Paul Giamatti breaks down his most iconic roles in 'Private Parts,' 'Sideways,' 'Saving Private Ryan,' 'Big Fat Liar,' 'Planet of the Apes,' 'Big Momma's House,' 'John Adams,' 'American Splendor,' 'Billions,' 'The Illusionist' and 'The Holdovers.'THE HOLDOVERS is now playing in theaters and available to watch at home. https://www.focusfeatures.com/the-holdovers/watch/Director: Joe PickardDirector of Photography: Grant BellEditor: Robby MasseyTalent: Paul GiamattiProducer: Kristen DeVoreLine Producer: Jen SantosProduction Manager: Andressa Pelachi; Kevin BalashTalent Booker: Meredith JudkinsCamera Operator: Nick MasseySound Mixer: Gabriel FragosoProduction Assistant: Brock Spitaels; Liza AntonovaHair & Make-Up: Louise MoonPost Production Supervisor: Rachael KnightPost Production Coordinator: Ian BryantSupervising Editor: Rob LombardiAssistant Editor: Lauren Worona
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LifestyleTranscript
00:00 I broke my hand during John Adams.
00:01 [ Laughs ]
00:02 I punched the table so hard.
00:04 For a lot of that, I have my hand behind my back
00:06 for a lot of that.
00:07 It's easy to break your hand.
00:08 [ Laughs ]
00:09 ♪♪
00:13 Private parts, Kenny Pig-Vomit rushed it.
00:17 -See, he doesn't actually say the bad thing himself.
00:20 He says it through a character.
00:21 -Yeah, well, I don't do characters.
00:23 -How about you go on the air 3 a.m. this morning,
00:25 show us some characters, okay?
00:27 -Howard is a really lovely guy.
00:29 Everybody said he was, and then he turned out to be.
00:31 He was really willing to do anything,
00:33 and she was a great director, Betty Thomas,
00:35 so she let us play around and rehearse a lot
00:38 and get used to it and sort of improvise a little bit.
00:41 You didn't really need to because the script was so good.
00:43 -Well, either I'll tame him
00:45 or I'll make him so crazy, he'll quit.
00:48 -I felt terrible 'cause I didn't know it was a real guy
00:51 until Howard said to me at some point,
00:53 "Wow, you really nailed this guy.
00:54 Did you, like, listen to him?"
00:56 And I was like, "This is a real guy?"
00:58 I was like, "I feel terrible now.
00:59 I made this guy look like the biggest asshole in the world."
01:02 And he's gonna have to go through his life now
01:04 with everybody being like,
01:05 "Oh, you're the asshole in that movie."
01:07 I talked to him once.
01:09 So he was running a radio station I had to do an interview on,
01:12 and they put him on the air with me.
01:13 And I just was like, "Hey, how you doing?"
01:15 It was terrible. Terrible.
01:17 -Listen up.
01:18 W-A-N-B-C.
01:20 You hear that? Kind of lift.
01:22 The "A-N-B-C."
01:24 -W-A-N-B-C.
01:26 -W-A-N-B-C.
01:29 -I did this ridiculous accent when I auditioned for it
01:32 'cause I just thought, "I'll do every stupid
01:34 Southern sound I can think of."
01:35 And then when I got the part, I said to Betty Thomas,
01:37 "So I'll learn a real accent."
01:39 She was like, "No. Do that stupid accent
01:41 that you were doing."
01:42 I auditioned, like, five times.
01:43 She saw a lot of people over Phil Hoffman,
01:47 who was a friend of mine.
01:48 But I was really obsessed with having
01:49 one of those big, chunky college rings,
01:52 and I couldn't find one.
01:53 And I remember getting the set the first day,
01:56 and the prop woman came up to me,
01:57 and she had to watch and stuff.
01:59 And she said, "You know, I felt like maybe
02:01 you would want one of these."
02:02 And she had a college ring.
02:04 Some reason, she thought the same thing.
02:06 And that whole performance is that ring.
02:09 The ring is the whole thing with that guy.
02:11 The way my hands move, the way the guy thinks of himself
02:14 is all in that ring.
02:15 Horrible guy. Yeah, horrible character.
02:18 I hadn't done that much in a film before.
02:19 That was definitely the biggest thing that I'd ever done.
02:22 -Before that, I saw it was, like,
02:23 "NYPD Blue Man in Sleeping Bag."
02:25 -That's correct, "Man in Sleeping Bag."
02:27 I was a witness of a crime.
02:28 I think my line was, "I didn't see anything, man."
02:31 -You guys see anything going on here last night?
02:33 -No, we didn't see nothing.
02:34 -They bring you in for a day, and you have three lines.
02:36 A lot of the time, you've never read the script.
02:38 They just hand you this thing. It'll change.
02:40 "Oh, you have a dog now."
02:41 You're like, "Okay."
02:43 Or you have to be the bartender,
02:44 and you have an insanely elaborate thing
02:46 with all these drinks, and you're serving everybody,
02:48 and you have some lines.
02:49 Or you have to go in and, like, break down in one scene.
02:51 You're the person who freaks out about their kid
02:54 for a few lines in one scene.
02:56 You know, you just do whatever the hell they tell you to do.
02:58 That's the hardest stuff to do, always.
03:00 And I have huge respect for people who do that,
03:03 'cause I had to do it.
03:04 And it's not easy.
03:07 -Sideways, Miles.
03:10 -We're drinking Merlot. -No.
03:11 If anybody orders Merlot, I'm leaving.
03:13 I am not drinking any fucking Merlot!
03:15 -Okay, okay. Relax, Miles.
03:18 -That script gave you everything over and over
03:20 and over and over and over again.
03:21 Just every time I looked at it, there was more.
03:23 And every time we did it, there was more.
03:25 He's such a good writer,
03:27 and Jim Taylor, that he wrote it with.
03:29 It's all there.
03:30 You don't really have to do a whole lot of work.
03:32 You just got to stay out of the way and just let it happen.
03:34 I remember I was very specific about the beard I had.
03:36 I wanted a beard like Ernest Hemingway's.
03:39 'Cause I thought this guy thinks he's Ernest Hemingway.
03:43 So I had a very kind of crafted beard.
03:45 I was very specific about the beard,
03:46 like a writerly beard.
03:48 -Put your glass down. Get some air into it.
03:51 Oxygenating it opens it up.
03:52 It unlocks the aromas, the flavors.
03:55 Very important.
03:56 -All the wine stuff was very telling about the guy.
03:58 All the sort of stuff those people do.
04:00 All of that life of, like, the smelling and all that stuff.
04:03 And that kind of person,
04:04 who's that kind of obsessive connoisseur about things,
04:08 tells you something about what a person's like.
04:10 Go to the fucking glass, fucker!
04:13 [ Grunts ]
04:17 -Oh!
04:18 [ Grunting ]
04:21 -Is it inevitable that he's gonna chug the spit bucket?
04:24 It's coming? You see it coming?
04:25 The thing about that that I remember
04:27 is that we only had maybe three shirts,
04:30 'cause it was a very specific bad polo shirt I was wearing.
04:33 So it had to work.
04:34 "Oh, yeah, we managed to do it," I think.
04:36 And maybe two takes or something like that, maybe three.
04:39 -Come on. -Back off!
04:40 ♪♪
04:42 -Give me that bottle now!
04:44 -That was really hairy, that hill, actually.
04:46 They had stuntmen for stunt doubles,
04:48 and the stunt doubles had a hard time doing it.
04:50 And Alexander was like, "We got to use the actual guys."
04:52 But it's much more steep than it looks,
04:55 and it's all holes and ruts and stones and dirt.
04:58 So Tom and I -- [ Laughs ]
05:00 So it does really look like we're fucking, like --
05:02 You know, 'cause it was hard to run down that.
05:04 It was harrowing.
05:06 ♪♪
05:07 "Saving Private Ryan, Sergeant Hill."
05:10 -Is he here? -Well, I don't know.
05:12 Maybe with a mixed unit on the other side of town.
05:14 -Uh-huh. -It's hard to get to.
05:15 The Germans punched a hole in our center a few hours ago.
05:17 They cut us right in two.
05:19 -What's his name again? -Ryan.
05:21 -I've done other sort of war things,
05:23 but that was, you know, innovative,
05:25 what he was doing in that movie.
05:26 I don't know how many steadicam operators
05:28 there were at one time operating,
05:30 and it was not terribly structured, necessarily.
05:33 It was very loosely blocked so that these guys
05:35 were running around catching whatever they can,
05:38 almost like documentary filmmakers.
05:40 And so they were all falling over
05:41 and banging into each other and hitting --
05:43 'Cause he didn't want it coordinated.
05:45 It was a living scene.
05:47 You weren't cutting all the time and stopping and resetting.
05:50 Then you're not worrying about hitting marks.
05:52 You're not worrying about where, you know,
05:54 he wants to see the back of your head,
05:55 and he wants to see -- You know, it's like,
05:57 you just forget about all that, and you just play it
05:59 like it's a play, but it's even more than a play.
06:03 It's an immersive place 'cause those sets were incredible.
06:05 John Adams actually had a lot of that, too.
06:09 I mean, I think I just fell,
06:10 'cause it was incredibly slippery and muddy.
06:12 Everybody was falling all the time.
06:14 And I think from that, Spielberg started developing
06:16 this whole idea that the guy, his leg was messed up
06:19 and he had a thing in his shoe,
06:20 and he started just making that up.
06:22 So he would come over and give us the scenario
06:25 and some lines.
06:26 I didn't really have -- There was no part, really.
06:29 It was very, very sketched in.
06:31 And so he must have had some notion
06:33 he wanted somebody to fall through the wall
06:34 so all those German soldiers are exposed.
06:37 And I guess he then just thought, "That's good.
06:38 I'll have this guy fall through the wall."
06:40 Sort of hapless soldier,
06:41 this guy who's just exhausted in that place,
06:43 and falling over.
06:45 I suddenly had a character.
06:46 I didn't really have a character.
06:47 ♪♪
06:48 Big fat liar, Marty Wolf.
06:50 ♪♪
06:52 -Ha-ha! Excuse me, senior.
06:54 -Oh!
06:55 -Yeah!
06:57 -I need backup!
06:58 -I really liked doing physical things.
07:00 I didn't play a lot of sports or anything.
07:02 I guess I wasn't very competitive.
07:04 But I liked how theater and acting could offer me
07:08 a way to do crazy physical stuff.
07:10 And Sean Levy, who I'd known in college,
07:12 had seen me do a lot of stuff like that.
07:14 I can't do a lot of that stuff anymore
07:16 'cause I'm getting old, and I injured myself a lot.
07:18 ♪♪
07:25 So I've always been physically comfortable
07:28 doing stuff like that in front of people.
07:30 I mean, it's obviously an exhibitionist element
07:32 to actors that you kind of don't care or think about it
07:36 or you like it.
07:37 Like, love scenes are harder to do
07:38 than, like, physical shtick like that.
07:41 I haven't had to do a lot of love scenes,
07:42 so it's all right.
07:44 ♪♪
07:52 Really, like, at that point with something like that,
07:54 he just was letting me do so much ridiculous stuff.
07:57 And I enjoy being big like that.
08:01 It's really fun, you know?
08:02 You don't get the opportunity so much
08:04 to just go over the top like that.
08:06 And he knew I could.
08:07 It just was -- I was having fun.
08:10 There was a whole sort of facial hair thing.
08:12 I was always trying to grow facial hair for parts.
08:15 I remember I did "Big Mama's House,"
08:16 and I grew a mustache for this cop,
08:17 and they made me shave it.
08:18 And I was really like, "Why the fuck
08:20 do I have to shave this?"
08:21 They were really anti-facial hair,
08:23 and I grew a beard for that.
08:24 Sean was like, "They want you to lose the beard."
08:26 And I was like, "I can't lose the fucking beard."
08:28 And he really fought for me, and what he got
08:30 was the compromise of just that chin beard,
08:32 which was great, actually,
08:33 'cause it's a stupid-looking beard.
08:35 I think it needed that 'cause it actually looks funnier
08:37 like that with the orange hair.
08:38 And the costumes, the more over-the-top
08:40 and ridiculous the costumes we could get, the better.
08:43 Planet of the Apes, Limbo.
08:46 Oh, the monkey did the apes.
08:48 I was like, "Who the hell is Limbo?"
08:50 [ Laughter ]
08:52 I was like, "What the hell is Limbo?
08:54 Was I in a picture called Limbo?"
08:55 ♪♪
08:58 What? Are you trying to fuck me out of business?
09:02 Oh, these are the scakiest, scaffiest,
09:06 scuffiest humans I've ever seen.
09:08 Yes, Limbo the ape, Limbo the orangutan.
09:11 I was obsessed with the Planet of the Apes movies as a kid,
09:15 and so the notion that I could be in one of those
09:17 was mind-blowing to me.
09:19 I didn't audition for that.
09:20 Tim Burton came to me with that 'cause I guess he was like,
09:22 "You look like a monkey, so I'll have you do this."
09:25 It was one of the funnest things I've ever done,
09:27 and working with Rick Baker was amazing.
09:29 I was covered head to toe, shoulders in a fat suit,
09:32 and my feet.
09:33 My agents were like, "Don't you think
09:34 you should play a human so they can see your face?"
09:37 And I was like, "If you tell them I want to play a human
09:39 in this, I'll fucking kill you all."
09:42 I was like, "I'm gonna play an ape."
09:44 I don't need this aggravation!
09:47 Sell him to me.
09:49 Are you crazy?
09:50 He's wild, about wild.
09:53 Then I'll buy them both.
09:55 Oh, no, no, no, that would be extensive.
09:57 I had a very fast makeup artist named Bill Corso,
10:00 who's one of the best makeup guys,
10:02 special-effects makeup guys in the world now,
10:04 and he was very fast.
10:05 I had the most elaborate one,
10:07 and he did his in about two and a half hours.
10:09 Most people were about four hours in the chair.
10:11 And I had these crazy giant teeth.
10:13 I asked them to give me some teeth to practice with,
10:16 'cause I wanted to be able to talk.
10:18 A lot of people ADR'd it later, 'cause they were just,
10:21 "You couldn't fucking understand anybody."
10:23 So I had these giant teeth, but I really wanted to learn
10:25 how to talk with the teeth in.
10:26 And it gave me a defining kind of way of talking.
10:28 It gives you everything.
10:29 I didn't want to take it off.
10:31 I wanted to stay in it all the time.
10:33 I loved it.
10:33 Getting to do all that monkey training and all that stuff,
10:37 the physical stuff.
10:38 Talk about everything was there for me to do.
10:41 He made it feel not like a gigantic, huge studio production.
10:45 It felt very intimate and fun.
10:49 He was just, he wanted your ideas.
10:51 He wanted you to just do weird stuff.
10:53 And he was very sympathetic to the makeup,
10:55 and we'd have to sit around for days sometimes
10:58 and not do anything to that makeup.
10:59 He'd have his assistant bring people movies to watch.
11:01 You know, he cared about it.
11:03 It was great.
11:04 Big Mama's House, John.
11:08 I didn't remember that name either.
11:10 - He just wants to sit around here,
11:12 picking ticks off our asses.
11:13 - I know, nobody's tried to kill you
11:15 for the past couple of days.
11:16 The stress must be overwhelming.
11:18 I was like, "I'm gonna be a cop,
11:19 "so I'm gonna grow a mustache."
11:20 And I wanted to kind of have like a not great mustache.
11:23 You know, he's a guy who can't really grow a great mustache.
11:25 And they made me shave it.
11:26 I was probably unconsciously drawing on those kinds of guys
11:30 in those kinds of movies.
11:31 You know, the kind of nerdy guy
11:33 the nerdy white guy.
11:34 - Without giving me a big southern welcome.
11:37 Come on.
11:38 Yeah, come on now.
11:40 - Whether a straight man's supposed
11:41 to actually be funny or not is an interesting question.
11:43 'Cause like Abbott and Costello, he's not funny, Abbott.
11:46 But like Laurel and Hardy, the straight man's funny.
11:49 I suppose you kind of try different things, you know,
11:51 and see just what works.
11:53 But I mean, there was not a hell of a lot of a cap
11:55 on that movie.
11:56 I don't know that I was grounding Martin Lawrence,
11:58 particularly.
11:58 I mean, I think he was gonna do whatever he wanted to do.
12:00 But he was talking about really crazy physical stuff.
12:04 And he was amazing.
12:05 All the people in it were really great.
12:07 Octavia Spencer's in that movie.
12:08 She has a little part.
12:09 - Time for what?
12:10 - It's time, Rita's gonna have a baby.
12:12 - I mean, I haven't talked about "Big Mama's House"
12:14 that much in my life.
12:15 [upbeat music]
12:17 John Adams, John Adams.
12:19 - The vice president would find we agree on most matters.
12:22 If he could be convinced that I mean what I say.
12:25 So far I've failed in that task.
12:29 I mean, he had no teeth by middle age.
12:31 Most of those guys, 30, they had no teeth.
12:33 We didn't go that far 'cause I was like,
12:35 there's enough going on in this
12:37 without me having no teeth at all.
12:39 I think that was a big part of it.
12:41 You know, I had to talk so much.
12:43 This feeling of this guy that nobody
12:44 was really listening to him ever.
12:46 And then some point as it develops after the revolution,
12:50 really nobody's listening to him.
12:51 And it's almost like he's talking to himself
12:53 a lot of the time.
12:54 - You question my loyalty, sir.
12:56 - Oh no, Mr. Hamilton, I question your sanity.
12:58 [clock ticking]
13:00 Now either you are stuck raving mad or I am.
13:04 Good day, sir.
13:05 - Hamilton, well now he's everybody's hero,
13:07 but he was a more complicated figure
13:09 when that thing was being made.
13:10 All that stuff was taken from letters and diaries.
13:14 A lot of the dialogue, I really rip into him.
13:16 I rip into a lot of people in that thing.
13:18 It's fun, you know, especially that language
13:21 was really great.
13:22 That stuff really sticks in your head
13:23 and it comes out rhythmically, you know.
13:26 It's got music to it.
13:27 And you can really feel it in your body
13:28 and in your mouth and it just fires off at people.
13:32 And those, you know, they talk,
13:33 those people talked the end in sight
13:35 and they'd hit the end, you know.
13:37 It's really fun, rhetorical language like that.
13:40 Does a lot of the work for you.
13:41 [upbeat music]
13:42 American Splendor, Harvey Pekar.
13:44 - What kind of existence is this?
13:48 Is this all a work in stiff like you can expect?
13:51 You're gonna suffer in silence for the rest of your life?
13:53 - I didn't really know, they didn't really know
13:55 what they were gonna do with the animation stuff.
13:56 They knew they wanted to do it.
13:58 They just didn't really know until after they had
14:00 all the film footage together.
14:02 I don't know if it's ahead of its time,
14:03 but it was doing all this kind of reality stuff
14:06 right at the front of that stuff happening.
14:08 - So if you're the kind of person looking for romance
14:10 or escapism or some fantasy figure to save the day,
14:14 guess what?
14:15 You got the wrong movie.
14:17 - That's great.
14:18 - Okay, so now you got four picks.
14:20 You ought to be able to patch one together from there.
14:22 - That was tricky too because he was gonna be in the movie.
14:26 Oftentimes you get a part like that
14:27 and if people don't know what the person's like,
14:29 it doesn't matter, you can do whatever you want.
14:30 You did kind of have to imitate him well.
14:33 So that was a weird task.
14:35 I met him right before we started filming.
14:37 I knew who he was and I remembered him
14:39 from these Letterman appearances, so I saw some of that.
14:41 We were the comic book version of those people.
14:44 So we had to be a little exaggerated.
14:46 It was actually really helpful to look at
14:47 all the different artist representations of him
14:50 in the comic books and I was like,
14:51 oh, that's kind of cool to see the way he sits.
14:53 He had this funny kind of way of moving
14:55 and being in the world that was very kind of animal-like.
14:58 The thwartedness of the guy, that vocal thing,
15:01 the weird trap voice thing was actually a big part of it.
15:05 This guy who couldn't express all of his rage.
15:08 - What do you mean?
15:08 You mean you're dumping me?
15:10 For what?
15:11 - How do you think about, slash how do you get into playing
15:14 the explosive rage?
15:15 - Well, if what starts to happen is people want you
15:18 to explode with rage, I don't necessarily want to explode
15:21 with rage all the time.
15:22 Then I get those parts.
15:23 How that happens, I don't really,
15:25 I don't know that I can say.
15:27 I mean, I suppose in some way I'm unconsciously
15:30 murking myself up into it, I don't know.
15:32 You just go for it, you know, you just see what happens.
15:34 And sometimes I think as an actor,
15:36 I will just blow it out as far as I can
15:39 to just go as far as I can first and then bring it back.
15:42 Although a lot of people like it
15:44 when you go as far as you can.
15:45 Rage is a really tricky thing to play.
15:47 (upbeat music)
15:49 Billions, Chuck Rhodes.
15:52 - I was hoping not to go back to Boyd, but now we have to.
15:56 I'll need your help.
15:58 You already decided before you told me the Connerty piece.
16:04 We here at Rhodes Airlines know you have many travel options
16:10 and are grateful that you have chosen to fly with us.
16:13 - Thought the kind of cat mouse,
16:16 like collar crime thing was interesting.
16:18 I thought it was interesting playing this kind of like
16:20 dark crusader for justice guy.
16:22 You know, this guy who was in his mind
16:24 doing the right thing, but kind of going about it
16:27 by any means and stuff.
16:28 I think he was a bit villainous, a bit,
16:30 and which was kind of cool, but he was also a good guy.
16:33 This very heady, intellectual sort of guy,
16:37 but he also has this kind of animalistic thing about him.
16:39 It's a lawyer, you know, and it's like,
16:41 I don't think I'd ever played a lawyer like that before.
16:45 (speaking in foreign language)
16:50 (speaking in foreign language)
16:54 I am Italian, so I mean, I grew up hearing Italian,
16:57 but I don't speak it, so I did have to learn it
17:00 and do it as well as I could.
17:02 But some kind of weird dialect too, I think.
17:04 The whole thing was weird dialect.
17:05 It was harrowing to do in the moment,
17:07 'cause I was like, am I gonna remember this?
17:08 It's gonna take forever to shoot, but it was okay.
17:10 I mean, you know, that kind of burst of language is fun.
17:13 The illusionist, Inspector Ool.
17:17 Don't fool yourself that you can play in their game.
17:20 I've served on the edge of it for many, many years,
17:27 and I can tell you with certainty,
17:31 there's no trick they haven't seen.
17:33 It's not worth it.
17:39 That was like a kind of wish fulfillment thing too,
17:42 like "Playing the Apes,"
17:43 'cause it was a sort of Sherlock Holmes world
17:45 with sort of pipes and black gloves and gaslight
17:48 and horses and carriages,
17:49 which was something that I was so excited to do.
17:53 And I got a German accent
17:54 and I had a slouch black hat and everything.
17:56 And I was a bit sort of villainous, but not really, actually.
18:00 The guy turns out to be a very sort of decent guy.
18:03 It's just sort of doing his job, which was cool.
18:05 I liked that too about it.
18:06 Being in Prague, the whole thing, immersive
18:09 and like a whole world and that kind of mystery thing
18:13 with a weird supernatural thing.
18:15 I could have played that character forever.
18:18 The Holdovers, Paul Hunnam.
18:21 - Need I remind you that it is not my fault
18:26 that you are stuck here?
18:27 Do you think I wanna be babysitting you?
18:28 - Well, in that instance,
18:29 there was a lot of unconscious memories I had.
18:32 Many, many people I'd grown up with.
18:35 My father was an academic and my mother taught high school
18:38 and all my grandparents were teachers.
18:39 And so I grew up around a lot of that stuff.
18:41 And I went to a school like that.
18:43 There were some specific people that I had in mind,
18:46 but I was familiar with the kind of bookish world,
18:49 the cigarette smoke, the pipe smoking,
18:51 that kind of guy I was very familiar with.
18:53 It's the script, man.
18:54 I just read it over and over again
18:56 and it just keeps giving you stuff.
18:58 It's a similar kind of high-toned language
19:01 to like John Adams or something like that.
19:03 I mean, that guy lives in another century.
19:05 He doesn't live in the contemporary world, that guy.
19:08 - Dr. Gertler says,
19:10 "I don't always give consideration to my audience."
19:12 - Oh, and who is Dr. Gertler?
19:14 - My shrink.
19:17 - Has Dr. Gertler ever tried a good swift kick in the ass?
19:21 - Talk to me about the eyes.
19:23 - I'm not at liberty to reveal.
19:24 - You're not allowed to talk about it.
19:25 - Yeah, I'm not at liberty to reveal.
19:26 I think they want to maintain the mystery
19:28 of what the eye was.
19:30 It works, which is really great.
19:31 And whatever we were doing there definitely contributed
19:34 and helps with the character.
19:36 That was an external thing that definitely made it work.
19:40 - And James Bean.
19:42 All right, go ahead.
19:44 - Oh!
19:47 - Presto, cherries jubilee.
19:51 - People have been calling "The Holdovers" a cozy movie.
19:54 Does that square with you?
19:55 - Squares with me.
19:56 I don't think it squares with Alexander.
19:58 I think Alexander for some reason takes exception
20:00 to it being called cozy.
20:01 And I think he's just being a bit of a curmudgeon.
20:03 I think he knows exactly what people are talking about
20:05 and I think he likes it.
20:06 You know, I mean, it's in there.
20:07 It's funny and it's heartbreaking
20:10 and there is inevitably something that feels that way
20:12 'cause of the snow and the New England thing
20:14 and stuff like that and the Christmas thing.
20:16 There's certainly enough spikiness in it
20:18 to counteract the cozy in it, but it's in there.
20:22 - You mentioned wanting to play a Bond villain.
20:24 - Yeah.
20:25 - If you were to build up a Bond villain for yourself,
20:27 how would you do it?
20:28 - Wow, that's an excellent question.
20:30 I'd want an accent of some kind.
20:32 I definitely want an accent.
20:34 It'd be nice to have an animal with me of some kind.
20:36 And they're silly, a cat, but something.
20:38 An animal maybe, not a parrot or something,
20:40 you know, something real.
20:42 I don't know.
20:43 An accent though of some kind I'd have to have.
20:45 Furs would be great.
20:46 A guy who's all in fur coats and stuff like that would be great.
20:49 [BLANK_AUDIO]