1 00:00:00,240 --> 00:00:03,600 Speaker 1: You're listening to Ruthie's Table for in Collaboration with Me 2 00:00:03,680 --> 00:00:10,480 Speaker 1: and em intelligence style for Busy Women. I've seen Noah 3 00:00:10,480 --> 00:00:14,160 Speaker 1: Bromback's brilliant new movie J Kelly five times, and I've 4 00:00:14,200 --> 00:00:17,319 Speaker 1: plant to see it many more times. It's a story 5 00:00:17,360 --> 00:00:20,000 Speaker 1: about a man of a certain age, a movie star 6 00:00:20,320 --> 00:00:23,439 Speaker 1: played by George Clooney. He's traveling through Europe with his 7 00:00:23,560 --> 00:00:26,880 Speaker 1: long time manager, trying to make sense of his past 8 00:00:26,880 --> 00:00:30,240 Speaker 1: and his present, the people he's loved, the family he 9 00:00:30,280 --> 00:00:33,760 Speaker 1: hasn't always been there for, and the legacy he'll leave behind. 10 00:00:34,760 --> 00:00:38,240 Speaker 1: Food runs throughout as a symbol of love and emotion 11 00:00:38,760 --> 00:00:41,040 Speaker 1: of taking care of some one, knowing there will be 12 00:00:41,120 --> 00:00:45,000 Speaker 1: food wherever you go and whoever you are with. In 13 00:00:45,040 --> 00:00:47,600 Speaker 1: an early scene, Kelly's agent comes to his house to 14 00:00:47,600 --> 00:00:52,200 Speaker 1: make him a sandwich of pickles and potatoes, Helman's mayonnaise 15 00:00:52,520 --> 00:00:56,040 Speaker 1: and olive oil. Kelly worries that the pickles have passed 16 00:00:56,040 --> 00:01:01,200 Speaker 1: their sell by date. He replies, pickles don't fire. I 17 00:01:01,320 --> 00:01:03,920 Speaker 1: love this line. I see it as an algory for 18 00:01:04,080 --> 00:01:08,240 Speaker 1: lifelong friendship, like the friendship I had, not a bumba. 19 00:01:09,040 --> 00:01:11,240 Speaker 2: You write a line like that, like pickles don't expire 20 00:01:11,280 --> 00:01:15,039 Speaker 2: and part of you really just means it literally. 21 00:01:15,280 --> 00:01:17,640 Speaker 3: And then it takes you saying. 22 00:01:17,360 --> 00:01:20,200 Speaker 1: Something like that for me to feel like it was 23 00:01:20,520 --> 00:01:21,319 Speaker 1: for me that. 24 00:01:21,280 --> 00:01:23,600 Speaker 3: Was maybe a better line than I thought it was. 25 00:01:23,800 --> 00:01:25,920 Speaker 1: It's a bit, you know, for me seeing it again. 26 00:01:26,240 --> 00:01:30,840 Speaker 1: For me, the able to concentrate on the writing of 27 00:01:30,920 --> 00:01:35,679 Speaker 1: the movie was so important and it's the most beautifully written. 28 00:01:36,480 --> 00:01:38,840 Speaker 1: People always ask me about luxuries in life, you know, 29 00:01:38,880 --> 00:01:43,000 Speaker 1: whether it's a handbag or a cashmir dress or a scarf, 30 00:01:43,440 --> 00:01:45,760 Speaker 1: and then you realize that being able to sit in 31 00:01:45,800 --> 00:01:49,640 Speaker 1: the middle of the afternoon in a cinema enveloped by 32 00:01:49,720 --> 00:01:54,800 Speaker 1: the most beautiful language and beautiful film was a great luxury. 33 00:01:55,280 --> 00:01:56,120 Speaker 1: It was a luxury. 34 00:01:56,240 --> 00:01:57,000 Speaker 3: It is a luxury. 35 00:01:57,000 --> 00:02:01,120 Speaker 2: It's the same way to have like a great sprawling meal, 36 00:02:01,720 --> 00:02:05,160 Speaker 2: and I feel like is a great luxury too, and 37 00:02:05,200 --> 00:02:10,360 Speaker 2: not worry about them turning the table, and to like 38 00:02:10,600 --> 00:02:13,000 Speaker 2: you come to a place where you feel like you 39 00:02:13,040 --> 00:02:15,200 Speaker 2: can you're all just there and let's we're all going 40 00:02:15,280 --> 00:02:17,560 Speaker 2: to be here and we're not thinking about it ending. 41 00:02:17,680 --> 00:02:21,560 Speaker 2: And you know, and and I think that's true about movies. 42 00:02:21,600 --> 00:02:22,200 Speaker 3: I think the. 43 00:02:24,120 --> 00:02:27,800 Speaker 2: It's actually a luxury that I, Gret and I have 44 00:02:28,800 --> 00:02:30,560 Speaker 2: made sure of over the last few years is that 45 00:02:30,600 --> 00:02:32,560 Speaker 2: we screen a movie in a theater once a week 46 00:02:32,600 --> 00:02:35,720 Speaker 2: for that very reason, because I think it's so important. 47 00:02:35,760 --> 00:02:41,480 Speaker 2: And it was actually our freak friend Jake Paltrow had 48 00:02:41,760 --> 00:02:46,080 Speaker 2: compared like watching movies at home is like takeout, Like 49 00:02:46,760 --> 00:02:48,919 Speaker 2: if you're starving and you you know, when you order 50 00:02:48,960 --> 00:02:50,720 Speaker 2: out and you get kind of a cold burger and 51 00:02:50,760 --> 00:02:54,320 Speaker 2: soggy fries, you just wolf it down and go on 52 00:02:54,400 --> 00:02:56,400 Speaker 2: with your night. If you're in a restaurant and you 53 00:02:56,440 --> 00:02:58,560 Speaker 2: get a cold burger and soggi fries, you send it back. 54 00:02:59,160 --> 00:03:01,760 Speaker 2: And I think he was saying that in terms of 55 00:03:01,800 --> 00:03:04,360 Speaker 2: like entertainment, it's like if you go to the theater, 56 00:03:05,720 --> 00:03:07,960 Speaker 2: you have you want to have a real experience, and 57 00:03:07,760 --> 00:03:09,359 Speaker 2: you and you're also more likely to have a real 58 00:03:09,400 --> 00:03:13,440 Speaker 2: experience than sitting at home and pausing and going over 59 00:03:13,560 --> 00:03:17,400 Speaker 2: to the yeah thing and half watching and then running 60 00:03:17,400 --> 00:03:20,760 Speaker 2: the movie and people are coming, you know, and expectations 61 00:03:20,760 --> 00:03:24,480 Speaker 2: are just different, and that's okay. Takeouts great sometimes you know, 62 00:03:24,520 --> 00:03:25,960 Speaker 2: it's it's exactly what you want. 63 00:03:27,480 --> 00:03:30,120 Speaker 1: And for me, the luxury people always ask me my 64 00:03:30,200 --> 00:03:32,359 Speaker 1: greatest luxury, and I say being in a museum when 65 00:03:32,360 --> 00:03:34,960 Speaker 1: it's closed, you know, which is the same thing when 66 00:03:34,960 --> 00:03:38,680 Speaker 1: you can look. And as tumultuous as the applause was 67 00:03:38,720 --> 00:03:41,640 Speaker 1: in New York and as how encouraging and excited the 68 00:03:41,680 --> 00:03:45,920 Speaker 1: audience was in Venice, the absence of the audience for me, 69 00:03:46,160 --> 00:03:49,480 Speaker 1: and just the luxury sitting in that chair and being 70 00:03:49,480 --> 00:03:53,240 Speaker 1: alone with the movie was you know something very very important. 71 00:03:53,240 --> 00:03:55,000 Speaker 2: I think there is something I feel the same way 72 00:03:55,040 --> 00:03:59,320 Speaker 2: of some of my favorite movie memories are going alone 73 00:03:59,760 --> 00:04:04,160 Speaker 2: to his end, just having this private experience, but on 74 00:04:04,200 --> 00:04:07,360 Speaker 2: a big screen. You're sort of this small person in 75 00:04:07,400 --> 00:04:08,560 Speaker 2: this big space. 76 00:04:08,960 --> 00:04:10,920 Speaker 1: Tell me more about planning the food. When you were 77 00:04:10,960 --> 00:04:13,560 Speaker 1: writing it, you just say he will be a cheesecake 78 00:04:13,640 --> 00:04:14,680 Speaker 1: rather than a chocolate cake. 79 00:04:14,920 --> 00:04:16,360 Speaker 3: Well, it was part of his routine. 80 00:04:16,440 --> 00:04:20,320 Speaker 2: I suppose the cheesecake is part of j Kelly's rider. 81 00:04:21,040 --> 00:04:23,440 Speaker 2: They list all the perks and things that they want 82 00:04:23,520 --> 00:04:26,279 Speaker 2: to have, they need to have in their rooms to 83 00:04:26,480 --> 00:04:32,320 Speaker 2: feel comfortable. So this is true of many actors, and 84 00:04:32,400 --> 00:04:34,960 Speaker 2: I think what often happens in these riders is people 85 00:04:35,000 --> 00:04:39,599 Speaker 2: say things are want a thing wants, and then very 86 00:04:40,279 --> 00:04:43,520 Speaker 2: diligent people will put them in the rider. So then 87 00:04:43,520 --> 00:04:48,200 Speaker 2: you end up getting it multiple times. So in the 88 00:04:48,279 --> 00:04:51,560 Speaker 2: in the movie, Jay has apparently said that he likes 89 00:04:51,640 --> 00:04:55,360 Speaker 2: cheesecake and I would like to have it as an 90 00:04:55,360 --> 00:05:01,039 Speaker 2: option whenever he you know, goes into a room. But 91 00:05:02,120 --> 00:05:04,880 Speaker 2: when he discovers it in his trailer in the movie, 92 00:05:04,920 --> 00:05:08,599 Speaker 2: he's annoyed because he doesn't like cheesecake and he doesn't 93 00:05:09,120 --> 00:05:12,760 Speaker 2: understand why they persist in giving it to him. Ron 94 00:05:13,320 --> 00:05:17,119 Speaker 2: Adam Sandler's character, his manager keeps pointing out that he 95 00:05:17,160 --> 00:05:19,120 Speaker 2: does like it, and that he had put it in 96 00:05:19,400 --> 00:05:22,960 Speaker 2: his rider years ago and had mentioned that he liked it, 97 00:05:23,720 --> 00:05:26,520 Speaker 2: So that's a disagreement from the opening of the movie. 98 00:05:26,640 --> 00:05:30,600 Speaker 2: But then thus the cheesecake becomes a symbol of how 99 00:05:30,640 --> 00:05:36,880 Speaker 2: food also identifies us, how we associate ourselves by our 100 00:05:36,960 --> 00:05:39,560 Speaker 2: taste and food. You know, I like this food. I 101 00:05:39,560 --> 00:05:42,760 Speaker 2: don't like this food. I used to like this food. 102 00:05:42,800 --> 00:05:44,960 Speaker 2: I don't like that food anymore, I you know, And 103 00:05:45,520 --> 00:05:47,880 Speaker 2: and restaurants are that too, of sort of, it's another 104 00:05:47,920 --> 00:05:52,800 Speaker 2: way of defining yourself in the world of I'm a vegetarian, 105 00:05:52,880 --> 00:05:58,400 Speaker 2: I'm you know. It's and since the movie is about 106 00:05:58,920 --> 00:06:03,760 Speaker 2: identity and about how we define ourselves, and the cheesecake 107 00:06:03,800 --> 00:06:07,040 Speaker 2: is emblematic of that, is he's sure he doesn't like it, 108 00:06:07,080 --> 00:06:09,320 Speaker 2: although some part of him has asked for it in 109 00:06:09,360 --> 00:06:09,840 Speaker 2: the past. 110 00:06:10,520 --> 00:06:15,400 Speaker 3: Maybe and then at the end. 111 00:06:15,480 --> 00:06:17,960 Speaker 2: He realizes, maybe I am someone who likes cheesecake. What 112 00:06:17,960 --> 00:06:18,880 Speaker 2: does that mean about me? 113 00:06:18,960 --> 00:06:19,120 Speaker 4: Now? 114 00:06:19,360 --> 00:06:24,240 Speaker 1: Also perhaps that everywhere he goes somebody's taken care of him, 115 00:06:24,279 --> 00:06:26,080 Speaker 1: that he has what the scene with his daughter, what 116 00:06:26,200 --> 00:06:29,880 Speaker 1: she says, you're never alone, right and that? And then 117 00:06:29,880 --> 00:06:32,919 Speaker 1: somebody comes and you know, his other gives him a drink, 118 00:06:33,440 --> 00:06:36,239 Speaker 1: proving the point, doesn't he say? There? And there's a story, 119 00:06:36,279 --> 00:06:39,080 Speaker 1: you know, a Wall Street journalist was giving the assignment 120 00:06:39,120 --> 00:06:42,680 Speaker 1: of following a billionaire in New York around for twenty 121 00:06:42,680 --> 00:06:45,719 Speaker 1: four hours. And they met him, and they went to 122 00:06:45,760 --> 00:06:48,080 Speaker 1: the gym together with the trainer, and they did that, 123 00:06:48,200 --> 00:06:51,599 Speaker 1: and they had massages, and then they flew down to 124 00:06:51,640 --> 00:06:55,800 Speaker 1: play golf and bahamas and were met and you know, 125 00:06:55,839 --> 00:06:58,559 Speaker 1: the luggage was taken to the house and they changed. 126 00:06:58,640 --> 00:07:00,480 Speaker 1: They played golf, and then they went back and they 127 00:07:00,800 --> 00:07:02,800 Speaker 1: went to the office, and they were met outside, and 128 00:07:02,839 --> 00:07:06,360 Speaker 1: the chauffeurs with them. In anyway, the whole day went by, 129 00:07:06,480 --> 00:07:09,120 Speaker 1: and he said he came away not with the all 130 00:07:09,200 --> 00:07:11,560 Speaker 1: they did, or where they lived, or the wealth of it, 131 00:07:11,640 --> 00:07:15,120 Speaker 1: but that this man was never alone. Also, you know, 132 00:07:15,160 --> 00:07:19,080 Speaker 1: as part of these movies we question friendship and people 133 00:07:19,080 --> 00:07:21,120 Speaker 1: who work for you and attachment. 134 00:07:21,560 --> 00:07:24,880 Speaker 2: Well, that was something that we Emily and I thought 135 00:07:25,000 --> 00:07:27,240 Speaker 2: was kind of a funny idea in some ways, but 136 00:07:27,360 --> 00:07:32,440 Speaker 2: it works thematically as well, with this idea that he starts, 137 00:07:33,000 --> 00:07:36,080 Speaker 2: character starts with all these people around him all the time, 138 00:07:36,760 --> 00:07:39,720 Speaker 2: and then he goes out into the world, and then 139 00:07:39,960 --> 00:07:43,840 Speaker 2: one by one they start peeling off, and you know, 140 00:07:43,920 --> 00:07:46,760 Speaker 2: he's left with fewer and fewer people as he goes 141 00:07:47,560 --> 00:07:49,920 Speaker 2: and the world expands as well as he goes out 142 00:07:49,960 --> 00:07:52,800 Speaker 2: into it. I mean the it was actually our neighbors 143 00:07:52,880 --> 00:07:57,000 Speaker 2: when I was growing up were the Zuckerbergs. 144 00:07:58,120 --> 00:08:01,880 Speaker 3: They Joan Zuckerberg had surprise party for Richard Zuckerberg. 145 00:08:02,160 --> 00:08:04,760 Speaker 2: This was the late seventies, I think or early eighties, 146 00:08:04,800 --> 00:08:08,800 Speaker 2: so I was the nine to eleven range or something 147 00:08:08,840 --> 00:08:11,960 Speaker 2: like that. And I always liked them as friends for 148 00:08:12,080 --> 00:08:15,040 Speaker 2: my parents because they were very like they had big 149 00:08:15,080 --> 00:08:18,080 Speaker 2: parties and they would like, they would sing, and they 150 00:08:18,120 --> 00:08:21,000 Speaker 2: would do things that my parents didn't. My parents were 151 00:08:21,000 --> 00:08:23,560 Speaker 2: more reserved in their way, and so I always liked 152 00:08:23,560 --> 00:08:27,640 Speaker 2: that the Zuckerbergs brought this stuff out in my parents, 153 00:08:28,080 --> 00:08:30,080 Speaker 2: but I was there once and it was a surprise 154 00:08:30,160 --> 00:08:32,520 Speaker 2: party for Richard, the father. I was friends with their son, 155 00:08:32,600 --> 00:08:37,240 Speaker 2: Josh and who was my age, and the cheesecake was 156 00:08:37,320 --> 00:08:41,520 Speaker 2: his cake as part of the surprise, and at some 157 00:08:41,679 --> 00:08:46,240 Speaker 2: point in the evening he confessed that he actually didn't 158 00:08:46,400 --> 00:08:49,680 Speaker 2: like cheesecake and that somehow this had been the cake 159 00:08:49,720 --> 00:08:51,760 Speaker 2: of choice for years and he hadn't had the heart 160 00:08:51,800 --> 00:08:55,120 Speaker 2: to tell his wife that he didn't want. 161 00:08:54,960 --> 00:08:56,360 Speaker 3: It, and so I don't know. 162 00:08:56,400 --> 00:08:58,200 Speaker 2: So I had cheesecake in my head as sort of 163 00:08:58,240 --> 00:09:01,240 Speaker 2: this thing of some that would be a presumption that 164 00:09:01,320 --> 00:09:04,880 Speaker 2: someone would like cheesecake. My version of that it was 165 00:09:05,120 --> 00:09:09,440 Speaker 2: I've had like I mean, I like red wine dinner. 166 00:09:09,880 --> 00:09:14,480 Speaker 2: And when I was doing press for a movie, they somehow, 167 00:09:15,400 --> 00:09:17,200 Speaker 2: in a nice way, got out that they knew I 168 00:09:17,400 --> 00:09:19,840 Speaker 2: liked to have a glass of wine or something. But 169 00:09:19,880 --> 00:09:21,880 Speaker 2: then the wine would just turn up. I would have 170 00:09:21,920 --> 00:09:24,959 Speaker 2: like an eleven am you know, press thing, and I'd 171 00:09:25,000 --> 00:09:27,920 Speaker 2: come into the room and there'd be decanted red. 172 00:09:27,760 --> 00:09:32,400 Speaker 3: Wine and I was like, this is now humiliating. That 173 00:09:32,440 --> 00:09:34,280 Speaker 3: was al said. Part of what I was, I think it. 174 00:09:34,360 --> 00:09:36,960 Speaker 1: Comes to probably people wanting again food being away of 175 00:09:37,040 --> 00:09:39,000 Speaker 1: saying I want to make you happy wine, I want 176 00:09:39,000 --> 00:09:41,440 Speaker 1: to give you something, you know, and I used to 177 00:09:41,440 --> 00:09:43,439 Speaker 1: do that in the early days. You know, we're just saying, Oh, 178 00:09:43,480 --> 00:09:45,959 Speaker 1: somebody's here, let's bring them that to try and that 179 00:09:46,080 --> 00:09:48,880 Speaker 1: to try, and you realize that actually you just kind 180 00:09:48,960 --> 00:09:50,520 Speaker 1: of want to eat what you ordered. 181 00:09:51,040 --> 00:09:53,880 Speaker 2: Yeah, the the and I, Greta and I always have 182 00:09:53,920 --> 00:09:57,959 Speaker 2: this thing where we're like too well behaved that when 183 00:09:58,200 --> 00:10:05,319 Speaker 2: when that would happen, we would eat it. And because 184 00:10:05,320 --> 00:10:06,920 Speaker 2: I feel so bad to leave. 185 00:10:06,840 --> 00:10:10,360 Speaker 1: Something, it's like you're turning a gift. 186 00:10:10,520 --> 00:10:15,520 Speaker 2: Yeah, yeah, exactly, And yeah, you're just like you're just 187 00:10:16,400 --> 00:10:19,599 Speaker 2: so uncomfortable by the end of the evening. Yeah, but 188 00:10:19,760 --> 00:10:21,840 Speaker 2: then if they stop doing it, you're like, what happened 189 00:10:21,880 --> 00:10:24,839 Speaker 2: to the Yeah. 190 00:10:23,760 --> 00:10:37,559 Speaker 1: Where's my pizza? Where do you keep the knives? 191 00:10:38,080 --> 00:10:41,839 Speaker 4: That magnet thing by the cutting boy. Lately, I feel 192 00:10:41,840 --> 00:10:45,040 Speaker 4: like my life doesn't really feel real. 193 00:10:45,480 --> 00:10:47,640 Speaker 1: I heard about your break up with a hand model. 194 00:10:47,880 --> 00:10:52,560 Speaker 4: Breakups are like death something mayonnaimes refrigerated on the show. 195 00:10:54,160 --> 00:10:57,199 Speaker 3: Oh yeah, how that goes? 196 00:10:58,080 --> 00:11:02,560 Speaker 4: Daisy graduates this spring and then she's at Johns Hopkins 197 00:11:02,600 --> 00:11:06,240 Speaker 4: from biochemistry. If you can believe it, she's a brilliant girl. 198 00:11:06,480 --> 00:11:11,960 Speaker 4: Then Jess is in San Diego. That's I don't know 199 00:11:11,960 --> 00:11:12,720 Speaker 4: what to do there. 200 00:11:14,080 --> 00:11:16,040 Speaker 1: You'll figure it out. Do you have olive oil? 201 00:11:18,440 --> 00:11:23,240 Speaker 4: I've been thinking a lot about Cranberry Street. It's such 202 00:11:23,320 --> 00:11:24,839 Speaker 4: fun shooting that, didn't. 203 00:11:24,559 --> 00:11:25,959 Speaker 3: We We were always laughing. 204 00:11:26,440 --> 00:11:29,360 Speaker 1: Do you know it's the thirty fifth anniversary coming up? 205 00:11:29,679 --> 00:11:31,360 Speaker 4: Jess was born the next year. That's how I know 206 00:11:31,480 --> 00:11:34,440 Speaker 4: that all my memories are movies. 207 00:11:35,080 --> 00:11:36,400 Speaker 1: That's what movies are for us. 208 00:11:37,240 --> 00:11:42,439 Speaker 4: Pieces of time, nieces of time. Do you have pickles 209 00:11:43,160 --> 00:11:48,280 Speaker 4: in the pantry? I think, oh, yeah, you know, check 210 00:11:48,320 --> 00:11:49,040 Speaker 4: the expiration. 211 00:11:49,160 --> 00:11:50,440 Speaker 3: Pickles don't expire. 212 00:11:50,480 --> 00:11:50,840 Speaker 1: My laugh. 213 00:11:51,800 --> 00:11:54,199 Speaker 2: I was thinking about the movie also in terms of food, 214 00:11:54,280 --> 00:11:58,120 Speaker 2: because the sandwich scene, in particular making the sandwich, and 215 00:11:58,360 --> 00:12:01,520 Speaker 2: there's something about this sort of intimacy of making a 216 00:12:01,559 --> 00:12:05,480 Speaker 2: sandwich in someone else's home, of like coming there and 217 00:12:05,559 --> 00:12:09,160 Speaker 2: using their ingredients to make them something that's from you, 218 00:12:09,240 --> 00:12:13,839 Speaker 2: and and that sort of vulnerability also of putting yourself there, 219 00:12:13,880 --> 00:12:16,720 Speaker 2: because it is a very vulnerable scene for Jim's character 220 00:12:17,360 --> 00:12:18,080 Speaker 2: to really be that. 221 00:12:19,600 --> 00:12:19,920 Speaker 3: It was. 222 00:12:20,240 --> 00:12:22,720 Speaker 2: It was actually a story that Peter Mugdonovitch told me 223 00:12:23,760 --> 00:12:29,400 Speaker 2: about when he was Warren Baby called him once round 224 00:12:29,440 --> 00:12:33,520 Speaker 2: the late seventies, and said, I'm going to come over 225 00:12:33,559 --> 00:12:36,240 Speaker 2: and make you a sandwich. And I thought that was 226 00:12:36,280 --> 00:12:41,240 Speaker 2: such a kind of like great way of I guess, 227 00:12:41,360 --> 00:12:44,800 Speaker 2: both a sort of power play, but also he also 228 00:12:44,960 --> 00:12:48,120 Speaker 2: wanted Peter to direct something, so it was like a 229 00:12:48,120 --> 00:12:54,840 Speaker 2: way of taking control but also providing something. And it 230 00:12:54,880 --> 00:12:59,600 Speaker 2: also gives you something to do, so you're not just 231 00:12:59,679 --> 00:13:02,600 Speaker 2: there asking for something. You're like, you have a job 232 00:13:02,640 --> 00:13:04,920 Speaker 2: that you have to And that was a different circumstance 233 00:13:04,960 --> 00:13:07,000 Speaker 2: because it was the actor coming to the director and 234 00:13:07,040 --> 00:13:09,640 Speaker 2: he was asking him to direct, having can wait and then, 235 00:13:09,880 --> 00:13:12,240 Speaker 2: which Peter didn't end up doing and then Warren did. 236 00:13:12,840 --> 00:13:14,680 Speaker 2: So I just liked that sort of I'm coming over 237 00:13:14,720 --> 00:13:16,800 Speaker 2: to make you a sandwich that that was sort of 238 00:13:16,840 --> 00:13:19,720 Speaker 2: gave me the start of the scene, and Emily and 239 00:13:19,800 --> 00:13:22,040 Speaker 2: I kind of went from there. You had that conversation 240 00:13:22,120 --> 00:13:25,480 Speaker 2: with people that when you do do food in movies. 241 00:13:25,160 --> 00:13:27,720 Speaker 1: And you have to eat it, well. 242 00:13:27,880 --> 00:13:29,960 Speaker 2: You have to eat it repeatedly, and you know people 243 00:13:31,440 --> 00:13:34,120 Speaker 2: I once worked with the kid who we made like 244 00:13:34,200 --> 00:13:36,480 Speaker 2: it was like a bullya base or something, and what 245 00:13:36,559 --> 00:13:37,120 Speaker 2: movie was that? 246 00:13:37,360 --> 00:13:38,880 Speaker 3: This was Margot at the wedding. 247 00:13:38,679 --> 00:13:41,360 Speaker 2: And he was he hadn't had lunch and so he 248 00:13:41,480 --> 00:13:43,360 Speaker 2: was just eating it the whole time. Where was all 249 00:13:43,440 --> 00:13:46,760 Speaker 2: the nicole kidman and John deturo knew to just sort of, 250 00:13:46,960 --> 00:13:50,040 Speaker 2: you know, do like the and he just ended up 251 00:13:50,040 --> 00:13:53,319 Speaker 2: throwing up because I guess a good lesson of how 252 00:13:53,320 --> 00:13:54,320 Speaker 2: to eat on film. 253 00:13:54,520 --> 00:14:00,800 Speaker 1: And the other scene, the ring and the ganash. 254 00:14:00,080 --> 00:14:02,520 Speaker 2: Right, the ring in the ganache. Yeah, that was so 255 00:14:02,559 --> 00:14:08,800 Speaker 2: Adam Sandler's character Ron, who's j Kelly's manager, And we 256 00:14:08,920 --> 00:14:11,920 Speaker 2: discovered that they had a history in that twenty odd 257 00:14:12,000 --> 00:14:15,679 Speaker 2: years ago. They had been a couple and had worked 258 00:14:15,679 --> 00:14:18,640 Speaker 2: for Jay even back then, and things that were never 259 00:14:18,880 --> 00:14:19,960 Speaker 2: spoken of come out. 260 00:14:20,840 --> 00:14:25,760 Speaker 1: We did just bowl that night back then on the 261 00:14:25,800 --> 00:14:26,480 Speaker 1: Eiffel Tower. 262 00:14:27,960 --> 00:14:29,520 Speaker 3: We just sat down to dinner. 263 00:14:29,680 --> 00:14:31,840 Speaker 2: I wanted to turn our phones off, but you said 264 00:14:31,920 --> 00:14:33,240 Speaker 2: keep them on just in case. 265 00:14:34,880 --> 00:14:36,400 Speaker 1: And of course we got the call. 266 00:14:37,320 --> 00:14:39,920 Speaker 4: She'd been photographed with that daughter of the French ambassador. 267 00:14:41,360 --> 00:14:42,320 Speaker 1: One of us had to go. 268 00:14:43,240 --> 00:14:44,680 Speaker 3: I stayed to keep the table. 269 00:14:46,760 --> 00:14:51,440 Speaker 4: I was so nervous because I had a ring planted 270 00:14:51,480 --> 00:14:52,200 Speaker 4: in the ganache. 271 00:14:55,480 --> 00:14:56,680 Speaker 2: I never knew that part. 272 00:14:57,120 --> 00:15:01,080 Speaker 1: Yeah, it was like a very romantic movie. Look, one 273 00:15:01,120 --> 00:15:05,360 Speaker 1: that is not romantic at all. In fact, because you 274 00:15:05,440 --> 00:15:06,320 Speaker 1: never came back. 275 00:15:07,600 --> 00:15:09,160 Speaker 2: I don't know, I guess that just felt like a 276 00:15:09,280 --> 00:15:14,080 Speaker 2: kind of a somewhat dramatic way of proposing, old fashioned, 277 00:15:14,720 --> 00:15:18,320 Speaker 2: that way of proposing, like like like the Chocolate Nemesis or. 278 00:15:18,280 --> 00:15:20,920 Speaker 1: The well, you know the story of the Chocolate Nemesis, 279 00:15:20,960 --> 00:15:24,280 Speaker 1: which is someone was coming to the River Cafe, it's 280 00:15:24,360 --> 00:15:28,640 Speaker 1: very similar and ordered a chocolate Nemesis and with the 281 00:15:28,680 --> 00:15:31,960 Speaker 1: words on the top saying will you marry me? And 282 00:15:32,120 --> 00:15:34,520 Speaker 1: they ordered it, and then halfway through the meal he 283 00:15:34,600 --> 00:15:37,640 Speaker 1: came up and he said, cancel the cake. And so 284 00:15:37,760 --> 00:15:42,120 Speaker 1: you just wonder what happened in that first in that 285 00:15:42,760 --> 00:15:45,040 Speaker 1: first course that made him change. 286 00:15:44,800 --> 00:15:48,400 Speaker 2: It, you know, I mean scenes around tables. It's it's 287 00:15:48,480 --> 00:15:53,040 Speaker 2: interesting because I think because I I'm so tied to 288 00:15:53,280 --> 00:15:59,360 Speaker 2: and interested in in ritual and repetition in relationships. I 289 00:15:59,400 --> 00:16:03,040 Speaker 2: mean sort of how people get into habits and people 290 00:16:03,120 --> 00:16:08,360 Speaker 2: and friendships over a long period of time, marriages, whatever 291 00:16:08,400 --> 00:16:11,360 Speaker 2: it is, whatever this is in the movie, and how 292 00:16:11,800 --> 00:16:17,560 Speaker 2: when ritual is broken or things are changed, how are 293 00:16:17,600 --> 00:16:20,720 Speaker 2: you able to adjust with that? And food is such 294 00:16:20,760 --> 00:16:23,200 Speaker 2: an important ritual to me, but it's it's such a 295 00:16:23,240 --> 00:16:27,160 Speaker 2: part of people's lives, a sort of being at the table. Yeah, 296 00:16:27,200 --> 00:16:31,960 Speaker 2: and so I I mean, I mean, in some ways 297 00:16:31,960 --> 00:16:33,280 Speaker 2: I could probably just set. 298 00:16:33,080 --> 00:16:35,600 Speaker 3: All my scenes at tables. I have to have to. 299 00:16:35,680 --> 00:16:37,360 Speaker 2: I have to try to gussie it up a little 300 00:16:37,360 --> 00:16:39,000 Speaker 2: and get people standing and moving over. 301 00:16:39,080 --> 00:16:40,120 Speaker 3: People are always. 302 00:16:39,880 --> 00:16:42,880 Speaker 2: Need something or you know, like just becomes about behavior 303 00:16:42,880 --> 00:16:46,480 Speaker 2: and about people's faces and about and I love people's 304 00:16:46,480 --> 00:16:51,040 Speaker 2: behavior at tables too, with food, just arms reaching across, 305 00:16:51,680 --> 00:16:53,600 Speaker 2: there's a lot of If you look at that scene, 306 00:16:53,600 --> 00:16:56,480 Speaker 2: there's a lot of we shot sort of lower on 307 00:16:56,560 --> 00:16:59,640 Speaker 2: the table, so you people are like reaching over and 308 00:16:59,720 --> 00:17:03,240 Speaker 2: blow walking, and Jay is even blocked by the flowers. 309 00:17:03,280 --> 00:17:06,280 Speaker 2: It was something we did a bit as Jay goes 310 00:17:06,320 --> 00:17:08,679 Speaker 2: sort of further on this journey and the reality that 311 00:17:08,760 --> 00:17:11,760 Speaker 2: life doesn't actually revolve around him becomes more and more apparent. 312 00:17:13,680 --> 00:17:17,080 Speaker 2: He's sometimes he's framed smaller and kind of bigger landscapes. 313 00:17:17,119 --> 00:17:18,119 Speaker 3: But another thing we did is we. 314 00:17:18,240 --> 00:17:22,080 Speaker 2: Blocked him at the table more like the flowers block 315 00:17:22,200 --> 00:17:26,120 Speaker 2: his face, people's hands. I mean, these are little things 316 00:17:26,160 --> 00:17:29,200 Speaker 2: that you hope people don't notice so much as feel. 317 00:17:29,280 --> 00:17:33,520 Speaker 2: But it's something I've given a lot of thought too, 318 00:17:33,520 --> 00:17:36,680 Speaker 2: because of course I do inevitably end up shooting people 319 00:17:36,680 --> 00:17:41,280 Speaker 2: at table is eating and I actually one of my favorite, 320 00:17:41,320 --> 00:17:43,199 Speaker 2: like sitting at a table. It's not very long, but 321 00:17:43,640 --> 00:17:48,120 Speaker 2: in the movie Grand Illusion, the Renoir movie, it begins 322 00:17:48,119 --> 00:17:53,240 Speaker 2: with this French soldier and they're called to fly over 323 00:17:53,720 --> 00:17:55,919 Speaker 2: in Germany and they get shot down. This is the 324 00:17:55,960 --> 00:17:57,520 Speaker 2: very beginning of the movie. And they get shot down 325 00:17:57,600 --> 00:18:03,000 Speaker 2: and they're brought over by the Germans and they invite 326 00:18:03,000 --> 00:18:04,680 Speaker 2: them to lunch and they just sit at and eat 327 00:18:04,760 --> 00:18:08,200 Speaker 2: lunch with the Germans at the table. But within it, 328 00:18:08,240 --> 00:18:10,720 Speaker 2: there's the way he shoots it. There's just all these 329 00:18:10,840 --> 00:18:14,080 Speaker 2: arms reaching like everybody's just and there's a kind of 330 00:18:14,119 --> 00:18:20,800 Speaker 2: casualness in the way it's designed, which also belies the 331 00:18:20,840 --> 00:18:24,359 Speaker 2: sort of like the drama they're now prisoners of war. 332 00:18:25,560 --> 00:18:28,359 Speaker 2: I just always love that, and I've always thought of 333 00:18:28,400 --> 00:18:31,360 Speaker 2: that scene when I think about tables, because I think 334 00:18:31,400 --> 00:18:35,239 Speaker 2: about shooting people at tables is where people put their 335 00:18:35,359 --> 00:18:38,920 Speaker 2: arms to people asked to pass, they reach do they 336 00:18:39,080 --> 00:18:41,840 Speaker 2: I don't know. To me, it's it's cinematics. 337 00:18:41,960 --> 00:18:45,200 Speaker 1: It's so revealing. You know, we're just wanting to someone 338 00:18:45,240 --> 00:18:48,720 Speaker 1: about that this morning, about interviewing somebody for a job 339 00:18:48,880 --> 00:18:51,760 Speaker 1: in a restaurant, or why people go out to dates 340 00:18:51,880 --> 00:18:54,120 Speaker 1: in a restaurant, right right, And what does it tell 341 00:18:54,160 --> 00:18:57,480 Speaker 1: you about how they share their food? Do they give 342 00:18:57,520 --> 00:18:59,560 Speaker 1: it to you first before they take it for themselves? 343 00:18:59,600 --> 00:19:03,280 Speaker 1: Do they do they recognize the waiter? Are they have 344 00:19:03,359 --> 00:19:04,879 Speaker 1: a rude to the way to what is it? The 345 00:19:04,920 --> 00:19:08,800 Speaker 1: way someone's behavior and you know, you know our own 346 00:19:08,920 --> 00:19:14,080 Speaker 1: you know the way we you know, and that that 347 00:19:14,280 --> 00:19:17,120 Speaker 1: kind of is revealing and no rules. I had had 348 00:19:17,160 --> 00:19:21,360 Speaker 1: somebody you know tell me, you know. Famously, Mike Bloomberg 349 00:19:21,440 --> 00:19:24,280 Speaker 1: said that if he was interviewing somebody for a job 350 00:19:24,320 --> 00:19:25,800 Speaker 1: and they ordered a glass of wine. 351 00:19:25,560 --> 00:19:27,719 Speaker 3: He would hire them, you know, he wouldn't. 352 00:19:28,359 --> 00:19:31,439 Speaker 1: And then another architect was there at the table and said, well, 353 00:19:31,520 --> 00:19:34,160 Speaker 1: somebody didn't order a glass of wine, I wouldn't hire them, 354 00:19:34,200 --> 00:19:37,159 Speaker 1: you know, And so or you know it just it 355 00:19:37,200 --> 00:19:40,560 Speaker 1: does reveal, you know, a character. 356 00:19:41,119 --> 00:19:43,159 Speaker 2: Greta and I a few years ago that was with 357 00:19:43,200 --> 00:19:46,639 Speaker 2: another couple who we didn't know very well in San Francisco. 358 00:19:46,960 --> 00:19:50,520 Speaker 2: It was an Indian restaurant and he was just up front. 359 00:19:50,600 --> 00:19:53,040 Speaker 2: He said, I don't like sharing, so I'm going to 360 00:19:53,160 --> 00:19:56,040 Speaker 2: order my own stuff and then you guys can all share. 361 00:19:56,320 --> 00:19:58,280 Speaker 2: And he stuck to it and I kind of appreciated it. 362 00:19:58,400 --> 00:20:01,679 Speaker 1: Yeah, this is the deal. I like that Richard. You know, 363 00:20:01,720 --> 00:20:03,840 Speaker 1: they had a verb for him. Kids called him Barber 364 00:20:04,320 --> 00:20:06,200 Speaker 1: and they would say, are we going to Barber tonight, 365 00:20:06,240 --> 00:20:08,440 Speaker 1: which meant that he would just basically take the food 366 00:20:08,480 --> 00:20:12,159 Speaker 1: off their plate. And think of that that you just 367 00:20:12,240 --> 00:20:14,520 Speaker 1: knew when you were going out to dinner with their grandfather, 368 00:20:14,640 --> 00:20:17,719 Speaker 1: they'd have probably you know, he didn't even notice it, 369 00:20:17,800 --> 00:20:19,160 Speaker 1: you know, but then he would give you the food 370 00:20:19,200 --> 00:20:22,720 Speaker 1: off his plate. And their mother just made it Burnie, 371 00:20:22,880 --> 00:20:24,639 Speaker 1: just made it clear that, you know, she didn't like 372 00:20:24,760 --> 00:20:27,320 Speaker 1: sharing her food. Same thing like with the place mat. 373 00:20:27,400 --> 00:20:29,840 Speaker 1: So it is revealing how you sit and how you. 374 00:20:30,560 --> 00:20:33,560 Speaker 2: My friend of mine told me about his father. What 375 00:20:33,600 --> 00:20:36,560 Speaker 2: he would do is when he'd have his steak or 376 00:20:36,560 --> 00:20:39,679 Speaker 2: something at the table, he would go like this and 377 00:20:39,800 --> 00:20:43,280 Speaker 2: put his arm over the thing so nobody you couldn't. 378 00:20:43,640 --> 00:20:45,520 Speaker 2: I mean, it was really defining. 379 00:20:45,119 --> 00:20:48,240 Speaker 1: His Yeah, people I've talked to you grew up in poverty. 380 00:20:48,359 --> 00:20:50,640 Speaker 1: We'd talk about that that when their plate was put 381 00:20:50,680 --> 00:20:53,920 Speaker 1: in front of them, that the idea of giving anybody 382 00:20:53,920 --> 00:20:56,600 Speaker 1: a thing, anything off your plate because you were never 383 00:20:56,640 --> 00:20:57,400 Speaker 1: having seconds. 384 00:20:58,160 --> 00:21:00,159 Speaker 2: We maybe talked about this a bit when Great and 385 00:21:00,200 --> 00:21:02,880 Speaker 2: I were on but we both tend. 386 00:21:02,680 --> 00:21:08,439 Speaker 3: To eat as if we're like, this is it, this 387 00:21:08,560 --> 00:21:08,880 Speaker 3: is it. 388 00:21:08,920 --> 00:21:11,000 Speaker 2: And I think part of it is I look forward 389 00:21:11,040 --> 00:21:13,040 Speaker 2: to going out to dinner so much. I mean, when 390 00:21:13,080 --> 00:21:16,560 Speaker 2: I'm filming a movie, there's like a point towards the 391 00:21:16,640 --> 00:21:20,280 Speaker 2: end of the shoot day where I start to sort 392 00:21:20,280 --> 00:21:23,880 Speaker 2: of think about the dinner as the reward for the day. 393 00:21:24,440 --> 00:21:27,920 Speaker 2: And I mean, because I shot j Kelly mostly here, 394 00:21:28,000 --> 00:21:33,119 Speaker 2: I got to come here so often, and Lena's the cinematographer, 395 00:21:33,119 --> 00:21:37,200 Speaker 2: and Mark Tilseley design we would often come, and Jacqueline 396 00:21:37,280 --> 00:21:40,240 Speaker 2: the custom designer. We would all have our meetings here 397 00:21:40,280 --> 00:21:43,000 Speaker 2: and come here. But I would it would be like 398 00:21:43,160 --> 00:21:45,600 Speaker 2: I'd be working out sort of what I might have 399 00:21:47,400 --> 00:21:50,040 Speaker 2: while I'm working out the scene. But it's very comforting. 400 00:21:50,080 --> 00:21:53,800 Speaker 2: It's like nice knowing this thing. Greta's very different. Greta 401 00:21:53,880 --> 00:21:57,800 Speaker 2: likes to eat almost in a utilitarian way, like while 402 00:21:57,880 --> 00:22:00,399 Speaker 2: she's finishing for the day, Like when she's done, she 403 00:22:01,280 --> 00:22:04,399 Speaker 2: doesn't want to go think about she just wants to 404 00:22:04,440 --> 00:22:07,440 Speaker 2: lie on the couch. I even if I'm just going home, 405 00:22:08,080 --> 00:22:13,000 Speaker 2: I think about that and having a glass of wine 406 00:22:13,080 --> 00:22:18,320 Speaker 2: and thing, and it's almost part of the same creative process. 407 00:22:18,480 --> 00:22:20,400 Speaker 2: I don't really like to have lunch while I'm shooting, 408 00:22:20,400 --> 00:22:24,560 Speaker 2: because it's it's too what I think part of it is, 409 00:22:24,600 --> 00:22:26,679 Speaker 2: it's like it takes too much energy out of me. 410 00:22:26,800 --> 00:22:27,440 Speaker 3: I mean if I. 411 00:22:27,400 --> 00:22:29,920 Speaker 1: Have funch howers that you skip. 412 00:22:29,800 --> 00:22:33,040 Speaker 2: That, yeah, which I love to do it that way. 413 00:22:33,040 --> 00:22:35,080 Speaker 2: I mean some people lunch is important to them, and 414 00:22:35,119 --> 00:22:39,840 Speaker 2: I respect it. But I essentially have like a like 415 00:22:39,880 --> 00:22:43,159 Speaker 2: something in late morning and something in early afternoon and 416 00:22:43,200 --> 00:22:47,600 Speaker 2: then have like a real dinner, but even the coffee, 417 00:22:47,680 --> 00:22:50,200 Speaker 2: spacing out the coffee through the day and looking forward 418 00:22:50,280 --> 00:22:52,480 Speaker 2: to the four o'clock coffee but maybe it'll be three 419 00:22:52,560 --> 00:22:54,800 Speaker 2: thirty today because it was an earlier, Like I'll have 420 00:22:54,840 --> 00:22:58,680 Speaker 2: it all like you know, as like ways of treating. 421 00:22:58,280 --> 00:23:01,159 Speaker 3: Yourself, as taking care of yourself. 422 00:23:01,200 --> 00:23:03,639 Speaker 2: But I even love the ritual of looking at the 423 00:23:03,960 --> 00:23:07,479 Speaker 2: like of like having you know, things to start and 424 00:23:07,520 --> 00:23:10,240 Speaker 2: then the think and having the pasta and then having 425 00:23:10,280 --> 00:23:12,760 Speaker 2: the main course. That there's always something a little sad 426 00:23:12,800 --> 00:23:15,080 Speaker 2: to me if I just get a pasta for like 427 00:23:15,119 --> 00:23:15,920 Speaker 2: and I don't do the. 428 00:23:15,880 --> 00:23:18,960 Speaker 1: Main You're my favorite to eat with because you know, 429 00:23:19,000 --> 00:23:20,880 Speaker 1: we sit there and we look at the menu. We've 430 00:23:20,880 --> 00:23:35,560 Speaker 1: eaten so many meals here. Food was some important a 431 00:23:35,600 --> 00:23:38,240 Speaker 1: lens of food. There's also the I don't know if 432 00:23:38,280 --> 00:23:40,320 Speaker 1: you can have a lens of music, but there is. 433 00:23:40,600 --> 00:23:45,680 Speaker 1: The music was so it was so clear to the 434 00:23:45,720 --> 00:23:48,720 Speaker 1: continuity of the film, of the drama, of the film 435 00:23:48,920 --> 00:23:51,520 Speaker 1: of and you know, you listen to music always in 436 00:23:51,560 --> 00:23:54,120 Speaker 1: a film. That's there. But maybe because of the connection 437 00:23:54,760 --> 00:23:57,439 Speaker 1: with Nick and being at heavy road that day, but 438 00:23:57,520 --> 00:24:00,280 Speaker 1: I thought, you know, when we look back, you know, 439 00:24:00,320 --> 00:24:02,600 Speaker 1: I can often remember where I was when I was 440 00:24:02,640 --> 00:24:05,720 Speaker 1: eating something, and I can also remember exactly how I 441 00:24:05,760 --> 00:24:08,639 Speaker 1: was feeling when I hear music. You know, it takes 442 00:24:08,680 --> 00:24:12,879 Speaker 1: you to a place, you know, of of memory, you know, 443 00:24:13,040 --> 00:24:14,240 Speaker 1: just a song or. 444 00:24:14,359 --> 00:24:16,960 Speaker 3: I have that with movies. Music and movies too. 445 00:24:17,040 --> 00:24:20,359 Speaker 2: Yeah, I remember the movie I saw, where I saw it, 446 00:24:20,520 --> 00:24:23,000 Speaker 2: who I saw it with. I used to really remember it. 447 00:24:23,000 --> 00:24:26,640 Speaker 2: I've lost some of it now. But I but food too, 448 00:24:26,760 --> 00:24:29,480 Speaker 2: like restaurants that you went to and with who you 449 00:24:29,800 --> 00:24:31,719 Speaker 2: were with, and. 450 00:24:31,240 --> 00:24:34,840 Speaker 1: The first time you ate Priscutta, you know, a piece 451 00:24:34,880 --> 00:24:36,600 Speaker 1: of music. 452 00:24:36,359 --> 00:24:41,040 Speaker 2: And music as well. Definitely tell me about music and well, 453 00:24:41,119 --> 00:24:42,600 Speaker 2: Nick Brittel, who. 454 00:24:46,600 --> 00:24:47,280 Speaker 3: I mean he was. 455 00:24:48,800 --> 00:24:51,560 Speaker 2: I liked I liked the music, the score to be 456 00:24:52,440 --> 00:24:55,560 Speaker 2: part of the experience of making the movie. Too, to 457 00:24:55,680 --> 00:24:58,240 Speaker 2: the degree that it can be. I bring the composer 458 00:24:58,320 --> 00:25:02,240 Speaker 2: in the early to the script stage. And I never 459 00:25:02,280 --> 00:25:05,360 Speaker 2: worked with Nick Fortel, but I reached out to him 460 00:25:05,359 --> 00:25:09,600 Speaker 2: and we met and just connected. And so when I 461 00:25:09,640 --> 00:25:12,800 Speaker 2: gave him the script, he already was thinking and he'd 462 00:25:12,840 --> 00:25:17,280 Speaker 2: already written some of the themes that are throughout the movie. 463 00:25:17,280 --> 00:25:20,399 Speaker 2: I mean three of them really that are really a 464 00:25:20,400 --> 00:25:23,119 Speaker 2: big part of the movie. He wrote them from the 465 00:25:23,119 --> 00:25:27,080 Speaker 2: script and and he came on set. He played piano 466 00:25:27,160 --> 00:25:30,120 Speaker 2: for the crew. He like he was there as part 467 00:25:30,200 --> 00:25:33,719 Speaker 2: of the whole thing. But I love about his score 468 00:25:33,760 --> 00:25:37,040 Speaker 2: as well, is that it's such a it's such a 469 00:25:37,080 --> 00:25:40,040 Speaker 2: movie score. It's like a it's like a proper it's 470 00:25:40,040 --> 00:25:45,080 Speaker 2: got melody, it's got emotion, it's got you know, so 471 00:25:45,200 --> 00:25:47,840 Speaker 2: much life, and it's very and it really comes from 472 00:25:47,880 --> 00:25:50,320 Speaker 2: him and his experience. 473 00:25:50,800 --> 00:25:52,480 Speaker 3: It's at the memorial. 474 00:25:52,320 --> 00:25:55,600 Speaker 1: That that Ruth the stars and memorial. 475 00:25:57,640 --> 00:26:03,439 Speaker 2: And Jay runs into George's character. Jay runs into an 476 00:26:03,520 --> 00:26:08,320 Speaker 2: old friend, Timothy. They find their way to having drinks 477 00:26:08,359 --> 00:26:12,080 Speaker 2: that night and going out together and it's a place 478 00:26:12,119 --> 00:26:15,159 Speaker 2: that they used to frequent when they were younger. To 479 00:26:15,280 --> 00:26:19,200 Speaker 2: have an actor, a great actor, and Billy Crudip actually 480 00:26:20,560 --> 00:26:23,760 Speaker 2: show him perform, and in this case he's no longer 481 00:26:23,760 --> 00:26:27,720 Speaker 2: an actor, he's a child therapist. He's but he's being 482 00:26:27,760 --> 00:26:30,240 Speaker 2: asked by Jay to do a thing that it would 483 00:26:30,240 --> 00:26:32,240 Speaker 2: impress them all back in the day, which was the 484 00:26:32,280 --> 00:26:36,080 Speaker 2: sort of method acting thing, which was to read something 485 00:26:36,119 --> 00:26:40,199 Speaker 2: with no emotion and then give it, give it emotion. 486 00:26:40,359 --> 00:26:42,879 Speaker 2: I mean it's funny because he's reading a kind of 487 00:26:42,960 --> 00:26:52,000 Speaker 2: bar menu and then giving these you know, these sort 488 00:26:52,000 --> 00:26:57,159 Speaker 2: of ordinary shrimp cocktail and Brussels sprouts and aoli sauce. 489 00:26:57,320 --> 00:27:01,879 Speaker 2: He's giving it suddenly, like Jen, you win emotion in 490 00:27:01,920 --> 00:27:03,520 Speaker 2: a simple way. I thought it would just it would 491 00:27:03,560 --> 00:27:05,919 Speaker 2: be fun, like I said, to show what actors. 492 00:27:05,600 --> 00:27:08,159 Speaker 3: Do to have and to have. 493 00:27:08,480 --> 00:27:12,280 Speaker 1: This is a performance that do that. 494 00:27:14,160 --> 00:27:15,720 Speaker 3: This was the better actor in a way. 495 00:27:15,880 --> 00:27:20,640 Speaker 2: And it's also why it points out why why am 496 00:27:20,680 --> 00:27:20,960 Speaker 2: not me? 497 00:27:21,160 --> 00:27:21,320 Speaker 1: You know? 498 00:27:21,400 --> 00:27:25,119 Speaker 2: Why why do people become you know, how do you 499 00:27:25,240 --> 00:27:28,480 Speaker 2: become a movie star? You read interviews with movie stars 500 00:27:28,520 --> 00:27:31,920 Speaker 2: and they'll there's always sort of this sort of accidental clow. 501 00:27:32,040 --> 00:27:34,719 Speaker 3: I never really wanted it. I happened into it. 502 00:27:34,800 --> 00:27:37,040 Speaker 2: And the truth of it is, it doesn't mean that 503 00:27:37,040 --> 00:27:39,760 Speaker 2: that isn't true on some level, and people are complicated. 504 00:27:39,840 --> 00:27:42,000 Speaker 2: They can want it and not want it, but you don't. 505 00:27:42,119 --> 00:27:44,560 Speaker 2: No one becomes a movie star by accident. Yeah, it's 506 00:27:45,000 --> 00:27:48,440 Speaker 2: you work so hard you have to want it more 507 00:27:48,520 --> 00:27:49,639 Speaker 2: than anyone else. 508 00:28:00,880 --> 00:28:02,840 Speaker 1: I watched you on set the day that I was 509 00:28:03,000 --> 00:28:07,400 Speaker 1: starring in my movie Yes, and I thought, I think 510 00:28:07,440 --> 00:28:09,240 Speaker 1: you and I are very similar in a lot of ways. 511 00:28:09,320 --> 00:28:12,040 Speaker 1: We are we are where like you know, we found 512 00:28:12,080 --> 00:28:14,400 Speaker 1: each other kind of late enough, but we know each other. 513 00:28:14,560 --> 00:28:16,720 Speaker 2: We recognized each joal we did. 514 00:28:16,880 --> 00:28:21,040 Speaker 1: Yeah, And I think that watching you work was so 515 00:28:22,280 --> 00:28:25,879 Speaker 1: intimate for me. And to watch you the way you 516 00:28:26,080 --> 00:28:29,600 Speaker 1: kept the set, the way you had people feeling good 517 00:28:29,600 --> 00:28:34,080 Speaker 1: about themselves or critical. You know that you called somebody 518 00:28:34,160 --> 00:28:36,239 Speaker 1: up on a scene or directed the way it was 519 00:28:36,920 --> 00:28:39,920 Speaker 1: and there was a mutual respect. There was a kind 520 00:28:39,920 --> 00:28:43,760 Speaker 1: of feeling that we can do this through kindness, through 521 00:28:45,840 --> 00:28:50,080 Speaker 1: kind of guiding and treating people as individuals I suppose, 522 00:28:50,160 --> 00:28:52,480 Speaker 1: you know, and getting them through hope rather than fear 523 00:28:52,600 --> 00:28:55,640 Speaker 1: or There was no shouting. There was a long day 524 00:28:55,840 --> 00:28:58,040 Speaker 1: and it was a day that reminded me sometimes when 525 00:28:58,040 --> 00:29:00,560 Speaker 1: you look at you clock here and it's you know, 526 00:29:00,640 --> 00:29:03,920 Speaker 1: eleven and you still have are there any more tables 527 00:29:03,920 --> 00:29:08,000 Speaker 1: and they go, yeah, two fours, a three and a sixth, okay, 528 00:29:08,200 --> 00:29:12,480 Speaker 1: And then you know that's a challenging time. And so 529 00:29:12,520 --> 00:29:12,800 Speaker 1: there was. 530 00:29:12,800 --> 00:29:15,400 Speaker 2: Also a lot of people, which is sometimes a lot 531 00:29:15,520 --> 00:29:16,880 Speaker 2: of people people who. 532 00:29:16,760 --> 00:29:19,520 Speaker 3: All need attention. 533 00:29:19,760 --> 00:29:22,840 Speaker 2: I don't mean in a negative way, but you have to. 534 00:29:23,160 --> 00:29:25,920 Speaker 2: I have to pay attention to all the performances. And 535 00:29:26,040 --> 00:29:30,200 Speaker 2: I had a lot of important people, uh there beyond that, but. 536 00:29:30,200 --> 00:29:33,040 Speaker 1: It was it was fun as well. You see that 537 00:29:33,160 --> 00:29:38,280 Speaker 1: you were really involved and engaged. And it reminded me 538 00:29:38,560 --> 00:29:41,760 Speaker 1: that of a way of working, that probably we share 539 00:29:41,880 --> 00:29:42,840 Speaker 1: the values I think. 540 00:29:43,160 --> 00:29:46,520 Speaker 2: I mean when I watch you here, I what I 541 00:29:46,560 --> 00:29:50,480 Speaker 2: also recognize is we work the same way as we are. 542 00:29:51,520 --> 00:29:55,040 Speaker 2: I don't I don't talk to actors. I mean, of course, 543 00:29:55,080 --> 00:29:59,880 Speaker 2: you understand different actors respond better to different things and 544 00:30:00,520 --> 00:30:03,880 Speaker 2: different kinds of direction, and so I do, of course 545 00:30:03,920 --> 00:30:07,960 Speaker 2: alter my approach depending on who I'm working with. That's 546 00:30:08,000 --> 00:30:10,280 Speaker 2: a lot of rehearsal I find is not just getting 547 00:30:10,360 --> 00:30:13,200 Speaker 2: the scenes going, it's also learning each other. But I 548 00:30:13,200 --> 00:30:15,800 Speaker 2: still talk to them the same way I talk to anybody. 549 00:30:15,880 --> 00:30:21,440 Speaker 2: I don't have a directing way of doing it. I 550 00:30:22,200 --> 00:30:26,000 Speaker 2: just I still talk in the same halting way that 551 00:30:26,080 --> 00:30:26,760 Speaker 2: I talk. 552 00:30:28,760 --> 00:30:28,920 Speaker 3: Well. 553 00:30:29,000 --> 00:30:33,520 Speaker 2: I find I often stop midnight and then I divert. 554 00:30:33,120 --> 00:30:34,040 Speaker 3: And then come back. 555 00:30:35,440 --> 00:30:37,840 Speaker 2: Somebody I think affectionately said it was like I'm always 556 00:30:37,840 --> 00:30:42,800 Speaker 2: trying to park a car in an impossible spot. But 557 00:30:44,360 --> 00:30:48,040 Speaker 2: I direct that way too. I'm not any clearer when 558 00:30:48,080 --> 00:30:50,720 Speaker 2: I'm talking to actors. I don't generally call action for 559 00:30:50,760 --> 00:30:53,960 Speaker 2: this reason because although George liked action, so I did 560 00:30:53,960 --> 00:30:56,440 Speaker 2: call it on j Kelly, but I don't usually do 561 00:30:56,520 --> 00:30:59,520 Speaker 2: it because I like that whatever is happening in front 562 00:30:59,560 --> 00:31:03,160 Speaker 2: of the camera and whatever's happening sort of behind the 563 00:31:03,200 --> 00:31:09,000 Speaker 2: camera or or between takes is all is within a 564 00:31:09,040 --> 00:31:14,840 Speaker 2: similar energy. So we're not suddenly acting. We're just continuing 565 00:31:14,880 --> 00:31:17,760 Speaker 2: and it's a conversation we're having and continuing at the 566 00:31:17,800 --> 00:31:20,120 Speaker 2: same time, just as you're pointing out. I mean, some 567 00:31:20,160 --> 00:31:26,560 Speaker 2: people I think like anxiety, anxiety or drama helps them, 568 00:31:26,720 --> 00:31:28,720 Speaker 2: like they almost need to be cornered to be able 569 00:31:28,760 --> 00:31:30,480 Speaker 2: to do their thing. 570 00:31:31,800 --> 00:31:35,040 Speaker 3: I'm not that way. Yeah, no, I know you aren't. 571 00:31:35,680 --> 00:31:36,080 Speaker 1: I love you. 572 00:31:36,400 --> 00:31:37,080 Speaker 3: I love you too. 573 00:31:37,320 --> 00:31:43,440 Speaker 1: Let's go have some lunch. Thank you. Ruthie's Table for 574 00:31:43,720 --> 00:31:47,520 Speaker 1: is proud to support Leukemia UK. Their Cartwill for a 575 00:31:47,600 --> 00:31:51,880 Speaker 1: Cure campaign raises funds for vital research and more effective 576 00:31:52,040 --> 00:31:56,040 Speaker 1: and kinder treatments for a cute my Lloyd leukemia. Please 577 00:31:56,120 --> 00:32:04,280 Speaker 1: donate and to do so search Cartwill for Cure. M H. 578 00:32:06,200 --> 00:32:09,080 Speaker 2: Ruthie's Table four was produced by Alex Bell and Zad 579 00:32:09,160 --> 00:32:12,480 Speaker 2: Rogers with Susanna Hilock, Andrew Sang and Bella Sellini. 580 00:32:12,880 --> 00:32:18,240 Speaker 1: This has been an atomized production for iHeartMedia.