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If you're not funny, then it's "Guess who's not funny? The gratification part is: I worked with that son of a bitch. If you get that thing done, you're professional friends for life. BM: When I work, my first relationship with people is professional. What are you, in some sort of a weird relationship?
BM: The ones I like most are the ones where I connected with great people. I think that's also a Chicago thing: Friendship is no substitute for gettin' the job done.
And now, like myself, he's had a second life as an actor.
SR: Just mention "Scott Raab." They love me in Charleston.
But there's one thing I've gotten phone calls about.
Sometimes you can get into a restaurant where the kitchen is just closing. But the only time it really matters is in the emergency room with your kids. And he's grown as a person, as a man, as a movie director. And he's managed to make the making of movies a real living experience. You could be relaxed in your own skin, but it also meant that you could work endless, ungodly art-movie hours because there was gonna be a meal prepared for you when you're done.
BM: There's only a couple times when fame is ever helpful. SR: The last time we talked about Wes Anderson was after what sounded like a horrible experience in Italy for The Life Aquatic. BM: Wes is still a young man, but he was just a kid when I met him on Rushmore.
The harder you try to look for the plan, the more inexplicable things become. You know, I worked with Frances Mc Dormand [frequent actress in the Coen brothers' movies and wife of Joel Coen] in Moonrise Kingdom. There's the Dreamlifter [Boeing 747 Large Cargo Freighter].
It's part of the plan, but if no one acts in the moment of possibility, then it devolves into "Well, then I got hit by a car. Well, everything happens for a reason." Someone should make a sketch about it. SR: It makes me think of the Coen brothers' movie A Serious Man. BM: It's easier to watch because you don't get worried.