Parker Posey - 'The White Lotus'

26:40I miss that chemistry between men and women on camera. I went to Tom Cruise out of the Jimmy Fallon show. And he was so nice. He waited backstage, too, because he had a full-on dressing room. And people were in there before I went on, and then I didn't catch him again. But he waited, and he was doing Mission Impossible. He's so nice, you know? And I'm like, when are women going to be in those movies that are just like the two of them, like romance in the stone?

27:12Parker Posey:Right, right, right. You know, like. Well, it's interesting you bring this up because I don't know if everybody realizes this. But because I think there's some people whose perception or they think that you only sought out these kind of challenging, low budget indie movies at the outset. But in fact, I don't think that's the case, right? A person who made the kind of movies that you're, I think, talking about was Nora Ephron, who took an interest in you pretty early on, right? Yeah. Even though it kind of, I guess you were originally going to be in Sleepless in Seattle, and that didn't end up happening, or it didn't make the cut.

27:50Yeah, it was one scene.

27:52Parker Posey:Yeah. And it ended up at the cutting room floor. And she sent me the sweetest note, handwritten on a card, just telling me how sorry she was. And it had nothing to do with my performance. I was a gifted comedian. And, yeah, that's kind of support, you know. And then I did. Mixed nuts. And then I did mixed nuts. And I took out money from Shutters on the Beach to check into the hotel. It's probably like$500 or$800, whatever it is, just to check in. You have to have that amount of money in your account. Well, that's about how much money I had in my account. So I was at Johnny Rockets getting a burger with Jon Stewart.

28:35And I was like, let me just go to the ATM machine. And I went to the ATM. And the receipt came out. It said$1.75. And Nora was like right there. I was like, look at this, Nora. she's like oh parker you need some money let me give you a hundred dollars i was like thank you so i could live that way you know what i mean i just um i was i was living in a way that you could you know the rent was cheap and you could i wasn't thinking about money or saving or any of that yeah

29:10Parker Posey:yeah well and it seems like is it a coincidence that you worked so often with first-time directors i just want to mention a few like because this it often worked out really well but like you not everyone has that good an eye for for filmmaking talent or the film or attracts talented filmmakers i mean you were in no bomb box first feature kicking and screaming you were in uh daisy yvonne scherler meyer's first feature which we've talked about party girl and we'll talk more about you were in greg matola's first feature and it just goes on and on with the examples of this but i just wonder is that rocky so many generation yeah um the jill and karen sprecker julian schnabel like um is that just a coincidence that you would that you were did you sort of think like I like is no the the answer is yes it was a coincidence yeah yeah yeah well okay so let's can we talk about party girl specifically for a minute because I just a few weeks ago went and re-watched it ahead of knowing we were gonna be doing this and it's it's still such a fun charming movie and clearly you'd have to be blind to not realize how special you were after watching that movie.

30:31Parker Posey:Can you just, do you remember, first of all, I think it's your first leading role in a film, right? You and Daisy were both in your 20s at that time. How did you find out about each other and would you have guessed that this would be a movie that people would be asking you about 30 years later? I have this script came to me. I loved it. I said, I have to, you know, I have to do this the part is mine I read with Daisy and then we got Liev to come in and he came in on his motorcycle like fresh out of Yale School of Drama and he kind of had an attitude Daisy of course Daisy knew him somehow and and then we got along you know we were we were we were great friends and we had a great time acting together and then Greg Mottola I don't know how I met Greg Mottola, Kahani Korn was a documentarian on Days Confused.

31:30She went to school with, at Columbia Film School with Greg Mottola. He made a short film that Steven Soderbergh saw and wanted to invest in a film that he did. So we did a reading of a movie that never got made. And he was told to write a script that you can shoot in a car with, you know, at your parents' house and just make it on the right budget so I had brought in Liev and Campbell Scott invested a little bit so these things just came about so naturally yeah you know and you were producing even if you weren't getting the credit that's right and um it's like these things like really just come about so naturally.

32:15And yeah, I don't, I just, I remember coming out to Hollywood and I had this meeting with, you know, I would meet these executives and these producers. And, you know, they knew they couldn't give me a part. But I would still go out here thinking that, you know. But they wanted to meet me. They wanted to know, like, how how do you do it you know like we're coming up against you don't know what's going to happen to this town we're coming up against dvds sold at the walmarts all everywhere that what dvds have done to the movie industry we're just like it's all going to change now that was 20 years ago i was listening to some norah afron interviews on youtube about what she was talking about about the movie business.

33:09So like we knew a long, long time ago that it was going to change. So there was just that kind of trust in my own volition and point of view of going like, you know what, that movie doesn't feel right for me. I'm going to pass.

33:27Parker Posey:Well, can we talk about an example of that where, you know, they talk about the Oscars of independent film are the Spirit Awards, right? And they film independent Spirit awards. And this idea of a independent spirit, I mean, my understanding is after Party Girl comes out and you are everyone's, you know, it girl of the moment or whatever, of course, representatives and whatever are trying to, they want to point you into a certain, I guess, more kind of conventional path of what you do when you have that kind of attention. And there's a story that I've heard about don't take supporting, don't take a supporting part or whatever, but then you get the offer to do Basquiat.

34:10Parker Posey:And you've said, like, fuck that. I'm not doing something with David Bowie and Julian Schnabel and all that, right? Like that you, so to some extent it seems like, and similarly, you know, there's these stories which you can certainly tell me if any of them are inaccurate, but that. I think I can answer you and tell you something really that will make sense. I am an artist, which I think means the experience of my life has meaning other than just the movies. Right. So where my energy is going and what world I want to be in has to make sense in a way that is has like that means something to me and that I feel like I need to work out.

34:53I don't think people really understand the artist in the form of a woman and especially in the young actress that I was.

35:04Parker Posey:Yeah. Well, the idea of a like filmmaking family or something, I know you've talked about, others talk about that. It's sort of like summer camp every time you do a project. Yeah. Right. You go off, you make a lot of friends and you don't see them again, maybe. But the one exception to that in your career, and I think it's correct to say, would be the Christopher Guest movies, which started shortly after the After Party Girl because Waiting for Guffman is 96. And just for our listeners, I'm going to quickly mention a few, set up a few of these things. So Waiting for Guffman, you're a Dairy Queen worker by day, community theater performer by night, working on a musical review to commemorate the sesquicentennial of Blaine, Missouri.

35:48Parker Posey:That's the first one in 96. The next one, 2000, a high-strung dog owner who flips out when her dog's chew toy goes missing. In 2003, we've got A Mighty Wind. You're the daughter of one of the original Main Street singers who's now part of a second-generation incarnation of the group that's asked to perform at a tribute concert. 2006, we've got For Your Consideration. You're one of the stars of the Oscar-buzz indie drama Home for Purim. And then 10 years later, the fifth, I believe, fifth and most recent of these Christopher Guest, he doesn't like the word mockumentary, but mockumentaries of this one's mascots.

36:25Parker Posey:You are a dance artist inside an armadillo costume who's one of several mascots preparing for the annual World Mascot Association Championships. You know why he doesn't like that is because I'll tell you, like people don't kind of know what that, he calls them, they're unscripted movies. Okay. Okay. So there's a concept and a little paragraph that's given, like Meg and Hamilton Swan are going to a therapist. They're upset that their dog, Beatrice, caught them having sex and she may not be able to compete in the Westminster Dog Show. And they're lawyers who met at Starbucks. And so you sit down, you're in front of the camera, you bring the scene to life with the other actor right then and there.

37:12and it takes like you know maybe 45 minutes to do a whole scene but then the prep beforehand is a lot of like gleaning a lot of like thinking about these characters thinking about the culture like originally best in show was called dog land because everyone seemed to be having dogs instead of kids right instead of babies right and that was so true it's so observant it's so smart so So, yeah, I met Chris. And after I had, I convinced Lauren Michaels that Connie Conehead needed friends in the Coneheads. Because I knew that I wouldn't get Connie Conehead. I just knew it. I said, does she have any friends in the...

38:00And I got scale plus 15%. First film role. That was my first scale plus 15 % role. and you know Chris Farley was there and David Spade and and it was just so fun and um and I guess a year later I don't know how much longer um Karen Murphy the producer of um Chris's movies called Lauren Michaels and said do you have do you know anyone who could play 18 and improvise and um uh Karen uh yeah Lauren suggested me that's for Chris Chris's movies and for that movie and that was wild because it was just it was just I was like me and Reese Witherspoon and you think like how yeah he showed me a documentary about opera performers and it was just one of those meetings, I just felt so comfortable with him.

39:00And then it was like family, you know.

39:02Parker Posey:And did you, how quickly did you kind of acclimate to the way that, the way that he works where, I don't know how much improv you'd been able to do before that. I also know you've talked about that it can be heartbreaking when you do a 45 minute scene, right. To then see a few, you know, 30 seconds of it in the final cut. But did you, were you, were you kind of right at home in his company of you know there was like it to to tell you a little bit about acting school and like Sanford Meisner does this this game called the repetitious repetition game and you know I had an actor studio teacher named Eulalie Noble and um I had a um I did not like to rehearse and people were like I don't I didn't like rehearsal and it was I really didn't like it really it embarrassed me so I was so undisciplined in this kind of way and I was almost cut from the program and then they saw me on stage and they're like oh well we can't we can't cut her from the program so it was kind of like wanting to kind of save something for the moment where it's important yeah and but also it's kind of like surfing in a way or you know parasailing where you jump off a cliff and you want to rely on the wind to take you in a certain direction and also the guide who's there with you you want to rely on him and just be in like a certain kind of space so you really trust the work that then the prep that you've done and um and then you just you just know that that's going to come out without thinking about it.

40:46Interesting. Yeah. And then you, it's more focused about on the other person. Right. You know, so that is like a really special group of people because it's not everyone can do it. You know, it's like a thing, like not everyone can be a stand-up comedian and go out there alone. Yeah, it's just a different thing. So Chris, being able to do that and direct that way was, it's just so much fun, you know.

41:17Parker Posey:I hope it's been nine years since the last one. I hope we get another song. Well, there is one coming out. Spinal Tap. Spinal Tap is back together now. Right, right. Sundance, going back to Party Girl, I think, has been a big part of your life and career. Never more so than in 1997 when you had Clock Watchers, Suburbia, and the House of Yes there. And it's a good excuse for me to bring up The House of Yes, which is another one that I just went and rewatched. And it's so off the wall and eccentric. And you're particularly great. I know they honored you at that Sundance with a special award for that.

41:57Parker Posey:Again, just for anyone listening who hasn't seen it or needs a reminder, you're playing a young woman in the early 80s who goes by Jackie O. and has some, I guess, not spelled out what it is mental illness, but part of her issue is she's attracted to her brother. And part of her issue is that, and it's sort of related, is that she is always dressing up as Jackie Kennedy or often dressing up as her as she looked on the day of the assassination. Like, there's some eccentric sort of twisted things going on here. Well, yeah, it's written by, you know, this was her Yale thesis. And this is a playwright.

42:37This is back to what I'm saying. Like, you know, it's meant to, I know it's weird and eccentric, but it's meant for a certain conversation. No one's saying, like, this has happened. No, no. You know what I mean? It's so different now. The way, you know, stories now have a certain kind of propaganda and a certain kind of way to entertain. And back then it was more focused on, I think, more of a relationship to theater and structure. That was back to what you were saying about we don't have that space anymore. It's like, you know, long form. But like back then, this is someone who is like a true blue playwright.

43:17Parker Posey:Yeah. Yeah. I haven't seen, you know, I haven't seen that in a long time. I haven't seen it. When when you at one point you said, quote, it wasn't until the House of Yes that I realized what a head trip acting is. And that was after like 18 films. Close quote. Why? What was it about that one that kind of opened your or that was so different for you? I wasn't. But it was like 18 films. It wasn't 18 films. I mean, I did work and, you know, I'm a working actor doing little parts. But that was maybe like I did like Party Girl, Clock Watchers, House of Yes. It was like my fourth or fifth film. Substantial.

43:59And it's such good writing that I don't really think about when I read something that's really good. I don't really judge it or think like, oh, that's going to look like this. I'm just like, I'm so excited to play this part of this person who is this character. Right. since it was so much like a play the character acting part of me was just a lot stronger you know because that's what the writing demanded a certain way of being in order to deliver the pace of the piece right so much fun I mean a lot of actors love that because it's just so the writing is so great

44:41Parker Posey:it was really fun So you did 30 films, as you say, varying sizes of parts, whatever, but 30 films between 1993 and 1998. 1997 was the year that that Time Magazine article. That just doesn't sound right. But anyway, it doesn't matter. OK. Well, 1997 was the year that Time Magazine ran that article that you referred to by Richard Corliss that was titled Queen of the Indies and referred to you as that. Indie Queen. Yeah. Indie Queen. Yeah. Yeah. Some people might assume that that was like a great, cool thing in your career. You seem to have expressed that it wasn't. Why not? Yeah, it was like I was telling you earlier.

45:23And the producer, I wish I could remember his name. And I don't think he's alive anymore because he used to work with Ben Stiller. And he was talking to me about Frank Zappa. And he said, you know, our system, capitalism can't contain, like, when there's an art movement, it is going to be co-opted by, you know, by the system. And that's exactly what happened. So it wasn't like, I mean, I didn't make any of this happen, but it came very clear that these independent voices and these, you know, writers and directors, these auteurs like they've been having in Europe all these years, are viable for movies and movie making.

46:12and then we have the mystique of the producer coming. We have all these bankers. We have all this power coming. It's like, we're going to make money. And so you make the biggest money by the biggest star who has the highest salary. And I just didn't have a high salary, so I was just peanuts.

46:34Parker Posey:But you feel that by having a place with the stature of Time magazine, refer to you in that way, that it made people see you in a bit of a box? Is that what it was for you personally? I understand that the indie movement was having issues. I just think I wasn't viable in the studio system because my rate wasn't, I didn't make it, my quote was low for making nothing on an independent film. So if you go to a financer, you go, hey, we're going to get this star, and this is what she made on her blockbuster. So you give my star that, and then we're going to raise the money because their last movie made this amount of money.

47:23So now she's in the next independent film that's going to guarantee. So it really wasn't about anyone putting me in a box. I think, you know, the agents and the managers that I've had that, you know, like me and, you know, but there just wasn't like I could only fit into, you know, supporting, you know, Kitty Kowalski and Superman Returns or Danica Talos and Blade 3. So there was and these were things that I mean, it wasn't really occurring to me at the time. I was just kind of miffed, you know.

47:56Parker Posey:Right. And people, I guess, like you have, it's not like you never prior to, you know, the ones that you mentioned, Scream 3 or Blade Trinity. Scream 3. Or Josie and the Pussycats and Superman Returns. So that's when you were starting to do some studio movies. But prior to that. I was in You've Got Mail. Yeah, you've got mail. But you also, I mean, I think you've talked about you would occasionally go out for some of these bigger, like a Speed or a Jerry Maguire, right? Or I think you said Girl Interrupted or whatever. And maybe this was just the, I think sometimes though, the example I saw. I passed on Girl Interrupted.

48:38You passed, right.

48:39Parker Posey:So. Yeah, this was like, I don't, I mean, what are you asking? Well, I guess it's not that you had zero interest in doing a studio movie. That's right. No, not at all. Yeah. Not at all. I had so many ideas. Yeah, yeah. I told Howard Rosenman. I think that's his name. I was like, Howard, let's like make Charlie's Angels a movie. And here's like a pitch to, you know, I had all these ideas and good ideas. I still have good ideas. Of course. I love this. You know, this is this is a great time. TV over the course of your career has gotten so much better. And I wonder you seem to recognize that pretty early on.

49:24Parker Posey:I mean, you were in Louis that third season. It was you were really great. You were there's a number of examples of things where you've popped up. Sometimes it's a good wife, good wife, inside Amy Schumer, Lost in Space, Hemingway and Gellarhorn, Staircase, Mr. and Mrs. Smith, so many different things. Do you, how would you compare, like, is the experience today of doing TV the closest thing in a way to doing indie films when you were starting out? Or is it just... It's so different. Is it? Yeah. It's so different now. I feel like the machine is just bigger. No matter. You know, if you have like someone like Amazon producing a TV show.

50:09Yeah. you know it's not a film studio yeah so it's kind of like there just seems to be more people around um and it comes together quickly like like business comes together quickly I guess you know I haven't done that I haven't done that much um staircase was great yeah anyway go ahead sorry

50:33Parker Posey:No. And when you, I guess in the last few years, you've said that there were times when you were not maybe totally sure where you stood in the business without those kinds of movies and projects that you had initially set. Can you just, it's hard for, I think people assume, they look at your career, you've had such an amazing career and done so much great work. I think they just sort of assume that if you're not on screen for a little, you know, for a while or whatever, it's because you've not wanted to work or whatever for a little while. Now, you've rarely never not worked, but you're. Yeah, that's so weird.

51:15Like, you know, so you do a Woody Allen movie. Yeah. And then they go like, yeah, you know, you do a Woody Allen movie. And that way, you know, you take one, you know, you do a little indie movie. You don't get paid. And then, you know, you get paid on your bigger jobs. And I'm like, this is when I get paid.

51:33Parker Posey:Yeah. Yeah. And. I mean, you said when you got a rational man, that first of the two Woody Allen movies, the other one the year after was Cafe Society. This is 2015 and 2016. you've said you cried when you got Irrational Man. It was such a big deal. It felt so lucky, you know, as a woman, I don't know what the ratio is, and I don't, I just so, to how much more work men get than women. And it's not just like how much work, but how much, you know, how much is written in these stories. That's why I think you have to produce your own work and start from the ground up but that really wasn't my you know my way my nature I was in a film festival in Poland and Julia Taylor and I were on a boat together she's Woody Allen's casting director and so it was like it was a relief to fit into an auteur like like Woody Allen I mean that that that said I had to I didn't make enough money from the age 35 to, you know, 48.

52:45I had to sell my apartment. I had to sell a book proposal. I had to write a book, all of which I'm so happy. You know what I mean? You come to an age and you're just like, oh, like, no, it's not supposed to be easy. You're not a spoiled brat trying to get your way. Like, this is hard. And this is all, like, this is a path that is not easy. And you knew this, like at some point you were not the exception to the rule that, you know, that's why I feel so lucky now to having aged in Hollywood and now playing women. So that was a relief to have Woody Allen write that part for me. And it's, you know, it was a great part and a great, a great, a great movie.

53:35it's tough and it's not it's not fair so i i need to learn a bit more about creating my own work and with friends i need to get more disciplined i need to you know get the right people to support me and my point of view and not just laugh at my ideas like they're funny but actually produce them Did you ever watch Mystery on Monday Night?

54:01Parker Posey:No. On PBS. It was like Diana Rigg and she would introduce like the last mystery of last week. And I just thought she was like, oh, I want to grow up. I want to be that lady. You know, she was like talking about a show she saw last week and what happened in this show. I'm like, maybe let's do something like that for me. because I'm but yeah you know I have some ideas we'll see we'll see we'll see this brings us to White Lotus which I mean aside for there's a lot of things about it that are great but one of them is that it has given you this kind of a different part than I think we've ever seen you play before I very possibly wrong about this but I don't remember seeing you play a mother in a in anything before right and And here, you know, just again, for the sake of anyone who's still catching up, wealthy, self-medicating Southern woman on vacation with her financier husband and their three kids.

55:04Parker Posey:This is the third installment of Mike White's, you know, series of these. But he's somebody who I think was around when you were starting out in the 90s doing indie stuff as well. Did you guys know each other back then or how did you wind up in touch on this? Yeah, we did. I remember running into him and meeting him with Miguel Artega, if that name rings a bell, from back in the indie scene days. You know, friends of friends. Yeah, I would run into him over the years. I think I even had a night. My friend Harper reminded me of a night at Dantana's with him and Jennifer Gulich. And then I ran into him at the Gotham Awards.

55:45He was like, hey, what do you like to work with? I mean, let's do something. I said, yeah, man, what are you waiting for? Like, yeah, right?

55:53Parker Posey:We're like, yeah, right? I just did a movie with Koganada. It was great. Yeah. And I guess he saw, you know, Staircase and the wheels started turning. Yeah. So he wrote this, he wrote it and I didn't have to audition. And I was really happy about that. Prior to going off to Thailand, was this something where you just, you have your script and then it's up to you to totally figure out how you want to approach it or are you in touch with him about like how do you see it or how does that work yeah you know he is that kind of director and a lot of directors are like this and you know Woody Allen is like that and a lot of dorks they're just like you go do the work it's not my job to you know but the actor runs to like really know or said like just tell me and give me a little crumb or what do you think and Mike said to me the the part my favorite part was he I said if you could call on someone in a film or you know a role that you've seen before what is she like and he said she's like um big edie in gray gardens but she's younger yeah so it that gave me so much yeah because I I was just reading a friend of mine my friend Angela had a book by the Marble Fawn of Grey Gardens written by Jerry, who was the 16-year-old in the movie Grey Gardens.

57:21So I was reading that and getting even more backstory of, you know, an Americana centricity of Southern wealth and privilege. I love that movie Harold and Maude, too, so much. It just has great style. And, you know, it's a strong point of view of a certain mother.

57:44Parker Posey:Yeah. Yeah. So there wasn't any of that. There were there wasn't a lot of talking. It came together. You know, it was like a it came together in like three, four weeks. Like it was after the strike, you know, finding wardrobe there and there already in Koh Samui. We talked to the actors on Zoom a little bit, trying to see how hard to hit. And, you know, and then Jason is, you know, English actor, loves an accent. So, you know, working on that kind of way. And then you have the family all come together and you see what that is. Because I think there's a lot of chemistry and dynamics that come just like by putting five people together.

58:33Yeah, I never played a mom. And, you know, moms have so much power. I had to be narcissistic to a large degree because Timothy and what he's going through had to not fully, you know, register. So she's someone very much in her own story, in her own fantasy of her own family and her, do you know what I mean? but it made me laugh so hard. I was so happy to get that part but also it was a demanding it was just a real character.

59:16Parker Posey:Can I ask you just two things about her that I was wondering watching the show. Why do you think and maybe this is stuff that you knew and never talked to Mike about maybe it's things you talked to Mike about or whatever But like, why do you think she's self-medicating so much? Well, we have that dream of her where she sees her father walking behind her husband in this colonial house. And you see her screaming on the beach as her children are like running away from her. I think she's in a lot of grief. I think she just you know she lost her father But she's also lost herself to like a patriarchal system that has her screaming to get out that she doesn't even know where she is Like this is a woman who is drowning in like these mores of what one should do and should not and this like you know, she's could be kind of tyrannical in this way and and uses her drama to, you know, have a good time herself and, you know, like wield it like, you know, these women in Shakespeare plays, you know?

1:00:30Like this is what I was going back to is like these writers who write these women and that's what Mike does and it's just like you can hold that with good writing.

1:00:41Parker Posey:The other thing was there's a moment where she says something where it sort of suggests she doesn't realize where she is. She says she's in like Taiwan but not Thailand. Yeah, yeah, yeah. Is that because she just is out of it or she doesn't – I don't think she's stupid. No, she's – it doesn't matter, you know, to her. it's a place that's far away from home and where her daughter should be it's too far away from home and she doesn't she will never break the mold that her parents instilled on her and she is going to make sure that that does not happen to her daughter so it's a real control it's like intense control yeah I love how Mike writes women there's some wisdom to to Victoria, you know, I got to kind of play and play everything I wanted to play.

1:01:41Parker Posey:Another thing, how much does where you are when you're doing a project affect the performance? I'm just thinking some of the movies that you've done, the budgets are like probably, you know, barely, you know, I think you've said there were times where you've put things on your own credit card or to help out a movie. Or meanwhile, here, this is, I guess, HBO sending a huge ensemble of people to, you know, first class to Thailand at a for months at a time at a luxury resort. Like, had you ever experienced anything like this in terms of ways? And is that helpful or maybe not? Yeah. I mean, you know, back we were saying earlier, it's like I am like still like, oh, my God, this is what I get to experience in this life.

1:02:30like really okay so you know i read it and i go oh my god i'm so much like piper that was so interesting because i was really like um into you know it still am eastern philosophy and buddhism and and healing the healing arts and you know unifying principle and divine feminine and all these like things that were so inherent in Thailand, a country that's never been colonized and has so much beauty and so much like harmony. And so it was that that was a real gift.

1:03:12Parker Posey:Last two things, if it's all right with you. Just first of all, again, you've been doing this for a long time and a lot of a lot of things that people have seen and loved in the film and TV communities. But I don't know that, have you ever been in something where you were a central part of it that so many people watched and talked about and tweeted and memed and all? I mean, sometimes I have co-workers where, you know, you ask them something and you get back a thing of you saying, whatever it was at this age, I think I'm meant to live a comfortable life. I don't think I'm meant to live an uncomfortable life.

1:03:56Parker Posey:All of this. Like every time an episode drops, a large number of people at a time when this happens with increasing rarity or whatever, that so many people were engaged. And I guess anything previous to this that was like that for you? And what did you make of that? No, nothing like this. And, you know, when we did press and the journalists came to meet us and they'd only seen like the first four or maybe they did four episodes or six episodes, they came in. They're like, and they would come in and they just sit down in the chair. They're just so excited. They're like, this is going to give the culture so much.

1:04:35We're so excited to not be distracted, you know, to have something to entertain us, to take us away from the news and something. So, I mean, I just I just thought it was it's been so much fun. I have all these great lines and I yelled tsunami outside of Taco Esquera yesterday. They're like, Piper, no. I hear all this like Piper, no. So I'm leaving the place. I was with Sam Rockwell and I was like, okay, we'll get in the car. And then as the car turns, I'm going to yell like tsunami. Yeah. I mean, that's been fun. And it goes back to like what I am as a child of my mother and my father and their parents.

1:05:17and their ancestors and everybody. Like I landed at this time in this flesh to I am an extension of all of them. And that's like, that's not far from how that's natural, you know. So it's a real blessing. And it doesn't feel weird. And it feels just, you know, I feel right on time and right in place with it all to work with like-minded, you know, visionary people like Mike that can give to our culture. And not just our culture, but, I mean, I had so much fun making the Thai women laugh at her accent. Like a part of like going so big was like I was in Thailand. They would just love to like imitate me and talk like me.

1:06:11And so I was very sweet.

1:06:14Parker Posey:Well, and this leads to the last thing, which is that, I mean, a nice thing about everybody seeing something that you've been a part of is that I think there's, you know, hopefully are you already seeing balance in the opportunities to do the kinds of things that you want to do? I've heard about one thing with the Martin McDonough film that's Wild Horse Nine, where it's you and Sam Rockwell. Yeah, I have a little part in that movie and I get to go to Easter Island. Not bad. You know, and then we shot my side of the phone call in Moab, Utah. Nice. So again, these places that I'm going and seeing this land, you know, I feel like such a nomad.

1:06:56I really am, or like I'm driving, I have five gear shifts in me. I've been doing a lot at once and that I'm enjoying the ride.

1:07:06Parker Posey:That's great. Well, thank you so much for doing this. I appreciate it. Thank you.

1:07:18Parker Posey:thanks for listening to awards chatter we really appreciate it and would really appreciate you taking just a minute more to subscribe to the podcast and to leave us a rating and review on your podcast app and to follow us on twitter and instagram where our handle is at awards chatter on those platforms we announce upcoming guests and provide details about special live recordings of the podcasts that you can attend. Until next time, thanks again for tuning in.

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