"Maggie Gyllenhaal"

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Okay, real quick on the social media thing, guys. Yeah. Every week. Every week. You also want

to post it. You just hit accept. Cool. We're going to send it to you. Not via email anymore.

Right. And if you want to post it, you just hit accept. Yeah. And then it's just going to post

right there. Great. And then does everybody like that? Incredible. You're cool with that J.B.

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It's been a little bit. How have you guys been? What have you been up to?

We decided on the weekend at Sean's play. Yeah, that's right. That was fun. Sean,

congrats. You're just. Thank you. You're such a man. You're so. That's very nice.

You're such a talent. It's really has it been what how many performances have you had since we

saw you? Three, three more than than when you saw. But the, by the way, I have to say this.

Okay, go ahead. First of all, we were great. The fact that you guys were great. The fact that you guys

came out, you flew out just to see the show. Sure. meant the world to me. I love you guys.

You're like, you are my family. We love you. And I love you too. And it just was a huge deal to

me that you guys did that. So thank you. Really? I mean, look, thank you. Well, was it not because,

you know, we were. Some people in the group had to evacuate their bowels before the start show.

And so they want really the restroom there. And so you what up there? Is it mean? Oh, yeah.

All right. And so we're sitting there in the little. Actually, they're about just saying they

wanted to use the restroom like they wanted to make. And so we're sitting there waiting for

the people at the week bladder and out walks Sean to talk to, I think the director or something.

Yeah. Yeah. And you ran right into us. And I saw on your face, like, oh, you saw someone before

the show, kind of like a marriage. That's right. That's right. And so did we screw things up?

No, not at all. Would you rather not have people that you know in the audience?

No, no, I love it. I knew we were. I knew I knew I knew I was there. Yeah. But but I didn't.

Yeah, I would have. It was no big deal because I saw you and I wanted to talk to all of you

obviously because I've seen you in so long. But then I was like, oh, you know what? Let's just

leave the facade up for a second. And then I'll talk to them after. Now, when you look out into

the audience, which you do a lot because listener, it is a one man show and he is telling the audience

story, right? Can you not see any of our faces? Can't see anybody. I love it. Yeah. Because if I did

and make me nervous, but the lights are so bright, you can't see a foot in front of me. Because you

were looking right at me for a lot of the show. And I thought, oh, really? Make sure I don't make any

funny faces and throw them off because I don't want you to look at any of your lines. I gotta say

that. It's classic you that he think you thought he was looking at you. Right. No, they're looking

right at me. He chose me to look at. No, yeah. No, I was. Can't see anybody. Well, like when you,

Jason, if you hear a song, a new song in the radio, do you, are you thinking like, how do they,

how do they know that about me? They must be singing about me. Exactly. And how were we as an

audience? Fantastic. Great show. Yeah, really good show. Do we laugh in all the right spots?

You did. And I told you the night before, I'm glad you didn't come to opening night because the

lights went out. Oh, yeah. You've got here. Sean. Yeah. Sean, do you have any funny theater

stories? I mean, yeah. So the line that it went, I don't think it told you, the line that it

went out on was I, because I play these characters, but I also play the narrator. So sometimes

you just deliver straight lines that narrate. And so one of the exposition lines that I narrated

was we walked to the Hudson River. And then I walked downstage and every light went out. Like,

you couldn't see your hand in front of your face. And I'm like, hey, give us a couple minutes.

I just said to the audience and I walked offstage. And it was like 10 minutes, which is a really

long time, a breaker. They had a breaker that went out and they fixed it. And they go, okay,

let's go back on. They go back and of course, the audience collapsed. Yay. They got the fix.

The guys backstage. So I go, we walked to the Hudson River. It was a really long walk.

Ah! Good for you, Sean. Good for you. And is there, so now, are you feeling, I would feel,

the crush of the rest of the run in front of me now that like, opening night is over.

And the reviews came in and they were incredible. And like, can you still, as the kids say,

get it up for the rest of the show? Yeah, for sure. I think it's easier now.

I think all that stuff for you, it's tech and previews and rehearsal and press and opening night.

And then all that stuff, it's so much pressure and stress and anxiety and all that. Now,

it's just like, oh, I just have to do the show and come home, which is nice. And you've got

today off. And today is off, yeah. So what do you do today? What have you loaded into today that you

couldn't do on the previous six? I'm hanging with you guys. That's it, all that. And you're hanging

with us and in our special guest. Oh, that was really nice. Our special guest, yeah. And you'll

like because we can talk about all these things. You can talk about theater. I bet you she's got

some theater stories because she's done quite a bit of theater. And she's done quite a bit of film.

And in some award-winning television. She's the daughter of two writer directors,

Academy Award nominee. Her mom is nominated for Academy Award, I believe.

Both her parents are writer directors. She'd born in New York, grew up in LA. Her brother is

an acclaimed actor. She has a new film coming out, March 6, in a magazine that has an amazing

gesture called the bride starring Jesse Buckley. Oh, it's Maggie Gillett. Yes, honey.

We have to establish a gift or a prize for whoever gets it. I know. It's pretty good at it.

I'm happy about that. I gotta say that trailer of the bride looks

effing fantastic. That looks amazing. I can't wait to see it. Can't wait. I can't wait,

either. I mean, this talk about just an absolutely star-studded cast. It's unbelievable, Maggie.

Well, believable. I mean, believable, but of course, you know, I don't believe in that way.

I don't mean unbelievable, that way. I mean, I believe in how great it is. That's what I mean.

Yeah, amazing actors. Amazing. I don't know. Oh, my God. All right. So, when do we get to see

this movie? And we're going to talk about the rest of your career. But when do we get to see this

movie? When's it come out? March 6th. March 6th. It's probably out now. The bride. Yeah. So,

all right, Maggie. Maggie Gillett, this is so nice. Hi, guys. Are you loving directing more than

acting? I am. Yeah. Are you more than acting? Tell me why. I mean, it's like really you are in charge

of everything, which then means that you can make space for everyone else to offer what they want,

express what they want. You're not, you know, like when you're an actor and you're like, okay,

I need to make sure that I just create the space for myself to get out. The couple of things that

are the most important things to me in case nobody lets me, you know, that feeling like, you know,

you should try to figure out like how to just protect your little thing, which is the reason why

you came to do it. When you're the director, you don't have to do that, first of all. And also,

you don't have to make other people do that. You can just make it okay for them to feel free.

Yeah. So, you must have, I mean, obviously, as I pointed out that you come, you come by quite

honestly, both your parents or directors and writers. And so, did you, but then you, you've had such

and acclaimed acting career before you directed your first piece, and did, but did you know in the

back of your mind because it was just so there that that was your ultimate destination? Like,

was acting away of sort of getting there or? I mean, I, first of all, my, yes, my dad was a director

growing up. My mom was a writer. She did director film, but it wasn't until, I think she was 70,

you know, it was like a total wild departure for her. I think she might be the one of the only

people to direct their first film as a grandmother. I told you, I told your brother when he was on,

that I had dinner with your mom once, years and years and years ago. And I was talking to her

about writing. And it's the first time I ever heard anybody say the hardest part is starting

yeah about writing. And I was like, oh, that blew my mind because I was like, I tried to.

I was like, it couldn't do it, but it's like exercising. Like, get, just get your clothes on.

If you have your exercise clothes on and you don't exercise, then you really fucked up, you know.

All right, Sean. So exercising is this thing that people, so what they do like a sweat.

This is not for Tracy. This is for Sean.

But you were asking me if I always wanted to be a director. I don't think so. I think I,

to be honest, I don't even, I didn't even allow myself to fantasize or imagine that it was

possibility for a long time. I mean, there weren't any other women doing it. I mean, there were,

but I wasn't cool enough to know about like Agnes Varda when I was in high school. You know,

I mean, I really, the people who were really doing great stuff on film were actresses.

At least from my perspective, and I had, I looked up to so many people who were,

you know, totally expressing themselves and being incredible, but I didn't see a lot of directors.

And then I played a director on TV. I mean, I played a porn director on the doose.

Yes, right. But I think that was actually sort of part of just imagining, fantasizing.

It like allowed me to imagine it. So what was, what was the first, I'm trying to think the

first thing that you directed the last daughter was the last daughter. Yeah. Yeah, which,

which was super well received. And so then, but that was, that was only, that was like five years

ago. Maybe the last daughter, right? Four years ago. Four or five years ago. Four or five years ago.

Yeah. So, but was there any time before? It was that really the first time that you allowed yourself

to kind of contemplate doing it. You must have. I spent, I mean, you guys must know what I mean.

Like I sort of just just was talking about this. Like that feeling of like, you know, it's almost

like when you're a kid and you're like, if I had this job, I would never speak to someone like this.

Or I would never make them twist themselves into a pretzel to get this tiny thing, like cut this

line or whatever. And so I guess I imagined it in that level. Or even with writing, like, I would

cut chunks of dialogue or just kind of sneakily move a line. But no, I think, I think really I just

kind of went, all right, I'm going to try this. I'm going to, I did it that I wrote last daughter

also. And, and each step, I thought, okay, I'm just going to take this step and we'll see how it feels.

And then once I started doing it, I think I immediately just went, this is a way better job for me.

Yeah. Yeah. And what was that went when you direct your first directing gig? What was the thing

that you were overwhelmed with or scared about the most? Like before? Yeah. Like as you were as you

were prepping the film, like, what was the first, what was the most thing you were scared about?

It's funny. I was so much scareder about making the bride than I ever was about making the

last daughter. I was scared. I was. But I think in some ways, I didn't even know what I was

walking into. I mean, that said, I'd been on so many sets. I think about directors who are really

first time directors who don't know how to read a call sheet, you know, who don't know what the

rhythm of a day feels like, who, um, that must be really, really scary. Yeah. So when you're doing

the bride, like, you, you kind of, now you know, so you've had the experience, right? So then you

have that anticipation of like, shit, now I know where some of the pitfalls are. How's that going to

go? How's that? Even more than that, I think with the bride, I actually was terrified before I started.

I was like, I wrote the script. It came out very not easily, obviously, writing is so hard,

but there wasn't ease to it. And then I was scared. I was really scared. The bride, the bride

was number two, the second film. Yeah. And it was, it's a significant jump forward as far as

a budget and scope and just basic responsibility, a big piece of, of, of Hollywood business too,

and the huge stars. And yeah, that must have been, um, yeah, sobering to say the least.

Yeah. Yeah. I mean, it's interesting. On set, even though it was, as you say, like the scope

was just much bigger, it felt very similar to the last daughter in terms of just working,

work flow, how we did it. Um, and I, and I didn't know that it would. And I think that's part of why

it was scared. Um, but once we got working, it was the same. Um, and, and yet actually maybe even

easier in some ways because the heads of every department were incredible. Yeah. You know, I mean,

longer schedule too, right? We had a longer schedule. I mean, like maybe even twice as long,

I shot, um, not quite twice as long, but I shot the last daughter in 26 days. Wow. That's

really quick. Wow. That's fast. But there was so much story and there was so much to do. It

wasn't like we were hanging out eating sushi. We were really working on the bride. We were like,

you know, down to the minute every day. And, um, but I do think also like the, the bigger scope

in the excellent, excellent crew. I mean, had a great crew and grease on the last daughter, but

they don't have a props master, for instance. They don't have someone who takes care of props. So

I had a very important doll in that movie. I don't know if you guys saw it. Um, and we had one doll.

And it was like, you know, it's just, you know, it's sort of wrapping it together like as best we can.

And, um, and we were not doing that on the bride. We had great people.

As an as an actor as a great actor yourself, um, uh, how I'm assuming that your knowledge, uh,

being an actor affects the way in which you direct actors. Um, and are you, do you find yourself

directing every actor as if that actor is you or or are you intuitive and you figure out a

different way to direct different actors based on what you assume their processes are, you know?

That's, that's such an interesting question, actually. Thank you. Um, when I, when I started the

last daughter, I started with, I don't know, eight days with Jesse Buckley. Yeah.

Pretty much Jesse is the, the, the, the, the center of pretty much every scene. And I spoke to

Jesse the way I would speak to myself, like the way I sort of wished someone would speak to me,

you know? And with Jesse, it just went in like water. And then I tried to talk to Olivia Coleman

that way. And she was like, what the fuck are you talking about? What? And, and I really quickly,

like on the job had to realize, no, right, no, of course. Like I can't talk to my husband the way

I talked to Jesse either. He's also like, fuck off. What? You know, so that, that was such a

pleasure to me, actually, that was actually, I would say one of my absolute favorite things about

the last daughter was learning, oh, oh, what language is it with this person? Like, and then

bringing that to the bride. I mean, like, how, what, how does Penelope cruise want to be talked to

versus a nap-bending? Like a net. I realized I would get so excited by what she was doing. I would

come to her with like three notes on top of each other. And she just would not have it. She want

to want to do that. And like, and made that very clear to me. Whereas like, you know, Jesse just

wants to sort of take it all in and whatever sticks, sticks, and, um, and yeah, Peter just like,

but that's a, that's a process that you learn as you go, right? Like it's, it's something like you

have to, like that first day, that first week, you're, it's the personalities and you're trying to

figure out what that rhythm was, like, Jay, what you were kind of saying, like, how you have to,

it's not that you're tailoring it, but it's, you have to have a certain amount of EQ if you,

to be a really good director. I think the really good ones have that understanding as you point

out to go, oh, this person, you have to kind of read the room, right? A hundred percent. I think

you do tailor it to each person. Like, and that interaction is one of my favorite things.

And sometimes there's friction too. Like, it's not for, not, not, but it's the only natural that

there will be moments. Yeah. We've all had them where somebody gives you a note or something,

you go like, hey, you know, and, and you're just trying to, and then, and sometimes it's necessary.

Or sometimes you need friction in order to do whatever it is you need to do. And the director

just has to can just deal with that. Like, I, I remember, I won't say who, just so that I,

I, because I love him, but there was an actor who, um, who yelled at me on the last daughter.

And none of us had been yelling at each other. Like, we were just, it was all, we were all in love.

And, um, I was sort of stunned for a second. And then I was like, oh, no, no, I've been him.

I know. I get it. Okay. He just needs to like crack something a little bit. Just take it.

Just take the smack and just keep going. That's your job. Like, it'll taste your own medicine.

Keep going. And he's kind of just in character. Like, and just trying to like break something.

Right. Like, just make something alive.

Oh, you know, that's interesting. You say that because it, and it is when you're in such an

extreme sort of creative environment. And sometimes, as you say, sometimes that needs to happen.

And I think that there are plenty of examples of people who are especially historically

poorly behaved who are really terrible to people and stuff.

But there are, there also is an area where there, there has to be that sort of friction where people do

and people will say, like, oh, that's just Hollywood and people are badly behaved. Like, no,

this is like a really intense creative environment that also you're dealing with where,

where the currency is emotion and people and human beings. And there's going to be that. And

sometimes that exists, right? Yeah. Yeah. I think acting, having done it,

listen, I think directing is a harder job. No question. But I think there's something about

acting that is so, so precious. Like beyond what anyone's doing, so vulnerable, so special.

You know, I really do. I just think like, you know, putting yourself out there to be judged

over and over and over again. Well, I was listening to them talking about your play,

a one man play man. I, that's hard core. Yeah. That's a constant, especially staring at Jason

the whole time. Yeah. I tried not to blink, Shiny. I'm so sorry.

And we will be right back. Oh, boy, you know, we talk about closets a lot on this show.

We sure do. Kicking the door down, coming on out, that you were basically talking about

that closets are for clothes. Oh, I know. And I've taken that too much to heart because my closet

is stuffed. I've been meaning to go through my closet. I should sell it. I mean, listen,

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Well, I'm with you. And for me, that usually means nourishment.

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And now back to the show.

So when you talk about like a part of the, part of the actor's sort of high-wire act of vulnerability

is showing kind of what your version of this character is. And oftentimes, this is for Tracy

out there, oftentimes an actor will get a part through an audition process. And through that

audition process, you basically show the director, well, here's my version of the character.

And if you want this version, go ahead and hire me. And then when I show up on the set,

you'll know exactly what's coming. When you're dealing with big stars like the kind Maggie has

in this film, they're not auditioning. So the first time Maggie's getting to see their version

of these characters is coming through the rehearsal process, which is kind of like a week or two

out and then just kind of round a table reading. But really, mostly, it's on set and it's kind of too

late to big changes. So my question, Maggie, is especially since you've written this thing, too,

how do you rate your ability to be flexible, to be nimble, to the inevitably different version

of these characters, then you've always imagined in your head. And how do you not assess like sort

of a false negative on that performance, just simply because it's different than what you've

imagined? Because the audience hasn't read the script. They don't have any preconceived notions.

So they're going to take what they get. And the actor is kind of approaching their performance

with that assumption. And they just hope the director slash writer will give the same level of freedom

and acceptance to that version of the character. Did you find yourself comfortable with that?

Because that's hard. By the way, that's a really good question. The first 30 seconds of that was

a good question. In the last four minutes. Yeah, I was going to say, we'll trim it. I was actually

riveted by. I was too. I was like, Jason, that is, I was like, I was like, I was like, yes,

that I always wanted to know that. Yeah. Well, this is like one of the reasons why I became a director,

although we can talk about some of the other ones. But I, I think I've so often been the person

who came to that with just a different take on something, not just to be a contrarian or be

different, but because it's me that's making it. And I'm different than what the director imagined

when they were alone in their room. And I have so many times thought, don't you want my mind to?

Don't you want my heart to? I don't want to be just a puppet.

Like, yeah, isn't it going to be a better movie if like all of us actors and the DP and the designer

you know, all put ourselves into it? And then yes, as the director, I mean, I would say this,

I would say, yes, I feel very strongly that I'm trying not to push actors into doing something

that I imagined when I was all by myself. And I don't do that because it's just not my taste,

it's just not what I like from them, you know, which means that they surprise me all the time.

That said, I think it's my job. If we're trying to walk a tightrope across the two hours of this

movie, it's my job to both allow them sometimes. Okay, look, we did, we did a take where the whole

second half of that you were falling off the tightrope. I mean, I'm not going to say that to them,

but I'm not going to use it, you know, and yet like what it did was it got us to the next take where

there was a laser beam focus or whatever, you know, I mean, I think it's my job to then assess it

and take care of it and really protect the things that are really special and beautiful. I mean,

I think you can watch a movie, you can, and we, let me say this, I think there's lots of really

good actors. And I think there's a handful of really brilliant ones. And like you guys said,

a lot of them are in my movie. And so how do you make space for those really brilliant actors to

not act like they're learning something or changing on film, but actually learn something or make

a change on film? That's the most exciting thing for me to watch. I think that's a really great

point that you bring up to this idea of like, of sort of walking that tightrope and maybe there's

part of a take where they, they don't, and you don't bring it up, but it allows you to get to that

other place. And I think that in that process, if you can allow, certainly for me, I know, if you can

feel safe enough that there are no wrong answers and that it's okay to do that, then that's where

you can really find that growth. You can really find that other gear by allowing this. Because if

you're worried that you're getting it, you're going to get it wrong or you're not doing it right,

you're fucked. Because in the other gear, there aren't any wrong answers. When you get into that

other gear, it's all good. Yeah. So what about how dumb dumb question? How did you think of doing

this movie, The Bride? Where did the idea come from? Why did you want to do it? And isn't it kind

of cool that Frankenstein just came out and then The Bride? I mean, it's so cool. That's

kind of cool. That was a dumb dumb question. You're so right. I just think that's so cool that

that that's all happening at the same time. Yeah, were you or were you must have been aware of

that other movie? Guillermo's movie. Yeah. And I, well, I'll answer the first part of the question

first, which is I was at a party. I was thinking about what I wanted to do. You know, I was kind of

knocking things around in my mind, just sort of more just thinking about what what what was on the

edges of my mind. It's kind of hard to explain, I guess, but even with acting, I don't know if you

guys relate to this at all, but like the things that appeal to me are usually the things that are

like right on the edge of what I've been thinking about. And then the making of the movie can be a way

of kind of getting into some dangerous territory about what you don't know, you know. So I think about,

I don't know, what I want to do next. And I saw this guy with a tattoo of the bride of Frankenstein

on his entire forearm, you know, the Elsa Lanchester, um, ELECT, Jesse, um, hair. Yeah. And I was like,

oh, yeah, wait, what is that? It's a bride of Frankenstein, but who is she? You know, and I went

back to my hotel. I was in LA at the time and I looked her up online. And I was like, yeah,

she's so like badass. Yeah. So badass. Exactly. Then I watched the movie, which I had never seen.

And she's in it for two minutes. And she doesn't speak at all. And um, I started to think about this

idea of the bride of Frankenstein. And you know, well, then I went and read the book, which I had

also never read. And Frankenstein is so lovely in the book. I mean, he does murder people and,

you know, he's like, what happened? It's very bad. I'll have a bad day.

Yeah. No, but there is an aspect of exactly that where you read it and you're like, what,

I also feel lots of rage and violence sometimes. I don't murder people, but he's, um, he's so human.

Like he's so vulnerable. He's so lonely in the book. He's so super smart. He literally hangs out

in a barn next to some people speaking French and learns French in a couple days or like finds a

suitcase of philosophy and like, you know, reads it and then is into philosophy is really great.

God, um, but he's so lonely. So I thought, okay, fine. A really lonely, like unbearably lonely,

wonderful guy is trying to get another monster because no one else will be with him to be with him.

Want someone to dig someone up from a grave and make someone like him in a way it's fair enough.

But what about her? You know, what about the person who was dead and didn't ask to be brought

back to life? And yeah, maybe she didn't want to marry you. We can know maybe she, she doesn't get a lot

of say in the matter. And I thought that puzzle, which is not addressed in the movie, although

El Solanchist are definitely wakes up and says, fuck no. I mean, she doesn't say that, but without

saying anything, that's definitely what she communicates. I thought that's a great puzzle,

like a dramatic puzzle to start from. And how does that, and then what if it's also an epic love story?

What if despite this very difficult beginnings, they can't resist each other?

Yeah. Really cool. Do you ever, do you ever, you were saying that you like to sort of write about

things that, um, I don't know, you sort of said, not that scary you, but things that interest you

or things that might sort of push on the edge on the edge. Yeah. Are there, are there ideas that

you've had? I'm curious that you've thought about writing, but you're like nervous about writing

about for certain reasons or there are things you go like, I don't know if I want to touch that.

I don't mean politically or anything, but just because emotionally or something that you,

and you don't have to answer it if it's too personal. No, I, I do write about those things.

Like that's the last daughter and that's this. Like I sort of do like my daughter, my 19-year-old

was joking with me because I was saying that this one was sort of dedicated in a way to my younger

daughter and that the first one was dedicated to her. And she was like, oh really, I get to have the one

where I'm like, like, you know, the mom, like, is having such a hard time being a mother and she

gets stuff to pride. But I think that I, I think that the way I get excited and want to sit down and

write and work is when I think it's a little dangerous. Yeah. The stuff that really, that really

lives in your deepest parts. Yeah, the scary stuff. You gotta, you gotta attack the scary stuff.

Can fill the most pages with the stuff that, that is a part of your deepest parts, right?

And I remember actually in the last daughter writing on an airplane because I used to write on

airplanes locks. My kids were little. And so I would think and think and think. And then I was,

I don't know what I was doing press for something. And I would just write everything I'd been thinking

about. And I was writing one scene and I like looked over my shoulder because I thought,

oh, this is dangerous. It was just a little thing where this woman was saying,

I hate talking to my kids on the phone. I really, I both love talking to my kids on the phone,

but they were, when they were little, sometimes it was really hard. I just don't like the ballback.

To see that out loud or even write it out loud on an airplane. That was dangerous. It's dangerous now.

I feel scared. So you're 19 or a lot of pushback regularly. So you're, you're 19-year-old,

is she have any interest in, in what you do? Or is she, was there a completely different path?

I, I don't think that she, at least at the moment, she doesn't seem like she wants to be a

filmmaker, although she makes the greatest like iPhone little videos that she edits on the phone.

They're so funny. But she's been such a great sounding board for me, artistically on the movie.

Like she's seen the movie so many times. She's been, she's such a great mind.

That's great. So wait, so New York, you're in New York right now?

Yeah. And New Yorker LA, and I forgive me your, the rest of the family's in LA, right?

My brother's here and my mom is here actually, but my dad is in LA.

Oh, I thought your mom was in LA too. She used to be. She used to be okay. And, and you much

prefer New York, yeah? Obviously, you lived there. Yeah, I do. I do. I was just in LA though,

and it was so nice in February, like eating avocados and, you know, feeling the sun. Yeah, yeah.

Man, I was like, I get it. Why they all do this? Yeah, it is a whole, I mean, I've, I've such a

lust to live in New York. But, you know, as I'm getting older and, and crankier and more noise

sensitive and, and, and, and everything else, I, I do find my little alarm going off after,

like it was just there for four days, seeing Shawnee and, and it was like, yeah, just a little extra

space in LA allows for, you know, cranky sensitivities to be taking care of a little bit more. I mean,

my goodness. It was so compact there. But, if you had your, your home here, you know, I mean,

it would be different because you could, even, I live in Brooklyn, so it's a little more outside

of the craziness, but I was, I think that's sometimes even about people who live in Manhattan.

I go into Manhattan and I'm like, oh my god, maybe I'd get out of here. Yeah. But I think,

oh, but if my apartment were in Manhattan, I could at least just get out of here. You know,

your spots and you're, yeah, how you could sidestep. And, and it's so funny. I feel, and, and I've

been going, and I'm sort of in the process of sort of halfway moving back to New York now. And,

and so I'm there a lot. And I find myself this so weird. I sleep better when I'm in New York.

I feel more at home there than I do here, even though I've lived here full time for just over 10

years, basically. I don't know. There's something about New York and Willie. Yeah. My, my, my,

my blood pressure settles on everything. I just feel more relaxed when what is that about?

What? Because because the business is in LA, maybe. I mean, I don't, the business is everywhere.

It's not really anywhere anymore. Yeah. But I just, that's true. I feel like that's my, I don't

know, my place. And it's, yeah, I just feel better. And so many of our friends are moving back to

New York now, too, which is Maggie, where do you, what, what do you do outside of work that,

that you're like with you and the kids to go to, as Will says, the Long Island? Do you travel out

there? Wait, is 19 year old still around? Is, is she going to school? No, she's in college. She's

in college. Not in New York. Not in New York. No, she's, she's, so I just have my 13-year-old here now.

We have a house in Vermont. Oh, nice. Perfect. Way deep, deep inside the grand fathered into the

national forest. I will be honest with you and say that is really because of my husband,

who, the great, the great Peter, sorry to guide you yet. For Tracy, yeah. I, I love Vermont,

but that's really Peter's place. And I'm kind of always wanting to, you know, I'll go for a bit,

but it's, it's pretty hardcore. It's isolating. It's very, really in the middle of nowhere. We

were stacking wood the other day. And Peter, he was like, do you think this is what our friends

imagine we do when we come here? Yeah, it is. Yeah. Wait, wait, so you're out there,

are you chopping the wood and stacking it? I wasn't chopping it. I was stacking it. But he

like raises bees and chickens and taps maple trees and has a beautiful garden. And, and I,

Jason would love to pay people to do that for him. I mean, the raising bees are a drink when you have

to pay someone for it. Peter is putting on the hood and everything with the bees home. Yeah,

although Peter, Peter sometimes is like, I don't need the hood. I don't even need the gloves. I

listen to, I read this book and he did, you know, and listen to this thing and watch these videos

about how to like, be zen and do it. So the bees that come to you and then he gets like,

ten stings on his arms, you know, it's hot. It is. You know, you're telling me he's got

this move to be keeper. Yeah, but I'll tell you this, just so you don't feel bad. All of his

bees in Brooklyn died. And it was because he made a mistake. He made a beekeeping mistake. And,

and he was so upset about it. And I was like, Peter, you were in Switzerland acting. And then you

went did another movie in London right away. You were home for one week and your bees died. Like,

some people's only job is doing bees. Give yourself a break. So he was upset.

Were you, did you shirk your responsibilities when babysitting the bees?

Yeah, man. I think I may be. I think you might, you've got to be able to shoulder some of that,

right? You know, she had something on a piece of paper. Maybe all you want to do is just water the bees

for me. I picture you guys driving. I picture you guys driving away, just going, oh,

shit, the bees. Let's just bring them put them in the trunk. Just bring them like home alone,

Kevin and home alone. So wait, I think I would go out of my mind if I lived in the middle of

Vermont like that. Not that it's not beautiful. And I appreciate it. And I would like to go for

a little bit because you're a city mouse. Yeah, I can't be alone with my thoughts too long.

Oh, oh, hang on. Why? You need to write something about some.

We got to do a celebrity version of a loan and just see how I go. I mean,

do you think you could make it a week on your own? Period. No. Do you not have to finish the sentence?

So, well, yes, if I knew it was a week, I could do it for a week. I think this is

really hard. No shelter, no food. Oh, shit. Not, I mean, you just have 10 items, right?

Or a week for yeah. I've only seen the last episode of a loan, which I watched last two days ago.

Yeah. With Peter and my daughter who was so into it. Peter could win. Peter would win.

I sound like Peter Goodwin. He'd start shopping with day one. He'd start cultivating bees. He'd

be eating honey. But he wouldn't kill a mousse. He probably wouldn't kill a mousse.

He might not kill a mousse. But I watched those videos. This is what I watched so many of the

videos, the guys who time lapse of building shelters out of nothing. Yeah. So I get those two.

I get those two. I love. It's on your algorithm. Yes. Send me one so that you can infect my stream.

Do you also get like like Eastern European dramas making like huge vass of like butter?

I just did. I just started getting these videos of these Roma people in Eastern Europe and

Romania and having these parties. And these guys are like arguing and then these women are making

this insane food and they keep slapping each other's hands and then they have these huge feet.

It's wild. There's also there's also people in China dying fabric. If you want to get

on my algorithm, I've seen those too. Yes. I'm fascinated by that. I'm still getting the guys

and fist fights on golf courses. I need I need to flush my stream. No, I got it. I'm

carrying videos. I get just non-stop. I get tons of carrying videos and cop videos where they

argue with the cops. Oh, yeah, but they're rights for a amendment right, guys. Yeah. I'm just

filming for who? I'm alone just exercising my right. Well, yeah, you're obviously asking for

trouble. I'd love to see a mashup with Steve Sands arguing for his rights on the sidewalk.

Wait, wait, go back to a live for a second because I remembered this one episode where

a guy could open a salmon or some fish and he's like, I'll just eat that fish eggs like Kaviar,

yeah, whatever. And he took a whole hand, you know, the episode I'm talking about,

took a whole hand and he's and he he washed them and everything. He took him and he got so

dry, so sick. Yeah, I'm like, yeah, you can't just open a head. Open a fish and eat their eggs. Jason

does that before Jason three days before the war show eats that just got to drop the water

weight somehow, you know, just a random fish. Yeah, there was this one where the guy opened up a fish

and there was a little tiny fish inside of it that had been digested and he was like bonus,

you know, look at that. No way. I've got to go deep with alone. I've only seen one. Yeah.

We'll be right back.

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And back to the show.

So if you're not in Vermont, if you're in the city and you're not working and you're not

in post and you're not acting but you're, what are you doing?

What's the thing that you're doing that is you're like not even guilty pleasure.

You're pleasure.

How do you dumb it down?

Yeah, yeah.

It's so funny though.

I've been in post or shooting or prep for so long.

Like what have I been doing?

I mean, even now, even now when you're in post and prep,

well you have five minutes or Tim is to do something that's for you that you like to do.

That's like a little mini break.

What is-

Even wordl counts.

Oh, I love those.

I love when they tell me I'm a genius.

Even if I cheat, you know, like you go look at the-

All right.

How smart are you?

Well, like the news quiz.

I don't have that one.

How up-to-date are you with with this week's news?

You take one of those little quits.

Do they have the history one of the New York Times, too?

Well, you can, it gives you a bunch of events and you have to place them on the timeline

of when they occurred.

Oh, that's a lot of things after this.

It's cool.

What's really good on that?

It's really good.

I want to do that.

Maggie, do you do all the New York Times games like the connection-

Yes, when I was cutting, when I was cutting,

I would basically be sitting behind my editor-

For Tracey, you mean cutting the film?

Cutting the film.

Yeah, I'm editing the film.

Sitting behind my at-

One incredible editor you had.

My incredible editor, Dylan Titchner, yeah.

Cut Boogie Nights and there will be Blood and Zero Dark Thirty.

Amazing.

And you had Larry Shur as a DP.

I mean, God damn it.

I love the way you said that.

By the way, just as you were talking about all the filmmakers on the film,

which is the props and the DP,

and I don't think that people understand it maybe for Tracey too,

that making a film everybody on,

everybody who has these great jobs,

you see the actors,

but there are all these filmmakers there

who are part of the process

who all have such important jobs

who are so valuable to the filmmaking process.

Well, and I just want to say actually,

because we're talking about the acting

and obviously I've been an actor,

but what I haven't been is a cinematographer.

And I learned a lot about Asmic Ratio and Lensing on the last daughter,

but the truth is,

and now I am understanding who Tracey is.

You know, on a little movie,

you have no money.

And so you can't afford even to rent a lot of different lenses.

So in the last time we maybe had five lenses, maybe.

And so with those five lenses, I learned a lot.

Then I go as Jason Z.

We're saying to this totally different scope.

And I have cranes, techno cranes,

shooting four IMAX,

which is a very particular thing,

which is not just a movie that will play in IMAX,

but a movie that's designed to change Asmic Ratio,

like to grow vertically for an IMAX audience.

I didn't even know really what IMAX was when I started.

And Larry Cher, who's my cinematographer,

I felt like I came in to this movie with a really clear idea of what I wanted to say.

And in a lot of ways also how I wanted to say it even visually,

but I don't know, I felt like I took a master class with him.

And I do feel like I finished the movie speaking a language

that I didn't speak when I started the movie,

which is maybe part of what was terrifying.

Like if you have to learn, if you know,

like I was saying about actually even watching good acting,

like if you'd rather watch someone learn something for real on screen,

instead of fake like they're learning it,

even if they fake it very well,

I was actually learning as I was working,

which was incredible, like so exhilarating, but also.

And did you guys jump on his shot deck

as such an incredible asset for folks?

You know, to like, he's cultivated all of these images from all these films

that you, a quick reference point for you.

As you guys were devising the look of the film,

did you guys spend some time on shot that?

Well, like if we say, say we're saying,

okay, there's a big, you know, the movie has almost like a Bonnie and Clyde aspect

of the lovers on the run, you know?

And there's a lot of stuff in a car

and we were talking about different ways of shooting in the car.

And we were, for example, say talking about telling the wheeze,

Ridley Scott, lots of long lenses,

totally different way of shooting than we were shooting

because they were actually in that location,

shooting, you know, probably with an array of cameras,

both far away on really long lenses

and then close around the car different than the way we did it.

But I loved the aesthetic of that movie.

I found I really loved,

I really love long lensing.

My editor was joking with me that I should be a bird watcher.

And then what about designing just the overall world of it too

with your production designer, Karen Murphy,

what an incredible talent she is too.

Like, was it, how did you, did you, did you,

did you start at a,

because world building like,

it's like filling a blank page as a writer, I would imagine,

it can be anything.

And how did you, where did you start?

What sort of aesthetic did you start in?

Was it, was there like a book or photography or something

or did she bring ideas or?

The movie is set in 1936,

which was somewhat random.

Like, I originally said it when I was writing

just post civil war because so many people had died.

This is a movie about people coming back from the dead.

So I was kind of thinking like about like,

when were the times when the, you know,

the veil between the living and the dead felt the thinness?

So I was thinking about a post civil war.

So many people died, so many children died in childbirth.

And there was this job then,

I had been learning about for something else,

of a spiritualist, which is, was almost always a woman.

And it was like, as ubiquitous as a therapist,

was someone who spoke to the dead for you.

And so I started out setting it then,

because I thought that was kind of an interesting time to just,

to be dealing with people brought back from the dead.

And then I realized that Frank and Stein, my Frank,

I don't call him Frank and Stein's monster,

because he would never call himself that, you know.

So Frank was so lonely that maybe his only,

like his primary relationship was with a movie star

who didn't know about him, of course,

but that he could go sit in the theater and watch this movie star.

And also in a dark movie theater, his ugly face,

his scarred face wouldn't be so scary to people.

So then I thought, okay, I have to set it in a time when there are movies.

And it shifted to 1936.

Also because the movies then are so much about fantasy.

And my movie is actually a lot about kind of breaking down the fantasy.

And what does a real love affair look like?

And what does a real man look like?

Woman, what is the reality versus the fantasy?

But still, 1936, which I think is beautiful,

but it was never really 1936.

It was always 1936 sort of by way of 1981 downtown New York,

really by way of like right now.

So if that's the directive for Karen,

you know, it's a tough one.

It's something that you haven't seen before.

Yeah, that's cool though.

I love that idea.

So it sort of blends, it blends today's aesthetic with 1981's aesthetic with 1936.

Yeah, kind of.

I mean, it is technically 1936, but it's a different world.

As you say, world building, which is actually something I'm really interested in,

that term, which I had actually never heard before,

before I went to work on this movie, which at least in my mind really

refers to VFX visual effects.

And something, something usually completely non-existent, right?

Like superhero, like the Lord of the Rings or whatever.

This isn't you're saying, there's some,

there's definite tangible, relatable,

recognizable elements.

But I mean, here's something I've been thinking a lot about.

So few women have gotten a chance to get our hands on some of these tools,

like shooting for IMAX with a changing aspect ratio,

like world building.

I mean, there are some, there are.

But just not very many.

And I somehow feel like the way that it's been done before

isn't a language that doesn't totally resonate with me.

So, you know, world building could mean

we're shooting underneath like that, what would it be?

The West Side Highway up in New York, like has like an overpass,

if you're up on 125th Street with beautiful, beautiful, like,

arches, we shot there.

But if you look to the right, in reality, there's like a big ad for whatever,

something from now, and the rest of the highway,

and all this modern stuff.

So you can create whatever you want in the rest of that frame.

And it was interesting because when we first started working on that frame,

it was like, it was like a celebration of VFX.

It was like we was our pan over to show the whole world

and look what we did with our VFX.

And that's just not, I don't like that.

Right, right, right.

I'm like, I just want to be in the movie.

I want to be in the world.

I don't need to show you how expensive the VFX were.

You know, I want to, I have a different,

I'm really interested in world building.

I'm really interested in that idea.

I really think probably the next thing I do

will incorporate that, some kind of imaginary world.

That's great. I love that.

But with all the things I've learned from this one.

Isn't it kind of, I was going to say this earlier,

isn't it kind of like designing a house like you get like the architect

and the interior designer and the project manager and the contractor?

That's all I wanted to say.

Next question.

We're party, we used to think of it as a party,

like a great dinner party.

You know, where someone else is doing the flowers and the,

you know, and I just invite people and maybe see them and that kind of thing.

Yeah, everybody's got a placard.

Oh, sorry, Sean, did you want to take a snack break?

I'm sorry.

I got, yeah, I got an apple slice.

I mean, you just drop it as kind of a non-secutor

and then just pop an apple in your mouth.

Right, what do you think is going on in your bangs?

I didn't think, I didn't think.

Taking up Maggie's time.

We're taking up Maggie's time.

Wait five or four minutes, you can go get your snack on.

Yeah.

I didn't have anything else to follow up with.

So I thought it was safe to take up apple slice.

I like that idea though, Maggie.

You said about like that.

It's never spoken to you before.

Nobody's ever done it in this way.

And I do like that idea of like there's got to be sort of more to it

than just flexing a sort of a muscle,

which does seem to probably be because it's been dominated by men.

And maybe I'm wrong about that.

But there's something cool about that,

like just bringing a new perspective to it

that it can be much deeper than that somehow.

Do you know what I mean?

Well, like if you have a different...

Again, I'm just being simplistic about it,

but maybe...

I don't mean to be overly simplistic about it either.

I do think if you have a different experience in the world,

you're going to make different movies.

You know?

And obviously gender isn't or race or ethnicity.

I mean, those aren't the only things that change your experience,

but they are one thing.

And I guess I...

Well, well, when I actually started using iMacs

and changing aspect ratios and doing it...

So I learned about it.

I also, my editor, that we were just praising

who was just incredible.

It was Dylan Titchner and Larry Share.

Both were kind of in each ear really

teaching me so much about those tools.

But when I imagined it, what came out was different

than how iMacs has been used before.

And I think that's cool.

I think that's like, I'm so proud of that.

Let me ask you this.

Did the film turn out the way you had imagined

and hoped that it would?

Because there's so many people that contribute.

It inevitably is going...

And as you said, you provide this environment.

If yes, please contribute, bring your uniqueness.

So did it end up...

And JB, but also she has a front row seat

to watching it evolve and change.

Right.

And the unapologetic position of controlling the way

that it comes out to the extent that you can.

And how much did you let yourself allow it to

be the film?

It was kind of becoming.

And I guess the question is sorry for the long one again.

But what's the percentage that it maintained

the version that you thought and hope that it would be?

Percentage in math is maybe not my language.

But if I think, let me think, the movie has a very specific tone.

Like a very...

I could always hear the very unusual tone of the movie in my head.

I could feel when we fell off the tightrope.

For example, always.

I could.

So that has remained.

I think really when we were shooting,

I was collecting all these beautiful things.

I definitely had in some ways the movie in my head.

Yeah.

And I was sort of building something as we were shooting.

But the cutting, I would say,

is where it really changed.

And I think in some ways I...

It was really about letting things fall away.

Letting the movie be what I had always wanted it to be,

which was kind of like a roller coaster ride.

Like, strap in and you can't get off until it's over.

There's not...

I wanted it to be like a laser beam, like fast and hot.

And just realizing, oh, this is weighing me down.

Or I love this and what this brings out.

But I got to let it go.

Even my really wise, you know, collaborators like Dylan,

letting me take the time I needed to know.

I would say, don't fuck with that scene.

No, I don't want to hear it.

I love that scene.

Don't fuck with it.

And then eventually letting it go.

Because it wasn't probably for a bunch of different reasons

or with different things you had to let go of.

But because ultimately it either was not as good as the rest of the stuff that you had

or that it was sort of not serving the laser beam.

Yeah, no.

I think I pretty much just took out in both my movies when I caught them.

Let's just take out everything that isn't really great.

Like I was...

Yeah.

And most of the time I didn't stop shooting

until we had something that was great, I think.

But let's just get rid of that stuff.

Then the hard thing, obviously, is like getting rid of something that...

Like for instance, the scene that I'm imagining,

which is no longer in the movie, so it's hard to talk about it.

But I felt it just deepened everything.

It just took things down to another level.

And Dylan's argument, and actually Dylan was not alone,

and I remember hearing this great note from someone about getting notes on a screenplay

where she said, if five people tell you you seem drunk, maybe you should lie down.

You know, we need to keep getting the same note over and over again.

We have to go like, okay, okay.

But in fact, Dylan's argument was, it's too complicated now.

It's made it too heavy, like let it lift off.

And so maybe that's for another movie.

Yeah, yeah, I love it.

I love it. We've got a couple of years on you.

But I do love at this age, there's nothing better than constantly.

You're like, I find more and more like that I'm learning stuff.

And I'm really enjoying learning stuff.

And also, really sort of coming to peace with how little I do know,

or how little what I thought I knew.

Yeah, and I find it's so much more exciting now to go like.

Yeah, for sure.

Well, yeah, you get smart enough to realize how not bright you might be.

And how great it feels when someone else is able to guide you in something.

It's so, feels so good.

Every day in my life, I'm like, I don't know what that word means.

What are you talking about?

I don't know where I'm going.

Yeah, dictionary.com is on the front page of my iPhone.

Oh, I hit it a few times a week for sure.

I love that.

Wait, Maggie, what are you doing for the rest of the day?

Yeah.

Tell them you're busy.

Tell them you're busy.

Tell them you're busy.

I'm so busy.

I'm so busy.

She has to run the corner at this day.

I have to close the deal.

We can get like a, we can get a cupcake.

Whatever you want to get.

Yeah.

I want to go see weathering heights.

Oh, yeah.

I'm going to try to do that.

Oh, yeah.

I can't wait.

Yeah, I can't really care.

I can't wait to see your mirror film.

I know, I can't wait.

Mark six, it may be already out.

We don't know how this works, but we are really excited.

To see the bride.

Maggie's such a treat to have you on it.

And then I want to see the next one and the next one and the next one and the next one.

Yeah, you're very, very cool.

I'm going to be so good.

Amazing stuff.

Say hi to Peter.

Say hi to Jake, please.

I will.

This is such a nice talk.

Thank you, Maggie.

Yeah, thank you for doing this.

I'll see you the great Maggie.

I'll see you around town, Maggie.

Oh, Sean, we are on standby.

I'm going to come see your play.

OK, let's just play.

Let's play.

Let's go.

Come.

Bye, Maggie.

Bye, Maggie.

Thanks, Maggie.

Bye.

Bye.

Oh, that's very exciting.

That's a great, great guest there, Willie.

He's so excited to see her film and truly all the rest that she's going to do.

She seems to just really have it.

She seems to have it.

I know.

I mean, just so good in it.

I mean, what a massive acting career.

I know.

You're like, what?

Sorry.

Would you say, Sean?

Sorry.

Why could it be you taking, you were the one who's about to say something.

And you had the control to wait on taking the bite.

You could have not put it in.

I know.

It must be good.

What is it?

It's just an apple.

It's just an apple.

He just discovered fruit.

He's just this company.

So I do want to keep that darn scurvy away.

I know.

I mean, she's been in so many good movies as a

huge acting career.

Yeah, she does this turn.

And this movie looks.

She writes the lost daughter in nominated for Academy Award for the lost daughter.

Yeah.

And that's what we look huge.

As worked with all these great directors,

think about all the ones that she's been able to learn from to cherry pick from too.

I know.

We got to send her our headshots.

You know, yeah.

I did a scene with her in a movie in a low budget movie years ago, 20 years ago.

And she hasn't called you yet.

She didn't bring it up.

No, she didn't.

I didn't want to bring it up either.

We had to see it together.

All right.

She's such a talent.

Well, I'm so excited for the bride.

And I'm so excited for you guys.

Oh, you know, you, well, I feel like you guys have a bright future.

Thank you.

Yeah, thank you.

Thanks for having us.

Yeah, it's been so much fun to have you get fans on.

If you have any questions, you forgot to ask us.

You've got our email.

Yeah.

You can do follow up.

We'll do a follow up and let you guys have a listen before we put it out.

Oh, great.

Yeah, this is a complete thing.

I'm a little nervous about that.

I love to get another listen to.

You're sure of so, of course.

Yeah.

But you know what?

Even if you say something right, wrong,

I think that people are willing to let.

Bye.

Bye.

Bye.

Beautiful.

Incredible.

We did it.

Cue the music, boom.

Boom, boom, boom.

Boom, boom, boom.

We're doing it.

We're doing it.

We're doing it.

We're doing it.

We're doing it.

We're doing it.

Smile.

Smile.

Smile.

Smile.

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Less.

K-pop demon hunters, Haja Boy's breakfast meal,

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They're calling this a battle for the fans.

What do you say to that, Rumi?

It's not a battle.

So glad the Saja Boys could take breakfast

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It is an honor to share.

No, it's our honor.

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You can really feel the respect in this battle.

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