TRANSKRİPT 🔗
WEBVTT
1
00:00:00.880 --> 00:00:04.240
Oh, Brad, what have you done now?
2
00:00:06.280 --> 00:00:13.550
Broadcasting live from Houston, Texas and around the world. TV host,
3
00:00:13.869 --> 00:00:18.449
best-selling author, and radio personality Brad Gilmore brings you a
4
00:00:18.510 --> 00:00:21.789
collection of conversations with stars from movies.
5
00:00:22.870 --> 00:00:23.969
Matthew McConaughey.
6
00:00:23.989 --> 00:00:24.589
Brad Gilmore.
7
00:00:24.850 --> 00:00:26.890
Mark Wahlberg. Hey, how are you?
8
00:00:26.949 --> 00:00:28.399
The one and only Sydney Sweeney joins us.
9
00:00:28.390 --> 00:00:29.039
Sydney, how are you?
10
00:00:29.160 --> 00:00:29.640
I'm good.
11
00:00:29.780 --> 00:00:30.219
Thank you.
12
00:00:30.239 --> 00:00:32.679
How are you? Tom Hanks and Robin Wright in my
13
00:00:32.740 --> 00:00:34.640
favorite movie of the year. Guys, thanks so much for
14
00:00:34.659 --> 00:00:35.219
joining the show.
15
00:00:36.000 --> 00:00:37.000
Oh, thank you.
16
00:00:37.079 --> 00:00:39.810
Thank you. Jessica Alba and Lizzie Mathis. Ladies, thank you
17
00:00:39.829 --> 00:00:40.490
so much for joining me.
18
00:00:40.490 --> 00:00:41.229
Thank you.
19
00:00:41.329 --> 00:00:43.350
Kevin Costner joins us. Thank you so much.
20
00:00:43.369 --> 00:00:43.850
Thank you.
21
00:00:44.570 --> 00:00:47.229
Television jimmy fallon joins us this morning jimmy how you
22
00:00:47.250 --> 00:00:48.689
doing my friend good morning.
23
00:00:48.450 --> 00:00:50.350
Thank you so much brad for having me i appreciate
24
00:00:50.390 --> 00:00:52.950
this bud one of my all-time favorites vince vaughn joins
25
00:00:53.009 --> 00:00:55.049
us right now vince thanks man oh great to be
26
00:00:55.070 --> 00:00:56.829
with you brad and great to be talking to houston
27
00:00:56.869 --> 00:00:57.890
good good morning to you.
28
00:00:58.390 --> 00:01:00.509
We got Owen Wilson. We got Judy Greer. Thanks for
29
00:01:00.530 --> 00:01:03.570
joining the show, guys. Thank you. Jay Leno joins us. Jay,
30
00:01:03.590 --> 00:01:04.650
how you doing? Hey, Brad.
31
00:01:04.670 --> 00:01:05.409
What's going on?
32
00:01:05.469 --> 00:01:07.519
We got Anna Sawai joining the show. Anna, thanks so
33
00:01:07.560 --> 00:01:08.090
much for joining us.
34
00:01:08.090 --> 00:01:08.959
Thank you, Brad.
35
00:01:09.620 --> 00:01:13.180
Music. Lola Monroe. Thank you. Thank you for having me.
36
00:01:13.260 --> 00:01:17.719
The legendary front man of ACDC, Brian Johnson, joins us
37
00:01:17.819 --> 00:01:18.280
right now.
38
00:01:18.340 --> 00:01:19.560
Brian, how you doing?
39
00:01:19.599 --> 00:01:20.599
Good morning, Brad.
40
00:01:20.640 --> 00:01:21.579
What's looking at y'all?
41
00:01:21.640 --> 00:01:22.680
Give me funny lines.
42
00:01:22.719 --> 00:01:23.719
Megan Trainor. Thank you so much.
43
00:01:24.900 --> 00:01:27.859
Paris Hilton the infinite icon herself is on the show
44
00:01:27.920 --> 00:01:29.109
Paris love the film.
45
00:01:29.230 --> 00:01:32.730
Thank you I'm so proud of it and more and
46
00:01:32.790 --> 00:01:37.769
more this is the collection now your host the boat
47
00:01:37.989 --> 00:01:43.730
Brad Gilmore Brad Gilmore with ESPN and the CW based
48
00:01:43.780 --> 00:01:45.760
in Houston James thank you so much for taking the
49
00:01:45.799 --> 00:01:46.879
time congratulations on.
50
00:01:46.840 --> 00:01:49.280
The film thank you so much and it's nice to
51
00:01:49.340 --> 00:01:49.859
talk with.
52
00:01:49.780 --> 00:01:53.069
You you as well you as well look I want
53
00:01:53.090 --> 00:01:56.909
to jump right into something that I read about the movie,
54
00:01:56.969 --> 00:01:58.209
and I want you to see if you can confirm
55
00:01:58.250 --> 00:02:01.090
it for me. You had a process with your actors
56
00:02:01.150 --> 00:02:04.459
of allowing them to kind of rehearse freely and improv
57
00:02:04.500 --> 00:02:08.259
as needed, but you filmed everything in case something in
58
00:02:08.340 --> 00:02:11.500
spontaneity worked out really well for the story. Is that
59
00:02:11.539 --> 00:02:13.860
something that you typically do, and did you find that
60
00:02:13.919 --> 00:02:15.620
approach helped Paper Tiger?
61
00:02:16.419 --> 00:02:19.810
I do it all the time. Because, you know, the
62
00:02:19.849 --> 00:02:23.599
great thing about movies is is the actors really only
63
00:02:23.680 --> 00:02:28.120
have to do it amazingly and magically once. And even
64
00:02:28.180 --> 00:02:31.469
if there's a slight technical problem, you and I never
65
00:02:31.539 --> 00:02:34.689
notice it in movies. We don't really notice a shot
66
00:02:34.729 --> 00:02:37.490
is out of focus for a second, you know. And,
67
00:02:37.729 --> 00:02:40.310
of course, the technical departments, they go, oh, my God,
68
00:02:40.330 --> 00:02:43.349
you're shooting the rehearsal. But the actors are so fresh,
69
00:02:43.889 --> 00:02:47.169
and the mistakes they make are often very beautiful. So
70
00:02:47.250 --> 00:02:50.659
I would say in each film I've made, I'm going
71
00:02:50.740 --> 00:02:55.490
to guess conservatively 60 to 70% of what you're seeing
72
00:02:55.550 --> 00:02:56.629
is filmed rehearsals.
73
00:02:57.990 --> 00:02:58.189
Wow.
74
00:02:58.270 --> 00:03:00.550
And what made you think that at first that was
75
00:03:00.590 --> 00:03:01.889
the right approach to do?
76
00:03:01.930 --> 00:03:03.530
Did you happen upon.
77
00:03:03.289 --> 00:03:04.750
This or did you just think, oh, you know what,
78
00:03:04.810 --> 00:03:06.740
let me try this and see what I get out
79
00:03:06.759 --> 00:03:06.879
of it?
80
00:03:07.280 --> 00:03:11.020
I have a very direct, clear answer for you. I
81
00:03:11.060 --> 00:03:14.259
was making my first film. I was very young. I
82
00:03:14.300 --> 00:03:17.620
was 23. And I had a very, you know, because
83
00:03:17.680 --> 00:03:21.020
I was so fancy and so terrific back at 23,
84
00:03:21.020 -->
Load full transcript
00:03:23.860
I had a very fancy camera shop. And the actor
85
00:03:23.879 --> 00:03:26.870
was a brilliant actor named Tim Roth. He had done
86
00:03:26.879 --> 00:03:32.990
a magnificent rehearsal. And he turned to me and he said, well,
87
00:03:33.409 --> 00:03:36.069
you should have showed it. It worked out great. You
88
00:03:36.090 --> 00:03:38.810
should have showed it. And I think I did 16 takes.
89
00:03:38.889 --> 00:03:42.060
Take 16 is in the movie. It is excellent. Not
90
00:03:42.099 --> 00:03:44.580
as good as the rehearsal. So I learned my lesson
91
00:03:44.620 --> 00:03:46.639
at 23.
92
00:03:46.639 --> 00:03:48.930
It's filmed in rehearsal from Mr. Roth there. What a
93
00:03:48.949 --> 00:03:50.650
great story. Thank you for sharing that with me.
94
00:03:51.009 --> 00:03:53.930
But also, when you write the screenplay, I would feel,
95
00:03:53.990 --> 00:03:56.370
you always hear that a writer falls in love with
96
00:03:56.389 --> 00:04:00.439
their words, as they should, right? But as a writer,
97
00:04:00.500 --> 00:04:02.360
I guess you also have to be a great editor
98
00:04:02.719 --> 00:04:05.020
and know when to, hey, I found the essence of
99
00:04:05.060 --> 00:04:05.560
the story.
100
00:04:05.680 --> 00:04:07.219
I'll let them fill in the dialogue.
101
00:04:08.090 --> 00:04:12.689
You know, William Shakespeare... had a relationship with an actor
102
00:04:12.719 --> 00:04:16.230
named Richard Burbage. We don't really know who Richard Burbage
103
00:04:16.269 --> 00:04:19.569
is anymore, but apparently Richard Burbage weighed in a lot
104
00:04:19.649 --> 00:04:23.670
on his dialogue. And so I always feel like if
105
00:04:24.310 --> 00:04:29.389
Shakespeare could be open to revision, who am I? So
106
00:04:29.569 --> 00:04:32.250
I don't have any respect for what I've written at all,
107
00:04:32.829 --> 00:04:36.370
and I've surrounded myself with great actors traditionally to help
108
00:04:36.430 --> 00:04:39.360
me look better than I actually am. It's all about
109
00:04:39.420 --> 00:04:41.220
ego in the end. I want to look better. I
110
00:04:41.240 --> 00:04:43.240
don't want to show you me. I want to show
111
00:04:43.279 --> 00:04:44.420
you something better than me.
112
00:04:45.860 --> 00:04:47.079
Best idea wins, right?
113
00:04:47.100 --> 00:04:47.339
Exactly.
114
00:04:47.360 --> 00:04:49.060
If you have a better idea than me, let's just
115
00:04:49.139 --> 00:04:49.439
do it.
116
00:04:49.639 --> 00:04:50.379
Exactly right.
117
00:04:50.790 --> 00:04:55.089
Exactly. Also, though, what are the challenges and conveniences, though,
118
00:04:55.129 --> 00:04:56.410
of filming in a period?
119
00:04:56.769 --> 00:04:59.329
Because obviously you get to get rid of the cell
120
00:04:59.370 --> 00:05:00.810
phones and you get to get rid of some of
121
00:05:00.850 --> 00:05:04.529
the modern conveniences that sometimes I hear storytellers struggle with
122
00:05:04.610 --> 00:05:06.980
just sometimes from a structural standpoint.
123
00:05:07.310 --> 00:05:09.910
But I can also imagine it's a difficult lift, too,
124
00:05:10.009 --> 00:05:10.910
in certain regards.
125
00:05:12.689 --> 00:05:15.560
You make a great point, by the way, about cell phones.
126
00:05:15.949 --> 00:05:19.199
I don't know why this is true, but seeing somebody
127
00:05:19.560 --> 00:05:22.259
in a phone booth or something, you know, making a
128
00:05:22.660 --> 00:05:27.860
call at a payphone in the street versus, like, there's
129
00:05:27.899 --> 00:05:30.360
something much more dramatic about it. I have no idea why.
130
00:05:31.360 --> 00:05:33.839
But I guess the old days were more dramatic. It
131
00:05:33.899 --> 00:05:36.779
makes no sense to me. Ease of access, I guess,
132
00:05:36.839 --> 00:05:41.420
is less dramatic. You know, look, I love period because
133
00:05:41.480 --> 00:05:42.990
what it does is, first of all, it's the closest
134
00:05:43.050 --> 00:05:45.509
thing that the human race has ever invented to a
135
00:05:45.589 --> 00:05:49.550
time machine. Probably as close as we'll ever get. So
136
00:05:50.470 --> 00:05:52.529
you step, it's a very weird thing too because I'll
137
00:05:52.550 --> 00:05:55.170
be like walking down the street and it'll be 2026
138
00:05:55.170 --> 00:05:58.189
or in this case 2025 when I shot the film
139
00:05:58.589 --> 00:06:00.649
and I'll make a right turn down the street where
140
00:06:00.689 --> 00:06:04.370
we're shooting And it's 1986. All the cars are old.
141
00:06:04.430 --> 00:06:07.050
Everything's old. And you just feel like you've just jumped
142
00:06:07.129 --> 00:06:09.529
into a new world. And it helps the actors too.
143
00:06:09.569 --> 00:06:12.490
It informs them. So I love that. I mean, what
144
00:06:12.509 --> 00:06:16.189
are the challenges? The challenges are, oh, that guy, he
145
00:06:16.230 --> 00:06:20.329
won't remove his satellite dish. And it's right behind, you know,
146
00:06:20.430 --> 00:06:22.629
Adam Driver's head in the shot. What do we do?
147
00:06:23.730 --> 00:06:27.389
That's a challenge. But those are surface challenges. The mood
148
00:06:27.410 --> 00:06:29.060
of it is a beautiful thing.
149
00:06:30.399 --> 00:06:32.000
Well, James, congratulations on this film.
150
00:06:32.019 --> 00:06:34.000
That's all the time I have, but I appreciate your insight.
151
00:06:34.050 --> 00:06:35.490
I really do. Congratulations again.
152
00:06:35.730 --> 00:06:38.110
Thank you so much, and it's nice to talk with you.
153
00:06:38.149 --> 00:06:39.269
You're in Houston, no less.
154
00:06:39.329 --> 00:06:39.790
It's great.
155
00:06:40.610 --> 00:06:41.089
Yes, sir.
156
00:06:41.110 --> 00:06:41.430
Yes, sir.
157
00:06:41.470 --> 00:06:42.670
Thanks, James. I appreciate it.
158
00:06:43.189 --> 00:06:51.620
Bye-bye.
159
00:06:51.639 --> 00:06:54.720
Very good. Good to talk to you. You're a multimedia guy.
160
00:06:54.740 --> 00:06:58.790
You're on radio. You've got a podcast. You've got a show, and... Yeah,
161
00:06:59.189 --> 00:07:02.500
and you do it with intelligence and humor. You're one
162
00:07:02.509 --> 00:07:03.060
of the good ones.
163
00:07:03.620 --> 00:07:05.399
Oh, Brad, what have you done?