Before Midnight (2013)

1. Hi, this is director Richard Linklater.

2. This is Julie Delpy.

3. And Ethan Hawke.

4. So you got everything?

5. You love those feet shots.

6. - You use those in— - Yeah. That was the idea, to open on feet.

7. But then to realize, "Oh, those aren't, you know, Celine's feet.

8. Those aren't— Whose feet are they? Oh, they're a kid's feet.

9. What the hell movie is this?"

10. - Yeah. - If you want, we could try Skyping...

11. - ... once a week or something. - All right.

12. Yeah. Okay.

13. You got the drawings for your science deal?

14. Yeah, think so.

15. Well, they turned out great, by the way. Really great.

16. Thanks.

17. - What—? ls your computer charged? - Yeah.

18. What do you think is the first...?

19. Seamus, that kid. We auditioned a lot of kids in New York.

20. - He's a wonderful actor. - Yeah.

21. I really cherish this communication we have. You know, it's just—

22. - Your answers are so— - What?

23. Just keep practicing the piano. You're really good.

24. They spend so much time at that school of yours—

25. This scene, Ethan always thought we were seeing it from two perspectives...

26. in that we were both kids saying goodbye to our dads...

27. and then we're both parents now.

28. It's like— it— This felt— This scene was pretty loaded, I felt.

29. I'll probably make it over there in October.

30. And that— Boy, that—

31. I remember finding this little airport in Kalamata.

32. It's a tiny airport. It only has about 20 flights a week.

33. But it was so cool.

34. Close to where we ended up shooting most of the film, yeah.

35. - I'm not that good. - Oh, no, you're pretty good.

36. You are.

37. I missed summer training camp. The chances of me starting are miniscule.

38. Well, just tell the coach...

39. So I do find these scenes so, soloaded.

40. I remember when my father used to drop me off on—

41. For transitions when I'd go back to my mom.

42. He would always get so angry about the traffic or the—

43. Some— Something that wasn't— Had to do with why we were both upset.

44. You know? And it would be, you know, the luggage, there'd be a problem, and...

45. Oh, you always transfer, yeah, the anxiety onto something else.

46. It's cool, right? You excited about seeing your mom?

47. Remember how long we took picking that T-shirt?

48. - Oh, man. - It was such a project...

49. trying to figure out what I'd be wearing. This is—

50. Second only to Julie's dress, but...

51. The most anonymous things. But I like—

52. - This is the god of the sea here. We're— - We're in Greece.

53. We're already invoking...

54. our Greek myths and tragedies.

55. But remember, at a screenwriting level, we thought about this movie for years.

56. And then once we got closer to the actual, you know, script...

57. this notion of the end of summer, you know...

58. that the holiday's over, school's starting...

59. there was always a certain melancholy attached to that.

60. We had talked earlier about, you know...

61. shooting just in the town they lived in, but the idea of holiday was a—

62. That was a key developmental moment, I think.

63. - You know, go on. - Thank you.

64. - We wouldn't have any time to hang out. - Don't worry. We'll figure that out.

65. I just don't want you to worry about it, you know?

66. And to open with the fallout, you know?

67. I guess that was really the essential idea, is how to open with—

68. This is—

69. When the last chapter of this story ended...

70. we were watching Jesse decide whether to catch his plane or not.

71. And Hank was an abstraction. He was just something on—

72. - And now he's here. - Yeah.

73. - Being sent away. - Yeah, and so he had to—

74. He's nine years older. You know? A real person.

75. - Really? - Yeah.

76. - I love "This is—" - The best summer of his life.

77. It's so sweet. But it's us looking in the eyes...

78. the ramifications of Jesse's decision to follow his heart.

79. Yeah.

80. No free pass in this world. You follow your passion, you pay.

81. - Or someone pays. - Someone pays.

82. Yeah, you can't leave everyone unscathed.

83. This is one of my favorite moments in the film.

84. As a parent, you—

85. That's executive producer John Sloss leaving in the background.

86. - He's in every film. - Not my favorite moment.

87. Making his third appearance in these films.

88. It's this moment, that he doesn't turn around.

89. I know. Very loaded.

90. There's that moment where the kid's just going forward.

91. It's funny, my kids had just left too, a couple days earlier.

92. And what I'm thinking is, "Am I gonna miss my cue?

93. - Am I gonna miss my cue?" - I know. Yeah. This is all...

94. - Yeah, so here, that scene— - Here we go.

95. - I didn't miss it on this shot. - As important as that was, it's really a—

96. It's a long tease to the narrative. Our audience might be—

97. The questions our audience might be asking:

98. Are Celine and Jesse together?

99. What's their life situation?

100. In a short amount of time we find out, well, they are together...

101. and they've got twins.

102. Twins. So cute.

103. - Great girls. - Yeah.

104. It's funny how it was, you know—

105. Rick, you often describe the movie as six scenes.

106. I always thought of that airport scene as a prologue, in a way.

107. It's a prologue, and the movie's five scenes. This—

108. - Little Hank is the— Yeah. - Yeah, even pre-title.

109. Yeah. It's a...

110. Greece.

111. The sea.

112. - The Mediterranean. - Yeah.

113. Okay.

114. Julie, I was so impressed how you learned French for the film.

115. - I know, I'm not bad in French. - And this is—

116. We just wanted to dive into the logistics of life, right?

117. Yeah. I mean, the whole idea here was to—

118. Let's just drop in on Celine and Jesse's reality...

119. and the audience can kind of catch up.

120. - Yeah, I mean, we don't— - They can figure out what all this means.

121. We don't present it to them in a— You know, like, "This is what happened."

122. It's just like being in the middle of a conversation, basically, like—

123. Yeah, an ongoing conversation.

124. One thing I always liked, Rick, is that you didn't really ever say to us...

125. that you wanted this to be in one shot.

126. It was— We were under so much pressure already...

127. with all these lines and everything, it was kind of—

128. I realized it, of course, as we were doing it...

129. that you did want that, but you never kind of laid it out.

130. I think in the weeks of rehearsal leading up to it...

131. I think my overemphasis on the scene, like:

132. "Hey, we've got 15 minutes. Run the car scene."

133. - Yeah. - It was a goal for sure. I think—

134. We never went to dinner without running the car scene first...

135. - ... for like three weeks. - But the idea was—

136. I might have said it would be great if we could do it in one.

137. - I didn't say it only works— - Works in one.

138. Because it doesn't. We spent two days filming this.

139. And the first day, we did shoot more traditional coverage.

140. - You know, had a— - But that functioned as a rehearsal.

141. For this day, which we had, what, three...?

142. - Three or four takes? Three takes? - We had two in the morning and—

143. No, one in the morning, two in the afternoon.

144. - That's it? - And this was the last take.

145. Which, the light was actually best for the later afternoon...

146. the angle of the sun.

147. I love how much you look like your daughter there, Julie.

148. That these— We were so lucky to find these girls.

149. - So beautiful and so sweet. - The Prior twins.

150. Little Jennifer and Charlotte.

151. People forget there are four actors in this scene.

152. Two of them happen to be acting asleep in the back seat.

153. - But they're doing a great job. - Amazing.

154. I have girls roughly this age, and they could never have done this.

155. - They would've fallen asleep. - They would've been looking.

156. They even have that uncomfortable— Like they're kind of waking up.

157. - Yeah. - I love it.

158. They're slowly preparing you of the threat of them waking up.

159. Yeah.

160. —The perfect son. He lives a million miles away.

161. This is the first— This is where Jesse starts his manipulative things.

162. He knows he's on a march here to figure out:

163. - "How am I gonna get us out of here?" - Yeah.

164. —You're not talking about Captain Cleanup.

165. Captain Cleanup. The one that's been missing in action all these years.

166. What'd you expect at this point in your life, missy?

167. God.

168. It seems so real, now that I haven't watched the film for a few days.

169. At what point do you think the audience notices:

170. "Wait, has this all been one take?"

171. Around now, I think.

172. - Look, you see the picture on my phone. - Yeah.

173. I have the picture, by the way.

174. - You do? - If you want it.

175. And that is your actual phone case...

176. - ... that looks like a cassette. - Yeah.

177. Remember how many apples we had that were kind of browned...

178. just appropriately for each take?

179. It would be not too brown, not, you know...

180. That's the kind of Prop/Art Department detail.

181. —It's not my fault.

182. Don't blame it all on your mother.

183. And this is where Celine's neurosis starts about how everything is hyperbole.

184. I love you, honey.

185. So sweet.

186. You will remember this vacation different than we will.

187. That's for sure. I see that with my mom. She remembers...

188. Remember in an earlier take, we had that line where you're like—?

189. You whisper to the camera that, "I'm in hell."

190. You know, like talking to your future self, you know?

191. - To your future daughters. - Future daughter.

192. - "I'm in hell. Save me." - "I'm in hell."

193. "You will remember this different. I'm in hell."

194. "Your father is killing me. Rescue me."

195. No? I think you would remember if I did.

196. It's the story— You know, when I was a little girl...

197. Oh, the kitties.

198. It's a good example of how we work as a group that I always describe.

199. It's impossible to describe, and everyone wants to know:

200. "How do you guys write together?" And it's—

201. - We sit in a group, and we laugh all day. - All day.

202. And tell crazy stories that are— We're on— We're working together.

203. So it's somewhere in the realm of maybe could be in the movie...

204. but we don't think about that.

205. We're just talking and telling crazy stories.

206. And this was one of your crazy stories, if I remember...

207. about these cats and, you know.

208. - Ethan and I looked at each other— - You said, "That's good."

209. And then we go through the whole process of:

210. - "Oh, could that—?" - Could that be part of it?

211. "Would that be a story that you haven't already told?" You know?

212. Actually, this one was the tricky one, is that—

213. The truth is, we thought about it, and I've—

214. We've known each other all this time, and we'd never heard that story.

215. I never told the father of my son, so...

216. That was an important element of our development, I think...

217. was figuring out, you know—

218. - What has been told during this time. - Yeah.

219. And what has gone on in nine years and how familiar they are.

220. Here's the one cutaway.

221. When people say it's one take, it obviously isn't.

222. - Here's a cutaway to a point of view. - It is the same—

223. We come back to the exact same take.

224. - You had to with the light, right? - It's for storytelling.

225. - You can't really— - Yeah, I couldn't have intercut the takes.

226. But that isn't actually the ruins out your right window.

227. - Remember? - Yeah. Right.

228. - Yeah. - That's a cutaway from miles away.

229. Not that far. There's those Messenia ruins.

230. - That we went to see. - Yeah, and that was kind of—

231. That was a second— A thing we went and shot.

232. - Second unit, yeah. - We reversed it. We shot it backwards.

233. Because it was kind of going the wrong direction.

234. —"We never felt comfortable falling asleep.

235. Daddy used to tell us, 'You snooze, you lose."' And that'll be your fault again.

236. Yeah, well, we are shitty parents.

237. I like this idea of the— They just—

238. - They admit they're shitty parents. - Shitty.

239. You know, as a parent, you do come into these—

240. I remember having that idea when we were in—

241. Seeing the ruins for the first time, it's like...

242. oh, it'd be something kids would wanna see but you wouldn't necessarily—

243. You know, just the things your parents deprive you of...

244. for their own convenience, you know?

245. So much of them.

246. I'm watching the film. I'm not used to doing commentary.

247. I'm just watching. I'm enjoying the film.

248. Yeah, you really have to not be entertained by yourself here.

249. - You're supposed to be— - Sorry.

250. You're supposed to be thinking—

251. No, but I remember doing this scene like it was yesterday.

252. You know, actually, it's funny, because I still have on my real phone...

253. because I used my real phone...

254. like, you doing the scene.

255. - The three times I'm filming you. - That you filmed it?

256. I have it and I was watching, and I was like:

257. - "My God, it's, you know, reality." - That's how close these are to ourselves.

258. It's a little bit like that photos I sent you about Before Sunset.

259. It's like, this is right now, and soon it will be in many, many years.

260. That moment will be gone, far away.

261. And it's still very new.

262. It's— You know, it's weird as an actor— I'm gonna say profound things.

263. - Certainly. - To see yourself and to remember...

264. being the person looking at you, Ethan.

265. Like being that person in the scene. Like it's really such a weird thing.

266. The thing that was so hard for me in this was all I was thinking about is...

267. I can't stand when people don't look like they're driving.

268. - And it's so hard to do it. - Yeah.

269. You want to look the other actor in the eyes.

270. - You want to get engaged in the scene. - You'll get in a head-on.

271. Yeah. And so I— It was very— And the problem is, if I was actually—

272. if I could actually see out the windshield, it's easier.

273. - You don't see anything. - But there's a giant light in front of me—

274. And five crew members staring straight at you.

275. That's why it's important to rehearse in the car...

276. with the steering wheel in front of you...

277. and someone saying, "Oh," you know, "you're not driving."

278. You said first love, not first sexual experience.

279. Fine. I'm the first woman you ever fell in love with?

280. - Yeah. - I don't think so.

281. First one I felt truly connected to, sure. What, I wasn't your first love?

282. The bigger idea for this scene was that sometimes in a long-term relationship...

283. the only time you do have a conversation...

284. a long conversation that isn't kind of practical matters of your life together...

285. where you can digress and do this, is, you know, in a car.

286. - When the kids are asleep. - When you drive on a vacation...

287. and they're asleep and, you know.

288. It's kind of my memory that this is one of the first images...

289. that you had of what Jess— Where Jesse and Celine might be.

290. I remember you describing this moment...

291. and that was kind of the only visual cue you had of where—

292. What was happening. I always—

293. - They're in a car in a long conversation. - Yeah, yeah.

294. I remember when we first thought about this scene, it would be at night.

295. Then came the idea of dropping Hank off.

296. Once the airport and Hank entered... Yeah.

297. So, yeah, this film isn't real time the way the second film was.

298. But...

299. This is such a long take. It's unbelievable.

300. - It really is. It's crazy. - It's crazy. We are mad...

301. - I know. - ... to be doing these films.

302. No, but it's— I mean—

303. I'm shocked anybody finds this interesting.

304. - I mean, I do, but— - No, but, listen, I'm looking at it—

305. Because I haven't been talking. I've been looking at it.

306. —And I'm amazed by the amount of information...

307. and kind of fun stuff that's going on in like, you know, one take.

308. I mean, it's kind of—

309. That's why it's good to be writing carefully scenes, so you can—

310. - Well, it's so intricately— - Rick, you did obsess on this scene.

311. I mean, you obsessed on each one of these lines...

312. and when they happened.

313. Well, I wanted the film to start off like this just because...

314. you know, we want the viewer to be dropped into your reality.

315. So this uninterrupted take is just— it's—

316. —sending him back across enemy lines.

317. - You have to see it as a reality. - You know what? I'm amazed.

318. You're not really supposed to notice...

319. but I think people are so media savvy now...

320. everyone's kind of a filmmaker, so—

321. People notice that there's no cut.

322. - They really do. - It's this long take that's kind of—

323. And strangely, there is a cut. There is a cut, to the ruins.

324. But it creates a tension. They feel that it's one take.

325. - And it does create a tension. - Well, it is. Yeah.

326. But it's good. I like that. And...

327. And here we are, it's high school.

328. In certain movies, certain—

329. You know, my favorite long take in film history...

330. isn't Touch of Evil, even though that's great.

331. My favorite one-scene thing...

332. is the beginning of Sullivan's Travels, Preston Sturges.

333. It's in a room. He's being— Talking to these two studio heads.

334. - And it just goes on and it hits every note. - On and on.

335. It's a screwball comedy. There's so much dialogue.

336. They hit every note. It's unbelievable.

337. So the bar is really there back in 1941, Preston Sturges.

338. I can't believe this scene is still going on.

339. - I don't know what to say. - I think you're bored.

340. - I'm speechless. - It's so funny.

341. What I'm thinking is I know when we hit this landscape—

342. I recognize it. —this is where I'm telling this story...

343. and what's going on in my head is:

344. If we can go to the end.

345. "We haven't gotten here before without fucking up."

346. And so this could be it, and I'm thinking—

347. Because we had that geographical— We're trying to hit these marks.

348. I hate to say this, but I'll tell the truth.

349. - What? Tell me. - I'm not thinking, "I wonder if I'll fuck up."

350. I'm won— I'm thinking, "ls Julie gonna fuck up?"

351. - Because I knew I was— - Thank you.

352. I was like, "Come on, Julie. Come on. We're about—"

353. Especially there was one line I was having a hard time with.

354. - Yeah. - Yeah, it's coming up.

355. - Ticking something... - Yeah, the ticking clock.

356. But you're so— This is— I love the way you play this.

357. - The early one— - Also, I wanna make one note.

358. This is where I pretend that she's so irrational...

359. to think I could possibly be thinking about moving to Chicago.

360. Later you're gonna find out, well, all right.

361. Of course you actually were. Two master manipulators at work here.

362. This is it. This is the moment you passed. And now I'm going, "She made it."

363. Whatever. Well, it's ticking right now.

364. - She made it. - "It's ticking."

365. - "it's ticking." - "it's ticking."

366. - I'm looking at the monitor in front of you. - Well, I nailed it. I did it.

367. - Yeah. - Yes. And in my head I'm going:

368. - "Oh, shit, we're gonna do it." - We might do it.

369. And now starts the next thing, where I think:

370. "Are those kids—? Are they asleep? Are they really asleep?"

371. I'm biting my nails looking at a monitor...

372. - ... 12 feet in front of this. - I'm getting anxiety...

373. looking at this scene, having to do it over and over.

374. Oh, my God.

375. All right?

376. I'm just—

377. - This is it. - How much longer to the ruins?

378. Oh, they were closed.

379. - Yeah. - We— Yeah.

380. We're gonna catch them...

381. That's a great wake-up. Look how the eyes—

382. She didn't pop open immediately.

383. That's such a good little...

384. What happened to my apple?

385. "What happened to my apple?"

386. - I'm speaking to her. - On other takes you said:

387. - "Your morn ate it." - Yeah.

388. - Oh, yeah, that's right. - I pinned it off on you.

389. - Yeah. Oh, we miss Greece. - Oh, that day was so beautiful.

390. - So we made it. The take's over. - Oh, my God. I feel better now.

391. Now we're into more conventional filmmaking.

392. - Remember this little market here? - You know, this is a leftover.

393. This whole idea of the shopping scene is leftover...

394. from an original concept of this movie, that we'd have a—

395. Which was basically us doing only that the entire film.

396. Yeah, just all daily routines of life, being trapped inside.

397. - Who made you general? - The general, okay?

398. I love the Greek Ben & Jerry's. I went to great lengths to get the—

399. I just love the way the lettering looks and—

400. Familiar Ben & Jerry's but Greek lettering.

401. - I thought that was kind of cool. - We're in the most beautiful house.

402. Yes.

403. This house is the reason we shot in Greece.

404. You know, when I see this film now, I'm getting all like:

405. - I wish I was in Greece again. - And this does begin—

406. Really, this begins our, you know, third scene, our third chapter, whatever...

407. which is the dinner, prepping for the dinner.

408. - It's all kind of life at the house here. - Life.

409. Remember how bad my son wanted to be in this shot?

410. Oh, yeah, he couldn't understand why he didn't fit in.

411. - Yeah. - Yeah.

412. Yeah. Well, just a kid and it's, you know...

413. - But the idea— - Can't there be a passing-by child...

414. who looks exactly like Jesse?

415. The idea of just finding Celine and Jesse in this kind of paradise...

416. in this beautiful location, right on the Mediterranean...

417. - What are they saying here, Rick? - And they've got so much about...

418. There's a story they're telling in Greece about a little cat they used to have...

419. called Marooni. Marouli or something.

420. - And it— - Look at that garden.

421. We kind of created this garden, remember.

422. - It's not real, but it worked for the shot. - Well, there were leftovers...

423. of, like, old stuff because...

424. But that introduced Xenia and Walter, two of our fellow castmates there.

425. We'll tell you more about them later.

426. Why did you—? You were—

427. This was in every outline we ever started, this little scene.

428. About picking up—

429. Yeah, What—? Rick, what was on your—? What—?

430. - Like the everyday of— - I thought a pretty much wordless just—

431. I thought of Celine looking at her daughters from a distance...

432. while they did something like pick fruit. ltjust seemed so, like, gorgeous.

433. You know, you look at your kids and nature and...

434. - They're— - I just really had this paradisiacal view...

435. of where you guys find yourself right now.

436. - Like Garden of Eden kind of... - Yeah.

437. Jesse and Celine have gotten—

438. If you'd go back nine years, they would have signed up for this life.

439. Your careers are going pretty well.

440. - Life couldn't be more perfect. - You've got these daughters, each other.

441. You're in the southern Peloponnese on the, you know...

442. With a leisurely, you know, holiday, but you're hanging around people you like.

443. - Nice people, friendly, smart. - Great food.

444. - Great food. - What could be wrong?

445. - I know. - People you can sit around...

446. and bullshit with all day about books and...

447. - Walking under the olive trees. - Like this.

448. It's been fun to kind of, you know, track Jesse's literary career...

449. from that leap we took in the second film.

450. Because in the first film, we don't really declare Jesse is a writer.

451. - Right? He's some kind of— - You know, we did in one—

452. I don't know if we filmed it and you cut it or we cut it from the script.

453. - There's brief time— - Early on.

454. Early on, I did say I was working...

455. - ... for the Fort Worth Star-Telegram. - Papen

456. Yeah. Yeah, but that never made the final film.

457. - It didn't. But did we film it? - No.

458. I mean, we didn't record it?

459. It's not in the movie, but we didn't shoot it, even?

460. No. I don't think it made it to that—

461. Do you remember, it made it to one video box?

462. Yeah, I think— Because it was in an early script.

463. - What are you talking about? - Someone wrote it.

464. - Sorry, Julie. - What?

465. In one ver— In one of the early scripts of Before Sunrise...

466. we'd come up with that Jesse had a job for the Fort Worth Star-Telegram.

467. - Oh, yeah. - And we cut it out...

468. but it actually made the back—

469. - They write that crap on the back of— - Some intern reads an early draft...

470. and summarizes the movie.

471. Oh, and you put it on the back, but that's not in the film anymore. Okay.

472. She could be sitting here, seemingly functional.

473. In her head, she's thinking, "Didn't he already say that?

474. Weren't we were here yesterday having this exact same conversation?"

475. - Like déjé vu. - Except all the time.

476. That's the thing, right? Everything she takes in.

477. Breakfast, a newspaper, a movie. She's convinced she's encountered it already.

478. - That's a real condition? - Yeah, it's called persistent déjé—

479. Here you're gonna show off with your orange.

480. - The idea... - Or apple.

481. It was fun for us to mix it up with other actors for the first time.

482. If you look at the previous films, there's very little.

483. In our second film, virtually none.

484. First film, we had one-off scenes with people...

485. but not substantial characters in their lives.

486. So to bring in other people into our process was a real—

487. It was a real challenge when we were— A casting challenge, you know?

488. We had this idea to have, you know, elderly people...

489. - ... and, you know, your kids— - Also a couple reflecting our couple...

490. or like us young or—

491. - Yeah, contemporaries, younger. - Who your kids are friends with.

492. That's who you end up friends with quite often.

493. And then his grandson here—

494. - The young couple. - The young couple.

495. Hey, look at this kid. He's having the best summer of us all.

496. The girl, of course.

497. - I had to pop up a slightly longer lens. - The ugly girl.

498. Sorry.

499. Though this was the shot where the cameraman was angry with me.

500. He told me that Jesse would never check out another woman's butt...

501. that, you know, he was so disappointed.

502. You don't— I'm like, "You don't know Jesse."

503. Yeah, he's— Hey, he's, you know...

504. "But, you know, so Jesse and Celine mean so much to me and my wife.

505. And he would never do that."

506. And that's when I said, "This whole movie...

507. is gonna debunk all your idealized versions of..."

508. - Yeah, you're on the wrong movie. - Celine and Jesse.

509. I love getting to have this parallel literary life.

510. - Right. - We get to, you know, get to know Jesse.

511. You get to know Jesse's work simply by these little riffs that are—

512. This scene is very reminiscent of the way Jesse is talking to Celine in the first film.

513. - On the train. - On the train.

514. Yeah, he's given to these flights of fancy and creativity.

515. So it's very in keeping with his character.

516. It's amazing he's cobbled a living doing that...

517. that he can actually put pen to paper, and some of this works.

518. You have these people lost in time.

519. And Panos was such a good contrast to Walter and Jesse.

520. We decided that, you know, in his career—

521. I thought, "Oh, are you a writer too?" He's like, "No, I wanna, like— I'm a—

522. - I work on bicycles." - Yeah.

523. You know, his view— And Panos is a director.

524. - Yeah. - But his view of himself—

525. He's a guy who works on bicycles who does like to read.

526. - Yeah. He goes to plays. - He's interested in—

527. - He's not— - He thought his wife was more the artist.

528. She was a photographer.

529. Like everyone in Greece, they're very educated.

530. - Oh, my God. - No matter what you do, you're literary...

531. you go to plays, you know?

532. You can have a conversation with everyone.

533. - It's pretty... Just amazing. - It's wonderful in a culture...

534. where everyone's smart.

535. You feel like the government wants them to be smart...

536. unlike the U.S., where they want everybody to be dumb.

537. That's probably why they're having trouble...

538. is that people don't— You know, they're smart.

539. - They wanna say something. - I also like—

540. I like this little homage to Elia Kazan here...

541. just because, you know, Greek-American and...

542. And when we really— One of the times I thought we had a breakthrough...

543. that we were gonna make this movie, was visiting you on vacation once...

544. and you were reading A Life, Kazan's A Life...

545. - ... which I think is mandatory reading... - An incredible autobiography.

546. - ... for anyone interested in cinema. - Oh, yeah, that's the other scene. Okay.

547. So should we talk about Athina?

548. - She's a filmmaker. - She's a filmmaker. Another director.

549. Yeah, she directed an amazing film called Attenberg.

550. Panos is a director. I know Julie is a director.

551. - Ethan's a director. Everyone's a director. - And we're all acting.

552. And...

553. Remember it was great getting Stefanos in here, Panos.

554. Yeah, it was fun to see a couple that's, like, different dynamic.

555. Let go.

556. Let go of me!

557. - Arguing in Greek. - With a knife.

558. - Yeah. - And, you know, Rachel...

559. remember, she was helping with casting.

560. She knew a lot of these people and was bringing them in.

561. And I was having trouble finding who would play, you know, the wife here.

562. Finally, I looked at her, the way she was sort of flirting with Panos in a rehearsal.

563. And I was like, "Rachel, I want you to be in this movie."

564. And as a director, you know, you should act every now and then.

565. It reminds you how tough it is.

566. And she was reminded.

567. Oh, boy, was she.

568. Someone asked me why we didn't put subtitles here.

569. - But I was like, "You can figure out..." - They're talking about dirty things...

570. as two Frenchwomen that they are.

571. That's what Frenchwomen do.

572. My daughters love that. We have that alligator. He's called Ally.

573. - They can blow him. - Ally the alligator. I love that.

574. - Yeah. That was from— - Yeah, there's the sea there.

575. Oh, my God. I'm sorry, I'm watching it, and I'm remembering just swimming...

576. in the sea.

577. That moment.

578. - Checking if anyone called. - If my other girlfriend called.

579. - Yeah. - People actually said that.

580. They don't know— "What's he looking at?"

581. - That's what I like about this. - It's so clear it's your son.

582. - I mean, to me. - It's not at all.

583. - It's the message about his grandmother. - Grandmother.

584. - That's what we talked about. - I never thought about that.

585. It's not important.

586. I thought he was checking if his son had called.

587. - You see, I'm so— I didn't know. - No.

588. No. See? It's not important.

589. - You gotta watch it sometime, Julie. - I know.

590. I should be watching this film one day.

591. This house was incredible.

592. Should we talk about Patrick Leigh Fermor?

593. It had all these enclaves and...

594. Yeah, this was his house.

595. He's a wonderful British writer who lived in this house.

596. He's kind of a war hero.

597. He's a famous Greek— Had a famous presence in Greece.

598. - What was the film about him? - One of the Powell-Pressburger films...

599. of the '50s, called Ill Lit By Moonlight...

600. which is based on a famous event in his life, where he ca—

601. He led a—

602. He dressed as a Greek and ended up capturing a SS officer...

603. during the war.

604. So he was this rugged guy, writer, just a man's man.

605. But he over the years built this house...

606. where he wrote, lived at the sea and—

607. He had just passed away.

608. When I first visited this on a location scout...

609. and it looked like we might have access to shoot at this house...

610. no one had been in here.

611. He had just passed away about 1O months before.

612. And there was his newspapers and his books.

613. And his cats were still there. His housekeeper, who's in this scene.

614. You know, so I think we got to know him by his house.

615. - Isn't that interesting? - His house is just so beautiful.

616. - Like, when we went in the first time— - It's such a writer's house.

617. - Just stacks of books and... - it's like everything—

618. Nothing's perfect. There's nothing— Everything's broken...

619. So we were looking to replicate our idea of him.

620. We needed an older British man who spoke Greek...

621. and would feel like they had accomplished—

622. - You know, had a life in the arts. - Yeah.

623. So we found Walter, who at age 85 is making his acting debut here...

624. who'd been around films his whole life but not as an actor.

625. He was a director of photography, won the Oscar for Zorba the Greek...

626. in 1963, you know?

627. - And he never really left Greece. - Yeah. Guy—

628. British guy comes to Greece and, like a lot of us, would love to never leave.

629. But he didn't.

630. He shot one of my favorite-looking movies, Loneliness of the Long Distance Runner.

631. Just a beautiful film.

632. He worked with Lindsay Anderson too on his films in the early—

633. His shorts and documentaries and... So he had had this substantial life.

634. So we felt he was the right vibe for that.

635. Should we talk about what the whole idea of this whole dinner scene was?

636. - I mean, it's— We have— - Early dinner, yeah.

637. It was kind of fun to put together a kind of doppelgénger couple...

638. a couple our age who is just different, a different dynamic.

639. They mirror us and could serve to be the couple...

640. - ... that would watch our children. - The young couple.

641. And then we have the younger version of us here.

642. And then we have two older single people.

643. Well, single because...

644. - They've each lost a lover. - ... they lost their spouse.

645. They're friends, and this is very Greek, that you'd show up at a friend's.

646. Imagine they live down the street.

647. We don't go out of our way to tell you everything about all of them.

648. You're supposed to infer it kind of via this scene.

649. I remember how hard it was to shoot that scene.

650. Everything was so tedious. Filming everyone, every angle.

651. - And now it looks like a... - I know.

652. - Table scenes suck. - It's a pleasant time in the day.

653. Table scenes are very hard to shoot. They're hard.

654. - Just everything about them is difficult. - Yeah.

655. And— But that was our goal when we started, remember?

656. You know, you have to aim high, I think.

657. We said we want the best dinner scene, the best fight scene.

658. You know, you have to aim for...

659. But this was also a good chance for us to talk about things...

660. like technology, how it affects us, every—

661. But the overriding theme of this table scene...

662. was obviously, you know, romance.

663. - Romanticism in the modern era. - Love, romance.

664. You know, because these movies are kind of a throwback...

665. to a— Look at Walt. He can't believe we're talking about porn.

666. - Porn. - He's just like:

667. "What? I don't wanna hear about it."

668. "I don't wanna be in this scene."

669. And this was Patrick Leigh Fermor's real housekeeper.

670. She was wonderful.

671. I mean, why not? More and more of our experiences...

672. are going to take place in the virtual world, you know?

673. - I love his accent. - Yeah.

674. I love both these— Ariane and Yiannis.

675. It's hard to have these kind of digressive thoughts...

676. and how do they fit into the movie, you know?

677. Like, "Is this one of the themes of the movie?"

678. Not really, but kind of...

679. In a way, it is, you know? These digressions do fit.

680. Well, to keep this movie somewhat interesting...

681. I just wanted the audience to feel like you're sitting at the table with them, right?

682. And people you don't mind hanging outwith...

683. on a Greek afternoon.

684. —The scientists were sort of laughing at this pathetic little creature...

685. - Someone asked me, "Are we the rats?" - Are we the rats pushing the little button?

686. - I was like, "Yes, we are." - Are we already the rats?

687. I mean, I think that's the future of humanity.

688. You know, just:

689. - I do a very good rat. That's my specialty. - I know.

690. - I've been practicing for years. - Very good.

691. - Very good. - Oh, my God, that eating and acting...

692. - ... making it natural with talking and... - Remember we had our first ver—?

693. Our first pass at this as writers, this whole...

694. - This thing was so long. You remember? - So long and full of itself. I mean, yeah.

695. Each thought here was extrapolated...

696. another eight pages, practically, of depth and, you know...

697. I think if there's one thing in all these— The three films have in common...

698. they start off super pretentious on the page.

699. Then how to undercut that...

700. and make it as unpretentious as possible.

701. - Or at least— - It panics me. I'm like:

702. "What is this scene?"

703. Yeah, like, if you're not an unintelligent person...

704. what you can talk about and maybe not be what you could talk about...

705. with people you're intimate with and maybe not come off pretentious.

706. But the goal here was to bring everything back to Jesse and Celine, you know?

707. We couldn't go too far away.

708. It's not that big. It's a small part of myself...

709. but it needs a lot of attention.

710. I like that line.

711. And how did you two meet?

712. - Oh, this is— Yeah, this is... - Oh, that's when we get into the...

713. If you wanna know what it's like to have sex...

714. We do a little trick here. For those who are—

715. Who haven't seen the previous two films, it seemed possible...

716. - That they would tell the story, but it— - ... that they wouldn't know.

717. But it's also serving another function here...

718. which is beginning the process of how much Celine resents being—

719. Being described in the books, yeah.

720. That that would have worn you down over nine years.

721. - It would actually drive me insane if I was. - Yeah.

722. - It would— We talked about it as just... - Thank God.

723. It's the reality we have to deal with because of the last film.

724. And so, yes, that would be a real thing in your life. We can't ignore that.

725. The first time we have sex without a condom, twins.

726. And especially that she's working in a job that's very serious...

727. where you have to be taken seriously. She's in the environmental world.

728. And then here are those books where she's described...

729. - ... as a wild sexual dynamo. - Sexual dynamo.

730. You gotta let them win at all the silly little games they like.

731. Now, this, you know— Yeah. I like this whole part.

732. This whole theory of men being allowed to win and how important it is.

733. And this is fun.

734. - I think the bigger reason why we— - That's like passive-aggressive, like...

735. But to see what you say about yourself as a couple around other couples...

736. you can criticize or kind of...

737. You know, with a certain immunity...

738. because you're in public or you're with other people.

739. And this kind of playacting, we've had it in all the movies also.

740. But for those role-playing and for people that have seen Before Sunrise...

741. you know, that we throw a little reference to the pinball game.

742. - Pinball, yeah. - Yeah. And...

743. And the truth, you were both pretty bad at pinball.

744. But Julie was a little worse.

745. - No, I'm better than you are, sorry. - Watch the scene.

746. - I'm French. - There was a lot of Drano...

747. - ... down the middle in that scene. - That's your excuse for everything.

748. We're all good at pinball.

749. - Oh, Julie doing her Marilyn Monroe face. - Oh, here I pretend to be a bimbo.

750. This came out of, on the second film...

751. - ... something we were doing in real life. - We were doing that as a joke.

752. This was an ongoing joke, you know.

753. Yeah. I always often told Julie...

754. that, you know, she'd get more boyfriends...

755. if she'd just dumb down a little bit, and...

756. So this was her attempt of how to act, you know...

757. It works.

758. No. No, a play. Yeah.

759. Okay, it was a play.

760. Well, I didn't read the whole thing because sometimes...

761. I have to keep up and read those magazines...

762. to know what's going on...

763. In those people's lives.

764. Referring to...

765. We know what you're—

766. - We always know. - To people's lives.

767. Why am I finding myself...?

768. And then this is a tough segue right here...

769. like at the height of the fun everyone's having...

770. the way you also in public...

771. - ... can take a stab right below the belt. - She goes right at it.

772. Yeah, Jesse doesn't know what—

773. Like, this is a sucker punch if there ever was one.

774. That's not what I said.

775. Here they start the fight again. I mean, that's what's happening.

776. Again, around your friends, not—

777. - So it's safe. - You're not even directing it to him.

778. Like I'm taking someone else as a witness...

779. of how horrible he is to me.

780. But the friends come to the rescue and kind of change the subject.

781. That's okay for a while...

782. because me and my 20-year-old girlfriend will be a little bit preoccupied.

783. And, you know, Rachel and Panos' relationship...

784. is very different.

785. Very different, and I think they're almost one step wiser in their relationship.

786. I think it's a longer— If you have nine years, they probably have 15.

787. Fifteen. Yeah, exactly. That's what they seem like.

788. They've been through a bit more and come out the other side.

789. - They can really joke. - They've already had that fight.

790. - They've had it. - They can joke about stuff.

791. And they also buy them this night. So they know you need that time.

792. - Yeah. - You need to, you know...

793. "My name's Katerina. You're coming out of a coma."

794. - I love Panos mouthing her words. - Yeah.

795. —"But you're gonna be okay."

796. She would kind of know what's— By hearing, you know?

797. - Doesn't need to look. She knows him. - Ariane.

798. —Every woman, the very first thing, the first reaction she would have...

799. And that's something that's based on something you've heard.

800. My mom told me this. She actually is this person...

801. who worked with people coming out of comas.

802. - And she said every guy. - Looked at their thing.

803. Isn't that funny? A firsthand account from my mom.

804. - I don't know how big the sample is. - I wanted to add a line...

805. that you guys didn't let me add about, like, how, you know, there—

806. Something about, you know, men being vulnerable...

807. because they have this little penis sticking out.

808. You didn't like that. Like, no one likes...

809. - The thing about the little penis, maybe. - The little penis— Oh, yeah.

810. - Oh, it was the "little" you didn't like. - No. It seemed one step too far.

811. What I find funny is, it's now been a year since we shot it...

812. and you still so resent us not putting that in...

813. that you got it into the commentary. At least it's in a little bit now.

814. - And men will now hate you... - Forever.

815. for being so condescending.

816. I'm not condescending to men. I have a lot of respect for men.

817. - You just don't have respect for us. - They are sensitive creatures.

818. Who have these little— You're sad for them.

819. I have a lot of empathy for your little things.

820. —If this idea of love affair that lasts forever...

821. is still relevant to us.

822. I mean, we know that we are...

823. This is— She's the lead of— What's—?

824. - Rachel. Rachel's film, yeah. - Yeah. Rachel's film.

825. - Rachel, who's playing— - Sitting at the opposite of—

826. We have a director and actress in the same scene together.

827. Ariane, she's such a wonderful actress.

828. - Oh, she is. - She won best actor at Venice that year.

829. - And deserved it. - Yeah.

830. I felt so lucky that this caliber of person...

831. would come aboard and work with us on this movie.

832. I was just thrilled she would, you know, come in...

833. and be a supporting character in our movie and...

834. No, she was a...

835. And with Xenia too, someone who's so accomplished, you know?

836. Yeah, who's like an icon of...

837. You remember this was one of the—? A last-minute kind of—

838. Well, not last-minute, but we just—

839. This was one of the last things we added to the dinner scene.

840. It didn't fit somewhere else, and it's like, "Let's get it in."

841. Actually, I was supposed to talk about it.

842. And I didn't want to, because I didn't feel it was right for the character of Celine.

843. - But it was worthy enough. - It was more interesting for her to say it.

844. - It fit perfectly here. - Took it to her. It kind of boosts her.

845. And this is a wonderful story about my— This is— That's—

846. My great-grandmother left our family a little document.

847. And that was her final thing...

848. was that people put so much stake in their romantic love...

849. - ... but friendship was... - But really it's about friendship.

850. That's why I spend so much time with you two.

851. - Hopefully. - Yeah.

852. She took care of herself and asked me to do the same.

853. We had plenty of room to meet in the middle.

854. - Yeah. That sounds ideal. - That is, actually. It is.

855. But it must be obvious my wife is not here today.

856. We were never one person. Always two. We preferred it that way.

857. That's so beautiful.

858. I think my husband is always trying to almost colonize me, you know?

859. - Colonize. - The idea you could colonize someone.

860. I love it.

861. Someone told me they didn't like that line.

862. "I loved the movie except that line."

863. - That line? Really? Why? - No idea.

864. Everyone has their little, you know, Achilles' heel.

865. - I like that line. - Yeah, me too.

866. We all know the Greeks invented tragedy. And on top of that...

867. My ex-Greek-girlfriend, I always say this about her:

868. They invented the tragedy.

869. Ask them about the hotel.

870. Here we're going into talking about—

871. This is a window into their relationship. Celine doesn't say she doesn't wanna go.

872. She wants me to say that we're not gonna go.

873. And that this is really getting on Jesse's nerves because—

874. It's actually something that I don't share with Celine at all.

875. - Like, I would be the one... - Yeah, you wouldn't defer that way.

876. But she'll be— She's a bit more— Much more subdued? How do you say?

877. - No. Is that the word? - I mean, is Celine more subdued...

878. - ... than Julie Delpy? - The word is "likable."

879. Just palatable, like, able to sit with for 18 minutes here.

880. - You're so mean to me. - We are.

881. I'm such a nice person deep, deep, deep inside.

882. Xenia is this amazing Greek actress.

883. - Again, we're so lucky to have her. - Yes.

884. She's a legend in Greece. She runs a theater for children. She's—

885. - In Athens, yeah. - Very powerful woman.

886. And one of the most beloved members...

887. of the Greek acting community, known by everyone.

888. How long had it been since she'd been in a movie?

889. People fall at her feet. When you see Xenia, they all—

890. It's like she's Audrey Hepburn or— They're just like, "Oh, my God."

891. I think she hadn't acted since the '70s. She kind of—

892. - She didn't like most movies, she said. - Yeah, but she had her career.

893. She was drawn to this other calling, you know.

894. - Theater. - Working with kids in theaters.

895. And so she comes out of retirement...

896. just to work with us on this. It's so— It's wonderful, you know.

897. —His lips, his teeth...

898. the texture of his skin...

899. You know, I have to say too, she's so thoughtful.

900. She read online that I was doing a play.

901. She loves the theater, and we had talked about the theater.

902. And she wrote me an e-mail on opening night...

903. - ... wishing me luck and congratulations. - That's so nice.

904. Yeah, I've heard from her too in a number of ways, so...

905. But then the real world rushes in, and he vanishes again.

906. For a while, I did this every morning...

907. when the sun was not too bright outside.

908. The sun somehow makes him vanish.

909. We've always had this kind of sense of mortality running through the films...

910. and your characters seem aware of it.

911. - But to hear it from someone older... - Someone else.

912. What's the real effect? What does it feel like to lose—?

913. Like, you guys theorize about this, but here she did.

914. What's that like, you know?

915. I remember when we first—

916. When we watched the first film in preparation to do this film...

917. I had forgot about the scene of Jesse and Celine walking through the cemetery.

918. - On the first film, yeah. - Yeah, it's a very...

919. You know, it's such an odd thing to do, but...

920. - That ends our dinner scene. - And the truth—

921. And, Julie, remember, you're— Celine's thinking back...

922. of a little girl she saw when she was younger, the grave...

923. - ... and what that meant. - Yeah, yeah.

924. - Death has always been one of the... - Yeah.

925. I mean, you know, love, death.

926. Okay, so we've conspired to get you guys alone now.

927. So this is— I always felt this was sort of the second half of the movie.

928. I don't know if it's the middle part, but it feels like it.

929. It's a new...

930. - They're alone again like the other films. - Yeah. And this is also—

931. This is our throwback to Before Sunrise and Sunset.

932. I mean, this kind of could be, except we're older, a shot.

933. - I mean, it's the same, just chatting. - Yeah.

934. Walking, talking...

935. Trying to take a very long take, you know...

936. - ... of you guys and your reality. - Oh, God.

937. Yeah, it's one of those hard days where you have to do—

938. It seems so not complicated to do, or even as an actor to do...

939. and in the end, it's some of the hardest thing.

940. - Even harder than anything else. - To walk and talk.

941. Look what we're asking for.

942. This is supposed to look so natural. You're just walking.

943. But on this side of the camera, what, there's 20 people...

944. lights, people scrambling around.

945. - Falling, dying. - You know, some traffic control.

946. There's extras in the background that need to be signaled.

947. We're losing the light, you know. There go the extras.

948. We got a very limited window to shoot this, and when the light...

949. Two hours in the morning and an hour and a half at night.

950. - The light is beautiful, though. - Greece is beautiful...

951. but you can't really shoot between 11 and 5, basically.

952. No. Yeah, it's like...

953. And the two hours in the morning was really just...

954. - ... kind of warm-up. - Rehearsal.

955. I wasn't gonna use that.

956. - I used it in the close-ups. - Did you ever use—? You did?

957. - Yeah, surprisingly. - Yeah.

958. Yeah, when you get there, you'll realize you're backlit kind of beautifully...

959. and then you turn around, you're front-lit.

960. - Front-lit? Oh, well. - Yeah. You can get away with that.

961. I'm glad we did shoot in the mornings. I figured we—

962. - You were able to keep something. - This location, the Methoni castle is...

963. So beautiful. God.

964. And this isn't ancient.

965. You know, when you're in— Only in Greece would this be—

966. - This is like 600 years old? - Six—

967. - That's nothing. - Yeah, that's recent, you know.

968. - The other locations— - That's medieval.

969. This was built in a different era.

970. You know, there's other—

971. - You know, this is newer. - Yeah.

972. No. We have much less to compare ourselves to maybe.

973. This is a wonderful walk. I remember scouting this for the first time.

974. I think when I get to Greece, I'm gonna kiss the ground.

975. - Yeah. - I miss it so much.

976. I don't know what's wrong with me with this country.

977. I've never shot anywhere—

978. I mean, I've always liked location shoots. Where you are, you really get to know it.

979. I copped a feel right there. Did you see that?

980. I copped a little pat on your butt right there.

981. - A what? You pat my butt? - Yeah. Yeah.

982. Hey, who could blame you?

983. And I have to accept it.

984. I have to accept the abuse constantly during the takes.

985. I have no choice. I have to pretend he's my husband.

986. - A decent guy. - A decent guy.

987. What a great achievement.

988. I love the Joan of Arc, the way you say it.

989. - Oh, the Joan of Arc being a virgin? - She was burned at the stake and a virgin.

990. - That's really— - Neither to aspire to.

991. Being burned at the stake is bad. Virgin is worse.

992. Virgin is probably worse, given the choice.

993. —About something else than scheduling, food, work.

994. Yeah, how long's it been since we just wandered...?

995. Oh, my God, that scene was hard, and it's one take so far.

996. Again. Right?

997. - Well, it's not all one, but, I mean, yes. - Until now.

998. They're long, long...

999. But the other— We did— We shot behind and in front of.

1000. I wanna see where you're going here a little more than in the car.

1001. Yeah. So when was the last time?

1002. - When we had nowhere we had to be? - Yeah.

1003. - Remember Luxembourg Gardens? - Yeah.

1004. It is fun, though, to— This is where I—

1005. Just watching these ruins...

1006. and hearing them talk about time, I find it so—

1007. It is cool. To start with, that wall in the background in the distance...

1008. was taking up the whole shot.

1009. - Watch it get smaller. - It just gets smaller in the distance.

1010. That's the only time your life is completely your own.

1011. I had about a decade of that. It was great.

1012. Every time I said that line I thought, "Why didn't I have more than a decade?

1013. - I wish I had more than a decade." - You as Ethan?

1014. Yeah, yeah. I was like, "God."

1015. I have friends who are getting married now at 40 and having kids now.

1016. - They got the extra decade. - They got another.

1017. So they had two decades of just hanging out?

1018. I've been taking care of kids for so long.

1019. - What? - No, no, no. No, I just—

1020. I'm surprised. I'm surprised you do that. No, but— Okay...

1021. The subtext there: "I'm surprised you know anything about the children...

1022. because you are such a moron."

1023. - Because I take care of everything. - Jesse is noble...

1024. and he just decides to ignore the dig and keep trying to get laid.

1025. —Chicken pox first, quickly followed by Ella.

1026. - I'm so impressed. - So do I get a gold star?

1027. Maybe.

1028. I gotta give it up to Michael, our Steadicam operator.

1029. - Yeah. - He's a big guy, big legs.

1030. He could do this. Notice how you're backlit here.

1031. Yeah, yeah, that's good, actually. I like the backlit.

1032. You're front-lit. When you turned around, it was the opposite.

1033. - A little trick. - But I think it's okay. You can really...

1034. - it's the ideal life, really. - I have a big mouth.

1035. No, I realized when I smile, it's big and you see my gums.

1036. People find this scene amusing, this little bit about if we—

1037. It's one of these loaded questions Celine often asks Jesse, you know.

1038. But we all get asked this in our lives. It's one of those tough questions.

1039. Look, I have to let myself be touched by this man that I barely know.

1040. - It's simply awful. - Barely know.

1041. I do love that we can do that.

1042. It's the kind of thing you never see husbands and wives do in a movie.

1043. - They're scared of... - We wanted to get that—

1044. I mean, it reaches its peak in the hotel-room scene later...

1045. but it's the utter familiarity you would have with each other's bodies.

1046. The way you can grab the ass of your partner.

1047. - That was important. - She can grab your crotch.

1048. That was even like some of conversation we were having.

1049. It's like, you have to do it.

1050. - Like, this is part of what— - Yeah.

1051. This makes us think you really are— Have been together.

1052. - Oh, those are beautiful. - Every film, we have a little mascot.

1053. Remember how much we were trying to get goats in this movie?

1054. - We talked about it. - In reference to Night of the Hunter.

1055. Got to. Oh, the goats?

1056. - No, remember in the first film? - The bunnies were Night of the Hunter.

1057. - Yeah. - The second one it was just Che the cat.

1058. - But this one, we got goats. - Che the cat?

1059. Help!

1060. My only word of Greek.

1061. Yeah, me neither. You've gotten so old.

1062. I thought the bunnies were to Some Came Running.

1063. - Remember? There's little—? - Oh, Some Came Running.

1064. That's right, that's right.

1065. I'm not the oldest guy you've ever blown.

1066. What?

1067. That is so— That is shocking.

1068. Lech Walesa?

1069. I like your voice here: "Lech Walesa." That was true—

1070. See, this reference, no one under 25 will know what we're talking about.

1071. Probably 40.

1072. - Lech Walesa. - With our Eastern European references.

1073. Véclav Havel.

1074. You're really crazy.

1075. That was Gorbachev, okay...

1076. - Maybe Gorbachev. - This was a tough one.

1077. Julie, you didn't really like— You weren't gonna do this.

1078. That was— Yeah, that was difficult for me.

1079. The idea of you blowing Gorbachev was difficult?

1080. That is horrible, and out of respect for this man...

1081. I will not say anything...

1082. - ... about what I think. - But we were going:

1083. "it would be so cool." Like, it's such a great shout-out.

1084. I don't know a guy in the world who wouldn't wanna be joked about.

1085. No, no, no. Nothing like that. All right?

1086. Well, actually, it's kind of like that.

1087. - My grandmother died. - What? When?

1088. - We're now in the town of Platsa. - Platsa, beautiful place.

1089. The hardest scene. That was the hardest for me.

1090. - Well, this is the hardest. - In the entire film.

1091. - Just the simplicity and... - I wanna give a shout-out to Michael.

1092. - That was impossible. - How tough...

1093. This is a little narrow— Greece is such an uneven country.

1094. The cobblestones, and he's walking backwards here with—

1095. You know, what can you do? It's very difficult to do.

1096. And these long takes, but... Remember how big his—?

1097. His calves were as big as most people's thighs.

1098. He could do it like an ox.

1099. Remember? You know how tough he was?

1100. That sounds like you're like— Like an ox.

1101. That's so the athlete in you just kind of being so impressed with his—

1102. Well, yeah, it's like, okay, he can— You know, he can do it.

1103. How is that even possible?

1104. I know.

1105. How old will we be...?

1106. Okay, this— The idea of staying together forever.

1107. People do like to point out...

1108. we sort of get the math wrong, depending on your...

1109. Really?

1110. We knew there were many different ways about how you count it.

1111. It's how you do, but...

1112. What year and all that.

1113. - Fifty-six years from now. - Yeah. We will be 98.

1114. Again, we're in a losing-the-light situation, the late afternoon.

1115. Last shot, right? It looks like, right?

1116. - Yeah. - Then the sun is gone.

1117. - Is it the morning, this shot, or evening? - No, this was evening.

1118. We did some in the morning, but again, kind of in a warm-up-y sort of way.

1119. So all that work we were doing, we could have just not done it?

1120. No, we would have been back there another day.

1121. Oh, okay. I was gonna complain right there.

1122. No, I know.

1123. - If she wanted to get laid, she better have. - Yeah, like you know who.

1124. All right. Anyway, so I called my dad after I got the text, just to tell him I was sorry...

1125. but I think I screwed up.

1126. - Oh, I'm sorry. I never understood. - That's the text.

1127. That's what he says, but it might have been his girlfriend too.

1128. Or his son. I don't know.

1129. So I wanna know, Ethan, why do you have only one part...

1130. of your shirt tucked in?

1131. I don't know. It's just, once you do it, you have to match to it.

1132. And you like this idea of a little kind of like one tuck in?

1133. - I like things to be eccentric. - Okay.

1134. But it is kind of— I like the detail.

1135. The fact that it was all tucked in at one point...

1136. and some of it came out, and you don't care enough...

1137. or notice enough to...

1138. I just don't think he's noticed.

1139. It's just one of those things. You haven't noticed, and no one cares.

1140. That dress is not bad. I mean, for someone who's—

1141. - You know, I'm not, like, a model. - For a giant fat person?

1142. For a fat per—

1143. - That is Ethan. - I'm just...

1144. Oh, this dog. Remember this dog?

1145. - This dog did it every time. - Yeah.

1146. We had to go back and shoot that.

1147. - That one-blue-eyed dog. - That was a second unit.

1148. - We hoped the dog— - The dog was there...

1149. every time we did the take, but—

1150. He was there when we went location scouting.

1151. On the day we didn't film him, we didn't have time.

1152. Look, we're holding hands. We're sweet with each other. Look.

1153. Can I say that line you said about Texas?

1154. "Everyone else gets to laugh about your cousins.

1155. You can fuck your cousins."

1156. In Texas— I saw it with a Texas audience not so long ago...

1157. and that gets a groan, like:

1158. "Oh, come on. Are you really gonna say that?"

1159. Everywhere else thinks it's funny.

1160. - But I'm begging Texas' forgiveness. - That you have sex with your cousins?

1161. They didn't like it'? They don't like it?

1162. We say it about people in Arkansas and Louisiana when we say...

1163. I was at a screening the other night at the Jacob Burns Center...

1164. and what film is playing two theaters down?

1165. - Oh, yeah. - Voyage to Italy.

1166. Voyage to Italy. Yeah, we saw that. Yeah.

1167. It's playing. It's out right now.

1168. - Janus Films has rereleased— - Wasn't it playing in New York?

1169. It was at the Film Forum, but it was in the theater where we showed this film.

1170. - That's funny. - Isn't that interesting?

1171. - I bet that doesn't happen too much. - Somehow it's in the consciousness.

1172. Which— I love that Celine remembers, from a teenage perspective...

1173. the intimacy of this.

1174. If you see that film, it's like the most gruesome breakup movie...

1175. or the end of a relationship.

1176. It's funny to me because a movie about love...

1177. and about love being reborn.

1178. - But it's the end, it's the dissolution. - No, but doesn't it end happily?

1179. It has a fake ending. No one believes that ending, do they?

1180. That they get each other back in the crowd?

1181. - Yeah, but— - Although that's the moment I go to hell.

1182. I think when you know Rossellini and Bergman were breaking up...

1183. that was their end of...

1184. - Oh, I found that movie so depressing. - It is. That's the point.

1185. - Yeah. - This little chapel, I absolutely adore.

1186. I remember seeing it the first time, I was like:

1187. "We need to do a scene in here somehow."

1188. And of course, you had to make me say terrible things.

1189. I'm being forced to say terrible things.

1190. - This place is a thousand years old. - A thousand.

1191. And these are the real— The original artwork.

1192. —Rock on a hot day.

1193. By the time they're done, it's evaporated.

1194. Eyes are scratched out. Is that about the blindness?

1195. That was a true thing. We went back and forth about the Turkish thing.

1196. - Oh, yeah. - That was the delicate balance.

1197. You know, the Greeks are very touchy about...

1198. - Offending Turks? - Well, no.

1199. Some people kind of...

1200. I think the more conservative bourgeois have just—

1201. - Again, reference to blow jobs. - It's okay...

1202. to have kind of an anti-Turkish thing.

1203. And younger, more progressive people are like:

1204. - "That's old. Let's be done with it." - "That's old."

1205. - Yeah. "That's kind of wrong." - "Let's move on and get over this shit.

1206. - That was a long time ago." - We were rubbing in something—

1207. - So we were sensitive to that. - Okay, that. Yeah.

1208. You are going to hell now, Julie. It's official.

1209. Jesse's like— He can't think about anything else.

1210. I said that to you on set.

1211. I said, you know, "I'm going to hell," and you said to me:

1212. "Very well. I'll hold the door for you."

1213. - That should have been in the film. - Exactly. "I'll hold the door for you."

1214. No.

1215. It's just all those fairy tales they like so much, you know?

1216. But there is— You're a little more antireligious than Jesse.

1217. He wants to be married more than you.

1218. These things were established a while back.

1219. —Even if it was Pinocchio and his dad, Donald Duck and his nephews.

1220. That was a funny thing to play.

1221. Like, in Jesse's ideal world, in that little chapel...

1222. you might have got a little busy.

1223. - I thought it was gonna happen. - And it's so far from Celine's mind.

1224. Jesse thought when you did the thing with the tongue, he's like:

1225. "Oh, we're gonna get crazy in here."

1226. - "I'm not gonna wait for the spa." - "This night is gonna be the best."

1227. - She's, like, talking about Donald Duck. - The whole commentary is sliding down...

1228. into the gutter, as it should with these guys.

1229. I am pure. I can't. We— I need to do a commentary—

1230. "I am pure."

1231. - I am pure. - Yeah.

1232. I love that. Okay, now we're in the town of Pylos.

1233. - Pylos. I love... - Which is one of the most wonderful...

1234. little towns you'll ever see orexpeflence.

1235. That plaza, man, I just dream about being there.

1236. You know, when we do all this stuff, the things that are really obvious...

1237. you know, the dinner scene and the fight scene...

1238. I forgot, this walk is a very long scene in the movie.

1239. Oh, yeah. It's in three parts, but it's the walk.

1240. It's the walk, and that's always what it was in our outline of it...

1241. of them getting closer, you know, and philosophizing.

1242. - It's huge, though. - But that was hard to write.

1243. You remember that restaurant we went to dinner at?

1244. - It was so nice. - There's some ice cream there.

1245. It was your birthday party. Remember how much fun?

1246. I have a video of that when you sing with all the kids?

1247. Richard Linklater: 17 films, not one lemon.

1248. Ground-rule double, got a hit off Roger Clemens.

1249. Sorry. I just remembered that wonderful evening we had.

1250. - That was fun. - A lot of memories of evenings...

1251. in Pylos or this whole area.

1252. But, yeah, you're right. The walk scene...

1253. We'd hit something we wanted in the movie.

1254. "Is that the dinner? That can be the walk."

1255. It was just— We were placing things in different place—

1256. You know, like, "Where is appropriate?"

1257. Well, like, is he still alive?

1258. No, he died a long time ago.

1259. That was the end of the day.

1260. I think it's the last shot that you ended up using, right? Or something.

1261. Yeah. It was getting near the end. The light was dropping.

1262. I mean, we were running after the light the entire film.

1263. And this was— Even though this is shorter...

1264. - ... than the other, this was more difficult. - Oh, there are so many extras.

1265. - We didn't have a lockup. - Those are not extras.

1266. - Yeah, we were stealing this. - We were sort of stealing it in the town.

1267. They knew we were filming. We placed a few extras.

1268. - But those kids on the bikes, they were— - They were—

1269. Acting with Julie sometimes, I mean, just to be fair...

1270. you could be—

1271. I mean, what's the polite way of saying it? —easily distracted.

1272. The attention span of a squirrel on cocaine.

1273. That's me? Oh, come on, Ethan.

1274. - You're worse than me. - No, I'm talking about—

1275. - Remember how you—? - Because when there's people—

1276. The kids on the bikes— You were so worried about the kids.

1277. Because I am a human being, you know, unlike you.

1278. - And I'm worried about children. - This is the sunset. Let's talk about this.

1279. - This will always make me think of Leo. - You know what? That scene...

1280. I remember exactly how that scene came about.

1281. I was actually with my son.

1282. This scene will always forever make me think of Leo.

1283. - All right. - Telling him—

1284. I like that our sunset isn't really— It's not a horizon sunset.

1285. It's a sunset over that little mountain.

1286. But it's the same effect when you lose the sun.

1287. - And unlike you... - There are some really dark hints here.

1288. The reference to Voyage to Italy and the sun going down.

1289. - It's still there, still there, and then gone. - Voyage to Italy is a dark, dark film.

1290. I think the room is paid for.

1291. - Yeah. - Yes, it is, but the credit card is for...

1292. It was an interesting choice to decide to go into a hotel...

1293. that was a fancy one.

1294. We kind of flirted for a long time with the idea it was like a quaint place.

1295. And I thought that was a great idea, to go into—

1296. - To go into modern Greece. - Modern Greece.

1297. They do have these beautiful resorts, spas.

1298. There's a lot of development there, and it's a very modern country, actually.

1299. From the media, you would think it's all Mamma Mial, you know, it's—

1300. You know, people wanna see Greece from 50 years ago...

1301. but it's the current Greece.

1302. But this was a fun scene, just the notion.

1303. I like that these— Both these books...

1304. they look like they could be Before Sunrise and Before Sunset.

1305. It was fun working on the designs to these.

1306. Like, one, we had the Eiffel Tower, one's the heart.

1307. This is, like we always say, a little homage...

1308. to anyone who's ever come up to us and said the films meant anything.

1309. I mean, that's funny, that she's being asked to sign the books.

1310. She didn't write them. Just because she's a character...

1311. which is, like, so annoying to her already.

1312. I mean, like, nothing could be worse for her...

1313. - ... than to have to sign those. - At this moment, you're on edge anyway.

1314. Soto have those shoved in your face...

1315. there's no way you're not gonna pay a price for this.

1316. The fact that I make— You're very—

1317. Celine's very nice and actually signs them, but this was a bad move.

1318. - No, this— - Making you sign these right there.

1319. - Look at her face. - I hate this.

1320. I love the little look you give her, that little:

1321. - it's the look of: - The look.

1322. And she tries to shake it off.

1323. Okay. And we love the contrast here. You're putting your best foot forward.

1324. Like, now we are in this modern environment.

1325. It's beautiful.

1326. - Clean. - Couple's massage.

1327. My God.

1328. Hey, check this out.

1329. Stefanos and Ariadni got us a bottle of wine and a couple's massage.

1330. We have to get them a present before we leave.

1331. I love your reaction later.

1332. You know, 2O minutes from now, when you say:

1333. "Curse them for the couple's massage."

1334. You know, how quick things change, just like that.

1335. - Oh, sleazy, sleazy. - Yeah.

1336. Here, they're so nice, and we're gonna give them a gift.

1337. Again, I'm being touched by this man I barely know.

1338. We haven't— Now, here's the funny thing, though.

1339. Julie, you and I had not kissed on-screen since—

1340. For nine years.

1341. - Yeah. - No, for 18 years.

1342. Only the first scene.

1343. - Okay, here we go. - So here we go.

1344. - What's this? I remember— - Julie, bottom line here.

1345. You've been trying to get your breasts in these movies for three—

1346. - For 18 years. - That's a lie.

1347. And you said if we're ever gonna do it, now's the time, while they're still great.

1348. Because earlier you said:

1349. "You can film my breasts. They're still great.

1350. - Other parts of me, no." - Actually, it was really hot in that room.

1351. They look much better in colder climate.

1352. It used to be one of the things that made me fall for you. It's crazy.

1353. It's not gone. It's just white.

1354. You're not gonna tell me that your love is dependent on pigment, are you?

1355. - Huh? No? - No, no, but, you know...

1356. I see the red in our girls' eyelashes.

1357. I look at them and it makes me think of when we met.

1358. Know what I'm looking forward to...

1359. - Yeah? What? - ... after...

1360. - After? - ... you know?

1361. I saw the movie first with my wife at the Berlin Film Festival...

1362. and that was when, sitting next to her...

1363. I started noticing how long this love scene is.

1364. Wow, well, I'm holding her breasts. I'm still holding her breasts.

1365. I'm kissing her breasts again. This is kind of romantic.

1366. It bugs me when people refer to this hotel-room scene as the fight scene...

1367. because it's far from a fight scene. This is a love scene. This is—

1368. Finally, we're gonna see you guys getting down to business.

1369. I mean, we're really talking in our— Oh, tongue.

1370. - Tongue. - Tongue.

1371. - Tittie, tittie. Kissy, kissy. - Oh, my God!

1372. - That's so crazy. I can't look at this. - Kitty, kitty. Tittie, tittie. Kissy, kissy.

1373. - We know what's next. - Sorry. Why am I giggling like a child?

1374. - I'm, like, a grown-up— - Because ultimately, we're all—

1375. - Children. - Yeah.

1376. No, but that was a really hard scene to do.

1377. Wasn't it, Ethan?

1378. - No. I think these scenes are easier— - Ethan. No, it's really hard.

1379. No, for me that was hard because seeing Ethan kissing my breasts...

1380. was really weird, like it was my brother kissing my breasts.

1381. - All right, yeah. - It is a little bit.

1382. Yeah, on that level. But come on.

1383. But since you're from Texas, you're used to that.

1384. Oh, man.

1385. I just— You know, we shot this last.

1386. You know, sequentially, we built up—

1387. The whole movie builds up to this hotel-room scene.

1388. And by the time we got there, even the style of it, we're into more—

1389. - The beginning of the end. It's the phone. - Yeah, that damned phone.

1390. Modern technology, see?

1391. It just couldn't have happened, so...

1392. Remember we blocked it out for a couple days?

1393. - We rehearsed? - Yes, I know.

1394. I remember sitting back here with Ethan.

1395. You know, that's kind of cool. You just across the room. It just—

1396. I remember very well rehearsing that scene in the room many times.

1397. That was actually very good and so important.

1398. But even this male view—

1399. The male view of you across the room here.

1400. Because to me, it's a little sexy, but it's so familiar, you know.

1401. To me, that was the real point, that you would—

1402. It's somehow not eroticized.

1403. She's talking to her stepson about a science project.

1404. You're not gonna get dressed to go across the room. I mean, why?

1405. - Yeah. - No one would ever do that.

1406. This is my favorite part, what Julie does now.

1407. - Very subtle. - This is so good.

1408. - This is really husband and wife. - Yeah.

1409. Just anticipating the next step. "Let's get this over with now."

1410. They come back into play at the end of the scene.

1411. Remember, when you're trying to put them on?

1412. Okay, here's a very crucial moment...

1413. of how not to fight. To say what you want, but not—

1414. I didn't mean anything by it.

1415. I know, but it's not good. It reminds him. And I wish you wouldn't do that.

1416. That's so American to just swipe it under the carpet and act as if it didn't happen.

1417. Why put it into his head?

1418. That one line I said triggers everything.

1419. But remember, in the writing of this, this really—

1420. This was a real thing. When you said a joke...

1421. Ethan and I both responded and said, "You know, why even bring it up?"

1422. - Yeah, yeah, yeah. - "Just leave it." You were like, "No."

1423. And this is kind of where our own opinions...

1424. about such a thing play in.

1425. You were like, "Make a joke, beat it out of him. Then it's not an issue."

1426. And we're like, "Let's not upset the kid. You know, I wouldn't mention it."

1427. And so it becomes kind of the gist of the argument.

1428. - Yeah, in a way. - It's a legit thing.

1429. There's two very different ways to look at a subject. Yeah.

1430. And they're both valid. They're both valid. It just—

1431. I didn't do anything. It's all from her.

1432. But look what it kicks off, you know.

1433. I fucked her husband a long time ago.

1434. Or should I say he fucked me?

1435. I like this little look.

1436. - That little look. - That look.

1437. The way you kind of trumpet it out with him.

1438. "Or should I say—?"

1439. And now you're trying to transfer your guilt and blame me.

1440. Okay, the fight could be over.

1441. This is the first place I screw up.

1442. It really could be over and I could still get laid right here.

1443. All you have to do is—

1444. —you're right, as always.

1445. - That's where I blow it. - "As always. As always."

1446. - Yeah, now she's— - "As always."

1447. Don't say that.

1448. It makes me sick that he has to be with her.

1449. And this is so common.

1450. I mean, Celine is so hateful...

1451. but we know the sweetest people in the world, and you get on that ex-wife...

1452. and just a banshee emerges on this subject.

1453. I've seen it a lot.

1454. —Kids to punish her ex-husband.

1455. That's what she's doing. Hurting him to get to you.

1456. No, she's making my life hell through him, that's what she's doing.

1457. And sometimes you say things that just go too far.

1458. Stop blaming me for everything wrong with your wife.

1459. Ex-wife, ex-wife.

1460. - "Wife" instead of "ex-wife." - Yeah, like, to say "wife" is like:

1461. But, see, here we go, right? This is about—

1462. - The past. - What happened a long time ago.

1463. Yeah, this all happened nine years ago, and it—

1464. Look how present it is.

1465. Okay.

1466. When people say, "She's nude and he isn't"...

1467. I'm like, "Jesse is technically more nude than she is."

1468. No. He's showing his legs. What are you talking about?

1469. - That is such— - No, but he's—

1470. Look at me. I'm showing...

1471. I just like this moment of he's getting undressed and she's getting—

1472. He's getting undressed.

1473. - She's done. - Yeah, she's done. It's over.

1474. It's over. She'll never take out her breasts again...

1475. - No, yeah, that's it. She's zipped up. - ... for her entire career. That's it.

1476. That was subtle. He's getting undressed...

1477. - ... just as she's— - That is true.

1478. Women have a tendency to have more guilt.

1479. —You give that look, like it's my fault.

1480. - What look? - The I-forgot-the-science-project look.

1481. - I know you blame me. - I didn't say anything.

1482. No, you didn't say anything. You didn't have to. It's always my fault.

1483. Yeah, right.

1484. I read on the fridge at work—

1485. I love this subtle little thing of I go and turn the phone off...

1486. and she goes back and turns it back on.

1487. It's this subtle little war.

1488. "Women explore for eternity in the vast garden of sacrifice."

1489. - I love that line. - I know you do. I know you do.

1490. And I love to make fun of it.

1491. - "Oh, that's a sign from God." - Yeah.

1492. —For 10,000 years, but that's enough.

1493. I don't wanna be one of these women.

1494. Like marriage is important to gays, or contraception...

1495. She gets so on her high horse right here.

1496. This is, again, we're in the writing room, and we hear a rant like this...

1497. Yeah.

1498. and then we might have to start applauding across the room.

1499. Or pass the Greek salad, you know.

1500. I'm just— Hold on a second. I'm gonna alert Sweden.

1501. - Sorry. We're, like, giggling. - He's such a jerk.

1502. Such a jerk. Such a jerk. But it's so funny because it's so true.

1503. I mean, she's— She's a—

1504. The agonies of the Sorbonne.

1505. You know what, sweetie...?

1506. - And I love the "sweeties" thrown in. - Sweetie.

1507. —We are able to find a nice house...

1508. and I can sew the drapes and pick matching bed covers.

1509. This is how you now want to be spending this evening?

1510. - This is what you wanna do? - You started it.

1511. No, you are the one who will not shut up about it.

1512. But if you wanna talk about it...

1513. "So— Oh, so this is how you wanna spend the evening?"

1514. It's like, "Well, you started it." We're at such a juvenile level here.

1515. Do you think we could do that?

1516. Here we go, unemotional, rational.

1517. You always play the part of the one...

1518. You know, as much as we strive for gender neutrality...

1519. we have these opportunities to speak in general—

1520. Gender and general terms about "Men are like this, females—"

1521. You know, get some kind of archetypal, you know, type of thinking here.

1522. Unemotional men, overemotional women.

1523. —Going to war, corporate heads...

1524. It's funny that the actual discussion becomes so much bigger than them.

1525. Like, it's about, you know...

1526. women rights, gay rights, the environment.

1527. Well, you're arguing. You're trying to bring in—

1528. Like any good debater...

1529. you're bringing in as much fodder for your side as possible.

1530. If you can elevate it up to the final solution...

1531. - ... you're gonna try to win the argument. - He's putting his pants on.

1532. - So it's "over" over. - It's over now if he's getting fully dressed.

1533. - Yeah. Because you won't drop it. - Yeah.

1534. This is when you realize he does wanna go back to Chicago.

1535. Oh, yeah. This is your opening. You're going for it.

1536. - ... better if he lived with us. - Okay.

1537. I think his mom is a fucking alcoholic, hateful cunt...

1538. Gosh.

1539. - Tell us how you really feel. - Yeah.

1540. Yeah, she really doesn't like her.

1541. Fuck her.

1542. Okay.

1543. - "Okay- u - "Okay- u

1544. But this was more traditional filmmaking too, you know.

1545. Each one of these is its own little tableau.

1546. And we could do multiple takes of each little bit of this.

1547. - We can do two cameras. - The writing for that scene...

1548. was really difficult, but I would say the acting was actually—

1549. - It was such a controlled environment. - Yeah.

1550. - Much less stressful than anything else. - We had time.

1551. It was conventional coverage.

1552. We're not worried about the sun going down.

1553. Sound is controlled.

1554. It was really all about the performance, you know.

1555. - And we could focus on that. - We had two cameras.

1556. So we could do this until we were exhausted.

1557. And we did it section by—

1558. Like a little ground war, little piece by piece.

1559. You didn't have to have the whole thing in your head.

1560. Yeah, yeah, but we did have it because—

1561. Yeah, you had to, but it was, like, in three big sections, so...

1562. Did we have a day off between, or we went those four days back to back?

1563. It was all in a row.

1564. - There were four days in a row? - Three.

1565. - Three days in a row. - Only three days?

1566. Yeah, we rehearsed the day off in the—

1567. - There was a day off when we moved. - Oh, there was a day of rehearsal.

1568. But we had had a blocking rehearsal earlier too.

1569. We had one last, but that was very important.

1570. And you can cry about it, but he's growing up.

1571. I wasn't even sure when we finished it, "Do we have it?" It's so stressful.

1572. You knew we had it.

1573. I mean, I couldn't even remember what he had done...

1574. because it was such an intense amount of lines, emotions and stuff.

1575. I think I went into—

1576. I shut down after the shoot of that scene.

1577. - First in the fight— - Kind of mellows out.

1578. - You make a lot of sense right here. - Yeah.

1579. - Celine makes a lot of sense. - She's the rational one.

1580. This is the first time in the fight— "Maybe this isn't gonna be a big fight."

1581. - She's right. - She is right.

1582. —For us to change our entire lives over that kind of time.

1583. - I know. You're right. - Right? Right?

1584. See, I'm being the rational one.

1585. - So how does it start again? - It just— It doesn't take much.

1586. —A shitty position, you know?

1587. Hank didn't do anything, but he's the one getting kicked in the teeth.

1588. We all get dragged through our parents' lives.

1589. Your marriage would have ended over something else.

1590. Absolutely.

1591. Well, it's the truth.

1592. —By two miserable parents.

1593. So, yeah, we were— For a moment, you're all on the same side.

1594. I just really fucked that up.

1595. - Oh, that's what starts it. Yeah. - Yeah.

1596. You mean, you fucked up by moving to Paris to be with me?

1597. That's the interesting thing, is that he said, "I fucked up," but she hears:

1598. "I fucked up by moving to Paris with you," which often happens in a relationship.

1599. You hear the negative, you know.

1600. He's talking in general terms. You're talking in specific terms.

1601. - He could've easily meant— - Once you've been hurt...

1602. it's like a scab being reopened again.

1603. - Like you can't really, sadly, avoid it if— - I like the idea of, like...

1604. you think something is buried, you stub your toe on the ground...

1605. and you realize something you thought was under the surface...

1606. is really right there. It's right on the surface.

1607. - It's just so easy to be right back there. - To trigger.

1608. If it really bothers you, you know?

1609. —Consistent presence in his life.

1610. And ideally, I'd like to do that as a family.

1611. See? He's rubbing it in.

1612. He's really trying to get her to move to Chicago.

1613. I feel a passive-aggressive threat in everything you say.

1614. Remember how hard it was, really, in the writing...

1615. to have there be no right or wrong here, you know?

1616. - You're both right. - To find the right balance.

1617. Yeah, to have both points of view be equally valid.

1618. - You really can't take sides. - It still happens to me.

1619. Like, men think she's right...

1620. and women come up to me and say she's wrong and, like, he's right.

1621. - Yeah, I mean, it's like— - It's a gender flip.

1622. - It's a gender-flip thing that the— - All the men think—

1623. Men are generally more critical of Jesse, and women are more critical of Celine.

1624. - What does that say? - We hate ourselves.

1625. Are they just trying to be, like, PC?

1626. Yeah, and we see things we recognize in ourselves.

1627. Maybe it mirrors people in a way that it's very hard to watch.

1628. We know their strategy. We know what their weakness is.

1629. If we didn't have the girls and all our crap...?

1630. This is the other big question you get asked in a relationship.

1631. - I liked doing that with the tea bag. - Yeah, little flip.

1632. You know what I think?

1633. That's a lot of people's favorite line.

1634. - What? - "Mayor of Crazy Town."

1635. —and take this job.

1636. Why are you doing this?

1637. That is a ridiculous idea.

1638. I'm gonna lose you and the girls? No. Why do you make everything so difficult?

1639. You're unhappy. You're blaming me for taking you away from your son.

1640. I'm trying to make it casual, and I'm, like, smiling.

1641. —To something I'm just trying to feel my way through.

1642. Listen, Jesse, we've just spent the last six weeks here...

1643. and it's been great.

1644. You've been able to write every day and the weather's been nice.

1645. - But I didn't wanna come to Greece. - I know.

1646. All right?

1647. There are the scenes— The whole visual aesthetic of this...

1648. is the thing that reminds me of Scenes From a Marriage.

1649. That's good. That's good.

1650. You mean Bergman?

1651. - No, just the look of it, you know. - Yeah, Bergman.

1652. No, but it's good. I like the distance there...

1653. that it's not a champ-contrechamp shot...

1654. even though you get back to that. But I like the wide shot, you know.

1655. And the wide shots keep changing what angle you see the room from.

1656. I had a great experience working with Christos Voudouris...

1657. you know, the Greek DP on this.

1658. And such a gentleman, such a— So nice to work with. I mean—

1659. It was really a shorthand...

1660. to have the two previous films as reference.

1661. Usually, every film, you're inventing something.

1662. But this, we had those two as a reference, so then how to go beyond, you know?

1663. —Now it's your dream job?

1664. This afternoon you weren't even sure you wanted it.

1665. Do you ever listen to yourself?

1666. It is my dream job. Just because I have doubts doesn't mean I don't want it.

1667. - Okay. - But why do you care?

1668. Pulling in the Socrates and the—

1669. This is a good example of pulling Greece in.

1670. You should get a robe.

1671. "You should get a robe."

1672. By the time you leave and by the time you're with us, two hours.

1673. I love this part of it...

1674. just getting the details of their daily life in there...

1675. the things people fight about.

1676. Like, "No, it's one hour." "No, it's actually two."

1677. But then the reality is that when you are going through that...

1678. it is a problem, and it is annoying.

1679. Well, just what annoys one about the other, you know.

1680. And all their problems are the other person's problems.

1681. I work, I babysit, I work, I babysit.

1682. Could you hold on a second? I just have to tune up the string section.

1683. Again, another one in the dickish column.

1684. This is one of my favorite lines.

1685. - It's so cruel. - It's so...

1686. And the way that kicks off the bigger resentment...

1687. about being in the books. This is it.

1688. And by the way, you may never, ever, use me or anything I say or do...

1689. in one of your fucking books again.

1690. "Fucking books." The books that paid for your apartment.

1691. - Yeah. - "The fucking books."

1692. B, you weren't in the last book or the one now.

1693. C, I'm gonna write about whatever the fuck I want.

1694. As always, our life works for you.

1695. No, no, no. Don't give me this put-upon housewife bullshit. Okay?

1696. This is not the '50s.

1697. Sorry to ruin your perfect little narrative of oppression with...

1698. That's pretty academic. "Narrative of oppression."

1699. This is where it's obvious Jesse's a writer.

1700. - Yeah, I know. - He's good at this.

1701. And she's French. Poor girl.

1702. I mean, she's, like, fighting with a writer, an American...

1703. - ... in English. - Poor girl.

1704. I have orbited my entire life around you and you know it. Okay?

1705. Sorry if this summer's vacation— And it is a vacation.

1706. I've seen you frolic in the sea and shove salad down your throat.

1707. I mean, how can she not be pissed off?

1708. - Like, tell me. - It's the reaction shot. Look at that.

1709. They still believe in magic.

1710. Little fairies around who pick up their socks...

1711. little fairies unload the dishwasher, little fairies sunscreen the kids.

1712. Little fairies who make the Greek salad that you eat like a pig.

1713. Okay, listen to me. All right?

1714. But just the idea that you are sitting at a table having this argument.

1715. Like, it hasn't escalated where someone's thrown something...

1716. - ... or yelled. - Yeah.

1717. They never get physical, which is—

1718. You get a sense— This obviously isn't their first fight.

1719. But there's some affection here that you would even want to do the effort...

1720. to maybe be heard and improve the relationship.

1721. I think it is a romantic movie in that regard.

1722. —Every day at 6, not 6:30. I'm reliable.

1723. Have you ever booked a babysitter, ever, in your entire life? No.

1724. - He thinks. - No. He's really hoping he—

1725. He's thinking, "No." Yeah, he doesn't know the name of the pediatrician.

1726. I did an interview the other day.

1727. A guy asked me if I can name my kids' pediatrician.

1728. Someone asked you, and you were able to?

1729. I told him to stop quizzing me. It's really fucking boring.

1730. I could drive to it.

1731. I get inspired too sometimes, you know that?

1732. - You wanna write? Write. - No, but you remember...

1733. I used to sing...?

1734. - That's disrespectful. - That's so condescending.

1735. This is important. This harkens back to the second film.

1736. - You want more time to write. - It's not a hobby.

1737. —My writing isn't a hobby. All right?

1738. - Hobby. - That is so annoying.

1739. - This is one of the worst things he says. - I wanted to slap you in that scene.

1740. Complain— Look at those eyes in there.

1741. —Sing. Okay? I fucked up...

1742. What a huge admission.

1743. - "I fucked up my whole life." - That—

1744. That doesn't bother her as much as the insult.

1745. But to say you fucked up your whole life?

1746. If you put that energy into playing scales, you'd be like fucking Django Reinhardt.

1747. Again, the dick column is just so...

1748. Why are we laughing without commenting?

1749. - We're just enjoying the scene. - No. We are.

1750. - We're having fun. - I love that you leave without your shoes.

1751. - We had fun doing this film. We did. - We did.

1752. People think this is a harrowing fight scene.

1753. - It's like, "No. We laughed." - The fight scene was so much fun to do.

1754. Everything else was difficult. This was fun.

1755. - The walking was so hard for me. - Yeah.

1756. Like that kind of pretending we're not acting.

1757. We're just in the moment.

1758. "You think you're winning?"

1759. That's a very grown-up thing to say in the middle of a fight.

1760. It shows a lot of maturity from Celine.

1761. Here it's more emotional.

1762. —But I thought about ending it for myself.

1763. I was so confused and you were always away on a stupid book tour...

1764. or because of Henry's custody shit, and I didn't wanna be a burden.

1765. I know why Sylvia Plath put her head in a toaster.

1766. - It was an oven. - Don't play with words.

1767. That was one of the only loop lines.

1768. "It was an oven." You did it into a pillow.

1769. —Crying with no clue what to do?

1770. We had no cuts out of this movie, really.

1771. Our deleted scenes on this, you'll notice, is nothing because there aren't any.

1772. And there's really very few lines cut out of the whole movie.

1773. And very little— We only looped a couple for sound.

1774. When they were, like, muffled.

1775. So there was something very— Kind of minimalistic about everything.

1776. Did you check on the sound of the car scene? Because in—

1777. - Was it okay? - Yeah. It's okay. That must have— That—

1778. - A fleek— A fluke from the— - Yeah.

1779. From one screening.

1780. When they were born, I had no idea what to do.

1781. You see, like, now the fight is over, basically.

1782. What a tonal shift.

1783. - We're into subtle confessions. - She's getting to something serious.

1784. - She's gonna... - Something she felt— Yeah.

1785. She's just—

1786. And, you know, this is true for so many people, that the—

1787. A friend of mine told me something.

1788. It's like that's where Jesse is not a good guy...

1789. because he should have taken her in his arms right then. See?

1790. Well, your friend is an oversentimental and is—

1791. - And— - There's a lot of—

1792. She's— Celine is playing Jesse so much. She's, you know—

1793. - You're holding my hand. That's not bad. - There's an effort.

1794. - You're not that mean. - No, not that mean.

1795. —And walk them for hours in the middle of the night...

1796. all the way to Pigalle and back. I almost got mugged once.

1797. The only reason why the guy didn't attack me is...

1798. This is one of my favorite sign— Lines in the movie.

1799. The only upside of being over 35 is that you don't get raped as much.

1800. - That's like the most awful line... - Ever said.

1801. to be funny.

1802. I love it when audiences laugh at that, though.

1803. But you don't get raped as much.

1804. - Yeah. - It's true. I read it.

1805. —Looked so beautiful...

1806. and I was happy because they were happy.

1807. You know, one of them had this Hula-Hoop...

1808. To me, it's like the moment where it could end the fight.

1809. - Yeah. I know. - And they could have a drink and relax.

1810. Not have sex right away, maybe watch a movie, then have sex.

1811. - Like you need a break from that. - You could be on the rebound.

1812. You're on the upswing here.

1813. Have a glass of wine, go for a walk, and then, you know...

1814. Remember how—? I mean, just the fact you're opening the wine is sort of—

1815. We're sort of celebrating something.

1816. But why does Jesse have to go on to this story?

1817. - And she doesn't agree. - At all.

1818. Here we are, we are in, you know, the Garden of Eden...

1819. But I do like this little callback to the Garden of Eden.

1820. —There's one natural human state.

1821. The human state is multiple.

1822. If that's what you see when you're watching the girls play...

1823. that means you're depressed.

1824. - I remember working out the wine. - "You're depressed."

1825. I like the little expression here. That little "Maybe I am."

1826. He's trying to let it go. He's trying to let it go.

1827. —Not letting anyone step on them or take away what they want.

1828. I like it when they fight. It gives me hope for them.

1829. You see anger as a positive emotion.

1830. That is like— That actually— That's a line someone told me once.

1831. It pissed me off. You have no idea.

1832. - You see anger as a positive emotion. - Yeah.

1833. - That someone is me. Yeah. - That someone—

1834. - I love it. Not a sip. - Never quite— Didn't quite get to a sip.

1835. Here we go. And because there's no referee in this prizefight...

1836. we will go below the belt...

1837. - ... with this next shot. - That's below the belt.

1838. - This is straight to the man's— Yeah. - I'm now fully chewing my lip off.

1839. This is—

1840. When you got it, you got it.

1841. Kissy, kissy. Tittie, tittie. Pussy.

1842. I'm a man of simple pleasures.

1843. Yeah, very simple...

1844. and I've been meaning to tell you that lately.

1845. This is a long take too. You stay in this shot for a long time. I love it.

1846. Well, it's important to be able to look at both of you...

1847. you know, get the different expressions and reactions to each other.

1848. What are we doing here?

1849. This is too planned, like we're supposed to have this great evening.

1850. No room for spontaneity. It is all gone from our lives.

1851. - This is stupid and it's not working. - Obviously.

1852. And I curse Ariadni...

1853. We finally talk about the extra pressure...

1854. that you're supposed to have this great date night, you know.

1855. That's one of the better— What do you say?

1856. "What the fuck is that?"

1857. The— Your "fuck" there is especially good.

1858. You curse very well on-screen.

1859. And on the radio too.

1860. - Here we go. Here it comes. - Yeah. Okay. Here we go.

1861. It's funny to see how quick audiences pick—

1862. - They get it. - "I know you do."

1863. - When you go, "Oh, I know you do." - Yeah, they're already on it, like:

1864. We're going somewhere.

1865. - We really don't— - Dangerous territories.

1866. How convenient.

1867. Swear on our kids you didn't fuck that lady from the bookstore. Emily.

1868. - Women jump to the "swear on our kids." - Yeah. Because that's the end of—

1869. I've had people who— That is the— They throw it down.

1870. Well, this is a huge area, this little section, like—

1871. - That's the most dangerous. - Yeah.

1872. "Do we put something like this in this movie?

1873. - Can Celine and Jesse withstand—?" - That was a big question.

1874. The notion of there's been infidelity in their relationship, so...

1875. That's a big deal. For a lot of people—

1876. I think for the people that are used to the romantic-comedy formula...

1877. that's like the territory, if you go there, it's over.

1878. You can't go to that kind of reality...

1879. because you've constructed a false artifice to begin with.

1880. - Yeah. I want to hear. - Okay. Well...

1881. let's start at number one, okay? Number one, you're fucking nuts.

1882. All right? You are. Good luck finding...

1883. - You have too much fun saying that. - I love your expression there, Julie.

1884. Jack Nicholson in The Shining...

1885. - ... at that exact moment. - Yeah. Just a little...

1886. You're not gonna change, I don't want you to. It's accepting you for being you.

1887. I asked a question.

1888. And this is great.

1889. If, while I was carrying that double stroller down the stairs...

1890. and getting ass-raped...?

1891. To go from being on the...

1892. I don't know what Emily. What are you talking about?

1893. The one that wrote the e-mails about Dostoevsky?

1894. "Oh, Jesse, you're so right.

1895. The Grand Commander is the deepest passage..."

1896. You wanted to get that wrong.

1897. Instead of Grand Inquisitor, you thought it was important—

1898. You're remembering an e-mail from a long time ago.

1899. Grand Commander.

1900. I love that.

1901. - Because people do things like that. - Oh, yeah.

1902. - It was funnier to have a mistake. - We had to build in imperfections.

1903. Like, we did that throughout. Remember? Like, "Oh, my friend from New York?"

1904. - "Oh, no, that was the time—" You know. - Yeah, yeah, yeah.

1905. —And I guarantee that you at least blew that guy, but I...

1906. That expression.

1907. All right? I'm okay with you being a complicated human being.

1908. When people say, "Oh, he's cheated," I say, "Well, has not she?"

1909. If it's a woman, they don't remember that— This line.

1910. - They ignore this one. - Yeah.

1911. I said, "Well, he tries to dig in and say something.

1912. She runs out of the room when confronted."

1913. - I love the glasses sitting there. - Yeah. Un—

1914. - Untouched. - Undrunk.

1915. You know what's going on here? It's simple.

1916. I don't think I love you anymore.

1917. "I don't think I love you anymore."

1918. - "I don't think." - "Don't think."

1919. - Yeah. - She's not sure yet, though.

1920. "I'm gonna throw that out there, though, just—"

1921. - "Just to see." - That's one more haymaker in the fight.

1922. - It's a big one, though. - Oh, the tea she never drank.

1923. - Here's the Ozu sequence at the end. - The Ozu.

1924. Little cutaways to...

1925. In the first time for three films, we actually have a score.

1926. You know, Graham Reynolds did such a wonderful—

1927. I've been working with him the last 10 years.

1928. - Very minimal. - Yeah. Minimal and effective, you know?

1929. It has real power because he used it so little.

1930. People would be surprised to know this isn't really a cafe...

1931. where they see the sunset.

1932. Or this scene. This is just some concrete jetty...

1933. - I tucked in my shirt. - ... In Kardamili.

1934. - Oh, yeah. Look. - Yeah.

1935. - He's got all spiffed up for you. - How beautiful was Kardamili?

1936. - I'm sorry. I'm obsessed with Greece. - It was incredible.

1937. I came here to be alone.

1938. I've just been checking you out...

1939. We added these lights to get those reflections on the water.

1940. Looks a little darker than it was. Brought in that boat over your shoulder.

1941. - Remember? - Oh, yeah, yeah.

1942. Christos, they had a connection. That's someone's boat.

1943. Just to add some lights in the background...

1944. out of focus, but just, you know...

1945. It's interesting this whole scene plays out in public.

1946. Yeah. It was very late. Very, very, very late.

1947. - The sun's coming up. - That was about 4 in the morning.

1948. Yeah. Five. It was freezing.

1949. Well, your performance is great in this part.

1950. - By the end— - Really? I don't know.

1951. It was hard. I was really— I was thinking, actually, generally...

1952. about that rehearsal we did where I was more emotional and stuff.

1953. And I was like, "it's too much, you know?" It would have been too much.

1954. Yeah. You've— I don't know. I love your performance in this movie.

1955. I love your performance in all three.

1956. But, you know, one silly thing that people always ask me about is, like, you know:

1957. "How much do you think about Jesse in between them?"

1958. You know, one of the ways that I have thought about them is several times...

1959. people have mentioned to me that I should get my teeth fixed, and—

1960. - That would be weird. - I have this thought...

1961. that Jesse would never do that.

1962. So then the next—

1963. If we ever did make another one, I'd screw it up because—

1964. - Yeah. - And what if I would get a full face-lift...

1965. for the fourth film and I look younger than in the second film?

1966. - Wouldn't that be great? - Yeah.

1967. A little plastic surgery.

1968. Next one we cut to, your faces are like:

1969. - Like I'm living in Brazil. - Nine years...

1970. - That's not gonna happen. - We have to do that.

1971. We have to not only shoot it in about 18 months from now...

1972. but jump genres and both get a lot of work done.

1973. You get your teeth, you get your—

1974. But we're still Jesse and Celine. It's just a new movie. It's a genre film.

1975. - Yeah. - Some action thriller.

1976. Espionage.

1977. I have really weird-shaped eyes.

1978. - I was thinking the entire film, watching. - Oh, Julie.

1979. I'm not trying to pick you up. No, you misunderstand me.

1980. No, no, no. I'm only here as a messenger.

1981. I've just traveled...

1982. How many people notice when they watch...

1983. that I pick up that napkin and fold it and put it in my pocket?

1984. Well, I think by the time you pull it out and start reading it, it makes sense.

1985. - They've clocked it by then. - Like by the time you reference it.

1986. I think you see it before, yeah.

1987. You see me do it, but I don't know whether people clock it.

1988. It's just a gesture. It's very smooth the way you do that.

1989. It's sweet. Know how the Art Department, they're just trying to please you?

1990. Well, someone gave me a napkin with the—

1991. It was all written out.

1992. I'm like, "No, no. You missed the point. He's not really— He's making it up."

1993. But the way they're trying to be thorough in their job, I was kind of touched.

1994. I was kind of baffled by it because it made me worry, like:

1995. "ls the audience gonna think I'm reading it?" I— And so...

1996. I would never write this. "Other side of the woods." What woods?

1997. - I swear a lot in this film. - But you swear a lot in life.

1998. Yeah. That's not, you know, out of the ordinary for you.

1999. And he will be your escort.

2000. God knows he has many problems and has struggled his whole life...

2001. connecting and being present even with those he loves the most.

2002. That, to me, is an interesting line...

2003. because I think that that is the...

2004. Something that I think, I don't know, is true for a lot of people. It's—

2005. - Yeah. - It's very difficult.

2006. I mean, it kind of harkens back to the first film too...

2007. about how easy it is when you first meet somebody.

2008. But to be really— Feel really close to the people...

2009. you spend a lot of time with sometimes is difficult.

2010. - And it's a big confession, you know? - Yeah.

2011. It's a big thing to say.

2012. I like the way Jesse senses he has to kind of go for broke here.

2013. Even though he hasn't really done anything wrong.

2014. I mean, by the argument standards...

2015. she hasn't done anything wrong, he hasn't.

2016. But I think you know it's time to...

2017. To let the other one know that something important is happening.

2018. You'll take it up to another level.

2019. - I mean, in a way it's like— - She's less amused.

2020. Yeah. Okay. Yeah, it's like, blah, blah, blah, financial tips...

2021. That gets a little laugh, though. Financial tips.

2022. "P.S. By the way, the best—

2023. By the way, the best sex of my life happened one night...

2024. I wanna get something from the—

2025. The, like, Tourist Bureau of Greece hasten“

2026. - Give us— - I want a residual. I want something.

2027. - We've just— For life. - I want a free hotel room.

2028. I want something— Free drinks in Greece for life.

2029. - I want a card. - Yeah.

2030. Because we have just, you know...

2031. - Southern Peloponnese. - Yeah.

2032. And there she's tired.

2033. Because he's a writer and he's trying to pick her up and fix things.

2034. She knows all the shticks, you know?

2035. Yes, I heard you.

2036. I have a very long nose.

2037. It's very long and straight and little.

2038. I've always dreamt of having a big nose.

2039. You can get that work done before the next movie.

2040. - I can break it. - Then we'll do.

2041. You wanna live inside some fairy tale.

2042. I'm just trying to make things better.

2043. I tell you I love you, I tell you you're beautiful...

2044. I tell you that your ass looks great...

2045. "Your ass looks great at 80."

2046. What an image, that your ass looks great at 80.

2047. We're back into one-take territory. No one ever comments on this.

2048. It's the end of the movie, but we're in an extended...

2049. - Very long take, yeah. - ... long take here.

2050. It was kind of important to end on that note.

2051. - It was a difficult— And it— - End. Yeah.

2052. - It's a difficult scene to do. - Well, you know, it becomes—

2053. The Technocrane. It becomes difficult technically to pull off.

2054. And we had some good takes that kind of busted technically near the end.

2055. So that sucked.

2056. But, yeah. We've always kind of threw up some obstacles, don't we?

2057. Here I never knew— You know, it was hard to tell exactly in one take...

2058. like, how long do I hesitate, you know?

2059. I know. You had to go on your intuition about what's the right—

2060. I mean, I tried to really formulate the thought in my head.

2061. Like I stay and make it work. I don't stay, this is it, you know?

2062. To me, this was a mirror of the listening-booth scene...

2063. in the first movie, when you're attracted to each other.

2064. I thought this was sort of a bookend to that.

2065. But I think it's okay, the timing. Right? It works.

2066. I really wish you would— No.

2067. I was hoping for 10 more seconds, but we—

2068. No. It's perfect. It's what it is.

2069. I fucked it up.

2070. Am I gonna have to get naked to operate it?

2071. I get back into his territory.

2072. I think you guys are in two different zones here.

2073. That's how I was always thinking of it.

2074. But there's nothing like a good hint of sex to bring you onto the same page.

2075. - Yeah. - Just the word "naked" does it.

2076. "Naked" pulls you back to a consensual reality.

2077. And the bimbo. She's back to the bimbo.

2078. Yeah. Well, you know how to get a man.

2079. It's interesting, this ending, because it's almost like...

2080. okay, she gave up the fight, or actually, she lets him win a little bit...

2081. - ... so she can win the big fight. - Yeah. Exactly.

2082. - Yeah. That's it. - To win the big fight another day.

2083. - Another day. - Endings are tough.

2084. Remember? We really agonized over this.

2085. - Yeah. - We had one with you leaving.

2086. Remember? Jesse leaves and lets her alone and—

2087. - But that was too black-or-white. - Yeah.

2088. I just— I like the idea of leaving you guys in midconversation with, you know...

2089. —it must have been one hell of a night we're about to have.

2090. - Yeah. - lmmediate future and long-term future.

2091. I think we know that maybe the immediate future.

2092. Long-term, who knows?

2093. Yeah.

2094. The end.