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  • (uptempo music)

  • - Hello, and welcome to Close Up

  • with the Hollywood Reporter Actresses.

  • I'm Matthew Belloni.

  • I'd like to welcome our guests today.

  • Saoirse Ronan.

  • Allison Janey.

  • Mary J Blige.

  • Emma Stone.

  • Jennifer Lawrence.

  • And, Jessica Chastain.

  • Let's get started.

  • Obviously the headlines in Hollywood this year

  • are incidents of alleged harassment

  • after incidents of alleged harassment in the industry.

  • Some people believe that the entertainment industry

  • will never be the same.

  • I'm curious about your thoughts on this

  • and whether all of these stories coming out

  • are going to lead to actual change,

  • and we'll start with Jessica.

  • - I hope the entertainment industry will never be the same.

  • I mean, if you look at Louis B Mayer and Fatty Arbuckle

  • and Jack Warner, you read Shirley Temple's book,

  • you find out what happened to her when she was a child,

  • there is a history of abuse against women in our industry,

  • and it's never been addressed,

  • and I think I'm devastated by all the stories

  • that have come out because its heartbreaking,

  • but at the same time I feel hopeful

  • because we're not ignoring it anymore.

  • It's painful for change, but it's needed.

  • It was needed many many years ago,

  • but what's coming out now there's abuses

  • not just in terms of gender, but there's so much

  • that needs to change about Hollywood,

  • and I think that the industry will become extinct

  • unless we show a more modern version

  • of the world that we're presented with.

  • - Do you feel a sense of vindication almost

  • that these stories are being told?

  • - Yeah, I think that the big misconception though

  • is that this is just in the entertainment industry.

  • I mean, once again the entertainment industry

  • is the stage at which you can see

  • the inner workings and the problems

  • that are all over the world.

  • The only reason why there's so much focus

  • on the entertainment industry

  • is because these people are famous.

  • If a flight attendant comes forward about a pilot

  • it doesn't end up in the news 'cause nobody knows about it.

  • That doesn't meant that there is less sexual abuse

  • going on anywhere else in the world,

  • in any other place of work,

  • but fortunately we're starting the conversation now.

  • - Do you agree with that,

  • or is there something specific about being an actress

  • where there is a power dynamic

  • and someone is in a position to make or break a career

  • and to exploit an actress in that way?

  • - Well, I think what she's referencing is definitely true.

  • We see these people.

  • Maybe they grab headlines in a different way,

  • or what we do grabs headlines in a different way,

  • but no, I think it's a pandemic.

  • It's through every industry.

  • There's a really amazing article that Brit Marling wrote

  • that was essentially saying if we were paid equally,

  • if women were paid equally in every industry

  • this would not be occurring.

  • I mean, this is something that women have to,

  • have had to fit into these different boxes

  • for so many years just to get work,

  • and if these things are happening,

  • and they bring them to people's attention

  • they're much more likely to be fired

  • or to be dismissed in any industry

  • than a man in a more powerful position,

  • so I think that it's a huge conversation

  • for our industry, certainly.

  • But, I would hope that this is only the tipping point

  • for every industry for us to discuss equal pay

  • for equal work for women across every industry

  • because that's been a change that we've needed

  • since the beginning of time and industry.

  • - Yeah.

  • (all laugh)

  • - Have these stories coming forward,

  • have they caused you to look at things

  • throughout your career maybe with a different light

  • and re-evaluate some of the interactions you may have had?

  • - I feel very fortunate that I've never experienced

  • any kind of harassment at all.

  • The only reason why I can think that is

  • I'm you know, five-foot-15,

  • and my career didn't start until later, 38,

  • and my life was started in the theater.

  • I didn't experience this, and yet I was always aware

  • of the casting couch.

  • That was just something that I thought

  • women had to navigate growing up in the business.

  • Or, I thought, "Well, someday I'll probably have to do that,

  • "but I know how I would."

  • I always felt prepared in my mind

  • if that were to occur what I would do,

  • but it's exciting to think of a time

  • where kids growing up won't know what that is,

  • that that will be a thing of the past,

  • and there won't be any more abuse of power.

  • That's the most upsetting thing to me

  • is people who abuse their positions,

  • people that people look up to,

  • artists who are revered, and of course young people

  • coming in are gonna look to them.

  • It's just one of the worst crimes I think

  • to abuse your influence and power in a negative way,

  • and it's exciting to think of our culture changing,

  • and it's high time.

  • - Have any of the stories that have come out

  • been especially resonant to you as an actress

  • who has grown up, essentially, in the industry?

  • - Yeah, I mean I have to say

  • that for me I was the same as Allison.

  • I've never experienced that.

  • I think I was very lucky that I was protected

  • from a lot of that.

  • I never was really exposed to what went on at parties.

  • I was never left on my own with anyone.

  • My mom and dad were always around,

  • so I was very protected in that way.

  • I mean, every story that's come out

  • has so much gravity to it, has so much weight to it,

  • and I think it would be wrong to escalate

  • one over the other, but I think just because

  • you can actually hear it happening.

  • The one with that Italian, was she an actress?

  • - She was a model and actress.

  • - [Saoirse] She was a model, actress.

  • - The Harvey Weinstein story.

  • - And, what was incredible about it

  • was that she was brave enough to go back the next day

  • because she knew that this was important

  • for this to come out, and the fact that she put herself

  • in that position again and made herself so vulnerable,

  • and still nothing was done about it.

  • - Yeah.

  • - And, that's the really disappointing thing

  • about all of this.

  • They've had all of this shit basically

  • on all of these men and women for the last few years,

  • but they haven't done anything with it.

  • It's just been swept under the carpet.

  • - Do you think that the culture will change?

  • Perhaps people will be less inclined to do these things

  • because of fear, but do you think the culture

  • of the leverage of power and culture of abuse will change?

  • - I hope eventually.

  • I think it's gonna be a while.

  • I think it's so deeply ingrained, unfortunately, socially.

  • I don't even know.

  • If you think about mothers with their sons,

  • obviously it's not coming from their parents.

  • It's this social proof of some way of your masculinity,

  • and also what Emma was saying is so true

  • that until we're equal in every way

  • then how can you expect us to be respected verbally

  • if we're not being respected in every other way?

  • - Yeah, whenever you have one demographic

  • that's in charge of the livelihood of another

  • you're gonna have abuses of power.

  • I mean, for me, I'm really interested

  • in your point of view on this

  • in terms of coming into the industry,

  • being in music, now being in film.

  • - In the industry, like her, I never had that problem.

  • I was always a tomboy and one of the guys,

  • and I feel really sad for the women,

  • but I'm happy that they're free.

  • Everyone that's coming out, I'm happy that they're free

  • because they had to hold onto a secret

  • that they ma have seen shrinks for

  • for years and years and years, so I'm just happy for them,

  • and I believe that things will change

  • because this is making other women say,

  • "Me too, me too, me too," and that's why it just

  • keeps happening every day, every day

  • because people are tired of sitting around

  • with that secret and that thing that holds them prisoner,

  • so I think it will change things

  • because people don't want to be in bondage anymore,

  • women anyway.

  • Women have been going through this

  • since they were children, you know?

  • As a child I went through it

  • all the way up until adulthood,

  • but when I got in the music business I never had it

  • because I went through so much of it in childhood.

  • - You said you were a tomboy.

  • Do you think you made that decision

  • to shield yourself from it?

  • - I did because I've been through so much as a child

  • and a teenager.

  • Not that I was a guy, I just wore baggier jeans

  • and Timberlands and hat turned backwards,

  • so I won't be so revealing.

  • It took me a very long time to even

  • wear makeup and tight clothes

  • because I had been through so much,

  • and that that I've been through has been a secret.

  • I exposed it on Oprah, but there's so much more

  • that people don't know, so like I said

  • I'm happy that these women are hopefully free

  • because it hurts, and you have to go through this,

  • women all over the world, like she said.

  • - That's another thing as well

  • is that these people who went through it

  • then had to get up the next day and still go to work,

  • or they've had to see these men for years

  • and shake their hand and take photographs with them

  • or get on a flight and work with them, whatever it is.

  • I mean, imagine how much strength that would have taken

  • to do that every day.

  • - Because I'm someone who holds a lot

  • and gets really nervous to speak a lot of the time,

  • we have to also recognize that there are so many women

  • who haven't told their stories yet,

  • who aren't comfortable to share,

  • and this is a deeply, and I know this

  • is a very millennial word, but it's a very triggering time

  • for a lot of women too to see these stories

  • come out one after the other

  • whether they have stories to share or not

  • about assault or harassment.

  • It's a very difficult thing to watch.

  • I also want to say for women

  • I feel so much compassion for those

  • who haven't shared their stories yet,

  • who are still getting up and going to work every day,

  • they're with their abuser, or have had abuse in their past,

  • and who are not ready to say anything.

  • I think that putting pressure on women to share it,

  • if you're not saying it now then you're complicit

  • in this evil that's occurring isn't fair also.

  • I think we need to have a lot of compassion

  • and patience that more and more stories might come out

  • in a slow way and in a way that feels comfortable

  • to people who have been victims of this kind of trauma.

  • - It's interesting.

  • We haven't seen as many people in the music industry

  • come forward as in the film and TV industry,

  • and I'm curious why you think that is.

  • Is it because of this?

  • Because people may still be afraid

  • or because it's less prevalent?

  • - I think a lot of people are not ready,

  • and a lot of people, or a lot of women...

  • I don't want to say it, but a lot of people

  • when you're young and you want to be an artist

  • or you want to be an actress

  • there's people that threaten you to do certain things.

  • - That's what I was gonna say.

  • They're afraid of losing their job.

  • - You do certain things, and that is sexual harassment,

  • but they don't know it is because they agreed.

  • - You don't know it is, but also sometimes

  • I've had this happen.

  • I've finally made the decision to stand up for myself.

  • I went to go to the bathroom at work,

  • and one of the producers stopped me on the way,

  • and was like, "You know, we can hear you on the microphone.

  • "You've been really unruly" which is not true.

  • - The mic should've been off anyway.

  • - Yeah, seriously.

  • They were very unprofessional

  • and basically threatened my job

  • because the director said something fucked up to me,

  • and I said, "That's sick.

  • "You can't talk to me like that," and then I got punished.

  • And, I was afraid I wasn't gonna be hired again.

  • - Yeah, you were difficult.

  • - Yeah, I was called difficult and a nightmare.

  • I think a lot of people aren't coming forward

  • because they're afraid they're not gonna work again.

  • - Exactly.

  • - That's what needs to change.

  • You need to be able to say, "This is wrong"

  • and have somebody do something about it

  • instead of saying, "Oh, it's wrong?

  • "Well, you're fired."

  • - I think you're right though, Emma,

  • in what you're saying too that the women need to know

  • that there's support here for them no matter what.

  • If they don't ever want to come out and say something

  • that's fine, but to know that

  • I would imagine, having not gone through it myself,

  • to know that other people have experienced this as well

  • and they're not the only one,

  • the strength that hopefully that will give them

  • just for themselves too is really important.

  • - To relate it a little bit to some of the films

  • we're talking about today, there's a big through line

  • in your film about this fight for equality

  • and fight to be taken seriously.

  • What about the current climate

  • did you bring to the preparation for this role?

  • - Well, we shot Battle of the Sexes in the spring of 2016,

  • so when it comes to our political climate

  • we're still very...

  • There was a lot of hope happening.

  • It was early on, early days,

  • so it was fascinating because it's a true story.

  • It's a historical event.

  • It happened in 1973, and now we're here 44 years later,

  • and the depressingly relevant facts of the film

  • are very tough to look at.

  • There have been strides made, like I've mentioned before.

  • Women can get their own credit card

  • without a male signing for it

  • which you couldn't in 1973.

  • You had to have a man sign.

  • So obviously, we have our own credit cards, I'm sure,

  • all of us now which is great,

  • and we're really really thankful.

  • - That's enough.

  • - That's enough.

  • Nope, we're fine.

  • But, you know, there's such a long way to go.

  • - You're offering the men's winner exactly eight times

  • what you're offering the women's winner.

  • Do we bring in an eighth of the crowd?

  • - I don't know percentages.

  • - Well, the sold the exact same amount of tickets

  • to the women's final today as the men's.

  • Isn't that right, Jack?

  • - Today, I suppose so.

  • - Same sales, same prize money, makes sense to me.

  • - Oh, come on.

  • Be reasonable.

  • I mean, there's no way that we could afford that.

  • - What's your argument, Jack?

  • - Well, for one thing the men have families

  • that they have to support.

  • - Well, I'm the main breadwinner in my family.

  • - That was what we brought.

  • It was studying that era and seeing how little

  • in many ways has changed.

  • - Right, interesting.

  • The pay issue is interesting

  • because even before the current climate

  • there was a lot of stuff that came out about pay

  • and getting equal-

  • - Did you hear about this?

  • - Getting equal pay.

  • I will get to her.

  • - [Emma] Just wanted to make sure.

  • - [Jennifer] Thanks, John.

  • - But, how much is that part of the conversation

  • when you approach a new job?

  • Is it something that you're adamant about?

  • You want to know what everyone else is being paid?

  • You want to know that there's pay equality on a project?

  • Is that something that you bring up

  • before you take on a role?

  • - I do.

  • I think when you look at the industry

  • a lot of problems in terms of wage equality,

  • but also in terms of writers and directors

  • coming onto a project, it starts at the agency level

  • because I now have a production company,

  • and I'm asking, "Can you guys send me a list of writers?"

  • And, it's all men.

  • And, I'm realizing that on, not necessarily parts

  • because we wouldn't probably play the same role as an actor,

  • but for the agents they're gonna submit

  • the writers that have the higher quote

  • because they get a percentage of the quote,

  • so that's leading us to why there's not

  • so many female filmmakers, right?

  • But then also, in terms of wage equality

  • I don't understand if you're at a very successful agency,

  • and they know what everyone's making on the film

  • how an agent is okay with you making a third

  • of your co-star's salary?

  • I've been on projects.

  • After Zero Dark Thirty I was sent a lot of scripts

  • where it's a female protagonist,

  • and they wouldn't do my deal until they knew

  • who the male actor was because they needed

  • to do his deal first and then see what was leftover.

  • (all groan)

  • - What?

  • - Yeah, and I was like, "I'm not doing that anymore."

  • So from now on, if someone has something

  • they're bringing to me, great, let's do my deal,

  • but also if someone's showing up for three weeks

  • of a two month film, they're not getting paid more than me.

  • - No!

  • - No.

  • - It's something that I feel like before

  • I used to trust the industry.

  • - Be protectors.

  • - Exactly, but I think we've just come to realize

  • we have to be more proactive.

  • - Is that a priority for you?

  • You've been vocal on this issue.

  • - It's much easier for me now to be paid fairly.

  • The reason I spoke out about it was really, I'm fine.

  • I'm okay.

  • It's just if I'm going through this,

  • and once again we're in the industry,

  • everybody's looking at us, if we're going through this

  • every woman in the world is going through this,

  • so now obviously it's something that I look closely at.

  • The real problem is the normalization of it.

  • It's the reason why your agents don't think twice

  • about paying you a third because it's been so normalized

  • for so long.

  • That's why when I was being disrespected on the movie,

  • and I was being treated a certain way, and I would call,

  • nobody could do anything about it

  • because the behavior was normalized.

  • - It's an industry that's normalized abuse and violence

  • and pay gaps.

  • - Allison, is there a role that you've played

  • that has really stuck with you and influenced you

  • in your personal life especially?

  • - I was not expecting that question.

  • - Can I answer it for you?

  • - Please do that for me.

  • - If you'd like to talk about pay

  • you can do that as well, but...

  • - If I'd like to talk about what?

  • - About pay.

  • - Oh, pay.

  • It's so funny.

  • I do a TV show that two women are the leads,

  • so we're like, "Damn, we don't know how much

  • "we're not getting paid."

  • We don't have any way to compare.

  • - How much could we be making?

  • - [Matthew] If a man made more than you guys,

  • I would be surprised.

  • - Oh, I would, I would, I would...

  • You know, I suppose, well West Wing,

  • CJ Cregg was huge because she's such a great role

  • and role model, and I have a lot of people

  • that come up to me and say that

  • that character inspired them to go into politics,

  • go into public service, and that's fantastic.

  • I just feel like such a pretender to the throne

  • in that role because I'm not as clever or smart

  • as CJ is, and I feel bad about it

  • like I let people down when they actually meet me,

  • like, "Oh, you're not anything like CJ."

  • But, then there's some other roles...

  • That's the one.

  • I'm gonna go with that one.

  • - That's a good one.

  • - Was that what you were hoping I'd say?

  • - I'm a fan of that show.

  • (all chattering)

  • - I feel like I'm playing Password,

  • and I'm like, "Is this the right answer?"

  • (all chattering)

  • - I have watched that so many times,

  • and I'm like, "I am stealing that moment

  • "and that moment and that laughing thing."

  • - You have got to work with my...

  • - What's interesting is you just worked with

  • Aaron Sorkin on this film, and I was mentioning it before.

  • He has been criticized a little bit in the past

  • over some of the female characters,

  • and people have said that they don't

  • control their own destiny and things like that,

  • but then you look at a character like CJ Cregg

  • on the West Wing or your character in this film.

  • It seems like they do control their own destiny.

  • What's your take on that?

  • (Jessica sighs)

  • - What's my take on that?

  • What I'm so excited about,

  • and I hope that other people who've been in the industry

  • as long as Aaron Sorkin has

  • and ones that have as much power as he has

  • are inspired by what he did

  • because for his directorial debut

  • he decided to tell the story with a female protagonist,

  • and he made a film about patriarchy

  • in terms of family, in terms of industry, and government.

  • And, what women have to do to try to navigate

  • the rules of men.

  • - My brilliant find.

  • He lost $6 million on my table.

  • - Stop, stop.

  • - Moved to Florida, got a job as a substitute teacher,

  • then hanged himself in his shower.

  • - Oh, and that's your fault?

  • That's not your fault!

  • - Johnny Sutherland is dead.

  • Harlan Eustice is in jail in Nevada

  • wishing he was, but that's not why I'm saying no.

  • - You're not saying no.

  • - I was named after my great grandmother.

  • - I don't care.

  • We will stay here all night - Molly Dublin Bloom

  • is my name. - until you understand

  • nobody gives a shit about your good name.

  • - I do.

  • - [Charlie] Why?

  • Why? - Because.

  • - Tell me why!

  • - Because it's all I have left!

  • - When I read the script in the beginning

  • I was like, "I just can't believe he's telling this story."

  • Twice in the film men tell Molly

  • that she's not presenting herself appropriately physically.

  • Her boss tells her she has ugly clothes,

  • so she goes and buys really sexy clothes

  • to make her more desirable in the room,

  • and then also her lawyer tells her

  • she looks like a Cinemax version of herself,

  • and that she needs to change her clothes.

  • I mean, there's so much in this film

  • that deals with what a woman has to do

  • to try to find some bit of success,

  • to find some sense of power over her own life,

  • and I'm really impressed that Aaron Sorkin,

  • who could have told any story that he wanted,

  • chose to tell that story.

  • - I love to believe that it's because he has a daughter now.

  • I really think that has empowered him to write.

  • - He said that.

  • - He did say that?

  • Oh, well.

  • - But, also do you know what he did say to me the other day

  • when we were talking about what's going on

  • in the industry?

  • His daughter, Roxy, he said that he was talking to her

  • and saying, "Listen.

  • "When you go into the workforce

  • "if a guy grabs you or does anything to do

  • "you can scream, you can fight back,

  • "you can do all these things,"

  • and that she turned to him and said,

  • "Dad, why are you teaching me to defend myself

  • "and not teaching those guys not to be creeps?"

  • (Jennifer laughs)

  • - Good point. - Well played, Roxy.

  • - Yeah, so absolutely.

  • I think that's what he's trying to do now

  • is to teach men not to be creeps.

  • The onus isn't on the women.

  • Society has a way of blaming victims.

  • "You didn't come out soon enough"

  • or "you're not asking for enough money,"

  • but actually the onus is on the others

  • not to abuse their power.

  • - [Allison] Absolutely.

  • - Mary, this is your most ambitious feature you've done.

  • What was the preparation process like for this

  • compared to your normal music career

  • and preparation that you normally go through?

  • - Well, of course I needed an acting coach.

  • But, I think I was being prepared for this role

  • ever since I was a little girl.

  • My mom and my dad are Southern people,

  • and they came to New York in their 20's,

  • and they had me, and I was born in the Bronx,

  • so I'm a New York girl,

  • but my mom sent me to Georgia, Savannah, Georgia,

  • every summer.

  • My grandmother was this woman, Florence.

  • My aunt was this woman, Florence, all my aunts.

  • And, every woman in the South

  • they had farms and chickens and all these different things,

  • but they had this silent power.

  • They didn't really say much,

  • but you knew that they were powerful

  • because of the way their men treated them

  • and because of how everybody treated them.

  • So, that part of my life prepared me to be Florence.

  • Florence was a silent, powerful woman,

  • and when she spoke, her husband listened

  • because she didn't say much,

  • and she loved her family.

  • So, she was just this woman that really really

  • loved her family.

  • They were all stripped down.

  • They didn't wear things that we wear these days,

  • and they didn't hang on to them.

  • They just were free.

  • Free, strong women, so that's what prepared me.

  • Of course, and an acting coach.

  • (all laugh)

  • - You just come back.

  • - I will.

  • - You come call the way back.

  • You hear?

  • - I love you, mama.

  • - I love you too, baby.

  • (somber music)

  • - My acting coach is one of my friends,

  • so I was going through hell in my personal life,

  • and I just ran over to her house,

  • and I just threw myself on the floor,

  • and just started crying.

  • And, she was like, "This is what you do."

  • She didn't baby me.

  • She said, "You take all of that shit

  • "and you give it to Florence."

  • - And, I was so like, "Oh no, hug me, do something."

  • And, I had to pull myself together

  • and just give everything to Florence,

  • so that was the first thing I said to her.

  • "Help me, I'm going through it,"

  • and she said, "Forget it.

  • "Give it to Florence."

  • (lively music)

  • - Is there something memorable

  • that an acting coach has said to one of you

  • through your career or mentor figure

  • or something that you carry with you for each performance?

  • - Yeah, Sanford Mesiner told me

  • don't let anyone tell you you're too tall to act.

  • (all laugh)

  • - That's that James Dean quote.

  • "How can you measure acting in inches?"

  • They told him he was too short.

  • - Oh my god, that's so funny.

  • That always stays with me.

  • - Al Pacino told me, he directed my first film,

  • and he said that for film it has to be real,

  • so whatever you are feeling the camera's an extension.

  • It can see more into you than your scene partner.

  • So, to look at it not like it's a separate thing,

  • but it's part of your body almost.

  • It has a direct link to your soul,

  • so whatever you're feeling you can try to hide it,

  • but the camera's gonna get it.

  • There's this sense of once you allow that

  • and allow yourself to hide a little bit if you want,

  • but it's still gonna see it anyway,

  • and whatever you are feeling

  • that's what the character's feeling.

  • I was so lucky that that was my first film

  • because I was afraid to go from...

  • I started in theater,

  • and I was afraid to go from theater to film.

  • I thought there was gonna be a big difference in the acting,

  • and that advice changed everything for me.

  • - That's great.

  • - I did a period film recently,

  • and it was set in the 16th century.

  • - Brooklyn?

  • - No.

  • - [Jennifer] 16th century.

  • (all chattering)

  • - One of the best pieces of advice I've ever gotten

  • was from one of the other actors that was on the job.

  • I was trying to figure out a scene,

  • and it's like, you know, so much of it

  • is this beautiful, traditional, old language

  • which is great, but it's very hard

  • to get to the heart of it,

  • and there's this big scene in the film

  • between me and one of the other characters,

  • and I was trying to figure out how to do it,

  • and it was just this big turning point

  • for this bit in Mary Queen of Scots for Mary,

  • and I was talking to one of the other actors, and he said,

  • "Basically what it comes down to

  • "is you just have to talk like a human,"

  • and as soon as he said it to me I just went,

  • "Oh yeah, that's actually it."

  • No matter what era you're in

  • or what kind of language you're using,

  • it's just about remember that this person

  • is just a human being regardless

  • of what situation they're in.

  • - Did you have any challenge in playing

  • a version of your director on Lady Bird with her there?

  • - Well, I was just terrified that I was gonna

  • mess it up, I think, 'cause she was there every day.

  • She was there every day.

  • It's not necessarily autobiographical,

  • but I think what we've been saying

  • is when Greta and I came together

  • Lady Bird was born.

  • She's come from us, but she's very separate to us too,

  • and she's the girl that we've aspired to be a little bit

  • or aspired to be when we were 17.

  • - I want to go where culture is like New York.

  • - How did I raise such a snob?

  • - Or, at least Connecticut or New Hampshire

  • where writers live in the woods.

  • - You couldn't get into those schools anyway.

  • - Mom.

  • - You can't even pass your driver's test.

  • - Because you wouldn't let me practice enough.

  • - The way that you work, or the way that you don't work,

  • you're not even worth state tuition, Christine.

  • - My name is Lady Bird.

  • - Well, actually it's not, and it's ridiculous

  • because your name - Call me Lady Bird

  • like you said you would. - is Christine.

  • You should just got to city college.

  • With your work ethic just go to city college

  • and then to jail and then back to city college

  • and then maybe you'd learn to pull yourself up

  • and not expect everybody to do everything.

  • (screams)

  • - She's a ballsy girl as well.

  • She's confident and she's got a lot of self-belief,

  • and she's also got a lot of self-doubt.

  • And again, we've talked about it a lot now,

  • but just having well-rounded female characters

  • is so important, and it's something that we're all

  • gonna gravitate towards 'cause we want to do good work.

  • So, getting to play a character like that

  • that's magic and she's also flawed is amazing.

  • - Jennifer, when you were making mother!

  • I'm curious about the process

  • 'cause obviously when you sign on to this film

  • you know it's gonna be polarizing,

  • and you know it's gonna go to a place

  • that's gonna make some people uncomfortable.

  • What is it like making a film like that?

  • Is there a conversation around

  • people are gonna go nuts over this?

  • - I mean, we would laugh about it,

  • but by the time we showed up nobody had any doubts

  • about what we were doing.

  • We spent three months meeting in a warehouse in Brooklyn

  • talking over the themes of the movie

  • and talking about the movie.

  • By the time we got there we were rock solid

  • on what we were doing

  • to the point that even when the movie came out

  • and we have an F on Cinemascore, 63%,

  • nobody's really surprised.

  • We're just like, "Well, yeah."

  • We know that when we were on set,

  • and it's kind of like an inside joke.

  • I've never done a movie before where...

  • Every time you make a movie you're like,

  • "I hope everyone likes it."

  • This was the first time I've ever made a movie

  • where we know not everybody's gonna like it.

  • - [Matthew] There was no fear of that?

  • - I mean, people hate it.

  • No.

  • I mean, if there was fear of

  • that none of us would have been there.

  • Anybody who showed up on that set was prepared.

  • We knew what we were doing.

  • There really were no surprises.

  • (floor creaks)

  • (gasps)

  • (high pitched ringing)

  • - Do you fear what the reaction to your work is gonna be?

  • (Jennifer scoffs)

  • - Yeah.

  • (Emma laughs)

  • We all do.

  • - Yeah, but how so?

  • When you're making it, you said that you went into this-

  • - [Jennifer] Sorry, you were asking them.

  • - I know, but you went into this

  • - None of us do.

  • - knowing it was gonna be polarizing.

  • When you're going into your projects

  • do you fear that is this gonna be taken the right way,

  • am I making a fool of myself?

  • That kind of thing.

  • - Yeah.

  • Yes, definitely.

  • But, I think that also there comes a point

  • where you just have to let it go,

  • and go, "All right, well this is it."

  • Like she was talking about, you get to know it so well

  • you go into it and you're like,

  • "Well this is what we're doing,"

  • so in the end if you had the great collaborative experience

  • with a group of people who really cared about the project...

  • I mean, I think it's actually harder

  • when the wheels come off when you're filming something,

  • when there's a bunch of different ideas

  • that are happening on the day

  • 'cause I've certainly had that experience,

  • going into something thinking it was one thing,

  • and having it turn into a completely different experience.

  • That's harder to get behind it when it's coming out

  • and not be afraid of that kind of reaction,

  • but when you're in a team mentality,

  • which is the greatest thing, that's my favorite part

  • about getting to do the job that I do

  • is that feeling of being a team

  • and being a cog in a bigger machine,

  • it's so amazing to know well all right,

  • we all did this together, and whatever happens

  • we're going down with that ship.

  • - It's always a gamble.

  • You never know.

  • - And, you hope that you're doing work

  • that's exciting or challenging enough

  • that you don't know what the reaction

  • is necessarily gonna be.

  • - Are you usually right?

  • Are you usually right in how your films will be received?

  • - Well, it's interesting because I don't do anything...

  • I just assume it's not gonna be commercially successful.

  • I don't know why.

  • When I'm going in I always assume that,

  • but for me my fear is that they're not gonna understand

  • what we were doing.

  • (Emma laughs)

  • So, the idea of you need the Cliff Notes,

  • you know what I mean?

  • To go to an audience member and be like,

  • "Did you get that part?"

  • You know, all the work we put in.

  • - So, your biggest fear was my experience on mother!

  • (all laugh)

  • - But, I watched that movie and I loved it

  • because I was like, "Wow, this is so deep.

  • "Look at all this stuff they did."

  • For me, I love all the work that goes into a film

  • that my greatest fear is that they're not gonna understand

  • or get it, what we were doing,

  • but those are the films that usually in 20 years

  • all of a sudden will be revisited, you know?

  • So, I allow that to happen.

  • - I'm not normally right.

  • I have no instincts at all.

  • I just go in blindly, and then while I'm there I'm like,

  • "Who knows?"

  • I'm so bad at knowing if a movie is gonna be bad or good.

  • - Even after you've seen the finished product?

  • - Oh, yeah.

  • When I saw Winter's Bone I was like,

  • "Well, better lock up shop.

  • "No one's gonna see this."

  • You don't know, it's so hard.

  • The first time I watch anything

  • I'm just watching my double chin and my acne,

  • am I bloated?

  • Yeah, the first time I ever see a movie.

  • Am I the only one?

  • (all chattering)

  • - Listen, I'm my worst critic,

  • so I don't even listen to myself.

  • - You don't listen?

  • - I know I'm my worst critic 'cause like she said

  • I'm looking at just how horrible everything looks.

  • - You don't listen to your music either?

  • - No.

  • - [Saoirse] Do you not?

  • - No, not really.

  • And, I don't even look at any of my performances back again.

  • I just don't want to see it.

  • I just got used to listening to my own speaking voice

  • maybe five years ago.

  • - Speaking voice is the hardest part.

  • That's like listening to yourself on a voicemail.

  • It's like, "That's what I sound like?"

  • - No, seriously.

  • I just started listening to maybe a song from me.

  • - But, you know what's good about that though

  • is that its just going from your feeling

  • 'cause I hate watching anything that I'm in,

  • never get anything out of it.

  • Ladybird was the first time I've even been able to sit down

  • and go, "Oh yeah, it's really good."

  • But, I think that's because you obviously

  • go from your instinct as well,

  • and you're performing from your instinct.

  • I find I don't need to look at the end product.

  • That's not what I'm doing it for.

  • I'm doing it for being on set and work.

  • - Right, and I don't want to see it again

  • and get programmed and do that again.

  • I don't ever want to do the same thing ever again

  • in anything I do.

  • I want to be fresh every time,

  • and I just don't want to see it anyway.

  • - I do my work is on the set, I have the experience,

  • and that's what it was for me,

  • and I don't need to see it.

  • And, then the movie comes out,

  • and I'm like, "Oh god, I got to go."

  • I will go down the red carpet,

  • and then I will go out to dinner

  • and meet people at the party, but I don't want to...

  • (all chattering)

  • - Yeah, what were you saying?

  • - We were saying Tate Taylor because we all had a little bit

  • to do with The Help, not all of us, I know,

  • but a lot of us at this table,

  • and Tate Taylor the director of The Help

  • made me laugh so much because I'd seen myself do this before

  • and on the set of The Help he goes,

  • "All right, why don't you just do your teary cry smile?"

  • And, I'm like, "I know exactly what it is."

  • It's like, with a tear.

  • "Do your teary cry smile in this scene.

  • "I don't care."

  • I was like, "Oh my god."

  • I've never done it since.

  • I was like, "Fuck, it's my teary cry smile moment."

  • If I see it in movies, I'm like, "God damn it."

  • - That's the worst if I see something and I recognize it.

  • So, you're the opposite.

  • You learn from watching yourself?

  • (all laugh)

  • - You're like, "He's figured me out.

  • "He got it."

  • - It's my shtick!

  • - I wonder if its because in real life

  • I don't really wear a lot of makeup normally.

  • I'm at my house, whatever, normal.

  • No one really stops me on the street

  • or anything like that.

  • Perhaps it's because I don't love the way I look normally

  • that when I'm acting my characters look so different.

  • - Is that important for you when you're choosing a role?

  • - [Jessica] Yes.

  • - Or, even once you've agreed to do something

  • that physically you just want it

  • to be very different to you.

  • - In fact with Molly's Game before I showed it,

  • it was a month before, Aaron started saying,

  • "You know, I think I want Molly to look like you."

  • And, I was like, "What?"

  • It was a whole out of nowhere

  • because if you Google Molly Bloom

  • she looks like a Kardashian.

  • It's a completely different thing.

  • - Take it easy.

  • (all laugh)

  • - In a good way, in the most fabulous way.

  • We did the shading, we did everything for this character

  • to show that.

  • I realized that for me I don't want it

  • to be me in a character.

  • - I think it's the same with accents as well.

  • I find that with accents.

  • I'm only starting to get to the stage now where-

  • - You don't have to do that accent anymore.

  • - Okay, all right guys.

  • I'm so excited to be here, honestly.

  • This is who I really am.

  • But, I think that was something that I found

  • I could use as a shield.

  • Not that I wasn't delving into the characters or anything.

  • Maybe because I started when I was young

  • it was a great way to separate myself from it.

  • - [Jennifer] Yeah, it's easier to come in and out that way.

  • - Yeah, I mean, your accent is such a huge part

  • of who you are, how you communicate, how you interact,

  • and I found only recently I'm getting to the stage

  • where I actually want to use my accent in a film.

  • It's a very vulnerable thing to do I think

  • with your physicality and how you sound

  • and things like that.

  • - Well.

  • (Mary laughs)

  • When I watched Rock of Ages I was like,

  • "That's Mary J Blige."

  • - [Saoirse] And, you didn't know what you looked like

  • 'cause you never watch footage of yourself.

  • - I'm like, "Oh, that's awful."

  • That's not supposed to be Mary J Blige,

  • that's supposed to be the character.

  • And, then I saw Mudbound at Sundance,

  • and I looked at the character when I was finally able

  • 'cause I was trying to direct everybody.

  • "Your part's coming, your part's coming."

  • I was trying to hide from my part,

  • and God was like.

  • And, when I saw the character, when I saw Florence

  • I just started crying because it wasn't me.

  • I was like, "Who is that?"

  • It was a character, so that was a moment for me

  • where it was like, "Wow okay, I've done something.

  • - And, then was it easier for you to watch yourself

  • because you could watch it and think,

  • "That's a character"?

  • - [Mary] I'm sorry?

  • - Was it easier for you to watch yourself on screen

  • because it wasn't you?

  • - From that moment on I was able

  • to watch the movie at Sundance.

  • I sat and I watched the whole movie,

  • but before my part came I was like, "Your part's coming."

  • - You sound horrible to sit next to at a premiere.

  • (all laugh)

  • - Everybody's like, "Shut up, shut up, shut up."

  • I'm trying to direct them,

  • and when my part came I was completely directed

  • to look at it, and I had to look at it, and it wasn't me.

  • - Have you watched it since?

  • - [Mary] And, I cried.

  • - [Saoirse] Have you watched it since

  • or have you only watched it the once?

  • - I think I watched it twice.

  • I think so.

  • I think we watched it in Toronto if I'm not mistaken.

  • But yeah, I mean, that was cool

  • 'cause I see Mary J Blige in everything I do,

  • so I'm so glad we got rid of her.

  • (all laugh)

  • - Allison, is there someone in your career

  • or a performer that has most influenced your work?

  • - Oh gosh.

  • I don't know if there are.

  • Well, I mean Laurie Metcalf.

  • I first saw her in-

  • - That's Saoirse Ronan.

  • (all laugh)

  • - She plays her mother in Ladybird,

  • and I saw her on Broadway.

  • - You're still pointing at me.

  • - Well, I'm thinking.

  • Now it just went out of my head, in this play.

  • It was Balm in Gilead.

  • - The one this year?

  • - Oh yeah, the one with the monologue,

  • where Laurie had the long monologue.

  • - No, where Laurie did a monologue,

  • and I saw her and Glenne Headly,

  • and I literally, I had two feelings.

  • One was that I was gonna quit acting

  • 'cause I would never be able to do what they did,

  • and then the other was like, "I want to do that."

  • They inspired me and scared the shit out of me

  • watching those brilliant women perform,

  • and then through the years other performances,

  • it's not like I'm just glued to one actress,

  • but different performances have inspired me over the years.

  • Of course, now that you're asking me I can't think of one,

  • but certainly every one of these women around this table

  • have inspired me.

  • - Laurie Metcalf.

  • Myself, Laurie.

  • - Jessica Chastain.

  • - [Saoirse] No, she's not Mary J Blige.

  • - Well, I am now.

  • - Yeah right, okay.

  • (all laugh)

  • - My god, Judi Dench.

  • - [Saoirse] Judi, she's so cool.

  • - One thing about I, Tonya that's interesting,

  • and this is something for the table as well

  • is the decision to take on a nasty character

  • and someone who is not just a villain in the story,

  • but is actually a real person.

  • - Yeah, and how about that one of my best friends

  • actually wrote it for me.

  • - [Matthew] Right.

  • - Whoa, they wrote that casting?

  • - Very offensive.

  • - [Mary] There was something about you.

  • - That's what I'm saying.

  • He must know the dark underside of my soul, I don't know.

  • He just knew that I would...

  • I think he knew.

  • We had one little short video clip

  • of the real LaVona Harding,

  • and in the clip she wears a fur coat

  • with a bird on her shoulder and a bowl haircut

  • and these big glasses, and it's phenomenal,

  • but it's the only footage we had,

  • and he couldn't find her.

  • He interviewed Tonya Harding and Jeff Gillooly

  • and found both of their stories were so wildly contradictory

  • that he decided, "I've got to tell this movie

  • "through everybody's point of view"

  • 'cause it's crazy how everyone

  • has a completely different version of what happened,

  • so we couldn't find the mother,

  • so it's Tonya's version of her mother,

  • and Tonya thought her mother was a monster.

  • - Even when I was a kid did you ever love me or anything?

  • - You think Sonja Henie's mother loved her?

  • Poor fuckin' you.

  • I didn't stay home making apple Brown Betties.

  • No, I made you a champion

  • knowing you'd hate me for it.

  • That's the sacrifice a mother makes.

  • I wish I had a mother like me instead of nice.

  • Nice gets you shit.

  • I didn't like my mother either, so what?

  • I fucking gave you a gift!

  • - It was wonderful because I got to do

  • all this old age makeup.

  • I was three hours in makeup, and then I saw myself,

  • and I was like, "Oh my god, this is fantastic."

  • I don't have to worry about my jowls.

  • I didn't care about it.

  • It was so freeing to go in and work on a part

  • that I didn't care what I looked like,

  • and it was really fantastic.

  • Even seeing it I was like, "Oh god, I can watch myself."

  • I'm so awful.

  • I don't know it was easy to watch.

  • - [Matthew] It takes away the vanity.

  • - Yeah, there's no vanity involved in it.

  • It was really fun to play her.

  • I have to always find something in my characters

  • that I like or I understand what motivates her,

  • and there actually was something positive and good

  • that motivated her even though

  • she's not gonna win Mother of Year at all.

  • - Do you think about the morals of the character

  • before you agree to play the character?

  • No.

  • - [Jessica] I don't.

  • - No.

  • It doesn't matter.

  • - I mean, before I signed on I judged Molly a lot

  • 'cause I saw pictures of her,

  • and I was like mmh, and then I met her,

  • and actually then blamed myself

  • for believing this story that the media had given me,

  • but I've played people who've killed people,

  • and I don't think you can judge them.

  • For me, I actually feel more sorry for people

  • who are making mistakes.

  • I have more empathy for the characters

  • that do the wrong thing.

  • - I judge mine, but then...

  • I'll just go right in.

  • (all laugh)

  • When I was doing mother! I've never played a character

  • that was so different in her personality than myself,

  • and it was incredibly irritating through the whole thing.

  • I would just continue to say,

  • "Well, why would she put up with that?"

  • And, "Why would she say that?"

  • Because she's not me.

  • That's not how she would handle something,

  • so I was very judgmental and thought she was very annoying,

  • but in between action and cut,

  • and when I was her I fully understood

  • why she would think that way,

  • but when I was me I was like, "What an idiot."

  • (all laugh)

  • (lively music)

  • - [Matthew] Emma, what's the worst career advice

  • you've ever been given?

  • - It's something I've said probably.

  • - Probably something that she told me.

  • (all laugh)

  • - Let me run your life.

  • - Let me run your life.

  • - No, that's actually pretty good advice.

  • Probably advice I've given to myself,

  • things that I've told myself.

  • - I was just thinking the same thing.

  • I was just gonna tell you the worst advice you've given

  • is by yourself.

  • She's so hard on herself.

  • - Yeah.

  • And, I think because I've made mistakes before

  • I have such a hard time forgiving myself

  • that I get scared and then I lock up,

  • and I'm like, "Well, maybe I shouldn't do this."

  • As time has gone on, I've gotten more excited

  • to play people that are unlike me,

  • or where I need to go into different worlds

  • because I've felt for so long in my own experience,

  • so that's what I understood how to play,

  • but now that I am able to see how rewarding it is

  • to lose yourself in someone else's experience,

  • to find these people that are nothing like you,

  • and let their traits infuse your life.

  • I mean, playing Billie Jean has truly changed my life.

  • She's infused so much into my spirit.

  • Now it's incredibly exciting. - Did you have to be

  • convinced to do that?

  • - Sort of.

  • I mean, there was a shift that was happening

  • a couple of years ago, maybe it's just maturity,

  • or whatever my half is as an actor

  • and as a human, as a woman,

  • but it become something that I really wanted

  • to expand into because for a long time

  • I was playing different versions of myself,

  • teary cry smile and all.

  • (all laugh)

  • And, even if it wasn't supposed to be a version of myself

  • I didn't really fully understand how to access that.

  • - She's so mean.

  • You're so mean to my good friend, Emily.

  • - I know.

  • Please don't talk about my friend like that.

  • Yeah, but as time as gone on

  • it's been so incredibly rewarding to take risks,

  • to dare, to not be afraid to make mistakes

  • because as the most anxious kid

  • you've ever met my whole life has been defined by,

  • "Please don't mess up, I can't mess up, no."

  • And, that's changing which is incredible.

  • - How about you, Allison?

  • Worst career advice?

  • - It would be obviously from myself.

  • Don't do that, you're terrible.

  • I'm just a terrible self-critic too, I guess.

  • Are we all that way or no?

  • I don't know.

  • I'm really really hard on myself,

  • but I usually try to go,

  • "What is Allison telling Allison to do?

  • "Let's do the opposite."

  • - That's good advice.

  • - I joined a Broadway musical.

  • I got offered that, and I was like,

  • "I'm not doing a Broadway musical.

  • "I can't sing.

  • "I'm not doing that."

  • I would've loved to do it. - I saw you in a musical!

  • - Did you seen nine?

  • It's the only one I've done, so it had to be that one.

  • - [Jessica] It was good.

  • - It was good, I was all right, right?

  • - You were good.

  • You're always good.

  • - I love you.

  • - [Jessica] Please.

  • - Anyway, definitely myself.

  • No one else has.

  • Oh, there was one movie.

  • Nevermind.

  • (all laugh)

  • - How about you, Saoirse?

  • You've made interesting choices as an actress,

  • and you've avoided going the gigantic

  • Hollywood blockbuster route.

  • Is that by choice, or is that something

  • that you see yourself as a certain type of actress?

  • - No, definitely not.

  • I mean, listen.

  • If a big budget film came along that was great,

  • and they wanted me to be in it, and I liked the role

  • then yeah, of course I would do it.

  • But, I've just found I've just gravitated

  • towards certain things, but I think it would be wrong

  • to pigeon-hole yourself as an indie actor

  • or a movie star or whatever.

  • It was one of the best pieces of advice

  • that someone gave me recently is that

  • you should never do something because you should do it,

  • if you know what I mean.

  • You should only do something

  • because you want to or because you feel like you need to,

  • and so I think that's something

  • 'cause I've been the same as you,

  • very very harsh critic on myself,

  • really beaten myself up about certain things over the years.

  • And, also just knowing that you haven't stood up

  • for yourself as much as you probably should,

  • and I've always had that in my head.

  • "I should do this, I should do this."

  • Not even just with work, but just in life.

  • It's something that I think you get over that

  • with maturity and just realizing what's actually important,

  • so that's something I've had to work on for sure.

  • - Is there an actor living or dead

  • that you would most like to meet or collaborate with?

  • - [Jessica] Gary Oldman.

  • - [Matthew] Really?

  • - Gary Oldman and Isabelle Huppert are my favorite.

  • Isabelle played my mother in a movie,

  • so Gary Oldman for sure.

  • - [Matthew] Why him?

  • - Since I was a little kid when I would watch him on screen

  • he's someone that when you watch

  • from performance to performance he doesn't

  • look like himself.

  • - [Jennifer] Totally, yeah.

  • You can never recognize him.

  • - That's what I'm drawn to in acting,

  • and it means that in real life

  • I'm sure he can go down the street

  • and people don't recognize him

  • which is insane to me that people

  • wouldn't recognize Gary Oldman, but he's a shape shifter.

  • He changes his voice, he changes the way he looks.

  • He's spectacular. - Especially in the new film.

  • - I've said that in my earlier interviews,

  • so I just want to say I think Jessica stole that from me.

  • - [Matthew] She stole that from you?

  • - Yeah, 'cause I used to talk about Gary Oldman.

  • - In 2012 I did an interview

  • where I said he was my cinematic crush.

  • - I hate answering these questions

  • because I feel like I'll say one actor,

  • and then I'll leave and there's like 45 other actors.

  • I want to say Bill Murray, but I can't.

  • - [Matthew] You can say Bill Murray.

  • - No, no, I'm gonna say Bill Murray.

  • No, I mean it.

  • Bill Murray.

  • I don't mean it flippantly, I mean Bill Murray,

  • but I hate answering these questions

  • 'cause there's just too many.

  • - How about you?

  • - I mean, if I don't do something with Diane Keaton

  • before the end of time I don't know what I'll do.

  • She's my everything.

  • I love her so much.

  • - You talk about her a lot.

  • - I talk about her a little bit too much,

  • and I also absolutely love Hank Azaria.

  • I think he's criminally underrated and brilliant.

  • - Mary, you recently decided to focus on acting.

  • Is there a career path that you are envisioning?

  • - [Mary] A career path I'm envisioning for acting?

  • - Yeah, someone you'd really like to emulate

  • in the acting side, the choices they've made,

  • some of the roles they've played.

  • - I thought you meant personally, no.

  • I know this may sound cliche 'cause everyone says this.

  • Meryl Streep is...

  • I wish I could do some of that.

  • She's another one that transforms.

  • She goes from Death Becomes Her

  • to the movie where she's not even speaking English.

  • I forget the name of the movie.

  • - [Jessica] Sophie's Choice.

  • - Yeah.

  • She's just oh my goodness.

  • The question of someone I would like to act with

  • dead or alive, Frank Sinatra because I didn't know

  • he was a great actor like that,

  • and of course he's a great singer.

  • Yeah anyway, Angela Bassett is another one

  • that I think is just amazing.

  • Those are my top two,

  • and her because she's just amazing in Juno.

  • She made me laugh 'til I cried in Juno,

  • and she's just amazing in everything she does.

  • They just do it so easily.

  • I want to be able to do that. - She has the

  • Bill Murray-esque where no matter what she's doing

  • you love her so much.

  • Even in I, Tonya when she was being

  • the worst mother in the world I was like,

  • "No, I think this is gonna turn around.

  • "I really like her."

  • - I haven't seen I, Tonya yet,

  • and I saw a preview at the Hollywood Film Awards,

  • and I was like, "Oh, I have to see this movie."

  • When she's cursing her out with the cigarette.

  • - You're so brilliant in Mom as well.

  • When I'm sad that's what I would watch.

  • I love it.

  • I love you and Anna together.

  • It's great to watch.

  • - I love you, thank you.

  • That's really sweet.

  • - I want one Billie Jean King question.

  • How much did you interact with her?

  • How much did you take from her personal cues

  • and the things you learned from her in playing the role?

  • - Early on we met.

  • I sat with her and her partner Ilana

  • and we talked for a long time,

  • and we got each other's phone numbers,

  • and I was like, "Whew."

  • We started talking about things,

  • and I realized she had over 40 years of hindsight

  • on those kinds of events.

  • If you asked me about an event

  • that happened when I was 12.

  • I mean, obviously I would be in my 40's,

  • but I would say, "Well, okay.

  • "here's what I learned from that,

  • "and here's how my life changed from then.

  • "I can understand it in a different way now."

  • So, I realized pretty quickly that watching footage

  • of her at that time, studying as much as I possibly could

  • from that era was gonna benefit me in a different way

  • because she was in the midst of so much turmoil and struggle

  • and yet had to put on this public face

  • as essentially the leader of equality in her industry.

  • It was actually really helpful to immerse myself

  • in that time period and ask her questions

  • every one in a while, but now we've gotten

  • to know each other, now we're best friends.

  • - Did you see it for the first time

  • when she saw it for the first time?

  • - No, she watched it on her own in Vegas

  • twice in a row in a hotel room.

  • I was like, "She's watching it now?"

  • And, they were like, "Yeah, she's watching it again."

  • I was like, "What?"

  • (all laugh)

  • I didn't hear from her for a week.

  • - [Matthew] Really, and what was the first communication?

  • - She was so wonderful,

  • and she's been so supportive the whole time,

  • but I think it's just a deeply emotional experience for her.

  • I mean, think about your first love and how that turned out,

  • and then you're watching someone

  • play the heights of that love.

  • There was so much secrecy, and she was married.

  • She's so generous with her life story,

  • and that has to be so excruciating,

  • and she said that for her to watch

  • or for Ilana to watch,

  • you know Ilana's seen it nine times now,

  • and it's a lot.

  • I think it's a lot to take in.

  • It's really painful to sit with,

  • so she's been incredible to let us take that story

  • and share it with the world in that way.

  • - Is there one line from one of your movies,

  • one of your character's lines

  • that has stuck with you

  • and that you just really love?

  • - "You are not a stand up guy."

  • It's from Silver Linings Playbook,

  • and whenever David makes me mad I always said it to him.

  • - How often is that?

  • - Yesterday.

  • (all laugh)

  • - How about you, Jessica?

  • - Well, the only thing 'cause it's the line

  • that's always quoted to me.

  • Whenever someone recognizes me

  • they say, "I'm the mother fucker who found this place."

  • Always.

  • That's the only one.

  • - [Matthew] It's your line.

  • - It's good.

  • I was actually at a boat show in Florida a few weeks ago,

  • and these guys came over, this gay couple,

  • and they were Southern, and they were like,

  • "Pardon my language, but I love mother fucker."

  • I was like, "Yes!"

  • - [Matthew] That's fun.

  • - Yeah, it was good.

  • - [Matthew] Saoirse?

  • - I have to think about that for a second.

  • I think the one that I can just remember

  • which I think is just quite a good message anyway

  • is, "Adapt or die, think on your feet,"

  • or, "think on my feet even when I'm sleeping"

  • and that's from Hanna, and it's this bit

  • where her dad is basically preparing her for the world,

  • and she's got all of this drilled into her head

  • in order to go out into this world

  • that she knows nothing about,

  • but I think that's quite a good thing to remember,

  • to just adapt to every situation that you're in

  • as much as you can.

  • - I have a good one that actually I've wanted to say

  • in probably actually every movie I've ever done,

  • but I get to say it in this one.

  • "Well, my storyline is disappearing.

  • "What the fuck?"

  • (all laugh)

  • - [Matthew] That's a good line.

  • That was a big laugh line at the premiere.

  • - It's a very funny little scene.

  • They thought they were gonna cut it out,

  • but they just found, "Well, that might work here."

  • They kept moving it all throughout the movie

  • 'cause it's such a funny.

  • - Very in the character too.

  • - "Love is a kind of survival."

  • Florence Jackson.

  • - [Matthew] Interesting.

  • That's great.

  • And, you have the last word.

  • - "Piss off Quiznos."

  • It's from Easy A.

  • I just shove a Quiznos guy and just say,

  • "Piss off Quiznos."

  • - [Matthew] That's a good one.

  • - I just watched it last night.

  • - I auditioned for Easy A.

  • I wanted it so bad.

  • - Well, guess what?

  • (Jennifer laughs)

  • You didn't get it.

  • You didn't get it because you suck!

  • - Outside!

  • - Have you ever told her that before?

  • - [Jennifer] We've auditioned for all the same stuff.

  • Oh my god.

  • - All the same stuff.

  • - Two days we spent doing this.

  • - We're texting back and forth.

  • That was only a couple months ago when we realized.

  • We were like, "Really?

  • - Well, what was funny is you and I were going,

  • and we were like, "Oh, I auditioned for that too!"

  • And, it wasn't until the next day that I was like,

  • "Oh my god, I auditioned for Easy A."

  • I didn't even remember it. - So weird.

  • - Have you ever thought about working together?

  • - No.

  • What?

  • (all laugh)

  • - [Matthew] Why not?

  • - [Emma] I would love to.

  • I keep trying to convince her.

  • - Damn.

  • - I have so many ideas.

  • She's always like, "We'll talk about it later."

  • - There's one idea that's floating around,

  • but it's secret.

  • - Yeah, it's a secret idea.

  • - Wait, did you forget about it,

  • or where you being a better secret keeper?

  • - No, I was just tying to be a good secret keeper.

  • - Oh, you're so much better than me.

  • - [Matthew] You can tell us what it is.

  • - No, we can't.

  • - On that note, I'd like to thank our guests today.

  • That was a terrific conversation.

  • Thank you everyone.

  • (lively music)

  • - Ready?

  • - [Cameraman] Okay, quiet on set.

  • - And, I look down the lens.

  • - Let's do it.

  • - Hi, I'm Margot Robbie.

  • - Bryan Cranston.

  • - Robert Pattinson.

  • - John Boyega.

  • - I'm Sam Rockwell.

  • - William Defoe.

  • - Emma Stone.

  • - Allison Janey.

  • - Guillermo del Toro, and thank you for watching.

  • - Thank you.

  • - Thank you for watching.

  • - Thanks for watching the Hollywood Reporter.

  • - The Hollywood Reporter.

  • - The Hollywood Reporter.

  • - On YouTube.

  • - On YouTube.

(uptempo music)

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Full Actresses Roundtable: Saoirse Ronan, Jennifer Lawrence, Mary J Blige | Close Up With THR

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    hong に公開 2018 年 06 月 30 日
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