WEBVTT - Ep03 - Ewan McGregor / "American Pastoral"

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<v Speaker 1>Welcome to Playback, a variety podcast. On today's show, we're

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<v Speaker 1>talking about standouts from the Toronto Film Festival and what

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<v Speaker 1>movies might win the coveted People's Choice Award. There a

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<v Speaker 1>little bit later, I'll be talking to you and McGregor

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<v Speaker 1>about his directorial debut, American Pastoral, which premiered in Toronto

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<v Speaker 1>last week. So stick around. Okay, hello everyone, I'm here

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<v Speaker 1>with Janelle Riley, who was fresh back from Toronto. Not fresh.

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<v Speaker 1>I'm exhausted. I looked out. I didn't have to go

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<v Speaker 1>I of Toronto, but it is literally I yet. Last

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<v Speaker 1>night I hit that point where my eyes were pounding

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<v Speaker 1>from exhaustion. I was just so tired. But you know,

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<v Speaker 1>champagne problems totally. When you saw some good movies, I did,

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<v Speaker 1>what's your favorite? When you saw Boy, That's a tough one.

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<v Speaker 1>I mean, there is really a three way race in

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<v Speaker 1>my heart between La La Land, Moonlight, and Nocturnal Animals.

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<v Speaker 1>Nocturnal Animals was probably the biggest surprise. I loved tom

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<v Speaker 1>Ford single Man. It's been seven years and I've been

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<v Speaker 1>waiting for his follow up movie. Yeah. Uh. And by

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<v Speaker 1>the way, after I saw the movie, I went and

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<v Speaker 1>purchased some tom Ford makeup and it's fantastic. Um So

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<v Speaker 1>if they want to send me anything free. Yeah, I'm

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<v Speaker 1>sitting here wondering what kind of a plug that was.

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<v Speaker 1>I just didn't intend to. I was like, everyone looked

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<v Speaker 1>so good in Nocturnal Animals, and then I found out

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<v Speaker 1>he had a makeup line, and I was at the

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<v Speaker 1>department store and I just I was like, I want

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<v Speaker 1>to look like Amy Adams, which is pretty much true

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<v Speaker 1>of any movie, but but specifically in this movie, it

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<v Speaker 1>looks fantastic. I feel like, sometimes you feel like there's

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<v Speaker 1>a movie that was just sort of made for you,

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<v Speaker 1>you know, and Nocturnal Animals just just checked off all

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<v Speaker 1>my boxes. Um let alone. Actually, I think the first

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<v Speaker 1>time I really got to know you, we bonded over

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<v Speaker 1>our mutual love of Michael Shannon. Of course, he's the best.

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<v Speaker 1>He showed up at his premiere or wherever he was

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<v Speaker 1>with his Hawaiian shirt. Did you see the photos? Oh? Yes,

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<v Speaker 1>you should see what he wore to our studio. It's awesome. Yeah. No,

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<v Speaker 1>he's the best and will finally get an Oscar nomination

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<v Speaker 1>for Best Supporting Actor since I guess Revolutionary Road was

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<v Speaker 1>his last Domination should have been nominated last year, left

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<v Speaker 1>over from last year, and it's a fantastic performance. Yeah. Here,

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<v Speaker 1>I haven't seen the film yet, but I do hear

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<v Speaker 1>he steals his scenes so as only he can. But

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<v Speaker 1>regarding Amy, I mean, she's got a pair of movies

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<v Speaker 1>in the race, and both of them were at Toronto Arrival,

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<v Speaker 1>premiered in Venice went to tell you Ride. We spoke

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<v Speaker 1>to her last week on the podcast and uh, you know,

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<v Speaker 1>two very different performances, I would imagine. Obviously I haven't

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<v Speaker 1>seen Nocturnal, but an Arrival. Uh, she's she's pretty staggering. Um,

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<v Speaker 1>just the level of control that she has in this

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<v Speaker 1>role of of who is going to become a mother?

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<v Speaker 1>It's it's, as I was joking with her, it's hard

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<v Speaker 1>to talk about that movie without ruining. I know, I'm

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<v Speaker 1>trying to be very careful. Um, but between these two movies,

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<v Speaker 1>why don't you talk about the two performances and where

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<v Speaker 1>you think the strong suits are. Well, it's interesting because

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<v Speaker 1>I think nocturnal animals. Actually, I don't know how the

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<v Speaker 1>world is going to respond to nocturnal animals. I know

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<v Speaker 1>I loved it. A lot of people loved it. I

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<v Speaker 1>honestly don't know how it's going to play in the

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<v Speaker 1>rest of the world or how it will. I think

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<v Speaker 1>it'll be a pretty big factor in the Oscar Race. Um,

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<v Speaker 1>so it might be the more Oscar friendly movie. But

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<v Speaker 1>I actually think her performance in a Rival might get

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<v Speaker 1>more attention for her. Um, Nocturnal Animals is very stylized.

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<v Speaker 1>She's very good. Like, don't get me wrong, this is

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<v Speaker 1>totally like a wonderful choice to have to make. But

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<v Speaker 1>I do think Arrival there is so much heart and

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<v Speaker 1>emotion where she's has to be very restrained in Nocturnal Animals.

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<v Speaker 1>I also think, um, and you might be able to

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<v Speaker 1>speak to this better than I can. You know. Uh,

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<v Speaker 1>there's a lot of love for Arrival, and it is

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<v Speaker 1>not a traditional sort of movie that you see in

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<v Speaker 1>the Oscar Race, so it might be sort of fun

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<v Speaker 1>to reward her there. But at this point it's I mean, look,

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<v Speaker 1>I just was looking at tweets I sent out a

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<v Speaker 1>year ago. I honestly thought that there would be a

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<v Speaker 1>problem deciding if Cape Blanchett would get nominated for Truth

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<v Speaker 1>or Carol. Yeah me to see, Okay, I loved Truth.

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<v Speaker 1>I thought she was great and Truth I really thought

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<v Speaker 1>she was fantastic and truth and I thought she might

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<v Speaker 1>get nominated for that and we were staggeringly wrong. Yeah,

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<v Speaker 1>it happens. It happens. It does a lot with me,

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<v Speaker 1>believe it or not. Um, you know, the Toronto Audience

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<v Speaker 1>Award is something to talk about, by the way, because

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<v Speaker 1>every year it's it's a good indication of what is

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<v Speaker 1>playing broadly, what is playing well to a broad cross

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<v Speaker 1>section of people, which is instructive as it pertains of

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<v Speaker 1>the Academy Last year Room One, and you know, people

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<v Speaker 1>still didn't give it as due as the season progressed

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<v Speaker 1>and said, oh it's people aren't going to watch that movie,

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<v Speaker 1>you know, blah blah blah. And then it gets not

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<v Speaker 1>only picture but director, and obviously Bree Larson wins Best Actress. Uh.

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<v Speaker 1>To my view, it seems like this this is probably

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<v Speaker 1>the between a couple of movies, La La Land, which

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<v Speaker 1>started in Venice. Went to tell your Ride went to Toronto.

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<v Speaker 1>Everyone that sees it is in love with it. Obviously,

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<v Speaker 1>I said, the daby and she'sel yesterday. Oh god, it

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<v Speaker 1>was only yesterday. I said. Look, there might be people

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<v Speaker 1>who La La Land is not their thing, but I

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<v Speaker 1>can't imagine anyone hating this movie, and if they do,

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<v Speaker 1>they might be a serial killer, because it is so

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<v Speaker 1>joyous and fresh, and you can look at it in

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<v Speaker 1>a jaded way and say, well, sure, they got Ryan

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<v Speaker 1>Gosliy and Emma Stone and they made a musical, so

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<v Speaker 1>you know they it's Oscar bait. But no way on

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<v Speaker 1>paper was that Oscar bait When people signed up to

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<v Speaker 1>finance a subversive musical. He completely flips the genre and

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<v Speaker 1>it's here in some ways, and uh, you know it's

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<v Speaker 1>it's it's a an expressionistic musical. It's amazing. It's a

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<v Speaker 1>wonderful film. And you don't like musicals, do you not? Really?

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<v Speaker 1>To be perfectly honest, Although that said, Singing in the

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<v Speaker 1>Rain is one of my favorite movies of all time,

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<v Speaker 1>But how can it not be also very subversive? Yah?

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<v Speaker 1>Let's yeah, it's a great movie. It's um interesting because

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<v Speaker 1>when I saw The Land, I said, I think people

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<v Speaker 1>who don't generally like musicals are actually really going to

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<v Speaker 1>love this movie. Um. And then people who do like musicals,

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<v Speaker 1>I'm very curious to see how they Resmond. Now, I

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<v Speaker 1>love musicals, as you know, and I loved it, so

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<v Speaker 1>maybe they'll embrace it, but it is not. Even though

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<v Speaker 1>it takes its homages from you know, big MGM musicals, Um,

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<v Speaker 1>it's not like a traditional musical in any way. I

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<v Speaker 1>think that works for it. I was going to say,

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<v Speaker 1>make fun of me when I say that, but I

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<v Speaker 1>agree with you. You're allowed one or two podcast. Okay,

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<v Speaker 1>we'll keep track. But yeah, I think that somebody until

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<v Speaker 1>Your Ride was making the case to me that the

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<v Speaker 1>fact that it was not particularly in the vein of

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<v Speaker 1>traditional musicals, that that will hurt it in the race.

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<v Speaker 1>And I'm just thinking that would have just set it

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<v Speaker 1>up to be compared to you know whatever sound of

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<v Speaker 1>music blah blah blah. But like this is its own thing,

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<v Speaker 1>and uh, you know I I have. I can't imagine

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<v Speaker 1>it not going very far this season, and that couldn't

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<v Speaker 1>include winning the Audience Award. Yeah, I agree. I think

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<v Speaker 1>it's between La La Landed Moonlight and Moonlight is my

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<v Speaker 1>other another one I have here. I saw that in

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<v Speaker 1>Toronto or Tell Your Ride. Obviously a very different movie,

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<v Speaker 1>but a movie that I think it affects everyone who

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<v Speaker 1>sees it. It's it's it's uh. Peter de Bruce and

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<v Speaker 1>I spoke about it last week. But it's the direction

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<v Speaker 1>is really staggering, the performances that Barry Jenkins is able

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<v Speaker 1>to get out of this cast, and the way it's

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<v Speaker 1>just his story laide there and you know, we'll see

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<v Speaker 1>how it goes. I'm sure that Toronto would probably rather

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<v Speaker 1>have like a world premiere when the audience award like

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<v Speaker 1>a lot very interesting, which lyon was the one movie

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<v Speaker 1>I did not see appearing great things about something interesting.

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<v Speaker 1>You might already know this, but Naomi Harris, who's the

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<v Speaker 1>only person in all three segments in Moonlight, came into

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<v Speaker 1>our studio and you know she shot her scenes in

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<v Speaker 1>three days. Yes, it's crazy, and I assume that meant

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<v Speaker 1>that she shot scenes from the first segment one day,

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<v Speaker 1>the middle segment the next day. No, she would say

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<v Speaker 1>she started off the morning an old age makeup, did

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<v Speaker 1>the middle scenes, did the beginning to see because it

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<v Speaker 1>was all based on location, and then in the day

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<v Speaker 1>an old age makeup again. And that just adds a

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<v Speaker 1>whole Because I asked her, I said, do you want

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<v Speaker 1>to talk about the fact you only shot in three days?

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<v Speaker 1>Because you know, um, are you afraid people might sort

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<v Speaker 1>of like be dismissive? And be like, well, you know,

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<v Speaker 1>it's it's only a three day performance, we should nominate it. Uh,

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<v Speaker 1>And she was like no, she was more than happy

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<v Speaker 1>to Well, let's be clear. She flew in from the

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<v Speaker 1>junk for Bond in Mexico City to South Florida to

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<v Speaker 1>shoot those three days, so she was in a completely

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<v Speaker 1>other headspace. That makes the performance that much more amazing

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<v Speaker 1>to me. And I actually interviewed her during right before

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<v Speaker 1>Toronto and we spoke about that, and uh, I think

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<v Speaker 1>she's a luck for a nomination. Oh, I do too.

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<v Speaker 1>And it's interesting because another luck for a nomination is

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<v Speaker 1>Michelle Williams and Manchester by the Sea And again not

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<v Speaker 1>a lot of screen time, but what they do and

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<v Speaker 1>that screen time is phenomenal. Can we talk about Amazon

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<v Speaker 1>putting that clip out there? I didn't know they did.

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<v Speaker 1>They've released the unless I'm mistaken, I said, I've been

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<v Speaker 1>five days, but I know they screened the clip of

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<v Speaker 1>Michelle's big moment in Manchester by the Sea at CinemaCon

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<v Speaker 1>and now it's used in the trailer a little bit.

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<v Speaker 1>And now they've released this clip and it's it's bugs

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<v Speaker 1>me because it's a moment you have to build to.

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<v Speaker 1>I mean, I guess anything that gets people to see

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<v Speaker 1>the movie and anything that sells that performance is good.

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<v Speaker 1>But yeah, I don't I don't want them to give

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<v Speaker 1>that away. I can't imagine Keneth Lunargain is happy with that. Yeah.

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<v Speaker 1>By the way, I was at the Nocturnal Animal screening

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<v Speaker 1>where the screen went black three minutes. I don't know

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<v Speaker 1>if you heard about that, and I literally, yeah, I

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<v Speaker 1>literally think I heard a head roll because you know,

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<v Speaker 1>what a perfectionist Tom boy. I'm sure Tom was upset

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<v Speaker 1>about that, But what a testament to the movie and

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<v Speaker 1>how great it was that we were all just like,

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<v Speaker 1>first we thought it was part of the movie. You're like, oh, what,

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<v Speaker 1>what brilliant thing has he done here? And then we

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<v Speaker 1>were just just like, you know, on the edge of

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<v Speaker 1>our seats, like bring it back. That reminds me of

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<v Speaker 1>the time that I saw Chay and the subtitles didn't

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<v Speaker 1>work for like twenty minutes. Oh my god. None of

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<v Speaker 1>us thought that that was a mistake. Everyone just thought, oh,

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<v Speaker 1>this is just Soderberg, keep up. And then the movie

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<v Speaker 1>stopped and the guy came in and said, oh, sorry,

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<v Speaker 1>the subtitles weren't working, and we were like, okay, oh

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<v Speaker 1>that's so fine. Um. Snowdon Yes premiered in Toronto Oliver Stone.

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<v Speaker 1>It also played at Comic Con, which was an interesting

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<v Speaker 1>place to screen it, and they had a big panel

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<v Speaker 1>there where he made headlines with his POKEMONO stuff. He's

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<v Speaker 1>got great sound bites, like he came in and I

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<v Speaker 1>asked him if you know he's become more paranoid since

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<v Speaker 1>making Snowden and like covering the camera on his phone

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<v Speaker 1>and he's like, well, paranoia implies that I might not

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<v Speaker 1>be right seeing Oh. By the way, Oliver Stone in

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<v Speaker 1>our studio, UM, basically production designed his own shots. When

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<v Speaker 1>we were doing the interview. He he had us film

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<v Speaker 1>him and then he got behind the camera, checked it out,

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<v Speaker 1>made sure the lighting was good, made sure he was

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<v Speaker 1>seated in the right place. Um. And you can make

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<v Speaker 1>fun of him if you want, but it looked terrific

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<v Speaker 1>and it was very sweet he does. UM. I like

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<v Speaker 1>that movie a lot. It's very entertaining. It's very un

0:11:08.360 --> 0:11:11.320
<v Speaker 1>Oliver Stone in some ways because it's uh, I don't

0:11:11.320 --> 0:11:14.280
<v Speaker 1>want to say that it's anonymous, but it just has

0:11:14.400 --> 0:11:18.000
<v Speaker 1>a slicker sheen and his movies tend to have it

0:11:18.040 --> 0:11:21.760
<v Speaker 1>doesn't you know again it's I don't mean this to

0:11:21.800 --> 0:11:23.760
<v Speaker 1>sound like a knock see. I do think it feels

0:11:23.920 --> 0:11:25.480
<v Speaker 1>like an all of our Stone movie, like one he

0:11:25.520 --> 0:11:28.079
<v Speaker 1>would have made in the eighties. Um. I think it's

0:11:28.080 --> 0:11:31.880
<v Speaker 1>his best movie in twenty five years since jfk uh

0:11:31.960 --> 0:11:35.000
<v Speaker 1>in telling the story of a Well that's kind of

0:11:35.000 --> 0:11:37.240
<v Speaker 1>faint praise. Let's be honest. I'm just trying to think

0:11:37.280 --> 0:11:42.320
<v Speaker 1>what's happening savages Nixon, Nix and I love Nixon has

0:11:42.400 --> 0:11:45.720
<v Speaker 1>very good performances. But I think it's his best felt

0:11:45.760 --> 0:11:47.960
<v Speaker 1>since Jeff Any Given Sunday. I'm a huge fan. Well,

0:11:48.000 --> 0:11:50.559
<v Speaker 1>you know what, I do love that movie. Yeah, yeah,

0:11:50.760 --> 0:11:52.560
<v Speaker 1>But I do think it's an all of our Stone film,

0:11:52.600 --> 0:11:55.440
<v Speaker 1>and that it surprised me in learning what a patriot

0:11:55.520 --> 0:11:57.760
<v Speaker 1>Edward Snowden was, you know, and that he wanted to

0:11:57.800 --> 0:12:00.760
<v Speaker 1>be a marine before an injury sort of forced him

0:12:00.760 --> 0:12:02.199
<v Speaker 1>to the sidelines. And it made me think of you

0:12:02.240 --> 0:12:04.800
<v Speaker 1>know ron Kovic and uh born on the Fourth of July,

0:12:05.040 --> 0:12:08.000
<v Speaker 1>or Charlie Sheen's character and Platoon. You know, these people

0:12:08.000 --> 0:12:12.760
<v Speaker 1>who went into something very raw, raw America and you know,

0:12:12.840 --> 0:12:16.280
<v Speaker 1>sort of got turned around, have their worldviews challenge absolutely

0:12:17.480 --> 0:12:19.040
<v Speaker 1>every time I look at my computer, I think that

0:12:19.080 --> 0:12:20.440
<v Speaker 1>I need to put something on the camp. Oh I

0:12:20.480 --> 0:12:22.600
<v Speaker 1>did because I saw I also saw a Black Mirror

0:12:22.679 --> 0:12:26.439
<v Speaker 1>the new season and yeah, there's I am terrified to

0:12:26.480 --> 0:12:29.200
<v Speaker 1>turn on my phone at this point, speaking of there

0:12:29.240 --> 0:12:32.240
<v Speaker 1>is an Oscar worthy performance in uh this new season

0:12:32.240 --> 0:12:35.520
<v Speaker 1>of Black Mirror from Bryce Dallas Howard in an episode

0:12:35.520 --> 0:12:38.440
<v Speaker 1>directed by Joe Wright called Nose Dive that yeah, you

0:12:38.520 --> 0:12:41.320
<v Speaker 1>just have to see Bryce Dallas Chastain. Well, you know,

0:12:41.360 --> 0:12:44.000
<v Speaker 1>I first, this is a total name dropping story, but

0:12:44.000 --> 0:12:45.920
<v Speaker 1>I have to tell it. I was at the airport

0:12:45.960 --> 0:12:50.960
<v Speaker 1>with her yesterday and yeah, sorry with Bryce and the

0:12:51.000 --> 0:12:53.600
<v Speaker 1>woman's checking your ticket was looking at her and going

0:12:54.440 --> 0:12:57.800
<v Speaker 1>do you use a stage name? And she's like uh,

0:12:57.840 --> 0:13:01.800
<v Speaker 1>and she knew exactly and she's like, well, who do

0:13:01.840 --> 0:13:03.560
<v Speaker 1>you think I am? And the woman was like and

0:13:03.559 --> 0:13:06.400
<v Speaker 1>she actually. Bryce filmed this little interaction with the woman

0:13:06.400 --> 0:13:08.240
<v Speaker 1>and I think she's going to post it on social media,

0:13:08.880 --> 0:13:13.160
<v Speaker 1>but no, it's like it happens all the time. Um.

0:13:13.240 --> 0:13:15.760
<v Speaker 1>And then like I was standing waiting for her outside

0:13:15.760 --> 0:13:17.280
<v Speaker 1>of customs and a couple of people came up to

0:13:17.280 --> 0:13:19.680
<v Speaker 1>me and they were like, Um, your friend is is

0:13:19.679 --> 0:13:22.640
<v Speaker 1>Is she the one from zero Dark thirty. Yeah it was.

0:13:23.080 --> 0:13:24.680
<v Speaker 1>And by the way, you know how much I hate

0:13:24.679 --> 0:13:30.120
<v Speaker 1>to fly, and I need to be like very um

0:13:30.200 --> 0:13:32.680
<v Speaker 1>um filled with zanix in order to get on a plane.

0:13:32.720 --> 0:13:33.960
<v Speaker 1>And I got to give a shout out to Bryce

0:13:34.000 --> 0:13:37.760
<v Speaker 1>Dallice Howard because she kept me so calm and collected.

0:13:38.320 --> 0:13:39.920
<v Speaker 1>And we got on the plane and you know, I

0:13:39.920 --> 0:13:42.880
<v Speaker 1>said goodbye because she was in first class obviously, and

0:13:42.920 --> 0:13:44.760
<v Speaker 1>it was the most relaxed I've ever been on a flight.

0:13:45.800 --> 0:13:47.280
<v Speaker 1>I'll probably need to talk to her next time I

0:13:47.280 --> 0:13:49.719
<v Speaker 1>get on a plane. There. Let's talk about Jackie, which

0:13:49.760 --> 0:13:52.400
<v Speaker 1>was the big acquisition out of the festival. Fox Searchlight

0:13:52.440 --> 0:13:54.440
<v Speaker 1>picked it up after being involved in the development of

0:13:54.440 --> 0:13:57.480
<v Speaker 1>the movie. It's a perfect hone for them. I mean

0:13:57.520 --> 0:14:01.800
<v Speaker 1>Darren Aronofsky, who produced Jackie, did not direct it. Uh.

0:14:01.800 --> 0:14:04.600
<v Speaker 1>And Natalie Portman they obviously collaborated on Black Swall and

0:14:04.679 --> 0:14:07.880
<v Speaker 1>very successfully for Fox Searchlights. Yeah. Yeah, and Pablo Lorraine

0:14:07.920 --> 0:14:09.480
<v Speaker 1>is the director, just had a tribute and Tell Your

0:14:09.559 --> 0:14:13.760
<v Speaker 1>Ride and had two movies Reason Aruta was the other one. Uh.

0:14:13.840 --> 0:14:16.959
<v Speaker 1>And you can I say something gossipy? Oh please? Naruta

0:14:17.000 --> 0:14:19.760
<v Speaker 1>stars Guy el Garcia Burnell, who used to date Natalie Portman.

0:14:20.120 --> 0:14:23.320
<v Speaker 1>Oh my gosh, the connections are amazing. Well, tell me

0:14:23.360 --> 0:14:25.800
<v Speaker 1>about Natalie's performance. I haven't seen the movie yet. I mean,

0:14:25.880 --> 0:14:28.520
<v Speaker 1>she's great, and here's you know, the truth is I

0:14:28.600 --> 0:14:31.960
<v Speaker 1>somehow missed the whole Kennedy Camelot thing, Like I'm not

0:14:32.040 --> 0:14:34.000
<v Speaker 1>as fascinated by them as a lot of people. I

0:14:34.000 --> 0:14:36.400
<v Speaker 1>don't know if it's an age thing or just that

0:14:36.480 --> 0:14:39.960
<v Speaker 1>I think quote unquote royalty is silly. But she is

0:14:40.120 --> 0:14:42.440
<v Speaker 1>really amazing. I mean, it's a great study of grief.

0:14:43.080 --> 0:14:46.160
<v Speaker 1>It's just a powerful you know, you believe her as

0:14:46.160 --> 0:14:48.840
<v Speaker 1>a mother, you believe her as a first lady, as

0:14:48.920 --> 0:14:53.080
<v Speaker 1>this you know widow Um. Yeah, it's it's interesting even

0:14:53.120 --> 0:14:54.920
<v Speaker 1>though we know what the story is. I kind of

0:14:54.920 --> 0:14:58.240
<v Speaker 1>don't want to give away too much. I'm curious why

0:14:58.240 --> 0:15:00.440
<v Speaker 1>it took so long for someone to pick Get Up.

0:15:00.680 --> 0:15:03.920
<v Speaker 1>I mean, does it is an esoteric film? I think

0:15:03.920 --> 0:15:07.520
<v Speaker 1>it's actually really commercial interesting. Yeah, I mean it was actually,

0:15:07.520 --> 0:15:09.880
<v Speaker 1>to be honest, it was the one thing that people

0:15:09.920 --> 0:15:12.040
<v Speaker 1>were really saying they really want to see after you know,

0:15:12.080 --> 0:15:16.760
<v Speaker 1>obviously La La land Um. I remember talking to some

0:15:16.800 --> 0:15:19.080
<v Speaker 1>critics who got shut out of the first Present industry

0:15:19.120 --> 0:15:20.680
<v Speaker 1>screening because it was so full and it was in

0:15:20.720 --> 0:15:23.520
<v Speaker 1>their biggest theater. Yeah, it's uh, it's rare for a

0:15:23.560 --> 0:15:26.240
<v Speaker 1>movie nowadays to get picked up in Toronto and get

0:15:26.240 --> 0:15:28.280
<v Speaker 1>turned around as a as a contender. It happened with

0:15:28.320 --> 0:15:30.480
<v Speaker 1>The Wrestler a number of years ago. It happened with

0:15:30.520 --> 0:15:34.400
<v Speaker 1>Still Alice a couple of years ago. Um. But you know, obviously,

0:15:34.440 --> 0:15:37.160
<v Speaker 1>I think with with just the turmoil surrounding Birth of

0:15:37.160 --> 0:15:39.480
<v Speaker 1>a Nation, Searchlight would probably like to have something else

0:15:39.480 --> 0:15:42.040
<v Speaker 1>to play with this season. So good for them that

0:15:42.120 --> 0:15:46.120
<v Speaker 1>they have something else to work with. But yeah, it's

0:15:46.160 --> 0:15:49.120
<v Speaker 1>it'll be very interesting to see Natalie Portman back in

0:15:49.160 --> 0:15:51.640
<v Speaker 1>the race. Yeah, I mean she's great. Last time we

0:15:51.640 --> 0:15:53.480
<v Speaker 1>saw her in the race, she was pregnant on stage

0:15:53.480 --> 0:15:58.120
<v Speaker 1>winning an oscar and looking amazing. So yeah, great. Well,

0:15:58.360 --> 0:15:59.760
<v Speaker 1>and you know, I actually went to the Birth of

0:15:59.800 --> 0:16:03.200
<v Speaker 1>Any screen in Toronto, even though I've already seen the movie. Uh,

0:16:03.200 --> 0:16:05.400
<v Speaker 1>and I have to say it played great, did it? Yeah? Yeah,

0:16:05.440 --> 0:16:07.200
<v Speaker 1>I mean I read the stuff about the standing ovations

0:16:07.200 --> 0:16:09.440
<v Speaker 1>and everything, although it, let's be honest, everything in Toronto

0:16:10.000 --> 0:16:15.400
<v Speaker 1>people give standing ovations. Yeah, but I do still love

0:16:15.400 --> 0:16:17.720
<v Speaker 1>that film, and I will say that in my circles

0:16:17.840 --> 0:16:20.520
<v Speaker 1>just kind of my conversations with Academy members. More often

0:16:20.520 --> 0:16:22.240
<v Speaker 1>than not, people are more concerned with what the movie

0:16:22.320 --> 0:16:24.400
<v Speaker 1>is going to be, and they want to separate art

0:16:24.400 --> 0:16:26.200
<v Speaker 1>from the artist. We'll see how it plays out. I'm

0:16:26.200 --> 0:16:28.680
<v Speaker 1>sure we'll be talking about it all season. Do you

0:16:28.720 --> 0:16:31.640
<v Speaker 1>think having mel Gibson in the race this year helps

0:16:31.720 --> 0:16:34.720
<v Speaker 1>or hurt Snate Parker? It's interesting. I mean, it's certainly interesting.

0:16:35.520 --> 0:16:39.920
<v Speaker 1>Our editor Andy What wrote a piece about that recently. UM,

0:16:39.960 --> 0:16:46.120
<v Speaker 1>it's it will present the idea of hypocrisy pretty starkly,

0:16:46.240 --> 0:16:49.400
<v Speaker 1>I think. Uh. In regarding that film, Mel Gibson's film

0:16:49.440 --> 0:16:53.840
<v Speaker 1>hexall Ridge, which played Venice and only Venice, UM great movie,

0:16:54.320 --> 0:16:55.800
<v Speaker 1>I have no doubt. I mean, he is a really

0:16:55.800 --> 0:16:59.200
<v Speaker 1>good filmmaker. I really liked Apocalypto. I did too. I

0:16:59.200 --> 0:17:01.800
<v Speaker 1>think it's a fantastic filmmaker. I think that The Passion

0:17:01.840 --> 0:17:03.760
<v Speaker 1>of the Christ is an amazing film. I've never seen

0:17:03.800 --> 0:17:07.520
<v Speaker 1>it never will because you don't want to deal with I.

0:17:07.720 --> 0:17:10.159
<v Speaker 1>You know, I have issues with torture on film. It's well,

0:17:10.160 --> 0:17:13.840
<v Speaker 1>then yeah, you should skip the Passion. Torture and hurting

0:17:13.920 --> 0:17:16.680
<v Speaker 1>dogs will turn me off to any movie. Stay away

0:17:16.680 --> 0:17:19.639
<v Speaker 1>from white Gut then Oh my god, I did so

0:17:19.800 --> 0:17:23.320
<v Speaker 1>you know, they did not sell that movie fairly. Oh

0:17:23.359 --> 0:17:25.080
<v Speaker 1>good god. That was one of my favorite movies of

0:17:25.200 --> 0:17:26.879
<v Speaker 1>last year though, And well, hey, look I like a

0:17:26.920 --> 0:17:29.640
<v Speaker 1>Morris Paros, so I guess there are exceptions, I guess.

0:17:29.680 --> 0:17:33.440
<v Speaker 1>So well, then let's let's let's make a declaration. What's

0:17:33.440 --> 0:17:35.920
<v Speaker 1>gonna win that People's Choice prize because that is going

0:17:35.960 --> 0:17:40.159
<v Speaker 1>to you know, recent winners are the King's Speech, some dog, millionaire,

0:17:41.200 --> 0:17:50.080
<v Speaker 1>uh what else? Gosh room we said. Uh um, I

0:17:50.160 --> 0:17:52.240
<v Speaker 1>really don't know right now. I kind of want to

0:17:52.240 --> 0:17:56.600
<v Speaker 1>say Moonlight because I feel like it's there's something about

0:17:56.600 --> 0:17:58.679
<v Speaker 1>the number of theaters they play into. Yeah, I know

0:17:58.720 --> 0:18:01.920
<v Speaker 1>it's regarding all. I mean, law La Land, it's gonna

0:18:01.920 --> 0:18:05.000
<v Speaker 1>be La La Lander. Moonlight is my guests, and I

0:18:05.080 --> 0:18:08.000
<v Speaker 1>kind of feel like, again, it's wrong of me to

0:18:08.040 --> 0:18:10.000
<v Speaker 1>say that La La Land is the obvious choice because

0:18:10.000 --> 0:18:13.280
<v Speaker 1>it's the one everyone loves and it's so accessible. When

0:18:13.320 --> 0:18:15.840
<v Speaker 1>I do think it was made from a place of like,

0:18:16.000 --> 0:18:18.920
<v Speaker 1>I'm making this movie for me, you know, and hopefully

0:18:18.920 --> 0:18:22.440
<v Speaker 1>other people will like it. But um, I just think

0:18:22.600 --> 0:18:25.520
<v Speaker 1>I don't know, I mean, like seeing people's reactions to Moonlight,

0:18:26.280 --> 0:18:32.320
<v Speaker 1>like Pete like and I just don't think there's anything. Well,

0:18:32.560 --> 0:18:34.160
<v Speaker 1>it's not fair for me to say there's nothing else

0:18:34.200 --> 0:18:36.440
<v Speaker 1>there out there like it because of the same could

0:18:36.480 --> 0:18:39.760
<v Speaker 1>be said of La La Land. Yeah. Yeah, you say moonlight,

0:18:39.880 --> 0:18:42.480
<v Speaker 1>I'll say La La Land. I think that's what it is.

0:18:42.600 --> 0:18:44.639
<v Speaker 1>And then I would not rule out nocturnal animals. But

0:18:44.640 --> 0:18:47.160
<v Speaker 1>that might be wishful thinking. But wishful thinking help. Last

0:18:47.240 --> 0:18:49.040
<v Speaker 1>year when my favorite movie of the year, Room One,

0:18:49.400 --> 0:18:52.400
<v Speaker 1>there you go. Well, another movie that played Toronto. We're

0:18:52.400 --> 0:18:54.399
<v Speaker 1>gonna get into with the interview section here in a

0:18:54.440 --> 0:18:58.040
<v Speaker 1>minute was American Pastoral, Ewan McGregor's directorial debut. I'll be

0:18:58.080 --> 0:18:59.560
<v Speaker 1>talking to him and just a little bit, so stick

0:18:59.560 --> 0:19:24.720
<v Speaker 1>around for that. Welcome back everyone, I'm here with Ewan McGregor,

0:19:24.840 --> 0:19:28.800
<v Speaker 1>the star and director of American Pastoral. You would thank

0:19:28.800 --> 0:19:30.440
<v Speaker 1>you for being here today. My great pleasure. Thanks for

0:19:30.480 --> 0:19:35.960
<v Speaker 1>having me. This is your directorial debut. Uh yeah, my

0:19:36.000 --> 0:19:37.960
<v Speaker 1>first feature film. I did a short film a long

0:19:38.000 --> 0:19:40.960
<v Speaker 1>long time ago, but it was very like literally very short,

0:19:41.119 --> 0:19:45.520
<v Speaker 1>and this was my first feature film. Yes, and a

0:19:45.560 --> 0:19:47.119
<v Speaker 1>long time in the coming. I'll be wanting to do

0:19:47.119 --> 0:19:49.680
<v Speaker 1>it for a long long time, but I was waiting

0:19:49.680 --> 0:19:51.199
<v Speaker 1>to find the right story. Well, I was just going

0:19:51.240 --> 0:19:52.639
<v Speaker 1>to ask, I assume you wanted to do it for

0:19:52.640 --> 0:19:55.479
<v Speaker 1>a while. So what was it about this material that said, okay,

0:19:55.520 --> 0:19:58.080
<v Speaker 1>this is the one. Well I was attached to this

0:19:58.160 --> 0:20:00.679
<v Speaker 1>as as an actor to play this weed for I

0:20:00.680 --> 0:20:05.680
<v Speaker 1>think maybe three years, or maybe over three years. And

0:20:05.720 --> 0:20:07.920
<v Speaker 1>we kept we kept up, we we we we kept

0:20:07.920 --> 0:20:11.000
<v Speaker 1>having um, we kept losing directors a bit like The

0:20:11.080 --> 0:20:13.200
<v Speaker 1>Drummer and Spinal Tap, they would sort of follow it.

0:20:13.280 --> 0:20:18.080
<v Speaker 1>No one died, but it was one of those situations

0:20:18.080 --> 0:20:21.400
<v Speaker 1>where it happened to me before in movies where after

0:20:21.480 --> 0:20:25.560
<v Speaker 1>two or three hit and mrs like that, usually you

0:20:25.560 --> 0:20:27.239
<v Speaker 1>think it's not going to happen and you let it go.

0:20:27.359 --> 0:20:29.359
<v Speaker 1>And I didn't ever let this one go. I didn't.

0:20:29.880 --> 0:20:32.800
<v Speaker 1>I couldn't. Somehow I wanted to play the weed so badly,

0:20:33.280 --> 0:20:35.760
<v Speaker 1>and then um, when it really looked like it wasn't

0:20:35.760 --> 0:20:38.800
<v Speaker 1>going to happen after about three years, I suddenly I

0:20:38.840 --> 0:20:42.119
<v Speaker 1>suddenly thought, well, maybe you know, so this is this

0:20:42.160 --> 0:20:44.400
<v Speaker 1>could be the one I've been waiting for. I've been

0:20:44.440 --> 0:20:47.080
<v Speaker 1>waiting for the right story to tell as a director.

0:20:47.440 --> 0:20:49.000
<v Speaker 1>I didn't want to direct just for the sake of

0:20:49.040 --> 0:20:50.959
<v Speaker 1>doing it or to say that I was a director

0:20:51.080 --> 0:20:52.639
<v Speaker 1>or I've done it, but I wanted to do it

0:20:52.720 --> 0:20:55.280
<v Speaker 1>because I had a story that was burning to tell.

0:20:55.320 --> 0:20:59.440
<v Speaker 1>And I realized the closer this film got to disappearing,

0:20:59.480 --> 0:21:02.960
<v Speaker 1>that this this was the one. And why that is,

0:21:03.000 --> 0:21:04.840
<v Speaker 1>I don't know. I mean, it's a it's a It

0:21:04.920 --> 0:21:07.600
<v Speaker 1>touched me very deeply. The story. I'm a father of girls.

0:21:07.640 --> 0:21:09.800
<v Speaker 1>I've got four girls. This is very much a story

0:21:09.800 --> 0:21:13.320
<v Speaker 1>about our family, but about a father and a daughter.

0:21:14.119 --> 0:21:19.200
<v Speaker 1>And it came about, I suppose, round about the time

0:21:19.200 --> 0:21:22.360
<v Speaker 1>my eldest daughter was about to leave home. I think

0:21:22.359 --> 0:21:24.239
<v Speaker 1>when I first read the script, she would have been

0:21:24.240 --> 0:21:27.000
<v Speaker 1>about four thirteen or fourteen. So it must have been

0:21:27.000 --> 0:21:30.480
<v Speaker 1>on my mind. And I've only realized this in retrospect,

0:21:30.480 --> 0:21:31.960
<v Speaker 1>but I think it must have been in my mind,

0:21:32.040 --> 0:21:35.600
<v Speaker 1>this idea, that of losing a daughter somehow, And of

0:21:35.640 --> 0:21:38.640
<v Speaker 1>course in our story it's a very extreme example of that.

0:21:39.359 --> 0:21:43.240
<v Speaker 1>Um the family lose their daughter to radicalism. She becomes radicalized,

0:21:43.560 --> 0:21:48.479
<v Speaker 1>politically radicalized, and and disappears into the underground. And so

0:21:48.520 --> 0:21:53.840
<v Speaker 1>that's a very extreme example of loss. Whereas I suppose

0:21:53.880 --> 0:21:56.240
<v Speaker 1>I must have been sort of contemplating the loss of

0:21:56.320 --> 0:21:58.560
<v Speaker 1>my my daughter out of the house of her going

0:21:58.600 --> 0:22:01.320
<v Speaker 1>to college and not waking up in the same house

0:22:01.359 --> 0:22:05.440
<v Speaker 1>as Aus anymore. Um, And now you know, since we

0:22:05.560 --> 0:22:08.280
<v Speaker 1>made the movie and she's not twenty and she has left,

0:22:08.280 --> 0:22:10.600
<v Speaker 1>so you know, I think maybe that's why it connected

0:22:10.640 --> 0:22:13.640
<v Speaker 1>to me so much early on. Yeah, you you actually

0:22:14.000 --> 0:22:17.600
<v Speaker 1>completely saw a question coming, which was regarding the fact

0:22:17.600 --> 0:22:20.840
<v Speaker 1>that your father, I'm a new father, actually terrified me

0:22:21.920 --> 0:22:24.240
<v Speaker 1>because I mean, you know, without giving too much away,

0:22:24.280 --> 0:22:28.040
<v Speaker 1>it is it's it's essentially about a father who is

0:22:28.080 --> 0:22:33.600
<v Speaker 1>helpless to affect the path that his daughter's taking, essentially,

0:22:33.600 --> 0:22:36.600
<v Speaker 1>and just kind of that how that helplessness eats at

0:22:36.640 --> 0:22:38.560
<v Speaker 1>him is what I was taking away from it. So

0:22:39.240 --> 0:22:41.080
<v Speaker 1>I was going to ask you, being a father of daughters,

0:22:41.800 --> 0:22:44.600
<v Speaker 1>what that element of the story meant for you, And

0:22:44.800 --> 0:22:47.320
<v Speaker 1>so clearly it was sort of everything. I mean. I

0:22:47.359 --> 0:22:50.399
<v Speaker 1>told my eldest when she came to visit while we

0:22:50.400 --> 0:22:52.560
<v Speaker 1>were shooting the film in Pittsburgh, and I said to her,

0:22:52.720 --> 0:22:55.199
<v Speaker 1>you've you taught me everything I needed to know to

0:22:55.280 --> 0:22:58.879
<v Speaker 1>make this movie, and she did. Really, it's difficult. You

0:22:58.920 --> 0:23:01.719
<v Speaker 1>can't put your finger and what exactly it is because

0:23:02.160 --> 0:23:04.520
<v Speaker 1>it's a great many things. Rath Philip Roth, and his

0:23:04.640 --> 0:23:09.199
<v Speaker 1>novel explores to great depth a whole range of um

0:23:09.960 --> 0:23:15.240
<v Speaker 1>issues and thoughts and arguments, if you like. And the

0:23:15.280 --> 0:23:17.800
<v Speaker 1>one of the extraordinary thing is that he's not a father.

0:23:17.880 --> 0:23:20.040
<v Speaker 1>You know, Philip Roth has written this really accurate story

0:23:20.080 --> 0:23:22.960
<v Speaker 1>about parenting and parenting in the sixties, you know, in

0:23:23.000 --> 0:23:26.159
<v Speaker 1>the late fifties, sixties, the Swedest sort of rather a

0:23:26.240 --> 0:23:30.240
<v Speaker 1>modern father in many ways. And he writes about the

0:23:30.480 --> 0:23:33.080
<v Speaker 1>structure between the father and the daughter and the mother

0:23:33.160 --> 0:23:34.800
<v Speaker 1>and the daughter, and the mother and the father, and

0:23:35.119 --> 0:23:41.199
<v Speaker 1>those are very recognizable things that I recognized lots of

0:23:41.200 --> 0:23:45.560
<v Speaker 1>them from my life. But you know, it's very it's

0:23:45.600 --> 0:23:47.399
<v Speaker 1>a it's very deep and broad. So it's difficult to

0:23:47.400 --> 0:23:51.600
<v Speaker 1>put your finger on exactly exactly what that is. And

0:23:51.640 --> 0:23:55.520
<v Speaker 1>I feel like Wrath can be tricky for filmmakers to tackle.

0:23:56.119 --> 0:23:58.040
<v Speaker 1>I think some have struggled with his work in the past.

0:23:58.040 --> 0:23:59.359
<v Speaker 1>I don't know why that is. I don't know if

0:23:59.359 --> 0:24:03.640
<v Speaker 1>it's not like overtly cinematic on the page, per se,

0:24:03.720 --> 0:24:06.159
<v Speaker 1>or or anything. Did you find any particular challenge when

0:24:06.240 --> 0:24:09.520
<v Speaker 1>you were setting out to adapt his work as a film.

0:24:09.880 --> 0:24:12.280
<v Speaker 1>My challenge was to try and do it justice. I thought,

0:24:12.280 --> 0:24:14.680
<v Speaker 1>I When I came to the project as director, the

0:24:14.680 --> 0:24:16.920
<v Speaker 1>script was already in a very good form, gen Roman

0:24:17.000 --> 0:24:19.840
<v Speaker 1>of a really beautiful adaptation of the novel, and there

0:24:19.840 --> 0:24:22.240
<v Speaker 1>wasn't really very there wasn't a great deal of work

0:24:22.320 --> 0:24:25.520
<v Speaker 1>for me to do on that script. Of course, there

0:24:25.560 --> 0:24:28.080
<v Speaker 1>was little changes here and there that we worked on together,

0:24:28.680 --> 0:24:30.840
<v Speaker 1>but the but the film that you see is very

0:24:30.920 --> 0:24:33.080
<v Speaker 1>much the script that he wrote that I was presented with,

0:24:33.119 --> 0:24:35.399
<v Speaker 1>and I thought he did a really fine job of

0:24:36.480 --> 0:24:40.800
<v Speaker 1>transposing the novel on onto the onto the page. And

0:24:40.880 --> 0:24:42.560
<v Speaker 1>my job was to make that onto the screen and

0:24:42.600 --> 0:24:45.880
<v Speaker 1>to try and do justice to his work, John Romano's,

0:24:45.920 --> 0:24:48.800
<v Speaker 1>but but also Philip Roth's. And I tried to do

0:24:48.840 --> 0:24:53.840
<v Speaker 1>that by not getting not not being too intimidated by

0:24:54.119 --> 0:24:56.280
<v Speaker 1>the idea that Philip Roth had written the novel, which

0:24:56.280 --> 0:24:58.760
<v Speaker 1>of course is quite an intimidating thought, and just to

0:24:58.800 --> 0:25:02.000
<v Speaker 1>think of it simply what it is, and and I

0:25:02.080 --> 0:25:04.560
<v Speaker 1>felt that very much. It was it was a story

0:25:04.600 --> 0:25:06.360
<v Speaker 1>about a family. It was very much a story about

0:25:06.359 --> 0:25:08.879
<v Speaker 1>a father and a daughter, and the mother and a daughter,

0:25:09.040 --> 0:25:12.879
<v Speaker 1>and and something happens in their family that they have

0:25:12.960 --> 0:25:15.520
<v Speaker 1>to deal with, and it's an exploration of how they

0:25:15.520 --> 0:25:18.439
<v Speaker 1>deal with that, and then on a broader sense, I

0:25:18.480 --> 0:25:21.119
<v Speaker 1>felt like, it's a story of America. It's the story

0:25:21.160 --> 0:25:26.240
<v Speaker 1>about America. It's about postwar American hope and aspiration being

0:25:26.240 --> 0:25:30.680
<v Speaker 1>decimated by the sixties in Vietnam, and and a new

0:25:30.760 --> 0:25:36.440
<v Speaker 1>generation who felt like revel, who felt that things could

0:25:36.640 --> 0:25:39.800
<v Speaker 1>radical change was just imminent, you know, And so I

0:25:39.840 --> 0:25:42.399
<v Speaker 1>tried to do justice to both those things. Sometimes we

0:25:42.560 --> 0:25:45.680
<v Speaker 1>concentrate purely on the sort of family story, and other times,

0:25:45.720 --> 0:25:47.760
<v Speaker 1>and maybe more in the edit room, I suppose try

0:25:47.800 --> 0:25:51.040
<v Speaker 1>and broaden it to become a story of America, because

0:25:51.040 --> 0:25:55.000
<v Speaker 1>I think that's what Roth is talking about. You're a veteran, obviously,

0:25:55.119 --> 0:25:59.720
<v Speaker 1>But nevertheless, was there anything that completely surprised you about

0:25:59.720 --> 0:26:04.359
<v Speaker 1>fine jumping into the director's chair yourself on a feature. No,

0:26:04.520 --> 0:26:06.040
<v Speaker 1>it was as scary as I thought it would be.

0:26:07.000 --> 0:26:10.880
<v Speaker 1>It was quite um. I don't think there was any

0:26:10.920 --> 0:26:14.000
<v Speaker 1>major surprises. I mean, the bit the big part of

0:26:14.119 --> 0:26:16.159
<v Speaker 1>the experience, of course, that which was new to me

0:26:16.280 --> 0:26:22.240
<v Speaker 1>was the financial side of things. This, the everything creative

0:26:22.800 --> 0:26:24.919
<v Speaker 1>was things that I've already been involved in, really, you know,

0:26:25.000 --> 0:26:28.600
<v Speaker 1>working with the creative heads of department, with the director

0:26:28.600 --> 0:26:33.000
<v Speaker 1>of photography, with the costume designer and makeup and hair designers, UM,

0:26:33.040 --> 0:26:36.040
<v Speaker 1>the designer production designer. Those are people who I interact

0:26:36.080 --> 0:26:38.560
<v Speaker 1>with anyway on on a daily basis when I'm working

0:26:38.560 --> 0:26:42.520
<v Speaker 1>as an actor, and that creative conversation I already have

0:26:42.600 --> 0:26:44.919
<v Speaker 1>with them to an extent, not to the depth of

0:26:45.080 --> 0:26:47.240
<v Speaker 1>the extent you do have as a director, but as

0:26:47.280 --> 0:26:49.840
<v Speaker 1>an actor you have some interaction with the designer and

0:26:49.880 --> 0:26:52.199
<v Speaker 1>what you're what your house might look like, or you

0:26:52.200 --> 0:26:55.359
<v Speaker 1>know UM, and with the DP, of course you're working

0:26:55.400 --> 0:26:58.520
<v Speaker 1>with him or her on a daily basis, trying to

0:26:58.600 --> 0:27:01.920
<v Speaker 1>understand the shot and how to act best in that shot.

0:27:02.000 --> 0:27:05.680
<v Speaker 1>So though, that part of the whole experience was as

0:27:05.680 --> 0:27:07.880
<v Speaker 1>thrilling as I thought it would be, and I really

0:27:07.880 --> 0:27:11.239
<v Speaker 1>looked forward to being part of the creative process from

0:27:11.320 --> 0:27:14.240
<v Speaker 1>start to finish, as opposed to normally I just take

0:27:14.520 --> 0:27:16.320
<v Speaker 1>part in the middle part of it in the shoot,

0:27:16.560 --> 0:27:18.639
<v Speaker 1>but to be part of the pre production, to be

0:27:18.680 --> 0:27:22.320
<v Speaker 1>finding the locations, to be discussing with the designer how

0:27:22.359 --> 0:27:25.399
<v Speaker 1>they might look, how they should feel, and then working

0:27:25.440 --> 0:27:27.959
<v Speaker 1>with the costume designer and the makeup and hair designer

0:27:27.960 --> 0:27:31.359
<v Speaker 1>in the same way, how to storytell, especially in a

0:27:31.440 --> 0:27:34.359
<v Speaker 1>story like this that takes place between the late forties

0:27:34.400 --> 0:27:36.480
<v Speaker 1>and the nineties. You know, we've got a huge swathe

0:27:36.520 --> 0:27:39.359
<v Speaker 1>of period through the film, and I wanted that to

0:27:39.400 --> 0:27:41.520
<v Speaker 1>be subtle, but I wanted it to be correct, and

0:27:41.560 --> 0:27:44.520
<v Speaker 1>I wanted it to not be noticeable. Really, and I'm

0:27:44.880 --> 0:27:46.520
<v Speaker 1>proud of the fact that I think that is the case.

0:27:46.560 --> 0:27:49.640
<v Speaker 1>And you watched the film, it doesn't. I don't think

0:27:49.640 --> 0:27:51.359
<v Speaker 1>you'd come away with it thinking, oh, that was a

0:27:51.359 --> 0:27:54.320
<v Speaker 1>great period film. The periods there and and right, but

0:27:54.440 --> 0:27:57.760
<v Speaker 1>really not in your face. And that's a testament to

0:27:57.840 --> 0:28:02.200
<v Speaker 1>their skill and of work. So that side of stuff

0:28:02.280 --> 0:28:06.240
<v Speaker 1>was was just thrilling and exciting. How about casting, casting,

0:28:06.280 --> 0:28:08.080
<v Speaker 1>I thought was I mean, I was very lucky in

0:28:08.119 --> 0:28:11.800
<v Speaker 1>that Dakota and Jennifer were both on board. They were

0:28:11.800 --> 0:28:15.600
<v Speaker 1>both cast when I was cast on the project to

0:28:15.640 --> 0:28:17.960
<v Speaker 1>begin with, so I sort of inherited them. Thank goodness,

0:28:18.040 --> 0:28:21.800
<v Speaker 1>I had my first job as director after after Tom

0:28:21.880 --> 0:28:24.399
<v Speaker 1>Rosenberg told me that I could direct the movie, was

0:28:24.440 --> 0:28:26.440
<v Speaker 1>to go and meet with both of them and asked

0:28:26.440 --> 0:28:30.280
<v Speaker 1>them if they would stay on. And so that was

0:28:30.480 --> 0:28:33.439
<v Speaker 1>that was my first nervous moment, but it was I

0:28:33.480 --> 0:28:36.439
<v Speaker 1>was lucky that they both did, and goodness may they

0:28:36.480 --> 0:28:39.760
<v Speaker 1>both deliver and really it's an extraort. They both give

0:28:39.800 --> 0:28:42.800
<v Speaker 1>extraordinary performances in this film. So I was very lucky

0:28:42.840 --> 0:28:46.240
<v Speaker 1>there and then the other parts. Was was an interesting process.

0:28:47.280 --> 0:28:50.000
<v Speaker 1>Peter re Get we cast as my father, Now that

0:28:50.000 --> 0:28:53.000
<v Speaker 1>that was that was somebody who meant a great deal

0:28:53.040 --> 0:28:54.520
<v Speaker 1>to me. He was in a movie with my uncle

0:28:54.560 --> 0:28:57.640
<v Speaker 1>Dennis Lawson back in the eighties, a movie called Local Hero.

0:28:58.280 --> 0:29:00.840
<v Speaker 1>And although I didn't know owe him very well and

0:29:00.880 --> 0:29:02.680
<v Speaker 1>met him maybe once or twice, he was sort of

0:29:02.720 --> 0:29:04.640
<v Speaker 1>part of our family law. You know. I was a

0:29:04.720 --> 0:29:06.400
<v Speaker 1>kid when that film came out, and my uncle was

0:29:06.440 --> 0:29:09.520
<v Speaker 1>in that movie, and we we used to visit the

0:29:09.680 --> 0:29:13.240
<v Speaker 1>location where they shot that movie and on our summer holidays,

0:29:13.240 --> 0:29:16.840
<v Speaker 1>and so he was some quite important character in my life.

0:29:16.840 --> 0:29:19.040
<v Speaker 1>And I thought the idea of casting him as my

0:29:19.400 --> 0:29:22.160
<v Speaker 1>as my father in this movie was a beautiful sort

0:29:22.200 --> 0:29:25.040
<v Speaker 1>of full circle in some way. And it was lovely

0:29:25.040 --> 0:29:27.880
<v Speaker 1>and and and worked really really well. There's some really

0:29:27.960 --> 0:29:33.200
<v Speaker 1>nice Luke's and moments between us that really don't need

0:29:33.240 --> 0:29:37.480
<v Speaker 1>any words or dialogue. And that's because of my admiration

0:29:37.480 --> 0:29:40.880
<v Speaker 1>of him and um and and and he was happy

0:29:40.920 --> 0:29:43.600
<v Speaker 1>to be part of the movie, you know, across the board.

0:29:43.600 --> 0:29:46.720
<v Speaker 1>We had really wonderful actors. Valerie Curry, who plays Rita,

0:29:47.120 --> 0:29:50.800
<v Speaker 1>gives an extraordinary brave and mature performance. And Uzu Aduba

0:29:51.880 --> 0:29:53.680
<v Speaker 1>is a is a lovely addition to the movie. Plays

0:29:53.720 --> 0:29:58.240
<v Speaker 1>my secretary. And there's also a nice relation there between us. UM.

0:29:58.320 --> 0:30:00.000
<v Speaker 1>I like your DP a lot. By the way, Yeah,

0:30:00.040 --> 0:30:03.000
<v Speaker 1>Martin Rue, how did you decide on him? That was

0:30:03.040 --> 0:30:05.400
<v Speaker 1>he part of the project as well already or he wasn't.

0:30:06.040 --> 0:30:07.920
<v Speaker 1>I had three I had sort of a short list

0:30:07.960 --> 0:30:11.280
<v Speaker 1>of three dps. I think by the time we you know,

0:30:11.360 --> 0:30:15.920
<v Speaker 1>we'd explored um crewing up early early on in prep,

0:30:15.960 --> 0:30:17.720
<v Speaker 1>and there was there was two dps who had worked

0:30:17.760 --> 0:30:22.040
<v Speaker 1>with before UM. One I'd worked with twice. One I've

0:30:22.120 --> 0:30:24.760
<v Speaker 1>seen work with an actor who was also directing, which

0:30:24.760 --> 0:30:26.880
<v Speaker 1>I thought was and I like the way he did that.

0:30:27.360 --> 0:30:30.640
<v Speaker 1>And and then Martin and it was really I mean,

0:30:30.680 --> 0:30:34.400
<v Speaker 1>Martin shot a film called Control Anton Corbyn, which is

0:30:34.440 --> 0:30:38.320
<v Speaker 1>released spectacular piece of filmmaking, and and went on to

0:30:38.320 --> 0:30:41.360
<v Speaker 1>shoot The American with Anton. And but it was a

0:30:41.360 --> 0:30:44.000
<v Speaker 1>film and independent film that he made called Martin Brown

0:30:44.880 --> 0:30:49.480
<v Speaker 1>Um starring Michael Caine that clinched it for me. I

0:30:49.560 --> 0:30:51.840
<v Speaker 1>was watching it because because I needed somebody who was

0:30:51.880 --> 0:30:55.120
<v Speaker 1>going to be a partner. I've seen too many first

0:30:55.120 --> 0:30:57.680
<v Speaker 1>time directors fall out with our DP on set, and

0:30:57.680 --> 0:31:00.560
<v Speaker 1>it's really awful when it happens. I didn't want that

0:31:00.560 --> 0:31:03.960
<v Speaker 1>to happen to me, and I can understand how it

0:31:03.960 --> 0:31:05.960
<v Speaker 1>could be frustrating for a DP to be working with

0:31:05.960 --> 0:31:09.200
<v Speaker 1>somebody who's a first time director, who's going to make mistakes,

0:31:09.240 --> 0:31:11.600
<v Speaker 1>who's going to ask for shots that don't make sense.

0:31:11.720 --> 0:31:14.560
<v Speaker 1>You know. I needed somebody who's going to work with

0:31:14.600 --> 0:31:18.160
<v Speaker 1>me on storytelling. And I've got a sense of shots.

0:31:18.200 --> 0:31:19.920
<v Speaker 1>I've been working in front of a camera for twenties

0:31:19.920 --> 0:31:22.960
<v Speaker 1>three years, so it's not like I'm a novice. I know,

0:31:23.160 --> 0:31:26.440
<v Speaker 1>I know my way around there. But I still needed

0:31:26.480 --> 0:31:29.120
<v Speaker 1>somebody who's going to be totally on my side and

0:31:29.120 --> 0:31:31.400
<v Speaker 1>and help me with storytelling. And that's really I wanted

0:31:31.400 --> 0:31:33.280
<v Speaker 1>to be economical in this. I wanted the film not

0:31:33.360 --> 0:31:35.960
<v Speaker 1>to be too cutty. I wanted it to look classical

0:31:36.040 --> 0:31:38.920
<v Speaker 1>and beautiful, and I wanted the acting to be front

0:31:38.920 --> 0:31:42.040
<v Speaker 1>and center as opposed to sort of the filmmaking. I'm

0:31:42.120 --> 0:31:44.800
<v Speaker 1>much more. I'm an actor, so I'm I'm That's sort

0:31:44.800 --> 0:31:47.800
<v Speaker 1>of what thrills me and drives me and with Martin.

0:31:48.200 --> 0:31:52.440
<v Speaker 1>In this film Harry Brown, there's a sequence at the

0:31:52.440 --> 0:31:55.080
<v Speaker 1>beginning of the movie. It's maybe like h eight or

0:31:55.200 --> 0:32:00.800
<v Speaker 1>nine shots that introduce us to um Mike Kaine's character.

0:32:01.000 --> 0:32:03.000
<v Speaker 1>And there's shots of him. He's waking up in a bed,

0:32:03.400 --> 0:32:05.800
<v Speaker 1>he rolls over. There's another shot of him in bed.

0:32:06.200 --> 0:32:08.160
<v Speaker 1>We see him looking at a clock and round about

0:32:08.160 --> 0:32:10.840
<v Speaker 1>the clock, or there's some pills. And then there's a

0:32:10.840 --> 0:32:14.120
<v Speaker 1>picture of his wife, who's obviously not in the bed

0:32:14.200 --> 0:32:16.080
<v Speaker 1>with him, so we maybe he's an older man. We

0:32:16.080 --> 0:32:18.440
<v Speaker 1>assume maybe she's passed away. And then there's a shot

0:32:18.440 --> 0:32:20.120
<v Speaker 1>from under the bed of his feet coming down on

0:32:20.160 --> 0:32:23.200
<v Speaker 1>the floor, and and a shot of him cooking breakfast

0:32:23.200 --> 0:32:27.120
<v Speaker 1>and eating breakfast, and there was you just knew everything

0:32:27.520 --> 0:32:31.360
<v Speaker 1>immediately without a word of dialogue because of his beautiful photography,

0:32:31.400 --> 0:32:34.600
<v Speaker 1>the framing was so spectacular and and and of course

0:32:34.640 --> 0:32:37.440
<v Speaker 1>Michael Caine such a wonderful actor. You just knew everything

0:32:37.480 --> 0:32:39.360
<v Speaker 1>you needed to know about that character, and you were

0:32:39.400 --> 0:32:42.040
<v Speaker 1>often into the story. And when I watched those the

0:32:42.120 --> 0:32:44.280
<v Speaker 1>opening of that movie, I just knew. I thought, this

0:32:44.280 --> 0:32:46.720
<v Speaker 1>this is who I need. And so that's why we

0:32:46.840 --> 0:32:49.000
<v Speaker 1>chose him, Well, now that you've got one under your belt,

0:32:49.000 --> 0:32:52.000
<v Speaker 1>are you excited to make more movies? Did this one

0:32:52.000 --> 0:32:55.360
<v Speaker 1>scare you off? You mean, what it taught me was

0:32:55.400 --> 0:32:58.640
<v Speaker 1>that it's it's very costly. It is an enormous amount

0:32:58.680 --> 0:33:02.080
<v Speaker 1>of I mean, it's obvious, it takes a long time.

0:33:02.160 --> 0:33:04.680
<v Speaker 1>It takes much longer than than enacting, Joeb. You know,

0:33:04.760 --> 0:33:07.200
<v Speaker 1>I can be in acting in a movie in three

0:33:07.360 --> 0:33:11.080
<v Speaker 1>months to three four months. This was sixteen months of

0:33:11.120 --> 0:33:14.480
<v Speaker 1>my life. But on top of that, it's an extraordinary

0:33:14.480 --> 0:33:17.480
<v Speaker 1>focus really from the word go, from the moment Tom

0:33:17.480 --> 0:33:20.680
<v Speaker 1>said you can direct American Pastoral until my last day

0:33:20.680 --> 0:33:24.960
<v Speaker 1>in the sound mix, was just total focus on the

0:33:25.040 --> 0:33:28.000
<v Speaker 1>story and and every aspect of it. And that gives

0:33:28.000 --> 0:33:30.200
<v Speaker 1>you a great deal of satisfaction. But it's also sort

0:33:30.200 --> 0:33:33.240
<v Speaker 1>of a bit like, you know, brain damage. You're just

0:33:33.280 --> 0:33:36.480
<v Speaker 1>walking around thinking about this one story, and you're trying

0:33:36.480 --> 0:33:38.960
<v Speaker 1>to be trying to be a dad and a husband

0:33:39.000 --> 0:33:41.920
<v Speaker 1>and all other things, and and really your brain is

0:33:41.960 --> 0:33:44.920
<v Speaker 1>just thinking about the story all day. So I realized

0:33:44.920 --> 0:33:47.600
<v Speaker 1>that that's quite costly, and you don't want You couldn't.

0:33:48.440 --> 0:33:52.240
<v Speaker 1>You couldn't. I couldn't imagine, you know, dedicating that amount

0:33:52.280 --> 0:33:54.240
<v Speaker 1>of time and energy to something that I didn't have

0:33:54.400 --> 0:33:57.000
<v Speaker 1>to tell, like I sort of had to tell the

0:33:57.040 --> 0:34:01.239
<v Speaker 1>story of American Pastoral because without those three years when

0:34:01.280 --> 0:34:02.680
<v Speaker 1>I was attached to it as an actor, as it

0:34:02.760 --> 0:34:04.920
<v Speaker 1>started started to slip away, I realized I couldn't let

0:34:04.960 --> 0:34:07.440
<v Speaker 1>it slip away, and it was the story I needed

0:34:07.480 --> 0:34:10.200
<v Speaker 1>to tell. And for fifteen years of wanting to direct,

0:34:10.200 --> 0:34:12.960
<v Speaker 1>I've always said to people, I only want to direct

0:34:13.320 --> 0:34:15.200
<v Speaker 1>because I've got a story that I really need to tell.

0:34:15.239 --> 0:34:19.120
<v Speaker 1>And that's what happened here. So um goodness, I hope

0:34:19.120 --> 0:34:21.200
<v Speaker 1>there is another one, because I really I loved being

0:34:21.560 --> 0:34:25.960
<v Speaker 1>and being that the creative experience was so fulfilling and

0:34:26.000 --> 0:34:28.359
<v Speaker 1>wonderful that I would want to do that again. But

0:34:28.400 --> 0:34:30.520
<v Speaker 1>I can't have to wait till the next story till

0:34:30.560 --> 0:34:33.440
<v Speaker 1>I find it or it finds me, or um, and

0:34:33.440 --> 0:34:36.319
<v Speaker 1>then then I would throw myself at it again. Yeah. Well,

0:34:36.320 --> 0:34:37.799
<v Speaker 1>I just want to switch gears a little bit here.

0:34:38.120 --> 0:34:42.600
<v Speaker 1>You've been busy, man. You played Jesus this year, which

0:34:42.600 --> 0:34:43.759
<v Speaker 1>I've always I don't even know if I have a

0:34:43.880 --> 0:34:46.000
<v Speaker 1>question here, but I've always sort of wanted to like

0:34:46.760 --> 0:34:48.680
<v Speaker 1>write a book or something where you talk to people

0:34:48.719 --> 0:34:52.280
<v Speaker 1>like willum Dafoe and Jim Caviezel and yourself, like people

0:34:52.280 --> 0:34:54.719
<v Speaker 1>that have taken on that role because it's it's it's

0:34:54.719 --> 0:34:58.680
<v Speaker 1>a heady roll to get into, I imagine. So this

0:34:58.719 --> 0:35:02.000
<v Speaker 1>film was Last Days in the Desert, Rodrigo Garcia chiev All,

0:35:02.040 --> 0:35:04.440
<v Speaker 1>the Bestkie, the great chiev of the Beskie, shooting the film.

0:35:04.560 --> 0:35:09.080
<v Speaker 1>What was that experience like for you? It was really special,

0:35:09.160 --> 0:35:12.480
<v Speaker 1>it was It was a very important film for me.

0:35:12.680 --> 0:35:15.640
<v Speaker 1>I don't know, it was important the idea of making

0:35:15.680 --> 0:35:18.280
<v Speaker 1>it before we shot it. The actual shoot was beautiful

0:35:18.360 --> 0:35:23.400
<v Speaker 1>and an incredibly unique experience working with Rodrigo and Chivo

0:35:24.040 --> 0:35:25.840
<v Speaker 1>and the other actors there in the in the desert,

0:35:25.880 --> 0:35:29.319
<v Speaker 1>just southeast of Pia in fact. But it was very

0:35:29.360 --> 0:35:31.960
<v Speaker 1>meaningful somehow. And then and then the actual movie itself,

0:35:32.000 --> 0:35:35.360
<v Speaker 1>I think is quite unique and beautiful. It's got completely

0:35:35.360 --> 0:35:38.440
<v Speaker 1>original pace and tone, and I'm very proud of it.

0:35:38.480 --> 0:35:40.800
<v Speaker 1>I love it very much. Is there something daunting about

0:35:41.480 --> 0:35:45.000
<v Speaker 1>that character to play that? I mean just totally Yeah.

0:35:45.040 --> 0:35:49.120
<v Speaker 1>It's completely like sleepless nights for weeks, I imagine. Yeah,

0:35:49.239 --> 0:35:53.319
<v Speaker 1>and then you realize, of course, most of the things

0:35:53.320 --> 0:35:55.520
<v Speaker 1>that are keeping you up are things that I wouldn't

0:35:55.520 --> 0:35:59.920
<v Speaker 1>normally worry about. Most of the things are how are

0:36:00.040 --> 0:36:02.399
<v Speaker 1>people going to perceive it? How what are people going

0:36:02.440 --> 0:36:05.200
<v Speaker 1>to think? I know, I never worry about those kind

0:36:05.200 --> 0:36:08.960
<v Speaker 1>of things. Usually, I'm much more interested in how am

0:36:08.960 --> 0:36:10.919
<v Speaker 1>I going to play it? And how who is this man?

0:36:11.000 --> 0:36:14.000
<v Speaker 1>And how does he feel to be and how does

0:36:14.040 --> 0:36:16.279
<v Speaker 1>he think when he looks at things? Those are really

0:36:16.280 --> 0:36:19.240
<v Speaker 1>what I normally concentrate on, not not from the outside

0:36:19.280 --> 0:36:20.719
<v Speaker 1>what will it look like or how what people what

0:36:20.960 --> 0:36:23.640
<v Speaker 1>people think? And I believed in the script. I didn't

0:36:23.680 --> 0:36:26.760
<v Speaker 1>believe there was I believe really completely in the script.

0:36:26.800 --> 0:36:29.839
<v Speaker 1>There was nothing controversial about it or I just felt

0:36:29.880 --> 0:36:32.760
<v Speaker 1>like it was a beautiful story that Rodrigo had invented

0:36:33.080 --> 0:36:37.640
<v Speaker 1>about Christ in the desert meeting this family, and really

0:36:37.640 --> 0:36:39.920
<v Speaker 1>it was an exploration of fathers and sons. It was

0:36:40.000 --> 0:36:42.120
<v Speaker 1>it was that's really to me all it was about.

0:36:42.200 --> 0:36:46.000
<v Speaker 1>I mean, I think sometimes Christ is the son of God,

0:36:46.120 --> 0:36:48.520
<v Speaker 1>and other times he's the father of the child, and

0:36:48.880 --> 0:36:52.520
<v Speaker 1>there's a father to the child, and so sometimes he

0:36:52.520 --> 0:36:54.759
<v Speaker 1>feels that the son to that father. It was every

0:36:54.800 --> 0:36:56.960
<v Speaker 1>scene to me felt like that's what we were exploring.

0:36:57.400 --> 0:37:00.280
<v Speaker 1>And so there was something deep and interesting and beneath

0:37:00.320 --> 0:37:06.480
<v Speaker 1>all of these beautifully spare scenes, and with Rodrigo's direction,

0:37:06.520 --> 0:37:08.440
<v Speaker 1>it was a great joy to do. It was very,

0:37:08.560 --> 0:37:11.840
<v Speaker 1>very beautiful, like it was really pure acting, and we

0:37:11.920 --> 0:37:15.680
<v Speaker 1>had time and space to to to to create this

0:37:15.719 --> 0:37:18.520
<v Speaker 1>beautiful movie in a short space of time. In five

0:37:18.560 --> 0:37:21.719
<v Speaker 1>weeks we did it. Um, but goodness me, it's a

0:37:21.719 --> 0:37:24.440
<v Speaker 1>lovely piece of work. It's very it's very different from

0:37:24.480 --> 0:37:27.680
<v Speaker 1>anything I've done before. But yeah, as you your question

0:37:27.760 --> 0:37:30.759
<v Speaker 1>about playing Jesus is quite daunting. And then and then,

0:37:30.920 --> 0:37:32.680
<v Speaker 1>and I started reading books, and I was reading all

0:37:32.719 --> 0:37:35.880
<v Speaker 1>these books that sort of disprove the son of God

0:37:36.320 --> 0:37:40.000
<v Speaker 1>part of Jesus's story and this is probably who he

0:37:40.040 --> 0:37:42.880
<v Speaker 1>really was, and this is probably there was other preachers

0:37:42.880 --> 0:37:45.840
<v Speaker 1>and this and that, and I realized I was as

0:37:45.880 --> 0:37:48.680
<v Speaker 1>reading them, that they were entirely unhelpful because I was

0:37:48.719 --> 0:37:51.200
<v Speaker 1>to be playing Jesus, who is the son of God,

0:37:51.239 --> 0:37:53.879
<v Speaker 1>who is in the desert trying to communicate with his father,

0:37:53.960 --> 0:37:56.480
<v Speaker 1>and as being frustrated that he's not able to do so.

0:37:56.480 --> 0:37:58.719
<v Speaker 1>So um, I put all those books aside, and I

0:37:58.760 --> 0:38:03.400
<v Speaker 1>started thinking about our son, a man who is having

0:38:03.440 --> 0:38:06.520
<v Speaker 1>problems communicating with his dad. And I love and get

0:38:06.560 --> 0:38:09.120
<v Speaker 1>on very well with my father. So however, I am

0:38:09.120 --> 0:38:11.000
<v Speaker 1>a son of a father, and I could I could start,

0:38:11.680 --> 0:38:14.600
<v Speaker 1>I could recognize some of those some of those um

0:38:14.880 --> 0:38:17.600
<v Speaker 1>ideas in there, and once I started focusing on that,

0:38:17.680 --> 0:38:23.479
<v Speaker 1>it became much easier. And then Don Cheetle, Yes, Miles ahead,

0:38:23.560 --> 0:38:25.000
<v Speaker 1>you must have just felt like you were on set

0:38:25.040 --> 0:38:27.680
<v Speaker 1>with Miles Davis. Did every day on that philm I

0:38:27.760 --> 0:38:29.680
<v Speaker 1>keep saying to people, I did this great film with

0:38:29.680 --> 0:38:33.799
<v Speaker 1>Miles Davis. Don cheedle every time, because partly I made

0:38:33.800 --> 0:38:35.480
<v Speaker 1>a film with Don Cheetle, and partly I made a

0:38:35.480 --> 0:38:38.360
<v Speaker 1>film with Miles Davis. I mean, he was so convincing

0:38:38.960 --> 0:38:41.799
<v Speaker 1>down in that role. And also he's he's an actor

0:38:41.800 --> 0:38:45.640
<v Speaker 1>who stays in character between takes and um so I

0:38:45.680 --> 0:38:47.879
<v Speaker 1>was sort of directed by Miles Davis, which isn't easy

0:38:47.880 --> 0:38:51.120
<v Speaker 1>because Miles Davis wasn't quite as nice a guy as

0:38:52.239 --> 0:38:54.879
<v Speaker 1>a lot of my acting notes came from Miles. You know, man,

0:38:55.280 --> 0:38:59.280
<v Speaker 1>what are you doing like this? But it was great fun. Again,

0:38:59.480 --> 0:39:05.520
<v Speaker 1>it was incredibly brave um endeavor by Dawn because he

0:39:05.560 --> 0:39:08.080
<v Speaker 1>has a very short amount of time to shoot the movie,

0:39:08.080 --> 0:39:10.000
<v Speaker 1>in a little amount of money to make it for

0:39:10.480 --> 0:39:13.760
<v Speaker 1>and you know, due to his talents and the talents

0:39:13.760 --> 0:39:15.439
<v Speaker 1>of his Crewer nailed it. I think it's a really

0:39:15.480 --> 0:39:18.239
<v Speaker 1>brilliant film. It's really a movie about music, and it's

0:39:18.280 --> 0:39:22.279
<v Speaker 1>a musical movie. It's quite quite brilliant in its in

0:39:22.320 --> 0:39:26.839
<v Speaker 1>its its flavor. Again, quite unique and also a directorial debut. Yeah,

0:39:27.080 --> 0:39:29.480
<v Speaker 1>so did you guys compare notes? Well, I I did

0:39:29.520 --> 0:39:32.799
<v Speaker 1>it before we shot Miles, before I even know now

0:39:32.920 --> 0:39:37.640
<v Speaker 1>I was going to direct before American Pastoral, so um.

0:39:37.680 --> 0:39:39.440
<v Speaker 1>But I did watch him like a hawk while we

0:39:39.440 --> 0:39:42.840
<v Speaker 1>were working because I've never been directed by the actor before,

0:39:45.160 --> 0:39:47.080
<v Speaker 1>and it was interesting. It was different for me in

0:39:47.080 --> 0:39:49.560
<v Speaker 1>a way. And you know, there's a sort of unwritten

0:39:49.640 --> 0:39:52.319
<v Speaker 1>rule in acting that you never and and people who

0:39:52.320 --> 0:39:54.399
<v Speaker 1>are actors should listen to this, that you never tell

0:39:54.440 --> 0:39:56.359
<v Speaker 1>the other actor what to do. I would never dream

0:39:56.400 --> 0:39:58.680
<v Speaker 1>of it. And it's a big no no. You know,

0:39:58.719 --> 0:40:00.560
<v Speaker 1>you've given you you speak to the actor about what

0:40:00.560 --> 0:40:03.759
<v Speaker 1>you're about, and the other actor gives you what they're

0:40:03.760 --> 0:40:05.960
<v Speaker 1>going to give you, and you have to roll with that,

0:40:06.080 --> 0:40:09.080
<v Speaker 1>you know. But in this situation, and in my situation,

0:40:09.120 --> 0:40:10.839
<v Speaker 1>of course, you do have to tell the other actor

0:40:10.920 --> 0:40:13.120
<v Speaker 1>what to do. It's your job because you're directing and acting,

0:40:13.600 --> 0:40:16.040
<v Speaker 1>and so it's a bit awkward for the first few

0:40:16.120 --> 0:40:19.319
<v Speaker 1>scenes and for you to tell, you know, to give

0:40:19.400 --> 0:40:21.120
<v Speaker 1>ideas to the other actor, but also for the other

0:40:21.160 --> 0:40:24.000
<v Speaker 1>actor to get those ideas from their acting partner is

0:40:24.040 --> 0:40:26.160
<v Speaker 1>a bit a bit strange, So you know, you have

0:40:26.200 --> 0:40:27.920
<v Speaker 1>to be delicate with that to begin with. And then

0:40:28.640 --> 0:40:31.080
<v Speaker 1>what I think in my experience, I hope and certainly

0:40:31.080 --> 0:40:33.560
<v Speaker 1>in my experience with Dawn, was that it becomes a

0:40:33.680 --> 0:40:36.640
<v Speaker 1>very inclusive thing. You know, the actors feel very much

0:40:36.719 --> 0:40:39.200
<v Speaker 1>part of the work that you're creating. I had really

0:40:39.239 --> 0:40:41.520
<v Speaker 1>strong ideas about what I what I wanted to do,

0:40:41.560 --> 0:40:44.960
<v Speaker 1>and Martin ru and I spent many hours and days

0:40:46.520 --> 0:40:49.960
<v Speaker 1>planning scenes, talking about how they should feel, how they

0:40:50.000 --> 0:40:52.239
<v Speaker 1>how we might shoot them. As this scene going to

0:40:52.280 --> 0:40:54.040
<v Speaker 1>be shot in one shot. I wanted to do that

0:40:54.080 --> 0:40:56.799
<v Speaker 1>with some of the scenes. Is this a scene that

0:40:56.840 --> 0:40:59.000
<v Speaker 1>needs a lot of coverage? And we really mapped out

0:40:59.840 --> 0:41:02.160
<v Speaker 1>a sort of pre idea that I would have a

0:41:02.160 --> 0:41:04.880
<v Speaker 1>say a game, I could be over here, say daquotas

0:41:04.960 --> 0:41:06.920
<v Speaker 1>there and we would come up with shots, you know,

0:41:07.320 --> 0:41:09.279
<v Speaker 1>And we had that at that plan, but it was

0:41:09.280 --> 0:41:11.360
<v Speaker 1>always understood that plan was going to change when we

0:41:11.400 --> 0:41:13.960
<v Speaker 1>got on set, and we needed to have the guts

0:41:13.960 --> 0:41:17.120
<v Speaker 1>and the freedom to change it if we wanted, and

0:41:17.520 --> 0:41:19.799
<v Speaker 1>we did, and we would what We would mainly start

0:41:19.880 --> 0:41:21.960
<v Speaker 1>off on the scene just with me and the other

0:41:22.000 --> 0:41:24.080
<v Speaker 1>actors in the room alone. It was quite odd at

0:41:24.080 --> 0:41:26.280
<v Speaker 1>first because we would say the first assistant was say, okay,

0:41:26.600 --> 0:41:28.960
<v Speaker 1>clear the set for the director and the actors, and

0:41:28.960 --> 0:41:31.480
<v Speaker 1>everyone would leave and it would just be me and

0:41:31.719 --> 0:41:33.680
<v Speaker 1>Jennifer and me and Dakota, and I'd be looking over

0:41:33.719 --> 0:41:35.799
<v Speaker 1>my shoulder for the director to I realized it was

0:41:36.080 --> 0:41:38.520
<v Speaker 1>it was me. And so then we would work on

0:41:38.520 --> 0:41:41.279
<v Speaker 1>the scene and because would start saying, look, this is

0:41:41.280 --> 0:41:44.200
<v Speaker 1>what I imagined, this is what my thought was. What

0:41:44.239 --> 0:41:46.040
<v Speaker 1>do you think. We would try it, and then we

0:41:46.040 --> 0:41:47.960
<v Speaker 1>would add to it or change it, or sometimes just

0:41:48.000 --> 0:41:49.879
<v Speaker 1>leave it as it was, and then we would get

0:41:49.880 --> 0:41:51.080
<v Speaker 1>Martin to come in and have a look at it,

0:41:51.120 --> 0:41:54.120
<v Speaker 1>and we would decide on the shots. And but but

0:41:54.239 --> 0:41:58.120
<v Speaker 1>because of that process, I think the actors felt I hope,

0:41:58.120 --> 0:42:00.960
<v Speaker 1>so I felt really involved in the creating of these scenes.

0:42:01.000 --> 0:42:04.040
<v Speaker 1>You know. I I know as an actor, I never

0:42:04.080 --> 0:42:06.279
<v Speaker 1>like to walk on a set and be told what

0:42:06.360 --> 0:42:08.560
<v Speaker 1>I'm doing. I don't like to be shown what the

0:42:08.600 --> 0:42:12.600
<v Speaker 1>stat what the standing has done with the director before

0:42:12.600 --> 0:42:15.120
<v Speaker 1>I've arrived. Well, he was over there, so there's your market.

0:42:15.160 --> 0:42:17.080
<v Speaker 1>He boks over there, And I think, well, you should

0:42:17.080 --> 0:42:18.680
<v Speaker 1>just have got the standing to do the bar then,

0:42:18.719 --> 0:42:22.080
<v Speaker 1>because I'm not a sort of puppet, you know. Um

0:42:22.120 --> 0:42:23.920
<v Speaker 1>so I would never direct like that, and I didn't,

0:42:24.000 --> 0:42:27.160
<v Speaker 1>and I think it makes the actors feel. I love

0:42:27.160 --> 0:42:28.920
<v Speaker 1>it as an as an actor, when you're when you're

0:42:28.920 --> 0:42:31.440
<v Speaker 1>involved in in the creating of a scene, in creatively

0:42:31.480 --> 0:42:35.239
<v Speaker 1>involved in that. Yeah. Uh, you get asked about Star

0:42:35.280 --> 0:42:39.080
<v Speaker 1>Wars all the time, so I apologize upfront, but I

0:42:39.120 --> 0:42:42.080
<v Speaker 1>think this is a different question. You know, You're work

0:42:42.120 --> 0:42:45.719
<v Speaker 1>in those movies is nothing if not immortal, just by

0:42:45.840 --> 0:42:50.960
<v Speaker 1>nature of that enterprise. Obviously, I think the New Lucas

0:42:50.960 --> 0:42:53.239
<v Speaker 1>film and Kathy Kennedy that they're kind of stewards of

0:42:53.280 --> 0:42:56.520
<v Speaker 1>your work now. They are going to the movies they're

0:42:56.560 --> 0:42:58.800
<v Speaker 1>making now, are going to just ensure that this franchise

0:42:58.800 --> 0:43:01.040
<v Speaker 1>continues to live on long after you're gone. Essentially, you're

0:43:01.080 --> 0:43:03.240
<v Speaker 1>Obi Wan Kenobe is going to be edged in stone,

0:43:03.960 --> 0:43:06.880
<v Speaker 1>and I would imagine that part of the artist's goal

0:43:07.080 --> 0:43:09.680
<v Speaker 1>is to have some form of longevity. So do you

0:43:09.719 --> 0:43:12.520
<v Speaker 1>ever think about your working star Wars with that in mind?

0:43:12.560 --> 0:43:15.080
<v Speaker 1>Is that kind of trippy to just know that the

0:43:15.120 --> 0:43:17.600
<v Speaker 1>image you struck in that movie, the performance you gave,

0:43:18.120 --> 0:43:19.759
<v Speaker 1>the role you helped carve out, is going to have

0:43:19.840 --> 0:43:24.239
<v Speaker 1>such a life for so long. I don't spend any

0:43:24.280 --> 0:43:30.719
<v Speaker 1>time thinking about it at all, not really, But I mean,

0:43:30.760 --> 0:43:34.760
<v Speaker 1>it is a peculiar. It is unique in that respect.

0:43:34.840 --> 0:43:37.719
<v Speaker 1>It is a film that keeps getting seen. Yeah, and

0:43:37.800 --> 0:43:40.960
<v Speaker 1>I know, and and and usually with each new film

0:43:41.000 --> 0:43:42.919
<v Speaker 1>I think people go back to the old films again.

0:43:42.960 --> 0:43:45.600
<v Speaker 1>It seems like that, I guess. I mean, I don't.

0:43:45.640 --> 0:43:48.080
<v Speaker 1>I don't fully understand it. I'm not sure quite how

0:43:49.280 --> 0:43:53.799
<v Speaker 1>George did it or because because it strikes into the

0:43:53.840 --> 0:43:56.080
<v Speaker 1>minds of young kids all over the world all the time,

0:43:56.160 --> 0:44:00.839
<v Speaker 1>and it's it's it's still as big for little kids

0:44:00.840 --> 0:44:02.400
<v Speaker 1>now as it was for me when I was a

0:44:02.400 --> 0:44:05.320
<v Speaker 1>little and that's I don't really understand how he managed

0:44:05.360 --> 0:44:07.880
<v Speaker 1>to do that. It's really part of our fabric somehow

0:44:08.560 --> 0:44:12.319
<v Speaker 1>in a way that other movies aren't. I don't I

0:44:12.360 --> 0:44:14.319
<v Speaker 1>don't begin to understand how he managed to do that.

0:44:14.600 --> 0:44:16.680
<v Speaker 1>I'm very happy to be part of it. I always

0:44:16.760 --> 0:44:20.080
<v Speaker 1>felt like that I was I was enormously excited to

0:44:20.080 --> 0:44:24.319
<v Speaker 1>be part of them, um, and I'm very happy to

0:44:24.360 --> 0:44:26.600
<v Speaker 1>be in them. I found that I've always been open

0:44:26.600 --> 0:44:29.880
<v Speaker 1>about the process was not easy for me. I didn't

0:44:29.880 --> 0:44:33.560
<v Speaker 1>like the blue screen environment that it became. You know,

0:44:33.600 --> 0:44:35.919
<v Speaker 1>the first the first one we shot had lots of

0:44:36.080 --> 0:44:39.520
<v Speaker 1>sets and and it was and and then the more

0:44:39.560 --> 0:44:42.200
<v Speaker 1>they went on Episode two and three became more and

0:44:42.280 --> 0:44:44.600
<v Speaker 1>more like working in a big blue space or a

0:44:44.600 --> 0:44:47.319
<v Speaker 1>big green space. You know, we'd finished set, we're work

0:44:47.360 --> 0:44:48.800
<v Speaker 1>on one stage and they go, okay, we're in the

0:44:48.840 --> 0:44:51.640
<v Speaker 1>wrong stage, go to stage five, and we'd leave one

0:44:51.719 --> 0:44:53.759
<v Speaker 1>big green empty space to go over onto stage five,

0:44:53.800 --> 0:44:56.160
<v Speaker 1>which was a big blue empty space, you know. And

0:44:56.200 --> 0:44:59.080
<v Speaker 1>it was months of it, and I found that difficult

0:44:59.120 --> 0:45:01.040
<v Speaker 1>As an actor, it's just not I mean, it's much

0:45:01.040 --> 0:45:04.120
<v Speaker 1>easier to be in a set that's the right set

0:45:04.160 --> 0:45:07.320
<v Speaker 1>with actors and who are the right actors. And however,

0:45:08.640 --> 0:45:10.880
<v Speaker 1>it sort of horns the skill. It's another skill. You

0:45:10.920 --> 0:45:13.040
<v Speaker 1>still have to be believable in those films, still have

0:45:13.120 --> 0:45:16.840
<v Speaker 1>to portray a character. And I hope I did Alec

0:45:16.880 --> 0:45:21.360
<v Speaker 1>Guinness proud or just I hope I you know, I

0:45:21.360 --> 0:45:23.680
<v Speaker 1>didn't let him down because I was trying to portray

0:45:23.760 --> 0:45:25.560
<v Speaker 1>him as a young man. And that was an interesting

0:45:25.600 --> 0:45:28.439
<v Speaker 1>experience too to go back to watch lots of Alec

0:45:28.480 --> 0:45:31.800
<v Speaker 1>Guinness's early work, which was thrilling because I came across

0:45:31.840 --> 0:45:33.719
<v Speaker 1>lots of films that I hadn't seen before, one of

0:45:33.719 --> 0:45:37.040
<v Speaker 1>which was called The Card, which I just adore, and

0:45:37.080 --> 0:45:40.760
<v Speaker 1>I got to see his early work and then try

0:45:40.800 --> 0:45:44.319
<v Speaker 1>and bring sort of me, try and bring me and

0:45:44.440 --> 0:45:46.640
<v Speaker 1>the young Alec Guinness together somehow to do what I

0:45:46.680 --> 0:45:50.560
<v Speaker 1>did in those films, and um, you know, I hope

0:45:50.560 --> 0:45:53.000
<v Speaker 1>I did. I hope I did him justice there. I

0:45:53.040 --> 0:45:54.560
<v Speaker 1>know a lot of people would love to see you.

0:45:55.360 --> 0:45:58.600
<v Speaker 1>You've addressed it before. Do like an obi Wan movie. Yeah,

0:45:58.680 --> 0:46:00.840
<v Speaker 1>here's my pitch, and it looked this is for lucasfilm,

0:46:00.920 --> 0:46:04.120
<v Speaker 1>this is for free Get you and Rodrigo and Chivo

0:46:04.239 --> 0:46:09.200
<v Speaker 1>back together and go back out into the desert. Shoot

0:46:09.200 --> 0:46:12.160
<v Speaker 1>the obi Wan in the desert movie. Very minimal. Maybe

0:46:12.160 --> 0:46:14.200
<v Speaker 1>he brings out a lightsaber to like cook something, and

0:46:14.200 --> 0:46:16.719
<v Speaker 1>then that's the one time you see a light or something.

0:46:17.560 --> 0:46:19.799
<v Speaker 1>It would be just this minimalist Star Wars movie. People

0:46:19.800 --> 0:46:22.520
<v Speaker 1>would not know what hit them. Yeah, that could be trippy,

0:46:22.640 --> 0:46:24.440
<v Speaker 1>That could be cool. All right, I'll speak to my

0:46:24.480 --> 0:46:29.520
<v Speaker 1>people there you go, ok uh, Mulan Rouge fifteen years ago?

0:46:29.680 --> 0:46:31.480
<v Speaker 1>Oh is this? Can you believe that goodness a teen

0:46:31.560 --> 0:46:36.000
<v Speaker 1>years ago this year? Yes, that's right, that's right. No,

0:46:36.160 --> 0:46:38.319
<v Speaker 1>I mean that that talk about feeling in the right

0:46:38.360 --> 0:46:41.320
<v Speaker 1>place at the right time, that was extraordinary. Like working

0:46:41.320 --> 0:46:43.560
<v Speaker 1>on those sets was like being in the Mulin Rouge

0:46:44.480 --> 0:46:46.520
<v Speaker 1>in Paris, sol that we were in Australia. It was

0:46:46.560 --> 0:46:51.760
<v Speaker 1>an extraordinary experience. I was talking about it recently. Was somebody, um,

0:46:51.840 --> 0:46:54.400
<v Speaker 1>just how amazing it is to work with music and

0:46:54.440 --> 0:46:59.120
<v Speaker 1>with and to work with somebody as fantastical and imaginative

0:46:59.120 --> 0:47:03.239
<v Speaker 1>as Basler and his his partners, as Katherine Martin who's

0:47:03.280 --> 0:47:08.840
<v Speaker 1>his designer and production designer and costume designer. It's really

0:47:08.840 --> 0:47:13.560
<v Speaker 1>wonderful and the best films and we worked the work

0:47:13.600 --> 0:47:16.280
<v Speaker 1>on it was phenomenal. We worked on it for months

0:47:16.320 --> 0:47:18.160
<v Speaker 1>before we started shooting. I mean, we were all there

0:47:18.160 --> 0:47:20.359
<v Speaker 1>for it. We did a two week workshop and then

0:47:20.400 --> 0:47:23.160
<v Speaker 1>we went away and then six months later we came back.

0:47:23.400 --> 0:47:25.600
<v Speaker 1>I mean that two week workshop was like working songs

0:47:25.640 --> 0:47:28.680
<v Speaker 1>and movement a bit, and then we presented it like

0:47:28.719 --> 0:47:32.360
<v Speaker 1>a play, reading to all the creative people, but it

0:47:32.400 --> 0:47:34.200
<v Speaker 1>was like a real event. It was like a show,

0:47:34.360 --> 0:47:37.160
<v Speaker 1>you know. And then we all went away. Six months

0:47:37.200 --> 0:47:39.080
<v Speaker 1>later we came back and we started rehearsals, and the

0:47:39.120 --> 0:47:41.880
<v Speaker 1>rehearsals were I think three or four months. We did

0:47:41.960 --> 0:47:46.160
<v Speaker 1>dancing every day, singing every day, um, working on scenes.

0:47:46.320 --> 0:47:49.640
<v Speaker 1>The scenes were totally constantly being rewritten. Work we would

0:47:49.840 --> 0:47:52.919
<v Speaker 1>we would do on scenes would then be incorporated into

0:47:52.920 --> 0:47:56.040
<v Speaker 1>the next draft. So we really felt as actor as

0:47:56.040 --> 0:47:58.400
<v Speaker 1>that we were being involved in the whole process. We

0:47:58.440 --> 0:48:01.840
<v Speaker 1>had long chat you know, discussed with bars about even storyline,

0:48:01.880 --> 0:48:03.680
<v Speaker 1>about what happened with the prince at the end and

0:48:04.440 --> 0:48:08.280
<v Speaker 1>at the duke at the end, and then we started

0:48:08.320 --> 0:48:10.160
<v Speaker 1>to shoot. And by the time we started to shoot,

0:48:10.200 --> 0:48:13.000
<v Speaker 1>it was completely second nature to break into song or

0:48:13.120 --> 0:48:16.960
<v Speaker 1>break into a dance, which is why it's seamless in

0:48:16.960 --> 0:48:19.480
<v Speaker 1>a way. It doesn't have that awkward when we're in

0:48:19.480 --> 0:48:22.960
<v Speaker 1>a song moment a lot of musicals have. It's an

0:48:22.960 --> 0:48:25.040
<v Speaker 1>interesting genre that I think could be explored in more

0:48:25.080 --> 0:48:27.880
<v Speaker 1>creative ways. Here's a film this year, La La End

0:48:27.960 --> 0:48:31.919
<v Speaker 1>that that does it in just a brilliant way. And yeah,

0:48:31.920 --> 0:48:33.680
<v Speaker 1>I remember at the time. I remember at the time

0:48:33.680 --> 0:48:36.680
<v Speaker 1>that it came out head Big and The Angry Inch

0:48:36.800 --> 0:48:38.920
<v Speaker 1>also came out, and it was a It was a

0:48:39.000 --> 0:48:41.800
<v Speaker 1>musical movie, and I felt very much at the time

0:48:41.800 --> 0:48:45.080
<v Speaker 1>that that was I thought, oh God, that this I

0:48:45.160 --> 0:48:47.799
<v Speaker 1>really felt like musical movies were back. I thought with

0:48:47.880 --> 0:48:51.200
<v Speaker 1>Moon Rosion Hedwig, I thought that this is the start

0:48:51.200 --> 0:48:53.120
<v Speaker 1>of something new, because I felt like Headig really had

0:48:53.120 --> 0:48:57.880
<v Speaker 1>a contemporary It was completely modern musical on film that

0:48:57.960 --> 0:49:02.600
<v Speaker 1>was brilliant um and Ours was big and colorful and

0:49:02.600 --> 0:49:05.640
<v Speaker 1>and and and and enormous, and I felt like it

0:49:05.719 --> 0:49:07.880
<v Speaker 1>was going to spark off a new wave of musical

0:49:07.920 --> 0:49:11.759
<v Speaker 1>which hasn't really happened. And then I wished it would.

0:49:11.800 --> 0:49:13.799
<v Speaker 1>I'd like to try. I'd like to try and do

0:49:14.440 --> 0:49:20.719
<v Speaker 1>I mean, there's the Irish film Once Again. That's that's

0:49:20.719 --> 0:49:22.640
<v Speaker 1>that I think as a that's where we could go

0:49:22.760 --> 0:49:25.640
<v Speaker 1>with it, where where it doesn't have to be huge,

0:49:25.719 --> 0:49:28.120
<v Speaker 1>and they don't have to be numbers. It can just

0:49:28.160 --> 0:49:31.200
<v Speaker 1>be we can incorporate music as part of the storytelling

0:49:31.480 --> 0:49:34.680
<v Speaker 1>organically and chanically and in a contemporary way, and in

0:49:34.719 --> 0:49:36.840
<v Speaker 1>a small way like Once, which is so moving and

0:49:37.120 --> 0:49:41.440
<v Speaker 1>and simple, like there's no explanation for anything. She's you know,

0:49:41.480 --> 0:49:43.360
<v Speaker 1>you can see as she's walking down from the shop

0:49:43.880 --> 0:49:45.919
<v Speaker 1>going back to her flat. You can see people, kids

0:49:45.920 --> 0:49:47.920
<v Speaker 1>in the street looking in the camera and it just

0:49:47.960 --> 0:49:51.239
<v Speaker 1>doesn't matter, you know. I think I'm inspired by that

0:49:51.320 --> 0:49:52.759
<v Speaker 1>kind of thing. So I'd love to be part of

0:49:52.800 --> 0:49:55.720
<v Speaker 1>more musical work on film. I think it would be amazing.

0:49:56.280 --> 0:49:59.319
<v Speaker 1>And then last thing here Train Spotting two. Yeah, you know,

0:49:59.400 --> 0:50:02.279
<v Speaker 1>obviously huge fan base for that first film. In fact,

0:50:02.360 --> 0:50:05.520
<v Speaker 1>I think I think people are just nervous at them

0:50:05.600 --> 0:50:07.640
<v Speaker 1>at the idea of a of a sequel to the

0:50:07.680 --> 0:50:09.600
<v Speaker 1>film that they love. So what can you tell them

0:50:09.600 --> 0:50:13.160
<v Speaker 1>to assuage any kind of nerves they might have to

0:50:14.440 --> 0:50:18.440
<v Speaker 1>be afraid? I don't know. Working with Danny again, I mean,

0:50:18.560 --> 0:50:20.120
<v Speaker 1>it was amazing to work with Danny again and the

0:50:20.200 --> 0:50:22.920
<v Speaker 1>boys and everyone. It was great to be back. It

0:50:23.040 --> 0:50:25.319
<v Speaker 1>was a sort of very We each talked about it,

0:50:26.040 --> 0:50:29.440
<v Speaker 1>Johnny and you and Bremner, Robert Carlisle. We talked about

0:50:31.880 --> 0:50:35.000
<v Speaker 1>stepping back in their shoes of renting and Spud and

0:50:35.040 --> 0:50:38.720
<v Speaker 1>sick Boy and Begbie. It was sort of a little scary,

0:50:38.920 --> 0:50:43.040
<v Speaker 1>the idea that maybe you wouldn't be able to get

0:50:43.080 --> 0:50:47.000
<v Speaker 1>back in there, or you know, trying to be back

0:50:47.000 --> 0:50:49.000
<v Speaker 1>in the skin of a character you last played twenty

0:50:49.080 --> 0:50:52.520
<v Speaker 1>years ago, before you knew a lot of the things

0:50:52.520 --> 0:50:54.480
<v Speaker 1>you know now do in the business as well, and

0:50:54.520 --> 0:50:56.960
<v Speaker 1>just how how you perform and just your trade and

0:50:57.000 --> 0:50:59.319
<v Speaker 1>your craft and everything that kind of makes you a

0:50:59.320 --> 0:51:01.560
<v Speaker 1>different person. It makes you a different person. And then

0:51:02.040 --> 0:51:06.000
<v Speaker 1>and also you just because of this, because the love

0:51:06.040 --> 0:51:07.360
<v Speaker 1>people have for the film and the love that we

0:51:07.440 --> 0:51:09.839
<v Speaker 1>have for the film, and how important the movie was,

0:51:09.840 --> 0:51:13.080
<v Speaker 1>and in terms of the movie, the movie history, and

0:51:13.120 --> 0:51:16.640
<v Speaker 1>in terms of for all of our careers, it was

0:51:16.680 --> 0:51:19.040
<v Speaker 1>a big, big deal. And we all felt very protective

0:51:19.080 --> 0:51:21.319
<v Speaker 1>over the original film, and so there was a sort

0:51:21.320 --> 0:51:23.680
<v Speaker 1>of trepidation about getting back in there and would we

0:51:23.680 --> 0:51:25.080
<v Speaker 1>be able to do it, and would it would it

0:51:25.120 --> 0:51:27.960
<v Speaker 1>feel right? Would it? But then, of course all of

0:51:28.000 --> 0:51:32.160
<v Speaker 1>those worries somehow fits so beautifully into the minds of

0:51:32.160 --> 0:51:35.480
<v Speaker 1>the characters in the movie that John Hodges so brilliantly

0:51:35.480 --> 0:51:38.480
<v Speaker 1>crafted that it was never an issue once we started

0:51:38.520 --> 0:51:40.439
<v Speaker 1>the first once we all had our first scene done,

0:51:40.960 --> 0:51:43.200
<v Speaker 1>we were all back, you know, and it felt really good.

0:51:43.760 --> 0:51:46.200
<v Speaker 1>It felt really easy. It was like it was like

0:51:46.520 --> 0:51:50.320
<v Speaker 1>meeting an old friend again. Um, where time doesn't really

0:51:50.600 --> 0:51:52.120
<v Speaker 1>you might not have seen each other for ten years,

0:51:52.160 --> 0:51:53.839
<v Speaker 1>but in actually fact, when you start chatting, it doesn't

0:51:53.880 --> 0:51:56.160
<v Speaker 1>feel like a day's past. It was like that, and

0:51:56.200 --> 0:51:57.759
<v Speaker 1>it was great to be back on set with Danny,

0:51:57.800 --> 0:52:00.200
<v Speaker 1>who have missed and you know, I loved all the

0:52:00.239 --> 0:52:02.399
<v Speaker 1>work I did with him is some of the most

0:52:02.440 --> 0:52:05.239
<v Speaker 1>important work that I've ever done for me, and so

0:52:05.280 --> 0:52:07.800
<v Speaker 1>I've sort of missed working with him over these years,

0:52:07.840 --> 0:52:09.560
<v Speaker 1>and it felt really good to be back on set

0:52:09.600 --> 0:52:11.680
<v Speaker 1>with him. Awesome. I can't wait to see that. I

0:52:11.719 --> 0:52:13.279
<v Speaker 1>can talk to you about a number of other things

0:52:13.280 --> 0:52:15.440
<v Speaker 1>like beauty and the Beast being part of that and stuff,

0:52:15.480 --> 0:52:16.600
<v Speaker 1>but I don't want to take too much more of

0:52:16.600 --> 0:52:18.480
<v Speaker 1>your time. But do tell me. Have you recorded your

0:52:18.480 --> 0:52:21.640
<v Speaker 1>part for that? We did. We did it. We've done

0:52:21.640 --> 0:52:26.759
<v Speaker 1>it lovely luckily several times. We did it while they

0:52:26.760 --> 0:52:30.319
<v Speaker 1>were shooting the film in London over a year ago,

0:52:31.360 --> 0:52:34.200
<v Speaker 1>and uh, and then of course since they finished the film,

0:52:34.200 --> 0:52:35.560
<v Speaker 1>we've gone back and done it and we do. You know,

0:52:35.600 --> 0:52:40.719
<v Speaker 1>I'm I'm Problumar at the Candelabra, Yes, and so we

0:52:40.719 --> 0:52:43.200
<v Speaker 1>played We did have some real live action on set

0:52:43.239 --> 0:52:45.920
<v Speaker 1>as well as being animated, so we got to record

0:52:45.960 --> 0:52:50.200
<v Speaker 1>the role, acting the role, and then I had some

0:52:50.320 --> 0:52:52.480
<v Speaker 1>musical numbers to record too, which was great. It was

0:52:52.560 --> 0:52:55.520
<v Speaker 1>nice to sing again. That'll be fun. Yeah, well great,

0:52:55.520 --> 0:52:57.560
<v Speaker 1>man Will. Congrats on the movie in good luck with

0:52:57.560 --> 0:52:59.959
<v Speaker 1>it as it goes out into the marketplace American pat Store.

0:53:00.200 --> 0:53:02.160
<v Speaker 1>And thanks for being a guest on my podcast. Man,

0:53:02.160 --> 0:53:04.120
<v Speaker 1>I appreciate my great pleasure. Thanks for having me. It's

0:53:04.120 --> 0:53:15.440
<v Speaker 1>all right. Thanks again for listening everyone. Remember to subscribe

0:53:15.480 --> 0:53:18.160
<v Speaker 1>and check back next week. You've been listening to playback

0:53:18.239 --> 0:53:35.120
<v Speaker 1>at Variety