00:00 My dad said if anything happened,
00:03 I should find someone I can trust.
00:05 Are you someone I can trust?
00:08 The government guard's gonna cut you down.
00:12 Mr. Lee, you were such a successful director.
00:15 I'm really curious if it's difficult now
00:17 to turn off that portion of your brain
00:19 that is always thinking about how to get the right shot
00:22 or how to stay on schedule.
00:24 Is that sort of stuff that just stays with you regardless now?
00:26 Oh, that's a nice question.
00:28 No, it does, but I think it helps
00:31 because I think, I hope anyway,
00:35 that now working with other directors,
00:37 I'm more sensitive to what they're going through,
00:40 what they need, and then able to offer assistance to push.
00:44 You kind of look at the whole production.
00:46 I would know what he was up against
00:48 if we were dealing with the fire elements
00:50 and the crew and the stunt and the hours and Finn's hours.
00:53 And so I hope it helped to be able to support more.
00:59 And when I was younger,
01:01 I was just more aware of what the actor needs.
01:03 And now I'm very, very aware of the actor needs
01:06 to step back and listen to the whole production.
01:10 Yeah, well, it was nice to have a pro on set
01:12 to help me out and teach me through it.
01:14 So, yeah.
01:15 You get to do some really crazy physical scenes in this movie.
01:18 You're either dodging lightning bolts or running from fire.
01:21 And I'm just curious what your co-star, Mr. Lee,
01:24 taught you about surviving stunts
01:26 and how to make them realistic and did her advice help?
01:29 Sure. She sort of just said, "Trust the gear."
01:33 And I completely did.
01:35 There were some pretty awesome stunts on set
01:38 and that were physically demanding.
01:41 But, I mean, I absolutely put faith in Wade Allen.
01:46 He was the stunt coordinator.
01:48 And, yeah, it was amazing to be in that actual forest
01:54 that they built and they would light those trees up.
01:58 But that's the magic about Taylor Sheridan, the director.
02:03 He really creates an environment for his actors to work in
02:07 to help them be in there and in that scene.
02:11 Yeah, and it was just amazing to work on.
02:14 My heart was in my throat for you often.
02:16 You're going to run.
02:18 Run on for a long time.
02:20 And you're going to keep running.
02:21 Sooner or later, I'm going to cut you down.
02:23 Medina, you are an absolute badass in this.
02:26 And one of the elements of your character is that she's pregnant.
02:29 And I think right away we start to assume that a pregnant woman
02:32 is a little bit more vulnerable, a little bit more fragile.
02:34 And so I want to know if you leaned into that cliché
02:37 to go in the opposite direction.
02:39 I absolutely--
02:41 That was one of the things that excited me so much about the movie
02:44 because pregnant women are in a state of physical vulnerability,
02:50 but they still face out-of-ordinary challenges and dangers.
02:56 But just day to day--
02:58 I have two children, and I'm in an online group of women
03:04 for breastfeeding support.
03:06 We trade ideas and all that.
03:08 And a lot of the women in the group are in the military.
03:11 And hearing how they balance their training
03:15 and being away from their families and away from their children
03:18 and still managing the logistics of breastfeeding,
03:22 I had them top of mind.
03:24 I love how this movie subverts expectations
03:27 in a lot of different scenes.
03:28 And John, I want to start with one of you
03:30 because you had a really fun scene that goes in a different way
03:33 than I expected in that your character has--
03:36 bad guys have the drop on him.
03:38 And they're sort of pushing him along.
03:40 And he's at gunpoint.
03:42 And he finally turns to him and he says,
03:44 "Hey, I know how this is going to end.
03:46 Let's just get it over with right now."
03:48 And I've never seen a character do that on screen.
03:50 Did you recognize that as a unique and different scene
03:53 and was it fun to lean into?
03:55 Look, Taylor had a cousin-in-law, his brand name,
04:03 a former Green Beret who was there.
04:05 I think originally that whole idea was supposed to be
04:09 this tactically proficient scene of a guy just trying to
04:13 create chaos to stir things up.
04:16 And I think there was a lot of frustration
04:18 on how to make that tactically proficient
04:21 because it didn't seem tactically proficient to me.
04:24 And there was a lot of debate going forward.
04:26 And I think it's one of those things that, again,
04:28 is sort of a testament to a filmmaker like Taylor
04:30 where the whole thing with what we do is you prep and you plan
04:35 and you write this script and actors come in with their takes.
04:39 But I think the real great filmmakers really let just things
04:42 happen in front of the camera.
04:44 I really don't know what--
04:46 Whatever was happening in that scene was all the sort of
04:48 frustration and all the sort of different things
04:50 going back and forth.
04:52 And so what you got is kind of what you got,
04:54 which I think sometimes can be enormously effective
04:57 and when really, really special work can kind of go down.
05:01 We promise absolutes.
05:05 Act accordingly.
05:07 Real fast, Miss Jolie, seeing some Eternals footage today.
05:10 I'm curious what it means to you to see your--
05:12 I didn't know it came out, although that's interesting.
05:14 Oh, yeah, there's footage this morning.
05:16 We saw Athena with a golden sword holding it up.
05:19 Very brief, very brief.
05:20 I hope a trailer comes out soon.
05:22 But I was wondering what it meant for you to see
05:24 Chloe Nguyen, best director at the Oscars.
05:26 I was very, very happy.
05:29 Very, very happy.
05:30 I think she's a special director.
05:33 She's a really interesting woman.
05:34 She's very thoughtful, very serious about her work.
05:37 And I think she's bringing a new voice through her films
05:42 and I think to Marvel.
05:44 So I'm very excited for people to see.
05:46 Good.
05:47 (upbeat music)
05:49 you
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