KATE HUDSON - Golden Sparkle



By Jack Wellington

Kate Hudson seems the embodiment of her beautifully effervescent mother, Goldie Hawn, and among her fellow Hollywood peers, she is known to light up a set with her internal spark, most likely passed down from Goldie. Yet Hudson has made her own path in the cinematic industry—though happy to be paired with her mom’s good looks. In fact, the lists are too numerous to mention when it comes to rankings on “the sexiest” “hottest” and “most beautiful women” publication lists.

Part musician, part actor, and wholeheartedly the all-natural hippie, Hudson received musical talent (playing both piano and guitar) from her father, Bill Hudson of the 1970’s band and television show, The Hudson Brothers. But it was her mom’s longtime companion, Kurt Russell, who raised her with Hawn, and whom she considers her father. Kate was only 18 months old when her parents divorced.

Though she indeed landed the part of her first audition at the age of 11 for a lead role in TV show with Howie Mandel (which never made it to production), Hawn turned it down, keeping it a secret for a year before telling her daughter. But by the age of 17, Hudson couldn’t be held back, landing an agent and a guest part on the dramatic TV show, “Party of Five”. One year later, she performed in her first movie role in the independent film, Desert Blue, then with the talented cast of Ben Affleck, Christina Ricci, Paul Rudd and Courtney Love in the ‘99 film, 200 Cigarettes. But it was the year 2000 that put the blonde beauty on the Hollywood map, with her charming role as Penny Lane in Cameron Crowe’s autobiographical film, Almost Famous. Her sparkly, sexy portrayal of the groupie leader of the so-called “Band-Aids” earned her a Golden Globe award and an Oscar nod for Best Supporting Actress. A couple years later, Hudson once again flirted with audiences in her first big hit romantic comedy, with co-star Matthew McConaughey in 2003’s How to Lose a Guy in 10 Days, which positioned the lovely actress for a future of hit romantic comedies: You, Me and Dupree, Fool’s Gold and Bride Wars.

The role Hudson has held most dearly is the personal one of “Mom.” Though with one divorce under her belt from The Black Crowes lead singer, Chris Robinson, and an engagement that never made its walk down the wedding aisle with Muse band member, Matthew Bellamy, the 37-year-old actress relishes her time with her two boys, 12-year old Ryder Russell Robinson (with his middle name honoring her dad, Kurt) with Robinson; and five-year-old Bingham Hawn Bellamy with Bellamy.

For her free time, the golden-tressed beauty designs and creates her own jewelry and does yoga, which was the perfect segue to the entrepreneurial life, when she joined business partners, Adam Goldenberg and Don Ressler in 2013, to launch her fitness brand, Fabletics, through the online fashion retailer, JustFab.

Hudson took out a moment to talk with us about her newest film, Deepwater Horizon, the real-life story about the 2010 disaster on the offshore drilling rig that exploded and created the worst oil spill in U.S. history. Her down-to-earth character is apparent, and as she speaks, she glows with an inner beauty that sparkles throughout the room, as her animated hand gestures paint a picture of her words. Opening up about the onscreen chemistry with co-star, Mark Wahlberg, Hudson expressed the ease of the two of them working together because of their common life priorities of kids and families first. She spoke of her strong desire to depict the historical disaster properly for the real-life role of Felicia Williams, and how truly elated she was with joining her inspirational role model, her dad, Kurt Russell, on set, and the incredible respect she has for his talented acting abilities.

STRIPLV: How did you approach playing a character based on the real person, Felicia Williams, who experienced these events?
HUDSON: I think when you’re playing a character that is a real person, that you’re portraying a real life experience—there’s definitely more care put into wanting it to be perceived by them as something that is authentic and truthful. I had the privilege of seeing her watch the movie, and afterwards, connecting with her in Toronto at the Film Festival, and she said to me, and very emotional, she just said: “Way to go!” You know? That was a nice sort of just…alright, well I’m just so happy that she felt like I respected what that was for her. Because it’s really hard obviously to relive those things, for anybody who was a part of this catastrophe, I think it was so traumatic for them. So to relive it is, you know, complex.
STRIPLV: The film was shot on location in New Orleans, amongst the Gulf’s oil industry and communities affected by the spill. What was it like to work where the real life events took place?
HUDSON: I think it just adds that nuance when you’re working in the real place. Nowadays we make movies in so many different places that have nothing to do with where we’re shooting the film. And for us to come down here and to be able to shoot here in New Orleans, in Louisiana, go to the real sort of launching place, like where Mark and I went and shot the driving scene where I say bye to him. You know, we went down there. Coming in over and actually experiencing going on a helicopter, and seeing all the oil rigs out there, when you go out over to the gulf—t’s just a whole other world! And this is their everyday lives—but for me, I’d never seen it and it just adds so much texture to making films and making them as authentic as possible. So it was really wonderful to be here. And I think, too, I think there was a great interest and intrigue when we would say: “Oh, what are you doing here?” and “Oh, you’re working on that.” They were very excited here in New Orleans to see what part of the story we were going to tell. And I think that when this comes out, it will be something that hopefully the city of New Orleans will be proud that we made this movie and made it here. It’s cool. 
STRIPLV: This is a first time for you starring in a film alongside Kurt Russell. What was that like?
HUDSON: I mean, it was great, except that we didn’t really have a scene together. (laughing) We had, like, one little moment. But we didn’t have the actual… It’s definitely not On Gold Pond, right? But it is amazing to be here with my dad, to be at the festival with my dad. You know, cause now, as an adult, I say to every other adult: “Like, how often do you get to go sit on an airplane with your dad, alone? Without the whole family, or without it being sort of where everybody’s getting together, where you get to go to work?” It’s just really, very cool! And then to be back on a set with him, sort of reminding me how and where, and how I fell in love with making movies. It was really cool. And just watching him as an actor, it’s just a pleasure. He’s so… You know, I say this as a biased daughter, but I also say it as an observant actor, that he is such a phenomenal talent. Watching his process is really a wonderful thing to watch, as someone who is always wanting to learn. He’s so subtle, and his subtleties are so effective. And some people have that. And it’s just like a dream to watch.
STRIPLV: Your character experiences the uncertainty and worry, experienced by much of America as this news story broke. How did you prepare for this aspect of your role?
HUDSON: I think that to prepare for my part in this film, was really… it was a couple of things: one, that Mark and I, you know, in these kind of movies you want to get to it. You know, it’s important to get to what an audience is sort of like: “What happened?” You know? But you have to set up what I think is telling a story about people’s lives; the sort of everyday man going to work and the rug then pulled out from under your feet. You have to sort of set up the relationship, the family, everything that would be relatable to all of us who have kids and families, to really understand the impact of what this felt like for these workers. And so, Mark and I’s chemistry, the moments in the beginning of the movie, were really important for us because… (chuckling) There was a little bit of pressure. Sort of like, I hope this works! You know, I hope we can get that feeling for people. And the second we started working together, I was relieved, because we had a very easy rapport. And it was just easy for us to just go there with each other, and feel comfortable, and intimate. And I think that, because we’re both parents who really put our children before anything, that was an easy place for us to go together—that being the most important thing, is us, and family. And so that just came very organically, and then, you know, making sure that we were able to, (even though the real Felicia went into survival mode, and it prolonged and prolonged, and prolonged for a long period of time). You know, we had to kind of do it in these moments, and the moments had to be as impactful as the moment when something blows on the rig, to balance the movie out. You do look at that as a filmmaker and as an actor, and you just want to make sure that you can deliver. It’s always a little bit challenging, I guess. —STRIPLV



Alicia Vikander 
L - O - V - E

Alicia Vikander flooded the film industry last year with a whopping seven film releases, proving her talents immediately in her portrayal of painter Gerda Wegener in The Danish Girl, which earned her both an Academy Award and a Screen Actors Guild Award for Best Supporting Actress. The beautiful, young Swede also received a Golden Globe and BAFTA Award nod with her nomination as Best Supporting Actress for her portrayal as an A.I. (artificial intelligence) in the sci-fi thriller, Ex Machina.

Now that Hollywood has been inundated with the talented 28-year-old actress, fans couldn’t be happier for Vikander since her on-set chemistry with the sexy and charismatic Michael Fassbender turned into a passionate romance. Since last month’s film premier of the heart-wrenching love story adaptation of ML Stedman’s novel, The Light Between Oceans, the two talents have publicly stated that they did truly fall in love on the New Zealand set, and have been showing their affection for one another openly in public.

Vikander’s hasn’t had too much time to luxuriate in her new love life, as her career continues its fast track to fame with three more film releases expected next year: Tulip Fever with co-star Christoph Waltz (Inglourious Basterds, Django Unchained, The Legend of Tarzan); Submergence with co-star James McAvoy (also known as X-Men’s Professor Charles Xavier); Euphoria with co-star Eva Green (Miss Peregrine’s Home for Peculiar Children, and television’s “Penny Dreadful”). She is possibly most excited to begin work on Tomb Raider, in which she will take on Angelina Jolie’s iconic character of Lara Croft, of which she has long been a fan. The film is currently in pre-production and due to be released in 2018.

Vikander took out a moment to answer a few questions about working on both the action-thriller, Jason Bourne, and the most recent love story, The Light Between Oceans. In a sweetly subdued tone, the humble all-natural beauty spoke about the stories behind her desire for wanting to work on the two powerful, yet very different films.

STRIPLV: Tell us the story of your new film, The Light Between Oceans.
VIKANDER: It’s about a man named Tom, [played by Michael Fassbender], who has just come back from World War I. He’s been through so much trauma and tries to kind of escape, I guess, himself, and the rest of the world, and takes on this job that most people are not interested in, because it’s taking care of a lighthouse out in the middle of nowhere. On the way he meets Isabel, the character I’m playing. They fall in love and end up going out [to the lighthouse] together, but they go through a lot of loss. And the film and the story takes a big turn, and it’s about great people, and good people, who you know, sometimes in life don’t make the best choices or best decisions.
STRIPLV: What drew you to work on this film?
VIKANDER: I read the script before I read the book, but both of them had me in tears. You know, it’s a great love story, but it’s also a third party that comes in halfway through with the role of Hannah. And it’s just a film, a story that makes me believe every single character, and I feel for all of them. And even though there are two different sides to an argument, I kind of feel for all of them.
STRIPLV: Tell us about what you found interesting about your character, Isabel.
VIKANDER: Well, I saw her as quite whimsical and her parents maybe look at her and see this girl that doesn’t see reality for what it is. And I think when she meets Tom, she has a man who actually lets her be who she is, and is calm about it and wants to see the, I don’t know… yeah, I think she feels calm with Tom. She’s able to relax and be herself. She’s very naïve in a way, and she’s very open and she doesn’t think. I think she’s a very emotional person, either if it’s black or white, I think she just goes for it. And that makes her sometimes… she goes with her impulses, which in this story can take her on quite tough journeys. But I admire her for her willpower, and her strength and life spirit.
STRIPLV: The relationship obviously between Isabel and Tom is very beautiful. Can you describe the relationship? And what does The Light Between Oceans say about the enduring power of love?
VIKANDER: My character Isabel is kind of the opposite of what Tom’s become through his experiences, in the sense that she’s so full of life and energy. And of course everyone kind of also bonds and connects during this time because it was almost like a whole generation that was wiped out. But it’s so she can of course see or understand partly the loss that he’s gone through and what he’s seen that wants to kind of bring him back. She’s very transparent. You can kind of read her initially, and sometimes she can do things and say things without thinking. But you can’t really blame her, because it all kind of comes from an initial loving place; a place of just pure heart.
STRIPLV: Tell us about Derek Cianfrance’s method of direction.
VIKANDER: Derek is so humble and so giving in the fact that he just let us be in the scene and kind of see whatever happens. We’d play it out, and then he’d just throw out: “Go back from start,” like, “Go with the first sentence again.” And then you’ve already been in it and you don’t need to cut and do it all over again. You can have a continuous take, but kind of, you know, circle the scene and be in it. Yeah, it’s a very special way of working, I guess. I think most of the preparation of this film comes with how Derek works. I mean, I’ve never shot a film the way we do now. And I knew about… I’ve heard about the way he works. I was a big admirer of Blue Valentine and The Place Behind the Pines, and I know I’ve met a few people that had worked with him before I met him. And he kind of creates the opportunity and the space for us to just be in it.
STRIPLV: What was it like working on the set?
VIKANDER: We lived on set. Derek, I, Michael, you know, the tiny crew. We lived on the beach, 20 seconds away from the house. And we actually changed makeup and hair in the shed of the house of the set. And the first day actually came… I mean we did have two weeks of rehearsals, and of course I did prep work with the dialect, which was quite British, in 1920’s. But he made it possible. He had all the sets built up for us to be able live in them.
STRIPLV: We hear you had a unique entrance onto the set…
VIKANDER: They had me, like, walk into this shed with my eyes closed, not looking anywhere. I mean, it was pitch black anyway. They took me in there and they put me in my costume for the first time, and my makeup, and then they just had me sit there. I didn’t see Derek. I didn’t see anyone. And then the AD came in and said, “Well, Alicia, we’re now gonna open this door.” There were no windows in the shed. “And you’re gonna… just look around, and you’ll see Derek and the DOP, and a tiny crew somewhere. Just walk towards them and experience the island for the first time.” And that’s what I did. So I opened up the door. I ran up this hill. And, as my character, I got to use her childlike excitement of just feeling the nature, and then I walked up towards the lighthouse, and at that moment on the other side of the hill, the sun came up (snaps fingers) maybe five seconds after I reached the top. And I was just struck by it. I had never seen such a beautiful place in my life.
STRIPLV: The film has been described as a timeless love story...
VIKANDER: Well, I think that it feels like it’s quite old fashioned in the sense that that’s not really one good or bad side. It’s real people and emotions, and everyone’s extremely leveled, and it’s a story about the love between, not only about partners, but also between children and parents, and friends, and about what you do for pure emotional survival, and different longings to find love and to start a family.
STRIPLV: What was it like working with Michael Fassbender?
VIKANDER: It’s been wonderful working with Michael. I’ve been a big admirer of his work. I knew that he was attached. I think I’ve seen most of his films before, and he is such a committed actor. I mean, just to be able to go in there, and he gives you everything on every single take.
STRIPLV: Can you speak to how the film puts forth the idea that love and hope can get you through the most challenging of times?
VIKANDER: Yeah, I think that’s the last thing that you cling onto is hope, and to have that, you need to kind of have a belief in goodness, and with that, I think, a belief in love. And I feel like that that’s something that makes them so… you know, they all are pure fighters, I think, every single character in this film. They’re very human. They may not make the best decisions, or the morally right ones sometimes, but it’s really just from a longing of love.
STRIPLV: What does the film mean to you on a personal level?
VIKANDER: When I read the script, it felt extremely close and humane. I loved that. And it made me go back and read the book, that’s of course an even more in-depth version of our film. Sometimes it feels like this film feels old fashioned because it was a long time when I’d read a book or I’d seen a film when I thought I was gonna to choose a side or have a very clear opinion of characters or the story. And I loved the fact that this was kind of how normal life is, when you actually get in depth, and you get to know the reasons why somebody acts in a certain way. And then you start to relate to it and you kind of start to see your own actions that you’ve made, and you know the situations when you haven’t been proud of decisions you made, even though you never, you know, intended to do something wrong. And Derek, I’d seen his films before I came on this project, and I loved the fact that it always felt like… I was almost watching them kind of embarrassed, because it felt like I was in the room. It was almost like I watched something very personal happening in a scene between two people that felt like it was the real story; the human stories that happen surrounding us in our homes, and in our friend’s lives and in our own. And it becomes very emotionally draining. So I think, with this film, he, once in the beginning mentioned to me that he wanted to make a melodrama. And that’s sometimes a word that has a bit of a negative cling to it. But I realized he actually proved me wrong. When I’ve seen the film now, it’s one of the most difficult things to make and I love that he aimed for it, because a melodrama is the pure, traditional emotions that became famous because they’re all so universal. And that, I really appreciate that he dared go for that.
STRIPLV: Without giving anything away, how is there an unexpected turn?
VIKANDER: Well, we find Isabel and Tom, after they fall in love, before he heads out to the island, he ends up bringing her with. So they live on this island, and they fall in love and have the wish of starting a family, and sadly, they end up losing two children. But she gets pregnant again, and before people know, (again it’s going to end very badly), there’s this boat that washes up on shore in this very remote place, and in there is a dead man and a baby. And then it’s the decision to of course maybe just call the authorities and of course report what you should about this baby that you just found. But then it’s the emotional, kind of almost religious experience, of having this child being brought to them in this situation that they’re in.
STRIPLV: Describe how it’s a story of good people and not necessarily always making the best choices for themselves.
VIKANDER: It is a film about good people that you relate to and feel for, and that sometimes they don’t make the best decisions or the right, morally best choices. And I think when you’re just put with the dilemma in front of you, most people would know what is right and what’s wrong. But as soon as you start to engage with people and realize that every single choice that led up to this dilemma, in the end, it kind of just happened because of pure, loving reasons. And then it’s hard to start to judge people, and you can even start to relate to certain facts of it. I remember when I had read the book, I went on this famous website where there were thousands of comments from people who had read it. And it was so interesting. That means it’s a story that is universal, that people were as taken away by it as I was. I cried the first time that I read the script and it’s because people end up having such different opinions and views. And it’s a film that makes people talk and kind of think about their own relationships and families and friends. I love that a film can bring that much discussion.
STRIPLV: What are you hoping audiences will feel while seeing this movie?
VIKANDER: I hope that the audience will experience what I felt when I read the book, I was quite thrown by the emotional journey and I enjoyed being able to just let go and to feel all the loss, but also the… I think it made me feel okay with some of the maybe... not the best choices I’ve done in my life, and to also accept and to know that it is a part of life. And that’s why I fell in love with all of the characters in this film, and that, I hope, the audience will too.
STRIPLV: Tell us just a little about when you worked on the Jason Bourne film here in Vegas. Stepping into a franchise that you were personally a fan of before you got the role—what was that experience like for you?
VIKANDER: Pretty surreal. I had seen these films several times, and when I just heard that I was going to get the chance to have lunch with Paul Greengrass, I was kind of just excited to kind of meet him. I kinda think, instead of sitting down, and having the normal chitchatting of getting to know each other and talk about the project… I just wanted to tell him what a big fan I was—and that his films have been something I’d gone back to many times. So I’d gotten a phone call saying that he’d invited me to come and join, and not knowing that he was teaming me up with Matt Damon again, to make a new one. I was just over the moon. So thrilled.
STRIPLV: Was the experience of working with Paul Greengrass as big a dream as one would think it might be, knowing him just a little bit?
VIKANDER: First of all, he’s such an incredible director. It comes from the feature films he’s done, leading on to the documentaries that he’s famous for, that I also think has kind of been his kind of foundation inspiration till what one has made Jason Bourne movies so authentic, as well. And, if you’ve ever met this man, he’s one of the most sweet and happy men. For me, this was a very new franchise. And I kind of stepped in and it was something very different, having all these hard and direct lines, and being very technical. And every single line had this kind of punch and pace to it. It was quite nerve-wracking, stepping in. But he just transcends such trust and belief, and it was such a humbling thing to have such a generous director to be able to work with for this film. 
STRIPLV: One of the things that I really liked about your role is that you were portraying the new generation. This woman was younger than most of the females we’ve seen in the past films—really strong females that came before you. And Heather Lee is no different—just younger, with a different mindset.
VIKANDER: Yeah. Like you said, I think it just shows, in reality, in the world where it has changed. Joan Allen, I mean, she did such a fantastic job, and had such power and strength in her character in the previous films. But yes, Heather Lee is young, but nowadays, it’s quite a thing. I met a guy who is the head of computer learning at Google. And at the office there, everyone’s under 30. Everyone has several PhD’s and it kind of is mind-blowing to know because of the computer and the world of tech. It is such a young thing. So, the people who have the knowledge and who are the experts in this field are kinda the ones who can now very fast rise to power. 
STRIPLV: What was it like coming back to Las Vegas for the film premiere? You spent almost two months here when filming the movie. 
VIKANDER: We were all extremely happy that we were able to come here and have the American premiere back in Vegas, because this place meant so much for our film, and people from this city and the locals were so supporting of us—closing down the Strip, and taking over, making traffic jams and noise all night—and I was just happy being here, in the sense that I had been here doing the very kind of classical in-and-out two-days partying. And I was thinking: “Oh, my God. How am I gonna manage to be there for two months?” But through the people that we worked here with, the locals, they kind of showed me the real side of Vegas. I got out to the suburbs. I found my favorite restaurants, the little coffee shops. I went hiking in the “Red Rocks”, and I did go to the Grand Canyon, which was like a dream come true, on one of the weekends.




“I’ve got 40 years in the air, but in the end, I’m going to be judged on 208 seconds.”  
(from the movie, “Sully”)

Tom Hanks is considered Hollywood royalty, as the youngest person to have ever received the American Film Institute’s Life Achievement Award in 2002. What some people may not know is that the 56-year-old actor/director is related to one of America’s greatest presidents—Abraham Lincoln. Genealogists confirmed that indeed he is a descendant, as third cousin, four times removed, from Lincoln’s mother, Nancy Hanks. Upon Hanks announcement of the compelling news of his ancestry, it was only fitting that he narrate the film, Killing Lincoln.

Hank’s resemblance to Lincoln is quite intriguing, adding further credence to the actor’s history of dedicated work in the film industry. His willingness to do whatever it takes to convey the perfect image of a character has been seen over and over again—gaining 30 pounds for his role in 1992’s A League of Their Own; losing 35 pounds and even thinning his hair for the role of a gay lawyer with AIDS in 1993’s Philadelphia; and drastically altering his weight up and down for his role in the 2000 film, Cast Away, which he both gained weight for and later lost 55 pounds.

The committed actor won the 1993 Best Actor Academy Award for his role in Philadelphia, only to be followed up the next year with yet another Oscar for Best Actor for his role in enormous box office hit film, Forrest Gump, making Hanks only the second actor to have won consecutive Best Actor Awards from the Academy (the first being Spencer Tracy). Interestingly, the two talented actors were the exact same age when they received their consecutive awards from Hollywood.

Hanks is not only a father of four: two from previous wife Samantha Lewes, (his first son and now popular actor, Colin Hanks and Elizabeth Hanks); and two with his true love, actress Rita Wilson, (sons Chet and Truman Theodore). Hanks is also grandfather to Colin’s two daughters: five-year-old Olivia and 3-year-old Charlotte.

Opening up in his interview with us, Hanks revealed how truly infected he became by the movie “bug” of reading an exceptional screenplay and the overwhelming drive to do his most recent film, Sully. The multi-talented man who has effortlessly bridged the genres of comedy and drama put a hold on his life, once again, as he says commonly happens in Hollywood, in order to take on the role of real-life famous airline pilot, Capt. Chesley “Sully” Sullenberger, in the new Clint Eastwood directed film, Sully. It’s the story of a man who acted heroically in the moment of crisis, aborting a flight mid-air on Jan. 15, 2009. Flying out of New York’s LaGuardia airport, the airplane hit a flock of geese, causing the loss of both engines at the lowest altitude recorded in history. In the flight, which only lasted 208 seconds, Capt. Sullenberger made an unprecedented landing on the Hudson River, saving all 155 passengers and its crew, and was touted in the news as the “Miracle on the Hudson.” The controversial screenplay written by Todd Komarnicki has ruffled some feathers, depicting the 18-month investigation by the government’s NTSB to be possibly overly accusatory of the heroic pilot. But let us remember, it’s a movie, and certainly some creative license comes along with that.

STRIPLV: So you were in the middle of planning a well-deserved vacation right when the screenplay, Sully, crossed your path?
HANKS: (laughter) Yeah, yeah! Show business all the way! Show business gets in the way of everything... Pregnancies... You know, I could go through and tell you like, in one movie: “Here, I only have three kids, and in this next scene, I now I have (snaps fingers) four kids,” ‘cause one was born, you know, in between shooting one thing or another. Life gets in the way. I had worked, you know, I had put my head down and plowed through an awful lot of great stuff. And I’m certainly not complaining. But I knew that I was tired, and had in my head a period of non-activity. But, as is often the case, something comes along, and it’s just… It’s not… None of it is about business reasons. That’s not what you work through. The fact is I read the screenplay, written by Todd, and I read it in seventeen minutes. And I was infected with, you know, the “bug” of imagining the story. And once that happens, you’re doomed. The only thing you can do is hope that it works out schedule-wise. And I talked to Clint. We know each other enough in order that the pleasantries didn’t go on for very long. I met him before (mimes a phone conversation from one ear to the other) He said: “Hi. Where are ya?” “I’m in the car.” “Oh, where are ya?” “I’m driving into L.A.” “Oh, okay. Well, I’m in Budapest.” and “Hey, this is great!” “Yeah, it is great.” “When do you want to start?” “Well, I think we have to start in October because we need the Hudson River...” Alright, well…” And then, that’s all it was. It’s just the logistics on the calendar.
STRIPLV: Having never worked with Clint before, although knowing him, how did you find the experience, having both of you with these incredible careers?
HANKS: Well, it’s a two-fold thing. One is: Look, I’ve seen all the movies of Clint Eastwood, and the ones that are amazing are super amazing, you know? Oh, my gosh! I mean, you just run down this list. I know how movies are made. So when I see them, and I see what Clint has done with a minimum amount of fuss, and yet at the same time with every cinematic trick that exists—it’s quite astounding—just from a fan of him making movies. Then, him as an actor, I mean, you know, geez, he’s got some pretty iconic graphic performances in films. That’s one side of it. So, fan, and co-worker—that’s one aspect of it. The other side is: I made a survey of people who have worked with Clint. “So, what’s the deal? Are the stories true? Do you only get one take? Do you not know sometimes when the camera’s rolling?” And they all said, and rightly so, they said: “You know, it’s not a lot of takes, but there’s a lot of coverage—which means that you have seven, eight, nine, maybe even more opportunities to do what you want to do in a scene. And I, to back that up leaving this, I never felt as though we missed, [or] we left something on the table in the time that we were shooting it. And sometimes just the opposite—I felt as though because he moves so fast, we were able to go on and find other aspects of the scenes that only came out because we had big momentum going with us.  
STRIPLV: You spent time with the real Sully.  
HANKS: The real Sully Sullenberger.
STRIPLV: What resonated with you about this man, that became very important?
HANKS: You don’t want to screw up somebody’s life, for one thing. And I do not ever want to project upon them some editorial aspect of their behavior. They behaved as they behaved. What happened to them happened. And the results are completely subjective to themselves. I want to be authentic to all those things. I want to be accurate to all those things, even though in a movie, I will say things they never said, and be in places they never were. I will be interpreting moments that are nothing like what actually happened, but I want to do all those armed with as much authenticity as possible. Part of that is, you know, a guy like Sully, he walked me through the script. He had a big, dog-eared, notated version of one of the early drafts, and he was going through it—even scenes I’m not in: “…because I know you’re not in this, Tom. But I want you to know,” as though it were the Gutenberg bible. And on one hand, I said: “Look, that’s easy to change, Sully, you know? We can change these names and any verbiage in there can be altered. But what’s the other aspect of it? What is the stuff in here that is editorial?” Or what’s the word I’m looking for is: Is it an objective or a subjective moment examination of went on? That’s the stuff that’s more important. Now, oddly enough, there was procedure that was in the screenplay that, by altering it, became more emotionally authentic to what went on. There were other things to it that were just slapped in for the sake of it. Like, for example, Jeff Skiles has never had a drink in his life. And there was an early draft of the screenplay, and they said: “Do you drink?” And he said, “Oh, I haven’t had a drink for eight years,” meaning that he had been an alcoholic? No, he hadn’t. And Sully was like, “You can’t say…that Skiles was ever…” And so, well then, it’s out. And he goes, “Oh, alright.” (chuckling) So, knowing how it works and knowing what we’re gonna have to do sooner or later—I felt that was my job, in order to weigh the differences in between with him and Sully. And there was some stuff. I said, “Well, you might have to fight Clint on that,” or “I don’t know how key that is to what Todd wrote.” But by and large, all of it was in order to get to this place in the film, in the relationship that I had with Sully, me and him. I wanted the jungle drums to be beating. I wanted to hear the same drums that he heard. And whether we did that or not is open to interpretation. But, you know, between his book, you’d have to ask him, “How authentic?” I don’t know if we did everything exactly perfect, but… The big aspect is his book does not have the period of time of waiting for the NTSB hearing, and hearing the results of it. I said, “Why isn’t it in the book?” He said, “Because it hadn’t happened yet.” (chuckling) He had written the book before that happened. So finding out about the pressure of that, this could have been a screenplay in which that was truly fake, and just ratcheted up because you’ve gotta make a movie about it. And it turned out to be the opposite. It was actually much more emotional for Sully. The 18 months that he spent. The only thing we did is we compressed it. So you don’t really know how much time went between the two. But that ended up being even more so than what Todd wrote. But the good news about that is that you carry that around in your head. It’s not something that, you know, you don’t place placards right next to it. You just do it.
STRIPLV: Why do you think that the events of that flight on January 15, 2009 were so remarkable?
HANKS: My philosophy is this: It’s because of what didn’t happen. We’d gone through 9/11. The last thing the world needed to see and the last thing New York City wanted to experience was a bunch of dead people against the skyline of New York City. They did not need to see more wreckage, more flames on the water. They did not want to experience a moment where, guess what? Everything fell apart one more time. The opposite happened, (chuckles) which on one hand is something to celebrate. But the bullet dodged, I think, is why it has this emotional resonance. Can you imagine what the next 10 days would’ve been like in New York City, with the river right there, with the bodies that would have to have been pulled out of the water? And all the stories… The New York Times would have run that same story of all the little pictures of all the people that had been lost, and in that picture you would have seen some sense of what America is, the different fabric—regular, ordinary lives of people in New York and Charlotte, North Carolina, the crew. You would have seen it all again. And it would have been a massive, long moment of national mourning. And instead what happened was, our institutions proved worthwhile—the people were prepared, the professionals actually did their job. And guess what? We all survived what seemed to be an act of God—by way of a flock of Canadian geese, flying. Now, I think that’s why… You can celebrate what Sully did and his instincts, and all that stuff, by all means. But I think that the resonance that I felt… this is what I felt when I read the screenplay—because it had even more moments in it of people who are in New York City who are looking out. You know what they were seeing? Another low-flying passenger airplane, you know, coming in (holding his hands over his face in panic), coming in, at the level of the buildings of New York City. No one wanted to see that. No one wanted to see that again! And they did, and it turned out to be one of the best news stories of the decade. So I think that’s what it is.




Clint Eastwood is one of Hollywood’s most legendary stars, and though his talents are widely multi-faceted, the world often still sees him as his original character of Dirty Harry spouting the iconic line: “Go ahead. Make my day.”

The fact is that Eastwood is anything but the one-dimensional police inspector “Dirty” Harry Callahan. And though the 6’ 4” charismatic Californian may have been a late bloomer, (at age 34 appeared in his first major film, waited till age 38 to start a family, directorial debut at 41, and received his first Oscar nomination at 63), Eastwood has given the world a lifetime worth of cinematic pleasure. First starting in the industry as an actor, then as an award-winning director, at the age of 74, he became the oldest in his field to win an Oscar for Best Director for the 2004 film, Million Dollar Baby. It’s actually been much of Eastwood’s behind-the-scenes talent that has made films shine. It’s been his direction that captured the Oscar-nominated performances of 11 different actors: Meryl Streep, Morgan Freeman, Angelina Jolie, Gene Hackman, Bradley Cooper, Sean Penn, Tim Robbins, Matt Damon and Marcia Gay Harden, as well as himself, when he starred in the 1992 film, Unforgiven and Million Dollar Baby. Eastwood also adds extra sparkle to movies through music as an accomplished jazz pianist. He has written for both the soundtracks (31 credits) and musical compositions (8 credits, one of which was on his Oscar-winning direction for Million Dollar Baby).

Eastwood’s unique style of direction is well-known throughout the Hollywood community, insisting his actors wear as little makeup as possible, printing first takes, resulting in quick turnarounds that stay on schedule and on budget, and absolutely no test screening of his films before release. His approach is even as different as his command of saying, “Okay” to start and stop each take, rather than the traditional “Cut” and “Action!” The legendary movie great is semi-fluent in Italian and credits Marilyn Monroe as his inspiration for his distinctive voice. He felt the temptress’s breathy, sexy whisper made a great signature, and decided to create his own male version, which was just as successful at capturing the hearts of fans across the world. Yet when it comes to his personal life, Eastwood keeps it private, never having discussed his two previous marriages, nor that he has eight children by six different women, one of them being his son, Scott Eastwood, who made his film debut in 2006’s Flags of Our Fathers, (directed by his father), and more recently has been seen in Fury, Suicide Squad, and Snowden.

Eastwood sat with us to discuss his newest endeavor, the heroic yet controversial story of the “Miracle on the Hudson”, made into the film, Sully. With his traditional stern demeanor speckled with his warm smile, Eastwood revealed his motivation for taking on the screenplay by Tom Komarnicki, based on the book, “Highest Duty”, by the real-life pilot himself, Capt. Chesley ‘Sully’ Sullenberger, and co-writer, Jeffrey Zaslow, working with the talented Tom Hanks and Aaron Eckhart, and shares his own personal story of landing on the water on an aircraft.

STRIPLV: What did you think when you first heard the real “Hudson Landing” story?
EASTWOOD: Well, I was fascinated by it, as were most people—but especially, that iconic picture of the plane floating on the Hudson River and all the people standing out on it, or a good portion of them out there standing on the wings. And I thought: ‘That’s an interesting, great shot.’ And the fact that nobody perished in the landing was great, and it was kind of a good news program all-around.
STRIPLV: It was at a time when there was so much… well, other kinds of news.
EASTWOOD: Yeah. Well, there was—especially for New Yorkers. It became a subject of discussion, because it was not too long after 9/11, and the economy was bad there at the time, and everybody was slightly on a depressed thing… kinda (chuckles) like they are today. Anyway, it was a fascinating story and I didn’t know that there was a conflict to it. So when it came up, it was presented to me as the idea for a movie, and I thought: ‘Well, it was such an uplifting story—where is the conflict of it to give it the drama?’ And later on there is a conflict to it, as we find out in the plotline. I read that and then I realized: ‘Well, I want to make this now.’ It’s got good dramatic to it and it’s got good human factors.
STRIPLV: Tell us about going up to meet the real Sully and his wife, Lorraine.
EASTWOOD: (chuckles) Well, he was pretty much like the news coverage. The news portrayed him as a very low-key, sort of humble gentleman, but a very efficient man with a great history in aviation. And he was like that. I went up to Danville [California], and met with both he and his wife. And it was great, because he was exactly like I always kinda pictured him. In fact, we sat there, and my first questions to him were: “How did you like the script?” And he said, “Oh, I think it’s a good script.” And I said, “Oh, you think it portrays things accurately?” (Because I wanted to see if there was anything that he thought was made up that didn’t look right.) And he was extremely pleasant and very supportive of the deal. So I said: “Who do you see playing you?” And he said, “Well, I don’t know. We’ve talked about that a little bit and a couple things…” I said: “What about Tom Hanks?” And he said, “Yeah!” He thought right away and said: “He’s terrific!” And so that’s what happened. We came back and made an overture to Tom Hanks. And at first Tom wasn’t sure about the timing and everything, because he’d been doing other projects. But he did read the script and liked it a lot. So, he found that he wanted to be participating.
STRIPLV: What was it about Tom that he was your first choice from the beginning?
EASTWOOD: Right from the very beginning. It never was offered to anybody else. Well, Tom has a certain presence, and a certain humbleness in his presence. He’s not an extrovert-ish… I mean, he can be. But he comes across as a reserved type of guy. And he just seemed like he’d be able to get his arms around the character. I can’t think of any downside to him. He’s the exact same age in real life as Sully was when the incident happened. Everything fell into place.
STRIPLV: Aaron Eckhart is a huge fan of yours. What made you cast him in this role?
EASTWOOD: In fact, when the real Sully saw the picture, he thought that Aaron had captured the first officer in a very great way. He thought it was very much like the guy—the same sense of humor, the same kind of playfulness, prior to of course, the incident. And Aaron was just about the same age. Everything fit. I always believe that one of the most important things in making a film is casting it correctly. And sometimes you’re very elated when that happens and it turns out to be just right. And sometimes when it turns out not just right, you’re figuring, well, what other gimmick can I put here to cover up the fact that this is nothing like the person that you’re portraying there?
STRIPLV: Why was it so important to be truthful and authentic in telling this story?
EASTWOOD: Well, I think it was important to be authentic because it isn’t that long ago, you know, we’re talking seven years. If it’s something that’s historical or centuries back or half a century or century back, it’s not such a big deal, but you try to get it accurate there, too. There’s still a ton of people that were standing there on either the street when they saw all this happen, or they were in office buildings or hotels, or whatever, and they looked out and saw this plane hit the water, and then all the people out on the wings, and everything. And all the newscasters were covering it. It was covered worldwide pretty well. I was talking to some people from China the other day. They knew all about it. It’s still in the memories of everybody—the real event. 
STRIPLV: I understand you had your own brush with a water landing?
EASTWOOD: I did. It was something similar, except it was a military plane. It was a Douglas AD. I was in the army at 21. I was drafted at age 21. At that time, during the Korean War, if you wore your uniform, you could fly free on any other branch of the service. So I wanted to go back, after basic training to Seattle, where my folks were living at that time. So I went out to Monterey Airport and got on a free flight to Seattle. But nothing comes for nothing, sometimes, anyway. When coming back on that Sunday night, I called up San Pointe out of Seattle and asked if they had any openings on a plane. They said, no, they didn’t have any—nothing was going there. Then they said, “Well, wait a minute. We do have two Douglas AD’s, and they’re taking off, and it does have a compartment in the back.” It’s used for radar and various things, because these things were used during the Korean War and WWII as torpedo bombers. And they said: “You’re not claustrophic, are ya?” I said: “Oh, no. I’m not claustrophic. No problem.” Because these compartments are tiny, and you can’t see out much. You’ve got a little, tiny porthole on the side. We took off from there and we had all kinds of bad weather. Had to change course and had all kinds of problems, oxygen running out...and then finally we got to San Francisco. We were going to Alameda Air Base, and it was all stormy. Very stormy. And so I began to wonder: ‘Maybe we’re going to end up landing on Mount Tamalpais or something.’ But the radios didn’t work, so he went out to sea and finally found a hole through the clouds. And they got down under the clouds, and you could see the Golden Gate Bridge in the background, and the last word I hear on the radio before it went out is: “Two hours estimated gas,” or something like that—some ridiculous amount. So he went up the coast by Point Reyes, Northern California, and we were off several miles. We landed it in the water, and the same thing—the engine gave out. The same thing as in the movie. Nobody told me anything because I couldn’t hear anything. So I tightened my seatbelt down so much I was getting gangrene. And we hit the water, and bounced along pretty good, much like the plane does in Sullenberger’s case. And then the plane went up [vertical] and started sinking. Meanwhile, I’m unbuckling and getting out, and the plane is facing downwards, but it had big flaps. So I’m standing on the flap. The pilot comes down from the cockpit and says: “What do you think?” I said, “Looks like we’re going swimming.” And so we jumped in the water and started moving toward shore. Now this was late afternoon, and it turned dark as we went. But you could see the shore, because it had phosphorus in the water, and very eery, because phosphorus makes the water all kinda glow all around. And you could see by the way that it was crashing on the shore, that it wasn’t gonna be a good place to land. So we made it, crawling over kelp beds and doing all kinds of stuff like that, and finally made it in. He thought I had drowned. I thought he had drowned—because we had lost touch with each other because of the waves. I started hiking South. He hiked North. Finally I ended up at a RCA Relay Station up on the cliff, near Bolinas, California. 
STRIPLV: That is an amazing story! When is that movie coming out? (laughter)
EASTWOOD: Well, it has to do with nothing really today—except that it was an interesting choice that I’m given a movie about a water landing that was successful to direct. So I guess, (smiles) I’m as knowledgeable as anyone they could have gotten.




Hot and hilarious make for a winning combination in these bodacious beauties taking on the role of motherhood in the hit comedy film, Bad Moms, starring Mila Kunis, Christina Applegate, Kathryn Hahn and Kristen Bell.

Mila Kunis is considered one of the sexiest women in the world. The petite 5’ 4” seductress may be well-known for her sultry, raspy voice—but many may not know she speaks three languages: English, Russian, and some Spanish—or that her beautiful eyes are two different colors: her left eye is brown and her right eye is green.  

The Ukraine-born beauty proves her comedic acting chops are spot-on once again in her newest comedy. From the 14-year-old tart on the Fox television sitcom, “That ‘70s Show”, to the 2010 thriller, Black Swan, Kunis has certainly shown her talent range from comedy to serious drama, when she dropped 20 pounds and trained for seven weeks as a ballerina. That film garnered her Golden Globe and Screen Actors Guild best supporting actress nominations.

Kunis married the man who she had her first on-set kiss with, fellow actor from “That ‘70s Show”, Ashton Kutcher. They gave birth to their first daughter, Wyatt, September of 2014, which made the role as Amy in Bad Moms a perfect fit for Kunis, which she began filming 16 months after entering motherhood. The couple is happily expecting their second child sometime this fall.

Kristen Bell is possibly known best as the narrator for the ever-popular hit teen television series, “Gossip Girl”. Other fans grew up loving her as the seventeen-year-old detective from the popular 2004 TV series, “Veronica Mars”. The Michigan-born girl-next-door hit the big-time as the voice character of Princess Anna in Disney’s 2013 blockbuster film, Frozen, and fans just ate her up as she sang on four songs on the movie’s soundtrack. Remember: “Do You Wanna Build A Snowman”? That’s Bell. It was during that film, in March 2013, she and husband Dax Shepard had their first child, Lincoln (whose name can be found in the film credits as “Production Baby”). Bell was also filming the hit Showtime series, “House of Lies” while she had been six months pregnant and a body double was used for most of the scenes. A year later, the couple welcomed their second daughter, Delta, and Bell returned to work three months after giving birth in order to shoot the film, The Boss, starring opposite Melissa McCarthy. And after five successful seasons, “House of Lies” just ended its series finale this year.

Voted PETA’s “World’s Sexiest Vegetarian”, Bell loves animals, often volunteering for animal-related charities. Her roots remain strong in the heartland, as she is still a diehard Red Wings (hockey) fan. Just this spring, Bell began promoting mental health awareness, opening up to the world about her own personal struggles with anxiety, depression and ADHD, of which she’s been taking medication for since childhood.

Kathryn Hahn took a hold of our hearts with her role as the amiable grief counselor, Lily Lebowski, in NBC’s prime-time drama, “Crossing Jordan”, which ran for seven years (2001-2007). But in between, the hilarious brunette hit the big screen in 2003 as Kate Hudson’s health editor roommate in the romantic comedy, How to Lose a Guy in 10 Days, then there was 2004’s Anchorman: The Legend of Ron Burgundy, 2008’s Step Brothers, and then she starred opposite Leonardo DiCaprio and Kate Winslet in the starkly serious 2008 drama, Revolutionary Road.

2012 saw the Cleveland, Ohio native Hahn back working in television on several different shows like: “Parks and Recreation”, with fellow funny girl, Amy Poehler for the next four years. Hahn’s comedic chops have on occasion been compared to legendary comedian, Carol Burnett.  

The talented actress who plays one of the ‘Bad Moms’ also knows personally about motherhood, having had two children with her husband, Ethan Sandler, (their son, Leonard – age 9, and daughter, Mae – age 7). Hahn gets to join her naughty trio of bad moms (Kunis, Bell and Hahn) in their hilariously raunchy hard-R motherhood comedy, Bad Moms, as they smoke, drink (and even make out with each other) all the while continually giving the bird to Applegate and her prim group of moms. 

STRIPLV: Mila, what originally drew you to the film?
KUNIS: I wanted to do something that at this point in my life I could relate to. And you know, being a mom was something so new to me, and so fresh that, it was kind of fun to play off of it, instead of going off and doing, you know, [stunt] wires for seventeen hours a day. This was actually really great. And the truth is, I got to work with six brilliant women—who are so funny, and so smart! And I think the idea of being in an ensemble cast like this was so appealing to me, because I wanted to do something with a group of people. I didn’t want to be isolated. And I wanted to do something fun. And so, this was kind of perfect.
STRIPLV: What exactly is a “bad mom”—according to the parameters of this movie?
KUNIS: A bad mom would be someone who would give their kid processed foods (smiling) within the film’s parameters. A bad mom would be someone whose kid probably would not wear organic clothing. A bad mom would be someone whose kid probably doesn’t shower every day. A bad mom would be someone whose kid watches one hour too much television. A bad mom would be someone who allows their kid to go past their bedtime, …whose kid doesn’t speak three languages, …whose kid doesn’t brush his hair every day, …whose kid sometimes has to wait for the mom to pick him up from school… I would say that’s within the parameters of the movie. 
STRIPLV: Mila, tell us about your role as the control freak character, Amy.
KUNIS: I think Amy’s arc throughout the film is so representative, I do believe, of most people in this world. I think that everybody can relate to it in some form. You strive for everything to be perfect. And you forget that the ‘messy’ of the life is what makes life happen. And I think you have a character, who at a very young age, was responsible for two living, breathing human beings. My character had a kid at 19, and a kid at 20. And so you’re faced with like: You have to hustle, and you have to make it work—and in order to make it work, it has to look like this. And that’s what you’re kind of fed at a very early age. You need a house, you need health insurance, you need a white picket fence. Your kids need to go to school, they need to be well-fed, they need to have organic food, non-processed, non-GMO, you need to drive an eco-friendly car—like everything, it’s constant. It’s oversaturation of information. It’s making us as people strive to be these impossible human beings. And I think that my character kinda has to come a little bit full circle, in regards to: she starts off on one extreme, goes through the polar opposite halfway through the film, and then finds her happy medium by the end.
STRIPLV: What was it like on set working with all these great ladies?
KUNIS: Every single woman in this film is a mom. And there’s something about that, that instantly you bond to. Like the first dinner we had as a cast, we realized we were all depressed because we were leaving our babies. And all of our babies are different ages, from K. Bells, whose youngest is I think, maybe thirteen months, to Jada’s, who is nineteen or twenty-months, and everything in between. Everybody was leaving their babies! And you found this like insane bond with these women instantly that made you love them, because everyday you’d come to work and be like: “Oh, my God! Three more days, and I can see my baby… two more days!” Everybody’s there to help each other throughout the day—Christina being one of those women. She’s brilliantly funny, smart, beautiful on the inside and outside, a great mother, a fantastic woman! I’ve known her on and off a little bit for the past maybe 10 years, I would say very loosely, like through a proof reel. And I’ve always been a huge fan of hers. And so when the name came up of: “What do you think of getting Christina Applegate?” and I was like: “Uh, if you can get her… (sarcastically) Good luck!” (laughter) But I was so excited to work with her. She’s great! She’s awesome.
STRIPLV: Kristen and Kathryn, how do you feel this film captures the everyday realities of motherhood?
BELL: This film is a wonderful, comedic portrayal of every moment moms have had, or even if you’ve just ever had a mom, when like, it’s hitting the fan, and things are going down the hill and everybody just needs a release.
HAHN: Yeah. Jon and Scott wrote a gorgeous love letter to their amazing, rad wives. And it’s such a crazy, beautiful escape, and it felt so good and cathartic to make, that I can only imagine how fun it would be to sit and watch it.
STRIPLV: So there’s already been a movement online crowning June 29th “Bad Mother’s Day.” (Bell and Hahn both gasp, elated at the news)
KUNIS: (nonchalantly) I know.
HAHN: No way!
KUNIS: (looking over to Hahn) We heard that yesterday, woman! Remember that one lady told us.
HAHN: (shocked) I don’t listen to people! (Bell’s jaw is still dropped wide open and still has her hands up and fingers wide open in gleeful surprise)
KUNIS: …when we did that weird interview thing for the premiere. 
HAHN: Oh, I thought she just said it! (pointing to STRIPLV interviewer) I thought it was her little idea.
KUNIS: I don’t know how it started, but I thought what a great way…
BELL: (grabbing both girls’ hands) Happy almost “Bad Mother’s Day,” you guys.
KUNIS: Happy Bad Mother’s Day.
HAHN: Happy Bad Mother’s… That’s so cute.
KUNIS: Such a cute way of going about it.
STRIPLV: So how would you celebrate that day?
KUNIS: Happy Bad Mother’s Day? Oh, interesting. You know how I’d celebrate it? Like I do every other Mother’s Day: wake up to homemade breakfast in bed that almost looks like pancakes. And then maybe go and get a massage, and then go to the park, and like, literally hang out with my kids the entire day.
STRIPLV: Kristen, how would you celebrate Bad Mother’s Day?
BELL: I would celebrate Bad Mother’s Day by following my instincts moment by moment. I wouldn’t plan anything, if that means we eat cereal all day. I strive to do that every day, but I often fail, because I’m preparing for the next moment. I would just live in the now.
HAHN: On Bad Mother’s Day, I would go see the film, Bad Mothers. (roars of laughter) Bad Mothers! Hah! I take that back. And it would be difficult to find that theater, because that movie doesn’t exist. On Bad Mother’s Day, I would go see the movie, Bad Moms, for sure, with a bunch of amazing, like-minded...
HAHN & BELL: (Bell joins Hahn and say together, with attitude) Bad mothers!
STRIPLV: This movie is so fun and outrageous. Tell us more about shooting your most favorite outlandish scene.
HAHN: (pointing at Kristen) Kiki as the uncut dick was pretty fun.
BELL: I’ve never… this may come as a shock, I’ve never played an uncut dick before. And I thought: ‘What do I want to do with my career?’ And immediately, I thought: ‘I want to play an uncut dick.’ I knew it instinctually. (Mila starts cracking up) And this movie was the perfect vessel.  
KUNIS: You did a wonderful job.
HAHN: Yeah, you were like Leonardo DiCaprio. She went into the wilderness as an uncut dick.
KUNIS: She went method for it.
BELL: Thank you. Thank you.
STRIPLV: What would you each say is the real message of this film?
HAHN: Just like, let it go? (laughing)
KUNIS: Weird, Kathryn, weird.
HAHN: I would say just release those expectations. Don’t be so hard on yourselves and don’t be so hard on other mamas.
BELL: And know that we’re all on your team, because we’re all in this together—whether that’s friends, or other mothers, or like, dare I say, the human race? We’re all in this together, and there are people out there that are like-minded. Check yourself that you’re not walking around awaiting judgement, because that’s part of the problem. Walk around confidently and go: “I don’t need to be judged, because I don’t care to be judged.” And I know that there are other like-minded people who want to be on my team and support this experience that I’m having here on Earth.
STRIPLV: So what was it like for each of you to work with two males directors on a movie that’s about overworked and underappreciated moms?
KUNIS: Jon and Scott are oddly two people that are like peanut butter and jelly. They go together so well, but you take them apart and they’re missing each other. They direct so beautifully with one another. Scott is very tech heavy, and Jon is very actor heavy. And Scott wants everything to be real, and Jon wants to put in comedy. And they fit each other like little puzzle pieces. They’re unbelievable to work with. I literally said, I was like: “I’ll do anything for you—anything!” They’re so fun. They’re funny. This movie was written by them. If you read this movie, you’d be like: “Oh, a woman wrote it.” And you realize that two men wrote this movie, and after talking to them, you understand it’s just an homage to their wives. They love and respect their wives so much, and women and moms, in general. And they wrote a script, they gave it to a bunch of their female friends and were like: “Read this. Tell me what’s not right with this and then tell me your funny mom stories.” And I think that that reads on paper. They’re so great to work with. And I’m not just saying this. I love them so much, that every day, it’s such a lovely crew to be a part of.
BELL: They were sharp as tacks about female issues and what the female spirit was going through as they were trying to rear children, I feel like. They were so observant and so open to new ideas, because they wrote this script that is a love letter to their wives, so clear, yet they were always willing to take our feedback: “Well, you know when I’m with my kids…” They were just welcoming and lovely.
KUNIS: They had no ego. They wrote a script because they wanted to, not because they had something to prove. And I think that it shows. They legitimately had hundreds of women’s opinions who read the script, and interviewed women for their stories, and implemented them within the script. And I think that that shows, because they just wanted to make a really great film. So they didn’t have an ego going into it.
HAHN: Yeah, they’re both amazing listeners.
KUNIS: Yeah.
BELL: Yes.
STRIPLV: So what would you say to moms who are trying to do it all?
KUNIS: I think that you should try and you can do it all, but just know that there’s no such thing as 50/50 balance. And that’s okay. I think coming to terms with it and knowing it… Not just okay, that that just is the reality. And do as much as you can, where you can, and whatever time you can do it at, and know that that’s the most that you can do, and don’t be hard on yourself. But also know that like, it’s like a scale, like some things go up and down and ultimately somehow it all comes out even in the wash. But I think that trying to think that everything can be balanced is false hope.
HAHN: And not everything comes out in the wash, turns out.
KUNIS: Some things get lost, like socks.
HAHN: Some things are stained, yes.
KUNIS: Forever. (laughter)

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