"Maggie Gyllenhaal"

We walk the tightrope with Maggie Gyllenhaal. Come explore the edges of the mind: stacking wood, eating avocados, bird watching, and what is exercise? It’s fake learning for real… an all-new SmartLess.

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:00Sean Hayes?

  This episode of Smartless is sponsored by Google Book. So this may not surprise you, I have a lot of thoughts in my head. And my dream is to just blurt them out and somehow get them down on paper, because my brain works way faster than my hands. That's where Google Book comes in. It's a whole new kind of laptop. No more typing, you just talk, and the Rambler feature cleans up your ums and uhs and all the times you change your mind. Basically, it turns messy thoughts into tidy text. Visit googlebook.com for details. Available in select countries and languages to 18-plus users. Check the responses for accuracy.

• 0:43Sean Hayes?

  Instagram teen accounts have automatic protections on by default. Built-in content settings for the content teens can see, contact limits for who can contact them, and time management tools like daily time limits and sleep mode. Teens are automatically placed into teen accounts, and teens under 16 will need a parent's permission to change any of these settings to be less strict. Instagram will continue adding built-in safety features to help create age-appropriate experiences. Learn more about teen accounts and Instagram's ongoing work to protect teens online at instagram.com/teenaccounts.

• 1:26Sean Hayes?

  It's finally the time of year. Maybe the weather is getting a little more crisp, or you're just clocking it from all the pumpkins at the grocery store, which means the holidays are just around the corner. Amazon delivers joy with low prices on the gifts you want, even this early in the season. Get ahead of the season, shop early gifts, top picks, holiday decor, and advent calendars at low prices. Get a head start on holiday gifting with Amazon's low prices. Shop now at amazon.com/holiday.

• 2:01Sean Hayes?

  Start the day strong with Quaker Protein Products. Quaker makes it easy and delicious to get a good source of protein. No matter what the day has in store, Quaker Protein Products give you a variety of ways to reach your protein goals. Oatmeal, granola bars, and rice snacks in flavors you already love, like maple and brown sugar and blueberries and cream. Quaker Protein helps fuel you to start whatever's next. Get your protein with Quaker, available at a store near you.

• 2:39Speaker 01

  Okay, real quick on the social media thing, guys.

• 2:41Jason Bateman?

  Yeah.

• 2:41Speaker 01

  Every week.

• 2:42Jason Bateman?

  Every week.

• 2:43Speaker 01

  If you also want to post it, you just hit accept.

• 2:46Jason Bateman?

  Cool.

• 2:46Speaker 01

  We're gonna send it to you, not via email anymore.

• 2:48Jason Bateman?

  Right.

• 2:49Speaker 01

  And if you want to post it, you just hit accept.

• 2:51Jason Bateman?

  Yeah.

• 2:51Speaker 01

  And then it's just gonna post right there.

• 2:53Jason Bateman?

  Great.

• 2:54Speaker 01

  And then, is everybody like that?

• 2:55Jason Bateman?

  Incredible.

• 2:56Will Arnett?

  You're cool with that, JB?

• 2:57Jason Bateman?

  Yeah, that sounds really fun.

• 2:58Will Arnett?

  Can we get to an all-new Smart List now?

• 3:00Jason Bateman?

  Yeah.

• 3:18Jason Bateman?

  It's been a little bit. How have you guys been? What have you been up to?

• 3:22Will Arnett?

  We just saw each other on the weekend at Sean's play.

• 3:25Jason Bateman?

  Oh, that's right.

• 3:27Will Arnett?

  That was fun, Sean. Congrats. You're just such a...

• 3:29Sean Hayes?

  Thank you.

• 3:30Will Arnett?

  You're such a beauty. You're so...

• 3:31Sean Hayes?

  That's very nice.

• 3:32Will Arnett?

  You're such a talent.

• 3:34Jason Bateman?

  It's really... Has it been, uh... What, how many performances have you had since we saw you?

• 3:40Sean Hayes?

  Three, three more than when you saw. But, uh, um, and by the way, I have to say this.

• 3:46Will Arnett?

  Okay, go ahead.

• 3:46Sean Hayes?

  First of all.

• 3:47Jason Bateman?

  We were great.

• 3:48Sean Hayes?

  The fact that... You guys are great. The fact that you guys came out, uh, you flew out just to see the show.

• 3:54Will Arnett?

  Sure.

• 3:54Sean Hayes?

  Meant the world to me. I love you guys. You're like, you are my family.

• 3:59Will Arnett?

  We love you.

• 3:59Sean Hayes?

  And I love you too. And it just was a huge deal to me that you guys did that. So, thank you very, very much.

• 4:06Jason Bateman?

  Really?

• 4:07Will Arnett?

  Are you kidding?

• 4:07Jason Bateman?

  Thank you. Well, was it not... Because, you know, we were... Some people in the group had to evacuate their bowels before the start of the show. And so they wanted to use the restroom there. And so you came.

• 4:22Sean Hayes?

  What, upstairs, you mean?

• 4:23Jason Bateman?

  Yeah. And so we're sitting there in the little like.

• 4:26Will Arnett?

  Don't say evacuate their bowels, just say they wanted to use the restroom. Like, why does it have to be graphic?

• 4:32Jason Bateman?

  And so we're sitting there waiting for the people with the weak bladder. And out walks Sean to talk to, I think, the director or something.

• 4:40Sean Hayes?

  Yeah, yeah.

• 4:41Jason Bateman?

  And you ran right into us. And I saw in your face like, oh, you saw someone before the show, kind of like a marriage.

• 4:48Sean Hayes?

  That's right, that's right.

• 4:49Jason Bateman?

  And so did we screw things up?

• 4:52Sean Hayes?

  No, not at all.

• 4:53Jason Bateman?

  Would you rather not have people that you know in the audience?

• 4:55Sean Hayes?

  No, no, I love it.

• 4:57Will Arnett?

  You knew we were all gonna be there.

• 4:59Sean Hayes?

  I knew, I knew all there, yeah. But, but I didn't, I, yeah, I would have, it was no big deal because I saw you. I wanted to talk to all of you, obviously, because I hadn't seen you in so long. But then I was like, oh, you know what? Let's, let's just leave the facade up for a second and then I'll talk to them after.

• 5:15Jason Bateman?

  Now, when you look out into the audience, which you do a lot, because, listener, it is a one man show and he is telling the audience a story. Can you not see any of our faces?

• 5:25Sean Hayes?

  Can't see anybody. I love it. Yeah, because if I did, it'd make me nervous, but the lights are so bright, you can't see a foot in front of you.

• 5:32Jason Bateman?

  Because you were looking right at me for a lot of the show and I thought.

• 5:35Sean Hayes?

  Oh, really?

• 5:36Jason Bateman?

  Make, make sure I don't make any funny faces or throw them off because I don't want you forgetting your lines.

• 5:40Will Arnett?

  I gotta say, that's classic you, that he think, you thought he was looking at you.

• 5:44Jason Bateman?

  Right, no, they were just looking right at me. He chose me to look at.

• 5:49Sean Hayes?

  No, yeah, no, I was, I couldn't see anybody.

• 5:51Will Arnett?

  Well, like, when you, Jason, if you hear a song, a new song on the radio, do you, are you thinking like, how do they, how do they know that about me?

• 5:58Jason Bateman?

  They must be singing about me.

• 6:01Sean Hayes?

  Yeah, exactly.

• 6:03Jason Bateman?

  And how were we as an audience?

• 6:05Sean Hayes?

  Fantastic, great show. Yeah, really good show.

• 6:08Jason Bateman?

  Do we laugh in all the right spots?

• 6:10Sean Hayes?

  You did, and I told you the night before, I'm glad you didn't come to opening night because the lights went out.

• 6:14Will Arnett?

  Oh, yeah, you've got, here's Sean. Sean, do you have any funny theater stories?

• 6:18Sean Hayes?

  I mean, yeah, so the line that it went, I don't think I told you. The line that it went out on was, because I play these characters, but I also play the narrator, so sometimes you just deliver straight lines that narrate. And so one of the exposition lines that I narrated was, we walked to the Hudson River. And then I walked downstage and every light went out. Like, you couldn't see your hand in front of your face. And I'm like. Hey, give us a couple of minutes. I just said to the audience and I walked offstage. And it was like 10 minutes, which is a really long time. A breaker, they had a breaker that went on or something. They fixed it and they go, okay, let's go back on. They go back and of course the audience claps, yay, they got the fix, the guy's backstage. So I go, we walked to the Hudson River. It was a really long walk.

• 7:00Will Arnett?

  Good for you, Sean, good for you.

• 7:03Jason Bateman?

  And is there, so now are you feeling, I would feel, the crush of the rest of the run in front of me now that like opening night is over and the reviews came in and they were incredible and like, can you still, as, as, as the kids say, get it up for the rest of the show?

• 7:20Sean Hayes?

  Yeah, for sure. I think it's easier now. I think it's, yeah, I think all that stuff where you, it's tech and previews and rehearsal and press and opening night and then all that stuff. It's so much pressure, pressure and stress and anxiety and all that. Now it's just like, oh, I just have to do the show and come home, which is nice.

• 7:39Will Arnett?

  And you've got today off.

• 7:40Sean Hayes?

  And today is off, yeah.

• 7:42Jason Bateman?

  So what did you do today? What have you, what have you loaded into today that you couldn't do in the previous six?

• 7:46Sean Hayes?

  I'm hanging with you guys.

• 7:48Jason Bateman?

  That's it, all that.

• 7:49Will Arnett?

  And you're hanging with us and, and our special guest.

• 7:52Sean Hayes?

  Oh, that was really nice.

• 7:54Will Arnett?

  Our special guest, yeah, and you'll like it because we can talk about all these things. You can talk about theater. I bet you she's got some theater stories because she's done quite a bit of theater.

• 8:02Sean Hayes?

  Oh.

• 8:03Will Arnett?

  And she's done quite a bit of film. And, uh, and, and some award-winning television.

• 8:09Jason Bateman?

  Triple threat.

• 8:10Will Arnett?

  She's the daughter of two writer-directors, Academy Award nominee. Her mom was nominated for Academy Award, I believe. Uh, her, her, uh, both her parents are writer-directors. She was born in New York, grew up in LA. Her brother's an acclaimed actor. She has a new film coming out March 6th.

• 8:27Jason Bateman?

  Is this Maggie?

• 8:28Will Arnett?

  That has an amazing, Jesse, called The Bride, starring Jessie Buckley, Kristen Bell and F. L. L. Cruz. It's Maggie, Jillian!

• 8:37Jason Bateman?

  Shawna got it.

• 8:40Jason Bateman?

  We have to establish a gift or a prize for whoever gets it.

• 8:43Will Arnett?

  I know.

• 8:44Jason Bateman?

  Shawna's pretty good at it. Hi Maggie.

• 8:45Sean Hayes?

  How about that?

• 8:46Speaker 04

  Hi guys.

• 8:47Jason Bateman?

  Well, I gotta say, that trailer of The Bride looks effing fantastic.

• 8:51Sean Hayes?

  Yeah, that looks incredible. I can't wait to see it.

• 8:53Speaker 04

  Thank you.

• 8:54Jason Bateman?

  Cannot wait.

• 8:55Will Arnett?

  I can't wait either. I mean, this, talk about a, just an absolutely star-studded cast. It's unbelievable, Maggie.

• 9:03Jason Bateman?

  Well believable.

• 9:04Will Arnett?

  I mean believable, but.

• 9:05Jason Bateman?

  She's an incredible director. Why would they want to, you know?

• 9:07Will Arnett?

  I don't mean unbelievable in that way. I don't mean unbelievable in that way. I mean unbelievable how great it is. That's what I mean.

• 9:13Jason Bateman?

  Truly.

• 9:14Speaker 04

  Yeah, amazing actors. Amazing. I know.

• 9:17Jason Bateman?

  Oh my God. All right. So when, when, when do we get to see this movie? And we're going to talk about the rest of your career, but when do we get to see this movie? When's it come out?

• 9:23Speaker 04

  March 6th.

• 9:24Jason Bateman?

  March 6th.

• 9:25Speaker 04

  Really soon.

• 9:25Sean Hayes?

  It's probably out now.

• 9:26Will Arnett?

  The Bride.

• 9:28Jason Bateman?

  Yeah. So, uh, all right, Maggie.

• 9:30Will Arnett?

  Maggie, John, hi.

• 9:31Jason Bateman?

  This is so nice.

• 9:32Speaker 04

  Hi guys.

• 9:33Jason Bateman?

  Are you loving directing more than acting?

• 9:37Speaker 04

  I am, yeah.

• 9:38Jason Bateman?

  Yeah.

• 9:38Will Arnett?

  Are you more, more than acting?

• 9:40Jason Bateman?

  Tell me why.

• 9:42Speaker 04

  I mean, it's, it's, it's like really you are in charge of everything, which then means that you can make space for everyone else to offer what they want, express what they want. You're not, you know, like when you're an actor and you're like, okay, I need to make sure that I just create the space for myself to get out the couple of things that are the most important things to me in case nobody lets me. You know that feeling? Like, you know, you're gonna try to figure out like how to just protect your little thing, which is the reason why you came to do it. When you're the director, you don't have to do that, first of all. And also, you don't have to make other people do that. You can just make it okay for them to feel free.

• 10:27Will Arnett?

  So you must have, I mean, obviously, as I pointed out, that you, you come, you come by it quite honestly, both your parents are directors and writers and so did you, but then you, you've had such an acclaimed, uh, acting career. Before you directed your first piece and did, but did you know in the back of your mind, because it was just so there, that that was your ultimate destination? Like, was acting a way of sort of getting there or?

• 10:56Speaker 04

  I mean, I, first of all, my, yes, my dad was a director growing up. My mom was a writer. She did direct a film, but it wasn't until, I think she was 70. You know, it was like a total wild departure for her. I think she might be the, one of the only people to direct their first film as a grandmother.

• 11:18Sean Hayes?

  That's cool. I told, I told your, I told your brother when he was on that, um, I had dinner with your mom once, years and years and years ago, and I was talking to her about writing. And it's the first time I ever heard anybody say the hardest part is starting.

• 11:32Speaker 04

  Yeah.

• 11:32Sean Hayes?

  About writing. And I was like, oh, that blew my mind because I was like, I tried to, I was like, I couldn't do it, but.

• 11:37Speaker 04

  It's like exercising, like get, just get your clothes on. If you have your exercise clothes on and you don't exercise, then you're really fucked up.

• 11:43Will Arnett?

  Sean, so exercising is this thing that people, so what they do.

• 11:47Sean Hayes?

  Break a sweat.

• 11:49Will Arnett?

  This is not for Tracy, this is for Sean.

• 11:53Speaker 04

  But you were asking me if I always wanted to be a director. I don't think so. I think I, to be honest, I don't even, I didn't even allow myself to fantasize or imagine that it was a possibility for a long time. I mean, there weren't any other women doing it. I mean, there were, but I wasn't cool enough to know about like Agnes Varda when I was in high school, you know? I mean, I really, the people who were really doing great stuff on film were actresses. At least from my perspective, and I had, I looked up to so many people who were, you know, totally expressing themselves and being incredible, but I didn't see a lot of directors. And then, um, I, I played a director on TV.

• 12:38Speaker 04

  I mean, I played a porn director on The Deuce.

• 12:40Will Arnett?

  Yes, right.

• 12:42Speaker 04

  But I, I think that was actually sort of part of what, just imagining, fantasizing. It like allowed me to imagine it.

• 12:53Will Arnett?

  So what was, what was the first, I'm trying to think, the first thing that you directed?

• 12:58Speaker 04

  The Lost Daughter.

• 12:59Will Arnett?

  Was The Lost Daughter?

• 13:00Speaker 04

  Yeah.

• 13:01Will Arnett?

  Yeah. Which, which was super well received. And so then, but that was, that was only, what, that was like five years ago, maybe? The Lost Daughter, right?

• 13:09Speaker 04

  Four years ago?

• 13:10Will Arnett?

  Four or five years ago?

• 13:11Speaker 04

  Four or five years ago, yeah.

• 13:13Will Arnett?

  So, but was there any time before, was that really the first time that you allowed yourself to kind of contemplate doing it? You must have.

• 13:21Speaker 04

  I spent, I mean, you guys must know what I mean. Like, I sort of just was talking about this, like, that feeling of like, you know, it's almost like when you're a kid and you're like, if I had this job, I would never speak to someone like this. Or I would never make them twist themselves into a pretzel to get this tiny thing, like, cut this line or whatever. And so I guess I imagined it in that level. Or even with writing, like, I would cut chunks of dialogue or just kind of sneakily move a line.

• 13:54Speaker 04

  But no, I think, I think really, I just kind of went, all right, I'm gonna try this. I'm gonna, I did it, I wrote Lost Daughter also. And, and each step, I thought, okay, I'm just gonna take this step and we'll see how it feels. And then, once I started doing it, I think I immediately just went, this is a way better job for me.

• 14:12Will Arnett?

  Yeah.

• 14:12Sean Hayes?

  Yeah, yeah. And what was that, when you direct, your first directing gig, what was the thing that you were overwhelmed with or scared about the most?

• 14:21Speaker 04

  Before, before I did it?

• 14:23Sean Hayes?

  Like, as you were, as you were prepping the film, like, what was the first, what was the most thing you were scared about?

• 14:28Speaker 04

  It's funny, I was so much scareder about Making the Bride than I ever was about making The Lost Daughter. I was scared, I was. But I think in some ways, I didn't even know what I was walking into. I mean, that said, I'd been on so many sets. I, I think about directors who are really first time directors, who don't know how to read a call sheet, you know, who don't know what the rhythm of a day feels like, who, that must be really, really scary.

• 14:55Will Arnett?

  Yeah, so when you're doing The Bride, like, you, you kind of, now you know, so you've had the experience, right? So then you have that anticipation of like, shit, now I know where some of the pitfalls are. How's that gonna go? How's that emergency?

• 15:08Speaker 04

  But even more than that, I think with The Bride, I actually was terrified before I started. I, I was like, I wrote the script. It came out very, not easily, obviously, writing is so hard, but there wasn't ease to it. And then...

• 15:24Speaker 04

  I was scared. I was really scared.

• 15:26Jason Bateman?

  The Bride was number two, the second film?

• 15:28Speaker 04

  Yeah.

• 15:29Jason Bateman?

  And it's a significant jump forward as far as budget and scope and just basic responsibility. A big piece of Hollywood business too and the huge stars and yeah, that must have been, yeah, sobering to say the least.

• 15:51Speaker 04

  Yeah, I mean, it's interesting. On set, even though it was, as you say, like the scope was just much bigger. It felt very similar to The Lost Daughter in terms of just working, workflow, how we did it. And I didn't know that it would and I think that's part of why I was scared. But once we got working, it was the same. And yet, actually maybe even easier in some ways because the heads of every department were incredible. You know, I mean in Greece like-

• 16:25Jason Bateman?

  And you had a longer schedule too, right?

• 16:27Speaker 04

  We had a longer schedule. I mean, like maybe even twice as long. I shot, not quite twice as long, but I shot The Lost Daughter in 26 days. That was really quick.

• 16:37Jason Bateman?

  Wow, that's fast.

• 16:39Speaker 04

  But there was so much story and there was so much to do. It wasn't like we were hanging out eating sushi. We were really working on The Bride. We were like, you know, down to the minute every day and. But I do think also like the bigger scope and the excellent, excellent crew. I mean, I had a great crew in Greece on The Lost Daughter, but they don't have a props master, for instance. They don't have someone who takes care of props. So I had a very important doll in that movie. I don't know if you guys saw it. And we had one doll and it was like, you know, it's just, you know, we're sort of wrapping it together like as best we can. And we were not doing that on The Bride. We had great people.

• 17:20Jason Bateman?

  As an actor, as a great actor yourself, how-

• 17:28Jason Bateman?

  I'm assuming that your knowledge of being an actor affects the way in which you direct actors. And are you, do you find yourself directing every actor as if that actor is you? Or are you intuitive and you figure out a different way to direct different actors based on what you assume their needs are?

• 17:55Speaker 04

  That's such an interesting question, actually.

• 17:57Jason Bateman?

  Thank you.

• 17:58Speaker 04

  When I, when I started The Lost Daughter, I started with, I don't know, eight days with Jessie Buckley. Pretty much Jessie is the, the, the center of pretty much every scene. And I spoke to Jessie the way I would speak to myself, like the way I sort of wished someone would speak to me, you know? And with Jessie, it just went in like water. And then I tried to talk to Olivia Colman that way. And she was like, what the fuck are you talking about? You know, she was like, what? And, and I really quickly, like on the job, had to realize, oh, right, no, of course. Like, I can't talk to my husband the way I talk to Jessie either. He's also like, fuck off, what?

• 18:41Speaker 04

  You know, so that, that was such a pleasure to me, actually. That was actually, I would say, one of my absolute favorite things about The Lost Daughter, was learning, oh, oh, what language is it with this person? Like, and then bringing that to the bride. I mean, like, how, what, how does Penelope Cruz want to be talked to versus Annette Bening? Like, Annette, I realized, I would get so excited by what she was doing. I would come to her with like three notes on top of each other and she just would not have it. She wanted one at a time. And like, and made that very clear to me. Whereas like, you know, Jesse just wants to sort of take it all in and whatever sticks sticks. And yeah, Peter just like, whoa.

• 19:26Will Arnett?

  But that's a, that's a process that you learn as you go, right? Like it's, it's something like you have to like that first day, that first week. You're, it, it's the personalities and you're trying to figure out what that rhythm was. Like Jay, what you were kind of saying, like how you have to, it's not that you're tailoring it, but it's, you have to have a certain amount of EQ if you, to be a really good director. I, I think the really good ones have that understanding, as you pointed out to go, oh, this person, I, you have to kind of read the room, right?

• 19:57Speaker 04

  A hundred percent. I think you do tailor it to each person like, and that interaction is one of my favorite things.

• 20:04Will Arnett?

  And sometimes there's friction too, like not, not, but it's only natural that there will be moments.

• 20:11Speaker 04

  Yeah.

• 20:11Will Arnett?

  We've all had them where somebody gives you a note or something, you go like, hey, you know, and, and you're just trying to, and then, and sometimes it's necessary.

• 20:18Speaker 04

  Or sometimes you need friction in order to do whatever it is you need to do. And the director just has to just deal with that. Like I, I remember, I won't say who, just so that I, because I love him. But there was an actor who, who yelled at me on The Lost Daughter and none of us had been yelling at each other. Like we were just, it was all, we were all in love. And I was sort of stunned for a second. And then I was like, oh, no, no, I've been him. I know, I get it. Okay. He just needs to like crack something a little bit. Just take it, just take the smack and just keep going. That's your job. Like a little taste of your own medicine, keep going.

• 20:58Jason Bateman?

  He's kind of just in character.

• 21:00Speaker 04

  And like, and just trying to like break something, like just make something alive happen.

• 21:05Will Arnett?

  You know, that's interesting you say that because, and it is, it, it, when you're in such an extreme sort of creative environment and sometimes, as you say, sometimes that needs to happen. And I think that there are plenty of examples of people who are especially historically poorly behaved, who, who are really terrible to people and stuff. But there are, there also is an area where there, there has to be that sort of friction where people do. And people will say like, oh, that's just Hollywood and how people are badly behaved. Like, no, this is like a really intense.

• 21:36Speaker 04

  Yeah.

• 21:36Will Arnett?

  Uh, creative environment that also you're dealing with, where, where the currency is emotion. And people and hu- and human beings. And there's gonna be that. And sometimes that exists, right?

• 21:48Speaker 04

  Yeah, yeah, I think acting, having done it.

• 21:53Speaker 04

  Listen, I think directing is a harder job, no question. But I think there's something about acting that is so, so precious, like beyond what anyone's doing. So vulnerable, so special, you know? I really do. I just think like, you know,

• 22:11Sean Hayes?

  You're putting yourself out there to be judged over and over and over again.

• 22:15Speaker 04

  Well, I was listening to them talking about your play, a one man play. Man, I, that's hardcore.

• 22:23Sean Hayes?

  Yeah. Yeah, so that's exhausting.

• 22:25Will Arnett?

  Especially staring at Jason the whole time evidently.

• 22:28Jason Bateman?

  Exactly. I tried not to blink, Shawnee, I'm so sorry.

• 22:34Jason Bateman?

  And we will be right back.

• 22:37Sean Hayes?

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• 23:13Sean Hayes?

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• 23:57Sean Hayes?

  What I love is having a smoothie after a workout that's sitting in the fridge pre-made that I made myself. No, I didn't. Scotty! But it was made with a Vitamix Ascent X5, that's for sure. Shop at vitamix.com.

• 24:16Sean Hayes?

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• 24:59Sean Hayes?

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• 25:20Sean Hayes?

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• 26:09Sean Hayes?

  And now, back to the show.

• 26:13Jason Bateman?

  So when you talk about like, yeah, part of the actor's sort of high-wire act and vulnerability is showing kind of what your version of this character is. And oftentimes, this is for Tracy out there, oftentimes, an actor will get a part through an audition process. And through that audition process, you basically show the director, well, here's my version of the character, and if you want this version, go ahead and hire me, and then when I show up on the set, you'll know exactly what's coming. When you're dealing with big stars, like the kind Maggie has in this film, they're not auditioning. So the first time Maggie's getting to see their version of these characters is kind of through the rehearsal process, which is kind of like a week or two out, and just kind of around a table, reading.

• 26:57Jason Bateman?

  But really, mostly, it's on set, and it's kind of too late to make changes. So my question, Maggie, is, especially since you've written this thing too, how do you rate your ability to be flexible, to be nimble to the inevitably different version of these characters than you've always imagined in your head? And how do you not assess like, sort of a false negative on that performance, just simply because it's different than what you've imagined? Because the audience hasn't read the script, they don't have any preconceived notion, so they're gonna take what they get, and the actor is kind of approaching their performance with that assumption, and they just hope the director/writer will give the same level

• 27:40Jason Bateman?

  of freedom and acceptance to that version of the character. Did you find yourself comfortable with that? Because that's hard.

• 27:48Will Arnett?

  By the way, that's a really good ques-- the first 30 seconds of that was a great question. The last four minutes--

• 27:54Jason Bateman?

  Yeah.

• 27:55Will Arnett?

  The last four minutes were insane.

• 27:57Jason Bateman?

  We'll trim that. We'll knock it down.

• 28:00Sean Hayes?

  I was actually riveted by everything--

• 28:01Will Arnett?

  I was too, actually. It's a really good question.

• 28:03Sean Hayes?

  Yeah, Jason, that is--

• 28:04Will Arnett?

  I hate to admit, it's a great question.

• 28:05Sean Hayes?

  I was like, yes, I've always wanted to know that.

• 28:07Will Arnett?

  Yeah.

• 28:08Speaker 04

  Well, this is like, one of the reasons why I became a director, although we can talk about some of the other ones, but I think I've so often been the person who came to set with just a different take on something, not just to be contrarian or be different, but because it's me that's making it, and I'm different than what the director imagined when they were alone in their room. And I've so many times thought-- Don't you want my mind too? Like, don't you want like my heart too? I don't want to be just a puppet. Like, yeah, isn't it gonna be a better movie if like all of us actors and the DP and the designer, you know, all put ourselves into it? And then, yes, as the director, I mean, I would say this, I would say, yes, I feel

• 28:52Speaker 04

  very strongly that I'm trying not to push actors into doing something that I imagined when I was all by myself. And I don't do that because it's just not my taste, it's just not what I like from them, you know? Which means that they surprise me all the time. That said, I think it's my job, if we're trying to walk a tightrope across the two hours of this movie. Yeah. It's my job to both allow them sometimes, okay, look, we did, we did a take where the whole second half of that, you were falling off the tightrope. I mean, I'm not gonna say that to them, but I'm not gonna use it, you know? Sure. And yet, like, what it did was it got us to the next take where there was a laser

• 29:36Speaker 04

  beam focus or whatever, you know? I mean, I think it's my job to then assess it and take care of it and really protect the things that are really special and beautiful. I mean, I think you can watch a movie, you can, and we, we, let me say this, I think there's lots of really good actors. And I think there's a handful of really brilliant ones. Yeah. And like you guys said, a lot of them are in my movie. Yeah. And so how do you make space for those really brilliant actors to not act like they're learning something or changing on film, but actually learn something or make a change on film? That's the most exciting thing for me to watch.

• 30:19Will Arnett?

  I think that that's a really great point that you bring up too, this idea of like, of, of, of sort of walking that tightrope and maybe there's part of a take where they, they don't, and you, and you don't bring it up, but it allows you to get to that other place. And I, I think that in that process, if you can allow, certainly for me, I know, if, if you can feel safe enough that There are no wrong answers and then it's okay to do that. Then that's where you can really find that growth. You can really find that other gear by allowing this. Cause if you're worried that you're getting it, you're gonna get it wrong or you're not doing it right. You're fucked.

• 30:54Speaker 04

  Cause in the other gear, there aren't any wrong answers.

• 30:59Will Arnett?

  A hundred percent.

• 31:00Speaker 04

  When you get into that other gear, it's all good.

• 31:02Sean Hayes?

  What about, how, dumb dumb question. How did you think of doing this movie, The Bride? Where did the idea come from? Why did you wanna do it? And isn't it kind of cool that Frankenstein just came out and then on The Bride? I mean, it's so cool.

• 31:17Will Arnett?

  Holy shit, you're right. That was a dumb dumb question. You're so right.

• 31:20Sean Hayes?

  I just think that's so cool that, that it's all happening at the same time.

• 31:25Will Arnett?

  Yeah, well, you must have been aware of that other movie.

• 31:28Speaker 04

  Guillermo's movie, yeah. And I, I, well, I'll answer the first part of the question first, which is I, I was at a party. I was thinking about what I wanted to do, you know? I was kind of knocking things around in my mind, just sort of more, just thinking about what, what, what was on the edges of my mind. It's kind of hard to explain, I guess, but even with acting, I don't know if you guys relate to this at all, but like, the things that appeal to me are usually the things that are like right on the edge of what I've been thinking about. And then the making of the movie can be a way of kind of getting into some dangerous territory about what you don't know, you know? So I was thinking about, I don't know, what do I wanna do next?

• 32:08Speaker 04

  And I saw this guy with a tattoo of The Bride of Frankenstein on his entire forearm. You know, the Elsa Lanchester electricity hair.

• 32:20Will Arnett?

  Yeah.

• 32:20Speaker 04

  And I was like, oh yeah, wait, what is that?

• 32:25Speaker 04

  Bride of Frankenstein, but who is she, you know? And I went back to my hotel, I was in LA at the time, and I looked her up online. And I was like, yeah, she's so like.

• 32:40Sean Hayes?

  Badass.

• 32:40Speaker 04

  Yeah, so badass, exactly. Then I watched the movie, which I had never seen, and she's in it for two minutes. And she doesn't speak at all. And I started to think about this idea of the Bride of Frankenstein. And, you know, well, then I went and read the book, which I had also never read. And Frankenstein is so lovely in the book. I mean, he does murder people and, you know.

• 33:09Will Arnett?

  Light murder.

• 33:10Speaker 04

  It's very light.

• 33:12Will Arnett?

  We all have a bad day.

• 33:14Speaker 04

  No, but there is an aspect of exactly that, where you read it and you're like, wait, I also feel lots of rage and violence sometimes. I don't murder people, but he's, um, he's so human, like, he's so vulnerable. He's so lonely in the book. He's also super smart. He literally hangs out in a barn next to some people speaking French and learns French in a couple of days, or like finds a suitcase of philosophy and like, you know, reads it and then is into philosophy. He's a really great guy. But he's so lonely. So I thought, okay, fine, a really lonely, like unbearably lonely, wonderful guy is

• 33:59Speaker 04

  trying to get another monster, because no one else will be with him, to be with him. Wants someone to dig someone up from a grave and make someone like him. In a way, it's fair enough. But what about her? You know, what about the person who was dead and didn't ask to be brought back to life? And maybe she didn't want to marry you. You know, maybe she, she doesn't get a lot of say in the matter. And I thought that puzzle, which is not addressed in the movie, although Elsa Lanchester definitely wakes up and says, fuck no. I mean, she doesn't say that, but without saying anything, that's definitely what she communicates. I thought, that's a great puzzle, like a dramatic puzzle to start from.

• 34:44Speaker 04

  And how does that? And then what if it's also an epic love story? What if despite this very difficult beginnings, they can't resist each other?

• 34:53Will Arnett?

  Yeah. Really cool. Do you ever, do you ever, you were saying that you like to sort of write about things that, um, I don't know, you sort of said, not that scare you, but things that interest you or things that might sort of push.

• 35:06Jason Bateman?

  On the edge.

• 35:07Will Arnett?

  Yeah, are there, are there ideas that you've had, I'm curious, that you've thought about writing, but you're like nervous about writing about for certain reasons? Are there things you go like, I don't know if I want to touch that? I don't mean politically or anything, but just because emotionally or something that you, and you don't have to answer it if, if it's too personal.

• 35:29Speaker 04

  No, I, I do write about those things. Like, that's The Lost Daughter, and that's this. Like, I sort of do. Like, my, my daughter, my nineteen year old, was joking with me, because I was saying that this one was sort of dedicated, in a way, to my younger daughter, and that the first one was dedicated to her. And she was like, oh, really? I get to have the one where I'm like, like, you know, the mom, like, is having such a hard time being a mother, and she gets to have the bride? You know? But I think that I, I think that the way I get excited and want to sit down and write and work is when I think it's a little dangerous.

• 36:07Will Arnett?

  Yeah. The stuff that really, that, that really lives in your deepest parts.

• 36:12Jason Bateman?

  Yeah, the scary stuff. You gotta, you gotta attack the scary stuff.

• 36:15Will Arnett?

  Can fill the most pages with the stuff that, that is a part of your deepest parts, right?

• 36:20Speaker 04

  And I remember, actually, in The Lost Daughter, writing on an airplane, because I used to write on airplanes, like, because my kids were little. And so I would think and think and think, and then I was, I don't know, what I was doing, press for something, and I would just write everything I'd been thinking about. And I was writing one scene, and I like looked over my shoulder, because I thought, oh, this is dangerous. And it was just a little thing where this woman was saying, I hate talking to my kids on the phone.

• 36:47Will Arnett?

  Really?

• 36:48Speaker 04

  No, no, no. I, I both love talking to my kids on the phone, but they were, when they were little, sometimes it was really hard, you know?

• 36:58Will Arnett?

  You just don't hit the ball back.

• 36:59Speaker 04

  To say that out loud, or even write it out loud on an airplane, that was dangerous. It's dangerous now. I feel scared.

• 37:06Jason Bateman?

  So, your nineteen year old.

• 37:08Will Arnett?

  Oh, you're gonna get a lot of pushback, Maggie.

• 37:10Jason Bateman?

  So, your, your nineteen year old, eh, does she have any interest in, in what you do? Or she, is there a completely different path?

• 37:20Speaker 04

  I don't think that she, at least at the moment, she doesn't seem like she wants to be a filmmaker, although she makes the greatest iPhone little videos that she edits on the phone.

• 37:31Jason Bateman?

  Yeah.

• 37:32Speaker 04

  They're so funny. But she's been such a great sounding board for me, artistically, on the movie. Like, she's seen the movie so many times. She's been, she's such a great mind.

• 37:46Jason Bateman?

  That's great.

• 37:46Sean Hayes?

  So wait, so New York, you're in New York right now?

• 37:49Speaker 04

  Yeah.

• 37:50Sean Hayes?

  And New York or LA? And forgive me, you're, the rest of the family's in LA, right?

• 37:55Speaker 04

  My brother's here and my mom is here, actually, but my dad is in LA.

• 37:59Sean Hayes?

  Oh, I thought your mom was in LA, too.

• 38:01Speaker 04

  She used to be.

• 38:02Sean Hayes?

  She used to be, okay. And you much prefer New York, yeah? Obviously, you live there.

• 38:07Speaker 04

  Yeah, I do, I do. I was just in LA, though, and it was so nice in February, like, eating avocados and, you know.

• 38:17Sean Hayes?

  Feeling the sun, yeah, yeah, yeah.

• 38:19Speaker 04

  Man, I was like, I get it, why they all do this.

• 38:21Jason Bateman?

  It is, it is a whole, I mean, I have such a lust to live in New York, but, you know, as I'm getting older and crankier and more noise sensitive and everything else, I do find my little alarm going off after, like, I was just there for four days seeing Shawnee, and it was like, yeah, just a little extra space in LA allows for, you know, cranky sensitivities to be taken care of a little bit more. I mean, my goodness, it was so compact there.

• 38:55Speaker 04

  But if you had your home here.

• 38:58Jason Bateman?

  Right.

• 38:58Speaker 04

  You know what I mean? It would be different, because you could, even, I live in Brooklyn, so it's a little more outside of the craziness, but I think that sometimes even about people who live in Manhattan. I go into Manhattan and I'm like, oh, my God, I need to get out of here.

• 39:10Jason Bateman?

  Yeah.

• 39:11Speaker 04

  But I think, oh, but if my apartment were in Manhattan, I could at least just get out of here.

• 39:16Jason Bateman?

  You'd know your spots and your, yeah, how you could sidestep and, yeah.

• 39:20Will Arnett?

  It's so funny, I feel, and I've been going, and I'm sort of in the process of sort of halfway moving back to New York now, and so I'm there a lot, and I find myself. This is so weird. I sleep better when I'm in New York. I feel more at home there than I do here, even though I've lived here full time for just over 10 years, basically. I don't know, there's something about New York.

• 39:43Sean Hayes?

  That's interesting, Willie.

• 39:44Will Arnett?

  Yeah, my, my, um, my blood pressure settles, everything. I just feel more relaxed.

• 39:50Sean Hayes?

  What is that about? What, because, because the business is in LA, maybe?

• 39:54Will Arnett?

  No, I mean, I don't, the business is everywhere. It's not really anywhere anymore.

• 39:58Sean Hayes?

  Yeah, that's true.

• 39:58Will Arnett?

  But I just.

• 39:59Sean Hayes?

  That's true.

• 40:00Will Arnett?

  Feel like that's my, I don't know, my place. And it's, uh, yeah, I just feel better. And, and so many of our friends are moving back to New York now, too, which is.

• 40:10Sean Hayes?

  Maggie, where do you, what, what do you do outside of work? That, that you're like, with you and the kids, do you go to, as Will says, the Long Island? Do you travel out there? Or do you?

• 40:21Jason Bateman?

  Wait, is 19, is 19 year old still around? Uh, is, is, is she going to school?

• 40:25Speaker 04

  No, she's in college. She's in college.

• 40:28Jason Bateman?

  Not in New York?

• 40:30Speaker 04

  Not in New York. No, she's, she's, um, uh, so I just have my 13 year old here now. Um, we have a house in Vermont.

• 40:39Will Arnett?

  Oh, nice. Perfect.

• 40:40Speaker 04

  Way deep, deep inside the, grandfathered into the, um, national forest.

• 40:47Will Arnett?

  Amazing.

• 40:48Speaker 04

  But I will be honest with you and say that is really because of my husband.

• 40:56Will Arnett?

  The great.

• 40:57Speaker 04

  The great Peter Sargard, yeah.

• 40:59Sean Hayes?

  For Tracy, yeah.

• 41:01Speaker 04

  I, um, I love Vermont, but that's really Peter's place. And I'm kind of always wanting to, you know, I'll go for a bit, but it's, it's pretty hardcore. It's, it's.

• 41:13Sean Hayes?

  Isolating?

• 41:14Speaker 04

  It's very really in the middle of nowhere. We were stacking wood the other day and Peter made me laugh. He was like, do you think this is what our friends imagine we do when we come here?

• 41:26Sean Hayes?

  Yeah.

• 41:27Will Arnett?

  That is, yes.

• 41:29Jason Bateman?

  Wait, wait, so you're out there or do you chopping the wood and stacking it?

• 41:33Speaker 04

  I wasn't chopping it.

• 41:34Jason Bateman?

  But he chops it?

• 41:35Speaker 04

  I was just stacking it. But he like raises bees and chickens and taps maple trees.

• 41:40Will Arnett?

  Oh my god.

• 41:41Speaker 04

  And has a beautiful garden and I'm sort of...

• 41:44Will Arnett?

  Jason would love to pay people to do that for him.

• 41:47Jason Bateman?

  I mean, the raising bees part, I would have to pay someone for.

• 41:50Will Arnett?

  He's dreaming of it now, watching them do it.

• 41:53Jason Bateman?

  Is Peter putting on the hood and everything with the bees?

• 41:55Speaker 04

  Yeah, although Peter, Peter sometimes is like, I don't need the hood. I don't even need the gloves.

• 42:01Jason Bateman?

  This guy.

• 42:02Speaker 04

  I listened to, I read this book and he did, you know, and listened to this thing and watched these videos about how to like be zen and do it. So the bees that come to you and then he gets like 10 stings on his arms, you know?

• 42:16Jason Bateman?

  Wow.

• 42:18Speaker 04

  It's hot, though. It is. You can imagine.

• 42:20Jason Bateman?

  What a stud this guy is. Such a good actor. And now you're telling me he's got this move too?

• 42:24Sean Hayes?

  A beekeeper. He keeps bees.

• 42:27Speaker 04

  Yeah, but I'll tell you this, just so you don't feel bad. All of his bees in Brooklyn died. And it was because he made a, he made a mistake. He made a beekeeping mistake. And, um, and he was so upset about it. And I was like, Peter, you were in Switzerland acting. And then you went and did another movie in London. Right away, you were home for one week and your bees died. Like, some people's only job is doing bees. You know, like, give yourself a break.

• 42:55Sean Hayes?

  So he was, he was upset that his bees...

• 42:58Jason Bateman?

  Maggie, were you, did you shirk your responsibilities in babysitting the bees?

• 43:03Speaker 04

  Yeah, I think I maybe did.

• 43:04Jason Bateman?

  I think you might. You've gotta be able to shoulder some of that, right? The guy's off in Switzerland. You know, you know she had something on a piece of paper saying, baby, all I need you to do, just water the bees for me. I picture you guys driving.

• 43:21Speaker 04

  You're not wrong.

• 43:22Will Arnett?

  A little sticky.

• 43:23Jason Bateman?

  I picture you guys driving away just going, oh shit, the bees.

• 43:29Jason Bateman?

  Let's just bring them. Put them in the trunk. Just bring them.

• 43:32Sean Hayes?

  Like Home Alone, Kevin in Home Alone. Um, so wait, um, I, I think I would go out of my mind if I lived in the middle of Vermont like that. Not that it's not beautiful and I appreciate it and I would like to go for a little bit.

• 43:45Jason Bateman?

  Yeah, cuz you're a city mouse.

• 43:47Sean Hayes?

  Yeah, I, I, I, I can't be alone with my thoughts too long.

• 43:51Jason Bateman?

  Oh, boy.

• 43:51Will Arnett?

  Uh-oh, hang on, why?

• 43:55Speaker 04

  You need to write something about them.

• 43:57Jason Bateman?

  We gotta do a celebrity version of Alone and just see how.

• 44:01Will Arnett?

  I know.

• 44:02Jason Bateman?

  I mean, do you think you could make it a week on your own?

• 44:07Sean Hayes?

  Period, no. You don't have to finish the sentence.

• 44:09Jason Bateman?

  So, well.

• 44:11Will Arnett?

  Yes.

• 44:11Speaker 04

  If I knew it was a week, I could do it for a week, I think, but it would be hard.

• 44:17Jason Bateman?

  No shelter, no food.

• 44:18Speaker 04

  Aw, shit.

• 44:19Jason Bateman?

  Not, I mean, you just have 10 items, right?

• 44:21Sean Hayes?

  For a week?

• 44:22Jason Bateman?

  For, yeah.

• 44:23Speaker 04

  I've only seen the last episode of Alone, which I watched.

• 44:26Will Arnett?

  So good.

• 44:27Speaker 04

  Last.

• 44:28Will Arnett?

  So good.

• 44:29Speaker 04

  Two days ago.

• 44:29Jason Bateman?

  Yeah.

• 44:30Speaker 04

  With Peter and my daughter, who were so into it. Peter could win. Peter would win.

• 44:34Will Arnett?

  It sounds like Peter could win. He'd start chopping wood, day one. He'd, he'd start cultivating bees. He'd be eating honey.

• 44:40Speaker 04

  But he wouldn't kill a moose. He probably wouldn't kill a moose.

• 44:42Will Arnett?

  He might not kill a moose, but I, I watched those videos. This is what I'm, I, I watched so many of the videos, the guys who time lapse of building shelters out of nothing.

• 44:51Speaker 04

  Oh, I get those too. I get those too.

• 44:53Will Arnett?

  I love.

• 44:55Sean Hayes?

  It's on your algorithm?

• 44:56Speaker 04

  Yes.

• 44:57Sean Hayes?

  Send me one so you can infect my stream.

• 45:00Will Arnett?

  Dude.

• 45:00Speaker 04

  Do you also get like, like Eastern European grandmas making like huge vats of, of like stew?

• 45:07Will Arnett?

  I just did. I just started getting these videos of these Roma people in Eastern Europe and Romania and having these parties. And these guys are like arguing and then these women are making this insane food and they keep slapping each other's hands and then they have these huge feet. It's wild.

• 45:22Speaker 04

  There's also, there's also people in China dying fabric. If you wanna get on my algorithm.

• 45:28Sean Hayes?

  I've seen those too. Yes. I'm fascinated by that.

• 45:31Jason Bateman?

  I'm still getting the guys in fistfights on golf courses. I need, I need, I need to flush my stream.

• 45:35Will Arnett?

  No, I get, I'm Karen videos. I get just nonstop Karen videos.

• 45:39Sean Hayes?

  I get tons of Karen videos and cop videos where they argue with the cops.

• 45:43Will Arnett?

  Oh, yeah, about their rights, First Amendment, right, guys?

• 45:46Sean Hayes?

  Yeah.

• 45:46Will Arnett?

  I'm just filming, for who? I'm allowed just exercising my rights.

• 45:49Sean Hayes?

  Yeah, you're obviously asking for trouble.

• 45:51Jason Bateman?

  I'd love to see a mashup of Steve Sands arguing for his rights on the sidewalk.

• 45:58Sean Hayes?

  Wait, go back to a live for a second because I remember this one episode where a guy cut open a salmon or some fish and he's like, "I'll just eat that fish eggs like caviar."

• 46:06Jason Bateman?

  Yeah.

• 46:07Sean Hayes?

  Whatever. And he took a whole hand, you know the episode I'm talking about? Took a whole hand and he washed them and everything and he got so viral, so sick.

• 46:18Jason Bateman?

  Yeah.

• 46:18Sean Hayes?

  I'm like, "Yeah, you can't just open a fish and eat their eggs."

• 46:21Will Arnett?

  Jason does that before, Jason, three days before the award show eats that.

• 46:25Jason Bateman?

  Yeah, I've gotta drop the water weight somehow.

• 46:28Sean Hayes?

  Just a random fish.

• 46:30Jason Bateman?

  Yeah. There was this one where the guy opened up a fish and there was a little tiny fish inside of it that hadn't been digested and he was like, "Bonus, you know, look at that."

• 46:38Sean Hayes?

  No way.

• 46:39Speaker 04

  I gotta go deep with alone. I've only seen one.

• 46:42Sean Hayes?

  Yeah.

• 46:44Jason Bateman?

  We'll be right back.

• 46:47Sean Hayes?

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• 47:51Sean Hayes?

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• 48:27Sean Hayes?

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• 49:17Sean Hayes?

  And back to the show.

• 49:20Will Arnett?

  So if you're not in Vermont, if you're in the city and you're not working and you're not in post and you're not acting, but you're... What are you doing? What's the thing that you're doing that is your like, not even guilty pleasure, your pleasure?

• 49:34Jason Bateman?

  How do you dumb it down?

• 49:35Sean Hayes?

  Yeah, yeah, yeah.

• 49:37Speaker 04

  It's so funny, though. I've been in post or shooting or prep for so long. Like, what have I been doing?

• 49:44Jason Bateman?

  I know you've got to do something to...

• 49:45Will Arnett?

  But even now, even now when you're in post and prep, where you have five minutes or 10 minutes to do something that's for you that you like to do, that's like a little mini-break, what is it?

• 49:53Jason Bateman?

  Even Wordle counts.

• 49:55Speaker 04

  Oh, I love...

• 49:58Speaker 04

  Those, I love when they tell me I'm a genius, even if I cheat. You know, like you go look at the.

• 50:05Jason Bateman?

  How smart are you? Like the news quiz.

• 50:07Speaker 04

  I don't have that one.

• 50:08Jason Bateman?

  How up to date are you with this week's news? You take one of those little quids?

• 50:12Will Arnett?

  They have the history one of the New York Times too, where you can, it gives you a bunch of events and you have to place them on the timeline of when they occurred.

• 50:19Jason Bateman?

  Oh, that's cool. I want to do that.

• 50:20Will Arnett?

  It's cool. What's a week?

• 50:21Jason Bateman?

  That's good on that.

• 50:22Will Arnett?

  It's real good.

• 50:22Sean Hayes?

  I want to do that. Maggie, do you do, do you do all the New York Times games? Like the connections?

• 50:28Speaker 04

  When I was cutting, I would basically be sitting behind my editor.

• 50:31Sean Hayes?

  For Tracy, you mean cutting the film?

• 50:33Speaker 04

  Cutting the film, yeah. Editing the film, sitting, sitting behind my.

• 50:38Jason Bateman?

  What an incredible editor you had.

• 50:40Speaker 04

  My incredible editor, Dylan Tichner, yeah. Cut Boogie Nights and There Will Be Blood and Zero Dark Thirty, amazing.

• 50:46Jason Bateman?

  And you had Larry Scher as a DP. I mean, god damn it.

• 50:49Will Arnett?

  I love the way you said that, by the way, just as you were talking about all the filmmakers on the film, which is the props and the DP. And then, and I don't think that people understand, and maybe for Tracy too, that, that making a film, everybody on, everybody who's has these great jobs, you see the actors, but there are all these filmmakers there who are part of the process, who all have such important jobs, who are so valuable to, to the filmmaking process.

• 51:15Speaker 04

  Well, and I just want to say, actually, because we were talking about the acting and obviously I've been an actor, but what I haven't been is a cinematographer. And, um, you know, I learned a lot about aspect ratio and lensing on The Lost Daughter, but the truth is, and now I am understanding who Tracy is, um, you know, you know, on a little movie, you, you have no money. And so you can't afford even to rent a lot of different lenses. So in The Lost Daughter, we maybe had five lenses, maybe. And so with those five lenses, I learned a lot. Then I go, as Jason Z were saying, to this totally different scope and I have cranes,

• 51:56Speaker 04

  techno cranes, um, shooting for IMAX, which is a very particular thing, which is not just a movie that will play in IMAX, but a movie that's designed to change aspect ratio, like to grow vertically for an IMAX audience. I didn't even know really what IMAX was when I started. And Larry Scher, who's my cinematographer.

• 52:20Speaker 04

  I felt like I came into this movie with a really clear, you know, idea of what I wanted to say. And, and in a lot of ways also how I wanted to say it even visually. But I, I don't know, I felt like I took a master class with him. And I, I do feel like I finished the movie speaking a language that I didn't speak when I started the movie. Which is maybe part of what was terrifying. Like if you have to learn, if you're, if you know, like I was saying about actually even watching good acting. Like you'd rather watch someone learn something for real on screen instead of fake like they're learning it, even if they fake it very well. I was actually learning as I was working, which was incredible, like so exhilarating, but also.

• 53:05Jason Bateman?

  And here's, but did you guys, did you guys jump on his, his shot deck is such an incredible asset for folks. You know, to like, you, you can do, you, he's, he's cultivated all of these images from all these films. That you, a, a quick reference point for you, as you guys were devising the look of, of the film. Did you guys spend some time on shot deck?

• 53:26Speaker 04

  Well, like if, if we say, say we're saying, okay, there's a big, you know, the movie has almost like a Bonnie and Clyde aspect of lovers on the run, you know? And there's a lot of stuff in, in a car. And we were talking about different ways of shooting in the car. And we were, for example, say, talking about Thelma and Louise, Ridley Scott, lots of long lenses, totally different way of shooting than we were shooting because they were actually in that location shooting, you know, probably with an array of cameras, both far away on really long lenses and then close around the car. Different than the way we did it, but I loved the aesthetic of that movie. I, I found I really loved, I really love long lensing.

• 54:08Jason Bateman?

  Yeah.

• 54:08Speaker 04

  My editor was joking with me that I should be a bird watcher.

• 54:14Jason Bateman?

  And then what about designing just the overall world of it too with your production designer Karen Murphy? What an incredible talent she is too. Like was it, how did you, did you, did you, did you start at a, because world building like, it's like filling a blank page as a writer, I would imagine. It can, it can be anything. And how did you, where did you start? What sort of aesthetic did you start in? Was it, was there like a book or photography or something? Or did she bring ideas or?

• 54:42Speaker 04

  The movie is set in nineteen thirty six, which was somewhat random. Like, I originally set it when I was writing, just post-Civil War, because so many people had died. This is a movie about people coming back from the dead. So I was kind of thinking like about like, when were the times when the, you know, the veil between the living and the dead felt the thinnest? So I was thinking about post-Civil War. So many people died, so many children died in childbirth. And there was this job then, I had been learning about for something else, of a spiritualist, which is, was almost always a woman. And it was like, as ubiquitous as a therapist, was someone who spoke to the dead for you.

• 55:28Speaker 04

  And I, so I started out setting it then, because I thought that was kind of an interesting time to just, to be dealing with people brought back from the dead. And then I realized that Frankenstein, my Frank, I don't call him Frankenstein's monster, because he would never call himself that, you know? So Frank was so lonely that maybe his only, like, his primary relationship was with a movie star, who didn't know about him, of course, but that he could go sit in a theater and watch this movie star. And also, in a dark movie theater, his ugly face, you know, his scarred-up face wouldn't be so, you know, scary to people. So then I thought, okay, I have to set it in a time when there are movies. And it shifted to nineteen thirty six.

• 56:13Speaker 04

  Also because the movies then are so much about fantasy. And my movie is actually a lot about kind of breaking down the fantasy. And what does a real love affair look like? And what does a real man look like, woman look? You know, what is the reality versus the fantasy? But still, nineteen thirty six, which I think is beautiful. But it was never really 1936. It was always 1936 sort of by way of 1981 downtown New York.

• 56:46Jason Bateman?

  Really?

• 56:47Speaker 04

  By way of like right now. So if that's the directive for Karen, you know, it's a tough one. It's something that you haven't seen before.

• 56:55Will Arnett?

  Yeah, but that's cool, though. I love that idea.

• 56:57Jason Bateman?

  So it sort of blends, it blends today's aesthetic with 81's aesthetic with 1936?

• 57:04Speaker 04

  Yeah, kind of. I mean, it is technically 1936, but it's a different world. As you say, world building, which is actually something I'm really interested in. That term, which I had actually never heard before, before I went to work on this movie, which at least in my mind really refers to the effects, visual effects.

• 57:23Jason Bateman?

  And something, something usually completely non-existent, right? Like superhero stuff. Like Lord of the Rings or whatever. This isn't, you're saying, it's, there's, there's some, there's definite tangible, relatable, recognizable elements.

• 57:35Speaker 04

  But, I mean, here's something I've been thinking a lot about. So few women have gotten a chance to get our hands on some of these tools.

• 57:47Jason Bateman?

  Yeah.

• 57:48Speaker 04

  Like shooting four IMAX with a changing aspect ratio, like world building. I mean, there are some, there are, but just not very many. And I somehow feel like the way that it's been done before is in a language that doesn't totally resonate with me. So, you know, world building could mean we're shooting underneath like that, what would it be? The West Side Highway up in New York, like has like an overpass, if you're up on 125th Street with beautiful, beautiful like arches. We shot there. But if you look to the right, in reality, there's like a big ad for whatever, something from now

• 58:31Speaker 04

  and the rest of the highway and all this modern stuff. So you can. Create whatever you want in the rest of that frame.

• 58:40Sean Hayes?

  Right.

• 58:42Speaker 04

  And it was interesting because when we first started working on that frame, it was like, it was like a celebration of VFX. It was like we were pan over to show the whole world and look what we did with our VFX. And that's just not, I don't like that.

• 58:57Sean Hayes?

  Right, right, right.

• 58:58Speaker 04

  I'm like, I'm like, I just want to be in the movie. I want to be in the world. I don't need to show you how expensive the VFX were. How, you know, I want to, I have a different, I'm really interested in world building. I'm really interested in that idea. I really think probably the next thing I do will incorporate that, some kind of imaginary world.

• 59:16Sean Hayes?

  That's great. I love that.

• 59:17Speaker 04

  But with all the things I've learned from this one.

• 59:19Will Arnett?

  Sure.

• 59:20Sean Hayes?

  Isn't it kind of, I was gonna say this earlier, isn't it kind of like designing a house? Like you got like the architect and the interior designer and the project manager and the contractor? That's all I wanted to say. Next question.

• 59:31Speaker 04

  Or a party, or a party. We used to think of it as a party, like a great dinner party. You know, where, where someone else is doing the flowers and the, you know, and I just invite people and maybe seat them and that kind of thing.

• 59:48Sean Hayes?

  Yeah, everybody's got a placard.

• 59:50Jason Bateman?

  Oh, sorry, Sean, did you want to take a snack break?

• 59:52Sean Hayes?

  I'm sorry. I got, yeah, I got an apple slice.

• 59:54Will Arnett?

  I mean, just sort of drop in a kind of a non sequitur and then just pop an apple in your mouth. What the fuck do you think is going on here, man?

• 1:00:03Sean Hayes?

  I didn't think, I didn't have anything.

• 1:00:04Will Arnett?

  Taking up Maggie's time, we're taking up Maggie's time.

• 1:00:07Jason Bateman?

  You just wait five more minutes, you can go get your snack on.

• 1:00:09Will Arnett?

  Yeah.

• 1:00:10Sean Hayes?

  I didn't have anything else to follow up with, so I thought it was safe to take an apple slice.

• 1:00:14Will Arnett?

  I like that idea though, Maggie, you said about like that it's never spoken to you before and nobody's ever done it this way. And I do like that idea of like, there's, there's gotta be sort of more to it than, than just flexing a sort of a muscle, which is, does seem to probably be, because it's been dominated by men and maybe I'm wrong about that, but there's something cool about that. Like just bringing a new perspective to it, that it's, that it can be much deeper than that somehow. Do you know what I mean?

• 1:00:43Speaker 04

  Well, like if you have a different.

• 1:00:44Will Arnett?

  Again, I'm being, I'm just being simplistic about it, but maybe.

• 1:00:47Speaker 04

  I don't mean to be overly simplistic about it either. I just, I do think if you have a different experience in the world, you're gonna make different movies, you know?

• 1:00:55Will Arnett?

  Yeah.

• 1:00:56Speaker 04

  And obviously, gender isn't, or race, or ethnicity. I mean, those, those aren't the only things that change your experience, but they are one thing.

• 1:01:05Will Arnett?

  Yeah.

• 1:01:07Speaker 04

  I guess I, well, well, when, when I actually started using IMAX and changing aspect ratios and doing it, I, so I learned about it. I, also, my editor that we were just praising, who is just incredible, was Dylan Titchener and Larry Share, both were kind of in each ear, really teaching me so much about those tools. But when I imagined it, what came out was different than how IMAX has been used before.

• 1:01:37Will Arnett?

  Oh, wow.

• 1:01:38Speaker 04

  And I, I think that's cool. I think that's like, like, you know, that, I feel proud of that, you know?

• 1:01:46Jason Bateman?

  Let me ask you this. Did, did the film turn out the way you had imagined and hoped that it would? Because there's so many people that, that contribute. It inevitably is going, and as you said, you provide this environment of, yes, please contribute, bring your uniqueness. So, did it end up?

• 1:02:04Will Arnett?

  And, and JB, but also she has a front row seat to watching it evolve and change. Right.

• 1:02:09Jason Bateman?

  Right. And, and the unapologetic position of controlling the way that it comes out, to the extent that you can, and like, how much did you let yourself allow it to be the film it was kind of becoming?

• 1:02:21Speaker 04

  Hmm.

• 1:02:21Jason Bateman?

  And like, so like, what's the, I guess the question is, sorry for the long one again, but like, what's the percentage that it maintained, uh, the version that you thought and hoped that it would be?

• 1:02:35Speaker 04

  Percentage in math is maybe like, not my, my language.

• 1:02:40Will Arnett?

  Come on, robot.

• 1:02:41Speaker 04

  But I, I, if I, let me think, let me think. I, I, I.

• 1:02:46Speaker 04

  The movie has a very specific tone, like a very, I could always hear the very unusual tone of the movie in my head. I could feel when

• 1:03:00Speaker 04

  we fell off the tightrope, for example, always I could. So that has remained. I think, really, when we were shooting, I was collecting all these beautiful things. I definitely had, in some ways, the movie in my head.

• 1:03:20Speaker 04

  Yeah, and I, I, I was sort of building something as we were shooting. But the cutting, I would say, is where it really changed.

• 1:03:30Jason Bateman?

  Right.

• 1:03:30Speaker 04

  And I think, in some ways, I,

• 1:03:36Speaker 04

  it was really about letting things fall away. Letting the movie be what I had always wanted it to be, which was kind of like a roller coaster ride. Like, strap in and you can't get off until it's over.

• 1:03:47Jason Bateman?

  Right.

• 1:03:47Speaker 04

  There's not, um, I wanted it to be like a laser beam, like, um, like, fast and, and hot.

• 1:03:57Jason Bateman?

  Right.

• 1:03:57Speaker 04

  And, um, just realizing, oh, this is weighing me down, or I love this and what this brings out, but I gotta let it go. And even my really wise, you know, collaborators like Dylan, letting me take the time I needed to know. I like, I would say, don't fuck with that scene. No, I don't want to hear it. I love that scene. Don't fuck with it. And then eventually,

• 1:04:25Jason Bateman?

  Right.

• 1:04:26Speaker 04

  letting it go.

• 1:04:27Jason Bateman?

  Because it wasn't, probably for a bunch of different reasons, with different, different things you had to let go of, but because ultimately it either was not as good as the rest of the stuff that you had, or that it was sort of not serving the laser beam.

• 1:04:43Speaker 04

  Yeah, no, I think I pretty much just took out in both my movies when I cut them. Let's just take out everything that isn't really great.

• 1:04:50Sean Hayes?

  Right, yeah.

• 1:04:50Speaker 04

  You know, and, and most of the time I didn't stop shooting until we had something that was, that was great, I think.

• 1:04:58Sean Hayes?

  Right.

• 1:04:58Speaker 04

  But let's just get rid of that stuff. Then the hard thing, obviously, is like getting rid of something that, or, or like, for instance, the scene that I'm imagining, which is no longer in the movie, so it's hard to talk about it, but I, I felt it just deepened everything. It just took things down to a, like another level. And, you know, Dylan's argument, and actually Dylan was not alone, and I remember hearing this great note from someone about, about getting notes on a screenplay where she said, if five people tell you, you seem drunk, maybe you should lie down. You know, when you just keep getting the same note over and over again, you have to go like, okay, okay. But in fact, Dylan's argument was, it's, it's, it's too complicated now.

• 1:05:41Speaker 04

  It's, it's, it's made it too heavy. Like, let it lift off. And, and, um, and so maybe that's for another movie.

• 1:05:50Jason Bateman?

  Yeah, yeah.

• 1:05:51Will Arnett?

  I love, I love at this, I've, we've got a couple of years on you, but I, but I do love at this age, there's nothing better than constantly, you're like, I, I find more and more like that I'm learning stuff and I'm really enjoying learning stuff and also really sort of coming to peace with how little I do know or how little, what I thought I knew.

• 1:06:14Jason Bateman?

  Yeah.

• 1:06:14Will Arnett?

  And I find it so much more exciting now to go like.

• 1:06:17Jason Bateman?

  Yeah, for sure.

• 1:06:18Sean Hayes?

  Well, yeah, you get smart enough to realize how not bright you might be.

• 1:06:22Will Arnett?

  Yeah.

• 1:06:23Jason Bateman?

  Right.

• 1:06:24Speaker 04

  And how great it feels when someone else is able to guide you in something. It's so, it feels so good.

• 1:06:31Sean Hayes?

  Every day in my life, I'm like, I don't know what that word means. What is it, what are you talking about? I don't know where I'm going.

• 1:06:35Jason Bateman?

  Yeah, dictionary.com is on the front page of my iPhone.

• 1:06:39Sean Hayes?

  Is it really?

• 1:06:40Jason Bateman?

  Oh, I hit it, I hit it a few times a week, for sure.

• 1:06:42Sean Hayes?

  I love that.

• 1:06:43Jason Bateman?

  Wait, Maggie, what are you doing for the rest of the day?

• 1:06:45Will Arnett?

  Yeah.

• 1:06:46Jason Bateman?

  Tell him you're busy, tell him you're busy, tell him you're busy.

• 1:06:48Speaker 04

  I'm so busy, I'm so busy.

• 1:06:50Sean Hayes?

  I'm just around the corner. We could get like a, we could get a cupcake, whatever you want to get.

• 1:06:56Speaker 04

  I want to go see Wuthering Heights.

• 1:06:58Sean Hayes?

  Oh, yeah.

• 1:06:59Speaker 04

  I might go try to do that.

• 1:07:02Jason Bateman?

  I can't wait.

• 1:07:03Speaker 04

  Yeah, I'm really curious.

• 1:07:04Will Arnett?

  I can't wait to see your movie.

• 1:07:06Sean Hayes?

  I know, I can't wait.

• 1:07:07Will Arnett?

  March 6th, it may be already out, uh, we don't know how this works, but we are really excited to see the bride. Maggie, such a treat to have you on.

• 1:07:17Jason Bateman?

  And then I want to see the next one, and the next one, and the next one, and the next one. Keep jamming.

• 1:07:20Will Arnett?

  Yeah, you're just doing amazing, amazing stuff.

• 1:07:24Speaker 04

  Thanks, guys.

• 1:07:24Jason Bateman?

  Say hi to Peter, say hi to Jake, please.

• 1:07:26Speaker 04

  I will. This was such a nice talk.

• 1:07:28Sean Hayes?

  Thank you, Maggie.

• 1:07:29Jason Bateman?

  Yeah, thank you for doing this.

• 1:07:30Will Arnett?

  Great to see you, the great Maggie.

• 1:07:31Sean Hayes?

  I'll see you around town, Maggie.

• 1:07:33Will Arnett?

  Sean, we are.

• 1:07:34Speaker 04

  I'm gonna come see your play.

• 1:07:35Jason Bateman?

  Let's play, let's play.

• 1:07:38Will Arnett?

  Bye, bye Maggie.

• 1:07:39Sean Hayes?

  Bye, guys.

• 1:07:40Jason Bateman?

  Thanks, Maggie.

• 1:07:41Speaker 04

  Bye.

• 1:07:42Jason Bateman?

  Bye.

• 1:07:45Jason Bateman?

  Oh, that's very exciting.

• 1:07:47Will Arnett?

  It is.

• 1:07:47Sean Hayes?

  Good guys.

• 1:07:48Jason Bateman?

  Great, great guest there, Willie. I'm so excited to see her film, and, and truly, all the rest that she's gonna do. She seems to just really have it.

• 1:07:55Will Arnett?

  I know, I mean, just so good in everything.

• 1:07:57Sean Hayes?

  What a massive acting career.

• 1:07:59Will Arnett?

  I know.

• 1:07:59Sean Hayes?

  You're like, what?

• 1:08:00Jason Bateman?

  Sorry, what'd you say, Sean?

• 1:08:01Sean Hayes?

  Sorry.

• 1:08:02Will Arnett?

  Why, why couldn't you take it, you were the one who was about to say something, and you had the control to wait on taking the bite. You could have not put it in.

• 1:08:12Sean Hayes?

  I know.

• 1:08:12Jason Bateman?

  It must be good. What, what, what is it?

• 1:08:14Sean Hayes?

  It's just an apple, it's just an apple.

• 1:08:15Will Arnett?

  He just discovered fruit. He's just discovered. So I do want to give him.

• 1:08:20Jason Bateman?

  It keeps that darn scurvy away.

• 1:08:22Will Arnett?

  I know. I mean, she's been, she's been in so many good movies as an actor.

• 1:08:28Sean Hayes?

  She's had this huge acting career.

• 1:08:30Will Arnett?

  Yeah.

• 1:08:30Sean Hayes?

  She does this turn, and this movie looks massive.

• 1:08:33Will Arnett?

  She writes The Lost Daughter, nominated for an Academy Award for The Lost Daughter.

• 1:08:36Sean Hayes?

  Yeah, and this movie looks huge.

• 1:08:37Jason Bateman?

  Has worked with all these great directors. Think about all the ones that she's been able to, to learn from, to cherry pick from, too.

• 1:08:42Will Arnett?

  I know.

• 1:08:44Jason Bateman?

  We gotta send her our headshots.

• 1:08:46Will Arnett?

  I know.

• 1:08:47Jason Bateman?

  Yeah.

• 1:08:47Will Arnett?

  I did a scene with her in a movie, in a low budget movie years ago, 20 years ago.

• 1:08:52Jason Bateman?

  And she hasn't called you yet?

• 1:08:53Will Arnett?

  She didn't bring it up, no. I didn't want to bring it up either, we had a scene together.

• 1:08:57Jason Bateman?

  Yeah.

• 1:08:58Will Arnett?

  Uh, she's such a talent. I'm so excited for the bride. And I'm so excited for you guys.

• 1:09:05Jason Bateman?

  Oh, yeah.

• 1:09:06Will Arnett?

  Well, I feel like you guys have a bright future.

• 1:09:08Jason Bateman?

  Thank you. Thank you. Thank you, thanks for having us today.

• 1:09:12Will Arnett?

  It's been so much fun to have some guys, have fans on.

• 1:09:16Jason Bateman?

  If you have any questions you forgot to ask us, you've got our email. Yeah, you can do follow-ups.

• 1:09:22Will Arnett?

  We'll do a follow-up and let you guys have a listen before we put it out.

• 1:09:25Jason Bateman?

  Oh, great, yeah, there's a couple of things I'm a little nervous about that I'd love to get another listen to.

• 1:09:30Will Arnett?

  Sure.

• 1:09:32Jason Bateman?

  So...

• 1:09:33Will Arnett?

  Of course.

• 1:09:34Jason Bateman?

  Yeah, but I appreciate it.

• 1:09:35Will Arnett?

  But you know what, even if you say something right, wrong, I think that people are willing to let bygones be beautiful.

• 1:09:42Jason Bateman?

  Beautiful. Incredible.

• 1:09:44Will Arnett?

  Cue the music, boo. Boo, nuh nuh nuh nuh.

• 1:09:50Speaker 05

  Smartless.

• 1:09:56Speaker 05

  Smartless.

• 1:10:01Will Arnett?

  Smartless is 100% organic and artisanally handcrafted by Michael Grant Terry, Rob Armjarv, and Bennett Barbaco.

• 1:10:14Speaker 05

  Smartless.

• 1:10:18Speaker 06

  We know life is busy. That's why saving money should be effortless. With Atlantic Union Bank's Roundup Savings, every time you use your debit card, your purchase rounds up to the nearest dollar and automatically goes into savings. So whether you're grabbing coffee, filling the tank, or picking up groceries, you're saving without even thinking about it. It's just one of the ways Atlantic Union Bank makes managing your money easy. Learn more at atlanticunionbank.com or stop by a branch today. Atlantic Union Bank, any way you bank.

• 1:10:49Speaker 07

  3 o'clock, kids are home. Your to-do list isn't done. New Kraft Mac and Cheese Power Mac was made for days like this. Kraft Mac and Cheese Power Mac packs the same irresistible creamy, cheesy flavor you love, now with 17 grams of protein and 6 grams of fiber. Fuels you up, keeps you going. Because your day doesn't stop.

• 1:11:11Speaker 07

  Kraft Mac and Cheese Power Mac. Find it at your favorite retailer. The best thing ever keeps getting better.