Everybody Loves Stanley Tucci

they're in. The room you're in right now looks like those scenes in a thriller when they go to the killer's house. There's like a lot of sketches on the wall. Where are you? What room are you in? Now? This is my room, and my family doesn't let me have another room, So this is my room and it's where

I prepare you know, two people. Tucci's the first to say he's sometimes been typecast as an ethnic heavy the ambiguously Arab assassin in The Pelican Brief, for example, but he's done plenty of roles worthy of his immense talent. From Puck and Michael Hoffman's A Midsummer Night's Dream to fashion editor Nigel Kipling in the Devil Wears product, not to mention his cult classic directorial debut, Big Night steeped

in his love for Italian cooking. After becoming a widower with two school aged children in two thousand nine, Tucci fell in love with an English literary agent, and the two married a few years later. The couple and their new kids now live in London, which is where I

found my old friend for this conversation. I always wanted to live in Europe because I lived in Italy when I was a kid, you know, for a year when I was twelve, and it completely changed everything, Like it totally changed the way I saw the world and everything, and and I always wanted to go back and live here. And and Kate, my my late wife, she and I always talked about maybe we would go live in France, or maybe we go live in Italy or something. And

then obviously that didn't happen. But when I met Felicity, we did. And I'll tell you it's like the place I was supposed to be, but I didn't know it. There was a slight intimidation of you know that sort of upper crusty British e stuff. But once you're once you're here for a bit, it's it's fine. It's incredibly comfortable. I know why you would feel comfortable here when I would shoot there. I shot a couple of things there,

and I would shoot there. I would say, even a taxi driver has a grasp and a kind of facility with the English language. That's like a college professor back here. Yeah, there's an understanding the language, no matter what social status, somebody is right. But also there is a profound sense of irony here that unfortunately America is great lacking in. And and that's simply because it's an incredibly old country

and we're not. When you met Felicity, how long were you together when you made the decision to move over there. We were together for a couple of years because she came and lived with us. She came and lived with me and the kids for two days city. No, No, we were up in Westchester. Yeah, we're in west That's where I was living and had a house there and um, and then we rented an apartment in the city for I don't know, like a year or something, just because

she worked so much in the city. It was easier for her, um, but it was it was great, you know, and it's a really hard role. I mean, I I you know, having been a step parent, I mean, and then for her to be a step parent at that young age with three kids was you know, it was really tough. I mean they're now, they're the twins of twenty Camiliz a team and then we have two little ones. So who pitched the idea of moving to the u K? You or her? She did? She did. She was like, look,

you know, I have a full time job. You know, you sometimes have a job. How about we go there. I was nervous about the kids, although the kids had spent a fair amount of time here already, and I was nervous about leaving my parents because I was very close to my parents. There's still a lot, a lot. My father just turned ninety and my mother just turned in December. I love it. Where is she? My mom and my sister and then eventually my other sister. When my dad died in three my dad was only fifty

five when he died. Oh my god. And when he died very young, my mother took a couple of years to divest of her Long Island home and so forth, and she and my sister, and then I mentioned my other sister and their families. They moved to Syracuse, where my mother was from, right near her siblings who have all since then, all of them have passed away. If you told me that my mother would outlive my father and all her blinks, I would have been a million

dollars against that. You know, But my mother is not a health nut, you know what I mean. She she drank diet coke every day. She drank tab every day. You know, she was not a health nut. But when you decide to go there, are you calculating the work thing? You're thinking, how am I going to work from here? Or do you just dive? No? No, I was nervous. Yeah, there's no question. I was nervous. But I knew that I had worked here before I saw that production. Now

this is seven years ago. Now there was a lot being shot here. I had done Captain America here, and I talked to the director and the producers about it, and they were like, everything is moving here because the tax breaks are so huge, the union structure is different, and basically by shooting this movie, it was tens of millions of dollars that they saved on that movie alone shooting it here. And then, of course Atlanta change things because you know, a lot of stuff is done in

Atlanta now, but still so much stuff. And at first was a little slow going, but honestly, after a few months, six months, it was not a problem at all. What was the union particulars meaning? And and for you you became a British citizen as well because you married her. No, I'm not a British citizen. I might. I have permanent leave to remain or whatever they call it, so I'm

a permanent resident. Had to take a test a little while ago and proved that I knew enough about British history, you know, which you know, yes, yeah, which I knew nothing about, not really, but you know. And then but the kids have that too, which is great for me.

It's wonderful because I was a lot of the stuff I was doing anyway, was shooting either here or in Europe or wherever, you know, because we don't make movies in l A anymore, which is really I always told people, you do a movie on a on a set in New York, the prop guy would come to you and he'd say, I want to pick out a watch with you for your character, and he'd open up a box.

He had like forty watches. When you went to l A, they say the propram, I want you to look at a watch, and he brings like nine cases with five hundred watches. In l A. Everything is just more more because that's what it is. That's what it is. It's nothing but that. The last time I worked there was when I did the thing with them with Susan Surrandon and Jessica Lang about Betty Davis and Jones that I loved that so much fun Do you know that I called each one of them. I called Jessica who I know,

and Susan, I mean Susan Surrandon. I literally got her on the phone and she kind of had this tone like how can I help you, Like like I'm just I'm just completely puzzled as to why you're call me me. Then I said, I'm calling you to tell you how fabulous you were. I mean, no one could have pulled it was impossible to pull that off. I loved that show. They're great performances and they're both funny, and Susan I knew I had made a lot of movies with Susan.

I had directed her in a movie, and but I never met Jessica, and we really had one sort of major scene together. It's just fucking amazing, amazing. You go there, you're a permanent resident. And I'm imagining in terms of the acting thing in the union thing, does that become an issue as well? No, No, the union thing, as far as SAG and all that, that's fine. What I meant unions. What I meant is that the crew unions and the driver unions and things like that are very

different here. And what they what they like here, as you know, because you've shot here a lot, is that they In America, it's very hard to shoot. And I'm a big believer in unions. But America, you know, if you try to do a continuous day, which is basically like, you know, a ten hour day where you're not taking a lunch break, you're you know, you're just you're in. You start shooting at eight and you're and you're out at six. Okay, so you're in at six thirty, in

makeup at seven o'clock whatever. In America, you can't do that. You can't do it. You can only do it if it's location dependent or like dependent. Here, if they go, oh, we're doing a lunch break today. If you go to the pudish, you go, why are we taking a lunch break. We're shooting inside, we're shooting in the studio. Why are we doing that. Let's do it. Let's do a continuous day. He goes, yeah, all right, The crew goes, yeah, let's do that. We're done at six o'clock. We get to

go home and be with our families. And it's a completely different People say, like work ethic. It's not really an ethic, it's simply logic. I mean, the crews are incredible, the drivers are incredible, but they're not interested in being there for fifteen sixteen hours a day. I mean in America, I couldn't do it. I couldn't do continuous days. I tried. They wouldn't let me. Um, but I still would finish at six o'clock because how long do you really want

to be on a movie set. I mean, let's face it, you know, it gets tedious and there's a lot of fasting about that goes on, when really we don't need a lot of that stuff. Let's just get to it. Unless you're doing an action sequence or something quite complex. It's not that complicated. And I did like a day,

maybe two. I don't remember it. So long ago when Peccino did Richard the Third and the documentary that he made about it was looking for Richard, and the first day we shot, we did this scene that Paccino gathered all the cast and crew around. He said, I want to ask you all one favor, and everyone leaned in, like what is it? And Peccino said, don't tell anyone how fast we worked here. They don't tell anybody how quickly we did this. Then they'll then they'll make us

all work at the space. I have been on sets where we were really you have an efficient director is really good in America. And they finish what you're done like four and they're like, let's get out of here, and they go, no, we can't leave, and you're like why. They're like, well, the studio actually needs you to stay. They need to They need the crew to stay, so you need to stay, or if you want to go, it's fine, but the crew has to stay because otherwise

it looks like you're not getting the job done. You're like, the job's done. That was Lament's reputation. Yeah, yeah, I admire that. One thing I feel in the time that I've fantasized about even moving there for like a year or two. That's my dream, like just a camp out there for like a year or two. The mountain i'd want to at least try to climb would be the theater.

Have you done theater over there? No? Because I have little kids, I think what I would prefer to do is direct again in the theater and not go on stage again. Every now and again I get a yearning, but then I think, you know, I don't get to see my kids. You don't put them to sleep, you don't have breakfast with them in the morning, because you're, like, you know, completely out of it. The one thing about it is that you can do shorter runs here in a substantial theater. You can go to the old VIC

and do a short run. And that's pretty cool. And where are the older kids. They're here, they're here, Well, they go to un there, two of them go to The twins go to university here. And because we all moved over, the twins were only thirteen and Camilla was eleven. For listening, and I had Matteo in the first house, and then now we have our second house, which is bigger,

thank god. So you have you have Felicity have one, No, we have two, Matteo and Amelia who's she just turned two and he's five, and then the twins of twenty and Camilla is eighteen. So you have five children, yes, right, And I have five children, including my older daughter Ireland, who lives in Los Angeles. So it is weird to have kids and think about. You know, my dear friend who's ten years older than me and had a ten

year old he said, don't worry, it's great. Besides, by the time they're saying things that really bother you, you'll be deaf anyway, So it doesn't even well, it's so true I think about. I mean, I think I can hear them now screaming in the house, screaming. I think it's screaming or singing. I don't know which. Who knows. Literally the older I get a loud noises to make me very jumpy, like if you hear a crash or or a loud everything that goes along with having children.

So if I if I come and very quietly and very patiently, I try to lay down the law with my kids. They look at me and then they go, mom, and yeah, because I know what you mean. I mean, I suddenly I'm gonna turn sixty in November, and I suddenly feel like I'm doing things and I'm saying things that I always watched old people do and say, and how is that possible? Like, how is it possible that

that just came out of my mouth? How is it possible that I went how is it possible that hair is growing out of places where it just shouldn't and not on my head. There's a lot more creaking and cracking, and I believe me, there's a there's every night I do my push ups in my bedroom and the creaking and cracking is just so it's embarrassing. It's embarrassing when you go into a store and you're like if you're

looking to it. Let's say you're going to a shoe store and you bend down to look at those shoes like on a slight lower, you know, and you're just here like, you know, this fucking cracking, and you're like, and it reverberates and you see like the salespeople kind of look and go like it's embarrassing. But I don't remember all that time passing so quickly, and that was it possible that my attitude towards work has shifted so

dramatically as it has now. You know, people will send me things and I'll go and I'll say to myself, well that's a movie I'd like to go see, but I wouldn't want to go make like I can't be on a set in uh Costa Rica for six weeks. I don't care how much money you pay me. I need to live my life right now. Yeah, you can't. I mean I feel the same way. I mean obviously, I mean I have to work because I have this overhead and I have a mortgage here, so I have to do it. But if I had my choice, I

would do it a lot less. I am much more discerning now. But the problem is you've done it so much, like you just know it. You see the script and you go, that's a nightmare. That is a nightmare right there waiting to happen. I can feel it as soon as I say, well, no, they think they're going to be able to get helicopters to get like, No, I'm not doing that. No, I'm not doing even the role itself but they'll send me a role and I'll go, oh god. I think I did that summer years ago.

So what it takes for me to get as excited about a script to forego this part of my life?

I remember when I was making films and before I did thirty Rock for seven seasons and really parked myself in New York and got into TV and got into a schedule that was friendly for my visitation with my daughter I was commuting to I remember I used to sit on sets and people would FedEx me my mail from New York and I opened up my mail that would come every couple of weeks and I literally sit in my room kind of very sad and go, oh god.

I missed the Bacon exhibit at the Metropolitan Museum. So many things I wanted to see and do, and field going by because I'm shooting up in Canada. Now you've directed, Obviously you're very known as a director for one big movie, you did Big Night, but you've six different things. Correct. Yeah, I made you go back. I love doing it. I did three in a row and did Big Night, and I co directed it with Campbell and co wrote it

with my cousin Joe Tropiano. And then I did The Impost, which was a force that seven fewer people saw it than were actually in the cast. And then I did Joe Gold Secret with Ian Home that was sort of dumped by the company that made it, unfortunately, because it is actually quite a nice movie and Ian is brilliant. And then I didn't make a movie for eight years as a director, and then I did a tiny movie.

There was a remake of a Theo Vango movie, a very dark, weird, kind of sucked up movie called Blind Day with me and Patty Clarkson about this couple that had lost a child and this is very bizarre, dark relationship. And then another ten years went by or eight year, I can't remember. And then I did this movie I had written about Alberto dracom Eddie with Jeffrey Russian Army Handra, Yeah, which you know, which I had written fourteen years ago.

What about directing made you keep coming back? The whole point of directing is that you're able to control old time and space, and as an actor you can't do that, so you can control only what you're doing basically, but as a as a as a director, you can control it all. The palette the shape of it, the space in between people, the tone of it, the time that that that scene takes, but also the amount of time

that you want to shoot during the day. So on the Jacob Meti film, I would start shooting by the time Jeffrey got out of makeup. It would be about nine thirty and I would shoot eight pages. Granted it was quite contained, but I would shoot eight pages and I'd be done by four o'clock in the afternoon because I would rehearse it, rehearsed in advance, and I knew, I knew what I wanted, and I had to had this incredible DP Danny Cohen um, and it was so

satisfying and so wonderful, just wonderful. That's why I like it because and I don't I have I really don't have an interest in making sort of big Hollywood movies. I should, but I don't. I have only an interest in making smaller movies that tell the story I want to tell, like one that I want to make now about George Bernard Shaw and his relationship with this woman Mrs Patrick Campbell at the when they were rehearsing Pigmalion the very first time in the in the early nineteen hundreds.

It's a fascinating, weird, intimate, funny love story. But I'm not a hard I'm hardly a technical person. I can create, I can create. I'm interested in creating shots. I'm interested in in creating really interesting masters and stuff like that. But when it comes to the mathematics of it, there's no way I could even Everything to me is is

by I Do you know what I mean? It's the guy who who, instead of measuring to put a painting up on the wall wall, I'll just kind of look at the wall and go, there's the middle of the wall,

and inevitably I'm right. Actor and director Stanley Tucci, if our conversation has put you in the mood for a sixty year old Italian American character actors from Greater New York here in luck John Tuturo joined me at a live event of two thousand and seventeen and talked about the inspiration of seeing a movie star who didn't look like Robert Redford. You know, it wasn't until I saw Dustin Hoffman, actually, which when I saw clips for the Academy Award, I was too young to see Midnight Cowboy.

I was shocked. I was. I remember seeing him. I saying like, wow, this guy looks like someone in our family, you know what, you know, what's he doing in the movie? How can he be in a movie? You know? And I was like kind of shocked to see him. And it was kind of shocking because he sort of opened the doors for these other Paccino and you know, the Narrow and all those guys. For our full interview text to Turo, I know you need this one t U R t U R R O two seven zero one.

I'm Alec Baldwin and this is Here's the thing. Stanley Tucci as a director creates truly beautiful tableau. Change some details in a still from the lush, chaotic dinner scene and Big Night and it could be a Toulouse l trek. It's not an accident. Tucci takes inspiration from painters as much as his fellow directors. Yeah, because my dad is a retired our teacher and we lived in Florence for a year. He went to Florence to study sculpture, bronze

casting and figure drawn. When he had a sabbatical, he was teaching and he used to teach in Chappaque and so I grew up with somebody who painted all the time. It did sculpture all the time, and we're constantly looking at the time slides, remember the old slide machines and stuff. He would, you know, and I would go to his classes sometimes, you know, as I got older, and he was a great, great teacher. Um. But so all that stuff just sort of seeps into you, and those images

just become a part of you. And then when I was in New York, when I moved to New York, I you know, I was unemployed for extended periods of time, and I spent a lot of that time in museums and just reading about art. I didn't really read about film. I didn't really read about I went to films, but I didn't really read about film. I read about art. And I became a sort of autodidact. And so those images are there, and they can't help but frame what

you frame because they're so beautiful. Everything comes from those images, whether we know it or not. Well, obviously, Ignite is such a cult movie. It's always those movies that people in the business love, Yeah they do. Ye, people in the business love Big Night. They that they say, oh God, what a great movie, and of course food in your childhood.

On reading this article where you're talking about how you had an egg plant parmer gan sandwich you take to school that was the size of you know whatever, I'm like a two by four and I am the same way. I crave a good Italian food and that becomes such a part of your identity. Is there more or is there always a lot of cooking in a Tucci household or has it gone to another level now because of the COVID No, it never, it literally never stops. So

I was cooking for eight people every day. So you got to twenty year olds plus a friend of theirs who's also twenty who went to university with them, and an eighteen year old. Do you know how much food they eat? Like in one sitting, not just one sitting. I mean, so they come down, then they need a dinner or before dinner, you know, not to mention lunch and breakfast. I have three brothers, so I yeah, you know, unbelievable. But now three of them have gone back to school

to study, which is good. But I also love to cook. Tonight I'm making Paya I love I bet she does. Yeah, you've done too much. I've done too many movies. Well, you've done a lot of films. When you look back on your career, who were the people you work with? It you go, that was really a dream come true to work with this one and this one. Well, I had a great time working with you, first of all, and I'm saying not saying that to be warm and fuzzy, but I had a wonderful time working with you, um

merrill without the question. I had to remember not to watch her like I had to remember to be in the scene because I was so fascinated. Do you know what I mean? I mean I'd go like, oh, ship, I have to say a line now, because I would just be watching her thinking I was really good? Did you do that? I had that with DeNiro when I did Good Shepherd. You would hear cut and he would

talk to Bob Richardson. Uh I shot with a couple of times he talked to Bob and then he'd approached Matt Damon and I and he would give us the directions and he was about sixty seconds into talking to us and I'd say, I'm sorry, could you repeat everything you just said? I wasn't really listening. I was a kid. There was a film screening in my mind the whole time, just watching that person that you've watched for so long.

And I think, also, I did this movie a long time ago with Joe Pesci, and there's a movie called The Public Eye. Uh, and I was I was quite young, and I was very excited to work with him. But one of the things that was so impressed me about him, and it still does every time I watched him, is that I have never seen an actor listen the way Joe Pesci listens to another actor. And I was watching, um, you know that I wishman and I said to I said to my son, I said, watch him, now, watch

what he's doing. Nobody else listens like that. And that's what makes him so captivated is that he's actually fucking and I like, in the middle of the scene, I'd be talking to him and I thought, he's really listening to me, like I've never had an actor really listened to me like that I had. I gave him his award from the New York Film Critics Circle for The Irishman in the Fall, and I gave this speech and I said that you know Strasburg and Santa Slowski and

those guys would always say, we're never the character. We're the character, and there's a little piece of us out of the corner of our eye that's watching us perform. And we're at these knobs and dials, adjusting them a little bit more of this, a little bit less of this. And you see Pesci someone who goes to these outer extremes of kind of this craziness and rage, but he knows exactly what he's doing. It's all these settings he has.

He's very deft. He's so deft, he's so deft. Who else that you've worked with that you I did this movie at the Edge with Tony Hopkins. De Niro originally was supposed to do the film. Mammock wrote the screenplay and Art Linson, whose DeNiro's friend, was the producer, and we did a reading and the character's name was Charles Morrise and I think that Bob realized that he was more Adriatic than than he was Plymouth Rock, so he

left the film. I was on vacation with my ex wife and the phone ring and they said they got Tony Hopkins to do the film, and literally tears started running down my face. I thought I can't believe I'm gonna go make a movie with Anthony Hopkins. And it was one of the great that the film was not a great film, that was a very missed opportunity, but it was the greatest experience I've ever had, was working

with Tommy. What about Sean Connery, Well, Sean was a lesson in um, you know, one of the first big movies I made. And John mcteern and the director said to me, because why can't you just stand there and say the lines? He said, he said, you always need to be like packing a briefcase and and and folding your trench code because because you were very proppy. This is early, early, couple of days of shooting, he says. He says, because he was used to working with stars

where you just stand there and say the lines. You know, it's I'm enough. We need a minimum of acting. And uh, I thought about that. I thought that makes some sense. I guess that's kind of maybe some good advice. And then Sewan walked in and they've done his makeup test, and they've done his wardrobe test, and they did his hair. He had this beautiful hair piece they put on him. It was and he walked and I thought, I'm so fucked. I said, no, one's going to see me in this movie.

I'm officially invisible. And he talked to me every day we shot. He was so kind to me and and instructive. He said to me, are you going to the rush his boy to the Russians, And I'd say, what he said, the Rushes that the film from yesterday? I say, no, no, I never go to the Rushes. I thought, you know, what's the point? But what am I going to give them my opinion? He said, well, how do you ever expect to larn anything? So we go to the Rushes

to Laren. I was like, oh, okay, great. And then one day my favorite moment with him was I looked him and I said, He said, if you don't mind, I won't be off camera for you after five on on Friday. I said, no, no, that's fine. That's fine. So I have to get on a plane and fly to Vancouver for the weekend. I said, really, He said, yes, I'm a British tax exile, so I can only be

in the States. In the States, so many days I'm leaving out the s and he goes in the States so many days and I said, wow, Is said, you fly up to Vancouver every weekend. He said, yes, I fly up to the coover every weekend. I said, what do you do when you're there in Vancouver? And he looked at me like I was a brain damaged child. I said, what do you do here there? He says, golf? You morong. I think I disappointed him on several levels.

I like that. I like that movie, though. I have to say, I thought you were great in any of your kids have the Bug? No, No, thank god no. I think Nicolo did some plays in high school and he actually did a thing for BBC here too, but it's not it's not something he's really desperate to do. I think he's much more interested in documentary filmmaking. And I took him to see I worked with Matthew Hindeman.

You know that wonderful director who did Cartel and he's extraordinary. Uh. And he became friendly with him from this movie that I had done with him, and and I took Nico to see this other movie he did called City of Ghosts, about um Syrian refugees in Berlin, and Nico was just so excited about it, so excited about it that he said, oh my god, Dad, that's incredible. That's what I want

to do. So now he's studying politics at university, but I know that he wants to work his way into doing that, which I think that it is so exciting to me because that's an incredible life. That's a great life. Can any of them cook, Nico? Nico can cook. The girls no, they have no interest, none. But he came down. I did this. I just did this thing for CNN. I'm doing this thing about Italian regional cooking, a CNN

documentary series. So we went to four different regions in Italy and Nico came down to Sicily with us and was you know, became part of the crew and stuff like that, and he was just thrilled. Plus, you know, the food is Felicity as happy as a clas. I'm is she happy to be home? Yeah, she's really happy.

Anything about America, she made some really good friends in America too, you know, through work and and then she became very good friends like with Aidan and Lizzie, you know Aidan Quinn and his wife Lizzie, and Steve Bussemi and now his late wife Joe. So that was really nice that you know she you know, she made a lot of really great friends and she really enjoyed part of working there, but she found the experience much more corporate than it is here. Um. But ultimately she's just

happier here, much happier, much happier. Her parents are close by, you know, I get it. The one thing I don't want to overlook very important is tell me about Central Park. What's this project that's the buzzer here. We're gonna talk about your latest project. Josh Gad. We did Beauty and the Beast, lovely guy, really funny guy. And then he calls me up and he says, I want you to do this animated series with me. And I was like, yeah,

sure whatever. I love doing stuff like that, you know, because if I wanted to play an eight year old woman, I was like, even better. Nothing makes me happier than that. And also, you know, you don't have to go on camera, you don't have to come any makeup, you don't have to do a costume. You go to the recording studio. It's incredibly fun. So Kristen Bell is doing it and it's a musical. I pretend to sing, but I'm singing as an eight year old woman. So it's fun share

with us. I mean, you're considered a fantastic actor. Share one is the secret of how you access the singing voice of an eighty year old woman? What did you do for that? I just had a martini before I write I did it. Yeah, it's like if Rex Harrison were an old woman, like an angry, drunk old woman. That's the way I do. I talk it, except for one note every now and again. When this Central Park

coming out. I think it's coming out in July. Now, last question, Yes, Joy, if there is such a thing as a role that you wish you could play marks you're kidding? Now, why because you used to do that as a kid. Fascinating you would do ground your invitations to your family when you're a kid. Correct? What about him? Why? He and his brothers completely changed the face of comedy. And also the periods that they worked through were incredible. When you think that they did vaudeville and then they

went into movies just huge stars. Then there was a sort of decline, then movies again under Irving Thalberg, huge hit. Then it all starts to fade away. They're getting older suddenly at the cusp of the beginning of television. He has this enormous hit that went from radio, transition from radio to television and stayed on television for ten years.

I mean, that's an incredible career. Not to mention that he was a real intellect and an incredibly complex person, not the happiest person, which also makes it much Well, that's what makes it much more interesting. Anybody's really happy. I mean, how you know, who wants to who cares? But when I always remember when I worked with you, which is a million years ago now it'll be thirty years ago next year. We shot that movie, and I

remember shooting with you. I remember walking away and thinking that, um, you'd read this about certain actors where they had a career and nothing on screen could prepare you for what they were like in person. Like someone said that Vincent Price was a great host, and he hosted some of

the greatest parties and dinner parties in Hollywood. He was a gourmand, he was a food he was a foodie, and the Vincent by people loved going to Vincent Price's house and he played these kind of cookie exotic characters. But in real life he was this elegant or bane guy. And when I think of that, although you have no resemblance whatsoever to Vincent Price in his career, I think the same thing. When I've been around you, You're one of the most elegant men. You play some tough, crazy

people and they're not you at all. That's a real journey for you, the real I think it's nothing like that. No, I'm not a I'm not a tough guy. Now you're a Brit. Yes, that's what I like. Now I'm brit. Now it's all very different. You've been rehearsing your entire life. Yes, my son, my five year old, he literally speaks like he's from you know, like he just came out of you know, Windsor. Stanley Tucci is currently appearing in Central Park. That's a TV show, as villainous eighty year old mogul

Bitsy Brandenham. We're going to do the biggest real estate deal in the history of the world. It's out now on Apple t be. I'm Alec Baldwin and this is here's the thing.