Lock the gate. All right, let's do this, how are you? What the fuckers, what the fuck buddies, what the fuck? Nix. I'm Marc Maron. This is my podcast, WTF. Welcome. If you're new here, hang out. Just sit in the back. You can share if you want, but it's probably best to listen today so you can get a sense of what's happening here, how the regs do and how the regulars do and how many people.

Everybody. All right. Are you holding up? Nicole Kidman is on the show today.

You know, Nicole Kidman, I guess she's the reason she was available and hanging out was the the limited series on HBO, The Undoing, which you can watch on HBO. Max, talk about that.

We'll talk about a lot of stuff. I didn't know what to expect. I found her completely charming and great. I imagine that most of us would expect that it was a it was a beautiful chat, beautiful chat. It's hard, right, knowing the vaccines there, knowing that perhaps some semblance of, I don't know, normalcy, but a little more freedom of movement is possible if we could just get it.

But the entire infrastructure of the federal government has been destroyed and no one's really in charge. And all the agencies and cabinet posts are occupied by amateurs and con people and fascists. I don't want to be gender specific on the con people. I find that in this last week or so.

A week and a half week in a day of the King, chaos, pigs reign. Every day is a fucking cliff, people. And all those cocky motherfuckers who thought there would be no punishment. They're getting picked up, cuffed, put in the car. Charged with a number of different things. That fellow who so arrogantly and. Proudly had his feet up on Nancy Pelosi's desk for his photo op with that smile on his face. Apparently, one of his primary concerns is the.

The chips, you know, they're going to put chips in us, the vaccines, they're going to chip us, they're going to chip us like our pets. So when we're lost, we can be returned to our owners. But I got no owner, man. No one owns me. I'm free, man. Don't you understand what liberty is? Me and Bobby. Little Jimmy, we're going to get the truck and we're going to take our country back.

I think his wife is. Come coming, Jimmy. Did you pick up some did. We need like three or four times a Coke before we go. Now, I got all the other stuff, I got the vest, I got the zip ties and I got Twisties as well for a sandwich, bags, left overs and whatnot, zip ties for hogtie and senators. And then the twist ties to for the trash. You know, in the car, you get the dip.

We're going to take it back. No one's putting a chip in my head. Did you set the GPS for the chip in my head, man? Fuck that, man.

We're fighting against the chips. Were fighting against the five G was the GPS. Did we just get on the interstate?

Man, we remember what it was like without GPS. Is there not putting a fucking chip in my head? Give me that DIBP. And seen. This is an inflection point. If something is not done today. To punish and force responsibility onto those who refuse to take it. Then it's over. It's over, it's only going to happen again and again and worse and worse. They got to do whatever it takes, twenty Fifth Amendment, impeachment, whatever, something has to be done in a big way, but we don't know what's going to fucking happen.

And that's I guess that's probably one of the reasons people are going more crazy. It's been like that for four years, but now in this final week and a day, it's pressing. The anxiety is profound, fear is profound, sweep is difficult, but God damn it. They're not putting a chip in my head here, I'm going to do an post. Fuck that man.

Fuck five towers and chips in my head. Take a picture of me on my phone and post it on IG, make sure the location thing is switched so people knows we're here. Give me that did. Guyandotte. I don't know what you've been doing in isolation, but now is the perfect time to turn your best idea into a new website, and you should do it with Squarespace. You'll find what you need, whether you're showcasing your work, blogging and publishing content, selling products and services, announcing upcoming events or anything you can dream of.

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Hey, man. Now, you put no chip in my head. I don't know. It's kind of interesting, man, Twitter just shut him out, everything's a little late, dollar short, day late, but good. If anyone's wondering who's really in charge, feels to get your Twitter shut down, to be booted off Twitter. Then who are you? A person without a country, a human without land, nowhere to get your little angry voice behind the veil with a fake name out into the world to cause pain, or you're the president.

People are screaming censorship, it's censorship, I don't know, maybe you shouldn't have adjusted so efficiently, maybe you shouldn't have turned your brain over to the technological overlords.

Maybe these are privately held companies that can make privately held decisions.

Maybe he just got to pass it up the chain and ask their shareholders, do you mind do you mind if we block the president because he's beginning to turn the country into a fascist shithole filled with very shallow aggravated apes with guns and hats?

And they brought the dip. I got five kids cope. You've turned your brain over. Do we have a choice? I don't know. Let me check my phone. If I have a choice, do I have a choice? What's trending in my trending? Is there something trending that I should be part of? I think that's what it means, right. Doesn't that mean that what is trending mean trending?

See what everyone else is doing so you can do it too.

Lists are the lists over because I need to know what to think this year that lists content.

What is content? Distraction. Profiteering. Oh, right. Personality. What is personality template that you apply to the guru.

The psychic guru that is you a personality template. Character. What's character characters. Your resume. That's where you present yourself. What is your brand, what are your likes and dislikes. You have a list. Is there a list.

What's trending. Are you trending. The singularity has already happened, most of who you are was created.

By the Internet somehow. You are designed your desires thoroughly, mind, mind, your mind is a poetry day, holy shit, the fuck is happening.

I did yoga yesterday for the first time.

I've had the mat in and around. It's only taken me, you know, months and months. What is it? How many months are we into this? I think I'm through most of the. Daily PTSD of grief, and now I reflect trying to make memories of my girlfriend who passed away, Blessing's trying to keep my head above water.

Mentally, psychologically, emotionally, mornings are difficult.

I've been meditating and then I tried yoga, I did the yogurt, did some some sun salutations. And I don't know what I'm expecting from meditating and yoga in the morning right when I wake up, but by the end of the day, I don't feel great. My body's still beat up. I'm still sure there's no going back, there's no going back. I'm just trying to stay engaged so my brain doesn't turn to mush. Something needs to happen this week, something in the form of punitive action.

Saving the system that we live under. Something has to happen if it doesn't, we won't. Right, can you dig at. Nicole Kidman, it was very exciting to get to talk to her, and you can watch the most recent bit of business that she is involved with, The Undoing on HBO Max. Watch Hugh Grant be a monster. A different kind of monster than he was before. At the beginning of this, you will hear another voice.

It was Keith Urban, Keith Urban. Her husband made an appearance getting her set up. It was a that was kind of exciting in a weird way.

I don't know one song that he played. I know he's good at what he does, but just seeing him, I'm like, oh, shit.

That's Keith Urban. This is me talking to Nicole Kidman and to Keith Urban briefly.

Wow, a country music star and a movie star in the same frame, he said, you play guitar.

I do. I got a lot of guitars right behind me. What is Keith play? What do you usually play? What's your guitar?

Telecaster, everything. Tele Strads, Gibson sleazeballs. What's your favorite one, though? It changes.

You like that single coil sound. I just got a I got 62 Les Paul Jr. a few weeks ago.

Oh sixty two. Very nice. Like with the just the one 90 on there. It's great. There's nothing like it. I know. Good rock guitar. Great rock guitar. Yeah. Billy Armstrong agrees.

All right guys, it's nice to talk to you. That's what you should be talking to.

I don't know enough about guitars. I always get lost with the guys. You do it for a living.

They know a lot more good music. They thank you. Do you want to. Are you going to put some earbuds in?

Oh, no, no.

You want me to because I don't know how to Bluetooth my. Well, go get the guitar guy. Let's get good. OK. Yeah let me do it.

I tried. How's that? Is it happening? How's that testing one, two. Hello. Hi. Better, better. I mean, look at this. Oh yes.

Anything good? Is that good? Thank you. Yes. Hi, Nicole. Are we ready to go now?

I bet you LaPadula baby to baby.

Turn it down, baby. Check your current baby. Turn it up to me and turn it down. Okay.

This is the best interview I've ever done already. See you later.

Oh, I go practice. Don't go practice. Practice that better.

How does he like how does I don't just before I.

I'm just curious, does he ever get any flack from the country music community that he's Australian. Or they just don't care. He didn't make. No, no, I don't I don't know, actually. I mean, there's another guy now, younger guy, who's also really big in a marriage. Kelsey Ballerini. And he's Australian. But Keith really is the only Australian that's ever been put into the country music, the the Ryman and oh oh, he's already the right to have won the awards.

I mean, Olivia Newton John won to one CMA, I think once, but. Yeah, but he's like a jukebox, honestly. I mean, his understanding of country music is he was we were sitting last night and we were sitting in our porch and he's like, oh, this is a Picken porch.

And he got his guitar because we had the, you know, the sun room with the flies growing in the summer here. And he just started playing Willie and Don Williams and all these all all country songs now reeling off stories about Charley Pride.

And I mean, so he's he's grown up.

His father loved country music. So since he was a baby, he's been listening to country music. And that's how his understanding.

Yeah. Yeah. And then he taught himself guitar. Yeah.

In his bedroom and all his olia he would go to Tamworth. Country Music.

It sounds like you're talking to me like you just went on a first date with this guy and I love this guy.

He we're just on the porch and he knew all this stuff about country music.

Well, I mean, I was sitting there going because he was telling me a story about Charlie Pryor who just passed, and he was telling me a story about how Chet Atkins had to put his first, I think it was his when he sent it out to be played on radio in a brown and brown paper bags. So, no, no, he wouldn't know that he was black.

Yeah. And Chet Atkins produced there, probably. Yeah.

And I'm like, how do you know that? Because everybody knows that. And I'm like, oh, I don't know that.

And now you did. But, you know, that's just he has so much knowledge and then he has you played by ear so he you can play him one song and he'll play, he can play it and he can play drums. Wow. He's just that he's. Yes he can you play it and he'll play piano, guitar, drums.

Well that's exciting to have that in the house. Right. Anyway there's like it must be nice to always entertain my music man. I mean, good for you. So what you just got back from shooting a movie?

Yeah, I was shooting in Belfast and I can. Yes, I love Belfast now.

Ireland. I love art all. I want to live there. I want out. Yes.

The weirdest thing was I'm in Belfast and I'm like and I have this sort of this this way of going, oh, my move here.

I'm that person meeting. So I'm in Belfast going, this place is very special. Yeah.

And there's something about it. I was just drawn. I have Irish blood. My part of my family came over to Australia in 1839 on the S.S. Susan. So, well, you know, three settlers, you know, the big the big history.

I have zero Irish, but I have I'm all Jew and some part of me. I know you are.

I've been listening. I've been listening to the radio. Just come up with some of your podcasts and I now subscribe to you. Oh, good. Well, that's very nice.

Yeah, I'm flattered. Yeah.

Because I was I was saying you won with Glenn. Oh yeah. I learnt about Glenn. Fascinating. And I've worked with Glenn years and years ago but didn't know that and then carries one was so extraordinary because she went to India, she got I mean all of these things. So I've been very excited to do this with you. Yeah, I've been excited too.

I wasn't I was I was nervous. I'm nervous. You've done a lot of things. And I like I've been to Australia a few times. And one thing I remember now, I don't know what this is, but I'm going to ask you because I'm curious.

You know, whenever you go to Australia, you're an American. Australians talk about, like, you know, seven people, you know, the the Australians that everybody knows around the world. And you're one of them. But then there was always this thing.

It's like, oh, her family owned the entire country once that.

Yeah, no, no, I'm not I'm not of that family. OK, theodolite. That's the Adelaide Kidman.

Oh, you missed out on South Australia. Yeah.

And he was a cattle king and I'm not related to him.

Do you get that a lot though? Do people assume that about. Yes, they do. They're they're like, oh, she's like a rich old money Australian lady. Nope.

Yeah, that's not the case. I came from a working class father who built himself up and got his degree. And became a biochemist and then became a psychologist. But you're a psychologist, your dad was a psychologist. He started as a biochemist, and then I remember in my teens, suddenly my father was a psychologist and he'd gone and studied with Albert Ellis and and all of that was sort of so CBT and cognitive behavioural therapy.

Oh, and yeah. Did he have an office in the house? He did. Oh wow. So you're that. Did you know that we would peep through the window and see people coming in and be like, wonder what's wrong with them.

But as an actor, that's a wonderful thing because just his understanding of behavior and the things he would share without anonymously was was interesting to me. And his also his is his real compassion and ability to view things through different perspectives and lenses, I think had an enormous effect on how I view the world now. I bet.

I mean, cognitive behavioral therapy. I mean, that's the most practical one. Like out of all of them. Yeah.

That seems to be the one that that that you can actually see working because it really relies on you going like, you know, I'm not going to do that.

Yeah.

Don't coatrack. Don't catastrophe's. Oh yeah. Some tools as to how to. Yeah. But of course as a teenager I was like, oh so not going to apply any of that. And that's all crap. And I'm not interested in. Oh yeah.

Don't tell me you're of being pushed back pretty hard. My nature. Yeah. I fought the good fight a little bit willful.

Yeah. Were you born in Australia. You weren't right. I was born in Hawaii. How long did you live there though?

For a bit over a year. And then we moved to Uno till about 18 months, I think.

Then we moved to Washington, DC because my dad was studying at the Institute of Health to see if they were they had no money, no money, and they had to go and get I even remember they to get it.

They went and got a mattress and put it to my dad before my dad passed. And he was telling me all these stories. And I think it must have been because he maybe he knew that his heart was weak or but we didn't. But he told me a lot of stories about when I was little and things they did when they were in the States and.

Oh, really? When did he when did he pass?

And it feels like yesterday. It was six years ago, Tony. Oh, man. This was very, very close to him.

I said, I'm sorry to hear that. Yeah.

And so you but you're able to do that. So he's like, did you feel like it was he wanted you to know all this stuff like before he went, did they have that kind of feeling about your childhood and everything felt like that?

Now, when I look back on it, do you have pictures and stuff? I have loads of pictures because my mum took pictures and but I and I have stories.

But these stories were very particular and very specific. And strangely enough, I remember the last time I saw him, I had this unbelievably strange sensation where I was like, wow, this is going to be the last time I see my dad. Oh, really? And then a month later and he died very suddenly. Yeah, but he wasn't sick. I hate that. I hated having that.

No, not sick at all. Oh Jesus.

I mean, Malcolm Gladwell would say that's just your mind saying, you know, the sort of obvious thing is your distance from your family a lot. And he's 75 and anything can happen. Right. So or I can go into that other place and go, I had a premonition. So I fluctuate between spiritual and science.

Sure. Yeah. He's a magic killer. Don't let him kill the magic, OK? I don't mind that.

I don't want to be someone that can have premonitions or feel things and those things now, but you've got to find some mid midway.

You know, poetry is poetry and feelings or feelings doesn't mean that you, you know, you believe in an afterlife or you're talking to spirits.

I mean, there's you know, we I do believe in an afterlife. You do what happens? Help me out. Just get kind of I don't know what happened.

I know a lot about Jewish men do. So why is that? Because I know a lot of Jewish men and I've been very interested in the religion and they have a lot of. Yeah.

So I just know that you probably know more than most Jews if you're fascinated with the religion that most of us are just happy with the framework. Yeah. You like the relation to. I like sitting Shiva and.

Yeah. What religion are you. Catholic. Raised Catholic. Mm. Well Catholic is one of those ones.

It's pretty ornate and complicated and mystical and there's all kinds of magical books.

I mean I went to Italy. Every church has a few dead wizards in it. There are dead wizards. Everywhere in Italy, how many popes were there and everyone there's pieces of bodies everywhere, it's dark.

Yes, the catacombs in Rome and but every church is like a finger or a saint ear or a head. That's that's right. That's how you were raised Catholic. So that's. So you believe in the burning?

I have. I I'm always grappling with what I believe and what I don't believe. That's probably part of my nature, which is fine with that, with where I stand with science.

But I've been taught to question. But ultimately, like when I say when my father died, the first place I go is church.

When Stanley Kubrick died, the first place I went was church, kneeling, praying.

So I but I was raised in it since I was a baby.

And what do you get out of that? We get peace. Yeah, I do. I actually do. I get enormous peace.

I'm a Jew and I walk. You know, I walked into the churches like in Italy where they invented the the big the gap with the Catholic stuff, like those churches.

Like I mean, you feel the weight man. I mean, they're designed to make you feel a certain spiritual weight. That's really beautiful.

You know, I almost became Catholic, but I think I was Catholic when I was in that. Not really. But I mean, when I went to the church. I get it. You feel that? Yeah, I could sit here and do it, you know, just switch the God out for my more nebulous, kind of unexplained God, you know, switch out the Jesus.

But so you were brought up with Catholic the whole time you did.

Your parents were not. Yes. Then my mother became agnostic. Did something happen? I never I was just suddenly it was my mom wasn't coming to church now, so I wasn't quite aware of what happened.

I remember there was sort of closed doors and tears and for about a year and whispering and and then, well, it took course over maybe a year or two where she just slowly she she converted to Catholicism.

And then maybe when I was about eight, I think it was that she just stopped coming and my dad would take us and we would go to Folkman's where you would sing.

Oh, well, that's nice. Let it be.

Let it be. That was part of the guitars. Yeah. I sound so daggy.

They singing nuns with a nun singing. I went to a school with the nuns when I was little and I told the nuns are married to God.

And then I would go over into the convent where they lived and be like, Oh, I hope I can see God and I want to see who they're married to. And it was all very like wide eyed. And then they'd give me biscuits and cookies and I'd go there and wait a wait. They were married to God. And that's all part of the reason I became an actor.

I think George Miller says that. He says there's something to actors who were raised in Catholicism because they have all that relationship with. I don't know. They really. I did. Yeah. George Miller, who did the Maddux's and. Yeah, yeah, I know.

I'm familiar with them. He's great. Yeah. I mean the acting thing I guess I, I'm just trying to do it now. You're very good at it.

You've been good at it a long time. And I think it's like it's strange to me that like every year, any time you do anything, it seems that they're writing like, oh my God, Nicole Kidman back. Or like she really is amazing how many I mean, like, you've been here four years doing amazing work. But every time you do anything new, I surprise Nicole Kidman has has read whatever they act like you're brand new every time.

What the hell's wrong with people? Why can't they just say she's amazing again? No.

Well, I think I've definitely not been amazing and I think I've probably said I was an amateur. What do you mean how were you? Not amazing. And I'm a hundred, so.

But what do you look back at and go like? Well, that was terrible. What do you actually have things that you think back at? Were you like that was I wish that movie didn't exist. We should didn't exist, it exists, is there? Yeah, there's is things I've done that I go, God, I wish. I'd done better but measure another. Yeah, I mean, I look at every scene practically, and I'm like, God, that doesn't exist.

I need a long time before I can watch the performance and have any sort of I mean, I literally feel nauseous when when I watch things and I and I have a physical response to things that you're in.

Yeah, yeah, yeah. And very disappointed. I feel very disappointed. I think I'm way better than I am. I watch. I go.

That's terrible. What a what.

So it's interesting. So I tend not to watch unless I'm producing. And then sometimes I look back and I go, that was interesting. OK then I see why that connected or didn't connect and but I'm always trying not to have. I suppose it's more putting it out into the world and seeing because it shouldn't be about me and my response to it. It should be that I have given blood hopefully.

Yeah. You're telling me what I try to give blood. I try to yes. Myself into a wall or give blood when I do a performance.

You die every time. Yeah. Yeah, I want it to be that.

Like, I really look to life or death almost like everything's relying. Yeah, yeah, yeah, never comes. So, like, sometimes you watch, you watch like the nauseousness is probably like you'll see like a scene and you'll be like, oh, I could have made a different choice. Or maybe. Yeah. Why they use that take kind of stuff.

Yeah. And I'm not a good judge of it and I shouldn't be a good judge if I can't be.

No. No. Just like yeah. Because like whatever our feelings are, whatever your feelings are, I mean you know, the object is to do good work. But, you know, a lot of people aren't they're not going to be as critical as you are of yourself, you know, and then my emotions, they're my offering.

And hopefully a lot of it is unconscious. Yeah. If that makes sense instead of conscious design. Yeah. I'm interested in acting. That involves the unconscious. We all know how to do something and hit the and you know, deliver.

Yeah. Particular performance.

But I'm interested in the performance. I don't know how to deliver that. Oh really. Yeah. Yeah. And where that's going to go. So no not planning huge amounts so that there's a almost it's very fluid when you're in a take. So there's very few and there's definitely some structure to the scene. Sure. Because of the dialogue or because of the way in which the scene is going to play out. But I rely heavily on the director for that structure too.

But I'm here to bring responses and and and truth.

So what do you put into place first? I mean, like, if you're going to do a character like Destroyer, which was so clearly, you know, a shattered person and not you and somebody who was deeply, you know, troubled and kind of, you know, kind of her soul was kind of broken up.

Like, what do you put in place first to get to that person so you can have this experience you're talking about?

Well, everything everything's different. I mean, on that character, I found a walk, actually, which was more of I just started moving in a particular way, which was to do with pain in the abdomen and not being well and protecting the heart and sort of beaten down by life. Right. But also particular pain, which is dying slowly dying. So where does that pain exist? It's in the abdomen and it's taking over slowly.

And that was the starting point. Yeah. That I went into her and then just shame, which is a huge emotion to carry and shame of in relationship to the things that have been done to my child, your partner, to yourself. And that then create so person.

Yeah, there's a heavy person locally. Yeah. Yeah.

It's like this like almost like a haunting person, haunted person.

Like a person who knows they're going to die and has no problem with that ultimately, but want some sort of salvation with her daughter and in her life but is actually heading towards death.

And that was awful being in that place. And I think I stayed in that character. I actually would come home in the jeans and a jacket and not go and not get changed. Really?

Is that why? Because you were afraid you lose it? Yeah. I didn't want it to feel like acting.

It was because they wanted to scare me.

Well, I didn't want to walk on set and now I'm going to perform. I actually needed to because I would have felt silly. I actually needed to just slowly go into her and become her. And I would growl when moan before I was not wasn't. I was a very unpleasant person during that time.

Do our roles take that? I mean, do you have to do that with all roles? Do you have to live in there? No, no, not to that degree. Right. The big little lies I did and even on undoing doing it kind of happened where I just was like suddenly. I was in this place of there was a sort of a quietness to my to my personality where I was uneasy and there was duress on who I was, I actually got really sick.

And I think this is a big thing that happens to actors with the undoing. Yeah. Yeah, I did.

I went down for a week with just having put my arm because your immune system doesn't know the difference between acting and right when you're doing that.

Yeah, and I have not learnt the technique to tell my brain to my body, oh, this is just acting right. I haven't learned how to clean that out. I've been a total wipe.

Wipe it like this. Yeah.

It doesn't really work for me. I don't think it's going to happen. I don't sleep well and I, I'm not well. And if it's that disturbing to me.

Well, those women, all three of them were kind of brutalised, you know, emotionally and psychologically and physically. The three that seem to be taxing that you're talking about, I mean, to stay in that sort of Gasiewicz zone or that abuse zone, I don't know. That must take its toll. I don't wonder why you felt like you had to live in those more than other ones.

But then something like Angie and the problem, I just go, great, I get to dance and I get to love everybody.

I get to go, come here. Let me hug you. It's all going to be all right. Do you understand?

Do you understand the eyes wide shut. Does it make sense to you?

Yes, it does. It does. Well, because I spent two years with Stanley, like kind of woven into his psyche and. Yeah, yeah, it makes sense to me. It's an unusual film, but it definitely makes sense to me, to some of the most interesting parts to me of that other married I mean have and the basis of it being, do you know your partner and the investors that's, you know, one minute they can be lying next to you.

And I love the line in it where there's a sword between. And it was in the script. I'm not sure if it's in the film, but there's a sword between us and you're lying there next to your partner in your bed. And there's a sword between you and who's going to pick up the sword. I mean, that's just fantastic, right? Right, well, I mean, that's like that's also in the undoing like that, you know, how well do you know your partner business?

You have a different because they're not in it. He leaves quickly in eyes wide shut. We're together. Right. And we're working through. And I tell him something about myself that unleashes insane jealousy. Yet nothing happened. It was a thought. Yeah. It wasn't even a it wasn't even there was no action behind it, but there was desire and a thought enough.

Yeah. Yeah.

Man, those things are fascinating to me because, you know, as I said, I've said it before, but I'm really interested in philosophy. And Kobrick is a great philosopher and I'm interested in hunting down the the modern day philosophers who happen to be, I think, filmmakers and writers. But but a lot of filmmakers, I think.

Did you you spent a lot of time with Stanley then I Kanzen. Yeah. And did did were you guys in contact until he passed.

I mean did you remain friends type in the night before.

Oh yeah. Yeah, yeah. I mean I was deeply attached to him and we would talk all the time and faxes were big then. So he would fax and he called the night before and said I was in New York. And I remember him saying he'd send a fax saying, Can we talk? And I'd come home. And I was like, I can't call in tonight. I'll call him in the morning. And I put it off and said, Well, I'll call you in the morning.

You're looking at what's wrong.

And I just wanna make sure I was recording loud enough. Go ahead. Call in the morning.

So you're looking nervously over to the side? Yeah. When I went into a mild panic about my left, nothing, nothing.

Nothing to do with you. So, yes, I didn't call him that night.

And then the next morning, Leon, his assistant called and and he just I answered the phone. It was still when there were hard lines and the phone would ring in the apartment and it rang and I picked it up and I thought it was going to be Stanley and it was Leon. And Leon just said Stanley Kubrick is dead like that.

Oh, my God. That's how he said it.

And I just started screaming. And I had young children at the time. I mean, I have a very, very I have a huge fear of phone calls in the night now because I've received a number of them with that sort of news. They're never good or included. No. So I actually have had to I have trauma attached to them. But I just started screaming. I collapsed on the ground, but I sat that up close to him and that upset.

And then we Tom and I had to get on the plane and get to the funeral. And I was just like, oh, my God.

But yeah, what an amazing genius guy. Oh, he could speak to everything. I imagine that, like, you know, whatever range of conversation you wanted to have, he had probably a wealth of ideas and experience and thoughts on it. Yeah.

And knew about everything because I would call people up and ask questions so you could ask him.

He would challenge everything as well, like I would say. And I was young, so I had a lot of ideas that I would throw down as as as truths.

And he would completely.

You know, pull them apart. Comparatively, what was the process of like, you know, working with a guy like that versus working with like say like because like the IQ of that movie, you did that Sydney Pollack movie? I really I mean, I love movies.

And you always struck me as a sophisticated intellectual guy in his approach to filmmaking was very grown up, like, you know what I mean? He was the he's not nervous about stories being accessible. I like I just like what he does is an act a film maker.

Yeah. Yeah. I was in eyes wide shut. Yeah. Came over.

Yes. Sydney came over. So very good friends with Sydney. Both John and I comment on the phone with him.

And a great movie. Yeah. Yeah, yeah.

And yeah it was yeah I was down there in Memphis while they were shooting at the whole time and we adopted Bellette during that. So but it was fascinating because he, he came over and Tom and I were like, oh right. And Sidney was like, oh I'm going to be here for a week. And we shot the scene and it was like, fantastic. I don't know what you're all tolerating.

And then you get for six weeks. Six weeks, one scene. Yeah, yeah.

But I remember Tom and I going, right, OK, Sydney. Yeah.

And then we came in after we shot the scenes and Stanley was like, no, no. I've actually looked at the scene terrible. We're going to go back. And then we just slowly started work in it and work and it work in it and yeah. So he came over, he was going to be there for a week.

He ended up there for six weeks and we would cook pasta in the trailer is a great cook, Sydney, great cook. So we basically lived in our trailers because we were on the set or in a trailer with the kids and yeah it was, it was. And people say, oh, that must have been so hard being there for that amount of time, but always have this response, which is it is if you fight it.

But if you go with it and go, I'm here, these people are fantastic people to be surrounded by the I mean, we're with the greatest film maker in the world. Right? So it's like being in school and he comes in and eats the pastor at lunchtime that we cook or, you know, has a little bite. And we we sit around and we talk about life and ideas and then we go back and we're on the set. And I mean, that's kind of why we do it.

Right.

And was this time engaged in is engaged as you were intellectually with that stuff? He was. He was on every single day of the film, yeah. So his workload was so much more than mine. So he it was much harder for him in terms of the stamina that was required, because that's a 12 hour a day every single day. Three days. Yeah. So that's a year and a half. It was almost plus there were.

Oh my God. A year and a half. So what do you what you're doing, you're doing that kind of work with Kubrick. I mean, you're after a certain point, are you like, what are you looking for? What are we missing. Yeah.

But you done that then creates this. Right. And you know I.

Yeah, no, you just have to flow and we kind of got into that flow. Yeah. I mean, yeah, my head is off to Tijuana because it was like every single day, whereas I would be told you can go home. Right. And wait at the house on standby. I mean I was naughty because after being on standby for two months and never being called in but on standby from seven a.m. in the morning waiting, but I was allowed to be at home, I decided, look, we're over here.

I'm going to go to Paris.

So I went to Paris for a few days and Tom would say to sit down. We go, is she in the house? And she'd be like, Yeah, yeah, yes.

But then she got hip to it. And one time he said, I'm actually going to call her in.

And he called me in and I was in Australia was in Australia.

And Tom's like, ah, we're sorry, we're screwed. And you're going to have to get on the phone with Stanley. And so I'm like, Stanley, I'm in. I'm sorry. I'm so sorry. I'm actually not in the house. I mean, I'm in Sydney. And he goes, unfaithful woman.

Oh, me.

Yeah, but he was really kind of sweet about it. Yeah.

Yeah. And Sydney Pollack too, like he was also a great director, but we were. Let's go back even further. Performance director.

Yeah. Why what makes it different. Because he's an actor. Yeah.

And a great actor. I mean Sidney was a great actor. A great actor.

I love him when he plays the morally compromised guy, you know what I mean? It's what he did. So many friends and wives and. Oh, my gosh.

Oh, my God. I hate when he when he has to take that girl out of the party. The girlfriend.

Oh, my God. It's. Good. Yeah, and Judy Davis in that as well. Oh, my God, great. That's some of the greatest film acting there.

You seen her in a while? Yeah, no kidding. She's she's a goddess.

It seems like you continue to kind of like push yourself into whatever you want. You want to keep taking chances you can't stop.

Yeah, I want to be fierce in terms of my my art. And I want to try and really, I just I'm interested. I'm curious and interested and hungry to explore and examine what life means. What human beings are who we are, how we exist. I'm I'm still completely enraptured with the examination of what this life is and who we are as human beings.

And I'm I'm it's the death of that. It's so I love it, you know, and I love the big themes. And I live like that as a as a person or I am I mean, I, I, I connect deeply to the people I love. I experience things deeply and and I'm interested in exploring characters that way. And I also love perspective because I feel by viewing the world through different people's eyes and the motivations and the reasons and all of those things, I find that Perry it brings me into living well.

I mean, it's like that scene, like I keep like the one there's a quote that actually Sydney Pollack said in Michael Clayton, which is a movie I watch over and over again, where a great movie, it's fucking great working out to where he says, you know, people are fucking incomprehensible and, you know, and it's like you there are so many things we think that are like simple that there are patterns that we as people, you know, some people are predictable or whatever.

But I have no idea what the hell makes some people go and how people have thinks everybody's totally different. And like recently, like and I know you've had to deal with this as well.

It's like contextualising loss, you know, what the hell is that about?

How do you go on living, you know, knowing that this is life?

I mean, this is what it is. There is nothing unusual about dying.

So so how do I make this not a defeat of some kind or some sort of, you know, dark hole that you go in? How do you sort of process it in that like?

Well, this deepens my experience of life. And I you know, I see this as a blessing. Yeah.

No, I have trouble with it. I mean, I think that I remember when my father died, the moment that it happened, everything became so unstable. It was like, none of this is real. Everything is, is, is could go in any second. And I had a very existential response to it. I had a very visceral but also had that really existential response, which is I'm none of this now exists because the thing that was so solid in my life for so long and was actually probably I knew he would leave at some point, he would die at some point, but it wasn't going to be now and it wasn't meant to be now.

And all of what happened and none of this is real. Right. So I went into that very existential place. Right.

But at the same time, I I'm a mother, so I had too little this was the scariest thing my one of my daughters, because I was screaming because my sister called me on the phone and said, he is gone. He's gone. Yeah. Yeah, he's not here anymore.

And I'm like, what, what, what is this. What. And I started screaming and my littlest one, who was really little at the time, said his mummy acting.

Which was devastating to me because she'd heard me rehearsing in the bedroom sometimes where I practice and rehearse, and she said that to Sunday, who's the older one? And she said, Mummy acting like that.

And I had to come out and go on Sunday, told me. And I'm like, no, mom, it's not mom. And this is real. This is real. And then she said, But you're not going to be sad tomorrow. Right?

And I'm like, I'm going to be whatever a long time now. And I realized I don't want a sad house.

So I'm going to have to rally now and smart and push through for them. Because thing a child doesn't want is a sad house, right where you get up in the morning, day after day. And it's a sad house.

Right. Right. So I had to pull myself out of all of that for them. So how extraordinary to have to be something for somebody else. And that's the basis of life really isn't right.

Well, then that's like that's the natural sort of course, of it, isn't it, that that countering that extreme loss and then having to parent with that the almost polar opposite of loss, right?

Yeah. Yeah.

So you live in that moment that, you know, you're going to share your heart, that both things are happening simultaneously and that is the natural, the natural course of things.

Yeah, yeah. But the idea of I mean, I've always circled. Loss, sorrow, those I love that word, I was listening to Fiona Shaw talking recently, and I was like, so I so love you as an actress. And she was talking about the word grief, but then she was talking about the word sorrow and what an extraordinary word that is, because it's almost like sorrow is an ongoing emotion. And I thought, yeah, it so is.

And I've circled that a lot in films. I've made birth is one of them where she's still so willing to believe that her husband is alive and a 10 year old child because she's still experiencing such grief and sorrow at the loss of her husband, who she loves so much. So when a 10 year old comes and says, I'm actually him, I'm in this body, but I've come, I'm him, she's so willing to believe it.

Right. There's a lot of them where you're in a proximity to it. If you're not in it yourself, it's nearby Vocero.

Yeah. Yeah, I am.

I'm trying to move just some joy like.

But but lying to me is actually joy because it's well, it's love. It's unconditional love, which is a beautiful thing to depict on screen. And that was I just love you and I will always love you. And you can go and find other people who will love you just as much. And that will make me happier because you deserve love. What a beautiful person to be giving that to, to a child and watching him grow and saying, yeah, go find your birth mother because I love her, too, and I want you to have more love.

I'm not threatened by that. I love her because she made you.

And that was a real person, right? Yeah.

Yeah. So I'm still very close to and really. Really. Yeah, yeah. Yeah. Oh that's nice.

I'm I've been a mother in so many capacities because I'm a mother of adopted children. I'm a mother of biological child. I'm who I gave birth to. I'm a mother of a surrogate child who was given birth to by somebody else but who is my genetic child.

So a full range of mother who had experience. Yeah. I mean, I love part of I'm an oldest child. So how many were there? Just two. But I, I just think I was that oldest child personality sometimes, which is caretaker and, and mother. And I wanted to and I love. I love that, I love being able to actually love giving to other people and seeing them happy. Oh, that's nice.

I'm the oldest child. I went more of the self-centered look at me.

I have make a lot of look at me. My mother says I was hot housed, so I had a lot of attention and a lot of. Yeah. Just sort of directed at me. I never I, I crave the approval, but I'm not sure I crave the attention that I crave.

Approval from or from your mother. Yeah, she's still around, correct.

Yeah. That's nice.

Oh yeah. Yeah. Both of mine are still around.

Both my parents were very fortunate. Yeah.

They say you've got that's a wall between you and you know when when both parents are gone it's mortality really comes crashing towards you, right.

Yeah. Yeah. It's that's all starting. Yeah.

You start to really realize like what is important to you know, like what, what, what am I doing is not necessary, you know.

But I like the idea that, you know, you've gone through all these characters to sort of like get a deeper understanding of of life.

Yeah. Yeah.

Whether you wanted to or not that living in these characters and being with these filmmakers, because part of my sort of journey is always been trying to seek out teachers and really smart people just to so these working with the greatest writers and filmmakers in the world is I mean, talk about how to be how to grow. Right.

And I'd love to learn on a day to day basis, you know, outside of Stanley, you know, and we talked a lot about about Sydney Pollack, but I mean, like who were like what were the most some of the most provocative sort of projects you were working on intellectually and creatively satisfying because of who was driving it, who was directing it? Oh, yeah.

I mean, Jane Campion changed my life. Um, von Trier came in. I mean, I sort of montreaux out and went over there to try and I saw breaking the waves and I was in a fetal position after that movie, which I know has been you know, they say it's misogynistic and it's probably parts of it that are. But it hit me partly because of the face and the the desire to give over this this woman who would give and give and give, partly because she felt that she had done something wrong and had to.

And those that theme for some reason resonated so deeply with me. I had to crawl out of we saw it in a screening room in London. We were meant to go to dinner after. And I just went home and got under the covers in a fetal position. Sobbing Really?

Oh, and that had you like Precious. I watched Precious, Lee Daniels, Precious and I, we were meant to go out and grab a bite after it. I saw it in New York. I was like, get in a cab, get home. I mean, I could start weeping about it now because the scene with the father and the young child, the I was just I couldn't even I couldn't function. I just. Yeah. So I have these responses to movies.

So they go so deeply into me that I just I have to. Oh, yeah, that always been is that what made you want to do it? Yeah, and even reading books, I mean, I read beloved Toni Morrison, so I was like I read Beloved and I couldn't even move. Laughter I would just I was just like, oh.

And I mean, just so viscerally responding to something. But yes, I have always been like that since I was a child.

But that made you want to seek out von Trier you like. I need to go wherever that I wanted.

I was I was fascinated as to who he was and how he got I mean, that perform the performances in that film are about I mean, Emily Watson is is like it's beyond it's from some other place. So, yeah, I wanted to go and be in that world. And I love traveling the world and going to other places to exist with people from all over different nationalities, different filmmaking techniques.

And which was the Jane Campion movie Portrait of a Lady? Oh yeah, she was.

Yeah. And then I mean but bars bars came along and went and I wanted to make a love story. I'd been wanting to make a love story. I didn't know it was going to I was like a tragic love story.

OK, I'd like to make a love story now where it's it it ends beautifully.

But yes, 13 days of. But hey, it's still a deep love story. Yeah.

I love the I like so many of the movies.

I was sort of amazed that, like, I feel like I've known you my whole life because I just I kind of I kind of have really from a dead calm and then all the way up through all the other ones.

I'm just amazed at how many I've seen, you know, to die for was like a life changing.

Yes, Gus. Oh, my gosh.

I've talked to Gus. He's great. But I mean. But that whole story like that weird, you know, Wacken when he was like, almost feral, like like now you're also young.

He was so young and. But what. And he was OK. And I remember emotionally and he would just shake.

And some of those I mean, the stuff we had to do together, the scenes we had to do and the sexuality of that, it was so I think the first day was the scene where I have to, you know, be going down on him.

And Gus was shooting it with the can I just remember I got so weird that it was so well written by Buck Henry, right?

Yeah.

And then realized by Gus and that combination of Buck and Gus, because so many of these things are the combinations in which the way we're put together, which is why it's I feel it's incredibly important with casting when you do when you do a film. Who you working with. Yeah, because. All performances are about acts like how we're in the same together. So who is your partner?

Who are you working with? I know I'm in a movie right now. Good by yourself. Right.

And who were you working with? Andrea Riseborough. Oh, she's fantastic. I know. I feel what I mean.

Like, I feel like I'm a little outgunned here and I just have to. I'll just show up with all my heart. OK, I'll just do everything I can to be this guy.

But we had a scene the other day. Great casting the two of you.

Well, I'm trying to focus on what it is that were, you know, of who I am because I'm still like I have a lot to learn as an actor, but I'm focusing now because I talk to people like you. I talk to other actors. And we had a moment the other day that was just sort of like, oh, my God. Like, you know, we were both yeah, we had to sit down and we were all crying and like and it was a nice scene.

It was it it was like a beautiful scene. It wasn't a sad scene, but it just broke something open. And like, the entire everybody on set was sort of like, whoa, that was and it was just a pleasant.

It was it was I don't know. It's really kind of fascinating to film, but I never feel like I'm doing it right. Do you always feel like, you know when you're in it?

No, I know when I'm I'm existing out of it, which is not right. So when I can't actually remember what I did terribly well. That's that's good. I know. Oh, OK. We're in we're in something else now. But I'm, I need my director, you know, I need my my actors around me and I love the I love working together.

If you've worked with you worked with everyone for me. You've worked with like everybody.

Oh no, no. There's so many people I want to work with still. I mean I've worked with some extraordinary actors. I do love to work with Denzel. At some point I had to work with Denzel, you know, is so funny.

I interviewed Ethan Hawke about about a while back and I just worked with Ethan.

Yeah. And I guess, yes, my king really kinking Orlando.

This is the one he did in Ireland. Yes.

And I'm now crazy about Ethan.

I mean, he was always a great actor, but just personally, what a great guy with so much knowledge and such an artist, such an actor and director and writer and just a Renaissance man, actually.

Yeah. Yeah, for sure. But he was funny because he was talking about training day, about, you know, getting ready to work with Denzel. And he said he he watched Denzel old movies like football players watch old game films, like he wanted to know how Denzel was going to do it so he could not get eaten alive by Denzel was acting. So he and I, he had to study Denzel so he could hold his own in scenes with him.

Right. So that he wasn't intimidated. Robert, so great. But I mean, he did. It's great. Is great. They were fantastic together.

So is this movie this is by the guy who did the lighthouse. Yeah. Is it, is it is it weird. Yeah, very.

How'd you guess.

And I was I said to him, I'm terrified to come over and do this particular one because it was it's a pandemic.

Yeah. And flying into the middle of sort of a lockdown to work on a film.

I know it's it's really it's it's scary. I just know from doing it myself, I'm in it now. Yeah. It's really it's really because I thought it would be so horrible and sad and it is scary and it's you know, it's not 100 percent safe, but you are taking a sort of risk. But they're doing everything they can. But I thought it would be just diminishing without having the community out of scenes, you know, to be able to kind of hang out and do.

But it actually it's kind of intense. It sort of helps the focus in a way. And it's a little sad, but it makes the work feel all the more important in a way. Yeah. I don't know what your experience was. Yeah, no, no.

And also just grateful to be doing the work. Yeah. On Oh this is so important. And that's why I went because I was like I don't want to let down a huge production and two I want to work with these people and if we can do it with safety, how fantastic. And we did and we did it and the film is finished.

And, you know, I did it and it was moving to Belfast and it was crazy, wild, and I'm a supporting role in it.

So I got to sort of that. But but he's really fascinating. I guess he's he's one of the new God. They're coming in. They're going to take over. I think it's got great. He's a great filmmaker.

Yeah, I like to I like the White House. So how long have you been. Producing what was the first thing you produced, Rabbit Hole. So, like, what was the shift there? I mean, was it your people said you should put together a production company or you were like, I want to have more control? Or what was the decision? Because I know everybody puts together a production company, but you're doing very well with it and you're starring in a lot of it.

So what? Why did you feel like you needed to do that?

Because I believed in the peace and no one else was going to do it. So we bought that. We bought the rights. David Lindsay, A Bear is a gorgeous, brilliant writer and wanted to start a movie, that movie, a dark movie, but so nuanced and special.

And and we had no money. We had to really, you know, beg, steal and borrow for that because that was that subject matter. And I was not sort of where I am now in terms of my career and being able to get things made. And it was just like, please, please, please. And John Cameron Mitchell came on and was so just brilliant at going, we're going to do this. And then just beautifully directing the performances.

And it's a performance piece. So I was just really proud we got it made.

And you liked that. You liked all that part of it. Do you like it as much as acting, putting it together, bringing people together, casting, pulling together all that?

I don't like the I don't like once I'm in the performance, I really try to delegate off a lot of those things, but I like being able to go, what can we do to get this actor?

Because let's being old give somebody a chance that they would never have been considered for the role like in undoing Norma Norma had not done. She played the lawyer and I wish she'd not really done film or television little tiny bit. But this was her big, big thing. And it was just great being able to go.

Yeah, we're going to consider you pleased that your friend, the lawyer, know she plays Hughes. Oh. Oh, my God. She was spectacular. Fabulous. Yeah, yeah. And just being able to, you know, at the same time, make decisions, artistic decisions that will help propel and support the director. I'm deeply into going, what do you need? So you can go and realize your vision as a producer and then trying to sort of corral it so that it's not blown out and you work both these ways too big.

The two big TV projects, the doing and big eyes, you were you were you were actively producing and but people realize it.

There must have been a lot of because Reese was part of producing that as well. Or what. Yeah. How do you get everybody get along. Good. Yeah.

I mean we're all still very close to the point that we do want to do a season three if we could muster it all together, but otherwise we're just. Yeah, I mean that was the first time and we've all said it once you get to experience enormous success together. So that's a lovely thing to share. So we got to be on set that to be up and want to start with great characters and and be together. That's it doesn't happen.

Right, as we said, would never worked. I mean, for Laura Razali, she all of us to get to know each other and go out to dinner and be able to discuss and go, how do we change this? And we've got to fix that. And how'd it go today and what do you need? And even when we were doing the big scene at the end of BLR one with Alex, where he's sort of and it's really violent and Laura's is going, are you OK?

After each scene were being thrown around and punched, kicked and we're all going, are you OK?

You at your head almost just hit the ground. What about your arm? Yeah, just being able to advocate for each other as well was really just just good. It felt good. It's a while.

The three I just Reece and Guera and you having been working so long and I guess it's only the first time you've worked with either of them together. Yeah.

Oh yeah. And subsequently of now because it's been years that we're right now been in each other's lives. But we all started around fourteen. I think we started younger ages, maybe 12. So we all have we've shared all those stories.

Well, not the particular part having started in as a child actor and come all the way through.

And this whole thing you did with Hugh Grant being like this filthy monster, like with the undoing is definitely a different thing.

And you're watching it to to see, you know, Hugh Grant right there. Yeah. And you're watching, you know, old Donald Sutherland doing his thing. Wow. Yeah, I know Donald has a great story. He's like a weathered mountain, Donald Sutherland. Yeah, and just the fact I mean, talk about having great, great partners to work with.

I mean, Donald Trump, he's so he's so on it. He all his dialogue. All his ideas. Yeah. I suppose. Yeah. I mean and he's overrated and he comes in and he's just extraordinary and a force and for me looks a little like my dad has a sense of my father. So I didn't have to, I just wanted to go and put my head on his shoulder and be held by him, which, you know, which is a fantastic thing as an actor because of that there that that that vibration exists just because that's a fantastic thing.

I don't have to work for that. I don't have to find it ironic, because that's just that's just there in the air.

You've got to look for it. Don't you have to look for that in almost any, you know, any role you're playing. Isn't it better when you can find that that's something that's just there or that you can connect with, you know, as it celebrates but doing it without.

Yeah. Something that's just, I guess, force it that you can't know. That's what I mean by the unconscious. It's so wonderful when that that feeling of everything you don't know comes flowing out of you and you didn't even know it was there. That's and that's probably what Stanley was always interested in. That's why shop for so long, he wasn't interested in what he could do. He was interested in finding what he didn't know. And then suddenly there and it was a discovery.

And so a lot of his rehearsal, a lot of his time was spent experimenting. And there's something to be said for that. Oh, yeah.

They're really if you if you want. It's amazing that I took that time using film. I mean, now it's easy. Like, if you have time, you can just blow through. Takes all day long with digital. But he was doing that with rolls of film. It's crazy.

The movie I'm shooting now, he's shooting on film and it's crazy because like, you know, you actually have to check a gate and then you have to that. Oh, you did it there with.

Yeah that was on the on Roberts movie. On a movie was like check the gate and you stand around going, oh, how is that alive?

Because he was shooting a lot of things in one shot and we would do a lot of takes. And then suddenly you have a tape that's print. Well then you've got to check the gate. So we stand there without holding our breath, right.

Do you you don't want to direct. Have you had a hair in the game? No, I haven't. It hasn't happened yet.

No, no, no. What about directing what's gone on it. Have you tried directing. Do I not.

No, no, no. I'm I'm happy being an actor and a producer. Yeah. But I love the art form of acting. I just do. And I used to be embarrassed to say it was an art form, but it is. And I embrace it and I love it. And it is I'm deeply attached to to what it is. And it's I've given a huge amount of my life to it. Yeah.

And it's like that's the amazing thing.

We were talking about the beginning, where it's sort of like every time you do something, it seems like people are like, you know, either, like, you know, rediscovering you or like all of a sudden like they're like, oh my God, she's so amazing. Like, you've always been amazing. Like the work you've done is so varied and interesting and, you know, different.

It's really a great weird well some of it's weird, but but but you can tell that you're doing it because you love to do it and you want to take these chances within these characters to engage in in what interests you about living.

You know, again, I want to. Yeah, I do. I want to support Auteur's. Yeah. I want their voices.

Yeah. I want that's what you're doing is want to be supportive. Yeah. Yeah.

And as an actor it's why I for Régis because I was like OK, this is one of the attorneys you know. So yes. Let's you know where I mean I love financier's that are doing that on a motion is putting the money up for that, you know. And so I have to contribute. That's part of my life's contribution is helping those voices. They have to and there's. Yeah, yeah they do. They have to. And I've learnt so much through it and it's like it's so great to see movies.

Yeah. Because movies have changed my life. They have. Yeah. And novels and art has changed and I respond to it. We just talked about so many movies that changed our life just now, you're crawling out of a cinema in a fetal position and then going, I want to go and work for women and help with with violence against women. I mean, those things that comes from my own. So even just with the problem recently, people going, I got to go to a prom by watching that movie.

I got to. And the ultimate message of that film, being a parent, saying to their child, I love you, mom.

I just love you. Yeah. It's just, you know, because of you who you I mean, one of the greatest parenting things is to say to your child, you don't have to do or be anything to get my love. You just have it.

Yeah. And now when people are so isolated and and kind of alone, you know, these stories about life are very important.

Yeah. I've been the most lonely in my life and I've picked up a book and read it. And it's given me the chance to escape and be and feel and probably at times save my life. And then I watched a movie and gone. I have to change my life now. I actually have to go and change the direction of where I'm going.

Are you a peace? Are you at peace with everything like, you know, in conversive with now, but like in your past, I like, you know, have you have you gotten like you know, you're do you have, like, regrets and stuff or do you have a certain amount of peace?

I grapple with all those things.

I grapple with all of them still regrets. Not so much regrets more I can retrade things and go back.

And then I have the sense of, oh, I wish some of that would come back. I'd love, you know, all of those. So I fluctuate and I'm very I suppose.

But you, like your life, are deeply down on my knees praying, saying thank you for this life. Yes, well, good. And also at the same time going, what can I do?

Yeah. What can I do to still be a part of it and to move forward and to give.

Well, you certainly do a lot, so that's great. It was. It's nice talking to you.

Yeah. Nice talking to you. Do you think we've covered everything? Nowhere near everything is just the beginning.

Yeah, but I love talking and thank you for for for asking me.

Yeah.

It was very exciting. I was I was nervous and it was great. And I'm a big fan and you do great work and it's nice to talk to you now.

Thank you. So nice to talk to you. And as I say, I subscribe. I'm listening. Oh good.

So I'm coming. Good. And I'm learning.

I just I just watched I'm going to talk to I just watched. Speaking of movies that are sort of like, you know, auteur and unique. I just watched Kate Winslet new movie, The Ammonite.

You've want to see it. Oh, my God. Is it wonderful? It is. It's pretty intense, I guess. Yeah.

There's some real stuff going on there. And to what actors, both crazy talk about combination. I want to see how they vibrate together. Oh, yeah.

Yeah. I just watch it because I'm going to hopefully get to talk to her. But like I realize watching that movie, that one know, these are the kind of movies that, you know, we need that need to keep happening.

Is these very specific, poetic, you know, artistic movies that take chances that don't abide by some sort of mainstream appeal or access that happen only because an auteur, you know, wrenched it into being it's important.

Well, she for certain and Kate, to do that movie is so important that that character sounds really complicated in terms of just how was what she was holding within. And I can't wait to see it hardly talks.

Yeah. Yeah, but OK, great. I've watched I just wanted to know that I watched all of the undoing. I watched all of the people. I've watched most of your movies. I thought, I don't have to do that, Nicole. I don't have to know.

But I did thank you because I wanted to make sure you were OK in the end. I feel great.

I hope I'm OK in the end. Yeah. Tell me when I'm ready. Can we talk again?

Yeah, any time. All right.

Take care of yourself. Continued. OK, well you too. Bye bye. All right, that was exciting. She was lovely. It was good talking to you. I feel like it was a good talk. That was Nicole Kidman. If you're just tuning in, you can see Nicole, if you're just joining us. That was Nicole Kidman. You can rewind it and listen to it. Rewind it. Fast forward, backwards, fast. What do you get?

You know, it's behind us, but you can get it. Why would you just be joining us now anyways? I'm being silly. You can watch The Undoing on HBO, Max. You can watch any any one of her thousands of movies. And, yeah, something has to happen. Something in the direction of punishment, the process. We've got to get back on some kind of track anyway. That said, I'm going to play some fender on fender.

Here's some fender on fender action being driven by a Jew. Married lives. Mangay Lafond. Yeah, cat angels everywhere, man. Look out. They're going to put a chip in you.