Introducing: Talking Pictures from TCM and Max

Summary

The Plot Thickens: Introducing “Talking Pictures” with Nancy Meyers

Podcast Information:

• Title: The Plot Thickens
• Host: Ben Mankiewicz (TCM)
• Episode: Introducing: Talking Pictures from TCM and Max
• Release Date: February 9, 2024

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Overview

In the inaugural episode of “Talking Pictures,” a spin-off podcast from Turner Classic Movies (TCM) and the streaming service Max, host Ben Mankiewicz engages in an in-depth conversation with acclaimed writer-director Nancy Meyers. The episode delves into Meyers' illustrious career in romantic comedies, her casting philosophies, memorable anecdotes from her films, and her personal reflections on beloved movies. Structured to provide both insightful discussions and personal insights, this episode serves as a comprehensive introduction to Nancy Meyers' contributions to modern cinema.

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Main Interview with Nancy Meyers

Casting: The Cornerstone of a Great Film

Ben Mankiewicz opens the dialogue by emphasizing the critical role of casting in filmmaking. Nancy Meyers concurs, stating, “I don't think there is [something] more important than picking the right actor for the role” ([05:58]). She elaborates on her fascination with casting decisions, often reminiscing about actors who were initially considered but ultimately did not make the final cast. A notable example she shares involves Sunset Boulevard, where Montgomery Clift was originally slated to star but withdrew weeks before shooting began ([06:34]). “Impossible, right?” Ben muses, highlighting the challenges and unpredictability of casting ([07:28]).

Behind the Scenes of “Something’s Gotta Give”

Meyers recounts the casting process for her 2003 hit, Something’s Gotta Give. She reveals that Jack Nicholson was her first choice for the lead role, explaining, “He was my first choice” ([10:26]). Despite initial hesitations from co-star Diane Keaton, who doubted Nicholson’s fit, Meyers persisted. Their collaboration blossomed from a personal friendship, leading to a chemistry that defined the film. A particularly touching moment occurs when Meyers discusses pitching the idea to Nicholson’s lawyer and the subsequent enthusiastic response from Nicholson himself ([14:48]).

Eli Wallach’s Memorable Presence in “The Holiday”

Transitioning to her 2006 film, The Holiday, Meyers highlights the indispensable role of Eli Wallach. Reflecting on his contribution, she notes, “He has always been memorable no matter how much screen time he got” ([18:08]). A delightful anecdote unfolds when Wallach makes an unplanned cameo during filming. His spontaneous rendition of “Mrs. Robinson” not only brought laughter to the set but also seamlessly integrated into the movie’s narrative, underscoring Meyers' ability to blend professional and personal relationships on set ([22:00]).

Navigating Directorial Challenges and Industry Dynamics

Meyers candidly discusses the fluctuating reception of her films, particularly The Holiday. Although initially underperforming, the film experienced a resurgence during the pandemic era, leading to a broader appreciation among audiences ([23:18]). She attributes part of the criticism of romantic comedies to societal perceptions, suggesting that the term itself can be dismissive: “It's probably because some people don't like the word romance because it sounds schmaltzy” ([25:13]). Meyers defends her genre by highlighting its rich history and the intelligent dialogue akin to classics like North by Northwest and The Philadelphia Story ([26:24]).

The Impact of Billy Wilder on Nancy Meyers

A significant portion of the conversation centers around Meyers' collaboration with the legendary Billy Wilder. She shares fond memories of working alongside him on Baby Boom, detailing Wilder’s unique approach to storytelling and script refinement. One amusing instance involves Wilder insisting on including a fart joke in the script, demonstrating his blend of dark humor and practicality: “he said, if you just can get the baby to pass wind, you will make me very happy” ([34:57]). Despite creative disagreements, Meyers appreciates Wilder’s mentorship and the invaluable lessons learned during their collaboration ([32:50]).

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Super 8: Personal Insights from Nancy Meyers

In the “Super 8” segment, Ben poses a series of eight curated questions to Meyers, offering listeners a glimpse into her personal tastes and experiences with cinema.

1. Most Memorable Movie-Watching Experience:
   “The Exorcist” stands out as a profound memory for Meyers. She recounts watching it alone on a rainy afternoon in Los Angeles, an experience so intense that she fled the theater immediately afterward ([45:12]).

2. Favorite Films to Rewatch:
   Meyers lists The Apartment, North by Northwest, Rear Window, and Love in the Afternoon as films she revisits regularly, appreciating their timeless storytelling and direction ([45:48]).

3. Movie to Show a Potential Date:
   She chooses Day for Night, a behind-the-scenes look at filmmaking, aligning with her passion for the craft and offering a heartfelt portrayal of the industry ([46:19]).

4. High School Favorite:
   A Man and a Woman was Meyers’ first exposure to French cinema, profoundly influencing her perception of love and storytelling ([46:52]).

5. Most Loved Movie in High School:
   The emotional depths of A Man and a Woman provided a sense of hope and inspiration during her teenage years ([47:11]).

6. Defending a Favorite Film:
   Meyers passionately defends Paddington 2, praising its craftsmanship, humor, and heartfelt narrative, despite its classification as a children’s movie ([48:08]).

7. Top Movie Recommendation:
   Depending on the viewer’s context, she recommends classics like Modern Times by Charlie Chaplin, marveling at its enduring brilliance ([48:59]).

8. Movie that Makes Her Cry:
   Planes, Trains and Automobiles consistently brings tears to Meyers' eyes, particularly cherishing the poignant moments involving John Candy’s character ([49:53]).

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Final Thoughts and Closing Remarks

As the episode concludes, Ben reflects on the wealth of insights shared by Nancy Meyers, emphasizing the enduring relevance of her storytelling and the deep connections she forms with her cast and crew. The conversation not only highlights Meyers' professional achievements but also her personal love for cinema and the emotional resonance movies hold in her life.

Ben teases upcoming episodes featuring notable filmmakers such as Alexander Payne, Mel Brooks, Emerald Fennell, and Steven Soderbergh, promising listeners a continued exploration of cinematic memories and behind-the-scenes stories.

Notable Quotes:

• Nancy Meyers on casting: “I don't think there is [something] more important than picking the right actor for the role.” ([05:58])
• Meyers on The Holiday's resurgence: “I think during the pandemic and the pre-pandemic couple years, it just sort of got rediscovered.” ([23:34])
• Reflecting on Billy Wilder’s influence: “He’s a fantastic storyteller.” ([32:55])
• Defending romantic comedies: “There are movies that aren't about men, primarily mine happen to have a lot of men in them, but primarily they're not about men.” ([26:24])

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Conclusion

The first episode of “Talking Pictures” successfully sets the tone for a series dedicated to exploring the intricate tapestry of filmmaking through conversations with influential industry figures. Nancy Meyers’ candid discussions offer listeners both a professional and personal understanding of what it takes to create memorable romantic comedies and the enduring impact of effective casting and storytelling. As the season progresses, audiences can anticipate more enriching dialogues that celebrate the art of cinema.

Transcript

[Ben Mankiewicz]

Not all meals are created equal. For instance, breakfast has the spicy egg McMuffin for a limited time and lunch doesn't. McDonald's breakfast comes first. This message is sponsored by Greenlight. With school out, summer is the perfect time to teach our kids real world money skills they'll use forever. Greenlight is a debit card and the number one family finance and safety app used by millions of families helping kids learn how to save, invest and spend wisely. Pay parents can send their kids money and track their spending and saving while kids build money, confidence and skills in fun ways. Start your risk free Greenlight trial [e-mail] Spotify that's greenlight.com Spotify Hey, Ben, here. We're hard at work on the next season of the Plot Thickens. But right now I want to tell you about my other podcast. Because in America, if you only have one podcast, you're doing it wrong. The other one's called Talking Pictures, a Movie Memories Podcast. And as the name implies, I get to sit down with some of the most creative people in Hollywood and do what I like to do best, talk about movies. I spoke with people like Mel Brooks and Steven Soderbergh, finding out which films shaped them, made them, who they are today. The episode I'm going to play for you now features writer director Nancy Myers. We met at her home. It's a lovely home. Not surprising. We talked about casting. Nancy has cast some of the biggest stars of this era. Jack Nicholson and Diane Keaton, Steve Martin and Meryl Streep. We talked about what she learned from Billy Wilder. Also the famous look of her movies that Nancy Myers look. We also discussed the movies she loves and the movie that terrifies her. I'm excited for you to hear it. And when you're done, find Talking Pictures wherever you get podcasts and give it a follow. That way you won't miss a single episode. All right, enough of the intro. Here it is from Turner Classic Movies and Max, the very first episode of Talking Pictures. Hey, it's Ben Mankiewicz. Hi, I'm Ben Mankiewicz. Welcome to tcm. Hi, I'm Ben Mankiewicz. Thanks for staying up late with us on Turner Classic Movies. I've been a host on Turner classic movies for 20 years now, and I have to tell you, it's still thrilling to talk to people about movies, to hear what they like and what they don't like, to find out what was going on in their lives when a particular film became important to them. So I thought, why not have more of those conversations? Why not have a podcast. Everyone else has one. Why can't I? Why not sit down one on one with the most creative people in Hollywood and asked them about their lives, asked them about the movies that matter to them. So I did. Put away the suit and the pocket square and the TV makeup, put on my boots. TCM fans know the boots I'm talking about got my hair right. I'm kidding. My hair is always right. Listeners will come to understand my hair. It's kind of a big deal. It is responsible, I believe, for 63% of my success in this business. Okay, enough about my hair. It's all you guys talk about anyway. I went to people's homes. I went to their offices. No cameras, no press, just me and my guest. Talking Pictures. I'm your host, Ben Mankiewicz, and this is Talking Pictures, a podcast about movies, about memories, and about all the stuff that happens in between. Turner Classic Movies makes this podcast with the streaming service Max, where you can see many of the movies mentioned in this episode. I'm especially excited about our first guest. She's written and directed some of the most well liked movies for grownups over the last 30 years. Something's got to give. It's complicated. The holiday. Of course, I'm talking about Nancy Myers. Nancy is known for her sharp scripts, but in recent years she's also become known for the interior settings where her characters live. That focus on the decor in her movies. A irritates her and B, has become a trend on social media. The hashtag NancyMeyers aesthetic has more than 27 million views on TikTok. About that, I don't have TikTok. Moreover, I can't spell aesthetic without Googling it, but people post videos of like a large white kitchen or an elegant dining room with a big wooden table and tons of natural light. And they'll label it Nancy Meyer's aesthetic. Tonight show host Jimmy Fallon and country singer Chris Stapleton even created a skit about it. Chilled wine, roast chicken, sitting down the island in a beautiful kitch. Big windows, strong women, scarves, cashmere. And the pants are linen. Thing is, Nancy Myers is one of the most successful romantic comedy writer directors of her time. Full stop. She routinely works with the biggest stars in Hollywood. Meryl Streep, Robert De Niro, Steve Martin, Jack Nicholson. That didn't happen because of how she designs her sets. Nancy invited us to her home in Los Angeles. Where are we right now? Just in general.

[Nancy Meyers]

Where are we right now? We're in the dining room of my house.

[Ben Mankiewicz]

That's it. That's what we're looking for. Have you lived.

[Nancy Meyers]

Did I answer that correctly?

[Ben Mankiewicz]

Correct. That's right. She's one for one. You've lived here how long while I've lived here?

[Nancy Meyers]

25 years.

[Ben Mankiewicz]

And I know what you're thinking. Yes, it's a nice looking house. We began by talking about the one thing Nancy feels makes or breaks her movies. Casting. Casting. Is there a more important part, you know, once you've written the screenplay? Is there a more important part than picking the right actor for the role?

[Nancy Meyers]

I don't think there is, no. I think, yeah, some people think it's all the script and actors, but that is most of it. I'm always interested to hear who was once going to be in a movie.

[Ben Mankiewicz]

Oh, it's the favorite thing that we do on tcm.

[Nancy Meyers]

What do you mean? You go, are you mobile? You go back always and talk about. Yes.

[Ben Mankiewicz]

Yeah. Like you think that this actor is so perfect for this. But they were the fifth choice.

[Nancy Meyers]

Well, Montgomery. Yes, I know, but isn't it crazy how it can work out? So Montgomery Cliff was supposed to be on Sunset Boulevard. You know that.

[Ben Mankiewicz]

Not off the top of my head, no.

[Nancy Meyers]

I think it was just a few weeks before shooting. He backed out. His agent had told him, this is according to this fabulous book written by Charles Brackett about his work with Billy Wilder. So it was just a few weeks before shooting and his agent said, you don't want to be in a movie where you're having sex with this older woman. This is not good for your career. So he listened and he backed out. And they went to somebody else. They went to somebody else. And William Holden was under contract to Fox or something, had made just one movie. Can you picture the movie without his voice or him?

[Ben Mankiewicz]

Crazy.

[Nancy Meyers]

Impossible, right?

[Ben Mankiewicz]

Impossible. When we play this casting game at tcm, I always think about one of my favorite journalism movies. Howard Hawks's 1940 screwball comedy, his Girl Friday, starring Cary Grant and Rosalind Russell. I brought it up with Nancy. How much do you love His Girl Friday?

[Nancy Meyers]

I couldn't love it more. I couldn't love it more. I think the scene when she comes to his. Comes to his office to say she's getting married is one of the great scenes in movies between exes, between a man and a woman in a work environment. It's everything. It's everything.

[Ben Mankiewicz]

Forget the other offer. I'll raise you 25 bucks a week.

[Nancy Meyers]

Listen to me, you great big bumble headed bamboo. 35 bucks, not a cent more.

[Ben Mankiewicz]

Are you gonna listen? Well, good grief.

[Nancy Meyers]

How much is that other paper gonna pay you? There isn't any other paper. Oh, well, in that case, I'll raise it off, you go back to your old salary. I'm like, how do you like that? Trying to backjack me. Hold on, I want to show you something.

[Ben Mankiewicz]

I'm busy here. It's a ring. Take a good look at it.

[Nancy Meyers]

You know what it is? It's an engagement ring. I tried to tell you right away, but you would start reminiscing. I'm getting married, Walter. And I'm also getting as far away from the newspaper business as I can get.

[Ben Mankiewicz]

She was, I believe, the eighth. No, eighth name almost every.

[Nancy Meyers]

But there can't be seven people that could have been right for that, let alone eight.

[Ben Mankiewicz]

But, you know, Lombard first. But she was priced out at that point, you know, too expensive. And I'm gonna leave some out. Irene Dunn, of course. Right, yeah, makes sense. And some of them, you know, busy, couldn't do it. Didn't align right. But it's eight. And she knew. Roz Russell knew and was like, she killed it. I also don't care. Like, I want it. I'm eighth. Let's go. It's come to me. I'm gonna do it.

[Nancy Meyers]

Right. Right. And I have written for people and didn't get them. Knock wood. I have gotten them, but there's a couple times when I haven't. And then afterwards, I can't picture the original person in it.

[Ben Mankiewicz]

Myers ended up getting the actors she wanted for the 2003 film Something's Gotta Give. It stars Jack Nicholson as a wealthy 60 something New Yorker who's become known for dating women less than half his age. Diane Keaton is a successful playwright. Nancy had worked with Keaton several times before. In this scene from Something's Gotta Give, their characters meet for the first time with Keaton finding Jack, a stranger in her kitchen.

[Nancy Meyers]

No.

[Ben Mankiewicz]

Oh, God.

[Nancy Meyers]

Okay, you stay where you are.

[Ben Mankiewicz]

I am gonna dial 911 and you are not gonna move. No, no, you don't understand. I'm a friend of your daughter's. Yeah, I don't think so. My daughter is in the city. And you, what, you like, wandered in here high on ecstasy? Honestly? Hello? Yes. Yes, I have an intruder in my house.

[Nancy Meyers]

29.

[Ben Mankiewicz]

Daniel Zane, Sagaponic. You're dating your daughter? Maren. You're dating my daughter. Now, who would have thought that would be worse news? So let's talk about Something's Gotta Give and Jack Nicholson.

[Nancy Meyers]

He was my first choice.

[Ben Mankiewicz]

And you didn't. You hadn't you didn't know him well or not well. Right.

[Nancy Meyers]

Is a double date still a thing? I had been on a. Is that a thing? I had been on a double date. I was out with Harry Gittes. You know the name Gittes?

[Ben Mankiewicz]

Yeah, sure.

[Nancy Meyers]

Mr. Gittis. You know that name. And he's best friends with Jack, and we went out with Jack and Angelica to a movie. But I was in my.

[Ben Mankiewicz]

What movie?

[Nancy Meyers]

Okay, the movie was Harry and Walter Go to New York.

[Ben Mankiewicz]

Not the answer I thought we were looking for. Is that Ellie Gould and James Caan?

[Nancy Meyers]

That's correct. And Diane.

[Ben Mankiewicz]

Oh, right. And Diane.

[Nancy Meyers]

Yeah. And when we left, Jack said, let's go over to Elliot's house. So, of course I'm dying. Just the whole. The whole car ride, everything was crazy. It was so exciting. And we went over to Elliot's house, and he wasn't home. And we all left notes on his door. I remember that Jack wrote a note. I said, do you want me to write a note? Like, why would he want my opinion of what I thought? But. But, you know, I was in my. How old was I then? I know how old I was. Late 20s, 30, and I was 50 something when I went to him with these. Atticus. So I don't even think I told him about that till after we knew each other. But, yes, I didn't know him, but of course, I love. I love him now. I loved him then. I've always loved him.

[Ben Mankiewicz]

And he was who you had in mind as your writer?

[Nancy Meyers]

Yes, he was who I had in mind. I wanted Diane and Jack. And Diane said, you're never getting him. She said, I love. I pitched her the whole thing. She said, I love it, but you're never going to get him. I said, but let me write the movie. Let me try. And I don't know why I had the guts to do this, but for some reason, this was a section of my life where I would meet with actors while I was writing it, before I was writing, just to see if they were interested, because I would so focus on them. And if, like, they would say to me, I never want to be in a movie like this, I would not do that. So anyway, so I asked Jim Brooks, who was friends with Jack and had directed him, you know, in Terms of Endearment. I said, could you introduce me to him? So, yeah, he called Jack and he said, I want to fix you up with somebody. Which was a cute way of saying it. And I went up there and to his house. I went up to his house, the famous House up on Mulholland. He has an incredible art collection. Like, you don't know whether you should look at that face, which you can't stop staring at, or the paintings all around you. He has an incredible art collection, and he's into it.

[Ben Mankiewicz]

He's not doing it because he thinks it makes the house looks good. He likes the art.

[Nancy Meyers]

Oh, he loves the art.

[Ben Mankiewicz]

I didn't know that about it.

[Nancy Meyers]

Oh, yeah. So anyway, so I went up there and I said, I have this idea. I want you and Diane. Can I tell you the story? And blah, blah, blah. And I told him the whole thing, and he was great. He was absolutely great to pitch to. And he said, well, I've always wanted to do a tuxedo comedy. And I said, oh, I never heard that expression, but I hope this is what that is. And, you know, listen, it isn't like. Because I met with him and pitched him the idea, and he said he liked the idea that he was gonna be in my movie. But that's all I needed, really. So then it took me about a year. I had it all figured out, but I hadn't started writing too much of it. But I was so into the two of them. I just needed to know they were interested. I didn't correspond with him in any way while I was writing, but it was probably a little under a year later. I said, remember me? Blah, blah, blah. I wondered about. I said, yeah, okay, well, I've written.

[Ben Mankiewicz]

It, so would you call him? Or you got him on the phone?

[Nancy Meyers]

Um, I think. I think I did speak to him. No, I spoke to his lawyer. I spoke to. He doesn't have an agent. I spoke to his lawyer. I think he was shooting about Schmidt. His lawyer said, he doesn't read anything when he's working. And I said, I understand that. You sure? But he said, no, he really. He. So I said, how far into shooting are they? I remember asking that. Anyway, I heard from him a week later.

[Ben Mankiewicz]

So what happens? He calls.

[Nancy Meyers]

He called? Yes.

[Ben Mankiewicz]

You just answered the phone?

[Nancy Meyers]

I did. I'd just gotten out of the shower and sort of the greatest phone call in my life. He can be very complimentary in what I feel is a sincere way. And he's a writer himself, and he talked about the writing and the part, and, I mean, he was on board.

[Ben Mankiewicz]

You don't have to be shy.

[Nancy Meyers]

So then I called Jack. I mean, I called Diane. I said, okay, guess what.

[Ben Mankiewicz]

Did. And they hadn't worked together since Reds.

[Nancy Meyers]

She and I went up to his house, and when you get together you get together at his house, you know, so we went up there and I just watched them because they had barely seen each other since Reds. And it was a really sweet rendezvous. And I just saw my movie. I just saw it. I was so excited.

[Ben Mankiewicz]

So you've said that in something. Gotta give Diane Keaton rights in Christ. And you were basically the same age as the character at the time. I think you made her a couple years older than you were. That was a lot of you in that character.

[Nancy Meyers]

Yes.

[Ben Mankiewicz]

The writing and the crying.

[Nancy Meyers]

You want more than that?

[Ben Mankiewicz]

Yeah, yeah. What was the. I get the writing part. What was the crying part?

[Nancy Meyers]

Oh, the crying part was me writing the script. I had just broken up with somebody.

[Ben Mankiewicz]

And was that your marriage or something?

[Nancy Meyers]

After my marriage. No, it was after my marriage. Yeah, it was after my marriage. And I wrote somebody like him in a way. In a way. In a way. The good parts of him I thought were like this person. So, yeah, I remember I was seeing a shrink at the time, and I said, so, you know, I'm writing so a character kind of like, you know, this guy, and they end up together, but we didn't end up together. Do you think that's not good for me? And he said, well, tell me more about it. I said, well, she writes a play about him and kills him. And so the shrink said to me, I think that's you too, right? I said, oh, yeah, of course. That's me too. He said, so I think you're covered. If it's good for your movie, have them end up together.

[Ben Mankiewicz]

Nancy's 2006 movie the Holiday is also about recovering from heartbreak. Kate Winslet and Cameron Diaz lead the cast. They are both going through breakups, so to shake things up, they decide to swap houses over the Christmas holiday. Diaz moves into Winslet's fairy English English cottage and Winslet into Diaz's Los Angeles mansion. The Holiday has an A list cast. In addition to Winslet and Diaz, there's Jude Law and Jack Black. But I think the linchpin is Eli Wallach as Winslet's new neighbor. Wallach was 91 at the time. He died in 2014. He was one of Hollywood's great character actors, always memorable no matter how much screen time he got. He had roles in the Godfather 3 with Al Pacino, the Magnificent Seven with Steve McQueen, and he played opposite Clint Eastwood in the Good, the Bad and the Ugly. In the Holiday, Wallach is just lovely. He's Arthur, a formerly famous screenwriter who'd been blacklisted. Now largely forgotten in retirement he and Winslet become friends. They meet. When Winslet is driving around her new neighborhood, she sees Arthur walking down the street by himself. So she gives him a ride. Well, this was some meet cute. Sorry?

[Nancy Meyers]

It's how two characters meet in a movie. Say, say a man and a woman both need something to sleep in.

[Ben Mankiewicz]

Uh huh.

[Nancy Meyers]

And they both go to the same men's pajama department, right?

[Ben Mankiewicz]

And the man says to the salesman.

[Nancy Meyers]

I just need bottoms. The woman says, I. I just need a top. They look at each other and that's the main cute.

[Ben Mankiewicz]

Oh, I see. Of course, this, this isn't quite that cute.

[Nancy Meyers]

But.

[Ben Mankiewicz]

So I. The Holiday has had this rebirth, you know, I mean, it was well received at the time. I loved it because of Kate and I loved it because of Eli Wallach. Right. It was just. There's something.

[Nancy Meyers]

He was really. That was a great experience working with him. I absolutely loved it. He. He felt he filled the between shooting time with stories, endless stories and great ones, all of them great. Like one day he said to me, you know, Marilyn was very good with numbers. I said, monroe, what do you mean? He said, on, what was the movie they did together? Oh, crap.

[Ben Mankiewicz]

The Misfits.

[Nancy Meyers]

Was it the Misfits? Yes.

[Ben Mankiewicz]

Yeah.

[Nancy Meyers]

Cece. Yes. She said, eli, give me your contract. Let me go over it before you sign it. And he said, she penciled the whole thing up, changed everything and got me a great deal in the movie. Really?

[Ben Mankiewicz]

That is an incredible story.

[Nancy Meyers]

That's just one tidbit. He was really. And also so kind. And I know you don't want to hear this, Bobby, but with every direction I gave him, right. I, I've had actors like, look at me like, or, you know, they're not always. Mostly they're great, but sometimes they judge a little. Every single thing I said to him through the whole movie, he said, thank you. I would have never thought of that. That's very interesting. That's a good way to go. Oh, that's okay. I'm excited to try that literally every time.

[Ben Mankiewicz]

What do you think? What does that say?

[Nancy Meyers]

Actor Studio. We taught acting for 100 years, you know, And I think he's open, right? Open, no ego.

[Ben Mankiewicz]

But sometimes.

[Nancy Meyers]

And realize it's a, this is the process, you know, Kate adored him. Kate adored him. They, we, we never let him leave the set. We would just all sit and talk with him all the time.

[Ben Mankiewicz]

In addition to the Holiday's top tier cast, Myers managed to get another A Lister on board to make a cameo in the movie. How did you get To Justin Hoffman in the Holiday.

[Nancy Meyers]

Oh, I didn't get him at all. That was an accident. We were shooting in Brentwood on San Vicente Boulevard in a Blockbuster, which is now a bank, which is sad. And there's a restaurant next door. And I saw. So we're shooting the scene where Jack and. And Kate were looking at videos and he was singing the Jack Black, Kate Winslet. Yeah. Thank you. And he's humming theme songs of, you know, themes, movie scores, which is what he's played a composer, so he was entertaining her that way. Have you seen this? Chariots of Fire. Loved it. Cling, cling, Cling Cling, cling, CL.

[Ben Mankiewicz]

Such a great score by Vangelis. He took electronic scores to a new level. It was groundbreaking.

[Nancy Meyers]

I'm gonna test you on this later. And in walks Dustin Hoffman into the store, which we had obviously shut down for the day. And Dustin's daughter and my daughter grew up together. So I've known him for a long time.

[Ben Mankiewicz]

They were drawn to, like, the lights, right? They were like, what's going on here?

[Nancy Meyers]

Yes. He wanted to see what he wanted to see. He was leaving. He said he left the restaurant, saw they were shooting a movie. I think he saw my name somewhere and said, oh, I'm gonna go in. So he came in. So he sat at the monitor with me while I was shooting, and we're just talking. And he was great. He was just, you know, it was really just so lovely to have him there. And I think he was having fun watching. And Kate came over, and Jack came over, and we're shooting another take, and he watches. And then I'm like, wait a minute. What an idiot. They talk about the Graduate. They start humming Mrs. Robinson. He starts humming Mrs. Robinson. I said, wait a minute. This is crazy. You're. Why don't you go be in the scene? And he said he was cute. He was like, okay, what do you want me to do? I said, when he sings. Mrs. Hums. I can't remember if he hummed it or sang it. Mrs. Robinson.

[Ben Mankiewicz]

He sang it.

[Nancy Meyers]

We're going to cut to you, and let's just cut to you and you give us something, you know. So he was in a sweatshirt. We didn't do his hair. We didn't change his clothes. We didn't even put makeup on him. He just went over into the aisle that they were in. It was great. And it really got such a huge laugh. It's such a surprise that he's. But he would be there. It was his neighborhood. So that worked for the movie. Too. Oh, where have you gone, Joe DiMaggio. I bet you didn't know that was all written for the movie. It was a score, technically.

[Ben Mankiewicz]

I did know that one can't go anywhere.

[Nancy Meyers]

He added a cute line. He said, oh, I can't go anywhere, or something like that.

[Ben Mankiewicz]

Can't go anywhere. Yeah. Why does a movie like that have a rebirth? Do you think about that ever? Like, why do people all of a sudden fall in love with this movie?

[Nancy Meyers]

I thought about it when it started to happen, and I was so happy because it didn't open as anybody thought it would. It opened softer than we thought. You know, there's a whole thing with Christmas release dates, and you want to be from the 15th to the 25th are the good dates. This came out, unfortunately, I remember because it was my birthday December 8th.

[Ben Mankiewicz]

And that's too early.

[Nancy Meyers]

It's too early. It's too early for my kind of movie. At least it used to be. I mean, I don't know right now what anybody. How it works exactly with theatrical releases. But the thing they say is true. Women are busy. I am. I'm really busy for the first couple weeks of December. Movies are not at the top of my list. So anyway, the movie didn't perform as I had hoped, let alone they would hope. And so it took a while. I don't know what happened or how it happened or when it happened, but I know it happened because, you know, people talk to me about it. And I think during the pandemic and the pre pandemic couple years, it just sort of got rediscovered. And I. I'm happy. Listen, of course I'm happy. People like it.

[Ben Mankiewicz]

In general, there's a sneering at romantic comedies. And I was trying to. I'm trying to figure out why. And I think some of it's the word romantic, which maybe a lot of men and some women don't like because it sounds schmaltzy. Like, just start talking about romance. That's unfortunate, but I don't know. And then I thought that the nickname. That the abbreviation is a little bit pejorative. Rom Com.

[Nancy Meyers]

Kate Winslet was the first person to say that to me. And I said, I never heard that before that movie.

[Ben Mankiewicz]

I made it up yesterday. So I'm thrilled that Kate Winslet.

[Nancy Meyers]

No, but I'm serious. I remember when I first heard it and it was her from her.

[Ben Mankiewicz]

Like, what if superhero movies were called, like, Soup Heres? Right. Like, they would just. It instantly makes them slightly less than.

[Nancy Meyers]

Yeah, no, it's definitely the kids table Right.

[Ben Mankiewicz]

That's right. It's kids table. And yet, you know. And yet your movies are not kids table movies. They're literally. They're for. They're for adults.

[Nancy Meyers]

Yeah. And if you look at. I don't know if it's the AFI list or whatever that list is, of the top hundred movies, there's a lot of romantic comedies in there because it was considered at one time, great directors did them great. Hitchcock did one, Howard Hawks did them. Capra did them. I mean, if It's a Wonderful Life is a fantasy movie and a romantic comedy, isn't it? It's like he gets the girl. And I mean, all those movies have. I mean, north by Northwest, all their scenes together, the romance in that movie is. It's dialogue right out of a romantic comedy.

[Ben Mankiewicz]

That's right.

[Nancy Meyers]

Right. That scene on the train in north by Northwest.

[Ben Mankiewicz]

Yeah, totally.

[Nancy Meyers]

Ernest Lehman. It's great romantic comedy. It's just. You know what? It's not romantic comedy writing. It's clever, smart dialogue, witty dialogue. So listen, there are movies that aren't about men, primarily mine happen to have a lot of men in them, but primarily they're not about men. Therefore, people don't find them that interesting. Like when my movie got shut down at Netflix, somebody who's a little bit outside Hollywood had a very big opinion about what, giving her that amount of money to make a movie. Not me personally, but my kind of movie. And I think what he was saying was movies about women don't get big budgets. You know, I got attacked for it, and other people pick that up.

[Ben Mankiewicz]

We're gonna take a quick break. Coming up, Nancy tells me about working on screenplays with one of the best writer directors in Hollywood history, Billy Wilde. This episode brought to you by MGM from executive producer Stephen King and an executive producer of Frog Comes the Institute, a chilling new original series from mgm. Kidnapped and trapped in a sinister facility, gifted teen Luke Ellis must join other children to fight for their survival. Starring Emmy Award winner Mary Louise Parker, Ben Barnes, and introducing Joe Freeman. The institute, premiering July 13th on MGM.

[Nancy Meyers]

Hi. Welcome to IKEA.

[Ben Mankiewicz]

This is my college campus. Correct, but I see you're on ikea.com ordering some college items. My daughter's room is pretty bare.

[Nancy Meyers]

We need a lamp, some comfy pillows, her favorite stuffy dad with pickup options. We've got what you need to conveniently order Ikea literally anywhere. Sweet.

[Ben Mankiewicz]

More time for gaming and studying. Wait, where are you going?

[Nancy Meyers]

Get Ikea.

[Ben Mankiewicz]

Whenever, wherever, however you want. Choose from thousands of pickup locations, affordable delivery options, and More. Before Nancy Myers was a successful director, she was an Oscar nominated screenwriter. She wrote her first screenplay in the late 70s with her husband at the time, Charles Shire. It became the 1980 comedy Private Benjamin, starring Goldie Hawn as Judy Benjamin, a widow who joins the army after her husband dies. By the way, and this isn't the clip we'll be playing, he dies while they're having sex on their wedding night.

[Nancy Meyers]

I hate to interrupt you, but could I speak to you for a sec? My Lord? Sergeant, would you look at this? What's your name, princess? Huh? Judy Benjamin.

[Ben Mankiewicz]

Judy Benjamin.

[Nancy Meyers]

Um. I think they sent me to the wrong place. Uh huh. See I did join the army, but I joined a different army. I joined the one with the condos and the private rooms.

[Ben Mankiewicz]

What was the experience like of finding out you were nominated for an Oscar for your first screenplay?

[Nancy Meyers]

Oh gosh, no one's ever asked me that.

[Ben Mankiewicz]

They call you, Somebody calls you, right?

[Nancy Meyers]

I don't remember how we found out. Charles has a better memory. I have to call and ask him that one. How did we find out? Maybe we watched it on tv, I don't know. I don't remember.

[Ben Mankiewicz]

You don't remember?

[Nancy Meyers]

I don't remember how I found out, but I remember getting dressed to go and you know, there were no stylists then or anything. I did my hair myself. I mean it was like, you know, we were like just regular people back then. I went out and bought something to open, did my hair, getting ready to get in the car and Reagan had been shot and the awards were cancelled. Not canceled, but postponed.

[Ben Mankiewicz]

Right.

[Nancy Meyers]

That was wild.

[Ben Mankiewicz]

Let's talk about someone who's received a lot of nominations for writing. How'd you meet Billy Wilder?

[Nancy Meyers]

When Charles and I wrote Baby Boom, we wrote it on spec and which means that it goes out to, you know, all the studios sort of at the same time. And there were a couple people that wanted it. So we had a choice of where we wanted to land. And one place was mgmua, who had just recently, I had read in the trades had Billy Wilder was working for them as an advisor to their projects.

[Ben Mankiewicz]

Baby Boom came out in 87, so this is like 86 probably, right?

[Nancy Meyers]

Mm. So we had our agent call over and say, is there a chance they could work? They would like to have the script land there if they could work with him. And Tony Thermopoulos was the head of the studio at the time and he said, absolutely. That's what he's here for, to work with writers whose movies we wanna make. Blah Blah, blah. So we sold the movie to them. We met Wilder on the street outside the offices, actually. And he. I couldn't believe my ears. Complimentary about the script.

[Ben Mankiewicz]

Billy Wilder's career spanned five decades. He made some of the most important movies in history. Sunset Boulevard and double indemnity, stalag 17 and ace in the Hole, plus Some Like It Hot and the Apartment. To this day, a sign of what Wilder meant to her. Nancy keeps a copy of the script for the Apartment on her desk.

[Nancy Meyers]

So we worked with him for a period of time and we just would go through the script. The script was in pretty good shape. But, you know, I mean, who couldn't use Bill? It's a dream. It's like a dream to have him give you notes on your script. And he had a very chic office. I remember he had all these Ames chairs. And he sat back in his chair behind his desk and he leaned really far back. He leaned really far back to the point where I thought, he's going to fall over. But that's how he thought. When he had an idea, he would just lean and lean. Lean way back. He's a fantastic storyteller. And anybody that's read any books about him, you will hear some of the same stories over and over. But we got to hear them in person, which was great.

[Ben Mankiewicz]

When you're with one of these great storytellers, it doesn't matter whether you've heard the story before.

[Nancy Meyers]

Exactly.

[Ben Mankiewicz]

At all.

[Nancy Meyers]

Exactly.

[Ben Mankiewicz]

In fact, sometimes it's wonderful to hear.

[Nancy Meyers]

It the second time. Yeah, I felt that way. He was, you know. But we had made a cd, like, we had a little tape micro cassette.

[Ben Mankiewicz]

You recorded the conversation.

[Nancy Meyers]

We recorded the conversations. And I listened recently to one of the meetings with him. And he had a very dark idea for the opening of the movie that he really liked. But I couldn't go for it. But the dark idea was that the baby, who was inherited by Diane Keaton, who was a, you know, what they used to call career woman. So his. So Billy's idea was that we should start on the funeral. And the baby should be at the.

[Ben Mankiewicz]

Funeral because the baby's parents killed in an accident.

[Nancy Meyers]

The baby parents have been killed in an accident. And the baby should be at the funeral in a bassinet draped in black by the coffin. And I was thinking, do you remember the monkey that died in Sunset Boulevard? You remember, in the beginning of the movie? I thought, I don't know. We're not making Sunset Boulevard. I think that's too dark. You know, didn't keep him from pitching it every day when we came in. But I do remember our lunches more than the work. And he would always tell us what to order. And one day he said, that egg salad here is terrific. You have to get the egg salad, you know.

[Ben Mankiewicz]

And like, do you remember where you were?

[Nancy Meyers]

Yeah, well, it was a little place on Wilshire, but it's not there anymore. But there's not a day I don't drive by that block kind of across from Neiman Marcus that I don't look over. And it's like in a movie in a way, you know, I could see us, three of us sitting there. And I remember I didn't order the egg salad, but apparently he wasn't listening. And whatever my chicken sandwich camera. He said, I told you to get the egg salad. So I learned. So after that, I just got what he told me to get.

[Ben Mankiewicz]

Yeah, that's right. That's the. And he had a suggestion for Baby Boom, too. He wanted a certain joke in there, right?

[Nancy Meyers]

He said, if you just can get the baby to pass wind, you will make me very happy.

[Ben Mankiewicz]

I like it. This is Billy Wilder reads a 120 page script about a career woman who inherits a baby and adjusts to her new life. And he's like, we need a fart joke.

[Nancy Meyers]

But you want to know something? He also had good, obviously, other than that dark one and that which, you know, we always laughed every time he said it because he said it every day. But he also said, what about if they're buying her business to kill it? Because they just want her not to have that. They want her back at the company. She was a valuable person, you know, and we toyed around with that a lot. We didn't end up doing that, but it was a really good idea.

[Ben Mankiewicz]

This was ahead of its time.

[Nancy Meyers]

Good idea.

[Ben Mankiewicz]

Very good idea. Like director Billy Wilder, who came to Hollywood first as a writer, Nancy Meyers also became a director. Many of her films are massive commercial hits, especially her charming romantic comedies made for grownups amid an avalanche of superhero pictures. Despite all that success, the conversation around Nancy Myers and her movies is often about the set design, which kind of pisses her off. So as we were getting ready for this interview, one of the things. And everyone, I guess, interviews you maybe gets told this, like, Nancy doesn't want to talk about decor, which to me was a great way, because I don't give a shit about how anybody's kitchen looks in any movie in the history of movies. That's not why I like your movies. I don't think. Oh, man, that island, right? That's not what I come out of a film thinking. But why don't you like talking about that?

[Nancy Meyers]

Because it gets a lot of attention. And my name is used a lot in describing things now, you know, and it just went off. That thing just happened. I don't feel. It's like, not me. Do you know what I mean? I didn't create that, you know. I didn't come up with a pair of white pants and a white turtleneck, you know, Like, I didn't come up with that. I don't know why I got stuck with it or the interiors and all that stuff, you know. What I do know is that there are movies in my life that I've seen that had interiors that I loved, you know, that became. I looked forward to when a scene would be in that room. And, you know, it's part of the film. And these are very talented people that contribute to the movie. There's a scene in the Philadelphia Story, in the very beginning of the movie where Katharine Hepburn is. I think she's jotting down her gifts or something. And she says to her mother, how do you spell omelette? How do you spell omelette? O, M, M, E, L, E, T. I thought there was another L. And none of them can spell it. And they're all trying to figure out how to spell omelette. And she's sitting on this gigantic sofa with this floral pattern. And it's on the drapery. And then she's in this fantastic outfit with these long legs and pants. And then she gets off the sofa. And she gets off the sofa. Like nobody's ever gotten off the sofa ever. She takes her leg over her sister to get off the sofa. So the whole room helps like it was there. It's not much of a scene, but there was something about her in that room. And that whole house is gigantic, but no room is like that room. It's kind of the cozy, smaller room of the house. Just spoke to me. Or, like, bringing Up Baby, right when they go to that house in Connecticut. And maybe it's because I didn't grow up in a place like that, but movies taught me a lot about how people live, right? Lubitsch movies. The Deco. The Deco house in Trouble in Paradise, the Parisian, you know.

[Ben Mankiewicz]

But when people talk about Lubitsch movies, they talk about the comedy and the romance and the Lubitsch touch and the manner in which they communicate. They don't talk about the as much about the style and use Right.

[Nancy Meyers]

But I guess I did it in a couple movies in a row that people liked the way they look. Well, I don't know, I just.

[Ben Mankiewicz]

But you know, of course that doesn't happen unless people like the movies. Like that doesn't happen if the movies aren't good.

[Nancy Meyers]

Well, hopefully they're not. They don't buy a ticket to go see that part of the movie. But I guess my point is a long way of saying I think I'm doing what other filmmakers have done that I mired, you know, where they, they're giving you a complete package.

[Ben Mankiewicz]

It's been a bit since Nancy Myers has made a feature film. Her last movie came out in 2015, the Intern, starring Anne Hathaway and Robert De Niro. It was delightful. My 10 year old daughter loved it. She now thinks of Robert De Niro as the guy from the Intern. Taxi Driver is going to baffle her. Anyway, just last year Nancy had a movie in pre production at Netflix called Paris Paramount, about a filmmaking duo who, after falling in and out of love, reunite on set to work together again. Netflix bought the rights, but according to reports, the project was canceled due to budgetary concerns. Nancy had already cast the film.

[Nancy Meyers]

Michael Fassbender, Owen Wilson, Penelope Cruz.

[Ben Mankiewicz]

Good cast. Yeah. Super talented people.

[Nancy Meyers]

Yeah, Pretty exciting. I was, yeah, I was very looking forward to it. Yeah. Seven weeks in. Yeah. We were just starting our eighth week of prep when they chose not to make it.

[Ben Mankiewicz]

And why, what reason they gave financially.

[Nancy Meyers]

And this was an expensive movie and I only want to shoot in la. And as you know, most movies shoot out of town because it's too expensive to shoot here. But my deal was that I stay here.

[Ben Mankiewicz]

Because you live here?

[Nancy Meyers]

I live here. I have grandchildren here, I have children here. And I have gone away to make movies a bunch of times. And at this point in my life, I didn't want to do that. So I retired actually. So I really felt, I felt happy.

[Ben Mankiewicz]

You retired before this?

[Nancy Meyers]

I had retired. And Netflix, after the Internet, Netflix came to me and asked me to would I make a movie for them. And I said, you know, I really don't want the stress of the job anymore. Well, what about, you know, they want to know what are the things I said? I don't want to leave town. I just don't want to because, you know, I'm not an actor or someone who's like a crew member who's.

[Ben Mankiewicz]

You can't go for three weeks and come back.

[Nancy Meyers]

No, I'm there for nine months. One movie, I was gone. It's complicated. I was gone for a little over six months and the intern. I was gone for nine months.

[Ben Mankiewicz]

Where?

[Nancy Meyers]

For the New York. I mean, it's not a terrible place.

[Ben Mankiewicz]

To be, but it's not where your family is. It's not where your house is.

[Nancy Meyers]

It's not where my heart is either. You know, I lied. It was whatever. So, you know, we made a deal that I don't leave town. I also wanted to work 10 hour days. There was, you know, some things that were important to me at 73 the way I wanted to make a movie. And so they agreed to all of that. And it was high. It's expensive to do that. And it's really sad and unfortunate because the fact that so many of us have to leave our homes to do our jobs. It's just unfortunate that we don't have the rebate that the UK offers or Atlanta offers.

[Ben Mankiewicz]

That's why we still shoot TCM in Atlanta.

[Nancy Meyers]

You go to Atlanta, I go to Atlanta.

[Ben Mankiewicz]

I've been going to Atlanta every month for 20 years. Yeah, right. I'm going next week.

[Nancy Meyers]

Wow.

[Ben Mankiewicz]

But it's for four days.

[Nancy Meyers]

It's for four days? Yes.

[Ben Mankiewicz]

You can have one.

[Nancy Meyers]

You can take a carry on. If I could make a movie in a carry on, I would do it.

[Ben Mankiewicz]

Oh, my God. I'd never check it back.

[Nancy Meyers]

I didn't see you there. Yeah, so that's what happened. So they decided not to make the movie and Warner Brothers picked it up. And it's kind of a long story that we'll go into later. But could it still happen at Warner Brothers? I hope so.

[Ben Mankiewicz]

So it's still. It's still.

[Nancy Meyers]

Yes, yes.

[Ben Mankiewicz]

In some way. But it's hard. You don't know if you'll get the cast because they and I.

[Nancy Meyers]

The cast has all been lovely and you know, like, we're here for you kind of thing. And we'll see if we can make it work.

[Ben Mankiewicz]

Don't go anywhere. After the break. Nancy plays the Super 8.

[Nancy Meyers]

Foreign Reynolds.

[Ben Mankiewicz]

Here from Mint Mobile. With the price of just about everything going up, we thought we'd bring our prices down. So to help us, we brought in a reverse auctioneer, which is apparently a thing. Mint Mobile Unlimited premium wireless.

[Nancy Meyers]

Everybody get 30, 30.

[Ben Mankiewicz]

Better get 30. Better get 20, 20, 20. Better get 20, 20. Everybody get 15, 15, 15, 15. Just 15 bucks a month. So give it a [e-mail] switch.

[Nancy Meyers]

Upfront payment of $45 for three month.

[Ben Mankiewicz]

Plan equivalent to $15 per month required. New customer offer for first three months only. Speed slow after 35 gigabytes of network's busy taxes and fees extra. See mintmobile.com Amazon One Medical presents Painful Thoughts I've been on hold to make.

[Nancy Meyers]

A doctor's appointment for 23 minutes now.

[Ben Mankiewicz]

The automated voice has told me 47 times that my call is very important to them.

[Nancy Meyers]

Hmm, I'm starting to think that they.

[Ben Mankiewicz]

Don'T think my call is important at all. With Amazon One Medical 24. 7 Virtual Care, you'll get help fast without having to remain on the line to make an appointment. Amazon One Medical Healthcare just got less painful. So this is the part of the interview where we ask filmmakers a series of set questions. Questions about movies they've watched, loved and haven't forgotten. We call it our Super 8 because, well, there are eight questions. Okay, so here we go. You ready? Well, what's your most memorable movie watching experience?

[Nancy Meyers]

Well, I would say the Exorcist, really, because I was petrified and I went by myself an afternoon. It was raining, I think I kind of remember it was raining. I knew nothing about it. I didn't even know what it was about. I'd heard it was good. That was the limp.

[Ben Mankiewicz]

You were here in LA by then?

[Nancy Meyers]

I was in la. I saw it on Wilshire Boulevard and I had nobody's hand to squeeze. Anyway, when the movie was over, I got up out of my seat and ran out of the theater, ran down the street, around the corner to my car, got in the car, locked the doors. I was so scared.

[Ben Mankiewicz]

What's the movie you've rewatched most often?

[Nancy Meyers]

You think there's so many that I go back to all the time, but I would say that the Apartment north by Northwest is one I love to watch over and over. Rear Window I watch constantly. Love in the Afternoon and the Philadelphia Story, which I could probably recite for you.

[Ben Mankiewicz]

Is there a movie that you would show to a person who you were interested in dating right now?

[Nancy Meyers]

I would show them Day for Night.

[Ben Mankiewicz]

Because your current screenplay is a behind the scenes Hollywood movie.

[Nancy Meyers]

It is, it is. And so I rewatched Day for Night and then watched it a lot while I was writing. And it's just a great movie, I think, an absolutely great movie. And it so captures filmmaking as I know it. You know, I don't make affects movies. So those bits and things that happen in that movie could happen on any movie.

[Ben Mankiewicz]

Is there a movie you loved in high school?

[Nancy Meyers]

When I saw A man and a woman in high school, I had never seen a movie like that before. Probably I'd never Seen a French film before and I never saw. I never saw love conveyed on screen like that before. So for a young person, for a teenager, it was exciting and beautiful.

[Ben Mankiewicz]

That means something extra when it is spoken by Nancy Myers, because that suggests that that informed you going forward.

[Nancy Meyers]

Yeah. In the holiday, there's a brief little scene with Jude and Cameron where they're out in English countryside manor where they went for lunch. And then after, they're kind of just playing around, they're chasing each other. They're just having fun. And I. I kept playing that theme, one of the themes from A Man and a Woman. And I kept wanting it to be like that and nobody knew what I was talking about. So I showed everybody. It really isn't the same, but, yeah, also those giant close ups of them. It was just great. It was beautiful.

[Ben Mankiewicz]

Is there a.

[Nancy Meyers]

For someone who's never been in love, when you're a teenager and you see something like that, it gives you hope.

[Ben Mankiewicz]

Is there a movie you have to defend to people good naturedly? Defend?

[Nancy Meyers]

Well, people think, I don't like anything that isn't pretty and funny and sweet. So that's simply not true about my movie taste. This kind of fits in with that, though. It's Paddington 2. Paddington 2 was a great movie. So beautifully made. So funny and so winning. Sweet. It's dear. It's wonderful. It's everything you'd hope, you know, a children's movie would be. And I, And I say that not as a child. I loved it.

[Ben Mankiewicz]

You've probably mentioned it, but what's the movie you'd recommend most to others?

[Nancy Meyers]

I think that really depends on when someone. When I'm just seeing something, you know, I don't have one movie that I've held onto all these years. Although there are the classics that I could recommend to anybody ever. But, I mean, like last year, it was the Worst Person in the World. The Norwegian movie. Fabulous movie. So great. Did you see it?

[Ben Mankiewicz]

Nope. But. I know, but you're not the.

[Nancy Meyers]

You need to see sixth or seventh person. This is so beautifully told. She's wonderful. And it's just so beautifully directed and the story's so. It's wonderful. But right now, this year. Not this year, this month, I've been recommending Modern Times to people because I just saw it for the first time.

[Ben Mankiewicz]

You saw it for the first time.

[Nancy Meyers]

And I just. I mean, my mind was blown. This feeding machine. Good morning, my friends. May I take the pleasure of introducing Mr. J. Willicombe billows, the inventor of the Billows feeding machine. A practical device which automatically feeds your men while at work. Billy Wilder has this famous line that comedy does not get better with age like a fine wine. But that Chaplin bit is just brilliant.

[Ben Mankiewicz]

Is there a movie makes you cry without fail?

[Nancy Meyers]

Planes, Trains and Automobiles.

[Ben Mankiewicz]

Not the answer I expected that time. Now you're surprised.

[Nancy Meyers]

What did you think of.

[Ben Mankiewicz]

What part.

[Nancy Meyers]

Makes you cry at the end when they're carrying the trunk together to Steve's house for Thanksgiving? And also John Candy's face in that whole last section. Yeah, brilliant. Just absolutely brilliant.

[Ben Mankiewicz]

Did your mom have a favorite movie? Your dad?

[Nancy Meyers]

My mom was much more about music, but my dad liked the Great Escape. Loved the Great Escape.

[Ben Mankiewicz]

I love the Great Escape. Nancy, thank you so much and thanks for taking so much time.

[Nancy Meyers]

Thank you so much for inviting me.

[Ben Mankiewicz]

Yeah, this was lovely. You have a nice house, by the way. I thought it would be a dump, but it's actually pretty nice.

[Nancy Meyers]

What a dump. Thank you. I thought it would be a dump. It was the best compliment ever.

[Ben Mankiewicz]

What a great way to launch this season of Talking Pictures. So many good movies mentioned in my conversation with Nancy Myers. But after all those Billy Wilder stories, I'm gonna re watch one from him that's also one of my favorites. Ace in the Hole starring Kirk Douglas from 1951, still so relevant today. Then you can indulge in Sunset Boulevard from 1950 and Stalag 17 from 1953, both of those with William Holden, but only if you like great movies. That's our show. We have more to come this season. Alexander Payne, Mel Brooks, Emerald Fennell, and next week, Steven Soderber. You could find many of the movies we talked about on the streaming service max. We made a list for you. It's in our show Notes. James Kim produces and edits talking pictures. Dory Stegman books the show. Glenn Matullo mixes each episode. Thanks to Phil Richards, Jako Friedman, Julie Vuitton, Katie Daniels and Emma Morris. Angela Caron is our executive producer. Special thanks to Michael Gluckstadt and Allison Cohen from the MAX podcast team and as always, to Charlie Tavish from tcn. See you next time.