1 00:00:03,520 --> 00:00:06,440 Speaker 1: This is Alec Baldwin and you were listening to Here's 2 00:00:06,440 --> 00:00:10,360 Speaker 1: the thing, I admit. I looked at Maggie Chillen Hall's 3 00:00:10,400 --> 00:00:15,840 Speaker 1: Wikipedia page and it does get some things right. She 4 00:00:16,120 --> 00:00:18,960 Speaker 1: was nominated for an Academy Award for her work in 5 00:00:19,079 --> 00:00:22,400 Speaker 1: Crazy Heart. She did get a Golden Globe Award for 6 00:00:22,480 --> 00:00:26,920 Speaker 1: her performance in the British TV show The Honorable Woman. Maggie. 7 00:00:27,000 --> 00:00:29,639 Speaker 1: Jillen Hall has worked in big budget films like The 8 00:00:29,720 --> 00:00:33,199 Speaker 1: Dark Night and Nanny McPhee, but still finds time for 9 00:00:33,320 --> 00:00:38,199 Speaker 1: off Broadway plays. She did graduate from Columbia University and 10 00:00:38,320 --> 00:00:41,800 Speaker 1: she is married to the actor Peter Sarsgard, but she 11 00:00:41,920 --> 00:00:45,040 Speaker 1: did not appear in a production of Uncle Vania, directed 12 00:00:45,080 --> 00:00:48,600 Speaker 1: by Martin Scorsese. Her new movie is The Kindergarten Teacher, 13 00:00:48,840 --> 00:00:52,760 Speaker 1: and it comes out this Friday from Netflix. I spoke 14 00:00:52,840 --> 00:00:56,520 Speaker 1: with Jillen Hall last Friday at the Hampton's International Film 15 00:00:56,560 --> 00:00:59,920 Speaker 1: Festival Live at the Bay Street Theater in sag Harbor. 16 00:01:01,280 --> 00:01:03,520 Speaker 1: You were born in New York and raised in l 17 00:01:03,600 --> 00:01:07,040 Speaker 1: A And what was your childhood like in terms of 18 00:01:07,760 --> 00:01:12,240 Speaker 1: um film culture, theater. Were you like a big mavin 19 00:01:12,280 --> 00:01:14,639 Speaker 1: and you watched everything? Were you home watching Gilligan's Island 20 00:01:14,640 --> 00:01:18,680 Speaker 1: like the rest of us. Well, my parents were from 21 00:01:18,720 --> 00:01:21,400 Speaker 1: New York. Well, my dad was from Pennsylvania. My mom 22 00:01:21,480 --> 00:01:24,040 Speaker 1: was from New York, from Brooklyn, and they were kind 23 00:01:24,080 --> 00:01:27,480 Speaker 1: of new to l A. You know. They were filmmakers 24 00:01:27,480 --> 00:01:29,360 Speaker 1: and they drove across the country with me when I 25 00:01:29,400 --> 00:01:33,040 Speaker 1: was I think ten months old. They were not movies, yeah, yeah, 26 00:01:33,120 --> 00:01:37,760 Speaker 1: and so they were lovers of movies. Um, I don't know. 27 00:01:38,000 --> 00:01:40,520 Speaker 1: I feel like I wasn't really allowed to watch like 28 00:01:41,000 --> 00:01:44,600 Speaker 1: Gilligan's Island, to be honest, it's kind that's good range. 29 00:01:44,680 --> 00:01:47,919 Speaker 1: But I was allowed to watch Sesame Street. My mom 30 00:01:47,960 --> 00:01:50,160 Speaker 1: actually was one of the people who she was like 31 00:01:50,200 --> 00:01:52,000 Speaker 1: a p a on Sesame Street. She was one of 32 00:01:52,040 --> 00:01:53,800 Speaker 1: the people who started the electric company. So I was 33 00:01:53,840 --> 00:02:00,200 Speaker 1: allowed to watch those and the Cosby Show. Um, that 34 00:02:00,400 --> 00:02:03,240 Speaker 1: was what I was allowed to watch, and and a 35 00:02:03,320 --> 00:02:09,360 Speaker 1: little bit of um Little House on the Prairie. And 36 00:02:09,400 --> 00:02:11,560 Speaker 1: after a Little House in the Prairie came on Chips 37 00:02:11,680 --> 00:02:14,280 Speaker 1: and I was like, I kind of like snuck in 38 00:02:14,320 --> 00:02:18,640 Speaker 1: a little chips. What what Okay? So what was it 39 00:02:18,680 --> 00:02:20,760 Speaker 1: that drew you two chips? What do you like about chips? 40 00:02:20,800 --> 00:02:24,280 Speaker 1: I was really, can I be honest with you. That 41 00:02:24,400 --> 00:02:26,919 Speaker 1: was like one of the first kind of like whoa, 42 00:02:27,000 --> 00:02:33,959 Speaker 1: what is this feeling? I'm feeling type of moments, likeycles 43 00:02:34,280 --> 00:02:37,320 Speaker 1: and yeah, just the beginning, just the credits. That was like, 44 00:02:37,720 --> 00:02:41,520 Speaker 1: That's why I like Gilligan's Island, Remote Island, Women There 45 00:02:41,560 --> 00:02:44,360 Speaker 1: marrying Ginger was the the first time I had some of 46 00:02:44,400 --> 00:02:48,160 Speaker 1: those feelings you have. Yeah, But then my parents, It's funny, 47 00:02:48,200 --> 00:02:53,440 Speaker 1: they were they loved movies and every weekend we would 48 00:02:53,480 --> 00:02:55,840 Speaker 1: go see a movie for a long time, and they 49 00:02:55,840 --> 00:02:57,640 Speaker 1: took us to a lot of things that I would 50 00:02:57,760 --> 00:03:01,480 Speaker 1: never have taken my kids to, like really appropriate. So 51 00:03:01,680 --> 00:03:03,880 Speaker 1: your parents are like they didn't want you to watch 52 00:03:04,240 --> 00:03:06,079 Speaker 1: a certain kind of TV. But then when you don't, 53 00:03:06,120 --> 00:03:07,520 Speaker 1: look now, you know what I mean? They when to 54 00:03:07,520 --> 00:03:10,520 Speaker 1: go see really eclectic films. And but it was really 55 00:03:10,520 --> 00:03:12,600 Speaker 1: my husband who was like, oh, you haven't seen this, 56 00:03:12,639 --> 00:03:14,600 Speaker 1: you haven't seen Cassavetti's, you haven't seen this, you haven't 57 00:03:14,600 --> 00:03:18,200 Speaker 1: seen that, and like really include me into and also 58 00:03:18,000 --> 00:03:21,640 Speaker 1: to to you know, cool seventies movies but also like 59 00:03:21,720 --> 00:03:26,560 Speaker 1: really amazing actresses. I feel like he has well, like 60 00:03:26,600 --> 00:03:29,400 Speaker 1: he showed me all the General Roland's movies. He was 61 00:03:29,800 --> 00:03:33,560 Speaker 1: he used to tell me. I feel as were embarrassing 62 00:03:33,600 --> 00:03:34,920 Speaker 1: saying this, because it was like, it's sort of a 63 00:03:35,240 --> 00:03:36,839 Speaker 1: I think he was just flirting with me, but he's 64 00:03:37,120 --> 00:03:39,560 Speaker 1: saying he thought I reminded him of Diane Keaton, like 65 00:03:39,600 --> 00:03:41,880 Speaker 1: only in my wildest dreams. I mean, she's amazing. But 66 00:03:42,000 --> 00:03:46,760 Speaker 1: he showed me some of her great movies, and um, 67 00:03:46,800 --> 00:03:49,080 Speaker 1: I wanted to dinner with Peter once with another girlfriend 68 00:03:49,080 --> 00:03:50,840 Speaker 1: of his, and he said the same thing to her, 69 00:03:52,160 --> 00:03:55,600 Speaker 1: you remind me of Diane Keaton. It totally works. It 70 00:03:55,640 --> 00:03:58,560 Speaker 1: totally works. It works like a charm. Young guys out there, 71 00:03:59,440 --> 00:04:04,360 Speaker 1: keep that in your pocket. But he's a movie nut. Well, 72 00:04:04,360 --> 00:04:08,120 Speaker 1: he he really taught me like here's some here's some 73 00:04:08,200 --> 00:04:12,560 Speaker 1: things that that you should see. And then still, um, 74 00:04:12,680 --> 00:04:14,920 Speaker 1: we were actually joking that someone was telling us we 75 00:04:14,960 --> 00:04:17,880 Speaker 1: had to see the Watergate documentary and I was like, yeah, 76 00:04:17,920 --> 00:04:20,560 Speaker 1: that's like a Peter date night movie. Like he's like, 77 00:04:21,040 --> 00:04:23,440 Speaker 1: we have a moment together. Actually, oh do you know 78 00:04:23,480 --> 00:04:28,000 Speaker 1: that movie Goma. It's an amazing movie, but it is brutal. 79 00:04:28,440 --> 00:04:30,799 Speaker 1: And he's like, Oh, we're just about to get married 80 00:04:30,880 --> 00:04:32,839 Speaker 1: right near here. I heard this movie is great. Let's 81 00:04:32,839 --> 00:04:36,560 Speaker 1: go see Goma. You know or white ribbon. He took 82 00:04:36,560 --> 00:04:43,240 Speaker 1: me on down than let's watch straw dokst you guys 83 00:04:43,279 --> 00:04:46,440 Speaker 1: should go. Thanks again. So when you you grew up 84 00:04:46,440 --> 00:04:50,160 Speaker 1: in l A and your parents were making films and 85 00:04:50,320 --> 00:04:52,719 Speaker 1: you start acting when you're there when you're very young, 86 00:04:52,960 --> 00:04:55,920 Speaker 1: I mean not really, it's funny. I um, I think 87 00:04:55,920 --> 00:04:58,479 Speaker 1: it's in my Wikipedia page, like some of the other 88 00:04:58,760 --> 00:05:01,640 Speaker 1: very untrue things we were. Your Wikipedia page is a mess. 89 00:05:02,760 --> 00:05:06,440 Speaker 1: We're gonna get to that. Um. That that I that 90 00:05:06,560 --> 00:05:09,599 Speaker 1: my debut was in Waterland, you know, which was a 91 00:05:09,640 --> 00:05:11,440 Speaker 1: movie that my dad made it. In fact, I saw 92 00:05:11,520 --> 00:05:13,680 Speaker 1: water Land just the other day because they did a 93 00:05:13,680 --> 00:05:16,600 Speaker 1: screening of it at Columbia and invited my dad, and 94 00:05:16,640 --> 00:05:18,359 Speaker 1: so I went up to see it. I am in 95 00:05:18,480 --> 00:05:24,800 Speaker 1: water Land for five seconds. And my dad had been 96 00:05:24,839 --> 00:05:28,200 Speaker 1: making the movie in London and they had maybe four 97 00:05:28,240 --> 00:05:30,880 Speaker 1: weeks in Pittsburgh, and I was in school in l A. 98 00:05:31,080 --> 00:05:33,640 Speaker 1: And it was like a way I could go see 99 00:05:33,640 --> 00:05:38,200 Speaker 1: my dad. It wasn't really my film debut. Now, when 100 00:05:38,200 --> 00:05:40,360 Speaker 1: you when you went to Columbia, where'd you go study? 101 00:05:40,800 --> 00:05:44,160 Speaker 1: I studied English literature. You don't want to sell theater 102 00:05:44,240 --> 00:05:47,880 Speaker 1: or drama. I started doing plays there. Um, I did. 103 00:05:48,040 --> 00:05:51,280 Speaker 1: I did a lot first. I mean I I had 104 00:05:51,320 --> 00:05:53,919 Speaker 1: one teacher there who I learned a lot from, this woman, 105 00:05:54,040 --> 00:05:57,360 Speaker 1: Joan rosen Fells. But I don't know. I guess that 106 00:05:57,400 --> 00:06:00,640 Speaker 1: was a Columbian. I sort of felt like I'm Columbia, 107 00:06:00,760 --> 00:06:06,120 Speaker 1: like I should study Columbia does best? Were not acting? Yeah? 108 00:06:06,360 --> 00:06:09,120 Speaker 1: I tell people that now. Who are students who go 109 00:06:09,240 --> 00:06:13,520 Speaker 1: to degree granting universities for drama? And I say, don't 110 00:06:13,560 --> 00:06:17,359 Speaker 1: just take drama and acting. Take something where you're going 111 00:06:17,400 --> 00:06:19,840 Speaker 1: to read a lot of books, philosophy and the nature history, 112 00:06:20,120 --> 00:06:22,440 Speaker 1: but you're there gonna do. What's the first production to 113 00:06:22,480 --> 00:06:25,560 Speaker 1: do in New York? Do you remember? Like my first? 114 00:06:25,920 --> 00:06:28,040 Speaker 1: You had to Columbia? You did play What would you do? 115 00:06:28,320 --> 00:06:33,120 Speaker 1: What did I do with Columbia was the first one? Oh? 116 00:06:33,440 --> 00:06:38,000 Speaker 1: I did a student production of No Exit with this 117 00:06:38,040 --> 00:06:43,440 Speaker 1: guy who became my boyfriend named Dante, who was actually 118 00:06:43,440 --> 00:06:47,279 Speaker 1: twenty five and it already graduated from college. It was 119 00:06:47,320 --> 00:06:51,800 Speaker 1: in a student's production talk ye be in prison Now 120 00:06:51,880 --> 00:06:56,200 Speaker 1: that happens correctly. So I did that. I also did 121 00:06:56,320 --> 00:07:00,760 Speaker 1: Um the Tempest and I played prosper and that too. No, No, 122 00:07:01,040 --> 00:07:04,240 Speaker 1: he didn't make it in that one. Um, but yeah, 123 00:07:04,240 --> 00:07:06,640 Speaker 1: that was the first one. Was no exit when you 124 00:07:06,920 --> 00:07:09,520 Speaker 1: when you graduated with a degree in literature. Was was 125 00:07:09,560 --> 00:07:12,520 Speaker 1: acting the goals or what you wanted to do? Yeah, 126 00:07:12,840 --> 00:07:15,240 Speaker 1: I did. I always wanted to be an actress. And 127 00:07:15,320 --> 00:07:17,160 Speaker 1: I feel I feel like, yeah, yeah, okay, yes, in 128 00:07:17,200 --> 00:07:19,680 Speaker 1: college you can read. Although there's so much you're supposed 129 00:07:19,720 --> 00:07:22,400 Speaker 1: to read, I feel like I never had read all 130 00:07:22,440 --> 00:07:25,440 Speaker 1: of it. But I feel like I really learned to 131 00:07:25,480 --> 00:07:29,000 Speaker 1: write in college. And I don't know about you, but 132 00:07:29,440 --> 00:07:31,920 Speaker 1: I feel like there's been so many times where I've had, 133 00:07:32,560 --> 00:07:36,400 Speaker 1: you know, lines I wanted changed, or a cut that 134 00:07:36,480 --> 00:07:40,560 Speaker 1: I wanted shifted, or something I had to sort out 135 00:07:40,600 --> 00:07:42,560 Speaker 1: on a set that I had to write an email 136 00:07:43,000 --> 00:07:45,600 Speaker 1: or even have a conversation where I had to organize 137 00:07:45,600 --> 00:07:49,480 Speaker 1: my thoughts before I had it. Where I think, thank 138 00:07:49,520 --> 00:07:52,800 Speaker 1: God I went to college because I was able to 139 00:07:52,840 --> 00:07:55,880 Speaker 1: say what I meant to say. You know what helps 140 00:07:55,920 --> 00:07:59,680 Speaker 1: if you have that background, Because you do, you feel 141 00:07:59,720 --> 00:08:02,120 Speaker 1: there was progression for you. In the beginning. You were 142 00:08:02,160 --> 00:08:05,640 Speaker 1: timid and shot, you know, less assertive, and I want 143 00:08:05,640 --> 00:08:08,400 Speaker 1: to find out when did that begin to change. Was 144 00:08:08,440 --> 00:08:10,960 Speaker 1: there a moment you sat there and you said, yeah, 145 00:08:11,200 --> 00:08:13,400 Speaker 1: I need to defend my position, and I think I 146 00:08:13,440 --> 00:08:20,240 Speaker 1: know what's best for me. I think, you know, I 147 00:08:20,280 --> 00:08:24,640 Speaker 1: don't know that it was. I think basically it was progressive, right, 148 00:08:24,760 --> 00:08:28,040 Speaker 1: like basically right. I was younger and newer, and it 149 00:08:28,120 --> 00:08:30,160 Speaker 1: was harder for me to say what I wanted, and 150 00:08:30,200 --> 00:08:33,040 Speaker 1: it's gotten easier as I've had more experience. But I 151 00:08:33,120 --> 00:08:38,760 Speaker 1: also think that different sets give way to a different 152 00:08:38,760 --> 00:08:41,000 Speaker 1: way of working. So first, I'm a jobbing actress and 153 00:08:41,080 --> 00:08:42,760 Speaker 1: I'm trying to get jobs and I come in for 154 00:08:42,840 --> 00:08:47,600 Speaker 1: two days or one afternoon or whatever, and you're like, oh, okay, 155 00:08:47,760 --> 00:08:52,360 Speaker 1: you want me to do it like that? Um, I know, 156 00:08:52,520 --> 00:08:54,760 Speaker 1: I don't know. It didn't sound really very good to me, 157 00:08:55,120 --> 00:08:58,440 Speaker 1: but I'm afraid to say, let's say, or maybe I 158 00:08:58,520 --> 00:09:01,720 Speaker 1: do try to say and I get shut down and 159 00:09:01,760 --> 00:09:05,240 Speaker 1: I accepted and whatever. That's like, you know, it's very 160 00:09:05,280 --> 00:09:07,400 Speaker 1: hard to do when you're coming in for one second. 161 00:09:07,440 --> 00:09:10,040 Speaker 1: It's like going to a new school where everybody knows 162 00:09:10,080 --> 00:09:13,240 Speaker 1: each other and you're there for an afternoon. But then, 163 00:09:13,280 --> 00:09:17,040 Speaker 1: like when I worked on Secretary, which was really early on, 164 00:09:17,320 --> 00:09:23,280 Speaker 1: I mean I was twenty two, I had a real 165 00:09:23,440 --> 00:09:27,679 Speaker 1: point of view about what I wanted to say, and 166 00:09:27,679 --> 00:09:30,520 Speaker 1: and Steve Schenberg, who directed it, was really interested in that. 167 00:09:30,880 --> 00:09:34,440 Speaker 1: And I also think he knew that things were happening 168 00:09:34,440 --> 00:09:38,880 Speaker 1: that I didn't have any idea were happening. And also 169 00:09:39,200 --> 00:09:43,000 Speaker 1: my twenty two I think I'm being very intellectual and 170 00:09:43,040 --> 00:09:46,440 Speaker 1: I've come from college and I studied feminist theory and everything, 171 00:09:46,480 --> 00:09:48,480 Speaker 1: you know, and I think I'm saying this, and I 172 00:09:48,520 --> 00:09:50,600 Speaker 1: think he was twenty years older than me that he 173 00:09:50,679 --> 00:09:53,920 Speaker 1: was able to see. I know she thinks she's saying this, 174 00:09:54,320 --> 00:09:59,680 Speaker 1: but this whole other thing is also happening, and um, 175 00:09:59,720 --> 00:10:01,880 Speaker 1: and he put all that in the film. But so 176 00:10:01,960 --> 00:10:04,120 Speaker 1: that was a space where I felt I was totally 177 00:10:04,160 --> 00:10:06,920 Speaker 1: able to collaborative. Yes, And then I went to work 178 00:10:06,920 --> 00:10:08,920 Speaker 1: on a movie after that, which I won't name, where 179 00:10:09,000 --> 00:10:12,679 Speaker 1: I was totally shut down and I was shocked by it. 180 00:10:13,760 --> 00:10:15,640 Speaker 1: I always remember, like you go to a movie and 181 00:10:16,280 --> 00:10:18,440 Speaker 1: this is just you know, my opinion, but like you 182 00:10:18,480 --> 00:10:20,440 Speaker 1: do a film and you want to be told what 183 00:10:20,520 --> 00:10:23,440 Speaker 1: to do. Basically, my whole thing is you're making the movie. 184 00:10:23,440 --> 00:10:25,400 Speaker 1: What movie are you making? What? What? How do I 185 00:10:25,480 --> 00:10:28,320 Speaker 1: fit in? I do. One of the first movies I did, 186 00:10:28,720 --> 00:10:31,320 Speaker 1: I was lucky. I did this movie Working Girl with 187 00:10:31,360 --> 00:10:34,600 Speaker 1: Mike Nichols, and Nichols says, you're gonna have sex. He goes, 188 00:10:34,600 --> 00:10:36,920 Speaker 1: you're gonna have sex with this woman and she catches 189 00:10:36,960 --> 00:10:40,640 Speaker 1: you having sex? How would you have sex that are 190 00:10:40,679 --> 00:10:43,440 Speaker 1: being caught? And I go, well, and I try to 191 00:10:43,440 --> 00:10:46,160 Speaker 1: think of like, what's the most comical, you know thing, 192 00:10:46,200 --> 00:10:48,880 Speaker 1: and he goes, He goes, it was very graatious. She's like, 193 00:10:49,000 --> 00:10:51,480 Speaker 1: He's like, that's not a bad idea. That's not a 194 00:10:51,520 --> 00:10:54,600 Speaker 1: bad idea. But what I think it really sells it 195 00:10:54,640 --> 00:10:57,400 Speaker 1: if she's just completely naked and you're completely naked, and 196 00:10:57,480 --> 00:11:00,400 Speaker 1: she's just sitting right on top of you, just writing 197 00:11:00,480 --> 00:11:05,840 Speaker 1: you and me and they actually were like, oh, we 198 00:11:05,880 --> 00:11:07,800 Speaker 1: had a much more chaste and kind of like silly 199 00:11:08,000 --> 00:11:09,679 Speaker 1: version of that. And me and the girl were like, 200 00:11:09,760 --> 00:11:12,480 Speaker 1: he was like, Okay, come come now, close off, let's go. 201 00:11:12,840 --> 00:11:15,679 Speaker 1: But the idea of that clarity time saving somebody who 202 00:11:15,679 --> 00:11:19,079 Speaker 1: comes as this, Yeah, but the thing is, well, I 203 00:11:19,200 --> 00:11:24,280 Speaker 1: always use my fantasy movie I would have made with 204 00:11:24,360 --> 00:11:28,160 Speaker 1: Mike Nichols as like the example of if Mike Nichols 205 00:11:28,240 --> 00:11:30,520 Speaker 1: is directing this, yes, I want to be told exactly 206 00:11:30,600 --> 00:11:33,280 Speaker 1: what to do, please, Like I watched his movies and 207 00:11:33,320 --> 00:11:40,000 Speaker 1: I'm like he's directing everybody. He's like pushing everybody further 208 00:11:40,200 --> 00:11:44,160 Speaker 1: and deeper and funnier and wilder than they ever would go. 209 00:11:44,200 --> 00:11:46,360 Speaker 1: In fact, the one time I worked with Mike Nichols 210 00:11:46,400 --> 00:11:49,360 Speaker 1: was on this reading. It's not a not a movie 211 00:11:49,440 --> 00:11:51,199 Speaker 1: or even a play that was ever produced. It was 212 00:11:51,240 --> 00:11:55,160 Speaker 1: just a a few day long reading of a play 213 00:11:55,240 --> 00:11:58,360 Speaker 1: that Alan Alda wrote. Bob Balaban directed the reading, but 214 00:11:58,440 --> 00:12:02,920 Speaker 1: Mike was sort of producing it. I guess he came 215 00:12:03,000 --> 00:12:06,600 Speaker 1: up to me after a day of rehearsal and he 216 00:12:06,679 --> 00:12:14,160 Speaker 1: just said, she's feral the character. And I've I've often 217 00:12:15,240 --> 00:12:17,679 Speaker 1: thought that was the best direction I've ever gotten, because 218 00:12:17,679 --> 00:12:19,640 Speaker 1: it doesn't say like, you know, I don't know directors 219 00:12:19,640 --> 00:12:21,199 Speaker 1: ever come up to you and say like, I'm worried 220 00:12:21,360 --> 00:12:23,960 Speaker 1: that we're not gonna be able to tell that you're 221 00:12:24,200 --> 00:12:28,560 Speaker 1: mad because you're acting so nice, and I'm worried that 222 00:12:28,600 --> 00:12:30,840 Speaker 1: it's not going to communicate, you know, Or I'm afraid 223 00:12:31,000 --> 00:12:33,520 Speaker 1: that you're going too far in this direction, or I'm 224 00:12:33,559 --> 00:12:38,800 Speaker 1: afraid that you're, you know, gonna confuse people by something 225 00:12:38,840 --> 00:12:42,679 Speaker 1: that you're doing. I have been told that before. Um, 226 00:12:42,720 --> 00:12:45,960 Speaker 1: but Mike Nichols is basically going like, go further, like 227 00:12:46,080 --> 00:12:48,920 Speaker 1: in any direction you could possibly go like what he 228 00:12:48,960 --> 00:12:52,520 Speaker 1: said to you, you know, go all the way she's feral. 229 00:12:53,000 --> 00:12:56,160 Speaker 1: I was playing Murray Curie and he's saying like she's 230 00:12:56,200 --> 00:13:01,280 Speaker 1: a wild animal, the wild cat because the other parts 231 00:13:01,320 --> 00:13:04,680 Speaker 1: taken care of. She's Marie Curie. You know, all the 232 00:13:04,800 --> 00:13:09,840 Speaker 1: French radiologists knew that back she was wild, that Marie Curry. 233 00:13:10,360 --> 00:13:13,160 Speaker 1: So I want to be told what to do. Yes, 234 00:13:13,280 --> 00:13:15,720 Speaker 1: I wish for that kind of collaboration, but I don't. 235 00:13:16,160 --> 00:13:19,280 Speaker 1: I don't go in expecting that it's going to happen. 236 00:13:19,679 --> 00:13:22,480 Speaker 1: I wanted who was the director you worked with, because 237 00:13:22,480 --> 00:13:24,240 Speaker 1: I think you and I may be sharing this from 238 00:13:24,280 --> 00:13:27,920 Speaker 1: what you said where we're not out to uh offend anyone, 239 00:13:27,960 --> 00:13:29,560 Speaker 1: but you don't think of somebody who it was really 240 00:13:29,600 --> 00:13:33,480 Speaker 1: just great. You loved working with Um other than your 241 00:13:33,480 --> 00:13:35,600 Speaker 1: current collaboration. We're gonna get to that. But I did 242 00:13:35,679 --> 00:13:40,320 Speaker 1: love my current collaboration. I have a few that I've 243 00:13:40,320 --> 00:13:45,520 Speaker 1: really loved, Um, Martin Scorsese on Banya right that Martin 244 00:13:45,559 --> 00:13:51,040 Speaker 1: Scorsese directed, supposedly according to Wikipedia, me and my husband 245 00:13:53,880 --> 00:13:58,920 Speaker 1: uncle v at csc take a tiny black box stater 246 00:13:58,960 --> 00:14:01,880 Speaker 1: in New York. Is is Martin Scorsese directed the check Out, 247 00:14:01,880 --> 00:14:04,240 Speaker 1: and I'm going, oh my god, this is like the 248 00:14:04,280 --> 00:14:06,120 Speaker 1: seismic thing that got by me. It's like it's like 249 00:14:06,160 --> 00:14:08,320 Speaker 1: someone welcome to you, going, you know, the Lindbergh baby 250 00:14:08,400 --> 00:14:13,640 Speaker 1: was kidnapped, right. And then in this Wikipedia entry that 251 00:14:13,720 --> 00:14:16,040 Speaker 1: Alec just showed me, it then goes on to quote 252 00:14:16,040 --> 00:14:20,920 Speaker 1: a terrible review of me in the play that's not 253 00:14:20,960 --> 00:14:25,400 Speaker 1: a good section that I'm not a skimpedia. But Austin 254 00:14:25,400 --> 00:14:27,840 Speaker 1: Pendleton did, and he is one of the most incredible 255 00:14:27,880 --> 00:14:33,200 Speaker 1: directors I've ever worked with. My wife Austin Um, It's 256 00:14:33,200 --> 00:14:37,600 Speaker 1: funny Austin asked me to do uh Uncle Vanya and 257 00:14:37,680 --> 00:14:41,920 Speaker 1: he when when they offered it to me, they sent 258 00:14:42,000 --> 00:14:45,200 Speaker 1: me this interview with Austin and it basically talks about 259 00:14:46,360 --> 00:14:48,200 Speaker 1: this sort of incredible way that he likes to work 260 00:14:48,200 --> 00:14:52,360 Speaker 1: with actors, you know, where everyone's free to respond to 261 00:14:52,360 --> 00:14:54,440 Speaker 1: each other in the moment on stage. You know, all 262 00:14:54,480 --> 00:14:56,880 Speaker 1: the fantasies that actors have of a way that you 263 00:14:56,920 --> 00:15:00,200 Speaker 1: could actually really work together, which rarely happens. And I 264 00:15:00,240 --> 00:15:03,520 Speaker 1: was like, Austin, I'd love to do this, I'd love 265 00:15:03,600 --> 00:15:06,000 Speaker 1: to work this way, you know, where it's all just 266 00:15:06,320 --> 00:15:08,600 Speaker 1: reacting to the reality of the moment with the other 267 00:15:08,640 --> 00:15:13,000 Speaker 1: person on stage, and how everybody says that's what they 268 00:15:13,040 --> 00:15:15,480 Speaker 1: want to do, how are you actually going to do it? 269 00:15:15,880 --> 00:15:18,080 Speaker 1: And he's like, well, you got to come and work 270 00:15:18,120 --> 00:15:20,760 Speaker 1: with me to find out. And the truth is, I 271 00:15:21,000 --> 00:15:26,120 Speaker 1: don't know how he created this situation where everybody on 272 00:15:26,320 --> 00:15:32,240 Speaker 1: stage had deep respect for each other, even though it 273 00:15:32,400 --> 00:15:34,320 Speaker 1: was clear to me that there were actors who were 274 00:15:34,360 --> 00:15:38,040 Speaker 1: stronger than others that there were, but it made no difference, 275 00:15:38,120 --> 00:15:39,800 Speaker 1: you know, I know one way he did it. I 276 00:15:39,800 --> 00:15:47,040 Speaker 1: remember the first day of rehearsal. He said, however, you imagined, uh, Sonja, 277 00:15:48,320 --> 00:15:50,560 Speaker 1: whatever fantasy you had of who Sonia was going to 278 00:15:50,640 --> 00:15:54,280 Speaker 1: be when you read this play, Sonja is her. Sonia 279 00:15:54,320 --> 00:15:56,880 Speaker 1: is this person, And all the feelings you have about 280 00:15:56,920 --> 00:16:01,920 Speaker 1: this person, about the way that that ricochets off what 281 00:16:02,040 --> 00:16:04,720 Speaker 1: you anticipated when you read the play, that's all useful. 282 00:16:04,920 --> 00:16:07,760 Speaker 1: But Sonja is her. And so we did create this 283 00:16:07,800 --> 00:16:11,840 Speaker 1: little black box theater situation where and I did it 284 00:16:11,880 --> 00:16:15,280 Speaker 1: with my husband and he's a brilliant actor, so that 285 00:16:15,360 --> 00:16:17,640 Speaker 1: was cool. Um, And we got to pretend we were 286 00:16:17,640 --> 00:16:19,520 Speaker 1: having an affair. Both check offs we did, we were 287 00:16:19,520 --> 00:16:21,840 Speaker 1: playing people who were having affairs, which was really hot 288 00:16:21,880 --> 00:16:26,120 Speaker 1: and great, you know. But I loved working with Austin. 289 00:16:26,200 --> 00:16:31,359 Speaker 1: I also loved UM. I loved Hugo Blick, who directed 290 00:16:31,880 --> 00:16:36,040 Speaker 1: The Honorable Woman got a Golden Globe for that. Yeah, 291 00:16:36,200 --> 00:16:37,840 Speaker 1: that was that you mentioned me. That was one of 292 00:16:37,920 --> 00:16:40,720 Speaker 1: the longest times you were overseason away from home. Yeah, 293 00:16:40,840 --> 00:16:43,680 Speaker 1: and it's funny. I really admire what you said about 294 00:16:43,680 --> 00:16:50,000 Speaker 1: how for you, Um, your your trust is a director's 295 00:16:50,080 --> 00:16:55,040 Speaker 1: to lose. I wish I could be like that, but 296 00:16:55,160 --> 00:16:59,880 Speaker 1: I'm not, and I go in with my guard up 297 00:17:00,280 --> 00:17:09,440 Speaker 1: h and secretly I want the deepest, most intense artistic 298 00:17:09,480 --> 00:17:14,880 Speaker 1: collaboration possible, but I don't. It's not easy for me. 299 00:17:15,560 --> 00:17:18,280 Speaker 1: And with Hugo, I think we were both like that. 300 00:17:19,160 --> 00:17:22,040 Speaker 1: And you know, it was eight hours of television. I'd 301 00:17:22,080 --> 00:17:25,040 Speaker 1: only ever done a two hour movie before. I didn't 302 00:17:25,040 --> 00:17:28,080 Speaker 1: know how to do that. And I'm in every minute 303 00:17:28,119 --> 00:17:32,240 Speaker 1: of every scene, and it's super intense and it could 304 00:17:32,240 --> 00:17:35,600 Speaker 1: have been terrible, you know. But I remember about two 305 00:17:35,640 --> 00:17:38,359 Speaker 1: thirds of the way through, somebody I came over to 306 00:17:38,440 --> 00:17:40,239 Speaker 1: him and I just sort of said something in his 307 00:17:40,240 --> 00:17:41,879 Speaker 1: ear about the scene. I think we need to shift this, 308 00:17:41,960 --> 00:17:43,480 Speaker 1: and actually, can we move this here and could this 309 00:17:43,520 --> 00:17:46,240 Speaker 1: happen over here, which is almost shorthand at this point, 310 00:17:46,320 --> 00:17:49,480 Speaker 1: and he was like, yeah, absolutely, and someone saying next 311 00:17:49,480 --> 00:17:51,800 Speaker 1: to him said, do you just do whatever she says? 312 00:17:52,920 --> 00:17:56,000 Speaker 1: And he said he's English. Also he said I trust 313 00:17:56,040 --> 00:18:01,960 Speaker 1: her completely like that, and I took it in like, yeah, whoa, 314 00:18:02,080 --> 00:18:04,720 Speaker 1: Actually he was kidding, but I kind of think he does. 315 00:18:05,640 --> 00:18:09,200 Speaker 1: And then at the very end, on the very very 316 00:18:09,280 --> 00:18:11,280 Speaker 1: last day, I had this voice over to record which 317 00:18:11,280 --> 00:18:15,000 Speaker 1: plays at the beginning of every episode, and it's basically 318 00:18:15,040 --> 00:18:20,000 Speaker 1: about trust, and it basically, I think it says something 319 00:18:20,080 --> 00:18:24,960 Speaker 1: like you have to just I mean not in these words, 320 00:18:25,080 --> 00:18:29,399 Speaker 1: but what it meant was you either trust nobody or 321 00:18:29,440 --> 00:18:32,760 Speaker 1: you just jump off the cliff and you trust. And 322 00:18:32,840 --> 00:18:34,680 Speaker 1: I was like, um, he put me in this little 323 00:18:34,760 --> 00:18:37,040 Speaker 1: room to record it because we'd forgotten to record it, 324 00:18:37,080 --> 00:18:39,760 Speaker 1: and I was like, h you go, do you mind 325 00:18:39,800 --> 00:18:42,280 Speaker 1: if I say it to you? And so he came 326 00:18:42,320 --> 00:18:45,680 Speaker 1: in the room with me, and I basically the subtext 327 00:18:45,760 --> 00:18:47,760 Speaker 1: I guess of what I was saying to him was 328 00:18:48,840 --> 00:18:55,280 Speaker 1: I trust you. You know. Maggie gillen Hall, she said 329 00:18:55,359 --> 00:18:57,919 Speaker 1: in an interview that she would probably be a different 330 00:18:57,960 --> 00:19:00,880 Speaker 1: person by the end of her work on The Honorable Woman. 331 00:19:27,160 --> 00:19:30,320 Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing. 332 00:19:31,080 --> 00:19:35,960 Speaker 1: Sarah Colangelo directed Maggie gillen Hole's new movie, The Kindergarten Teacher. 333 00:19:36,440 --> 00:19:39,120 Speaker 1: Gillen Hole told me she heard about the project at 334 00:19:39,119 --> 00:19:43,280 Speaker 1: a holiday party. Two people at the party said, have 335 00:19:43,400 --> 00:19:46,480 Speaker 1: you heard about this script The Kindergarten Teacher? It's coming 336 00:19:46,520 --> 00:19:49,080 Speaker 1: to you And I don't know about you, but for me, 337 00:19:49,160 --> 00:19:52,320 Speaker 1: and it's great, And for me, I think it's really 338 00:19:52,440 --> 00:19:55,280 Speaker 1: really rare to read a great script, and also to 339 00:19:55,359 --> 00:19:57,320 Speaker 1: have two people in one night, out of nowhere to 340 00:19:57,400 --> 00:19:59,800 Speaker 1: say like, there's this great script and it's coming to you. 341 00:20:00,080 --> 00:20:04,040 Speaker 1: I was like, okay, okay. I was waiting every day 342 00:20:04,080 --> 00:20:06,600 Speaker 1: after that for the script to come and it took 343 00:20:06,600 --> 00:20:09,000 Speaker 1: a while, and when it came, I read it and 344 00:20:09,040 --> 00:20:13,640 Speaker 1: I um, I had that feeling like you just I've 345 00:20:13,680 --> 00:20:16,680 Speaker 1: had it like three times, you know where I was like, 346 00:20:17,040 --> 00:20:19,000 Speaker 1: and also if you if you have seen the movie, 347 00:20:19,000 --> 00:20:22,480 Speaker 1: and I won't give anything away, the ending is pretty great. 348 00:20:22,800 --> 00:20:25,040 Speaker 1: And I closed the last page of the script and 349 00:20:25,080 --> 00:20:29,399 Speaker 1: I was like, I want this movie, you know. And 350 00:20:29,440 --> 00:20:31,280 Speaker 1: it wasn't clear to me that it was offered to me, 351 00:20:31,359 --> 00:20:34,520 Speaker 1: which actually just increased my appetite for it more. Of course, 352 00:20:35,240 --> 00:20:38,280 Speaker 1: they say, now it always was, but I didn't know that, 353 00:20:38,760 --> 00:20:41,240 Speaker 1: and one of the producers mothers, was having an operation 354 00:20:41,280 --> 00:20:43,320 Speaker 1: in the hospital, and like, nobody got back to me 355 00:20:43,359 --> 00:20:46,280 Speaker 1: for a few days after I really energetically raised my 356 00:20:46,320 --> 00:20:48,760 Speaker 1: hand and was like, yes, please, what do I gotta do? 357 00:20:49,640 --> 00:20:51,720 Speaker 1: And again, just waiting just made me want it more. 358 00:20:51,800 --> 00:20:53,640 Speaker 1: And then then they came back and they were like, oh, yes, 359 00:20:53,680 --> 00:20:57,000 Speaker 1: we always meant yeah, it's based on it is really 360 00:20:57,080 --> 00:21:01,680 Speaker 1: movie UM, which I haven't seen UM deliberately. Yeah, yeah, 361 00:21:01,720 --> 00:21:04,640 Speaker 1: I mean I probably should see it now. I've heard 362 00:21:04,680 --> 00:21:08,440 Speaker 1: wonderful things about it, and I've heard that narratively it's 363 00:21:08,560 --> 00:21:13,600 Speaker 1: very similar, and yet it tells an almost entirely different stories. 364 00:21:13,600 --> 00:21:22,720 Speaker 1: So our movie, I think, is really about the consequences 365 00:21:22,920 --> 00:21:27,399 Speaker 1: of what happens when you starve a vibrant woman's mind, 366 00:21:29,480 --> 00:21:32,520 Speaker 1: told from the point of view of a group of 367 00:21:32,520 --> 00:21:37,679 Speaker 1: women filmmakers. And our conclusion is that it's fucking dire. 368 00:21:38,240 --> 00:21:41,359 Speaker 1: You know. That's and I think there's really a movie 369 00:21:41,400 --> 00:21:45,440 Speaker 1: which has a very similar narrative. Is Um is much 370 00:21:45,480 --> 00:21:51,000 Speaker 1: more about masculinity in Israel and art in a country 371 00:21:51,040 --> 00:21:53,600 Speaker 1: at war and very different things, even though the story 372 00:21:53,640 --> 00:21:56,320 Speaker 1: itself is very similar. Um. So yeah, so I got 373 00:21:56,320 --> 00:21:58,480 Speaker 1: the script and then and I signed up and then 374 00:21:58,840 --> 00:22:03,359 Speaker 1: you know, um, it was not easy to get our money. 375 00:22:03,480 --> 00:22:07,119 Speaker 1: In fact, at Sundance when we first premiered, I shook 376 00:22:07,160 --> 00:22:10,159 Speaker 1: the hands of fifty executive producers who had, you know, 377 00:22:10,280 --> 00:22:14,000 Speaker 1: all together somehow helped us cobble together the money to 378 00:22:14,040 --> 00:22:16,680 Speaker 1: make it. So we spent a while, um doing that, 379 00:22:16,840 --> 00:22:21,000 Speaker 1: and then we made it in twenty three days in 380 00:22:21,000 --> 00:22:26,240 Speaker 1: New York. In New York. Now, when you work with uh, 381 00:22:26,400 --> 00:22:28,280 Speaker 1: this sounds like a silly thing, but I always think 382 00:22:28,280 --> 00:22:32,400 Speaker 1: about this in terms of the brevity of schedules now 383 00:22:32,440 --> 00:22:36,240 Speaker 1: and the pressure to shoot efficiently now. But with children, 384 00:22:36,359 --> 00:22:39,680 Speaker 1: I find it's very a specific And in the movie 385 00:22:40,080 --> 00:22:42,920 Speaker 1: From My Money, the the young boy what's his name, 386 00:22:43,880 --> 00:22:49,040 Speaker 1: Jimmy Parker Parker, the boy who's We had the funniest 387 00:22:49,040 --> 00:22:51,920 Speaker 1: moment yesterday because I said, this gets fantastic after the movie, 388 00:22:52,160 --> 00:22:56,560 Speaker 1: and somebody from the festival said, well, he loves boss baby. 389 00:22:57,080 --> 00:22:59,359 Speaker 1: He's like, how old is he? Like? Five six six? 390 00:22:59,640 --> 00:23:01,600 Speaker 1: So we go backstage and I'm like, this is amazing. 391 00:23:01,880 --> 00:23:05,240 Speaker 1: You're doing like this really hypnotic, creepy drama, which is great, 392 00:23:06,240 --> 00:23:10,240 Speaker 1: and I'm in boss baby. I mean, you and I 393 00:23:10,359 --> 00:23:11,919 Speaker 1: have so much in common. You and I, you know, 394 00:23:12,119 --> 00:23:15,600 Speaker 1: were both in the business, different wings of the business, 395 00:23:15,640 --> 00:23:19,199 Speaker 1: maybe Parker, but we had a lot of fun with him. 396 00:23:19,200 --> 00:23:20,800 Speaker 1: But when you're working with somebody, like a lot of 397 00:23:20,840 --> 00:23:24,679 Speaker 1: times kids are performing and the kids that that climbed 398 00:23:24,680 --> 00:23:27,840 Speaker 1: the ladder a little bit in that division, they're very 399 00:23:27,880 --> 00:23:30,440 Speaker 1: you know, they're ready to come, you know, sing tomorrow 400 00:23:30,480 --> 00:23:37,440 Speaker 1: on Broadway, and uh, he's not. He's very real. And 401 00:23:37,880 --> 00:23:40,280 Speaker 1: was that a decision? You and she talked about you, 402 00:23:40,320 --> 00:23:43,520 Speaker 1: and I mean I felt a couple of things very strongly. 403 00:23:43,560 --> 00:23:45,720 Speaker 1: I have a child who's six and who was five 404 00:23:45,760 --> 00:23:48,320 Speaker 1: when we made it, just like Parker's five. So it's 405 00:23:48,320 --> 00:23:50,960 Speaker 1: hard to remember what it's like to be five. I mean, 406 00:23:51,119 --> 00:23:54,679 Speaker 1: how different the world is unless you're five. Are you 407 00:23:54,720 --> 00:23:57,200 Speaker 1: have a five year old? I know, right, or unless 408 00:23:57,200 --> 00:23:59,120 Speaker 1: you're living unless you're living with a five year old, 409 00:23:59,200 --> 00:24:03,600 Speaker 1: and then you're in that mind kind of So I 410 00:24:03,720 --> 00:24:06,119 Speaker 1: felt two things. I felt. I almost didn't do the 411 00:24:06,160 --> 00:24:10,680 Speaker 1: movie at one point because I thought, no movie, no 412 00:24:10,720 --> 00:24:13,280 Speaker 1: matter how much I love it or think it's important 413 00:24:13,400 --> 00:24:19,800 Speaker 1: or whatever is worth disturbing a child even for a 414 00:24:19,800 --> 00:24:24,080 Speaker 1: few minutes. So I was like, how are we going 415 00:24:24,119 --> 00:24:27,280 Speaker 1: to do this? And I also don't think, um, five 416 00:24:27,400 --> 00:24:30,000 Speaker 1: six year olds are actors. I just don't believe that, 417 00:24:30,040 --> 00:24:31,480 Speaker 1: and I don't think it's fair to ask them to 418 00:24:31,480 --> 00:24:34,159 Speaker 1: be actors. So so I felt like so basically we 419 00:24:34,200 --> 00:24:35,680 Speaker 1: worked in a couple of ways. I learned this from 420 00:24:35,680 --> 00:24:39,120 Speaker 1: Emma Thompson. Actually who um I'm in love with? And 421 00:24:39,160 --> 00:24:42,160 Speaker 1: who who did Nanny McPhee. We did an enimy fee 422 00:24:42,160 --> 00:24:44,920 Speaker 1: together and we had tons of kids, and so often, 423 00:24:45,000 --> 00:24:47,760 Speaker 1: especially with the very little list one UM, we would 424 00:24:47,760 --> 00:24:50,080 Speaker 1: just be like, stand on the X now, look at 425 00:24:50,080 --> 00:24:52,639 Speaker 1: that big black X on the on the wall and 426 00:24:52,680 --> 00:24:55,040 Speaker 1: turn your head when I say so when I clap, 427 00:24:55,200 --> 00:24:57,360 Speaker 1: turn your head and say I don't want to go, 428 00:24:58,920 --> 00:25:00,600 Speaker 1: and he would we would clap, he turned his head, 429 00:25:00,600 --> 00:25:03,080 Speaker 1: he'd say I don't want to go, and I would 430 00:25:03,080 --> 00:25:04,640 Speaker 1: say no, no, no, sing it like me, I don't 431 00:25:04,680 --> 00:25:08,200 Speaker 1: want to go, I want to go No, and then 432 00:25:08,240 --> 00:25:10,040 Speaker 1: he would just sort of repeat. I would be like, 433 00:25:10,080 --> 00:25:13,000 Speaker 1: you have just sing it like to Parker sing it, 434 00:25:13,520 --> 00:25:16,400 Speaker 1: and so then he kind of just imitate my inflections. 435 00:25:17,400 --> 00:25:18,960 Speaker 1: That was one way, we worked with him so that 436 00:25:19,000 --> 00:25:21,880 Speaker 1: it was just a song. It wasn't like he Actually, 437 00:25:22,160 --> 00:25:23,920 Speaker 1: you can't say to a five year old, I want 438 00:25:24,000 --> 00:25:26,440 Speaker 1: to get in touch with the way in which you're 439 00:25:26,880 --> 00:25:29,440 Speaker 1: like um. But the other thing you can do with 440 00:25:29,520 --> 00:25:32,520 Speaker 1: five year olds is that they will forget that the 441 00:25:32,560 --> 00:25:36,159 Speaker 1: cameras on them sort of, So we ran all the 442 00:25:36,240 --> 00:25:38,439 Speaker 1: kindergarten stuff as if it were a kindergarten. I mean, 443 00:25:38,440 --> 00:25:41,280 Speaker 1: you see them singing those songs with me, or painting 444 00:25:41,400 --> 00:25:43,720 Speaker 1: or you're not going to say, Okay, we're gonna pretend 445 00:25:43,760 --> 00:25:46,439 Speaker 1: to paint, or we're gonna pretend to write exs on 446 00:25:46,480 --> 00:25:48,040 Speaker 1: a piece of paper. We're just going to do it. 447 00:25:48,480 --> 00:25:51,800 Speaker 1: And we choreographed the camera. I would sort of see 448 00:25:51,800 --> 00:25:55,520 Speaker 1: where the camera was going, almost like a documentary, and 449 00:25:55,560 --> 00:25:58,159 Speaker 1: then I would just like scoot over to wherever the 450 00:25:58,200 --> 00:26:00,960 Speaker 1: camera wasn't begin the scene with whoever I needed to 451 00:26:01,000 --> 00:26:04,080 Speaker 1: be talking to in that scene. And then the other 452 00:26:04,119 --> 00:26:08,440 Speaker 1: funny thing about kids and the like short schedule is um. 453 00:26:08,480 --> 00:26:11,080 Speaker 1: There were quite a few times where I did scenes 454 00:26:11,800 --> 00:26:14,120 Speaker 1: with our first a d or our gaffer who would 455 00:26:14,119 --> 00:26:16,280 Speaker 1: read off camera for me because the little boy had 456 00:26:16,320 --> 00:26:21,080 Speaker 1: to go. And I'd be like this is really weird, 457 00:26:22,040 --> 00:26:25,160 Speaker 1: but huh. You know, like the way you can trip 458 00:26:25,200 --> 00:26:26,800 Speaker 1: yourself out as an actor kind of and you can 459 00:26:26,800 --> 00:26:28,880 Speaker 1: be like, oh, there's helicopters going over all the time, 460 00:26:28,920 --> 00:26:30,760 Speaker 1: we have to keep stopping the middle. I'm really frustrated, 461 00:26:30,760 --> 00:26:33,000 Speaker 1: and then all of a sudden, the frustration just goes 462 00:26:33,040 --> 00:26:36,040 Speaker 1: back into the scene. So this one, I was like, oh, 463 00:26:36,080 --> 00:26:38,760 Speaker 1: this is like a hairy fifty year old guy with 464 00:26:38,800 --> 00:26:43,760 Speaker 1: like this scrubby you know beard. Oh no, our first 465 00:26:43,800 --> 00:26:46,520 Speaker 1: a d our first CD and and he's lying on 466 00:26:46,560 --> 00:26:49,639 Speaker 1: the ground slating also, and I'd be like, oh, but 467 00:26:49,720 --> 00:26:52,040 Speaker 1: I'm okay. So I'm basically talking to this child as 468 00:26:52,080 --> 00:26:54,400 Speaker 1: if he's a man. You know, you just figure out 469 00:26:54,400 --> 00:26:56,960 Speaker 1: the way to throw it back in because what else 470 00:26:56,960 --> 00:26:58,359 Speaker 1: are you gonna do? Well? I love it if on 471 00:26:58,480 --> 00:27:01,000 Speaker 1: my next film you would come and do that exacting 472 00:27:01,040 --> 00:27:03,160 Speaker 1: with me. Would you be there for me? It will 473 00:27:03,200 --> 00:27:05,360 Speaker 1: be my mirror Rostova, you know, like off the set 474 00:27:05,560 --> 00:27:10,159 Speaker 1: like okay and turned to me, do you want to 475 00:27:10,160 --> 00:27:14,800 Speaker 1: go to prison? I want to go to prison for 476 00:27:14,840 --> 00:27:17,800 Speaker 1: tex I don't want to go to prison for tax evasion. 477 00:27:19,200 --> 00:27:21,919 Speaker 1: You know we could do that. You'd be my acting 478 00:27:21,960 --> 00:27:30,439 Speaker 1: crest um. The Uh, that's amazing, you know, exacting there. 479 00:27:30,480 --> 00:27:32,399 Speaker 1: I need to work with you, man, I'm dying to 480 00:27:32,400 --> 00:27:38,040 Speaker 1: get a script with you. It was Emma Thompson. Really Now, 481 00:27:38,119 --> 00:27:40,920 Speaker 1: what about Sarah? How many films have she made before 482 00:27:40,960 --> 00:27:44,040 Speaker 1: she made this film. I loved working with Sarah and 483 00:27:44,080 --> 00:27:48,440 Speaker 1: it was totally different kind of experience than I had 484 00:27:48,480 --> 00:27:51,760 Speaker 1: ever had before. And in some ways I like to 485 00:27:51,800 --> 00:27:54,720 Speaker 1: think it's it was a very feminine set, right. Sarah 486 00:27:54,760 --> 00:27:58,600 Speaker 1: wrote and directed it, our financiers were women, our producers 487 00:27:58,640 --> 00:28:03,359 Speaker 1: were women. It's all about a woman. Um. But I 488 00:28:03,400 --> 00:28:05,080 Speaker 1: had worked with a lot of other women and had 489 00:28:05,359 --> 00:28:08,600 Speaker 1: very different kinds of I have. I've worked with many. 490 00:28:08,640 --> 00:28:11,440 Speaker 1: I mean even on The Deuce last season, seven out 491 00:28:11,440 --> 00:28:15,320 Speaker 1: of eight directors were women. You know, well there is 492 00:28:15,359 --> 00:28:18,840 Speaker 1: a difference, Yeah, there is, but that's not necessarily what 493 00:28:19,119 --> 00:28:22,720 Speaker 1: made I think my collaboration with Sarah and are set 494 00:28:22,800 --> 00:28:29,679 Speaker 1: on the kindergarten teacher. So I don't know, unusual, Yeah, feminine, 495 00:28:30,480 --> 00:28:33,280 Speaker 1: But I don't even totally know what that means. Even 496 00:28:33,320 --> 00:28:36,760 Speaker 1: when I watched the movie, I'm like, this is feminine, 497 00:28:37,680 --> 00:28:41,880 Speaker 1: Like what does that mean? And why? And my husband, 498 00:28:41,880 --> 00:28:44,560 Speaker 1: after he saw it last night, he was like, I 499 00:28:44,600 --> 00:28:48,360 Speaker 1: wish someone would send this to Senator Flake. But but 500 00:28:48,480 --> 00:28:52,240 Speaker 1: I don't really know totally why. Right, it's not political movie, 501 00:28:52,440 --> 00:28:59,120 Speaker 1: but it's it's like somehow it's really kind of straight, 502 00:29:00,080 --> 00:29:02,720 Speaker 1: purely feminine thing. I don't you know. It makes me 503 00:29:02,760 --> 00:29:05,080 Speaker 1: think of the piano, not this movie. I would never 504 00:29:05,360 --> 00:29:07,280 Speaker 1: compare it to that, but the experience I had when 505 00:29:07,280 --> 00:29:09,800 Speaker 1: I saw the Piano and I was like sixteen or 506 00:29:09,840 --> 00:29:12,440 Speaker 1: something and I had never seen anything like it, I 507 00:29:12,480 --> 00:29:17,120 Speaker 1: was like, what, like I I guess I think in 508 00:29:17,160 --> 00:29:24,719 Speaker 1: some ways, um, girls, women my age, we get so 509 00:29:24,920 --> 00:29:27,680 Speaker 1: used to having to relate to a male character or 510 00:29:27,720 --> 00:29:30,440 Speaker 1: even let's just say like a sort of masculine point 511 00:29:30,480 --> 00:29:32,320 Speaker 1: of view on something. We're like, yeah, yeah, that's not 512 00:29:32,360 --> 00:29:34,719 Speaker 1: exactly my experience, but I could twist it around and 513 00:29:34,800 --> 00:29:38,440 Speaker 1: make it relatable to me, and that muscle is very exercised. 514 00:29:38,480 --> 00:29:41,160 Speaker 1: I think in most women were like, yeah, I get 515 00:29:41,280 --> 00:29:43,920 Speaker 1: I know it's not exactly my way through the world, 516 00:29:43,960 --> 00:29:47,760 Speaker 1: but I could. I could just twist a little, and 517 00:29:47,800 --> 00:29:50,960 Speaker 1: it's cool. I get it, and thank god because otherwise 518 00:29:50,960 --> 00:29:52,720 Speaker 1: we have very little to relate to. But then, like 519 00:29:52,760 --> 00:29:55,920 Speaker 1: when I saw the piano, I was like, whoa, I 520 00:29:55,920 --> 00:29:59,160 Speaker 1: feel so relaxed. I don't have to twist anything. And 521 00:30:01,400 --> 00:30:04,520 Speaker 1: I felt that way when I read Sarah script, I 522 00:30:04,680 --> 00:30:07,640 Speaker 1: just like went straight in and when I when I 523 00:30:07,680 --> 00:30:09,840 Speaker 1: saw this last night, what I love is it? It's 524 00:30:09,840 --> 00:30:11,680 Speaker 1: not a bad I don't we give it away, but 525 00:30:11,720 --> 00:30:13,960 Speaker 1: the dynamic of the home is not all bad. But 526 00:30:14,040 --> 00:30:18,920 Speaker 1: there's things that maybe in my mind you know, are missing. 527 00:30:18,960 --> 00:30:22,360 Speaker 1: As soon as you want, you gone, yeah, and connections 528 00:30:22,360 --> 00:30:25,440 Speaker 1: and feelings are exactly It's a much easier movie if 529 00:30:25,440 --> 00:30:30,200 Speaker 1: her home life is like horrible, if everything's just awful. Instead, 530 00:30:30,240 --> 00:30:31,720 Speaker 1: you see, I'm gonna give away the scene on the 531 00:30:31,760 --> 00:30:35,120 Speaker 1: phone and your husband's like he's ready to you know, 532 00:30:35,960 --> 00:30:37,840 Speaker 1: people will dance with you and then the phone rings. 533 00:30:38,120 --> 00:30:43,920 Speaker 1: Oh my god, Oh my god, crazy really upset you see, Yeah, 534 00:30:44,120 --> 00:30:48,479 Speaker 1: so fuck up. Yeah, it's true. A couple of really 535 00:30:48,720 --> 00:30:51,720 Speaker 1: fucked up scenes in this movie. It's incredible, it's true. 536 00:30:52,480 --> 00:30:54,280 Speaker 1: One more thing before we take some questions, do we 537 00:30:54,320 --> 00:30:58,040 Speaker 1: have the Mike's poised for the questions we do? Okay, 538 00:30:58,040 --> 00:31:00,080 Speaker 1: one last question I have for you, which is she 539 00:31:00,120 --> 00:31:03,920 Speaker 1: you're doing the deuce you're on HBO? How did that happen? Meaning? 540 00:31:03,960 --> 00:31:05,280 Speaker 1: How did they reel you? When I mean I'm not 541 00:31:05,320 --> 00:31:07,120 Speaker 1: just saying this for your benefit. You're one of the 542 00:31:07,120 --> 00:31:11,440 Speaker 1: most admired movie actresses in the business. Everybody says this. Everybody. 543 00:31:11,480 --> 00:31:14,120 Speaker 1: You're you're you're gorgeous, and you're talented, and you're all 544 00:31:14,160 --> 00:31:16,200 Speaker 1: these things. So when you go to do the TV thing, 545 00:31:16,440 --> 00:31:21,320 Speaker 1: how did they hook you? Well? Huh. I just it's 546 00:31:21,360 --> 00:31:24,040 Speaker 1: so funny though, because like in the first three episodes, 547 00:31:24,080 --> 00:31:26,440 Speaker 1: which was all I read of The Deuce, Candy didn't 548 00:31:26,440 --> 00:31:28,800 Speaker 1: really have all that much to do and that's why 549 00:31:28,800 --> 00:31:33,320 Speaker 1: you took the job. Um No. But it's weird because 550 00:31:33,360 --> 00:31:34,920 Speaker 1: I was just talking with Peter about this, and when 551 00:31:34,960 --> 00:31:37,480 Speaker 1: we were walking on the beach here today, I was like, Yeah, 552 00:31:37,520 --> 00:31:41,960 Speaker 1: when I first there, wasn't she turned so amazing. I mean, 553 00:31:42,000 --> 00:31:45,440 Speaker 1: I love blank Andy, I really do. Um but I 554 00:31:45,480 --> 00:31:48,480 Speaker 1: just had like a feeling. I don't know I was. 555 00:31:48,640 --> 00:31:51,920 Speaker 1: It was David Simon and George Pelicanos. I mean, they 556 00:31:52,040 --> 00:31:54,400 Speaker 1: made some pretty damn good TV and I had done 557 00:31:54,400 --> 00:31:56,560 Speaker 1: The Honorable Woman with Hugo, who I told you I 558 00:31:56,600 --> 00:31:59,160 Speaker 1: loved so much. So it wasn't my first time in TV. 559 00:31:59,280 --> 00:32:03,560 Speaker 1: I wasn't like snobby about TV. I wanted it, you know, 560 00:32:03,600 --> 00:32:06,480 Speaker 1: I wanted a good job, you know that that I 561 00:32:06,480 --> 00:32:11,000 Speaker 1: could count on, but also yes, and to be home. 562 00:32:11,200 --> 00:32:12,720 Speaker 1: But also I was like, I don't know. I just 563 00:32:12,760 --> 00:32:14,160 Speaker 1: had a good feeling. I was like, I just want 564 00:32:14,160 --> 00:32:15,760 Speaker 1: to play this woman. I want to I want to 565 00:32:15,800 --> 00:32:17,800 Speaker 1: try it. I want to see I want to see 566 00:32:17,800 --> 00:32:20,200 Speaker 1: if I can do this. It was so far outside 567 00:32:20,200 --> 00:32:26,960 Speaker 1: of my experience to play a sex worker in UM. 568 00:32:27,000 --> 00:32:31,200 Speaker 1: I just like liked her. I just had a I 569 00:32:31,280 --> 00:32:36,520 Speaker 1: just had like this feeling about it for three seasons 570 00:32:37,040 --> 00:32:39,480 Speaker 1: and I guess I will. And you know, there was 571 00:32:39,480 --> 00:32:41,840 Speaker 1: this whole thing where I was like, guys, I've only 572 00:32:41,880 --> 00:32:45,800 Speaker 1: read three there's going to be twenty four. How do 573 00:32:45,880 --> 00:32:48,440 Speaker 1: I know? I mean, I think you guys are all right, 574 00:32:48,680 --> 00:32:52,800 Speaker 1: but what if this becomes something I mean I never 575 00:32:52,880 --> 00:32:55,840 Speaker 1: had signed on something like that before. Well that's true, 576 00:32:56,400 --> 00:32:59,040 Speaker 1: but again, like I said, I don't trust that. Well, 577 00:32:59,160 --> 00:33:01,920 Speaker 1: so I asked them if I could be a producer, 578 00:33:02,000 --> 00:33:04,960 Speaker 1: and and the thing is is when and everyone said 579 00:33:05,000 --> 00:33:07,320 Speaker 1: to me, you are never going to get that on 580 00:33:07,360 --> 00:33:10,960 Speaker 1: a big HBO show. You've never produced television before, you 581 00:33:11,000 --> 00:33:14,040 Speaker 1: didn't develop it, like good luck, Maggie. But then they 582 00:33:14,040 --> 00:33:17,520 Speaker 1: were like, okay, let's be partners. Good for you, and um, 583 00:33:17,680 --> 00:33:21,680 Speaker 1: and I was like, oh wow for you, um do 584 00:33:21,760 --> 00:33:26,680 Speaker 1: we have who do we have over here? How did 585 00:33:26,720 --> 00:33:28,880 Speaker 1: you prepare for your role as a teacher? Did you 586 00:33:28,960 --> 00:33:33,560 Speaker 1: interview teachers? Did you shadow teachers? Um? Well, I yeah, 587 00:33:33,880 --> 00:33:37,000 Speaker 1: I felt in this movie where this woman ends up 588 00:33:37,000 --> 00:33:40,160 Speaker 1: doing a lot of really problematic things, the movie only 589 00:33:40,200 --> 00:33:45,880 Speaker 1: really works if you are on her side for a 590 00:33:45,960 --> 00:33:49,240 Speaker 1: really really long time. You're on her side, even when 591 00:33:49,280 --> 00:33:52,240 Speaker 1: she's crossing lines. You would never imagine you would be 592 00:33:52,280 --> 00:33:55,960 Speaker 1: on anyone side while they were crossing um. And so 593 00:33:56,320 --> 00:33:57,880 Speaker 1: you know, it was important to me that she'd be 594 00:33:57,880 --> 00:34:02,560 Speaker 1: a great teacher, like a really extraordinary teacher. So yeah, 595 00:34:02,720 --> 00:34:06,120 Speaker 1: my daughter was. I had one older daughter that I 596 00:34:06,160 --> 00:34:08,560 Speaker 1: had a daughter who was in preschool, and I asked 597 00:34:08,600 --> 00:34:11,040 Speaker 1: her preschool teacher, do you know like a great kindergarten 598 00:34:11,040 --> 00:34:13,839 Speaker 1: teacher who's not at this school because I didn't really 599 00:34:13,840 --> 00:34:15,799 Speaker 1: want to mix it with my kids school. And she 600 00:34:15,840 --> 00:34:17,600 Speaker 1: recommended this woman on the Upper West Side. And I 601 00:34:17,680 --> 00:34:20,400 Speaker 1: went up there all the time, sat in in our classroom. 602 00:34:20,880 --> 00:34:23,440 Speaker 1: I got so much from her. She had dinner with 603 00:34:23,480 --> 00:34:25,400 Speaker 1: Sarah and I once and gave us like some more tips. 604 00:34:25,400 --> 00:34:28,399 Speaker 1: But I said, I I yeah, shadowed her I sat 605 00:34:28,440 --> 00:34:30,880 Speaker 1: there for hours. I learned a ton from her. She 606 00:34:31,000 --> 00:34:34,520 Speaker 1: was great. Um. Um, somebody up there in the back, 607 00:34:35,520 --> 00:34:38,320 Speaker 1: we saw your film last night and your performance was stunning, 608 00:34:38,360 --> 00:34:42,839 Speaker 1: and I did want to thank you for that. I'm wondering, Um, 609 00:34:42,960 --> 00:34:46,520 Speaker 1: you picked such unconventional roles. I can't help but wonder 610 00:34:46,600 --> 00:34:50,040 Speaker 1: if the role that you felt you executed the best, 611 00:34:50,160 --> 00:34:52,360 Speaker 1: was it the same role that your critics thought you 612 00:34:52,400 --> 00:34:57,080 Speaker 1: executed the best? You know from inside out? Does you 613 00:34:57,080 --> 00:34:59,120 Speaker 1: know those Do those two things match up for you? 614 00:35:00,000 --> 00:35:03,759 Speaker 1: Do you and your critics think the same. Well, one 615 00:35:03,800 --> 00:35:05,600 Speaker 1: thing I think is interesting you say that that they're 616 00:35:05,680 --> 00:35:09,840 Speaker 1: unconventional roles. But I just when you said that word, 617 00:35:10,040 --> 00:35:16,959 Speaker 1: I thought, Actually, the thing I love about the few 618 00:35:17,080 --> 00:35:19,839 Speaker 1: roles that I've done that I feel the most proud of. 619 00:35:20,560 --> 00:35:22,480 Speaker 1: Um that I think I executed the best. As you 620 00:35:22,520 --> 00:35:25,920 Speaker 1: put it, Um, I think are actually sort of the 621 00:35:25,960 --> 00:35:32,200 Speaker 1: most human people, so maybe the most conventional in terms 622 00:35:32,239 --> 00:35:34,640 Speaker 1: of being like we actually are. And I know the 623 00:35:34,680 --> 00:35:38,400 Speaker 1: woman in the movie does things that many of us 624 00:35:38,440 --> 00:35:41,040 Speaker 1: would never ever do, but in so many other ways, 625 00:35:41,120 --> 00:35:45,040 Speaker 1: she's like I relate to her so much, you know, 626 00:35:45,200 --> 00:35:47,520 Speaker 1: she's she totally could be a friend of mine and 627 00:35:47,640 --> 00:35:51,080 Speaker 1: even the ways she's confused or the fact that she's confused. 628 00:35:52,120 --> 00:35:55,319 Speaker 1: I understand, I have compassion for UM. I don't know 629 00:35:55,360 --> 00:35:59,360 Speaker 1: in terms of I don't know about about whether I 630 00:35:59,360 --> 00:36:02,560 Speaker 1: guess I would say this recently, I would say since 631 00:36:02,600 --> 00:36:06,680 Speaker 1: the honorable woman, I think I've had this feeling where 632 00:36:07,920 --> 00:36:12,680 Speaker 1: I'm most proud of the last thing I've done, which UM, 633 00:36:12,719 --> 00:36:15,640 Speaker 1: I feel really grateful for. Like I feel like, Okay, 634 00:36:15,640 --> 00:36:18,120 Speaker 1: I'm I'm making the choices that are right for me 635 00:36:18,320 --> 00:36:24,239 Speaker 1: right now because I'm I feel like I keep I 636 00:36:24,280 --> 00:36:30,239 Speaker 1: don't know, learning about what I'm doing. As time goes on. 637 00:36:30,800 --> 00:36:33,200 Speaker 1: I'm sure I'll take a dip and take a wrong 638 00:36:33,320 --> 00:36:36,279 Speaker 1: route for a while, But at the moment it's been like, 639 00:36:37,160 --> 00:36:40,840 Speaker 1: I feel, yeah, the most proud of the of the 640 00:36:40,880 --> 00:36:44,920 Speaker 1: most recent work. And an actor won't say to me 641 00:36:45,120 --> 00:36:47,520 Speaker 1: it was this very funny guy, older guy. When it 642 00:36:47,600 --> 00:36:49,480 Speaker 1: was very good. He said, remember one thing about reviews. 643 00:36:49,520 --> 00:36:51,839 Speaker 1: He said, when they say you're bad, you're never as 644 00:36:51,960 --> 00:36:53,879 Speaker 1: bad as they say you are. I mean, if it's 645 00:36:53,920 --> 00:36:56,239 Speaker 1: not great, you're never as bad. And when they say 646 00:36:56,280 --> 00:36:59,000 Speaker 1: you're really good, you're great, You're always even better them. 647 00:37:00,080 --> 00:37:02,680 Speaker 1: They're even better than that. They never get it right. 648 00:37:02,760 --> 00:37:05,279 Speaker 1: They don't know how. I know. That's so funny that 649 00:37:05,360 --> 00:37:08,520 Speaker 1: like I gotta take that little piece of that Wikipedia 650 00:37:08,760 --> 00:37:11,520 Speaker 1: thing and like put it up somewhere. This is so mean. 651 00:37:12,640 --> 00:37:17,799 Speaker 1: With the Daily News they hated my Elena. We are 652 00:37:17,920 --> 00:37:20,919 Speaker 1: right there here, sir, who's straining out of your chair? 653 00:37:21,560 --> 00:37:25,320 Speaker 1: The restroom is down to the right. So how do 654 00:37:25,400 --> 00:37:29,600 Speaker 1: you find feminist and masculine? Nosy, I can't, That's what 655 00:37:29,640 --> 00:37:31,520 Speaker 1: I'm saying. I don't want to be reductive about it, 656 00:37:31,640 --> 00:37:34,520 Speaker 1: and I can't define feminine and masculine. I'm just trying 657 00:37:34,560 --> 00:37:39,239 Speaker 1: to say there's like something and it doesn't okay. I mean, 658 00:37:39,280 --> 00:37:41,759 Speaker 1: I don't want to get like super There's just things 659 00:37:41,800 --> 00:37:43,560 Speaker 1: that are on my mind right now, Like what does 660 00:37:43,600 --> 00:37:45,920 Speaker 1: it mean to make a feminine movie? I don't know 661 00:37:46,120 --> 00:37:47,680 Speaker 1: the answer to that. I just know that if you're 662 00:37:47,680 --> 00:37:51,600 Speaker 1: living in a masculine world fundamentally, which I'd say, it's 663 00:37:51,640 --> 00:37:57,080 Speaker 1: pretty clear we are even a misogynistic world, right. It's 664 00:37:57,160 --> 00:37:59,800 Speaker 1: it doesn't just because you're a woman who directs a 665 00:38:00,040 --> 00:38:01,600 Speaker 1: vie or just because you're a woman who writes a 666 00:38:01,680 --> 00:38:04,600 Speaker 1: movie doesn't mean it's feminine. Right. You have to twist 667 00:38:04,680 --> 00:38:09,920 Speaker 1: yourself and fit yourself all your life, like like Virginia 668 00:38:09,920 --> 00:38:11,919 Speaker 1: Wolf in the Room of One's Own has this whole 669 00:38:11,960 --> 00:38:16,680 Speaker 1: thing about how like even even Charlotte Bronte, she said 670 00:38:16,840 --> 00:38:20,040 Speaker 1: she's not really making purely feminine work because she's like 671 00:38:20,160 --> 00:38:23,880 Speaker 1: hiding her paper under her sewing or whatever. And so 672 00:38:24,280 --> 00:38:27,320 Speaker 1: that's what I mean when I say I saw the 673 00:38:27,520 --> 00:38:31,920 Speaker 1: piano and it had some like like an effect on me. 674 00:38:32,360 --> 00:38:35,880 Speaker 1: When I was sixteen, there I did this interview with M. 675 00:38:35,920 --> 00:38:38,400 Speaker 1: Trevor Noah, you know, it was about the Deuce. Actually 676 00:38:38,400 --> 00:38:40,239 Speaker 1: it wasn't about the kindergarten teacher, but he'd seen the 677 00:38:40,280 --> 00:38:42,680 Speaker 1: preview for the kindergarten Teacher and he was like, I 678 00:38:42,760 --> 00:38:46,239 Speaker 1: saw the preview. He said, is it a thriller or 679 00:38:46,360 --> 00:38:49,000 Speaker 1: is it like an intimate movie about a woman's mind? 680 00:38:49,239 --> 00:38:53,960 Speaker 1: Or is it like a horror movie? And I loved that, 681 00:38:54,280 --> 00:38:56,040 Speaker 1: and I keep coming back to it because I think 682 00:38:56,200 --> 00:38:59,600 Speaker 1: it's not any of those. It's new, and I think 683 00:38:59,680 --> 00:39:07,040 Speaker 1: it might be new because it's feminine. It doesn't tick 684 00:39:07,120 --> 00:39:10,080 Speaker 1: the boxes we're used to. But again, I don't know. 685 00:39:10,120 --> 00:39:13,640 Speaker 1: I'm a little confused about this. Uh, we have just 686 00:39:13,719 --> 00:39:16,120 Speaker 1: time for a couple more quick ones. Uh. The lady 687 00:39:16,200 --> 00:39:17,880 Speaker 1: right there on the amble to two more two more 688 00:39:17,960 --> 00:39:21,160 Speaker 1: quick ones. I have a very quick question. If you 689 00:39:21,200 --> 00:39:24,000 Speaker 1: weren't an actor, what would you do or what would 690 00:39:24,000 --> 00:39:27,680 Speaker 1: you want to do? Oh? Man, I'm really I'm not 691 00:39:28,080 --> 00:39:31,279 Speaker 1: good at very many other things. I mean, I'm like 692 00:39:31,360 --> 00:39:33,680 Speaker 1: an okay cook, I have a friend as a professor, 693 00:39:33,760 --> 00:39:35,440 Speaker 1: which I'd love to think like maybe I would like 694 00:39:35,520 --> 00:39:37,560 Speaker 1: be an English teacher or something, but I wouldn't be 695 00:39:37,640 --> 00:39:39,640 Speaker 1: any good at it. I mean, were you good at 696 00:39:39,680 --> 00:39:52,399 Speaker 1: other things better? I'm so good and I'm might really 697 00:39:52,520 --> 00:39:57,160 Speaker 1: that bad? Are you really you've never any thoughts about 698 00:39:57,320 --> 00:40:09,080 Speaker 1: maybe professional ice skating? Wow? Yes, okay, considering what you've 699 00:40:09,080 --> 00:40:11,600 Speaker 1: said about literature and being an English major and you're 700 00:40:11,640 --> 00:40:14,239 Speaker 1: probably a great reader. If you've got option a book 701 00:40:14,360 --> 00:40:16,440 Speaker 1: and do your movie but not be in it, what 702 00:40:16,560 --> 00:40:20,160 Speaker 1: would you do? Well? I did actually just option a 703 00:40:20,239 --> 00:40:22,879 Speaker 1: book and I'm not going to be in it. I'm 704 00:40:22,920 --> 00:40:26,399 Speaker 1: adapting it and I'm going to direct it. And it's 705 00:40:26,440 --> 00:40:33,000 Speaker 1: called The Lost Daughter by Elena Ferrante. Al Right, so 706 00:40:33,120 --> 00:40:36,439 Speaker 1: my last question is a two partner, because we're gonna 707 00:40:36,480 --> 00:40:37,919 Speaker 1: be out of time. My last question is a quick 708 00:40:37,920 --> 00:40:40,920 Speaker 1: two partner. I had a very fleeting role in looming 709 00:40:40,960 --> 00:40:42,680 Speaker 1: tower with your husband. Got to work with your husband 710 00:40:42,680 --> 00:40:45,359 Speaker 1: for the first time. Peter stars guard And my first question, 711 00:40:45,400 --> 00:40:47,400 Speaker 1: which is a silly question, is your husband really as 712 00:40:47,440 --> 00:40:51,880 Speaker 1: sweet as he seems ever met? My life? A damn 713 00:40:51,960 --> 00:40:55,120 Speaker 1: good husband. I'm thrilled with him. And what's that like 714 00:40:55,239 --> 00:40:57,239 Speaker 1: for you? Being two people who are working all the time, 715 00:40:57,360 --> 00:41:01,320 Speaker 1: very successful movie actors. That's Is it wonderful to be 716 00:41:01,440 --> 00:41:04,479 Speaker 1: with somebody who understands what you're going through? I'm married 717 00:41:05,120 --> 00:41:07,600 Speaker 1: of the business, and sometimes yes, it's like somethime I'll 718 00:41:07,600 --> 00:41:10,120 Speaker 1: be like, when are you coming home? I don't understand 719 00:41:10,160 --> 00:41:12,080 Speaker 1: when are you coming home? Like we have planned such 720 00:41:12,120 --> 00:41:14,680 Speaker 1: and such, and he's like, Maggie, you know, I don't 721 00:41:14,719 --> 00:41:17,520 Speaker 1: know the answer to me, you know, I'm like, oh yeah, yeah, yeah, yeah. 722 00:41:17,719 --> 00:41:19,640 Speaker 1: My wife was like my wife. Sometimes it's like like, 723 00:41:19,719 --> 00:41:27,480 Speaker 1: why are you so dramatic? Duh? Anyway, now you telling 724 00:41:27,520 --> 00:41:46,120 Speaker 1: all everybody? And now an update after a newspaper story 725 00:41:46,239 --> 00:41:51,360 Speaker 1: appeared about this conversation, Jillen Hall's Wikipedia page has been revised. 726 00:41:52,880 --> 00:41:56,000 Speaker 1: Maggie Jillen Hall's new movie That Kindergarten Teacher comes out 727 00:41:56,360 --> 00:42:00,680 Speaker 1: on Netflix October twelve. This is Alec Baldwin, and you're 728 00:42:00,760 --> 00:42:03,560 Speaker 1: listening to Here's the Thing. Oh,