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00:02It's so simple. One of the things I like about Blue Moon and Wait, as different as they are,
00:07is a lot of my favorite movies are simple in their structure, kind of like a great song.
00:14You know, a great song should be great just sung alone in your car or with unbelievable fanfare
00:23and effects. But if there's not something true at the center of it, then it's all for nothing.
00:28Exactly. You know, and Blue Moon and Wait are kind of an exercise in simplicity.
00:41Words by Oscar Hammerstein II. What can I say about Oscar? He's gonna come striding in here any second,
00:50all seven and a half feet of him, and you know Dick deliberately went with somebody tall this time.
00:54You know that. But what can I say about Oscar? He's so earthbound. And let's face it, most of us
01:03are
01:04earthbound. But there are moments, I swear to God, there are moments in my work when I have made
01:10something bigger than myself. I agree. Definitely. Thank you. The words were bigger than the music,
01:16bigger than the characters who sang them. And they approached, for maybe one half second,
01:20something immortal. Excuse my limitless self-regard, but they did. And if nobody else is gonna say it,
01:27then I'm going to. I have written a handful of words that are going to cheat death.
01:32Spoken with the modesty of a true lunatic.
01:35Hey, when Shakespeare wrote, not marble, nor gilded monuments of princes shall outlive this powerful rhyme,
01:42did people say, my God, what an ego? No. They said, he is a genius,
01:46and he knows his work is going to last. So now you're Shakespeare.
01:51Welcome to the actor's side. Well, he's a lot more than just an actor. He's an author.
01:55He's a screenwriter. He is a director. He is a producer. He is pretty much everything you can
02:02be in this business. A man for all seasons. This is Ethan Hawke. Welcome.
02:06I'm Paul Schofield himself right here.
02:08You do it all. And congratulations on your fifth Academy Award nomination for Blue Moon,
02:15but it's your first in the leading Best Actor category. It's got to feel good, too, right?
02:21It does feel good.
02:22And also, you're up for the SAG Actor Award, BAFTA, everything, Golden Globes this year. I got to read
02:30something here, too, because already you have won. Boston Film Critics, LA Film Critics, National
02:35Society of Film Critics, Toronto, Austin, North Texas, Detroit, New York Online, Women Film Critics,
02:41International Online, New Mexico, Columbus, San Francisco, God knows what else. The critics love
02:47you, Ethan.
02:48I appreciate them right now. You don't always love me.
02:52But when they do, they are very supportive.
02:54Yeah, you've been down this road before many times in the awards game and things. And I'm
03:00thinking of First Reformed, which was so good, Paul Schrader's movie. You did that, too, that
03:07year, I remember.
03:08Yeah, but it was funny, because that year, the critics were really championing that film,
03:13but then the Academy didn't.
03:15Yeah.
03:16And that was surprising and tough. And they did give Paul Schrader nomination for, I would
03:22say that there's probably like five screenplays I've ever read in my life working that were
03:29really a work of art. And First Reformed was one of them, and Blue Moon was another.
03:35Yeah.
03:35And so I'm so happy that Robert Capel has been nominated.
03:38I thought that was great that he got that nomination.
03:41I know. He really deserves it. It was a stunning piece of writing. It's part of, it's the reason
03:45Rick and I made the movie, is the way you so rarely come across something so beautiful like
03:50that. And I remember First Reformed was that good, too.
03:54Yeah. So on Blue Moon, though, it took a few years for you to actually do his screenplay.
03:59Everything with Rick takes a few years.
04:02I know. He's sat here before. I know him well. He's something. I mean, he's shooting a movie
04:07for the next 20 years right now.
04:09Right now.
04:09Merrily we roll along. He did. Obviously, you did Boyhood for 11, 12 years with him.
04:16So that's kind of crazy. But I know this took a while. Was it because he wanted you to grow
04:22into the role?
04:24He, yes, I do think that was, I really wanted to play the part. And I think he looked at
04:31me
04:31and thought, you're not ready yet. And I did not understand what he was talking about.
04:36Yeah.
04:36But that's only a small part of it, I think. He's kind of like a master gardener, you know?
04:43I mean, he really loves to study a script and he makes the movie in his head and he watches
04:48it and sees what's wrong with it. And then he wipes the slate clean. And, you know, we
04:54did a reading of the screenplay about every other year for a decade.
04:58Wow.
04:58You know, we would just read it and talk about it. Robert would come over. We usually did
05:03it at my house. And we'd read the whole thing out loud. We'd have some friends play some
05:06other parts. And we'd just talk about it. And Rick would just think about it. And then
05:10Robert would go back and revise it. And we'd do it again. And part of it was gardening the
05:15script. And another part of it was waiting for me to be ready.
05:19Yeah.
05:19And it's not just aging. I think Rick's an incredibly intuitive person. And there's things
05:26that I've learned in the last 10 years about acting that actually helped me be ready.
05:32Oh, really? Okay.
05:33Yeah. Like, I mean, just Born to be Blue, First Reformed, The Good Lord Bird. A lot of
05:42these were performances where I was pushing the boundaries of my normal box that I kind
05:49of stayed comfortable inside. And I think that kind of the decade of 40 to 50 was a great
05:55learning period for me. And it made me ready for this movie.
05:58Well, you've been in this business a long time. I have to say, I was on the set of the
06:04very first movie you ever made.
06:06You were.
06:07Because at that time, I was working at Entertainment Tonight on the Paramount lot and doing all the
06:13movie coverage. And we went over and shot some behind the scenes at Explorers.
06:18That was the first, Entertainment Tonight was the first interview I ever did.
06:22Oh, okay. And I set it up.
06:24Well, that's kind of amazing. What a long, strange trip it's been.
06:29Yeah, it's been a very long, strange trip. And, you know, that Joe Dante, who I'm a big
06:34fan of to this day, I think he's great. But, you know, that was an interesting thing because
06:39I noticed looking at your filmography, you didn't do another movie after that, you know, for four
06:46years at Dead Poets Society.
06:48My mother did not want me to be a child actor. That was something I'd done on my own.
06:52Uh-huh.
06:52My uncle let me audition, never thinking I would get the part.
06:55Yeah.
06:56And so I got the part. It was extremely difficult in my family. My mother had a job and she
07:01had no,
07:02she was not interested in accompanying me to set.
07:05Yeah.
07:06You know, um, no, that's not. And so the combination of the movie, uh, not doing well
07:12and being received and, and the combination of the fact that my family was not supportive.
07:18Yeah.
07:19Um, my mom was very supportive of me being an artist. Let me be.
07:22Right.
07:22And she just didn't think there was any reason to be a professional until I was of age.
07:26And so, uh, it all kind of shut down after Explorers, which I'm so grateful for now.
07:33Yeah.
07:33Is that made the Poets Society possible? And that was a much better learning experience. I was 18.
07:38I was start starting ready to be, to be taught.
07:40And that's one of those great movies that had such a cast and, and, you know, and Peter Weir
07:45as the director that, you know, to miss that kind of experience.
07:49Yeah.
07:49Well, that experience, you know, there's very few things that
07:53really changes a person's life.
07:55Yeah.
07:56And that changed mine.
07:57And so from that point on, you were ready to rock and roll and keep going.
08:02I was so suspicious of success as a young person.
08:06Yeah.
08:06Um, I think partly because of Explorers, partly because of my relationships with some
08:10friends who were actors, um, uh, I was really, you know, when you mentioned at the top of this
08:15interview that I like to write and do other things, that all started from just complete
08:20and total abject fear that acting would be taken away from me.
08:24Wow.
08:24And I just needed to learn other things.
08:26And so I started a theater company and I got involved in producing and tried, I took my Dead
08:31Poets Society money and I made a short film, mostly because I, not because I didn't love
08:36acting, but I knew, uh, how, what a treacherous path it was.
08:41Yeah.
08:41Actors, we have, we struggle as actors to make our own opportunities.
08:45Yeah.
08:45You know, and without a great opportunity, you can't excel.
08:48You know, if I don't, if I don't, if Linkletter doesn't give me this part, I can't show you
08:52that I can do it.
08:53Right.
08:53I need somebody else to believe in me.
08:55Yeah.
08:55You know, or if Antoine Fuqua doesn't cast me in training, I don't have that experience.
09:00Right.
09:00You know, and so that's scary as an actor and you start, I at least, um, started wanting
09:06to learn how to do other things. So I had a little bit more control of the reins of my
09:12life.
09:12Well, that's really smart though. I mean, you know, they can't stop you from writing.
09:17The great thing about theater is you don't need a million dollars to put on a play.
09:20Right.
09:20But you need like 15 bucks.
09:22Yeah.
09:22And, and so, uh, I like to say this about, there's a handful of directors that worked
09:28at Paul Strater, Richard Linkletter, different people that, if you
09:30put them in jail, they make a movie. I don't know how they just, I guarantee you Paul Schrader
09:36would, I wanted to be that kind of actor. It's like, yeah. And, um, and, uh, it, the
09:42plan kind of worked.
09:44Yeah. Well, I mean, theater is important too, because you definitely have theater roots
09:48and you know, this is called the actor side. We talk a lot about the process of acting
09:53and the importance of acting, you know, and now all they do is talk about AI and how you
09:57can do all this stuff and you can have all this stuff. You can't do that in theater.
10:00The interesting thing about the theater is that it's unbelievable training, but this
10:06profession is mysterious. There isn't one way to do anything. You know, I just was at
10:10the Santa Barbara Film Festival. Yeah.
10:12I got to meet Jeff Bridges for the first time. Oh yeah.
10:15Jeff Bridges is one of the great actors and you know, he's a film guy. Right.
10:19I mean, and, but he has developed a process of excellence in film. For me,
10:26the theater, it's kind of like, uh, runners who go to Santa Fe and they run at a high altitude
10:33and they get to a normal altitude and it's much easier. Sure.
10:35Or it's running with weights. Yeah.
10:37That's how I feel about the theater. It's just so much more difficult that when
10:42you can do that, then acting in film becomes a lot. It's just, you're carrying less weight.
10:48Yeah. One thing I didn't mention that you do too, you do documentaries.
10:52I loved the last movie stars that you did. Thank you.
10:57Paul Newman and Joanne Woodward and just all those tapes that you had to work with the book that he
11:05never wrote. Yeah. And you look at Newman and his career and the way he did it, you know, not
11:11afraid to
11:13be a character actor or all that, even though he was like the ultimate movie star, you know,
11:18is that somebody you have always just sort of... Yeah, I'm sure that's why I did the documentary.
11:22I was turning 50 and what I, you know, he, he and Redford are, are great examples of artists in,
11:30in my field who started young, were very good and just kept getting better. And they got better as
11:39men and they got better as citizens and, um, and they got better, um, community members and better
11:45artists. I mean, what was so fun about the Newman doc is getting, you know, the early films, Cool Hand
11:52Luke, Hud, all that great stuff. But then you get to the later work and it's nobody's fool and it's
11:56color of money. It's just, he just kept getting deeper and deeper. And as a romantic for Newman to
12:06see him do that and sustain a lifelong love affair. And that's not easy. Anybody who's in a lifelong
12:12love affair and a serious marriage knows that that, um, takes humility, it takes work. And
12:20I found it really inspiring. Oh yeah. Just to watch it is so great. Just the other night,
12:26maybe two weeks ago, we watched, um, Message in a Bottle, which my wife wanted to watch, you know.
12:33He's great in that movie. Just look at him in that movie. He just walks away with it.
12:37He's, and you know, even what's the Sam Mendes film, um, that he, uh, uh, with Jude Law and Tom
12:44Hanks. Um, he, he, I think that was his final Oscar nomination. And he's just,
12:51there was an integrity and a dignity to the way that he approached this field that I think when I
12:57was turning 50, I was like, how do you play this game? How is this game won? You know?
13:04Well, I just saw a movie that most people watching this certainly have not seen yet. Uh,
13:09it was at the Sundance Film Festival, the weight that you are in. And the first thing I'm looking
13:15at it and it's reminding me and people writing about it are saying, oh yeah, it's a sorcerer.
13:19It's all this stuff. The thing I thought of was Cool Hand Luke right away watching that movie.
13:24Well, you are very smart. Can I, can I cut you off for a second? Yeah, sure.
13:27Um, so when I was doing the documentary on Paul Newman, I was studying Cool Hand Luke and I was,
13:34and I called these friends of mine, um, the director, Podrick McKinley, and the writer,
13:38Shelby Gaines. And I said, how come nobody makes a movie like this anymore? They don't. It's,
13:43it's like an action movie, but it doesn't have action. It has character. And it's,
13:48I guess it's an adventure film. I mean, it's a prison movie, a weird genre you put it in,
13:52but I was like, I want to make an old school adventure film, you know, with characters.
13:58And that was the, Cool Hand Luke was the first firecracker.
14:04I love that because that's exactly, I totally got that. There's of course,
14:07elements of Sorcerer Deliverance. You can name, Treasure of Sierra Madre, for sure.
14:13Yeah. Uh, you know.
14:14Even sometimes the Great Notion, you know, we pilfer from a lot of great films.
14:18Oh my God, I know.
14:18With the underwater scene. Incredible scene with Richard Jekyll, who got an Oscar nomination.
14:23Well, that's one, that's one of the greatest nine minutes of cinema history and sometimes
14:28a Great Notion. He's on a log for those who haven't seen this movie.
14:32And the water's rising and he's trapped under the log and you just, it's two brothers and
14:37Newman knows his brother's going to drown. Yeah. And he's doing everything desperately.
14:41And he can't do it. It's just, it's heartbreaking. And he so deserved that nomination. But
14:47this movie is exactly what you said. It's the kind of thing they don't make anymore. And it's
14:52great. Russell Crowe's in it and the villainous role there. He's amazing in it. I know. We're so
14:56lucky to have him. And the whole cast, the whole crew as you're going on this treacherous journey,
15:03trying to deliver this gold. It's so simple. One of the things I like about Blue Moon and Wait,
15:07as different as they are, is a lot of my favorite movies are simple in their structure. Kind of like
15:14a great song. You know, a great song should be great just sung alone in your car or with unbelievable
15:24fanfare and effects. But if there's not something true at the center of it, then it's all for nothing.
15:30Exactly. You know, and Blue Moon and Wait are kind of an exercise in simplicity. Ironically,
15:36it's bookended, too, because Blue Moon premiered at the Berlin Film Festival, which is just going on
15:42again now. And now The Wait is going there, too, on its next stop. Somebody buy this with the right
15:49person. I don't want somebody, the right. We need a great distributor because I've got
15:54one of my favorite. I've had a handful of great premieres. You know, Boyhood was one. But The Wait
15:59at Sundance, I mean, as an actor, to feel an audience love a movie. It is a high I chase.
16:08I mean,
16:08it really is a thing. Once you have that feeling, you just want it again. It was such a great,
16:15great night there in Sundance. Getting back to Blue Moon and when you're talking about theater and
16:20everything, that is the ultimate theater movie. I mean, this is Lorenz Hart and the opening night
16:26of Oklahoma and the end of a long relationship with Richard Rogers. You are never off screen. I
16:32don't think once. It's like incredible. This is a true actor's actor's performance. But man,
16:43it's risky, I think. Yeah, it's one of the first times that I can remember that I knew that my
16:54wife
16:54and my kids couldn't be there. Really? You just knew it was going to be too much work. Like, I
17:00had to go
17:00underground. And so we shot the film in Ireland. And it was just, it was the heaviest lift of my
17:09professional life. I think just in terms of how difficult, you know, that what was being asked
17:18of me. There's a transformative process that was being asked of me that not every part demands.
17:23Right. You know, but this one demanded it. And to get to do it with Rick, to get to do
17:28it with this
17:29piece of writing, to get to make a movie about the New York theater, which is my first love. So
17:34I was just all in.
17:35And at Sardis. Yeah. Yeah. Supposedly Sardis. Yeah. But it was all done in Ireland.
17:40Well, we built, they're never going to shut down Sardis for two months. The Broadway community would
17:45not have that. No. So we knew we had to build it somewhere. So we built it on a set
17:49in Ireland.
17:49That's amazing. And transformative is when you talk about it, you had to be like five feet tall.
17:56Yeah. Save my head and shave your head. Arthritic and, you know.
17:59And play that. And I read somewhere Rick Linklater said, he doesn't want to see, and it's just a ninth
18:07movie he's done with you. He doesn't want to see anything he's ever seen before. He doesn't want
18:12to see Ethan Hawke or any bag of tricks an actor might have or anything like that.
18:17Yeah. He said to me on the Friday before we started shooting, he said, I don't want to see you
18:21to the
18:22wrap party. And it was such an interesting thing to say. And so his criticism to me after certain
18:31takes would only be, I see you. I saw you. I saw you. And, and that was just his mantra.
18:38And it was
18:38so irritating because you, you, you can't understand if somebody's saying, I see you as a
18:45negative. Yeah. Kind of hurts your feelings, you know? Um, but I knew what he meant and he was
18:52asking me to disappear and, um, he didn't want the movie to be cute or, um, charming or, um, I
18:59mean,
18:59it needed to be funny. Um, but he really wanted it to feel like a Rogers and Hart song. And
19:05what they
19:05are is they're, they're wickedly funny. They're penetrating, they're heartbreaking. Um, they're
19:12completely absorbing, they're soulful and silly. And that is a hard razor's edge to walk.
19:19That's really, you know, but it's so worked. When I saw this movie, I'm going like, whoa,
19:24the only thing I was worried about is it's a small movie, you know, are, are people going to go
19:30see
19:30it? I was so sure any actor watching this movie would go, wow, be very jealous, you know, that,
19:40that you got that part. And, uh, you know, I was absolutely convinced that if they see this movie,
19:45there's no way you don't, you don't get the recognition you've gotten. So it's so nice to
19:51see a little movie like that, you know, it makes it so rewarding to go to all these events,
19:56you know, to know, um, that it was just made with love and simplicity and that it's taken us to
20:03the
20:03big dance. Exactly. Yeah. And, you know, it's not your only thing here. You'll probably go to another
20:09dance, uh, later when the Emmys come around, cause the lowdown's a hell of a show. That's a great
20:13show. Yeah. FX and Hulu right now. And you're going to do a second season. Yeah. Yeah. Sterling
20:19Hard Show. I'm at this really interesting moment in my life where I'm working with this young
20:22filmmaker who's so brilliant and is a complete protege of Richard Linklater, you know, and he
20:27just has seen every movie Rick's made 15 times and wants to talk to me about him and wants to.
20:32And so,
20:39Sterling got his whole career through the Sundance Institute. There he was, Chloe Zhao,
20:43Ryan Coogler, David Lowery, Sterling, all these great filmmakers who were all born in the Sundance
20:49and we were all there celebrating, uh, Redford. And, uh, not only has Sundance given me so much in
20:56the past, but there it's given me my future, you know, with this, my next job is going to be
21:02back
21:02with Sterling doing the lowdown. Uh, yeah, exactly. Which is great, but that's a wild,
21:07I mean, investigative journalist that you play here and it's a physical role. It's wild. That,
21:14just that first episode, what you go through. Well, Linklater gave me the, the hardest part
21:20of my career and Sterling gave me the most fun part I've ever had. Yeah. Is that right? Yeah. The
21:23low,
21:23I mean, it's so much fun. I mean, it's, it's like Sterling doesn't make a movie. He hosts one.
21:28It's like the whole thing. The whole thing feels like a party. Wow. That's good. That's good in
21:33television too. Yeah. You know, I mean, to go into it. Yeah. But I think that's what brought me
21:38there is it feels like we're making an independent film. You know, it doesn't, it doesn't feel like
21:42we're making the TV that I grew up watching. Right. Well, it doesn't feel like the TV that
21:49anybody grew up watching. I mean, TV's really moved on with streaming. It's just, it's, we're in a
21:55different game for sure. Yeah. It's completely in those days when actors said, Oh, if I do TV,
21:59my career's over that. It's over. It's, it's over. In fact, even just, I was, my son and I just
22:06watched, binge watched Andor. And I think Andor is probably the best Star Wars film that's ever
22:10been made. And I know it's not a film, it's a series or whatever, but as a piece of filmmaking,
22:15it's, it's a high watermark for the Star Wars universe. Tony Gilroy is brilliant. Yeah. I remember
22:21actually, my other thing that I do behind the lens, he was here and he had like two days left
22:26before the writer's strike was going to start. And he had to finish that first season. And he just,
22:31you know, he was like rushing, doing everything he could. And, you know, it turned out just to be
22:36brilliant, brilliant thing. And the strike stopped him from being able to do anything beyond what he,
22:42he had. So it was against all odds. Yeah. Well, he did it. He did it. That that happened.
22:47And then at the same time, you bring back the grabber. I mean, you know, I had never seen you
22:52in horror films. And then all of a sudden, you were in Sinister. And you were, you seem to have
22:56a new phase here where you do enjoy. Well, Scott Derrickson directed Sinister, which was the first,
23:04you know, horror film I did, midnight movie. And, but he really taught me, it was a great,
23:12it was a great way to shift my life as an actor, because I could, I could give a performance
23:20inside
23:20that film, and he could use it to a positive end. And, and I just learned a lot about genre
23:26filmmaking, and about the ways in which genre filmmaking, you know, the acting that you do in
23:31a Western is different than you do in a romantic comedy, which is different than you do in a Richard
23:35Linkletter film, which is different. And so it's kind of forcing me to change and expand.
23:40Yeah. And I really enjoyed that. And Scott is a serious artist. And so I've, I've enjoyed the
23:46three I've made with him. Yeah, it's totally fun, because I would normally say a guy in a mask
23:50there, you know, it's like Freddie, not Freddie, but Jason. Jason, right. Yeah. But it's not,
23:55you know, the grabber's got a personality that somehow comes through. Go figure. Go figure.
24:01Yeah, I don't know. I'm sure they're going to want to do Black Phone 19. Yeah. Yeah. I don't know
24:06about that. Are you going to do more with Julie Delpy, by the way? I wonder. Or is that a
24:10rumor
24:11I heard? I wonder. All it takes is one email and that fire would get relit. What made those three
24:17movies special is that all three of us wanted to write the same film. We were completely in sync on
24:24it. And so we would just need to know what to, what to offer. Yeah. You know, they feel kind
24:30of
24:30complete to me. If you watch it as a trilogy, they do feel finished. And so they're out as a
24:35trilogy. I mean, yeah, yeah, yeah, I know. And it functions like that. Yeah. I mean, but you know,
24:40the before sunset and midnight and all of those movies were so good. All part of your link letter
24:45thing. I know, no doubt. I don't have to ask you that you're going to work with him again. I
24:49think
24:49you've got a plan, right? Yeah. Next one's going to be the 10th. So it puts pressure on it to
24:54be the
24:54best. Really? I think so. Well, everybody, I always think the next thing I'm going to do is going to
24:59be
24:59the best. That's good. You have to. Forward thinking. You know, I have to ask you before we
25:05go, oh my God, before the devil knows you're dead, that was Sidney Lumet's last film to be able to
25:12work with him. And he did one of Newman's best later films. Oh, the verdict. Yeah. Yeah. What was that
25:18like working with Phil Hoffman? And I don't know that you knew it was going to be Lumet's last film.
25:24You didn't know, but he was 83 and, um, it was, he, he, it was so wonderful to be with
25:32an old master
25:34who knew, he really understood what an opportunity this was. His whole methodology, the way he likes
25:41to work requires great writing and great acting. He, he, he really puts a lot of pressure on the
25:49performer. So his best films, Network, 12 Angry Men, Dog Day Afternoon. I mean, the list is long.
25:55They all have great writing and great acting. And he had a great script. And I do, it's funny
26:01because I'm here in LA, you know, with the Oscars right now. And it was such a tribute to Philip
26:08Seymour Hoffman that when he won the Academy Award, the first thing he did was call Sidney Lumet
26:15and say, you know, that script that we couldn't get made a couple of years ago, I bet I'm hot
26:19enough now that we can get it made. And so Phil put the entire bent of the heat that he
26:25got from
26:26that Oscar to get Lumet his last film. And Lumet took that responsibility and ran with it. And I'm
26:32so grateful to both of them for including me and that Phil was special that way. Not everybody would
26:38do that. Reach out to an 83 year old man and say, one more, one more run around the track.
26:43One more. And so, you know, sometimes it doesn't work out, you know, we've seen in film history
26:49here. He was like right on it, right on it.
26:52Yeah. John Huston's The Dead, and I like to think Sidney Lumet's The Devil Knows You're
26:57Dead are, I think, you know, everybody loves to talk about the best first film.
27:01Yeah.
27:01But my brain also likes to think about what was the best last film?
27:05That's really an interesting, I've never heard somebody talk about that.
27:09Yeah, yeah, yeah.
27:09You know, that is actually a very interesting thing to look at.
27:11Oh, no. Well, I put Lumet and John Huston on there. They went out with a bang.
27:15Yeah. Well, you know, if Juror No. 2 turns out to be Clint Eastwood's last film.
27:19It's a pretty good film.
27:20Pretty damn good movie.
27:21Pretty good. I know. I love that film. Yeah.
27:23You know, I know he will just keep going.
27:25Yeah, I know. I don't know. Nothing's going to stop him.
27:28No.
27:28People have been thinking it was his last film for 25 years.
27:31Yeah.
27:31I mean, every single time he has to go climb and get financing and everything else.
27:37That's like Scorsese, too. You know, these guys are just going to go, go, go.
27:42They're amazing.
27:43It's amazing. Well, it's an amazing, all these movies you've done over the years.
27:48White Fang, I loved an early film here.
27:51And Denzel Washington, you know, working with him a couple of times.
27:55And, you know, you've had a charmed career so far.
27:58I sure have. I don't know exactly how to, the right way to express gratitude, but I certainly feel it.
28:05Yeah, well, one way that people can express gratitude, they're doing.
28:09You're getting nominated for everything. It's exciting.
28:11Ethan Hawke, thanks for joining us.
28:13Thanks for having me. Appreciate it.
28:14Thanks for having me.
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