Best Of: Kate Hudson / Stellan Skarsgård

Summary

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Fresh Air: Best Of – Kate Hudson / Stellan Skarsgård

Date: February 28, 2026
Hosts: Tonya Mosley, Dave Davies
Guests: Kate Hudson, Stellan Skarsgård
Other Voices: David Biancooli (TV Critic)

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Episode Overview

This “Best Of” episode of Fresh Air features in-depth interviews with Oscar nominees Kate Hudson and Stellan Skarsgård. Hudson discusses her career arc, recent role in Song Sung Blue, family legacy, and her creative process, while Skarsgård opens up about his acclaimed performance in Sentimental Value, overcoming a health scare, and his unique acting career. The episode also includes a review of the new Paul McCartney documentary, Man on the Run. The tone is intimate, warm, and candid, with reflective insights about creativity, aging, overcoming adversity, and the continuing evolution of identity in the arts.

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Kate Hudson: Rediscovering Herself Through Song and Story

Early Life, Career, and Oscar Journey

[03:12–07:46]

• Tonya Mosley introduces Kate Hudson, up for an Oscar for her role as Claire in Song Sung Blue, where she stars as a hairdresser by day and a Neil Diamond tribute artist by night.
• Hudson’s breakout was Penny Lane in Almost Famous (2001), her early rise in romantic comedies, and her recent ventures (e.g., Glass Onion, Running Point).
• Hudson describes the Oscars luncheon as a meaningful “class photo” and reflects on the 25-year journey between her nominations:

  “It feels different. I've been comparing it to like having my third baby. You soak in everything very differently... you look around, so many producers — like a reunion almost... you realize you create a family.” (Kate Hudson, 06:57)

• The importance of “family” in the film industry and the bittersweet, cyclical nature of returning to the Oscars “class”.

On Portraying Claire Sardina in Song Sung Blue

[07:53–13:16]

• Claire is based on a real person; much of Hudson’s process involved honoring the story’s authenticity, including learning to navigate physical/emotional challenges (like performing with a prosthetic leg and confronting addiction and depression).
• Hudson chose to avoid deep personal research into Claire in order to serve director Craig Brewer’s adapted vision:

  “My job as an actor is to give Craig the movie he wants. His relationship to Claire and the family is the intimate one. For me, I think it would distract me from being able to give Craig what he needed.” (Kate Hudson, 10:45)

• After completing the work, meeting Claire validated her choices.

Embracing Music as Artistic Need

[12:30–14:34]

• Hugh Jackman cast her after seeing her singing and talking about music on CBS Sunday Morning.
• Hudson reveals her motivation for releasing her music stemmed from COVID-era reflection on creative fulfillment versus parenting:

  “I'm very happy with myself as a mother...but I couldn't say that about my art...my regret is that I didn't share my writings as a musician… I really was not happy with the fact that I wasn't brave enough to put it out there.” (Kate Hudson, 13:27)

• The internal drive to be courageous in sharing her artistic voice, alongside her pride in motherhood.

Reflections on Iconic Roles and Family Legacy

[16:03–26:32]

• Revisiting Almost Famous: Hudson speaks about the immersive, formative experience — “Rock School,” the camaraderie, the desire to get “Cam’s story right.”
• Hudson’s relationship with her mother Goldie Hawn and stepfather Kurt Russell:

  “There's only one of us who's not an actor...when you see that, we were just kids making movies our whole life.” (Kate Hudson, 22:41)

• Navigating her own identity apart from her famous family — the advantages and pressures:

  “The only thing for me that was really important was that I really wanted it on my own terms...There's something else that comes with it when you grow up in it, which is…you have to be good enough to have people actually want to watch you.” (Kate Hudson, 23:32)

• She sees her own awards as “an extension of my mother” and speaks movingly about the generational connection:

  “My mom sees me, sees all of that differently. She knows what it is...She knows how deeply I miss my kids when I'm doing these things. She knows all of it.” (Kate Hudson, 26:05)

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David Biancooli: TV Review – Paul McCartney: Man on the Run

[27:05–33:10]

• Documentary by Morgan Neville focuses on McCartney’s first post-Beatles decade.
• Notably uses only audio from new McCartney interviews (“no white-haired rock stars in sight”) and rare vintage footage.
• Addresses possible risks of self-sanitizing (since McCartney is an executive producer) but finds the portrait honest:

  “McCartney seems to be speaking honestly not only about what happened, but how he felt about it all.” (David Biancooli, 28:07)

• Coverage includes:
  • Beatles breakup, the Lennon feud, “Paul is dead,” Wings, and the SNL reunion joke.
  • Sean Lennon adds perspective; the documentary highlights honesty and emotional nuance.

Notable moment:

“We got kind of excited. We just go down...but it was like, why? It’d be great for them. Would it be great for us?” (Paul McCartney on the almost-SNL reunion, 32:45)

Biancooli: “It all adds up to an impressive, inspirational second act.” (33:10)

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Stellan Skarsgård: Artistry, Adversity, and Acting Across Generations

Life and Family as Inspiration

[34:54–39:06]

• Skarsgård is recognized for a career spanning European art films (Breaking the Waves, Melancholia) and commercial hits (Mamma Mia!, Pirates of the Caribbean), as well as raising eight children, five of whom are actors.
• His Oscar-nominated performance in Sentimental Value as director Gustav Borg parallels his own family dynamics, but he says:

  “Not at all. He's from a different generation. He's a different kind of father than I am...But I started to thinking about it. I have eight children, so I have eight different needs. Some children need me a lot and some don't need me at all. So you can't get it right as a parent.” (Skarsgård, 37:00)

• Discusses the impossibility of “getting it right” as a parent, even with years of effort.

Surviving and Adapting After a Stroke

[39:06–43:30]

• In 2022, Skarsgård suffered a stroke that affected memory and speech, with lingering impacts on line memorization.
• He describes finding workarounds so he could fulfill obligations on Andor and Dune:

  “There's a lot of actors that are using this technique – an earpiece and a prompter...But I found it rather difficult, if you wanted to be precise in terms of rhythm...but it's feasible, and we did it. I don't think there's any trace of the stroke in my work.” (Skarsgård, 41:17)

• Lays out the technical and emotional challenges, emphasizing determination and collaboration.
• The response to Sentimental Value amazed him, noting its universal appeal as a light family drama:

  “It deals with serious problems and deals with them seriously. [But] the film itself is very, very light. It's like light as a feather.” (Skarsgård, 44:19)

An International Career and Lessons Learned

[44:19–51:01]

• Skarsgård’s fame began at 16 as “Bondi” on Swedish TV; he credits his parents for keeping him grounded:

  “They pointed out to me how different I was from my public persona...Don’t get that difference too big, that's when it goes wrong.” (Skarsgård, 45:50)

• Fond memories of working with Robin Williams in Good Will Hunting; praises Williams’ improvisation:

  “He had like three brains going on at the same time wildly...He improvised every scene. We had to do some extra takes because he had to get his versions out of his system…You had to follow him wherever he went, and everything became very different from the previous take...Gus Van Sant got extremely vivid takes and different temperatures...He could cut it where he wanted.” (Skarsgård, 48:49)

• On improvisational challenges:

  “I'm not good at improvising...It's my worst nightmare. So I said yes.” (On filming Timecode, 50:18)

• His experience singing and dancing with Pierce Brosnan and Colin Firth in Mamma Mia!:

  “I can't sing, I can't dance...All the girls are good at singing and dancing and they just want three bimbos to look pretty, be funny and be sexy.” (51:01)

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Notable Quotes & Memorable Moments

• Kate Hudson [06:57]: “You create a family in this industry… And like in family, you see all of it. You see the good, you see the bad, you see the ugly. And it's an amazing, incredible, dysfunctional family.”
• Kate Hudson [13:27]: "I'm proud of that output. Like, I put a lot into that. As a mother, I felt confident... But I couldn't say that about my art."
• Kate Hudson [23:32]: “You have to honor the craft and be good enough to have other people actually want to watch you.”
• Stellan Skarsgård [41:17]: "There's a lot of actors using this technique, an earpiece and a prompter...It's kind of complicated, but it's feasible."
• Stellan Skarsgård [45:50]: “Don’t get that difference between your public persona and yourself too big, because that's when it goes wrong.”
• Stellan Skarsgård [48:49]: ”He [Robin Williams] was improvising...you had to follow him wherever he went. The improvisation was also good for us all.”

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Key Timestamps for Major Segments

• 03:12 – Kate Hudson's introduction and Song Sung Blue context
• 06:57 – Hudson reflects on the meaning of returning to the Oscars, industry “family”
• 10:45 – On honoring real-life Claire and director Craig Brewer’s vision
• 13:27 – Discussion about motherhood versus creative fulfillment
• 16:33 – Almost Famous scene; Penny Lane as career touchstone
• 20:56 – Growing up with Goldie Hawn and Kurt Russell; on forging her own identity
• 27:05–33:10 – David Biancooli reviews Paul McCartney's Man on the Run
• 34:54 – Stellan Skarsgård on his Sentimental Value role and parallels with real life
• 39:29 – Skarsgård on surviving a stroke and adapting his acting technique
• 44:48 – Early fame as a child actor and lessons from parents
• 48:49 – Memories of Robin Williams and working on Good Will Hunting
• 50:40 – On doing Mamma Mia! without prior music/dance experience

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Episode Takeaways

• Authenticity through art: Both guests express a dedication to authentic storytelling—whether drawing from family legacy, reflecting real people, or adapting to new limitations.
• Creativity as resilience: Skarsgård’s ability to adapt to his stroke reveals the tenacity and inventive spirit behind the craft.
• Family as muse and challenge: Hudson and Skarsgård’s stories foreground both the blessings and complexities of family ties in shaping public and personal identity.
• The beauty of vulnerability: Both reflect candidly on regret, insecurity, and the joy of overcoming obstacles—whether it is sharing one’s artistic voice or learning to perform in new ways.

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Summary prepared for listeners seeking a rich, conversational overview of the art and life issues explored in this episode of Fresh Air, featuring two multi-generational stars at new peaks in their careers.

Transcript

[Kate Hudson]

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[Tonya Mosley]

Visit schwab.com to learn more from WHYY in Philadelphia. This is FRESH AIR Weekend. I'm Tonya Moseley. Today, Kate Hudson. She's up for an Oscar for her role as Claire in the film Song Sung Blue, starring opposite Hugh Jackman as one half of Lightning and Thunder, a Neil diamond tribute band. And she can sing look at the

[Kate Hudson]

night and it don't seem so lonely.

[Stellan Skarsgård]

We fill it up with only two.

[Tonya Mosley]

We'll also hear from Swedish actor Stellan Skarsgrd. He's won a Golden Globe Award and earned an Oscar nomination for his performance in the film Star Sentimental Value. He'll talk about his many roles over the years and recovering from a stroke that impaired his ability to memorize lines. And David Biancooli reviews a new documentary focusing on Paul McCartney and his wings years that's coming up on FRESH AIR weekend.

[Kate Hudson]

This message comes from BetterHelp President Fernando Madera shares BetterHelp's commitment to expanding access to therapy.

[Stellan Skarsgård]

Our State of Stigma report helped us understand that believing in mental health is easy, but asking for help is not. Now, with the report on our hands, we can work to make mental health care more accessible.

[Kate Hudson]

To get matched with a therapist, visit betterhelp.com NPR for 10% off your first month.

[Announcer/Advertiser]

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[Kate Hudson]

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[Tonya Mosley]

This is FRESH AIR WEEKEND. I'm Tonya Mosley. My first guest is Kate Hudson. She's up for an Oscar for her role as Claire in the film Song Sung Blue, starring opposite Hugh Jackman as one half of Lightning and Thunder, a Neil diamond tribute band. Here they are together singing Neil Diamond's 1971 hit Solomon.

[Kate Hudson]

Take my hands with love, Walk with me this day in my heart. I know I will.

[Tonya Mosley]

If folks could see you just started singing as you were listening to yourself.

[Kate Hudson]

Oh, it's such a joyous song.

[Stellan Skarsgård]

Yeah, yeah.

[Tonya Mosley]

Kate Hudson landed the role of Clare Sardina after Hugh Jackman first saw her son on CBS Sunday morning. He had already committed to the movie, and he was so taken by her performance that he texted director Craig Brewer and said, I think I just found your Claire. She was on TV promoting her debut album, Glorious, which she began writing during the pandemic. And while Hudson is primarily known for her acting, as I was preparing for this interview, I was struck by just how often she's used her voice over the years, singing on screen in 9, performing Cinema Italiano and on television in Glee, where she played the demanding dance instructor Cassandra July. This latest Oscar nomination for best actress comes 25 years after she first earned a nod for playing Penny Lane in Cameron Crowe's Almost Famous. From there, she became one of the most recognizable romantic comedy stars in the 2000s, starring in films like how to Lose a guy in 10 days and bride Wars. Most recently, she starred in the Knives out sequel Glass Onion and the Netflix series Running Point, about a woman who inherits ownership of a professional basketball team. The show has been picked up for a second season. And Kate Hudson, welcome to FRESH air. And congratulations on your Oscar nomination.

[Kate Hudson]

Thank you. It's nice to be here. I look forward to our conversation.

[Tonya Mosley]

Yes. Well, I just had a chance to look at this Oscar nomination luncheon.

[Kate Hudson]

Yes.

[Tonya Mosley]

Where all of you all are on bleachers and it's like a class photo. It's almost like a graduation.

[Kate Hudson]

It is. It is. I remember it the first time. It's actually one of my favorite experiences. Cause I remember the first time feeling like, oh, you know, we all got to be in one room. And it's really just a bunch of people who love to make movies. It's, you know, there's nothing a lot of other people there. It's just sort of celebrating this class, this year of movies. And when you're a part of that, it's really fun. It feels, it feels really nice.

[Tonya Mosley]

You mentioned the first time, it was in 2001 where you were nominated for your role as Penny Lane in Almost Famous. I put both of those photographs side by side when I saw this most recent photograph. I mean, you're ravishing in this red outfit and you're smiling ear to ear. You're also. You have that same energy from 25 years, but there's sort of a pensiveness there in you. You know, you're the young kid on the block at that time. How did it feel with that 25 year separation being in that room and really sitting with the fact that you're there again?

[Kate Hudson]

Well, it feels different. I've been comparing it to like having my third baby. You soak in everything very differently. You take it in differently and you have so much knowledge. I mean, that was one of the great things about the Oscar nomination luncheon was I've worked with two of those costume designers. I've worked with so many people in the room. I just. You look around so many producers, like a reunion almost. Yeah. The person that was in front of me is dede. She was the executive on how to Lose a guy in 10 days. Like, you realize that you create a family that, that in this industry, it's a. And like in family, you see all of it. You see the good, you see the bad, you see the ugly. And it's an amazing, incredible, dysfunctional family.

[Announcer/Advertiser]

Yeah.

[Kate Hudson]

And then every once in a while, you get to celebrate the best of the best of the year.

[Tonya Mosley]

Well, let's get into the role that you have been nominated for. Your character, Claire Sardina, She's a real person. A hairdresser from Milwaukee who performs as a Patsy Cline impersonator by night. And she and her husband Mike create a Neil diamond tribute band called Lightning and Thunder. They're everyday people with real battles. We watch them as they recognize that within themselves and each other. And in this scene I want to play. The two of you are on a date. It's before you're married and. And you're sharing your hopes and dreams. Let's listen.

[Stellan Skarsgård]

I'm always gonna be an alcoholic, but I've been sober 20 years. That the other day it was, well, they call it a sober birthday.

[Kate Hudson]

Happy belated sober birthday.

[Stellan Skarsgård]

Here's the thing with Sobriety Yeah. You gotta face up to certain truths.

[Kate Hudson]

Way to go, Lightning. 20 years.

[Stellan Skarsgård]

All right. I'm not a songwriter. I'm not a sex symbol. But I just wanna entertain people, and I wanna make a living.

[Kate Hudson]

I know. Me too. I don't wanna be a hairdresser. I wanna sing. I wanna dance. I want a house. I want a garden. I want a cat.

[Stellan Skarsgård]

So here's what I'm thinking. I need a hook. I need something big. I need something new. And as you put it, nostalgia pays.

[Tonya Mosley]

That was my guest, Kate Hudson with Hugh Jackman in the film Song Song Blue. What was it about Claire's arc that you felt you understood?

[Kate Hudson]

Well, I think part of what's fun about what we get to do is that there's some things we don't understand, and. And we have to delve into it and try to portray something that seems further away from your real life than maybe other people would think. It's like there's not much about Claire's life that I really would personally be able to understand. The one thing that I do understand about Claire is her longing for love and family, her strong desire for community, and her love of music and her love of singing and performing. Everything else became about honoring her story and really trying to, you know, portray that as. As successfully as I could and respectfully.

[Tonya Mosley]

She has ups and downs, but, I mean, she. She really. There's a moment where she actually loses her leg. And so you had to learn how to even your body with the idea of wearing a prosthetic. She deals with depression, ups and downs, all of those things as well.

[Kate Hudson]

Addiction.

[Tonya Mosley]

Addiction as well. You chose not to meet with the real Claire, and I wondered, is that. Is there something that gets in the way of being able to explore those parts of her by not meeting her?

[Kate Hudson]

I chose not to research her personally. Right. So I have met Claire, and I've spent time with Claire, and she's amazing, and I love her, and it was great. So when we started filming, I did spend some time with her. But in the beginning, it was important for me and for Craig that you know Craig's story. You know, Craig Brewer, the director. Craig Brewer, the director. We're making this film that is a adaptation of the documentary. And he took eight years of their life consolidated into two. And. And my job as an actor is to give Craig the movie he wants. His relationship to Claire and the family is the intimate one. And for me, I think it would distract me from being able to give Craig what he needed. You know, I didn't want to challenge him. Because I had spent so much time with Claire. I want to trust my director and what his vision is for his version of their life story. And then Claire sort of came to set, and then we got to meet each other and hang out, and I'd already done all of the work, you know, and getting to know Claire after that became the validation that we were.

[Tonya Mosley]

That you were on the right track.

[Kate Hudson]

On the right track?

[Tonya Mosley]

Yeah. You know, Kate, in the intro, I mentioned that Hugh Jackman saw you singing on CBS Sunday Morning. And I know you taking on this role. The story's much more complicated than that, but the fact that he saw you and then text it to Craig Brewer, the director, I think I just found your. Claire, had anyone in the industry ever chosen you for your voice before that moment?

[Kate Hudson]

You know, I think Hugh. It wasn't about my voice as much as it is about what I was talking about and what I was saying was talking about why I had to make an album and Hugh, to speak for Hugh, you know, he would reiterate when he saw it. I was talking about my kids. I was talking about COVID and what happened when I was sort of reflecting on if I was going to die. Am I happy with my creative output? I'm very happy with myself as a mother. Like, I feel like I've hit. I've made all the right mistakes and all the wrong mistakes. I feel like I've been really great when it comes to parenting.

[Tonya Mosley]

I'll tell you, Kate, it's so refreshing to meet a woman who says that, because don't we so often, like, we're always stopping for a moment to say, I'm not sure if I was a great mom.

[Kate Hudson]

Yeah, yeah. But I like who my kids are. And so as I get to know them, I got one. An adult, as I get to know him as his own man. And as an adult, I'm really proud of myself for the work I put in for him. And I am in it with my teenager right now in the best possible way, and my young girl, seven. Like, momming is everything to me, and I'm proud of that output. Like, I put a lot into that. And so I could say, you know, during COVID if this was it, I felt confident in what I've given my kids so far. But I couldn't say that about my art. And that would be my own personal sadness and regret is that I didn't share my writings as a musician, whether people liked them or not. I just really was not happy with the fact that I wasn't brave enough to put it out there.

[Tonya Mosley]

If you're just joining us, my guest is Kate Hudson. She's nominated for an Academy Award for best Actress for her role in song Sung Blue, where she plays Claire Sardina, one half of a real life Neil diamond tribute band in Milwaukee. We'll hear more of our conversation after a short break. I'm Tonya Moseley and this is FRESH AIR Weekend.

[Announcer/Advertiser]

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[Kate Hudson]

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[Announcer/Advertiser]

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[Kate Hudson]

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[Dave Davies]

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[Announcer/Advertiser]

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[Kate Hudson]

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[Tonya Mosley]

Kate, your breakout role for which you earned your first Oscar nomination in Golden Globe win, was as Penny Lane and Almost Famous. And I actually want to play a scene from near the beginning of the film. So the young teen journalist William, played by Patrick Fugate, is at the back door of a concert and the guard is not letting him and a few young women, including your character Penny Lane, come back to the back door and start talking to William. Let's listen.

[Kate Hudson]

Penny Lane, man, Show some respect. Who are you with?

[Stellan Skarsgård]

What band? Oh, I'm here to interview Black Sabbath.

[Tonya Mosley]

I'm a journalist.

[Stellan Skarsgård]

I'm not.

[Tonya Mosley]

Not a, you know.

[Kate Hudson]

You're not a what? You're not a what?

[David Biancooli]

Not a

[Stellan Skarsgård]

groupie. Groupie.

[Kate Hudson]

We are not groupies. This is Penny Lane, man. Show some respect. Groupies sleep with rock stars because they want to be near someone famous. We're here because of the music. We are Band Aids. She used to run a school for Band Aids. We don't have intercourse with these guys. We inspire the music. We're here because of the music. You know, she was the one who changed everything. She was the one who said, no

[Tonya Mosley]

more sex, no more Exploiting our bodies and our hearts. Right, right.

[Kate Hudson]

Just. And that's it.

[Tonya Mosley]

That was my guest today, Kate Hudson in Almost Famous. That is one of the most famous scenes because, of course, you really lay out who they are and what you do and what you don't do.

[Kate Hudson]

We are Band Aids. That's right. One of my favorite things, I did this show in San Diego and, you know, girls come and they had these little signs that said, wear your band aids. And it was so cute. I loved it so much. I was like, oh, so fun. Yeah, Penny Lane, man.

[Tonya Mosley]

I mean, you've said that you didn't have to reach very far to get to Penny Lane, but what's a memory that you come back to the most in the filming of that iconic movie?

[Kate Hudson]

Oh, there's a million memories. I mean, there's no most. The whole entire experience of making that film was not only has it never repeated itself in terms of, like, experience and what that felt like, but it was so special for multiple reasons. Number one, Cameron Crowe is brilliant and an amazing person to work, amazing director to work for as an actor. Like, I couldn't have asked for, like, how lucky was I that I got to work with Cameron Crowe, like, so young on a role that was so layered, but it was his life story. So we were all, again, like, song sung blue. There was this very, like, strong intention to get it right for Cameron, and everybody was in on it. We all wanted to get it right for Cam. And so that made it very different then. It was six months. It was a long shoot. We all got to know each other very well. We had Rock School. Like, there was Rock School. Rock School was about a month before we started shooting. The band was learning how to play all the instruments, all the songs. The fictitious band and the girls were band Aids. You know, we were hanging around and we'd like, you know, get them food and, like, you know, I was, like, bringing, you know, Billy, like, you know, Billy Crudup. Billy Crudup. We would just, like, hang, you know, we'd all, like, smoke and live this alternate universe that we hadn't experienced yet.

[Tonya Mosley]

Kind of, like method acting. Preparing Rock School, preparing you for the real thing.

[Kate Hudson]

It's kind of what it was. Yeah. And we were all so young and so fun, so, you know, we were having a great time together. And then the work was intense. You know, it was big set pieces, long days, big crew. So as much fun as we were having then, we, like anything else, like, it's a job and. And hard, great work.

[Tonya Mosley]

You and your Mother. Goldie Hawn, you're known for your exceptionally close relationship, but what's it like building a career? Was there ever any tension about building a career following your mother? Like, did you ever have a moment of rebellion when you felt like, maybe I want to be or do something else? Oh, as like a young person?

[Kate Hudson]

Oh, I didn't. Honestly, there was nothing else to me, I don't know. That had nothing to do with like performing. But when I say nothing else, I mean performance. So like singing, dance, song, dance, acting, like those, those three things were just like, that's what I do. Like from very early on, if someone was like, you'd be a very good lawyer. I'd be like, in a movie.

[Tonya Mosley]

You just always knew.

[Kate Hudson]

Yeah, I always knew. Yeah. And then when you grow up in a house with parents who are not only incredible performers, but like, amazing producer. My mother's an amazing producer. Trailblazing producer. My dad is one of the great process of an actor I've ever witnessed.

[Tonya Mosley]

Kurt Russell.

[Kate Hudson]

Kurt Russell. Yep, Kurt. Kurt Russell. Let's just call him Kurt Russell. Cause it's a fun name to say. I have a friend who only calls him Kurt Russell. It's really funny. No, I call him pa. Yeah, he's my pa. But his process and what I learned from my dad growing up, I mean, he's got an incredible process, a very caring process when it comes to storytelling. So when you grow up like that and it says something that there's only one of us who's not an actor. You know, I've. My other two brothers are actors. They're also very much into storytelling, developing, writing, producing. Like that comes from what we were modeled as kids, which was people who really care about telling stories. That's. So when you see that and you're

[Stellan Skarsgård]

like, oh, so fun.

[Kate Hudson]

I mean, we were just kids making movies our whole life.

[Tonya Mosley]

I just wonder how it is to reflect now. You're an accomplished actor and a multitude of other things. There's a generation that knows you and they don't even know your mom or your dad.

[Kate Hudson]

Oh, I know.

[Tonya Mosley]

And so for you to come during this, you know, with this person who is so well known as your mother, you all also look just alike. You know, you look so similar to now being at a place where we could have had this entire conversation and I never talked about your mom, you know what I mean? Like, was there ever a moment of growing where you could see a future where that would be the case? And was that ever tension for you having such well known parents and Then stepping into a career like this, I

[Kate Hudson]

never thought of it like that.

[Tonya Mosley]

Yeah.

[Kate Hudson]

I think because we all love each other, like, we so much. The only thing for me that was really important was that I really wanted it on my own terms, so. And my son. I see my son feeling similarly right now. I think that there is a responsibility to say opportunity does come. When you grow up in Los Angeles, you got a lot of privileged kids who work in this industry who have a lot of parents with a lot of power and a lot of access. So to say that there's not opportunity is to be lying. But there's something else that comes with it when you grow up in it, which is you also, as an actor, as a performer, you have to be. You have to honor the craft and be good enough to have other people actually want to watch you. So that part requires, like, a different type of fortitude. Yeah, right. Like, it's like, going into it, it was like, okay, I just want to do this on my own terms. I know that when I walk in the room, everyone's gonna know, or maybe some of them, maybe they won't. I have a different last name. Thank God. I was so happy about that when I was younger to not have to walk in the room and be a Russell or a Han. It was nice to not have that be something where, you know, people went,

[David Biancooli]

oh,

[Kate Hudson]

so that the pressure wasn't. Didn't feel as intense. Right. But, you know, when they do know that you have to be on your game, you know, you can't, like, walk in and not know your lines or you can't, you know, which is why I worked so disciplined in everything else that I did. Like, I just wanted to do a good job. And when you grow up with parents like that, like, there's so much modeling that they did that I take with me. Right. Like, right now, I look at this Oscar nomination and I look at my mother, and it's an absolute extension of my mother. I think people who didn't grow up with a parent in the industry still feel like these moments are extensions of their parents and the gifts that they give. But I have a mom that sees me, sees all of that differently. She knows what it is. She knows what it feels like. She knows the work that goes into it, the time away from your kids that it takes. She knows how deeply I miss my kids when I'm doing these things. She knows all of it.

[Dave Davies]

Right.

[Kate Hudson]

And she knows that I know that that's what she went through. So there's this amazing connection that I get to have with my mom at this time. She's 80, I'm 46. Like, how lucky am I that I get to really share that experience with her in that way? I feel very, very blessed to like have my mom and Kurt be the people that like

[Tonya Mosley]

and set the model for you.

[Kate Hudson]

Yeah. And yeah.

[Tonya Mosley]

Kate Hudson, it's been a pleasure to learn more about you and to have this conversation. Thank you.

[Kate Hudson]

This is so nice.

[Tonya Mosley]

Kate Hudson is nominated for an Academy Award for Best Actress for her role in the film song sung blue. Sir Paul McCartney is the subject of a new documentary on Prime Video, but unlike recent films, this one isn't about his years with the Beatles. Instead, it's about his first decade without them. Our TV critic David Biancooli has this review.

[David Biancooli]

Yes, there have been plenty of Beatles related documentaries in the past decade or so, and yes, I've reviewed most of them. But in my defense, the Beatles are a great subject musically and biographically, and the best filmmakers are drawn to them. Peter Jackson gave us the Get Back documentary miniseries and the latest installment of the Beatles Anthology. Ron Howard directed Eight Days a Week about the group's touring years. Martin Scorsese directed Living in the Material World, his two part biography of George Harrison. All of them were terrific and all of them were made by Oscar winning directors. Documentary filmmaker Morgan Neville, who won an Oscar for his film about backup singers 20ft from stardom, has joined that club. He's already directed outstanding biographies of everyone from Johnny Cash and Anthony Bourdain to Steve Martin and Fred Rogers. And now Prime Video is premiering his latest documentary, man on the Run, about former Beatle Paul McCartney. And the word former is key here. While brief, artful montages encapsulate the frenzy and impact of Beatlemania, man on the Run is focused on the decade immediately afterward, the 1970s specifically. It spans the period from when McCartney left the Beatles to when his former bandmate John Lennon was shot and killed. Neville conducted many lengthy new interviews with McCartney but uses only the sound. Virtually all the footage in man on the Run is vintage, so there are no white haired rock stars in sight. But because McCartney is an executive producer and has provided a stunning amount of previously unseen private footage, there's lots of fresh stuff to here. The danger of McCartney having such input, though, is of man on the Run becoming too sanitized as a personal biography. But it's not. The Decade covered includes McCartney announcing the breakup of the Beatles, his very public musical feud with Lennon, the formation of McCartney's post Beatles band, Wings, even the Paul is dead rumor. And in these new interviews, McCartney seems to be speaking honestly not only about what happened, but how he felt about it all. On the Beatles breakup, for example, it was McCartney who announced it publicly, but it was Lennon who already had left the group.

[Stellan Skarsgård]

John had come in one day and

[Dave Davies]

said he was leaving the Beatles. He said, it's kind of exciting. It's like telling someone you want a divorce. But I was thinking, what do I do now? Because it'd been my whole life, really. You know, I'd had growing up, going to school and then becoming the Beatles. It was a puzzle I had to kind of unravel.

[David Biancooli]

Paul's reaction at age 27, was to retreat with his wife, photographer Linda Eastman, and family to a remote property he owned in Scotland. In a vintage interview, she recalls his out of the blue suggestion.

[Kate Hudson]

He said, I've got this farm. I know you won't like it, but it was so beautiful up there. Way at the end of nowhere,

[Stellan Skarsgård]

civilization dropped away. It was quite a relief.

[David Biancooli]

Man on the Run does rely on other voices and perspectives to defend some of McCartney's infamous actions during this period. John Lennon's son Sean, for example, excuses Paul's stunned, understated reaction to John's death when asked by reporters. Paul called it a real drag as having been in shock. And John himself, in an interview filmed years after the Beatles breakup, admits that Paul was right in hating and suing the manager that John had brought in to handle the group at the time. John and Paul even attacked one another in songs. And in a new interview, Paul is very open about how much that stung.

[Dave Davies]

The only thing you did was yesterday was apparently Alan Klein's suggestion. But the back of my mind, I was thinking, but all I ever did was yesterday. Let it be long windy road. Ellen Rigby later, Madonna. You, John,

[Kate Hudson]

how do you sleep?

[Dave Davies]

How do I sleep at night? Well, actually, quite well.

[David Biancooli]

That same refreshing honesty extends to other key moments. The formation of his group Wings, and recruiting Linda as its first charter member. His jail time in Japan for bringing pot into that country. Even the time Lorne Michaels on Saturday Night Live jokingly offered the Beatles a ridiculously small check if they would reunite on his show.

[Announcer/Advertiser]

Now here it is, as you can

[Kate Hudson]

see, a check made out to you. The Beatles. For $3,000, all you have to do

[Stellan Skarsgård]

is sing three Beatle tunes. She loves you.

[Kate Hudson]

Yeah, yeah, yeah. That's $1,000 right there.

[Dave Davies]

Me and Linda were over to John's apartment in the Dakota. He said, oh, this is a big show. Over here. Saturday Night Live.

[Announcer/Advertiser]

In my book, the Beatles are the

[Stellan Skarsgård]

best thing that ever happened to music.

[Kate Hudson]

It goes even deeper than that. You're not just a musical group, you're a part of us.

[Stellan Skarsgård]

We grew up with you.

[Dave Davies]

We got kind of excited. We just go down. We show up, hey, it's Saturday Night Live. But it was like, why? You know, I mean, it'd be great for them. Would it be great for us? We've come full circle and now we're off on another journey. So we just decided to just have another cup of tea and forget the whole idea.

[David Biancooli]

Man on the Run is more about the man than it is about his creative process. But his music runs all through the documentary, and it all adds up to an impressive, inspirational second act.

[Tonya Mosley]

David Biancooley is Fresh Airs TV critic. He's currently working on a book about the visual artistry of the Beatles. Coming up, we hear from Swedish actor Stellan Skarsgrd. He's been nominated for an Oscar for his new film, Sentimental Value. This is FRESH AIR weekend.

[Announcer/Advertiser]

This message comes from Sports in America with David Greene. The world of sports is filled with stories that go beyond the highlights of the game. Join former MORNING Edition host David Green for Sports in America from whyy and prx, a weekly show featuring in depth conversations with star athletes, coaches, parents and the millions of f whose lives are touched by the game. Hear about the personal and transformative moments that make fans want to stand up and cheer each week on Sports in America with David Green. Listen wherever you get your podcasts. This message comes From NPR sponsor NetSuite. Every business is asking the same question, how did they make AI work for them? With Netsuite by Oracle, you can put AI to work. Today, NetSuite is the number one AI Cloud ERP, trusted by over 43,000 businesses. It's the unified suite that brings your financials, inventory, commerce, HR and CRM together. If your revenues are at least in the seven figures, get the free business guide demystifying [e-mail] story.

[Tonya Mosley]

Dave Davies has our next interview.

[Dave Davies]

Our guest today, Swedish actor Stellan Skarsgrd, has had a long and interesting career, which only seems to get more interesting with age. Now in his 70s, he's just earned a Golden Globe Award and an Oscar nomination for best supporting actor for his performance in the widely acclaimed film Sentimental Value from the Danish Norwegian director Joachim Trier. This surge in Skarsgrd's fortunes comes four years after he suffered a stroke which left him struggling to memorize his lines. He found a workaround which we'll talk about. And that enabled him to continue to play roles he'd begun in the science fiction movie series Dune and the Star wars spin off TV series andor as well as the film Sentimental Value. Skarsgrd began acting as a teenager and has appeared in more than a hundred movies, from independent European films like Breaking the Waves and Melancholia to commercial Hollywood fare such as the Hunt for Red October, Pirates of the Caribbean and Mamma Mia. He's also found time to raise eight children from two marriages. Five of those kids are also professional actors. The best known in the United States are his sons, Alexander. And Bill Skarsgrd will find out if he's an Oscar winner at the awards ceremony March 15. He spoke to me last week from a studio in London. Stellan Skarsgrd, welcome to FRESH air.

[Stellan Skarsgård]

Thank you very much.

[Dave Davies]

In this film Sentimental Value, you play Gustav Borg. He's a famous director and it's about his family relationships. He's the target of a lot of anger from one of his daughters because she says he wasn't around. Being in the movie business can mean you're away a lot. And this daughter is also a successful actress herself. There's an obvious parallel here to your own life. I mean, you're in the movie business and a lot of your children are actors. I know you've been asked this a lot, but to what extent when you read this script, did you identify with this character?

[Stellan Skarsgård]

Not at all. He's from a different generation. He's a different kind of father than I am. Of course, the conflict between working as an artist and combining that with a personal life is difficult. And those problems I have, but that goes for every artist. But I didn't think I had anything to do with the role at all. So I did the entire film as if it was a stranger I was doing. But then my second son Gustav said to me, after having seen the film that he liked very much, that he said to me, do you recognize yourself? And I went, no. And he said, look again. And even if I was at home basically 8 months of 12, I only worked 4 months a year since 1989. If I was at home 8 months a year, I wasn't enough home for him. So I started to thinking about it. What became clear to me is, I mean, I have eight children, so I have eight different needs. Some children need me a lot and some don't need me at all. So you can't get it right as a parent.

[Dave Davies]

I read that the director Joachim Trier. You talked about this, I guess, a year before you started shooting, and he kind of crafted the script for you. Is this true?

[Stellan Skarsgård]

Yeah, he wrote it for me, yeah. Not of service to me, but he was thinking of me when he was writing it. He and the writer, Eskt. He says that it was. The role was such a bad guy that he needed someone nice to do it. So it was a. It was a flattering way of putting it.

[Dave Davies]

Yeah. Is he a bad guy? Gustav, your. Your character?

[Stellan Skarsgård]

I don't believe in bad guys. No?

[Tonya Mosley]

No.

[Stellan Skarsgård]

I mean, the monster that I did in. In Dune was a bad guy. You might say that. But in, like, human beings, we have problems because they are nuanced. Real, real humans. And they. They are. They're flawed, they're sad, and they're comic, and they're everything.

[Dave Davies]

Right. And the gulf between Gustav and his daughter is bridged as the movie eventually reaches its climax. It's quite well done. I wanted to talk about this stroke that you had that you suffered, I guess, in 2022. Right. If you're comfortable, could you just tell us what happened when this occurred?

[Stellan Skarsgård]

Well, I just got a stroke. I mean, my wife sort of noticed something on me, and my son, who was a doctor, he said that you should go to the hospital. And it was a stroke. It was rather mild stroke. I lost some muscles in my right side of my body, and I lost something. Some part of my brain I have a bigger problem with. If I'm presenting a long thought chain, like if I'm having a political discussion or anything. I mean, I lose my bearing in the middle of it and just go quiet. But other than that, maybe some balance problems, but other than that, I was fine.

[Dave Davies]

Well, of course, the problem, as I understand it, that you faced with your career was that you. You couldn't really learn lines as you did before, and you found a way to kind of work around this. Tell us what you did, how you got there.

[Stellan Skarsgård]

Well, the thing is, I've always had difficulties learning lines in a way, if I didn't sort of have them tailored to my feelings. But the way I totally forgot lines immediately now. And I discovered that I sort of was lying in bed in a hospital, and I was trying to test myself if I could remember the lines. And I sort of. I took a book and I read something and I closed the book, and I didn't remember it. So I called from the hospital. I made a call to Tony Gilroy, who was the showrunner and writer of Andor. I was in the middle of Doing them. I had done the first episodes and I hadn't done the second season. And I also owed Denise Villeneuve, who was going to do Dune 2, a phone call. And I talked to them and I said, I cannot remember anything, any lines. And they said, don't worry, we'll fix it. And they said, take it easy. Come in and do what you need to. And I did. And there's a lot of actors that are actually using this technique, which is an earpiece and a prompter. But I found it rather difficult, if you wanted to be precise in terms of rhythm.

[Dave Davies]

Yeah.

[Stellan Skarsgård]

And of the rhythm of the scene. And to me, rhythm is very important because you use it as a tool, the way the rhythm you make in the scene. And I had to have the guy, the prompter, put his lines on top of my fellow actor.

[Dave Davies]

So, just so we understand this, I mean, you have a little earpiece, right. And it's not a recording of the lines, it's a live prompter who is saying these lines as you're in the scene, often speaking at the same time as your fellow actors.

[Stellan Skarsgård]

Yeah, that's true. He has to speak at the same time, or she has to speak at the same time as the other actors for me to be able to put the cue where I want.

[Dave Davies]

Right.

[Stellan Skarsgård]

So I'm listening to him, and I'm listening to the fellow actor, and then I react to the fellow actor's line. I don't react to the prompter, but I take the text from the prompter and say it. So it's quite complicated in terms of simultaneous work. It's kind of complicated, but it's feasible, and we did it. So I don't think there's any trace of the stroke in my work.

[Dave Davies]

Are you surprised by the tremendous response to sentimental value this film?

[Stellan Skarsgård]

I mean, the power of the response? I am surprised by. You can't anticipate that because it's fantastic. I mean, the audience response, it appeals to, obviously, everybody, from children to old people, because everybody has a family member or are in a relationship to some family member. That is sort of reflected in the film. But it's also. It's a very light film. It deals with serious problems and it deals with them seriously. And don't take them light, but the film itself is very, very light. It's like light as a feather.

[Dave Davies]

Let's talk a little bit about your life here. I understand you did your first acting as a teenager, a Swedish TV series called Bomby Bit and me, you played a character named Bondi, who have I've seen a little video of this. Unfortunately, there was no translation, so I don't know what you were saying, but it's kind of like a Huckleberry Finn character. A guy with a straw hat with a lot of moxie, more or less. Right. And it was a hit. Right? You were well known.

[Stellan Skarsgård]

Yeah. I mean, we had. We had. It was a TV series and we had one channel to choose between. Everybody choose it. So everybody saw it. So it was. It became very famous as a 16 year old. But I've done theater before and I've done sort of amateur theater and I've done also professional theater before I did that.

[Dave Davies]

Okay, so what did. Being famous at 16, I assume this meant people would recognize you on the street and that kind of thing. What effect did that have on you and your life?

[Stellan Skarsgård]

Well, you can say that child actors, they can either succumb to the pressure and the sort of loss of anonymity can turn out really bad, or you can survive it. And it turns out pretty well. And I had very, very thoughtful and brilliant parents who sort of made sure that my head didn't get too big and that I was grounded as a person.

[Dave Davies]

Do you remember how they did that?

[Stellan Skarsgård]

Well, they pointed out to me how different I was from my Persona, my public Persona. And the important thing is don't get that difference between your public Persona and yourself too big, because that's when it happens, when it goes wrong.

[Dave Davies]

Right. You were in Good Will Hunting, which was directed by Gus Van Sant. This was the film set in Boston, written by Ben Affleck and Matt Damon. And I wanted to play a clip here. The story people will remember is about these young friends in Boston who are working class guys. They're kind of brawlers, they like to drink at bars. But one of them, the Matt Damon character, is a janitor in a college and is also a savant, brilliant at math and whatever. You, Stellan Skarsgard, play a math professor who want to get this brilliant young man to work with you, but he's in jail because he got into a fight and punched a police officer. And you've gotten the court to agree to release him to study, provided he sees a therapist. So in this scene we're going to hear you have come to a psychiatrist, played by Robin Williams, who you have a history with, to see if he will agree to see the young man. And the psychiatrist is reluctant and he speaks first. Let's listen.

[Stellan Skarsgård]

I've got a full schedule.

[Kate Hudson]

I'm very busy.

[Stellan Skarsgård]

This boy is incredible. I've Never seen anything like him. What makes him so incredible, Jerry? Ever heard of Ramana, John?

[Announcer/Advertiser]

Yeah. No.

[Stellan Skarsgård]

It's a man. He lived over 100 years ago. He was Indian and he lived in this tiny hut somewhere in India. He had no formal education. He had no access to any scientific work. But he came across this old math piece. And from this simple text, he was able to extrapolate theories that had baffled mathematicians for years. Continued fractions.

[Kate Hudson]

Yeah, he wrote it with a.

[Stellan Skarsgård]

Well, he mailed it to Hardy in Cambridge. And Hardy immediately recognized the brilliance of his work and brought him over to England. They worked together for years creating some of the most exciting math theory ever done. This Romano.

[Announcer/Advertiser]

John.

[Stellan Skarsgård]

His genius was unparalleled. Sean, this boy is just like that. But he's. Tom is a bit defensive and I need someone who can get through to him. Like me? Yeah, I like you. Why? Well, because you have the same kind of background. What background? Oh, you're from the same neighborhood. He's from Southie.

[Kate Hudson]

Yeah.

[Stellan Skarsgård]

Boring genius from Southie.

[Kate Hudson]

How many shrinks you go to before me?

[David Biancooli]

Five.

[Stellan Skarsgård]

Let me guess. Barry?

[Kate Hudson]

Yeah.

[Stellan Skarsgård]

Henry? Yeah. Not Rick. Sean, please, just meet with him once a week.

[Kate Hudson]

Please.

[Dave Davies]

And that's our guest, Stellan Skarsgard. And Robin Williams in the film Good Will Hunting. What was it like working with Robin Williams on this set?

[Stellan Skarsgård]

Yeah, it was fantastic. I mean, he was a very nice man and. And a very gentle man, but he also. He had like three brains going on at the same time wildly. And he was very funny and he was improvising. He improvised every scene. We had to do some extra takes because he had to get his versions out of his system. But the improvisation was also good for us all. I mean, you had to follow him wherever he went. And also he would follow you wherever you went. And everything became very different from the previous take because of Robin leading you to somewhere that you didn't expect to end up. But what Gus Van Sant got out of it was he got extremely vivid takes and different temperatures in the takes, and he got aggression in some takes and sort of niceness in some takes. And he could cut it, those takes into any kind he wanted. When he was editing, he could take the film where he wanted.

[Dave Davies]

Did you find it challenging to deal with that kind of fast paced improvising from Robin Williams? Had you done that before?

[Stellan Skarsgård]

No, and I'm not good at improvising. I did once. Once I was in Toronto at the film festival and Mike Figgis come up to me and he says, stellan, I'd like to Do a movie with you? Yeah.

[Dave Davies]

Yeah.

[Stellan Skarsgård]

Cool. And it will be improvised in one take. That is my worst nightmare. So I said yes. And it's called Timecode. It's a very interesting film. You should see it if you can.

[Dave Davies]

It says something about you that you pitched this idea and it kind of terrified you and you said, sure, let's do it.

[Stellan Skarsgård]

Yes. It's like with Mamma Mia.

[Dave Davies]

Well, I was just going to bring that up. That's the musical where you sing and dance with. With Pierce Brosnan and Colin Firth. Did you have any singing and dancing experience?

[Stellan Skarsgård]

No, I can't sing, I can't dance.

[Dave Davies]

But you did.

[Stellan Skarsgård]

Yeah, I had to.

[Dave Davies]

And were you happy with the result?

[Stellan Skarsgård]

The thing is that Mamma Mia. They don't need those three men to be able to sing or dance. All the girls are good at singing and dancing and they just want three bimbos to look pretty, be funny and be sexy.

[Dave Davies]

Yeah. There's a lot of fun video you can find on YouTube of you and these other two men in the studio singing these songs, which are songs by abba, which are, you know, not the easiest, and just throwing yourselves into them, and it's a lot of fun to watch.

[Stellan Skarsgård]

Yeah, well, I don't know. I haven't seen them, so. But, I mean, I was terrified. And we were all. All three of us were terrified. We got to that studio and we met Bjorn and Benny that had made all this, all these songs. And they're very good musicians and they were so nice to us, but we were so frightened. We didn't know how to get it started. But they encouraged us and we threw ourselves into it. We felt that they can always fix it afterwards.

[Dave Davies]

Right? Trust the director, trust the process. All right. Stellan Skarsgard, thank you so much for speaking with us.

[Stellan Skarsgård]

Thank you very much. It's been a pleasure.

[Tonya Mosley]

Stellan Skarsgrd is nominated for an Oscar for his performance in the film Sentimental Value. He spoke with Dave Davies. Fresh Air Weekend is produced by Teresa Madden. Fresh Air's executive producer is Sam Brigger. Our technical director and engineer is Audrey Bentham with Terry Gross. I'm Tanya Mosley.

[Kate Hudson]

This message comes from Capella University. That spark you feel, that's your drive. For more. Capella University's Flexpath learning format lets you earn your degree at your pace without putting life on pause. Learn [e-mail]. this message comes from Midi Health introducing Agewell Longevity Care, designed by women for women. Whether you're looking to prevent future health issues or just feel more like yourself. Learn [e-mail] that's joinmidi.com this message comes

[Announcer/Advertiser]

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