- 16 minutes ago
When you’re a legend like Jessica Lange, there’s never enough time to walk through the major memories and moments of a lifetime of work. But the two-time Oscar winner did her best on a visit to the Rolling Stone Studio, where she talked about returning to American Horror Story for a bravura performance in Season 13, her long relationship with Ryan Murphy, and the early days of her career — from miming in Paris (!) to her breakout role in King Kong (including the subsequent flood of publicity that made her cry) and her career-cap performance in a recent production of Long Day’s Journey Into Night. “I've been incredibly lucky,” Lange told us. “I love acting, and I've had decades of being able to do it, which has been a joy for me. … It all was a great adventure. I'm so grateful that [it] came my way.”
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00:00You were considered for the part of Wendy and the Shining, but it famously went to Shelley Duvall.
00:05Were you ever to say?
00:06Yes.
00:07You didn't know?
00:07No.
00:08No.
00:09Really?
00:09Yeah.
00:10Where'd you read that?
00:11In an interview with Jack Nicholson.
00:14Oh, Jack.
00:15Hmm.
00:16Okay.
00:16Well, I didn't even know that you didn't know.
00:18Well, I didn't.
00:24Hi, everyone.
00:25I'm C.T. Jones.
00:26I'm a staff writer at Rolling Stone.
00:27Thank you for joining us at the Rolling Stone studio today.
00:29We have the gorgeous and comparable Miss Jessica Lange.
00:33How are you doing?
00:34I'm okay so far today.
00:36Thank you so much for joining us.
00:37Yeah.
00:38Thank you for inviting me.
00:39Oh, you look so classy.
00:40I feel like I should have dressed up a little bit better.
00:43Oh, no, no.
00:43I like what you've got on.
00:44I like it a lot.
00:46Fabulous.
00:46Let's get right into it.
00:48Okay.
00:48So right now, audiences are watching.
00:49We're season 13 of American Horror Story.
00:51The creator, Ryan Murphy, has called it an Avengers-like collab between you and a lot of these great,
00:57phenomenal actresses who have made the show what it is.
01:00And you appear in the series as all four of your iconic characters.
01:03What was it like to return to these roles after so many years?
01:06It was absolutely great.
01:08I mean, that's why I said yes to do this season was the idea of revisiting, reprising these
01:15four roles.
01:16Because when we originally did them, it was just so new and crazy and wild.
01:25And I loved playing all four characters.
01:29Some, of course, I prefer to others.
01:32But all four characters were so well-written and there was so much to do with every single
01:39episode.
01:39It was a wonderful adventure.
01:42That and working with really what was a repertory company.
01:47All of the actors returning every season.
01:50I mean, at least for the four seasons that I did it.
01:52But creating a new character in a new story, in a new situation, it was a wonderful way
01:58to work.
01:59I loved it.
02:00Well, you said you had preferences.
02:01Let's name names.
02:02What are the characters you feel like you enjoy more than others?
02:05Well, my favorite character, perhaps, was the last one I played, which was Elsa Mars, just
02:11because of where the story was set.
02:14It was such a magical, poetic environment.
02:18And just having the opportunity of working with all these extraordinary people that came
02:23on to do this show.
02:24And the fact that they let me sing.
02:26It was really, yeah.
02:28It was a lot of fun.
02:29How do you feel like you've grown since you had to play these characters?
02:33And what insight do you feel like the time allowed you to have when you returned?
02:37Well, it's interesting because, you know, you think you finish a character and then you're
02:42done with it.
02:43I mean, certain characters that I've played, you can feel them stay with you.
02:47After finishing shooting the film about Frances Farmer, she just stayed with me for a long
02:55time.
02:56It was almost like a haunting.
02:58I don't want to sound like crazy or something, but I felt her presence.
03:02When I played Blanche Dubois three different times, it felt like I was still holding on
03:09to something.
03:10Most characters you think you come to the end of, but when you go back to them, and that's
03:15what this was, it's such an extraordinary opportunity to explore, is how much of them are still there
03:22and how easily they are to bring up.
03:26For instance, with the first character, with Constance, I had many scenes, you know, in the
03:33first, like, five, six episodes.
03:35So it was easier to get into because it was more leisurely.
03:38I had more time.
03:40But for instance, with Elsa, that was one scene, one episode, really.
03:44And with Sister Jude, that'll be one episode.
03:47So those I recalled through The Voice, and that helped me a great deal reprising who they
03:56were and what they were.
03:57So I would listen to old, you know, scenes from the original series and just not look
04:05at them, but just listen to The Voice.
04:07And The Voice is what always brought me back.
04:10That is a fascinating way to approach it.
04:12And I can totally see how that would, like, really, really help you kind of get into these
04:17characters' bodies again.
04:18Yeah.
04:19Now, when you kind of ended AHS, you had basically said, I think I'm done with this series.
04:25How does Ryan Murphy convince you to come back?
04:27Is this a group chat situation where you're like, Sarah Paulson, what should we do?
04:31No, I mean, I just, you know, sat down with Ryan and he explained the idea for this season
04:36to me.
04:37And immediately it felt like this is something I want to explore.
04:41I want to come back to these characters because I loved all four of these characters.
04:46And each one had presented me with an opportunity to do something wild and very Baroque, Gothic,
04:54you know.
04:54I mean, it's fun to work that way.
04:56Yeah, I thought, why not?
04:58Why not do this?
04:59And then the added, you know, impulse being that I'd be working with a lot of the actors
05:05that I'd worked with in those seasons.
05:07It was a pretty easy convince.
05:09Going back a little bit, I can only imagine that kind of returning to these characters
05:14and, you know, this close cohort of friends and colleagues brings back a lot of memories.
05:20Do you remember a season that you felt like maybe was the hardest for you to film?
05:25Hardest?
05:26I don't know which, I mean, as far as like schedule or scenes to play or whatever.
05:31Yeah, or maybe even emotionally.
05:32I mean, you guys, you're going through these powerful women.
05:35But I like playing emotional.
05:37So the more emotional, the better for me.
05:40Okay, fun.
05:40That makes it like even more interesting and I'm more excited about doing it.
05:45It's the scenes where like you just kind of, you're trying to figure out what the hell
05:49am I going to do here?
05:50You know, each character presented, and the writers were so wonderful, great opportunity
05:59for exploration.
06:01Some of those monologues that were given me in those first four seasons are some, I mean,
06:07just amazing writing and great, great opportunities to, you know, to explore extreme emotions and
06:15stories and backstories and memories.
06:18It was always rich.
06:20It always gave me something to do.
06:23And I hearken back to Elsa, you know, her backstory and then working with, you know,
06:31we were on a set that was just like enchanted.
06:35It was like something from another world, lost in time.
06:38It was so beautiful.
06:40It made going to work exciting.
06:43Now, talk to me a little bit about your relationship with Ryan Murphy.
06:46Obviously, you have to work with him sort of one-on-one, and I'm sure that you guys have
06:50developed a rapport through these series.
06:51What is your relationship like, and how did it grow throughout the process?
06:55Well, you know, he approached me about the first season.
06:59I didn't know who he was.
07:01I think he immediately convinced me that this would be a good thing to do.
07:06He's very good at that.
07:08And I adore Ryan.
07:10I mean, he's, you know, often, I mean, we don't see each other often, but when we do,
07:16and especially he directed the first episode of this season, it was great to be around him again.
07:22And I love the way he directs.
07:24He kind of comes on set and says, okay, now I want you to move here on this line, this
07:29in there.
07:29And then, and you've just like, oh, okay, that's, you know, and you work it out.
07:34He's an amazing force, an energy force.
07:40How does it feel on the sets when you have so many phenomenal actors and actresses kind of all working
07:48with like stellar material and also material that requires you to like really dig deep emotionally?
07:52Well, everybody works differently.
07:54So, you know, you've got actors there that you don't know what their approach is.
08:00But some actors you've worked with over the years, even before American Horror Story, like I know Sarah Paulson really
08:06well.
08:06We did a stage play together.
08:08Nothing brings you closer than like being on stage every night together.
08:12I've worked with Kathy Bates over the years on other things.
08:16And, again, she's just a phenomenal actor and being in her presence and seeing what she's willing to do and
08:24her bravery and her intelligence.
08:26There were many actors like that on those four seasons.
08:31And it was thrilling.
08:34We were like a repertory company, get a different character, a different story, different situations.
08:40But you could always count on them to come through.
08:44And hopefully they could count on you to come through.
08:46It was a wild ride, but it was great.
08:49What's the fondest memory that you have from filming this last season, especially with so many returning faces?
08:54I mean, I'm sorry to say that I didn't have a scene with Kathy Bates, which I would have loved
08:59to have like worked with Kathy again.
09:02And also, I mean, I was working with actors I'd never worked with before.
09:06So, you know, that was interesting, too.
09:08The couple scenes that I had with Sarah, of course, I love working with her.
09:15This is a show that balances the dramatic and the hysterical in both meanings of the word.
09:19So when you work hard on the emotional resonance of a scene, I mean, you just described it was easier
09:24for you the more emotional a scene is.
09:27How does it feel when that scene gets turned into a meme online and all of a sudden it has
09:32to live in a different context?
09:33I'm not on any social media.
09:35So unless somebody makes a point of sending me like an Instagram meme or something like that, I'm not aware
09:43of it.
09:43I mean, I know, for instance, you know, people tell me, oh, Naughty Pine, that's become like a big, you
09:50know, I had no idea for years.
09:52I don't even understand social media, so I'm not the right person to ask, I guess.
10:00We're talking about favorite lines.
10:01Let's do kind of a power ranking a little bit of your iconic line.
10:04So I'm going to give you three and then you're going to rank them.
10:07Least favorite to most favorite.
10:09And if you can, explain why.
10:10Least to most.
10:11Yes.
10:11Okay.
10:12We're going to go first.
10:13I mean, you mentioned it.
10:14The whole quote.
10:16Oh, God, I can't spend eternity here.
10:18This place reeks of fish, cat piss, and then what is this, Naughty Pine?
10:22But I can't say it the way you say it.
10:23Yeah.
10:24The second one is, this coven doesn't need a new supreme.
10:27It needs a new rug.
10:28And then the third one is, there's not going to be a swimming pool, you stupid slut.
10:34Least favorite to most favorite.
10:35What are we thinking about?
10:37Well, I would say least favorite is, you know, this coven doesn't need a new supreme.
10:41It needs a new rug.
10:42It needs a new rug than something about the swimming pool, you stupid slut.
10:49Because that was a line that I had to Franny, too.
10:53So it was like a great scene.
10:54We had such wonderful scenes together.
10:56So I'd rate that as number two.
10:59At number one, I would say, you know, what is this place?
11:03I mean, she's in a, this is where she's going to spend eternity.
11:07And, of course, doing that scene with Danny Houston was just fabulous.
11:11He was so, I mean, he was so great to work with.
11:14I never watched my own work.
11:15So, but I watched that scene again, because I had to do the Naughty Pine.
11:21So I thought, well, I got to get the voice.
11:24And so I watched the, I watched the scene.
11:28And he is so incredible in it.
11:30He's so wonderful that the whole thing kind of came alive.
11:35I'd have to put that up there at numero uno.
11:38How many times do you have to do a take like that before you're like, no, this is the intonation.
11:42That's perfect.
11:43I think I hit that on the first one.
11:45First one.
11:46Yeah.
11:46Because I remember somebody commenting off, yeah, off camera.
11:50We're very lucky at the Rolling Stone studio because we get to talk to someone who not only has like
11:56just this like storied career.
11:59But like the caliber of your work and the breadth of insight that you have into the industry, I feel
12:04like is something that like people get very rarely.
12:06So it's so phenomenal that you're here.
12:08What are some of your strongest memories from filming King Kong, which is probably the first movie that I ever
12:13saw that you were in?
12:15It's the first movie I ever did.
12:16Yeah.
12:16I mean, it was my first audition.
12:18I remember a dear friend of mine that I was doing, that was on the film too, Chuck Grodin.
12:24He said to me, yeah, it's lucky this is your first film because you don't know any better.
12:31Because, I mean, they would have me sitting in this hydraulic hand.
12:36I mean, that could have gone wrong at any moment.
12:38It could have killed me.
12:40It was that kind of naivete.
12:42I would do whatever they asked me to do, you know.
12:45And the thing is that I really loved the director that I was working with, John Gillerman.
12:52Incredibly smart.
12:53So I was lucky in that way because literally I had never done anything.
12:59I had been living in Paris.
13:01I had been studying mime.
13:03I came back to New York because I thought, well, there's, you know, I should find something to do that
13:09like has a future.
13:10Maybe mime might not be it.
13:13I was working as a waitress at the Lion's Head down in the village, like making, you know, $10 in
13:20tips a night or something like that.
13:22And I was taking acting classes at Herbert Berghoff Studios.
13:26So I came back to New York specifically thinking, well, maybe I'll study acting, then maybe get some, you know,
13:35off, off, off Broadway regional theater job.
13:38But then out of the blue, somebody contacted me because I was also trying to work as a model at
13:46the time, although I never had a paying model job.
13:50So when they talked about model turned actress, that was just bullshit because, I mean, I had never actually done
13:57a job.
13:58They had heard that I was taking acting classes and I guess De Laurentiis had like put out a, anybody
14:04who you think could like come on audition.
14:06I was living in a fifth floor walk up down in the village, making a few bucks a night, working
14:11as a waitress.
14:12And they offered me a, you know, trip to Los Angeles to audition for King Kong.
14:18And I think, well, I'm not that stupid.
14:20Yeah, I'll go.
14:21Why not?
14:22Come on.
14:23So I went out there and I went and they didn't like the looks of me, I mean, at all.
14:29But then the modeling agent back in New York said, come on, you flew her out there.
14:37At least roll some film on her.
14:39Then, yeah, they offered me the part.
14:42And we were shooting within like a matter of weeks.
14:45I'd never been in front of a camera before.
14:47I'd never been on a set, but we were shooting at MGM.
14:51And that was like this childhood fantasy.
14:54I mean, MGM had always been my favorite studio.
14:58I used to watch a lot of movies growing up in these small towns in northern Minnesota, you know.
15:03So this was like, oh, my God.
15:05It was weird.
15:06I mean, it was very, it was a very weird experience.
15:10And it went on for months and months.
15:12And then we would shut down because all the mechanical stuff wasn't working.
15:17It was a crazy, crazy, crazy time.
15:19And we finished shooting, I think it was maybe October, maybe November.
15:25And the film came out in December.
15:27And the film came out and suddenly it was horrible.
15:32It felt like such a terrible invasion.
15:35Suddenly this publicity.
15:37I remember walking on a, getting on an airplane.
15:40I was flying home to Minnesota for Christmas, getting on an airplane.
15:44And some guy was reading a Time magazine.
15:48And that was me on the cover of Time magazine in the big hand.
15:53And I started to cry.
15:55Oh, no.
15:55Yeah.
15:56I thought, oh, my God, my life is ruined.
15:58Suddenly I'm like this public thing.
16:01And then the reviews, of course, completely dismissed me as being like some, you know, the old dumb blonde.
16:07All except for one critic.
16:09And that was Pauline Kael.
16:10Oh, my gosh.
16:11Really?
16:12Only one actually had something positive to say about me.
16:15Otherwise, I was just like dismissed.
16:17And I didn't work again for three years.
16:20King Kong was one of the highest grossing films at that time for a really long time.
16:26But you also had this kind of poor critical reception.
16:29How do you think the experience of having King Kong as your first film impacted the roles that you took
16:34after that?
16:34Well, first of all, it wasn't the way I ever imagined starting in like some big extravaganza, you know, fantasy
16:42King Kong story.
16:43I just knew that that wasn't my destiny.
16:46And luckily, in the next couple parts that came along, Postman Always Rings twice.
16:51And then, of course, Francis, which changed everything for me.
16:55That was what I was meant to be doing.
16:58How did friendships and like meeting people in Hollywood change your perspective as well?
17:03I mean, did you learn any lessons from your relationship with Fosse?
17:06How do you feel like that interacted with your career?
17:08Well, Fosse, bless his heart.
17:11I think he, maybe two people, maybe Pauline Kael and Bob Fosse saw something in that performance that they thought
17:21was worthwhile.
17:22When he was writing all that jazz, he created that part specifically for me.
17:28And he fought for me to do it.
17:29It was kind of symbolic, that role, the angel of death.
17:34That began to turn things around for me.
17:37And I love Bob.
17:38I mean, we were great friends.
17:40I sometimes watch when it's on TV or something, I'll watch part of all that jazz and realize what a
17:47fucking genius he was, what he was doing.
17:50It was extraordinary.
17:52You got the pleasure, the joy to work with Stevie Nicks.
17:56Well, first of all, she is such a lovely person.
18:00And then to do a scene where she sits down and plays and sings, I mean, it was just like,
18:06oh, my God, this is great.
18:08Doesn't get any better than this.
18:12I wish we had had more moments to play together.
18:17Now, thinking about how you felt on that plane, right?
18:19You're in the middle of a press whirlwind that you've never experienced.
18:22And then you do Francis.
18:24And all of a sudden, Oscar contender, right?
18:27And you were the first performer in almost 40 years to get Oscar noms for two projects in the same
18:31year.
18:32It was Francis and Tootsie.
18:33Right.
18:34What was that press cycle like for you?
18:36Had your relationship to fame changed enough at that point for you to enjoy it?
18:41Yes, probably.
18:42But also because, I mean, with Francis, that was a part that, like, had meant so much to me.
18:51Sometimes you feel like where you are in your life and where you meet the character that's presented to you,
18:59there's something, there's almost an alchemy that happens.
19:03And that's how I felt with Francis, that, like, she came to me at exactly the right moment in my
19:12life to play her.
19:13So that was an explosive time for me.
19:16And getting the opportunity to work with the great Kim Stanley was beyond my wildest dreams.
19:23I love Kim.
19:25And from the first moment we met, I was in awe of her.
19:29I mean, I'd seen her work.
19:31If anybody who's going to listen to this has not seen Kim Stanley in The Goddess, they should line up
19:38and go get it somehow or other because it's, I think, the greatest film performance of all time.
19:46Kim was troubled.
19:48She was going through a lot.
19:50But what we found working together, and we did it through a long period, a couple weeks of improvisation before
19:59we ever got on set together, it was an extraordinary experience working with her.
20:05And years later, I would often just, when I was going to start preparing for a role, I would watch
20:13The Goddess just as a reminder of what great work should be.
20:19Tell me, what does it feel like when they call your name at the Oscars?
20:24Ah, with Frances and Tootsie being in the same year.
20:28Now, I had told Sidney and Dustin several times, I don't think I want to do this movie because it
20:35felt so lighthearted after doing Frances.
20:38But Sidney convinced me, and I am forever eternally grateful to him for convincing me to do that part and
20:47then directing me the way he did.
20:49It was an extraordinary experience.
20:51So that time of those two together, and it was like opposite extremes.
20:57I was going to say.
20:58You know.
20:58It was a good time.
20:59Yeah.
21:00It was a good time.
21:01Now, with career highs, you also have career almosts.
21:04Um, you famously.
21:07A lot.
21:07A lot.
21:09You were considered for the part of Wendy and the Shining, but it famously went to Shelley Duvall.
21:14Were you ever to say?
21:15Yes.
21:16You didn't know?
21:16No.
21:17No.
21:18Really?
21:18Yeah.
21:19Where'd you read that?
21:20In an interview with Jack Nicholson.
21:23Oh, Jack.
21:24Hmm.
21:25Okay.
21:25Well, I didn't even know that you didn't know.
21:27Well, I didn't.
21:28Hmm.
21:29Is there another almost that you still think about?
21:32There are a couple that for reasons, and I won't get into them, um, mostly because I
21:39was probably pregnant.
21:40I felt like I was pregnant for a decade, but it only was a couple years.
21:45But, you know, I don't want to mention what they were or even like just bad judgment and
21:50saying no to a part that later you think, what the hell was wrong with you that you said
21:56no to that?
21:57I mean, come on.
21:58These 50 years are littered with those, and then also the ones where you said yes, and
22:04then you think, what were you thinking?
22:07What's the matter with you?
22:08God, waste my precious time.
22:11We were talking earlier about the idea of having roles that stick with you, that kind
22:15of, you said, it's described it almost like a haunting.
22:18Talk to me about A Long Day's Journey Into Night and how you've approached this role at
22:23three different times in your life.
22:25First, let me preface it by saying, A Long Day's Journey Into Night I think is maybe the
22:31greatest American play ever written.
22:35It is Eugene O'Neill, what he found in this and where he was coming from with it.
22:41In his introduction, he talks about a play of old sorrows written in blood and tears with great
22:54pity, understanding, and forgiveness for all four haunted Tyrones.
22:59The play itself is so extraordinary and so beautiful, the language and what he is discovering with these
23:08characters.
23:09And it's a play really, I mean, to my mind, of forgiveness.
23:15There's not a false moment in it.
23:19Everything is grounded in this kind of tortured honesty.
23:25He's writing about his mother and there is no end to this character.
23:30I could do this part for the next 20 years, you know, and never, never, never, never come to the
23:38end of it.
23:39Playing it on three different occasions, the first time in London in the year 2000, and then on Broadway here
23:47in 2016.
23:49Which you won a Tony Award for, right?
23:51Yeah, that was great.
23:52And then doing the film of it six years later, you know, of course, because of your life experience, what
24:00you bring to the part and what you bring to that performance.
24:03It just takes a different path because now it's 22 years later and you have all this life experience.
24:11It's a very fluid process.
24:13If we're talking about life experience, I mean, you're going to receive the Lifetime Achievement Award at the Scott Savannah
24:18Film Festival.
24:19What are some career highlights and some career achievements that you feel proudest of?
24:24Well, certainly the first one would be Francis.
24:26That would be, I would say, the first real high.
24:29I had the opportunity in those first, like, maybe 10 years of working.
24:35When I think of the directors I worked with, Fosse, Bob Rafelson, Costa Gavris, Tony Richardson, Carol Rice.
24:44It's a legend role call.
24:45Yeah, really, I mean, great artists.
24:48And the actors I was working with, Dustin and Kim and Jack and Tommy Lee and Fosse.
24:55We've got to throw Scorsese in there, too.
24:58I was going to have to hear.
24:59It was an extraordinary run.
25:03I think what I assumed was it was always going to be that exciting and thrilling and the work was
25:11always going to be that on that caliber.
25:14But then the business changes and, I mean, I was speaking about this earlier today.
25:21When I started working, I mean, the cameraman would set up the camera for the scene.
25:27The director would be standing right next to camera.
25:30So you could be just from here to, you know, 10 feet from him or five feet from him or
25:36if it's a close-up, you know, even close.
25:38And there was a wonderful exchange of energy.
25:42Then, of course, video playback came in.
25:45And now it's, you know, so removed.
25:51Oftentimes, you don't even see the director on the set.
25:55I think it's very detrimental because that exchange of energy when you were there and the director was there with
26:03the actor playing scenes and the cameraman is there.
26:06And he's like, there was a wonderful community.
26:09I mean, you're clearly devoted not only to the craft itself but what it offers for viewers when they get
26:15the chance to kind of sit down and see a film made by an auteur who really put their heart
26:20and soul into it.
26:21How are you thinking about career now?
26:23What projects or themes or even, like, feelings do you still want to tackle?
26:28I actually feel like I'm coming to an end.
26:30And maybe it's not a bad way to end, you know, the last film being, you know, Long Day's Journey
26:36into Night and playing Mary Tyrone.
26:39There are a couple projects that, again, have been in the works forever that may or may not happen.
26:46I don't know.
26:47It doesn't seem easy to get things made anymore.
26:51I mean, at least not the kind of films that interest me.
26:54But one is about Dietrich.
26:56So I would love to do that.
26:58We touched on this with Ryan's Project Feud with Joan and Betty about what happens when an actress gets to
27:08a certain age and they're no longer viable.
27:12I mean, that was the theme with Betty and Joan.
27:15That is a recurrent theme for a lot of women, especially of that period.
27:20And in this case, it's Dietrich and what she did, where she moved on from when Hollywood was kind of
27:27finished with her.
27:28And it's a fascinating story, but we've never gotten it made.
27:32In a world, a sad world, in my opinion, where Long Day's Journey into Night was your last film, how
27:37would you want people to remember your legacy in Hollywood?
27:42For some good parts, yeah, for doing some good films, being an honest actor.
27:48I've been incredibly lucky.
27:50Yeah, I've been really, really lucky because I love acting.
27:55And I've had decades of being able to do it, which has been a joy for me.
28:02Difficult at times, you know, balancing family and career and, you know, locations and dragging my kids here and there.
28:11But, I mean, it all was a great adventure.
28:13And I'm so grateful that that came my way.
28:18This has been absolutely wonderful.
28:20I've learned so much.
28:21And I can only imagine that people are, like, want to hear more from you forever and ever.
28:25So, thank you so much for being here.
28:27It was a joy.
28:28It was great talking to you.
28:30I'm so sorry.
28:32I'm good.
28:33Thank you so much for joining us at the Rolling Stone Studio.
28:35We'll see you next time.
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