00:00When I got my first, you know, I was telling you about it yesterday, when I, my first Broadway show, there was a poster shop on 16th Street that had a big, beautiful old poster of Contempt, Bardot, it was a big, beautiful watercolor of Bridget Bardot, and I loved that poster, I loved that movie, and I was like, I'm buying a movie poster, and I hung it in my kitchen.
00:24It's still there. It's still there, yeah, yeah, but I, yeah, and I got it cheap because they'd, they'd framed it wrong, it was kind of crooked, and so the guy gave me a deal, and I was like, I'm getting this, it was expensive, you know, from, yeah, it's really expensive, but I'd walked by it for a couple years, and I was like, I want that poster, and I got it.
00:42That's really cool. That's classy.
00:42That's classy.
01:12I mean, it wasn't just me, it was developing the material, you know, developing into what is, is this a movie, could it be a movie, right?
01:20Right, yeah, it was kind of a long, just a lot of writing about Loren's heart, which we loved. Everything in the movie was kind of there. I grew up in Texas, I never went to a lot of live performances, but my mom loved musicals, so it was just listening to Rodgers and Hammerstein soundtracks in my living room my entire youth, so.
01:41My mother was the same way.
01:43Really?
01:43Yeah, Oklahoma, South Pacific, Carousel, you know.
01:49The music.
01:50Yeah, yeah, just, just the LPs.
01:53Yeah.
01:54She'd just play them and sing and sing her heart out.
01:57The Sound of Music was my sexual awakening.
02:00I was just in love, that girl sings, you know, I'm 16, oh my gosh.
02:05Oh, yeah.
02:06Oh my gosh, I just loved her.
02:08I loved it.
02:08Liesl.
02:09I was in love with Julie Andrews.
02:10Yeah.
02:11Christopher Plummer always called that movie S&M.
02:13He does?
02:14I'm not really into S&M.
02:17Sorry, it's going to be your epithet.
02:19You know, when I got into Lorenz Hart in my 20s, and, you know, Rodgers and Hart, kind
02:25of through this Ella Fitzgerald album, you know, the songbooks, it took me a while to
02:29realize it was the same Rodgers that I'd grown up with, with Hammerstein, that there was this
02:33earlier period with Lorenz Hart lyrics.
02:37I couldn't believe it was the same guy.
02:39And I was like, wow, what a career.
02:41It's two legendary careers.
02:43Two distinct careers.
02:44There's my, he's really stunning.
02:46I think he's one of the greatest composers of the 20th century.
02:50What felt most different for you three about making this movie compared to other productions?
02:56Well, it's a film about the theater in some ways.
03:01And so, yeah, it was really exciting to, sometimes the obstacle of not having a huge amount of time
03:07can be, make it really exciting and dynamic.
03:09And we just thought to, Ethan and I had to establish this feeling of a long, complex relationship.
03:17Friendship in movies is something that I think is really captivating to watch.
03:22Yeah, it's kind of a full circle moment for me, because Ethan and I really got to know each other
03:26making a play.
03:27What play was it?
03:28Hurley Burley.
03:29Oh, was it?
03:30Yeah, yeah.
03:31And, you know, it was a really unique moment in our lives that we've shared.
03:34And that's how I met Rick.
03:37I met Rick because he came to see the play a couple of times.
03:41And so here we are now making a play about the theater and theater people.
03:47And, you know, very few directors like to rehearse.
03:50And it's hard for them to get actors to come and rehearse.
03:53It's hard for, there aren't many directors who do like to rehearse.
03:56And so there was that process, you know, coming to Dublin early and rehearsing the scenes.
04:01And it felt just really special in that way.
04:05And I think for me, what's different about it is kind of the evolution of my experience
04:10acting for Rick.
04:11You know, it's just, we were taking something, a kind of style and a kind of thought methodology,
04:18and we're pushing it even further than we'd ever done before.
04:22Something I loved about the movie was just like thinking about what it would be like to
04:25be in that time, go to Sardi's afterwards, be, you know, hobnobbing.
04:30That doesn't, people don't really do that anymore.
04:32Or do they?
04:33Yeah.
04:33I think so, yeah.
04:34At that premiere, isn't it?
04:36Yeah, after premiere.
04:38We still have opening night parties at Sardi's.
04:42And, yeah, that whole world of, you know, having people backstage and...
04:49I had just been to an opening night at Sardi's.
04:52My daughter, Maya, had an opening of Wes Anderson's film that was at Sardi's.
04:56Oh, was it really?
04:57And, you know, he's so interested in the period that I almost felt like I was going back in
05:01time at that opening.
05:02So it, for real, still happens.
05:04Yeah, we go, you know, we're still at the theater haunts.
05:07We went there, we went there for a drink before we flew to Ireland.
05:10Did you really?
05:10Yeah, yeah.
05:11Did you really?
05:17Yeah.
05:17Did you really?
05:18I was, I was, I was, I was, I was, I was, I was, I was, I was, I was, I was, I was,
05:20I was, I was, I was, I was, I was, I was, I was, I was, I was, I was, I was, I was,
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