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Capone chats with Cheryl Hines about her directorial debut SERIOUS MOONLIGHT and "Curb Your Enthusiam"!!!
Hey everyone. Capone in Chicago here.
I'll admit, I was a little torn about exactly when or if to run this interview, and not because the subject wasn't worthy. Cheryl Hines participation in "Curb Your Enthusiasm" alone makes her worthy, end of story. But the primary reason for your conversation was actually a little movie called SERIOUS MOONLIGHT, and the only reason I was unsure exactly when this interview should run is that its tentative release in Chicago and a few other cities a couple weeks back ended up never happening. SERIOUS MOONLIGHT is the directorial debut of Cheryl Hines, and it stars Timothy Hutton and Meg Ryan as a couple in deep conflict at their isolated summer home. Hutton has just announced that he's leaving Ryan for another woman (Kristen Bell), and Ryan reacts by essentially kidnapping Hutton, tying him up, and forcing him to talk to her until he changes his mind. A home invasion takes place (led by Justin Long) while this domestic insanity is going on, adding to the chaos and humor.
While Ryan does fall back on a few of her familiar romantic-comedy behaviors, it was an interesting experience to watch her play the scorned, rejected woman in a film that isn't always meant to be funny. There are actually some pretty stinging, poignant moments in SERIOUS MOONLIGHT having to do with the nature of marriage and what pulls couples apart. Hines direction is kept pretty simple--the movie often feels like a filmed play--but she didn't take the gig to get fancy with the camera. She took it as a tribute to the screenwriter and her friend, the late Adrienne Shelly, who was murdered in her apartment in 2006 shortly after she'd finished making the singularly entertaining WAITRESS, which co-starred Hines.
Hines was a member of the L.A.-based Groundlings Theater group, and a few years of bit parts in T.V. shows, Larry David cast her as his put-upon wife Cheryl on "Curb Your Enthusiasm," a role that took on a strangely bizarre sheen when David and his real-life wife got divorced, an event that was seemingly predicted on the show. And just when we thought David couldn't eek out any more interesting storylines for "Curb," along comes the recently completed "Seinfeld" reunion season, perhaps the most ingenious through-line the show has ever had. I spoke with Hines just a couple weeks after the season finale of "Curb's" Season 7, so I couldn't resist throwing in a few related questions. Hines is a genuinely sweet lady, and I jumped at the opportunity to speak with her. She's also the third of four of the primary "Curb" cast members that I've spoken with (after Jeff Garlin and Susie Essman), which means Larry David better step up and submit. Anyway, please enjoy Cheryl Hines…
Cheryl Hines: Hi there.
Capone: Hi Cheryl, how are you?
CH: I’m good. How are you doing?
Capone: Great. Where are you?
CH: I’m in New York City.
Capone: Okay. First of all, let me just say that I wasn't even aware of the existence of this film until a couple of weeks ago, and when I started digging around about it and saw that you were involved and that it was based on Adrienne [Shelly]’s screenplay, I became really curious. I was a huge fan of WAITRESS, and I'd met Adrienne many years ago at a film festival here in Chicago when I think she was here with her first film SUDDEN MANHATTAN, and she was just so sweet and so nice and so happy that anyone came at all. When did you first become aware that the screenplay was even around?
CH: I was doing publicity for WAITRESS, so it was after WAITRESS came out. I was in Paris actually doing publicity for it, and that was the first time I knew about it. Andy Ostroy, who was married to Adrienne, called and asked if I was interested in directing it.
Capone: Do you know why he thought of you to direct? I don’t think you had directed anything before…
CH: I hadn’t, no…television, that was it. I think because of the tone of this script and from what I understand, Andy and Michael Roiff, who produced WAITRESS and worked closely with Adrienne on that, felt like they were having trouble finding a director who got the comedy and the darkness of the film, and Michael and I had spent some time together doing publicity for WAITRESS, and we always talked about Adrienne’s writing, because I really loved her talent. She was really great at dialog and capturing the comedy and heartbreak in one moment, and I loved that. So I think they thought of me because they knew how much I appreciated her.
Capone: Did you get the sense that if you didn’t do it, then it wouldn’t get done?
CH: No. I felt like it was on a track to being made, so I was not the lynch pin. [laughs]
Capone: Okay. Was there ever a discussion as to you playing, I guess not the Meg Ryan character, but playing a role in the film at all?
CH: No, there really wasn’t. I read it, and they said that they wanted to know if I was interested in directing, and I said “Oh, to play Louise?” They said, “No… to direct it.” Then I said, “But to play Louise?” They said, “No.” [laughs] So no, that was actually never on the table, interestingly enough. Now that I think about it, I’m furious actually.
[Both Laugh]
Capone: You're right about the dialog and especially much like WAITRESS, there is some cold, hard insight tucked away between some of the funnier moments about the nature and the pitfalls of marriage and relationships and why couples fall out of love. What is it specifically that you remember that struck you about the way she handled those more serious moments?
CH: Well, it felt like you were listening to two real people talk and it’s usually a conversation that people would have behind closed doors, so it was exciting to be a fly on the wall and hear two people speak so candidly and I liked that.
Capone: It’s uncomfortable to watch and listen to at times
CH: It is almost hard to watch, but that’s what is exciting about it.
Capone: It’s enough of a responsibility on a first time feature director just to get the film made at all, but was there an extra weight on you to represent your friend with this film?
CH: You know, I’ve worked very closely with Andy Ostroy and Michale Roiff, so I shared that responsibility with them, so it never felt overwhelming to me, because I felt like we worked as a team, and I don’t think anyone was looking to me specifically to say, “Do you think this is how Adrienne would want this? Fortunately. I think that would be a very difficult way to work.
Capone: I was going to ask you if there was anything about the style or the tone of the film that made you sort of think, “What would she have done if she had directed this?” Were you trying to emulate her style in some way?
CH: I wasn’t. I’m quite sure I wouldn’t of been able to do that, you know? You watch WAITRESS, and there were some very interesting choices that really only Adrienne could have made, and I think I would be in trouble if I approached SERIOUS MOONLIGHT thinking, “If Adrienne were here, she would do it this way.” First of all, there is no answer to that. There’s no concrete answer, and then you are second guessing yourself at every turn, and I think that would just be almost impossible.
Capone: And yet, because it’s her voice, it doesn’t feel that different than WAITRESS. It really has a very similar quality to it, so yeah that was probably enough of a cue for you to just go with it.
CH: Right, exactly. I really tried to tell the story that she wrote in the voice that she wrote it with, so in that respect it is true I did certainly think of Adrienne at every turn, because she would write something that was so funny or that was dry, or sometimes the women fighting rolling around in the bathroom, sometimes it’s over the top. I just shot it the way it was written.
Capone: What do you remember about your initial meeting with her? What really stood out in your mind?
CH: I remember with my initial meeting with her, I didn’t realize she was so tiny.
[Both Laugh]
Capone: She was tiny, that’s right.
CH: She was so tiny. I don’t know what I was expecting, because I knew that she had written the script and she was directing it, and it’s just hard to imagine such a tiny person to have such a big personality and to be able to accomplish so much. We hit it off immediately, because we both have daughters the same age, and I feel like she might have met Andy about the same time I had met my husband, so we had a lot in common. We both got married later in life and had a baby a little bit later than most people, and she was very happy and she just seemed so very happy with Andy and with her daughter and making a film. She seemed like she was on top of the world.
Capone: Where you familiar with her work at all as an actress or a director before you worked with her?
CH: No, not at all. As a matter of fact, I was in Canada shooting RV…
Capone: That’s something you don’t get to say very often.
CH: No. I was sent the script for WAITRESS and it’s funny, because when you are shooting a film, you are shooting 12- and 14-hour days and you barely have time to do anything else, because you are always trying to catch up with wardrobe and hair and makeup and your lines. And I was sent the script and I thought “I’m not going to have the chance to think about this script or read it or consider doing something right now, because I can’t even imagine shooting something else.” I felt like “I’m not going to make it through this shoot,” and then I read WAITRESS and I remember calling my husband and saying, “This script was really great. I think it’s really magical. There’s something magical about it.” From there, the rest is history, and when I got back to LA, I got to meet with Adrienne and talk about the film.
Capone: I love that both of these screenplays aren’t some precious treatise on love. They are brutal--physically and emotionally--and I love that that’s her legacy, something really honest and raw, because that really seemed to be where she excelled. Can you talk a little bit about assembling the cast for SERIOUS MOONLIGHT? Did any of them know Adrienne from before?
CH: They did not, no. I don’t even know if Meg had seen WAITRESS before she read SERIOUS MOONLIGHT. But she really loved the script, and we told her to watch WAITRESS, because that was also a good representation of Adrienne’s work, and she really loved WAITRESS and really responded to the story and to the character of Louise. And the same with Tim Hutton; he really liked the story. I didn’t know either one of them before SERIOUS MOONLIGHT came about. I had met Tim in passing at Sundance a few years before, but I was actually [laughs], I keep saying this and this makes me sound so fancy, but I was out of town shooting something, but it was a series of phone calls to Meg and Tim, and I just remember I was so happy when Meg said “Yes” to this film. I was very happy and then Kristin Bell and Justin Long, I knew personally and I had just thought they would be really good in this film and called them and said, “You don’t have a choice, you have to be in this film.” They said, “Okay, but can you at least send us a script?” That’s how the cast came together.
Capone: It really is the ultimate statement on women over 40 whose husbands are almost habitually leaving them for these younger women. Did the violence and the bondage aspects of the film trouble you in any way? At least, do you think that people might be a little divisive about the extremes that her character goes to?
CH: Yes, they probably are already. “It’s not funny tying somebody up. It’s not funny!” They need to settle down just a little bit with this movie. It didn't both me at all. But that’s what is great about the story, how it is a heightened reality. It’s almost what somebody is wishing they could do, but they don’t do it in real like…because it’s against the law. In the movies, you can do it, you can watch that story unfold and you can play that reality out, and it’s fun to watch and hard to watch at times.
Capone: For a first film, I think that it could have been a much more difficult experience, but since all of the action takes place in these very close quarters in just a few rooms of this house, you must have been relieved that you weren’t going on loads of locations. It really feels like you're watching a play sometimes.
CH: Yeah. Since this film is definitely all about the story and the characters, yeah. That was good for me. [Laughs]
Capone: How did this experience change your life?
CH: It really challenged me in ways that I would otherwise never have been challenged. You are responsible for so many things when you direct a film--people and time. Time turns into a very interesting concept, because it’s so precious when you are shooting, like every minute. When somebody says, “We are going to take a 10-minute break,” I go into panic mode, because I’m like “We can’t afford 10 minutes. Who gets a 10-minute break?” You learn how precious time is really, and I learned about letting go of things I can’t control and controlling things that I can and should. Things like that, that are very concrete when you are directing. All of that, even time is concrete, which is strange. I don’t know. It’s hard to really put into words, but there were a lot of life lessons.
Capone: You just wrapped up the most incredible "Curb Your Enthusiasm" season ever, can I ask you a couple of questions about that?
CH: Sure, although I am getting a sign to wrap up. How about one question?
Capone: Let me just ask about your reaction to when you first found out what Larry [David] was planning to tackle in this season, both in terms of the marriage storyline and the "Seinfeld" reunion aspect. What did you think of it?
CH: I thought it seemed like a very big undertaking to try to get the whole cast of "Seinfeld" together to shoot. [laughs] It almost sounded impossible, but great. I was of course very happy to hear that Larry and I would get back together. I was horrified last season when I had to lave him. I didn’t want to leave him. But, yeah, it was an amazing season and a little surreal to be standing on the "Seinfeld" set with the cast of "Seinfeld" and the cast of "Curb."
Capone: It was surreal watching it, I know that.
CH: I’m telling you, it was just so strange, especially because as an actor during the "Seinfeld" days, I wanted more than anything to be on that show, but I never even had a chance to audition for it, so them 10 years later to be in the "Seinfeld" reunion, even though it’s fictitious, was still pretty amazing.
Capone: Yeah and I assume the cast is in the usual holding pattern now to see if Larry is going to do it again, so nobody has any information about it.
CH: Exactly, no idea. The usual.
Capone: Yep. I have been lucky enough in the last couple of years to talk to both Jeff [Garlin] and Susie [Essman], and when I look back at those interviews, they are hilarious because they don’t know if the show is coming back or what the new storylines are going to be. Jeff is thinking “It’s all over.”. Anyway, Cheryl thank you so much for talking to me, and thank you so much for making this movie.
CH: Thanks a lot. I’m glad to hear that. Thank you.
Capone: Take care.
CH: Okay, bye.
-- Capone
therealcapone@aintitcoolmail.com
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Saw the tour back in '83 in Milton Keynes!
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Plus Meg Ryan and Justin Long are kinda on my automatic don't watch list. Not knowing the pedigree of this, I would have given it a pass. But now that I know it was directed by Cheryl Hines and based on an Adrienne Shelly script, I may give it a try. Too bad the interview wasn't in person, eh Capone?
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I met her a few months ago at an HBO event. I'd definetly love to work with her in the future
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a couple weeks back, and she was SUPER funny. She seems like the kind of person who it would be great to meet anywhere - very affable and easy going. It made me want to see this. Plus, I loved Waitress - what a sweet film.
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looks dire. Meg Ryan is the american Leslie Ash.
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always showin her expensive ass teeth off everywhere she goes.
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IN AN AICN OFFICE FAR FAR AWAY....Harry: "Merry Christmas everyone!"Massa: "Time to go home and enjoy Christmas!"Beaks: "Yes!"Capone: "Yipee!"ALL FACES TURN TO CAPONE. A SCOWL APPEARS ON HARRY'S FACE AS HE POINYS A FINGER IN CAPONE'S DIRECTION.Harry: "NOT YOU! You must stay and keep working!"Capone: "But..but..."VERN: "Do it or i'll be back to break your fucking legs. I've done time, y'know."THE OFFICE LIGHTS SWITCH OFF LEAVING ONLY THE LIGHT OF CAPONE'S COMPUTER AS HE BEGINS TO TYPE AWAY AT HIS INTERVIEW WITH CHERYL HINES, SOBBING INTO HIS KEYBOARD.
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"Sure, although I am getting a sign to wrap up. How about one question?" Wow, you must really be an important person along with being a visionary director. Be happy someone even has interest in asking you questions, and go back to suckling the wrinkled tit of Larry David - to whom you owe any and all attention laid upon you.
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Would love to tap that. Sorry. It's true. Honesty is the best policy.
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the lawd himself for blowjobs.
(God, I hope AICN's interviewees don't read these talkbacks). -
Was the second topic considered a Squeakquel? And would i be a douche to read that part? BTW I love Cheryl Hines!
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oh yes. What a MILF. Very sexy lady for 44
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open her mouth 180 degrees and proceed to swallow a baby deer. True story
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I'd fuck the soul out of that woman.
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She is always great on the poker shows. She just seems to have an awesome personality and you could fit your whole dick and both balls in her mouth all at once.
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Seriously, I cannot get this out of my head.
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Hines sure has been in some absolutely SHITTY movies, I think I'll wait for Netflix to see this new one. On a sidenote: The story of Adrienne Shelly is incredibly tragic.
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Great interview Capone! On a sidenote, I love how any interview talkback involving females on this site always boils down to "Would you f$ck her?". It's degrading to women and makes those who venture this site come off like prepubescent teenagers. It's really sad actually.
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Cap seems to be the only one of the few who find cool news on weekends. Love ya Cap, at least his articles aren't filled with Amazon links and name dropping.
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Dec 27, 2009 5:19:48 PM CST
He only interviewed her cuz of Curb, but she'll has to go as soo
by mxtra
He was obviously being nice interviewing her about the movie nobody has heard of or ever will hear of. he did it just to get to his Curb questions and she didn't have any more time. what a bunch of BS.
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It is degrading to ladies everywhere! That being said,I would some marathon sex with Cheryl Hines! She has a great body & is very cute!
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on a forum where you can say anything you like, she has an almost unanimous "fuckable rating" and this is a 40+ lady being ranked by emotional 12 year olds.
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her personality. I know what the ladies like.
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google them..it is worth it
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Dec 27, 2009 6:22:24 PM CST
Rupee88...thanks.....'slap slap slap'
by nomoredirtyjokespleaseweareyanks
eeeehhharrrrrggghhhhhhh.... phew.
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C'mon.
Cheryl is good in many things but this movie just looks like garbage. A shame. Meg Ryan as well, in two of my favorite 80's movies (WHMS and Innerspace), today she looks horrible thanks to plastic surgery and her career is in the crapper. -
And you have a mouth totally made for porn & black dudes.
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What does this movie have to do with David Bowie?
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You now look like Jack Nicholson as the Joker. WTF, lady???
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Dec 27, 2009 8:12:46 PM CST
Nosferatu Jones... yeah thats uncanny
by nomoredirtyjokespleaseweareyanks
Love that Joker!
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Dennis Quaid knew when to bail on that. Respek.
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Respect.
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Dec 28, 2009 12:27:42 AM CST
I'D LIKE TO PIN HER KNEE'S TO HER EARS AND PUMP HER......
by tehcreepythinman
I don't like CYE but this chick is fucking hot.
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someone?? i mean, it´s pretty awesome and COOL NEWS to have them all in one interview.... or ain´t it??:
http://tinyurl.com/6nfgm9 -
...what part in this one? Oh and Cheryl is delicious.
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Nice interview in any case.
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Dec 28, 2009 11:54:04 AM CST
Cheryl & Sarah Jessica Parker should do a 100-yd dash for charit
by triple_j_72
...they could call it a "horse-face race!" RIMSHOT
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A male actor tries his hand at directing and all the talkbackers get together to discuss the merits of his movie or acting career...a woman does the same and all anyone can talk about is whether or not you want to fuck her.
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RedJester said the same thing. Thanks for that.
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How can you be an American filmmaker and not even be aware of Hal Hartley's films?
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Parker Posey, Zooey Deschanel and Ellen Page all need to pay their respects to the prototype leading lady of Indie movies. How can a woman filmmaker working in comedy not be aware of Adrienne Shelly's work?
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Give her her tellyvisual Oscar right now.
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