December 29, 2025 • 20 mins
Part 1 of The Artist premieres on ThanksgivingPart 2 of The Artist premieres on ChristmasWritten and Directed by Aram RappaportExecutive Produced by Aram Rappaport & Hilary ShorStarring Mandy Patinkin, Janet McTeer, Danny Huston, Hank Azaria, Patti Lupone, Katherine McPhee, Clark Gregg, Ever Anderson, and Zachary Quinto. In the twilight of the Gilded Age, murder strikes the estate of an eccentric and failing tycoon. As he hosts the era's biggest celebrities including Thomas Edison, Edgar Degas and Evelyn Nesbit, lies, mystery and ambition collide as the truth is shockingly revealed.Here's the trailer:Https://www.youtube.com/watch?v=xoA7msjfqkA
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Aidan Ross was the winner of season number twenty eight
of NBC's The Voice. We've Got That Conversation ero dot
Net a R R O E dot net. The podcast
is called That Voice. Enjoy Your Exploration?
Speaker 2 (00:14):
Oh, shan oh, is this on camera?
Speaker 1 (00:17):
He's off camera.
Speaker 2 (00:18):
He's camera shy, camera shy.
Speaker 1 (00:21):
But Janet, I'm a radio guy, if you know. I mean,
that's that's how I fell out of love with Casey
Kasem is that I saw him on The Hardy Boys
and I went, Oh, there's certain things I'm not supposed
to see in life, and that was just one of them.
Speaker 3 (00:36):
Oh well, you know what they say about radio use
radio is better because it paints better pictures.
Speaker 1 (00:43):
Theater of the mind. And isn't that what you're doing
as well? Because I mean you you take us into
a time period inside the artist. I don't know how
you guys were able to pull this off and make
it look like you were physically one hundred percent in
that time period.
Speaker 2 (00:58):
Wasn't it good?
Speaker 1 (00:59):
Yeah?
Speaker 2 (01:01):
I know, it was so much fun.
Speaker 3 (01:03):
I think part of it was, you know, from the
beginning looking at the reality to the situation, which was
these people have no money, so they have no money
they're stuck in their house in the country because they
can't afford to go back to the city.
Speaker 2 (01:16):
And we all sat there and went, well, so where's
the kitchen.
Speaker 3 (01:19):
Well there isn't one, so they're all intents outside freezing.
So they're all kind of outside, all the people who
look after them getting drunk and not being paid and
can't afford to leave. And the people inside, well, what
are they wearing? Are they what are they doing with
their days? And so I decided that my character had
had no new clothes for quite a long time, so
(01:39):
they were all falling apart and didn't fit her anymore.
And then at one point I said, I wanted to
wear some deeply aged, inappropriate clothes, so you know, floral,
girly stuff that a woman in my age really shouldn't
be wearing. And it doesn't fit. So I wore it
backwards and tied it up with a piece of story,
and it's just so, And she doesn't have anyone doing
(02:00):
her hair, but she.
Speaker 2 (02:01):
Vaguely remembers how the great, so just stick a pin
in it whatever.
Speaker 3 (02:06):
Nobody's here anyway, who cares, And they're all slightly going mad.
So it's a cross between sort of the Gilded Age
and gray gardens kind of and I and then when
you take that idea and then say, Okay, they're all
stuck here. They really can't afford anything. They're really both
both the husband and wife are furious with each other
(02:29):
for all kinds of different reasons. And then what happens.
Speaker 2 (02:33):
So if you really embody the reality of that, then
what happens.
Speaker 3 (02:36):
Oh, he happens to bring in Thomas Edison, who she
actually went to she actually went to college college where university,
but that she was one of the first women who
went to in the first state of women who went
to universities. And my character And so when he comes
in and she knew him from the university, what does
(02:58):
that do? That sets off for a whole kind of
a train of madness and mayhem in the way that account.
If you see a person who you haven't seen for
thirty years turns.
Speaker 2 (03:11):
Up, Wow, what does that do?
Speaker 3 (03:13):
What does it remind you of? And for her, it
reminds her of the person she once was Wow, who
has sort of got lost Wow. And I think that
and that brings out a rage in her and.
Speaker 2 (03:27):
An energy in her.
Speaker 3 (03:29):
And she's just this sort of frustrated Amazonian sort of
trapped in the country.
Speaker 2 (03:34):
It's not a healthy situation.
Speaker 1 (03:35):
Right, Well, you're absolutely right about that. One of the
things I don't want to do. I don't want to
do a spoiler on this, but my god, how are
your vocals and how did you even prep for that scene?
I'm going to leave it at that because I want
viewers to go in there and experience that because it
was so emotional.
Speaker 2 (03:53):
Yeah. Well, I've done a lot of theater. Wow, you know. Yeah,
I know. Your voice is your your tool of trade.
Speaker 3 (04:02):
So I've trained a lot, so I know how to
I know how to be and be loud and yeah.
Speaker 1 (04:09):
Yeah, and your look is so iconic. I mean I
I just sat there going, I want to paint this.
I want to paint her in this, in this outfit,
because somewhere along the line, somebody is going to say
that's who I'm dressing up as to now, because it's
got that look about it that says this could become
our fashion statement of the new year. Just be yourself.
(04:30):
Just just whatever you've got, wear it and wear it
with your attitude, your pride. Just just be yourself and
you don't have to comb your hair because you made
it possible for us.
Speaker 2 (04:42):
You know.
Speaker 3 (04:42):
I just every day we would sort of have a
we've we would look out all of these costumes and
pieces and they would just go and find them.
Speaker 2 (04:52):
It was just amazing.
Speaker 3 (04:53):
Every day we would have you they went out found
these incredible pieces of uh of costumes and bits of
lace and bits of gloves and bits of this, and
I can't saying she's really cold, she can't wear all that,
you know, and then we just put them together. And
sometimes we put things together and go, oh, that looks
far too together, so let's change that for that, and let's.
Speaker 2 (05:16):
Put that, let's add a shawl with that, and it
was just.
Speaker 3 (05:18):
The whole thing was just put together on a daily
basis and it was just which was just a laugh.
Speaker 2 (05:25):
It was so much fun.
Speaker 1 (05:26):
One of my most powerful memorable scenes was was when
you're face to face with mister Houston and you and
you say I am a drained boxer, and I went,
oh my god, I mean it just I just felt
your energy like you would not believe.
Speaker 3 (05:43):
Yeah, she was. That was you know, that particular scene.
That was a real case in point about when you're
doing something, you know, for for and a small in
a one one location with just each other. We shot
that scene on I want to say day two or
(06:04):
three of the shoot, which which in a way was
a bit of a mistake. And when we'd done it
was because of scheduling and all that, because we had
so little money, you know, or relatively little money. So
we shot at that and then about two weeks later,
when we'd done many more scenes and we've done we'd
really knew our characters better, remember saying to Aaron, we've
got to have another go, give us another go at
(06:25):
that scene, because I think we can do it better.
We've got what we have, We've got these and we'll
do the same We'll do the same moves so you
can still cut in with the stuff.
Speaker 2 (06:35):
We've already got. Let's just try it one more time.
Speaker 3 (06:37):
So we went in for two hours with them two
steady gamps and just went for it, went for it,
went for it, and.
Speaker 2 (06:45):
I think it was much better. And I think they've
you know so, And.
Speaker 3 (06:48):
That was that's why it's such an explosive scene. And
boy did we laugh for me and Danny, boy, you know,
it was just being able to just be a scene
that starts out as one thing and ends up as
something else. It was just delightful, and again quite a
(07:09):
bit of it was improvised, and quite a lot of
it was absolutely word for word what Aaron what Aaron
had said written.
Speaker 2 (07:17):
Sorry so, but.
Speaker 3 (07:19):
Sometimes we threw it about. It was just it was
we were exhausted after that.
Speaker 1 (07:25):
The name of the series is The Artist. It can
be found on the app called The Network. We'll be
right back with actress Janet McTeer. The name of the
series The Artist. You can get it on the app
called the Network. It's an easy download. We are back
with actress Janet McTeer. I'll tell you one of the
(07:46):
most authentic things and you kind of touched on it
a few seconds ago, and that was with the tants
outside and how cold it was. I'm here in the
South and so we have these big Southern mansions from
that era and it's like those tants out there, that
was exactly what I have seen so much in history.
Or they have the houses outside and then and then
the workers would go inside the home that way. I mean,
it was so spot on, and I will that just
(08:08):
brought me into that storyline even more because we've seen
that history here in the.
Speaker 2 (08:11):
South, What do you mean? Sorry?
Speaker 1 (08:16):
In other words, it's like you I mean, because when
you take those tours in Charleston and Savannah and you
see these gigantic mansions of the early part of this nation,
those workers did not work. I mean, they didn't stay
inside the house. All of their working quarters were outside
and came in. So when when when I saw that
in this movie, I'm gone, they've nailed this. They've got
it down on this one.
Speaker 4 (08:38):
Yeah, I mean, it was just what was But also
even that arose from from from necessity because we had
this incredible.
Speaker 3 (08:50):
Museum yeah that were allowing us to film in there,
and you know they it didn't have kitchen that we
could work in. So out of that creatively, you go, well,
are we just going to cut all the christ the
(09:10):
kitchen scenes?
Speaker 2 (09:11):
What are we going to do?
Speaker 3 (09:12):
And then somebody came up with the idea, probably Rain,
I think came up with the idea, Well, well, if
they were just had to live outside in tents and
they're freezing cold, so they get so they get drunk
and they light fires and they just get drunk because
what else are they going to do because no one's
paying them, and it's really better and that's.
Speaker 2 (09:26):
How that all arrived. You know, pressure MAXs Diamonds.
Speaker 1 (09:29):
So now, as the actress, did you know when they
were going to set it up to go into a cliffhanger,
because you guys have mastered the art of the cliffhanging
inside the artist on the network in the way of
I'm going, you know, the next movie I go see
in a theater, I want to have a cliffhanger so
I can get up, walk around, talk about it, and
come back for the next episode. I mean, because you guys,
the timing of you. When number three comes to an end,
(09:53):
I started laughing so loud because I'm going, that is
how you do it. That's how you do it. That's
how I'm going to get to that next episode.
Speaker 2 (10:02):
I That's all Aaron, That's all Aaron. He is just
he's just he's just a phenomenal writer. He really is.
Speaker 3 (10:09):
In just the depth of his writing is truly beautiful.
So not only does he stylistically tell you a story
that fulfills things like, oh, it's a cliff Henners, and
what's going to happen next, We've got the first three episodes,
you've got to come back. Well, why don't you just
remind yourself of the last episode before you come and
(10:30):
watch the next story.
Speaker 2 (10:31):
And that's good storytelling.
Speaker 3 (10:33):
And then within all of the storytelling, he just takes
you on, takes you on curves and bends and you
know he but he was also just when I say,
collaborative in a really gloros. Here's here's one we did
this scene where in the script, Mandy's character, mister Henry,
(10:55):
has his mistress, who is a young ballet dancer who's small,
you know, blonde, petite, she looks.
Speaker 2 (11:04):
Like a dancer.
Speaker 3 (11:04):
She's beautiful, beautiful and played beautifully by Animal Viotten, who's
just fantastic. And and I felt that my character, who's
the six for AMAZONI and whatever would would would have found.
Speaker 2 (11:18):
That quite challenging, would have found him, you know, it would.
Speaker 3 (11:21):
Have made her feel bad about herself and you know,
all of those things that and which is part of
the reason why she's kind of defiant in the way
that she wears her clothes, et cetera.
Speaker 2 (11:30):
And it's also why she boxes. She's a boxer.
Speaker 3 (11:33):
And then there is a scene where you see Anna dancing.
Anna's character dancing, and then you cut to in the
script it says Marian looks at herself sadly in the
mirror and strikes a dancing pose and that looks so sadly,
and I said, I don't want to do that. I
don't want to do that. I said, just give me
a steady cam and let me go on some music
(11:56):
and let me go. And he went, no, no, no,
we really don't need that. I went, trust me, just
let me do it. It take us ten minutes, okay, okay,
then you just let me do it. And we put
on this music and I danced around like a very
very bad dancer, making myself laugh.
Speaker 2 (12:12):
In my night dress.
Speaker 5 (12:13):
And he came out and went, right, we're going to
do that again, and then we shot it properly and
it's in the scene because my whole and that was
so much part of my character, that she would have
a laugh doing something like that and sort of defiant,
and it just to.
Speaker 3 (12:31):
Me embodied the fact that somewhere in herself she wasn't quashed,
she wasn't quelled, she wasn't beaten down.
Speaker 2 (12:38):
She still had it.
Speaker 3 (12:39):
Just she still had all that fire and fun and
sexuality and life, and she still had it. And that's
why when Thomas Edison arrides somebody she knew and she
was in her twenties. In that way when you see
somebody you've known and you haven't seen them thirty five years,
(13:00):
they kind of remind you of the person you once
were yep, because you suddenly go, wow, do you remember
when we went and we did this and we did that,
and you suddenly had little memories of feeling like that
person and how different you are now from that person then,
And it was he was that person for her, and
so he.
Speaker 2 (13:20):
Sort of sets off this channel adds that was fun.
Speaker 1 (13:24):
Listeners need to know that we are talking about the artist.
It is on the app that's called the Network, and
sure you download it, but I'll tell you what if
they if they cast their shows from their phone, that
it is so easy and that they need to find
this because what you know, one of the things that
you bring into it. I when I saw the artist,
I thought, oh, this is this is going to be
about mister Houston. The thing about it is with Danny
is that is that everybody on that set shares that role,
(13:47):
because I think the movie is about you and your character,
where everybody else that's been watching it with me goes, no,
it's about everybody being an artist.
Speaker 2 (14:00):
Are absolutely right. So you know the full name of
the that is.
Speaker 3 (14:04):
The artist, the Diary of the Prostitute. And of course
we have a prostitute in there who.
Speaker 2 (14:15):
And we have another young woman who arrives later who.
Speaker 4 (14:20):
Has sold her sold her body the way lots of
young women had to at that time.
Speaker 2 (14:27):
And and it's sort of.
Speaker 3 (14:30):
I suppose at the end of the day you go,
who's the prostitute, who's the artist, and who's the prostitute,
And so it's a story about everybody. It is narrated
by my character, but it is it is really I
think that's why it works because it is an ensemble piece.
Speaker 2 (14:48):
You do have.
Speaker 3 (14:50):
I mean, the person telling the story is me, So
I'm the person who drives the story, and that such
and inasmuch as it is her story, it is the
artist is about her story and her journey through the story.
It's her story basically. But given even though it's her story,
(15:10):
it is it is an ensemble piece. Do what I mean?
Speaker 1 (15:15):
I do?
Speaker 3 (15:15):
I do so though even though my character is the protagonist,
it is it is an ensemble piece.
Speaker 1 (15:21):
What's so fascinating with the writing is the way that
the people that you that you're appearing with in the scene,
everybody supports each other. In other words, you would deliver
a line and Mandy might come in next. I mean,
there was such balance in the way that those lines
were delivered that it felt like that you guys were
just having a normal everyday experience and conversation.
Speaker 2 (15:42):
Yes, I think it was.
Speaker 3 (15:43):
I think it was because because the whole thing felt
so intimate, because it was a small set. It was
a relatively small house. No, it wasn't a small house.
Speaker 2 (15:53):
It was. It was quite a big house, but it
wasn't like.
Speaker 3 (15:56):
A massive, massive space once you got equipment and a
crew in there for quite small. So consequently that breeds
a kind of intimacy. You know, if you're shooting a
scene in a room where literally there's only four people
can get in there. You know, the cameraman, a couple
of lights, the director is somewhere else on video village
(16:17):
because he can't get in the room, and the actors.
Speaker 2 (16:19):
So it all feels quite into enough. And I think
that that.
Speaker 3 (16:22):
Breeds are kind of intimacy in the kind of way
you and sometimes we would go we would do a
series of takes, so you literally you wouldn't cut. You
just go back to the beginning to do it again
so you get a real run on it. So we
did that quite often, which is very very helpful because
then you never you're not breaking it all the time
at the end of a take and then and that's
(16:44):
helped by the fact that we didn't we had to
look shambolic. You know, if you have to look perfect,
it can be quite hard because somebody has to come
in and reset everything. And if you don't have to
do that, then you're supposed to look like a mess
with no makeup and no nothing. Then it's easy to
go back to beginning and just start again. And I
think that bred the kind of intimacy you're talking about.
Speaker 1 (17:04):
Wow, when with you being on the set and like
you were saying that you know that it was a museum.
You guys you did all the shooting in and stuff
like that, How is it you didn't feel like a
bull in a China store because I would walk around
going I'm not touching that, I'm not touching that, because
I would break it. There's so much history inside that
set that it's like, ah, I can't touch any of
this stuff.
Speaker 3 (17:24):
Actually, to be honest, there was always somebody from the
museum there.
Speaker 2 (17:27):
They were amazing. They would walk around with us and saying.
Speaker 3 (17:29):
You cannot touch this, you cannot touch this, and you
cannot touch this. We knew what we could touch and
we knew what we couldn't, and if we had to
touch something, it was usually ours.
Speaker 2 (17:38):
So they would take out that, They would take out.
Speaker 3 (17:40):
The precious thing and it would be replaced by a
table and a chair or whenever that was ours that
we could sit at. There were a few things that
we could use, but genuinely not a lot. You don't
see us there was you don't see us abusing any
pieces of furniture or anything. Right, we hadn't already that,
we hadn't already cleared. So it was that the boundaries
were very, very very clear because we were aware that
(18:02):
all these things were very precious.
Speaker 1 (18:04):
Yeah, because I cringed when Clark Greg grabbed that chair.
I went, ah ah ah, that's an antique piece there.
I mean when right here and number three and I'm going,
oh my god, they're touching the furniture. And maybe that's
because I'm here in the South. Don't touch the furniture
when you go into these older homes just don't do it.
Speaker 2 (18:20):
Yeah, well, I think there was a little bit of
magic there, ah film magic, a little bit.
Speaker 1 (18:27):
Wow. Now where can people go to find out more
about this? I found it on the Network app. So
I just want listeners to be able to find this
because it is quite the experience.
Speaker 2 (18:39):
Yes, it really is.
Speaker 3 (18:40):
You can you can get the network app, or you
can go to thenetwork dot stream on your computer or
phone or whatever, and you can watch it for free
with some commercials I don't know how many, or you
can hey a fee I think now, so you can
(19:02):
watch it without commercials.
Speaker 2 (19:04):
But I think the whole idea was.
Speaker 3 (19:06):
Behind the network is that you could watch a premiere artistic,
creative out there piece of writing that was on a
on a on a streaming service that you don't have
to pay for if you don't want to, and made
by creatives, and that's just that's just way good fun.
Speaker 1 (19:26):
Well, it's just it is a work of art. Man,
you got to come back to this show anytime in
the future. The door is always going to be open
for you.
Speaker 2 (19:36):
You know, I would do I would work with Aaron
again in a heartbeat.
Speaker 3 (19:41):
He we just had such a glorious time, and he's
such a decent human being and the combination and I
think he's brilliant.
Speaker 2 (19:49):
I really do, I really do. Hats off to him.
Speaker 1 (19:53):
Will you be brilliant today?
Speaker 2 (19:54):
Okay, now I'm not going to be brilliant today. I'm
going to put my feet up and we're going to
get a lot of snow here in Maine.
Speaker 3 (19:59):
And I'm probably going to go and do some shopping
and wrap a few Christmas presents.
Speaker 2 (20:04):
I'm not thinking about nothing.
Speaker 1 (20:07):
Well, you have yourself a great day then
Speaker 2 (20:09):
Okay, thank you so much, and Merry Christmas.
Aidan Ross was the winner of season number twenty eight
of NBC's The Voice. We've Got That Conversation ero dot
Net a R R O E dot net. The podcast
is called That Voice. Enjoy Your Exploration?
Speaker 2 (00:14):
Oh, shan oh, is this on camera?
Speaker 1 (00:17):
He's off camera.
Speaker 2 (00:18):
He's camera shy, camera shy.
Speaker 1 (00:21):
But Janet, I'm a radio guy, if you know. I mean,
that's that's how I fell out of love with Casey
Kasem is that I saw him on The Hardy Boys
and I went, Oh, there's certain things I'm not supposed
to see in life, and that was just one of them.
Speaker 3 (00:36):
Oh well, you know what they say about radio use
radio is better because it paints better pictures.
Speaker 1 (00:43):
Theater of the mind. And isn't that what you're doing
as well? Because I mean you you take us into
a time period inside the artist. I don't know how
you guys were able to pull this off and make
it look like you were physically one hundred percent in
that time period.
Speaker 2 (00:58):
Wasn't it good?
Speaker 1 (00:59):
Yeah?
Speaker 2 (01:01):
I know, it was so much fun.
Speaker 3 (01:03):
I think part of it was, you know, from the
beginning looking at the reality to the situation, which was
these people have no money, so they have no money
they're stuck in their house in the country because they
can't afford to go back to the city.
Speaker 2 (01:16):
And we all sat there and went, well, so where's
the kitchen.
Speaker 3 (01:19):
Well there isn't one, so they're all intents outside freezing.
So they're all kind of outside, all the people who
look after them getting drunk and not being paid and
can't afford to leave. And the people inside, well, what
are they wearing? Are they what are they doing with
their days? And so I decided that my character had
had no new clothes for quite a long time, so
(01:39):
they were all falling apart and didn't fit her anymore.
And then at one point I said, I wanted to
wear some deeply aged, inappropriate clothes, so you know, floral,
girly stuff that a woman in my age really shouldn't
be wearing. And it doesn't fit. So I wore it
backwards and tied it up with a piece of story,
and it's just so, And she doesn't have anyone doing
(02:00):
her hair, but she.
Speaker 2 (02:01):
Vaguely remembers how the great, so just stick a pin
in it whatever.
Speaker 3 (02:06):
Nobody's here anyway, who cares, And they're all slightly going mad.
So it's a cross between sort of the Gilded Age
and gray gardens kind of and I and then when
you take that idea and then say, Okay, they're all
stuck here. They really can't afford anything. They're really both
both the husband and wife are furious with each other
(02:29):
for all kinds of different reasons. And then what happens.
Speaker 2 (02:33):
So if you really embody the reality of that, then
what happens.
Speaker 3 (02:36):
Oh, he happens to bring in Thomas Edison, who she
actually went to she actually went to college college where university,
but that she was one of the first women who
went to in the first state of women who went
to universities. And my character And so when he comes
in and she knew him from the university, what does
(02:58):
that do? That sets off for a whole kind of
a train of madness and mayhem in the way that account.
If you see a person who you haven't seen for
thirty years turns.
Speaker 2 (03:11):
Up, Wow, what does that do?
Speaker 3 (03:13):
What does it remind you of? And for her, it
reminds her of the person she once was Wow, who
has sort of got lost Wow. And I think that
and that brings out a rage in her and.
Speaker 2 (03:27):
An energy in her.
Speaker 3 (03:29):
And she's just this sort of frustrated Amazonian sort of
trapped in the country.
Speaker 2 (03:34):
It's not a healthy situation.
Speaker 1 (03:35):
Right, Well, you're absolutely right about that. One of the
things I don't want to do. I don't want to
do a spoiler on this, but my god, how are
your vocals and how did you even prep for that scene?
I'm going to leave it at that because I want
viewers to go in there and experience that because it
was so emotional.
Speaker 2 (03:53):
Yeah. Well, I've done a lot of theater. Wow, you know. Yeah,
I know. Your voice is your your tool of trade.
Speaker 3 (04:02):
So I've trained a lot, so I know how to
I know how to be and be loud and yeah.
Speaker 1 (04:09):
Yeah, and your look is so iconic. I mean I
I just sat there going, I want to paint this.
I want to paint her in this, in this outfit,
because somewhere along the line, somebody is going to say
that's who I'm dressing up as to now, because it's
got that look about it that says this could become
our fashion statement of the new year. Just be yourself.
(04:30):
Just just whatever you've got, wear it and wear it
with your attitude, your pride. Just just be yourself and
you don't have to comb your hair because you made
it possible for us.
Speaker 2 (04:42):
You know.
Speaker 3 (04:42):
I just every day we would sort of have a
we've we would look out all of these costumes and
pieces and they would just go and find them.
Speaker 2 (04:52):
It was just amazing.
Speaker 3 (04:53):
Every day we would have you they went out found
these incredible pieces of uh of costumes and bits of
lace and bits of gloves and bits of this, and
I can't saying she's really cold, she can't wear all that,
you know, and then we just put them together. And
sometimes we put things together and go, oh, that looks
far too together, so let's change that for that, and let's.
Speaker 2 (05:16):
Put that, let's add a shawl with that, and it
was just.
Speaker 3 (05:18):
The whole thing was just put together on a daily
basis and it was just which was just a laugh.
Speaker 2 (05:25):
It was so much fun.
Speaker 1 (05:26):
One of my most powerful memorable scenes was was when
you're face to face with mister Houston and you and
you say I am a drained boxer, and I went,
oh my god, I mean it just I just felt
your energy like you would not believe.
Speaker 3 (05:43):
Yeah, she was. That was you know, that particular scene.
That was a real case in point about when you're
doing something, you know, for for and a small in
a one one location with just each other. We shot
that scene on I want to say day two or
(06:04):
three of the shoot, which which in a way was
a bit of a mistake. And when we'd done it
was because of scheduling and all that, because we had
so little money, you know, or relatively little money. So
we shot at that and then about two weeks later,
when we'd done many more scenes and we've done we'd
really knew our characters better, remember saying to Aaron, we've
got to have another go, give us another go at
(06:25):
that scene, because I think we can do it better.
We've got what we have, We've got these and we'll
do the same We'll do the same moves so you
can still cut in with the stuff.
Speaker 2 (06:35):
We've already got. Let's just try it one more time.
Speaker 3 (06:37):
So we went in for two hours with them two
steady gamps and just went for it, went for it,
went for it, and.
Speaker 2 (06:45):
I think it was much better. And I think they've
you know so, And.
Speaker 3 (06:48):
That was that's why it's such an explosive scene. And
boy did we laugh for me and Danny, boy, you know,
it was just being able to just be a scene
that starts out as one thing and ends up as
something else. It was just delightful, and again quite a
(07:09):
bit of it was improvised, and quite a lot of
it was absolutely word for word what Aaron what Aaron
had said written.
Speaker 2 (07:17):
Sorry so, but.
Speaker 3 (07:19):
Sometimes we threw it about. It was just it was
we were exhausted after that.
Speaker 1 (07:25):
The name of the series is The Artist. It can
be found on the app called The Network. We'll be
right back with actress Janet McTeer. The name of the
series The Artist. You can get it on the app
called the Network. It's an easy download. We are back
with actress Janet McTeer. I'll tell you one of the
(07:46):
most authentic things and you kind of touched on it
a few seconds ago, and that was with the tants
outside and how cold it was. I'm here in the
South and so we have these big Southern mansions from
that era and it's like those tants out there, that
was exactly what I have seen so much in history.
Or they have the houses outside and then and then
the workers would go inside the home that way. I mean,
it was so spot on, and I will that just
(08:08):
brought me into that storyline even more because we've seen
that history here in the.
Speaker 2 (08:11):
South, What do you mean? Sorry?
Speaker 1 (08:16):
In other words, it's like you I mean, because when
you take those tours in Charleston and Savannah and you
see these gigantic mansions of the early part of this nation,
those workers did not work. I mean, they didn't stay
inside the house. All of their working quarters were outside
and came in. So when when when I saw that
in this movie, I'm gone, they've nailed this. They've got
it down on this one.
Speaker 4 (08:38):
Yeah, I mean, it was just what was But also
even that arose from from from necessity because we had
this incredible.
Speaker 3 (08:50):
Museum yeah that were allowing us to film in there,
and you know they it didn't have kitchen that we
could work in. So out of that creatively, you go, well,
are we just going to cut all the christ the
(09:10):
kitchen scenes?
Speaker 2 (09:11):
What are we going to do?
Speaker 3 (09:12):
And then somebody came up with the idea, probably Rain,
I think came up with the idea, Well, well, if
they were just had to live outside in tents and
they're freezing cold, so they get so they get drunk
and they light fires and they just get drunk because
what else are they going to do because no one's
paying them, and it's really better and that's.
Speaker 2 (09:26):
How that all arrived. You know, pressure MAXs Diamonds.
Speaker 1 (09:29):
So now, as the actress, did you know when they
were going to set it up to go into a cliffhanger,
because you guys have mastered the art of the cliffhanging
inside the artist on the network in the way of
I'm going, you know, the next movie I go see
in a theater, I want to have a cliffhanger so
I can get up, walk around, talk about it, and
come back for the next episode. I mean, because you guys,
the timing of you. When number three comes to an end,
(09:53):
I started laughing so loud because I'm going, that is
how you do it. That's how you do it. That's
how I'm going to get to that next episode.
Speaker 2 (10:02):
I That's all Aaron, That's all Aaron. He is just
he's just he's just a phenomenal writer. He really is.
Speaker 3 (10:09):
In just the depth of his writing is truly beautiful.
So not only does he stylistically tell you a story
that fulfills things like, oh, it's a cliff Henners, and
what's going to happen next, We've got the first three episodes,
you've got to come back. Well, why don't you just
remind yourself of the last episode before you come and
(10:30):
watch the next story.
Speaker 2 (10:31):
And that's good storytelling.
Speaker 3 (10:33):
And then within all of the storytelling, he just takes
you on, takes you on curves and bends and you
know he but he was also just when I say,
collaborative in a really gloros. Here's here's one we did
this scene where in the script, Mandy's character, mister Henry,
(10:55):
has his mistress, who is a young ballet dancer who's small,
you know, blonde, petite, she looks.
Speaker 2 (11:04):
Like a dancer.
Speaker 3 (11:04):
She's beautiful, beautiful and played beautifully by Animal Viotten, who's
just fantastic. And and I felt that my character, who's
the six for AMAZONI and whatever would would would have found.
Speaker 2 (11:18):
That quite challenging, would have found him, you know, it would.
Speaker 3 (11:21):
Have made her feel bad about herself and you know,
all of those things that and which is part of
the reason why she's kind of defiant in the way
that she wears her clothes, et cetera.
Speaker 2 (11:30):
And it's also why she boxes. She's a boxer.
Speaker 3 (11:33):
And then there is a scene where you see Anna dancing.
Anna's character dancing, and then you cut to in the
script it says Marian looks at herself sadly in the
mirror and strikes a dancing pose and that looks so sadly,
and I said, I don't want to do that. I
don't want to do that. I said, just give me
a steady cam and let me go on some music
(11:56):
and let me go. And he went, no, no, no,
we really don't need that. I went, trust me, just
let me do it. It take us ten minutes, okay, okay,
then you just let me do it. And we put
on this music and I danced around like a very
very bad dancer, making myself laugh.
Speaker 2 (12:12):
In my night dress.
Speaker 5 (12:13):
And he came out and went, right, we're going to
do that again, and then we shot it properly and
it's in the scene because my whole and that was
so much part of my character, that she would have
a laugh doing something like that and sort of defiant,
and it just to.
Speaker 3 (12:31):
Me embodied the fact that somewhere in herself she wasn't quashed,
she wasn't quelled, she wasn't beaten down.
Speaker 2 (12:38):
She still had it.
Speaker 3 (12:39):
Just she still had all that fire and fun and
sexuality and life, and she still had it. And that's
why when Thomas Edison arrides somebody she knew and she
was in her twenties. In that way when you see
somebody you've known and you haven't seen them thirty five years,
(13:00):
they kind of remind you of the person you once
were yep, because you suddenly go, wow, do you remember
when we went and we did this and we did that,
and you suddenly had little memories of feeling like that
person and how different you are now from that person then,
And it was he was that person for her, and
so he.
Speaker 2 (13:20):
Sort of sets off this channel adds that was fun.
Speaker 1 (13:24):
Listeners need to know that we are talking about the artist.
It is on the app that's called the Network, and
sure you download it, but I'll tell you what if
they if they cast their shows from their phone, that
it is so easy and that they need to find
this because what you know, one of the things that
you bring into it. I when I saw the artist,
I thought, oh, this is this is going to be
about mister Houston. The thing about it is with Danny
is that is that everybody on that set shares that role,
(13:47):
because I think the movie is about you and your character,
where everybody else that's been watching it with me goes, no,
it's about everybody being an artist.
Speaker 2 (14:00):
Are absolutely right. So you know the full name of
the that is.
Speaker 3 (14:04):
The artist, the Diary of the Prostitute. And of course
we have a prostitute in there who.
Speaker 2 (14:15):
And we have another young woman who arrives later who.
Speaker 4 (14:20):
Has sold her sold her body the way lots of
young women had to at that time.
Speaker 2 (14:27):
And and it's sort of.
Speaker 3 (14:30):
I suppose at the end of the day you go,
who's the prostitute, who's the artist, and who's the prostitute,
And so it's a story about everybody. It is narrated
by my character, but it is it is really I
think that's why it works because it is an ensemble piece.
Speaker 2 (14:48):
You do have.
Speaker 3 (14:50):
I mean, the person telling the story is me, So
I'm the person who drives the story, and that such
and inasmuch as it is her story, it is the
artist is about her story and her journey through the story.
It's her story basically. But given even though it's her story,
(15:10):
it is it is an ensemble piece. Do what I mean?
Speaker 1 (15:15):
I do?
Speaker 3 (15:15):
I do so though even though my character is the protagonist,
it is it is an ensemble piece.
Speaker 1 (15:21):
What's so fascinating with the writing is the way that
the people that you that you're appearing with in the scene,
everybody supports each other. In other words, you would deliver
a line and Mandy might come in next. I mean,
there was such balance in the way that those lines
were delivered that it felt like that you guys were
just having a normal everyday experience and conversation.
Speaker 2 (15:42):
Yes, I think it was.
Speaker 3 (15:43):
I think it was because because the whole thing felt
so intimate, because it was a small set. It was
a relatively small house. No, it wasn't a small house.
Speaker 2 (15:53):
It was. It was quite a big house, but it
wasn't like.
Speaker 3 (15:56):
A massive, massive space once you got equipment and a
crew in there for quite small. So consequently that breeds
a kind of intimacy. You know, if you're shooting a
scene in a room where literally there's only four people
can get in there. You know, the cameraman, a couple
of lights, the director is somewhere else on video village
(16:17):
because he can't get in the room, and the actors.
Speaker 2 (16:19):
So it all feels quite into enough. And I think
that that.
Speaker 3 (16:22):
Breeds are kind of intimacy in the kind of way
you and sometimes we would go we would do a
series of takes, so you literally you wouldn't cut. You
just go back to the beginning to do it again
so you get a real run on it. So we
did that quite often, which is very very helpful because
then you never you're not breaking it all the time
at the end of a take and then and that's
(16:44):
helped by the fact that we didn't we had to
look shambolic. You know, if you have to look perfect,
it can be quite hard because somebody has to come
in and reset everything. And if you don't have to
do that, then you're supposed to look like a mess
with no makeup and no nothing. Then it's easy to
go back to beginning and just start again. And I
think that bred the kind of intimacy you're talking about.
Speaker 1 (17:04):
Wow, when with you being on the set and like
you were saying that you know that it was a museum.
You guys you did all the shooting in and stuff
like that, How is it you didn't feel like a
bull in a China store because I would walk around
going I'm not touching that, I'm not touching that, because
I would break it. There's so much history inside that
set that it's like, ah, I can't touch any of
this stuff.
Speaker 3 (17:24):
Actually, to be honest, there was always somebody from the
museum there.
Speaker 2 (17:27):
They were amazing. They would walk around with us and saying.
Speaker 3 (17:29):
You cannot touch this, you cannot touch this, and you
cannot touch this. We knew what we could touch and
we knew what we couldn't, and if we had to
touch something, it was usually ours.
Speaker 2 (17:38):
So they would take out that, They would take out.
Speaker 3 (17:40):
The precious thing and it would be replaced by a
table and a chair or whenever that was ours that
we could sit at. There were a few things that
we could use, but genuinely not a lot. You don't
see us there was you don't see us abusing any
pieces of furniture or anything. Right, we hadn't already that,
we hadn't already cleared. So it was that the boundaries
were very, very very clear because we were aware that
(18:02):
all these things were very precious.
Speaker 1 (18:04):
Yeah, because I cringed when Clark Greg grabbed that chair.
I went, ah ah ah, that's an antique piece there.
I mean when right here and number three and I'm going,
oh my god, they're touching the furniture. And maybe that's
because I'm here in the South. Don't touch the furniture
when you go into these older homes just don't do it.
Speaker 2 (18:20):
Yeah, well, I think there was a little bit of
magic there, ah film magic, a little bit.
Speaker 1 (18:27):
Wow. Now where can people go to find out more
about this? I found it on the Network app. So
I just want listeners to be able to find this
because it is quite the experience.
Speaker 2 (18:39):
Yes, it really is.
Speaker 3 (18:40):
You can you can get the network app, or you
can go to thenetwork dot stream on your computer or
phone or whatever, and you can watch it for free
with some commercials I don't know how many, or you
can hey a fee I think now, so you can
(19:02):
watch it without commercials.
Speaker 2 (19:04):
But I think the whole idea was.
Speaker 3 (19:06):
Behind the network is that you could watch a premiere artistic,
creative out there piece of writing that was on a
on a on a streaming service that you don't have
to pay for if you don't want to, and made
by creatives, and that's just that's just way good fun.
Speaker 1 (19:26):
Well, it's just it is a work of art. Man,
you got to come back to this show anytime in
the future. The door is always going to be open
for you.
Speaker 2 (19:36):
You know, I would do I would work with Aaron
again in a heartbeat.
Speaker 3 (19:41):
He we just had such a glorious time, and he's
such a decent human being and the combination and I
think he's brilliant.
Speaker 2 (19:49):
I really do, I really do. Hats off to him.
Speaker 1 (19:53):
Will you be brilliant today?
Speaker 2 (19:54):
Okay, now I'm not going to be brilliant today. I'm
going to put my feet up and we're going to
get a lot of snow here in Maine.
Speaker 3 (19:59):
And I'm probably going to go and do some shopping
and wrap a few Christmas presents.
Speaker 2 (20:04):
I'm not thinking about nothing.
Speaker 1 (20:07):
Well, you have yourself a great day then
Speaker 2 (20:09):
Okay, thank you so much, and Merry Christmas.
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