1 00:00:00,000 --> 00:00:01,260 Good evening, everybody. 2 00:00:02,180 --> 00:00:03,340 I'm Regina Roy. 3 00:00:03,540 --> 00:00:05,960 I'm the Les Bartos Chief Curator of Film here at MoMA. 4 00:00:06,180 --> 00:00:10,620 It's such a great pleasure to welcome you here tonight for this incredible 5 00:00:10,620 --> 00:00:13,900 anniversary, the 20th anniversary of Requiem for a Dream. 6 00:00:14,200 --> 00:00:19,100 If you haven't had a chance to watch the film recently, or just before tonight's 7 00:00:19,100 --> 00:00:24,720 conversation, Requiem for a Dream Director's Cut 4K will be available 8 00:00:24,720 --> 00:00:28,420 October 13th on 4K Ultra HD and digital. 9 00:00:28,760 --> 00:00:30,120 and it is streaming now. 10 00:00:30,820 --> 00:00:35,060 Before we get started, I'd like to recognize the donors who make film at 11 00:00:35,060 --> 00:00:38,260 MoMA possible, especially Deborah and Leon Black for their exceptional 12 00:00:38,260 --> 00:00:41,860 commitment in creating the Black Family Film Center here at MoMA. 13 00:00:42,620 --> 00:00:46,200 As well as our annual film fund donors, many of whom I hope are watching 14 00:00:46,200 --> 00:00:51,420 tonight. Also, as always, a big thanks to Chanel, our lead sponsor of film here 15 00:00:51,420 --> 00:00:52,019 at MoMA. 16 00:00:52,020 --> 00:00:56,480 They've been so generous and adventurous in following us from our work on 53rd 17 00:00:56,480 --> 00:00:58,580 Street now into the virtual realm. 18 00:00:59,020 --> 00:01:01,380 Thank you to everybody at Chanel. 19 00:01:01,700 --> 00:01:05,400 Of course, a warm welcome to all of our MoMA members tuning in. If you're not 20 00:01:05,400 --> 00:01:09,820 already a member, consider becoming one at MoMA.org slash join for special 21 00:01:09,820 --> 00:01:10,820 events like this one. 22 00:01:11,360 --> 00:01:15,980 and priority access to MoMA all year round, which you can have access to the 23 00:01:15,980 --> 00:01:19,440 actual museum now, as Darren can attest, and we'll talk about that in a little 24 00:01:19,440 --> 00:01:20,440 bit. 25 00:01:20,920 --> 00:01:25,660 All of you watching can use the QandA function at the bottom of your screen to 26 00:01:25,660 --> 00:01:30,860 submit questions, which our producers will get to me and we'll bring them to 27 00:01:30,860 --> 00:01:32,820 the group for discussion later on. 28 00:01:33,220 --> 00:01:38,380 But now, I'd especially like to thank this incredible panel of creatives who 29 00:01:38,380 --> 00:01:39,400 have joined us tonight. 30 00:01:41,290 --> 00:01:47,630 Please welcome director Darren Aronofsky, actors Ellen Burstyn, 31 00:01:47,750 --> 00:01:54,030 Jared Leto, Jennifer Connelly, and Marlon Wayans. Thank you all for being 32 00:01:54,030 --> 00:01:54,908 here tonight. 33 00:01:54,910 --> 00:01:55,910 How you doing? 34 00:01:56,650 --> 00:01:58,990 Hanging in there, you know. Hanging in there. 35 00:01:59,930 --> 00:02:06,070 Darren, I need to see the bottom half of your face. I saw the top half at MoMA 36 00:02:06,070 --> 00:02:08,449 last week, was it, when you came to the galleries? 37 00:02:08,850 --> 00:02:09,788 Yeah, yeah. 38 00:02:09,789 --> 00:02:13,490 It was amazing to be back at MoMA. And I kind of like what you guys are doing 39 00:02:13,490 --> 00:02:17,610 with the, I mean, it's amazing because your general experience at the MoMA is 40 00:02:17,610 --> 00:02:18,610 often very crowded. 41 00:02:18,930 --> 00:02:21,750 And to have that much space to see the art was a real gift. 42 00:02:21,970 --> 00:02:25,790 So it's great for anyone who hasn't gone back. It's great to go back to the 43 00:02:25,790 --> 00:02:26,790 museums. 44 00:02:26,870 --> 00:02:30,430 Well, thank you for coming. Thank you for being masked when you were here. It 45 00:02:30,430 --> 00:02:33,650 is a special time to be at the museum, especially after we were closed so long. 46 00:02:34,580 --> 00:02:38,160 But unfortunately, we can't show movies at MoMA yet. 47 00:02:39,200 --> 00:02:42,980 Theaters are still closed. So I wish we could all be on stage together here. But 48 00:02:42,980 --> 00:02:47,680 it is a thrill to have you in this space talking about your incredible 49 00:02:47,680 --> 00:02:48,680 accomplishment. 50 00:02:49,160 --> 00:02:54,480 I mean, for me, going back, you know, unlike some folks who, you know, there's 51 00:02:54,480 --> 00:02:58,860 one gentleman who wrote in that Requiem for a Dream is their favorite movie they 52 00:02:58,860 --> 00:03:00,060 can't ever watch again. 53 00:03:03,260 --> 00:03:07,000 That's not the case for me. It's more that, you know, when I watched it again 54 00:03:07,000 --> 00:03:10,780 recently, you know, when I first thought, I felt like I was so grown up 55 00:03:10,780 --> 00:03:12,780 when I thought, right? It was the year 2000. 56 00:03:13,720 --> 00:03:15,480 You know, I was 28 years old. 57 00:03:15,760 --> 00:03:21,980 And, you know, a lot of us, not all of us, but we're also in that kind of still 58 00:03:21,980 --> 00:03:26,340 not quite a full grown up, but not a kid anymore zone. 59 00:03:26,990 --> 00:03:30,250 Obviously, Ms. Burton, you were more of an adult. You've always been probably 60 00:03:30,250 --> 00:03:32,050 more an adult than most of us. 61 00:03:33,190 --> 00:03:37,050 But it was an inflection point, I think, for a lot of us. 62 00:03:38,050 --> 00:03:43,350 And, you know, this film really changed the course for all of you in a way, the 63 00:03:43,350 --> 00:03:45,370 way I kind of like went back and looked at the history. 64 00:03:46,250 --> 00:03:52,330 But one thing I'd kind of like to start with is that this film, in a way, feels 65 00:03:52,330 --> 00:03:56,410 like an unbettered culmination of... 66 00:03:56,680 --> 00:04:03,620 what happens when you have, you know, an opioid addiction epidemic, when you 67 00:04:03,620 --> 00:04:10,260 have mass media mania, when you have, you know, a racist incarceration 68 00:04:10,260 --> 00:04:13,420 system, all of the things that we are living right now. 69 00:04:13,640 --> 00:04:18,740 And I'm wondering if each of you could just speak a little bit to the frame of 70 00:04:18,740 --> 00:04:22,660 mind you had, if you can remember, 20 years ago, addressing this story that 71 00:04:22,660 --> 00:04:25,680 Darren and Hugh Selby wrote together. 72 00:04:26,320 --> 00:04:31,280 or the screenplay and and your thoughts now uh about living in the society we do 73 00:04:31,280 --> 00:04:35,740 that unfortunately is probably less hopeful than maybe we thought it might 74 00:04:35,740 --> 00:04:41,580 be 20 years ago but darren i'll let you lead off on that wow it's a big one um 75 00:04:41,580 --> 00:04:48,520 and definitely a really interesting question i did i did have 76 00:04:48,520 --> 00:04:54,480 a thought i was thinking about the scene with jared and marlon um in the jail 77 00:04:55,180 --> 00:05:02,020 And, you know, the N word is muttered and there's a racial 78 00:05:02,020 --> 00:05:09,000 intensity throughout those, those scenes that, you know, were 79 00:05:09,000 --> 00:05:11,360 hardcore when I read them in the novel. 80 00:05:12,500 --> 00:05:19,120 And then they were super hard doing on set. And then, and then just thinking 81 00:05:19,120 --> 00:05:22,080 about them now, they're just incredibly hurtful and painful. 82 00:05:22,520 --> 00:05:24,100 I just, I think, 83 00:05:24,840 --> 00:05:31,820 what cubby always did with his writing cubby is nicknamed for hubert sub jr um 84 00:05:31,820 --> 00:05:38,820 that i was lucky enough to be able to call him um but um the 85 00:05:38,820 --> 00:05:45,440 the kind of honesty and and open wound pain that 86 00:05:45,440 --> 00:05:51,100 he writes with was always what kind of um inspired me 87 00:05:51,100 --> 00:05:56,940 um just finding the incredible poetry in his words describing 88 00:05:56,940 --> 00:06:03,700 people being the worst versions of themselves and how 89 00:06:03,700 --> 00:06:08,260 good people can slide into that reality. 90 00:06:09,060 --> 00:06:10,840 It just always moved me. 91 00:06:11,480 --> 00:06:17,420 And so, I don't know, I think it's shocking at times, but 92 00:06:17,420 --> 00:06:19,560 the humanity... 93 00:06:21,050 --> 00:06:25,510 of the film is from cubby's original kind of inspiration i think everything 94 00:06:25,510 --> 00:06:32,390 he ever put into the world was all about about that um and uh unfortunately it's 95 00:06:32,390 --> 00:06:38,510 it's sad that um the world hasn't changed that much i guess i mean it's 96 00:06:38,510 --> 00:06:45,330 changed in many many ways but in other ways it stayed exactly the same um 97 00:06:45,330 --> 00:06:50,840 miss burston maybe i'll i'll direct this to you as well and i'm just wondering if 98 00:06:50,840 --> 00:06:55,460 you recall having a, you know, obviously there's so much heartbreak in the film, 99 00:06:55,520 --> 00:06:58,200 but there's also the potential, I think, for optimism. 100 00:06:58,580 --> 00:07:04,300 Do you remember any, you know, kind of whether you had optimism about anything 101 00:07:04,300 --> 00:07:09,340 related to these characters or the trajectory that we might take based on 102 00:07:09,340 --> 00:07:10,680 their experiences afterwards? 103 00:07:12,660 --> 00:07:19,240 You know, it seemed to me that Sarah was driven 104 00:07:21,549 --> 00:07:23,970 To be her best self. 105 00:07:25,090 --> 00:07:30,290 And she had a huge idea of what that might be. 106 00:07:31,110 --> 00:07:37,050 That she was very ambitious and very dedicated to 107 00:07:37,050 --> 00:07:42,490 recapturing something that she felt got away. 108 00:07:42,910 --> 00:07:49,570 Yeah. And if only she could be thin enough to fit in that red 109 00:07:49,570 --> 00:07:50,570 dress. 110 00:07:51,050 --> 00:07:56,410 she could get it back and be on television. 111 00:07:56,830 --> 00:08:03,130 What that represented to her and what it represents to so many people 112 00:08:03,130 --> 00:08:09,890 of being famous or being seen, really, just being seen. 113 00:08:11,350 --> 00:08:17,870 And so it seems to me there's a yearning in people to... 114 00:08:23,040 --> 00:08:29,380 to unflower, the word that's coming to mind, that they feel something in 115 00:08:29,380 --> 00:08:36,080 themselves that could have been and wish it were, and maybe it still can 116 00:08:36,080 --> 00:08:41,940 be, and they don't have a real clear idea of just what that is. And so they 117 00:08:41,940 --> 00:08:48,720 reach for something that they think will be satisfying or enlightening 118 00:08:48,720 --> 00:08:49,720 or something. 119 00:08:50,730 --> 00:08:52,990 But it's a false image. 120 00:08:54,790 --> 00:09:00,230 And there's the tragedy that they don't ever actually connect with their deepest 121 00:09:00,230 --> 00:09:01,230 self. 122 00:09:01,470 --> 00:09:05,930 Yeah, I love that, you know, just thematically. Everybody in the film, we 123 00:09:05,930 --> 00:09:09,970 all had, every character had something they was dreaming for, something that 124 00:09:09,970 --> 00:09:15,750 they were reaching for, their own way out. And it's funny how the things of 125 00:09:15,750 --> 00:09:20,190 your past, it's the reasons why people do drugs. 126 00:09:20,700 --> 00:09:25,780 that hold you back and what i love about recrim as much as it was about like um 127 00:09:25,780 --> 00:09:32,760 you know the greatest psa for don't do drugs ever oh my god everybody i 128 00:09:32,760 --> 00:09:36,620 know that every coffee shop i go into man i quit crack when i got it when i 129 00:09:36,620 --> 00:09:40,660 seen it's because everybody 130 00:09:41,370 --> 00:09:45,030 had something they was dreaming for, but everybody had something that was, you 131 00:09:45,030 --> 00:09:49,490 know, this pain, this deep-seated pain in their life that led them to the drug 132 00:09:49,490 --> 00:09:51,030 that led them to the demise. 133 00:09:51,350 --> 00:09:57,590 And I just thought it was a beautiful roller coaster to basically, 134 00:09:57,930 --> 00:10:02,150 like, hell. And it was the greatest ride, the greatest high, and then it 135 00:10:02,150 --> 00:10:03,410 just, like, crashed. 136 00:10:03,870 --> 00:10:07,990 And the audience, I think, is blessed with the... 137 00:10:09,410 --> 00:10:13,410 left over with the thing of, you know, with the real gift. 138 00:10:16,310 --> 00:10:17,530 Sorry, my dad called me. 139 00:10:17,790 --> 00:10:22,450 No, I mean, look, I mean, in all seriousness, you know, movies do save 140 00:10:22,450 --> 00:10:26,650 lives. I mean, let's, you know, art does save lives in some cases. And so I 141 00:10:26,650 --> 00:10:30,990 actually believe that some people may have come out of this, you know, 142 00:10:30,990 --> 00:10:34,490 chastened about, you know, endeavoring to try any of this. 143 00:10:35,240 --> 00:10:39,680 Jared and Jennifer, I was wondering, you know, in this vein, you know, I imagine 144 00:10:39,680 --> 00:10:45,000 finding that trust between each other as actors would have been so critical. 145 00:10:45,080 --> 00:10:47,180 Obviously, you had to trust in your director. 146 00:10:47,740 --> 00:10:51,820 But I'm wondering if you could just riff with each other a little bit, if you 147 00:10:51,820 --> 00:10:55,180 remember, about setting up that relationship and setting up the 148 00:10:55,180 --> 00:10:57,140 boundaries of trust that must have been intense. 149 00:10:59,340 --> 00:11:02,040 What would you say, Jennifer? Do you want to riff a little bit? 150 00:11:05,180 --> 00:11:09,440 I just got to say like seeing everybody's face, it's very emotional 151 00:11:09,440 --> 00:11:16,220 for me. I feel like I feel so lucky to have had 152 00:11:16,220 --> 00:11:19,020 this opportunity. 153 00:11:20,200 --> 00:11:23,140 I remember begging Darren for the job. 154 00:11:23,780 --> 00:11:28,000 I remember being just floored that I got to work with Ellen. 155 00:11:30,380 --> 00:11:35,440 Jennifer and Marlon. I just feel so connected to you guys, even though we're 156 00:11:35,440 --> 00:11:36,940 not, you know, texting every day. 157 00:11:37,660 --> 00:11:41,260 And I haven't seen so many of you in so long, but I just feel this like really 158 00:11:41,260 --> 00:11:47,660 deep personal satisfaction and pride and gratitude that I, 159 00:11:47,700 --> 00:11:53,720 I mean, God, I remember this movie so clearly. I think every single day, I 160 00:11:53,720 --> 00:11:56,700 remember walking the streets with Marlon at night. 161 00:11:56,980 --> 00:11:59,080 I remember all the research and. 162 00:11:59,520 --> 00:12:04,680 The rehearsals that we all did in that little room with Taryn and all the crazy 163 00:12:04,680 --> 00:12:09,300 stuff that we talked about and the time that I spent with Jennifer, it was just 164 00:12:09,300 --> 00:12:12,480 so sacred. All of it to me was just so sacred and so beautiful. 165 00:12:13,440 --> 00:12:19,860 I could talk about it for a very long time, but just have an enormous sense of 166 00:12:19,860 --> 00:12:26,760 gratitude to see your faces and to have been a part of this film. 167 00:12:27,310 --> 00:12:31,970 And I just want to thank you guys for that. 168 00:12:34,210 --> 00:12:39,730 I had a similar experience to Jared. 169 00:12:41,010 --> 00:12:44,090 I really fought to get that part. 170 00:12:44,950 --> 00:12:48,890 I don't know. Darren, how many times did I audition? I auditioned a bunch of 171 00:12:48,890 --> 00:12:50,830 times. It was a few times. 172 00:12:51,960 --> 00:12:56,760 My memory of it, and Jared, you were there. Maybe you auditioned once for me 173 00:12:56,760 --> 00:13:02,360 alone, but what I remember is being like, oh, Jennifer, yeah, I like her 174 00:13:02,360 --> 00:13:06,300 work. I haven't seen her. I got it, you know, and she came in, and Jared was 175 00:13:06,300 --> 00:13:10,060 there, and you came in, and you destroyed the room. 176 00:13:10,460 --> 00:13:12,100 You threw a chair over. 177 00:13:12,400 --> 00:13:15,140 Yeah, she, like, kicked the chair across the room. She kicked the chair, right? 178 00:13:15,220 --> 00:13:18,260 And she walked out, and me and Jared looked at each other, and it was like 179 00:13:18,260 --> 00:13:22,820 done. Done. We saw each other. We were like, all right, she got the part. 180 00:13:23,320 --> 00:13:26,620 So I don't remember torturing you at all, but please. Jennifer, don't feel 181 00:13:26,620 --> 00:13:30,120 bad. I auditioned six times. That's true. I didn't believe in you, Marlon. 182 00:13:30,200 --> 00:13:32,020 Bro, you didn't believe at all. 183 00:13:32,220 --> 00:13:34,060 I was like, wow, really, Derek? 184 00:13:34,460 --> 00:13:35,460 Six times. 185 00:13:35,740 --> 00:13:39,940 I had my own hit TV show on the air. I was like six times. 186 00:13:40,220 --> 00:13:44,720 I remember I slept the night before in my heroin clothes. 187 00:13:45,060 --> 00:13:49,740 I was talking like this dude all week. I went and auditioned one time. He was 188 00:13:49,740 --> 00:13:50,740 like, ah, it's good. 189 00:13:50,760 --> 00:13:56,420 I auditioned six times. Six times. I damn near paid him to do the movie. 190 00:13:56,960 --> 00:14:02,780 I think the last day I bought everybody lobster. I think that was everything I 191 00:14:02,780 --> 00:14:06,960 made on the movie. I donated it back as a wrap gift to the cast. 192 00:14:07,220 --> 00:14:09,460 I mean, to the whole crew. I bought lobster. 193 00:14:09,800 --> 00:14:11,640 Sorry, I interrupted you, Jennifer. Please. 194 00:14:12,860 --> 00:14:19,700 Point being that to be there. I mean, I think that all of us felt that 195 00:14:19,700 --> 00:14:21,360 way. I was so felt. 196 00:14:21,710 --> 00:14:28,710 It felt really important to me to be there. I wanted it so badly. I 197 00:14:28,710 --> 00:14:30,910 wanted to be part of that story so badly. 198 00:14:31,250 --> 00:14:34,050 And so I was kind of... 199 00:14:34,400 --> 00:14:39,580 All in, I think I threw all of myself at it. So in terms of connecting with 200 00:14:39,580 --> 00:14:44,460 everyone, any opportunity that we had, I was so grateful to be there in every 201 00:14:44,460 --> 00:14:50,940 moment and to completely surrender to the experience and be as 202 00:14:50,940 --> 00:14:57,240 available as possible as I could be to everyone in all moments because it just 203 00:14:57,240 --> 00:15:01,540 felt like something special was going to happen. 204 00:15:04,099 --> 00:15:05,099 So, obviously, 205 00:15:05,760 --> 00:15:10,400 the film has been lauded all across the boards. I mean, Ms. Person, we'll get 206 00:15:10,400 --> 00:15:13,820 into that. It would probably be easier to name the awards you were not 207 00:15:13,820 --> 00:15:19,780 nominated for in relation to this film because you were very justly rewarded 208 00:15:19,780 --> 00:15:24,540 for your work there. But one thing that does jump out at most people is the 209 00:15:24,540 --> 00:15:28,500 incredible work that you all did with Matty Levitique, the cinematographer. 210 00:15:29,280 --> 00:15:30,520 And it felt... 211 00:15:30,780 --> 00:15:34,060 You know, as a viewer, it feels very participatory. Like, I mean, at certain 212 00:15:34,060 --> 00:15:38,620 points, I think even you all were probably strapped on head cameras. I 213 00:15:38,620 --> 00:15:43,380 mean, I want to know how that all went down. And, you know, in watching the 214 00:15:43,380 --> 00:15:48,260 kitchen table scene, I'm not sure how it's actually described in the script, 215 00:15:48,320 --> 00:15:51,100 but that intense close-up that you have. 216 00:15:51,760 --> 00:15:56,280 um jared is your is your scene partner but um really that intense partner you 217 00:15:56,280 --> 00:16:00,420 know uh close-up uh monologue almost that you have i'm wondering if each of 218 00:16:00,420 --> 00:16:04,920 you could just give a a set experience of working with maddie or working with 219 00:16:04,920 --> 00:16:08,880 specifically with the camera work uh to talk to us how that was for you because 220 00:16:08,880 --> 00:16:15,880 i can imagine it was in some ways very new well of course the the camera was 221 00:16:15,880 --> 00:16:22,500 strapped on me one time for where I was walking and I was the 222 00:16:22,500 --> 00:16:29,340 dolly carrying the camera. That's the only time in my 60-some 223 00:16:29,340 --> 00:16:31,920 -odd-year career that I've ever been the dolly. 224 00:16:33,540 --> 00:16:34,760 Low-budget film. 225 00:16:36,420 --> 00:16:40,940 And then there was that, what do you call it, Darren, the fast shot? 226 00:16:42,160 --> 00:16:45,740 The time lapse, the time lapse shot of you cleaning the apartment. 227 00:16:46,160 --> 00:16:47,160 Yeah. 228 00:16:47,290 --> 00:16:49,810 And I really did clean the apartment. 229 00:16:50,030 --> 00:16:52,250 I really did all of that. 230 00:16:53,530 --> 00:17:00,170 And it moved, the camera moved fast with special settings. So 231 00:17:00,170 --> 00:17:06,869 it's a remarkable piece of filmdom. And I never 232 00:17:06,869 --> 00:17:13,490 experienced anything like it before or after because I moved as fast as I 233 00:17:13,490 --> 00:17:15,410 could, which was pretty fast. 234 00:17:16,910 --> 00:17:19,810 then the camera made it seem even more so. 235 00:17:20,030 --> 00:17:26,450 So it was, we were very aware of our interplay with Maddie 236 00:17:26,450 --> 00:17:33,370 and how much the actors and the camera and the special 237 00:17:33,370 --> 00:17:38,230 effects and the lighting and it was all part of it. You know, the 238 00:17:38,230 --> 00:17:42,950 refrigerator moving and the... 239 00:17:43,350 --> 00:17:47,590 you know, when the world fell apart, it was terrifying somehow. 240 00:17:47,830 --> 00:17:49,750 It was very real on the set. 241 00:17:50,230 --> 00:17:52,990 And it felt like teamwork. 242 00:17:54,130 --> 00:17:59,770 All the various departments were involved and engaged and 243 00:17:59,770 --> 00:18:01,990 giving their all. 244 00:18:02,210 --> 00:18:08,050 And it had a high intensity degree of creativity at its most 245 00:18:08,050 --> 00:18:11,250 fertile and vital and tough. 246 00:18:11,680 --> 00:18:16,120 and hard and exciting and terrifying. 247 00:18:18,320 --> 00:18:20,140 It was quite an experience. 248 00:18:21,800 --> 00:18:25,380 It sounds like it. Darren, can you just talk to us a little bit about how you 249 00:18:25,380 --> 00:18:29,640 and Maddie would choreograph this, talk to the actors, talk to the crew about 250 00:18:29,640 --> 00:18:30,880 how this was all going to go down? 251 00:18:31,520 --> 00:18:35,460 Well, there was, it's just a lot of conversations. 252 00:18:36,409 --> 00:18:41,650 It starts with just talking about the project in front of you and talking 253 00:18:41,650 --> 00:18:48,650 about the themes that make up the story. And then moment by moment, recognizing 254 00:18:48,650 --> 00:18:53,590 where the camera is supposed to be. But there was a general approach of starting 255 00:18:53,590 --> 00:19:00,590 off wider and brighter and sunnier and warmer and moving through the seasons of 256 00:19:00,590 --> 00:19:05,430 how the book was structured to a much darker, colder, muted, tighter. 257 00:19:06,280 --> 00:19:12,580 At one point, I wanted to do the whole third act, Winter, in just extreme close 258 00:19:12,580 --> 00:19:16,980 -ups. But Maddie was smart in saying maybe that's a little too much. Get a 259 00:19:16,980 --> 00:19:20,180 little more coverage, which was very wise advice. 260 00:19:21,740 --> 00:19:25,480 But, you know, filmmaking is like how Ellen explains. 261 00:19:25,960 --> 00:19:31,280 That's what I'm always trying to do is create a set where everyone is 262 00:19:31,280 --> 00:19:35,440 contributing their specialty, their artistry. 263 00:19:35,880 --> 00:19:42,680 uh to uh one type of you know score or movement together 264 00:19:42,680 --> 00:19:49,480 uh and when you have everyone fighting to be the top of their game or or 265 00:19:49,480 --> 00:19:53,000 give something from the top of the game it's just it's a it's a great place to 266 00:19:53,000 --> 00:19:59,320 be inspiring and i feel sitting here in my basement i feel very very jealous 267 00:19:59,320 --> 00:20:06,220 of the of that moment right now yeah um Jennifer, I'll send it 268 00:20:06,220 --> 00:20:10,700 to you, but obviously anyone can answer. I mean, this was shot in an era before, 269 00:20:10,760 --> 00:20:17,560 you know, onset intimacy awareness was, you know, top of mind in the way that it 270 00:20:17,560 --> 00:20:22,160 is now. And I'm just wondering if you can recall how, you know, that safety 271 00:20:22,160 --> 00:20:24,940 was constructed for you in particular. 272 00:20:27,340 --> 00:20:29,600 Yeah, there have been pretty intense. 273 00:20:30,170 --> 00:20:35,950 scenes one in particular um yeah I 274 00:20:35,950 --> 00:20:42,850 don't know I think I was in a bit of a um it was different it was 275 00:20:42,850 --> 00:20:47,650 different than for sure um I was so focused on what she was going through 276 00:20:47,650 --> 00:20:54,490 honestly I felt like I was kind of just in my own world and I think that 277 00:20:54,490 --> 00:20:56,110 the um 278 00:20:57,130 --> 00:21:01,910 The people around her, it was all kind of a blur at that time, you know, in 279 00:21:01,910 --> 00:21:02,910 that scene. 280 00:21:03,510 --> 00:21:09,430 And I think I honestly was, it was a bit like that for me too, 281 00:21:09,530 --> 00:21:15,350 to be frank. I mean, it was definitely intense, but 282 00:21:15,350 --> 00:21:20,310 I felt like it was really important for the film and appropriate for the film. 283 00:21:20,350 --> 00:21:22,850 And, you know, I really trusted. 284 00:21:23,550 --> 00:21:28,750 Darren and do trust Darren and had so much respect for him and what he was 285 00:21:28,750 --> 00:21:34,750 doing. So I kind of just did my thing and trusted Darren to do his. 286 00:21:35,950 --> 00:21:40,250 Isn't the point that safety wasn't an issue? 287 00:21:41,190 --> 00:21:47,830 I mean, that's not what you were thinking of at the time. You were 288 00:21:47,830 --> 00:21:52,030 throwing yourself into a role fully and in every way. 289 00:21:53,240 --> 00:21:59,360 This film had a level of abandonment and commitment that 290 00:21:59,360 --> 00:22:06,140 it just wasn't... I mean, you think of safety, you don't want to 291 00:22:06,140 --> 00:22:07,140 be hurt. 292 00:22:07,480 --> 00:22:14,020 But it doesn't seem to me that you could do what you did, Jennifer, if that was 293 00:22:14,020 --> 00:22:17,500 what you were concerned with. Am I wrong? 294 00:22:17,950 --> 00:22:21,610 It wasn't what I was thinking about, for sure. I mean, I was just thinking about, 295 00:22:21,670 --> 00:22:26,570 you know, who she was and where she was and completely surrendering myself to 296 00:22:26,570 --> 00:22:33,150 that experience and that scene and kind of, like I said, 297 00:22:33,190 --> 00:22:39,230 trusting Maddie and trusting Darren and how everything would come together 298 00:22:39,230 --> 00:22:44,510 because I kind of just, once we decided, talked about what it was going to be and 299 00:22:44,510 --> 00:22:46,970 everything was agreed on, I just kind of, 300 00:22:47,920 --> 00:22:51,660 Yeah, I just gave my all to it, you know. 301 00:22:53,040 --> 00:22:58,060 So following on that, maybe to Jared first and then to Marlon as well. I'm 302 00:22:58,060 --> 00:23:04,820 wondering if there were some on set experiences that you have kind of 303 00:23:04,820 --> 00:23:10,520 embraced or absorbed and taken and then used later on in the subsequent 20 years 304 00:23:10,520 --> 00:23:15,060 since this film has been made. Any practical, anything practical that you 305 00:23:15,060 --> 00:23:16,880 gained from this experience? 306 00:23:18,410 --> 00:23:21,770 I mean, I guess the cliche that hard work pays off. 307 00:23:23,450 --> 00:23:29,050 This movie was all about commitment. And it started with Darren. 308 00:23:29,570 --> 00:23:34,750 And like I think all of us have mentioned so far, you just felt like 309 00:23:34,750 --> 00:23:39,370 there was an opportunity here that something special might be happening. 310 00:23:39,770 --> 00:23:45,590 And I, like everyone else, was so excited to be a part of this group, to 311 00:23:45,590 --> 00:23:46,590 be a part of the... 312 00:23:47,130 --> 00:23:53,690 you know, the source material, Cubby, Darren, Darren's previous work spoke so 313 00:23:53,690 --> 00:23:59,370 loudly and was so groundbreaking, Pi, that I think everyone thought, okay, 314 00:23:59,410 --> 00:24:05,270 this is a really rare chance to see what you're made of, to go to a place you 315 00:24:05,270 --> 00:24:08,110 hadn't gone to before, to learn a lot. 316 00:24:08,370 --> 00:24:14,410 And so we all, we just all had that sense that 317 00:24:14,410 --> 00:24:21,400 we were part of, something unique and uh and and I still do 318 00:24:21,400 --> 00:24:27,360 I still just I still feel that way what do you think uh uh Darren I do remember 319 00:24:27,360 --> 00:24:31,840 with Ellen the first scene that I had which was that scene you spoke about in 320 00:24:31,840 --> 00:24:38,440 her house I was so amped up and I was so raring to go that I lost my voice and I 321 00:24:38,440 --> 00:24:43,620 had to come back like the worst thing that could happen happened I couldn't 322 00:24:43,620 --> 00:24:44,620 even speak 323 00:24:45,150 --> 00:24:46,590 But she was so good. 324 00:24:46,990 --> 00:24:52,990 It's like playing tennis with, you know, McEnroe or whoever. She was so good. I 325 00:24:52,990 --> 00:24:58,990 recognized immediately in the scene, I was like, oh, she's not going to let me 326 00:24:58,990 --> 00:24:59,990 fail. 327 00:25:00,790 --> 00:25:04,970 And it was just like this enormous gift. 328 00:25:05,670 --> 00:25:11,110 And I felt dedication and commitment. And I saw Ma. 329 00:25:11,410 --> 00:25:13,450 I saw her there. 330 00:25:14,250 --> 00:25:16,530 And Darren is just the best. 331 00:25:16,790 --> 00:25:23,170 He's an actor's dream because he's a nut and he'll go the distance with you. He 332 00:25:23,170 --> 00:25:29,630 never says no to any of the conversation. He's always open. He likes 333 00:25:29,630 --> 00:25:34,850 the debate and the discussion. He likes to push and to prod and to get to 334 00:25:34,850 --> 00:25:35,849 something great. 335 00:25:35,850 --> 00:25:40,770 And I think I have that feeling like, you know, between Ellen and Jennifer, 336 00:25:40,950 --> 00:25:42,890 Marlon and Darren and Maddie. 337 00:25:46,049 --> 00:25:51,370 that they, no one was going to let me fail. So I felt a little more, you know, 338 00:25:51,370 --> 00:25:54,910 empowered to, to, to be, to take the risk. 339 00:25:55,390 --> 00:25:59,290 Darren challenges you. As soon as you walk on the set, you're challenged. 340 00:25:59,490 --> 00:26:03,510 I came out a month early. I believe we started filming. I came out a month 341 00:26:03,510 --> 00:26:07,330 early and this man made me take off my shirt and said, where are we going? So 342 00:26:07,330 --> 00:26:08,630 we're going for a walk. It was February. 343 00:26:08,990 --> 00:26:11,490 And I walked through our streets in New York with my shirt off. 344 00:26:12,190 --> 00:26:16,270 And I said, what are we doing? What kind of mind trick is this? 345 00:26:16,510 --> 00:26:20,890 And he goes, I just want you to remember what it feels like to be cold in 346 00:26:20,890 --> 00:26:24,590 February. I mean, now, because we're going to be filming the winter and the 347 00:26:24,590 --> 00:26:26,490 summer. And I want you to remember how this feels. 348 00:26:26,950 --> 00:26:30,670 And I was like, dude, I grew up here. I know exactly how it feels. 349 00:26:30,890 --> 00:26:35,790 I didn't have a jacket. We were poor. I don't need this. But that's just, I 350 00:26:35,790 --> 00:26:39,350 remember he would tell me things like, you know, he asked me, there's another 351 00:26:39,350 --> 00:26:42,510 mantra. Give me five things you love. I was like, I love sugar. 352 00:26:43,110 --> 00:26:44,770 No, three things. I love sugar. 353 00:26:45,090 --> 00:26:46,090 I love sex. 354 00:26:46,530 --> 00:26:49,470 And I love like, I think I'm in liquor. 355 00:26:49,730 --> 00:26:50,770 He goes, great. 356 00:26:51,210 --> 00:26:52,950 Here's what you can't have for the next. 357 00:26:53,639 --> 00:26:54,960 He called it a month of wrath. 358 00:26:55,200 --> 00:26:57,140 And he said, I couldn't have those three things. 359 00:26:57,580 --> 00:27:01,980 And I swear, and I did it. And I was talking to him and I was younger at the 360 00:27:01,980 --> 00:27:05,100 time. And he goes, every day he would check on me. How you feeling? I feel 361 00:27:05,100 --> 00:27:06,100 like crazy. 362 00:27:06,140 --> 00:27:07,560 Like, I feel like I want. 363 00:27:08,090 --> 00:27:09,090 I want some sugar. 364 00:27:10,070 --> 00:27:13,750 I want a glass of wine. He was like, now you know how junkies feel. 365 00:27:13,990 --> 00:27:15,370 And I was like, word. 366 00:27:15,730 --> 00:27:20,010 But that little mind thing, these little mind tricks that he played you, just, 367 00:27:20,130 --> 00:27:23,370 you know, I think he had such a challenge because every one of these 368 00:27:23,370 --> 00:27:27,050 actors that were on board to give their all, we all gave ourselves. 369 00:27:27,270 --> 00:27:31,370 I gave myself. Whatever you wanted, I was there. If you want whatever you 370 00:27:31,370 --> 00:27:32,370 need, I'm there. 371 00:27:32,600 --> 00:27:37,280 And I think all of us had that same level of commitment. But we also knew 372 00:27:37,280 --> 00:27:41,900 that he had our back. When I had a sex scene, of course, when it was only 20 373 00:27:41,900 --> 00:27:45,180 seconds long, we did a 45-minute take. 374 00:27:45,920 --> 00:27:51,900 But you know what? It was a closed set. It was Darren, script supervisor, and 375 00:27:51,900 --> 00:27:56,040 like one or two other people. He kept it nice and closed. And he always made us 376 00:27:56,040 --> 00:27:57,700 feel safe and protected. 377 00:27:57,960 --> 00:27:59,180 And kudos to him for that. 378 00:27:59,530 --> 00:28:00,530 Thank you. 379 00:28:01,250 --> 00:28:02,330 It's interesting. 380 00:28:02,530 --> 00:28:09,190 It's like it's all pointing in the same direction, which is like at 381 00:28:09,190 --> 00:28:14,470 a certain point we had problems with the MPAA with rating. In fact, the film was 382 00:28:14,470 --> 00:28:20,630 released not rated because they wanted to give us an NC-17. 383 00:28:21,870 --> 00:28:25,190 And the pressure, you know. 384 00:28:25,640 --> 00:28:28,760 came from where they were like, well, if you want to be rated R, you got to trim 385 00:28:28,760 --> 00:28:32,900 this, you got to trim that, you got to trim this. And it was almost a bit from 386 00:28:32,900 --> 00:28:39,340 each of the characters seen from the torture of Sarah to the torture of 387 00:28:39,340 --> 00:28:40,800 all the characters. 388 00:28:42,620 --> 00:28:47,900 And I remember, you know, the studio coming to me going, look, we can end up, 389 00:28:47,900 --> 00:28:51,200 we can get released in these theaters and we can make this much more money if 390 00:28:51,200 --> 00:28:52,620 we go with the rated R version. 391 00:28:54,200 --> 00:28:58,100 I felt it undermined the whole point of the project. 392 00:28:58,880 --> 00:29:05,840 Because the film is about how far addiction will push you to do 393 00:29:05,840 --> 00:29:09,820 the most inhumane things to the people you love and to yourself. 394 00:29:10,940 --> 00:29:17,700 And if we retreated from that in any way, it would undermine the exact reason 395 00:29:17,700 --> 00:29:20,100 for the existence of the piece. 396 00:29:22,600 --> 00:29:27,060 I think all of us understood that we had to take the audience all the way there. 397 00:29:29,520 --> 00:29:31,460 Otherwise, there was no reason to do the project. 398 00:29:36,350 --> 00:29:40,090 You've just pointed out that, you know, the film is always thought of as such 399 00:29:40,090 --> 00:29:45,690 heavy, and we are drawn to, I think, you know, these really intense stories of 400 00:29:45,690 --> 00:29:51,010 human suffering. You know, for whatever reason, these are stories that are 401 00:29:51,010 --> 00:29:54,530 compelling and do move us and, you know, have given us some of the most 402 00:29:54,530 --> 00:29:57,550 transcendent works on cinema and on stage. 403 00:29:58,190 --> 00:30:03,750 But what I was also shocked to not recall at all was that there's a good 404 00:30:03,750 --> 00:30:04,930 amount of humor in this film. 405 00:30:05,370 --> 00:30:11,050 I'm not exactly sure that it's funny, but I found myself laughing. And, Ms. 406 00:30:11,130 --> 00:30:17,290 Bernson, I mean, specifically you and your battles with your kitchen and with 407 00:30:17,290 --> 00:30:21,870 food. And, again, this is not, you know, it's not funny, but I was laughing, 408 00:30:21,970 --> 00:30:24,570 right? You have a dark sense of humor. I'm just kidding. 409 00:30:25,310 --> 00:30:26,310 That's it. 410 00:30:26,810 --> 00:30:27,890 No, I know. 411 00:30:28,230 --> 00:30:33,910 But, like, the donuts from space and, you know, the alive. 412 00:30:35,850 --> 00:30:39,210 refrigerator. Miss Burton, maybe you could just lead off, like, was that 413 00:30:39,210 --> 00:30:43,050 something you were conscious of, that this might, you know, elicit laughter, 414 00:30:43,370 --> 00:30:47,670 or, you know, or was it, yeah, what was that, what was that like? 415 00:30:48,730 --> 00:30:49,890 Are you asking me? 416 00:30:50,250 --> 00:30:51,250 Yeah. 417 00:30:51,870 --> 00:30:58,870 Well, it is funny, because it's so absurd. 418 00:30:59,470 --> 00:31:02,950 It's horrifying at the same time. I think it's a combination. 419 00:31:04,080 --> 00:31:11,060 And I find sometimes I laugh at the most horrifying things because it's 420 00:31:11,060 --> 00:31:13,100 like, oh, my God, look where we're going. 421 00:31:13,580 --> 00:31:20,420 And you laugh when you're so tense you can hardly stand 422 00:31:20,420 --> 00:31:27,260 it. And you laugh. And I think that the intention was never to be funny. 423 00:31:27,660 --> 00:31:32,160 But the intention of going as far as you can go. 424 00:31:33,600 --> 00:31:35,180 sometimes produces laughter. 425 00:31:36,100 --> 00:31:39,000 So I'm glad I gave you a couple of laughs. 426 00:31:40,080 --> 00:31:42,740 It's like your sense of humor is so dark. 427 00:31:43,860 --> 00:31:45,760 He's got electric shock treatment. 428 00:31:46,080 --> 00:31:50,840 Now you're talking about the end, Marlon, but he's talking more like 429 00:31:50,840 --> 00:31:53,780 earlier in the film is kind of bonkers. 430 00:31:55,000 --> 00:31:56,320 Bonkers is the right word. 431 00:31:57,800 --> 00:32:00,080 What was the set like? 432 00:32:00,360 --> 00:32:03,600 I mean, I, you know, knowing Darren Aronofsky, it was probably a laugh a 433 00:32:03,600 --> 00:32:10,560 minute, but maybe with Marlon's set, any fun set story, on set stories for 434 00:32:10,560 --> 00:32:11,580 the audience? 435 00:32:13,140 --> 00:32:18,300 People often ask, like, how painful is the experience of making your films? 436 00:32:18,740 --> 00:32:23,820 And I don't find them painful at all. And I don't think people do. I think 437 00:32:23,820 --> 00:32:28,760 moment by moment between action and cut, There's a tremendous amount of 438 00:32:28,760 --> 00:32:33,400 concentration and often at times the actors are going through some serious 439 00:32:33,400 --> 00:32:37,860 emotional channeling that has an intensity. 440 00:32:38,180 --> 00:32:43,500 But what I like about all of these actors is like when you call cut, we go 441 00:32:43,500 --> 00:32:45,820 back to them being themselves. 442 00:32:46,120 --> 00:32:49,300 I think Jared was probably the most method like. 443 00:32:49,800 --> 00:32:54,820 he would walk away and take that emotion with him and try to hold it and store it 444 00:32:54,820 --> 00:32:56,560 and nurture it was my take. 445 00:32:56,940 --> 00:33:02,240 And, you know, we would leave Jared to do his thing, but Marlon very much, 446 00:33:02,280 --> 00:33:04,080 Marlon the second you called him. 447 00:33:06,460 --> 00:33:10,920 Ellen, when she's going deep into emotions, like I can remember when she 448 00:33:10,920 --> 00:33:12,920 was like channeling some heavy duty stuff. 449 00:33:15,300 --> 00:33:19,700 She would do similar to Jared. She would go off. She would always be there. So 450 00:33:19,700 --> 00:33:23,500 like I could just go at Ellen and she'd look at me and I'd give her a note and I 451 00:33:23,500 --> 00:33:28,480 could see Ellen underneath the character taking the note and turning it into the 452 00:33:28,480 --> 00:33:31,820 energy that she was still kind of keeping until the next time we would 453 00:33:31,820 --> 00:33:32,820 call action. 454 00:33:33,060 --> 00:33:39,120 And Jennifer is like a complete, I mean, it's strange to call her a veteran, but 455 00:33:39,120 --> 00:33:43,400 she is a complete, has always been an inspiration, her ability. 456 00:33:44,120 --> 00:33:47,460 One story I tell, which has nothing, just because I want to say something 457 00:33:47,460 --> 00:33:52,980 really nice about Jennifer, is that we didn't work together for like 15 years 458 00:33:52,980 --> 00:33:55,820 or some ridiculous amount. And then we got to work together on Noah. 459 00:33:56,340 --> 00:34:02,000 And it was like, I watched a really great uber talented actor become a 460 00:34:02,000 --> 00:34:06,260 master. Like I worked with her when she was super talented. And then by the time 461 00:34:06,260 --> 00:34:09,159 she got to me on Noah, it was a master class. 462 00:34:09,820 --> 00:34:11,560 So I was like, wow, this is a craft. 463 00:34:12,170 --> 00:34:17,710 There is a, you know, this craft can be developed and turned and grown. 464 00:34:18,610 --> 00:34:20,850 Anyway, that's my nice story about Jen. 465 00:34:21,770 --> 00:34:25,210 Jennifer, do you want to retaliate with a nice story or otherwise? Oh, no, 466 00:34:25,270 --> 00:34:28,730 please don't. I'm sure you got some. 467 00:34:29,949 --> 00:34:35,670 Well, you know, I would just say it's, you 468 00:34:35,670 --> 00:34:41,150 know, in terms of the atmosphere on the set, I felt like. 469 00:34:41,670 --> 00:34:44,290 It was such a privilege to be there. 470 00:34:45,330 --> 00:34:51,389 Even when it's like the subject matter is difficult and these 471 00:34:51,389 --> 00:34:58,170 characters are being tortured, it's being given that opportunity 472 00:34:58,170 --> 00:35:00,430 to really delve into something. 473 00:35:01,310 --> 00:35:02,930 Such an extraordinary gift. 474 00:35:03,810 --> 00:35:08,870 So I think all of us, I know I felt so grateful in every moment to be there. 475 00:35:09,810 --> 00:35:15,450 And I think Darren's just a genius, you know. 476 00:35:15,730 --> 00:35:22,270 And I was so excited to work with him the first time. I was so overjoyed that 477 00:35:22,270 --> 00:35:26,130 he wanted to work with me again and would do it any time. I think he's an 478 00:35:26,130 --> 00:35:29,050 extraordinary filmmaker, which is why we're all here. 479 00:35:30,280 --> 00:35:34,660 Well, just on the Noah front, I can share with you both that my niece, who 480 00:35:34,660 --> 00:35:39,980 is in her junior year of college on the West Coast, thankfully, still in school, 481 00:35:40,100 --> 00:35:43,000 had to write a paper about Noah. 482 00:35:44,580 --> 00:35:49,020 So she called up her uncle who had a thought or two. But just so you know, 483 00:35:49,180 --> 00:35:52,140 you are being studied. Your collaboration is currently being 484 00:35:52,140 --> 00:35:53,540 studied. Nice. Beautiful. 485 00:35:56,880 --> 00:36:03,100 You know, Ms. Bernson, you know, you were nominated for Best Actress for 486 00:36:03,100 --> 00:36:05,200 this performance. 487 00:36:06,520 --> 00:36:13,040 And, you know, you went through a whole cycle of, you know, the awards and 488 00:36:13,040 --> 00:36:15,860 talking about this film and sharing with folks. 489 00:36:16,240 --> 00:36:21,440 I'm just wondering any recollections of that period, you know, for, like I 490 00:36:21,440 --> 00:36:25,240 mentioned at the outset, this was an inflection point. I think a lot of us... 491 00:36:25,480 --> 00:36:29,680 got to know Jared through this film and certainly got to know Marlon as a 492 00:36:29,680 --> 00:36:30,680 dramatic actor. 493 00:36:31,240 --> 00:36:36,700 And, you know, had our fandom of Jennifer affirmed through this film, 494 00:36:36,820 --> 00:36:40,760 those of us who had been following for a long time. But this really, for many of 495 00:36:40,760 --> 00:36:45,040 us, was a chance to celebrate you in this, you know, new generation moment. 496 00:36:45,920 --> 00:36:52,420 Just wondering what that felt like to kind of go through that whole rigmarole 497 00:36:52,420 --> 00:36:58,560 of... acclaim after, you know, you had been through that before, obviously. 498 00:36:59,060 --> 00:37:05,500 Yeah, I want to tell you a story that's not exactly about awards, 499 00:37:05,500 --> 00:37:11,920 but I noticed after a few years went by after this film, 500 00:37:12,040 --> 00:37:18,940 say like 10 years, that I was known to young people for that 501 00:37:18,940 --> 00:37:19,940 film. 502 00:37:20,250 --> 00:37:24,610 People who hadn't seen Alice Doesn't Live Here Anymore or The Last Picture 503 00:37:24,610 --> 00:37:26,690 Show or even The Exorcist. 504 00:37:27,290 --> 00:37:30,090 But they knew me from that film. 505 00:37:30,350 --> 00:37:35,550 And I became aware of that. And I did a play in London. 506 00:37:35,930 --> 00:37:38,970 And I lived near that big Ferris wheel. 507 00:37:39,630 --> 00:37:44,700 Yeah. I don't know if you call it a Ferris wheel in London. And I wanted to 508 00:37:44,700 --> 00:37:49,860 take some pictures from it. And I never got to until the last day that I was in 509 00:37:49,860 --> 00:37:56,860 London. And I got over to the wheel to take pictures. And they wouldn't let me 510 00:37:56,860 --> 00:38:03,820 on because somebody had rented the wheel for a private thing. 511 00:38:04,140 --> 00:38:05,800 And they wouldn't sell me a ticket. 512 00:38:06,760 --> 00:38:08,720 And so I went. 513 00:38:09,880 --> 00:38:15,840 I went up to the people who were taking tickets and I said, they won't sell me a 514 00:38:15,840 --> 00:38:19,700 ticket to get on, but I'm leaving London and I really would like to get on to 515 00:38:19,700 --> 00:38:23,540 take some pictures. Is there any way I can get on? And she said, no. 516 00:38:23,820 --> 00:38:27,480 And kind of rudely and had nothing to do with me. 517 00:38:28,120 --> 00:38:31,480 And I thought for a moment, I thought, how can I do this? 518 00:38:31,820 --> 00:38:36,120 I said, did you ever see a movie called Requiem for a Dream? 519 00:38:36,600 --> 00:38:37,499 Love it. 520 00:38:37,500 --> 00:38:38,720 And she said, yeah. 521 00:38:39,320 --> 00:38:42,640 And I said, well, that was me in it. She said, you're kidding. 522 00:38:43,540 --> 00:38:44,540 Oh, wow. 523 00:38:45,080 --> 00:38:47,260 Yeah, you can get on, go on. 524 00:38:48,740 --> 00:38:49,740 That is incredible. 525 00:38:50,020 --> 00:38:52,900 Well, Marlon, that's the only way Marlon gets tickets to anything. 526 00:38:53,300 --> 00:38:54,300 Exactly. 527 00:38:54,860 --> 00:38:57,780 The only way I got in the Academy was because of her film. 528 00:38:58,640 --> 00:39:03,700 Well, I will share that, Ms. Bernstein, you're about to have a whole new 529 00:39:03,700 --> 00:39:07,580 generation appreciate your work for a whole new film. I will say that I have 530 00:39:07,580 --> 00:39:11,920 seen... probably the most remarkable performance of the year that you gave in 531 00:39:11,920 --> 00:39:15,200 pieces of a woman, a new film that launched in Venice. 532 00:39:15,440 --> 00:39:21,320 And I was just destroyed by what you did. Once again, you, you, you have kind 533 00:39:21,320 --> 00:39:24,820 of elevated what I can come to expect from a screen performance. So everybody 534 00:39:24,820 --> 00:39:26,480 should get ready and check that out. 535 00:39:26,760 --> 00:39:29,980 Hopefully coming soon to a theater. I've seen it. It's great. 536 00:39:30,300 --> 00:39:31,300 Yeah. 537 00:39:32,110 --> 00:39:34,130 Yeah, I did. I forgot to tell you. I'll tell you later. 538 00:39:35,070 --> 00:39:41,610 Isn't Vanessa being divine in it? She deserves every accolade, which she will 539 00:39:41,610 --> 00:39:46,250 surely get, but she could not have done what she did without you there as her 540 00:39:46,250 --> 00:39:52,030 partner, and you elevated that film in many ways. So thank you for that. I know 541 00:39:52,030 --> 00:39:57,530 we have a hard out with our guests this evening now, but I do want to thank all 542 00:39:57,530 --> 00:39:58,530 of you for... 543 00:39:58,880 --> 00:40:04,320 joining us for sharing these stories and for sharing this movie with the world. I 544 00:40:04,320 --> 00:40:08,580 mean, it's as poignant and relevant, probably in new and even more powerful 545 00:40:08,580 --> 00:40:11,500 ways today than it was 20 years ago. So thank you, everybody. 546 00:40:11,720 --> 00:40:14,080 And I hope to see you at MoMA soon. Thank you, everybody. 547 00:40:14,460 --> 00:40:16,480 Thank you, guys. Bye, guys. 548 00:40:16,720 --> 00:40:17,720 Bye. Thank you.