00:00 I clearly cut all my hair off
00:01 'cause everyone was sick of dealing with it.
00:03 This is when Harry met Sally in 1989.
00:10 This was just the costume designer's idea
00:12 of like New York in the 80s.
00:14 I think my favorite is whatever the librarian look is
00:16 with the bow tie.
00:17 Fantastic.
00:18 I remember that the hair from their college days
00:21 had said to Rob there was time
00:24 when I used to take the curling iron
00:26 and just like put it on one side
00:28 and let it bake there for a while.
00:29 And then do the same over here and aquanut it.
00:32 I looked like that in high school.
00:33 Let me tell you something.
00:37 I think they were all my hair.
00:38 Yes!
00:41 Yes!
00:42 Yes!
00:43 Oh!
00:43 Oh!
00:45 I didn't come up with the whole scene.
00:46 The scene was in the script,
00:47 but there were variations on how it was originally scripted
00:50 and then what we ended up with.
00:51 But no way did I come up with that line that Billie said.
00:54 It was just too funny.
00:55 I'll have what she's having.
00:58 This is "Sleepless in Seattle."
00:59 It was a movie about love in the movies
01:02 and love itself.
01:02 It was an homage to love in the movies.
01:05 Are you in love with him?
01:06 I'm not now.
01:11 Now those were the days when people knew how to be in love.
01:16 This I think was Nora Ephron's idea of like the journalist.
01:21 So this I think was her idea
01:22 and I think kind of Nora might've dressed
01:24 a little bit like this.
01:26 You know, with the big shoulders and some of these colors.
01:29 I still have, there's a coat in that movie
01:30 that I actually gave to the Academy last year.
01:34 Yeah, that I kept, but then I gave it away.
01:37 Judy Ruskin, she designed that coat.
01:39 I don't know based on what,
01:40 but probably some film from the 40s that she and Nora loved.
01:45 There's a whole last part of the thing where she's going,
01:48 she's like running to the Empire State Building
01:50 and they had like this dolly truck set up and all of that,
01:53 like all kinds of apparatus set up
01:56 and the shoes were either too tight.
01:58 No, they were too big.
01:59 And it was like, kind of flip flopping down the street.
02:03 Her hair and makeup for this,
02:04 I think they were just trying to figure out
02:06 what to do with all my hair.
02:07 And they came up with various braids.
02:09 This is one where we were barely ever
02:15 around each other actually,
02:16 because he was shooting in Seattle
02:18 and I was shooting in Baltimore.
02:20 So we had a couple of times where we were on the same set,
02:23 but rarely actually.
02:26 - It's you.
02:27 - It's me.
02:28 - You've got mail.
02:29 I clearly cut all my hair off
02:31 'cause everyone was sick of dealing with it.
02:33 So much of this stuff is very reactive, you know,
02:36 like I don't know that it was like super intentional.
02:38 I think I had done a movie just before this
02:40 where I had super bleached hair
02:42 and like it was trimming that off.
02:44 And so it ended up being short like this.
02:46 And then I was stuck in this kind of cycle
02:48 of short hair for a long time.
02:49 And I didn't really like wearing wigs.
02:51 I think it was so Nora's vision, you know,
02:54 I think she wanted Kathleen to look kind of classic
02:58 and undated.
02:59 She's got a small bookstore.
03:00 Big chains were taking over
03:02 these little mom and pop bookstores.
03:03 And she was like regretting that
03:05 because I think she felt like New York
03:06 was really a series of small towns,
03:08 which is true actually if you live there.
03:11 And the fact that these little places were going away,
03:13 she, you know, felt sad,
03:15 felt that that was a little bit tragic.
03:17 And then I always wonder what she would have done later
03:20 with this, like after, you know,
03:22 Barnes and Noble got sort of eaten up by Amazon, right?
03:25 So, interesting.
03:27 Joe versus the Volcano, 1990.
03:30 And I played three different characters
03:32 who according to John Shanley,
03:34 who was the director and the writer,
03:36 they were basically three different aspects of womanhood,
03:39 almost like a prepubescent, which is Dee Dee.
03:42 And then like a teenager self, Angelica, the poet,
03:45 who is clearly trying on personalities.
03:48 The last one is Patricia,
03:50 who sort of of all of them looks
03:52 the most comfortable in her skin.
03:54 They all had different voices,
03:55 they all had different looks and they were,
03:57 you know, John is a Jungian.
03:59 So a lot of the preparation on my part for that movie
04:02 was trying to understand what that even meant.
04:04 You could be different aspects of the female archetype.
04:08 Colleen Atwood, it's just, I'm glad you chose this
04:11 because I feel like Colleen is one of these artists
04:14 with a giant imagination.
04:15 And this was a chance to have the resources
04:18 at her disposal to express herself very fully.
04:23 And I mean, the entire movie is a really imaginative
04:26 and it's true magical reality and she grounds it as well.
04:30 I don't know how many Oscars she has by now,
04:32 but probably deserves,
04:34 definitely deserves every one of them.
04:35 My favorite line in that movie is that the middle one,
04:38 like the teenage sort of adolescent one,
04:40 like gets Tom, I think talks to her.
04:41 And she says things like, "I have no response to that."
04:45 - I have no response to that.
04:47 - This is "French Kiss" 1995.
04:49 I had a blast doing this movie.
04:51 We shot the whole thing in France, very top drawer.
04:54 Larry Kazdin directed it.
04:55 It was, I mean, just fun on so many levels.
04:57 But I remember like a week we had to shut down
04:59 and rewrite the end, which was fine to do in France
05:03 because we were, I think they'd put the entire crew up
05:06 off season at the Hotel du Cop, which was crazy.
05:09 This is another example of not being able
05:11 to grow my hair out.
05:12 The short hair, I just loved it for this person.
05:15 This is somebody who like wasn't,
05:17 she was on the, not on the run,
05:19 she was sort of on the go.
05:20 She was like living out of her purse or something.
05:22 She had like obviously one shower.
05:24 And that's where I have this amazing Hervé Leger,
05:28 like who's that designer who did that dress?
05:30 Hervé Leger.
05:32 Yeah, this incredible dress that I showered for.
05:35 But I remember going to that atelier
05:37 to try it on and have all these fittings.
05:39 I'd never done that before.
05:40 It was great.
05:41 It was just really fun.
05:43 My son also was really little then
05:46 and there's this scene where I'm covered in cake
05:49 and he just thought that was the best thing
05:51 that ever happened to him, or to me.
05:53 Just had a blast.
05:54 He was there that day.
05:55 Addicted to love.
05:56 Oh, I'm still stuck with the short hair.
05:59 So I guess I was like working a lot right then.
06:02 I love this look for this,
06:04 like this is a nut of a character.
06:06 She's like a vigilante or something.
06:08 [laughs]
06:10 She's a photographer and she's like obsessed
06:12 with her ex-boyfriend.
06:14 And Griffin Dunn directed this
06:16 and I loved every single thing I wore in this film.
06:19 It was just so fun.
06:21 And she was just an exaggerated,
06:23 like downtown kind of Soho character,
06:27 like after hours kind of character.
06:29 I think that Renée just had pure freedom
06:32 and like, 'cause that's downtown, that's New York,
06:35 you know, wear what you want and figure it out.
06:37 And I wore a boa, who does that?
06:39 So I love that.
06:40 And then she has this like striped tank top
06:43 and then like more velvet coats.
06:45 Oh, I do remember I got this coat,
06:47 this like, it wasn't leather,
06:49 it was a vinyl short tight,
06:52 not quite a motorcycle jacket,
06:53 but kind of with fake fur.
06:54 And I wore that every day for like five years
06:57 after this movie.
06:59 Yeah, Lutz Weissman did that.
07:06 And he, again, he was new to film
07:09 and he was from fashion.
07:11 So it was fun to have Sally and Lutz on that movie.
07:14 To shoot in New York is the greatest.
07:16 And then to shoot downtown with Griffin,
07:18 it was all fun.
07:20 It never seemed like work, this particular film.
07:23 Proof of Life.
07:24 This movie was like, this character, I think,
07:27 was spending all this time in South America.
07:30 And so the costume designer, Ruth Meyers,
07:33 who I really liked and admired, she's amazing.
07:37 She just kept finding pieces
07:39 that we could kind of justify this character's
07:43 kind of assuming some of the environment
07:45 that she's around, that she's been in.
07:49 You know, she started out as a sort of country club lady,
07:51 kind of like conservative person,
07:53 but she's like now living most of her life in South America.
07:57 So that's why these sarongs and t-shirts
08:00 and kind of things that look like they,
08:03 she could have found them in a thrift store.
08:04 We shot at like 12,000 feet.
08:07 So it was something to have to acclimate to that.
08:10 There's very little oxygen up there.
08:11 So once you're there for a while, you're okay.
08:14 You know, you're after about like a week,
08:16 but you take your time 'cause it strains the body
08:20 and you don't come and go.
08:21 You basically stay up there.
08:23 The hair and the makeup.
08:24 Again, I think it was just supposed to look like undone.
08:29 You know, not trying too hard,
08:30 which of course takes a ton of work.
08:32 What happens?
08:33 Oh, already the 2023.
08:35 I took a big break, grew my hair,
08:38 and have one outfit in what happens later.
08:41 And this idea came to me that both,
08:46 you know, there's only two characters in the film
08:49 and only two people talk in the film.
08:51 And they're ex lovers who see each other 25 years later.
08:55 And of all the people in the airport,
08:57 they're basically dressed alike.
09:00 They have the same name.
09:01 They call each other, she's like Willa Davis
09:03 and he's William Davis.
09:05 - Hello, Willa Mina.
09:06 - Hello, William.
09:08 And there's sort of these,
09:09 I imagine them as sort of like two halves of a whole,
09:12 like a yin yang, kind of like a black and white symbol
09:15 that's always trying to find, which they never do,
09:18 find some sort of balance and equanimity.
09:22 And what I love too is that as they go through the movie,
09:25 they sort of like shed this,
09:26 like he sheds his black jacket,
09:28 she sheds her long black coat.
09:30 And they just look like more and more innocent
09:33 and almost like they're in their pajamas by the end.
09:35 That was very deliberate on our part
09:38 to have it be a transition like that.
09:42 I haven't really directed,
09:43 I mean, I was in a movie that,
09:45 I had a small part in a movie I directed before this.
09:49 And this was, I realized that we were really lucky
09:51 because it was just a teeny movie, a $3 million movie,
09:55 which means that we didn't have a lot of the bells
09:57 and whistles that you have on other films.
09:59 Like we didn't get to watch playback.
10:01 So only footage I saw was by the time
10:04 we got to the editing room.
10:06 So I'm happy about that because I think that
10:09 the performances are really unselfconscious
10:11 and we were really free.
10:14 And we shot all night long for like 21 days
10:17 and just felt like being in a little bit of a bubble.
10:20 And it works for the intimacy of the romance, I think.
10:23 - And what made you decide on David to come here?
10:29 - It has rom-com elements that I love,
10:31 but it's a love story.
10:32 And I think what I was, ended up loving the most about it
10:36 is that it isn't what you think.
10:38 That it has some deeper pings,
10:41 makes some pretty modern day observations
10:44 about love and forgiveness.
10:46 And it somehow is a love story rom-com with,
10:50 it's like a delivery system for some more profound ideas
10:54 that hopefully don't feel like medicine going down.
10:57 - How was it walking in the community?
11:00 - I have to say it's a new experience.
11:02 Strange to see, like I have, I do,
11:04 I have a lot of hair to account for.
11:06 Thank you.
11:09 Thanks you guys.
11:10 Thank you for listening to all of this.
11:12 (upbeat music)
11:15 (upbeat music)
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