"Greta Gerwig"

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Speaker 1 Okay, guys, we're going to do this next podcast from our pool. So do you have your towels and your sunblock? And I got the floaties.
Wait, Sean, you're supposed to be wearing... No trunks?

Speaker 1 Yeah, no, no, I don't want any tan lines. I don't want anything.
Okay, man. Well, this is not.
Well, why are you wearing a two-piece? Because I want to cover my meats and cheeses. That's

Speaker 1 going to make a big splash. This is wonderful, Sean.

Speaker 1 Here comes Smartless, everyone. Smart.

Speaker 1 Smart.

Speaker 1 Smart.

Speaker 1 Hey, gang.

Speaker 1 Will, why do you have green screen behind you? Are we doing an animation episode today? Yeah, we're going to do a full, because I just wanted people to feel free to do whatever they want behind me.

Speaker 1 Oh, that's been happening for years. So we can put in like, well, yeah, why is that there? I got to do a junket this afternoon.

Speaker 1 Will you put like a background behind you, like an image? And what would that image be?

Speaker 1 It's of an ice cream truck. Oh, so it's a drama? I have the same one.

Speaker 1 Is it like a fourth quarter prestige film? It's the Sean Hayes story.

Speaker 1 That's what you have the junket about? History of ice cream.

Speaker 1 There's a licket joke in there somewhere. No.

Speaker 1 But no, no, no. It's for Twisted Metal.
So there's the big eyes, you know,

Speaker 1 Sweet Tooth is my character. Oh, yeah.
That's your new nickname.

Speaker 1 Sweet Tooth. Now, do they send you the green or do they ask you to go to a hobby shop and get a nice

Speaker 1 basic? They sent me the green and this light, this big bright light that you see. Don't make like you don't know what a ring light is.
I I think it's all they're all over your house.

Speaker 1 I've never had one. That's not true.
I had one before, but I haven't used one since pandemic. Speaking of pandemic, Sean, what are you eating? Cheez-Its, Cheez-Its.

Speaker 1 But they're white cheddar Cheez-Its.

Speaker 1 Am I wrong?

Speaker 1 Oh, they looked white. Have you had the white cheddar Cheez-Its? Is there such a thing? No, are they good?

Speaker 1 I don't know. Is there such a thing? I just don't know.
Asking for a friend, you know me.

Speaker 1 Asking for a friend. If you have them, please send them.
I do want to just do another shout out to our friends at ChexMix slash Bugles.

Speaker 1 What did you guys get like a big box of oh my god? I had the Cool Ranch, was it Cool Ranch Bugles?

Speaker 1 They were they sent, but they sent everything, funyans and you know, I'm gonna stop, I'm gonna stop talking about it because my instinct right there was like, Oh, I would never eat that stuff because I had hold water in my face for five years for that.

Speaker 1 I'm not gonna do it anymore because people now are coming up to me after the doc is under, hey man, so sorry to hear about your food disorder, your, your, your, your, your, your food uh, uh, issues.

Speaker 1 That's not true. That's true.
Yeah. Yeah.
And I said, well, you know, a lot of it's true, but comedy kind of lives in the exaggeration.

Speaker 1 And so I'm leaning into it and, you know, kind of playing my role in that. Yeah, just for the record, we've all seen you eat candy and other stuff.

Speaker 1 Yeah, I eat like a fucking shit pig most of the time. Not most of the time, but when I want it, I have it.

Speaker 1 It should be noted, because I'm often at the at the sharp edge of that

Speaker 1 point that is

Speaker 1 puncturing you.

Speaker 1 that I have seen you devour more shit than anybody I know. So, but I love giving you Sean.

Speaker 1 I love giving you because what happens is, as you say, that there's a larger person inside of you waiting to get out, and so do you have three of them.

Speaker 1 Right, and so you're trying not to feed the beast as much as you can, as hard as you can. If you unzip me, you'd find three

Speaker 1 after-school specials of

Speaker 1 teenagers that wake up and cry. I brought it before.
Do you remember when we, like when

Speaker 1 we were up at Pebble and

Speaker 1 you had an off week? You got to sort of, and we would sit down, they'd go, Can we, well,

Speaker 1 this is my favorite, they'd go, as soon as we sat down, not even the waiter, the summary go, hey, can we start you off some ice water? You'd go, yeah.

Speaker 1 And if you've got a basket of bread back there, he'd be like, hey, man, that's right.

Speaker 1 Do I remember that restaurant? She was like, immediately. Yeah, and I looked at you like, who are you? They were still handing out the menus.
Yeah.

Speaker 1 You were at ballet. I was at ballet.

Speaker 1 I was at, I went to the bathroom.

Speaker 1 We don't have bread in the house. I got super, super, super, super stoned with Reina, my friend Reina.
This is years and years ago. We were in New York.
I was high as a kite and I was starving.

Speaker 1 We walked down the street. We walk into

Speaker 1 a restaurant and the matri D goes, how many? And I go, Caesar salad.

Speaker 1 Not even joking.

Speaker 1 I swear swear to God, I wasn't even joking. And Randon grabs my arm.
I'm like, what? I go, I just wanted to start off like, so before when we sit down, if the Caesar's there waiting.

Speaker 1 I do like a Caesar salad mix at the table. I think there's something very, very refined about that.

Speaker 1 Caesar salad mix at the table, get your salad chopped in the kitchen so they bring it to you chopped. That's also.
I do like my dressing on the side. That doesn't give me food issues, does it?

Speaker 1 I just think that people overdress salads. Yeah, I do.
I want, you know. It's too soggy.

Speaker 1 And it should be noted that in a town, and by town, I mean LA, in a town where a lot of people, when they get burgers or they get stuff, they're like, no bread.

Speaker 1 Can I get that wrapped in lettuce or whatever? Every time on the off weeks on Sunday nights when we do burgers, Jason always gets full bun and he has

Speaker 1 two burgers or two burgers.

Speaker 1 No, I do the single. I do the single.
Watch it. I do the bad.
You've had two burgers. I've seen you do two burgers.
Oh, two burgers. No, but not double patty.
No, I do double patty. I do two burgers.

Speaker 1 Well, you have

Speaker 1 one patty per burger because that's proper ratio with the bread, right? That's right.

Speaker 1 Only a fool would have double meat. It's too much meat.
Tell that to the Big Mac. Well, he's got another piece of bread in there.
He does have a piece of bread in there, right? It is. I'm true.
Yeah.

Speaker 1 Yeah, so cool at Big Mac.

Speaker 1 He knows what he's doing. All right, all right.
So where do you guys get a load of this guest? Wait, wait, wait, wait, wait.

Speaker 1 I just wanted to show you guys. Yeah, Sean, I saw you were playing with

Speaker 1 the. Wait, but look, it's all our faces are on this rubber.
It's the Rubik's Cube. It's the Rubik's Cube with our faces.

Speaker 1 And then, isn't that cool? Listen to that.

Speaker 1 The world's smartest game for the world's dumbest

Speaker 1 podcast shows.

Speaker 1 We don't know how this all happened, but we're not going to question it too much. Here's the deal:

Speaker 1 the smartest toy of all time just got smartless, guys.

Speaker 1 So, in celebration of the Smartless podcast third-year anniversary, we have partnered with Rubik's Cube to make a limited edition, limited quantity, Smartless Rubik's Cube. Yeah.

Speaker 1 Yeah.

Speaker 1 I've always wanted to be one of those people that can solve it in like three seconds. You ever see those guys? Wait, can you do that? Oh, yeah.
I've seen that. But there's a way to do it.
I can't.

Speaker 1 I don't know how to do it. No, they do.
Jay, they mix it up and then they solve it in three seconds. The kid just set a new record last week or something.
He looks at it and goes, yeah, and he goes,

Speaker 1 and puts it down. Yeah, I saw that.
I saw that. It's fucking amazing.
And by the way, it's a little bit of a cheat, though, because you can see our faces. You just line our faces up.

Speaker 1 Or, yeah, it still takes some skills. We're not smart enough to do it.

Speaker 1 But, listener, if you're smart enough to do it, or you want to try to get smart enough to do it, go ahead over there to that merch store, you know, that smartlist shop and buy one.

Speaker 1 Don't worry, you can't do it.

Speaker 1 Do we need to tell them what is it? It's www.shopsmartless.com.

Speaker 1 Anyway, Anyway, Jay, sorry, we interrupted.

Speaker 1 Yes, I apologize. I apologize to our guest.
Hey, guys.

Speaker 1 I don't know if you like if you guys,

Speaker 1 wait, hang on a second. Is it still wrong?

Speaker 1 Hey, guys. Start from the ball.
Hey, guys.

Speaker 1 Hey, hey, guys.

Speaker 1 I don't know. Tighten up, mystery guest.
Here we come. I don't know if you guys like folks with talent.

Speaker 1 Hey, guys. I don't know if you like folks with talent.
People or people who... God damn it.
Let's just reload. Hey, guys.
Here we come. Here we go.

Speaker 1 I don't know if you guys like folks with talent, period, but

Speaker 1 comma. That would be a comma.
I don't know why I write these. Why do I write? I should just freestyle it like Willie.
Hey, guys. Hey, guys.
I don't know if you guys like folks with talent.

Speaker 1 People who are funny, smart.

Speaker 1 This sounds insincere, but it is sincere, mystery guest.

Speaker 1 I don't know if you guys like folks with talent. Comma.
People who are funny. Gotta get off the morning dummies.
Charismatic. I don't take them till after four.
Funny, smart, charismatic, and sparkly.

Speaker 1 I do.

Speaker 1 So I've invited one to join us today. I do.

Speaker 1 I do, comma. So I've invited one to join us today.

Speaker 1 She's not yet 40, but she's already written nine movies, directed four of them, starred in four of them, gotten three Academy Award nominations for them.

Speaker 1 And I'll bet there's more of those coming for her new one. She was born in Sacramento, but lives in Brooklyn.
She was interested in dance, but was competitive in fencing.

Speaker 1 Almost pursued musical theater, but instead got a degree in philosophy from barnard carla college despite the destructive and reckless influence of dormate kate mckinnon please welcome miss greta gerwig greta

Speaker 1 oh my god

Speaker 1 pretty good right

Speaker 1 that was that was amazing it was great also i'm so nervous behind my little sheet of paper

Speaker 1 why don't be nervous oh my god

Speaker 1 we're we're hard-hitting journalists with a lot of research yeah okay and we're we're going to bring the hard-hitting questions.

Speaker 1 You can see we take our craft very seriously. Get ready.
I'm ready. Greta Gilrig, it's so nice to meet you.
Yeah, great to meet you.

Speaker 2 It's so nice to meet you, too. And I have to confess, Fest, I have the circle light behind me, which I didn't even know existed.

Speaker 1 You're allowed to have rings.

Speaker 2 And they sent one to me. They sent one.

Speaker 1 That's what happened to me, Greta. Is that a baby crib off to the side there?

Speaker 2 Yes, yes, that's a baby crib.

Speaker 1 That's where Noah sleeps. You know, Sean,

Speaker 1 they drop the baby. They just say crib.
Yeah. Okay.

Speaker 1 Don't say baby crib. Because everybody knows who you say crib that you're talking about.
But it's for.

Speaker 1 Well, some people might think it's your house. No.
Now, Greta's got two baby boys.

Speaker 2 Yeah, and a stepson who's 13.

Speaker 1 Got it.

Speaker 1 So you're swimming in testosterone over there.

Speaker 2 That's why I made Barbie.

Speaker 1 No, it's

Speaker 2 great, though. I never, I actually, having a bunch of boys around is so fun.
Oh, and I apologize. You can hear sirens.

Speaker 1 Are you already in trouble? Under indictment? Are you? No.

Speaker 1 So you're in Manhattan.

Speaker 1 You have two sons and

Speaker 1 a fun partner. Yes.

Speaker 1 We call Noah fun, right? Yes. Yes, he's fun.

Speaker 1 And you've got a really fun movie coming out.

Speaker 1 Oh, God. I love the trailers on this thing.
I know me.

Speaker 1 All right.

Speaker 1 We're going to get to that. Where are we going to get started here? Let's see what kind of hard-hitting question.
Let's start at the beginning. Let's go back to the beginning.
I want to know.

Speaker 1 I don't credit. I sadly don't know enough about you yet.

Speaker 1 We're so bad at this or we probably won't find out more because we'll end up talking about ourselves. But what.

Speaker 1 I want to know, like, from when you start, when you were a kid,

Speaker 1 what were you drawn to most, the acting or the writing? Or were you drawn, because you're such a brilliant writer, were you drawn to writing right away as a kid?

Speaker 1 Like, were you like creative arts class or something?

Speaker 2 Well, I didn't, I was sort of drawn to the whole thing of it. Like I did grow up in Sacramento and there was a really healthy and vibrant community theater scene there.

Speaker 2 So I spent a lot of time going to community theater and participating in community theater because if you liked, if you liked it, that's sort of the way in, you know?

Speaker 1 And now don't you look back

Speaker 1 on the shows that you've done in community theater and be like, you know, they're great and great experience, but it's like, it's like high school. It's like high school.

Speaker 2 No, but it was also like sort of the purest art I think I've ever done. Like it's the most,

Speaker 2 you know, I don't know, there's something like really,

Speaker 2 it's like everybody has like a secret sort of like Clark Kent Superman identity, like a substitute teacher might in the night

Speaker 2 do Tennessee Williams for all you know. And I, there's, there's something about that that I was always like, I, I, I love it.

Speaker 1 Yeah, I used to play auditions for piano for auditions for community theater shows. And you're right, you would get, it was just like waiting for government.

Speaker 1 It's like people like moms and dads and dentists and everybody would come.

Speaker 1 You didn't see Joseph and his Technicolor coat in Sacramento because Jessica Chastain saw that in Sacramento.

Speaker 1 She did? Oh, that's right.

Speaker 2 I think she saw it at the Walnut Creek Theater, which was,

Speaker 2 which was a little outside.

Speaker 2 But I did see, but fun fact, I saw Jessica Chastain in community theater when she was like 15 or 16.

Speaker 1 No way.

Speaker 2 Yeah, and I saw her in You Can't Take It With You at the Chautauqua Theater Company.

Speaker 1 No way.

Speaker 2 Yeah, and she played the ballerina.

Speaker 2 Yeah,

Speaker 1 I was in You Can't Take It With You in high school and had one line, and I was a G-man, and it was, you are right, Chief, they have enough gunpowder down there to blow up the whole town.

Speaker 1 That was my only line. Right.

Speaker 2 I think you can't take it with you later in high school.

Speaker 1 I'd love to get one more take on that, Sean.

Speaker 1 Let's just have fun with it. Here we go.
Still rolling.

Speaker 1 You're right, Chief. They have enough gunpowder down there to blow up the whole town.
Got it. Thank you.
Check it.

Speaker 1 That's cool. So, what were you in? So you were in You Can't Take It With You? What else? Yeah, I think I played.

Speaker 2 Is this, it's been a minute since I've seen the play. Is there a Russian woman in it? Because I have a memory of being Russian.

Speaker 1 Yeah, yeah. Wow.
Yeah. Yeah.
It's a bold choice if there wasn't.

Speaker 1 But it, so it was going to start with, it did start with acting, and then when did it go to writing?

Speaker 2 Well, I was always writing, but I didn't really have,

Speaker 2 I didn't know,

Speaker 2 there wasn't really an outlet for, in terms of like my, my high school and everything, there wasn't like, you know, and here are the plays our students have written, but they did let you do like,

Speaker 2 I wrote all the homecoming sketches for homecoming rallies. Like that was my way of like,

Speaker 1 being sort of

Speaker 2 a writer.

Speaker 2 And then it wasn't until actually I got to college at Barnard that I was I was taking an acting class and I was writing scenes and I wrote a my own monologue to audition and they were like that's not you're not meant to do

Speaker 1 and I was like oh and then they said one of the teachers who was great was like I think you want to take a playwriting class and then I started taking playwriting in college and that was like an instant oh wow love at what point in Sacramento or what in um what got you excited to leave Sacramento like did you know when you were you're like I'm limited here.

Speaker 1 I know there's only a certain, you know, place I can go here.

Speaker 2 Well, I had, I, my dad actually had, one of his best friends was a

Speaker 2 math professor at Columbia. And we went to New York City when I was five.
And I had

Speaker 2 just a really strong memory of

Speaker 2 waiting for like rush tickets for Broadway plays. And I saw, um,

Speaker 2 I saw like

Speaker 2 Tyne Daly in Gypsy and I saw Jerry Orbach in 42nd Street and all the rush tickets you're you'd be sitting in the front row and looking sort of straight up. Yeah.

Speaker 2 And I remember I was like, I gotta get back to Broadway.

Speaker 1 That was sort of what I felt.

Speaker 2 I just was like, like I'd never in my life, and it was 89. So I also think it was like there were still kind of like the neon

Speaker 2 strip bars in 42nd Streets and like everything. And and everything was like, I just was interested.
And I, so I kind of had it in my mind for really long.

Speaker 1 It was still kind of grimy and kind of like exciting in that way. Yes.

Speaker 2 And I remember I said in a cab, we were in a cab once and I said to my mom, I had this like, take me to LaGuardia.

Speaker 1 I had this, it was, I was five, and I remember I had a, my favorite outfit was pink and had guitars all over it.

Speaker 2 And I called it my rocking, rock and roll outfit. And I said to my mom, I was like, can I wear my rock and roll outfit tomorrow? And the cab driver said, I'll wait for you.
I'll marry you later.

Speaker 2 And I was like, oh, this cab driver is going to marry me, which in retrospect was maybe gross.

Speaker 1 He was arrested.

Speaker 1 And his name is Noah Bomb.

Speaker 1 And we will be right back.

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Speaker 1 And now back to the show.

Speaker 1 So if I'm a young writer and I want to, or an aspiring writer, would you recommend writing plays or trying to write like a dialogue scene before you start to take on the sort of the formatting of a feature and stuff like that?

Speaker 2 Well, I think it's really useful just in terms of like,

Speaker 2 it's very cheap to do in terms of like seeing how it works with actors.

Speaker 1 Because your dialogue is so great. It's so easy.
It's so natural. It's so, yeah, you're also saying something.
Like that's a great little trick, right?

Speaker 1 You have something, well, people actually talk like that, but then you sort of Trojan horse in something actually pretty profound and like, oh my God, and I realize I'm now crying and, you know, or laughing.

Speaker 1 And like you make it seem very, very easy. And did that sound like that? So stop sneaking messages in, Greta.
Yeah. You know what I mean?

Speaker 1 It's too much for us. We don't

Speaker 1 can't take it. We're too sensitive.

Speaker 1 So did a lot of that come from

Speaker 1 trying with being a playwright and doing mostly dialogue with that?

Speaker 2 not to believe that. Yeah, I mean, well, I think actually doing community theater or doing theater at school was also

Speaker 2 memorizing really great text, even in like scene class, is amazing because it kind of makes you realize why it's great is because it, I don't know, I haven't had this experience that many times as an actor, but like, I remember like doing, you know, I don't know, Shakespeare or Tennessee Williams or Edward Albee or something like that, when the text sort of opens up to you and you realize like you could make so many decisions at this kit as this character and they're all right because it's rich and it's sort of full and it's there for you and i think um

Speaker 2 it i was like oh that that's the a gift to an actor if you can kind of find words that make them feel free and not constrained and um

Speaker 2 and yeah for me writing um

Speaker 2 Again, it was all in college. I was really lucky.

Speaker 2 One of my playwriting professors was like, because we'd all read each other's work. And also Kate McKinnon was, she was also doing playwriting classes with me at the same time.

Speaker 1 No, wait, go back.

Speaker 1 She's a problem. She's trouble.
I'm really glad you got away from her. Congrats.
Wait, so that was in Jason's intro. You were roommates?

Speaker 2 Yeah, yeah. We went, well, she was at Columbia and I was at Barnard.
And then we ended up, you know, I don't know, you like go in for housing together, you know, that thing.

Speaker 1 She tried to pull you in, right, and take you down the path. And

Speaker 1 good for you that you stayed away.

Speaker 2 She was always

Speaker 2 the funniest, most talented person i'd ever met and like good at everything

Speaker 2 and i also saw her do drama like she could do anything she was like meryl streeps she was like unreal

Speaker 2 and um

Speaker 2 yeah but we but we would do these playwriting classes together and you read each other's work out loud and then um our teacher organized for real professional actors to come read our plays which was like real professional actors real professional actors and the actor i don't know if you know him he's a wonderful actor, Michael Chernis.

Speaker 2 Sureness.

Speaker 2 He's amazing. And he came and he read my play.
And I was like 19 and he was amazing. And I thought I was the best writer because he made it even more wonderful.

Speaker 2 It was so exciting.

Speaker 1 Let me ask you a question. Have you cast Michael Chernis in one of your films yet? Actually,

Speaker 2 yes.

Speaker 1 Good for you.

Speaker 2 Movie called Mistress America. And we cast him.
And I told him, I was like, do you remember coming to Barnard College one fall?

Speaker 2 And he said, oh my God, that was you.

Speaker 1 I said, don't you? That's so crazy. You know, I just saw an interview

Speaker 1 yesterday with Matt Damon talking about when he wrote Goodwill Hunting, and he wrote that in college as a,

Speaker 1 he was writing it, he was doing like a, they had to write one act plays, and he was talking about the fact that he wrote this sort of 40-minute thing, and he says to his professor, I think I failed because I've got this thing, and I don't know what it is, but I think maybe it's a screenplay.

Speaker 1 And then he ended up taking it back and writing with Ben. And what was interesting was talking about the process of then Ben looking at it and going, I think we should work on this together.

Speaker 1 And them talking about the discovery as young writers and going, and Ben saying to him, like, if your character says this, I think the other guy should say this.

Speaker 1 And them having, and as you know, as a writer, that so much of it is just that, right? Is just

Speaker 1 trusting your instinct in those moments of like understanding who that character is and going,

Speaker 1 and I thought it was very valuable to say out loud to young writers. Just that process is really that, right? And having the confidence.
Or like Chuck Martin used to say, right?

Speaker 1 Writing's just talking. Was that Chuck Martin? Jim Valley.
Jim Valley. Yeah, the great Jim Valley.

Speaker 2 No, that's all. I mean, I think it is, I always said,

Speaker 2 you know,

Speaker 2 I'm probably stealing this from someone, but like writing is listening.

Speaker 2 You have to sort of, that was you.

Speaker 2 No, you kind of have to listen to the characters talk to each other. And

Speaker 2 I think, and in a funny way, or for me anyway, with directing, like, I can't,

Speaker 2 for me, the writing process and the directing process are pretty are different. They're very separated.
And I don't really want to direct something until I feel like the script is good and

Speaker 2 like worth doing. And I think

Speaker 2 because they're kind of separate parts of my brain,

Speaker 2 there's times as a director where I'm like, I knew something as a writer

Speaker 2 a year ago or six months ago, which I don't know anymore. And I sort of have to trust the writer part of me that they knew what they were doing and not tinker with it later.

Speaker 2 Like any edits I've done in the directing process, I've always regretted. I've always gone back to the original script.
I'm like, what was I trying to do?

Speaker 1 Yeah, I get, you know, it's funny. I, I mean, you, you write, I imagine you always write alone, right? You write by yourself only.

Speaker 2 Unless I write with Noah, he's the only other person.

Speaker 1 So you do write with Noah. Yeah, because

Speaker 1 I write with Chappie. We talk about, I know I'm bringing up Chappie, but once an episode.
And

Speaker 1 I get so much value for me. Now,

Speaker 1 he writes some stuff on his own as well, but he and I write together, and I get so much value out of those conversations in those moments, so that later when we do stuff and when we actually shoot stuff, that

Speaker 1 we've got each other to go back on and go like, wait, what was I think, what were we thinking in that moment?

Speaker 1 And one of us will catch the other one and go, we're doing it because blah, blah, blah, and it does make sense. And I think we are right on this.

Speaker 1 You need that sounding. Yeah, it's kind of what you're talking about a little bit.
Exactly.

Speaker 1 But, Greta, what about when the directing, do you let the directing win over the writing, or is it the other way around?

Speaker 1 You may have just answered this, but like, what if while you're directing something, you figure, oh, you know what, we're actually saying that with this performance or saying that with this camera shot, so we don't actually need to literally say it.

Speaker 1 Let's cut the line.

Speaker 2 Yeah, yeah. I mean, I feel like it's not really the like director side of me wins as much as when you kind of expose it all to air and bring actors in.

Speaker 2 I think it's often more that I feel that the actor

Speaker 2 usually I shoot what's on the page.

Speaker 2 I'm pretty good at it because I'm like, well, you know, but then often, because I've gotten to work with such great actors, you find that the actor has done it without, you know, you've written all these lines and the actor, the audience knows right away what the actor is feeling.

Speaker 2 They're communicating it anyway.

Speaker 1 But yeah,

Speaker 2 it's really with with like actors that I feel like it changes.

Speaker 1 What interests me is, so I haven't, obviously, like everybody else, I've seen the trailer for Barbie and I haven't seen it yet, but it looks amazing.

Speaker 1 And it's so visually, first of all, visually, it's so stunning. There's so much to look at.

Speaker 1 And so I'm curious, because I've never worked on something like that before, where there is such a visual element to it, that how you approach that as you're writing it, how much of that ends up on the page.

Speaker 1 And if you're directing, you don't really have to explain it, although you do have to walk everybody else through it, right?

Speaker 1 A little bit.

Speaker 2 In some ways, it was on the page. Yeah, there were things on the page in a sort of general sense, but I found that for Barbie in particular, it was,

Speaker 2 I had a very long time working with the production designer before, I mean, I think I started talking to the production designer in

Speaker 2 at least a year before we started shooting and

Speaker 2 DP at least a year, and the same with the costume designer. And so, a lot of the things that got worked out in the movie were things that came out of just like tons of meetings of like how

Speaker 2 even things like

Speaker 2 we you know there's these incredible sets that they built and they also built

Speaker 2 it was like a combination of like large-scale sets that are on these sound stages and then also we built a lot of miniatures which was amazing and I've never built miniatures but I

Speaker 2 love them like those pictures of like when they were making, you know, Star Wars, or if you watch the like ILM documentary, you're like, all I want to do is glue little things.

Speaker 1 Did you see

Speaker 1 the star? Did you watch the ILM documentary? I love the ILM documents. It's incredible.
Incredible. Incredible.

Speaker 2 It's like my favorite. Those guys are like,

Speaker 1 unbelievable.

Speaker 2 Love them. And they're all

Speaker 1 so special. I don't know.
And they were all like in college, just like in a warehouse going like, let's make this. Well, we can't make that.
There's no, it doesn't exist. Well, let's build it.

Speaker 1 Well, what?

Speaker 2 and they just built a camera that makes it do what you want to do it's just phenomenal it's also like i think it's also i mean i have to say like in terms of documentaries about making things disney plus is killing it they've got the ilm dock and also the get back the beetles dock yes and did you see the did you see the pixar dock No, that's incredible.

Speaker 1 That's incredible.

Speaker 1 Did you guys see the doc about the Pixar doc?

Speaker 1 Yeah, they did a doc about the making of the

Speaker 1 Pixar dock. Wait, credit, since we're on the Barbie thing, I just have to ask an obvious question.
First of all, when somebody approached you, or did you come up with the idea? How did it happen?

Speaker 1 And weren't you? Because someone like me sitting back was like, they're making Barbie a movie? Like a live-action movie? And then you see the trailer, you're like, oh my God, this is so cool.

Speaker 1 But like, at first, weren't you like, wait, what?

Speaker 2 Well, actually, it was

Speaker 2 Margo Robbie invited me into this because she's a producer. And

Speaker 2 I had met her

Speaker 2 a few years earlier. And I've, I mean, I loved her as an actor.
And then when I talked to her as a producer, it was just, she's really

Speaker 2 wonderful and smart and everything you hope a producer can be. And then she, so she got the rights and was going to make it.
And she came to me and said,

Speaker 2 do you want to write? Would you be interested in writing it? And then,

Speaker 2 and then I,

Speaker 2 that was like shortly after the birth of my first child. And

Speaker 2 I, I must have said, yes, and I'd like Noah to write it too,

Speaker 2 which then later he kind of was like, am I writing a Barbie movie with you? What is it?

Speaker 1 Just a 10 part.

Speaker 2 And I was like, yeah, it's going to be great. And he was like,

Speaker 2 what are we going to do? That's, I don't know. And so, but then I sort of had a, I don't know, I just had a feeling about it.
Mostly I had a feeling about

Speaker 2 Margot and it sort of seemed so outrageous. I thought, well, I don't know.
It could be interesting.

Speaker 2 And then, um, and then Noah and I started writing it really, um, we started writing it in March of 2020, so it's like very much shut down, uh, locked down time.

Speaker 2 And then, yeah, and then anyway, we I didn't know I was going to direct it until we were done writing the script, and I was like, Well, this is, I really like this, and I don't want anyone else to do it.

Speaker 1 And what, what is any fears about it, like any fears about like

Speaker 2 well, so many fears.

Speaker 2 All I have is fears, I still have fears, the fears are continuing. No, no, it's it's um

Speaker 2 it's uh yeah, it's like terrifying.

Speaker 1 How it would you got you and Noah are

Speaker 1 both incredibly good at

Speaker 1 keeping things real, keeping things smart, sophisticated, uh, nuanced, blah, blah, blah.

Speaker 1 All the things that you would not think of first when you think of Barbie, which is for kids and something that is, I think by design, supposed to be very sort of base and primary.

Speaker 1 Was there a,

Speaker 1 I'm sure there was a very interesting discussion between you and him about, okay, how are we going to take something that is really sort of,

Speaker 1 again, generic by design

Speaker 1 and put in all the stuff that we're really good at and known for? Was that an exciting kind of opposite situation for you guys?

Speaker 1 Well,

Speaker 1 thank you for all of that.

Speaker 2 I mean, yeah,

Speaker 2 I guess I've always feel like there's something exciting exciting about

Speaker 2 things that appear unlikely or things that appear sort of like, how's that going to work? You know, or I think that sometimes those are where really interesting stuff comes from.

Speaker 2 And I think part of that has to do with

Speaker 2 because of honestly community theater just doing like sort of like, well, we're going to do it with what we've got. Let's go.

Speaker 2 And I think that kind of

Speaker 1 I don't know.

Speaker 2 It's like that challenge of

Speaker 2 finding your way into something something that seems

Speaker 1 kind of like this is an odd right, like every well, everybody's got a preconceived notion of what that is, kind of what you were saying, Jay. Like everybody's got this idea, Barbie is this, et cetera.

Speaker 1 We all have, and so by taking something that we all have such a relationship with, or we have a preconceived notion about, yeah, like you guys are so, so incredibly good at writing stuff that is very sort of adult or questions that adults are capable of processing.

Speaker 1 I would imagine the studio was keen on

Speaker 1 keeping intact an appeal for children with this. Right.
Yet you and Noah are both so great and known for the other. And so

Speaker 1 was there a negotiation with the studio about kind of merging the two? Or were you and Noah excited about kind of just doing that even without asking them?

Speaker 2 Well, I mean, I think from the outset we knew we were going to make a PG-13 movie so that it wasn't exactly, I mean, it wasn't like, you you know, a hard R or anything or soft PG.

Speaker 2 Yeah, it's like a PG-13 could kind of occupy that space. I mean, I think also the movies, you know, I love a lot of PG-13 movies.
And when I think about certain, like,

Speaker 2 I don't know, like even like Clueless, which was a big one for me, it's like, I didn't understand a lot of those jokes, but I also loved it and thought it was hilarious and great.

Speaker 2 And I felt like there was a way to do something that's kind of sophisticated and broad in that way. But the truth is, we really just amused ourselves and wrote something that we loved.

Speaker 2 And that we, and again, because of the pandemic, there was a real sense of like, I don't even know if any of this is like, like, possible.

Speaker 2 Like, I don't know if we're going to go back to the movie theaters. And I think, in a way, it sort of freed us.
Also, because it was Barbie, we were like, let's just go for Brooke.

Speaker 2 Let's make the craziest, most unmakeable thing we can write, and then see what happens. And it was so, there was no kind of sense of like needing to please anyone.

Speaker 1 And you also didn't think that you were going to be stuck with directing it either at the time. They were like, let me just write something that we both like, and we don't have to direct it.
Exactly.

Speaker 2 I was like, well, this is somebody else's problem.

Speaker 2 Somebody else has to figure out how to build all this stuff.

Speaker 2 And then, and then, like, and you're absolutely not able to fake this, but like, I didn't need to make a, I, you know, I didn't need to make a Barbie movie. I was like, well, I want to make this one.

Speaker 2 And if you guys don't want to make this one, then I don't.

Speaker 1 And then, like, and then you hire Rodrigo Pierre, who's like,

Speaker 1 I mean, the movie is so, again, by design, perfectly

Speaker 1 colorful and flat and bright. And, you know, he's like, you know, an incredible cinematographer that can shape light like the best of them.

Speaker 1 Was he excited to do something that was completely opposite from what he's known for too?

Speaker 2 Well, he's always been a dream DP for me to work with.

Speaker 2 I mean, he really lights with God fingers. He's got got one of those abilities and he's just, you know, extraordinary.
And

Speaker 2 I approached him about doing this.

Speaker 2 I sent him the script and I said, you know, and he thought it was funny and he was interested. We started talking and

Speaker 2 he just...

Speaker 2 I mean, it was, he just showed it.

Speaker 1 It's funny.

Speaker 1 I'm imagining his face as he opens up the envelope and it just says Barbie.

Speaker 1 And then he's like page one, screaming at his agent.

Speaker 2 Yeah, but he was like, but he, we started working on it right after he

Speaker 2 finished shooting um killers of the flower moon with Scorsese, yeah. And it took me a full week to like I had to like step aside with him.
And we were shot listing and talking and working on things.

Speaker 2 And I was like, Rodrigo, I'm having a lot of trouble because I just have to look at you and say, Okay, so then

Speaker 2 Barbie is going to walk through.

Speaker 1 Like, I could, I couldn't, I was like,

Speaker 1 I felt, and he was like, I want to be here.

Speaker 2 I want to be doing this.

Speaker 1 Yeah.

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Speaker 1 All right, back to the show.

Speaker 1 Greta, I have a question.

Speaker 1 When you're on set or

Speaker 1 what how to are you guys, are you ever open to actors changing lines? Are you like, if an actor's like, you know what, I don't know that I would, do you fight back?

Speaker 2 you like just just say the lines as written I promise I'll work or whatever your mouth actor hit your mark say you're lying no you say that I hear you say that I don't say that but I do um I try to do as much as I can build in rehearsal because I find that I like I like people to be open to to do i mean honestly i mean from theater like table work just like what you know any questions and how does this work and and i think if there's improv that comes out of that that then wants to get worked into the script, I really do like words to be written just because it is like, you know, movies are so you can really get pulled in different directions and also seduced by how talented everyone is that you can be like, wait, are we telling the story or am I just letting you get like, and I, and I think, so, but I, so I like, I like building it in in rehearsal.

Speaker 2 And then

Speaker 2 certainly I've like, if there are certain actors who are like, I want, can you let me just play a little, I'm more, I would say I'm more open to it than Noah.

Speaker 2 I think Noah is much more like, say these lines.

Speaker 1 A long time ago, a friend of mine worked with Robert De Niro many, many, many, many years ago. And this person said that Robert was like, they'd be rehearsing right before they shot it.

Speaker 1 And he'd go, no, no, no, no, no, I'm not saying that. And you don't say that either.
Let's just talk how people talk.

Speaker 1 He goes, because when you say a line and I wait and then I say my line and it doesn't sound real. It sounds like you're waiting for a

Speaker 1 Joe Pesci tell you that? No.

Speaker 1 You know, so I found that I thought Joe Pesci on hypocrite. With Joe Peshya,

Speaker 1 Joe Besci.

Speaker 1 Yeah, I did.

Speaker 1 Now,

Speaker 1 did you?

Speaker 1 You know, I thought that was funny. Did you know, did you know that Ryan Gosling was as funny as he is? Or did you just hire him because he's a hot, hot dude that's a perfect Ken?

Speaker 1 Because he's a funny MFer.

Speaker 2 Yeah, no, I knew. I knew.

Speaker 2 I did. I really, I felt like I knew.
Because we knew we were writing the part for Margot.

Speaker 2 So

Speaker 2 we actually, in writing it, cast Ryan.

Speaker 2 We wrote his name into the script and everything. It was like the thing that I was like, it's Ryan.
It's Ryan Gosling. I know.

Speaker 1 Wait, how did you write his name?

Speaker 1 Imagine a Ryan Gosling.

Speaker 2 No, I said Ken Ryan Gosling.

Speaker 1 Ken Ryan Ryan Gosling type.

Speaker 2 Ken Ryan Gosling.

Speaker 1 And it was everywhere. And then when we handled him the script, this is a nice thing.
Gave him a little bit of left.

Speaker 2 Oh, that's so wonderful that you know Ryan. And I was like, oh, I don't know Ryan.
I've never met Ryan. I have no idea.

Speaker 2 But actually, the thing that made me, I mean, I've always thought he was like, you know, those actors, you can, I mean, they're always my favorite actors, whether they do comedy or not.

Speaker 2 You can feel their, they have funny rhythms in them. You can just sort of feel that they know what's funny.
And I always felt that about him. And then I'm a big fan of all of his SNLs.

Speaker 2 Like, I always thought he was great on SNL. And like,

Speaker 2 he did,

Speaker 2 I think he he did Guy That Just Got a Boat on Weekend update.

Speaker 1 Oh, yeah, I remember that. He was so good.

Speaker 2 And I love SNL. I watch every week.
And I always thought he was great. So I had this idea.
And then it took him so, he was like,

Speaker 2 he was not sure.

Speaker 1 He was like, I don't, I'm not, can I get to this?

Speaker 2 And I was like, I, I actually, Margo and I just were like, we will move, we'll do anything. And this is, we want you to be in this movie.

Speaker 2 And how was it was he uh during his first wardrobe fitting was he excited or upset about the colors and the uh materials honestly we had been texting for like a year and and talking on the phone and he'd been sending pictures and we'd been going back and forth but I then I had this like the night before he showed up I had this terrible thought like what if he comes and says like I'm not wearing any of that even though and like like and he showed up and I think the very first outfit he wore was like an all-pink sailor outfit And I was like, wow, he's really doing this.

Speaker 1 Get out of my closet.

Speaker 2 But yeah, he did it.

Speaker 2 He went for it.

Speaker 1 So, Greta, what was the first film, feature film that you directed? And what was that sort of moment where you went,

Speaker 1 okay, I got to direct this. I got to do this.

Speaker 2 Well, the first one that I did sort of write and direct on my own was

Speaker 2 Ladybird. And that was

Speaker 2 your first. That was my first.
I had co-directed before, and I had written before, and I'd done, um, and then I just, it took me a long time. It took me a long time to say, like, I, I want to direct.

Speaker 2 I think because I love,

Speaker 2 I love movies, and there's a kind of fear around it that you're going to, I don't know, mess up the form or something.

Speaker 1 So I just you're gonna, you're gonna ruin the history of film at the beginning.

Speaker 2 The history of cinema went right up until 2017, and then

Speaker 2 that was it.

Speaker 1 Were there parts of it? Because you're clearly incredible at it, but you didn't,

Speaker 1 as you said, you didn't really know if you were going to be. And

Speaker 1 what part of it do you think you surprise yourself with being not bad at? And what part do you surprise yourself with being a little kind of,

Speaker 1 well, that's less comfortable for me than I thought it was going to be?

Speaker 2 Well, I think that

Speaker 2 the whole thing is uncomfortable. I mean, you know,

Speaker 2 you direct it, like, it's, the whole thing's sort of uncomfortable because it's a lot.

Speaker 2 Yeah, and also

Speaker 2 there's really no way to, I mean, you can go to school for it, but it's also just doing it is the only way you can really get through it and kind of figure out what works and what doesn't work.

Speaker 2 I always, I think the thing I've always been envious of is like the people who um

Speaker 2 i don't know any other way to describe it but that there are some directors there where i i feel that they're like native speakers of cinema that they understand it in just such a deep way i mean one of your guys steven spielberg is obviously that i mean he almost invented that the like modern cinematic language and i always feel slightly like i'm in trans a translation like i feel like okay i'm the script the script i i feel like i can get to a place that feels worthy to shoot and i feel like i'm I'm g good as a director, but I always feel like there's just one layer of translation, which is actually okay, because, you know, sometimes there can be things that are quite beautiful that comes out of that.

Speaker 2 And it's like, I do think, I think something that's always scary about directing, but always exciting about directing, is there's no,

Speaker 2 nobody knows. There's no, there's no secret crime sheet where you can say, well, if you follow these things, it's going to work.
It's a...

Speaker 1 And as you said earlier,

Speaker 1 the audience will take whatever you give them. They're wide open and generous right at that first moment when the screen goes black and then the first image comes up.

Speaker 1 They'll take whatever you give them, just don't drop them.

Speaker 1 And one of your influences I read, someone I really like, or at least his quote, Howard Hawks, where he says, you know,

Speaker 1 a good movie is just three great scenes and no bad ones.

Speaker 2 Nothing too boring in between.

Speaker 1 Yeah.

Speaker 1 Yeah. Yeah.
Yeah. It's just, it doesn't matter what, what subject matter it's on, what genre it's.
It's just, you just can't have any bad scenes and just have a few that are great.

Speaker 1 By the way, what if you just hear Greta step out of the house, please? Please come out of the building.

Speaker 1 Don't drink. Hands, hands, hands.

Speaker 1 I know, I know. It's very, it's, it's an intense environment.
You got a deal on the apartment, yeah?

Speaker 1 It's just above the stage. Like, like me,

Speaker 1 like I was saying to Jason and Will the other day, like, me and Scotty are watching all the Indiana Jones movies from the beginning to gear up for the new one that's coming up.

Speaker 1 And

Speaker 1 we were watching the third one last night or something. You guys each in your own sleeping bag

Speaker 1 when you're doing this?

Speaker 1 Okay, sorry. We got little treats and left over.

Speaker 1 But anyway, so you know, all these space superhero, whatever movies, which I'm a fan of, but it's like you watch these Indiana Jones movies, like they were just really great, like written and great,

Speaker 1 amazingly shot movies that were still action but they were

Speaker 2 down here on earth and so i think that if anybody wanted to like take you know people by surprise they'd do something like that again instead of up there they do it down here well i think there's always like i i agree and i also think like you know i mean one of my favorite um directors movies is uh the um mad max fury road recently and like how he establishes i mean and i there's certainly you know great great young directors who can do this, and I've never done anything like this, but the way he establishes space, and you don't even notice that you understand the relationship between everything intuitively.

Speaker 2 But then you realize, oh, he's, that's great. Like, if you know, because I'm not inherently interested in car chases, um, just as a but if you don't establish a geography, there's no suspense.

Speaker 1 I have no idea. Exactly.

Speaker 2 But I always felt like in Fury Road, I know where everything is all the time. I understand what what is happening.

Speaker 2 And from the first moment where he like runs through that maze of stuff, I'm not confused, even though it's shot very

Speaker 2 close. And it has strong stylistic choices.
And

Speaker 2 I think even just tethering things to earth in terms of geography is thrilling for an audience.

Speaker 2 And I think

Speaker 2 to Indiana Jones, you always know where you are. And I think I find that, to me, when I talk about sort of like people who are like, you know,

Speaker 2 understand cinema in that way, it's that they just instantly can establish space.

Speaker 1 When you see that sort of like craftsmanship when it comes to filmmaking, like I was watching somebody was breaking down that scene in the birds, you know, Hitchcock, and seeing the guy outside getting attacked at the gas station

Speaker 1 and the way he cuts it and he keeps cutting back to inside and everybody, and then you see the gas going down to the thing. Yes.

Speaker 1 And then the guy's stepping out of this, and everybody's like, don't light the cigarette. And he blows up and then it blows, sorry, spoiler alert.
And then he blows up the gas station.

Speaker 1 And then you end up at the perspective of the birds. You are the villain by the end.
Right. Looking down at the explosion.

Speaker 1 And it's so mesmerizing to see that kind of, as the guy broke it down, he was like, don't you get it? You're the villain now. And I was like, oh, yeah.

Speaker 1 So,

Speaker 1 yeah, it's really impressive.

Speaker 2 I know. I also think it's impressive when it can be like a Hitchcock thing or like Indiana Jones or whatever,

Speaker 2 where you're so caught up in the storytelling and it's in service of the storytelling that not, you never say to yourself, whoa, look at that shot. You're just in it.
Yes.

Speaker 2 And I think that that's like, I always think of like in Jaws, the shot where the car comes on the ferry and then it's one shot. It's like a five shot that becomes a three shot that becomes a two shot.

Speaker 2 And it's like, they didn't cut the whole time. And you never think about it.
You're never like, he's doing a one or

Speaker 2 it's just great.

Speaker 2 And I think that kind of thing and that like to Howard Hawks or Preston Sturges or Ernst Lubich or those guys who made those wonderful like I think we'd call them talkies but they were also so cinemat like cinematic that it's this combination of like the highest respect for words and then also just clean beautiful storytelling with great ideas for shots that aren't fussy And I think that that kind of unfussy filmmaking that's language first, but yet also gorgeous, it's like, like, I always think of that like a high watermark.

Speaker 2 Yeah,

Speaker 1 when it's understated like that, when you don't know and you can just appreciate it for what it is, but it doesn't stick out, it's like wearing a really great shirt, but with no logo. Yeah.

Speaker 1 Do you know what I mean? Like you don't need to advertise it. It just happens to look good.
I think the analogy holds up. Or a beautifully cut suit or something.
Yeah, that's what I mean.

Speaker 1 Unless the shirt or the sweatshirt or whatever said smartless on it. But anyway, that's true.
At least go to the merch store. Go to the merch store.
Go to the merch store for sure.

Speaker 1 Go to the merch store. Hey, Greta, do you know where the word movie comes from? No, I don't.
So,

Speaker 1 the original studios were in Brooklyn, right? They weren't in LA, they were in Brooklyn. And the people working on the set who walked around, they were

Speaker 1 moved, right? They called all the people that moved around the set, they called them movies. Wait,

Speaker 1 the people they called the movies, the people who would move around.

Speaker 1 I see movies in Brooklyn, huh? I love that. Now there's something to cut.
Hey, Freda.

Speaker 1 Freda, when you love movies so much, if you couldn't make movies or act in them, what else would you do? Yes. Huh?

Speaker 1 There's a question you've never had.

Speaker 2 I mean, this is not a job that's available anymore because the world has changed. But like

Speaker 2 in the

Speaker 2 I think I've always liked, I like

Speaker 1 jobs. No, no, no.

Speaker 2 Like

Speaker 2 old-timey newsrooms, like if they were like, get the paper out every day.

Speaker 1 We got to rush this one. What's the deadline?

Speaker 1 So, you want to be a copy, cup, copy, copywriter? Yeah,

Speaker 1 a beat reporter.

Speaker 2 Like, one of the one of the ladies in all the president's men who was like, you know, but no, but I do like that idea of like, we got to get it out every day.

Speaker 2 And, like, we're going to go to press and we're going to get scooped and like all of that stuff. I think it's also that kind of like pressure of every single day there's a deadline.

Speaker 1 Extra, extra. Yeah.
Yeah. I found that kind of complicated.
What about when when you're, what about

Speaker 1 you are making movies and how do you decompress when you get home? I know you got those two wonderful kids to deal with.

Speaker 1 But what else? What would you do? What about when they're down? And then mommy needs to take it easy and she needs to refill her bucket. We're turning on TV.
We're reading poetry.

Speaker 2 So I do.

Speaker 1 I do.

Speaker 2 Noah and I do watch a lot of movies together. I think like my sort of that that's something I read a lot of books, but I also really

Speaker 1 love

Speaker 2 Love is Blind.

Speaker 1 You love Love is Blind. I love that.
You can't stop watching that.

Speaker 2 You can't stop. I love it so much.
Sure. I love people falling in love

Speaker 2 on television

Speaker 1 in their hearts. It just makes me so happy.
Well, it's like The Bachelor. It's so real.

Speaker 2 I've never seen The Bachelor, but actually,

Speaker 2 Ryan Gosling,

Speaker 2 when we started talking about Ken, he said

Speaker 2 that Ken, all the Ken's, I'd never seen them.

Speaker 2 And he was like, oh, Ken reminds me of the men on The Bachelorette, when the woman is in a round, they don't know what to do with themselves and they get like stressed out.

Speaker 1 And they're like,

Speaker 1 they just start drinking.

Speaker 2 And they kind of like are competitive with each other. And it's like, if one guy wears glasses and then another guy wears glasses, he's like, no, you took my thing.
I'm the guy with glasses.

Speaker 1 Oh, my God. Top not.

Speaker 2 I probably would love The Bachelor and The Bachelorette, but I've never seen it. But I love Love is Blind.
I mean, that's like, is that

Speaker 2 not a very exciting answer? But

Speaker 1 I love it. The first season of Love is Blind.
There's one couple that's still together.

Speaker 2 I know. Isn't that wild? I know.
They're in love. Lauren and Cameron.

Speaker 1 Exactly. Lauren and Cameron, wherever you are, best of luck, huh? Best of luck, huh? Best of luck.
They're doing great. Greta,

Speaker 1 this has been a very fast. Oh, my gosh.
You're a very quick chat. Yes, this is wonderful.

Speaker 1 You've got real chat skills. Okay.
If the directing and the acting doesn't work out, maybe radio. Please, please, it's going to work out.
Please don't stop making movies and

Speaker 1 writing and directing and acting all of it. You're so

Speaker 1 great at it.

Speaker 2 Oh, yes. Oh, thank you.

Speaker 1 Well, I'm.

Speaker 2 That's it. Yeah.
And I'm excited to see you in your Tony Award-winning performance.

Speaker 1 Go see it. Yes.
Go see it.

Speaker 2 Go see it. I know I am.
And also, I've just started because my son's now four months old. I've just started being able to go out at night.

Speaker 1 Doing stuff. And like,

Speaker 2 I've got a date to see parade.

Speaker 2 So then right after, like, it's, I'm getting him in.

Speaker 1 But yeah, I can't wait. Well, thanks, honey.
It's so nice. Well, you're the greatest.
You're super duper talented. Very, very kind

Speaker 1 to do this with us. Thank you very much.

Speaker 2 Thank you guys. This is,

Speaker 2 it was like being at my own surprise party on the other side.

Speaker 1 Thank you for doing this. Best of luck with Barbie.
Cannot wait to see it.

Speaker 1 yes best of luck thank you grett i think you guys are gonna like it i can't wait i can't wait i'll be there we're gonna be there opening weekend yes

Speaker 1 yeah i'm going as ken for uh halloween i'm already tapping it no one else can take it and he's not he's got the outfit on now for it yeah

Speaker 1 uh thank you gretta gerwit thanks greta thank you

Speaker 1 thank you bye bye

Speaker 1 She's got a very exciting movie coming out.

Speaker 1 I just think that Barbie is a monster. I think it's a monster.
Yeah, that's going to be huge. It's going to be huge.
I mean, think about it.

Speaker 1 She's just writing and making these incredible films, and it's so exciting to be.

Speaker 1 But she's an actor, too.

Speaker 1 No, I know, but I'm just saying. I like Jason.
Wait, so sorry, Sean, are you eating? Sorry, yeah. I'm still eating.
Oh, yeah, is it lunchtime? We're almost done.

Speaker 1 No, Sean, I saw you, you were killing during the show. You were killing a, you're killing a big Coke.

Speaker 1 Yeah.

Speaker 1 You got a big Coke going? Big glass of Coke.

Speaker 1 Huh.

Speaker 1 And then

Speaker 1 what are you chewing? Yep. Cheez-Its.

Speaker 1 Still on the Cheez-Its. What a fun snack.

Speaker 1 Is it an all-you-can-eat endeavor we got here? Yeah, there's a buffet in my kitchen. Cheez-Its.

Speaker 1 Different flavors of Cheez-Its. I just go down the line.
I'm like, Scotty, you almost, can you move the line along, please?

Speaker 1 Scotty lining up for food in your own kitchen?

Speaker 1 I'm happy because I thought that the film, you know, it's Barbie, but when I first saw it, I thought that it was

Speaker 1 Barb.

Speaker 1 Nope.

Speaker 1 by

Speaker 1 that wasn't very good, Barbie. That wasn't very good.
No, you can't go on that one. I had a better one.
I have a better one. Go ahead.
You know, I'm so excited. That key doesn't work today.
I've never

Speaker 1 been denied. I was so excited that she did Barbie.
I'm so excited to see it. You know, and I was worried because it's such a big, huge, you know, franchise and important to a lot of people.

Speaker 1 But it looks like something she really did right

Speaker 1 by.

Speaker 1 Right by. Oh, did right by.
Yes, she did do right by.

Speaker 1 Right by.

Speaker 1 That will go. You think that's better than mine? Well, the keywork, the doors open, and out we go.
Bye, gal. Smart.

Speaker 1 Smart.

Speaker 1 Smartless is 100% organic and artisanally handcrafted by Rob Armjarv, Bennett Barbico, and Michael Grantary.

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Speaker 1 This episode was recorded on June 20th.

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