Josh Brolin breaks down his most iconic roles in film, including 'The Goonies,' 'Sicario,' Marvel Cinematic Universe's Thanos, 'Dune,' 'Dune: Part Two,' 'No Country For Old Men,' 'True Grit' and 'Men in Black 3.'Director: Kristen DeVoreDirector of Photography: Matt KruegerEditor: Robby MasseyGuest: Josh BrolinProducer: Sam DennisLine Producer: Jen SantosProduction Manager: Andressa PelachiProduction and Equipment Manager: Kevin BalashTalent Booker: Lauren Mendoza; Dana MathewsCamera Operator: Nick MasseySound Mixer: Cassiano PereiraProduction Assistant: Fernando Barajas; Ariel LabasanPost Production Supervisor: Rachael KnightPost Production Coordinator: Ian BryantSupervising Editor: Rob LombardiAssistant Editor: Justin Symonds
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LifestyleTranscript
00:00 I'm on the ground and the cameras are on me, they're off camera,
00:03 and I looked at Ruffalo and I forgot my line.
00:05 And I go, "What's my line?"
00:06 Like he would know.
00:07 It's a different character.
00:08 It's a different actor.
00:09 Can you write kind of characters with Josh Brolin?
00:14 Scene one, take one.
00:15 Okay.
00:17 The Goonies.
00:20 My dad's not home, Mr. Perkins.
00:23 Is your mommy here?
00:24 No, sir.
00:26 Actually, she's not at the market buying pampers for all us kids.
00:29 I went down to live with my dad and I had this idea of like,
00:32 maybe I should try this acting thing out because I had done a theater class in my high school
00:38 and I never got it and I never wanted to do it because my dad did it.
00:41 And I saw the financial fluctuations that he went through and I thought,
00:44 "Why would anybody want to do this? This is just dumb."
00:46 So I took a class and we improvised in that class.
00:50 And I got up there and it was like some middle-aged guy from the East Coast.
00:53 And I don't know where it came from.
00:55 It just popped in my head and I said, "I guess I'll try this."
00:58 Anyway, there was a lot of laughter and I remember how it felt.
01:01 It was like that thing that you hear where something just clicks and you're like,
01:05 "Oh, I want to do this."
01:06 Like, this is super scary, super uncertain, and I like that.
01:11 So when I went to go out and look for agents, I hadn't done anything.
01:15 So I like made up theaters.
01:16 I went on like 300 auditions before that.
01:18 And then I think the 301st or 312th or whatever was a Goonies audition.
01:23 I was asked back six times before they said yes.
01:26 "You can't go. We can't eat all that gold. That's our future."
01:29 "No, Mikey, we stay here. We got no future. Now, come on. Come back for it later."
01:34 "Oh, that would suck."
01:35 "Come on!"
01:35 The pirate ship.
01:38 Don't ruin my childhood or anything.
01:39 How cool was that set?
01:41 It's amazing.
01:42 They didn't let us see it for the longest time.
01:44 Five months, something like that.
01:46 But super, super, super cool.
01:48 I'm saying that in all honesty.
01:50 There was nothing not cool about it.
01:53 Dan Ramsey, she was really old at the time.
01:56 So she would get close to the plank and she would get really, you know, and she's supposed to be tough.
02:01 Robert Davi, Joey Pantoliano, us, pocketing doubloons and all this stuff.
02:07 I wish I knew where those were. I don't.
02:08 You know, you take the plastic gems that are supposed to be real gems,
02:15 you throw them in the air and you're like, "Yay!"
02:17 It was a really innocent time and a really fun time.
02:20 And I thought that's how movies were done.
02:22 And they weren't.
02:23 You know, I remember coming up to Spielberg at some point because I was reading Stanislavski.
02:26 And even though he didn't direct it, he was there pretty much every day.
02:29 And I said, "Hey, don't you think these tunnels are like my mother's womb?
02:34 And that I'm scratching to get out of the womb and that I need to be born again,
02:39 but as a different person?"
02:40 Whatever I said.
02:41 And he looked at me and he goes, "Just act."
02:45 And I was like, "I know, but..."
02:48 And he wasn't being rude.
02:51 He was just like, "Don't overcomplicate it."
02:53 Just get in there, look around, listen to people and just do your deal.
02:57 I'm serious, Brandon.
02:59 That's not funny.
03:00 He takes one step outside and you are in deep, absolutely the deepest, deepest...
03:05 Shit, Ma.
03:06 I don't like that language, but that's exactly what you're going to be in.
03:09 I mean, it was great though.
03:11 You were like the big brother, all these amazing kids and these kids had worked.
03:15 They can't wait until tomorrow when they full close on all the whatever you call it.
03:19 Kiwi Kwan, you're done.
03:21 Indiana Jones and then you have this thing that he quit acting.
03:24 He was doing stunt coordinating.
03:26 You can go, "Oh, that person had their time and they're done."
03:28 And then 20 years later, bang, they have a time again.
03:31 It's a different time.
03:32 It's a totally different setup.
03:34 I mean, so emotional and so available and you go, "How?
03:37 Why now?
03:38 He's lived this life."
03:40 There was so much that he brought to it.
03:41 Very happy and proud of him.
03:43 When people haven't seen the Goonies, I think that something might be
03:46 wrong with their DNA or something.
03:49 You know what I'm saying?
03:50 It's the fact that it's become part of the fabric.
03:55 It's the only movie I've done, maybe because I haven't been alive long enough.
03:59 I see it go generation after generation after generation.
04:02 So people are showing their kids now and they're really excited showing their kids because
04:06 they remember the experience that they had when it first came out.
04:08 And that's a really satisfying thing.
04:10 Sicario.
04:14 I turned down Sicario, strangely enough, with Denis a couple of times.
04:18 And Roger Deakins had said to me at some point, "Stop being an asshole and get down there.
04:22 Your face is on the drawings."
04:24 And I was like, "Okay, I'll stop being an asshole."
04:26 I didn't know I was being an asshole.
04:27 But Denis had said this thing, like, "We're going to develop it and all that."
04:30 And you hear every director say that and it's usually bullshit.
04:34 And it's kind of a go-to for every director to make the actor feel super important.
04:39 Anyway, we did develop it.
04:40 And Denis is that kind of director where he's like, "What's working?
04:42 What's not working?"
04:43 And this is what we had planned, but it doesn't feel right.
04:45 So let's try something else.
04:48 What are we looking for?
04:48 Just keep watching.
04:53 In the beginning, I told Denis, like, "I need a hook.
04:55 Like, there's something that I need to have as a foundation and a base that I can always
04:59 rely on, that I can always fall back on."
05:02 And I was doing that first scene and I was really nervous.
05:05 I got really nervous.
05:06 And if that's called for in the scene, then great.
05:08 But it wasn't called for in the scene because I was, like, supposed to be super confident
05:13 and whatever.
05:13 Denis pulled out...
05:15 I think he pulled out a piece of gum to chew it himself.
05:17 And I said, "Can I have a piece of that gum?"
05:19 And I put it in my mouth and I said, "I'm good.
05:23 I'm there."
05:24 And it was the gum.
05:25 The gum became almost like its own character in the movie.
05:28 There's a scene at the end with Emily that we had created maybe 15 minutes before we
05:34 did it in the middle of the night during that scene because it was so intense and so kind
05:38 of face-to-face.
05:40 There was a moment where I looked away, like, just kind of getting myself together and deciding
05:46 what I wanted to do, given that she was going to go tell everybody.
05:48 "You listen.
05:49 You went up the wrong tunnel.
05:56 You saw things you shouldn't have seen."
06:02 When the reality was, I forgot my line.
06:04 And I looked.
06:05 "Where is that fucking line?
06:08 What is it?
06:08 What did we just write?"
06:09 But he didn't cut around it.
06:10 He used it.
06:11 And that's another great thing about Denis is that he uses things and it feels like a
06:15 family.
06:16 It feels like a team as opposed to, "Oh, I'm an actor and I want to have an idea.
06:21 I have an idea.
06:22 Can I-- ooh, ooh, ooh," you know?
06:24 As opposed to just all of us kind of like, "What's the better idea?"
06:28 The craft service has a great idea.
06:29 Let's use that one.
06:30 Doesn't matter where it comes from as long as it's right.
06:32 - Told us about a tunnel east of Nogales, near Sassaba.
06:37 Now we're trying to find out what areas near there migrants avoid so we can find the tunnel.
06:42 - I remember Denis coming to my trailer and knocking on the door and it got to the point
06:47 where I would say, "Go away," because I knew that Benny, Benicio del Toro, the less Benny
06:53 said it, the better.
06:54 So then they would give it to me because they go, "Josh likes to talk a lot.
06:58 Why don't you just give it to Josh?"
07:00 And I didn't want to necessarily have all the dialogue in the movie.
07:04 But it worked out because he'd come in and there was-- you know, we'd figure out how
07:08 to fit in exposition or whatever and try to make it behavioral.
07:12 And it was a cool process in the end.
07:14 The MCU.
07:17 Who is he?
07:20 The super good guy, just a guy that, you know, is like a neighbor.
07:23 He's like a neighbor.
07:24 He's just purple and big.
07:25 - This universe is finite.
07:26 Its resources finite.
07:28 If life is left unchecked, life will cease to exist.
07:32 It needs correction.
07:34 - You don't know that!
07:35 - I'm the only one who knows that.
07:39 At least I'm the only one with the will to act on it.
07:44 That to me is the most interesting question because people go, "Look, he's talking about
07:48 getting rid of half the planet in order to save half the planet."
07:51 It's just a ratio reality that he's talking about.
07:54 But then what's behind it?
07:55 What's the intention behind it?
07:56 It's just an excuse to kill.
07:58 It's an excuse to take over, to leverage, or to power, and all that kind of stuff.
08:02 It's almost like watching a Quentin Tarantino movie where you cringe, but you don't leave
08:05 the theater.
08:06 Like, do I want to see violence on this?
08:08 But there's something about the violence and the behavior behind the violence that has
08:12 reason to it.
08:13 Sometimes.
08:14 When they asked me to do it, it was more like a cameo early on.
08:18 And they gave me this huge Bible of this character, Thanos.
08:21 And I went through it, and I got so into it.
08:24 And I didn't expect it at all.
08:25 Like, I almost said no just because I was like, "Marvel, and I don't know, and it's
08:29 not really what I do."
08:30 And I think that's what was so fun about playing that character, was the psychology
08:35 of it, the behavior of it.
08:36 And then the Russos would come up, and they'd be like, "Remember that scene in Scarface?"
08:40 And you're like, "What?
08:40 Yeah."
08:41 "Remember the guy with the chainsaw?"
08:42 "Yes."
08:43 "Do that, but with your voice."
08:44 "Well, well."
08:45 "What a great direction."
08:47 "You should have killed me."
08:48 "Would have been a waste of parts."
08:50 Working with people who are absolutely and utterly committed to their vision and their
08:57 imagination and how to convey it in a way that's inspiring will forever be inspiring
09:03 to me.
09:03 You know?
09:04 I just want to be around those people all the time.
09:06 But, like, improvising is when you're like, "Okay, let's do a take where, say you don't
09:11 throw her off the cliff."
09:12 "Okay."
09:15 You have 1,500 dots on your face, and you're in a onesie with a lot of Velcro on it.
09:20 And, you know, you don't feel like you're the most powerful person in the universe.
09:25 But I did wear the glove all the time, because I like the weight of that glove.
09:28 So that offset the onesie.
09:30 When I was looking through YouTube, Benedict Cumberbatch, smog.
09:36 What did they say?
09:37 Smog for the Abba.
09:38 He had the same onesie on.
09:40 He had the same dots on and all that.
09:41 And I was so blown away that that kind of inspired, like, you learn the same lesson
09:47 again and again and again.
09:48 You just further it every time.
09:50 And you're like, "It's all about conviction.
09:51 It's all about how much you lend yourself."
09:54 "I am inevitable."
09:58 When I was finally in a scene with people who I knew, Ruffalo I knew, Don Cheadle I
10:04 knew.
10:04 So we had a scene that we did together.
10:06 I'm on the ground, and the cameras are on me.
10:08 They're off camera.
10:09 And I looked at Ruffalo, and I forgot my line.
10:12 And I go, "What's my line?"
10:13 Like he would know.
10:14 It's a different character.
10:15 It's a different actor.
10:16 And he looked at me, and he goes, "I don't know."
10:18 And I go, "You have to know.
10:19 What is it?
10:20 What is it?"
10:20 And I knew it was coming.
10:21 And Chris is off there saying something.
10:23 I don't know what he's saying.
10:24 Picking up his big thing.
10:26 And I go, "What's the line?"
10:27 And he actually gave me the line.
10:28 And I remember I thought that was so funny.
10:29 I was like, "How the fuck did you remember the line?"
10:31 Ruffalo's the nicest human being in the world.
10:33 And the most giving human being.
10:35 That's my favorite memory of doing that movie.
10:39 Come on.
10:48 Come on.
10:50 Oh, man.
10:51 Having worked with Denis before, I think it was something that he thought that I wouldn't do,
10:58 for whatever reason.
10:59 And when he offered it to me, he said, "I'll send you the script."
11:02 And I said, "No need."
11:03 Because I just had a feeling, first of all.
11:05 And it was Denis' second of all.
11:07 And then it turned out that it was going to be a lot of work.
11:09 So I had to deal with that.
11:11 It was very, very, very physical.
11:13 And I wasn't necessarily in the best shape at that point.
11:16 But then when you're in a place like outside of Abu Dhabi,
11:20 there's a different feeling.
11:21 Because we were surrounded by 100 kilometers in every direction of nothing but sand.
11:26 And my body changed.
11:27 So it was like everything that you have, or that I had planned for the movie,
11:32 suddenly became a moot point.
11:34 It started taking on its own life.
11:37 You know what I mean?
11:38 And you're out there and you're like, "Am I in good shape?
11:40 And am I this?"
11:40 And it's all kind of cosmetic.
11:42 And then it starts to affect you in the ways that it affects you.
11:45 And you start sleeping out in the sand, not as an affectation,
11:48 but as something that is pulling at you.
11:51 Something that I've written about a lot.
11:53 You know, we have a book coming out in the fall.
11:56 And Greg Fraser and I did two books for Dune I and Dune II.
11:59 And a lot of that writing is around that time and remembrance of that time.
12:03 And there's something about the spiritual aspects
12:06 without it being the trend word "spiritual."
12:09 The spirit aspects of being out in the desert that are so overwhelming,
12:13 kind of like the sea,
12:15 I find it beautifully right-sizing.
12:18 My lungs taste the air of time, long past fallen sand.
12:22 You know, you're talking about the greatest actors.
12:24 And so you have, in a group, you have the newbies that are amazing.
12:28 You have the veterans.
12:30 And then you have the legendary actors, Chris Walken and Charlotte.
12:34 And they're all in one room.
12:35 And you're like, "What the fuck am I doing here, man?
12:39 This is crazy.
12:40 This is crazy.
12:42 And is there professionally anywhere else I would rather be?"
12:46 No.
12:47 And then helming the whole thing is a guy who is not only my good friend,
12:51 but I have incredible, immeasurable respect for.
12:55 I've been fortunate enough to do a few movies like that.
12:57 And if it all goes to shit now, I'm still good.
13:00 No Country for Old Men.
13:04 If I don't come back, you tell Mother I love her.
13:08 Your mother's dead, Llewelyn.
13:15 Well, then I'll tell her myself.
13:17 Lucky.
13:18 Pure luck.
13:18 I mean, I had read for it.
13:20 I had read for it when I was doing Grindhouse.
13:23 We had done an audition tape that Quentin Tarantino kind of helped to direct.
13:28 And Robert Rodriguez, who was my friend, said, "Why don't we just use our camera?"
13:31 I did that, sent it to him.
13:33 Never got a response.
13:35 My agent had gotten Ethan's phone number and said, "Please, just, I know this is it,
13:40 but just see him."
13:41 And they sent me six scenes.
13:42 And I studied the six scenes.
13:44 And I went down there.
13:45 I stopped at a, like, a boot barn on the way down and grabbed a cowboy hat, because I didn't
13:49 have mine, and rubbed it on the asphalt a little bit, put it on.
13:53 And who I think was going to get it came out.
13:55 And they were all laughing together.
13:57 It was uproariously laughing, like a family.
13:59 And I was like, "I know I'm never going to get this."
14:01 And I went in there, and I read, and Joel stared at me.
14:04 And then Ethan asked me, "Can you do a West Texas accent?"
14:09 And I said, "I was."
14:10 And he said, "Oh, good," which I didn't understand.
14:13 And then I left, and I thought, I read for the Coens.
14:16 That's super cool.
14:17 And I always had that.
14:18 But there was not a chance I felt like I was going to get it.
14:21 And then they called me at about noon that day, and they said, "Would you like to--
14:25 would you be interested in doing this movie?"
14:27 Let me check.
14:28 Hold on a second.
14:29 Let me check my schedule.
14:31 I haven't worked in 12 months.
14:32 Yeah, I'll do it.
14:34 So it was luck.
14:34 I mean, it was luck.
14:35 And it's just something very particular that they were looking for that I think they found
14:39 in me for that.
14:40 I need to know that.
14:43 Run that mouth of yours, I'm going to take you in the back and screw you.
14:46 Big talk.
14:48 Keep it up.
14:49 I would call West Texas, different motels and all that.
14:52 And I'd say, "Hey, I'm thinking about coming in, and where should I-- do you have room?"
14:57 Or, "What's good to do around--" and then you start conversations with people over the
15:01 phone, and I would record them.
15:03 And I had stopped at a gas station, and I heard some guy.
15:06 And I was like, "Where are you from?"
15:07 And he goes, "Oh, I'm West Texas."
15:08 And it's like, "No shit."
15:10 That was the voice that I used.
15:11 Don't worry.
15:12 I'm not the man who's after you.
15:14 I know that.
15:16 I've seen it.
15:20 You want to talk about Scooby?
15:21 Scooby?
15:22 Scooby was the pit bull that was used to come after me.
15:27 You know, he was a trained dog.
15:30 I was like, "You don't have to worry about getting hurt."
15:32 And then at one point, he wasn't following me.
15:35 We were doing it over and over and over.
15:36 And they gave me-- it was a chew toy.
15:39 They go, "Have him see you put it in your pants."
15:42 And then he'll come after it, meaning he'll come after you.
15:45 And then you're in the water, and then you're freezing,
15:47 and then you're trying to keep your face above water,
15:49 and you're not able to use your right arm.
15:50 And then you look back, and you see this dog.
15:52 It's just like--
15:53 [CHOMPING]
15:54 It just can't wait to just eat you.
15:56 But he wants to eat the thing that's in your crotch.
15:58 So even if he doesn't eat you, he's going to eat your crotch.
16:00 And that's never a good thing.
16:02 He got closer and closer, and I went with one arm,
16:05 trying to get under.
16:06 But I couldn't get under because I had the floatie in my crotch.
16:09 So I reached down, and I'm pulling this thing,
16:11 and I'm trying to get it out.
16:12 But my pants are wet, so they're stuck to my stomach
16:15 and stuck to my legs.
16:16 And finally, I rip it out and probably ripped something else
16:19 with it and then threw it away.
16:20 And then he didn't care about me.
16:21 He's like, "I'll just eat you."
16:23 All right, he went in another direction.
16:24 But yeah, Scooby was super scary.
16:27 Then you look over at the Coens, and what are they doing?
16:29 You know, they're concerned about their lead actor
16:32 in the least, like not even for a nanosecond, just laughing,
16:37 smiling and laughing.
16:39 (upbeat music)
16:42 True grit.
16:42 (upbeat music)
16:44 - Any harm comes to that child, you do not get paid.
16:47 Here, I'll move right up with you.
16:53 (laughing)
16:54 Girl, I will pay you $50 out of my winnings.
16:57 I am not heavy.
16:59 We were rehearsing in Santa Fe.
17:00 We did that in Santa Fe too.
17:02 And you know, it wasn't a huge role, but it was,
17:04 I was like a thing that I was doing.
17:06 It just didn't work.
17:07 And I knew it didn't work.
17:08 And they never said anything,
17:09 but I'd looked at Ethan and Joel at one point,
17:11 and I was like, "This isn't working, is it?"
17:12 And they go, "I don't think so."
17:14 And that's the kind of collaborative,
17:16 egoless kind of place that you get to.
17:18 And you're like, "Okay, what do I do?"
17:19 And they're used to rehearsing with Matt Damon
17:21 and be like, "Let's scream our lines."
17:23 Or let's do, you're in a panic at that point.
17:25 And then this kind of like somewhere between
17:27 like my aunt and Michael Shannon, and,
17:30 "You know, you always kind of like to talk like this.
17:32 I don't understand what you mean.
17:34 What do you mean?"
17:35 We looked at each other and we go, "Is that it?"
17:38 And they go, "Maybe."
17:39 I know you.
17:40 Your name is Matty.
17:45 But you're little Matty the bookkeeper.
17:47 Isn't that something?
17:50 But it was like, there was no way you were going to do that.
17:52 Like who would do that?
17:54 Nobody would do that.
17:55 That's just dumb.
17:55 That's like career ending.
17:57 But fuck it.
17:58 We did it.
17:59 And it worked.
18:01 I lost a bunch of weight.
18:02 I have a big skull.
18:04 I have a big head.
18:05 So the more weight I lose,
18:06 it looks like somebody's pumping up my head.
18:08 So that made him look more awkward than I already look.
18:11 And then we took a knife and we cut my hair.
18:15 So it's kind of, you know, like,
18:16 what would it be like for those guys back there?
18:18 They didn't go to the, you know,
18:19 maybe if they were in town, they went to a barber.
18:21 But I doubt that this sociopath went to a barber.
18:23 You know what I mean?
18:24 Where I heard, "I don't want to spend that kind of money.
18:26 I'm going to do it myself."
18:27 And then it becomes fun.
18:29 And it was a great moment that Joel and Ethan
18:32 kind of took advantage of.
18:34 And it just came out of like, it was just an ad-lib movement.
18:38 And it was talking to Haley Steinfeld's character.
18:41 And that's when you see him change
18:42 because he looks like a child before that,
18:44 like a Lenny type, you know, on "The Bison Men."
18:47 And then he moves his head a certain way.
18:49 And then everything changes.
18:51 And that's when it starts to become like a shorthand.
18:54 And you see how it works better for the movie.
18:56 Something that you may not have seen had they not done that.
18:58 But then you see it because they, you know,
19:01 piggybacked on that.
19:02 From that point on, it became like three brothers
19:04 working together.
19:05 "Men in Black 3."
19:08 My granddaddy always said,
19:12 "If you got a problem that you can't solve,
19:13 it helps to get out of your head. Pie."
19:16 It's good.
19:16 Pie?
19:18 Yeah.
19:18 Your granddaddy, have he said, "Man?"
19:20 A little bit.
19:21 Barry Sonnenfeld called me and said,
19:22 "Hey, do you want to do this?"
19:24 I heard this impression when I was out with Josh and the Coens.
19:27 And he convinced the studio that I should do it.
19:29 And then I went down to Mexico with my computer and garage band
19:34 and the first "Men in Black."
19:35 I didn't like watching the second "Men in Black,"
19:37 but the first "Men in Black,"
19:38 there was something about his young tone.
19:40 The only comfort I can offer is my promise
19:43 that tomorrow morning you won't remember a thing.
19:45 And I watched it over and over and over and over and over.
19:49 And I don't know if it was I had to unlearn what I had,
19:52 the little funny thing that I had done,
19:54 and then relearn it.
19:55 I don't know what it was,
19:56 but I just kept getting worse and worse and worse and worse.
19:59 You know, it's funny because when you do an impression,
20:02 when you do a drunk impression of Tommy, that's one thing.
20:05 And it's like people laugh or you sort of got it.
20:08 But the truth of the matter is,
20:09 it's like getting Tommy is an impossibility.
20:12 Tommy could never do Tommy.
20:13 It's so disconnected and it's so like the lilts are all over the place
20:20 and they don't repeat themselves and they change.
20:22 And I was in, again, total panic.
20:25 And then eventually I got a line.
20:28 So when we got to set and I did my first scene with Will,
20:33 who I didn't know very well,
20:34 and Will was doing all this stuff to get ready.
20:37 You know, some people that do things and he was going,
20:39 "Mwah! Mwah!"
20:43 And I was like, "What the fuck, man?"
20:45 And I'm trying to focus and I'm super nervous about doing this voice
20:48 and whether it's going to work and the mannerisms are going to work.
20:52 And now I know what you look like when you're lying.
20:54 Why don't you show me what you look like when you're telling the truth.
20:57 We did the scene and Barry came around the back of the camera
21:02 and he had tears flowing down his face.
21:04 He goes, "I knew it. I knew it. I knew it."
21:07 Like, I knew you could do it, basically.
21:09 And then he stayed there and he kept crying.
21:12 And then Will started laughing hysterically and pointing at him.
21:17 And then Barry kept crying and then Will kept laughing and kept pointing.
21:21 And I was sitting there not knowing what the fuck was going on.
21:25 I was like, "This is the beginning of a very long process."
21:29 That I'm really happy that I made somebody happy that they hired the right person,
21:35 but now I have this to contend with.
21:37 That's how the whole relationship went.
21:39 I'm not sure at this point whether Barry Sonnenfeld
21:41 was the lead of that film or the director.
21:43 I'm not sure.
21:44 [BLANK_AUDIO]