Hey folks. Capone in Chicago here, declaring my unashamed love for Charlyne Yi and her film PAPER HEART, a quasi-documentary that tracks her journey across America, not in search of love, but looking for hope that maybe love will one day enter her life. Search no longer, Charlyne, because I love you. And what's not to love? This comedian/performance artist/musician/girlfriend to Martin Starr in KNOCKED UP is cute, charming, hilarious, and has more creativity than most art schools.
Her co-star in PAPER HEART is Chicago-born Jake Johnson, perhaps best known as the dude who punched out Tim Allen in last year's REDBELT, written and directed by David Mamet. Johnson plays a fictional version of PAPER HEART director Nicholas Jasenovec, who follows Charlyne around on her journey, becoming slightly intrusive when she begins dating an actor named Michael Cera (in a bit of typecasting, played by Michael Cera). Both in the film and in real life, the two play off each other like old friends, which is exactly what they are, and the results are some of the honest discussions about relationships, friendships, and the filmmaking that you'll hear all year.
EMBIGGEN
Did I mention Sunday was Kids' Day at Comic-Con? It was.
Enjoy Charlyne and Jake…
Capone: Charlyne, I’m surprised that someone who spends a good deal of her time performing in front of people still gets nervous. Or, is it because you’re not doing an act--you’re just talking as yourself?
Charlyne Yi: I think, one, I always get nervous, no matter what, on anything. And then, two, I’m being myself.
Capone: Right, right. Have you found that as a result of making a movie where you’re playing--on the surface--yourself, that audiences and journalists that you’ve talked to are asking these insanely personal questions?
CY: Yeah, they are!
Capone: Well, you opened the door.
CY: Yeah, yeah. Or, even at one Q&A, some man was, like, "Don’t you think you’re going to be overanalyzing your life so much that you’ll end up alone?" And, I was, like, "What, you mean based off the character I’m playing, or the real me? Because you don’t know me."
Capone: Wow. Does anyone really know you?
CY: Ummm, I don’t know if I know myself.
Capone: You were saying yesterday what an enigma you are.
CY: Yeah. [To Jake] Do you know me?
Jake Johnson: I think so [laughs]. I was stuck in a van, right? I know how you pretty well.
CY: This article is going to be called “The Mysterious Yi.”
Capone: I missed the line the first time I saw the film. But then, last night, when Michael said, “She’s kind of mysterious,” it stuck me, Wow, he would get that, just off that little meeting, right there.
JJ: That’s actually really funny, because one thing about you is that you’re pretty open and honest with things, so, like, being a friend of yours…At first, it’s like Charlyne is very much stand-offish. And then, you have one good hang, where you actually talk and connect as people. And so, watching all these people, like, watch the movie. They’re, like, [in an earnest, serious tone] So, who is Charlyne? And, I’m, like, What is the big mystery! It’s right here. It’s really funny to watch.
CY: Yeah.
Capone: Were you ever as concerned in real life about your ability to fall in love as you are in PAPER HEART? Like there might be something wrong with you?
CY: I think the chemical thing [she suggests in the film that perhaps she is chemically incapable of falling in love] was an exaggeration. I was hoping for that answer. But, I think I couldn’t grasp…How do you not get sick of someone? But, then, I was, like, No, you can get sick of them. It’s normal. You get sick of your friends. It’s normal, and then, you love them still, despite that. I think I was bit concerned in other areas where I realized, like, I don’t really know much about anything. They’re, like, What’s your favorite this and that, and I’m, like, I don’t know. Do I just not like things enough? I think I got worried about that, but I don’t think I’m that worried.
JJ: Well, I’ll say, as your friend…And, you now feel like a friend, and it’s an interview…When we first started, ‘cause I’ve now talked to you about love since they basically brought me on, you used to be almost 180 degrees more skeptical. It was never--and I said this to you yesterday--you were never judging other people. You never said, like, with [his girlfriend] Erin and I, like, “I don’t believe what you guys have is real love.”
CY: Smell that?
JJ: Yeah.
CY: Bullshit! That love?
JJ: [laughs] And, it was very much like, I don’t think that love is bullshit, but I don’t know if it’s ever going to happen to me. I don’t know where I stand on it. And, now it feels much more, like, Yeah, it could happen. It just feels like there’s been…It’s all in the gray area. It hasn’t been black and white, but there seems to be a dramatic shift in the gray area.
CY: Probably.
Capone: You do have the one…I think it’s a voiceover in the film near the end where you do say, “Maybe it’s not impossible.” You sort of give that little ray of hope that we so desperately are looking for by the end, where all the married couples in the room are, like, "Shit!"
JJ: [laughs] "What how I done?"
Capone: Wow, okay, good idea bringing the wife. Have you ever seen Albert Brooks’s REAL LIFE before? I’m sure that’s come up.
JJ: We actually were just talking about it before.
CY: I just saw it this year. It’s really awesome. It’s so silly.
Capone: That’s what your film reminds me of a little bit, just in those moments where you’re having a very real moment in front of the camera, and then suddenly yo see a cameraman off to the side. I wondered if that was an inspiration at all. But, if you had just seen it, then probably not.
CY: Yeah, unless I was psychic.
JJ: It might have been with [director] Nick [Jasenovec], because Michael [Cera] was the guy who recommended it. He told me, I don’t know if he told you, too, but he was the one who was, like, “You have to watch this.”
CY: Yeah, he told me about REAL LIFE.
JJ: So, I don’t know if maybe he and Nick had already talked about it. But, I know I had heard about it after doing PAPER HEART.
Capone: I know we covered this last night, but I did want to talk about the germ of the idea. To put it differently than we discussed last night, let me ask: Why did you think it a better idea to tell the story as a version of yourself rather than write characters who had these feelings? Why did it seem a better idea to write a story involving you and Michael and fake Nick, than just write a screenplay with entirely fictional characters?
CY: I think…I haven’t seen WHEN HARRY MET SALLY, but I heard that they use documentary stuff…
Capone: They do, yeah, the interviews with the couples.
CY: And, I think it would be very confusing, because when we were going to make the original documentary, he wanted me on screen for that. So, it would be weird if I were playing a character in that moment and being myself in the documentary, so it wouldn’t tie in with the though-line. And, also, I think--I don’t know if I mentioned it yesterday--but, our hope, mine and Nick’s hope was that if people didn’t know going into the film whether it was real or not, maybe this love story would mean much more to them than just a fictional story.
Capone: Yeah, in fact, someone we drove home with last night said that he did not know anything about the movie really. And, he was having a really hard time figuring out which parts were real and which parts weren’t. I think that’s kind of the point.
CY: Yeah.
JJ: And, I also think it’s part of the point while you’re watching it. And then, I think what Nick wanted at the end--and I felt the same way--with the title cards, as soon as it’s over, then is when it says "Jake Johnson is Nick Jasenovec." Because at first, they were talking about a different kind of title cards that just had everybody’s name. So, the title cards were originally just going to be: Charlyne Yi, Michael Cera, Jake Johnson. And then, after a certain point, he’s, like, "Nope, we don’t want people leaving not knowing. We want it very clear, once the movie ends: This was a movie; we’re just playing with the form a little bit."
CY: Yeah.
Capone: Tell me about finding your documentary interview subjects. You said you had a casting director, but what were the casting folks instructed to look for?
CY: We wrote, I think, two or three pages of what types we were looking for, like, "a captain married to the sea," which we actually had, but we didn’t have enough time to drive out there in New York. It was, like, a five-hour drive, so…
JJ: Right.
CY: …We needed to get the people…The gay couple was in New York, and we got them. Yeah, one of them was, like, "someone who’s gay." We wanted to get that side. I really wanted bikers. [laughs] And, thank God, our hotel was across the street from a biker bar. And then, we wanted someone who’s been together for over 50 years, or 50 years. We wanted kids in the film. It was just general things. Scientists, to get their outlook on things.
JJ: Yeah [laughing], I just remembered something that we haven’t talked about yet.
CY: Oh, yeah? What?
JJ: When we were in Vegas, Charlyne really wanted to interview prostitutes.
CY: Omigod, yeah…
JJ: But, we didn’t want to call a call service, because we all felt creepy. So, we were just all walking around hotels to see if we could find any: "I think she’s a hooker." And then, we’d be, like, "Ask her." And, we’d all be, like, "We can’t just walk up and be, like, (a) Are you a hooker, and (b) Can we just interview you?" So, we spent most of three hours, like, finding hookers in Vegas.
CY: Yeah, and you found one. And, I went up to her. I was so scared, like, my heart was beating. I was, like, "Hi, can we interview you about love?" And, she was, like, "You don’t want to interview me about love." And, I was, like, "Oh, yeah, I do." She goes, "Why?" I was, like, "Cuz." [laughs]
JJ: It was sad that I knew she was a hooker, because I was, like, she’s a very attractive lady, and she’s honestly making eye contact with me, past the awkward moment stage of staring. And, Charlyne’s, like, "How do you know?" I’m, like, being a guy, I just know that woman’s not making eye contact with me unless it’s a service.
Capone: Wow, I don’t have that kind of radar. You’re a better man than me.
CY: "Wow, a pretty lady likes me."
JJ: It was just so out of my league. I’m really, like, cracking jokes, and I’d be, like, looking. Oh, she saw me doing that joke. And then, she’s still looking at me? What am I wearing? She’s still looking at me? Then, I’d be, like, ahhh, she’s a hooker.
CY: Yeah, I remember falling asleep, and they’re, like, "Charlyne, wake up. We found one."
JJ: It was so weird, actually.
Capone: I love the couple interviewed in the courtroom [a family court judge and a divorce attorney], because you’re interviewing both couples and scientists and everything, and it could just be two people who see a lot of divorce. That’s a great reveal, when we find out they’re actually a couple, because you see these two people in Amarillo who see the downside of love, and then you find out they’re together, that’s the perfect thing, because they know everything not to do.
JJ: Totally. I’m not sure if this is in the final cut, but they said something that was really nice. They said, “We see such grim stories every day that when we go home, our problems seem so small.” They’re, like, “We’re so lucky that that’s not us.” I’m, like, yeah, that would be nice.
Capone: Is it fun watching people trying to figure out what’s real and what’s not?
CY: No [laughs]. Yeah, I think it’s interesting. It’s always interesting how most people think the psychic is totally staged. Like, in our test screenings, people would write what their problems were with the film. They’re, like, That psychic was so exaggerated. People had a problem with that. And, then, when you tell them, Yeah, that was real, they’re, like, "What! What! No!"
Capone: She was so bad at it, I assumed it was real.
CY: Yeah, she’s really fake.
JJ: She’s a weird business lady.
Capone: Did that really shake you up as bad as it seemed in the movie, that experience?
CY: I think in the very beginning, she was saying something stupid…She was saying things that were wrong. Like, I gave her my sister’s name, and she was, like, "Moving." I was, like, "Oh, she just moved!" But, like, moving could mean anything.
JJ: Looking back, it’s gotten much more jokey, but at the time, it really wasn’t that funny, because it really did just seem like…The stuff she was saying, it just didn’t feel right. And, it felt very real, and it felt like you were getting your feelings hurt, ’cause then you’d be, like, "Well, what do you mean? That’s not like that." And, she kept drilling her.
CY: Yeah, we cut out things where I was disputing with her, like, "That’s not true. Why would he want my money? What? Why would I want his money?" And then, there were other things, I forgot, about my sister and this and that. And, I was just, "May I also talk and argue with you, because I don’t agree with what you’re saying." And, part of me getting upset was more so that she…like, I didn’t necessarily believe what she said, but, like, that she would do that to someone, and lie to them, and make them feel bad about themselves. And, just really, what a con artist to hurt someone and be okay with that.
Capone: It seems like bad business. It seems like if you want repeat customers, you’d be a little more optimistic with your predictions.
JJ: After that, I called my girlfriend. And, she had a really bad experience. She’s a painter, and the woman said to her, she was, like, "You’re not an artist. You’ll never do that." And, I think, after talking to her, it was so that she would come back, because it breaks you down. Then, you’re, like, man, all my confidence is fucked up. What am I? Read those cards, I don’t know what to do!
CY: Oh, yeah. She was telling me…she’s, like, "You’re young." I was, like, "Kind of." She’s, like, "You don’t know what you’re doing." I was, like, "Actually, I do know what I’m doing." She’s, like, "You’re either in college, or you’re figuring out what you’re doing." And, I was, like, "I’m NOT in college. I KNOW what I’m doing."
JJ: I remember another thing that happened. You told her, as a joke, you said you were 33. And, she goes, Oh, it’s because you’re Asian [that you look so young].
CY: She said, Oriental.
JJ: She was doing all this psychic stuff, and then she was, like, "You’re in your 30s?" Charlyne says, "Yeah." And, she’s like, "It’s because you’re Oriental." What?! You’re a psychic! First of all, you’re wrong, and I was lying--I’m in my early 20s.
Capone: I loved so much the puppet stuff. Is that what you call it?
CY: Yeah, I call it puppets, ’cause you just move it around.
Capone: And, I loved that you didn’t care if we could see your hair a little or see your hands a little. Have you done things like that before?
CY: I had. There’s a 45-second clip on YouTube of ice skating. There’s no puppets involved, but that was kind of like the inspiration for it. It’s just, like, tin foil and my hand going like this, but with certain cuts, it looks like it’s actually doing something. And, that kind of made me excited about making puppets for the film.
Capone: Were you still excited when you were done doing all the work?
CY: Oh, yeah, I was sooo excited. And, I was making a check list, like, "Okay, how many faces do I have for this puppet? Did I make enough little fish versions?" It was so meticulous. I felt like a crazy person, especially if someone called me, like, "Hey, can you hang out?" "Not now, I’m making puppets." I think when people hear puppets, they think, like, really beautiful puppets, and they’re just like these little paper…
JJ: Yeah, that’s what I thought when you were, like, I’m spending all day making these puppets. I was, like, Wow, what’s Charlyne going to come up with?
CY: I know, like, Nick won’t admit this, but Nick was disappointed with how they looked.
JJ: I remember.
CY: He was, like, Hmmmm, why…How come you can see, like, the string…Do you want to make them 3-D? Why are they flat? I’m, like, No, no. I did make a 3-D version, and they were scary…terrifying.
Capone: You have to tell the story about being in, you said CLOVERFIELD and SEMI-PRO, and getting a credit, but not actually being in the films?
CY: Yeah, with CLOVERFIELD, they made the trailer before the film, and I remember I didn’t even know who J.J. Abrams was. He was just some guy who was, like, Come with me, and he made me confess to the camera. And, that was it.
Capone: So, you’re in the trailer, then?
CY: I was. I got out from the trailer.
Capone: Okay, I thought you got cut out from the movie.
CY: No, I got cut out from the trailer, but then, they ended up using the trailer for the movie, and so the back of my head is in the movie. And, I remember getting texts from my friends, like, "Hey, good job in CLOVERFIELD." And, I was, like, "Really? They used something from that?" And, I thought maybe there was more of me, but they said it was just the back of my head, and they could tell because my shitty clothes.
And, then, with SEMI-PRO, I was there shooting for a month, with Paul Rust--he’s the guy who I play music with sometimes. And, we were in wheelchairs, there for a month, and we got cut out of the film, too.
JJ: You were there for a month on SEMI-PRO?
CY: Yeah, but that’s how, I remember I was really broke then. And, my car died, and that’s how I got money to live. So, that was the best thing ever.
Capone: Yeah. And, I noticed you [to Jake] were in REDBELT, Mamet’s film. How did you fall into that? That’s pretty cool.
JJ: It was really…It was just an audition. Yeah, my agent got me an audition. I’m a big…I did “American Buffalo” when I was younger, and so coming from Chicago, being a Mamet guy, that’s like a dream.
Capone: I was going to say, that’s got to be a Chicago actor’s dream.
JJ: It was a dream. And, as a guy to work with, he was the coolest director, because everybody on…The way he runs his sets, he’s "We’re all in this together." And, so, to actually be there… And, I’m a big Mamet nerd, and I was, like, all nervous and tight. And, I play the bad ass who beats up Tim Allen.
Capone: Oh, in the bar?
JJ: I’m the guy who beats him up.
Capone: God, I didn’t even recognize you.
JJ: Yeah, I have a full beard in there.
Capone: That would explain it.
JJ: So, I’m sitting there, and I was, like, all nervous, and I think he could tell I was nervous. And, so he’s, like, "Here’s your inspiration: On the one side of you, how excited are you? There’s Tim Allen!" I’m, like, "Pretty excited!" This was one of my first jobs, and I was thinking, like, Tim Allen’s a big movie star. And, he’s, like, "You get to be in a scene with Tim Allen. You also get to kick his ass." I was, like, Awww, that dude’s awesome! He just made me feel comfortable.
Capone: I love that movie. I got to talk to Chiwetel Ejiofor. He came through town for that movie.
JJ: He was awesome.
Capone: Yeah, he was great. He told me that his two favorite playwrights were Mamet and Shakespeare, so…
JJ: Yeah, I hold Mamet in that same height.
Capone: [To Charlyne] I love the scene where Jake is interviewing your parents, and, they say that your personal life, you keep that very quiet, and you wouldn’t make any aspects of your personal life public. And, then, you kind of do the exact opposite. Was that deliberate?
CY: I think the only time I thought of it really was, like, Oh, yeah, we are exposing Charlyne, but it’s not the real Charlyne, so it’s, like…Yeah, we are contradicting that, but then, you know, the audience is probably thinking, Ahh, we’re getting to really know Charlyne. But, it’s a form of Charlyne to the extent that it’s Charlyne’s name, it’s her voice, but…
JJ: Each scene Charlyne was in, we did four or five takes of it and got notes. So, it’s, like, each…They couldn’t be the real one.
CY: Yeah, I had to learn to play myself. Nick would give me notes about how broad I talk in real life, and how big I am, and how loud I am. And, he’s, like, "That’s not going to work for your character. Tone it down."
JJ: There’d be lots of scenes where she’d be really animated. A lot of times, when you’re thinking, she’d be, like, "Um, um." So, we’d have to do another take with, no Uhms, "Keep your hands still, and It’s so cartoony, people aren’t going to believe it’s real." So, Charlyne in the movie is way played down.
Capone: You had to suppress yourself.
CY: Yeah. There’s a clip of this Demetri Martin interview kind of bit thing that we did…It’s cut out. It’s on YouTube right now. In one of the clips, I shake his hand. And, he’s, like, "Where did you learn how to do handshakes? In the cartoon school?" ’Cause I’m, like [demonstrates huge gestures].
JJ: That whole interview was also, like, way too broad and ended up having to…And, then, we did, like, an hour and a half in New York that was really funny, but just absolute Crazy Town.
Capone [to Jake]: Was there any attempt on your part to emulate any part of the real Nick?
JJ: My part was…rather than do an impression of him, he would essentially be, like… My role would be… The three of us would meet in the morning and talk about the scenes, and it would be to come up with more ideas of what we could shoot that day. So, Day 16 of being in a van with Charlyne and I like this, and a cooler here…All I would take is things that happened the day before. If he was, like, frustrated about something or he’d be, like, We’re just not getting enough work done, the idea I’d have is, What happens if Nick is really mad at Charlyne because they’re not getting enough work done?
CY: Yeah, and then, like, having to balance friendship and work and the stress of this thing, my falling apart.
JJ: Nick in real life…We have this movie, and I have this pressure, and she’s also my friend. So, there would be that, and so that character of being, like, I really do care for her, but this movie is really happening. I’d more just try to take those emotions and kind of formulate how I would relate with Charlyne.
Capone: Yeah. Let’s talk about crying, because last night, you said you really wanted to get one crying scene in. It’s interesting, because you were asking the audience last night, Did anybody cry? That wasn’t the scene where I heard sniffles. I heard sniffles when you announced to the crew that Michael had broken up with you. That was the scene where I heard people kind of pull out the Kleenex.
CY: All right.
Capone: And, I even got a little emotional at the scene where you guys are driving in Palm Springs, and you suspect, This might not work out and that the cameras are actually hurting this relationship.
CY: That was so uncomfortable.
Capone: And, you say something, like, "Can’t we just have fun?" I was, like, "Oh, man, I know that conversation. I know the answer to that question." [everybody laughs] But, talk about your crying scene. Was that tough to sort of build up that sort of emotion, or were you really that miserable, just having been out all day?
CY: I think I was a bit flustered, because that was, like, the second thing we ever shot, like, Toronto and that. I was also not eating healthy. And, it was the last scene, too, so there’s amounts of pressure. He was, like, It would be cool if you cried in this scene. I was, like, I don’t know if it’s going to happen.
JJ: Going off of that, going back to the question about Nick…like, there was real tension. It was, like, really tense.
CY: Yeah, me and Nick were getting in arguments. And, I actually ended up really crying during the trip to Paris, because we were having conflicts about the movie and personally. And so, like, the last scene…And, we were friends by that point, we fixed it in that moment, and so, by that scene, I think…I don’t know how I got myself to cry. I was thinking about all the starving children in the world. [laughs] I think I was just trying to put myself in that situation, What if I was in a relationship where there’s that amount of pressure with the crew, the pressure of this guy you really care for and you can’t understand why he broke up with you…Why don’t you love me right now? Why do I have to love you right now? Why can’t we see how this goes? Why is there a deadline on love? And, I think that was what I was thinking of when that happened. I think I kind of cried, but it wasn’t waterworks or anything. It was just, like, chocking of the voice.
Capone: Why did you really want to do that? Have you ever had to anything like that before really emote like that?
CY: No, but I got to do it later with you [Jake] on stage, when I was crying, when you died on stage [The two to them re-enacted E.T. on stage with Charlyne as E.T. and Johnson as Elliot]. That was really fun. I don’t know, I think, I’ve always been fascinated how, I watch the cheesiest movies, but, in THE BEAUTICIAN AND THE BEAST, there’s this scene…
Capone: The Fran Drescher movie?!
CY: Yeah [laughs].There’s, like, this scene where…I know, my references are way out there.
JJ: [Laughing] You’ve just become less of a mystery.
CY: But, I love other things that are less cheesy. I’m very aware of how my taste is.
JJ: It’s nice, if you like them.
CY: Yeah, but there’s this scene where she gets so emotional and chocked up. And, I learned how to use TiVo, so I recorded it, and I kept rewinding it. And, it kept making me cry. I’m, like, What is this? How does she do that? How does she make herself cry? How does she make me cry? And so, I’ve always been fascinated with that and how to make people feel something other than happiness or laughter or being annoyed. I know how to make people annoyed, but I don’t know how to make people feel something like that.
Capone: I noticed there’s a repeated theme in the film of people with mounted animal heads. Was that on purpose?
CY: No, that was random.
JJ: That was just going across America, visiting people’s homes.
Capone: I’ve never been in a home with a mounted head. I guess I’m lucky--or unlucky.
JJ: Yeah, it’s crazy.
CY: Yeah…like, people have been noticing themes like that. And then, also, they’re, like, There’s a lot of violence, like, in taxidermy and the guns, the boxing, and in lots of motorcycles…
Capone: That is America.
JJ: And, then, lots of hoodies. But, that’s also, like, kind of the L.A. comedy scene. And, then, that goes across the country--and then motorcycles and violence and dead animals.
CY: And also, people notice it on young people…like my family wears hoodies, like, my mom and my dad. It’s just like sweat clothes.
Capone: We talked a bit about this last night, but you do wonderfully capture the idea that you can tell strangers things you wouldn’t tell your family or your closest friends. Did you notice that? Did you feel that even you might have been saying things to some of these other people that might not normally have talked about in such detail?
CY: Yeah, I don’t know why that happens. I don’t know where that comfort comes from. It almost seems like it should be the opposite. But, I think maybe…I don’t know, I was going to say, maybe they don’t judge you as much. But, maybe, they actually do, because they don’t know you. I don’t know.
Capone: Some people say, it’s because you’ll never see them again. So, what have you got to lose?
CY: But then, they’re on film.
Capone: Well, that’s true. The film thing adds another dimension to it.
JJ: I couldn’t believe how open people got. I couldn’t believe how much people were willing to share. And, it was wonderful, like, it could be really sweet stuff, ’cause people really opened up.
CY: I think the most surprising thing is when it wasn’t about the happy things, ’cause it’s easy to say something happy. You’re happy to share a happy story. But, with the gay couple, for them to open up about something emotional, that’s when it’s really surprising, to allow themselves to be vulnerable…
JJ: Without trying to sound too cheesy, it was also really brave.
CY: Yeah.
JJ: As a crew, we would all be there, and someone would be saying something where we’d all kind of look, like, Whooaa, like, That’s really cool. And they didn’t know if we were doing a BORAT, they didn’t know if we were teasing them. And, it was, like, Wow, you still did that. That’s awesome.
CY: Yeah, it’s hard to real. Even, like, when I was in interviews, like, it’s hard to be real, because, like…an interview like this or an interview on camera. Sometimes, people just try to, like, No, let’s just avoid that weird question, let’s go somewhere else. And, for them, they didn’t avoid it at all, they just went into it and dove right into it.
Capone: A couple of times, dreams are brought up--your dream and the first guy you interviewed had a dream. Was that a dream?
CY: He said that he actually saw that.
Capone: That was more like a vision. That’s right. But, do you put stock in the dreams you have? Because I love that particular one you talk about in the film about you in a pink dress, how telling it is--or, at least, how telling you think it is…about you’ve never been one of the girls.
CY: I think I’m, like, obsessed with dreams. I think Nick was always, like, No one wants to hear about dreams. I’m, like, Oh, but I always tell you my dreams. And, a lot of my ideas come from dreams.
JJ: We would talk about dreams almost every day. That’s how we’d start mornings in the van. We’d, like, get in and…We didn’t have much to say after, like, two weeks of sitting next to each other. So, every day we’d each spend, like, an hour and talk about everything we remembered. Dreams were a big part of it.
CY: Yeah. And, I think that was a real dream, but not about Michael. It was just about someone else. "Why do I always act tougher than I really am? I am a girl essentially. Why am I battling with this?"
Capone: [Laughs] "Essentially"?
CY: I think recently, just a couple months ago, it was really hot outside, and I was, like…This actually doesn’t have anything to do with dreams, but it has to do with being a girl, but, like, It was hot outside. I was, like, That girl is so lucky she’s a girl. She gets to wear a dress. It’s hot! And, then, my friend’s, like, You’re a girl, too. You can wear a dress. And, I was, like, You’re right. And, I’ve been wearing dresses now.
JJ: It is funny. This is no joke, but since our friendship started about a year and a half ago, I have seen a transformation, one, on love through PAPER HEART, and, two, becoming more girly. So, it’s, like, when we were doing PAPER HEART--and I don’t mean this as a bid--it felt like our relationship was like brothers, and I was like the older brother. And, throughout, like, the last year and a half, it’s, like, Ahhh, Charlyne’s a girl in there!
CY: I think I’ve always been a girl, but, like, I’ve hung out with guys all my life. And, I was, like, "Huh, stupid dresses, right, guys?" But, then in my head, I'd be like, "Remember when you used to wear dresses, Charlyne?" Yes, I do.
JJ: But, she’ll also, like, leaning in the van like that, she’ll run up and fart on your face. What are you doing? And, she’ll be, like, hysterical. As the fart’s coming out, she’ll be hysterical laughing.
CY: I think I realized you can be a girl and wear a dress and fart still. It’d probably be better.
JJ: It just gets out faster. [laughs]
Capone: You mentioned last night that you’ve been writing a couple of new things. I read somewhere that one of them is something Judd Apatow might produce. Is that true?
CY: Yeah, it’s true. I don’t know it it’s going to happen. We’re working on the draft right now. Me and Paul Rust. Yeah, he’s funny and awesome. I’m not allowed to talk about what it’s about.
Capone: No, that’s fine. I just wanted to make sure. I read on the elusive Internet, so I didn’t want to spread unfounded rumors.
CY: Okay, I’m glad you’re checking it out. [laughs]
Capone: How did you fall in with that Apatow crowd?
CY: I had performed a lot, and my manager asked me if I wanted to audition for things. I was, like, I haven’t really thought about acting…since I was a kid, really. And, I was, like, I guess I’ll audition for things, but I’m a performer, really. And, I auditioned…And, when I auditioned, I was really terrible, but at a certain point… Allison Jones, the casting director who brought me in to audition for Judd, but when I came in Seth [Rogen] was there and [producer] Evan [Goldberg], and they’re, like, "Oh, hey, we’ve seen you perform before! You’re, like, really funny!" I was, like, "Okay, cool, cool." And, then, my audition actually went, like, horr-r-rible.
But, somehow, they still liked me. And so, from there, I was only supposed to be on set for one day, but they liked me so much, they kept me for a week, and we just improvised scenes. It was just like me hanging out with the guys. And me and Martin [Starr] became really good friends. I mean, he’s probably my closest friend from anyone from there. I mean, I hardly know Judd, even though we’ve talked before, but that’s kind of how he became a friend.
Capone: Yeah, and a potential working partner, too.
CY: Yeah.
Capone [to Jake]: What do you have coming up?
JJ: I’ve got a potential movie that I might be shooting in September that I’m not supposed to talk about.
Capone: Okay.
JJ: And, a TV show that Charlyne, Nick and I are writing.
Capone: Oh, that’s right. You mentioned that last night--the TV show.
JJ:…that we’re not allowed to talk about.
Capone: Where you with that?
JJ: We sold it to HBO, and we’re writing a script. And, so, when the script’s done, if they like it, we’ll hopefully get to shoot the pilot. But, there’s always, like, so many steps. It would be a really fun show.
Capone: Well, thanks guys. That was really fun last night too.
JJ: Cool. That was a really fun screening, thanks for hosting.
CY: The audience was awesome. Every one was really nice.
-- Capone
capone@aintitcoolmail.com
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