Chloë Sevigny - 'Monsters: The Lyle and Erik Menendez Story'

33:29And I guess at that stage of your establishing yourself, maybe you don't feel as confident telling somebody to go after yourself. Luckily enough, I was comfortable in myself enough to not let people take advantage of me, but I can see how people did. And people and women obviously were taken advantage of and have been since the beginning of cinema. It's not like it was just a 90s thing. but i feel like now it's much easier or women can stand and there's more women in position of power that are protecting you and you know just you know post me too i think these girls are like you know they can go into like i can even now go to a party and not feel like as you know well plus i'm 50 so well it's not like you not feel like oh my god all these people are pulling the strings and i'm just some cog in the you know what I mean it's like a different yeah well so boys don't cry I think you're saying could have been a turning point because not only did you luckily Sarah passed and then Sarah passed you get the part but also like so it's you and Hilary Swank who something special was really happening there and obviously the response from critics from audiences from the Academy.

34:49We got to remind people, she gets nominated for best actress. You get nominated for best supporting actress. You also, that's for the Oscars, but you'd also been nominated at before that for golden globe and SAG awards. You went on and win the spirit award for that. Like it must've made you feel a little better in your own skin to have people saying, you know, you're, you're not just some kid off of Washington square park. Who's we've thrown into something, but like you belong. Yeah. And I think a lot of people had been discovered and weren't, you know, classically trained, a lot of great actors, but like there was still, I felt like something that I had to prove.

35:26And I mean, I, that experience was incredible. And Peter Sarsgaard and, you know, all the other actors in the movie, um, were so strong and we were, we all were so emotionally invested in the material and, um, as still like the greatest experience of my life as far as like you know an acting experience also you know nobody had like families or loved ones at home that you're like worried about like you can really immerse yourself in something and not have to be concerned with other people's well beings necessarily I think that's maybe why young people also prevail in a way and can can be so great at art when they're pursuing it at that age because you can be as selfish in a way that's not as harmful to others which can give you more kind of wild abandon which obviously serves art more than even like me getting the record I was just happy that the the movie hit like the zeitgeist and I thought it was really an important film and story and people weren't really talking about trans rights so much then and it was like a horrible tragedy And I, you know, I was hoping that would raise awareness, which we still hope and we're still fighting for.

36:40And, you know, insane. However, many years later. Yeah. That, you know. Yeah. Well, so that Oscar ceremony happened in early 2000. You had already shot American Psycho, which you did after having, I believe, passed on Mary Herron's previous movie I shot. Andy Warhol. Well that's because I was obsessed with Valerie Solanas and I was like even though I love Lily Taylor I was just I was like somewhat skeptical of some of the other casting and I think that like Warhol and his scene to me was so precious like it meant so much to me I'll start crying like. You would have been in that if you'd been around right like if you'd been a few years.

37:26I mean maybe like Edie Chow Manhattan and like the Warhol Diaries and just like it was like to me everything that meant anything and so it was too precious for me to even though the movie's a great movie and and the part that she had offered me was a small part it was like some girl on the phone and a couple scenes i could have done it whatever but like i think also it was like i don't know if i want to do that small of a part after having done you know more substantial role and in the ensemble of kids and um so i passed yeah well so i bring up American Psycho just because that's in the can by early 2000 you have the Boys Don't Cry Oscars where just for to save people Wikipedia and yet the Oscar went to Angelina Jolie for a performance that I'm not sure was even a supporting you agree not to be bitter but it was a really tough competition that Tony Collette for Sixth Sense Samantha Morton for Sweet and Lowdown, Catherine Keener for Malkovich, me and Angie.

38:29I mean, that's stiff comp. Yeah. And yeah, her part in Girl Interrupted was definitely not supporting. I think because they campaigned for Winona for best. That's right. Yeah. That happens every year or something like this. Yeah. But I guess the - She deserves it. I mean, what a moment. Her and her brother and all that. You had a brother at the Oscars. Angelina Jolie more than I can't even tell you how much loved that woman. So my brother did come with me and he cried after it was really emotional. That's very sweet. Well, what's interesting, though, is that you didn't really, even though American Psycho came out after Boys Don't Cry, after the Boys Don't Cry Oscars, you did not make another film, I think, for a few years.

39:14And I wonder if you can pinpoint what that was about. were you kind of in a uh with i mean award season even then 26 25 years ago was probably a jarring thing especially for somebody who had been such an indie person up to that point do you remember what if that was part of it i think i did a show i think i did an hbo movie if these walls could talk to maybe in that time frame i don't know if i have an eye it's possible yeah for money because I had taken a loan from William Morris and I owed the money. And the Indies weren't really, yeah, paying the bills necessarily. But then I think, you know, I think I was up for a couple things.

40:01Like there was a couple things that I was attached to that were going to be kind of like the thing one would expect to happen after. I think there was like a Walter Salas thing and somebody else. They were like big things. and they both ended up like falling apart and that was pretty jarring and and and and heartbreaking and then i was offered like some kind of like teen comedy things and then i decided to do like a play in new york and yeah i don't know it's a little fuzzy the timeline but it wasn't like it was like oh I don't want to act anymore. Or I don't you know you wait for what you think is supposed to come your way after an Oscar nomination.

40:46There might have been a little bit of that and I think that there were those two things and they both fell apart and they would have been like big things and more kind of mainstream arty kind of more Oscar caliber kind of things and yeah and sadly one was like maybe even like Agneska Holland. Oh wow. There were some big things and then yeah. Well, so, okay, not, my sense is in the fashion world, there are things that someone hip like yourself would not wear or do because it would be seen as selling out. Yeah. Does that also apply or did it at that time also apply to movies? Only because I have read that you turned down some pretty big paychecks for supporting roles in studio movies that might have included.

41:37You can correct or rebut any of these. Never Been Kissed, 1999. Legally Blonde, 2001. Mona Lisa Smile, 2003. Mr. and Mrs. Smith, 2005. And by the way, I'm not saying. I'm not saying even if that these would have been things, I'm not saying you were wrong if you did turn, but I'm wondering, was there a sense like I have a kind of a brand or even just a self-identity and I don't do this kind of a part or this kind of a film or whatever? Would that have been a consideration? Yes, very much so. Yes. I was very into keeping it real and indie. And I think that I really like, you know, shot myself in the foot.

42:21But at least for sure, like there was an opportunity in Never Been Kissed and Legally Blonde and these smaller parts. And back then there was this whole ratio of like how much money your movies make and then you get parts and, you know, and, you know, so on and so forth. And so I think if I had done those movies, I would have then been getting more opportunities after that some other actresses got that I didn't. But what can you do? It's all worked out. Yeah, and I also didn't come to Hollywood because my father had passed. I wanted to stay in New York to be close to my mother. And then post 9-11, there was no industry in New York anymore.

43:01Everybody was out here. So there was also that time period where I was missing because we weren't sending in tapes and stuff. It was, you know, you were just not, people weren't seeing you. Well, so American Psycho did come out in 2000. And then you had, I think, a 2003 or at least the movies, three movies come out in 2003 that, you know, this could have been a New York article, just the variety and the kind of provocativeness. Is that a word of each of these? Yeah. So let me mention if I can, I'm going to throw out each one. And if you have a thought or two to share about as you look back all these years later.

43:43To begin with, one of the residents, Liz, of a small Depression-era American town in Lars Montrer's Dogville. I think the thing there, just if people need a reminder or they don't know, there were literally no sets. It was all chalked, I think, on the floor. It was a high concept. Yeah, and I actually, I remember loving it and thinking it was great and what a cast. But what are your thoughts on that one when you look back? Well, Lars was my favorite filmmaker at the time, so I was like, I couldn't even believe that I was getting the opportunity to work with him and Anthony Dodd Mantle, who had shot Breaking the Waves, which was my favorite movie of that era.

44:20And I mean, Nicole Kidman and all these legends. Bacall. Bacall, Ben Gazzara, Udo Kier, Stellan Skarsgård, like all these people that I just was, you know, utterly in awe of. so I was yeah I was thrilled to be there I just yeah I mean I couldn't get enough of it and he was really I mean you know he was playful in a way that might be questionable but I liked that in a way like I was kind of also twisted maybe was that allowed to can I say that I don't know you know I could see that That's why some actresses had a hard time with him. And if I wasn't who I was, I think there was some behavior that might have been hard for me.

45:10But I kind of encouraged it because I'm also kind of a sicko. All right. Well, that's doggo. Let's go. Also that year, number two of three, Shattered Glass. This is, I think, Billy Ray's directorial debut. I certainly had been writing other things. But also you're playing one of the kind of a composite of a number of female journalists at the New Republic who worked alongside. Yeah. I mean, this movie should be seen now. Yeah. Yeah. And in fact, it was just shown at the Carlo Vivari International Film Festival because Peter was being honored. But it's it's terrific. And but you're kind of I think he had said he'd been looking for an actress, quote, who could convey the idea that her character was the smartest person in the room without having to say anything.

45:56working alongside this. I think Rosario was in that movie too. Who was? Rosario, maybe. Oh, that sounds right. Somebody's in it then, yeah. But yeah, anything on that one? I think I just thought the script was really smart and I hadn't read something like that before. And I think I just wanted to work. I was like, okay, if I'm not going to be a star, if I'm not going to get the opportunity to be like a movie star, which I'm not sure I ever really wanted to be. I was like, I'm just going to be a working actress, which is what I originally intended to be before the Boys Don't Cry kind of hoopla happened.

46:33So I was like, I just want to be like a character actress. I want to be a working actress. And this seems like a good opportunity to just do good work. Yeah. And a good movie. Number three of three, Daisy, a woman who gets involved with a biker on his way back to LA from a meetup in New Hampshire in Vincent Gallo's The Brown Bunny, which from the first time it screened at Cannes was a very controversial movie. I don't know how many of the people who actually opined about it ever saw it, but I'm sure you have feelings about that one. Yeah, I'm sure it took like 20 years off of my life. I'm still struggling with it to this day, and I'll ever live it down.

47:15But we had had a relationship. like we were friends for like 15 years before I think I knew him before I even made kids and he I think he had actually even given me some like acting advice before I started kids and um because I was really nervous about you know and I knew that he had done acting and we were friends and I thought you know I think I had actually even like helped him a little bit Buffalo 66 but I didn't end up making the movie for some reason and I just I don't know I believed in him as an artists and I also was like if Hollywood's not going to embrace me then I'm just gonna do something as subversive as possible maybe and just like be as punk as possible and unfortunately it came in something that's very taboo and still very taboo you know I've been in one of my favorite podcasts being a podcast is you must remember this and listening to the last two seasons prior to the old man um on sex in the 80s and 90s was so moving and like what a roller coaster to hear all these actresses stories and and and what it meant in the movies and and there was still a bit of that then you know um but yeah it's it's i mean i have to stand by it as something i did now I don't want to say I deny doing it or not deny, but, you know, regret.

48:40But it has been a hard thing to live with. I think part of it, though, is that you I think you've stated like it was in some ways misrep. Like it would have been a provocative movie no matter what. But then people reported things that I think you've said are not accurate. Like your representation dropped you. Yeah. That is not correct, right? No, it's not correct. Yeah. Yeah. I think I switched from like, John, I was a John Sloss, not John Sloss. I had like two different agents at Lori Morris at the time. And I think like somehow I switched agents at that time or I can't even remember how that rumor came up.

49:20But no, I was not fired by my agency. And stuff. I mean, and even though, as you've said, like there may be things about it that you that are not fun. It's not like, damn it, do you think it hurt your career? I don't know. I don't know. I mean, I don't know. Did not doing Legally Bond also hurt my career? Depends what you're trying to accomplish, I guess. Yeah, I mean, I don't know. I mean, I afterwards got some good work. Yeah. I'm sure you're going to recount for us all. Yes. Um, but I think that people that were making the kind of movies that I wanted to make would not have had, you know, an unfair judgment on it or, you know, a negative judgment.

50:11So I think that was kind of my way of really carving out like, oh, this is kind of, you know, who I am. Well, the, the, it might, what it might have done. And I wonder, maybe this is not correct, but like maybe it made you more open to considering TV opportunities at a time when we forget. It's not that long ago, but like if you were a person who had established yourself in film and were going to do TV, the assumption was your career is not going in a good direction. And yet, at almost the same time as The Wire, Sopranos, you know, a bunch of these shows, The Mad Men, right? Like, you end up doing Big Love for HBO in this kind of, like, the new golden age of TV.

51:01I think everybody else involved with that show went through a pretty crazy audition process, but these guys say they had seen you and loved you in Boys Don't Cry and somehow associated that with Nikki, this daughter of a Mormon, or inspired them to write Nikki, daughter of a Mormon prophet, played by Harry Dean Stanton, one of three sister wives, Gene Triplehorn and Jennifer Goodwin are the other two married to the same middle class man, Bill Paxton, right? Why, when other people, before other people were open to treating TV as a serious art form, were you willing to do that? Well, first of all, I think it was HBO and the caliber of work that they were putting out, like Sopranos, like you said, Six Feet Under.

51:49I think the cast that they were getting together for big love, like Harry Dean, you said Bruce Dern, Grace Sabrinsky, like all these incredible actors, Bill, and most importantly, the subject matter, I just found fascinating. also the financial because I had been living check to check I had never done a studio picture and I'd never wanted to up until that point I'd made some little paychecks like doing fashion stuff but I wanted to have some security I wanted to buy an apartment I was like you know um nearing 30 and I was still supporting my mother still am have been since my father passed and, you know, from her car to her phone to her house, you know, and myself.

52:37And so I thought that, and my agents convinced me at the time that it would only be a certain amount of time and then your downtime, you can make movies. Was that, it was too all-consuming to really do that? I mean, you can, but then they're like, everybody assumes that you're not available or that you only have the small window. And I would get some, I would squeeze some in there. But I mean, what a fulfilling, you know, project and character. I mean, I love that character so much. I love that show and the acting I got to do on the show. And like, I really feel like I came into my own playing Nikki and how they would write for me.

53:15And, you know, and the emotional roller coaster that she goes on and the different colors I got to play. And like, it was just like an exercise in acting. We were shooting on film every day, hundreds of takes, and, like, because the coverage was insane because the cast was so big, and it was just, like, we would go in, and we have, like, these blocking rehearsals that would be, like, two hours long. It was, like, nobody does that now. It was insane, the process back then. It was, like, I can't even believe, like, how involved we were in the acting of TV. Like, now it's, like, TV acting is, there's no time.

53:49It's, like, you're just, like, you're going in. like it was really it was really like a process and people respected the process and Tom Hanks and Gary Getzman were producers and they were around a lot and you know I just thought this like and around the time the book came out what is the Under the Banner of Heaven oh yeah and then Warren Jeffs was caught and like there was just all this stuff happening around I was like how are there these communities in America and like nobody's talking about it and these girls are like what is going on like it was like I was flabbergasted and so intrigued I read like every book I could find on polygamy and did like so much research and just like delved so deep into the world and got so emotionally invested in the character I remember like one season when everybody's mad at Nikki and like she's they think she's having an affair and everything just like it was so painful I was like processing it in such a way that like I didn't I hadn't learned yet to not or I didn't like it was a very draining year um doing the show um and the whole thing was five seasons for you I think it was five seasons and you were able to do and or chose to do a number of things during the off seasons including maybe most notably the largest scale thing you'd ever been a part of as far as a film right was zodiac yes my first studio picture first studio picture comes out in 2007 this is david fincher directing you're playing the wife of robert braismith melanie this is he's the journalist played by jake gillenall who's upset becomes obsessed and to the point of screwing up his life with solving the case of the zodiac killer.

55:41I always have to ask whenever Fincher comes up, I mean, I don't know exactly what the count would have been on Zodiac, but you hear about these like dozens upon dozens of takes and not ever, some people love it. Some people say they want to blow their brains out. How did you, had you ever had anything like that where somebody is asking you to do that like dozens of takes? I don't know if he did that so much before. I think this was kind of around when he started doing it i think it was the first film that he shot on digital okay we shot on the red harris avidas was the dp and um yeah i mean i was wrecked the first day i went home crying i'm gonna get fired and he called me and told me that was his process and it was strenuous it was hard and jake was hard and it was a hard shoot and i think he had been on like three movies back to back and And I think there was like tension between that.

56:37It was just like, it was a hard shoot. And I remember Mark Ruffalo just being like the nicest, warmest, most loveliest creature one could ever, you know, and, but yeah, I wasn't on at that. I mean, it was a long shoot and my, my days were pretty condensed. So yeah, I didn't have to, you know, bear the real brunt of it, but I just loved watching Fincher. I like fell in love with him and he looks like a forties boxer. so you cannot. And yeah, I'm a huge fan of his movies. And I love how inventive he is. I mean, from his music videos on, you know, I just think he's a great storyteller and a master of his craft.

57:15And I think very early in my career, I was like, I would just want to work with like, you know, auteurs or people that are pushing the form, you know, and, you know, want to tell original stories and hence me being afraid of falling into the studio system even though now I recognize that some of those you know things were actually also kind of fresh and fun and new in a way and you know so yeah well and and you screwed the pooch on that one no no no no I mean it's but it has been interesting that over the years since then let's say you've done all kinds of different film things I'm going to mention just a couple of random but like back with Whit Stillman and Kate Beckinsale with Love and Friendship 2018 the same year that I think you produced for the first time to have a you've said like you know maybe others were not giving you this sizable opportunity to show that you could carry a film or whatever with with in this case playing Lizzie Borden and Lizzie that same year but what's been really interesting to me is just and this kind of picks up almost right after Big Love ends in 2011 is a lot of different, you know, key things of varying sizes of this like TV new golden age that we started to talk about where just to mention really quickly a bunch, American Horror Story Asylum 2012, which I guess would have been your first interaction with Ryan Murphy.

58:45Then guest bits in Portlandia as the roommate who Fred and Carrie are both dating in 2013. Also in 2013, the Mindy Project, the ex-wife of Mindy's love interest played by Chris Messina. Then you have Bloodline, several seasons, which I thought was really an underappreciated great show on Netflix, 2015 to 2017, Bloodline. We've got another American Horror Story Hotel, the one with Lady Gaga as well in 2015, 2016, back with Ryan Murphy. I know you're friends with another past podcast guest, Natasha Lyonne. You guys did, or you were her character's mom on Russian Doll. Then back with Ryan Murphy again with Feud, Capote versus the Swans.

59:35And that leads us up to Monsters, the Lyle and Eric Menendez story, which is Ryan Murphy and Ian Brennan. I guess before we go any further, like what is it about him that, how did you guys first connect? And it would seem like have some kind of a bond. Yeah, I got an offer for, I think I got an offer for Asylum for that part, which I read as being very small. and we talked and he convinced me to be pivotal and he was very charismatic and they sent me the first season which i hadn't watched when it was on i was like that was really terrifying and really good and i was like maybe i should do this because i felt like there's like a big audience of young people who maybe haven't been exposed to me or know who i am and i mean still to this day people only know me from American Horror Story.

1:00:29Really? Some people, not all people. And I, yeah, and then I just kind of watched as his shows just kind of kept hitting. And I was like, wow, who is this guy? He's making these movies, making these shows. And he's, you know, outspoken and writing all these incredible parts for women. You know, I think really what hit me hardest was the OJ American Crime. American Crime. I know, it's hard to keep track of. American Crime, sorry. Which was also produced by Brad Simpson, who had produced Boys Don't Cry. Oh, right, right, right. And, because he had worked at Killer. And that's when it really shifted for me that, well, this guy's having some interesting conversations, or he's trying to start interesting conversations and expose aspects of society or, you know, that maybe people are afraid of delving into.

1:01:26And I think like Versace and Dahmer were really important pieces of work. So Feud held its own allure for many different reasons. But, you know, when he came to me with Monsters, the Menendez story, I was like, well, the vein of the social commentary kind of stuff is very important. And I think you're really, you know, starting these really challenging conversations and, you know, approaching very taboo subjects in a really smart way that's digestible, but disturbing at the right level. I don't want to minimize them in any way. So, yeah, I'm trying to. But so he called me. I was on the set of my friend's movie, Atropia, doing a day.

1:02:11And he pitched me the part. And I was like, of course, you know. And this, just for anyone who hasn't yet checked it out and is going to listen to this, Katie Menendez was the wife of Jose, who was played in this by Javier Bardem, the mother of Lyle and Eric. And as I think you'd have to be living under a rock not to know, was then back in, is it 89 or 91? Somewhere around then was murdered by her children. I wonder first of all you've I think you said it was a pretty grueling shoot like six months so that's maybe that's just the nature of a limited series but um maybe a little shorter because of writer's strike I mean we had to cut an episode yeah and you're coming in from New York where you live to do this in LA back and forth um but also I just wonder you know yeah like on And it's got to be, I could see this being a particularly tough character to figure out because on one level, you know, you have to figure, I'm sure for yourself, like, how much did she know about the alleged abuse that her husband was inflicting on her children?

1:03:26How much was she abusing herself? Right. Yeah. What, was she being subjected? Yeah. Like, so I guess what was your. I think it goes back to something even prior to that, starting with like, even Boys Don't Cry, when you are telling a true story, just how tricky that is and how, especially crime, how many people have opinions and how many people are opinionated about one profiting off of those crimes and how sensitive it is and emotionally draining it is. and how much responsibility you feel to like, is it right? Are you telling the story right? I mean, there's just so many things that come into play that make it a very heavy experience.

1:04:15And how did you, in your own mind, in order to play somebody like Kitty, do you have to kind of feel that she did, like in your view, did the right thing or whatever? No. She didn't do the right thing. I mean, I don't think. But also what was more challenging about the way they told this story was through different people's, you know, perspective. So I kind of had to shift who she was per episode or every two episodes. And I'd never had to be tasked with kind of that sort of performance. And that was confusing. And then having to play, you know, the truth of her son's interpretation, which may have been more exaggerated than I would have played it if I was playing her truth.

1:05:09And so having to try to have that be rooted and have dignity in it was really hard. Yeah, I bet. And luckily the writing was really good and the director's really good. I love Max Winkler. He's like one of my favorite people in the world and he's a great director and he directed some of my favorite episodes of Feud too and Gus Van Sant obviously directed all the rest and he was incredible. But my big episode of Feud was Max, I mean of Monsters was Max and he was really a great like hand holder. But yeah, Javier and I talked about like just the subject and how it's not really, you know, people, even though people have told this story before many a times still this kind of abuse isn't really that often kind of dissected in a way on such a big platform as what Ryan was giving it and we thought that maybe that was important but But yeah, I also thought like other aspects of playing like her, I guess in her episode where she's like, I hate my children.

1:06:21Like how often do you see women mothers being able to say that and how many women can identify with that? And like, I can't tell you how many women I know that have said my body was ravaged by my child. I can never have my figure back. And like people don't really say that out loud a lot. But like to be able to say that as a character on TV, I thought was, you know, kind of a great opportunity, you know, for women to tune and be like, I feel the same way.

1:06:52I don't know. Was there, as you think back on it, was there a, because it is almost like however many different performances you had. It's not one performance because of all these different perspectives that you're talking about. Was there one of those perspectives or even a scene within one of the perspectives that you felt was the most complicated for you as an actress? I mean, there was like the one where there's the flashback to when they're little and she's walking. It's a very simple scene. She's walking down the hallway with the laundry and she knows something's going on and she just keeps walking.

1:07:29Like, how can, you know, I have a five-year-old. I can't. yeah yeah like how can a mother and it's you know ever present and these women just don't know what to do or have anywhere to turn to or like you know anyone to tread and like they just stay in it like the cycle of abuse is so intense and she had come from you know an abusive family and like just that simple scene i'm just like can you ever you're like so that was one of the more disturbing days well so the show i don't even say anything no no it's that's that's doesn't mean it's any easier yeah the show when it came out was number one most popular thing on all of netflix which is a pretty big deal and it definitely revived the conversation about you know should these guys be or not be incarcerated still um some of your collaborators on this have uh argued that they should be out that's apparently being looked at to some degree do you have any thoughts on that right but then didn't the attorney i think it's been there's been uh a change in the attorney general yes that's what i meant yeah so something but i don't know where it stands right now but do you have any feelings you know what i'm really conflicted i like i don't want to sound trite at all but like did they have to kill the mom you know what i mean like she was complicit but like they still murdered these two people you know i just i know there's remorse i know they've been incarcerated for a really long time And the behavior post was just so wrong.

1:09:32Yeah, I'm really, like, also, like, just because they're the white privilege boys that did this, they're getting focus on it. I mean, I'm sure there's been cases of this, you know, hundreds of thousands of them that don't get this kind of attention. But yeah, I don't. I'm kind of with you. I don't get it. I mean, like, I mean, if they were abused, which is not that's disputed. Right. Yeah. Like, unfortunately and inexcusably, like a lot of people have been abused that don't then go and kill their families. families no so i don't know i i but anyway that's on a happier note uh for for big love you won a golden globe back in 2010 but you did not ever for any of these five seasons receive an emmy nomination in fact i think that i think that the subject was just a little trickier skirting on too progressive for them well i think that was kind of the overall arching thing of big love was like kind of like how liberal are you liberals right it's true well meanwhile last month that that was corrected in that you joined a lot of your co-stars in receiving one and i just wonder you know i clearly that's not why you do this stuff but that's got to feel kind of nice feels really nice i mean it's you know my fellow actors voting which feels the most nice of all i mean i think the second stage is maybe a little different with the members but like the original voting is a wider breadth and um um i get to vote uh so that to be singled out i think in a very competitive field because television is so incredible right now and streaming and there's so many different shows across so many platforms that are, you know, even, you know, even in the limited category, um, to be singled out felt incredible.

1:11:41And, you know, I, I take my craft very seriously. I think, I don't know. I mean, I hope people see me as that. I'm a very serious actress. I'm very serious about my work. I have been working steadily since, except for those two years I dropped off, which I didn't even think about. Thanks for reminding me. you're allowed you're allowed there's a lot of other tv things and movies which you didn't mention i know like hit miss and england and louis and so many other shows and things but um i rush a doll i just i just love working and i love i love creating and i love i'm very attracted to people like you know like fred and carrie like you know you know different you know will mark different people that have like you know real stories to tell and um i'm very committed to my performances and so to have someone recognize it felt really like meaningful for me um because i think sometimes it gets clouded because people think oh she's so fashionable or she's so much of a personality as i put you've said the the it girl thing which is used in the majority of articles that have ever been written about that's actually not a not a great thing in your view to have i mean i don't know i mean i love claire bow she was originally a girl it's one of the best books actress bios ever written um but um i think i think in the early days maybe a clouded stuff but yeah i just want to be taken you know taken seriously as you know i did you know we are who we are with luca guadagnino and then he's cast me in two of his movies you know post that so um i think the return business is really good jim jarmusch yeah i've done a bunch of movies with jim um yeah i mean the two with wet stillman multiple with laurs von treyer on and on no it's pretty i don't know how many people can match these uh match david fincher would call again yeah that's true i mean he's shooting in town right now let's get him up get him going but uh no but all right so when we're here we are talking though uh as we said 30 years into a career at the moment you came and i'm sure you're very tired so thank you for still doing this but from an early call for a project called the five star weekend you have coming up at these fall fests after the hunt the most recent with Luca Guarnino, which is also with Julie Roberts and Ayo Edebrey.

1:14:18I don't know if I'm saying correct. I certainly know. Andrew Garfield. And Andrew Garfield, right. You have directed three or four shorts. And I think you've said you want to do a feature. A feature if people stop asking me to act for a minute. And also, I don't know, maybe the It Girl thing kind of, there's a full circle where it actually becomes a cool thing because within the last year, I believe, You were part of the Hall of Fame ensemble of it girls in Charlie XCX's 360 music video. So anyway, bottom line, here we are that far into a career with this much of a body of work to look back on.

1:14:55Just any final thoughts? Final thoughts? I don't know. I mean, yeah, just it feels nice this year, like 50. I'm doing a lighthearted comedy called The Five Star Hotel with Jennifer Garner and Regina Hall, Gemma Chan and Darcy Carden. And like, I was like, oh, this is why people do this. And it's also challenging and like to be present in those kinds of moments, but enjoy yourself. I was like, this is the first time that I've done a project where I've been able to kind of just like enjoy it and not have to take it home and be like absorbing it in a way. Like feeling like there's such a, I really have to bring the, you know what I mean?

1:15:45The stakes are really high today. And like, even though there's stakes in the show, it's more like fun. Yeah. I was like, this is really nice. We got to get you on a white Lotus or something. That would be great. I may God willing, yes. No, but it's really a pretty unique, cool trajectory, and I really appreciate you doing this. Thank you. Thank you. Thank you for taking the time to come and talk to me.

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