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Jeff Bridges and Maggie Gyllenhaal in 'Crazy Heart.'

Maggie Gyllenhaal

Owner of a Crazy Heart

By Jay S. Jacobs

Copyright ©2009 PopEntertainment.com.  All rights reserved.  Posted: December 16, 2009. 


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.


Soon after 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 Trade Center.


Still, The 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 dark-horse nomination.


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 McPhee sequel.


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.


Being a 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 being together.


Maggie Gyllenhaal and Jeff Bridges in 'Crazy Heart.'Usually, 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.


Could you maybe talk a little bit on the challenges of working with a child actor?


Iíve worked with a lot of kids. Have you seen SherryBaby?


Oh yeah.


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.


When youíre 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 in Nanny McPhee 2?


Iím a mother. [laughs] Iím a mother of three who has two cousins visiting whoís doing it all alone and working.


You really need a break.


Yeah, I donít know.


Jeff Bridges and Maggie Gyllenhaal in 'Crazy Heart.'So 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 journalist.




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 good article.


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?


Aside from that heís Jeff Bridges? [laughs]


Exactly. Put that aside.


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.


Writer/Director Scott Cooper, Maggie Gyllenhaal and Jeff Bridges making 'Crazy Heart.'He 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?


Well, music 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.


Sheís not horrible.


Sheís pretty bad.


Well, you 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 drinking?Ē


But there are also a lot of scenes where you have a drink in your own hand.


Lots of scenes.


Were you sharing the drinks with him?


Totally, but 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?


No, just 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?


Yes. Susanna 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 theater?


Yeah. Iíve 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.


You really exploded after 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?


Not yet.


Scott will 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 Crazy Heart?


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?


Well, Iím 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 act with.


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 yesterday.


I was 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 was learning.


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.


You had 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?


Itís 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 different.


Does Nanny 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


With you 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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