(rhythmic music) - Welcome to Close Up with
The Hollywood Reporter. Directors, I'm Stephen Galloway, and I'd like to welcome Yorgos
Lanthimos, Ryan Coogler, Spike Lee, Alfonso Cuaron, Bradley Cooper, and Marielle Heller. Thanks for being here.
- Thank you. - I want to plunge into the deep end. We're in a very political time. Sam Goldwyn once said, "If
you want to send a message, "send it Western Union." Agree or disagree? - Why you looking at me? (laughing) Why's everybody looking at me? (laughing) - 'Cause if you don't
have an opinion on this, we're in trouble. - Well, we live in very dangerous times. Artists, you know, reflect
what's happening in the world, or what they want, and the way you think about art, everybody has their, can
file their own vision. But for me, this guy in the White House, Agent Orange, he's, it's not America's brightest moments since he's been in the White House. I feel. - Which doesn't strictly
answer the question in the sense that what you're making now, or developing now could come
out years after he's gone. So, should films be directly political? - I will say, if you're an artist and you make the decision that
you're not going to include politics in it, that's a
political decision itself. When you say we're not
going to include it, that's a political decision. - But I also think there's no should, because films are as wide in variety as we are as people. So, there have to be films that
are making political choices and are reflecting our political feelings, and then there are films that are existing as purely entertainment. We need all of those things in order to meet all of our different
moods as audience members too, and I think we have a
responsibility as artists to be reflecting the culture, as you say, but, I mean, there's no
should with any of this. We're all just artists
trying to make things that help us feel better in
the world that we're living, our own separate existences, right? - I mean, it's such a personal art form. And, it doesn't really belong to us once we put it out there. And whether it's going
to be politicized our not is really not up to us. So, it, the answer really is, I mean, we all speak for ourselves, but, the more personal we are,
the more specific we are, the better story we can tell. And then it's up to the audience to decide whether they see it politically or not. - In what way was A Star
is Born personal for you? - Oh God, every way. Yeah, I mean, it's the only
reason why I made the movie. I mean, the one thing I knew, I mean, I waited until I was 42, if I didn't have something to say, there was no reason to make the movie. And I just wanted to
investigate relationships, particularly between a
man and a woman in love. And what happens when you're, when something happens to
you when you're a child, and whether you have the
means to deal with that, or you have the community
that can help you. And if that doesn't happen, how does that inform
the rest of your life? And then also, the idea of
finding your voice in this world. I mean, it really was
a great platform for me to examine a lot of different things that I've been thinking about
cinematically for years. - Did making it change
your mind about anything? - Oh gosh, about everything. (laughs) Yeah, I mean yeah. You learn a lot. It definitely allowed me, or enabled me to have the
confidence to want to do it again, to have an idea, or you know, a lot of ideas and vision, and sort of visual tableaus and then have it be the
story that you wanted to make is very gratifying. - What about directing surprised you? - I think I had the great luck to have been working for years as an actor with directors who have
been very collaborative and it felt like a seamless transition. I think it's because I love
filmmaking, I love cinema. You know, I grew up, these
movies changed my life, the people around this table. Do The Right Thing, I
don't even know how to, I couldn't even talk
after I saw that movie. - Look at Spike. (laughing) - No, but it's the truth. - And I appreciate it, I thank you. - It's the truth, I
didn't even know what to, it's like having a child, it's like, oh, this is a new emotion I've never even experienced. That's what films have done for me. So, to be able to be a
student of it for decades, I think, allowed me the tools
to be able to do it myself. - But what did you not expect? - For it to be as joyful as it was. It really was joyful. I felt like I was in exactly the place that I was supposed to be in that moment. - The whole time? (laughing) - Not during prep, not during, terrified of prep.
- Come on. - Well, you can't see the light at the end of the tunnel at prep, you just got to go down
into the cave every day and hope that one day you're
going to see the light. But, once you see the light, and then the light gets
bigger, and bigger, and bigger, then it becomes fun. - Is directing a joyful
experience for you? - It has it's days, but, (laughing) but it's an intense experience. You know, it's, it's a long process, but
also, it's a process in which there's so many things that can go wrong. But at the same time, I think
that the biggest thing is that you know that whatever you do is going to be there. You know, it's going to be there forever. It's not that you're going to, okay, we change it tomorrow
at the next performance. You know, it's, you're
just cementing something. And then, yeah, it's intense. It's amazing. But at the same time,
it's an intense process. When they asked me at the
end of a film if I'm happy, I'm never happy, I'm relieved. You know, I think that if you ask a fox after being chased by hounds
for (laughing) 12 hours, and then he goes to a refuge, and says "Are you happy?", no, it's, the fox is relieved. You know, he got away with it. (laughing) - Is it more joyful when you're doing a personal film like Roma, or when you're doing a
studio film like Gravity? - It can be joyful either way. It's just a different, it's a different approach. Roma, the thing is, it
has a different intensity that I was not expecting because I didn't know
what I was walking in. You start asking if films
should have a message or not, I don't think that that's not an option, because even, you were
talking about entertainment, everything that we do is
going to convey a message, is going to convey an ideology, is going to convey a politic,
no matter what, you know? One way or the other. Even if you don't intend to do that. And doing a personal film is just that, more stuff starts to come out that you not necessarily feel comfortable about dealing with. - Such as? - You know, it's like the
recognition of your society, of Mexico for instance, and recognizing the
issues going on in Mexico are the same as the rest of the world. Or even my own relationships inside my, you know, the personal
relationships at home when I was growing up, and these perverse relationship
between race and class that pretty much, I've been part of just by being part of a certain society. You know, so it's, and it's not comfortable
to recognize those things and just try to be blunt
and honest about it. - Was Black Panther a
political film for you? - Yeah, it's about a politician, you know? So, there was no way for it to not be. - Yeah, yeah, interesting. - Yeah, so I was, you know how we always saw it like, it's a character who's, you know, the political leader
of a fictional country, and it's fictional, you know, but we put it on a real continent, we wanted to set it in the real world. And that's kind of how the
character Shawn showed up, that's how he identified
himself, as a politician. So, you know, through that,
definitely a political film. - You've gone from Indie
filmmaking to now being, you know, one of the kings
of the studio system. - One of the what? (laughing) - Like it or not, you
have tiptoed in and out of the studio system. - That's Iger, you're getting mixed up. (laughing) - Fair enough.
- Yeah. I'm at the wrong table. - Which do you prefer and why? Spike, would you go
back into a studio film? - Well this BlacKkKlansman
focus the studio. - [Stephen] Okay, it's
an Indie label, isn't it? - What is Indie now? - What is Indie?
- Yeah. What is Indie? - I mean, it's, you got to
get the money, we can go. So, you know, I got, as I told
this person the other day, I got one Jordan, independent cinema, and the other Jordan, (laughing) in the steel system, so, got to go where the money is. - Yorgos, you've come from Greece. How do you feel about
making a studio film? And have you been in talks about
doing any big studio films? - To be honest, it wasn't
very different for me, and again, it's that
kind of differentiation, what is a studio film and what isn't, so long as I have the creative freedom that I need for each film, as Spike says, you know,
whoever believes in the project and is willing to back you up, you know, it's a great
opportunity to keep working. So, I really don't see it like that. I see, you know, the
stories that interest me, that next film that I want to do, how I want to do it differently, or the things that I
want to develop further. So, it's all about that. And then you find the appropriate people to support you and back you up. - What was the biggest challenge for you in making The Favourite? - Well, the fact that it was a period film complicates things, I think. And it makes it more expansive. It was the most expansive film to date. But what I find challenging ever since I started making
English language films, is that, although of
course, I do have more means than when I used to make films in Greece, at the same time, they come with a lot of more rules and restrictions. And, I'm always struggling to find the way of doing things in a different way. Doing things the way
that they fit the film that I'm making at the time and not just because there's a system that works in a particular way. To adapt to that, to adapt the creative part to the machine. So, it's been a struggle to, - Has it?
- find those ways. Yeah, it's difficult because, you know, it is an industry, it is structured in a certain way, and you know, improvise
and be flexible within that seems to be quite difficult. - Have you ever thought of relocating, of living in Los Angeles, or have you deliberately kept a distance? - I mean, I've moved to London anyway, so I don't live in Greece anymore, so I guess it's kind of similar. I thought that I would move there, I needed to be there to start
making English language films, but it proved that I ended up
filming all around the world except England, and only the last film. (laughing) - I show up there? - So it's basically, it's a base. You know, I guess we all
travel a lot all the time, and whether you have to film somewhere, or promote your film, or, so I think I find where you live, at this point, I see it as
where you feel comfortable, where does it make sense
for you to move around. It's more about that than
being near an industry, or, - When you're dealing with a big studio, on what's clearly assigned
to be a franchise, how different is it? What kind of restrictions
do they put on you? - Restrictions? - [Stephen] Yeah. - It, I think that the biggest difference actually wasn't in the restrictions. It was actually in the
lack of restriction. That's actually the bigger,
- Oh, yeah. - the bigger difference. You know, like, I was
making my first film. You know, and I think we all,
like the Deception of Bradley, who spent a lot of time on a lot of different types of sets as an actor. I think we all started
relatively small, you know? I seen all of you all first movies. It was, they were pretty small. And you know, when you're
dealing with not a lot of money, you got a lot of limitations. And it helps you actually move faster, 'cause you can't do just
anything, you know what I mean? Maybe sometimes there's only one place you can put the camera. You know, you can only be in
this location for two hours and then you got to go, so, it makes it a little simpler which in effect, makes it easier. Like, when you can do
anything, you know what I mean, and that's kind of what
happens with a film like this. That's what I found made it a lot harder. - Now, more than ever,
(dramatic music) the illusions of the vision
threaten our very existence. We all know the truth. More connects us than separates us. But in times of crisis,
the wise build bridges while the foolish build barriers. We must find a way to
look after one another as if we were one single tribe. - And you're just dealing with
like, so many more people. You know, you got to get
comfortable directing in a room full of, you know,
75, 100 people sometimes, and, you know, a lot of
times, I find directing, it can make you feel like you
naked, you know what I mean? So, like directing on a 10 person crew is like being naked in front of 10 people, but with 200 people, you know what I mean? It's just a different ball game. - [Stephen] Do you all
feel that vulnerability? - That's all the way butt naked, right? - All the way butt naked,
yeah, yeah. (laughing) - [Marielle] Yeah, yeah, yeah, yeah. - Do you feel that too, even
after many films, Spike, do you still feel that way? - It really depends on the budget. So, you know, I like the word, you said you have to
be flexible and adapt, you know, you got to do what
you got to do to get it made. - Marielle, you came into a film that was meant to have
another star, Julianne Moore. What happened between her
leaving and you coming in? - All of that happened before I had anything to do with the movie. So, I came into a movie that had had, you know, movies are like a miracle when they actually come together. They fall apart a million times. - You can say that again. (laughing) - This particular movie
had a different incarnation which I wasn't a part
of, which fell apart. Melissa McCarthy and I sort of made a pact when we came onboard, like, let's never talk about
whatever happened before, 'cause clearly, something happened, there's a reason it fell apart. We want to move forward
with good feelings. We want to feel like
we get to start fresh. So that was kind of where
we came to the table, with like, we love this story,
we loved this character. She was a character
who's voice we felt like we didn't get to hear
in movies very often. It felt really important
that we tell her story. So, we were like, whatever
happened before, gone. - And how much did you feel
compelled to follow the truth? She wrote a book about her experiences. How much did you feel you
could fictionalize it? - It's always a tricky thing, 'cause you want to be true to the essence of the person entirely, and you want to feel like,
if their loved ones saw the thing you're making, they would recognize that
person within the movie, but you also have to be truthful to the narrative you're telling, and you have to find a way
to make a compelling movie. So, it's always a real balancing
act between those things. - Can you keep a secret?
(diners chattering) - I've no one to tell,
all my friends are dead. - Quite by accident, I find myself in a rather criminal position. - I can't fathom what criminal activity you could possibly be involved in. Except the crime of fashion, of course. - I'm embellishing documents, if you will. - In this scenario, she's no longer alive. She has no living
relatives that we knew of. So, there was more of a sense of, like, wanting to do right by her. And kind of getting, you know, she was a really
prickly, difficult person, and we wanted to get that right, and we didn't want to soften her, and we felt like she would
almost be the most offended, if we tried to make her
really likable or something. - Is her cat still alive? (laughing) - No. - The baby cat. - That was an addition. - [Bradley] Oh, it was? She never got a new cat? - I think she did, but,
yeah, things like that, you know?
- Yeah. - These are are narrative
devices we have to bring in to let our audience feel
- Right, it was great. - a little bit better
at the end of the day. - You stepped in when Clint
Eastwood left that project. Did you talk to him about it? - Oh, yeah. In fact, I pitched it to him. We had shot him. He had talked to me about doing it before we had ever done American Sniper, a film we did together. And then once we'd gone
through that process, we were somewhere, and Annie
Lennox was on the television, singing "I Put a Spell On You", and I was looking at
the veins in her neck, and I thought, and I kept thinking about the movie, but I thought I was too
young to play that character back when they asked me to do it. And I said, "Clint, maybe we should, "there's something there." But he, at that point, it passed him. So, he said no. - What happened with Beyonce? - It just didn't work out. - Oh?
- Yeah. - [Stephen] Because? - Oh God, many reasons, yeah. - Namely? (laughing) - I mean, like you said,
it's hard to get a movie, you know,
- Yeah. - It's like things fall
apart and they come back, but yeah, so then I had a, I actually had a dream that night, I know it sounds crazy, and I saw the beginning of the movie, and then I went to Warner
Brothers the next day, and I said, "I know this is crazy, "but I want to make this low budget idea "of A Star Is Born,
and here's what it is." And they said, "Okay." You know, "Take a shot at writing it." - Do you write songs or anything? - I don't sing my own songs. - Thank you.
(rock music) Why? - Well, 'cause, like, almost every single person
that I've come in contact with in the music industry has told
me that my nose is too big and that I won't make it. - Your nose is too big? - Yeah. - Your nose is beautiful. Can I touch your nose? - Oh my gosh. (chuckles) - Let me just touch it for a second. ♪ In love ♪ - Have any of you made a film that you don't consider personal? - I make films that I don't like but, (laughing) - Don't you think when you
made Great Expectations, you felt-- - [Spike] They're all personal to me. - You felt that it wasn't? - No, it's a film that probably
I did for the wrong reasons, but at the end, you try to, the only approach that you can have is from the standpoint of who you are. You know, it's, - What were the wrong reasons? - In one word, Hollywood. - That's a big reason. (chuckles) - Yeah. Yeah, it was-- - What do you mean, Hollywood? - I mean, the cliche of Hollywood in the sense of, you know, truth of the matter also, I was running out of money. It was, you know, it was, and I was considering projects, and then there was a charming producer and, you know, the idea of Deniro, and
then I said "Yes, why not?" You know, but I didn't really, I never had the grip on the material. I tell you something, I'm sure that with the same screenplay, someone else could've done something good. You know? It was just I didn't know how, I was trying to overcompensate with other resources that I could bring, but it was not really
something that I felt organic. And also part of the reason, what happened is my
early years in Hollywood, because I arrived by mistake, or not by mistake, but by chance, and I forgot that I was a writer. You know, and I have a lot
of people around telling me you know what is, just read scripts because if you introduce
yourself as a writer director your options are going to be narrow. And I followed that lead for a little bit. And I forgot that I was a writer. And then what happened is
I was just at the mercy of the projects that were around. And also, not really exploring
what I wanted to say. - Do you all think of
yourselves as writer directors? Or is it possible to direct
somebody else's script without radically changing it? - I do both, yes. Whatever story I want to tell. So, if I didn't write it, if it's a really great script, I'm not going to let that
stop me from doing it. An example, 25th Hour
written by David Benioff. You know, it was a great script and I wanted, Edward Norton and I
wanted to work together so we said, "Let's do it." - Did you find, sorry, go ahead. - No, I was just going to ask, even if it's a really good script, don't you find that you
have to do certain things in order to,
- Oh yeah. For example, David Benioff
that wrote that book, it was before 9/11. So, I said, we're making this take post-9/11.
- Right. - That book was written before 9/11. - That's one of the most-- - With The Favourite. It's the first one you do
that you didn't write, right? - Yeah, yeah. But, I was very closely
involved for many years in the writing of it,
and finding the writer that re-wrote the original
screenplay that existed. So, I feel like I've put in more time than I've put in the films
that I've co-written. So, in the end it became, that's why I'm wondering, like, even if it's good, then if it's by someone else, you still need to shape
it in many different ways so that it becomes your-- - I think that's totally true. I don't know how to do the process, if I don't at least, like, put some of it through my fingers. Even if it's really in great shape. 'Cause the script I just worked
on was in such great shape and the writers were so good and had been working
on it for eight years. But I still had to, I still had to make parts of it mine and just to know it inside
and out in order to direct it the way you have to to direct something, like, it's so much harder to
do if you haven't written it. It's like you have to put yourself inside the characters in some way. - Yep. - And it's so hard to do if you-- - Was Tom Hanks attached to the project? - No, I brought it to him. - Yeah?
- Yeah. - Tell us that story. (laughing) - Okay, it's actually
kind of a funny story. I wonder how he'll feel if I told it. - Sorry, we're taking over the-- (laughing) - I'm really happy. - I'm friends with Tom-- - I wanted to know that too, so. - I'm friends with Tom Hanks' son, Collin, and I was at Collin's
kid's birthday party. And I was talking to Tom, and he was talking about
this New York Times article about women directors. And I was like, "Yeah,
I'm in that." (chuckling) And he was like, "Wait, what,
who are you?" (laughing) I just like, mentioned who I was, and then he went and watched my movie, and then we had a meeting. And when the writers and everybody
from the Mr. Rogers movie brought me the script and I got involved, you know, they all kind
of said, "Our dream cast "has always been Tom Hanks, but, "we're pretty sure he doesn't want to play "real people anymore,
he's played Walt Disney, "he's played Sully, he's kind of done this "and we're hearing from his reps. "He's probably not open." I was like, I don't know, I kind of have a relationship with him. I'll send it to him. And like a week later, he signed on. And everybody was like, "How
did you do that?" (laughing) I was like, "I don't know!" (upbeat music) - Do you take things to directors that you've developed as an actor? - Oh, yeah. I mean, American Sniper was a book that I'd asked if
Warner Brothers would acquire and then we, I went to Steven Spielberg who was going to do it for a
while, and then he dropped out, and then Clint Eastwood. - Why did Steven drop out? - You have to ask him. - Okay.
- Yeah. - Were you tempted to jump in-- - Smart answer. (laughing) - Were you tempted to jump
in at that point and direct? - What's that? - Were you tempted to
jump in and direct Sniper? - Oh, it's so funny that you say that. I just was too scared.
- Oh. - But I did have a point of view, yeah. - What do you mean too scared? - I just wasn't ready. It's the one benefit I think
I have had to wait so long, is that the older you get, the more, I don't know what you all think, but you tend to sort of know when you're ready for something. - What made you know you were ready now? - Oh, 'cause I knew if I waited any more, it was going to get too long. Yeah. I think, just, you know, mortality. Yeah, it was just. - Mortality? (chuckling) - I just knew it, yeah. It was, I thought, you know what it is? It's not that I knew it, I knew that if I don't do it, I'd rather fail at it having tried than not ever do it. That's basically the point that I got to. But American Sniper was the first movie that I felt like I had a
point of view to direct. But back to the writer thing. If I had to ask the writer
what they meant by this, I'm screwed. Like, I really, I'm not a good enough director
- Oh yeah. - to be able to direct somebody
else's writing right now. Hopefully, someday if I
keep getting to direct. I sort of liken it to acting. I spent like, a decade
just trying to be myself and talk to you and breathe, and like, be present. And it wasn't 'till I'd found, like after maybe 12 years I though, "Okay, I can do that, now I can
play different human beings" like, completely different human beings. And it kind of feels like, if
I'm lucky enough as a director, maybe I can have some piece of content and then be able to have
a point of view about it. But, right now, it has to come from here. - You're both actors. What is there that's similar
between one job and the other? - I think for me, you know, Ryan and I met 'cause we did
the Sundance Labs together. And I went through the
Sundance Director's Lab, and I felt, when I was there,
that I was this rookie, kind of, I was the only person
who didn't go to film school, and I felt like I came in
through the side door, kind of, 'cause I had been a theater
actor, and a writer, and I just felt like there were all of these things I didn't know. I didn't know about lenses, was my big thing that hung me up. I was like, I got to learn about lenses if I'm going to direct a movie. And then, I started to
realize what a benefit I had that I understood the
language that actors speak. And that even though
there were a lot of things I had to learn, and I'm
still learning, obviously, I felt like, oh I have this big benefit going in to being a director that I didn't realize was
going to be a huge benefit, which is I'm not afraid of actors, a lot of directors are afraid of actors. That's a secret. Maybe I shouldn't let our
secrets out. (chuckling) - But you know, that's
a very important point, because as a, coming out of Grad Film NYU, you know, we know how to
do the technical stuff. - Right.
- But the actors, like, I didn't feel
comfortable working with actors 'till my third film,
was Do The Right Thing. Seize the Habit, School Days, I mean, in School Days, Lawrence Fishburne was
giving me directions. - Wow!
- Oh! - He was trying to say, "Spike,
come here for a second." (laughing) And I'm glad he did it.
- Right. - 'Cause I'd not had the language. - [Marielle] Right. - So it took me three films, and that's something that, in film school, camera lens, this, that, that, but actors were like, I didn't know how to speak to them. - [Marielle] Right. - And what you said, I
was afraid of actors. - And I was talking to all
of these other directors who were coming up at
the same time as we were, and I was realizing that's
what they all were saying. They were like, "Oh,
I could talk technical "all you want to talk. "I can figure out exactly
my camera blocking, "but I don't know how
to get this performance "out of this actor." And I was like, "Oh, that's the part I
feel comfortable with." And realizing that the
other stuff I could learn, it just made me realize
that I had this huge benefit and that in some weird way, all of the skills I had been
learning through my life as a writer and an actor were going to benefit me as a director in ways I hadn't even
been able to anticipate. - And also, in film school, the
actors are working for free. So, once they get a day
in, they know they got you. (laughing) Because they could just walk, and you don't have the money
to go back and shoot it, and so you're really, in film school, you're just
at the mercy of the actors, and then they would just
take advantage of us young-- - But I think there's
something in recognizing what you're actually
asking them to do, too. 'Cause asking an actor
to inhabit a person, to breathe like them,
to walk in their shoes, but to actually do that, and in the same way that you're saying, it's so vulnerable to direct in front of a huge group of
people all looking at you, we're also asking them to be
their most vulnerable self. - [Spike] That's true. - With all these cameras
and all these lights, and all these people, so, if you can empathize with what they're actually experiencing, and what we're asking of them, you can ask them to go further, you can ask them to do more if you know what you're asking of them. - But you got to acquire the language. I mean,
- You do. - If you don't have the language to speak to the actor then,
- Have to have the language. In the same way that you
have to have the language to speak to your DP about lenses, you have to have the
language to speak to actors. - I know, but you get more training. - You're right. - The actors just leave you alone. You went to SC, what
did you do over there? - I think all four of you went
to film school, didn't you? What did film school
fail to teach you Yorgos? And you went in Greece. - Yes, that's a bit of a problem. - [Stephen] Oh? - There isn't such a
great educational facility for filmmaking in Greece and there hasn't been an
industry for many years. It's like individual
efforts here and there. So that's a bit of a problem. I kind of learned the technical stuff by reading American Cinematographer, like going to the news stand and waiting when it would come to
Greece and, you know. And I was fortunate enough
that I started early on to direct commercials. And I experimented a lot and
learned a lot technically, but on the actor's side of things, I was also fortunate enough, although I never intended, to direct theater, to do plays
in the theater in Greece, so that enabled me to figure out how I could work with actors and how to get where I wanted to get. Ryan, what did film school teach you best and fail to teach you? - The biggest thing that I
walked away with from film school was just a lot of my colleagues. You know, like I met the compositor that's done all of my
films at film school. One of my editors that's
worked with me the whole time, a lot of my producing
collaborators I met there. So, that was really, the community was the most
valuable thing that it gave us. And just the opportunity
to do it, you know? I'm from a place where it
wasn't really something that people did, you know? And from the same place as Mari, same place as Tom Hanks,
crazy enough. (laughing) - [Marielle] It's true. - Yeah, yeah. But, you know, I spent most
of my life playing football and going to school and
thinking I was going to do that. - Did you make it into the NFL? (laughing) - That's what we thought,
'till we got older, it was like, 'till I
had to tackle Marshawn. You know what I'm saying? It was a reality check. But no, like once I realized
that it was maybe an option, you know, you just needed
time to do it, you know? And that's what it also gave. Just hours, you know what I mean? Like standing on set. Like learning what it is, you know? - Just knowing someone who does it too. 'Cause I don't think I grew up ever knowing anybody who was a filmmaker. You know, I knew people
who were doing theater. - Right. - But, I didn't know anybody. What does it even look like? - Yeah, and what you don't
know, you're afraid of. You know what I mean? Like, so, I found it to be that. I mean, in terms of, you know, I can't say what it failed to teach me, I think you get out of
it what you bring to it inherently and circumstantially,
you know what I mean? I was fortunate enough
to come out of school and make my first movie pretty quickly. And it was through a connection
that I made in school that I was able to pitch it. So, I got nothing bad to say
about the process, you know? It was expensive. (laughing) - Yeah. - Is there one person
who's really taught you something about film, or really shape you, whether a filmmaker that
you particularly admire or somebody like David
O. Russel, or Clint, that you've worked with? Who has taught you the most? The thing that you tell yourselves? - Before I went to film school, I had a teacher, his name
was Dr. Herb Eichelberger, and he encouraged me to be a filmmaker. My junior year I went to Morehouse, but I took my majors at Clark
College across the street. And so he was the one that
encouraged me to be a filmmaker and also to further my education. So I went to NYU. I'm the generation, I'm 61 years old, so my generation, we went to film school because we wanted to get the equipment. - So, Jim Jarmusch is
two years ahead of me, my class, Ernest Dickerson and Ang Lee. The class 1982, NYU Grad film school. So, all we wanted was equipment. We didn't really care what
the teacher was saying. (laughs) They're like eh-eh. We just, we want the
equipment to make our film. NYU, we don't have the facility of USC, that's because we don't
make those big budget, semectus films,
- But you walk outside. - No, no, no, we just had Scorsese. - Come on, hold on. (laughing) - Colt brothers, Alvin Strong. - But you walk outside,
and you in New York. You walk outside, you're in New York. Point the camera any direction. - I'm just saying we don't
got the facility you guys got. I walked up the SC practice
the other day, football, we got a better football team than you. - What about you Alfonzo,
who's taught you? - I hear the discussion
between USC, and who teach, and you choose like, Gucci versus Prada. (laughing) Amazing. - Well, I want to say this, if you want to make big
budget Hollywood films, - Not true. you're going to go to SC. - That's not true. - Look at alumni. - I don't know, I have
feelings about NYU films too. (directors chattering) - No, no, just tell me--
- Can I just-- - Who about to make James Bond right now? - Can I just say something? - Money, there's money. - You're speaking to the artistic director of the Graduate Film school. (laughing) And a tenured professor. - Look, I'm jealous of it. Clearly part of it's coming from my feelings of
inadequacy that we all have, of like, jealous of people who
got to go through NYU film. But, I feel like they
are dominating as well in the industry, doing great. Coming with a lot of privilege. - Yeah, like Paulie
about to make Eternals, Kerry about to do James Bond. - Exactly. - Can't talk like that. - Yeah, that's right Carrie,
James Bond. (laughing) - What guy? What? - Well, Khloe's jealous about to do, yeah, Eternals for Marvel, yup. - You didn't have a good
experience at film school? - If I went to film school, - [Stephen] I know. - But similar film school as Yorgos in the sense of American
cinematograper and, but actually, I had a teacher there. His name was Jorge
Ayala Blanco, he still teaches. And it was not about, I have a couple of very good teachers that they care about teaching
about cameras and stuff, I mean, it was a school, and my, when I was going to that school, it was a mess, there were
no classes and stuff. But this teacher, Jorge Ayala Blanco, teach an amazing course. Two or three different
courses of film history. And that was even more important than all the other technical stuff. - Which films? - Oh, there was, the first
year was just film history from the beginning of cinema. And then the other one was an exploration of different schools in cinema. And the ones that create
transformations, you know, the Nouveau Vogue, expressionism, or the German cinema in the 70s. Or the American cinema
of the 70s, you know. So it was very specific
about certain tendencies. - Who taught you the most Bradley? - Oh gosh. I mean it's funny you
say that, I remember, and I went to college and
there was no film class, theater class, but I did have one-- - [Spike] Where'd you go? - I went to Georgetown. - The Hoyas. - Yeah, but there was one
film class, and it was great. I got to see movies. 'Cause I thought I was a movie buff, but like Max Sofals, Lerone and Duchette and all these great movies,
and The Conversation, which I had never seen. And we had a projector
too, which was great. And that was one of 'em. But, thinking about, like, people. It actually was Robert De Niro. I had tried to get him to
do this movie Limitless, and combine two characters, and that was the first, I guess, first time trying to cast a movie, even though I wasn't the director and I went to see him in his hotel room, and I was pitching him the whole thing and he wound up saying yes,
which blew my mind, (laughing) 'cause he was my hero,
you know, growing up. And after we had shot that movie, he did say that he thought
I should direct a movie. And we were going to direct
this movie for years. So he was one of the first people, and that was a long time ago, who saw something in me that he thought that maybe I could do that. And that obviously gave
me a lot of confidence. - What's the biggest lesson that-- - But David O. Russel,
of course, obviously. - Yeah, and what? What did he teach you?
- It's just because, honestly, I think it's what you said, it's like what you get out of it. It's like, you get out of
it what you put into it. And, you know, when I was
casting this TV show called Alias in 2000, I moved to L.A.
and I was so depressed, 'cause I was like, L.A., I hated it. So, I just spent all my
time on the television set and there was J.J. Abrams, and I would spend all
the time I wasn't on set in the editing room, and
Ken Olin was the director of a lot of episodes. I would shadow him, I would
ask for everybody's dailies, they were on VHS tapes back then, and I'd watch them all. 'Cause I was just, I was interested. And I think it's just that
curiosity over the years, when there are people that are willing to then share with you,
like David O. Russel, who said yeah, let me come in, come into my world, and I'm
going to let you experience it. And Clint Eastwood, and Todd Phillips. You know, I've been very lucky. And Derek C. in France in
Place Beyond the Pines. You know, I've been very lucky to have, and Susanne Bier in Serena. I was editing with her
in Denmark, that movie. So she, you know, I've been
really able to have directors who were very collaborative. I think that's the reason. - Have you had a director
who wasn't collaborative that you disagreed with, and did you learn anything
from that experience? - Oh, yeah, absolutely. - Either name the person
or tell us what happened, but what did you learn from it? (laughing) - I think what I've learned is that I'm lucky enough to be here, is that I've finally
said enough with trying to try to get your point across. Just do it yourself, and take the heat if it's not the right choice. It's like, you know, it's a wonderful relationship, the actor with the director, but it's also a wonderful relationship, the director with the content, you know? That was very, this has been a very
liberating experience. I feel like I've gone through that enough and now it's time to just, you know, put my money where my mouth is basically, and just do it, and take the hit if I don't know what I'm talking about. - 'Cause you kind of feel like as an actor you were trying
to have that relationship with the content before? - I definitely knew early on that I felt like I was a bit different from other actors, in that, I was just absolutely, totally infatuated with filmmaking, and the process. - I feel like I had--
- I was always watching. And that was much more
interesting to me than the acting. - I feel like I had a similar moment where someone said to me, like, "You know, like, you're
not just an actor." When I was in a play, a new play that this
guy David Edgar wrote, and I was so much more
fascinated with his rewrites and how the play was changing, and like, working out
story things with him, and he was like, and nobody else was, - Right.
- interested in that, and he was like, "You know
you're not just an actor, right?" when I was like 23. - Yeah, exactly.
- Was like you're going to write. - Like, the first day D
- The first day someone would say that to me,
- says that too. I'd hang out with J.P.
Wetzel, and the prop master, and say, "You know,
you're going to direct." You know, so that makes you feel good. (upbeat music) - I love things in every
part of the process, and I suffer in every part of the process. (laughing) - That's like Alfonzo. - So, it's those little things, you know, when you're thinking of an idea and you think, you know, it's difficult, and you're trying and then, you know, it feels like you found
something in that moment, and then, you know, you
start the writing process, and it's really difficult, and it takes a lot of work and focus, and it doesn't always work, but then, you know, you
start reading something that, you know, you start feeling
excited about making it, and then, you know, you're going to be soon confident enough
to put it in production. - [Stephen] What was the
toughest thing for you about The Favourite? Was there one moment that was really, what things went wrong, or? - No, it was just the constant part of it, you know, trying to get everything, like Alfonzo said before, you know, you're filming something,
you're doing the scene, you know, you're probably
never going to come back and do something differently and it's going to stay there forever. - Abigail? (shot explodes)
(gasping) If you forget to load the pellet, the gun fires, makes a
sound, but releases no shot. It is a great jape, do you agree? - Yes. - Maybe we will think
of a use for it one day. Sometimes it is hard to remember whether you have loaded the pellet or not. I do fear confusion, an accident. - The worst is when you
have a nagging feeling that something is wrong, but
you can't figure out what. - Yeah.
- It is. - And you're sitting there going, "This is my chance, (laughing)
I have to fix it right now, "but I can't actually." And then you have a moment
where you go (gasps) "Oh, I got it, I got it,
this is the problem." And fix it, or if you don't. - The problem is in when
it comes the next day. - The next day.
- The next morning. - And then you're so upset.
- This is what I should've done.
- Oh, man. - I know, or a year later.
- Man. - Do you have a touchstone film you like to back to and watch again? For instance, I think
Bob Zemeckis told me once that he always watches The Godfather before he starts shooting. - Yeah. For me, it's a film called A Prophet. - Oh, yeah.
- Yeah. - Jacques Audiard, yeah.
- That's the one for me. - Why? - Oh, I just, I love the way it made me feel, like the first time I saw it. And I find that, when it gets tough, like
when I'm in the hard part, and I'm like, not seeing my wife, I'm not seeing my family, my wife from the Bay Area, it's put me in a bad mood. I put that in and it's like
reminder of what a movie can be. You know, so it's like, "Oh
yeah, that's why I'm doing this, "I got a shot at maybe making
somebody feel like that." You know what I mean? I watched this Brooklyn gentleman's
movie, Do The Right Thing quite a bit too. It's just, you know, sometimes
you got to remind yourself like why you're doing it, what the medium is capable
of, you know what I mean? And that'll give me a little
bit of gas to keep going. - Yorgos, is that Barry Lyndon for you? - No, although I've seen it many times, especially this time around,
I try to avoid watching it because it was, you know, the comparison would be inevitable, so I just said, like, "Let's
just not even touch that." But, I always, I find
myself always watching a Miklos Jancso film,
The Red and The White, or something like that. Again, it's exactly the same to, just to be inspired by
what people have achieved, and just try and do something. - The film that I watch are the films that are going to inform me about the film I'm about to do. Research, so I, the great Matty Libatique. For Inside Man, you know, we
watched Dog Day Afternoon. You know, we watched a lot of heist films. So, it's in the end for this new one, BlacKkKlansman with the young,
bright D.P. Chase Irwin, we looked at, you know,
we shot some films. I wanted the films look
like, that I saw growing up. So, we looked at French Connection. There were a lot of, you know, we did not want to shoot this digitally. You know, we wanted it
filmed, Kodaked, and so, we watched those films of the 70's. - What was the toughest
challenge about making that film? BlackKkKlansman? - It really wasn't tough. The only thing we had to do, with my longtime editor Barry Brown, you know, we just had the right tone. We had to balance it, because there's, I don't like to use the word comedy, but there's humor in it which comes from the premise of the film, which is black man
infiltrates Ku Klux Klan. That's absurd. - [Stephen] Yeah. - So, the absurdity, that's
where the humor comes from, from the premise. And so, we just had to, you know, in the editing room,
get the right balance. - How do you propose to
make this investigation? - Well, I've established contact, and created some familiarity with the Klansmen over the phone. I'll continue on that roll,
but I'll need another officer, surprise, surprise, a white officer to play me when they meet face to face. - See, that's my point exactly. - Chief, black Ron
Stallworth over the phone, white Ron Stallworth face to face, so that it becomes a
combined Ron Stallworth. - Can you do that? - I believe we can with
the right white man. We can do anything. - I mean, it's not the first film that History Cinemafest has had a very serious subject matter with humor. My go to is Dr. Strangelove with Kubrick, you know. There's no fighting in the war room, and then, you know, what
Peter Sales does, you know, but it's still about, you know, the possible extinction of
humankind to a nuclear holocaust. So, that again, it's balancing. Trying to find the right balance. - Were there any conflicts in the film with the producer of the studio? I think there's some debate about whether you should use real life footage, the news footage that you
do at the end of the film. - It'll last about half a second. - The debate? - You can't have much a
debate in half a second. That was the ending of the film. There was no ifs, ands, buts about it. It was only one thing,
I had to ask Susan Bro. She is the mother of Heather Heyer. I wasn't just going to disrespect her and her daughter like that. So, I called her up and
she gave permission. - When you're doing a real life story, do you feel a different
level of obligation to the characters? And with Roma, you were
making your own life, but you also, I think at some point, showed it to the maid that it's based on. Did you feel bound to her story or not? - Well, she was, well, she was very aware
of the whole process, so it was, I was not thinking much
about it in terms of, I just was trying to do something that also was part of my own story, so, I don't think so much is
that you were saying that being a director is being naked, I think that the actors are the ones that are really naked. - Yeah. - I mean, we're not as
vulnerable as they are in the sense that we're
hiding behind the camera. - [Stephen] How did you
find your leading lady? - It was a very long casting, it was maybe one year. And we were looking all around Mexico. It was, we have our list of casting crews going through little villages in Oaxaca, a southern state in Mexico, and we met with Yalitza in this town called Tlaxiaco, and oh I was so lucky to have met her. (waves crashing) (splashing) - She was a school teacher before she? - She had just finished her school to become a teacher and this is what happened, it's just that, when
she went to the casting, first she was hesitant about going, and this is the tragedy of the story, is because she was afraid that this was about human trafficking. - Oh.
- Yeah. - And then after she
went, but she didn't know, she had no idea who I was, and what she told me is, "Look, I just finished this thing. "I have to wait around
six months, eight months "to get the results in
terms of getting a job. "I have nothing better to do." (laughing) - [Spike] How many
shooting days did you have? - It's amazing. - Over 110. - 110? - Can I ask you a question? That shot in there, how you do that shot? - The one in the-- - The ocean. - Oh, yeah, that was a pain. - How many takes you have for that? - I could make, that was the
only one that I could do. - That was one take? - Well, I tried it, I tried it before and, but the thing is that the night before, we have to build this pier in order to bring the camera
all the way out into the ocean, - An alumacrane, what was it? - No, there was a technocrane
on top of the pier. - Okay. - And the thing is, the night before there
was a tropical storm that weakened all the cement of the thing and the crane kept on derailing. So, like, I don't know, 40 minutes into the shot
and the crane was derailing and that was a whole day like that. - That's, I mean, I never
saw a shot like that before. - Oh, thank you man. (laughing) Thank you. - You have a lifeguard on set? - Lifeguards there? - Looks like someone could drown. - We shot in absolute
continuity, you know? So, if something happened, I
would have a different ending. - Wow.
- Right. - Wow. - If they drown, (laughing) you know, it's like, - [Marielle] Damn. - Cut to black.
- Yeah. - Credits in silence. (laughing) - It's interesting you're
asking these questions, if you could have dinner
with another director living or dead, just to
learn from, who would it be? - I would like to talk to Mike Nichols. - [Stephen] Oh, did you ever meet him? - Never, no. I would've loved to of met Mike Nichols. I saw an interview with him right, like, it was two weeks
before I was going to shoot, and I think it was one of
the last interviews he did, and he was talking
about how he approaches, well, first of all, his first movie is Who's Afraid of Virginia Wolf, which is kind of incredible, you know? - [Marielle] That's crazy. - And then, you know, I
love Carnal Knowledge, and the Graduate and, you know, but he says he approaches directing the way he approaches acting, which is he prepares, prepares, prepares, then he shows up on the day
and he throws it all away. And that really gave me the courage to direct the way I knew
I would be at my best. 'Cause as an actor, I've watched directors that have made different types of process, but I knew that that was kind of, he gave me the courage to embrace that, and so I would've love to
just meet him and talk to him. - Mari how about you? - I'm terrible at this
question, I don't know. I can't name one person. - [Stephen] Are you a film buff? - No. - Oh, you're not?
- No. Like I said, I didn't go to film school, I come from theater. I feel like I'm always, I
don't know, I love getting, I'd love to take that class
you were just describing that you had of film history because I feel like I need that. For me, it's so much more
instinct at this point in life. - How about you Alfonzo? - Can have dinner with a director? - [Stephen] One living or dead. - No offense to the person, but
directors tend to be boring. (laughing) So, but, Billy Wilder could be one
- Oh, yes. - Because apparently he was a lot of fun. (laughing) - I met him. - You met Billy Wilder? - Yeah. - Was it fun? - Was he fun? - Yeah, I got a list. I had dinner with
Fellini, three four times, Kazan,
- At NYU. Billy Wilder,
- NYU. (laughing) - You met Billy Wilder already. - I already see here. - What? - You already had Billy Wilder. - I'm just saying. - Yeah look at that. - What was Kazan like? - Who was fun? - Yeah, who was the most fun on this list? - Fellini. (laughing) - Yeah.
- Was he? - He did great. - Okay, I would have dinner with Fellini. - I would have dinner with Fellini too. That would be great. - Ever year I've had to
go to Italy to do press, I would call him up and
say what's all good. - I would love to be a fly on
the wall with you and Fellini. Did he speak English?
- Guy is hilarious. And then, but Billy
Wilder, his last years, he would go to his office
on one of the lots, and I just call him up,
he said "Come on over." - Wow. - Did you always feel like
you could just call people up? - (chuckles) After a
certain point in my career. - Yeah.
(laughing) - Is there anybody
you'd be afraid to call? I don't mean in the film business, just in the world in general. - I mean, yeah, there are
directors I'm not calling, but, - Not directors. (laughing) - Human beings, just any human beings.
- Who would intimidate you? Does anybody intimidate you? - No, not really, because
they're doing this thing, I'm doing it, you know and, everybody's got a different
approach to different films, and everybody has their
own voice and their path, but when you get there, like, here's the thing, I didn't want to be a
filmmaker growing up. I only got my love of
cinema from my mother, my father hated movies, so my mother, I was my mother's movie date. My father loved sports. So, a love of sports came from my father, and my love of movies came from my mother. So, growing up, I didn't even know who the directors were, but I knew who Mohammed Ali was, I know who Willie Mays was, I knew who's Hank Aaron,
and who Clemet was, I knew who Walt Frazier was, so, when I get to meet these guys, you know, Tommy Smith, John
Carlos, '68 Olympics Mexico, when I get to meet these guys, it's like, it's better
than meeting directors, 'cause these are my heroes growing up. I mean, who makes films? I didn't know. I went to the movies. I didn't know that you can make them, I didn't see it but I knew. Oscar Micheaux was like, long dead, so, - That's who I would take. To dinner, to this dinner. - [Stephen] Who, Ocsar Micheaux? - Yeah, I'll take Oscar Micheaux. - [Stephen] Oh really? - This little dinner if you
could bring somebody back. Yeah. - Maybe, I'm going to speak
for myself, not everybody here, but, I said my prayers every night because I'm doing what I love and a lot of people go to their grave having worked a job they hated. So, we're blessed, I think. - For sure.
- I'm blessed. - Don't you ever hate it? - Yes.
- Hate what? - Mari? - Sorry.
- Hate what? (laughing) - No, I just agree. I think that it is, I feel the same way, I feel so grateful, and I feel so lucky, and I was talking to another
filmmaker recently about this, and it was like, how do
we reconcile the fact that this thing I love,
also make me unhappy like 75% of the time? (laughing) And it's a very difficult
thing to explain, because it also sounds ungrateful, and it sounds like, come on, you're getting to do what you love, but there is struggle in making movies. It is a painful process. Writing is incredibly painful. Prepping is incredibly painful. Shooting is incredibly painful. I think editing is terribly-- - Shooting for me is the worst part. - [Ryan] It's tough. - Shooting for me is
one of the best parts. Prepping I think is the worst part. But, I-- - Shooting's a motherfucker. (laughing) - Yorgos, you didn't
say who you would like to have dinner with. - Well, I had time to think about it, I think I'd say John Cassavettes. - Oh.
- Yeah. - 'Cause, you know,
apart from the brilliance and the work, he seems like
an inspiring personality. And so, yeah. - Do you have heroes
outside the film business, and who are they? - Well, a lot. - Name one. - Elizabeth Kemp. You wouldn't know her, but, yeah. She was a teacher of mine. - Oh. - In grad school. She passed away while we were shooting, while I was editing the movie. - Which school? - I went to, I did like an MFA. It was at the new school then, but it was called the Actor's Studio MFA. - I remember you said that once, yeah. Mari, what about you? - I mean, my current
hero has been Mr. Rogers, 'cause I've been in his
world for the last year, and I really do think he is one
of the most inspiring people that I've ever-- - [Stephen] Really, wow. - By far, had the pleasure of getting to, kind of live with his voice in my head. And the more I learn about him, and the more I meet people
who really knew him, the more I realize, he's
actually one of the truest people who's ever walked the planet. He is somebody who
really changed the lives of the people around him, and the entire city of Pittsburgh, you can feel his influence. And he's changed my life
without having ever met him, but getting to sort of live
in his sphere of influence, and feel his message of kindness and the way that he believed
so deeply in all of us and our humanity and our feelings. I don't know. He was always somebody that I admired, but I remembered as a
kid, I wasn't really, I didn't really go for him, but then as a grown up
and raising a child, and trying to raise a good person, seeing somebody who dedicated
their life so selflessly, to children, he's just, yeah, a real hero. - What about Alfonzo and Spike? How about you guys? - In terms of heroes, I don't have heroes. I have a lot of people I admire. - [Stephen] Well, name one. - Wow, we're going to this
whole thing of one person. (laughing) Wow, it's tough to think. Who I admire, I admire,
a living person now? Living person. I admire Mujica who is
the president of Uruguay. You know, he created
something very interesting while he was there. - Spike? - In the government. - For me, I mean, that's why I have a pen. Artists mostly. James Brown, Prince, Frank Sinatra. - [Stephen] That's a lot. (laughing) - Michael Jackson, Al Fitzgerald, Mandella, and Zora Neale Hurston. That would be my-- - [Stephen] What about
you Ryan, one person? - Man, one? (laughing) - Don't fall for that, just be free. - Yeah, it's hard work.
- Say as many as you want. (laughing) - Hard work. I would say, I would say right now,
right now it's my mom. - Okay, but we don't know her, what about somebody we
would actually know? (laughing) - We will know her. (laughing) - He's like, but Bradley got away with it, that was his teacher.
- Yeah, yeah, yeah, yeah. - He's like hold on. - Yeah, it's got to be
somebody we all know. - Patrice Lumumba. Patrice Lumumba.
- He's dead. - Patrice Lumumba. - Plenty of rules in this game. - Yes, a lot of rules. (laughing) - Rules! - Does he have to be alive? Is that what you're saying? - They told me that, alive.
- But that was the rule. - That was the rule.
- They told me. - The rules are changing
here, these rules are-- - [Stephen] At least they knew who he was. (laughing) - So, the Democratic
Republic of the Congo, when they got their independence, he was the first elected leader, and he was assassinated. - By whom? - CIA. - CIA.
- Yeah. - What about you Yorgos? - I'm not going to play along,
I don't like rules. (laughing) I read about people
everyday that I admire, and you know, people that
sacrifice their lives and put their ass on the
line for other people, so I really don't have names, and also connected to what
we were saying before, you know, that, we're so, we should be grateful
to be doing what we do and we love, and I was making this film,
The Killing of a Sacred Deer, and we filmed an open
heart surgery operation, and we were like stressed at
where the camera was going to go and how we were going to film it, and if it's going to be the right shot, and then, we were there on the day and there were these
people who were actually holding a person's heart in their hands, and they were like,
chatting and discussing, and, you know, they were talking
what they did last night, and there was music playing, and I go like, I felt so bad at that time, like such a melodramatic
whatever personality that I'm, you know, I'm about to die because maybe, you know,
the lens is not right for filming the shot and these people, you know, have a person's life in their hands, and they just, you know,
go about do their job. So, that's what I have to say. - Last question, how do you explain what you do to your kids? Those of you who have kids. - My kids grew up on a
set, so they know it. They know what daddy does. - Okay. Did they ever ask you what is a director? - They saw it. I mean, they were my, they were on set. - Mari? - My son's the kid of two directors, so, - [Stephen] Oh. - My husband's a director too, so, he also is on set all the time. He was on set a lot for
my Mr. Roger's movie and he would yell action and cut. And, sometimes the actors wouldn't of seen that he had kind of snuck
in and sat on my chair, but they would just hear, "Action!" (laughing) in like a three and a
half year old's voice. And I've asked him, you know, what do you think I do? And he was like, you
tell the people on the TV what to do and say? Or he said something like that. You know. He kind of understands. But really, I tell him
we just play pretend. - And your son followed
you into the business, so, - I tell them that I'm a corporate lawyer. (laughing) So it's not like I stay away all the time. - Perfect, so I hope when we next meet you will truly be a
corporate lawyer, (laughing) and I thank you all so
much for coming on tonight. - Thank you.
- Thank you. (upbeat music)
