- 7 weeks ago
"I am actually an English major nerd… You can't get out of the room without hearing what I think." Sigourney Weaver takes us through her illustrious career, including her roles in 'Alien,' 'Ghostbusters,' and more.
Director: Jameer Pond
Director of Photography: Ruby Paiva
Editor: Alex Mechanik
Talent: Sigourney Weaver
Producer: Emebeit Beyene
Line Producer: Natasha Soto-Albors
Production Manager: Andressa Pelachi
Associate Production Manager: Elizabeth Hymes
Talent Booker: Lauren Mendoza
Camera Operator: Osiris Nascimento
Gaffer: Nick Massey
Audio Engineer: Jusitn Fox
Production Assistant: Abby Devine; Marquis Wooten
Post Production Supervisor: Christian Olguin
Supervising Editor: Eduardo Araujo
Additional Editor: Sam DiVito
Assistant Editor: Justin Symonds
Director: Jameer Pond
Director of Photography: Ruby Paiva
Editor: Alex Mechanik
Talent: Sigourney Weaver
Producer: Emebeit Beyene
Line Producer: Natasha Soto-Albors
Production Manager: Andressa Pelachi
Associate Production Manager: Elizabeth Hymes
Talent Booker: Lauren Mendoza
Camera Operator: Osiris Nascimento
Gaffer: Nick Massey
Audio Engineer: Jusitn Fox
Production Assistant: Abby Devine; Marquis Wooten
Post Production Supervisor: Christian Olguin
Supervising Editor: Eduardo Araujo
Additional Editor: Sam DiVito
Assistant Editor: Justin Symonds
Category
🛠️
LifestyleTranscript
00:00I am actually really an English major nerd.
00:05And when I meet a director and I've read the script, if I like it, obviously I'm going
00:09to meet the director.
00:10I often have a lot to suggest to him to make it stronger.
00:15You can't get out of the room without hearing what I think.
00:18Hi, I'm Sigourney Weaver, and this is the timeline of my career.
00:43Originally, the script of Alien, written by Ron Chuset and Dan O'Bannon, was a group
00:51of ten men on this island.
00:54And the chestburster scene was probably the one scene that Walter Hill and David Geiler
00:59retained.
01:00The survivor was a man, so it wasn't so much a feminist statement as, let's do what people
01:07don't expect.
01:09So I was very fortunate to benefit from that.
01:13I think Ridley and those guys were all loved strong women.
01:18So again, I was very lucky to be working with these guys.
01:22And I knew it.
01:23I knew that Ridley and our cinematographer, Derek Van Lint, were, you know, we were often
01:29in these tiny spaces.
01:31And they were coming up with camera angles, camera positions that had never been done before.
01:36And Ridley operated throughout.
01:38So it was kind of a wild improvisation on everybody's part.
01:42And I think that adds to the danger of the scene because it was scary for us.
01:49No one ever said the lines that were written on the script, which for me, from the theater,
01:54was like, what?
01:55But, you know, you've got to roll with it.
01:57And I think, again, it helped the movie, that unpredictability.
02:01We had an amazing ensemble of actors.
02:04The food ain't that bad, baby.
02:06Come on.
02:07Come on.
02:08You chill for trouble?
02:09Come on.
02:10Come on.
02:11Get him.
02:12What's wrong?
02:13What?
02:14What?
02:15What?
02:16Hey!
02:17Hey, what's the matter?
02:18Hey!
02:19Hey!
02:20Hey!
02:21Hey!
02:22Hey!
02:23How do you think we shot the chestburster scene?
02:25Because you got down to the set and everyone was wearing a poncho, you know, a raincoat.
02:32And Dan O'Bannon and Ron Chussette were over on the side.
02:35They were there sort of the whole time, and they were going…
02:39They were so excited.
02:40It was like Christmas morning.
02:41We had an amazing special effects team.
02:43I mean, with a bunch of, like, little hoses and things, tubes and stuff,
02:48they really, in about not many takes,
02:52they had this thing happen to John Hurt's chest
02:57where the blood flooded all around.
03:00And then almost the next shot
03:03was the creature jumping out and being on the table going,
03:08and then took off, and we're all like,
03:10what was that?
03:11Because, honestly, we didn't expect anything like that.
03:14We expected hours where they had to move a little puppet or something.
03:19What I remember about that day was John Hurt was, you know,
03:25he played this very admirable, brave guy.
03:29So this thing had happened to him, and he, we were all having breakfast,
03:33and then he just started to choke.
03:35It was so realistic that I was almost in tears.
03:40I could not believe he was doing this each time
03:43as the things start to push through.
03:46It was like watching him get in an accident time after time.
03:51It was all for the first part where the blood flooded,
03:55but I mean, that's what I'll always,
03:56I was very glad that no one pointed the blood at me
04:01as they did at Veronica Cartwright,
04:03because I would have screamed,
04:05and it probably wouldn't have been a good idea for Ripley to scream.
04:07You didn't have to act at all.
04:09You were just, oh, shit, you know.
04:11What was that?
04:13Kane, who went into that ship,
04:14said he saw thousands of eggs there.
04:17Thousands.
04:18That will be all.
04:20God damn it!
04:20That's not all!
04:21Because if one of those things gets down here,
04:23then that will be all.
04:24Then all this, this bullshit that you think is so important,
04:27you can just kiss all that goodbye.
04:30I loved the fact that each time
04:31they chose a completely different director
04:35who wanted to outdo the guy before.
04:38Even before I worked with Jim on Aliens,
04:42I remember I got this script,
04:45and there was the character of Ripley on every single page,
04:48and I was like, whoa.
04:50And I couldn't understand why Fox would put that in development
04:54without mentioning it to me,
04:55but, of course, they didn't.
04:58And then after I finished the French film I was doing,
05:01I went to L.A. to meet Jim,
05:04and he's so gracious because he said,
05:06I really wanted to meet you
05:08because I want to know what you think of the script.
05:12And I was, you know, that's such a humble thing to say.
05:16I said, are you kidding?
05:18This is such an amazing script.
05:21It's nonstop action.
05:23You believe in the characters.
05:26You believe in everything.
05:28I thought he was just such an amazing writer.
05:31It was a tough movie for him
05:32because the British crew was like, who is this guy?
05:36Every time he set up a screening of Terminator,
05:40they wouldn't show up.
05:41They wanted Ridley Scott to be directing the second one.
05:44So it took, you know, a while to set them straight,
05:48which Jim finally did.
05:49That's really when our friendship began.
05:52Also, when you've done a movie like Aliens Together,
05:56you know, you're really bonded
05:57with everyone who was part of it for life.
06:00And I've always been grateful to him
06:01because he took the role of Ripley
06:03and just expanded it into this,
06:06God, almost operatic role and experience.
06:09And it's many people's favorite movie.
06:27Get away from her, you bitch!
06:30I was very devoted to each director.
06:34I think they all did a great job.
06:36But I have to say that at the end of the fourth one,
06:39I was really ready to move on and do other things.
06:42And I had been doing other things,
06:43but it's a great luxury to come back
06:45to a character like Ripley.
06:47And I miss her sometimes.
06:49She was good company.
06:50You know, she was so interesting.
06:52Even now, she feels very modern.
06:55Dana!
06:58Come on!
07:06I remember reading the script,
07:16which I just found delightful and very moving.
07:20It had a lot of heart.
07:21When I got to the audition,
07:23Ivan was filming it.
07:25I'd just met him,
07:26and I'd never been filmed before.
07:28I thought, wow, that's really serious.
07:30But I was sitting on the couch,
07:32and after Dana's sort of last line,
07:36I kind of,
07:37it just didn't occur to me
07:39that they would then move to a special effect
07:42to play the dog.
07:43I just assumed, being a theater person,
07:45that I was going to play all of it.
07:47Why would they go to a dog puppet
07:49or something like that
07:49when they could have me do it?
07:51So I sort of started growling
07:53and kind of jumping around on the couch,
07:56and I picked up a cushion,
07:58and I shook it,
07:59and I went,
08:00and I was howling,
08:02howling and snarling,
08:04and Ivan shut off the camera,
08:05and he said,
08:06don't ever do that again.
08:08An editor will look at that,
08:11and even though it's completely grotesque,
08:13they'll want to print it.
08:14And I said,
08:15oh, thank you.
08:17But I did say to him at that meeting,
08:19I said,
08:20you should definitely have the actor playing Zool
08:22turn into the dog in front of us.
08:25And I guess after I left,
08:27he called up Harold Ramis and said,
08:29there's an actress in here
08:31who made a very good point,
08:33and so they changed the whole script.
08:35I am actually really an English major nerd,
08:39and when I meet a director
08:41and I've read the script,
08:42if I like it,
08:43obviously I'm going to meet the director.
08:45I often have a lot to suggest to him
08:48to make it stronger,
08:49especially in terms of structure and character.
08:52You can't get out of the room
08:53without hearing what I think.
08:56And I think actually I've been hired
08:58a little bit for that
08:59because they know
09:00that you're going to take care of that area,
09:04that character.
09:05There aren't going to be inconsistencies
09:07that I'm going to fix all of that.
09:08I'm going to at least point it out,
09:10and I love that responsibility.
09:12The more you can strengthen
09:15the structure of the script
09:16so that it's almost just unbeatable,
09:19the better chance you have
09:21of making a good movie.
09:22I mean, I was a very quiet actor
09:24because I was just so busy
09:26enjoying them working together,
09:29and every now and then
09:30Ivan would go,
09:31come on, Bill, we need something,
09:33and that's how
09:34the little piano bit started.
09:36They hate that.
09:37That's just something he did.
09:41I hate this.
09:44I like to torture them.
09:46Bill Murray used to come over
09:47and tickle me and shake me
09:48because he thought I was so serious.
09:50I was always preparing, you know.
09:52If I had it to do over again,
09:54I would much prefer
09:56the background of improv
09:59as a way of being in this business.
10:02Break off one of those steps
10:03and pretend to eat.
10:10Okay.
10:11Okay.
10:11Okay.
10:18Well, I'd read the book
10:24and I remember thinking,
10:26God, what a wonderful movie
10:28that would make.
10:29Unfortunately, they can't do it
10:31because they would compromise
10:32the gorillas,
10:33the wild gorillas in some way.
10:35So when Arnie Glimcher came to me
10:36and offered me the part,
10:38and there were actually
10:39two gorillas in the Myst movies
10:41going at the same time,
10:42we ended up joining forces,
10:44thank goodness.
10:44It was really unknown territory.
10:46It was very important
10:47to anyone filming those groups
10:51that we were as respectful as possible.
10:56They sent me over early
10:57to, I guess now I realize,
11:01to see what, you know,
11:02what I do with wild gorillas
11:04moving around me.
11:06And I was with Diane's study group five.
11:09I was brought up there
11:10by the amazing trackers they have,
11:13the Rwanda trackers.
11:14I was sitting there
11:16and a little gorilla named Josie
11:18came over and kind of sat down
11:21right next to me
11:22and kind of went
11:22and put her arm against my arm.
11:26And it was the most incredible feeling.
11:29It was so hot.
11:30She was so,
11:31her engine was so strong.
11:34And it was so dear.
11:36I had some pretty hairy things happen.
11:38I was knocked down
11:39by a charging silverback gorilla.
11:43And my husband arrived in Rwanda that day
11:46and saw the dailies.
11:48I guess it was the next night.
11:50And he saw this huge gorilla,
11:53first of all, come around me.
11:54There was one there.
11:55He was just peeing all around me.
11:57And I'm just sitting there.
11:58I don't know.
11:59And then this big charge up the hill.
12:03It was really my POV
12:04that was the most exciting.
12:05And then I remember
12:09just lying there very still
12:11where I could hear him displaying above me,
12:14pulling little trees out
12:16and shaking them, you know,
12:17because they do display a lot.
12:19But I never felt in danger.
12:23I never felt like they wanted to hurt me.
12:26I just kept a respectful distance
12:29that they could move around me.
12:31The children were all over me
12:33all the time, pulling my hair
12:35and peeing on me
12:36and eating my food.
12:38But I never touched them
12:39because I knew if I did this to a baby,
12:42the mother would be right there.
12:44And that would put me in danger
12:45and everyone else.
12:46It's still one of the,
12:48obviously, one of the most amazing experiences
12:51in my life.
12:52I miss the gorillas.
12:52I consider us a team, Tess.
12:55And as such, we have a uniform.
12:57Simple, elegant, impeccable.
12:59Dress shabbily, they notice the dress.
13:01Dress impeccably, they notice the woman.
13:04Coco Chanel.
13:05Well, it was Mike Nichols.
13:08If Mike Nichols calls, you go,
13:10sure, I'll play a wastebasket.
13:11Yeah, that's fine with me.
13:13I thought it was a good part.
13:14I'm actually sort of astonished
13:16at how well it works.
13:17She's such an awful character.
13:19And Mike Nichols and I both knew
13:21a kind of person who was like this.
13:23So we were having fun,
13:25not making fun of her
13:26because we liked her,
13:27but we were having fun
13:29just sort of letting her be,
13:31be herself.
13:32And it was just such an honor
13:34to work with Mike.
13:35He would have his editor come each morning,
13:37Sam Osteen,
13:38and he'd walk through the scene
13:39and Sam would say,
13:41because Mike was from the theater too,
13:43he'd say, you need this shot,
13:44you need this shot,
13:45and you need that shot,
13:46but you don't need that shot
13:47or that shot.
13:48And so Mike would finish his day by five.
13:51You know, he knew what he needed to get.
13:53And once they got the scene
13:55from those angles,
13:56you know, we went home.
13:57It was fabulous.
13:58We worked at Anne Roth too
14:00as the costume designer,
14:03Melanie and Harrison.
14:04It was just an amazing ensemble.
14:06For years, I've had women come up to me
14:08like at the airport and go,
14:10she was so wronged, you know.
14:13Melanie's character
14:14borrowed your clothes
14:16and took your man
14:18and they were like,
14:19go Catherine.
14:20And I'm like, okay.
14:22But you know,
14:22it was so funny
14:23when I finally got to that scene
14:25where I really lose,
14:27I was so shocked.
14:29Orrin, this is a simple misunderstanding
14:31and I, you cannot...
14:33I can and I will.
14:35Now get your...
14:37What did you call it?
14:39Bony ass.
14:40Right.
14:42Bony ass out of my sight.
14:44I'm sorry.
14:47But I simply won't stand
14:48for that kind of talk.
14:49In the back of my mind,
14:52I thought,
14:53Mike will make sure
14:54that Catherine wins.
14:57And so I went in there
14:58with so much confidence
14:59and of course,
15:01it's...
15:02That's not the story.
15:03I never felt like a villain.
15:06I felt maybe a little more mischievous
15:08and I never felt like a loser
15:10until the very end
15:12when I lost
15:12and then I was shattered.
15:15You're boring me.
15:16I have a husband.
15:20I don't particularly feel
15:22the need for another.
15:26You have a point there.
15:27I think I heard about it
15:28at a birthday party
15:29for my husband
15:30from Kevin Kline
15:32who said he'd been sent this script.
15:34I remember asking for the script,
15:36getting the script
15:37and to me it was Chekhov
15:38and I wanted to play
15:40the Masha character.
15:41So I was actually asked
15:42which character do you want to play?
15:44And I said Janie.
15:46And meanwhile,
15:47they populated the film
15:48with the most incredible actors
15:50who were all working in the theater
15:52and it was shot on a shoestring.
15:54It was such a pleasure
15:55to work with Kevin again.
15:56He was always saying things like,
15:59I think I have to use
16:00a fake nose for this.
16:02And I'd say,
16:03a fake nose?
16:05I said,
16:06Kevin, this is you.
16:07This character is you.
16:08You don't need to put on a fake nose.
16:10This is just you.
16:12But he always wanted
16:13to put on a fake nose for something.
16:14And just the whole amazing cast,
16:17it just felt like such a wonderful,
16:19like a theater production
16:21that bloomed into a movie.
16:23We had the great Joan Allen,
16:26Kate Burton,
16:28young Christina Ricci,
16:30young Katie Holmes,
16:32Elijah Wood.
16:33I mean, just hello.
16:35It was very easy for us
16:37to just do several scenes
16:39during the day
16:40in the glass house
16:41where we were shooting.
16:42You know, I'm surprised
16:43that directors didn't make
16:45more use of such a great ensemble
16:48of sort of the same age of actor
16:51because it was a really good idea
16:53and I think that the film
16:55really benefited from that.
16:57And Aang, you know,
16:58is just a wonderful man
17:00and could literally
17:02would look at you
17:03across the set
17:05and send you a direction
17:07without speaking.
17:09I don't quite understand
17:10how he did it,
17:11but he would just sort of look at you
17:13and you'd go,
17:13oh, oh,
17:15and just sort of intuit something.
17:18Like when I was going to reach out,
17:20open the door of my son's room
17:22at the end
17:23to see if they were all right,
17:25I knew he wanted
17:26to say something to me
17:27and he ended up saying
17:28too ashamed.
17:32A great pleasure
17:33to work with Aang.
17:33I've always wanted
17:34to work with him again.
17:35You get spoils
17:36working with directors like that.
17:38Harley.
17:39Connie Madison.
17:41My personal favorite.
17:42Gwen DeMarco.
17:45Yeah.
17:47He's going to hire Cunha.
17:48I had really wanted
17:49to play Gwen
17:50because Gwen is much closer
17:52to me than Ripley is.
17:54I wanted to play
17:56a young woman
17:58in that world of stardom
18:01who wants so much
18:04to be a star
18:06and who,
18:07because she's beautiful
18:09and bosomy and blonde,
18:12no one takes very seriously,
18:14not even the commander.
18:17And I felt great compassion
18:19and sisterhood
18:20with Gwen and Tawny.
18:22You know, again,
18:25I've been so fortunate
18:26to work with these
18:27great ensembles,
18:28you know,
18:28Tony Shalhoub
18:29and Alan Rickman.
18:30I mean, it was just
18:31an amazing group
18:32and actually,
18:34I wish they'd put out
18:35a director's cut
18:36of the movie
18:38because at the last minute,
18:41DreamWorks decided
18:42to release the movie
18:44with all the,
18:45some of the more sophisticated
18:46scenes cut
18:48that Alan was in
18:49because it needed
18:50a kid's movie
18:51to go up against Stuart Little.
18:53And, you know,
18:54why they don't put out
18:55the movie again
18:56with his,
18:57more of his very,
18:59very strange
19:00and wonderful scenes.
19:01And I remember
19:02Bob Gordon
19:03had written
19:05a second one
19:06and he wouldn't
19:07give it to DreamWorks
19:08because he just felt
19:09they'd missed the boat
19:12on ours.
19:13And so we always
19:14meant to do a sequel
19:15and then with Alan
19:17passing away,
19:17we just lost heart.
19:19But it was a great privilege
19:21to do this love letter
19:23to actors.
19:24Caveman!
19:25You come over here,
19:26please.
19:27Get over there.
19:28That's right.
19:28Come on over.
19:29Come on over.
19:30Now, did you by any chance
19:33take a drink
19:34since he filled
19:35your canteen?
19:37Oh, no, I'm fine.
19:38I have plenty.
19:41Excuse me?
19:44I might have, uh,
19:46uh, drinking some.
19:49May I have
19:50your canteen, please?
19:51Holes is funny
19:52because my daughter,
19:54who's about eight,
19:55was given Holes
19:56to read in school.
19:58One day she came up
19:59to me, she said,
19:59Mom, there's this
20:01really awful woman
20:02in my book
20:03and you should play her.
20:05I remember
20:06being very proud of her
20:07that she was able
20:08to separate
20:10from the book
20:11and be able
20:11to say to me,
20:12there's a really awful person
20:14and you should play her mom
20:15because I think she knew
20:16I would enjoy it.
20:17But it was incredible
20:18to me to actually
20:19end up in the movie,
20:21you know, directed
20:22and I think produced
20:23by Andy Davis
20:24with Lewis Sacker
20:25writing the script
20:26and such an amazing
20:28young cast
20:29and, of course,
20:30The Warden
20:31is quite a creation.
20:34I mean, really
20:35nightmarish, I think,
20:37from a children's
20:38point of view.
20:39But what I found
20:40so unexpectedly touching
20:42about The Warden
20:43was that she had spent
20:44her childhood
20:45looking for that treasure,
20:47doing what she had
20:48the boys doing nonstop.
20:50The idea that she
20:52was so damaged,
20:53probably had some PTSD,
20:56that was still active
20:57in her.
20:58So she was driven
20:59to continue to look
21:00and that's why I,
21:02when I,
21:03in the last scene,
21:05I think before
21:05she's taken away,
21:06I said to Andy,
21:08you have to let her see
21:09what they found
21:11and then she can rest.
21:13And so I did get to,
21:15to see it
21:16in the back of the car.
21:17What we seem to have
21:18amongst us
21:19is a predator
21:20of some type,
21:22most likely a coyote
21:25or a wolf.
21:27So the village
21:29scared me to death.
21:32I just so believed
21:34in those we don't speak of.
21:37I didn't realize
21:38they weren't real
21:39until I got on the set
21:41and then it became clear
21:43that they were sort of
21:44manufactured by the village
21:45to keep people
21:47in the neighborhood.
21:48I totally believed in them.
21:51It gave me nightmares.
21:52And again,
21:53wow,
21:54what an incredible ensemble.
21:56I was reunited with Bill Hurt
21:58and I got to work
22:00with Judy Greer.
22:01I got to work
22:02with Bryce Dallas Howard.
22:04It was just
22:04an amazing group of people
22:06and we all lived
22:07in the same house.
22:09and just from
22:11the dinner conversation,
22:12no matter what happened
22:14that day,
22:15an actor would somehow
22:17find a neurotic way
22:19of looking at it
22:20like, you know,
22:21they'd worked so hard
22:23on this presentation
22:24in the schoolhouse
22:27and then the whole thing
22:29was shot on the kids.
22:30You know,
22:31there would always be
22:31an element of tragedy
22:33in our dinner conversations,
22:35which was also very funny.
22:37I mean,
22:37you could make
22:38a very funny movie
22:39about actors
22:40living together.
22:41And I love The Village.
22:43I haven't seen it
22:43in a while,
22:44but I think that,
22:46you know,
22:46Bryce and Joaquin
22:47are amazing
22:48and, you know,
22:50it's just a great cast.
22:52How much lab training
22:53have you had?
22:54I dissected frog once.
22:57You see?
22:58You see?
22:58I mean,
22:59they're just pissing on us
23:00without even the courtesy
23:01of calling it rain.
23:02I'm going to Selfridge.
23:03No, Grace.
23:04No, man,
23:04this is such bullshit.
23:06Somehow Jim picks people
23:07who will absolutely
23:09go the limit
23:11to serve the film.
23:14I remember him calling me
23:15saying he was delivering
23:18this script to me
23:19personally.
23:21You know,
23:21like,
23:22I think John Lando
23:23had his son
23:24bring it on a plane
23:25and hand it to me
23:27and I got to read it
23:28for two hours.
23:29And I quickly
23:30let him know
23:32that two hours
23:32was not long enough
23:33to read this script
23:34because every page
23:35was so filled
23:36with things
23:36you couldn't believe,
23:37flying this and that.
23:39I mean,
23:39it's just like,
23:40how are you going
23:41to shoot any of this stuff?
23:42This is impossible.
23:44He's very demanding,
23:46but he demands
23:48the most of himself.
23:49Like,
23:50he really wants
23:51all the props
23:52to be practical.
23:54He doesn't want
23:55something that
23:55represents something
23:56because it's not going
23:57to be,
23:58they're not going
23:59to film that.
24:00That's going to be
24:00transformed by
24:02Weta Digital
24:02into the real thing.
24:04No.
24:05He wants Brad,
24:06the prop guy,
24:06to come with something
24:08that the cast
24:09can really hold
24:10and use.
24:11I'm sure it's one
24:12of the reasons
24:13he casts me
24:13as a 14-year-old
24:14because we kind of
24:16bring that out
24:17in each other,
24:18that immature part.
24:20But I was very grateful
24:22to go back
24:22into my adolescence
24:23where I was
24:24quite miserable
24:25and revisit that time.
24:28It was actually
24:29very healing for me
24:30and I'm grateful
24:31for the opportunity
24:32to do that.
24:33I have to stop.
24:38Hi, Mom.
24:48Playing Grace and Carrie
24:50at the same time
24:51is exactly
24:51my repertory theater
24:52ideal and in fact
24:55Grace has a lot more
24:56to do in 2 and 3
24:58than I think Jim realized.
25:01That relationship
25:02between the mother
25:04and the child
25:05is to me so moving.
25:07It's in the script
25:08but again,
25:09Grace is a larger presence
25:10and so I really did
25:12get to do that.
25:13I really did get to play
25:14the scamp
25:15and the scientist
25:17and that's
25:19so satisfying.
25:23Open fire!
25:24Open fire!
25:27Brother!
25:32Come about!
25:34Come about!
25:34Get me round!
25:36I hope that
25:37Fire and Ash does well.
25:38Una Chaplin
25:39is amazing
25:40as Varang
25:41and so is Zoe.
25:43Everyone in it
25:43is so great.
25:46It's such an amazing story.
25:48I mean,
25:48it's really,
25:49I mean,
25:49it absolutely is
25:50the most amazing.
25:52E-ride
25:52with the 3D
25:54and everything
25:54and yet it's about
25:55these huge,
25:57huge themes
25:58of family
25:59and home
26:00and planet
26:02and community,
26:05war
26:05and refuge
26:07and, you know,
26:09being a refugee.
26:11It's about
26:12all these big things
26:13but if we,
26:15if it does well,
26:16we'll get to do
26:174 and 5
26:17which are even more amazing
26:19and I just re-read them all.
26:21They hang,
26:22he wrote these all
26:23in 2013.
26:25They hang together
26:26like nobody's business.
26:28So many jokes,
26:29character jokes
26:30and he was writing us
26:32before we'd ever
26:33set foot on the stage.
26:35He knew
26:35who these people were
26:37intimately.
26:38So, I mean,
26:39I just doffed my hat
26:40to him.
26:41He's just amazing.
26:42I really find it
26:43so moving
26:44to do these movies.
26:45I feel like
26:46they're about all of us.
26:47Yeah, we may have
26:48ears and tails,
26:50et cetera,
26:50and we may be blue
26:51but these are all
26:54things that are
26:55important to humans
26:56and he's encouraging
26:57us also to
26:58protect our planet
27:00as the Na'vi
27:02tried to protect theirs.
27:03I don't think
27:04my job could
27:05ever be boring.
27:06I don't repeat myself
27:08as far as I'm concerned
27:09unless I'm actually
27:10playing the same part
27:11and even then
27:12it's quite different.
27:13I love the theater
27:14but most of the
27:16repertory theaters
27:16are gone
27:17and that was
27:18what I wanted to be
27:19was an actor
27:20in a repertory company
27:21out in the regionals.
27:23That to me
27:23was like the best
27:24life possible.
27:26Play the maid
27:26one month
27:28and then play
27:28the queen
27:29the next month
27:30and do comedy
27:30one month
27:32and then do tragedy
27:33the next.
27:33I just thought
27:34that was
27:34and I've tried
27:35to do that
27:36in my film career
27:37leaping
27:38from Ghostbusters
27:40to Ice Storm
27:41to whatever it is.
27:42That's been very
27:43satisfying to me.
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