Ben Affleck Breaks Down His Most Iconic Characters
Released on 03/06/2020
And they yelled at us, and they called us
by our character names, and like
the guys were really scary.
And it was exhausting physically.
And to this day, it's the hardest thing
I've ever done.
[upbeat music]
School Ties.
[upbeat music]
I was playing like this anti-semitic bully,
and it seemed like those were the roles
I was kinda getting cast as,
was like bad guys all the time.
It's so hard to find decent help these days.
[laughing]
Can't you move any faster, please?
[laughing]
If you care to step outside,
I'll show you how fast I can move.
[yelling]
Come on!
Obviously I knew Matt, and that was fun.
And I got to know Anthony Rapp and Chris O'Donnell
and Randall Batinkoff and Brendan Fraser
and those guys really well.
And it was definitely like a sort of thrilling moment
because it was the first real movie,
like I knew it was actually gonna come out,
you know that I was gonna be in.
It was a little frustrating to have such a small role
and for it to be so relentlessly unpleasant,
but you take what you can get, I guess.
Dazed and Confused.
[upbeat music]
And you, get the hell off my property.
I'm sorry, ma'am, I was just
escorting your fine young son home from school.
There were some ruffians about.
Oh and Mitch, Carl,
we'll be seeing other again.
[Interviewer] What were you channeling
for the O'Bannion character?
I remember reading at one time that you
wrote Fah-Q on the paddle yourself.
Oh, I don't know if that was me
or if that was Rick's idea.
I can't remember, but Rick encouraged everyone
to like write their own stuff, to you know,
try their own scenes, which is kind of amazing to me
that he gave us all that much freedom.
It was a little bit disappointing to be
like the only unlikable character in a movie
full of incredibly likable people,
but it was kind of a lot like what it looked like, you know.
Sort of like a bunch of young people having fun,
mostly workin' nights,
sort of running around.
I feel like we were sort of making it up as we went along,
and as I look back, I'm amazed that Rick
was so comfortable with that,
given like how much you need to schedule movies
and plan them out and know where you're gonna shoot.
But he was really fluid,
and he created a great creative environment.
It was definitely the movie where I got the sense
that like, this is somethin', you know,
it kind of was de-mystified.
Like I could do this, you know what I mean?
Maybe we could make our own movie.
And he was very inspiring in that regard.
Chasing Amy.
[upbeat music]
Alyssa, there isn't another soul
on this [beep] planet who has ever made me
half the person I am when I'm with you.
And I would risk this friendship
for the chance to take it to the next plateau
because it is there between you and me.
You can't deny that.
That was the first time that I was like
got to play a full sort of developed leading role
and also got to play kind of a range of emotions
and express myself emotionally
and had this speech about being in love with her.
And it was really an interesting experience
because we had so little time
that we had to kind of rehearse like a play.
So we rehearsed the whole thing all the way through
a bunch of times,
so we just knew the thing back to front.
And when we shot, it went by really fast,
you know what I mean?
And we shot on 16 and I don't even remember,
20 days or something like that.
And I guess I kinda thought maybe there would
be that much rehearsal on most movies.
You know, I didn't realize
that was a totally unique experience.
I slept on Kevin's couch.
We all soft of bunked together,
and you know we all wore our own clothes.
And it was definitely that sort of Indie era feel, you know.
And he had made Clerks, so he was already kind of famous
in the Indie world, you know.
And Rick had already made Slacker when I worked with him,
so both those guys I kinda looked up to and admired
as sort of DIY filmmaker models.
What did you say?
[spits]
You're chasing Amy.
What do you look so shocked for, man?
Fat bastard does this all the time.
He thinks just because you don't say anything,
it'll have some huge impact
when he does open his fucking mouth.
Jesus Christ, why don't you shut up.
Kevin was a big inspiration to me
both like because he was able to do all this stuff
and he also was very specific about his writing.
He was very text oriented.
You know, it was not, like he was opposite of Rick
in a sense of like there was no improv,
no changing anything.
He wanted the writing to be exactly
as he kind of laid it out.
And not only that, but in some cases he had like
the inflection in mind that he wanted you to use.
And I didn't know any better.
I didn't know you weren't supposed to give actors
line readings, so I was just like,
Okay, I'll say it like that.
We ended up just becoming friends.
And I think I did end up doing like six movies with him
or something like that.
And you know, he's my friend today,
and I really love him.
And he really wore his heart on his sleeve,
you know what I mean?
He was caring and thoughtful and empathetic.
And it was really like a, made a big impression on me,
that this was a guy who was making films
when I thought you had to be much older
and much more experienced and much more I don't know what.
You know, have more gray hair or something.
I thought, well you know, if Kevin can do it.
Again, that was right around the time
when we were working on,
start trying to get Good Will Hunting made.
And he was a big inspiration, and he helped us with that.
So that was a big part of that.
Good Will Hunting.
[upbeat music]
Most of the writing for Good Will Hunting
was done improv style.
We knew we wanted to do this sort of
Reservoir Dogs, Slacker, Clerks version of a movie.
And the way you did that was to do it inexpensively.
So we deliberately wrote a movie
that was mostly people talking in rooms.
And we wrote a part for, you know,
what we knew would be the person
that would get the movie financed
because we knew that wasn't us.
And so we tried to write some monologues
that would appeal to somebody famous.
We didn't even know anybody famous at the time,
so it was all sort of guesswork.
And mostly it was done because we had nothing else to do.
You know, we lived together.
We were goin' on auditions.
And a lot of days would go by and we just were hangin' out.
So we would talk about it,
and you know, it evolved quite a bit
and changed quite a bit.
But some of it is like still those early improvs
that we did and we would tape record
and then re go over the tape and pick out the good parts.
So, when are ya done with those meetings?
I think the week after I'm 21.
Yeah, they gonna hook you up with a job or what?
Yeah, fuckin' sit in a room and do long division
for the next 50 years.
Probably make some nice bank though.
It was odd that we even thought that we could do this,
you know what I mean?
That it was something that was possible
or that would ever happen.
I think we were young enough to be just sort of
and inexperienced enough to just sort of think,
Maybe it'll work.
You know, instead of realizing how stacked against us
the odds were.
It was definitely like, you know, some of those early
Indie movie experiences that made me feel like
maybe with the right luck, this could happen.
And it did, mostly due to our agent, Patrick Whitesell,
who kind of made people believe in it
and got people the script.
That was the biggest hurdle that movie had to get over,
was kind of, you know, to get in the hands
of somebody who actually could make a movie.
And he was a young agent at the time,
he's still our agent, and kind of made his bones
on selling Good Will Hunting.
I guess we all sort of did.
Gus definitely lent a maturity to the movie.
It was a little bit adolescent,
a little big naive, you know,
in it's original sort of form.
And because Gus was much older than us
and much more mature and more sophisticated
and kind of had a better sense
of when we were pushing too far, you know,
for sentiment or reaching for something.
He definitely has made those real.
You don't know about real loss
because it only occurs when you love something
more than you love yourself.
I doubt you've ever dared to love anybody that much.
Robin was just like the biggest star in the world.
You know, we just couldn't believe that
we were working with Robin Williams.
It was like the fact that he was doing it,
the fact that we would get to hang out with him
and like ride in the van with him
and listen to him like tell jokes.
We went up and watched him do stand-up once.
It was like, you know, the beginning of a very sort of
dream-like fantasy sequence or something,
where I was doing all these things.
All these things were happening in my life
that I thought I wanted to do,
but never actually really believed
would quite come true, you know.
And yet, there we were with Robin Williams.
And I think he was just coming off like
this great run of movies, you know,
Awakenings and Good Morning, Vietnam,
and he was like such a big star.
And I hadn't even been around somebody
who was famous before.
And we would walk down the street and like
people in Boston would be like, Mork from Ork.
And I was like, Wow, all those movies
and that's what you remember, Mork from Ork.
It was a fantasy, I mean he only worked for three weeks,
and it was like I remember every single day,
every bit of daily, every bit of dialogue.
It was literally a dream come true.
Armageddon.
[upbeat music]
Doing Armageddon was so alien to me,
you know what I mean?
It was like I had done Chasing Amy so recently,
and we did that for $250,000.
And I remember thinking like,
we could make 400 Chasing Amy's
for what we're making this movie for.
[Man] Those 14 brave souls traveling into the heaven.
That man's no salesman, that's your daddy.
It was a really good experience because it was with
all these actors I really respected,
like Billy Bob Thornton and Steve Buscemi and Owen Wilson.
And there were all these cool people that were doing it.
Liv, who was so great.
And Bruce was such a like iconic figure
and such a nice guy.
And he was so generous and kind and fun,
and he was kinda the leader of the gang, you know.
And Micheal had a totally different attitude
about filmmaking from anyone I had ever met before.
It was so visual, and he obviously has
a very distinctive iconic kind of style
that is like a Micheal Bay movie that you can recognize.
[explosions and screaming]
Whoa!
I learned a ton about what filmmaking was like
on a big scale, and you know,
it was a 120 days or something.
And you know, I had just never seen anything that massive.
Plus we had cooperation from NASA,
and there we were on the space shuttle.
It was like, it was an incredible experience.
[dramatic music]
I really learned a lot about the sort of professionalism,
and you know from the crew was really excellent.
They were really talented.
It was a lot of fun.
I wasn't expecting that we were making an art movie,
I mean I knew enough to know,
this isn't really an Oscar-type movie.
This is a, you know, a fun movie,
where like for some reason it's easier
to send, like to teach oil drillers to be astronauts
than it would be to teach astronauts
to drill a hole in the ground.
I have some great memories from that movie.
It was a lot of fun.
Pearl Harbor.
[upbeat music]
The prep for the movie was
some of the most intensely interesting and powerful stuff
I ever did.
After two years of training,
you believe that a $45,000 airplane
is there for your amusement?
I was doin' it to try to inspire the men, sir,
in the way that you've inspired me.
I believe the French even have a word for that,
when the men get together to honor their leaders,
they call it an homage, sir.
A what?
An homage, sir.
That's bullshit, McCawley.
I took flying lessons.
So I basically learned how to fly,
and that was really interesting and fun.
You know flying like a little McCarley aerobatic airplane
out of Santa Monica Airport.
And I had been kind of afraid to fly up to that point,
and it really helped my fear of flying
to realize the sort of physics behind flight
and how it worked.
Bombers, dead ahead.
Let's drop in on 'em and give 'em a reception.
[airplane engines]
I don't know how they got permission to do this,
but they put us in a boot camp in the actual U.S. Army.
So we did this, I think it was Fort Lightning
was the name of it, and it was pre-Ranger Training Course
that basically you did before you went to Ranger School
to sort of prepare you for the rigors of that.
And they somehow got us all in it.
And it was horrible.
It was an incredibly agonizing,
painful, miserable experience,
and I would have definitely quit like the first day
if I had just wouldn't have been too embarrassed
like to have it get out that I quit the training.
You know, and they yelled at us and they called us
by our character names and like the guys were really scary.
And it was exhausting physically,
and to this day, it's the hardest thing I've ever done.
It was really personally satisfying to get through it
and to like, after it was over, have the drill sergeants
like treat me like a normal human being
and to sleep in a nice bed.
Like I just appreciated everything so much more.
It's hard to think about that movie
without like thinkin' about how like slammed we got for it.
You know what I mean?
Because I really thought we were gonna do something
kind of different, and it ended up sort of
being Armageddon in World War II.
But it wasn't as bad as it was like made out to be.
And it also wasn't a bomb.
People always say, Oh, Pearl Harbor bombed.
We did half a billion dollars.
It turns out, that's the way it goes.
Sometimes you win, sometimes you lose,
sometimes you kind of win, but they say you lost.
The Town.
[upbeat music]
[Interviewer] Let's fast forward to 2010, The Town.
This is coming off of Gone Baby Gone,
which was the first movie that you directed,
but this is your first time, I believe, directing yourself.
What was that experience like?
I wasn't confident enough to direct myself
for the first movie, and I really wanted
to focus on directing.
And I really wanted people to see
how talented my brother was.
So there was definitely an added level of pressure
with The Town in the sense that
I was gonna be in it as well.
And I was really self-conscious about
how many takes I did on myself.
And one of the pieces of advice I got early on
from an actor director was like,
make sure you get enough coverage on yourself
because the tendency is to sort of like, you know,
do a bunch of takes with you,
do a bunch of takes with you,
do a bunch of takes with you,
and then just do like one quick take on yourself
and be like, Okay, we can move on.
And you just end up sort of screwing yourself.
So I remember like purposely saying ahead of time,
I'm gonna do extra takes on myself.
Don't think it's, you know,
it's because someone told me to do it.
It's not because I'm narcissistic.
And being on set, I was used to being on camera actually.
That wasn't the stressful part.
The stressful part was the directing,
and the directing of other actors,
and the directing of action, and the car chase,
and that was the stuff that I really had no experience with.
[car screeching]
[dramatic music]
[police sirens]
You know, I often times felt like I was, you know,
doin' on the fly and making it up as we went along,
and that was what I was really scared,
it wasn't gonna work,
that I would be revealed as a bad director
because, you know, the car chase wasn't tense enough
or the shootouts weren't realistic feeling or whatever.
Here we go.
[dramatic music]
Heat loomed large over that movie, you know,
it was such an iconic movie about bank robbery,
and you know, it had such great acting in it.
And it felt like I definitely did tip the hat to the movie
because we had a clip of the movie in the movie,
but I definitely remember being intimidated by the fact
that Heat had been so good and thinking that
we would be compared to that and being really nervous
about the technical aspects of that movie.
The truth is that movie was really made
in the research of it.
Marty McGuire, Cummins Armored courier.
Five ten, 220, 52-years-old.
Picks up every Wednesday and Friday at exactly 8:12.
Makes $110 a day, carries a Sig Nine.
I spent a lot of time with guys at the FBI.
I went to a bunch of prisons and talked to a bunch of guys
who had robbed armed trucks
and got a lot of really interesting stories from that.
I spent a lot of time in Charlestown.
Really it was more of Charlestown of the late eighties,
then it reflected the reality of Charlestown at that time.
But there was a time when it was really, you know,
this sort of bank robbery capital of the world.
Argo.
[upbeat music]
Argo was written by a guy named Chris Terrio,
produced by Smokehouse, and made at Warner Brothers.
And it got submitted to me.
You know, I was like, because I had done The Town
with Warner Brothers and they said, you know,
mid-level sort of drama seemed to be where I kind of fit in.
And you know, they had this script.
And as soon as I read it, I just thought like,
this is, I have to make this movie.
Mary, who were the last three prime ministers of Canada?
Trudeau, Pearson, and Diefenbaker.
What's your father's name?
Howard.
[Tony] What's his occupation?
[Cora] Fisherman.
[Tony] Where were you born?
Halifax, Nova Scotia.
What's your date of birth?
February 21st, 1952.
Good, what's your job on the movie?
Producer.
[Tony] Associate Producer.
What was the last movie you produced?
High and Dry.
Who paid for that?
CFD.
[Tony] What's your middle name?
What's your middle name?
What's your middle name?
Leon.
Shoot him, he's an American spy.
It touched on all these different parts of my life
that I was interested in.
You know, obviously there's the Hollywood aspect,
but also the Middle Eastern studies major aspect
of my life.
And it was a part of the world that I thought
was really fascinating, and it was an event
that I knew a little bit about,
but didn't really know as much about.
And I had done some research with the CIA
around the Sum of All Fears,
and so I knew that it was a much more
sort of bureaucratic place than it was
like a sexed-up headpiece and rifle,
you know, like assassins den.
And I thought that was really interesting.
And I just thought Chris's script was so smart
and so unique and it had such great characters.
You know, I thought like this is something
where I could use a lot of the actors who I know out there
who are really good who aren't necessarily stars,
but who are just fabulous actors.
I mean it just seemed obvious to me that
it was a really brilliantly written movie,
and I could only screw it up.
You know what I mean?
And all I had to do, I remember thinking,
was just like deliver on each day,
each moment, like really approach it sort of
on a one day at a time basis because,
you know, otherwise it was a little scary.
You know, it was like these two competing tones.
You had a comedy, you had a thriller.
You had Hollywood and you had the Middle East,
things that didn't necessarily seem to go together.
So I was nervous that it wouldn't sort of all gel and work,
and I just definitely approached it
as just get this scene right.
Just get that moment right.
That was just a movie where I just got lucky
every step of the way.
Lucky to get the script, got the best actors,
ended up getting the locations we wanted.
We shot at the CIA, we shot at the State Department.
We had amazing technical people workin' on it
and an incredible cast and crew,
and it was just like, I know that I was the beneficiary
of a lot of talented people and a lot of good luck.
Batman Versus Superman.
[upbeat music]
Justice League.
I don't think I even realized how iconic the character was
until I took the job and like that was a big story.
And it happened at the time when Internet was expanding
into the movie business in a kind of a different way.
You know what I mean?
And like, the fan sites and the relationship with the fans
and the studios and the comic book creators and stuff
was changing and evolving.
Zack told me he basically wanted to do the tone
of The Dark Knight, you know, Frank Miller series,
where he's older and he's kinda broken down
and more vulnerable.
And I thought that was a really interesting
approach to Batman.
[sad music]
[dramatic music]
[bats screaming]
The spirit of that, as a guy who's vulnerable,
as a guy who aches when he gets up in the morning,
as a guy who like feels a lot of
psychological sort of torment,
I thought was a really interesting approach
to playing a hero.
And that was how, what we wanted to do,
and you know, I really, I had a better time
on Batman versus Superman,
which I really enjoyed doing.
Justice League was unfortunately like, you know,
touched by you know some personal tragedy,
a death in Zack's family, and it just,
like I say, sometimes things sort of work and gel
and sometimes it just, you know, you seem to be
just having one problem after another, you know.
I really loved Batman Versus Superman,
and Chris wrote on it,
and I really love Zac, and I loved puttin' on the costume,
and the idea of doing the digital alterations,
and the voice was really interesting to me.
And I had a good time, I loved Detroit.
It was a really fun city, a really cool place.
You know, my kids came out and visited me
and saw me in the bat suit.
And they let me borrow the suit for my son's birthday,
and so that was a lot of fun.
I sort of had my fill of that.
They said, Do you want to direct and star
in like a solo Batman movie?
I found that I had kind of at just some point
lost my enthusiasm or passion for it.
You know, I was like this should really be made
by somebody for whom it's their wildest dream come true.
And for me, it had become like something different,
and it was clear to me that it was time to move on.
But I do have some really fond memories,
particularly of Batman Versus Superman,
and how exciting that was and how energizing it was
and how much fun we had.
The Way Back.
[upbeat music]
The Way Back was a really interesting movie for me
because some of it was I could really identify with.
It was like, you know, I'm a recovering alcoholic.
This guy's an alcoholic, and I understood
a little bit of that and I kind of could understand
what he was going through.
And so it was like interesting to have such
an intimate relationship, on some level,
with an emotional issue the character had and also,
you know, the main source of pain
obviously in his life was the death of his son,
which I couldn't even imagine what that would be like.
So it was kind of on the one hand something
I was really comfortable with and on the other hand it was,
I had to totally sort of use my imagination
for what it would be like to feel that much pain
and to suffer that much and to kind of carry
that much resentment, you know, against sort of the world.
And also, you know, I had never been a coach before,
so I had to develop this relationship with the guys
playing the players, who are amazing, fantastic guys.
And that one just turned out to be a little bit like Argo.
Like I just felt like everything was sort of working well
and the cast was great.
You know, we got lucky with a bunch of stuff,
and I felt really emotionally connected
and in tune with where I needed to be character-wise.
It was really just fun every day.
I know that's a weird thing to say about a movie
that's got a lot of dark emotion in it,
but ultimately it was an inspirational movie.
You know, it's kind of a movie about overcoming adversity
and had a message of hope that really resonated with me.
And it really still does now,
and it's probably the performance I'm the most proud of.
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Tom Hiddleston Breaks Down His Most Iconic Characters
David Harbour Breaks Down His Most Iconic Characters
Wes Studi Breaks Down His Most Iconic Characters
Sean Penn Breaks Down His Most Iconic Characters
Elijah Wood Breaks Down His Most Iconic Characters
Tony Leung Breaks Down His Most Iconic Characters
Matt Damon Breaks Down His Most Iconic Characters
Adrien Brody Breaks Down His Most Iconic Characters
Jeff Daniels Breaks Down His Most Iconic Characters
The Lox Break Down Their Most Iconic Tracks
Henry Cavill Breaks Down His Most Iconic Characters
Jeremy Renner Breaks Down His Most Iconic Characters
Jeff Goldblum Breaks Down His Most Iconic Characters
Djimon Honsou Breaks Down His Most Iconic Characters
Big Boi & Sleepy Brown Break Down Their Most Iconic Tracks
Christopher Lloyd Breaks Down His Most Iconic Characters
Robert Pattinson Breaks Down His Most Iconic Characters
Behind The Scenes with Cover Star Robert Pattinson
John Cena Breaks Down His Most Iconic Characters
Francis Ford Coppola Breaks Down His Most Iconic Films
John Turturro Breaks Down His Most Iconic Characters
Michelle Yeoh Breaks Down Her Most Iconic Characters
Kiefer Sutherland Breaks Down His Most Iconic Characters
Marlon Wayans Breaks Down His Most Iconic Characters
Mike Myers Breaks Down His Most Iconic Characters
Seth MacFarlane Breaks Down His Most Iconic Characters
Jerry Bruckheimer Breaks Down His Most Iconic Films
Andy Garcia Breaks Down His Most Iconic Characters
Chris Hemsworth Breaks Down His Most Iconic Characters
John Lithgow Breaks Down His Most Iconic Characters
Ewan McGregor Breaks Down His Most Iconic Characters
Taika Waititi Breaks Down His Most Iconic Characters
Yunjin Kim Breaks Down Her Most Iconic Characters
The Russo Brothers Break Down Their Most Iconic Marvel Films, Arrested Development & More
Rae Sremmurd Break Down Their Most Iconic Tracks
Neil Patrick Harris Breaks Down His Most Iconic Characters
Karl Urban Breaks Down His Most Iconic Characters
Ralph Macchio Breaks Down His Most Iconic Characters
Pierce Brosnan Breaks Down His Most Iconic Characters
Christian Bale Breaks Down His Most Iconic Characters
Paul Dano Breaks Down His Most Iconic Characters
Daniel Radcliffe Breaks Down His Most Iconic Characters
Mahershala Ali Breaks Down His Most Iconic Characters
Javier Bardem Breaks Down His Most Iconic Characters
Brendan Fraser Breaks Down His Most Iconic Characters
James Cameron Breaks Down His Most Iconic Films
James McAvoy Breaks Down His Most Iconic Characters
Director Alejandro González Iñárritu Breaks Down His Most Iconic Films
Director Rian Johnson Breaks Down His Most Iconic Films
"Weird Al" Yankovic Breaks Down His Most Iconic Tracks
Danny Trejo Breaks Down His Most Iconic Characters
Don Cheadle Breaks Down His Most Iconic Characters
Giancarlo Esposito Breaks Down His Most Iconic Characters
Bryan Cranston Breaks Down His Most Iconic Characters
Donnie Yen Breaks Down His Most Iconic Characters
Paul Rudd Breaks Down His Most Iconic Characters
Sir Roger Deakins Breaks Down His Most Iconic Films
Donald Glover (Childish Gambino) Breaks Down His Most Iconic Characters
Chris Tucker Breaks Down His Most Iconic Characters
John Leguizamo Breaks Down His Most Iconic Characters
Dave Matthews Breaks Down His Most Iconic Tracks
Liev Schreiber Breaks Down His Most Iconic Characters
Ludacris Breaks Down His Most Iconic Tracks
Danny Elfman Breaks Down His Most Iconic Scores (Tim Burton Edition)
Mads Mikkelsen Breaks Down His Most Iconic Characters
Michael Cera Breaks Down His Most Iconic Characters
Chris Evans Breaks Down His Most Iconic Characters
Martin Scorsese Breaks Down His Most Iconic Films
Paul Giamatti Breaks Down His Most Iconic Characters
Barry Keoghan Breaks Down His Most Iconic Characters
Kurt Russell Breaks Down His Most Iconic Characters
Sam Rockwell Breaks Down His Most Iconic Characters
Clive Owen Breaks Down His Most Iconic Characters
Josh Brolin Breaks Down His Most Iconic Characters
John Malkovich Breaks Down His Most Iconic Characters
Eugene Levy Breaks Down His Most Iconic Characters
Michael Keaton Breaks Down His Most Iconic Characters
Danny McBride Breaks Down His Most Iconic Characters
Trent Reznor & Atticus Ross (NIN) Break Down Their Most Iconic Tracks
Zack Snyder Breaks Down His Most Iconic Films
Kevin Costner Breaks Down His Most Iconic Characters
Walton Goggins Breaks Down His Most Iconic Characters
Cate Blanchett Breaks Down Her Most Iconic Characters
M. Night Shyamalan Breaks Down His Most Iconic Films
J. K. Simmons Breaks Down His Most Iconic Characters