Jeremy, Jeremy, those jeans.
Very snug.
You steal stuff?
Do you?
Yeah, I try to, yeah.
I don't torture myself with my art.
That's nice.
Hi Jeremy, Alan White.
Hello, hello.
Hello, Kate Hudson.
I'm excited to talk to you about this.
Yeah.
It's fun that we both have music films this year.
We do.
We do some singing.
With some pretty iconic names.
Yeah.
Pretty giant musicians.
Large.
And songwriters.
Yeah.
Now, for me, Neil Diamond was not someone when I was growing up, that was like someone I, like you know, went deep into his catalog until i did this movie.
But bruce springsteen no similar, similar for me.
I mean, i was like really familiar with bruce as kind of like everybody.
It's just kind of like something that happens to you, like you know, kind of like the radio song, stuff like that, and i had heard nebraska, but i wasn't, like you know, you didn't yeah, i didn't listen to nebraska, I did.
I was, oh yeah, I was like, Nebraska was like really personal for me.
Really?
Yeah, and I think for a lot of musicians.
Yeah, I have found talking to a lot of musicians, like when I...
Began the prep for the film, and during filming, any musician I spoke to.
Nebraska's always in that kind of top five.
What did that feel like for you to take on Bruce's most iconic artist album?
A part of me felt like, just from a technical standpoint, like I was in luck because there were very few chords used on Nebraska.
But I felt really lucky and also in the sense that you know he's so honest in all of his music and there's so much specificity and detail in all of his writing.
But I felt that sort of like the canvas of Nebraska was so rich and he's singing so much about himself and his own experience on that album.
And I found to make a film about the period in which Nebraska was written.
I don't know, I had the map and it was in the music.
We really want to go, We'll walk in the sun, But till a tramp's like us Maybe we're a bore.
How involved was Bruce Springsteen?
Have you spent time with him?
Yes.
He's the best.
He's the greatest.
Him and Scott Cooper, the director.
They had to speak before Scott got started and Bruce had to give him the go-ahead.
But then he was pretty hands-off during the writing process.
Actually, the first time I got together with him was in London at Wembley, and I got invited to sound check and he like, brought me up on stage prior to everybody coming in and that was our first meet and we spent I don't know like a couple weeks in prep together, but then he was on set all the time, which was not something that we knew going into it.
That was like a You're literally sitting there singing Bruce songs and he's sitting there.
Singing Nebraska as he's watching.
Oh my gosh, the pressure.
Yeah and I've gone back and forth about this a lot where I don't know I kind of like had made all of my choices prior to showing up and then I felt like I had to just hang on really tight once I got there.
I don't know, is it easy for you to kind of sometimes I feel like I'm not super flexible when I'm there.
Do you find that?
Like when you're on the day?
Yeah, once I'm filming, once I've made my kind of choices, it's hard for me to drift away from them, I guess.
Yeah, I mean, I guess I'm probably the opposite, actually.
I do a ton of work in the beginning and then I've learned that I have to let it all go and try to be as available and flexible as possible.
Probably, I should probably try to do that more.
Well, I don't know, you're doing pretty good, Jeremy.
I think you should stick with what you're doing here.
Thank you, but what happened, I think was, You know, I'd spent all this time with Bruce Pryor and I'd kind of attached myself to a few ideas and I think I knew how I was gonna do it.
And then he was around so often and you would think that I would be like, after every scene, be like.
You know how was this?
And you know, if I did this differently or how was it in this moment?
But I wasn't expecting him to be on set as often as he was.
So you're like, Bruce, get off the set.
I kind of was like head down the whole time, yeah.
And so he was super available and lovely the whole time, as he is in all ways.
But I would kind of say hello to him in the morning and then go off and do my thing and then I'd give him a hug at the end of the day and that was kind of it.
But I think this basically mirrors the part.
Sure, there is some separation.
Okay, so there's your relationship to that part and what you did in this movie, which I thought was so wonderful because, to me, as a writer, as someone who has been writing songs my whole life, just now sharing them, but like this film, made me so emotional because the process of writing can be torturous.
Yeah.
And you have to just go so, you know, you have to internalize everything.
Yeah, listen to yourself.
And it could be really like, like awful.
Yeah, yeah.
And you sometimes just need to be alone.
And you can have the same process as an actor, you know, which is kind of a funny parallel.
No, for sure.
That you kind of had to like be more internal than more social, with Bruce on the set, which is really interesting.
We got things we gotta catch up on.
I found your performance to be almost like.
You're so excellent in the movie and you're so charismatic in everything you do.
But in Song Sung Blue, there is such joy.
And even in some of the moments where it's difficult to find that light, there's always some optimism within you.
And I feel like it's on the other end of the spectrum.
I'm so internal, and my head is down, and you're this beaming light while you were on set.
And I know you a little bit and I found that you carry yourself with a lot of that light in your life.
On set, are you moving around? with that kind of energy all the time?
All the time.
If it's necessary.
You're like, are you that exhausting?
I think that it just depends.
You know what I mean?
I think in life, I choose daily to tackle it with energy and optimism.
Yeah.
And I do try to bring that to a set.
I think maybe it has something to do with how I grew up.
I really like being in the circus.
Yeah.
So I'm not an exclusive actor.
I like being on set.
I like sitting on... Exclusive actor, what do you mean?
Like I don't go into my hole, you know?
Like even if I'm having a tough day or it's something I have to go...
I go into, like you know, you kind of zero in right.
You become kind of razor sharp in moments where you have to really go there or feel like you're channeling something.
Yeah, I'm actually the kind of person likes to stay on set when I'm in that mode yeah, so I like to let everybody move around and be there and be a part of the set, and so I am.
You know, I'm not like a trailer actor, you know, anywhere I go back to my trailer or you know I like to be in it.
So I'm, I am.
Regardless of what is like, what you're being called upon that day.
Yeah.
And I find that I get a lot of energy from the collaborative effort on a set.
So when I see them setting up and I see the grips and I see the electrics and I see everybody working towards this one thing, i kind of like just sitting there and getting ready for what i need to be doing right, but to answer your question, like i don't know how other people would see what i, what i bring i know for for me, i'm not a tortured.
I don't torture myself with my art.
That's nice um, I do in the writing process.
It can get hard, but I don't go to that.
Even in the film.
So the accident has happened, you're in bed, your daughter's coming and your energy there can still be outward.
Yeah, I'm a very open person.
So there were days where I would do a scene and just cry.
And I just sit there, I'm on the bed, and I just cry and cry and cry.
Yeah.
And everybody was like, cool, like they got it, you know?
I felt like I had the support of everybody.
Yeah.
And I think that it's kind of how I do life, really.
Sure.
Is that I am vulnerable and I approach things honestly and openly and...
If I have to like get weird, I do it with everybody.
Right.
Everybody's with you.
Yeah.
Yeah.
So like when Hugh and I had the big argument scene.
Yeah.
And Hugh is very similar.
He's so open and lovely.
And we kind of just sat there for like 20 minutes and like had to like... keep crying you know yeah i mean it sounds silly on the outside but as an actor it's kind of those it's kind of what you live for a little bit yeah kind of what you get a little addicted to is that sort of output of energy yeah but i like bringing everybody into the experience yeah um which is maybe just my personality no i like and i think i've maybe i've i've tried to do that more in other jobs, but I think for Delivery From Nowhere in particular, I felt so kind of like on an island and on my own.
But it would have been so nice to have had you around, I guess.
I feel like Jeremy.
I think it's one of the things that I've loved the most about working with so many different people is that everybody has their process.
Yeah.
And it's okay.
I don't think anyone should judge any actor's process, because it's the only way we can access.
What we need to access is by getting there.
However, we need to get there.
And it's like you bring a lot of yourself to something.
It's incredibly vulnerable what we do in these moments.
Your performance is very vulnerable and beautiful.
And it's just personal.
Yeah.
Right.
It's just a personal.
And then you might find in 10 years that you like show up to set and you don't even know your lines.
You're like, fuck it.
In 10 years, you might have a completely different process.
Has your process changed a lot over time?
Oh, yeah.
It always changes.
For every job, you think?
Well, I think when I was younger, it was incredibly spontaneous.
And I work well with spontaneity.
I like people throwing shit at me.
But I also love comedy.
So for me, my comedic side likes to have fresh ideas all the time and not be too rehearsed.
Sure. as I started working with different actors and people I really learned from and admire.
Do you steal stuff?
Do you?
Yeah, I try to, whatever, yeah.
You know I don't stealing, I don't know, but I definitely like I'll never forget.
Looking at Naomi Watts' script.
Mm-hmm.
And I was like, I'm really underperforming.
I know.
Whenever I see a script, I saw Jeremy Strong's script.
I was like, I got to get my highlighter out.
I got to figure out what my substitutions are.
Like, who is this person to me?
I know.
You're like, I really gotta pick up my game here.
So when Naomi and I were doing La Divorce, that started my kind of and she was working with someone all the time and was very committed to the craft.
And I was like let's work and then let's go to Bar Pitti and get wine and smoke cigarettes and party in Paris.
But she'd sit at home and know her lines and be really like that.
And I remember after that, I was 21 and I was like, hmm, I think I need to like.
But would you have done it differently, or did you feel like that fed you in the way that it needed to feed you?
Yeah, exactly.
Like I was just.
I just learned something from Naomi, which was you know, it's okay to take risks in your choices too.
Like she commits, she would commit in a way that sometimes you'd be like, whoa.
What was that choice?
And then you'd see it translated on film and you'd be like, wow.
I have a friend who worked with Cate Blanchett, similar.
So yes, I like learn from people that I admire, but Cate Blanchett is the same thing.
She makes these committed sort of decisions that can sometimes feel like, you know, whoa.
And then you realize like, oh, sometimes you gotta really fucking lean in.
And it's translated differently on screen.
The process is always changing.
Does music always play a part in a job for you, regardless of what the film is?
Huge.
Do you make playlists and stuff?
Playlists, certain songs evoke certain emotions for me that really help.
I'm pretty good at accessing emotion.
I can cry all the time.
Crying is really easy for me.
But when I can't get there, there's certain songs.
Actually, My Father's House is one of those songs from Nebraska.
That was my North Star.
If I was ever feeling lost or unstable or I didn't know what a certain scene was about or where Bruce was at, that was my North Star.
That one always grounded me.
And in the process of recording that song That was the first time I felt really close to Bruce in the process.
That would make so much sense.
Yeah.
Yeah.
So I'll listen to certain things and it will just make me emotional.
And then I, yeah, playlists for... Even sometimes I'll get an earwig.
Cause if there's like a scene that I'm doing that has energy, I'll be like, can you get an earwig?
And I'll have sound just like blast something in my ear.
Yeah.
It's fun.
So nice.
Try that one.
Yeah.
Like if it's like a, if it's a scene where you're like, have to be like in motion.
Yeah.
Sometimes it's really fun to put like a song in your ear.
Cause you're like, Oh, this is giving me a different kind of like fire.
Totally.
I have a question for you.
Okay.
Okay.
Since you weren't so knowledgeable about Nebraska, like when you sat down and listened to the whole, did you listen to the whole album?
Did you listen to it on Spotify?
Did you listen to it on vinyl ever?
I listened to it on vinyl once we were in like, yeah, pre-production.
But the first time I listened to it, it was on Spotify.
I was in Chicago and Scott had told me, you know, like turn out the lights, like lie down and just let it, let it go.
And This was before I even read the script.
Scott Cooper, the director, was like we had had a meeting and we'd spoken about the idea of working together, but he didn't mention Springsteen at all.
And then he told me to give a listen to the record before he even sent me the script.
What was the first song?
I mean, maybe it was My Father's House, but what was the first song that you were like?
Oh, this album.
I mean, Nebraska is the first song and it's a wonderful song.
I don't want to like sell any of the songs short.
Highway Patrolman, like that storytelling was so great.
My Father's House, I think emotionally on first listen, I felt the most connected to.
And the last track has stuck with me the longest.
And that's, you know, Reason to Believe.
Yeah.
I love singing that song the most, probably out of all the songs.
And I see like a real romance in that song.
Did it make you want to write music?
Come on, be honest.
No, not at all.
I mean, if anything, it made me like.
I think I was just like, how does one like the writing on that record is so good?
I think it was intimidating.
You know more than like oh yeah, I should give this a go.
I think I was like.
I mean, I remember writing his lyrics over and over and over again, just trying not just for memorization, but just like for a shared experience, even if it's a lame one, just to be sitting and feeling it a little bit.
And then again I think the recording process was so just to have a shared experience with the character and feel like we were in a similar position at one point was so helpful.
It's so funny how life works, because yesterday I was actually doing Cameron Crowe has this book out called The Uncool and I went and did a QA with him for his book and he was telling this story randomly, not knowing we were talking about David Bowie.
And when he was interviewing David Bowie and during this time and he kept talking about this artist, this young kid from Jersey, who he thinks is going to be really great, but he really loves his lyrics.
Yeah, yeah.
And David Bowie's whole thing was he likes to write.
Like, there's a lot of lyrics.
I don't know how this is going to go, but he's a really special guy.
And he was telling the story on stage.
I was like how, how cool is it that we get to be connected to all of these amazing people in music and then portray certain things on screen?
These are just legends, you know?
So you're like, how amazing.
What an honor for you to be able to have done that and then have the relationship with Bruce.
Yeah.
So this song got a name?
I was going to call it Starkweather.
But now I'm thinking Nebraska.
Did you spend time with Claire?
Claire, yeah.
Well, Craig was sort of precious about me not spending too much time with Claire because he wanted me to do my own thing and didn't want me to kind of like, in the process, be like oh, I got to like, do this more.
He wanted me just to stick to like focusing on the character as he wrote it.
As written.
Yeah, which was the right call, because i think when you're you i, i it could have risked the chance of getting too mimicky.
You know, especially with like, the accent totally, your accent is so good in the movie, it's so, so good thanks, but really like i feel like it could have gone.
You know, if i spent too much time with claire i could have over overthought it.
Has she seen the movie?
Yeah yeah, it was.
How was that great, amazing and hard for her?
Yeah, and i think during the time that i sort of go down, she kind of got up, was like didn't know if she could like finish the movie because it was so intense for her.
It's devastating.
It was one of those movies where you have you go on your phone, you're like then, surely this is truly this didn't exist, how this happened and it did yeah, every single thing, even the car, twice.
That one was... It was insane.
Yeah.
Him in the car.
I don't want to give anything away, but the car, that was all true.
Was he on his way after that?
Yes.
It's insane.
Wow.
Their story is so wild.
Yeah.
That you couldn't write it unless it was true.
Yeah.
But then at the core of it, it's like such a hopeful movie which you sort of look at, all this tragedy, and then you are somehow inspired by the grit of these.
Well, the grit and the power of like, the escape and power and joy of music, which is like the stories of these two films are.
Films are like.
They're different, but also like it's about music saving people.
Right.
I mean, Hugh Jackman's character is Mike.
Yes.
Even if he passes, that was that kept him going always.
Right.
I mean, that was the thing.
And for Claire... as well, like without music, they wouldn't have done it.
Yeah.
Yeah.
Yeah.
And I think a lot of people feel that way about music, and when it's captured it's really hard to make a good music movie.
You know, I think that takes a certain kind of director.
I know Scott Cooper, your director.
Well, Craig Brewer, our writer director, did Scott write the movie?
Did Scott write?
Yeah.
So you have people who are so connected to music.
Yeah. they have music in them.
And I always say there's two kinds of music people.
There's the ones who need it and it saves their life because they hear it and it hits their soul and it lifts them or it carries them.
And then there's those who are born with it in them and it needs to sort of come out.
I think Scott Cooper and Craig Brewer they're people who have music in them, and so they can really understand how to tackle a film that really honors what it is to be not only a musician but a writer.
In your film's case, in our film's case, the sort of tip jar musician who didn't get the opportunity to see stardom.
Yeah.
That like does it because they love it.
Yeah.
And they have to do it.
Yeah.
Because without it, what is their life?
It's so pure their kind of purpose and objective, because they're not thinking about what they're going to get back necessarily.
Yeah.
It's just the process.
Yeah.
Yeah.
And it's how they believe in each other.
Yeah. and how everyone else believes in them in this little, you know, world that they exist in.
Yeah.
See you on stage.
Jeremy, Jeremy, those jeans.
Very snug.
Ooh.
Yeah, yeah, yeah.
What did that feel like the first time you put those jeans on?
I felt like I had to stop eating.
I felt... I mean, it was really helpful.
The boots, the jeans, the jackets.
How kind of like tight everything.
Was it really informed?
The physicality?
It messed with my posture a lot.
And it was really amazing.
Bruce also gave us clothing that he wore when he was a young man, and so I got to wear some of Bruce's actual clothing in the film.
That's the best.
It was really, really wild.
Did he let you keep any of it?
No no no, but he did um, i haven't, i haven't talked about this yet and i'm like i don't.
It feels so like precious.
But he gave me uh his um, uh saint christopher medal that that he's had for a very long time, and he gave me um uh, to learn to play the guitar on uh a 1955 gibson j200.
Oh, it's my favorite guitar.
Yeah.
I have the same guitar, 48, yeah.
Oh, insane.
It's the best.
He recorded on like a 54 but he found a 55 but he recorded Nebraska on it.
Oh yeah, it's so warm, it's so nice, it's kind of a smaller guitar, so it feels really good.
Yeah yeah, that is the fucking coolest thing.
It's unreal yeah, it's unreal, as like a massive fan yeah, of that man.
Yeah, that's insane.
Yeah, it's wild.
How how, how blessed it's insane it really is, you know.
And as this generation gets older, like honoring their art and their and that and that type of artistry yeah, it's so important.
And sharing that with the younger generation i really do.
I love that about these movies yeah, and i encourage younger kids who are like into art to remember what it's like to keep things, even just to try.
I love technology, but the analog of it all and the you know that you've got to like kind of like The magic of finding something that's like you know that one tape.
Yeah.
You know, that one tape.
Yeah, how precious that is.
Oh, it's just such an important thing.
Last night I dreamed that I was a child.
I want to talk about your physicality in the film.
Wardrobe, all that stuff.
In this movie, without giving anything away, there's a lot of physicality for me.
But as much as it might have seemed like a physical thing, it was actually more of the mental.
Because learning how to re-walk.
Mm-hmm is actually like there's the pain, but it's really kind of like.
It's almost like your mental and physical have to come back into balance.
Yeah.
And with that was a lot of leaning on script scripty, script supervisor who you know, and you're moving around.
Like where am I at now?
Like where am I at in this process?
Totally, yeah. understanding just the technicalities of it.
It's not very glamorous, but just really like watching what someone in the early 90s, what that prosthetic would have looked like, or how far along were they with the technology.
The advances, yeah.
Yeah.
And also Claire, you know, really like understanding watching her walk, you know, just basically, it's like a dance class to me.
You know, you're like, OK, that's the choreography, the way she walks.
And and and it's great.
You know, it's like you wouldn't really know unless there's just like a little bit of a movement.
You know, because now it's actually better, because she's got better technology.
But it's kind of why we do what we do.
I know that sounds wild, but to be able to learn all these new things and yeah, experience the humanity of like what it is to go through something like that and what the ups and downs of all of that would be.
Yeah, i've lost a leg in a movie as well.
Oh, you did.
Yeah, what movie?
The iron claw, which was like this uh, wrestling movie i did a couple years ago and how did you did similar.
You know, I was playing a real person as well, but he's passed and I didn't spend any time with him.
But yeah, it was like watching a lot of videos, but it was even earlier.
This was in the 70s and he was trying to hide it though.
So there was like an interesting, like you know, I had to show it, but he was also like trying to hide it from the world because he was still trying to compete.
There was this sort of like delicate balance, but yeah.
Claire told our director, Craig, that Mike was a leg guy.
And so part of the big thing that for me was just working with shame.
Yeah.
More even so than the physicality is the physicality of shame.
Yeah.
What does that look like, you know?
And like you say, concealing, like there is also a version of that for me when I was doing this.
Sure.
Sure.
You don't want to show there's pride and you're dealing with like a weakness that you don't want to.
Yeah.
And I say it, you know, feeling ugly.
But what am I if I can't give this person that I love everything?
You know, I'm no longer going to be that person in his eyes.
Yeah.
We've talked about Cameron Crowe.
Yes.
You saw him the other night.
I did yesterday.
So, yes, we should talk a little bit about Almost Famous, that experience first.
Well, it was right out the bat, like, for me.
So, I mean, I'm 20 years old.
I got the part when I was 19.
Yeah.
And then I'm 20.
It was, like, my fifth.
It was early days, though.
Yeah, nothing had really even come out, kind of.
You know what I mean?
It was just sort of starting to happen.
But yeah, I was so young, and he was such a hero of mine.
At that time, it was coming off of Jerry Maguire, but like Say Anything and Singles.
I mean, Cameron Crowe was like, The music's coming out of that man.
Oh, my gosh.
I mean, and his whole life.
I mean, his life experience is wild.
And I didn't know that about him going in until we met and I read the script.
And I was like, this is your life story.
Yeah.
And on top of it, my love for music.
I'd already started writing music about like 18 or 19 years old.
Yeah, to be able to have someone like Cameron be this wellspring of musical information was like, I mean, it blew my mind, it blew my life open.
It was like this is someone who would just give you.
He'd give me like bootleg CDs and I kind of discovered, you know oh, a 1972, Bob Dylan at this, you know, at the film or whatever it was.
You know he would give me these things.
I'd be like, oh my God, there's a whole world of music out there that I have not discovered.
It was like a masterclass of, you know, creating art.
That performance that was so lived in and everybody was so young.
Did it feel like... Billy wasn't that young.
No.
Billy Crudup.
Everybody was fairly young.
Were you like, oh, this is what movies are?
Or did you learn over time, oh, that was particularly special?
Or did it take time for you to feel, I guess, that again?
Or do you feel that every time to an extent?
Is there something you take away?
I think because I grew up on sets.
I grew up working sets, so my parents didn't like us on set unless we were active.
So I'd be a runner, or I loved working on the camera truck back when it was film.
I always had to be doing something or else I couldn't just hang around.
I think that because I lived on the inside of the experience of making a movie, I knew when it was a special experience.
Even for myself as a kid, when there was a special community, that was happening because they're all different, you could feel it.
And Almost Famous was.
I mean, we were together for six months and we lived and breathed rock and roll and we loved every second of it.
And we all loved each other so much.
And when that was over, It was actually the last scene, the Lady Goodman scene out in Central Park.
And I'll never forget rapping, and I just, like, bawled my eyes out.
I was like, oh, this might never happen again.
This particular... The work that I was getting to do that young was so... I knew it.
You know, it was like, this is...
So great.
And it's not going to always be that way.
It's not always that way.
No, no.
But that was special.
That really was special.
Working with Cameron is a special experience.
Yeah.
You know, no matter what the outcome, everybody who's worked with him, I think, feels similar.
He's one of the greats.
Yeah.
Yeah.
I have a question for you.
Yeah.
After The Bear wraps up, would you ever consider rom-coms?
Yeah.
Yeah, I'd love to.
I mean, I've never done one before, but they seem like so fun.
They're harder than you think.
Yeah.
I'm sure they're hard, but it does seem like it's fun.
It's fun.
Is it a different, is that like a totally different approach?
Are you like screwing on your head a different way when you go to do something like that?
I don't think the muscle is any different.
Right.
Because if it's a good one.
Yeah.
I mean, the goal is that it's as good as any great dramatic film.
They're really hard to make.
Do you think it's harder?
I think it's more frustrating.
Okay.
Because the rules are different?
Well, no, it's more of like you're making it because you want people to see it.
You're not making a rom-com to be a critical, you know, I am.
Sure.
Yeah, I want it to be as critically acclaimed as anything, but I think most the people you're working with, who are paying for it, are usually like this needs to be a hit.
Right, they want to get this out of it too.
They want to feel.
They show up going.
We want to feel good and we want to laugh and we want to do this.
So like deliver that.
Yeah, so like don't worry about the character.
Right.
And you're like, that's not how this works.
Yeah, yeah.
I am worried about the character because I want it to be a classic rom-com.
Yes.
I don't want it to be a flash in the pan.
I want it to be When Harry Met Sally.
When Harry Met Sally is such a stronghold of the genre.
Yeah.
I think it's maybe one of the hardest genres to get right.
Yeah.
But if you get it right... Yeah. it's like a game changer to your life.
You can't even imagine how many people you make feel good when you can do something like that.
It comes with a cost because once I think you get successful in rom-coms, everybody wants to see you in the rom-com.
So they get real excited.
They're like, great, okay, next rom-com.
And you're like, well, wait a minute.
I have other things I want to do, you know.
Of course.
As an actor.
Yeah.
But the reward is pretty amazing.
Yeah.
What did you do to get out of?
Did you feel like you had to make a choice and to like do things differently?
Yeah, you just do, yeah.
Or you just have to say no.
Like it's just a lot of no's.
After 20 years of like being in the business, you start to kind of go, you know, I like doing that.
I like it, but you realize like there's a lot of hands that start to be like no, you should be doing this.
This is the right one for you to do.
And when your gut, my gut sometimes would be like, I don't know, I feel like I shouldn't do this.
And they're like, no, no, you really, this is a great, this is the good one.
This is that director, and this is the director you should be doing the rom-com with.
And you're like, after a while you just realize like oh, with that, with something like that, I just completely have to trust my gut when to say yes, but there's a lot more nos than there are yeses.
Got you.
But for me, it's more just like I want to do things that move me differently.
So I always have done different things.
They just haven't been nearly as successful as some of my rom-coms.
So it's more like that.
It's like, no, when I'm going to do a comedy, I've got to be working with the right people.
Right.
So we'll get together.
We'll make a romantic comedy happen with the right people around it.
When the bear is over.
Yes.
How long are you doing the bear?
I mean, we're going to do, we're going to go again in January.
I'll go and do more.
What year is that for you?
This is our fifth season we'll be shooting.
So five.
It was like 2021, I think, when we started.
Yeah, it's the best.
Isn't it the best?
Yeah, yeah.
When you have and you love everybody.
I love everybody.
I go back.
I know where I'm going to be.
I mean, I've been on a TV show since I was 18 years old every year.
So I've had like a consistency knowing I'm going to be with this group of people.
I'm going to be around, you know, in this place.
And that like continuity, I feel so lucky.
I'm experiencing that right now for the first time with Running Point.
Yeah.
And I am so grateful.
Like I can't even believe it.
Like I love everybody.
It's like a family.
Yeah.
That consistency.
And you know where you're going to be.
To just have that is like.
Especially when you're a parent.
Yeah.
You know.
Yeah.
With kids you're like oh.
Yeah.
This is.
I know this.
Yes.
At least I know this.
You know.
Yeah.
Exactly.
This was so fun.
Kate, this was so great.
I love talking to you.
I could talk to you forever.
We'll talk more.
We are going to talk more.
Off camera.
Yeah, you're the greatest.
You're the best.
Thank you.
