1 00:00:02,759 --> 00:00:06,080 Speaker 1: I'm Alec Baldwin and you're listening to Here's the thing. 2 00:00:07,200 --> 00:00:09,959 Speaker 1: Stanley Tucci is one of the most beloved actors and 3 00:00:10,000 --> 00:00:13,840 Speaker 1: directors working today. He has a great reputation both as 4 00:00:13,880 --> 00:00:18,239 Speaker 1: an artist and as a deeply decent guy. We've worked 5 00:00:18,280 --> 00:00:22,439 Speaker 1: together twice, and that reputation is well deserved. Even over 6 00:00:22,440 --> 00:00:25,520 Speaker 1: a zoom after a decade, it's my pleasure to have 7 00:00:25,680 --> 00:00:31,800 Speaker 1: time with him again. Motherfucker. Now let me just say. 8 00:00:32,159 --> 00:00:33,760 Speaker 1: Let me just say that, of course, one of the 9 00:00:33,840 --> 00:00:36,880 Speaker 1: fun bonuses of zooming. As you can see the room 10 00:00:36,920 --> 00:00:39,879 Speaker 1: they're in. The room you're in right now looks like 11 00:00:39,920 --> 00:00:42,640 Speaker 1: those scenes in a thriller when they go to the 12 00:00:42,720 --> 00:00:46,640 Speaker 1: killer's house. There's like a lot of sketches on the wall. 13 00:00:47,960 --> 00:00:50,559 Speaker 1: Where are you? What room are you in? Now? This 14 00:00:50,640 --> 00:00:54,280 Speaker 1: is my room, and my family doesn't let me have 15 00:00:54,360 --> 00:00:57,680 Speaker 1: another room, So this is my room and it's where 16 00:00:57,720 --> 00:01:03,400 Speaker 1: I prepare you know, two people. Tucci's the first to 17 00:01:03,480 --> 00:01:07,480 Speaker 1: say he's sometimes been typecast as an ethnic heavy the 18 00:01:07,600 --> 00:01:12,360 Speaker 1: ambiguously Arab assassin in The Pelican Brief, for example, but 19 00:01:12,440 --> 00:01:15,559 Speaker 1: he's done plenty of roles worthy of his immense talent. 20 00:01:16,080 --> 00:01:19,280 Speaker 1: From Puck and Michael Hoffman's A Midsummer Night's Dream to 21 00:01:19,760 --> 00:01:24,440 Speaker 1: fashion editor Nigel Kipling in the Devil Wears product, not 22 00:01:24,480 --> 00:01:29,399 Speaker 1: to mention his cult classic directorial debut, Big Night steeped 23 00:01:29,440 --> 00:01:33,720 Speaker 1: in his love for Italian cooking. After becoming a widower 24 00:01:33,959 --> 00:01:37,640 Speaker 1: with two school aged children in two thousand nine, Tucci 25 00:01:37,880 --> 00:01:40,800 Speaker 1: fell in love with an English literary agent, and the 26 00:01:40,880 --> 00:01:43,959 Speaker 1: two married a few years later. The couple and their 27 00:01:44,000 --> 00:01:46,520 Speaker 1: new kids now live in London, which is where I 28 00:01:46,640 --> 00:01:50,240 Speaker 1: found my old friend for this conversation. I always wanted 29 00:01:50,240 --> 00:01:51,840 Speaker 1: to live in Europe because I lived in Italy when 30 00:01:51,840 --> 00:01:53,360 Speaker 1: I was a kid, you know, for a year when 31 00:01:53,360 --> 00:01:56,840 Speaker 1: I was twelve, and it completely changed everything, Like it 32 00:01:56,960 --> 00:01:59,600 Speaker 1: totally changed the way I saw the world and everything, 33 00:01:59,640 --> 00:02:02,200 Speaker 1: and and I always wanted to go back and live here. 34 00:02:02,200 --> 00:02:05,160 Speaker 1: And and Kate, my my late wife, she and I 35 00:02:05,200 --> 00:02:08,000 Speaker 1: always talked about maybe we would go live in France, 36 00:02:08,040 --> 00:02:11,440 Speaker 1: or maybe we go live in Italy or something. And 37 00:02:11,440 --> 00:02:14,880 Speaker 1: then obviously that didn't happen. But when I met Felicity, 38 00:02:15,120 --> 00:02:18,200 Speaker 1: we did. And I'll tell you it's like the place 39 00:02:18,320 --> 00:02:20,360 Speaker 1: I was supposed to be, but I didn't know it. 40 00:02:20,760 --> 00:02:23,720 Speaker 1: There was a slight intimidation of you know that sort 41 00:02:23,720 --> 00:02:29,280 Speaker 1: of upper crusty British e stuff. But once you're once 42 00:02:29,280 --> 00:02:33,440 Speaker 1: you're here for a bit, it's it's fine. It's incredibly comfortable. 43 00:02:33,600 --> 00:02:35,760 Speaker 1: I know why you would feel comfortable here when I 44 00:02:35,760 --> 00:02:37,800 Speaker 1: would shoot there. I shot a couple of things there, 45 00:02:38,280 --> 00:02:40,880 Speaker 1: and I would shoot there. I would say, even a 46 00:02:40,919 --> 00:02:45,480 Speaker 1: taxi driver has a grasp and a kind of facility 47 00:02:45,520 --> 00:02:49,079 Speaker 1: with the English language. That's like a college professor back here. Yeah, 48 00:02:49,080 --> 00:02:52,079 Speaker 1: there's an understanding the language, no matter what social status, 49 00:02:52,200 --> 00:02:56,880 Speaker 1: somebody is right. But also there is a profound sense 50 00:02:56,919 --> 00:03:01,119 Speaker 1: of irony here that unfortunately America is great lacking in. 51 00:03:01,840 --> 00:03:07,120 Speaker 1: And and that's simply because it's an incredibly old country 52 00:03:07,320 --> 00:03:11,520 Speaker 1: and we're not. When you met Felicity, how long were 53 00:03:11,520 --> 00:03:15,280 Speaker 1: you together when you made the decision to move over there. 54 00:03:15,800 --> 00:03:18,080 Speaker 1: We were together for a couple of years because she 55 00:03:18,160 --> 00:03:20,600 Speaker 1: came and lived with us. She came and lived with 56 00:03:20,639 --> 00:03:23,880 Speaker 1: me and the kids for two days city. No, No, 57 00:03:24,000 --> 00:03:27,520 Speaker 1: we were up in Westchester. Yeah, we're in west That's 58 00:03:27,560 --> 00:03:31,639 Speaker 1: where I was living and had a house there and um, 59 00:03:31,720 --> 00:03:34,040 Speaker 1: and then we rented an apartment in the city for 60 00:03:34,560 --> 00:03:36,440 Speaker 1: I don't know, like a year or something, just because 61 00:03:36,480 --> 00:03:38,960 Speaker 1: she worked so much in the city. It was easier 62 00:03:39,000 --> 00:03:42,560 Speaker 1: for her, um, but it was it was great, you know, 63 00:03:42,640 --> 00:03:45,280 Speaker 1: and it's a really hard role. I mean, I I 64 00:03:46,000 --> 00:03:49,160 Speaker 1: you know, having been a step parent, I mean, and 65 00:03:49,200 --> 00:03:51,760 Speaker 1: then for her to be a step parent at that 66 00:03:52,760 --> 00:03:55,920 Speaker 1: young age with three kids was you know, it was 67 00:03:55,960 --> 00:03:58,920 Speaker 1: really tough. I mean they're now, they're the twins of 68 00:03:58,960 --> 00:04:01,520 Speaker 1: twenty Camiliz a team and then we have two little ones. 69 00:04:01,720 --> 00:04:04,600 Speaker 1: So who pitched the idea of moving to the u K? 70 00:04:04,800 --> 00:04:07,320 Speaker 1: You or her? She did? She did. She was like, look, 71 00:04:07,680 --> 00:04:10,320 Speaker 1: you know, I have a full time job. You know, 72 00:04:11,680 --> 00:04:14,320 Speaker 1: you sometimes have a job. How about we go there. 73 00:04:15,280 --> 00:04:18,000 Speaker 1: I was nervous about the kids, although the kids had 74 00:04:18,040 --> 00:04:19,880 Speaker 1: spent a fair amount of time here already, and I 75 00:04:19,920 --> 00:04:22,880 Speaker 1: was nervous about leaving my parents because I was very 76 00:04:22,880 --> 00:04:24,920 Speaker 1: close to my parents. There's still a lot, a lot. 77 00:04:25,000 --> 00:04:27,120 Speaker 1: My father just turned ninety and my mother just turned 78 00:04:27,440 --> 00:04:30,000 Speaker 1: in December. I love it. Where is she? My mom 79 00:04:30,279 --> 00:04:33,920 Speaker 1: and my sister and then eventually my other sister. When 80 00:04:33,960 --> 00:04:36,839 Speaker 1: my dad died in three my dad was only fifty 81 00:04:36,880 --> 00:04:38,880 Speaker 1: five when he died. Oh my god. And when he 82 00:04:38,960 --> 00:04:42,520 Speaker 1: died very young, my mother took a couple of years 83 00:04:42,640 --> 00:04:46,120 Speaker 1: to divest of her Long Island home and so forth, 84 00:04:46,160 --> 00:04:47,719 Speaker 1: and she and my sister, and then I mentioned my 85 00:04:47,760 --> 00:04:51,040 Speaker 1: other sister and their families. They moved to Syracuse, where 86 00:04:51,040 --> 00:04:53,960 Speaker 1: my mother was from, right near her siblings who have 87 00:04:54,040 --> 00:04:57,000 Speaker 1: all since then, all of them have passed away. If 88 00:04:57,040 --> 00:04:59,200 Speaker 1: you told me that my mother would outlive my father 89 00:04:59,279 --> 00:05:01,719 Speaker 1: and all her blinks, I would have been a million 90 00:05:01,760 --> 00:05:04,760 Speaker 1: dollars against that. You know, But my mother is not 91 00:05:04,800 --> 00:05:06,719 Speaker 1: a health nut, you know what I mean. She she 92 00:05:06,760 --> 00:05:09,960 Speaker 1: drank diet coke every day. She drank tab every day. 93 00:05:10,080 --> 00:05:13,280 Speaker 1: You know, she was not a health nut. But when 94 00:05:13,320 --> 00:05:17,040 Speaker 1: you decide to go there, are you calculating the work thing? 95 00:05:17,160 --> 00:05:19,240 Speaker 1: You're thinking, how am I going to work from here? 96 00:05:19,320 --> 00:05:21,800 Speaker 1: Or do you just dive? No? No, I was nervous. Yeah, 97 00:05:21,800 --> 00:05:23,760 Speaker 1: there's no question. I was nervous. But I knew that 98 00:05:23,800 --> 00:05:27,120 Speaker 1: I had worked here before I saw that production. Now 99 00:05:27,160 --> 00:05:29,520 Speaker 1: this is seven years ago. Now there was a lot 100 00:05:29,600 --> 00:05:34,240 Speaker 1: being shot here. I had done Captain America here, and 101 00:05:34,320 --> 00:05:37,000 Speaker 1: I talked to the director and the producers about it, 102 00:05:37,040 --> 00:05:40,919 Speaker 1: and they were like, everything is moving here because the 103 00:05:41,000 --> 00:05:45,000 Speaker 1: tax breaks are so huge, the union structure is different, 104 00:05:45,240 --> 00:05:48,240 Speaker 1: and basically by shooting this movie, it was tens of 105 00:05:48,320 --> 00:05:51,039 Speaker 1: millions of dollars that they saved on that movie alone 106 00:05:51,440 --> 00:05:56,080 Speaker 1: shooting it here. And then, of course Atlanta change things 107 00:05:56,080 --> 00:05:57,600 Speaker 1: because you know, a lot of stuff is done in 108 00:05:57,640 --> 00:06:01,440 Speaker 1: Atlanta now, but still so much stuff. And at first 109 00:06:01,560 --> 00:06:05,320 Speaker 1: was a little slow going, but honestly, after a few months, 110 00:06:06,160 --> 00:06:08,400 Speaker 1: six months, it was not a problem at all. What 111 00:06:08,480 --> 00:06:11,479 Speaker 1: was the union particulars meaning? And and for you you 112 00:06:11,600 --> 00:06:14,040 Speaker 1: became a British citizen as well because you married her. No, 113 00:06:14,120 --> 00:06:17,520 Speaker 1: I'm not a British citizen. I might. I have permanent 114 00:06:17,760 --> 00:06:20,360 Speaker 1: leave to remain or whatever they call it, so I'm 115 00:06:20,400 --> 00:06:23,080 Speaker 1: a permanent resident. Had to take a test a little 116 00:06:23,120 --> 00:06:27,080 Speaker 1: while ago and proved that I knew enough about British history, 117 00:06:27,600 --> 00:06:30,440 Speaker 1: you know, which you know, yes, yeah, which I knew 118 00:06:30,440 --> 00:06:33,479 Speaker 1: nothing about, not really, but you know. And then but 119 00:06:33,680 --> 00:06:36,920 Speaker 1: the kids have that too, which is great for me. 120 00:06:36,960 --> 00:06:38,880 Speaker 1: It's wonderful because I was a lot of the stuff 121 00:06:38,880 --> 00:06:41,280 Speaker 1: I was doing anyway, was shooting either here or in 122 00:06:41,320 --> 00:06:44,599 Speaker 1: Europe or wherever, you know, because we don't make movies 123 00:06:44,640 --> 00:06:48,919 Speaker 1: in l A anymore, which is really I always told people, 124 00:06:49,040 --> 00:06:50,599 Speaker 1: you do a movie on a on a set in 125 00:06:50,640 --> 00:06:54,240 Speaker 1: New York, the prop guy would come to you and 126 00:06:54,279 --> 00:06:56,120 Speaker 1: he'd say, I want to pick out a watch with 127 00:06:56,160 --> 00:06:58,000 Speaker 1: you for your character, and he'd open up a box. 128 00:06:58,040 --> 00:07:01,520 Speaker 1: He had like forty watches. When you went to l A, 129 00:07:01,600 --> 00:07:03,000 Speaker 1: they say the propram, I want you to look at 130 00:07:03,000 --> 00:07:05,360 Speaker 1: a watch, and he brings like nine cases with five 131 00:07:05,480 --> 00:07:10,760 Speaker 1: hundred watches. In l A. Everything is just more more 132 00:07:10,880 --> 00:07:13,120 Speaker 1: because that's what it is. That's what it is. It's 133 00:07:13,160 --> 00:07:15,680 Speaker 1: nothing but that. The last time I worked there was 134 00:07:15,680 --> 00:07:19,560 Speaker 1: when I did the thing with them with Susan Surrandon 135 00:07:19,720 --> 00:07:24,720 Speaker 1: and Jessica Lang about Betty Davis and Jones that I 136 00:07:24,800 --> 00:07:27,080 Speaker 1: loved that so much fun Do you know that I 137 00:07:27,200 --> 00:07:30,560 Speaker 1: called each one of them. I called Jessica who I know, 138 00:07:30,680 --> 00:07:33,280 Speaker 1: and Susan, I mean Susan Surrandon. I literally got her 139 00:07:33,320 --> 00:07:35,280 Speaker 1: on the phone and she kind of had this tone 140 00:07:35,320 --> 00:07:37,960 Speaker 1: like how can I help you, Like like I'm just 141 00:07:38,280 --> 00:07:41,280 Speaker 1: I'm just completely puzzled as to why you're call me me. 142 00:07:41,760 --> 00:07:44,800 Speaker 1: Then I said, I'm calling you to tell you how 143 00:07:44,960 --> 00:07:47,960 Speaker 1: fabulous you were. I mean, no one could have pulled 144 00:07:48,000 --> 00:07:51,520 Speaker 1: it was impossible to pull that off. I loved that show. 145 00:07:51,560 --> 00:07:55,720 Speaker 1: They're great performances and they're both funny, and Susan I 146 00:07:55,800 --> 00:07:57,400 Speaker 1: knew I had made a lot of movies with Susan. 147 00:07:57,480 --> 00:08:00,040 Speaker 1: I had directed her in a movie, and but I 148 00:08:00,080 --> 00:08:03,080 Speaker 1: never met Jessica, and we really had one sort of 149 00:08:03,160 --> 00:08:10,280 Speaker 1: major scene together. It's just fucking amazing, amazing. You go there, 150 00:08:10,320 --> 00:08:13,960 Speaker 1: you're a permanent resident. And I'm imagining in terms of 151 00:08:14,000 --> 00:08:17,480 Speaker 1: the acting thing in the union thing, does that become 152 00:08:17,520 --> 00:08:19,680 Speaker 1: an issue as well? No, No, the union thing, as 153 00:08:19,720 --> 00:08:22,320 Speaker 1: far as SAG and all that, that's fine. What I 154 00:08:22,440 --> 00:08:25,840 Speaker 1: meant unions. What I meant is that the crew unions 155 00:08:25,880 --> 00:08:28,120 Speaker 1: and the driver unions and things like that are very 156 00:08:28,120 --> 00:08:31,080 Speaker 1: different here. And what they what they like here, as 157 00:08:31,120 --> 00:08:33,640 Speaker 1: you know, because you've shot here a lot, is that 158 00:08:34,240 --> 00:08:37,400 Speaker 1: they In America, it's very hard to shoot. And I'm 159 00:08:37,400 --> 00:08:41,839 Speaker 1: a big believer in unions. But America, you know, if 160 00:08:41,880 --> 00:08:45,199 Speaker 1: you try to do a continuous day, which is basically like, 161 00:08:45,559 --> 00:08:47,920 Speaker 1: you know, a ten hour day where you're not taking 162 00:08:47,920 --> 00:08:50,200 Speaker 1: a lunch break, you're you know, you're just you're in. 163 00:08:50,840 --> 00:08:53,079 Speaker 1: You start shooting at eight and you're and you're out 164 00:08:53,120 --> 00:08:55,800 Speaker 1: at six. Okay, so you're in at six thirty, in 165 00:08:55,840 --> 00:09:00,320 Speaker 1: makeup at seven o'clock whatever. In America, you can't do that. 166 00:09:01,200 --> 00:09:02,679 Speaker 1: You can't do it. You can only do it if 167 00:09:02,720 --> 00:09:06,720 Speaker 1: it's location dependent or like dependent. Here, if they go, oh, 168 00:09:06,760 --> 00:09:08,199 Speaker 1: we're doing a lunch break today. If you go to 169 00:09:08,200 --> 00:09:09,840 Speaker 1: the pudish, you go, why are we taking a lunch break. 170 00:09:10,360 --> 00:09:12,360 Speaker 1: We're shooting inside, we're shooting in the studio. Why are 171 00:09:12,400 --> 00:09:14,560 Speaker 1: we doing that. Let's do it. Let's do a continuous day. 172 00:09:14,840 --> 00:09:17,800 Speaker 1: He goes, yeah, all right, The crew goes, yeah, let's 173 00:09:17,800 --> 00:09:20,800 Speaker 1: do that. We're done at six o'clock. We get to 174 00:09:20,800 --> 00:09:24,600 Speaker 1: go home and be with our families. And it's a 175 00:09:24,640 --> 00:09:28,720 Speaker 1: completely different People say, like work ethic. It's not really 176 00:09:28,760 --> 00:09:33,920 Speaker 1: an ethic, it's simply logic. I mean, the crews are incredible, 177 00:09:33,960 --> 00:09:38,200 Speaker 1: the drivers are incredible, but they're not interested in being 178 00:09:38,200 --> 00:09:41,559 Speaker 1: there for fifteen sixteen hours a day. I mean in America, 179 00:09:41,800 --> 00:09:46,800 Speaker 1: I couldn't do it. I couldn't do continuous days. I tried. 180 00:09:46,800 --> 00:09:51,959 Speaker 1: They wouldn't let me. Um, but I still would finish 181 00:09:51,960 --> 00:09:57,000 Speaker 1: at six o'clock because how long do you really want 182 00:09:57,040 --> 00:09:59,679 Speaker 1: to be on a movie set. I mean, let's face it, 183 00:09:59,760 --> 00:10:03,920 Speaker 1: you know, it gets tedious and there's a lot of 184 00:10:04,080 --> 00:10:07,839 Speaker 1: fasting about that goes on, when really we don't need 185 00:10:07,880 --> 00:10:10,200 Speaker 1: a lot of that stuff. Let's just get to it. 186 00:10:10,280 --> 00:10:14,080 Speaker 1: Unless you're doing an action sequence or something quite complex. 187 00:10:14,720 --> 00:10:17,360 Speaker 1: It's not that complicated. And I did like a day, 188 00:10:17,840 --> 00:10:20,720 Speaker 1: maybe two. I don't remember it. So long ago when 189 00:10:20,800 --> 00:10:24,960 Speaker 1: Peccino did Richard the Third and the documentary that he 190 00:10:25,040 --> 00:10:28,079 Speaker 1: made about it was looking for Richard, and the first 191 00:10:28,160 --> 00:10:31,880 Speaker 1: day we shot, we did this scene that Paccino gathered 192 00:10:31,920 --> 00:10:33,719 Speaker 1: all the cast and crew around. He said, I want 193 00:10:33,720 --> 00:10:36,880 Speaker 1: to ask you all one favor, and everyone leaned in, 194 00:10:37,000 --> 00:10:39,720 Speaker 1: like what is it? And Peccino said, don't tell anyone 195 00:10:39,840 --> 00:10:45,360 Speaker 1: how fast we worked here. They don't tell anybody how 196 00:10:45,440 --> 00:10:48,040 Speaker 1: quickly we did this. Then they'll then they'll make us 197 00:10:48,040 --> 00:10:50,920 Speaker 1: all work at the space. I have been on sets 198 00:10:50,960 --> 00:10:53,400 Speaker 1: where we were really you have an efficient director is 199 00:10:53,440 --> 00:10:58,040 Speaker 1: really good in America. And they finish what you're done 200 00:10:58,080 --> 00:11:00,800 Speaker 1: like four and they're like, let's get out of here, 201 00:11:00,960 --> 00:11:04,520 Speaker 1: and they go, no, we can't leave, and you're like why. 202 00:11:04,840 --> 00:11:08,080 Speaker 1: They're like, well, the studio actually needs you to stay. 203 00:11:08,280 --> 00:11:10,600 Speaker 1: They need to They need the crew to stay, so 204 00:11:11,080 --> 00:11:13,440 Speaker 1: you need to stay, or if you want to go, 205 00:11:13,480 --> 00:11:15,800 Speaker 1: it's fine, but the crew has to stay because otherwise 206 00:11:15,840 --> 00:11:18,040 Speaker 1: it looks like you're not getting the job done. You're like, 207 00:11:18,040 --> 00:11:22,680 Speaker 1: the job's done. That was Lament's reputation. Yeah, yeah, I 208 00:11:22,720 --> 00:11:25,840 Speaker 1: admire that. One thing I feel in the time that 209 00:11:25,880 --> 00:11:29,319 Speaker 1: I've fantasized about even moving there for like a year 210 00:11:29,400 --> 00:11:31,199 Speaker 1: or two. That's my dream, like just a camp out 211 00:11:31,200 --> 00:11:33,520 Speaker 1: there for like a year or two. The mountain i'd 212 00:11:33,559 --> 00:11:35,600 Speaker 1: want to at least try to climb would be the theater. 213 00:11:35,679 --> 00:11:38,000 Speaker 1: Have you done theater over there? No? Because I have 214 00:11:38,080 --> 00:11:40,840 Speaker 1: little kids, I think what I would prefer to do 215 00:11:40,920 --> 00:11:43,840 Speaker 1: is direct again in the theater and not go on 216 00:11:43,920 --> 00:11:47,040 Speaker 1: stage again. Every now and again I get a yearning, 217 00:11:47,880 --> 00:11:51,000 Speaker 1: but then I think, you know, I don't get to 218 00:11:51,040 --> 00:11:53,040 Speaker 1: see my kids. You don't put them to sleep, you 219 00:11:53,080 --> 00:11:55,320 Speaker 1: don't have breakfast with them in the morning, because you're, like, 220 00:11:55,400 --> 00:11:58,080 Speaker 1: you know, completely out of it. The one thing about 221 00:11:58,120 --> 00:12:01,920 Speaker 1: it is that you can do shorter runs here in 222 00:12:01,960 --> 00:12:04,319 Speaker 1: a substantial theater. You can go to the old VIC 223 00:12:04,360 --> 00:12:07,439 Speaker 1: and do a short run. And that's pretty cool. And 224 00:12:07,559 --> 00:12:10,280 Speaker 1: where are the older kids. They're here, they're here, Well, 225 00:12:10,320 --> 00:12:12,160 Speaker 1: they go to un there, two of them go to 226 00:12:12,360 --> 00:12:16,160 Speaker 1: The twins go to university here. And because we all 227 00:12:16,200 --> 00:12:20,200 Speaker 1: moved over, the twins were only thirteen and Camilla was eleven. 228 00:12:20,320 --> 00:12:22,720 Speaker 1: For listening, and I had Matteo in the first house, 229 00:12:22,800 --> 00:12:25,240 Speaker 1: and then now we have our second house, which is bigger, 230 00:12:25,320 --> 00:12:29,440 Speaker 1: thank god. So you have you have Felicity have one, No, 231 00:12:29,559 --> 00:12:34,040 Speaker 1: we have two, Matteo and Amelia who's she just turned 232 00:12:34,040 --> 00:12:37,520 Speaker 1: two and he's five, and then the twins of twenty 233 00:12:37,640 --> 00:12:41,480 Speaker 1: and Camilla is eighteen. So you have five children, yes, right, 234 00:12:41,800 --> 00:12:44,679 Speaker 1: And I have five children, including my older daughter Ireland, 235 00:12:44,679 --> 00:12:49,040 Speaker 1: who lives in Los Angeles. So it is weird to 236 00:12:49,200 --> 00:12:52,600 Speaker 1: have kids and think about. You know, my dear friend 237 00:12:52,640 --> 00:12:54,400 Speaker 1: who's ten years older than me and had a ten 238 00:12:54,480 --> 00:12:58,559 Speaker 1: year old he said, don't worry, it's great. Besides, by 239 00:12:58,559 --> 00:13:01,840 Speaker 1: the time they're saying things that really bother you, you'll 240 00:13:01,840 --> 00:13:05,320 Speaker 1: be deaf anyway, So it doesn't even well, it's so 241 00:13:05,480 --> 00:13:08,319 Speaker 1: true I think about. I mean, I think I can 242 00:13:08,320 --> 00:13:11,280 Speaker 1: hear them now screaming in the house, screaming. I think 243 00:13:11,280 --> 00:13:14,120 Speaker 1: it's screaming or singing. I don't know which. Who knows. 244 00:13:14,320 --> 00:13:17,000 Speaker 1: Literally the older I get a loud noises to make 245 00:13:17,040 --> 00:13:19,199 Speaker 1: me very jumpy, like if you hear a crash or 246 00:13:19,800 --> 00:13:23,720 Speaker 1: or a loud everything that goes along with having children. 247 00:13:24,440 --> 00:13:28,200 Speaker 1: So if I if I come and very quietly and 248 00:13:28,360 --> 00:13:31,080 Speaker 1: very patiently, I try to lay down the law with 249 00:13:31,120 --> 00:13:34,080 Speaker 1: my kids. They look at me and then they go, mom, 250 00:13:34,480 --> 00:13:39,040 Speaker 1: and yeah, because I know what you mean. I mean, 251 00:13:39,120 --> 00:13:45,520 Speaker 1: I suddenly I'm gonna turn sixty in November, and I 252 00:13:45,559 --> 00:13:52,040 Speaker 1: suddenly feel like I'm doing things and I'm saying things 253 00:13:52,640 --> 00:13:57,800 Speaker 1: that I always watched old people do and say, and 254 00:13:57,880 --> 00:14:00,079 Speaker 1: how is that possible? Like, how is it possible that 255 00:14:00,080 --> 00:14:02,120 Speaker 1: that just came out of my mouth? How is it 256 00:14:02,160 --> 00:14:05,080 Speaker 1: possible that I went how is it possible that hair 257 00:14:05,200 --> 00:14:08,600 Speaker 1: is growing out of places where it just shouldn't and 258 00:14:08,679 --> 00:14:11,679 Speaker 1: not on my head. There's a lot more creaking and cracking, 259 00:14:12,520 --> 00:14:15,079 Speaker 1: and I believe me, there's a there's every night I 260 00:14:15,360 --> 00:14:18,480 Speaker 1: do my push ups in my bedroom and the creaking 261 00:14:18,480 --> 00:14:22,360 Speaker 1: and cracking is just so it's embarrassing. It's embarrassing when 262 00:14:22,360 --> 00:14:24,200 Speaker 1: you go into a store and you're like if you're 263 00:14:24,240 --> 00:14:25,760 Speaker 1: looking to it. Let's say you're going to a shoe 264 00:14:25,760 --> 00:14:28,320 Speaker 1: store and you bend down to look at those shoes 265 00:14:28,400 --> 00:14:30,760 Speaker 1: like on a slight lower, you know, and you're just 266 00:14:30,800 --> 00:14:33,960 Speaker 1: here like, you know, this fucking cracking, and you're like, 267 00:14:34,800 --> 00:14:38,760 Speaker 1: and it reverberates and you see like the salespeople kind 268 00:14:38,760 --> 00:14:42,640 Speaker 1: of look and go like it's embarrassing. But I don't 269 00:14:42,680 --> 00:14:45,320 Speaker 1: remember all that time passing so quickly, and that was 270 00:14:45,400 --> 00:14:48,520 Speaker 1: it possible that my attitude towards work has shifted so 271 00:14:48,640 --> 00:14:52,200 Speaker 1: dramatically as it has now. You know, people will send 272 00:14:52,200 --> 00:14:53,880 Speaker 1: me things and I'll go and I'll say to myself, 273 00:14:53,960 --> 00:14:56,040 Speaker 1: well that's a movie I'd like to go see, but 274 00:14:56,080 --> 00:14:59,200 Speaker 1: I wouldn't want to go make like I can't be 275 00:14:59,280 --> 00:15:02,880 Speaker 1: on a set in uh Costa Rica for six weeks. 276 00:15:02,960 --> 00:15:05,480 Speaker 1: I don't care how much money you pay me. I 277 00:15:05,520 --> 00:15:07,880 Speaker 1: need to live my life right now. Yeah, you can't. 278 00:15:07,960 --> 00:15:10,680 Speaker 1: I mean I feel the same way. I mean obviously, 279 00:15:11,000 --> 00:15:13,560 Speaker 1: I mean I have to work because I have this 280 00:15:13,960 --> 00:15:16,800 Speaker 1: overhead and I have a mortgage here, so I have 281 00:15:16,960 --> 00:15:20,800 Speaker 1: to do it. But if I had my choice, I 282 00:15:20,840 --> 00:15:23,520 Speaker 1: would do it a lot less. I am much more 283 00:15:23,600 --> 00:15:26,440 Speaker 1: discerning now. But the problem is you've done it so much, 284 00:15:26,920 --> 00:15:29,840 Speaker 1: like you just know it. You see the script and 285 00:15:29,920 --> 00:15:34,240 Speaker 1: you go, that's a nightmare. That is a nightmare right 286 00:15:34,280 --> 00:15:37,800 Speaker 1: there waiting to happen. I can feel it as soon 287 00:15:37,800 --> 00:15:39,800 Speaker 1: as I say, well, no, they think they're going to 288 00:15:39,880 --> 00:15:42,120 Speaker 1: be able to get helicopters to get like, No, I'm 289 00:15:42,120 --> 00:15:45,080 Speaker 1: not doing that. No, I'm not doing even the role 290 00:15:45,160 --> 00:15:47,760 Speaker 1: itself but they'll send me a role and I'll go, 291 00:15:48,160 --> 00:15:50,880 Speaker 1: oh god. I think I did that summer years ago. 292 00:15:51,080 --> 00:15:54,680 Speaker 1: So what it takes for me to get as excited 293 00:15:54,720 --> 00:15:58,000 Speaker 1: about a script to forego this part of my life? 294 00:15:58,040 --> 00:16:00,920 Speaker 1: I remember when I was making films and before I 295 00:16:00,920 --> 00:16:03,680 Speaker 1: did thirty Rock for seven seasons and really parked myself 296 00:16:03,680 --> 00:16:06,440 Speaker 1: in New York and got into TV and got into 297 00:16:06,920 --> 00:16:09,840 Speaker 1: a schedule that was friendly for my visitation with my 298 00:16:09,920 --> 00:16:15,280 Speaker 1: daughter I was commuting to I remember I used to 299 00:16:15,320 --> 00:16:19,320 Speaker 1: sit on sets and people would FedEx me my mail 300 00:16:19,560 --> 00:16:22,960 Speaker 1: from New York and I opened up my mail that 301 00:16:23,000 --> 00:16:24,720 Speaker 1: would come every couple of weeks and I literally sit 302 00:16:24,840 --> 00:16:27,880 Speaker 1: in my room kind of very sad and go, oh god. 303 00:16:27,920 --> 00:16:32,680 Speaker 1: I missed the Bacon exhibit at the Metropolitan Museum. So 304 00:16:32,800 --> 00:16:35,480 Speaker 1: many things I wanted to see and do, and field 305 00:16:35,720 --> 00:16:39,920 Speaker 1: going by because I'm shooting up in Canada. Now you've directed, 306 00:16:40,440 --> 00:16:43,760 Speaker 1: Obviously you're very known as a director for one big movie, 307 00:16:43,760 --> 00:16:47,600 Speaker 1: you did Big Night, but you've six different things. Correct. Yeah, 308 00:16:48,440 --> 00:16:51,040 Speaker 1: I made you go back. I love doing it. I 309 00:16:51,080 --> 00:16:52,680 Speaker 1: did three in a row and did Big Night, and 310 00:16:52,680 --> 00:16:55,680 Speaker 1: I co directed it with Campbell and co wrote it 311 00:16:55,720 --> 00:16:59,920 Speaker 1: with my cousin Joe Tropiano. And then I did The Impost, 312 00:17:00,200 --> 00:17:02,720 Speaker 1: which was a force that seven fewer people saw it 313 00:17:02,760 --> 00:17:06,239 Speaker 1: than were actually in the cast. And then I did 314 00:17:06,320 --> 00:17:08,879 Speaker 1: Joe Gold Secret with Ian Home that was sort of 315 00:17:08,960 --> 00:17:12,119 Speaker 1: dumped by the company that made it, unfortunately, because it 316 00:17:12,240 --> 00:17:14,720 Speaker 1: is actually quite a nice movie and Ian is brilliant. 317 00:17:15,160 --> 00:17:19,040 Speaker 1: And then I didn't make a movie for eight years 318 00:17:19,359 --> 00:17:22,000 Speaker 1: as a director, and then I did a tiny movie. 319 00:17:22,080 --> 00:17:24,080 Speaker 1: There was a remake of a Theo Vango movie, a 320 00:17:24,240 --> 00:17:28,560 Speaker 1: very dark, weird, kind of sucked up movie called Blind 321 00:17:28,680 --> 00:17:33,520 Speaker 1: Day with me and Patty Clarkson about this couple that 322 00:17:33,600 --> 00:17:37,600 Speaker 1: had lost a child and this is very bizarre, dark relationship. 323 00:17:38,520 --> 00:17:42,639 Speaker 1: And then another ten years went by or eight year, 324 00:17:42,680 --> 00:17:45,720 Speaker 1: I can't remember. And then I did this movie I 325 00:17:45,720 --> 00:17:50,119 Speaker 1: had written about Alberto dracom Eddie with Jeffrey Russian Army Handra, Yeah, 326 00:17:50,160 --> 00:17:52,920 Speaker 1: which you know, which I had written fourteen years ago. 327 00:17:53,119 --> 00:17:56,440 Speaker 1: What about directing made you keep coming back? The whole 328 00:17:56,480 --> 00:18:00,200 Speaker 1: point of directing is that you're able to control old 329 00:18:00,200 --> 00:18:06,040 Speaker 1: time and space, and as an actor you can't do that, 330 00:18:07,040 --> 00:18:11,919 Speaker 1: so you can control only what you're doing basically, but 331 00:18:12,000 --> 00:18:14,480 Speaker 1: as a as a as a director, you can control 332 00:18:14,560 --> 00:18:17,800 Speaker 1: it all. The palette the shape of it, the space 333 00:18:17,800 --> 00:18:23,240 Speaker 1: in between people, the tone of it, the time that 334 00:18:23,240 --> 00:18:25,879 Speaker 1: that that scene takes, but also the amount of time 335 00:18:26,200 --> 00:18:29,199 Speaker 1: that you want to shoot during the day. So on 336 00:18:29,240 --> 00:18:32,080 Speaker 1: the Jacob Meti film, I would start shooting by the 337 00:18:32,119 --> 00:18:34,080 Speaker 1: time Jeffrey got out of makeup. It would be about 338 00:18:34,200 --> 00:18:37,879 Speaker 1: nine thirty and I would shoot eight pages. Granted it 339 00:18:37,920 --> 00:18:41,400 Speaker 1: was quite contained, but I would shoot eight pages and 340 00:18:42,280 --> 00:18:47,040 Speaker 1: I'd be done by four o'clock in the afternoon because 341 00:18:47,080 --> 00:18:51,120 Speaker 1: I would rehearse it, rehearsed in advance, and I knew, 342 00:18:51,200 --> 00:18:53,160 Speaker 1: I knew what I wanted, and I had to had 343 00:18:53,200 --> 00:18:59,040 Speaker 1: this incredible DP Danny Cohen um, and it was so 344 00:18:59,119 --> 00:19:04,280 Speaker 1: satisfying and so wonderful, just wonderful. That's why I like 345 00:19:04,400 --> 00:19:08,320 Speaker 1: it because and I don't I have I really don't 346 00:19:08,359 --> 00:19:11,199 Speaker 1: have an interest in making sort of big Hollywood movies. 347 00:19:11,320 --> 00:19:14,399 Speaker 1: I should, but I don't. I have only an interest 348 00:19:14,440 --> 00:19:17,600 Speaker 1: in making smaller movies that tell the story I want 349 00:19:17,640 --> 00:19:19,520 Speaker 1: to tell, like one that I want to make now 350 00:19:19,560 --> 00:19:24,119 Speaker 1: about George Bernard Shaw and his relationship with this woman 351 00:19:24,240 --> 00:19:27,560 Speaker 1: Mrs Patrick Campbell at the when they were rehearsing Pigmalion 352 00:19:27,880 --> 00:19:30,840 Speaker 1: the very first time in the in the early nineteen hundreds. 353 00:19:31,119 --> 00:19:35,800 Speaker 1: It's a fascinating, weird, intimate, funny love story. But I'm 354 00:19:35,840 --> 00:19:40,560 Speaker 1: not a hard I'm hardly a technical person. I can create, 355 00:19:40,600 --> 00:19:43,760 Speaker 1: I can create. I'm interested in creating shots. I'm interested 356 00:19:43,840 --> 00:19:47,840 Speaker 1: in in creating really interesting masters and stuff like that. 357 00:19:47,880 --> 00:19:50,680 Speaker 1: But when it comes to the mathematics of it, there's 358 00:19:50,720 --> 00:19:54,080 Speaker 1: no way I could even Everything to me is is 359 00:19:54,119 --> 00:19:56,199 Speaker 1: by I Do you know what I mean? It's the 360 00:19:56,240 --> 00:19:59,359 Speaker 1: guy who who, instead of measuring to put a painting 361 00:19:59,440 --> 00:20:01,440 Speaker 1: up on the wall wall, I'll just kind of look 362 00:20:01,440 --> 00:20:03,760 Speaker 1: at the wall and go, there's the middle of the wall, 363 00:20:04,480 --> 00:20:12,200 Speaker 1: and inevitably I'm right. Actor and director Stanley Tucci, if 364 00:20:12,240 --> 00:20:15,000 Speaker 1: our conversation has put you in the mood for a 365 00:20:15,040 --> 00:20:18,640 Speaker 1: sixty year old Italian American character actors from Greater New 366 00:20:18,720 --> 00:20:22,399 Speaker 1: York here in luck John Tuturo joined me at a 367 00:20:22,440 --> 00:20:25,400 Speaker 1: live event of two thousand and seventeen and talked about 368 00:20:25,400 --> 00:20:28,680 Speaker 1: the inspiration of seeing a movie star who didn't look 369 00:20:28,800 --> 00:20:31,560 Speaker 1: like Robert Redford. You know, it wasn't until I saw 370 00:20:31,600 --> 00:20:35,600 Speaker 1: Dustin Hoffman, actually, which when I saw clips for the 371 00:20:35,600 --> 00:20:38,120 Speaker 1: Academy Award, I was too young to see Midnight Cowboy. 372 00:20:38,200 --> 00:20:40,600 Speaker 1: I was shocked. I was. I remember seeing him. I 373 00:20:40,640 --> 00:20:42,960 Speaker 1: saying like, wow, this guy looks like someone in our family, 374 00:20:43,000 --> 00:20:45,280 Speaker 1: you know what, you know, what's he doing in the movie? 375 00:20:47,359 --> 00:20:48,760 Speaker 1: How can he be in a movie? You know? And 376 00:20:48,800 --> 00:20:51,840 Speaker 1: I was like kind of shocked to see him. And 377 00:20:52,160 --> 00:20:54,760 Speaker 1: it was kind of shocking because he sort of opened 378 00:20:54,800 --> 00:20:58,119 Speaker 1: the doors for these other Paccino and you know, the 379 00:20:58,240 --> 00:21:02,760 Speaker 1: Narrow and all those guys. For our full interview text 380 00:21:02,840 --> 00:21:05,480 Speaker 1: to Turo, I know you need this one t U 381 00:21:05,880 --> 00:21:19,840 Speaker 1: R t U R R O two seven zero one. 382 00:21:21,560 --> 00:21:25,560 Speaker 1: I'm Alec Baldwin and this is Here's the thing. Stanley 383 00:21:25,560 --> 00:21:30,760 Speaker 1: Tucci as a director creates truly beautiful tableau. Change some 384 00:21:30,880 --> 00:21:34,520 Speaker 1: details in a still from the lush, chaotic dinner scene 385 00:21:34,640 --> 00:21:37,640 Speaker 1: and Big Night and it could be a Toulouse l trek. 386 00:21:38,160 --> 00:21:42,360 Speaker 1: It's not an accident. Tucci takes inspiration from painters as 387 00:21:42,440 --> 00:21:45,680 Speaker 1: much as his fellow directors. Yeah, because my dad is 388 00:21:45,720 --> 00:21:48,879 Speaker 1: a retired our teacher and we lived in Florence for 389 00:21:48,920 --> 00:21:52,280 Speaker 1: a year. He went to Florence to study sculpture, bronze 390 00:21:52,280 --> 00:21:56,520 Speaker 1: casting and figure drawn. When he had a sabbatical, he 391 00:21:56,600 --> 00:21:59,720 Speaker 1: was teaching and he used to teach in Chappaque and 392 00:22:00,160 --> 00:22:03,680 Speaker 1: so I grew up with somebody who painted all the time. 393 00:22:03,720 --> 00:22:06,399 Speaker 1: It did sculpture all the time, and we're constantly looking 394 00:22:06,440 --> 00:22:10,160 Speaker 1: at the time slides, remember the old slide machines and stuff. 395 00:22:10,200 --> 00:22:12,199 Speaker 1: He would, you know, and I would go to his 396 00:22:12,280 --> 00:22:15,560 Speaker 1: classes sometimes, you know, as I got older, and he 397 00:22:15,640 --> 00:22:19,199 Speaker 1: was a great, great teacher. Um. But so all that 398 00:22:19,240 --> 00:22:21,960 Speaker 1: stuff just sort of seeps into you, and those images 399 00:22:22,600 --> 00:22:25,159 Speaker 1: just become a part of you. And then when I 400 00:22:25,200 --> 00:22:27,040 Speaker 1: was in New York, when I moved to New York, 401 00:22:27,119 --> 00:22:30,920 Speaker 1: I you know, I was unemployed for extended periods of time, 402 00:22:30,920 --> 00:22:33,560 Speaker 1: and I spent a lot of that time in museums 403 00:22:33,720 --> 00:22:38,359 Speaker 1: and just reading about art. I didn't really read about film. 404 00:22:38,520 --> 00:22:40,919 Speaker 1: I didn't really read about I went to films, but 405 00:22:40,960 --> 00:22:43,600 Speaker 1: I didn't really read about film. I read about art. 406 00:22:44,040 --> 00:22:48,400 Speaker 1: And I became a sort of autodidact. And so those 407 00:22:48,440 --> 00:22:52,600 Speaker 1: images are there, and they can't help but frame what 408 00:22:52,760 --> 00:22:57,480 Speaker 1: you frame because they're so beautiful. Everything comes from those images, 409 00:22:57,560 --> 00:23:01,080 Speaker 1: whether we know it or not. Well, obviously, Ignite is 410 00:23:01,119 --> 00:23:05,000 Speaker 1: such a cult movie. It's always those movies that people 411 00:23:05,000 --> 00:23:07,760 Speaker 1: in the business love, Yeah they do. Ye, people in 412 00:23:07,800 --> 00:23:11,040 Speaker 1: the business love Big Night. They that they say, oh God, 413 00:23:11,040 --> 00:23:14,639 Speaker 1: what a great movie, and of course food in your childhood. 414 00:23:14,640 --> 00:23:17,600 Speaker 1: On reading this article where you're talking about how you 415 00:23:17,800 --> 00:23:20,200 Speaker 1: had an egg plant parmer gan sandwich you take to 416 00:23:20,240 --> 00:23:22,080 Speaker 1: school that was the size of you know whatever, I'm 417 00:23:22,080 --> 00:23:24,680 Speaker 1: like a two by four and I am the same way. 418 00:23:24,720 --> 00:23:28,240 Speaker 1: I crave a good Italian food and that becomes such 419 00:23:28,240 --> 00:23:33,240 Speaker 1: a part of your identity. Is there more or is 420 00:23:33,240 --> 00:23:35,800 Speaker 1: there always a lot of cooking in a Tucci household 421 00:23:35,920 --> 00:23:37,879 Speaker 1: or has it gone to another level now because of 422 00:23:37,880 --> 00:23:41,679 Speaker 1: the COVID No, it never, it literally never stops. So 423 00:23:41,720 --> 00:23:45,840 Speaker 1: I was cooking for eight people every day. So you 424 00:23:45,920 --> 00:23:48,120 Speaker 1: got to twenty year olds plus a friend of theirs 425 00:23:48,160 --> 00:23:51,439 Speaker 1: who's also twenty who went to university with them, and 426 00:23:51,600 --> 00:23:53,320 Speaker 1: an eighteen year old. Do you know how much food 427 00:23:53,680 --> 00:23:57,520 Speaker 1: they eat? Like in one sitting, not just one sitting. 428 00:23:57,600 --> 00:23:59,760 Speaker 1: I mean, so they come down, then they need a 429 00:23:59,760 --> 00:24:03,160 Speaker 1: dinner or before dinner, you know, not to mention lunch 430 00:24:03,200 --> 00:24:06,480 Speaker 1: and breakfast. I have three brothers, so I yeah, you know, unbelievable. 431 00:24:06,600 --> 00:24:09,960 Speaker 1: But now three of them have gone back to school 432 00:24:10,000 --> 00:24:13,080 Speaker 1: to study, which is good. But I also love to cook. 433 00:24:13,200 --> 00:24:20,000 Speaker 1: Tonight I'm making Paya I love I bet she does. Yeah, 434 00:24:20,320 --> 00:24:24,480 Speaker 1: you've done too much. I've done too many movies. Well, 435 00:24:24,640 --> 00:24:27,600 Speaker 1: you've done a lot of films. When you look back 436 00:24:27,680 --> 00:24:29,760 Speaker 1: on your career, who were the people you work with? 437 00:24:29,760 --> 00:24:31,760 Speaker 1: It you go, that was really a dream come true 438 00:24:31,800 --> 00:24:33,800 Speaker 1: to work with this one and this one. Well, I 439 00:24:33,800 --> 00:24:35,520 Speaker 1: had a great time working with you, first of all, 440 00:24:35,560 --> 00:24:37,800 Speaker 1: and I'm saying not saying that to be warm and fuzzy, 441 00:24:37,840 --> 00:24:40,720 Speaker 1: but I had a wonderful time working with you, um 442 00:24:40,800 --> 00:24:45,199 Speaker 1: merrill without the question. I had to remember not to 443 00:24:45,280 --> 00:24:48,119 Speaker 1: watch her like I had to remember to be in 444 00:24:48,160 --> 00:24:50,480 Speaker 1: the scene because I was so fascinated. Do you know 445 00:24:50,560 --> 00:24:52,480 Speaker 1: what I mean? I mean I'd go like, oh, ship, 446 00:24:52,560 --> 00:24:54,320 Speaker 1: I have to say a line now, because I would 447 00:24:54,359 --> 00:24:57,680 Speaker 1: just be watching her thinking I was really good? Did 448 00:24:57,680 --> 00:25:00,199 Speaker 1: you do that? I had that with DeNiro when I 449 00:25:00,240 --> 00:25:03,720 Speaker 1: did Good Shepherd. You would hear cut and he would 450 00:25:03,760 --> 00:25:06,600 Speaker 1: talk to Bob Richardson. Uh I shot with a couple 451 00:25:06,640 --> 00:25:09,640 Speaker 1: of times he talked to Bob and then he'd approached 452 00:25:09,680 --> 00:25:11,480 Speaker 1: Matt Damon and I and he would give us the 453 00:25:11,560 --> 00:25:14,840 Speaker 1: directions and he was about sixty seconds into talking to 454 00:25:14,920 --> 00:25:18,119 Speaker 1: us and I'd say, I'm sorry, could you repeat everything 455 00:25:18,119 --> 00:25:22,120 Speaker 1: you just said? I wasn't really listening. I was a kid. 456 00:25:22,160 --> 00:25:24,680 Speaker 1: There was a film screening in my mind the whole time, 457 00:25:25,240 --> 00:25:27,399 Speaker 1: just watching that person that you've watched for so long. 458 00:25:27,720 --> 00:25:30,280 Speaker 1: And I think, also, I did this movie a long 459 00:25:30,320 --> 00:25:34,080 Speaker 1: time ago with Joe Pesci, and there's a movie called 460 00:25:34,080 --> 00:25:38,640 Speaker 1: The Public Eye. Uh, and I was I was quite young, 461 00:25:38,680 --> 00:25:41,679 Speaker 1: and I was very excited to work with him. But 462 00:25:41,800 --> 00:25:46,520 Speaker 1: one of the things that was so impressed me about him, 463 00:25:46,560 --> 00:25:48,840 Speaker 1: and it still does every time I watched him, is 464 00:25:48,880 --> 00:25:53,600 Speaker 1: that I have never seen an actor listen the way 465 00:25:53,680 --> 00:25:58,439 Speaker 1: Joe Pesci listens to another actor. And I was watching, um, 466 00:25:59,400 --> 00:26:03,679 Speaker 1: you know that I wishman and I said to I 467 00:26:03,720 --> 00:26:07,840 Speaker 1: said to my son, I said, watch him, now, watch 468 00:26:07,840 --> 00:26:12,160 Speaker 1: what he's doing. Nobody else listens like that. And that's 469 00:26:12,200 --> 00:26:14,920 Speaker 1: what makes him so captivated is that he's actually fucking 470 00:26:15,080 --> 00:26:17,040 Speaker 1: and I like, in the middle of the scene, I'd 471 00:26:17,080 --> 00:26:20,160 Speaker 1: be talking to him and I thought, he's really listening 472 00:26:20,200 --> 00:26:22,399 Speaker 1: to me, like I've never had an actor really listened 473 00:26:22,400 --> 00:26:24,359 Speaker 1: to me like that I had. I gave him his 474 00:26:24,400 --> 00:26:27,679 Speaker 1: award from the New York Film Critics Circle for The 475 00:26:27,720 --> 00:26:30,919 Speaker 1: Irishman in the Fall, and I gave this speech and 476 00:26:31,000 --> 00:26:34,600 Speaker 1: I said that you know Strasburg and Santa Slowski and 477 00:26:34,600 --> 00:26:39,680 Speaker 1: those guys would always say, we're never the character. We're 478 00:26:40,760 --> 00:26:42,840 Speaker 1: the character, and there's a little piece of us out 479 00:26:42,840 --> 00:26:45,240 Speaker 1: of the corner of our eye that's watching us perform. 480 00:26:46,320 --> 00:26:49,280 Speaker 1: And we're at these knobs and dials, adjusting them a 481 00:26:49,359 --> 00:26:51,280 Speaker 1: little bit more of this, a little bit less of this. 482 00:26:51,960 --> 00:26:54,120 Speaker 1: And you see Pesci someone who goes to these outer 483 00:26:54,280 --> 00:26:57,320 Speaker 1: extremes of kind of this craziness and rage, but he 484 00:26:57,359 --> 00:27:02,040 Speaker 1: knows exactly what he's doing. It's all these settings he has. 485 00:27:02,080 --> 00:27:07,040 Speaker 1: He's very deft. He's so deft, he's so deft. Who 486 00:27:07,040 --> 00:27:09,679 Speaker 1: else that you've worked with that you I did this 487 00:27:09,680 --> 00:27:13,919 Speaker 1: movie at the Edge with Tony Hopkins. De Niro originally 488 00:27:14,000 --> 00:27:16,879 Speaker 1: was supposed to do the film. Mammock wrote the screenplay 489 00:27:17,119 --> 00:27:20,439 Speaker 1: and Art Linson, whose DeNiro's friend, was the producer, and 490 00:27:20,480 --> 00:27:23,800 Speaker 1: we did a reading and the character's name was Charles 491 00:27:23,840 --> 00:27:26,600 Speaker 1: Morrise and I think that Bob realized that he was 492 00:27:26,720 --> 00:27:32,160 Speaker 1: more Adriatic than than he was Plymouth Rock, so he 493 00:27:32,720 --> 00:27:36,120 Speaker 1: left the film. I was on vacation with my ex 494 00:27:36,200 --> 00:27:37,680 Speaker 1: wife and the phone ring and they said they got 495 00:27:37,680 --> 00:27:40,560 Speaker 1: Tony Hopkins to do the film, and literally tears started 496 00:27:40,600 --> 00:27:42,400 Speaker 1: running down my face. I thought I can't believe I'm 497 00:27:42,400 --> 00:27:45,240 Speaker 1: gonna go make a movie with Anthony Hopkins. And it 498 00:27:45,320 --> 00:27:46,800 Speaker 1: was one of the great that the film was not 499 00:27:47,000 --> 00:27:49,680 Speaker 1: a great film, that was a very missed opportunity, but 500 00:27:50,359 --> 00:27:52,399 Speaker 1: it was the greatest experience I've ever had, was working 501 00:27:52,440 --> 00:27:56,680 Speaker 1: with Tommy. What about Sean Connery, Well, Sean was a 502 00:27:56,760 --> 00:28:01,040 Speaker 1: lesson in um, you know, one of the first big 503 00:28:01,040 --> 00:28:03,640 Speaker 1: movies I made. And John mcteern and the director said 504 00:28:03,640 --> 00:28:05,840 Speaker 1: to me, because why can't you just stand there and 505 00:28:05,880 --> 00:28:11,200 Speaker 1: say the lines? He said, he said, you always need 506 00:28:11,240 --> 00:28:14,359 Speaker 1: to be like packing a briefcase and and and folding 507 00:28:14,440 --> 00:28:16,840 Speaker 1: your trench code because because you were very proppy. This 508 00:28:16,920 --> 00:28:19,560 Speaker 1: is early, early, couple of days of shooting, he says. 509 00:28:19,600 --> 00:28:22,240 Speaker 1: He says, because he was used to working with stars 510 00:28:22,359 --> 00:28:24,679 Speaker 1: where you just stand there and say the lines. You know, 511 00:28:24,720 --> 00:28:29,960 Speaker 1: it's I'm enough. We need a minimum of acting. And uh, 512 00:28:30,080 --> 00:28:32,280 Speaker 1: I thought about that. I thought that makes some sense. 513 00:28:32,280 --> 00:28:35,000 Speaker 1: I guess that's kind of maybe some good advice. And 514 00:28:35,040 --> 00:28:39,520 Speaker 1: then Sewan walked in and they've done his makeup test, 515 00:28:39,560 --> 00:28:41,640 Speaker 1: and they've done his wardrobe test, and they did his hair. 516 00:28:41,760 --> 00:28:43,960 Speaker 1: He had this beautiful hair piece they put on him. 517 00:28:44,080 --> 00:28:48,280 Speaker 1: It was and he walked and I thought, I'm so fucked. 518 00:28:48,280 --> 00:28:50,040 Speaker 1: I said, no, one's going to see me in this movie. 519 00:28:50,040 --> 00:28:55,080 Speaker 1: I'm officially invisible. And he talked to me every day 520 00:28:55,120 --> 00:28:58,320 Speaker 1: we shot. He was so kind to me and and instructive. 521 00:28:58,320 --> 00:28:59,920 Speaker 1: He said to me, are you going to the rush 522 00:29:00,080 --> 00:29:04,200 Speaker 1: his boy to the Russians, And I'd say, what he said, 523 00:29:04,200 --> 00:29:08,080 Speaker 1: the Rushes that the film from yesterday? I say, no, no, 524 00:29:08,120 --> 00:29:09,600 Speaker 1: I never go to the Rushes. I thought, you know, 525 00:29:09,640 --> 00:29:11,200 Speaker 1: what's the point? But what am I going to give 526 00:29:11,240 --> 00:29:14,320 Speaker 1: them my opinion? He said, well, how do you ever 527 00:29:14,440 --> 00:29:18,480 Speaker 1: expect to larn anything? So we go to the Rushes 528 00:29:18,520 --> 00:29:23,480 Speaker 1: to Laren. I was like, oh, okay, great. And then 529 00:29:23,680 --> 00:29:25,560 Speaker 1: one day my favorite moment with him was I looked 530 00:29:25,640 --> 00:29:27,360 Speaker 1: him and I said, He said, if you don't mind, 531 00:29:27,560 --> 00:29:33,720 Speaker 1: I won't be off camera for you after five on 532 00:29:33,720 --> 00:29:36,200 Speaker 1: on Friday. I said, no, no, that's fine. That's fine. 533 00:29:36,360 --> 00:29:38,560 Speaker 1: So I have to get on a plane and fly 534 00:29:38,720 --> 00:29:43,960 Speaker 1: to Vancouver for the weekend. I said, really, He said, yes, 535 00:29:43,960 --> 00:29:46,960 Speaker 1: I'm a British tax exile, so I can only be 536 00:29:47,040 --> 00:29:51,800 Speaker 1: in the States. In the States, so many days I'm 537 00:29:51,840 --> 00:29:53,720 Speaker 1: leaving out the s and he goes in the States 538 00:29:53,880 --> 00:29:56,680 Speaker 1: so many days and I said, wow, Is said, you 539 00:29:56,680 --> 00:29:59,160 Speaker 1: fly up to Vancouver every weekend. He said, yes, I 540 00:29:59,240 --> 00:30:03,120 Speaker 1: fly up to the coover every weekend. I said, what 541 00:30:03,160 --> 00:30:05,000 Speaker 1: do you do when you're there in Vancouver? And he 542 00:30:05,040 --> 00:30:07,400 Speaker 1: looked at me like I was a brain damaged child. 543 00:30:08,240 --> 00:30:10,880 Speaker 1: I said, what do you do here there? He says, golf? 544 00:30:13,080 --> 00:30:18,520 Speaker 1: You morong. I think I disappointed him on several levels. 545 00:30:18,560 --> 00:30:20,640 Speaker 1: I like that. I like that movie, though. I have 546 00:30:20,760 --> 00:30:22,720 Speaker 1: to say, I thought you were great in any of 547 00:30:22,760 --> 00:30:27,520 Speaker 1: your kids have the Bug? No, No, thank god no. 548 00:30:28,400 --> 00:30:32,560 Speaker 1: I think Nicolo did some plays in high school and 549 00:30:32,640 --> 00:30:35,440 Speaker 1: he actually did a thing for BBC here too, but 550 00:30:35,800 --> 00:30:39,640 Speaker 1: it's not it's not something he's really desperate to do. 551 00:30:39,880 --> 00:30:44,400 Speaker 1: I think he's much more interested in documentary filmmaking. And 552 00:30:44,480 --> 00:30:46,800 Speaker 1: I took him to see I worked with Matthew Hindeman. 553 00:30:46,880 --> 00:30:53,120 Speaker 1: You know that wonderful director who did Cartel and he's extraordinary. Uh. 554 00:30:53,160 --> 00:30:56,160 Speaker 1: And he became friendly with him from this movie that 555 00:30:56,200 --> 00:30:58,320 Speaker 1: I had done with him, and and I took Nico 556 00:30:58,400 --> 00:31:00,880 Speaker 1: to see this other movie he did called City of Ghosts, 557 00:31:00,920 --> 00:31:08,520 Speaker 1: about um Syrian refugees in Berlin, and Nico was just 558 00:31:08,680 --> 00:31:11,560 Speaker 1: so excited about it, so excited about it that he said, 559 00:31:11,600 --> 00:31:13,880 Speaker 1: oh my god, Dad, that's incredible. That's what I want 560 00:31:14,040 --> 00:31:19,600 Speaker 1: to do. So now he's studying politics at university, but 561 00:31:19,720 --> 00:31:22,760 Speaker 1: I know that he wants to work his way into 562 00:31:22,800 --> 00:31:25,600 Speaker 1: doing that, which I think that it is so exciting 563 00:31:25,640 --> 00:31:28,920 Speaker 1: to me because that's an incredible life. That's a great life. 564 00:31:29,120 --> 00:31:32,800 Speaker 1: Can any of them cook, Nico? Nico can cook. The 565 00:31:32,880 --> 00:31:36,280 Speaker 1: girls no, they have no interest, none. But he came down. 566 00:31:36,600 --> 00:31:38,760 Speaker 1: I did this. I just did this thing for CNN. 567 00:31:38,800 --> 00:31:42,880 Speaker 1: I'm doing this thing about Italian regional cooking, a CNN 568 00:31:42,920 --> 00:31:46,320 Speaker 1: documentary series. So we went to four different regions in 569 00:31:46,400 --> 00:31:50,880 Speaker 1: Italy and Nico came down to Sicily with us and 570 00:31:51,240 --> 00:31:53,480 Speaker 1: was you know, became part of the crew and stuff 571 00:31:53,520 --> 00:31:56,320 Speaker 1: like that, and he was just thrilled. Plus, you know, 572 00:31:56,680 --> 00:32:00,160 Speaker 1: the food is Felicity as happy as a clas. I'm 573 00:32:00,200 --> 00:32:02,760 Speaker 1: is she happy to be home? Yeah, she's really happy. 574 00:32:03,280 --> 00:32:05,760 Speaker 1: Anything about America, she made some really good friends in 575 00:32:05,760 --> 00:32:08,640 Speaker 1: America too, you know, through work and and then she 576 00:32:08,760 --> 00:32:11,280 Speaker 1: became very good friends like with Aidan and Lizzie, you 577 00:32:11,320 --> 00:32:14,920 Speaker 1: know Aidan Quinn and his wife Lizzie, and Steve Bussemi 578 00:32:14,960 --> 00:32:18,240 Speaker 1: and now his late wife Joe. So that was really 579 00:32:18,320 --> 00:32:21,160 Speaker 1: nice that you know she you know, she made a 580 00:32:21,200 --> 00:32:24,520 Speaker 1: lot of really great friends and she really enjoyed part 581 00:32:24,560 --> 00:32:27,720 Speaker 1: of working there, but she found the experience much more 582 00:32:27,760 --> 00:32:33,880 Speaker 1: corporate than it is here. Um. But ultimately she's just 583 00:32:34,040 --> 00:32:38,280 Speaker 1: happier here, much happier, much happier. Her parents are close by, 584 00:32:38,440 --> 00:32:40,520 Speaker 1: you know, I get it. The one thing I don't 585 00:32:40,520 --> 00:32:43,640 Speaker 1: want to overlook very important is tell me about Central Park. 586 00:32:43,760 --> 00:32:46,640 Speaker 1: What's this project that's the buzzer here. We're gonna talk 587 00:32:46,680 --> 00:32:51,400 Speaker 1: about your latest project. Josh Gad. We did Beauty and 588 00:32:51,400 --> 00:32:55,440 Speaker 1: the Beast, lovely guy, really funny guy. And then he 589 00:32:55,480 --> 00:32:57,440 Speaker 1: calls me up and he says, I want you to 590 00:32:57,480 --> 00:33:00,960 Speaker 1: do this animated series with me. And I was like, yeah, 591 00:33:00,960 --> 00:33:03,000 Speaker 1: sure whatever. I love doing stuff like that, you know, 592 00:33:03,280 --> 00:33:05,120 Speaker 1: because if I wanted to play an eight year old woman, 593 00:33:05,920 --> 00:33:09,080 Speaker 1: I was like, even better. Nothing makes me happier than that. 594 00:33:09,760 --> 00:33:12,080 Speaker 1: And also, you know, you don't have to go on camera, 595 00:33:12,240 --> 00:33:13,800 Speaker 1: you don't have to come any makeup, you don't have 596 00:33:13,840 --> 00:33:15,640 Speaker 1: to do a costume. You go to the recording studio. 597 00:33:16,400 --> 00:33:18,719 Speaker 1: It's incredibly fun. So Kristen Bell is doing it and 598 00:33:19,280 --> 00:33:23,240 Speaker 1: it's a musical. I pretend to sing, but I'm singing 599 00:33:23,280 --> 00:33:25,640 Speaker 1: as an eight year old woman. So it's fun share 600 00:33:25,680 --> 00:33:29,920 Speaker 1: with us. I mean, you're considered a fantastic actor. Share 601 00:33:29,960 --> 00:33:32,640 Speaker 1: one is the secret of how you access the singing 602 00:33:32,720 --> 00:33:34,600 Speaker 1: voice of an eighty year old woman? What did you 603 00:33:34,680 --> 00:33:37,239 Speaker 1: do for that? I just had a martini before I 604 00:33:37,480 --> 00:33:44,200 Speaker 1: write I did it. Yeah, it's like if Rex Harrison 605 00:33:44,280 --> 00:33:48,200 Speaker 1: were an old woman, like an angry, drunk old woman. 606 00:33:48,280 --> 00:33:50,680 Speaker 1: That's the way I do. I talk it, except for 607 00:33:50,800 --> 00:33:53,720 Speaker 1: one note every now and again. When this Central Park 608 00:33:53,840 --> 00:33:59,120 Speaker 1: coming out. I think it's coming out in July. Now, 609 00:33:59,440 --> 00:34:03,200 Speaker 1: last question, Yes, Joy, if there is such a thing 610 00:34:04,040 --> 00:34:08,280 Speaker 1: as a role that you wish you could play marks 611 00:34:09,280 --> 00:34:13,239 Speaker 1: you're kidding? Now, why because you used to do that 612 00:34:13,320 --> 00:34:16,480 Speaker 1: as a kid. Fascinating you would do ground your invitations 613 00:34:16,520 --> 00:34:20,320 Speaker 1: to your family when you're a kid. Correct? What about him? Why? 614 00:34:20,719 --> 00:34:23,920 Speaker 1: He and his brothers completely changed the face of comedy. 615 00:34:24,239 --> 00:34:27,719 Speaker 1: And also the periods that they worked through were incredible. 616 00:34:27,760 --> 00:34:31,239 Speaker 1: When you think that they did vaudeville and then they 617 00:34:31,239 --> 00:34:34,440 Speaker 1: went into movies just huge stars. Then there was a 618 00:34:34,480 --> 00:34:39,359 Speaker 1: sort of decline, then movies again under Irving Thalberg, huge hit. 619 00:34:40,040 --> 00:34:43,480 Speaker 1: Then it all starts to fade away. They're getting older 620 00:34:43,680 --> 00:34:48,359 Speaker 1: suddenly at the cusp of the beginning of television. He 621 00:34:48,520 --> 00:34:52,920 Speaker 1: has this enormous hit that went from radio, transition from 622 00:34:53,000 --> 00:34:55,880 Speaker 1: radio to television and stayed on television for ten years. 623 00:34:56,360 --> 00:34:59,279 Speaker 1: I mean, that's an incredible career. Not to mention that 624 00:34:59,360 --> 00:35:04,080 Speaker 1: he was a real intellect and an incredibly complex person, 625 00:35:04,600 --> 00:35:08,560 Speaker 1: not the happiest person, which also makes it much Well, 626 00:35:08,600 --> 00:35:12,000 Speaker 1: that's what makes it much more interesting. Anybody's really happy. 627 00:35:12,000 --> 00:35:14,680 Speaker 1: I mean, how you know, who wants to who cares? 628 00:35:14,719 --> 00:35:16,879 Speaker 1: But when I always remember when I worked with you, 629 00:35:17,400 --> 00:35:19,640 Speaker 1: which is a million years ago now it'll be thirty 630 00:35:19,719 --> 00:35:25,320 Speaker 1: years ago next year. We shot that movie, and I 631 00:35:25,360 --> 00:35:29,960 Speaker 1: remember shooting with you. I remember walking away and thinking that, um, 632 00:35:30,040 --> 00:35:32,640 Speaker 1: you'd read this about certain actors where they had a 633 00:35:32,680 --> 00:35:37,239 Speaker 1: career and nothing on screen could prepare you for what 634 00:35:37,280 --> 00:35:40,480 Speaker 1: they were like in person. Like someone said that Vincent 635 00:35:40,520 --> 00:35:43,560 Speaker 1: Price was a great host, and he hosted some of 636 00:35:43,600 --> 00:35:46,040 Speaker 1: the greatest parties and dinner parties in Hollywood. He was 637 00:35:46,080 --> 00:35:48,280 Speaker 1: a gourmand, he was a food he was a foodie, 638 00:35:48,880 --> 00:35:52,080 Speaker 1: and the Vincent by people loved going to Vincent Price's 639 00:35:52,160 --> 00:35:55,640 Speaker 1: house and he played these kind of cookie exotic characters. 640 00:35:55,640 --> 00:35:59,600 Speaker 1: But in real life he was this elegant or bane guy. 641 00:35:59,800 --> 00:36:02,520 Speaker 1: And when I think of that, although you have no 642 00:36:02,600 --> 00:36:06,399 Speaker 1: resemblance whatsoever to Vincent Price in his career, I think 643 00:36:06,440 --> 00:36:09,200 Speaker 1: the same thing. When I've been around you, You're one 644 00:36:09,239 --> 00:36:12,760 Speaker 1: of the most elegant men. You play some tough, crazy 645 00:36:12,800 --> 00:36:15,399 Speaker 1: people and they're not you at all. That's a real 646 00:36:15,560 --> 00:36:20,160 Speaker 1: journey for you, the real I think it's nothing like that. No, 647 00:36:20,320 --> 00:36:23,440 Speaker 1: I'm not a I'm not a tough guy. Now you're 648 00:36:23,440 --> 00:36:27,840 Speaker 1: a Brit. Yes, that's what I like. Now I'm brit. 649 00:36:27,960 --> 00:36:32,319 Speaker 1: Now it's all very different. You've been rehearsing your entire life. Yes, 650 00:36:32,960 --> 00:36:36,440 Speaker 1: my son, my five year old, he literally speaks like 651 00:36:36,520 --> 00:36:40,000 Speaker 1: he's from you know, like he just came out of 652 00:36:40,160 --> 00:36:47,200 Speaker 1: you know, Windsor. Stanley Tucci is currently appearing in Central Park. 653 00:36:47,800 --> 00:36:51,360 Speaker 1: That's a TV show, as villainous eighty year old mogul 654 00:36:51,760 --> 00:36:55,520 Speaker 1: Bitsy Brandenham. We're going to do the biggest real estate 655 00:36:55,680 --> 00:36:59,160 Speaker 1: deal in the history of the world. It's out now 656 00:36:59,200 --> 00:37:02,799 Speaker 1: on Apple t be. I'm Alec Baldwin and this is 657 00:37:02,880 --> 00:37:03,600 Speaker 1: here's the thing.