Ep68 - Jason Clarke / "Chappaquiddick"

complex role on today's show. So sit tight. This is playback mentioned. Oh there was one. Oh go, thank you, So if you want to sit over here, you can sit out. No, actually we don't have yet back. Thank you, thank you, Joe, Thanks thanks Dan, all right, all right, oh wait, where's my computer? Dad? Thank you to what's your name? What's his name? Names? Foster? Sorry, Foster? Nice? Yeah, like the beer like Kim a shoemaker in London. It's uh, kind of a Charles Foster Kane thing in Kane deal.

So you enjoying it? You can't not enjoy it. That's awesome. I mean, you know it's exhausting at times, obviously, but full on weekend this weekend with dude, which is my wife. She's about to get birth and she's a little bit six, so it's like she did some rest and he was just you know, he's just up and at it, and he's just he's also a bit, you know, because another

baby coming along. He feels a bit you know, he can't stantly with mom or mom can't sleep in his bed or should put a bed sometimes and her wakemes he's not there, it's me there, you know. And yeah, so he's find it a bit strange like that. So it's just been if if he can't sit on anymore that there's another bait. You know, you can feel it something. Oh yeah, yeah, he's a little special time. That's the way our cat was. The cat could tell there was

this go on. All right. Uh So with these mikes, if you can, if you're able to lean in a little bit like this, that'd be great. Yeah, and we're up and running. So let's go. We've got Jason Clark here today. Jason is the you've seen him and stuff like Everest, which, by the way, I want to talk

to you about Everest in a minute. That movie was great because it made me feel like I didn't have to go climb Everest like I did him, As Climb has actually said, it was the most realistic that scene of you know, their expedition to Everest in terms of being on the mountain. Yeah, I felt, you know, satisfied. I don't have to go do that now, Terminator. I

don't need to go to Evers to know that. It's called the Dawn of the Planet of the Apes, Great Gas zero Dark thirty mud Bound last year, and we're talking to him today because the chap of Quittic, which is a great film which we're going to dive into in just a moment. But I actually wanted to start by wrapping up last year for you a little bit. When the mud Bound, I mean that was a long haul from sun Dance January all the way through the Awards season. D gave that impassioned speech at the Spirit

Awards and then of course the Oscars. Did you go to the Oscars? Went to the Oscars? Okay, uh, you know what was that night? Like? What was it like wrapping up that long haul for that movie and particularly just that speech that you were there for when I when when I went up to give that speech. Behind the mic, you can't hear what's going on. So I'm standing there and I can see D's getting into it. I want you, i know, or a bit too to know when she's actually switched right on, and um, I

can hear bits some pieces of it. And then it wasn't too afterwards that I actually went through and read it on a piece of paper, and then you know, people were talking about it. We came off stage, I knew that she said something. And then and then I actually, you know, I watched it on a video that you know that the following day. I mean, you know, I always expect D too come up with something intelligent and from the heart and that is relevant, and so I was.

I was very happy for her that she decided to, you know, put words to her thoughts and tell a whole bunch of people. We had her on the show last year actually, or last year earlier in the year

January or so. She's great. She really had strong really just you know what was just that full experience of mud, because it is a full experience that's like you know, you've made it well, it even goes back to really before when it started, when you know, I mean a lot of these independent films now, and that was a big film, big cast in terms of just numbers and all that locations and shooting days in war War War

two and spent ten years or fifteen years, um. So it was touch and go right to the very very end in term so trying to make that budget work, the pages work. It was stressful, particularly for the producers, you know, for the actors involved, and everybody really did literally and figuratively have to come together to to to be able to shoot that film to begin with, you know.

So that was the lead up to it, um before we shipped out to New Orleans and the shoot was you know, it's brutal in in New Orleans that time of the year, particularly on the cruise. I mean, you know you're out there and we were out there and there was no where. There was no shade, you know, for the for the grips, the gaffers, know, the prop department, everyone, everyone was working very very hard time. It was summer. It was like it was a bit of something, you know,

and then you get the big reins. I mean sometimes you's got to shut down because as an electrical storm coming in. But but the heat was was was intense. Yeah, well the Oscars, you know the Oscars. Yet I still from still Mary seeing that song, Yeah, I went. I actually else for two reasons. But I want to see

Mary sing that live because I love that song. And I thought such a you know, like an old, good, old an acting theater ensemble that you know, one of our main actresses had written and performed so just happened to be one of the great checkers ever. So I loved seeing that. I thought, she just I mean, you can see what that woman can do. I mean, my god, she can sing. And whether you were there now I

wasn't there actually was. And I went to see Gary oldman when you know, he was my drama school and you know, and going into drums where he was the guy that we all used to you know, that's the man that was the guy that was you know. We watch his performances performance, I mean the first movement Gary on playing of the Apes. I insisted that we that we do the photo of him with Joel d and as as um what's his namese other character's name, the

one Alfred Molina. I come from with a character's name, but you know I was Alfred and Gary was it. And I just sitting out to three or four my friends from drama school. You know you heard that. It was just it was one of those wonderful, funny things. I loved him and he was I was very happy to be there when he won. He's of the greatest actors I've ever seen on Sally Lloyd. Yeah, absolutely truly. Uh speaking of that actually, uh you know, also from last year was War for the Planet of the Apes.

What do you think of where Matt took that final chapter of the of his trilogy where I guess it became his trilogy and started with Rupert But you know, it really did. I mean he made three films. I mean he made but there was three, and I thought it was I thought it was wonderful. I mean it felt like, you know, the Sopranos. I love the ending of the Sopranos. I love the ending of of what Matt did. You know He's um, you know, and then he's doing Batman. I mean, he's the right guy for it.

He's he has a depth in his simplicity at the same time, and that's exactly what it went. I mean, it moved you as well as it felt like the ending of something. It completed it in some kind of way, you know, did did as he reached out to you to play Batman. Yet let's break is getting ready to knock on my door. I love Matt. We had him on the show, on the show. All these people we've had on the show. It's kind of awesome. Yeah, let's talk about some great people. You really are. It's awesome, dude,

Like my job is ridiculous, so chap Aquittic. This movie premiered at Toronto right last year, trying to film festivals about the time I saw it. I think this movie is great. You play Ted Kennedy and and obviously the episode with the car and the chap Equittic bridge and all of that. And before we get into the kind of the serious matters, this Massachusetts accent you always have to talk to actors about that. Is it Is it as tricky as they say? I mean, is it a

weird place to get into? Yeah, but it's one of the great accents, Like it's a clear cut, yeah, you know sound. I mean, Kennedy is in a different sound of that. But you've got to be able to do Massachusetts in New England for starters, and and it's anytime you get a wonderful, strong voice. It adds to the character. You know, it gives you some idea of where they're energy lies, you know, you know, the different types of people over that, you know. I mean, America's wonder what's

got so many different localizers. So it doesn't have many different accents in England hundreds of them, but America's got a bunch too. And and I've always loved that was one of the first jobs in Rhode Island, and you know, providence, and and and so to go back to it, but to do it for a full fourteen hour or fifteen now a day is yeah, it hurts. This movie is it's it's about human frailty. You know, it's about like

the corruption of that moral compass. I mean, when you're watching him try to salvage things, it makes you cringe. I mean throughout really. I mean that talk about that quality of the script when you read it, and that quality in the making of the movie, because it's got to be like a tight rope walk to pull that kind of an atmosphere off but also not make you

hate the guy fully. You know. It's just it's just this interesting balance, right, So it is I mean, that was one of the toughest things, you know, when I decided I wanted to do this was that. And for every you know, the directors that we then talked to, was that, how do you how do you follow a lead character when he commits a heinous act or crime

very early on? And it is very because you don't want to hate the person, but you don't always want to you know, sentimentalize it or re rewrite in the script. Stuck to the facts. And the more we went down that road and examine them through books and publications and court records, it was you know, they were pretty close, and they didn't sensationalize, you know, the the sensational staff of like the affair and that. But two you what what you said is correct? The frailty, what's your man?

What's your man? Be responsible for his own moral corruption, for his own moral destruction, almost you know, to save him something. We all want to live. We want to save ourselves. You know, it's natural for any man to kind of or any woman, any person to want to

come up and grab air and breathe and live and survive. Um, he has many, many opportunities ted to be true to the truth and his soul, and he keeps taking these small little diversions, which then I think John is a filmmaker, is shown lead to you know, even without giving away too much, you know, it changes the way you feel about the two thousand and eight speech at the Democratic Convention.

You know, there's no getting away from what Ted did, there's no getting away from but you know, to sit inside that week or ten days as he slowly goes into this rabbit hole and takes so many different paths, and to sit there, you know, we want to bring an intimacy to that so that you could actually see that there is not some great, big, powerful machinations. That's not something it's it's it's personal responsibility. At the end of the day, I think for anything and everyone, it

is personal responsibility. And to to understand that choice, you have to be very close to Ted, you know. You know, and that was the about Love Kennedy. So you're always at a distance to Kennedy, you know, that's the Kennedy's and you're never going to totally know anybody to be walked a mile in their shoe, you know, And we wanted to kind of give it a sense of that of walking a mile intense shoes, so that you could

understand that how this happens and why it happens. You know, it's very easy to dimiss, dismiss something very simple like at the beginning and say, you know when he says I'm not going to be president, and go, oh my god, what a cheap, you know, bullshit line, and it is, there's no denying that. But you also through this whole story, and I think the world we live in now you understand the magnitude of what that means, not just to you, but to so many people, family, friends, history, past, the

world at large, even um. And so you know that that moral journey is the heart of the fraility of the human soul and spirit. I mean, there's nothing wrong with wanting to live. We want to live, yeah, And there's there's so I mean, there's so much complexity and to mention even beneath that, because it's not just a guy who did something horrible and tries to cover it up. I mean, there's a reason he's trying to deal with it in that way. It's because of what ways on him.

It's because of the external forces and of time. Literally, you know, you swim around and that in that pool, you try and find her in the ocean, you can't. Time passes, and you're exhausted your backs because you broke your back from the plane crash. You're lying on the grass all of a sudden, half an hour ago. And then the mind kicks in, you know, And then and then of course it's natural to go to whatever place.

I mean, these are things that when I was trying to get ready for this role, I wanted to explore that there's something you can see the exploration on screen, so that you the audience, can explore it as well. As time passes, your mind starts to think about it,

about the reality, you know. I mean, I always think, no matter what happens, and I went down this road with people and talking to them, no matter what happens, you cannot justify And he says it in a speech, and then you cannot justify the fact that he did not report this immediately. I mean that is particularly when you realize she asphyxiated or there's a very good chance that she did with lack of there before the water

draw under. Um, it's unforgivable, he says it. Um. You know, whether he's stuck by it, though, but that you can't get around, you know. I remember I was arguing. I was trying to just I'd argue it out with with friends. There was an old dramas of like trying to justify my things. You know, they were both in the car, they're both drunk, you know, somebody you know, why should

I give you know? Um? And you know, and one of my very good friends sister and said, well, what if it was his mother, would you have done the same thing? I think, yeah, I mean it always comes to that. You know, he should have gone straight to Dyke house, got on the phone and got the diver around there. But once you go past that and through that, you can see how, you know, the mind will work it.

You know, Ted does so many wrong things. He picks up the phone in the in the in the police room and calls the mother because that is the right thing to do. And you see that Ted is conscious, so we you know he was conscious through these decisions. He switches off at certain points, you know, the kite flying, he just wants to fly his kite and wear his brother, you know, his dead brother's jumpers, um, and just go back to those you know, wonderful days in Hyannas where

they were a family and a group. You know, I mean, there is a lot of complexity this when you go down there's the historical side of the Kennedy's you know, it's it's it's you know, man is about to land on the moon, which Jack said in place, you know, seventies something or eighty year old Joe sr. He's preparing for a great weekend to watch, you know, the achievements

of his much loved son who was shot dead. You know, he lost three kids, lost three boys to service of his country, you know, and so on that on that day, we'd expect this this whold man to have some joy and some memories. Every had a stroke. He's you know, he gets a phone call that he's youngest son's driven from bridge and killed a woman. It's, you know, it's a lot, there's a lot going on. Bruce Bruce amazing film. You and Bruce was a scary dude, but in a

wonderful dude. It's it's like it's it's easy to sum that up and go stern overriding father, but that's not the point. You know that, you know, if you know joking and I hope that this film encourages people to learn more with this if you know he was he was. He was a big achiever, good and bad. But there are a family of big achievers. Greatness is not just you know, I'll never love you, it's it's some it's

this family expected greatness. He expected greatness on whether it's manners or education, or learning or achievement or going to work in service of your country. He was accustomed to no less. He was accustomed to no less. And you great great wealth comes great responsibility, you know, And and I do believe that. You know that family did you know believe that you know they might have abused it news and you know there's not to argue, but but you know, and that was the weight on Ted as

well of all of his brothers. And you can watch all of their journeys, even you know, Jack from crippled boy, sick boy to President of the United States, from you know, Bobby from you know, right wing hatchetman for Senator McCarthy, you know, to the great burning liberal of our times. You know that that spired a lot of the you know,

the President Obama, President Clinton, a lot of people. You know, he was a family of great journeys you know, and and and even you know, you could even say, you know Joe Senior himself to begin with, you know, from you know, Boston boy to ambassador for England to billionaire to Behemoth to re you doing the movie industry to a lot of things. You know, was there any involvement from the family, And I don't think you'd expect that, of course, but I didn't know. I like you for

your performance if you wanted to. I met Ted very quickly years ago at a boat race. But it's like, there's so much to watch out there. There's so much to listen to. And not just Ted, but you know his brothers. I mean the speeches and the rhetoric and what they wrote and the things that they did as well. There's so much to watch that you can learn what

it's like to be the younger brother, you know. I mean I read all of their books to go to put it in an order, read about you know, the father first, the patriarch, and then and then Jack and then Bobby, and you go, you feel the weight, O, my god, these men around me, this family, you know, and here here I am and I've just driven off a bridge. Um. But you know, with the with regards.

I met, you know, on Everest, I met Sarah and Jan, you know, Sarah the unborn daughter at the time, and Jan the wife, and I really enjoyed that and and that really helped. But for this as an actor, I don't think this would have helped. You didn't need any you didn't I didn't need any personal connection to people.

I mean, we knew they have children, and you know, I'd read a lot, you know, I know that that Teddy's you know, Senator Kennedy's children still alive and have been through a lot, a lot as a family post way post this, you know, and you can say they've got nothing to deserve it, but you know, this is not a hatchet job on ted You know, you can go and look at what he did after this, you know, and there's it's a lot of it is unarguably some of the some of the greatest senatorial achievement in this

country's history. I mean, we now understand how difficult it is to pass legislation, and what a great responsibility and privilege that is to be and anitor, and how at the moment the current bunch on both sides can't pass anything of any great worth or lasting capacity, and Ted did, what about you know, how do you go about avoiding uh an impersonation? Like how do you find the essence

of someone when you're playing a real person? And particularly it was important that was I mean, that was super important not to mimic this, you know, not to be you know it was. And I guess that started. I guess let's started with my look. Even you know you said you had Gary on here. We were never going to do prosthetics and following, so it was always going to be Angie Bremen, who worked with my hair and other films. Let's do a wig and let's just give

that that classic line. And then we said, you know, with John always, let's do some teeth, you know, because my teeth are very small and crooked in my mouth, whereas Ted's are a bit bigger than mine. You know, he's got the Kennedy smile. And and so we went down that that took months to get them right, I mean months, just the thinness so that I can still speak without a lisp, you know, dease and tease problems

for a long time. Into eventually was able to thin it down to the point where my tongue would get in there. You bleeding issues because you put it in for two hours, but if you put it in fourteen or six hours, you know you need a little rub. So there was those things, but then that was enough. You know, we thought about context. No, you know, it was still I always wanted the thing of it had to be intimate. You had to feel like, I know Ted, but I still don't know Ted. You know, he's just

he's still Ted Kennedy. But if you you either accept me very early on or you don't. And I never want to have that. Oh my god, is that he looks so exactly like him. He's you know, he said you had it's it's an emotional journey there, you know, it's it's it's it's a big emotional journey. And for that, the audience has got to just go in and forget

about it. If you go there's you know, there's Jason or whatever, and he's got the thing that he looks exactly like him, you know, I think it takes you out of being with him and understand trying to be with him enough to go, you know, what what you did is eving wrong, or what you did is I can it's wrong, And I can understand it, and I can person not like a real person, just not like I can see this actor is pulling us off just to look like that was it. And then you know,

Monica and the accent. You know, the action was very important. But you know, once again you find it within your eternal intent is pretty close to mine in terms of a tone. There are certain things that to take up a little bit. But but I mean, you know, with Tim Monic, we would for months on that to get

that right. And then um, because the other thing the world when you go to chaper Quick, it's just it's just a small little dot on a small little island at the farest point of America, you know, and out there is the Atlantic and you can you see how this little bridge and it's still unchanged. And you go from there when you watch a map of Google, but you go way back and you get to the seat

of power and Washington. It was always but then this little you know, with a little fairy and a small little house which is not that special, and the and the bridge is not that wide, and the you know, and the carriage is actually a lot stronger than people realize. But it's it wasn't some big grand thing. It was a very more event which got buried in the public theme or got away with it. But then it's ripple just I think, keeps going today. We started out on

Non Martha's viney. They want to shoot, they were, they get kind of permission to shoot there for like two days at the end of summer. I'm sure a lot of the bridge stuff, you know, in the driving in and around and that there and then and then we shot up in Beverley, which is northern north of Boston. And then we did the water stuff in the tank at Rosa Rito where they did Titanic like November and freezing cold if you get four am. Yeah, yeah, but it gives an intimacy, you know to it, I think,

and and that can help you take away that. Yes, the presidency in the White House and history, but little things start. It's small, little kind of like un you know, unremarkable places. The guy gets up, you know, finished, gives interviewed about his brother, go to the moon, gets a plane, goes sailing, goes to a party to catch up with some people that he probably haven't seen for a year that were there when his brother got his head blown off in front of everybody goes for a drive, drives

for a bridge, comes to coming up for air. Yeah, I mean what happened? Yeah, did you cause any any like a bit of a stir local stir at all, because you know, oh my gods, there should through I guess when we see enacting. Essentially there's a huge event in our pretty pretty cool about it and still a lot of you know that there's a few people that love their conspiracy, but the island itself, I think he's

been living there with it for years. And you know, there was there was actually one when we're filming me coming back from the ferry from making the phone call to you know, to my assistant where he goes over the chap of Cuick to make the the phone calleries

won't be watched. There was a woman that came up and she was cheap Arena's daughter and she saw my guard you know, yeah, you know, the people would come down and watching a bit from the ferry, but it wasn't too out of control and she was she was Chief Arena his daughter. Wow, that's interesting. I'm a junk around the director this. I loved his film The Painted Veil. The number of years back in my favorite movies that year. Uh,

it's also done movies like Stone and Tracks. You know, he's he always kind of he's a solid, great filmmaker that sort of lurks below the radar for people. I kind of feel like totally. And he was perfect, I thought for this kind of material. So just talk about working with him. He was perfect for this kind of material,

you know. I mean I remember because I was. It was set up with another director and other people, and then you know, they wanted to make it at a certain budget, and you know, and then when Mark Tiardi said, okay, we'll do it with Jason, you know, my agency and my manager would put that together with me in the lead, so that we had to find a director. And Robert Stein was always loved John Carr, and I've known John for a while, you know, and I was like, by

the same thing I hadn't like. I went back and I watched the Painted Veil again. I watched Tracks, you know what, John, and then John and I just spoke and he was just passionate about it. I mean, he was from up there. He knew this, and I knew this guy was going to deliver a film. It might even be my idea of what I loved are the writers or whatever, you know. And John, but he's one of those rare directors that that will make their own movie. I'm going to deliver you a film. And I know

it's like Peter Weir does that. You know, you always know you're getting a great film with Peter, and I think with John you're getting the same thing. You I mean, look, any script, as any film is as good as its script to begin with. But John was he was tough. I mean he because him and I were all you know, it was always about it was always about that line with Ted, you know, about how much to show to not show, how much guilt, remorse, frustration, anger. I mean

Ted as you know he has. I mean, he has a different relationship to to grief, to pressure, to post ability than anybody because of the life he's led and the choices he's made and the people he's had around him and the things that he's seen, you know, and

also his options. You know, they're different. So it was John and I were always wrestling, and you know, like the first the easiest seeing was the one of the phone calls, one of the early ones the phone we shot that when I called my dad and he says, Alibi, you know, for you know, for some reason, I got the exactly right for John. Bang. That was great. I think that's it. Let's just do one more safety. We do one with safety, and then moved on the day

in the police office. You know, when he goes back, Ted goes back and makes three phone calls. Was one of the hardest days I've ever had shooting anywhere, if not the hardest the coast. And John was just brutal.

He just kept making me do it. I don't have this, Jason, I don't have that, Jason, you need to go again, and he just kept pushing me and shoving me and really demanding when I was out of my mind, and I was, I was out of because there's three very different photos phone calls, and I guess, you know, at the end of the day said you know what, I don't have it, So we'll go to bed. We're gonna come back and do it again tomorrow. And that was a big call on so many levels. I've had enough

at that point. I mean, just like dude, I don't want to do anymore. I'm I'm out of my mind here. And second of all, you know, you know, we're a tired budget here. So everyone's like, but John, he don he was right, and you come, I think it was

getting that perverted, you know, that's the right word. Steward state of Ted's mind as he's got good and bad, right and wrong and half and full and you know, trying to through those three calls it there's so much going He rings and he knows the right thing to do is to call his mother. Bang the mother he does, and he tells her and and even goes through the Kennessey served the family with grace and in order. He's

just a woman bawling on the phone. Is collapse and it's just it's just mind exploding as he's you know, because he's he set out whole morning having conscions, just going you know what, I'm just gonna I don't enjoy. I'm gonna try, you know, because it doesn't care. But it's just deep in the recesses of like this can't

have happened. You know, it sounds fascinating for it was John was and John was great and really you know, really making me walk a line of keeping it, as you said at the moment, totally keeping it really never falling into like let's just show remorse or guilt, or let's show conniving or whatever. John was also let's just explore it and live it. I mean he totally demanded staying in, you know, in the reality and just living it. He even like to walk across the street anything it was.

It was if it ever went too much or an obvious thing, like like he's an easy note, you know, like hide somebody comes. You know, he was never bang. Just this is it, man, Let's just do it. And at the end it cumulatively adds up and accumulatively I think makes his ending real. I mean, what he's put it on. At the end there you know that le's him.

I think it takes this intense journey about one man and his family, his community, his area, his democratic machine, and then leaves you with we the people, and even actually to two thousand and eight. And it can't help me, You can't help it. Feel something different. When you go back and listen to Ted's eulogy at Bobby's funeral, you can watch that live. You know that the video of it,

Bobby getting shot and all that. You realize where Ted is and what you know as he's watching it at the same time, and then you listen to his eulogy and it changes your feeling. You can't you. I mean, you listen to all the eulogies that Ted's funeral, all the big politicians, and if you've just gone through this, you go, well, you know, it changes your idea of certain things, it affects it. And and that's what I think is interesting in we the people. You know, it's

a fascinating family. It is, it's a fascinating country, it's a fascinating time. And this was a fascinating time. You know, just two thousand and eighteen is crazy, and too seven name was crazy, So it was six and sixty nine coguably crazier. Let's actually talk about I mean, I wanted to branch out a little bit, uh, to talk about First Man. You're in Damien the First Man. You're playing Astro not Ed Higgins and what Edwar Higgins? What sorry

Edward Higgins White? Uh, you know, talk about that crazy time. So working with Damien, you know, Damien is an amazing director. Obviously when the Oscar, I've heard a lot of interesting things about this movie. Putting it on a much bigger canvas, doing the Imax stuff and whatnot. Some of the things I've heard about the score sound really fascinating. But I just wanted to talk about your experience working on this

movie with this guy, um beginning to end. He's just you know, I mean, he's he's uh, he's he's like he's like that juxtaposition of like a beheemouth in terms of his understanding of film and his love of film and story and he's a baby and well, yeah, he's he's a he's a beautiful young man who has you know, foun in love with Olivia and you know, and that's I despise him for being so talented. He knows that on his commitment like it is, it's it's his commitment

at times. And I've seen there with different directors and and you know, I would watch the Monitor with Damian, not out of fear of what I've done, but i'd watch his other stuff with other people, with a big couple of big group scenes. His eye for what he's after is you know, that's it's unique. It's really unique. And that's what I think every director has different you know and different you know, whatever is whatver. But I was really interested in his eye because you can see it.

You can see it on camera. It's like, oh wow ah, and you would you watch some stuff in playback and just go, I mean there's a couple of hours, you know, the asteroids going up in the thing where you go, I'm excited for this. I'm here. I mean that that's me. I'm excited. I'm actually really excited. This is quite special. Um. So he's like all these young dudes now, like, you know,

you've got to be interesting. What they're up to, what they're seeing, how they're seeing that, what how they're interacting with with movies or content or videos and phones or whatever. And and he's got a lot going on. Do I mean he can sum up. I guess that's his writing background as well, his ability to distill the story, his ability to to to really understand what he's showing in a scene. You know, he sent me a document for me.

Doesn't know me saying this, but he sent me a document before we started shooting about here's the film joson you know, with pictures, music, ideas with you know what he's after in the scene on here, we're really seeing Neil's mark play with this toy here. He's just got a very clear picture of what he's saying. Here, we're wide for this, look at this, look at that for

a reference if you want um. And it was really helpful, but it was also quite I don't know, man, he goes, He guys did sleep dreaming of dreaming of the movie. He really does. I can't wait to see that. Did you Are you finished with that's editing now? Yeah? Yeah, I think it will be. It's also one of the great stories. Absolutely is one of the world affirming stories. You know that was the weird thing with chapter quick.

We're always the moon was always there. It is one of the world affirming stories, putting a man on the moon, regardless of regardless of anything that it started from or you know, missiles in Russia and American competition at that point, the end result of that is still extraordinary. He said

something great to me, He said he wanted him. I was like, what are you looking to get at with with what you know the theme of this movie, what this is going to be saying This was back before he started, obviously, and he said he wanted to get at what it was like when we dreamed big and you know, we don't have that pulse anymore. No, we

don't have that pulse anymore. And it's weird. I mean you can say that even even to take it back to Ted and Chapo Quick at that time, you know, we don't have wealthy people whose children going to service. I know, there's a lot of cynicism around the Kennedys and saying that one of this, that the other. But no, three of his children there, his boys died giving service

to their country. And they all served militarily apart from you know, actually part from Jack and apart from Bobby and Ted because there was no war at the time. But um, you know they did that. That was the notion we had been given this and we want to go back in, you know, and give back to the country. That doesn't happen anymore. On all kinds of levels. Everything

has been monetorized and capitalized. And when we shot first Man, we met you know, Jean and a few of the dudes who were there at the time, you know, and they said, the most extraordinary thing in retrospect is how young we were, how the nation entrusted this youth. We were all under thirty or you know, around that age, and here we were, we were putting a man on the moon. We were running the highest, best technology, and

we did it as a group, you know. And and I think that's why it's still looked upon it Massa as the golden time of achievement and giving and working for something, you know, something for the country, for the better for the world. You know, it's part of it. I can't wait to see that. That's later in the year though. For now, this movie is called Chap Aquittic. It opens April six, I believe years it's right, Okay, good April six, go check it out. Jason Clark, thanks

for coming on my show man. Really appreciate it. Good to see you. Get Away from Where movie. The first time we were Musli and Frank that's where. That's where I like. It's such a laid back place. You know, no one no one thinks they're gonna like go to Musso and Frank for an interview. No, but you can have some quietness and get some you know, get some get some you know, a little space there. And she learned of a chat. Yeah totally. But thanks again. It goes see Chap of Quittic everything. Cheers