Risktakers' conversation with actors, producers, writers and directors about the gutsiest moves they've made, like playing against type or financing their own project. Featuring Kali Reis (Actor, REBUILDING), Cooper Raiff (Creator/Director/Writer, HAL & HARPER), Havana Rose Liu (Actor, LURKER, HAL & HARPER) and Sophie Nélisse (TWO WOMEN).
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00:00Like, I just love that process of watching someone birth into the thing they're supposed
00:04to do in the world.
00:05It's, like, the most magical thing ever.
00:08I thought the coolest way maybe to start our conversation is to talk about convention.
00:27You know, when you were all starting your careers, was there anything anyone ever said
00:31to you, like, you must do this, you must get cast in these kinds of movies, you must get
00:35a brand deal, you must have this kind of, like, fellowship?
00:39Anything that you sort of, or self-imposed limits that you thought, like, there's only
00:42one way to do this?
00:45Should I start it off?
00:50Not exactly, but, you know, many years ago, you know, actually the first time I came to
00:55Sundance was with my friend and filmmaker, James Shamus, and James gave me really good
01:02advice and he just said, you know, you should really focus on the characters and the roles
01:10and try to add to your, you know, catalog of characters you've played and really focus
01:17on doing new things and try to challenge yourself, and that always kind of stuck with
01:24me.
01:25Kaylee?
01:26Well, I have a very unique start to this whole career.
01:29I didn't have what you would call a normal start to getting into acting.
01:32It kind of happened on accident in the most blessed way, so no one really told me anything
01:40specific other than the director-writer for the very first movie I did, which I also helped
01:44write.
01:45It was just like, yo, you got something.
01:46You got the juice.
01:47You got the sauce.
01:48And I'm like, what is the juice?
01:49What's the sauce?
01:50But I saw that he saw something in me, and it was just the look in his eye that he really
01:57saw.
01:58I didn't know what it was yet, but I said, okay, that's all I usually need with anything,
02:02and I'll take it and run with it and do the best I can, and it was just, you know, learn
02:06as much as you can, and what I usually do is take the knowledge and observes from other
02:11people around me and then make it work for myself.
02:13We have a common goal, which is to tell the story, and it may not be the right way or
02:18the most common way or the normal way, but it's the way that works for me, and just,
02:22you know, as artists, as I'm learning, we're just trying to get the best out of telling
02:26that story, so just kind of, you know, just take it and run with it and do the best you
02:31can.
02:32Did very well for you.
02:34Yeah, I mean, similarly to her, I had kind of an unusual start in the industry.
02:39I needed money to pay for gymnastics, and so I just started doing publicity, and I was
02:46very fortunate to grow up in the indie space by doing a lot of indie movies that resonated
02:53abroad, but I was kind of just winging it and doing it for fun, and so I never felt
02:58pressured to, you know, be in those bigger productions, and I think it's given me the
03:04liberty to be able to, as far as, like, kind of forever be able to do projects that were
03:10just very creatively fulfilling for me and never felt pressured to kind of abide by the
03:17more stereotypical rules.
03:23Started out with no mic.
03:27I started out wanting to be just a writer, and I guess kind of a filmmaker, and people
03:34always tell you to make a short film, and I didn't have any good ideas for a short film.
03:40That was something that people always told me that I didn't like, but something that
03:44was told to me often that I did love and helped me so much was that the cavalry isn't coming,
03:49that you kind of just have to do everything yourself, and there's not someone that's just
03:53going to pick you up and get you there, and that was, I think, Mark Duplass said that
04:02at maybe a Sundance panel.
04:05I think he just sleeps outside waiting for a film to release.
04:10I think I also had a really, I never wanted to do this.
04:13It seemed too really scary, and it still is really scary, so, and I didn't grow up acting
04:19or I was street cast, so I had a very sort of released way in as well, which I think
04:24does give you the liberty to make choices based on pleasure, and I think the thing that
04:29I was told that I must do is hold on to not listening to what I must do, which I think
04:36is the best advice of all, and yeah.
04:41Another thing I think you all have in common, which is very cool, is that I think you've
04:44all participated in projects that have had significant corporate backing or by preeminent
04:50indie distributors, but you still managed to find a way to do things that are risky.
04:54I mean, I could just go down, you know, Logan, you've done everything from Disney franchises
04:57to indie films, and Kaylee, you're award-winning Warner Brothers Discovery show, you have a
05:02huge Showtime show, Apple made a huge splash with your film two years ago, and Havana,
05:07you've worked with some of the best in indie films, so is it difficult sometimes to work
05:11within sort of like a risk-taking space, or really have your voice heard when you're
05:16facing such, you know, huge Hollywood machinery?
05:26I would say for me, especially like you alluded to, like having that not listening to what
05:31you must do, but also staying true to who I am as a person, and what I want to put out,
05:35and my intentions behind storytelling as a mixed indigenous woman anyway, and having
05:39so much, so many boxes that I check, and having, you know, so much responsibility,
05:44very proud responsibilities to make sure that people who look like me feel seen, the intentions
05:49behind these stories I tell, I try to make sure, you know, you're not going to be able
05:52to tell the stories you want to tell all the time, but making sure the integrity behind
05:58who is running the show as much as you can, and speaking up for yourself, you know, I
06:02know that's maybe shunned upon sometimes, and the bigger, you know, the things that
06:07I want to be in the bigger world of Hollywood, but, you know, that's how I got as far as
06:11I am, is speaking up for myself, and if I, you know, I look like a lot of misrepresented
06:15and underrepresented communities, and if they see me speaking up and staying true to myself,
06:19that means more to me than getting casted in a major, major project.
06:23Amen.
06:24I also want to, yeah, give it up for that.
06:26I also want to point out that, you know, the risk that HBO took using established IP and
06:33True Detective, never led by two women, never a female showrunner, was the most watched
06:38installment of that entire series, despite the sour grapes of some people.
06:42Well, you know, some people like eating sour grapes.
06:47Of course.
06:50Anybody else want to jump in there, just with how you can stay really authentic and risky
06:54and true to yourself inside, you know, a larger Hollywood machine?
07:00I'm really lucky.
07:01Yellow Jackets, which is on Showtime, has such great creatives, and I think knowing
07:08when you're hopping onto such a big production, I think I make sure to choose the creatives
07:12I'm going to work with wisely, and know that we have the same vision for the characters
07:17and that we're both creatively aligned.
07:21And so I've just been, I mean, it hasn't been really difficult on Yellow Jackets because
07:25it's just, all these characters are so complex and it is a show that I have never seen before
07:30and that is, and that was very risky at the time, and I think we've proven everyone wrong
07:35that risk sometimes is, you know, creates the best outcome, and so I've just been really
07:41blessed with this project and I have been able to take risk, you know, every day with
07:46every scene, and just, yeah, I think you just have to find the best creatives that will
07:52back you.
07:53It's funny, I think, I'm in like the sort of semi-powerless position of being an actor,
08:00but you watch directors, writers, people developing their own projects in independent film who
08:05are then, or sometimes working with a big studio, having to navigate that sort of back
08:10and forth with them, and I think the thing that I've watched so many times is sort of
08:15like the dampening, a lot of the time, of a creative vision or of somebody's sort of
08:21liberated perspective that is what makes their work so special, and that's not to say that
08:27that has happened on every project I've been on, but every once in a while you see someone
08:32be made, or be tried to be made a little bit smaller, and I think, I'm speaking to my audience
08:39here and this is, you know, we're here for independent film, but I would nudge the people
08:43who are in power around this to have a little bit more bravery themselves in order to allow
08:48more space for people and visionaries to, you know, walk the walk and talk their talk.
08:55It's an incredible point to look at what The Substance just was able to do, first-body
08:59horror film that were nominated for an Oscar, it's very well said.
09:01Cooper?
09:02Well, I think it's important to remember that the people in power don't necessarily have
09:08any idea what they're doing, and I think that the preconceived notions that the people in
09:15power have, it's quite, it sometimes can be quite easy to do the whole Trojan horse where
09:21you're, I've found that it's very, pitching something like, this is gonna be a lot like
09:28Wedding Crashers, and then it's just a bunch of feelings the whole time, but it's got this
09:32shell that people can say, this is gonna, the Wedding Crashers made money, and then
09:38you can do your thing inside of it.
09:40It's your comp.
09:41Yeah.
09:42Exactly, like you pitch something.
09:43It's a lie.
09:44It's a lie.
09:45Well, it's like, you just need to help these people sleep at night, and I think that's
09:49what they, I think that that's what these people really desire.
09:53If you're trying to make special art, you would think the people with you are trying
10:01to do that too, and when it feels like they're not, it's like, maybe what's happening here
10:06is they want more security within their life that maybe doesn't have to do with this project,
10:12so how can I provide that for them, and I think that's kind of the way to do it sometimes.
10:17Before we hear from Logan, can I just follow up and ask you, what was your, coming out
10:20of the entire experience you had with Cha-Cha, which was, I think, an intense amount of attention,
10:27very big commitment from Apple, who's not, frankly, not entirely used to this entire
10:33process yet in their young life as a film distributor, so just what are your takeaways
10:38from that, and would you do it again?
10:40Do you want to explore something different?
10:43I'm just trying to make things that I want to make, and I, it's, that, Apple helped me
10:52be able to make the next thing, so I really appreciate it to Apple, and I thought, yeah,
10:58it's, they're the reason why I could make the next thing, so yeah.
11:01Did you get a phone?
11:02No, I did not.
11:04Boo.
11:05Yeah, I mean, for me, I never really consider the business and the corporate, you know,
11:15structure, whatever the heck it is that you were asking about, I just think about the
11:20script that I'm reading, and choosing the best, you know, role or script or filmmaker
11:28the time I'm reading it, and looking for my next job.
11:31Have you ever found yourself?
11:32It doesn't matter about size or, you know, scale or scope, or how many theaters it's
11:38going to be in, or whatever the heck that's going to do, I think it's just, yeah, following
11:44your taste, and it's always about the script.
11:47Have you ever found yourself sort of pushing harder for certain choices for your character,
11:52or, you know, coming up against producers or anything like that?
11:56Yes.
11:57Do tell.
11:58I think it's a part of the process, and, you know, actually, I learned a lot from my mistakes
12:06over the years, and I started when I was really young, so I was able to learn that speaking
12:12up for yourself, you know, when you don't agree with the direction for the character
12:18or change in the script or something like that, and just having a perspective and approaching
12:26that conversation with, you know, with care and understanding that this is, you know,
12:32not just yours, it's shared, it's everybody's, and it's collaborative is important, but,
12:38yeah, I found myself having to, you know, I guess express my opinion on my character
12:47or my role in a given project, but, you know, at the end of the day, it's what the filmmaker
12:52wants, and I try to support their vision.
12:55It's director's medium, right?
12:56I don't want to make their movie.
12:57I don't want to make my movie.
13:00I'd love to talk a little bit with each of you quickly about sort of what these incredible
13:05projects you have here are and sort of, like, what you have on the line personally, how
13:09it pushed you, why it was a risk.
13:11We have a theme here, if you can't tell.
13:13So should we start with Havana?
13:14Havana, you have both The Howlin' Harper, which is your collaborator Cooper over there,
13:20and also one of the films I'm most excited to see, which is Lurker.
13:22I'm very, very excited for that one.
13:24Can you talk a little bit about sort of how that pushed you further as an artist?
13:27Oh, yeah.
13:28I, both of, they're very different, but I think in general, I like to work with filmmakers
13:37who are more either towards the beginning of their careers or are still very brave and
13:43daring in how they like to approach their process, and I think both of those projects
13:50fall in that category, nudge nudge.
13:52I think Cooper's one of the most sort of, I don't know, it just has such a specific
13:59process about how he goes about the work and in developing the work that really drew me
14:04to him originally, but then also in the process of it, I think I was pushed so hard as an
14:09actor because I was having to act opposite my, he's my co-star in the series, and also
14:16my writer, director, producer, and also my love interest.
14:19So, I mean, it was a bit complex, and I think that it really forced me to have to find my
14:26own grounding, too, to be able to set a certain boundary or to be able to speak up for what
14:31I thought or felt about the shape of the scene, and luckily, Cooper was really collaborative
14:36with that, but it also, I think, centered me in my process in a whole new way and allowed
14:41me some creative reigns, too, to, Cooper, I mean, maybe it was just because you were
14:46being nice, but you were like, was that truthful?
14:48Like, you would ask me for notes, you know what I mean?
14:51And I think that was empowering, too, to feel like it was such a communal thing.
14:56And then Lurker is so special because Alex is, he writes on beef, he's an incredible
15:02writer, and to see that translate into being able to put his vision that he's writing down
15:08into the vision of the movie is like something that I'll never get over as, like I just love
15:14that process of watching someone birth into the thing they're supposed to do in the world,
15:18it's like the most magical thing ever.
15:20And so he's just a sweet, funny, quirky person, he'd hate that I called him that, and the
15:28group of people was also sort of constantly working through his own process and discovering
15:33what his process was, so I think it helps me discover mine.
15:36Cool.
15:37Cooper?
15:38Yeah, we did Hell in Arbor, and it's an independently made television show, which is a big risk.
15:49And it's like an eight episode thing that we did not have much money at all to make,
15:56and it was a hard shoot, but it was just, and I think I, the whole time was like, I
16:01wish this was a movie, but it just wasn't.
16:03It was a TV show, and I wanted to explore all these different characters in that medium,
16:08and on paper, the TV independently made should work in the same way as movies, but I think
16:17we, or I forgot that when a movie, like this year, gets a big sale, it's on the backs of
16:26so many movies that have had these big sales, and with a TV show, it's like, people aren't,
16:34they don't even have the money that's allotted to that certain thing, and people going to
16:39that, so it's a big risk, but I think the goal is to try to make it seem like it's not
16:44a big risk, like constantly trying to convince people that what's true isn't true.
16:49I think you maybe have one or two other, certainly this might be the first one sold out of this
16:53festival, one that wasn't like transferred from a bankrupt company, or merged with a
16:58streaming service.
16:59There's almost no one who's gone before this, so I'm sure, so everyone tried to talk you
17:04out of doing a show and doing a movie instead?
17:06Yes.
17:07Cool.
17:08That's very cool.
17:09Sophie, I'm two women, if you could just tell the crowd a little bit about sort of how it
17:17updates a really classic film, and I think in one of the ways it's the riskiest is that
17:21it's like sort of pridefully and joyfully about female desire, which I think even in
17:26the last few weeks in our culture and society has become as risky as maybe you can get.
17:33Yeah, I felt really lucky to be a part of this project, because it once again speaks
17:39of female desires, and it shows, I think a lot of women can relate to these characters,
17:47and find a lot of themselves within these women, and there's a lot of different complex
17:53women within our movie.
17:57I think for me, in this project, the biggest risk was taking on comedy, which I've never
18:02really been able to explore beforehand, which I've always loved and wanted to do, but I
18:08grew up in a more of a dramatic background.
18:12And so I felt very lucky that Chloé, our director, trusted me with that.
18:18And again, the beauty of being on a more independent project was I felt less pressure, and I felt
18:23like I had the creative space to be able to explore that, and to maybe fail, and to maybe
18:28sometimes offer a proposition that I felt was so out of my comfort zone.
18:33But it was okay, because everyone was nonjudgmental, and it was a very safe space for me to try
18:41those new things.
18:43And just being able to shoot back in Montreal, which is where I started my career, and working
18:49with people that I have worked with when I was like 10 years old, but I have so much
18:55trust in that crew, and those filmmakers, and everyone on set.
19:03We always have so little money, and come up with the most brilliant ideas and results,
19:11and I'm always very proud to be a part of Canadian projects.
19:15Kayleigh?
19:16Yeah, I'm really proud of rebuilding this film, especially with the current circumstances
19:24and the natural disasters that we have going on in L.A.
19:29This was very special.
19:30The script was just so beautifully put, and it was done and written from a personal experience
19:36from Max, and he put so much heart and thought into every word, every character, every aspect,
19:42even just the scenery itself.
19:44So I'm just really proud of this film, and he explores the human condition of what happens
19:49after.
19:50We always talk about a natural disaster or a tragedy that happens, whether it be war,
19:54whether it be natural disaster, whether it be grief, we all have dealt with grief in
19:58our own way, whether it's of property, whether it's a loved one, what have you, all dealt
20:03with loss, but we really don't get to explore what happens after and the rebuilding process,
20:08and it's inevitable.
20:09You have to move, the sun continues to set, the days continue to pass by, and you have
20:15a choice whether you're going to try to rebuild something exactly how it was, which is not
20:20possible, or just use that as a foundation, the memories, maybe not the physical things,
20:25but the memories you have, the people that are still around, and also the community.
20:29Community is really important, especially if you look at what's going on in L.A. and
20:32you see the community coming together, and it doesn't matter who's from where, what color
20:36they are, what culture, what political view they have, they're all dealing with something
20:40common, and they're coming together as a community to have hope to rebuild something, to build
20:44something anew, and it's something really beautiful in coming together in something,
20:49and I think this film really depicts that, of people from different walks of life.
20:54You get to have a glimpse of every character, maybe a little background, but how beautiful
20:58this little community, these little trailers are, and how they really make the best of
21:02it together, and they may go their separate ways, but in that current time, they start
21:06rebuilding, and everything is temporary, happiness is temporary, sadness is temporary, everything
21:12is temporary, and I think that this film offers that little glimpse of hope that I think we
21:17all need, especially right now, and it's just a beautifully put film, I'm really proud of
21:21it.
21:22I think it's really well said, and super important, a conversation we had at Variety, and it's
21:26ongoing, is bordering on, especially when it comes to content, what's tasteful and what's
21:31not, maybe delay that week's episode of California Fire CSI, but I think one of the really important
21:38things that a film like Rebuilding can do is give people a blueprint, especially when
21:42it comes to keeping your attention on something, just because the cable news channels have
21:45dropped it from wall to wall, doesn't mean that this community is not gonna need help
21:49for almost a generation, so it's very cool.
21:51Yeah, and like I said, Max actually speaking from experience, it's not something he imagined
21:56and said, ooh, I wonder what it would be like if this happened, it really happened in his
22:00community, and he went back, it inspired him when he went back to his community, and it
22:05really happened to his grandmother's house, his community, we went there to these charred
22:09forests and actually got to see it, but the greenery that comes out of this black charred
22:14death fire is, something's always gonna grow out of that, it's your choice to see what's
22:18gonna grow.
22:20And you, sir?
22:22In terms of the risks related to the project that I have here, called Ohai, it, I don't
22:31get to do a lot of comedies for some reason, maybe people don't think about me for that,
22:36but I, like pretty much the last few things I've done have been really heavy, serious
22:44things, and it was nice to do something where the goal was to, I mean find the truth of
22:51the scene, but also find the funny and improvise a lot, and riff with really good comedians,
22:57and that was different for me, and made me kind of nervous, but it was also really exciting
23:03and fun, and it's also, I'm not allowed to, I was told I shouldn't spoil anything about
23:09like a twist in the movie, so I want to be a little, yeah, I mean keep things from slipping,
23:19but, yeah, there were a lot of constraints, physically in the movie, and it was nice to,
23:26it was a challenge, it was for me, and a risk to like have a role where you can't really
23:32do much, I mean physically there's not like a lot to do, and that was an interesting thing
23:37to wrap my head around as an actor, like how to explore scenes where we don't have a lot
23:45of space to move.
23:47Everyone's Googling this movie right now in the audience, they're not listening to this
23:49at all.
23:50No, that's, it's interesting because if someone, you know, with your career trajectory, like
23:55how hard is it to get people to change their minds about what kind of films you should
23:59do, and how do you remedy that?
24:03I mean this is the, this is always, it's the same thing with every project I've worked
24:09on, is that people see you as the last thing that you've done, and it's impossible for
24:13people to see past that because, I mean they don't know what's in you, or what you're willing
24:20or capable of exploring, and so it's always a challenge to try to find a new tone or genre
24:27and convince somebody that you're down and ready and capable to do that, to execute that
24:37tone.
24:38So yeah, this was really different for me, and it was a great experience.
24:42Well I hope and I'm sure that people will see this and then they'll give you only comedies.
24:46They'll give you the Wedding Crashers comedy.
24:48Please, it's so much more fun, it's so much more fun than having to cry every day or something
24:56like that.
24:57Something I think I'm very curious about because this is such a cool collection of people,
25:01like who are your sort of inspirations for risk takers, whether they be artists or otherwise
25:07that sort of light your fire or help you persevere?
25:13Ms. Darnavena?
25:14Sure, before I came into this life I thought I would be more involved with performance
25:21art, and so I think that's like the riskiest form of art you can imagine.
25:25It plays with reality, it fucks with audience versus performer dynamics in a really interesting
25:32way, and so I think that idea of bravery has influenced a lot of the directors that I appreciate
25:39very much.
25:40I think people I haven't worked with, people like Nathan Field or these kinds of people
25:44who are playing with reality in that capacity I'm fascinated by.
25:48And then I've been really lucky to work with a number of people who I think I still think
25:53of as my main inspiration for being very risky and brave and gutsy in the art, like Josephine
26:00Decker and Karen Chinoy who had Sundance, we premiered our film here, Cooper, I don't
26:08know if you know him, and I think it's just been like an interesting process of having
26:14an idol formed through working with them, which is awesome.
26:18I can totally see you as like a Marina Abramovich muse too, so like, Cooper?
26:24I'm just inspired by like actors and directors who, I think people would describe like their
26:35careers as like, you never know what you're going to get, or it's surprising, but I think
26:40if you look a little deeper, it's like, it's not, it's just what they're trying, what is
26:47speaking to them, what they're trying to say to an audience in that time in their life,
26:51and like Ryan Coogler is someone who, if you just look at, like I was so obsessed with
26:57Threevale Station, and then he went and did Creed, and I think, like there's just so much
27:01conversation about like, what, what, it's just like, he like, I think the story, I don't
27:07know the actual story, but I think I read somewhere that he was like stalking Sylvester
27:12Sloan about like trying to get this movie made for so long, and it's just, because it
27:17spoke to him, and it was, it's just like, they've, these people who lacks, completely
27:22lack preconceived notions and are just trying to make something for the widest possible
27:27audience, like that's the thing that these, it's a risk, but like, a person like Ryan
27:33Coogler, or like Greta Gerwig, or like these people, they're trying to make movies for
27:38the biggest possible audience, and yes, they're very specific, and that's why they're so amazing,
27:43but I think that like, the thing to remember with these great filmmakers that we love,
27:49that we call unique, or we call like, risk takers, is that they actually at the end of
27:54the day are thinking so much about the audience that they're playing it for, they're not trying
27:59to be small, or they're not trying to be independent, they're being independent so that they can
28:04make it great for the audience, because they don't necessarily trust others to help them
28:10make it in the best way for an audience.
28:12Sure, and that's such a great point, that it's not like, like Greta's career could have
28:16easily ended if that didn't work out the way, or the way that, well, the director she's
28:20at now, it's like the Wilness Royster scene for Ryan, it's very cool.
28:24Sophie?
28:26I think it's maybe some creatives that long before me paved the way in finding characters
28:34that we had never seen on screen before, and I think some of like, Charlize Theron in Monster,
28:40who, you know, he'd never seen a woman look the way Charlize does in that movie, we expect
28:50of Charlize to always look pretty, and our idea of what a woman should look like, and
28:55she bent those rules, and, you know, decided to look raw and realistic, and completely
29:02transform herself, and I think that's, you know, paved the way for so many more women
29:07then to be, to want to do the same, and for men as well, but, and it's just opened the
29:13door to, for then writers, and directors, and producers to take that risk, and writing
29:22more complex characters, and scary, and ugly characters, and embrace that darkness, and
29:30I think of Christina Milioti in Penguin, it's such a complex, and wild, and fierce character,
29:37and it makes me really hopeful that, I mean, I kind of have that opportunity in Yellow
29:41Jackets, because my character is very dark, but I think it's because of these women that
29:48have come before me.
29:51I really get inspired by people's authenticity, you know, whether it's you're authentically
29:59a nice person, whether you're authentically an asshole, but if that's who you truly are,
30:02I just get inspired by watching people, I love watching people, studying people, especially
30:07when creatives take risks as far as being authentic, as far as really exploring a character,
30:13it's, you know, it might be the hero, but if you see a hero having these dark thoughts,
30:17you know, that's real, that's relatable, I like when people take relatable approaches
30:21to the entire story, and tell it authentically, and I really give props to the creatives who
30:27are doing their best to reach out to get the most authentic perspective of whatever story
30:32they're telling, it doesn't matter what story they're telling, but really want to tell it
30:35from an authentic place, we tell these stories, and they're made up stories of imagination,
30:40but our job as actors and performers is to have real reactions, and real people, we're
30:45real people in made up circumstances, basically, so when creatives take this time to really
30:49explore the authentic part of that, whether it be, you know, take Navarro for instance,
30:55she was a detective, she was a trooper, but she had some dark past, so did Danvers, I
30:59mean, they were both two fucked up characters, and we like to see that because we have relatability
31:05in these characters where we all are humans, you know, we're all humans, we all have every
31:09feeling, every thought, all emotions, so I really enjoy seeing that, you can take prisoners
31:14for instance, you see somebody who lost his daughters, but how far will you go to get
31:19your daughter back, how far will you go, and it's, yeah, he's a father, he's a good guy,
31:23but he did some dark things to get, you know, to find these answers, so I really enjoy that
31:27realism of good, bad, and in between, because it's all, it's human, and I love to see the
31:31human experience kind of played out that way.
31:34I love a prisoner's shout out.
31:36I love that movie, I really do.
31:38It's very good, justice for Denis.
31:42Logan?
31:43Yeah, I really admire actors and artists, really, you know, any medium that are taking
31:56swings and trying something new, even if they fail at it, I respect it, yeah, it kind
32:03of inspires me, I mean, I'd love to just, I mean, there's many people I can name that
32:08do that, that have done that and are doing that, and I think that's really what inspires
32:14me the most, is just saying, you know what, I'm going to take a swing and try a different
32:20genre or different, you know, tone of character, you know, tone of color, you know, it's just,
32:29that's what inspires me the most.
32:31Name them.
32:32It's a Beverly Hills housewife reference.
32:36I can't.
32:37Just one?
32:38I don't want to name one, because it's like, it's not one person.
32:41Logan Lerman is a mystery.
32:44Thank you very much.
32:46This might sound cheesy, but I wonder, like, professionally or personally, is there any
32:50risk you know yourself too well that you won't take, you won't work with kids or animals,
32:57no water stunts, no body horror, anything, like, any hard no's for you?
33:03See, this is what we like, we like risk takers here.
33:08Never say never, right?
33:09All of those things sounded so good to me, that you just...
33:13Have you ever said no to anything, Logan, that's done?
33:16Costume?
33:17No, I know.
33:18I mean, look, if the script is good, I'm down to do anything, and want to do all those things,
33:23and try things I haven't done before, so.
33:26Sounds exciting.
33:27I like to be uncomfortable, I don't care if it's a miserable experience, as long as we're
33:31committed to making something good, I don't, I don't, you know.
33:35Yeah, I mean, if it makes sense for the character and the story, you know what I mean, if it's
33:38something that just doesn't match with the story, and again, I'm speaking from very minimal
33:42experience right now, talk to me like ten years, maybe I'll have a hard no, but if it
33:47makes sense for the character, and I can collaborate with the director and the creatives, and it
33:51makes sense, you know, I'm pretty much, and I would like to just be the Tom Cruise of
33:56the female actor world, do my own stunts, that'd be great, so I won't say, if they tell
34:01me I can't do a stunt, that's my, I'd get mad.
34:03First of all, I wish you all huge distribution deals, splashy everything, and we look forward
34:09to you taking many more risks for where to come, can you give it up for these amazing
34:12artists?
34:13Thank you, thank you.