1 00:00:01,000 --> 00:00:04,000 Created By Khaled-Klz. 2 00:00:04,720 --> 00:00:05,881 And here we are. 3 00:00:05,960 --> 00:00:09,442 I'm George Tillman, Jr., the director of the film. 4 00:00:09,520 --> 00:00:11,443 - Hello, George. - Hello. 5 00:00:11,520 --> 00:00:12,760 My name is Oona Chaplin. 6 00:00:12,840 --> 00:00:16,765 I play Ruth in the film that you're about to watch. 7 00:00:16,840 --> 00:00:20,162 Yes. So, let me see. 8 00:00:20,240 --> 00:00:23,801 I think the script came to me 9 00:00:23,880 --> 00:00:26,724 around March of 2014. 10 00:00:26,800 --> 00:00:28,006 Um... 11 00:00:28,080 --> 00:00:30,686 It was a script that was written... 12 00:00:30,800 --> 00:00:33,963 Craig Bolotin did a draft. 13 00:00:34,040 --> 00:00:37,123 And by the time I came on, when I read the script, 14 00:00:37,200 --> 00:00:40,886 Fox 2000, who I previously had done two other films with, 15 00:00:40,960 --> 00:00:42,883 wanted me to read the script. 16 00:00:42,960 --> 00:00:44,291 And they were excited about it 17 00:00:44,360 --> 00:00:47,125 because it was a Nicholas Sparks script and I was... 18 00:00:47,200 --> 00:00:48,440 I thought that was kind of funny. 19 00:00:48,520 --> 00:00:51,000 I just thought, "Why would they recommend me 20 00:00:51,080 --> 00:00:55,005 for Nicholas Sparks material? 21 00:00:55,080 --> 00:00:57,765 "You know, with Soul Food, Men of Honor and Notorious. 22 00:00:57,840 --> 00:01:00,571 And, actually, when I sat down and thought about it, 23 00:01:00,640 --> 00:01:04,565 I was pretty honored that they were able to see me outside of... 24 00:01:04,640 --> 00:01:06,404 Of your box. That they could stretch you. 25 00:01:06,480 --> 00:01:07,720 That they can stretch, right? 26 00:01:07,800 --> 00:01:12,840 So, I took the script home and I read it, and it felt pretty epic at the time, 27 00:01:12,920 --> 00:01:15,605 but I felt like the script needed some work. 28 00:01:15,720 --> 00:01:19,327 But Fox 2000 was very open to it 29 00:01:19,400 --> 00:01:24,611 and I liked the idea of Temple Hill 30 00:01:24,680 --> 00:01:29,402 with Marty Bowen and Wyck Godfrey producing the film. 31 00:01:31,840 --> 00:01:35,686 Cause Marty Bowen's a real cowboy in his spare time. 32 00:01:36,400 --> 00:01:38,243 So... I know, exactly, right? 33 00:01:38,320 --> 00:01:41,483 So, I thought it would be something great, 34 00:01:41,560 --> 00:01:43,449 something that we can make something great out of it. 35 00:01:43,520 --> 00:01:46,603 But we had to start with the material, but... 36 00:01:46,680 --> 00:01:49,206 - Had you read the book? - I never read the book. 37 00:01:49,280 --> 00:01:51,169 I haven't... I've only seen The Notebook. 38 00:01:51,240 --> 00:01:53,481 - That was the only... - The only reference, Yeah, me too. 39 00:01:53,560 --> 00:01:55,210 Only reference that I'd seen of... 40 00:01:55,280 --> 00:01:56,520 Pretty good reference, though. 41 00:01:56,600 --> 00:01:58,443 Really good reference. 42 00:01:58,520 --> 00:02:00,887 I thought Ryan Gosling was awesome in that movie. 43 00:02:00,960 --> 00:02:03,247 And I thought that's a pretty tough movie to beat, 44 00:02:03,320 --> 00:02:06,563 cause a lot of fans hold that movie to a whole another level. 45 00:02:06,640 --> 00:02:08,961 So, what I loved about it, working with Fox 2000, 46 00:02:09,040 --> 00:02:11,566 Elizabeth Gabler was like, "You can make it your own. 47 00:02:11,640 --> 00:02:12,971 "You can do something completely different. 48 00:02:13,360 --> 00:02:14,407 Yeah. 49 00:02:14,480 --> 00:02:16,801 So, it all started with the cast, 50 00:02:16,880 --> 00:02:19,724 and, "Who are we gonna find? 51 00:02:22,800 --> 00:02:24,165 And right Off the bat, 52 00:02:24,240 --> 00:02:29,406 Britt Robertson was the first person that we saw in Mary Vernieu's office. 53 00:02:29,480 --> 00:02:31,767 She came in and it felt completely different 54 00:02:31,880 --> 00:02:36,124 from the typical women that have played in Nicholas Sparks films. 55 00:02:36,200 --> 00:02:39,204 - Yeah, she's got spice. - Yeah. 56 00:02:39,280 --> 00:02:41,487 She's got... She's a feisty little minx. 57 00:02:41,560 --> 00:02:42,891 Yeah, yeah. 58 00:02:42,960 --> 00:02:44,689 - And it felt right for the character. - Yeah. 59 00:02:44,760 --> 00:02:46,046 Someone who just wanted to. 60 00:02:46,120 --> 00:02:47,849 - There she is. - There she is. 61 00:02:47,920 --> 00:02:49,365 Hello, Britt. 62 00:02:50,680 --> 00:02:53,411 So, it felt something completely right for the character, 63 00:02:53,480 --> 00:02:56,563 for someone coming from New Jersey who wanted just to study art, 64 00:02:56,640 --> 00:02:58,768 and really wasn't looking for love. 65 00:02:58,840 --> 00:03:01,081 Britt is a very independent person. 66 00:03:01,200 --> 00:03:03,771 - I remember the first time that I met her. - Yeah. 67 00:03:03,840 --> 00:03:06,081 After we had our first sit-down, 68 00:03:06,160 --> 00:03:08,686 she offered to pay for a lunch that I put together. 69 00:03:08,760 --> 00:03:09,727 Hmm. 70 00:03:09,800 --> 00:03:11,040 And I was like, 71 00:03:11,120 --> 00:03:13,327 "Why do you feel like... The studio's taking care of this. 72 00:03:13,400 --> 00:03:16,722 "Why do you feel like you wanna have to pay for this lunch? 73 00:03:16,840 --> 00:03:21,926 She was very adamant, saying, "I don't like nobody taking care of me. 74 00:03:22,000 --> 00:03:24,651 - I like to take care of myself, you know. - That's perfect. 75 00:03:24,720 --> 00:03:26,722 So, I started to feel this independence about her, 76 00:03:26,800 --> 00:03:29,371 and she's a young child actor. 77 00:03:29,440 --> 00:03:30,726 Um... 78 00:03:30,800 --> 00:03:32,325 She has her... 79 00:03:32,440 --> 00:03:35,091 I figured she's, like, 23? She owns her own house. 80 00:03:35,160 --> 00:03:36,889 I didn't own my own house until I was 30. 81 00:03:36,960 --> 00:03:39,850 I know, right? She's 23 and she owns her own... 82 00:03:39,920 --> 00:03:41,809 She's something like... Yeah, she's really very young, 83 00:03:41,880 --> 00:03:43,325 but she has a very old soul. 84 00:03:43,400 --> 00:03:46,165 - Yeah, she's definitely, I mean.. - Yeah. 85 00:03:46,240 --> 00:03:50,131 She's got her both feet on the ground and her head screwed on. 86 00:03:50,200 --> 00:03:52,601 And she's sort of... She knows a thing or two. 87 00:03:52,680 --> 00:03:54,569 - She's really impressive. - Very impressive. 88 00:03:54,640 --> 00:03:56,085 So I said, "Okay, who's the leading guy? 89 00:03:56,160 --> 00:04:00,802 Everybody agreed that Britt Robertson was the person to play Sophia. 90 00:04:00,880 --> 00:04:02,041 So, who's gonna be Luke? 91 00:04:02,120 --> 00:04:06,091 So, we saw a bunch of guys that came in, and then Scott Eastwood came in. 92 00:04:06,160 --> 00:04:08,367 And I wasn't familiar with him as an actor. 93 00:04:08,440 --> 00:04:12,126 I knew he existed, but when he came in the room, he looked... 94 00:04:12,200 --> 00:04:13,884 - I've never... - Have you seen his abs though? 95 00:04:13,960 --> 00:04:15,928 - Not then. - You haven't seen his abs? 96 00:04:16,000 --> 00:04:18,731 - Not... Not right away. - That's really surprising. 97 00:04:18,800 --> 00:04:21,690 So, I think he came in with a button-up shirt, 98 00:04:21,760 --> 00:04:23,683 - when he came in. - Oh, really? Did he take it off? 99 00:04:23,760 --> 00:04:25,410 - He didn't take it off right away. - Damn, why not? 100 00:04:25,480 --> 00:04:26,766 That's not till after he got the role. 101 00:04:26,840 --> 00:04:28,001 - But, okay! - Right, yeah. 102 00:04:28,120 --> 00:04:30,122 Then he felt more comfortable. 103 00:04:30,200 --> 00:04:33,363 So, those two started... 104 00:04:33,440 --> 00:04:35,204 We got them in a room immediately together, 105 00:04:35,280 --> 00:04:37,282 and there was this odd chemistry. 106 00:04:37,360 --> 00:04:39,488 The chemistry was that 107 00:04:39,560 --> 00:04:41,608 these two people probably would never hang out... 108 00:04:41,680 --> 00:04:42,681 Yeah. 109 00:04:42,800 --> 00:04:44,086 He's from Southern California. 110 00:04:44,160 --> 00:04:46,367 She's from South Carolina. 111 00:04:46,440 --> 00:04:47,646 They're completely different. 112 00:04:47,720 --> 00:04:49,529 - He's this surfer guy. - Yeah. 113 00:04:49,640 --> 00:04:51,051 And then, Britt, even though she's Southern, 114 00:04:51,120 --> 00:04:52,690 she sometimes reads urban to me. 115 00:04:52,760 --> 00:04:54,046 - Or metropolitan. - Yeah. 116 00:04:54,120 --> 00:04:55,485 But in the room, there was this 117 00:04:55,560 --> 00:04:57,130 magnetic thing going on between them, 118 00:04:57,200 --> 00:05:00,124 this opposite that we wanted for the two characters to have. 119 00:05:00,200 --> 00:05:01,690 Oh, really? 120 00:05:01,760 --> 00:05:03,649 They did have that really amazing dynamic. 121 00:05:03,720 --> 00:05:05,882 They take the mickey out of each other a lot. 122 00:05:05,960 --> 00:05:08,440 - Yeah, that's what they... - They kind of insult each other, 123 00:05:08,520 --> 00:05:11,171 and then make faces at each other, and then have a hug. 124 00:05:11,240 --> 00:05:12,605 Then they have a hug right after. 125 00:05:12,680 --> 00:05:14,330 In this, I thought it really worked. 126 00:05:14,400 --> 00:05:17,006 Their acting style is completely different. 127 00:05:17,080 --> 00:05:19,242 And then, right away, we just felt like these two 128 00:05:19,320 --> 00:05:22,085 were the two people to play the role. I felt like Luke... 129 00:05:22,160 --> 00:05:24,003 Yeah, cause Luke and Sophia are really different. 130 00:05:24,080 --> 00:05:25,764 They're really different as people. 131 00:05:25,840 --> 00:05:29,003 Him wanting to be the number one bull rider, 132 00:05:29,080 --> 00:05:31,890 getting back after an accident, after a year. 133 00:05:31,960 --> 00:05:33,724 - We felt like he needed to be... - Look at him. 134 00:05:33,800 --> 00:05:35,086 Yeah, definitely, He's focused. 135 00:05:35,160 --> 00:05:38,323 He needed to be very goal-oriented. 136 00:05:38,440 --> 00:05:39,521 Actually, you know what? 137 00:05:39,600 --> 00:05:42,729 Alan Aida said something the other day that really struck me, 138 00:05:42,800 --> 00:05:46,646 and that I looked out for when I saw the film the second time. 139 00:05:46,720 --> 00:05:50,202 And every time that Luke gets on the bull, 140 00:05:50,280 --> 00:05:53,523 he has a different kind of fear come across his face. 141 00:05:53,600 --> 00:05:54,567 Mmm-hmm. 142 00:05:54,640 --> 00:05:56,369 Which is really extraordinary, actually, 143 00:05:56,440 --> 00:05:58,568 cause he doesn't really appear to be doing much. 144 00:05:58,640 --> 00:06:00,722 But every time he gets on that bull, 145 00:06:00,800 --> 00:06:02,689 you see him throughout the course of the film, 146 00:06:02,760 --> 00:06:04,524 - it's a different kind of fear. - Yeah. 147 00:06:04,600 --> 00:06:07,649 And it's a fear that's perfect for that moment. 148 00:06:07,760 --> 00:06:10,525 And that's really amazing, the way you guys did that. 149 00:06:10,640 --> 00:06:13,007 It's so perfect for the journey that he goes on. 150 00:06:13,080 --> 00:06:15,731 Yeah, And it really worked out that he was very open 151 00:06:15,800 --> 00:06:17,848 for the boot camp that we placed together. 152 00:06:17,920 --> 00:06:19,888 Him working with Troy Brown, 153 00:06:19,960 --> 00:06:22,531 a stunt coordinator in Hollywood who's working, 154 00:06:22,600 --> 00:06:26,571 but also who's a professional individual 155 00:06:26,640 --> 00:06:29,530 who works in the PBR bull riding circuit. 156 00:06:29,600 --> 00:06:32,729 He's a guy who knows bulls, knows riders, and plus he's a stunt coordinator. 157 00:06:32,800 --> 00:06:34,450 So he was very involved in creating this boot camp... 158 00:06:34,520 --> 00:06:36,284 - Oh, that's great. - to get him prepared. 159 00:06:36,360 --> 00:06:40,809 Yeah. I heard that Scott basically went over there and said... 160 00:06:40,920 --> 00:06:47,246 With a case of beer and went, "Right. Guys, let's talk about bulls." 161 00:06:48,960 --> 00:06:51,008 - And the cowboys immediately loved him. - The cowboys... 162 00:06:51,080 --> 00:06:52,570 - And that's the kind of guy he is. - Yeah. 163 00:06:52,680 --> 00:06:55,843 -"He brings beer, He's one of us. - He brings beer, Exactly. 164 00:06:55,920 --> 00:06:58,651 So, he was really ready, you know, to get involved. 165 00:06:58,720 --> 00:07:00,484 He had the physicality that we were looking for, 166 00:07:00,560 --> 00:07:02,767 he had the looks that we needed for the romance, 167 00:07:02,840 --> 00:07:05,923 and he had the chops and the chemistry between these two. 168 00:07:06,000 --> 00:07:11,928 So, when it came down to who's going to play Ira and Ruth, 169 00:07:12,000 --> 00:07:15,721 that was a lot more tougher, in terms of "Who are we gonna find?" 170 00:07:16,480 --> 00:07:20,201 Because Ruth is really critical for the film. 171 00:07:21,080 --> 00:07:23,606 She's the one that Ira adores, 172 00:07:23,680 --> 00:07:26,490 she's the center of the whole story. 173 00:07:26,560 --> 00:07:30,087 So, I was seeing a lot of different individuals that came in. 174 00:07:31,040 --> 00:07:32,690 No one just didn't seem right. 175 00:07:32,760 --> 00:07:36,048 Everybody had chops, and everybody had the skills, 176 00:07:36,120 --> 00:07:39,442 there's a lot of people who had the looks, but who had the spirit? 177 00:07:39,560 --> 00:07:40,607 Aw. 178 00:07:40,680 --> 00:07:42,728 - So... - I'm blushing. 179 00:07:42,800 --> 00:07:45,201 And you just came in. I think it was at the end of the day, 180 00:07:45,280 --> 00:07:47,601 after we saw a bunch of people. You came in. 181 00:07:47,680 --> 00:07:50,570 And I think I still have that audition somewhere. 182 00:07:50,640 --> 00:07:51,801 Oh, gosh. 183 00:07:51,880 --> 00:07:54,531 You just came in and you just had this spirit, 184 00:07:54,600 --> 00:07:57,331 and this nice, lovable thing. 185 00:07:57,400 --> 00:08:00,404 It just reminded me of this Richard Lester film 186 00:08:00,480 --> 00:08:03,290 - that I told you about, Petulia. - Yeah. 187 00:08:03,360 --> 00:08:06,648 That Julie Christie played in 1967 or '68. 188 00:08:06,720 --> 00:08:07,721 Such a good film. 189 00:08:07,840 --> 00:08:12,050 And that spirit, that quirkiness, but also having a heart 190 00:08:13,680 --> 00:08:16,160 that you would immediately fall in love with. 191 00:08:16,240 --> 00:08:20,529 So, you came in, and I wanted you for this role right after you left. 192 00:08:20,600 --> 00:08:22,329 But then you were on a plane going back to... 193 00:08:22,400 --> 00:08:23,925 Going back to Europe. 194 00:08:25,760 --> 00:08:29,685 It's been an interesting few months for that. 195 00:08:29,760 --> 00:08:33,970 It's been a bit of backwards and forwards. I think I'm still dizzy from it. 196 00:08:34,040 --> 00:08:35,166 Yeah, You know... 197 00:08:35,240 --> 00:08:36,844 I still haven't quite recovered from those trips. 198 00:08:36,920 --> 00:08:39,400 Yeah, You had a concern that... 199 00:08:39,480 --> 00:08:41,767 A lot of people had a concern about, 200 00:08:41,840 --> 00:08:44,286 "What's people's perception of the material? 201 00:08:44,360 --> 00:08:47,045 Or maybe I was feeling the same way as... 202 00:08:47,720 --> 00:08:49,370 Maybe, "How does this connect to me? 203 00:08:49,440 --> 00:08:54,241 "I don't want this to feel corny or feel oversentimental. 204 00:08:54,320 --> 00:08:55,685 I don't know if that's what you were feeling, 205 00:08:55,760 --> 00:08:58,366 but I was feeling that way and I had to dig that within myself. 206 00:08:58,440 --> 00:09:03,844 But I even had to explain that even to these guys, to Scott and Britt. 207 00:09:03,920 --> 00:09:07,163 I find that with every person who's in the movie. 208 00:09:07,240 --> 00:09:09,925 But you had reservations early on. 209 00:09:10,000 --> 00:09:16,087 Yeah. There was a couple of things, I think, that were my prejudice, 210 00:09:16,200 --> 00:09:20,808 particularly with women sacrificing anything for men, 211 00:09:20,880 --> 00:09:23,406 and men not sacrificing anything for their women. 212 00:09:23,480 --> 00:09:26,245 I mean, historically, that's been the case. 213 00:09:26,320 --> 00:09:29,608 And as a woman, I find that a little bit hard to swallow. 214 00:09:29,680 --> 00:09:33,082 But, really, what won me over was you explaining to me that 215 00:09:33,160 --> 00:09:35,049 it's just all about love. 216 00:09:35,120 --> 00:09:38,090 And when I heard that you've been together with your woman for so long, 217 00:09:38,160 --> 00:09:41,482 and that just having a real sit-down 218 00:09:41,600 --> 00:09:43,602 and actually thinking, "What's important in life? 219 00:09:43,680 --> 00:09:46,923 That's what won me over to the script. 220 00:09:47,000 --> 00:09:49,731 It was you telling me about love. 221 00:09:49,800 --> 00:09:54,522 And I was like, If anybody can do this film that's about love, 222 00:09:54,600 --> 00:09:57,968 "then it's gonna be George. So, that's what made me wanna do it. 223 00:09:58,040 --> 00:09:59,963 That is awesome, I just remember a... 224 00:10:00,040 --> 00:10:01,644 I never actually made a phone call to Paris. 225 00:10:01,720 --> 00:10:03,722 - That was my first phone call to Paris. - Oh, really? 226 00:10:03,800 --> 00:10:05,768 I've been to Paris, but I never made a phone call there. 227 00:10:05,840 --> 00:10:06,887 Never made a phone call to... 228 00:10:07,000 --> 00:10:08,490 - Yeah. - I was staying at a really nice hotel as well. 229 00:10:08,560 --> 00:10:10,961 I think it was... Yeah, it's gotta be 12:00 my time, 230 00:10:11,040 --> 00:10:12,451 which was really late, I think you're... 231 00:10:12,520 --> 00:10:16,047 Yeah, we were, and I think I had a photo shoot, or I had something. 232 00:10:16,120 --> 00:10:17,167 What was I doing? 233 00:10:17,240 --> 00:10:19,527 I can't even remember what I was doing in Paris. 234 00:10:19,600 --> 00:10:21,762 Yeah. 235 00:10:21,840 --> 00:10:24,047 So, I made a phone call, we talked for a while. 236 00:10:24,120 --> 00:10:27,283 And then, I get off the phone and told Fox. 237 00:10:27,360 --> 00:10:30,204 Fox loved you. And so, I'm glad it happened, 238 00:10:30,280 --> 00:10:32,282 because that was the center point of... 239 00:10:32,400 --> 00:10:34,084 It was great, because you and Britt, 240 00:10:34,160 --> 00:10:36,128 as the two leading ladies, are completely different. 241 00:10:36,480 --> 00:10:38,130 - Oh, we're polar opposites. - And... 242 00:10:38,240 --> 00:10:39,571 But we have a lot in common, which is good. 243 00:10:39,640 --> 00:10:40,971 - Which is great, you know? - Yeah. 244 00:10:42,440 --> 00:10:45,887 And so, it came down to "Who's going to play Ira? 245 00:10:45,960 --> 00:10:50,682 And I remember Jack Huston 's name came up early. 246 00:10:50,760 --> 00:10:52,569 For some reason, I heard that he passed early, 247 00:10:52,640 --> 00:10:56,201 but then it turned out that he was actually doing a play in London. 248 00:10:56,280 --> 00:10:58,169 And it was just that he just wasn't available. 249 00:10:58,240 --> 00:10:59,844 But then he became available. 250 00:10:59,920 --> 00:11:01,843 So, really, it was just a meeting, really. 251 00:11:01,920 --> 00:11:02,967 - Yeah. - Between you two guys. 252 00:11:03,040 --> 00:11:04,121 We didn't even have time to audition, 253 00:11:04,200 --> 00:11:06,680 cause I think he was going out or doing something the next... 254 00:11:06,760 --> 00:11:08,410 - Yeah, he was working. - He was working on something. 255 00:11:08,520 --> 00:11:13,526 And so, we sat down at a restaurant, actually, in the lobby of my office. 256 00:11:13,600 --> 00:11:15,568 - Yeah. - And it was really late one night. 257 00:11:15,640 --> 00:11:18,325 - And you guys just... - He just charmed my pants off, really. 258 00:11:18,400 --> 00:11:20,926 - Really? Right away, right? - It was like, "Look at this charming man. 259 00:11:21,000 --> 00:11:22,729 - Yeah, you know... - How dare he be so charming? 260 00:11:22,800 --> 00:11:24,848 I know, right? It was just... It was great. 261 00:11:24,920 --> 00:11:27,207 It was about 20 minutes. It wasn't even long. 262 00:11:27,280 --> 00:11:29,203 - Yeah, it wasn't long at all. - It wasn't long. 263 00:11:29,280 --> 00:11:31,282 And then you took a photo out in the hall, 264 00:11:31,360 --> 00:11:35,410 and I was like, "He's gonna look so much better than me in this photo. 265 00:11:35,480 --> 00:11:37,847 I just had a whole day of talking to people. 266 00:11:38,480 --> 00:11:39,845 And you know what I really love, too, 267 00:11:39,920 --> 00:11:44,926 is that it had a sense of color in the story. 268 00:11:45,000 --> 00:11:48,288 I like you guys complexion. You guys are darker... 269 00:11:48,360 --> 00:11:50,362 Yeah, It's like Barbie and Ken, 270 00:11:50,480 --> 00:11:53,245 and then versus Wonder Woman and Action Man. 271 00:11:53,320 --> 00:11:54,731 Yeah. 272 00:11:57,560 --> 00:12:00,040 Cause, really, Scott Eastwood looks like a Ken doll. 273 00:12:00,120 --> 00:12:02,407 - I mean, it's actually uncanny. - Yeah, you know? 274 00:12:02,480 --> 00:12:04,164 They should make a Barbie and Ken film 275 00:12:04,240 --> 00:12:09,087 and just cast Scott as Ken, cause it works. 276 00:12:09,160 --> 00:12:10,844 It works, right? 277 00:12:10,920 --> 00:12:12,604 I believe it, I buy it. 278 00:12:12,680 --> 00:12:15,331 And I just love that it just had different perspectives 279 00:12:15,400 --> 00:12:19,564 and that really honed in the visual style for me 280 00:12:19,640 --> 00:12:21,608 in terms of the movie, is that, 281 00:12:21,680 --> 00:12:26,766 really, these are two different stories with two different visual styles, 282 00:12:26,840 --> 00:12:30,640 two different looks in terms of camera style, 283 00:12:30,720 --> 00:12:32,210 in terms of camera lighting, 284 00:12:32,280 --> 00:12:35,807 in terms of sets and, sometimes, even behavior. 285 00:12:35,880 --> 00:12:38,645 How these guys' scenes are completely different 286 00:12:38,720 --> 00:12:42,406 from what you guys are doing in the '40s through this, 287 00:12:42,480 --> 00:12:44,130 all the way up to 2000. 288 00:12:44,480 --> 00:12:46,926 Yeah, cause this part of the film that we're watching now 289 00:12:47,000 --> 00:12:48,809 has this cleaner look, doesn't it? 290 00:12:48,880 --> 00:12:52,521 It's more like, it is very... It's actually very modern. 291 00:12:52,600 --> 00:12:59,131 It's very pristine and it's got that really lovely Southern feel as well. 292 00:12:59,200 --> 00:13:01,521 - You can really tell you're in the South. - Yes. 293 00:13:01,600 --> 00:13:02,965 Like everybody's colors... 294 00:13:03,040 --> 00:13:09,161 It's all the nice pastels and nice green leaves and all the... 295 00:13:09,240 --> 00:13:10,605 - Yeah. - It's lovely. 296 00:13:10,680 --> 00:13:13,126 And then in our bit it's more like... 297 00:13:13,200 --> 00:13:15,521 It's got that vintage feel to it. 298 00:13:15,600 --> 00:13:18,649 It's more tungsten, ls that even a word? 299 00:13:18,720 --> 00:13:20,802 - Yeah... - I don't know if that's the right term for it. 300 00:13:20,880 --> 00:13:22,689 - You're close enough... - I'm trying to be technical. 301 00:13:22,760 --> 00:13:24,649 That's good, I like you being technical, That's good. 302 00:13:24,720 --> 00:13:27,644 - Yeah, I'm with you, I'm with you. - I don't know about those things. 303 00:13:27,720 --> 00:13:29,245 - But definitely... - More sepia. 304 00:13:29,320 --> 00:13:31,766 - Yeah, there you go. There you go. - It's a little more sepia. 305 00:13:31,840 --> 00:13:33,046 And we're pretty much... 306 00:13:33,120 --> 00:13:36,010 I mean, we really made sure that 307 00:13:36,080 --> 00:13:38,526 these two stories look completely different. 308 00:13:38,600 --> 00:13:43,003 But what really made it organically connect together was the relationship, 309 00:13:43,080 --> 00:13:46,482 which, almost, I always counted as a third story, 310 00:13:46,560 --> 00:13:50,007 - which is Sophia and the older Ira. - Yeah. 311 00:13:50,080 --> 00:13:52,845 Which is almost... Their color tone is very neutral, 312 00:13:52,920 --> 00:13:55,685 which allows us to go back and forth 313 00:13:55,760 --> 00:14:00,527 between our de-saturated look in the 1940s to the saturated look... 314 00:14:00,600 --> 00:14:04,650 - Yeah, he's a real good link. - in the modern look here, so... 315 00:14:04,720 --> 00:14:07,291 - Look at this. - Yeah, that's great. 316 00:14:09,920 --> 00:14:15,051 So, really, what's really working here in terms of story is the setup, 317 00:14:15,120 --> 00:14:17,851 pretty much Luke meeting Sophia. 318 00:14:17,960 --> 00:14:19,644 Luke is a dreamy cowboy. 319 00:14:19,720 --> 00:14:21,688 Yes, He has to go into campus. 320 00:14:21,760 --> 00:14:26,482 And he's got all the sorority sisters sighing and squealing. 321 00:14:28,840 --> 00:14:31,969 So, here we are on our first date. 322 00:14:32,040 --> 00:14:34,725 And I think it was a very important scene, 323 00:14:34,800 --> 00:14:39,567 because in the setup of most romantic stories, 324 00:14:39,640 --> 00:14:43,406 usually, the first date leads these guys in the right path. 325 00:14:43,480 --> 00:14:46,563 But for these guys, it leads them the opposite way. 326 00:14:46,640 --> 00:14:51,328 They decide to go in a different direction and not really pursue a relationship. 327 00:14:51,400 --> 00:14:54,244 And I really like that idea, that that's really counter... 328 00:14:54,320 --> 00:14:57,403 A little bit counter what you really expect in most romance... 329 00:14:57,480 --> 00:14:59,369 - Cause also, it's a perfect date. - Yes. 330 00:14:59,440 --> 00:15:02,011 - It couldn't go any better. - Yeah. 331 00:15:02,080 --> 00:15:04,128 This is the thing, right? 332 00:15:04,200 --> 00:15:07,966 This type of film should inspire people to make these kind of dates happen. 333 00:15:08,040 --> 00:15:09,280 And not just for a first date. 334 00:15:09,360 --> 00:15:11,408 Just, if you're married for 60 years, 335 00:15:11,480 --> 00:15:14,927 take your woman out in your truck and take her to a nice lake. 336 00:15:15,000 --> 00:15:16,490 - And look at what he's doing. - Yep. 337 00:15:16,600 --> 00:15:20,002 Look at this lovely lake. Where was this? Where did we shoot this? 338 00:15:20,080 --> 00:15:22,287 This was... God, I think this was in Winston-Salem. 339 00:15:22,400 --> 00:15:25,449 Winston-Salem, Look at this beautiful lake. 340 00:15:25,520 --> 00:15:26,726 - I mean... - Yeah. 341 00:15:26,800 --> 00:15:28,609 Hang on, it's coming, It's coming. 342 00:15:28,680 --> 00:15:30,330 - There it is. - Yeah. 343 00:15:30,400 --> 00:15:32,289 You can see it in her face. 344 00:15:34,360 --> 00:15:37,409 It just takes your breath away, really. 345 00:15:40,000 --> 00:15:41,240 - Wow. - Yeah. 346 00:15:44,200 --> 00:15:47,568 Yes, I think people should be very inspired to do this kind of thing. 347 00:15:47,640 --> 00:15:50,041 Yeah, this location that you just mentioned, 348 00:15:50,120 --> 00:15:55,524 it was actually in Winston-Salem, near the college Winston-Salem. 349 00:15:56,400 --> 00:15:59,449 And this is a place called Dobson, North Carolina. 350 00:15:59,560 --> 00:16:01,642 - Dobson. - This place was hidden away. 351 00:16:01,720 --> 00:16:06,931 It was actually owned, all this land is owned by one family. 352 00:16:07,000 --> 00:16:08,001 - Oh, we were there as well. - Yes. 353 00:16:08,080 --> 00:16:09,605 That's where we shot Black Mountain, isn't it? 354 00:16:09,680 --> 00:16:11,648 Yes, This is where the Black Mountain was shot as well. 355 00:16:11,720 --> 00:16:13,484 Yeah. It was beautiful around there. 356 00:16:13,560 --> 00:16:15,642 - Beautiful place and... - And such a nice family. 357 00:16:15,720 --> 00:16:18,200 Nice family. Nobody had ever shot here before, 358 00:16:18,280 --> 00:16:19,884 so they allowed us to come in. 359 00:16:19,960 --> 00:16:22,531 I kind of knew that tips from my dad's diner... 360 00:16:22,600 --> 00:16:24,967 weren't really going to cut it. 361 00:16:26,360 --> 00:16:28,044 I just... 362 00:16:28,240 --> 00:16:30,481 I love art. 363 00:16:30,560 --> 00:16:32,642 I love everything about it. I love studying it. 364 00:16:32,760 --> 00:16:34,728 I love the culture that it brings... 365 00:16:34,800 --> 00:16:37,280 and the whole human experience... 366 00:16:37,880 --> 00:16:39,325 Here is... 367 00:16:39,400 --> 00:16:42,688 Now this scene was always discussed, how we can get it right. 368 00:16:42,760 --> 00:16:45,445 Scott was always concerned about this scene. 369 00:16:45,600 --> 00:16:48,524 How can you make this a really great relationship, 370 00:16:48,600 --> 00:16:52,889 a great first moment in just one night? 371 00:16:53,280 --> 00:16:55,760 And, ultimately, we tried different scenes, 372 00:16:55,840 --> 00:16:59,208 and ultimately, this scene was put together by a combination, 373 00:16:59,280 --> 00:17:03,080 written by a combination of different individuals. 374 00:17:03,160 --> 00:17:06,687 And we came up to the idea of, "It's a long night. 375 00:17:06,760 --> 00:17:09,286 It's really a succession of three, 376 00:17:09,360 --> 00:17:13,331 possibly four different scenes in one particular night. 377 00:17:13,400 --> 00:17:16,609 Mark lsham's score's really working very minimally 378 00:17:16,720 --> 00:17:20,406 in a very nice, subtle way. 379 00:17:20,480 --> 00:17:25,202 But what we found that really made the scene really work was that 380 00:17:25,280 --> 00:17:26,645 you're looking at two individuals 381 00:17:26,720 --> 00:17:30,202 who are talking about their needs and their goals. 382 00:17:30,280 --> 00:17:32,328 This was the center of what the story's about, 383 00:17:32,400 --> 00:17:34,767 with the young Sophia/Luke story, 384 00:17:34,840 --> 00:17:38,401 is that, even today, it's like a commentary on today's society, 385 00:17:38,480 --> 00:17:41,404 - is that we're so goal-oriented. - Yeah, we are. 386 00:17:41,480 --> 00:17:44,689 He wants to be the number one bull rider, She wants to go to New York. 387 00:17:44,760 --> 00:17:48,924 They're ignoring this emotional magnet between each other. 388 00:17:49,000 --> 00:17:51,970 They're ignoring this little chemistry that they're having. 389 00:17:52,040 --> 00:17:53,326 And even after a beautiful night, 390 00:17:53,400 --> 00:17:59,328 they both choose to keep going and let it just go by the wayside. 391 00:17:59,400 --> 00:18:02,768 And Sophia's really the one who's the first person, 392 00:18:02,840 --> 00:18:06,162 she's the one who's more ready to let it go. 393 00:18:06,240 --> 00:18:07,241 Yeah. 394 00:18:07,320 --> 00:18:10,244 And I always liked that idea, was that, 395 00:18:10,320 --> 00:18:14,370 she's the one who's making the choice, actually, not to pursue love. 396 00:18:14,440 --> 00:18:16,920 - Yeah. - And he's the one who wants to continue. 397 00:18:17,000 --> 00:18:18,081 Well, it's also like she's... 398 00:18:18,200 --> 00:18:21,488 I mean, bull riders don't have a very long career. 399 00:18:21,560 --> 00:18:26,441 Whereas, she is looking at a really lengthy, 400 00:18:26,520 --> 00:18:29,922 and the-sky's-the-limit career opportunity. 401 00:18:30,000 --> 00:18:33,482 - Yes. - Which is, I think, a lot harder to give up, 402 00:18:33,560 --> 00:18:35,688 especially as she says... 403 00:18:35,800 --> 00:18:37,768 Later on in the film, she mentions that 404 00:18:37,840 --> 00:18:40,446 she comes from quite a humble background. 405 00:18:40,520 --> 00:18:45,048 And she has this opportunity to break through that 406 00:18:46,280 --> 00:18:51,286 and become a big, big fish in the art world. 407 00:18:51,720 --> 00:18:52,767 And that's what she wants. 408 00:18:52,840 --> 00:18:54,649 And so, I don't know. 409 00:18:54,720 --> 00:18:57,769 She's kind of like, her whole thing is New York and it's so sad. 410 00:18:57,840 --> 00:18:59,490 - Yeah, exactly. - Cause they... 411 00:18:59,560 --> 00:19:01,005 'Cause, I mean, look at his eyes. 412 00:19:01,080 --> 00:19:02,969 - Yeah. Yeah. - Look at his little eyes. 413 00:19:03,040 --> 00:19:04,405 Oh, they almost kiss. 414 00:19:04,480 --> 00:19:06,164 - Almost, and they... - But they didn't. 415 00:19:06,240 --> 00:19:08,322 - Yeah. They used to at one point. - They used to. 416 00:19:08,400 --> 00:19:09,811 - Really? Yeah, right. - Yeah. 417 00:19:09,880 --> 00:19:11,086 There was a cut before you saw. 418 00:19:11,160 --> 00:19:12,810 Did someone eat some garlic or something? 419 00:19:12,920 --> 00:19:16,527 Yeah. No, what happened was, we decided to save it. 420 00:19:16,600 --> 00:19:17,931 They did... We had a couple... 421 00:19:18,000 --> 00:19:19,490 We had one early test screening 422 00:19:19,560 --> 00:19:24,202 and the audience felt they kissed a little too soon. 423 00:19:24,280 --> 00:19:27,841 So I took it out, and then we shot the bar scene 424 00:19:27,920 --> 00:19:29,763 where they actually go out on their second date. 425 00:19:29,840 --> 00:19:32,207 So we created a second date for these guys. 426 00:19:32,280 --> 00:19:33,281 Oh. 427 00:19:33,400 --> 00:19:34,890 And I just felt like it worked stronger. 428 00:19:34,960 --> 00:19:38,521 Again, it's that they want to, but they just can't. 429 00:19:38,600 --> 00:19:41,046 They got other goals in mind. 430 00:19:41,120 --> 00:19:43,009 And I really like this scene, too, 'cause it takes its time. 431 00:19:43,080 --> 00:19:45,845 It's like a two minute, two-and-a-half minute scene on both fronts, 432 00:19:45,920 --> 00:19:48,321 with them at the table and then here, them at the fire. 433 00:19:48,400 --> 00:19:49,845 - Yeah. - It's allowing two people to talk. 434 00:19:49,920 --> 00:19:54,369 It's allowing the audience to really get into their relationship and be with them. 435 00:19:54,440 --> 00:19:55,646 And then you're gonna hear 436 00:19:55,720 --> 00:19:58,200 the thunderstorm that's gonna come in the background. 437 00:19:58,280 --> 00:20:02,808 That's one of the things that I discussed early on, is just... 438 00:20:02,880 --> 00:20:04,530 How do you make a thunderstorm happen? 439 00:20:04,640 --> 00:20:05,926 Yeah, it was more like... 440 00:20:06,000 --> 00:20:09,368 Mostly, I always remember in Nicholas Sparks films, 441 00:20:09,840 --> 00:20:11,330 always it's raining with thunderstorm, 442 00:20:11,400 --> 00:20:13,243 and they're kissing in the rain and everything. 443 00:20:14,440 --> 00:20:15,566 So, I always felt like... 444 00:20:15,640 --> 00:20:16,926 They're always kissing in the rain. 445 00:20:17,000 --> 00:20:19,321 Yeah, so I felt like here in our story, 446 00:20:19,400 --> 00:20:22,404 all the thunderstorm and rain always happens 447 00:20:22,480 --> 00:20:24,562 when the story shifts 448 00:20:24,640 --> 00:20:29,726 or when something big plot-wise is going to happen. 449 00:20:29,800 --> 00:20:35,045 So it's not necessarily complementing or exploring love. 450 00:20:35,120 --> 00:20:36,565 It's just exploring story. 451 00:20:36,640 --> 00:20:41,043 - Yeah. - Right now the story is, during this rain, 452 00:20:41,120 --> 00:20:44,090 there's gonna be a life-altering change with these characters, 453 00:20:44,160 --> 00:20:47,881 because they're about to meet the older Ira 454 00:20:47,960 --> 00:20:50,440 in the car, on the side of the road here. 455 00:20:50,560 --> 00:20:52,403 And this is the change in their story. 456 00:20:52,520 --> 00:20:55,842 Alan, Alan. 457 00:20:56,280 --> 00:20:58,169 Alan, wake up. 458 00:20:58,240 --> 00:21:00,686 Alan, wake up. Grab the torch. 459 00:21:00,760 --> 00:21:04,003 Just open the door, Scott. There you go. That's it. Pull him out. 460 00:21:06,440 --> 00:21:09,728 - He's such a legend, Goodness. - Yeah. Awesome guy to work with. 461 00:21:09,800 --> 00:21:12,883 Oh! Alan Aida, What an institution. 462 00:21:13,000 --> 00:21:14,968 It's actually beautiful, this thing about the rain, 463 00:21:15,040 --> 00:21:19,250 because the rain in North Carolina is astonishing. 464 00:21:19,320 --> 00:21:20,321 Mmm-hmm. 465 00:21:20,400 --> 00:21:25,122 I mean, it starts pouring down and there's drops as big as your hand. 466 00:21:25,200 --> 00:21:28,010 - Yeah. - And it just soaks you through. 467 00:21:28,080 --> 00:21:29,809 And you don't understand where it came from. 468 00:21:29,880 --> 00:21:31,166 Yeah, yeah. 469 00:21:31,240 --> 00:21:34,722 And it doesn't, also, ever seem to stop once it starts. 470 00:21:39,040 --> 00:21:42,362 One of the guys on the set was always saying... 471 00:21:42,440 --> 00:21:43,726 He says, "Welcome to North Carolina. 472 00:21:43,800 --> 00:21:46,326 "If you don't like the weather, just hold on 10 minutes and it'll change. 473 00:21:46,400 --> 00:21:47,686 It will change, exactly. 474 00:21:49,040 --> 00:21:50,166 And that's exactly what happened. 475 00:21:50,240 --> 00:21:51,810 It would rain for about 10, 15 minutes, 476 00:21:51,880 --> 00:21:53,769 and then it would be completely different later. 477 00:21:53,840 --> 00:21:57,162 Yeah, And then it'll be sunshine and not a cloud in the sky, 478 00:21:57,240 --> 00:21:59,208 - and mosquitos... - Yeah, It is a great thing. 479 00:21:59,280 --> 00:22:02,250 - That was my first time in North Carolina. - Yeah, me too. 480 00:22:02,320 --> 00:22:04,641 And it was awesome because we shot in Wilmington, 481 00:22:04,760 --> 00:22:06,888 we shot in Greensboro, we shot in Jacksonville. 482 00:22:06,960 --> 00:22:08,689 We shot in Dobson. 483 00:22:08,760 --> 00:22:13,004 These are all the cities that we were able to shoot most of the film in, 484 00:22:13,080 --> 00:22:15,924 and I never knew that North Carolina was that huge. 485 00:22:16,000 --> 00:22:18,241 - And that beautiful. - And beautiful. 486 00:22:18,320 --> 00:22:20,243 It doesn't seem like it's... 487 00:22:20,320 --> 00:22:21,924 It's not like a tourist destination 488 00:22:22,000 --> 00:22:23,001 - for some reason. - No. 489 00:22:23,080 --> 00:22:25,651 - But it is absolutely stunning. - Yeah. 490 00:22:25,720 --> 00:22:28,326 - Like those Smoky Mountains? - Awesome. 491 00:22:28,400 --> 00:22:32,610 - I mean, come on. - Yeah, beautiful. Beautiful. 492 00:22:33,720 --> 00:22:37,645 - And you had good food as well, grits. - Oh, yeah, yeah. 493 00:22:37,720 --> 00:22:39,688 - Hello, grits for lunch. - Were you near... 494 00:22:39,760 --> 00:22:41,683 You were living right next to a restaurant or something... 495 00:22:41,760 --> 00:22:44,525 Yeah, we were living right next to number 9, 496 00:22:44,600 --> 00:22:47,444 which is such a brilliant place 'cause they served us grits. 497 00:22:47,520 --> 00:22:48,726 They just saw me coming 498 00:22:48,800 --> 00:22:52,691 and they knew that they had to put some grits on the table. 499 00:22:52,760 --> 00:22:55,047 And yeah, we were staying in this beautiful little cottage 500 00:22:55,120 --> 00:22:58,329 called the French Cottage, or the French House. 501 00:22:58,400 --> 00:23:00,368 And Jeremy Irons had 502 00:23:00,760 --> 00:23:02,205 stayed there before. 503 00:23:02,280 --> 00:23:07,923 And I was staying in this little annex with the lowest ceilings I've ever seen. 504 00:23:08,000 --> 00:23:11,004 Everything looked miniature. And they were really low ceilings. 505 00:23:11,080 --> 00:23:14,084 And every time I got into the shower, I hit my head on the ceiling. 506 00:23:14,160 --> 00:23:15,650 Oh, really? 507 00:23:15,720 --> 00:23:18,291 And I started thinking about Jeremy Irons 508 00:23:18,360 --> 00:23:20,601 every time I got in the shower, cause he's really tall. 509 00:23:20,680 --> 00:23:22,967 - Mmm-hmm. - And if I was hitting my head, 510 00:23:23,040 --> 00:23:26,886 I don't know how he would have been, like, managing this space. 511 00:23:26,960 --> 00:23:28,610 I don't know what he did. 512 00:23:28,680 --> 00:23:30,569 But it was a lovely house. It was so beautiful and the... 513 00:23:30,640 --> 00:23:31,801 You stayed there the whole time, right? 514 00:23:31,880 --> 00:23:33,769 Yeah, the people were so nice. 515 00:23:33,840 --> 00:23:39,131 And it's true, we were right in the center of the historical part of town. 516 00:23:39,200 --> 00:23:41,851 - Yeah. - The historical district. 517 00:23:41,920 --> 00:23:43,490 And just everyone's so nice, 518 00:23:45,680 --> 00:23:47,921 and the food is just grits. 519 00:23:48,000 --> 00:23:50,651 - I'm completely in love with grits. - Really? With grits. 520 00:23:51,720 --> 00:23:54,291 And here now, this is where we start shifting, 521 00:23:54,360 --> 00:23:57,842 where we start getting into our second story... 522 00:23:57,920 --> 00:23:59,922 - Here we go. - which is Ruth and Ira. 523 00:24:00,040 --> 00:24:01,804 - Back in time. - Back in time. 524 00:24:01,880 --> 00:24:05,362 So, just to talk about briefly, 525 00:24:05,440 --> 00:24:08,364 we had about a week, maybe a week and a couple of days 526 00:24:08,440 --> 00:24:11,284 to really start talking about the character, 527 00:24:11,360 --> 00:24:14,921 'cause the script was shifting so much. 528 00:24:15,000 --> 00:24:19,130 And a lot of that was, you know, just trying to really make the schedule, 529 00:24:19,200 --> 00:24:23,603 make the budget, and to make the characters in the story improve. 530 00:24:23,680 --> 00:24:25,409 But one of the great things is that 531 00:24:25,480 --> 00:24:28,324 I had you and Jack for about six, seven days. 532 00:24:28,400 --> 00:24:31,643 And really, just with wardrobe, and talking about makeup, 533 00:24:31,720 --> 00:24:33,529 and then we were talking about the characters. 534 00:24:33,600 --> 00:24:38,162 So, we had this nice, big conference room at this hotel 535 00:24:38,240 --> 00:24:40,481 at the Hyatt, downtown Wilmington. 536 00:24:40,560 --> 00:24:43,450 And we would just spend hours just talking about the character. 537 00:24:43,520 --> 00:24:45,443 Talking it through, talking it through. 538 00:24:45,520 --> 00:24:49,366 It was so great, actually, to be able to rehearse 539 00:24:49,440 --> 00:24:53,843 and go, like, really get your teeth stuck in, It was so lovely. 540 00:24:53,920 --> 00:24:56,207 - And Jack was really up for it as well. - Yeah. 541 00:24:56,280 --> 00:25:00,922 And we were all just sitting there, analyzing everything that we could. 542 00:25:01,000 --> 00:25:02,684 - Yeah. - Every doubt that came up, 543 00:25:02,760 --> 00:25:07,402 we'd just battle it right until the end, just for the sake of it. 544 00:25:07,480 --> 00:25:10,529 Just for the sake of really understanding these people 545 00:25:10,600 --> 00:25:12,045 and what brings them together. 546 00:25:12,120 --> 00:25:15,203 It was really totally stimulating and wonderful. 547 00:25:15,280 --> 00:25:17,442 Yeah, it was a great process. 548 00:25:17,520 --> 00:25:22,321 It was completely different, too, with what Sophia and Luke's process was. 549 00:25:23,120 --> 00:25:25,646 With those guys, I'd rehearse some of the scenes, 550 00:25:25,720 --> 00:25:30,123 and we'd talk about the objectives, about the characters, what they want, 551 00:25:30,200 --> 00:25:32,362 do some blocking and... 552 00:25:32,440 --> 00:25:34,204 Or sometimes, we'd throw out some lines. 553 00:25:34,280 --> 00:25:36,044 But we'll go through the scenes. 554 00:25:36,120 --> 00:25:39,203 And that was just the style for that particular story. 555 00:25:39,280 --> 00:25:41,362 - Yeah. - You guys' style was completely different. 556 00:25:41,440 --> 00:25:42,885 Sometimes we'd show up, 557 00:25:42,960 --> 00:25:44,564 and then you and Jack would just sometimes 558 00:25:44,640 --> 00:25:48,804 - start talking for, like, 30, 40 minutes. - I know, you were so patient, George. 559 00:25:48,880 --> 00:25:50,245 - Cause you guys... - You deserve a medal. 560 00:25:50,360 --> 00:25:55,571 You deserve some kind of prize for having to put up with us. 561 00:25:55,640 --> 00:25:56,766 Cause you guys talk a lot, 562 00:25:56,840 --> 00:25:59,889 and you guys have got this chemistry that's just amazing. 563 00:25:59,960 --> 00:26:02,930 It's just... l don't know cause of the European thing or something. 564 00:26:03,040 --> 00:26:04,201 Both of you guys spent a lot of time 565 00:26:04,560 --> 00:26:05,561 over there. 566 00:26:05,640 --> 00:26:07,722 And that's great, 'cause all that culture, 567 00:26:07,800 --> 00:26:12,044 all those worldviews that you have is really what Ruth... 568 00:26:12,120 --> 00:26:15,567 And I love that, 'cause I felt like talking is really rehearsing. 569 00:26:15,640 --> 00:26:18,086 - Yeah, Understanding. - And that's part of the process. 570 00:26:18,160 --> 00:26:21,528 Understanding, And so, we spent... 571 00:26:21,640 --> 00:26:23,642 Your story spent... Our rehearsals were different. 572 00:26:23,720 --> 00:26:25,643 - Yeah. - Where it'll just be a lot of talking. 573 00:26:25,720 --> 00:26:27,529 Sometimes we'd stand up on our feet. 574 00:26:27,600 --> 00:26:28,931 - Yeah. - We'd do a little bit. 575 00:26:29,000 --> 00:26:34,370 Jack was always concerned not getting too into the scenes early. 576 00:26:34,440 --> 00:26:37,171 Yeah, 'cause he wanted to save the money. 577 00:26:37,280 --> 00:26:40,363 - You have to be very delicate with Jack. - Yeah. 578 00:26:40,440 --> 00:26:44,604 And the difference with Scott and Luke, with Scott and Sophia, or Scott and Britt, 579 00:26:44,680 --> 00:26:47,286 - they just liked to do it over and over. - Yeah. 580 00:26:47,360 --> 00:26:50,330 So, it was a different, delicate thing, and that's what you learn as a director, 581 00:26:50,400 --> 00:26:52,926 - each actor has a different... - Yeah. 582 00:26:53,000 --> 00:26:54,161 Different situations. 583 00:26:54,240 --> 00:26:57,562 And I noticed that you and Jack spent a lot of time at night, or restaurants, 584 00:26:57,640 --> 00:27:00,291 - or talking, or going over the material. - Yeah. 585 00:27:00,360 --> 00:27:02,249 Or sometimes you guys would write some things, 586 00:27:02,320 --> 00:27:05,085 or I'll write some things and we'll come together and throw it out. 587 00:27:05,160 --> 00:27:10,929 So it had that leisurely, but in-depth, rehearsal time. 588 00:27:11,000 --> 00:27:12,809 - Yeah, It was so wonderful. - Yeah. 589 00:27:12,880 --> 00:27:17,124 I think every film should have at least a week rehearsal, 590 00:27:17,200 --> 00:27:18,884 where everybody just gets to actually... 591 00:27:18,960 --> 00:27:21,964 Cause our story 592 00:27:23,720 --> 00:27:26,371 was really filled throughout. 593 00:27:26,440 --> 00:27:29,364 Like, really filled out throughout that time. 594 00:27:29,440 --> 00:27:31,204 We understood, 595 00:27:31,280 --> 00:27:33,726 we went deeper than on the surface 596 00:27:33,800 --> 00:27:39,489 just by analyzing the whys and the hows and the whats. 597 00:27:39,560 --> 00:27:41,722 And we really managed to fill it out. 598 00:27:41,800 --> 00:27:45,168 And, actually, when it came to doing it on set, 599 00:27:45,240 --> 00:27:46,765 it was so much easier 600 00:27:46,840 --> 00:27:50,925 than if you were trying things out on set that you weren't really sure about. 601 00:27:51,000 --> 00:27:52,331 Yeah. 602 00:27:52,440 --> 00:27:56,843 It was a total privilege to have those days of just hanging out 603 00:27:58,640 --> 00:28:00,688 - and going into the script. - Yeah. 604 00:28:00,760 --> 00:28:04,924 And also, I think, 'cause Jack and I both have got that 605 00:28:05,000 --> 00:28:07,571 slightly cynical aspect 606 00:28:09,040 --> 00:28:11,691 to British heritage. 607 00:28:14,600 --> 00:28:17,206 We get raised with this love story. 608 00:28:17,280 --> 00:28:20,966 - We're like, "Nah, come on. - Right. Right. 609 00:28:22,640 --> 00:28:23,880 Cause the... I don't know. 610 00:28:23,960 --> 00:28:28,727 There's an inherent cynicism in the UK that you don't really get here. 611 00:28:28,800 --> 00:28:32,566 People are much happier expressing their feelings here. 612 00:28:32,640 --> 00:28:36,611 So, it was good just to be able to actually talk about feelings, 613 00:28:36,680 --> 00:28:38,205 and about really going for it. 614 00:28:38,320 --> 00:28:40,482 And, actually, once we made the... 615 00:28:40,560 --> 00:28:42,608 It was almost like we had to make a decision that 616 00:28:42,680 --> 00:28:45,411 we were gonna be really romantic. 617 00:28:45,480 --> 00:28:47,562 It was almost like we had to make some kind of, 618 00:28:47,640 --> 00:28:49,722 "Okay, it's gonna be all right? Yeah? It's all right? 619 00:28:49,800 --> 00:28:51,723 "It's all right if we... Okay, we're gonna do this, right? 620 00:28:51,800 --> 00:28:54,770 - We're gonna? Okay, let's do it. - Right, right. 621 00:28:54,840 --> 00:28:58,128 And it would... Then we went in full romance mode. 622 00:28:58,200 --> 00:28:59,440 Mmm-hmm. 623 00:28:59,520 --> 00:29:02,922 So, I mean, interesting, with your character, 624 00:29:03,000 --> 00:29:07,210 what was your... I know we spent time talking 625 00:29:07,280 --> 00:29:09,851 and we talked a little bit about the book, more about the script. 626 00:29:11,160 --> 00:29:15,085 What was your process of preparing for Ruth? 627 00:29:15,160 --> 00:29:20,166 I think it was a lot to do with the accent. 628 00:29:23,320 --> 00:29:25,971 And I think the accent and the period 629 00:29:26,040 --> 00:29:30,204 were two things that really informed the character, 630 00:29:30,280 --> 00:29:35,320 because it's so different to what I'm used to, evidently. 631 00:29:37,200 --> 00:29:43,207 And they're boundaries that then you can find a lot of freedom within. 632 00:29:43,640 --> 00:29:47,281 But really setting those boundaries and being confident. 633 00:29:47,960 --> 00:29:50,088 I never thought in my life that I would be playing Austrian. 634 00:29:50,160 --> 00:29:53,289 So, it's not one of the accents that I just have up my sleeve. 635 00:29:55,160 --> 00:29:59,245 So, working with a dialect coach, and really trying to get it sounding natural, 636 00:29:59,320 --> 00:30:02,563 and right, and not too much, and not too little... 637 00:30:04,480 --> 00:30:08,246 And I think that, sort of, was the main... 638 00:30:08,320 --> 00:30:10,288 That was the main bulk of it. 639 00:30:10,360 --> 00:30:13,284 And then, from then on, it was just working with Jack and you 640 00:30:13,360 --> 00:30:15,647 to try and get the truth of the scenes. 641 00:30:15,720 --> 00:30:18,849 Because I'm familiar with... 642 00:30:20,080 --> 00:30:22,845 I'm quite familiar with World War ll history in Europe 643 00:30:22,920 --> 00:30:25,207 because that's what I studied in school, in history class. 644 00:30:25,280 --> 00:30:28,090 And I was always very interested in history. 645 00:30:28,160 --> 00:30:31,687 So, that's something that I found... 646 00:30:31,760 --> 00:30:35,446 I had a lot of references that came quite quickly 647 00:30:35,560 --> 00:30:38,006 with the whole Jewish community. 648 00:30:38,080 --> 00:30:40,401 I'd also just read this fantastic book 649 00:30:40,480 --> 00:30:45,088 about Viennese nobility or aristocracy 650 00:30:45,160 --> 00:30:47,845 that were very involved in the arts. 651 00:30:47,920 --> 00:30:50,082 - So I think that helped as well. - Mmm-hmm. 652 00:30:51,880 --> 00:30:54,121 Yeah, just trying to get the truth of the... 653 00:30:54,200 --> 00:30:55,850 This was an interesting scene. 654 00:30:55,920 --> 00:30:59,288 Because this scene, it's their first date, really. 655 00:30:59,360 --> 00:31:00,441 Yes. 656 00:31:02,440 --> 00:31:06,445 And yet, here she is talking about the horrors of the Holocaust, 657 00:31:08,160 --> 00:31:10,049 which I really shouldn't be laughing about. 658 00:31:10,120 --> 00:31:13,124 I'm laughing at the juxtaposition of those two things, 659 00:31:13,200 --> 00:31:15,567 - rather than of the actual... - Yeah, Yeah. 660 00:31:15,640 --> 00:31:17,881 The events. 661 00:31:17,960 --> 00:31:20,247 But it was a really hard balance to get 662 00:31:20,320 --> 00:31:23,051 because, obviously, what was happening in Europe at the time 663 00:31:23,120 --> 00:31:26,966 was just so inhuman and confusing 664 00:31:27,040 --> 00:31:31,409 and dark and just preposterous. 665 00:31:31,480 --> 00:31:32,891 Yeah. 666 00:31:32,960 --> 00:31:37,249 And especially for these guys that had left and still had family there 667 00:31:37,320 --> 00:31:39,687 and didn't know how to get in touch. 668 00:31:39,760 --> 00:31:43,560 And you'd hear all these stories on the news 669 00:31:43,640 --> 00:31:46,484 and in the papers and you wouldn't know what was true. 670 00:31:46,560 --> 00:31:50,406 And you couldn't possibly believe some of the things that they were doing. 671 00:31:50,480 --> 00:31:54,849 So it was really difficult to just tap that on the surface 672 00:31:54,920 --> 00:31:57,571 and then go back to being all smiley and... 673 00:31:57,640 --> 00:32:01,326 First date with this lovely guy and like... 674 00:32:02,160 --> 00:32:04,401 There he is. Now he's gonna... 675 00:32:05,160 --> 00:32:07,891 Yes, Jack. Go on, ask me out. 676 00:32:07,960 --> 00:32:11,123 And I love that look, too, that you gave him when he turned away, 677 00:32:11,240 --> 00:32:13,561 like he cannot ask you out. 678 00:32:13,640 --> 00:32:16,769 And that's just such a great thing. I just love when 679 00:32:16,840 --> 00:32:19,810 you and Jack and Britt and Scott, 680 00:32:19,880 --> 00:32:22,645 when you guys are completely in the moment, 681 00:32:22,720 --> 00:32:25,724 completely being honest in the moment. 682 00:32:26,400 --> 00:32:30,325 And as a director, you love that because you're surprised with... 683 00:32:30,400 --> 00:32:32,971 I'm gonna be surprised by what you're gonna do. 684 00:32:33,800 --> 00:32:36,690 And I love that, being surprised, not knowing. 685 00:32:36,760 --> 00:32:41,641 How do you take what's on paper and really just take it to another level because... 686 00:32:41,720 --> 00:32:46,601 Humanly or behaviorally, that is what you're gonna do. 687 00:32:46,680 --> 00:32:48,444 And that's the reason why I love this scene, 688 00:32:48,520 --> 00:32:52,969 is because it really showed the sense of where... 689 00:32:53,880 --> 00:32:57,202 It shows the beginning 690 00:32:57,280 --> 00:33:00,966 of happiness in what she finds, when you say on the beach, 691 00:33:01,840 --> 00:33:03,171 "This is the first time I've been happy. 692 00:33:03,240 --> 00:33:06,562 And then it goes later to when you leave him. 693 00:33:06,640 --> 00:33:09,564 It's all connected to happiness. That's what we were saying. 694 00:33:09,640 --> 00:33:13,167 "What is Ruth's drive? What is what you want?" 695 00:33:13,240 --> 00:33:16,084 And we always came down to happiness or... 696 00:33:16,160 --> 00:33:18,242 - Yeah, goodness. - Goodness was the word. 697 00:33:18,320 --> 00:33:19,401 Yeah. 698 00:33:19,480 --> 00:33:23,087 That's one of the things that I really loved about Ruth, actually, 699 00:33:23,160 --> 00:33:24,844 more than anything else, 700 00:33:24,920 --> 00:33:28,845 was the fact that she had come from this world 701 00:33:28,920 --> 00:33:34,768 of tragic suffering of her people. 702 00:33:35,920 --> 00:33:37,604 Which, if you... 703 00:33:38,520 --> 00:33:42,844 You hear stories about the Holocaust and you think this couldn't have happened, 704 00:33:42,920 --> 00:33:46,208 one human being could not have done this to another human being. 705 00:33:46,280 --> 00:33:49,363 It's just insane that this happened. 706 00:33:49,440 --> 00:33:52,887 Only a few decades ago. It's crazy. 707 00:33:53,600 --> 00:33:56,729 And she comes from this place of darkness, 708 00:33:56,800 --> 00:34:02,284 and all she wants to do is make love and life and light come out of it. 709 00:34:14,040 --> 00:34:15,565 Let's go to Luke Collins. 710 00:34:15,640 --> 00:34:18,325 If he makes a qualified ride on Carolina Thunder... 711 00:34:18,440 --> 00:34:22,240 he will crack the top 35 and punch his ticket to Vegas! 712 00:34:23,080 --> 00:34:23,842 Let's go! 713 00:34:24,760 --> 00:34:27,081 So here we are in the bull riding... 714 00:34:27,160 --> 00:34:31,563 Which is the most exciting thing I've ever seen in my life, by the way. 715 00:34:31,640 --> 00:34:34,928 Well, this is one of the great things that I liked about the story, 716 00:34:35,000 --> 00:34:38,243 is that I haven't... There's only really been one film that I remember 717 00:34:38,320 --> 00:34:40,322 that dealt with bull riding, 718 00:34:40,920 --> 00:34:44,845 I think it was a film called 8 Seconds, but it was done years ago. 719 00:34:45,560 --> 00:34:50,566 And in exploring what bull riders go through in the process, 720 00:34:51,240 --> 00:34:55,609 it really became very different for me when I went to Las Vegas for... 721 00:34:55,680 --> 00:34:59,321 In 2014 to see the championship, 722 00:34:59,400 --> 00:35:03,041 the final championship for the bull riders that year. 723 00:35:03,160 --> 00:35:07,006 And watching it on television, I thought, "Okay, it's a cool sport. It's great." 724 00:35:07,320 --> 00:35:09,482 But when they put me behind the chute, 725 00:35:09,560 --> 00:35:13,007 when I actually saw the bulls and the force, how they come out of that chute 726 00:35:13,080 --> 00:35:19,565 and how dangerous and how much force and how fast eight seconds really is, 727 00:35:19,640 --> 00:35:22,405 it changed my perspective of how to shoot the bull. 728 00:35:22,480 --> 00:35:25,051 And my perspective as a director was 729 00:35:25,120 --> 00:35:30,126 really try to make the audience to feel what it's really like to be a bull rider. 730 00:35:30,200 --> 00:35:33,409 And each scene, I felt should feel very different, 731 00:35:33,480 --> 00:35:36,324 and it should be shot in a very different style. 732 00:35:36,400 --> 00:35:40,485 And at the same time, I should really, really get the idea 733 00:35:40,560 --> 00:35:44,485 of what Luke and his agenda is in every scene, 734 00:35:44,560 --> 00:35:49,202 so it doesn't feel like the bull riding scenes had nothing to do with the story. 735 00:35:49,280 --> 00:35:54,161 So, it's a combination of those things that really made us attack each sequence 736 00:35:54,240 --> 00:35:56,641 and made it the best they could really be. 737 00:35:56,720 --> 00:36:00,247 A lot of that was done with having six, seven cameras. 738 00:36:00,960 --> 00:36:03,725 A lot of that was done bringing in the phantom camera, 739 00:36:03,800 --> 00:36:07,566 where we would be able to shoot very, very slow speed, 740 00:36:07,640 --> 00:36:10,849 where we can really capture the muscles, the speed, the energy, 741 00:36:10,920 --> 00:36:13,446 what the bull riders go through, 742 00:36:13,520 --> 00:36:16,729 and really, a combination of angles that I felt that 743 00:36:16,800 --> 00:36:22,045 even the PBR circuit and the PBR 744 00:36:22,120 --> 00:36:24,202 has not even shot themselves, 745 00:36:24,280 --> 00:36:27,124 in terms of the angles, the styles and the placement. 746 00:36:27,200 --> 00:36:30,522 So, a lot of that was done through prep with, 747 00:36:30,600 --> 00:36:33,410 you know, first attacking through storyboards, 748 00:36:33,480 --> 00:36:35,528 attacking what the scene is about, 749 00:36:35,600 --> 00:36:39,605 also attacking what is the best way visually to shoot these scenes. 750 00:36:39,680 --> 00:36:42,251 And you really can't really shoot your load early, 751 00:36:42,320 --> 00:36:46,530 because you got the last sequence coming up in the very last act. 752 00:36:46,640 --> 00:36:48,881 So everything had to be built towards that. 753 00:36:48,960 --> 00:36:50,803 So, it took us about, um... 754 00:36:50,880 --> 00:36:53,087 I think we shot all the bull riders at the end of the film 755 00:36:53,160 --> 00:36:55,242 in nine days or something like that. 756 00:36:55,320 --> 00:36:56,606 And that was in Jacksonville, wasn't it? 757 00:36:56,680 --> 00:36:58,045 That was all... Well, it was a combination 758 00:36:58,120 --> 00:37:00,566 of Jacksonville and Winston-Salem. 759 00:37:02,120 --> 00:37:07,729 And the Jacksonville was the first scene where Luke meets Sophia outside. 760 00:37:07,800 --> 00:37:11,805 And the rest of the Winston-Salem was actually done 761 00:37:11,880 --> 00:37:15,327 where all the other sequences were done at the same time. 762 00:37:16,400 --> 00:37:18,129 So, with that, I mean, we had a lot of great help. 763 00:37:18,200 --> 00:37:20,965 I mean, we had the real guys out there who... 764 00:37:21,040 --> 00:37:25,045 These guys, you know, like Sean Willingham, Kasey Hayes, 765 00:37:25,120 --> 00:37:28,522 Sammy Matthews, Brant Atwood, Billy Robinson, Cody... 766 00:37:28,640 --> 00:37:31,610 I heard so many stories about those cats. 767 00:37:32,320 --> 00:37:35,324 - These are the real guys. - They really left their mark on set. 768 00:37:36,080 --> 00:37:37,969 These guys are the real guys. 769 00:37:38,040 --> 00:37:42,204 They did a lot of the bull riding in the movie. 770 00:37:42,320 --> 00:37:45,051 These guys came out, did it multiple times, 771 00:37:45,120 --> 00:37:47,441 cause sometimes you shoot a bull ride, 772 00:37:47,520 --> 00:37:49,602 and sometimes they'd only be on there for two seconds. 773 00:37:49,680 --> 00:37:53,401 Then you got to keep going until you can go back and do it again. 774 00:37:53,480 --> 00:37:55,687 - So these guys were rolling... - They had a championship coming up. 775 00:37:55,760 --> 00:37:58,730 They had a championship coming up too, so all those guys were doing double duty. 776 00:37:58,800 --> 00:38:00,609 They didn't want to injure themselves 777 00:38:00,680 --> 00:38:02,682 too badly whilst they were making the film, 778 00:38:02,800 --> 00:38:04,802 because they wanted to go and compete. 779 00:38:04,880 --> 00:38:07,486 But at the same time, they had to make the film look really good 780 00:38:07,560 --> 00:38:11,451 and that's their passion, so they were doing it 100% anyway. 781 00:38:11,520 --> 00:38:15,650 So, it was really high stakes for those guys sometimes. 782 00:38:15,720 --> 00:38:16,801 Very, very high stakes. 783 00:38:16,880 --> 00:38:19,486 And these guys, the PBR, were awesome. 784 00:38:19,560 --> 00:38:22,962 I mean, without them we would not have done... 785 00:38:23,040 --> 00:38:26,169 Gotten everything we needed for the film. 786 00:38:26,280 --> 00:38:28,442 You know who else I think really made the film 787 00:38:28,520 --> 00:38:32,969 just so special, was Babs McDance. 788 00:38:33,080 --> 00:38:35,082 - Yes. - Babs McDance, 789 00:38:35,160 --> 00:38:37,891 who was, no kidding, our dance teacher. 790 00:38:38,000 --> 00:38:42,688 This is the scene where we're going in to have a little boogie. 791 00:38:43,240 --> 00:38:47,211 And we met this lovely woman who came to do the choreography with us 792 00:38:47,280 --> 00:38:49,760 for hours and hours and hours, 793 00:38:49,840 --> 00:38:53,447 until Jack got it 'cause... 794 00:38:53,560 --> 00:38:56,325 I got it instantly, but Jack took a little longer. 795 00:38:56,400 --> 00:39:00,325 But, yes, this woman was actually called Babs McDance, 796 00:39:00,440 --> 00:39:03,250 and she was, I think, made of sunshine. 797 00:39:03,360 --> 00:39:07,524 Her molecular composition is joy and unicorns. 798 00:39:07,600 --> 00:39:11,002 This woman is the happiest pumpkin I've ever met. 799 00:39:11,080 --> 00:39:12,491 Wow. 800 00:39:12,560 --> 00:39:15,723 And this was great too, because you guys were... I was... 801 00:39:15,800 --> 00:39:18,565 This was in the middle of the shoot, so I was still shooting. 802 00:39:18,640 --> 00:39:22,122 She would send me over tapes of what you guys were doing. 803 00:39:22,200 --> 00:39:24,168 And it was interesting, seeing you guys on video. 804 00:39:24,240 --> 00:39:29,121 I'm sorry. She was showing us tape of what you were trying to explain to her 805 00:39:29,200 --> 00:39:31,282 that you wanted for the scene. 806 00:39:31,360 --> 00:39:33,806 And watching George Tillman, Jr. 807 00:39:33,880 --> 00:39:40,081 try and do a 1940s little step is hilarious, 808 00:39:40,160 --> 00:39:45,564 'cause he just looks like a gangster trying to have... 809 00:39:45,640 --> 00:39:48,883 I don't know what he was trying to do. It was beautiful. 810 00:39:48,960 --> 00:39:51,406 - It was pure, pure joy. - Oh, man. 811 00:39:51,480 --> 00:39:53,084 And this was great. You guys were on time 812 00:39:53,200 --> 00:39:55,646 all the way, every take. 813 00:39:55,720 --> 00:39:58,405 And look at Jack. He really got it, man, he really got it. 814 00:39:58,480 --> 00:40:02,007 He's actually a brilliant dancer. I'm just making fun of him. 815 00:40:03,720 --> 00:40:06,929 And all these guys around them are all from her school, I believe. 816 00:40:07,000 --> 00:40:11,244 Yeah, they were all the North Carolina dancers. 817 00:40:11,320 --> 00:40:13,322 - Mmm-hmm. - The Wilmington dancers. 818 00:40:13,400 --> 00:40:17,121 But you know what? There is such a beauty to this kind of dance 819 00:40:17,200 --> 00:40:19,282 that doesn't really exist anymore, 820 00:40:19,360 --> 00:40:22,887 where you actually have to make physical contact with the other person 821 00:40:22,960 --> 00:40:26,248 and you have to, sort of, read... 822 00:40:27,120 --> 00:40:30,329 It's almost like you have to physically read what they're saying. 823 00:40:30,680 --> 00:40:35,004 It's like you have to obey, particularly the guys that are... The guy's lead. 824 00:40:35,120 --> 00:40:36,121 Yeah. 825 00:40:36,200 --> 00:40:38,282 - And... Oh! There's a smooch. - There it is, yeah. 826 00:40:38,360 --> 00:40:42,729 The guy's lead and the girl has to listen to the slightest touch of the hand, 827 00:40:43,520 --> 00:40:45,409 to go left or right or up or down. 828 00:40:45,480 --> 00:40:51,761 And it's such a... There's such intrinsic beauty to this type of dancing 829 00:40:51,840 --> 00:40:53,604 that I think is perfect for the film. 830 00:40:53,720 --> 00:40:54,801 Yeah. 831 00:40:54,880 --> 00:40:58,282 It immediately makes you feel... Have butterflies in your belly. 832 00:40:58,360 --> 00:41:01,807 - Yeah. - And so do these cars, as well. 833 00:41:01,880 --> 00:41:03,723 These cars make me have butterflies. 834 00:41:03,800 --> 00:41:05,643 Yeah, it was very hot this day when we were shooting. 835 00:41:05,720 --> 00:41:07,051 Oh, my goodness, it was boiling. 836 00:41:07,120 --> 00:41:09,600 And getting into that car with no air conditioning 837 00:41:09,680 --> 00:41:13,651 was just the sweatiest experience, I think, of the whole film. 838 00:41:16,440 --> 00:41:17,771 This was a fun day. 839 00:41:17,840 --> 00:41:19,444 Yeah, it was a fun day. 840 00:41:21,680 --> 00:41:24,411 There are some great beaches in North Carolina. 841 00:41:35,520 --> 00:41:41,926 A lot of these guys contribute and really brought something to the script. 842 00:41:42,000 --> 00:41:45,129 Craig Bolotin did the original draft. 843 00:41:46,080 --> 00:41:51,086 Also, just with the actors, making the lines, making them work. 844 00:41:51,160 --> 00:41:54,448 You guys tweaking, constantly tweaking on the set. 845 00:41:54,520 --> 00:41:55,931 That's something you don't want to do. 846 00:41:56,000 --> 00:42:00,005 You want to have a script ready to go, but we were on a fast deadline. 847 00:42:00,120 --> 00:42:03,442 Everybody was... It was moving fast. 848 00:42:03,520 --> 00:42:05,522 But when you really spend time in rehearsals 849 00:42:05,600 --> 00:42:07,045 and spend time with the characters, 850 00:42:07,120 --> 00:42:09,248 you know what feels right and what don't. 851 00:42:09,320 --> 00:42:12,961 And that's what that rehearsal time really did. 852 00:42:13,040 --> 00:42:17,682 But off the bat, everybody made a commitment 853 00:42:17,760 --> 00:42:20,286 on both stories, the actors on both stories. 854 00:42:20,360 --> 00:42:22,840 "How can we make this the best that we can make it? 855 00:42:22,920 --> 00:42:26,083 "How can we stay away from clichés? 856 00:42:26,160 --> 00:42:28,367 "How can we make sure the audience, when they're watching it, 857 00:42:28,480 --> 00:42:30,403 "they don't quite know what's going to happen 858 00:42:30,480 --> 00:42:32,482 "or what's not going to happen?" 859 00:42:32,560 --> 00:42:36,724 So, once you make that commitment on all fronts with the department heads, 860 00:42:37,480 --> 00:42:41,371 everybody on one accord, what's the theme, what's the story, 861 00:42:42,320 --> 00:42:45,449 you really have a good chance to really tell a good story. 862 00:42:45,520 --> 00:42:50,082 And I think it starts with us as creative people saying, 863 00:42:50,160 --> 00:42:52,401 How can we make sure we're not repeating 864 00:42:52,480 --> 00:42:55,051 "or make sure we're not making something 865 00:42:55,120 --> 00:42:57,885 "that we all have seen and the audience is gonna be bored?" 866 00:42:57,960 --> 00:43:02,124 This scene is a great example of what you're saying, actually, because it... 867 00:43:02,200 --> 00:43:06,842 I mean, I've never watched a film where before the guy is about to propose, 868 00:43:06,920 --> 00:43:10,766 the girl says, "Well, stop right there. I want loads of kids. 869 00:43:10,840 --> 00:43:15,209 "So unless you're prepared to give me that, I'm not gonna say yes. So you should... 870 00:43:15,320 --> 00:43:18,290 "I'll save you the embarrassment. These are my conditions first. 871 00:43:18,360 --> 00:43:20,089 I mean, it's so unexpected, actually. 872 00:43:20,200 --> 00:43:22,646 And that's something I really like about Ruth and about the script. 873 00:43:22,720 --> 00:43:23,926 - It's kind of... - Yeah. 874 00:43:24,000 --> 00:43:25,923 - It's sort of... - Yeah. 875 00:43:26,040 --> 00:43:28,611 And this bit, we didn't... I mean, we... 876 00:43:28,680 --> 00:43:31,445 I think it changed at one point and then we changed it back. 877 00:43:31,520 --> 00:43:32,601 We changed it back, yeah. 878 00:43:32,680 --> 00:43:34,045 To the original of, "No, I want a family. 879 00:43:34,120 --> 00:43:36,691 - Yeah, yeah, yeah. - I think it's great. 880 00:43:36,800 --> 00:43:38,484 And I think we even threw this, we even... 881 00:43:38,560 --> 00:43:40,483 The scene got longer and I cut it down. 882 00:43:40,560 --> 00:43:44,531 Even to break up the rhythm of, "Okay, here's the proposal scene." 883 00:43:44,640 --> 00:43:46,802 We even, when you're about... 884 00:43:46,880 --> 00:43:50,566 Yeah, you interrupt him the first time because you say this is about the kids. 885 00:43:50,640 --> 00:43:52,847 And then we even threw in the mom at one point... 886 00:43:52,920 --> 00:43:53,967 Yeah, that's right. 887 00:43:54,040 --> 00:43:56,771 Ruthie, the mom interrupted and threw him off again... 888 00:43:56,840 --> 00:43:59,969 But we just, I felt like, "Okay, it worked really well." 889 00:44:00,040 --> 00:44:01,087 Yeah, it's cleaner like this. 890 00:44:01,200 --> 00:44:02,361 - It's lovely. - It's cleaner this way. 891 00:44:02,440 --> 00:44:04,647 It's more to the point. 892 00:44:04,720 --> 00:44:07,564 So, here we have the story of Sophia 893 00:44:07,640 --> 00:44:08,926 hearing all the stories 894 00:44:09,320 --> 00:44:10,401 from Ira, 895 00:44:10,480 --> 00:44:11,641 the older Ira. 896 00:44:11,720 --> 00:44:15,122 Now it makes her realize about her relationship 897 00:44:15,200 --> 00:44:17,168 and that's what this moment is about, 898 00:44:17,240 --> 00:44:20,483 her, "How can I pursue? How can I make things better? 899 00:44:21,240 --> 00:44:25,370 "How can I personalize my feelings, my emotions? 900 00:44:25,440 --> 00:44:28,489 And it is connecting her to Luke a little bit more now 901 00:44:28,600 --> 00:44:30,523 after hearing Ira and Ruth's story. 902 00:44:30,600 --> 00:44:32,523 And a very fateful song comes on the radio. 903 00:44:32,600 --> 00:44:34,602 Yeah, yeah, yeah. 904 00:44:35,080 --> 00:44:41,008 And then we just connect it right to Luke driving in the same fashion, 905 00:44:42,280 --> 00:44:43,770 and thinking about her. 906 00:44:43,840 --> 00:44:46,241 So again, it's trying to focus the story. 907 00:44:46,320 --> 00:44:50,291 I have to say, I had a really great post-production team. 908 00:44:50,360 --> 00:44:55,207 I had a great editor, Jason Ballantine, who really was in the... 909 00:44:55,280 --> 00:44:58,807 He was in the fighting fields with me with this story. 910 00:44:58,880 --> 00:45:02,009 It's hard, because you've got two different stories, 911 00:45:02,080 --> 00:45:05,402 so when do you come out of one story, when do you begin another? 912 00:45:05,480 --> 00:45:10,771 The biggest challenge was how can the B-story, Ruth and Ira, 913 00:45:11,960 --> 00:45:14,804 really come in and help our A-story along? 914 00:45:14,880 --> 00:45:15,881 Yeah. 915 00:45:15,960 --> 00:45:20,648 If that connection doesn't happen, the movie doesn't work at all. 916 00:45:20,720 --> 00:45:23,883 So then it came down to the point, "When are they making comments? 917 00:45:23,960 --> 00:45:25,564 "When is that happening? 918 00:45:25,640 --> 00:45:27,847 So, it was making sure that when they meet, 919 00:45:27,920 --> 00:45:30,127 that's when we meet Ira and Ruth. 920 00:45:30,200 --> 00:45:33,443 When they break up, that's when Ira and Ruth are gonna break up. 921 00:45:33,520 --> 00:45:37,047 When they have their biggest situation and obstacle, 922 00:45:37,120 --> 00:45:40,408 that's when Ruth and Ira will have their biggest obstacle. 923 00:45:40,480 --> 00:45:41,686 And it really wasn't... 924 00:45:41,800 --> 00:45:45,009 I was concerned at one point that it really wasn't on the nose, 925 00:45:45,080 --> 00:45:49,404 but it's very subtle in how it works and how it crosses over. 926 00:45:49,480 --> 00:45:53,963 But I think what it does is it proposes the universality of love. 927 00:45:54,040 --> 00:45:58,250 But also retains the individual nature 928 00:45:58,320 --> 00:46:01,244 and the particular nature of each relationship, 929 00:46:01,360 --> 00:46:02,805 which is different. 930 00:46:02,880 --> 00:46:05,929 Each relationship is faced with different challenges 931 00:46:06,000 --> 00:46:11,086 and each life has different obstacles and things to overcome. 932 00:46:11,160 --> 00:46:15,324 But ultimately, we all want the same thing. 933 00:46:15,400 --> 00:46:17,164 - Yes. - And I think that's what it captures. 934 00:46:17,240 --> 00:46:19,971 What you guys really, I think, captured beautifully. 935 00:46:20,040 --> 00:46:22,964 So there's a couple things I did to really make the connection more, 936 00:46:23,040 --> 00:46:26,044 just with the photo booth there. 937 00:46:26,120 --> 00:46:31,126 I shot Luke and Sophia in a photo booth as well to connect that. 938 00:46:31,200 --> 00:46:33,441 What's so funny too is all filmmakers out there, 939 00:46:33,560 --> 00:46:36,166 if any filmmaker is watching and listening to this, you know, 940 00:46:36,240 --> 00:46:40,564 our makeup test just with wardrobe, I just shot you guys in a photo booth 941 00:46:40,640 --> 00:46:42,688 just to see how you guys looked and we ended up using it. 942 00:46:42,760 --> 00:46:44,967 Yes, that's right, I remember that. 943 00:46:46,240 --> 00:46:49,801 So I try to shoot things and try to get extra things in. 944 00:46:50,480 --> 00:46:52,164 Luke and Sophia did the same thing, so... 945 00:46:52,240 --> 00:46:53,969 This is just... This was the... 946 00:46:54,080 --> 00:46:57,004 Actually, this whole section was a part of the lunch break, wasn't it? 947 00:46:57,080 --> 00:46:58,127 Yeah. 948 00:46:58,200 --> 00:47:00,806 You just cut and you just shot a little bit of the lunch break. 949 00:47:00,920 --> 00:47:01,887 Yeah. 950 00:47:01,960 --> 00:47:04,201 That's what lunch looked like on set. 951 00:47:04,280 --> 00:47:08,171 The people throwing the bombs are the... 952 00:47:08,240 --> 00:47:09,685 Yeah. 953 00:47:09,760 --> 00:47:11,091 This was all done... 954 00:47:11,160 --> 00:47:12,844 - Grips and the... - Yeah. 955 00:47:12,920 --> 00:47:16,208 This was done all in six hours, this whole scene. 956 00:47:16,280 --> 00:47:20,808 This is North Carolina in the summertime, you don't get night very long. 957 00:47:20,880 --> 00:47:22,211 I think you get six hours. 958 00:47:22,280 --> 00:47:24,442 Yeah, which is the perfect position 959 00:47:24,520 --> 00:47:27,683 for the very limited shooting schedule. 960 00:47:30,120 --> 00:47:31,804 But everybody was great. 961 00:47:31,880 --> 00:47:34,087 The stunt coordinators worked this out. 962 00:47:34,880 --> 00:47:37,360 My AD, H. H. Cooper really did a great job, 963 00:47:37,440 --> 00:47:40,728 really organizing what shots we need, 964 00:47:40,800 --> 00:47:45,044 when the bombs drop, when we go right into the dialogue moments. 965 00:47:45,120 --> 00:47:47,600 We actually came out... 966 00:47:47,680 --> 00:47:49,250 We... the day... The weekend before, 967 00:47:49,320 --> 00:47:51,891 we actually choreographed the whole scene, 968 00:47:51,960 --> 00:47:56,010 so we'd be ready to rock and roll a few days later when we shot the scene. 969 00:47:56,080 --> 00:47:58,890 So, all that really worked out right. But it really came down to, 970 00:47:58,960 --> 00:48:01,042 "Okay, how do we... We don't want to just shoot a war scene. 971 00:48:01,120 --> 00:48:03,122 "How's this working with the narrative? 972 00:48:03,200 --> 00:48:04,725 And I looked at it like I did with the bull riding. 973 00:48:04,800 --> 00:48:08,043 This whole sequence is all about, "Got to get back to Ruth. 974 00:48:08,120 --> 00:48:10,964 You promised. I promised I was gonna come back. 975 00:48:11,040 --> 00:48:16,444 So using "I promised" really informed what this scene needed to be. 976 00:48:16,520 --> 00:48:19,126 And this is something too, was just straight in the narrative, 977 00:48:19,200 --> 00:48:20,850 which is, I got to get back to Ruth. 978 00:48:20,960 --> 00:48:24,089 So, that's what this scene really is all about, 979 00:48:24,160 --> 00:48:25,764 is getting back to a love and a life 980 00:48:25,880 --> 00:48:28,724 because the marriage didn't happen. It was interrupted by World War ll. 981 00:48:28,840 --> 00:48:32,128 - It finally caught up with you guys. - Yeah, Yeah. 982 00:48:34,800 --> 00:48:37,087 And here he is with a very bad fever. 983 00:48:37,160 --> 00:48:38,321 Yep. 984 00:48:38,760 --> 00:48:40,603 I'm very sorry. 985 00:48:41,400 --> 00:48:43,880 I think it's nice how you resolve this whole thing about 986 00:48:43,960 --> 00:48:45,450 what actually happened to him, 987 00:48:45,520 --> 00:48:48,603 to stop him from being able to have children. 988 00:48:48,680 --> 00:48:54,084 I think it was a tough challenge, because how do you... 989 00:48:54,200 --> 00:48:56,680 How do you say it without saying it? 990 00:48:56,760 --> 00:48:59,331 How do you tell the story without... 991 00:48:59,720 --> 00:49:01,006 Yeah. 992 00:49:01,080 --> 00:49:02,730 Without going in... 993 00:49:02,800 --> 00:49:05,610 I mean, without going into the ins and outs of 994 00:49:05,680 --> 00:49:07,762 the specific medical condition? 995 00:49:07,880 --> 00:49:11,566 And I think it becomes very clear, right now you don't really know what's up. 996 00:49:11,640 --> 00:49:14,564 And it's very nice, 'cause it leaves a little bit of mystery. 997 00:49:14,680 --> 00:49:15,761 Yeah. 998 00:49:15,840 --> 00:49:18,047 And then in the next scene, 999 00:49:18,120 --> 00:49:20,600 the audience finds out at the same time as Ruth. 1000 00:49:20,680 --> 00:49:21,886 Yeah. 1001 00:49:23,560 --> 00:49:26,530 And I think this house that we shot, your home, 1002 00:49:26,600 --> 00:49:29,444 was right down the street from where you were living, right? 1003 00:49:29,520 --> 00:49:30,487 Yeah. It was right around the corner. 1004 00:49:30,560 --> 00:49:31,800 That's pretty much where... 1005 00:49:31,880 --> 00:49:36,249 That's what where I was living looked like, which was just so delightful. 1006 00:49:39,840 --> 00:49:43,890 Always liked the last moment of this scene, 1007 00:49:44,000 --> 00:49:45,809 when he finally looks up at you. 1008 00:49:45,920 --> 00:49:48,605 He refused to look at you in the face 1009 00:49:49,200 --> 00:49:52,443 because of his broken promise to come back, 1010 00:49:52,520 --> 00:49:54,522 which is physically coming back to see you, 1011 00:49:54,600 --> 00:49:58,844 but he chose to alienate you because of how he's feeling, 1012 00:49:58,920 --> 00:50:01,924 what he's not able to do, which is have kids. 1013 00:50:02,560 --> 00:50:04,927 And he's not 100% sure on that yet. 1014 00:50:05,000 --> 00:50:09,244 There's still a chance. Which we spent a lot of time talking about. 1015 00:50:11,200 --> 00:50:14,841 But it's this very moment when he finally does look at you, 1016 00:50:14,920 --> 00:50:16,126 I just love that... 1017 00:50:16,240 --> 00:50:17,446 He's very broken. 1018 00:50:17,520 --> 00:50:18,726 Yeah. 1019 00:50:18,800 --> 00:50:21,201 But somehow in this moment when you sit down 1020 00:50:21,280 --> 00:50:23,203 and he finally looks at you, 1021 00:50:23,280 --> 00:50:27,365 it's like this moment, which only Ruth can give, 1022 00:50:27,440 --> 00:50:30,967 it's just full of love and I'm here for you. 1023 00:50:31,040 --> 00:50:33,850 It's one of my favorite moments that I always made sure 1024 00:50:33,920 --> 00:50:37,208 I preserved and didn't cut down and I just stayed with it. 1025 00:50:37,280 --> 00:50:40,204 It's just that look there, how you're just there for him. 1026 00:50:40,280 --> 00:50:41,361 I really love that moment. 1027 00:50:41,440 --> 00:50:43,647 That was really difficult for me to access. 1028 00:50:47,320 --> 00:50:50,483 That was actually a really... 'Cause it is that thing of, you know, 1029 00:50:50,560 --> 00:50:53,928 "How do you treat someone who's just come back from 1030 00:50:54,000 --> 00:50:56,970 the most horrific experience of their life? 1031 00:50:57,040 --> 00:51:00,965 "How do you approach this person who's just come back from the war? 1032 00:51:01,040 --> 00:51:05,728 And there is a real balance to be found between 1033 00:51:05,800 --> 00:51:08,201 not pitying, no pity, 1034 00:51:08,280 --> 00:51:13,411 because pity is an alienating attitude. 1035 00:51:13,480 --> 00:51:15,005 Yeah. 1036 00:51:15,480 --> 00:51:17,084 And no... 1037 00:51:17,160 --> 00:51:19,049 But at the same time, you can't be too hard on them. 1038 00:51:19,120 --> 00:51:20,929 So, it's like this really interesting balance. 1039 00:51:21,000 --> 00:51:24,402 And I think it was helpful to think about all the... 1040 00:51:24,480 --> 00:51:27,245 I've got a couple of friends that have been in the war, 1041 00:51:27,320 --> 00:51:29,448 like, in the Middle East now. 1042 00:51:29,520 --> 00:51:34,048 And it was helpful to think about what they would want. 1043 00:51:34,120 --> 00:51:35,246 Yeah. 1044 00:51:35,360 --> 00:51:38,091 Which is just, "I'm here if you want to talk. 1045 00:51:38,160 --> 00:51:39,446 "If you don't want to talk, if you want to go out 1046 00:51:39,520 --> 00:51:40,760 "for a glass of wine, I'm here, too. 1047 00:51:40,840 --> 00:51:42,410 Yeah, yeah. 1048 00:51:43,480 --> 00:51:47,451 And our... Here, so in this moment, it was interesting, in the script, 1049 00:51:48,520 --> 00:51:51,763 originally written, Ruth comes in and says, 1050 00:51:52,480 --> 00:51:54,164 "Ask me now. 1051 00:51:54,960 --> 00:51:58,123 And then Ruth here... 1052 00:51:58,200 --> 00:52:00,931 Ruth here says something totally different that I totally fucked up. 1053 00:52:01,000 --> 00:52:02,650 Ruth says something totally different. 1054 00:52:02,720 --> 00:52:03,881 When he came in, you were like, 1055 00:52:03,960 --> 00:52:06,327 "I can't say these words. I don't think I feel right. 1056 00:52:06,400 --> 00:52:10,121 Well, it's just... The way that it was written was... 1057 00:52:11,560 --> 00:52:14,962 It came out as something that she was desperate for. 1058 00:52:15,040 --> 00:52:17,771 - And I was very reluctant to give in to that. - Mmm-hmm. 1059 00:52:17,840 --> 00:52:21,287 Because I felt like it was more she's calling his bluff 1060 00:52:21,360 --> 00:52:24,648 rather than if he doesn't marry her, she's gonna die. 1061 00:52:24,720 --> 00:52:27,803 - Yeah. - So, I really wanted it to be that, 1062 00:52:28,840 --> 00:52:31,002 and that it was clear that she was going, 1063 00:52:31,080 --> 00:52:33,811 "No, don't play these games with me. 1064 00:52:33,920 --> 00:52:36,241 "I know you want to marry me. I want to marry you. 1065 00:52:36,320 --> 00:52:38,561 - I know what I'm getting into, It's fine. - Yeah. 1066 00:52:38,640 --> 00:52:43,168 But then, as you know, as I often do, got a little carried away. 1067 00:52:43,240 --> 00:52:45,527 Yeah, yeah, yeah. 1068 00:52:46,600 --> 00:52:48,204 Got a little carried away. 1069 00:52:48,280 --> 00:52:50,408 And it was one of the only times 1070 00:52:51,960 --> 00:52:54,804 that I think we didn't reach 1071 00:52:56,440 --> 00:52:59,842 a constructive compromise, in a way. 1072 00:53:00,600 --> 00:53:02,568 But, hey, it doesn't look too bad. 1073 00:53:02,640 --> 00:53:04,688 It doesn't look too bad. Yeah, it worked out. 1074 00:53:04,760 --> 00:53:05,807 - It was all right. - Yeah. 1075 00:53:05,880 --> 00:53:07,882 - And I remember, too... - I think Jack really makes it, that one. 1076 00:53:07,960 --> 00:53:10,201 - Yeah. - Jack makes that scene. 1077 00:53:10,280 --> 00:53:11,361 Cause I remember we were ready 1078 00:53:11,440 --> 00:53:12,441 to shoot this scene right here, 1079 00:53:12,520 --> 00:53:13,521 this love scene. 1080 00:53:13,600 --> 00:53:15,523 She's such a hussy in the '40s, having sex. 1081 00:53:15,600 --> 00:53:17,284 In the '40s. And I remember 1082 00:53:17,360 --> 00:53:19,806 we're about to, it was about 20 minutes before shooting, 1083 00:53:19,880 --> 00:53:21,450 and someone came over to me, 1084 00:53:21,520 --> 00:53:23,887 cause I had this big idea of how to block the scene out. 1085 00:53:24,680 --> 00:53:28,002 And they came to me and Fox was like, 1086 00:53:28,080 --> 00:53:30,970 "They don't want you to shoot the scene the way you imagined. 1087 00:53:31,040 --> 00:53:33,361 The woman isn't on top, basically. 1088 00:53:33,480 --> 00:53:36,689 Yeah, it was a scene where you sit Ira down on the chair. 1089 00:53:36,760 --> 00:53:39,809 - Yeah. - And then you get on top of him and... 1090 00:53:39,880 --> 00:53:41,803 - And do him a favor. - And do him a favor. 1091 00:53:41,880 --> 00:53:44,565 I felt like, again, that's us really pushing the cliches, 1092 00:53:44,640 --> 00:53:47,007 which in the '40s stories, you don't really see that. 1093 00:53:47,080 --> 00:53:49,765 And we talked about it early on. Everybody was game. 1094 00:53:49,840 --> 00:53:51,285 Everybody was... You were game. 1095 00:53:51,360 --> 00:53:53,681 And everybody in the '40s was game, Let's not pretend. 1096 00:53:53,760 --> 00:53:56,411 Yeah, And you were like, 1097 00:53:56,480 --> 00:54:00,326 in terms of what we show, and everybody, with Britt and Scott, 1098 00:54:00,400 --> 00:54:02,641 nobody had any issues. 1099 00:54:02,760 --> 00:54:05,001 We knew we couldn't show much. 1100 00:54:05,080 --> 00:54:09,244 But in terms of, "How do we make this the best love story and feeling real? 1101 00:54:09,320 --> 00:54:14,167 "Let's push the sexuality. Let's push what we have. 1102 00:54:14,240 --> 00:54:17,642 I think you told me, I've been nude in stuff before. 1103 00:54:17,720 --> 00:54:19,165 "I don't care. Or something, you know? 1104 00:54:19,240 --> 00:54:22,449 - I love sex scenes, They're hilarious. - Yeah. 1105 00:54:22,520 --> 00:54:24,522 99% Of the time. 1106 00:54:25,000 --> 00:54:26,331 But, also, I think it's... 1107 00:54:26,400 --> 00:54:28,607 I mean, it's obviously important to do them with taste, 1108 00:54:28,680 --> 00:54:32,605 because you don't want to enter this world of cheap boobs and bum 1109 00:54:32,680 --> 00:54:34,250 and all this kind of stuff. 1110 00:54:34,320 --> 00:54:37,767 It has to be relevant. But in this film, it's particularly relevant, 1111 00:54:37,840 --> 00:54:41,401 because these couples are, as you said the other day, 1112 00:54:41,480 --> 00:54:43,369 they're so mismatched. 1113 00:54:43,440 --> 00:54:46,125 They're so unlikely 1114 00:54:46,200 --> 00:54:48,931 that the thing that's really tying them together is chemistry. 1115 00:54:49,000 --> 00:54:54,769 It's like this undeniable, unstoppable, magnetic force 1116 00:54:54,840 --> 00:54:56,524 bringing these people together. 1117 00:54:56,600 --> 00:55:00,241 And that is often expressed through sex. 1118 00:55:00,320 --> 00:55:02,288 And through that kind of intimacy. 1119 00:55:02,400 --> 00:55:04,528 So, I think it was really important in this film 1120 00:55:04,600 --> 00:55:08,810 to get the things that are bringing these couples together 1121 00:55:08,880 --> 00:55:10,882 as well as the things that are tearing them apart. 1122 00:55:10,960 --> 00:55:13,930 Yeah. So we were about to shoot the scene, 1123 00:55:14,000 --> 00:55:16,367 you were about to straddle him. 1124 00:55:16,440 --> 00:55:18,886 And they were like... Fox said, 1125 00:55:19,000 --> 00:55:20,968 "No, they don't want you to do that with the '40s story. 1126 00:55:21,040 --> 00:55:22,929 "Just calm that part down. 1127 00:55:23,000 --> 00:55:26,482 And I was like... I was a little mad for a moment. 1128 00:55:26,560 --> 00:55:30,121 And I told you guys about it and we just did the scene... 1129 00:55:30,200 --> 00:55:31,326 Anyway. 1130 00:55:31,400 --> 00:55:34,688 in a more, no straddling, but in a tame way. 1131 00:55:34,760 --> 00:55:40,164 And ultimately, they were right, in terms of... I think you said it. 1132 00:55:40,240 --> 00:55:45,121 In the '40s, you just want that to be a little different in terms of... 1133 00:55:45,200 --> 00:55:48,841 I think it's important to acknowledge the fact that it was there, 1134 00:55:48,920 --> 00:55:52,367 but it is a different style of film, you made two films. 1135 00:55:52,440 --> 00:55:55,205 And you wouldn't have a sex scene in Gone with the Wind, for example. 1136 00:55:55,280 --> 00:55:56,520 That would be ridiculous. 1137 00:55:56,600 --> 00:55:59,206 A sex scene completely counters the style. 1138 00:55:59,280 --> 00:56:03,205 So, it was important, I think, to stay within the style that you were establishing, 1139 00:56:03,280 --> 00:56:04,361 which is good. 1140 00:56:04,440 --> 00:56:06,568 I think it works the way that you left it. 1141 00:56:06,640 --> 00:56:10,884 I think it was just enough but not too much. 1142 00:56:10,960 --> 00:56:12,405 Yeah, yeah. 1143 00:56:13,520 --> 00:56:16,364 And here is that these guys are now on their second date, 1144 00:56:16,440 --> 00:56:21,651 and because of Ira's influence on Sophia 1145 00:56:21,720 --> 00:56:25,566 and also a little bit on Luke, who was there for the story... 1146 00:56:25,640 --> 00:56:27,768 - The World War H story. - Yeah. 1147 00:56:27,840 --> 00:56:32,084 These two's given a second chance and now opening themselves up. 1148 00:56:32,200 --> 00:56:34,521 And it goes with the line, with him saying, 1149 00:56:35,680 --> 00:56:37,728 "I like you because you're different, 1150 00:56:37,800 --> 00:56:41,202 "because you're not different. You're not like everybody else. 1151 00:56:41,960 --> 00:56:44,804 So, this shows these two guys moving in the right direction. 1152 00:56:44,920 --> 00:56:49,448 So, now you have B-story completely influencing A-story, 1153 00:56:49,520 --> 00:56:52,444 and, also, at this point, the audience don't quite know 1154 00:56:52,520 --> 00:56:55,046 how they're going to converge together. 1155 00:56:55,120 --> 00:56:57,202 Which is what I love, is that we're staying ahead of the audience. 1156 00:56:57,280 --> 00:56:58,281 Yeah. 1157 00:56:58,360 --> 00:57:00,601 But then again, we got these little clues. 1158 00:57:00,680 --> 00:57:03,126 You see her just pulling Luke along. 1159 00:57:03,200 --> 00:57:06,090 It's the same thing with Ira. 1160 00:57:06,160 --> 00:57:09,164 It's just Ruth pulling Ira on the dance floor. 1161 00:57:09,240 --> 00:57:11,163 We'll see that again 1162 00:57:11,280 --> 00:57:14,727 as Sophia's pushing Luke to jump in the water. 1163 00:57:14,800 --> 00:57:19,328 The one thing I love is that the women in the film are really pulling the guys. 1164 00:57:19,400 --> 00:57:21,402 The guys are a step behind. 1165 00:57:21,480 --> 00:57:25,201 As it happens in real life, most of the time. 1166 00:57:25,280 --> 00:57:28,284 No offense, yeah. But that's pretty much the truth. 1167 00:57:28,360 --> 00:57:30,647 Yeah, you guys are more... 1168 00:57:30,720 --> 00:57:32,961 Ruth and Sophia has more culture, 1169 00:57:33,760 --> 00:57:36,570 understand more art, has more worldviews. 1170 00:57:36,680 --> 00:57:40,730 Ira's the guy who's in the back store of a clothing store where he works. 1171 00:57:40,800 --> 00:57:42,450 He makes suits. 1172 00:57:42,560 --> 00:57:44,801 Luke is a professional bull rider. 1173 00:57:44,880 --> 00:57:46,564 Never even went to college. 1174 00:57:46,640 --> 00:57:47,801 Yeah, but they... 1175 00:57:47,880 --> 00:57:51,521 They have their own identity and their own culture. 1176 00:57:51,600 --> 00:57:52,886 Which is great. 1177 00:57:52,960 --> 00:57:57,409 I think they... It is just as profound and just as... 1178 00:57:59,800 --> 00:58:02,371 I think in that previous scene, in the date scene, 1179 00:58:02,440 --> 00:58:04,886 she captures it perfectly, where she's like, 1180 00:58:05,000 --> 00:58:06,604 "I wish I had roots, You have roots. 1181 00:58:06,680 --> 00:58:09,650 "You really know a lot about this one thing. 1182 00:58:09,720 --> 00:58:12,963 Whereas she would maybe know a little bit about a lot of things. 1183 00:58:13,040 --> 00:58:16,362 So, it's just a different kind of attitude to life, 1184 00:58:16,440 --> 00:58:22,766 which is so amazing to bring together, I think, in both instances. 1185 00:58:23,720 --> 00:58:26,963 So, that's the connection with Sophia and Ruth, 1186 00:58:27,040 --> 00:58:29,281 that they're from two different places 1187 00:58:29,400 --> 00:58:33,007 but they have very much the same attitudes 1188 00:58:33,080 --> 00:58:37,847 in their respect for their man and how they lead their man 1189 00:58:37,920 --> 00:58:41,288 and what they do for the man in the story. 1190 00:58:43,840 --> 00:58:47,128 This is, I think, one of the funniest scenes in the film. 1191 00:58:47,200 --> 00:58:49,680 Wait, just, it's coming up. It's coming up soon. 1192 00:58:49,760 --> 00:58:52,969 I think it's one of my favorite Scott Eastwood moments. 1193 00:58:53,040 --> 00:58:54,929 Here it is. Look at this. 1194 00:58:55,000 --> 00:58:56,809 - Come on. - Look at the... 1195 00:58:58,120 --> 00:59:00,088 - Look at her, you could see... - Wow, I mean... 1196 00:59:00,160 --> 00:59:02,447 Nobody could get away with that except Mr. Eastwood. 1197 00:59:02,520 --> 00:59:04,727 You can see Sophia about to laugh over there. 1198 00:59:07,720 --> 00:59:10,041 It is just a priceless moment. 1199 00:59:10,120 --> 00:59:12,646 Did you ask him to do that or was that something that came naturally? 1200 00:59:12,720 --> 00:59:14,131 That's something that came naturally there. 1201 00:59:14,200 --> 00:59:16,168 Of course it did. You can't ask someone to do that. 1202 00:59:16,280 --> 00:59:19,284 It would never occur to anybody to ask somebody to do that. 1203 00:59:19,360 --> 00:59:23,160 This genuinely cracked me up. 1204 00:59:24,680 --> 00:59:27,251 Because it's perfect timing, it happened so quickly. 1205 00:59:27,320 --> 00:59:29,049 - Yeah. - It happened so quickly. 1206 00:59:29,120 --> 00:59:31,441 She's just... And you know what's happened. 1207 00:59:33,680 --> 00:59:37,890 So this is a really great set that we just fell in love with. 1208 00:59:38,520 --> 00:59:40,249 We just felt at the time 1209 00:59:40,320 --> 00:59:43,483 that Luke probably, even though he lives with his mom, 1210 00:59:43,600 --> 00:59:46,206 that he probably would have moved out of the house 1211 00:59:46,280 --> 00:59:48,851 and probably moved into the barn next door. 1212 00:59:48,920 --> 00:59:51,685 And we wanted to really show that he's a guy, too, 1213 00:59:51,760 --> 00:59:55,685 who's very artistic with his hands and you see all these little, small things 1214 00:59:55,760 --> 00:59:57,091 that he probably would have built. 1215 00:59:57,160 --> 00:59:58,924 That he's a person who got his... 1216 00:59:59,000 --> 01:00:02,004 The colors on the windows there, of the bathroom. 1217 01:00:02,080 --> 01:00:04,447 - He's a guy who's creative. - There's more to him than meets the eye. 1218 01:00:04,520 --> 01:00:07,922 Yeah. So then, what we imagined, just a regular cowboy. 1219 01:00:08,040 --> 01:00:09,451 Yeah. 1220 01:00:13,880 --> 01:00:16,724 Again, we go into the sensuality, bringing up the heat... 1221 01:00:16,840 --> 01:00:19,446 And I love that she casually leaves the door a little bit open. 1222 01:00:19,520 --> 01:00:21,284 - Yes. - And then looks surprised 1223 01:00:21,360 --> 01:00:23,328 when he's looking. Come on, Britt. 1224 01:00:23,400 --> 01:00:25,448 There you go. Now you're being honest. 1225 01:00:25,520 --> 01:00:27,807 Now you're... And it's just really hitting that moment. 1226 01:00:27,880 --> 01:00:31,566 It's just slowly slowing us down, slightly. 1227 01:00:33,440 --> 01:00:36,489 And just her looking deeply at him, it's finally this connection. 1228 01:00:36,560 --> 01:00:38,369 Audience has been waiting for it. 1229 01:00:38,880 --> 01:00:41,247 And this is her taking a step. 1230 01:00:41,320 --> 01:00:42,401 Yeah. 1231 01:00:43,400 --> 01:00:46,131 I wanted her to be the one to make the decision 1232 01:00:46,200 --> 01:00:49,170 and even leading his hands. 1233 01:00:49,240 --> 01:00:51,004 Her hands come up for him. 1234 01:00:51,080 --> 01:00:53,367 I think he also gets a really good balance between 1235 01:00:53,440 --> 01:00:59,163 absolutely terrified, really turned on, and knowing what's at stake here. 1236 01:00:59,240 --> 01:01:00,844 Yes, Yeah. 1237 01:01:00,920 --> 01:01:04,003 So, I think you got a really good performance out of both of them. 1238 01:01:09,600 --> 01:01:13,207 And we have a great score here where Mark [sham did a great job. 1239 01:01:13,280 --> 01:01:16,489 And this is my third film working with him on. 1240 01:01:19,080 --> 01:01:21,287 David Tattersall did the... 1241 01:01:21,360 --> 01:01:23,044 David Tattersall's a genius. 1242 01:01:23,120 --> 01:01:26,203 Did the lighting here, the cinematography for me. 1243 01:01:26,280 --> 01:01:31,081 We came up with this device, device using color, real time. 1244 01:01:32,160 --> 01:01:35,642 Again, we're looking at the PG-13 short version. 1245 01:01:35,720 --> 01:01:38,690 The MPAA really honed this down. 1246 01:01:38,760 --> 01:01:40,489 This scene was a lot longer. 1247 01:01:41,880 --> 01:01:44,121 These guys gave it all. 1248 01:01:44,200 --> 01:01:46,362 And when I mean "all, it was all out there. 1249 01:01:46,440 --> 01:01:48,044 Oh, really? 1250 01:01:48,120 --> 01:01:50,726 But at the end of the day, I think we have what we needed 1251 01:01:50,800 --> 01:01:52,882 to make what we wanted to get across. 1252 01:01:52,960 --> 01:01:54,166 Yeah. 1253 01:01:54,240 --> 01:01:58,404 And we feel that these two have a sexual energy, 1254 01:01:58,480 --> 01:02:02,041 but more importantly, they are emotionally connected to one another. 1255 01:02:02,960 --> 01:02:05,964 This is brilliant, how.. 1256 01:02:06,040 --> 01:02:08,042 The innuendo of the bull. 1257 01:02:08,960 --> 01:02:14,842 I mean, if I was a guy and I was trying to get some girl to fall in love with me, 1258 01:02:14,960 --> 01:02:19,522 I'd be like, "Yeah, come and sit on my bull for a second. On my bull. 1259 01:02:19,600 --> 01:02:22,570 "I'm gonna just rock this backwards and forwards casually, 1260 01:02:22,640 --> 01:02:25,007 - try and throw you off. - Right. 1261 01:02:37,680 --> 01:02:39,523 So how do you know which one you're gonna get? 1262 01:02:39,720 --> 01:02:40,881 You don't. 1263 01:02:41,120 --> 01:02:42,770 You pick from a bowl. 1264 01:02:42,840 --> 01:02:46,606 And the fan favorite from Walkertown, North Carolina... 1265 01:02:46,680 --> 01:02:48,682 Luke Collins! 1266 01:02:48,800 --> 01:02:51,406 Number four is the chip you selected... 1267 01:02:51,480 --> 01:02:55,451 It was really Sophia entering into Luke Collins' world. 1268 01:02:56,280 --> 01:02:58,851 She's there to support. She's there for him. 1269 01:02:59,760 --> 01:03:05,290 And also, as they're getting closer in terms of their relationship, 1270 01:03:05,360 --> 01:03:06,930 we see how he travels 1271 01:03:07,000 --> 01:03:11,289 and how that whole bull riding circuit really works. 1272 01:03:11,360 --> 01:03:13,169 So, this sequence always stayed the same, 1273 01:03:13,240 --> 01:03:16,369 and I think it just gave me a really good idea 1274 01:03:16,480 --> 01:03:18,801 to really put energy into the bull riding style, 1275 01:03:18,880 --> 01:03:23,329 and also to educate the audience on how bull riding works. 1276 01:03:23,400 --> 01:03:26,688 Even though you got the sexuality and romance between them, 1277 01:03:26,760 --> 01:03:29,445 but you gotta hold your hands up, you can't touch the bull. 1278 01:03:29,520 --> 01:03:31,522 - And he describes the bull... - And she's terrified for him. 1279 01:03:31,600 --> 01:03:33,329 And she's terrified at the same time. 1280 01:03:33,400 --> 01:03:36,722 So, there's a lot of different things going on, 1281 01:03:36,800 --> 01:03:39,167 but the great thing is we got this great song, 1282 01:03:39,240 --> 01:03:43,529 and Mark lsham's score bridged everything all together here. 1283 01:03:44,640 --> 01:03:47,086 But yeah, there's the sexual... 1284 01:03:47,160 --> 01:03:53,281 But it's really good editing, actually, between the bull and the bull... 1285 01:03:53,360 --> 01:03:55,203 Her on the bull and him on the bull. 1286 01:03:55,280 --> 01:03:57,851 - I really like that, actually. - Yeah. 1287 01:03:57,920 --> 01:04:00,241 It's really subtle, and I hadn't picked up on it before, 1288 01:04:00,320 --> 01:04:03,802 but now I'm looking at it, and it's like, "Actually, this is the perfect montage. 1289 01:04:03,880 --> 01:04:06,850 Well done. I didn't even realize it was a montage. 1290 01:04:06,920 --> 01:04:09,491 - Great. That's great. - It's perfect. 1291 01:04:13,440 --> 01:04:15,010 And it's such a fascinating world. 1292 01:04:15,120 --> 01:04:18,283 The bulls are like... 1293 01:04:19,000 --> 01:04:22,209 They get treated... They're gods to those guys. 1294 01:04:22,280 --> 01:04:25,682 - These guys are rock stars, yeah. - They love the bulls, They either... 1295 01:04:25,760 --> 01:04:28,001 They call them athletes, which really confused me at first, 1296 01:04:28,080 --> 01:04:31,448 cause I didn't realize the vocabulary. 1297 01:04:31,520 --> 01:04:35,764 When we went to Vegas, the PBR, I didn't understand the vocabulary. 1298 01:04:35,840 --> 01:04:38,571 So when they were talking about athlete Bushwacker, 1299 01:04:38,640 --> 01:04:42,725 I was like, "Wow, who calls their son Bushwacker? This is terrible. 1300 01:04:43,920 --> 01:04:46,605 But it turns out they were talking about a bull. 1301 01:04:46,680 --> 01:04:50,241 And, yeah, they really have an amazing relationship. 1302 01:04:50,320 --> 01:04:51,651 It's like a real... 1303 01:04:51,720 --> 01:04:56,681 It's a beautiful expression of the relationship between man and beast. 1304 01:04:56,760 --> 01:04:57,727 Yeah, yeah. 1305 01:04:57,800 --> 01:05:00,041 And actually, these bulls have a better life 1306 01:05:00,160 --> 01:05:01,321 than a lot of American people, 1307 01:05:01,800 --> 01:05:03,131 I hear 1308 01:05:03,240 --> 01:05:05,004 Yeah, yeah. 1309 01:05:06,120 --> 01:05:09,249 - Was Bushwacker in the film? - His name was. 1310 01:05:09,320 --> 01:05:10,606 - His name was in the film. - Yeah. 1311 01:05:10,680 --> 01:05:12,011 - Only by name. - Only by name. 1312 01:05:12,080 --> 01:05:15,527 - Cause he had a run of 42 buckoffs. - Big run, big run. 1313 01:05:15,640 --> 01:05:18,211 I think he just retired, They just retired him. 1314 01:05:18,280 --> 01:05:19,406 They just retired him. 1315 01:05:19,480 --> 01:05:22,529 That was the last run that we went to see in PBR. 1316 01:05:22,600 --> 01:05:24,762 Yeah, they gave him a little... He ran around the ring 1317 01:05:24,840 --> 01:05:27,525 and they gave him a big retirement party. 1318 01:05:27,600 --> 01:05:30,285 And they did a... 1319 01:05:30,360 --> 01:05:34,524 They showed a little film of where he'd lived and things. 1320 01:05:35,520 --> 01:05:38,444 Bushwacker had a pimpin' lifestyle. 1321 01:05:40,440 --> 01:05:44,240 I'm like, "This bull has a good life. What a bull." 1322 01:05:45,000 --> 01:05:46,490 No wonder he's so... 1323 01:05:47,280 --> 01:05:49,681 - No wonder he's so winning. - Right. 1324 01:05:51,680 --> 01:05:52,841 Oh, yeah, that's right. 1325 01:05:52,920 --> 01:05:57,960 Marty Bowen, I think his wife is giving birth today. 1326 01:05:58,040 --> 01:05:59,963 - Really? - Yeah. 1327 01:06:00,040 --> 01:06:02,566 - Oh, my goodness. - Yep. 1328 01:06:03,840 --> 01:06:05,968 But we had some really cool people working on this, 1329 01:06:06,040 --> 01:06:08,930 with Wyck and my business partner, Bob Teitel. 1330 01:06:09,000 --> 01:06:10,240 Mr. Teitel. 1331 01:06:10,360 --> 01:06:13,284 Missy Imperato really did a great job, 1332 01:06:13,360 --> 01:06:16,364 - cause this is a big schedule. - Yeah, Missy was great. 1333 01:06:16,440 --> 01:06:20,286 And I remember this particular scene here, Black Mountain. 1334 01:06:20,360 --> 01:06:22,931 I remember when we found this location, it was just... 1335 01:06:23,040 --> 01:06:27,090 Which we talked about in Winston-Salem. 1336 01:06:27,160 --> 01:06:28,764 But Black Mountain, let me just tell you, 1337 01:06:28,880 --> 01:06:31,850 when I first started the movie, I didn't know anything about art. 1338 01:06:31,920 --> 01:06:35,481 - I was mostly like Luke in the story. - Yeah. 1339 01:06:35,560 --> 01:06:38,370 I just didn't know much about Black Mountain College 1340 01:06:38,440 --> 01:06:41,967 and when I started doing research, it was pretty amazing, 1341 01:06:42,040 --> 01:06:44,042 and I saw these pictures and I was like... 1342 01:06:44,120 --> 01:06:48,011 I wanted to create the same thing in these pictures like here. 1343 01:06:48,080 --> 01:06:51,527 Just seeing these individuals on the side painting right there. 1344 01:06:51,600 --> 01:06:52,647 This is a real painting. 1345 01:06:52,720 --> 01:06:54,404 This person right here in the suit here, 1346 01:06:54,480 --> 01:06:57,006 that's the real deal, what I saw in the actual photo. 1347 01:06:57,080 --> 01:06:59,845 I actually got these guys down to a T 1348 01:06:59,920 --> 01:07:02,082 with the wardrobes and what they're doing with the dancing. 1349 01:07:02,160 --> 01:07:05,448 - These are photographs on this pier here. - So amazing. 1350 01:07:05,520 --> 01:07:08,569 These are real pictures that we just emulated. 1351 01:07:08,640 --> 01:07:09,801 Yeah. 1352 01:07:10,240 --> 01:07:12,720 So, I wanted to capture the spirit of Black Mountain, 1353 01:07:12,840 --> 01:07:16,367 cause I thought it really tapped into Ruth's spirit 1354 01:07:16,440 --> 01:07:19,250 and why she loved art 1355 01:07:19,320 --> 01:07:23,644 and why she loved life as much as she did. 1356 01:07:23,720 --> 01:07:27,930 Yeah, it's amazing when you see an art lover, actually. 1357 01:07:30,480 --> 01:07:33,927 My sister's an art historian, and when she takes me to a gallery, 1358 01:07:34,000 --> 01:07:39,006 I really get a little glimpse of what it means to love art. 1359 01:07:40,000 --> 01:07:45,643 It's a really profound and sensory experience for some people. 1360 01:07:47,120 --> 01:07:49,851 I mean, I love it, but I don't get it in that way. 1361 01:07:49,960 --> 01:07:52,725 - Yeah, yeah. - I don't get it in that... 1362 01:07:52,800 --> 01:07:56,247 A couple of times I've seen paintings, particularly in Italy, 1363 01:07:56,320 --> 01:07:59,563 but never with modern art, curiously. 1364 01:07:59,640 --> 01:08:01,051 And, actually, you're right. 1365 01:08:01,120 --> 01:08:05,250 Learning a lot about Black Mountain in this film was great. 1366 01:08:05,320 --> 01:08:09,405 Such an opportunity to learn something new. 1367 01:08:09,520 --> 01:08:15,368 Yeah, we used a lot of guys like Franz Kline, de Kooning. 1368 01:08:15,440 --> 01:08:18,444 - Jacob Lawrence, we used a lot of his art. - Yeah, that's right. 1369 01:08:18,520 --> 01:08:20,602 Josef Albers. You saw Josef Albers in the opening... 1370 01:08:20,680 --> 01:08:22,569 - Yeah, he was giving the lecture. - The lecture there. 1371 01:08:22,640 --> 01:08:24,768 That was a real speech that he actually gave. 1372 01:08:24,840 --> 01:08:27,605 - Pat Passlof. - Yeah, to choose this painting. 1373 01:08:27,680 --> 01:08:30,047 - Yep. - Choose this painting. 1374 01:08:30,120 --> 01:08:34,489 And Mark Rothko, as well, went to Black Mountain. 1375 01:08:35,280 --> 01:08:37,442 Which is nuts, 'cause you know all these people, 1376 01:08:37,520 --> 01:08:40,763 but you don't really associate them with one school. 1377 01:08:40,840 --> 01:08:43,207 And it was interesting, too. 1378 01:08:43,280 --> 01:08:45,886 I found out that Robert De Niro, Sr., 1379 01:08:45,960 --> 01:08:48,281 you know Robert De Niro, his father went to Black Mountain. 1380 01:08:48,360 --> 01:08:49,521 - No way. - Yeah. 1381 01:08:49,600 --> 01:08:53,810 So, we actually called him up and got his name on the invitation 1382 01:08:53,880 --> 01:08:55,962 that Ira hands out to Luke and Sophia. 1383 01:08:56,040 --> 01:08:57,451 Wow, that's so great. 1384 01:08:57,520 --> 01:09:00,490 So great that these guys were all here at one particular time 1385 01:09:00,560 --> 01:09:03,006 - and really making history. - Making history. 1386 01:09:03,080 --> 01:09:04,969 That was pretty amazing. And it was in North Carolina. 1387 01:09:05,040 --> 01:09:06,883 - Wow, it's pretty amazing. - Yeah. 1388 01:09:06,960 --> 01:09:12,285 Yeah, it's almost too easy for Nicholas Sparks. 1389 01:09:12,360 --> 01:09:15,125 He happens to want to make a film about art, 1390 01:09:15,200 --> 01:09:19,728 and he googles "Artists, North Carolina," 1391 01:09:19,840 --> 01:09:21,968 - And... Boop! There it is. - There it is. 1392 01:09:22,040 --> 01:09:24,361 Black Mountain College. It exists, that's the story that he tells. 1393 01:09:24,440 --> 01:09:27,171 He was like, "I had no idea that Black Mountain College 1394 01:09:27,240 --> 01:09:29,163 was in North Carolina. 1395 01:09:29,240 --> 01:09:32,164 "And then I googled it, and then, there it was. 1396 01:09:32,240 --> 01:09:34,846 I was like, "That is just so unfair. 1397 01:09:34,920 --> 01:09:36,331 "You've already got all these stories 1398 01:09:36,760 --> 01:09:38,000 streaming through you. 1399 01:09:38,080 --> 01:09:41,448 "Now you've got all of the set coming together as well? 1400 01:09:41,520 --> 01:09:43,329 - Yeah, yeah. - It's perfect. 1401 01:09:45,040 --> 01:09:47,486 - So, this is a question I have for you. - Mmm-hmm. 1402 01:09:47,560 --> 01:09:50,803 - Are those actual photos of Scott? - Yes, they are. 1403 01:09:50,880 --> 01:09:53,281 - Yes? I knew it! - They are, Yep. 1404 01:09:55,120 --> 01:09:58,681 Of course he had a cowboy hat in the bathtub when he was little. 1405 01:09:59,680 --> 01:10:01,648 I think Scott Eastwood is actually Luke. 1406 01:10:01,720 --> 01:10:04,166 - What do you think? - I think so. 1407 01:10:07,440 --> 01:10:08,851 And we jump in time, too. 1408 01:10:08,920 --> 01:10:12,720 We start in 1940 all the way up to 2014. 1409 01:10:13,800 --> 01:10:16,690 - That's a big chunk of history. - That's a big chunk of history. 1410 01:10:16,760 --> 01:10:20,207 We did a lot of makeup for you. 1411 01:10:20,320 --> 01:10:24,325 - Eventually, we decided to not dial back. - Yeah. 1412 01:10:24,400 --> 01:10:26,721 And not really spend... 1413 01:10:26,800 --> 01:10:30,407 Even with Alan playing in his 90s, 1414 01:10:30,480 --> 01:10:32,801 we just felt like, just play it as naturally as we can. 1415 01:10:32,880 --> 01:10:36,009 Do little subtle makeup changes here and there. 1416 01:10:37,400 --> 01:10:39,528 Starting, I wanted to be more radical and be more, 1417 01:10:39,600 --> 01:10:43,082 "No, she's gotta look like this in the '60s. In the '70s, she's gotta look like this. 1418 01:10:43,160 --> 01:10:46,369 But eventually, we felt like we didn't have all the time 1419 01:10:46,440 --> 01:10:50,081 to really do the makeup the way we wanted. 1420 01:10:50,160 --> 01:10:51,400 Two, it was very hot 1421 01:10:51,480 --> 01:10:53,050 - down there in North Carolina. - Oh, my goodness. 1422 01:10:53,120 --> 01:10:54,610 So, makeup was a problem. 1423 01:10:54,680 --> 01:10:57,001 Literally peeling off my face. 1424 01:10:58,240 --> 01:11:01,562 It was pretty scary, actually, at some points, 1425 01:11:01,640 --> 01:11:04,610 where you look at yourself in the mirror and you go, 1426 01:11:04,680 --> 01:11:07,047 "ls that leprosy? No, that's just my makeup. 1427 01:11:07,120 --> 01:11:09,646 It's fine, it's fine, guys, it's fine. 1428 01:11:09,720 --> 01:11:13,361 So, really, we just relied a lot on slight, subtle makeup, 1429 01:11:13,440 --> 01:11:15,169 but mostly your hairstyles. 1430 01:11:15,240 --> 01:11:17,846 You had really... With wardrobe and hair. 1431 01:11:17,960 --> 01:11:19,530 Well, it's a film. You know it's not real. 1432 01:11:19,600 --> 01:11:20,601 Yeah. 1433 01:11:20,680 --> 01:11:24,526 When you go to the theater, you are so willing to suspend your disbelief 1434 01:11:24,600 --> 01:11:27,763 when people are changing the set in front of you, 1435 01:11:27,840 --> 01:11:30,969 and you're still involved with the story. 1436 01:11:31,040 --> 01:11:34,249 So, I think it should be the same in film, in many aspects. 1437 01:11:34,320 --> 01:11:38,644 If somebody tells you that they're 45, they're 45. 1438 01:11:38,720 --> 01:11:40,529 Yeah. 1439 01:11:42,200 --> 01:11:46,046 Are you sure that you wanna go to this gallery showing in Charlotte? 1440 01:11:46,120 --> 01:11:47,724 You want me to, right? 1441 01:11:47,880 --> 01:11:48,688 Of course. 1442 01:11:48,760 --> 01:11:54,085 And here's the point where we're coming to the place of the story 1443 01:11:54,160 --> 01:11:59,246 of Luke and Sophia entering, "How do you make a relationship work? 1444 01:11:59,800 --> 01:12:03,327 Once you have that commitment and once you realize that 1445 01:12:04,920 --> 01:12:09,209 all that early honeymoon part of the relationship is over, 1446 01:12:09,280 --> 01:12:10,884 how do you complete it? 1447 01:12:10,960 --> 01:12:13,167 How do you make this work? 1448 01:12:13,240 --> 01:12:18,804 My way, I was able to connect to the story very early on, 1449 01:12:18,880 --> 01:12:23,841 and I was telling Elizabeth Gabler this, who's the president of Fox 2000. 1450 01:12:25,080 --> 01:12:30,849 In '91, I think I was a production assistant on a commercial in Chicago. 1451 01:12:30,920 --> 01:12:33,207 And my wife, we were just dating. 1452 01:12:33,280 --> 01:12:35,886 I was only maybe 22 at the time, 1453 01:12:35,960 --> 01:12:38,531 and I was working at nights in this production assistant job. 1454 01:12:38,600 --> 01:12:41,171 And then this 60-year-old lady comes out 1455 01:12:41,240 --> 01:12:43,049 and she says, you know what, I just had an argument 1456 01:12:43,120 --> 01:12:44,406 with my husband on the phone. 1457 01:12:44,480 --> 01:12:46,050 "I love him, but sometimes I can't stand him. 1458 01:12:46,120 --> 01:12:48,202 Sometimes I fall out of love with him. 1459 01:12:48,280 --> 01:12:49,691 Sometimes I love him more. 1460 01:12:49,800 --> 01:12:51,768 Sometimes I don't wanna have sex with him for a long time. 1461 01:12:51,840 --> 01:12:54,047 Sometimes I wanna just have sex with him right now. 1462 01:12:54,120 --> 01:12:57,169 You know what, that's a part of relationships. 1463 01:12:57,240 --> 01:12:59,242 It goes in and out, It's just a long ride. 1464 01:12:59,320 --> 01:13:01,721 This is what somebody told me in '92. 1465 01:13:01,800 --> 01:13:03,131 - It's a long ride? - It's a long ride. 1466 01:13:03,200 --> 01:13:07,569 So when this script comes across me, I was like, "The Longest Ride? 1467 01:13:07,640 --> 01:13:09,642 - That sounds familiar. - That's awesome. 1468 01:13:09,720 --> 01:13:11,404 - And I felt like, "Okay... - That's so crazy. 1469 01:13:11,480 --> 01:13:16,327 And I was like, I felt in the script there was something that was just missing 1470 01:13:16,400 --> 01:13:19,609 in terms of what "the longest ride" meant. 1471 01:13:19,680 --> 01:13:22,684 And Nicholas Sparks always had it in the book. 1472 01:13:22,760 --> 01:13:26,560 So, I was able to put that word back into the final voiceover 1473 01:13:26,640 --> 01:13:29,962 that Alan Aida has for us in the movie. 1474 01:13:30,040 --> 01:13:34,489 He says, "You know, the longest ride is this thing called life. 1475 01:13:34,560 --> 01:13:37,689 "It's really not about riding a bull. It's about life itself. 1476 01:13:37,760 --> 01:13:41,128 - Yeah, it's not eight seconds. - Yeah, it's not eight seconds. 1477 01:13:41,200 --> 01:13:44,921 And that's what I feel would really make relationships work. 1478 01:13:45,000 --> 01:13:48,971 As much as we may have heard it this many times before, 1479 01:13:49,040 --> 01:13:52,931 the true honest thing about making relationships work and love, 1480 01:13:53,000 --> 01:13:56,482 as Alan says, it's about adjustment. 1481 01:13:56,560 --> 01:13:58,642 Yeah. Being agile. 1482 01:13:58,720 --> 01:14:02,566 There you go. Being compromised. Being open, you know? 1483 01:14:02,640 --> 01:14:04,802 - Flexible. - Flexible. 1484 01:14:04,880 --> 01:14:06,769 Those are the words. And here it's just... 1485 01:14:06,840 --> 01:14:08,604 - And paying attention. - There it is. 1486 01:14:08,680 --> 01:14:11,570 Paying attention is so important. 1487 01:14:11,640 --> 01:14:14,450 And here's the moment where Luke is 1488 01:14:14,520 --> 01:14:16,488 not being any of those things right now. 1489 01:14:16,560 --> 01:14:18,244 No, he's not paying attention at all. 1490 01:14:18,320 --> 01:14:20,687 He's being a bit of a... 1491 01:14:24,320 --> 01:14:27,961 So, in his... Looking at the squiggly lines, 1492 01:14:28,040 --> 01:14:31,965 that's how many people may feel, 1493 01:14:32,040 --> 01:14:34,327 and sometimes my wife may have 1494 01:14:34,400 --> 01:14:37,961 thoughts and things that's important to her 1495 01:14:38,040 --> 01:14:39,849 and sometimes you'd be like... 1496 01:14:39,920 --> 01:14:41,922 I don't understand what you're talking about. 1497 01:14:42,000 --> 01:14:43,490 And sometimes I gotta stop myself 1498 01:14:43,560 --> 01:14:47,451 and sometimes I lose it, I don't stop myself in saying, 1499 01:14:48,400 --> 01:14:51,006 "That's not important to me. So, why should it be important? 1500 01:14:51,080 --> 01:14:54,084 So, this is something that we all are to blame. 1501 01:14:54,160 --> 01:14:55,491 And that's what's going on with Luke, 1502 01:14:55,560 --> 01:14:59,406 is that for a guy who just knows bull riding 1503 01:14:59,480 --> 01:15:02,324 and lived in North Carolina his entire life, 1504 01:15:02,400 --> 01:15:04,323 this makes him a little bit... 1505 01:15:04,400 --> 01:15:06,528 It frightens him a little bit, this whole another world. 1506 01:15:06,600 --> 01:15:10,047 Well, it makes him feel like he's not in control. 1507 01:15:10,120 --> 01:15:13,522 - Yes. - And that's something that I think 1508 01:15:13,600 --> 01:15:15,728 this guy, in particular, 1509 01:15:15,800 --> 01:15:19,646 but I think people in general are very afraid to lose control. 1510 01:15:19,720 --> 01:15:23,202 And when you feel out of your depth, it's very easy to become defensive, 1511 01:15:23,280 --> 01:15:25,647 which is exactly what's happening now. 1512 01:15:25,720 --> 01:15:30,362 Actually, I spent two mornings with Alan Aida in New York. 1513 01:15:30,440 --> 01:15:31,726 I was doing the press junket. 1514 01:15:31,800 --> 01:15:35,691 And I think I learned more about love in those two days 1515 01:15:35,800 --> 01:15:37,529 than ever in my life before, 1516 01:15:37,600 --> 01:15:41,400 cause he's just so wise and 58 years married. 1517 01:15:41,480 --> 01:15:45,690 - A long time. - Which is twice my age. 1518 01:15:45,760 --> 01:15:46,841 Yeah. 1519 01:15:46,920 --> 01:15:48,809 - Nuts. - That's nuts, right. 1520 01:15:48,880 --> 01:15:53,442 And there they are, still at it. 1521 01:15:53,520 --> 01:15:55,807 And he just has the most beautiful comments, 1522 01:15:55,880 --> 01:15:59,202 like, being agile and flexible. 1523 01:15:59,280 --> 01:16:00,441 I'm like, "Yes." 1524 01:16:00,520 --> 01:16:01,885 - It's like a sport. - It's like a sport. 1525 01:16:01,960 --> 01:16:04,884 - It's like gymnastics. - There you go. 1526 01:16:04,960 --> 01:16:09,887 And seeing that these two are having issues in trying to move forward 1527 01:16:10,000 --> 01:16:11,923 and we'll see what the bull riding's setting up. 1528 01:16:12,000 --> 01:16:15,846 What bull riding's gonna do and how does that come between them. 1529 01:16:16,160 --> 01:16:19,050 Who she goes to, the only person she knows to talk to... 1530 01:16:19,120 --> 01:16:20,565 - Is Alan. - Is Alan. 1531 01:16:20,680 --> 01:16:25,447 And now we'll see how B-story is going to educate us, 1532 01:16:25,520 --> 01:16:28,808 the viewer and Sophia, in our A-story, 1533 01:16:28,880 --> 01:16:33,522 which just goes into the conflict of what's gonna happen between Ira and Ruth. 1534 01:16:34,680 --> 01:16:38,844 Which we get into the idea of, finally, it's catching up to Ira 1535 01:16:38,920 --> 01:16:41,526 that he's not able to have kids. 1536 01:16:41,600 --> 01:16:43,682 Well, that's the wonderful thing about this movie, 1537 01:16:43,760 --> 01:16:48,482 is that it takes you through the whole journey from beginning to end. 1538 01:16:48,560 --> 01:16:54,681 So, you get to see the bad months, 1539 01:16:55,120 --> 01:16:59,808 maybe even years, of just things aren't as good as they used to be. 1540 01:16:59,880 --> 01:17:04,966 And then you have to ride the wave a little bit. 1541 01:17:05,040 --> 01:17:08,965 Yeah, I think this was the first day we ever shot this scene right here 1542 01:17:09,040 --> 01:17:11,486 - Yes. - First day, I thought... 1543 01:17:11,560 --> 01:17:12,800 - It was the first day. - Yep. 1544 01:17:12,880 --> 01:17:16,487 The first day, let's bring 200 kids in, That's a great idea. 1545 01:17:18,560 --> 01:17:21,530 And I always love this, I cut out right before you look back. 1546 01:17:21,600 --> 01:17:23,682 - Yeah. - You just felt him there. 1547 01:17:24,800 --> 01:17:28,009 And then later, we revisit that when you actually look back at him. 1548 01:17:28,120 --> 01:17:29,963 Yeah, that's true. 1549 01:17:30,080 --> 01:17:34,927 But here with the kids is now Ruth wanting other things 1550 01:17:35,000 --> 01:17:37,844 after being settled in the job and in the house. 1551 01:17:37,920 --> 01:17:40,491 - Yeah, teachings not enough. - Teaching's not enough. 1552 01:17:42,200 --> 01:17:43,486 And she cares about these kids. 1553 01:17:43,560 --> 01:17:45,961 I think she's got quite a good relationship with them. 1554 01:17:46,040 --> 01:17:48,486 - I liked those kids. - Look how good they are, these kids there. 1555 01:17:48,600 --> 01:17:49,681 Yeah. 1556 01:17:51,640 --> 01:17:52,926 Mean. 1557 01:17:53,000 --> 01:17:56,846 If anyone teases him about this, they'll have me to deal with. 1558 01:17:58,440 --> 01:18:01,887 That's one scene where the Austrian accent really helped. 1559 01:18:01,960 --> 01:18:05,009 It does makes me sound stern and scary. 1560 01:18:05,080 --> 01:18:06,844 Yeah, exactly. 1561 01:18:13,040 --> 01:18:14,610 Good morning. 1562 01:18:19,400 --> 01:18:20,526 This was a hot... 1563 01:18:20,600 --> 01:18:22,489 I think this was the day that my face was peeling off. 1564 01:18:22,560 --> 01:18:24,562 Yeah, your face was peeling off this day. 1565 01:18:25,960 --> 01:18:27,166 This poor kid. 1566 01:18:27,240 --> 01:18:32,326 Daniel had to look at me and pretend to be really friendly with me, 1567 01:18:32,400 --> 01:18:37,884 and this boy Floyd who, by the way, was just so great on set. 1568 01:18:39,560 --> 01:18:42,530 He was looking at me, terrified, 1569 01:18:42,600 --> 01:18:45,410 cause he was like, "What's happening to this woman? 1570 01:18:45,480 --> 01:18:50,486 Her face is melting, She's all scaly. What's going on? 1571 01:18:51,000 --> 01:18:52,525 Oh, dear. 1572 01:18:52,600 --> 01:18:54,489 I just love that I slowed this moment down, 1573 01:18:54,560 --> 01:18:58,246 because I just felt like just you taking in the joy 1574 01:18:58,320 --> 01:19:03,167 of what it means to you to at least have a kid around. 1575 01:19:03,240 --> 01:19:06,722 Yeah. Be able to nurture, cause that's what she wants. 1576 01:19:06,800 --> 01:19:09,087 - She wants to nurture. - Yeah. 1577 01:19:09,160 --> 01:19:12,687 She wants to nurture someone and help them grow. 1578 01:19:12,760 --> 01:19:17,004 Look at this kid. He has no idea what the hell is going on here. 1579 01:19:17,080 --> 01:19:18,969 - Where am I? - Right. 1580 01:19:19,040 --> 01:19:22,522 Why did l... What have I done to deserve this? 1581 01:19:25,160 --> 01:19:28,084 Yup, this was a particular... 1582 01:19:28,200 --> 01:19:31,010 This was a really, really good scene to be in. 1583 01:19:31,120 --> 01:19:35,762 Because George got really excited about this kid eating on set. 1584 01:19:35,840 --> 01:19:39,049 He was by the monitor, by the camera, 1585 01:19:39,120 --> 01:19:43,250 and he was telling Floyd, for that close-up, he was telling Floyd to eat. 1586 01:19:43,320 --> 01:19:46,130 And he was like, yeah, yeah, okay, now. Yeah, now eat that. 1587 01:19:46,200 --> 01:19:47,247 Okay, now eat that, No, no, no. 1588 01:19:47,320 --> 01:19:49,448 "Okay, just carry on eating, just carry on eating. 1589 01:19:49,520 --> 01:19:52,444 George, I think, was more invested in the eating than Floyd. 1590 01:19:52,520 --> 01:19:55,967 And Floyd was just there stuffing his face, but, okay. 1591 01:19:56,040 --> 01:19:58,520 And I was so impressed with how much this little boy ate. 1592 01:19:58,600 --> 01:20:00,523 He ate, Every single time, he ate. 1593 01:20:00,600 --> 01:20:01,761 But I was particularly impressed 1594 01:20:01,840 --> 01:20:04,684 with how passionately you could feel about it. 1595 01:20:07,120 --> 01:20:08,281 Oh, man. 1596 01:20:11,240 --> 01:20:12,571 Look at this. 1597 01:20:12,920 --> 01:20:14,809 The North Star, Polaris. 1598 01:20:14,920 --> 01:20:17,571 Now we just look at Star map on our phones. 1599 01:20:17,640 --> 01:20:20,564 We just download the app. We don't need one of those. 1600 01:20:26,240 --> 01:20:30,962 Again, using hairstyles to jump periods a little bit. 1601 01:20:31,720 --> 01:20:34,610 Also, he was able to burp really nicely. 1602 01:20:34,680 --> 01:20:36,364 - Yeah, burp on cue, Floyd. - Right on cue. 1603 01:20:36,440 --> 01:20:39,091 He did it right on time, every time. 1604 01:20:42,040 --> 01:20:44,805 I love Jack's face in this one, by the way. 1605 01:20:53,280 --> 01:20:54,850 Happy little family. 1606 01:20:57,080 --> 01:20:59,208 Yeah, the hairstyles were amazing. 1607 01:20:59,280 --> 01:21:02,443 - Colleen was just incredible. - Yeah. 1608 01:21:02,520 --> 01:21:08,050 She had me ready in under 10 minutes every day. 1609 01:21:08,120 --> 01:21:11,761 And with my hair, it's always a bit of an issue 1610 01:21:11,840 --> 01:21:15,890 to get me ready in the mornings, because it was all wigs. 1611 01:21:15,960 --> 01:21:20,682 There we go. That's a state secret that you now know, those of you watching. 1612 01:21:20,760 --> 01:21:23,047 - All your hair was all under there? - Yeah, my hair was all under there. 1613 01:21:23,120 --> 01:21:25,088 That was the first thing you said, Can't cut your hair. 1614 01:21:25,160 --> 01:21:27,401 I'm like, yeah, I'm not cutting my hair, Just put on wigs. 1615 01:21:27,480 --> 01:21:31,530 Cause in the North Carolina humidity, 1616 01:21:31,920 --> 01:21:35,163 my hair would not stay straight for five minutes. 1617 01:21:35,240 --> 01:21:38,687 Not curly, rather, It would just go straight. 1618 01:21:39,360 --> 01:21:41,328 So, it was amazing to have these wigs. 1619 01:21:41,400 --> 01:21:45,405 And she was so fast 1620 01:21:45,480 --> 01:21:49,087 and so good and so chippy. 1621 01:21:49,160 --> 01:21:51,686 And I absolutely love this woman. 1622 01:21:52,760 --> 01:21:54,330 And then there was Ken for makeup, 1623 01:21:54,400 --> 01:22:00,282 who somehow tried to make us look 17 and 45. 1624 01:22:01,600 --> 01:22:03,170 Yep, yep. 1625 01:22:03,720 --> 01:22:05,927 I love this look that you give him right there. 1626 01:22:06,000 --> 01:22:08,651 Just that look of distance there. 1627 01:22:09,240 --> 01:22:11,561 - I hate him in this scene. - Yep. 1628 01:22:15,520 --> 01:22:19,730 So, then we set up the first clue that the picture's gone, 1629 01:22:19,800 --> 01:22:23,122 which is the picture that Luke brings back to Ira. 1630 01:22:23,200 --> 01:22:27,125 And the picture that's gonna come back years later, 1631 01:22:27,200 --> 01:22:29,521 - for the older Ira. - Yeah. 1632 01:22:31,440 --> 01:22:35,001 But this was... It's gotta be 100 degrees right now right here. 1633 01:22:35,640 --> 01:22:38,086 And this is the scene where your face is peeling. 1634 01:22:38,160 --> 01:22:42,802 Yeah, if you pause it right around here, 1635 01:22:42,880 --> 01:22:46,282 you can probably see some of my face peeling. 1636 01:22:48,920 --> 01:22:50,524 But it's all makeup, I guarantee. 1637 01:22:50,600 --> 01:22:52,728 - It's not scabies or leprosy. - Yep. 1638 01:22:55,320 --> 01:22:57,721 Yeah, thank God for visual effects now, We can clean that. 1639 01:22:57,800 --> 01:23:00,690 Oh, really? Did you clean it up? I couldn't notice at all, so I think... 1640 01:23:00,760 --> 01:23:02,728 - Yeah, we cleaned it up for you. - I was looking out for it. 1641 01:23:02,800 --> 01:23:05,644 - I was like, Let's see what they did there. - Yeah. 1642 01:23:05,720 --> 01:23:08,326 But I'm so impressed with Floyd in this scene, 1643 01:23:08,400 --> 01:23:10,767 because he actually was trying to hold on to me 1644 01:23:10,880 --> 01:23:13,121 - as opposed to trying to run away. - Yeah. 1645 01:23:15,040 --> 01:23:17,281 - No, he was really good. - Yeah. 1646 01:23:17,360 --> 01:23:20,250 And these guys were great as well. What were their names? 1647 01:23:20,320 --> 01:23:22,322 - These guys were awesome, these two. - Yeah, they were great. 1648 01:23:22,400 --> 01:23:23,686 These guys were from North Carolina, 1649 01:23:23,760 --> 01:23:25,046 and that was your first time. 1650 01:23:25,120 --> 01:23:27,088 We didn't rehearse with those guys. Those guys just came in. 1651 01:23:27,160 --> 01:23:29,686 - That was your first time meeting them. - Yeah. 1652 01:23:30,600 --> 01:23:33,001 And they were local actors. 1653 01:23:33,080 --> 01:23:34,684 He was an acting teacher as well. 1654 01:23:34,760 --> 01:23:37,525 So, we had a really good actor-y lunch, 1655 01:23:37,600 --> 01:23:40,365 where we talked about acting and how to do things properly 1656 01:23:40,440 --> 01:23:43,887 and all these things, It was great. 1657 01:23:46,600 --> 01:23:49,251 And Romain... 1658 01:23:50,720 --> 01:23:55,567 - Romain was absolutely amazing. - Yeah. 1659 01:23:55,640 --> 01:23:57,608 - The props guy. - Yes. 1660 01:23:59,960 --> 01:24:06,525 So, this is a scene that I kept taking in and out of the movie. 1661 01:24:06,600 --> 01:24:08,967 - First it wasn't here. - Really? 1662 01:24:09,040 --> 01:24:12,647 Yeah, I said, "I cannot leave this scene out. 1663 01:24:12,720 --> 01:24:15,803 Because it has to show you guys' downfall, 1664 01:24:15,880 --> 01:24:20,283 but it was this matter of am I in one story too long, 1665 01:24:20,360 --> 01:24:22,966 and is it time to shift over to another story? 1666 01:24:23,040 --> 01:24:26,328 So, that was always something, pacing-wise, that we were trying to find. 1667 01:24:26,400 --> 01:24:29,449 - Eventually, the motion... - Yeah, you had to leave it in. 1668 01:24:29,520 --> 01:24:32,808 Yeah, we had to leave it in to really show Jack feeling... 1669 01:24:32,920 --> 01:24:36,083 Yeah, But also that this whole situation 1670 01:24:36,160 --> 01:24:38,447 was actually having an impact on them, 1671 01:24:38,520 --> 01:24:41,330 - on the way they felt about each other. - About each other, yep. 1672 01:24:41,400 --> 01:24:45,041 That's the important bit about this story, 1673 01:24:45,120 --> 01:24:49,045 is that they manage to eventually overcome this. 1674 01:24:49,120 --> 01:24:51,441 Yes, Yes. 1675 01:24:51,520 --> 01:24:53,170 He was so good in that scene. 1676 01:24:53,240 --> 01:24:56,767 And the food was good. Another shout-out to Romain Gateau. 1677 01:24:56,840 --> 01:24:58,285 Romain Gateau is his full name, 1678 01:24:58,360 --> 01:25:00,727 which makes me laugh, because it's "lettuce cake. 1679 01:25:02,040 --> 01:25:03,201 - And the food was good? - Yeah, the food was really good. 1680 01:25:03,280 --> 01:25:05,044 And they were all cooking in the back. 1681 01:25:05,160 --> 01:25:07,527 The food was great. The props were always there. 1682 01:25:07,600 --> 01:25:10,331 And this guy is out of this world. 1683 01:25:10,400 --> 01:25:12,607 I love him, I love this man. 1684 01:25:12,680 --> 01:25:16,446 He was the one that was there in the PBR finals in Vegas. 1685 01:25:16,520 --> 01:25:21,208 And he is so incredible, how he's got this much energy. 1686 01:25:22,720 --> 01:25:24,563 - He really knows his audience. - Yes. 1687 01:25:24,680 --> 01:25:26,967 - And he really makes people laugh. - Yep. 1688 01:25:27,040 --> 01:25:29,930 But he's also a really, really talented singer and dancer, 1689 01:25:30,000 --> 01:25:31,729 - which is crazy. - That's awesome. 1690 01:25:31,800 --> 01:25:34,531 So, all these guys you see are the real guys that PBR use. 1691 01:25:34,600 --> 01:25:36,125 These are the real fighters 1692 01:25:36,200 --> 01:25:39,204 who are there to help the bull riders out in case they get in trouble, 1693 01:25:39,320 --> 01:25:42,005 make sure the bull gets out of the rider's way. 1694 01:25:42,080 --> 01:25:45,004 Look at that, These guys get really close in. 1695 01:25:45,080 --> 01:25:48,368 Like I said, the PBR was involved with this film all the way. 1696 01:25:48,440 --> 01:25:52,809 They made everything possible for us in terms of the advertising you see, 1697 01:25:52,880 --> 01:25:56,601 Cooper, all that stuff, and the colors, the scheme. 1698 01:25:56,680 --> 01:25:59,729 This is all real, These are their real bulls. 1699 01:25:59,840 --> 01:26:02,320 These are top bulls that they use. 1700 01:26:02,920 --> 01:26:04,490 That's really Scott Eastwood. 1701 01:26:04,560 --> 01:26:07,086 That's Scott Eastwood there, laying down. 1702 01:26:07,560 --> 01:26:11,087 And these are the real fighters, and these guys were awesome. 1703 01:26:11,160 --> 01:26:14,323 Without them, this would have been very tough to pull off. 1704 01:26:14,400 --> 01:26:16,971 And it just feels very authentic. Jack Daniel's. 1705 01:26:17,040 --> 01:26:21,489 Look at all... These are advertisings that these guys brought to the table 1706 01:26:21,560 --> 01:26:23,608 and just making it feel real for us. 1707 01:26:23,680 --> 01:26:25,284 And this guy's great, Tiago, right? 1708 01:26:25,360 --> 01:26:26,646 - Yep, yep, yep. - That's his name? 1709 01:26:26,720 --> 01:26:28,370 - He's really good. - Yep. 1710 01:26:28,440 --> 01:26:30,647 He's only in it for a little bit, but I really like him. 1711 01:26:30,720 --> 01:26:35,203 He has a really strong on-screen presence, and he's got a beautiful face. 1712 01:26:35,280 --> 01:26:36,770 That's no lie. 1713 01:26:40,840 --> 01:26:43,446 - He's Brazilian, right? - Yes, he is. 1714 01:26:43,520 --> 01:26:46,410 There's a lot of Brazilians in the PBR, actually. 1715 01:26:48,240 --> 01:26:51,369 The PBR bull riding, it's really big down there. 1716 01:26:51,440 --> 01:26:53,204 Yeah, it's huge. A lot of Brazilians... 1717 01:26:53,280 --> 01:26:58,286 - One of the Brazilians took the first prize. - Yes. 1718 01:26:58,400 --> 01:27:00,607 - Was it Da Silva or something like that? - Yep. 1719 01:27:00,680 --> 01:27:03,081 I think it was Da Silva, Here we go. 1720 01:27:03,160 --> 01:27:06,562 This is the moment of truth for Sophia. 1721 01:27:08,400 --> 01:27:10,562 When she's about to go to New York. 1722 01:27:10,640 --> 01:27:14,884 And she decides that, actually, she'd just much rather see if her man was all right. 1723 01:27:15,000 --> 01:27:18,402 And I think this is the first time where 1724 01:27:18,480 --> 01:27:21,882 because of Ira 's story and her relationship with Ira 1725 01:27:21,960 --> 01:27:23,644 and because of the time spending with Luke, 1726 01:27:23,720 --> 01:27:27,406 she's able to now think emotionally and not think mentally, 1727 01:27:27,480 --> 01:27:31,201 which, in the beginning, which is art school, art student, 1728 01:27:31,280 --> 01:27:34,409 go into the world of galleries and let me keep to my goals. 1729 01:27:34,480 --> 01:27:37,086 Now she's being able to follow her heart. 1730 01:27:37,160 --> 01:27:40,448 And we're seeing the process of her character changing. 1731 01:27:40,520 --> 01:27:44,650 And it's funny because it all boils down to caring, right? 1732 01:27:44,720 --> 01:27:49,521 So, you can care about art and you can care about your career 1733 01:27:49,600 --> 01:27:53,924 and you can care about money and you can care about all of these things.. 1734 01:27:54,000 --> 01:27:58,961 You do have an emotional attachment to certain aspects of your life. 1735 01:27:59,040 --> 01:28:01,247 But you will never be able to care about anything 1736 01:28:01,320 --> 01:28:03,482 as much as you're able to care about another person. 1737 01:28:03,560 --> 01:28:04,641 Yes. 1738 01:28:04,720 --> 01:28:08,930 Because that actually, the fact that it's life for life... 1739 01:28:09,000 --> 01:28:11,970 It also happens with dogs, mind you, and cats and animals. 1740 01:28:12,040 --> 01:28:15,442 But there's something about caring about something that is living, 1741 01:28:15,560 --> 01:28:18,564 that is also alive, that there's a recognition there. 1742 01:28:19,720 --> 01:28:23,122 There's a real exchange of, 1743 01:28:24,280 --> 01:28:30,322 I don't know, cell molecular energy, like supersonic megaliths. 1744 01:28:30,400 --> 01:28:31,731 Yeah, yeah. 1745 01:28:31,800 --> 01:28:35,009 I don't know what... Words, words, words, words, words. 1746 01:28:35,120 --> 01:28:39,170 But if you could put a word to it, then it probably wouldn't be as interesting. 1747 01:28:39,240 --> 01:28:40,321 Right. 1748 01:28:43,280 --> 01:28:45,203 But, yeah, so she's got her priorities right now. 1749 01:28:45,280 --> 01:28:47,248 Get her priorities right now. 1750 01:28:48,480 --> 01:28:50,164 And I do hope Luke is okay. 1751 01:28:50,320 --> 01:28:52,243 Yeah, me, too. 1752 01:28:52,320 --> 01:28:54,243 Although I still don't see why he shouldn't 1753 01:28:54,320 --> 01:28:58,211 start a PBR in New York, in Manhattan. 1754 01:28:58,280 --> 01:29:03,002 Just buy out a parking lot and turn it into a bullring. 1755 01:29:03,080 --> 01:29:04,445 And turn it into a... 1756 01:29:05,560 --> 01:29:10,600 I think, sell the ranch. Move your mama to New York. 1757 01:29:11,800 --> 01:29:14,724 I don't know, get her to, I don't know, do something. 1758 01:29:15,320 --> 01:29:17,527 No, it's not really gonna happen, is it? 1759 01:29:17,600 --> 01:29:19,284 - He's too attached. - He's too attached. 1760 01:29:19,360 --> 01:29:20,691 He's too attached to his environment. 1761 01:29:20,760 --> 01:29:24,082 Remember the line he says? "There's not many cowboys in Manhattan. 1762 01:29:24,160 --> 01:29:26,049 Yeah, "There's not many cowboys in Manhattan. 1763 01:29:26,120 --> 01:29:28,930 - That could change though, Lukey. - Yeah, exactly. 1764 01:29:29,800 --> 01:29:34,442 And I like that moment, too, cause every time he's talking to her boss, 1765 01:29:34,520 --> 01:29:36,124 you can just see her cringing, 1766 01:29:36,200 --> 01:29:37,645 hoping he don't say the wrong thing. 1767 01:29:37,720 --> 01:29:40,564 Yeah, completely. You can really feel that tension. 1768 01:29:41,960 --> 01:29:46,761 Again, here, as I was explaining, these are the real PBR guys. 1769 01:29:46,840 --> 01:29:50,208 That flip that happened was just by chance. 1770 01:29:50,320 --> 01:29:51,731 That happened while we were shooting, 1771 01:29:51,800 --> 01:29:55,566 and I was like, Let's use that to our advantage. 1772 01:29:55,640 --> 01:29:58,246 Wow, That actually really happened? 1773 01:29:58,320 --> 01:30:00,800 That actually really happened, That is real footage. 1774 01:30:00,880 --> 01:30:02,723 And then I was able to shoot footage 1775 01:30:02,800 --> 01:30:04,404 - of Scott around... - Around it, of Scott? 1776 01:30:04,480 --> 01:30:06,130 - Oh, my gosh. - Yeah. 1777 01:30:07,800 --> 01:30:10,121 That is insane, that they... 1778 01:30:11,520 --> 01:30:13,727 - Was the guy all right? - Yes. 1779 01:30:13,800 --> 01:30:16,246 I think he rode the next week or something. 1780 01:30:16,320 --> 01:30:18,322 It's amazing, This is the thing, right? 1781 01:30:18,400 --> 01:30:21,643 In the bull ring, when they were introducing the cowboys, 1782 01:30:21,720 --> 01:30:24,803 the presenter would be like, on the tannoy. 1783 01:30:24,880 --> 01:30:29,249 He'd be like, And next up, we have so-and-so from this place 1784 01:30:29,360 --> 01:30:34,082 and he is such a real cowboy that he is riding today 1785 01:30:34,160 --> 01:30:37,607 "with a broken collarbone, a twisted ankle, 1786 01:30:37,680 --> 01:30:41,605 severely sprained two wrists and five concussions. 1787 01:30:41,680 --> 01:30:44,445 Well done to this guy, right? Now he's gonna come out of the ring. 1788 01:30:44,520 --> 01:30:48,730 And you see him and he comes out, and he's actually staying on for 1789 01:30:48,800 --> 01:30:51,485 more seconds than I would be able to stay on for. 1790 01:30:51,560 --> 01:30:52,971 - Exactly. - And it's nuts. 1791 01:30:53,040 --> 01:30:56,044 - These guys will break their bones. - They get right back in. 1792 01:30:56,120 --> 01:30:58,964 - And they get right back on the... - They get right back in. 1793 01:30:59,040 --> 01:31:03,170 - And that's what Scott was able to take in. - Incredible. 1794 01:31:03,240 --> 01:31:05,925 From body behavior. 1795 01:31:06,000 --> 01:31:11,564 The limp that he does throughout the story, the hands, the way he moves. 1796 01:31:11,640 --> 01:31:15,326 - All that just from taking years of pounding. - Yeah. 1797 01:31:15,400 --> 01:31:19,530 Like you say, he's near the end of him as a bull rider. 1798 01:31:19,600 --> 01:31:22,570 He wants to get on top, He wants to... 1799 01:31:22,640 --> 01:31:26,725 The main important thing, his fear, is he don't know what else to do. 1800 01:31:26,800 --> 01:31:31,328 And we were able to see it, the majority in this scene when he refuses to quit. 1801 01:31:31,960 --> 01:31:32,847 Sophia... 1802 01:31:33,000 --> 01:31:34,445 Yeah. 1803 01:31:35,000 --> 01:31:36,240 Doctors don't know everything. 1804 01:31:36,400 --> 01:31:37,447 Are you crazy? 1805 01:31:38,280 --> 01:31:42,604 That's a really nice moment, actually, when he breaks his wristband off. 1806 01:31:42,680 --> 01:31:45,365 And it's a really good illustration, Very good. 1807 01:31:45,440 --> 01:31:47,602 Well done, Well done, George. 1808 01:31:47,680 --> 01:31:49,330 It was great, too. 1809 01:31:49,440 --> 01:31:52,728 I know Scott was like, You know, I should wear my wrist, you know? 1810 01:31:52,800 --> 01:31:54,848 And I think he was ultimately right. 1811 01:31:54,920 --> 01:31:56,843 He would carry that, forget that it's on. 1812 01:31:56,920 --> 01:32:01,005 - And just tear if off. - Tear it off at the moment of that... 1813 01:32:01,080 --> 01:32:04,687 Like, him deciding that he's not gonna take care of himself, 1814 01:32:04,760 --> 01:32:09,402 and he's gonna go off and serve his ego. 1815 01:32:09,480 --> 01:32:11,244 You can't expect me to change mine. 1816 01:32:13,200 --> 01:32:14,770 Yeah, I thought it was our life, too. 1817 01:32:14,880 --> 01:32:16,882 This is what I do. 1818 01:32:18,800 --> 01:32:20,848 It's all I know. 1819 01:32:24,200 --> 01:32:26,248 It has been a blank. 1820 01:32:26,320 --> 01:32:28,288 There was no memory card. 1821 01:32:30,280 --> 01:32:32,282 I can't watch you ruin it. 1822 01:32:36,800 --> 01:32:38,643 All right, Now she goes off in a huff, 1823 01:32:38,720 --> 01:32:41,963 cause she's like, That ain't good enough. 1824 01:32:42,480 --> 01:32:45,370 I love this woman. 1825 01:32:45,440 --> 01:32:46,965 What's her name? The one that plays the mom? 1826 01:32:47,080 --> 01:32:48,081 - Lolita? - Lolita. 1827 01:32:48,160 --> 01:32:49,241 - Yes. - This woman's amazing. 1828 01:32:50,400 --> 01:32:53,324 The next scene that she does, 1829 01:32:53,400 --> 01:32:57,450 she has such a mother-son relationship with Luke. 1830 01:32:57,520 --> 01:33:00,410 - You guys nailed that with casting. - Yeah, she's great. 1831 01:33:00,480 --> 01:33:05,168 Although I think she'd be a bit too young to be Luke's mom, but I don't know. 1832 01:33:05,240 --> 01:33:07,447 Maybe that's just 'cause she takes really good care of herself. 1833 01:33:07,560 --> 01:33:09,847 She takes really good care of herself. 1834 01:33:10,800 --> 01:33:14,009 This is, I think, one of my favorite moments in the film 1835 01:33:14,080 --> 01:33:16,606 that just passed, actually, when Alan says, 1836 01:33:19,440 --> 01:33:20,726 How was New York? 1837 01:33:20,800 --> 01:33:23,280 And his little eyes, like, this smile. 1838 01:33:23,360 --> 01:33:25,966 This smile that's interrupted by this cough. 1839 01:33:26,040 --> 01:33:28,088 - Yeah. - That for me... 1840 01:33:28,160 --> 01:33:29,161 Yeah. 1841 01:33:29,240 --> 01:33:31,242 He just... He's such a genius. 1842 01:33:31,840 --> 01:33:38,166 And then, this goes into her wanting to know more about Daniel. 1843 01:33:38,240 --> 01:33:42,484 Now she wants to know how can she fix this relationship? 1844 01:33:42,560 --> 01:33:43,721 Yeah. 1845 01:33:44,320 --> 01:33:45,651 So, Alan's here. 1846 01:33:45,720 --> 01:33:48,963 Ira is telling her the pivotal moment, 1847 01:33:49,040 --> 01:33:51,884 the pivotal obstacle that happened in their life. 1848 01:33:52,840 --> 01:33:56,811 We go into one of my favorite two scenes of the whole movie. 1849 01:33:56,880 --> 01:34:00,965 That, you know, Ruth leaving, leaving Ira. 1850 01:34:01,040 --> 01:34:02,121 Yeah. 1851 01:34:02,880 --> 01:34:06,680 Which, I think, is really, really great, what you did in that scene. 1852 01:34:07,560 --> 01:34:09,562 I saw this scene in an assembly, 1853 01:34:10,720 --> 01:34:14,042 my first assembly cut, which the editor puts together, 1854 01:34:14,680 --> 01:34:16,250 my first viewing of this. 1855 01:34:16,320 --> 01:34:17,367 It never changed. 1856 01:34:17,440 --> 01:34:19,841 The scene was cut this way and it never changed. 1857 01:34:19,920 --> 01:34:22,002 I never touched this scene. 1858 01:34:22,080 --> 01:34:24,765 It just, some scenes just editorially... 1859 01:34:24,840 --> 01:34:26,171 - Just happen. - Just happens. 1860 01:34:26,240 --> 01:34:28,402 And that's what's happened. 1861 01:34:31,600 --> 01:34:33,887 You look beautiful there, The hair. 1862 01:34:33,960 --> 01:34:36,884 Love the black, Even the red lipstick. 1863 01:34:36,960 --> 01:34:38,769 The subtleness of it. 1864 01:34:39,360 --> 01:34:40,964 Just says that something's going on, 1865 01:34:41,040 --> 01:34:43,566 that you were preparing to go out or leave. 1866 01:34:43,640 --> 01:34:45,005 Yeah. 1867 01:34:46,440 --> 01:34:48,886 I know it's not your fault. 1868 01:34:49,360 --> 01:34:51,442 He was so good in this scene. 1869 01:34:51,520 --> 01:34:52,851 It's a shock, You can't believe what's... 1870 01:34:52,920 --> 01:34:54,843 He was so good in this scene, 1871 01:34:54,920 --> 01:34:58,129 in this whole sequence, this whole day that we shot. 1872 01:34:58,200 --> 01:35:00,521 He was so, so good. 1873 01:35:01,800 --> 01:35:06,488 I think that was the easiest scene that we shot, weirdly, 1874 01:35:06,560 --> 01:35:11,248 because it was the most challenging, to access that level of... 1875 01:35:11,320 --> 01:35:15,564 We're both... Neither of us has been together that long with... 1876 01:35:15,640 --> 01:35:18,644 As long as these two have been together with our respective partners. 1877 01:35:18,720 --> 01:35:21,451 And we're nowhere near that age. 1878 01:35:21,520 --> 01:35:27,289 So, how do you access that timeframe, basically? 1879 01:35:27,360 --> 01:35:28,885 - Yeah, yeah. - That timeframe 1880 01:35:28,960 --> 01:35:30,962 and the depth of emotion that goes with it. 1881 01:35:31,040 --> 01:35:32,166 - Yeah. - But weirdly, 1882 01:35:32,240 --> 01:35:37,371 it was just a really, really easy scene to be in. 1883 01:35:37,440 --> 01:35:38,441 - Yeah. - I don't know. 1884 01:35:38,520 --> 01:35:40,921 - It's just as if magic happened that day. - Just magic happened that day. 1885 01:35:41,000 --> 01:35:43,367 Then we went right inside to do this scene. 1886 01:35:43,440 --> 01:35:45,761 And I remember, Jack and... 1887 01:35:45,840 --> 01:35:47,922 You just spoke about it earlier. 1888 01:35:48,000 --> 01:35:50,765 This is the scene where I remember Jack came up to me. 1889 01:35:50,840 --> 01:35:52,080 He's like, You know what? 1890 01:35:52,160 --> 01:35:56,085 "I'm just gonna go for it, in terms of emotion. 1891 01:35:56,160 --> 01:35:57,207 Yeah. 1892 01:35:57,280 --> 01:35:58,645 Why hold it' back? 1893 01:35:58,720 --> 01:36:00,449 That's the main thing I was thinking as a director. 1894 01:36:00,520 --> 01:36:03,922 "Okay, maybe I have it withheld, I withhold it. 1895 01:36:04,000 --> 01:36:06,651 I always felt like emotional scenes are always best when... 1896 01:36:06,720 --> 01:36:08,768 - You play against type. - When you play against it, right? 1897 01:36:08,840 --> 01:36:13,607 But this is one of those moments where we didn't quite play against it. 1898 01:36:13,680 --> 01:36:14,761 No, It just... 1899 01:36:14,840 --> 01:36:16,126 But it happened naturally. 1900 01:36:16,200 --> 01:36:17,281 No, you play with it. 1901 01:36:17,360 --> 01:36:19,761 But I think also, it's perfect for Ira 's character 1902 01:36:19,840 --> 01:36:22,969 and his journey throughout the film. 1903 01:36:23,040 --> 01:36:27,125 He is such a solid... He's always... 1904 01:36:27,200 --> 01:36:29,726 He's always underplaying the situation. 1905 01:36:29,800 --> 01:36:31,882 Ira, not Jack. 1906 01:36:31,960 --> 01:36:36,409 Ira's always on the back foot a little bit, whereas this time he's really... 1907 01:36:36,480 --> 01:36:40,041 This is the moment of truth for him where he's actually... 1908 01:36:40,800 --> 01:36:43,167 This is the most courageous thing that he could have done, 1909 01:36:43,240 --> 01:36:45,322 - and he really steps up to the plate. - Yeah. 1910 01:36:45,400 --> 01:36:46,526 And he lets her go. 1911 01:36:46,600 --> 01:36:51,811 And it's so wonderful to see a man be that brave and that courageous. 1912 01:36:51,880 --> 01:36:53,564 - Yeah. - And that... 1913 01:36:55,280 --> 01:36:57,965 That strong. 1914 01:36:58,080 --> 01:36:59,320 - Yes. - Actually. 1915 01:36:59,400 --> 01:37:00,606 Even though he's crying. 1916 01:37:00,680 --> 01:37:02,489 - Yes. - He's being really strong. 1917 01:37:02,560 --> 01:37:05,643 And this is... That's what can happen in relationships, 1918 01:37:05,720 --> 01:37:11,489 by seeing these two people fall in love and decades being together, 1919 01:37:11,560 --> 01:37:15,121 that one thing can change everything. 1920 01:37:15,800 --> 01:37:18,167 And, um, I felt like 1921 01:37:18,240 --> 01:37:22,928 that's what chemistry and two people being together 1922 01:37:23,000 --> 01:37:25,526 or two people, two actors... 1923 01:37:25,600 --> 01:37:29,082 How do you make an audience feel that way? 1924 01:37:30,120 --> 01:37:31,485 And that's the most... 1925 01:37:31,560 --> 01:37:34,882 And that's what made it a very tough movie, to... 1926 01:37:34,960 --> 01:37:36,405 This film became tough to make. 1927 01:37:36,480 --> 01:37:40,371 Because you gotta make sure you'd be in the right tone, 1928 01:37:40,440 --> 01:37:42,522 cause you go one way, "I don't believe any of that. 1929 01:37:42,600 --> 01:37:45,331 You mean you don't believe any of those decades that they're together? 1930 01:37:45,400 --> 01:37:47,971 You don't believe they love each other any at all? 1931 01:37:48,040 --> 01:37:50,691 If you do feel they love each other at all, then you must feel that they... 1932 01:37:50,800 --> 01:37:52,643 When he walks away, you must feel the same thing. 1933 01:37:52,760 --> 01:37:53,807 - Yeah. - So, 1934 01:37:53,880 --> 01:37:55,882 all those things before it has to work 1935 01:37:55,960 --> 01:37:57,371 - for that moment to work. - Yeah, completely. 1936 01:37:57,440 --> 01:37:58,805 - Yeah. - They have to be 1937 01:37:58,880 --> 01:38:02,566 - a part of one story really, yeah. - One story, you know? 1938 01:38:04,280 --> 01:38:05,884 Oh, look at his hair. 1939 01:38:06,640 --> 01:38:09,041 Come here, babes. I'll do your hair, come here. 1940 01:38:09,120 --> 01:38:11,487 Come here, Let me coiffure you. 1941 01:38:18,200 --> 01:38:21,568 Yeah, it's so important that they came back together. 1942 01:38:23,400 --> 01:38:25,846 Cause they, couples now, they break up 1943 01:38:25,960 --> 01:38:30,602 for the silliest reasons, it seems. 1944 01:38:30,680 --> 01:38:33,206 I've got friends that have thrown relationships away 1945 01:38:33,280 --> 01:38:37,410 for the tiniest indiscretion or weird misunderstanding, 1946 01:38:37,480 --> 01:38:42,247 or a bad week where they just weren't connected. 1947 01:38:42,320 --> 01:38:43,401 Yeah, yeah. 1948 01:38:43,520 --> 01:38:45,761 And they've thrown this entire relationship away. 1949 01:38:45,840 --> 01:38:47,410 And you think that... 1950 01:38:47,480 --> 01:38:49,369 I mean, what kind of world do we live in 1951 01:38:49,440 --> 01:38:53,445 where there's no sense of overcoming your obstacles, 1952 01:38:53,520 --> 01:38:55,727 where as soon as something gets hard, you quit? 1953 01:38:55,800 --> 01:38:58,371 - Yeah. - And I think that's something that this... 1954 01:38:58,440 --> 01:38:59,771 Look, I'm... 1955 01:39:00,560 --> 01:39:02,369 This scene is just... 1956 01:39:15,400 --> 01:39:16,890 I think when you were saying that 1957 01:39:16,960 --> 01:39:18,803 some scenes just came easily, 1958 01:39:18,880 --> 01:39:22,168 even though they seem on page to be the toughest? 1959 01:39:22,960 --> 01:39:24,564 This scene is a tough scene, 1960 01:39:24,640 --> 01:39:28,964 but talking to Alan, it was the easiest for him, he was saying. 1961 01:39:29,040 --> 01:39:30,405 Yeah. 1962 01:39:30,480 --> 01:39:32,209 I think he was saying that all you have 1963 01:39:32,320 --> 01:39:33,970 to do is, you're married to someone, 1964 01:39:34,040 --> 01:39:37,840 and you just imagine that happening, and emotionally it's gonna come out. 1965 01:39:37,920 --> 01:39:41,242 Yeah, cause he's there and it's a fear that he has. 1966 01:39:41,320 --> 01:39:42,924 Yeah, yes. 1967 01:39:43,840 --> 01:39:46,161 And the main thing is, 1968 01:39:46,240 --> 01:39:49,847 there's no music there till the very end of that sequence. 1969 01:39:49,960 --> 01:39:51,644 And this, it's all him. 1970 01:39:53,400 --> 01:39:56,165 It's great working with him, former... 1971 01:39:58,480 --> 01:40:02,849 Being a guy who does directing, he does theater. 1972 01:40:03,600 --> 01:40:05,762 He does television, he does film, he does every... 1973 01:40:05,840 --> 01:40:07,524 - Just so much skill. - He does everything. 1974 01:40:07,600 --> 01:40:13,289 So, as a director, talking with him, he immediately grasps things very quickly 1975 01:40:13,400 --> 01:40:14,731 or you don't even have to say much, 1976 01:40:14,800 --> 01:40:16,564 cause he already knows what you're gonna do, 1977 01:40:16,640 --> 01:40:18,642 - cause he's done it before. - Yeah. 1978 01:40:18,720 --> 01:40:19,846 He knows the language. 1979 01:40:19,920 --> 01:40:21,285 He knows the language really well. 1980 01:40:21,360 --> 01:40:24,682 - So, our shorthand was very quick. - Hmm. 1981 01:40:24,760 --> 01:40:26,364 And it was a very emotional relationship, 1982 01:40:26,440 --> 01:40:30,843 in the sense that the material made our relationship emotional, 1983 01:40:30,960 --> 01:40:32,928 in terms of what we wanted to get across. 1984 01:40:33,000 --> 01:40:34,365 Because he had to trust you so much. 1985 01:40:34,440 --> 01:40:36,044 - Yeah, yeah. - He really had to trust you. 1986 01:40:36,120 --> 01:40:37,963 - Because, I mean, for him to go there. - Yeah. 1987 01:40:38,040 --> 01:40:39,883 He was saying that it was, 1988 01:40:39,960 --> 01:40:45,967 the whole thing with his Ruthie waking up or not waking up. 1989 01:40:46,040 --> 01:40:47,121 - Yeah, yeah. - Rather... 1990 01:40:47,200 --> 01:40:50,044 I mean, that's such a... It's a huge... 1991 01:40:50,120 --> 01:40:53,010 Like, it's really... It's a big thing for... 1992 01:40:53,080 --> 01:40:58,007 if I imagined my parents going, it just makes me lose my mind. 1993 01:40:58,080 --> 01:40:59,081 Yeah. 1994 01:40:59,160 --> 01:41:00,889 So, I mean, you have to really trust the people 1995 01:41:00,960 --> 01:41:02,166 that you're working with. 1996 01:41:02,240 --> 01:41:03,844 And you guys have a great relationship. 1997 01:41:03,920 --> 01:41:08,050 Yeah, and it was awesome working with him and doing a voiceover. 1998 01:41:08,120 --> 01:41:13,286 We did a lot of voiceover, as far as finding the right tone. 1999 01:41:14,240 --> 01:41:19,007 And here's again the moment where the picture comes back into the story. 2000 01:41:19,080 --> 01:41:21,845 The picture being taken by Daniel 2001 01:41:21,920 --> 01:41:26,721 and showing up later in the box 2002 01:41:26,800 --> 01:41:29,371 on the floor of Luke's truck, 2003 01:41:29,440 --> 01:41:32,330 and then finding itself back. 2004 01:41:32,440 --> 01:41:34,408 So, we jump around time passages, 2005 01:41:34,480 --> 01:41:37,131 which is what I love, making the film complex. 2006 01:41:37,200 --> 01:41:42,730 But it's very linear, in the sense that at least it finally found itself back to lra. 2007 01:41:45,840 --> 01:41:51,563 And I always felt like this says something about love, 2008 01:41:51,640 --> 01:41:53,165 on the different aspects, 2009 01:41:53,240 --> 01:41:56,608 not just on relationships, but on human beings, 2010 01:41:56,680 --> 01:41:58,284 and how we see and how we view other people. 2011 01:41:58,360 --> 01:41:59,441 And how we impact each other, yeah. 2012 01:41:59,520 --> 01:42:00,601 Each other, yeah. 2013 01:42:00,680 --> 01:42:02,603 That's the bit that always makes me cry. 2014 01:42:02,720 --> 01:42:04,449 That's the bit that really gets to me, 'cause... 2015 01:42:04,520 --> 01:42:05,851 Why is that? 2016 01:42:05,920 --> 01:42:07,206 Um... 2017 01:42:09,640 --> 01:42:11,369 I think... I don't know. 2018 01:42:11,440 --> 01:42:13,841 I think it's something that we can all connect to as human beings, 2019 01:42:13,920 --> 01:42:16,321 is hoping.. 2020 01:42:18,080 --> 01:42:21,801 Hoping that you have a positive effect on people. 2021 01:42:21,880 --> 01:42:26,283 And those moments where life turns around 2022 01:42:26,360 --> 01:42:30,331 and thanks you for the efforts that you've made. 2023 01:42:30,400 --> 01:42:31,890 It's like... 2024 01:42:32,880 --> 01:42:37,169 And the fact that you do, people do remember you 2025 01:42:37,240 --> 01:42:40,050 if you've made a good impact on them. 2026 01:42:40,120 --> 01:42:41,406 Yeah, yeah. 2027 01:42:41,480 --> 01:42:44,723 And they're grateful even though they're not Facebooking you, 2028 01:42:44,800 --> 01:42:47,007 - or any of that nonsense, you know? - Yeah, yeah. 2029 01:42:47,080 --> 01:42:48,570 They still think about you. 2030 01:42:48,680 --> 01:42:50,808 And there's something that is... 2031 01:42:50,880 --> 01:42:54,726 I think we all long to be remembered by the people that we love. 2032 01:42:54,800 --> 01:42:55,961 Yeah, yep. 2033 01:42:56,040 --> 01:42:59,169 So, that's a really amazing moment, It's six years old. 2034 01:42:59,240 --> 01:43:02,289 This kid probably hardly remembered her face. 2035 01:43:02,360 --> 01:43:03,691 That's why he drew it. 2036 01:43:03,760 --> 01:43:06,001 Yeah, yeah, yeah. 2037 01:43:06,080 --> 01:43:07,889 You can imagine that whole storyline. 2038 01:43:07,960 --> 01:43:11,089 It's like, that's a whole movie without being seen. 2039 01:43:11,160 --> 01:43:12,446 Mmm-hmm, yeah. 2040 01:43:13,760 --> 01:43:15,569 - Yeah. And it really gets to me. - Yeah. 2041 01:43:15,640 --> 01:43:17,005 Of course, he had to die as well, though. 2042 01:43:17,080 --> 01:43:18,445 - Yeah. - Everyone's dead. 2043 01:43:18,520 --> 01:43:21,763 This film should be called Everyone Dies in the End. 2044 01:43:23,120 --> 01:43:26,249 Well, here the line is, "It's only eight seconds, Luke. 2045 01:43:26,320 --> 01:43:27,321 - Listen. - But this girl... 2046 01:43:27,400 --> 01:43:29,767 - Could be the rest of your life. - Rest of your life. 2047 01:43:29,840 --> 01:43:32,923 It almost sounds like a prison sentence, I'm not gonna lie. 2048 01:43:36,240 --> 01:43:40,450 Yeah. No, she's perfect as his mom. 2049 01:43:40,520 --> 01:43:42,045 She is such a sassy mom, 2050 01:43:42,120 --> 01:43:46,409 and she's got a lovely feminine quality to her. 2051 01:43:46,560 --> 01:43:47,721 Mmm-hmm. 2052 01:43:47,800 --> 01:43:51,407 Yeah. That's Scott squeezing out a thought. 2053 01:43:58,600 --> 01:44:00,523 Exams, Don't you miss those? 2054 01:44:00,600 --> 01:44:04,047 Oh, man, I'm glad I'm never going back there again. 2055 01:44:05,320 --> 01:44:07,243 - Can you imagine that? - Oh! 2056 01:44:07,320 --> 01:44:08,890 You probably were good at school. 2057 01:44:08,960 --> 01:44:12,043 I was good at school, but exams are horrible. 2058 01:44:12,120 --> 01:44:14,726 I think they're.. They should be banned. 2059 01:44:17,880 --> 01:44:19,689 Now this, she's really good here. 2060 01:44:19,760 --> 01:44:25,802 I felt like she really got the, um, feeling, like it must be... 2061 01:44:26,840 --> 01:44:29,320 She's just made the connection with this guy. 2062 01:44:29,400 --> 01:44:32,165 - Yeah. - She's just made this connection. 2063 01:44:32,240 --> 01:44:35,005 It's funny how you meet people and they can become so important to you 2064 01:44:35,120 --> 01:44:36,770 - so quickly. - So important, yeah. 2065 01:44:36,840 --> 01:44:38,046 I remember this moment, too, 2066 01:44:38,120 --> 01:44:41,442 cause this is the moment where, in this day, 2067 01:44:41,520 --> 01:44:44,171 I think a lot of people from Fox came down. 2068 01:44:44,240 --> 01:44:48,211 And Britt was about to do the scene. 2069 01:44:49,200 --> 01:44:51,601 And I think it was a lot of distractions or something. 2070 01:44:51,720 --> 01:44:54,007 Something was going on, on the campus. 2071 01:44:55,960 --> 01:44:59,487 This was actually Wake Forest University. 2072 01:44:59,560 --> 01:45:03,804 So, something was going on and it was just hard to concentrate, 2073 01:45:03,880 --> 01:45:07,851 and we did about nine or 10 takes of this. 2074 01:45:07,920 --> 01:45:09,843 And she was concerned she wasn't getting it. 2075 01:45:09,920 --> 01:45:13,641 I was like, "Fox said you had it in take three. 2076 01:45:13,720 --> 01:45:14,801 Yeah. 2077 01:45:14,880 --> 01:45:17,645 And it's really about emotionally... 2078 01:45:18,160 --> 01:45:20,891 She's able to very emotionally, quickly, get to where we need to get to. 2079 01:45:21,720 --> 01:45:22,960 - And... - Was that one shot? 2080 01:45:23,040 --> 01:45:25,008 That was... No, it was a combination of two shots here. 2081 01:45:25,080 --> 01:45:27,481 All right, But two shots though, that's still really impressive. 2082 01:45:27,560 --> 01:45:28,846 Yeah. 2083 01:45:30,840 --> 01:45:32,001 Here's all PBR. 2084 01:45:32,080 --> 01:45:33,286 - Look at this PBR guy. - This is stuff that 2085 01:45:33,360 --> 01:45:34,964 you've added since the cut that I saw, 2086 01:45:35,040 --> 01:45:37,327 and it's great, cause it really gets you into the world a bit. 2087 01:45:37,400 --> 01:45:38,447 Yep. 2088 01:45:39,120 --> 01:45:41,009 - Look at those beautiful beasts. - Yeah. 2089 01:45:41,080 --> 01:45:42,684 Oh, my goodness. 2090 01:45:46,720 --> 01:45:47,767 Such power. 2091 01:45:47,840 --> 01:45:50,081 It's funny that, um... 2092 01:45:53,840 --> 01:45:56,002 It's funny that he goes, really. 2093 01:45:56,120 --> 01:45:59,567 I think it's important that he goes, because he's also making a... 2094 01:45:59,640 --> 01:46:00,846 He knows that she's gonna be there. 2095 01:46:00,920 --> 01:46:02,365 He knows she's gonna be, yep. 2096 01:46:02,440 --> 01:46:05,523 He knows that she's gonna be there, so he's like... 2097 01:46:05,600 --> 01:46:06,965 Yep. 2098 01:46:11,560 --> 01:46:14,928 Again, it's like one of the things, too. 2099 01:46:15,000 --> 01:46:17,002 The simplicity of the story, which is... 2100 01:46:17,080 --> 01:46:21,210 I think it's always true when they say, "Simplicity always wins. 2101 01:46:21,280 --> 01:46:23,089 - Yeah. - It's just two people, right? 2102 01:46:23,160 --> 01:46:26,448 The story is two people who can't quite just... 2103 01:46:26,520 --> 01:46:27,931 Can't quite get rid of each other. 2104 01:46:28,000 --> 01:46:30,571 Yeah, it's just very simple. 2105 01:46:30,640 --> 01:46:34,611 And also, I remember talking to Jack early in our rehearsals. 2106 01:46:35,240 --> 01:46:39,165 He's like, "I just love the simplicity of just me not having kids 2107 01:46:39,240 --> 01:46:45,646 and how one small thing... Which is a big, emotional thing for two adults. 2108 01:46:46,160 --> 01:46:48,561 But it's one small thing that can affect the whole. 2109 01:46:48,640 --> 01:46:49,721 - Yeah. - And this... 2110 01:46:49,840 --> 01:46:53,242 And the small thing is what we have in our life and what we deal with. 2111 01:46:53,320 --> 01:46:55,971 And that's what makes things human. 2112 01:46:56,520 --> 01:47:00,445 How do two people, who cannot have children, want to have children, 2113 01:47:00,520 --> 01:47:03,364 how are they able to survive that ordeal? 2114 01:47:03,440 --> 01:47:06,125 Or how can two people who love each other 2115 01:47:06,200 --> 01:47:08,931 want to do two different things? 2116 01:47:09,000 --> 01:47:10,490 How would they overcome that? 2117 01:47:10,560 --> 01:47:12,369 Two simple things in life. 2118 01:47:12,440 --> 01:47:17,048 And just embracing those simplicities, you can really understand characters, 2119 01:47:17,120 --> 01:47:19,327 - and understand behavior through that. - Yeah. 2120 01:47:19,400 --> 01:47:20,925 And I remember that was something 2121 01:47:21,000 --> 01:47:22,764 Jack was saying in our early rehearsals. 2122 01:47:22,840 --> 01:47:25,525 He just loved the simplicity of just Daniel. 2123 01:47:25,600 --> 01:47:29,207 Just this one obstacle that is... Just becomes massive. 2124 01:47:29,280 --> 01:47:30,486 - It becomes massive. - Yeah. 2125 01:47:30,560 --> 01:47:32,562 Because when you're watching your story for a while, 2126 01:47:32,640 --> 01:47:34,881 we see you guys falling in love, 2127 01:47:34,960 --> 01:47:36,769 we see you guys connecting and dancing. 2128 01:47:36,840 --> 01:47:39,127 We see you guys getting married, every... 2129 01:47:39,200 --> 01:47:42,010 It's a moment of feeling really great, and then it's just... yeah. 2130 01:47:42,080 --> 01:47:45,163 Yeah, and we see Ruth as well going, 2131 01:47:45,240 --> 01:47:47,083 I know what I'm doing, this is gonna be fine. 2132 01:47:47,160 --> 01:47:48,810 - This is the right choice to make. - Yeah. 2133 01:47:48,880 --> 01:47:53,249 And of course... Yeah, Alan Watts is one of my heroes 2134 01:47:53,360 --> 01:47:56,011 and he talks about marriage, like, early marriage. 2135 01:47:56,080 --> 01:47:58,970 And he says quite a few funny things about it. 2136 01:47:59,040 --> 01:48:04,683 But he's like, How can two people that don't know what to do with their lives at 19 2137 01:48:04,760 --> 01:48:07,047 stand in front of a priest and say 'I'm gonna love you forever? 2138 01:48:07,120 --> 01:48:10,010 They haven't figured out who they are themselves. 2139 01:48:10,080 --> 01:48:12,560 How can they sit there and honestly say, I'm gonna love you forever? 2140 01:48:12,640 --> 01:48:15,450 And then people expect them not to break this promise? 2141 01:48:15,520 --> 01:48:19,002 And I think that there is that innocence to what Ruth does. 2142 01:48:19,080 --> 01:48:23,244 It's like, I know what I'm doing. It's gonna be fine. 2143 01:48:23,320 --> 01:48:24,970 I love him more than anything else in the world. 2144 01:48:25,040 --> 01:48:27,520 - And that kind of thing catches up with you. - Yeah. 2145 01:48:27,600 --> 01:48:29,568 And when those moments catch up with you, 2146 01:48:29,640 --> 01:48:32,689 that's when you... That's when the real decision really gets made. 2147 01:48:32,760 --> 01:48:34,330 - Yes, Yes. - I think. 2148 01:48:34,400 --> 01:48:36,084 When you're dealing with the consequences. 2149 01:48:36,160 --> 01:48:38,003 - The consequences, exactly. - Yeah. 2150 01:48:38,080 --> 01:48:39,525 Exactly. 2151 01:48:41,280 --> 01:48:43,248 So here, we're in the final bull ride. 2152 01:48:43,320 --> 01:48:46,642 We did shoot two other sequences before this where we see Luiz, 2153 01:48:46,720 --> 01:48:51,760 and then we see other bull riders actually riding while Luke is preparing. 2154 01:48:51,840 --> 01:48:53,808 But I wanted to keep the narrative going with Luke. 2155 01:48:53,920 --> 01:48:59,324 I just felt, "Let's get Luke going, and stay in his head at this point. 2156 01:48:59,400 --> 01:49:02,882 Because it becomes about... Sophia is in the back of his mind, 2157 01:49:02,960 --> 01:49:05,725 so, still, I wanted to keep her connected. 2158 01:49:05,800 --> 01:49:09,646 So, I decided to out those other sequences and go right back to Luke. 2159 01:49:10,360 --> 01:49:11,885 This sequence was interesting. 2160 01:49:11,960 --> 01:49:13,883 I knew we had to go all-out for this one. 2161 01:49:13,960 --> 01:49:16,406 This sequence was combined, 2162 01:49:16,480 --> 01:49:20,690 with a combination of six cameras... Seven cameras around. 2163 01:49:20,760 --> 01:49:21,966 - What? - Yeah. 2164 01:49:22,040 --> 01:49:27,251 Seven cameras somewhere around the ring grabbing crowd reactions. 2165 01:49:27,320 --> 01:49:32,121 But really doing a lot of speed changes, fast and slowing it down. 2166 01:49:32,200 --> 01:49:34,771 And just going down to slow motion right there, 2167 01:49:34,880 --> 01:49:37,201 getting us into his world, rght there. 2168 01:49:37,280 --> 01:49:39,089 Profiles. 2169 01:49:39,160 --> 01:49:41,083 Again, we're using the Phantom here. 2170 01:49:41,160 --> 01:49:43,128 Really seeing Luke, 2171 01:49:43,200 --> 01:49:47,364 seeing the perspective of body against muscle against the bull, 2172 01:49:47,440 --> 01:49:51,923 going wide, where you see the crowd and the banner in the background, 2173 01:49:52,000 --> 01:49:53,968 seeing the guys behind him in the chute. 2174 01:49:54,040 --> 01:49:56,566 I think it was a very important close-up of Rango, 2175 01:49:56,640 --> 01:49:59,644 making sure Rango and Luke's story is still there. 2176 01:49:59,720 --> 01:50:02,007 Slowing things down again with the Phantom here, 2177 01:50:02,080 --> 01:50:03,320 just really seeing the muscles. 2178 01:50:03,400 --> 01:50:05,084 Underneath there's the bell there. 2179 01:50:05,200 --> 01:50:08,443 I really wanted to get very specific and detailed. 2180 01:50:08,520 --> 01:50:11,444 And then we go into the third section of the sequence 2181 01:50:11,520 --> 01:50:14,126 - where we go into the score. - That's amazing, that... 2182 01:50:14,200 --> 01:50:16,680 - Was that Scott's face? - Yes, yes. 2183 01:50:16,760 --> 01:50:17,966 Is it... Did you do that, add it in post? 2184 01:50:18,040 --> 01:50:19,041 Yeah. 2185 01:50:19,120 --> 01:50:20,451 - Yeah, that's in post, yep. - Amazing. 2186 01:50:20,520 --> 01:50:24,445 Yep. Again, close-ups of the bull. 2187 01:50:24,520 --> 01:50:26,807 Just things like that, I think, will keep... 2188 01:50:26,880 --> 01:50:30,123 High angle, which we use sparingly. 2189 01:50:30,200 --> 01:50:33,647 Keeping Rango in the mix, seeing the twisting there, 2190 01:50:33,720 --> 01:50:35,245 letting the music start heightened. 2191 01:50:35,320 --> 01:50:36,401 I think this bull... 2192 01:50:36,480 --> 01:50:40,485 This sequence was combined with about maybe five different rides. 2193 01:50:41,040 --> 01:50:44,567 With five different rides, with six different cameras, 2194 01:50:44,640 --> 01:50:45,801 we were able to capture that. 2195 01:50:45,880 --> 01:50:47,291 But then you see the fighters in the foreground. 2196 01:50:47,360 --> 01:50:49,328 Look at that slow motion there, getting close. 2197 01:50:49,400 --> 01:50:50,890 And then we ramp back out. 2198 01:50:52,080 --> 01:50:53,525 These are... 2199 01:50:53,600 --> 01:50:57,969 It took a whole day just to get this, this sequence. 2200 01:50:58,040 --> 01:50:59,849 And I'm really proud of it. 2201 01:50:59,920 --> 01:51:01,081 Yes, it's beautiful. 2202 01:51:01,160 --> 01:51:02,810 Everybody did a great job with it. 2203 01:51:02,880 --> 01:51:04,484 But then again, you gotta take away the bull. 2204 01:51:04,560 --> 01:51:06,847 It's not about the ride. It's about "What is the story? 2205 01:51:06,920 --> 01:51:09,605 - It's about Luke and... - And there he is looking for her. 2206 01:51:09,680 --> 01:51:12,331 Looking for her and she's not there. 2207 01:51:13,320 --> 01:51:14,810 So... 2208 01:51:15,400 --> 01:51:20,691 it has to take discipline in making sure the external's not taking over the internal. 2209 01:51:20,760 --> 01:51:24,481 So, it was always trying to editorially find the right time 2210 01:51:24,560 --> 01:51:27,291 and when to stop this sequence. 2211 01:51:27,360 --> 01:51:30,842 I think at one point, I had it even two minutes longer. 2212 01:51:30,920 --> 01:51:33,571 I think Elizabeth Gabler at Fox was saying, 2213 01:51:33,640 --> 01:51:36,325 George, that's the longest eight seconds I have ever seen. 2214 01:51:36,400 --> 01:51:39,085 So, I had to cut the sequence down. 2215 01:51:40,440 --> 01:51:42,408 - With all the slow-mo? - Yeah. 2216 01:51:42,480 --> 01:51:46,007 That's 16 minutes of eight seconds, George. 2217 01:51:47,280 --> 01:51:48,691 Amazing. 2218 01:51:52,000 --> 01:51:54,367 - There he is, passing the baton. - Yep. 2219 01:51:55,120 --> 01:51:56,690 The baton. 2220 01:51:58,480 --> 01:52:00,130 Yeah. And here he realizes... 2221 01:52:00,200 --> 01:52:01,884 I love this guy right here, to the left here. 2222 01:52:01,960 --> 01:52:03,086 Yeah. 2223 01:52:03,160 --> 01:52:05,003 I think he... I should have kept in his line. 2224 01:52:05,080 --> 01:52:06,366 That man, he said, Did you see him? 2225 01:52:07,560 --> 01:52:09,403 He just walked right by me, like he didn't know who I was. 2226 01:52:09,480 --> 01:52:11,130 I cut that out. I should have kept it in. 2227 01:52:11,200 --> 01:52:13,089 Oh, my God. Why did you cut it out? 2228 01:52:13,160 --> 01:52:14,525 I should have kept it in. 2229 01:52:14,600 --> 01:52:16,409 Put it back in for the DVD. 2230 01:52:16,480 --> 01:52:17,970 There you go. 2231 01:52:19,200 --> 01:52:20,611 That's nuts. 2232 01:52:21,480 --> 01:52:23,767 So, we pretty much set up this painting... 2233 01:52:23,880 --> 01:52:30,240 This auction, pretty much based off of an auction that we saw, 2234 01:52:30,320 --> 01:52:36,009 that was one of the highest buys in the United States. 2235 01:52:36,080 --> 01:52:37,081 - Oh, really? - Yeah. 2236 01:52:37,160 --> 01:52:38,605 We pretty much set it up the same way, 2237 01:52:38,680 --> 01:52:43,004 in terms of the art being stationed on the side and... 2238 01:52:43,080 --> 01:52:44,411 It's a thrilling world, the auction world. 2239 01:52:44,480 --> 01:52:45,481 Yeah. 2240 01:52:45,560 --> 01:52:47,085 - I've been to a few auctions. - Yeah? 2241 01:52:47,160 --> 01:52:49,401 I've been to auctions, but nothing like this. 2242 01:52:49,480 --> 01:52:52,290 Like, auctions where people are getting rid of old crockery 2243 01:52:52,360 --> 01:52:53,691 and things like that. 2244 01:52:53,760 --> 01:52:55,569 Cause I just really like it. 2245 01:52:55,640 --> 01:52:57,927 This is like a whole world of that. 2246 01:52:58,680 --> 01:53:01,126 People get really into it. They're feisty as well. 2247 01:53:01,200 --> 01:53:03,487 - Yeah, yeah, yeah. - They get fierce. 2248 01:53:03,560 --> 01:53:05,050 They have proper fights and stuff. 2249 01:53:05,120 --> 01:53:06,963 - I mean, probably not in one like this. - Right. 2250 01:53:07,040 --> 01:53:08,690 Because this is very posh. 2251 01:53:09,360 --> 01:53:10,805 But in East London, I'll tell you. 2252 01:53:10,880 --> 01:53:13,406 - Yeah. - They're at each other's throats. 2253 01:53:16,040 --> 01:53:19,965 This guy was great, though. He was great casting, this lawyer. 2254 01:53:20,040 --> 01:53:21,963 - Yeah, Howie Sanders. - Yeah. 2255 01:53:22,040 --> 01:53:23,280 He is great. 2256 01:53:23,400 --> 01:53:26,324 Cause he, you could see him really getting along with Alan. 2257 01:53:26,400 --> 01:53:27,481 - Yeah, right? - With Ira. 2258 01:53:27,560 --> 01:53:29,005 You could see that there was a friendship 2259 01:53:29,080 --> 01:53:30,684 - and a trust there. - Yeah. 2260 01:53:31,280 --> 01:53:34,682 And this we go back into hearing Ira's voice. 2261 01:53:34,760 --> 01:53:37,001 Then we see you finally turn around there. 2262 01:53:37,120 --> 01:53:41,364 And just putting all these pieces together as recapping, 2263 01:53:41,440 --> 01:53:43,010 this is something I always wanted to do, 2264 01:53:43,080 --> 01:53:46,641 'cause I wanted to emotionally bring the audience back in, 2265 01:53:46,720 --> 01:53:50,247 to Ira's words and you guys life, and remember it. 2266 01:53:50,320 --> 01:53:53,051 Even though there's a death with Ira that happened, 2267 01:53:53,120 --> 01:53:55,009 I wanted to bring joy, They still live. 2268 01:53:55,080 --> 01:53:57,321 - You guys still carry on. - Yeah. 2269 01:53:57,400 --> 01:54:00,210 And that's why I wanted to end the sequence there. 2270 01:54:00,280 --> 01:54:03,443 And we had a line, "This thing called life right here. 2271 01:54:04,200 --> 01:54:08,569 So, this was brought together just to keep them alive. 2272 01:54:08,640 --> 01:54:11,849 And I always loved the ending here, just a kiss. 2273 01:54:12,680 --> 01:54:15,809 That's just something that you just did instinctively. 2274 01:54:15,880 --> 01:54:18,121 I think I yelled out, Kiss each other or something! 2275 01:54:18,200 --> 01:54:20,089 You guys, this was your first time really hanging out. 2276 01:54:20,160 --> 01:54:21,491 Yeah, this was the first time on set. 2277 01:54:23,280 --> 01:54:25,282 - First time in costume. - Yeah. 2278 01:54:26,200 --> 01:54:27,611 Oh! 2279 01:54:29,840 --> 01:54:34,846 Yeah, there's something so beautiful about a man that loves a woman that much. 2280 01:54:34,920 --> 01:54:37,491 Maybe it's 'cause I'm a girl. 2281 01:54:37,560 --> 01:54:40,450 And it just gets me all warm and fuzzy inside. 2282 01:54:44,160 --> 01:54:45,605 Amazing. 2283 01:54:46,120 --> 01:54:47,804 I have that painting. 2284 01:54:50,520 --> 01:54:52,841 That 12-year-old boy actually did that, right? 2285 01:54:52,920 --> 01:54:53,921 Yep. Yes, he did. 2286 01:54:54,000 --> 01:54:55,047 That painting was actually drawn. 2287 01:54:55,120 --> 01:54:57,407 - You guys did a contest or something? - Yeah, I did a contest. 2288 01:54:57,480 --> 01:55:00,086 Unfortunately, I cut him. He had a scene in the movie, too. 2289 01:55:00,160 --> 01:55:02,083 I cut him out because we didn't really need the scene. 2290 01:55:02,160 --> 01:55:03,889 It's the scene where you... 2291 01:55:04,000 --> 01:55:05,604 It's actually gonna be in the Deleted Scenes, 2292 01:55:05,680 --> 01:55:07,409 - so he'll be able to see it then. - Good. 2293 01:55:07,480 --> 01:55:10,051 It's you at the ice cream shop. 2294 01:55:10,120 --> 01:55:11,565 - Oh, right, yeah. - And he shows up. 2295 01:55:11,640 --> 01:55:13,324 And the kid shows up. You're looking at kids. 2296 01:55:13,400 --> 01:55:14,526 Yeah, yeah, yeah. 2297 01:55:16,000 --> 01:55:18,480 Did it make me look a little too much like a weirdo? 2298 01:55:18,560 --> 01:55:21,291 - Yeah, a little bit. - Just looking at kids. 2299 01:55:21,960 --> 01:55:24,167 The kid chaser. Whoa! 2300 01:55:24,240 --> 01:55:26,004 Whole different movie there. 2301 01:55:27,880 --> 01:55:30,360 She'd end up in jail, not dead. 2302 01:55:31,400 --> 01:55:33,846 But, um... Yeah. 2303 01:55:34,720 --> 01:55:37,769 So, that painting, it was done by a kid? 2304 01:55:37,840 --> 01:55:40,411 Yeah, a really great kid. He's 12 years old. 2305 01:55:40,480 --> 01:55:42,130 He did several for me, too, 2306 01:55:42,200 --> 01:55:44,441 cause I always wanna keep pushing the envelope. 2307 01:55:44,520 --> 01:55:45,931 Give me something better. Try this way. 2308 01:55:46,040 --> 01:55:47,121 - Try that way. - Yeah. 2309 01:55:47,200 --> 01:55:48,929 He didn't even budge. He did it every time for me. 2310 01:55:49,000 --> 01:55:50,411 It's incredible. 2311 01:55:50,480 --> 01:55:52,289 So, when I showed my mom, 2312 01:55:52,360 --> 01:55:54,328 at first, though, she was like, 2313 01:55:54,400 --> 01:55:56,801 What? That's not you. 2314 01:55:56,880 --> 01:56:00,202 And then, about three days later, she's... 2315 01:56:00,280 --> 01:56:02,169 And my mom is very special. 2316 01:56:02,240 --> 01:56:03,651 She comes up to me and she goes, 2317 01:56:03,720 --> 01:56:08,726 Oona, that painting is you down to a T. 2318 01:56:09,360 --> 01:56:11,010 - Which is crazy. - Wow. 2319 01:56:11,080 --> 01:56:12,286 - That's great. - It's nuts that this kid 2320 01:56:12,400 --> 01:56:14,767 - who's never met me before who got that. - Never met you before. 2321 01:56:14,840 --> 01:56:17,411 And it's true. Like, I look at that painting, It's a little eerie. 2322 01:56:17,480 --> 01:56:18,527 I'm like, "That's... 2323 01:56:18,600 --> 01:56:20,648 - Yeah. - You've got my essence! 2324 01:56:21,160 --> 01:56:23,288 "Give me back my essence! 2325 01:56:23,360 --> 01:56:25,886 Yeah, he did a really, really awesome job. 2326 01:56:26,640 --> 01:56:29,405 Here's again, these moments where... Okay. 2327 01:56:29,480 --> 01:56:30,811 Always in these love stories, 2328 01:56:30,920 --> 01:56:34,481 you get these moments when they finally come back together. 2329 01:56:34,560 --> 01:56:36,005 And how do you play them differently? 2330 01:56:36,080 --> 01:56:39,402 It's hard, and trying not to be cliche. 2331 01:56:40,840 --> 01:56:42,330 But I just... 2332 01:56:42,400 --> 01:56:47,008 Really, just playing the internal objective is no longer... 2333 01:56:48,040 --> 01:56:51,761 No longer thinking about bull riding, no longer thinking about art world, 2334 01:56:51,840 --> 01:56:53,649 thinking about who I need to be with. 2335 01:56:53,720 --> 01:56:55,927 It's just playing the honesty of that. 2336 01:56:56,000 --> 01:57:00,801 But another key thing is, no one ever said "I love you" in the movie, 2337 01:57:00,880 --> 01:57:03,611 which is what... I feel you don't need to say it. 2338 01:57:03,680 --> 01:57:05,842 No, you don't need to say it. You show it. 2339 01:57:05,920 --> 01:57:07,206 - You show it. - Yeah. 2340 01:57:07,280 --> 01:57:09,248 And this is where... I think it was in the script, 2341 01:57:09,320 --> 01:57:10,446 in this scene somewhere. 2342 01:57:10,520 --> 01:57:11,521 "I love you. 2343 01:57:11,600 --> 01:57:12,761 But people say "I love you" all the time. 2344 01:57:12,840 --> 01:57:13,887 - All the time. - Yeah. 2345 01:57:13,960 --> 01:57:17,806 And I think that was things that just made it a little differently. 2346 01:57:17,880 --> 01:57:20,008 And staying away from. 2347 01:57:20,080 --> 01:57:22,321 Eventually, they had to kiss. They gotta get back together. 2348 01:57:22,400 --> 01:57:24,129 - There's no way around it. - Yeah. 2349 01:57:24,200 --> 01:57:26,726 Mark Isham music. We really played it very subtle. 2350 01:57:26,800 --> 01:57:28,609 But I love this bit, where they're like, "Not now. 2351 01:57:28,680 --> 01:57:30,967 - Yeah. - Not now, no, go away. 2352 01:57:31,040 --> 01:57:32,280 Yeah. 2353 01:57:41,440 --> 01:57:44,569 And he's about to get the news of his life. 2354 01:57:45,160 --> 01:57:46,207 Yep. 2355 01:57:46,280 --> 01:57:48,567 And she's gonna be like, Yeah, okay, now he's got money. 2356 01:57:48,640 --> 01:57:50,847 - I can definitely do it. - I can definitely do it now. 2357 01:57:50,920 --> 01:57:53,651 Now he's a multi-millionaire an owner. 2358 01:57:54,240 --> 01:57:56,402 Now I can really be with him. 2359 01:57:56,480 --> 01:57:59,324 in Ira Levinson's will I need to read to you. 2360 01:57:59,480 --> 01:58:03,565 Portrait of Ruth may not be the most valuable painting in my collection... 2361 01:58:03,760 --> 01:58:05,205 but it was the most precious to me... 2362 01:58:05,280 --> 01:58:07,601 This is amazing, though, that... 2363 01:58:09,240 --> 01:58:11,720 It's the stuff that dreams are made of, really. 2364 01:58:11,800 --> 01:58:15,600 This is what I like about this film, cause it makes it a fairy tale. 2365 01:58:15,680 --> 01:58:17,409 It actually just makes it a fairy tale. 2366 01:58:17,480 --> 01:58:21,087 It's like, every... Like magic. 2367 01:58:21,160 --> 01:58:23,447 There's the magic of life in love. 2368 01:58:23,520 --> 01:58:25,602 - And how it comes together. - Yeah. 2369 01:58:28,400 --> 01:58:29,526 And everyone... 2370 01:58:29,600 --> 01:58:31,284 - These guys are really good. - Yeah. 2371 01:58:31,360 --> 01:58:33,124 She's got great hair, that girl. 2372 01:58:33,880 --> 01:58:35,120 Look at it, Look at her hair. 2373 01:58:35,200 --> 01:58:36,725 She's got great hair. 2374 01:58:36,800 --> 01:58:38,928 That is a fantastic head of hair. 2375 01:58:40,280 --> 01:58:43,363 I'm gonna guess that your head is spinning right about now. 2376 01:58:43,520 --> 01:58:45,727 Yeah, That's a good guess. 2377 01:58:45,880 --> 01:58:48,167 See how Sophia's now suddenly all over him. 2378 01:58:48,240 --> 01:58:49,446 She's been so reluctant. 2379 01:58:49,520 --> 01:58:53,047 Now she's like, Right, okay, I got a winner. 2380 01:58:53,120 --> 01:58:54,804 I got a winner now. 2381 01:58:58,280 --> 01:59:00,647 - And here we are with all of... - This is... 2382 01:59:00,720 --> 01:59:03,803 - Ira's art that was collected. - Yeah. 2383 01:59:03,880 --> 01:59:07,441 That they were able to have and open up their own museum. 2384 01:59:08,800 --> 01:59:10,529 Luke got a new truck there. 2385 01:59:11,440 --> 01:59:12,805 He's got a fly new truck. 2386 01:59:12,880 --> 01:59:14,120 That's all he cares about, the new truck. 2387 01:59:14,200 --> 01:59:15,201 Yeah. 2388 01:59:15,280 --> 01:59:17,931 It's not very eco-friendly, but very useful. 2389 01:59:18,440 --> 01:59:20,010 For the countryside. 2390 01:59:20,560 --> 01:59:21,846 For the ranch. 2391 01:59:24,080 --> 01:59:25,241 Yeah. 2392 01:59:26,120 --> 01:59:29,329 It's amazing. You should have put some people in the gallery, though. 2393 01:59:29,400 --> 01:59:31,880 I'm like, Who's seeing these paintings, though? 2394 01:59:31,960 --> 01:59:33,962 You need some people to come and actually see them. 2395 01:59:34,040 --> 01:59:35,201 Yeah. 2396 01:59:36,920 --> 01:59:38,684 Look at that building. Where was that building? 2397 01:59:38,760 --> 01:59:40,285 This was in Wilmington. 2398 01:59:41,880 --> 01:59:44,850 - That was in Wilmington? - That was in Wilmington. 2399 01:59:45,400 --> 01:59:47,323 I never saw that bit. 2400 01:59:47,400 --> 01:59:49,368 How did I miss that? That's a pretty big building. 2401 01:59:49,440 --> 01:59:50,601 Yep. 2402 01:59:50,760 --> 01:59:51,761 Hi. 2403 01:59:53,160 --> 01:59:55,322 - There we go. - So again, this scene, 2404 01:59:55,400 --> 01:59:58,768 which we talked about, being compromised, right? 2405 01:59:58,840 --> 02:00:01,207 - Being open, flexible. - Yeah. 2406 02:00:01,280 --> 02:00:03,203 How's the ranch? 2407 02:00:03,280 --> 02:00:04,805 How's the museum? 2408 02:00:06,120 --> 02:00:08,407 It was questioned, "Was it too much? Do they need to say it? 2409 02:00:08,480 --> 02:00:11,051 I just felt like, "Why not? 2410 02:00:11,120 --> 02:00:13,441 Yeah, it's nice, cause they said it a little tongue-in-cheek. 2411 02:00:13,560 --> 02:00:15,369 - Yeah, yeah. - They say it a little tongue-in-cheek, 2412 02:00:15,440 --> 02:00:16,930 - which is good, Cause it means... - Yeah. 2413 02:00:17,000 --> 02:00:18,490 You have those moments when you're a couple, 2414 02:00:18,560 --> 02:00:19,925 where you're like, "Life is perfect. 2415 02:00:20,000 --> 02:00:21,490 - Yep, it's perfect. - Yep. 2416 02:00:21,560 --> 02:00:24,211 Yep, well, people hate us, So what? 2417 02:00:24,320 --> 02:00:26,049 - People hate us, so what? - Cause we're so happy. 2418 02:00:26,120 --> 02:00:27,281 Yep. 2419 02:00:29,680 --> 02:00:31,603 Everything is perfect. 2420 02:00:31,680 --> 02:00:34,081 And now we're gonna go and read some beautiful letters. 2421 02:00:34,160 --> 02:00:36,766 It's great that they kept that tradition up. 2422 02:00:38,000 --> 02:00:41,243 I wonder if they'll reopen Black Mountain after this film. 2423 02:00:41,320 --> 02:00:42,890 - I feel like they should. - I think they should. 2424 02:00:42,960 --> 02:00:44,928 We should start some kind of petition. 2425 02:00:45,000 --> 02:00:47,207 - I know, right? - To reopen Black Mountain. 2426 02:00:47,280 --> 02:00:48,770 - It is so beautiful there. - And I think 2427 02:00:48,840 --> 02:00:51,081 Elizabeth Gabler should be president of the committee. 2428 02:00:51,160 --> 02:00:53,242 She should be the president of the committee, definitely. 2429 02:00:53,320 --> 02:00:56,085 Doing the... I'm gonna talk to her about this. 2430 02:00:56,160 --> 02:00:57,844 - You got to. - I got to. 2431 02:00:59,600 --> 02:01:00,931 And then again, it's... 2432 02:01:01,000 --> 02:01:05,847 Here, it's just like I always say, it's the woman leading the guy, 2433 02:01:05,920 --> 02:01:09,811 always making a jump towards the unknown. 2434 02:01:10,360 --> 02:01:11,600 Trying different things. 2435 02:01:11,680 --> 02:01:15,605 This is what Sophia and what Ruth do to the men. 2436 02:01:15,680 --> 02:01:16,920 And that's what that line says, 2437 02:01:17,040 --> 02:01:19,646 When a North Carolina boy meets a girl from far away... 2438 02:01:19,720 --> 02:01:22,200 Sophia 's from far away. Ruth is from far away. 2439 02:01:23,480 --> 02:01:26,051 Her taking the move to jump in and... 2440 02:01:27,400 --> 02:01:32,531 Again, it's another ideal of two people, 2441 02:01:33,720 --> 02:01:36,405 again, trying to... How we can make the clichés. 2442 02:01:36,480 --> 02:01:37,561 If you go, they'll jump... 2443 02:01:37,640 --> 02:01:39,324 I love that he takes so long to get undressed. 2444 02:01:39,400 --> 02:01:41,641 Yeah. And you jump in the water. 2445 02:01:41,720 --> 02:01:44,326 - We'll do it at the end of this film. - Yeah. 2446 02:01:44,440 --> 02:01:47,649 Even in the ocean scene, we made sure we didn't get in the water. 2447 02:01:47,720 --> 02:01:48,767 - I didn't put that in. - Yeah. 2448 02:01:48,840 --> 02:01:50,171 - We did do that. - We did do it. 2449 02:01:50,280 --> 02:01:52,328 But it just felt like, Okay, we've seen that before. 2450 02:01:52,400 --> 02:01:53,447 Yeah. 2451 02:01:53,520 --> 02:01:55,568 So... And this is the ending. 2452 02:01:55,640 --> 02:01:57,961 This is what the story for me is, the great journey, 2453 02:01:58,080 --> 02:02:00,162 because, again, outside the movies that I have done, 2454 02:02:01,480 --> 02:02:05,087 this is something completely different, but it's the same thematically. 2455 02:02:05,160 --> 02:02:07,083 It's about... It's a human story. It's about love. 2456 02:02:07,160 --> 02:02:09,686 It's about family, It's about relationships. 2457 02:02:09,800 --> 02:02:11,768 And that's the kind of movies I like to make. 2458 02:02:11,840 --> 02:02:15,083 And Nicholas Sparks and Theresa Park, 2459 02:02:16,000 --> 02:02:21,643 who are the producers, also created the material and being... 2460 02:02:21,720 --> 02:02:24,803 Allowing us to make the film that we wanted to make. 2461 02:02:24,880 --> 02:02:26,848 - Yeah. - And embracing the actor... 2462 02:02:26,920 --> 02:02:28,843 - Being flexible and agile. - Being flexible. 2463 02:02:28,920 --> 02:02:30,649 - Yes. - Like any relationship needs. 2464 02:02:30,720 --> 02:02:31,926 - Yes. - Very good. 2465 02:02:32,000 --> 02:02:36,688 And Twentieth Century Fox, I think this is my.. 2466 02:02:36,760 --> 02:02:40,287 Let me see, this is my fourth movie with them, um, 2467 02:02:40,360 --> 02:02:43,045 so it's always great making films with them. 2468 02:02:43,120 --> 02:02:46,363 And I wanna thank my entire cast. 2469 02:02:46,440 --> 02:02:49,011 These guys were awesome. You guys were awesome. 2470 02:02:49,080 --> 02:02:51,526 You were a treat to work with. 2471 02:02:51,600 --> 02:02:53,170 It was absolutely amazing. 2472 02:02:53,240 --> 02:02:56,449 I've never seen somebody so enthusiastic every day on the... 2473 02:02:56,520 --> 02:02:58,887 I thought I was high energy, but then I met George. 2474 02:02:58,960 --> 02:03:01,566 And that's probably why I'm sick right now, right? 2475 02:03:01,640 --> 02:03:03,210 Yeah, right? We're both feeling a little worse for wear. 2476 02:03:04,320 --> 02:03:06,288 But, hey, we need our downtime, too. 2477 02:03:06,360 --> 02:03:07,691 We need our downtime. 2478 02:03:07,760 --> 02:03:09,125 We had a premiere a couple of days ago, 2479 02:03:09,200 --> 02:03:10,201 so we're still recovering from the premiere. 2480 02:03:10,320 --> 02:03:11,481 A couple of days ago, yeah. 2481 02:03:11,560 --> 02:03:13,369 Um, our crew was great. We had a great crew. 2482 02:03:13,440 --> 02:03:14,726 - Oh, yes. - I think I mentioned everybody. 2483 02:03:14,800 --> 02:03:16,928 If I missed anybody, I apologize. 2484 02:03:18,280 --> 02:03:19,884 Um, great production designer. 2485 02:03:21,000 --> 02:03:25,449 Great DP. Everybody was just awesome. And... 2486 02:03:25,520 --> 02:03:28,888 - Great sound, - Great sound, Also... 2487 02:03:28,960 --> 02:03:30,849 Ty Murray, That's the guy. 2488 02:03:30,920 --> 02:03:32,410 - Great bull rider. - Yeah? 2489 02:03:32,480 --> 02:03:33,481 Awesome, a legend. 2490 02:03:33,560 --> 02:03:34,800 He was the first guy I talked to, 2491 02:03:34,880 --> 02:03:39,807 in terms of preparing myself, getting ready for, um, boot camp 2492 02:03:39,880 --> 02:03:42,770 and talking with bull riders, so I knew what I was talking about. 2493 02:03:42,840 --> 02:03:44,046 So, he was awesome. 2494 02:03:44,120 --> 02:03:48,489 And Sean of PBR, he's the guy that made it very possible for us. 2495 02:03:48,560 --> 02:03:51,689 And we had some really great... 2496 02:03:51,760 --> 02:03:54,206 Mary Claire, who did the wardrobe for you. 2497 02:03:54,320 --> 02:03:55,481 - You guys were awesome. - Yeah. 2498 02:03:55,560 --> 02:03:59,167 Mary Claire was amazing. All the outfits were so great. 2499 02:03:59,240 --> 02:04:01,004 And Mary Vernieu, who did the casting. 2500 02:04:01,120 --> 02:04:03,407 - Yep. Betty Mae, Mary Vernieu. - Such a legend. 2501 02:04:03,480 --> 02:04:04,845 Legend. 2502 02:04:06,520 --> 02:04:10,161 Um, yeah. Mary Claire and her crew, Carrie and Bill. 2503 02:04:10,240 --> 02:04:11,890 They did an awesome job. 2504 02:04:12,440 --> 02:04:14,249 And then, just always... 2505 02:04:14,320 --> 02:04:16,800 With the dialect coach, he was working with you all the time. 2506 02:04:16,880 --> 02:04:19,486 Yeah, William Conacher and Diego Pardo 2507 02:04:19,560 --> 02:04:24,964 were just the two most important people for my preparation, I think, 2508 02:04:25,040 --> 02:04:27,884 in the weeks before I arrived in North Carolina. 2509 02:04:28,520 --> 02:04:29,885 Yep. How long... You guys were working... 2510 02:04:29,960 --> 02:04:31,928 For how long were you guys... 2511 02:04:32,000 --> 02:04:33,650 Um, we did.. I did about.. 2512 02:04:33,720 --> 02:04:39,682 I did a good two weeks, I think, before arriving on set. 2513 02:04:39,760 --> 02:04:42,001 And then it was every day on set. 2514 02:04:42,120 --> 02:04:43,849 It was every day. 2515 02:04:43,920 --> 02:04:45,081 Wow, And Mark Garner. 2516 02:04:45,160 --> 02:04:46,844 You remember Mark Garner, he did the production design. 2517 02:04:46,920 --> 02:04:48,809 He was there. And so everybody did awesome. 2518 02:04:48,880 --> 02:04:50,644 I just wanna thank everybody for listening. 2519 02:04:50,720 --> 02:04:53,485 And I wanna thank you for coming in, 2520 02:04:53,560 --> 02:04:56,131 cause I love having someone doing this with me. 2521 02:04:56,920 --> 02:04:58,331 Oh, it was my pleasure. 2522 02:04:58,400 --> 02:04:59,561 - Thank you. - It was my pleasure. 2523 02:04:59,640 --> 02:05:02,291 It's nice watching it without the sound, actually.