Tony Gilroy

gives you a more, what I would describe as a more generous and progressive point of view. It just has to. And I don't see how you can buy, if you're going to reissue the Hardy Boys or something, or try to twist a knot and say that Melville or the Coen brothers made a piece of right-wing art because you sort of see something in there. I think it really misses the larger point of

gives you a more, what I would describe as a more generous and progressive point of view. It just has to. And I don't see how you can buy, if you're going to reissue the Hardy Boys or something, or try to twist a knot and say that Melville or the Coen brothers made a piece of right-wing art because you sort of see something in there. I think it really misses the larger point of

of the struggle that that movement is going to be up against. Does that make any sense to you?

of the struggle that that movement is going to be up against. Does that make any sense to you?

So the empathy for events is what you're saying?

So the empathy for events is what you're saying?

You're asking me why... I'm saying just the act of the job, just the act of the day-to-day work puts you... It doesn't matter. The ideology may be... There may be exceptions across the spectrum. But in general, the act of pretending... to be someone else or, you know, many actors don't like to use the word pretending and writers don't like to use the word pretending.

You're asking me why... I'm saying just the act of the job, just the act of the day-to-day work puts you... It doesn't matter. The ideology may be... There may be exceptions across the spectrum. But in general, the act of pretending... to be someone else or, you know, many actors don't like to use the word pretending and writers don't like to use the word pretending.

The act of inhabiting or becoming someone else in any iteration, in any historical setting, just that simple transformation and the work that goes into that and until the point where you can access it immediately, that act is, I'm so – I'm very eager to put it in a religious context for you because I know what a strong flavor that is on this show.

The act of inhabiting or becoming someone else in any iteration, in any historical setting, just that simple transformation and the work that goes into that and until the point where you can access it immediately, that act is, I'm so – I'm very eager to put it in a religious context for you because I know what a strong flavor that is on this show.

It's perhaps not religious, but it is an act of transformation that is – it's more than a magic trick. Right. And it's not – it doesn't necessarily put you in an ideological – it doesn't cast your vote, but it does open your mind in a way that forces you to think twice about the person who's sitting next to you on the bus. Right.

It's perhaps not religious, but it is an act of transformation that is – it's more than a magic trick. Right. And it's not – it doesn't necessarily put you in an ideological – it doesn't cast your vote, but it does open your mind in a way that forces you to think twice about the person who's sitting next to you on the bus. Right.

I don't think it's a subtle picture, and I think it's doing what, what do I come back with? Let's talk about In the Heat of the Night. Let's talk about In the Heat of the Night for one second. Just to pick a... Okay.

I don't think it's a subtle picture, and I think it's doing what, what do I come back with? Let's talk about In the Heat of the Night. Let's talk about In the Heat of the Night for one second. Just to pick a... Okay.

I mean, In the Heat of the Night, the Rod Steiger character, the Southern Sheriff, couldn't be more of a cliche as the movie starts, couldn't be more of a living caricature of what we all expect and lives on those expectations. As the movie tracks along...

I mean, In the Heat of the Night, the Rod Steiger character, the Southern Sheriff, couldn't be more of a cliche as the movie starts, couldn't be more of a living caricature of what we all expect and lives on those expectations. As the movie tracks along...

And as some great writing and great directing and great acting gets done, you gradually become to realize that everybody involved in that picture is absolutely as invested in him as they are in Sidney Poitier. And they're absolutely invested in that character as much as they are in any other character. And the whole thing is alive. And the difference between Shape of Water is it's a...

And as some great writing and great directing and great acting gets done, you gradually become to realize that everybody involved in that picture is absolutely as invested in him as they are in Sidney Poitier. And they're absolutely invested in that character as much as they are in any other character. And the whole thing is alive. And the difference between Shape of Water is it's a...

It wants to be gothic. I'm not sure what Guillermo was going for there. I'm sure there was a different kind of movie. But when people really care about it, they get there, I think.

It wants to be gothic. I'm not sure what Guillermo was going for there. I'm sure there was a different kind of movie. But when people really care about it, they get there, I think.