Julia Roberts for ‘After the Hunt’ | Conversations at the SAG-AFTRA Foundation

Since we just watched After the Hunt... Yeah, sorry. It's great, and it's a downer. Actually, I was surprised at how many laughs there were in the movie. It was surprising to me how many times I actually laughed and heard the audience laughing. And what does that say about the world right now? This is the new rom-com. Only because it's a little sideways, what do you remember about being funny on the set? As I'm sure most of your days were pretty effing grim, what scenes were actually fun to shoot? Well, there was only one that was fun to shoot. But strangely... And I am just gonna take this out. Put that right there for later. Save it. The only scene where I think my character Alma smiles in the entire movie is the scene in the bar with Hank. And we start the scene playing... Andrew Garfield knows a lot of pub games. And I said, what can we be doing as though we're sort of bar flies? We're in here a lot. We've done this many times before. And he goes, oh, there's this great thing. We just kind of flip up the coaster, catch it. How did he say it? There's this great thing. We just flip up the coaster and catch it. And were you good at it? You were clearly good at it. Okay, listen, there was no acting in that. I caught it and I was the proudest I've ever been of myself. It's a hard game. So that was the one fun scene. But I will say this, not to sound like we didn't work hard because we really did. We were grinding this out. But we enjoyed each other as a cast in a way that there was an alchemy I had not experienced before with the whole group. Sometimes you find that one person and you go, oh yeah, you're my person. I didn't realize I had four very distinct shapes inside of me that that person was going to fit into. I just had lunch with Ayo two days ago. And I've never sat closer to someone in a booth. And it was just the two of us. And I just, I adore her in this deep, deep way. And I don't know if it's that I'm getting luckier or if I'm getting older and I can recognize in someone something that is truly meaningful to me in my life. I don't know what it is, but I am so deeply grateful for it. The scene where, because I'm thinking a lot of it was improvised and I could be wrong, but it's the kitchen scene when Michael Stuhlbarg is going out. Oh, Michael Stuhlbarg. Everybody clap for him. It is well deserved. Comes back with a broom for no reason. What were the directions that Luca was giving during that time? Or was that all just happening around you and you didn't know what was coming? Well, he comes in, my back is to him at all times. So I never knew what was happening behind me. And that worked with my kind of eye roll response to just anything my husband was doing. Michael is such an unexpected human being. He is in so many ways the opposite of me. I'm kind of like woke up in a hamster cage and he is in a Windsor knot. If there's a way to describe the two of us since that. And yet I think we have this mutual envy, like he wants to be in the hamster cage, but he just can't be. And I want the Windsor knot. You want that where you need to be more buttoned up. Is that what you're always thinking? I'm incapable of it. But he would come in in these different attitudes and he gets asked about the broom and you come in with the broom. What does the broom mean? He goes, it means Luca said, here, take a broom. And like he just came in with a broom. It was so, yeah, fascinating. You and I were talking not too long ago about Aaron Brockovich. And one of the reasons that you and Steven Soderbergh, and I think Luca may be similar in this way. I could be wrong about that. But one of the reasons you clicked is the way that you work is you like to do as few takes as necessary. Not, hold, please. Who's phone is that? Well, we're just going to hold on. Did you get it? Somebody made it go away. That was smooth. You just want to go like, I'm sorry, I'm here with Julia Roberts. I'll call you back. It's not that I want to do as few takes as possible. That's not my goal. But I feel like I come in ready. And it's like, this is what I've said to any director I've worked with in the last 15 years. If we're on take seven and you are not getting what you need from me, we should probably sit down and have a conversation, because I don't think I know what you're looking for. Now, this is in stark contrast to the way a lot of actors work, which I have no judgment for. It seems to be the English, though. Andrew, you do one take with Andrew Garfield, he's like, Luke was like, we've got it. He goes, no, we can't. What? No, we mustn't. We shunt. He's just like, we've come too far to be that fast. And I'm like, great. So it's interesting. You have to find the happy medium with everybody. And I think that is Luca's job as sort of the set parent, is to be serving that which is the greater good of the film, and also making sure that we all feel that we have contributed what we came to give. Because I've seen you, and I understand what you're saying. Well, what I'm hearing is... What are you hearing? You do a lot of... No, you sort of prepare before you get there. Yeah. I mean, there's... And then a lot of other people like to... Come in, they're warming up, take two, take three, they're getting juicy. And I'm kind of like, okay, craft service is calling me. Yeah. But that's a lot of preparation on your part. You do a lot of prep before you get on the set. That's where the seriousness comes in. And on the set, you also like to be jovial and a little loose. I like to be jovial and loose. I like to be joyous because I feel like I am living my dream come true on a daily basis. And I want to make that known. Even though it's hard. A 10-hour day, a 17-hour day. I have worked a 27-hour day. And it was one of the all-time great days of my life. What movie was that on? I don't even want to say. And I don't want to say that I went from there straight to a club. Because who knew there was anything left in the tank? But it's the circus. It is the circus that we have all signed up for, right? You go, this is crazy, but I didn't want to be a banker. Walk me through the physical scenes. First of all, you and Io are in each other's face. There's a slap. How do you approach those kinds of scenes and make sure everybody's safe and comfortable? Or do you just kind of jump in? Well, Io having to slap me, I was... I mean, maybe this is the parent in me. I was just feeling bad for her. And not like, I don't want to get slapped. I mean, nobody wants to be slapped. My mother, may she rest in peace, was an all-time slapper. That was her kind of go-to move. Not in an abusive way, but just to get your attention. Kind of a Cher way. And you were Nicolas Cage in that scenario. But sort of in a, why isn't the laundry done, Cher kind of way. But Io, of course she's going to be bunched up about this. And I just remember saying to her, you just have to slap me. And I've had two slap scenarios in my career. And one destroyed a budding friendship. And one was with my great friend, who I just had dinner with, Sean Penn. And we slapped each other. And he slapped the ---- out of me. And I slapped him back, according to him, from the shoulder. He was like, all the way. I mean, honestly, you block it out. And I just said to Io, you just have to slap me. It's what's called for. Don't be scared. Don't hold back. We will survive this. It will be fine. And was it from the shoulder? It wasn't from the shoulder, but it definitely had, it was above the elbow. How did you and Andrew, because it was such an important scene. And it was also, it was wrenching to watch. It was not funny when it was the scene in the house by the dock. How did you all prepare for that? Well, in all seriousness, I mean, that was sort of like the scene. I mean, as actors, I think for me, I read a script and there's always one scene that I call the throw up scene. And it's just the scene that you just dread. You're like, oh, that's the scene. Like, push that down the schedule. It was just like, either have it be day one or day 100. I just don't even want to face it. And this was kind of that scene. And also, Andrew and I had become friends. And he's friends with my husband. And he's sweet with my kids. He knows my dog's names. My cat, he's allergic to, sleeps on his head. And then we have to, you know, we talked about it a lot with Luca. Obviously, it's a really important scene. It gives a lot of information. And it's just, it's, I'm also, I realize that on paper, I'm a grown woman. But in a room with a man close to me that is not my husband, I am a 12 year old. And this is in any movie. It's not Andrew Garfield. It's any man who has stood this close to me in any rehearsal I have looked at. And I just start giggling. And I take after take in rehearsal. Here, looking at me, and I'm giggling. Pretend to kiss me, and I'm giggling. And I can't, there's nothing. And even Luca was like, why? What? Why are you laughing? And I go, because it's rehearsal, Luca. And he goes, but I go, no, when we're shooting it, I promise I will not be laughing when this is happening. But it's seven o'clock in the morning, and this is really weird. You got to get it out of your system. Yeah, I have to get it out of my system. So we had a lot of rehearsal, big camera move, really complicated camera move. And like, it's not hard enough. Let's add that to it. And so we get through rehearsal, and we knew the intention. We knew the compass. Andrew and I were very clear where north was for this scene. And we went back to the dressing rooms to get ready. And Andrew came to me, and he was like, are you comfortable? Is there anything that you're not comfortable with? And I said, I'm comfortable with you. We know what we need to do. Let's just do it and trust each other. And they set up. We got ready. Hours have gone by. We've rehearsed. All this stuff has happened, and we get in there. And you know, you sort of take your deep breath. And Lucas says, action. And we perform this scene. And I don't even know how long the scene is. A minute and a half, maybe? And Lucas says, cut. OK, what's next? And Andrew was like, what? And I was like, this is what's next. And that was it. We did one take. Wow. And Lucas said, that was everything. Thank you, guys. Yeah, I mean, it was kind of brutal. But that was it. And that's what's so interesting about movies, plays, TV, all of it is this hours of thinking and preparation. And everyone's thinking. The prop person's thinking. The wardrobe's thinking. The cinematographer's thinking. We're all thinking. We're up at night. We're gnashing our teeth. And then one and a half minutes go by. It's like, who wants a coffee? It's so crazy. Could you feel that you two had nailed it? In that I had no memory of any of it, which tells me I am in the right place. Let's go back to a little bit earlier in your career. Oh, God. Are you ready? I don't know. Are my eyebrows ready? Wait, before I go there. Right now, when you're looking for something to do or open to working on something, are you looking for a particular kind of story that you want to tell? A particular kind of film or play or whatever it may be? Or does it generally come down to the people that you're going to be doing it with? That's a question that I get asked almost daily. I thought it was original. That's a question that no one has ever asked me. That's what I thought. Now that our kids are out of the house, I am really feeling myself and have been for a while. And now that they're out of the house, I really feel the compulsion to go back to theater. And that's what I'm really trying to dig up right now. But I think the bigger overarching answer is people. Because making a movie is just a really long dinner party, and you want to be with people that you're interested in and that are bringing something to it that is unique and will enrich your experience. And I think I'm also at a place where I kind of joke, but maybe it's true where I think we only have a certain number of destined performances inside of us. And I kind of keep joking and saying, I maybe have three and a half movies left in me. And whatever they are, I feel they will find me and I want them to be these beautiful experiences. What was it about After the Hunt that sold you? Was it particular, it was Luca? It was Luca. It was absolutely Luca. Did you know him before? I had met him once very briefly. And he was with Tilda Swinton, who I know, and I think can do no wrong. And A Bigger Splash is my favorite Luca movie. And so I was kind of, I mean, I think I probably wiggled my head a lot while he was talking and I was just like, and he actually, this was, wait, no. Can you imagine? Wait, I want to tell you guys a story though about this night. This was an event. It was like a big time event. Like I'm sure people got paid a lot of money to like make the stage and the flowers and it was beautiful. But there was this terrible thing where the first person, just like a handful of people were getting awards and Luca was one of them. And the first person that got called up to the stage and came up to the stage and they gave this beautiful speech. And I remember sitting there thinking there was a stagehand with a walkie talkie kind of standing just there as this person is accepting this honor and I just glance away from the person of honor to the stagehand, just as that stagehand takes a step back and just disappears. I was like, what just happened? And a few people were like, what was just happening? Oh my God. Like just sucked into the earth, right? And I guess the stage, the edge of the stage was not marked well. And the person had stepped back and literally fallen off the side of the stage. Oh my God, this is terrible. But you don't want to take away. Oh yes, yes. Oh, congratulations. Congratulations. Is that person okay? It was the craziest thing. And then somebody else got up. Thank you, thank you. Tilda gets up there and she's like, oh, and my great friend and Luca Guadagnino. And he'd be like, hi, hi. Luca gets up there and he gives a great speech. And then he. Are there just bodies that nobody's noticing? Broke his ankle. Yeah, yes. Okay, I met him shortly after he'd broken a bone. And the not great climax of the story is that I was presented an award that George Clooney was supposed to give to me. And we're sitting in the audience next to each other. And I go, I'm not going. And he was like, you have to, it's a death trap. For artists. It's like the Bermuda Triangle of the SAG Guild. Like, I'm not going up there. So the critical error people were making were going up the main stairs, getting their awards and falling into the abyss. So I went up the front and down the front. Yeah, you did. Yeah. So that's my Luca story. So that's the first time I met Luca. I don't think he was at his best, but it didn't keep us apart. What was, I know that you get asked this, what movie in your career do you remember having the most fun on, on the set? That's a really good question. Because most of them aren't nonstop fun. No, you know, they really can be just a lot of fun. I don't want to make it seem like I'm overpaid. Or overpraised. But they can be really fun, honestly. I guess, I don't want it to be a cliche, but honestly, Ocean's Eleven was as... Well, that's what everybody would guess, right? Because it's great friends. That applause was pathetic. It was sad. Well, because it was fun, because those boys are as fun as you imagine they would be, and because being the only girl, imagine being the one daughter in a family of five brothers. And it is heaven and hell simultaneously at all times. And the amount of pranks that were played on me, I'll just tell you one. We were in a very fancy hotel in Las Vegas. And there was this one day in my room, I just thought, I kind of heard something at the door. And I sort of went, I don't see anything. And I kind of smell something. It doesn't smell bad. But what is that smell? I kind of hear something at the door. I look out again. And now the peephole isn't a perfect circle. I'm like, what is obscuring the perfect circle-ness of this peephole? And what is that smell? I don't know what is happening. Time for me to go to work. And I go to my fancy hotel room door. And I open it. And yes, thank you, whoever gasped. And PS, one thing about me, I am never late for work. And almost 40 years, never late for work. I cannot get out of my hotel room. Something is impeding the door from opening. Turns out, the boys have come. And they have put one of the massive tree plants that line the hallways of this fancy hotel in front of my door. And with shaving cream, that's the smell. Kind of done a big smiley face on my door. So crazy. And I wasn't late for work. But I was in a panic when I arrived at work. And they just thought I was hysterical. Were you covered in shaving cream? No, I wasn't covered in shaving cream. But don't worry, I got them back. One by one. But yeah, that was probably just the most, like the definition of fun, that would be it for sure. Going back to the, you're in Smyrna, Georgia. And you have decided, okay, after high school, I believe it was, after high school, I am going to move to New York and I'm going to be an actor. No, this was not my decision. What, how did that happen? I graduated from high school unable to go to college. It was not financially feasible for our family. And my older sister, two years older than me, had moved to New York and she was going to the neighborhood playhouse. And I missed her so much and didn't really want to be hanging out in my mom's house. And all my friends were going off to college. And I just thought, I'm going to move to New York and move back in with my sister. We'd shared a bedroom for 12 years. And I was like, I'm just going to go be with her, where I feel safe and happy and do that. And so I did that, not realizing she was going to be so busy with school. And she had a boyfriend and New York City scared me in a way that I never even knew existed. And I got a job at a shoe store. And I was as happy as could be. And that's what my life was for a period of time. But there was never, I'm going to move to New York and I'm going to break this town. That was never in my consciousness. When did you start auditioning? I was walking back. I have a brother who is a fabulous actor. Who, yes. Who is, hold your applause, 11 years older than I am. And I had gone out to dinner with Eric and his girlfriend at the time. And on Columbus Avenue, something that just seemed very fabulous to me at the time. And we were walking back to their apartment and bumped into some people that they knew. And this one woman who was very nice and she called Eric the next day and said, oh, your sister, is she an actor? I'd love to talk to her. And I went to meet her and we had this meeting and I'd never really had a meeting with anyone before about anything that wasn't the principle. And she was like, well, what are you interested in? And what can you do? I was like, well, I can paddle a canoe. I didn't know what this was all about. And she goes, okay, well, I'm so glad we had this time. It's so nice to talk to you. I can't do anything for you. But I know someone who maybe can. And I said, okay. And she sent me to meet an incredible man called Bob McGowan. And he was a manager from New Jersey. He had made, I think, a small fortune in Atlantic City real estate. Let's call it real estate. But what he was, was the kindest, most enthusiastic man for young people who were just trying to hustle, be actors, do things. And I went and met him and he was so nice. And his office was like in his apartment and his teeth were so white and his suits were so great. But he was so kind. And he took me on as a client to do what? None of us knew. And you had done some acting back in Georgia. I had done nothing, Jess. But there was, your parents had a whole acting school. Acting like I was happy. No, my parents' acting school, I was a tiny child. I was, one could even say a baby. And was sort of the mascot of the acting school, but had nothing to do as far as performance went, for sure. Yeah. So you start getting work. And then relatively early, you had some experience, but relatively early in your career, you're suddenly doing Steel Magnolias. That was early. Yes. And so there you are on this very high-profile project. And there's Herb Ross, who's not terribly warm and fuzzy from everything I've heard. And there's Dolly Parton and Sally Field and everybody else. Who was it, was there somebody on that set who kind of took you under their wing or somebody that taught you a lot? Well, I would say, I think I got that job for two reasons. One, and I'm going to say 50% of all great moments in anyone's career is based on someone else couldn't do it. Okay? So don't kid yourself. You're not number one on the list. Let's get her. Meg Ryan was supposed to play that part. And she, as I recall, wasn't going to be done when Harry met Sally in time to start production. And they couldn't go faster. They couldn't start later. I think this was how it went. And when I auditioned and auditioned and came back and came back and then finally came back enough times that I was going to be auditioning with Sally Field. So this is terrifying. However, I had a little ace up my sleeve because my first movie was produced by her then husband, Alan Greisman. Yes. So as terrified as I still was, I had at least met her. She was very nice. Met their baby. Wasn't just like Sally Field. Oh, Julia, how are you? And she was so gracious and kind. And we read the scene together. And then she kind of started a little improv. And I kind of went with the improv about ice cream and this and that. And I really believe, I don't know what anybody talked about when I left the room, but I just truly believe that it was whatever the rapport, the comfort that I felt with her, that she probably put her chip on my stack for that. So I mean, I really think that she, you know, if it was neck and neck with me and, you know, five other girls that maybe she was the edge for me. Did that relationship continue through filming? It did continue. And I'll say we were a group. I mean, Shirley MacLaine, are you kidding me? Like, yeah, yeah, yeah. Amazing, amazing. And just to watch them all on day. And then we would go home and go to Sally's house and play games and talk. And, you know, I just felt like, wow, I feel like an alien. I was just like, how has this happened to my life? And I would talk to my mom and be like, you can't believe it. And, you know, Olympia Dukakis, it was incredible. And Daryl Hannah and I became friends. We were more each other's age. But they were all so kind and so helpful. And Herbert was really harsh and rough. And I always felt like, you know, it would be like way over there. And then they'd be like, OK, it's going to be OK. And they kind of, you know, hold me. And and it was incredible. Yeah. What was what was your relationship? Another very important director relationship soon after that with Gary Marshall and Pretty Woman. And he was in your life forever and ever and ever. But also such an incredibly important moment in your life. What do you remember about that shoot and working with him? Well, I remember we didn't know what we were doing. And they were writing scenes like they would be 10, 15. OK, lunch, everybody like lunch. There were just no pages to perform. We'd kind of run out of, you know, or Gary would do this. I mean, I'm imitating Gary quite well, actually. If anybody doesn't know him, but he'd do this. He goes, OK, and be funny. Action. And I sort of say to Richard, I go, what are we doing? What are we doing? He goes, I don't know. He said, be funny, be funny. I was like, OK, so a man walks into a bar. Like, I mean, you just it was we were really shooting from the hip for sure. And when we finished, basically, we all kind of thought, well, we just had the most fun making the worst movie in Hollywood. And OK, so that happened. You really thought that it was going to be you had no idea what it was going to be like. This is what I know. I know that I at the time actually didn't know anything. So good movie, bad movie, whatever. I paid my rent. I made some friends. I do know this, that the camera operator and the script supervisor who Gary called and said, come over, I show you the movie is going to be great. We'll have some tuna fish. And they met before to talk about how do we coach Gary into understanding that it's it's it's the experience of making the movie. It's not how good the movie is in the end. So it's terrible. We're all still friends. They truly had a lunch to talk about how to let him down, that this movie was such a steaming piece of ----. And they went to this movie and said, and I mean, the script supervisor, for sure. She's got all the notes. She's like, we made 10 movies and nine of them are unwatchable. And Gary made the one. Wow. Yeah. Did you did you feel that while you were making the movie? I mean, were there a million different did you really? I mean, it was chaotic, but I didn't but I hadn't had that much experience. So to me, it was like, and he's so adorable that you just like if he says, you know, lunch at 1015, you're like, okay, I can eat anytime if he says be funny, if he says like, you know, I don't there's just something about him that that's so magical, and that just believes in everybody. And so you just go with that. And I didn't really know what the movie would be. I had no idea. That's not that's not my department. I was just kind of doing my one little plates on sticks thing. And there it was. We were we I talked to you a couple of months ago, a lot about Aaron Brockovich. And the thing that is, when I look back at that time, it was Notting Hill, and then Runaway Bride, like you broke your own record for opening weekends, there was, you know, Notting Hill record shattering, then Runaway Bride record shattering. And while that was happening, you were making Aaron Brockovich. Do you what do you remember about that year or so when those movies were coming out, you were making Aaron Brockovich and entering into award season? Was that a good time for you? Was it a stressful time? I mean, I don't know what it is about my personality, but I'm not, I just don't stress in this kind of realm isn't part of my vernacular. I just don't. I don't get it because it is what it is. Like, my job is so long done at this point, that there's nothing I can do to make it better. I can't, it is what it is. It's up to, you know, gods and people and weather, and that has nothing to do with me. And so I've never really felt a stress of a movie coming out, or I don't necessarily take all the credit. Is it getting boring? Did I say something unseemly? It's not me, it's you. Okay. I've never heard that before. Oh, got it. Okay. We'll see you in a minute. Anything to distract from myself, honestly. My cheeks are so hot. I've over talked about myself. Yeah, I don't get stressed out about stuff like that. I will say this. I'm going to say this for the first time ever. Maybe only Danny knows this. The only time that I actually ever felt an immense sense of pride about box office was when Notting Hill came out the same weekend thereabouts with a Star Wars movie. Yeah. What? Hi. I'm with you. You're with me. We are together. We are aligned. And at the time, I was like, why on earth would we release this movie with a Star Wars movie? Wait, what is counter-programming? I don't even know what that means. So Notting Hill comes out, Star Wars comes out. I'm sure the Star Wars movie was incredible. I'm sure it was. But there was a big full page in the New York Times that said, The Force is with Julia. Yeah. And I truly was just... You couldn't talk to me all day. I was so puffed up. I was so full of myself for 24 hours. And you thought, but I'm also still just a girl. Standing in front of... Say it. A lightsaber. Is it time to go to audience questions? I think it is. We can go to audience questions. But did we hear about Aaron Bukovic? What about her? Does that mean I have four minutes left? Okay, for this segment, I thought we had moved on. Sorry about that. What was it that made you and Steven Soderbergh click? Because you hadn't met him before Aaron Bukovic. No. And he is incredible. The thing about Steven, he is so smart and he doesn't... You don't see any of the puppet strings. It's all very direct. It's very clear. It's very succinct. Sometimes it doesn't seem friendly, but it is. It's going to be like this and it's going to be great. And go do that. And his directing style is very in sync with my acting style, which one doesn't know. And I told Luca this, that it's kind of like Luca, because he's so clear from the beginning what he's trying to build, that Steven also would, one take, boom, we're done. He's like, okay, now we're over here. It's like, oh, okay, that's how we do it. Okay, now we're over here. We would wrap at five o'clock in the afternoon because we were a done. That was the first movie I ever did. We wrapped under schedule, under budget. Happiest Clams had the whole thing wrapped up because he is, he was so much a part of the revisions of the script before we shot it. And he is behind the camera and he is editing in his hotel room at the end of the day. And he knows what he needs and he knows what he doesn't need. And what he really needed more than anything was for me to be able to say the C word without just getting hives and turning really red. He was like, that's ineffective. I was like, ah, these people are looking at me. I can't say it. And I eventually got into the rhythm. Really good at it. Yeah, thanks. What was, because that film in particular, and the thing that I only recently realized, I've seen it one million times, is that... A million, Jess, a million. Close, close. Not as many as Notting Hill. Surprise, I haven't asked you about Notting Hill yet. But it was, the way the original script and the way Richard LeGrobinet's, you know, then perfected that script is that it's really a platonic love story between Erin and her boss, Ed Massery. There's a romance there. Albert Finney, yeah. And it's such a great relationship, the two of you. I wondered what kind of conversations, build up, rehearsing, bonding did you and Albert Finney do, if any? Well, it takes no conversation for me to be in love with Albert Finney. So that's the easy part of my job. Albert did this incredible thing at the beginning of a number of scenes where I come into his office, barging into his office, which I felt like I did on a daily basis, stomping in my candy's shoes. And he would always pretend to be, this was not written anywhere, he would be on the phone with his wife. And I know, baby, sugar. Oh, honey bear, yes, yes, yes. He always was doing this like little sweet, squiggly, boogly thing on the phone with Mrs. Massery as I huffed into the office every time. And it just makes me love him so much. It was like, what are you doing? I don't get it. I love it. I love you. You're the greatest. You're Tom Jones. He was amazing. It was so, it was, I mean, that's a movie that, I mean, there weren't a lot of us in that movie. And we were in Barstow, California, which if you haven't had the good fortune, then you've had good fortune, because I've been to many soccer tournaments in Barstow. And we were just all together. That's all we had was each other. And it was, and Aaron Eckhart, who I think is absolutely staggering in his portrayal of George, he, the way Aaron treated George is very much the way I feel about the way Michael Stuhlbarg treated Frederick. You take this kind of seed and grow something nobody saw coming quite like that. And I feel that that was very much what Aaron did and what Michael did. You and Aaron Eckhart seem like very different actors, different ways of working. Is that fair? Yeah. I mean, clearly it worked and you like each other very much. How did you navigate that? Because he is a, let's do 12 takes and then I'll get started guy. Yeah, 12 takes and then I'll think about what I'm going to do. Yes, but it was great because it created this sort of friction. And what's friction? Fire. And what's fire? It's exciting. It just became this kind of fun way to needle each other. Like we would walk into rehearsal on a new set and I'd be like, okay, everybody, now Aaron is going to spend the next eight and a half minutes deciding what chair George wants to sit in. And we're all going to watch. And he would sit in every chair, just kind of looking at me. Yeah, I'm going to, no matter what you say. And it was just fun. And it was funny. And the scene where we meet and he's revving his motorcycle and I come out and tell him all the numbers that I've ever learned in my whole life. And at the end, when he drops to his knees, which was not written down anywhere, it's everything. And really at the end of the day, he can sit in as many chairs as he wants. If that's what he's going to deliver, I'll wait all day for your chairs. That's what you do. Thank you, Julia. Thank you, everybody. Is there any more housekeeping to do? No. Thank you so much. No housekeeping. We'll vacuum after you leave. Just take your popcorn and your cups.