00:00I know this one, but I don't.
00:03Are these the curveballs?
00:04I never said this.
00:08But I sliced his throat.
00:16Okay.
00:18All right.
00:21The dress is for sale.
00:22I'm not.
00:24Indecent proposal.
00:25Okay, that one was easy.
00:28The dress is for sale.
00:29I'm not.
00:31I think I've always been attracted to things that are thought-provoking.
00:36So provocative, but in a way that really brings forward kind of a deeper exploration
00:42of the question of the circumstance or whatever might be considered a limitation or a judgment.
00:50And so this hit on quite a few cylinders,
00:54like that question of our value as a person having a price.
00:59And also the question of physical intimacy being a betrayal in a relationship and the effects of it.
01:08Okay.
01:10Oh, wow.
01:11Why be an angel when I can play God?
01:16Why be an angel when I can play God?
01:18I never said this.
01:20Was it we're no angels?
01:22No.
01:22What is it?
01:23Literally, why be an angel when I can play God?
01:26Do I need to dig deep into my archives here?
01:29Okay, so Charlie's Angels.
01:32Why be an angel when I can play God?
01:35I really said that?
01:36Why be an angel when I can play God?
01:38McG, the director, called me and said,
01:43hey, how would you feel about doing a scene in a bikini and starting two weeks early?
01:52So there was no time to think or prepare.
01:56And maybe that was a good thing.
01:58I didn't overthink it.
02:03Sometimes some of the juiciest roles are the villains.
02:06It wasn't something that I had really explored before.
02:10And I had to really look at that part of me that
02:15had fear around being seen in that way in my personal life.
02:20It was, once again, something that really pushed me out of my comfort zone.
02:24And in the end, I feel like I had a lot of fun with it.
02:28But it was not comfortable at all for me.
02:32All right.
02:34I was wondering if this one was gonna be in there.
02:37Okay, Suck My Dick.
02:40That indeed is G.I. Jane.
02:44Suck my dick!
02:45A classic line.
02:48When my then four-and-a-half-year-old saw it,
02:52I had kind of forgotten about the line.
02:54And when she saw the film, she's now 30.
02:58But at that time, she was four-and-a-half when we were watching the film.
03:02And she said, oh, my favorite line was suck my dick.
03:07Anyway, we did a two-week modified SEAL training.
03:10And it was me and 40 guys.
03:12And it was hardcore.
03:14They never called me by my real name, always by the character name.
03:18They did a lot of sneaky things to really bring the reality of what the experience was.
03:25I mean, they set me up to be a little late,
03:27then called me up in front of everybody.
03:29That's why you do it.
03:31Next one.
03:32Okay.
03:34Oh, gosh.
03:35Well, ditto.
03:36We know that one is pretty easy.
03:39That one is, dare I say, it has an iconic resonance from Ghost.
03:48I've always loved you.
03:50Ditto.
03:52You know, the beautiful thing is that this film stepped into the world of the afterlife
03:58and really bringing forward the awareness that a lot of people hadn't explored for themselves
04:07that it doesn't end when the physical body has come to completion.
04:12That in fact, those people that we might lose are still with us.
04:17And so for me, the really meaningful part is having people come up who they still do,
04:24saying how much it helped them through a loss,
04:26how much it gave them a sense of hope and connection.
04:31And that I feel like is the greatest gift we could have ever given.
04:35This film on paper reminded me in some ways of the substance, not in terms of the story,
04:42but on paper, it looked like this could either really be amazing or it could be an absolute
04:47disaster.
04:48In the substance, there's a tremendous amount of vulnerability and rawness that's required.
04:53And so sometimes I think it's being uncomfortable that serves to make you comfortable.
05:02All right.
05:05Pumpkin, have you ever seen me dance?
05:09So this is striptease.
05:11Yeah?
05:12Yes.
05:14Pumpkin, have you ever seen me dance?
05:16Rumor was seven when we did the movie.
05:19And when she heard me on the phone discussing this project that I was going to be doing
05:24and that I was playing a mother who had, you know, a seven-year-old daughter,
05:29she approached us and said, I really want to do that.
05:33And so I went through the whole process of her auditioning, which was so nerve wracking
05:41because I didn't want them to just think because I was playing the lead that they needed
05:46to give it to her that we should do it appropriately.
05:49It was great to have her there.
05:51She never wanted to have lunch with me.
05:52She only wanted to ever have lunch with Pandora.
05:56That was her lunch mate.
05:59Okay.
05:59Oops, I didn't throw that one very well.
06:02Okay.
06:04You want to put me on trial here?
06:07Let's at least be honest about what it's for.
06:10I'm a sexually aggressive woman.
06:12I like it.
06:14This must be disclosure.
06:17Ding!
06:19Okay, I did better.
06:20I'm doing better than I thought.
06:21Are there more?
06:22Holy smokes.
06:23You want to put me on trial here?
06:24Let's at least be honest about what it's for.
06:27I am a sexually aggressive woman.
06:28I like it.
06:29On this film, I stepped in having just had a baby, starting this movie when my youngest
06:36daughter was a month old because Annette Bening, who I am a great fan of, had become pregnant
06:43and was unable to do the film.
06:45And so I was really juggling a lot.
06:48And talk about uncomfortable.
06:50Like this is a film I feel like I could do now and do much better.
06:56I thought I was terrified.
06:58I was terrified doing this movie.
07:01I guess this was my first villain role in a way.
07:04So I was terrified.
07:09I wonder if existence as a woman is worthwhile at all.
07:14What?
07:17I wonder if existence as a woman is...
07:20Did I?
07:20Where did I say this?
07:23I wonder if existence...
07:26Okay, is this about last night?
07:28No.
07:28What?
07:30Do I need...
07:30How do...
07:31I literally have no idea.
07:35I wonder if existence as a woman is worthwhile at all.
07:40Could it...
07:40So if I'm going further back than that, St. Elmo's Fire?
07:44No.
07:44I literally don't have a clue.
07:48I almost said, is this from the substance?
07:51If you really think about it, it actually could have fit in there as well.
07:57I wonder if existence as a woman is worthwhile at all.
08:01The costumes were spectacular.
08:04That's the wonderful thing.
08:05Wardrobe can completely transport you.
08:09And not just for period films, but even in contemporary.
08:15Because as soon as you put that on, it helps you to create the body.
08:20I, you know, I felt that way in Feud also.
08:23Like where, you know, we put the wig on and the clothes.
08:26But this was very special.
08:30Okay.
08:32You've got to learn to control your temper.
08:34It's not good how you fly off the handle.
08:42Are these the curveballs?
08:44You've got to learn to control your temper.
08:46Let me meditate on this.
08:51It's not A Few Good Men, is it?
08:53No.
08:54I don't, I seriously, gosh, is that bad?
08:58Am I doing, am I doing okay in comparison?
09:01I got, I have no, I literally have no idea.
09:03Oh, is it Mortal Thoughts?
09:06Oh, okay.
09:08You know, you've got to learn to control your temper.
09:10It's not good how you fly off the handle.
09:12Whoa, whoa, whoa.
09:13Ain't like I just fly off the handle for no good reason.
09:16It was so interesting because obviously we weren't playing a married couple
09:21and his character was so scary.
09:24He was a jerk in that movie.
09:26God, he was a jerk.
09:28But I sliced his throat.
09:33I'm sorry I lost your set of steak knives.
09:36Okay, I know this one.
09:38Is this about last night?
09:39No.
09:39I'm sorry I lost your set of steak knives.
09:41I know this one.
09:44But I don't.
09:46I've lost your set of steak knives.
09:50Oh, A Few Good Men.
09:52Yeah.
09:55I'm sorry I lost your set of steak knives.
09:59If you go back and you look at how many actors are in this film,
10:04actors who went on to have big careers,
10:07what stands out is the incredible material we were working with.
10:11Also that Aaron Sorkin and Rob Reiner really stuck to their guns
10:16about not making the relationship between Tom's character and my character
10:22have a romantic involvement.
10:23That they kept it platonic and it was a fight.
10:27Aaron Sorkin shared that he had a conversation with a studio executive
10:33whose response to us not having something romantic was,
10:37then why was I cast?
10:39That's a true story.
10:40You can go look it up.
10:41Aaron Sorkin quote.
10:43Here we go.
10:44You break my heart.
10:46Then again, you break everyone's heart.
10:49Okay, I know this one too.
10:55And I remember myself, what was the movie?
10:59You break my heart.
11:00Then again, you break everyone's heart.
11:05It's terrible that I can feel it,
11:07remember it, but not know which one it is.
11:10Is this St. Elmo's?
11:12Yeah, okay.
11:14You break my heart.
11:20Then again, you break everyone's heart.
11:22The Brad Pack was a moniker that seemed to be surrounded
11:28a particular group of young actors at that time,
11:31of which, and Anne came out of St. Elmo's fire.
11:36In particular, although it then stretched over to include Molly Ringwald and a few others.
11:44And I highly encourage everyone to go and watch the documentary.
11:47Brad, it's really good.
11:49It explains everything.
11:50The advice I would give my younger self is rejoice in making mistakes.
12:00That it's okay to make mistakes.
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