Stay ConnectedMarc Maron welcomes comedians, actors, directors, writers, authors, musicians and folks from all walks of life to his home for amazingly revealing conversations. Marc’s probing, comprehensive interview style allows guests to express themselves in ways listeners have never heard.
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Copyright: © 2021 Marc Maron
Halle Berry wasn't supposed to be in the movie Bruised. And she definitely wasn't supposed to direct the movie Bruised. Then she wound up being in it and directing it, but no one wanted to take a chance on it. Now it's such a hit for Netflix that they've signed her to a multi-picture deal. Halle tells Marc what it took to get to this place in her life and career, transcending her childhood of abuse to create a portfolio of performances where she breathes life into broken people.
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Still only in his early 30s, Jesse Plemons has already delivered a laundry list of indelible performances in everything from Breaking Bad to Friday Night Lights to Black Mass, working with directors like Paul Thomas Anderson, Martin Scorsese and now Jane Campion in The Power of the Dog. Jesse tells Marc how a humble kid from Central Texas cultivated an acting career that would be the envy of any performer. They also talk about what it's like for Jesse to act opposite his wife, Kirsten Dunst.
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Jennifer Hudson didn't start singing with her eyes open until she was 19 years old. That's not a metaphor. Jennifer tells Marc how she was so afraid to sing in public, the only way she could do it was by closing her eyes. They talk about what it was like to finally feel brave enough to open them and the doors that also opened up when she did. Jennifer explains the centrality of church in her life, how faith helped guide her through unspeakable tragedy, and why she got Aretha Franklin's blessing to portray her in the movie Respect.
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Benedict Cumberbatch is a busy man. When he's not holding the Marvel Universe together as Doctor Strange or making prestige dramas with celebrated directors, he's flying between the U.S. and the U.K. to raise a family. Benedict and Marc talk about his latest projects, The Electrical Life of Louis Wain and Jane Campion's The Power of The Dog, as well as his early life as the child of two working actors. Plus a lot of talk about cats.
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Bill Pullman's upbringing in rural Western New York prepared him for a multifaceted life, since he always had to keep his options open. So aside from being an actor, Bill's also been a theater teacher, a rancher, a fruit grower, even a traveling Shakespeare performer in Montana. Bill and Marc talk about how he incorporated dream analysis into his performances in both David Lynch's Lost Highway and his current show The Sinner, why Spaceballs was actually a great crash course in movie acting, and what's the root cause of the timeless Pullman-Paxton confusion.
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WTF takes over the historic Paris Theater in New York City for the first live audience episode of the show in more than six years. Marc is joined by film critic and historian Jason Bailey, author of the new book Fun City Cinema. They get into what the movies tell us about New York and what New York tells us about ourselves. Marc and Jason go over this history of movie making in NYC, including a deep dive into The Taking of Pelham 123 from Jason's Fun City Cinema podcast.
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Ridley Scott has a secret weapon as a filmmaker and it probably has a lot to do with his career longevity and versatility. As a young boy, he would draw everything, and to this day he still storyboards every one of his films with his own drawings. That helps him deliver the finished product efficiently, often under schedule and under budget. Marc talks with Ridley about how he worked his craft on films like Blade Runner, Thelma and Louise, Black Hawk Down, Gladiator, American Gangster, and his two most recent films, The Last Duel and House of Gucci.
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Kenneth Branagh had a lot on his mind when making the movie Belfast, a film based on his own childhood. He thought mostly about loss. Loss of family, loss of where you come from, loss of innocence. As Kenneth tells Marc, he's been thinking about loss a lot lately and figuring out how to strike a balance between heartbreaking and heartwarming. Marc and Kenneth also talk about the importance of visiting the graves of people you admire, what discovering Shakespeare did for Kenneth at a young age, why he might be ready to play King Lear, and why he worries about something actors call The Bleed.
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George Clooney is 60. Which means, much like Marc, he's always reminding himself that he doesn't know how much time he has left. George tells Marc how this mindset affects all his decisions, whether it's the projects he takes on, the causes he fights for, or the time he frees up to spend with his children. They also discuss George's directorial work, including his latest film The Tender Bar, his introduction to show business by his father and his Aunt Rosemary, and his thoughts on avoiding further tragic accidents involving guns on movie sets.
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Marc is trying to get to the bottom of something. What does it really mean to be 'canceled' in comedy? Is it something comedians have always worried about? What does actual censorship in comedy look like? And who or what is traditionally responsible for censoring the comedy world? Marc talks to comedy historian Kliph Nesteroff and Smothers Brothers biographer David Bianculli about the history of comedians complaining they “can't say anything anymore” and what it looks like when they actually do get canceled for speaking their minds.
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