WEBVTT - Ep02 - Amy Adams / "Arrival" 0:00:22.640 --> 0:00:26.200 Welcome to Playback, a weekly Variety podcast. I'm your host, 0:00:26.280 --> 0:00:29.080 Chris Tapley, Awards editor at Variety, and on today's show, 0:00:29.120 --> 0:00:31.360 we're reporting from the Tell Your Right Film Festival, where 0:00:31.360 --> 0:00:33.880 some of the falls most anticipated new films have screened. 0:00:34.040 --> 0:00:35.559 A little bit later, I'll be talking to the star 0:00:35.640 --> 0:00:39.159 of one of those films, arrivals, Amy Adams, So stick around. 0:00:49.760 --> 0:00:52.239 Welcome everyone. We are until you're right. And I am 0:00:52.240 --> 0:00:55.320 here today with Variety's chief film critic Peter de Bruges, 0:00:55.440 --> 0:00:57.480 and we've been watching movies all weekend. How are you 0:00:57.480 --> 0:01:00.360 doing great? This is the film fast of all as 0:01:00.360 --> 0:01:02.480 far as I'm concerned. I missed the last two because 0:01:02.520 --> 0:01:04.640 I was living in Paris working from there for a 0:01:04.760 --> 0:01:08.320 Variety when I come back in Paris, you know, seriously, 0:01:08.360 --> 0:01:10.640 it's the thing I missed most about the States. I'm 0:01:10.680 --> 0:01:14.080 so glad that I'm at Tell Your Ride Venice happens 0:01:14.080 --> 0:01:16.160 at the same time. It's a great film festival. But 0:01:16.800 --> 0:01:19.120 the thing that makes this festival so special is that 0:01:19.160 --> 0:01:22.320 it's small. It happens over Labor Day weekend. It's really 0:01:22.880 --> 0:01:27.400 uh closely curated. It's a very uh you know, small 0:01:27.400 --> 0:01:30.040 crop of films, all of them excellent. It doesn't mean 0:01:30.040 --> 0:01:32.880 that I'm going to love all of them, but compared 0:01:32.920 --> 0:01:35.000 to any other film festival with there are a lot 0:01:35.000 --> 0:01:37.840 of just you know, stinkers mixed in Toronto next week, 0:01:37.880 --> 0:01:40.360 which is going to be garbage. You know. It's like 0:01:40.880 --> 0:01:42.800 that's what happens when you have that volume. Yeah, and 0:01:42.840 --> 0:01:44.560 Tell Your Right is the cream of the crop. It 0:01:44.640 --> 0:01:47.480 shows here early and uh so we've kind of gotten 0:01:47.480 --> 0:01:49.520 a headstart on the best movies of the rest of 0:01:49.520 --> 0:01:53.040 the year. Absolutely, and you mentioned Venice. A couple of 0:01:53.080 --> 0:01:55.480 movies came from Venice to Tell Your Ride this year. 0:01:55.520 --> 0:01:57.800 It's an incredible trip to make. I mean those people, 0:01:58.120 --> 0:02:00.880 Damien Chazelle with La La End and then a Stone, 0:02:00.920 --> 0:02:03.960 they're just tired as you would be. Um a few 0:02:03.960 --> 0:02:07.120 filmmakers do it. This is the first year that I've 0:02:07.200 --> 0:02:09.840 driven out here, so it's like, I feel it's like 0:02:10.120 --> 0:02:13.000 the tired, jet lagged or whatever is they must but 0:02:13.000 --> 0:02:15.000 but it's worth the trip for them for you know 0:02:15.000 --> 0:02:18.040 a lot of reasons. And this film festival insists that 0:02:18.120 --> 0:02:21.400 every film they show have someone representing it, so you 0:02:21.400 --> 0:02:23.000 know that can be challenging for movies that are at 0:02:23.000 --> 0:02:26.800 both festivals. It's a La La Land. It's arrival this year. 0:02:27.600 --> 0:02:31.119 I'm trying to think, is try to understand he's very 0:02:31.200 --> 0:02:33.240 just crushed that he couldn't be here because he's filming 0:02:33.280 --> 0:02:36.360 Blade Runner, which is why Ryan Gosling isn't here as well. 0:02:37.040 --> 0:02:39.680 And uh, Danny loves coming here and he couldn't make 0:02:39.680 --> 0:02:43.079 it this time. But let's talk about La La Land. Though. 0:02:43.200 --> 0:02:45.960 Sure we're on the subject of these movies. That movie 0:02:46.000 --> 0:02:47.840 kind of kicked off the festival, you could say, And 0:02:47.880 --> 0:02:50.120 it's the first time been the four years I've been 0:02:50.160 --> 0:02:52.600 coming here that uh, you know a kickoff film is 0:02:52.639 --> 0:02:54.720 not one that I had to rush back to review 0:02:54.760 --> 0:02:57.440 because it had just opened Venice a couple of days earlier. 0:02:57.919 --> 0:03:01.960 But you know what a fun, lively, really energetic, you know, 0:03:02.400 --> 0:03:05.200 swoony kind of or just swoon of a movie, I 0:03:05.200 --> 0:03:08.680 guess you could say, to energize everybody who's here. You know, 0:03:08.720 --> 0:03:12.480 it's like this festival, any film festival, can be full 0:03:12.520 --> 0:03:15.200 of these kind of heavy, kind of downer movies, and 0:03:15.360 --> 0:03:18.680 this is just you know, it's a love letter to 0:03:18.840 --> 0:03:21.680 l A. But it's also, you know, just a really 0:03:21.720 --> 0:03:27.520 great contemporary romance with just brilliant themes. I find because 0:03:28.360 --> 0:03:30.520 I've said this and what I've written about the film, 0:03:30.560 --> 0:03:36.200 but it really kind of grabs a hold of you 0:03:36.360 --> 0:03:39.160 and says, hey, you can shake off pragmatism, you can 0:03:39.200 --> 0:03:41.320 shake off stability, and you can still dream. And I 0:03:41.360 --> 0:03:45.320 think that's a really, uh, for me, potent theme and 0:03:45.520 --> 0:03:48.680 in one that just plays itself out in kind of 0:03:48.680 --> 0:03:50.960 expressionistic ways in the film. People have compared it to 0:03:50.960 --> 0:03:53.000 the New York New York a lot. They're both kind 0:03:53.040 --> 0:03:57.400 of expressionistic, you know, displays. But La La Lends is 0:03:57.440 --> 0:04:00.400 so much its own thing. You know, it's it's uh, 0:04:00.560 --> 0:04:05.440 Damien Chisel, as we say, director of Whiplash, and you know, 0:04:05.800 --> 0:04:08.640 ambitious as hell. Yeah, yeah, I mean that's one of 0:04:08.640 --> 0:04:11.800 the things that's It reminded me a little bit of Birdman, 0:04:11.840 --> 0:04:14.120 which is another movie that played here went on to 0:04:14.160 --> 0:04:16.719 win Best Picture, you know, in in terms of this sense, 0:04:16.960 --> 0:04:18.880 not just that you have these kind of you know, 0:04:19.160 --> 0:04:23.080 long sequence shots, but it's like the the idea that 0:04:23.160 --> 0:04:25.960 you just have this kind of ambition going into the 0:04:26.000 --> 0:04:28.120 conception of it. But I like what you say about 0:04:28.120 --> 0:04:30.880 it's kind of like being a movie about about dreamers 0:04:30.880 --> 0:04:33.880 and what because that's what Los Angeles is. It's kind 0:04:33.920 --> 0:04:37.479 of like where the people who you know, kind of 0:04:37.640 --> 0:04:41.680 believe in luck and their own chance and you know, 0:04:41.839 --> 0:04:45.760 kind of of expressing themselves creatively, whether that's as an actress, 0:04:45.839 --> 0:04:48.880 as a musician, as a writer, uh, you know, as 0:04:49.320 --> 0:04:55.400 film critics are journalists. You know, it's like the end uh, 0:04:55.640 --> 0:04:59.240 and it can be a very unforgiving place to just 0:04:59.320 --> 0:05:01.800 the volume of people who come in, you know, searching 0:05:01.800 --> 0:05:05.839 those things. So it's like you can anyone who has 0:05:06.240 --> 0:05:08.840 lived in Los Angeles can identify with what these two 0:05:08.920 --> 0:05:12.320 characters are going through and the balancing act that sort 0:05:12.360 --> 0:05:16.680 of um, trying to decide between the progress you're making 0:05:16.720 --> 0:05:21.359 towards your dreams and investing in a kind of a 0:05:21.440 --> 0:05:24.040 personal life of relationship anything like that, and the degree 0:05:24.040 --> 0:05:27.520 to which the latter can can actually give you the 0:05:27.600 --> 0:05:31.560 confidence to achieve your dreams, and how that plays out 0:05:31.680 --> 0:05:34.120 ultimately on whether the couple can stay together. I mean, 0:05:34.160 --> 0:05:36.800 all of these things I think are so intrinsic to 0:05:37.680 --> 0:05:40.560 you know, the l a experience. Let's jump into Moonlight, 0:05:40.560 --> 0:05:43.040 which you just before we started here said you felt 0:05:43.120 --> 0:05:45.920 was the film of the festival. Yeah. Yeah, yeah, that's 0:05:46.040 --> 0:05:49.880 absolutely my feeling in the sense that, uh, the reason 0:05:49.960 --> 0:05:52.000 I feel like, you know, Moonlight is such a discovery 0:05:52.000 --> 0:05:54.039 here is because I tell you, right, as a festival, 0:05:54.040 --> 0:05:56.080 when you arrive here, you don't know what the lineup 0:05:56.120 --> 0:05:58.920 is going to be. You trust the programmers here and 0:05:59.040 --> 0:06:03.359 Julie Hunt singer, you know, is the leads a team 0:06:03.400 --> 0:06:05.719 that really go out of their way to find, you know, 0:06:05.800 --> 0:06:08.839 things kind of in the weeds, you know, and the 0:06:09.480 --> 0:06:13.120 so yes, we're hoping for you know, the next Argo, 0:06:13.200 --> 0:06:16.400 the next you know, a Birdman Best Picture winner. But 0:06:17.000 --> 0:06:20.279 it's these things that maybe may not be on any 0:06:20.279 --> 0:06:23.000 other festivals lineup or or may not have been on 0:06:23.040 --> 0:06:26.320 our radar that are the best surprises. And so Moonlight 0:06:26.480 --> 0:06:28.880 is that here in the sense of you know, it's 0:06:28.920 --> 0:06:32.560 like I'd admired Barry jenkins first movie, Medicine for Melancholy 0:06:33.279 --> 0:06:37.880 UH as a movie that takes black characters and uh 0:06:37.920 --> 0:06:40.200 and looks at them and in a in a sense 0:06:40.240 --> 0:06:43.240 that's very realistic. It's not you know, it's not a 0:06:44.520 --> 0:06:47.040 it's not a genre film, it's not kind of a sitcom, 0:06:47.080 --> 0:06:49.039 it's not phony. I mean, he's dealing with kind of 0:06:49.080 --> 0:06:53.159 like the intellectual side of the black experience in that movie, 0:06:53.480 --> 0:06:55.960 and here it's present as well. This is the portrait 0:06:56.000 --> 0:06:58.799 of a young man over three stages in his life, 0:06:59.760 --> 0:07:03.120 who who's grappling with his sexuality, grappling with his relationship 0:07:03.200 --> 0:07:07.960 to his community. To uh, the broken homie comes from. Yeah, 0:07:08.000 --> 0:07:10.400 And I think that it's every bit as intellectual, but 0:07:10.480 --> 0:07:14.520 all of that is put into subtext, informs the characters 0:07:14.560 --> 0:07:17.640 instead of kind of like kind of spilling from their mouths, 0:07:17.640 --> 0:07:21.200 you know, medicine for melancoun colleges almost too talkative, you know, 0:07:21.240 --> 0:07:24.800 to Gabby. Uh. And here it's uh, you can tell 0:07:24.800 --> 0:07:28.560 that Jenkins is thought about all these things, thought about 0:07:28.840 --> 0:07:31.240 what it means in the black community to sort of 0:07:31.280 --> 0:07:34.360 have absentee fathers, what it means for the community to 0:07:34.440 --> 0:07:37.520 kind of rise up and supply kind of a surrogate 0:07:37.640 --> 0:07:41.000 family around someone. The way that he's kind of half 0:07:41.000 --> 0:07:44.200 adopted by the man who's selling crack to his mom, 0:07:44.280 --> 0:07:48.120 it's I mean a powerful kind of irony there, you know. Um. 0:07:48.160 --> 0:07:52.400 And of course you know the D. L. Downbow experience 0:07:52.400 --> 0:07:55.360 of trying to come out or or identify whether that's 0:07:55.520 --> 0:07:58.760 what you are in a in an environment that you 0:07:58.800 --> 0:08:02.280 know is so macho and so intolerant of that, you know, 0:08:02.400 --> 0:08:04.960 and all of the things are there without, you know, 0:08:05.320 --> 0:08:09.120 with the substance of the movie is just this this 0:08:09.440 --> 0:08:12.960 kid's story, you know. And I thought it was incredible 0:08:13.000 --> 0:08:15.560 the way that it was um, you know, to me, 0:08:15.680 --> 0:08:19.840 it's uh, it's what I admired about Boyhood done better 0:08:20.120 --> 0:08:22.040 in the sense of it. It's not that it's the 0:08:22.080 --> 0:08:24.080 same actor over these number of years. In fact, I 0:08:24.120 --> 0:08:26.760 think the three actors almost don't resemble. Well, I want 0:08:26.800 --> 0:08:29.920 to jump in here because regarding the three actors, I 0:08:29.920 --> 0:08:32.319 think one of the most amazing things that Barry Jenkins 0:08:32.320 --> 0:08:34.840 is able to accomplish here is that you feel the 0:08:34.880 --> 0:08:37.400 spirit of that character in every single one each of 0:08:37.400 --> 0:08:42.640 those three actors. Like that's that's hard to do because 0:08:42.720 --> 0:08:45.680 they're they're obviously look different, they're they're completely different actors, 0:08:45.720 --> 0:08:50.520 but they exhibit the same quietude that the character has 0:08:50.800 --> 0:08:55.000 from from stage to stage. And it's just palpable and 0:08:55.000 --> 0:08:59.880 and and each actor is amazing. Do you have a favorite? Gosh, 0:08:59.880 --> 0:09:04.360 I don't know them. I think that I so connected 0:09:04.400 --> 0:09:08.080 with the film from the beginning that in a way 0:09:08.080 --> 0:09:10.400 that I was looking into the other two to kind 0:09:10.440 --> 0:09:14.880 of be that you know, that that good you know 0:09:15.240 --> 0:09:17.959 or that kid you know grown up, but you're right. 0:09:17.960 --> 0:09:19.719 I mean, to me, this is a movie about a 0:09:19.840 --> 0:09:24.440 character who feels profoundly alone in you know, in his 0:09:24.520 --> 0:09:27.440 own life, you know, and he's reaching out for any 0:09:27.440 --> 0:09:30.400 sort of connection to parents who are that are not 0:09:30.440 --> 0:09:34.960 they're distracted, uh, you know, to friends who bully him, 0:09:35.240 --> 0:09:38.920 to potentially any sort of you know, lover or sexual partner. 0:09:39.120 --> 0:09:43.520 You know. It's like the and that carries across the 0:09:43.520 --> 0:09:46.040 three chapters. And I think the third chapter, which I 0:09:46.040 --> 0:09:47.559 don't want to say too much about, you know, where 0:09:47.600 --> 0:09:52.280 he's roughly twenty six years old. Um, he's Uh, it's 0:09:52.280 --> 0:09:54.920 a real surprise to see what's kind of transpired in 0:09:54.960 --> 0:09:58.360 the ten years since the second one. And uh, and 0:09:58.440 --> 0:10:02.439 yet you recognize that, you know, even though he kind 0:10:02.480 --> 0:10:05.360 of wears almost as a mask, you know, kind of 0:10:05.400 --> 0:10:08.200 this new identity that he's created for himself, he's still 0:10:08.320 --> 0:10:12.760 this lonely little boy looking for I don't know, looking 0:10:12.800 --> 0:10:15.480 for some other person in this world that you know, 0:10:16.400 --> 0:10:20.280 that connects with him, which is which is why I 0:10:20.360 --> 0:10:24.800 think that closing shot is pretty phenomenal. But you know, 0:10:25.040 --> 0:10:27.000 well let's move on from there, though, because we could, 0:10:27.120 --> 0:10:28.800 we could talk about each of these movies for so 0:10:28.840 --> 0:10:31.440 long Sully was a big coming out here with Tom 0:10:31.440 --> 0:10:34.120 Hanks and Clint Eastwood. Here you had a chance to 0:10:34.160 --> 0:10:36.480 see that. Yeah, Sully is great. Silly opens in a week. 0:10:36.559 --> 0:10:38.880 You know, it's like so it's it's almost funny for anyone, 0:10:39.040 --> 0:10:41.240 you know, I tell your right to be running out 0:10:41.240 --> 0:10:42.640 to see it. And yet it's, you know, a really 0:10:42.720 --> 0:10:46.160 terrific film. I mean it's like Tom Hanks just makes 0:10:46.160 --> 0:10:48.680 it look easy. You know, it's like he's so good 0:10:49.160 --> 0:10:52.040 and yet it like he slips into these roles so 0:10:52.280 --> 0:10:56.000 naturally that I mean like I would, I would fly 0:10:56.040 --> 0:10:59.640 a plane with Tom Hanks, you know as the pilot. Um, 0:10:59.679 --> 0:11:02.000 it's it. It's like, you know, he inspires that kind 0:11:02.040 --> 0:11:05.640 of confidence and that's what you know Sully did in 0:11:05.640 --> 0:11:08.079 real life, you know, as as someone who doesn't fly 0:11:08.200 --> 0:11:12.960 too well lately. That it was a gripping movie for me. Uh, 0:11:13.120 --> 0:11:15.319 in fact, it gave me back to back nightmares. Well, 0:11:15.440 --> 0:11:17.680 like I joked that it's like six plane crashes for 0:11:17.679 --> 0:11:20.280 the price of one, because they like it's like a 0:11:20.360 --> 0:11:24.680 two eight second kind of incident that you know, they 0:11:24.720 --> 0:11:27.200 but they find a kind of creative way to by 0:11:27.400 --> 0:11:30.840 beginning after the incident has happened you know, to feature 0:11:31.320 --> 0:11:34.160 the flashbacks and replays all this kind of the structure 0:11:34.200 --> 0:11:37.079 of the film is is very interesting for that Bleed 0:11:37.120 --> 0:11:40.520 for this with Miles Teller as Vinnie Pozzians of the Boxer, 0:11:40.720 --> 0:11:43.239 I mean, I think Miles is a great actor. Whiplash 0:11:43.360 --> 0:11:45.320 was for me so far the role of his career. 0:11:45.360 --> 0:11:47.400 I mean, this is one where he gives everything. But 0:11:47.440 --> 0:11:49.720 for me, it's actually Aaron Eckhart, who has not a 0:11:49.760 --> 0:11:53.440 lot to do in Sully, who is the you know, 0:11:53.520 --> 0:11:56.320 the actor who really you know, surprised me and bleed 0:11:56.360 --> 0:11:59.760 for this. He plays the manager and he's almost unrecognizable. 0:11:59.840 --> 0:12:02.520 He's like, you know, he's made himself look as though 0:12:02.520 --> 0:12:05.120 he's balding, he's put on a ton of weight, and 0:12:05.120 --> 0:12:07.680 he's like, you know, playing this alcoholic schlub who you 0:12:07.720 --> 0:12:11.840 know trained Tyson and is now you know, they're trying 0:12:11.880 --> 0:12:17.760 to resuscitate the Pacienza's career. Um and uh and he's terrific. 0:12:17.800 --> 0:12:20.320 You know. It's like um and Ben Younger, who I 0:12:20.320 --> 0:12:23.440 think is is a director who you know we all 0:12:23.480 --> 0:12:25.760 thought had a ton of promise back at Boiler Room. 0:12:25.760 --> 0:12:28.400 It's like, is this is kind of a comeback for 0:12:28.480 --> 0:12:30.360 him too. I think you know, yeah, it's a movie 0:12:30.400 --> 0:12:34.840 that's I think it's has familiar narrative strokes. It's it's 0:12:34.920 --> 0:12:37.920 it has conventions, but I think he he works hard 0:12:37.960 --> 0:12:40.320 to break it from convention. I think the editing in 0:12:40.320 --> 0:12:43.000 particular was really interesting to me. It's the way it 0:12:43.200 --> 0:12:45.880 kind of propels the story forward in interesting ways. What 0:12:45.960 --> 0:12:48.440 surprised me maybe about this movie is that, like, even 0:12:48.440 --> 0:12:51.680 though Martin Scorsese is a producer on it, it owes 0:12:51.800 --> 0:12:54.120 less to Raging Bold than it does to The Fighter. 0:12:54.240 --> 0:12:56.280 I mean, this is like a post David O. Russell, 0:12:56.800 --> 0:13:00.360 you know, the kind of weird, quirky portrait of family, 0:13:00.440 --> 0:13:02.280 you know, and everybody's kind of talking on top of 0:13:02.280 --> 0:13:03.960 each other and crazy. You know. It's like reminds me 0:13:03.960 --> 0:13:06.000 of all those weird sisters in The Fighter. You know. 0:13:06.040 --> 0:13:10.040 It's like and uh, the and I like that liveliness 0:13:10.040 --> 0:13:12.280 of the movie. But in a way, it's just another 0:13:12.360 --> 0:13:15.520 boxing movie with some great performances in it. Yeah, exactly. 0:13:16.200 --> 0:13:20.120 Uh you got to interview Isabelle Hupera up here. Yeah, 0:13:20.160 --> 0:13:24.000 I mean that's thanks for mentioning it, because like who 0:13:24.000 --> 0:13:28.480 buries for me, the you know, best actress living. You know, 0:13:28.520 --> 0:13:32.319 it's like she she just is fearless, and it takes 0:13:32.320 --> 0:13:35.360 on these incredible roles and has a couple of movies 0:13:35.400 --> 0:13:38.319 coming out this fall, Things to Come, which is here 0:13:38.320 --> 0:13:40.600 in the festival, and L, which I think it's kind 0:13:40.640 --> 0:13:44.440 of a crime that they haven't, you know, they didn't 0:13:44.480 --> 0:13:46.920 decide to invite you, especially since she's here, and because 0:13:46.920 --> 0:13:49.440 they brought this movie Una, which you know, it's not 0:13:49.480 --> 0:13:52.600 that they're afraid of prickly material. In L she plays 0:13:52.600 --> 0:13:57.160 a woman who's raped and who has a really unexpected 0:13:57.200 --> 0:14:01.720 reaction to the situation and uh, and it really engages 0:14:01.800 --> 0:14:04.199 with that subject in a way that I was kind 0:14:04.200 --> 0:14:06.160 of afraid of before i'd seen it in the movie 0:14:06.320 --> 0:14:10.040 Smart but but who bears amazing and UH. And getting 0:14:10.040 --> 0:14:11.800 to talk with her here, which you know I'll get 0:14:11.800 --> 0:14:13.760 to to write up for a variety down the road, 0:14:13.840 --> 0:14:17.480 was great because I've just admired the fact that she 0:14:18.480 --> 0:14:21.920 doesn't you know, she's not skittish about going there in movies. 0:14:21.960 --> 0:14:24.040 And I think maybe what I learned talking with her 0:14:24.120 --> 0:14:29.160 is that for her, the important thing in movies about 0:14:29.680 --> 0:14:32.960 like the Michael Hanaka movie, she's made like the Piano Teacher, 0:14:33.520 --> 0:14:35.880 a ceremony where you know she's a murderous you know. 0:14:35.960 --> 0:14:39.600 It's like, uh, she can go to these really darker, jagged, 0:14:39.760 --> 0:14:42.840 edgy places by kind of keeping this measure of irony 0:14:42.880 --> 0:14:44.960 in it, by keeping it a little funny, by keeping 0:14:45.040 --> 0:14:46.720 you know, it's like and it makes me want to 0:14:46.720 --> 0:14:48.520 go back, and because I just don't think of her 0:14:48.520 --> 0:14:50.720 performances as being that way. But as we talked about it, 0:14:50.800 --> 0:14:53.520 I'm like, you know, I could almost have a little 0:14:53.560 --> 0:14:56.400 mini Isabel Rey pair of film festival now where i'mlike 0:14:56.440 --> 0:15:00.560 analyzing how she's um injecting humor into these roles and 0:15:01.160 --> 0:15:04.600 things to come, which is here Mia Hansen loves kind 0:15:04.600 --> 0:15:07.640 of tribute to her mother, who is basically you know, 0:15:07.680 --> 0:15:11.320 abandoned by her father late in their marriage and had 0:15:11.320 --> 0:15:14.720 to kind of pick herself, pick herself up off the ground, 0:15:15.280 --> 0:15:19.320 rebuild and move on. I mean, it's it's another incredibly strong, 0:15:19.760 --> 0:15:22.800 you know, female performance from upert and in this case, 0:15:22.840 --> 0:15:26.120 one where um, she finds humor in it, but it's 0:15:26.160 --> 0:15:29.240 not you know, kind of a sexually transgressive, you know 0:15:30.120 --> 0:15:32.600 woman like we've seen in so many other of her movies. 0:15:32.640 --> 0:15:36.000 And this is a this is an academic intellectual and 0:15:36.040 --> 0:15:38.640 she's great in that role as well, you know. And 0:15:38.680 --> 0:15:41.840 speaking of strong female performances, we have Amy Adams and Arrival, 0:15:42.040 --> 0:15:47.280 which I'll be speaking with Amy shortly after this. Uh, 0:15:47.400 --> 0:15:50.520 you weren't able to see the film, but I'll just 0:15:50.560 --> 0:15:54.560 comment briefly about it. I I it's thoughtful sci fi. 0:15:54.640 --> 0:15:56.840 But what's what's amazing to me about the nieve Villeneuve 0:15:57.000 --> 0:16:02.120 is he elevates material off the page and in ways 0:16:02.160 --> 0:16:05.680 I think few filmmakers do lately because the scripts he's 0:16:05.680 --> 0:16:09.040 worked from, in my opinion, have been lacking. But what 0:16:09.160 --> 0:16:12.640 he does as an atmosphere with atmosphere as a filmmaker 0:16:12.800 --> 0:16:15.160 is something to behold. And what he does with the 0:16:15.200 --> 0:16:18.640 score with Johan Johansen's score and Arrival, just as they 0:16:18.680 --> 0:16:21.840 did in Cicario, which was a score that scared the 0:16:21.840 --> 0:16:25.640 crap out of me, just the foreboding of it. What 0:16:25.880 --> 0:16:28.480 they do together and Arrival is really fascinating. An Amy 0:16:28.560 --> 0:16:34.440 is really interesting in the movie because there are themes 0:16:34.440 --> 0:16:36.920 of parenting and it hits you in an emotional place 0:16:37.280 --> 0:16:39.880 and as a new father, it's it's I'm seeing things 0:16:39.880 --> 0:16:42.840 through that lens a lot lately, so it's uh, for that, 0:16:42.920 --> 0:16:45.960 it's it's fascinating. And then she's also in Nocturnal Animals, 0:16:45.960 --> 0:16:48.720 which is not at the festival, but is that played 0:16:48.840 --> 0:16:51.760 Venice and will be in Toronto, so she's got a 0:16:51.800 --> 0:16:54.280 busy fall going on. I'd be curious to know if 0:16:54.880 --> 0:16:57.600 with the arrival it's a case like Cicario where the 0:16:57.680 --> 0:17:02.120 role wasn't necessarily you know, nor intended, or I haven't 0:17:02.160 --> 0:17:04.520 read the short story, you know, for a woman. And 0:17:04.600 --> 0:17:07.880 yet I love that we just have so many great 0:17:07.880 --> 0:17:11.440 actresses out there. I love that there are more movies 0:17:11.520 --> 0:17:15.919 being seen where they're leading them. You know, there are 0:17:15.920 --> 0:17:17.800 a couple of its just really great performances. I want 0:17:17.800 --> 0:17:20.359 to go into great detail, but it's worth mentioning Richard 0:17:20.359 --> 0:17:23.040 Gear in this movie Norman, the Moderate Rise and Tragic 0:17:23.040 --> 0:17:25.760 Fall of a New York Fixer. I just think Richard 0:17:25.760 --> 0:17:28.760 Gear is giving some of the best work in the 0:17:28.840 --> 0:17:32.399 last few years, at the tail end of a career 0:17:32.400 --> 0:17:35.520 that started out kind of a matinee idol almost kind 0:17:35.520 --> 0:17:39.000 of you know, and it's like, this is another tourific performance. 0:17:39.080 --> 0:17:42.160 And then uh, and then Brian Cranston, who we all 0:17:42.240 --> 0:17:44.440 love for good reasons, is finally kind of like getting 0:17:44.480 --> 0:17:47.000 the acclaim thanks to Breaking Bad that you know he 0:17:47.040 --> 0:17:50.640 deserves is it basically pulls off a one man show 0:17:50.680 --> 0:17:53.600 in Wakefield, this movie where you know, he basically holds 0:17:53.680 --> 0:17:56.080 up in the attic of his garage outside his own 0:17:56.160 --> 0:17:59.159 home and spies on his family for a year. Um, 0:17:59.200 --> 0:18:02.639 I mean he's he's narrating the whole thing. The whole 0:18:02.640 --> 0:18:06.320 thing is seen through his eyes. It's if And I 0:18:06.359 --> 0:18:08.520 realized watching the movie, it's like this character is a 0:18:08.640 --> 0:18:12.800 reprehensible human being. Who if it weren't Brian Cranston playing it, 0:18:12.920 --> 0:18:15.800 you know, it's like the it just it would be 0:18:15.840 --> 0:18:19.560 a totally different experience. You know, we're gonna have to 0:18:19.560 --> 0:18:22.199 wrap it up right there. Man. Unfortunately, there's obviously so 0:18:22.280 --> 0:18:25.800 much we can discuss beyond, like the tributes. Amy Adams 0:18:25.840 --> 0:18:28.840 had a tribute, Casey Affleck had a tribute, and we's 0:18:28.880 --> 0:18:31.840 here with Manchester by the Sea, which is an amazing film. 0:18:32.040 --> 0:18:35.119 Pablo Lorraine, the filmmaker had a tribute. But you did 0:18:35.119 --> 0:18:36.720 a good job of explaining what tell You Right is 0:18:36.720 --> 0:18:40.000 to everyone. And I think if anyone's thinking about coming here, 0:18:40.000 --> 0:18:42.840 they should just pull the trigger because it's the best 0:18:42.840 --> 0:18:45.239 film film festival I've ever been to. Agreed, I mean, 0:18:45.240 --> 0:18:47.119 this is the film festival if if I lost my 0:18:47.200 --> 0:18:49.399 job tomorrow, I'd still be coming to this one. All 0:18:49.440 --> 0:18:53.160 the other ones are, you know, industry overrun and here 0:18:53.160 --> 0:18:55.600 it's film lovers, the best films you can find. You know, 0:18:55.800 --> 0:18:58.399 absolutely we'll stick around for Amy Adams. Everyone, We'll be 0:18:58.400 --> 0:19:27.399 back with that in just a moment. There are days 0:19:27.440 --> 0:19:31.920 that define your story beyond your life, like the day 0:19:31.960 --> 0:19:42.480 they arrived. What happens to now? My god? How do 0:19:42.520 --> 0:19:45.680 we clarify their intentions? I go back in. Well, I 0:19:45.680 --> 0:19:47.480 guess I don't need to tell you you put yourself 0:19:47.480 --> 0:19:51.800 a risk. And now that's a proper introduction. I need 0:19:51.840 --> 0:19:55.200 everybody working on us. I feel like everything that happens 0:19:55.760 --> 0:19:59.320 comes down to the two of us. I know what 0:19:59.400 --> 0:20:06.199 it is. What does this say for a weapon? Welcome 0:20:06.200 --> 0:20:08.560 back everyone. We are still in til you Ride and 0:20:08.600 --> 0:20:11.120 I am now with Amy Adams. Thank you for being 0:20:11.160 --> 0:20:13.159 with me today. I appreciate it. Thank you for having me. 0:20:13.480 --> 0:20:15.639 We're here to talk about You have two films hitting 0:20:15.800 --> 0:20:19.480 uh the festivals this fall. One is Nocturnal Animals. The 0:20:19.560 --> 0:20:22.080 other is a Rival, which is playing Till You're Ride 0:20:22.400 --> 0:20:26.800 and you're fresh from Venice where Nocturnal premiered. Yes, I 0:20:26.800 --> 0:20:30.800 guess I shouldn't say fresh because wait, what are you saying? Well, 0:20:30.840 --> 0:20:33.560 that's quite, that's quite the trip. I mean it is. Yeah, No, 0:20:33.600 --> 0:20:35.840 I wouldn't. I wouldn't call me fresh this morning either. 0:20:36.320 --> 0:20:38.600 I think everyone can agree on that you had been 0:20:38.640 --> 0:20:40.479 there before the right for the festival. I hadn't. Oh, 0:20:40.520 --> 0:20:42.399 I didn't go with the Master. Okay, I didn't know. 0:20:42.440 --> 0:20:44.000 I didn't go with the Master. I was doing um 0:20:44.880 --> 0:20:46.920 musical in New York at the time. What did you think? 0:20:47.520 --> 0:20:49.639 It was so much fun? It was sort of like 0:20:49.960 --> 0:20:52.560 everything that you fantasize about, like on on the like 0:20:52.600 --> 0:20:55.919 sort of glamour side of things as an actress um 0:20:55.960 --> 0:20:58.800 when you're growing up. But but it was also their 0:20:58.800 --> 0:21:01.399 celebration of film and and the audiences were amazing. But 0:21:01.440 --> 0:21:04.080 it was it was kind of surreal, to be honest. Yeah, 0:21:04.280 --> 0:21:06.919 and especially probably to go from like the red carpet 0:21:06.960 --> 0:21:10.960 of the Lido to the Patagonia aware of of tell 0:21:11.000 --> 0:21:14.720 you right, strikingly different environments. Is this This feels like 0:21:14.760 --> 0:21:17.440 coming home, though this is closer to my actual personality 0:21:17.480 --> 0:21:19.159 and the sort of the way I think it is 0:21:19.200 --> 0:21:22.600 coming home because I'm from Colorado, So this feels very 0:21:22.680 --> 0:21:27.399 very welcoming and Homie, which part of Colorado, Castle Rock. Okay, 0:21:27.560 --> 0:21:30.199 it's a beautiful state. It's probably my favorite state actually, 0:21:30.240 --> 0:21:31.920 that I could live here. You can we just move 0:21:32.040 --> 0:21:34.920 everything to Colorado, Like if we all just started going, 0:21:34.960 --> 0:21:37.600 maybe maybe we could like maybe we get everybody over here. Exactly, 0:21:37.640 --> 0:21:40.400 there's enough land, I think to go around. Yeah, well 0:21:40.720 --> 0:21:44.080 you're here. Also receiving a tribute, which is uh, you know, 0:21:44.080 --> 0:21:47.359 I think Tell Your Right is interesting because they don't 0:21:47.359 --> 0:21:50.520 really necessarily cling to like a lifetime achievement vibe. And 0:21:50.560 --> 0:21:53.760 that's very evident in especially this year's three You and 0:21:53.960 --> 0:21:56.919 Casey Affleck and Pablo Lorraine. They will often go for 0:21:56.920 --> 0:22:00.399 people who might be in their prime. But nevertheless, was 0:22:00.480 --> 0:22:02.440 the idea of a tribute kind of daunting to you 0:22:03.119 --> 0:22:05.840 at the stage in your career? Um it is, I mean, 0:22:05.840 --> 0:22:10.440 it's it's always an honor and it's always um it's 0:22:10.480 --> 0:22:12.080