TRANSKRIPT 🔗
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Oh, Brad, what have you done now?
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Broadcasting live from Houston, Texas and around the world. TV host,
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best-selling author, and radio personality Brad Gilmore brings you a
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collection of conversations with stars from movies.
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Matthew McConaughey.
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Brad Gilmore.
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Mark Wahlberg. Hey, how are you?
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The one and only Sydney Sweeney joins us.
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Sydney, how are you?
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I'm good.
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Thank you.
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How are you? Tom Hanks and Robin Wright in my
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favorite movie of the year. Guys, thanks so much for
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joining the show.
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Oh, thank you.
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Thank you. Jessica Alba and Lizzie Mathis. Ladies, thank you
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so much for joining me.
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Thank you.
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Kevin Costner joins us. Thank you so much.
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Thank you.
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Television jimmy fallon joins us this morning jimmy how you
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doing my friend good morning.
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Thank you so much brad for having me i appreciate
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this bud one of my all-time favorites vince vaughn joins
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us right now vince thanks man oh great to be
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with you brad and great to be talking to houston
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good good morning to you.
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We got Owen Wilson. We got Judy Greer. Thanks for
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joining the show, guys. Thank you. Jay Leno joins us. Jay,
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how you doing? Hey, Brad.
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What's going on?
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We got Anna Sawai joining the show. Anna, thanks so
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much for joining us.
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Thank you, Brad.
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Music. Lola Monroe. Thank you. Thank you for having me.
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The legendary front man of ACDC, Brian Johnson, joins us
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right now.
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Brian, how you doing?
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Good morning, Brad.
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What's looking at y'all?
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Give me funny lines.
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Megan Trainor. Thank you so much.
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Paris Hilton the infinite icon herself is on the show
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Paris love the film.
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Thank you I'm so proud of it and more and
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more this is the collection now your host the boat
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Brad Gilmore Brad Gilmore with ESPN and the CW based
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in Houston James thank you so much for taking the
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time congratulations on.
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The film thank you so much and it's nice to
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talk with.
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You you as well you as well look I want
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to jump right into something that I read about the movie,
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and I want you to see if you can confirm
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it for me. You had a process with your actors
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of allowing them to kind of rehearse freely and improv
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as needed, but you filmed everything in case something in
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spontaneity worked out really well for the story. Is that
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something that you typically do, and did you find that
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approach helped Paper Tiger?
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I do it all the time. Because, you know, the
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great thing about movies is is the actors really only
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have to do it amazingly and magically once. And even
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if there's a slight technical problem, you and I never
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notice it in movies. We don't really notice a shot
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is out of focus for a second, you know. And,
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of course, the technical departments, they go, oh, my God,
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you're shooting the rehearsal. But the actors are so fresh,
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and the mistakes they make are often very beautiful. So
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I would say in each film I've made, I'm going
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to guess conservatively 60 to 70% of what you're seeing
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is filmed rehearsals.
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Wow.
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And what made you think that at first that was
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the right approach to do?
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Did you happen upon.
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This or did you just think, oh, you know what,
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let me try this and see what I get out
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of it?
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I have a very direct, clear answer for you. I
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was making my first film. I was very young. I
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was 23. And I had a very, you know, because
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I was so fancy and so terrific back at 23,
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Load full transcript
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I had a very fancy camera shop. And the actor
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was a brilliant actor named Tim Roth. He had done
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a magnificent rehearsal. And he turned to me and he said, well,
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you should have showed it. It worked out great. You
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should have showed it. And I think I did 16 takes.
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Take 16 is in the movie. It is excellent. Not
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as good as the rehearsal. So I learned my lesson
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at 23.
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It's filmed in rehearsal from Mr. Roth there. What a
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great story. Thank you for sharing that with me.
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But also, when you write the screenplay, I would feel,
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you always hear that a writer falls in love with
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their words, as they should, right? But as a writer,
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I guess you also have to be a great editor
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and know when to, hey, I found the essence of
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the story.
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I'll let them fill in the dialogue.
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You know, William Shakespeare... had a relationship with an actor
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named Richard Burbage. We don't really know who Richard Burbage
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is anymore, but apparently Richard Burbage weighed in a lot
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on his dialogue. And so I always feel like if
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Shakespeare could be open to revision, who am I? So
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I don't have any respect for what I've written at all,
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and I've surrounded myself with great actors traditionally to help
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me look better than I actually am. It's all about
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ego in the end. I want to look better. I
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don't want to show you me. I want to show
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you something better than me.
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Best idea wins, right?
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Exactly.
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If you have a better idea than me, let's just
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do it.
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Exactly right.
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Exactly. Also, though, what are the challenges and conveniences, though,
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of filming in a period?
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Because obviously you get to get rid of the cell
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phones and you get to get rid of some of
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the modern conveniences that sometimes I hear storytellers struggle with
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just sometimes from a structural standpoint.
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But I can also imagine it's a difficult lift, too,
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in certain regards.
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You make a great point, by the way, about cell phones.
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I don't know why this is true, but seeing somebody
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in a phone booth or something, you know, making a
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call at a payphone in the street versus, like, there's
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something much more dramatic about it. I have no idea why.
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But I guess the old days were more dramatic. It
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makes no sense to me. Ease of access, I guess,
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is less dramatic. You know, look, I love period because
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what it does is, first of all, it's the closest
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thing that the human race has ever invented to a
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time machine. Probably as close as we'll ever get. So
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you step, it's a very weird thing too because I'll
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be like walking down the street and it'll be 2026
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or in this case 2025 when I shot the film
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and I'll make a right turn down the street where
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we're shooting And it's 1986. All the cars are old.
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Everything's old. And you just feel like you've just jumped
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into a new world. And it helps the actors too.
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It informs them. So I love that. I mean, what
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are the challenges? The challenges are, oh, that guy, he
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won't remove his satellite dish. And it's right behind, you know,
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Adam Driver's head in the shot. What do we do?
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That's a challenge. But those are surface challenges. The mood
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of it is a beautiful thing.
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Well, James, congratulations on this film.
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That's all the time I have, but I appreciate your insight.
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I really do. Congratulations again.
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Thank you so much, and it's nice to talk with you.
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You're in Houston, no less.
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It's great.
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Yes, sir.
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Yes, sir.
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Thanks, James. I appreciate it.
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Bye-bye.
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Very good. Good to talk to you. You're a multimedia guy.
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You're on radio. You've got a podcast. You've got a show, and... Yeah,
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and you do it with intelligence and humor. You're one
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of the good ones.
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Oh, Brad, what have you done?