Name: Alec Baldwin Talks Glengarry Glen Ross
Uploaded: 2025-12-08T14:00:16.000Z
Description: Watch the stand-up comedy video 'Alec Baldwin Talks Glengarry Glen Ross' from TAFS Clips on Comedy Buff. Published 2025-12-08. Transcript available.

Watch the stand-up comedy video 'Alec Baldwin Talks Glengarry Glen Ross' from TAFS Clips on Comedy Buff. Published 2025-12-08. Transcript available.

Can we talk a little bit about your, I've been going back through your filmography
and
your performances and it's just like when you appear on a screen it's like oh
it's my
pal.
It's like my old pal and this is going to be great.
I mean you can make a real turd watchable.
Pearl Harbor you're like you make your parts watchable and that's one of the shittiest
movies of all time.
I mean I'm serious.
Yeah and it's just like, I watched Home for Red in October with my dad.
This is like a hunky leading man and then from like learning about what transpired
afterwards
it wasn't the perception I had of you.
I feel like the industry has been like a frustration, you know like especially
when it came to reprising
your role as Jack Ryan.
Well they wanted me to sign up with like a blank contract.
And we start when we finish, like you only do this and you never do anything
else.
And I had an opportunity as I wrote in my memoir to do the streetcar on
Broadway.
Which was a very, that was like the opportunity for an actor.
That was it.
I would never have that opportunity again ever.
My perception was that they kind of like promised you and their support.
They threw me out of the plane.
Yeah, yeah.
I mean it's not bad to get replaced by the coolest guy of all time, right?
Imagine if it was Brian Dennehy playing Jack, Jack Ryan.
Yeah.
It's Han Solo.
I mean, when I read about that I was like it's just so cynical.
Like it's a, you're like an artist, right?
And when you talk about performing and acting, you get so passionate about it.
I want to talk about it.
Well you realize back then when I lived, I was 89, 90, the movie came out in 90.
And then in the ensuing couple of years, the early 90s, I learned that you just
really
can't rely on anybody and what they say there.
So I just, whenever they'd say blah, blah, blah to them, go, oh that's great.
You know, I'm not counting on any of it happening.
Yeah.
You know, it's very tough.
You just have to have monsters that do it for you.
I have a whole team of ghouls.
What was the genesis of this meeting?
Were you like Rupert Pupkin in the basement and your mother's yelling down the
stairs?
It is a joke.
It's a joke that, that became a real thing.
Yeah, yeah.
So it was a joke and your mom goes, please, it's so annoying.
This?
No.
She supported you.
I was being made fun of.
No, no.
Yeah.
I was on a podcast that was for like, I mean, whatever, guys.
I mean, just idiots.
He didn't smile.
And now I've, okay, I was on a podcast for like, ugly men.
Right.
Oh, for ugly men.
Yeah, yeah.
Not mentally.
Just like the worst, you know, and it was like a cult status that became very
successful.
And then one of us.
What was it called?
It was called Come Town.
We tried, they.
Oh, yeah.
Anyway, it got successful.
It's very, I don't know, I was just there pretty much.
But the, you know, the, the, one of the guys left.
And then the other guy's idea was to make like, by far the least popular, nebishy,
kind
of like the glasses, you know, allergies.
You, I was, we all played a role.
I was.
On the show.
On, on.
What's it called?
Come Town?
Yeah, so then.
On that show.
Were you like a leading man compared to them?
No, no.
Absolutely not.
I mean, sometimes I wasn't even, I was barely even there.
But, but, uh, yeah, I think we went a little bit manic and publicly proclaimed
we were going
to make a television show.
We didn't know what cameras or anything.
And then we recreated the Dick Cavett show set.
I have an image of you in a set like this in your basement and your mother,
whatever,
and you're sitting there and there's a line you say.
No, no, no.
And that line, you're like sitting there and you go, "I'll show them."
Well, no.
I mean, I'm not like a scary, I'm not a scary guy like that, no.
No, but it doesn't be scary.
No, no, I think it was just like, then the real guests were coming and then I
decided
for the first time in my life at 35 to try.
And then I've kind of seen myself progress and it's given me a sense of self-worth
and
it feels like, I don't know, it feels like I'm not like fast forwarding to
being dead.
It's just so I want to work.
Why are you looking?
Are you going to punch me?
No.
I'm going to fucking.
I'm going to fuck you up.
I'm going to fuck you up, dude.
I've been like, I watched the monologue from Glen Gary, Glen Ross.
I have like so many friends that went to the revival that were like, that was
fucking bullshit.
They didn't have put that coffee down.
No, no.
It was like, because that was only for the film.
Right.
Did Mamet write that for you?
Yes.
Not for me, he wrote it for the film.
And so like, do you conceive of that as like a moment for you?
I really don't care in terms of like, I never really watch my own stuff and
value it in
any way.
It's the best acting ever.
Well, no, no.
But I'm saying that, I called Mamet, I go, you won the Pulitzer Prize.
Yeah.
For the play, why did you feel it necessary to add something to it?
You won the Pulitzer.
He said, I never believed these guys were criminals.
I never believed they could commit a crime.
They didn't have a criminal nature.
So I needed another ratchet.
I needed another turn of the screw to make them commit a crime.
And you're going to come in, you're going to tell them, if you don't get this
done tonight,
it's over.
Yeah.
So he brought me in to do that.
And it was really tough, because I admired all of them.
And I had to piss in their face all day for three days.
Did they, did it feel real?
I thought Ed Harris was going to punch me in the face.
Really?
Because that's what I imagine.
In that room, you're with a murderer's row, right?
Yeah.
Do you like, is there a competitive aspect of it?
Is it like, you don't want to get acted off the screen?
Like, did you bring it really because like fucking Pacino and Jack Lemmon were
like there?
Yeah.
Well, you just really, you, I mean, everything you do, you've got to have some
motivation.
So it's like, I'm there with Foley.
I've said this a million times.
I'm there with Foley, who's the director.
And I said, all right, this is tough, man.
I mean, I'm just so mean to them.
And then Foley said to me, who just died recently, he said, it's like that
scene in Patton,
where he slaps the soldier in the tent.
Where he has shock.
You call yourself a soldier.
You have a shell shock.
And he goes, this scene is you call yourself a salesman.
He said, these guys, you're doing it for their own good.
You're doing it to help them.
You're helping them.
You're helping them.
I remember sitting there, I was like Popeye after he ate the spinach.
You know what I mean?
I remember sitting there going, all right, let's fucking go.
And I'm like, you know, I got out of the chair and I was ready to kill.
Did they give you your flowers?
Was Pacino like, you were great?
No, he wasn't in the scene.
No, no, he wasn't in the scene.
That's right.
Did Jack Lemmon say like...
No, Jack Lemmon didn't say a word to me.
They all didn't say a word to me.
He beat his pants probably.
No, no, they just stayed in the zone.
They were all in that zone all day long, three days.
Two and a half days.
Two and a half days.
In my mind is a moment in like, it feels like some of the best acting I've ever
seen in
a film.
And you're only, you were probably on set for what, two days?
Yeah.
Two and a half days.
You kind of like steal, you steal it.
The most exciting thing when that movie was a good example was, you know, it's
the people
you work with.
Obviously the actors are a big part of it, but also the crew.
Like I've always worked with, I've been very blessed to work with some of the
greatest
cinematographers in history.
And Juan Ruiz Anchia, who was the DP on that film, he was like, you know, Babenco's
guy.
And he was, I love him.
Anyway, Juan Ruiz Anchia, he was great.
I worked with Don McAlpine.
I worked with Toll.
John Toll.
I worked with, you know, I'm forgetting now, but it's okay.
Bob Richardson, the legendary Bob Richardson, the one I did.
Is there ever a time where they're like, they don't speak English, right?
Yeah, you know the story.
What's the story?
Carlo De Palma.
Oh, of course.
That's a, that's kind of.
He didn't speak English very well.
We did Woody Allen's movie.
How does Woody communicate with him on set?
He doesn't.
He doesn't talk to you.
They go off and mumble.
Just go over there.
Yeah.
You put the camera near her.
Yeah.
You're closer to her.
You did three Woodys?
I did three Woodys, yeah.
Yeah, yeah.
You're transitioning to like being a comedic actor, which like you have a
classical training,
right?
You studied at NYU and like.
Strasburg.
But it kind of, in some ways, the way I see it is like you at the TV, that was
the beginning
of your education.
That's where you learn.
Right?
Watching other people.
And it's kind of like you were picking, that was like the beginning of theater
school
for you, right?
Yeah.
And like, are you the best actor you've ever been right now?
Like, is it something that evolves over time?
Or?
Well, I think it's hard to, I'd rather give a, I'd rather have a smaller role
in a great
film.
Yeah.
Than have a big role in a mediocre film.
Yeah.
You know, the key is, are you making a film with people who, I said this quote
in a documentary
I did, I said, avoiding any kind of relationship or any kind of communication
with the director
and not availing yourself of the director's skills.
I said it was like trying to avoid the birth canal where you're being born.
It all goes through the director, they're making the film.
So if you make a film with a good director, you have an increased chance.
I've made films where we knew that if everybody did their job perfectly every
day, the most we
could hope for was mediocrity.
You know what I mean?
It was, it wasn't on the page.
I wanted to go to work.
But when I worked with Marty or somebody like that, and I'm like, you know,
fuck.
Uh huh.
That's exciting.
I mean, you, you were in two.
You kind of sold Departed too.
No, no, no.
You like, no, you, you Seen stole.
No, no, no.
But I love doing The Aviator because I love that period.
I love Leo in that role.
Oh yeah, as Juan.
Yeah.
And my, and his daughter is my neighbor on Long Island.
She was Betsy DeVecchi.
Pan Am?
I sat with her.
Betsy DeVecchi said to me, I'll never forget.
She got fat stacks, no?
Why?
No, she's probably big house, no?
Yeah.
Oh, she's passed away.
Oh, I'm sorry.
She had a nice house.
I'm sorry.
May her memory be a blessing.
There was some historic home.
But anyway, so Trip, I'm there with her and she goes, do you think that Mr. Scorsese
would
like to have my dad's luggage in the film?
And I go, I don't know, I can call him and ask him.
And she, he had Halliburton luggage, that stainless steel luggage, beautiful
luggage, all stamped
with the logo of Pan Am on there.
And I remember thinking, my God, it's like, sell me this fucking luggage right
now.
Right.
For a million dollars, I'll give you a million dollars.
Did you tell Marty?
You got the real money?
Yeah, no, I told Marty.
Marty was like, no!
That sucks because you were trying to impress him.
You were like, Marty, I found the real luggage of the guy.
You realize your research isn't to change the script.
I've had that happen before.
That's not changing the script.
You're like, going above and beyond.
You're being a good student.
You're like, you're giving him an apple.
You're trying to bring what you can.
You're trying to bring what you can.
I mean, it's Martin Scorsese.
Are there directors that you've wanted to fucking just pummel?
Like there have to be, some of them have to be like manipulative fucking sociopathic
priests.
I've been in situations where early on, I don't even think they roll the camera.
Like you're in meetings before and the guy's obviously not, doesn't have
anything to say.
Like you just think differently.
I don't want to judge people and say mean things about them.
But there's like one or two cases where I sat there and I said to the producers,
we get alone in a room and I go, get somebody else.
I don't want to do that.
I want to go home.
Yeah, because you're naturally manipulating someone into giving a performance,
right?
So there is some sort of power.
You've got to have a good director.
You've got to have a decent director.
I did this movie, The Cooler.
Great movie.
Yeah, and Wayne Cranber was the writer-director.
And it was like, and I just loved him.
He was really, really, he was into listening to what you had to say.
But in the end you defer to the fact, like if you read a script and you agree
to do the film,
you agree to do that script.
Uh-huh.
You can't come in there, which many actors do, and try to change things after
the fact.
You come in and then you say to them, let's do some alternatives.
We'll do it as written?
Yeah.
Then let's do some improvisations.
But always do it as written.
That's what you're obligated to do.
We just had Bill Macy who was also in that movie.
And I say Bill because it's like I'm also famous.
He said, I call him Bill.
It's kind of sick.
I made three movies with Bill.
Bill H. Macy.
Yeah, but he was the, you were nominated for The Cooler, correct?
I did The Cooler with him, Ghosts of Mississippi, and then I did The State in
Maine with Mamet.
So, Mamet was like his kind of mentor.
Yes.
Yeah.
And the way he described his process was like the least, like, dick-headed way
that acting's ever been described to me,
which is that there's no character, there's just an objective.
Like, you do your fucking job, right?
And if you do it well--
That's the Mamet school. Mamet wrote a book, yeah.
Like, did that rub off on you in working with him?
No.
No.
You don't buy it?
I work with directors, not many, but a couple, where they say to me, could you
do this?
And do this, and I didn't quite understand, but I'd always go, because of time.
Uh-huh.
You're part of a collaboration where time is urgent.
Yeah.
So, I say to the guy, sure.
I go, I'll do that right now.
Let's do another one.
I'll do that.
And I go right back and do exactly what I did before.
Right.
I go, how was that?
So, what's your process?
Well, if the director is somebody who is, this is the torture of, not torture,
but the torment of how we work now,
is that if there's people who are great directors, or you think they're onto
something, like Wayne, when I worked with him.
He wasn't famous.
But when they're onto something, you do what they want to do.
Let them lead you.
Yeah.
But then, with other people, you have to be self-directing, which is tough.
Yeah.
You have to decide, well, I think this is what I should do.
And guys will walk up to you and go, oh, don't do that, or don't do that.
Uh-huh.
See, one thing you always do, I know this is worth digressing, but one thing
you always try to do is, how much of a performer is the character?
So, in Glen Gary, that guy was a performer.
He'd gone around the New York real estate world and beyond.
Yelling at people.
Well, straightened him out.
Being a real mean guy.
Motivating.
Yeah, yeah.
Motivate is their word.
And so, whenever you do films and things like that, you have to wonder, is the
guy, like I always say the same tired line, which is that Robert Duvall plays
Boo Bradley in To Kill a Mockingbird.
He doesn't have one line.
Uh-huh.
And it's one of the most shattering performances you've ever seen in your
lifetime.
Uh-huh.
So, acting is physical, acting is emotional, acting is interiority, all these
different things.
And when you're doing something with a director, and they don't get what you're
doing, it's tough.
You and Mamet, and especially in Glen Gary, Glen Ross, it's so testosterone-driven.
Right.
Right?
And they're so masculine, those scripts.
Yeah.
They're tough.
Yeah, you're in a world where you put on costumes and you pretend to be other
people, but the theatrical arts are not, like, there's a sensitivity about them.
Well, you can walk in, you can walk onto the set with Mamet, and you say to
yourself, the films he's directed, that he's written, have been less successful
than the scripts he wrote that other people directed.
Yeah.
But that can't influence what you do.
Thank you.

Alec Baldwin Talks Glengarry Glen Ross

Can we talk a little bit about your, I've been going back through your filmography
and
your performances and it's just like when you appear on a screen it's like oh
it's my
pal.
It's like my old pal and this is going to be great.
I mean you can make a real turd watchable.
Pearl Harbor you're like you make your parts watchable and that's one of the shittiest
movies of all time.
I mean I'm serious.
Yeah and it's just like, I watched Home for Red in October with my dad.
This is like a hunky leading man and then from like learning about what transpired
afterwards
it wasn't the perception I had of you.
I feel like the industry has been like a frustration, you know like especially
when it came to reprising
your role as Jack Ryan.
Well they wanted me to sign up with like a blank contract.
And we start when we finish, like you only do this and you never do anything
else.
And I had an opportunity as I wrote in my memoir to do the streetcar on
Broadway.
Which was a very, that was like the opportunity for an actor.
That was it.
I would never have that opportunity again ever.
My perception was that they kind of like promised you and their support.
They threw me out of the plane.
Yeah, yeah.
I mean it's not bad to get replaced by the coolest guy of all time, right?
Imagine if it was Brian Dennehy playing Jack, Jack Ryan.
Yeah.
It's Han Solo.
I mean, when I read about that I was like it's just so cynical.
Like it's a, you're like an artist, right?
And when you talk about performing and acting, you get so passionate about it.
I want to talk about it.
Well you realize back then when I lived, I was 89, 90, the movie came out in 90.
And then in the ensuing couple of years, the early 90s, I learned that you just
really
can't rely on anybody and what they say there.
So I just, whenever they'd say blah, blah, blah to them, go, oh that's great.
You know, I'm not counting on any of it happening.
Yeah.
You know, it's very tough.
You just have to have monsters that do it for you.
I have a whole team of ghouls.
What was the genesis of this meeting?
Were you like Rupert Pupkin in the basement and your mother's yelling down the
stairs?
It is a joke.
It's a joke that, that became a real thing.
Yeah, yeah.
So it was a joke and your mom goes, please, it's so annoying.
This?
No.
She supported you.
I was being made fun of.
No, no.
Yeah.
I was on a podcast that was for like, I mean, whatever, guys.
I mean, just idiots.
He didn't smile.
And now I've, okay, I was on a podcast for like, ugly men.
Right.
Oh, for ugly men.
Yeah, yeah.
Not mentally.
Just like the worst, you know, and it was like a cult status that became very
successful.
And then one of us.
What was it called?
It was called Come Town.
We tried, they.
Oh, yeah.
Anyway, it got successful.
It's very, I don't know, I was just there pretty much.
But the, you know, the, the, one of the guys left.
And then the other guy's idea was to make like, by far the least popular, nebishy,
kind
of like the glasses, you know, allergies.
You, I was, we all played a role.
I was.
On the show.
On, on.
What's it called?
Come Town?
Yeah, so then.
On that show.
Were you like a leading man compared to them?
No, no.
Absolutely not.
I mean, sometimes I wasn't even, I was barely even there.
But, but, uh, yeah, I think we went a little bit manic and publicly proclaimed
we were going
to make a television show.
We didn't know what cameras or anything.
And then we recreated the Dick Cavett show set.
I have an image of you in a set like this in your basement and your mother,
whatever,
and you're sitting there and there's a line you say.
No, no, no.
And that line, you're like sitting there and you go, "I'll show them."
Well, no.
I mean, I'm not like a scary, I'm not a scary guy like that, no.
No, but it doesn't be scary.
No, no, I think it was just like, then the real guests were coming and then I
decided
for the first time in my life at 35 to try.
And then I've kind of seen myself progress and it's given me a sense of self-worth
and
it feels like, I don't know, it feels like I'm not like fast forwarding to
being dead.
It's just so I want to work.
Why are you looking?
Are you going to punch me?
No.
I'm going to fucking.
I'm going to fuck you up.
I'm going to fuck you up, dude.
I've been like, I watched the monologue from Glen Gary, Glen Ross.
I have like so many friends that went to the revival that were like, that was
fucking bullshit.
They didn't have put that coffee down.
No, no.
It was like, because that was only for the film.
Right.
Did Mamet write that for you?
Yes.
Not for me, he wrote it for the film.
And so like, do you conceive of that as like a moment for you?
I really don't care in terms of like, I never really watch my own stuff and
value it in
any way.
It's the best acting ever.
Well, no, no.
But I'm saying that, I called Mamet, I go, you won the Pulitzer Prize.
Yeah.
For the play, why did you feel it necessary to add something to it?
You won the Pulitzer.
He said, I never believed these guys were criminals.
I never believed they could commit a crime.
They didn't have a criminal nature.
So I needed another ratchet.
I needed another turn of the screw to make them commit a crime.
And you're going to come in, you're going to tell them, if you don't get this
done tonight,
it's over.
Yeah.
So he brought me in to do that.
And it was really tough, because I admired all of them.
And I had to piss in their face all day for three days.
Did they, did it feel real?
I thought Ed Harris was going to punch me in the face.
Really?
Because that's what I imagine.
In that room, you're with a murderer's row, right?
Yeah.
Do you like, is there a competitive aspect of it?
Is it like, you don't want to get acted off the screen?
Like, did you bring it really because like fucking Pacino and Jack Lemmon were
like there?
Yeah.
Well, you just really, you, I mean, everything you do, you've got to have some
motivation.
So it's like, I'm there with Foley.
I've said this a million times.
I'm there with Foley, who's the director.
And I said, all right, this is tough, man.
I mean, I'm just so mean to them.
And then Foley said to me, who just died recently, he said, it's like that
scene in Patton,
where he slaps the soldier in the tent.
Where he has shock.
You call yourself a soldier.
You have a shell shock.
And he goes, this scene is you call yourself a salesman.
He said, these guys, you're doing it for their own good.
You're doing it to help them.
You're helping them.
You're helping them.
I remember sitting there, I was like Popeye after he ate the spinach.
You know what I mean?
I remember sitting there going, all right, let's fucking go.
And I'm like, you know, I got out of the chair and I was ready to kill.
Did they give you your flowers?
Was Pacino like, you were great?
No, he wasn't in the scene.
No, no, he wasn't in the scene.
That's right.
Did Jack Lemmon say like...
No, Jack Lemmon didn't say a word to me.
They all didn't say a word to me.
He beat his pants probably.
No, no, they just stayed in the zone.
They were all in that zone all day long, three days.
Two and a half days.
Two and a half days.
In my mind is a moment in like, it feels like some of the best acting I've ever
seen in
a film.
And you're only, you were probably on set for what, two days?
Yeah.
Two and a half days.
You kind of like steal, you steal it.
The most exciting thing when that movie was a good example was, you know, it's
the people
you work with.
Obviously the actors are a big part of it, but also the crew.
Like I've always worked with, I've been very blessed to work with some of the
greatest
cinematographers in history.
And Juan Ruiz Anchia, who was the DP on that film, he was like, you know, Babenco's
guy.
And he was, I love him.
Anyway, Juan Ruiz Anchia, he was great.
I worked with Don McAlpine.
I worked with Toll.
John Toll.
I worked with, you know, I'm forgetting now, but it's okay.
Bob Richardson, the legendary Bob Richardson, the one I did.
Is there ever a time where they're like, they don't speak English, right?
Yeah, you know the story.
What's the story?
Carlo De Palma.
Oh, of course.
That's a, that's kind of.
He didn't speak English very well.
We did Woody Allen's movie.
How does Woody communicate with him on set?
He doesn't.
He doesn't talk to you.
They go off and mumble.
Just go over there.
Yeah.
You put the camera near her.
Yeah.
You're closer to her.
You did three Woodys?
I did three Woodys, yeah.
Yeah, yeah.
You're transitioning to like being a comedic actor, which like you have a
classical training,
right?
You studied at NYU and like.
Strasburg.
But it kind of, in some ways, the way I see it is like you at the TV, that was
the beginning
of your education.
That's where you learn.
Right?
Watching other people.
And it's kind of like you were picking, that was like the beginning of theater
school
for you, right?
Yeah.
And like, are you the best actor you've ever been right now?
Like, is it something that evolves over time?
Or?
Well, I think it's hard to, I'd rather give a, I'd rather have a smaller role
in a great
film.
Yeah.
Than have a big role in a mediocre film.
Yeah.
You know, the key is, are you making a film with people who, I said this quote
in a documentary
I did, I said, avoiding any kind of relationship or any kind of communication
with the director
and not availing yourself of the director's skills.
I said it was like trying to avoid the birth canal where you're being born.
It all goes through the director, they're making the film.
So if you make a film with a good director, you have an increased chance.
I've made films where we knew that if everybody did their job perfectly every
day, the most we
could hope for was mediocrity.
You know what I mean?
It was, it wasn't on the page.
I wanted to go to work.
But when I worked with Marty or somebody like that, and I'm like, you know,
fuck.
Uh huh.
That's exciting.
I mean, you, you were in two.
You kind of sold Departed too.
No, no, no.
You like, no, you, you Seen stole.
No, no, no.
But I love doing The Aviator because I love that period.
I love Leo in that role.
Oh yeah, as Juan.
Yeah.
And my, and his daughter is my neighbor on Long Island.
She was Betsy DeVecchi.
Pan Am?
I sat with her.
Betsy DeVecchi said to me, I'll never forget.
She got fat stacks, no?
Why?
No, she's probably big house, no?
Yeah.
Oh, she's passed away.
Oh, I'm sorry.
She had a nice house.
I'm sorry.
May her memory be a blessing.
There was some historic home.
But anyway, so Trip, I'm there with her and she goes, do you think that Mr. Scorsese
would
like to have my dad's luggage in the film?
And I go, I don't know, I can call him and ask him.
And she, he had Halliburton luggage, that stainless steel luggage, beautiful
luggage, all stamped
with the logo of Pan Am on there.
And I remember thinking, my God, it's like, sell me this fucking luggage right
now.
Right.
For a million dollars, I'll give you a million dollars.
Did you tell Marty?
You got the real money?
Yeah, no, I told Marty.
Marty was like, no!
That sucks because you were trying to impress him.
You were like, Marty, I found the real luggage of the guy.
You realize your research isn't to change the script.
I've had that happen before.
That's not changing the script.
You're like, going above and beyond.
You're being a good student.
You're like, you're giving him an apple.
You're trying to bring what you can.
You're trying to bring what you can.
I mean, it's Martin Scorsese.
Are there directors that you've wanted to fucking just pummel?
Like there have to be, some of them have to be like manipulative fucking sociopathic
priests.
I've been in situations where early on, I don't even think they roll the camera.
Like you're in meetings before and the guy's obviously not, doesn't have
anything to say.
Like you just think differently.
I don't want to judge people and say mean things about them.
But there's like one or two cases where I sat there and I said to the producers,
we get alone in a room and I go, get somebody else.
I don'