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Did you feel pressure shooting very quickly on the set?
Tina: Well, I'm very used to shooting that fast because of TV. And I bet you are for some—like for David [Wain's] movies.
Tina: How many days did you shoot with Amy [Poehler] on David's new movie (They Came Together)? Nine days?
Paul: Nine days? Yeah, it was about a nine-day shoot. (Tina laughs.) I'm used to working on fairly compact schedules. I mean a lot of independent movies are done in a short amount of time.
Tina: It keeps it kind of lively, as long as they can light fast enough.
Paul: I like it, yeah. Oh yeah!
Even though its called Admission, it deals with themes of adoption, ethics. Do you see the audience walking away from any other kind of theme from this particular project?
Tina: I think it has a lot to do with parenthood and the kind of sacrifices people make as parents. And kind of coming around on that moment when you realize you can't fight it. Like with [Paul's] character, being a parent is going to change your life. In ways that are not always your choosing. So I think that is definitely a theme in the movie.
Paul: Hearing Tina say that, I remember when I had my first child, my son who is now eight. Early on people would say, "When you have a kid, the kid will adapt to your life. You don't adapt to a child's life, a child will adapt to a parent's life."
Tina: Who were you talking to?!
Paul: I actually believed that for a few months! I thought when they are a baby, sure, "I want to go out to dinner. It's fine, we can take the baby." But that does change pretty, pretty quickly. And that was certainly something I thought about a lot with the character I'm playing where he has this boy. And he's a guy who has lived his life the way he wants to live it and it's becoming increasingly difficult.
Tina, did you get a chance to actually talk to one of those admission people so that you could get help sort of tapping into your role?
Tina: I did. Well, Jean Korelitz who wrote the book, she worked in admissions and I met her many times and I talked to her. And I did talk to one or two other people who worked on admissions, and the one thing that was interesting was that one person wasn't working on the movie and was an admissions person said to me that was actually kind of in the script. She said, "You know people think we really want to say 'No' to everyone. When really what we want to be saying, 'Yes.'" You know, their happiest moments or what their goal is is to say yes to as many kids, and kids who they think will thrive in whatever school it is. So that I thought was an interesting thing that Jean had already written the same thing and Karen had written the same thing into the script.
What do you think is the basic element that turn a comedy into a classic, and for Tina do you think Portia would be averse to therapy what with her toxic mother and all?
Tina: I think she would have been resistant to therapy because she's kept so many of her own secrets for so long that once she started her work it would have been very exhausting. But I'd imagine that by the last part of the movie we could believe that she has began working on that start a little bit. What was part A of that question?
Paul: What makes a comedy a classic. Well, for one I think it has to be really funny, and funny over a long period of time. Like if it was funny ten years ago it has to be funny twenty years ago.
Tina: Yeah, like I was watching Trading Places on TV recently, and Eddie Murphy in the first five minutes at least pretending that he's homeless, pushing himself around on his knees on a board and the cops come. So funny! It's so funny right out the gate! It holds up.
Tina, how do you balance movies, TV, acting, writing, and caring for you kids? Any advice. We heard you were multi-tasking on this, doing the movie, writing scripts and taking care of your children.
Tina: Well, I try to take care of my children, yeah. But I have a lot of help with that. But no, I wasn't writing anything as the same time as this because I wanted to make sure I was focused. But you just take as much help as you can get. And try to go to sleep when no one is looking.
Would you admit Jeremiah to Princeton?
Tina: Yes, I would say yes because he really is that brilliant.
Paul: (nods firmly.)
As a woman who is able to get movies made in Hollywood, do you feel like you're being offered the right roles? Are they offering you stuff that you want?
Tina: Sure. I'm not a person that expects to be like, (affecting a fancy accent) 'Let me see my offers today!' You know, there's a lot of real movie stars in the world and I'm always thrilled anytime the phone rings about anyone saying do you want to do anything. (To Paul) And no one from Anchorman 2 has called, so if you could pass that along.
Paul: I'll let them [know], yeah. That's surprising to me.
Tina: So, yeah a part like this I feel so lucky to have been offered this lovely role.
Tina, your next movie is Muppets…Again, are you doing that one for your kids?
Tina: No, I want to spend time with Muppets.
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