#Little Gold Men

[insanityclause]

When Tom Hiddleston landed his career-changing role in Marvel’s Thor back in April 2009, he never dreamed he would be playing the character for nearly 15 years. To be fair, no one did—except maybe Marvel’s mastermind Kevin Feige, who had begun laying the cinematic groundwork for a multi-billion dollar franchise. At the time, Hiddleston happily threw himself into extensive research and prep to play the duplicitous brother of Thor (Chris Hemsworth).  “I was cast in April 2009, and I had about eight months to build the character from the ground up,” Hiddleston says on this week’s Little Gold Men. “So that was a deep dive into everything Loki from any comic book, any Norse myth, any saga, everything—from the whole run of Marvel comics to the ancient Scandinavian stories, and how he pops up in The Ring cycle for Wagner, and Jim Carrey is wearing the mask of Loki in The Mask.” Hiddleston was trying to discover “this sense of, what's Loki's impact on human imagination and culture? And then synthesizing all of that into the story we’re telling. That was such a delightful period of discovery and curiosity.”

Hiddleston’s scene-stealing portrayal made him an instant fan favorite, laying a formidable foundation for a character who went on to appear in six more films and the stand-alone series Loki. The two-season series threw the character into a new dimension and timeline, stripped him of all his creature comforts, and gave the actor new challenges to tackle.

“In successive iterations, [my approach] has been, how do I keep it interesting?” he says. “I genuinely say this to myself and to others: ‘We're not reheating yesterday's meal in the microwave. We're cooking up something new.’ It's trying to find new ingredients or new challenges for the character, for us as actors, so that it feels like the same person is growing. Because that's what human beings do. They don't stay the same, they grow. Sometimes they regress, but there's always movement.”

Hiddleston has gone on to star in a wide array of projects outside the Marvel universe, of course, from his Emmy-nominated, Golden Globe-winning work in The Night Manager to Jim Jarmusch’s acclaimed romantic vampire drama Only Lovers Left Alive and Steven Spielberg’s epic War Horse. But he’s definitely spent the most time with the God of Mischief. And though no official announcement has been made, the final episode of Loki season two strongly indicates the closing of a formative chapter.

The actor and executive producer stopped by Little Gold Men for a thoughtful discussion about the gift of developing and playing a single character for so long, the surreal fun of working with drama school classmates turned costars Gugu Mbatha-Raw and Wunmi Mosaku, and getting to come up with the character's last line (for now). Listen below, where you can also read excerpts from the conversation.

Vanity Fair: Did the series version of Loki feel a little more stripped down, or did you have the same kind of mindset playing him as you did in the films? Tom Hiddleston: Yes. I think it was stripped down literally in the sense of taking away the costume, but stripped down spiritually and in his soul. I thought [the concept] was such a brilliant idea, and it wasn't mine. It was [executive producers] Michael Waldron and Kevin Wright, and the great and the good at Marvel Studios. I thought for any character, if you were presented with your life and watching a kind of highlight reel of it, what would it add up to? Would it be satisfying? Would it be meaningful? Would it be amusing? Would it be disappointing? And I thought to do that with Loki especially, as it's the journey of a life that the audience is familiar with, but he hasn't seen it. I just thought it was a brilliant conceit. And then I leaned into this idea of the leopard being challenged to change his spots. Because you'd have to if your life ended up in murder by Thanos and humiliation. You'd want to try something new.

And that was really fun, developing a story which was actually very philosophical. It asks the question of Loki, as I hope it asks the question of all of us: Are we in control of the course of our lives? Do we have any free will, and can we break free from any kind of predetermination? It seemed like a great question, and a fun way to ask it.

You’re also an executive producer on the series. How did you take on that role? What did you get to do?

Honestly, it was such an honor and I loved it. I loved the extra imagining and problem solving. I was invited into the writer's room really early, season one, even earlier on season two. And to borrow the words from Lin Manuel Miranda, to be in the room where it happens, and to sit around the table and break story and crunch through the great creative ‘what if’ questions—what if Loki did this? What if Mobius [Owen Wilson] did that? What if they couldn't find Sylvie? What if the TVA ran on an energy source, and it wasn't energy, it was time?

Can you take any credit for bringing Ke Huy Kwan or your RADA buddies Gugu Mbatha-Raw and Wunmi Mosaku on board? I love that that was a little bit of a through-line, that you all got to work together.

Well, when their names came up, Gugu and Wunmi particularly, I was able to say, those guys are great. And Ke was just an amazing idea because actually, [his character] Ouroboros was coming to life on the page. Somebody suggested Ke, and Everything Everywhere All At Once had just come out. And I was like, genius: somebody call him now before we lose him. He was so joyful and optimistic and happy to be there, so honored to be there. He'd wanted to be in a Marvel project his whole life, I think, and, and he brought everything and more to that character.

The day he landed, he came from the airport straight to the studio, probably thinking, ‘I'll just say hello and go back to my digs.’ And Owen and I were actually rehearsing the scene before Mobius and Loki meet OB for the first time. And he came in and he listened. And then we got to the bit where we were like, ‘You're in the next bit. Do you want to do it?’ He said ‘Okay!’ And he stayed and rehearsed for three hours. I think he felt completely crazy having just [traveled] across the continents, but it was so brilliant. And the chemistry was so immediate between the three of us, and so funny. We all love Ke.

Thinking about your journey with this character and all the places he has taken you, has there been a surreal aspect to it? I think about you being in drama school with Gugu and Wunmi—now you're getting paid to play.

It's a wonderful question, and I'm never unaware of the great gift that this job is. Especially because it happens all the time,: I go out into the world and I meet young people or children, and they're so amazed that they’re meeting Loki. I'm obviously not Loki, but the response is so immediate and so emotional and so joyful. What a gift. It's the best job in the world. And I never dreamed back then that I would be part of something with such reach and for so long. It just is the most unlikely, surprising, delightful thing. And we—Wunmi and Gugu I've known for a long time. It is amazing to look and go, ‘Can you believe we're here, we're doing this?’ It is exciting too, because it feels right in some way and they're great actors. They are brilliant.

Do you get recognized as the character, or are people starting to recognize you for your other work?

Oh, it's always different. I went to a friend's birthday party the other day—a friend and his wife, both turning the same age. They got a taco stand. I went to get my taco and the guys were like, ‘Only Lovers Left Alive, man. Love that film.’ And I said, ‘Thank you very much. That's very kind.’ Some people say The Night Manager. Some people stop me in the street and go, ‘It's you! You're the dancer.’ And they're referring to some talk show, some bit of dancing I did on a talk show from like a thousand years ago, which really tickles me.

Speaking of dancing, I wanted to bring up your physicality. With the most recent season of Loki in particular and that time slip, did you have to have massages and stretch after? Because it seems like such a jarring movement.

It's jerky, yes. I had to put my body under a kind of relentless physical stress. But I think it pays off in the way it's presented. In terms of movement and physicality, it comes from my own admiration for other performers when I sense that there is a really, alive and visceral physicality in the performance. Some of people are great actors, very cerebral, very intelligent, but sometimes not always fully embodied. And I love the actors who are giving me a sense that the whole body is occupying whichever space that is. They could be on a horse, they could be driving a car, they could have just run in through the jungle. I don't know, it could be anything, but a real sense of physicality is always something I admire in other actors.

One of my favorite things in doing a little research about your work on this season was that you got to craft Loki’s last lin,e and it also maybe came from going on a run. Can you talk about that? Well, first on running, I love it and it is a big part of my life. And a big part of my creative life. Running outside, in space, in the world with only your own legs to carry you and your own breath to fuel you, I find incredibly freeing. And it's where I do some of my best thinking and dreaming and imagining. Things bubble up from inside you. So I often run at the beginning of a day, very early and with an awareness of what's coming, what the scenes of the day are. Sometimes things will bubble up. And maybe that's just extra oxygen in the brain, who knows? 

But to the point about that last line: one of the things I kept trying to guide our team back to was that the whole series, both seasons, was really about finding purpose, or re-finding, re-defining, re-discovering a sense of purpose. And I think a primal need in all of us, is that we need our lives to mean something. So I kept coming back to this line from The Avengers, ‘I am Loki of Asgard and I am burdened with glorious purpose.’ And we kept thinking, well, if Loki has a second chance, he gets to redefine his purpose or re-imagine it. I went for a run and was listening to some film scores, and it was a beautiful day. I was thinking about the journey of playing this character and where it started, and all the people that I have had the great good fortune to work with and become friends with—that completely unique kind of soul-sharing relationship where you make something together. And I remembered the end of the first Thor film, and how emotional that felt and. I just suddenly thought, that's what he should say—but it should mean something completely different. Loki's last line in Thor, directed by Kenneth Branagh, is, ‘I could have done it, Father. I could have done it for you, for all of us.��� And of course his effort to gain his father's pride has been misguided and ill thought-out. And then at the end of Loki season 2, 14 years later, he turns to Mobius and Sylvie and says, ‘I know what I want I know what kind of god I need to be. For you. For all of us.’ It felt very resonant somehow. I hope the audience picked up on that.

Are you able to just say goodbye when it's wrap time, or do you have any sort of meditative, formal way of saying goodbye to a project or a character?

That's such a good question. I think it's a very honest, immediate feeling of relief, which they say is the most intense human emotion. You'd think it was anger or grief or something, but actually relief is—the way relief kind of washes through you, and a sense of finality that some finish line has been crossed and there are no more miles to run. And for me anyway, huge amounts of energy have been stored inside myself which had been poured out over time—over maybe 20 weeks or however many months. 

I love that feeling of completeness. The great joy of what I do for a living is that it involves very intense, very close working with a team. And the pride that you can feel with your teammates, with your crew, with your cast—you just hang around and say goodbye, but it never really is goodbye. And there's just a sense of, like, “that'll do, pig,” you know? Yeah: that'll do, pig.

[dualredundancy]

Just five days to go! Who will win big on Sunday at the 76th Primetime Emmy Awards? We have our predictions! #Emmy #Emmys #Emmys2024 #EmmyAwards #EmmyPredictions

[wellntruly]

knighthooded replied to your post "Happy Day After Oscars Day"

oh man I've for some reason kept putting off going to see The Fabelmans (partly due to those trailers you mentioned) and Aftersun (because I need to be emotionally ready) but it sounds like I've got some tickets to buy

amelodie replied to your post "Happy Day After Oscars Day"

I've similarly been putting many of these off, so thanks for the insights and encouragement! I'm really curious about these parasocial critic friends though. Who are some of your favourites to follow?

Oh man, my close personal friends! Many of them responded to The Fabelmans and Aftersun so similarly to me, while also some others really did not!! But maybe the true ~magic of the movies~ was the different ways they affected us all along.

Here are some of my folks and where you can find them:

Richard Lawson, Chief Critic at Vanity Fair His reviews are on VF.com, and he's one of the co-hosts of the 'Little Gold Men' podcast, one of my stalwarts. Next week I believe they will be doing my FAVORITE episode of the year, the one right after the Oscars where Joe Reid (stay tuned) comes on with his spreadsheet of what's coming out this year and, sight unseen, they have to make their wild guess of what's gonna win Best Picture. Do they replay their predictions from the year before too? Oh you bet. A riot. I'll add the link once it drops.

David Sims and Griffin Newman, co-hosts of the 'Blank Check' podcast David is a film critic at The Atlantic, Griffin is an actor and comedian, and 'Blank Check' is their podcast where they cover directors' filmographies, in...depth. These episodes are long as hell. You know you're lost in the sauce when you realize that's become a feature not a bug. I have an intro episode! It's the start of their Bob Fosse miniseries from last summer, on his first movie musical, Sweet Charity (1969). I mean first of all you should absolutely watch Sweet Charity, dazzling and a hoot, but even if you don't see it first, this episode is so great. A lot of it is from their dossier on Bob Fosse (the Fossier), as the introduction of this series, so it's a lot of fascinating history and context of both Broadway and Hollywood at the time, but also they're just all in a particularly bouncy mood and it's a treat to listen to. Ben Hosley, their weird little sound guy of a producer, is basically discovering in real time that maybe he loves musicals?? It is so fun. Anyway. Lots of running bits, sure, lots of guests also (hi Richard!), LOTS of hours, but I just vibe so much with the way these two love movies.

Joe Reid and Chris Feil, co-hosts of the 'This Had Oscar Buzz' podcast Let's just stay on the podcast train for a stop longer. Joe and Chris are both Oscar historians and freelance critics, popping up on places like Vanity Fair and Vulture. Their podcast has the pretty brilliant premise of covering movies that once had dreams of Academy Award nominations, but it all went wrong. Their appreciable cattiness is perfectly suited for this. They also have really good film festival recap episodes, for the current year. Edit: Ahh I forgot my intro episode! It is this one from February on Magic Mike XXL, a film I have not seen, with special guest, their friend Pamela Ribbon, the reason we got this moment, and every moment in this episode where I almost crashed into something laughing.

Emily St. James, of, sigh, I guess just Twitter right now Emily was recently laid off from her job as a cultural critic on Vox, in the on-going horrors of the media job landscape. I'm sure she'll be somewhere else soon, and can't wait. I've actually followed her longer than anyone on this list, and this is where this gets so delicate and complicated!, but you may actually be more familiar with her under her old name, as she's been a noted voice in especially TV criticism for decades, and really shaped The AV Club for years.

Fran Hoepfner, Bright Wall/Dark Room, 'Fran Magazine' First found Fran through BW/DR, where she still turns out incredible essays on the regular, now a loyal subscriber to Fran Magazine, her stellar newsletter, and she is easily the best Letterboxd reviewer in the business (not a business). She's just so astute and so funny, how the FUCK does she do it! Best in the business!

Demi Adejuyigbe, of one million things but on Tumblr: the 21st of September music videos He's just on Letterboxd, but we should be so lucky. Any time I have relayed a Demi Letterboxd joke to someone they've lost their mind. Most recently it was him calling the white love interest in RRR Phoebe Waller-Bridgerton.

I've just realized that of course, ALL of these people are also on Letterboxd. Haha what a dumbdumb! I've gone back and made all their names links to their Letterboxd profiles.

Well I hope this is more than you asked for!! Will update with more people I've surely forgotten.

[igura]

twitter doodle… they can have their ears pierced as a little treat

[autisticshizuo]

first hawaiian shirts and sweater + shirt in this heat and now tracksuits? why did they got hit with the middle age crisis fits..

[jbaileyfansite]

Interview with Vanity Fair (2024)

If you looked up the phrase “booked and busy,” you’d probably find a picture of Jonathan Bailey. The British actor broke out as Lord Anthony Bridgerton, whose love story took center stage in the second season of Netflix’s eponymous hit romance. He captured even more hearts as Tim Laughlin, a McCarthy-era conservative turned radical queer leftist in Showtime’s epic limited series Fellow Travelers, and will soon star as another eligible bachelor, Fiyero, in Jon M. Chu’s two-part Wicked adaptation—a part Bailey scored after Chu found clips of the actor singing online. “The fact that it was a YouTube video that got me the job is kind of wild and incredible,” Bailey says on this week’s episode of Little Gold Men.

On top of all that, Bailey managed to return to the Ton for season three part two of Bridgerton, which begins streaming Thursday, June 13 and filmed concurrently with Fellow Travelers—which bled directly into Wicked. He remembers practicing Ozdust Ballroom choreography during lunch breaks on Travelers, wearing his buttoned-up G-man glasses and sharp haircut from the waist up—“and then it was Fame from the waist down. I’ve got terrible videos that may or may not surface in about a hundred years time—hopefully once I’ve died, because they’re so embarrassing.” But then again, there’s a poignancy to them: “Tim, if he’d been born 60 years later, may have played Fiyero in the school production of Wicked. And he would have loved the shiny boots.”

Vanity Fair: As Tim on Fellow Travelers, you evolve from a conservative, religious congressional staffer in the ’50s to a radical queer man living in the ’80s. What was it like filming that character arc? I have to imagine it would be tough to do.

Jonathan Bailey: It was an incredible challenge. For Tim, he’s talking about the idea of religion and faith and what that gives you at the beginning. And I think it seems to have equipped Tim to endure a love against all odds. He never gives up on Hawk (Matt Bomer). And Hawk becomes his sort of living religion, and something that he believes in.

I was like, I want to see a gay ingenue who’s a fish out of water—who’s itchy in his skin. It’s not like he’s doe-eyed and just sort of hapless; he’s fighting from the get-go. He does not understand why the world is the way it is. His emotions are the thing he leads with. And he’s all about truth and transparency and honesty. And I think that comes from this Catholic sort of conservative upbringing. So it’s just the most beautiful quest that he has in his life, to find absolution but also acceptance. But he never stops fighting. That’s why, to me, he’s an absolute icon.

Tim is prickly and struggling internally with his sexuality while also dealing externally with important moments in American history, from McCarthyism to the AIDS crisis. As a Brit, how familiar were you with the American history?

Not enough [laughs]. It was not included on the curriculum. But then I’m not sure it really was in America, either. This is why we’re shining a light on areas of history that conveniently haven’t been included. It’s an experience to explore a character throughout that time, but also the history of queer experience—to offer me, as Johnny, catharsis. And to be in a predominantly queer environment to tell that story. I relished it, because there’s so much that I need to understand about the privilege that I have now and the people that came before me. The fact that there’s five out gay actors leading the show is because of all the people that came before. And I’m telling you, people have been loving gay actors for years. They just haven’t been able to say that they’re gay.

We’re getting more and more queer stories and queer representation on screen, but these characters are not always portrayed by actual queer people. I think Fellow Travelers proves that it makes a big difference when you cast queer, out, gay, LGBTQ+ actors in roles that are queer.

This is so specifically exploring the queer experience over 40 years. I think there was a GLAAD report last week that was kind of disheartening, about how there’s been a decrease in queer or LGBTQ+ characters being represented…. Tim and Hawk and all the characters in this are born into a world where they have to fight. And if you’re ever having to monitor or adapt or to survive, if your first instinct is it might not work because of who I am, then that’s the difference between being a gay actor and not being a gay actor. It’s the fight.

The show wouldn’t work without your chemistry with Matt Bomer. How did you find that dynamic? Tim and Hawk’s relationship has a sub-dom dynamic, and at times it switches. There’s a power struggle. It’s complicated and nuanced and always believable.

[laughs] Well, I mean, Matt Bomer is a supreme being, and incredibly lovely and great. He’s got such a wealth of experience. We met on Zoom to do a chemistry read, and then we met in a coffee shop about a week, or even actually less than that—like, six days before we started filming. For about an hour we said, you know, this is such an opportunity. This is what we’re really excited about. It’s a great amount of trust and a free fall. But that’s the point of gay relationships: There is so much nuance, and the dynamic is so balanced because there’s no gender, There’s no—uh, what was it? Women are from Venus, men are from Mars.

The fact that the intimacy is so richly explored is so important to the gay experience. It’s something that I found really incredibly vital as well—to allow people to understand the way that men come together sexually is also directly linked to how the world communicates to them. You know, their relationship with their self-worth and their shame. Also, literally, where are the safe spaces that they can meet. Even in their own homes, in [Fellow Travelers], they had a window of how many hours until the sun came up and Hawk had to get out. Even there it’s unsafe. I loved that the intimacy had its own evolution.

I’m glad that you brought up the intimacy. It’s such an important part and of the show’s DNA, and, frankly, rare to see intimate scenes between two queer men on television. What was it like filming those scenes?

Personally, I just think, What an opportunity. It’s really exciting to be able to know that you’ve got the space to be able to show what you haven’t seen before. I remember Queer as Folk, Blue Is the Warmest Color. There’s been beautiful same-sex intimacy explored. But I think in this instance, it was how the two characters came together, but also directly reflective of what’s going on inside and the distance between what they really felt towards each other—what they felt like they could say, and also what they felt that they had to do in order to survive. That’s where the intimacy is incredibly hot.

It didn’t seem to me to be an overwhelming ask for the intimacy scenes. It felt to me that that was exactly what it should be. If you’re going to tell this incredibly bruising, tender, detailed love story that’s going to explore four moments in history, of course, you should explore the intimate dynamics. And I do think you can show so much about what’s happening with a human in those silent moments of intimacy. That’s why it’s brilliant. You know, I can see where sex scenes don’t further the plot and they don’t explore character development and they’re cynically included. With this, that was never going to happen because it was all on the page. And it’s important.

Source

[chiropteracupola]

assembling him :)

[stressfulsloth]

You know what disco elysium place I want to know more about? Ubi Sunt?, the only geographical location in elysium with a punctuation mark in it's name. Fond of socialism and sheep. Facing crushing poverty and total entroponetic collapse. It is literally being eaten by the pale. Named after a latin phrase from the vulgate bible commonly used to mean nostalgia, translating to "Where are those that came before us?"

[miroana]

Lune Invictus

[ilikethisacompletelynormalamount]

Yet the unadorned rigor of this stage-trained actor, who recently completed a tour de force Vanya run on the West End, remains firmly evident. He embodies Strangers’ Adam with an intricate attention to physical detail. “You don’t want somebody pretending to be a boy, but you want a sense of the vulnerability of a child, and also somebody who is learning to fall in love as an adult—and how those things are intertwined,” he says. “I don’t know if that is apparent in watching, but it’s a very, very tactile film…. Even the way he is able to be embraced by his parents, and then learns to be the embracer of Harry, it’s something that I had to map out silently for myself.” One lovely scene later in the movie finds Adam back in his childhood home, wearing pajamas and curling up into bed alongside his parents—with, again, all three actors in question roughly the same age. It’d feel absurd, bordering on campy, if not for Scott’s gentle verisimilitude. “I feel very proud of it,” he says of the sequence. “It takes work.”

...

[peterkothe]

———-🎄MERRY CHRISTMAS🎄————-

A lone poor child, with only his beloved drum to play, joins with the Magi, the Wisemen of the East following a star, to find the Christ Child. While they presented their gifts of gold, frankincense and myrrh, the drummer boy had only his song to play; a song that brought happiness to Child’s face! A with that, a great blessing to the Drummer Boy, for he gave all he could for the King of Kings!

“Blessed are the pure of heart: for they shall see God.”-Matthew 5:8

[dualredundancy]

[pollyna]

4 &14 for icemav 🥹🥹🥹 mav just wanting to snuggle up with ice

Sorry for the late answer anon, but it has been a pretty shitty week and, on the other hand, my golden fish used to have a longer attention span and memory than me lol

Hope you'll like it :)

2010.

It has been a day, or maybe a week or an entire year, and Ice can feel the tiredness setting in his bones, the way it makes space in every fragment of his being because he's simply done. Tired, over-stressed, over caffeinated and sleep-deprived but he knows it's going to be worth it all in a long run, even if every day it's a fight against people and his own capacity of not snapping and punching some fucking Senator in the face. Now he just wants to go home, kiss Mav and sleep for seventy-two hours or so. Maybe, if he's lucky, he could get cuddled too or put on all that little scenery in which he doesn't want to cuddle but Mav wants and in the end, he would snort and cuddle with him even when he doesn't want to. It has been almost twenty years of this song and dance, they both know, and it's still kinda funny and heartwarming in the way all the things that are Maverick are for Ice. Once again Ice finds himself being damn tired and stupidly in love with Pete and even his secretary knows he's thinking about his husband because his cheeks are a little red.

Some deity, or the fact that's almost eleven in the night, makes the path shorter than usual and Tom is just glad. He knows Pete is probably already asleep or dozing off on their couch and honestly every flat surface, minus the floor is going to be a good surface to sleep for how tired he is.

He wasn't totally wrong because Mav is still awake, more or less, and he was cuddling their cat on the couch and he looks as ready as Ice to drop down and sleep.

"Hi honey, hope your day was great, yadda yadda, now come here and cuddle me so I can go to sleep," his husband says the moment he sees him entering their house. He even mimics the babies grabby hands and he has the determined face of one that is going to get what he wants. Even if he has to stand up and pick up Ice to get cuddled.

(Ice knows Mav will be doing that because he has already done it more than once. And in different settings.)

In an uncharacteristic Ice behaviour, Tom leaves his work bag, jacket and shoes on the floor before almost jumping into the sport on the couch.

"No playing thought to get tonight, Admiral?"

"Nu-uh, too tired, cuddle with me."

"How could I refuse such an invitation" he laughs in response, before kissing Tom and adjusting their bodies on the couch.

"Love you Mav, good night love" Ice murmurs, already more asleep than awake.

"Love you too Ice" he answers back and the only other awake thing in the room await for the moment it knows they're both asleep before making its way between their body because they're both warm and they're cuddling. Tomcat meows satisfied and fall asleep too.

[sunshineandviolets]

catching up on dirty little secrets cause the new chapter

and honestly why is Sadie so much more of an compelling and interesting character than our actual love interest

[evilpenguinrika]

I'm still gonna watch the sports that interest me, but I think I'm just gonna--for now--watch the ones where Canada wins

[jbaileyfansite]

Jonathan Bailey talking Fellow Travelers and Wicked for Little Gold Men Podcast. The interview is longer here than the transcripted one that you can find on Vanity Fair here.