- This one's from Clea DuVall. - Oh. - "You effortlessly toggle
between the indie space and mainstream projects. What amount of money would
you be comfortable loaning me, knowing you would never get it back?" - Wow, it's interesting that she talks so much in the
question about indie films, and then asked for money. - It is.
- Like, you'd think that she would know, referencing
the indie films, that I don't have a lot of money. - Interesting. (jazzy upbeat music) (jazzy upbeat music continues) Melanie Lynskey. - Natasha Lyonne. - In the flesh. (Melanie laughs) Welcome to my soundstage.
I told you I bought one. - Yeah, I was surprised at that
choice, but it's beautiful. - So you know that it'd
always been a dream of mine, ever since my teenage years. - To buy a soundstage? - To buy a soundstage, yes.
- Yeah. Yeah, I do know.
- Yeah. - 'Cause that's how long
we've known each other. - When did we meet? - We met when I was 21, and you were 19, I think. Is that right? On "Detroit Rock City." I just remember being very excited by you. You were so fun, and
you had so much energy, and I sort of tend to be a bit shyer. - Then we had wild times in Toronto. - We had some wild times in Toronto. - And then we brought that train ride back to Los Angeles. - Yeah, and you suggested me
for "But I'm a Cheerleader." - Aha.
- Yes. And you said to Jamie,
"I just worked with her. Put her in this movie." - Oh, I'm so glad she listened.
- So thank you for that. - No problem.
- Oh my god. - No problem.
- That was a fun one. - Yeah, well, thank you
for the commission check that you did, which was,
I thought, unnecessary, especially 'cause it was a
very low-budget movie, but- - Very, very low budget. - Yeah, I'll take what I can get. - Yeah, you're welcome. - And, of course, Clea DuVall
had put me in the movie because the script for
"But I'm a Cheerleader" was on the floor of her car, and I was in the passenger
seat, she was driving, so I picked up the script, and I said, "What's this movie,
'But I'm a Cheerleader'? What's my part?" - Oh my gosh.
- She said, "Well, I don't know, there's only
the part of, like, a... You know, you can't play this part, because you're not this type of person." And I said, "Excuse me,
excusez-moi, 'Girl, Interrupted.' That's a movie that she was in." - I know. I remember.
- And then we went over to Jamie's house,
and, boy, did we show her. And, I guess, along the way- - What do you mean? Did you
audition, or you just, like- - I think I just flipped through
the script, and I was like, listen to all my- - Dialogue. - "Watch what I can't cheerlead," I said. (Melanie laughs) (chuckles) And- - [Melanie] Well, you did an amazing job. You were so great in that movie.
- Thank you. - I was wondering, I
do feel like the movie was very ahead of its time. Did you have any hesitation, I guess, about telling that story about somebody who was
in conversion therapy? What was the response like for you? Were you excited to do it? - It's a heavy question, but my body language suggests
a sort of casual thing. - It does, yeah.
- And, uh, those two things are currently at odds. I was not hesitant at all. - Yeah. - In fact, I'm consistently
shocked by the things that we sort of consider shocking or, like, I find it very patronizing when we say something like, oh, did you see that this straight
male actor is playing gay? Like, bravo or something. I find it really
patronizing and very weird. And maybe, in some ways,
times are changing. But it didn't occur to me. My genuine answer, like,
it was more like, holy cow, Clea's my best friend,
she's doing this movie, Jamie Babbit's so cool, and this subject matter is so
heavy and intense and insane, and surreal, therefore, because how could this possibly be real, even though, of course, we
know that factually it is real. - It's so crazy. - And it was funny. And I just, it never crossed
my mind to sort of, like, not try to use, you know, the arts to kind of tell the truth
about what's going on. But it just, looking back, also, like, it never crossed my mind, like when Clea and I were on the cover of "Out" magazine or
something, I wasn't like... It just sort of seemed,
like, so weird to me that people would, like, in some way, care or something. It just felt like what
you're supposed to care about is the conversion therapy part. And, like, we're supposed
to go try to stop that. And very moved, I remember
Clea and I were at Sundance with "But I'm a Cheerleader," and Sundance is in Utah, which is notoriously, like,
a very open-minded place. That's a joke, Melanie Lynskey. - No, I got it, yeah.
- And so, you know, these kids
would, like, come up to us and, you know, be like,
sort of, like, crying and just saying, like, "Thank
you for putting this on film," and, like, "Now I feel like
10% less weird," or whatever. And that, for me, it was very heavy and sort of, like,
continues to be very much, I guess, what I'm about. Like whether it's "Russian Doll," like unloading some veil
of shame around, like, untreated mental illness in
a family member or something, or, you know, that life is dark, or even with Charlie Cale, like the idea that she kind of, like, takes in the sort of outsider, like, kind of hates
injustice or, you know, like, hates a lie and just
sort of has this attitude of just give me some truth. I feel like, in general, I really believe in
making people that, like, society wants to sort of,
like, outside and other feel, like, safe and home
is very important to me. And so I remain, like, so proud
of "But I'm a Cheerleader" and so genuinely confused that here we are in like 2023, I think, and we're still sort of,
like, in a debating society around things like, hey, you say you're a person. Are you sure you're that
person? I have an opinion on it. - Yeah, it's so crazy.
- Like, it's really, deeply dark and disgraceful, so. So that's my hot take. - It's a wonderful take,
and I'm so happy to... I remember, at the time, like
after "But I'm a Cheerleader," somebody was like, "Oh, you've played a lot
of lesbian characters." I was like, I think it's two. (laughs) Like, what are you talking about? Like, I don't... It was so weird to me, also, that anybody, it was a talking point, or
anybody had any kind of issue. And I remember at the time, like, it seemed like your only concern was that you could appear to
be a cheerleader. (laughs) - Yeah, no, genuinely, like-
- Like, a Southern Californian cheerleader.
- For some reason- - It was what you worked very
hard on, and you did amazing. - Thank you very much. - Yeah, it's so funny. - Well, you know, I did
all that cheering school. - Yeah. (laughs) - I also think it's
interesting, obviously, the way that times are
changing such that, like, I don't know that I would
now feel comfortable sort of saying, like, okay,
now I'm gonna play, like... You know, it would be in a
very specific circumstance, I guess, that I would take on
playing, like, a lesbian again because of the ways in
which society has changed. And it feels like, okay, so let's not take opportunity
from people, right? You know, at the same
time, just like, you know, in some way or whatever, if you're gonna call it, like,
a time crime or something, I'm just so proud of the movie, that I'm very glad that I got to do it. And, you know, it is a
funny thing of, like, what is, for me, seductive often about playing a lesbian character is just this idea of not
being puppet-mastered by, like, a male storyline that I feel like often female
characters, even in life, and even that I'm, you know, like, friends with so many gay women and stuff, there's, like, something
about the architecture of our society, which is, we're often asking women
to exist in response to men and that often the, you
know, gay characters that I've gotten to play are sort of on their own trajectory, so sort of like they're not living a life in response to sort of, you know, what their boyfriend or husband wants or how to kind of appease him in some way.
- Yeah, for sure. - And so I think that, you know, for me, whether that's even just... Yeah, it's like, I've also,
in many ways, I think, spent my career really, like,
loving the male characters that I grew up in the '70s watching, whether that was like Martin
Sheen staring at the fan, listening to the end in "Apocalypse Now" and then, like, you know, ending up broken and bloody or something. And I was like, you never
get to see a woman do this. Or even like Harry Dean
Stanton or Warren Oates, or, you know, there were so many, like Jack Nicholson, "Five Easy Pieces," like, I just so much wanted
to get to play those parts and often was not seeing
that in this idea of, like, well, here we've, like, you know, handed you this sort of beta. So that's sort of a bit of a non-sequitur, but just to say, now that some
time has gone on, I'm also, I am suddenly very curious about, like, all those women that
I kind of left behind, like the Bette Davises
and the Gena Rowlands and the Barbara Stanwycks
and those other people that I was also obsessed with. I think I'm only interested
in them now that I'm older and have been able to,
like, plant a firm flag in this other thing. (uneasy music) - Sorry, I know maybe one day
I can talk to you about it, but for now, um, can that just be enough? - So, Melanie Lynskey, they've
asked me to use both names. You play a character named
Shauna, just to remind you. I don't know-
- Thank you. - What you did this morning,
and I don't wanna judge that, but Shauna's an incredible character. My question to you is,
how the hell has it been? How does it feel to play a
character that's that complex? I mean, I guess this
morning, and most mornings, I was thinking about
the joy of a double life and how I miss having one. Right now, I have a single life. I don't mean that I'm single. I mean that I miss vices. I'm somebody... You know, I recently stopped
smoking, terrible decision. - Oh, I'm so proud of you though. - Ah, thanks. - [Melanie] It's great. - I know. I'm not
impressed with the journey. And, anyway, then I was
thinking about Shauna and how fascinating it is that, really, well, she has multiple lives going. And she has multiple lives going with multiple players in her life, and then this season,
sort of how beautiful that she's actually
bringing her family into it. You and your husband in
that show play really well off each other, I love it.
- It's really fun. I love him too. I love working with him.
- What is his name? His name is Warren, Warren Kole. - Warren Kole. - Yes, I've been asked to use both names. - Yes.
- Yeah. Warren Kole.
- Yeah. (laughs) - So he's a great actor. I love working with him. There's, like, kind of like a... I don't know, a couple
of directors were like, this feels like the Coen brothers when we're working together, which is like very-
- It does actually. - High praise, but there is,
like, a kind of comedic energy that we have together that is so fun. - Yeah. - And the character's, like, amazing. I did not think I would be
at this point in my life and getting to play someone
who's this complicated and interesting and difficult and funny. It's just such a dream. - Also, the way you
play her is so specific. And, I mean, I think you've
always been one of our greats. Like, we all know it. - Oh. - I will say that, selfishly,
I think it's very fun to watch you shine this
hard, this consistently, over the past few years. And now with this show,
it just feels like, life is so often so wrong, and sometimes things are so right, and it's very exciting.
- Aw. - And then watching the show, like, I find myself actually,
genuinely addicted to it. And it is, it's because
of your performance sort of really grounding it. And everybody is really
excellent on the show, and they're great actors. But it's such a nuanced and rare thing, like the way you hold a gun
and have to sort of choose, or the way you sort of enjoy a murder, even as you know that it
shouldn't be happening and is bad, or something. - Yeah. - Is that baked into
the DNA of the scripts, or is that really-
- Yeah, very much. There's a lot of things in the writing where they're expressing a lot of different emotions at once. And it's fun to get to play, like, saying something and
feeling another thing, or some other thing coming out of you in the middle of, like, a normal moment. They're very good at that kind of thing. - Yeah. - I feel sort of the same
about where you're at in your professional life, like just how exciting it is to see... "Russian Doll," I was so obsessed with, and it's just, every
episode, I just was like, you made that. Like, you made that happen,
and the same with this show. - I guess I'm not over the part where you're a human lie detector. - Yeah, I know it's, uh, it's crazy, but- - My favorite color is yellow. - (chuckles) Bullshit. - How much were you in involved
in creating the character? Did you have an idea of what
you wanted her to be like? Did you and Rian Johnson
work to create her together, or did you have, like,
an idea for a person that you wanted to play? She's so fun. - Well, thanks, Melanie. - (laughs) You're welcome. - You know, it's been a good
time for us, and I'm grateful. It hasn't always been
this way, let's be honest. - No, it has not.
- There's been times where we've been at auditions,
in rooms in weird buildings, walkin' around with
little pages, being like, and both knowing that
we're not gonna get it. There's been, I would say,
at least a decade of that, that we did. - At least a decade. - At least a decade, which is- - Of reading something and being like, I think I can fit myself
into these confines to try to play this character. I think I can show up and look like the thing that
they have in their mind, instead of showing up and being like-
- It was brutal. Yeah. - Here I am. - It's so crazy because for
us, as 20 year olds, it's... You know, now, I know you're
22 and just had a baby. - Yeah. - So congratulations on that. - Thank you so much. - I feel like it's a bit early to do it, but-
- No. - I just, I want you and-
- I just wanted to start young.
- Jason to do... - You know what I mean? It's your journey. And that's none of my business. That's outside my purview. In creating Charlie Cale with
Rian Johnson for "Poker Face," we basically did a lot of steak and french fries together, meals. I know a lot of people are anti-meat, so I don't wanna alienate those people. - That's all right. - But, indeed, we were, we were eating meat in
a lot of those meetings, and I'm ashamed to say that now. - I'm not judging. I'm a vegetarian and I'm-
- You are? - Yeah, for 35 years now. Yeah.
- Wow. That's really something to consider. Is Jason a vegetarian? - No. - Well, uh, so we were eating salads, and I was very tight with
his wife, Karina Longworth. Are you familiar with Karina? - [Melanie] Yes, she's amazing. - [Natasha] She's a genius. - [Melanie] Yeah, she is a genius. - Yeah, people throw
around that word, but- - She truly is, yeah. - She really is, and I
would go further and say that they're actually in a genius couple, which is a super rare-
- For sure. - Dynamic, and a sexy
one, let's be honest. - It's a very sexy dynamic.
- If you can still say that. - I think we can still say that. - Look, I bought the soundstage
so I could say what I want. - That's why you bought it. - That's why I bought it. And so Karina and I were friends, and so Ryan and I ended up sitting at a book signing of hers, and next thing I knew, we were
kind of cookin' up this idea. I think he had seen "Russian Doll," and I'm never very far from Peter Falk or Elliott Gould in "The Long Goodbye." I try to keep them close,
and my friend Lou Reed, you know, all my close personal friends. I try to make sure that they're nearby. And he had this idea for
really doing this one hour, which also speaks to this kind of, it's such a funny business that, you know, nobody knows what they want until the actual sort of geniusy person kind of thinks of the next thing. Because I remember, in us pitching it, it was sort of like a
procedural, are you crazy? And now I think the times have turned. I feel like I've almost
seen that now three times. Like, with "Orange is the
New Black," it was like, now everything must be sort of ensemble. And then with "Russian Doll," it's like, everything must be tragic
comic, sort of auteur feeling. And now with "Poker Face," it feels like everything
must be procedural and episodic or something. I guess that's me talking
as a producer and an exec. You know, I bought a studio also. And so-
- Yeah, congratulations. - Thank you. Well, I always had that
Irving Thalberg dream, and so, anyway, we mostly spoke
about the character just in the sense of,
like, wouldn't it be cool if she was a little bit more laid back, sort of like The Dude, or like a more late-in-life Gene Hackman after "French Connection," more like Gene Hackman in "Night Moves," you know, that kind of-
- Yeah. - We would talk about "Fat City." But the bottom line is, you know, you have a lot of those conversations, and what was so profound and moving to me is that he actually,
you know, like, wrote it and sent it to me, and
we actually made it. - Oh my god. - And I feel like that's very, very rare. - It is very rare. People like to talk about ideas and, you know.
- Yeah. - But it's amazing. How did you feel when you read it? Were you like, this is it,
this is everything I hoped for? I mean, every episode is so amazing and so fun to just watch, like, all these standalone episodes with the little thread of Benjamin Bratt, who's, like, so great. - [Natasha] Yeah, Benjamin
Bratt is terrific. - [Melanie] He's so genuinely scary. - Yeah, he is scary, and he's... It's weird 'cause he's such a lovely guy, and he's terrifying on screen.
- He's the kindest person ever.
- Yeah. - You're not readin' the cards. - How could I read the cards? - You're readin' me. It's just a general... - Yeah.
- You can just tell. - Just that something is off. - How did you feel when
you read that pilot? Were you just like, it's so good? - Well, you know, I do like jokes, but, ultimately, we've
been friends for, I guess, over 20 years now, right? - Yeah. - And- - 24? - 24 years?
- Oh my god. - God, it's so weird
because we're just so young. - I know
- Just the math- - It seems impossible.
- It's just- - I know.
- So, so weird. But obviously, we have our best friend, Clea DuVall, in common. And I do think that when
I got the script, for me, more the feeling is, yeah, I'm
just a real softie that way. Like, I'm so moved that somebody who's that much of a giant would actually, like, sort
of stop what they're doing and sort of say, like, I want this for you so we can make this show
together that will go on, hopefully, for many years, so we can, like, keep goin'
to dinner for many years and keep texting, sort
of like casting ideas, and, you know, keep dreaming
about fun episodes together. Yeah, so I think mostly
I just experienced it as being very moving or, like, when Clea wrote and directed "The Intervention" or something, just, like, the idea that
she actually had us there, like that is-
- I know. - For me, I'm always like,
look, it's very lucky that "Poker Face" is such a great script and that Rian is such a
brilliant writer and director, but I think, honestly, if
it had been pretty bad, I probably would've still gone. I would've just, like, ah,
well, it's just too bad, but- - But here I am.
- Because- (Natasha laughs)
- Yeah. Yeah. - Because it's just really about wanting to work with certain people. And, like, I remember
that when Clea was winning the Best First Feature or
something award at Sundance, don't you remember that
the three of us were, like, at the stage, and what was she winning? Or were you winning Best Actress? - I did win.
- You were winning Best Actress.
- Best Actress at Sundance, yes, for that movie. - And I just remember us, like, crying. I remember-
- I know. - Was I crying? Was I the only one crying? - I certainly was crying, 'cause I'm always the one who's crying. - It was just-
- And then Clea's the least likely to cry, but she does cry. - But it was just so moving. - I know.
- Not only had she made her first feature, and
that you were the star of it, but that you were winning, and that there was, like,
an audience watching. - It was too much, honestly.
- It was too much. - It was a moment that was too much.
- I'm getting emotional. - I'm getting emotional too.
- Yeah. - Because, also, like,
she really had to fight to get the people she
believed in in that movie. And the part she wrote for
me was, like, a great part. And people kept saying, oh, well, you could have this person,
you could get that person. You know, people would read
the script and be like, well, I'd like to play that part. And she just really
fought to keep me in it, which was really very moving for me too. Like, you know, there's been so many years of fighting for an opportunity and fighting for a job, for all of us. And then to have friends
who are in the position where they can be like, I
actually am choosing you, and to feel chosen in
that way, and it, like, you know, you're the person
they would want above anybody, it's really-
- It's pretty wild. - It's crazy. - And so that is more, I guess, what I'm describing, or something. And especially, like, after-
- For sure, yeah. - All those years of,
you know, what we know, which is, like, great, you know, like "Heavenly Creatures,"
"Slums of Beverly Hills," like, we're in the mix, and,
like, now we're teenagers. And cool, let's do all
these fun movies together. And then all of a sudden,
there's this sort of real lull, where it's like, you're out
there trying to get a job, and it is a weird business in that you're supposed
to be chosen or something. Like, for me, so much
what I love about now, being a writer, a creator,
a producer, a director, is like, I get to be like a shot caller, which is much more fun
because there's the relief of not feeling the same terror around, like, I have to
wait for you to pick me, to tell me that I'm allowed
to go to work or something, or that I'm worthy. And I do think that we spent
about at least a solid decade, or maybe two, in that experience,
even as we were working, even as we were doing sort of solid work, and exactly what you're describing about that feeling with Clea
and, like, fighting for you. And, like, I was just
so perplexed, I think, by, you know, that Rian wanted to... I was like, really? And I was just very moved by it and then felt so lucky that it was so good. - Yeah. - I did not start out a bad person. But in case you haven't noticed, life doesn't tend to turn out
the way you think it will. - Do you like knowing what is gonna come next with Shauna, like the mysteries of sort
of where she's headed next or what's happening to teen Shauna? Or, like, do you like knowing ahead so you can sort of play into it? Or do you like being
sort of surprised by it? - I like knowing ahead. It's helpful for me to have the history. Because, you know, like in real life, someone says something
that triggers a memory, your feelings are hurt, or for a minute you go back to a thing, it's just a thing that I like to know. But I also don't want them
to have to commit to a story that they're not sure
of a hundred percent. So I kind of wait for them to come to me and say whatever they're ready to say. But if I could have the
whole rest of the show, every single script, I would love that. - Hmm.
- Yeah. Do you like to be surprised? - No, I would say part of what I love about being in the writer's room is knowing everything that got cut. I think it's really helped
me over the past few years to become a better actor. Like, I really saw it on "Russian Doll" that sort of, like, people
were sort of discovering me like a new idea or something,
and it was like, oh, no, I was just in the writer's room,
and then I was in the edit. So what ends up happening is that I could almost
fill in the ellipses. Like sort of on a subtext level, I was able to know why the character was suddenly jumping from, you know, her bedroom to the deli. But wouldn't she make a
stop first at whatever, you know, to go see Alan? Like, and the reason that
that had been omitted was for page count or time or budget, but was suddenly able to
play as if she had, you know, sort of gone to Alan
off camera or something. Like, I was able to fill in the gaps. And I think, previously,
I'd always assumed that writers knew everything perfectly and that what was in the script
was, like, really, you know, impossibly thought out and impeccable. And often it is, you know,
just budget restrictions or the amount of days or
locations or yada yada yada. So, for me, knowing stuff
much more from the inside out and even being a part
of crafting it, I think, has really helped me to accidentally be playing sort of like a larger scope of
that person's internal world, even when it's not on the page. So I, too, really enjoy knowing the most. It is fun. You don't wanna, like-
- It is. - Like, I remember on
"Orange is the New Black," which I loved doing, but it would be weird to,
like, suddenly get a script where you discover that your character... You're like, wait, whoa,
whoa, whoa, whoa, whoa, I'm this person?
- Yeah. (laughs) - Okay, well, that sort
of changes everything, and you sort of wanna
roll with it and be like, I think we both like sort of saying, okay, I can make it work.
- Yeah. - But it's just so much more
fun to be able to make it work at the highest level
you can make it work at. - The first season of
"Russian Doll" came out when my daughter was an
infant, like a tiny infant. So Jason and I were just,
like, watching shows. And I would just be breastfeeding
her and sitting there. And that was the only
show we watched where, every time she heard your voice, she would, like, pull off of my breast and try to watch the TV. (laughs) There was milk squirting everywhere.
- Wow. - So every time I think
about "Russian Doll," I think about, like, she could
not take her eyes off you. Everything else, she was very,
like, food-focused as a baby. - Right.
- So yeah. - That's interesting.
- It was hard to, like, get her off, and then
she would just be like, trying to watch, yeah.
- Wow. So we could all-
- She loves Natasha. - We could all learn a lot from that, huh? - Mm-hmm.
- Yeah. - Now that you've told me
about your baby's fascination with "Russian Doll," I feel like we've reached an
organic sort of stopping point because we've peaked.
- Sure. (laughs) - That said, I do have
a couple of questions from our friend Clea. - Oh, do you? - And maybe even our friend-
- Why didn't I do this? - Oh, well, it turns out, also our friend Craig Mazin-
- Aw. - Who you might be familiar with. - I am familiar, the
creator of "The Last of Us." - Yes, and "Chernobyl." - And "Chernobyl," which was wonderful.
- Which is what I named this sound stage, which was
probably a bad name for it. I think that's why we're not
getting a lot of bookings. - I would rethink that one. - So Craig would like to know, "How do you so easily portray
cruel or violent characters, when in actuality, you are the kindest and
most nurturing human alive?" - Aw, Craig. - Yeah, he's a bad person. (Melanie laughs) - It's true though. - Aw, that's really sweet. Thanks for that question, Craig Mazin. I think that, you know, as is
the case in "The Last of Us," which Craig Mazin wrote for me, which, again, was like a very crazy, moving-
- They're like love letters. - Yeah, it feels crazy when someone said, "Hey, I wrote something with you in mind," and then you read it, and it's this wonderful,
weird, complex person, and they're like, I
trust that you can do it. It's an amazing feeling. But in that case, it was just on the page. He just created somebody who was so specifically awful, and you sort of understood at times. And I also thought it was
so smart, in that show, how he kind of pieced out the information. You didn't know at first why
she was in charge of everybody, what her problem was, why she was so mad. And then you just gradually got to know everybody's backstories,
and so by the end, it was just such a tragic
and complicated mess. He's a very good writer. - He is a very good writer. - Yeah. - And good at "Mafia." - [Melanie] He's the best at "Mafia." - And other games, and a sweetheart. - Yeah, the best "Mafia"
moderator I've ever seen. - Yes.
- Other than Danielle Brooks, I have to say. - Interesting.
- Yeah. - Speaking of the mafia, just
one final, final question. This one's from Clea DuVall. "Your career has spanned decades and is made up of countless
brilliant performances. - Oh. - You effortlessly toggle
between the indie space and mainstream projects, kudos. After turning in dozens of
layered and nuanced performances, what amount of money would
you be comfortable loaning me, knowing you would never get it back?" - Wow, it's interesting that she talks so much in the
question about indie films, and then asked for money. - It is.
- Like, you'd think that she would know, referencing
the indie films, that I don't have a lot of money. - Interesting. - Yeah.
- Yeah. - Yeah, because of the choice
that I've made so many times to do indie films.
- To do, and work with integrity. - Yeah.
- Right. - Like, in TV-
- And a lot of TV stuff is happening now that seems
like is going pretty well, but- - Yeah, I mean, this is
the first time in my life. - Yeah, but-
- Yeah, she knows. - Yeah, so you feel like - She knows her-
- That's more for you and the family and stuff? - I mean, you know, I'm- - Yeah, it's just-
- I'm happy to be able to pay my mortgage.
- I'm gonna have to relay the message, and so it
would just be helpful. - I guess I would say $10,000? - 10,000? That's pretty big. You sure you wanna give her that much?
- Yeah, well, she's my best friend, I guess, yeah.
- Okay, all right. So I'll be handling that,
and we'll go from here, I guess, to Wells Fargo.
- Sure. Yeah, okay.
- And That's how we'll wrap out this day. We'll go to Wells Fargo,
put it in the envelope. - What does she need it for?
Did she say, or it's just for- - Listen, I'm not sure
what's going on with her. I think, honestly, she
just wants it for fun. I think she wants it as
a sort of token of... - [Melanie] Yeah. - You know, friends should
give each other more money. You know what I mean?
- Yeah. - Like, that's how you prove friendship. I think her love language is gifts. - Well, that is true. It was really fun getting to
just sit down and talk to you. - Yeah.
- It was nice. We should do this,
exactly this, more often. - I know, we should, we should meet more, like, with audiences, monitors. You know what I mean?
- Yeah. Yeah. - 'Cause we work together a lot, but we don't get to just talk one-on-one in public enough.
- Yeah, with someone steering the conversation, yeah.
- Yeah, yeah. - Yeah, let's do that.
- Hey, we should do that more. (jazzy upbeat music) (jazzy upbeat music continues) (jazzy upbeat music continues)
Natasha will be a shoo in if they ever make a biopic on Barbara Walters!
I’ve said this elsewhere, but Melanie’s American accent is incredible. That being said, I love hearing her kiwi accent.
Great conversation! Always loved both of their acting.
Agreed, let's bring back the pom-poms and rainbows!
What a great combo
Natasha Lyonne and Melanie Lynskey ramble and mess with each other for thirty straight minutes; it should just be a weekly show.
I might be wrong but I would be surprised if Lynskey or any of the actors on Yellowjackets get an Emmy nomination for S2. Lynskey was incredible in S1 but for some reason the "watch out boys I might look like a suburban soccer mom but I'll skin you alive and enjoy it" thing wasn't working that well in S2.
Two of my favorite actors with both a sickly, dry sense of humor between them.
If only other professions were afforded this kind of platform.
"Plumbers on framers"
"Nurses on anesthesiologists"
Lol