Speaker 1: This episode of Playback is brought to you by Warner
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Speaker 1: your consideration in all categories, including Best Picture. Now available
Speaker 1: on DVD and Blu ray. You're listening to Playback, a
Speaker 1: Variety I Heart Radio podcast. I'm your host Variety Awards
Speaker 1: Editor Chris Tae. This week we're catching up with Bradley Cooper,
Speaker 1: the writer, director, star producer. You name It of a
Speaker 1: Star is Born, one of the most popular films of
Speaker 1: the year, closing in on two million dollars here in
Speaker 1: the States. We dive into the craft of the film
Speaker 1: and his inspirations and making it, as well as conjuring
Speaker 1: the songs, working on that Sam Elliott voice, and a
Speaker 1: whole lot more so, Sit tight, this is playback, fresh
Speaker 1: air and now playback. How long was that power and
Speaker 1: forty minutes? Oh man, hope you're not tapped up. Well,
Speaker 1: you'll be the judge of that. Let's see. He's like
Speaker 1: some sort of weird like card game or something. We
Speaker 1: were like playing some sort of like test with all
Speaker 1: the cars. This is just an interesting is where you
Speaker 1: always do it. That's where we always do it. How
Speaker 1: many years? Uh, just past two? How many of you done?
Speaker 1: About ninety six? We should be had a hundred before
Speaker 1: the end of the year. Top three. Man, Christian was good.
Speaker 1: Christian Bale, Yeah, I did him for Hostiles last year.
Speaker 1: Oh man, I loved him in that movie. Yeah, it's
Speaker 1: so good. Well, Scretta and Sarcial last year work. Oh yeah,
Speaker 1: I love that movie. I voted for that movie. Yeah,
Speaker 1: I thought that was great. I love that movie. Really.
Speaker 1: I think that's like a perfect film, isn't it It is?
Speaker 1: It is a perfect movie. Every frame of that film,
Speaker 1: every character every word. It's such a beautiful construction. Totally.
Speaker 1: She crushed that. I heard the screenplay was incredible. She's
Speaker 1: such a natural. Just let's get this directional, Mike, So
Speaker 1: you're gonna be perfect like that, and we're already up
Speaker 1: and running. Let's dive in. Alright, everyone, I'm here with
Speaker 1: Bradley Cooper, the writer, let's say hang on, writer, director, producer, starter,
Speaker 1: co writer, uh, songwriter, multi hyphenate of a Star is Born.
Speaker 1: One of the best movies of the year. Thank you
Speaker 1: for coming on the show. Appreciate I loved the movie.
Speaker 1: I'm I'm a huge fan, and I have to tell
Speaker 1: you I went in very skeptical because I haven't really
Speaker 1: taken to the story over the ages, and I actually
Speaker 1: thought you fixed a number of the things and I'll
Speaker 1: get to it that have have bothered me along the way. Um,
Speaker 1: but yeah, I went in with like a show me
Speaker 1: attitude and I thought you nailed this. So first off
Speaker 1: the top of us once say congratulation, thank you, thank
Speaker 1: you for saying that, and people seem to dig it.
Speaker 1: I mean, you're cruising toward two hundred million here uh
Speaker 1: in the States and like three fifty plus worldwide. I mean,
Speaker 1: it's this big phenomenon. I mean, first of all, knowing
Speaker 1: that it's having this impact, how does that make you
Speaker 1: feel as a first time director and you didn't know how?
Speaker 1: Absolute relief, total relief. It's the you know, it's funny.
Speaker 1: I can take my check up because it sounds like
Speaker 1: I'm in a I'm like on a parachute. That reminds
Speaker 1: me I'm a quick anecdote. My sound editor in film
Speaker 1: school told me the story of Rugger Howard coming into
Speaker 1: do looping with all leather. Wow, so it just ruined
Speaker 1: it all anyway, I always think about that would be
Speaker 1: like the Elvis sixty eight suit exactly. That's how I
Speaker 1: want to picture Rugger Howard though, right, that's kind of yeah.
Speaker 1: I want to picture that father comes in and takes
Speaker 1: a motorcycli home and off ready to do some looping.
Speaker 1: But you were really bad? Is that his character's name?
Speaker 1: And Blade Runner? Yeah? He what one of my favorite
Speaker 1: characters in all films. Fantastic. Oh my gosh, isn't he incredible?
Speaker 1: Of that movie? It makes you feel a lot and
Speaker 1: I want more life so good. I just got the
Speaker 1: four K of that. I just got four K TV,
Speaker 1: so that was the one I wanted to test it out. All. Yeah,
Speaker 1: there's a version. There's a an example of a movie
Speaker 1: where the director's cut is the only version of the
Speaker 1: movie I ever watched. I don't even watch The Fall
Speaker 1: with a voice over anymore. You don't know, because it's cheesy.
Speaker 1: I mean, that's the first that was my introduction to
Speaker 1: it was the first time I saw it, and I
Speaker 1: loved it back then. Um, but once I saw the
Speaker 1: director's cut, that's just the movie. I've erased the other
Speaker 1: one from my brain. It's really interesting and the unicorn
Speaker 1: thing is beautiful. Oh it's beautiful, and just ending on
Speaker 1: the on the elevator. Yeah, you know, absolutely no car ride.
Speaker 1: You know, footage from the shining isn't that what he
Speaker 1: used or something? Some crazy But you're relieved, so you
Speaker 1: know when you I guess Venice was the first big reveal.
Speaker 1: So it was that that was it when you were
Speaker 1: sitting down, I mean, just what what did that feel
Speaker 1: like knowing that you were about to I was terrified
Speaker 1: that day. I remember thinking I couldn't believe how how
Speaker 1: nervous I was. But I was like, wow, my stomach
Speaker 1: started turning and I thought, oh, my gosh, I was terrified.
Speaker 1: I was finally for for a couple of reasons. One
Speaker 1: I thought, oh my, you know, just the normal thing
Speaker 1: of am I gonna get laugh doubt? Are people going
Speaker 1: to walk out? Like what's the worst case scenario? Like
Speaker 1: people literally just stopped leaving the theater during the movie.
Speaker 1: And the other one was, gosh, please don't lose this
Speaker 1: feeling of this overwhelming feeling of fulfillment that I have
Speaker 1: of this project because it was the exact movie I
Speaker 1: wanted to make, and that's why I'm here as a
Speaker 1: as a person. I'm so lucky that I know what
Speaker 1: I want to do with my time. And and please
Speaker 1: don't let people saying that it's not good affect your
Speaker 1: your deep sense of this is what you're supposed to
Speaker 1: be doing and to keep doing it. And I remember
Speaker 1: being very conscious of that, like, no matter what happens
Speaker 1: inside that theaters were in the surreal boat with it
Speaker 1: pouring rain, which I was so happy it was raining.
Speaker 1: Um uh, just don't let whatever happens affect what you
Speaker 1: know to be true basically about what your road is
Speaker 1: right now. And there was like a technical glitch too.
Speaker 1: For twenty minutes I went out, which is really fascinating
Speaker 1: and the truth once once the movie started again, during
Speaker 1: the twenty minutes, it was fine. I thought it was
Speaker 1: actually some cool, like you know, human experiment where you're
Speaker 1: what all these people are? You realize like, oh, there's
Speaker 1: all these people in this room and we're just waiting.
Speaker 1: And then so I actually I thought it was kind
Speaker 1: of interesting, you know, life on life's terms. I found
Speaker 1: it interesting and and but then when the movie started,
Speaker 1: I have to say it was excruciating to sit through
Speaker 1: because it's not the same movie that I made that
Speaker 1: they saw, because the rhythm is completely different. You know,
Speaker 1: it's almost if you're playing this. So I play a
Speaker 1: song for you, and I stopped after the first verse
Speaker 1: for twenty minutes, and then I played the rest of
Speaker 1: the song. The rhythm of the song has changed, so
Speaker 1: the rhythms that we spent months and months creating this
Speaker 1: one musical element of the movie, which is one musical element,
Speaker 1: was altered that day. So that that was that was
Speaker 1: hard to sit through. I really had a hard time
Speaker 1: sitting through it. Interesting, Well, what kind of products were
Speaker 1: you looking for to make the jump into directing, like
Speaker 1: and why was this the one I mean, this was
Speaker 1: a project that they've been trying to make again for
Speaker 1: a long time. You came in and put your spin
Speaker 1: on it. But what made this one the one? And
Speaker 1: what were you looking for? I wasn't looking for other
Speaker 1: projects and then found this one. It was I wanted
Speaker 1: to make a movie or I wanted to explore cinematically
Speaker 1: certain themes that I knew that I could talk about
Speaker 1: and from a real place, because there's no reason for
Speaker 1: me to make a movie or try to to to
Speaker 1: ask you for two hours of your time and show
Speaker 1: you something visually sonically if I don't have a reason
Speaker 1: to do it. Um so I wanted to do I
Speaker 1: wanted to really tell a love story. I wanted to
Speaker 1: tell a love story between two people who actually love
Speaker 1: each other and there's no one fidelity and still how
Speaker 1: hard it is. I wanted to tell a story about
Speaker 1: what it's like growing up and dealing with your childhood
Speaker 1: and things that occur, and then how does that influence
Speaker 1: who you become as an adult. I wanted to examine
Speaker 1: things about finding your voice in this life, and As
Speaker 1: Star Is Born was the perfect sandbox paradigm PlayStation to
Speaker 1: to examine all those things because that the thing that
Speaker 1: would prevent me from being authentic it is that these
Speaker 1: two characters sing, and you can't take it. When you sing,
Speaker 1: it's impossible, Um, because your voice is the first thing
Speaker 1: that goes if you're not connected to your yourself, because
Speaker 1: your breathing changes. You start talking from here and everything's gone.
Speaker 1: So I love the idea that these two characters are
Speaker 1: expressing them themselves. They're singing, and it's so it's I'm
Speaker 1: gonna know, I'm gonna have a b line right to
Speaker 1: their soul. And it's also lends itself to being cinematic,
Speaker 1: so as opposed to them being two people and other
Speaker 1: professions or in another world but the same story. How
Speaker 1: do I make it cinematic? Well, they're both musicians and
Speaker 1: so we could play with that cinematically. Yeah. How about
Speaker 1: this influence wise, I'm curious if you know you've had
Speaker 1: a long tenure as an actor, are you more influenced
Speaker 1: by the collaborations you've had with directors as an actor
Speaker 1: or are you more influenced by the films you watch
Speaker 1: growing up in the aesthetics that appealed to you and
Speaker 1: things like that. I don't think I could quantify either one.
Speaker 1: I mean, it's it's all part of the same, the
Speaker 1: same pool of inspiration. Um. There's not one thing that
Speaker 1: trump's the other. Certainly, you know, the majority of my
Speaker 1: life is observing by watching other films. It's only the
Speaker 1: last two decades that I've been able to collaborate with filmmakers. Um.
Speaker 1: So it's it's both, you know, it's but I mean
Speaker 1: a life lessons the short by Martin Scorsese heavily influenced
Speaker 1: this movie for me, um, even um, even parts of
Speaker 1: Hotel Chevalier, you know that short, which I love that
Speaker 1: west In situally, I love that so much. Um. Not
Speaker 1: how he shot it though, because it's very different, but
Speaker 1: but more life lessons, the forty eight frames moments, you know,
Speaker 1: piecing out the tactile occurrences. That was totally influenced by
Speaker 1: Martin Scorsese. And that's short. Um. And then working with
Speaker 1: David or Russell and Todd Phillips and Clintics would definitely
Speaker 1: influenced how I how I talked to actors or you know,
Speaker 1: think about the rhythm of a set. Um uh. And
Speaker 1: then just you know, being on sets for so many years,
Speaker 1: and and I've always had a curiosity Uh, intense curiosity
Speaker 1: about this process because of a love of film, of
Speaker 1: watching them since I was a kid. So I just,
Speaker 1: I just I'd love that I can be a part
Speaker 1: of the creation of a world that you can then
Speaker 1: be exposed to for two hours and a story being
Speaker 1: told in that world. That to me is like to
Speaker 1: be able to provide that and create that and explore
Speaker 1: that is so fun. It's like endlessly fun to me. Yeah. Well,
Speaker 1: beginning with the page here, Eric Roth is actually a buddy,
Speaker 1: But I'm curious, like, did he write something first and
Speaker 1: then you guys came in and and and wrote more?
Speaker 1: Or like, how how did the project exist when you
Speaker 1: came to it, and then how did you feel like
Speaker 1: it needed to shift? The product came Will Fetters had
Speaker 1: written the screenplay that Clint Easwood was going to do,
Speaker 1: and that was the one that I read years before
Speaker 1: when Clint eas would talk to me about playing the
Speaker 1: male character. Um. And then when I went back and
Speaker 1: had a take on it. Uh, And I asked one
Speaker 1: of brothers if they would allow me to rewrite the
Speaker 1: whole thing page one rewrite. I just want to totally
Speaker 1: go out of a different way. Um. And I said,
Speaker 1: and I'd love to work with Will if he wants
Speaker 1: to do that, and we could do together. So we
Speaker 1: we started doing that together. He came to London, I
Speaker 1: was doing The Elephant Man, and we started writing there
Speaker 1: and then we wrote. We we wrote a couple of
Speaker 1: many drafts and then it got and I like to
Speaker 1: hear them read out loud, not me acting in them.
Speaker 1: Just I really feel like that really helps UH and
Speaker 1: UM and I just felt like it got to a
Speaker 1: point and I met. I'm trying to think how I met.
Speaker 1: I think Greg Silverman, who was at Warner Brothers time
Speaker 1: it was a huge advocate of Eric Roth, and obviously
Speaker 1: I uh, he's a great writer and has written great
Speaker 1: screenplays and I and I said, can I just talk
Speaker 1: to him about this movie? So I went to UM
Speaker 1: and I showed him the screen test I think that
Speaker 1: I had that I wrote and shot and to show
Speaker 1: Warner Brothers to get green lit, but not even get
Speaker 1: a green the idea of her and I together, and
Speaker 1: I said, I'd like to I'd like to almost Will
Speaker 1: and I have gone to a point and I can't
Speaker 1: quite I don't feel the movie. I don't see the movie,
Speaker 1: and I want to explore other things and will you
Speaker 1: do that with me? And he was kind enough to
Speaker 1: do that and we did. I think you have to
Speaker 1: ask him if he's your buddy. I think it's the
Speaker 1: quickest he's ever worked. Yeah. I had not talked to
Speaker 1: him in a while, and then I realized he was
Speaker 1: a part of the project and I emailed him immediately afterwards.
Speaker 1: I was like, dude, movie rocks. Good job and uh,
Speaker 1: and he was he was. I love I love him
Speaker 1: to death. That's fantastic, hid uh, As I said, you know,
Speaker 1: I the film hasn't really worked for me in the past,
Speaker 1: the previous versions, and I think a huge part of
Speaker 1: it is the central male character. I've never really felt
Speaker 1: empathy for him, and that's what I thought you fixed. Uh,
Speaker 1: you know, just little things. I mean, you know this
Speaker 1: debilitating your condition. Uh, the real there's a real sense
Speaker 1: of warmth I think you feel in him throughout, whereas
Speaker 1: he's always been kind of spiteful, translated into that Award
Speaker 1: show moment that's always been such a bitter, spiteful moment
Speaker 1: for him. Here it's just a tragic moment for him.
Speaker 1: Did you feel that these were elements that needed to
Speaker 1: be tweaked it didn't. It didn't. The end result is
Speaker 1: the same, but it didn't come out of wanting to
Speaker 1: something that I didn't like. Again, it's just because I
Speaker 1: had these things I wanted to examine. And the male
Speaker 1: character was somebody who his injury is not narcissistic, you know,
Speaker 1: his injury is more about having not not not having
Speaker 1: had the ability to cultivate other aspects of his life,
Speaker 1: and that he's what happens when somebody finds their voice
Speaker 1: has something to say. Early on, people are telling them
Speaker 1: that it's it's it's wonderful, and so he's cultivating that
Speaker 1: and then that becomes his life source. And now he's
Speaker 1: forty four years old and he's never dealt with anything,
Speaker 1: and how is he sustained? How does he sustain himself?
Speaker 1: I like this idea of a guy who looks so
Speaker 1: much like a man. He's everything you'd want to be
Speaker 1: as a man when you're young. But he's a child.
Speaker 1: He's thirteen years old. He's that moment that that happened
Speaker 1: when his father died, his brother came back and he
Speaker 1: had to spend that year with his dad's sick um.
Speaker 1: The that was the character I wanted to create. That
Speaker 1: character doesn't care about his fame being dwindling because that's
Speaker 1: not where he's found his his sense of worth. So
Speaker 1: then it means nothing to him the idea of somebody
Speaker 1: eclipsing him if he doesn't look at him self as
Speaker 1: as as finding meaning on that level anyway, eclipse the
Speaker 1: eclipsing means nothing. So right away those two aspects are gone, um,
Speaker 1: and it's much more about him trying to cultivate, trying
Speaker 1: to find a connection and seeing somebody and being re
Speaker 1: reinvigorated in his life and and and feeling things that
Speaker 1: maybe he hasn't been able to feel, and finding a soulmate,
Speaker 1: and and not having the tools to do that, to
Speaker 1: to actually to to go on that road, that journey
Speaker 1: with that person because his his journey is coming to
Speaker 1: an end. That that was that character to me. So
Speaker 1: you so now implement that character into this structure, and
Speaker 1: it's there's going to be made. So the grammy scene
Speaker 1: becomes what happened, That becomes He's he thinks he thinks
Speaker 1: he's supporting her, you know, that's the whole thing. He's
Speaker 1: not hijacking her speech at all. He's just he's planning
Speaker 1: to stand there next to her and support her and
Speaker 1: that and that scene kills me. And even when I
Speaker 1: wrote it, I thought, oh my god, you know, and
Speaker 1: even when I said, look, I think he's and to
Speaker 1: have to pee himself, you know, that's like that's laughable.
Speaker 1: It's like, yeah, but that's just it's just I want
Speaker 1: him to hit him at his real bottom. And the
Speaker 1: thing that hope feel that is embarrassment for her that
Speaker 1: he somehow tainted her experience. That to me is moving.
Speaker 1: If I if we can pull that off me as
Speaker 1: a movie go or that's something I'd want to see.
Speaker 1: And then ties it up with the rehab scene as well,
Speaker 1: and just the breakdown the crime. Mean, it's yeah, this
Speaker 1: stuff is what for me made it finally sing. And
Speaker 1: uh yeah. I mean, if if you didn't think they
Speaker 1: needed fixing, you know, that's understandable. But I just I
Speaker 1: always felt like that. I don't know, I just always
Speaker 1: thought he was an asshole and I just didn't care
Speaker 1: about him, And this time I cared deeply for him. Um.
Speaker 1: Also regarding what you were just talking about, the eclipsing
Speaker 1: of it all, I mean I kind of wondered going in,
Speaker 1: how is a movie that and three iterations has been
Speaker 1: about a man overshadowed by a woman who kills himself
Speaker 1: and then she takes his name. How is that going
Speaker 1: to play? In two thousand eighteen? And I thought you
Speaker 1: navigated that well too. I mean, was that something you
Speaker 1: had your eye on? Um? I I don't. I can't
Speaker 1: create art from a place of wondering how it's going
Speaker 1: to be received. It has to start from me, from
Speaker 1: what story do I want to tell? And how personal
Speaker 1: can I make it? And make it as authentic as possible?
Speaker 1: And then but I find that it stunts any sort
Speaker 1: of creativity if I'm trying to strategize how something's going
Speaker 1: to come across. The thing that I love about storytelling
Speaker 1: is the stories that I love feel very personal. Whether
Speaker 1: or not they are by the filmmaker, I have no idea,
Speaker 1: and it doesn't really matter, but they affected me in
Speaker 1: a personal way. So so the only way that I
Speaker 1: could feel worthy enough to tell a story is if
Speaker 1: it feels something personal to me. She's just a character
Speaker 1: that I find very interesting. It's much more interesting for
Speaker 1: me to examine somebody who is thirty one years old
Speaker 1: and it's not a non genue and has found that
Speaker 1: her the things she wants to say, people are telling
Speaker 1: her she's not worthy of saying them. And then how people,
Speaker 1: and this is my experience, people can thrust you up
Speaker 1: above whatever, whatever whole you're in and say no, no,
Speaker 1: you have worth. And they're not telling you something you
Speaker 1: don't already feel. They're just bolstering something that you feel
Speaker 1: inside of yourself, And that to me is interesting. So
Speaker 1: I never saw it as like he dies she that
Speaker 1: that way you described it is not the story that
Speaker 1: I've tried to make. I mean, whether you feel that way,
Speaker 1: that's it's your movie now. But but that was not that.
Speaker 1: That's not the road that I tried to examine between
Speaker 1: the two of them. Well, I think he transcended that
Speaker 1: as my point. I mean the previous iterations, that's been
Speaker 1: the vibe. So before seeing your version, I was like, well,
Speaker 1: how's that? How's that going to play? And again I
Speaker 1: thought you definitely handled it. So Maddie Libatique, who has
Speaker 1: a great cameo by the way, in the movie, along
Speaker 1: with very interesting choice for a DP on a movie
Speaker 1: like this, Uh, I thought there was an incredible intimacy
Speaker 1: to the photography right out of the gate, like right on,
Speaker 1: you're on that stage with him, The way that the
Speaker 1: camera swirls around and meets him right here at the
Speaker 1: mic and starts on his back really, which is really
Speaker 1: interesting as well. And the colors I think about, like
Speaker 1: the blue blue scene and stuff. It just talk about
Speaker 1: that the visual effect you were looking forward, did you, guys, like,
Speaker 1: what kind of references might you have had that? Oh? Yeah,
Speaker 1: the very specific um. The thing I loved about Maddie was, uh,
Speaker 1: I was a big fan of black Swan and requeing
Speaker 1: for a Dream, But really it was because Jennifer Lawrence
Speaker 1: had really I asked her what she thought, and because
Speaker 1: I was looking for a dp UM. I had such
Speaker 1: a specific vision of how I wanted to shoot everything,
Speaker 1: and it's specifically the concert stuff that was one of
Speaker 1: the compositions. I made a decision early on and even
Speaker 1: told Warner Brothers. I said, look, I'm never going to
Speaker 1: be in this crowd, so I just want to I
Speaker 1: want to you guys to know that now it's all
Speaker 1: going to be on the stage, it's all going to
Speaker 1: be subjective, and I'm gonna give you scope and intimacy
Speaker 1: at the same time. So when I met with him
Speaker 1: and he was kind of to meet with me in
Speaker 1: my house. I talked about primary colors. Um, I wanted
Speaker 1: each character to be defined by a color, and then
Speaker 1: how that changes as the movie progresses, UM, how I
Speaker 1: wanted to shoot it, what aspect ratio, the concert stuff.
Speaker 1: And then I just said, you know, and um, you
Speaker 1: know the use of that he cam and handheld and
Speaker 1: Dolly and how we're gonna how that those are all
Speaker 1: going to play in various emotional points. Because the movies
Speaker 1: that I love, form always follows function. I'm never aware.
Speaker 1: If I'm aware of the camera movement while I'm watching
Speaker 1: the movie, the chances are it's not fueling the story.
Speaker 1: It's only in retrospect. I'm like, wow, how did that?
Speaker 1: How did that director make me feel like that? Oh? Wow?
Speaker 1: You know Stanley Cooper put golf clubs in the same
Speaker 1: corner of the room as Tom Cruise, and then tennis
Speaker 1: rackets the same corner of the room, and Nicole Kidman
Speaker 1: and like she wants to have the relationship, but he's
Speaker 1: on his own. You know, I'm a sucker for all
Speaker 1: that stuff, you know, I just love it. That's why
Speaker 1: I was so thrilled to be able to have a
Speaker 1: palette now to to make a movie with Um and
Speaker 1: he was game for all of that. You know, fans
Speaker 1: that was this thing ceiling fans. And one of my
Speaker 1: favorite shots, not not my favorite, but what shot I
Speaker 1: really love is when they're in the dinner in the
Speaker 1: Mexican restaurant, she's talking to him. We were able to
Speaker 1: get the reflection of the ceiling fan coming off of
Speaker 1: the counter, the order counter, right, but it's behind her,
Speaker 1: so she's not even aware of everything that this guy
Speaker 1: brings with him, you know, because that's the entreventional. He
Speaker 1: would be the thing that symbolizes death. UM. Stuff like
Speaker 1: that is very fun for me. Um and and to
Speaker 1: be able to work with such a master like him
Speaker 1: to achieve that was was wonderful. Yeah. And also, uh,
Speaker 1: you know, the editing. I'm a great fan of the
Speaker 1: editing because it it moves the story at a clip,
Speaker 1: but also just within sequences, like uh, you know, I'm
Speaker 1: thinking about when she starts to destroy the house at
Speaker 1: the end, and then you just cut to her in
Speaker 1: the middle of the mess. Just things like that, which
Speaker 1: I just think are great too, because we don't need
Speaker 1: everything in between that happened, you know, And you do
Speaker 1: that in the number of different ways throughout the film,
Speaker 1: and her editors Jay Cassidy, great editor uh and Mike
Speaker 1: Asaveto also worked on He was incredible who works with
Speaker 1: Jay and I had met worked with him. I think
Speaker 1: I met him on Silver Linings. He was an assistant
Speaker 1: assistant assistant Silver Linings. But I met jam Silver Linings
Speaker 1: Playbook and also an American hustle and joy and it
Speaker 1: worked for many hours with him on those movies, and
Speaker 1: David was kind of to let me be there with them.
Speaker 1: So he and I had gone through war together already
Speaker 1: on other movies, and so it was there was no
Speaker 1: question I wasn't gonna There were a couple of people
Speaker 1: I would not do the movie without. I knew it's
Speaker 1: Shelley Ziegler, who was the first a D who from Baltimore,
Speaker 1: and Zan her second a D. I thought, there's no
Speaker 1: way I'm gonna make this movie without them for for
Speaker 1: forty two days schedule in the three million dollar budget,
Speaker 1: There's no way I can get it done without them.
Speaker 1: And Jake Cassidy was another one, and there's no way
Speaker 1: I'm gonna do this movie without him. And all of
Speaker 1: that speaks to the rhythm you were talking about earlier, right,
Speaker 1: I mean, did you discover things in the edit? I
Speaker 1: mean as you always do, like anything, anything profound major, yeah,
Speaker 1: oh yeah, I mean to me the most, I love shooting,
Speaker 1: uh hate writing. It's hard, horrible. It's wonderful because you
Speaker 1: have an unlimited budget and you can go anywhere in
Speaker 1: the world and create new worlds everyone. So that's creatively exciting,
Speaker 1: but it is very hard. The shooting of it is
Speaker 1: fun because I love actors and I love the creation
Speaker 1: of the film making within the moment of making it.
Speaker 1: But editing is that way as part. Editing is when
Speaker 1: time really stops. I mean you go down to an
Speaker 1: editing room and you come out in fourteen hours have
Speaker 1: gone by and you cannot believe. And that's when you
Speaker 1: know you're having fun. Is when you can't calibrate time anymore.
Speaker 1: Um So it's all about discovery. It's almost three separate
Speaker 1: pieces of artistic content really that I've discovered this experience.
Speaker 1: The writing of the script is this wonderful process, and
Speaker 1: then at the end of it, you have the script
Speaker 1: and that's that that is the piece of content. And
Speaker 1: then you have the shooting of the script, which is
Speaker 1: another artistic exercise and that is its own that's its
Speaker 1: own piece of content. And then you have the editing,
Speaker 1: which is its own artistic um experience and creates its
Speaker 1: own piece of content. And I really do see them
Speaker 1: as three separate things. So at the beginning of each one,
Speaker 1: you've done all this work. You have all this thing
Speaker 1: that's going to support this new exploration. But this is
Speaker 1: a new exploration. You have to be able to throw
Speaker 1: everything away. If it doesn't work, it's not gonna then
Speaker 1: magically work. Um so I I absolutely love editing. Yeah,
Speaker 1: you basically write your movie three times. We're gonna pause
Speaker 1: here real quick. We've got more with Bradley coming up.
Speaker 1: I just have a quick word from our sponsors. Will
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Speaker 1: on DVD and Blu ray. Alright, we're back here with
Speaker 1: Bradley Cooper. I want to talk about the music now,
Speaker 1: especially you know, obviously the music that is hers in
Speaker 1: the film is fantastic, but I'm a huge fan of
Speaker 1: just the rowdy roadhouse kind of rock that that your
Speaker 1: band that you got promise of the Real and Lucas
Speaker 1: Nelson and to do It's got this like, uh, it's
Speaker 1: like a rowdy Ryan Bingham kind of vibe to me.
Speaker 1: I guess, uh talk to me about that because I
Speaker 1: want to know, like, is that kind of your taste
Speaker 1: in music is? Did you explore other potential genres of
Speaker 1: music for this character to be a part of, Like
Speaker 1: how did the musical identity complete evolution? Oh? Yeah, I
Speaker 1: mean I'm a huge I'm a fan of very different
Speaker 1: types of music, so that I wouldn't say that this
Speaker 1: is my taste of music. It is a taste of
Speaker 1: mine and music. But no, I explored everything from him
Speaker 1: being much more um before I found his speaking voice.
Speaker 1: That that really determined a lot of what the bandwidth
Speaker 1: was going to be with his singing voice. Um. But
Speaker 1: but prior to that, when Jackson wasn't created yet and
Speaker 1: I was writing the script, I was thinking about totally
Speaker 1: other different genres of music, much more sort of um,
Speaker 1: not not not heavily guitar oriented, potentially almost more like
Speaker 1: cold playsh kind of thing. And then maybe it was
Speaker 1: more grunge, and then it was maybe then we went
Speaker 1: so country, and then and then really it was just
Speaker 1: by the sheer doing of it and learning to sing
Speaker 1: and playing with Lucas in my basement for hours and
Speaker 1: hours and hours and then starting to actually write songs
Speaker 1: uh and and melodies and everything. Um, Jackson was kind
Speaker 1: of born. It was. It was really a very organic
Speaker 1: process that was the result of a lot of people's
Speaker 1: hard work from Mark Ronson, who I had worked with
Speaker 1: very early on, and then um, Lucas Nelson, obviously Dave Cobb,
Speaker 1: who was kind enough to come and meet with me,
Speaker 1: and I talked him about it and where he really
Speaker 1: I mean the double picket guard on his acoustic Dave
Speaker 1: Cobb's idea, the Green Gibsons Dave Cobb's idea, I love
Speaker 1: that guk. Yeah, and he was wonderful. He introduced me
Speaker 1: to so many great musicians via text, Jason and Isabell
Speaker 1: and Sturgill Simpson and Brandy Carlyle, who I'm just obsessed with.
Speaker 1: Her latest album is just the Greatest um and and
Speaker 1: Jason Isbell sent a demo called Maybe It's Time. And
Speaker 1: when I heard that, I thought, oh my gosh and
Speaker 1: uh and that that really was one of the first
Speaker 1: anchors to Jackson's music. Yeah, I think Chris Cornell had
Speaker 1: an olive Green Gibson. So when I saw that you were,
Speaker 1: then I didn't know that. It's like we've got like
Speaker 1: Chris Cornell specializ what what kind of like how good
Speaker 1: were you at guitar? But not good at all, because
Speaker 1: I know you put a ton of work, put a
Speaker 1: ton of work in and it really the most of
Speaker 1: the work was just learning how to be able to
Speaker 1: finger everything and strum everything. So I never wanted to
Speaker 1: do like a cut of hands and then a cut
Speaker 1: of his face or like do some sort of head
Speaker 1: replacement like they just I didn't want to do any
Speaker 1: of that because I felt like I'm the only one
Speaker 1: who's going to be able to because how he plays
Speaker 1: the guitar such a part of who he is. UM,
Speaker 1: So I knew that I just had to make it believable.
Speaker 1: And so I spent tons of time on with the
Speaker 1: guitar with and Lucas Nelson, and he and I spent
Speaker 1: hours and hours coming up with that sound. UM. And
Speaker 1: I heard melodies of guitar sols in my mind and
Speaker 1: I would vocally sing them to them and he would
Speaker 1: play them, and then that's how we would come up
Speaker 1: with everything. So what you hear is his dubbed over guitar.
Speaker 1: Except for a couple of acoustic moments. It's me and
Speaker 1: uh and it, but it's me playing. Yeah. I was
Speaker 1: just the other day trying to find the black Eyes
Speaker 1: riff in my garage. That's an awesome song. I mean
Speaker 1: there's a simplicity to it. Oh yeah, no, I mean
Speaker 1: it's heavily influenced by Neil Young. Is the influence for
Speaker 1: the guitar period that you know, it's a guy who
Speaker 1: can play one note eighteen times and you're like, that's
Speaker 1: the best guitar solos ever heard. Totally, that's it. Um,
Speaker 1: let's see you shot all over my side of town.
Speaker 1: By the way, I'm an eagle rock Like you know
Speaker 1: the Memphis scene, I knew where that was, the Super
Speaker 1: eight down the street. I I love that. It gives
Speaker 1: it for people are here anyway. It gives it kind
Speaker 1: of an interesting flavor and identity those environments, Like what
Speaker 1: what were you thinking in terms of that, In terms
Speaker 1: of placing this drama in an environment You shot all
Speaker 1: over l A. So you might have expected a movie
Speaker 1: like this wouldn't be shot here. I don't know, but yeah,
Speaker 1: it's a very good question. And again in the writing
Speaker 1: process of originally I wanted this idea but to start
Speaker 1: in New York and they move out west and all
Speaker 1: of a sudden he goes to the sea and that's
Speaker 1: sort of when his death was him dying like James Mason, right, Um,
Speaker 1: and then then and then in terms of shooting in
Speaker 1: l A, it's it's a it's a big thing because
Speaker 1: you know, l A has been shot so wonderfully and
Speaker 1: so many movies from Chinatown to um to collateral. You know,
Speaker 1: it's it's it's you know, it's like, okay, if I'm
Speaker 1: gonna make l a a character as much as it
Speaker 1: can be. So really that part of town, to me
Speaker 1: was unexplored in a lot of ways, and it wasn't
Speaker 1: La La Land, California. Also yeah yeah, so they also
Speaker 1: had just nailed it, uh in terms of setting, um.
Speaker 1: And so then it really they became about and Karen
Speaker 1: Murphy was incredible production designer, and the and the and
Speaker 1: the the other gentleman who was the escale was incredible
Speaker 1: finding places it was really about, and then it just
Speaker 1: started to stem from story. I wanted to have them
Speaker 1: on the little dividers in a car in a parking
Speaker 1: lot at four in the morning, and I wanted the
Speaker 1: right aid, even though it's not called the right aid,
Speaker 1: and we didn't find a right aid, but originally in
Speaker 1: my mind is like, it's a right aid because I
Speaker 1: wanted to anyway. But I wanted to be like the
Speaker 1: like a stage so that when she gets up, it's
Speaker 1: literally like it looks like you're at a massive concert. Um.
Speaker 1: So then it's like, okay, that's what I want, So
Speaker 1: how do we find it? I wanted Jackson's house to
Speaker 1: be almost an idea or an image of where you
Speaker 1: think he came from, an Arizona, this idea of just
Speaker 1: like nothing everything is sort of natural, everything's natural. You
Speaker 1: know that he could sort of hibernate there. He's almost
Speaker 1: like an animal or organic. So so then we found
Speaker 1: that place, uh, the Virgil, which is where we shot
Speaker 1: the drag Bar. That was I wanted a place to
Speaker 1: feel like the place The Blue because I called it
Speaker 1: the Blue Blue, which is the same place, the same
Speaker 1: name as the part that Mason walks into to find
Speaker 1: Judy Garland. And I wanted that feeling inside but remade.
Speaker 1: So it was all came from story. It was like,
Speaker 1: here's the idea of this thing I want. And then
Speaker 1: so that we went and found it. I think you
Speaker 1: could almost do like a walking tour of location. Yeah, yeah,
Speaker 1: we were. There was not one day on the in
Speaker 1: the studio. That's amazing. Yeah, I actually had and then
Speaker 1: we read to real places. I mean, that's the forum,
Speaker 1: that's the shrine, that's Glassonbury, that stage coach, you know,
Speaker 1: even though the Greek is supposed to be northern California. Yeah.
Speaker 1: I actually had Sam on the show last year for
Speaker 1: the hero. Uh, and he was in the middle of
Speaker 1: shooting at the time, and he was stoked to be
Speaker 1: in l A shooting a movie day, you know. And
Speaker 1: by the way, speaking of Sam, I literally I don't
Speaker 1: have a question here. I just wrote Sam Elliott because
Speaker 1: you know it's Sam Elliott. It's like he's he delivered
Speaker 1: my favorite line of any movie and Roadhouse, the Big
Speaker 1: White Mint line. Do you know what he says? That
Speaker 1: place is so hardcore they have to hang a sign
Speaker 1: in the bathroom that says don't eat the big meant
Speaker 1: which I just and I'm obsessed with that movie. Oh
Speaker 1: my god, it's so guess when he's on the phone
Speaker 1: with him before he comes into dread. But you know,
Speaker 1: I love the fact that you found this organic, interesting
Speaker 1: way for why you sound the way you sound, and
Speaker 1: when he said, why did you take my voice? And
Speaker 1: just again these little elements that are very story driven.
Speaker 1: But was Sam the guy in your mind from the
Speaker 1: beginning from well not from the beginning beginning. Uh, there
Speaker 1: wasn't even that his manager was his brother. It was
Speaker 1: only until I started, uh trying to learn how to
Speaker 1: speak like Sam Elliott, not knowing he was going to
Speaker 1: be in it yet or even create the character of Bobby.
Speaker 1: And then it was simultaneously reading Bruce Springsteen's autobiography and
Speaker 1: he talked about stealing his father's voice and again talking
Speaker 1: about how can I make it personal? How is something
Speaker 1: and sot off to act it. I used to always
Speaker 1: want to be my father and I was a kid,
Speaker 1: and I was like, oh, this makes sense because this
Speaker 1: is Jackson has this trauma. I always knew this thing
Speaker 1: I want to do. I didn't want to have the
Speaker 1: father there, but you know, the father without him being
Speaker 1: a character. And that's why the age difference between me
Speaker 1: and say him I had to solve because I once
Speaker 1: I was like, sam Ellie, it's his brother. Well, people
Speaker 1: are gonna go like, why isn't he his dad? You know?
Speaker 1: So then we come up with the story of you know,
Speaker 1: the mother died, and it's like, because because that's something
Speaker 1: that happens all the time, there's differences in ages, so
Speaker 1: you just have to justify it. Because I remember we
Speaker 1: tested the movie without that scene that when he's explaining
Speaker 1: to Ali, and so many of the comments were I
Speaker 1: don't understand why he's not his dad, and he did.
Speaker 1: It's interesting you're like, I'm like, oh man, I was right.
Speaker 1: We do need it. Yeah. The scene when he throws
Speaker 1: the truck and reverse, I mean, I think that makes
Speaker 1: everybody cry. And he doesn't say a word, He's just
Speaker 1: backing up his truck and he's got tears in his eyes.
Speaker 1: I just I'm curious about directing that scene. Did it
Speaker 1: take a number of That was the first? That was
Speaker 1: the first first. I think we did it twice. Maybe
Speaker 1: we did three times. And that's all that it was
Speaker 1: ever gonna be. Was he throws it in reverse. Yeah,
Speaker 1: I mean, I mean, I I'm and I learned this
Speaker 1: from Dereksy in France, who's really wonderful. I did the
Speaker 1: place a movie called Place Beyond the Pines, and if
Speaker 1: you ever saw I love really great. He's a great
Speaker 1: director and he really you know that scene when my
Speaker 1: character goes to his buddies baseball practice, Uh, I literally
Speaker 1: this the shot started by me pulling into the neighborhood,
Speaker 1: walking all the way. Finally we both looked at each
Speaker 1: othercase were shooting two perfect. It was like it wasn't
Speaker 1: even on video a digital and I was like, I
Speaker 1: think I think I think I got it. We could
Speaker 1: just started off. But the more you could put place
Speaker 1: your actors in an environment that that they don't have
Speaker 1: to act and they could use all of their surroundings,
Speaker 1: the better. And I love shooting two cameras at the
Speaker 1: same time. And I and that's also part of these
Speaker 1: are two characters that have hidden from things about themselves.
Speaker 1: So you know, you're in terms of you said about
Speaker 1: starting on Jackson's back, you're always He's always avoiding the
Speaker 1: camera the whole movie until eventually he can't anymore. And
Speaker 1: the cameras were literally, you know, Scott sakamotos like this
Speaker 1: over me on the bed um and Sam too, So
Speaker 1: I always one of those French overs. You know. We
Speaker 1: didn't even shoot it this way or out the windows.
Speaker 1: Always its two cameras. And so it was Maddie and
Speaker 1: Skot Sakamoto in the back of the pickup and we
Speaker 1: went for a ride around for about ten minutes and
Speaker 1: then pulled in. I says, we're gonna go for a ride,
Speaker 1: We're gonna do the scene. We can do the scene
Speaker 1: a couple of times as we're driving and then and
Speaker 1: then filming it. And because it was a longer scene
Speaker 1: than I cut down, there was talking about Bobby's the
Speaker 1: woman used to live with who got breast cancer. There's
Speaker 1: a whole there's a whole thing that we cut out. Um.
Speaker 1: So they go on this ride and then I said,
Speaker 1: then we're gonna pull up and I'm gonna get out.
Speaker 1: And the only thing I just don't want you to
Speaker 1: get out of the truck. That's that's it. I think
Speaker 1: that's the only thing I told him. Um. And then
Speaker 1: I had another camera inside the garage on a on
Speaker 1: Dolly track that was going back for when Jackson Lee's
Speaker 1: which I didn't use. Um and uh. And then the
Speaker 1: other thing I just took to the camera. I was like,
Speaker 1: once I leave, just Maddy's gonna go down to the
Speaker 1: ground and Scotch just gonna stay on Sam, Let's see
Speaker 1: what happens. And that was It's an amazing moment in
Speaker 1: the movie. Uh. And how difficult was it to nail
Speaker 1: down that voice, by the way, Yeah, it took. It
Speaker 1: took months and months and months. It's because it's one
Speaker 1: thing that it's not like because you start out by
Speaker 1: mimicking it, and then it has to be as natural
Speaker 1: as me talking to you now, because you have to
Speaker 1: be open and present otherwise it's pointless. You're just doing
Speaker 1: a a sort of you know, a superficial sketch of
Speaker 1: the voice. But you, as the viewer have to feel
Speaker 1: like it has to not even feel like you have
Speaker 1: to know that what is for me as the person
Speaker 1: and which is that's just my voice? You know? In
Speaker 1: that moment, as Jackson did, you have to like I'd
Speaker 1: worked with this guy, Tim Monic, an incredible dialect coach.
Speaker 1: We worked for four hours, five days a week, first
Speaker 1: months and months and months and learning what is the
Speaker 1: actual how does air work through Sam's mouth? You know
Speaker 1: what I mean, It's really it's it's fascinating. Where's the
Speaker 1: tongue set? You know what I mean? What's the rhythm?
Speaker 1: You know, it's really crazy. It was it like something
Speaker 1: that you maintained. Did you shake it easily at the
Speaker 1: end of the day, Like um, I would do exercises
Speaker 1: every morning on my way to work. Uh, And I
Speaker 1: kind of stayed in that voice kind of the all
Speaker 1: working day and then it would kind of go away
Speaker 1: at the end and sometimes but but my voice deaf
Speaker 1: finitely changed during that process. I'm sure like Chris Kyle,
Speaker 1: I kind of stayed in the voice the whole time
Speaker 1: I was shooting leave An off camera in some weird way,
Speaker 1: but this one I would go in and out. But
Speaker 1: but but I would spend the day pretty much and
Speaker 1: then in and like the Grammy scenes, certain scenes where
Speaker 1: he's messed up, you know, I would sort of stay
Speaker 1: in that. But the crew everybody sort of got it,
Speaker 1: and it didn't. I don't think it hindered the process
Speaker 1: at all, but it was just easier for me to
Speaker 1: do it that way. Lady Gaga, her performance is interesting
Speaker 1: to me. There's there's these moments that aren't like refined
Speaker 1: actor moments, and I think that adds so much to
Speaker 1: the naturalism of her. Like I'm thinking about when she's
Speaker 1: talking to you in the dressing room, for instance, Like
Speaker 1: there's like a it's like a quiver in her voice.
Speaker 1: There's just there, which maybe she's like nailing exactly what
Speaker 1: you wanted, but it to me, it felt like it
Speaker 1: was one of those unrefined moments that really worked. And
Speaker 1: I'm just curious, like finding the performance with her, what
Speaker 1: was that back and forth like? And is my read
Speaker 1: on it correct? You know just what I mean? My
Speaker 1: hope is that you felt that about Dave Chappelle and
Speaker 1: Sam Mellie and at the Ramos all all everybody that
Speaker 1: everybody felt like they weren't acting. Um, she was doing
Speaker 1: exactly what I wanted to do, which was like play
Speaker 1: the circumstance, which is this guy walks in. You saw this.
Speaker 1: You already feel this way about yourself as an artist
Speaker 1: as it is, and you're but you're also very tough
Speaker 1: and where you come from. And he's in this space
Speaker 1: and you know, these people are attracted to each other,
Speaker 1: and you know, but they're both injured and all of
Speaker 1: these things so to me, and and then and then
Speaker 1: she just lives it. And uh and and the one
Speaker 1: thing I promised her and everybody else is the only
Speaker 1: thing I can tell you is there won't be one
Speaker 1: frame of you on up there in the final version
Speaker 1: of the movie that I don't believe, you know, and
Speaker 1: what you saw, I believe it. I don't believe she's
Speaker 1: acting refined. She's just being real. And I hope I
Speaker 1: feel about everybody. You know, you do, you do? I
Speaker 1: wanted to spylight her in particular though, because you know,
Speaker 1: we haven't seen her like that. I mean, she was,
Speaker 1: and her willingness to put the work in was very admirable.
Speaker 1: We spent I postponed the movie two months just so
Speaker 1: she and I can work, could work on our characters together,
Speaker 1: and that I mean she's a bit very busy. Her
Speaker 1: willingness to put all that work in was Thank god,
Speaker 1: let's talk about for me too, for Jackson, for us
Speaker 1: to get together and to really be able to to
Speaker 1: live these scenes and to have the filming process of
Speaker 1: the movie b as creative as it was. How did
Speaker 1: you find directing yourself? Um? I think by the way
Speaker 1: that your work is the best performance of the year.
Speaker 1: I think that what you've done here is fantastic. And uh,
Speaker 1: you know, I'm left wondering. You know, it's a directorial
Speaker 1: debut and you're directing yourself. Was that a challenge? Just
Speaker 1: tell me about that? Thank you? Um? Well, the one
Speaker 1: great thing is that being being able to direct the
Speaker 1: movie that I'm acting in is that I've been doing
Speaker 1: this for twenty years, so I know, I definitely am
Speaker 1: aware of what I need in order to feel safe
Speaker 1: enough to really take a leap of faith, um and
Speaker 1: really risk. So the fact that I was the person
Speaker 1: that was able to create that environment to do that
Speaker 1: made it very easy than to act in it, because
Speaker 1: it was everything that I want as an actor. And
Speaker 1: then my hope is that every other actor that was
Speaker 1: in that environment also felt that, because you know, I've
Speaker 1: been in very various types of environments that that create
Speaker 1: uh different energies and and and I've learned what that
Speaker 1: does to observing other actors and what it feels like,
Speaker 1: well what they could be capable of and not doing
Speaker 1: or when they flourish. Um. So it was a real
Speaker 1: asset that I was able to um to create the
Speaker 1: environment that I want to work in. What else do
Speaker 1: you want to make? I mean, do you have any
Speaker 1: thing that's kind of burning that you want to make?
Speaker 1: Are you eager to make? Like directing a bigger part
Speaker 1: of your career than acting even? I mean, how do
Speaker 1: you feel the same way I've always felt, which is um, Well, no, no,
Speaker 1: that's not true. That's not true at all. Actually, No,
Speaker 1: The one thing I do feel about this after this
Speaker 1: experience is that I feel like I can do it.
Speaker 1: That I could take an id or a feeling or
Speaker 1: sensation or a series of thoughts and compositions and and
Speaker 1: hone them and ask a group of artists to come
Speaker 1: together and tell a story. I feel like I succeeded
Speaker 1: in doing that. So that's all I want to do.
Speaker 1: That's all I've ever really wanted to do. I just
Speaker 1: knew I wasn't ready to do it. Um And then
Speaker 1: the question becomes, well, what is there something to say?
Speaker 1: You know? What? What? What is there? I mean when
Speaker 1: this movie ended, I knew it's all I ever want
Speaker 1: to do. But I don't know if I'll ever find
Speaker 1: a story that I know that I need to tell.
Speaker 1: And I have found one. I don't I can't talk
Speaker 1: about it yet just because I don't. We'll see, but
Speaker 1: but yes, I have found something that will probably be
Speaker 1: another four years of my life. But I feel so
Speaker 1: lucky that I feel something that I feel so passionate about.
Speaker 1: You think you're more in love with that than acting.
Speaker 1: I don't see them as um well, uh, I've always
Speaker 1: been in love with that more than acting. It's not
Speaker 1: a new thing, you know. And and I've always walked
Speaker 1: on sets and the thing that fascinates me is the
Speaker 1: making of a movie movie always, um, So I was
Speaker 1: able to be on those sets as an actor, like
Speaker 1: that's what got me in the door, right, But I've
Speaker 1: always once I got into the world. I want to
Speaker 1: learn how the world works because these are the things
Speaker 1: that I observed as a kid. Movies moved me. Performance
Speaker 1: in movies, but the movies, um so so yes, I
Speaker 1: look forward to whatever you got next. The last thing
Speaker 1: I want to ask just a completely different subject of
Speaker 1: the mule. I'm just you know, looking forward to this movie. Uh,
Speaker 1: Clint Eastwood, you're in it as well, second movie for
Speaker 1: you this year. What can you tell me about it? Man,
Speaker 1: I'm looking forward to it. Um, yeah, I'm looking forward
Speaker 1: to see it. Yeah, I haven't seen it yet. Um,
Speaker 1: but I would do anything with Clinton, you know. And um,
Speaker 1: there's you know, I was able to be with Launce
Speaker 1: Fishburn's and Michael Pania Fishburne and Michael Pania, so that
Speaker 1: was a thrill. Um. It's a small role to the
Speaker 1: age and who's finding who's going after the Clint's character. Um,
Speaker 1: but yeah, if he asked me to open up a
Speaker 1: door in a movie, I'd say, you know, one day
Speaker 1: of the week, am I There get to be a
Speaker 1: little cleaner cutting that one too than Stars Born as well? Well,
Speaker 1: everyone should check out of Stars Born. If you're not
Speaker 1: one of the many who haven't Uh, it's still in theaters,
Speaker 1: it's still making money. It'll be on blue ray DVD
Speaker 1: at some point, and hopefully we'll be talking about it
Speaker 1: for a long time to come. Again. I think it's
Speaker 1: one of the best movies of the year. Seven grabs man.
Speaker 1: Thank you, thanks for talking, thanks for coming on the chef.
Speaker 1: I appreciate it. Once again. This episode of Playback has
Speaker 1: been brought to you by Warner Brothers Pictures. Crazy Rich Asans,
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