Lake Bell

0:00It's called Million Dollar R. We find the first Major League Baseball player from India. Like being on the road? Words can not express. Ray, how are you going to know if anyone can throw up and keep your eyes shut all day? I can hear it. Really? Ah! That was about a 43. Standing in the heart, Ray! Wow. This whole alternative family thing looks good on you. So did you do the announcement on the plane on your way over? I hear you used to do announcements on some planes. No, but I always think about that time in my life where I did my Hello and welcome to Air Canada. Thank you for using your airline. You're welcome. Yeah, you see, I can adapt. You can adapt. Well, speaking of which, in the movie you make these, I just wanted to get you to do it again.

0:46These great washing machine sounds. Oh yeah, that was like written in, Tom McCarthy wrote an amazing script actually for this true story. I'm a huge fan of his. So that was one of the exciting points of this movie and Craig Gillespie being, you know, did Lars in the real world. I mean, what a cool cocktail to make this movie of creatives. But yeah, he wrote in a lot of, you know, there's a lot of written sounds, which I thought was really fun. Does having written and directed, I mean, I know you did short years ago too, but how much did In A World change the way you approach a character or acting or working with others? You know, I think I always was a very attentive actor in that the way I learned to make movies was to be super present as an actor,

1:34but also just as a cog in the very large machine of the movie, you know. And so I'd always pay attention and be a sponge and observe, you know, to sort of gain information. So I've always been pretty thoughtful in that way. That said, when you have made a movie, it's more the difference, I think, is that when they say, oh, this is going to be an hour setup or something like that. I'm like, I know that's BS. You know, I can look around and be like, oh, this is going to be like at least two hours. I can go back to my, you know, or whatever it is. I just have an understanding technically of, you know, what a certain setup will take or, you know, I like to talk shop. So I would talk, you know, and usually directors are pretty cool with that, but I always assess it out to see.

2:21I don't want to be like a jerk or something. Right. You know, an overask. But I, you know, I sort of read the room and then I see if we can talk like, hey, well, Lindsey, you're gonna throw on there, you know. Also, you're into the camera stuff, so you're okay. Well, I'm a director. Well, but there's some directors that are into the camera stuff. They're some that rather talk to actors and haven't you noticed that in your work? I find that, well, I guess as a director, you're kind of, you're responsible for all of it. That's the whole thing is that you have, you're wearing all of the, you know, you literally, you're the only gal or guy to report to for all of it. So I mean, it comes down to, you know, I don't like, it's a V-Mac. I wonder, you know, but I like that, but I was just talking about it. But you know, it's like, it's like, oh, I don't know if the yellow should be behind his head and if he would be from out and actually let's put it on a 85 and can we bring in another between, you know, it's like, I mean, you're responsible for all those things.

3:07And then to talk to the actors and say, think about where you were or where you're going. And, you know, so yeah, it's all, and that's what's so cool about it. Yeah, I do want to talk about Miranda Little because we don't have much time. And you get to play like a whole range of emotions. Like every scene I see you in, it's a different emotion. Yeah, you're right. She is, I love this character because I think often in sports movies, you know, traditionally the lady character can kind of get pushed to the sidelines. And this was, she's based on a real person, but I mean, she very much has import in this man's emotional journey. And I think that, you know, it's kind of stand up to John Hamm's character who is traditionally has women fawning over him and say, you know, you're a real jerk and I wasn't even

3:54into you is profound unto itself. But I've known him for many years, so I'm allowed to kind of, you know, we're allowed to talk to obl five questions, five quick questions, one word answers, script or improv. Both. Writing or directing. All. Landon or McCartney. Sorry. Landon or McCartney. Okay. Hitchcock or Kubrick. These are too hard. Everyone gets the same ones. That's why I'm. It's fantastic. Okay. In one word, you have to answer this one in one word, million dollar arm. Heart. Heart. That's nice. Thanks, like. Appreciate it. Thanks.