Sean Fennessey

He was literally the first famous person that I ever interviewed.

And I think he's a very nice guy.

But even some of that vulnerability I felt when I was talking to him when I was 20 years old.

I was 20 years old with my friend Ryan Domble who worked at Pitchfork for years.

Together, he and I interviewed Paul and the guitarist from the band.

in the basement of the Bowery Ballroom.

And I felt a little bit like I was flashing back on that moment watching some of the interactions that your characters are having where

it seems like this is supposed to be intimidating.

And then it very quickly becomes clear that the person that you're interviewing is just as nervous and awkward as you and just has just as many foibles and maybe even more than you do.

And like, how do you protect a person in that situation?

Because you feel like you need to do right by their art, but also shouldn't you honestly portray like who they really are and like how much empathy or sympathy do you have for the place that they find?

I just thought it was very perceptive the way that you mapped a lot of that in the movie.

That's an amazing anecdote, though.

It's such a strange thing.

Yeah.

I feel like a lot of people in that situation also really want to do

what your character in the film wants to do, which is write a 33 and a third and somehow thinks that that's like the affirmation of your insight and that you've like reached some sort of critical mountaintop or something because you've written an extended personal essay about a piece of art.

Like that's another thing that I feel like if you're not old enough, you might think that you made that up.

It's like a thing that people do.

But in the time.