(lighthearted music)
- In your film, in "Private Life",
it's a story of a couple going through
the fertility process.
- Yes.
- And I don't feel, when watching that film,
I don't feel like that is a woman's story.
I feel like it is a story of a couple
going through this - This certainly, yes.
And it was very important to Tamara
that it be about the couple
going through that journey together.
It's like a co-midlife crisis.
And certainly in that movie,
it's through kind of like the lens of fertility.
But I wouldn't even say, like even when I was reading it,
I couldn't picture the baby.
I couldn't even smell baby powder,
Paul at some point said, "Oh, my God.
"This is like waiting for toast."
They're on this baby-project journey,
but really it was more existential,
but it's so personal,
it's so emotionally autobiographical, I think, to Tamara.
And it took her a ton of time to get this made
- [Rachel] Since Savages, right?
She hasn't made a film, yeah? - Since Savages
And I know a lot of it was her own experience
with becoming a momma.
But Carn as well, these stories,
these hyper-personal, specific human, human human stories
that don't have to have the, that's what I'm excited about.
(upbeat music)
- My career's been a tad chaotic
(laughter)
In terms of just the projects that I've been (mumbles).
It's been a little bit all over the map,
but I've been able to land in this,
post-having kids has been like richer and richer
for some reason, which is so interesting to me.
I would've never expected it,
but I certainly spent a lot of time in my 20's
in a place of not really being satisfied
by the work that I was getting.
Like, I would always show up and kind of like stand
on the marks, and it was like,
I always felt kind of divorced from my creative self.
Like I always felt like the things I was being asked
to do on camera, and like my real true self
were kind of separate, if that makes any sense?
- [Rachel] Don't you think the writing might
have been something to do with that?
(crowd talking over one another)
- That's exactly what it was.
(upbeat music)
- Can we talk about characters that we wish we
had played but we can't?
- [Matthew] Please.
(laughter)
- I want to so bad, well there are,
Like Regina, I feel like I guess I do feel like in my heart.
I would love to try it
- Anything
- Anything, but it's I guess who would tell you no.
- [Matthew] Right
- Which, I guess a lot of people would be like nah-uh.
But I do think there are some parts that have been played
before, which I'm like, God I wish.
I immediately, when you said that, I thought
of Gena Rowlands in A Woman Under the Influence.
I think of some of the parts that are just
like these perfect things that have happened,
you know, those roles that you see,
I mean, so many things (mumbles) oh God, they're so perfect,
I can't believe I was sitting across from you at this table.
All these humans that you just think,
oh well, God I wish, that you think of
to be inside of that and to feel that,
but that's happened before.
So I guess that's where the can't would come into it.
You know what I mean, of a character.
- My answer would be, why not?
- Well, I mean, if it's already been played.
- Your whole career is that.
- Well.
- [Nicole] You did Sunset Boulevard and you were like.
- I've re-visited
- How did you do that?
- I've revisited two characters twice,
- God, I would have loved to have seen that
- It's incredible, it's a huge luxury.
Well, especially if a certain amount of time has gone by.
- [Kathryn] I guess it's different in the theater.
- You're just a different person.
(group talks over one another)
The only thing that would be a burden is
that you're up against Gena Rowlands.
But if it's a great character, it's a great character.
- [Kathryn] But the theater I think, is different.
- And it can be re-interpreted, validly.
(upbeat music)
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