By April MacIntyre Mar 15, 2008, 2:44 GMT
The Riches season two will premiere on FX next Tuesday, March 18th, at 10:00 p.m.et/pt. This season will only consist of seven episodes because of the writers’ strike.
British actor Eddie Izzard EPA/PAUL BUCK
The show is lighting in a bottle with the confluence of great writing, acting and crafts behind-the-scenes that edit, dress the sets, lens the shots and style the actors.
Despite lacking in a full slate of episodes, the show is twice as good as it was the first season with richly layered performances by the women of the cast: Minnie Driver, Margo Martindale, Shannon Woodward and great cameos by Lee Garlington.
The men turn it up too, with Eddie Izzard’s Wayne Malloy paired up with the talented Gregg Henry and Todd Stashwick in no-miss scenes.
Tuesday's opener picks right up where the cliffhanger left you from the first season. Wayne and Dahlia Malloy (Izzard and Driver) have fully assumed the identity of deceased affluent couple, The Riches.
But now the cracks have exposed their con to a neighbor, and their conniving relations in the Travellers clans they long to sever ties with want in on the score too. The Riches double lives are catching up with them, and the no matter how absurdly far-fetched the building situations become, the scenes work because of the talent writing and inhabiting these roles.
The first season ended with Dahlia's (Driver) scheming cousin, Dale (Todd Stashwick), tracking them down after getting a whiff of Wayne and Dahlia’s lucrative new con. The other damning moment comes as an old friend of Doug Rich (Arye Gross), drops in and discovers his friend is gone, replaced by strangers.
In Tuesday's episode, Dahlia spirits the children away with a surprise addition, Nina. Wayne is left behind to trim the loose ends, dealing with a broken-hearted drunk of a boss who likes him, and a reptilian relative who wants to cut in on the action and in the process commits a heinous crime.
Monsters and Critics joined some other online journalists and spoke to Minnie Driver and Eddie Izzard of “The Riches.”
Wayne and Dahlia - how will they evolve in season two?
E. Izzard Yes. Well at the moment it’s heading towards a sort of train wreck, and we won’t wreck the train. I’ve always thought that their ambition is similar, because they’re quite different people, but they’ve got this ambition thing. They kind of want it all and in different ways. And I think that’s going to keep them together, and there’s a love that’s underneath it. They’re both lost children as well, so that …
M. Driver Yes, yes very much. They’ve been so much a unit and suddenly they’re getting a taste of what it is to be, to exist separate from this nucleus. And whilst that’s obviously an integral part of being a human being, it is definitely what they discover about each other stuff to tear them apart. So it’s kind of interesting. It’s like they’re choosing the individual over the whole in this season. They’re choosing to kind of explore their own territory and believe that they are right, you know. What’s that great thing about, I think it was my mom who said that great thing, she’s like, “In a relationship, what do you want to do, do you want to be right or do you want to be happy?”
E. Izzard I think we’re trying to be right.
M. Driver And we’re trying to be right, exactly.
E. Izzard We’re trying to be right at this point.
M. Driver Yes.
What you would say about what did doing just seven episodes mean to the season? What did it mean to the storytelling?
E. Izzard Well, obviously, it’s seven episodes because of the strike. I think the writers were obviously aware of this beforehand, and so we built a sort of cliffhanger halfway through the season. So it really didn’t hurt us in any way. I think they’re seven very strong episodes.
The first season, if you watched it all the way through the tone does move around somewhat. The second season, we just sort of knew where we were going, we locked down, we got on the railway lines, and we just went full steam ahead. So I think it makes it like a tighter punch, and we’re coming out now.
It’s a great time to come out, because there’s a lot of stuff normally out on television, not all of it is back on television. So we’re very happy to come out, do seven, and give it a big smack in the face.
M. Driver Yes, I agree with that. It’s true. Everybody got hammered by the strike. And whilst we all support the writers, I would have loved to have done a full season. I don’t think the show suffered. I think it’s going to leave the audience wanting more, which is a really good way to end a season at all, and the addition of Jared Harris to our cast I think has added a kind of weight and a danger that’s really fantastic.
Do you think a viewer could start the second season without having seen any of the first season?
M. Driver - I honestly think that condensed trailer that you get at the beginning of any new season is enough to fill you in on where you’re at. And really, if you just read a blurb that says, “A couple of con artists and their kids trying to steal the American dream, move into a rich neighborhood in Louisiana,” you’re kind of good to go.
I mean, I think that’s what’s wonderful about our show is that you can explain it really quickly, it’s high concept, and the characters are very immediate. And certainly, we pick up literally 15 seconds after where we left off at the end of season one, so you’re coming straight in, in a really dramatic place. I don’t know, I think people will just jump on.
How would you place the tone this season and how did you find that tone?
E. Izzard I think the tone is more locked down. We went through this tone in last season. I think we ended up at the end of the season with this tone. It’s somewhat darker.
Some of the episodes in the first season were slightly funnier, and they’re not, the funny comes out at very dry and bizarre circumstances in this season. It’s a drama with some quirky things going on in it. It’s just very sure and it’s dark and compelling, and it’s a train ride. So, yes, I loved that, and I think Minnie did as well. We liked where it was going the second season.
E. Izzard We’re keen to go on through the ninth season.
It seems like there’s a cliffhanger at the end of or during every episode.
M. Driver We’re serializing the show more this season and I think engaging and keeping an audience in a different way. And you really do, do that by there being a cliffhanger at the end of every episode.
The noose is definitely tightening. That’s what this whole second season is about. If it’s a bad scene, we get away with it in the first season. Now, the more successful we get, the more desperate and dangerous it becomes. The truth, or what that means to each of us, is really at the center of this whole season, and it does lead to a dramatic ending at the end of every show.
It seems like you’ve got parallel stories, at least in the first couple of episodes where you’re splitting apart.
E. Izzard I think the whole family is actually kind of somewhat exploding, and there’s a worry that does it take everyone in different directions and you’re not really focused on the show, but it doesn’t seemed to happen that way. So, yes, we are all sort of driving off in somewhat different directions in our brains and in actuality.
Are there any notions of doing a quick turnaround and launching into a third season well ahead of schedule?
E. Izzard That’s an FX kind of question really.
E. Izzard The network have their decisions based upon, they talk to the Oracle in Greece, and …
M. Driver Turkey, …
E. Izzard Yes.
M. Driver … we might get picked up, we might not.
E. Izzard John Landgraf is very passionate about this, and so we’re very happy to be at FX. But they’ve obviously got things to bear in mind, but from our point of view we’re going on.
M. Driver Abso-bloody-lutely. I mean, if it were just up to us and Dmitry Lipkin we’d be working every day of the year.
E. Izzard We think through the line, at the pilot I was getting that they wanted to toast season four. So we constantly think through this thing all the way to a future end. So whether anyone wants it or not, we’re still here, we’re going the full length.
Do you have a notion of how this is playing out over the next few seasons?
E. Izzard Having been in on one big group meeting; it’s all ideas and theories and maybes, and nothing really gets locked down until we actually shoot it, like minutes before we’re shooting we’re fine tuning things. But the writers, nothing is nailed to the floor, but it is this big long journey of how far can we steal the American dream.
M. Driver Yes, and neither should it be nailed down. I think it would be incredibly inflexible and boring if it were, because it leaves no room for life and spontaneity and an idea born in a moment.
It doesn’t leave any room to have an impact. And I think that’s what so great about Dmitry and Dawn and Nicole and Wendy and the rest of the guys, is that they’re inspired by the moment. I mean they have sort of rough outlines. I think that scares networks, frankly.
They’d love to have it locked down in a tiny box so they could look at it and say, “This is what it’s going to be.” But the reality is that it’s organic and it’s constantly evolving, and there’s stuff that Ed will say or that I’ll say or the kids will say that will change an idea of plot line or story line ... they want to incorporate that, so it’s more fluid.
Minnie, will Dahlia continue opening up and growing and kind of getting out of her closed-off ways, or if we’re going to see more of her trying to break out of this Traveller’s mindset?
M. Driver Well, I think it’s like a Pandora’s box, and probably with all of the characters, but from my point of view with Dahlia, yes, she’s led by the truth, or her version of the truth, in this season and wanting to kind of cleanse herself of all of the deceit.
She wants to be this new person, but I don’t think she has any idea of who the old person is. So wanting to be somebody new presents a huge challenge, and it’s very interesting and very kind of psychologically challenging to follow her down this rabbit hole.
But she definitely continues to expand, like all the characters, in sometimes an incredibly destructive way and sometimes she blossoms. It’s wild. It’s very cool.
Eddie, your scenes with Hugh Panetta and Gregg Henry are hilarious and dramatic this season. I was wondering how many takes it took to get the mojo scene,with Hugh Panetta (Henry)?
E. Izzard That actually wasn’t too many takes, that just seemed to lock in, and that’s only three or four takes. It’s quite a fine thing because there’s an element of my thing where I can go up and both make things up in a second, which maybe is useful in The Riches.
A lot of it isn’t, because it’s too weird and surreal, and that one seemed to be an interesting scene where I could just sort of just go off slightly on a tangent and I seemed to reach some things which sort of fit without sounding too bizarro. So, yes, it’s great working with Gregg.
Gregg just gives so much out of scenes that you’re not expecting it from him. He just comes back like a train. So it’s great working with him.
How is The Riches doing in the UK and overseas?
E. Izzard Yes, it’s in Britain, Australia, Canada. It’s kind of like it is in America, it’s getting really good reviews. We’re building up audiences. Obviously it’s coming from a different network, so I’m not sure quite what side the networks they are in all these different countries, but yes, it’s a pretty similar reaction to what it is in America.
It seems that Dale is becoming a part of their con, but how is this going to work out?
E. Izzard It’s a tricky question. When you’re asking writing questions, it’s a little tricky for us because we contribute as much as we can think or would like to, and the writers are happy with that. But the writers did actually, because of the writers strike, close down their minds.
M. Driver They did. We couldn’t ring them about nothing.
E. Izzard No, we couldn’t ring them. They didn’t want to think about it. They just had to do it to be strong with the WGA. So we don’t know, and I would be very interested to know.
M. Driver I really do. I think that Dale is such an interesting and amazing character, and they’ve written him right into the heart of suddenly this … pack that he has with Wayne. I don’t have really anything to do with them this season, which has made me sad, because I love working with Todd Stashwick. I really love working with him, but I think we’re going to be seeing a lot more of him.
What’s the most challenging part of portraying these characters for you both?
E. Izzard For me, I think there’s a technical thing, I’m still catching up on dealing with all this stuff that’s around me, these cameras, trying to push them back in your mind so that you’re sitting in the moment and not worrying, and you have to not worry about all these 100-150 people standing around you wanting you to do this right.
Having done so much time on stage, I just ignore everything else, and then suddenly there’s all this stuff, and that is probably my most challenging thing is learning to just push that back, ignore, and be in the moment, and just relax and get on with it.
M. Driver I think I just get so emotionally wound up by this character, by where she’s coming from, where she’s so high octane, 99% of the time. It can become super inflammatory —you know she’s just a huge character and I definitely get exhausted, but also get very over emotional, which is a challenge.
You kind of exhaust yourself and exhaust the people around you as well. So I think that’s probably the hardest part of playing Dahlia.
Out of all the episodes that you’ve done for this season coming up, which one is your favorite or was your favorite to film?
M. Driver I’m confused about the numbers now, but it was the one, it’s the penultimate episode where there’s a huge ’70s costume party that Nina throws for her husband’s birthday, and so much goes down at this party.
Pretty much the whole episode takes place in her house at this party, and there are drugs, there’s death, there’s sex, there’s kind of destruction, and revelation, and it was one of the most amazing things I’ve ever done as an actor.
I enjoyed it so much and it was such hard work, but it was like shooting a movie, it really was. It was like shooting a movie in a week. It was outrageous. I loved that, it was awesome.
E. Izzard Yes, yes, I liked that one.
Are we going to see a little bit of an ease up on their situation, they’re going to get a little bit more lucky breaks or is it going to get worse as the season goes along?
E. Izzard Well, I’d say since they haven’t written the rest of the season I would assume that it’s just going to keep ramping up, and then there will be some turn at some point.
It’s really difficult to fathom this, because it’s just conjecture, but logically it’s just going to keep piling it on and then around episode 8, 9, 10, 11, it’s going to turn and go somewhere else, and then we’ll have a cliffhanger. But it’s difficult for us to say more than that, because no one knows. It is weird that we get to this place.
M. Driver I don’t think it’s going to get any easier. If there are easy moments, it’ll sort of be like being in the eye of the storm. There will be pockets, but they won’t be really what’s going on.
E. Izzard I can tell you what’s going to happen for the next seven seasons, which is that this is just going to keep ramping up and up and up and we’re just going to keep stealing more of the American dream, and the stakes will just get higher and higher. It’s got to go there.
That’s our place to go. How that will actually turn out, we don’t know, but it’s going to be that crazy ride.
A theme early on this season seems to me that everyone has their price, and in the ... they end up returning to Edenfall for their $13 million dollars in Hugh’s deal. Is that their price, and what do you think that says about the characters?
E. Izzard I think it’s Wayne’s price. At $13 million, you could actually say a bazillion million, it’s just more than he’s ever fathomed.
M. Driver We had a lot of discussions about this, didn’t we … I mean, we all come back, but there is clearly Cael doesn’t want to come back. I don’t really want to go back at all.
Wayne wants to go back, and this is our first fatal flaw, in a way. It’s like this is the first time that we’ve shown ourselves to be, I don’t know… like it’s the first chink in the armor to me, not the killing of the people in the first …
E. Izzard We never really meant to kill any of these people. But I do think …
M. Driver You see him, you see that Wayne, something is different in Wayne, like you see this slight …
E. Izzard The end justifies the means. I think he really feels that if we get just this, there’s only one chance of getting this and this is it. And maybe in the future it will turn out, though it isn’t the only chance, but at this point I think this is the only chance and he’s willing to burn the family to get it.
M. Driver Yes, to get it.
E. Izzard With an idea that after he’s got it … He’ll put the family back together.
M. Driver He’ll put it back together. But it’s a really Machiavellian idea, it’s the first time you’ve seen again Wayne operating outside of the unit. He’s doing something for the good of the family, but it’s not a familial decision. It’s something that he’s decided.
I think that is a huge turning point. I think it says a lot that we go along with it. It says a lot about Wayne, but it’s really to me the first moment. It’s setting up the season, because you’re basically going to see that spiritual and moral compunction unit come under even more fire, or you’re going to see kind of the true expression of who these people are I think this season, and I think it begins with that $13 million.
Are The Riches undergoing some changes that would make them sleep better, or is there more at stake?
M. Driver Well, I don’t think they sleep well at night. I really don’t. I think that they are taking a huge gamble. I mean everything is on the line. From Dahlia’s point of view, she could go back to jail in two seconds flat.
Her kids could be taken away. Wayne could go to jail, I mean, will go to jail if he gets caught. And there is now a dead person involved in all of this. Everything has gotten …
E. Izzard ... two.
M. Driver ... two, yes, exactly.
E. Izzard We argue this on the set. Then Minnie mentions there’s a dead person, okay, there’s three dead people.
M. Driver Three dead people. They don’t count the first two dead people. They don’t count.
E. Izzard …, because we would be down for murder for the first two, even though we say it’s nothing to do with us.
M. Driver They would pin it on us.
E. Izzard Sure the police, they would pin it on us.Because we wouldn’t have left fingerprints, well we didn’t have gloves, I don’t know.
M. Driver I don’t know how there was ever a scene of like us waking up in the morning, because I don’t know how they’ve ever gone to bed the night before, truly.
E. Izzard Yes. Yes, I think that’s true. The only calm people are astronauts.
Eddie, are your fans shocked by your character? Did they expect something else when you came out with this series?
E. Izzard No, I don’t think so. I mean, I’ve been training them —I did Broadway, and generally in some pieces or with television I’ve done in Britain I’ve been trying to do dramatic work. So even though my standup is kind of weird and surreal and this isn’t that, I don’t think they’re surprised. I’m meeting people who said, “I saw The Riches and someone told me you did standup.” So …
I think everyone’s sort of up to speed. I already put out that signal and so they knew about that.
Minnie, how do you like working in television?
M. Driver It’s much faster. In a movie, you’re lucky if you shoot a page a day, and we’re shooting like eight pages a day. It’s a very fast pace. I just love this character.
I don’t really care too much about the medium, I just want to really do good work, and she’s the best part I’ve ever had. So I kind of set myself to whatever’s going to accommodate me getting to act in the best that I can, and I love it. I absolutely love having a regular paycheck.
I love going to work everyday. I love knowing when I can plan a vacation for the first time in my entire adult life.
Maybe I’m just getting old, but I couldn’t work as hard as I do, because it is eight times the work that a movie is, I couldn’t do it if I didn’t love this character in the show as much as I do, because it is so hard. I don’t know how people that are stuck on TV shows that they have no respect for and they don’t really like, ... it would be the end of the world. ...
Have you two ever worked together before?
E. Izzard We hadn’t even met. Oh, you know, in the end how people actually end up getting together and working together and having chemistry is really weird. It’s so random, it’s like the universe … that we’re in. Well we’ve got chemistry.
Last season we saw a couple members of the family really move away from the Travellers lifestyle, especially Di Di and Sam.
M. Driver Well, it sort of gets a bit bigger than that. What’s different this season is it’s not so much about either going back to being a Traveler or staying and exploring being a buffer, it’s really about the stuff within each of these characters that is going to blow the family apart.
The choices that they’re making, kind of emotionally that have an impact on the rest of the family. We’re definitely all going our own way in this season. So people are sort of moving towards what it is they want to create more of. Every single character is doing this.
Dahlia and Nina’s relationship, now that she has turned to be kind of a confidante in this situation will that affect Dahlia and Wayne?
M. Driver It’s not so much that it affects Dahlia and Wayne. I think it gives Margo Martindale, who is one of the finest actresses around, more of an opportunity to shine, and she definitely becomes more familiar with a lot of hidden skeletons.
Will the third season have more episodes?
E. Izzard I’m not sure about Minnie, but I’m up for that. As I said to everyone else, it doesn’t matter when we do the next six. It just matters that we do 91. So, yes, if it turns out to be 19, if there’s a break in the middle, whatever, we want to do this and we love doing it, and it takes a lot out of us, but it’s the right time and right place to do it.
It takes so long to get this right in this place with the tramlines lining up and everything that we want to do this and put it down so it becomes a piece that sticks around.
M. Driver For a TV show to be successful, to be well reviewed, to have actors who kind of dig each other and keep getting more interesting, to have great writers, to have a studio or a network that’s behind you, it’s like lightning in a bottle. I mean, it’s so rare that you, and it does happen once in awhile that wonderful stuff ends up on the trash heap, and I don’t understand how ‘Freaks and Geek’ how they didn’t carry on.
And you really feel like no one is safe, because I sometimes feel it doesn’t matter how good you are you might not stay on the air, but I feel like we will keep going and if they said to us that we want you guys to do 19, I don’t think that there’s anyone that would go, “No, I don’t want to do that,” because everyone who’s in the show is so behind it.
What did you guys do during the strike to kind of fill the time?
E. Izzard We did knitting.
M. Driver … crosswords.
E. Izzard Yes, we just sat around the campfire. We all went to the travel camp …
M. Driver We just sat around and played songs.
E. Izzard … Minnie can gig and I could gig.
E. Izzard And then just generally hanging around loitering with intent.
M. Driver Exactly.
E. Izzard It’s a criminal thing, but …
M. Driver - Ed was doing his standup all over the world. I was doing my music …
E. Izzard - I went to the city in Yemen where I was born, which was happily my first time in 45 years.
M. Driver - Wow.
Can you talk about some of the secondary characters that you both really enjoy working with? Also, this mysterious Irish Traveler with the accent that’s coming back like a specter for Wayne that is sort of mysterious, can you tell us more?
E. Izzard Well, of course the Travellers come from Ireland, and the majority of the Travelers in America probably came, a big chunk of them came over at the potato famine in the 1850’s time. So there’s still Travellers back at home, that’s what me and Minnie know Travellers from.
M. Driver- Yes.
E. Izzard- Less so from the people who are here, but the characters are great. We’ve got such great actors we’re working around. I think we try and think of it as an ensemble piece.
E. Izzard- They tend to give us bunches of scenes or whatever, but just such great people to play against.
M. Driver Yes. Gregg Henry and Margo Martindale, I think they’re such exceptional actors, Todd Stashwick. It would be good, but it wouldn’t be great without them, you know they’re just—
E. Izzard Something surprising in every scene. You’re going, “Oh, I wasn’t thinking of going in that direction.”
E. Izzard And it’s great. And Jared Harris brings this dark danger, a very still quality that’s just great, and we love it.
M. Driver They’re so accomplished and experienced, more experience than Eddie and I put together that just has been around, and they’re clever, clever actors. They really are.
What is his beef with Wayne? Can you divulge that?
M. Driver- What is his beef with Wayne?
E. Izzard- He stole my pencil a long time ago. We don’t know.
M. Driver- We don’t know, do we?
E. Izzard- This hasn’t been nailed, but this is out of my head and how I have the back story written in my head, is that they were the firmest of friends. They were as tight as could be.
They’re almost brothers, and it went very, very bad for some reason. I don’t know quite what it is. But that’s what I think and that’s why I think it’s so bad, because they were very, very close.
M. Driver I like that.
E. Izzard It’s weird when we’re inside and people say, “What happens next,” and we’re going …
M. Driver Tell them, “We don’t know.”
E. Izzard And the writers go, “We don’t know.” And it’s quite amazing, it’s like getting in a car and you know and just going, “Oh we don’t know what’s around the corner.”
M. Driver Yes, or if you’re going to crash.
Where do you shoot the series?
E. Izzard We’re not shooting at the moment, but we are shooting the scenes in Santa Clarita.
The pilot was shot down in Louisiana, but you couldn’t make that work as a place?
Could you soak up more atmosphere in the south than you could in southern California or does it make any difference?
E. Izzard- It would be great on the atmosphere.
M. Driver- Logistically, it’s just tricky.
E. Izzard- Yes, we couldn’t get the insurance for how we were doing it down there, and it just ended up being up here. It’s all budgets and all this kind of weird stuff going on.
E. Izzard- And we have real problems that we have to keep avoiding mountains.
M. Driver- Yes, we have to keep avoiding palm trees and mountains here. When you give up on atmosphere, you realize you kind of when it really comes down to it, it is a fantastic backdrop and it does, but I think you tend to feel it more in a movie. You know what I mean, it’s like ‘Dexter’.
‘Dexter’ shoots in Miami, right? Didn’t they shoot that whole thing in Miami, and you sort of, you have this whole flavor, but it doesn’t make him any more or less genius. I don’t know, it’s like a nice flavor to have, but it’s the one thing that you can kind of do without if the show is really good.
Do you ever have people coming up to you who might recognize you from the show who might be in this line of business, who might be Travellers and say, “Hey, you know, you’re doing it right,” or “Hey, you might think about doing this, this way?”
E. Izzard- Well, I’ve interacted once, but they just took a photograph of me, and …
M. Driver- I’ve been yelled at in e-mail.
E. Izzard Really?
M. Driver- Portraying. Yes, portraying, actually on MySpace. I have a music MySpace page, and I’ve gotten some e-mails from purported Travellers saying that we’re doing such a huge disservice portraying them as con people, and I literally couldn’t help writing back to them, “But you are.”
E. Izzard It’s like saying there are a number of Italian people in the Mafia, and Italian-Americans, the number of Italian-Americans who are completely legitimate are probably the majority. We’re just portraying one family who happen to be Travellers. And it’s just because there’s not a lot of media about Travellers, everyone’s thinking well, this is all about everyone.
M. Driver- And the media that there has been has been about that woman and the kid and of thievery …
E. Izzard- So, you know, the Mafia doesn’t mean that all Italian-Americans are in the Mafia, you just …
M. Driver- But it does mean they all eat spaghetti. It’s not like we can find out a whole lot of stuff about this, but there had to be a certain amount of poetic license taken. When people write e-mails going, why oh why oh why did you do this so completely wrong, and it’s like because you wouldn’t tell us how to do it. It’s a very closed society. It’s very hard to get any true information. And we cobbled together with Dmitry cobbled together really great ideas from Irish Travellers.
E. Izzard But we also had it from certain sources of people who dealt with people who were doing stuff that was somewhat illegal. And that was what we were looking for, but this is about one family of Travellers and we’re not even a typical family of Travellers, because we’re going off to do a very crazy thing, which …
M. Driver And I’m actually English and so are you.
E. Izzard Yes, but it is about outsiders becoming inside, so trying to get inside, and so with most of us in the family are actually not Americans. And Shannon is American, but she’s from Florida and that was Spanish in the 1600’s.
Do each of you have a dream actor to guest spot for season three?
E. Izzard- I want Sean Connery to play a role.
M. Driver …, yes, fantastic.
E. Izzard- Yes, … but he’s quite keen on decent money. Our money is kind of we’ll pay you in breadsticks.
M. Driver- I want Helen Mirren. I want Helen Mirren to be my half sister. Oh, God, I’d do anything to work with her.
E. Izzard- We’re just going to go for a massive star casting and have everyone turn us down. It’s just because we do pay in breadsticks and M&M’s.
M. Driver- We pay in Eddie’s one-liners. ... for dinner and then you’ll get.
E. Izzard- And then say, “Hey, that looks like a pig.”
Do you think Dahlia and Wayne have qualms about the way they’re raising their kids? How are they so loving and accepting of Sam?
E. Izzard Well, transgender is the group, and transvestite transsexual is part of transgender, these are my definitions. I think Dahlia is more accepting of Sam.
Wayne is saying okay as long as you’re happy. And what I’m doing with Wayne is I’m channeling what my father said to me about ... and this whole thing … as long as you’re happy. But I think the latest taken from Dahlia, it comes and it’s also the way Minnie played that. I think the writers picked up in the way that you [Minnie] were to Sam … I think he’s just saying I should follow the line, there’s some part of him that says that you should love your children before you start judging them.
M. Driver - Oh, you know, you’ve got to say that the bottom line with these people is that they just want to love their kids. I mean, they can just teach them what they know.
They want them to know where they come from, particularly Wayne, wants to give them every opportunity to be whatever they want to be. I mean, it’s very unorthodox. It’s very different, a conventional idea of parenting, but I think love is the cornerstone of any parenting, and in that department they’re unfailing in their devotion to their children.
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