 00:10:35,000 --> 00:10:37,000 Speaker 1: in the realm of possibility for me the first ten 214 00:10:37,080 --> 00:10:40,520 Speaker 1: years of my career. So he's Alvania and then he 215 00:10:40,600 --> 00:10:42,800 Speaker 1: met me on the player, which I desperately wanted. I 216 00:10:42,800 --> 00:10:45,319 Speaker 1: remember sitting there talking to him. He said, I'm not 217 00:10:45,360 --> 00:10:50,160 Speaker 1: going to give this to you. It's like, okay, and 218 00:10:50,240 --> 00:10:52,360 Speaker 1: that was it. I was devastated. And then I got 219 00:10:52,360 --> 00:10:56,360 Speaker 1: this phone call out of the blue for shortcuts. Hi, 220 00:10:56,480 --> 00:10:59,120 Speaker 1: it's Bob Altman. Do you remember me? You know who 221 00:10:59,120 --> 00:11:01,320 Speaker 1: I am? I was I thought was somebody playing a 222 00:11:01,320 --> 00:11:02,800 Speaker 1: trick on me? I really did. I didn't think it 223 00:11:02,840 --> 00:11:05,200 Speaker 1: was possible that he you know, that's when we had 224 00:11:05,280 --> 00:11:08,400 Speaker 1: hard lines to pick up your phone and he said, 225 00:11:08,440 --> 00:11:10,040 Speaker 1: I have this movie that I want you to do, 226 00:11:10,679 --> 00:11:12,880 Speaker 1: and I said, I'll do it. I'll do it because 227 00:11:12,880 --> 00:11:14,640 Speaker 1: no one want you to read it first and then 228 00:11:14,679 --> 00:11:16,160 Speaker 1: you can tell me if you want to do it, 229 00:11:16,280 --> 00:11:19,760 Speaker 1: you know. But it was really, really, really a dream 230 00:11:19,800 --> 00:11:23,280 Speaker 1: come true to work with him. What an amazing man. 231 00:11:23,880 --> 00:11:25,600 Speaker 1: It's no secret I think when you're in the business 232 00:11:25,640 --> 00:11:27,120 Speaker 1: that we're out of it, but especially when you're in 233 00:11:27,120 --> 00:11:31,959 Speaker 1: the business that casting and effective casting is or more 234 00:11:32,000 --> 00:11:34,160 Speaker 1: of a director's job. They want to just bring people 235 00:11:34,200 --> 00:11:36,040 Speaker 1: to the party who know how to hit the ball. 236 00:11:36,800 --> 00:11:39,880 Speaker 1: And he was someone who I'll never forget. Someone said 237 00:11:39,920 --> 00:11:42,640 Speaker 1: to me. They were all gathered there and this air 238 00:11:42,679 --> 00:11:45,080 Speaker 1: sets rehearsals. Some of them were able to attend it somewhere, 239 00:11:45,480 --> 00:11:48,120 Speaker 1: and Bob just turned everybody and said, uh, nooka May 240 00:11:48,280 --> 00:11:51,959 Speaker 1: was in it, Australiani and Field and he would looked 241 00:11:52,000 --> 00:11:53,480 Speaker 1: at them and he was like, now a nook, you 242 00:11:53,600 --> 00:11:55,559 Speaker 1: just go ahead and speak French. You speak French and 243 00:11:55,960 --> 00:12:00,280 Speaker 1: to or English or Italian. Marcello, say whatever you want 244 00:12:00,320 --> 00:12:02,920 Speaker 1: to say. Y'all, just say anything you want to say, 245 00:12:02,920 --> 00:12:04,840 Speaker 1: and speak in whatever language. You want to speak in 246 00:12:05,240 --> 00:12:08,040 Speaker 1: and I'll fix it in the edit, subtitler or whatever. 247 00:12:08,240 --> 00:12:13,679 Speaker 1: He seems so uncontrolling. He was. The thing about Bob 248 00:12:13,720 --> 00:12:16,360 Speaker 1: was that you couldn't do anything wrong, so it made 249 00:12:16,360 --> 00:12:18,640 Speaker 1: you feel like you could do anything, and you would 250 00:12:18,760 --> 00:12:21,040 Speaker 1: do anything for him. You'd be like, oh, what can 251 00:12:21,080 --> 00:12:22,600 Speaker 1: I do? What can I do? He's like, whatever you 252 00:12:22,640 --> 00:12:25,040 Speaker 1: want to do. But it wasn't like it was chaos. 253 00:12:25,160 --> 00:12:28,280 Speaker 1: You know, he's set up. It was like there was 254 00:12:28,320 --> 00:12:30,560 Speaker 1: a corral that all the actors were in was his 255 00:12:30,679 --> 00:12:34,080 Speaker 1: corral and something. Even with an improv he'd say, okay, 256 00:12:34,120 --> 00:12:36,040 Speaker 1: you know, improv this. He said, I let's do it again, 257 00:12:36,080 --> 00:12:38,240 Speaker 1: but this time you just say that part. So he 258 00:12:38,280 --> 00:12:40,240 Speaker 1: was in complete control of it. But he really made 259 00:12:40,280 --> 00:12:45,000 Speaker 1: you feel so free and so love non judgmental. Yeah, 260 00:12:45,160 --> 00:12:46,960 Speaker 1: there's a quote I read about you where someone says 261 00:12:47,160 --> 00:12:50,600 Speaker 1: they cast you in Shortcuts and you were total unknown. Right, 262 00:12:50,760 --> 00:12:54,200 Speaker 1: She's a total unknown, they said, casting thought, and I 263 00:12:54,200 --> 00:12:57,120 Speaker 1: think you've been working for most ten years. Ten years. However, 264 00:12:57,520 --> 00:13:00,679 Speaker 1: within that cast, I was the only person with thirty 265 00:13:00,720 --> 00:13:04,000 Speaker 1: people and who wasn't famous. So it wasn't amazing. How 266 00:13:04,040 --> 00:13:07,559 Speaker 1: in the movie business if you haven't a movie that 267 00:13:07,760 --> 00:13:10,480 Speaker 1: any of us have seen. Exactly what changed if you 268 00:13:10,559 --> 00:13:15,280 Speaker 1: did that film? Did you change personally? Did I change? 269 00:13:17,640 --> 00:13:20,080 Speaker 1: I'm ugly and I have no talents right and now 270 00:13:20,120 --> 00:13:23,200 Speaker 1: i'm and then I got and then I was and 271 00:13:23,240 --> 00:13:28,080 Speaker 1: then I became yeah, talented, and I know everything. You know. 272 00:13:28,120 --> 00:13:30,040 Speaker 1: It was interesting and I think this is and it's 273 00:13:30,080 --> 00:13:32,560 Speaker 1: actually very similar to what I felt growing up as 274 00:13:32,600 --> 00:13:35,920 Speaker 1: a kid. You would be in one situation. You'd be 275 00:13:35,960 --> 00:13:37,400 Speaker 1: at a school and maybe you would be a kid 276 00:13:37,400 --> 00:13:39,400 Speaker 1: who wasn't very popular and no one thought you were 277 00:13:39,760 --> 00:13:41,600 Speaker 1: very interesting or something, and then you'd moved to another 278 00:13:41,600 --> 00:13:44,040 Speaker 1: school that's cool. Everybody would think you were interesting for 279 00:13:44,080 --> 00:13:46,800 Speaker 1: some reason. It would just happen, and you think, like, well, 280 00:13:46,840 --> 00:13:49,720 Speaker 1: I was the same person. I haven't changed that much. 281 00:13:50,160 --> 00:13:53,640 Speaker 1: So it's deception. Perception has changed. The perception was changed 282 00:13:53,640 --> 00:13:55,880 Speaker 1: after all, so well, and so that's what happened to 283 00:13:55,880 --> 00:13:59,040 Speaker 1: me too. So after ten years of doing television and theater, 284 00:13:59,160 --> 00:14:01,040 Speaker 1: although people don't e the theater, so they don't think 285 00:14:01,040 --> 00:14:04,120 Speaker 1: you really exist. Is she TV? People thought, oh, she's 286 00:14:04,120 --> 00:14:06,679 Speaker 1: a TV actress. And then I do work with Andre 287 00:14:06,760 --> 00:14:09,559 Speaker 1: Gregory and Louis Mall and I work with you Robert Altman, 288 00:14:09,679 --> 00:14:12,320 Speaker 1: and I work with Todd Haynes, and suddenly I'm a 289 00:14:12,520 --> 00:14:16,360 Speaker 1: huge film discovery. I'm in this amazing every Yeah, and 290 00:14:16,400 --> 00:14:18,600 Speaker 1: then I'm like, I'm the same, the same thing. So 291 00:14:18,679 --> 00:14:20,880 Speaker 1: I think, oddly what happens is that you don't change 292 00:14:20,880 --> 00:14:24,000 Speaker 1: a perception of yourself. You're like, well, clearly, it's just 293 00:14:24,520 --> 00:14:28,640 Speaker 1: other people's perception. It solidified my own work ethic that 294 00:14:28,680 --> 00:14:31,040 Speaker 1: it doesn't matter where I'm working. Did you feel that 295 00:14:31,320 --> 00:14:34,080 Speaker 1: the way you grew up fed this in terms of 296 00:14:34,080 --> 00:14:36,440 Speaker 1: you being because because you had to reinvent yourself. Yeah, 297 00:14:36,520 --> 00:14:39,360 Speaker 1: well you were seen by a fresh set of again 298 00:14:39,480 --> 00:14:42,000 Speaker 1: and again and again. You just you have to discover 299 00:14:42,120 --> 00:14:45,120 Speaker 1: a core self and a corpse. Of course, that's the values. 300 00:14:45,320 --> 00:14:47,520 Speaker 1: And people kind of poo poo and say like oh 301 00:14:47,600 --> 00:14:50,320 Speaker 1: TV or oh this or that. I'm like, you know, uh, 302 00:14:51,400 --> 00:14:54,160 Speaker 1: it's all valuable, all of it, you know. Yeah, when 303 00:14:54,200 --> 00:14:58,240 Speaker 1: I do radio announcing, it's work work, it works working, 304 00:14:59,200 --> 00:15:01,400 Speaker 1: and it's also it's it's valuable for you to do 305 00:15:01,440 --> 00:15:03,800 Speaker 1: your bus no matter where you are too. I really 306 00:15:03,880 --> 00:15:06,880 Speaker 1: really believe that you know in everything you do. And 307 00:15:06,920 --> 00:15:08,800 Speaker 1: I also resent it when people say that they can't 308 00:15:08,800 --> 00:15:11,880 Speaker 1: do something like they can't. They were terrible waitress, And 309 00:15:11,920 --> 00:15:15,680 Speaker 1: I'm like, why because you weren't paying attention you're supposed 310 00:15:15,680 --> 00:15:18,560 Speaker 1: to write down. Yeah, so it's it's important, no matter 311 00:15:18,600 --> 00:15:23,440 Speaker 1: what you're doing, to put effort into it. I think 312 00:15:25,160 --> 00:15:28,360 Speaker 1: Julianne Moore, did you know that? There are two d 313 00:15:28,480 --> 00:15:31,960 Speaker 1: and fifty episodes and the Here's the Thing Archive. If 314 00:15:32,000 --> 00:15:35,120 Speaker 1: you like these kinds of in depth conversations between Alec 315 00:15:35,200 --> 00:15:39,560 Speaker 1: and other actors, policymakers, and musicians, go to Here's the 316 00:15:39,640 --> 00:15:43,120 Speaker 1: Thing dot org and take a look around. After the break, 317 00:15:43,440 --> 00:15:57,200 Speaker 1: we'll hear more of Alex's conversation with Julianne Moore. I'm 318 00:15:57,240 --> 00:16:00,960 Speaker 1: Carrie Donohue, still in for Alec Baldwin on Here's the Thing, 319 00:16:01,480 --> 00:16:07,320 Speaker 1: revisiting his conversation with actor Julianne Moore. Alec was surprised 320 00:16:07,320 --> 00:16:10,400 Speaker 1: to learn that Julianne Moore's career didn't really take off 321 00:16:10,680 --> 00:16:14,240 Speaker 1: until she did a string of independent films in the nineties. 322 00:16:15,120 --> 00:16:16,840 Speaker 1: In the nineties in particular, there are a lot of 323 00:16:16,840 --> 00:16:19,280 Speaker 1: people who were working who are who were writer directors, 324 00:16:19,320 --> 00:16:21,640 Speaker 1: and they were kind of, I'm sort of a really 325 00:16:21,680 --> 00:16:24,960 Speaker 1: great great period for independent film. I think people were 326 00:16:25,720 --> 00:16:29,600 Speaker 1: looking to tell these really unusual stories, and there wasn't 327 00:16:29,600 --> 00:16:34,200 Speaker 1: an economic expectation on them either. That's changed. So it 328 00:16:34,320 --> 00:16:36,840 Speaker 1: was about being involved in that narrative and that in 329 00:16:36,920 --> 00:16:39,400 Speaker 1: that vision and stuff. You know, it really was bringing 330 00:16:39,440 --> 00:16:42,480 Speaker 1: that story to life. I think you made every kind 331 00:16:42,480 --> 00:16:45,560 Speaker 1: of movie. I've made every kind of You've made every 332 00:16:45,640 --> 00:16:48,920 Speaker 1: kind of movie. Yeah. Yeah, you've done movies with Steven 333 00:16:48,960 --> 00:16:53,280 Speaker 1: Spielberg dinosaurs that you've done sequels or Anthony Hopkins chops 334 00:16:53,320 --> 00:16:56,080 Speaker 1: his own hand off because he's so in love with you. Right, 335 00:16:56,640 --> 00:17:04,760 Speaker 1: I've done independent drawing person Yeah, scary movies. Bad? Did 336 00:17:04,800 --> 00:17:08,160 Speaker 1: you do? Right? I don't know what I have. They 337 00:17:08,160 --> 00:17:10,080 Speaker 1: didn't remake Psycho in black and white. They did it 338 00:17:10,080 --> 00:17:11,600 Speaker 1: in color. They did it in color. Yeah, but that 339 00:17:11,640 --> 00:17:13,439 Speaker 1: was a remake. That was a shot by shot that 340 00:17:13,480 --> 00:17:16,280 Speaker 1: I know you know, so which which in an interview 341 00:17:16,280 --> 00:17:18,159 Speaker 1: I read you thought that was something you should not 342 00:17:18,200 --> 00:17:20,080 Speaker 1: have done. I think it failed. I don't think that 343 00:17:20,080 --> 00:17:22,280 Speaker 1: I shouldn't have done it, but I do think that 344 00:17:22,680 --> 00:17:24,840 Speaker 1: when you're doing the film, that is a shot by shot. 345 00:17:24,880 --> 00:17:27,199 Speaker 1: I mean not just saying this fascinating psychologically when you 346 00:17:27,240 --> 00:17:28,840 Speaker 1: do a film. I mean, I'm not just saying this 347 00:17:28,880 --> 00:17:31,880 Speaker 1: for your benefit. You are a very very very very 348 00:17:31,960 --> 00:17:35,439 Speaker 1: talented woman, and Van's aunt is a good director director. 349 00:17:36,080 --> 00:17:38,320 Speaker 1: What does van Zant when he's remaking a shot by 350 00:17:38,320 --> 00:17:41,040 Speaker 1: shot one of the greatest thrillers in history? Did Van 351 00:17:41,160 --> 00:17:43,520 Speaker 1: Zant have to say anything to bolster you to get 352 00:17:43,560 --> 00:17:45,879 Speaker 1: through that experience? But he's like trying to know, and 353 00:17:45,920 --> 00:17:47,760 Speaker 1: it wasn't like it wasn't like we had to be 354 00:17:47,760 --> 00:17:49,520 Speaker 1: bolster to get through it. I think we're all very 355 00:17:49,560 --> 00:17:53,720 Speaker 1: specifically trying to recreate, recreate it, but in a month 356 00:17:53,960 --> 00:17:56,160 Speaker 1: and now, I wish if if we're do it again, 357 00:17:56,320 --> 00:17:57,880 Speaker 1: I would like to do it in black and white. 358 00:17:57,920 --> 00:18:00,280 Speaker 1: I'd like to do it in the same costume. I'd 359 00:18:00,280 --> 00:18:03,639 Speaker 1: like to do it with the exact same information. Let's 360 00:18:03,680 --> 00:18:06,720 Speaker 1: do the better remake of Psycho like that? That to me, 361 00:18:06,760 --> 00:18:08,919 Speaker 1: I think that would have been that we sort of 362 00:18:09,119 --> 00:18:13,080 Speaker 1: modernized it but then kept the old pacing and it 363 00:18:13,119 --> 00:18:18,960 Speaker 1: was Yeah. She who's great? Oh um. Vince Vaughan was 364 00:18:19,119 --> 00:18:21,439 Speaker 1: nan as a director. He was great. He's such a 365 00:18:21,480 --> 00:18:25,000 Speaker 1: lovely person, very very soft spoken, you know, just incredibly 366 00:18:25,440 --> 00:18:27,840 Speaker 1: incredibly soft spoken. I liked him a lot. I'd like 367 00:18:27,880 --> 00:18:29,959 Speaker 1: to work with him on something that he you know, 368 00:18:30,000 --> 00:18:32,960 Speaker 1: that I loved Elephant Elephant. I always tell people see Elephant, 369 00:18:32,960 --> 00:18:36,920 Speaker 1: which is his Columbine films. Oh my, what an amazing film. 370 00:18:36,920 --> 00:18:40,960 Speaker 1: It's been amazing film. It's like the most hypnotic film 371 00:18:40,800 --> 00:18:43,719 Speaker 1: that has a Columbine type of theme to it. And 372 00:18:43,800 --> 00:18:46,400 Speaker 1: I love Gus. I think Us is incredible. I think 373 00:18:46,400 --> 00:18:48,720 Speaker 1: my favorite kind of acting to do though. I saw 374 00:18:48,840 --> 00:18:51,000 Speaker 1: Todd Haynes, my friend Todd Haynes I made Far from 375 00:18:51,000 --> 00:18:53,200 Speaker 1: Heaven and Safe with and we had dinner together and 376 00:18:53,240 --> 00:18:55,800 Speaker 1: we were talking about our experience and he said, why 377 00:18:55,800 --> 00:18:58,960 Speaker 1: did you understand? How did you understand how minimal the 378 00:18:58,960 --> 00:19:00,560 Speaker 1: acting was going to be? And I said, I felt 379 00:19:00,600 --> 00:19:03,119 Speaker 1: like I saw it in the language. His language was 380 00:19:03,200 --> 00:19:06,000 Speaker 1: so spare and so specific, and then I would say, 381 00:19:06,080 --> 00:19:08,320 Speaker 1: let me see the frame, and his frames were also 382 00:19:08,640 --> 00:19:11,399 Speaker 1: I felt like he was communicating so much just in 383 00:19:11,400 --> 00:19:14,359 Speaker 1: the frame. So my favorite thing is an actor is 384 00:19:14,400 --> 00:19:17,160 Speaker 1: to know what the director's vision is, to be communicated 385 00:19:17,240 --> 00:19:19,560 Speaker 1: that way through the language and in the shot, and 386 00:19:19,560 --> 00:19:21,640 Speaker 1: then I'm like, now I know what I'm doing. Give 387 00:19:21,680 --> 00:19:27,119 Speaker 1: me an example. Well, like when Todd Todd at a 388 00:19:27,160 --> 00:19:29,879 Speaker 1: shot of a very wide living room, you know, and 389 00:19:30,000 --> 00:19:31,600 Speaker 1: at a baby shower, and there were a bunch of 390 00:19:31,640 --> 00:19:34,679 Speaker 1: women all the way at the right side of the frame. 391 00:19:35,119 --> 00:19:38,000 Speaker 1: I had crossed all the way across and was standing 392 00:19:38,080 --> 00:19:39,800 Speaker 1: up on the left side of frame, and I just 393 00:19:39,880 --> 00:19:41,719 Speaker 1: asked where the lady's room? And my only line is 394 00:19:42,080 --> 00:19:44,200 Speaker 1: can you tell me where the lady's room is? Please? 395 00:19:44,320 --> 00:19:46,560 Speaker 1: Or something that? And I could see it was all 396 00:19:46,600 --> 00:19:49,320 Speaker 1: about this movement of her kind of trying to reach 397 00:19:49,359 --> 00:19:51,199 Speaker 1: over these people. So so once I looked at that, 398 00:19:51,240 --> 00:19:52,720 Speaker 1: I was like, okay, well I can see if I 399 00:19:52,800 --> 00:19:55,879 Speaker 1: hunched my shoulders forward, then my then this little figure 400 00:19:55,920 --> 00:19:58,320 Speaker 1: is kind of bowed in this big wide frame, you know. 401 00:19:58,920 --> 00:20:01,760 Speaker 1: So he's telling the story realienation. You know, you don't 402 00:20:01,760 --> 00:20:04,080 Speaker 1: have to talk about anything, you just do it. It's great. 403 00:20:04,840 --> 00:20:07,439 Speaker 1: When I was saying before, how I think, you know, 404 00:20:07,520 --> 00:20:11,640 Speaker 1: I know what it is. People hire you for what 405 00:20:11,680 --> 00:20:15,199 Speaker 1: they expect from you. I think that the ingredient in 406 00:20:15,240 --> 00:20:18,119 Speaker 1: the meal that you are is a tremendous amount of 407 00:20:18,119 --> 00:20:22,040 Speaker 1: emotional truth. You have a kind of emotional residence. But 408 00:20:22,119 --> 00:20:24,639 Speaker 1: you turn on and off, you know, like I always 409 00:20:24,680 --> 00:20:26,280 Speaker 1: I want to talk to about pet Anderson for a minute, 410 00:20:26,400 --> 00:20:28,399 Speaker 1: Like when you do Boogie Nights and that character you 411 00:20:28,440 --> 00:20:32,040 Speaker 1: played you played someone who was so cut off that 412 00:20:32,040 --> 00:20:34,760 Speaker 1: then that's what I from her reality. What I perceived 413 00:20:34,880 --> 00:20:37,080 Speaker 1: was was did you make a choice with this woman 414 00:20:37,560 --> 00:20:39,800 Speaker 1: That famous scene you have with him where he's going 415 00:20:39,840 --> 00:20:41,639 Speaker 1: to have sex with you when you tell him you 416 00:20:41,640 --> 00:20:43,919 Speaker 1: can do this to me, and you're very do this, 417 00:20:44,000 --> 00:20:45,399 Speaker 1: do this, do this, you can do this to me, 418 00:20:45,440 --> 00:20:47,359 Speaker 1: go ahead, go ahead, and you're kind of holding it. 419 00:20:47,359 --> 00:20:48,960 Speaker 1: It's like his first day at school. Or she's a 420 00:20:49,040 --> 00:20:51,760 Speaker 1: complete denial about what's going on. And she's someone who's 421 00:20:51,800 --> 00:20:54,840 Speaker 1: made an economic choice. Really, she's given up her family, 422 00:20:54,920 --> 00:20:56,800 Speaker 1: has given up her child. She probably was in a 423 00:20:56,800 --> 00:20:58,320 Speaker 1: position where this was the only kind of work she 424 00:20:58,359 --> 00:21:01,400 Speaker 1: could get. She's a right after any of those people. Yeah, 425 00:21:01,760 --> 00:21:03,680 Speaker 1: she's a drug addict. My favorite scene in the movie 426 00:21:03,760 --> 00:21:06,159 Speaker 1: is when she goes to court to get custody of 427 00:21:06,160 --> 00:21:08,760 Speaker 1: her son. We're talking about who are listening, And she's 428 00:21:08,760 --> 00:21:10,679 Speaker 1: all dressed up and she's trying to be kind of 429 00:21:10,720 --> 00:21:12,960 Speaker 1: a straight arrow and stuff, and she feels very self 430 00:21:13,040 --> 00:21:16,720 Speaker 1: righteous about getting her child back, and the judge looks 431 00:21:16,720 --> 00:21:19,000 Speaker 1: at her and says, Maggie, have you ever been arrested? 432 00:21:20,080 --> 00:21:22,840 Speaker 1: And that's the end, and you go, oh my god, 433 00:21:23,280 --> 00:21:25,840 Speaker 1: this you know, she's she's of course, she's been arrested, 434 00:21:26,080 --> 00:21:28,520 Speaker 1: you know, and she's just SOPs and stops and stops, 435 00:21:28,520 --> 00:21:30,119 Speaker 1: and you go. So, this is a woman who in 436 00:21:30,200 --> 00:21:32,600 Speaker 1: her head thinks that she can be a parent, but 437 00:21:32,680 --> 00:21:35,439 Speaker 1: she's she can't. She's not living a life is going 438 00:21:35,480 --> 00:21:37,560 Speaker 1: to allow herself to parent a child, but she won't. 439 00:21:37,680 --> 00:21:40,040 Speaker 1: It's a huge space between what she feels about herself 440 00:21:40,080 --> 00:21:42,760 Speaker 1: and what the actual what was actually happened. That's the 441 00:21:42,800 --> 00:21:45,720 Speaker 1: first time you worked with Anderson. Yeah, what have you 442 00:21:45,720 --> 00:21:50,320 Speaker 1: been doing before that? What did he see you? Win Safe? 443 00:21:50,400 --> 00:21:52,000 Speaker 1: I don't know. I think he saw me, and but 444 00:21:52,080 --> 00:21:54,280 Speaker 1: I think he's awa Shortcuts and Safe and Vannie and 445 00:21:54,280 --> 00:21:56,399 Speaker 1: all that stuff. You know. Paul was very young. He 446 00:21:56,480 --> 00:21:58,080 Speaker 1: was twenty six when we met. We met at a 447 00:21:58,160 --> 00:22:00,399 Speaker 1: party and a friend of mine is produced me to 448 00:22:00,520 --> 00:22:02,200 Speaker 1: him and said, this guy wrote this script and he 449 00:22:02,240 --> 00:22:03,639 Speaker 1: wants you to do it. And I was like, I 450 00:22:03,680 --> 00:22:05,600 Speaker 1: would love to read it. And he said, you're going 451 00:22:05,680 --> 00:22:07,760 Speaker 1: to be in my movie. Man. I got the script 452 00:22:07,760 --> 00:22:10,080 Speaker 1: and I read it and I was like, holy cow, yes, 453 00:22:10,160 --> 00:22:13,760 Speaker 1: I am. This is fantastic. He has such an original voice, 454 00:22:13,880 --> 00:22:17,880 Speaker 1: was so exciting. It was such an amazing story and 455 00:22:17,920 --> 00:22:20,800 Speaker 1: so emotional and wonderful and rich, and yeah, I was 456 00:22:20,840 --> 00:22:23,560 Speaker 1: lucky to get it, you know what you were saying. 457 00:22:23,600 --> 00:22:26,200 Speaker 1: I was thinking about how let me talk about emotion 458 00:22:26,400 --> 00:22:28,440 Speaker 1: you know on camera and stuff. You have that too, 459 00:22:28,560 --> 00:22:32,439 Speaker 1: You have this, You have this tremendous vitality, like a 460 00:22:32,520 --> 00:22:35,640 Speaker 1: real sense of being alive and a lot, a lot 461 00:22:35,680 --> 00:22:39,560 Speaker 1: contained inside you. And it's wonderful to work with you 462 00:22:39,600 --> 00:22:41,919 Speaker 1: because it just permeates the scene, like you know, you 463 00:22:42,040 --> 00:22:45,359 Speaker 1: feel that. That's the trick. The trick is how do 464 00:22:45,400 --> 00:22:48,520 Speaker 1: you live on camera? How do you become alive on camera? 465 00:22:48,560 --> 00:22:51,760 Speaker 1: So there's all this stuff about acting, you know, you 466 00:22:51,800 --> 00:22:54,320 Speaker 1: can kind of create all this kind of stuff you 467 00:22:54,359 --> 00:23:00,640 Speaker 1: know about you, Yeah, be alive, be alive. You did 468 00:23:00,640 --> 00:23:02,760 Speaker 1: that great thing when we had that scene in Still Alice. 469 00:23:03,000 --> 00:23:05,119 Speaker 1: You know, we had to say, remember Santorini, which is 470 00:23:05,160 --> 00:23:07,880 Speaker 1: always really hard to start a scene with that kind 471 00:23:07,920 --> 00:23:09,960 Speaker 1: of thing, and and you said, and then you made 472 00:23:10,160 --> 00:23:14,119 Speaker 1: you started laughing so hard, and then I started laughing, 473 00:23:14,160 --> 00:23:17,040 Speaker 1: and then suddenly it's a scene about two people laughing 474 00:23:17,160 --> 00:23:24,000 Speaker 1: because but you know, it's it's like that's what you want, 475 00:23:24,040 --> 00:23:25,560 Speaker 1: you know. That's why I like to talk when I 476 00:23:25,600 --> 00:23:28,560 Speaker 1: work what do people expect from you or think of 477 00:23:28,600 --> 00:23:30,439 Speaker 1: you when they meet you. I think they think that 478 00:23:30,480 --> 00:23:32,440 Speaker 1: I'm going to be more serious than I am. I 479 00:23:32,440 --> 00:23:34,760 Speaker 1: guess because all the dramas and the crying and stuff, 480 00:23:34,960 --> 00:23:36,560 Speaker 1: they think that I'm going to be really dramatic and 481 00:23:36,680 --> 00:23:39,200 Speaker 1: Sam of the film, Yeah, but I'm not. As you know, 482 00:23:39,560 --> 00:23:41,919 Speaker 1: I'm not a very serious person, and I'm not a 483 00:23:42,000 --> 00:23:46,560 Speaker 1: very I'm not a terribly sad person. Sure, yeah, I 484 00:23:46,600 --> 00:23:50,119 Speaker 1: can be serious, but I like to I'm very chatty. 485 00:23:50,240 --> 00:23:52,080 Speaker 1: I like to talk all the way up to action. 486 00:23:52,640 --> 00:23:55,119 Speaker 1: I do. I do, And if you can't talk to me, 487 00:23:55,160 --> 00:23:57,840 Speaker 1: I'm really disappointed. Then I get lonely, and I want 488 00:23:57,840 --> 00:23:59,199 Speaker 1: to be lonely. When I won, I want to be 489 00:23:59,200 --> 00:24:01,000 Speaker 1: with my buddy. I'm going to talk to me. You 490 00:24:01,040 --> 00:24:03,000 Speaker 1: talk to me, friendlebody, talk to you. What did you 491 00:24:03,040 --> 00:24:04,560 Speaker 1: do this morning? What do you have for dinner last night? 492 00:24:04,600 --> 00:24:06,480 Speaker 1: What are you doing later today? Are you cold? You 493 00:24:06,600 --> 00:24:08,399 Speaker 1: like that sweater? Don't you like my sweater? What are 494 00:24:08,400 --> 00:24:11,440 Speaker 1: you doing? Action acting? I love it. That's my favorite part. 495 00:24:12,160 --> 00:24:14,480 Speaker 1: Then you get this great connection with another human being, 496 00:24:14,480 --> 00:24:17,119 Speaker 1: and then the scenes like comes Alive. You know, you 497 00:24:17,200 --> 00:24:20,080 Speaker 1: think that that emotion is so available to you. Why 498 00:24:20,280 --> 00:24:24,560 Speaker 1: it's inside, It's inside everybody everyone. So it's like, how 499 00:24:24,600 --> 00:24:27,520 Speaker 1: do you access that? You know, your own story, everybody 500 00:24:27,520 --> 00:24:29,879 Speaker 1: else's story. You know, what you're getting on top is 501 00:24:29,960 --> 00:24:33,520 Speaker 1: just like the tiniest little like shell. Other than that, 502 00:24:33,560 --> 00:24:36,440 Speaker 1: there's all this stuff. But then, but then, like I said, 503 00:24:36,480 --> 00:24:38,280 Speaker 1: it's easier for me to get into it when i'm 504 00:24:38,320 --> 00:24:40,280 Speaker 1: when i'm you know, talking to you about you know 505 00:24:40,359 --> 00:24:43,440 Speaker 1: how much I like your sweater? And you know where 506 00:24:43,480 --> 00:24:45,960 Speaker 1: you live? And are you going to rent or are 507 00:24:45,960 --> 00:24:48,280 Speaker 1: you going to buy? Or you know all that kind 508 00:24:48,280 --> 00:24:50,399 Speaker 1: of stuff. You know, how are your kids? You know? 509 00:24:50,600 --> 00:24:52,960 Speaker 1: How was seventh grade for so and so? I mean, 510 00:24:53,040 --> 00:24:56,639 Speaker 1: I I love all that stuff. I remember when I 511 00:24:56,680 --> 00:24:59,200 Speaker 1: was younger, I think it was even unconsciousness. I would 512 00:24:59,200 --> 00:25:05,000 Speaker 1: see people acting films and the predominant examples would be 513 00:25:05,040 --> 00:25:09,879 Speaker 1: like Brando or Gina or something like that, where them 514 00:25:09,920 --> 00:25:13,880 Speaker 1: breaking down wasn't a big deal. These are like notes 515 00:25:13,920 --> 00:25:16,919 Speaker 1: you played in music, like that's just what people do. 516 00:25:17,000 --> 00:25:19,639 Speaker 1: I didn't think about it like like it was separate 517 00:25:19,680 --> 00:25:21,800 Speaker 1: because I went to Strasbourg where they really they put 518 00:25:21,840 --> 00:25:23,320 Speaker 1: you in the frying pan and they really made you 519 00:25:23,359 --> 00:25:25,440 Speaker 1: get to that. And I went to act to school 520 00:25:25,440 --> 00:25:28,119 Speaker 1: for a year where we basically cried for like they will, 521 00:25:28,160 --> 00:25:29,800 Speaker 1: they try to get you used to being able to do. 522 00:25:30,800 --> 00:25:32,639 Speaker 1: But the funny thing is is that that's just a 523 00:25:32,680 --> 00:25:35,040 Speaker 1: technique to get you to tap into it because people 524 00:25:35,040 --> 00:25:37,120 Speaker 1: don't really behave that way, but you have to find 525 00:25:37,119 --> 00:25:39,840 Speaker 1: it once again. It's all about what's true, what's real. 526 00:25:40,400 --> 00:25:43,320 Speaker 1: It's like guns in movies and guns going off and 527 00:25:43,359 --> 00:25:47,080 Speaker 1: people hitting people. Sometimes, especially early on in my career, 528 00:25:47,119 --> 00:25:50,040 Speaker 1: people be like and then someone gets slapped and I thought, wait, 529 00:25:50,160 --> 00:25:53,640 Speaker 1: people don't slap each other, and if somebody does, it's shocking. 530 00:25:53,960 --> 00:25:57,400 Speaker 1: So remember that when when there's a physical altercation, you're 531 00:25:57,440 --> 00:26:00,280 Speaker 1: shocked by it. When people cry, it's upsetting. You're not 532 00:26:00,320 --> 00:26:01,920 Speaker 1: trying to cry. You're trying not to cry because you 533 00:26:01,920 --> 00:26:03,520 Speaker 1: don't want to be embarrassed, you know. So it's like 534 00:26:03,800 --> 00:26:06,479 Speaker 1: so all that acting school stuff is about learning how 535 00:26:06,520 --> 00:26:10,240 Speaker 1: to locate all those feelings. But then over time, with experience, 536 00:26:10,320 --> 00:26:14,760 Speaker 1: you learn, like the greats like Brando, to modulate them. 537 00:26:14,840 --> 00:26:18,439 Speaker 1: When you worked with pt with Paul Thomas Anderson, Boogie 538 00:26:18,480 --> 00:26:20,760 Speaker 1: Knights was the first film was he helpful to you? 539 00:26:20,800 --> 00:26:22,359 Speaker 1: Was a director who did it all basically take care 540 00:26:22,400 --> 00:26:24,480 Speaker 1: of itself. Because it was take care of itself. I 541 00:26:24,520 --> 00:26:28,280 Speaker 1: have to say a great directors, all the greatest directors 542 00:26:28,280 --> 00:26:31,359 Speaker 1: say very very little. Magnolia was harder because it was 543 00:26:31,400 --> 00:26:34,159 Speaker 1: so emotional, and I was really trying to plot it, 544 00:26:34,480 --> 00:26:36,600 Speaker 1: you know, because I had to literally cry in every scene, 545 00:26:36,600 --> 00:26:38,760 Speaker 1: and so I had to I'm like, all right, Paul, Paul, 546 00:26:38,800 --> 00:26:41,560 Speaker 1: this is this is like the smaller crying into the bigger, 547 00:26:41,600 --> 00:26:43,760 Speaker 1: crying at the biggest, crying to the big, big, big, 548 00:26:43,880 --> 00:26:45,520 Speaker 1: you know. So it's like I had to find a 549 00:26:45,560 --> 00:26:48,040 Speaker 1: way to not be It wasn't like the level of 550 00:26:48,080 --> 00:26:50,879 Speaker 1: hystaria had to change, you know. I had to be modulated. 551 00:26:51,200 --> 00:26:52,959 Speaker 1: I couldn't be at ten. I had to be at 552 00:26:52,960 --> 00:26:54,680 Speaker 1: two and you know, get to ten and all that 553 00:26:54,760 --> 00:26:56,879 Speaker 1: kind of There are times when I'll say, the director, 554 00:26:57,840 --> 00:27:00,480 Speaker 1: I want you to watch my vocal hatter, and I 555 00:27:00,480 --> 00:27:02,320 Speaker 1: want you to watch my level of hysteria, I want 556 00:27:02,400 --> 00:27:07,040 Speaker 1: you to whatever. But basically I want them to direct 557 00:27:07,600 --> 00:27:09,960 Speaker 1: the movie. Do you know. I feel like I feel 558 00:27:10,000 --> 00:27:12,760 Speaker 1: like there's a it's a misnomer that the director is 559 00:27:12,800 --> 00:27:15,080 Speaker 1: an acting coach. The director is there to direct the 560 00:27:15,119 --> 00:27:18,480 Speaker 1: audiences I through a film. The actor is doing the acting. 561 00:27:18,720 --> 00:27:21,879 Speaker 1: They shouldn't have to say. You know, I think a 562 00:27:22,160 --> 00:27:23,720 Speaker 1: time with the director, how it was it tough without 563 00:27:23,800 --> 00:27:26,080 Speaker 1: naming names. What was tough when they talk to me 564 00:27:26,119 --> 00:27:28,760 Speaker 1: too much? Well, because I always say to everybody, please 565 00:27:28,760 --> 00:27:31,320 Speaker 1: don't speak to me before I've done any acting, I said, 566 00:27:31,320 --> 00:27:34,320 Speaker 1: because I'm just trying to hang onto this. Yeah, see 567 00:27:34,359 --> 00:27:36,080 Speaker 1: what I come up with. And if I'm way off base, 568 00:27:36,160 --> 00:27:38,200 Speaker 1: and please, by all means, come up and say like, wow, 569 00:27:38,200 --> 00:27:41,680 Speaker 1: that wasn't what I expected. But if I hear too much, 570 00:27:41,800 --> 00:27:43,680 Speaker 1: I mean, this is gonna sound really silly and precious. 571 00:27:43,720 --> 00:27:46,119 Speaker 1: But I always say that acting. So it's like this 572 00:27:46,200 --> 00:27:49,800 Speaker 1: little flame and you've got this little thing and you're thinking, Okay, 573 00:27:49,800 --> 00:27:51,200 Speaker 1: I wanted to this to work, but you don't want 574 00:27:51,200 --> 00:27:53,320 Speaker 1: to blow it out. If somebody comes along and says 575 00:27:53,400 --> 00:27:55,880 Speaker 1: this is what I think, they might just blow it out. 576 00:27:56,280 --> 00:27:58,520 Speaker 1: And then you have nowhere you know, then you can't 577 00:27:58,520 --> 00:28:01,960 Speaker 1: reach it anymore. No emotional as you are, and you 578 00:28:02,040 --> 00:28:07,040 Speaker 1: have this remarkable emotional residence in your work. What do 579 00:28:07,080 --> 00:28:09,120 Speaker 1: you like privately, to the extent that you want to say, 580 00:28:09,160 --> 00:28:14,160 Speaker 1: you're a mother, Yes, you were married before before married, 581 00:28:14,240 --> 00:28:16,520 Speaker 1: I'm married now, but I've been with my husband for 582 00:28:16,600 --> 00:28:19,760 Speaker 1: eighteen years. We have two children, they're sixteen and twelve. 583 00:28:20,280 --> 00:28:24,240 Speaker 1: I have a fantastic, fantastic family. I have two dogs. 584 00:28:24,320 --> 00:28:27,359 Speaker 1: They're black, one is small and one is big, a 585 00:28:27,480 --> 00:28:30,359 Speaker 1: Chihuahua and a lab and uh. We live in New 586 00:28:30,400 --> 00:28:32,679 Speaker 1: York City. I have a really nice life. I'm really 587 00:28:32,880 --> 00:28:35,800 Speaker 1: really lucky. You try to keep it simple, oh man, Yeah, 588 00:28:36,040 --> 00:28:37,960 Speaker 1: I really do. I try to keep it when he 589 00:28:38,040 --> 00:28:40,400 Speaker 1: tag team work wise because he makes films. He makes 590 00:28:40,440 --> 00:28:43,120 Speaker 1: films and television too. You know, we've been very fortunate. 591 00:28:43,120 --> 00:28:45,640 Speaker 1: I mean, it's interesting because the work life balance thing 592 00:28:45,720 --> 00:28:49,000 Speaker 1: is always an issue for everybody when they're little. When 593 00:28:49,000 --> 00:28:52,200 Speaker 1: they were babies, it was super super easy because babies 594 00:28:52,200 --> 00:28:55,240 Speaker 1: don't know where they are and you can bring them everywhere. 595 00:28:55,840 --> 00:28:59,840 Speaker 1: And also we have an incredibly tolerant business toward women 596 00:29:00,040 --> 00:29:02,600 Speaker 1: with children. I have to say thank goodness for the 597 00:29:02,600 --> 00:29:04,720 Speaker 1: movie business. I remember my son was when I was 598 00:29:04,720 --> 00:29:06,680 Speaker 1: doing Psycho. As a matter of fact, my son was 599 00:29:06,760 --> 00:29:08,640 Speaker 1: nine months old and I was still getting used to 600 00:29:08,920 --> 00:29:11,440 Speaker 1: having a baby, and he was always with me and stuff, 601 00:29:11,480 --> 00:29:14,040 Speaker 1: and he was hysterical in the trailer one day and 602 00:29:14,080 --> 00:29:15,560 Speaker 1: I was nursing him and trying to get him to 603 00:29:15,560 --> 00:29:17,360 Speaker 1: calm down. They knocked the trailer door and they said, 604 00:29:17,400 --> 00:29:22,960 Speaker 1: you know, we need you, and I was like, I 605 00:29:23,160 --> 00:29:27,720 Speaker 1: can't come, and this adorable p A said, no worries, man, 606 00:29:27,880 --> 00:29:31,320 Speaker 1: take your time, and I was like, holy cow, I'm 607 00:29:31,320 --> 00:29:33,000 Speaker 1: the luckiest woman in the world, you know. I mean 608 00:29:33,040 --> 00:29:36,120 Speaker 1: so so our business is very tolerant. We're lucky and 609 00:29:36,400 --> 00:29:38,360 Speaker 1: I have no complaints as an actress. Did you turn 610 00:29:38,440 --> 00:29:41,280 Speaker 1: down a lot of work with your family? So you do? 611 00:29:41,600 --> 00:29:43,480 Speaker 1: You do? I shut? You turn things down because you 612 00:29:43,520 --> 00:29:45,760 Speaker 1: can't travel. You know, You're like, once the kids are 613 00:29:45,800 --> 00:29:49,760 Speaker 1: in school, I can't go. I can't go in Australia 614 00:29:49,800 --> 00:29:54,160 Speaker 1: in a few days, and I feel terrible. Yeah, it's tough, 615 00:29:54,280 --> 00:29:56,760 Speaker 1: and it's tougher on women because when you have infants, 616 00:29:56,800 --> 00:29:58,560 Speaker 1: you know, I mean, it's it's easier for you because 617 00:29:58,600 --> 00:29:59,720 Speaker 1: you can go and come back or it doesn't make 618 00:29:59,760 --> 00:30:02,600 Speaker 1: it me it's emotionally easy for you. But yeah, so 619 00:30:02,680 --> 00:30:05,000 Speaker 1: I work. I try to work. If I have to travel, 620 00:30:05,000 --> 00:30:07,040 Speaker 1: I do it in the summertime when everybody can come. 621 00:30:07,520 --> 00:30:09,680 Speaker 1: I work in the city when they're in school, and 622 00:30:09,960 --> 00:30:11,960 Speaker 1: you know, try to alight a bunch of things. If 623 00:30:12,000 --> 00:30:14,360 Speaker 1: I have to travel a bunch of together. And you know, 624 00:30:14,360 --> 00:30:16,560 Speaker 1: and I have a partner who's an equal parent, and 625 00:30:17,080 --> 00:30:19,840 Speaker 1: we alternate. Michael Fox said that year ago, he said, 626 00:30:19,840 --> 00:30:21,880 Speaker 1: they send you a script. Into the script said open 627 00:30:22,000 --> 00:30:24,720 Speaker 1: on the skyline of Manhattan. He closed the script and say, 628 00:30:24,760 --> 00:30:31,800 Speaker 1: I'm in. That's it. Absolutely, I have no idea. This 629 00:30:31,880 --> 00:30:34,320 Speaker 1: tax break in New York City has been a godsend. 630 00:30:35,600 --> 00:30:38,560 Speaker 1: It's amazing because I've been able to do so many 631 00:30:38,640 --> 00:30:41,200 Speaker 1: movies at home. I mean it really and yeah, I'm like, 632 00:30:41,280 --> 00:30:48,400 Speaker 1: she's in New York. Alright, Fine, it's great, Dear Alex. 633 00:30:48,480 --> 00:30:51,600 Speaker 1: Complete conversation with Julianne Moore go to Here's the Thing 634 00:30:51,720 --> 00:30:57,680 Speaker 1: dot Org. Maggie Gillen Hall has embraced a wide range 635 00:30:57,680 --> 00:31:00,200 Speaker 1: of work in her career, from big budget films like 636 00:31:00,240 --> 00:31:03,360 Speaker 1: The Dark Night and Nanny McPhee to off Broadway theater. 637 00:31:04,080 --> 00:31:06,720 Speaker 1: She was nominated for an Academy Award for her work 638 00:31:06,720 --> 00:31:09,360 Speaker 1: in Crazy Heart, and she won a Golden Globe for 639 00:31:09,400 --> 00:31:13,480 Speaker 1: her performance on the TV series The Honorable Woman. Alec 640 00:31:13,560 --> 00:31:16,480 Speaker 1: talked with Maggie Dillen Hall before a live audience at 641 00:31:16,480 --> 00:31:21,800 Speaker 1: the Hampton's International Film Festival in Maggie Dillen Hall majored 642 00:31:21,800 --> 00:31:24,840 Speaker 1: in English literature at Columbia, and Alec wondered whether she 643 00:31:24,920 --> 00:31:28,720 Speaker 1: started performing in plays there as well. I did a 644 00:31:28,760 --> 00:31:32,520 Speaker 1: lot first. I mean I I had one teacher there 645 00:31:32,560 --> 00:31:35,800 Speaker 1: who I learned a lot from, this woman, Joan rosen Fells. 646 00:31:36,520 --> 00:31:38,240 Speaker 1: But I don't know. I guess that was a Columbian 647 00:31:38,240 --> 00:31:41,120 Speaker 1: and I sort of felt like I'm a Columbia, like 648 00:31:41,200 --> 00:31:46,920 Speaker 1: I should study Columbia does best acting. Yeah. I tell 649 00:31:46,920 --> 00:31:50,360 Speaker 1: people that now, who are students who go to degree 650 00:31:50,440 --> 00:31:54,280 Speaker 1: granting universities for drama? And I say, don't just take 651 00:31:54,400 --> 00:31:57,960 Speaker 1: drama acting, Take something where you're going to read a 652 00:31:58,000 --> 00:32:00,720 Speaker 1: lot of books, philosophy and the nature history, but you're 653 00:32:00,720 --> 00:32:02,920 Speaker 1: there gonna do. What's the first production to do in 654 00:32:02,920 --> 00:32:06,440 Speaker 1: New York? Do you remember? Like my first you had 655 00:32:06,440 --> 00:32:08,680 Speaker 1: to Columbia? You did play What would you do? What 656 00:32:08,720 --> 00:32:13,440 Speaker 1: did I do at Columbia was the first one? Oh? 657 00:32:13,720 --> 00:32:18,280 Speaker 1: I did a student production of No Exit with this 658 00:32:18,320 --> 00:32:23,720 Speaker 1: guy who became my boyfriend named Dante, who was actually 659 00:32:23,720 --> 00:32:27,560 Speaker 1: twenty five and it already graduated from college. It was 660 00:32:27,600 --> 00:32:34,000 Speaker 1: in a student's production talk yeah in prison? Now that correctly? 661 00:32:34,840 --> 00:32:37,600 Speaker 1: So I did that. I also did Um the Tempest, 662 00:32:38,000 --> 00:32:41,800 Speaker 1: and I played prosper that. No, no, he didn't make 663 00:32:41,800 --> 00:32:44,760 Speaker 1: it in that one. Um, but yeah, that was the 664 00:32:44,800 --> 00:32:48,040 Speaker 1: first one. Was no exit when you when you graduated 665 00:32:48,120 --> 00:32:50,800 Speaker 1: with a degree in literature, was was acting the goals 666 00:32:50,840 --> 00:32:53,600 Speaker 1: or what you wanted to do? Yeah, I did. I 667 00:32:53,640 --> 00:32:56,000 Speaker 1: always wanted to be an actress. And I feel I 668 00:32:56,000 --> 00:32:58,200 Speaker 1: feel like, yeah, yeah, okay, yes, in college you can read. 669 00:32:58,200 --> 00:33:00,560 Speaker 1: Although there's so much you're supposed to read, I feel 670 00:33:00,560 --> 00:33:04,160 Speaker 1: like I never had read all of it. But I 671 00:33:04,200 --> 00:33:07,880 Speaker 1: feel like I really learned to write in college. And 672 00:33:08,240 --> 00:33:10,400 Speaker 1: I don't know about you, but I feel like there's 673 00:33:10,440 --> 00:33:13,640 Speaker 1: been so many times where I've had, you know, lines 674 00:33:13,680 --> 00:33:18,440 Speaker 1: I wanted changed, or a cut that I wanted shifted, 675 00:33:18,760 --> 00:33:21,400 Speaker 1: or something I had to sort out on a set 676 00:33:21,520 --> 00:33:23,840 Speaker 1: that I had to write an email or even have 677 00:33:23,880 --> 00:33:26,840 Speaker 1: a conversation where I had to organize my thoughts before 678 00:33:26,880 --> 00:33:30,280 Speaker 1: I had it, where I think, thank god I went 679 00:33:30,320 --> 00:33:33,720 Speaker 1: to college because I was able to say what I 680 00:33:33,800 --> 00:33:36,640 Speaker 1: meant to say. You know what helps if you have 681 00:33:37,320 --> 00:33:40,320 Speaker 1: that background, because the did you feel there was a 682 00:33:40,360 --> 00:33:43,480 Speaker 1: progression for you In the beginning, you were timid and shot, 683 00:33:43,600 --> 00:33:46,440 Speaker 1: you know, less assertive, and I want to find out 684 00:33:47,200 --> 00:33:49,160 Speaker 1: when did that begin to change. Was there a moment 685 00:33:49,200 --> 00:33:52,040 Speaker 1: you sat there and you said, yeah, I need to 686 00:33:52,080 --> 00:33:54,640 Speaker 1: defend my position, and I think I know what's best 687 00:33:54,680 --> 00:34:01,080 Speaker 1: for me. I think, you know, I don't know that 688 00:34:01,160 --> 00:34:05,160 Speaker 1: it was. I think basically it was progressive, right, Like 689 00:34:05,280 --> 00:34:08,319 Speaker 1: basically you're right. I was younger and newer, and it 690 00:34:08,400 --> 00:34:10,440 Speaker 1: was harder for me to say what I wanted, and 691 00:34:10,480 --> 00:34:13,359 Speaker 1: it's gotten easier as I've had more experience. But I 692 00:34:13,400 --> 00:34:19,040 Speaker 1: also think that different sets give way to a different 693 00:34:19,040 --> 00:34:21,319 Speaker 1: way of working. So first, I'm a jobbing actress and 694 00:34:21,360 --> 00:34:23,040 Speaker 1: I'm trying to get jobs and I come in for 695 00:34:23,120 --> 00:34:27,880 Speaker 1: two days or one afternoon or whatever, and you're like, oh, okay, 696 00:34:28,040 --> 00:34:32,600 Speaker 1: you want me to do it like that? Um, I know, 697 00:34:32,800 --> 00:34:35,080 Speaker 1: I don't know. It didn't sound really very good to me, 698 00:34:35,400 --> 00:34:38,719 Speaker 1: but I'm afraid to say, let's say, or maybe I 699 00:34:38,800 --> 00:34:42,000 Speaker 1: do try to say and I get shut down and 700 00:34:42,040 --> 00:34:45,520 Speaker 1: I accepted and whatever. That's like, you know, it's very 701 00:34:45,560 --> 00:34:47,680 Speaker 1: hard to do when you're coming in for one second. 702 00:34:47,719 --> 00:34:50,319 Speaker 1: It's like going to a new school where everybody knows 703 00:34:50,360 --> 00:34:53,520 Speaker 1: each other and you're there for an afternoon. But then 704 00:34:53,560 --> 00:34:57,319 Speaker 1: like when I worked on Secretary, which was really early on, 705 00:34:57,600 --> 00:35:03,560 Speaker 1: I mean I was twenty two, I had a real 706 00:35:03,719 --> 00:35:07,960 Speaker 1: point of view about what I wanted to say, and 707 00:35:07,960 --> 00:35:10,799 Speaker 1: and Steve Schenberg, who directed it, was really interested in that. 708 00:35:11,160 --> 00:35:14,720 Speaker 1: And I also think he knew that things were happening 709 00:35:14,719 --> 00:35:18,799 Speaker 1: that I didn't have any idea were happening. Um. And 710 00:35:18,840 --> 00:35:23,000 Speaker 1: also my twenty two I think I'm being very intellectual 711 00:35:23,200 --> 00:35:26,160 Speaker 1: and I've come from college and I studied feminist theory 712 00:35:26,239 --> 00:35:28,319 Speaker 1: and everything, you know, and I think I'm saying this, 713 00:35:28,480 --> 00:35:30,360 Speaker 1: and I think he was twenty years older than me 714 00:35:30,600 --> 00:35:33,520 Speaker 1: that he was able to see. I know she thinks 715 00:35:33,560 --> 00:35:37,440 Speaker 1: she's saying this, but this whole other thing is also happening, 716 00:35:38,080 --> 00:35:41,480 Speaker 1: and um, and he put all that in the film. 717 00:35:41,920 --> 00:35:43,799 Speaker 1: But so that was a space where I felt I 718 00:35:43,880 --> 00:35:46,920 Speaker 1: was totally able to yes. And then I went to 719 00:35:46,960 --> 00:35:48,879 Speaker 1: work on a movie after that, which I won't name, 720 00:35:48,960 --> 00:35:52,560 Speaker 1: where I was totally shut down and I was shocked 721 00:35:52,600 --> 00:35:55,360 Speaker 1: by it. I always remember, like you go to a 722 00:35:55,440 --> 00:35:58,200 Speaker 1: movie and this is just you know, my opinion, but 723 00:35:58,360 --> 00:36:00,360 Speaker 1: like you do a film and you want to be 724 00:36:00,400 --> 00:36:03,000 Speaker 1: told what to do. Basically, my whole thing is you're 725 00:36:03,040 --> 00:36:05,440 Speaker 1: making the movie. What movie are you making? What? How 726 00:36:05,440 --> 00:36:07,839 Speaker 1: do I fit in? I do one of the first 727 00:36:07,880 --> 00:36:10,920 Speaker 1: movies I did. I was lucky. I did this movie 728 00:36:10,920 --> 00:36:13,759 Speaker 1: Working Girl with Mike Nichols, and Nichols says, you're gonna 729 00:36:13,760 --> 00:36:15,880 Speaker 1: have sex. He goes, You're gonna have sex with this 730 00:36:15,920 --> 00:36:19,160 Speaker 1: woman and she catches you having sex? How would you 731 00:36:20,120 --> 00:36:23,200 Speaker 1: have sex that are being caught? And I go, well, 732 00:36:23,239 --> 00:36:25,360 Speaker 1: and I try to think of like, what's the most comical, 733 00:36:25,560 --> 00:36:28,239 Speaker 1: you know thing, and he goes, he goes, he was 734 00:36:28,320 --> 00:36:30,800 Speaker 1: very gratious. She's like, He's like, that's not a bad idea. 735 00:36:31,360 --> 00:36:34,239 Speaker 1: That's not a bad idea. But what I think it 736 00:36:34,320 --> 00:36:36,719 Speaker 1: really sells it if she's just completely naked and you're 737 00:36:36,760 --> 00:36:39,520 Speaker 1: completely naked, and she's just sitting right on top of you, 738 00:36:39,760 --> 00:36:45,760 Speaker 1: just writing you and me and they actually were like, oh, 739 00:36:45,880 --> 00:36:47,560 Speaker 1: but we had a much more chaste and kind of 740 00:36:47,600 --> 00:36:49,759 Speaker 1: like silly version of that, and me and the girl 741 00:36:49,760 --> 00:36:52,319 Speaker 1: were like, he was like, Okay, come come now, close off. 742 00:36:52,400 --> 00:36:55,360 Speaker 1: Let's go with the idea of that clarity time saving 743 00:36:55,480 --> 00:37:01,440 Speaker 1: somebody who comes in as this, well, I always use 744 00:37:02,239 --> 00:37:05,520 Speaker 1: my fantasy movie I would have made with Mike Nichols 745 00:37:05,560 --> 00:37:09,600 Speaker 1: as like the example of if Mike Nichols is directing this, yes, 746 00:37:09,680 --> 00:37:11,840 Speaker 1: I want to be told exactly what to do please. 747 00:37:11,960 --> 00:37:17,960 Speaker 1: Like I watched his movies and I'm like, he's directing everybody. 748 00:37:18,080 --> 00:37:22,120 Speaker 1: He's like pushing everybody further and deeper and funnier and 749 00:37:22,320 --> 00:37:25,200 Speaker 1: wilder than they ever would go. In fact, the one 750 00:37:25,200 --> 00:37:28,160 Speaker 1: time I worked with Mike Nichols was on this reading. 751 00:37:28,360 --> 00:37:30,520 Speaker 1: It's not a not a movie or even a play 752 00:37:30,600 --> 00:37:33,680 Speaker 1: that was ever produced. It was just a a few 753 00:37:33,719 --> 00:37:36,560 Speaker 1: day long reading of a play that Alan Alda wrote. 754 00:37:37,000 --> 00:37:39,799 Speaker 1: Bob Balaban directed the reading, but Mike was sort of 755 00:37:40,920 --> 00:37:44,240 Speaker 1: producing it. I guess he came up to me after 756 00:37:45,520 --> 00:37:49,720 Speaker 1: a day of rehearsal and he just said, she's feral 757 00:37:51,360 --> 00:37:56,320 Speaker 1: the character, and I've I've often thought that was the 758 00:37:56,360 --> 00:37:58,880 Speaker 1: best direction I've ever gotten, because it doesn't say like, 759 00:37:58,960 --> 00:38:00,360 Speaker 1: you know, I don't know. Directors have come up to 760 00:38:00,360 --> 00:38:02,279 Speaker 1: you and say like, I'm worried that we're not gonna 761 00:38:02,280 --> 00:38:06,400 Speaker 1: be able to tell that you're mad because you're acting 762 00:38:06,560 --> 00:38:09,880 Speaker 1: so nice, and I'm worried that it's not going to communicate, 763 00:38:09,920 --> 00:38:12,520 Speaker 1: you know, Or I'm afraid that you're going too far 764 00:38:12,719 --> 00:38:15,640 Speaker 1: in this direction, or I'm afraid that you're, you know, 765 00:38:15,719 --> 00:38:20,520 Speaker 1: gonna confuse people by something that you're doing. I have 766 00:38:20,600 --> 00:38:24,440 Speaker 1: been told that before Um. But Mike Nichols is basically 767 00:38:24,440 --> 00:38:27,640 Speaker 1: going like, go further, like in any direction you could 768 00:38:27,680 --> 00:38:30,120 Speaker 1: possibly go, like what he said to you, you know, 769 00:38:30,440 --> 00:38:34,120 Speaker 1: go all the way. She's feral. I was playing Murrie 770 00:38:34,200 --> 00:38:38,480 Speaker 1: Curie and he's saying like she's a wild animals the 771 00:38:38,600 --> 00:38:42,480 Speaker 1: wild cat because the other parts taken care of. She's 772 00:38:42,520 --> 00:38:46,719 Speaker 1: Mrie Curie. You know, all the French radiologists knew that 773 00:38:46,760 --> 00:38:50,920 Speaker 1: back she was wild, that Marie Curie. But so I 774 00:38:50,960 --> 00:38:54,080 Speaker 1: want to be told what to do. Yes, I wish 775 00:38:54,160 --> 00:38:56,920 Speaker 1: for that kind of collaboration, but I don't I don't 776 00:38:57,040 --> 00:39:00,640 Speaker 1: go in expecting that it's going to happen. I wanted 777 00:39:01,040 --> 00:39:02,960 Speaker 1: who was the director you worked with, because I I 778 00:39:03,239 --> 00:39:04,640 Speaker 1: think you and I may be sharing this from what 779 00:39:04,680 --> 00:39:08,200 Speaker 1: you said where we're not out to uh offend anyone, 780 00:39:08,239 --> 00:39:09,839 Speaker 1: But you don't think of somebody who it was really 781 00:39:09,880 --> 00:39:13,759 Speaker 1: just great? You loved working with UM. Other than your 782 00:39:13,760 --> 00:39:15,680 Speaker 1: current collaboration. We're gonna get to that, but which I 783 00:39:15,719 --> 00:39:20,319 Speaker 1: did love my current collaboration. I have a few that 784 00:39:20,400 --> 00:39:25,040 Speaker 1: I've really loved, Um Martin Scorsese on Banya right that 785 00:39:25,520 --> 00:39:30,960 Speaker 1: Martin Scorsese directed, Supposedly according to Wikipedia, me and my 786 00:39:31,040 --> 00:39:38,680 Speaker 1: husband and Uncle Vanna at csc take, a tiny black 787 00:39:38,680 --> 00:39:41,800 Speaker 1: box theater in New York. Says Martin Scorsese directed the 788 00:39:41,840 --> 00:39:43,520 Speaker 1: check out, and I'm going, oh my god, this is 789 00:39:43,560 --> 00:39:46,120 Speaker 1: like the seismic thing that got by me. It's like 790 00:39:46,160 --> 00:39:47,800 Speaker 1: it's like someone welcome to you, going, you know, the 791 00:39:47,880 --> 00:39:51,719 Speaker 1: Lindbergh baby was kidnapped, rightly. I didn't know that. And 792 00:39:51,760 --> 00:39:54,880 Speaker 1: then in this Wikipedia entry that Alec just showed me 793 00:39:54,960 --> 00:39:58,040 Speaker 1: it then goes on to quote a terrible review of 794 00:39:58,080 --> 00:40:05,680 Speaker 1: me in the play that's not a good but Austin 795 00:40:05,680 --> 00:40:08,120 Speaker 1: Pendleton did and he is one of the most incredible 796 00:40:08,160 --> 00:40:13,240 Speaker 1: directors I've ever worked with in my life. Austin, Um, 797 00:40:13,280 --> 00:40:17,240 Speaker 1: it's funny Austin asked me to do uh Uncle Vanya 798 00:40:17,719 --> 00:40:22,000 Speaker 1: and he when when they offered it to me, they 799 00:40:22,000 --> 00:40:25,160 Speaker 1: sent me this interview with Austin and it basically talks 800 00:40:25,160 --> 00:40:28,239 Speaker 1: about this sort of incredible way that he likes to 801 00:40:28,280 --> 00:40:32,440 Speaker 1: work with actors, you know, where everyone's free to respond 802 00:40:32,520 --> 00:40:34,520 Speaker 1: to each other in the moment on stage. You know, 803 00:40:34,560 --> 00:40:37,040 Speaker 1: all the fantasies that actors have of a way that 804 00:40:37,080 --> 00:40:40,279 Speaker 1: you could actually really work together, which rarely happens. And 805 00:40:40,320 --> 00:40:43,560 Speaker 1: I was like, Austin I'd love to do this. I'd 806 00:40:43,600 --> 00:40:46,120 Speaker 1: love to work this way, you know, where it's all 807 00:40:46,160 --> 00:40:48,719 Speaker 1: just reacting to the reality of the moment with the 808 00:40:48,719 --> 00:40:53,120 Speaker 1: other person on stage, and how everybody says that's what 809 00:40:53,160 --> 00:40:55,279 Speaker 1: they want to do. How are you actually going to 810 00:40:55,400 --> 00:40:58,040 Speaker 1: do it? And he's like, well, you got to come 811 00:40:58,040 --> 00:41:00,880 Speaker 1: and work with me to find out. And the truth is, 812 00:41:01,000 --> 00:41:06,239 Speaker 1: I don't know how he created this situation where everybody 813 00:41:06,280 --> 00:41:10,799 Speaker 1: on stage had deep respect for each other, even though 814 00:41:12,440 --> 00:41:14,480 Speaker 1: it was clear to me that there were actors who 815 00:41:14,480 --> 00:41:17,680 Speaker 1: were stronger than others that there were, but it made 816 00:41:17,680 --> 00:41:19,799 Speaker 1: no difference, you know. I know one way he did it. 817 00:41:20,000 --> 00:41:23,800 Speaker 1: I remember the first day of rehearsal, he said, however, 818 00:41:23,960 --> 00:41:30,080 Speaker 1: you imagined, uh, Sonia, whatever fantasy you had of who 819 00:41:30,200 --> 00:41:32,000 Speaker 1: Sonia was going to be when you read this play, 820 00:41:32,200 --> 00:41:35,759 Speaker 1: Sonja is her. Sonia is this person. And all the 821 00:41:35,800 --> 00:41:40,000 Speaker 1: feelings you have about this person, about the way that 822 00:41:40,000 --> 00:41:44,080 Speaker 1: that ricochets off what you anticipated when you read the play, 823 00:41:44,239 --> 00:41:47,360 Speaker 1: that's all useful. But Sonja is her. And so we 824 00:41:47,400 --> 00:41:51,680 Speaker 1: did create this little black box theater situation where and 825 00:41:51,719 --> 00:41:54,400 Speaker 1: I did it with my husband and he's a brilliant actor, 826 00:41:55,280 --> 00:41:57,720 Speaker 1: so that was cool. Um, and we got to pretend 827 00:41:57,719 --> 00:41:59,560 Speaker 1: we were having an affair. Both check offs we did, 828 00:41:59,560 --> 00:42:01,480 Speaker 1: we were playing people who were having affairs, which was 829 00:42:01,640 --> 00:42:05,919 Speaker 1: really hot and great, you know. But I loved working 830 00:42:05,960 --> 00:42:10,520 Speaker 1: with Austin. I also loved UM. I loved Hugo Blick, 831 00:42:10,800 --> 00:42:15,399 Speaker 1: who directed The Honorable Woman. I got a Golden Club 832 00:42:15,480 --> 00:42:17,880 Speaker 1: for that. Yeah, that was that you mentioned me. That 833 00:42:17,920 --> 00:42:20,239 Speaker 1: was one of the longest times you were overseason away 834 00:42:20,239 --> 00:42:23,239 Speaker 1: from home. Yeah, and it's funny. I really admire what 835 00:42:23,280 --> 00:42:29,320 Speaker 1: you said about how for you, Um, your your trust 836 00:42:29,440 --> 00:42:34,440 Speaker 1: is a director's to lose. I wish I could be 837 00:42:34,560 --> 00:42:39,560 Speaker 1: like that, but I'm not, and I go in with 838 00:42:39,600 --> 00:42:49,040 Speaker 1: my guard up and secretly I want the deepest, most intense, 839 00:42:49,200 --> 00:42:55,160 Speaker 1: artistic collaboration possible, but I don't. It's not easy for me. 840 00:42:55,840 --> 00:42:58,560 Speaker 1: And with Hugo, I think we were both like that. 841 00:42:59,440 --> 00:43:02,319 Speaker 1: And you know, it was eight hours of television. I'd 842 00:43:02,360 --> 00:43:05,320 Speaker 1: only ever done a two hour movie before. I didn't 843 00:43:05,320 --> 00:43:08,360 Speaker 1: know how to do that, and I'm in every minute 844 00:43:08,400 --> 00:43:12,480 Speaker 1: of every scene, and it's super intense and it could 845 00:43:12,520 --> 00:43:15,879 Speaker 1: have been terrible, you know. But I remember about two 846 00:43:15,920 --> 00:43:18,600 Speaker 1: thirds of the way through, somebody I came over to 847 00:43:18,719 --> 00:43:20,520 Speaker 1: him and I just sort of said something in his 848 00:43:20,520 --> 00:43:22,080 Speaker 1: ear about the scene. I think we need to shift 849 00:43:22,080 --> 00:43:23,640 Speaker 1: this and actually can we move this here? And could 850 00:43:23,680 --> 00:43:26,520 Speaker 1: this happen over here just almost shorthand at this point, 851 00:43:26,600 --> 00:43:29,759 Speaker 1: and he was like, yeah, absolutely, and someone staying next 852 00:43:29,760 --> 00:43:32,080 Speaker 1: to him said, do you just do whatever she says? 853 00:43:33,200 --> 00:43:36,280 Speaker 1: And he said he's English. Also he said I trust 854 00:43:36,320 --> 00:43:42,200 Speaker 1: her completely like that, and I took it in like, whoa, 855 00:43:42,360 --> 00:43:45,000 Speaker 1: Actually he was kidding, but I kind of think he does. 856 00:43:45,920 --> 00:43:49,480 Speaker 1: And then at the very end, on the very very 857 00:43:49,560 --> 00:43:51,560 Speaker 1: last day, I had this voice over to record which 858 00:43:51,560 --> 00:43:55,280 Speaker 1: plays at the beginning of every episode, and it's basically 859 00:43:55,320 --> 00:44:00,280 Speaker 1: about trust, and it basically, I think it says something 860 00:44:00,360 --> 00:44:05,240 Speaker 1: like you have to just I mean not in these words, 861 00:44:05,360 --> 00:44:09,680 Speaker 1: but what it meant was you either trust nobody or 862 00:44:09,719 --> 00:44:13,040 Speaker 1: you just jump off the cliff and you trust. And 863 00:44:13,120 --> 00:44:14,959 Speaker 1: I was like, um, he put me in this little 864 00:44:15,040 --> 00:44:17,319 Speaker 1: room to record it because we'd forgotten to record it, 865 00:44:17,360 --> 00:44:20,040 Speaker 1: and I was like, here you go, do you mind 866 00:44:20,080 --> 00:44:22,560 Speaker 1: if I say it to you? And so he came 867 00:44:22,600 --> 00:44:25,959 Speaker 1: in the room with me, and I basically the subtext 868 00:44:26,040 --> 00:44:28,040 Speaker 1: I guess of what I was saying to him was 869 00:44:29,120 --> 00:44:35,120 Speaker 1: I trust you, you know, Maggie Jillen Hall. If you're 870 00:44:35,200 --> 00:44:38,520 Speaker 1: enjoying this conversation, be sure to follow Here's the Thing 871 00:44:38,719 --> 00:44:42,240 Speaker 1: on the I Heart Radio app, Apple Podcasts or wherever 872 00:44:42,360 --> 00:44:45,799 Speaker 1: you get your podcasts. When we come back. Maggie gillen 873 00:44:45,840 --> 00:44:48,440 Speaker 1: Hall talks about working with the children in the movie 874 00:44:48,520 --> 00:45:01,239 Speaker 1: The Kindergarten Teacher. I'm carried to you and this is 875 00:45:01,280 --> 00:45:06,400 Speaker 1: Here's the Thing. In film The Kindergarten Teacher, Maggie Gillenhall 876 00:45:06,520 --> 00:45:10,399 Speaker 1: plays a dissatisfied forty something teacher from Staten Island who 877 00:45:10,440 --> 00:45:13,520 Speaker 1: becomes fixated on the talent of one of her students. 878 00:45:14,040 --> 00:45:17,160 Speaker 1: She heard about the project at a holiday party. Two 879 00:45:17,160 --> 00:45:20,319 Speaker 1: people at the party said, have you heard about this 880 00:45:20,400 --> 00:45:24,400 Speaker 1: script The Kindergarten Teacher. It's coming to you and it's great. 881 00:45:24,680 --> 00:45:27,719 Speaker 1: And for me, I think it's really really rare to 882 00:45:27,800 --> 00:45:30,440 Speaker 1: read a great script, and also to have two people 883 00:45:30,440 --> 00:45:32,359 Speaker 1: in one night out of nowhere to say like, there's 884 00:45:32,400 --> 00:45:37,120 Speaker 1: this great script and it's coming to you. I was like, okay, okay. 885 00:45:37,280 --> 00:45:39,799 Speaker 1: I was waiting every day after that for the script come, 886 00:45:40,560 --> 00:45:42,600 Speaker 1: and it took a while, and when it came, I 887 00:45:42,719 --> 00:45:45,360 Speaker 1: read it and I won't give anything away. The ending 888 00:45:45,480 --> 00:45:48,719 Speaker 1: is pretty great. And I closed the last page of 889 00:45:48,760 --> 00:45:52,560 Speaker 1: the script, and I was like, I want this movie, 890 00:45:53,200 --> 00:45:54,799 Speaker 1: you know, and it wasn't clear to me that it 891 00:45:54,840 --> 00:45:57,480 Speaker 1: was offered to me, which actually just increased my appetite 892 00:45:57,520 --> 00:46:00,879 Speaker 1: for it more. Of course, they say how it always was, 893 00:46:00,960 --> 00:46:04,520 Speaker 1: but I didn't know that, and one of the producers mothers, 894 00:46:04,560 --> 00:46:06,880 Speaker 1: was having an operation in the hospital, and like, nobody 895 00:46:06,920 --> 00:46:08,719 Speaker 1: got back to me for a few days after. I 896 00:46:09,120 --> 00:46:11,920 Speaker 1: really energetically raised my hand and was like, yes, please, 897 00:46:12,040 --> 00:46:15,000 Speaker 1: what do I gotta do? And again, just waiting just 898 00:46:15,040 --> 00:46:16,759 Speaker 1: made me want it more. And then then they came 899 00:46:16,800 --> 00:46:20,160 Speaker 1: back and they were like, oh, yes, we always meant. Yeah. 900 00:46:20,160 --> 00:46:25,800 Speaker 1: It's based on Israeli movie which I haven't seen. Um, yeah, yeah, 901 00:46:25,840 --> 00:46:28,719 Speaker 1: I mean I probably should see it now. I've heard 902 00:46:28,800 --> 00:46:32,560 Speaker 1: wonderful things about it, and I've heard that narratively it's 903 00:46:32,680 --> 00:46:37,720 Speaker 1: very similar, and yet it tells an almost entirely different stories. 904 00:46:37,719 --> 00:46:46,839 Speaker 1: So our movie, I think, is really about the consequences 905 00:46:47,040 --> 00:46:51,520 Speaker 1: of what happens when you starve a vibrant woman's mind, 906 00:46:53,600 --> 00:46:56,600 Speaker 1: told from the point of view of a group of 907 00:46:56,640 --> 00:47:01,760 Speaker 1: women filmmakers. And our conclusion is that it's fucking dire, 908 00:47:02,360 --> 00:47:05,200 Speaker 1: you know. That's and I think there is Reel, a 909 00:47:05,200 --> 00:47:09,239 Speaker 1: movie which has a very similar narrative, is Um is 910 00:47:09,360 --> 00:47:14,600 Speaker 1: much more about masculinity in Israel and art in a 911 00:47:14,640 --> 00:47:17,480 Speaker 1: country at war, and very different things, even though the 912 00:47:17,480 --> 00:47:20,239 Speaker 1: story itself is very similar. Um. So yeah, so I 913 00:47:20,280 --> 00:47:22,400 Speaker 1: got the script and then and I signed up and 914 00:47:22,440 --> 00:47:25,759 Speaker 1: then you know, um, it was not easy to get 915 00:47:26,400 --> 00:47:30,680 Speaker 1: our money. In fact, at Sundance when we first premiered, 916 00:47:30,760 --> 00:47:33,919 Speaker 1: I shook the hands of fifty executive producers who had, 917 00:47:34,080 --> 00:47:37,799 Speaker 1: you know, all together somehow helped us cobble together the 918 00:47:37,800 --> 00:47:40,239 Speaker 1: money to make it. So we spent a while, um 919 00:47:40,280 --> 00:47:44,080 Speaker 1: doing that, and then we made it in twenty three 920 00:47:44,400 --> 00:47:48,279 Speaker 1: days in New York. In New York. Now, when you 921 00:47:48,400 --> 00:47:51,759 Speaker 1: work with uh, this sounds like a silly thing, But 922 00:47:51,800 --> 00:47:55,440 Speaker 1: I always think about this in terms of the brevity 923 00:47:55,480 --> 00:47:59,440 Speaker 1: of schedules now and the pressure to shoot efficiently now 924 00:47:59,480 --> 00:48:02,520 Speaker 1: but with children, and I find is very a specific 925 00:48:03,160 --> 00:48:05,520 Speaker 1: and in the movie and from my money, the the 926 00:48:05,719 --> 00:48:11,520 Speaker 1: young boy what's his name, Jimmy park Parker, the boy 927 00:48:11,560 --> 00:48:14,440 Speaker 1: who's we We had the funniest moment yesterday because I said, 928 00:48:14,480 --> 00:48:17,000 Speaker 1: this kid's fantastic after the movie, and somebody from the 929 00:48:17,000 --> 00:48:21,600 Speaker 1: festival said, well, he loves boss Baby. He's like, how 930 00:48:21,640 --> 00:48:24,560 Speaker 1: old is he like five six? So we go backstage 931 00:48:24,560 --> 00:48:26,680 Speaker 1: and I'm like, this is amazing. You're doing like this 932 00:48:26,760 --> 00:48:30,719 Speaker 1: really hypnotic, creepy drama, which is great, And I'm in 933 00:48:30,840 --> 00:48:34,640 Speaker 1: boss baby. I mean, you and I we have so 934 00:48:34,719 --> 00:48:36,640 Speaker 1: much in common, you and I, you know, both in 935 00:48:36,719 --> 00:48:42,360 Speaker 1: the business, different wings of the business. Maybe Parker, but 936 00:48:42,440 --> 00:48:43,520 Speaker 1: we had a lot of fun with him. But when 937 00:48:43,560 --> 00:48:46,080 Speaker 1: you're working with somebody like a lot of times kids 938 00:48:46,120 --> 00:48:49,160 Speaker 1: are performing and the kids that that climbed the ladder 939 00:48:49,160 --> 00:48:52,279 Speaker 1: a little bit in that division, they're very you know, 940 00:48:52,600 --> 00:48:55,320 Speaker 1: they're ready to come, you know, sing tomorrow on Broadway, 941 00:48:55,920 --> 00:49:02,080 Speaker 1: and uh, he's not. He's very real. Yeah, and was 942 00:49:02,120 --> 00:49:05,120 Speaker 1: that a decision? You and she talked about you? And yeah, 943 00:49:05,160 --> 00:49:07,640 Speaker 1: I mean I felt a couple of things very strongly. 944 00:49:07,680 --> 00:49:09,839 Speaker 1: I have a child who's six and who was five 945 00:49:09,880 --> 00:49:12,440 Speaker 1: when we made it, just like Parker's five. So it's 946 00:49:12,440 --> 00:49:15,080 Speaker 1: hard to remember what it's like to be five. I mean, 947 00:49:15,239 --> 00:49:18,920 Speaker 1: how different the world is unless you're five. You have 948 00:49:18,960 --> 00:49:21,480 Speaker 1: a five year old, I know, right, or unless you're 949 00:49:21,480 --> 00:49:23,440 Speaker 1: living unless you're living with a five year old, and 950 00:49:23,480 --> 00:49:28,160 Speaker 1: then you're in that mind kind of. So I felt 951 00:49:28,239 --> 00:49:30,480 Speaker 1: two things. I felt I almost didn't do the movie 952 00:49:30,520 --> 00:49:35,120 Speaker 1: at one point because I thought, no movie, no matter 953 00:49:35,200 --> 00:49:37,920 Speaker 1: how much I love it or think it's important or whatever, 954 00:49:38,440 --> 00:49:44,520 Speaker 1: is worth disturbing a child, even for a few minutes. 955 00:49:46,000 --> 00:49:48,919 Speaker 1: So I was like, how are we going to do this? 956 00:49:49,080 --> 00:49:52,160 Speaker 1: And I also don't think, um, five six year olds 957 00:49:52,160 --> 00:49:54,480 Speaker 1: are actors. I just don't believe that, and I don't 958 00:49:54,520 --> 00:49:56,839 Speaker 1: think it's fair to ask them to be actors. So 959 00:49:56,840 --> 00:49:58,719 Speaker 1: so I felt like so basically we worked in a 960 00:49:58,719 --> 00:50:00,880 Speaker 1: couple of ways. I learned this from m Thompson actually 961 00:50:00,880 --> 00:50:04,680 Speaker 1: who um I'm in love with and who who did 962 00:50:04,880 --> 00:50:06,880 Speaker 1: Nanny McPhee. We did Animal Fee together, and we had 963 00:50:06,880 --> 00:50:09,880 Speaker 1: tons of kids, and so often, especially with the very 964 00:50:09,920 --> 00:50:12,880 Speaker 1: littlest one, UM, we would just be like, stand on 965 00:50:12,920 --> 00:50:15,440 Speaker 1: the X now, look at that big black X on 966 00:50:15,480 --> 00:50:17,680 Speaker 1: the on the wall, and turn your head when I 967 00:50:17,719 --> 00:50:20,439 Speaker 1: say so, when I clap, turn your head and say 968 00:50:20,600 --> 00:50:24,080 Speaker 1: I don't want to go. And he would we would clap, 969 00:50:24,080 --> 00:50:26,239 Speaker 1: he'd turn his head, he'd say I don't want to go, 970 00:50:26,840 --> 00:50:28,440 Speaker 1: and I would say no, no, no, sing it like me, 971 00:50:28,520 --> 00:50:31,480 Speaker 1: I don't want to go, I want to go. No, 972 00:50:32,040 --> 00:50:33,959 Speaker 1: and then he would just sort of repeat. I would 973 00:50:33,960 --> 00:50:36,360 Speaker 1: be like, you have just sing it like to Parker 974 00:50:36,719 --> 00:50:39,600 Speaker 1: sing it, and so then he kind of just imitate 975 00:50:39,640 --> 00:50:42,879 Speaker 1: my inflections. That was one way we worked with him 976 00:50:42,880 --> 00:50:45,319 Speaker 1: so that it was just a song. It wasn't like 977 00:50:45,440 --> 00:50:47,680 Speaker 1: he Actually, you can't say to a five year old, 978 00:50:47,760 --> 00:50:50,319 Speaker 1: I want to get in touch with away, in which 979 00:50:50,360 --> 00:50:52,960 Speaker 1: you were like, um. But the other thing you can 980 00:50:53,040 --> 00:50:56,400 Speaker 1: do with five year olds is that they will forget 981 00:50:56,400 --> 00:50:59,839 Speaker 1: that the cameras on them sort of, so we ran 982 00:51:00,040 --> 00:51:02,320 Speaker 1: all the kindergarten stuff as if it were a kindergarten. 983 00:51:02,360 --> 00:51:04,400 Speaker 1: I mean, you see them singing those songs with me, 984 00:51:04,600 --> 00:51:07,120 Speaker 1: or painting or you're not going to say, okay, we're 985 00:51:07,120 --> 00:51:09,920 Speaker 1: gonna pretend to paint, or we're gonna pretend to write 986 00:51:09,960 --> 00:51:11,719 Speaker 1: excess on a piece of paper. We're just going to 987 00:51:11,840 --> 00:51:15,640 Speaker 1: do it. And we choreographed the camera. I would sort 988 00:51:15,680 --> 00:51:19,480 Speaker 1: of see where the camera was going, almost like a documentary, 989 00:51:19,560 --> 00:51:22,160 Speaker 1: and then I would just like scoot over to wherever 990 00:51:22,200 --> 00:51:25,000 Speaker 1: the camera wasn't begin the scene with whoever I needed 991 00:51:25,040 --> 00:51:27,960 Speaker 1: to be talking to in that scene. And then the 992 00:51:28,000 --> 00:51:30,800 Speaker 1: other funny thing about kids and the like short schedule 993 00:51:30,960 --> 00:51:34,319 Speaker 1: is um, there were quite a few times where I 994 00:51:34,400 --> 00:51:37,680 Speaker 1: did scenes with our first a d or our gaffer 995 00:51:37,840 --> 00:51:40,040 Speaker 1: who would read off camera for me because the little 996 00:51:40,040 --> 00:51:44,400 Speaker 1: boy had to go, and I'd be like, this is 997 00:51:44,520 --> 00:51:48,880 Speaker 1: really weird, but huh, you know, like the way you 998 00:51:48,920 --> 00:51:50,680 Speaker 1: can trip yourself out as an actor kind of and 999 00:51:50,719 --> 00:51:52,680 Speaker 1: you can be like, oh, there's helicopters going over all 1000 00:51:52,719 --> 00:51:54,239 Speaker 1: the time, we have to keep stopping the middle. I'm 1001 00:51:54,280 --> 00:51:56,640 Speaker 1: really frustrated, and then all of a sudden, the frustration 1002 00:51:56,760 --> 00:51:59,719 Speaker 1: just goes back into the scene. So this one, I 1003 00:51:59,719 --> 00:52:02,080 Speaker 1: was like, oh, this is like a hairy fifty year 1004 00:52:02,120 --> 00:52:07,319 Speaker 1: old guy with like this scrubby you know, beard no No, 1005 00:52:07,440 --> 00:52:10,640 Speaker 1: our first a, your first city, and he's lying on 1006 00:52:10,680 --> 00:52:13,759 Speaker 1: the ground slating also, and I'd be like, oh, but 1007 00:52:13,840 --> 00:52:16,160 Speaker 1: I'm okay. So I'm basically talking to this child as 1008 00:52:16,160 --> 00:52:18,520 Speaker 1: if he's a man. You know, you just figure out 1009 00:52:18,520 --> 00:52:21,080 Speaker 1: the way to throw it back in because what else 1010 00:52:21,080 --> 00:52:22,480 Speaker 1: are you gonna do? Well? I love it if on 1011 00:52:22,600 --> 00:52:24,719 Speaker 1: my next film you would come and do that ex 1012 00:52:24,760 --> 00:52:27,080 Speaker 1: acting with me. Would you be there for me? You 1013 00:52:27,080 --> 00:52:29,239 Speaker 1: will be my mirror Rostova, you know, like off the 1014 00:52:29,280 --> 00:52:34,160 Speaker 1: set like okay, and turned to me, do you want 1015 00:52:34,160 --> 00:52:38,800 Speaker 1: to go to prison? I want to go to prison 1016 00:52:38,840 --> 00:52:41,120 Speaker 1: for tex and I want to go to prison for 1017 00:52:41,160 --> 00:52:45,520 Speaker 1: tax evasion. You know we could do that. You'd be 1018 00:52:45,600 --> 00:52:52,560 Speaker 1: my acting car um. The Uh, that's amazing, you know, 1019 00:52:53,800 --> 00:52:56,200 Speaker 1: exacting there. I need to work with you, man, I'm 1020 00:52:56,239 --> 00:52:57,879 Speaker 1: dying to get a script with you. It was Emma 1021 00:52:57,960 --> 00:53:03,640 Speaker 1: Thompson really and she's pretty too. What about Sarah? How 1022 00:53:03,680 --> 00:53:05,880 Speaker 1: many films have she made before she made this film? 1023 00:53:06,040 --> 00:53:09,960 Speaker 1: I loved working with Sarah and it was totally different 1024 00:53:10,200 --> 00:53:14,680 Speaker 1: kind of experience than I had ever had before. And 1025 00:53:14,760 --> 00:53:17,080 Speaker 1: in some ways I like to think it's it was 1026 00:53:17,080 --> 00:53:19,640 Speaker 1: a very feminine set, right. Sarah wrote and directed it. 1027 00:53:19,719 --> 00:53:23,640 Speaker 1: Our financiers were women, our producers were women. It's all 1028 00:53:23,680 --> 00:53:28,040 Speaker 1: about a woman. Um. But I had worked with a 1029 00:53:28,040 --> 00:53:30,560 Speaker 1: lot of other women and had very different kinds of 1030 00:53:31,719 --> 00:53:33,239 Speaker 1: I have. I've worked with many. I mean even on 1031 00:53:33,280 --> 00:53:36,760 Speaker 1: The Deuce last season, seven out of eight directors were women. 1032 00:53:37,040 --> 00:53:41,279 Speaker 1: You know difference, Well, there is a difference, Yeah, there is, 1033 00:53:41,320 --> 00:53:45,040 Speaker 1: but that's not necessarily what made I think my collaboration 1034 00:53:45,080 --> 00:53:48,560 Speaker 1: with Sarah and are set on the kindergarten teacher. So 1035 00:53:50,360 --> 00:53:55,319 Speaker 1: I don't know, unusual, Yeah, feminine, but I don't even 1036 00:53:55,400 --> 00:53:58,319 Speaker 1: totally know what that means. Even when I watched the movie, 1037 00:53:58,360 --> 00:54:03,560 Speaker 1: I'm like, this is feminine, like what does that mean 1038 00:54:03,800 --> 00:54:07,080 Speaker 1: and why? And my husband after he saw it last night, 1039 00:54:07,560 --> 00:54:09,920 Speaker 1: he was like, I wish someone would send this to 1040 00:54:09,960 --> 00:54:14,959 Speaker 1: Senator Flake, but but I don't really know totally why. Right, 1041 00:54:15,040 --> 00:54:18,799 Speaker 1: it's not political movie, but it's it's like, somehow it's 1042 00:54:19,160 --> 00:54:26,120 Speaker 1: really kind of straight, purely feminine thing. I don't you know. 1043 00:54:26,360 --> 00:54:28,600 Speaker 1: It makes me think of the Piano, not this movie. 1044 00:54:28,640 --> 00:54:31,000 Speaker 1: I would never compare it to that, but the experience 1045 00:54:31,000 --> 00:54:33,040 Speaker 1: I had when I saw the Piano and I was 1046 00:54:33,080 --> 00:54:36,080 Speaker 1: like sixteen or something and I had never seen anything 1047 00:54:36,120 --> 00:54:40,839 Speaker 1: like it, I was like, what, Like, I I guess 1048 00:54:40,840 --> 00:54:47,799 Speaker 1: I think in some ways, um, girls, women my age, 1049 00:54:48,320 --> 00:54:50,799 Speaker 1: we get so used to having to relate to a 1050 00:54:50,840 --> 00:54:53,359 Speaker 1: male character or even let's just say like a sort 1051 00:54:53,400 --> 00:54:56,200 Speaker 1: of masculine point of view on something. We're like, yeah, yeah, 1052 00:54:56,200 --> 00:54:58,360 Speaker 1: that's not exactly my experience, but I could twist it 1053 00:54:58,400 --> 00:55:01,280 Speaker 1: around and make it relatable to me, and that muscle 1054 00:55:01,400 --> 00:55:04,680 Speaker 1: is very exercised. I think in most women were like, yeah, 1055 00:55:05,040 --> 00:55:07,600 Speaker 1: I get I know it's not exactly my way through 1056 00:55:07,640 --> 00:55:11,279 Speaker 1: the world, but I could. I could just twist a 1057 00:55:11,320 --> 00:55:14,480 Speaker 1: little and it's cool. I get it, and thank god 1058 00:55:14,520 --> 00:55:16,560 Speaker 1: because otherwise we have very little to relate to. But 1059 00:55:16,600 --> 00:55:19,400 Speaker 1: then like when I saw the piano, I was like, whoa, 1060 00:55:19,960 --> 00:55:22,800 Speaker 1: I feel so relaxed. I don't have to twist anything. 1061 00:55:23,200 --> 00:55:27,560 Speaker 1: And I felt that way when I read Sarah script, 1062 00:55:28,600 --> 00:55:31,520 Speaker 1: I just like went straight in and when I when 1063 00:55:31,560 --> 00:55:33,799 Speaker 1: I saw this last night, what I love is it? 1064 00:55:33,800 --> 00:55:35,800 Speaker 1: It's not a bad I don't give it away, but 1065 00:55:35,840 --> 00:55:38,120 Speaker 1: the dynamic of the home is not all bad. But 1066 00:55:38,160 --> 00:55:42,600 Speaker 1: there's things that maybe in my mind you know, are 1067 00:55:42,680 --> 00:55:47,000 Speaker 1: missing as you want you're gone and connections and feelings 1068 00:55:47,040 --> 00:55:49,919 Speaker 1: are exactly It's a much easier movie if her home 1069 00:55:49,960 --> 00:55:54,480 Speaker 1: life is like horrible, if everything's just awful. Instead she's 1070 00:55:54,480 --> 00:55:55,840 Speaker 1: see I'm not gonna give away the scene on the 1071 00:55:55,880 --> 00:55:59,239 Speaker 1: phone and your husband's like he's ready to you know, 1072 00:56:00,080 --> 00:56:01,959 Speaker 1: people will dance with you, and then the phone rings, 1073 00:56:02,239 --> 00:56:06,800 Speaker 1: Oh my god, Oh my god. Crazy, yeah, really upsetting 1074 00:56:06,800 --> 00:56:12,040 Speaker 1: you see Yeah, sou up. Yeah, it's true. A couple 1075 00:56:12,080 --> 00:56:15,160 Speaker 1: of really fucked up scenes in this movie. It's incredible. 1076 00:56:15,320 --> 00:56:19,319 Speaker 1: It's true. You're doing the deuce, You're on HBO. How 1077 00:56:19,360 --> 00:56:21,080 Speaker 1: did that happen? Meaning how did they reel you? When 1078 00:56:21,080 --> 00:56:22,600 Speaker 1: I mean, I'm not just saying this for your benefit. 1079 00:56:22,840 --> 00:56:25,720 Speaker 1: You're one of the most admired movie actresses in the business. 1080 00:56:26,280 --> 00:56:28,120 Speaker 1: So when you go to do the TV thing, how 1081 00:56:28,160 --> 00:56:31,480 Speaker 1: did they hook you? Well? Huh. I just it's so 1082 00:56:31,520 --> 00:56:34,279 Speaker 1: funny though, because like in the first three episodes, which 1083 00:56:34,280 --> 00:56:36,680 Speaker 1: was all I read of The Deuce, Candy didn't really 1084 00:56:36,680 --> 00:56:38,920 Speaker 1: have all that much to do and that's why you 1085 00:56:38,920 --> 00:56:43,400 Speaker 1: took the job. Um No. But it's weird because I 1086 00:56:43,480 --> 00:56:45,040 Speaker 1: was just talking with Peter about this, and when we 1087 00:56:45,040 --> 00:56:47,480 Speaker 1: were walking on the beach here today, I was like, Yeah, 1088 00:56:47,520 --> 00:56:51,960 Speaker 1: when I first there, wasn't she turned so amazing. I mean, 1089 00:56:52,000 --> 00:56:55,440 Speaker 1: I love blank Andy, I really do. Um but I 1090 00:56:55,520 --> 00:56:58,520 Speaker 1: just had like a feeling. I don't know, I was 1091 00:56:58,640 --> 00:57:01,960 Speaker 1: it was David Simon and George Pelicanos. I mean, they 1092 00:57:02,040 --> 00:57:04,399 Speaker 1: made some pretty damn good TV. And I had done 1093 00:57:04,400 --> 00:57:06,560 Speaker 1: The Honorable Woman with Hugo, who I told you I 1094 00:57:06,640 --> 00:57:09,160 Speaker 1: loved so much. So it wasn't my first time in TV. 1095 00:57:09,280 --> 00:57:13,560 Speaker 1: I wasn't like snobby about TV. I wanted it, you know, 1096 00:57:13,600 --> 00:57:16,480 Speaker 1: I wanted a good job, you know that that I 1097 00:57:16,480 --> 00:57:21,000 Speaker 1: could count on, but also yes, and to be home. 1098 00:57:21,200 --> 00:57:22,720 Speaker 1: But also I was like, I don't know, I just 1099 00:57:22,760 --> 00:57:24,160 Speaker 1: had a good feeling. I was like, I just want 1100 00:57:24,160 --> 00:57:25,760 Speaker 1: to play this woman. I want to I want to 1101 00:57:25,840 --> 00:57:27,800 Speaker 1: try it. I want to see I want to see 1102 00:57:27,800 --> 00:57:30,200 Speaker 1: if I can do this. It was so far outside 1103 00:57:30,240 --> 00:57:36,960 Speaker 1: of my experience to play a sex worker in UM. 1104 00:57:37,040 --> 00:57:41,200 Speaker 1: I just like liked her. I just had a I 1105 00:57:41,280 --> 00:57:47,160 Speaker 1: just had like this feeling about it. Three seasons and 1106 00:57:47,200 --> 00:57:49,560 Speaker 1: I guess I will. And you know, there was this 1107 00:57:49,600 --> 00:57:52,439 Speaker 1: whole thing where I was like, guys, I've only read three, 1108 00:57:52,960 --> 00:57:56,280 Speaker 1: there's going to be twenty four. How do I know? 1109 00:57:56,720 --> 00:57:58,760 Speaker 1: I mean, I think you guys are all right, but 1110 00:58:00,560 --> 00:58:03,000 Speaker 1: what if this becomes something? I mean I never had 1111 00:58:03,040 --> 00:58:06,880 Speaker 1: signed onto something like that before. Well that's true, but again, 1112 00:58:07,000 --> 00:58:09,960 Speaker 1: like I said, I don't trust that. Well, so I 1113 00:58:10,280 --> 00:58:12,640 Speaker 1: asked him if I could be a producer and and 1114 00:58:12,720 --> 00:58:15,280 Speaker 1: the thing is is when and everyone said to me, 1115 00:58:15,560 --> 00:58:17,680 Speaker 1: you are never going to get that on a big 1116 00:58:17,800 --> 00:58:21,920 Speaker 1: HBO show. You've never produced television before, you didn't develop it, 1117 00:58:22,040 --> 00:58:25,360 Speaker 1: like good luck, Maggie. But then they were like, okay, 1118 00:58:25,440 --> 00:58:28,280 Speaker 1: let's be partners. Good for you, And I was like, 1119 00:58:28,480 --> 00:58:32,120 Speaker 1: oh wow, good for you. Well that's question is a 1120 00:58:32,160 --> 00:58:35,000 Speaker 1: quick two partter. I had a very fleeting role in 1121 00:58:35,080 --> 00:58:37,680 Speaker 1: Looming Tawer with your husband Peter stars Guard and my 1122 00:58:37,720 --> 00:58:39,919 Speaker 1: first question which is a silly question. Is your husband 1123 00:58:39,960 --> 00:58:44,760 Speaker 1: really as sweet as he seems life? Is it? Damn 1124 00:58:44,800 --> 00:58:48,000 Speaker 1: good husband? I'm thrilled with him? And what's that like 1125 00:58:48,080 --> 00:58:50,080 Speaker 1: for you? Being two people who are working all the time, 1126 00:58:50,200 --> 00:58:54,120 Speaker 1: very successful movie actors. That's uh? Is it wonderful to 1127 00:58:54,120 --> 00:58:57,040 Speaker 1: be with somebody who understands what you're going through? I'm 1128 00:58:57,800 --> 00:59:00,440 Speaker 1: out of the business and sometimes yes, like some I'll 1129 00:59:00,480 --> 00:59:03,000 Speaker 1: be like, when are you coming home? I don't understand 1130 00:59:03,040 --> 00:59:04,960 Speaker 1: when are you coming home? Like we had planned such 1131 00:59:04,960 --> 00:59:07,560 Speaker 1: and such, and he's like, Maggie, you know, I don't 1132 00:59:07,560 --> 00:59:10,520 Speaker 1: know the answer to you know, I'm like, oh, yeah, yeah, yeah. 1133 00:59:10,560 --> 00:59:19,240 Speaker 1: My wife was like like like, why are you so dramatic? Duh? Anyway, 1134 00:59:19,600 --> 00:59:29,520 Speaker 1: now you tell all thanks to actors Julianne Moore and 1135 00:59:29,560 --> 00:59:32,520 Speaker 1: Maggie Jyllen Hall, and of course to Alec Baldwin, who 1136 00:59:32,640 --> 00:59:35,440 Speaker 1: you know normally hosts this show. Here's the Thing is 1137 00:59:35,440 --> 00:59:39,480 Speaker 1: produced by Kathleen Rousseau, Me, Carrie Donahue and Zach McNeice, 1138 00:59:39,720 --> 00:59:44,720 Speaker 1: our engineers Frank Imperial, Carrie, Am I coming back next week? Yes, Alec, 1139 00:59:45,040 --> 00:59:47,400 Speaker 1: You're back next week and you're talking to Jackson Brown. 1140 00:59:47,760 --> 00:59:49,480 Speaker 1: But every other week for the rest of the summer, 1141 00:59:49,560 --> 00:59:51,640 Speaker 1: members of our team will be popping into the feed 1142 00:59:51,680 --> 00:59:56,720 Speaker 1: to showcase terrific interviews from the archives. Thanks Carrie, Thanks Alec. 1143 01:00:00,960 --> 01:00:05,439 Speaker 1: Make the many knot to make a time