"Huge Fornicators" (w/ Cate Blanchett)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Look may oh, I see my own and look over
there is that culture. Yes, goodness, we lost culture. Ding
Dong lost cultus tlling super warning. You're gonna hear that twice.
We're gonna ding Dong again because we are not currently
with our guest of this episode, which you can probably

(00:21):
see now based on the title, is with the one
and only Kate Blanchette. Kate Blanchett got a new movie,
Black Bag. It's great. It's great. I was actually like,
I was.

Speaker 2 (00:31):
Watching Black Bag and then I was gonna choose another
thing from her filmography to watch again before this.

Speaker 1 (00:36):
There's so much. I got overwhelmed. You got antsy. I
got antsy when you're at the bookstore. Yeah, so many options,
not even just little options where it's like, oh it
could be that could be that big delicious options. It's
like a it's like a cheesecake factory. Her filmography, it's
a menu with the spiral spine. This is a real
culture if I've ever heard one. This is a real
coature number ninety four, ninety four filmography. It's like the

(01:00):
menu at a cheesecake factory. The options, What were you
were you juggling? Did you like whittle? It down to
a final selection. I mean, there's always Tar. Yep, there's
always Tar. But the thing about Tar is it is
it is the let's just call it the big steak
of options because it's so, it's long, it's it's it's
a big old hate. You're gonna get. It's the most

(01:21):
bang for your buck, Cape Blanchet, You're gonna get. Yes.
But having already seen that several times, and then I thought,
why don't we do Carol? And I thought, hmmm.

Speaker 2 (01:30):
I was like, this could be good, but I've also
seen that a couple of times. And then I thought, no,
it's on a scandal, which is ultimately what I went
with because I know that's what you went That's what
I went with. This is my favorite film on her
philmography will tell not.

Speaker 1 (01:39):
It's on a scandal. I think it is because I
love melodrama. We are off track.

Speaker 2 (01:44):
So the reason why we're doing this is because because
we want to give you a little bit of a
culture catchup.

Speaker 1 (01:49):
We know that people have been sort of desiring this
because a lot has happened Wow in the last month.
Where do we start in our lives? And of course,
in the grand scheme of thing but we just thought
we'd give you like a little sort of hybrid episode,
and I feel like someone like Kate Lynchett deserves sort

(02:10):
of like little preamble because it's it's just gonna be
a lot. Yeah.

Speaker 2 (02:16):
I also thought to myself, I'm like, what if Kate
Blenchett came in here and we did like a traditional
intro and Kate Blanchette, the legendary Kate Clenchette, was just
sitting here. So we'll probably do like a thirty second
intro for her and just get into it, because I
actually can't bear the thought of her sitting here listening. Well,
we're like, so, well, the thing about like my favorite
soup is or whatever dumb shit we would say clamp,

(02:39):
thank you for asking. I always just wanted to say
New England clam. But it's hard to pick a favorite soup.
It's so hard, I don't think so honey, having to
pick a favorite soup, and it feels like the pressure
is always on to choose a favorite soup nowadays.

Speaker 1 (02:54):
Well, I feel like that's a self invented pressure that
because you just brought that up as like an example.
You feel that pressure day in and day out. Ever
since Halen Hardy has disappeared from New York City, I
don't even know. I'm no longer making the decision of
what soup do I want today? It is nose dived
and it makes me sick because it used to be

(03:16):
like the only thing that gave me joy was to
like pick a new soup, and now I just don't
encounter soup as much as I would like. Excuse me.

Speaker 2 (03:23):
First of all, let me tell you something, Halen Hardy,
that was a great American institution. And I'm so disappointed
in all the consumers of America and everyone that eats
food out there. What you did, what you allowed to
happen to Halen Hardy is unacceptable, because where else are
you going to get I'm sorry, twelve thirteen, sometimes fourteen
options of soup when you see Morocan lentil on a

(03:46):
menu at to cart, at to cart, because you're lucky
to have that opportunity, and now unbelievable.

Speaker 1 (03:53):
I'm sorry. There have been rumors for I want to say,
decades now, seck of rumors starting, rumors starting that it's
coming back. No, it's not, no, it's not shut up,
it's I've heard this for years.

Speaker 2 (04:06):
No, it's twenty twenty five. We don't have optimistic thoughts anymore.

Speaker 1 (04:10):
Who are you? Who are you? The one that got away?
I picked up and moved to a different town, and
you're like, I'm thinking of moving back into New York.
Lose my lore? You are VV Helen Hardy coming back? YEAV.
You know VV e a V. You don't think that
VV is more fun? It's very fun. It's not the
French way to say it, but you can say you

(04:31):
can you can say VAV. You better.

Speaker 2 (04:33):
You have to understand nowadays. Bo One has to be
helping me with this because we're going to Europe.

Speaker 1 (04:39):
We're going to We're going to Europe. Very tar coded.
She'd fly back and forth, you know.

Speaker 2 (04:45):
Yeah, a cultured woman, a culture with secrets, can't wait
to ask Cate Blanchette.

Speaker 1 (04:50):
If she has secrets too. We're talking about soup. We
were talking about soup. We're talking about preamble culture catchup? Yeah,
Favorite Role? Is its a scandal? Yeah? Oh this is
what I was gonna say. R kpfk's ks whatever. R
k p f kska what r k p fk. Yeah,

(05:12):
you're right, I'm sorry. I'm sorry, it's getting in wheel dy.
I was gonna say, hold me to account. I want
to ask her if she thinks, well, I guess what
is there any use to this? I want to be like,
do you think they could they would make notes on
a scandal? Now, like you would not be able to
have like make out with the teenager, not just make
out fuck in a train yard? Can I tell you something?
She fucks that kid? Shit? I mean and listen, it's like,

(05:33):
that's that's that's the whole crux of the film. That's
the scandal. I didn't write it podcast on a scandal.
Oh my god, that's the sequel. That's the starring us. Wait,
who's Kate and who's Judy? That I'm Judy. I love
that you really, Sheba I have here. I do think
what we should do and it will be embarrassing, but

(05:55):
we should say the iconic line to Kate, you think
this is a love you you wanna fuck me? B
How come I thought you did this is a love
of it? It was clearly you want to fuck you
know what?

Speaker 2 (06:09):
I have a you want to fuck me Barbara t
shirt that I had made as a rap gift for
game show, and it's in La, I didn't wear it.

Speaker 1 (06:19):
Where's your Lydia tar Innocent T shirt? Oh my god,
we should have worn that. I'm literally thinking, can we
make it home? No, this sucks. It's okay. We'll just
tell her, We'll show her the photo. We should both
have been wearing our Lydia tart Is Innocent T shirts.
What if she had been like, you know, she's not,
she's not. She was an awful woman. She drops in,

(06:39):
She's like, this is I don't like this at all.
I don't agree with this. This is our culture catch
up portion of the episode. Yes, so let's just make
the list. Now, let's just make the program. It okay.
Lady Gaga was on Lost.

Speaker 2 (06:52):
Coach Bowen sang with Lady Gaga in two sketches and
became best friends.

Speaker 1 (06:57):
Matt was front rowe at the Oscar. I wouldn't present
it at the Oscars. It's not Matt.

Speaker 2 (07:04):
I have been such a happy accessory this past month.
You have no idea. I feel like the most beautiful
purse in the world. Stop it, no, stop, I love
it you. I feel like I'm your emotional support animal,
and I'm so.

Speaker 1 (07:20):
Happy about it. But you know, it's like it's It's
like when a movie starts. It's like when an actress
like brings her dog to a red carpet. Let's say,
like it's someone like de Me Moore brings Oh that dog,
I forget the names, We're gonna call him Pip. It's like, well,
everyone's everyone's obsessed with Pip. You know what I mean.
I mean, you know what's really happened? Is we fulfilled
the prophecy. I'm busy. I'm busy Phillips. You are Michelle,

(07:46):
I'm busy. The prophecy has been fulfilled. There's officially a
gay but Michelle Williams and Busy Phillips. No, no, no,
that I'm not Michelle. You are not busy, And that
is both like that would be a diservice to both
of them and us. Excuse me. I'm saying this was.

Speaker 2 (08:01):
All the love in the world for both of those legends,
and I'm saying it with a lot of love for.

Speaker 1 (08:05):
Us, for us, But I'm saying, like, there's something about listen,
I'm walking on to the red carpet of the Oscars,
and it's people everyone being like Matt Bow and Matt
in a way that was like that filled me with
such profound joy. I was like, yes, we slayed the Glambot.
We slayed the Glambot, and just like and they're talking

(08:27):
about it. I can't believe I'm here with my best
friend at the Oscars and we're like, put your hearts up,
and it's it's really I still have to journal about
SNEL fifty. I feel like rkpfkfs JK. We're not totally
satisfied with their SNAL fifty recap. No, they weren't. We're

(08:49):
happy to go into more detail with that. Let's just say,
let's say top highlights. Let's start there, fifty. Okay, top
highlights for you waving at chair backstage, doing the pre
tape with Andy Samberg, which is so much fun, and yes,
just loving the moments that we shared together with everybody.
It felt like this wonderful family reunion. It felt like

(09:10):
we were all sort of giving each other. It was
like a Dickensian experience of like everyone was being visited
by the ghosts of SNL past, present, future in a
way that was actually not terrible. Like we were all
screwged and we all were waking up on Christmas morning
like God bless us everyone, and that was the highlight
for me. Yeah, I mean everyone was obsessed with Matt

(09:33):
working the carpet. That was fun.

Speaker 2 (09:35):
I will say one of the highlights after it for
me was when so you've been on it before, but
I made my at Nikki Cbell.

Speaker 1 (09:44):
Debut on Ted Talk.

Speaker 2 (09:46):
We love the nkey obsessed, deeply obsessed, and I was
so I'm of course watching it bed riding, like watching
the TikTok in bed, and then like Nikki is like, yeah, exactly.

Speaker 1 (09:55):
We were very much sympatico there. I was like, I
want to lay down to and be lazy on.

Speaker 2 (10:00):
My TikTok And then I see myself and he goes,
not the right color, and I so then then I
wasn't following him. So I followed him, which was a
mistake on my part, and he sends me a message
and he goes he revealed himself as a reader. I
don't know how he identifies God, but he's a finalist.
I go just so you know, it wasn't as bright

(10:21):
in person. Great, and when he goes, okay, I get it,
yeah totally. But I loved it because it's a celebration
to even be on that.

Speaker 1 (10:31):
Of course that he had to press save on a
photo of you. You know what I mean, it didn't
look that bright in person. Like I absolutely loved what
I wore. The blue. Yeah, so good, thank you. It
wasn't even like it was not like a jewel tone.
It was not even, but it was certainly not. It
was still can you imagine me in a jewel tone?

(10:51):
But it was just a deep, sumptuous blue. Yeah, it
was great. By the way, I don't know why I
pictured me in a jewel tone at S n L
fifty And this was the pose like like like Lea
Michelle like yeah, like taking your two hands me and
putting it pushing like your hips forward and like this
clavical know you're claviical first. And you just hear you,

(11:11):
just hear Matt, that Matt. And you know what they
always say to me, Big smile, man, big smile, big smile.
Check up, chin up, chin up down. That was that's
too much chinned down. A little bit of a smile
over here. And they're always over that. Always you know
what we should do, even when our backs of our
outfits are really bad. Just the shoulder. I love an

(11:32):
older I love that. I like your fucking Gwyneth. Oh, anyway,
that was that sound tifty was amazing. Oscars, Oscars, you
really did crush that present thing. And there was bts.
It was back and forth weather and not that bit
was gonna happen, yes, and you stuck to your gun.
I stuck to my guns. The producers pitched the idea,
the producers and the writers, wonderful team. They're they're just

(11:53):
like for working the Oscars. They are a cool chill
bunch whatever. It's like these people do, this is their thing,
year in, year out. Yeah, you know what I mean.
They know how this all works. They're at the Dolby,
they know where the bathrooms are, and it was so
much fun. I stayed up after SNL, got on a plane,

(12:14):
took a little gummy, conked out, woke up, went straight
to the Dolby. Felt great, did the bits, had lovely
stand ins. Saw the rehearsal for the OZ medley with
the standings and I was still dad. I was like,
it's not even Cynthia and Ai doing it, and I'm
still like in tears. Actually just like a stand in slay.

(12:35):
It was. It was these stand ins who like we're slave, yeah,
who like we're not. I would say, like maybe they're
professional vocalists and singers, but they were just like But
I even saw the shot of like Ari in the
background was a great shot and it was just like
missing a blonde girl in the back, just kind of
like watching this this this other woman on the race platform,
and I was like, this is gonna fucking stand in

(12:57):
for them, just like seeing the station and like me
and all and all Conan's background dances for the opening bit,
we're all just dying that this this is so fun.

Speaker 2 (13:05):
I also want to say, in terms of stand ins,
shout out whoever was sitting next to me for ninety minutes.
So first of all, Bowen says to me beforehand, we're
sitting in the front row. I said, you better shut
the fuck up, and he goes, also, I can't be
with you for like he goes for the first forty
minutes presenting the fourth Award, and I have to get

(13:26):
into the costume because we are doing that bit. Like
it went back and forth about whether that was gonna
happen because it was going to be a big costume change.

Speaker 1 (13:32):
Made big costume change, and they weren't sure they were
going to have their proper rehearsal time with me because
I was flying in the day of yeah, so it
might not have happened. And so I told Nat I
budgeted forty minutes. It was the full It was ninety
ninety minutes at the show, it was ninety and literally
I'm with this seat filler the whole time. And she
probably seventy minutes in turns to me and goes, where

(13:53):
is Bowen? I go, I go, am I not fun?
Or are you not? She was in great vibe, but
I was just saying to go to the bathroom probably,
but also I think she was just like there was
a little bit of like happen. There was a little
bit of like, I feel bad.

Speaker 2 (14:10):
That Bowen isn't in his front row seat at the Oscars,
and I was like, I mean, I hope he comes soon.
I am, I'm enjoying you, but like I do want
because I know you want to be out there watching
it because you missed him, obviously Cynthia and Arianna, which
was amazing, and the Bond.

Speaker 1 (14:26):
The Bond Trivia with Lisa and Doja and Ray and
Margaret Quality and Margaret oh my god, Margaret.

Speaker 2 (14:32):
Yeah, I mean, And it was I will say, sitting
there for ninety minutes and looking to my left and
just seeing all those people, I was like, what the fuck?

Speaker 1 (14:40):
You know what I was really proud about. I was like, Wow,
I've really managed my anxiety because I was sitting there. Wow,
I'm so proud.

Speaker 2 (14:47):
And I think a year ago I wouldn't have been
like that. I think it would have been like mm.
But I was like, okay, it's okay, it's okay, okay,
I'm okay. I was channeling Tate.

Speaker 1 (14:55):
You were channeling Tate. Tate would be cool as a
cucumber in front Road with the so be like this
is fun. Yeah.

Speaker 2 (15:01):
I think she'd be like this is cool man, this
is cool. Yeah, why would that be the cool man?
But you did finally come out. We got to see
the last half.

Speaker 1 (15:10):
Of the Oscars together, just just as fun. It was great.

Speaker 2 (15:14):
I mean, the Winds went as expected until that was
a sad moment when to me lost. But Mikey's so
fucking great.

Speaker 1 (15:21):
On that movie. It's like that. That's what's It's not
like an out and out snub necessarily, but it is
just a thing of like, God, this there's just something
about the expectation being sort of slowly downloaded into you correct,
like as just as on a human level, like if
you are told, like over several months that like it's yours,

(15:41):
it's yours, it's yours, something's gonna happen to you, something great,
and it doesn't. That is very just for lack of
a better word, devastated and with a.

Speaker 2 (15:51):
Camera in your face the moment it doesn't happen, like like,
here's what I'll say after that. And you know, I
love Anora. I think Mikey Madison crowd. I actually think
it was even better on the second time I watched it.
I think that that performance is great, especially when you
see how dissimilar she is to that character. I think
she deserves to win, but it's just tough. When there's

(16:14):
so many of these award shows, it makes you feel
like is it a little too much?

Speaker 1 (16:20):
Is yeah? Absolutely? Right?

Speaker 2 (16:22):
After another after another, it feels like a job that
can't possibly have any reward outside of like ultimately if
you do win and only one person can and if
you happen to like you make yourself like a fashion moment,
which I'll say again, Brad Gereski absolutely crushed it with
me all season.

Speaker 1 (16:41):
I hope she feels good. I'm sure she feels good.
I'm sure she does. And it makes me go to
answer your question like is this too much? Kill me
for saying this. It makes me go like, well, for
Culture Awards, I think we should like build out precursors.
Oh no, the Cultural Awards will have twenty made up precursors.

Speaker 2 (16:58):
No, there's gonna be a brunch, there's gonna be there's
gonna be a lot governor, a lot of precursors. Like,
we are actually going to create many other small awards
with guilds that we create. Actually, that's going to be
a Reader Awards, a Publicist Awards, a Katie Awards, a
Finalist Awards, and the Kyle Awards. And you are going
to get to sign up for the guild. This actually
is happening in real time.

Speaker 1 (17:18):
We've not discussed and we don't think we have the
We're looking at producer beck Yall where like this is
a nightmare in terms of execution.

Speaker 2 (17:27):
It's also kind of officially not really up to us anymore.
I don't know what we can say, what way we can,
but it is we are nearing the time of really
being able to say something very big and cool. But
like I don't know if it's now. We were told
it might be around now, but I don't know. I
don't Yeah, let's for now watch the space.

Speaker 3 (17:45):
For now.

Speaker 1 (17:45):
We're going to pretend we can say anything we want
and we'll be told later if we can't. If we're
in there. That's actually a great way to approach. Ask
for forgiveness, Yes, ask for forgiveness. Yeah, you know.

Speaker 2 (18:05):
I'm watching the UK season three Traders right now, and
there's an Anglican priest on the show, and her defense
of not being able to be a trader is I
can't lie. I'm not able to be deceitful. I'm not
able to do it. I can't be traitorous.

Speaker 1 (18:25):
And was she a trader? Is she traded? No?

Speaker 2 (18:27):
But it's interesting because half the people are like, I mean,
she's a priest, Like she can't do this, and then
other people are like, no, she can lie.

Speaker 1 (18:35):
She just has to confess. I yeah, yeah she will,
but it's unclear like whether or not she feels that way.
Uh huh. So just know that you can't trust priests.
Are there fun Northern accents on UK Trader season three
Because I miss miss Amanda from season one? Iconic Northern
accent so yeah, there's really good. There's do a northern accent.

(18:57):
So are you talking about this? It's like it's very scarce.
She goes really like Alexander. I love being around him.
It's Cheryl Cole. I can't believe the murder. We've got
to murder the murder again. And the Tarret. It's like

(19:18):
in the Tarret, the Tarret. The territt is very bea.
It's like Liverpool. It's like it's that. I love it,
I love it.

Speaker 3 (19:28):
My street.

Speaker 1 (19:29):
That's famously what Cheryl Cole said to cherr Lloyd Oh
when Cherload was on X Factor. Correct, I'll you're right
up my streets, right, my straight. This is the most
gay millennial ship ever. Pretty much is knowing what Cheryl
Cole said to sher Lloyd from being obsessed with X

(19:51):
Factor UK on YouTube in two thousand. Who knows? Wait
a minute call from an eight hundred number, Oh, don't
pick up. Well, now it's in the voicemail, and that
means it's in God's hands. It's in gods. It's actually
a really coachure number eight. When it goes to voicemail,
that means it's in God's hands. And that is kind
of how voicemail feels. Now you're just kind of it's

(20:13):
a message in a bottle, and you're in a terrible
stormy ocean. Yeah, like who knows if it'll get there? Okay,
so oscars And then we went to the Vanity Fair party.
Went to the Vanity Fair party. That was so fun. Fun.
Can I tell you my favorite sentence that's ever come
out of my mouth? White bestie summer?

Speaker 3 (20:30):
No, what not?

Speaker 1 (20:31):
My bestie summer? That was fun, that was fun.

Speaker 2 (20:33):
This is my favorite sentence I've ever said out loud. Okay,
Madison Beer. Do you know Alison Bree?

Speaker 1 (20:39):
Wow? And they hadn't met, but they did, they did,
and you introduced them.

Speaker 3 (20:46):
Well.

Speaker 2 (20:46):
Our friend Michael brought over Madison Beer, who I was
so thrilled to me, and I said to her, I
said to her, Madison Beer, whenever anyone does the glambot,
I say, why are you doing the glambot? You're not
Madison Beer, we told.

Speaker 1 (20:56):
And then she died. If you love that. I was
trying to play it cool around her because Michael, our friend,
Yes Hoffman, Hello, Hi Michael, somehow became besties with Madison Beer.
Within me, I get it, scands, I get it, but
just like, but minutes before m hmm. They just times
you have chemistry with people like us. But Madison was
following Michael into the crowd and then we saw Michael
and said hi. And then I look over and there

(21:17):
was Madison Beer and the full Glory and I was like, hey,
how are you. I'm bowing up. It's so nice to
meet you, trying to play it cool. How's your night going?
And then finally I was like, finally you came over
and you were like, you're Madison Beer, and I dropped
the whole thing. I was like, I mean, where Madison
and we invited her on the pot. We know if

(21:38):
you're not listening to Madison Beer's beca are you a stan?

Speaker 3 (21:42):
Yeah?

Speaker 1 (21:42):
Period? Madison Beer's music is really good. And can I
say as a boob gay period, that's she is. She
is top tier.

Speaker 2 (21:51):
And then I was looking to my right at the
Glory that was Alison Brie, and I said, oh, I
have to make this happen. I was like, Madison Beard Beard,
do you know Adams Alison Brie? And they hadn't met.
They hugged, I can only assume, traded numbers and became
best friends.

Speaker 1 (22:02):
We'll find out what was the vibe. Because we were
with mister Ham love him for John had to be
in close proximity to Alison Brie made me truly thrilled me.
Oh my god, you know what's funny. I didn't realize
it until right after. Oh, like, oh my god, fucking
Don and Trudy. Oh that was good. You really stay allegend.

(22:24):
This is my life now. This is actually like a
perfect microcosm for like what the last month has been,
and it is my peak and like it's all downhill
from here. We're at the Vanity Fair party. We're talking,
we're talking for this person to come up and tap
me on the shoulder and be like, oh my god,
thank god you're here.

Speaker 4 (22:37):
M hm.

Speaker 1 (22:37):
For this to be the person I'm about to say
three words, this was good. We've all been this person
at any party where it's like, oh, thank god you're here. Yeah,
like I have someone to talk to. Megan the Stallion
coming up to me, she goes, oh my god, thank
god you're here. I'm like, hi, Hey, Megan thee Stallion.
Someone i've like fully like been not a professional, I

(22:58):
have been like enough to be on a professional level
with and worked with before, but it's every time I'm
still shocking to me. Whenever she's like Hi, I'm like, Hi,
it's a bitch, It's Tina Snow. Let's go.

Speaker 2 (23:09):
That whole party was just like and I say this
in the most revelation I say this, and the most
how do I say that?

Speaker 1 (23:17):
This and the most reverence. I say this in the
most reverent way, the most random group of people each other.

Speaker 3 (23:25):
And I was like, whoo.

Speaker 1 (23:27):
And then I don't think we can say where we
went next. We can't say where we went next, but
I think we can say this because this is actually
a huge moment that I want to share with people.
And it's like the perfect karmic law. We went to
a party, yes, and we were the Megan thee Stallion
in this situation where we look around everyone's way too
cool for us, and then we this is the person
that we zeroed in on, and we were like, oh,

(23:48):
we can talk to this person.

Speaker 2 (23:49):
Yes, Chapel Roone, Chapel Roan, and guess what. The groundwork
has been laid this year for Chapel last. This is
we're just putting it out there, but incredibly cool. I mean, like,
was did I did I help facilitate that introduction. But
that was so kind and like, she was so sweet
and like.

Speaker 1 (24:08):
But I got to tell her, and I told her
like when I first met her, I was like, or
when I first talked to her for interview, I was
just like, my best friend Matt Ronders was years ahead
of the curve well, and I was just like, look,
I was like, Chapel this is my friend Matt likes
and and you two hit it off. She really liked you.

Speaker 2 (24:26):
Yeah, I mean, listen, we love chapelone, and I'm excited
about I guess, oh, by by the time this comes out,
I guess by the Giver slash tomorrow the Giver, We're
headed for a really fun Chapel era.

Speaker 1 (24:39):
Definitely. God tell me, baby, I'm excited. I love it. No, no, no, no,
no no, it's really no great bridge God, she's a
bridge queen. Thank God too. You know what I love
about Mayhem not a song on three minutes on that

(25:01):
goddamn album. And thank God for Gaga for bringing back
the breakdown outro. Please the outros are it helps you
live in the song. I think you can apply this
across the board, especially in terms of a pop structure.
It's like outro us show off the production, highlight the production.
This is just as key in the song as the vocals.

Speaker 2 (25:23):
Not to give them too much credit, but her highest
Pitchfork ever, Yeah, sure, eight point zero, mister rich and
I think it's deserved, and also it's so great to
see it get the critical acclaim.

Speaker 1 (25:35):
But okay, so are we moving on to Gaga now? Yes? Okay,
I mean now you know she was on the podcast,
which we had to keep a secret for a long time. Yes,
and I'm still not so. We're recording this on Monday,
two days after the show, and I God, just like
that is a consummate entertainer in every way, Killa. I

(26:01):
got to see the sound check for it on Thursday
and I lost my mind. So good.

Speaker 2 (26:07):
One of the most memorable, both of her performances, some
of the most memorable in recent memory. We got to
go on the floor to watch Abrica Dabra and you
had been saying, like Aberca Dabra goes crazy crazy, and
it did. And we were also just gagged before we
started on the podcast. We were like, Gaga performed where
Ali once performed.

Speaker 1 (26:27):
Gaga performed where Ali once performed, I was honored to
introduce her for Africa Gatra. So I I brought my friends,
my dressing room guests, which included Matt too. Before we
were waiting in the tunnel steps away from the host
cook change booth where she was getting into her red
encrusted the war bodysuit with vocally warming up, vocally warming up.

(26:48):
Unbelievable to be able to be there while she was
like in the zone getting her voice ready, and then
just watching her walk on stage and just destroy that
performance at dress rehearsal. I think this did happen on
air too, but like on the walkout when she was
walking on stage, when everyone could everyone in the audience
can see her, I've never heard a gasp like that.

Speaker 2 (27:09):
Everyone's like, oh, looks all night too, Like even when
she was going over to the after party, like yeah,
that was amazing. And just do you see the shots
that they got of her coming out of them that
her one eye, the one eye looking truly good holding
Pip the mouse.

Speaker 1 (27:25):
Oh yeah, oh holding Pip them out. The sketches were
so good too, just like on Fire this week. And
I told Bobby like this is like her manager was like,
I feel like this is reflective of like who she
is and and you know, maybe even on the nose
what the album is. I'm seeing on the nose, like
my analysis of it, it's like all ten to one sketches. Yeah, weird.

Speaker 2 (27:45):
It was weird from the top. I was like, I
remember the first sketch being that scooter sketch. We were
all turning to each other and your dress are gonna
be like that was the first sketch. Was like a huge,
huge swing, like like which I love.

Speaker 1 (27:57):
I loved and I'm like wait, I'm like so invested
in this romance now between Marcel and No so sweet.
It was that little pug that was good. I'm getting
the dog tomorrow. It is time for you, isn't it.
I have like I have like dog fever, Yeah, burning up,

(28:20):
and I'm burning up, burning up for you, bab A
Jonas Brothers shout yeah, why not love them? Jersey Kings. Oh,
I never really think about it like that. I never
think about the Jonas Brothers as Jersey Kings. But I
guess it's a rural culture. Number thirty. The Jonas Brothers
are Jersey Kings. And then I can't believe I got

(28:42):
to sing with her twice. That was never the plan
was amazing. The plan was always just let's have fun.
I'm gonna try to write, you know, a couple of things.
And then I just lucked out in every possible way
that like this past week, you sounded so good and
I said, I was like, I was like, did you
did you actually do some sort of little vocal training

(29:03):
because your placement and like the ease with wish you
were getting up there, you do sing very hard. You
were very like something about being next to her. Yeah,
Like I know that sounds crazy, but I would say
it chromaticable. Yeah, I was the best singer. Well, we
were on a lot of mushrooms, and we were on
a lot of mushrooms. But there's something about the chemical

(29:25):
shit that happens your brain chemistry giving you singing ability
and ability. Y'all just hit thirty five minutes. By the way,
thank you beca. Oh no, that's a great way to
communicate with us because we're just we're just energy.

Speaker 3 (29:39):
You know.

Speaker 1 (29:40):
That's how producers talk to housewives on set. Yeah, so
they'll they have like, so what you don't know, what
do you want to right now? Google docs?

Speaker 2 (29:47):
What do you what do you want she be put
up a Google slide just on a white background that
said y'all just hit thirty five minutes BTW. So I,
at one point in my life was hanging out with
someone who produces for the Housewives, Yes, and they were
telling me that the way that they get them to
ask certain questions is they'll put up like like a tablet.

(30:10):
They'll show up to Meredith Mark and they'll be like,
ask Angie about this, this this on like at the restaurant,
and that's how they get reminded to answer certain questions
or ask certain things, et cetera. Wow, is that it's
just a producer, like our very own producer, Becca was
producing us just now.

Speaker 1 (30:27):
Yes, this is how it works. It's kind of like
some person at a club like holding up their phone
being like play yeah, play may Stream Mayhem play be
Ophelia exactly. Yeah that's you, that's me be Ophelia. Okay,
what afore? Oh yeah, I just amazing. Oh yeah. Vocally no,

(30:50):
we just we did like extensive musical hustles with her
in a way that made me really appreciate, like because
she just kept turning to me and going, it'll just
be so much funny or if we sound great, And
I was like, and she was just so exact about
the way things were phrased and the way things scanned
on the melody. And so we found the right key

(31:12):
because like it was in like it was like in
g and then we got it all the way up
or down. I don't know, you were up there, we were.
I think it was a be a B sharper b whatever.
It was just like we tried it out all these
different ways, got in your pocket. But like to find
the right key with a duet with Gaga, I didn't
realize until literally just now with that sort of would

(31:35):
like what that means to me? Yep, And it was
so fun. I mean, I can't believe it. And then
it's crazy and then I don't know, like what she
said to us, what she said to me and Celesti newsflash,
loves celast Everyone loves everyone loves any Any person who
you would think like seems distant or I don't know,

(31:58):
like unassailable in a way is obsessed with celestium. And
I get it. Yeah, would it be Christopher Vega the
Christopher Vegas, Matt's nickname for Celestie for some reason, and
just it makes sense when you're there, it makes sense.
It's like being next to Gaga singing exactly. It's like

(32:20):
you know, but Gaga was just like telling me in Celesti,
and this is what she brought up on our episode,
like community. She's really been revisiting this idea, This thing
that she misses a lot about coming up in New
York is that she was like every night doing shows
at the slipper Room, like having comedians on or doing
like like you know what I mean. Like she was
like she was a New York artist, she was a

(32:40):
New York art community is so important doing her very
different version of like what you and I were doing.
Not to compare things, but it's like you and I
would like bring our fucking props to like shows and
like be on lineups with people, and that's how we
got to meet people, and that's why we still keep
in touch with these people and still have these relationships
that we cultivate. Like I completely I love that this

(33:03):
is the thing that she's like really returning to. She
is like grounded and happy and like really inspired in
a way that like we haven't seen in a long time,
not since Chromatica. But that was like during COVID when
like we couldn't really see it, she wasn't really out
there doing too much press for it, And it feels
like in the last five years she's really been in
that place. And I just love that she that we

(33:26):
got to intersect at all, yeah, with her, that you
and I did, that the show that SNL did, she's
on like a mission of joy too. I feel like
the the like emotional landscape of Chromatica was different, yeah,
because it came from a different place, like she's on
record saying, I came from a place of real pain,
and so she she's so clearly joyful right now.

Speaker 2 (33:47):
And there was something about, like even with watching her
to bounce from sketch to sketch at SNL et cetera,
like watching her do the press that she's doing surrounding
Mayhem and that she involved us in that was so
lovely and you know, it's just it feels like it's
a really good moment. I also think, you know, I'm
obviously sitting her gagged that you're singing in that sketch,

(34:08):
but I don't think she's sounded better in years. And
we were saying to her, like obviously on the album
the the way that she sings is just so mind blowing.
But you know, I think it's the best singing that
she's don in a real which is obviously saying something
She's one of the greats, but perfect celebrity.

Speaker 1 (34:26):
You kill me. Even at the end of How Bad
Do You Want Me? It is happening again where I
listened to an album that I do get I love
everything on the album, but I get stuck on one.
So normal, it happens every time something comes out. I
get stuck on one song and just can't get over it.

Speaker 3 (34:48):
I love it.

Speaker 1 (34:49):
It's so interesting watching the fans discuss that song. Well,
you know, but Bobby, Bobby Campbell was saying, like the
day of the album coming out, he goes It's just
so interesting because like so much of what the fans
are saying are just echoes of what you and Matt
were saying in that we listened to it. We listened
to it, yeah, and like it never crossed their minds.
They were like, oh, I guess it does sound like
a tailor's song.

Speaker 2 (35:09):
Because I did say, forty five seconds into listening to
How Bad Do You Want Me? I did say, this
is giving Taylor and Bobby was like really yeah, And
I was like, but is it not? Like it's sort
of and that has I will drag myself now, and
I will also drag everyone who's kind of saying that.
And here's why I don't get upset yet. What I'm
gonna say is Taylor didn't invent that kind of pop music.

Speaker 1 (35:31):
Go back to the fame.

Speaker 2 (35:32):
Like before Taylor was doing pop, like Lady Gaga had
big emotional pop songs like Papa Razzi, you know what
I mean, Like that's a big emotional pop song.

Speaker 1 (35:41):
And like Gaga also has roots in this kind of thing,
she hasn't done it in a while, right, right, right,
But I feel like to give this entire genre to
Taylor speaks a little bit to like Taylor's omnipresence, which
I guess is understandable. But let's not say this isn't
a Gaga song, because it's very much a Gaga song
if you give it's broad I think I just love

(36:02):
that I'm in this. I like that I'm able to
radiate out from this album and connect it to other
Gaga things where I'm like, yeah, this is the same
woman who sang fucking Edge of Glory, which is basically
like a Springsteen song who sang shallow obviously yeah, like
and everything off of jo Wanne and everything, and like

(36:24):
Rick Rubenshin on art pop, it's like she's so expansive
as an artist, like it's a culmination. It's it's like
she's my favorite, She's my favorite.

Speaker 2 (36:33):
It name another legend anyway, All right, now, do we
feel like we did a culture catch up? Is there
anything that we missed that people are gonna be saying, well,
we missed it, which is doesn't feel good?

Speaker 1 (36:45):
Doesn't feel good? No, God, we don't like that. No.
I think I think we covered our basis and now
we present to you are very very We don't know
what the conversation is yet because we haven't had it.
I actually I have some thoughts about things to ask
her me too. Wouldn't you believe it? Wouldn't you believe it?
We're so excited to talk to Kate Blanchette here it is.

(37:07):
Our conversation with two time Academy Awarde Ulsa is calling
while we're sitting here was one of the greatest ever, truly, truly,

(37:27):
truly one of the greatest ever. Okay, I mean, we're
not gonna waste any time she's here. We've done a
whole preamble already. Two time Oscar winner Countless Beftiz and.

Speaker 2 (37:38):
The winner of the Kate Blanchette Award for Good Acting
at the Lost coult Rasos Cultural Awards, which I believe
gagged the audience harder than anything that anything else.

Speaker 1 (37:46):
It was a harder gag than even when, like I'm
gonna say, Taylor sent in two videos and that was
a gag. But when Kate Blanchette sent a I was
gonna say wordless, but no, you did say the words
I want. Yes, you know, confetti went up that air.
It was a huge acceptance. Small man, if your dog
got scared, yeah it was.

Speaker 3 (38:04):
It was a big moment for everybody.

Speaker 2 (38:06):
Yes, well it deserved it. I mean, this is the
star of Black Bag, which is out this Friday, which
we saw. We love Soderbergh's new one. I mean, so
exciting and let's waste no more time. Everyone, Please welcome
into your ears.

Speaker 3 (38:20):
Ok thank you, thanks for having me.

Speaker 1 (38:24):
Okay, we just discussed a shoe theory. Yeah tell us this.

Speaker 3 (38:29):
No, I was told today while I was wearing white sneakers.
If you wear white sneakers. It means you're not getting
any but you are not a fornicator. And I just went,
hang on a minute. And I've been sending out really
bad signals for quite a long time. And I have
three pairs which I wear. I alternate, so I'm basically

(38:53):
in Well I'm not today, I'm wearing heels, but a
lot of the time I'm sending out non fornications and
even signal.

Speaker 1 (39:00):
Do this person seem like an authority on this or
were you like, okay, he said it.

Speaker 3 (39:03):
With great authority, but I was, and I was very alarmed.
You know, you think you get dressed, you're getting dressed
for yourself, right, you don't over well, I mean I
didn't overthink the sequence. You're in the right place, but
you know you don't. You don't think that's a signal
you're sending out right? Never maybe you were a nun's
habit or absiny and gloves you think maybe that?

Speaker 1 (39:27):
So is that what this person was saying, like it's
a it's a chastity signal?

Speaker 3 (39:31):
Like well, I don't know. It seemed to be a
little bit like wearing your keys on. Whichever is that
is that?

Speaker 1 (39:36):
Really? Eighties? Wait, what's that about like.

Speaker 3 (39:41):
So much seventies and eighties. I'm gay and I know
that like as like a as like a way to
like say you see that. So if you do that,
does that mean I'm available?

Speaker 1 (39:54):
Oh? I'm availing.

Speaker 2 (39:55):
Everything I do is shouting that I'm available. And I
also want to say I wear sneakers a lot. And
you were saying I don't have problems before we rolled it.

Speaker 3 (40:04):
Now what sex problems? You don't have problems getting it?

Speaker 2 (40:07):
No, I'm saying my sluttiest times were when I was
in a white converse. I used to wear a white
leather converse to like weddings where I was singing.

Speaker 3 (40:16):
But you were you wearing anything else?

Speaker 1 (40:18):
I was wearing like a blue.

Speaker 2 (40:19):
Suit or a red suit my wedding sort of drag,
and then a white leather converse because I think I'm
gay and can get away with it. You can go
to a straight wedding and you can kind of take
a swing with the shoe.

Speaker 3 (40:30):
Okay, you know what I mean, But not with a
white converse. Apparently, did you get did you get any
of that? Each I did?

Speaker 1 (40:35):
I hooked up with the bride, so it's scrubbish.

Speaker 3 (40:38):
Yes, I don't need to be worried.

Speaker 1 (40:40):
You can.

Speaker 3 (40:41):
You can put them back on my bunion will be
so happy you buy another pair.

Speaker 1 (40:45):
I'm gonna buy not that honestly though, because there, Why
did they get a little scuff? You need a backup
in a backup back, That's what I said.

Speaker 3 (40:52):
I said in a very apologetic way. I said, they're
a little bit scuffy and dirty. So does that mean
street that looks desperate? That's like I'm trying to pretend
that I'm not wearing them anyway. I was freaked out
by a message that I didn't know that I was sending.

Speaker 1 (41:09):
I don't believe anyone believes that you're not getting any No,
you don't give celibate, okay, I don't give celibate. No,
Thank you so much.

Speaker 3 (41:19):
I gave in to the reference.

Speaker 1 (41:22):
Could you play celibate? Celibate? Have you played a none? Not? Not?

Speaker 3 (41:26):
Intentionally played it none? An alcoholic none?

Speaker 1 (41:31):
Yes? An alcoholic none?

Speaker 3 (41:32):
Yes?

Speaker 1 (41:32):
Which film was that?

Speaker 3 (41:33):
Then prostrated herself on the grave of a priest? But
I don't think that that was sexual intentionally. But then, yeah,
I see, And did it feel right in the body?
Did it feel good in the spirit?

Speaker 1 (41:46):
Like you do it again.

Speaker 3 (41:47):
Yeah, I didn't wear underwear, okay, but it was set
back in time, you know. The worst speaking of not
wearing underwear, where I played Queen of the Elves, they
gave they gave the I don't know the toy man
of fact sing thing to some company, and a lot
of the Hobbits were very upset because they didn't feel
that those toys were going to be made properly. And
my I had a little and then I had one

(42:09):
child and I have four, so clearly born. But I
gave the elf toy of me Galadriel to my son,
and he was really upset because he said, else don't
wear underwear, and they hadn't bothered to put underwear on
the elf toy.

Speaker 1 (42:28):
But they did for the Hobbits.

Speaker 3 (42:29):
You said, no, no, But the Hobbits were upset because
they didn't feel the toys were going to be made properly,
and they weren't because I wore underwears and elf. I
think elves do wear underwear.

Speaker 1 (42:37):
I think. So when you see the Hobbits were upset,
do you mean the actress who play the Hobbits? We
shore you're talking.

Speaker 3 (42:41):
About my friends, the hobby community. I meant, I meant
the heart the actor Hobbits, not really Hobbits.

Speaker 1 (42:49):
Right, really Hobbits. Yeah, I guess I have not ever
had the experience of having a toy made of me
and you will. I don't think that will be that
injustice be corrected. Do you have input in that process?

Speaker 3 (43:02):
Well, no, clearly I didn't, because if they had asked me,
I would have I would have said they had knitted underwear. Yeah,
knitted I think hilandriol out of elf kind of web.

Speaker 1 (43:13):
Yeah sure, yeah, but if you're immortal, if you're in
Elf in Tolkien's world in Middle Earth, it's like you.

Speaker 3 (43:18):
Don't need to wash your underwear, but you need to
wear it. Yes, okay, yeah, all right.

Speaker 1 (43:23):
Wow. I never thought about their process in terms of
like their Sartorius.

Speaker 3 (43:26):
You know, we should see this toy. It was discussing
it's like Bobby not having gentitles. Do you think after
the Bobby movie that the Bobbies are now going to
have genitals? I mean, that's what kids learn about stuff.

Speaker 1 (43:38):
You know. What's funny.

Speaker 2 (43:39):
One time I remember seeing when I was a kid,
there was a ken with like more of a lump there,
and I was being it did weird me out, and
I was like, if people thought this was something that
needed to be corrected, I can now tell you as
someone who's seen a Ken with a penis, we didn't
need this.

Speaker 3 (43:53):
But it was a lumpu is not a penis. But
it was sugges something you need to get checked.

Speaker 1 (43:58):
Yeah, right, it help?

Speaker 3 (44:00):
Yeah that, But I know, I know I didn't learn
a lot from Bobby's growing up or Ken's.

Speaker 1 (44:07):
What did you play with?

Speaker 3 (44:08):
What did I play with as a kid? I had?
I had a ballerina Bobby and so the crown you
could turn her around. I had one of which I
loved is I had one of those dolls, which was
a Red Riding Hood wolf doll. When you turned it
upside down, it was the wolf and the other way around.
So you don't you can get out of the vine, yes.

Speaker 1 (44:30):
Skirt?

Speaker 3 (44:32):
Well, yes, when it was the wolf right?

Speaker 1 (44:34):
Oh, but the wolf was dressed as the grandmother. Oh wait?
Was it was it Red Riding Hood and the wolf,
because that changes the story in a way.

Speaker 3 (44:41):
It wasn't the grandmother.

Speaker 1 (44:42):
Oh wow, But the wolf was dressed as the grand Yeah,
but the skirt.

Speaker 3 (44:45):
Was kind of brown. It was a bit amish. It
was an amish I got, of course.

Speaker 1 (44:50):
God, what performance they were giving?

Speaker 3 (44:52):
What did you guys play with?

Speaker 1 (44:54):
I had an Aladdin Ken doll and he had the
suggestion of a lump as well, okay, and kind of
a queer awakening for me. I went, well, he's really
handsome and I'd like to see him naked, right, you know,
I think? Okay. So you're saying children learn from these dolls, Well.

Speaker 3 (45:08):
They could, right, they could learn from the dolls.

Speaker 1 (45:11):
I just I'm not learning as much as I am
just like intrigued by my own like fascination, you know
what I mean, Like, I'm.

Speaker 3 (45:19):
Would you definitely with those dolls? They're made to be
dressed and undressed?

Speaker 1 (45:23):
Yes, so it could be.

Speaker 3 (45:25):
I mean then when it's your body starts to change.

Speaker 1 (45:27):
And you go, oh okay, yeah. I think one of
my favorites is.

Speaker 3 (45:30):
No longer a lump. It's something that's up doing something, it's.

Speaker 1 (45:32):
Meaning something else.

Speaker 2 (45:34):
One of my favorite parts of the Barbie movie was
the depiction of like the fucked Barbie that Kate McKinnon played,
the one that was just throwed hard and put away wet.
Because I really was the king of the Barbies. My
sister had dozens.

Speaker 3 (45:45):
Of them for some reason, and and you were never
given any.

Speaker 1 (45:49):
So no, but I kind of was. I did. I remember.

Speaker 2 (45:52):
Actually one of my earliest memories I'm from Long Island
was sitting on Santa's lap and asking for a barbie and.

Speaker 1 (45:58):
His reaction being really negative.

Speaker 2 (46:00):
Oh and so I could never ask for one because
it was really explicit in that moment, like, don't ask
for that, Like, yeah, sort of Long Island man playing
Santa really instance.

Speaker 3 (46:10):
Creepy anyway, exactly.

Speaker 1 (46:12):
I mean it's really that. That's all a lot.

Speaker 3 (46:14):
We did the visit to to the grotto with our
kids one time when they were little, and they were like,
this is wrong, and.

Speaker 1 (46:20):
You're sort of watching it as a parent, like seeing
the pageantry a little differently, I would imagine.

Speaker 3 (46:24):
Yeah, yeah, yeah, I think I was quite traumatized by
the Santa Claus Grotto growing up.

Speaker 5 (46:28):
Yeah.

Speaker 3 (46:28):
All the photos were like kids can smell the booze. Yeah,
parents taking the photo is slightly removed so they can't
smell it.

Speaker 1 (46:37):
They're not within an inch of Yeah.

Speaker 3 (46:39):
Yeah, but I'm sure that was before they did the
safety chase.

Speaker 2 (46:42):
Yes, i mean it's like like allowing your children to
go over there. Have like a private conversation with this,
like with a.

Speaker 3 (46:47):
Dude who's wearing you cannot recognize.

Speaker 1 (46:50):
Yeah, yeah, it's just truly ensconced in like all this
like fun friendly stuff and it's just it's dark. It
belies something very it does very in.

Speaker 2 (47:01):
The Barbie thing. I remember for us, me and my
sister was a lot about survival. We would play Titanic
with the Barbies and like they would they would slowly
pass away to the devastation that was caused by the
Titanic that iceberg in nineteen.

Speaker 3 (47:14):
Twenty and the one that remained got to be undressed.
It was as it was.

Speaker 2 (47:20):
Always like this is me as a kid. It was
always like the prettiest Barbie. Yeah, she wore like a blue,
very shiny mini dress, and it was it was always her.
She was always the sole survivor of the rose as
it were.

Speaker 1 (47:32):
Uh huh. But yeah, no, I do remember like really
loving that that group of that community of women that
was the Barbies, the ensemble cast.

Speaker 3 (47:41):
I know, when you never had your own, but I
only had the one. I found them boring in the end, right,
I loved the movie, but I found yeah, the actual
So my kids have never had yeah, barbies probably good.

Speaker 1 (47:54):
Would you besides Galadriel, would you want other characters that
you portrayed to be dolls? I feel like I'm Sheba Heart.
Sheba Heart doll would be very fun, a notes on
a scandal dolls. That would be very fun.

Speaker 3 (48:05):
That would be interesting, that would be interesting. There were
some really good games you could play with those dogs.

Speaker 1 (48:10):
You know what's funny.

Speaker 2 (48:11):
Separately of each other, we were like, we obviously watched
Black Bag phenomenal, and then we were we each picked
one of your other movies watching last Night.

Speaker 1 (48:19):
Didn't tell each other it was notes on It is
one of our favorite films. It is fun every time.

Speaker 3 (48:25):
Oh god, she turns ninety something, she's just had her birthday.

Speaker 1 (48:31):
Yeah, Temple, yes, Temple, how old I am? Yeah?

Speaker 2 (48:38):
But she was fabulous, She's amazing. I wanted to ask, like,
the really just pronounced queerness of your filmography is that
like it? It's really it's really something. I mean, I
was thinking about it, and there's there's elements.

Speaker 1 (48:54):
Of this in a lot of what you do. Really, Yeah,
I mean tar obviously, I guess.

Speaker 3 (48:58):
I guess it's growing up in Sydney.

Speaker 1 (49:00):
Yeah, I think so.

Speaker 3 (49:01):
I spent so much time at gaining lesbian Marti Gar,
which was just wild. I think it's been a bit
o h and s now, but the parties were so fabulous.

Speaker 2 (49:09):
I went a couple of years ago for a World
Pride and I was really blown away by how Sidney
really committed to and embraced the fact that they were
hosting Pride. It was really lovely, especially now with everything
going on. Looking back at that, I was like, I
wonder if an American city would go for it this hard,
because Sydney was really felt beautiful to be there because
it felt like a very queer city.

Speaker 3 (49:29):
Yeah, it totally is. It's occupational health and safety.

Speaker 1 (49:34):
Oh I did, I did?

Speaker 3 (49:38):
I the opening right?

Speaker 1 (49:39):
Wait? So, and you're saying, Australian Marty Gar.

Speaker 3 (49:43):
The things that went on in those rossrooms, in in
the clubs that but you know you were probably too
young to go to you know that they've they've all
been kind of cordened off.

Speaker 1 (49:54):
Sure. Yeah, I feel like you would have a fun
experience going to I think it's a vent. Are still
happening in the world over. Yeah, I would encourage you to.
We came out in my white sneakers and your white sneakers.

Speaker 3 (50:06):
Yeah, hey, dude, back off.

Speaker 1 (50:07):
Yeah, listen me alone. I'm not interested. Don't you see
my feet?

Speaker 3 (50:12):
But non fornicue?

Speaker 2 (50:14):
Yeah, hello, look at the shoes. We're going to Berlin
in a couple of weeks, We're going to go to Burkehi.

Speaker 3 (50:19):
Oh my god, yes, yes, once. It's pretty wild to
wait in line and like you do the whole thing
of being weak. I knew someone who knew someone who
knew something.

Speaker 1 (50:28):
Okay, I got cha. Was this recent?

Speaker 3 (50:31):
I can't remember, maybe five six years ago? Okay, it
was pre COVID.

Speaker 1 (50:35):
Yeah, sure, just for COVID, I guess.

Speaker 3 (50:37):
Yeah, you don't. You don't need to keep your eyes open.
Things just happened. Oh yeah you can.

Speaker 1 (50:43):
You can close your eyes and things happen.

Speaker 3 (50:44):
And things happen. It depends, well, it depends where you are.
It's a bit of a labyrinth. Sure, I mean, and
look there were things and places that I did not
go into.

Speaker 1 (50:52):
Sure, I'm a bit too for me. A bit is
title about to I. I just want to go to
the Did you go to the gelato stand?

Speaker 3 (51:04):
Yes?

Speaker 1 (51:04):
Okay, is this a famous thing? Yeah, there's a gelato
stand that people like, everyone's just serving gelato. I love
it at all, relief.

Speaker 3 (51:13):
A palate.

Speaker 1 (51:16):
Yeah, oh that's fun from the delights from the cardinal.

Speaker 3 (51:19):
Oh well, so I used to say, a research trip
it is, how did you How did you know?

Speaker 1 (51:25):
How did you know? I don't know.

Speaker 3 (51:26):
I just assumed always working. Oh wow, Okay, I don't
I don't want to prize it out.

Speaker 1 (51:34):
No, no, no, I was just going to say, we
I can't tell if we want to go down the
front of a friend of a friend route or if
we I think it would be informative for us to
wait in the line and being rejected.

Speaker 3 (51:46):
Yes, they won't reject you.

Speaker 1 (51:47):
I don't know. I think they may. I think I'm
I don't think.

Speaker 3 (51:51):
You look gay at all?

Speaker 1 (51:54):
Count against us.

Speaker 3 (51:56):
I'm looking for you.

Speaker 1 (51:59):
We won't wear white shoes because what if they feel
about what if they feel about this week? I was
telling Dada this when she was at SNL. Was like,
She's like, what are you doing?

Speaker 3 (52:05):
How amazed? I'mmenal, god phenomenal anyway, anyway, but the only
thing more exciting was you in I'm not excited. I'm
not excited.

Speaker 1 (52:18):
I was, Yeah, it was amazing volcanic. No, I did erupt.
She she was saying that she has been turned away.
She has been turned away from that line because they
were like, I think the implication was she was like,
I think it was because I was a woman and
it was a bit too sexy of a night, a
bit too fornic katie of a night in a way
that was exclusive to fallacies. You know what I mean? Oh, Okay,

(52:40):
So I think maybe that's the thing that happens, depending
on and you're.

Speaker 3 (52:43):
Going to she could have bought one. Yeah, you can
all buy a fallacy.

Speaker 1 (52:50):
You can't buy a hole. You can't buy an orifice,
Which wouldn't you agree?

Speaker 4 (52:54):
You have many of them, so many, but don't you
want to Like, I think buying a fact gives you
like a degree of removal in a way that you're like, oh,
I'm I'm.

Speaker 1 (53:04):
Purely using I can put this away. Yeah, I can
put this away. A hole as a hole in your
You're you're stuck with it.

Speaker 3 (53:10):
I don't mind being stuck with mine. I'm great happy.
I don't want Tom pleased to have all the holes
I have.

Speaker 1 (53:15):
Yes, but I'm.

Speaker 3 (53:20):
Talk to me after you've been to burg show.

Speaker 1 (53:30):
For family communities. I don't think anyone's they're not going
to be shock by anything.

Speaker 3 (53:34):
But are you are you taking in a microphone? You
won't be allowed to take it in unless.

Speaker 1 (53:38):
You Oh no, we're not taking But it's research. It's
research where the phone being put away, right.

Speaker 3 (53:44):
But there's so actually, there's so few spaces that you
can go now where you are private like that, where
people can really That's what I loved about the late
eighties going to all of the dance parties in Sydney. Yeah,
for the Mardi.

Speaker 1 (53:57):
Gras is because people were just there.

Speaker 3 (53:59):
There was so present, you know, they were just together
collectively having a great time. That was non aggressive. No
one was being recorded, no one cared what anyone did
the other night.

Speaker 2 (54:10):
We went to a place like that. There's a place
called Basement. Yes, they put a tag on the phone.

Speaker 3 (54:15):
It was Yeah.

Speaker 1 (54:16):
It celebrated the idea of.

Speaker 3 (54:18):
Such a relief of I think people are profoundly relieved,
and I feel I don't need to record this, right,
I can just tell people or not.

Speaker 1 (54:26):
Yeah, But now it feels like that chasm between that
kind of event, that ideal is widening from the thing
that's very common now at like an award show. Let's say,
where you've got lip readers. You're being photographed in lip readers.
Oh yeah. On TikTok.

Speaker 2 (54:41):
There'll be people that are, you know, looking at a
video of two celebrities talking to each other and at
an show they lip read, and it looks like it
it looks like it could be exactly what you're saying
in a way that's a little bit odd.

Speaker 1 (54:54):
That's really what I mean.

Speaker 3 (54:57):
Do something learn ikeybana or something.

Speaker 1 (55:00):
I mean, it's like the skill that there's so many trains. Yeah. Wow,
but that makes it feel even kind of more treacherous.

Speaker 3 (55:08):
Yeah, it is treacherous.

Speaker 4 (55:09):
You know.

Speaker 2 (55:10):
You do see celebrities nowadays on the carpet going like
this a lot because you know those are the ones
on TikTok and know they're at risk of being lip red.

Speaker 3 (55:17):
Yeah. Yeah, but I mean I say, I mean, it's blasphemy.
Go back to the day when it wasn't televised, you know,
bring that back and just have a great party where
people can just let go. I mean, the industry is
so scattered in such a point of which I think
could potentially be exciting or it could be really depressing, right,
but it's at a pivot point, and so we need

(55:39):
to gather together and celebrate what it is that we
do without it having to have any public facing. I mean,
the fashion is great and all of that stuff. Well,
we'll find out in the end who won or who
didn't win, you know, but it would be so nice
that that happened behind closed doors. A very different evening.

Speaker 2 (55:57):
You were saying that, especially after you know, the Oscars
just happened, and there's it just feels like the march
to that evening is so long. Do you feel there's
maybe too many ceremonies, Well.

Speaker 1 (56:10):
That's what you're saying, like untelevised them.

Speaker 3 (56:13):
Yeah, you still have them. It's so great. It's so
great that people's work is celebrated and we and that way.
I think there's a kind of a sense that because
this is the thing is you all these films are amazing.
There's so many amazing films and performances and and all
of the craft awards cinematography, and you know there you
want you want to celebrate them, of course, but you
can get sick of those films by the time because

(56:36):
they all get whittled down as they must. Yes, and
then I don't want to get sick of any of
those films because they're brilliant.

Speaker 1 (56:42):
Yeah, and I fantasy value there.

Speaker 2 (56:44):
There doesn't need to be an over conversation about Honora
the way that it's happening on online and stuff like that,
to the point where it's we really lose.

Speaker 3 (56:51):
It's amazing, it's great, and it is amazing full style.
Sean Baker is a genius.

Speaker 1 (56:57):
Yeah, yes he is. I'm such a fan of his
for such a long time. Yeah, he's brilliant.

Speaker 3 (57:02):
Yeah.

Speaker 1 (57:02):
Red Rocket was Red Rock. It was really incredible.

Speaker 3 (57:06):
When she got off the bed with him and then
sang like an angel at the at the synth. It
was just breathtaking.

Speaker 1 (57:14):
Yeah. Just his earlier stuff has the same DNA of
like the realism to it. It's it's all pretty consistent.
What was the most Soderbrik thing that he did on
I feel like he's such an expansive filmmaker. He can

(57:35):
do pretty much anything. Like I think it's crazy that
he's like under budget so many times.

Speaker 3 (57:39):
When he when he makes the time, he's got this,
he's he made the presence. If you haven't seen that recently.
Lucy Lou was in it and the cast was amazing
and it was set in a house where a family
moved in and it was haunted by a presence. And
so the whole narrative unfolds according to what the presence
in the house learns. Oh, it's amazing, but he shot that,

(58:01):
I think in nine or eleven days. So it's like, oh, man,
how quickly are we going to shoot black bag? But
the thing with Soderberg is he's so economical. He's so
he always gets into work early. He knows how he's
going to shoot it. But the reason why he started
to operate, I asked him finally. I'd worked with him before,
but I've gotten to ask him. He edits, he lights, shoots,

(58:21):
he directs, He doesn't write anymore. But he said the
reason why he operates is because he wants it to
keep moving and flowing, and he doesn't want the actors
to go off the boil waiting around between takes and setups.
And so what he does is you start at the
normal time, but you're done by three, which is great.
Do you want to pick up your kids from school
or I don't know, get on a plane and go

(58:43):
to Berkeley is But then what he does, he's at
a workhorse as he goes and he edits and so
then where he spends the money is keeping the sets
open so if he needs to pick something up, he can,
and so he assembles the thing. But then he's really forensic,
gives no, that's too long, No, that piece of information

(59:03):
needs to be revealed there. And so it's a really
fluid thing with him. So you've got to dance with him.
But he did say typical sodaberg was I said, we
did one take and he wanted to move on, and
I said to him, I said, I said, are we
moving on because you're bored, because you've got it? And
he went yes, and yes he was bored with me

(59:26):
and heed. So he's but he's great. He's really blunt,
but he really really loves actors. And the cast in
Black Bag.

Speaker 1 (59:34):
Is Yeah, it's really I wasn't.

Speaker 2 (59:38):
I was surprised that it was such an ensemble, like, yeah,
that is, and then it really is like it's like
a watching a very thrilling, stylish play.

Speaker 1 (59:46):
And I say that and obviously the most you know
rever not to spoil it. There's there's like there's like
a fun like almost like POI ro Agatha christiasue it
that I loved.

Speaker 3 (59:57):
Yeah, Yeah, well, it's basically about a fast spender monk
husband and I play husband and wife and their espionage,
you know, M I five, m I six, But it's
all with technology, so it's a real It's like, oh
my god, I can't even open my phone. So that
was the acting bit that I had to do. But
they're devoted to each other, they're married, and then he
suspects her of being involved in this release in this cyberworm.

(01:00:20):
She sounds pretty icky. I wouldn't want to hear the
noise that is cyberworm.

Speaker 1 (01:00:25):
It's probably.

Speaker 3 (01:00:27):
Film, you know, the coot film Existence. Existence. The noise
that it made when Jennifer, Jason Lee and Judelore put
the portal into their body made made me what it
was like. How did you feel about the substance, the substance,
what the noises? I thought the sound was unbelievable. I

(01:00:52):
had a similar kind of thing.

Speaker 1 (01:00:54):
Yeah, misoponia, misophonia.

Speaker 3 (01:00:56):
Yes, mesophonia and quinophobia, which is what Tar had.

Speaker 1 (01:01:00):
Yes.

Speaker 2 (01:01:00):
Oh right, yeah, So speaking of Tar, because this was
truly our favorite movie. I remember I we watched it.
We didn't see it together, but.

Speaker 1 (01:01:09):
We both had the same exact checking with each other.
We were like wow, wow, wow.

Speaker 2 (01:01:13):
Well I remember leaving the movie the first time and
feeling really confused after the first five and ten minutes,
walking out of the movie, being like what And then
I realized, like as I thought of it, I was like,
that was phenomenal, and it just wasn't ultimately the genre
I thought it was going to be at the top
YEA thought it ended up being this like incredibly funny
satire in a way, but also like presenting as this

(01:01:34):
like very stark drama from the whole time, and it
is both of those things. But the question I wanted
to ask you was, and I find this with several
of your movies, are you ever really surprised when you
see the end result of something in terms of the
tone and genre from when you read it the first time?

Speaker 3 (01:01:52):
There was so much I mean tar made and first
sitting because it asks a lot of the audience right,
made a lot of people really angry, And you know,
I was really grateful to the critics and the people
who had seen it, who kept alive all of the
other balls that Todd Field had written, because people said, oh,
it's about cancel culture, or it's about abuses of power,

(01:02:15):
but it wasn't. I always thought it was about about
what happens in the art For me personally anyway, when
we create something, we forget that we have to destroy something,
you know, And so it's the destructive urge in the
creative force. You don't have to be an artist to
have a creative force, but we all want to make
something in the world. But you often have to be

(01:02:37):
really brutal with yourself when you make that. So and
there was quite a lot of there was kind of
a ghost story in that, and so we you know,
and there were elements in there. I guess it's far
enough away. I didn't want to talk about it when
it was coming out, because you don't want to tell
an audience too much with a movie like that. Definitely,
but you know, we shot things or talked about things
that we decided not to shoot. In the end, you

(01:03:00):
know that the gift and I've got friends who are
conductors who have perfect pitch.

Speaker 1 (01:03:06):
You probably have. I do not.

Speaker 3 (01:03:10):
I apparently have a three octave range thore. Wow, apparently
I just wanted to throw that in there. No, but
that she had perfect pitch and incredible music ability that
her parents were she was raised by deaf parents. So
when I thought about the Earl, it was an early
sequence and these are very very minor things that I used.

(01:03:32):
There was a shot I think from memory of her
conducting as a student, which I think it'd ended up
in a movie, and I used sign language to how
I conducted then. But that was just fun. I mean,
you know, they're not even easter eggs because you're not
ever thinking that the audience will pick those things up.
But there was so much in there, and he's such
a great writer. I have to get him out of

(01:03:52):
the barn, Toddfield. So he makes another film before Ten
Years Past the.

Speaker 1 (01:03:57):
Barn, the Bar. But hard to price someone out of
a barn, it is, No, I'm just I'm just saying, like, do.

Speaker 3 (01:04:03):
You have a barn?

Speaker 1 (01:04:04):
God? Do you want to? I want to barn?

Speaker 3 (01:04:06):
You want someone to pries you out of it? I'm
going into the bar.

Speaker 1 (01:04:09):
I'm going I would love a bar, Are you kidding?
And you'd be great in a barn. I really do
think I would love a barn personally, not very good
with hay and all that. No, it doesn't. No, it's
just I like my little creature comforts. But so do
you now I'm thinking you wouldn't love a barn.

Speaker 3 (01:04:25):
Now you get a cashmere bar, a little barn, a
barn by wayfair.

Speaker 1 (01:04:32):
I don't mean a barn functionally, I mean a barn
just in terms of a metapharic. Yeah, somewhere to go.

Speaker 3 (01:04:37):
Yeah, he has a literal and a metaphorica.

Speaker 1 (01:04:39):
There you go. It's a two for a job. It's
like you gotta bring him out of the headspace and
the actual physical space. True, well, true, I mean tar
is just for me. Do you consider it a comedy
because I feel like it's one of the great comedies
this year.

Speaker 3 (01:04:53):
Was really funny. Yeah, you know, I mean how seriously
she took herself.

Speaker 2 (01:04:58):
The second time I watched it, I couldn't stop laughing
at the first conversation the top back's so funny. Oh,
just how seriously she takes herself. And like the performance
that is happening, and really the amount of ego, because
that was that's really ultimately.

Speaker 1 (01:05:13):
I think it's just like crazy meditation on ego.

Speaker 3 (01:05:16):
Yeah, well it is, but you have to having stepped
onto the podium in front of the Dressden Philharmony as
a woman, you know, but as a conductor anyway, is
they sense fear. So you have to as a conductor,
you have to have a lot of and that you
have to say this is where we're going. And because
I realized it to be like boarding school, like a

(01:05:37):
lot of the members they're all soloists, right, but the
conductor has to bring them to make one unified sound.
So there's a lot of egos and complications. And they
would all come up to me and start talking to
me and telling me things about you know, I know
I'm acting as the first cello, but I'm really only
the second cello, so I'm really concerned about And it

(01:05:58):
was like, you have to hold all of this stuff together.
But I got up there and they hadn't played together
because of COVID they had the orchestra hadn't played together
for quite a long many many months, right, And so
when I said, look in my bad germ and I said,
when i'm you know, I'm not an actor. I mean
I'm not a conductor. You're not actors, and we're going
to have to swap roles, so let's be patient with

(01:06:20):
one another. And I gave the downbeat at the rehearsal
and they didn't follow me, and I went let's start again.
And they all went ooh, and they realized in fact
that I didn't. I mean I was I was winging it.
I did a lot of you know, preparation, and I
examined the score and everything, and I had the music
in my those bits of music in my head. But

(01:06:42):
it was such a gift because then they had to
lean in realize that we did have to do it together.
But it's not a film about conducting.

Speaker 1 (01:06:50):
So it's not well, I feel like you telling that
story filtered through the character of Lydiuitar makes me think of, like,
I am Petra's father. It's like that is that that's
the same person in a completely different context of like, no,
she thinks of herself as she is that person that
like is being like called for at the school or something.

Speaker 3 (01:07:10):
Yeah, I mean yeah, and I think she was probably
mercilessly bullied herself. Yeah. And it's also I think when
you have an exceptional gift like that, And I always
imagined her having parents who were made fun of and
who couldn't hear the thing that she love, it's a
really complicating thing. And I it's all these little things

(01:07:31):
that because he's todd as an amazing director, but and
also an amazing writer. Is he put all these little
clues in that she went and she'd obviously spend a
lot of time with the Shippibo Guinnebo people taking Ayahuascar, right,
And if it had enough time, I would have done
a little research and did that part of it. But
you know, like she was really adventurous and so she

(01:07:52):
she you know she did she was running away from
something herself, right, and also coming out of COVID. I
don't know what you guys did. You probably were able
to continue the podcast, right, yes, but if you can
do what you do, if you couldn't make music and
you would lydi gitar for two years, what happens your
creative turns destructive? Yes, So you know I thought about

(01:08:15):
all that stuff.

Speaker 1 (01:08:17):
We're talking about.

Speaker 2 (01:08:17):
So many elements of a movie like this, you know, obviously,
like huge respect for the director and it like real
interest in the incredibly dynamic character and this story that
you can read in so many different ways. I wonder,
when you are embarking on something or you're sent to script,
is there one of those elements, whether it's like the
people you get to work with or the story itself.

(01:08:40):
Or the specific character. Is there something that you feel
is what pulls you each and every time or is
it different. I would imagine it's a combination. But for you,
if you could speak to me, you know it's.

Speaker 3 (01:08:51):
The couple of times early on, when I accepted to
do a script based on the role, it's always been
slightly disappointing because it's like a theater script is called
a play because you have to play with it's it's
not a work of literature. And so it's always now
for me about the director. It's never the role. So
because it doesn't matter. You could be acting your socks off.

(01:09:14):
But if the camera's in the wrong position, or you know,
you haven't all been cast in the right way, or
you haven't been brought together by the director into an ensemble,
the thing wasn't left off, and so it won't mean
anything to an audience. And so, for example, with Black
Bag working, I'd worked with Stephen and when we were
my husband and I were running the Sydney Theater Company.

(01:09:34):
He came in our first season and he wanted to
do an all male production of All About If We
Could Wow. So he got obsessed with Nancy Grace in
Casey Anthony's story and he concocted this bizarre, fascinating theater piece.
But when he called me and said he had a
slot and David Kep had written this great ensemble piece,
it was to work with him. And it was Fast

(01:09:57):
Spender and Tom Burke, who's an amazing stage within the
Seagull at the Barbican in London. And so it's it
is the director and then I'm fascinated with who they
want to cast them.

Speaker 1 (01:10:08):
Yeah, yeah, you realized that more and more it is
about the people. Yes, not necessarily about which it feels counterintuitive,
but it's not necessarily about the content and the primary
way like.

Speaker 3 (01:10:19):
Yeah, it's not about the role, you know, because sometimes
it's like, wow, you know that's a piece of action,
or I haven't spoken to that audience before, you know
that's a chamber piece, or you know in fact that
that character is really still I've been moving around too much.
So sometimes yeah, I don't know, but I don't want
I don't know that I necessarily want to do it
anymore anyway. I think I want to spend time with

(01:10:39):
my my chickens and my gardens.

Speaker 1 (01:10:42):
Real barn, Yeah, you need a barn yeah, well occasional
Burghund trip.

Speaker 3 (01:10:47):
Yes, yeah, I will venture out to berg from the bond.

Speaker 1 (01:10:52):
Let's go. We're reading a book now in the research.
It's called Lost and Sound, the Beginnings of Bergheim and
the easy Jet set. So this writer, oh Redd, it
is kind of putting out this theory that like with
the introduction of easy Jet in Europe, with budget travel
within Europe.

Speaker 3 (01:11:08):
Oh, that it eroded the integrity.

Speaker 1 (01:11:11):
Not the integrity, it just brought people to Berlin and
it created a nightlife capital in Berlin after the wall
went down, with technical coming out of Detroit. It's like
it all kind of aligned in a way that like
made it this magical still magical thing that must be
preserved because it's a cultural site. Now it's considered a
concert venue and not necessarily a club.

Speaker 3 (01:11:32):
But you know, they have to be really careful having
Thomas Ostamyer, who runs a show Booner and Berlin, has
directed this production of The Seagull. He's such an amazing
person and an amazing director. But they are, you know,
so many Australians are in Berlin because you get to
you don't apologize for you know, being a musician or
an actor or a painter or a writer or whatever
where you kind of do in Australia. But he was saying,

(01:11:55):
like cultural funding is really going down and they don't.
It's such a it's a stupidity from an economic point
of view, have let alone a cultural point of view.
You know, you talk about culture on your podcast, but
because because of the multiplier effect, it's the restaurants, it's
the bars, it's the taxi drivers, it's cyclos, it's all

(01:12:18):
of those other things that that actually suffer when you
remove culture from a place apart from you know, that's why,
as you say, that's why tourists go to Berlin.

Speaker 1 (01:12:27):
Yeah, absolutely. I feel like you have that in America too,
of like that apology of like hey, yeah, I'm an actor.
I'm It's like people think it's like cool to shy
away from there. There's a certain sect of people I
think that don't stand in like pride for being an artist.
I don't know. Maybe it's a self consciousness.

Speaker 3 (01:12:46):
Yeah, or you know, there's a sense that somehow, if
you are in a creative profession, that there's an indulgence.
It's elite and you go, no, it's like you remember
of a circus family, ya, it's not.

Speaker 1 (01:12:59):
It's true.

Speaker 3 (01:13:00):
You do it for an audience. And that's where Soderberg's
so great is he kept saying with black Bag, He's like,
we're making a movie. Yeah, making a film. I want
people to go to see this in the cinema and
eat their podcast and have fun. And it's witty and stylish.
It's like, you know, and then and you know you
don't have to Not every piece of cinema has to

(01:13:21):
have the same function or reach the same audience, their
multifarious audiences. But it's for an audiences.

Speaker 1 (01:13:25):
I'm not doing it for myself, right, you know, just
to speak because you mentioned that we talk about culture,
We're going to ask you a question and it's a
little bit of a little bit of a you know,
unifier on this podcast alongside this question, which is what
was the culture that made you say culture was for you?
Talking about like how you Kate Blanchett became Kate Blanchette,

(01:13:47):
if you could think about.

Speaker 3 (01:13:49):
I'm constantly becoming that transition. I don't know, like I'm
so eclectic, and you know, I read Eden Blinton books.
I spend all the time on my bicycle thinking I
was Nancy Drew or Trixie Belden, you're looking at me
blankly because you're away. Trixie Belden was a girl detective. Yeah,

(01:14:12):
as was Nancy Drew, of course. But I think there
was a kind of an intersection for me of the
Royal wedding Princess Diana and Charles, which was in nineteen eighty.
At the moment, my grandmother was having a double bypass surgery,
so death was meeting sort of life and pageantry. At
the same time, the Moscow Olympics was on, and I

(01:14:34):
was obsessed. I did calisthenics, you know, like I'm quite
not very strong when I'm bent, Like I put my
legs behind my heads. I have no skills, but I
can do that. Yeah, I know. But that and I
got really obsessed with I don't know what this is culture.
I got very obsessed with ribbon dancing. Oh that's you know, culture,

(01:14:54):
and then the dancing they do with the ball wow.
So maybe it was that.

Speaker 1 (01:15:00):
So when we filed this under like you know, the
bending of it all, like like rhythmic.

Speaker 3 (01:15:03):
Gymnastic, rhythmic gymnastics. Yeah, I think that that was my
high culture expression. And then later on you saw Picasso
painting with light, and so that reminded me of my
ribbon dancing obsession, you know, so yeah, maybe it was
ribbon I'm.

Speaker 2 (01:15:20):
Thinking of your performance in the Curious Case of Benjamin Button.
Like I wasn't ribbon dancing, I know, but a dancer,
you know what I mean, Like you've never forgiven.

Speaker 3 (01:15:28):
Fincher he we were doing there was a dance sequence
which I.

Speaker 1 (01:15:36):
Did for aged.

Speaker 3 (01:15:37):
No, no, no, it's in there. But he decided to
shoot it at five o'clock in the morning having been
called you know, because he shoots forever, having been called
at like, you know, nine o'clock the previous morning.

Speaker 1 (01:15:49):
It's like you.

Speaker 3 (01:15:52):
Yeah, yeah, so I don't know how much is me
and how much is my body double? But I didn't
get to ribbon dance in that.

Speaker 1 (01:15:58):
No, not ribbon dancing, but I just my age.

Speaker 3 (01:16:00):
I want to sell a lot of coal that I
don't ask you to ribbon fifty that's actually going into Yeah,
we'll get your ribbon dancing. But the ball, Yeah, it's
the ball so beautiful.

Speaker 1 (01:16:11):
What does the ball represent? You know, the girls and
the course of people.

Speaker 3 (01:16:15):
Who work with the ball and they move it around.
It's incredible waters so magnificent.

Speaker 1 (01:16:20):
I don't even understand how you are. Do you do that?

Speaker 3 (01:16:23):
It's like magic. If you were to do magic trips
like pull up the Ace of Spades out of a lemon,
I mean I would literally pee my pants.

Speaker 2 (01:16:33):
What's crazy about that is the answers are so simple,
but they're done with such what do you because, like
the answer to how the card comes out of the
lemon or whatever?

Speaker 1 (01:16:42):
The hell?

Speaker 2 (01:16:42):
I don't know, But what I'm saying is we don't know,
and like for us it seems so crazy, but their
answers to that are so simple, Like the sleight of
hand is so second nature.

Speaker 3 (01:16:54):
I know, but I'm still where do you put a
lemon up? I mean that's I mean, I don't all
that eleven go out, don't touch.

Speaker 1 (01:17:03):
The lemon, touch the lemon? But would you agree that,
like have you ever applied this to your own sort
of craft where you're like, I don't want to tell
you too much about how I do I.

Speaker 3 (01:17:13):
Never want I never want to talk about it because
I don't know how I do it?

Speaker 1 (01:17:16):
Do you not?

Speaker 3 (01:17:16):
I don't have a process really, no, Like people say, oh,
you know I do Maisner or at least Straisner or
I do. I know uder Hagen is my whoever it is,
I read it all. I'm I'm a bower bird. If
someone has done something great, I will steal it and
use it. Got it because you know it's always going
to be reinterpreted through your lens. Yeah, so, yeah, I

(01:17:39):
don't know. Every night before I, you know, I start
a new job, it's always the first day of school.
I'm always terrified. And I say to my husband, who's
so bored with me asking the same questions over and
over and over, I said, what do I Do's my process? Really?

Speaker 1 (01:17:53):
Just show up?

Speaker 3 (01:17:55):
And so you have to go into a room and go,
I do not know how to do this. You humble
yourself to the task and the material and the other
actors and the directors and the circumstances reveal what research
you need to do, if you need to do any
Sometimes you don't need to. Sometimes you just have to
be present.

Speaker 2 (01:18:13):
I feel like that's so comforting as an actor to
hear even you say that, because there's like a freedom
that like, there's a freedom you can have to give
yourself when you realize this thing I have about my
anxieties about being quote unquote good enough, right, for it.
I was going to ask you how you are about
moving on, because it sounds like every actor has a
different relationship to that. But to hear you speak to

(01:18:36):
not insecurity, but like any apprehension or you know, nerves
about doing.

Speaker 3 (01:18:40):
Something, I think for even you to say that you
know it's and it gets service, I think it gets worse, yeah,
because then there's a sense that maybe people have preconceptions
or expectations if you have some kind of a track record,
and I think it's you have to risk. I'm sure
you both feel this too. You have to and particularly

(01:19:01):
with stand up, it's like you have to risk falling
flat on your face. And so if you're not, if
you're not on that knife edge, you're not going to
keep growing, you know. And so it is confronting, but
you have to get yourself in the zone where you
go fucking yeah.

Speaker 1 (01:19:15):
But well, my thing with a lot of comedians, and
I'm going to say excuse mail, but like a lot
of male comedians seem to have this allergy to like
anything that is theatrical about comedy, and they have to
understand that stand up is just theater, the schema of
it of like one person being on stage talking to
a crowd of people. Yah, dot matter how big the

(01:19:36):
crowd is or small it is, it's theater. So and
they are like performing the fact that these thoughts are
coming to them off the cuff when they've been refining
this routine for a long time, over many experimental contacts
that it's like, let's just embrace that this is all
kind of artificial. And I don't know what my point is.

(01:19:56):
I'm just saying like, there's yeah, and.

Speaker 3 (01:19:58):
There's a structure to it. It's like if you're telling
a story and you forget the pivot point the story,
it's it's not going to work. But I've always found
it really such an education to go and watch stand
up at the beginning when they're building the material, because
in the end, I think the process is the most
exciting thing, and sometimes when you get to the end point,

(01:20:19):
the hard thing is to keep it fresh, you know.

Speaker 2 (01:20:23):
And of course then there's the thing of you know,
I've now done I find this with a lot of
stand ups. It's like you see people start to get
insecure about having done things for several years. It's like,
you know what I mean, It's because then it's less
even about how do I keep this fresh? And you're like,
did I get too comfortable with? Am I too good
at keeping it fresh? Am I not moving on and
pushing myself to do something else?

Speaker 3 (01:20:44):
Yeah? Well, I got great advice from Hungarian director who
directed us as a company and a production of Uncle Vanya.
And we'd had previews and then we're all great and
there's a really lovely company. And he came in and
you know, we rehearsed through an interpreter, and so he
said through his interpreter, he said, all of those amazing
things that you did last night, they were wonderful tonight

(01:21:07):
opening night, don't do any of them.

Speaker 1 (01:21:10):
Love it.

Speaker 3 (01:21:10):
And it was such great advice, and you go, okay,
this is I think they it's because they come from
a culture where things sit in rep right, And yeah,
so he's interested in the long health of the show,
not getting good reviews, you know, because often the good
reviews are actually harder to deal with because certainly if
you read them, you go, oh that's a good bit,

(01:21:32):
and then it dies right, you know, so you can't
you can't think about the good or bad bit.

Speaker 1 (01:21:37):
You just have to think it's all a process, right,
or you just can't stay with it in any case
because in comedy they say, like your act becomes your enemy.
It's like what you're talking about, where like.

Speaker 3 (01:21:46):
When you say you're acting me and you stick.

Speaker 1 (01:21:48):
Or like what you've given. It's like I kind of
feel that way now with I guess and I'm like, oh,
I'm playing another inanimate object. And sometimes and I just
want to say, because sometimes in the bits at it,
sometimes it's not all up to the cast member. Of course,
you're being handed the material like Okay, I guess you
need me to play you know this by balloon that
got shot down? Okay, Like fine, you know it's and

(01:22:09):
then it becomes this thing that you're trying to pull
away anyway. This is not this is microcosmically compared to
like anything that could.

Speaker 3 (01:22:16):
You know, because I mean this is the thing is
you don't want to be thinking about yourself. You want
to be thinking about the energy that it's going out
in your audience. And I think when you start to
feel uncomfortable about that or habitual about that, then you
become self conscious and the thing's going to die anyway,
which is.

Speaker 1 (01:22:32):
Why it's refreshing and also sort of speaks to your
skill besides putting your lives behind your head, is that
like you have this, you have this, you amalgamate all
these things in your process to the point where you
don't have one, which is perfect.

Speaker 3 (01:22:44):
Yeah. I mean, look, I do like having a task
that I feel is impossible to say. For something like tar,
I thought, I don't know how to read a score.
I learned piano as a girl. But I have to
I have to break score a part and choose the
bits that we're going to play, and I really have
to learn how to do this. And so in a way,

(01:23:05):
the part was so overwhelming. It's not it's not a
film about conducting, as I said, but it gave me
something to do to stave off the anxiety because I
had so much to prepare.

Speaker 1 (01:23:14):
Yeah, lots of homework.

Speaker 3 (01:23:15):
It's just I think in the end, process is a
way of staving off anxiety, which I can make you
clam Yeah, this is.

Speaker 1 (01:23:31):
A little bit of a left turn. But have you
seen on Broadway? No? I have. I tell you, I'm
getting to know you a little bit now. I think
that like you are going to absolutely I've heard it's love.

Speaker 3 (01:23:43):
I know who's seen it's loved it.

Speaker 1 (01:23:45):
In New York.

Speaker 2 (01:23:46):
I've now seen it with three different marrias. I've seen
it with Colors School, I've seen Hannah solo, the understudy,
and Betty who was fantastic, and.

Speaker 3 (01:23:53):
It's just different every time at the very time.

Speaker 2 (01:23:56):
And it's just it's just really interesting to see something
start as that off Broadway moment and then no Cole
was doing it, and to now see an actress like
Betty doing it. It's just it's the interpretation is like
it's ever evolving. I just think you have such an
amazing sense of humor. You would absolutely love this.

Speaker 3 (01:24:15):
Yeah, no, no, not how long. It's such a well
yeah right, I mean to see you.

Speaker 1 (01:24:22):
And we're so happy.

Speaker 3 (01:24:23):
It was worth that we canceled a show at London,
but I'm so happy.

Speaker 2 (01:24:28):
Okay, so it might be time to do I don't
think so, honey, Which is our sixty second segment where
we take something in pop culture that really needs to
get pummeled into the ground, you know, And I have
something Okay, it's sort of been popping up for years now,
and I would.

Speaker 3 (01:24:43):
Like it's disturbing you. I can I like rubbing it.

Speaker 1 (01:24:45):
For Yeah, that was my tell. It's your right sneaker.
Let's go all right, this is Matt Rodgers. I don't
think so many time starts now, I don't think so.

Speaker 2 (01:24:52):
Honey, buddy, one of my buddies. I got a buddy
who let me tell you something, buddy, like, maybe it's
the cons the B and the D.

Speaker 1 (01:25:01):
I don't think creative and it's too fricative, and I
was going to use the word maybe it's not evenative.

Speaker 3 (01:25:07):
Buddy, if you're not a buddy.

Speaker 2 (01:25:08):
Yeah, My thing is just like it feels like something
and it's been used sexually a couple of times with.

Speaker 1 (01:25:16):
When my wife's suckers were really pumping off, and I
don't like it there. I don't know what it is.

Speaker 2 (01:25:21):
It feels like when you use the word buddy, you're
not saying friend. It feels like something more like backing
off or like.

Speaker 3 (01:25:27):
It's an active aggression.

Speaker 2 (01:25:28):
Yes, yeah, it's an active aggression that use of the
word buddy, or it's just not committing to what it is.
It's my close friend, it's my you know, I think
some people, especially the gay guys i've been having sex with,
I'm your lover, okay, call me something else, not buddy.

Speaker 1 (01:25:42):
It's like it's like when someone calls you dude, that's
very creative as well. We think D and D, dude
and buddy. I'm just not feeling it. I think we
should say like, I think we should just use our
words with more intention because buddy, it's existing in a
gray area. I don't think and that's one minute, you know,
do you use buddy?

Speaker 3 (01:26:03):
I do say dude a bit. I'm trying to okay
for you is for a straight white woman to say dude.

Speaker 2 (01:26:09):
I think dude is fine and I have less of
a problem with it. It's not my fa I guess
what I'm saying is when gay.

Speaker 3 (01:26:15):
Guys my same I'm going out with my buddy? Yeah
what I am? What am I to you? Right? Yeah?

Speaker 1 (01:26:22):
Where do I exist?

Speaker 2 (01:26:23):
Because buddy isn't like, it's existing in an area between
acquaintance and I've.

Speaker 3 (01:26:27):
Never thought about it. I don't like this is an
educational play, this.

Speaker 1 (01:26:30):
Is an educational podcast. Friend, I'm gonna put a theory
out there. The English language is sort of limited in
the kind of words we have for friend, buddy. I
don't like when someone's like, five times out of ten,
I'm gonna say half the time. Half the time when
someone says, hey friend, I go, huh, like I shudder

(01:26:50):
a bit. Well, no, here's what I'm saying.

Speaker 3 (01:26:52):
It's not it's hey anything, yeah, hey you, hey buddy,
Hey friend, it's like hello, hello, exqueeze me.

Speaker 1 (01:26:59):
Yeah, it's rather act is back now as a result
of you're saying it's the same kind of weird, we
haven't found the right word yet that feels right on
the tongue for what for friends, in the same way
that we don't have the good words for marijuana, weed pot. Yeah,

(01:27:20):
but I like, yeah, yeah, I don't know.

Speaker 3 (01:27:25):
But what would you say? In what context? Are you
calling someone a friend or a buddy or a mate
or a pal?

Speaker 1 (01:27:30):
Think I got triggered. I like power, I like mate
to mate is fun mate.

Speaker 3 (01:27:36):
It is just it's not in Australia. It's just so abused.

Speaker 1 (01:27:39):
Is it really? Really?

Speaker 3 (01:27:40):
Get But maybe the way you say it's probably not
so bad.

Speaker 1 (01:27:45):
I got some mates in time. I mean it doesn't
sound right.

Speaker 3 (01:27:47):
But you don't you think lover is such a kind
of I don't like it's it's I feel like it's
taking your shirt off in an inappropriate way. It's but sweetheart,
my sweetheart, you know what I mean, and.

Speaker 1 (01:28:02):
My friends make fun of me. I say thank you,
my love. I love that, restaurants I say my love.
I call a lot of people my love.

Speaker 2 (01:28:07):
And our friend Jared is always like I want to
tie when you say it, and I'm like, well, that's
how I feel about buddy.

Speaker 3 (01:28:13):
Yeah, but you wouldn't go away to buddy, or if
you did so.

Speaker 2 (01:28:17):
I was in the service industry for ten years. I've
done hard yards. Getting called buddy it feels degrading. Yeah,
maybe that's what I'm picking up on it.

Speaker 3 (01:28:24):
Yes, it's a post trauma. Yeah, you haven't recovered from
your waiting time.

Speaker 1 (01:28:29):
I think we've we stumbled upon it.

Speaker 2 (01:28:32):
That it feels like a little bit of a put
down or like yes, or it feels like that's maybe
what I'm getting at with it.

Speaker 1 (01:28:37):
That it feels noncommittal, you know what I mean. It's
just it's there's something pased down about it. Yeah, it's pat.
Maybe it's simply pat, simply okay, interesting, fascinating, I don't know.

Speaker 2 (01:28:49):
Yeah, I just needed needed to walk that through and
I'm happy what we did here today. Okay, So this
is Bow and Yang's I don't think sowenty, did you
come from here today.

Speaker 1 (01:28:56):
I did. And this has been brewing for several years
as well, for several years. We're really unearthing a lot. Wow, okay,
this ended up herapy. Yeah, so this is Bowen Yang's
I don't think so, honey. His time starts now. I
don't think so, honey. Hakuna matata, Oh, no worries for
the rest of your day's privilege. I'm worried. It's not
even a privileged thing. It's a it's a detachment from

(01:29:18):
the human condition, which is to experience, experience, stake, experience,
some kind of investment in the future. And how can
and how can you be invested in the future if
you're not worried a little bit about losing the thing
that you want, about about letting go of desire to
Buddhists too aggressively Buddhist, which is not what Buddhism is,

(01:29:40):
which is which is anathemat of Buddhism in the first place.
You can't be an aggressive Buddhist to say no worries
for the rest of your days, to be that absolute
about not worrying something's off, You're numbing yourself too much
to circumstance to what life throws out you. You're gonna
be worried because guess what everyone in this room. I'm

(01:30:00):
looking at a heat matt behind the camera. We're all worried.
You have something to worry about. You have something to
worry about, and that's one minute. But their worries also
not for nothing. They were a ward hog and a groundhog,
a mere cat, thank you. In Africa, you have worries.
You've got worries. There are predators all around you. Be worried.
Stay vigilant in these streets. And by these streets I

(01:30:24):
do mean the prairie land, prairie. Yes, this red room,
stay on very afraid.

Speaker 3 (01:30:32):
I think not.

Speaker 1 (01:30:32):
It's number fourteen Matata, I think not. I love that
bo thank you. It's from the heart. Yeah, we were
told that you you can't prepared as well.

Speaker 3 (01:30:42):
I meant to have one. I'm not going to be
as eloquent as you are, that's okay, but I have something.
I have a lot of things that really you know,
what's the first bit I have to say say?

Speaker 1 (01:30:53):
I don't think so, honey, I don't like I don't
think so honey. Okay, we're going to put the time,
but I think you should feel unbounded by this.

Speaker 3 (01:31:02):
Okay, lord, I don't think so honey. Timing. I don't
think so honey. I don't my blood pressures just gone up.

Speaker 1 (01:31:12):
Okay, we're just for ceremony. Okay, this is Cape Blanchette'
I don't think so honey. Her time starts now.

Speaker 3 (01:31:17):
I don't think so honey. Leaving the toilet seat up
and I am not talking about the lid. I am
talking about the thing that you sit off in a
domestic setting. Men may think, or people with penises may
think that their aim is good, but it is all
over the seat and I have to put that thing
down because in the end, everyone sits down more than

(01:31:40):
they stand up. And when you are at you know,
somebody else's house and you and it's not only the
pea that goes onto the seat, it's little bits of
hair and you think I want to touch that, You
think I want to smell that, and so I have
to put it down. And then I put the seat down,
and then the whole thing comes up and it starts
all over again. And if you are in a public bathroom,

(01:32:02):
it's like I am going to invest in a shi
wi because do you know what she oh my god.
It's a cup with a little tube on it that
women use for going for a bush wei when they're campaign.
I don't want to have to spend money just because
people who need to put the should be putting the
seat down can't peeve straight right, And yeah, so it's

(01:32:23):
my whole thing is the toilet seat thing. And I
have I live in a household with three boys and
my husband, and each of them say I always put
it down, which is almost more a live lies.

Speaker 1 (01:32:35):
It's the plot. There's a trader in your mets.

Speaker 3 (01:32:40):
But this is you're going to defend yourself. I don't
want to hear your defense because it is not true.

Speaker 1 (01:32:46):
I'm not defending myself. I'm actually but i'm self. I'm
sort of self owning when I say it's always so jarring.
This is the thing about living alone. I'm going, well,
that's my hair to get mad at myself. Yeah, but
do you do you find yourself getting mad at yourself
if you.

Speaker 3 (01:33:03):
Go, well, I don't should Yeah, but you can't.

Speaker 1 (01:33:06):
You can't control that, can you? Oh? Yeah? Yeah? Years
of work.

Speaker 3 (01:33:10):
I am tourist toy stories.

Speaker 1 (01:33:11):
I told you that before I came.

Speaker 3 (01:33:13):
I'm very controlling hair. Stay in there.

Speaker 2 (01:33:16):
I can't stand going to someone else's bathroom and when
they're okay with hair being all over the toilet like
I am, I am.

Speaker 1 (01:33:23):
I am essentially like a top level cleaner. Whenever I
have anyone coming over, I make sure I put I
put muscle into it. I know.

Speaker 3 (01:33:30):
But do you put the lid down all ways?

Speaker 1 (01:33:33):
Yeah? The lid?

Speaker 3 (01:33:34):
Yes, I want photographic evidence. That's what my husband said,
and he said, come on, just leave me alone. It's
it's six in the morning. I do put it down
and I go to the toilet saying it's like, do
I take up. We've been married twenty seven years and
we are still married because I just had to let
it go. But I tried to teach my boys, but
I realized they're imprinted on my husband. So I failed

(01:33:56):
as a parent. No, No, I have, I have. I
have noice my sons in a way that I probably
shouldn't be.

Speaker 1 (01:34:05):
We don't know which of the sons.

Speaker 3 (01:34:07):
Yeah, all of them.

Speaker 1 (01:34:08):
Well you've now specified, so there we go them. You
can ask us for photographic evidence. You as a mother.
This is your your success as a mother is that
you're not asking photographic evidence of them. You never make it.
It's true.

Speaker 3 (01:34:21):
I know I don't shame them, right, but they do
get the passive aggressive every time I go to the bathroom.

Speaker 1 (01:34:29):
My thing is that I'll reveal this and I bet
you'll agree the older I get. I'm sitting down to
be more anyway, because I do have.

Speaker 3 (01:34:36):
Male friends who sit down out of deference to the
friends of all sexual deslations and orientations. I'm going to
sit down because I'm not going to miss if I say, exactly.

Speaker 2 (01:34:45):
The risk becomes exponentially less when you are when when
quite frankly, your dick is already in the bowl.

Speaker 3 (01:34:52):
Exactly, And if you don't have a dick, you know
your holes in the.

Speaker 1 (01:34:55):
Bowl, holes in the ball. Honestly, HiT's a win win.
This is huge And with that, you can cut that out.

Speaker 3 (01:35:03):
Mother's gonna listen. I'm sorry, Mom.

Speaker 1 (01:35:06):
Sorry, Mom. No, And this is good for us, for
Berghem because there's the pist goblin there and it's.

Speaker 3 (01:35:11):
Probably a hole in the room.

Speaker 1 (01:35:14):
You know, we're all we're all going to be sitting
I'm sitting on the pists goblin.

Speaker 3 (01:35:18):
Okay, and not get photographic evidence of that. I'll get
the descriptor absolutely, we'll fill you in have fun. Thank you,
We're gonna have the best time, just like we did today.

Speaker 1 (01:35:29):
This was so amazing. It's so great to meet you,
and you really are just one of the best, and
this has just been one of the best.

Speaker 3 (01:35:37):
Well, would you like calling me your friend?

Speaker 1 (01:35:40):
Would you? Now?

Speaker 3 (01:35:41):
Hey, buddy, of the best?

Speaker 1 (01:35:44):
The best?

Speaker 3 (01:35:45):
You know you're meant to say to every guest you're
the best, you are the great, feeling good about themselves.
I'm seeing the next one comes in.

Speaker 1 (01:35:53):
You are the best. You are you too, You're the
undisputed best. We named an award after you, forgot Award
for Good Actor was named after and confused, I can understand.
We said those We're like, are they gonna have any
reference for this? And then the fact that you went
out and did it, we were like, thank you for

(01:36:14):
the commitment. Well we end up ups with the song.
We sure do. I wish we only had were an orchestra,
right and we can play and be conducted.

Speaker 5 (01:36:24):
Let's see, Well, you got my hoppeat run away like
a drama is coming your way, be like boom room boom,
boom boom.

Speaker 1 (01:36:36):
You get that hormony there and it didn't work. It's okay,
we'll get it next time. Thanks Bye. Love. Culture Reachs
is the production by Will Ferrel's Big Money Players in
iHeartRadio Podcasts.

Speaker 2 (01:36:47):
Created and hosted by Matt Rogers and Bowen Yang, Executive
produced by Ana Hasby

Speaker 1 (01:36:51):
Produced by Beck Ramos, edited mixed by Doug Bammniqua Board
and Our Music Is Why Henry Kmerski

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Episode Transcript

Hosts And Creators

Bowen Yang

Matt Rogers

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