#I know a little bit of French and I think I heard d’or in it which means gold | Explore Tumblr posts and blogs

secretradiobrooklyn · 4 years ago

Text

SECRET RADIO | Sept.12.20

Secret Radio Brooklyn | 9.12.20 | Broadcast from the print shop (Hear it here.)

1. Fela Kuti - It’s Highlife Time

Such a cheery introduction to a night at the Afro Spot. There’s an elegance and restraint and Western-facing showmanship that is the exact opposite of what Fela Kuti’s music came to be, but it seems completely sincere — just a different stage of an incredibly productive life.

2. Ros Serey Sothea - Jam 5 Kai Thiet (Wait 5 More Months)

The guitar tones, really all the tones of this song, are so perfect, and the structure is both immaculately pop-shaped and full of gnarly rock distortion.

3. Sylvie Vartan - L’oiseau

Such a piercing chorus! It almost sounds like she’s making a birdcall, and we’ve been really appreciating bird sounds this summer in the woods.

4. Singer Nahounou and T.P. Poly Rythmo de Cotonou Benin - Gbabouo

This is a 1978 T.P. track, so they’re in their prime, with Papillon providing those amazingly beautiful guitar waterfalls. I don’t know anything about Singer Nahounou, but his vocal phrasing is a lot more like the Zimbabwean style of Hallelujah Chicken Run Band than any of the Beninese musicians they more often play with. Someone says it has “a strong Ivory Coast influence,” but I don’t know what that means. I do know that this song makes me dance, and as it goes on you can hear the musicians really stretching out and playing with the essential elements of the groove, all led by the unstoppable Bentho Gustave on bass.

5. Teddy Afro - Atse Tewodros

I don’t know if you’ve had the experience of being halfway through a feast at an Ethiopian restaurant and suddenly realizing that you’ve been loving the music the entire time. For us, that restaurant was Meskerem on South Grand, and the band was Teddy Afro. The best part, though, might be this video, in which a collection of beautiful people do the shoulder dance seemingly all over Ethiopia, in grassy fields and castle walls and city streets, in pairs and trios and teams. It’s completely mesmerizing. Meanwhile, the footage of Teddy Afro’s live show sweeps across a crowd of tens of thousands of ecstatic fans. It’s a glimpse into several worlds I know nothing about — but the music certainly seems to speak a universal language of optimism and hope. Anyone who can tell me whether I’m completely mistaken about that, please do.

https://www.youtube.com/watch?v=rRC6C8bRkQQ&list=RDmAHeyKUKMBE&index=3

6. Francis Bebey - New Track

The way this song gradually coheres from thumb piano to futuristic space jam is a clinic. I could listen to Francis Bebey talk all night.

7. Manu Dibango - Groovy Flute

Our respect to Manu Dibango, who passed on March 24 of this year. He is responsible for giving the world Soul Makossa, which we in the US know as mama say mama sa mamakusa thanks to Michael Jackson and Quincy Jones. But MJ didn’t have Groovy Flute.

8. Chantal Goya - D’Abord, Dis Moi Ton Nom

This is from the Godard film Masculin Féminin. If you like this, you’re going to love the WBFF movies broadcast coming soon!

9. Brigitte Bardot - Tu Veux ou Tu Veux Pas

Sleepy Kitty does a version of this song on a 7”. This could be a great song for teaching first-year French — “You want it or you don’t” — including frank attitudes about hooking up.

10. Newen Afrobeat - Upside Down live

Chilean Fela disciples Newen Afrobeat bring their own approach to Fela Kuti’s Upside Down. You can hear how the political urgency of the original translates directly to citizens of a country on the other side of the world. I recently read one of the singers, Macarena, describe the band as a collective that exists to make music and get the word out about the Mapuche people and their mistreatment in Chile.

Like their masterpiece, Opposite People, this is another song that is enhanced by watching the performance. It’s enough to get you dancing just watching the singer wind her way around the stage. https://www.youtube.com/watch?v=embxt0jQ8f4

11. Antoine Dougbé & T.P. Orchestre - Kovito Gbe de Towe

The arrangement of this song is just stunning to me. The little guitar licks that steal their way between the downbeats, the sick drums, the sudden disco, the arresting tone of voice, the backing vocals, the phasing guitar solo, the breakdown, and those final percussive call-and-response vocals — this track is just flat out the tops. Currently our favorite artist… which means Dougbé, who wrote the song but didn’t sing it, Melome Clement, who arranged it, Papillon on guitar (I think), the incredibly tight drums, the horn section that cuts like a knife, and this whole period of T.P. Orchestre.

Serge Gainsbourg - Aux Armes Et Caetera

When this recording appeared there was a freakin uproar among the French, who were scandalized that anyone would translate the French national anthem into (gasp!) reggae form.

12. Van Goose - Last Bus

Credit due to Jen Meller for telling us long ago that Van Goose was a band to be listening for. We saw them for the first time at Underwater Sunshine in Manhattan and danced so hard that when we heard their next gig was New Year’s Eve, our plans were settled. I get so lost inside this song!

13. Stereo Total - Ringo I Love You

The first two songs that Paige heard of this band were I Love You Ono and Ringo I Love You — as far as we know, they specialize in Beatles-related songs (which is to say we know almost nothing about this band). Both of those songs are perfect expressions of themselves.

14. 張小鳳 (Zhang Xiao Feng) - 我深深地愛上你 (Eight Days a Week)

We know nothing about this band — this track is the result of supposing that a certain thing must exist, and then finding confirmation of its existence. What a strange chordal relation to the original it has.

Harvey Danger - Authenticity

20 years ago this week King James Version came out, which was a really really big day in a really big time in my life. One fine detail I just noticed is that I lived about a mile north of Pike Street 20 years ago, and I live about a mile south of Park Slope today. Which I don’t think me-then would have hated. Anyway I’m still enjoying every damn day, modern horrorshow notwithstanding!

15. Ben Blackwell - Bury My Body at Elmwood

So many times every year where we realize how much we miss Bob Reuter — his radio show, his photographs, his writing, and more than anything the man himself — and this is a song we first heard via Bob’s Scratchy Records.

16. Jacqueline Taïeb - 7 heures du matin

This song kind of encapsulates a lot of what I want this collection of songs to be — a crashing together of cultures that ties back to the universal elements of rock n roll. Jacqueline Taïeb is flat out the coolest.

17. Liev Tuk - Rom Sue Sue (Dance Soul Soul)

Another entry in our James Brown shockwave studies. This is a Cambodian track from the ’60s, so presumably made around the interaction of French and American soldiers with Cambodian citizens… probably mostly in bars near bases? That’s what I picture happening, but I don’t actually know anything about it. I will say that I think Liev brings his own thing to the track, a real animal grandeur.

18. Soumitra & Mousumi Chatterjee - Urbashi Soundtrack - Jogi Jogi

We’ve been trying to learn more about Bengali culture and language from our young neighbors in our building in Kensington. We’re kind of hoping that someone in the building recognizes this song — though it’s equally possible they would look at us like we were crazy. This is a soundtrack to a movie billed as a “thriller” — dig that ’80s keyboard movie-soundtrack solo — and Paige and I have already spent quite a bit of time theorizing, based purely on the music, what sort of movie we’ll encounter when we find it. Also, this is a new earworm you won’t be able to shake. I’d say I’m sorry but I’m not!

19. The Fall - Shoulder Pads

The Fall is one of our very favorite bands — actually, T.P. Orchestre is the first real contender for other favorite band in years — but I’m very aware of the fact that I have pretty much always approached these songs as broadcasts from an alien culture. The decisions that Mark E. Smith made, song after song, are so completely mysterious and thrilling to me, as is the way the band composed, and for the most part they’re talking about British cultural winds that have almost nothing to do with my world. Anytime we play a song by The Fall I feel like I’m in danger of losing myself to only Fall songs for the next month. Tie me to the mast!

20. T.P. Orchestre & Bentho Gustave - Agnon Djidjo (Tu as bon caractère)

This is the final track on Le Disque d’Or, and the melody just feels so full of importance, like something absolutely vital is being transmitted. When we were trying to keep track of songs, I referred to this song as “Benin’s Phil Collins.” Obviously not much overlap, but I do feel like the chorus has PC’s paranoid urgency. As far as Paige can tell, the lyrics are “Je suis heureux de vivre pres de toi jusqu’au le fin du monde,” which would be “I’m happy to be with you til the end of time.” We don’t know if those are the lyrics, but they certainly work for me.

21. Joanna Kulig & Marcin Masecki - Dwa Serduszka

If you haven’t seen the film Cold War, we can’t recommend it highly enough. Also, you should know that it’s devastatingly sad. But right from the opening scene, the music alone is a revelation, and the main actors are enough to make you understand that we’re only seeing a fraction of the world’s charismatic actors in the English-speaking context, o yo yo.

22. Blossom Dearie - Manhattan

Paige has always loved this song, especially because Blossom Dearie is the piano player as well, which is something we think about with Nat King Cole but not necessarily with a singer like her. And now this song seems like a description of the empty streets of Manhattan, and it being such a strange time. Mott Street is different right now — but it’s still New York, and these buildings have been there so long, through World War II, September 11, a lunatic for pres, and now COVID-19. Sadness and optimism: “The great big city’s a wondrous toy.”

Orchestre de la Paillotte - Kadia Blues

A Guinean band created to promote Guinean music.

23. Scott Walker - Duchess

A pandemic discovery for Paige. I always meant to get into Scott Walker. I was in a band in Chicago and the guy whose house we practiced at loved Scott Walker. He kinda looked like Scott Walker. He was living in the ‘60s. He had a word processor. I didn’t get into Scott Walker then, nor 10 years later, but over the last year his music landed, at some point between now and the beginning of the pandemic.

24. Inga - Silver Moon

So weird that this song has been translated from English into German… but they use phrases in English that do not exist in the original. I really want to know more about the circumstances of this translation and arrangement. Inga was a German pop star with excellent eye makeup game.

25. Avolonto Honore - Na Do Sê Kpon Wê

The word “elegiac” exists for occasions such as this. The song feels so sincere, whether with regret, loss, love, or bitter experience. It also sounds like the voice of a father to his son, at whatever age. He sounds wise.

0 notes

theconservativebrief · 6 years ago

Link

John C. Reilly is one of the most versatile actors in Hollywood. Equally valuable as a comedic or dramatic actor, he can lead a cast, flesh out a memorable supporting character, sing, dance, and generally do most anything. He’s been nominated for a Tony, a Grammy, three Golden Globes, and an Oscar, and he’s turned in unforgettable performances in roles ranging from Roxie Hart’s put-upon husband in 2003’s Chicago to Dewey Cox in 2007’s Walk Hard to the title character in 2012’s Wreck-It Ralph, a role he will reprise this fall in the film’s sequel.

Reilly’s latest project sees him star alongside Joaquin Phoenix in The Sisters Brothers, a darkly comedic Western based on Patrick deWitt’s 2011 novel of the same name and helmed by French director Jacques Audiard. It’s Audiard’s first English-language film (his previous works include the lauded A Prophet and The Beat That My Heart Skipped), and it’s a gruff, messy, funny movie that doesn’t quite conform to stereotypes of Westerns.

Joaquin Phoenix and John C. Reilly in The Sisters Brothers. Annapurna Pictures

Reilly and Phoenix play brothers named Eli and Charlie Sisters who work as assassins in the Wild West after a violent childhood. They’re set on the trail of a thieving prospector in 1851, in a story that’s as much about family as it is about the Gold Rush. Riz Ahmed and Jake Gyllenhaal also star as prospectors named Morris and Warm, with whom the Sisters brothers cross paths and form an uneasy alliance.

Reilly and his wife, movie producer Alison Dickey, optioned the novel and brought it to Audiard’s attention in the first place, and Reilly’s portrayal of Eli is the film’s warm, human center. I recently sat down with Reilly in Manhattan, ahead of the film’s premiere at the Venice Film Festival, to talk about the movie, Westerns, acting in pairs, and how to properly fit a men’s hat — an important skill in the old West.

This interview has been edited and slightly condensed for clarity.

Alissa Wilkinson

[I enter the room to find that, along with suspenders and a neck bandana, Reilly is wearing a very fetching straw hat.]

My husband keeps trying to buy a hat like that, and keeps failing to find one that he likes.

John C. Reilly

It’s a very simple science. You have to go to a good hat store, first of all. Hats are all about the geometry of your face.

Alissa Wilkinson

Okay.

John C. Reilly

Do you see how my face goes like this? [Reilly points at his right temple and traces the side of his face down to his chin, then back up the other side to his left temple.]

Alissa Wilkinson

Yeah.

John C. Reilly

Then if you were to continue making that oval, the crown is exactly that, right?

Alissa Wilkinson

Ha! You’re right. Yes.

John C. Reilly

That’s the first thing.

Alissa Wilkinson

Okay.

John C. Reilly

Then the other thing is the distance from here to here [Reilly indicates the width of the hat’s brim] and the distance from here to here [Reilly indicates the width of his face]. Just even micro adjustments from the width of the brim completely changes the look of the hat.

Alissa Wilkinson

Huh.

John C. Reilly

If you have a big wide face, and you have a very narrow brim, it looks comical and weird. If you have a very small face, and a big wide brim, it’s the same thing.

Anyway. Just go to a good hat store, you’ll find it.

Alissa Wilkinson

Did you learn that on the job?

John C. Reilly

I collect hats, and I’ve been wearing them for years.

Alissa Wilkinson

I feel like it’s a thing that women learn — to notice the proportions of your own face. But I guess being an actor could require that, too.

John C. Reilly

Eh, men don’t really learn that.

Alissa Wilkinson

Well, that’s a useful lesson! I’ll bring it home.

Joaquin Phoenix and John C. Reilly in The Sisters Brothers. Annapurna Pictures

Alissa Wilkinson

I saw the movie this morning and really enjoyed it.

John C. Reilly

Oh, in there? [Reilly gestures toward the screening room adjacent to our interview room.]

Alissa Wilkinson

Yes, in there.

John C. Reilly

Oh, wow.

Alissa Wilkinson

It’s a heck of a movie to see at 10 am. There’s a lot of vomit.

John C. Reilly

I walked in this morning, and they were like, “They’re watching in there right now.” I was like, “Are you kidding? We have to be quiet.”

Alissa Wilkinson

So, you’re kind of the reason the movie got made, right? You brought the book to the director, Jacques Audiard?

John C. Reilly

Actually, my wife Alison [Dickey] was the reason the movie got made. She was the initial producer of the film and is one of its main producers. She was producing an independent film that I was in called Terri that was written by Patrick deWitt and directed by Azazel Jacobs.

At the end of that process [the film came out in 2011] we asked Patrick, who we’d come to really know and love, “You got anything else?” He had written this manuscript for The Sisters Brothers, but it hadn’t been published yet. He hadn’t given it to a publisher yet.

He let us read it. We both just tore through it. Alison was like, “We have to buy the rights to this.” And luckily, Pat believed in us.

Then it was Alison’s idea to approach Jacques, because she was already a huge fan of his work. So was I, but she’d been following him in real time. I caught up once I’d heard about a few of his movies, but she’s the one who was like, “We’ve got to go to this guy.”

John C. Reilly and Alison Dickey at the premiere of The Sisters Brothers in Toronto on September 8. Photo by Emma McIntyre/Getty Images

We met him in Toronto. I think, at first, he couldn’t quite believe that we were just going to dump this whole thing in his lap and say, “Do whatever you want with it.” But that was our main concern when we were setting up the movie: to find someone who wouldn’t just be a hired gun — no pun intended — but who was going to make a personal film about it, who would take the source material and, regardless of what it was, make a film that felt like it meant something to them personally. All of our favorite films are like that. But we knew it would be a little bit tricky bringing something to someone and then asking that of them.

When we met Jacques, we said, “Well, listen. Here, read this, see what you think of it. If you respond to it, we want you to completely make a movie the way you make movies. We’ll get out of your way and help you do whatever you need help doing.”

After a little while, Jacques really took to it and then did a bunch of versions of the script. He did another movie in the meantime — he made Dheepan.

Alissa Wilkinson

Which won the Palme d’Or at Cannes in 2015.

John C. Reilly

Yeah, the rest is recent history.

Alissa Wilkinson

Then he co-wrote the screenplay for The Sisters Brothers with Thomas …

John C. Reilly

Thomas Bidegain.

Alissa Wilkinson

Yes. You were in his own movie pretty recently, too.

John C. Reilly

Yeah, Les Cowboys. I met Tom because he was there at that meeting when we first met Jacques. They’re writing partners. At the end of that meeting, Tom was like, “Well, I’m directing this movie, you want to be in mine?” We got Jacques’s blessing, and then I went off and did that.

Alissa Wilkinson

This is Jacques’s first English-language film, right?

John C. Reilly

Yes.

Alissa Wilkinson

It has a very mannered speech pattern.

John C. Reilly

Mm-hmm. The book is even more like that. The idea is that these guys were raised by an educated woman, but then they went off.

I really loved playing this guy, because unlike the typical criminals or murderers you’ve seen in films before, who became criminals when they were adults, I think of Charlie and Eli like those child soldiers who are pressed into a murderous life at a very young age, before they develop empathy. It’s like this trauma happens to them, and then that’s just who they are. They didn’t choose it; they were children when it was put upon them. They’re doing these terrible things, they’re murderers for a living, but inside they’re these broken children.

I think that’s really interesting. It lends a sympathetic quality to them, even though they are terrible. You watch them murder many people in the movie, but I really loved playing the character. I really was so inspired by Joaquin every day, and he and I became very close. We lived together through a bunch of different places and all during the movie.

John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, and Riz Ahmed in The Sisters Brothers. Magali Bragard/Annapurna Pictures

Alissa Wilkinson

The brothers are both kind of comedic and deadly serious. There are moments of very intense and shocking violence, but it’s shocking because a lot of the time, Charlie and Eli feel like a comedic pair.

John C. Reilly

Well, that’s the book, too. It has this dark humor. I love stuff like that, stories that don’t let the audience off the hook. I love doing comedy where something intensely real is happening at the same time, or doing drama where it’s kind of funny, it’s so sad that it’s funny, or whatever.

That’s the way life is. When people are going through tragedy, there’s always something that will make you laugh. When you’re having good times, there’s often those kind of bittersweet moments. That’s life. I think that’s a great quality of the movie.

Alissa Wilkinson

There are a lot of interesting Westerns getting made right now. Do you gravitate toward the genre?

John C. Reilly

Definitely, yeah.

Alissa Wilkinson

Why do you think people keep reinventing the Western?

John C. Reilly

They’re pretty perennial. Ever since we started making Westerns, they’ve been popular. They’re ensconced in the American psyche.

I think Westerns are popular for the same reason prison stories are popular, which is the same reason war stories are popular, convent stories are popular — all of those genres are about extreme circumstances, limited options, and characters out on their own or confined within.

That said, I think this movie is a really original Western because you know so much about what’s going on emotionally with the characters. When you watch a Clint Eastwood movie — and I love all of his Westerns — you don’t really know what’s going on. You’re watching his behavior to try to figure out what he feels or what he’s thinking. But in the original novel, it’s a series of inner monologues from Eli, and you really get this full internal monologue.

There’s this sort of self-replicating thing that happens with Westerns where a movie’s reality is based on the reality of another movie, and then another movie, and another movie, as opposed to what was going on in 1850 in San Francisco. That’s the take Patrick took with the book, and that’s the take Jacques took as an outsider to America. He didn’t have all that baggage, that American psyche, this idea that we’re some John Wayne–like people. Jacques just saw it from a distance, so he saw more just the reality of the situation. That was a great reason to make the movie with Jacques.

Alissa Wilkinson

It’s an interesting film because it’s a Western with these hard-bitten men who become more vulnerable the longer you watch them. They start out as archetypes, but then they turn into something else.

John C. Reilly

As they get to know each other, yeah. Somebody said to me when they were watching the film, “It’s almost like Warm and Morris are the brothers’ first two friends they’ve ever had.” They had to do a violent thing when they were children and then they just banded together, and from that moment, these two country boys went out into the world and they were good at this thing. These criminals figured out they were good at murdering people. They don’t trust anybody.

The modern world seems completely bizarre and hard to understand and decadent to them. It’s almost like Hansel and Gretel going into the forest. There’s a whole sequence of the movie where we’re in the forest where Jacques, I think, deliberately wanted the movie to feel like some kind of fucked-up fairy tale — including the spider bite. Metaphorical things that happen to them.

Reilly with Joaquin Phoenix and director Jacques Audiard. Photo by Pascal Le Segretain/Getty Images

Alissa Wilkinson

The funniest scene in the movie is when Eli first encounters a toothbrush and can’t figure out how to use it properly.

John C. Reilly

Yeah, and that’s funny because it’s like, “Oh, wow! That’s someone approaching a toothbrush for the first time who’s never heard of a toothbrush before.” That’s the reality. That’s such a simple little detail that really clues you in to what it would feel like to live at that time.

But then, in this stroke of brilliance, I think one of the reasons Jacques put that scene in the movie is that these guys are trying to find a new way to be. They’re trying to move out of this brutal past. And civilization was doing the same thing at the time in the West.

Like, “Okay, we settled this place with guns and murder and genocide and smallpox blankets. Now what are we going to do? We can’t keep doing it like this. And the sheriff’s 400 miles away.”

In the 1850s, cartridge bullets were invented, which meant that you could fire as much and as long as you wanted, and the world became a lot more dangerous at that moment. I think collectively, people just kind of went, “Okay, this is not sustainable. We need some laws or something here to keep us all from killing each other. Otherwise, we’re going self-extinguish.”

I think it’s a timely movie for that reason, too. It feels a little bit like the world right now. You know?

Alissa Wilkinson

Yeah. Watching the movie, you get the feeling of mankind evolving very quickly almost, like in front of you.

John C. Reilly

Yeah.

Alissa Wilkinson

It’s not like civilization hadn’t existed before, but now they’re out in the middle of nowhere.

John C. Reilly

Yeah, it’s almost like if you look at the four characters of the movie, it’s almost like those sketches of the evolution, going from prehistoric to upright man.

Warm was like the upright man, who’s like, “I see the way to go. This is the new dawn.” Then there’s Morris, who’s just gotten the nerve to follow him. Then there’s Eli, who’s like, “But I’m connected to Charlie. I can’t go yet, but maybe we should.” There’s Charlie, fully ensconced in the old way, like, “No. No. No, I’m going to be the top murderer.”

Alissa Wilkinson

That’s interesting, because … well, what I wrote down in my notebook was “there are a lot of bodily fluids in this movie.” There really are.

John C. Reilly

Yeah, that’s true.

Alissa Wilkinson

I feel like that’s part of that kind of primal nature of the movie.

John C. Reilly

Yeah.

Alissa Wilkinson

Which had to be bizarre to shoot. Or maybe just a weird experience, riding around on horses for so long in the middle of nowhere.

John C. Reilly

Yeah. It was really like a mobile community moving together, like a band of gypsies moving from place to place. We had trailers. But we’d just go and get dressed in them in the morning, and then we wouldn’t be in them all day. I’d be sleeping on a rock, or feeding my horse, or just going for walks. We didn’t have a lot of the accoutrements that are around American sets.

It was much more a lived experience for Joaquin and I. Short of murder, our relationship became a lot like that relationship in the movie. We spent all of our time together. We lived together for periods of time during the shooting. If we went out at night, we always went together and I was always keeping track of him, and vice versa. It was a real immersive experience.

Alissa Wilkinson

You’ve worked in a lot of acting pairs — that’s sort of your thing, especially in comedies. Joaquin is maybe not someone people think of as a comedic actor, though.

John C. Reilly

He’s one of the funniest people I’ve ever met. Honestly. If you know me, it’s hard to make me laugh really hard, and Joaquin makes me laugh. I cry. Sometimes I feel like I’m going to fall down and pee my pants. He’s such a mischievous person, and he’s so in the moment.

When you’re connected with Joaquin, when he brings you in, he brings you all the way in. He’s a really thrilling person to be around because he’s so authentic. He lives an authentic life. For an actor, that’s an odd thing to say. But it’s really true.

Alissa Wilkinson

Is there something about acting in pairs that you’re especially fond of?

John C. Reilly

Well, then if you fuck up, it’s not all your fault. To be honest, I think that is part of it — safety in numbers.

But I don’t like to work alone. I mean, that’s why I got involved in acting when I was 8 years old, because I liked being part of the community of people. I was like, “Oh, the weirdos like me! I found my people.”

I grew up in theater in Chicago, and in Chicago, it’s always like, “If I make you better, then I’m better, and then the play works.” It’s less aggressive and competitive than New York or LA, where people are trying to solo all the time. You know? Chicago’s much more of a collaborative mentality, so I suppose it comes from that.

I have four movies coming out before January, and they’re all partnerships.

Alissa Wilkinson

I know! I’m excited for Holmes and Watson in particular — that’s been such a storied duo, and you’re working with Will Ferrell again.

John C. Reilly

I know. [chuckles] What the world really needs is another reinterpretation of Sherlock Holmes.

Alissa Wilkinson

Maybe, though!

John C. Reilly

Maybe.

Alissa Wilkinson

Aren’t there, like, four out right now?

John C. Reilly

Yeah, why not? The more, the merrier. They certainly won’t be like ours. That’s for sure.

The Sisters Brothers opens in theaters on September 21.

Original Source -> John C. Reilly on making The Sisters Brothers and how to properly fit a men’s hat

via The Conservative Brief

#IFTTT #The Conservative Brief

0 notes