mamake

0:01 | [Music]

0:04 | I can see you now.

0:06 | First of all, I'm actually gonna start

0:07 | with you, Rose, because from the minute

0:09 | I saw that picture of you on the beach

0:11 | from like the Sundance photo, I was

0:13 | like, "Okay, this lady's going to go

0:15 | through some things."

0:19 | Accurate.

0:20 | I'm curious for you though. One of the

0:22 | things that we sort of follow you as

0:24 | you're a mother on the brink and just

0:26 | really going through it, dealing with

0:29 | careaker fatigue, dealing with an

0:31 | absentee husband and a hole in your

0:33 | roof. The thing that I was most

0:35 | surprised with is that you have to look

0:36 | crazed. You have to look like somebody

0:39 | that has hit the meth pipe. How do you

0:40 | do that as an

0:42 | She wes.

0:43 | I just hit that pipe. You know what I

0:45 | mean? I mean, that's the way I roll.

0:47 | I don't know about you, but

0:48 | she's method. very method.

0:49 | Let's just get that out.

0:50 | But how do you get that like cuz I feel

0:52 | that's the hardest thing. The camera's

0:53 | on your face so much and you just have

0:55 | to look slowly going insane, which I

0:58 | don't know how you emote that as an

0:59 | actress, but you did it incredibly well.

1:01 | I must say we worked very closely with

1:02 | the heads of department. We had an

1:04 | incredible hair and makeup team because

1:06 | it's technical at the end of the day a

1:07 | lot. It's tracking it too cuz you're out

1:09 | of order and you're figuring it all out

1:10 | and we just we had a chart. We had a

1:12 | whole thing of cuz she's obviously

1:14 | self-destructing and drinking more and

1:16 | taking more drugs and it's it become it

1:18 | becomes a bit of a technical exercise

1:20 | and that was that it was actually good

1:22 | to start from the outside in in a way

1:23 | and that was very helpful. We it was

1:25 | very creative process too figuring out

1:27 | that because by the end she's quite a

1:29 | zombie you know and that was

1:31 | very it was fun. It was a fun kind of

1:33 | creative aspect of it was doing that.

1:35 | Yeah. And Mary, I mean, obviously Rose

1:37 | is an incredible actress, but her

1:39 | filmography. I don't think I'd seen that

1:42 | like, you know, meth energy, but you

1:45 | obviously did.

1:46 | I love that. I love that you keep

1:47 | calling her a meth mom. I love it.

1:49 | I love it.

1:50 | That's what it felt like to me. I was

1:51 | like,

1:52 | felt like that.

1:53 | This is This is a lot. She's not doing

1:55 | that obviously in the movie, but ASAP

1:57 | Rocky being, you know, exactly what he

1:59 | is in this figuring out that Conan could

2:01 | be the most disaffected man. How did you

2:04 | go about casting this incredible bit of

2:06 | your own story?

2:08 | Yeah, I mean, I was lucky enough that I

2:10 | got to cast all of my principles myself.

2:13 | Not everybody gets to do that or is

2:15 | trusted to do that. So, I I'm very lucky

2:17 | that A24 trusted my instincts and and

2:20 | that happened. As far as Rose goes, I

2:23 | mean, she was at the top of my list from

2:24 | the beginning because I needed somebody

2:27 | who understood the humor in the story

2:31 | and where those beats were and how to

2:33 | play them with inside her character. So

2:35 | not playing them for jokes but as

2:37 | behavioral comedy which you can't teach

2:40 | you know and then also somebody who had

2:43 | real dramatic chops and also somebody

2:45 | who's who's beloved by the world by the

2:49 | audience so that when the audience first

2:51 | sees her face even if it's

2:53 | subconsciously they have a kindness

2:55 | towards her and that allows me to take

2:57 | them into darker places and that's a

3:00 | very short list of people. Uh, Rose was

3:03 | number one uh for me and then she can't

3:06 | take a compliment.

3:07 | I can't imagine.

3:08 | And then it up

3:10 | for Conan. I've been a fan of his, you

3:12 | know, since the beginning of his uh late

3:15 | night first late night show came on.

3:17 | You're in late night.

3:19 | He was was he was

3:21 | I was asked to leave.

3:22 | He was asked to leave by the community.

3:24 | By the late night community

3:25 | by America might

3:28 | America

3:30 | seem to like you the other night. It's

3:31 | the one thing this country can agree on.

3:33 | I feel like

3:35 | I miscalculate. Sorry, we digress.

3:37 | We digress. And uh no, I was 14 when

3:40 | that first show came out. And I So this

3:42 | man's you know, voice has been in my

3:45 | head uh you know, for most of my life.

3:47 | And one night I was listening to him on

3:49 | his podcast interviewing David

3:50 | Letterman. And these two men were, it

3:54 | was a serious part of the conversation.

3:56 | And I thought to myself, if Conan

3:58 | O'Brien told me to do something, I would

4:00 | listen. I would listen. And then I

4:03 | thought, he could be the therapist, but

4:05 | that's too wild of an idea.

4:07 | But but it wasn't. It wasn't. I got the

4:11 | script to him and he read it and he was

4:15 | scared out of his mind

4:17 | and I convinced him to do it. And how

4:20 | good is he? How good is he?

4:22 | You've already won an award,

4:23 | award-winning actor already. You and

4:25 | Asa.

4:26 | That's right.

4:28 | I heard Conan that you said that, and I

4:31 | don't want to give too much away, that

4:33 | you were reading the script and when it

4:35 | got to the hamster scene, which is a you

4:37 | got to pick your side on that scene.

4:39 | Either you are dying laughing or you

4:40 | were shocked. That was when you were

4:42 | like, I'm doing this. So, what was

4:46 | that particular moment that made you

4:47 | say, yeah, this is this is the dramatic

4:50 | project for me. When I read the script,

4:52 | and this is not something I aspired to

4:54 | do, it's has not been on my bucket list,

4:58 | but this script came to me and when I

4:59 | read it, I could immediately tell that

5:01 | this was very special. Mary, I've I've

5:04 | told her this many times, but she's a

5:05 | master of tone. Uh it is a very original

5:10 | story and she uh creates this very

5:14 | specific atmosphere and she's in

5:17 | complete command. and I read it and I

5:19 | thought this is really special and I

5:22 | love the script so much and I admire and

5:26 | love Rose so much that I didn't want

5:29 | anything to damage this project. So, the

5:31 | first thing I did was tell uh Mary, you

5:34 | should go out and get someone else. And

5:36 | I might be the only person uh in uh

5:40 | Hollywood who when presented with an A24

5:44 | script says, "Are you sure you shouldn't

5:46 | find someone else?" and I was dogged

5:48 | about that and then I made you promise

5:50 | that if you weren't happy on set,

5:53 | replace me immediately. I will not be

5:55 | offended. Um, and then once we agreed to

5:59 | those conditions, uh, we worked really

6:01 | hard. So, cuz I I just wanted to be a

6:04 | good scene partner for uh, Rose. These

6:07 | two women are extraordinary. I have the

6:10 | highest esteem for them, and I just

6:14 | didn't want to get in the way. And I get

6:16 | in the way.

6:17 | Well, you know what I mean. I wanted to

6:18 | be I wanted to support and I didn't want

6:20 | anyone to look at it and think, "Oh,

6:21 | this is like a shtick or a gimmick." And

6:24 | uh I think we achieved that. So,

6:26 | yeah. No, you really did. And it was I

6:29 | mean, I have to ask you, Mary, a little

6:30 | bit about I I want to talk a little bit

6:33 | as much as we can about the hamster

6:34 | because like I said, I was watching it

6:36 | and I was dying and you wrote it and I

6:38 | just feel a part of you like I just need

6:42 | to know more about this. It's a fantasy

6:44 | fulfillment of okay, my daughter talked

6:48 | me into getting a hamster

6:50 | one time and I hated this guy so much. I

6:54 | hated this guy. His name was Max.

6:56 | And the minute Max came into my life,

6:59 | I hated him because it was a similar

7:01 | situation in the movie where I was like,

7:02 | can I get a hamster? No. Can I get a

7:04 | hamster? No. Can I get a hamster? No.

7:06 | And then there was a situation where I

7:07 | was like, if okay, if you do this thing,

7:10 | you can get a hamster. And the minute I

7:12 | came out of my mouth, I was like, "No."

7:14 | Cuz of course, then she did the thing

7:16 | and we got the hamster. The hamster was

7:18 | completely nocturnal. Slept all through

7:20 | the day. And then when my husband and I

7:22 | would sit on the couch to relax and

7:23 | watch TV, the hamster would be like,

7:25 | "Party time." And the hamster would do,

7:29 | I swear to God, monkey bars across the

7:32 | top of the cage. And as soon as it

7:33 | started doing that, I was like, "No,

7:35 | sir."

7:36 | And I took the hamster back to the pet

7:39 | store and I said, "I don't care what you

7:41 | do with this guy. I'm leaving it here.

7:43 | You can take the cage. You can take all

7:45 | the accuchants that he has." And I left.

7:48 | And I was like, "So then when I This was

7:52 | a couple years before I wrote the

7:53 | script. When I wrote the script, I was

7:55 | like, I I thought of that moment." And

7:58 | every parent knows that moment when

8:01 | you're you promise a thing

8:03 | to get out of a situation and then

8:05 | you're like, why did I do that? Cuz then

8:07 | you have to live with it.

8:09 | And then I thought,

8:11 | what if it what if it gets run over?

8:13 | What if it gets what if it gets run

8:15 | over? And uh you know, it's either a in

8:19 | the audience, it's either a gasp

8:22 | or a hard laugh. And you know, what side

8:25 | were you on? I'm curious.

8:26 | That was a hard laugh. Good. Yeah. Good.

8:28 | Good. Good. Good. That's the side.

8:30 | That's the side. Yes.

8:32 | This is the feel bad comedy of the year.

8:34 | That's the feel bad comedy of the year.

8:36 | I love that. Let's put that on the

8:38 | One of the things too that I loved about

8:40 | this movie is towards the end of it, and

8:41 | this is why I stand by the the drug add

8:43 | part, I worry about her as an unreliable

8:46 | narrator because we really do believe in

8:48 | her experience. Absolutely. About

8:50 | halfway through, I'm like, this is not

8:53 | real. Like first of all, just the doctor

8:57 | that was such a meta moment. I don't

8:58 | know what y'all were doing. And like

9:00 | it was meant to be a meta exercise. Yes.

9:02 | For you, Rose. How did you do that part

9:04 | of it? The sort of like cuz she again

9:07 | her being an unreliable narrator, did

9:10 | y'all sort of make it to where obviously

9:12 | this experience is not hers or like how

9:14 | how does that sort of like play out

9:16 | because I couldn't tell whether she's

9:18 | crazier than the situation or the

9:20 | situation was crazier than her? Well, it

9:21 | was always from her so deeply from her

9:23 | perspective. So, as the performance, it

9:25 | was just completely committed to her

9:27 | POV, but like the ambiguity that Mary

9:29 | creates is just like this great to tone

9:32 | Conan's point, the tone of it is so

9:34 | ambiguous. I'm still learning things

9:36 | about the movie, like still discovering

9:38 | it, you know, the different aspects of

9:40 | it. And now that people are seeing it,

9:42 | it's so curious to hear what people

9:44 | respond to and how people are processing

9:46 | it and and asking these questions like,

9:48 | "Was this real? Was that real? Did this

9:49 | mean this? Did this mean that?" like

9:50 | it's all right. It's all the word is

9:52 | right. It's all a great a great creative

9:54 | expression. I think I I told uh Mary

9:56 | that the the other night we did a

9:58 | screening in Los Angeles and we're about

10:01 | to go out on stage and answer questions

10:03 | and the crowd is applauding and Rocky

10:05 | leans over to me and starts asking me

10:08 | questions about now do you think that

10:11 | your character and I was saying huh well

10:13 | that's interesting that we're walking

10:16 | out onto a stage

10:18 | and he's interpreting and I'm trying to

10:20 | interpret and then I thought oh wait a

10:21 | minute I think we're supposed to promote

10:23 | the film. So all of us as huge fans of

10:27 | your vision are are that's one of the

10:30 | things I think is so special about this

10:32 | this film is that there's so much that

10:35 | you can debate talk about and that is

10:37 | the thing I've heard most consistently

10:39 | is when the film is over friends of mine

10:42 | that have seen it said I need to talk

10:44 | about this I need to talk about it and I

10:46 | did not have that reaction you know when

10:49 | I saw you know Terminator 9 Terminator

10:53 | Jim, you need to talk about it.

10:55 | You do need to talk about this one. You

10:57 | also need to maybe call your mother.

10:59 | There's a lot of that like call your mom

11:01 | energy to it, too.

11:02 | I've said that to a couple of young

11:04 | people that have approached me

11:06 | afterwards and had very intense

11:08 | reactions. And I just say, "Is your

11:10 | mother still with us?" And if they say

11:12 | yes, I say, "Call your mom. Call your

11:14 | mom."

11:15 | I was going to say, Rose, for you

11:16 | though, one of the reasons why I also

11:18 | felt that is you have to do a lot of

11:19 | phone acting. Some sets it's the person

11:22 | to the side, some sets it isn't. But

11:24 | you've got to give that desperate sort

11:26 | of moment and you're just like holding

11:28 | the phone in the car, which I think is

11:29 | even harder and the camera staring at

11:32 | you. So, how did you sort of stay locked

11:33 | in? Was it Mary off to the side?

11:35 | No, you Christian. No.

11:36 | Oh, it was Christian. Oh, wow. That's

11:38 | awesome.

11:39 | Calling in from Germany and Miami and I

11:41 | don't know where he was.

11:43 | I never I I have a thing where I will

11:45 | never let an actor act against an empty

11:48 | chair. You just can't do it. and the the

11:50 | viewer can smell it, you know. Uh so the

11:53 | the daughter um even though we don't see

11:55 | her for the almost the entirety of the

11:57 | movie, whenever um Rose has a scene with

12:01 | her, um she's there. She's physically

12:04 | there. So they're acting together. And

12:06 | then whenever she's on the phone with

12:08 | somebody, the person is on the phone.

12:10 | And if the person couldn't be on the

12:12 | phone, which I think was only like one

12:13 | instance, maybe somebody else is on the

12:16 | phone. So that it's never pretending.

12:18 | It's acting and reacting, not

12:20 | pretending.

12:21 | Conan, I wanted to ask you sort of like

12:23 | a last question because again, I don't

12:26 | know where you pulled this man out of

12:28 | because he's the most unfeilling

12:30 | therapist in the history of therapy in

12:32 | my opinion. I think other people would

12:34 | disagree, but I was like, I can't be

12:36 | with this man right now. Um, was there

12:39 | an inspiration for it? He seems so

12:42 | different from you. Was there anybody

12:43 | that you sort of like pulled to to like

12:46 | find him? Well, I come from people and I

12:49 | want to be very specific about this. I

12:51 | come from uh some I lot of Irish people

12:56 | who um lovely people, excellent people,

13:00 | but we are we can be very uncomfortable

13:04 | around emotion. We can be very

13:07 | uncomfortable around any kind of

13:09 | neediness. And I think I so I had that

13:12 | in me and I thought I know these people.

13:15 | I've encountered these people and what's

13:18 | interesting is this the way I saw this

13:22 | guy is that when the higher

13:26 | uh Rose goes in her in her need for my

13:31 | help or for anyone's help, the more I

13:34 | actually start to shut down because I

13:37 | have very strict ideas. I like

13:40 | everything in a certain kind of box. And

13:42 | so I just kept thinking about that and

13:44 | it was difficult because it's the exact

13:47 | opposite of my instinct. I would be a

13:50 | terrible therapist because I would be

13:53 | everything in me would be saying if it

13:55 | was me I'd be saying uh you know Rose

13:58 | you need to get some sleep. Uh I'm going

14:01 | to book you a hotel room. I'm going to

14:03 | get sitters for your daughter. I'm going

14:06 | to make sure that you get you know I'll

14:08 | book you a massage. I would do all the

14:10 | things that cross the line. disbarred

14:12 | I would be disbarred immediately. I'd

14:15 | say, "We're having trouble getting wine.

14:16 | I'm sending a crate of wine to your

14:18 | room. Also, here's some, you know,

14:21 | here's there's some good pharmaceuticals

14:23 | I think you should try. Um, here's a

14:25 | whole bottle. I would be terrible." And

14:27 | so, it was almost that George Castanza

14:29 | and Seinfeld thing where I thought do

14:31 | the opposite of what I would do. And

14:33 | that seems to um annoy and really bother

14:36 | everybody, which I think is the idea.

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