December 13, 2022 • 40 mins
On the first episode of Table for Two, host Bruce Bozzi sits down for lunch with Scarlett Johansson at Via Carota, in New York’s West Village. Hollywood’s highest paid actress has to fight through a film set to get inside the restaurant, but manages to go blissfully undetected by crew and bystanders alike. Once safely installed, she gives Bruce the inside story on everything from Woody Allen’s unconventional directorial style—the filmmaker often shoots with his eyes closed—and working with Bill Murray at the young age of 17 to marrying Staten Island native Colin Jost, which was almost unthinkable at first for a Manhattanite like Scarlett. Hear about all of this and more on Table for Two with Bruce Bozzi presented by iHeartMedia and Air Mail. Subscribe wherever you listen to podcasts.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Well, if dreams come true, I think I'm dreaming. I
am sitting in the West Village in New York City.
I'm the most glorious, beautiful day. The sun is shining,
the air is perfectly crisp, people are out smiling, streets
(00:20):
are bustling, and I'm sitting at my favorite restaurant in
the West Village Via Kuroda and if you don't know,
via Coroda, it's an Italian restaurant on Grove Street. This
place is about as classic New York as it gets,
with a delicious menu, exposed brick walls, beautiful wooden floors,
(00:41):
and some of the best people watching this city has
to offer. Seriously, when you call me here, if you
have the chicken to catch you, the peppie and the
market green salad, you will be in heaven. And it's
so hard to get into. I'm telling you it's there's
always a line, and it's not because it's douche. It's
because it's so good. So today is a super fun
(01:04):
day I'm having launched with a very good friend, Scarlet
your handsOn, I mean TV show next door. Scarlett's entrance
goes surprisingly undetective, partly because of her face mask and
understated outfit, and partly because she arrives alone in Maneuver
without a publicist or assistant. In tone by you invited
(01:26):
me to a restaurant and there's a full movie production
happening next store. Scarlett comes into the private wine tasting
room we've taken over in the back of the restaurant
with the energy of any New Yorker who's running slightly late.
She's rushed but not stressed. Scarlett handsOn, I am sorry.
I did not get the I thought. Are these people
(01:47):
are all waiting for Bruce Bozzy? Do they know he's inside?
Pull up a chair, We're going to have some fun.
I'm Bruce Bozzy and this is table for two. Every
time I passed by a movie set in New York,
(02:07):
I get a feeling of both. I'd say warmth mixed
with panic mixed with pity. That makes sense. It all
is almost like if you have a post traumatic stress
because of you know, years old. Shooting in New York
is tough. Oh cheers, Bruce Bozzy. I remember we were
(02:31):
shooting Vicky Cristina Barcelona. In Barcelona seems ideal, right. Everybody's like, oh,
you're going to Barcelona for whatever two months or something
like that. You're gonna have the best time. It's so
beautiful and the food and the beach. And at the
time I was like twenty years old or whatever, it
seems like great gonna. It was. It was honestly going
(02:55):
to work every day I felt like I was suiting
up for battle because for so all Ellen I think
has reached like god levels this in Spain, some maud
is not is unjudgable there, and um so we would
have probably I'm kidding you not, I think probably six
(03:15):
hundred plus spectators, six hundred people. We would be shooting
this scene. I would be talking to Rebecca Hall. We're
across from each other at you know, a little cafe
and Barcelona, and we're lamenting our problems. And then behind
Rebecca Hall would be six hundred spectators, fifty Paparassi people
talking during the take. It was I don't know, it
(03:38):
was a nightmare. Honestly, have to say, I love my job.
I love you know, I'm I'm not complaining about it.
But you know what, maybe actors are are kind of
in a weird way, sort of gearing up for those
moments because you have to just suspend your disbelief and
(03:59):
go and the zone now. And we do it all
the time. Whatever is going on in your life, whatever
is going on in reality, you kind of figure out
how to use it or lose it. I remember one time,
what do you? And I were shooting someboding for smooth
that we did called scoop and it was the silliest
(04:22):
most scopuus scene. Where at the end of it, do
you know there's an English like delicate sn't know you
call a delicacy, but called spotted dick. You know what
that is? I don't know. I think it's I can't
even remember what I've seen, so yeah, I don't know
what it is. It's like maybe it's a dessert. It's
(04:43):
probably a sausage of some kind, and it doesn't have
to get involved this sausage anyway. At the end of
the road, he had to say something like, well, I've
got to be off, like it's spotted dick at the
hotel tonight or whatever. And he could not keep he
couldn't keep it. Take I didn't keep it. The first
two couple takes. It was like, Okay, it's like giggles,
(05:03):
giggless giggles and then it was hours like this one take,
he was so angry with himself to a point where
like it was hysteria where we were both like lack
pretty laughing before it was the joke wasn't even funny.
It was just we were so nervous that it wasn't
gonna happen anyway. We couldn't do it. We had to
stop the work day. You know the line he was like,
(05:24):
he was so it was crazy, and then then everybody
it was pissed. This is what the point is. Not
about the spotted dick, not about Bodian, but it's about
the fact that these people, you know, your crew, this
is just their work day and they have their family
and they got up at six in the morning where
and they need to get home because their kids have
homework and whatever other thing, and we need to come
(05:45):
back the next day and do it. And it was
I've never seen what he actually that is so angry
at himself. That's so the tape that's in the movie
is really not great. But anyway, point is the crew,
you gotta do the work, you gotta get out of
their office. They're all so the menus are in the
facts of your day A Scarlett, and I move on
(06:07):
from Spotted Dick. We ordered the Catchieri Peppi and a
fritatam gonna catch you to Peppi? Oh yeah, we have
our Tortino decartes Chophe. It's like a Tuscan stile for tota.
Can I get that without the protect? Very good, thank you,
and dive into the truly unique space that Scarlett occupies
in Hollywood. You bring up a horn, which I didn't
(06:28):
even think about as you have become more and more famous.
How would you get a scene downe if people are
just screaming scarrowed Scarlet. I mean we we couldn't even
take a picture on their carpet screaming to your name.
This is you know what I mean? I threatened violence? Probably?
How do you do you find that it's even on
day to day life like walking? In day to day
(06:50):
life walking, I'm usually the most unknowned recognizable words than probably,
And I think it's because I'm short. It's in seeing
because you, Scarlett, to me what I considered to be
a bomb show, and I've seen the movies where you
the bombshelling. This of you you're able to put aside
(07:11):
and of the past when I think of bomb shows
like Hayworth. No, they seemingly always have that they couldn't
get away on that. How do you sit in that
share so uniquely in Hollywood? Oh my gosh. You know what,
There was a period of time actually right around the
time I met your wonderful husband to Brian Lord. At
(07:34):
the time, I had been working for a long time.
I started working when I was eight years old, and
you know, kind of had different periods I worked. You know,
I worked in a movie when I was ten, Oldmanny
in Law, So that helped me kind of start getting
seen by bigger casting directors and stuff. And then I
got up cast in The Horse Whisper, which was a
(07:57):
huge deal for me. And then I was able to
read for even more established directors and ended up working
with the Cohen brothers, and I started around that time
kind of I did a movie with the Cohen Brothers
called The Man Who Wasn't There, And around the same
time I did Ghost World with Terry's wig Off, and
I kind of became like a non genuw sort of.
(08:19):
And I think that's just part of you know, the
young girls like that are really objectified, and that's just
a fact. You know, and so I think whatever box
they're put into, it sort of sets you on this
trajectory for how your life will go. Now, obviously women
are really able more now to choose their own paths.
But for me, it was like, okay, I kind of
(08:41):
started down this path oft on Gene and then you know,
I did whatever movies and movies and I did Lost
in Translation and and grow up proiring in By that point,
I was, you know, eighteen nineteen, and I was coming
into my own womanhood and learning with my own like
desirability and sexuality. And it was I think because is
of that trajectory that I had been sort of launched towards,
(09:05):
I really got stuck in this. And also it was
definitely a part of my management at the time. That
was a big part of it, you know, my agency
and all that stuff. But I was kind of being
groomed in a way to be this what you call
a bombshell type of after I was playing the other
woman and the objective desire, and you know, I suddenly
(09:26):
found myself cornered in this place like I couldn't get
out of it, and went right around that time is
when I'm met with Brian um I remember we had
we had lunch. I think it was lunch at Um
Joe Allen in Midtown. But Brian is so calm, and
he is such empathy, genuine empathy, and he's so understanding
(09:51):
and he's such a good listener. And it was like
I met this man. And of course he's very and
some and very you know, he's very alluring and way,
but he's just it's such a gentleman and he really
and he loves movies and he loves actors, and he
loves real work, you know, real great work and art
(10:12):
and performance, and he thrives I think on putting together
great creatives and like making the opportunity for people to
do compelling work. And he just got it, you know.
I mean it would be easy probably to sit across
from my someone in that situation and go, this is working,
(10:36):
you know, because of course why change it. But I
think for that kind of bombshell, you know that burns
bright and quick and then it's done and you don't
have opportunity beyond that. And I just felt like, how
is this burning out so quickly? And it was just
an interesting, weird conundrum to be in. But it really
(10:57):
come back to doing work to working at it and
trying to carve a place in different projects and work
in great ensembles. What were some of those projects? Host
that lunch and that started that you should said, okay,
(11:18):
you turned the corner on the road. So firstly, you know, well,
I got this incredible opportunity to work on the Second
Iron Man, which that part at the time was very
underdeveloped and over sexualized. But I wanted to form a
relationship with Jon Favreau, who I worked with a couple
(11:39):
of times after that, who's inspiration for me, and and
I also wanted to work with Kevin Feigy, who who's
the head of Marvel, who I knew had like a
vision for this big picture which at the time people
forget that genre was not what it's now. It was
the beginning of that time, and seeing anything the first
(12:00):
Ironman with Robert Downey was a sensation, you know, it was.
It was unprecedented in many ways, and so I wanted
to align myself with that. That was one piece which
turned out to be a very good, very That was
a good bet, right, It was very good. It's not
a lot of levels, but it took you through the
(12:20):
next decade of your life, definitely, and it was creatively
it turned out rewarding in every way, right, But that
that was that one piece. And then I did a
play in New York called A View from the Bridge,
the Arthur Miller play with Me Schreiber and Michael Christopher
and Jessica hacked me and that was that was a
(12:42):
few month disturing point for me. Well that you incredible
in that plight. You want Tony for that? We went
out afterwards, you wearing a green drag. We went to
karaoke bar on First Avenue in the fifties, like where
you used to live. Remember, I stuck my Tony on
the counter and nobody else was there. It turned out
(13:05):
to be like a show tunes bar, which was crazy,
so all the bartenders had insane voices. Also they did
it right right, and then we all just brought out
our best like Frank Sinatra impression, and well not we all,
but one person stood in this gorgeous green grass and
you say, fuck use it. I had no idea you
(13:28):
could seem like that to you, And that was quite
a choice with you saying, Okay, I'm gonna do this
to achieve the goal, to pivot it because you actually
walked away with a Tony you know what I needs,
you have the chalks. I was terrified. I mean I
was so terrified. I had this really interesting moment where
because I thought, oh god, you know, I'm just gonna
get ripped apart, Like I've never played in this playground before,
(13:54):
and people are going to think and say, they're going
to come there and they're just going to be hoping
that I fail, so they like, you know, can have
the I don't know what else statis after that, and
I remember just having this feeling, Oh my god, everybody
wants take it down. Everyone point And I remember Leam
Shriber said to me, and he said to me, he
was like, are you kidding. These people have spent up
(14:16):
boards of you know whatever, many hundreds of dollars for
a seat. They're having a night out on the town.
They went to a really nice dinner beforehand, or maybe
this is the first time they've ever seen a show,
and they scored these tickets last minute or whatever it is.
They want you to win. You know, they're rooting, right,
they are rooting for you. They want to see a
tort to force performance from everybody in this show. And
(14:39):
that was such a gift, that perspective that he gave me,
and I'd carried that with me. It changed my whole
state of mind. That's amazing. I mean the gifts of
a peer with that experience to be able to sort
of say me free, and then the when of the
(15:00):
accolade from your peers to say and you did. Welcome
(15:24):
back to my conversation with Scarlet, your Hansen on table
for two. As we settle into the wood paneled wine tasting,
an affable waiter occasionally pops into refill our wine glosses.
Our time together carries on uninterrupted as we dive further
into Scarlett's career. So if you have to sort of
say the game changer professional things in your life, I
(15:46):
mean what comes to mind, of course to me the
horse whisperer and you started shooting super early, and when
you want to play with Ethan Hawk, you're a little girl.
What would the jumps be for you if you how
look at it? Well, definitely, I mean getting Manny and Low.
At the time, that was a huge jump for me
because it was my first leading role. I was ten.
(16:11):
I know, it's interesting because early on when I was
auditioning as a child every single part I got was
a big step at the time when I was a kid,
Like there were a few actresses that are are still
working and have fantastic careers now, like Kirsten Dunst and
Natalie Portman and Levie Sobieski. At the time, those were
(16:33):
careers that I looked up to as a child actor
and they were all like a few years older than me.
And at that time, when your kid, it makes a
difference because if you want to host the twelve year old,
you're not going to hast to nine or eight year old.
So when I was younger, there were a lot of
small steps that got me into The Horse Whisper, but
that was huge. It was my first you know, big studio.
It was a huge part. It was like they auditioned
(16:54):
every person. It was a beautiful experience. If beautiful and
you it's shot beautifully. But more than anything, I've figured
out what acting was. It started to all make sense
to me and not just to be a natural okay
actor or whatever, but what is like how do you
create a performance? So that was that was a big
(17:17):
one for me. And then I would say lost in
translation because it sort of was my transition into my
adult career, and I would say, oh gosh, so hard
to after that, it's like a blur, definitely doing a
(17:38):
view from the bridge. Um, of course the first adventures
and and then after that it's been it's been a
lot of different you know. Yeah, I know, it's so varied.
It's just was something that came to morrow, and I
was thinking about your career and thinking about all the
movies I've seen you in and how diverse from I
(17:58):
mean to terrifying incredible performance of Under Under your Skin,
under the School. I mean that was crazy grain like
a terrifying movie. I know that performance. I just watched
this weekend because I've never seen it. The Girl with
the pro beautiful movie and plaudible performance. It's a very
(18:21):
emotional movie. E So I did Lost in Translation when
I was seventeen, and then I had like a few
weeks before I was going to shoot Girl with the
Pearl Earring, and um, I had a really hard time
doing Lost in Translation. I was seventeen. I was far away,
(18:44):
you know, I was working with Bill Murray, who was
like I was an enormous fan of and he was
you know, obviously he's has a very big personality and
He's a you know, sort of a formidable character at times.
And I was in this you know, characters have this
kind of real love from one another, this sun profound relationship,
(19:07):
and that was hard for me too, you know, I
was I struggled with that and for different reasons. But
when I came to do Girl with a Pearl Air,
it was very disorienting. And so when I came out
of it, I was kind of like I felt like
I was. It was like this weird fever dream and
I felt very unsteady. And I remember when we started
(19:28):
a Girl with a Pearl airing, I just I think
I started had my eighteenth birthday, like day, a couple
of weeks into shooting or something. It was so young,
and I was working with all these amazing English actors
and the cast is it Colin Firth? Is it in?
And now it's you know you look back and like,
oh my god, there's Eddie Redman, there's better Dick Coomer Batch,
(19:48):
you know, it has all these actors that were starting. Yeah,
but it was such an incredible experience. The set was
so beautiful and beautifully lit. My headward of Serran. The
movements were so quiet and and everything was so contained
(20:09):
in a way that was very It just felt it
was like it was like fed me, and you know,
I needed that. I needed that experience after this very
disorienting experience that I had. And I think it's reflected
in the movie. It really is in your performance. You know,
there's a lot, a lot of your performance is not
(20:30):
even in the worlds. It's in you. It's in your eyes,
it's in and it's in the actualist, it's in what
you're doing. So it was that's when I referred to
as being quiet in this beautiful way, because you really
emote so much that is not as dire, but you
(20:50):
understand it when she your character gets the pearlier rings
at the end, and the housekeeper chef of the house
for eas it to you and you I'm sent home
when the wife it's all upset obviously, and there's all
this affection between you and the husband, the painter or
(21:10):
the man about me, and you look at the ears.
I couldn't. I didn't know when you took them. You
open it and then you close them up. Your character
closes them up. If that was where what happened to
those right, and you want them? I love that. I
love you, what won't? I was like, is she happy?
(21:34):
Does she love? Is she angry? And complicated? Right? Yeah,
it's it's complicated, isn't it. It's like a gift, but
then it feels like a slight you know, it's like
it's thoughtful, but it's also sort of like, let's feel
like some like you're being paid off in a way.
(21:59):
It's complicated, complicated. I mean, that's a great answer. It's complicated.
It's layers so much about love and life. It's compl complicated.
(22:25):
Welcome back to Table for two. I'm sitting here at
Via Corona with my friend Scarlett Johnson, and as usual,
our conversation swings between the serious and they're not so serious,
and yet it always returns to flee. You gotta tell
this you wanted to just have a little so it's intense. No,
it's really good. I don't want cashio, Pope, I don't.
(22:46):
I'm skinny, I'm not hungry. If I knew we were
gonna be eating this bold meal Table for two with
Bruce Bozzy, it's about food, it's about wine. It's about us.
We're talking about us. Why don't we have to be
bloated and wind let's talk about food or sever You know,
(23:08):
I grew up in our house when we never saw
my dad who was over in the restaurant, so we
never did it together as a family, and my mother
would cook in commerce paying the picture the young siblings
kind of in because you guys grew up in Shells.
Grew up in the West Village, West Village and maybe
have maybe we moved around a lot before that, but
we eventually settled into West Village when he was like ten,
(23:31):
and we lived in a lower middle income housing uh project.
And you know, we didn't eat out ever, because we
never had money to My mom did most of the
cooking at home when I was little, and she had
her kind of meals on rotation. I think she enjoyed
cooking to some extent. My dad really enjoyed cooking. And
(23:56):
my dad was a really great cooking. His first wife
was Italians and like made an amusing like putin Esque
and all those like delicious Seuss like. My dad was
great at that and but we we all loved to eat.
Like My family is a foodie family. We you know,
my sister and I both look like love to cook together.
(24:18):
My sister is an excellent cup you growing up in
New York. I feel like if we were decades apart
but the same Burrow, I would have loved you. You
would have been I would have been your gayest right.
What sort of you know? You went to the children's
professional school? Yes? What was you know? What did your
sibls go? Hunters? Your twin enters my twin. So we
(24:40):
grew up in the city. I was born and raised
in Manhattan, and I was born in Lenoxell Hospital. I
have a twin brother who was born three minutes after me.
I have two other full siblings, Adrian in Vanessa, and
that was our family growing up. My mom subsequently adopted
a daughter who's now I can't believe it, fourteen years
old but um Fennon. And then my father has a
(25:03):
son from his first marriage, could Christian, and he's he's
old woman than I am. But we were raised with him,
and then we were just it was the four of
us growing up. My two older siblings both went to
Stuyvius in actually more yeah smarty piants um. And then
I was not as academically gifted, but lucky. Now I'm
(25:29):
half eating this for chatter with you. So I went
to the professional Children's school because I started working when
I was eight, and I went to regular public schools
up until it became impossible for me because I would
go away. Let's say I got a job and I
had to leave from October to you know, December fifteenth
or something, that I would leave, and then my school,
(25:52):
you know, the teachers were like, well, we're not going
to make a separate curriculum for you, We're just going
to fail you for being a time loser. Yeah. Yeah,
so I and it was quickly became clear that I
was I had to go to a school that would
accommodate that, because otherwise I was like never to be
having normal education. My mom made certain that I always
(26:15):
had you know, you have a teacher on set that's
like the onset tutor, and you have to bank certain hours,
and you know, it's very regulation now, because it wasn't
for a long time, and it was, you know, leading
to like these delin kids who like never you know,
they were they were really uneducated and kind of yeah,
they weren't taking again, they were taken advantage of as
(26:39):
I reached to refill my glass of wine, made Scarlett declines.
Because they had to audition people after this, so she,
unlike me, doesn't find wine helpful and professional settings. So
I went to professional towand school in eighth grade, and
it was a much like drastically smaller school that I've
(27:00):
been in. I was a New York City public school kid.
I guess it was a big adjustment for me. Um
and then but then you know, I went when I
got into the high school ninth grade, I made some
fantastic friends who I'm still good friends with today, who
you know most of them actually met most of them.
And you're the thing about a scarlet when she's referring
(27:23):
to is your home base of friends? Are the growser
you go up with. I mean they're really It's not
like there are movie start actresses. They're like real there
you Yeah, they're my peeps, and they're like my God's
you know, they're my trusted lifeline. Do you really got
now and look at that whole piece of your life
and say, holy sh it with where I am, with
(27:44):
what I've achieved. I don't know. Sometimes I have moments
like little glimpses into it, but it's hard for me
to see it all as a whole thing. You look,
you're also at an age world. I'm Buffy, twenty years
older than you get to a point of reflection as
you get older. I think you're the beauty of your
(28:06):
age is You're just present you need. Which makes sense
to me now that I asked the question, because I'm
coming from the point of view of like really kind
of looking back in certain decades of my thirties and
my forties and my twenties. When you're in your threties,
you're just in life. Yeah, every once in a while
I'll have like I have that more when I look
(28:27):
at my children where I'm I can't believe I have children,
and one of them is a bit you know, my
daughter Rose is eight years old. She's third grade. She's becoming,
you know, pre adolescent. She's a little girl. You know,
you're a very strong woman. You are very smart woman.
(28:50):
You are an incredible sense of business as well as
artistry about you. You just dear Scarlett that you're Rose,
who is also young. But I've spent time with a
really clear she's a self actualized eight year old. That
doesn't happen a lot, you know what I mean. Like
she comes in with a point of view. I think
(29:11):
your your journey thus far, You're gonna have your part
a lot, I hope. So I often remind her that I,
you know, I work hard, and she knews it too
because she sees it. And I let her know also
that I enjoy the work that I do. That's important,
which is so important for your kids to know. I'm
(29:33):
not leaving you for this job. That's uh. And I
can't want I want to go to work. I mean,
of course everybody has those days. We all do, right,
but to beep say, I'm going to work and it's
going to be a great day and then I'm going
to miss you. But I'm meeting you for a thing
that I love to do. And I think that's an
important lesson to teach girls and boys, is to pursue
(29:57):
work that is becau. That's fine, it's a big thing.
What do you love about? I love the technical part
of my job, which is probably a hard thing to explain,
but I love the nuance of it um And I
thrive on working with actors and directors that are sensitive
(30:26):
to that, to the small adjustments and um that like
honing a performance or one I'm talking about one scene
in one moment and like really getting in the pocket
of that and going, okay, that moved that. It's like
I can only imagine It's like if you're a painter
and you like make one strokery, switch one color. I
(30:48):
don't know. I'm not I'm not that kind of artistic,
but you know, I can imagine you get those jolts
of sort of satisfactory you're writing a song and you
figure out the hook of it or whatever it is.
There was there was little like victories. I love you.
You know. I once had don Riccardi, who is now
in the late eighties, who was the lover, and a
(31:10):
Cristopher Ishuel who still paints portraits. He shows a gift
somebody gave me, Brian gave me that, and our whole
family and you've seen them, and I'm you're looking at
him to do something in these page interpicture and his
upside down and it's ours and he literally will say
and he doesn't speak, and he says, do not move.
And I literally moved a millimeter and he said, you know,
(31:33):
move back, And so looking back, you know, over the picture,
so it's upside down. I'm thinking of myself, this thing
is done, like I see it. Okay, you got it,
and all of a sudden, he does one last strow
and I saw it in a compete in efferent way,
and I think that's the detail. You know, Woody Allen
is retiring. I am an ethically huge fan of this
(31:55):
man's work. He has romanticized the city that I love,
that he loves that you love. You're no good that
he's taught you from the director. You know, it's funny.
He has a very particular way of working, but similarly
to how you're you know, describing issue what it's like.
He so he doesn't have a monitor. He never watches
(32:15):
any physical monitor, and he maybe a couple of times
I've seen him with what we call a clamshell, which
is like a little teeny monitor. I don't even know
how you can see it, because he probably can't, you know,
I don't know how well he's seeing. But he never
uses a monitor rape So that that's that's really interesting
because he sits there and he listens to the dialogue,
(32:38):
and a lot of the time because he can't see
what the camera is seeing, he closes his eyes and
he like listens to the musicality of the words, and
that's how he knows whether he's got it or not.
And then sometimes you know he hasn't gotten it because
he can't see and he has a lot of he'll
(32:59):
he'll say, by the everything we shot a lot, you
know on that scene that was so great, bubble boggle,
it's all out of focus. So which is the one
downside of this very poetic method or whatever? But um,
I think, you know, it's actually true that these work.
(33:19):
I think that it has a rhythm of musicality to it.
If there's a line that's not working, and I will try.
My part is to make things to work that are
not not you know, play if it's tough, you got,
you gotta abandon it. But it might not actually be
the line. It's a problem. That's probably what a writer
would say, it's not the throb, and I go, well,
(33:41):
as an actual I have to disagree. Um, But you know,
there's there is a musicality to performance in any pasting,
and it comes in you know, physical movement and the
choices you make. When I was younger, my parents showed
us really age inappropriate movies, so crazy, but one of
(34:06):
them was Everything you wanted to know about sex. But
we're afraid to ask what I was watching that as
like a six year old. That's what did you understand
from that? I mean I remember seeing that even older.
I was like I was a little student. I didn't
get the whole thing. What did I get from it?
I don't know. There was like a giant bowling breast.
(34:27):
Are you going to direct? Are you the transition? I
don't know. I would like to direct, But I love producing.
I really love producing, and um, I love producing other
people's stuff and the development, like I think I could have.
(34:49):
I always stoked with Brian at the sneeze, like you're insane.
My ideal job is like a corner office on the
Disney lot, like a little bungalo. That's what I want.
That's all. So that makes me do this. Cities I
associate scarlets your Handsome with Paris, New York, l A.
Just each city get a different scarlet, each city inspire
(35:12):
you and over different word. Yeah, I definitely, I like,
I absolutely love Paris. I moved there, um when I
was in my mid to late twenties, and I think
it's it's kind of a sister city to New York
in a lot of ways. Like I love that it's
(35:32):
a more laid back pace than New York. But it
has It's like this small city with a huge attitude.
And I like that people are opinion needed there and
that people are like living there. Are lives in a
very aggressive kind of way. Um, and they like what
(35:57):
they like and they loathe what they loathe with then
it's passionate and um, the city is so beautiful. I mean,
it's such a beautiful they would say that it's I mean,
it's incredible, the way the light is, it's the buildings
in the afternoon. It's a magical place. The magical place
really is. I hope that you and Colin spend more
(36:19):
time this year in California. I hope I'm there more too.
I mean, I love to be with both of you guys.
As the outside world filters into our lunch and Scarlett
catches sight of the time, I try my best to
squeeze in just a minute more the way only in
New Yorker could at the expense of Staten Island. Did
you ever think of all the boroughs you fall in
(36:41):
love with the goth from State Island? I mean, come on,
I had never met a person's set, I mean, other
than at the Dead Island Zoo when I was nine.
All due respect to stand I cannot believe it. No,
I mean I didn't never I have never met somebody
from Salton. When I when Colin first, you know, kind
of had drinks, were like, so we know each other,
(37:03):
but you know where from type of Then he told
me it's from Statoland. I thought, wait, like you lived there,
like forevery lived there, or like you just spent He
is from there, he left, you know, Tyson, his parents
are from His mom is from Stadhil and his dad's
from Jersey but moved to s and so his parents
(37:25):
are from Saul to the earth. But it's like the
country to me. I know, it's it's but it's so close.
It's so close, and it's a it's a really it's
a whole like it has it's it's its own microcos out.
You know, it's safe to say, Scarlett, you are incident.
I really want to thank you today because it fills
my heart and so much that you've taken the time
(37:46):
that I like, being a mother of working. You have
to go now audition people that he came, he had
had lunch and did and this is what a table
for two looks like in the west Field and We're
gonna have dinner on Saturday. I'm so excited for our
dinner on Saturday, the first show back of SNL, So
that would be a real New York night. Go and
(38:09):
I'm gonna have Bruce Bozzy. I have to say, I
have Any opportunity to spend time talking to you is
a priority for me. I love you so much. You're
such a genuine feeling person and sensitive person, beautiful solving.
Just love our friendship and I love like meeting minds
(38:30):
with you. Thank you in any anybody over a table
for two or twenty or two thousand. Scarlett's exit from
Vita Curoota is the opposite of her insurance, this time
without a mask. The restaurant falls into a hushed silence
(38:53):
as eyes lock on Scarlet as she emerges from the
private timeing worm. After I talk her into a few selfies,
Scarlett spots or Uber and it's on with her day.
We're both left grinning from ear to hear. Table for
two with Bruce Bozzy is produced by iHeart Radio seven
(39:13):
three seven Park and air Mail. Our executive producers are
Bruce Bozzy, Jonathan Hoss Dressler, and Nathan King. Table for
two is edited and written by Tina Mullen and researched
and written by Bridget arsenalt Our sound engineers are Emil B. Klein,
Paul Bowman and Melyssa Midcalf. Table for two is l A.
Production team is Danielle Romo and Lorraine Vien. Our music
(39:36):
supervisor is Randall poster. Our talent booking is by Jane Sarkin.
Special thanks to Amy Sugarman, Uni Share, Kevin Uvane, Bobby Bauer,
Alison Cantor Raber, and Jody Williams, Rita Sodi and the
team at Via Corona in Manhattan's West Village. For more
podcasts from I Heeart Radio, visit the I Heart Radio app,
Apple podcast, or wherever you listen to your favorite show
(40:01):
wor
Well, if dreams come true, I think I'm dreaming. I
am sitting in the West Village in New York City.
I'm the most glorious, beautiful day. The sun is shining,
the air is perfectly crisp, people are out smiling, streets
(00:20):
are bustling, and I'm sitting at my favorite restaurant in
the West Village Via Kuroda and if you don't know,
via Coroda, it's an Italian restaurant on Grove Street. This
place is about as classic New York as it gets,
with a delicious menu, exposed brick walls, beautiful wooden floors,
(00:41):
and some of the best people watching this city has
to offer. Seriously, when you call me here, if you
have the chicken to catch you, the peppie and the
market green salad, you will be in heaven. And it's
so hard to get into. I'm telling you it's there's
always a line, and it's not because it's douche. It's
because it's so good. So today is a super fun
(01:04):
day I'm having launched with a very good friend, Scarlet
your handsOn, I mean TV show next door. Scarlett's entrance
goes surprisingly undetective, partly because of her face mask and
understated outfit, and partly because she arrives alone in Maneuver
without a publicist or assistant. In tone by you invited
(01:26):
me to a restaurant and there's a full movie production
happening next store. Scarlett comes into the private wine tasting
room we've taken over in the back of the restaurant
with the energy of any New Yorker who's running slightly late.
She's rushed but not stressed. Scarlett handsOn, I am sorry.
I did not get the I thought. Are these people
(01:47):
are all waiting for Bruce Bozzy? Do they know he's inside?
Pull up a chair, We're going to have some fun.
I'm Bruce Bozzy and this is table for two. Every
time I passed by a movie set in New York,
(02:07):
I get a feeling of both. I'd say warmth mixed
with panic mixed with pity. That makes sense. It all
is almost like if you have a post traumatic stress
because of you know, years old. Shooting in New York
is tough. Oh cheers, Bruce Bozzy. I remember we were
(02:31):
shooting Vicky Cristina Barcelona. In Barcelona seems ideal, right. Everybody's like, oh,
you're going to Barcelona for whatever two months or something
like that. You're gonna have the best time. It's so
beautiful and the food and the beach. And at the
time I was like twenty years old or whatever, it
seems like great gonna. It was. It was honestly going
(02:55):
to work every day I felt like I was suiting
up for battle because for so all Ellen I think
has reached like god levels this in Spain, some maud
is not is unjudgable there, and um so we would
have probably I'm kidding you not, I think probably six
(03:15):
hundred plus spectators, six hundred people. We would be shooting
this scene. I would be talking to Rebecca Hall. We're
across from each other at you know, a little cafe
and Barcelona, and we're lamenting our problems. And then behind
Rebecca Hall would be six hundred spectators, fifty Paparassi people
talking during the take. It was I don't know, it
(03:38):
was a nightmare. Honestly, have to say, I love my job.
I love you know, I'm I'm not complaining about it.
But you know what, maybe actors are are kind of
in a weird way, sort of gearing up for those
moments because you have to just suspend your disbelief and
(03:59):
go and the zone now. And we do it all
the time. Whatever is going on in your life, whatever
is going on in reality, you kind of figure out
how to use it or lose it. I remember one time,
what do you? And I were shooting someboding for smooth
that we did called scoop and it was the silliest
(04:22):
most scopuus scene. Where at the end of it, do
you know there's an English like delicate sn't know you
call a delicacy, but called spotted dick. You know what
that is? I don't know. I think it's I can't
even remember what I've seen, so yeah, I don't know
what it is. It's like maybe it's a dessert. It's
(04:43):
probably a sausage of some kind, and it doesn't have
to get involved this sausage anyway. At the end of
the road, he had to say something like, well, I've
got to be off, like it's spotted dick at the
hotel tonight or whatever. And he could not keep he
couldn't keep it. Take I didn't keep it. The first
two couple takes. It was like, Okay, it's like giggles,
(05:03):
giggless giggles and then it was hours like this one take,
he was so angry with himself to a point where
like it was hysteria where we were both like lack
pretty laughing before it was the joke wasn't even funny.
It was just we were so nervous that it wasn't
gonna happen anyway. We couldn't do it. We had to
stop the work day. You know the line he was like,
(05:24):
he was so it was crazy, and then then everybody
it was pissed. This is what the point is. Not
about the spotted dick, not about Bodian, but it's about
the fact that these people, you know, your crew, this
is just their work day and they have their family
and they got up at six in the morning where
and they need to get home because their kids have
homework and whatever other thing, and we need to come
(05:45):
back the next day and do it. And it was
I've never seen what he actually that is so angry
at himself. That's so the tape that's in the movie
is really not great. But anyway, point is the crew,
you gotta do the work, you gotta get out of
their office. They're all so the menus are in the
facts of your day A Scarlett, and I move on
(06:07):
from Spotted Dick. We ordered the Catchieri Peppi and a
fritatam gonna catch you to Peppi? Oh yeah, we have
our Tortino decartes Chophe. It's like a Tuscan stile for tota.
Can I get that without the protect? Very good, thank you,
and dive into the truly unique space that Scarlett occupies
in Hollywood. You bring up a horn, which I didn't
(06:28):
even think about as you have become more and more famous.
How would you get a scene downe if people are
just screaming scarrowed Scarlet. I mean we we couldn't even
take a picture on their carpet screaming to your name.
This is you know what I mean? I threatened violence? Probably?
How do you do you find that it's even on
day to day life like walking? In day to day
(06:50):
life walking, I'm usually the most unknowned recognizable words than probably,
And I think it's because I'm short. It's in seeing
because you, Scarlett, to me what I considered to be
a bomb show, and I've seen the movies where you
the bombshelling. This of you you're able to put aside
(07:11):
and of the past when I think of bomb shows
like Hayworth. No, they seemingly always have that they couldn't
get away on that. How do you sit in that
share so uniquely in Hollywood? Oh my gosh. You know what,
There was a period of time actually right around the
time I met your wonderful husband to Brian Lord. At
(07:34):
the time, I had been working for a long time.
I started working when I was eight years old, and
you know, kind of had different periods I worked. You know,
I worked in a movie when I was ten, Oldmanny
in Law, So that helped me kind of start getting
seen by bigger casting directors and stuff. And then I
got up cast in The Horse Whisper, which was a
(07:57):
huge deal for me. And then I was able to
read for even more established directors and ended up working
with the Cohen brothers, and I started around that time
kind of I did a movie with the Cohen Brothers
called The Man Who Wasn't There, And around the same
time I did Ghost World with Terry's wig Off, and
I kind of became like a non genuw sort of.
(08:19):
And I think that's just part of you know, the
young girls like that are really objectified, and that's just
a fact. You know, and so I think whatever box
they're put into, it sort of sets you on this
trajectory for how your life will go. Now, obviously women
are really able more now to choose their own paths.
But for me, it was like, okay, I kind of
(08:41):
started down this path oft on Gene and then you know,
I did whatever movies and movies and I did Lost
in Translation and and grow up proiring in By that point,
I was, you know, eighteen nineteen, and I was coming
into my own womanhood and learning with my own like
desirability and sexuality. And it was I think because is
of that trajectory that I had been sort of launched towards,
(09:05):
I really got stuck in this. And also it was
definitely a part of my management at the time. That
was a big part of it, you know, my agency
and all that stuff. But I was kind of being
groomed in a way to be this what you call
a bombshell type of after I was playing the other
woman and the objective desire, and you know, I suddenly
(09:26):
found myself cornered in this place like I couldn't get
out of it, and went right around that time is
when I'm met with Brian um I remember we had
we had lunch. I think it was lunch at Um
Joe Allen in Midtown. But Brian is so calm, and
he is such empathy, genuine empathy, and he's so understanding
(09:51):
and he's such a good listener. And it was like
I met this man. And of course he's very and
some and very you know, he's very alluring and way,
but he's just it's such a gentleman and he really
and he loves movies and he loves actors, and he
loves real work, you know, real great work and art
(10:12):
and performance, and he thrives I think on putting together
great creatives and like making the opportunity for people to
do compelling work. And he just got it, you know.
I mean it would be easy probably to sit across
from my someone in that situation and go, this is working,
(10:36):
you know, because of course why change it. But I
think for that kind of bombshell, you know that burns
bright and quick and then it's done and you don't
have opportunity beyond that. And I just felt like, how
is this burning out so quickly? And it was just
an interesting, weird conundrum to be in. But it really
(10:57):
come back to doing work to working at it and
trying to carve a place in different projects and work
in great ensembles. What were some of those projects? Host
that lunch and that started that you should said, okay,
(11:18):
you turned the corner on the road. So firstly, you know, well,
I got this incredible opportunity to work on the Second
Iron Man, which that part at the time was very
underdeveloped and over sexualized. But I wanted to form a
relationship with Jon Favreau, who I worked with a couple
(11:39):
of times after that, who's inspiration for me, and and
I also wanted to work with Kevin Feigy, who who's
the head of Marvel, who I knew had like a
vision for this big picture which at the time people
forget that genre was not what it's now. It was
the beginning of that time, and seeing anything the first
(12:00):
Ironman with Robert Downey was a sensation, you know, it was.
It was unprecedented in many ways, and so I wanted
to align myself with that. That was one piece which
turned out to be a very good, very That was
a good bet, right, It was very good. It's not
a lot of levels, but it took you through the
(12:20):
next decade of your life, definitely, and it was creatively
it turned out rewarding in every way, right, But that
that was that one piece. And then I did a
play in New York called A View from the Bridge,
the Arthur Miller play with Me Schreiber and Michael Christopher
and Jessica hacked me and that was that was a
(12:42):
few month disturing point for me. Well that you incredible
in that plight. You want Tony for that? We went
out afterwards, you wearing a green drag. We went to
karaoke bar on First Avenue in the fifties, like where
you used to live. Remember, I stuck my Tony on
the counter and nobody else was there. It turned out
(13:05):
to be like a show tunes bar, which was crazy,
so all the bartenders had insane voices. Also they did
it right right, and then we all just brought out
our best like Frank Sinatra impression, and well not we all,
but one person stood in this gorgeous green grass and
you say, fuck use it. I had no idea you
(13:28):
could seem like that to you, And that was quite
a choice with you saying, Okay, I'm gonna do this
to achieve the goal, to pivot it because you actually
walked away with a Tony you know what I needs,
you have the chalks. I was terrified. I mean I
was so terrified. I had this really interesting moment where
because I thought, oh god, you know, I'm just gonna
get ripped apart, Like I've never played in this playground before,
(13:54):
and people are going to think and say, they're going
to come there and they're just going to be hoping
that I fail, so they like, you know, can have
the I don't know what else statis after that, and
I remember just having this feeling, Oh my god, everybody
wants take it down. Everyone point And I remember Leam
Shriber said to me, and he said to me, he
was like, are you kidding. These people have spent up
(14:16):
boards of you know whatever, many hundreds of dollars for
a seat. They're having a night out on the town.
They went to a really nice dinner beforehand, or maybe
this is the first time they've ever seen a show,
and they scored these tickets last minute or whatever it is.
They want you to win. You know, they're rooting, right,
they are rooting for you. They want to see a
tort to force performance from everybody in this show. And
(14:39):
that was such a gift, that perspective that he gave me,
and I'd carried that with me. It changed my whole
state of mind. That's amazing. I mean the gifts of
a peer with that experience to be able to sort
of say me free, and then the when of the
(15:00):
accolade from your peers to say and you did. Welcome
(15:24):
back to my conversation with Scarlet, your Hansen on table
for two. As we settle into the wood paneled wine tasting,
an affable waiter occasionally pops into refill our wine glosses.
Our time together carries on uninterrupted as we dive further
into Scarlett's career. So if you have to sort of
say the game changer professional things in your life, I
(15:46):
mean what comes to mind, of course to me the
horse whisperer and you started shooting super early, and when
you want to play with Ethan Hawk, you're a little girl.
What would the jumps be for you if you how
look at it? Well, definitely, I mean getting Manny and Low.
At the time, that was a huge jump for me
because it was my first leading role. I was ten.
(16:11):
I know, it's interesting because early on when I was
auditioning as a child every single part I got was
a big step at the time when I was a kid,
Like there were a few actresses that are are still
working and have fantastic careers now, like Kirsten Dunst and
Natalie Portman and Levie Sobieski. At the time, those were
(16:33):
careers that I looked up to as a child actor
and they were all like a few years older than me.
And at that time, when your kid, it makes a
difference because if you want to host the twelve year old,
you're not going to hast to nine or eight year old.
So when I was younger, there were a lot of
small steps that got me into The Horse Whisper, but
that was huge. It was my first you know, big studio.
It was a huge part. It was like they auditioned
(16:54):
every person. It was a beautiful experience. If beautiful and
you it's shot beautifully. But more than anything, I've figured
out what acting was. It started to all make sense
to me and not just to be a natural okay
actor or whatever, but what is like how do you
create a performance? So that was that was a big
(17:17):
one for me. And then I would say lost in
translation because it sort of was my transition into my
adult career, and I would say, oh gosh, so hard
to after that, it's like a blur, definitely doing a
(17:38):
view from the bridge. Um, of course the first adventures
and and then after that it's been it's been a
lot of different you know. Yeah, I know, it's so varied.
It's just was something that came to morrow, and I
was thinking about your career and thinking about all the
movies I've seen you in and how diverse from I
(17:58):
mean to terrifying incredible performance of Under Under your Skin,
under the School. I mean that was crazy grain like
a terrifying movie. I know that performance. I just watched
this weekend because I've never seen it. The Girl with
the pro beautiful movie and plaudible performance. It's a very
(18:21):
emotional movie. E So I did Lost in Translation when
I was seventeen, and then I had like a few
weeks before I was going to shoot Girl with the
Pearl Earring, and um, I had a really hard time
doing Lost in Translation. I was seventeen. I was far away,
(18:44):
you know, I was working with Bill Murray, who was
like I was an enormous fan of and he was
you know, obviously he's has a very big personality and
He's a you know, sort of a formidable character at times.
And I was in this you know, characters have this
kind of real love from one another, this sun profound relationship,
(19:07):
and that was hard for me too, you know, I
was I struggled with that and for different reasons. But
when I came to do Girl with a Pearl Air,
it was very disorienting. And so when I came out
of it, I was kind of like I felt like
I was. It was like this weird fever dream and
I felt very unsteady. And I remember when we started
(19:28):
a Girl with a Pearl airing, I just I think
I started had my eighteenth birthday, like day, a couple
of weeks into shooting or something. It was so young,
and I was working with all these amazing English actors
and the cast is it Colin Firth? Is it in?
And now it's you know you look back and like,
oh my god, there's Eddie Redman, there's better Dick Coomer Batch,
(19:48):
you know, it has all these actors that were starting. Yeah,
but it was such an incredible experience. The set was
so beautiful and beautifully lit. My headward of Serran. The
movements were so quiet and and everything was so contained
(20:09):
in a way that was very It just felt it
was like it was like fed me, and you know,
I needed that. I needed that experience after this very
disorienting experience that I had. And I think it's reflected
in the movie. It really is in your performance. You know,
there's a lot, a lot of your performance is not
(20:30):
even in the worlds. It's in you. It's in your eyes,
it's in and it's in the actualist, it's in what
you're doing. So it was that's when I referred to
as being quiet in this beautiful way, because you really
emote so much that is not as dire, but you
(20:50):
understand it when she your character gets the pearlier rings
at the end, and the housekeeper chef of the house
for eas it to you and you I'm sent home
when the wife it's all upset obviously, and there's all
this affection between you and the husband, the painter or
(21:10):
the man about me, and you look at the ears.
I couldn't. I didn't know when you took them. You
open it and then you close them up. Your character
closes them up. If that was where what happened to
those right, and you want them? I love that. I
love you, what won't? I was like, is she happy?
(21:34):
Does she love? Is she angry? And complicated? Right? Yeah,
it's it's complicated, isn't it. It's like a gift, but
then it feels like a slight you know, it's like
it's thoughtful, but it's also sort of like, let's feel
like some like you're being paid off in a way.
(21:59):
It's complicated, complicated. I mean, that's a great answer. It's complicated.
It's layers so much about love and life. It's compl complicated.
(22:25):
Welcome back to Table for two. I'm sitting here at
Via Corona with my friend Scarlett Johnson, and as usual,
our conversation swings between the serious and they're not so serious,
and yet it always returns to flee. You gotta tell
this you wanted to just have a little so it's intense. No,
it's really good. I don't want cashio, Pope, I don't.
(22:46):
I'm skinny, I'm not hungry. If I knew we were
gonna be eating this bold meal Table for two with
Bruce Bozzy, it's about food, it's about wine. It's about us.
We're talking about us. Why don't we have to be
bloated and wind let's talk about food or sever You know,
(23:08):
I grew up in our house when we never saw
my dad who was over in the restaurant, so we
never did it together as a family, and my mother
would cook in commerce paying the picture the young siblings
kind of in because you guys grew up in Shells.
Grew up in the West Village, West Village and maybe
have maybe we moved around a lot before that, but
we eventually settled into West Village when he was like ten,
(23:31):
and we lived in a lower middle income housing uh project.
And you know, we didn't eat out ever, because we
never had money to My mom did most of the
cooking at home when I was little, and she had
her kind of meals on rotation. I think she enjoyed
cooking to some extent. My dad really enjoyed cooking. And
(23:56):
my dad was a really great cooking. His first wife
was Italians and like made an amusing like putin Esque
and all those like delicious Seuss like. My dad was
great at that and but we we all loved to eat.
Like My family is a foodie family. We you know,
my sister and I both look like love to cook together.
(24:18):
My sister is an excellent cup you growing up in
New York. I feel like if we were decades apart
but the same Burrow, I would have loved you. You
would have been I would have been your gayest right.
What sort of you know? You went to the children's
professional school? Yes? What was you know? What did your
sibls go? Hunters? Your twin enters my twin. So we
(24:40):
grew up in the city. I was born and raised
in Manhattan, and I was born in Lenoxell Hospital. I
have a twin brother who was born three minutes after me.
I have two other full siblings, Adrian in Vanessa, and
that was our family growing up. My mom subsequently adopted
a daughter who's now I can't believe it, fourteen years
old but um Fennon. And then my father has a
(25:03):
son from his first marriage, could Christian, and he's he's
old woman than I am. But we were raised with him,
and then we were just it was the four of
us growing up. My two older siblings both went to
Stuyvius in actually more yeah smarty piants um. And then
I was not as academically gifted, but lucky. Now I'm
(25:29):
half eating this for chatter with you. So I went
to the professional Children's school because I started working when
I was eight, and I went to regular public schools
up until it became impossible for me because I would
go away. Let's say I got a job and I
had to leave from October to you know, December fifteenth
or something, that I would leave, and then my school,
(25:52):
you know, the teachers were like, well, we're not going
to make a separate curriculum for you, We're just going
to fail you for being a time loser. Yeah. Yeah,
so I and it was quickly became clear that I
was I had to go to a school that would
accommodate that, because otherwise I was like never to be
having normal education. My mom made certain that I always
(26:15):
had you know, you have a teacher on set that's
like the onset tutor, and you have to bank certain hours,
and you know, it's very regulation now, because it wasn't
for a long time, and it was, you know, leading
to like these delin kids who like never you know,
they were they were really uneducated and kind of yeah,
they weren't taking again, they were taken advantage of as
(26:39):
I reached to refill my glass of wine, made Scarlett declines.
Because they had to audition people after this, so she,
unlike me, doesn't find wine helpful and professional settings. So
I went to professional towand school in eighth grade, and
it was a much like drastically smaller school that I've
(27:00):
been in. I was a New York City public school kid.
I guess it was a big adjustment for me. Um
and then but then you know, I went when I
got into the high school ninth grade, I made some
fantastic friends who I'm still good friends with today, who
you know most of them actually met most of them.
And you're the thing about a scarlet when she's referring
(27:23):
to is your home base of friends? Are the growser
you go up with. I mean they're really It's not
like there are movie start actresses. They're like real there
you Yeah, they're my peeps, and they're like my God's
you know, they're my trusted lifeline. Do you really got
now and look at that whole piece of your life
and say, holy sh it with where I am, with
(27:44):
what I've achieved. I don't know. Sometimes I have moments
like little glimpses into it, but it's hard for me
to see it all as a whole thing. You look,
you're also at an age world. I'm Buffy, twenty years
older than you get to a point of reflection as
you get older. I think you're the beauty of your
(28:06):
age is You're just present you need. Which makes sense
to me now that I asked the question, because I'm
coming from the point of view of like really kind
of looking back in certain decades of my thirties and
my forties and my twenties. When you're in your threties,
you're just in life. Yeah, every once in a while
I'll have like I have that more when I look
(28:27):
at my children where I'm I can't believe I have children,
and one of them is a bit you know, my
daughter Rose is eight years old. She's third grade. She's becoming,
you know, pre adolescent. She's a little girl. You know,
you're a very strong woman. You are very smart woman.
(28:50):
You are an incredible sense of business as well as
artistry about you. You just dear Scarlett that you're Rose,
who is also young. But I've spent time with a
really clear she's a self actualized eight year old. That
doesn't happen a lot, you know what I mean. Like
she comes in with a point of view. I think
(29:11):
your your journey thus far, You're gonna have your part
a lot, I hope. So I often remind her that I,
you know, I work hard, and she knews it too
because she sees it. And I let her know also
that I enjoy the work that I do. That's important,
which is so important for your kids to know. I'm
(29:33):
not leaving you for this job. That's uh. And I
can't want I want to go to work. I mean,
of course everybody has those days. We all do, right,
but to beep say, I'm going to work and it's
going to be a great day and then I'm going
to miss you. But I'm meeting you for a thing
that I love to do. And I think that's an
important lesson to teach girls and boys, is to pursue
(29:57):
work that is becau. That's fine, it's a big thing.
What do you love about? I love the technical part
of my job, which is probably a hard thing to explain,
but I love the nuance of it um And I
thrive on working with actors and directors that are sensitive
(30:26):
to that, to the small adjustments and um that like
honing a performance or one I'm talking about one scene
in one moment and like really getting in the pocket
of that and going, okay, that moved that. It's like
I can only imagine It's like if you're a painter
and you like make one strokery, switch one color. I
(30:48):
don't know. I'm not I'm not that kind of artistic,
but you know, I can imagine you get those jolts
of sort of satisfactory you're writing a song and you
figure out the hook of it or whatever it is.
There was there was little like victories. I love you.
You know. I once had don Riccardi, who is now
in the late eighties, who was the lover, and a
(31:10):
Cristopher Ishuel who still paints portraits. He shows a gift
somebody gave me, Brian gave me that, and our whole
family and you've seen them, and I'm you're looking at
him to do something in these page interpicture and his
upside down and it's ours and he literally will say
and he doesn't speak, and he says, do not move.
And I literally moved a millimeter and he said, you know,
(31:33):
move back, And so looking back, you know, over the picture,
so it's upside down. I'm thinking of myself, this thing
is done, like I see it. Okay, you got it,
and all of a sudden, he does one last strow
and I saw it in a compete in efferent way,
and I think that's the detail. You know, Woody Allen
is retiring. I am an ethically huge fan of this
(31:55):
man's work. He has romanticized the city that I love,
that he loves that you love. You're no good that
he's taught you from the director. You know, it's funny.
He has a very particular way of working, but similarly
to how you're you know, describing issue what it's like.
He so he doesn't have a monitor. He never watches
(32:15):
any physical monitor, and he maybe a couple of times
I've seen him with what we call a clamshell, which
is like a little teeny monitor. I don't even know
how you can see it, because he probably can't, you know,
I don't know how well he's seeing. But he never
uses a monitor rape So that that's that's really interesting
because he sits there and he listens to the dialogue,
(32:38):
and a lot of the time because he can't see
what the camera is seeing, he closes his eyes and
he like listens to the musicality of the words, and
that's how he knows whether he's got it or not.
And then sometimes you know he hasn't gotten it because
he can't see and he has a lot of he'll
(32:59):
he'll say, by the everything we shot a lot, you
know on that scene that was so great, bubble boggle,
it's all out of focus. So which is the one
downside of this very poetic method or whatever? But um,
I think, you know, it's actually true that these work.
(33:19):
I think that it has a rhythm of musicality to it.
If there's a line that's not working, and I will try.
My part is to make things to work that are
not not you know, play if it's tough, you got,
you gotta abandon it. But it might not actually be
the line. It's a problem. That's probably what a writer
would say, it's not the throb, and I go, well,
(33:41):
as an actual I have to disagree. Um, But you know,
there's there is a musicality to performance in any pasting,
and it comes in you know, physical movement and the
choices you make. When I was younger, my parents showed
us really age inappropriate movies, so crazy, but one of
(34:06):
them was Everything you wanted to know about sex. But
we're afraid to ask what I was watching that as
like a six year old. That's what did you understand
from that? I mean I remember seeing that even older.
I was like I was a little student. I didn't
get the whole thing. What did I get from it?
I don't know. There was like a giant bowling breast.
(34:27):
Are you going to direct? Are you the transition? I
don't know. I would like to direct, But I love producing.
I really love producing, and um, I love producing other
people's stuff and the development, like I think I could have.
(34:49):
I always stoked with Brian at the sneeze, like you're insane.
My ideal job is like a corner office on the
Disney lot, like a little bungalo. That's what I want.
That's all. So that makes me do this. Cities I
associate scarlets your Handsome with Paris, New York, l A.
Just each city get a different scarlet, each city inspire
(35:12):
you and over different word. Yeah, I definitely, I like,
I absolutely love Paris. I moved there, um when I
was in my mid to late twenties, and I think
it's it's kind of a sister city to New York
in a lot of ways. Like I love that it's
(35:32):
a more laid back pace than New York. But it
has It's like this small city with a huge attitude.
And I like that people are opinion needed there and
that people are like living there. Are lives in a
very aggressive kind of way. Um, and they like what
(35:57):
they like and they loathe what they loathe with then
it's passionate and um, the city is so beautiful. I mean,
it's such a beautiful they would say that it's I mean,
it's incredible, the way the light is, it's the buildings
in the afternoon. It's a magical place. The magical place
really is. I hope that you and Colin spend more
(36:19):
time this year in California. I hope I'm there more too.
I mean, I love to be with both of you guys.
As the outside world filters into our lunch and Scarlett
catches sight of the time, I try my best to
squeeze in just a minute more the way only in
New Yorker could at the expense of Staten Island. Did
you ever think of all the boroughs you fall in
(36:41):
love with the goth from State Island? I mean, come on,
I had never met a person's set, I mean, other
than at the Dead Island Zoo when I was nine.
All due respect to stand I cannot believe it. No,
I mean I didn't never I have never met somebody
from Salton. When I when Colin first, you know, kind
of had drinks, were like, so we know each other,
(37:03):
but you know where from type of Then he told
me it's from Statoland. I thought, wait, like you lived there,
like forevery lived there, or like you just spent He
is from there, he left, you know, Tyson, his parents
are from His mom is from Stadhil and his dad's
from Jersey but moved to s and so his parents
(37:25):
are from Saul to the earth. But it's like the
country to me. I know, it's it's but it's so close.
It's so close, and it's a it's a really it's
a whole like it has it's it's its own microcos out.
You know, it's safe to say, Scarlett, you are incident.
I really want to thank you today because it fills
my heart and so much that you've taken the time
(37:46):
that I like, being a mother of working. You have
to go now audition people that he came, he had
had lunch and did and this is what a table
for two looks like in the west Field and We're
gonna have dinner on Saturday. I'm so excited for our
dinner on Saturday, the first show back of SNL, So
that would be a real New York night. Go and
(38:09):
I'm gonna have Bruce Bozzy. I have to say, I
have Any opportunity to spend time talking to you is
a priority for me. I love you so much. You're
such a genuine feeling person and sensitive person, beautiful solving.
Just love our friendship and I love like meeting minds
(38:30):
with you. Thank you in any anybody over a table
for two or twenty or two thousand. Scarlett's exit from
Vita Curoota is the opposite of her insurance, this time
without a mask. The restaurant falls into a hushed silence
(38:53):
as eyes lock on Scarlet as she emerges from the
private timeing worm. After I talk her into a few selfies,
Scarlett spots or Uber and it's on with her day.
We're both left grinning from ear to hear. Table for
two with Bruce Bozzy is produced by iHeart Radio seven
(39:13):
three seven Park and air Mail. Our executive producers are
Bruce Bozzy, Jonathan Hoss Dressler, and Nathan King. Table for
two is edited and written by Tina Mullen and researched
and written by Bridget arsenalt Our sound engineers are Emil B. Klein,
Paul Bowman and Melyssa Midcalf. Table for two is l A.
Production team is Danielle Romo and Lorraine Vien. Our music
(39:36):
supervisor is Randall poster. Our talent booking is by Jane Sarkin.
Special thanks to Amy Sugarman, Uni Share, Kevin Uvane, Bobby Bauer,
Alison Cantor Raber, and Jody Williams, Rita Sodi and the
team at Via Corona in Manhattan's West Village. For more
podcasts from I Heeart Radio, visit the I Heart Radio app,
Apple podcast, or wherever you listen to your favorite show
(40:01):
wor
Host
Bruce Bozzi
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!