December 13, 2023 • 43 mins
Countless lunches and dinners—not to mention glasses of rosé—later, the inaugural season of Table for Two with host Bruce Bozzi is coming to a close. We’ve whiled away afternoons with Julia Roberts, George Clooney, Anna Wintour, Matthew Broderick, and Scarlett Johansson; laughed over cacio e pepe with Mindy Kaling, Rob Lowe, Bette Midler, Sarah Jessica Parker, and John Stamos; and heard delightful and captivating personal tales from so many others. This week, we share some favorite moments from each of our last 25 episodes. When the next season rolls around in early 2024, we’ll be sure to save you a chair at The Tower Bar, Via Carota, and any other tables we end up at.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Hey everyone, thanks for joining us on Table for two.
We've done twenty five incredible interviews this year with some
of the world's most fascinating people. We've shared delicious food,
intimate stories, and a few glasses of rose at wonderful
restaurants in LA and New York. Today, we're looking back
at some of the best moments from the first season
(00:27):
of the podcast. When we come together for a meal
with our guest, our conversations naturally drift towards some of
the same big topics their lives growing up, harnessing creativity,
and how they broke through to success. So if it's
lunchtime where you are, grab something to eat and of
course a glass of rose, and enjoy some highlights from
(00:49):
our first season. We'll be back soon with even more
interviews and great meals. I'm Bruce Bosi and this is
my podcast Table for Two. We've had some fantastic interviews
(01:10):
this year, and we've sat down for lunch with everyone
from Mindy Kaling to Jon bon Jovi.
Speaker 2 (01:15):
To Sienna Miller. Are you going to take that home?
I mean you kind of should. Protein is protein?
Speaker 3 (01:22):
I feel like I can't leave the Sunset Tower with
a doggy back from this, I feel like it's not
a good look.
Speaker 2 (01:27):
Although I would I would do that if you weren't here.
Speaker 1 (01:30):
When you're up there and you are looking at eighty
thousand people, what are you looking at?
Speaker 2 (01:35):
Numbers never mattered to me. I wanted to be great
for fifteen or fifty thousand.
Speaker 1 (01:40):
I always just wanted to be the best I could
possibly be in a club.
Speaker 2 (01:44):
I wanted to kill you in a stadium.
Speaker 3 (01:46):
I still want to kill you.
Speaker 2 (01:48):
You heard the one who said maybe some people were
just douchebacks. I thought it was. I knew I loved
you at that moment. I said, Oh, he's my friend forever. Today,
today we're here your career, a very nice restaurant that
you love it too. Oh my goodness, I love it.
Speaker 1 (02:02):
I mean the minute I said I was having lunch
with the way to Michael is.
Speaker 4 (02:06):
Like, yeah, yeah, I come here all the time.
Speaker 2 (02:08):
The food is really good.
Speaker 1 (02:10):
Now I call you the brad Pit of American historian,
just like we are sitting with Doug Brinkley, the brad
of American Historians.
Speaker 5 (02:18):
You know, I'm a problem solver.
Speaker 2 (02:21):
You are a problem.
Speaker 5 (02:22):
So I'm a person that gets that stuff off my desk.
If someone's doing something that's just bullshit.
Speaker 4 (02:27):
I'm like the person that calls bullshit. Right, we are
very close.
Speaker 2 (02:31):
We were all sixteen eighteen months apart.
Speaker 6 (02:34):
Five sets of.
Speaker 7 (02:35):
Hot curlers, five sets.
Speaker 8 (02:36):
Of you know what I mean, boxes of Tampa everywhere,
like our whole house with curlers and tampas and penny hugs.
Speaker 2 (02:45):
Curlers, cracks. That's them. That's the namore.
Speaker 1 (02:52):
I always say in the advocacy work that I do.
Speaker 4 (02:55):
Now, you have to wake up every day optimistic.
Speaker 9 (02:58):
Because we're going to have a lot of downtime and
a lot of downturns and a lot of nose that
you have to just keep pushing forward.
Speaker 10 (03:07):
There's just a little bandstand and kind of a guest
house at Ringos. They're celebrating the birthday and suddenly there's
David Gilmour, Eric Clapton, Don Henley, Glen Fry, Joe Walsh,
Paul McCartney and Palm Tried and grabs the mike and
says and we're naming this band the Beagles.
Speaker 4 (03:23):
Right.
Speaker 1 (03:24):
There's something I read that you said, which is what
this is all about, and I'm gonna read it. It's abbreviated,
but you said happiness to me is good conversation.
Speaker 5 (03:32):
And lots of laughter.
Speaker 4 (03:34):
Yeah, that's what we're having today, right. I usually have
that with you anytime I see it.
Speaker 11 (03:39):
We do because you like to be Pete On from
Morris Kennedy.
Speaker 2 (03:45):
We don't know about that.
Speaker 6 (03:46):
What do you mean?
Speaker 12 (03:47):
He goes, well, you're wearing a yellow bandana.
Speaker 2 (03:49):
That that means you like to be Pete On? Ricardo,
We are done.
Speaker 1 (03:53):
He has dipped and dunked his bread into my post box.
Speaker 2 (04:00):
You have to come to yees so you can get
the table.
Speaker 1 (04:04):
No, did you hear that he has to come to
dinner so we get a table?
Speaker 2 (04:09):
Absolutely not.
Speaker 12 (04:11):
Are you having a rose?
Speaker 11 (04:13):
God?
Speaker 4 (04:13):
How divine? I love you having lunch every.
Speaker 1 (04:16):
Single day, which means now we're going to be a
couple of so you know.
Speaker 4 (04:23):
It is on.
Speaker 1 (04:32):
Let's dive into some longer stories as well. Our guest
early experiences are pivotal to the actors, writers, and designers
they've become. In this section, we'll hear from Matthew Broderick,
John Ham, Chelsea Handler, and Rita Wilson. What was it
like growing up in New York City? Your kid in
New York which was different, you know than it is
(04:53):
now for your kids.
Speaker 2 (04:54):
Yeah, it sure was. Let's see. I grew up on
Washington Square North. I know, I can't believe them.
Speaker 1 (05:00):
I always think of you when I passed by that street.
It's a series of brownstone.
Speaker 13 (05:03):
Yeah, we were in the one not brown zone, the
one like apartment shabby apartment building on that block.
Speaker 2 (05:10):
It was us.
Speaker 13 (05:12):
But I was born on Ninth Street and Fifth Avenue
in a very small apartment with my two We were
all in one room, me and my two sisters.
Speaker 2 (05:20):
Wow, you were born in No, I was born in
the hospital, I say.
Speaker 13 (05:24):
But I was taken in my blanket to Ninth Street
until I was four, and then I moved. The big
move was to Washington was two blocks down Fifth and Uh.
Speaker 2 (05:36):
Then we had our own bedroom. So that's where I
really grew up. The village was the park was. There
was bongos and drums all day.
Speaker 14 (05:45):
You know.
Speaker 13 (05:45):
We had some windows facing the park. There was a
lot of music all the time. There was less like rules.
Speaker 2 (05:51):
It was opened. All my stuff was going crazy. Yeah,
it wasn't.
Speaker 1 (05:56):
And because you faced the park when it got dark,
it was dark on the other side. It's like normally
there's two sides of the street that have lights, so
could get a little dicey.
Speaker 2 (06:05):
Yeah, definitely.
Speaker 1 (06:06):
Did you get mugged?
Speaker 13 (06:07):
I got mugged often all through the village. I mugged
all over the village. Really en Times Square area. Come
on Upper West Side.
Speaker 1 (06:17):
Explain to the listener, because I got mugged once on
Third Avenue and they were like, we're going to shove
your head through this like window, give us when I
have like five bucks.
Speaker 13 (06:26):
It was like nineteen I never had any money and
people will constantly wanted it.
Speaker 1 (06:30):
Yeah, what what was the target over you that you
think that you were constantly getting mugged?
Speaker 13 (06:37):
I think a young guy, you know, this is like
I'm talking like twelve, you know.
Speaker 2 (06:42):
Yeah, that's when an absolutee me too.
Speaker 13 (06:44):
And it was mostly other boys, you know, just being
bullies and you know, getting money, you know, lunch money
or something like that, but sometimes somewhat scary.
Speaker 2 (06:54):
Yeah.
Speaker 13 (06:55):
You know, me and my friend Garo were skateboarding in
Central Park once and a massive gang came flying out
and took our skateboards and I got whacked in the
head with a some sort of stick. That's the only
time I got kind of worked, so you know, it
was no not a joke and thank god, you know,
we all survived it. But but and most of them
(07:17):
were not like that. They were more intimidating.
Speaker 2 (07:19):
I'm going to put your head through the glass, you know,
give me what you got.
Speaker 13 (07:23):
Or you get on the subway and somebody would sit
next to you and put their arm around you rather
aggressively and say, you know, what's in your pocket?
Speaker 2 (07:31):
What's your name?
Speaker 4 (07:32):
Where?
Speaker 2 (07:32):
You know, just be like asking you a lot of questions.
Speaker 13 (07:34):
Yeah, just waiting praying for the train to come out
of the tunnel on the platform.
Speaker 2 (07:39):
You know, I still remember that.
Speaker 1 (07:40):
I mean, don't you think a skill set is born
from being a kid in New York? Your parents are not.
They're doing their thing, they trust the world, and you're surviving.
Speaker 2 (07:50):
It's true.
Speaker 13 (07:50):
Yeah, back then they weren't as at least it didn't
feel like it. They weren't as watchful as we are
to our kids.
Speaker 9 (07:57):
You know.
Speaker 2 (07:57):
It wasn't no, they would not watch for at all
this speeches.
Speaker 13 (08:00):
Yeah, they were kind of like, I'd love to go
to the park and come back in time for dinner,
and that was it.
Speaker 1 (08:05):
Would you even come back and say I was mugged
today on the subway or just once or twice.
Speaker 13 (08:10):
Yeah, sometimes like a police officer would come to our
school and give us a talk. You know, how to
react properly when you're being muggled, right, And he said,
always bring money with you. Don't go out with no
money and immediately give it up. And try to make
the experience.
Speaker 2 (08:29):
As fast as possible.
Speaker 13 (08:30):
More time you're haggling or discussing, more time you're in
the situation the worst.
Speaker 2 (08:36):
I always remembered that, try to have it.
Speaker 13 (08:39):
That's a good conclusion, even if the conclusion is your
own death.
Speaker 2 (08:44):
Do it as quickly as possible.
Speaker 1 (08:55):
When I was thinking about you, I was like, you know,
did you ever have your heart broken in Yeah?
Speaker 14 (08:59):
For sure. Everybody has a version of whatever pain to
go through in life. And I didn't grow up a
lot of money. I grew up with very little money.
In fact, I was raised until I was ten years
old by my mom as a single mom. She was
got divorced when I was a little kid, and then
she died when I was ten, and so then I
had to go live with my dad, who was a
(09:21):
great guy, but not a well not didn't have the
capacity to kind of raise a kid. So then I
was raised by the community, and that was the school
that I went to. So there was a lot of
like you know, kind of whatever emotions and experiences to
unpack from from just that over the course of a
lifetime being raised by a single mom and an only
(09:42):
being an only child. I had two half sisters, but
they were out of the picture when I was. When
I was being raised by my mom, the world was opportunity,
you know. So it was like, go find a book,
go to the library. So I would go to the
library and I'd go check out LPs of comedy things
and I would go get Cheech and Chong and I
would go get Bob Newhart and I would go get
Richard Pryor and w And it was really wildly inappropriate,
(10:06):
most of them for a seven year old, eight year old,
but it was something to do right, and my mom
was and it was free. Those are the other things.
So it was like I was dependent upon the community,
whether it was cub Scouts, Boy Scouts, whether it was
community athletics. You know, you only had to pay nine
(10:28):
dollars and I could play soccer for a season, and
you know that included your uniform and all the other
stuff that made you feel like you were good, and
the coach was some divorced dad who didn't anything else
to do, and you know, you weren't exactly training to
be a professional soccer player, but it was something to do.
So those are the kinds of things that I gravitated toward.
(10:50):
And then my mom would put me in art classes
and she'd put me in acting classes because she knew
it was something to do, that I wouldn't have fun
with it, that I could meet other kids, and that
I would be you know, and then she could then
go to work. She had to work, you know, from
nine to five every day. She was the secretary, and
so that was like that was again, and that idea
(11:11):
of like in local parentics, like that, I was taken
care of by the community, which is why when I
talk about how much a hometown kid I.
Speaker 2 (11:20):
Am, so why get back.
Speaker 8 (11:31):
I went to LA when I was nineteen. I tried
to go to college for like a semester after high school,
which was a community college in New Jersey, and I studied,
ironically Russian history. I don't know what I was thinking
or talking about. I was like filling a box of
time because I was like, what am I going to
do with my life. I'm not going to go to
(11:51):
college really, but we thought maybe I should start because
I was eighteen and graduated from high school. And I
think I just stayed in Marstown because I was dating
this guy who lived in Marstown and so that was like,
probably the real reason I stayed was because he was
really hot. Yeah, but we weren't, you know.
Speaker 4 (12:09):
That wasn't why I stayed for the beauty of Morristown.
Speaker 8 (12:11):
Then we broke up and I was like, what am
I doing in New Jersey. I don't want to be here.
I always wanted to move to Los Angeles. I had
an aunt and uncle who lived in bel Air. The
first time I had come to Los Angeles, I was
like ten years old and we came to visit my
aunt and my mom's sister and we got on an
airplane and it was the first time I had flown.
I was like ten, and we walked past the first
(12:32):
class section and I was like, well, whoa who are
these people like? This looks like this looks like my group.
And my mom was like, no, no, honey, we have
six children, like, we're never flying first class. This is
a different section of the plane. And I was like, well,
I don't know about that, Like I feel like I
belonged there. So we went back, and then two years
later I had my second plane trip. But I had
become a babysitter in between ten and twelve, and I
(12:53):
saved up my money and I purchased my own first
class ticket from a neighbor down the street who is
my friend's mom, who happened to be a travel agent.
And then the next flight we took as a family
with my mom and I had two brothers with me
who were all older.
Speaker 4 (13:06):
I'm the youngest.
Speaker 8 (13:07):
We get on the plane and it was my grandfather's
funeral he had died, and we're flying to California, and
two A was my seat and I fucking flopped down
and I was like, hey, I will see you guys
at the end of the fight. And my mom was like,
what are you doing, Chelsea?
Speaker 12 (13:22):
Get up.
Speaker 8 (13:22):
I'm like, this is my ticket.
Speaker 4 (13:23):
I purchased it.
Speaker 8 (13:24):
And my older brother's like, oh my god, are you
kidding me? He said, you have to give that seat
to mom. I'm like, no, I don't.
Speaker 6 (13:30):
I purchased this. This is my earned money.
Speaker 8 (13:32):
Like a mom can sit in the back of the
plane where she's like that's fine with her.
Speaker 6 (13:35):
This is where I belong. Laurel Canyon, for many people
was a literal place but also a metaphorical place, and
for me it was the same thing. I knew that
Carol King and Joni Mitchell and all these people that
I loved were living up there. I have two stories
(13:56):
about Laurel Canyon that are particular. Would you like to
hear them?
Speaker 2 (13:59):
Yes, okay.
Speaker 6 (14:01):
One is that in high school, Bobby Carodine, who was
David Carodine's brother and he was an actor, also went
to my high school. He was a little bit older
than I was, I think, and he asked me on
a date and he had a little Alpha Romeo, like
a red sports car. So he said, let's go for
a ride, you know, just drive around. And I think
(14:24):
it was a school night, so it was pretty early,
but we were driving around and he says, well, let's
go up and visit my brother. Now his brother at
the time was David Carodine and he was doing the
series Kung Fu, remember that, So I said sure. At
that time, I had eaten at home and he takes
us up and David was married to Barbara Hershey, so
(14:45):
they were like, okay, let's go see what my brother's doing.
So we show up and they had a little baby.
And the baby wasn't even walking, it was just a
crawling baby. But it was Laurel Canyon. They were hippies,
it was not. They had a big, huge, it was
not the cleanest of kitchens, let's say. But the baby
was on the floor and I took one look around
(15:08):
and I was like, I'm not really like vibing with
this whole, you know.
Speaker 2 (15:13):
Like not really clean vibe.
Speaker 6 (15:15):
So yeah, but the baby is there and so cute,
and she's making some kind of dinner, and you know,
we all sit down to eat, and they asked me
if I wanted to eat, and I said no because
I had just eaten at my parents, right, So I said,
thank you very much. Would you like something to drink?
And I said yes? What could they do to get
(15:36):
something to drink? So she passes over a communal bowl
of water.
Speaker 15 (15:44):
Oh, this is amazing, and so I did one of
those fake things where you like pretend you're sipping, but
you're really just like your lips are clothes, like you know,
now during COVID, that wouldn't fly.
Speaker 6 (15:57):
The other Laurel Canyon story that's so great is two
of my best friends growing up were Catholic and they
went to a Catholic girls' school called Corvallis. It was
on Laurel Canyon, just south of Ventura Boulevard. The building
is still there, but it's not a girls school anymore.
And one of their best friends there was Melanie Griffith.
(16:19):
So I met Melanie when I was like sixteen or
seventeen years old, right, and Melanie was dating Don Johnson
at that time already and Don had a house in
Laurel Canyon. So Melanie and Don were seeing each other
and we were over there one day when it was cold.
It was Don's house, but Melanie was still in high school.
(16:41):
But it was also kind of random because she was
still dating Don, so I don't know she lived at
home or she lived with Donna's.
Speaker 2 (16:48):
Very it was very free love.
Speaker 6 (16:50):
Very free love.
Speaker 14 (16:51):
Yeah.
Speaker 6 (16:52):
So Melanie says to Don, Donnie, it's cold, can you
light a fire? And he says, yeah, sure. So we
girls are outside, we're doing something, we're laughing whatever. We
hear some noise, We don't think much of it. We
come back in and there's a gorgeous fire roaring in
(17:12):
this Laurel Canyon cottage, and Melanie says, where'd you get
the firewood? He says, I chopped up one of the chairs.
Speaker 10 (17:25):
What she did?
Speaker 6 (17:26):
He chopped up one of the dining room chairs.
Speaker 2 (17:30):
What was happening? I don't know.
Speaker 1 (17:54):
Thanks for joining us for our look back at the
first season of Table for two. One thing that ties
all my guests together is their ability to harness their
creativity and turn it into beautiful work, whether it's on
the page, on the runway, or on the screen. We've
heard pieces of advice and insight into the creative process.
In this section, we'll hear from Emily Blunt, Tom Ford,
(18:17):
Anna Winter, and Octavier Spencer. Do you find being a
mother being a professional person?
Speaker 16 (18:28):
It does and it doesn't, well, not always well, you know,
it's one of those things when people like, how do
you balance it? I never feel I'm doing it right,
you know, But I'm this year, I'm not working.
Speaker 4 (18:41):
I just need to be.
Speaker 16 (18:43):
Yeah, I just need to I worked quite a bit
last year and my oldest baby is nine. I were
in the last year of single digits, and I just
feel there's cornerstones to their day that are so important
when they're little and it's you wake me up, will
you take me to school, will you pick me up?
(19:03):
Will you put me to bed? And I just need
to be there for all of them for a good stretch,
and I just felt that in my bones. I had
a beautiful time on the.
Speaker 4 (19:13):
Projects I did last year.
Speaker 16 (19:15):
Some were more intense than others, some were harder than others,
someone more time consuming than others. And the ones that
are time consuming, I think for me are becoming few
and further between because of just the emotional cost on me,
on the kids. On balance, and I'm very prone to guilt,
(19:38):
and I think maybe all mothers are. You're just prone
to feeling bad for God forbid, wanting something outside of
being a mother. I am a huge advocate for it.
I'm a huge advocate for women being ambitious. I love
the word ambition. It's just dreams with purpose. That's all
it is. It's not another world, it is, That's what
it is.
Speaker 2 (19:57):
That's what it means.
Speaker 16 (19:58):
And it's just and I want my kids to grow
up and find something that they adore doing.
Speaker 1 (20:03):
And your kids watching you do something that you adore, Yeah,
so important.
Speaker 4 (20:08):
It's so important.
Speaker 16 (20:09):
And of course they're just horrified by the fact that
I'm an actress, which is sort of so embarrassed by
and have no desire to watching me in anything, which
is very healthy because they just want me to be
their mum. So the balance is usually it sways in extremes,
like I'll work too much and then I'll have like
a complete reaction against it and an aversion to being
(20:30):
on a film set for a long time, and then
I'll want to desperately work again. So I don't know
if I do it moderately.
Speaker 4 (20:37):
I think I just have these.
Speaker 16 (20:40):
Pulls towards it and against it.
Speaker 5 (20:48):
You know, I am a creative director. I am used
to working with the very best people in fashion. Let's
just say, let's start with fashion, the very best people.
You have to have a vision. You have to know
what you want to say as a fashion designer, but
you have to lead and inspire this group of people.
(21:09):
Fashion design I mean you assistant designers, seamstresses, hair and
makeup people, lighting people.
Speaker 2 (21:16):
You have to get the best out of them.
Speaker 5 (21:18):
So you have to inspire them and you know, let
them express themselves. But at the same time you have
to sort of corralat ale and focus it into your vision,
which is in my case somewhat singular. You know, fashion
is not a democracy, it's a dictatorship. And in the end,
(21:41):
you know, if I design something is because that's exactly
the way I want it. I've been called a control freak.
I hate that word, but I think if my name
is on something, it needs to be exactly the way. Sure,
so yes, others somebody else can say maybe it should
be like this, and I say, no, you should be
like that, or yes, a great idea. So this the
same is true with film. As a film director, it's
(22:03):
the same process. You have to have a vision, you
have to know what you want to say. You have
to hire the best people, bring out the best in them,
the best actors, the best cinematographer, of the best of everything.
But yet you have to steer it all in a
way that expresses your point of view and that you
don't lose. So the process is not dissimilar. Also, the
(22:27):
thing about fashion is we have people don't realize fashion
designers have an enormous hard drive loaded with images from
almost every film that's ever been made. You know, when
we start a collection, we pull images from the twenties,
the thirties, the forties, the fifties the sixties, and most
of them are from film where they're from, you know,
so we have a grasp on culture, contemporary culture, past
(22:50):
culture that I don't think most people realize, and that's
very helpful when you're making a film.
Speaker 1 (23:02):
My question really is with you know, having the job
you do, which is the you know, chief content officer
for Conde Nasy. You're so busy, how do you make
time for friends to give advice to people?
Speaker 2 (23:15):
How does that come into your life in such a way.
Speaker 12 (23:18):
I'm so lucky that I have the platform that I do,
and it does put me in a position to help
people and to connect people, and.
Speaker 4 (23:29):
I get a huge.
Speaker 12 (23:31):
Amount of pleasure, whether it's working with my chiefs of
content around the world or you or whoever it may be,
in learning about their lives and what they're thinking and
what they're doing and if there is any way that
one can be helpful. I feel, you know, I had
amazing people that helped me when I was.
Speaker 4 (23:50):
Starting out, and I think it's it doesn't require.
Speaker 12 (23:55):
Anything but one's time, and I think that's just so
important to give when people are rushing so madly. And
I also think, particularly right now, when things are so tough,
and we've all come out of COVID and the world
is in the state that it's in that to make
time to help and connect people if one can is
(24:15):
so important. I also think it's really really important to
be focused, because you can't do everything and you can't
help everyone, so you think about where you do have
areas of expertise.
Speaker 4 (24:26):
Or you.
Speaker 12 (24:28):
Can put people in touch that will be meaningful. So
I think being focused and being clear and also being
transparent people respond to that. I've worked in my career
within four people that maybe haven't necessarily been that clear,
and it's incredibly frustrating. And I think as long as
people know it's a yes or it's a no, or
(24:48):
I can help you or I'm really sorry, I'd love
to help you, but I'm not able to is better
than pretending or faking. And so that's what I try
as much as possible to do, because I have been
at the other end when people have made promises or
sort of not being clear and what they're saying or doing,
and you just waste everybody's time.
Speaker 3 (25:14):
I think, especially given where we are with technology and
social media, there are steps in the process. I think
that people want to skip because it's about it's about
fame sometimes and it's about being out there. Oh you know,
(25:35):
no one has noticed me yet. And I think you
have to be prepared because you don't know when that.
Speaker 4 (25:41):
Opportunity is going to come, so you have to study.
Speaker 3 (25:44):
And when you think about it, I remember my mom
and it was the most practical advice she is ever
given it, And it's just part of it's my mantle.
You know, whenever you if you're the first job you
ever get, if it's a fry cook, if it's a
newspaper book, someone's going to train you on how to
do it. This is how you sell your newspaper, This
(26:05):
is how you cook my fries, whatever else it is,
whatever field of study, you're going to.
Speaker 4 (26:11):
Have to train.
Speaker 3 (26:13):
And so take the time because if you're three years in,
if you're fifteen years in, if you're one year in,
if you don't have the comfort of training, that's your foundation.
And if you don't have, you know, your your land legs.
When that opportunity presents itself, it could mean failure.
Speaker 1 (26:35):
Yeah, because if you don't build upon it, you don't
have the you don't have the goods, you don't.
Speaker 2 (26:38):
Don't have the foundation.
Speaker 3 (26:40):
You have to have that foundation because whatever it is,
you know, everybody feels like an imposter.
Speaker 2 (26:46):
You know.
Speaker 3 (26:46):
So if you haven't done the best to prepare for
whatever it is, you can't go to You can't be
a doctor without going to med school, right, what I mean,
nobody's going to let you doctor on the.
Speaker 2 (26:57):
Right and full it does get off too exactly.
Speaker 1 (27:19):
Thanks for joining us on Table for two. Today, we're
looking back at all the great interviews and meals we've
shared this year. Almost every guest on the show has
had an amazing story of making it big. Sometimes it's
a realization that they've just gotten their breakthrough role or
that they've been part of something that has had a
huge cultural impact. Let's hear stories from our interviews with Robblo, Sarah,
(27:40):
Jessica Parker, and Julia Roberts. With George Clooney, you know,
your memoir really goes deep into the audition process and
then the actual shooting process with Francis fort Gopolo, which
is like crazy what he made you guys do, and
like because that was like the first really big moment
my first movie.
Speaker 2 (27:56):
That was your first movie.
Speaker 11 (27:57):
You've done, I've done, I've done a sitcom on ABC
and I played like the teenager, the teenage Son, and
it ran for like six episodes and was canceled. And
then I've done some after school specials. If you remember
those Wednesdays on yours.
Speaker 1 (28:16):
There was a big deal.
Speaker 2 (28:17):
It was a big one.
Speaker 11 (28:18):
But I'd never done a movie. And you know, sitcoms
and after school specials are aut movies, and they're certainly
not Francis for Copola now, and you know Coppola at
that still one of our great filmmakers. Yeah, at that moment,
he was you know, he was only a few years
off of making Apocalypse Now, right, and you know, and
(28:38):
of course got The Godfathers. And so here was this
very very lauded, serious filmmaker doing a movie where all
the roles are fifteen, sixteen, seventeen year olds, right, and
you know, all the kid actors were like this, this
is the it's the goal, the Willy Wonka Gold tickets
that everybody wanted.
Speaker 1 (28:57):
And you talk about the auditions and you friends in
the auditions. So there's the West Coast guys that are
auditioning in.
Speaker 2 (29:04):
The New York actors, right.
Speaker 1 (29:05):
I love this because he really makes you work for
this the West Coast actors were you Amelio?
Speaker 11 (29:13):
Weirdly enough, Tom because he was staying out here with Amelia,
so Cruz was out here even though he was East
Coast pony Boy Tommy Howell. And then we went to
the East Coast and that's where Matt Dylon was Ralph Matchio,
and we went through this whole process months, months of auditions,
months and months and months and months, and then he
(29:36):
picked his favorites. And then he took us to New
York and it was the same thing there, but it
wasn't months.
Speaker 2 (29:41):
It was a week. And then but we did.
Speaker 11 (29:44):
I mean, there's more filmed footage of us auditioning than
there probably is of us making the actual movie.
Speaker 1 (29:49):
So the process of that film. When your sons look
at that movie, what was their reaction to that movie?
Speaker 11 (29:55):
Well, I'm not sure how much of anything of mine
my son's act actually seen. I actually do think they've
all seen The Outsiders because, much to their mortification, they
had to read the book and see the movie in class. Right,
it is that's seventh grade in the curriculum across the country.
For you have most part, and there's nothing I love
more than going into a seventh grade class after they've
(30:18):
seen the movie or and read.
Speaker 2 (30:19):
The book and talking to them.
Speaker 11 (30:20):
I love it, and I love it because I love kids,
but also it's a new crop of fans. I mean,
to be able, as you know. The key to longevity
is you can't. If your audience ages out, you're done.
Speaker 2 (30:35):
You're done.
Speaker 11 (30:36):
So the key to a long career is if you're
lucky enough to figure it out, having a new crop
of people discover you every year. And The Outsiders does
that by design.
Speaker 2 (30:46):
What was the toughest part when you were in production
with that?
Speaker 11 (30:49):
The night shoots, you know, I mean, I'd never made
a movie, so the notion of shooting all night in
the rain and the fight the big rumble scene was
a whole week of shooting all at night with freezing cold,
no dressing rooms, no word. Francis was very mercurial.
Speaker 2 (31:06):
He would treat the.
Speaker 11 (31:06):
Cast great and then wouldn't provide anywhere for us to
get warm. I mean, Francis had all of these great
social engineering experiments he wanted to try. He had us
playing tackle football, yeah in the street, and I'll never
forget Tommy Helle played pony Boy. His dad was one
(31:27):
of the great stut men Chris Howell, the legendary stut man,
so Tommy knew his way around even though he's only fifteen.
He huddled us up and said, listen, I'm calling this game.
Speaker 2 (31:37):
We're done here.
Speaker 11 (31:38):
If I break my leg on this next football play,
I'll be on the next flight home and somebody else
will be playing Pony my favorite thing.
Speaker 2 (31:44):
Though.
Speaker 11 (31:44):
Francis wanted us to learn about being greasers by talking
to people who were greasers in the fifties. So me
and Cruz were hooked up with this family and had
to go spend the night at their house in the basement,
and I can just remember laying in this cot in.
Speaker 2 (31:58):
The basement of a house in Tulsa with a.
Speaker 11 (32:00):
Family I never knew, and just looking over at Tom
and going, what the what the fuck are we doing?
It was I mean, I understand why Francis did it,
I get it, but it was It's very odd and
not the way most people make movies.
Speaker 1 (32:23):
Were you amazed at the effect that you had in
New York with style and with women and men in
the nineties. I really, you know, you're credited and justifiably so,
for really shifting a whole conversation and look was there
(32:44):
a moment that you looked across the street and saw
somebody and you were like, she's dressed like Carry Bradshaw.
Speaker 6 (32:52):
Yeah.
Speaker 7 (32:52):
I think over time and I will say that really
is Pat Field and Mollie Rogers. Originally, you know, Pat
was our original classom designer, as you know, she's incredible.
Molly Rogers was there from day one of the original show.
So I think what we all recognized the ways in
which the show was influencing life, whether it was the
(33:13):
flower you know, or the Carrie name plate, or you know,
walking down the street with two purses versus one, or
two pocketbooks versus one pocketbook, or you'd start to see
young women gathered four and five on a Sunday for
brunch and you'd just see more of it, or groups
(33:33):
of women walking. You'd see a kind of emotional life
that wasn't as visible in certain ways. But the clothes
had a huge impact, and I think that was because
Pat never and Molly patt they never felt that they
had to answer to anybody or apologize. I'll speak specifically
(33:56):
to Carrie who has a very specific relationship with fashion
and as well vintage. So I think you know, there
were lots of hits, and there were, in many people's opinion,
lots of misses, and to us, none of it was
a mistake. Like you had you had to take an
approach and be totally monogamous to an aesthetic idea. And
(34:22):
when you do that, like in anything, it's arresting. You know,
if somebody writes a book and uses a voice that
you've never read before, everybody's going to talk about it.
Or think of early images on MTV and what made
us all stop and watch a video a hundred times?
(34:43):
You know, music, architecture, you know, anything anything that feels fresh, unique, unseen,
but not arbitrarily. So you can't just be ridiculous, because
you can be, and it really does look like there's
any point of view or perspective. It looks just like
you're trying to be controversial exactly. So I feel like
(35:08):
the things that were influential because they were a real choice.
And then you you know, you know, in the beginning,
I've told destroy many times that we didn't have anything.
In the beginning, nobody would loan us anything. We were
getting most of Carrie's wardrobe from vintage and consignment shops
and century twenty one occasionally we could afford a dress
(35:31):
off the rack at a finer department store like Sacks.
Speaker 2 (35:35):
But that was very rare for the plaza.
Speaker 7 (35:38):
That was the most expensive dress they ever bought. It
was a Christian dey or simple sheath dress. I've heard
it was every anywhere from six hundred to eight hundred dollars.
But that would have been like you'd be making decisions
then okay, well if we get that, then we can't
have that. Like that wasn't alone. That was a bunchase.
Speaker 17 (35:57):
Yeah, okay, So I gonna tell you yesterday.
Speaker 4 (36:08):
You've probably heard the story a thousand years ago.
Speaker 9 (36:10):
But once upon a time I was in Europe with
friends and it just so happened that we went on
an Audrey Hepburn movie marathon binge.
Speaker 4 (36:20):
For like a long weekend where you part of you.
Speaker 9 (36:22):
I was in London and flying back to America, and
I get on the plane and get myself situated. Now,
me on an airplane is about five seconds of buckling
my seatbelt, and you know, eleven and a half hours
of sleeping. And I get on the plane and I
(36:43):
get all you know, situated and stuff, and I'm sitting
there and there's and I was in first class, yes,
very very fancy, and not a lot of people in
first class. And I look over so I'm sitting in
a window seat, so seat next to me, and there's
middle section, and then over there is Audrey Hepburn.
Speaker 4 (37:02):
Wow.
Speaker 9 (37:03):
And I honestly it's like, am I making this up?
Speaker 4 (37:08):
Is she really?
Speaker 2 (37:08):
There?
Speaker 4 (37:09):
Is you? And I was just like, go to sleep.
Speaker 9 (37:13):
You got to like I didn't know what to do
with myself. I was beside myself, beside myself, and should
I talked to her?
Speaker 4 (37:20):
I talk to her? I can't talk to her. I
can't talk to her. I walk into Hi.
Speaker 9 (37:23):
I'm an actor and I just love you. And I
just didn't know what to do. So I did fall asleep.
And then when I wake up, when the wheels touched
the ground, which is my Yeah, do that?
Speaker 2 (37:35):
Well, thank you?
Speaker 4 (37:36):
And I think, okay, there's long lines it customs.
Speaker 9 (37:41):
I will pull my stuff together, put a piece of
gum in my mouth and say hello.
Speaker 4 (37:47):
Well, she doesn't have an American passport. She's somewhere else.
And I missed my chance. My chance is over.
Speaker 9 (37:55):
And I'm so disappointed in myself and really disappointed. And
I go downstairs because this was back in the day
when I checked a bag and I go down to
baggage claim and I get my bag and as I
turn around because you know, the guy takes your ticket
and looks at the thing standing right in front of
me with her checked bag is Audrey Hepbrood. And she
(38:16):
turns to me and she goes, you're wonderful.
Speaker 4 (38:20):
And hugs me. And I was just like, I.
Speaker 9 (38:23):
Just she has no idea, she has no idea what
is happening to my entire life right now?
Speaker 4 (38:28):
And I had to call my.
Speaker 9 (38:29):
Friends and like so every movie there was, Charay said,
she's right there.
Speaker 4 (38:33):
You know, I just could not believe.
Speaker 2 (38:36):
Wow, what a cool story.
Speaker 1 (38:38):
And like yet again timing it wasn't meant to be
on the plane, That's what was.
Speaker 9 (38:42):
So magnificent, and unbeknownst to any of us at the time,
she was unwell and she was given a Screen Actress
Guild Lifetime Achievement Award, and back in the day when
they were these kind of smaller things whatever, and she
wrote me a letter and asked me to receive it
(39:03):
on her behalf. And she wrote a speech and asked
me to recite the speech. And Gregory Peck presented it,
and it was just just my whole life.
Speaker 4 (39:15):
I just thought, what is happening right now? Gregory peck Is,
I'm sort of the proxy for Audrey Hepburn, what is
going on? And I read this beautiful speech that she'd written.
Speaker 9 (39:27):
I mean it was I kind of forget that even
happened to me because it was so it just sounds
like fiction, like, oh so I'm on this plane, you know.
I mean it just it sounds like a made up story,
but it all happened.
Speaker 2 (39:41):
I love that.
Speaker 5 (39:42):
And she was, you know, I mean, honest to God
when you look at like the epitome.
Speaker 4 (39:46):
Of class class. She just was so elegant.
Speaker 2 (39:49):
And she was elegant from Roman holiday on just and.
Speaker 4 (39:53):
Use and all of it. I mean amazing.
Speaker 1 (40:06):
As we wind down our retrospective, I want to bring
it back to the heart of the show food. Let's
go back to the very beginning and hear a clip
from our first episode ever with Scarlett Johansson at via Carota.
Oh and spoiler alert, I'm actually sitting at the Carlisle
Hotel right now recording another interview for our next season
(40:29):
coming in twenty twenty four. So thanks again for pulling
up a chair and we'll see you next year. We
let us talk about food versus you know, I grew
up in our house.
Speaker 2 (40:41):
Where we never saw my dad who's os in the restaurant,
so we never end there together.
Speaker 1 (40:45):
As a family, and my mother would go paint the
picture of the young siblings kind of in because you
guys grew up in the show.
Speaker 18 (40:53):
We grew up in the West Village, West Village, and
only we moved around a lot before that, but we
eventually settled in West like when I was like ten,
and we lived in a lower middle and Come housing project.
And you know, we didn't eat out ever because we
never had money.
Speaker 12 (41:13):
To My mom did most of the cooking.
Speaker 18 (41:15):
At home when I was little, and she had her
kind of meals on rotation. I think she enjoyed cooking
to some extent. My dad really enjoyed cooking. And my
dad was a really great cook. His first wife was Italians,
and like made an amazing like putinesque and all those
(41:37):
like delicious sauces.
Speaker 1 (41:38):
Like.
Speaker 2 (41:38):
My dad was great at that, and.
Speaker 4 (41:42):
We all loved to eat like. My family is a
foodie family. We you know, my sister and I both
loved to cook together. My sister is an excellent cook.
Speaker 1 (41:52):
You growing up in New York. I feel like if
we were decades apart for the same Burrow, I would
have loved you, you would have been.
Speaker 2 (42:00):
You gave us right.
Speaker 4 (42:07):
I'm really honored an amazing interview.
Speaker 2 (42:11):
I am, yes, thank you.
Speaker 16 (42:13):
It's so natural and it's like butter.
Speaker 1 (42:16):
It's wonderful, very exactly, but it's very easy to sit
with someone you.
Speaker 2 (42:23):
Love, you admire.
Speaker 1 (42:25):
Thank you, and I hope that everyone enjoyed today.
Speaker 2 (42:28):
Thank you, it was wonderful.
Speaker 16 (42:30):
Thank you so much of this highly I love you
deserve every car.
Speaker 1 (42:50):
Table for two with Bruce Bosi is produced by iHeart
Radio seven three seven Park and Airmrail. Our executive producers
are Bruce Bosi and Nathan King. Table for two is
searched and written by Bridget arsenalt. Our sound engineers are
Paul Bowman and Alyssa Midcalf. Table for two's LA production
team is Danielle Romo and Lorraine viz. Our music supervisor
(43:12):
is Randall Poster. Our talent booking is by James Harkin.
Special thanks to Amy Sugarman, Uni Cher, Kevin Yuvane, Bobby Bauer,
Alison Kanter Graber, Barbara and Jen and Jeff Klein and
the staff at the Tower Bar in the world famous
Sunset Tower Hotel, Jody Williams, Rita Sodi and the team
at Via Cororoda in Manhattan's West Village. And a special
(43:34):
thank you to all the people who work at the
Lobster Role better known as Lunch on Montauk Highway. And
a special shout out to Andrea, Thank you so much.
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Hey everyone, thanks for joining us on Table for two.
We've done twenty five incredible interviews this year with some
of the world's most fascinating people. We've shared delicious food,
intimate stories, and a few glasses of rose at wonderful
restaurants in LA and New York. Today, we're looking back
at some of the best moments from the first season
(00:27):
of the podcast. When we come together for a meal
with our guest, our conversations naturally drift towards some of
the same big topics their lives growing up, harnessing creativity,
and how they broke through to success. So if it's
lunchtime where you are, grab something to eat and of
course a glass of rose, and enjoy some highlights from
(00:49):
our first season. We'll be back soon with even more
interviews and great meals. I'm Bruce Bosi and this is
my podcast Table for Two. We've had some fantastic interviews
(01:10):
this year, and we've sat down for lunch with everyone
from Mindy Kaling to Jon bon Jovi.
Speaker 2 (01:15):
To Sienna Miller. Are you going to take that home?
I mean you kind of should. Protein is protein?
Speaker 3 (01:22):
I feel like I can't leave the Sunset Tower with
a doggy back from this, I feel like it's not
a good look.
Speaker 2 (01:27):
Although I would I would do that if you weren't here.
Speaker 1 (01:30):
When you're up there and you are looking at eighty
thousand people, what are you looking at?
Speaker 2 (01:35):
Numbers never mattered to me. I wanted to be great
for fifteen or fifty thousand.
Speaker 1 (01:40):
I always just wanted to be the best I could
possibly be in a club.
Speaker 2 (01:44):
I wanted to kill you in a stadium.
Speaker 3 (01:46):
I still want to kill you.
Speaker 2 (01:48):
You heard the one who said maybe some people were
just douchebacks. I thought it was. I knew I loved
you at that moment. I said, Oh, he's my friend forever. Today,
today we're here your career, a very nice restaurant that
you love it too. Oh my goodness, I love it.
Speaker 1 (02:02):
I mean the minute I said I was having lunch
with the way to Michael is.
Speaker 4 (02:06):
Like, yeah, yeah, I come here all the time.
Speaker 2 (02:08):
The food is really good.
Speaker 1 (02:10):
Now I call you the brad Pit of American historian,
just like we are sitting with Doug Brinkley, the brad
of American Historians.
Speaker 5 (02:18):
You know, I'm a problem solver.
Speaker 2 (02:21):
You are a problem.
Speaker 5 (02:22):
So I'm a person that gets that stuff off my desk.
If someone's doing something that's just bullshit.
Speaker 4 (02:27):
I'm like the person that calls bullshit. Right, we are
very close.
Speaker 2 (02:31):
We were all sixteen eighteen months apart.
Speaker 6 (02:34):
Five sets of.
Speaker 7 (02:35):
Hot curlers, five sets.
Speaker 8 (02:36):
Of you know what I mean, boxes of Tampa everywhere,
like our whole house with curlers and tampas and penny hugs.
Speaker 2 (02:45):
Curlers, cracks. That's them. That's the namore.
Speaker 1 (02:52):
I always say in the advocacy work that I do.
Speaker 4 (02:55):
Now, you have to wake up every day optimistic.
Speaker 9 (02:58):
Because we're going to have a lot of downtime and
a lot of downturns and a lot of nose that
you have to just keep pushing forward.
Speaker 10 (03:07):
There's just a little bandstand and kind of a guest
house at Ringos. They're celebrating the birthday and suddenly there's
David Gilmour, Eric Clapton, Don Henley, Glen Fry, Joe Walsh,
Paul McCartney and Palm Tried and grabs the mike and
says and we're naming this band the Beagles.
Speaker 4 (03:23):
Right.
Speaker 1 (03:24):
There's something I read that you said, which is what
this is all about, and I'm gonna read it. It's abbreviated,
but you said happiness to me is good conversation.
Speaker 5 (03:32):
And lots of laughter.
Speaker 4 (03:34):
Yeah, that's what we're having today, right. I usually have
that with you anytime I see it.
Speaker 11 (03:39):
We do because you like to be Pete On from
Morris Kennedy.
Speaker 2 (03:45):
We don't know about that.
Speaker 6 (03:46):
What do you mean?
Speaker 12 (03:47):
He goes, well, you're wearing a yellow bandana.
Speaker 2 (03:49):
That that means you like to be Pete On? Ricardo,
We are done.
Speaker 1 (03:53):
He has dipped and dunked his bread into my post box.
Speaker 2 (04:00):
You have to come to yees so you can get
the table.
Speaker 1 (04:04):
No, did you hear that he has to come to
dinner so we get a table?
Speaker 2 (04:09):
Absolutely not.
Speaker 12 (04:11):
Are you having a rose?
Speaker 11 (04:13):
God?
Speaker 4 (04:13):
How divine? I love you having lunch every.
Speaker 1 (04:16):
Single day, which means now we're going to be a
couple of so you know.
Speaker 4 (04:23):
It is on.
Speaker 1 (04:32):
Let's dive into some longer stories as well. Our guest
early experiences are pivotal to the actors, writers, and designers
they've become. In this section, we'll hear from Matthew Broderick,
John Ham, Chelsea Handler, and Rita Wilson. What was it
like growing up in New York City? Your kid in
New York which was different, you know than it is
(04:53):
now for your kids.
Speaker 2 (04:54):
Yeah, it sure was. Let's see. I grew up on
Washington Square North. I know, I can't believe them.
Speaker 1 (05:00):
I always think of you when I passed by that street.
It's a series of brownstone.
Speaker 13 (05:03):
Yeah, we were in the one not brown zone, the
one like apartment shabby apartment building on that block.
Speaker 2 (05:10):
It was us.
Speaker 13 (05:12):
But I was born on Ninth Street and Fifth Avenue
in a very small apartment with my two We were
all in one room, me and my two sisters.
Speaker 2 (05:20):
Wow, you were born in No, I was born in
the hospital, I say.
Speaker 13 (05:24):
But I was taken in my blanket to Ninth Street
until I was four, and then I moved. The big
move was to Washington was two blocks down Fifth and Uh.
Speaker 2 (05:36):
Then we had our own bedroom. So that's where I
really grew up. The village was the park was. There
was bongos and drums all day.
Speaker 14 (05:45):
You know.
Speaker 13 (05:45):
We had some windows facing the park. There was a
lot of music all the time. There was less like rules.
Speaker 2 (05:51):
It was opened. All my stuff was going crazy. Yeah,
it wasn't.
Speaker 1 (05:56):
And because you faced the park when it got dark,
it was dark on the other side. It's like normally
there's two sides of the street that have lights, so
could get a little dicey.
Speaker 2 (06:05):
Yeah, definitely.
Speaker 1 (06:06):
Did you get mugged?
Speaker 13 (06:07):
I got mugged often all through the village. I mugged
all over the village. Really en Times Square area. Come
on Upper West Side.
Speaker 1 (06:17):
Explain to the listener, because I got mugged once on
Third Avenue and they were like, we're going to shove
your head through this like window, give us when I
have like five bucks.
Speaker 13 (06:26):
It was like nineteen I never had any money and
people will constantly wanted it.
Speaker 1 (06:30):
Yeah, what what was the target over you that you
think that you were constantly getting mugged?
Speaker 13 (06:37):
I think a young guy, you know, this is like
I'm talking like twelve, you know.
Speaker 2 (06:42):
Yeah, that's when an absolutee me too.
Speaker 13 (06:44):
And it was mostly other boys, you know, just being
bullies and you know, getting money, you know, lunch money
or something like that, but sometimes somewhat scary.
Speaker 2 (06:54):
Yeah.
Speaker 13 (06:55):
You know, me and my friend Garo were skateboarding in
Central Park once and a massive gang came flying out
and took our skateboards and I got whacked in the
head with a some sort of stick. That's the only
time I got kind of worked, so you know, it
was no not a joke and thank god, you know,
we all survived it. But but and most of them
(07:17):
were not like that. They were more intimidating.
Speaker 2 (07:19):
I'm going to put your head through the glass, you know,
give me what you got.
Speaker 13 (07:23):
Or you get on the subway and somebody would sit
next to you and put their arm around you rather
aggressively and say, you know, what's in your pocket?
Speaker 2 (07:31):
What's your name?
Speaker 4 (07:32):
Where?
Speaker 2 (07:32):
You know, just be like asking you a lot of questions.
Speaker 13 (07:34):
Yeah, just waiting praying for the train to come out
of the tunnel on the platform.
Speaker 2 (07:39):
You know, I still remember that.
Speaker 1 (07:40):
I mean, don't you think a skill set is born
from being a kid in New York? Your parents are not.
They're doing their thing, they trust the world, and you're surviving.
Speaker 2 (07:50):
It's true.
Speaker 13 (07:50):
Yeah, back then they weren't as at least it didn't
feel like it. They weren't as watchful as we are
to our kids.
Speaker 9 (07:57):
You know.
Speaker 2 (07:57):
It wasn't no, they would not watch for at all
this speeches.
Speaker 13 (08:00):
Yeah, they were kind of like, I'd love to go
to the park and come back in time for dinner,
and that was it.
Speaker 1 (08:05):
Would you even come back and say I was mugged
today on the subway or just once or twice.
Speaker 13 (08:10):
Yeah, sometimes like a police officer would come to our
school and give us a talk. You know, how to
react properly when you're being muggled, right, And he said,
always bring money with you. Don't go out with no
money and immediately give it up. And try to make
the experience.
Speaker 2 (08:29):
As fast as possible.
Speaker 13 (08:30):
More time you're haggling or discussing, more time you're in
the situation the worst.
Speaker 2 (08:36):
I always remembered that, try to have it.
Speaker 13 (08:39):
That's a good conclusion, even if the conclusion is your
own death.
Speaker 2 (08:44):
Do it as quickly as possible.
Speaker 1 (08:55):
When I was thinking about you, I was like, you know,
did you ever have your heart broken in Yeah?
Speaker 14 (08:59):
For sure. Everybody has a version of whatever pain to
go through in life. And I didn't grow up a
lot of money. I grew up with very little money.
In fact, I was raised until I was ten years
old by my mom as a single mom. She was
got divorced when I was a little kid, and then
she died when I was ten, and so then I
had to go live with my dad, who was a
(09:21):
great guy, but not a well not didn't have the
capacity to kind of raise a kid. So then I
was raised by the community, and that was the school
that I went to. So there was a lot of
like you know, kind of whatever emotions and experiences to
unpack from from just that over the course of a
lifetime being raised by a single mom and an only
(09:42):
being an only child. I had two half sisters, but
they were out of the picture when I was. When
I was being raised by my mom, the world was opportunity,
you know. So it was like, go find a book,
go to the library. So I would go to the
library and I'd go check out LPs of comedy things
and I would go get Cheech and Chong and I
would go get Bob Newhart and I would go get
Richard Pryor and w And it was really wildly inappropriate,
(10:06):
most of them for a seven year old, eight year old,
but it was something to do right, and my mom
was and it was free. Those are the other things.
So it was like I was dependent upon the community,
whether it was cub Scouts, Boy Scouts, whether it was
community athletics. You know, you only had to pay nine
(10:28):
dollars and I could play soccer for a season, and
you know that included your uniform and all the other
stuff that made you feel like you were good, and
the coach was some divorced dad who didn't anything else
to do, and you know, you weren't exactly training to
be a professional soccer player, but it was something to do.
So those are the kinds of things that I gravitated toward.
(10:50):
And then my mom would put me in art classes
and she'd put me in acting classes because she knew
it was something to do, that I wouldn't have fun
with it, that I could meet other kids, and that
I would be you know, and then she could then
go to work. She had to work, you know, from
nine to five every day. She was the secretary, and
so that was like that was again, and that idea
(11:11):
of like in local parentics, like that, I was taken
care of by the community, which is why when I
talk about how much a hometown kid I.
Speaker 2 (11:20):
Am, so why get back.
Speaker 8 (11:31):
I went to LA when I was nineteen. I tried
to go to college for like a semester after high school,
which was a community college in New Jersey, and I studied,
ironically Russian history. I don't know what I was thinking
or talking about. I was like filling a box of
time because I was like, what am I going to
do with my life. I'm not going to go to
(11:51):
college really, but we thought maybe I should start because
I was eighteen and graduated from high school. And I
think I just stayed in Marstown because I was dating
this guy who lived in Marstown and so that was like,
probably the real reason I stayed was because he was
really hot. Yeah, but we weren't, you know.
Speaker 4 (12:09):
That wasn't why I stayed for the beauty of Morristown.
Speaker 8 (12:11):
Then we broke up and I was like, what am
I doing in New Jersey. I don't want to be here.
I always wanted to move to Los Angeles. I had
an aunt and uncle who lived in bel Air. The
first time I had come to Los Angeles, I was
like ten years old and we came to visit my
aunt and my mom's sister and we got on an
airplane and it was the first time I had flown.
I was like ten, and we walked past the first
(12:32):
class section and I was like, well, whoa who are
these people like? This looks like this looks like my group.
And my mom was like, no, no, honey, we have
six children, like, we're never flying first class. This is
a different section of the plane. And I was like, well,
I don't know about that, Like I feel like I
belonged there. So we went back, and then two years
later I had my second plane trip. But I had
become a babysitter in between ten and twelve, and I
(12:53):
saved up my money and I purchased my own first
class ticket from a neighbor down the street who is
my friend's mom, who happened to be a travel agent.
And then the next flight we took as a family
with my mom and I had two brothers with me
who were all older.
Speaker 4 (13:06):
I'm the youngest.
Speaker 8 (13:07):
We get on the plane and it was my grandfather's
funeral he had died, and we're flying to California, and
two A was my seat and I fucking flopped down
and I was like, hey, I will see you guys
at the end of the fight. And my mom was like,
what are you doing, Chelsea?
Speaker 12 (13:22):
Get up.
Speaker 8 (13:22):
I'm like, this is my ticket.
Speaker 4 (13:23):
I purchased it.
Speaker 8 (13:24):
And my older brother's like, oh my god, are you
kidding me? He said, you have to give that seat
to mom. I'm like, no, I don't.
Speaker 6 (13:30):
I purchased this. This is my earned money.
Speaker 8 (13:32):
Like a mom can sit in the back of the
plane where she's like that's fine with her.
Speaker 6 (13:35):
This is where I belong. Laurel Canyon, for many people
was a literal place but also a metaphorical place, and
for me it was the same thing. I knew that
Carol King and Joni Mitchell and all these people that
I loved were living up there. I have two stories
(13:56):
about Laurel Canyon that are particular. Would you like to
hear them?
Speaker 2 (13:59):
Yes, okay.
Speaker 6 (14:01):
One is that in high school, Bobby Carodine, who was
David Carodine's brother and he was an actor, also went
to my high school. He was a little bit older
than I was, I think, and he asked me on
a date and he had a little Alpha Romeo, like
a red sports car. So he said, let's go for
a ride, you know, just drive around. And I think
(14:24):
it was a school night, so it was pretty early,
but we were driving around and he says, well, let's
go up and visit my brother. Now his brother at
the time was David Carodine and he was doing the
series Kung Fu, remember that, So I said sure. At
that time, I had eaten at home and he takes
us up and David was married to Barbara Hershey, so
(14:45):
they were like, okay, let's go see what my brother's doing.
So we show up and they had a little baby.
And the baby wasn't even walking, it was just a
crawling baby. But it was Laurel Canyon. They were hippies,
it was not. They had a big, huge, it was
not the cleanest of kitchens, let's say. But the baby
was on the floor and I took one look around
(15:08):
and I was like, I'm not really like vibing with
this whole, you know.
Speaker 2 (15:13):
Like not really clean vibe.
Speaker 6 (15:15):
So yeah, but the baby is there and so cute,
and she's making some kind of dinner, and you know,
we all sit down to eat, and they asked me
if I wanted to eat, and I said no because
I had just eaten at my parents, right, So I said,
thank you very much. Would you like something to drink?
And I said yes? What could they do to get
(15:36):
something to drink? So she passes over a communal bowl
of water.
Speaker 15 (15:44):
Oh, this is amazing, and so I did one of
those fake things where you like pretend you're sipping, but
you're really just like your lips are clothes, like you know,
now during COVID, that wouldn't fly.
Speaker 6 (15:57):
The other Laurel Canyon story that's so great is two
of my best friends growing up were Catholic and they
went to a Catholic girls' school called Corvallis. It was
on Laurel Canyon, just south of Ventura Boulevard. The building
is still there, but it's not a girls school anymore.
And one of their best friends there was Melanie Griffith.
(16:19):
So I met Melanie when I was like sixteen or
seventeen years old, right, and Melanie was dating Don Johnson
at that time already and Don had a house in
Laurel Canyon. So Melanie and Don were seeing each other
and we were over there one day when it was cold.
It was Don's house, but Melanie was still in high school.
(16:41):
But it was also kind of random because she was
still dating Don, so I don't know she lived at
home or she lived with Donna's.
Speaker 2 (16:48):
Very it was very free love.
Speaker 6 (16:50):
Very free love.
Speaker 14 (16:51):
Yeah.
Speaker 6 (16:52):
So Melanie says to Don, Donnie, it's cold, can you
light a fire? And he says, yeah, sure. So we
girls are outside, we're doing something, we're laughing whatever. We
hear some noise, We don't think much of it. We
come back in and there's a gorgeous fire roaring in
(17:12):
this Laurel Canyon cottage, and Melanie says, where'd you get
the firewood? He says, I chopped up one of the chairs.
Speaker 10 (17:25):
What she did?
Speaker 6 (17:26):
He chopped up one of the dining room chairs.
Speaker 2 (17:30):
What was happening? I don't know.
Speaker 1 (17:54):
Thanks for joining us for our look back at the
first season of Table for two. One thing that ties
all my guests together is their ability to harness their
creativity and turn it into beautiful work, whether it's on
the page, on the runway, or on the screen. We've
heard pieces of advice and insight into the creative process.
In this section, we'll hear from Emily Blunt, Tom Ford,
(18:17):
Anna Winter, and Octavier Spencer. Do you find being a
mother being a professional person?
Speaker 16 (18:28):
It does and it doesn't, well, not always well, you know,
it's one of those things when people like, how do
you balance it? I never feel I'm doing it right,
you know, But I'm this year, I'm not working.
Speaker 4 (18:41):
I just need to be.
Speaker 16 (18:43):
Yeah, I just need to I worked quite a bit
last year and my oldest baby is nine. I were
in the last year of single digits, and I just
feel there's cornerstones to their day that are so important
when they're little and it's you wake me up, will
you take me to school, will you pick me up?
(19:03):
Will you put me to bed? And I just need
to be there for all of them for a good stretch,
and I just felt that in my bones. I had
a beautiful time on the.
Speaker 4 (19:13):
Projects I did last year.
Speaker 16 (19:15):
Some were more intense than others, some were harder than others,
someone more time consuming than others. And the ones that
are time consuming, I think for me are becoming few
and further between because of just the emotional cost on me,
on the kids. On balance, and I'm very prone to guilt,
(19:38):
and I think maybe all mothers are. You're just prone
to feeling bad for God forbid, wanting something outside of
being a mother. I am a huge advocate for it.
I'm a huge advocate for women being ambitious. I love
the word ambition. It's just dreams with purpose. That's all
it is. It's not another world, it is, That's what
it is.
Speaker 2 (19:57):
That's what it means.
Speaker 16 (19:58):
And it's just and I want my kids to grow
up and find something that they adore doing.
Speaker 1 (20:03):
And your kids watching you do something that you adore, Yeah,
so important.
Speaker 4 (20:08):
It's so important.
Speaker 16 (20:09):
And of course they're just horrified by the fact that
I'm an actress, which is sort of so embarrassed by
and have no desire to watching me in anything, which
is very healthy because they just want me to be
their mum. So the balance is usually it sways in extremes,
like I'll work too much and then I'll have like
a complete reaction against it and an aversion to being
(20:30):
on a film set for a long time, and then
I'll want to desperately work again. So I don't know
if I do it moderately.
Speaker 4 (20:37):
I think I just have these.
Speaker 16 (20:40):
Pulls towards it and against it.
Speaker 5 (20:48):
You know, I am a creative director. I am used
to working with the very best people in fashion. Let's
just say, let's start with fashion, the very best people.
You have to have a vision. You have to know
what you want to say as a fashion designer, but
you have to lead and inspire this group of people.
(21:09):
Fashion design I mean you assistant designers, seamstresses, hair and
makeup people, lighting people.
Speaker 2 (21:16):
You have to get the best out of them.
Speaker 5 (21:18):
So you have to inspire them and you know, let
them express themselves. But at the same time you have
to sort of corralat ale and focus it into your vision,
which is in my case somewhat singular. You know, fashion
is not a democracy, it's a dictatorship. And in the end,
(21:41):
you know, if I design something is because that's exactly
the way I want it. I've been called a control freak.
I hate that word, but I think if my name
is on something, it needs to be exactly the way. Sure,
so yes, others somebody else can say maybe it should
be like this, and I say, no, you should be
like that, or yes, a great idea. So this the
same is true with film. As a film director, it's
(22:03):
the same process. You have to have a vision, you
have to know what you want to say. You have
to hire the best people, bring out the best in them,
the best actors, the best cinematographer, of the best of everything.
But yet you have to steer it all in a
way that expresses your point of view and that you
don't lose. So the process is not dissimilar. Also, the
(22:27):
thing about fashion is we have people don't realize fashion
designers have an enormous hard drive loaded with images from
almost every film that's ever been made. You know, when
we start a collection, we pull images from the twenties,
the thirties, the forties, the fifties the sixties, and most
of them are from film where they're from, you know,
so we have a grasp on culture, contemporary culture, past
(22:50):
culture that I don't think most people realize, and that's
very helpful when you're making a film.
Speaker 1 (23:02):
My question really is with you know, having the job
you do, which is the you know, chief content officer
for Conde Nasy. You're so busy, how do you make
time for friends to give advice to people?
Speaker 2 (23:15):
How does that come into your life in such a way.
Speaker 12 (23:18):
I'm so lucky that I have the platform that I do,
and it does put me in a position to help
people and to connect people, and.
Speaker 4 (23:29):
I get a huge.
Speaker 12 (23:31):
Amount of pleasure, whether it's working with my chiefs of
content around the world or you or whoever it may be,
in learning about their lives and what they're thinking and
what they're doing and if there is any way that
one can be helpful. I feel, you know, I had
amazing people that helped me when I was.
Speaker 4 (23:50):
Starting out, and I think it's it doesn't require.
Speaker 12 (23:55):
Anything but one's time, and I think that's just so
important to give when people are rushing so madly. And
I also think, particularly right now, when things are so tough,
and we've all come out of COVID and the world
is in the state that it's in that to make
time to help and connect people if one can is
(24:15):
so important. I also think it's really really important to
be focused, because you can't do everything and you can't
help everyone, so you think about where you do have
areas of expertise.
Speaker 4 (24:26):
Or you.
Speaker 12 (24:28):
Can put people in touch that will be meaningful. So
I think being focused and being clear and also being
transparent people respond to that. I've worked in my career
within four people that maybe haven't necessarily been that clear,
and it's incredibly frustrating. And I think as long as
people know it's a yes or it's a no, or
(24:48):
I can help you or I'm really sorry, I'd love
to help you, but I'm not able to is better
than pretending or faking. And so that's what I try
as much as possible to do, because I have been
at the other end when people have made promises or
sort of not being clear and what they're saying or doing,
and you just waste everybody's time.
Speaker 3 (25:14):
I think, especially given where we are with technology and
social media, there are steps in the process. I think
that people want to skip because it's about it's about
fame sometimes and it's about being out there. Oh you know,
(25:35):
no one has noticed me yet. And I think you
have to be prepared because you don't know when that.
Speaker 4 (25:41):
Opportunity is going to come, so you have to study.
Speaker 3 (25:44):
And when you think about it, I remember my mom
and it was the most practical advice she is ever
given it, And it's just part of it's my mantle.
You know, whenever you if you're the first job you
ever get, if it's a fry cook, if it's a
newspaper book, someone's going to train you on how to
do it. This is how you sell your newspaper, This
(26:05):
is how you cook my fries, whatever else it is,
whatever field of study, you're going to.
Speaker 4 (26:11):
Have to train.
Speaker 3 (26:13):
And so take the time because if you're three years in,
if you're fifteen years in, if you're one year in,
if you don't have the comfort of training, that's your foundation.
And if you don't have, you know, your your land legs.
When that opportunity presents itself, it could mean failure.
Speaker 1 (26:35):
Yeah, because if you don't build upon it, you don't
have the you don't have the goods, you don't.
Speaker 2 (26:38):
Don't have the foundation.
Speaker 3 (26:40):
You have to have that foundation because whatever it is,
you know, everybody feels like an imposter.
Speaker 2 (26:46):
You know.
Speaker 3 (26:46):
So if you haven't done the best to prepare for
whatever it is, you can't go to You can't be
a doctor without going to med school, right, what I mean,
nobody's going to let you doctor on the.
Speaker 2 (26:57):
Right and full it does get off too exactly.
Speaker 1 (27:19):
Thanks for joining us on Table for two. Today, we're
looking back at all the great interviews and meals we've
shared this year. Almost every guest on the show has
had an amazing story of making it big. Sometimes it's
a realization that they've just gotten their breakthrough role or
that they've been part of something that has had a
huge cultural impact. Let's hear stories from our interviews with Robblo, Sarah,
(27:40):
Jessica Parker, and Julia Roberts. With George Clooney, you know,
your memoir really goes deep into the audition process and
then the actual shooting process with Francis fort Gopolo, which
is like crazy what he made you guys do, and
like because that was like the first really big moment
my first movie.
Speaker 2 (27:56):
That was your first movie.
Speaker 11 (27:57):
You've done, I've done, I've done a sitcom on ABC
and I played like the teenager, the teenage Son, and
it ran for like six episodes and was canceled. And
then I've done some after school specials. If you remember
those Wednesdays on yours.
Speaker 1 (28:16):
There was a big deal.
Speaker 2 (28:17):
It was a big one.
Speaker 11 (28:18):
But I'd never done a movie. And you know, sitcoms
and after school specials are aut movies, and they're certainly
not Francis for Copola now, and you know Coppola at
that still one of our great filmmakers. Yeah, at that moment,
he was you know, he was only a few years
off of making Apocalypse Now, right, and you know, and
(28:38):
of course got The Godfathers. And so here was this
very very lauded, serious filmmaker doing a movie where all
the roles are fifteen, sixteen, seventeen year olds, right, and
you know, all the kid actors were like this, this
is the it's the goal, the Willy Wonka Gold tickets
that everybody wanted.
Speaker 1 (28:57):
And you talk about the auditions and you friends in
the auditions. So there's the West Coast guys that are
auditioning in.
Speaker 2 (29:04):
The New York actors, right.
Speaker 1 (29:05):
I love this because he really makes you work for
this the West Coast actors were you Amelio?
Speaker 11 (29:13):
Weirdly enough, Tom because he was staying out here with Amelia,
so Cruz was out here even though he was East
Coast pony Boy Tommy Howell. And then we went to
the East Coast and that's where Matt Dylon was Ralph Matchio,
and we went through this whole process months, months of auditions,
months and months and months and months, and then he
(29:36):
picked his favorites. And then he took us to New
York and it was the same thing there, but it
wasn't months.
Speaker 2 (29:41):
It was a week. And then but we did.
Speaker 11 (29:44):
I mean, there's more filmed footage of us auditioning than
there probably is of us making the actual movie.
Speaker 1 (29:49):
So the process of that film. When your sons look
at that movie, what was their reaction to that movie?
Speaker 11 (29:55):
Well, I'm not sure how much of anything of mine
my son's act actually seen. I actually do think they've
all seen The Outsiders because, much to their mortification, they
had to read the book and see the movie in class. Right,
it is that's seventh grade in the curriculum across the country.
For you have most part, and there's nothing I love
more than going into a seventh grade class after they've
(30:18):
seen the movie or and read.
Speaker 2 (30:19):
The book and talking to them.
Speaker 11 (30:20):
I love it, and I love it because I love kids,
but also it's a new crop of fans. I mean,
to be able, as you know. The key to longevity
is you can't. If your audience ages out, you're done.
Speaker 2 (30:35):
You're done.
Speaker 11 (30:36):
So the key to a long career is if you're
lucky enough to figure it out, having a new crop
of people discover you every year. And The Outsiders does
that by design.
Speaker 2 (30:46):
What was the toughest part when you were in production
with that?
Speaker 11 (30:49):
The night shoots, you know, I mean, I'd never made
a movie, so the notion of shooting all night in
the rain and the fight the big rumble scene was
a whole week of shooting all at night with freezing cold,
no dressing rooms, no word. Francis was very mercurial.
Speaker 2 (31:06):
He would treat the.
Speaker 11 (31:06):
Cast great and then wouldn't provide anywhere for us to
get warm. I mean, Francis had all of these great
social engineering experiments he wanted to try. He had us
playing tackle football, yeah in the street, and I'll never
forget Tommy Helle played pony Boy. His dad was one
(31:27):
of the great stut men Chris Howell, the legendary stut man,
so Tommy knew his way around even though he's only fifteen.
He huddled us up and said, listen, I'm calling this game.
Speaker 2 (31:37):
We're done here.
Speaker 11 (31:38):
If I break my leg on this next football play,
I'll be on the next flight home and somebody else
will be playing Pony my favorite thing.
Speaker 2 (31:44):
Though.
Speaker 11 (31:44):
Francis wanted us to learn about being greasers by talking
to people who were greasers in the fifties. So me
and Cruz were hooked up with this family and had
to go spend the night at their house in the basement,
and I can just remember laying in this cot in.
Speaker 2 (31:58):
The basement of a house in Tulsa with a.
Speaker 11 (32:00):
Family I never knew, and just looking over at Tom
and going, what the what the fuck are we doing?
It was I mean, I understand why Francis did it,
I get it, but it was It's very odd and
not the way most people make movies.
Speaker 1 (32:23):
Were you amazed at the effect that you had in
New York with style and with women and men in
the nineties. I really, you know, you're credited and justifiably so,
for really shifting a whole conversation and look was there
(32:44):
a moment that you looked across the street and saw
somebody and you were like, she's dressed like Carry Bradshaw.
Speaker 6 (32:52):
Yeah.
Speaker 7 (32:52):
I think over time and I will say that really
is Pat Field and Mollie Rogers. Originally, you know, Pat
was our original classom designer, as you know, she's incredible.
Molly Rogers was there from day one of the original show.
So I think what we all recognized the ways in
which the show was influencing life, whether it was the
(33:13):
flower you know, or the Carrie name plate, or you know,
walking down the street with two purses versus one, or
two pocketbooks versus one pocketbook, or you'd start to see
young women gathered four and five on a Sunday for
brunch and you'd just see more of it, or groups
(33:33):
of women walking. You'd see a kind of emotional life
that wasn't as visible in certain ways. But the clothes
had a huge impact, and I think that was because
Pat never and Molly patt they never felt that they
had to answer to anybody or apologize. I'll speak specifically
(33:56):
to Carrie who has a very specific relationship with fashion
and as well vintage. So I think you know, there
were lots of hits, and there were, in many people's opinion,
lots of misses, and to us, none of it was
a mistake. Like you had you had to take an
approach and be totally monogamous to an aesthetic idea. And
(34:22):
when you do that, like in anything, it's arresting. You know,
if somebody writes a book and uses a voice that
you've never read before, everybody's going to talk about it.
Or think of early images on MTV and what made
us all stop and watch a video a hundred times?
(34:43):
You know, music, architecture, you know, anything anything that feels fresh, unique, unseen,
but not arbitrarily. So you can't just be ridiculous, because
you can be, and it really does look like there's
any point of view or perspective. It looks just like
you're trying to be controversial exactly. So I feel like
(35:08):
the things that were influential because they were a real choice.
And then you you know, you know, in the beginning,
I've told destroy many times that we didn't have anything.
In the beginning, nobody would loan us anything. We were
getting most of Carrie's wardrobe from vintage and consignment shops
and century twenty one occasionally we could afford a dress
(35:31):
off the rack at a finer department store like Sacks.
Speaker 2 (35:35):
But that was very rare for the plaza.
Speaker 7 (35:38):
That was the most expensive dress they ever bought. It
was a Christian dey or simple sheath dress. I've heard
it was every anywhere from six hundred to eight hundred dollars.
But that would have been like you'd be making decisions
then okay, well if we get that, then we can't
have that. Like that wasn't alone. That was a bunchase.
Speaker 17 (35:57):
Yeah, okay, So I gonna tell you yesterday.
Speaker 4 (36:08):
You've probably heard the story a thousand years ago.
Speaker 9 (36:10):
But once upon a time I was in Europe with
friends and it just so happened that we went on
an Audrey Hepburn movie marathon binge.
Speaker 4 (36:20):
For like a long weekend where you part of you.
Speaker 9 (36:22):
I was in London and flying back to America, and
I get on the plane and get myself situated. Now,
me on an airplane is about five seconds of buckling
my seatbelt, and you know, eleven and a half hours
of sleeping. And I get on the plane and I
(36:43):
get all you know, situated and stuff, and I'm sitting
there and there's and I was in first class, yes,
very very fancy, and not a lot of people in
first class. And I look over so I'm sitting in
a window seat, so seat next to me, and there's
middle section, and then over there is Audrey Hepburn.
Speaker 4 (37:02):
Wow.
Speaker 9 (37:03):
And I honestly it's like, am I making this up?
Speaker 4 (37:08):
Is she really?
Speaker 2 (37:08):
There?
Speaker 4 (37:09):
Is you? And I was just like, go to sleep.
Speaker 9 (37:13):
You got to like I didn't know what to do
with myself. I was beside myself, beside myself, and should
I talked to her?
Speaker 4 (37:20):
I talk to her? I can't talk to her. I
can't talk to her. I walk into Hi.
Speaker 9 (37:23):
I'm an actor and I just love you. And I
just didn't know what to do. So I did fall asleep.
And then when I wake up, when the wheels touched
the ground, which is my Yeah, do that?
Speaker 2 (37:35):
Well, thank you?
Speaker 4 (37:36):
And I think, okay, there's long lines it customs.
Speaker 9 (37:41):
I will pull my stuff together, put a piece of
gum in my mouth and say hello.
Speaker 4 (37:47):
Well, she doesn't have an American passport. She's somewhere else.
And I missed my chance. My chance is over.
Speaker 9 (37:55):
And I'm so disappointed in myself and really disappointed. And
I go downstairs because this was back in the day
when I checked a bag and I go down to
baggage claim and I get my bag and as I
turn around because you know, the guy takes your ticket
and looks at the thing standing right in front of
me with her checked bag is Audrey Hepbrood. And she
(38:16):
turns to me and she goes, you're wonderful.
Speaker 4 (38:20):
And hugs me. And I was just like, I.
Speaker 9 (38:23):
Just she has no idea, she has no idea what
is happening to my entire life right now?
Speaker 4 (38:28):
And I had to call my.
Speaker 9 (38:29):
Friends and like so every movie there was, Charay said,
she's right there.
Speaker 4 (38:33):
You know, I just could not believe.
Speaker 2 (38:36):
Wow, what a cool story.
Speaker 1 (38:38):
And like yet again timing it wasn't meant to be
on the plane, That's what was.
Speaker 9 (38:42):
So magnificent, and unbeknownst to any of us at the time,
she was unwell and she was given a Screen Actress
Guild Lifetime Achievement Award, and back in the day when
they were these kind of smaller things whatever, and she
wrote me a letter and asked me to receive it
(39:03):
on her behalf. And she wrote a speech and asked
me to recite the speech. And Gregory Peck presented it,
and it was just just my whole life.
Speaker 4 (39:15):
I just thought, what is happening right now? Gregory peck Is,
I'm sort of the proxy for Audrey Hepburn, what is
going on? And I read this beautiful speech that she'd written.
Speaker 9 (39:27):
I mean it was I kind of forget that even
happened to me because it was so it just sounds
like fiction, like, oh so I'm on this plane, you know.
I mean it just it sounds like a made up story,
but it all happened.
Speaker 2 (39:41):
I love that.
Speaker 5 (39:42):
And she was, you know, I mean, honest to God
when you look at like the epitome.
Speaker 4 (39:46):
Of class class. She just was so elegant.
Speaker 2 (39:49):
And she was elegant from Roman holiday on just and.
Speaker 4 (39:53):
Use and all of it. I mean amazing.
Speaker 1 (40:06):
As we wind down our retrospective, I want to bring
it back to the heart of the show food. Let's
go back to the very beginning and hear a clip
from our first episode ever with Scarlett Johansson at via Carota.
Oh and spoiler alert, I'm actually sitting at the Carlisle
Hotel right now recording another interview for our next season
(40:29):
coming in twenty twenty four. So thanks again for pulling
up a chair and we'll see you next year. We
let us talk about food versus you know, I grew
up in our house.
Speaker 2 (40:41):
Where we never saw my dad who's os in the restaurant,
so we never end there together.
Speaker 1 (40:45):
As a family, and my mother would go paint the
picture of the young siblings kind of in because you
guys grew up in the show.
Speaker 18 (40:53):
We grew up in the West Village, West Village, and
only we moved around a lot before that, but we
eventually settled in West like when I was like ten,
and we lived in a lower middle and Come housing project.
And you know, we didn't eat out ever because we
never had money.
Speaker 12 (41:13):
To My mom did most of the cooking.
Speaker 18 (41:15):
At home when I was little, and she had her
kind of meals on rotation. I think she enjoyed cooking
to some extent. My dad really enjoyed cooking. And my
dad was a really great cook. His first wife was Italians,
and like made an amazing like putinesque and all those
(41:37):
like delicious sauces.
Speaker 1 (41:38):
Like.
Speaker 2 (41:38):
My dad was great at that, and.
Speaker 4 (41:42):
We all loved to eat like. My family is a
foodie family. We you know, my sister and I both
loved to cook together. My sister is an excellent cook.
Speaker 1 (41:52):
You growing up in New York. I feel like if
we were decades apart for the same Burrow, I would
have loved you, you would have been.
Speaker 2 (42:00):
You gave us right.
Speaker 4 (42:07):
I'm really honored an amazing interview.
Speaker 2 (42:11):
I am, yes, thank you.
Speaker 16 (42:13):
It's so natural and it's like butter.
Speaker 1 (42:16):
It's wonderful, very exactly, but it's very easy to sit
with someone you.
Speaker 2 (42:23):
Love, you admire.
Speaker 1 (42:25):
Thank you, and I hope that everyone enjoyed today.
Speaker 2 (42:28):
Thank you, it was wonderful.
Speaker 16 (42:30):
Thank you so much of this highly I love you
deserve every car.
Speaker 1 (42:50):
Table for two with Bruce Bosi is produced by iHeart
Radio seven three seven Park and Airmrail. Our executive producers
are Bruce Bosi and Nathan King. Table for two is
searched and written by Bridget arsenalt. Our sound engineers are
Paul Bowman and Alyssa Midcalf. Table for two's LA production
team is Danielle Romo and Lorraine viz. Our music supervisor
(43:12):
is Randall Poster. Our talent booking is by James Harkin.
Special thanks to Amy Sugarman, Uni Cher, Kevin Yuvane, Bobby Bauer,
Alison Kanter Graber, Barbara and Jen and Jeff Klein and
the staff at the Tower Bar in the world famous
Sunset Tower Hotel, Jody Williams, Rita Sodi and the team
at Via Cororoda in Manhattan's West Village. And a special
(43:34):
thank you to all the people who work at the
Lobster Role better known as Lunch on Montauk Highway. And
a special shout out to Andrea, Thank you so much.
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