Where Everybody Knows Your Name with Ted Danson and Woody Harrelson (sometimes) - Octavia Spencer

Episode Date: July 23, 2025

The Oscar-winning actor Octavia Spencer is up for a challenge—whether it’s executive producing films like Fruitvale Station and Green Book or even hosting a cooking competition show for the first time. She talks to Ted Danson about navigating the loss of her parents early on in life, how she almost became a lawyer, her love for Southern foodways, and much more.Like watching your podcasts? Visit http://youtube.com/teamcoco to see full episodes. 

What the vegetables? What if they're not athletic? I don't understand. Welcome back to Where Everybody Knows Your Name. Today, I'm joined by Octavia Spencer, a brilliant Oscar winning actor and executive producer who demands your attention no matter what project she's in, whether it's hidden figures, the shape of water, the help, or Fruitvale station. Her range is extraordinary and it's just a joy to spend time with her. Octavia is the host of a new competition show combining her love of family, friends, and Southern food. It's called Family Recipe Showdown,

and it just premiered on Food Network and HBO Max. Here she is, Octavia Spencer. Every time I see you at some event, because that's usually where it is, I try to jockey into a position where I can give you a big hug. And it's probably, wanted or not, I got to hug you because you're one of those people. You're so incredibly talented, and I'm a snob when it comes to actors.

And you put out so much light and happiness in the world that I just got to hug you. Thank you for saying that. Yes. And before I go on, there's some people who wanted to say hello. Mary, my wife, Mary Steenburgen. Oh my God. Sends all her love.

I love Mary. And I just got off the phone with David Stanwell. I love Dave. You know, Dave's my glam guy. I know, I know, and Mary's too. Yes. And he doesn't gossip, but he does fill us in on where you are and all of that.

So he sends much love. Well, can I say something before we- Yes. Because we're loving each other on air. I was waiting for this, but go ahead, please. I have had the great fortune of working with you and Mary in the formative parts of my career. And you were both people that I revered and the fact that I got to work with you and learn from you is something that I hold very dear.

So you were always kind, always. I just remember being on two of your sets. And just, I can't say thank you enough for extending me that grace and kindness, both of you. Wow. Well, thank you for saying that. That's incredible. Love. There's my hug. Gosh, it's awkward to get hugged, isn't it? Sorry, I'm sorry I've been hugging you so much. No, it's not.

No, I'll take it. Yeah, we worked together on Becker. I tried to find the clip, but it doesn't seem to be out there in the world. But Mary, Mary remembers you. What was the name? The Grass Harp. Oh my God, that was the first.

That was the first in my hometown. That was that before Marilyn Hotchkiss. Marilyn Hotchkiss, exactly. It was before that. It was before. It was way, way, way back when I was still living in Alabama. Wow.

I didn't even know what year that was, but it was early. I don't even, I'm trying to forget. I'm gonna say 2000, but it was in the 19s. Yeah. The Grass Harp. The Grass Harp with Walter Mathau and Jack Lemmon. And directed by Walter Sun.

Yes, yes. It was the first time Mary picked up an accordion. Yes. It stuck with her. She's still doing it. Oh my God. Oh wow. Yeah, we go way, way back.

Well, I remember her telling me, and I came to the set once and I think I may have met you. Let me get the full name. Yeah, Marian. Marilyn Hotchkiss's ballroom. Dancing and Charm School. A long mouthful, but really a charming film. But she said she couldn't take, you had a smaller part

and she couldn't take, you know, her eyes off you. And she said, if there's a God in heaven, this person will be a big, huge star. And lucky, lucky, there's a God in heaven. Thank you, God. I'll leave you alone in a second. But then the help, Mary had played the part of the publisher in New York, but it was only like two days,

but we came down and I got to meet you and that amazing cast and that was a- Seriously, I mean, talk about the God in heaven but we came down and I got to meet you and that amazing cast and that was a Seriously, I mean talk about the God in heaven working with all to get sissy spacek Mary and Cicely Tyson all on one set with me Viola Jessica Jani I mean, it's Emma I just think think back and I'm so grateful because, again, formative years as an actor.

Yeah. And it was brilliant and your performance is iconic and brilliant. And also pretty cool that it was, isn't Tate? Yeah, Tate was the director of The Help. As a friend. Tell me about that. We're gonna meander all over the place because we are gonna talk about your cooking show that's coming up. It's more than a cooking show. It's more than a cooking show because I don't cook.

So. It's about South, it's about the South, it's about great food and family. And I can't wait to talk to you about that. But staying with this, how did Tate come into your life? Because he was also the man who said, go to LA, right? He was a big part of your life. Well, what happened was we were both production assistants on A Time to Kill. Your first on screen. My first on screen role. And it was,

I still remember my lines, innocent, innocent. We won, we won. I played Sandra Bullock's nurse, but he worked in the production office as a production office PA and I worked in extras casting as an extras casting PA, which is where I worked, the department I worked in on the grass harp with Mary. Excuse me. And so we became friends. I'm trying to think there are other people that were on that set as well. Tate got a house sitting gig after we wrapped that project. And I thought, well, he's going to go live in Hollywood for free just watching somebody's

house? I bet I could get a gig like that. So I said, I'm going to and I've got a house sitting gig. And we became friends with, I think he actually met Melissa McCarthy and Ben Falcone in the Groundlings. The people who were in my life largely then are still in my life now. And we just came up through the ranks together. He was pursuing acting and writing and then kind of dropped the acting and focused on directing and Melissa and Ben were doing it all. So you kind of strike out on your own, but I think this industry is also about the relationships that you foster. Because Ben and Melissa also, we did all of their

short films. I did every short film Tate did. And so I won in the end, you know, by getting a paying gig from both of them. Right. Melissa is another one of those big-hearted, huge, talented people. I just adore, yeah. I love, love them. Both of them, yes. So I've been very fortunate with the relationships in my life that also helped me work wise. I mean, Tate with the help, Melissa and Ben and I,

we finally worked together on Thunder Force and we're constantly, even now, we're still coming up with ideas that we want to do together. Cause you want to go to work and enjoy the people that you work with. Yes, oh Lord. Because they're huge, long, hard, fun, but hard days.

And if they're not fun, you're a silly person. Exactly. Why do it? Why do it? All right. Start in the beginning. You're one of seven? I am the sixth of seven kids.

Yeah, well, I can't say that I'm a kid anymore. I just turned 55. I can't believe it, but I'm the sixth of seven. And this is a terrible question to ask out of the blue, but how is everybody? Everybody's great. Oh, good. I'm very fortunate to still, there's still seven of us.

And still it's kind of funny because whenever you go home, the hierarchy is there and my siblings still treat me as if I'm the sixth of seven. You know, I'm like, I'm a grown up. But- You sit over there, fancy pants, little Miss Hollywood. Yeah, yeah, no, no, you're the sixth of seven. Because you lost both your parents,

all of you did, fairly early on. Fairly early on. And my older siblings really took on the role of taking care of me and my younger sister. How much older were they? We're all like two years apart from the oldest to the youngest. So my youngest sister is two years younger than me. My sister that's immediately above me is two years and then two years. So one of them was 30 years old when you lost your mother or your father?

I lost my father when I was 13, my mom when I was 17. Right. So that you were able, no one else came into the household. It was just the siblings. The siblings. It was just, and we had to figure it out. Wow, you all must be really tight. We are.

We are really tight. You know, the people that you love the most will also, you know, tap dance on that last nerve, but they also are the ones that, you know, you race race to to give good news or you call, they are your counsel. So I can't imagine not having them and or going through life without them, especially them, because they helped me grow as a woman, to lose your parents early on is quite traumatic. Quite, yeah.

And to have people who witness you, even though your parents aren't there, they've witnessed you, some of them from the very beginning, it's so important to be witnessed is like everything. Everything. So how did you go, high school? High school, well, the high school, it was kind of funny. I had always wanted, I remember watching the Emmys.

It was either the Emmys or the Academy Awards. I would watch with my mom. My mom was really funny. We had a television that didn't have a remote. So she used one of the six of seven to stand next to the television and change the channels. And it was my turn to change it to be the remote that day. And I was flipping through the channels and everybody's all dressed up and glittery

and they were getting prizes. And I thought, well, what do they do? Because I loved that they were just glamorous and- How old were you? I would have to say I was about seven. Which is very impressionable. Very, very impressionable age. And I knew then that I wanted to do

whatever it was that they were doing where they got prizes and they got to dress up and be beautiful. You are a girl, you are a girl, girl, girl. Yeah, and it was because I was remote for the day. That's amazing. And my mom never discouraged us because she wanted us to have big dreams and goals for ourselves.

But she perhaps wanted me to be a doctor or a lawyer. And I am too much of a germaphobe to be a doctor. I mean, can you imagine looking through a microscope? And you let me hug you. I don't know. No, no. Well, no, no. That's crazy.

But no. All right. You're not. Germaphobe, you know, to the extent of, is it catching? Are you sick? Is it catching? Right, right. But not so afraid that, you know, you can't interact with people.

And so I did get to perform a lot in high school, but I decided that I was actually going to be a lawyer because my mother was still alive. And when she passed away, I then had to determine how I was going to live my life, whether I was going to pursue my own dreams, which I still love the law. And I decided that I was going to, I don't know how I got here, Ted, but pursue acting and producing.

I actually wanted to be a producer before acting. Wow. Yeah. At what age did you, because I looked at your credits again and you have executive producer, producer all over the place. I didn't even realize what they did, but I always thought I like putting people together and problem solving and coming up with ideas. And I didn't know at the time that that was called a producer.

And I always liked working, you know, it's like working in the mailroom. You learn every job and you appreciate things. You know, so it was everything that happened to me, it was an accident, but it was, I think, again, led to me being the person that I am. I really love producing, and it was all by accident. What about the acting training? Because you didn't just want to be famous,

you did something about it by yes Well, it takes being cut completely out of a film Realize you might need to be trained but I it was it was kind of funny my mom it was one of the things that she Instilled in us, you know for every job you do no matter what it is You're going to have to train for it. If you're going to be a fry cook, somebody's going to have to teach you how to, you know, cook the fries. And I thought about that. And when I came to, and I think everyone should train through the theater. I mean, there is just, there's no better way to learn the craft.

So I took acting classes at Auburn. I was a minor. Well, I was going to be a lawyer, so I was an English major, but journalism and acting, you know, were my minors. And then I moved to LA and actually started studying technique and You know, I didn't go the route of New York. I went the way of Films film. Yeah, I dabbled in New York till it was very clear that I wasn't gonna be on, you know Broadway singing and dancing. Yeah, I can't sing or dance

But you know, it's interesting because a lot sooner than I did. But you know it's interesting because a lot of people want to be actors. You know the best thing to learning how to be an actor before you actually start taking classes is to have a great education because all you have to draw on later in life is you. Exactly. You know so the more educated the more, the more all of that that you are, the better. The chances are the better the actor you'll be. I agree. I agree.

Because you know what I've learned in my ripe old age is we're just, as actors, we are detectives, you know? We are observers of people. And when you're playing a character, you have to get to the root of why people act the way they do. And, you know, so that's... And do it in a non-judgmental way because you cannot effectively play a character that you judge right and so that's the that's the that was the the thing for me but learning all of that just putting it all in the in the the kitchen sink

learning the technique but then actually executing it on, you know, whether it's stage or film every day or television was truly, it was, you know, hit or miss, but it was a culmination of all of those things. Were you part of a church growing up? We definitely were a part of a church growing up? We definitely were a part of a church. It was a very small church and me and my other siblings were the choir. Remember those poor people who had to listen to us sing. Oh God. Please get to the sermon. get to the sermon.

Get to the sermon. That choir, they're all related and somebody should tell their mom that they cannot sing. It was pretty funny. My mom was the mistress of ceremony. She did all of it. So I've always been a performer, but you know what I mean? It's, but it was, it was for church. So now I know that I can't carry a tune too far, but I, I've always known.

But we're not jumping ahead, but tell me, was cooking and food and kitchen a big, huge part of your life? Yes, it was. I mean, Who cooked in the? My mom and my sisters. I was too young to be a part of the cooking for the family, but I wasn't too young to clean. So, my sisters, I would be in the kitchen and it's still one of my favorite things to do, watch people prepare meals.

And I still watch because I still have that mentality, you're too young to deal with the knife. So, I like to be in the kitchen. I like, I love. I also love to clean. I'm happy to clean. I'm happy to clean because I also know that I can't eat anything that I've prepared for myself

after it's cooled down. So I'm happy to have other people cook. I'm happy to clean and be that guest who is always invited back because I'm happy to clean. And you're a grand appreciator. Grand. I'm the best, most appreciative guest. You're like Mary grew up in Arkansas,

which is South, which is Southern cooking, which is, I grew up in Arizona and bless my mother's heart. We had great, we had beef, you know, because there was cattle everywhere, there was sheep, so there was lamb and roast beef. And then frozen everything else. Frozen peas, frozen lima beans, frozen, you know. So cooking was not a leg of lamb. Definitely.

Yeah. She was wonderful at that. was not a leg of lamb. Definitely. She was wonderful at that. She was a great entertainer, but food, I'm very jealous of Mary's upbringing and yours because food in the South, even in the 50s, 60s was really good. Yes, and my mother was an exquisite cook and a couple of my siblings know how to, they're not as

good as, well, let me not say that because then I won't be invited back to dinner. One of my sisters is amazing. The others each have their own, like one of my sisters we go to for all the barbecuing and all the smoking, she is that person. Another sister is great with the baking. They each learn something from my mom. I didn't, I would always say, you know what? I'll call home if I want to figure that out.

So now I live in the world of frozen vegetables and bagged salads and all those things that I really shouldn't be doing, which is why having a cooking show is the most hilarious idea. But also I get to benefit, as I do in life, by having other people cook and I get to sample. Okay, let's go there. I was enchanted with the trailer and I watched, I think, half of the first episode before you got here. It's called what?

Family Recipe Showdown. Which I, first off, right away, the title, I think says something about the show in that it's not, who's the best cook? No, it's, show us your recipe from your family that just kicked ass. Exactly. And let us, you know, so you get to examine.

I think it's going to stay Southern for a while. Yeah. I love Southern cuisine. Yeah. I love it. And I think it should stay Southern for a while. And then I might want to, you know, go to New England. But right now I'm happy to say,

give me something Southern because that might mean a crust of some sort or fried in some way. How about a fried peach pie? You hear me? Woof woof. You hear me? But, and the fact that it's recipe that is oriented because recipes like a family lineage,

just like, you know, it's like skip Skip Gates going back and tracing your ancestry. You can go back and trace recipes back to your great grandparents, especially if you're from the South. Yes, you can. And then the other thing that is very big in the South is passing on the cookware, you know, skillets. Oh, wow, yes.

Yeah, it's a big deal cooking, because when you think about how important meals are in our lives, you fall in love over meals, you make big business deals over meals, and then you create lifetime memories with family over meals, and so they better be delicious. Yeah, it helps. It does help, it does help.

And I, again, some of my fondest memories growing up, is just being in the kitchen, watching my mom and sisters prepare dinner. So tell me about your partnership with Duke. Duke. Duke, sorry, oh my God. Book, partnership with Duke? Duke. Duke? Sorry. Oh my God.

Book and Duke. Book, Duke. Yeah. Duke and Chase, yes. Yes, who is hugely famous in New Orleans. Yes. And owns many restaurants and is the guy in town. He is the guy in town and couldn't be a nicer man, but I tell you, an amazing, talk about the most

amazing Southern chef going into that restaurant and it's, oh man, at least a hundred years old and tasting their family recipes. Right. Oh, and it's just consistent. But to get your heart broken by Duke, this is delicious, but I think- In the contest. And the contest is like, you know what? I'm not so sad, you know?

Because I got to cook for Duke Chase. And I'm the person that, I know, because I got to cook for, you know, Duck Chase. And, you know, I'm the person that I, I mean, if it tastes good, I'm going to be your biggest champion and be sad to see you go. But Duck is the expert of technique and what, how things should taste and procedure. Not me, I don't even know. Are there always three couples? Always three. That are somehow related, family, because it's family recipe.

And they win, whoever wins at the end of that episode wins $10,000. Which ain't too shabby. Definitely. Is that a day, by the way? Is that take place in a day? In a day. So that's actually really good money.

That's very cool. How did it come to be? Whose idea? Well, Reese Witherspoon and I- There's a powerhouse. Powerhouse, wonderful producer, and Lauren Neustadter, who works with Reese. Lauren and Reese and I, we had a show on Apple TV and it was during the pandemic that Lauren and I would call each other, we're not really cooks. And so imagine it was before any of the restaurants were opening back up, one who cannot cook, I was eating sandwiches all the time and And Lauren would say, Hey, I bought this rice cooker and I made rice. And we would just laugh at any sort of triumph in the kitchen that we made it through. And she has a family. And one day we decided, we got together for

lunch and we were laughing, thinking about how horrible we were getting through on the eating end because we both enjoy eating other people's cooking. And we just started talking about how fundamental cooking is and how much fun we each had growing up about, you know, watching, cooking and participating and cooking with family. And we just came up with the idea like at lunch one day, like we should do this because Octavia, wouldn't it be funny if you had a cooking show and you don't know how to cook? And I was like, I don't understand what we would be doing. Nobody would believe it. And it is the best cooking show for me

because I am the taste expert. You know, if it doesn't pass my taste buds, it's not gonna pass. And you're a way in for the audience. Yes. You know, cause most of the audience, most of us out there are you. Yes.

You know, in relationship to food. And there are so many of us who really don't know how to cook. And you know, Duck is so amazing. He was talking to some of the contestants about giving them real instruction, you know, after they go through their family recipe. And then when they're on to the final round, which none of them knew, it was always a surprise. They never knew that there was going to be a celebrity guest at the end of it. No one ever knew. So it was always the biggest surprise. And

so Duke would always give instruction. And I remember him saying things like, well, you have to sweat the vegetables and, you know know cooking 101 For sweat the vegetables. I what if they're not athletic? I don't understand. What do you mean? Like For those of us who don't know cooking terminology. What does that it sounds like? Don't worry about it No, you have to sweat them you're gonna put a little Olive oil and a little stock. And you're just going to... Oh, so you're sweating them, making them moist. Okay. So I learned a lot being in the kitchen with him.

It sounded like you learned a lot. Yes. I haven't applied it yet because my thing... Well, after we did the show, I immediately went to Prague and I didn't really understand the ovens. Like they were the, you have to have the metal bottoms that were magnetic. I can't think of it only because I-

Oh, the ones that you can put your hand on and you won't burn. And won't you burn? I did not understand it. I was just standing there like, this thing is broken for like weeks. He puts a pot on it. And I finally just said,

you know what, I'm not gonna cook here. I'm just not gonna cook. You know, and what will I cook anyway? So I'm excited now to be back in my own kitchen to try and utilize some of the things that I learned from Duke. You gotta have your sisters on though, yeah? Well, that will be in some part of the things that I learned from Duke. You gotta have your sisters on, though, yeah? Well, that will be in some part of the near future

because you know, the one that thinks they know everything. Remember I told you there's a hierarchy. Yeah, yeah. You know, it's my show, but then they'll say, I'm the one who knows how to cook. I can't believe you have the cooking show. I'm assuming they don't listen to this podcast. I'm going to make sure that they don't listen to this episode.

Oh great. Because this episode, I'm going to get in a lot of trouble, Ted, a lot of trouble. But no, I will eventually have them on because, you know, it was just so much fun to witness and participate in. Because again, I get so much joy being in a kitchen. Yeah. As a plug, I really enjoyed watching it. Thank you. Yeah. And really, and I love Southern cooking. And the little I know about it, through Mary and her family's recipes,

one of which is hysterical, it's called corn spoon pudding. And it's a box of this, a tube of that. It's like you hide the recipes from anyone, the ingredients, I mean, you just don't want them to see it. But oh my, yes, but oh my God, is it delicious? It's just amazing. But yeah, so thumbs up, good for you. Yes, but oh my god, is it delicious? You know, it's just amazing but Yeah, so thumbs up good for you. Thank you. Will you do it again if asked if asked? Absolutely

Absolutely, it is fun. It was the most hilarious thing. It was hilarious because I had no idea What I was doing, but I knew that I was having a good time and all the contestants I was doing, but I knew that I was having a good time and all the contestants were just so much fun to watch. And they made really good meals. Are you a little jump around here, a black eyed peas on New Year's Day? Absolutely. With collard greens. With collard greens.

Yeah. And I like a little ham hock because each thing represents something. Good luck, money. Well, it's good luck and money and health. So each of those, I forget which, the color greens, leafy greens is leafy money. The black eyed peas is the luck. I can't think of what the health is.

Ironically, it's probably the ham hock. Exactly, like a little ham hock. If you're really healthy, you can deal with this ham. That's funny. So I was listening to your Oscar acceptance speech. How many Oscars do you have? Two? No, I have... Three nominations. I have three nominations and one win. Right. I used to look at you and think, well, we're kind of similar in our careers.

I started off small and I was, I'm not saying this was you, but I would be a background in a commercial and be thrilled in New York. Any time to get in front of a camera, anyhow, and then guest stars here and there, there wasn't a guest. And then, and I looked at you, oh, you did that too. You did a lot of TV and then you went and ruined it by winning an Oscar. And it's like, okay, no, we're not alike.

She's different. No, hello, Mr. Multiple Emmys. Come on. Yeah, Emmys are wonderful. But I've put two or three of my Emmys around Mary's Oscar and trying to hide her Oscar. And it just doesn't work. It doesn't work.

There's something about an Oscar. Pretty magnificent. Well, listen, they're all beautiful. All of the children are beautiful. All God's awards are beautiful. They're beautiful. But somewhere, I think maybe it wasn't in your speech, but you, maybe somewhere else,

sorry, that you acknowledged Steven Spielberg. Tell me how that came about. Steven Spielberg, it was his production company that produced it with Chris Columbus, Michael Barnathan, but it was Amblin. That produced it. That produced it, yeah. I didn't know that, sorry. And it was with participant media.

I mean, talk about meeting your heroes. Two of my favorite Stevens were key players in one of my favorite shows of all time, Columbo, Steven Botchko and Steven Spielberg. Steven Spielberg directed it. Steven Botchko wrote the pilot of Columbo, you know, some extraneous information here. And Steven Botchko kept me working all throughout the years,

you know, giving me little parts on a lot of his shows. And so then to meet Steven Spielberg during the help was also, you know, getting to meet one of my all time favorites because I've seen everything he's done. I had the pleasure of working with him for two days in Saving Private Ryan, and it was a joy. I said, don't pay me, use the money to go to the Shoah Foundation, because basically I begged just to be in anything.

And they granted me that. And just to watch how fast and certain he was, one little Steven Spielberg story is, they finished D-Day shooting in Ireland with the Irish Army, I think something like two weeks ahead of time. And I went, only Spielberg could shoot Normandy D-Day and be through with it. He's so fast and efficient. Two weeks early and I told that story forever and then several

months after it came out, I said, no, Steven, I'm, pardon me, I'm still telling that story about how fast you work. He went, what? No, we used all the black powder up in Europe and there was no more powder to blow anything up, so they had to stop. But nevertheless, I do believe he's one of the fastest I've ever seen work. He was so certain. It was such a pleasure. And the other one is Steven Bochco

was my daughter Kate's father-in-law for many years and a dear, dear, dear, dear friend. I miss him. I miss him too. I love Mr. Bochco. Yeah. Big, big place in my heart. Yeah, me too.

Tell me when, when did you start being a producer, an executive producer? I started getting credits as an executive producer on Fruitvale station. But prior to that, I was optioning books. I started- You're smart. You're so smart. I just started. And the thing is, before anybody knows your name, you can get them for very cheap.

You can get books for- What's an example of one of those that went on to be? Well, it's one that hasn't gone on to be, but it was the most difficult book to get. Jonestown, Raven, about the Jonestown massacre. And I remember just trying to get the rights and everybody tried to get the rights from Tim Reiterman who actually, you know, was shot on the tarmac. You know, he went through it all. And he has the most definitive book, The Raven, about everything Jonestown.

And I remember, you know, talking to him and just having extensive conversations because that's one of the things that I knew a lot about. And my agents, everyone, you're not going to get the rights, Octavia. Everybody and their mother has been trying to get the rights. I said, well, you know, let's just see. And it took a minute, but I got them. But prior to then, I mean, I just, I optioned a lot of books and it was on Fruitvale Station that, that movie was made for under a million dollars.

I think it was $900,000 was the budget and we lost $150,000, which is like millions when you have such a tight budget. And I- What do you mean you lost? They lost some of the funding. It was Forest Whitaker's company and Nina Yang Bon Jovi, his producing partner, they lost a little funding. And I started calling some of my new Vorish friends from help saying, hey guys, can you

put $25,000? You know, just calling people. I put money in. I got Catherine Stockard who wrote the help to donate some money. I called a lot of people and then we, you know, made up the money. Nina also got some people to help. And the same thing you did with donating your money that you made on Saving Private Ryan, they had me in this really nice hotel and I thought, guys, I can pay for my own hotel. I'll pay for my own per diem.

Let's use this money to get more actors. Because I think I was like maybe a week on that. And with helping behind the scenes in the way that I had, Nina and Forrest offered me an executive producer role and I said absolutely. Boy, and so deserved because what you just described is what a lot of producers that get credits don't do. I mean, it's one of those weird things in Hollywood. There's a billion different definitions of producer, but that, finding the money to make

sure you can shoot something, giving up certain things so you can shoot something is a well-earned executive producership. And I don't get vanity credits as a producer. I am always an active producer. Right. I'm always calling actors, trying to get the role, just putting the puzzle pieces together. One of the other jobs that I credit Jonathan King and Peter Farrelly for the firm position that I've now acquired as a producer because Jonathan King was doing Green Book and he

looked around the room. He was one of the participant media, was also the other studio that produced the help. And Jonathan, when they were putting the team together for Green Book, looked around the room and said, you know, we're doing a movie about the South and there aren't any people from the South and no black people, you know, in the executive brand, you know, other than Mahershala. And we had just worked together on the help. He called me up and said,

do you mind, you know, executive producing this with, of course, it was a way for me to learn. And I got in there and rolled my sleeves up, you know, to be of service to Peter. And I admire him. As a reality check? As a... Well, there were things that he was going through in the post-production with a film that he would call and ask me things. And I would advise him on how to do that. You mean other people's points of view of the fact that this was a black story told by a white?

Well, and the thing is, with Green Book, I had already been through with Madam CJ, when you're dealing with people, real people, there's so much deference that you need to take when there are family members alive. And so I was trying to help him navigate those waters because the writer, the co-writer, it was his father, but then the subject matter involved two people's families.

And so it was really trying to show deference to both. And just being, you know, a person who was from the South, giving him input on what I thought, you know, and he really listened. And I tell you, when the film was out, people loved it or they hated it. Or loved it or hated that it was made the way it was made. That it was made, right. Because they thought- Felt that way. Because I think people thought the fact that

this Italian white guy was making this film that's supposedly about a black guy was going to be problematic. And what I had to remind everybody of, Don Shirley, I wanted to be a part of that because Don Shirley was this magical man. He embodied everything that was beautifully articulate, educated, world-renowned pianist. And instead of just playing metropolitan cities, he drove across the South so that he could be seen. And I thought, well, we need to tell this story. I need to be a part of this. And And I thought, well, we need to tell this story. I need to be a part of this.

And I wanted to be a part of it because I thought it was an important story to tell. And Don Shirley had given so many interviews and all of this was all, I mean, you could just find a tape and it could be transcribed of how he felt about it. Only because I haven't slept, Vigo's character is escaping my brain. But it was about showing deference to Mr. Shirley and leaving it open for him to tell his own story because the story was really about the Italian guy. And there was a, you know, so it was this whole thing that it could have gone a certain

way. But when people watch the movie, they all felt something because it was beautifully beautifully told. And I just had so much respect for Pete because it wasn't easy, you know, telling that story. And he literally professed to the world how grateful he was having me in his corner. And I can't tell you how much I learned throughout that process. Yeah, he's a friend I have huge respect for. Me too, me too.

And you, because I can't imagine that it was easy. No. Because... And then you have Jonathan King, one of the most amazing producers in the business who has such good taste in the projects that he produces. The fact that he was cognizant enough to say, you know what, I think we need somebody else with a different perspective in the room with us as we're doing this. And you know, my hat's off to all of them for actually saying we need another voice

in here, one that from a different perspective. Yep. So. Little steps. Yeah, baby steps. And so those baby steps led to a development deal with Fox. And then that turned when Fox Disney merged, it became an ABC deal.

And then now I'm producing television with Skydance. And so, and I'm learning a lot from some of the best producers in the business. Yeah. What is this ride? Ride or die? Ride or die? It hasn't come out yet. That's what I filmed in Prague. Oh my god And can you tell a little bit because Bill is one of my Bill Nighy. Bill Nighy. Nighy. Mm-hmm I fucking love him. I love him so much. Amazing.

Well, this is the television show that I was filming in Prague. Limited series. Yes, starring myself and Hannah Wadingham. Oh, wow. And Hannah and I are best friends in the show, and I find out that she is an assassin. Never good. You know, never good. And so we just go on this little, I don't want to say road trip because it's out of

necessity that we're on the run. And it's- I don't want you to ruin it. Yeah. But I can't wait to see it. It's going to be a lot of fun. But my production company is producing it with Skydance and Barbara and Andy Muschietti, their company, Double Dream. So yeah.

Right. But can you put your producer hat to the side when you start acting or are you capable of doing both? I have to do, when I'm number one or number two on the call sheet, I now understand, see, I didn't understand this back in the day when I was the PA running around, chasing the actors, like, where are they?

They're supposed to be, I don't understand why we can't find them. Now I understand what their role is, especially the ones who are the leads and are producers, I understand that my job is to be completely prepared because we worked French hours. You only had 10-hour days. So I had straight through and you have to get the work, but you also have to keep morale high. Yeah, you're a host. You're a host. But you also have to keep morale high. Yep, you're a host.

You are a host. Whether you like it or not, you are. Exactly, you're a host. So I see my role as when I'm number one or number two on a call sheet. And on this show, number one, I'm Miss Hospitality, but also all business. Fun and business at the same time. I need to be Tom Brady with the scene work. We got to keep the production moving, but at the same time, keep crew morale high.

You get the trucks, you celebrate birthdays. Because they are literally working, physically working harder than anybody. Anybody. Anybody. They're before us, us there after we leave So I know that I have to be over prepared Yeah, I when I'm on production, I don't I don't have a day off because when I'm physically working on the set

I'm Executing the work that you know learning the lines on the weekends and getting the I try to be Seven days ahead so that I can give myself a little time off on one of the days down to not have to do anything. But I work, that's how I work. All right, so you're seven days ahead. That scene that you learned on the first day

and it's now the eighth day shooting that scene. Do you retain it? I find that what I do is I end up going, yes, this is learnable. And I got the gist of it. And if I put myself to it in a half an hour, I could lock it down. But I'm not going to right now. I'll do it the night before. I wish I were that quick of a learner. Oh, no, no. That's not quick.

I just mean I've learned it enough. You've learned it enough and then you review it. See, this is what I do. I learn it. I learn the line. I read the scripts. I map out all the emotional stuff so I know exactly where we are because we shot things in blocks.

We did two episodes at a time. So you could be in episode one today, but you're in episode two tomorrow. Episode one, the day after, episode two. So it was like crazy town. So it was preparing it, but then running it every night. Running so that by the time I actually had to, and it really only was about learning the lines because I don't make the choices about what I'm going to do until I'm actually on the set and try to be open and ready to facile, on the spot,

make changes and hear direction. But I had to tell you, in order to get, to be malleable as an actor, for me I have to work every day. And it's like, ugh. I did a show called Damages and it was being rewritten and written and rewritten and shot out of order and everything.

And I was playing basically a sociopath. No, I mean, totally a sociopath. And sometimes it worked to my benefit because I'm your basic actor who will fall into every bad acting trap. You know, I'll, I'll want people to know. Here's the ending. I'll give you a little flash in this moment of what I'm really like. You know, terrible. But I would find I did some of my best work because this sociopath one day, I would have a scene with, I'm kind of making this up,

but it was a good metaphor with a little, a child, a young child, and I'm just charming as all get out and just really delightful to this child. Then a week later, I shoot the scene where I just destroy their father. Absolutely destroy the father, but I'm capable, at least when you see it put together, edited, to be this total sociopath.

And that's the other thing I love about the job that I just finished, is I kind of have a similar trajectory. I'm not the sociopath in this or psychopath, but I, you know, learning, watching, peeling the onion, let's just say, of all of our characters, and every character gets their day in the sun on this show. One day I'm completely sane, and the next day I'm not. And it was

kind of wonderful being able to play that. But let me just tell you, it's hard. It's hard. But I love it. I love it so much. Bigger pictures now. And if there's something else you want to talk about, but you're, there's so many wonderful things you've done. You really are a wonderful actor, Octavia. You really are. Thank you. I appreciate you saying that.

You are my favorite kind of actor. You're a character actor that can go anywhere. You're nimble and you're, and at the same time you don't lose that incredible light you have when you act. Some people diminish, I think, when they act. People, you know, and you're, anyway, much admiration. But let's go big picture for a second. So why, what's kind of your guiding light in life with your position,

where you are and all of that? What is your moral compass? Is it a person? Is it a philosophy? What is your? I always draw, excuse me, I realized just how fortunate I am to be doing a job that I love. It doesn't feel, you know, it can feel like a job. It's hard. Yeah. It can feel like a job, but if you love what you do, you never work a day in your life. And I realize that that is a privilege that a lot of people don't have.

And so sometimes I can get caught up in the trap of, oh, woe is me, I'm working every day and blah, blah, blah. You know, but then I think you're working every day doing what you love. And I try to exist in a place of gratitude. And now sometimes I'm a human being. I'm not always grateful, but then when I realize that I'm, you know, off the mark, you know, I get right back to the gratitude. And that's one of the things that I love about being a lead actor and a producer at the same time. Because when you look out on a set where people you have 350 people working to make this show,

because there are a lot of people who don't understand how our business works and that it's not just the people in front of the camera, it's a village. It's an entire village of artisans. And you need those artisans to make the people in front of the camera look as though it's effortless, but it's not, you know. And I feel grateful when I look out and see how many people are not only working because they enjoy it, but getting to provide for their families. Building dreams, not just for themselves to provide for their families.

Building dreams, not just for themselves, but for their families. I'm very family oriented because I'm from a big family. And again, I am living my dream every single day because I thought my dream was that I would be a lawyer. And actually, this is the one time in my life that I am regretting not going to law school, but. The one time. All the other times has been great.

But I am truly grateful that I am an artist and that in these dark and desperate times, people can look to what we do to find respite from whatever is going on in their day-to-day lives. Yes. And this is something I'm wrestling with. We all are, if you're awake and have blood streaming through your body, you are aware of them. Before we jump to that a little bit, it does matter that you're putting out light, and

not in an airy-fairy way, but you're putting out, you're reflecting human nature, quality, the human condition, the good, the bad, and the ugly, and you're doing it without judging also, which is I think a really something that actors, good actors have learned to do and it's obviously necessary, but very hard to then take into life, you know, because we judge, I judge. Yes. You know, and if you're judging, you're not going to be able to have a real conversation. And anyway, but what you put out, the laughter, the consciousness is, you know, is the same kind of, it's different than being a lawyer who changes law and policy for the good.

But it's just as important, you know, to give an example of what human nature could be or condition could be. What it could be. And I think that's where I find hope is through artistic endeavors. Because sometimes if you are living in an echo chamber, sometimes the only way that you will see someone else's perspective is through a book or through a film or some piece of art or music. So I love that this is my field because we do get to have sort of a commentary without being judgmental. You know, you put it out there and you hope that

it affects people the same way that it affects you in some way. And if people are honest with themselves, sometimes what we do can affect change. And that's why I like doing it. I like being a part of something that you can step away from whatever it is you're going through for that one hour. Sit with me for one hour. Sit with me for 30 minutes.

And you don't have to think about how the bills are going to be paid. You don't have to think about a sick family member. You don't have to think about just for that peace of mind. I love the idea that for that short period of time, that I can somehow transport you from whatever your reality is. And then maybe when you go back out into the real world, it will impart some wisdom. Maybe it will affect you in a way that you, you know,

we can become better citizens of the world. I don't know. It's interesting, but I'm also very, I feel very fortunate to be an artist right now. I really do. Me too, because it is a, what's the right word? I keep wanting to say, what I'm trying not to say is you have not a weapon, but you have a something

to push back, or to say, no, no, I'm not going to necessarily malign you or call you names, but no, no, this is, this, this is human kindness. This is what joy looks like. This is not that, you know. Yeah, me grateful then I go I mean I'm not Jane Fonda I keep saying that on this podcast for some reason who I read and Meyer hugely but she's you know once more under the ramparts she's leaping up and doing and being incredibly courageous and I I'm looking around going, is what we just said about being an artist enough? Am I being a coward? Am I being a, or am I being smart?

Sorry. I think people have to do what they can in their own way. And some people can and want to be in the trenches and on the front lines. But we find different ways to express ourselves. And I'm not one of those people who can be totally quiet, but I also know that it's not something that I can constantly live in

because it's not a good state of mind for anyone. But you can't bury your head in the sand either. So I think that we have to appeal to our better angels and we have to be those better angels. And we also have to have those difficult conversations away from the public and in your homes, you know, with your friends, because that's how you change hearts and minds when people don't feel as if they are being talked down to about things. Which we do. Yes.

We're very good at Which we do. Yes. We're very good at talking down to. Yes. Yep. You know? So it's a very interesting time to be alive. And again, it's one that I, it was easier to be in Europe. It was easier to be in Europe. Yeah, yeah. It was easier to be in Europe because, you know, I had a, my focus was my job every day.

And so now coming home, I know that I'm not a person who can just be completely quiet about things. But I also know again that it's just not, you can't exist in this thing. No, and you can't fight anger with anger. No, you cannot. You cannot. And dark, dark, you can't. So...

Yeah. We have to still be the people who love and show kindness and love and the way that we love and show kindness. And allow the fact that there's a lot of fear and sorrow in this city or this country, but I'll talk about this city. There is, there's a lot. And allow it, don't pretend it's not there.

Exactly, we can't pretend that it's not there. Because it's other people today, but it could very well be you and me tomorrow. And then, and then there are so many other factors. I mean, the fires. When I left to go to- Oh my God. It was the most- You left right before.

Literally. It was right before. And then, um, when I started to get the phone calls and friends were staying at my house because, and we're all on these big groups, chats, and then it's like, oh my God, what's happening? So there's so many different things happening that we're going with, the strikes, there's so many different things that are happening in our society that as artists,

the one thing that we can provide is a little hope. Hope, hope, hope, hope. Don't you dare reflect hopelessness because that ain't fair to your kids or your grandkids. Exactly. That ain't right. Exactly. Whatever you have to do to stay hopeful. Exactly. And I do love LA. Me too. And I do have faith.

Me too. Yeah. I can't tell you how much I respect you and I'm so grateful you came in to talk with me. Me too. I respect you so much and this has been so much fun. I literally think I'm going to come hang out and see if I can get the dog to love me. It's a great room. Yeah, there's a dog outside.

This has been so fun. Yeah, me too. And illuminating on so many levels. And it's these kinds of conversations, I think, that shed a light that keeps hope alive within all of us. We talk about things, we talk about our artistic journeys, but also we hopefully provide, again, in order for people to stay sane, you have to talk about other things. You have to be good citizens of your world.

And right now, my world is Los Angeles, California. And what can I do in this community right now. But then on a broader scale, what can I do to, that's not just writing a check for this cause or showing up for that cause, what can I do to provide a moment of respite from all that is going on in the world? And if all I can do is get you to forget for just a fraction of time a day,

just for a fraction, forget what's going on. And you're talking about people who don't always agree with you either. Yeah, absolutely. Or maybe even especially those people. Exactly. And here's the thing, when we provide examples of, because if you're living in an echo chamber, you are never going to hear another person's side. Sometimes you have

to show, and we show, we learn by doing, we learn by the examples that we see, and sometimes you have to see different examples. And that's, I think, where our jobs with these conversations with film, with poetry, with music, with art, that's how we can shine a light. I agree. Because I always use this example of tuning on the news and seeing fires or floods or people in little row boats going out and picking somebody up out of the water and saving their lives. You know that they may not be on the same side of a philosophical political discussion, but they are so ready to put their lives on the line to save another human being who may have nothing to do with their belief system.

Exactly. Because you, let me, sorry, I've said it, but let me turn it around to how wonderful that you're doing family recipe, because recipes are what we're talking about too. Exactly. You know, family recipes. Family recipes.

Are for everybody. And I am gonna have to talk to Mary about that. What. You know, family recipes. Family recipes. Are for everybody. And I am gonna have to talk to Mary about that. What is it? Spoon corn. Corn spoon pudding. I mean. A box of this, a tube of this. Sounds so delicious.

Oh, the Southern recipes are the best. ["Southern Recipes are the best. and streams the next day on HBO Max. That's all for our show this week. Special thanks to Teen Coco. If you liked this episode, review and subscribe on Apple Podcasts. If you like watching your podcasts, these full-length episodes are also on YouTube. Visit youtube.com slash teencoco. More for you next time, where everybody knows your name. You've been listening to Where Everybody Knows Your Name with Ted Danson and Woody Harrelson sometimes.

The show is produced by me, Nick Leal, our executive producers are Adam Sacks, Jeff Ross, and myself. Sara Federovich is our supervising producer, engineering remixing by Joanna Samuel with support from Eduardo Perez. Research by Alyssa Grahl, talent booking by Paula Davis and Gina Bautista. Our theme music is by Woody Harrelson, Anthony Yen, Mary Steenburgen, and John Osborne. you