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Speaker 1: Hey, everybody, welcome back to another episode of Car Stories.

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Speaker 2: With Son King and Amelia Hartford.

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Speaker 1: Today we have an old friend of mine. She is

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Speaker 1: one of the most amazing people in my life and

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Speaker 1: a true true friend.

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Speaker 2: I loved having this conversation and talking about the actor's

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Speaker 2: process and artistic expression. Yeah.

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Speaker 1: I think a lot of people just recognize her from

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Speaker 1: the films and don't really know the person behind the role.

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Speaker 1: So it's really great to be able to share her origin,

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Speaker 1: where she's come from, where she's going, and where she

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Speaker 1: is today.

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Speaker 2: And it's nice to hear how she's able to balance

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Speaker 2: work life, being a mother, having children while also traveling

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Speaker 2: and being a very successful actress.

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Speaker 1: So, without further ado, Jordana Brewster, Jordana Brewster, thank you

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Speaker 1: for joining us today. Of course, it's a real privilege

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Speaker 1: to sit down with you. I feel like you're the

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Speaker 1: sister that I always wanted. You know, your energy on

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Speaker 1: and off the set is consistently beautiful, so I don't

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Speaker 1: think i've ever thanked you in person. You know, you're

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Speaker 1: one of the few people within the franchise that always

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Speaker 1: welcome me into your personal life, into your home, and

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Speaker 1: just grateful to heavy in my life and so it's

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Speaker 1: really for me important and special to have you here. Yeah,

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Speaker 1: And I just want to share with the people and

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Speaker 1: the listeners out there you know who you are and

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Speaker 1: why you mean so much to me. And I think

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Speaker 1: a lot of people have questions of like how did

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Speaker 1: you get to where you are? Like was it something

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Speaker 1: that you've always dreamt of since you were a little kid?

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Speaker 1: And you know what was the process? And your origin

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Speaker 1: story too, because people go, oh, yeah, she's me from

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Speaker 1: Fast and Furious and she just got there one day.

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Speaker 1: But you know, as an actor, there's a whole journey.

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Speaker 1: And I don't know if the world's ever got to

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Speaker 1: hear this from you, you know, So I'd love to

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Speaker 1: share that and I wants to learn. Yeah.

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Speaker 3: So I had a sort of strange upbringing. I was

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Speaker 3: born in Panama City, and then I spent about six

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Speaker 3: years in London and then four years in Rio, Brazil,

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Speaker 3: which is where my mom is from. She was a

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Speaker 3: model in Brazil and it's where half of my family

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Speaker 3: is and that's where I really got this. Like, I

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Speaker 3: think you have to be a little bit delusional to

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Speaker 3: want to be an actor in a certain sense, like

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Speaker 3: you have to believe, and I see it in my

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Speaker 3: son Julian, who's nine. You have to believe that, like

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Speaker 3: there's something really different about you or there's something unique

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Speaker 3: about you. And I just remember watching these kids' shows,

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Speaker 3: in particular one woman called Shusha. She was this huge

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Speaker 3: personality and I was like, God, I want to be

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Speaker 3: like that one day. And I would also watch It's

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Speaker 3: just so embarrassing. I would watch Baywatch nothing but like

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Speaker 3: you know, it was like dubbed I think in Brazil,

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Speaker 3: and it was like such a big deal and I

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Speaker 3: was like, God, I can't wait till I go to

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Speaker 3: America and I want to be an actor. And that's

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Speaker 3: when the seed was planted. But there was no there

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Speaker 3: were no steps to take or means of becoming an actor.

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Speaker 3: And then at ten, I moved to New York City

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Speaker 3: and I went to this this all girls Catholic school,

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Speaker 3: which was like a huge culture clash for me because

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Speaker 3: I went from like a very warm, wonderful, loving, beautiful

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Speaker 3: environment to like a very sort of rigid, judgmental. I

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Speaker 3: kind of like retreated into a cocoon in a way.

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Speaker 3: And my only outlet was school plays and I got

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Speaker 3: into that and I played Jesus and god Spell at

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Speaker 3: the All Girls' School. This is a very long answer

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Speaker 3: to your question. I apologize sung.

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Speaker 2: But now we're here for it.

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Speaker 3: There was this showcase because in New York, obviously you

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Speaker 3: have access to like classes, and so I got into

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Speaker 3: the showcase where they taught you like very technical things

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Speaker 3: like how to audition and how to get headshots. And

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Speaker 3: that's how I met one of my first agents from

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Speaker 3: J Michael Bloom, and she immediately started submitting me. So

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Speaker 3: I would I would go like I would leave my

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Speaker 3: class and get on a payphone and put in my

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Speaker 3: quarter and go, okay, wait, you want me to go

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Speaker 3: to ABC Studios to audition for all my children. Okay,

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Speaker 3: I'm gonna I'll go right after school at three fifteen.

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Speaker 3: I'll get on the bus and go across. At ten,

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Speaker 3: this was at fifteen. Sorry, she moved at ten and fifteen.

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Speaker 3: You moved at ten using payphones to go to auditions fifteen? Yeah,

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Speaker 3: I'm using payphones to go to auditions.

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Speaker 2: Did your family go with you or did you move

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Speaker 2: out by yourself?

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Speaker 3: No, my family, well, my family was in New York

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Speaker 3: with me, and I sort of had to convince them

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Speaker 3: that this was they humored me while it wasn't a

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Speaker 3: real thing. But then I got one of the jobs

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Speaker 3: that I auditioned for, and then I had to really

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Speaker 3: sort of lobby for myself and my mom. My dad

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Speaker 3: was super chill about it and very supportive, and my

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Speaker 3: mom was like, absolutely not, I'm not letting you. She

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Speaker 3: was very nervous that I was too young, that I

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Speaker 3: was going to be taking advantage. But I said, you

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Speaker 3: know what, let me do this. Let me prove that

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Speaker 3: I can do this at a young age. And I promised,

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Speaker 3: you all stay in school, I'll get decent grades and

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Speaker 3: I'll go to college. And that was the deal I

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Speaker 3: struck with them, and they let me, and it was

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Speaker 3: the best decision for me because I was with adults

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Speaker 3: and as the World Turns and the Show and CBS,

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Speaker 3: I had the best mentors. I remember. My dad was

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Speaker 3: this guy called Benjamin Hendrickson who had gone to Juilliard,

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Speaker 3: and he was like, Jordana, you need to stop swearing, Jordana,

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Speaker 3: you need to like He would give me like drop

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Speaker 3: these like pearls of wisdom, which I still remember to

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Speaker 3: this day. That job taught me how to behave on

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Speaker 3: a set, taught me about professionalism and also taught me

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Speaker 3: how to like be comfortable in front of a camera

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Speaker 3: and taught me how to like memorize pages and pages

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Speaker 3: of dialogue at a time.

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Speaker 1: Because as the world turns for listeners out there with.

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Speaker 3: It was a soap opera, yeah.

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Speaker 1: Right, and the pace of a soap opera is super fast, right.

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Speaker 3: It's super fast. It's you have one episode per day

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Speaker 3: and you get the episode I think a couple days

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Speaker 3: before and also.

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Speaker 2: Sometimes changed like pages that morning of right.

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Speaker 3: They can, yeah, they can. And it's also it's almost

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Speaker 3: like a summer camp experience. You get your little dressing room,

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Speaker 3: you see everyone in the makeup room. It just it

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Speaker 3: was the best, warm, loving environment. I loved it. And

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Speaker 3: I did miss out on school to a certain extent

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Speaker 3: because I went to this school called PCs Professional Children's School,

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Speaker 3: and we were kind of like a squad of weirdos

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Speaker 3: because it was like musicians from Juilliard and ballerinas and

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Speaker 3: male ballet students from School of American Ballet. Macaulay Culkin

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Speaker 3: was there. But we all knew what we wanted to

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Speaker 3: do and we were pursuing that. So that's how I

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Speaker 3: got my start, and then I think at eighteen when

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Speaker 3: I was graduating, I got the faculty Robert roy Register. Yeah,

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Speaker 3: Robert Roger gets directed. So that was a huge break

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Speaker 3: for me. And then I had to convince my parents

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Speaker 3: to let me differ from college for a year, and

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Speaker 3: they did. I was pretty convincing. And then I had

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Speaker 3: to take another semester off for Fast and Furious because

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Speaker 3: I got that during one of the summer breaks at

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Speaker 3: school and we went over a little bit for the

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Speaker 3: first fast.

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Speaker 2: Do you remember where you were when you found out

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Speaker 2: booking that job and did you think it would become

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Speaker 2: the franchise that it is today.

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Speaker 3: Booking the job was not a big deal to me.

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Speaker 3: And I don't mean I took it for granted. I

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Speaker 3: just mean I guess I don't have a nose because

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Speaker 3: the stuff I think is going to be a big

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Speaker 3: deal never turns out to be a big deal. Like

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Speaker 3: I booked a job with playing Cameron Diy as a sister.

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Speaker 3: It was based on a novel that I loved. It

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Speaker 3: was a book called Invisible Circus, and I thought it

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Speaker 3: was going to be massive and it was a whole

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Speaker 3: summer spent shooting in Europe and it was a really

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Speaker 3: like dramatic turn, and it like it was a total

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Speaker 3: flop and it led nowhere. And yet this movie about

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Speaker 3: which was a subculture I didn't necessarily understand, having grown

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Speaker 3: up in New York and wasn't super familiar with Vin

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Speaker 3: or Paul. So all that to say, I don't remember

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Speaker 3: where I was when I found out about getting that role.

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Speaker 3: But I sure do remember where I was when I

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Speaker 3: heard we hit forty eight million in the first weekend. Wow,

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Speaker 3: because that was like unheard of.

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Speaker 2: Where were you?

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Speaker 3: I was okay, So I would spend weekends on Long

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Speaker 3: Island and I would go to like the same movie

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Speaker 3: theater in East Hampton, and I was at the parking

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Speaker 3: lot next to the A and P when, like I

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Speaker 3: think Saturday morning, you would get a call from the

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Speaker 3: studio and your agents. It was like that was the tradition.

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Speaker 3: And I remember getting that call on.

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Speaker 1: Me, What did you think that it was going to

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Speaker 1: be a hit while you were shooting? Not at all.

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Speaker 1: You were saying, no, no, I.

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Speaker 3: Had no idea. I mean, I think in some ways

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Speaker 3: youth is wasted on the young because I think now

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Speaker 3: when I'm on a set, I'm present, I relish it.

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Speaker 3: I know how special it is to get a gang

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Speaker 3: of like artists that get to express themselves, whether it's

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Speaker 3: you know, the set designer, the prop master, the costume designer.

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Speaker 3: Like it's such a wonderful opportunity. We all have to

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Speaker 3: do what we love. But back then I was so

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Speaker 3: trapped and like feeling self conscious and am I going

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Speaker 3: to do this the right way? And I think it's

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Speaker 3: how I got through life because I was balancing, like

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Speaker 3: I was going to Yale, I was studying, I was

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Speaker 3: living alone. I was you know. So I think I

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Speaker 3: got through it by sort of being very type A

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Speaker 3: and rigid. So I didn't like stop to enjoy it

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Speaker 3: or go wait, I'm part of something special. I was

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Speaker 3: sort of trapped in my head.

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Speaker 1: What did you major at?

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Speaker 3: You English?

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Speaker 1: You're a English major? Why did you choose English?

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Speaker 3: I love to read. I love to read books. I'll

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Speaker 3: say I don't really like reading scripts. I have a

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Speaker 3: really hard time focusing on scripts because I feel like

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Speaker 3: bad ones, which I think we read a lot of

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Speaker 3: in this industry, like they miss like the yummy characters

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Speaker 3: and the backstory and all the like. I love reading

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Speaker 3: a good book and relating to oh wait, like I

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Speaker 3: see myself that or I see my family patterns in

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Speaker 3: that and relating to someone that wrote it like one

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Speaker 3: hundred or two hundred years ago is such a delicious feeling.

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Speaker 2: What are you reading right now?

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Speaker 1: So?

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Speaker 3: I have a book club with my husb and my

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Speaker 3: former roommate Deborah. And one of my favorite writers is

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Speaker 3: Virginia Wolf. And I wrote my thesis on Orlando, and

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Speaker 3: apparently Virginia Wolf loved Catherine Mansfield's writings and so she

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Speaker 3: wrote a book of short stories. So that's that's what

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Speaker 3: we've tackled. But we have yet to schedule this, but

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Speaker 3: we will. Yeah. It's really fun, especially when we don't agree,

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Speaker 3: because I'll focus on like super emotional things and she'll

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Speaker 3: be the far more analytical one, and she'll have read

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Speaker 3: like a Gagillian books on a specific author, and I

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Speaker 3: go with my gut and it's we have fun, fun debates.

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Speaker 2: I very rarely read fiction. I'm a big fan of nonfiction.

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Speaker 2: Oh really, but I just read a book. I'm going

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Speaker 2: to space on the author, so please forgive me those listening.

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Speaker 2: But the book is called Educated. I don't know if

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Speaker 2: you've come across that one, right, Yeah, Yeah, I definitely

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Speaker 2: recommend I think it's Tara, Yes, Tara Westover, Okay, and

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Speaker 2: about the times growing up without technology, their rural community,

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Speaker 2: with not much outside exposure, where women weren't in the

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Speaker 2: family allowed to get an education, and the battle of

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Speaker 2: abuse and stuff like that. This poor girl I to

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Speaker 2: endure through tough times. But speaking on the topic of books,

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Speaker 2: that's one that I recently read that I thought was

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Speaker 2: just so incredible. That'll be the next one for the

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Speaker 2: book club.

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Speaker 3: Yeah, that's really good.

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Speaker 1: Do you think if you didn't pursue acting you would

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Speaker 1: be a writer? Is I why are you chose English?

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Speaker 3: I think I probably would be a professor. I think

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Speaker 3: with Hollywood, like there's this like stratification that occurs right

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Speaker 3: where you're just like, wait, wait, wait, wait wait, I

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Speaker 3: just learned to play the game, and now you're telling

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Speaker 3: me the game has like completely shifted and I have

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Speaker 3: to like play a completely different game. But I do

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Speaker 3: think that it's really funny observing people in different jobs.

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Speaker 3: Like everyone's got their own subculture, and within that subculture

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Speaker 3: there's like this pecking order, and for example, for us,

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Speaker 3: it's what movies have you done? And you know, how

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Speaker 3: successful are you? And what ranking Back in the day

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Speaker 3: it was like what ranking on IMDb, and I would

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Speaker 3: check the message board. It's like the star meter. Yes,

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Speaker 3: I guess it's a star meter. Now I've like I've been.

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Speaker 3: I've banned myself from that at this point. But like

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Speaker 3: the same thing exists in academia, right, it's how many

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Speaker 3: papers have you published? And where did you work before?

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Speaker 3: And how many degrees do you have. It's still a snobbery,

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Speaker 3: it's just a different kind of snobbery. But anyway, circling

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Speaker 3: back to your question, I do think I would be

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Speaker 3: a professor, although I think I would love to lecture

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Speaker 3: and correct papers and but and maybe i'd be more

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Speaker 3: of a researcher. I don't know.

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Speaker 1: I think it would be tough for you as a professor.

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Speaker 1: I think you would have a lot of like male

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Speaker 1: students and.

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Speaker 2: Come on, right, at least have good attendance for your classes.

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Speaker 3: Yeah, that's true. That's true. I'd get good scores.

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Speaker 1: Yeah. Well, when you say that the business of Hollywood

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Speaker 1: has changed, what have you noticed since you started?

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Speaker 3: Oh my gosh, I've noticed that there used to be

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Speaker 3: a certain path. The path was you you get an

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Speaker 3: agent that helps you, that you get a manager, contacts

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Speaker 3: within studios, like I think for Fast, I was with

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Speaker 3: Peter Levine and Patrick white Sell at CIA. Patrick white

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Speaker 3: Sell was good friends with Scott Stuber who worked at Universal,

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Speaker 3: and that's how I got an inn, right, Like they

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Speaker 3: suggested me to Rob. I had an audition with Rob Cohen.

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Speaker 3: We hit it off.

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Speaker 1: Scott Stuber runs Netflix now, right.

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Speaker 3: But back in the day he was the executive at Universal.

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Speaker 3: But now I'll say certain things to my manager, like well,

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Speaker 3: I don't understand, like why can't we call so and

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Speaker 3: so at Disney or so and so? And She's like, Sweetie,

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Speaker 3: it doesn't work that way anymore. Like that's not like

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Speaker 3: the old avenues of like someone doesn't make a call

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Speaker 3: and help get a job. Now it's they're watching tapes

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Speaker 3: or everyone puts yourself on tape or like I recently,

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Speaker 3: I was really I fell in love with this Apple

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Speaker 3: TV show because it was about different paths you can

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Speaker 3: take and different Well it hasn't come out yet, but

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Speaker 3: I wanted to read for it, and I didn't even

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Speaker 3: get the opportunity to read because Jennifer Connolly's doing it.

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Speaker 3: Like since when does Jennifer Connolly do TV?

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Speaker 1: I think it's.

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Speaker 3: Yes, it was it was so good. Did you read

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Speaker 3: that script?

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Speaker 1: Yea, based on a book.

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Speaker 3: Yeah, and it had to do with like different levels

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Speaker 3: of consciousness or reality and like that was super interesting

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Speaker 3: to me. But I think it's there's so much more

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Speaker 3: opportunity out there, but it's so much more competitive as well.

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Speaker 3: And it sometimes it doesn't even matter how much you've done.

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Speaker 3: They're just like, no, we're looking for something else, and

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Speaker 3: that's that. So it's encouraging and discouraging at the same time.

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Speaker 2: I imagine. So my norm is what you're speaking of prior

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Speaker 2: to the time where you get an agent, you get

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Speaker 2: a manager, you audition smaller industry. How have you seen

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Speaker 2: influencing affecting that space.

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Speaker 3: Well, I mean it helps as far as getting like

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Speaker 3: they'll check your numbers on Instagram or whatever and then

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Speaker 3: like that'll help you get endorsement deals or if they

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Speaker 3: need they need to hit certain markets. I guess there's

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Speaker 3: this thing like certain agencies can do where they see

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Speaker 3: like are you big in this market or that market?

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Speaker 3: So I think that can be helpful. But I also think,

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Speaker 3: like I've talked to teachers in the past where they're

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Speaker 3: like someone was hired based on the number of followers

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Speaker 3: they have, and I'm not sure whether or not they

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Speaker 3: can act. But the positive side about that is that

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Speaker 3: you can create your own content, put it out there,

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Speaker 3: and sort of control your destiny a bit more. You

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Speaker 3: don't have to wait for the right thing to come along.

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Speaker 3: So I think that's a tool you have, right, Sure,

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Speaker 3: I wasn't speaking for myself. Yeah, but your generation, I think, Yeah,

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Speaker 3: I think that's super empowering. You can sort of control

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Speaker 3: the narrative.

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Speaker 2: Yeah, there's definitely a lot more medians that are out

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Speaker 2: there that you can produce content for, be it for

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Speaker 2: vertical content like snapchat, TikTok, Instagram, or even something like YouTube.

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Speaker 1: Well also even you know, when I talk to Amelia

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Speaker 1: about her YouTube influence, right, she hates to be called

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Speaker 1: a YouTuber, but a content maker, a YouTube were YouTube

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Speaker 1: where She's like, I hate that word, right when you

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Speaker 1: hate about it.

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Speaker 2: Though I wouldn't say I hate the word. I think

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Speaker 2: people are just very quick to judge when they hear

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Speaker 2: the word YouTuber or influencer. I feel like I've been

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Speaker 2: able to build an incredible business, build these incredible cars,

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Speaker 2: and break records and be this I guess influence in

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Speaker 2: the car space and breaking barriers, especially as a woman

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Speaker 2: in a male dominated space. So then when people say, oh,

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Speaker 2: she's an influencer, I look at it as a good thing,

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Speaker 2: but there's just this derogatory term that comes with it

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Speaker 2: where it's almost not looking at my successes are the

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Speaker 2: accolades or the accomplishments that I've made in my life,

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Speaker 2: and more so, oh she holds a cameraun film stuff. Yeah,

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Speaker 2: so that's really what it comes to.

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Speaker 1: You has a message and like I ethos through the

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Speaker 1: content that she does, a lot of people are out

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Speaker 1: there shaking ass or something, you know, totally. But what

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Speaker 1: I was really impressed about was, you know, when I

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Speaker 1: was like starting out, I had like ten jobs to

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Speaker 1: feed myself, you know, and the fact that she can

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Speaker 1: actually not have to do that, because yeah, this idea

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Speaker 1: of starving actor is ridiculous because if you're starving and

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Speaker 1: you have ten jobs, you can't focus on your work.

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Speaker 1: You can't afford class, you can't go do a play,

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Speaker 1: you can't go watch.

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Speaker 2: Film, can't get headshots that you need.

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Speaker 1: You got to go and work all day. So figure

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Speaker 1: out a way where you can be self sufficient and

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Speaker 1: you don't have to go and have ten jobs, right.

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Speaker 3: But I did. I now understand that, like when I'm

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Speaker 3: in LA and auditioning and not working proactively I do

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Speaker 3: it is like I'm like a wild animal in a cage,

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Speaker 3: and it's very difficult to just on the receiving end

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Speaker 3: of everything and not be creating. I think that's very

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Speaker 3: hard for creative people. So to have a side hustle,

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Speaker 3: I think is a very healthy thing.

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Speaker 1: A question for you, Jordana. I've never had this conversation

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Speaker 1: with a working actor. I mean we've been around for

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Speaker 1: a while, right, so you know when I get asked

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Speaker 1: to like put something on tape, I used to have

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Speaker 1: this like visceral reaction like, oh, how dare you just

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Speaker 1: go look at the stuffs? Yeah, what are you asking

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Speaker 1: me to do? Like like I speak English, like come on,

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Speaker 1: I commemorized lines, Well what do you need? I still

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Speaker 1: struggle with it when my rep sent me stuff and

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Speaker 1: they're like, hey, they want you on tape. It's like

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Speaker 1: everyone's on tape, and I'm like first reaction is like

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Speaker 1: I'm doing it, and then I have to they have

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Speaker 1: to call me, they have to kind of grease me up,

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Speaker 1: and they have to tell me like you know, who

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Speaker 1: the people are involved. And then also it's a lot

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Speaker 1: of sometimes they don't give you a script, so here

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Speaker 1: are the sides. And as an actor, I don't understand that.

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Speaker 1: Even as a director or a producer, I don't understand

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Speaker 1: how you would expect an actor to do their best

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Speaker 1: work when you just give them sites and there's no

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Speaker 1: context of the character or the story. Yeah, so where's

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Speaker 1: your arc? Like, how are you going to like develop

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Speaker 1: this character?

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Speaker 2: Right?

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Speaker 1: And everything's so you know, secretive these days, right, So

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Speaker 1: most of the time I just say I'm okay if

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Speaker 1: you're looking for an actor that doesn't need to like

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Speaker 1: actually create a character and just need somebody to regurgitate lines,

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Speaker 1: like I'm not for you. But then I don't work

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Speaker 1: as often. Yeah, so I mean how do you overcome that?

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Speaker 3: I mean, for the most part, I audition and I'll

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Speaker 3: put myself on tape, which requires like this is going

399
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Speaker 3: to sound really superficial, but it requires a blowout.

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Speaker 1: The good lighting.

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Speaker 3: Like I have to like go put myself on tape

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Speaker 3: with this awesome guy jokel who does like beautiful tapes.

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Speaker 3: I usually coach for it so that I can get

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Speaker 3: warm and feel what it is. But the one thing

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Speaker 3: I do require from be it my manager or my agents,

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Speaker 3: is that I need to know like the range of

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Speaker 3: what they're looking at, like if they're not looking if

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Speaker 3: they're looking for like a broad range and it's out

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Speaker 3: to like whoever, I'm like, you know what, let's let's

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Speaker 3: not waste everyone's time. But if it is within my reach,

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Speaker 3: I'll do it. Or like recently, like I've been trying

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Speaker 3: to prove to everyone, people in this industry are super

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Speaker 3: myopic as far as like what they believe, Like they

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Speaker 3: need to see you do something until they believe you can.

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Speaker 3: But how are they going to know you can until

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Speaker 3: Like how are they going to see you do it

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Speaker 3: unless you're given the opportunity. So that's my case with comedy,

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Speaker 3: and I feel like I love comedies. I love to laugh.

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Speaker 3: I have a super sarcastic dress sense of humor. But

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Speaker 3: no one's given me the shot, and so I'm constantly

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Speaker 3: putting myself on tape for comedies especially and I haven't

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Speaker 3: gotten one yet, Like whatever, I also think sometimes I'm like,

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Speaker 3: it is a good exercise, but it is frustrating. It

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Speaker 3: is frustrating because I'm like, let's not like especially when

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Speaker 3: you're here. Sometimes they don't even watch the tapes. That's

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Speaker 3: just that crushes me.

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Speaker 1: Yeah, I mean this helps me because somebody at your

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Speaker 1: level that has this positive perspective about tapes, it makes

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Speaker 1: me or taping, you know, auditions, it's like, you know,

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Speaker 1: I know a big part of it. For me, My

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Speaker 1: problem is like, you know, I have this ego. That

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Speaker 1: ego is my enemy right times, and you know anytime

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Speaker 1: that I've let that go and been open minded and going, yeah,

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Speaker 1: it's the process, enjoy it, like which is hard.

435
00:21:57,000 --> 00:21:59,320
Speaker 3: I mean hard because for me too, I also feel

436
00:21:59,359 --> 00:22:01,280
Speaker 3: like it's a relationship. Like if I'm going to do

437
00:22:01,359 --> 00:22:04,399
Speaker 3: all that work, I would love some feedback. But I

438
00:22:04,520 --> 00:22:07,879
Speaker 3: learned that, like I think it's been three months now

439
00:22:07,920 --> 00:22:09,919
Speaker 3: where I just don't even ask anymore. I just like

440
00:22:09,960 --> 00:22:11,960
Speaker 3: put it out there. I know I did a good job.

441
00:22:12,160 --> 00:22:15,760
Speaker 3: But people don't give feedback anymore. They don't even do that.

442
00:22:16,040 --> 00:22:18,119
Speaker 3: They just like you're lucky if they watch the tape.

443
00:22:18,119 --> 00:22:18,760
Speaker 3: And that's that.

444
00:22:19,160 --> 00:22:22,000
Speaker 2: How do you balance being a mother while also filming

445
00:22:22,000 --> 00:22:22,520
Speaker 2: on location?

446
00:22:22,960 --> 00:22:26,520
Speaker 3: So I've definitely taken jobs based on like how is

447
00:22:26,520 --> 00:22:31,000
Speaker 3: this going to impact my kids? And I've been fortunate

448
00:22:31,119 --> 00:22:33,560
Speaker 3: enough that with like movies like Fast I can bring

449
00:22:33,600 --> 00:22:36,399
Speaker 3: them because the budget allows it, and it's pretty awesome.

450
00:22:36,440 --> 00:22:39,159
Speaker 3: It's great, But like with television, I'm always like it

451
00:22:39,240 --> 00:22:40,879
Speaker 3: has to shoot in LA because I don't have the

452
00:22:40,960 --> 00:22:43,280
Speaker 3: kind of kids that are mobile, Like they can't just

453
00:22:43,359 --> 00:22:47,360
Speaker 3: adjust to any environment, so they're always at the forefront

454
00:22:47,400 --> 00:22:48,960
Speaker 3: of like, wait, can I do this? Can I not

455
00:22:49,080 --> 00:22:51,640
Speaker 3: do this? But I'm also real with them, like when

456
00:22:51,680 --> 00:22:54,960
Speaker 3: they complain. Sometimes they and I think this happens a

457
00:22:55,040 --> 00:22:58,320
Speaker 3: lot with kids in LA. Sometimes they see me working

458
00:22:58,359 --> 00:23:00,600
Speaker 3: as a luxury. They're like, well, mommy, you're leaving, And

459
00:23:00,640 --> 00:23:03,120
Speaker 3: I'm like, dude, who do you think's paying for school

460
00:23:03,160 --> 00:23:06,280
Speaker 3: and your house? And I had to check them in

461
00:23:06,320 --> 00:23:08,160
Speaker 3: a way because it all looks so fun. They don't

462
00:23:08,160 --> 00:23:11,040
Speaker 3: literally see the work that goes into it.

463
00:23:11,240 --> 00:23:14,000
Speaker 2: R speaking of work, I'm curious to know your process

464
00:23:14,080 --> 00:23:15,440
Speaker 2: that goes into preparing for a role.

465
00:23:16,160 --> 00:23:19,040
Speaker 3: I can't do it alone. I don't like doing it

466
00:23:19,080 --> 00:23:21,199
Speaker 3: in the vacuum. I used to. I used to think that,

467
00:23:21,359 --> 00:23:26,960
Speaker 3: like studying was a sign of weakness, which was so strange.

468
00:23:26,480 --> 00:23:30,359
Speaker 3: I don't know why studying how just like acting like

469
00:23:30,520 --> 00:23:33,040
Speaker 3: wasn't open to it. And then once I got to LA.

470
00:23:33,800 --> 00:23:36,320
Speaker 3: After graduating school, I realized I had a lot of

471
00:23:36,359 --> 00:23:39,359
Speaker 3: time on my hands and I needed to work, and

472
00:23:39,640 --> 00:23:43,800
Speaker 3: I went to several different types of classes and one

473
00:23:43,840 --> 00:23:46,800
Speaker 3: of the best teachers who also hasn't a weekly class,

474
00:23:46,880 --> 00:23:51,199
Speaker 3: was Nancy Banks. And that was really a game changer

475
00:23:51,200 --> 00:23:57,320
Speaker 3: for me because Nancy's also very direct and tough, but

476
00:23:57,520 --> 00:24:02,240
Speaker 3: tweaks things very specifically, like I would watch performances and go,

477
00:24:02,400 --> 00:24:05,480
Speaker 3: oh my god, that person's incredible, How what is she

478
00:24:05,520 --> 00:24:08,240
Speaker 3: going to say? And yet she would she would adjust it.

479
00:24:08,280 --> 00:24:10,560
Speaker 3: And that allowed me to also see what a director's

480
00:24:10,640 --> 00:24:12,520
Speaker 3: job is in a different light, because I would always

481
00:24:12,600 --> 00:24:15,960
Speaker 3: dread direction thinking I just want to get an A

482
00:24:16,280 --> 00:24:19,159
Speaker 3: and like, don't give me a type, wanting.

483
00:24:18,920 --> 00:24:19,600
Speaker 2: To be perfect.

484
00:24:19,800 --> 00:24:22,320
Speaker 3: But I didn't realize, like, no, it's just an adjustment.

485
00:24:22,400 --> 00:24:25,840
Speaker 3: We're playing, Like don't be afraid of that, Like that's

486
00:24:26,080 --> 00:24:31,040
Speaker 3: you know, and it's oftentimes it's about chemistry and is

487
00:24:31,040 --> 00:24:35,000
Speaker 3: something working, and don't be afraid to try and.

488
00:24:36,880 --> 00:24:37,320
Speaker 2: Forget that.

489
00:24:37,520 --> 00:24:40,080
Speaker 3: Yeah. So so that was a game changer for me,

490
00:24:40,160 --> 00:24:44,399
Speaker 3: and and now I've I've shifted to even having someone

491
00:24:44,440 --> 00:24:46,680
Speaker 3: on set. I also work with Rebecca kit who's been

492
00:24:46,720 --> 00:24:49,800
Speaker 3: wonderful and it gets me out of my head so

493
00:24:49,840 --> 00:24:51,880
Speaker 3: that I'm not acting and judging at the same time.

494
00:24:51,920 --> 00:24:54,280
Speaker 3: I let her be the judge and then work with

495
00:24:54,320 --> 00:24:56,560
Speaker 3: her feedback, which which is great.

496
00:24:56,640 --> 00:24:57,760
Speaker 2: What about for memorizing.

497
00:25:00,840 --> 00:25:04,520
Speaker 3: I used to be such a good memorizer, and now

498
00:25:04,560 --> 00:25:07,359
Speaker 3: I use these apps because I realize it's have you

499
00:25:07,400 --> 00:25:11,000
Speaker 3: ever done this where you memorize something like dictating it

500
00:25:11,160 --> 00:25:14,120
Speaker 3: or reading it? Like orally, it's a completely different thing.

501
00:25:14,200 --> 00:25:16,600
Speaker 3: Like when you hear it, you're like, oh wait, that's

502
00:25:17,200 --> 00:25:19,159
Speaker 3: it's a different part of your brain that's working. So

503
00:25:19,200 --> 00:25:21,560
Speaker 3: I need to hear it. I need to get my

504
00:25:21,680 --> 00:25:23,919
Speaker 3: cues so that I know what the cues are. So

505
00:25:23,960 --> 00:25:28,040
Speaker 3: I use this app it's called line Learner, and then

506
00:25:28,160 --> 00:25:30,639
Speaker 3: when I'm in the car, I'll just like have my

507
00:25:30,720 --> 00:25:32,840
Speaker 3: cues and then I'll look like a crazy person and

508
00:25:32,880 --> 00:25:33,920
Speaker 3: say my line is in the car.

509
00:25:34,200 --> 00:25:35,560
Speaker 2: Just pretend like you're on the phone. Normal.

510
00:25:35,640 --> 00:25:38,600
Speaker 3: No, but line Learners has been a game changer. That's

511
00:25:38,600 --> 00:25:39,760
Speaker 3: been really really helpful.

512
00:25:40,040 --> 00:25:42,399
Speaker 2: Yeah, that is helpful, and that's helpful for any up

513
00:25:42,440 --> 00:25:45,720
Speaker 2: and coming actors listening to this wanting to get into

514
00:25:45,760 --> 00:25:47,840
Speaker 2: it and don't know how to study. That is a

515
00:25:47,920 --> 00:25:49,280
Speaker 2: very resourceful tool.

516
00:25:49,880 --> 00:25:53,119
Speaker 1: But You've worked with actors that come to set and

517
00:25:53,160 --> 00:25:56,280
Speaker 1: they haven't memorized their lines at all. Well, I've worked

518
00:25:56,320 --> 00:26:02,719
Speaker 1: with some words. Really I don't understand that times, but

519
00:26:02,800 --> 00:26:05,119
Speaker 1: then you see their work and you're like, holy moly,

520
00:26:05,160 --> 00:26:07,960
Speaker 1: this is actually pretty good. You know for those people

521
00:26:07,960 --> 00:26:09,720
Speaker 1: out there, it's like you show up to set and

522
00:26:09,720 --> 00:26:12,119
Speaker 1: you kind of have a blocking rehearsal where the director

523
00:26:12,520 --> 00:26:15,360
Speaker 1: would like, you know, and the and the cameraman would

524
00:26:15,440 --> 00:26:17,600
Speaker 1: love for you to kind of hit your marks, and

525
00:26:17,640 --> 00:26:20,480
Speaker 1: they set these marks. And I've worked with actors they're like,

526
00:26:20,560 --> 00:26:22,720
Speaker 1: I don't want that, I don't do that, you know,

527
00:26:23,160 --> 00:26:25,920
Speaker 1: let me feel this out. And then there are actors

528
00:26:25,920 --> 00:26:28,680
Speaker 1: that you know, I need to know everything, I need

529
00:26:28,720 --> 00:26:31,400
Speaker 1: to have everything on point, and then we can kind

530
00:26:31,400 --> 00:26:34,840
Speaker 1: of like flow from there. And then also, like you said,

531
00:26:34,880 --> 00:26:38,560
Speaker 1: the director, some directors let you play, let you figure out,

532
00:26:38,600 --> 00:26:40,480
Speaker 1: like where would you like to stand? Where do you

533
00:26:40,480 --> 00:26:42,960
Speaker 1: think you're going to hit here? And then some directors

534
00:26:43,040 --> 00:26:45,600
Speaker 1: like they move you like little lego pieces, like you

535
00:26:45,680 --> 00:26:48,679
Speaker 1: will stand there, you will deliver this word there, and

536
00:26:48,760 --> 00:26:51,480
Speaker 1: you will not deviate, and if you deviate, like you

537
00:26:51,480 --> 00:26:54,040
Speaker 1: miss one word, they'll call cut. You know, what do

538
00:26:54,080 --> 00:26:56,200
Speaker 1: you like and what process do you perform?

539
00:26:56,359 --> 00:26:59,800
Speaker 3: I was about to say, I think it shifts according

540
00:26:59,800 --> 00:27:02,639
Speaker 3: to like phases in life. I mean, I worked with

541
00:27:02,680 --> 00:27:05,080
Speaker 3: someone who didn't know their lines, and I was getting

542
00:27:05,160 --> 00:27:08,120
Speaker 3: so frustrated because I was like, how dare someone take

543
00:27:08,160 --> 00:27:11,639
Speaker 3: this opportunity for granted and show up not knowing their lines?

544
00:27:12,480 --> 00:27:17,040
Speaker 3: But then this same person is like unbelievable at what

545
00:27:17,160 --> 00:27:20,840
Speaker 3: I'm not, which is like off the cuff improv and

546
00:27:21,440 --> 00:27:24,720
Speaker 3: is hilarious. And I also think it's not that the

547
00:27:24,720 --> 00:27:27,000
Speaker 3: person didn't know their lines, it's just that the person

548
00:27:27,760 --> 00:27:30,399
Speaker 3: I don't know might be dyslexic and has trouble learning lines.

549
00:27:31,040 --> 00:27:33,000
Speaker 3: But I think in my twenties I was so like

550
00:27:33,119 --> 00:27:37,040
Speaker 3: rigid and judgmental that I didn't allow I didn't have

551
00:27:37,080 --> 00:27:42,080
Speaker 3: that perspective, and now I do. And in my twenties

552
00:27:42,080 --> 00:27:44,280
Speaker 3: I wanted to be told, Okay, I need the structure,

553
00:27:44,320 --> 00:27:46,560
Speaker 3: I need the framework, I need to know exactly what's

554
00:27:46,600 --> 00:27:49,840
Speaker 3: going to happen. And now I do like to play

555
00:27:50,160 --> 00:27:53,960
Speaker 3: and I like more of a collaborative set where everyone's

556
00:27:54,000 --> 00:27:56,880
Speaker 3: sort of weighing in. And the other thing I really

557
00:27:56,920 --> 00:27:58,760
Speaker 3: love is like playback, which I think a lot of

558
00:27:58,800 --> 00:28:01,800
Speaker 3: actors don't like is when you can watch what they've

559
00:28:01,840 --> 00:28:05,920
Speaker 3: done and sort of adjust what's working or what's not working.

560
00:28:06,119 --> 00:28:07,880
Speaker 3: We didn't have that on this last movie I did,

561
00:28:07,880 --> 00:28:09,639
Speaker 3: and I was like, that's such a bummer not to

562
00:28:09,680 --> 00:28:14,040
Speaker 3: be able to assess what's happening. But I do like rehearsal.

563
00:28:14,359 --> 00:28:16,600
Speaker 3: I think that comes from going to class and working

564
00:28:16,640 --> 00:28:19,640
Speaker 3: on stage and working on something for weeks at a time.

565
00:28:20,000 --> 00:28:23,000
Speaker 3: I do like rehearsal. I don't just like winging it.

566
00:28:23,160 --> 00:28:25,119
Speaker 1: Well. Movie making is not like a play where you

567
00:28:25,160 --> 00:28:28,280
Speaker 1: have weeks or months of rehearsal. Sometimes you show up

568
00:28:28,320 --> 00:28:30,920
Speaker 1: and you never had one rehearsal. People are shocked that.

569
00:28:31,160 --> 00:28:33,560
Speaker 1: I go, what rehearsal? What are you talking about rehearsal? Yeah,

570
00:28:33,680 --> 00:28:36,520
Speaker 1: we don't have a table read. We just show up

571
00:28:36,680 --> 00:28:40,400
Speaker 1: and then there's maybe a blocking rehearsal. Yeah lucky right.

572
00:28:40,400 --> 00:28:42,840
Speaker 3: It's true. Yeah, but there are Like I just worked

573
00:28:42,840 --> 00:28:45,720
Speaker 3: with Laurence Fishburne on something, and he was doing little

574
00:28:45,760 --> 00:28:48,920
Speaker 3: things that made such a difference, Like we all had

575
00:28:48,920 --> 00:28:52,200
Speaker 3: to be a little bit tipsy in this dinner scene,

576
00:28:52,240 --> 00:28:55,360
Speaker 3: and he just think before they called action, he would

577
00:28:55,400 --> 00:28:59,240
Speaker 3: just start laughing and it was like this good girl laughing,

578
00:28:59,440 --> 00:29:02,720
Speaker 3: or he would just start like riffing on the lines

579
00:29:02,760 --> 00:29:04,880
Speaker 3: like right before, so that by the time the cameras

580
00:29:04,920 --> 00:29:08,040
Speaker 3: were rolling, we were all just in it. That takes

581
00:29:08,120 --> 00:29:11,240
Speaker 3: such courage and it sort of takes a leader to

582
00:29:11,240 --> 00:29:13,720
Speaker 3: get the ball rolling. And that was so fun because

583
00:29:13,720 --> 00:29:16,600
Speaker 3: that was like we were all playing. So I want

584
00:29:16,640 --> 00:29:18,760
Speaker 3: to have more moments like that on set because those

585
00:29:18,760 --> 00:29:22,320
Speaker 3: are like, it's just such a fun trick, you know.

586
00:29:22,600 --> 00:29:25,760
Speaker 1: Yeah, And it's nice when somebody like Laurence Fishburne, who's

587
00:29:25,760 --> 00:29:28,960
Speaker 1: a OG. Yeah, been around a long time, so I'm

588
00:29:29,000 --> 00:29:31,640
Speaker 1: sure he's like, you know, higher on the call sheet.

589
00:29:32,200 --> 00:29:36,480
Speaker 1: He has the ability to set the tone right, yeah,

590
00:29:36,520 --> 00:29:39,320
Speaker 1: and set it's such a positive tone of fun. It

591
00:29:39,440 --> 00:29:42,520
Speaker 1: sucks when it's the opposite, when like sometimes number one

592
00:29:42,560 --> 00:29:43,680
Speaker 1: on the call sheet.

593
00:29:43,480 --> 00:29:46,600
Speaker 3: Because that's energy, right, like you feel it like it's

594
00:29:46,880 --> 00:29:50,280
Speaker 3: tough when someone's like trapped in their stuff, and then

595
00:29:50,320 --> 00:29:53,920
Speaker 3: that sort of seeps into like the crew and everyone

596
00:29:53,960 --> 00:29:56,080
Speaker 3: else and just brings the whole vibe down.

597
00:30:10,360 --> 00:30:13,680
Speaker 1: Like you said. You know, as I've gotten older, I've

598
00:30:13,840 --> 00:30:17,800
Speaker 1: been able to empathize and actually even enjoy that process

599
00:30:17,800 --> 00:30:20,040
Speaker 1: more because before I used to go, how dare you?

600
00:30:20,120 --> 00:30:22,719
Speaker 1: How dare you show up? With your toxic bullshit and

601
00:30:23,240 --> 00:30:25,720
Speaker 1: ruin this for everybody, and ruin it for the rest

602
00:30:25,760 --> 00:30:29,200
Speaker 1: of the cast and crew. It's called collaboration for a reason.

603
00:30:29,280 --> 00:30:31,760
Speaker 1: It's not just love you. And now I step back

604
00:30:31,800 --> 00:30:34,320
Speaker 1: and I go, well, how can I be part of

605
00:30:34,680 --> 00:30:37,200
Speaker 1: the solution and that part of the problem, right? And

606
00:30:37,400 --> 00:30:41,040
Speaker 1: I realized, I go, that's probably you know, on a

607
00:30:41,040 --> 00:30:44,320
Speaker 1: special skill, Like that's what I focus on now, is like, okay,

608
00:30:44,400 --> 00:30:46,920
Speaker 1: I know movie making. There's a lot of stuff that's

609
00:30:46,960 --> 00:30:49,480
Speaker 1: out of her control. And if I can show up

610
00:30:49,680 --> 00:30:51,760
Speaker 1: and you know, be part of the solution, no matter

611
00:30:51,840 --> 00:30:54,480
Speaker 1: what the problem is. And sometimes it's a person, sometimes

612
00:30:54,480 --> 00:30:59,120
Speaker 1: it's a director or an actor. And I used to

613
00:30:59,160 --> 00:31:02,320
Speaker 1: take it so personally we're ruined the whole experience for me, right,

614
00:31:02,360 --> 00:31:04,320
Speaker 1: And now I go, hey, you know, I'm here for

615
00:31:04,360 --> 00:31:06,840
Speaker 1: a reason. Let me contribute in a positive way and

616
00:31:06,920 --> 00:31:10,280
Speaker 1: let me help this person through his process. And it

617
00:31:10,400 --> 00:31:13,360
Speaker 1: changes everything, you know, because then I realized I was

618
00:31:13,520 --> 00:31:15,280
Speaker 1: kind of guilty of the same thing. It's about me

619
00:31:15,400 --> 00:31:18,240
Speaker 1: and like how you're making me feel right, And when

620
00:31:18,240 --> 00:31:21,160
Speaker 1: you have you know, people that are there to go, hey,

621
00:31:21,600 --> 00:31:24,600
Speaker 1: this perspective. We're so lucky to be able to do this.

622
00:31:25,440 --> 00:31:28,520
Speaker 1: I mean yeah. People go it must be so hard

623
00:31:29,080 --> 00:31:31,640
Speaker 1: what you do, and I go, what are you talking about?

624
00:31:31,880 --> 00:31:34,320
Speaker 1: They think about it. This is the only job in

625
00:31:34,400 --> 00:31:38,640
Speaker 1: the world where I can show up with no underwear.

626
00:31:40,320 --> 00:31:42,600
Speaker 1: I remember on one one job, my wife said, are

627
00:31:42,600 --> 00:31:43,880
Speaker 1: you going to pack? I go no, I want to

628
00:31:43,920 --> 00:31:48,840
Speaker 1: test this theory. So I took nothing. I took my passport.

629
00:31:48,920 --> 00:31:52,360
Speaker 1: And you need anything, No, because you show up, somebody

630
00:31:52,680 --> 00:31:55,200
Speaker 1: picks you up, they drop you off, somebody meets you

631
00:31:55,200 --> 00:31:57,320
Speaker 1: at the airport, they take you to your place. There's

632
00:31:57,400 --> 00:32:00,880
Speaker 1: like a gift basket of stuff, and somebody hands you money.

633
00:32:01,240 --> 00:32:03,320
Speaker 1: Before when they used to give you per diem, I

634
00:32:03,360 --> 00:32:04,840
Speaker 1: know I missed the cash perdiem.

635
00:32:05,080 --> 00:32:08,400
Speaker 2: I want cash perdum what cash cash?

636
00:32:08,480 --> 00:32:10,200
Speaker 3: Yeah? Yeah, right, Oh that was amazing.

637
00:32:10,240 --> 00:32:12,640
Speaker 1: And then I go, oh, we have a fitting. I

638
00:32:12,680 --> 00:32:15,200
Speaker 1: go to the custom designer and I go, hey, I

639
00:32:15,200 --> 00:32:17,520
Speaker 1: have no underwear, and they're like, here's a whole box

640
00:32:17,560 --> 00:32:20,440
Speaker 1: of underwear. I have no socks. I go to makeup

641
00:32:20,480 --> 00:32:22,160
Speaker 1: to the makeup hair test and I go, you know,

642
00:32:22,200 --> 00:32:25,080
Speaker 1: I have no toothbrush. Oh, here's some toothbrush. You have

643
00:32:25,120 --> 00:32:28,080
Speaker 1: any saline solution with the container, Oh, we have that.

644
00:32:28,400 --> 00:32:31,440
Speaker 1: Here's a razor. Here's this, and then you go to work.

645
00:32:31,520 --> 00:32:34,200
Speaker 1: Somebody wrote the lines for you to say. Ten people

646
00:32:34,320 --> 00:32:36,440
Speaker 1: ask you, are you hungry? You want some tea or

647
00:32:36,520 --> 00:32:37,160
Speaker 1: this whatever?

648
00:32:37,520 --> 00:32:37,720
Speaker 3: Yeah?

649
00:32:37,880 --> 00:32:40,600
Speaker 1: Right, And then there's people around you that are actually working,

650
00:32:40,680 --> 00:32:44,400
Speaker 1: they're like moving stuff. And then we have somebody like

651
00:32:44,480 --> 00:32:47,840
Speaker 1: hold umbrella when it's sprinkling a little rain, Like it's crazy,

652
00:32:47,880 --> 00:32:49,120
Speaker 1: how spoiled we are?

653
00:32:49,280 --> 00:32:51,840
Speaker 2: Real the actor's defense, though, I don't think it's an

654
00:32:51,840 --> 00:32:52,480
Speaker 2: easy job.

655
00:32:52,640 --> 00:32:53,479
Speaker 1: What's hard about it?

656
00:32:53,880 --> 00:32:57,600
Speaker 2: I think it's very challenging to be present in the

657
00:32:57,680 --> 00:33:01,560
Speaker 2: moment with another person, also trying to find your objective,

658
00:33:01,600 --> 00:33:04,160
Speaker 2: your intention, trying to live out the story. I think

659
00:33:04,240 --> 00:33:07,080
Speaker 2: that part of the craft is why I think everyone

660
00:33:07,120 --> 00:33:09,320
Speaker 2: on set is so understanding. Do you need anything? Can

661
00:33:09,360 --> 00:33:12,120
Speaker 2: I help you? Because it's it's a very you know,

662
00:33:12,160 --> 00:33:14,120
Speaker 2: of a lighthearted set. Sure it can be on the

663
00:33:14,160 --> 00:33:16,240
Speaker 2: easier side, but sometimes you have to pull out these

664
00:33:16,320 --> 00:33:18,080
Speaker 2: very raw and dark performances.

665
00:33:18,200 --> 00:33:19,120
Speaker 1: But it's all pretend.

666
00:33:20,000 --> 00:33:23,360
Speaker 2: Yeah, it depends how personally you take that depending.

667
00:33:23,400 --> 00:33:25,600
Speaker 1: Huh, well, I can understand that.

668
00:33:25,680 --> 00:33:29,160
Speaker 2: But different sets, you know, different, you know, comedy is

669
00:33:29,160 --> 00:33:32,160
Speaker 2: a lot different than shown up for a drama project.

670
00:33:32,400 --> 00:33:35,800
Speaker 1: I don't know I mean, I understand what you're saying, right,

671
00:33:35,840 --> 00:33:38,480
Speaker 1: and then sometimes the physical stuff, like you know, the stunts,

672
00:33:38,480 --> 00:33:41,520
Speaker 1: like there it's physical demanding, especially if you're out of shape.

673
00:33:41,520 --> 00:33:43,480
Speaker 3: But there are also sets where they don't do any

674
00:33:43,480 --> 00:33:44,280
Speaker 3: of that stuff for you.

675
00:33:44,640 --> 00:33:48,760
Speaker 2: I think you're talking about the fastest ones are very cushy.

676
00:33:48,800 --> 00:33:51,959
Speaker 3: The indies are true. Like the last thing I did,

677
00:33:52,040 --> 00:33:55,840
Speaker 3: the financing didn't come through till the very almost the

678
00:33:55,880 --> 00:33:59,080
Speaker 3: penultimate day, and like I am a control freak, Like

679
00:33:59,120 --> 00:34:01,800
Speaker 3: that's probably my last and in this lifetime is to

680
00:34:02,160 --> 00:34:07,160
Speaker 3: just seed control. And I just and it's very difficult

681
00:34:07,200 --> 00:34:09,759
Speaker 3: for me with two little kids and everything I have

682
00:34:09,800 --> 00:34:11,920
Speaker 3: to put in place when I leave town, and I

683
00:34:11,960 --> 00:34:13,640
Speaker 3: just I didn't know if the thing was happening or not.

684
00:34:13,719 --> 00:34:16,560
Speaker 3: I feel like that's to me, that's the most challenging

685
00:34:16,600 --> 00:34:18,759
Speaker 3: part of our job. Is am I going to be

686
00:34:18,760 --> 00:34:21,200
Speaker 3: in Australia this summer? Am I going to be here?

687
00:34:21,560 --> 00:34:23,680
Speaker 3: Finding out the week before you need to be somewhere

688
00:34:23,680 --> 00:34:26,080
Speaker 3: else and maintaining your friendships, right, I mean I had

689
00:34:26,120 --> 00:34:27,799
Speaker 3: to have friends check me at some point and be

690
00:34:27,800 --> 00:34:29,480
Speaker 3: like you know that when you go on set, you

691
00:34:29,560 --> 00:34:31,799
Speaker 3: like disappear and then you come back and you think

692
00:34:31,840 --> 00:34:34,400
Speaker 3: we're just going to be there, and I'm like, oh,

693
00:34:34,640 --> 00:34:36,560
Speaker 3: thank you for telling me that, because I didn't realize

694
00:34:36,600 --> 00:34:38,359
Speaker 3: I was doing that. But you kind of do sort

695
00:34:38,400 --> 00:34:41,080
Speaker 3: of go on this margic carpet right and disappear.

696
00:34:41,120 --> 00:34:43,759
Speaker 1: Don't you think we're kind of like, yeah, circus performers,

697
00:34:43,920 --> 00:34:47,160
Speaker 1: and then we create our own family and then a

698
00:34:47,239 --> 00:34:49,520
Speaker 1: lot of these people you might never see again. Yeah,

699
00:34:49,560 --> 00:34:52,319
Speaker 1: And I think because I moved around so much as

700
00:34:52,360 --> 00:34:55,480
Speaker 1: a kid and my stepfather was in the military, I

701
00:34:55,480 --> 00:34:58,400
Speaker 1: had to learn this ability to be able to connect

702
00:34:58,400 --> 00:35:00,799
Speaker 1: with people right away. So it's actually I used to

703
00:35:00,880 --> 00:35:03,319
Speaker 1: hate it. I used to hate the fact that I

704
00:35:03,360 --> 00:35:06,480
Speaker 1: didn't have all of these like friends from my childhood

705
00:35:06,520 --> 00:35:09,120
Speaker 1: that I kept in touch with every two years or

706
00:35:09,400 --> 00:35:11,759
Speaker 1: every year or two years we'd be hopping around. But

707
00:35:11,880 --> 00:35:14,720
Speaker 1: actually serves me right, you know, in the movie business

708
00:35:14,800 --> 00:35:17,680
Speaker 1: because as an actor, because I'm able to connect with

709
00:35:17,719 --> 00:35:20,520
Speaker 1: people right away, and it doesn't like I don't go

710
00:35:20,560 --> 00:35:23,840
Speaker 1: through this long grieving process when I don't see them again,

711
00:35:24,200 --> 00:35:27,480
Speaker 1: you know. And that's why like fast is like, you know,

712
00:35:27,640 --> 00:35:30,680
Speaker 1: one of the minority jobs. Because we do see each other,

713
00:35:31,120 --> 00:35:34,120
Speaker 1: it's like a big family reunion and people make fun

714
00:35:34,160 --> 00:35:37,000
Speaker 1: of us all the time about oh, they keep saying family,

715
00:35:37,200 --> 00:35:41,000
Speaker 1: keep saying family. But as I get older, I do

716
00:35:41,160 --> 00:35:44,799
Speaker 1: appreciate the fact that when we do see each other, Jordana,

717
00:35:45,560 --> 00:35:49,400
Speaker 1: the cast and crew, it is like a huge dysfunctional

718
00:35:49,480 --> 00:35:51,000
Speaker 1: family to get together.

719
00:35:51,239 --> 00:35:51,480
Speaker 3: You know.

720
00:35:51,600 --> 00:35:55,520
Speaker 1: And I think that's the secret to the franchise. What

721
00:35:55,560 --> 00:35:57,440
Speaker 1: do you think, since you've been there from the beginning,

722
00:35:57,880 --> 00:36:00,799
Speaker 1: why do you think this franchise is able to live

723
00:36:00,840 --> 00:36:03,400
Speaker 1: so long and so many people around the world have

724
00:36:03,480 --> 00:36:04,799
Speaker 1: been able to connect with it.

725
00:36:04,920 --> 00:36:08,600
Speaker 3: I love that when people recognize me, they call me Mia, right,

726
00:36:08,640 --> 00:36:11,080
Speaker 3: they don't call me Jordana, and they feel like they're

727
00:36:11,160 --> 00:36:13,880
Speaker 3: part of the family, and we've got like a secret code.

728
00:36:13,920 --> 00:36:17,880
Speaker 3: And I love that inclusivity that the franchise has. I

729
00:36:17,880 --> 00:36:21,880
Speaker 3: mean that the first one was small and was special

730
00:36:22,080 --> 00:36:25,239
Speaker 3: and did speak to this subculture. But as we grew,

731
00:36:25,360 --> 00:36:28,200
Speaker 3: I think we did a beautiful job of keeping what

732
00:36:28,280 --> 00:36:32,680
Speaker 3: the seed was while we kept expanding and evolving. And

733
00:36:32,760 --> 00:36:35,239
Speaker 3: it is beautiful that in real life, like the I mean,

734
00:36:35,280 --> 00:36:37,239
Speaker 3: the text chains we have and the way we check

735
00:36:37,280 --> 00:36:39,759
Speaker 3: in on each other and the way we show up

736
00:36:39,840 --> 00:36:43,840
Speaker 3: for one another, I think that does reflect what happens

737
00:36:43,880 --> 00:36:46,120
Speaker 3: in the film as well. And I think people can

738
00:36:46,160 --> 00:36:47,359
Speaker 3: see that, can sense that.

739
00:36:47,640 --> 00:36:51,560
Speaker 1: Yeah, I agree. Chris Ludacris was saying, I love him

740
00:36:51,560 --> 00:36:53,960
Speaker 1: because I want to. I want to promote the movie

741
00:36:54,600 --> 00:36:56,719
Speaker 1: in like a real way, like I don't want to

742
00:36:56,880 --> 00:37:00,440
Speaker 1: just like you know, traditionally, the studio sends you kind

743
00:37:00,440 --> 00:37:03,520
Speaker 1: of these pre made things or a lot of it

744
00:37:03,560 --> 00:37:06,680
Speaker 1: is like trailer bits, and some of its stuff is

745
00:37:06,960 --> 00:37:10,040
Speaker 1: very scripted, you know, to promote the movie. And then

746
00:37:10,360 --> 00:37:15,480
Speaker 1: Chris was thinking, I've never seen a big franchise or

747
00:37:15,520 --> 00:37:18,959
Speaker 1: like these superhero movies actually you know, post things where

748
00:37:18,960 --> 00:37:22,480
Speaker 1: the cast is just hanging out and just very open

749
00:37:22,680 --> 00:37:26,120
Speaker 1: and transparent or none of it's scripted, right, and it's

750
00:37:26,239 --> 00:37:29,680
Speaker 1: very organic. So he found this information about before I

751
00:37:29,920 --> 00:37:31,880
Speaker 1: thought I was going to be an actor, I always

752
00:37:31,920 --> 00:37:32,840
Speaker 1: wanted to be a mime.

753
00:37:33,480 --> 00:37:33,840
Speaker 2: Really.

754
00:37:33,920 --> 00:37:37,200
Speaker 1: Yeah, that's what got me into this idea of entertaining.

755
00:37:37,200 --> 00:37:39,239
Speaker 1: When I was a kid, my parents take me to

756
00:37:39,280 --> 00:37:41,359
Speaker 1: San Francisco and you know, at the pier, they used

757
00:37:41,400 --> 00:37:44,640
Speaker 1: to have these street performers, right, and this mime was

758
00:37:44,680 --> 00:37:47,920
Speaker 1: there with the full makeup and everything, right like Marceau

759
00:37:48,040 --> 00:37:51,280
Speaker 1: Marceau almost like that, And in like the five minutes

760
00:37:51,320 --> 00:37:54,080
Speaker 1: he was performing on the side of the street. He

761
00:37:54,160 --> 00:37:58,080
Speaker 1: made me laugh, he made me cry, he taught me something,

762
00:37:58,400 --> 00:38:01,720
Speaker 1: and there was a crowd of people just gathering without

763
00:38:01,760 --> 00:38:05,680
Speaker 1: any words. He was able to move emotion right, and

764
00:38:05,719 --> 00:38:08,279
Speaker 1: I was like, that's a superpower that I would love

765
00:38:08,320 --> 00:38:08,680
Speaker 1: to have.

766
00:38:08,880 --> 00:38:09,760
Speaker 3: That's so cool.

767
00:38:09,920 --> 00:38:14,319
Speaker 1: But I mean, being actors hard, but making a living

768
00:38:14,360 --> 00:38:17,400
Speaker 1: off of a mime is probably even harder. Yeah, yeah,

769
00:38:17,440 --> 00:38:19,080
Speaker 1: and then you know telling people, yeah, I would like

770
00:38:19,120 --> 00:38:20,640
Speaker 1: to be a mime, and there's you know, I think

771
00:38:20,680 --> 00:38:22,160
Speaker 1: there was like a school in France.

772
00:38:22,719 --> 00:38:24,440
Speaker 3: So powerful in what you just said, because I do

773
00:38:24,560 --> 00:38:30,120
Speaker 3: think that you do so much through very small like

774
00:38:30,200 --> 00:38:32,879
Speaker 3: I can see the seed of that in what you do.

775
00:38:33,560 --> 00:38:36,719
Speaker 3: That's so interesting. I love that he posted that, though.

776
00:38:37,000 --> 00:38:38,759
Speaker 3: What did you not like about him posting that?

777
00:38:38,840 --> 00:38:41,840
Speaker 1: Well, because I look like a clown and that because

778
00:38:41,840 --> 00:38:43,440
Speaker 1: he's like, he goes, I heard you want to be

779
00:38:43,480 --> 00:38:45,920
Speaker 1: a mime. He goes, how about we do you mind this?

780
00:38:46,640 --> 00:38:49,520
Speaker 3: But I think that's what he probably wants to show everyone.

781
00:38:49,760 --> 00:38:53,280
Speaker 1: I do agree with him, and that's what makes Chris

782
00:38:53,320 --> 00:38:54,680
Speaker 1: like awesome human being.

783
00:38:54,800 --> 00:38:55,000
Speaker 2: You know.

784
00:38:55,120 --> 00:38:58,120
Speaker 1: Yeah, it's kind of cool because his whole messaging is like,

785
00:38:58,280 --> 00:39:02,160
Speaker 1: let the fancy who were really are like lilitivebits of that, right.

786
00:39:02,320 --> 00:39:03,440
Speaker 1: I think it was a great idea.

787
00:39:03,640 --> 00:39:05,439
Speaker 3: I also have to say about Chris, like he sat

788
00:39:05,520 --> 00:39:07,920
Speaker 3: down with me and my husband Mason because we were

789
00:39:07,960 --> 00:39:10,440
Speaker 3: really interested in Karma's World and how he did it

790
00:39:10,480 --> 00:39:12,400
Speaker 3: and how he accomplished that, And I had no idea

791
00:39:12,480 --> 00:39:15,200
Speaker 3: that it, like there were so many different iterations of

792
00:39:15,200 --> 00:39:17,279
Speaker 3: that show and it took him ten years. And like

793
00:39:17,400 --> 00:39:22,440
Speaker 3: he is to your point, he's so smart and strategic

794
00:39:22,560 --> 00:39:24,360
Speaker 3: but also like so generous.

795
00:39:24,560 --> 00:39:28,440
Speaker 1: And Karma's World is a animation that he and his

796
00:39:28,880 --> 00:39:32,279
Speaker 1: daughter created together. Karma is his daughter, So it's like

797
00:39:32,320 --> 00:39:37,839
Speaker 1: a kid's oriented show about empowering especially girls of color, right,

798
00:39:37,840 --> 00:39:41,120
Speaker 1: because you know those shows are not prevalent on the air.

799
00:39:41,360 --> 00:39:44,680
Speaker 1: So that's Karma's world. And then they have toys and

800
00:39:45,120 --> 00:39:47,000
Speaker 1: it's like, you know, he thinks like a mogul.

801
00:39:47,320 --> 00:39:50,760
Speaker 3: Yeah, And something a little more personal. At my wedding,

802
00:39:51,239 --> 00:39:53,560
Speaker 3: part of my wedding was like saying vows to our

803
00:39:53,640 --> 00:39:55,719
Speaker 3: children because Mason and I were both coming to our

804
00:39:55,719 --> 00:39:59,520
Speaker 3: marriage with kids already from previous marriages, and there was

805
00:39:59,560 --> 00:40:02,719
Speaker 3: one g who had a similar experience and during the

806
00:40:02,800 --> 00:40:06,280
Speaker 3: vow she was like sobbing like beside herself, and before

807
00:40:06,320 --> 00:40:09,279
Speaker 3: she knew it, Chris, who didn't know her, came up

808
00:40:09,320 --> 00:40:11,279
Speaker 3: to her and he goes, I need to understand what's

809
00:40:11,320 --> 00:40:13,640
Speaker 3: happening right now, like tell me, and she did and

810
00:40:13,680 --> 00:40:15,279
Speaker 3: he's like, I knew it. I knew it, and he

811
00:40:15,440 --> 00:40:18,799
Speaker 3: just like helped her through that. And when I heard that,

812
00:40:18,840 --> 00:40:21,200
Speaker 3: I was like, Oh, that's him. That was very cool.

813
00:40:21,360 --> 00:40:22,880
Speaker 3: Mmmm that's weird. Yeah.

814
00:40:22,920 --> 00:40:23,080
Speaker 2: You know.

815
00:40:23,280 --> 00:40:27,279
Speaker 1: Something also that really strikes me, Jordana, with you, like

816
00:40:27,640 --> 00:40:30,040
Speaker 1: getting to know you over these years, is that you

817
00:40:30,120 --> 00:40:34,080
Speaker 1: have like a really deep friendship with your mother and

818
00:40:34,120 --> 00:40:36,800
Speaker 1: your sister, like your family and your dad, Like wherever

819
00:40:36,840 --> 00:40:38,080
Speaker 1: you are, the family's there.

820
00:40:38,520 --> 00:40:40,560
Speaker 3: Well, I think that's something that we don't talk about

821
00:40:40,560 --> 00:40:43,880
Speaker 3: when we talk about the Fast family. Yeah, yeah, we're family.

822
00:40:43,920 --> 00:40:47,160
Speaker 3: But within family there's also dysfunction. There's also fighting. There's

823
00:40:47,200 --> 00:40:49,920
Speaker 3: also like crazy stuff that happened. And the same thing

824
00:40:49,960 --> 00:40:52,520
Speaker 3: with my family. We all live like super close to

825
00:40:52,560 --> 00:40:55,239
Speaker 3: each other. We are all in each other's business for

826
00:40:55,360 --> 00:40:57,920
Speaker 3: better or worse. And that's the thing about families, like

827
00:40:57,960 --> 00:41:01,960
Speaker 3: you can tear each other apart one minute, but unconditional love.

828
00:41:02,080 --> 00:41:04,759
Speaker 1: It's something that through you. I've been trying to fix

829
00:41:04,960 --> 00:41:07,320
Speaker 1: in my own personal life because I have a horrible

830
00:41:07,400 --> 00:41:10,960
Speaker 1: relationship with my parents. Right, maybe because I'm a guy,

831
00:41:11,080 --> 00:41:13,480
Speaker 1: it's a little easier for me not to talk to

832
00:41:13,520 --> 00:41:16,000
Speaker 1: my mother. But it's something like anytime I see you

833
00:41:16,040 --> 00:41:18,080
Speaker 1: and your mother, Oh god, I need to be a

834
00:41:18,080 --> 00:41:18,600
Speaker 1: better son.

835
00:41:18,760 --> 00:41:21,680
Speaker 3: Oh it's really hard saying that. It's hard, but you

836
00:41:21,680 --> 00:41:24,719
Speaker 3: know what I had to learn. I had to learn

837
00:41:25,000 --> 00:41:28,200
Speaker 3: that I don't have to talk about everything. Like within

838
00:41:28,239 --> 00:41:33,120
Speaker 3: every relationship there's certain topics or hot buttons or stuff

839
00:41:33,360 --> 00:41:35,960
Speaker 3: you just shouldn't get into because it gets too messy. Right,

840
00:41:36,360 --> 00:41:38,840
Speaker 3: especially as you guys everyone gets older, it's like, just

841
00:41:38,960 --> 00:41:41,520
Speaker 3: keep it light, Like, stop trying to change each other.

842
00:41:41,920 --> 00:41:43,839
Speaker 3: That's not going to work. Let's just like love each

843
00:41:43,840 --> 00:41:46,719
Speaker 3: other and keep it light. That's been that's been a

844
00:41:46,800 --> 00:41:47,719
Speaker 3: game changer for me.

845
00:41:47,920 --> 00:41:49,160
Speaker 1: That's actually great advice.

846
00:41:49,400 --> 00:41:51,480
Speaker 3: I think we're in a society now where we feel

847
00:41:51,480 --> 00:41:55,320
Speaker 3: like we have to like overshare and you share different

848
00:41:55,320 --> 00:41:57,960
Speaker 3: things with different people at different times, you know.

849
00:41:58,200 --> 00:42:03,680
Speaker 1: So with my mother, I would say, nothing's man, because

850
00:42:03,680 --> 00:42:07,960
Speaker 1: she's she's drama man. She makes drama out of pancakes

851
00:42:07,960 --> 00:42:09,600
Speaker 1: in the morning, you know what I mean. Like, I mean,

852
00:42:09,840 --> 00:42:13,480
Speaker 1: it's just I'm trying to figure her out, like how,

853
00:42:13,680 --> 00:42:16,399
Speaker 1: And as I get older, I go, stop looking at

854
00:42:16,440 --> 00:42:20,880
Speaker 1: her as your mother and having motherly expectations, right, and

855
00:42:20,920 --> 00:42:22,840
Speaker 1: see her as just like if you were to be

856
00:42:22,920 --> 00:42:26,120
Speaker 1: her friend, right, And then I go, I probably wouldn't

857
00:42:26,160 --> 00:42:28,080
Speaker 1: be her friend, like would I don't have friends like

858
00:42:28,120 --> 00:42:29,879
Speaker 1: that in my life. And then I go, I kind

859
00:42:29,880 --> 00:42:31,400
Speaker 1: of have to be like her dad.

860
00:42:31,640 --> 00:42:33,360
Speaker 2: I kind of like that with my mom, where I

861
00:42:33,360 --> 00:42:35,440
Speaker 2: feel like I'm the mom to my mom. Yeah, but

862
00:42:35,480 --> 00:42:37,680
Speaker 2: she's also been through so much and I've seen so

863
00:42:37,760 --> 00:42:40,279
Speaker 2: much of it that I feel bad and I want

864
00:42:40,280 --> 00:42:42,120
Speaker 2: to just be there for her and things don't get

865
00:42:42,160 --> 00:42:44,520
Speaker 2: too deep because at a certain point it's like you

866
00:42:44,640 --> 00:42:47,239
Speaker 2: have to not care so much what other people do.

867
00:42:47,280 --> 00:42:49,640
Speaker 2: You just have to be there for them and not

868
00:42:49,760 --> 00:42:51,920
Speaker 2: take it personally, which is hard to do.

869
00:42:52,120 --> 00:42:54,439
Speaker 1: It's very hard to do, especially when it's your mother.

870
00:42:54,640 --> 00:42:56,960
Speaker 3: Yeah, I mean as a mom. Once I became a mom,

871
00:42:57,040 --> 00:42:59,680
Speaker 3: because my relationship with my mom was so powerful, I

872
00:42:59,680 --> 00:43:01,759
Speaker 3: thought that, like every little thing I did would have

873
00:43:01,880 --> 00:43:06,400
Speaker 3: this massive impact on my son's And so Freud's daughter

874
00:43:06,640 --> 00:43:08,840
Speaker 3: was also She wrote a bunch of books and I

875
00:43:08,840 --> 00:43:11,960
Speaker 3: think she sort of contradicted some of the stuff he said,

876
00:43:12,360 --> 00:43:16,120
Speaker 3: which is interesting. But I feel like Freud had this

877
00:43:16,200 --> 00:43:18,160
Speaker 3: template of like, the mom is the one who fucks

878
00:43:18,200 --> 00:43:21,720
Speaker 3: everything up and destroys everything. And I think we blame

879
00:43:21,760 --> 00:43:24,840
Speaker 3: the mom a lot, and I certainly did. And I

880
00:43:24,880 --> 00:43:27,719
Speaker 3: also put so much responsibility and stress on myself as

881
00:43:27,719 --> 00:43:29,480
Speaker 3: a mom, thinking like, oh my god, everything I do

882
00:43:29,560 --> 00:43:32,440
Speaker 3: is going to have this massive impact on my son's

883
00:43:32,960 --> 00:43:35,840
Speaker 3: and it's paralyzing, right because then you don't want to do, like,

884
00:43:35,880 --> 00:43:38,640
Speaker 3: you don't want to make any decision. So yeah, it's

885
00:43:38,680 --> 00:43:39,600
Speaker 3: a lot to unpack.

886
00:43:40,040 --> 00:43:42,399
Speaker 2: How did the relationship with your mom change after having

887
00:43:42,480 --> 00:43:43,120
Speaker 2: kids of your own?

888
00:43:43,360 --> 00:43:46,719
Speaker 3: I got much better with boundaries. So my mom she

889
00:43:46,800 --> 00:43:50,680
Speaker 3: would parent her grandkids as if like no bedtime, watch

890
00:43:50,719 --> 00:43:53,480
Speaker 3: as much TV as you want. And I had to

891
00:43:53,520 --> 00:43:56,719
Speaker 3: step in and go, dude, like you got to sort

892
00:43:56,719 --> 00:43:58,640
Speaker 3: of follow my rules to a certain extent or you're

893
00:43:58,640 --> 00:44:00,239
Speaker 3: like you're just not going to see the grand kids

894
00:44:00,239 --> 00:44:02,279
Speaker 3: as I had to get really tough, whereas before I

895
00:44:02,320 --> 00:44:05,360
Speaker 3: would really have I set boundaries that I wouldn't have

896
00:44:05,400 --> 00:44:07,000
Speaker 3: set for myself. Does that make sense.

897
00:44:06,880 --> 00:44:09,319
Speaker 2: Because she's tough on you guys in the same way.

898
00:44:09,360 --> 00:44:10,960
Speaker 2: And then when she had the grandkids, because I feel

899
00:44:10,960 --> 00:44:13,040
Speaker 2: like that's a common thing and the grandparents. She felt

900
00:44:13,080 --> 00:44:15,799
Speaker 2: like tough, eat the ice cream, sleep whenever you want.

901
00:44:15,920 --> 00:44:18,560
Speaker 3: She was tough, and that's something I try not to do,

902
00:44:18,800 --> 00:44:22,000
Speaker 3: is I try to whether or not my son does

903
00:44:22,000 --> 00:44:25,040
Speaker 3: well at school or well at a game, or like,

904
00:44:25,080 --> 00:44:28,080
Speaker 3: it's not a reflection of me. And I felt a

905
00:44:28,120 --> 00:44:32,600
Speaker 3: lot of responsibility and it's probably my own stuff of like, oh,

906
00:44:32,760 --> 00:44:35,080
Speaker 3: you know, my appearance, because she was a model and

907
00:44:35,120 --> 00:44:38,360
Speaker 3: she's stunning and she has her stuff together, and like

908
00:44:38,440 --> 00:44:41,160
Speaker 3: I was constantly a reflection of hers. Is how I

909
00:44:41,280 --> 00:44:43,600
Speaker 3: was made to feel. And I don't want my kids

910
00:44:43,640 --> 00:44:47,440
Speaker 3: having that burden. I really want them to feel empowered

911
00:44:47,480 --> 00:44:50,200
Speaker 3: and feel like they're blazing their own path. And that's

912
00:44:50,200 --> 00:44:52,919
Speaker 3: a very difficult thing to do because there's so many

913
00:44:52,960 --> 00:44:56,319
Speaker 3: obstacles with parenthood. You just feel like God, if they

914
00:44:56,320 --> 00:44:58,960
Speaker 3: come out alive, that's you've done a good job.

915
00:44:59,000 --> 00:45:01,719
Speaker 1: Were doing a great job. Thank you, the happiest kids

916
00:45:01,719 --> 00:45:05,400
Speaker 1: you'll ever meet. Well, we could talk to you all day, Jordana.

917
00:45:05,440 --> 00:45:08,719
Speaker 1: I think your words are so valuable for any aspiring

918
00:45:09,000 --> 00:45:12,360
Speaker 1: actor out there. Thanks for sharing your journey and sharing

919
00:45:12,400 --> 00:45:13,680
Speaker 1: your personal life with us.

920
00:45:13,680 --> 00:45:14,200
Speaker 3: Super fun.

921
00:45:14,440 --> 00:45:15,879
Speaker 1: Thank you, Thank you so much,