00:00Sam, for you, with Fosse Verdon, one of the goals of a project like this was to make Gwen Verdon's story a bigger part of the story, and it not just be Fosse's story.
00:18What do you remember from the conversations around that, and how do you then infuse that into your performance?
00:24We wanted to correct the record on how much Gwen Verdon was a part of that collaboration, and that was a big part of our agenda, I guess you could say.
00:35And also, we thought it would be better as a love story, and that would have a natural kind of through line.
00:42And Michelle Williams is, you know, a force of nature. She's amazing.
00:48And so that was sort of the beginning of that.
00:51It happened to hit at a moment in time in Hollywood where so much of the conversation was about that.
00:58This is how much of the movement influenced that.
01:02I think we had to kind of address it, you know, otherwise it would be, it would just, we wouldn't be responsible, I think.
01:10You know, and also with this guy who was very complicated, we had to bring that into the conversation.
01:17And she was, you know, she was, they were kind of like twins, the two of them, you know.
01:23They really were codependent in this way.
01:27Did I read that you consult your therapist?
01:30Yeah.
01:30In your role?
01:31I do.
01:32I'm curious.
01:32Yes.
01:33What did the discussion entail for this one?
01:35Well, you know, Bob was a complicated dude.
01:39Uh-huh.
01:40Uh-huh.
01:40So, you know, there was conversation.
01:44As Hugh said, a deep bath, you know.
01:47I did take a deep bath in this.
01:49And it can, you know, mess with your head a little bit, you know.
01:52It can mess with you a little bit.
01:54But there was a lot of elements to playing Bob.
01:57And early on, the dancing, the choreographer brought me together with this young lady who was a dancer.
02:04And I fancied myself a hoofer.
02:06And I was kind of cocky about it.
02:08And then I realized quite quickly that I was not a dancer.
02:12Not a dancer.
02:12Not a professional dancer.
02:14And I had a lot of work to do.
02:15You did good, though.
02:16You did good.
02:17Thanks.
02:17Thanks, man.
02:18It's all me.
02:19But Michelle does a lot more dancing than I do.
02:22But there's not a stunt double, if that's what you're asking?
02:23No, no stunt double.
02:24No, it was you.
02:25Yeah.
02:25And you had his daughter on set.
02:28Yes.
02:28She choreographed a number, actually.
02:30What are those conversations?
02:32What do you ask?
02:33And are you trying to find the humanity in this guy?
02:35Yeah, absolutely.
02:36You have to shake hands with all, you know, Iago or whoever this character is.
02:41You've got to shake hands with them.
02:42I think John Lithgow said that.
02:45There's so many elements to it.
02:50But again, it's got to be entertaining.
02:55At the stages of your careers that you are all currently in, what are the roles you're
03:03sort of either already tired of or just tired of being approached for?
03:08Yeah, I could take a break from racists and long break.
03:12Maybe like a forever break?
03:15Yeah, yeah.
03:16And I played a lot of country, you know, whether you say redneck or just country is probably
03:22a better way to put it, you know.
03:24And it's funny, I'm a city kid and they're always trying to throw me on a horse or get
03:30a lasso or something.
03:31And I'm really not, you know, that's not my thing.
03:34I don't know.
03:35I don't know.
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