Cate Blanchett in "Blue Jasmine" & the Actor as Auteur

spk_0:   0:00
What do you do? On Sunday, we talked about Cate Blanchett, the act, the costumes, the awards, but mostly Blanchard of it all, I think, is a Erica. This is Sunday's escaped, and I'm your host for Todd. Welcome to Sunday's Escape, the podcast series about the films of Cate Blanchett. Thank you for your patients while we regrouped after our first season of 13 episodes were back, This is your host, Mortada and with Me Today on the first episode off those three episodes about Blue Jasmine is writer and critic Matthew ANC High Matthew Todd. Uh, how are you gonna bring? Great. I'm so excited to have you on the pot to talk about Blue Jasmine.

spk_1:   0:59
Yes, there's a lot to say. I'm sure about this performance and also the

spk_0:   1:05
film. Yeah, and this is what we want to talk about a little bit today is that when you look at the career of Cate Blanchett, there is without it out to movies that people agree are her top, which is blue Jasmine and Carol. And surprisingly, she did them right after each other in 2013 and 2015. And you know, sometimes some days I'm like Blue Jasmine is her best performance. Some days I'm like Carol is our best performance. I've just seen Blue Jasmine. I think it's our best performance. This is the day for that. But we also wanted to talk in this movie because unlike Carol, which has other elements that you can the love you can love other performances you can love the cinematography, the writing, the direction. I think when you watch Blue Jasmine, it's about cakes performance. And so, for this episode, we're gonna talk about this theory of, like, 10 actors B O tours, and this is

spk_1:   2:01
a perfect movie for that. Do you agree? I definitely agree, because I really don't refer to plea Jasmine as Woody Allen's anymore. I just sort of refer to it as capable and chats. Um, yeah, and that just feels accurate to

spk_0:   2:15
marry. It does feel like you're to meet, too. So what is Blue dozen about Blue? Jasmine came out in July 2013. It was about in New York from IMDb, a New York socialite, deeply troubled and in denial, arrived in San Francisco to impose upon her sister she looks like a 1,000,000 bucks. But even bringing money piece or love? Okay. I am the be judgmental. Okay? Yeah. They are so blue. Jasmine. Always people talk about it as sort of a riff on a streetcar named designer. So Jasmine, like a Blanche Dubois, comes to visit her sister. There is a man in her past and men in her past. But there's also men in her present who are making this visit terrible

spk_1:   3:02
for her and for her sister. Yeah. So it's Yeah, I think of it is like a streetcar named Desire has filtered through the Bernie Madoff scandal. Right? So there's the Bernie Madoff skin. Obviously involved this skywards, uh, done this Ponzi's game, or it cheated so many people out of millions of dollars and then, you know, was caught and something consequences for it on died. But so it's interesting to think of. Yeah. Like what? These two. What, like this sort of tabloid friendly story would look like if it was reinterpreted and the terms of, you know, one of the most classic plays of the American theater? Yep. And then put on film, obviously starting one of our greatest actresses.

spk_0:   3:49
Yeah, and I think that's where the screenplay pops like that sort of ringing. It's obviously a retreat, despite Alan never admitting to that. It's so obviously retreated of Streetcar. But it also brings to your point that new off at the time that scandal was like in the news. This movie was released a couple of years after that. Yeah, um, and everybody who sees it also. So delusions to Bernie made off onto Ruth's made off. I have a

spk_1:   4:17
theory that, like what is written all of his screenplays in the seventies and eighties, and it's just that's what he just has been churning them out like he just, like, went on a writing spray for two decades because some, I mean, some of these rupees were just so incredibly data. Yes, and like they feel like they could only belong to a previous time where maybe these characterizations or maybe these scenarios, would have been accepted. But I would say Blue Jasmine is like one of his more recent films that feels almost of its Norman. In a way, you know, it's it's touching on obviously this really notorious news story, but it's I think it belongs to its time in a way that you can't say for maybe looking to meet around.

spk_0:   4:58
Yeah, I mean, if you compare it to Wonder Wheel Blue, Jasmine feels rainwater, right, Right, right, which is the movie that he did a couple of years after Blue Jasmine. But Kate appears immediately so, unlike the Aviator would where we had to wait almost half a hour for her to appear or other movies where she's very briefly in them. Blue Jasmine is all about Kate black shit. So if you're a Cate Blanchett fan, this is the movie. You you've probably already watched it seven times, but if you haven't, this is the movie to watch it. She immediately API appears right after the credits, jabbering away two on a playing to a stranger telling her all about lovemaking and her life with her husband and why she left. Call it and all kinds of story that you feel are really but also our lies and sort of That scene immediately establishes the character. This is somebody who talks a lot. This is somebody who's very self centered, who's narcissistic, and it also establishes that this is a performance that you're not gonna be able to take your eyes up. Yes, And it's interesting

spk_1:   5:56
because it feels almost, I would say, since the Elizabeth movie is like her biggest showcase, right, So it's she's right there from the get go, and there's really marry ISI and throughout the movie that doesn't spotlight her, except for you know, some extraneous Sally Hawkins. But we can have all this stuff, but yes. Oh, it feels like you're primed right from the get go for, like, a full throttle Blanche, uh, which does exciting to see, even though it feels sometimes like the film or the screenplay aren't entirely ready for just like the heightened intensity that she's bringing Thio part and every interact him.

spk_0:   6:34
Yeah, I mean, Kate is always somebody who's dominant screen, and this is definitely the most dominant. Even though the other actors are no slouches like Sally Hawkins Place, her sister will be kind of Ali Place, Sally Hawkins boyfriend's last. So he's the Stanley in the scenario there is under Dice Clay, who is Sally's ex husband. Bold Win is Kate's ex husband, and

spk_1:   6:59
Peter Sarge, guard is sort of like the Mitch, I guess of if you're ever looking at in the street car cosmology exactly like you know the new suitor, who she was, you know, pulling the wool over.

spk_0:   7:10
Yeah, who might offer her salvation, right with death, like minutes I could not believe when I first saw this movie. You know, I was there opening night at the Angelica. Yes, that Friday when it opened, I was there at the Angelika, the longest lines I've ever seen it, just like from the very beginning. Like we just actually hold the screens and and I remember like there's three minutes in after she lands and she goes, there's a cab driver who takes her to Sally's apartment and Sally's not better. And there is, and he's like crowding her. And Kate is trembling and just so overwhelmed. Jasmine is overwhelmed by the fact that she's there, but Sally's not bear what is happening. And she looks at the the contract runs, like can have some privacy while her whole body is shaking. I don't like Wow this. I'm gonna love this. This is a great performance. This is a big performance. This is something that the whole body performance is a big performance, like she's not gonna let go. This is not gonna be some subtle

spk_1:   8:13
work. You know, I think you know what's interesting about that moment in particular. And I'm my last viewing. A couple days ago, it definitely stuck out to me where I feel like most of what he's writing is really noted for its economy. So it's, you know, I mean, they're not like the longest scenes and another he has written some very extended dialogue sequence. Seems. But you know this one. It's just like it goes on much longer than you expect, and the cameras just sort of holding to her. And really, what's happening is not major by any means. It's not driving the story forward, but we're just sort of. He's just like immersing us in this behavioral study of a woman clearly at home would send. But you know, in the most one of the most mundane circumstance, like she can't find the keys to get into an apartment and you can't do that. And so, yeah, um and then that even in that early a scene you get, I think I get the sense that when shuts, performance is sort of even, just like dictating Woody's own interest and what he's going toe capture in this film like it's not going to just be, you know, snappy dialogue scenes between lovers or siblings or stuff like that. It's going to be, you know, almost like an extended look at this one person character. Yeah, so she almost in a way transforms it into a character portrait with the force of the performance. Yes, 100%. And it's so. I mean, that theatricality of it, I think, just stands up immediately. Where you you you understand, even you as she is on that plane, just jabbering away that we're watching a performer working in a very deliberately be Androgel register. So you know, realism isn't the point of this performance. It's fore grounding a type of artifice that's going to be interesting toe witness, especially in relation to these other performers who aren't necessarily Yeah, we're playing kind of straight. And

spk_0:   10:14
yeah, we're not doing that same thing. So she's always gonna stand out. And I love that you said that because this was the first big movie that Kate did after taking six years off to run the significant company. Undo a lot, lot of stage work. Yeah, and when she won the Oscar. She talked about how this is this performance of the sentences off her work in on stage and a known Phil. Yes,

spk_1:   10:36
you can. And you can absolutely see that because it's important that she had played Blanche Dubois in a production directed by Leave a Woman. I think maybe I don't know what you're was exactly

spk_0:   10:47
12. No, actually, before 8 2009 Something like that,

spk_1:   10:51
Yeah, So it's interesting to look at it, obviously, over the course of her career. And how, like, you know, her extended time with the Sydney Theatre Company, but also her experience playing. You know, the character who is most directly responsible for Jasmine. Yeah, how that's going to feed into this performance. But you know, on a filmic level so that the the outside is sort of needs to be reined in just like a little bit. Even though you're not really raining, it's

spk_0:   11:20
not. But it's a very control. Yeah, performance, like everything is controlled, and I think some of people who have a problem with this performance think of it as maybe to control because it's very calculated, like she's always calculating the amount of pills or booze that's in the system of jasmine and every performance calculating that with external AIDS like a sweat like the way with like the way her hair is so like Everything is yes, You look at her and you know Okay, Jasmine is drunk, or Jasmine is high on that night. So Jasmine is whatever, but it is a very controlled performance while also being very emotional. Yeah, I think of everything.

spk_1:   12:02
She brings such very like vivid emotional shadings to certain scenes in a way that elevates their meat or even works against. Maybe what Alan had intended, where you get, I think of the scene where she it's a flashback, and it's important to note if you haven't seen Blue Jasmine, you're probably listening to the

spk_0:   12:24
audio. Big spoilers coming. So you haven't seen Stop. It's on National. It's going to come back, um, food. The

spk_1:   12:31
scene where it's one of the flashback scenes where, uh, she is sort of interrogating Alec Baldwin about I think, this one of their one of his many mistresses. Yes, which is asking if this woman is his mistress, that he's having an affair with her and the way that her questioning she's so intense about another, obviously. And all she's doing is really like taking off for your ins on the gun.

spk_0:   12:57
But her face is intense And her whole body's 10. Yeah.

spk_1:   13:01
And so, like the but her laser like intensity in that scene, just sort of once he denies it, just sort of slides into this, like, very almost like like, uh, if awaiting guard are you know, she's, like, so hot for him in that moment. Like she had to pick this possessive lust like course. What

spk_0:   13:20
on earth makes you think that? Well, someone made a remark. What remarks? They saw you having lunch with her. You're taking a hand? What? Crap? Who told you that? I know who it was. That vacuous troublemaker. Lydia, am I right where you had to be? Little? Because I was having a business lunch with Amy at the Four Seasons you take. Are you nuts? I think I was having an affair. I'd be crazy enough to have it in public at the Four Seasons. Oh, I don't know. Sometimes you drink at lunch. No. Maybe you're high when it's obvious she's got a crush on you. Honey, you're building a case because if you were having an affair, I would be pretty upset. Well, I'm not. So don't get your temper up. I don't like that side of you. I'm just jealous because I love you. You should be flattered. I mean, I think the

spk_1:   14:07
entire this last viewing of Blue Jasmine really the flashbacks really stood out to me is like this very credible portrait of a marriage E think that's, you know, obviously blend shuts contribution. But I think I think Alec Baldwin knows well enough to just that. He doesn't need to do much in those scenes because Blanchett is really telegraphing and telegraphing all that needs to be communicated, something you can just sort of underplay in a way that's, I think, productive for those scenes. Complimentary. Yeah, he's a perfect complement for her. All he has to do is just sort of kind of side stuff her and you know, but yeah, the way that she seemed just sort of slides from an interrogation into a seduction is, you know, it's right. And it's breathtaking to behold because I think you just see how quick silver her emotions are. And it gives that that relationship more credibility than I think nearly exists on the page.

spk_0:   15:06
Yeah, and this is also, you know, it's sort of back Thio. And if you want to talk also about building a relationship with Sally Hawkins, sister, sister, like some off the press that came out around that time is that they both talked about How would he doesn't rehearse? He doesn't give feedback. Kate talked about how he told her after the first few days on Set that she was awful, that she needs to do it again. I don't think I heard that story. It is. There is a video in an interview she did, and during her elsewhere, camping into The New York Times and which he she said that he told her, You're awful, But he didn't give her any feedback, what was awful or what to do. And and then the reporter would ask her. And then So what happened? And she was like, Well, I guess he got less awful cause he didn't say that again. I

spk_1:   15:52
never heard that story. I think there's a story of him telling him, bringing Diane Wiest unde during bullets over Broadway to watch the dailies because she she admitted to you that she just wasn't getting the voice down for that character and and he just brought her in tow watch. And he's like, Do you hear what I hear Something like that? And she was like, Yeah, I'll fix and I mean, obviously we get one of the greatest committee perform a full time As a result, Yeah, it's interesting. Yeah, because I feel like especially latter day Alan. Every actor who's worked within seems to just say like, Yeah, I mean, it's pretty flexible is pretty easy going. I'll just, you know, if you want another take. He's fine with that. But like, you know, it's not really give a shed. It needs to be done.

spk_0:   16:35
Yeah, and one of the things that Sally Hawkins else talked about in interviews is that Kate was on stage in New York doing on California before they shot and she came to New York and they would do fittings, was the custom designer Susie. Bed *** is an amazing thing, this movie, and that's where they rehearse. That's where they talk to each other. That's when they built the relate the history of the system. She's like there was nothing in the screenplay about it, except the few things that are that we see is like they were adopted. Obviously, Jasmine was favored by the mother, and she's like So they built the history together, just talking to each other about what happened. Why did Ginger leave on what was the relationship with the parents? And so this is also sort of feeds into the Syria that we have about this. The actor is the O tour. They filled in the gaps in that in that relationship with it, which is the central relationship in this movie, even though it is kind of a bit lopsided because the movie is really about just Can I make

spk_1:   17:34
a confession? Sure, I don't love Sally Hawkins with moving on. I think Sally, I usually love Sally Hawkins. I think he's brilliant. I think she was generally underrated, but I don't Something about this performance just doesn't work. I don't It's not just the very almost like alien New York accent that it's just it's just, you know, it sounds like it's like the condenses just are weird on Yeah, but I think it's almost it could be. That key is working on such a heightened level that Sally Hawkins isn't. I think Sally Hawkins like Baldwin, maybe just wanted Thio is do you know, underplaying

spk_0:   18:17
and stay out of the way. Yeah, they out of the way of the Hurricane Sandy? Yeah, exactly. I think

spk_1:   18:22
her best moments of her just sort of looking at it. Jasmine And what fusion or horror. But

spk_0:   18:28
I didn't go in on Jasmine. Yes, she has a few of those. I find the

spk_1:   18:32
solo scenes of her, you know, pursue it when she's in relationship with Bobby Cannavale. And then later with Louise de que, uh, just something is just not clicking for me. And I think also one of my maid quibbles with the movie overall, which I think is a flawed move over the extraordinary performance that, you know, gives it a reason for being one of my I feel like one of my quibbles is that I just never buy the backstory as written because I think the backstory, but scant details that we get imply that they were both adopted Jasmine and Ginger. Yes, and I think if they're from upstate New York or something, I don't think it's clear Yeah, I don't and so something and that, you know, obviously Jasmine was favored and Ginger and one of them ran away. Ginger did something about the backstory. I never believe it when I'm watching Sally Hawkins, and I don't necessarily believe it when I'm watching Kate, either. But it's almost besides the point when I'm watching you, because it's so There's just so much else going on, and I feel like Sally Hawkins is generally playing it straight as she can. There's nothing she would experiment more. Yeah, with that character and our attempt to take it to the register that Kate's performing in. Just because I think the back story just doesn't benefit them. And, you know, the I don't believe her is like Andrew Dice Clay's wife. It's just a very hard spell on that one.

spk_0:   20:06
I thought that she like we talked about how the screenplay is uneven, and I think she suffers from the fact that her scenes are, for some reason just not written is not written as well. Like the whole relationship with Louis C. K. It's kind of comes out of nowhere and goes out of nowhere and sort of is becomes a big thing and then is resolved immediately. And even the whole thing was Bobby Kind of Ali is not really like I hope they had showed me Maur. I wish they had showed me more fire cause that's like Bobby Kind of Allie is playing Stanley. He's giving him the fire, the sex appeal, the like. Big emotions, the crying everything. But it's just like all of that for Ginger. Like I get it. She loves you. Yeah, yeah, in that context, for sure. Yeah, but also and I think it's just that would

spk_1:   20:54
he isn't really I wouldn't say he's even throughout the screenplay. Really. Building these characters so much is just putting them in new scenarios that they react to emotionally like, I don't think these characters aren't really like transforming moment to moment. I think that's especially true of Ginger. And so I think I think Sally Hawkins suffers for that darling lack of interest in like, you know, her character's psychology or interiority. But whereas like you know what, he is more than fine, you know, instead of building character for Jasmine like, why not just have our pop a few pills and that will be enough detail. Yeah, hold the film. Yeah, but keep on Tryin is making it these, like, little detail that you know what you just like these shortcuts that he's in the screenplay, I think are really actually where the fuel for Kate's performance. They're I mean, they're giving her Give

spk_0:   21:48
me an example of these kids. I just I can't I feel like this.

spk_1:   21:52
So there could be so much more to jasmine beyond just the pill popping and the the alcohol guzzling I think it's, You know, in a way, we've seen that in what these films, right? I mean, anyone who's watched it, you know, husbands and wives are even, You know, Geraldine Page and interiors like a familiar are familiar with these, like, you know, mad women, these everyday Matt women who were going under. And it doesn't feel like he's elevating his interest in these women. I think it's the reliant upon the talents of an actress like Cape on Chat or an actress like Judy Davis or Geraldine Page, who can bring more, you know, animation to it so that we believe it, even in spite of the Scripture coming.

spk_0:   22:36
Yeah, and he just gets out of the way. Yes, and which is important. And he does get out of Kate's way in this movie a lot. Some of the shot compositions, like the whole scenes that are set in the Hamptons. I was watching these yesterday. I'm like, Why is the camera there? And like, it's a whole long seen that just plays in one setting when there are, like multiple characters. But there are some characters Yoon whose faces you never see, because there he's just shooting from Gangnam like, Oh, he's just putting the camera on K for this whole long scene, and I guess he didn't do coverage or he just decided not to use it, because the force of case performance is just like he's in trap, as the audience is just wanting to watch our even when she is not active in the scene. And I

spk_1:   23:25
think that force, I think that force can almost become a liability in the movie in relation to Allen's direction, specifically because I'm thinking now of the scene in which Jasmine comes back to Ginger's apartment for the last time and it's, you know, shits this it's a second to last. You know the movie. She's just been dumped by Pierce, ours guard, and

spk_0:   23:49
she's mid break down

spk_1:   23:50
her, her stepson has discovered the betrayal that she's, you know, wielded on her, his now dead father, and she comes home and she's it's, you know, it's her rock bottom. She's her hair is mattered to her face. So Sweaty is running. Yeah, she's stammering, stumbling and, you know, because it's Kate Blanchett and she's just this Amazonian figure, like all of these characteristics, just just so much more high end because I mean her height alone is, you know, so striking on so overwhelming. But you know, So she is this un ignore a ble figure in the shot. Compositions are even as she's just entering a frame. And so she enters the scene looking like this would like her mascara running on her hair matted and Bobby Cannavale himself Welcome to just on the couch, acting like nothing has changed.

spk_0:   24:45
They have it. They don't see what we see. This. Yeah, it's just in a way that's just like no connection Thio reality. It's almost

spk_1:   24:57
like Alan isn't ready isn't as observant as maybe he should have been thio the the intensity that Kate is bringing just by even just in appearance alone, you know?

spk_0:   25:07
Yeah, but she's definitely intense in every single scene. I don't want to go back to Sally Hawkins for just a second to say that one of my most favorite movie, that my most favorite bits in this whole movie is when she needs Alec Baldwin for the first time in the flash back to New York and she currencies, which is such a cute little moment, and it's sort of that moment. I wish to your point earlier that she was going full throttle. I think this is a moment where she's not going full throttle, that she is giving a sort of unique characteristic of Ginger. Is that so? Just overwhelmed by this big, powerful man that she thinks, if he must, some sort of kink, that

spk_1:   25:49
is a good one? Yeah, the bigger detail. When you see that I really like, I think everyone is performing well and but I mean obviously, especially Kate. It's one jasmine when Ginger first introduces Jasmine to Chile,

spk_0:   26:02
and then he brings a friend, his

spk_1:   26:03
friend, played by Max Casella, and it's just it's a long scene it goes on very long, and it's, I mean that were around being really filled in tow. Many new details about Jasmine's past But just the sheer discomfort that Kate is telegraphing through that makes that excruciating. But in a way that I mean, I think it's you know, whereas it would have just been this kind of, you know, broadly comedic, seeing the scene or meeting of opposites, it becomes really just a kind of an endurance test, which we're watching. We're seeing if this woman, this character can, would stand a lunch with her sister's boyfriend, and this guy has been foolishly,

spk_0:   26:50
all these people she doesn't like. Yes, I It's just that he's also shows us like she she is so in her head. In that scene, she's an island like she is with these other three people in the scene. But Jasmine is an island that scene because while she is sometimes say something in response to whatever they're saying to her, the performance shows is that jasmine it's just in her head in that even it's in the screenplay, obviously, because there are things that we need, where she just stares into the distance and They're sort of like asking her about that and calling her out of that. But for the most part, they don't notice what an island she is and how she's not with them. Really? Yeah, when

spk_1:   27:29
the little about the performance is almost help class conscious. Her gaze is I noticed this time around, but she never seems toe hold eye contact to it. But with Sally Hawkins or Bobby Cannavale A like she does that thing where she could be looking directly at, um, But there's no life. Oh, underneath the eyes. You know, she's just enduring this conversation, or her mind is just completely elsewhere in a you know, a pass that will himself bothering her. But in her scenes with With Alec Baldwin and Peter Stars guard, I think that's the only time we really Steve Blanchett sustaining in my contact with the scene partner. But I think that even deepens the characterization so that we understand jasmine of the character who really only blooms under legal under the the gaze of these wealthy, powerful men who she feels some sense of protection from,

spk_0:   28:22
or just like their worst for time. Yeah, what a levels about this performance is all the bits when Kate, as Jasmine, will just stop and either stare into the distance. I saw you Erica yet or this one. She's a speeder, stars guard and like she's telling all these lies. But she stops like before the lie come out of her, as if she's thinking what the life should be like after she says New York Park Avenue, she stops a little bit that's not alive. But then she has to lie about her husband, and she says he's a surgeon when you know he's not. So So it shows this like, Oh, Jasmine is thinking about these lies and she's not a very good liar. Even so, you know, Dwight is just so clueless that he takes in everything just took

spk_1:   29:20
him. He seems like a completely Ni use idiot, and I mean that handsome idiot cause he's Peter Saris guard, because

spk_0:   29:26
Mitch Mitch is like that,

spk_1:   29:29
but almost like one. I mean, who wouldn't want to be seduced by Cape on shot right now? But one of the things I love is almost like how perfectly timed her her gaze will be to the flashback like you'll see like her her eyes going foggy and it's right, Thio. I mean, really a tribute to the editing, but I think she I mean, she's obviously familiar with the scripts that she knows. Like when these flashbacks will occur. She knows when Jasmine's mind is going elsewhere. Um, and she gives it. I bet she gives those flashbacks a kind of sense. I mean, you know, we see the character in the midst of remembering as opposed to these flashbacks just happening. Yeah, willy nilly. They're given a sort of tangible, you know, they're becoming in the movie, leaving the performance rather

spk_0:   30:21
yeah, and they become like When you go, you just feel it. It's it becomes very sort of emotionally monumental. They cut to the flashback. You know something's about to happen and you know you're mentioning the editing it made me think a little bit about like, did she give the editor lots of choices? Because, you know, Woody is known for not taking many takes, but it's the fact that precision in like definitely this performance, is like a go all out broke. She's sweaty, she's big, and you know it needs a little bit of control from the editor. So anxious

spk_1:   30:52
cheese giving at least from what we can see in the finished product. But there seemed to be these cues to an editor or, you know, that are aligned with the screenplays. Yeah, structure where we see her amidst, you know, a moment of remembrance. So that is I mean, there's some flashbacks where it's just like, well, she really thinking about that, right? Like it's just like what he wanted to get views, expository dialogue, scenes out of the way so that we understand the characters later on. But I think she gives it a kind of reason and just threw the transparency of of what she was doing.

spk_0:   31:27
Yeah, talking about this Green played This movie is full of amazing one liners and yeah, I don't know who gets the credit here because obviously they pop off and what he's known for writing a good dialogue. But it's just Blanche. It's delivery. It's like I can hear the things I saw you, Erica, which you just mentioned. That whole thing is just like that whole story, she tells is just so memorable. And the punch line of Isil you, Erica, it's just like something I hear all the time delivery of it. I think that's the ones

spk_1:   31:59
if I really want to be. If I'm really trying to procrastinate, I think that's like the one seen from Blue Jasmine. I'll go back. And just because it's on YouTube yeah, it is. But there, yeah, there's just something. So in trance ing and kind of nerve racking about watching her just recount this story that brings up all of this this sudden, vitriolic yeah, of statement.

spk_0:   32:23
And she goes like it started as a nice moment. She's just reconnecting with his sister. And then I'd by the end of it, she, like, hates the whole world, and she looks strong out. And I planned to the, you know, Ginger. Then it's just like, Are you okay? I was feeling that, too, is like, Are you OK? I

spk_1:   32:41
think even there you see like it doesn't feel like spiritually like Blanchett is in the room where the jasmine is in the room. Rather like Blanche, whatever bunch of is doing, she just seems to be like receding so that her entire interiority is just consumed with the past. Not even she's not even looking at Sally Hawkins in that scene and you know it. Sally Hawkins is the one who sort of has to that for out of this trance that she's put herself. But I think it's The film is more interesting in a way, for instances like that where Kate is choosing not to interact with Sally Hawkins. Or, you know, keeping herself at this purposeful removed, you know, is powerful to watch. But also so I think, speaks volumes about the relationship between Jasmina Ginger, who are people that really connect. You know, at the end of the day, I

spk_0:   33:35
want to go back to school. I'll get my degree and become, you know, something substantial. Just do some mindless job. Forced to take a job selling shoes on Madison Avenue. So humiliating friends. I'd had a dinner parties at our apartment came in and I waited on them. I mean, do you have any idea what that's like? No. One minute you're hosting women and the next year, measuring their shoe size and fitting them, Erica Bishop commits this door. You saw me some bears for May. She slipped out, thinking I didn't see her. I saw you. Erica. You okay? I've never seen. Also, that's full of these zingers. And these one liners is where she's baby sitting. The two Children at Tuckey Tease that scene has should not work. It should not work like it's so extraneous. It's just about her telling telling us. Basically, I think what he didn't couldn't find a way to to get us to the next bit of the story. So he's like, Let's just have a scene where she tells us what happened and it should not work, but it works because she's she's like she has the big line about, you know, anxiety and nightmares and a nervous breakdown. And then the one about tip big boys. It's like it's like they're so many one liners and you're just watching her. And also she starts a scene. She's just, um, happy Go lucky. She's happy. Dwight is in her life. She's enjoying her night out with these gifts that she obviously doesn't like, because she doesn't like anybody, Um and then by the end of it, she's also in another Trans, and she's just like talking about anxiety and nightmares. And you're like, Oh my God, she is in a nightmare right now. I would say,

spk_1:   35:35
That's one of the scenes in blue Jasmine that we're truly beggars believe it almost seems like those kids are just not on the same said

spk_0:   35:42
no. Yeah, probably wearing. And you don't

spk_1:   35:45
It's like supposed to be a Chuck E cheese, but there's nothing telling about it being a jerk. It's

spk_0:   35:49
just like the diners, some

spk_1:   35:51
diner that would that would shoot, you know, seeing that. But, um, yeah, even the transition and not seen as crazy as you said. I mean, it begins as her, you know, clearly tipsy and very, you know, Blake and, you know, in jovial spirits and then almost the way like her body is contorting so that she's just sort of like hunchback and by the end, like a very, you know, grim faces. I mean, it makes you want to call Child Service is what you want, but it's Yeah, it's it's fascinating to behold, even though it makes no sense within the context of the story. Why this character would be telling

spk_0:   36:32
the boy a young boy, this story, yeah, And

spk_1:   36:35
so because her performance is so overwhelming. And just so, you know, rendered in boldface from top to bottom. It's these almost like psychological and consistencies. Don't you're not concerned

spk_0:   36:50
because you're just so entrapped by the performance just deep in watching this amazing actor just turned this scene that, you know, I already said this, but I'm gonna be bears repeating You should not work. Yeah, and somebody you know, when you were editing this movie, you you come upon the scene and you're like, we don't need that But just the performance is so amazing that then it becomes. When I first saw this movie, that was the scene for me that was like, Oh, this is her Oscar clip. This is the scene where she sealed that Oscar when you know, looking back now it's the whole performance. There are so many other scenes where she's better, but it is a scene, maybe because the writing isn't it sharp. But the performance is sharper because you needed to make the writing better. So

spk_1:   37:32
I think it's really maybe just great summation of the of the of the performance as a whole, which is, you know, making these irresolvable contradictions in Woody Allen's writing. In his conception of these characters, it's are just part of this specific human being. But I think that Kate Blanchett makes us believe they belong to Jasmine, where as an actress who, you know, a lesser actress most actually dedicated bunch up. But, uh, you know what might not be able to manage?

spk_0:   38:08
And this is the big thing about this movie. Like, I can't imagine somebody else doing it. And I think if somebody else had played this, I don't think we would be talking about it seven years later.

spk_1:   38:18
I mean, I could maybe only imagine, like Judy Davis. Yeah, got husbands alive. I mean, that's really the performance that this character isn't gonna to come on. One of the great great performances in Woody Allen's is longer.

spk_0:   38:30
And Kate, you know, as a fellow Australian has always been in sort of the duty Davis School of Acting. Yes, yes. So there they have a similar sort of just like going for broke and while being so entertaining and heartbreaking and big and everything. Yeah, I think they're

spk_1:   38:48
both actors who aren't afraid to be caught acting, you know?

spk_0:   38:52
Yeah. Oh, that's a great way of putting, you

spk_1:   38:53
know, So that I mean and what's great about Jasmine as played by K is that I think of the scene where she's in Ginger's apartment and she's awaiting Peter Starr's guards phone call. All this K. I think it's one. Bobby Cannavale is

spk_0:   39:12
on, and he's like, Yeah, asking danger about going out to a date with Okay, a whole bunch of things happening. He's

spk_1:   39:19
playing her, like across the room. He was like breaking a lamp and Cuban check and focus on is getting this phone call. And But when she does, once the phone does rang, I just love the way that she just sit down and she has to sort of just compose yourself. And then, even when she picks up, the phone is on the phone call like she's timing it. Yeah, she's She put the phone down for a second, you know, just weeks what waits like a certain amount of time that she thinks there's like an appropriate like to give the impression that she is busy. But it seems like that you really understand that being Jasmine is a performance, you know, on going back to the backstory of it. Like I think it's interesting. I mean, I can again, I can't imagine Caitlyn shot ever having lived the life as described by Alan or being like an anthropology student at Boston yesterday. I mean bad, really, That stretches believe by Woody Allen standards. But in a moment like that, I think, because we're still watching when chat fabricates a performance and because we're watching a character whose life is a performance, we I mean, there's so much that we don't. But we can't even imagine about Jasmine. That's not even explained about the character like, How did you How did you get into this world where she might meet a man like Alec Baldwin and become his wife like?

spk_0:   40:39
The only clue is that she attained turning from Jeanette Jasmine. That's it. How did

spk_1:   40:43
you get to the party where she heard Blue Moon and they fell in love? I think you do understand that the character could do this because we see blend shot, sort of just

spk_0:   40:54
doing it. She's doing it. It's stuff. She forces you to be convinced

spk_1:   41:00
she foreground, the process of putting together a character so that we understand Jasmine is someone who is, you know, essentially put herself together. Yeah, like an actress playing a character

spk_0:   41:10
on. And this performance is the performance of building blocks. For instance, when she played Katherine Harper, and that was also a performance where she built blocks, you know, it's like the hair and then the voice, then the body. This is also a performance that, but I think it's deeper than that. She is emotionally building blocks, so it's a crescendo, right? So at the beginning, when when she started his heart in San Francisco, she's trying this new life. There is a maybe a little bit of hope, and then you know it. It keeps building, and at the beginning it's going towards like, Oh, this is gonna resolve nicely with Dwight. But then it takes us work and and it says If all that she built is, then it's you just reach the top of the boat volcano. And then the revelations happen, and you see the revelations happening twice in San Francisco and in New York, and that's where everything just blows up. It's it completely blows up. I love you know how in the performance become. It's always a physical performance, but it becomes very physical in very two distinct scenes, one where, after Dwight finds out all her lies, and she's getting out of the car and everything falls out of her bag, and she has to pick it up on that is, you know, you get it again with Alec Bolden after he tells her he's falling in love with Listen, Woodrow, what a name and then everything. Also, everything also, Why is she carrying all these things in her hand? But but anyway, well, everything in her hand but also falls out on the couch, and she has to dry. She's looking for the Xanax or whatever she's looking. And those two scenes, you know, they're these Ennis of like, this is Jasmine Spot, and it's the sort of intelligence and the performance that you see that she shows us. Those two things are as two bookends on similar emotionally, even though she is a different place in her life. Yeah, I think

spk_1:   43:02
it's interesting that, you know, even though her style is so exaggerated in the at that point, as is the performance mostly on the whole, it's still devastating to witness. It's still incredibly alarming, and I think just throughout the movie there's when Chapel's this sort of terror in the audience. You know where we're wondering, Like, is this going to be the scene in which she just flat lines completely and just, you know, self annihilates?

spk_0:   43:30
I thought she was gonna commit suicide. Everything that

spk_1:   43:33
follows the phone call to the FBI and this the person where she jumps out of a czar's Guards car. You know, those are the climaxes, and everything after that is just sort of like the shell shocked effect of it. I feel like the ending. Specifically, I'm never I'm completely unable to imagine Jasmine lifting herself off that bunch of the end.

spk_0:   43:56
Yes, it she's gonna be on that bench team croaks and dies. Yeah, and it just feels like the film

spk_1:   44:03
could only I'm barren away just because any future seems unimaginable and it almost seems like she's renounced any possible future for herself. So and it's like, you know, there's a sort of unconscious embrace of her own insanity, and in that way, it's a kind of debt, you know it is. I mean, we don't even need to see the character commits suicide because really, any future is just she's more clothes. I mean, any glimpse of a future

spk_0:   44:28
Yeah, that benches for coffin, you know, 100%. You know, if we're talking about, you know, Kate is the o tour of this movie. Woody Allen definitely let her down. Was that whole computer subplot thing? Because what world do we live in? In 2012 13 when this movie was shot and released that somebody needs to go to class to learn how to use a computer? Well, that's what. And that's one

spk_1:   44:58
of the reasons why I believe this screenplay was written in 1980 four's

spk_0:   45:02
Probably Yeah, Simeon E. Anyway, you can

spk_1:   45:06
imagine a character as just hopeless. Is Jasmine needing to go to one of those classes? Yeah, again, just because Kate Blanchett looks like a Planchet, I can't possibly imagine her ever

spk_0:   45:20
compute computers going in, you know,

spk_1:   45:23
in a class with that many normal looking. But, you know, it's so it's There's that scene where she's talking to the friend that she makes him that class with my just of the party when she eventually meets Peter Starr's guards character. I can't suspend my disbelief in that scene, and yet it's It's almost just like a but the odd survey of like. What if we put keep on shoutin in a computer cloth and

spk_0:   45:48
wear a wild tale to a vote general and must untethered? Yeah. I mean, it works if you think that. You know, Jasmine is always self sabotaging, So I think of it as, like, Oh, I too. For me to be able to have any job or career, I need to study this thing. But let me make this thing very hard for me s so I can actually get to have a career. So it's another way of her self sabotaging, similar to calling the FBI on how similar to the lies she tells why. It's similar to all the things that she does in the movie to self sabotage. It's giving herself another roadblock. Then maybe she can recover. That's the only way that it's believable. Or I

spk_1:   46:30
think it kind of speaks toe, maybe dubious inclination that Woody Allen has, where he wants us to sort of laugh at these well to do woman who's clearly suffering from some serious mental issues and just put her in these debased circumstances like I can't the whole dentists a plot to the CIA. I mean it works a bit more than the computer class, but just she wants scrubs at one point. You see it? It's just, Yeah, just you can't wrap your head around. Uh,

spk_0:   47:06
I mean, it is It shows us, you know, she works for a sexual predator, and it sort of shows us like, you know, somebody who looks like that, you know, maybe would would attract that sort of man. But I don't know, like it. It's sort of It's the contained subplot that doesn't sort of feed into the rest of the story. So it is a little odd.

spk_1:   47:26
Yeah, it just feels like what kind of grasping at straws, But she also makes it work, because, I mean just her complete an aptitude in these in these job, it's hilarious to

spk_0:   47:37
watch. It's very funny. I think that's where she is the funniest, because that sometimes she is funny with all those one liners. But you're just afraid to laugh because she might completely meltdown in the next seat. Yeah,

spk_1:   47:52
like any inclination to laugh, you worry, could proceed on potential suicide attempt or something like that. Yeah, yeah, it's alarming. She

spk_0:   48:02
is so dominant in this movie who Do you think she had the best scenes with you? Talked earlier about Alec Baldwin? Is that who you think she had the best scenes with? I

spk_1:   48:09
think those are the most believable scenes. I would say I like that he's under playing again. I'd like that. He's just seating the stage to her on DDE. I just believe him as that character 100% so that, you know I can focus on, you know? I mean, I'm always focusing on Cate Blanchett,

spk_0:   48:29
but does he cannot in this movie,

spk_1:   48:32
I think because he's so restrained, it gives her a lot of flexibility to just sort of manipulate the course of those scenes that she pleases to vilify them with unexpected emotions. So, yeah, those are definitely my favorite sin for what would you say? Who do you think she had seems? Well,

spk_0:   48:49
I sort of like I enjoy it. Bobby Cannavale E. The movie's not interested in any relationship between them, because that's the one thing that's different from from Streetcar, right? It's like there's no sexual chemistry between them whatsoever, but I do like the scene where he's trying clumsily to find out how long she's going to stay at Ginger's. And at the same time, he's trying to tell her that his friend wants her for phone number, which is completely unbelievable because, yes, another like has he not really not looked at her once during this entire lunch and makes no sense why he would ask

spk_1:   49:25
for her phone number.

spk_0:   49:26
Yeah, but I think that tension between the characters to me was palpable. And that's I think maybe he is. He's definitely nobody's playing it Cates level in this movie, but I think in that scene just because there's so much tension Unser onset tension between them. I thought he came

spk_1:   49:44
Closest. Yeah, I think a stronger version of this movie might have explored that dynamic further because yeah, it is. I mean, that is obvious. It's one of the fundament. It is the fundamental dynamic industry cranium desire. So it's on that it just kind of gets, you know, short shrift. It here,

spk_0:   50:07
just playing on here flew. Move. I used to know the words I know words. The movie starts. We start telling the story of Blue Moon and ends with it saying the story Blue Moon. I don't know that there's anything more to mention that I just thought that that was rape ointment in that when she talks about blooming in the beginning, she's telling a happy story. And when at the end, she's telling the same story. Basically, just the performance is different. And the way she tells it, it is very sad, heartbreaking, and I think that's sort of that's the journey that we've been in on this movie. That bummer of unending and just just that it ends was that so I give credit to the writing, but I also get cred. Just the performance of that makes you end the movie. Even so, nobody likes Jasmine, right? Like she's not somebody you like or want to be around at all. But the way that she tells those stories the same story differently, it just breaks my heart.

spk_1:   51:25
Yeah, I mean, it's going to take for granted just how believable she is. I mean, we hear it on the soundtrack Blue Moon, but I'm sure when she was filming it, it wasn't playing. And yet you never for one second doubt that this character is hearing it, you know, unfold as she's relaying the story, which is just a credit to, you know, this exceptionally physical eyes performance where you know it's she strikes it this fascinating balance between, you know, being in a scene because so much of the character is action is storytelling or, you know, weaving this fiction or dreaming this fantasy of a life she once led. But, you know, while also having one foot in the in, that same passed so that she, you know, she's she's always there. But she still has toe maintain a presence in the inner present s Oh, yeah, that's I just find that balance really fascinating. And it's it's something that cakes, you know, makes possible for the character. And it's something that even you, you couldn't necessarily say exists at the level of the script because it's it's almost like it's, um, special effect, in

spk_0:   52:34
a way only, you know for sure that's a great way of putting it. You know, let's end on a fun, positive note. This is the ending is such a bummer. Have you in real life ever said any of the many singers and one liners at Cape says in blue jasmine? Do you mean like quoting it really like like I have said I saw you, Eric. It's only asked me to. I said that many times when you know when I'm questioning people who, like, you know, telling a little bit of a line. I saw you, Erica. Yeah, that I would say That's the one

spk_1:   53:07
line I remember most vividly movie. And it's all in the delivery.

spk_0:   53:12
Yeah, you know, because it's not like I saw you. Eric is not that interesting or memorable, but it's the way it's

spk_1:   53:17
deliberate because she was, you know, screaming at full blast. It's that's pretty iconic, but I'm with the other one that she have. It's really

spk_0:   53:25
Who do you have to sleep with around here to get a stolen martini with a twist

spk_1:   53:28
of lemon? Maybe I'll start incorporating on to Delhi. You work at home?

spk_0:   53:35
Yeah, that's a good one. So we're talking about, you know, in this episode of Sundays, we skate about Kate. Plastic is an old tour, a blue jasmine, and you have written about Juliet Granoche Asano tour could tell us what movie and what did you find out with Juliet? Yeah, well, I

spk_1:   54:01
wrote about the nose for the support. This symposium, The site reverse shot did this past summer, which was essentially looking a career long. Long, uh, you know, she's performance with the theory of the no shows, the aw tour of her performances and of her films in a way in mind. So I looked at cachet,

spk_0:   54:24
and that movie is sort of like it's not like a Juliette Binoche dominant movie, because it's a two hander with Daniel Daniel it Why, yeah, but what I noticed on as

spk_1:   54:32
I was writing this piece of that I think you need actresses of Ben OSHA's stature and a role like that or an actress. I think also, it's just because Juliette pinot sh is a maximalist actress. You know

spk_0:   54:46
what you mean by that? Almost in the same way

spk_1:   54:49
is cape on Chatham Blue. Jasmine is that she's more inclined to play something to the hilt, and then she has Thio Rein it in or two, you know, underplay a line or seeing

spk_0:   55:03
you've also written a serial about Meryl Streep, who's another actor who's a no tour. Because a Merrill move either Merrill movie, you almost never think of the director. He's I don't I think of Meryl Well, so you don't you basically saw every single movie? Meryl has made a written about all of them, right? So is there. Tell is just one example of this theory or movie where you felt that what she was doing at the altar of that film really worked and made the movie better, which is a movie is always better with Meryl. But what's the best example that I don't know if

spk_1:   55:38
it's the best example? But the one that spring quickest to mind is the post, and that's a recent one. Yeah, but what I really think about when I think about that movie, as I think of her on the phone, just that the gradations of her ambivalence on that scene, you know, it's it's, I think she almost makes that decision like the climax of the movie within. Maybe what is a few minutes you get? Just like the tiniest liquors of you know, a woman making is is making a decision that she knows will, you know, determine the entire course of her life. And I think Meryl communicates that you're to the max, and it's not even that she's overplaying it, but she finds a way to make it science. Parents? Yeah. Make it seismic. Exactly.

spk_0:   56:27
Yeah. Legends. All the nose ST. Blanche had butt lift him back to Kate. I want to feel a few questions about Kate because we always do this on Sundays. Escape. Do you remember the first time you saw Kate? What movie was it?

spk_1:   56:42
This isn't. This isn't the first time I saw. OK, I think probably the first time I saw Kate with maybe Lord of the Rings are and honestly, Indiana Jones. Just because I was young at the time. Yeah, but the first time, I really I would say I really saw Kate Waas. Um Okay, so when notes on a scandal came out, I was I was 13 so I couldn't I and I was obviously a proto gay child. Yeah, wanting Thio obsessed with the Oscars and of course, want to see it. But I knew, you know, from the trailer alone that this not when my parents are gonna let me say I think I had to wait, like maybe a year or two before I could rent it on iTunes behind their back.

spk_0:   57:24
Oh, I love that story. And then watch it on

spk_1:   57:28
my phone and bad. Yeah, but I remember watching it. It's not really one of my favorite brand shop performances movie. It's just a while. Fucking

spk_0:   57:40
S o Y l e. But I

spk_1:   57:44
remember watching. I remember watching him bad. Remember the scene where plancha storms out of her house and the mascara's running and her hair is wild? I remember watching that on my iPhone or my iPod. Sorry, Richard Air that I was watching my iPod scrolling back and then washing it again. And I'm doing that. I'd be, like, two or three more times, just like, Oh, this is this is crazy. And this, I mean, in my mind that the ladder, the performance, the better. Yeah, that's where I don't think really. I don't know how I think I watched it since then, actually, but I'm not sure how well it would hold up, buddy.

spk_0:   58:25
Hold up. I've watched, you know, But, you know, I'm very not the best witness when it comes to cakes, But I love it. Yeah, I'm

spk_1:   58:34
sure I would. I'm sure it's still like a delectable just bunker.

spk_0:   58:40
And Judy's amazing. Yeah, really? Dance is so great.

spk_1:   58:43
That was the first time I really became aware of her as just a force.

spk_0:   58:48
Yeah, and is there a time when you thought she was underrated?

spk_1:   58:52
I asked John, John is my partner about this. Yesterday said Carol.

spk_0:   58:57
I mean, she didn't win any major award for Wei. Have a

spk_1:   59:00
beard along to thank for

spk_0:   59:02
the flag's favorite. You know what you did that can fuck you, Dolan. I mean, you

spk_1:   59:07
said I I obviously should not underrated and Carol

spk_0:   59:12
is that she doesn't have some

spk_1:   59:13
more words for it. But I would say I think in truth that same year she isn't pretty great. Yeah, I think she had great performance again. It's we're watching an actress just imbue this part with so much emotional life, you know, making the movie better by, you know, because of it. But it was pretty good. And where'd you go, Bernadette?

spk_0:   59:36
Oh, my God, I love you for that. Nobody likes that movie. I think there's It's from the you, me and seven other people who saw it. I like I have this

spk_1:   59:47
very And if I floated it by John a few times that he's well aware of it. But I only things like really flourish is when she's playing extraordinary women on whether there I feel like, you know, whether it's extraordinarily royal or extraordinarily demented, as in Blue Jasmine or extraordinarily, Carol, you know you are extra nearly Bob Dylan

spk_0:   1:0:07
or a genius like that. Yeah, And so she's, You know, I think

spk_1:   1:0:11
maybe a director who's a little Les slacks than Richard Linklater might have really realized the potential of that match between actress and character. But I think for what it is, I think she gives it. I just found it very moving. You know, I feel like she really responded to that character on dhe. The unfulfilled potential of ah, of that character, specifically

spk_0:   1:0:37
the Golden Globes agrees. Well, I think you look, we people, you know, Look

spk_1:   1:0:42
at that moment, you usually think Well, of course I nominated our escape plan check. They just nominate her by default. But I think she earned

spk_0:   1:0:48
Yeah, it's that I thought it was a desert dominating.

spk_1:   1:0:51
I mean, I don't think it's gonna be in the, you know, it would be like the film people hold up when.

spk_0:   1:0:55
No, because the film itself is not entirely successful. Yeah, but I think she I think

spk_1:   1:1:00
she makes you realize we're even think about the tougher, you know, more coherent film that might have been.

spk_0:   1:1:08
Yeah, So Kate, as we speak, is on set with Your Armadillo was Rooney, but also with Guillermo Del Toro. So that begs to questions. Who is your favorite Kate seeing partner? The most common answer for that is roomy. And who would you like to see

spk_1:   1:1:23
her work with? You okay? Obviously my hamster is Rooney Mara, because that's I mean perfection. I wouldn't say maybe it's I after runny. I really I love what she establishes with Matt Damon and Ripley. Oh, interesting, Rightly so delicious. Yeah, I mean, just in exquisite, beautiful, perfectly cast movie, but and it's and in a rule that we don't really see her try any I mean or that she's never really been cast in before. Since then. You know this Ernest kind of awkward society woman, I mean, usually when she playing society and she's confident and very carolus. But there's something so moving about the way she pines from Matt Damon and then movie, and the way that he seems ready to reciprocate it. Well, maybe not even reciprocated but the way he seems equally touched by her affections and definitely found of her. Yeah, bond between them and that. Scenes very pure and innocent. And she brings out something new in him. I think he also responds pretty beautifully. Tow her affections on that movie.

spk_0:   1:2:40
Yeah. Yeah. Now that you brought the time to Mr Ripley, I just thought of an answer. For my own question is like, who would I like to see it work with? And it's a sad answer, because it will never happen. She and Philip Seymour Hoffman have never been in a movie together. And they we're such good friends in real lives. So that's sad that we'll never see that because they are as intense. They're very Both of them are very intense actors. And I would have just loved to see that combustion. What would have happened?

spk_1:   1:3:08
I would I would probably pay any exorbitant for you to see them. And like a who's afraid of Virginia Woolf revival?

spk_0:   1:3:15
Yeah. Oh, my God. Yes.

spk_1:   1:3:17
Yeah, that's a great answer. Oh, he's not that you just devastated. And you wanted

spk_0:   1:3:21
to end on an uplifting, huh? I'm sorry. Uh, that's that's just sad answer.

spk_1:   1:3:28
I'd like to see her work with Viola Davis and Viola Davis has gone on record as saying that who she was like, I don't know what movie that would pay.

spk_0:   1:3:36
Let them remake Lila and Eve. Anything like this one. It doesn't matter, right? Like, yeah. I don't

spk_1:   1:3:45
know if the amazing to see them onstage together, I'm like, I would survive. Yeah, because they're boasts people who love to work on stage. Yeah, Yeah. I mean, I feel like my answer Thio. That question could just be Kate in any actress. You know

spk_0:   1:4:02
Merrill, Merrill her even marry on Kuti hard. I

spk_1:   1:4:06
mean, we know that Oh, my God. Don't even get me started on. That would blow my mind. I think it would probably really we know how hard she rides for Amy Adams. Oh, yes. She loves Amy. I think that I would be right. Actually, yeah. Yeah. So, Ken, any actress

spk_0:   1:4:21
and gate and Amy don't do the same thing. They are not the same type of actor, so that

spk_1:   1:4:26
would be really something to behold. You know, we got someone's gotta do it. Yeah. We need more, more K punch ups with actress Cup collaborations.

spk_0:   1:4:37
Thank you so much, Matthew. This was such a joy to have. You want to talk about blue Jasmine and everything? You were fantastic guests. And before we go, why don't you tell our listeners where they can find you

spk_1:   1:4:49
and your work? Um, you can find me on Twitter begrudgingly tweeting at hang under scrum Happy. Oh, by you know, you could find me work at tribeca film dot com or by my own website, Matthew, and done not ruin me if you want or don't.

spk_0:   1:5:07
And you can find me on Twitter at m e Underscore says and follow the podcasts on Twitter and Instagram at some days escape until next time.