Transcript of Presenting: Julia interviewed — On with Kara Swisher

Hey, listeners, it's me, Julia.

We're back for season three of Wiser Than Me, and we have so much more wisdom to share from the legendary older women who have joined me this season.

I can't tell you the number of times when I'm having these conversations, I find myself scrambling for a piece of paper or a napkin or whatever I can find on my desk to quickly jot down some nugget that my guest is sharing in our conversation.

I mean, you've probably had the same experience, right? Well, guess what?

Problem solved. We have created brand new, Wiser Than Me notebooks with fun sayings on the cover like get wise or wise up, so you can keep all your newfound wisdom in one place. We just added these groovy hard our notebooks to our merch shop. To buy yours, head over to wiserthenmeshop. Com today. Lemonada. Hey, folks. Julie Julia here. The Wiser Than Me team is taking a break from our usual programming this week because it's election week, and we want to share another podcast we think you're going to really enjoy. It's hosted by my friend, Kara Swischer, an award-winning journalist and a really tough interviewer who covers tech, politics, and media on her podcast, On with Cara Swisher. In the episode, we're about to share Cara interviews me, and we talk a little bit about everything, including the importance of human connection, the commercialization of art films, death, why it's still very possible to create great comedy in 2024, even if it's risky, and how making this podcast and having deep conversations with older women has radicalized me. I love talking to Cara because she's smart, she's funny, she knows a lot, and she's a great conversationalist.

In just the past few months, Cara has interviewed powerhouse women like Nancy Pelosi, Hilly Rodham Clinton, Rachel Maddow, Roxanne Gay, and Alexandria Ocasio-Cortez. You can listen to more of her show by clicking the link in our show notes or by searching for On with Cara Swisher in your podcast app. Okay, here's the episode.

Hi, everyone from New York magazine in the Vox Media Podcast Network. This is On with Kara Swisher, and I'm Kara Swisher. We've had a slew of power women on On, and today we're keeping up that streak. Comedian and actor Julie Louis-Dreyfus. She's obviously a comedy legend. I'm an enormous fan. She's won 11 MAs, a record of eight she got for playing some of TV's most iconic female characters on three different sitcoms: Elaine Venice in Seinfeld, Christine Campbell in The New adventures of Old Christine, and of course, vice President Selena Meyer in Veeep. I don't know which one I like the most. I like all the characters. I I suspect Selena is my favorite character because she's real, actually. I've met people like her, but my kids like Seinfeld. I love Seinfeld. It stays fresh even today, and she's probably my favorite character on that show besides Jerry Stiller. Her scene, if you haven't seen it, it's on YouTube of her. Jerry Stiller, Cracking Each Other Up, is one of the finest bits of comedy I've ever seen. She's been honored with the Mark Twain Prize for American Humor and the National Medal of Arts. She is a national treasure, obviously.

And now she's winning awards for her new podcast, Wiser Than Me, where she gets life lessons from women over 70. Jane Fonda, Fran Lebowitz, Gloria Steinem, Patty Smith, Anne Lamotte, who I also recently spoke to. They've talked about what they've learned and how they've coped with the hard stuff, including Death and Grief, which is also the focus of Julia's latest film, Tuesday. And so, fittingly, our question this week comes from psychotherapist and host of Where Should I Begin podcast, Esther Pirel. I'm excited to talk to her, and I think you'll be excited to hear from her. Hi. Hi, Cara. How are you doing? Thank you so much for doing this.

I appreciate it. Oh, my goodness. It's my pleasure.

The movie was astonishing, I have to say. You were fantastic in it.

Oh, thank you very much.

I love anything about death, so I'm very excited about it.

Yeah, I do, too, actually.

But first, I want to talk about the podcast, your podcasting empire. Hardly. You're doing really well. You just wrapped up the second season of Wiser Than Me, which you interview women over 70. A lot of celebrities have podcasts these days, obviously. A lot of them are different from yours. For example, I think Smartlist is basically a buddy comedy. Talk about how you decided to do this and the way you conceived of it.

Well, I watched the Jane Fonda documentary. I don't know if you've seen it.

Sure have. Yeah.

It's phenomenal in my view. I was just riveted. After watching that, I really did think, Oh, God, where are all the old women. We're not hearing from these women. I mean, we are really not hearing from them. I wish there was a place where we could just only hear from old women. And so that's where it began. I thought, well, maybe I'll do it. And that's how it started. It was born out of curiosity, not any desire to do a podcast necessarily, but just to actually hear from older women. And then I developed it with my college roommate, and it's been a labor of love and passion.

It's been very popular. It's very high up on the rankings. Were you surprised Were you surprised by that?

I was surprised by it because I wasn't really thinking about how it would do. I was just thinking about doing it, if that makes sense. I wasn't going after it with that ambition. That doesn't mean I'm not ambitious, of course, but it really means that I was just trying to think of people that would be interesting to talk to at great length.

How do you look at the podcast medium as a way to do that? A lot of people get in and they get out of it pretty quickly because it's hard. It's a marathon. It's It's a real marathon. Some make money, some don't, but it can be very lucrative. I've had a really good run in that regard. But how do you look at it as a medium to communicate this? Because there's lots of ways you could have done this. You could have had a talk show, television. Yeah, I know.

Well, I guess because the conversation we're having now, which feels relaxed, if you and I were in front of an audience right now and having to talk, and I was hair and makeup and all that crap. It's an absolutely different content of conversation. And I actually enjoy talking to people on their podcast when we get into depth about things, because I just find it interesting to communicate that way.Right..

Conversation.yes..

And so I thought that this medium would be conducive to those kinds of intimate conversations where we maybe get a little a bit more underneath, period. Also, we don't video the podcast at all. So there's no pressure on these women who may have a feeling of self-consciousness because they're older. I'm not suggesting they should, of course, but in case, just to make it as relaxed as possible.

Right. So a conversation, this my dinner with Andre vibe to it. How do you pick the subjects in the approach? What does your goal say with Jane Fonda? You to her about ambition.

Well, it's really dictated by the women themselves. With my team's help, I do an enormous amount of research in prep so that I can come to this conversation and not squander it. So it's really their lives. And what strikes me is interesting to delve into. I mean, talking to somebody like Isabel Allende versus... I That was a great one. Bonnie Raid or Patty Smith or Beverly Johnson. They've had wildly varied lives from one another. So it's entirely based on their experience. That said, though, there are a particular set of questions that I love to hear them answer. I mean, I always open by asking how old they are and how old do they feel. And there are all these subjects that I'd like to delve into, like loss, for example, ambition. And then at the end, I might say things like, what would you say to your 21-year-old self? Or what do you wish you'd said no or yes to? That thing. Yeah.

So we talked about being radicalized by these women or more radicalized by these women. I think that was the quote. Who have you been most influenced by and what surprised you in the interviews, which you didn't expect? I don't know. Isabel Iande is a crackup. I don't know what.

Well, Isabel Iande... Oh, my God, what a phenomenal human I was struck by her complete joy in life. I was overcome by it. She talked about being in her 80s as being the best thing ever, and she meant it.

I have a very good life. I'm very happy.

Oh, God, that's so nice.

I'm so happy, Julia, really. I'm happy to be alive. I'm happy to be here. I'm happy to be looking through my window right now. I live very close to a lagoon, and I see the ducks and the geese, and it's fantastic.

What do you think the best part about being your age is?

That you don't have to please anybody.

Oh, yeah.

Only the people you love and the people you care for, but not the world, not everybody else. You don't have to follow anybody's lead. You don't have to follow fashion or nothing. If I try to look good, it's because it pleases me, not because I'm trying to please anybody else. I don't care, really.

And that was just like, Oh, my God. It was a completely different lens through which to consider aging. Gloria Steinem, who I spoke to for this season, obviously was just extraordinary. She actually talked about how as you age, and I'm going to butcher this, she was talking about how as you age, your inner girl becomes more realized.

Do you think that women become more radical as they get older?

I suppose nothing is true all the time, but I do think it's possible that it's often true because we outlive the stereotypical expectations of marriage and family and the subordinate role, if that's still around I think just as we are maybe more ourselves when we're before 10 or 11 years old and we're little girls who are climbing trees and saying, I know what I want, I know what I think. The feminine role hasn't descended upon us yet. We may also be more ourselves at the other end of the feminine role. I always think it would be great if an army of gray-haired women could take over the Earth.

Well, then the Earth would be a safe place, in my view. It really would be.

It would be better.

It would be much better.

There is a theme with all of these women, all of them, which is a shedding of what's expected of you as a woman, which is particularly fascinating to me and important to realize.

I believe the technical term is no more fucks left to give. Thank you. But it's not a necessarily a negative thing, right? Yeah.

No, it's fantastic. It's I am. There's less bullshit. I say what I feel. I know what I know. I know more. And that's the whole conceit of the podcast. They know more. So come on, let's listen to them.

Let's listen to them. Come on, woman. We'll get to your movie, and I'm like, Come on, woman. That was the best end line, I have to say. One of the things that I think the reason it works, this is a lot about you and how it changes your thinking, whether it's about the movie industry, women's rights, becoming more political. Have these Have those conversations changed you yourself, given you're looking for wisdom, wiser than me? Or is that wisdom being put to use in your own life?

Well, I will say that my reflections afterwards, after I actually have these conversations, I think a lot about them. And I will often, or most often, write with my husband the story at the beginning of the podcast past that will be a thread into the conversation. And so I would say certainly, I don't know if this is good or not, but I've always been a very private person in a lot of ways, and I've made a bit of a shift in terms of sharing aspects of myself. I don't know if I'm ultimately going to regret that, but I have done that in a way that I find surprising.

You realize you don't have that much time for regret anymore, so it's okay. It's fine if you let them out. But you also call your mom and talk to her about them.

Oh, yeah.

How does that go?

Well, this occurred to me to do when we were developing the show because my mother is very intelligent, curious. She's completely with it. She's 90, and she's been my beloved mother. I don't know what else to say. And so And she's very intellectual. And so I thought, my God, of all the women, I must include my mother in this in some way. So the idea of downloading with my mom feels right because I download with my mom and I enjoy her. I thought maybe people would enjoy. And she's getting a huge kick out.

Yeah. Would you bring her on? I don't believe you have, correct? I think that would be... I'm waiting for that one, honestly. You are.

That's something I'm considering, I suppose.

I think you have to. I've had my son and my brother on and stuff. They've been some of the most popular ones, which is interesting, especially my son. He's very wise for a young person. But I would love to hear your mom and her thoughts on it. I think it would be really good because she's a character in your podcast. I mean, podcasts are about characters. In any case, we got a question this week from someone who's a fan of your podcast, psychotherapist Esther Perel, host of the podcast, Where Should I Begin? I don't know if you listen to it. It's fantastic. You'll hear her question for you. Oh, God. It's okay.

Hello, Julie-Louis Dreyfus. So much of your work on the podcast is about starting conversation that the world needs to listen in on. And that really resonates with me. How do you think about the role of community, of the collective, in working through some of the very issues that you are processing on the show? The importance of the collective in addressing aging or loss or love or grief, hope, desire. What is the relationship between the I and the I in the process? In the process facing of such complicated existential wonders. Thank you.

She's a therapist. She's a well-known therapist. I know, and she's a fantastic.

Cara, you answer it.

Are you not smart enough?

I'm a dumb ass.

No, you are not.

You said that to me. I couldn't understand her- You are not a dumb ass. Stop. No, I'm making a joke. I know I'm not a dumb ass. To be honest with you, I think she answered the question in her question. She was talking about community and the collective, the we in terms of dealing with issues and addressing loss and love and so on and so forth. And the answer is, yes, the collective is the way out. I think Actually, her question speaks to something that's come out of these conversations, actually, particularly with my mother, which is the key is connect, connect, connect. I don't mean plug your computer in. I mean connect with human beings. There's everything to be said for community and everything not to be said about isolation. We're in a land of isolation now, which is paralyzing and toxic. I think there's nothing but value in finding ways to take action to connect with other people in every sense.

I think people are desperate for it. Desperate for it. Desperate for it. And agreement. One of the reasons I always say one of my podcast pivot works is because I'm connecting with a man who I disagree with in a way that's kind, and we disagree a lot. And people are desperate for that.

They're desperate. They're desperate for a kind conversation. It's funny. I remember once This is neither here nor there, but it was a while back and I was by myself. It was a weekend where I didn't have plans and my husband wasn't there and I was alone. I remember that I went to the grocery store and I found myself having an in-depth conversation with the checkout woman at the register, and I started asking her questions about her life. I realized afterwards what was happening, which was it I was lonely, and I became very, very interested in her life. Why wouldn't I be interested? Everybody has an interesting life. But I remember noting that like, Oh, that's interesting. I really sought a human being out.

No, it's an important story. Years ago, you know what? Your podcast reminds me of Spaulding gray did a show at the Kennedy Center many years ago where he brought people from the audience and just interviewed them. Just randomly. It was brilliant because he said, Everyone's story is interesting if you just talk to them. He had his own troubles, as you know, how his life ended. But it was the most riveting conversations I've ever seen because And that's what you're talking about here.

And that's what I'm talking about. And by the way, that's what something my mother does. And to sometimes great frustration to me and my sisters, because She'll talk to anybody and ask them everything. And as a result, she's a vibrant human being. But it does mean it takes a while to get out of any situation.

We'll be back in a minute.

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So speaking of connection, let's talk about Tuesday, dealing with existentialism and grief. Just to let people know, this is not a comedy, but it is funny in many ways. It's actually very funny. A giant Julie Louise Dreyfus is my favorite. Julie Louise-Dreyfus. You handle your tallness really well, but also-Thank you. And smallness. You didn't like smallness much. But the you going through the grass as a tiny thing was... I felt the borrowers all over again. Anyway, but it's about That's literally in the form of a talking macaw, I believe. That's the bird. I have not seen a movie like this in... I think for some reason, the John Malkovich movie was the last one it reminded me of, of the feelings I had during it. It's obviously a fantasy. Surreal in many ways. It feels like a García Márquez book or something like that. Can you talk a little bit what attracted you and the reason for taking it on?

The script was sent to me by A24, and it was crazy bananas, this script. But the themes of the film, the parent-child bond, grief, loss, death, dying, acceptance, denial, all of these themes are incredibly interesting to me as a human being. Then I met with Dina O'Puchik, who is the writer-director, Croatian woman. This is her first feature film. I met with her just to get a sense, of course, of who she was and what her intentions were and if I felt comfortable in her hands. I came away feeling very trusting of her and signed up. God, she's quite an artist. I'm sure I know you'll be hearing more from her as a filmmaker. And the animation, of course, it was paramount that the animation within the film was expert- Of the Bird. Yes. But I do want to say that within the film, as you say, there's this monster-like Bird, Macaw thing that is representing death. A lot of people think that was just CGI. In fact, it was not. It was played by an extraordinary actor, Orinse Kenne. He was a cast member with us. Then what the animators did was they used his performance and animated over him.

I always like to give a shout out to a Rinzai because you're not actually necessarily seeing him, but you actually are very much seeing him.

Yeah, it's interesting. It's like in Lord of the Rings. Because he was there in that conversation you had at the table. I was like, The actor is sitting there with you. Correct. That's what I thought. That's what I figured. Amazing. Amazing performance, by the way, and disturbing at the same time, but also very funny, but very funny bird. But in the movie, a mother and daughter basically having a conversation with death and about death together. You've been through a cancer treatment. You're a parent. I've had a stroke. My dad died. Talk about what draw to understand about the depths of grief, because in this case, you're dealing with someone else's death or impending death.

Well, I've also lost people close to me. I've lost my dad, I've lost my sister. I'm certainly keenly aware of our mortal lives. So I brought all of that with me to this. But I think the first thing that really appealed to me about this was the ferocity of the parent-child which it's undeniable and it's enormous. I enjoyed that aspect of the script, the lengths that a mother would go to to keep death away. And it really explores that, including, by the way, denial, denial of a reality.

Yes, not being there. Yes. Not being there. I mean, it's interesting when I heard the description of it, I almost didn't want to watch it because I have kids. And the idea of... I know. You know what I mean? It's one of those things that I was thinking the other day right before I watched it. I'm like, I have so many kids. I've upped my chances of being upset. You know what I mean? I don't know why it popped into my brain, but one of the things is a grief of knowing you're going to lose someone. Now, we know that with older people, but it's harder. Your character, Zora, tries to avoid her daughter selling off bits and pieces of their beautiful things. Then you go to the other extreme, which is barbecuing and trying to eat death, literally, being forced by death to confront it. Can you talk a little bit more about the parent-child bond? Because your character is at the center of that, and your child is... Zora is really the child in the relationship in a weird way.

Right. That's what is the dysfunction. Certainly at the start of the film is Zora's daughter, whose name is Tuesday, is really parenting her mother. And the journey, well, there are many journeys within the film, but one of the biggest journeys, I think, is the flip. So that by the end of the film, Zora comes to realize how she must parent her child in a functional way, which includes accepting the realities of her situation.

One of the things that's striking is not knowing the pain her daughter is in, not being aware of the pain until she can hear her having eaten death. So she has this hearing.

Yeah. Well, it's very symbolic. It's very metaphorical. It's because of the transformation that happens We're talking about this in such a way. I hope it's clear to people listening because what Zora does is she fights death in an effort to keep death away and then ultimately becomes- Death, she is.

She learns by doing death.

She learns by doing, and then realizes that as death, she has to come to her daughter. Oh, my God, I can't stand. Even saying it, it still upsets me. I can't stand it.

It's like a death doula in a weird way.

Yes, which, of course, there is, which I think is remarkable. And God, I think about that a lot. When I talked with Isabel Iande, and we're talking about this thing called death, and I was remarking because I had actually the gift of being able to be with my dad when he passed away. And I was very much struck by how That waiting and being with him was not dissimilar from waiting for some child to be born for a birth. And the the similarity in those transitions are similar. I'm not suggesting that one is as joyful as the other, but they are from a life living point of view. She was talking about that as well.

Well, what's interesting about it is she becomes joyful when she's doing death, right? That night of putting people at rest. The people screaming in the background, and you don't get to see a lot of it, except for a couple of scenes, was very funny, even though it wasn't funny. You know what I mean? Like, aah, and the bird, bang, bang, bang. I was in hysterics with that. I was like, Oh, that's what would happen if death went away. Death took a holiday, right? Speaking of which. But she gets joyful by doing death. Would you like to have that power? Would you ever?

Fuck, no. Are you kidding me?

Really? I would.

You would? Cara, really?

Yeah, because it's kind. It's a kindness. That macaw isn't cruel. That macaw is kind.

That's too much for me to bear. Yeah? The pain. I can't handle it. I pass on that job opportunity in real life.

All right. Okay. All right. Well, you can do the life part. They're linked together. So one of the things, I have just one more question about the movie, and then I want to talk a little bit about your longer career. But you finished this movie three years ago, as I said. Looking back, does the idea of Come on, Woman still resonate?

Well, actually, it's a get up woman. Get Up Woman. Get Up Woman.

Excuse me. Get up woman. Sorry.

And yes, it's almost a mantra. I think it works. It certainly applies to my life. What's the alternative? You've got to get up. You've got to keep... I mean, we have a limited amount of time. Let's go. Let's get it done.

We'll be back in a minute.

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I want to talk a little bit about your career in comedy. You made a joke at the Mark Twain Award in 2018 about being a dramatic actress. That was part of the bit. Damn You, Peter Hall. What a mistake. But it would be hard not to finish up with a legacy as a comedic actress. We met at the awards show where you won the Webby podcast of the year for Wiser Than Me. But in your long television career, you've won 11 Emmys. You're one of the few actors who has played not one with three iconic television characters, Elaine Venice, Christine Campbell, and vice President Selena Meyer. How do you look at each character now? To me, this is just me, and you could have a different take. I'm just an audience member. They have a common as need to be in the boys club? Am I getting that wrong? And all kidding aside, would it have been easier to be Portia?

Well, I mean, all of the characters, the thread between them all is profound frustration, I think, is And of course, aren't you frustrated? I mean, as a woman, isn't that... It's like frustration is, for me, a driver, and it certainly is with all of these women. And I would say, Selena Meyer in the most obvious and ultimate of ways. Yeah, but in that Mark Twain speech, and I was talking about being a dramatic actress. And the truth is, is that I really do enjoy doing drama. And it's actually why I took on this role, because I wanted to exercise that muscle again and have an opportunity to show that this is in my wheelhouse. So that joke about the quality of mercy is not strained was actually borne out of a true place, truth be told.

I'm not going to wade you into the Seinfeld controversy because I think that has nothing to do with you, but I'd love to know what you think is funny now. Everyone seems to have a theory, obviously. But what do you think is funny right at this moment we're in?

That question is funny.

I think there's a lot of talk about how comics can't be funny now. I think that's not true. I think comics are funnier than ever.

No, that's bullshit. I think that's bullshit.

Physical comedy and intellectual company and political comedy, I think, has never been more interesting because there's so much to do.

Well, yes, it's a ripe time. Comedy is risky and it can be offensive, but that's what makes it so enjoyable. Not that offensive, but that it's risky, that it can be very truth-telling and with risk. I personally don't buy the conceit that this is an impossible time to be funny. Maybe some people aren't laughing at your jokes, but that doesn't mean they shouldn't be made. Yeah.

So one of the things Elaine is known, for example, with the physical moves, although the dry retorts or the shoves or the dance, but also the retorts. And Selena, to me, is all feral facial expressions and wicked verbal cuts. Is it harder to do physical or intellectual comedy?

They're of equal strain. The physical comedy, sometimes, in my experience, is stuff that I've often found in rehearsal. So it takes a little exploring to find it. But I wouldn't say that it's hard. I just I would say it's as much fun. There's nothing more exciting than having really good material and then elevating it if you can. And if you do it physically, it's just delish.

Absolutely. I have just a couple more questions. Seinfeld in particular, for example, which I think you'll probably be best known for, even though I prefer deep. I know it sounds I love Seinfeld, too. But it's having this renaissance on Netflix. A lot of young people are watching the show. My son was like, Have you heard of Seinfeld? I'm like, Yeah. Why do you think it holds up and that younger generations are connecting?

Well, I don't know why that it's having this resurgence. I'm delighted that it is. It holds up because it's the human condition. It's undeniably funny. It wasn't fad-ish. It speaks to really universal truths. And period. It It's just like a great show, and it'll always be a great show.

Is there a show, if you had to introduce someone to it, that you would show them first? There's obviously the famous ones, not that there's anything wrong with that, Master of your Own Domain. Is there any show you would say, look at this one?

Well, I don't know. Probably something from seasons four or five when we started to really get our stride. It's interesting to watch this show because, not that I do, I don't really watch the show. But when it first started, it was slow by comparison, and the pace started to pick up, and it became more... It just became snappier as it went along. Maybe the soup Nazi, The Supnazzi was a good one.

I think The Brice was one of my favorites, The Brice.

Oh, really? The Brice.

That's hilarious. And the double-dipping. There's so many. The subway episode. But one of the things that's interesting is Netflix probably paid more than $500 million for the Seinfeld rights for five years. The contract started in 2021. Did you see any of that money?

Not one cent.

Okay. How do you feel about that?

Fantastic.

I would love you to go on about that. Alana Glazer, who was pretty critical about streaming services. What's your take? You're going into AI next for free, just so you know, but go ahead.

Good, because I know nothing about it. Look, here's my take on all of this. I'm worried about the corporatization of arts. For example, this movie I made Tuesdays with A24, one of the very few, if not the last, remaining independent studio making unusual films. I'm worried about that because it's now a lot of executives calling, and there have always been these executives, but they haven't been on top of each other like a layer cake. And I'm very worried about what that represents for good art outside the box, because we're not making widgets here. Good ideas are often... Well, first of all, they're hard to find. And I can tell you one thing, they're not found by a Corporation. Good artful ideas, in my view.

Yeah. Even though you're a network note, according to Jerry Seinfeld, that was very funny. Yeah, that was funny. That was fantastic. But in 2020, you signed an overall deal with Apple TV plus to develop new products as executive producer and actor. You've been producer on many of your shows. What does that mean exactly? And how does the deal differ from the ones you've cut over the past three decades?

Well, first of all, I didn't produce Tuesday, for example, but I do very much like to produce the work that I do because it just gives me more control over the product. I've been doing this now long enough so that I think I have experience that's useful as a producer. And so that's important to me. I no longer have this deal at Apple. It ran out, it was finished. And to be honest, they're all perfectly nice, but nothing came out of it. And that was too bad, but it just didn't, which is often the case with deals like this.

Yes, indeed. So what do you do now? Do you go bring your projects, your production company?

I don't even. You don't even. No. I don't want the headache of that right now. I just don't. I'd rather do things on a case-by-case basis. I'm guessing, probably, yes, I could have a production company. I could have I could be developing material for myself or other people. That's not something ultimately that excites me. It's too much. I don't need a huge universe like that. I'm not Oprah.

You're not going to Reese Witherspoon it, for instance.

I'm not going to. And this is not my way to disparage them in any way. I'm just saying that's not who I am. I approach projects very specifically, and that's how I roll. That's how I work.

May I ask what you're doing next? I don't know. Well, you've got a success.

I just finished a Marvel movie.

Yeah, my son wants to know why you're in the Marvel movies. You turn into a villain from what I understand, from what he tells me.

Well, I'm not allowed to say, Cara, because- Well, he tells me. As you know, let me explain to you something. The Marvel universe, if you're in it, you have to sign an NDA every three and a half minutes. And so if I say anything to you right now, a Marvel executive will come shoot me in the head as I'm speaking to you. And possibly shoot you. He can try. Yeah, you'll take them on good.

I'll take them on good. Are you kidding?

But anyway, I did wrap Thunderbolts, and so that is that I have coming out next year. But in terms of what am I shooting next? I'm not sure.

I don't know. Let me ask just three more questions very quick. Politics. You're a moderator at the 2020 Democratic Convention, which is some very good jokes that some of which apparently they cut. You can comment on that if you'd like.

It was broadcast news to the 10th power doing that thing. I am here to tell you. It was cuckoo bananas. It was COVID. The DNC talking to a... Comedy writers talking to... I mean, it was nuts. Fun. Ultimately, I was delighted to have done it, although terrified.

What are you doing this go around? There's a campaign happening.

You don't know yet.

I don't know if you know that. There's a campaign happening, a presidential.

Oh, really? And who's running, Cara?

It's a rerun. Oh, I've seen that. You've seen that? No. Not like this. It could be worse.

It could be worse. I don't know. Could it be worse?

Yes. I just interviewed Alexandria Ocasio-Cortez last week, and she was like, I'll be arrested, as if it was Tuesday, speaking of Tuesday. Yeah, and she quite meant it. But do you want to get involved, politics?

I am involved, yeah. I mean, at this point, not specifically with the convention, but I'm involved politically. I do a lot of work in down ballot races, in small races, and state legislatures and so on. I'm continuing to do that, really with a vengeance, as we speak.

Down ballot is the thing now.

It is. It's a lifeline, I think, to saving democracy. Absolutely.

I have two more questions at the end. I want to go back to Tuesday and wiser. In the end of the film, there's a question of whether heaven or God or the afterlife exists or not, and the bird says something amazing.

But there is an afterlife. The echo you leave, the legacy, your memory. This. This is Tuesday's afterlife.

How you live it is how she lives. What do you think of that? What's your echo? Besides an Oscar, obviously, and the Oscar goes to.

My echo? Well, I'm going I would say something very Palliana-ish. My echo is my two boys and them being good human beings and good citizens. If they are, then my echo is good and pure. That's my answer, period. This other crap doesn't matter.

Yeah, I just gave that answer to someone. They were surprised. I was like, that's the only thing.

Why would you be surprised? It's so fundamental.

I know. I was like, just them. That's it.

Just them, of course. None of this other stuff is meaningful in the same way.

It's interesting, but not meaningful. You're right. The last question, you start every episode of your podcast with a story about your life. I think you should continue to do that. I know you're private, but I think it resonates with people. It resonates with me, certainly. Are you writing a memoir?

No, I'm not.

If you did, what would the title be?

The title would be, What Should the Title Be? That's the title.

Okay. All right.

I think you should- I just pulled that out of my ass.

I like it. I like it. I like it. Anyway, thank you so much for doing this. I appreciate it. I do hope you do win the Oscar. Might be nice.

You're so nice. Might be nice. I'm so happy to be on this to talk with you because I listen to your podcast frequently, and so to actually have this conversation, in-depth conversation with you, has been really a delight for me. So thanks a lot. I appreciate it.

Thank you so much. On with Kara Swisher is produced by Christian Castro-Russell, Ketari Yocam, Jolie Myers and Megan Bernie. Special thanks to Kate Galliger, Andrea Lopez Cruzado, and Kate Furby. Our engineers are Rick Kwan and Fernando Aruda, and our theme music is by Trackademics. If you're already following the show, go ahead and do the Elaine Dance. If not, get up, woman and man. Go wherever you listen to podcast, search for On with Kara Swisher, and hit follow. Thanks for listening to On with Kara Swisher from New York magazine, the Vox Media Podcast Network, and us. We'll be back on Thursday with more. Hey, Wiser Than Me listeners, we want to hear from you.

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