Ep13 - Ben Foster / "Hell or High Water"

like a lifetime ago. And uh, Peter is fresh off of a screening that we're gonna want to talk about, which is Martin Scorsese Silence. Uh, kind of the last big movie to drop this year, and uh, you know, there's an embargo in place, so we'll be careful how we discussed this. But what's your immediate takeaway. Let's let's just go with that. Yeah, well, let's let's keep my opinion out of it and we can just talk about

some kind of general things. But the I mean, we all kind of knew this was eight hundred pound Guerrilla in the center of You've got a Martin Scorsese movie dropping in December, and the last time there was kind of a late you know, year less couple of times, you know, those movies have gone on departed, you know, Wolf of Wall Street to do really well in the

awards season. Um, this is a different kind of movie in that I mean, I think it is closer to something like Coundon in the sense of it's not an overly commercial film. It's long, it's two hours and forty minutes. Uh, it's uh mostly intellectual, and it has a lot to do with how much work the audience is willing to put into it, you know, in terms of what you bring to the table. And uh, the and it's a movie about faith and you know, heavy interior kind of issues. Um,

it's a period piece set in Japan. All these kind of elements, you know, kind of make it something where it's the kind of movie that's not going to be some runaway box office phenomenon that powers it into the award season. That said, I mean, the it is a film to be contended with in terms of all of the elements that any Scorsese film would be, from the way it looks to the acting to them, you know, there's uh, they're they're all the I mean, we know

to be looking for Andrew Garfield. He you know, did a terrific job in Hack Saw Ridge and now you know, here's another leading performance to movies that kind of are both about these, um you know, these characters of profound faith on personal journeys kind of against all odds, you know. But the uh, you know, I actually don't know the name of the actor, but that there was one who kind of jumped out at me. And the movie is worth camp painting it. It's the villain of the movie anyway.

Is the character's name is is basically like the Japanese Christoph Waltz. It's as kind of as someone else said on Twitter, but it's the hans Landa like the New hans Landa or something, right. But I mean it's like it's just it's I mean, it's one of the it's one of the performances that reads the loudest or you know, kind of like catches you in a movie that's very understated, you know. Um so, I mean I think they would be you know, smart to to just sort of spotlight him. Yeah,

it's a category that's very much open right now. It's interesting, you know, we had Garfield on the show a few months ago, and that was specifically for hacks All, but we talked about Silence, and I was like, both of these movies are about the hardship of maintaining one's faith, as you said, against all odds. Uh. And that's kind of a theme that Marty, excuse me, Scorsese like like he's my friend, like like we're on a first name

basis us. All right. We just had lunch with Andy who came down to shake hands with all of the l a film cutter and you guys up. You know, it's like and I mean, you could tell that that's not something that was his idea and someone else, you know, wants him to do that. And to his credit, I think he's a very serious actor, has done to great performances. But go on, I greatly enjoyed talking to him about this stuff and Scorsese and Gibson both being interesting filmmakers

and how they deal with those themes throughout their career. Actually, so, uh, you know, let me just ask a question that you're going to hate. I appreciate that you lead with some of the awards talk. I know that's not generally where you go, but is this the Best Picture Players is something that could unseat something like La La Land, which

is perceived to be the front runner. It won't win, Um, it could be nominated in that if there's enough critical support for the movie, I think it could be, you know, one of the ten nine eight. However, many kind of get in there there. Um. I think that has a lot to do with this kind I've late late in the game play potentially, and the fact that Scorsese is

so respected. Um, it's curious that this movie, I mean, it was being considered for a late last year release and then there was hope that it might show up a can or some of these festivals. I honestly think if it had premier it can say, it would have much better chances, because I think it's a movie that, um, there will be some very um big critical champions for it. Uh. I honestly, I'm going to take some time to digest it. I don't know that I could give my off the review.

I don't know what side I'll be on. I'll tell you that, you know, it's like um the and um the because I have very mixed feelings, you know, and you've read the book. You said you're in the middle of your third read on the book, why you why

do you keep reading this book? Well, I'll say that it's always been in preparation for this uh, and it's always been in audio book form, and I find that, like, I'll listen to twenty thirty minutes of it and realize I haven't been paying attention at all because it's very

dense and it's a you know, a complicated story. But you know, there were times in the movie when I was having the same problem, you know, my my mind going to thinking about my sock drawer instead of what was on screener, instead of what, you know, was where it was supposed to take me. You know, it's it's not necessarily a gripping piece of material, and yet it's about this profound thing. I mean, we're talking about the

themes of Scorsese movies. I mean, this is about a guy who um a priest, who travels to Japan to in in search of almost a kind of spiritual glory. He's watching all these you know, peasants who have converted to Catholicism being tortured in these gruesome ways, and he's almost envious of them, which, of course we know is like a venal sin. You know, it's like the uh, he's envious of them for uh, like you know, being martyrs when that's what he wants, he wants you know,

the uh. And interesting refraction for today. Yeah, yeah, some of the things that's going on in the world. Well, it's I mean, it's curious to see a movie that's looking at Catholicism in a way that um, you know, our own countries and others and then in the world are kind of turning against you know, Muslims coming in

and being very threatened by them. You know. It's like and also a flip on the kind of Catholic stories that the Crusades, the you know, Inquisition, all these kind of things where it's like there's been a very brutal history with Catholicisms towards you know, the Catholic religion towards other faith or non face and uh. And here it's

you know, the they're the victims. They've they've come in as colonialists into a into a Buddhist culture, and the you know, the authorities they're kind of want to like rip this um, this vine, this you know kind of thing out by the roots, and the roots are the priests, you know. But I mean it's it's an interesting but not at all cinematic kind of set of themes or ideas that Scorsese being Scorsese, has found a very visual

way to engage with. He's got a great DP. Has worked with Rodrico Prietzo the last couple of times and went back to film on this Fall Street was mostly film, but they dabbled with digital for nighttime stuff. But uh, I mean it is a gorgeous movie. And to me, the movie, it kept reminding me of his Apocalypse. Now. I mean it's this is a heart of Darkness story, except instead of it being I mean, you've got fog and missed as this kind of motif throughout the whole thing,

and that's kind of the visual through line. But he's going in search of this lost priest who may be dead, may have been killed, may have apostasized. Uh and uh, the there's that kind of similar journey to you know, Martin Sheen's in that film. Yeah, maybe Rodrigo can finally get his oscar he managed. I thought he was gonna win for a broke Back Mountain, but I think he dropped it to what was that two thousand five Best Cinematography. He won't. But anyway, Yeah, you make a good point

though about the late break. I mean, this does seem like a movie that would have benefited from I mean, look, we already are enough space with awards where it seems like in order to win Best Picture you need to lay a lot of track out, and that's why the last six seven, however, many winners have played Tell Your Ride or Venice. You know, they've they've come early enough

to kind of get their message going. Well, let's say movies like Manchester by the Sea, Yeah, you know, which I gave a fresh look to on Monday of this week, you know, just to kind of clear up my own, you know, idea before going into the l a film

critics voting this weekend. But or certain Women, these are movies that, by virtue of having kind of been looked at and championed early at Sundance, kind of had this chance to build interest and build a claim and be received kind of almost like comfortably enough by critics with the push that they needed and in a shorter span. I think, you know, Moonlight had a direct kind of as has La La Land, you know, momentum directly off

of the fall festivals. Um, so you know, Silence only has the fact that it looks prestigee and is a Scorsese film. I think kind of doing that work for it and people, you know, there are people who will go because this is a Scorsese film, but it's so unlike any other film of his that you know, that doesn't necessarily translate into love or appreciation for it. But that will, you know. But otherwise our voters going to see this movie apart from its being a Martin Scorsese movie. Yeah,

I don't know, and you mentioned couldn't done there. I know that I interviewed Filmo Schoolmaker for Wolf of Wall Street and they were just about to go into this one, and they were like, this definitely part of a trilogy. With that and the Last Temptation of Christ, this get the kind of spiritual trilogy feway. So that's very fascinating. I look forward to seeing it. I see at the weekend,

So actually when you're voting, I'll be seeing it. So let's talk about the l A film critics, uh and the New York film critics, which are going to happen the day this air is actually, so who knows what's happening while this is up. But what do you think

the critics are gonna do this year? What do you think are some spots that they feel like need some some some uplift you know, well, I mean just having sort of shared a lunch with a lot of the l A guys, it was you know, kind of a chance to read the room a little bit and uh the and do some informal polling almost. But I would not be surprised if this happens that one of the groups and the New York gets first salvo because they

vote on Thursday. Uh, the one of the groups chooses Manchester by the Sea and the other one chooses Moonlight. I think that will likely happen. Uh. And the question is which way goes which? I know that the l A critics, while they would never admit this as a group, is very conscious of what New York is done and tries not to just kind of be redundant. It's not that it never happens, but it needs to be pretty

like undeniable for it to happen. Like whenever you guys, I think hurt locker, maybe have hurt locker, you know, like l A confidential saving provat Ryan. They're very specific ones. I think that's those are to that. But I feel like both those two movies, Manchester and Moonlight are ones that you know, having kind of there is such critical love for them and having the critical kind of you know,

muscle behind it kind of powers it forward. Of course, National Boarder Review just picked Moonlight, so that's already you know, it's like if that and um, I mean of the two Moonlight is the movie that I adore, you know, kind of like without any sort of reservations. Well, I mean those that's my number one and number two of the year right there, Moonlight and then Manchester. They're two terrific, terrific movies. Yeah. The question though, is like and not

that critics need to think this way. I mean, certainly there I think their mission ought to be to just be honest with what they think the best of the year is. But those are two movies. They don't have a problem having a footprint in this awards season. Sure, you know, so is it is it worth it? The champion something else that could could use that kind of I think when it comes to those two groups and voting on Best Picture, they tend I mean, you've everyone's

engaged with that category. It does go to something where the room really feels passionate about, you know, those films there you're not second guessing strategy. I mean, I think that the limit of that is just that question of you know, not trying to look like we're just echoing what another group said. And it's unfortunate that it's even a factor, you know, It's like, but what you do see with the l A Film Critics is and almost all of their other categories, some real eccentricity come out,

you know, and they do. I mean, this is a group that you know, recognizes Korean and Romanian actors when uh, you know, when there are terrific performances in the race and they are looking internationally. Every year they go out of their way to find animated films at least to consider so that we're not just kind of rubber stamping the latest Pixar movie. And uh, I think that could be a shame this year because Utopia is such a terrific movie as the Disney kind of Behemmeth in the

in the Race. But there are so many great Lindy ones and I know that my critical cohorts in the group are are giving them all a look. And I mean it's like a movie like Your Name, which opens Friday and uh in Los Angeles. Uh, you know that's that movie is done almost two hundred million dollars in Japan. So it is like I didn't know it had done that well hundred and seventy million dollars. I mean, this movie is the number one grossing movie of Japan this year.

Is a phenomenon, and like we will as Americans look at it as like, oh, it's this little underdog from Japan. I mean, this is like there's Utopia and and it's a terrific, terrific movie. So I just hope that people, you know, give it a chance. And you know, it's like, I know, you know, a friend of mine is an Academy voter and just you know, was showing me that he was about to pop his screen or that in

you know, kind of next to watch. They're required to look at them all, so it's like, you know, they'll get considered. It's just you know, Asian talent does not get compensated very often in the Academy Awards. Um silence is one thing. You know, It's like and it would be great if you know, the actor we were talking about were uh, you know, nominated. But when it comes to animation, unless you're Miyazaki, you know, it doesn't really happen. You know, it's like um and unless you're like Angle.

Uh that's kind of where the list ends on the l A critics side. I know, you guys often you were talking about actors. I think lead actress is typically a spot where uh, you know, they they'll go outside the beaten path. I kind of feel like, well, who pair feels too obvious this year, though for for l A,

you know, I don't. I don't know if it would be too obvious in the sense that I don't think that I don't think she's necessarily going to win other groups, and so I think from the it's I mean, those are the kind of statements that our group has made. I mean, we've given it to the lead actress of

Mother Um, the lead actress of Seraphine. The yellon Moreau might be miss messing up the title of that film, but you know where she played the autistic artist the I mean, what was the there was a year that Vera Farmiga one for couples. The name of the movie something bone down to the bone, play it to the bone. You know that must have been because I don't think I've even ever seen that movie. That must have been before. I but but I feel like I feel like she

won that year. It was it was before she was vera Farmiga. You know, So they kind of, I mean, they really do look for the best performances independent of because we don't have It's not like casting an awards show the way that you know, the Golden Globes is where you go to the biggest stars and you want them to show up. You know. In our case, it's like you go to the best talent and you know, the there's no guarantee. You may vote for the biggest

star and they don't come. And you might vote for as we did, um Emmanuel Riva the Year of a Moor, and you know, we get a video acceptance speech. It's all the same. To us. It's like we've voted with our conscience, you know. The I mean, Easabel loop Air is the greatest living actress. This is not the this is not even her best performance, but it is I think the one that is likely to um get her seen by the whitest you know, contingent of different awards voters.

It's a you know, it's a movie by Paul Verhoven. So it's like, you know, you've got a lot of factors working in her favor. Like now she's going to be in a Marvel movie in three years, let's hope not that you never know. I mean, like the fact that Tilda Squinton is like, you know, I never saw that coming, and yet that's a brilliant piece of casting. You know. It's like, I think Easabel Looper would only make a Marvel movie if it had an O tur director,

which these days they're kind of getting, so it could happen. Yeah, Uh what about something like do you mind if I mentioned what your favorite movie is? Oh no, go ahead, Hell or high Water? Uh? Do you do you think that could pick up some more steam in other areas other than bridges, Like for instance, Ben Foster received a Independent Spirit Award nomination. He's the I'm interviewing him on

the show today. Uh could he maybe get subtraction or you know, just like the cinematography of a film like that, a screenplay certainly liked. I mean, I have to say that I tend to be a little blinded by my own enthusiasm when it comes to movies like this. So I'm like, I suddenly see all possibilities being open. Do other people like that movie as much as I do?

You know? Is kind of the question. I grew up in Texas, so there's even a part of Hill or High Water that just reads as being kind of like the most It's even a more authentic version of No Country for Old Men for me. You know. It's like, and there's a film that we gave Best Picture too, So when the movie comes along, that's better than a movie that we gave Best Picture to. Suddenly I see all these possibilities. But does everyone kind of you know

that way we meaning Afca exactly. I think Lafka gave it to there will be blood Now, you're right, so I should probably, but fair point anyway, Uh, you're right. That was the year that New York did the No Country, taking it off the table and clearing the way for us to or there. Yeah. Yeah, it's it's it's a

movie that has stuck around longer than I thought it would. Honestly, Um, I liked the movie, but I kind of thought it was going to remain this late summer Indi Jim and you know those kind of fade away all the time. I think that. I mean, the thing that's so gratifying about Heller High Water is that a movie like that found its audience and it had a release date that

was counterintuitive to that. Um And I mean it felt almost like it had been kind of buried at the end of summer and instead it kind of found open sailing for a while. It had some real critical support, including I mean it's beloved by my colleague and Cleberman who saw it. It It can and um, you know the uh and I think a lot of critics have come on board with it, you know, the I think it's

got a terrific, terrific screenplay. Um, it's got Chris Pine playing so much against type in terms of the I mean, he's just a handsome leading man. Who here is playing you know, just this this humble Texan farm boy. You know, it's like who um is, like his his appearances, you know, you know, persona is no part of that identity, and he's kind of reinventing himself for that role. Ben Foster.

We've seen him play crazy before he does it. Well, you know, it's like that intensity, Um, and like, I mean, this is like yet another you know, home run for him in that range that we've you know, kind of grown familiar with. So it's almost two very different options there in terms of, you know, an actor who's challenging his um, you know, the way that he's perceived in another who's kind of like comfortably playing within his range. But Ben's like, you know, I was way more comfortable

in this role. And he's like, don't tell too many people that this is kind of weird, but yeah, he seemed extremely at ease in the part. I mean Jeff Bridges. Of course, it's like he could practically do this kind of thing in his sleep. And yet that's what's so great. This is like a cop on the brink of retirement. So it's like he needs to look these are like comfortable Janes. You know. Um, have you ever talked to Taylor Sheridan before I met him at you know, an

event that they did for the DVD launch? It like the barbecue thing. Yeah, the best barbecue joining Angels. That was good. I was probably hugging Taylor shared and you know it's like, no, seriously, I mean, like he and I have Texas in our DNA and so it's like it was kind of fun to compare notes. Yeah, definitely, Uh, last thing here, I guess, you know, like New York I said, will be announced by now, but maybe some

of your l A brethren will be listening. What what What is one movie that you don't think maybe everyone's going to go in there thinking of that they should probably think about with you know, whether it's a certain performance or a certain screenplay, or certain just a certain element of a movie. Even is there is there just something out there that seems really unsung that you hope that the critics and particularly maybe your group can speak

up for. Well, here's what I'll say to that is that, uh, I have long detested the musical biopic genre. To me, it's like they almost always hit the same formula, which is the kind of like you know, coming out someone coming out of nowhere, rising to stardom, starting to you know, do drugs, falling off, you know, and then having to kind of like have either dying doing that or coming

to Jesus and getting their act together. I'lla ray and you know, um, the this year the movie that I need to catch up with before voting, because I can sense the Love from the group is Born to Be Blue. A lot of people really adore Ethan Hawk's performance, and so my homework between now and Sunday voting is to watch them move. You're gonna bring up miles Ahead. Actually Miles Ahead, on the other hand, is like the directorial

debut of the year for me. I mean, I just think that um Don Cheatle does such crazy inventive, creative things with the way that he gets in and out of the way he kind of moves in and out of time. Uh, you know, it's like, uh, I mean, this is a wacky comparison to make. But you know, my almost like one issue with Manchester by the Sea, apart from the fact that it's, you know, a story about just more average white people in a year when I'm really looking for stories kind of outside of that scope.

But you know, the please bring those stories to me. It's not like I'm going to crucify a movie you know that is good for omitting them, but it would be nice to have some people of color or some well rounded women in that movie. But my real beef with it is like this weird way that he plays the flashbacks, and they're very confusing and I get what he's going for. He's doing it the way that our minds where perceiving. Yeah, and so it's meant to be subjective.

But I mean don Cheatle who just has like you know, in his first film, demonstrates this kind of understanding of of cinema and the way that like you know, uh, you know, something will be designed to kind of feed from a memory, you know, from the present into a memory into a fantasy and it's like you know, jumping and weaving through in through time. I mean I was

just like, I mean, that movie is cinematic jazz. I mean, he understands, you know, kind of like what Miles Davis contributed to music, and he's trying to kind of find a like a visual I mean it's not just visual, but using the elements of cinema, you know obviously sound of music as well to kind of create you know, something that that mirrors that are captures that And I just found it intoxicating and electrifying. Yeah. I like both of those movies, Miles Ahead and Born to Blue. Maybe

they'll get some love. We'll see what the critics do again. The l A Film Critics announced on Sunday, and uh, you know, all the various regional groups will be chiming in throughout the rest of the month. So thanks for coming on. Man, we've got Ben Foster coming up, Star of Hell or High Waters. To stick around for that, brother, I'm gonna get that money. They're going over the drawers. You got a gun on you all, man, You've damn right. I got a gun home. Do all are gonna steal

my gun too? When you see him from you were sent from the bank. Wow, do you hear about these bank robberies? They get to have some fun before they send you off to the rock and chair. Yet, oh, may have one hunt left in me, Sam having its been a while, three months bank breathing out her neck. Everybody, get you've been here for a while a long. That's watch banking. Robb has been robbing me for thirty years. The boys all exactly what they're doing. They're kind of

have raised a certain amount. That's my disk totally. It's a good thing. Here does more Dona very step of the way. Welcome back everyone. I'm here with Ben Foster, who's had a very busy year. Actually, uh four films Hell or High Water, Finest Hours, Warcraft and Inferno, which is out now. Thanks for coming on the show today. First of all, been really appreciate it. Uh. You know, first of all, we were just talking briefly before we

started recording. Uh, Hostiles, you're coming off of Scott Cooper's new film Western down in New Mexico he was shooting. It's curious how how you liked working on that film, What what the experience was like for you. I'm a huge fan of the genre and you've been in a couple of westerns now, so what was that like for you? Joy to play with Scott, I mean, your pals with him. He's he's such a positive, spark, cinephile. He loves people, he loves stories. So again, to play in his world

was it was terrific. A great cast, I mean Christian Bale, one of my favorites, Jesse Plemons, you know, just good, solid, beautiful builders. Yeah, he puts together great casts for his stuff. And Uh, in that movie, you tackle a really gnarly character, which I'm going to talk to talk about your characters coming up, but I just want to start with kind of a cliche question, if you'll forgive me, which is, uh, when and how did you know you wanted to be an actor early. Uh, I wasn't much of a student

and was very much drawn to TV. I suppose, like a lot of kids uh uh TV and movies and plays, and I just I wanted to be a part of that. Not not so much as uh to be in the box, but I just looked her there. So I got into school plays when I was about eight years old, and and uh, just about in town of Iowa, and I'd be a box mover is what they call it. You just move boxes for the guys who had lines right, and then slowly I'd be given a line and it

was just better. I liked building early on. I like collaborating, and like I said, I was a terrible student, so that worked out so far. Did you feel like you took to it immediately? Sure? Yeah? Did you like? What did you like about it? Just the the ability to escape into another persona or what it even is escape even the right word. Well, it's it's different at different ages and and it evolves. What what I saw was

was just something so exciting and different and other. And then getting a taste probably when I was about eleven or twelve doing a one act play. It wasn't pursuing it professionally. I blacked out during the performance. I don't remember what happened, And people came up to me afterwards saying, how did you do that? What did you do? And I said, I have no idea what happened? Uh? And that was that was the first real hit of the drug.

Was trying to get back to that place of getting lost or released or some people in athletics they call it the zone, or some people call it the pocket. Always chasing that dragon, something like a trance even sure, or a good dance when you just do you feel that song? How did you first get your SAG card? That's a question my colleague Jenelle Reiley always throws around at these Q and A s. I don't remember. You don't remember commercial or anything like that. No, what was

the first job? Like, yeah, my first job was I was like, I don't remember the date of it. Um, that was my first job as a Disney show. So I relocated from from Iowa to Toronto. And I don't know. I was a kid, So it was fourteen, so the adults figured out what the car. I didn't know what any of the business was. I wasn't like I wasn't chasing industry. It just I was lucky. Yeah, I knew I wanted to make believe I knew that much. I had been writing plays. Uh So I didn't really know what.

I didn't know the value of a SAG card, did none of them. I didn't know what a mark was on a set. These were all I learned as I went still learning. Yeah. Well, like I said, uh, I feel that your work is really uh kind of marked by very memorable characters, very just kind of leap off the screen at you. I specifically think of stuff like three Tender Yoma obviously Hell or high Water. It's a

very interesting character there. You have this gnarly character to play in hostiles even something like Hostage I think of, or Alpha Dog. These these guys just really are are larger than life characters. I'm curious where you start to build on the character after you read the script. I mean, obviously it starts with what's on the page, But where do you start to go from there. It's it's a

it's job to job. It changes. I suppose that at its best is you read something and uh, it resonates in a particular part of your heart, your mind, or you understand some part of that story and and and making that a personal connection to it. And then it's about bleeding the lines and doing research to support that connection.

And that's the best part of the job as the research for me is Ideally there's a period of time to to explore the world or talk to somebody who's lived in a similar world to get a better connectivity to the material at hand, and then go through the script of the director, ideally page by page and start cutting it out, just cutting pages down. So so many scripts are feverishly overwritten and underdeveloped, where if if you're living in the skin, you can your behavior can speak

for you. And that's ideally the middle ground we try to find because I'm a contractor, you know, come in and build a character and we got to see eye to eye on that. Could you elaborate on that idea of scripts often being overwritten underdeveloped, Well, as you know, it's a it's a business and you've got to pump out product. I mean, look at what happened with Samsung. I mean that's that's a lot of money put into a lot of technology that just didn't didn't quite work.

It isn't different with with films, except the film won't blow up in the air, right. The problem is is that it may blow up in a narrative form of the character doesn't land. So my job is once I'm hired, is to go do my recon. I do a lot of field with recordings of people that have lived similar lives and spend time just asking questions. Once I feel that I have something substantial to bring back to the director, we talk about it and then we say, well, we

can lose this, we can lose that. What if we we emphasize these elements so on the day we're not we're not intellectualizing it. That homework is done and we can we have we build a language where we can just be with each other and I know what he wants before he even says it, or I know what she's going to say before she says it. We can

just like musicians, listen to each other subtle cues. I'd rather get all the chat out of the way and just go feel on the day, let's drill down specifically with all that in mind on hell or high water and this character of Tanner, and who did you talk to that kind of lived in this world? To help you develop this. Let's start there. Well, Ah, for whatever reason, I'm drawn to the South, and I take you. This is the first year I haven't taken an annual solo

road trip across the country from the South. So we're part of North Carolina. Nice. Yeah, it's uh, it's if it draws you, it draws you. And I can't quite stay. I just got back from Nashville last night this morning. Actually, uh, the hours are blurring together. Good North. This life goes quick, so I and it might travel and I save a lot of field recordings. And I've met some rascals over the years, and Tanner is Uh. I think a kinder word would be to call him a rascal. M It

started with the script. The script was it was the easiest fit I've had in a very long time. Those words felt very comfortable. His I knew what he looked like, I knew what he sounded like. I just I it's it was. It was less of an investigation with him and more of an unpacking. Yeah. Yeah, yeah, he's already in there. Let's uh, let's let him loose. Getting out of him. On the other hand, was that was curious winding out of them. That was He's very seductive to

live in. Is that strange to say or feel, given who this guy is. Yeah? Sure, Yeah, well the best quality because it's like, uh, you can't talk about my friends. I can talk to it about my friends. It's that you can't tell mama, joke about my mama. That you just don't do that. So it's being critical of the people you you you fall in love with, and that's a character. It's just you have six weeks, two months, fall in love with someone, think about him every day,

go to bed with them, wake up with them. You just spend time with that person. Uh, and then when it's done, sometimes you just you want to be with somebody real quick to wash him out of your system or east. They kind of float around and Tanner, Yeah, I almost moved to Texas. I didn't go. I didn't come home to New York. I just kept I stayed down South, almost bought a house. I was interesting if I fell in hard with him. He's Taylor did something

did some good juju in that script. Yeah, he's a great writer, and he really feels he feels out the stuff that he writes really well, Like it feels like he knows what he's talking about what he's writing about. It feels well lived in, which is a term that's flying around a lot on this movie. Actually lived in. Uh.

And it's true. And in fact, I saw a featurette recently, I think with you talking about how how much you identified with just kind of the disposition of this character, and you were like, don't don't tell anybody that I might not want to say that. Oh, now you're repeating it, but it's true. Um. And is that is that often the case for you that it takes long to to wind down out of it? It was a specifically a thing with this or is that consistently a thing for you?

It's really like it's it's for me. It's like a bad crush or falling in love. Some of them actually get in and some of them you're like, what was I thinking? Others you they mark you? This one marked me. Yeah. The political climate this one lands in is very interesting. Obviously the script was shaped by the political climate in many ways. How did those socio political elements strike you when you first read the script? Wow, they're they're they're

impossible to ignore after you've seen it. But in terms of making it, I was I didn't go in with with with an outsider's perspective, it was. I mean, the man that I'm playing is is recently released from h from prison and he's asked by his brother to help him save the family farm in the only way that they know how that plays to the strengths that the guy that I'm Tanner has, which has been a mayhem and a lust for life and just crazy enough to

do the craziest thing for the right reason. M politically, just on an emotional level, I can speak to the question is what would you do for somebody love? How far would you go if their back was against the wall, What would you do to to to to ease their pain, make their life easier? And if you dig down deep inside your heart? Uh, that's something we all should probably ask ourselves at some point. Yeah, you have a little brother too, I do, so I'm sure those elements were

bubbling up quite a bit. Oh yeah, yeah, let's talk about the director here, Mr Mackenzie. Uh, that's the other interesting thing. I mean, not that these issues are necessarily rooted in America, they can travel, but it's interesting to me that the Scotsman came in and handled this material so how did you like working with him and working on a character with him? I mean, David David, it's a true forgive the word artist's He's a deep feeler. He's uh really too smart for his own good. Uh.

He has a dangerous understanding of the human condition. He's not a Scotsman first, He's a He's a human being first, and he comes with his own personal experience and an openness to others. His bullshit meter is very high. At is open to play. It's it's an ideal scenario for this kind the world. You know, I'm already a fan of his work after seeing Young Adam and start Up. I mean, this is this is truly a filmmaker who's a who's a thrill to work within watch. I wanted

to circle back on that question about developing the characters. Uh. Something I've noted is just how much clothing is a part of a lot of your characters. Uh. I think of again three tend to hum. I think of Alpha Dog just kind of outwardly, How what what these guys are presenting. And I'm just curious if you ever like get involved on that level with like the costumers and and is that something that you're really big on for sure. Uh. I mean, no matter how subtle you think your clothing

is that you're we're we are. We are transmitting a symbol on a signal of community. We're communicating part of ourselves that we don't care. But I don't care in this way or this is how I care about things. This is how I want you to think that I look. In terms of what I do, it's always a collaboration. It's the best part of the job being on a script or how they look or how they sound. It's a build. I'm a builder. That's as simple as I can say it. Come in and we'll I'll go out

buy my own clothes. I've also worked with phenomenal uh wardrobe designers. You know, it's it's per job. I did see. I was in a restaurant, an Italian restaurant, I think I was actually in Italy at the time, and there was a giant nine sixties poster of Tarzan. It was cartoon, was like pop art, and there was a hunter that was chasing Tarzan through the jungle with a rifle and he was wearing a red button up shirt with rolled up slaves. And this is right before we started filming.

That's Tanner. So I came to David and I said, how do you feel about Red? He said, well, how about maybe at the end? I said, okay, so then we don't it. Did that mean anything to you beyond just visually how it struck you or was there something about the feeling of what Red might mean for this character?

I don't know. I saw the guy because Tarzan, right is supposed to be the hero of Tarzan's story, right, Well, that Hunter is the hero of his story, right, and that that means a lot to me in terms of

how Tanner views his world. He's in the right. Yeah, and that's a lot of your characters are you know, you've played a number of bad guys really, you know, objectively, I guess, but like when it comes to subjectively dealing with the characters and not judging them as an actor, I mean, that seems like something you relish, I guess is what I'm getting at, absolutely uh it as a journalist or an actor, builder or human being. The best time that I know that I feel is when m

Because it's easy to get piste off at people. It's easy to to to feel disappointed or or or angry, whatever it is. By exercising empathy and saying well why and trying to find a connection to people rather than distances a great privilege. My heart feels better that way. In terms of doing that and work, it's it seems like a great excuse to learn about things. I don't know anything about work. The work some compassion in there.

Now you've dabbled in uh, you know, I think you thrive in some of these films like Hell or High Water or you know, Alpha Dog I talked about earlier. But you've certainly dabbled with X Men and war craft, these bigger Hollywood movies. I mean, how do you like that part of the business or do you Well, I'm I don't know how to answer that other than I think it's great to have a job. And having a job keeps me out of trouble. Uh. Some some summer

jobs and summer Valentin's Hell or High Waters of Valentine. Well, let's talk about just curious working with Duncan Jones, because he's to me, he's an independent from my great heart. Certainly where it came from working on something as large scale as that. Uh, how did you like that collaboration with him. It was really tough. Really, yeah, it's there's so much money at stake. And I really loved Moon, but that was a tough shoot. The technology in these

kind of pieces was the show center. It was the center piece, and we were pushing technology further or they were. Uh then any film had been pushed in terms of narrative. The legendary guys came in to to protect their material. There's a lot of built in audience. There was a lot of pressure, I think, well beyond anybody's ability, um to process, and a lot of cooks in the kitchen. I think, uh, you know, I I in all honestly,

I haven't seen the film. Um it's it's a corporation that and what I do know, what I have seen of it in terms of effects blew my mind. I mean absolutely blew my mind. The and I would do another one, Um, maybe not. I don't think we're going to be doing another warcraft. But the shape of the size of it isn't isn't the deal. It's uh, oh man, it's a miracle anything gets made at all. Did that kind of stuff get in the way of your relationship with him? Like, would you work with Duncan again. Oh yeah,

for sure. I does mean it's a tough shoot. It's in general, it's just it's it was. I don't mean like tough on me. I just mean it was a tough shoot. Uh, there's a lot to there's a lot to a lot of moving parts that I was not a part of. I don't know how about that suddenly we have mood lighting well at last, I think listeners know that sometimes the light cuts off because I always

mentioned it. But I do want I do want to emphasize like Chuck Roban and and and and Duncan Jones, these are these guys are are brilliant at what they do. It was it was that particular film had a lot at stake And all I know is that China loved it sure did helped it out a lot. What what drew you to that one? To begin with Duncan Jones? It was Duncan Yeah. I do want to talk about a couple of other filmmakers that you've worked with that

I really love Orn Moverman Rampart and The Messenger. Uh, he's a guy I wish would be able to make more movies. He is able to make move movies. How do you mean well, I mean he's he's making more, but I just mean I wish, I wish he could. Yeah, I think about him. I've also got the Polish brothers down here, like, these are interesting filmmakers to me that I wish could have the same opportunities that other lord bigger filmmakers have. You know. In terms of Oran, I

mean Orang's my brother. He's the reason I moved to New York. He uh, he has director's cut. I mean that that he does what he wants how he wants it. I think more people should want careers like or and movermil That's the shame that I have the wrong perspective on it. Well, it's it is true that he seems I mean, it's not like he's getting backed into anything he doesn't want to do. He's not even built. He's not people to He's the most uncompromised person I've ever

worked with. And I feel privileged to call Oran Moverman family. Um. He just he just directed a film called The Dinner that will be out this spring, which is absolutely fearless. I'm in awe of that man. And you say he's the reason you moved to New York. I was gonna ask earlier, as you were talking about how much you like the South, there are two different environments really, So do you do you feel like you thrive in New York? Well? I did thirteen years in l A And and and uh, yeah,

I like I'm a walker. I like to walk, So New York is I'm better suited for that, I think. And if we're gonna choose coasts in terms of work, we don't even have to anymore. Businesses popped up in Nashville and it's popped up in Austin, And I mean it's a it's a it is a digital world, and we can travel and we're willing to. But I've been in New York nine years and I suppose I'll always have a base there. But in the future, I imagine raising kids if they are to show up at some point, um,

probably something a bit more rural. Yeah, well, the way I was raised, which is a small town you know, Iowa, right. What was that experience like for you? How that develop your sensibilities when it comes to the arts. Uh, I'm bouncing around here. Channel surfing is not a problem here. Uh you know, how does your childhood inform who you are? It completely shapes you. H What I'd say is that I'm really grateful for the time I had alone in nature, as I feel that it informs who I am as

a person. I feel much more comfortable in a in a forest than I do at a Hollywood party. And then to bring it back around to Heller high Water, I had Bridges on the show a few weeks back. I love that guy. Most of your stuff is with Crispines, so you didn't really get to work with Jeff unfortunately. But uh, just this crew of of people on this movie. What what has that camaraderie been like for you with with David and with Jeff and Chris and just the

whole crew. I've had some fun stories. Yeah, well yeah, you know, it's a group of goers. You'd like to have a good time all of us. So, uh, Chris is so much respect for him, and and care and Jeff and I didn't share scenes, but it's been He's just as you've interviewing him, he's he's he's everything he wanted to be totally. He just he is. He's one of our greats and he's he said such a beautiful thing when he was talking about music. He said music. Has been a good friend to me. Just that turn

of phrase. That's so much about him. Man, So that's great. David's uh, you know, I feel very close to him and Taylor. I feel like I've I've gained a brother. I mean, that is just a beast of a talent and a human being and a man. Just I just I enjoy his presence an awful lot. In this racket and the business that you do, you know, you come in contact with a lot of people. These people are are after it for the right reasons, as far as

I can tell, reasons that are felt. Bridges is one of those guys that you have this idea of him and you finally meet him, and he just makes you glad that he didn't fail you, you know, when you finally get a load of him, because you know, there's a lot of guys that you are anybody really that you finally meet and they're just not who you hope they would be. It's not a character. He's he has that curiosity, that big hearted interest. There's a there's a

Buddha brain that's just vibrating out of him. He's a big being and and vital and yeah, he's just a beautiful Bill Older. Yeah, Jeff is that word again, Jeff, motherfucking Bridges, the Beautiful Builder. I'll say that as a children's book, it's gonna be pop up though. Get somebody interesting to narrate it, maybe Bridges maybe. Well, what do you have next other than Hostiles? Um? Do you think cooking anything you're able to talk about? Yeah, I'm developing

a few things with Oran Overman. Um. I'm hoping to direct something next fall distrected music video called Packing Nobody's by the artist Emily Wells. I'm doing uh this film called Galveston in the early year, Uh, with all fanning. I'm I'm excited, It's I'm yeah. So it's it's good to be busy. Yeah, directing something you want to keep doing? Well? Uh?

I like telling stories, so I'll hold a light or if i'm if I'm giving the opportunity to direct a motion picture talkie and technicolor, I'll do that as well. I hope evans Man well, like I said, the movie is Hell or high Water. If you haven't seen it yet, check it out. He's got Inferno out in the theaters right now. Ben Foster, thanks again for coming on the show. I really appreciate, appreciate your talk. Thanks for listening everyone.

Remember to subscribe and check back next week when I'll be talking to Lyon and the Man Who Knew Infinity star Dev Patel. You've been listening to playback f Variety