It isnít easy
to just step away when a career that you have been working towards
for years has built up serious momentum. Yet that is exactly what
Maggie Gyllenhaal did.
appearing in the blockbuster Batman sequel The Dark Knight,
Gyllenhaal essentially took a couple of years on sabbatical to care
for her new baby with her husband, actor Peter Sarsgaard. She also
did take a small role in Sam Mendesí comedy Away We Go.
In over a
decade of film work, Gyllenhaal had put together a fascinating body
of work Ė shifting between quirky indie projects like Secretary,
SherryBaby and Donnie Darko and big name Hollywood films
like Mona Lisa Smile, Stranger than Fiction and World
Dark Knight was the film poised to shift her career into
hyperdrive Ė instead Gyllenhaalís priorities changed and she decided
that she needed to spend time as a mother rather than rush off to
the next role.
The wait is
over as Gyllenhaal returns to the screen in Crazy Heart Ė
playing a music journalist who falls into a probably unwise
relationship with an aging country singer. That singer, played by
Jeff Bridges, has been garnering Oscar buzz since the first previews
of the film. However, Gyllenhaalís work, while perhaps not as
dramatic, has also been receiving acclaim and has a chance at a
A little under a week before Crazy Heart was set to
be put on limited release so it would be eligible for Oscar
consideration, Gyllenhaal sat down for a roundtable with us and some
other websites to discuss her career, the movie, the role, being a
mother and her return to work on this film and the upcoming Nanny
I wonder what
you thought when you first read your character.
I donít know
that I can answer that maybe any more clearly than the way you felt
when you saw it. I think one of the things about the movie is thatís
the way you feel when you meet anybody Ė what exactly would you make
of them. Itís not the kind of movie that tells you this is a
relationship thatís a good relationship; this is a relationship
thatís a bad relationship. This is the good guy, this is the bad
guy. Itís not even in that paradigm at all. Itís just about people.
When I read it, I knew somehow that it was something that I wanted
to play, which is an instinct I have thatís served me pretty well.
Usually, when I have that feeling, whether the movie is successful
ultimately or not Ė I donít just mean financially, but just in
general successfully Ė itís usually a movie that I was right, I
needed to do. I definitely felt that about this. The thing I would
say, I think some of the other people Iíve played that Iíve felt
really proud of are fierce, are kind of powerhouses. I used to think
in my life too that that was kind of the ideal. That was the idea Ė
to be as strong as you could be. I donít think I consciously knew
this when I decided to play this part, I donít think that anymore.
Sheís much, much more vulnerable and feeling than anyone Iíve ever
played. Probably in the past month in my life have I come to see the
real value in that. I knew it in my work first because itís in this
movie. So thatís some of the things I think about her.
Is this the
first movie that you did since the movie came along?
No. It isnít.
Iíve been correcting people on this every day. I made Batman
starting when my daughter was seven-months-old. I worked about
fifteen days over eight months in that movie. Itís just very
different from the way Iím used to working. I also did Away We Go,
but that was three days. So itís not entirely wrong like in the
sense that this is the first thing I did that felt like the kind of
work that Iím used to and the kind of work that I know.
The question I
was going to ask was how that informed your performance as basically
a single mom? It must have brought an awful lot to that character.
I would say
that actually in some ways, some of those really dramatic scenes Ė
him losing my boy Ė I think on some level, those are things that
anyone can imagine. It takes so much imagination as a mother to
imagine that happening that it doesnít actually. Those arenít the
places where I felt the difference. I felt the difference more when,
my daughter was almost two when I made this movie, and I got this
kind of surge of feeling that time, Iíve been focused on my
daughter, on my child for two years. Thatís been everything to me,
and I just got this surge of Iím also an actress. Iím also a woman.
I want to do something for me. It came at that moment and Crazy
Heart was the thing that I got to do, whereas for Jean [her
character], I think sheís had this four-year-old who at least for
some big chunk of that time, sheís been raising by herself. Sheís
been trying to be a good mom. I mean, almost unrealistically. I
think so much pressure on her trying to function, trying to pull
together. Sheís in an emergency state of what I was in Ė of ďI need
something for me. I want something for me.Ē I donít care if itís bad
for me. Itís better if itís bad for me. So that feeling really
resonated. One other example of that is the scene on the bed where
heís writing that song and I really upset. I mean, I think what that
scene is really about for Jean is like: Iím cooked. Iím done. Iím in
love with you. Thereís nothing I can do and Iím sliding 100 miles an
hour down this hill. Itís over for me. I think that thereís a
different level, thereís so much more at stake when thereís a
four-year-old involved in that equation. Thatís the thing. I
understood the different way.
mother, do you think you would have had the same reaction, not
forgiving him for what he did?
God, I look at
the movie and I think. I had friend who came to the premiere, a good
friend, said he watched it and when I walk into the room, you think,
okay this is going to be a love story. This is never going to work.
If they make this work, theyíre cheating. Thereís no way. Then all
of a sudden, it does. I think it really does. Then youíre through
this whole movie with these unlikely people. By the end, you wish
that they could be together, and they just canít be. So, would I
have done the same thing? I mean, God, I donít know. But when I
watch it, I think, God, can they make out for even one minute? Is
there a way they could get back together? No. I mean, how could
they? Itís not: oh, you make one mistake. Itís over. In the deepest
way, the way they reveal their love for each other, is both by not
when I see a woman whoís 30 years younger, itís distracting me.
Thereís something about her that really works. Do you think these
characters are in a way ageless?
Well, I think
even though we donít talk about it, sometimes we go see a movie and
itís a much younger woman and it seems like it is appropriate. It
doesnít seem like itís appropriate, I donít think. Thereís something
perverse about it. Thereís something strange about it. I mean, itís
not like this is the appropriate age for a 60-year-old man. Thereís
something funny and something that we have toÖ itís on my mind
certainly when I made the movie. What was the rest of the question?
If theyíre ageless? No. Theyíre not. Theyíre funny. Theyíre very
unlikely lovers. They do love each other. Itís this complicating
thing where people love each other for strange reasons. Itís not
like the movie is saying this is bad or this is good. But, theyíre
not ageless. Iím much younger.
Is she that
much younger? Isnít she 45?
Yeah, I think
sheís like 45.
Youíve done so
many indie films over the years and now you did the Batman
film [The Dark Knight]. Did that make you run back to
indie films or did you appreciate the big film for what it was?
I am more
comfortable in the indie films. I feel like it is how I learned how
to work. Itís how I learned best. Shooting quickly, at least a scene
in the day, I mean, Iím better with two scenes a day. I mean, sure,
maybe we shot five scenes a day. That is a little bit too fast. But
I like that. I like having to incorporate all the things that get
thrown at you, which you have to do less of when you work on a big
movie. I do better work, I think so far anyway in this kind of
intense fast way. Iíve done a lot of studio movies though.
Stranger than Fiction was pretty big. Mona Lisa Smile was
pretty big. I mean, well this is the second biggest one I guess, but
you know something on that scale, thatís totally on the other side
of the spectrum. The thing that was cool about Batman is really,
really notable, was that everybody in every department was an
expert, which is not usually the case in a tiny movie. I mean,
whether you like the style of the movie or not, the people who are
doing sound have done a million movies. Theyíre probably not going
to make a silly mistake. Down to, every single department. Where
itís you work on this small movie, people sometimes do make silly
mistakes. You have to be forgiving, and you have to kind of go,
ďRight, youíre learning. Me too. We all are. Itís okay.Ē Whatís
funny about that is that usually in a small movie, a little silly
mistake can set you back massively.
maybe talk a little bit on the challenges of working with a child
with a lot of kids. Have you seen SherryBaby?
That movie I
did the whole movie with the child and acted with her. By the end,
she could improvise with me and just roll with me. Iíve worked a lot
with kids in different ways, but with that girl, I wanted her to
feel like I was special. Thatís how she should feel in the movie Ė
that I was like candy bar. Then there are times where she would be
more afraid with them. With Jack Nation [who plays her son] Ė isnít
that a great name? Jack Nation Ė with him, I wanted him to sort of
take me for granted, like I had been around a lot. Like Jeff was
kind of like a candy bar. He could not pay that much attention to
me. I mean, thatís what itís like when youíre with kids, when youíre
their mom in some ways. I loved acting with him. The thing is, Scott
[Cooper, the writer/director] knew, and Jeff also thinks about it in
the same way I do. Most kids of that age will not be good if you
say, ďStand on this mark and say this and this way.Ē Theyíll sound
like little robots because itís not what kids are meant to do. If
you want a kid to be free and exist in a moment, you can get them to
do that pretty easily. You play with them. Thatís how I did it. I
played with them. Jeff and I were kind of in the same way. We worked
similarly too, like we never planned anything. I donít work great
either if someone says, ďStep on this mark and say it like that.Ē
Iíd buck for sure. I would much rather be free and let anything
happen. You can only do that if youíre working with a really good
script that wonít boo you and a really good actor. Jeff and I too,
itís like different every time and sometimes it took too far in one
direction. Everyone would know it. Scenes would end in all different
ways, all different kind of notes.
doing this film as opposed to
Away We Go, your characters are two different kinds of mothers.
Was that ever in the back of your mind of how much is too much?
I just really
wanted to work and I hadnít wanted to and when Away We Go
came. I read it and I thought: yeah, I can do that. I donít know how
exactly, but I can try. [I] just went for three days and did that.
Then thisÖ I just had so much built up. I donít want to play a
mother next time. I want to play, actually I really donít. I think
so much about being a mother, itís so present in my mind and in my
work. In this movie, so much in Away We Go obviously.
Everyone talks to me about it because itís such a huge part of this
movie. This woman is a mother. Actually, I watched the premiere the
other night, and he says, ďWhatís the most important thing about
you?Ē She says, ďI have a little boy.Ē That is the most important
thing about me, but Iím interested to play someone whoís not a
mother now. I really am.
What are you
Nanny McPhee 2?
Iím a mother.
[laughs] Iím a mother of three who has two cousins visiting
whoís doing it all alone and working.
need a break.
Yeah, I donít
when you say youíre the mom whoís doing the actress and works so you
have something for you, and the character is in a way saying she
wants something for her, that for her could be interpreted as she
wants this guy but itís also the job that sheís pursuing being a
And I was
wondering, what she does in the form of getting her story is kind of
something I donít think any of us are about to do.
I donít think
sheís manipulating him. I donít think sheís sleeping with him to get
a story. I donít think it plays like that, either. I mean, she falls
for him and she gets sort of derailed, but I also think she writes
great articles. Thereís one scene we shot, thereís a couple of
scenes missing in the movie, thereís one scene of mine missing where
we go down to Houston, and he says to me, ďI sent your article to
the paper here, and they really liked it and they want to meet you.Ē
And thatís actually in the original script where I was when he loses
Buddy. Iím at that interview. What that scene is about is a couple
of things. One of them was just me going, Iím going to live in
Houston. But also, I think sheís a good writer. Sheís a green
journalist, but I think sheís a good writer and I think she wrote a
So you think
she approaches it more like thatís a rookie mistake?
I think she
doesnít think a lot. I remember doing Q&As for SherryBaby and
people saying sheís this terrible mother, and I was like, sheís not.
I so believed in her. I didnít see it that way at all. For this, the
other day, someone asked me, ďWhat thing from rehearsal did you
take?Ē I mean, we didnít really rehearse. ďTo grab on to, what sort
of anchored you through the shooting?Ē They asked Jeff first, they
asked us all and I was last, and I was like, ďOh fuck. What am I
going to say?Ē I couldnít think of anything that I used like that.
Then I thought, I didnít work that way. I didnít think. I didnít
decide I wasnít going to think, I just didnít. She acts so
recklessly throughout this movie and thatís how I was. I just went
with what felt good, and I just didnít think. Then she gets smacked
across the face with thatís not free.
Could you take
a step back though because what is it about Bad that actually, that
your character is attracted to? Iím interested in the characterís
point-of-view. Is this just another bad decision or were there
qualities in him that she actually saw?
that heís Jeff Bridges? [laughs]
Well, I know,
but you canít. Heís very appealing. Like I said, I think she was
starving for something for her. I donít think it could have been
anybody, but sheís open when she goes in. Not sheís open to sleeping
with him but I sheís just desperate for something that feels good to
her. Also, why does anyone fall in love with anyone? The
circumstances of this movie are that unless these two people really
fall in love and you believe the depth of their love for each other,
then who cares about the movie? I knew that and Jeff knew that, and
so the circumstances are we had to play people who fell in love. I
donít know why exactly. I mean, he is Jeff Bridges. He is alive. And
sheís willing to not look at all sorts of things. But God, havenít
you been in relationships like that where you were just like, not
willing to see things? Thatís what this movie is about.
is Jeff Bridges, but yet I found him disappearing into the role of a
musician well. What did you think of the way he performed and the
music that he did?
wasÖ the thing about the movie and you guys arenít seeing us
altogether. We all really like each other and we all really got to
know each other and music was definitely a part of that. Steve
Bruton, who was T-Boneís partner and who passed away and to whom the
movie is dedicated, he wrote a bunch of the songs and was there on
set all of the time. He and Jeff sang ďFalling and FlyingĒ to me on
set for fun. Thatís how I met Jeff. I had met him before once. Itís
a good story, actually. But after that, I met him and without saying
it, we knew okay, we have so many days. No time. Iím kind of up for
anything. Are you up for anything? We didnít say that, but it just
felt like that happened. Yes, Iím up for anything. Then we got into
the car and drove to the production office and he played me ďThe
Weary Kind,Ē and I was like crying in the car with him. Thatís how
it started. Thatís what the movie was like. The music was a part of
that and the performing was a part of that. I knew he was a musician
on some level. Iíd heard that. I didnít know with what ease he could
do it, but I got used to it.
I wonder how
important was it for you to find a humanizing aspect to your
characters or do you have to find a good quality in them? Because
Iím thinking of your character in
Away We Go,
and sheís horrible. Sheís just obnoxious.
know, itís funny. In a comedy, I think there is a viciousness about
comedy that is fine. Itís a part of it. I mean, I have some of that
in me like that lady in Away We Go. I know tons of people who
are still nursing their three-year-olds. I mean, itís not me, but I
know them and theyíre still alright people. The question about
finding someone good, I usually findÖ okay, in this movie, itís
really interesting in how it works. I donít know, it probably sounds
like an irresponsible student. Like I will find things with each
character, okay, okay. I know thatís the trap. With SherryBaby,
for example, I know if I get teary and too down on myself, thatís
the trap because the thing with her is that she canít afford to be
sad. She doesnít have that luxury. So anytime I felt that way, I
just thought, wrong track. Wrong track. In this one, I was like, how
does this smart, thoughtful woman end up with a real drunk? How does
that happen? Then I just stopped thinking about it. I think I
thought about it twice, and thatís what she did. She just didnít
think about it. About the scenes where I talk about it with him, one
of them I straddle him and the camera literally shoots like my ass
and I say, ďDo one thing for me? Donít drink in front of Buddy.Ē
Then the only other time I bring it up is when heís leaving, going
back to Houston. Think about all the feelings you have, especially
as a woman, the way you fight, what you fight about. Itís really
more about him leaving than anything else. I end up kissing him and
taking his hat off Ė that scene in the driveway. Itís not until he
loses my son that I just really look at him and say, ďWere you
But there are
also a lot of scenes where you have a drink in your own hand.
sharing the drinks with him?
that is something I did think about. I thought, okay, if youíre
dating a drunkÖ and Iíve dated people who have drank too much
totallyÖ you drink too much. Maybe you go to dinner. That dinner
scene, I was playing, I was wasted. That dinner scene where he tells
me he has a son. Maybe heís not drinking whiskey, but you go out to
dinner at a fancy restaurant and you get drunk and you have three
bottles of wine. Then if youíre not really totally a drinker, and I
think she can drink too, then youíre drunk. Or the second interview,
I feel when I watch that and pick up that glass and he offers me
another one, thatís like my third or fourth glass. Heís not just
refilling it for the first time.
What is next?
Do you have anything other than
Nanny McPhee 2, I just finished in September, which is great. Do
you know whoís in that movie? Itís amazing Ė Maggie Smith and Ralph
Fiennes and Ewan McGregor.
Itís a remake
by Emma Thompson?
Itís a sequel
with Emma, and she wrote it.
And a female
directed it, right?
White directed it. And Emma is like the most brilliant genius. Itís
so different from this. Itís like animals and kids. You can hear it
in Emmaís writing, and this is different. Different in a sense,
thereís this quality in this movie where you donít know exactly what
to make about everybody. They really are real people and theyíre
partially good and partially bad. Really, you can play the scenes
any number of ways and theyíll work. Emmaís writing, itís more like
you can hear the rhythm and youíve got to hit the beats and stick
your landing, as [husband] Peter [Sarsgaard] says. My husband says,
ďThatís sort of different kind of acting, to stick your landing
acting where you really have to hit the beats.Ē This movie would
have failed that way. The only way this movie works is if itís
absolutely anything is okay. In Nanny McPhee, itís different.
I just wanted
to bring it back to theater. Do you have any plans to do more
just been talking. Iíve done a lot of theater with Tony Kushner, and
we were just talking a play of his that we never did but we were
trying to get together with each other for a while Ė maybe trying to
get that going. Iíd love to do something else with Austin Pendleton,
whoís directed and Peter. Weíd talked about a couple of things.
Thatís real easy to put together because I think if we did that, we
would do it sort of tiny in the same way we did Uncle Vanya.
Just tiny so that in a way, maybe itís tiny enough that you donít
even need reviews. You just open your door when youíre ready. If
itís a small enough theater and youíre not needing to fill seats,
you do a tiny bit of advertising and you just do it whenever you
want, which is nice.
Secretary, and your career could have gone a number of
directions. How pleased are you with the direction it has gone in?
God, I was a
little afraid of all of the attention when it came with Secretary.
It was very surprising to me, and I was a little unsure about it.
Iím less afraid of it as I get older and I understand it better, how
to manage it. At the same time, I was thinking, if I think about
what I aspire to and what I like in movies and what I want Ė to be
in a movie like this with Robert Duvall and Jeff Bridges, to be the
woman in that movie Ė that is what I want. Sissy Spacek came into
the premiere. I sat and talked with her for twenty minutes. She got
it and she loved it and I think, what else do I want? These movies,
have you talked to Scott yet?
tell you he did want to make a movie that felt like a Ď70s movie.
Those are the movies I love. Partially theyíre the movies I love
because those actresses Ė Ellen Burstyn and Sissy Spacek and Gena
Rowlands and Meryl Streep Ė all those people there. Thatís what I
love and I felt like in a way, just being in the same movie as
Robert Duvall, I feel a little bit closer to that.
What do you
think audiences will take away from
I donít know.
I guess itís a love story about real people. It happens in the way
real love stories happen. Someone said to me, ďOh, itís so fast the
way they get together.Ē Well, thatís the fantasy Ė that itís not
like that. I think Ė and especially when itís sort of maybe a little
bit of a mistake or youíre not sure and was that okay and was that
not okay Ė it happens like that. Also how many people have you been
with in your life where itís a little bit right and a little bit not
right? Thatís every relationship. I feel like thatís very true in
this and compassionate because they are people who are not doing so
well. The movie is very compassionate toward them and I love that
about movies Ė where they can find some compassion for people who
are struggling. Because then if you watch a movie about that, you
can practice having compassion for people who are much more closely
connected to you where it could be a little more difficult to have
compassion for them strictly.
Can you talk
about power of Jeff Bridgesí presence on the screen?
probably not the most objective person to ask because I have a very
subjective experience of him in the movie. I mean, I donít know
exactly what you want me to say about it. I think heís just great to
How do you
feel his performance ranks with his other ones?
God. I donít
know. I donít know if Iíd really rank it. I think heís totally
honest and free and powerful and you see him move and grow just a
little the way that people actually move and grow and sing.
Was he on set
taking loads of photos and doing one of his photo books, as usual?
Yes, he did.
He did do a photo book. I donít think he did it as much as he
sometimes does. I donít know why, but he told me he didnít do it as
much as he sometimes does. But he did a book, which he just gave me
wondering if you could circle back and talk about how a project like
SherryBaby. Thatís really wonderful, but if a lot of people
havenít seen it, how do you know that youíve made the right choice?
I donít know.
I donít know how I know. I just do. I do usually feel by not knowing
exactly why at the time, I usually can sort of figure it out later.
I talked about this a little bit Ė in this movie, I didnít know. I
only learned recently in the past couple of months that, I used to
think in my life, in my work, that the most, that the idea was to be
extremely powerful and strong. When I watch this movie on screen, I
watched it with a girlfriend of mine sitting next to me, my husband
was away, and I needed someone to go with me because I felt very
vulnerable about it. I watched it and I thought, God there are times
when sheís so weak, which I had not seen revealed in other works of
mine. I mean, Iíve played people who were a mess, but they were like
powerhouses. There are times when sheís weak, and I felt ashamed
watching it on screen. I thought about my girlfriend sitting next to
me and sheís a professor and sheís great and sheís strong, but I
think sheís also weak and so am I. I just turned 32. A lot of my
life, I thought that was something to be ashamed of and I didnít put
it much in my work. Along with acknowledging that comes a kind of
emotionality in my work that I donít think had been there before. So
in a way, I watch me playing in this movie: who is this woman whoís
a feeler whoís got a really open heart who lets things really wash
over her and is not kind of a bulldozer? There are moments when she
comes out with that will, but not all the way through. Thatís what I
Do you look
back at that and other performances that youíve given and see things
you didnít see before? Maybe the character in
SherryBaby who is so fierce has those moments of weakness that
you really werenít trying to play.
Oh no, she
does and of course, even I did. Itís not like I wasnít weak when I
wasnít valuing that quality. But I just think, in my work, I see it
as kind of more grown up in this. That this woman allows the value
of feeling in her life, and Iíve just only been recently been
learning that in my own life.
mentioned before about the career direction after
The Dark Knight. Is that sort of an ongoing problem for you in
the sense of in one hand, you want to maintain your indie street
cred in these sort of films that you really kind of like to do but
on the other hand, you probably have representation thatís saying,
ďMaggie, baby, youíve got to do one of these big ones again.Ē
Itís not so
much like that. It really isnít in my life. It hasnít been like
that. Most of the movies Iíd done, I did for the reasons that I was
saying, because they appeal to me, mostly. Even if theyíre strange,
like Mona Lisa Smile is a big Hollywood movie but the
character I played in that movie totally appealed to me and was
absolutely right for me at the time. [It] was great for me also in
the process of learning about making movies, because I was playing
this wild girl and I sort of just did whatever I wanted in the scene
and that was it and it was great. It is not meant to be a meek,
youngÖ not that I was ever that way really. As I was learning to
give myself the freedom to be playing someone who was like, if I
want to add this line in or not do, Iím just not going to do it.
Mike Newell was a good enough director to embrace that and to let me
be free in that way.
How is it
different from working with a predominantly female cast as opposed
to an all guy cast, like in this film?
interesting. Nanny McPhee was predominantly female. I do
definitely feel like the woman in this movie. Iím treated that way
and I like it. And I needed it, at the time. You know, I had been a
mommy for a while and I got to really be the woman in here. There is
something different about it. I love Emma Thompson. I love working
with Emma, and Lindsay Doran is the producer in that, Susanna White
directed it, so it was all women, really, mostly. How is it
different? Oh my God. Itís difficult to describe but certainly
McPhee kind of help you with all your children? Is that the plot?
Yup. Yeah, I
need a nanny. Where can anybody, ever? Whatís great about that movie
is that Ė and this is what I think is really modern and awesome
about it Ė maybe, when I was a kidÖ I was born in í77 so I was a
child in the Ď80sÖ so my mom, she was screenwriter and a mother, and
even in the Ď90s. Even until really recently, there was a kind of
possibility that women were really not allowed to do both, until
really, really pretty recently now. I feel like women didnít really
want to talk about or express how itís impossible to really actually
juggle everything and do everything well. It is not possible to do
it perfectly. I believe that. And so, Nanny McPhee is kind of
about a mother, whoís the heroine. Sheís the good heroine, in the
movie. I am not functioning very well. That happens, and I love that
thatís expressed in the movie that itís about somebody who is still
a good mother and sheís still a good person and sheís still the good
one. And sheís really, really having a hard time. I love that
thatís being expressed. I think itís only because women are much
more solid in being able to absolutely work and be mothers. No one
is going to say at this point that we canít do that. We can, and
itís fine. So now we can start to say, ďItís so hard. So hard.Ē
playing a journalist, do you get a sort of understanding of what we
have to do with dealing with talent?
Yeah. I mean,
I think sheís a very green journalist. I donít think that sheís
interviewed very many people, and I think that sheís a fan of his.
Also immediately thereís an electricity between them. But I think
that she is very smart and a very good writer and that just
instinctively, what sheís trying to do is get to see something true
about him. Sheís not savvy though. I had lunch with a journalist the
other day who was like so good at that that I left thinking I
revealed so much more than I intended to. She just got right inside
of me. Jean, she has some sort of facility with that. At the same
time, sheís really unsure in many ways.
Do you think
that he warms to her because she knows mostly who Lefty Frizzell is?
You have to
ask him. I donít know why he warms up to me.
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