SmartLess - "Greta Gerwig"
Episode Date: July 31, 2023Greta Gerwig joins us from atop a Fire Station on this scorching summer morn. We chat in-depth about the importance of le cinéma: ‘un-fussy filmmaking,’ Hitchcock, even the genesis of th...e word “movie” itself. So grab your taffy and have a laughy; it’s SmartLess.This episode was recorded on June 20, 2023.Please support us by supporting our sponsors.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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Okay guys, we're gonna do this next podcast from our pool.
So, do you have your towels and your sunblock?
And I got the floaties.
I got the sun.
You're supposed to be wearing no trunks?
Yeah, no, I don't want any tan lines.
I don't want anything.
Okay, man, well this is not.
Well, why are you wearing a two piece?
Because I want to cover my meats and cheeses.
That's why.
Ooh, this is gonna make a big splash.
This is wonderful, Sean.
Thank you.
Come smartless everyone.
Smart.
Smart.
Smart.
Smart.
Smart.
Smart.
Smart.
Smart.
Hey gang.
Hey gang guys.
Will, why do you have green screen behind you?
Are we doing an animation episode today?
Yeah, we're gonna do a full,
because I just wanted people to feel free
to do whatever they want behind me.
Oh, that's been happening for years.
So we can put in like, we are, why is that there?
I gotta do a junket this afternoon.
Will you put like a background behind you, like a image?
Yeah.
What would that image be?
Uh, it's of an ice cream truck.
Oh, so it's a drama.
I have the same one.
It's a, it's a like a four quarter prestige film.
It's the Shawnee story.
And that's what you have the jacket about.
The history of ice cream.
There's a liquid joke in there somewhere?
No.
But no, no, it's for twisted metal.
So there's the big guys, you know,
sweet tooth is my character.
Oh, yeah.
That's your new nickname. Sweet tooth.
Now, do they send you the green?
Or do they ask you to go to a hobby shop
and get a nice, nice big...
They sent me the green in this light
that use this big bright light that you see.
Don't make like you don't know what a ring light is.
And they could saw, they're all over your house.
Never had one.
That's not true.
I had one before, but I haven't used one since pandemic.
Speaking of pandemic, Sean, what are you eating?
Cheez-its.
Cheez-its.
But they're white cheddar cheez-its.
They're just my rod.
Oh, they looked white.
Have you had the white cheddar cheez-its?
Is there something else? No, are they good? cheddar cheese? It's is there such thing? I just
don't know asking for you know me asking for a friend if you have them please send them I do want
to just do another shout out to her friends at checks mix slash bugles. What did you guys get
like a big box? Oh my god. I had the Cool Ranch. Was it Cool Ranch Beagles?
They were.
They sent everything.
They sent everything.
Funnians and anything.
You know what, I'm going to stop talking.
Because my instinct right there was like, oh, I never eat that stuff because I had hold
water in my face for five years.
I'm not going to do it anymore because people now are coming up to me after the doc is
I'm going to say, hey, man, so sorry to hear about your food disorder.
You're your food issues.
That's not true. That's not true. Yeah. He's like, hey, man, so sorry to hear about your food disorder, your food issues.
That's not true.
That's not true.
Yeah, and I said, well, you know, a lot of it's true, but comedy kind of lives in the
exaggeration.
And so I'm leaning into it and, you know, kind of playing my role in the whole world.
Yeah, just for the record, we've all seen you eat candy and other stuff.
Yeah, oh my God.
Oh my God.
Oh my God. And shit pig most of the time.
He does. He does.
But when I want it, I have it.
We should.
It should be noted because I'm off.
I'm often at the at the sharp edge of that that point that is puncturing you.
That I have seen you devour more shit than anybody.
I know. So, but I love giving you Sean. I love giving
you because what happens is as you say that there's a larger person inside of you waiting
to get out and so you're trying not to feed the beast as much as you can. As hard as you
can. If you want to step me, you'd find three after school specials of teenagers that wake
up in front of.
I brought it up before.
Do you remember when we were up at Pebble and you had an off week, you got to sort of,
and we would sit down and go, can we, this is my favorite, they go, so as we sat down,
not even the way or somebody to go, hey, can we start your off some ice water?
You go, yeah, and if you got a basket of bread back there,
you'd be like, hey, man.
That's right.
I remember that restaurant.
It was like immediately.
Yeah, and I looked at you like, who are you?
They were still handing out the menus.
Yeah.
Yeah.
You're at LA.
I was way.
LA.
I was at, I went to a restaurant.
We don't have bread in the house.
You know, I got super, super, super,
super stone with rain on my friend Raina.
This is years and years ago, we were in New York.
I was high as a kite and I was starving.
We walked down the street, we walked into a restaurant
and the matriety goes, how many?
And I go, sees her salad.
Not even joking.
I swear to God, I wasn't even joking. I swear to God, I wasn't even joking. And Raina grabs me, I'm like,
what, I go, I just wanted to start off like so before we went sit down, if the scissors
they're waiting. I do like a Caesar salad mix at the table. I think there's something
very, very refined about that. You know, Caesar salad mix at the table. I think there's something very, very refined about that. You know, she's a salad mix at the table, get your salad chopped in the kitchen so they
bring it to your top. That's also a good way.
I do like my dressing on the side. That doesn't give me food issues. Does it? I just think
that people over dress salads. Yeah, I do. I want, you know, it's too soggy. And it should
be noted that in a town, and by town in the NLA, in a town where a lot
of people, when they get burgers or they get stuff, they're like, no, Brad, can I get
that wrapped in lettuce or whatever?
Every time on the off weeks, on Sunday nights, when we do burgers, Jason always gets full
bun.
And he has a bunch of burgers.
I know.
No, I do the single.
I do the single.
Watch it.
I do.
I do burger.
I've seen you do two burgers.
Oh, two burgers, no, but not double patty. No, I do double patty.
I do two burgers.
Well, you have, I do one patty per burger because that's the proper ratio with the bread, right?
That's right.
And that is me.
A fool would have double meat.
It's too much meat.
Tell that to the big Mac.
Well, he's got another piece of bread in there to eat it out.
He does have a piece of bread in there.
Yeah.
It is.
Yeah.
Yeah.
That's a cool, big Mac.
Okay. He's the bread. He knows Yeah, some cool. It's your neck.
Okay.
It's the brain.
He knows what he's doing.
All right.
All right.
So, where do you guys get a load of this guest?
Wait, wait, wait, wait.
Right.
I just wanted to show you guys.
Yeah, Sean, I saw you were playing with...
Look at the...
Wait, but look.
It's all our faces are on this room.
It's the Rubik's Cube.
It's the Rubik's Cube with our faces.
And then...
No.
The world's smartest game for the world's dumbest podcast.
I know. We don't we don't know how this all happened, but we're not going to question it too much.
Here's the deal. Yeah. Right. The smartest toy of all time just got smartlessless guys. So in celebration of the smartless podcast, third year anniversary,
we have partnered with Rubik's Cube to make a limited edition, limited quantity, smartless
Rubik's Cube. Yeah. Yeah. Yeah. Yeah. Yeah. I've always wanted to be one of those people
that can solve it like three seconds. You ever see those guys? Wait, can you do that?
Yeah. Oh, yeah. No, but there No, but there's a way to do it.
I can't, I don't know.
No, they, Jay, they mix it up
and then they solve it in three seconds.
The kid just said a new record last week or something.
He looks at it and goes, yeah, and he goes,
and puts it down.
Yeah, I saw that.
I saw that.
It's fucking, it's amazing.
And by the way, it's a little bit of a cheat though
because you can see our faces.
You just line our faces up.
Or yeah, it still takes some skills.
We're not smart enough to do it.
But listen, if you're smart enough to do it, we want you to try to get smart enough to do it.
Yeah.
Go ahead over there to that merch store, you know, that smart list shop.
And buy one.
Well, don't you can't do it.
Buy it.
Do we need to tell that what it was?
It's a www.shopsmartlist.com. Anyway, Jay, so are we interrupted?
You're interrupted.
Yes, I apologize.
I apologize to our guest.
Hey, guys, I don't know if you, I don't know if you like, if you guys, wait, hang on,
I'm saying it.
It's so wrong.
I'm going to start with a round of applause.
I don't know.
Hey, hey, guys, I don't know. Tight not mystery guests. Here we come. I don't know if Hey, guys, I don't know tight not mystery guest.
Here we come.
I don't know if you guys like folks.
Hey guys, I don't know if you like folks with talent.
People are people who got them it.
Let's just reload.
Here we come.
Here we go.
I don't know if you guys like folks with talent, period, but comma.
That would be a comma.
I don't know why I read these. Why do I write? I should just freestyle it like Willie. Hey guys. Hey guys. I don't know if you guys like folks with talent.
People who are funny.
Smart.
This sounds insincere, but it is sincere, mystery guest.
I don't know if you guys like folks with talent. Comment. People who are funny. Gotta get off the morning gummies.
Charismatic.
I don't take them till after four.
Funny, smart, charismatic, and sparkly.
I do.
So I've invited one to join.
You wrote what I do?
I do.
So I've invited one to join us today.
She's not yet 40, but she's already written nine movies, directed for them, starred in
four of them, gotten three Academy Award nominations for them.
And I'll bet there's more of those coming for her new one.
She was born in Sacramento, but lives in Brooklyn.
She was interested in dance, but was competitive in fencing.
Almost pursued musical theater, but instead got a degree in philosophy from Barnard, Carla
College, despite the destructive and reckless influence of dormate Kate McKinnon.
Please welcome Miss Greta Gerwig.
Greta!
Oh, what?
Oh my God.
Pretty good, right?
That was amazing.
That was amazing.
It was great.
I'm so nervous behind my little cute and big-footer.
I'm nervous.
Oh my God.
Why?
Don't be nervous.
Oh my God.
We're hard-hitting journalists with a lot of research.
Yeah.
Okay.
And we're going to bring the hard hitting question.
You can see we take our craft very seriously.
Get ready.
I'm ready.
Ready, go right, get so nice to meet you.
Yeah, great to meet you.
It's so nice to meet you too and I have to confess.
I have a circle behind me, which I didn't even know existed.
You're allowed to have relationships.
And they sent one to me. They sent one. That's what happened behind me, which I didn't even know existed. You're allowed to have real life. And they sent one to me.
They sent one.
That's what happened to me, Greta.
Is that a baby crib off to the side there?
Yes, yes, that's a baby crib.
That's where no sleep.
You know, Sean, they don't, they don't, they don't, they drop the baby.
They just say crib.
Yeah, okay.
They don't say baby crib.
Yeah, everybody knows how to say crib that you're talking about.
But it's for you.
Well, some people might say, I think it's your house.
No. No, Greta's got two baby boys.
Yeah, and a stepson who's 13.
Got it, easy.
So you're swimming in testosterone over there.
That's why I made Barbie.
Yeah.
Yeah.
Yeah.
No, it's great.
So I never, I actually, having a bunch of boys around is so fun.
Oh, and I'm apologizing.
You can hear sirens.
Are you already in trouble?
Are you under indictment?
Are you?
No.
Yeah.
I feel like.
So, so you're in Manhattan.
You have two sons and a fun partner.
Yes.
Yes.
We call them a fun, right? Yes. We call it, we call Noah Fun, right?
Yes, yes he's fun.
And you've got a really fun movie coming out.
Oh God, I love the trailers on this thing.
I know me.
Is it new?
All right, let's, we're gonna get to that.
Where are we gonna get started here?
Let's see what kind of hardening question I got.
Let's start it again.
Let's go back to the beginning.
I wanna know, I don't, I sadly don't know enough about you
yet. And we're so bad at this't, I sadly don't know enough about you yet.
As she's a sheer dancer.
We're so bad at this,
so we probably won't find out more,
because we're not talking about ourselves.
But what?
What?
I want to know like from when you start,
when you were a kid, what was,
what was, what were you drawn to most?
The acting of the writing?
Or were you drawn, because it's just a brilliant writer,
were you drawn to writing right away as a kid,
like were you like creative arts class or something?
Well, I didn't, I was sort of drawn to the whole thing of it. Like I did grow up in Sacramento and there was a really healthy and vibrant community theater scene there. So I spent a lot of
time going to community theater and participating in community theater because if you liked
if you liked it, that's sort of the way in.
Yeah.
And now, don't you look back when you, on the shows that you've done in community theater
and be like, you know, they're great and great experience, but it's like, it's like high
school.
No, but it was also like sort of the purest art I think I've ever done.
Yeah.
Like it's the most, you know, I think I've ever done. It's the most, I don't know, there's something like really,
it's like everybody has a secret sort of like Clark Kent
Superman identity, like a substitute teacher,
might in the night to Tennessee Williams for all you know.
There's something about that that I was always like,
I love it.
Yeah, I used to play auditions for piano for auditions for community theater shows.
And you're right, you'd get, it was just like waiting for government.
It's like people like moms and dads and dentists and everybody would come in.
You didn't see Joseph in the, in his technical code in Sacramento,
because Jessica Chastain saw that in Sacramento.
She did? Oh, that's right. Iastain saw that in Sacramento. She did?
Oh, that's right.
I think she saw it in the Walnut Creek Theater,
which was, which was outside.
See, okay.
I did see, but fun fact,
I saw Jessica Chastain in community theater
when she was like 15 or 16.
No way.
Yeah, and I saw her and you can't take it with you
at the Shuttak with theater company.
And she played the ballerina.
I was in, I was in, you can't take it with you
and high school and had one line.
And I was a G-man and it was, you were a right chief.
They have enough gunpowder down there to blow up the whole town.
That was my only line.
Right.
I think you can't take it with you later in high school.
I'd love to get one more take on that, Sean.
Let's just have fun with it later in high school. I'd love to get one more take on that, Sean.
Let's just have fun with it.
Here we go.
Still rolling.
You're right, chief.
They have not got a better down there to blow up the whole town.
Got it.
Thank you.
Check it.
Sorry.
That's cool.
So what were you went and so you were going to you can't take it with you?
What else?
Yeah.
I think I played.
Is this like it's been a minute since I've seen the play.
Is there a Russian woman in it? Yes. Because I have a memory of being Russian. Yeah, yeah.
Wow. Yeah. Yeah. Is a bold choice if there wasn't. No.
But it was so it was going to start with, it did start with acting and then when did it go to writing?
Well, I was always writing, but I didn't really have... I didn't know that there wasn't really an outlet for...
In terms of my high school and everything, there wasn't like...
And here are the players who are students, I've written.
But they did let you do like...
I wrote all the homecoming sketches for homecoming rallies.
That was my way of like being sort of a writer.
And then it wasn't until actually I got to college at Barnard
that I was taking an acting class
and I was writing scenes and I wrote
on my own monologue to audition
and they were like, that's not, you're not convinced to do that.
You gotta take one, yeah.
And I was like, oh, and then they said,
one of the teachers who was great was like,
I think you want to take a play writing class and then I started taking play writing in college and that was like, oh, and then they said one of the teachers who was great was like, I think you want to take a playwriting class.
And then I started taking playwriting in college and that was like an instant.
Oh, wow. What point in Sacramento or what,
what got you excited to leave Sacramento?
Like, did you know when you were, you're like, I'm limited here.
I know there's only a certain, you know, place I can go here.
Well, I had, my dad actually,
one of his best friends was a mass professor at Columbia.
And we went to New York City when I was five.
And I had a, just a really strong memory
of waiting for like rush tickets for Broadway plays.
And I saw, I saw like, time daily in Gypsy.
And I saw Jerry Urbach in 42nd Street.
And all the rush tickets, you're,
you're sitting in the front row and looking sort of straight up.
Yeah.
And I remember I was like, I gotta get back to Broadway.
That's sort of what I felt.
I just was like, I could never in my life.
And it was the 89.
So I also think it was like, there were still kind of like the neon strip bars and 42
streets and like everything.
And everything was like, I just was interested.
And I so I kind of had it in my mind for really.
It was still kind of grimy and kind of like
exciting in that way. And I remember I said in a cab. We were in a cab once and I said to my mom,
I had this like, take me to look what? I was five and I remember I had a favorite outfit,
I was pink and had guitars all over it. And I called it my rock and rock and roll outfit.
And I said to my mom, I was like, can I wear my rock and roll outfit tomorrow? And the cab driver said,
I'll wait for you. I'll marry you later. And I was like, oh, this is going to marry me,
which they in retrospect was maybe gross. Yeah, it'll be gross. Amazing. He was arrested.
That was amazing. He was arrested.
He was arrested.
And his name is Noah Bombay.
And we will be right back.
SmartLess is sponsored by BetterHelp.
So it's just wrapping up my Broadway run here.
And you know, it was a very successful, fun,
incredibly rewarding experience.
And then I'm going to go home to Los Angeles, and I think it's going to hit me.
I'm just going to be like, wait, what am I doing here?
I'm sitting on the couch.
I'm nothing to do.
Who am I?
How do you define yourself?
If you define yourself as an actor and you're not acting, who are you?
Right?
That's what I always think about.
It's like those little gaps when you're not working.
Who are you? What do you do?
All of those kinds of ethereal questions that we ask ourselves, right?
Sometimes in life, we're faced with tough choices and the path forward isn't always clear.
Whether you're dealing with decisions around career, relationships or anything else, therapy
helps you stay connected to what you really want while you navigate life.
So you can move forward with confidence and excitement.
Trusting yourself to make decisions
that align with your values is like anything.
The more you practice it, the easier it gets.
I've benefited from therapy like crazy.
You guys always hear me talk about it.
And I'm sure I'm gonna bring this topic up
with my therapist when I get home.
And she's fantastic.
She's always gonna give me great advice.
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It has like tons of ingredients and stuff in it
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So I just wanted to say from like soft skills
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So, you know, it's summer right now.
It's so effing hot outside.
Everybody feels it.
Everywhere you go, we're breaking records.
It's hot, hot, hot.
It's so important to hydrate your body. And a lot of the times when it's summer and it's hot,
everybody likes to go out and drink, right?
You go to bars, you hang out, you go to parties,
and you drink, which makes you more dehydrated.
So now you're outside, you're drinking a beer,
or wine, or a cocktail, or whatever,
and it's making you more dehydrated along with the heat.
So you gotta hydrate, folks.
Go party, but hydrate, right?
Smart water.
Here on the podcast, we are smartless, but not smart waterless.
Smart water is 100% vapor distilled with a pure crisp taste.
It's pH balanced and offers added electrolytes for taste.
So for me, right now, I'm headed out the door.
I'm going for a long walk to the theater.
I'm gonna grab a smart water, and it's gonna work.
It's going to hydrate my body.
And it says here, we're not allowed to say
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Keep it smart with smart water.
And now back to the show. So if I'm a young writer and I want a,
an aspiring writer, would you recommend writing plays
or trying to write like a dialogue scene
before you start to take on sort of the formatting
of a feature and stuff like that?
Well, I think it's really useful just in terms of like,
it's very cheap to do in terms of like seeing
how it works with actors.
You know, I...
Because your dialogue is so great, it's so easy,
it's so natural, it's so yet, you're also saying something,
like that's a great little trick, right?
You have something, well, people actually talk like that, but then you sort of trojan horse in something actually pretty profound and like,
oh my god, and I've realized I'm now crying and, you know, or laughing and like you make it seem
very, very easy. And did that also stop sneaking messages in, Greta? Yeah, you know what I mean?
You know, we need much for us. We don't, we can't take it.
We're too sensitive. So, a lot of that come from trying with, with, with being a playwright and,
and doing mostly dialogue with that. Not to be alone. Yeah. I mean, I will, I think I actually
doing community theater or doing theater at school was also memorizing really great text,
even in like scene classes. amazing because it kind of makes you
realize why it's great is because it I don't know I haven't had this experience that many times as an
actor but like I remember like doing you know I don't know Shakespeare or Tone of Williams or Edward
Albuy or something like that when the text sort of opens up to you and you realize like you could
make so many decisions at this kid as this character and they're all right because it's rich and it's sort of
full and it's there for you and I think I was like oh that's
a gift to an actor if you can kind of find words that makes them feel free
and not constrained and yeah for me writing
again it was all in college, it was really
lucky. One of my play writing professors was like because we'd all read each other's work and
also Kate McKinnon was she was also doing play writing classes with me at the same time.
Yeah wait no bad, she's a problem, she's trouble. I'm really glad you got away from her.
Wait, so that was in Jason's intro, you were roommates?
Yeah, yeah we went, well she was at Columbia's intro. You were roommates? Yeah, yeah. We went,
well, she was at Columbia and I was at Barnard and then we ended up, you know, I don't know, you
like go in for housing together, you know, was that thing? She tried to pull you in, right, and take
you down the path and good, good for you that you stayed away. She was always the, like, the funniest,
most talented person I'd ever met. And good at everything.
So funny, I got so much.
And I also saw her do drama.
She could do anything.
She was like, Meryl Streep.
She was unreal.
And yeah, but we would do these playwriting classes together.
And you read each other's work out loud.
And then our teacher organized for real professional actors
to come read our plays, which was like...
Real professional actors?
Real professional actors.
And the actor, I don't know if you know him,
he's a wonderful actor, Michael Churnis.
Sure.
Yeah.
He's amazing.
And he read my play.
And I was like 19 and he was amazing.
And I thought I was the best writer because he
like made it even more wonderful. I was like the it was so exciting. I mean, I see a question.
Have you cast Michael churnes in one of your films yet? Actually, yes, yes. I don't know.
Good for you to call Jason's bluff. Good. I called Mr. America and we cast him and I told him I was
like, do you remember coming to Barnard College one fall? And he said, oh my God, that was you. That's so crazy. You know, I just saw
an interview yesterday with Matt Damon talking about when he wrote Goodwill Hunting and he
wrote that in college as a, he was writing, he was doing like a, they had to write one
act plays and he was talking about the fact that he wrote this sort of 40 minute thing and
he says to his professor, I think I failed because I've got this thing
and I don't know what it is, but I think maybe it's a screenplay and then he ended up taking
it back and writing with Ben and what was interesting was talking about the process
of then Ben looking at it going, I think we should work on this together.
And then talking about the discovery as young writers and going and Ben saying to him,
like, if your character says this, I think the other guy should say this.
And then having, and as you know, as a writer that so much of it is just that, right, is
just trusting your instinct in those moments of like understanding who you're, who that
character is and going.
And I thought it was very valuable to say out loud to young writers.
Just that process is really that right? And having the confidence. We're like Chuck Martin used to say right?
Writing's just talking. Was that Chuck Martin?
Jim Valley.
Jim Valley.
Yeah, the great Jim Valley.
No, that's all I mean, I think it is.
I always said, you know, I'm probably stealing
this from someone, but like writing and listening, you have to sort of, that was you, you kind
of have to listen to the characters talk to each other.
And, and I think, in a funny way, or for me anyway, directing, like, I can't, for me,
the writing process and the directing process are different.
They're very separated.
And I don't really want to direct something until I feel like the script is good and
like worse doing.
And I think because of a kind of separate person in my brain, there's times as a director
where I'm like, I knew something as a writer a year ago,
or a six months ago, which I don't know anymore.
And I sort of have to trust the writer part of me
that they knew what they were doing
and not tinker with it later.
Like any edits I've done in the directing process,
I've always regretted.
I've always gone back to the original script and like,
what was I trying to do?
Yeah, you know, it's funny.
You write, I imagine you always write alone, right?
You write by yourself only.
Unless I write with Noah, he's the only one who's on the right with Noah.
So you do write with Noah.
Yeah, because I write with chapter.
I talk about, I know, I bring up Chappy, but once in an episode.
And I find, I get so much value for me.
Now he writes, he writes some stuff on his own as well, but he and I
write together and I get so much value out of those conversations and those moments. So
that later, when we do stuff and when we actually shoot stuff that we've, that we've got each
other to go back on and go like, wait, what was, I think, what were we thinking in that moment?
And one of us will catch the other one and go, we're doing it because bubble blinding does make sense.
And I think we are right on this.
You need that, you need that sounding.
Yeah, it's kind of what you're talking about a little bit.
Exactly.
Well, Greta, what about when the directing, do you let the directing win over the writing
or is it the other way around me?
You may have just answered this, but like what if while you're directing something, you
fear, oh, you know what, we're actually saying that with this performance or saying that
with this camera shot so we don't actually need to literally say it, let's cut the line.
Yeah, yeah, I mean, I feel like it's not really the like director side of me wins as much as
when you kind of expose it all to air and bring actors in. I think it's often more that I feel that
the actor, usually I shoot what's on the page. I'm pretty good
up. I'm like, well, you know, but then often because I've gotten to work with such great
actors, you find that the actor has done it without, you know, you've written all these
lines and the actor, the audience knows right away what the actor is feeling. They're communicating
it anyway. But yeah, it's really with like actors that I feel like it changes.
Right.
What interests me is, so I have it, I've said like everybody else, I've seen the trailer
for Barbie and haven't seen it yet, but it looks amazing.
And it's so visually, first of all, visually, it's so stunning.
There's so much to look at.
And so I'm curious because I've never worked on something like that before where there
is such a visual element to it
That how you approach that as you're writing it how much of that ends up on the page and if you're directing
You don't really have to explain it. Although you do have to
Walk everybody else through it, right a little bit
In some ways it was on the yeah, there were things on the page in a sort of general sense
But I found that for Barbie in particular it was I had a very long time working with a production designer before, I mean, I
think I started talking to the production designer in the book, at least a year before
we started shooting.
Oh, wow.
And this DP, at least a year, and the same with the custom designer.
And so a lot of the things that got worked out in the movie
were things that came out of just like tons of meetings,
of like how even things like,
you know, there's these incredible sets they built.
And they also do.
It was like a combination of like large scale sets
that are on these sound stages.
And then also we built a lot of miniatures,
which was amazing and I've never built miniatures,
but I love them, like those pictures
of like when they were making, you know,
Star Wars or if you watch the like,
I-L-M documentary, you're like,
all I wanna do is glue little things.
Did you see what that star?
Did you watch the ILM documentary?
I love the ILM.
It's incredible.
Incredible.
Incredible.
It's like my favorite.
Those guys are like, I hate you.
Unbelievable.
Love them.
And they're all so special.
I don't know.
And they were all like in college, just like in a warehouse going like, let's make this.
Well, we can't make that.
There's no, it doesn't exist.
Well, let's build it.
Well, what?
And they just built a camera that makes it do what you want to do. It's just phenomenal. It's so, so, like, I think it's so, doesn't exist. Well, let's build it. Well, what and then just build the camera that makes it do what you want to do
It's just phenomenal. It's also like I think it's also I mean
I have to say like in terms of documentary is about making things
Disney plus is killing it. They've got the ILM doc and also
That get back the Beatles doc. Yes, and did you see the did you see the Pixar doc?
No, that's incredible.
Did you guys see the doc about the Pixar doc?
Yeah, they did a doc about the making of the Pixar doc.
Wait, credit, since we're on the Barbie thing, I just have to ask the obvious question.
First of all, when somebody approached you or did you come up with the idea, how did
it happen?
And weren't you because someone like me sitting back was like they're making Barbie a movie,
like a live-action movie,
and then you see the trailer,
you're like, oh my god, this is so cool.
But at first, weren't you like, wait, what?
Well, actually, it was Margot Robbie invited me into this
because she is a producer,
and I had met her a few years earlier, and I mean, I loved her as an actor, and then when I talked to her as a producer and I met her a few years earlier and I loved her as an actor and then
when I talked to her as a producer, she's really wonderful and smart and everything you
hope a producer can be.
So she got the rights and was going to make it and she came to me and said, would you be
interested in writing it? And then I, that was like shortly after the birth of my first child.
And I must have said, yes, and I'd like know it or write it too.
Which then later she kind of was like, why am I writing a Barbie movie with you?
Just a Ken part.
And I was like, yeah, it's going to be great.
And he was like, what are we going to do?
That's, I don't know.
And so, but then I sort of had a, I don't know.
I just had a feeling about it.
Mostly I had a feeling about Margo.
And it sort of seemed so outrageous.
I thought, well, I don't know.
It could be interesting.
And then, and then Noah and I started writing it.
Really, we started writing at March of 2020.
So it's very much shut down.
Yeah.
Time.
And then anyway, I didn't know I was going to direct it
until we were done writing the script.
And I was like, well, I really like this.
And I don't want anyone else to do it.
And what is, any fears about it?
Like any fears about like? Like any fears about like...
Well, so many fears.
I have, I have as fears.
I still have fears.
So fears are continuing.
No, no, it's, it's, it's a, yeah, it's a terrifying.
How, you and Noah are both incredibly good
at keeping things real, keeping things smart, sophisticated,
nuanced, blah, blah, blah, all the things that you would not think of first when you
think of Barbie, which is for kids and something that is, I think, by design, supposed to be
very sort of base and primary.
Was there a, I'm sure there was a very interesting discussion between you and him was there a,
I'm sure there was a very interesting discussion between you and him about,
okay, how are we going to take something that is really sort of, again,
generic by design and putting all the stuff that we're really good at and known for?
Was that an exciting kind of opposite situation for you guys? Well, thank you for all of that.
I mean, yeah, I guess I've,
I've always feel like there's something exciting about
things that appear unlikely,
or things that appear sort of like,
how's that gonna work, you know,
or I think that sometimes those are
where really interesting stuff comes from.
And I think part of that has to do with because of honestly community theater,
just doing, like sort of like, well, we're going to do it with what we've got.
Let's go.
But, you know, and I think that kind of, I don't know, it's like that challenge of finding
your way into something that seems kind of like this is an odd.
Right.
Look, everybody's got a preconceived notion of what that is, kind of what you were saying,
Jay.
Like, everybody's got this idea.
Barbie is this, et cetera.
We all have.
And so by taking something that we all have such a relationship with or we have a preconceived
notion about.
Yeah.
Yeah.
Like, you guys are so incredibly good at writing stuff
that is very sort of adult or questions that adults are
capable of processing.
I would imagine the studio was keen on keeping
intact an appeal for children with this, yet you and Noah
are both so great and known for the other.
And so was there a negotiation with the studio about kind of merging the two, or were you
and no excited about kind of just doing that even without asking them?
Well, I mean, I think from the outset, we knew we were going to make a PG-13 movie so
that it wasn't exactly, I mean, it wasn't like, you know, a hard-ar, or anything. Or a soft PG.
Yeah, it's like a PG-13 could kind of occupy that space.
I mean, I think also the movies, you know, I love a lot of PG-13 movies.
And when I think about certain, like, I don't know, like, even like, Clueless,
which was a big one for me, is like, I didn't understand a lot of those jokes,
but I also loved it and thought it was hilarious and great.
And I felt like there was a way to do something that's kind of sophisticated and broad in
that way.
But the truth is, we really just amused ourselves and wrote something that we loved.
And again, because of the pandemic, there was a real sense of like, I don't even know if any of this is like, like possible. Like, I don't know
if we're going to go back to the movie theaters. And I think in a way, it sort of freed us.
Also because it was Barbie, we were like, let's just go for broke. Let's make the craziest,
most unmakeable thing we can write. And then see what happens. And it was, there was
no kind of sense of like needing to
please anyone. And you also didn't think that you were going to be stuck with directing it either
at the time. They were like, well, let's just write something that we both like and we don't
have to direct it. Exactly. I was like, well, this is somebody else's problem. Right.
Somebody else has to figure out how to build all this stuff and then like, and you're absolutely not able to fake this, but like, I didn't need to make a Barbie movie.
I was like, well, I want to make this one.
And if you guys don't want to make this one, then I don't.
And then I, and then you hire Rodrigo Prieto, it was like, like, I mean, the movie is so again by design, perfectly perfectly colorful and flat and bright.
And he's like an incredible cinematographer that can shape the best of him.
Was he excited to do something that was completely opposite from what he's known for or to?
Well, he's always been a dream DP for me to work with.
I mean, he really lights with Godfingers.
He's got one of those abilities. And he's just extraordinary.
And I approached him about doing this.
Not, I sent him the script and I said,
you know, and he thought it was funny and he was interested.
We started talking and he just,
I mean, it was, he just,
It's funny. I'm, it was, he just,
it's funny, I'm imagining his face as he opens up
the envelope and it just says, barb, yeah.
And then he's like, page one, screaming at his agent, yeah.
But he was like, we started working on it
right after he finished shooting killers
of the flower moon with Scruise A.V.
And it took me a full week to like,
I had to like step aside with him
and we were shot listing and talking and working on things.
And I was like, Rodrigo, I'm having a lot of trouble
because I just have to look at you and say,
okay, so then Barbie is going to walk through it.
Like I could, I was like, I'm like, I'm the beach.
And she was like, I wanna be here.
I wanna be doing this. And he's like, I could, I was like, I'm the beach. And she was like, I wanna be here, I wanna be doing this.
And he's like,
Greg, I have a question.
When you're on set or what,
are you guys, are you ever open to actors changing lines?
Are you like, if an actor's like,
you know what, I don't know that I would,
I do fight back, you like just say the lines is written.
I promise for what?
You show your mouth that way.
I'm sure you're not that way.
I'm sure you're not that way. You show your mouth that way. I hear you say that. I written. I promise. What? You know your mouth that way. You know how to say that?
No.
I hear you say that.
I don't say that.
But I do, I try to do as much as I can build in rehearsal because I find that I like,
I like people to be open to do.
I mean, honestly, I mean from theater, like, table work, just like what, you know, any questions and how does this work?
And I think if there's improv that comes out of that
that then wants to get worked into the script,
I really do like words to be written
just because it is like, you know, movies are so,
you can really get pulled in different directions
and also seduced by how talented everyone is
that you can be like, wait, are we telling the story
or am I just letting you get like, and I think so, but I, so I like building it in rehearsal. And then, certainly, I,
like, if there are certain actors who are like, I want, can you let me just play a little?
I'm more, I would say I'm more open to it than Noah. I think Noah is much more like,
say, these lines.
A long time ago, a friend of mine worked with Robert Teneiro many, many, many years ago.
And this person said that Robert was like, they'd be rehearsing right before they shot
it. And he go, no, no, no, no, no, I'm not saying that. And you don't say that either.
Let's just talk how people talk. He goes, because when you say a line and I wait and then
I say my line and it doesn't sound real, it sounds like you're waiting for a line.
Was it Joe Pesci? Was that Joe Pesci?
No.
You know, so I found that.
I thought that was a Pesci on Hyper-Eye character.
Was it Joe Pesci?
Yeah, it was Hyper-Eye character.
Yeah, it was.
Yeah, it was.
Now, did you know that Ryan Gosling was as funny as he is or did you just hire him because he's a hot dude that's a perfect Ken.
Because he's a funny MFR.
Yeah, I knew. I knew. I knew. I did. I really, I felt like I knew.
Because we knew we were writing the part for Marco.
So we actually, in writing at Cast Ryan,
we wrote his name into the script and everything.
It was like the thing that I was like,
it's Ryan, it's Ryan Gosling, I know.
How did you write his name?
Was there a match in a Ryan Gosling?
No, I said Ken Ryan Gosling.
Wow, Ryan Gosling type.
Ken Ryan Gosling, and it was everywhere.
I was in the weekend, it was in the script.
The script was like, oh, that's so wonderful that you know Ryan.
And I was like, oh, I don't know Ryan.
I've never met Ryan.
I have no idea.
But actually, the thing that made me, I mean, I've always thought of he was like, you
know those actors, you can, I mean, they're always my favorite actors, whether they're
do comedy or not, you can feel their, they have funny rhythms in them. You can just sort of feel that they know what's funny.
And I always felt that about him.
And then I'm a big fan of all of his SNLs.
I always thought he was great on SNL.
And I think he did guy that just got a boat on the penalty.
And so good.
And I love SNL. I watch every week., I remember that. So good.
And I love SNI watch every week.
And I always thought he was great.
So I had this idea.
And then it took him.
So he was like, he was not sure.
He was like, I don't want to, I'm not going to.
I guess.
And I was like, I actually, Margo and I just were like,
we will do anything and this is,
we want you to be in this movie.
And um...
How was, was he during his first wardrobe fitting?
Was he excited or upset about the colors and the materials?
Honestly, we had been texting for like a year
and talking on the phone and he'd been sending pictures
and we'd been going back and forth,
but I then I had this like the night before he showed up.
I hope this terrible thought.
What if he comes and says, I'm not wearing any of that?
Even though, and he showed up,
and I think the very first outfit he wore
was like an all pink sailor outfit.
And I was like, wow, he's really doing this.
Get out of my closet.
Committed.
But yeah, he did it.
He went for it.
So, Greta, what was the first feature film that you directed?
And what was that sort of moment where you went,
OK, I got to direct this.
I got to do this.
Well, the first one that I did sort of write and direct
on my own was ladybird.
And that was.
Hold for a while, good. Yeah, no kidding. So that was your first my own was ladybird. And that was. Hold for a pound.
Yeah, no kidding.
So that was your first.
That was my first.
I had co-directed before and I had written before.
And then I just, it took me a long time to say,
I want to direct.
I think because I love movies and there's
a kind of fear around it
that you're gonna mess up the floor and all that.
So I just...
You're gonna ruin the history of film.
I know.
This is the history of cinema right up until 2017
and that was it.
Were there parts of it?
Because you're clearly incredible at it.
But you didn't, as you said, you
didn't really know if you were going to be.
And what part of it do you think you
surprise yourself with being not bad at?
And what part do you surprise yourself
with being a little kind of, well,
that's less comfortable for me than I thought it was going to be?
Well, I think that the whole thing is uncomfortable. I mean, you know, you've directed,
like, it's the whole thing sort of uncomfortable because it's a lot.
It's a lot. Yeah, and also, there's really no way to, I mean, you can go to school for it,
but it's also just doing it is the only way you can really get through it and kind of figure out
what works and what doesn't work.
I always, I think the thing I've always been envious of
is like the people who,
I don't know any other way to describe it,
but that there are some directors,
where I feel that they're like native speakers of cinema,
that they understand it in just such a deep way.
I mean, one of your Stevens-Beeleburgers obviously that.
I mean, he almost invented that the modern cinematic language.
And I always feel slightly like I'm in translation.
Like I feel like, okay, I'm the script, I feel like I can get to a place that feels
worthy to shoot. And I feel like I'm good as a director, but I always feel like there's
just one layer of translation, which is actually okay, because sometimes there can be things
that are quite beautiful that comes out of that. And it's like, I do think, I think something
that's always scary about directing,
but always exciting about directing is,
there's nobody knows, there's no secret,
a crib sheet where you can say,
well, if you follow these things, it's gonna work.
It's a, you know.
And as you said earlier, the audience,
the audience will take whatever you give them.
They're wide open and generous, right at that first moment
when the screen goes black, right at that first moment,
the screen goes black,
and then the first image comes up.
They'll take whatever you give them,
just don't drop them.
You know?
Yes, that's true.
That's true.
And one of your influences I read,
someone I really like,
or at least is quote Howard Hawks,
where he says, you know,
a good movie is just three great scenes
and no bad ones.
Nothing too boring in between.
Yeah, yeah, yeah.
It's just, it doesn't matter what subject matter it's on, what genre it's in.
It's just, you just can't have any bad scenes and just have a few that are great.
By the way, what if you just your Greta step out of the house, please?
Please come out a little bit.
I'm not gonna put the dog in your hands.
Hands, hands.
I know, I know, it's very, it's an intense. He's got a little bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit of a bit from the beginning to Europe for the new one that's coming out. And I was watching, we were watching the third one last night or something.
You guys eat in your own sleeping bag when you're doing this.
Yeah, okay, sure.
We got little treats and I'm wearing my belt card.
Anyway, so you know all these space superhero, whatever moves, which I'm a fan of.
But it's like you watch these Indiana Jones games.
They're just really great,
like written and great, you know, amazingly shot,
movies that were still action,
but they were down here on Earth.
And so I think that, if anybody wanted to like take,
you know, people by surprise,
they do something like that again, instead of up there,
they do it down here.
Well, I think there's always like, I agree.
And I also think like, you know,
I mean, one of my favorite directors, movies
is the Mad Max Fury Road recently.
Yeah, yeah.
How he establishes, I mean, and I,
there are certainly, you know, great young directors
who can do this and I've never done anything like this.
But the way he establishes space,
and you don't even notice that you understand the relationship between everything into it like it's, but then you realize, oh, he's that's great.
Like if you know, because I'm not inherently interested in car chases, just as a person.
But if you don't establish a geography, there's no suspense. I have no idea. Exactly. But I always felt like in Fury Road, I know where everything is all the time.
I understand what is happening.
And from the first moment where he runs through that maze of stuff, I'm not confused, even
though it's shot very close.
And it has a strong stylistic choices.
And I think even just tethering things to earth in terms of like geography is thrilling for aliens.
And I think to Indiana Jones, you always know where you are.
And I think, to me when I talk about people who are
like, you know, understand cinema in that way,
it's that they just instantly can establish space.
When you see that sort of like craftsmanship
when it comes to filmmaking,
like I was watching somebody was breaking down
that scene in the birds, you know, Hitchcock,
and seeing the guy outside getting attacked at the gas station
and the way he cuts it and he keeps cutting back
to inside and everybody,
and then you see the gas going down to the thing.
Yes.
And then the guy stepping on this and everybody's like, don't light the cigarette.
And he blows up and then it blows, sorry, spoiler alert.
And then he blows, blows up the gas station.
And then you end up at the perspective of the birds.
You are the villain by the end.
Looking down at the explode and it's so mesmerizing to see that kind of as the guy broke
it down.
He was like, don't you get it, you're the villain.
And I was like, oh, yeah.
So, yeah, it's really impressive.
I know, I also think it's impressive when it can be like a
Hitchcock thing or like Indiana Jones or whatever,
where you're so caught up in the storytelling
and it's in service of the storytelling,
but not you never say to yourself,
well, look at that shot.
Right, you're just in it.
Yes.
Yes.
And I think that that's like, I always think of like in,
in jobs, the shot where the car comes on the ferry,
and then it, it's one shot.
It's like a five shot that becomes a three shot,
that becomes a two shot, and it's like,
they didn't cut the whole time, and you never think about it.
You're never like, he's doing a winner.
Yeah, no, yeah, right.
It's just great.
And I think that kind of thing
and that like to Howard Hawks or Preston Sturgers
or InSlobuchar, those guys who made those wonderful,
like I think we'd call them talkies,
but they were also so cinematic.
That it's this combination of like the highest respect
for words and then also
just clean, beautiful storytelling with great ideas
for shots that aren't fussy.
And I think that that kind of unfussy filmmaking
that's language first, but yet also gorgeous.
It's like, I always think of that like a high water mark.
Yeah, when it's understated like that,
when you don't know, and you can just appreciate
it for what it is, but it doesn't stick out.
It's like wearing a really great shirt, but with no logo.
Do you know what I mean?
Like you don't need to advertise it, it just happens to look good.
I think the analogy holds up.
Or beautifully cut suit or something.
Yeah, that's what I mean.
Unless the shirt or the sweatshirt would ever set smart lists on it.
But anyway, it's like really so much.
It's like a merch store.
It's like a merch store.
It's like a merch store.
Go to the merch store.
Hey, Greta, do you know where the word movie comes from?
No, I don't.
So the original studios were in Brooklyn, right?
They weren't in LA, they were in Brooklyn.
And the people working on the set who walked around,
they were, what the fuck?
What the fuck? They moved, right? They called all the people that moved around the set who walked around, they were, what the fuck?
They moved, right?
They called all the people that moved around the set,
they called them movies.
Wait, the people, they called the movies.
The people would move around.
I see.
Moving, Brooklyn, I love that.
Now there's something to cut.
Hey, Alfredo.
I got it.
When you're in love movies so much, if you couldn't make movies or act in them, what else would
you do?
Yes.
Huh?
There's a question.
Never had that.
Wow.
I mean, this is like not a job that's available anymore because the world has changed,
but like in the-
Luxembourg.
I think I've always like-
I like-
I like John-
No, no, no. in the- Luxembourg. I think I've always like, I like- Copy. I like John-
No, no, no.
Like, like old-timey newsrooms, like, if they were like,
get the paper out every day.
We got a rush this one.
What's that deadline?
Yeah.
So you want to be a copy, copy, copy writer?
Yeah.
Yeah.
A big reporter.
Like, one of the ladies in all the presidents, men,
who was like, you know, but I do like that idea of like,
we gotta get it out every day.
And like, we're gonna go to press,
and then we're gonna get scooped to them,
like all of that stuff.
I think so, so that kind of like pressure
of every single day, there's a deadline.
Extra.
Yeah.
Now, what about when you're,
what about what would you, you are making movies,
and then how do you decompress when you get home? I know you got those
two wonderful kids to deal with. But what else, what would you do? What about when they're down?
And then mommy needs to take it easy and she needs to refill her bucket. We're turning on TV,
we're reading poetry, we're... So I do, I no, and I do watch a lot of movies together.
I think like my sort of, that's something I read a lot of books,
but I also really,
here it comes.
Love, love is blind.
You love, love is blind.
Yeah, you can't stop watching that.
You can't stop.
I love it so much.
Sure. I love people falling in love.
Right on television in the dark. In their hearts. It just makes me so happy. Well, it's like a
bachelor. It's so real. I've never seen the bachelor, but actually Ryan, Ryan Gosling, when he,
when we started talking about Ken, he said that Ken, all the Ken's, I'd never seen him and he was like,
oh, Ken reminds me of the men on the bachelor rep
when the woman is in a round.
They don't know what to do with themselves
and they get my dress down.
And they're like, still drinking.
I just start drinking.
That's what dudes do.
And they kind of like are competitive with each other
and it's like if one guy wears glasses
and then another guy wears glasses,
he's like, no, you took my thing.
I'm the guy with glasses. Oh my god the top not. I probably
would love the bachelor and the bachelor but I've never seen it but I love love his
blind. I mean that's like it's that's that's that's not a very exciting answer. Well the first
the first season of love is blind there's one couple that's still together. I know. Not wow.
I know. They're in love. Lauren and Cameron. Yeah.
Exactly.
Lauren and Cameron, wherever you are, Besselok, huh?
Besselok, huh?
Besselok.
They're doing great.
Greta, you're, this has been a very fast now.
Oh my gosh.
You're a very quick fast.
Yes.
This is wonderful.
You've got real chat skills, okay?
Yeah.
The directing and the acting doesn't work out.
Maybe radio.
Please, please, it's going to work out. Please don't stop making movies and writing and directing and the acting doesn't work out. Maybe radio please please it's gonna work out.
Please don't stop making movies and writing and directing and acting all of it.
You're so I also can't wait.
You're so great at it.
Oh, yes.
Oh, thank you.
Well, I'm
Yeah, and I'm excited to see you in your Tony award winning performance.
Go see it.
Go see it.
I go and also I've just started because my son's now four months old. I've. Go see it. I go, I am.
And also, I've just started because my son's now four months old.
I've just started like being able to go out at night.
Doing stuff.
Yeah.
I've got, I've got a date to see parade.
So then right off, like it's, I'm getting a minute, but yeah, I can't wait.
Well, thanks honey.
It's so nice.
Well, you're the greatest.
You're super duper talented, very, very kind to do this with us.
Thank you very much.
Thank you guys. This is it was like being at my own surprise party on the
thank you for doing this. Best of luck with Barbie. Cannot wait to see it.
Yes, best of luck. Thank you, Greta. You guys are going to like it.
I can't wait. I'll be there. We're going to be there opening weekend.
Yeah, I'm going as Ken for Halloween.
I'm already tapping it.
No one else can take it.
And he's got the outfit on now for it.
Thank you, Greta Gerwig.
Thanks Greta.
Thank you.
Thank you.
Bye.
Bye.
She's got a very exciting movie coming out.
I just think that Barbie is a monster.
I think it's really huge.
Yeah, that's really huge.
It's gonna be huge.
I mean, think about it, she's just writing and making these incredible films and it's
so exciting to be an actor too.
No, I know.
I'm just saying like Jason.
Wait, so sorry, Sean, are you eating?
Sorry, yeah, I'm feeling so much better.
Oh, yeah, is it lunchtime? We're almost done. Now, Sean, I saw you during the show, you were Sean, are you eating? Sorry, yeah, I'm feeling okay. Oh yeah, is it lunchtime?
We're almost done.
Now Sean, I saw you, you were killed during the show,
you were killing a big coke.
Yeah.
You got a big coke on?
Big glass of coke.
And then what's, what are you chewing?
Cheezards.
Still on the cheezards.
Yeah.
Fun snack.
Is it a, is it a, all you can eat,
endeavor we got here? Yeah, there's a buffet and. Yeah, fun snack. Is it a, is it a, is it a, all you can eat endeavor we got here?
Yeah, there's a buffet in my kitchen, cheese it.
Different flavors of cheeses.
I just go down the line.
I'm like, Scotty, you almost, can you move the line in the long
please?
Scotty, Scotty, learning up from food in your own kitchen?
I'm happy because I thought that the film, you know, it's Barbie,
but because when I first thought I thought that it was bar.
No, bye.
That was a very good bar by me.
That was a very good, you can't go on that one.
I had a better one.
I've got a one.
Go ahead.
I'm so excited that she doesn't work the door.
I've never been denied.
I was so excited that she did Barbie.
I'm so excited to see it.
You know, and I was warned because it's such a big huge,
you know, franchise and important to a lot of people.
But it looks like something she really did right.
I right by.
Oh, did right by.
Yes, you did do right by.
Right by.
Oh, that will go.
Do you think that's better than mine?
Well, the key work, the doors open and out we go.
Bye, gawl.
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