Transcript of Da'Vine Joy Randolph New

Hello everyone, welcome to another episode of Good Hang. We are gonna talk today to Da'Vine Joy Randolph, and I am really, really excited. I'm such a fan of her work, and we are gonna get into it today. We're gonna talk about opera, we're gonna talk about musical theater, we're gonna talk about how to do a good Boston accent, and we're gonna hear how Al Pacino made her cry. In a good way. So it's a great convo and I can't wait to get started. But before we do, we always talk to somebody who knows our guest and has a question to ask our guest. And joining me today is the director of the film Eternity, a film that Dave Mine is in. And I believe he is calling from another country. He's Zooming from another country, another time zone. So let's see, it's David Frayne joining us. David, can you hear us? This episode is presented by Hilton. Guys, you know what vacation perfectionism is? It's the pressure to get your family's summer vacation booked and make it perfect and memorable. Stressful, right? Don't worry, 'cause the team at Hilton takes care of what matters so you can exhale and disconnect.

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Hello.

Hi, how are you?

Hi!

So nice to meet you.

So good to meet you.

We're talking to Daveyn today, and, um, you know, it's fun because Daveyn, I have to say, is one of— I really don't know very much about her. We've never met, and we have friends in common and people in common, but I've only kind of watched her as a fan and watched her stuff. So I'm interested to get to know her today and to talk about her today. But before we do that, I just wanted to say congratulations on your film. And— [Speaker:MICHAEL] Thank you. [Speaker:KRISTIN] It's, you know, I'm always looking for comedy in theaters and in film. It's been not, to be very honest, like not always the easiest genre the last decade to get good things out in the world. And comedy is like music. It's so subjective. People have big, strong opinions about it. Where were your comedic influences? Like, when you started writing and directing, who were you looking to at the time?

I grew up loving— like, Billy Wilder was my idol. So, him. And then, like, I mean, 30 Rock and Parks and Rec and those just great, iconic kind of TV comedies were where you get such a high joke rate per minute, which I think we don't get very often. So, I always looked to that. And I think with Eternity, we wanted to make sure it was, like, laden down with jokes, just, like, joke after joke after joke. Because I kind of— I miss really hard comedy. And I think that, like, segueing to Dave Icke and my incredible cast, that just goes to say, you can write as good a script as you want, but that's the delivery. That's the actors. And, you know, some of the best dramatic actors in the world cannot land a joke. And I think that holy grail of acting—

Well, they better not. I mean, God is fair.

You can't do—

You can't do it all.

Before we get to Dave Icke, one last question. And feel free, you can always, if it's too personal, of course, of course, we can lose it. But, um, you shared a really, um, personal and intense story about your health journey after writing this film that feels like it is completely attached to and tied to the bigger idea that you're writing about.

Yeah, so in the summer, like about 6 months ago, I had really bad headaches, which I had during the production as well. Like, I would work really hard and then collapse on the weekends. And but I got they found an apple-sized tumor in my head that had kind of broken through my brain and surrounded my optic nerves and carotid arteries. And like, it was a really surreal, devastating thing to go through. And at the start, they didn't know if it was gonna be kind of operable or malignant. And my immediate thoughts were like, "I'm not gonna get to see 'Eternity' released," which is such a vain thing to say, but you know, after so many years. You know, the, the— I, I've had incredible care and doctors and incredible family and, and my partner. And it's, you know, slowly it's gotten better and I've had a great, great outcome from the surgery. And I will say, having gone through that in the last few months after making a film set in the afterlife, I felt quite contented. Like, I felt I felt I was looking at that with a lot more curiosity than fear. I think I would've been much more afraid had it happened before the film.

And I think just the experience of making the film was so fun and joyous. And I think the things we spoke about with Dave Icke and the cast and my passion just like as well, like even just not just the work you wanna do, but the people you wanna spend your time with and the people you wanna work with.

Yes.

And working with them.

Good people, kind people, people that share your kind of passions. I think that becomes much more important because you don't really have time for arseholes.

No. I also don't have time for assholes either.

Yeah. Yeah.

Assholes or arseholes. They're the worst.

So, tell me about working with Daveyn. How does she like to work? Because we're talking to her today, and she's quite studied. I mean, she has done a ton of— She's like a student in voice and acting. She really knows her stuff.

Yeah, she's extraordinary. I think what really struck me, firstly, I was— we were desperate to work with her, and I really wanted her for the role, and then she won her Oscar, and I was really bummed because I thought, "Now I won't get to work with her." But thankfully, she still wanted to do the film. But yeah, she's had the most incredibly varied career, from opera to theater to then finding acting, and— And it does feel like she can do anything. I mean, you know, we knew even though the Holder was such a dramatic role, we knew she'd be really funny, but like, she might be the most naturally gifted comedian I've ever worked with. She's extraordinary, and it does feel effortless to her. Like, it doesn't feel like she has— like, annoyingly, she seems to not have any of the anguish and anxiety that most comedians I know have. Like, she just is brilliant, and I think she maybe can't kind of slightly know she's brilliant.

Yes.

Yeah, she's extraordinary. She has— She comes to set and comes to everything with such a weird level of calm. She's completely unflappable, which I— Like, she could come— Like, the set could be on fire, and she'll just be like, "Okay, hey, Dave, what's going on? Are we gonna evacuate, or are we gonna shoot?" Like, she's just extraordinary.

Ooh, I wanna talk to her about that. That's really interesting.

Like, nothing seems to— Either she hides it very well or nothing fazes her, which I find fascinating 'cause I'm fazed by most things. Yeah, she is— Like, she can kind of— She's one of those people that I would put no limits on. I think she can do anything as a performer, as an actor, as a comedian. Yeah, it's kind of almost infuriating how good she is.

To be that good of an actor, And to also be funny is— it's not nice. It's not nice for the rest of everybody, you know, like, it's not fair. So I would love to ask you, as I have Dave Bynum here today, is there a question you think I should ask her? Big or small, specific or, you know, existential, something that— a story that you think she might want to tell or something that you have yet to know about her that you'd like to have answered?

I mean, I really want to know two things. One is, where did the calm she has come from? Because it's so admirable to me. And I don't think you can be born with that. It's something else. And the other thing is, because she's had such a varied career, is when did she know how funny she was? Like, when did she discover she was— a comedian? Because it's not like she didn't do sketch comedy, really, or stand-up. Like, when did she know she had that gift? Was that later in life, that she was like, "Oh, I'm really funny. Maybe I'll try that"? So, they're the two things I'd love to know, 'cause I haven't got that out of her.

Great questions, both. I love to ask this to people when I'm on Zoom with them and they have books behind them. Will you just randomly pick one book up out of there? From behind you and tell us what the title is.

What the title is?

Yeah.

Oh, I'm gonna pick this one because my sister-in-law wrote it, The Boldness of Betty.

Oh, The Boldness of Betty?

It's an amazing series of kind of YA books. They're beautiful.

Always looking for a new book. Thank you for that rec.

Yeah.

Yeah. And also, I just gotta check to make sure those books are real.

No, I actually can't read. Yeah, just the words. I can tell.

It's just the covers and the inside is—

It's just the inside.

Yeah, yeah.

Yeah, perfect, perfect. Thank you so much, David. Such a pleasure talking to you. Thanks for your time.

Thank you so much. Have a lovely day.

Yeah, you too. Bye-bye.

Woo-hoo-hoo!

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Woo-hoo-hoo!

Dave Vine, we're talking about sparkling water. We're talking about water, and you love sparkling water.

I love sparkling water.

Me too. And why can't we drink it anymore? You said we can't drink it anymore.

My doctor said I'm on the verge of having a hernia.

Because of so much of the, like—

Bubbles in it.

Bubbles.

The alkaline, it's salt and stuff in it.

But you said something that you said, that's my coffee.

That is my coffee in the morning.

That's my cocktail. That's my cocktail. Like a— when you open up the bottle and it's like, psst.

Mm. I know.

Yeah. And put a little squeeze of lime in there.

And you know what's fascinating? How in Europe they have percentages of fizz. Don't even get me started.

Well, so how do you feel about your sparkling water? Because I get the big bottles, but then I don't— you only drink like half of it and then it's done. It's dead. A dead sparkling water is my—

So what I do is I pour it in a fancy, like, wine glass. So that's funny that you say cocktails. I immediately twist it up.

Yeah, really tight.

Cover it up real tight. Like, I was about to cut my fingers. Super tight. Put that bad boy back in the fridge. I put my seltzer waters in a wine cooler chest. I have a wine cooler chest. This is how much I revere—

Me too. I completely, completely— to me, in the same way one would be like, oh no, I got to make sure that there's wine in my fridge. I panic if there's not a sparkling water situation in my fridge.

I know. And some brands are hard to get the boxes of.

Right.

I have fought many a clerks at Bristol Farms because they're like, no, no, ma'am, you can't take that whole box. And I'm like, then you shouldn't have had it out here.

Also, have you ever been real bougie and ordered it from, oh, I don't know, like a delivery service. And then all of a sudden you get the heaviest box that you got to carry in your house and it's filled with sparkling water.

What pisses me off—

That's success.

—is if you're on Postmates and you tell them to get the water for you and you want the 33.5 fluid ounces and they'll show up with a 22 or a 16. And I'm like, you should have called me. Yeah. Because then I would have said, yeah, don't get them. Or how many of the 33 did you have? 4? Okay, just get those and then go to the next Bristol Farms and get the other ones.

I found out recently you can't get light bulbs delivered anymore. Why? They won't take the risk. Like, they're like, they're like, it's gonna show. They're like, we— it's gonna break. And it's like, what? What? What do you mean?

People are getting soft down here. I don't like that. Light bulbs? It's not even on.

I mean, I have to say, I do love ordering things and then like putting it out of my mind. And then when a package comes, I'm like, what is this? And I think I'm like, what is it? What is it? What could it be? And then open it, and it's like the best Christmas ever because—

No, it's the best.

It's the spatula that I wanted. Yes, exactly.

That I ordered 2 days ago. Yeah. And it shows up and you're like, oh my gosh. I was literally in Costco yesterday, and I was going past the mixers. Like, right? Like the mixers. What is that? Like tableware? I don't know what it's called. I love kitchenware, tableware. I could— I could— So I went past and I was like, gosh, it's on sale. I want one. And I literally remembered, because life is lifing. No, no, no, babes, you ordered one for Black Friday already. And I literally almost cried with excitement. I couldn't believe it. I was like, I have one already. It was crazy. That's how weird life is right now. I love kitchen gear so much.

So much. It's like a treat. Sometimes I'll go past the wall of gadgets I'm like, "Okay, I have a garlic press. I have a wooden mallet. Okay, I have a zester." And I'm like, "What do I need for my collection?" And then I'm big on esthetics.

So the mixer I got, have you seen it? It's like the limited collection from William Sonoma. Not a sponsor.

Okay. Talk me through this.

What you got? Hunter green with a dark mahogany wood mixing bowl. Holy shit! A wooden—

Oh, wow. So we're talking KitchenAid.

Yeah. Oh, wow. Yeah. And I forgot. And I was going to just a stainless steel one or like the red one in Costco. Like, oh, geez, I wish I had one.

Oh, this is very— a very different one.

And then I remembered that I have that bad boy on display.

I can't believe you forgot that you ordered this.

And do you see why I almost cried in Costco? Because I was like, you're going to get better than that.

You're winning. Before we get into— we haven't started yet, but before— But can I also—

so then I'm about to really knock your socks off. I've been wanting these pots and pans. Standby. For generations.

And is that good?

Yeah, yeah, yeah. William Sonoma. Now you're crushing it at William Sonoma. Just put in heritage copper. Oh, you got me right there. Pans.

I don't know. You got me right there.

It's this Italian company. I think it begins with an R.

Copper cookware. Fuck, I love cookware. I could talk about cookware all day long. Let's see, what do we got here? Ruffoni. Yes, baby. Okay, for those who don't know, these are— we're looking at a copper pan with a silver stainless steel inside. Yep. Historical hammered copper, 11-piece set. Guess what? Originally $2,000. Babes, I got it! Our price, $1,549. Why would you not buy that? And, and the price is in red, so I gotta get it.

I have to get it because it's about to be sold out and no more. Trust and believe I got that 11-piece. Absolutely.

I'm— I'm gonna get it. I'm gonna pass that down to my children.

Like, it's so beautiful. It's made in Italy. Like, what?

Anything that's Italian, forget it. If someone's like, this is an Italian knife, it's like, I gotta get it. Okay, no problem. Dave and Joy Randolph is here. Oh my God, we just got right into it. We already have all our cookware for— I'm getting everything. And I trust your taste.

Please text it to me. And I wanna see like your first meal. I wanna see your first meal made. And I'm literally tearing up. Do you love to cook? I love, love to cook.

Me too. And I, I talked about this on the podcast a little bit. I came late to cooking. I did not grow up cooking. And sure. My mom always is like, I cooked, but my mom was a working mom who, um, are your parents teachers? Yeah. So are mine. Yeah. So like she cooked, but yeah, but it was like, yeah, she didn't cook holidays maybe.

Yeah. Then she showed out.

Yeah. Yeah. And she was busy working, but so I didn't really know how to cook and I thought in my 40s, I was like, I'm just not gonna be able to cook.

Yeah.

And I learned, and now I love it. Well, I actually— this is gonna dovetail into the theme that I wanted to talk to you about today because I'm, I'm really impressed. I, I think you're so talented. Thank you. And so naturally talented and so such a good actress and so funny. And those— and, and such a good singer. Like, you do so many things so well. Thanks. And your career is a lot of like I'm gonna try that. A lot of like, yeah, a lot of maybe I should try that. No, hold on, what's over here? Maybe I should try that. Still, still cooking. Yeah, why not, right? Yeah. So a lot of people know you as an actress, but I don't think as many people know that you first kind of entered the world of arts as a singer. Yeah, yeah, yeah. And that was where— that was kind of like the door you walked through. Yep. I like to, to, I like to ask this to people who are, have beautiful voices. When did you, when did you know you had a good voice? When did you hear it for the first time?

Or someone say you have a good voice? When was the first time you heard it?

Yeah. I didn't know. I thought that's what people sounded like. Right. And it wasn't until like I started getting training that I was like, oh, there's people out here who can't sing.

When you say started getting trained, what does that mean? Taking voice lessons?

Yeah. Taking voice lessons. So when I was younger, it was like, right? Like, family and friends. And I thought, "They're just being nice," or whatever. Because I'm a Gemini. Like, I'm a Taurus Gemini. So, like, I'm a very focused Gemini that wants all the options. So, like, even as a kid, it wasn't like, "And you are a singer." Like, I was the poster child for after-school programs. I did it all. And I liked— I so appreciate that, that my parents instilled that and was never like stage parents or like— They were like, "Whatever you want. Lock in. Have fun." But— But even now, I think that's why acting is fun to me, of like trying on these different people and not staying with one for too, too long. But that's also my life. It's people telling me like, "No, no. For real, though. You really could." Like, I thought— I've always thought like, "I'm decent." And it's taken people who I've really admired to be like, "No, there's something there." and keep going or keep pushing in that direction. That's amazing.

I hear what you mean. Like, it takes sometimes, like, a mentor or someone to say, "What you have isn't the same as what everyone else has. Keep working on it. Keep doing it." Like, that encouragement can really— Like, can I ask you a question?

To me, when I watch you work, to me, it seems as if there is a natural ease in what you do. Thank you. Would you say that that's true?

Thank you for saying that. I think I would hope that it feels some version of like, that I'm not trying or striving too hard. But it did take definitely, like, directors and teachers and stuff to be like, "No, you're funny. Keep going." Like, just the "keep going" part.

The "keep going" part. Yeah.

And as you know too, A lot of it is like, we know, I know people way funnier than me. I know people way better actors than me. I know better singers. Anyway, but half of the battle is just not giving up. Yep.

And being ready when it presents itself.

Not getting a regular job, not having health insurance, not like just for a long time and being like, I'm just gonna try to make it. Yeah.

It's not easy. No, no, no, no, no. It's not easy at all.

So you start, you, you're in Philly. Mm-hmm.

Where are you from? I'm from Boston. I felt the Northeast 100%.

And I got to talk to you about your Boston accent. OK, we'll get there.

It was so good. Oh, that means so much. Thank you.

It's a hard one. And we're tough. So is Philly.

And that was what was hard for me. I know, because they're close.

They're touching too close. But Philly has that like, the O's are real. Yeah, Miles Teller does that. He has a Philly accent?

Yeah, hoagie. And I'm like, what? Hoagie, yeah. Uh-huh. Yeah.

And you guys. You guys.

I can't even do it. Yeah.

So, Philly, you go to— you start studying music. Your parents are teachers. And you decide to go to school for opera.

So I'm very competitive. So— Ooh! Are you? I love competitive people. Man, we are literally the same.

Women. I love competitive women.

Yeah. Respect all the way. Yeah, yeah, yeah. So my dad was like— it's interesting. I always think of this, and this is so random. My parents did not, for both of their children, want to know the gender in advance. I feel like that was so cutting edge. Yeah. And my dad really was manifesting and wishing for the first one to be a boy. So didn't happen, but he had a heavy hand in, like, sports and competitive and, like, not backing down. And so, literally, I was just so competitive. And so there was this girl, like, a new girl at my high school that was like, "I went to this performing arts school called Interlochen." And my brain went, "Doo-doo-doo-doo-doo." And I went home that day.

I will go there. I will dominate at Interlochen.

I will win it. I will win it. That's literally what I said to my mom. And she was like, "Okay." I had no idea what this thing was. And I applied.

Explain what it was like, that camp. Oh, my God.

Interlochen is one of the most magical places. I'm not even kidding. I would recommend any parent who has a child that has remote interest in any form of the arts. They do theater, music. They have a writing department. It is just like a safe haven for young grade school artists, like budding. It taught me to respect and revere it. You know what I mean? Like, in everyday life, it's not— I don't know, maybe now with these generations, it's cool to be an artist. But like, me growing up, it was kind of like, "Oh, yeah, you do that other stuff too." Do you know what I mean?

It was kind of like, "Have fun and then find your real job." Yes.

And so, that was a place that I think is so integral for high school age kids, particularly. I mean, I mean, you can literally go at 4 years old. But for high school kids to go to, to, like, really start to dip their toe into finding themselves as an artist. And it's just so— such a beautiful place in my life. And so that was a moment, a very strong moment, 'cause it was classical. And I was like, "Oh, no! Where's the R&B? Uh, that's for me." And so it was all classical. [Speaker:ASHLEY] Whoa!

So you were singing classical. And did you— can you read music?

Now I can. At the time, I just had, like, a really good ear.

You're a classically trained opera singer. And it was because of that.

That's what started it. And it was teachers being like, no, you actually have a natural gift. Keep going.

Had you seen any opera before that? No. I know. I feel like opera is this thing that you only see, like, what is it, like a— it's just— Like a field trip. It's a field trip. It's so funny. I love how we— when we grew up, like, well, you're younger than me, but when I was growing up, like, the genres kind of across at times, and it's where you learned about people. And I remember I was thinking when I was doing— preparing for today, I was like, when did I first know about opera? And I think it was from The Muppets, because Beverly Sills, who was a very famous opera singer, sang opera on The Muppets.

And, um, I'm also obsessed with The Muppets, so that's why my whole face just dropped when you said that.

You love The Muppets?

Babes, I wanted to be on that show so bad. And they were like, we're not doing humans this year. I said, no humans? What do you mean? They're like, like 3 humans, but it's really them. I was upset. I— who's your favorite Muppet? Piggy. Are you kidding me? I know she's the best. She— that lady literally—

lady, that lady, that lady owes me a lot of money.

I am who I am today because of her. Oh yes. As a child, to imagine as a young age That being, like, instilled in you, like, "You don't take shit from men. You do your thing. Be fabulous. You don't change who you—" I was like, "Yep, yep, yep, yep." I literally made my parents buy me a tricycle. So, you know, she has that skit where she's, like, with the motorcycle pack, and she's like, "Get around." And I used to do it all the time. And I used to make my mom give me a leather jacket. Girl, it was a thing. That's my girl!

When they told me that thing was coming back, I said, "Please." And they said, "Mm-mm." The other place that I saw opera was Queen in Bohemian Rhapsody. Sure. Yeah. I was like, oh, it's an opera.

I actually think that's a, that's a bridge, like a gateway for a lot of people. Yeah.

I think a lot of people were like, what is he singing? How is he singing that way? I was like, oh no, that's what opera sounds like. So you, when did you see your first opera?

Immediately. Like, once I went to the performing arts school, it was like they completely like slapped me with the culture and I was like, whoa. And what was your first feeling about it?

Like, what did you like about it? About it having— like, what made you want to keep pursuing it?

The power in my voice that I was like, oh, there's— and also, I'm gonna be really honest, they really sold me on the idea that it was a really good life. Like, you're gonna live in Europe and men are gonna drool over you, and you get to wear beautiful gowns, roses at your feet, and eat pasta all day. And you work hard, but not that hard. Like, because opera singers, they don't— how many— like, even if you're at the top of your game, Yeah, if you have concerts, but they don't— like, we can do 17 million shows in a year. They may do like 2, 3 operas. So I was like, this is a nice lifestyle.

It is not a Broadway schedule.

No, ma'am. Mm-mm. Are you—

does opera— is— do you have to kind of like pick like a— like an athlete? Do you have to pick your role?

Like, uh, the voice part kind of dictates it.

So what is your voice? What are you?

So I'm considered— a baby dramatic soprano, which means like— I don't know. That's what they said. A baby dramatic? And I'm always like, "Well, I always had the baby part even as I get older." I don't know, maybe. Baby dramatics. But it's like, basically, it's like— So, Leontyne Price, I don't think they would consider her a baby, but dramatic soprano basically means you have the low notes, but you can also get up to the high notes. But instead of like— Traditionally, soprano, the high notes are very like, soft and airy, like more like Ariana Grande, like, right? Like really breathy and soft and just, like, heavenly. And like a dramatic soprano is like you can get up there, but like with some heft.

Baby dramatic soprano. And did you ever do an opera on stage?

I went to Temple University for The Teacher. Quinta went there. We were there at the same time, Quinta Bronson. And— Did you guys—

were you friends? Did you know each other then?

We were in passing because she was like so theater and I was still music. Ah, and they were still—

felt separate. Yeah, they were very—

at that time. Now it's like, It's like a conservatory, and there's a musical theater department. And so, so anyways, I went to Temple, and we were doing Aida. Wow. And, you know, my middle-class parents, teachers, like, they're not dumb, but it's like if you were to watch Shakespeare for the first time, like, they don't know what's going on. And so I remember my brain was just like, I want to be able— it wasn't even acted. I want to be able to portray this character I know this character very well so that it can translate for, like, my family and friends that come see this. I remember that very clearly. I don't even know where that came from. And so, I remember we used to go across the street to the theater department, what was like communications, to copy sheet music. And I literally was copying sheet music, and it sounded like people were dying in the room next door. And it was a theater class. And so, I went up to this teacher afterwards, and I was like, "Hey, I'm working on an opera across the street. Like, could you help me?" I wanna, like, bring this to life and it be good.

Very long story short, the music department got ultra pissed, and they were like, "No, no, you can't do that." You can't cross over there. And I was like, "I don't wanna cross over. I don't wanna be an actor." But I guess because it had happened so many times, they were very, like, territorial over it, and they flunked me out. Ex-squeeze me? Yep. And it was my mom that I'm, like, bawling on the phone. This is, like, my junior spring. I'm outta here. I'm about to go be in Italy, like, living my best life. And my mom was like, "Go across the street." I'll never forget, she talked so— You know how moms are when their child is, like, devastated. And she was like, "Step one, go across the street, go speak to the administration. You're going to apply to the theater program because most of your credits can transfer. And I actually think you might be good at it." That's literally how she said it. It was like— But she knew I needed logic first, like, Yeah. Credit. Because I kept thinking, oh my God, like, I'm about to graduate. I have to now completely find a new— Right.

You're pot committed to this thing.

And then— And I was like, OK. I remember they tell me this to this day, that I went to the administration office and I was like, I have to be an actor. And they were like, what? And I was like, I'm so upset.

And they were crying. And they were like, you are. You are. Exactly. And then you got really into Shakespeare, right? You did a lot of Shakespeare.

Later. Yeah, later. So when I got into Yale, I faked it. I did Shakespeare, but I think I did, like, Titania when she sees Bottom and she's, like, in love. So I didn't have to really, like, you know? I don't. I didn't have to really— meaning, like—

Is that more comedic?

Is it you? It is kind of more comedic.

That's really interesting that what you're saying is, like, there's Shakespeare, and then there's— Yeah, like, it wasn't me reciting Shakespeare.

Exciting like Hamlet, where it was like, "Okay, you're just standing there and delivering this speech." It was like this strong— Titania is like, kind of like a Michelle Obama, like a tough girl that's like, got it all together, who now you see gets to be like, she's drunk the Kool-Aid and she's like whimsically like this ingenue in love and just being silly and in love with this like, you know, having like a kind of like teenage middle school, moment of like, "Oh my God, this guy is so cute." So it was that. But like, I'm saying in the sense of like, I wasn't doing Hamlet.

Do you want to do Shakespeare?

Absolutely. So I went to— after my first year, I was like, "I don't know this." Because I was doing another classical art. "I don't know this one." And so I went to the British Academy of Dramatic Arts. Holy shit. At Oxford, which I couldn't believe it. We literally ate lunch where Harry Potter ate lunch. Like, I remember walking in there being like, "Oh?" My God, I made it. Yeah. And so I was— it was just so cool because I learned Shakespeare, like, by the people who do it. Wow. But I love that sense of command that they have over language.

I love how much you have trained. Thank you. Like, you are— you really know your stuff. Thank you. I really appreciate that. I wish— it's fun. I bet. And it gives— to your point, like, it's supposed to be a journey, like, Fun. And when you get to try and fail over and over again, and then you get stronger and better—

It is the best feeling. To me, it's kind of like freedom within form. Like, as long as I know the guardrails are up, I'm gonna bang up against those guardrails. But like, you're right. In order for me to really be loose and give all of myself, even with comedy, like, I just need to know the parameters. Yeah. And then I'm just gonna go off. And it allows me to— So I guess in a way, the training is like the guardrails. That then when I work, I'm like, "Whatever." Like, have you ever watched something back of yours? I don't like to.

I don't love to. Don't like—

ADR is one of the most traumatic—

Oh, yeah. Also, ADR is— for people who don't know, it's like that moment in the film when you have to kind of go back sometimes and re-record stuff.

Which for me is my first time of seeing it ever.

Yes, it's often your first time seeing it, and it hasn't been like color corrected or anything. And so you're just like, "Well—" You're just like, "Why do I look like that?" "I guess I'm 100 years old." It's seeing your face for the first time in a thing that isn't finished. And you have to record new stuff. And it's brutal.

I always— I used to call my mom crying afterwards.

"Mom, I look so ugly!" And she was like, "Go across the street to the theater." "Take a breath.

You are okay. You are not the character.

You serve the character." Your mom is really good at calming you.

She's the one.

When you were at Yale, was there anyone else there that we would know at the time? But were you— who else was there?

When I was there, when I was a second year, Lupita was a first year. Then after Lupita was Winston Duke. Then after that was— I could be mixing this up because I was now gone, but was then Yaya. Then after that was Mama Duke. Like, it just was doo-doo-doo-doo-doo-doo. Wow. Yeah.

Wow. That's intense. That's intense. Mm-hmm. And then you go, and you go from that to— talk about training being put to the test. You have to open Ghost in the West End with about a week of rehearsal.

Yeah. Which made no sense. So, um, I was— when I graduated, I got an agent, and like, you know, I gotta have a survival job. Yeah. So, uh, I applied everywhere in New York City, and that little Yale degree, Even though it's in theater, people were like, "You're overqualified." No.

And I was like, "But it's theater." You know more than the director, and that upsets him. Yeah.

And so I couldn't get any job. And so I was like, "Okay, I'm going to nanny." So I nannied for this amazing family. And it was amazing because I worked the system because I was broke. And I said, "Listen, as a curator of arts, your children need to go to 5-star hotels." and experience what that is like. Desserts at really nice places. And we need to teach them how to eat at a 5-star— literally. And they were like, okay. And literally, can you imagine 2 little white boys and me, like, at a table? And they're like, Mr. Fine. Eh! Because just in case their friends are here watching, I got to make this look credible.

That's so smart.

Oh, it was so much fun.

So smart. And then you go—

I love that job so much.

How do you get the job?

So they were like, oh, This is an audition for the, like, understudy, understudy. It's swing. And so they were like, "If you get this, you'll rarely go on. No big deal." I go in there because I'm young and I had never auditioned for anything before. Those people told me, "So you're gonna do the entire thing?" They made me audition for 75% of that musical. Wow. In the room. Like, I had my sides. And then they were like, "Here." "Here's more." "Cold read." Wow! "75% of the musical." And you nailed it! It was just adrenaline. Yes. But one thing that was a blessing and a curse, I was on a high. Like, my body was just, "Boop, boop, boop." I sang— Speaking of belting high, baby, I belted high that day.

Uh-oh. And then they wrote it in!

Because it was an original musical. So they were like, "Oh!

She wants to belt an ass." Never be good at something you don't want to do.

Mm-mm! Pace yourself! 'Cause 8 shows a night and they were, "Ahh!" basically up there. I was like, "No, we're gonna have to bring it down." So I did that audition in like August. I didn't hear anything for 2 days. I'm not thinking about it. It's the understudies, understudy, understudy. My team then hits me up and is like, "You booked." And I'm like, "Oh, okay, cool." And I was bummed 'cause I was like, "I gotta tell these kids. I gotta leave them." And my team was like, "Are you crazy?" It was the lifestyle. I was saying goodbye to the lifestyle. And so they literally— They were like, days later, they're like, why are you not more excited? My team. And I was like, because you— it's just whatever. Like, if everyone gets sick, then maybe I'll go on. They were like, yeah, we lied. Um, you are playing Whoopi Goldberg's part. And I was like, come on. What? Why would you do this? So then I'm terrified. And it was literally the, like, the Tuesday before Thanksgiving. And so I had never done a job of that magnitude, but I had never done a, like, seasonal job.

And I really love the holidays. So I started crying, and I was like, "But do I get to spend Thanksgiving with my parents?" And, you know, AJ's like, "Are you dumb? You made it!

You're going to Austin!" You've worked with so many great people, and you talk about them a lot. And you talk about Robin Williams.

And I— I can't believe that was my first movie. That's amazing. I cannot believe that, sadly, That was my first movie, and that was his last movie. I cannot believe it.

But I am so grateful.

There's something that I notice in legendary comedians specifically. Robin had it. Eddie had it. I had that experience. It's different, but they have a similar trait. Eddie, it shows up in Steve Martin for sure, Martin Short. And there's this thing when we talk about about when people tap me on my shoulder and be like, "Hey." And I never would think it would be those people. In my mind growing up, I thought, you know, like, they either really stay to themselves, or they're distant, or like, their egos won't ever give you the satisfaction. And Robin was the complete opposite. And he actually talked to me more than anybody else. We just talked forever. I literally just sat there and listened to everything that that man said to me. And I will— In the moment, while he was talking to me, I was like, "Hmm. This is crazy. No one's gonna believe you, so don't even tell anyone. Like, maybe later, you can share a great anecdote." But it was unbelievable, and he just poured into me. And it would just be like, like in between the takes he would just be like blah blah blah blah blah blah blah and then you know immediately just go into this thing but yeah he was if I would say career-wise he was the first person that was like you've got it what an anointing from someone like that and then you worked with Eddie on Dolemite and same thing Eddie really took you under his wing he did he really And something that was interesting, so, like, differences.

Robin was so explosive. It felt like I— When people ask, the only thing I can think of is, like, you know how in Penn Station, the ticker thing? It's like you can't— His thoughts are so loud when he's not talking that even when you stand next to him, it's like, "Duh-duh-duh-duh-duh-duh-duh-duh." And I'm just like— I can feel like almost like having coffee. Like, you just feel this buzz being next to him, and it just was like, "Vrrr." Um, and with Eddie, something that I learned, and it was interesting to work with him at that stage of his life and that point of his career, there is a stillness and a quietness when he's not working or in between scenes. And then there's the action, and this whole thing comes to life. And it was something that in the first— Again, supporting actor being like, "Oh, okay." "Hey, this is your rhythm, and this is how you work," that I then, like, adjusted, and then I was like, "Okay, so I'm not—" Well, then it feels like your musical training comes in there 'cause you're picking exactly what you said, rhythm and breath and energy, like the dynamics of the day.

The rhythm is the biggest thing, I think, especially with comedy, and especially with legends at that. You're right, you want to learn quickly, not ask any questions, and observe, and like— It was like jump rope of like, "I'm jumping in and I'm jumping out." You know what I mean? Learning that kind of pacing. And— but it was after, um, that he really kind of prepared me for the industry in that when we did pre— Like, we had a full-blown press tour. And he was like, "Whatever I'm going to, she's coming to all of it." And so, like— 100% it prepared me for Holdovers. I think if I didn't have that, I would be like, "What is this crazy machine of things?" And so, in a more chill way, I got to experience it. I got to see what insane fame looks like. Which is scary to me. That's really intense.

Well, get ready for it. Sorry, but— No, no, no. You mentioned The Holdovers. It— I just have to say, to say to you, that film— Thanks. It is now forever in rotation as a Christmas film because not only is it beautifully acted and beautifully directed by Alexander Payne and Paul Giamatti and Dominic, they're amazing. The three of you together are just— Thank you. But it also captures this melancholy. Like, you say you love the holidays, and it's this holiday— salty, sweet, sour sadness that happens to all of us where— All of us.

Even if you have a house full of people or whatever you consider, like, a traditional happy Christmas. 'Cause, like, the loneliness finds its way in.

Every time. I know even with A Full House, the way you depicted that mother in that movie is one of my favorite cinematic performances. I love you in that movie. Thank you so much. Congratulations on winning the Academy Award! Thanks, babes. And, um, so deserved. Thank you. And just so—

first of all, Paul Giamatti, love him. Always loved him. Always loved him. And like, similarly, he's so good at so many things. Yeah, he is really good at playing like that underdog that can't quite figure it out and just like keeps hitting their head against the wall. Oh, he's so good.

I had a fun moment when he hosted SNL when I was there, and and, you know, you're like down under the bleachers, like changing clothes really fast. And at one point I turned to him and I was like, are you having fun? And he was like, this is a nightmare. Yeah.

Inside everything is painful and he's dying inside. So funny. Yeah. Even while we're filming. And I'm like, wow, we're really doing it. He's like, I hate it. Not he hates like acting. No. But do you know what I mean?

Like, that's why he's so funny.

That's why he's so good at it. Because he doesn't— He'll put himself in like risky, like inside his anxiety is through the roof. To the roof. Yes. And he's like, "How do I?" We feel it.

We feel it with him. And the trio of you three, like unexpected friends, like, you know, like a random family.

Yeah.

Yeah. So good. What kind of prep did you do for that role?

So, it was interesting when— because I love cooking, I was like, "So, listen, contractually, I have to cook for real." And for many reasons, and due to that time period, I wanted it to be clear that this was actually her job, and that she was good at it, versus like— I first asked Alexander, I said, "Is she the help, or is she a learned chef?" And he was like, "I actually want her to be a learned—" He said, "Cook." And I said, "We're not gonna say that word. We're gonna say chef." If you're saying she has an education in it, she's a chef. And so— So once I knew that's where he was going with it, I was like, "Okay, so then you're going to have to establish scenes and moments where I'm dealing with the food and facilitating the kitchen to show my, um, prowess over this area." [Speaker:SHANNON] Yeah. [Speaker:ASHLEY] Right? And so— And I remember there was like— There was— And he was so down, which was so cool for someone that acclaimed and lauded to have that much flexibility and collaboration, which I think is another huge reason why that movie just did so well.

Because he trusted us, and we really got to work together. And so, like, there was a moment where I was like, you know, to be honest, he had a lineup of extras for people that were going to be in my kitchen, and they were all women of color. And I was like, "You're gonna have to put some white ladies in there too." And he was like, "Really? Why?" And I said, "Because it— the other ones look like it's my friends that I just brought in, and then this other version makes it, again, look like—" Oh, no. I'm in charge. And these are the cooks. So I ad-libbed this line in the movie where I'm like, to the white lady, "Ah-ah! Too much paprika!" 'Cause in my mind, I was like, "No, no, no. She can taste it and be like, 'Too much paprika.'" 'Cause I wanted to show— A lot of it had to do with the time period. But I was like, "If you're saying she's a chef, I don't want those lines to be..." blurred. But in regards to Prep, the thing that Alexander was the most—

Thank you for sharing that with me. I just have to say, just to take a minute, I love knowing that because you're exac— I couldn't capture the— what you're— exactly what you're saying, which is a— there's a regalness to her. Yes.

There's a pride. Yes. And— Even if that lady has 2 cents in her pocket, which is another thing, 'cause he, understandably, he wanted her to be in hot pink rollers and that cozy, warm purple muumuu. The entire— most of the movie. 'Cause he was like, "It's the holidays." And I was like, "No, she has so much pro— She's working." She may be, you know, they might be in, like, living— shared living quarters, but she's working. She wakes up, this is her job. And so, it was something that he— we had to, like, negotiate for him to realize, "No, this isn't just Auntie with the—" You know what I mean? With Uncle Buck and whatever.

00:47:29

And he gives such incredible— tension because that is her space. And in the scene when she's serving and when everyone is eating her food that she's good at cooking, and Paul's character standing up for her— Yeah, it's beautiful.

That's one of my favorite moments. Same. Yeah. And it's just a look. She just looks at the kid. Yes! But you know the volume in which Paul yelled, she heard it. Yes. You know what I mean? Like, she wasn't there for it, but she heard that he had his back. And so the main prep was— Alexander was very keen on smoking. It was almost like an audition question. "Do you smoke?" And I was like, "No, I don't." And he was like, "Oof." And I was like, "You can send a pack on over, and we can figure it out." Part of the prep was learning how to smoke, making it look realistic. It was great that I was in Boston. There's so many smokers in Boston. But I would just watch. Like, there is a science. Mm-hmm. You can tell the level of addiction or how many years— I'm not gonna say addiction. Level—

It is an addiction. Yeah. Let's say it.

How long you've been in the game.

Ooh, tell me what you noticed about how people—

The looser— the more that it feels like it is literally another finger, they've been doing it for a while. Right. Right? Or it's like, that person is usually like older men that like, it's, "Hey, how?" I don't even know. It's like that one bead of saliva.

It's so right because a person that has their, like, —like one cigarette a week.

It's tighter.

It's tight, and they're enjoying every minute. I'm thinking about the girls outside the club. Like bumming it from someone else. But someone who's like, "Oh, there's 100 more where that came from." It'll fall out. They pick it up. Whatever. I'mma light another one right away.

Yeah. And so part of my process was like—

So interesting.

What's her level of addiction? And in certain times, and what she's going through, I wanted the smoking to signify what, like, psychologically was going on for her. So, and then the big— the biggest, most difficult— the two difficult things, most difficult things about filming and smoking, timing of knowing when to— like, how to pace between the talking and when to pull. Right. Um, and blowing that smoke so it's not in your face for the camera, unless there's some moments where you want it to get in, or not blowing it at all. Like, directing that smoke was tricky.

Ooh, I can't. I'm, I'm, I'm going to be rewatching this movie again over the holidays, and I'm going to watch all of your— we would literally—

we could have a beautifully acted scene and Alexander would be like, uh-uh, that smoke went in Paul's face, do it again. And then the last thing was the dialect, which he was like, let's talk about it.

He said it was fine.

He was like, you're from Philadelphia, it's cool. And I was like, Alexander, respectfully, respectfully, "Shut up. No, sir." And he was adamant about it.

And you worked— I can tell, 'cause it was so good.

Yeah, I worked with Nicole Kidman's dialect coach, who's the best and so down to earth, but— Yeah, I said, "No, no, no, no, no." So what did you have to learn about— But it was more so from me. Like we said, I'm from Philadelphia. It's so close, but yet it's not the same thing. And also, it was— Technically, it's a period piece. And so, The biggest reason why I wanted to do the dialect, not only because that is what is the world, I needed something to differentiate and to separate from me. And so, um, I needed that dialect. The smoking, yeah. Clothes helps. The hair helped a lot. But the dialect was the thing that really allowed me to lock in.

Were there words that helped you lock in?

Like, "Mr. Ha—" What was his name? "Hattie." have a— Miss Hunnam. "Mr. Hunnam, I heard you—" It's that first scene when they meet, and she's like, "Mr. Hunnam—" I'm paraphrasing, but she's like, "Mr. Hunnam, I heard you had babysitting duty. How'd you manage that?" And that was like my key phrase that I would get right in. "Babysitting." "Babysitting. How'd you manage that?" What was helpful was the crew was all Boston. So I would literally— And they're like, "Eh." Yeah, no shame.

I was like, "Did I say that right?" They're like, "You didn't get it." I get it, 'cause the Boston in me, you know, our ears are attuned. To me, it's like the Australian accent. For sure. For sure. When it's wrong, it is rough. Yeah.

And so what I basically said to myself is, I worked on it and prepped it a lot, and I told myself, "You're gonna have the first day of filming. If you get a lot of feedback on this dialect either being distracting or too much or not right," "Right? We're gonna leave it alone." Yeah.

Smart.

And— and— and— Smart. Yeah, it worked. And I was like, "Okay." But in between, still, I literally, in between takes, the gaffer, I'm like, "Is it 'smat,' 'smart,' 'smat'?" And they be like, "Smat." And I'm like, "Okay, smat, smat, smat." Speaking of films, we're talking about Eternity, the rom-com that you're in with the hilarious John Early, who we love. I think he was one of the last people that they cast. And I knew from the script that I would have quite a bit of stuff with this character. And I kept saying, who I kind of didn't want to sign on the dotted line until I knew who that person was. And it just didn't work out that way. And I'll never forget, we were in, like, what do they call it? Camera testing. We were camera testing, and I was ear hustling, and I heard them say— And I go, "Ah! Yes!" And they were like, "What is wrong?" And I'm like, "Oh, my job just got way better." So funny.

Really easy. You guys are great together.

Has— The stuff that's up there in that brain? Mm-hmm. And it's so much! Do you know what I mean? You obviously know what I mean. And you know what I was a little worried about because he's so good that I was like, "Oh, he's gonna be doing the button thing." You know the button thing when you're around funny hahas? And it's like the scene is done and now every funny person in that room is like... And then that person goes back and I'm like, wow.

Oh my God, I've never heard it like that. That's— I'm really, I'm really sweating because I, I so—

but it's infectious.

It is. You're so right though. There's an instinct for comedy people to be like, and one more thing, button, button, button.

Now person A's got to do second button. I feel seen. And then it goes and it just go. And my— always I'm like, I'm like— very present, but— and that's usually when the camera cuts to me.

Oh, that's so real. And you're right. And then once someone does a button, someone's like, "I gotta button that button." And it never ends. And I just sit there.

But yeah, he didn't have any of that. But so— I don't think he ever repeated a joke. I'm just so, so impressed by him.

What is your relationship to rom-coms? What rom-coms— are you a rom-com person? Do you like rom-coms?

I was when I was in high school. So like, was— let me tell you something. How I Lose a Guy in 10 Days. Oh yeah. It's perfect. And if you tell me different, I'll fight you.

That— I like how you whispered that.

—is the best. Because it's so emotional. How I Lose a Guy in 10 Days. It's so emotional. Baby, that scene when they're out in Staten Island, Long Island, playing that card game, I'm bawling.

You're really making me want to watch that again.

Yeah, they're so good. It's been a minute.

OK. And I like it too because it's like, it's a relatable relatable New York couple.

You know, some of those New York rom-coms, you're like, "Well, I'm never gonna be in that penthouse, so..." Or The Boss. I love how it was like they were regular New Yorkers. And that, like, Staten Island— I forget which one it is, Staten Island, Long Island family was a really good touch. Um, My Best Friend's Wedding. [Speaker:SHANNON] Yes. [Speaker:ASHLEY] It's so good. I think it's the ones that are really relatable.

00:55:32

I know. And they just dig in, and some, like, they're like rainy day delicious treats. Yeah. And okay, so we have this thing where we talk to people who know our guests. We talk well behind their back. We get a question for them. So we talked to the director of Eternity, David Frayne, and we got to talk about how incredible it was working with you. And he was explaining, which I'm now getting to see in real time, the feeling of— There's a calmness to you when you work and a confidence that is— He says, like, "As a director, it just makes you feel like everything is gonna work out." Like everything, you know. Oh, that's wonderful. And he had two questions for you. One was, "Where do you think you find the calm?" Or as he said, "The cam." Yeah, "The cam." 'Cause he had a great accent. "Where'd you find the cam?" But, um, the— So that was his first question, is like, "Is that true? Are you feeling like when you step and work that there's a calmness to you? Do people project that on you?

Is that real?" What did he think? I think it's, um, uh, how do I say? It's a little projected. It's all of it, right? So, number one, yes, it's part of that, like, preparing to then, like, have so much fun, like, right? Like, within the boundaries. Like, I know I did the work. But then I'm very open to, "What is the direction? What are you giving me? What is it gonna be in this?" I know her. Um, and you could tell me we're gonna go on Mars. Great, we're going on Mars. What's that gonna be? So there's that. That. There's also too, I'm very well aware of like, it's interesting how leads speak of like their role of leadership and duh-duh-duh. I am aware that part of my role is to not say anything out loud, but to reassure and to like, um, nurture a little, but like create a foundation.

That's really interesting.

As, yeah.

Um, not to name drop, but I will. I've been name dropping a lot today. Um, Gwyneth Paltrow, was in the seat. And she said something that I thought was really interesting, which is, you know, we were talking in terms of codependency and trying to figure out— and when you're in a supporting role in any aspect of life, you have to balance what you talked about, which is knowing what is needed for the room. And she used the term thermometer, like, is the room too hot? Do I need to— same with every scene. That's a giving, supportive, collaborative person. And then also taking care of yourself. That's right. It's a hard balance. Mm-hmm. Mm-hmm.

And I think I've gotten really good at that. And I think that's also why I've been able to work with the type of people I've gotten to work with. Because I think it's that mixed in with they then feel a reassurance to then be their best selves. Yeah. Right? And so then I'll have, like— It's so cute, and I can't believe I'm even saying this. Steve Martin will literally be like— 'Cause I normally, when I film for Only Murders, they're so kind, and with my schedule, they allow me to, like, shoot out. So I'm doing, like, in 2 weeks, like, 5 episodes. And so we get, like, this kind of, like, intense 2 weeks with one another. And then I'll be, like, gone for a year, and then we'll catch up for, like, press, and then do the next year. And he always is like, "God, I forgot about this. Feels good. I'm feeling good." And that, to me, is the greatest, greatest compliment that I can think of. And so— I think it is a bit of that. And then I think also there is like— I do still suffer with imposter syndrome in this format.

Like when we have to talk about it, but I don't when we're doing it, if that makes sense. But it's, but it's, but it's a quiet— maybe that's what I mean about that calmness, reassuredness. It's a quiet confidence. Yeah. But also, at the same time, there's a lot of adrenaline and excitement buzzing through me. And do you ever find sometimes when you perform this kind of like— sometimes I'll have this moment of like zoom in, zoom out? Yeah. Where I'm like kind of up overhead.

Oh, yeah. Dissociating. Yeah. It's great. I highly recommend it. I love it. You're like, "I'm on the ceiling, babe.

Nothing can touch me." Nope. "I'm not here." And we're doing it. "I wasn't even there." Yeah. And I have that sometimes a lot when I'm performing.

Me too. And it's a— What you're saying is like a technique to get past exactly what you said, the fear and adrenaline. And I don't know if you're like this, but I can get nervous after I do something. Like, I get through it and then like an hour later I'm like, "Ugh." Yeah.

"Did we do it?

Did we do it?" And it all starts to shake out because, yeah, I wasn't really there. I wanna finish with a very quick speed round. If you can give me a sentence or two about this, about some of these people or things. Sure, sure, sure. And number one, Zoë Kravitz. The best.

And I knew she was extremely talented when I first met her. She was an executive producer. I think that was her first executive producer role. And she went above and beyond. And so when she began starting to direct, I was like, "Duh, we saw that." I remember one time she literally— And it was so cool 'cause we were the same age. We were, like, the youngest people on set. And she was literally like— It was a coffee cup. We were doing a scene in a bodega. And it was a coffee cup, and she was like, "That's not—" "that's not what real coffee cups look like in New York." Like, why is it— I think it was like red, and you know it's supposed to be blue, with the blue and the white. And they were like, "Oh, Zoe—" 'Cause we're young and she's a woman. So they're like, "No, no, Zoe, it's fine." And she's like, "No, no. Get it right, and we'll wait." In a very polite but professional and stern way.

And I was like, "She's got it." Okay, speed round.

Yeah, I'm talking monolog. ASHLEY BLAINE FEATHERSON JENKINS] Yeah, so Al Pacino— I was like, "You're getting good ones!" And you're like, "Speed around." Al Pacino on Broadway, stressed out, voice tired, eating soup in, like, this little French bistro. He randomly is there. Uh, he goes to check out, and he backs back and, like, comes and sits down at my table. And we have this, like, beautiful, heartfelt thing. And I share with a stranger, like, I can't talk. Like, you know what I mean? I have no life, the amount that is required for this. Um, and he gave me the most beautiful advice ever. And he used this metaphor of a ladder and said, like, "As you continue to go up a ladder, you have to let go of more and more weight." And kind of was like, "It's nat— What you're feeling is natural." Another moment of someone being like, "You've got it. Keep going." And it was like, "I'll see you at the top of the ladder." Ladder. Cut to, we do Dolemite. Netflix decides they're now gonna start doing magazines, like their own magazines. We get to the shoot, and there's a ladder there.

And I'm like, "Oh my God, oh my God." 'Cause I knew he was going to be in this shoot, 'cause it was like the Irishman and all this. And I was like, "Yo, if they put me on this ladder, I'm gonna lose it!" And they're like placing everyone. So they place out— He's next to the ladder. And I said, "Please, please, please." 'Cause he's still gotta put, like, Laura Dern and Scarlett Johansson. So I was like, "Yo, I want that ladder." And they put me on the ladder. I'm bawling the entire photo shoot. And I'm, like, looking down at him, and I'm like, "How do you remember the ladder?" Did you ask him? And did he—? No. He's like, "Oh, why would he remember the ladder?" But I'm like, "It's the ladder!" And he's like, "All right, honey." Like, whatever. But in my mind, I was like, "Full circle!" I'm on the ladder, and I'm looking down. I'm looking at you, and you said it was gonna happen.

Oh my God, that's a perfect story. And then Stephen Sondheim. I miss him.

I know that sounds so crazy. It doesn't. But it's like, he was like the modern— He— Okay, sometimes that musical theater stuff is a lot for me. Like, I was never a kid that was like, "Rent! Da-da-da!" But— 'Cause I came into it late, and I just like, "Well, I'm a vocalist, and this is theater." And I had to, like, find my way into musicals, which is funny that my first gig was a musical. But I just vibed with him so much because it felt like strong story, really good acting, and we just so happened to sing beautiful, beautiful songs. To me, it's like the purest— for me and my taste, one of the purest ways of expressing musical theater. And in college, we did Into the Woods, and I played the witch. And I was like, "Okay, I think I like this stuff." Can you sing a little bit of it?

Girl, I sound so crazy.

Crazy.

You don't. You sound so crazy. This is—

wait, but what's the song when she's like—

sing a little Stephen— anything from Stephen Sondheim. What is the one, the one that the witch— you want me to get it on my laptop?

But what— I'm gonna look up the lyrics. This is crazy.

I sing for no one. And I'm gonna order that William Sonoba. Please do it. Please do it.

Please order it immediately.

I'm not kidding you, I've thought about it the entire time. Yeah, you guys, you didn't see it, but it has a wooden bowl with a hunter green hopper. OK.

What are we looking up? Where are the clowns? Send in the clowns. Tink Bells. Oh! Only for you. Literally.

Thank you. Thank you.

For years. Oh. Oh. No, years. OK.

I appreciate you so much. I appreciate you. And the world, like, needs to hear your voice.

No, I know. I got to work through this stuff. And so that's why I'm going to— What do you want to figure out? I think, honestly, I talk about this a little bit, but I think, honestly, because the classical thing, like, I feel like there's a lot of people that can, like, sing, like, pop and R&B, but I do feel like that's, like, one of my special little tricks. Like you said, how singing is a trick, but, like, classical. I think I want to do a biopic on Leontyne Price. And just, like, okay, we're doing it.

Rip the bandaid off. Everybody listening, let's make that happen. God, that would be amazing. I think that'd be fun. And then my last question is, because you're so funny, Times— and times are stressful. We ask a lot of our guests, um, what they listen to, read, go to to laugh. What it— like, is there anything right now that you're watching, consuming, like a v— like a dumb video, a TV show? What's making you laugh?

Really makes me— I did a podcast with Royal Court. Oh, Brittany! To the point where I had to tell my publicist, like, "Go back and take some things out," 'cause I just felt so comfortable, and we were just cracking up.

I saw you on that, and you guys were hilarious.

We were cracking up, and I was like, "Oh, she's God." So I think what her podcast is giving people right now is really, really nice. I watch a lot of old stuff. I don't— Are you like that? Do you sometimes— Sometimes I'm like, "Ugh, I don't want to be tainted or, like, watch a lot of new jokes." I don't watch a lot of comedy. Mm-mm-mm-mm.

In fact, And one of the reasons why the kind of intention behind this podcast is, to me, the way for my own mental health was like feeling like chatting and laughing with people. Yeah. Connection was getting me up out of things. Yeah. But the actual like watching comedy at home and like sometimes it feels like, ooh, if it's good, I'm like, damn.

I can't watch because I'm judging it. I can't watch contemporary stuff because I'm like, my friend's in that. Her hair looks crazy. You know what I mean? Like, why did they choose her? I like to watch older things. And so, I mean, you can't beat a '90s com— which I feel like is a lot of stuff that you've done. But like a '90s comedy is just so good. Ooh, like what?

What would you put on to run as you were— Are you talking Friends? Are you talking— I love Rush Hour.

Yes! That's one of the best buddy duos that you would never think of. And it is oh so good.

Let's watch a Rush Hour scene before you go.

Mm! Seen. Uh, they don't give a damn about you. They don't like you. I don't like you. I'm here for the girl. The girl don't like you. Nobody likes you. You came all the way over here for nothing. You ain't going to be on— And isn't it funny how people get so like, you touch the radio, this is not even your car, don't touch the radio.

I mean, also, I love when people people are— give it to, give it to somebody straight and they're like, I don't like you. It really makes me laugh. Just don't— nobody ever gets to say that in real life. No, you never get to say— comedy lets you say stuff you could never say. Yeah, just deadpan. I'm just like, she doesn't like you.

Just not into you. Sorry.

Well, Dave, I love you and I think we should be friends. Yes, please. I think we should buy Um, various things together.

I'm gonna give you my number. I want you to text me when you get the mixer.

Great.

I think you should get a pot. Just get one of the pots.

I gotta get all the pots. Okay, good.

That's what I was hoping for. I mean— And then, like, when you cook something in there, text it to me. And I'm gonna text it to you too.

Yes! Mm-hmm. I mean, what are we— Why are we working so hard if we can't buy ourselves discounted copper pots?

Mm-hmm. Black Friday sale. We deserve it. In this economy.

You saw what the price used to be?

Why would you? It's the— but it's that red ink that you speak about. It's that urgency of— there's only 5 left.

Such a lie. 5 left.

There's 50,000 in inventory in the back. Yeah, but I'mma get it and I'mma go pick it up. Do you have pasta thingies? Pasta what thingy? What? Which thing? Like, so when you get that, you can then also— I think it's like $99.99. Get the attachment heads to then make fresh pasta. What?

A pasta-making machine? Or the thing—

So you get the KitchenAid.

Thank you for coming. We're going to get off and we're going to go shopping.

KitchenAid. You just take the head off and then attach the pasta, different things on. So you could do the one where it's like, zzz, so your lasagna, then takes that off. Macaroni, and then you got endless possibilities.

I've never made pasta, and I've always wanted to. I'm gonna do it, bitches. I will do it with you. Yeah, I would love to. Let's do it. Let's hire a guy. Just to supervise. Thank you so much, Dave I. and Joy Randolph. You were so fun, and I loved talking to you, and I'm so blown away by your talent and your training, and— So thanks for joining me on the pod. And speaking of talent and training, I just want to use this polar plunge because we were talking a little bit about Shakespeare. And there's a person that I discovered in my phone, where I discover everything, read everything, and learn everything, a performer named Michelle Terry. And she is— I believe she ran the Shakespeare Globe Theater, or a member of the Royal Shakespeare Company, and then Royal National Theater. She performed at all those places. She's really good. She's really good. Actress. She is a person who continually amazes me and translates Shakespeare to me in a way that feels like no one has for me. So I don't know, if you're on your phone right now and you want to type her name in, uh, and you're going to see videos of her playing Hamlet and Richard III.

Incredible. Okay, so if you never liked Shakespeare before, Michelle Terry is going to get you there. Um, so that's my plunge. Thank you, um, for listening, and see you next time.

Bye!

You've been listening to Good Hang. The executive producers for this show are Bill Simmons, Jenna Weiss-Berman, and me, Amy Poehler. The show is produced by The Ringer and Paperkite. For The Ringer, production by Jack Wilson, Kat Spillane, Kaya McMullen, and Alea Xanaris. For Paperkite, production by Sam Green, Joel Lovell, and Jenna Weiss-Berman. Original music by Amy Miles.

I like how the one who wants a really good hang.