Julia Roberts & Patricia Arquette | Actors on Actors - Full Conversation

Well, Julie, I'm so excited to be here with you. And I have so many questions for you. I'm so scared slash thrilled to be with you. I think that's the appropriate emotional combination. Yeah, I think it's a great combination. I mean, if you're like, I really don't want to be here with you, not very fun. I have a funny story. So many, many, many years ago, one of my early auditions was for a movie called 3000. Oh, yeah. OK, so most people don't know, but 3000 was what the original Pretty Woman script was. Yes. And that movie was very dark. And the ending was really heavy. Threw her out of the car, threw the money on top of her as memory serves and just sort of drove away, leaving her in some dirty alley. Right. So it really read like kind of a dark, gritty art movie. When you first read it, it was obviously that. Yes. Incarnation of it. I got that job. I got the part in 3000 and over. It's so fascinating. I love that you're asking me this question because it relates to some of the questions that I have for you. But I had no business being in a movie like that, really. And I get the part. The studio that had it, the small movie company folded over the weekend and by Monday, I didn't have a job. So the script, there was one producer that stayed with the script and then it went to Disney and I thought went to Disney. Are they going to animate it? Like, how does this become a Disney movie? And then when Gary Marshall came on and I think because he's a great human being. He met me just because I had once had the job and he felt it would only be fair to at least meet me since I had this job for three days and then lost it. And they changed the whole thing and and it really became more something that is in my wheelhouse than what it originally was. That's so amazing. That's such a cool, wild story. I'm so excited to hear that second part of it. I never knew any of that yet. But I also always had a fantasy of recasting you in 3000. The original script. And you could even do it now. I couldn't. I couldn't do it. Then I couldn't do it now. I'm thank God it fell apart. I would I mean, even in Pretty Woman, like if I just had to be in a slip, I'd be covered in hives. I would just be so uncomfortable. I mean, you know, I had I was like breaking out in like hives in a cold sweat, watching Escape at Dawn of Mara. I was just like, yeah, yeah. I can't. I would. I just don't even know. I think what are they saying just before action in the bushes like that? Like what? How do you what do you how do you do that? What do you you got to talk to your. So for me, I'm I'm completely the opposite in my personal life. Like I remember when I was four years old, we had a swim thing with our school and all the girls were changing. And I was upstairs hiding behind a chair to change. And this older girl was like, what are you doing hiding back there? We're all girls and we're all putting on our bathing suits. So I was born really modest. I was like, I don't want anyone to see me naked. I would have been in the chair next to you. I take baths in the dark often, really in real life. I'm really uptight. And yet I've played several parts that are very sexually more free than I am and comfortable. Some of the characters use sexuality as a survival mechanism. Some use it to get love or feel alive. Some use it as a bargaining chip for power and. To move on. So for me, when I was looking at this, the sex scenes in Escape at Dannemora, it was like, I'm going to gain all this weight. It's going to be the first time I'm ever not going to use body makeup because I want to have the conversation. First of all, I believe this lady has a she's more comfortable in her sexuality than I am. And I want to play a part that's not me and move away from myself. And I want to have the conversation. Who's allowed to be sexual? Who's allowed to be sexual on film? What kind of body types are acceptable? Who's sexy and who gets to decide who's sexy? All of those kind of things that I don't think we ever get to really talk about or think about. Well, you are hot as a pistol and very, very compelling. And I just would think. And then do you break for lunch after that or like what? You know, where is everybody? These are the I think about the mechanics of it because coming from I can understand it and I'm fascinated by it as a character study. And I I thought that you were so brilliant in that show as I expected you to be. So that's what you've done for me with your career is you've just created this expectation that I know if you were in something, it will be of a great, masterful quality that you've put a lot of thought into it. And that's why I'm. Oh, my God, you're so sweet. So I've said it, but I do think about the mechanics like, yeah, how do you get on the set? How do you get off the set? Who's standing there? What if you don't like someone? Yeah, that's in this little sewing. So I jumped. Well, part of it, what I have found in these different parts that I play that have been more sexual. There's always this kind of coven of women. They're from the wardrobe department and makeup people. And they're there with robes and they're like covering you immediately. And they're they're like, girl, I'm here. They don't even say anything, but they're like, yeah. And so you feel this strength from women. And then early on, even male allies were like. Good ones were like, yeah, we're not going to have any monitors around the set. Yeah. I mean, I had to do this one part with David Lynch, and I was going to have to walk around totally naked in the scene. And I was so uptight. And I we had all the conversations with the crew. Everyone who doesn't have to be here, don't be here. And we're not going to have monitors and that. And so I said, and maybe this is inappropriate. Maybe I could get sued for this someday now. But I said, OK, I'm about to take we're going to roll. I'm going to take off my robe. If I turn around and I see you and I know you don't need to be on this set, I'm going to come punch you in the face. Oh, well done. So all of a sudden, about 40 people went scattering into the desert. So, I mean, I've also threatened violence. And I would believe if you said, if I see you, I'm going to punch you in the face. I believe that you would punch him in the face. I probably would have punched someone in the face because they know if they don't need to be there. Yeah. And they're just imposing themselves on something that's vulnerable and hard for you to get past. But I think part of my survival mechanism is also talking with the other actor about what's emotionally going on for these people right now. Our characters. Right. We just kind of keep bringing it back to this isn't me and you. This is our characters. And what are we want to show as part of their personalities or their relationship? So complex. Very weird. But I have more questions for you. OK, I know you have your paper. And I have to say something about people with paper. It annoys me. And you're the only one that gets away with it in my heart. Oh, thank you. And I don't know why, because you're a great speech giver. First of all. Oh, thanks. Your speeches are always great. And then you have some little caboose that you bring in just before you walk off. And and by the way, there's also this I want you all to think about. And it's so incredible. Thank you. I love when you do that. Oh, thanks. And why did you leave that job? I quit. Why? My mother got hurt and I had to come home and take care of her. So you quit the job in Tampa because your mom got hurt. Now you work here at this restaurant. Well, you know, it's it's what I could get. I had to come back home because your mom got hurt. Yes. All right. So early on, you broke a lot of records and people started talking about your pay and you were the highest paid actor in Hollywood. And there was a lot of conversation about that in the years that passed. Then that kind of rolled back and went away again. But how did that feel? First of all, to have that conversation happen, to be there in that moment from your own work, breaking that kind of glass ceiling there. And did it feel like pressure? It never felt like pressure. It felt I mean, all the salaries in in those days where there was just a lot of money to be spent making films, which there really just isn't that kind of money now being spent on film. It all seemed kind of ridiculous in a comical way. I thought, OK, sure, this is this is ridiculous, but I'll be part of this party. And I feel like there are so many, particularly someone like Barbra Streisand, I think of that. You know, I'm just walking in a path that she has hacked out with a machete. So to be a little part of, you know, the gardener, that's picking some weeds that have come up since these incredible women before me have really made a path for all of us to be artists in our own right and to be able to pick and choose the things that we want to do and the way that we want to express ourselves as as artists. It was nice to feel that I had a little puzzle piece to that. But I didn't feel a pressure because I've been paid less and done just as, you know, active a job as I did when I when we were all being ridiculously overpaid. Well, here's I wanted to get to that because you went from doing these gigantic movies, getting paid an enormous amount of money and then started taking little movies that you're basically getting scale or actors minimum wage on, right? So that must have been a conscious choice for you, where you were you feeling as an actor like I want some different kind of material or. Well, I think the big moment in my career for me was when I had done a lot of films in a row because that's how it happens, right? You're you're sitting around waiting for someone to give you something good to read and then all of a sudden you read four good things or five good things. Right. And I think it was after I did Sleeping with the Enemy, maybe. And I'm still at that point in my early 20s. And I saw some really great actors that I admired what they were doing. And I would think, oh, she's great and she's great. And then. And then there were a few movies that I thought, why is she in that movie? That's she's better than that narrative and. And I realize there is a kind of sense of in the business at that time of. Of movement is what keeps you relevant or you just have to keep going and. And I don't know, I just had this instinct to stop doing anything if it didn't feel like that passionate. I mean, what does it take you to say yes to a project? Because for me, it's a it's just a feeling I have when I turn the last page of the script, I know it's something that I want to do or not do. Sometimes it's actually a fight within me. Sometimes I'm I don't want to play that part. And then I have to examine, like, why am I afraid of playing that part? Why am I having that kind of reaction to that part? If I say to myself, it's a really good story and it's really well written. I don't want to play that part. Then I then I have to dig deeper. Is it because that part is underwritten and a bad part? Or is it because I'll have to look at stuff in my own self, overcome? I don't know, maybe biases I have or or fears that I have personally that I'll have to push through. But generally, I read something. I have to really like this story or feel engaged in some kind of way that that it makes sense that I want to see it. And then it's who's involved in it, who's the director. I have come to a point in my career right now. I want young people to come up and I want young directors to have opportunities. But I also feel like I want people like also that have a lot of skill set because I want to be learning from people, not that I can't from young directors. But I also feel like sometimes it's frustrating to watch the steep learning curve. You need some experience. Yeah, I'm sort of feeling like that at this moment in my career. I really want people. It was so fun working on Escape at Dannemora, working with Benicio del Toro and Paul Dano and and Ben Stiller. I felt like they were all coming as really seasoned artists who really knew their craft in a deep way. And I felt like I learned so much from each actor. And the project I just did, the act was different because Joey King actually has a lot of experience acting. She's been acting since she was a kid. But I also got to see her that youth, that discovery, that openness. And it was so great working with her. I love working with other actors. I feel like they're my greatest teachers, my my actors. I work with, you know, my co-stars, but I do want to be with people that are another thing. And the people inside, they get to be right angles, too. The fuck are you talking about? And they're the angles. I get bent and you know that is. So on your new show, Homecoming, which is a really interesting, I feel like emotional departure, your character in a way, a lot of people see you oftentimes as much nicer. You know, you have this beautiful sense of humor and joy about you and and and way of breaking the moment with this humor that I think people appreciate. But this character is really kind of darker. How is it working on Homecoming? How do you feel about this character and everyone that you're working with on this project? It was such a it was really it was a dream job pretty much from start to finish. I mean, if. If someone asked me to kind of just be with that same group over and over and over. Yeah, I wouldn't hesitate because there was just something about it's what you're talking about, too, about having experience, but you also want youth and innovation and and just a new kind of point of view. And I felt like we had all those things in abundance. And, you know, as a collective, it was really extraordinary. And I for me to come into a television show, the first sort of production type email I got, I thought, why do I not understand what this is telling me? I see a lot of information and I don't really know what it is. 30 years of call sheets and production emails. How do I not understand? What was it? It's just different nomenclature. I don't know. It was just, you know, talking about blocks and then scripts were sort of, you know, a scene would be 26 E and then there'd be 26, you know, H and I didn't know what anything was. But then they ended up hiring as a first AD. This incredible man, Peter Cohn, who had been the first AD on the Pelican brief. Oh, wow. A movie that I did with the incredible Alan Pakula. So I went in and had a quick lesson and the lingo of TV. Yes. And episodic. But we filmed it like a movie in two parts. Now, is that what you did on Medium? Because you were on that show a really long time. The medium would often be written the night before pages. Sometimes I didn't ever get a full script. It was crazy making it. You don't seem like that kind of an actor. Well, I was like, Oh, who's the bad guy? What's happening? Sometimes they'd be writing scenes and we'd get them the night before and I'd say, we've got to tweak this one a little. Because I already played that moment in this other scene you gave me before. So you were having to keep track. Well, what was cool about it is sort of like in real life, you think you're going to the dentist on Tuesday, but it turns out you have a car accident and your grandma dies. And 15 things happen between now and Tuesday. Are they all bad? Also, you win the lottery. So that happened. All of these things happen between now and Tuesday, going to the dentist. So come Tuesday, you're not going to the dentist. You're going to get your lottery check. OK, so but anyway, on your way to your grandmother's funeral. This is really this writes itself. I just don't even know how this is. I feel a talk show coming on. I know, I know. We're good at this. We are good at this. So, yeah, I just jumped in into it like in life. We don't know what's really around the corner. We think we do, but we're actually figuring it out as we go along. So that was a weird process I had to develop for that. And was there a different director for every episode? Sometimes we have repeat directors, but in general, we had a different. Yes, that seems like the hardest part to me. It was hard because at least maybe your directors, if they cared to, could read your the director of the 10th episode, could read all nine or watch cuts of the first nine by the time they direct the 10th. Right. Of your episode. Right. That would be expected. Right. So for us, sometimes they wouldn't watch, you know, 100 episodes, so they'd have an idea. They'd come in and you'd go kind of did that on this other one or or we did it two episodes ago, but they haven't been cut yet. Right. You haven't seen him yet. So it was it's it's a real machine that moves so fast. Wow. And how many years? And it wasn't like shooting a movie like you guys. Did you have more time or. We had time and we also had a strange alchemy that things. I mean, going into the first week, and I think so much credit has to go to Sam Esmail, who is our. Director of the entire show. He's just such a smart guy, and he's so interesting and interested, and he has very clear ideas. And the first three days, I think, of shooting. Of course, you know, I'm so nervous and want to do everything right and make a great first impression on everybody. And we come in and Stefan and I, and we're a letter perfect. And we are, you know, everything is just. And we wrapped the day's work before lunch on the first day of shooting. And it was like, well, OK, well, that's beginner's luck. OK, that's. And then by Wednesday, you know, the UPM comes to us and says, so listen, you know, we we have to work an eight hour day. Like, so if we have to start rescheduling this. But there was something about this group that we just we knew our goals collectively and we knew how to get there and how to encourage each other in a way that there was a momentum that I thought was kind of extraordinary. And you're working with great actors in that. Great actors. I mean, Stefan James, who I didn't know prior to this. He was one of the men that I read with to get the part. And it was one of those things where when you're on this side of an audition. And you see people walk in and within 20 seconds, my stomach's in a knot and I'm like, wow, I just remember how awful it was to walk into a room of eight people sitting there. And now I'm one of those eight people. And you've been there for two and a half minutes. And I know this is never going to work. And I don't know how to get out of it. You know, it's so painful and stressful. And Stefan happened to be the last man that came in. And he walked out of the room and I just remember turning to everybody and said, well, our work is done here. It's just so there's just something so great about him. He has gravity, but he has so much joy and effervescence and was on time, ready to go. Every day, he's so talented. And Shea Wiggum, who's incredible in the show. And my friend Dermot Mulroney, who I love. Sam brought in because he loves my best friend's wedding. He just wanted us to be together again. Oh, that's and yes, it was great. It was really great. What do I inspire you to do? Just make a fresh start. You know, leave the past behind like you're doing, but together. I was back here at the break room and I said, who's got a question for Julia Roberts? What is it? Kind of a coffee cooler, kind of a questionnaire. And I thought, why don't I just tweet that out? I have one question for Julia Roberts. Are you do you really do that? Yes, I did. OK. So I did, madam. And by the way, she's got her phone in case her kids won the soccer game. Soccer scores. I'm going to check my Twitter responses. OK, well, I checked the score. I don't think it went well. Oh, let's see. So one of the questions that people have for you was who is going to sit on the throne at the end of Game of Thrones? Do you watch Game of Thrones? I'm going to say Barack Obama for 500. I have no I've never watched the Game of Thrones, but someone just told me a couple of days ago. Oh, you look like what I said it earlier. And now I've forgotten. You look like one of the the Starks, the Wildlings. Well, I look like a wildling. Oh, and I just I just went with that. I didn't know what it meant. Well, because my my hair is super curly. I mean, this is this has been professionally done for the occasion. But I was at the beach. And so my hair was was telling its own stories. And someone said, oh, you're like a wildling. I didn't know who will be on the throne. Do you? What's your guess? You know, I think there may be several thrones, really seven, several. I think they might parcel off lands to different people. But I don't know. Now, Arya and that Baratheon boy. I don't know what's going to happen. Well, tonight is the night, isn't it? I heard one of them. Yeah, there's only three left before. Wow. The end of an era. Somebody asked what? Now, do you know any of these people that are asking these questions? No, I don't. All the millions of people that follow you on Twitter that have participated in this. Yes, because you're a loved woman. You'll deal with it, woman. OK, so I should be on the throne at the end of Game of Thrones. Oh, my gosh. Oh, my gosh. You better do. Spoiler alert. That would be hilarious. I mean, if I love that, they should do a massive faux fur Saturday Night Live like it's going to be this one, this one. They all die in Julia Roberts. All by myself with no one to rule over. Oh, my God. That's how I feel when all the kids go to school. Oh, really? Nobody cares what needs to happen now. Somebody was asking, what's your favorite classic film? Oh, well, I think my favorite comedy would be Philadelphia Story. And my favorite drama would be now Voyager. Betty Davis. Yeah. So, yeah. Um, you do like classic movies, modern movies. What's your genre? I like all of it. I mean, I do tend to like darker material, I guess. Part of a couple of performances. Yeah. Dark type of attitude person. Well, two of the performances by women that made me want to act were Jessica Lange and Frances and General Owens and Woman Under the Influence. Yeah. But my favorite film is F.W. Murnau's Sunrise in 1927. You're complex. I like that. Yeah. You are not sunshine and kittens. I'm not. I like that. I'm not. Yeah. Tough around the edges. But actually, I'm pretty silly. I see that, too. Mm hmm. Silly and tough beyond those aubergine glasses. I see you're silly. I don't like scary things. I don't like to be scared. I don't watch Game of Thrones because I've had a lot of friends say you can't handle it. Scary for you. Too scary. Maybe too much sex. Is there a lot of sex? There's a lot of sex. A lot of sex. A lot of swords killing massacres, maybe. Yeah. And there's zombies and stuff like that. Oh, then it's for sure not for me. There's zombies. There's dragons and zombies. OK, dragons. I can get my arms around zombies. That's a whole different. Well, now there's a zombie dragon. So I don't know if you can handle that. What is happening? A lot is going on over there. You were also called America's Sweetheart. So how did that feel? Barbara Walters. Why, yes, I did. I do have a secret, a secret wish to do. The day is gone. I do, too. See, I'm living out my fantasy here. So you were called America's Sweetheart. Mm hmm. So how did that feel? Did it did it feel limiting? Did it feel exciting? Well, let us not forget. It wasn't what I didn't feel like it was. You know, the like the beauty pageant sash, America's Sweetheart. It was the name of a movie I was in. And so it just seemed an easy like, oh, OK, let's just put those together, stitch those two things together. So, you know, it was really neither here nor there. I have found and you may agree or disagree. And I know you will. I get I'm very unemotional about stuff like that. It doesn't I don't feel that I have to then live up to something or that it's some kind of pressure. Understanding of me, I feel that it shows, in fact, a greater sense of protection between me as a person and and me as an actor, because, you know, all these are very healthy and a good coping skill. So do you feel that your celebrity or whoever you are in people's mind or people think you are in society is different than your true self in your real life? I think it used to be completely different. And now I think it's it's just different. But also, you know, I've never been a person that that attracted the kind of I think of it as like musician energy where people see a musician in the grocery store and you would just kind of go, oh, like I don't. I get this kind of energy like, oh, cut your hair. You know, it still looks cute. Oh, my gosh. Thanks. Wow. It'll grow back. But that's, you know, but I think as people think of me more as like their neighbor or my daughter looks just like you or, you know, those are the kinds of things that people come up and and approach me with, as opposed to an energy that's more than I can handle. Wow. That's that's awesome. What kind of what do people say when they come up to you? Well, sometimes they say you look a lot like your shark, but she's taller than you. Oh, I get that. Sometimes I'm usually just people are nice to say me, my me, my daughter always watch you and watch you on media or you really freak me out on the act or. Thank you for making me think of people like Tilly in a different way. From Escape at Dannemora. Usually they're just nice people saying nice things. You know, I don't really get mean people. I guess, luckily, people, I guess, just keep that to themselves. I don't know what they don't think they do. People don't keep that to themselves. So I think you're getting the genuine emotion. Now, what when I when you think about acting, what do you love about it? I think all of it, just all of the kind of circus, funny, nutty the hours, though. You know that you work so hard to not live in a trailer so that you can then find a job where you live in a trailer. There's an irony to that. Yeah, that amuses me. I'm just super amused by all of it. And I love the camaraderie and I love that. It's this incredible team effort. I love all that. Yeah, it's kind of a circus life. Yeah. And there's a lot of humor on sets and you meet really cool people. Yes. They're so good at what they do. I mean, I always really depend a lot on the person. Props are important. I was super prop heavy in Homecoming. I've never been so I've always been kind of propless. And I realized I was making up for a lot of lost time. What were your props? I had in any given scene I would be. Well, first of all, we had all these really long takes where I'd get up from my office and I would be on the phone and get my car keys and grab a bag and, you know, hopefully something to, you know, balance in my other free hand and lock a door and go down some stairs and then go through a thing and, you know, go from my phone to my headset maybe. Or it was just always, you know, some thing, get out to the car and then I have to open the car and load up the car and get into the car and get your seatbelt on and get the seatbelt on and not hit the sandbag that's marking where the car is going to go. You know, yeah, it was it was humorous. And it entertained Sam to no end. Just, you know, how about a glass of juice while you're down? It was amusing. But it's interesting. Props really do for me and that in particular, it was just it was everything was just another layer of texture and another something. I don't know. Do you typically approach characters like do you have one process that you go through with with each job? Is there kind of a structure to it or do you use different approaches for different characters? I think it's always different. And I think the I don't know, I'm curious about you, because for me, I feel like there's always one piece of the puzzle that reveals itself to me early on. And it can be something like, you know, what my hair is supposed to look like or just something. And then I feel like once that first piece reveals itself to me, the other things kind of come in steady stream. Usually, I mean, I've been I've been working on things before where it was like up to the last minute, like the piece hasn't fit yet. I'm freaking out right now. You know, am I going to find the piece? Sometimes it's a piece of clothing you put on in a wardrobe fitting or or a little sound in a rehearsal that comes out in your voice like, mm hmm. Like that's the girl. OK, now I know who that is. Do you like rehearsal stuff like that? Do you like a lot of rehearsal? I like real rehearsal, experimentation, rehearsal, really. I don't like just reading the script over and over again. That doesn't do anything for me. We could do that on a Skype call. You know, I mean, we could talk it through. Sure, there's there's a place for that. But to really explore a scene like, OK, this is what we have written. But what is this scene really about? And what if what if we try this scene? They were not filming it right now. So why don't we just try seeing what we dig deeper into this thing? It's a part of this this relationship. I don't think we are looking at yet in the script. So why don't we do it? That, you know, kind of improvisation around that. Maybe we'll never use that in the movie, but it might inform us in some way. That was a big risk you took for me. That part of it was fun. You're fun. Let's just keep talking about you. Can we talk about true romance? Yes, yes, we can. Was that an intense, crazy experience? That movie is so wonderful and crazy. And there's 107 incredible people in it. Did you love making it? I loved it. Oh, I'm sorry. I loved making it was so fun and I knew it was so fun. When I did that, when I did flirting with disaster, I kept saying to people, people would ever complain. I said, you are not going to complain about this movie because you're going to be so happy you were in this movie. And this is so incredible to work with all these people. And, you know, some of those great actors are gone. And Tony Scott's gone. And, you know, I mean, Dennis Hopper, James Gandolfini, Chris Penn, a lot of people that are gone from that movie. Such a great movie. You're so great in it. Oh, thanks. There's just it's funny. And I mean, I can't remember what I had for lunch two days ago, but I can picture you like in that car looking and smiling out the back window. Like I watched the movie this morning, which I promise I did not. I remember seeing Mystic Pizza and being really excited because also I felt like as a girl, I didn't really get to grow up watching a lot of girls on film. And friendships and sisterhood and talking about falling in love and relationships and girls working, you know, on your first job. I have goosebumps right now. And you guys were all so charming and you're so wonderful in that. And it felt like you were a little going through things I hadn't quite gone through quite yet. I was so excited to go through them. And I felt like I was living vicariously through you. And I just really loved that movie. I love that, too. That was a fun. We actually just had a little reunion of the Mystic Pizza folk not that many years ago for Entertainment Weekly. And it was so fun to see everybody. And now we're all grown up and have kids and and aren't these sort of like baby adults with, you know, nothing but time on our hands. And now it's like a thousand things going at once. Yeah, it's nice to see everybody. I have a terrible audition. You do? Yeah. So I went to audition once because it's really hard. You know, the audition process, I was always horrible at it. Yeah. And I always looked at auditions like they were unfinished work. Now, did you did you start off not to interrupt in L.A. or in New York? So when you're auditioning, is this like it's L.A. L.A. OK. I was in L.A. And I was a terrible auditioner to begin with. And I had this audition for this movie. And it was like a girl band or something. So, OK, cool. It was for this Italian girl drummer in the band. She's kind of tough. So I put this. Oh, my gosh. This temporary rinse in my hair. That was very dark. That's what I did for Mystic Pizza. See how it is. I'm the tall you. But you are the successful version of me because I went to the audition and all of a sudden they said, OK, so let's do the dance part. And there's like 30 girls. And I'm like, what dance part? I thought it was a band. They're like, yeah, but they're also dancing. So all of a sudden I'm dyslexic. It's like one, two, three, kick. And all these people are like dancers. I'm bumping into people. I'm kicking girls. I think you're trying to take them out one by one. Oh, it's a nightmare. And now I'm sweating. And the fake hair dye is pouring down my white tank top. And I look miserable all over my face. I'm sweaty. I'm a whore. And then the director's like, well, OK, let's do the acting for the audition. I was just in this flop sweat nightmare scene from Carrie with blackness. I just looked bizarre. So, yeah. And you did not get that part. I did not get that part. I mean, I would have given myself a second shot. Just like, kid, you got you got some gumption. You got it. You got to try again. But that's a pity. Yeah, that we both dyed our hair. But you were successful. I had a success out of it. But I did have about two cans of of colored mousse that I got at Lambston's drugstore. My hair was out to imagine stiff as a board. And I remember in the audition with Adam, who ended up playing my boyfriend, we were both auditioning and it's a scene and he's like, oh, Daisy. And I could just hear his skin just being cut as it went across my over-moussed hair. And then, yeah, leaving the subway, coming out after the audition. And I had on my white blouse and walking from the subway in the rain with two cans of dark mousse just running down all of me. And that's really surreal. Yeah. Here we are. Knock on wood. We've had good success in our careers. And we have these crazy. Audition dripping dye hair stories. And now we're just rad 51 year olds with naturally blonde hair. That's right.