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00:00 (film reel clicking)
00:02 This is kind of interesting, like the big Lebowski.
00:04 - Yes. - That came out.
00:05 - Mod, you played it. - Yeah, that came out
00:07 and it got, it sort of tanked.
00:09 And I was like, why don't people,
00:11 why aren't people responding to this?
00:13 And all this time goes by,
00:14 and then of course it becomes this cult movie.
00:16 - The movie will not go away. - No.
00:18 You don't really know what people are gonna respond to.
00:22 And I think you do the work to do the work.
00:24 (upbeat music)
00:27 (water splashing)
00:30 My brother Mark, he still lives in Richmond.
00:32 He always says, "Keep your expectations low
00:36 and you'll never be disappointed."
00:38 And I always forget that.
00:41 - How many brothers do you have?
00:43 - Four.
00:44 Too older, too younger.
00:48 But I think you know that.
00:56 - So, what were your expectations?
01:00 - That tonight would go well,
01:04 that my children would love me,
01:06 and my life would be perfect.
01:10 - A little naive.
01:11 - I am naive.
01:15 I always have been.
01:18 In a way, it's been a gift.
01:25 - Welcome to the Actor's Side.
01:27 I've been waiting a long time
01:29 to have her on the Actor's Side.
01:30 I've been doing this for a while.
01:32 And finally, I have Julianne Moore.
01:34 Welcome to the Actor's Side.
01:36 - Hi, I'm so happy to be here.
01:37 Thank you so much.
01:38 - Congratulations on May, December,
01:40 which is just racking up awards attention,
01:43 a Golden Globe nominations,
01:46 all over the map, awards-wise,
01:48 leading to the Oscars, we hope, too,
01:50 because it's such a good movie,
01:51 which I saw at its premiere
01:54 at the Cannes Film Festival
01:56 in the pouring rain.
01:57 - Right, right.
01:58 - A night you probably won't forget.
02:01 - Oh, no, it was a wonderful night.
02:03 We were so excited.
02:04 And we're really, really thrilled
02:06 by the reception we're getting for this film,
02:08 'cause it was just a,
02:09 it was an absolute joy to make
02:11 with such wonderful, creative people.
02:13 And so it's always nice
02:15 when your experience is validated this way.
02:17 - Yeah, exactly.
02:18 And it went into Cannes.
02:19 I think it was the first one for Todd Haynes.
02:21 This is your fifth film with him.
02:23 But the first one, he went in
02:24 where he didn't have a distributor,
02:26 which is kind of a scary moment.
02:28 - So scary, my God,
02:30 'cause you kind of go in with,
02:32 like, you know, I hope someone picks me.
02:34 I hope someone buys this movie.
02:37 - Yeah. - And you were very fortunate.
02:38 - But it was so well-received.
02:40 It's so hard to describe the plot of this movie,
02:42 'cause it's so complicated
02:44 in terms of you and Natalie Portman.
02:47 You are two actors in real life.
02:50 She's playing an actress,
02:53 playing a real person
02:55 who is played by you, an actress.
02:58 - That's right.
02:59 - And going back and forth in it,
03:01 it sounds like, wow.
03:02 - It's very complicated.
03:04 And I think, like, with a lot of Todd's movies,
03:07 they concern themselves very much with identity.
03:10 And in this one, particularly how we perform identity.
03:14 And there are these two women
03:16 who are in a struggle for narrative dominance.
03:18 And I love Natalie Portman.
03:20 I always have.
03:21 And this is my first opportunity working with her.
03:22 And she was just such a tremendous partner.
03:26 Everything we did, I feel like we created together.
03:29 We were really very much a team.
03:32 So it was an incredibly rewarding relationship.
03:35 - How difficult was it?
03:36 'Cause it was shot, like, in 25 days, 23 days.
03:38 - 23, yeah. - 23 days.
03:40 And not any rehearsal time or anything.
03:44 You're just, like, in there.
03:45 - We were just in there.
03:46 But Todd, you know,
03:48 certainly my experience with him
03:49 in the last four films previous to this,
03:52 he is more prepared than anybody I've ever worked with.
03:55 And he's a master at communicating what he wants to.
03:59 He has references for everyone.
04:01 He gives you, like, maybe a playlist,
04:04 a list of movies to watch.
04:06 He communicates what his intention is
04:10 and the way he frames something.
04:12 Like I said, he's concerned with the time
04:15 that we've had to taste that people's culture,
04:19 people's gender, there's always a frame on everything.
04:22 So you know where you are as an actor.
04:24 - And mirrors. - Yeah.
04:26 - Those mirrors, I mean,
04:27 the shots are so fantastic of you and her.
04:30 I mean, there's so much beneath the surface in this,
04:35 which is what makes it,
04:36 I think, why people have responded to it so well.
04:39 - I love movies that are about relationships
04:42 and people and struggle for dominance
04:46 and all of the things that you might see in real life.
04:48 Like I watch "A Car Chase" and I kind of lose interest.
04:51 It doesn't excite me.
04:53 But this is a film about,
04:55 my character is someone who's transgressed greatly.
04:59 And it's 20 years in the future
05:02 when Natalie comes to observe our family.
05:05 And Gracie is insistent on telling a story
05:09 as if there was no transgression,
05:12 as if it was just a great love story.
05:14 And it's confusing and it feels dangerous
05:16 and it feels human and bewildering and fascinating.
05:20 - She sees it as her opportunity
05:23 to tell the story that she wants to tell.
05:26 - Correct, yeah.
05:26 - Natalie Portman comes in as an actress,
05:29 very successful in television with this feature opportunity
05:33 and thinks she's playing somebody
05:35 and finds out it may be closer to real life for her.
05:38 - I think that, yeah.
05:40 I mean, Natalie comes in
05:42 and we think that she's a reliable narrator.
05:44 We think she's gonna come in
05:45 and to investigate the situation
05:47 and really reveal the truth.
05:48 And as we follow her,
05:50 the audience realizes that she's less than reliable
05:53 and she's maybe pretty self-serving.
05:56 But then again, so is Gracie.
06:00 And so you see them kind of facing off
06:03 and dancing around each other.
06:04 And Elizabeth, Natalie's character
06:07 is always kind of probing for whatever the truth is.
06:10 And Gracie, of course, offers up her truth.
06:13 But whether it is a universal truth, we don't know.
06:17 - What I love too, it's almost, I hate to say it,
06:19 but it's almost a throwback.
06:21 Women ruled the movies in '30s and '40s
06:24 and there were always great pairings.
06:26 - Right, yeah, that's true, yeah.
06:28 - And here you have a great pairing
06:29 of two Oscar-winning best actresses here
06:33 working together for the first time.
06:34 And that's somewhat unusual in this day and age.
06:37 - It's so unusual.
06:39 It's so unusual.
06:39 And that was one of the things
06:40 that thrilled me about the script
06:41 because nowadays if you see two women in a movie,
06:44 it's either gonna be a love story
06:46 or a familiar relationship.
06:47 And this is not that.
06:49 These are two really complicated,
06:52 disturbing characters kind of interacting.
06:58 And they are kind of entranced by each other
07:02 and they are also antagonistic.
07:04 And there's a sense of seduction with them too.
07:08 It was really, really compelling material
07:11 that Sammy Birch, who is,
07:12 this is her first produced screenplay.
07:14 - Amazing.
07:15 - Yeah, it's just a beautiful piece of work.
07:18 - Yeah, and she's already won awards for it.
07:20 - I know, it's so good.
07:21 - And Charles Melton also winning awards for this too.
07:25 Of course, he's in the center of all of this
07:28 and he's terrific.
07:29 - He's just wonderful.
07:31 The minute he came in and read for this,
07:33 I was just blown away by what he did.
07:35 He so embodies this character
07:37 and the struggle that he's had
07:38 and had a wonderful receptivity too.
07:41 My character has a lot of emotional volatility
07:43 and really throws it onto this man.
07:46 And he takes it, he absorbs it.
07:49 He became a caretaker to this woman
07:52 when he was very, very young.
07:54 And the story is of course that she had a love affair.
07:58 - Yeah, kind of like the Mary K. Latourneau story.
08:00 - Yeah, it's inspired by that.
08:02 But yeah, so she's had this relationship
08:06 with this 13 year old boy
08:07 that she deems to be a great romance.
08:09 Like she's made him the prince that rescued her.
08:12 But in order to do that,
08:13 she has to elevate a boy to a man.
08:16 And she remains in her mind, a child,
08:19 a princess, someone who needs a lot of care.
08:22 And so I think that what she's presenting to the world
08:27 and the reality of transgression,
08:30 the distance is so vast.
08:32 That's why you see these moments of huge volatility,
08:35 this kind of crazy careening emotion.
08:38 It's just, it's not sustainable,
08:40 the story that she's telling.
08:41 - I heard you say this is one of the hardest roles
08:43 you've ever played.
08:44 - Oh God, it was so hard.
08:44 - To be clear with you. - It was so hard.
08:47 I really was confused because I was like,
08:50 how do I play this person who is so,
08:56 there's a willful denial about her.
08:59 And there's a, she seems so assured, right?
09:03 Because she's kind of like promoting this narrative.
09:06 But so you can do that,
09:08 but you also have to maintain the reality
09:11 of the circumstances.
09:12 And it was important to me that I maintain that tension
09:16 because it's like, she's almost vibrating
09:18 with that kind of feeling of,
09:21 and it's, you know, if you're in the room with someone
09:23 who's done something, who's transgressed in that way,
09:26 like we feel it because we take our boundaries seriously
09:29 as human beings.
09:30 And when people cross a boundary, it feels dangerous.
09:33 And I think that this is a person,
09:35 my character is someone who is, you know,
09:37 she's dangerous socially, you know?
09:40 - Fascinating in the scene in your bakery,
09:42 she bakes, where you just break down out of nowhere.
09:46 And, you know, people go, that's crazy.
09:49 - That's crazy. - It's a cake.
09:50 - Yeah.
09:52 - But it's, again, it's just like everything else
09:53 in that movie, there's so much behind at that moment.
09:56 - It's really about, you know,
09:58 ostensibly she's crying
09:59 because someone's canceled a cake order.
10:01 I think in reality, she's crying
10:03 because she feels the weight of what's happened in her life.
10:08 There's a woman that's come into her family to observe her.
10:11 It feels, she feels a lot of pressure.
10:14 It puts pressure on her narrative and she starts to crack.
10:17 And when she starts to crack, she becomes hysterical.
10:20 And then she turns and asks for care from this man
10:24 who of course she, you know, started this relationship
10:26 with when he was a child.
10:27 So, I mean, it's very, that volatility
10:30 is always present in Gracie, I think.
10:33 - Where does the emotion come from?
10:35 How do you do this as an actor?
10:36 I have seen so many movies with Julianne Moore
10:40 where I just go like, how does she do it?
10:42 What's your technique?
10:43 - I don't know.
10:44 (laughing)
10:45 You know, I have to,
10:47 I always say to younger actors too, who ask me about this,
10:52 I say the most important thing
10:53 and the hardest thing to do is to be relaxed
10:56 because you can't access emotion if you're tense.
10:59 So, I think over the years,
11:01 I've become more comfortable on sets
11:03 and I have the ability to relax in a scene.
11:05 And I say, you have to, it's like,
11:07 you have to be relaxed enough
11:08 to let emotion happen to you.
11:10 It actually has to kind of occur on camera.
11:13 And it was interesting because I knew, I know Todd so well.
11:17 And in the script, you follow Charles' character.
11:20 He's like walking in and he hears Gracie crying.
11:23 And so I knew that.
11:25 For me, it was important that Gracie be emotional enough
11:28 that he could hear the crying downstairs.
11:31 So that indicates like the size for me, right?
11:35 And so I start to play with that idea and that feeling,
11:38 like I said, the pressure that's coming
11:39 from Natalie's character, from Elizabeth
11:42 and from her life and it sort of builds up like that.
11:45 But I never know, you never know if it's gonna work.
11:47 - Yeah, but you sort of like that you walk on sets
11:50 and you know, you want it to happen there.
11:52 You don't want to like over like her--
11:54 - No, I feel like my job is to do all my preparation,
11:59 all of the kind of script work that I need to do
12:01 and the research and whatever, and the character work
12:04 and you bring it to the set and then play the scene
12:07 and then let it happen.
12:08 Because what you hope is that something will happen
12:11 on camera and the camera captures that.
12:12 And I think that that's the drama,
12:15 that's the excitement of film work, right?
12:18 It's like something catches fire in that moment
12:21 and the camera records it.
12:23 So you're always wanting to put yourself
12:26 in that situation for that to happen.
12:29 - What about Todd Haynes?
12:31 This is the fifth time you've worked with him.
12:34 It's kind of like Betty Davis with George Cukor.
12:36 - Yeah. (laughs)
12:37 - You know, they keep going back.
12:38 The first one, I've told you,
12:40 it's just so unforgettable to me,
12:42 say 1996, something like that.
12:46 - '95, '94, somewhere, something like that, yeah, yeah.
12:49 - And a set in the '80s, but this woman
12:52 who is just a prisoner of the environment
12:55 and everything that's happened
12:56 and wears gas masks and different things.
12:59 Way before the pandemic,
13:01 when everybody was living like that, in a sense.
13:04 - I know.
13:05 Well, you know, when I first read that screenplay,
13:08 I remember, it was the very beginning
13:11 of independent films, the early '90s,
13:13 and I'd never read anything like it.
13:15 It had such, it was so, so spare, like so exacting,
13:20 but like filled with ideas and feeling,
13:23 like all the language meant something to me.
13:26 And I was like, wow, I couldn't even believe
13:29 that the part was available,
13:30 that he was gonna be auditioning people,
13:32 and I was desperate to do it.
13:34 And I, but I could only see the character one way,
13:37 and I thought, well, if this guy doesn't like
13:40 what I'm doing, then I'm not the actress for him,
13:42 and it's not right.
13:43 But it's one of the great miracles of my life
13:45 that I auditioned for him that day,
13:47 and we did see it somewhere.
13:50 And I think that whatever it is, his sensibility,
13:54 I think his, the way he sees how people are acted upon
13:58 by their culture and the world in which they live in,
14:01 I think that's something that's so prevalent in his films.
14:04 There's something tremendously humanistic about it.
14:07 You know, his generosity, his empathy towards people,
14:11 combined with his like incredible, like intellect,
14:15 and this formidable knowledge of cinema.
14:18 I mean, he's just an extraordinary director.
14:21 - It's amazing, and all of your collaborations,
14:24 I just loved "Far From Heaven."
14:25 I remember showing that to my screening series,
14:28 and I had Elmer Bernstein, who did the score,
14:31 and I was such a fan, you know, and Dennis Haysburton.
14:35 - Yeah. - Yeah.
14:36 - And my audience just loved it, you know,
14:39 'cause it was, again, it was a movie,
14:41 on the surface is one thing, like a '50s housewife,
14:45 and you know, but so much more.
14:48 - Right. - That comes out of it.
14:49 - Right, really about like how,
14:51 what choices are we allowed to make?
14:53 - Right. - You know,
14:54 and how are we otherized, and how are our lives limited
14:59 by what people say we can and cannot do?
15:02 - Those movies, you know, a lot of them win you awards,
15:07 and Oscars, and Emmys, (laughing)
15:12 Golden Globes, everything,
15:15 are the ones you get nominated for
15:17 and win everything the ones you think you should?
15:20 Are there other ones you go like,
15:21 "I did that, and I didn't get anything for it,"
15:23 or something? - Do you know,
15:24 it's like that's something we have no control over, right?
15:26 Whether or not something kind of catches fire that way,
15:29 and people become interested in it.
15:30 So I'm so grateful to have had these opportunities.
15:33 I can't believe I've been doing this my whole adult life,
15:36 and that, you know,
15:37 they still get these amazing opportunities.
15:39 - Did you always, when you,
15:41 you were a kid that moved around a lot,
15:44 and under countries,
15:46 and when did you know you were gonna be an actor?
15:49 - I mean, it was just something that I did after school.
15:51 You know, I tried out for the plays, I was in the plays.
15:53 I wasn't sporty at all,
15:55 and I never made cheerleading, or drill team,
15:57 or any of those things,
15:58 and so the only thing I seemed to be able to try out for
16:00 and get was the play.
16:01 - Right. - I'd be in the play,
16:04 and I, you know, moved to,
16:07 we moved to Germany, actually.
16:08 We've been living in Virginia,
16:09 and we moved to Germany,
16:10 and I tried out for the play,
16:12 and there was a woman named Robina Guy
16:15 who was the drama coach,
16:18 and she was doing Tartuffe,
16:20 and I'd never even heard of Moliere at that point.
16:22 You know, I was like, what?
16:24 And I auditioned for it, and I got a part,
16:26 and she said, "You know, you're really good.
16:28 "You could do this for a living."
16:30 And I was, I think, 16 or 17.
16:34 I'd never seen a real play.
16:35 I didn't consider actors on movies and television real.
16:39 You know, they felt too far away,
16:40 and I thought, "Huh, that's interesting."
16:43 So she gave me a magazine with schools in it,
16:45 and I came home, and I said to my parents,
16:47 "Robie says I can be an actor.
16:48 "I think I'm gonna try it."
16:52 - And what did they say?
16:52 - They were appalled, you know?
16:54 They were so supportive,
16:56 and I said, "I'm gonna audition for some schools,
16:58 "and if I don't get in, I'll just go somewhere local.
17:01 "It'll be fine."
17:02 And I got in, but if I hadn't had that encouragement,
17:05 if somebody hadn't said to me,
17:06 "I think you can do this,"
17:07 I certainly would not have been anything that I considered,
17:11 'cause how would you know about it, you know?
17:14 But so I do think it's amazing when someone steps out
17:16 and says to, okay, the teacher or someone,
17:19 "Hey, I think you're good at this.
17:20 "You should pursue it."
17:21 - Yeah, that's always helpful.
17:23 I had a lot of teachers that said, "You're bad at this."
17:25 - No! - I did!
17:26 I had one said, "You'll never be a writer."
17:29 - Well, they were wrong, weren't they?
17:31 - Yeah, they were wrong,
17:31 and I took that as a badge of honor.
17:35 - There you go. - Actually, I decided,
17:36 "I'll show you."
17:37 - It incentivized it.
17:38 - You know, that's what's important, right?
17:40 - Yeah, how do you incentivize something?
17:41 - Yeah.
17:42 You then got the greatest kind of training
17:45 when I've talked to actors who were in soaps,
17:47 and you were in a big one as the world turned.
17:50 - That's right. - You got your first Emmy.
17:51 - Yes, exactly, yeah. (laughing)
17:53 - Playing two-- - Playing twins,
17:55 that's right. - Twins.
17:56 - Yes, step-sisters, actually.
17:59 No, they were half-sisters.
18:00 We had the same dad, and our mothers were sisters.
18:03 It was weird, like, you know, yeah, uncomfortable, right?
18:06 - Yeah, but you did that for a while.
18:08 - It was three years, I had a three-year contract,
18:10 and it was an amazing job,
18:11 because you showed up every morning,
18:13 and you had your scenes,
18:15 and you had completed them by the end of the day,
18:16 and then the next day, you were on to the next.
18:18 And it really taught you to be prepared,
18:22 to make choices, to be self-sufficient,
18:25 to learn how to work with a team of people.
18:29 You know, I always say, think about film,
18:31 what we do, it's a collective.
18:32 It's really, really important.
18:34 You rely very heavily on other actors,
18:37 and your director, and the crew,
18:39 and it was wonderfully exciting
18:41 to learn that at a young age.
18:43 - Yeah, you've done so many different movies,
18:46 big movie, multiplex movies, I call them,
18:49 you know, from "Jurassic Park," "Fighting Off Dinosaurs,"
18:52 and, you know, "The Hunger Games,"
18:56 and, you know, those big films.
18:57 But you are, and always have been,
18:59 a champion of independent cinema,
19:01 and looking for those, trying to save it.
19:03 I mean, it was in danger with the pandemic.
19:05 People thought it wouldn't come back.
19:07 - Right.
19:07 - But movies like "May/December"
19:09 are proving that there is still an audience out there.
19:12 - I think there definitely is.
19:13 I think that people are interested in interesting stories,
19:16 and great content always finds a way.
19:20 - Yeah.
19:21 - You know, it's like that kind of storytelling.
19:23 You know, I actually think that the more specific you are
19:27 in your storytelling, the more universal things become.
19:31 You know, and even in a story
19:32 that's as kind of shocking as "May/December,"
19:36 you're basically seeing these very, you know,
19:38 very precise human behaviors.
19:40 We all relate to that.
19:41 We're all like, you know,
19:43 wait, what story am I telling in my life?
19:45 What story is someone else telling me?
19:46 You know, so I think that these movies continue to exist
19:51 because we're attached to these stories.
19:53 They're our stories.
19:55 - Right, yeah.
19:55 - So it's wonderful.
19:57 It's been, like, it's just been a great thrill
20:00 for me to be able to participate in independent film world.
20:03 - Are you finding the intriguing things,
20:04 the ones that still make you wanna get up in the morning
20:06 and go to the set, make these movies,
20:08 they're still coming?
20:09 Are you still reading them?
20:10 - Yeah, I really am, you know?
20:13 I mean, you never know when they're gonna show up,
20:16 and I've had a lot of people ask me,
20:17 particularly with my relationship with Todd,
20:19 they're like, well, do you guys talk about things?
20:21 Do you guys have ideas for things?
20:22 And I'm like, mm, not,
20:24 it just, usually something just shows up, you know?
20:27 Just, he'll email me or phone me and say, like,
20:30 hey, there's this script, Julie, what do you think?
20:33 You know?
20:34 And that's been my experience, you know,
20:37 often in my career, that something,
20:39 I'll just read something and go,
20:40 oh my God, this is phenomenal.
20:42 You know, you wish that you had more control,
20:44 that you could kind of, like, you know,
20:46 bring them, conjure them,
20:48 but they just seem to come of their own volition.
20:50 - Yeah.
20:51 Before we go, I always wanted to ask you about Sarah Palin.
20:54 'Cause you're playing a real-life, living person there,
20:58 here, sort of like May, December,
21:00 where it's about somebody playing them.
21:02 - Yeah, it's exactly.
21:03 - And do you look at specific things?
21:05 'Cause I noticed in May, December,
21:07 you had a list, obviously.
21:09 - Yeah.
21:10 - Which seems to me that you created that
21:13 so that Natalie could imitate it.
21:16 - Correct, correct.
21:17 - That's a real actor,
21:18 that's really a generous thing to do.
21:20 - Thank you.
21:21 (laughing)
21:21 Well, you know, Todd and I talked about that
21:23 because we had no time to rehearse,
21:25 and Natalie was going to be kind of learning
21:27 how to become me in real time.
21:30 And so I needed to offer her
21:32 some concrete characteristics to do.
21:35 And with Gracie, as I studied her, I'm like,
21:39 "Okay, so she has this narrative about this romance
21:42 "with this prince that she,
21:45 "so she makes him a man, she stays a child.
21:47 "Like, how do I manifest this quality?"
21:51 And she's hyper-feminine, right?
21:53 So gesturally, there was a lot of kind of the way she moved
21:56 and how she kind of touched her hair and those things.
21:59 And then I thought about what's her insistence
22:02 on this story about being a child or being naive.
22:07 And I thought that we think about a certain kind of speech
22:11 as being childish.
22:12 And so I sort of, I thought,
22:13 "Well, maybe I'll try this lisp."
22:15 And I talked to Todd and that's kind of how it happened.
22:18 - To me, it's just like so brilliant.
22:19 It's something that actors, when they'll look at this,
22:22 they'll say, "Oh my God, yes, that's exactly the choice."
22:26 So with Sarah Palin had so much,
22:29 was that difficult for you
22:31 to get exactly what you wanted to play?
22:33 - Yes, that was really, really hard
22:35 because you're playing someone who is very prevalent,
22:38 very, very present in popular culture.
22:40 Everyone knows how she sounds, how she moves,
22:43 how she dresses, what she looks like.
22:44 - And Tina Fey had done it.
22:46 - Yeah, she had done it brilliantly.
22:48 And so I knew that if I got something wrong,
22:51 that the audience is gonna go,
22:52 "Oh, we don't believe this story.
22:53 "We don't buy it."
22:55 So I sort of white-knuckled it.
22:57 It was tough.
22:58 All I did was listen to her voice.
23:00 I started listening to her voice
23:02 before I watched her mannerisms
23:03 because I wanted to make sure I wouldn't be distracted
23:05 by the mannerisms while I got the voice.
23:07 So started there and then read everything about her,
23:12 interviewed people, watched documentary footage.
23:15 And even working with Jay,
23:17 there were times on the set
23:18 where when I was doing something that was specific,
23:20 I could sometimes roll a piece of footage right before it
23:24 and look at it and make sure.
23:26 We tried to be very, very precise
23:28 'cause it's important.
23:29 Otherwise, you can't tell the story correctly.
23:32 - Well, it resulted in yet another one of your Emmys.
23:35 So game-change and so many great things that you've done.
23:38 I can't wait to see what you do next too.
23:41 - Aw, thank you, Peter.
23:41 - I know you're always working.
23:43 - I try, I try.
23:44 - Yeah, right?
23:46 Julia Moore, thanks for joining us on the Actors' Side today.
23:49 - Thanks for having me.
23:50 Thanks so much.
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