10.22.18

Gerard Butler & Donovan Marsh Talk "Hunter Killer"

Directed by Donovan Marsh, "Hunter Killer" follows American submarine Captain Joe Glass (Gerard Butler) who is on the hunt for a U.S. sub in distress when he discovers a secret Russian coup is in the offing, threatening to dismantle the world order. Captain Glass must now assemble an elite group of Navy SEALs to rescue the kidnapped Russian president and sneak through enemy waters to stop WWIII.

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>>> THANK YOU EVERYBODY. THANKS SO MUCH. WELCOME TO BUILD. I'M YOUR HOST RICKY CAMILLERI. OUR NEXT GUESTS ARE THE DIRECTOR AND STAR OF "HUNTER KILLER" WHO PLAYS A SUBMARINE CREW CAPTAIN LEADING A RESCUE MISSION THAT MAY ALSO BE A TRAP LEADING TO WORLD WAR THREE LET'S TAKE A LOOK. \M\M

>> THIS IS THE MOST AGGRESSIVE MILITARY BUILD UP IN RUSSIA HISTORY.

>> HUNTING THE KILLER.

>> WE'VE BEEN ORDERED TO CROSS WATERS ON AMERICAN SUB HAS EVER CROSSED BEFORE.

>> WHAT'S ON THE OCEAN INTOER. FLOOR.

>> IT'S A COUP.

>> WHAT IF WE FREE THE PRESIDENT.

>> WE RESCUE THE RUSSIAN PRESIDENT.

>> WE GO IN WITH FOUR OF OUR BOYS.

>> THERE'S NO SIMULATION FOR THIS ONE.

>> IF WE DON'T PULL THIS OFF IT'S GOING TO BE WORLD WAR THREE.

>> GET READY.

>> FIRE. \M\M

>> EVERYBODY FROM "HUNTER KILLER" GERARD BUTLER AND DIRECTOR DONOVAN MARSH! HEY, GUYS. THANK YOU SO MUCH FOR BEING HERE. CONGRATULATIONS ON THIS WONDERFUL FILM. IT'S INCREDIBLY TENSE AND THRILLING. I HAD A BALL WATCHING IT, CONGRATULATIONS.

>> THANK YOU.

>> THERE'S BEEN A FEW SUBMARINE MOVIES IN THE PAST. NO?

>> NEVER HEARD OR SEEN ANOTHER SUBMARINE MOVIE.

>> IF YOU GO BACK AND WATCH THOSE AND TRY TO FIND WAYS TO DEFINE YOURSELF AND MAKE THINGS NEW OR KEEP THEM OUT OF YOUR MIND SO YOU DON'T FEEL ENCUMBERED BY WHAT THEY'VE DONE. CAN YOU TALK ABOUT THAT?

>> THERE'S A GREAT TRADITION OF SUBMARINE MOVIES SOME BEAR UP SOME DON'T BUT THIS IS DEFINITIVE SUBMARINE FILM THAT REALLY STANDS OUT AND IS TENSE AND PUTS YOU ON YOUR SEAT AND I WANTED TO CAPTURE THE LATEST, GREATEST VIRGINIA CLASS NUCLEAR SUBMARINE.

>> YOU WORKED EXTENSIVELY WITH THE NAVY AND CAN TALK ABOUT HOW YOU WORKED WITH THEM.

>> THE NAVY WERE AMAZING TO US, GAVE US THEIR BEST ENGINEERS SO WE CAN COMPLETELY REPLICATE THE CONTROL ROOM. AND THEY GAVE US THEIR COMMANDERS AND WE WENT THROUGH PEARL HARBOR ON A SUB AND WENT THROUGH AWFUL THE DIFFERENT DRILLS WE DO, BATTLE STATION AND FIRE DRILLS, WE PICKED UP SO MANY IDEAS WHILE DOWN THERE. WHEN THE COMMANDERS WERE ON SET THEY LITERALLY FELT THAT THEY WERE ACTUALLY IN A CONTROL ROOM OF NUCLEAR FAST ATTACK SUBMARINE. I HAD THIS SCRIPT FOR YEARS SO I HAD A LOT OF TIME IN THE MIND OF JOE GLASS.

>> EIGHT YEARS.

>> EIGHT YEARS, WE GOT IT IN 2011 AN IT WAS ALWAYS A GREAT SCRIPT AND A SUBMARINE MOVIE HADN'T BEEN MADE FOR A LONG TIME BUT THERE WASN'T THAT TENSION BETWEEN THE U.S. AND RUSSIA AND THEN THINGS CHANGED SO LET'S GET THIS MOVIE GOING.

>> CAN YOU DO US A FAVOR, SAY SOME WEIRD STUFF.

>> RACHETING UP THE GEO POLITICAL TENSION.

>> I'VE DONE IT WITH ALL MY MOVIES FROM "OLYMPIA HAS FALLEN" AND THEN "LONDON HAS FALLEN", KIND OF GOT LUCKY.

>> WHEN YOU WORK WITH THE GUYS FROM THE NAVY AND THEY KNOW EXACTLY HOW EVERYTHING WORKS BUT YOU GUYS ALSO HAVE TO TELL A THRILLING STORY. EVEN WHEN BASED ON TRUE STORIES YOU HAVE TO TAKE LIBERTIES BECAUSE YOU NEED DRAMATIC ACTION FOR 90 MINUTES TO 120 MINUTE MOVIE BUT YOU WANTED TO KEEP IT AS REALISTIC AS POSSIBLE SO THESE GUYS COULD WATCH IT AND FEEL LIKE IT ALL MADE SENSE FOR THEM. WAS THAT DIFFICULT FOR YOU GUYS TO DO AT THE END OF DAY?

>> IT WAS AS LONG AS, YOU NEED THE DRAMA AND YOU NEED THE TENSION AND SOMETIMES THAT COMES FROM WITHIN THE SAME COMRADE WITHIN THE SAME SUB SO THERE HAD TO BE TENSION, THE IDEA OF A CAPTAIN WHO HASN'T WORKED WITH THIS CREW, NOT ESTABLISHING THAT EDGE ETHICAL INTEGRITY TOGETHER. THEY WERE ACTUALLY SURPRISINGLY SUPPORTIVE AS LONG AS WE DIDN'T GET TO CRIMSON TIDE LEVEL SITTING WITH MY DOG ON BOARD AND SMOKING WITH MY BASEBALL HAT. BUT IN TERMS OF ALL OF THE BACKGROUND, YOU TELL THE STORY WITH THE DRAMA YOU PUSH IT AS FAR AS YOU CAN GO, BUT THE BACKGROUND, EVERYTHING THAT'S HAPPENING, THE PROTOCOL, THE COMMANDS, THE ACTUAL SURFACE, YOU KNOW, EVERYTHING YOU'RE DEALING WITH IS INCREDIBLY REAL AND AUTHENTIC NOT JUST TO KEEP THEM HAPPY BUT KEEP US HAPPY. THAT TRUTH AND VORACITY HELPS THE GROUP FEEL THEY ARE INVOLVED IN THE STORY AND MEANS WHEN WE SCREEN IT TO THE NAVY AS WE DID THEY LOVE IT AND ARE INCREDIBLY MOVED AND EXCITED BY IT. THAT'S ONE OF THE BEST EXPERIENCES WE SCREENED TO 1300 AT THE NAVAL BASE AND I DON'T THINK I EVER EXPERIENCED AN ATMOSPHERE LIKE THAT.

>> YOU'RE NO BEGINNER WHEN IT COMES TO ACTION MOVIES AND THRILLERS AND SO MUCH OF THE TENSION AND ACTION COMES FROM PHYSICAL ACTION ON SCREEN AND SO MUCH FROM THIS MOVIE REALLY COMES FROM THE IDEAS OF WHAT'S HAPPENING AND YOU HAVING TO REALLY FLEX AS AN ACTOR AND SORT OF DISCUSS WHAT IS HAPPENING AND MAKE BELIEVE THIS TENSION, DOESN'T COME FROM FIST FIGHTS OR SHOOT OUTS, DID YOU RECOGNIZE THAT GOING INTO THIS AND WERE YOU EXCITED ABOUT THE CHANCE TO DO SOMETHING LIKE THAT.

>> YEAH VERY MUCH FROM THE SECOND A READ THE SCRIPT I KNEW IT WOULD BE OPTION FOR ME TO PLAY HEAD OF THE NAVY SEALS OR COMMANDER, JOE GLASS, I LOVE THE OPPORTUNITY TO BE CONTAINED AND COME FROM A PLACE OF QUIET AUTHORITY. THAT'S WHAT THIS MOVIE IS, A SIMMERING VIOLENCE. IT'S DIRECTED SO BRILLIANTLY THAT YOU CLIMB INTO THE MINDS OF THE DIFFERENT WARRIORS IN THEIR DIFFERENT REALMS. BUT IT'S ABOUT LOGIC, INTELLECT AND INTUITION AND YOU HAVE TO MAKE GUT WRENCHING DECISIONS AND ALLOWS THE DRAMA TO PLAY OUT SO MUCH MORE.

>> DO YOU PREPARE FOR THE MOVIE DIFFERENTLY WHEN DOING A PERFORMANCE LIKE THIS VERSUS A PERFORMANCE IN "LONDON HAS FALLEN" OR ARE YOU LOOKING FOR DRAMATIC BEATS.

>> YOU'RE TRYING TO LOOK FOR THE DRAMATIC BEATS BUT TRY TO IMMERSE YOURSELF INTO THE CHARACTER SO YOU GET A SUBTLE TRUTH. IT'S NOT ABOUT ACTION --

>> -- THERE ARE GUNS SHOT IN THIS MOVIE, LOTS OF ACTION.

>> SURE THERE'S MUCH MORE INTENSE PARAMETERS IN TERMS OF WHERE ARE WE GOING TO GO, WHAT DECISIONS WE HAVE TO MAKE AN WHO'D THINKS WHAT ON EITHER SIDE. IT'S ALL THIS VERY TENSE AND SUSPENSFUL. LIKE YOU SAID ANOTHER IMPORTANT REASON I FELT IT SURPASSED WHAT OTHER SUBMARINE MOVIES OFFER THAT IT ISN'T JUST THE CLASSIC SUB GENRE WHERE YOU ARE CONTAINED DOWN THERE SUN-DEPRIVED LITTLE ROOM, I NAUGHT IT WOULD BE UNDER WATER BUT IT'S ALSO THE CLASHING OF THE MILITARY MINDS IN WASHINGTON AND THE CLANDESTINE SPECIAL OPS BEHIND ENEMY LINE. SO IT'S LIKE THREE THRILLERS IN THE ONE PORTRAIT OF TWO NATIONS MOVING TOWARDS WAR.

>> YOU GOT INTENSE DECISIONS BEING MADE BY THE PENTAGON AND AN INCREDIBLE SET UP WITH THE ACTORS. AND THEN YOU GOT WHAT'S GOING ON WITH THE SUB WITH YOU. AND LIKE YOU SAID YOU GOT THE SPECIAL OPS TEAM, THE SEALS, OUT TRYING TO STAGE A RESCUE MISSION. THESE THREE DIFFERENT WORLDS THE ARE SOMETIMES JUXTAPOSE FROM THEIR AREA, CAN YOU TALK ABOUT STAGING THAT, FIGURING THAT OUT.

>> YEAH IT'S A REAL CHALLENGE WHEN YOU HAVE MULTIPLE STORY LINES BUT IS ALSO AN OPPORTUNITY TO MAKE THE NEXT STORY LINE THAT MUCH MORE TENSE. I PERSONALLY LIKE THE DIFFERENT POINTS OF VIEW, YOU DON'T JUST GET ONE POINT OF VIEW IN THE SUB, ARE YOU GETTING WHAT IT IS LIKE IN WASHINGTON IN THE WAR ROOM. EACH OF THOSE SCENARIOS IS INCREDIBLY INTERESTING. I WAS EXCITED ABOUT BLENDING THOSE THREE THINGS TOGETHER. BECAUSE IF YOU DO IT RIGHT YOU UP THE THRILL, THE MYSTERY AND TENSION. I REALLY THINK WE DID THAT.

>> HOW OFTEN DID YOU FIND WHEN YOU GOT INTO THE EDITING ROOM THAT PUTTING THESE STORY LINES AGAINST EACH OTHER WORKED AS WELL IN THE EDITING ROOM AS IN THE SCRIPT BECAUSE OFTEN TIMES WRITER'S VISION BUMPING UP AGAINST EACH OTHER CAN BE VASTLY DIFFERENT IN THE EDITING ROOM AND YOU HAVE TO JUGGLE THINGS AROUND.

>> YEAH IT'S HUGELY CHALLENGING. YOU DON'T WANT TO DROP THE BALL OR LOSE THE TENSION. I'M NOT ALWAYS SURE, IS THIS THING WORKING, SO WE BRING IN THE MAGICIAN.

>> LET IT GO.

>> CUT IT OUT. OR PUT IT BACK HERE. AND THEN WE PLAYED FOR TEST AUDIENCES TO SEE HOW THEY REACT. WE TAKE THAT VERY SERIOUSLY AND GO BACK AND RECUT, EVEN RESHOT COUPLE THINGS AND FINALLY ARRIVE WITH SOMETHING THAT GETS EVERYONE OUT OF THEIR SEATS.

>> WHAT WAS THE TOUGHEST STORY LINE TO SHOOT?

>> INSIDE THE SUB IS DIFFICULT BECAUSE IT'S LITERALLY NO BIGGER THAN THIS STAGE THAT YOU'RE ON AND HALF OF THE MOVIE IS HAPPENING IN THIS SPACE AND YOU HAVE TO FIGURE HOW TO MAKE THAT VISUALLY EXCITING.

>> IS THERE WALLS IN IT?

>> WE HAVE WALLS. UP 33 DEGREES. LIKE STAR TREK. YOU KNOW. WE DIDN'T THE HAVE TO DO THAT. IT FELT AUTHENTIC. YOU WANT TO CLOSE THE SET OFF TO MAKE THE ACTOR FEEL LIKE THEY'RE DOWN THERE. I'M IN THERE, TEN CREW PEOPLE AND THE ENTIRE CAST OF PEOPLE AND GOT THE SET AT 33 DEGREES IT'S VERY DRAMATIC AND MAKES EVERYONE FEEL THEY'RE REALLY THERE.

>> YEAH THERE WAS REALLY A CLAUSTROPHOBIC FEEL, ESPECIALLY WORKING 12 HOURS A DAY, YOU ARE UNDER INCREDIBLE AMOUNT OF PHYSICAL AND PSYCHOLOGICAL PRESSURE OF AND DONOVAN HAD TO BE CREATIVE AND FINDING NEW WAYS TO EXPRESS THAT, SAME TIME, YOU GET THIS FLOW LIKE A PLAY IN THERE, WHEN EVERYONE KNOWS WHAT THEY DO FROM THE PILOTS TO SONAR, SO WHEN YOU START A SCENE IN CREDLY TENSE, TRYING TO MAKE DISCOVERY THROUGH THE ACTION PART AND THE WHOLE SHIP STARTS MOVING AND EVERYBODY TOGETHER IS RUNNING AROUND THROUGH TO THE END, SOMETIMES SEVEN OR TEN MINUTE SEQUENCE WHICH YOU RARELY GET TO DO IN MOVIES AND AT THE END YOU'RE LIKE HOLY SHIT THAT WAS AWESOME. WE WERE ALL LOOKING AT EACH OTHER LIKE --

>> -- I'VE NEVER FELT SOMETHING LIKE THAT WHILE FILMING. DOING IT ON THE SET THAT LOOKED EXACTLY LIKE A SUBMARINE.

>> AND PROBABLY HAVING LIMITED OPTIONS IN TERMS OF HOW YOU SHOOT IT, MAKES THE SHOOT MOVE FASTER AND KEEPS EVERYONE ON THEIR TOES.

>> ABSOLUTELY IT ALMOST FELT EXACTLY LIKE A STAGE PLAY. RUN ON SEQUENCES AND YOU GET A REALITY AND REALISM, GRITTYNESS YOU WOULDN'T OTHERWISE GET.

>> IT WAS THRILLING WHILE WE WERE DOING IT. PEOPLE ON SET FELT THEY WERE IN THE REAL THING, AS DID WE, AND THEN ONCE YOU GET INTO THE EDITING ROOM AND START PUNCHING INTO THOSE COURSE OPS AND GETTING THOSE INTERESTING SHOTS AND GETTING THE ENERGY MOVING THROUGH THE SCENES AND CUTTING OUTSIDE THE SUB AND CUTTING TO VARIOUS OTHER ASPECTS THAT YOU ARE CLIMBING INTO, YOU KNEW, IF THIS IS ALREADY THIS EXCITING BY THE TIME WE PUT IT ALL TOGETHER IT'S GOING TO BE GRABBING ON TO YOUR SEAT, WHICH IS EXACTLY WHAT IT IS.

>> YOU'RE A PRODUCER ON THE FILM, YOU'VE BEEN PRODUCER FOR NUMBER OF YEARS, GOING BACK TO 2009-10.

>> YEAH.

>> HOW ARE YOU CHOOSING YOUR PROJECTS? HOW DOES THAT WORK FOR YOU?

>> YOU KNOW, I DON'T KNOW IF I HAVE ANY HARD AND FAST RULES. IT'S KIND OF A PROJECT I LIKE, I FIND INTERESTING, A CHARACTER I THINK I CAN DO SOMETHING WITH, MAYBE A STORY I'VE NEVER TOLD. FROM FRANCHISE HAS FALLEN TO THIS. I ALSO DO SMALLER MOVIES. "FAMILY MAN". "KEEPERS" IS COMING OUT NEXT YEAR. IT'S ALL ABOUT MAKING A DECISION. I READ THE “300” SCRIPT THOUGHT HOW COULD I NOT DO THIS. THAT'S ONE OF THE EXCITING THINGS ABOUT THE CAREER YOU NEVER QUITE KNOW WHERE IT IS GOING TO TAKE YOU.

>> YOU HAVE A LITTLE MORE CONTROL WHERE IT TAKES YOU NOW.

>> THAT'S WHY I LOVE PRODUCING, I SOMETIMES PREFER DEVELOPING SCRIPTS TO PERFORMING. I LIKE SEEING IT COME TO FRUITION FROM THE SCRIPT I FIRST GOT IN 2011 TO MAKING IT A MUCH MORE PLAUSIBLE, RELEVANT SCRIPT OF TODAY THAT YOU CAN TRY TO PULL OFF AND THE CHALLENGE YOU ARE TRYING TO PULL OFF FOR THE SUBMARINE WHICH HAD BEEN AWAY FOR A WHILE AND CHOOSE AS A DIRECTOR.

>> HOW DID THAT WORK, HOW DID YOU FIND DONOVAN AND KNOW HE WAS GOING TO BE THE RIGHT GUY FOR THE JOB WHICH HE VERY MUCH WAS.

>> VERY MUCH SO. OVER A TWO YEAR PERIOD I MET WITH MANY DIFFERENT DIRECTORS AND WE ALWAYS KNEW WE WOULD HAVE TO TAKE IT SOMEWHERE SPECIAL. WHAT CAN WE BRING THIS FRESH. AND DONOVAN HAD A SOUTH AFRICAN THRILLER THAT I JUST THOUGHT I WASN'T GOING TO LIKE IT AND I REMEMBER PUTTING IT ON LIKE, THAT'S INTERESTING, NO, NO, OH, THAT'S COOL, OH, OH, OH, AND NEXT MINUTE I GO HOME AND WATCHING THIS MOVIE AND I LOVED IT. JUST HIS PACING AND CHARACTERIZATION AND THE WAY HE COVERED THINGS REALLY SUCKED YOU INTO IS IT AND IMMERSED YOU IN THAT WORLD WHICH IS WHAT WE'D HAVE TO DO HERE, THE BOAT IDEA, WHERE YOU JUST PULL AN AUDIENCE INTO THAT LIFE AND THAT ENVIRONMENT AND THEN WE MET AND HAD A GREAT MEETING. I WILL NEVER FORGET, I WAS WAITING FOR HIM TO SAY, WHAT ARE YOU GOING TO TELL ME, FIRST THING HE SAYS, WHAT DO YOU THINK ABOUT THIS MOVIE, I GO, SHUT UP I'M SUPPOSED TO ASK YOU THAT. HE WAS SITTING THERE WITH HIS HEIGHT, JUST LIKE, IT WAS NO EGO, JUST CHAT, JUST, LET'S, YOU KNOW, LET'S DEBATE. AND IT BECAME A BE DEBATE. THIS IS TWO OR THREE OF BIGGEST MOMENT OF MY CAREER WHEN I TAKE A FURTHER STEP, MAYBE CALL A STUDIO OR DIRECTOR, I CALLED AND SAID YOU HAVE TO KNOW HOW MUCH I BELIEVED IN THIS MOVIE. DONOVAN AFTER THE MEETING WROTE ME A LETTER AND SAID I DON'T KNOW IF YOU GOT HOW MUCH I CARE ABOUT THIS PROJECT AND WHAT I THINK I CAN DO WITH IT. I READ THAT AND WAS LIKE THAT'S OUR GUY FOR SURE.

>> WHAT MADE YOU CARE ABOUT THIS PROJECT SO MUCH FROM THE SCRIPT IN WHAT MADE YOU KNOW YOU COULD DO SOMETHING SPECIFIC NOBODY ELSE COULD DO WITH IT.

>> I'D LIKE TO THINK I WAS ABLE TO BRING CERTAIN SENSE OF SENSIBILITY. THIS IS THE STYLE APPROACH ACTION WITH. IT'S ABOUT ANTICIPATION. IT'S ABOUT SETTING UP WHAT DOESN'T HAPPEN SO WHEN SOMETHING DOES HAPPEN IT HITS YOU WITH SO MUCH MORE FORCE AND I FELT READING THE SCRIPT IT REALLY SUITED MY STYLE OF DIRECTING WITH THE AMAZING SCENES IN THE SUBMARINE. IT'S ALL ABOUT ANTICIPATION GETTING YOU CLOSER AND CLOSER TO THE END OF YOUR SEAT AND THEN THE BIG ACTION OR EXPLOSION TAKES PLACE AND I FELT MY STYLE SUITED THAT AND IT WAS THE FIRST SCRIPT I READ IN TEN YEARS I COULDN'T PREDICT THE ENDING. I LITERALLY DIDN'T KNOW WHAT WOULD HAPPEN. IN SO MANY COME THE THIRD ACT YOU KNOW HOW IT WILL PLAY OUT BUT IN THIS FILM IT'S A GREAT MYSTERY. THAT REALLY APPEALED TO ME. AND WAS GEO POLITICALLY RELEVANT WITH RUSSIA AND AMERICA. I DON'T WANT TO GIVE THAT AWAY. BUT FELT IT GEOPOLITICAL.

>> THERE'S A BIT OF A WISH FULFILLMENT FOR CHARACTER IN THE MOVIE, CAN YOU TALK ABOUT THAT?

>> I DON'T KNOW HOW TO TALK ABOUT IT WITHOUT GIVING IT AWAY. OTHER THEN IT HAS SOMETHING INTERESTING TO SAY ABOUT GOING TO WAR AND IT HARKS BACK TO -- WELL I'M NOT GOING TO --

>> -- THESE TROUBLE HERE.

>> YOU HAD A CHANCE TO WORK WITH THE NAVY IN THE PENTAGON IN THE BRIEFING ROOM. WHAT WAS THAT LIKE?

>> SURPRISING. I WENT ALONG TO THE PENTAGON, I WAS MEETING FOUR-STAR ADMIRALS AND THE HEAD OF THE NAVY AND GETTING A TOUR AROUND THE PENTAGON WHICH WAS A FASCINATING EXPERIENCE, A SIGN THAT THE NAVY WERE VERY BEHIND THE MOVIE. I COULD SEE HOW INTO THEY WERE AND HOW PROUD OF IT THEY WERE. AND THEY ALSO SAID WE'D LOVE YOU TO DO A PRESS CONFERENCE ABOUT THE PARTNERSHIP WITH THE NAVY AND MAKING SURE THE PUBLIC KNEW WHY THE NAVY WANT TO PARTNER WITH MOVIES AND THE PURPOSE FOR THEM GIVING INSIGHT OF THE WORLD AND LIFE OF SUBMARINERS. I DIDN'T QUITE REALIZE WHAT I WAS STEPPING INTO, SO WE GET INTO THE BACK ROOM AND THERE WAS A HUNDRED ODD CHAIRS. I THOUGHT IT WAS A SMALL PRESS CONFERENCE. SAID, NO, IT'S GOING TO BE PRETTY BUSY. JUST GO AND SAY SOME THINGS ABOUT THE MOVIE AND YOUR EXPERIENCES, I WALK OUT AND BARBARA STAR IS THERE FROM CNN. I LOOK BEHIND ME AND I SEE THE PENTAGON, I THINK THIS IS REALLY FROM THE BRIEFING ROOM FROM THE PENTAGON. I KNEW THEY HAVEN'T DONE ANY BRIEFINGS FROM THE PENTAGON IN A LONG TIME SO I WAS SLIGHTLY SURPRISED THEY WERE STARTING IT WITH JERRY BUTLER.

>> I THINK IT TOOK A LOT OF PEOPLE A FEW MINUTES TO GET WHAT WAS GOING ON, AT FIRST WAS A SURREAL IMAGE COULD JUST BE MAYBE YOU'RE HEAD OF A CABINET FOR ALL WE KNOW.

>> YEAH, AND I DIDN'T REALLY GET -- I WAS JUST DOING THE PRESS CONFERENCE FOR THE NAVY. I DID SEE THE IRONY AFTERWARDS.

>> EVERYONE WAS LIKE OH, OKAY IT'S FOR A MOVIE, GOOD, GOOD.

>> YEAH I OPENED TALKING ABOUT MY EXPERIENCES, MY TIME ON BOND MOVIE WHERE I BASICALLY HAD FOUR LINES AND I WAS A SAILOR ON A SHIP, TWO OF MY LINES WAS TAKING OFF OF ME ONE TORPEDO BEARING RANGE 6000.  -- PEOPLE WERE LIKE WHAT IS HE TALKING ABOUT. AND BARBARA STAR IMMEDIATELY JUMPS INTO SAUDI ARABIA. FOUR QUESTIONS STRAIGHT ABOUT SAUDI ARABIA. I'M LIKE OKAY, I'M OKAY, GOT TO BE ON RIGHT NOW.

>> AND YOU ACTUALLY GAVE THE BEST ANSWER ABOUT SAUDI ARABIA THEN ANYBODY IN THE ADMINISTRATION HAS GIVEN. CAN YOU TALK ABOUT THAT? YOU DECIDED TO NOT GO TO SAUDI ARABIA AFTER THE DEATH OF THE "WASHINGTON POST" JOURNALIST.

>> IT WAS A SIMPLE ANSWER FROM OUR EXPERIENCE, WE WERE ALREADY ON TOUR DOING A PROMOTION FOR THIS MOVIE AND SAD TO SAY WE WERE VERY EXCITED TO GO TO SAUDI ARABIA BECAUSE A LOT OF GOOD PEOPLE PUT IN A LOT OF WORK FOR OUR MOVIE IN GOOD FAITH AND BUT THEN THE PRESS BROKE THE MORNING WE HAD TO LEAVE. WE KNEW IT WOULD UPSET MANY PEOPLE INCLUDING OURSELVES, IT FELT COMPLETELY WRONG TO BE ASSOCIATED WITH ANYTHING OVER THERE AT THIS POINT. PRETTY SURE WE MADE -- I KNOW WE MADE THE RIGHT DECISION ON THAT.

>> YEAH I THINK YOU DID TOO. BACK TO THE MOVIE. BEFORE WE GET TO AUDIENCE QUESTIONS. I JUST WANT TO COMPLIMENT YOU DONOVAN BECAUSE YOU SAID THE WAY HE COVERS STUFF IN THAT YOU WERE TALKING ABOUT HIS FILM PRIOR TO THIS. I THINK IT'S IMPORTANT IN REGARDS TO CONTEMPORARY ACTION MOVIES WHERE IT FEELS THE CAMERA COULD BE ANYWHERE AND THERE'S SEVEN CAMERAS ON THE SET OR IN THE ROOM JUST CUTTING AND IT FELT LIKE YOU WERE VERY CONCERNED ABOUT CAMERA PLACEMENT AND HOW IT WOULD BE MOVED AND MOTIVATED. CAN YOU TALK ABOUT TAKING YOUR TIME TO ACTUALLY DO THAT ON THE SET. IT FEELS OFTEN TIMES ACTION MOVIES RARELY TAKE TIME TO DO THAT.

>> I'VE NEVER SEEN IT CHOREOGRAPHED TO CUT TO PUT YOURSELF IN THAT SCENE. FEEL THE GEOGRAPHY BETWEEN THE DIFFERENT CHARACTERS, JUST THE PLACE YOU'RE IN, IF YOU CAN UNDERSTAND THAT YOU CAN GET IMMERSED INTO THE DRAMA SO MUCH MORE WHEN YOU KNOW IT'S THIS FAR FROM THAT OR THE SUB IS COMING TOWARDS THE UNDER WATER MINE AND YOU CAN FEEL THE DISTANCE AND THE CAMERA SOMETIMES HAS TO SIT TO APPRECIATE THAT. SUCH GREAT TENSION WHAT CREW AND JERRY WAS DOING NATURALLY I CAPTURED THAT TO LET IT DO THE WORK.

>> I WOULD IMAGINE SOMETHING LIKE MATHEMATICS, ALL OF THOSE RULES WE DIDN'T KNOW UNTIL WE DISCOVERED THEM, BUT THEY WERE ALWAYS THERE. THAT'S WHAT IT FELT LIKE IN THIS MOVIE. WE DISCOVERED A FLOW. IT WAS LIKE THE MOVES AND POSITIONS AND WHERE WE ENDED UP WAS JUST THERE WAITING TO BE DISCOVERED AND THE SECOND YOU STEPPED INTO IT, JUST FELT THIS EFFORTLESS MOVE AND FLOW OF THIS TEAMMATE BETWEEN EVERYBODY, ALL OF THE WARRIORS AND THE SUB, THAT YOU KIND OF WENT, YEAH, THAT'S IT, THERE IT IS RIGHT THERE.

>> THEM TALK ABOUT THAT OFTEN. EVERY NOW AND THEN YOU SUDDENLY FEEL PROTECTED BY THE MOVIE GODS, OH, THIS ONE IS WORKING OUT, THINGS SEEM TO BE GOING PRETTY WELL AND YOU HAVE AN IDEA MAYBE IN THE END IT'S GOING TO COME OUT BETTER THAN YOU HOPED FOR IS THAT SORT OF WHAT YOU'RE TALKING ABOUT?

>> NO. NO, IT IS. THAT'S MY NEGATIVE SCOTTISH THINKING. SUDDENLY FSH WATCH THE MOVIE AND GO THIS IS AWESOME. I MEAN, A FLOW IN TERMS OF PERFORMANCE AND EFFORTLESS, BUT, YEAH, YOU'RE PROBABLY RIGHT, IF IT'S THE FLOW IN THAT THEN IT FEELS LIKE IT'S HEADING TOWARDS A GREAT STORY AND GREAT PERFORMANCE AND SOMETHING VERY EXCITING. IT WAS AS MUCH AS I MOVED TO A CERTAIN PLACE AND MY EXO STEPS BEHIND ME AND THE PILOT MOVES TO HIS POSITION AND KIND OF GO, YEAH, THAT'S EXACTLY HOW IT WAS SUPPOSED TO BE NOW. AND THEN IT'S JUST PUTTING IT ON CAMERA. YOU KNOW.

>> LET'S GET SOME QUESTIONS FROM OUR AUDIENCE. RIGHT HERE.

>> HI. I SAW THE FILM IN SCOTLAND AND GOING TO TOUCH UPON WHAT YOU BEEN SAYING.

>> DID YOU FLY HERE FOR THIS INTERVIEW. THANK YOU SO MUCH. SO NICE OF YOU.

>> EVERYBODY FLIES AROUND FOR MY INTERVIEW.

>> I JUST WANTED TO SAY I WORKED ON A SUBMARINE BEFORE AND YOU REALLY DID ACCURATELY PORTRAY WHAT IT IS LIKE IN A SUBMARINE. I DON'T THINK MANY FILMS DO GET THAT CLOSE PROXIMITY, I GOT TO SAY WELL DONE. BECAUSE CINEMATOGRAPHY WAS JUST TOO PERFECT AND GOT YOU RIGHT FROM THE BEGINNING.

>> ONE OF THE TRICKS IS WE SHOT ON A REAL SUBMARINE, THE USS TEXAS OUT AT SEA AND WENT OUT WITH HELICOPTER TO FILM THIS $2 BILLION PROP OUT AT SEA. ALSO INTERIOR. IT IS EXACTLY THE INTERIOR OF A REAL SUBMARINE AND REAL CREWS, DOING REAL DRILLS, IN THE CUT WITH MY ACTORS IN SUCH A WAY YOU COULDN'T TELL THE DIFFERENCE.

>> SO WHEN YOU WERE IN THE HELICOPTER SHOOTING $2 BILLION PROP DID YOU LOSE THE FEELING I'M A SOUTH AFRICAN DIRECTOR WITH LIMITED FUNDS. IT'S LIKE I'M A BIG AMERICAN DIRECTOR NOW.

>> IT'S SIMILAR WITH $2 BILLION SUBMARINE. I WANTED TO DO AN EMERGENCY BLOW WHERE THE SUBMARINE SHOOTS OUT OF THE WATER, BLASTS RIGHT UP AND OUT, AND THE LADY SAID, RIGHT, WE'LL GIVE YOU ONE TAKE OF THAT. YOU GOT THE WHOLE OCEAN IN FRONT OF UP. THEY WILL RADIO COORDINATE TO YOU AND SAY WE'LL BE WITHIN 100 METERS OF THIS COORDINATE AND YOU ARE WAITING FOR THE SUBMARINE TO POP JUST IN THE CORNER OF FRAYED. OF FRAME. IF YOU LOOK CLOSELY YOU COULD SEE DIDN'T QUITE KNOW WHERE IT WAS GOING TO COME UP. THAT'S WHAT IS SO EXCITING, YOU WATCH IT AND YOU'RE SO IN IT, OH, THERE IT IS. OKAY.

>> NEXT QUESTION.

>> HI, MY QUESTION IS -- NICE TO MEET.

>> NICE TO MEET YOU.

>> HOW WERE YOU AS A KID GROWING UP? WHAT WAS YOUR DREAM JOB? AND IF YOU HAD A CHANCE WHAT WOULD YOU SAY TO YOUR YOUNGER SELF?

>> I THOUGHT YOU FIRST OF ALL SAID WHAT WERE YOU -- SOMETHING ABOUT A CUTE GIRL NOW -- I'M LIKE -- BUT WHAT WAS THE FIRST THING YOU SAID?

>> WHAT WERE YOU AS A KID GROWING UP?

>> NOT A CUTE GIRL NOW, BUT AS A KID GROWING UP, WHAT WAS I LIKE? OH, GOD. I THINK I WAS A LITTLE PAIN IN THE ARSE. I ALWAYS WAS PLAYING AND WHETHER IT WAS IN MY MIND OR WHETHER WITH MY FRIENDS I ALWAYS LOVED TO LIVE IN THESE FANTASIES AND TELL STORIES OR IMAGINE I WAS IN STORIES WHEN I WAS YOUNGER. I ALWAYS WANTED TO BE AN ACTOR, OUT IN SPACE, BEING A FIGHTER PILOT, PROBABLY BECAUSE I WASN'T TALENTED ENOUGH TO DO THAT SO I THOUGHT I WILL JUST MAKE MOVIES WHERE I GET TO PRETEND TO BE THOSE THINGS. AND THEN IF I HAD A MESSAGE TO MY YOUNGER SELF IT WOULD PROBABLY BE TO JUST CHILL AND ENJOY THE RIDE BECAUSE IT'S ALL GOING TO GO THE WAY IT'S GOING TO GO ANYWAY. PRETTY MUCH EVERY BIT OF STRESS I INDUCE UPON MYSELF LIVES IN HERE. I'M ONLY AS STRESSED OUT AS I AM STRESSED OUT. FACT IS IT'S ALL GOING TO BE FINE. YOU'RE GOING IN THAT DIRECTION, MIGHT AS WELL ENJOY IT. NOT TO SAY DON'T WORK HARD. WORK HARD. GIVE YOUR BEST. BUT ENJOY THE RIDE BECAUSE YOU QUICKLY START TO REALIZE HOW SHORT IT IS, THAT'S DEPRESSING.

>> NEXT QUESTION.

>> GERARD BUTLER I APPRECIATE YOU, SIR, SO VERY MUCH. WHAT WOULD BE YOUR ADVICE FOR A 22-YEAR-OLD IN TOWARD BECOME THE TRUE, GREAT GENTLEMAN THAT YOU ARE.

>> IN ORDER TO BECOME --

>> -- TRUE, GREAT GENTLEMAN.

>> I MAY HAVE TO GIVE AN ANSWER THAT'S NOT VERY POPULAR BECAUSE A LOT OF WHAT I HAD TO GO DID THROUGH TO BE A TRUE GREAT GENTLEMAN WAS NOT BEING A GREAT GENTLEMAN. WAS BEING A ROGUE. IT WAS GETTING INTO TROUBLE. IT WAS FAILING MYSELF AND LEARNING THE RULES OF WHAT IT MEANS TO HAVE INTEGRITY AND TO BE A MAN OF YOUR WORD, THE POWER THAT STANDS WITHIN A SIMPLE PROMISE. A SIMPLE GUARANTEE. NOT LETTING YOURSELF DOWN. NOT LETTING OTHERS DOWN. I'D LOVE TO SAY I ALWAYS KNEW THAT. I SPENT MANY YEARS DOING DIFFERENT THINGS LETTING MYSELF DOWN, LETTING OTHERS DOWN. ANDS A BEAUTIFUL RIDE WHEN YOU ESSENTIALLY THAT'S WHAT'S IMPORTANT, LIFE IS HOW YOU CONDUCT YOURSELF AND THE MARK YOU LEAVE ON OTHER PEOPLE JUST BY EXAMPLE. YOU KNOW. BUT THAT TAKES A LOT OF TRUST AND FAITH IN THE WORLD WE LIVE IN BECAUSE, AND I'M NOT SAYING I DO IT ALL THE TIME, BUT IT'S VERY CHALLENGING BECAUSE WE'RE OFTEN PRESSED AND PRESSURED TO NOT BE GENTLEMEN.

>> TO WE HAVE TIME FOR ONE MORE.

>> SOMEONE HAVE A QUESTION FOR DONOVAN.

>> YES. I'M EXCITED TO BE HERE. I HAD A PRETTY GENERAL QUESTION, IN WHAT KIND OF MOOD DO YOU PREFER ACTING IN.

>> WHERE YOU FROM?

>> PARIS.

>> PARIS?

>> YEAH.

>> I FELL IN LOVE WITH A GIRL FROM PARIS WHEN I STARTED LAW SCHOOL. MY GOD. PARIS. THE LIVES WE LIVE. I -- I -- THAT'S A VERY GOOD QUESTION BECAUSE WHEN I WORK ON A SMALL MOVIE AND MORE INTRICATE CHARACTER AND SOMETHING PERHAPS YOU COULD SEE MORE WITH IN A RICHER WAY, I LOVE THOSE MOVIES, AND I LOVE THAT THEY'RE HARD HE TO MAKE, THERE'S LESS BUDGET, IT'S MORE GUERRILLA FILMMAKING AND IT'S OFTEN A LOT MORE SPECIAL TO YOUR HEART. BUT IT'S SO MUCH FUN MAKING A BIG KICK ASS ACTION THRILLER. BECAUSE WHEN YOU FAIL YOU GET SLAPPED AROUND A LOT. BUT WHEN THEY WORK THEY EFFECT A LOT MORE PEOPLE. A LOT MORE PEOPLE GET TO SEE THEM. AND OFTEN THEY'RE ABOUT HEROISM. THEY'RE ABOUT BEING A GENTLEMAN. THEY'RE ABOUT CHALLENGES. THE CHALLENGES I'VE BEEN THROUGH IN MY LIFE, OR WHAT WE GO THROUGH ON A INTIMATE OR BIGGER SCALE, KNOWING YOU ARE EXCITING PEOPLE ACROSS THE WORLD, THRILLING THEM, TAKING THEM ON AN ADVENTURE. THAT'S WHAT HAPPENED TO ME WHEN I WAS A KID, I WOULD GO ON THAT ADVENTURE AND SAY I WANT TO BE IN THAT WORLD AND MAKE PEOPLE FEEL HOW THEY MADE ME FEEL. HAVING THEM COME OUT THE OTHER END AND SAY I WANT TO BE AMAZING, I WANT TO BE BRAVE AND HAVE COURAGE AND BE WILLING TO SACRIFICE MYSELF FOR SOMETHING HIGHER, IF PEOPLE GET THAT OUT OF IT, AND YOU'RE ENTERTAINING THEM, YOU CAN'T BEAT THAT AND YOU GET TO HAVE A LOT OF FUN ALONG THE WAY.

>> WAS THERE A PART OF THE MOVIE FOR YOU, BECAUSE THE SECTION YOU ARE IN IS SO CONTAINED THAT YOU FELT LIKE YOU WERE SHOOTING KIND OF A SMALL INDY DRAMA AT TIMES, BECAUSE THE OTHER PARTS OF THE FILM HAVE SLAM-BHANG ACTION AND SHOOT OUTS, DID IT FEEL LIKE A BIT OF A SMALL DRAMA BECAUSE YOU'RE ON A SMALL SET AND MOVING QUICKLY, KIND OF LIKE A PLAY.

>> YEAH, IT DID A LITTLE BIT. SO, YOU QUICKLY HAVE TO DIVE INTO THE WORLD YOU'RE IN. I REMEMBER WHEN I MADE "300" QUICKLY REALIZING NONE OF THESE SETS PEOPLE ARE GOING TO SEE, MY SCENE, I HAVE TO LIVE IN THAT IMAGINATION AND TRUST, SAME WITH THIS SIT, WE'RE ONLY IN THIS LITTLE ROOM BUT THE DRAMA IS SO MUCH BIGGER. YOU GOT TO EXPERIENCE AND MAKE DECISIONS, IT'S A LOT OF PRESSURE, STILL HAPPENS IN THIS SACK OF MEAT AND BONES, THIS BRAINS, THAT YOU CAN ONLY DO WHAT YOU DO. AND THAT ALLOWED IT TO FEEL -- SO I ACTUALLY LOVED THE CONTAINMENT OF THE PERFORMANCE. I KNOW WHERE I AM. I KNOW THE SITUATION. WE'RE STARTING UP HERE AND JUST GO THERE.

>> JERRY HAS UNCANNY ABILITY TO USE HIS MIND TO IMAGINE HIM INTO A SITUATION. I WILL JUST LOOK AT THE MONITOR AND HE JUST HAS ABILITY TO PUT HIMSELF THERE. NOT EVERYONE HAS THAT. IT'S A REAL TRICK OF THE IMAGINATION AND WHAT MAKES A REALLY GREAT ACTOR THEY CAN USE THEMSELVES, IT'S NOT BIG OR SMALL, IT'S JUST REALITY, IT'S TRUTHFUL, IT'S HONEST, AND I THINK THE AUDIENCE FEEL THAT.

>> ABSOLUTELY. I DID WHEN I SAW THE FILM. IT OPENS THIS FRIDAY CALLED "HUNTER KILLER" CONGRATULATIONS, IT'S FANTASTIC. EVERYBODY GO SEE IT IN THEATERS LET'S HEAR IT! [ CHEERS AND APPLAUSE ]

>> THANK YOU GUYS.

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