WEBVTT - Viggo Mortensen, From Warrior King to Captain Fantastic

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<v Speaker 1>This is Alec Baldwin and you're listening to Here's the thing,

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<v Speaker 1>My chance to talk with artists, policy makers and performers,

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<v Speaker 1>to hear their stories. What inspires their creations, what decisions

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<v Speaker 1>change their careers, what relationships influenced their work. My guest

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<v Speaker 1>today is actor Viggo Mortenson. He was relatively unknown when

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<v Speaker 1>he appeared in Peter Jackson's The Lord of the Rings

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<v Speaker 1>trilogy as the warrior king Arragorn. Mortenson brought an earthy

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<v Speaker 1>realism to a fantasy world filled with elves and wizards.

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<v Speaker 1>The overwhelmingly successful films changed the course of Mortenson's career

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<v Speaker 1>and he shot to global stardom. His latest film is

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<v Speaker 1>about a very different kind of fantasy. Captain Fantastic is

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<v Speaker 1>the story of a father trying to raise his six

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<v Speaker 1>children outside of conventionality and what happens when that fantasy collapses.

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<v Speaker 1>Mortenson himself was raised on three different continents, and he

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<v Speaker 1>says his own imagination was formed at an early age,

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<v Speaker 1>maybe because when that happens to you, when you're uprooted

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<v Speaker 1>a lot, you your fantasy world becomes a little more intense.

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<v Speaker 1>You know, you replace the friends that you have to

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<v Speaker 1>say goodbye to all the time with maybe imaginary friends.

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<v Speaker 1>Yeah I did. I mean the kids in the movie here,

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<v Speaker 1>they're isolated from other people, that's for sure there, you know,

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<v Speaker 1>as you see at the beginning, they're in the middle

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<v Speaker 1>of the four the youngest of them have never met

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<v Speaker 1>other people, and they're used to just being very self sufficient.

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<v Speaker 1>But yeah, when I was when I was a kid,

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<v Speaker 1>we did move around a lot, and I grew up

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<v Speaker 1>in a sort of multi cultural environment. And maybe that

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<v Speaker 1>what did your dad do? He was he's raised down

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<v Speaker 1>a farm. He's Danish and farm boys sort of self made.

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<v Speaker 1>He he left home during high school. He didn't even

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<v Speaker 1>finish high school. But then he he met my mom,

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<v Speaker 1>who's from the US, was working in Norway, and fell

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<v Speaker 1>in love and got married and he moved here and

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<v Speaker 1>he decided, well, I'm gonna be a businessman. And so

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<v Speaker 1>he taught himself English and somehow got himself into a

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<v Speaker 1>business school here and did four years worth of studying

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<v Speaker 1>two years, you know, very driven when my mom was

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<v Speaker 1>working and supporting himself. And uh, and then when I

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<v Speaker 1>was born in in New York, we moved to South

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<v Speaker 1>America because that's where he got a job and and

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<v Speaker 1>do you have a lot of vivid memories of growing

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<v Speaker 1>up down they're living down there? Yeah, yeah, when I

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<v Speaker 1>was little, we lived in urban settings, and what I said,

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<v Speaker 1>it is and also in the in the country. My dad,

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<v Speaker 1>just like his dad had told him when I was

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<v Speaker 1>very young, my brothers and I all went camping with

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<v Speaker 1>him a lot, went into wild places, hunting, fishing, all that.

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<v Speaker 1>So those things were entirely How many brothers do you

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<v Speaker 1>have too? Are they in the business as well? No,

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<v Speaker 1>they're they studied geology quite different, although they're they're good.

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<v Speaker 1>They're musicians. And I would have felt the youngest one,

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<v Speaker 1>he was sort of very good mimic and um, you know,

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<v Speaker 1>very gifted in that way. And you know, if you

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<v Speaker 1>would have guessed when we were little boys, who if

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<v Speaker 1>one of them is going to be an actor, probably

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<v Speaker 1>would have been him, not me? Right, Yeah, what what

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<v Speaker 1>would they have guessed? You would have been a horse trainer.

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<v Speaker 1>I don't maybe someone who has spent a lot of

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<v Speaker 1>time himself. Probably I was. I mean I had friends,

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<v Speaker 1>not a lot of them. I had a couple of

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<v Speaker 1>good friends. And then maybe because of this itinerant thing,

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<v Speaker 1>but I didn't really I wasn't very social, I guess,

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<v Speaker 1>and I was kind of shy about I mean, I

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<v Speaker 1>would have never imagined trying out for a play or music.

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<v Speaker 1>How did that happen? How did someone who because you

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<v Speaker 1>seem so private and so um. Well, actually I did

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<v Speaker 1>have one experience. I was junior high or so. Once

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<v Speaker 1>we moved to the United States. A friend of mine

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<v Speaker 1>was really into to the idea of becoming an actor,

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<v Speaker 1>and he loved musical and he was just really he

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<v Speaker 1>knew everything about the theater in New York. And he said,

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<v Speaker 1>you gotta try it for this play. It's great. It's

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<v Speaker 1>it's called it was Hello Dolly Triumphant. And I said, what, no,

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<v Speaker 1>I can't you imagine me trying out for Hello. Valley's

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<v Speaker 1>debut is Hello Dolly? Right? And so I go, What

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<v Speaker 1>I gotta do is did you go there and you

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<v Speaker 1>go on the stage and you know, on theitorium and

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<v Speaker 1>then you you just don't give you something to read

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<v Speaker 1>or you bring something to read? I remember who was

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<v Speaker 1>In any case, I went out, very unwillingly, out on

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<v Speaker 1>this stage and there's this, you know, the theater teacher

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<v Speaker 1>and whoever else is there? And uh, I read the

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<v Speaker 1>first paragraph from David Copperfield, or tried to, but every

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<v Speaker 1>three words they say louder louder, and I just would

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<v Speaker 1>shrink and shrink, and I finally just closed the book

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<v Speaker 1>and ran off. And that was my only foray other

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<v Speaker 1>than I think when I in Argentina when I was

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<v Speaker 1>like six, they put me in a play Georgia the Dragon,

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<v Speaker 1>and that was the ass End of the Dragon. It

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<v Speaker 1>was just a gray suit felters, Hello Dolly, or the

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<v Speaker 1>ass End of the Dragons. It sounds like my career.

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<v Speaker 1>And so how does it begin for you? Meaning the

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<v Speaker 1>person who was shy in private and likes to spend

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<v Speaker 1>time with himself, how does he cross that divide? Well,

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<v Speaker 1>at I guess the relatively late as something like that.

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<v Speaker 1>Where were you then? I was in I was in Denmark. Well,

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<v Speaker 1>I have a lot of family that our cousins and stuff.

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<v Speaker 1>And I had a girl that I liked there and

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<v Speaker 1>I had different jobs, you know, pretty you know, like

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<v Speaker 1>manual labor kind of jobs, factory dog worker. Best one

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<v Speaker 1>was selling flowers on the street. That was nice. And uh,

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<v Speaker 1>I always like to see movies, my mom when I

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<v Speaker 1>was little. You should take me to pretty grown up movies.

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<v Speaker 1>You know, I remember Dr Schivago or to see you know,

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<v Speaker 1>these long movies with intermissions been her Lawrence of Arabia,

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<v Speaker 1>and I love that. I love the experience of seeing

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<v Speaker 1>the movies with her and through her and talking with

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<v Speaker 1>her in the intermission. And of course he'd also maybe

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<v Speaker 1>get a piece of chocolate and the intermission that was

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<v Speaker 1>not bad. And but the whole she really was into

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<v Speaker 1>that and has she been. You know, she was typical

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<v Speaker 1>mom from our parents generation, meaning that she's the one

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<v Speaker 1>you saw all the time. And your dad would leave

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<v Speaker 1>early and come home late, and you might see him

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<v Speaker 1>at dinner, but more likely maybe not, maybe not even

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<v Speaker 1>to be tucked in and then but you see him

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<v Speaker 1>on the weekend. Uh, my dad is my mom passed

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<v Speaker 1>away last year? And where were she at the end?

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<v Speaker 1>And back where she was from Watertown Young It's no,

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<v Speaker 1>it's funny you say that. You said Watertown because my family,

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<v Speaker 1>my mother's family from Syracuse and we spent a lot

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<v Speaker 1>of time up in uh last guy, Watertown, Lake, Ontario,

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<v Speaker 1>Selkirk Shores, Sandy Pond. My whole childhood was in that

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<v Speaker 1>early it's beautiful area anyway, Yeah, and so you wouldn't

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<v Speaker 1>see your dad, and I wouldn't that so much. But

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<v Speaker 1>did you rather take the other boys to the movies? Too?

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<v Speaker 1>Were just you? I mean later we all went with

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<v Speaker 1>her sometimes, but there was I don't know, I had

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<v Speaker 1>a special connection with the movies through my mom. I'm

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<v Speaker 1>not saying more than my brothers. You'd have to ask somebody.

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<v Speaker 1>That's my recollection. I mean, I think what I was

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<v Speaker 1>saying about her generation is had she not been a

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<v Speaker 1>at home mom, I think she would have probably tried

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<v Speaker 1>acting because she was. She was outgoing and very beautiful,

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<v Speaker 1>and and she knew and cared a lot about movies.

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<v Speaker 1>And Uh my first started out in called so what

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<v Speaker 1>have you been doing? Uh? What do you what do

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<v Speaker 1>you try out for this week? And I'd say, well,

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<v Speaker 1>I'm just saying, Who's who wrote the script? I don't know.

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<v Speaker 1>I just they just gave me four pages. It's just

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<v Speaker 1>I got like three lines. So what are you gonna

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<v Speaker 1>how are you gonna play it? I go, I don't

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<v Speaker 1>even have the part yet. I gotta go in and

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<v Speaker 1>I got you know, who's the director? You know who's

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<v Speaker 1>in it? Were a tie or no tie? Didn't do

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<v Speaker 1>a tie? Yeah? You know you mustache fake mustache when

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<v Speaker 1>you know whatever, all this stuff should he has a

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<v Speaker 1>patch on his eye. And if I'd say, well, I

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<v Speaker 1>think the director's name is and I would say, oh, yeah, yeah,

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<v Speaker 1>he's not very good, but you never know, it's a

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<v Speaker 1>part good, you know, and like, and I just and

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<v Speaker 1>I stopped sort of telling her so much unless I

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<v Speaker 1>had the part and then we could talk. But because

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<v Speaker 1>because it's very irritating now, of course I realized she

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<v Speaker 1>really cared. One of the most enjoyable experiences I've had

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<v Speaker 1>in recent years. And then boom business was. There was

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<v Speaker 1>one year it's like this, as you know, it's a crapshoot,

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<v Speaker 1>the thing with awards and nominations, and then when you're

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<v Speaker 1>not meant it, well, this year they got it right.

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<v Speaker 1>This year's no I knew it was kind of yeah.

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<v Speaker 1>There was one year I got nominated for all the

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<v Speaker 1>sort of the SAG and the Golden Globes and the

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<v Speaker 1>Oscars and all those in one and uh so I

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<v Speaker 1>said to my mom, do you want to go too?

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<v Speaker 1>I think there's a there's a strike, so Golden Globes

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<v Speaker 1>are canceled, there's no ceremony, but the SAG Awards were

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<v Speaker 1>coming up. I said that could be nice. I think

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<v Speaker 1>it's tables and it's like more relaxed. Do you want

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<v Speaker 1>to go? Mom? Sure? Of course. I was waiting. I

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<v Speaker 1>thought you'd never asked. I said, well, I've never been

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<v Speaker 1>nominated before. She goes, okay, well, yes I'll go, Um,

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<v Speaker 1>I will, I will. I'm gonna get a new dress

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<v Speaker 1>or a pant suit or something. I said, well, whatever

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<v Speaker 1>you want. Do you want some help? No, no, no, no,

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<v Speaker 1>that's something that's my area. And I said fine, So

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<v Speaker 1>she got her things. She flew down. At that point,

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<v Speaker 1>she was living in in northern Idaho, where I was lived.

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<v Speaker 1>She had moved there and lived near my brother and

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<v Speaker 1>a long story, but so she came down the Los Angeles.

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<v Speaker 1>I picked up the airport. We came the day before,

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<v Speaker 1>and we hung out and talked. She had lots of questions,

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<v Speaker 1>but who's gonna be there? I don't know, mom, And

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<v Speaker 1>and then who else is nominated? And and then I

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<v Speaker 1>told her who was nominated? She goes, oh, he did that?

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<v Speaker 1>And he did that. She was like encyclopedia. And then

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<v Speaker 1>we go to the thing, and you know, there's this

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<v Speaker 1>red carpet thing. I said, well, I gotta talk to

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<v Speaker 1>these journalists on the way in and then if you

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<v Speaker 1>don't mind, no, I'll just stand out here and watch

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<v Speaker 1>and see how you do. I'm like, okay, it was

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<v Speaker 1>kind of I knew she was behind. So she watches

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<v Speaker 1>and uh, we walk in and then she's muttering, oh,

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<v Speaker 1>you did okay, except for that one lady, you seem

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<v Speaker 1>like you didn't like her. I said, well, the questions

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<v Speaker 1>were condemn it doesn't matter. You gotta polite to all

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<v Speaker 1>of them. I'm like, yeah, okay. So we sit down

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<v Speaker 1>and then it is tables and uh, and she immediately goes, oh,

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<v Speaker 1>that's and all the older actors and people that I

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<v Speaker 1>didn't know who they were. She knew exactly who they were.

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<v Speaker 1>He was in this, and he was in that, in everything,

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<v Speaker 1>and MAT's John Travolta. I go, yes, it is. He goes,

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<v Speaker 1>excuse me, and she gets up and she goes and

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<v Speaker 1>just just talking to him, and she did that all night.

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<v Speaker 1>It was. It was great. It was it was a fantasy.

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<v Speaker 1>I loved it, and she loved it, and she she

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<v Speaker 1>had a really good time. And uh, they asked I

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<v Speaker 1>had been asked. I've never done this to present one

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<v Speaker 1>of the awards at night, which is a nerve racking thing.

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<v Speaker 1>I was like, I'd rather just learn it. I don't know,

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<v Speaker 1>you should read the things. I don't know what it

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<v Speaker 1>was best supporting actress, I think, And um, yeah, there

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<v Speaker 1>was a sort of gentle critique of my delivery when

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<v Speaker 1>I came back to the table. You know, it's just

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<v Speaker 1>like that kind of night. But I left a lot.

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<v Speaker 1>It was wonderful and I wish I wish I had

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<v Speaker 1>been nominated before that, just so that I could have

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<v Speaker 1>taken my mom wonderful. I took my mom to quite

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<v Speaker 1>a few premiers. You liked that, and uh or either

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<v Speaker 1>took her or she attended, you know. Sometimes once I

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<v Speaker 1>wasn't you know, like if I couldn't be at the

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<v Speaker 1>one in New York City, she would come down Syracuse.

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<v Speaker 1>But there was one that was really fun. It was

0:11:49.000 --> 0:11:51.360
<v Speaker 1>I did a movie called Hidalgo, which I love that movie,

0:11:51.440 --> 0:11:55.559
<v Speaker 1>I said, And it was mar Sharif, isn't it. And

0:11:55.600 --> 0:11:57.880
<v Speaker 1>of course when she took me when I was little

0:11:57.920 --> 0:12:02.160
<v Speaker 1>to see Ductor and Lawrence Arabia and so she, I mean,

0:12:02.200 --> 0:12:03.960
<v Speaker 1>she had a I think she had a crush on

0:12:04.040 --> 0:12:07.360
<v Speaker 1>him like back then and maybe her whole life. I

0:12:07.440 --> 0:12:10.199
<v Speaker 1>don't know, and she came with my stepdad. You know,

0:12:10.280 --> 0:12:13.520
<v Speaker 1>you look a little like O more at this time

0:12:13.559 --> 0:12:15.160
<v Speaker 1>of day, I kind of looked like a little bit.

0:12:15.160 --> 0:12:19.640
<v Speaker 1>It's weird. So in the morning, Uh, yeah, thank you.

0:12:21.480 --> 0:12:26.000
<v Speaker 1>She Uh, she came with my stepdad and uh. It

0:12:26.200 --> 0:12:28.160
<v Speaker 1>was kind of a crazy premiere in l A. I

0:12:28.160 --> 0:12:32.160
<v Speaker 1>actually came down the red carpet on the horse was reining,

0:12:32.200 --> 0:12:34.520
<v Speaker 1>and they were like, don't don't gallop because if you

0:12:34.600 --> 0:12:37.920
<v Speaker 1>slide under a bus and you and the horse get hurt,

0:12:38.120 --> 0:12:41.080
<v Speaker 1>and and if you get hurt, they added, really the

0:12:41.120 --> 0:12:43.680
<v Speaker 1>ps um that would be terrible for us, and you

0:12:43.720 --> 0:12:45.360
<v Speaker 1>know the insurance. I don't know. I don't know, so

0:12:45.440 --> 0:12:47.200
<v Speaker 1>don't worry. I'll just trot in. So I did, and

0:12:47.240 --> 0:12:49.560
<v Speaker 1>the photographers were kind of shocked, and I wrote up

0:12:49.760 --> 0:12:52.280
<v Speaker 1>right up to him and and they started asking questions

0:12:52.320 --> 0:12:53.680
<v Speaker 1>as I don't know, I asked him, and it was

0:12:53.720 --> 0:12:56.360
<v Speaker 1>kind of just silly like that. And my mom's there,

0:12:56.600 --> 0:13:00.160
<v Speaker 1>you know, my stepdad beaming, and uh. I get off

0:13:00.160 --> 0:13:02.960
<v Speaker 1>the horse and I walk over to her and then

0:13:02.960 --> 0:13:07.520
<v Speaker 1>I spot Omar and I go, I look, mom, as

0:13:07.520 --> 0:13:12.600
<v Speaker 1>you guys that's him, And I said, well you can

0:13:12.920 --> 0:13:14.560
<v Speaker 1>you want to meet him. No, no, no, I go, yeah,

0:13:14.679 --> 0:13:17.400
<v Speaker 1>come on. And I had told Omar that my mom

0:13:17.520 --> 0:13:19.880
<v Speaker 1>really was into him, you know, when the shooting and

0:13:20.080 --> 0:13:23.360
<v Speaker 1>he just like put on the swab gentleman. He was

0:13:23.440 --> 0:13:27.920
<v Speaker 1>suddenly looked like from ninety three. And he comes over

0:13:27.960 --> 0:13:31.360
<v Speaker 1>and he takes her hands so gently, just never removing

0:13:31.480 --> 0:13:34.880
<v Speaker 1>his eyes from hers, and kissed her hands so slowly.

0:13:35.080 --> 0:13:38.080
<v Speaker 1>She was like beat red. And my stepdad I thought

0:13:38.080 --> 0:13:39.679
<v Speaker 1>he was going to knife him. I mean, he was

0:13:39.760 --> 0:13:42.360
<v Speaker 1>so upset. I mean, he's insane, he but he was

0:13:42.400 --> 0:13:45.560
<v Speaker 1>just like I thought, he's gonna have a coortinary And

0:13:45.880 --> 0:13:48.439
<v Speaker 1>it was like a highlight. She was just beaming those

0:13:48.480 --> 0:13:50.200
<v Speaker 1>rest of the night. It was like she'd been given

0:13:50.280 --> 0:13:52.679
<v Speaker 1>some kind of you know, drug or something. I have

0:13:52.800 --> 0:13:54.400
<v Speaker 1>the same thing with my sister. I was doing this

0:13:54.440 --> 0:13:56.520
<v Speaker 1>movie at the Edge with Tony Hopkins, and we were

0:13:56.520 --> 0:14:00.640
<v Speaker 1>in the Canadian wilderness, the bay with the bear in

0:14:00.679 --> 0:14:02.480
<v Speaker 1>the woods there where. It was the best experience I've

0:14:02.480 --> 0:14:05.439
<v Speaker 1>ever had making a film because I worshiped Tony. I

0:14:05.559 --> 0:14:07.960
<v Speaker 1>was just the dream of working with Tony and I thought,

0:14:07.960 --> 0:14:10.480
<v Speaker 1>oh God, would if I ever had that chance. I

0:14:10.559 --> 0:14:12.360
<v Speaker 1>just loved him, and here I was making this film

0:14:12.400 --> 0:14:16.280
<v Speaker 1>and my sister, my older sister who at the time

0:14:17.240 --> 0:14:19.440
<v Speaker 1>I was married, has six children. You know, she's a

0:14:19.480 --> 0:14:22.840
<v Speaker 1>pretty solid citizen. She comes up to Canada and see me. Uh,

0:14:23.040 --> 0:14:25.200
<v Speaker 1>Tony's laying on an air mattress because he'd hurt his

0:14:25.240 --> 0:14:27.760
<v Speaker 1>back and right soon after this he was going to

0:14:27.840 --> 0:14:29.560
<v Speaker 1>boo and shut down for two weeks from the back

0:14:29.600 --> 0:14:32.360
<v Speaker 1>surgery where like go in your neck and fix his

0:14:33.640 --> 0:14:36.800
<v Speaker 1>bones and everything. And he's lying there reading the paper,

0:14:36.840 --> 0:14:39.720
<v Speaker 1>and my sister walks up and I go, Tony, um, like,

0:14:39.960 --> 0:14:43.560
<v Speaker 1>meet my sister, Beth. And Tony stands up, fluffs his clothes,

0:14:43.960 --> 0:14:46.440
<v Speaker 1>and then right like a movie, he like just looks

0:14:46.520 --> 0:14:47.840
<v Speaker 1>up for it, makes out of contact or with and

0:14:47.840 --> 0:14:52.720
<v Speaker 1>says Elizabeth with a great pleasure to meet you, and

0:14:52.760 --> 0:14:55.160
<v Speaker 1>takes her hand and does the same exactly, the slow

0:14:55.240 --> 0:14:58.320
<v Speaker 1>kiss on the hand. And my sister turned red. She

0:14:58.360 --> 0:15:00.880
<v Speaker 1>started like trembling a little bit as she worshiped Tony.

0:15:00.920 --> 0:15:02.920
<v Speaker 1>And I thought, these guys just they got it. May

0:15:03.320 --> 0:15:05.320
<v Speaker 1>she walks away and he's done for the day, right,

0:15:05.520 --> 0:15:09.960
<v Speaker 1>He's totally kill himself doing that now for you, Um,

0:15:10.080 --> 0:15:12.320
<v Speaker 1>you were going to give me the where you crossed

0:15:12.360 --> 0:15:14.680
<v Speaker 1>that line and the and the very quiet, private kid

0:15:14.760 --> 0:15:17.680
<v Speaker 1>goes into the business. Two years old, I started, I

0:15:17.720 --> 0:15:20.400
<v Speaker 1>guess I started looking. I mean i'd seen some on TV,

0:15:20.600 --> 0:15:24.240
<v Speaker 1>but I hadn't really seen many, I mean in Argentine

0:15:24.240 --> 0:15:27.160
<v Speaker 1>and seen Argentine movies because that's what you had down there,

0:15:28.000 --> 0:15:30.760
<v Speaker 1>mostly American movies, like it happens every in the world.

0:15:30.760 --> 0:15:33.760
<v Speaker 1>But but i'd see stuff in Argentine. I mean I

0:15:33.760 --> 0:15:36.840
<v Speaker 1>saw cartoons on TV were from there because they were dubbed.

0:15:36.880 --> 0:15:38.520
<v Speaker 1>And then i got here when I was eleven, and

0:15:38.560 --> 0:15:41.560
<v Speaker 1>I'm like looking at You'll be Bear and you know,

0:15:41.760 --> 0:15:46.000
<v Speaker 1>speed Racer, and said, oh, these are not Argentine either. Actually, yeah,

0:15:46.080 --> 0:15:48.640
<v Speaker 1>in the Batman TV show, you know, with Adam West

0:15:48.640 --> 0:15:50.160
<v Speaker 1>and a lot, I felt you were in the same major.

0:15:50.160 --> 0:15:52.280
<v Speaker 1>It's the same cartoon. Yeah, it's like this, it's all

0:15:52.280 --> 0:15:55.160
<v Speaker 1>on English. What's wrong, you know? And but I hadn't

0:15:55.160 --> 0:15:58.920
<v Speaker 1>been exposed to, let's say, movies from other countries, and

0:15:58.920 --> 0:16:02.080
<v Speaker 1>then from the forties fifties, certainly not silent movies. And

0:16:02.080 --> 0:16:04.720
<v Speaker 1>all of a sudden I started watching lots of Denmark.

0:16:06.400 --> 0:16:07.880
<v Speaker 1>That was the time where I was spending time in

0:16:07.920 --> 0:16:11.520
<v Speaker 1>England and Denmark and different jobs, and and I started

0:16:11.520 --> 0:16:15.040
<v Speaker 1>going to revival movie houses where you'd see a couple

0:16:15.080 --> 0:16:17.400
<v Speaker 1>of different movies a day if he wanted to. And

0:16:17.440 --> 0:16:20.200
<v Speaker 1>I started seeing, you know, movies by Ozu and Brassan

0:16:20.360 --> 0:16:25.800
<v Speaker 1>and Passolini and Dryer and before that. And it was

0:16:26.000 --> 0:16:28.240
<v Speaker 1>an eye opener. And at some point I made the

0:16:28.280 --> 0:16:32.479
<v Speaker 1>transition from being entertained or not, you know, going for

0:16:32.480 --> 0:16:37.280
<v Speaker 1>for just to enjoy myself, to wondering what it was, what,

0:16:37.280 --> 0:16:39.120
<v Speaker 1>what the trick was? I mean, how do they do that?

0:16:39.680 --> 0:16:42.000
<v Speaker 1>How do you How is it that I relate to them?

0:16:42.040 --> 0:16:44.200
<v Speaker 1>And then suddenly I'm crying. I'm sitting in a movie

0:16:44.240 --> 0:16:46.120
<v Speaker 1>theater crying, or that I walk out of the movie

0:16:46.120 --> 0:16:50.400
<v Speaker 1>theater and I'm shocked that I'm in Copenhagen, or that

0:16:50.480 --> 0:16:53.320
<v Speaker 1>I'm in a city and it's daytime. I'm not, you know,

0:16:53.560 --> 0:16:57.160
<v Speaker 1>on this Mongolian plane or something. You're not on the

0:16:57.240 --> 0:17:00.200
<v Speaker 1>raft in the middle of the ocean. Yeah, And I

0:17:00.320 --> 0:17:05.479
<v Speaker 1>was curious about how is that done? And and not

0:17:05.560 --> 0:17:12.440
<v Speaker 1>long after that, I moved to Manhattan from Denmark. Yeah,

0:17:12.600 --> 0:17:15.040
<v Speaker 1>there was a girl I was going out with at

0:17:15.040 --> 0:17:18.320
<v Speaker 1>the time. She went back here and I followed her

0:17:19.040 --> 0:17:21.679
<v Speaker 1>and that didn't work out. But I got here. I

0:17:21.760 --> 0:17:24.760
<v Speaker 1>was with her for a while, and I was curious

0:17:24.800 --> 0:17:27.159
<v Speaker 1>about the acting thing. I wanted to try it, just

0:17:27.200 --> 0:17:29.520
<v Speaker 1>to see, you know, how do you do? How does

0:17:29.560 --> 0:17:31.720
<v Speaker 1>it work? So I I got I got a phone book.

0:17:31.960 --> 0:17:34.359
<v Speaker 1>I looked at the yellow pages. You got to go

0:17:34.440 --> 0:17:36.280
<v Speaker 1>to the theater and try out for the play. But

0:17:36.359 --> 0:17:38.760
<v Speaker 1>what theater? Right? So I'm leafing through and I find

0:17:38.840 --> 0:17:42.240
<v Speaker 1>this thing that says Actor's Repertory Theater, which was a

0:17:42.440 --> 0:17:45.000
<v Speaker 1>really a workshop with Warren Robertson as a teacher, right,

0:17:45.880 --> 0:17:48.199
<v Speaker 1>And so I love Actor's Repertory here that sounds I know.

0:17:48.280 --> 0:17:51.600
<v Speaker 1>Repertory means they could be doing several plays, and maybe

0:17:51.640 --> 0:17:54.680
<v Speaker 1>if I get in the first one, then I do. Okay,

0:17:54.720 --> 0:17:57.040
<v Speaker 1>I could be in other place, and that's probably the place.

0:17:57.040 --> 0:17:59.200
<v Speaker 1>So I call him I and they go Actor's Repertory Theater.

0:17:59.320 --> 0:18:01.600
<v Speaker 1>You know, I, how do you? How do you try

0:18:01.640 --> 0:18:03.199
<v Speaker 1>out for the play? And I go what play? And

0:18:03.240 --> 0:18:07.119
<v Speaker 1>I go, well, you know there are auditions. Sure you

0:18:07.160 --> 0:18:09.880
<v Speaker 1>can come down a fifteen Monday. You can come down.

0:18:10.920 --> 0:18:12.480
<v Speaker 1>You might want to get here a few minutes early

0:18:12.520 --> 0:18:15.280
<v Speaker 1>just to sign in. Okay, what I do? Bring two

0:18:15.280 --> 0:18:18.240
<v Speaker 1>pieces and like two pieces of what? And they said

0:18:18.320 --> 0:18:23.879
<v Speaker 1>two texts? You know? Oh, text and like, you know,

0:18:24.600 --> 0:18:27.480
<v Speaker 1>I go to to to act and they go yes.

0:18:28.920 --> 0:18:30.879
<v Speaker 1>So I had no idea what that meant. So at

0:18:30.880 --> 0:18:33.000
<v Speaker 1>the time, I was reading a collection of short career

0:18:33.080 --> 0:18:35.480
<v Speaker 1>relies on the patients of this woman on that phone point.

0:18:35.720 --> 0:18:39.080
<v Speaker 1>She was very kind to you. E's actina, said Karen

0:18:39.080 --> 0:18:41.439
<v Speaker 1>Blix and the Danish writer. I was reading some short stories.

0:18:41.480 --> 0:18:44.640
<v Speaker 1>There's one in which Jack the Ripper figures and there's

0:18:44.640 --> 0:18:47.800
<v Speaker 1>some dialogue. So I sort of cobbled together the dialogue

0:18:47.800 --> 0:18:49.640
<v Speaker 1>from the short story and made a little monologue out

0:18:49.640 --> 0:18:53.600
<v Speaker 1>of that, and then I found an Irish song, or

0:18:53.680 --> 0:18:56.520
<v Speaker 1>there's an Iri song. I liked old ever song. So

0:18:56.600 --> 0:18:59.200
<v Speaker 1>I came in and I did this weird Jack the

0:18:59.240 --> 0:19:03.159
<v Speaker 1>Ripper monologue and and sang this song and they just

0:19:03.359 --> 0:19:07.119
<v Speaker 1>sat there for a while, looked at each other, and

0:19:07.160 --> 0:19:10.040
<v Speaker 1>they said we'll get back to you. And I that's it.

0:19:10.119 --> 0:19:12.680
<v Speaker 1>You go yep next you know like that. So I

0:19:13.119 --> 0:19:16.280
<v Speaker 1>I went went back home and I thought, well, I

0:19:16.280 --> 0:19:18.000
<v Speaker 1>don't know if that went well or not. And the

0:19:18.080 --> 0:19:19.800
<v Speaker 1>next day they called and they said you can come

0:19:19.840 --> 0:19:22.040
<v Speaker 1>in next Wednesday. Go what's the play and they go,

0:19:22.119 --> 0:19:24.160
<v Speaker 1>there is no play, just come in next Wednesday. Turned

0:19:24.160 --> 0:19:27.160
<v Speaker 1>out it was a theater workshop where you seeing study

0:19:27.240 --> 0:19:34.480
<v Speaker 1>and and acting exercises of Warren Robertson had his His

0:19:34.800 --> 0:19:37.800
<v Speaker 1>approach was kind of a combination of Sandy Meiser and

0:19:38.320 --> 0:19:41.159
<v Speaker 1>actor's studio, you know, since memory and seen study and

0:19:41.320 --> 0:19:43.800
<v Speaker 1>did you like it right away? I did like it? Well.

0:19:43.920 --> 0:19:46.840
<v Speaker 1>The main thing was that he encouraged me. Had he

0:19:46.920 --> 0:19:50.919
<v Speaker 1>not yes, had he not said no, there's something. I mean,

0:19:50.960 --> 0:19:53.960
<v Speaker 1>I was probably really doing weird stuff. Uh, you know,

0:19:54.000 --> 0:19:55.800
<v Speaker 1>he would say, you're just too fidgety year all over

0:19:55.840 --> 0:19:57.560
<v Speaker 1>the place. I want you to sit on your hands

0:19:57.600 --> 0:19:59.760
<v Speaker 1>and do all that now without moving around so much,

0:19:59.800 --> 0:20:02.960
<v Speaker 1>and he was just I don't I think it was

0:20:03.000 --> 0:20:06.080
<v Speaker 1>probably very crude, but he saw something and he sort

0:20:06.080 --> 0:20:10.040
<v Speaker 1>of eventually recommended me to go meet an agent and stuff.

0:20:10.080 --> 0:20:12.000
<v Speaker 1>And if he hadn't encouraged me, it might have been

0:20:12.040 --> 0:20:15.320
<v Speaker 1>just one more thing I tried. I'm not sure, but uh,

0:20:15.560 --> 0:20:17.840
<v Speaker 1>and I certainly, I mean I got lucky right away

0:20:17.880 --> 0:20:20.119
<v Speaker 1>once I went out for auditions in terms of getting

0:20:20.160 --> 0:20:22.840
<v Speaker 1>to down to the last two guys for parts. But

0:20:22.880 --> 0:20:24.920
<v Speaker 1>I did that about thirty times and I never would

0:20:24.920 --> 0:20:26.800
<v Speaker 1>get it, and I was always shocked. I was like, well,

0:20:26.840 --> 0:20:30.000
<v Speaker 1>I did my best why don't you know? But something

0:20:30.040 --> 0:20:35.200
<v Speaker 1>about it, maybe whatever my mom had inculcated or put

0:20:35.240 --> 0:20:38.320
<v Speaker 1>into me, or maybe just some voice inside you that

0:20:38.320 --> 0:20:40.840
<v Speaker 1>told you, do you need to find out? Stay with it.

0:20:40.880 --> 0:20:43.480
<v Speaker 1>I still was like, I liked that was telling stories

0:20:43.480 --> 0:20:45.119
<v Speaker 1>in the movies. I want to do it. So I

0:20:45.200 --> 0:20:47.440
<v Speaker 1>just stuck with it and eventually got little parts. It's

0:20:47.440 --> 0:20:52.840
<v Speaker 1>probably from me because I'm a slow learner. Um in

0:20:52.880 --> 0:20:55.280
<v Speaker 1>a way. I mean, once I learned something, I'm I'm

0:20:55.280 --> 0:20:58.879
<v Speaker 1>not going to forget it. But the process of auditioning

0:20:59.119 --> 0:21:01.800
<v Speaker 1>many times and seeing how people shoot stuff and how

0:21:01.880 --> 0:21:05.040
<v Speaker 1>you know, tests, screen tests, all kinds of stuff, and

0:21:05.080 --> 0:21:08.520
<v Speaker 1>then getting small parts I'm doing a little theater, little

0:21:08.560 --> 0:21:12.680
<v Speaker 1>TV and small parts of movies. I really learned how

0:21:12.920 --> 0:21:15.600
<v Speaker 1>process works. I got, you know, a couple of good parts,

0:21:15.800 --> 0:21:18.639
<v Speaker 1>very small, like one scene parts, one with Woody Allen

0:21:18.680 --> 0:21:22.560
<v Speaker 1>Purple Rosa Cairo, one with Jonathan Demi Swing Shift. Both

0:21:22.640 --> 0:21:25.000
<v Speaker 1>of those were cut out of the movies. To my

0:21:25.320 --> 0:21:28.080
<v Speaker 1>surprise and my family's when I told him next Friday,

0:21:28.119 --> 0:21:29.879
<v Speaker 1>I'm in the movie, Like, what are you doing in

0:21:30.160 --> 0:21:32.240
<v Speaker 1>I'm in the movie, but I'm not in the movie. Yeah,

0:21:32.280 --> 0:21:34.840
<v Speaker 1>my name is nowhere. Yeah, I promise I made the

0:21:34.840 --> 0:21:37.840
<v Speaker 1>scene with Woody. Yeah. So I was in Search for Tomorrow,

0:21:37.880 --> 0:21:40.760
<v Speaker 1>which was the oldest. Which one did you do? Did

0:21:40.760 --> 0:21:43.879
<v Speaker 1>the doctors before they got but Search Edge well Go

0:21:44.359 --> 0:21:46.080
<v Speaker 1>always called them by one word. When I was on

0:21:46.200 --> 0:21:49.800
<v Speaker 1>Search Edge days, Search was a very old one, and

0:21:49.840 --> 0:21:52.720
<v Speaker 1>I went in. They put me in this white paramedic

0:21:52.760 --> 0:21:56.800
<v Speaker 1>kind of outfit and they said, you guys are gonna

0:21:56.960 --> 0:21:59.960
<v Speaker 1>want it's time. We'll practice just before because it's an

0:22:00.080 --> 0:22:02.880
<v Speaker 1>arrow door and you put the actress on the stretcher,

0:22:03.359 --> 0:22:05.480
<v Speaker 1>then you you can't make like a full turn with

0:22:05.520 --> 0:22:07.520
<v Speaker 1>a stretcher and all I just have that in mind.

0:22:07.520 --> 0:22:10.240
<v Speaker 1>I'm like, okay, okay, And then it was like hurry

0:22:10.280 --> 0:22:11.960
<v Speaker 1>up and wait. So I was down there in the

0:22:12.359 --> 0:22:15.600
<v Speaker 1>little cubicle that they put me in in my white outfit,

0:22:15.680 --> 0:22:17.600
<v Speaker 1>and my hair sort of slipped back a little bit,

0:22:17.840 --> 0:22:21.080
<v Speaker 1>and uh, I fell asleep, and all of a sudden

0:22:21.080 --> 0:22:24.080
<v Speaker 1>the bells ringing. It come on, where's Mortonton? And then

0:22:24.119 --> 0:22:26.200
<v Speaker 1>as we had to shoot, I didn't get to rehearse.

0:22:26.200 --> 0:22:28.800
<v Speaker 1>I didn't know what was going on. So the guy goes, well,

0:22:28.840 --> 0:22:31.080
<v Speaker 1>you take the back end, always the ass end of

0:22:31.160 --> 0:22:35.440
<v Speaker 1>the stretcher and just follow where I go, Okay, I

0:22:35.520 --> 0:22:40.000
<v Speaker 1>go fine, fine on half asleep and um backing up,

0:22:40.040 --> 0:22:42.480
<v Speaker 1>I hit the set in the wall. It was it

0:22:42.520 --> 0:22:44.879
<v Speaker 1>was just terrible. I didn't get that call back to

0:22:44.920 --> 0:22:47.280
<v Speaker 1>that one. But Search for Tomorrow I had a good run.

0:22:47.320 --> 0:22:49.280
<v Speaker 1>I was on it for a few months and I

0:22:49.359 --> 0:22:52.760
<v Speaker 1>played a smuggler's kind of mysterious guys. I never find

0:22:52.800 --> 0:22:54.560
<v Speaker 1>out what I keep smuggling. I would ask, and it's

0:22:54.600 --> 0:22:58.160
<v Speaker 1>like too many questions. More what am I smuggling? It's

0:22:58.160 --> 0:23:00.919
<v Speaker 1>not it's contrabands, And I go, well, what what is

0:23:00.960 --> 0:23:05.680
<v Speaker 1>the drugs? Not important? You're just smuggling. The main thing

0:23:05.720 --> 0:23:08.400
<v Speaker 1>is you don't tell anybody. I said I won't and

0:23:09.280 --> 0:23:11.639
<v Speaker 1>they finally, I think got tired of my questions a

0:23:11.640 --> 0:23:13.800
<v Speaker 1>few months because I said, well, why is this? And

0:23:13.920 --> 0:23:16.000
<v Speaker 1>if I'm gonna you know, I had I was in

0:23:16.040 --> 0:23:18.440
<v Speaker 1>the hospital at one point and then I did the

0:23:18.480 --> 0:23:20.360
<v Speaker 1>thing when you tie the sheets together and climb out

0:23:20.400 --> 0:23:23.919
<v Speaker 1>the window, and uh, I don't know. I asked questions

0:23:23.920 --> 0:23:25.760
<v Speaker 1>about where'd all these sheets come from. I mean, it's

0:23:25.760 --> 0:23:31.240
<v Speaker 1>all lives on sheets to pull this off. This knot

0:23:31.240 --> 0:23:34.200
<v Speaker 1>is not strong around the ninth floor, yeah, I mean,

0:23:34.720 --> 0:23:37.439
<v Speaker 1>my only one sees that exactly. I said, these knots

0:23:37.440 --> 0:23:39.800
<v Speaker 1>are not strong enough. This is would never hold, you know.

0:23:39.800 --> 0:23:41.440
<v Speaker 1>And they're like, I just throw it out the window

0:23:41.440 --> 0:23:44.800
<v Speaker 1>and jump out yourself out the window. So after so

0:23:44.840 --> 0:23:48.760
<v Speaker 1>many questions, one day I was informed it's the end

0:23:48.840 --> 0:23:53.440
<v Speaker 1>for you. On Wednesday, I said, the end, the end?

0:23:53.440 --> 0:23:56.640
<v Speaker 1>What the end of your employment here? But it's gonna

0:23:56.680 --> 0:23:58.560
<v Speaker 1>be a great scene. And I was a silly scene.

0:23:58.600 --> 0:24:00.840
<v Speaker 1>It was a bar and I was a girl that

0:24:01.000 --> 0:24:03.480
<v Speaker 1>hit me with a breakable glass a picture of beer

0:24:03.640 --> 0:24:06.560
<v Speaker 1>in the forehead and I fall out of shot and

0:24:06.600 --> 0:24:13.600
<v Speaker 1>that was it. And that was it for Vigo Mortenson's

0:24:13.680 --> 0:24:19.000
<v Speaker 1>soap opera career. Coming up, his film career explodes. Take

0:24:19.040 --> 0:24:22.560
<v Speaker 1>a listen to the Here's the Thing Archives. I talked

0:24:22.560 --> 0:24:26.359
<v Speaker 1>with actresses like Debbie Reynolds who remembers living in Hollywood

0:24:26.600 --> 0:24:29.679
<v Speaker 1>during the Golden era. Right across the street was Jimmy

0:24:29.720 --> 0:24:33.359
<v Speaker 1>Stewart and Lucille Ball and everybody was on that one street.

0:24:33.400 --> 0:24:36.639
<v Speaker 1>It was like, let's have a party every night. Listen

0:24:36.680 --> 0:24:39.920
<v Speaker 1>to the full conversation at Here's the Thing Dot Org.

0:24:56.920 --> 0:24:59.440
<v Speaker 1>This is Alec Baldwin and you were listening to Here's

0:24:59.480 --> 0:25:03.639
<v Speaker 1>the Thing. Vigo Mortenson isn't just an award winning actor.

0:25:04.000 --> 0:25:07.879
<v Speaker 1>He is also an avid writer, artist and publisher. He

0:25:07.960 --> 0:25:11.920
<v Speaker 1>speaks fluent English, Danish, Spanish, and French. But his first

0:25:12.000 --> 0:25:14.880
<v Speaker 1>movie offer was a one day role as an Amish

0:25:14.920 --> 0:25:20.560
<v Speaker 1>farmer speaking German in Peter Weir's film Witness. He wasn't

0:25:20.600 --> 0:25:22.920
<v Speaker 1>sure if he should take it. On the very day

0:25:22.960 --> 0:25:25.720
<v Speaker 1>he was offered the role in Witness. That same day,

0:25:25.720 --> 0:25:28.760
<v Speaker 1>I was offered a part in a Shakespeare in the

0:25:28.800 --> 0:25:32.800
<v Speaker 1>Park production, and I said to my representative, well, obviously

0:25:32.960 --> 0:25:34.879
<v Speaker 1>do the play. I mean, I can work all summer

0:25:34.880 --> 0:25:38.760
<v Speaker 1>and learn stuff. He goes, not so fast. He said,

0:25:39.240 --> 0:25:41.280
<v Speaker 1>you know, for an actor living in New York, and

0:25:41.359 --> 0:25:44.400
<v Speaker 1>you know in the early eighties it wasn't even now,

0:25:44.560 --> 0:25:47.080
<v Speaker 1>but especially then, you don't get that. It's not like

0:25:47.119 --> 0:25:50.760
<v Speaker 1>you had that many shots at being in movies. Um.

0:25:50.800 --> 0:25:52.760
<v Speaker 1>And you're certainly not going to be offered work by

0:25:52.800 --> 0:25:56.280
<v Speaker 1>Peter Weir very often. So take advantage. You can always

0:25:56.320 --> 0:26:00.560
<v Speaker 1>do a play or in New York. Um. So I

0:26:00.680 --> 0:26:03.160
<v Speaker 1>recommend you do that, even if it's only the one day.

0:26:03.200 --> 0:26:06.000
<v Speaker 1>So I go down. I take the train down to

0:26:06.000 --> 0:26:10.800
<v Speaker 1>to Lancaster, Pennsylvania, and I do my first day's work

0:26:11.040 --> 0:26:15.000
<v Speaker 1>and as Luckward, it was very it was fun. It

0:26:15.040 --> 0:26:18.800
<v Speaker 1>was a beautiful place. And at lunch, Peter where It

0:26:18.800 --> 0:26:21.440
<v Speaker 1>comes over and says, you know, you have this big resemblance.

0:26:21.480 --> 0:26:24.919
<v Speaker 1>I'm thinking, well, what are you doing tomorrow? I go,

0:26:25.040 --> 0:26:27.040
<v Speaker 1>I'm going taking the train back to New York. He goes,

0:26:27.320 --> 0:26:29.480
<v Speaker 1>are you doing anything this summer? The rest of the summer?

0:26:29.600 --> 0:26:33.040
<v Speaker 1>Going out now? And he says, uh, well, if you

0:26:33.040 --> 0:26:37.680
<v Speaker 1>wouldn't mind staying, you know, for a few weeks maybe more. Um,

0:26:37.720 --> 0:26:40.160
<v Speaker 1>I think I'm gonna give Alexander good enough, the Amish

0:26:40.440 --> 0:26:44.239
<v Speaker 1>suitor of Kelly McGillis Harrison Ford's rival for for her

0:26:44.280 --> 0:26:47.360
<v Speaker 1>affections in the story. We're gonna give him a younger brother,

0:26:47.480 --> 0:26:51.040
<v Speaker 1>and uh, you just tag along and the scenes he's in,

0:26:51.119 --> 0:26:55.919
<v Speaker 1>You're just watching this rivalry. You're the audience's eyes. I guess,

0:26:56.280 --> 0:26:59.520
<v Speaker 1>and we'll figure it out, okay, And I go sure.

0:27:00.160 --> 0:27:03.919
<v Speaker 1>So that was a good break and it was very professional.

0:27:04.000 --> 0:27:08.000
<v Speaker 1>They always finished on time. Uh, the weather was nice,

0:27:08.040 --> 0:27:13.760
<v Speaker 1>but the cinematographer was brilliant, John cele, the actors were prepared,

0:27:13.960 --> 0:27:17.320
<v Speaker 1>and the director that nobody yelled. It was fun. Anybody

0:27:17.320 --> 0:27:20.960
<v Speaker 1>could go to watch the Russia's The dailies, So it

0:27:21.000 --> 0:27:23.800
<v Speaker 1>was misleading in it. It was misleading because everybody was

0:27:23.840 --> 0:27:26.880
<v Speaker 1>coming on and behaved well and kind to each other,

0:27:27.040 --> 0:27:29.600
<v Speaker 1>and they did good work and they finished on time

0:27:29.760 --> 0:27:33.880
<v Speaker 1>and it was not stressful. So I don't know about

0:27:33.920 --> 0:27:37.200
<v Speaker 1>your experience and my experience. That's very unus. A very

0:27:37.240 --> 0:27:39.840
<v Speaker 1>famous actor. I don't want to speak about anybody, you know,

0:27:39.920 --> 0:27:42.359
<v Speaker 1>without their permission, but told me that he did a

0:27:42.359 --> 0:27:44.880
<v Speaker 1>film that was very tough that way, and the director

0:27:45.000 --> 0:27:47.760
<v Speaker 1>was very very you know, just luxuriating in thirty five

0:27:47.840 --> 0:27:50.359
<v Speaker 1>and forty takes without any real director, you know, without

0:27:50.359 --> 0:27:53.800
<v Speaker 1>any real purpose, and kind of abusive to some of

0:27:53.840 --> 0:27:56.080
<v Speaker 1>the other cast at the very least psychologically, and the

0:27:56.080 --> 0:27:57.639
<v Speaker 1>way he would say things and do things, and it

0:27:57.680 --> 0:28:01.320
<v Speaker 1>was and it was all hum you know, not at

0:28:01.359 --> 0:28:03.919
<v Speaker 1>all what he was used to or preferred. And so

0:28:03.960 --> 0:28:06.960
<v Speaker 1>he just went up to the guy and and rather

0:28:07.000 --> 0:28:08.680
<v Speaker 1>than get angry, he just really said it, like as

0:28:08.680 --> 0:28:10.600
<v Speaker 1>a plea, he said, he said, I just can't work

0:28:10.640 --> 0:28:12.560
<v Speaker 1>like this, and if you want me to do what

0:28:12.640 --> 0:28:15.720
<v Speaker 1>I do, this situation has got to change. I like

0:28:15.760 --> 0:28:17.359
<v Speaker 1>to do sixth or eight takes, you like to do

0:28:17.400 --> 0:28:19.840
<v Speaker 1>thirty takes? Thirty five takes he said, I don't work

0:28:19.840 --> 0:28:21.760
<v Speaker 1>that way. So he said, let's I'm gonna go home

0:28:23.040 --> 0:28:25.920
<v Speaker 1>right and cut out this kind of dressing everybody down

0:28:26.000 --> 0:28:27.720
<v Speaker 1>in front of the crew and crew members. He said,

0:28:27.760 --> 0:28:29.320
<v Speaker 1>we want to speak to somebody, you give them their

0:28:29.359 --> 0:28:32.879
<v Speaker 1>notes privately, don't do it and embarrass them. So the

0:28:32.920 --> 0:28:34.680
<v Speaker 1>point is that the actor said to the director, you

0:28:34.800 --> 0:28:36.120
<v Speaker 1>you guys think about it, and he goes and I'm

0:28:36.119 --> 0:28:38.200
<v Speaker 1>gonna go home, and then tomorrow if I come back,

0:28:38.240 --> 0:28:39.600
<v Speaker 1>if you want me to come back, I'm gonna come

0:28:39.640 --> 0:28:42.080
<v Speaker 1>back knowing that it's different. And if I don't come back,

0:28:42.120 --> 0:28:44.040
<v Speaker 1>you're gonna get another actor to play this part. Who's

0:28:44.040 --> 0:28:45.640
<v Speaker 1>gonna put up with when I'm putting up with now

0:28:45.640 --> 0:28:47.000
<v Speaker 1>that I don't want to put up with anymore. He

0:28:47.040 --> 0:28:49.120
<v Speaker 1>just said it really calmly, and what happened, and when

0:28:49.320 --> 0:28:51.960
<v Speaker 1>they the guy changed and just you know was everybody

0:28:52.000 --> 0:28:53.880
<v Speaker 1>was a little bit more. There were times you could

0:28:53.880 --> 0:28:57.080
<v Speaker 1>see the guy was struggling and he didn't change the nature,

0:28:57.480 --> 0:28:59.920
<v Speaker 1>had the power, had the position or the size role

0:29:00.040 --> 0:29:03.680
<v Speaker 1>that he could do that. If you're playing a bit parts,

0:29:04.160 --> 0:29:06.920
<v Speaker 1>you're done, you're out. You know. I think the main thing,

0:29:07.080 --> 0:29:10.920
<v Speaker 1>the most important thing to be apart from just listening. Uh.

0:29:11.000 --> 0:29:13.280
<v Speaker 1>In general, it's good in life too. But for an actor,

0:29:13.840 --> 0:29:16.600
<v Speaker 1>be flexible, you know, once you realize that there's all

0:29:16.680 --> 0:29:19.560
<v Speaker 1>kinds of ways of making movies good and bad, pleasant

0:29:19.600 --> 0:29:23.160
<v Speaker 1>and unpleasant. Um, that doesn't mean you can't do your job.

0:29:23.440 --> 0:29:25.720
<v Speaker 1>Sometimes it's more difficult than others. But the best thing

0:29:25.800 --> 0:29:28.760
<v Speaker 1>is to be there's different ways of something like to her.

0:29:28.880 --> 0:29:31.600
<v Speaker 1>Some people don't. Some actors come in and some of

0:29:31.640 --> 0:29:35.160
<v Speaker 1>them are very good, award winning actors. It's a lobby name,

0:29:35.240 --> 0:29:38.080
<v Speaker 1>but they will. They can prepare technically, let's say, in

0:29:38.080 --> 0:29:40.800
<v Speaker 1>front of a mirror. Whatever they do. They know how

0:29:40.840 --> 0:29:46.320
<v Speaker 1>they're gonna the tone line, they know at what moment

0:29:46.360 --> 0:29:48.800
<v Speaker 1>of the scene they're gonna cry or seem to or laugh.

0:29:49.200 --> 0:29:53.440
<v Speaker 1>It's all. There's nothing wrong with it. Um. But that

0:29:53.520 --> 0:29:57.560
<v Speaker 1>means that you're adapting to them, you know. I mean,

0:29:57.600 --> 0:29:59.640
<v Speaker 1>I've tried, but it doesn't you know, just for the

0:29:59.640 --> 0:30:04.560
<v Speaker 1>hell of and there's like they're just impassive because they

0:30:04.560 --> 0:30:05.960
<v Speaker 1>know one of the cameras on them. It doesn't matter

0:30:06.000 --> 0:30:07.960
<v Speaker 1>what the hell you're doing. If you're working that way,

0:30:08.080 --> 0:30:10.920
<v Speaker 1>it's this is what I'm delivering. You guys, adjust to

0:30:11.000 --> 0:30:13.800
<v Speaker 1>me that can work, and that person can do a

0:30:13.840 --> 0:30:16.680
<v Speaker 1>great job. It's just not as much fun because there

0:30:16.760 --> 0:30:20.120
<v Speaker 1>isn't the unknown. There isn't you're not playing together. It's

0:30:20.160 --> 0:30:23.920
<v Speaker 1>not a two way street. And um that works. Uh

0:30:24.080 --> 0:30:25.600
<v Speaker 1>So when you work with something like that, while you

0:30:25.760 --> 0:30:29.000
<v Speaker 1>just deal with it, if you get resentful, then you're

0:30:29.040 --> 0:30:31.600
<v Speaker 1>out of your game. It's like someone trying to psych

0:30:31.640 --> 0:30:34.560
<v Speaker 1>you out on the basketball court or you know, or

0:30:34.600 --> 0:30:37.720
<v Speaker 1>something you can't. If you let that happen, you're you're

0:30:37.760 --> 0:30:39.760
<v Speaker 1>not going to play. Well, what's the movie you did?

0:30:40.320 --> 0:30:42.600
<v Speaker 1>It's the opposite where everybody really really did playoff. It

0:30:42.760 --> 0:30:45.960
<v Speaker 1>was very crackling and very alive with I've been lucky,

0:30:46.040 --> 0:30:48.560
<v Speaker 1>I've been in several I would say Captain fantastic this

0:30:48.640 --> 0:30:51.920
<v Speaker 1>movie that's just come out. Um, that was a great

0:30:51.960 --> 0:30:54.440
<v Speaker 1>experience that the director was calmed. That was very much

0:30:54.440 --> 0:30:58.840
<v Speaker 1>like Peter Ware or like Cronenberg, where everything's done, everybody's

0:30:59.000 --> 0:31:02.800
<v Speaker 1>well prepared, everybody's polite to each other. The director has

0:31:02.800 --> 0:31:07.760
<v Speaker 1>a good sense of humor. Um, they're intelligent enough to

0:31:07.880 --> 0:31:11.360
<v Speaker 1>know that it's good to do everything possible to give

0:31:11.400 --> 0:31:14.280
<v Speaker 1>the actors the idea it's a lie, basically, but to

0:31:14.280 --> 0:31:17.080
<v Speaker 1>give the actor of the idea that there's especially when

0:31:17.080 --> 0:31:18.800
<v Speaker 1>you're working with children. In this movie, you have six

0:31:18.880 --> 0:31:21.440
<v Speaker 1>kids that there's you have all the time in the world.

0:31:21.480 --> 0:31:24.760
<v Speaker 1>It's just fun. It's just there's no pressure and inside

0:31:24.840 --> 0:31:27.680
<v Speaker 1>the directors like freaking out as the son's going down

0:31:27.760 --> 0:31:32.880
<v Speaker 1>and you're an independent movie, have limited budget. It was

0:31:32.960 --> 0:31:37.080
<v Speaker 1>thirty something days thirty it's not bad. But when you

0:31:37.120 --> 0:31:39.360
<v Speaker 1>look at Captain Fantastic, we had a lot of changes

0:31:39.360 --> 0:31:43.280
<v Speaker 1>of locations and all these and some of the kids

0:31:43.280 --> 0:31:46.120
<v Speaker 1>are I mean the kids have limited work hours five

0:31:46.200 --> 0:31:49.320
<v Speaker 1>six hours for the youngest, and it's a longer in

0:31:49.320 --> 0:31:51.560
<v Speaker 1>indie terms. Everybody was you could kind of wrap wrap

0:31:51.560 --> 0:31:53.040
<v Speaker 1>it up in an hour and thirty now you know

0:31:53.040 --> 0:31:58.600
<v Speaker 1>what I mean exactly. And um, so that was a

0:31:58.640 --> 0:32:02.560
<v Speaker 1>good experience. And I mean he he's the captain, He

0:32:02.680 --> 0:32:06.720
<v Speaker 1>or she runs the show and they their example is

0:32:06.760 --> 0:32:11.840
<v Speaker 1>what what guides everyone else? Katherine Hans, Steve's on, very

0:32:11.840 --> 0:32:15.720
<v Speaker 1>good actors, Um, Frank Lan Jela and Doubt, I mean everybody.

0:32:15.760 --> 0:32:18.040
<v Speaker 1>And it was a great group of people, and I

0:32:18.080 --> 0:32:22.520
<v Speaker 1>think Matt selected people who would work that way. I

0:32:22.640 --> 0:32:24.360
<v Speaker 1>was so hoping that there would be an earthquake and

0:32:24.440 --> 0:32:26.840
<v Speaker 1>a beam would come down to crushed lan Jelous character.

0:32:26.920 --> 0:32:28.960
<v Speaker 1>I hated him so much in the movie. Yeah, but

0:32:29.040 --> 0:32:31.560
<v Speaker 1>at the end you kind of realized he's got a point.

0:32:31.760 --> 0:32:35.880
<v Speaker 1>You know, he's not all wrong. I mean yeah, one

0:32:35.880 --> 0:32:37.160
<v Speaker 1>of the I mean, one of the things I like

0:32:37.280 --> 0:32:40.920
<v Speaker 1>about the movie is that it it surprises you, it

0:32:41.040 --> 0:32:44.640
<v Speaker 1>subverts your expectations. Just like when I was reading the script,

0:32:44.640 --> 0:32:46.960
<v Speaker 1>I thought, wow, this is good. I have my pencil

0:32:46.960 --> 0:32:48.280
<v Speaker 1>because I know the director want to meet me, so

0:32:48.280 --> 0:32:50.800
<v Speaker 1>I wanted to make my notes, so, you know, and

0:32:51.000 --> 0:32:53.239
<v Speaker 1>I didn't make any notes. I just started reading, and

0:32:53.400 --> 0:32:55.640
<v Speaker 1>the first ten fifteen pages I thought, Okay, I know

0:32:55.680 --> 0:32:57.800
<v Speaker 1>where this is. What this is. It's a kind of

0:32:57.840 --> 0:33:01.840
<v Speaker 1>a sub genre. It's a I guess, liberal utopian fantasy

0:33:01.920 --> 0:33:06.880
<v Speaker 1>story where these are our heroes, are these left wing

0:33:08.160 --> 0:33:11.840
<v Speaker 1>off the good people and their obstacles will be conservative people,

0:33:12.000 --> 0:33:15.440
<v Speaker 1>conservative ideas, and we'll go with them through thick and thin,

0:33:15.560 --> 0:33:17.240
<v Speaker 1>and see how that works. Will probably be funny, and

0:33:17.320 --> 0:33:21.120
<v Speaker 1>convention will be there, right and and then I realized

0:33:21.160 --> 0:33:24.280
<v Speaker 1>it's not that. And you go from thinking was the

0:33:24.280 --> 0:33:26.120
<v Speaker 1>best dad in the world, I feel like a lazy

0:33:26.160 --> 0:33:29.640
<v Speaker 1>bumb you know, watching this family. They're so driven to

0:33:29.800 --> 0:33:34.840
<v Speaker 1>you know, per to achieve physical and intellectual excellence every

0:33:34.880 --> 0:33:38.760
<v Speaker 1>second of the day. It's incredibly devoted father to thinking

0:33:39.000 --> 0:33:42.840
<v Speaker 1>he's a maniac, he's a menace to his children, dangerous,

0:33:41.800 --> 0:33:45.840
<v Speaker 1>and he's you know, the very rigidity that he's so against,

0:33:45.840 --> 0:33:50.240
<v Speaker 1>he's engaging in it inadvertently maybe by being isolating them

0:33:50.240 --> 0:33:53.240
<v Speaker 1>and being so rigorous. And then the characters that you

0:33:53.280 --> 0:33:55.720
<v Speaker 1>think are gonna be you know, like Frank Langelo's character

0:33:56.480 --> 0:33:58.520
<v Speaker 1>and his wife and out, you think they're gonna be

0:33:58.880 --> 0:34:01.160
<v Speaker 1>just bad and so of one note and and in

0:34:01.240 --> 0:34:06.520
<v Speaker 1>reality there they have a point. They and his children

0:34:06.560 --> 0:34:10.520
<v Speaker 1>and circumstances lead the character that I played to to

0:34:10.640 --> 0:34:15.800
<v Speaker 1>realize I'm on the wrong path. And it's it's devastating

0:34:15.800 --> 0:34:20.440
<v Speaker 1>when you, as a parent do what he does. If

0:34:20.680 --> 0:34:22.640
<v Speaker 1>if you give a hundred percent of your time and energy,

0:34:22.640 --> 0:34:27.000
<v Speaker 1>you do everything to to help, you know, curate the

0:34:27.080 --> 0:34:30.640
<v Speaker 1>lives of your your children, to give them best possible start.

0:34:30.680 --> 0:34:35.040
<v Speaker 1>You you're sacrificing everything, and your first impulse is to

0:34:35.120 --> 0:34:37.600
<v Speaker 1>feel like it's all wrong. I'm an idiot, and I

0:34:37.680 --> 0:34:41.560
<v Speaker 1>quit and and then he makes an adjustment. And as

0:34:41.560 --> 0:34:44.040
<v Speaker 1>an audience, I like those stories. Just reading I thought

0:34:44.040 --> 0:34:46.080
<v Speaker 1>this is really good. I was really surprised that closed

0:34:46.120 --> 0:34:49.240
<v Speaker 1>the script and that's amazing. I've made a single note.

0:34:49.920 --> 0:34:52.320
<v Speaker 1>I want to meet Matt Ross, the writer director, for

0:34:52.360 --> 0:34:54.560
<v Speaker 1>a cup of coffee which lasted like four and a

0:34:54.600 --> 0:34:58.680
<v Speaker 1>half hour, talking about being dad everything. You know, politics

0:34:58.680 --> 0:35:01.319
<v Speaker 1>and you are a dad. You have a twenty eight

0:35:01.400 --> 0:35:04.520
<v Speaker 1>year old son, son where he's in Los Angeles? What

0:35:04.560 --> 0:35:08.720
<v Speaker 1>does he do? A musician? He's a writer and he

0:35:08.840 --> 0:35:14.960
<v Speaker 1>also works part time personal press or company publishing house.

0:35:14.960 --> 0:35:17.600
<v Speaker 1>I have that you have? Yeah? Oh cool? You know,

0:35:17.600 --> 0:35:19.719
<v Speaker 1>when I saw the film, it just reminded me that

0:35:19.760 --> 0:35:21.560
<v Speaker 1>I have a daughter who's going to be twenty one

0:35:21.560 --> 0:35:25.280
<v Speaker 1>in October, and and I was not involved in raising

0:35:25.280 --> 0:35:26.680
<v Speaker 1>her as much as I'd like to because I was

0:35:26.719 --> 0:35:30.120
<v Speaker 1>divorced and everything and it was a little complicated. But um,

0:35:30.160 --> 0:35:32.399
<v Speaker 1>and when I watched the film, I realized that, well,

0:35:32.440 --> 0:35:35.480
<v Speaker 1>here's the guy that really wants to raise his kids himself.

0:35:36.360 --> 0:35:38.840
<v Speaker 1>And what I realized watching You is that, yeah, we

0:35:38.880 --> 0:35:42.320
<v Speaker 1>don't raise our children, and we try, we really try.

0:35:42.480 --> 0:35:46.719
<v Speaker 1>We try so hard to superimpose our sensibilities. And here's

0:35:46.760 --> 0:35:49.400
<v Speaker 1>a guy who he really wants to be their father

0:35:49.719 --> 0:35:52.839
<v Speaker 1>in the sense that he's going to determine what gets

0:35:52.920 --> 0:35:55.520
<v Speaker 1>put into the mix and what doesn't. And in the

0:35:55.560 --> 0:35:58.279
<v Speaker 1>world we live in now, especially now, I mean right now,

0:35:58.880 --> 0:36:02.880
<v Speaker 1>that's impossible. How much do we actually raise our children's

0:36:02.880 --> 0:36:07.919
<v Speaker 1>almost ridiculously small technology the world? Yeah, well, I mean

0:36:08.040 --> 0:36:09.880
<v Speaker 1>the meaning I got from the story too, when I

0:36:09.920 --> 0:36:14.200
<v Speaker 1>got from the script, is that it's aspirational. That really

0:36:14.200 --> 0:36:18.760
<v Speaker 1>it's basically to be the perfect parent is impossible, And

0:36:18.880 --> 0:36:21.959
<v Speaker 1>the story isn't showing you something to make you think

0:36:21.960 --> 0:36:24.799
<v Speaker 1>what you should be There hunter percent of time it's

0:36:24.840 --> 0:36:28.360
<v Speaker 1>just whether you're engaged or not. And to know that

0:36:28.520 --> 0:36:32.240
<v Speaker 1>by taking the risk of trying hard, you're gonna make mistakes.

0:36:32.920 --> 0:36:36.440
<v Speaker 1>And then the most important thing is is hopefully realizing

0:36:36.440 --> 0:36:38.719
<v Speaker 1>that and doing something about it and making adjustments. You know,

0:36:39.080 --> 0:36:41.719
<v Speaker 1>being a good dad isn't a static thing. Having a

0:36:41.719 --> 0:36:45.479
<v Speaker 1>good marriage is an a static thing. Neither is a democracy,

0:36:45.680 --> 0:36:49.120
<v Speaker 1>neither is a friendship. You know, tomorrow morning you gotta

0:36:49.280 --> 0:36:53.000
<v Speaker 1>sort of start over, not over, but continue the process

0:36:53.040 --> 0:36:56.439
<v Speaker 1>and make adjustments. And if you don't, it's a game

0:36:56.480 --> 0:36:58.040
<v Speaker 1>that moves as you play, and if you don't move,

0:36:58.280 --> 0:37:02.359
<v Speaker 1>you can't play very well. So scripts for you, how

0:37:02.360 --> 0:37:05.400
<v Speaker 1>does scripts get to you? Was there a mechanism, But

0:37:05.560 --> 0:37:08.600
<v Speaker 1>I think people would be fascinated to know someone who

0:37:08.640 --> 0:37:12.200
<v Speaker 1>has made as many successful films, highly successful films as

0:37:12.200 --> 0:37:14.680
<v Speaker 1>you've had. You're very admired by everybody in the business,

0:37:14.800 --> 0:37:17.799
<v Speaker 1>and you must get inundated with scripts. And is there

0:37:17.800 --> 0:37:20.680
<v Speaker 1>a filter like how do you get a script and say,

0:37:21.280 --> 0:37:23.880
<v Speaker 1>the one you open and the one you read, how

0:37:23.920 --> 0:37:26.800
<v Speaker 1>does it arrive at your home? Well, in that regard,

0:37:26.800 --> 0:37:30.480
<v Speaker 1>I don't like filters at all, and my representative I

0:37:30.560 --> 0:37:32.480
<v Speaker 1>was always known that. So I said, I'll read. I

0:37:32.560 --> 0:37:37.520
<v Speaker 1>will read everything and anything and don't sense or don't

0:37:38.120 --> 0:37:40.880
<v Speaker 1>just send it and read whatever you want to. Um,

0:37:40.920 --> 0:37:43.239
<v Speaker 1>I don't care, but I'm gonna decide if I want

0:37:43.280 --> 0:37:45.480
<v Speaker 1>to do it or not. And sometimes you read and

0:37:47.080 --> 0:37:50.280
<v Speaker 1>most I mean, I think it's been since movies began

0:37:50.400 --> 0:37:55.520
<v Speaker 1>as an art form. Percent or more of things the

0:37:55.560 --> 0:37:57.560
<v Speaker 1>scripts that are written are not original or if they

0:37:57.600 --> 0:38:00.520
<v Speaker 1>start well or maybe there's an okay, con said, it's

0:38:00.640 --> 0:38:03.880
<v Speaker 1>just the structure. It just doesn't work. And most of

0:38:03.920 --> 0:38:06.279
<v Speaker 1>them are really poorly written, not very good ideas. So

0:38:07.360 --> 0:38:10.160
<v Speaker 1>but it does take longer to just to look at everything.

0:38:10.280 --> 0:38:13.960
<v Speaker 1>And so that's a conventional way they come through you know,

0:38:14.000 --> 0:38:17.120
<v Speaker 1>an agent sometimes, but a lot of times people will

0:38:17.120 --> 0:38:21.640
<v Speaker 1>hand me stuff on the street or through a family member,

0:38:21.920 --> 0:38:24.040
<v Speaker 1>and you know, you've probably you know, if somebody said,

0:38:24.040 --> 0:38:25.799
<v Speaker 1>what would you look at this? Or you're going to

0:38:25.880 --> 0:38:27.399
<v Speaker 1>try to avoid it if I can. I know, you're

0:38:27.440 --> 0:38:29.319
<v Speaker 1>going to open the opening of a movie and you're

0:38:29.320 --> 0:38:32.000
<v Speaker 1>doing anything and suddenly goes here and he handed a package,

0:38:32.000 --> 0:38:34.120
<v Speaker 1>and you're like, well, I will look at him and

0:38:34.480 --> 0:38:37.960
<v Speaker 1>I will answer. But it's also like, what the publishing

0:38:38.000 --> 0:38:40.000
<v Speaker 1>house I have? You know, I've announced it. We're not

0:38:40.040 --> 0:38:46.960
<v Speaker 1>taking unsolicited submissions for the for the foreseeable future. We

0:38:47.000 --> 0:38:49.920
<v Speaker 1>have enough projects in the hopper to work on. Why

0:38:49.960 --> 0:38:52.160
<v Speaker 1>did you set up a publishing house? I like books,

0:38:53.480 --> 0:38:57.120
<v Speaker 1>and I like artists. I like writers, and there were

0:38:57.160 --> 0:39:02.200
<v Speaker 1>certain people that I saw ought to be published after

0:39:02.280 --> 0:39:04.480
<v Speaker 1>Lord of the Rings, for me and for what else.

0:39:04.520 --> 0:39:06.440
<v Speaker 1>All of a sudden there was this new I had

0:39:06.480 --> 0:39:09.799
<v Speaker 1>more options as an actor suddenly. I mean people have

0:39:09.840 --> 0:39:13.400
<v Speaker 1>the mistaken impression that as an actor you can choose, Well,

0:39:13.440 --> 0:39:15.480
<v Speaker 1>why didn't you do that? So they enough for Tony

0:39:15.920 --> 0:39:18.560
<v Speaker 1>you can say no, but you can't say yes. They're

0:39:18.600 --> 0:39:21.799
<v Speaker 1>offering it. But people thinking James Bond I'm like, I've

0:39:21.800 --> 0:39:27.719
<v Speaker 1>never heard from the James Bond people and so so um.

0:39:27.760 --> 0:39:31.640
<v Speaker 1>I just thought, well, I'll use the money and more

0:39:31.680 --> 0:39:35.080
<v Speaker 1>than that, the notoriety that I suddenly have as a

0:39:35.120 --> 0:39:37.759
<v Speaker 1>result of the success of the Lord of the Rings trilogy.

0:39:38.120 --> 0:39:42.400
<v Speaker 1>I'll established this publishing house and to help it the

0:39:42.440 --> 0:39:44.520
<v Speaker 1>first year, I'll put out a book maybe two of

0:39:44.560 --> 0:39:48.359
<v Speaker 1>my own photographs, things, poems, and then that will lead

0:39:48.400 --> 0:39:51.040
<v Speaker 1>them to the other things on the website. And I

0:39:51.160 --> 0:39:53.799
<v Speaker 1>enjoy it. I think it must be like directing. I

0:39:53.840 --> 0:39:57.359
<v Speaker 1>suppose in the sense that you're enabling other people. You're

0:39:57.480 --> 0:40:02.480
<v Speaker 1>you're facilitating their their way of looking things. I'm curious

0:40:02.480 --> 0:40:08.399
<v Speaker 1>as to, uh, you do um Carlito with Brian who

0:40:08.440 --> 0:40:11.839
<v Speaker 1>I love, and you do g I Jane, you do

0:40:11.920 --> 0:40:15.680
<v Speaker 1>the Psycho remake, You do a bunch of things when

0:40:15.719 --> 0:40:19.720
<v Speaker 1>you arrive where it's Peter Jackson directed the first film

0:40:19.760 --> 0:40:22.520
<v Speaker 1>as well, right, And when Jackson contect you, where are

0:40:22.520 --> 0:40:25.840
<v Speaker 1>you out in your career? At that point, we're on

0:40:25.880 --> 0:40:29.040
<v Speaker 1>the threshold of doing the biggest movies you've ever made.

0:40:29.160 --> 0:40:31.960
<v Speaker 1>It's I had just finished my hand movie that ended

0:40:32.040 --> 0:40:35.359
<v Speaker 1>up being called Twenty eight Days, and I had driven

0:40:35.480 --> 0:40:37.400
<v Speaker 1>I bought a pickup truck, and I had driven across

0:40:37.400 --> 0:40:40.040
<v Speaker 1>the country with my son, who was eleven at the time.

0:40:40.200 --> 0:40:42.439
<v Speaker 1>We had this great road trip where he made a map.

0:40:42.480 --> 0:40:44.560
<v Speaker 1>He drew a map in the United States, and he said,

0:40:45.320 --> 0:40:47.480
<v Speaker 1>I said, well, let's decide the route rather than going

0:40:47.520 --> 0:40:49.920
<v Speaker 1>straight across the country to California, where we were living

0:40:50.200 --> 0:40:53.080
<v Speaker 1>at the time, I said, what places should we go?

0:40:54.239 --> 0:40:56.600
<v Speaker 1>I said, well, how about grace Land, Okay, we made

0:40:56.640 --> 0:40:59.319
<v Speaker 1>that dot on the map, and then how about where

0:41:00.280 --> 0:41:03.600
<v Speaker 1>Mom's families from Michael. That would be near Chicago. And

0:41:03.640 --> 0:41:07.480
<v Speaker 1>then well how about you know uncle Michael, because that's Tucson, Okay,

0:41:07.520 --> 0:41:10.359
<v Speaker 1>And how about this, and how about Yeah, So there

0:41:10.440 --> 0:41:13.600
<v Speaker 1>was all these places all over so we did. I said, well,

0:41:13.640 --> 0:41:15.160
<v Speaker 1>this is what the line looks like. It's like this

0:41:16.320 --> 0:41:20.359
<v Speaker 1>stock exactly crashing, falling, going up and down north south,

0:41:20.400 --> 0:41:23.759
<v Speaker 1>north south, but always sort of more or less working westward.

0:41:23.920 --> 0:41:28.480
<v Speaker 1>And we got back from that school starts and I

0:41:28.560 --> 0:41:31.000
<v Speaker 1>was up in Idaho actually when I got this phone

0:41:31.000 --> 0:41:34.600
<v Speaker 1>call and uh, somebody said, we would like you to

0:41:34.680 --> 0:41:37.520
<v Speaker 1>come and do this movie. And I so I just

0:41:37.560 --> 0:41:40.719
<v Speaker 1>got back when my son and school started, and I

0:41:40.760 --> 0:41:42.320
<v Speaker 1>haven't I don't haven't read that book. I don't know

0:41:42.320 --> 0:41:44.400
<v Speaker 1>anything about it, and you're guys are already shooting it

0:41:44.440 --> 0:41:46.839
<v Speaker 1>was to replace an actor, which was also an awkward thing,

0:41:46.920 --> 0:41:49.799
<v Speaker 1>and um who was deemed to be too young for

0:41:49.840 --> 0:41:54.080
<v Speaker 1>the role, and I should I don't know. My son

0:41:54.200 --> 0:41:59.320
<v Speaker 1>heard me talking about it and he he said, the

0:41:59.360 --> 0:42:01.080
<v Speaker 1>Lord of the Rings knew what it was from his

0:42:01.160 --> 0:42:03.480
<v Speaker 1>friends and he dream and I'd read The Hobbit years

0:42:03.520 --> 0:42:05.239
<v Speaker 1>before in high school, but I didn't know anything. But

0:42:05.360 --> 0:42:07.600
<v Speaker 1>Lord Rings, I I just knew it was this big,

0:42:07.719 --> 0:42:11.239
<v Speaker 1>huge book. And he said, what's the character? And I go,

0:42:11.480 --> 0:42:13.360
<v Speaker 1>that's the guy I don't have some guys in the

0:42:13.400 --> 0:42:16.880
<v Speaker 1>woods and he's got you know, some little people and

0:42:16.960 --> 0:42:20.160
<v Speaker 1>he's guiding around and he know that's a strider. I

0:42:20.200 --> 0:42:23.280
<v Speaker 1>don't know. Yeah right, and he goes and he becomes

0:42:23.280 --> 0:42:26.520
<v Speaker 1>the king. I go, he does? He goes, yeah your yeah,

0:42:26.680 --> 0:42:28.680
<v Speaker 1>And I go, you should do that. I got, well,

0:42:28.800 --> 0:42:30.880
<v Speaker 1>but it's a long you know, I don't haven't read it,

0:42:30.880 --> 0:42:33.120
<v Speaker 1>and they've been rehearsing for months and all the stuff

0:42:33.160 --> 0:42:37.000
<v Speaker 1>from Elvish and sword play and whatnot. I don't think

0:42:37.000 --> 0:42:39.640
<v Speaker 1>it's it's just sometimes you gotta admit you're not the writer.

0:42:39.680 --> 0:42:42.319
<v Speaker 1>Guy for the job. Whatever this I don't know. So

0:42:42.360 --> 0:42:44.080
<v Speaker 1>I hung up, But I thought about it, and he

0:42:44.120 --> 0:42:46.040
<v Speaker 1>was very for it. Maybe I would have done it

0:42:46.040 --> 0:42:49.040
<v Speaker 1>on my own anyway, but I was curious, and also

0:42:49.080 --> 0:42:51.239
<v Speaker 1>on the phone, They're going, it'd be easy, you know,

0:42:51.360 --> 0:42:54.480
<v Speaker 1>I mean, you will be done by December. Here it's October.

0:42:54.520 --> 0:42:57.759
<v Speaker 1>I go, that's good. December of next year. Actually, I'm

0:42:57.800 --> 0:43:01.839
<v Speaker 1>like it, so so I said. I eventually said yes,

0:43:01.920 --> 0:43:04.239
<v Speaker 1>and that's how that worked out. It was great. That

0:43:04.320 --> 0:43:06.000
<v Speaker 1>was a good experience. I really like that. I was

0:43:06.280 --> 0:43:10.520
<v Speaker 1>there's something I was thinking about earlier that yesterday. I

0:43:10.560 --> 0:43:13.200
<v Speaker 1>did this, uh, sort of like a public forum R

0:43:13.320 --> 0:43:15.799
<v Speaker 1>time some where you're speaking in from an audio. Been

0:43:15.800 --> 0:43:20.840
<v Speaker 1>asked exactly, and they asked me a question. I was

0:43:20.960 --> 0:43:23.360
<v Speaker 1>curious how you felt? Was? They said? Do you feel

0:43:23.640 --> 0:43:26.239
<v Speaker 1>that the movies you do or choose to do or

0:43:26.280 --> 0:43:31.279
<v Speaker 1>accept that they need to be about something in terms socially?

0:43:31.320 --> 0:43:33.799
<v Speaker 1>Do they have to be for the better good or

0:43:33.920 --> 0:43:37.359
<v Speaker 1>they have to promote you know, I suppose politically or

0:43:37.400 --> 0:43:41.399
<v Speaker 1>ideologically something positive in your opinion, I said, I thought

0:43:41.400 --> 0:43:44.600
<v Speaker 1>about I said, no, I don't think that I find

0:43:44.680 --> 0:43:47.280
<v Speaker 1>movies that are message movies to not be very effective

0:43:47.360 --> 0:43:50.480
<v Speaker 1>dramas or comedies or anything. They're just not interesting to me.

0:43:51.080 --> 0:43:55.960
<v Speaker 1>Movies like Captain Fantastic right, the movies that actually indirectly

0:43:56.000 --> 0:43:59.439
<v Speaker 1>without intending to make you think about communication problems, which

0:43:59.480 --> 0:44:02.200
<v Speaker 1>we have many in this country right now. That's great

0:44:02.239 --> 0:44:04.719
<v Speaker 1>because you're thinking you can apply it. Okay, Well, people

0:44:04.760 --> 0:44:07.080
<v Speaker 1>aren't talking, and if you don't talk and you're isolated

0:44:07.520 --> 0:44:11.040
<v Speaker 1>in your groups because of ideology, race, whatever, it's a problem.

0:44:11.120 --> 0:44:12.919
<v Speaker 1>You gotta talk, you gotta work it out. You're gonna

0:44:12.920 --> 0:44:15.480
<v Speaker 1>have to be flexible. Uh, that's how I like it.

0:44:15.480 --> 0:44:19.680
<v Speaker 1>But I don't message movies. No, I said, um, but

0:44:19.800 --> 0:44:22.200
<v Speaker 1>what I was thinking and the subject went onto something else.

0:44:22.320 --> 0:44:24.839
<v Speaker 1>What I I would have said, if we talked about

0:44:24.840 --> 0:44:27.400
<v Speaker 1>it further, was that you know, I've I've heard the

0:44:27.400 --> 0:44:29.280
<v Speaker 1>thing that you've probably heard before. When you're an actor,

0:44:29.280 --> 0:44:30.759
<v Speaker 1>when did you keep your masha? What do you know?

0:44:31.680 --> 0:44:34.720
<v Speaker 1>I said, Well, why doesn't a football player or an actor,

0:44:34.800 --> 0:44:36.960
<v Speaker 1>or a dentist or anybody and any part of the

0:44:37.000 --> 0:44:39.160
<v Speaker 1>country have a right to say anything it's supposed to be?

0:44:39.760 --> 0:44:42.000
<v Speaker 1>You know, if you you can't expect your politicians to

0:44:42.040 --> 0:44:45.759
<v Speaker 1>have a civil discourse, informed discourse, to be honest and

0:44:45.840 --> 0:44:50.160
<v Speaker 1>to communicate better across the aisle or or with citizens.

0:44:50.440 --> 0:44:52.720
<v Speaker 1>If you don't do it, example has to come from below,

0:44:52.840 --> 0:44:58.640
<v Speaker 1>not from from above. Now, Um, it's interesting to me

0:44:58.719 --> 0:45:01.920
<v Speaker 1>when I think about you, is you know you're this

0:45:02.080 --> 0:45:05.560
<v Speaker 1>very chiseled leading man and you've got this warmth and

0:45:05.600 --> 0:45:09.360
<v Speaker 1>this passion, this beauty to you in the current film

0:45:09.400 --> 0:45:12.719
<v Speaker 1>and Captain Fantastic, but in other films, you know, you're

0:45:12.719 --> 0:45:17.440
<v Speaker 1>this anxiety is tough. History of Violence was a tough movie.

0:45:18.080 --> 0:45:21.560
<v Speaker 1>And um, do you find when you make a film

0:45:21.600 --> 0:45:24.759
<v Speaker 1>like that is some kind of a state you have

0:45:24.840 --> 0:45:26.719
<v Speaker 1>to enter to play one or the other? Do you

0:45:26.800 --> 0:45:29.040
<v Speaker 1>have to empty yourself out and get into the beauty

0:45:29.160 --> 0:45:31.920
<v Speaker 1>zone and the love zone to do Captain Fantastic? And

0:45:32.000 --> 0:45:34.200
<v Speaker 1>you need to drink nineteen espressos and be in your

0:45:34.239 --> 0:45:37.799
<v Speaker 1>room watching Scarface on DVD when you step off to

0:45:37.840 --> 0:45:41.520
<v Speaker 1>go shoot people in the movie. I mean, I you

0:45:41.560 --> 0:45:43.360
<v Speaker 1>know the other question that's sort of like that that

0:45:43.400 --> 0:45:45.920
<v Speaker 1>people say, well, what happens? How do you get rid

0:45:46.000 --> 0:45:48.120
<v Speaker 1>of the character? You know when you go home at

0:45:48.200 --> 0:45:52.360
<v Speaker 1>night or when you're done shooting. And I'm the opposite,

0:45:52.360 --> 0:45:53.880
<v Speaker 1>how do you get into the character? I mean, my

0:45:54.000 --> 0:45:56.480
<v Speaker 1>job as I see it is, I gotta take on

0:45:56.520 --> 0:46:02.600
<v Speaker 1>the point of view, understand it and like it, believe

0:46:02.719 --> 0:46:04.440
<v Speaker 1>in the point of view of a character and playing

0:46:04.440 --> 0:46:06.320
<v Speaker 1>And I've played some characters that I wouldn't want to

0:46:06.360 --> 0:46:09.400
<v Speaker 1>meet on the street, but and that I disagree with

0:46:09.440 --> 0:46:12.279
<v Speaker 1>their point of view personally. But my job is to

0:46:12.560 --> 0:46:14.160
<v Speaker 1>get into it. It's kind of the make believe that

0:46:14.200 --> 0:46:16.719
<v Speaker 1>you do without even thinking as a child, but as

0:46:16.719 --> 0:46:18.640
<v Speaker 1>an adult you have to work at it. And I

0:46:19.080 --> 0:46:24.359
<v Speaker 1>find that endlessly interesting. It's like traveling mentally in your imagination.

0:46:24.480 --> 0:46:28.680
<v Speaker 1>So and getting into it, yeah, I mean, I naturally gravitate,

0:46:28.800 --> 0:46:31.560
<v Speaker 1>and I when I played Sigmund Freud and a dangerous method.

0:46:31.840 --> 0:46:35.440
<v Speaker 1>But I just read everything that I had read of

0:46:35.560 --> 0:46:39.120
<v Speaker 1>his and everything I hadn't read, essays and things about him, biographies,

0:46:39.160 --> 0:46:41.799
<v Speaker 1>And I went to Vienna and I spent some time

0:46:41.880 --> 0:46:44.520
<v Speaker 1>walking around. I went to places he was meant to

0:46:44.560 --> 0:46:47.560
<v Speaker 1>have walked to all the time, cafes I went to.

0:46:47.960 --> 0:46:50.400
<v Speaker 1>I found books that I knew from research that he

0:46:50.480 --> 0:46:53.319
<v Speaker 1>had in his library. I found addition, you know, it's

0:46:53.400 --> 0:46:56.080
<v Speaker 1>just a whole and maybe none of that has ever

0:46:56.120 --> 0:46:58.880
<v Speaker 1>seen in the movie, but for me it makes me

0:46:58.920 --> 0:47:02.000
<v Speaker 1>feel like I've turned over stone and in the process

0:47:02.040 --> 0:47:05.280
<v Speaker 1>of this, this sack that I feel with all these

0:47:05.320 --> 0:47:07.560
<v Speaker 1>odd things, you never know what they are, even objects

0:47:07.560 --> 0:47:11.040
<v Speaker 1>that maybe get used in the movie, learning how he's

0:47:11.360 --> 0:47:13.640
<v Speaker 1>trying to copy his handwriting, all these things that you

0:47:13.680 --> 0:47:16.600
<v Speaker 1>don't really have to do. But it's my getting ready.

0:47:16.760 --> 0:47:19.480
<v Speaker 1>It's a fun part. And if I'm playing a dark

0:47:19.760 --> 0:47:24.480
<v Speaker 1>kind of character, like you said, I take an interest,

0:47:24.520 --> 0:47:26.640
<v Speaker 1>I might try to meet people like that or go

0:47:26.719 --> 0:47:29.640
<v Speaker 1>to places they'd go to and just naturally not trying to.

0:47:29.800 --> 0:47:32.799
<v Speaker 1>You couldn't get into a mindset. That doesn't mean that

0:47:32.840 --> 0:47:36.160
<v Speaker 1>I'm gonna go home and shoot somebody, yeah, or punch

0:47:36.239 --> 0:47:38.759
<v Speaker 1>some pregnant woman in the belly or something, you know,

0:47:38.800 --> 0:47:41.319
<v Speaker 1>just for fun. You know. I'm just I've actually did

0:47:41.320 --> 0:47:43.680
<v Speaker 1>that in the movie Pregnant woman in the belly in

0:47:43.719 --> 0:47:45.840
<v Speaker 1>the movie, and found out she was speaking well, she

0:47:45.880 --> 0:47:48.360
<v Speaker 1>had a fake foam pattern. She was pretending to be pregnant,

0:47:48.360 --> 0:47:50.839
<v Speaker 1>which is why I kicked her. I knew, I knew

0:47:50.880 --> 0:47:52.640
<v Speaker 1>she was faking. Oh my god, it must have been

0:47:52.640 --> 0:47:54.279
<v Speaker 1>a horrible moment. It was a horrible moment of the

0:47:54.480 --> 0:47:57.080
<v Speaker 1>I hated doing it, but my character could see through.

0:47:57.120 --> 0:47:58.799
<v Speaker 1>He could tell she wasn't really pregnant by the way

0:47:58.840 --> 0:48:01.080
<v Speaker 1>she was faking in this movie. But away, So, the

0:48:01.120 --> 0:48:02.640
<v Speaker 1>last thing I want to say to you is what

0:48:03.120 --> 0:48:08.239
<v Speaker 1>someone I admire Cronenberg endlessly. I love his films. He's

0:48:08.280 --> 0:48:11.320
<v Speaker 1>such a great, great movie maker, and I love, uh

0:48:11.560 --> 0:48:14.000
<v Speaker 1>those three films, and two in particular really be I mean,

0:48:14.080 --> 0:48:16.440
<v Speaker 1>just a history of violence. It was just such a

0:48:16.520 --> 0:48:21.160
<v Speaker 1>such an incredibly gripping movie, and ed and Hurt and

0:48:21.200 --> 0:48:23.399
<v Speaker 1>all these real and guys that are really just these

0:48:23.480 --> 0:48:25.640
<v Speaker 1>very people. You can't take their eyes. The three of

0:48:25.640 --> 0:48:28.960
<v Speaker 1>you together, it was like this Mount Rushmore. And he's

0:48:29.000 --> 0:48:32.560
<v Speaker 1>really really interesting guys in movies. And um, what does

0:48:32.600 --> 0:48:35.480
<v Speaker 1>he do for you? What's something you like about Cronenberg?

0:48:35.520 --> 0:48:37.080
<v Speaker 1>And how does he help you as a director when

0:48:37.080 --> 0:48:39.480
<v Speaker 1>you work with somebody like that. Well, he's not a

0:48:39.480 --> 0:48:42.960
<v Speaker 1>director that next to rehearse, but he's very careful and

0:48:43.080 --> 0:48:48.600
<v Speaker 1>very good at casting. Um, he's open to anybody's ideas.

0:48:48.360 --> 0:48:55.080
<v Speaker 1>He's a saying, mature, sensible director. Um. So we developed

0:48:55.080 --> 0:48:59.080
<v Speaker 1>a shorthand right away and share kind of I think

0:48:59.120 --> 0:49:03.600
<v Speaker 1>it's a similar of humor, similar interest in literature and movies.

0:49:03.719 --> 0:49:07.440
<v Speaker 1>And we didn't need to talk much about you know

0:49:08.360 --> 0:49:12.560
<v Speaker 1>I would do a take and he might say I'm

0:49:12.560 --> 0:49:14.680
<v Speaker 1>happy if you aren't doing another one. I say, yeah,

0:49:14.800 --> 0:49:16.799
<v Speaker 1>you know, I mean, I'll do a lot of takes.

0:49:16.840 --> 0:49:20.600
<v Speaker 1>I like it. But if that's another thing about being flexible.

0:49:20.640 --> 0:49:23.799
<v Speaker 1>Some directors, some schedules only allow for a take or two.

0:49:25.160 --> 0:49:29.920
<v Speaker 1>And what I've quickly realized with him is that, you know,

0:49:30.000 --> 0:49:33.320
<v Speaker 1>let's say, in that character history of violence, it's very subtle.

0:49:33.360 --> 0:49:35.600
<v Speaker 1>Some of the transitions were because he's pretending to be

0:49:35.640 --> 0:49:38.000
<v Speaker 1>someone else for years, so much so that he almost

0:49:38.040 --> 0:49:46.000
<v Speaker 1>believes it. And so there's almost a sorta schizophrenic situation

0:49:46.000 --> 0:49:47.800
<v Speaker 1>he has. And it's not a clean he doesn't suddenly

0:49:47.840 --> 0:49:49.759
<v Speaker 1>go from one guy don another. There's some little back

0:49:49.800 --> 0:49:51.600
<v Speaker 1>and forth. You know, he's on the edge of that,

0:49:52.360 --> 0:49:54.920
<v Speaker 1>and some of that's very subtle, and it's mostly non verbal,

0:49:55.200 --> 0:49:57.560
<v Speaker 1>when he's just a look in the eye or just

0:49:57.640 --> 0:50:01.240
<v Speaker 1>a glance and he's like, oh, he's becoming that other character,

0:50:01.280 --> 0:50:04.239
<v Speaker 1>is peaking through that other person his real self or

0:50:04.320 --> 0:50:08.280
<v Speaker 1>one of his real selves. And you know, I realized

0:50:08.360 --> 0:50:10.239
<v Speaker 1>right away, like I did the thing I said, well,

0:50:10.239 --> 0:50:12.600
<v Speaker 1>you know, I wasn't. I didn't. It's not something said

0:50:12.600 --> 0:50:14.160
<v Speaker 1>I just he goes Now. I saw it. I thought,

0:50:14.600 --> 0:50:19.160
<v Speaker 1>so you need a director who sees the thing, know

0:50:19.239 --> 0:50:21.400
<v Speaker 1>how to read you. Yeah, and all of you know,

0:50:21.440 --> 0:50:24.440
<v Speaker 1>and takes care of it in the editing room. Um

0:50:24.600 --> 0:50:27.120
<v Speaker 1>So when he said I was do Eastern Promises, I thought,

0:50:27.680 --> 0:50:30.440
<v Speaker 1>sure it would be great. I was doubtful about the

0:50:30.480 --> 0:50:34.480
<v Speaker 1>third one. He said, Siegmund Freud. I said, that's a stretch.

0:50:34.680 --> 0:50:37.080
<v Speaker 1>I don't I don't think any other director would have

0:50:37.960 --> 0:50:40.640
<v Speaker 1>said play that. But it's him. So in the end, well,

0:50:41.239 --> 0:50:43.680
<v Speaker 1>he hasn't steered me wrong so far. I want to

0:50:43.719 --> 0:50:46.680
<v Speaker 1>finish by saying, you've played a lot of great roles

0:50:46.680 --> 0:50:50.360
<v Speaker 1>as a result of your looks, and you know, masculinity

0:50:50.440 --> 0:50:53.640
<v Speaker 1>and intensity, not just you know, your fear physical features,

0:50:53.640 --> 0:50:57.000
<v Speaker 1>but your whole essence. And but to be on film

0:50:57.040 --> 0:51:01.239
<v Speaker 1>and just exist on film and to respond and this

0:51:01.280 --> 0:51:06.680
<v Speaker 1>film really breathes. This movie is beautiful and breathe. The

0:51:06.719 --> 0:51:08.560
<v Speaker 1>moment for me, and I'm not even assuming this is

0:51:09.120 --> 0:51:12.359
<v Speaker 1>was there for you, but the moment I thought, said

0:51:12.960 --> 0:51:15.120
<v Speaker 1>Langella at one point in the film, two thirds into

0:51:15.160 --> 0:51:19.120
<v Speaker 1>the film, where he's just like suggesting you're crazy, You're nuts.

0:51:19.400 --> 0:51:21.160
<v Speaker 1>And what I loved about you was that you really

0:51:21.560 --> 0:51:23.080
<v Speaker 1>what I got from you was you were like, maybe

0:51:23.120 --> 0:51:26.280
<v Speaker 1>I am You sat there and go, oh my god,

0:51:26.719 --> 0:51:29.160
<v Speaker 1>maybe I am crazy, And that was one of the

0:51:29.160 --> 0:51:32.840
<v Speaker 1>most beautiful moments in the movie, that little interlude was saying,

0:51:33.200 --> 0:51:37.760
<v Speaker 1>oh God, maybe they're right. Yeah, maybe I am crazy,

0:51:37.840 --> 0:51:41.720
<v Speaker 1>Maybe I'm mentally ill. I love I love characters that

0:51:41.719 --> 0:51:45.239
<v Speaker 1>that take you on that journey, and I love movies that,

0:51:45.880 --> 0:51:47.960
<v Speaker 1>as an audience mean you're sitting here and then they

0:51:48.040 --> 0:51:50.600
<v Speaker 1>really make you think I'm doing it wrong. I mean

0:51:50.800 --> 0:51:53.719
<v Speaker 1>as a dad or just as a human better all wrong.

0:51:53.800 --> 0:51:57.560
<v Speaker 1>I'm lazy, I don't I've treated people. I gotta call

0:51:57.760 --> 0:51:59.560
<v Speaker 1>my mom right away or I guys can talk to

0:51:59.600 --> 0:52:01.840
<v Speaker 1>my chill learner. I've got to make up for that

0:52:01.920 --> 0:52:05.000
<v Speaker 1>thing I did. Or why did I choose this profession?

0:52:05.200 --> 0:52:09.799
<v Speaker 1>Why what's wrong with me? I'm so lacking in and

0:52:10.120 --> 0:52:14.880
<v Speaker 1>integrity and effort and commitment. And you know, movies that

0:52:14.920 --> 0:52:17.359
<v Speaker 1>make you doubt everything, make you wake up and think

0:52:17.520 --> 0:52:20.520
<v Speaker 1>everything I've done is wrong, even for a moment, then

0:52:20.600 --> 0:52:24.040
<v Speaker 1>of course you have to hopefully you can get it

0:52:24.080 --> 0:52:27.160
<v Speaker 1>together and to make some adjustments. That's that's a great

0:52:27.920 --> 0:52:34.200
<v Speaker 1>service that a movie story can do for you. I

0:52:34.280 --> 0:52:38.080
<v Speaker 1>watched a screening of Captain Fantastic and I encourage you

0:52:38.239 --> 0:52:41.600
<v Speaker 1>to see it too. It's playing in theaters now. This

0:52:41.680 --> 0:52:44.399
<v Speaker 1>is Alec Baldwin and you were listening to Here's the Thing,

0:53:00.480 --> 0:53:00.520
<v Speaker 1>M