Book-Based Movies

10.30.18

The Cast and Director Of "The Front Runner" Discuss The Film

"The Front Runner" follows Gary Hart, former senator of Colorado, as he becomes the front-runner for the Democratic presidential nomination in 1987. Hart's intelligence, charisma and idealism makes him popular with young voters, leaving him with a seemingly clear path to the White House. All that comes crashing down when allegations of an extramarital affair surface in the media, forcing the candidate to address a scandal that threatens to derail his campaign and personal life. Director Jason Reitman, Sara Paxton, Ari GRaynor, Josh Brener & Mamoudou Athie joined BUILD to discuss the film.

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>>> THANKS, EVERYBODY. WELCOME TO BUILD. I'M YOUR HOST RICKY CAMILLERI. IN 1988 COLORADO SENATOR GARY HART WAS CONSIDERED TO BE THE FRONT-RUNNER IN THE ELECTION AGAINST GEORGE H.W. BUSH. BUT HIS CAMPAIGN BECAME MARRED IN A SEX SCANDAL THAT THE PRESS COULDN'T GET ENOUGH OF AND HART COULDN'T PUT HIS FAMILY THROUGH. DIRECTOR JASON REITMAN AND HUGH JACKMAN HAVE TAKEN THE HART STORY AND DRAWN A VERY CLEAR LINE BETWEEN HOW COVERING POLITICS WAS BEFORE HART AND HOW IT'S BEEN SINCE. THEY ALSO MADE A REALLY GREAT FILM. LET'S TAKE A LOOK AT "THE FRONT RUNNER.”

>> SO START WITH THE SHOULDER IN A LITTLE. MY NAME'S GARY HART, AND I'M RUNNING FOR PRESIDENT. I WANT YOU TO THINK ABOUT THE OPPORTUNITY THAT WE HAVE RIGHT HERE, RIGHT NOW. I'VE NEVER KNOWN A GUY MORE TALENTED AT UNTANGLING POLITICS SO THAT ANYONE CAN UNDERSTAND. IT IS A GIFT. AND HE WANTS TO SHARE THAT. AND ALL ANYBODY WANTS IS FOR HIM TO TAKE THIS STUPID PHOTO. HE WILL NEVER UNDERSTAND THAT.

>> GARY HART IS THE MAN TO BEAT IN '88.

>> IF WE HOLD OURSELVES TO THOSE HIGHER STANDARDS THEN THE VOTERS CANNOT DO OTHERWISE.

>> SENATOR, I WANT TO ASK YOU SOME QUESTIONS ABOUT THE TOWNHOUSE.

>> CAN YOU TELL US HOW YOU KNOW HER?

>> NO ONE IS STAYING IN MY HOME. THERE'S NO NEED FOR THAT.

>> I AM SERIOUS, SIR. \M WHERE YOU GONNA RUN TO \M

>> YOU CAN'T HIDE FROM THIS. \M WHERE YOU GONNA RUN TO \M

>> THE CAMERAS GO EVERYWHERE.

>> IT'S UP TO US TO HOLD THESE GUYS ACCOUNTABLE.

>> JUST BECAUSE SOME OTHER PAPER USED GOSSIP AS FRONT PAGE NEWS, THAT DOESN'T MEAN WE HAVE TO.

>> IT DOES. IT DOES NOW.

>> HE IS A MAN WITH POWER, AND THAT TAKES CERTAIN RESPONSIBILITY.

>> WE NEED TO SAY SOMETHING.

>> IT'S NOBODY'S BUSINESS. NONE OF IT IS.

>> WE'RE NOT TALKING ABOUT THAT. WE'RE TALKING ABOUT HOW YOU GET THROUGH TODAY.

>> THIS CAMPAIGN IS ABOUT THE FUTURE. NOT RUMORS, NOT SLEAZE. AND I CARE ABOUT THE SANCTITY OF THIS PROCESS, WHETHER YOU DO OR DO NOT! \M\M

>> GO ON, GARY. SAY IT.

>> THERE'S GOING TO BE A STORY TOMORROW ABOUT ME.

>> EVERYBODY, PLEASE WELCOME MAMOUDOU ATHIE, JOSH BRENER, ARI GRAYNOR, SARA PAXTON, AND JASON REITMAN FROM "THE FRONT RUNNER.” THANKS FOR BEING HERE. CONGRATULATIONS. I LOVED THE FILM. I THINK IT'S THE BEST WORKS OF YOURS I'VE SEEN IN A LONG TIME. IT MIGHT BE MY FAVORITE.

>> I WAS HERE FIVE MONTHS AGO WITH TULLY.

>> WHAT IF I LIKE THIS MORE THAN TULLY? AND I LIKED TULLY A LOT.

>> YOU CLEARLY TOSSED TULLY OVER THE SIDE OF A CLIFF.

>> I REALLY LIKED TULLY BUT WHAT IF I LIKE THIS MORE?

>> INTERESTINGLY ENOUGH, THAT IS THE ARTWORK FOR THIS MOVIE GOING OVER A CLIFF, SO IT COULD HAVE JUST BEEN "TULLY.”

>> THAT'S BEEN IN THE BACK OF MY HEAD AND THAT'S HOW IT CAME OUT. WHEN DID YOU START WRITING THIS SCRIPT? WHEN DID YOU SEE THE GARY HART STORY AS SOMETHING THAT YOU WANTED TO TAP INTO THAT WOULD HAVE SO MANY CLEAR PARALLELS TO WHAT WE EXPERIENCED TODAY?

>> IT'S INTERESTING. THIS STARTED FOR ME WITH A RADIO LAB EPISODE THAT I LISTENED TO THREE YEARS AGO, PRE-ELECTION. AND I STARTED WORKING ON THIS WITH MATT BYE, A "NEW YORK TIMES" MAGAZINE WRITER, COVERED FIVE PRESIDENCIES. JAY CARSON WHO WAS THE PRESS SECRETARY FOR HILLARY CLINTON AND HOWARD DEAN. AND WE BEGAN WRITING THIS MOVIE WHEN WE FELT IT WAS RELEVANT. NOW IT'S GOTTEN TOO RELEVANT. I'D BE HAPPY WITH LESS RELEVANCY.

>> WHY IS THAT?

>> WELL, BECAUSE I'M LIKE ANYBODY ELSE. I WAKE UP IN THE MORNING THESE DAYS AND I WAKE UP, I LOOK AT MY PHONE, AND I GO, OH.

>> YOU WANT TO SMASH THE PHONE IN YOUR FACE. BUT IT'S NOT JUST RELEVANT IN THE WAY WE TALK ABOUT TABLOIDS, IT'S NOW RELEVANT IN THE WAY WE TALK ABOUT SEX AND THE WAY WE TALK ABOUT POWER AND SEX. AND THESE DIFFERENT WAVES OF FEMINISM COME COLLIDING INTO THE STORY THE SAME WAY THEY DID DURING THE CLINTON SCANDAL WITH MONICA LEWINSKY. SO YOU ARE TAPPING INTO A LOT OF THINGS THAT ARE COMING TO THE FOREFRONT ONCE AGAIN. HOW DO YOU DO THAT WITHOUT BEING HEAVY-HANDED? HOW DO YOU DO THAT WITHOUT HAVING A VERY CLEAR MESSAGE?

>> I THINK, YOU KNOW, GARY HART IS A REALLY INTERESTING P.H. TEST. THIS IS A STORY THAT HAS LARGELY BEEN FORGOTTEN OR MISUNDERSTOOD. A GUY WENT FROM BEING THE NEXT PRESIDENT OF THE UNITED STATES. HE WAS THE FRONT-RUNNER. AND A WEEK LATER HE LEFT POLITICS FOREVER. AND AT THE CENTER OF THE SCANDAL IS A PRIVATE AFFAIR. I THINK IN THAT WAY IT'S VERY DIFFERENT FROM BILL CLINTON AND MONICA LEWINSKY. SO IT SERVES AS THIS INTERESTING TEST. ALL RIGHT. HERE'S SOMEONE WHO WAS PRESCIENT BEYOND ALL IMAGINATION, WAS KENNEDYESQUE, HAD BIG IDEAS, WHO IN THE MID '80s WAS SAYING THINGS LIKE AMERICA IS ADDICTED TO OIL, THAT ADDICTION IS GOING TO TAKE US INTO THE MIDDLE EAST WHERE WE'RE GOING TO ENCOUNTER ISLAMIC TERRORISM, WE WILL NOT KNOW HOW TO FIGHT BECAUSE WE HAVE A MILITARY THAT ONLY KNOWS HOW TO BOMB. HE WAS PRESCIENT ABOUT THE ECONOMY, ABOUT COMPUTING, RUSSIA, THE MIDDLE EAST, AT THE SAME TIME HAD THIS PRIVATE AFFAIR. HE MET A WOMAN AT A PARTY ON A BOAT AND INVITED HER TO HIS TOWNHOUSE. AND IT REALLY ASKS US WHAT IS IMPORTANT, WHAT IS ENTERTAINING, WHAT HAPPENS WHEN TABLOID JOURNALISM DRIVES INTO THE LANE OF POLITICAL JOURNALISM.

>> SARA, YOU PLAY DONNA, THE WOMAN WHO HE MEETS ON THE BOAT AND YOU HAVE THIS PERFORMANCE WATCHING YOUR WORLD CONSISTENTLY GET SHATTERED BY PEOPLE WHO IT'S NOT CLEAR WHETHER THEY'RE TRYING TO PROTECT YOU OR PROTECT THE SENATOR. CAN YOU TALK ABOUT THAT PERFORMANCE AND TALK ABOUT DONNA, WHAT YOU KNEW ABOUT HER?

>> SURE. I ACTUALLY ALSO LISTENED TO THE RADIO LAB EPISODE BEFORE I GOT THE SCRIPT. SO I WAS ALREADY -- I WAS FAMILIAR WITH THE STORY, EVEN THOUGH I WAS BEING BORN WHEN THIS WAS HAPPENING. SO I DON'T HAVE ANY ACTUAL MEMORIES OR RECOLLECTIONS. AND I WAS -- WHEN I GOT THE SCRIPT, I WAS EXCITED I WAS GOING TO BE READING FOR JASON. BUT I WAS ALSO VERY CURIOUS TO SEE WHICH VERSION OF DONNA WOULD BE PORTRAYED. I THOUGHT THIS COULD GO A FEW DIFFERENT WAYS. AND I WAS SO HAPPY AND SO PLEASANTLY SURPRISED THIS VERSION OF DONNA WAS WRITTEN WITH SUCH RESPECT AND DIGNITY AND SHE WASN'T PORTRAYED AS THIS CARICATURE, ONE-DIMENSIONAL PERSON AS SHE HAD BEEN 30 YEARS AGO. SO THAT WAS VERY EXCITING TO ME. AND THEN, YOU KNOW, I WAS DOING A LOT OF RESEARCH AND THERE WASN'T A WHOLE LOT ACTUALLY ABOUT HER OUT THERE THAT I COULD, YOU KNOW, FIND OUT BECAUSE BOTH OF -- YOU KNOW, DONNA AND GARY NEVER REALLY SPOKE OUT ABOUT THIS. AND THIS IS PRE SORT OF INTERNET. SO -- BUT I DID FIND OUT THAT DONNA WAS ACTUALLY A REALLY INTELLIGENT, HIGHLY EDUCATED, AMBITIOUS WOMAN WITH AGENCY AND SHE WAS NOT THIS CARICATURE THAT WAS SORT OF -- YOU KNOW, THAT SHE WAS PORTRAYED AS 30 YEARS AGO.

>> HOW IMPORTANT WAS IT FOR YOU TO HAVE -- BECAUSE I DO FEEL LIKE BOTH GARY AND DONNA AND THE REPORTERS, EVERYBODY IN THIS KIND OF WALKS A FINE LINE OF WHAT THEY REPRESENT AND WHAT KIND OF COMPOSITE THEY MIGHT BE IN TERMS OF THE IDEAS THAT THEY'RE TRYING TO REPRESENT. HOW DIFFICULT IS THAT FOR YOU AND YOUR WRITERS TO MAKE SURE YOU NEVER TIP OVER THE EDGE AND THEY BECOME TOO CLEARLY ONE THING OR THE OTHER.

>> I GET FRUSTRATED BY ANY FILMMAKER OR FILM THAT TELLS ME WHAT TO THINK. I THINK FILMMAKERS SHOULD GO INTO THEIR WORK WITH QUESTIONS. WHAT I FOUND IS WHEN I WOULD TELL THIS STORY, WHEN PEOPLE ASKED ME WHAT MOVIE I'M MAKING AND I'D TALK TO THEM ABOUT THE GARY HART SCANDAL, IT AFFECTED EVERYONE DIFFERENTLY. EVERYONE HAD A DIFFERENT POINT OF VIEW. AND WE HAD THIS OPPORTUNITY TO HAVE A FILM WITH 20 MAIN CHARACTERS. EACH ONE WAS A ROUTE INTO THE MOVIE. AND I FOUND THAT WITH AUDIENCES IT'S VERY SIMILAR. I MEAN, YOU KNOW, AUDIENCE MEMBERS KIND OF HOOKED THEIR LINE TO DIFFERENT MEMBERS OF THIS CAST AND FIND THEIR WAY THROUGH.

>> IT'S WHY YOU OPENED THE MOVIE THE WAY YOU DO AS WELL THROUGH THINK WOULD SAY ALTMANESQUE LONG SHOT COVERING THE END OF THIS CAMPAIGN. RIGHT? IT'S THE END OF THE CONVENTION OR THE END OF THE CAMPAIGN. AND YOU'RE SEEING ALL THESE CHARACTERS MOVE IN AND OUT AND THESE INCREDIBLE ZOOM-INS AND DOLLIES. AND YOU'RE ESTABLISHING THAT THIS IS GOING TO BE A SORT OF BIG CAST OF CHARACTERS.

>> YEAH. AND IT'S GOING TO BE CONVERSATION OVER CONVERSATION. LIKE IF WE'RE ASKING YOU AS AN AUDIENCE TO MAKE A DECISION ON WHAT IS IMPORTANT, WE WANT TO DO THAT CINEMATICALLY AS WELL. SO THERE'S THREE CONVERSATIONS COMING AT YOU AT ONCE. THERE'S THREE THINGS TO LOOK AT VISUALLY AT ONCE ALMOST ALL THE TIME. AND YOU AS AN AUDIENCE MEMBER HAVE TO ACTUALLY MAKE A DECISION OF OKAY, I'M GOING TO FOLLOW THAT CONVERSATION, EVEN THOUGH ONE CAN BE ABOUT SOMETHING IMPORTANT AND ONE CAN BE SOMETHING COMPLETELY INNOCUOUS.

>> WHEN YOU READ THAT OR YOU WHEN YOU WROTE THAT, EXCUSE ME, DID YOU THINK OKAY, THIS IS THE CHANCE TO DO SOMETHING KIND OF LIKE AN ALTMAN SHOT OR WAS IT LIKE WHY NOT DO AN ALTMAN SHOT HERE BECAUSE IT MAKES SO MUCH SENSE OR IS IT IF YOUR DNA?

>> I'M OBVIOUSLY A FAN OF ALTMAN. I'M A BIG FAN OF MICHAEL RITCHIE WHO WAS KIND OF THE NORTH STAR FOR THIS FILM, THIS FILM "THE CANDIDATE" WITH ROBERT REDFORD THAT SERVED AS -- I TOLD EVERYONE YOU'VE GOT TO WATCH THIS FILM BECAUSE THAT IS WHAT WE'RE TRYING TO DO HERE. BUT THERE'S SOMETHING ABOUT THE WAY ALTMAN WOULD SET UP A SCENE IN WHICH YOU DIDN'T KNOW WHO THE MAIN CHARACTER WAS. YOU DIDN'T KNOW WHAT THE DRAMATIC THRUST WAS. YOU WERE DROPPED IN. AND THAT'S WHAT WE WANTED THE AUDIENCE TO FEEL LIKE, LIKE YOU WERE DROPPED INTO THE MIDDLE OF THE CAMPAIGN, ON THE PLANE, ON THE BUS, AT THE NEWSPAPER. AND WE'RE NOT TELLING YOU WHAT TO THINK BUT RATHER PRESENTING YOU WITH ALL THIS INFORMATION ABOUT 1987, THE SCANDAL, AND THE POINTS OF VIEW OF JOURNALISTS, CAMPAIGN PEOPLE, HIS FAMILY MEMBERS, DONNA RICE. EACH ONE KIND OF APPROACHING THIS SITUATION DIFFERENTLY SO THAT AS YOU WALK OUT OF THIS MOVIE THERE'S GOING TO BE REAL CONVERSATION.

>> MAMOUDOU, YOUR CHARACTER IN SOME WAYS IS ALONG FOR THE RIDE BUT HAS CLEARLY MORAL ISSUES WITH THE RIDE YOU'RE BEING TAKEN ALONG WITH. IN A LOT OF WAYS I THINK YOU REPRESENT A LOT OF AMERICANS, WHO WOULD FIND THEMSELVES IN THE MIDST OF WATCHING A SCANDAL LIKE THAT AND WOULDN'T REALLY KNOW HOW TO DECIDE. I DON'T NECESSARILY CARE ABOUT THIS AFFAIR BUT AT THE SAME TIME EVERYBODY ELSE DOES, MAYBE IT DOES MEAN SOMETHING AND WE HAVE TO FOLLOW UP ON THIS. WERE YOU THINKING ABOUT THAT? WAS THIS CHARACTER A COMPOSITE OR WERE YOU THINKING ABOUT HOW MOST AMERICANS WOULD BE ALONG FOR THE RIDE LIKE THAT?

>> NO, I WAS THINKING ABOUT HOW I WOULD RESPOND IN A SITUATION LIKE THAT. IT WASN'T -- BECAUSE I THINK A.J., WHO IS ACTUALLY A COMPOSITE, I THINK HE TAKES HIS JOB VERY SERIOUSLY. BUT I THINK HE THINKS OF IT AS MORE OF A VOCATION THAN JUST AN OCCUPATION. SO HE HAS A MORAL DUTY TO DO HIS JOB VERY WELL. AND PART OF HIS JOB IS TO FOLLOW THE TREND OF WHAT'S HAPPENING IN THE NEWS. AND THIS IS WHAT HIS EDITOR'S TELLING HIM TO DO, AND THIS IS HIS JOB AS WELL. BUT HE ALSO HAS THESE FEELINGS ABOUT THIS CANDIDATE. I DECIDED THAT HE'S A HUGE FAN OF GARY HART. AND SO THAT'S THE MORAL IMPASSE THERE. THAT WAS MY MAIN LIKE -- AND I JUST KIND OF FOUND MYSELF -- I THINK ANYBODY LOOKING AT THAT KIND OF STORY CAN FIND THEMSELVES IN THAT SITUATION AND OH, LIKE WHAT TO DO, THIS IS ACTUALLY A VERY DIFFICULT DECISION.

>> IT'S A VERY DISTINCT PERIOD OF TIME IN THE SENSE WHERE NEWS BEGINS TO CHASE THE OTHER NEWS THAT NEWS IS MAKING RATHER THAN EDITORS SORT OF SITTING AROUND SAYING NO, WE CAN MAKE THE NEWS BY SHAPING THESE STORIES AND COVERING THE STORIES WE THINK ARE IMPORTANT, INSTEAD BEING SORT OF DRAGGED INTO ALL OF THIS. WAS THAT HAPPENING A LOT BEFORE THAT? OR DO WE REALLY SEE THAT AS THE BEGINNING OF THAT WITH GARY HART?

>> MATT BYE, WHO WROTE THE BOOK ON THIS, DOES A REALLY GOOD JOB OF SETTING THE STAGE. THAT WITHIN THE MID '80s YOU HAVE THE INVENTION OF THE SATELLITE TRUCK, WHICH KIND OF HELPS CREATE THE 24-HOUR NEWS CYCLE. IN THE '88 ELECTION YOU HAVE CNN GIVING SATELLITE PHONES TO THEIR JOURNALISTS FOR THE FIRST TIME. SO THEY CAN REPORT NEWS FROM ANYWHERE. "A CURRENT AFFAIR" GOES ON TELEVISION, WHICH IS THE MOMENT WHERE TABLOID GOES FROM PRINT TO TELEVISION. SO YOU HAVE ALL THESE THINGS THAT ARE HAPPENING AT ONCE. AND LOOK, BEN BRADLEE, WHO IS A CHARACTER IN THIS AND OBVIOUSLY, YOU KNOW, THE EDITOR OF THE "WASHINGTON POST," SAID AFTER THE FACT, THE INTERVIEW WITH DAVID FROST, HE SAID LOOK, THIS IS THE MOMENT WHERE IF EVERYONE ELSE IS COVERING SOMETHING HOW DO WE NOT? AND I RELATED TO TODAY THE WAY YOU WAKE UP, YOU OPEN UP YOUR NEWS APP, AND THEN THERE'S ONE ARTICLE IN THE "POST" OR THE "TIMES" ABOUT THE MIDTERMS OR THE KAVANAUGH HEARING OR WHATEVER AND RIGHT NEXT TO IT IS ANOTHER ARTICLE ALSO IN THE "POST" OR THE "TIMES" AND IT'S ABOUT ARIANA GRANDE AND PETE DAVIDSON BREAKING UP --

>> DUDE, IT'S TOO SOON. I'M NOT READY TO PROCESS THAT.

>> FAIRLY INNOCENT EXAMPLE. I'M THINKING OF THE CARAVAN RIGHT NOW.

>> BUT THEY'RE GIVEN A SIMILAR WEIGHT AS THOUGH THEY'RE BOTH NEWS AND IT STARTS TO CONFUSE, WAIT, IS THEIR SEPARATION NEWS AND WAIT, IS POLITICS JUST ENTERTAINMENT OR ARE THESE JUST CHARACTERS IN A DRAMA? IS THIS JUST REAL-LIFE "GAME OF THRONES" THAT WE'RE BEING DRAGGED THROUGH?

>> IT'S NOT TO LEGITIMIZE STORIES NECESSARILY EITHER. WHEN ONE NETWORK HAS TO COVER SOMETHING BECAUSE SOMEBODY ELSE HAS PUT IT FORWARD IN THE NEWS AND SAID THIS IS IMPORTANT, SUDDENLY YOU HAVE "THE NEW YORK TIMES" AND "WASHINGTON POST” SAYING ALL THESE PEOPLE ARE GOING TO BE COMING UP FROM SOUTH AMERICA, WHICH IS NOT A STORY. SO WE'RE KIND OF LEFT WITH A PRESIDENT WHO KNOWS THAT IF HE THROWS OUT SOME SORT OF BILE INTO THE WORLD ALL THE MAINSTREAM SOURCES ARE GOING NOW FEEL THEY HAVE TO COVER IT AND LEGITIMIZE IT.

>> ALTHOUGH WE WERE TALKING ACTUALLY BACKSTAGE ABOUT A MIRROR CARAVAN OF PEOPLE COMING TO MY NATIVE COUNTRY OF CANADA.

>> FOR YOUR MOVIE.

>> NO, I THINK THERE COULD BE A CARAVAN OF PEOPLE TRYING TO ESCAPE THE U.S. A LINE OF TESLAS AND PRIUSES MOVING UP THROUGH SAN FRANCISCO AND PORTLAND ALL THE WAY UP TO VANCOUVER.

>> I'LL BE ON THAT CARAVAN. I'LL BE WITH YOU GUYS.

>> I'LL VOUCH FOR YOU AT THE BORDER.

>> PLEASE DO.

>> ARI, AT THE BEGINNING OF THIS CONVERSATION I KIND OF REFERENCED THIS WAVE OF FEMINISM AND THERE'S A LOT OF TALK AT THIS TIME AND THEN DURING THE CLINTON PERIOD OF THE SORT OF LIBERTINE FEMINISTS WHO BELIEVED THAT SOMEONE LIKE DONNA HAD AGENCY IN THIS AND THAT WAS OKAY, SHE WANTED TO SLEEP WITH A MAN WHO HAD POWER, SHE WANTED TO BE A PART OF THIS, AND THEN THERE ARE LOTS OF WOMEN WHO ARE FEMINISTS WHO ALSO SAY NO, WE STILL NEED TO PROTECT WOMEN FROM MEN OF POWER WHO USE THEIR POWER TO ABUSE. AND IT'S KIND OF WHERE YOUR CHARACTER IS COMING FROM IN THIS, RIGHT?

>> I MEAN, I THINK SHE'S COMING FROM A MULTITUDE OF PLACES. I -- THE CHARACTER WHO'S THE POLITICAL EDITOR OF THE "WASHINGTON POST" IN 1987 WHO'S ONE OF THE MOST WELL-RESPECTED POLITICAL JOURNALISTS MAYBE OF ALL TIME. SHE COVERED FOUR DIFFERENT PRESIDENCIES. SHE WAS INCREDIBLY WELL RESPECTED IN D.C. AND I THINK AROUND THE NATION. SO I THINK SHE'S LOOKING IT AT IT FROM INHERENTLY WHEN YOU’RE A WOMAN YOU'RE LOOKING AT IT THROUGH A CERTAIN LENS OF EXPERIENCE BUT SHE'S LOOKING AT IT THROUGH JOURNALISTIC RESPONSIBILITY AND INTEGRITY. AND THE QUESTION THAT COMES UP NOW THAT COMES UP THEN IS WHEN A PERSONAL ACTION BECOMES EMBLEMATIC OF A BIGGER SOCIETAL ISSUE, YOU KNOW, AND THIS LINE IS -- IN THE PREVIEW THAT'S IN THE MOVIE THAT I THINK IS SO BRILLIANT IS HE IS A MAN WITH POWER AND OPPORTUNITY AND THAT TAKES CERTAIN RESPONSIBILITY. I DON'T KNOW HOW MUCH THAT'S ABOUT A VICTIMIZATION OF DONNA SPECIFICALLY AS IT IS WHEN YOU ARE A MAN OR A PERSON WITH POWER AND OPPORTUNITY YOU'VE GOT TO BE RESPONSIBLE, WHATEVER THAT MEANS. AND I JUST THOUGHT THAT WAS SO BRILLIANT WHEN I READ IT IN THE SCRIPT BECAUSE IT MADE IT A QUESTION THAT CAN BE SO SWEEPING AND HUGE AND COMPLICATED AND WHETHER IT'S ABOUT FEMINISM OR JOURNALISM OR SEXUAL POLITICS OR WHATEVER THERE'S SOMETHING VERY PURE AND SIMPLE ABOUT IT THAT'S JUST SIMPLY WHEN YOU HAVE POWER YOU NEED TO THINK ABOUT RESPONSIBILITY. AND I THINK THAT'S TRUE IN A MULTITUDE OF PLACES CERTAINLY WITH SEXUAL DYNAMICS BUT ALSO IN ANYWHERE IN OUR LIVES.

>> THERE'S ALSO THIS IDEA THAT SHE'S NOT NECESSARILY THE ONLY ONE, THE ONLY WOMAN IN THIS OFFICE, BUT WE HEAR THE MEN IN THIS OFFICE TALK ABOUT THE SEXUAL DYNAMICS OF MEN WITH POWER AND WOMEN. WE HEAR A STORY ABOUT -- I THINK IT WAS LBJ THAT ALFRED MOLINA REFERENCES, I THINK IT'S HIS CHARACTER THAT REFERENCES IT. AND SAYS YEAH, WOMEN JUST CAME IN AND OUT, WE DIDN'T SAY ANYTHING ABOUT IT. BUT THERE'S THIS ONE WOMAN IN THE OFFICE WHO'S LIKE YEAH, THAT IS WRONG AND THAT IS WHY I MAY BE HERE NOW TO POINT THAT OUT AND BRING THAT OUT.

>> THAT'S WHERE IT BECOMES SYSTEMIC ISSUES WHERE IT STARTS AS SMALL, WHO CARES, IT'S NOT A BIG DEAL, OVER TIME IT CREATES AN ENTIRE TAPESTRY OF TROUBLE FOR WOMEN LIKE WHERE WE ARE NOW, WHAT WE'RE DEALING WITH AND WHY THOSE -- WHAT SEEM LIKE POTENTIALLY SMALL IMPERSONAL EXAMPLES BUILD UP OVER TIME. AND I DON'T HAVE A -- I DON'T HAVE A -- COME DOWN ON A CERTAIN WAY OF HERE'S WHAT I THINK ABOUT GARY HART AND WHAT HAPPENED WITH HIM AND DONNA. I THINK IT'S A VERY COMPLICATED ISSUE. BUT I DO THINK THE MOVIE REALLY MADE ME START THINKING ABOUT IN CLEAR TERMS ABOUT RESPONSIBILITY THAT COMES WITH WHATEVER KIND OF POWER YOU HAVE.

>> JOSH, YOU AND ALEX KARPOVSKY KIND OF PLAY THE POLICY WONKS OF GARY HART'S CAMPAIGN WHO IN EVERY SCENE HAVE THE LOOK OF BEING COMPLETELY BROADSIDED BY THIS SCANDAL THAT'S UNFOLDING AROUND THEM. CAN YOU TALK ABOUT THE CHARACTER THAT YOU PLAY?

>> YEAH. ONE OF THE THINGS THAT WAS INCREDIBLY SPECIAL TO ME ABOUT THIS MOVIE IS THAT GARY HART THIS SURROUNDED HIMSELF BY THESE INCREDIBLY BRIGHT, IDEALISTIC YOUNG PEOPLE WHO HAVE GONE ON TO DO INCREDIBLE THINGS FOR OUR COUNTRY IN PUBLIC POLICY, IN PHILANTHROPY. I MEAN, IT'S REALLY LIKE A MURDERER'S ROW OF PEOPLE THAT HAVE JUST DONE GREAT THINGS. I PLAY DOUG WILSON, WHO WAS A PENTAGON OFFICIAL DURING THE OBAMA ADMINISTRATION. HE WAS INSTRUMENTAL IN THE REPEAL OF DON'T ASK DON'T TELL. HE RECEIVED THREE DISTINGUISHED PUBLIC SERVICE MEDALS. I MEAN, HE'S A TRULY INCREDIBLE INDIVIDUAL. AND IN SOME WAYS THE MOVIE REPRESENTS FOR ME SORT OF THE PATH NOT CHOSEN IN OUR COUNTRY BECAUSE GARY AND THE PEOPLE AROUND HIM DID REPRESENT WHAT COULD HAVE BEEN HAD WE NOT CHOSEN A DIFFERENT PATH. AND GARY HIMSELF WILL SAY THESE THINGS ABOUT BUSH PRESIDENCIES AND THE IRAQ WAR AND ALL OF THESE THINGS THAT THIS MOMENT IN TIME IS MORE THAN JUST THE MOMENT WE'RE LOOKING AT. IT IS SO MUCH GREATER.

>> IT IS NOT JUST THE PATH NOT CHOSEN IN REGARDS TO WHO BECAME PRESIDENT. IT'S THE PATH NOT CHOSEN IN TERMS OF HOW WE TALK ABOUT PRESIDENTS, HOW WE TALK ABOUT ELECTED OFFICIALS. SO MUCH -- I MEAN, ONE OF THE THINGS THAT HUGH JACKMAN SAYS AS GARY HART NUMEROUS TIMES IN THE FILM IS WHY WOULD ANYBODY GET INTO PUBLIC LIFE, IF THIS IS THE OUTCOME. WHICH SEEMS TO BE KIND OF THE QUESTION THAT THE MOVIE'S ASKING A FEW TIMES AS WELL.

>> I MEAN, YEAH, WE'RE IN AN INTERESTING MOMENT RIGHT NOW, RIGHT? WHERE IF YOU'RE SOMEONE WHO EXPERIENCES SHAME YOU DROP OUT OF THE RACE. IF YOU'RE SOMEONE WHO DOESN'T EXPERIENCE SHAME --

>> THRIVES ON SHAME.

>> OH, MY GOD, YEAH, YOU CRUSH IT. THIS IS A SYSTEM THAT FAVORS THE SHAMELESS. SO LOOK, THIS IS A STORY THAT WE REMEMBER FOR THE JOKE ABOUT IT. WE REMEMBER AS THE NAME OF A BOAT OR A PHOTOGRAPH OR A LINE ABOUT FOLLOW ME. AND WHAT WE DON'T THINK ABOUT IS THIS MOMENT IN WHICH TABLOID JOURNALISM AND POLITICAL JOURNALISM MERGED AND A WALL WENT UP BETWEEN JOURNALISTS AND POLITICIANS AND THESE KIND OF HEALTHY CONVERSATIONS ABOUT THE GENDER POLITICS. ALL THESE THINGS THAT YOU'RE TALKING ABOUT ARE AT SUCH A SHRILL LEVEL NOW IN 2018 WHERE YOU GO ON TWITTER AND YOU THINK YOUR HEAD'S JUST GOING TO GET RIPPED OFF IF YOU HAPPEN TO SAY THE WRONG THING.

>> OFTENTIMES YOU'RE LIKE NO, I'M ON THE RIGHT SIDE, I WAS TRYING -- I'M WITH YOU. I AM SORRY. I'LL ISSUE AN APOLOGY.

>> EXACTLY. SO THIS STORY FROM 1987 SERVES AS THIS PRISM WHERE YOU CAN DIAL THE VOLUME DOWN FROM A 12 DOWN TO MAYBE LIKE A 6.

>> WHAT WAS THE TOUGHEST PART OF MAKING THIS FILM? BECAUSE ONE OF THE THINGS THAT I WAS CONSISTENTLY BLOWN AWAY BY WAS HOW YOU WEAVE ALL OF THESE CONVERSATIONS IN AND OUT OF THE FILM SO BEAUTIFULLY. LIKE THE PACE OF THE FILM IS REALLY GREAT IN THE WAY THAT YOU'RE FOLLOWING THE SCANDAL BUT YOU'RE STILL ABLE TO CONSISTENTLY DROP INTO ANOTHER CONVERSATION OR DROP INTO ANOTHER SCENE THAT MAYBE I HAD FORGOTTEN ABOUT WAS HAPPENING BUT I THOUGHT IT WAS REALLY SMART AND REALLY GREAT.

>> I WANT TO GIVE A SHOUT OUT TO SOMEONE WHO NEVER GETS ACKNOWLEDGED, AND THAT WAS OUR PRODUCTION SOUND MIXER STEVE MORROW. WE DECIDED TO DO SOMETHING ON THIS FILM, AND THIS IS -- I'M VERY GRATEFUL FOR OUR CAST BECAUSE WE SAID EVERYONE'S ON SET EVERY DAY. THAT WAS KIND OF THE RULE. EVERYONE'S GOING TO COME IN AND WE'RE MIKING EVERYBODY.

>> THERE WAS AN L FIGURING IT OUT WHILE SHOOTING IT.

>> IF YOU DON'T HAVE SCRIPTED DIALOGUE WE'RE GOING TO GIVE YOU OTHER PAGES. IF YOU DON'T HAVE THAT WE'RE GOING TO GIVE YOU A MAGAZINE TO READ WITH AN ARTICLE FROM '87. YOU'VE JUST GOING TO TALK. AND OUR PRODUCTION SOUND MIXER HAD EVERYONE MIKED. USUALLY ON A MOVIE YOU HAVE A CLOSE-UP OF SOMEBODY AND YOU GET THEIR DIALOGUE AND THEN YOU GET THE NEXT PERSON'S DIALOGUE. THIS IS A MOVIE WHERE EVERYONE'S TALKING OVER EACH OTHER AND OUR PRODUCTION MIXER STEVE MORROW WHO ALSO DID “A STAR IS BORN” AND “LA LA LAND” LITERALLY IS PLAYING HIS MIXER LIKE A PIANO, EVERY FINGER ON A FADER, AND IS DIRECTING YOUR EARS LEFT AND RIGHT, LISTEN TO A LITTLE BIT OF, THIS LISTEN TO A LITTLE BIT OF THAT. THE CAMERA'S ABOUT TO PAN RIGHT, LET'S START HEARING THAT CONVERSATION OVER THERE.

>> DID YOU CATCH ANYBODY ON A HOT MIKE? I DON'T KNOW WHAT JASON IS DOING.

>> THAT WAS KIND OF THE THRILL OF IT, IS YOU NEVER KNEW WHAT WAS GOING TO CUT THROUGH. AND WHILE ON MOST MOVIES YOU GO TO IN A FINAL MIX MANY MONTHS DOWN THE LINE AND THEY'RE BRINGING ALL THESE DIFFERENT TAKES TOGETHER. WHEN YOU GO SEE THIS MOVIE, YOU ARE HEARING THE WORK THAT HE DID ON THE DAY.

>> LET'S GET SOME QUESTIONS FROM OUR AUDIENCE. RIGHT HERE. HI, SIR. GOOD WALK-UP.

>> I ALMOST SAID IVAN. THIS QUESTION IS FOR JASON BUT REALLY FOR EVERYBODY. NO INSULT INTENDED OBVIOUSLY. YOUR FATHER'S A GREAT DIRECTOR. HOW DO YOU THINK THINGS HAVE CHANGED SINCE THE SCANDAL CAME ABOUT? I WAS ALIVE WHEN THIS HAPPENED AND IT DID I THINK AFFECT THINGS A LOT. I DON'T SEE THINGS CHANGING AS MUCH. OBVIOUSLY INTERNET WAS NOT AROUND. NOT AS WIDESPREAD AND THE USE OF SMARTPHONES. HAVE THINGS CHANGED SINCE THEN AND HOW DOES THIS MOVIE REFLECT THAT?

>> CLEARLY THINGS HAVE GOTTEN BETTER. RIGHT? I THINK WE ALL ACKNOWLEDGE THIS IS A GOLDEN AGE. IT WILL BE A HAPPY TIME THAT PEOPLE LOOK BACK AND SAY I WISH IT WAS MORE LIKE 2018. IT'S LIKE A SMALL WORLD.

>> WE END UP SAYING THAT IN 2024. 2018 WASN'T THAT BAD.

>> GOD FORBID. I MEAN, LOOK. IT'S INTERESTING. PRIOR TO THIS MOMENT, PRIOR TO THE HART SCANDAL, CANDIDATES AND JOURNALISTS SPENT TIME TOGETHER. THEY SOCIALIZED. THEY WENT OUT TO DRINK. THEY'D HAVE DINNER. AND AROUND THAT TIME, ACTUALLY ABOUT 10 YEARS EARLIER, THE PRIMARY SYSTEM CAME INTO EFFECT AND WHEN IT DID THE POWER OF WHO PICKS CANDIDATES WENT FROM PARTY BOSSES AT CONVENTIONS TO THE CONSTITUENTS. BUT WE DIDN'T KNOW WHO ALL THESE PEOPLE WERE. IF YOU HAD 12 PEOPLE RUNNING TO BE THE DEMOCRATIC NOMINEE AND ONE'S A MAYOR FROM SOME CITY AND ANOTHER'S A CONGRESSMAN FROM SOME STATE AND ANOTHER'S SOME GOVERNOR, WE DON'T KNOW WHO THEY ARE. AND THAT POWER -- THAT RESPONSIBILITY FELL ON THE SHOULDERS OF JOURNALISTS TO FIGURE OUT WHO THESE PEOPLE WERE AND TELL US. AND OF COURSE ONCE YOU ASKED FOR THAT THE QUESTION IS, WELL, WHAT DO YOU WANT TO KNOW? AND THAT'S A TRICKY THING TO ANSWER. WE'RE KIND OF -- STILL TRYING TO FIGURE THAT OUT TODAY. LIKE WHAT DO WE WANT TO KNOW ABOUT THESE PEOPLE? WHAT FLAWS ARE WE WILLING TO PUT UP WITH? AND DURING THIS SCANDAL A WALL WENT UP BETWEEN JOURNALISTS AND CANDIDATES WHERE ALL OF A SUDDEN ALL THE JOURNALISTS WERE GETTING WERE MANICURED PREPARED STATEMENTS, MOMENTS THAT ARE SO SUPERVISED THAT THEY NEVER FEEL NATURAL. AND BECAUSE OF THAT THE CANDIDATES DON'T SEEM NATURAL. THEY ONLY FEEL LIKE WE'RE JUST GETTING SOMETHING THAT THEY'VE BEEN WORKING ON FOR, YOU KNOW, MONTHS AS A QUOTE. THAT'S ONE HUGE DIFFERENCE I SEE RIGHT NOW. I DON'T FEEL LIKE I'M EVER GETTING A NATURAL MOMENT, SOMETHING JUST OFF THE CUFF.

>> UNLESS THEY'RE TOTALLY CRAZY AND UNHINGED. THEN WE'RE GETTING ODD NATURAL MOMENTS --

>> UNLESS IT'S A TWEET. A HORRIFYING TWEET.

>> NEXT QUESTION.

>> HEY. I'M REALLY EXCITED TO SEE THE FILM. WHAT GOT ME IS LIKE YOUR PASSION FOR THE PROJECT. AND I WANT TO ASK FOR THE ACTORS, WHAT WERE YOUR EXPERIENCES OF JUST LIKE DIVING INTO THESE CHARACTERS AND NUANCES THAT YOU ALL HAVE FELT? AND ALSO AS A DIRECTOR TOO, LIKE WHAT ELSE -- WHAT THINGS OF NUANCE, IDEAS, THINGS YOU THAT LEARNED SINCE IT'S A HISTORICAL PIECE TOO AND A PERIOD PIECE?

>> I THINK THAT MY -- SPEAKING FOR ALL OF US A LITTLE BIT AS ACTORS, WHEN I SAY THAT PLAYING REAL PEOPLE, THIS IS MY FIRST TIME PLAYING A REAL PERSON, DONNA RICE, WHO'S ALIVE AND WHO CAN, YOU KNOW, WATCH THE FILM AND HE SEE EVERYTHING THAT I'M SAYING ABOUT IT, IT'S REALLY INTIMIDATING. AND IT FEELS LIKE A REALLY BIG RESPONSIBILITY. I MEAN, I'M PORTRAYING THIS -- YOU KNOW, THE DARKEST MOMENT OF HER LIFE. AND THAT FEELS LIKE A VERY BIG RESPONSIBILITY. SO I THINK THAT WAS DEFINITELY THE MOST CHALLENGING PART FOR ME.

>> YEAH. I MEAN, I ALWAYS THINK ABOUT THE DAY THAT WE WERE SHOOTING A SCENE AND WHEN THAT -- A SCENE WHEN THAT LINE ABOUT POWER AND RESPONSIBILITY COMES UP. AND THERE WERE SOME OTHER INCREDIBLE PIECES OF DIALOGUE IN THAT SCENE AS WELL AND THIS LIVELY DEBATE THAT WAS HAPPENING AND THE NEWS ABOUT HARVEY WEINSTEIN HAD JUST MITT. IT HAD JUST HIT. SO WE WERE AT THE VERY BEGINNING OF THIS SEISMIC CULTURAL SHIFT AND CONVERSATION THAT NOW ALMOST FEELS LIKE WE'VE BEEN LIVING IN IT FOR A LONG TIME BECAUSE IT'S GOTTEN SO DEEPLY ENGRAINED. BUT IT HAD JUST HAPPENED. AND IT FELT SO ELECTRIC AND EMOTIONAL AND DEEP AND IMPORTANT AND ESSENTIAL TO HAVE HAVING THESE CONVERSATIONS WHERE EVEN THOUGH THEY WERE HAPPENING IN THE NEWSPAPER AND ON TWITTER THERE IS POWER IN STORYTELLING THAT IS STILL UNPARALLELED I THINK, THAT YOU CAN TUNE OUT TO RHETORIC THAT YOU'RE READING, BUT THAT'S WHY HUMANITY AND TWO PEOPLE TALKING AND HAVING AN EMOTIONAL EXPERIENCE IS SO POWERFUL. AND I REMEMBER IN THAT SCENE IT WAS -- I FELT LIKE GOD, I'VE GOT TO GET THIS RIGHT AND IF I DON'T -- AND I ENDED UP, YOU KNOW, FIGHTING TEARS AT THE END, BEING LIKE DID WE GET IT? WAS IT ALL RIGHT BECAUSE IT WAS SO POWERFUL TO BE ABLE TO ACTUALLY HAVE A CONVERSATION ON SCREEN THAT WE WERE HAVING AND REALLY SORT OF HAVING IT FOR THE FIRST TIME IN THIS NEW WAY CULTURALLY.

>> WAS IT THAT SPECIFIC SCENE WE HAD TALKED ABOUT BEFORE WHERE YOU'RE TALKING ABOUT POWER AND --

>> YEAH.

>> THAT WAS THE DAY THAT YOU FOUND -- WOW.

>> IT HAD HAPPENED LIKE A FEW WEEKS BEFORE OR SOMETHING. THE NEWS WAS STILL -- IT WAS STILL COMING. IT WAS STILL COMING TO BOIL. YOU WEREN'T QUITE SURE WHAT WAS HAPPENING. AND EVEN SOME OF THE LINES THAT GOT CUT OUT OF THE SCENE. I REMEMBER THINKING I JUST WANT TO SAY THE NAME DONNA RICE. THAT'S WHAT I LIKE -- JUST SAY HER NAME. THESE THINGS THAT I FELT ALSO FELT SO IMPORTANT AND SO VITAL IMPORTANT STILL. ACKNOWLEDGE THE WOMAN. ACKNOWLEDGE WHAT YOU'VE DONE. WHICH I THINK WAS PART OF WHAT WAS SO BEAUTIFUL IN THIS SCENE THAT WAS ALSO SOMETHING THAT IS STILL REALLY COMING UP IN A WAY THAT HAD NOT BEEN ARTICULATED BEFORE.

>> I THINK WE HAVE TIME FOR ONE MORE.

>> YES. THIS ONE'S FOR JASON. YOU SAID YOU FIRST CAME UP WITH THE IDEA FOR THE MOVIE ABOUT THREE YEARS AGO AND SO AT THAT TIME IT SOUNDS LIKE TRUMP MAY HAVE BEEN A CANDIDATE BUT NO ONE WAS TAKING THAT SERIOUSLY. DID SOMETHING LIKE THE "E.T.” BILLY BUSH TAPE AND ITS INFLUENCE -- OR LACK OF INFLUENCE ON THE ELECTION, DID THAT INFLUENCE YOU IN HOW YOU APPROACHED THIS MOVIE? IT'S SOMETHING OBVIOUSLY THAT IF THAT HAPPENED IN 1988 IT WOULD HAVE BEEN FAR DIFFERENT. YOU MENTIONED WHEN YOU WAKE UP EVERY MORNING. DID THAT INFLUENCE HOW YOU APPROACH A HISTORICAL MOVIE?

>> IT'S INTERESTING. WHEN I FIRST HEARD THIS STORY, MY FIRST REACTION WAS WOW, THIS IS A THRILLER. THIS IS A THRILLER THAT STARTS WITH SOMEONE BEING THE NEXT PRESIDENT OF THE UNITED STATES AND LESS THAN A WEEK LATER HE WALKS AWAY FROM POLITICS FOREVER BECAUSE HE DOESN'T WANT TO TALK ABOUT HIS PERSONAL LIFE. THAT WAS HIS THING. AND SOMEHOW, NO MATTER HOW PRESCIENT HE WAS ABOUT EVERYTHING ELSE IN THE WORLD, HE COULD NOT SEE THIS THING THAT WAS HAPPENING RIGHT IN FRONT OF HIM, THAT WE WANTED TO KNOW ABOUT THE PERSONAL LIVES OF OUR CANDIDATES. FOR THE FIRST TIME. IT WAS IMPORTANT TO US AS A NATION. AND I THINK THAT'S SOMETHING THAT PRE THIS PRESIDENT WE WERE ALREADY KIND OF FACING. WHAT DO WE WANT TO KNOW ABOUT THESE PEOPLE? HOW MUCH DO WE CARE? IF YOU HAVE A HEART SURGEON, YOU NEED TO HAVE HEART SURGERY, DO YOU CARE ABOUT YOUR HEART SURGEON'S MARRIAGE? PROBABLY NOT. IF IT COMES TO A POLITICIAN, MAYBE YOU DO. IF A POLITICIAN IS A WOMANIZER, WHAT DOES THAT SAY ABOUT HOW HE SEES WOMEN? SO IT FELT LIKE A THOUGHTFUL AND IMPORTANT CONVERSATION WRAPPED UP IN AN ENTERTAINING THRILLER. AND IT ANSWERED OR AT LEAST SPOKE TO SOME OF THE QUESTIONS I HAD. AND WHAT HAPPENED IS AS WE BEGAN TO MAKE THIS MOVIE, AS YOU JUST MENTIONED, THE WORLD HAS BEEN SHIFTING UNDER OUR FEET. NO ONE COULD HAVE PRESUMED WHERE WE'VE JUST LANDED OVER THE LAST TWO YEARS BETWEEN THIS PRESIDENT, BETWEEN THE RELATIONSHIP WITH CANDIDATES IN THE MEDIA AND PARTICULARLY THE "ME TOO" MOVEMENT. SO I THINK WHAT'S ASTONISHED US ALL IS HOW MUCH THE WORLD HAS BEEN SHIFTING. AND LOOK, WHEN YOU MAKE A GOOD MOVIE, THE MOVIE SCREEN BECOMES A MIRROR. AND YOU SEE YOURSELF IN IT. AND AT THAT POINT THE MOVIE CAN HOPEFULLY BECOME TIMELESS BECAUSE IT WILL ALWAYS SHIFT AND REFLECT THE KIND OF CONVERSATIONS THAT WE'RE HAVING. SO OUR GREATEST HOPE IS THAT YEAH, IT REFLECTS ALL THE THINGS THAT YOU JUST BROUGHT UP AND IT WILL CONTINUE TO REFLECT AS THE WORLD CHANGES.

>> I THINK THAT'S A GREAT WAY TO PUT IT. IT DOES REFLECT WHERE WE ARE RIGHT NOW BUT IT WILL REFLECT ANOTHER PLACE WE ARE IN TEN YEARS BECAUSE IT NEVER FEELS STUCK IN THE VERY SPECIFIC CONVERSATIONS THAT WE'RE HAVING RIGHT NOW. IT DOESN'T FEEL STUCK IN THAT. SO IT'S BROAD ENOUGH TO CARRY SEXUAL DYNAMICS, POLITICS FOR YEARS TO COME. I LOVE THE FILM. CONGRATULATIONS. IT OPENS ON ELECTION DAY. CAN WE JUST SAY LIKE GO VOTE THEN GO SEE THE MOVIE. OR GO SEE THE MOVIE, THEN GO VOTE? NO?

>> SEE THE MOVIE LATER. JUST VOTE. THE MOVIE WILL BE THERE --

>> PLEASE, GOD, VOTE.

>> YEAH. WE NEED THAT FIRST.

>> IF YOU TEXT FRONT-RUNNER TO 26797 YOU CAN FIND OUT INFORMATION ON YOUR POLLING PLACE AND GET TICKETS TO THE MOVIE.

>> THAT IS AMAZING. AND THE MOVIE'S GREAT. CONGRATULATIONS, YOU GUYS.

>> THANK YOU.

>> I REALLY LOVED IT. GIVE THEM A BIG ROUND OF APPLAUSE. [ APPLAUSE ]

>> THANK YOU VERY MUCH.