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  • - I realized that the way that I'm going to try

  • to think about it in the future is actually

  • not so much about ticking boxes of like this kind

  • of movie or this kind of character,

  • because the more that I've been able to work

  • and work with really incredible people,

  • the people that really leave an impression on me

  • are the people who seem happy,

  • people who are working and loving their work and also loving

  • the life that they live.

  • And they've found this balance.

  • I'm Anna Kendrick. And this is the timeline of my career.

  • Excuse me, is there some place we're supposed to check in?

  • - Over there, is this is your first summer?

  • - No, I was here last year.

  • Remember?

  • We were at night, mother together.

  • So camp is the first movie I ever did.

  • Well, I actually got involved in that project

  • because the director was cousins

  • of Randy Graf,

  • who was in the Broadway show that I did

  • when I was 12 years old.

  • So she was like, "If you're looking for a girl

  • "who could play my character in that film,

  • "the creepiest, most of obsessive weirdo of all time,

  • "I've got just the girl for you."

  • The blessing about that film was that it was

  • because it was non union, it was everybody's first film.

  • So it was a lot of anxiety, but we had the blessing

  • of like no cast member knew anything.

  • So you were allowed to ask questions and be an idiot

  • and not feel quite as much shame.

  • And at the time, I mean, you couldn't tell me

  • that these people were not my family

  • and that we were not bonded for life.

  • Like this was the most significant experience

  • I had ever had.

  • And when I left, I was sobbing.

  • It was like a break-up, I cut my hair,

  • I did like all the breakup stuff.

  • I was inconsolable.

  • Like I'm used to it now, but it is a really bizarre,

  • like all consuming

  • experience.

  • And that's why you get these kind of heightened things.

  • Then that's why people fall in love with each other.

  • And that's why Christian Bale yells at his GP.

  • And it's all just part of like what happens.

  • You just go slightly crazy.

  • You're Joe Simmons, my name's Christie.

  • - She's got a great spike, huh?

  • - Yes.

  • I'm Jessica by the way.

  • Hey you're from Arizona, right?

  • - Yeah.

  • - Aren't people from Arizona supposed

  • to be like really tan?

  • I auditioned for Twilight because Katherine Harvick

  • had seen me in a film at Sundance called "Rocket Science"

  • and asking me to come in and audition.

  • And I really thought it was such a blow off audition.

  • I just thought like well I'll you know, do as well

  • as I can so that the casting director like thinks

  • of me for other stuff and I actually saw my friend

  • Mae Whitman at that audition and we were both like,

  • "What are we doing here?"

  • Like we're obviously not going

  • to be this like mean girl character.

  • Yeah I got that job, which was I mean,

  • truly like such a shock.

  • The first movie we filmed in Portland, Oregon,

  • and I just remember being so cold and miserable.

  • And I just remember my converse being completely soaked

  • through and feeling like, you know,

  • this is a really great group of people and I'm sure

  • that we would be friends in a different time,

  • but I want to murder everyone.

  • Although it was also kind of bonding.

  • There was like something about it that was like,

  • you know, like you go through like some trauma event.

  • Like you imagine like people

  • who survive like a hostage situation.

  • And you're kind of bonded for life.

  • The second movie, for whatever reason,

  • like the weather wasn't quite as intense.

  • And that's sort of, I think where we all got

  • to know each other a little bit better.

  • I was shooting "Up In the Air" by the time

  • that we were making that second movie.

  • So they rearranged a lot of scheduling stuff.

  • Cause it would have been a real dick move,

  • but you know, they have legally they had the right

  • to stop me from doing "Up In the Air"

  • so shout out

  • to those guys.

  • [mumbles] anyway, so we're supposed

  • to like draw a parallelogram.

  • Our answers were things like astronaut, president

  • or in my case, a princess.

  • When we were 10, they asked again,

  • we answered rockstar, cowboy

  • or in my case, a gold medalist.

  • But now that we've grown up, they want a serious answer.

  • They all start to blend into one at some point

  • because my whole job was just to go like this family

  • of very pale people who we never see eating.

  • They're really weird, right?

  • Anyway, what did I do in the third movie?

  • Oh, I did the graduation speech in the third movie.

  • That's right and I remember thinking like,

  • "Oh, why did they make my character the valedictorian?"

  • Like she's very obviously not a good student.

  • But you know, they just wanted me to like have something

  • to do because it was a speech so I just like did

  • what was scripted and I swear that scene,

  • people are like,

  • "You know, that speech that you give in

  • "that third movie, it's really sweet.

  • "It's really moving."

  • And I swear to God, I'm like the thing that is happening

  • is you are looking at Kristen Stuart's reaction to

  • that speech and that is the thing that is moving you.

  • Because I was like, "I did all right,"

  • but I was just kinda like I dunno, I'm reading the speech

  • and then it cuts to Kristen, she's so moved

  • because she's so talented that I was like,

  • Oh, people are like, "That speech is so amazing."

  • And I'm like, "No, it's just her and she's great."

  • So I was in the fourth grade and it was

  • just like a wedding scene where again, I'm like,

  • "Hmm, these people are so weird,"

  • and you're in like just half frozen mud in

  • what was the final scene of filming for everybody.

  • You know, it's like I get to come in and you know,

  • work for a week or two.

  • And everybody else has been like giving

  • their blood, sweat and tears to the project for months.

  • I show up at the end and I'm like,

  • "Guys, we did it's over."

  • [laughs softly]

  • [laughs softly] That's so funny.

  • Never want to get married.

  • - Nope.

  • - Never want kids.

  • - Not a chance.

  • - Ever?

  • - Never.

  • Is that so bizarre?

  • - Yes.

  • So "Up In the Air" was, you know,

  • a script I got, it was like this really high profile thing,

  • this amazing part opposite George Clooney.

  • And well I'll go in and I'll do my best and you know,

  • they'll give it to somebody more famous.

  • I remember my agents calling me a couple

  • of days after my audition and being like,

  • "Okay, we're pretty sure that an offer is coming in."

  • And I was like, "You weren't in the room."

  • Cause I was just totally convinced

  • that I'd left no impression and basically spent

  • the first weeks of filming thinking like,

  • I'll just enjoy this and you know, I'll be like the,

  • is it Eric Stoltz in "Back To the Future"

  • where it's like a funny story that like initially

  • they hired somebody else.

  • Clooney was so classy,

  • man.

  • I know that everybody describes him that way,

  • but it's just you know, on my first day he was like,

  • "So do you get nervous?

  • "I get nervous."

  • In retrospect, bullshit.

  • No he doesn't.

  • But it was such a generous thing to say to me

  • and I believed it at the time and I was like,

  • "Oh, we're the same."

  • Which is the whole point, you know, he's so good

  • at disarming people and trying to get them to forget

  • that he's international movie star George Clooney.

  • I just couldn't have asked for a better,

  • I guess like Sherpa, you know,

  • in that situation, to just see like

  • how does somebody handle themselves?

  • You know, everybody's looking to them for the tone,

  • and you know, the kind of manner in which we're all going

  • to treat each other.

  • I was doing one of my first interviews about the movie

  • with Jason Bateman and he made you know,

  • an innocuous comment to me about how I might need

  • to be picking out a nice dress in the spring.

  • It just totally threw me

  • that anybody would genuinely be thinking that.

  • So it felt like a little funny joke,

  • I guess, in retrospect to like of course

  • I wish I could have just accepted that

  • and seen it for what it was,

  • which was just a compliment that anybody

  • would be saying that.

  • I'm kind of glad that I at least had the presence of mind

  • at the time to go, "Anna, you might look back on this time

  • "and get mad at yourself for not enjoying it more.

  • "So I want you to actually take in like how overwhelming

  • "this is and how much pressure there is

  • "and how you have no idea how to navigate it

  • "and that's okay."

  • It kind of lets me at least kind of

  • let my younger self off the hook a little bit.

  • Yes it is.

  • - I just don't see the value in it.

  • - You know what we should really talk about

  • is you have trash on your floor and there's no reason.

  • I mean, you know, at least have a bag in the back

  • to put the trash in.

  • - Adam, your girlfriend cheated on you.

  • We don't have to talk about it, you don't have to.

  • "50/50" was like the first time that I felt

  • like I kind of pulled a little bait and switch

  • on someone because on paper she felt

  • really similar

  • to my character from "Up In the Air"

  • and I knew that that was like, why they hired me.

  • I just wanted to make her like really soft,

  • you know, Natalie and "Up In the Air" it's like trying

  • so hard to be a hard ass.

  • And this wasn't a far cry from that just on the page.

  • I did worry that I would get there

  • and that Jonathan Levine, the director would like tell me

  • to basically play it more like my character

  • from "Up In the Air"

  • And he, I feel like is this weird, like Jedi master

  • where like, it doesn't feel like he's doing a lot.

  • And then every movie he does is like,

  • why does this have this much heart?

  • You know, things like "Warm bodies" or "The long shot"

  • Those movies have no right to make me cry.

  • Yeah, he just really like, didn't shy away

  • from that vulnerability.

  • I just broke up with somebody recently, myself.

  • - You did.

  • - Yeah.

  • [phone ringing]

  • - 17 years old, scandal.

  • - That's not true, who told you?

  • - Wallace, duh.

  • So "Scott Pilgrim vs The World" I just did

  • because I loved Edgar Wright's movies.

  • I loved "Shaun of the dead" and I loved "Hot Fuzz"

  • and he knows this that to this day,

  • "Hot Fuzz" is my second favorite film of all time.

  • "The Women" is the first ever film

  • "Hot Fuzz" is the close second.

  • Often when I read a script like the pace at

  • which I can get through a script is a test

  • of like how exciting the movie is to me.

  • And there are exceptions to that rule

  • and "Scaffolder" was one of those exceptions.

  • That movie on paper is so bizarre

  • and like, there's like nothing to hold onto.

  • It's so insane and suddenly there's somebody singing

  • and fighting like video game style.

  • But up until that point, there's been no indication

  • that it's like a video game movie.

  • So why are you fighting?

  • How, why is he flying?

  • Why does he have like demon hipster chicks

  • as his backup fighters/backup singers?

  • And actually that was one of

  • the early scenes

  • that I did and I was like, "You know what,

  • "I'm just going to be the audience for a second and be like,

  • "what is happening?

  • "Explain yourself."

  • So that was my motivation for that.

  • And I was not surprised that it ended up in the movie

  • because I do think that it just lets the audience go,

  • "Okay so this is insane.

  • "We're all on the same page.

  • "Fantastic."

  • Oh my God, you guys haven't--

  • - No, no, no, no.

  • - What do you teach?

  • - I teach at board, I teach special ed.

  • - Oh wow.

  • - Yeah.

  • - Yeah that's--

  • So you really teach?

  • - And then "Drinking Buddies"

  • I didn't receive a single piece of paper

  • the entire time that we were filming.

  • There's no paper.

  • I would just show up and Joe Swanberg,

  • the director would be like, "We'll just see what happens.

  • "We'll just like, see the scene."

  • I go for this hike with Ron Livingston

  • and I kiss him and I'm in a relationship with Jake Johnson.

  • And just before we started to shoot

  • that

  • scene,

  • Joe came over and you know, Ron and I kind of knew

  • what the scene was about and Joe came over

  • and was kind of talking to us about it and was like,

  • you know, "And then you guys will kiss at some point

  • "and whatever."

  • And Ron was like, "Yeah.

  • "I mean, if we kiss, if that feels right."

  • And Joe was like, "Sure."

  • And walked away.

  • And I was like, wait, I think we have to,

  • I think we have to kiss for

  • certain scenes later

  • to feel right.

  • But then I knew that my character wouldn't ever kiss Ron.

  • And so I was like, "Oh, I have to get Ron to kiss me."

  • Like the actor and the character.

  • I have to get him to kiss me without betraying my character.

  • So I did this thing.

  • We sat in silence for a long time and I did the thing

  • that's in the movie of going like,

  • "I'm having a really nervous feeling right now."

  • And then he kind of asks me what I'm talking about

  • and then I'm kind of falling all over myself to apologize,

  • like, "Oh, I've misread this situation."

  • And then he ends up kissing me.

  • We called cut and Joe was like, "Great, do you want

  • "to do it again?"

  • And I was like, "No."

  • Because it was really nerve wracking.

  • Like it felt like the real stakes of when you are misreading

  • a situation where you want someone to kiss you,

  • like it felt that real and alive because like

  • nobody told me how to do it.

  • And I started crying.

  • Like I have really cheated and I really like

  • had to tell my boyfriend now.

  • So it was so fun and terrifying.

  • Like you have all those body responses that you

  • have in real life where like the hair on your arms stands up

  • and stuff like that. So

  • it was terrifying and like the best.

  • - I find that really impressive.

  • - Well, thank you.

  • Shorty get down, good lord

  • Baby got 'em open all over town

  • Strictly biz she don't play around

  • Cover much grounds, got game by the pound

  • - I mean, every cast member we've all talked about how

  • the thing that got us excited about that movie

  • is Kate Cannon's writing, you know,

  • she wrote for "30 rock" and this script was

  • the kind of thing that you read and you think you know

  • what it's going to be.

  • It's like, okay, it's a competition thing.

  • It's a college thing.

  • We know the beats of this and then the script was

  • so funny and dark and weird and really

  • kind of pushed what was okay

  • to say, because at the time I hadn't sung in a film.

  • So I just kinda needed to prove that I could sing.

  • And I actually brought in a cup and was like,

  • "I can do this dumb thing, like the cup."

  • And so they put that

  • in the movie.

  • Originally, that was the audition song and the first movie

  • was I'm a little teapot,

  • which I still to this day, I keep meaning to ask,

  • Hey Cannon, like what would that have been?

  • How would that have worked?

  • The director, Jason Moore and I were like going around

  • like collecting cups that we would just see on set

  • to see like what would make the best sound for that scene.

  • And we had this little collection of like a dozen cups

  • to try once we actually got to that location

  • and I could test them out on that stage.

  • Well, coming back to "Pitch Perfect 2"

  • it had been several years.

  • The funniest part of it to me was going back

  • to rehearsals and you know,

  • learning music again,

  • learning the dances again.

  • All the producers and stuff had this mantra of like,

  • "Well, we're well well machine this time

  • "cause we're older and wiser and we know

  • "that we're not going to get into the last minute changes

  • "to all the music and the dancing

  • "that we had on the first movie."

  • And it was so much worse.

  • It was so much more changes.

  • Like the finale number we learned like the weekend

  • before we had to shoot it, it was so fun to be back

  • with the cast and also,

  • to be like,

  • "Oh my God, it's exactly the same as the first one.

  • "It's even crazier."

  • But I mean, I guess that's the thing.

  • That's the exciting thing.

  • That's why you have all the adrenaline,

  • it's cause it's like it might fall apart up until

  • the second that you're actually filming it.

  • Come Santa Clause

  • Santa Clause come tonight

  • - Oh my God, Magical ears.

  • Becca.

  • - Hello.

  • - How beautiful.

  • - Oh, thank you.

  • Yeah, the third one again, you would think like

  • this time we are going to lock the music and we're going

  • to lock the choreography before like with weeks to spare

  • and no, right up until the last second.

  • But by that point we were just like,

  • "Yeah, but we knew, we knew that was going to happen."

  • - Have a seat, make yourself a home.

  • [soft music]

  • Come little birds

  • Down from the eaves and the leaves

  • Of our fields out of castles

  • I think "Into The Woods" might be the only movie

  • I've ever gotten where I actually cried, like cried

  • when I found out that I got the job,

  • it's such an iconic show and it just means so much to me.

  • And it never even occurred to me

  • that I could play Cinderella.

  • When I found out that they were making

  • "Into The Woods" and they asked me to audition,

  • I was like, "Oh, for a little red,"

  • because when you do a stage version of it,

  • usually like an adult woman plays little red riding hood.

  • They were like, "No, we're going to use an actual child

  • "for that."

  • The idea of playing soft,

  • open, vulnerable,

  • full of heart and full of hope Cinderella,

  • you know, just kind of blew me away

  • that Rob Marshall saw that in me

  • because Rob is so different from me.

  • Like there are people that you meet and you're like,

  • [fingers snapping] one brain man.

  • And Rob Marshall and I are not that.

  • And like he's so generous.

  • He is so optimistic.

  • He so sees the good in everyone and I'm so [laughs softly]

  • the opposite.

  • so there was a day where James Corden and I,

  • were watching Meryl Streep do "Last Midnight"

  • and we were like just overwhelmed

  • with like

  • this sense of people would pay so much money

  • to have

  • the view that we have right now.

  • To see Meryl Streep this far away performing "Last midnight"

  • and like we're the idiots who get to just like be here.

  • You know, this is the kind of thing

  • like you should charge crazy prices for.

  • And we just like get to be here.

  • Yeah, that was an exciting day.

  • Castles and horns

  • Hi slut.

  • - Oh, hey.

  • Thanks for the Parkisons's.

  • - What are you doing here?

  • He doesn't even like you, I mean, he's in mourning for me.

  • The thing that really stands out to me about "Cake"

  • is basically how it's just one

  • of the all time great performances

  • from Jennifer Aniston.

  • And I even remember when we were doing press for it,

  • feeling like she was so humble and she really downplayed

  • everything that she put into that performance,

  • like to the point that I was like at press conferences

  • with her like trying to grab all the microphones

  • and be like, "Do you guys even know what she did?

  • "It was incredible."

  • The research and the commitment, which isn't my place

  • or my business.

  • So Jennifer Aniston plays a woman who has lost her son

  • and she's in chronic pain in her body all the time

  • because of an accident that she was in

  • and she's self-medicating and eventually she

  • has these hallucinations about this woman

  • who died.

  • Who was like the perfect wife and mother

  • and kind of everything

  • that Jennifer Aniston imagines that she's not.

  • And I played that character.

  • And at first, the director and I were kind of debating,

  • is she like a supernatural

  • like a real kind of apparition?

  • Is she a she a ghost basically?

  • Or is she just a hallucination?

  • Is she just a reflection of Jennifer Aniston's

  • like self hatred.

  • The more that I really watched her prepare,

  • I was like, "Yeah, this is just about

  • "her inner voice

  • "that tells her the worst things."

  • You know?

  • And it was really interesting to realize like,

  • oh, I'm not my own character actually.

  • I'm not like playing a character, I'm just tethered

  • to Jennifer Aniston's performance and her performance

  • was so good that I just let that like lead me.

  • And I was just like a mirror of like her self hatred.

  • And I wanted to like shout from the rooftops,

  • like how much work she had put into it and how it was

  • just such a gift to watch her work

  • and to basically play a reflection of her performance.

  • You just use people.

  • Her eyes are beautiful

  • Like a rainbow

  • I went into Dreamworks and they pitched me on the idea

  • of a "Trolls" movie and the character of Poppy optimistic

  • to the point of being a little crazy.

  • I'm a little unhinged.

  • And I was like, "I'm just waiting for you guys

  • "to take a breath so I can say yes, please."

  • I was just so excited.

  • I've always wanted to do an animated film like that

  • and I just felt like that was such an amazing opportunity

  • to just fall in my lap.

  • So after several months of recording my

  • part,

  • they were like, "What do you think about Justin Timberlake

  • "coming on to play branch opposite you,

  • "and also like maybe being an executive music producer?"

  • I was like, again this is one of those crazy situations

  • where like, why are you asking my permission

  • as though I was going to be like, "Ooh, I don't know."

  • I just felt like very lucky to have JT

  • like come in

  • and well, I frankly like to be a vocal

  • producer on it,

  • you know, like at that point I have recorded

  • for "Pitch Perfect" and you know,

  • it's usually like

  • a music person and a sound person going like,

  • "Yeah, it sounds good."

  • And to have like, you know,

  • international recording superstar, Justin Timberlake

  • going like, "Why don't you try this riff?"

  • and like singing it, you know, into the cans.

  • I know the lingo.

  • And then like having me just repeat it was so cool.

  • Like a rainbow

  • Ooh, like a rainbow

  • [soft flute music]

  • - Herb's announcement makes sense.

  • She wants to reunite the strings

  • so the troll world can be one big party again.

  • I was just so excited when they said

  • that they wanted to do a second movie

  • because not only do I love doing the musical element of it,

  • where I'm just playing like a little pink character,

  • there's something so cathartic about like going into a room

  • and playing this kind of unhinged happy character.

  • It feels like a weird therapeutic exercise.

  • Like how some people like picture a happy place,

  • I'm like, I get whatever that thing is.

  • I get that from like playing Poppy

  • because she's this kind of unfiltered ball

  • of like happiness, energy, joy.

  • And also like I'm not going to take it from anybody.

  • You know, it's like she's like my own inner child

  • or something and I get to go and like play with her.

  • - That's all you heard, one big party?

  • - Stephanie, put down the gun.

  • You don't want to do this.

  • - I really do though.

  • I think Blake and I had a really similar experience

  • reading

  • the script for "A Simple Favor"

  • because we could not put this script down

  • and it just like raced through it because it was,

  • there were so many twists and turns

  • and so much like

  • humor and darkness.

  • And there was a lot of like, kind of going back

  • and being like, is this a drama or comedy?

  • Like, what is it?

  • And that was also the experience on set like Blake

  • and I got to set and basically every day asked each other,

  • like, "What movie are you in?

  • "Cause I want to make sure that we're in the same movie."

  • Because I actually said to Paul Feig early on in shooting,

  • like most movies you know basically the tone

  • and you know the genre and you're on

  • kind of a sliding scale of like how big and small are

  • the choices we're going to be making.

  • And with "A Simple Favor" it felt like,

  • Oh, I can just take the knob off and just do

  • whatever I want with it

  • because there's just no rules in this movie.

  • It wasn't really until we saw the finished movie

  • that Blake and I were like, "Got it, love it.

  • "So great."

  • I really do though

  • - Hey,

  • sup.

  • - Um,

  • Miko?

  • - Who's Kimiko?

  • - Holly shit.

  • So "Dummy" the real challenge ended up being the part

  • that we thought was going to be the easiest part,

  • which is that I'm acting against an inanimate object.

  • Like that seems like, yeah, like we can have

  • the shortest shooting schedule.

  • I show up, I talked to a potato.

  • It's great.

  • Except that a real sex doll is not like just a,

  • like a potato or a dish or whatever.

  • This diva would not sit still, would not hold a position.

  • Ooh, everybody on set was like, "I'm going to kill her.

  • "I'm going to kill her."

  • So Meredith Hagner, who plays the character of the sex doll

  • is so brilliant and she had got to act

  • opposite each other,

  • like actually look into each other's eyes.

  • I think once and the rest of the time I'm acting

  • against this doll that has like dots on its face,

  • because they're going to replace it

  • with Meredith's performance later,

  • we had to hire a second prop person just to help

  • deal with

  • this

  • doll.

  • Because like, it seems like, yeah you throw her in a closet.

  • And then we do a whole scene where I find her in a closet

  • and she talks to me and she just doesn't want to do that.

  • And it took like two and a half hours to get her set up

  • to the place where she would just freeze like a mannequin,

  • which you think would be the whole thing that she does.

  • I really tip my hat to people who commit

  • to having a sex doll in their lives,

  • because it's a handful.

  • They're so much heavier than you think they would be

  • and unruly, really good for you for being that committed.

  • I like jokingly named you Kimiko.

  • So, what about you?

  • - Uh, my parents are the complete opposite,

  • high school sweethearts that are somehow still in love.

  • - That's nice.

  • - They're satanists, so this is not all good, right?

  • - So "Love Life" I was just really blown away

  • by this thing in the script where

  • you get

  • that uncanny feeling of,

  • I know that guy,

  • I've been in that situation.

  • Oh, that's exactly how that feels.

  • I hate when that happens.

  • I love when that happens.

  • Like that came up a lot in the pilot episode.

  • And then, you know, it was my first experience

  • with episodic TV so I didn't realize how much

  • the show really transforms as you go.

  • So in the end, like so many talented people came on

  • to work on the show and gave their personal experiences

  • as well and it all got remixed to the point

  • that I have plausible deniability.

  • So no, it wasn't about you.

  • I mean, it was, but I can say that it wasn't,

  • and that's the really beautiful thing about the show is

  • that because people were so willing to give like

  • the specifics of really vulnerable

  • or funny

  • or romantic things that had happened to them,

  • it feels universal the more specific it is

  • and it feels intensely relatable.

  • So there's so many of those like uncanny moments on

  • the show and that's, you know, one of the things I love most

  • about it.

  • The more that I've been able to work and work

  • with really incredible people, the people

  • that really leave an impression on me are the people

  • who seem happy.

  • I've worked with people who I really admire

  • and they turn out to be kind of miserable.

  • And you know, somebody like John Lithgow though,

  • like I work with him and I'm just blown away by

  • how generous he is.

  • So encouraging and supportive and really generous,

  • like with himself he's so open and so vulnerable.

  • And I feel like I sometimes get the self preservation

  • instinct and I kind of get guarded.

  • And the kind of career I want to have is the kind

  • where I can be as full of love

  • for my life

  • and for my work as somebody like John Lithgow.

  • So that's the kind of thing that I want to model.

  • Thanks so much Vanity Fair from watching the timeline

  • of my career.

  • I hope I was less pretentious than you were expecting.

  • [soft violin music]

- I realized that the way that I'm going to try

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