Mary Kay Place Articles


Some of the commentary on this page may discuss plots of the various movies and television shows. If you prefer to not read ahead, please click “back” on your browser.


“Friends” (1994) TV Series DVD Commentary

Episode: “The One with the List”


Executive Producer, Kevin Bright

Co-creator and Executive Producer, Marta Kaufman

Co-creator and Executive Producer, David Crane


Kevin Bright: “You’re watching ‘The One with the List’ now, which was an episode that had the unenviable task to follow the episode where Ross and Rachel kiss for the first time, and that was a monumental episode of ‘Friends,’ and so to follow that presented a tremendous challenge to the writers.”


Marta Kaufman: “This to me was almost the model for what we wanted ‘Friends’ to be when we started, this teaser,”


David Crane: “This may be my favorite teaser that we ever did. It captures everything that I love about the show.”


Kevin Bright: “This scene is kind of a hallmark of ‘Friends.’ You get to see on one hand the way women perceive and feel about a certain situation, and then on the other hand you get the guys. And there it is.”


Marta Kaufman: “That to me is it, you know. And it took us a long time to figure out what is the difference between how men and women describe a kiss, and it came down to details and pizza.”


Kevin Bright: “Mary Kay Place directed this episode, who is an actor, who a lot of people know from her role on ‘Mary Hartman, Mary Hartman’ and also in The Big Chill, and this her directorial debut in a sitcom. She really, as an actor, brought tremendous things to the story.”


Marta Kaufman: “We had worked with he on ‘Dream On,’ and she directed one for us there. Very smart woman.”

Kevin Bright: “We were very fortunate to have her direct this episode.”


Citizen Ruth (1996) DVD Commentary


Director, Co-Writer, Alexander Payne

Co-Writer, Jim Taylor

Actor, Laura Dern


[In a scene where Mary Kay Place as Gail Stoney and the Baby Savers arrive at Ruth’s jail cell singing a “marching hymn” kind of song]


Jim Taylor: “Mary Kay came up with this song. Am I right about that?”


Laura Dern: “Yes, yes.”


Jim Taylor: “She wrote this song.”


[In an early scene featuring Mary Kay Place and Swoosie Kurtz]


Laura Dern: “Every single person involved in the cast and crew, it meant the world to each of us, you know, in the same way, that we were all so committed to it, and that everyone gave everything they had to it. It’s just such a treasure, thinking of Mary Kay and Swoosie as example.”


Jim Taylor: “...and Kurtwood [Smith, who played Mary Kay’s character’s husband]


[When Ruth is uneasily in the Stoney’s young son Matthew’s bedroom talking to him about his model airplanes and eyeing the model airplane glue...]


Laura Dern: “I love how Mary Kay removes me from that space.”


[When Ruth is waking up from a “huffing hangover,” Mary Kay was scrambling eggs and Kurtwood was reading the morning paper. Alexander Payne had come up with a discussion about caulking as a subject for the Stoneys to discuss at breakfast. Mary Kay and Kurtwood ad libbed their dialog]


Jim Taylor: “Kurtwood and Mary Kay just completely got who these people were.


[When Swoosie and Kelly Preston sang a song as an ode to the moon, Alexander Payne says that the lyrics were his and Jim’s, but that Mary Kay came up with the tune.]



My First Mister (2001) DVD Commentary


Director, Christine Lahti


“Mary Kay Place is a friend. I’ve worked with her a couple times, and I think casting her in this part, it was, I just was so lucky because she’s so believable and so...she’s not normally cast in a kind of sexual, romantic part and, although I just gave away something I shouldn’t have. [laughs] She’s always just so believable to me no matter what she plays and I think she added a lot to this character.

All the supporting characters, I mean, I think they were brought to such life because the actors playing them are real, you know, they’re real, trained actors who really know the meaning of that phrase, ‘There are no small parts, only small actors.’ And, you know, they made the movie about them, and that’s what you do as a supporting actor or any kind of part. You, just from your point of view, the movie’s about you, and it’s up to the director to balance it all, but you give it that kind of life and back story and needs and wants and you invest it with a lot of emotion and truth and humor. So, these actors, I was just so blessed to have this group of actors, all of them, every single one of them.”



Sweet Home Alabama (2002) DVD Commentary


Director, Andy Tenant


[When we first see Mary Kay' character, Pearl Smooter]


“Here come Fred [Ward] and Mary Kay, just two delightful, professional actors who know their stuff and are really, really fun.”


[When Fred first brings Reese Witherspoon home from the jail]


“This was an interesting scene for them to play because, I think, the whole mother daughter relationship was a tricky one. We didn't want Mary Kay to be a villain, but we also didn't want it to be simple and not have any complications to it. I mean, Mary Kay is definitely one of the reasons why ‘Melanie’ ran away from home. So it was interesting to have these conversations with Reese and Mary Kay.”


[In the “Saying Goodbye” scene]


“This is a big scene between mother and daughter. Mary Kay Place is reputed to be the nicest woman in Hollywood. She is absolutely a dear, but she does have a tendency to sort of mangle her lines, which is hilarious because, maybe you'll do eight takes, and there'll be one take that is absolutely spot on perfect, but anything other than that and you wouldn't recognize the scene if I showed it to you. She sometimes [laughs] just said things that came into her head, and the lines would pop out, and you’d just go, ‘What, what are you doing?’ She’s just such a hoot, but she’s so good in the movie.”


[When Mary Kay is slicing peaches]


“See the Band-Aid on Mary Kay’s finger there? That happened on take two. This was take four. She cut herself while slicing the peaches. Reese bet me that this scene would not be in the movie, and I like it.”


[When Mary Kay is helping Reese dress for the wedding]


“I love this scene. It’s a nice scene for Mary Kay, but what’s really interesting about it is that by virtue of what Mary Kay says, she’s actually saying that she married for love, and yes, it makes her miserable, and yes, it hasn’t worked out, and yes, he’s not a big success, and yes, all these things, but she’s still in love with him. And so, in a weird way she's actually telling her daughter she's marrying the wrong guy. But see she's realizing that mom is just a bunch of mixed messages.”


[Discussing the alternate ending]


“What we felt, and what the test audiences told us, was a horrible way to end a picture when we just were celebrating the fact that Jake and Melanie had gotten together. The test audiences felt that we had pulled the rug out from under them, that it wasn’t funny, and that if you look at it again, watch Mary Kay Place, who plays Melanie’s mother. She is so devastated by the fact that her daughter appears to be dead that we could never recover. And in fact, one of the test audience members said to us, ‘That’s not funny’.”



“Undeclared” (2002) TV Series DVD Commentary

Episode: Parents’ Weekend


Creator, Judd Apatow


“Mary Kay Place…nobody funnier than her.”



Latter Days (2003) DVD Commentary


Director, C. Jay Cox

Actor, Steve Sandvoss

Actor, Wes Ramsey


C. Jay Cox: “…And we got our first scene with Mary Kay.”


Steve Sandvoss: “She’s so…”


C. Jay Cox: “And, ironically Steve, she’s about the same size…she and your mom could be sisters.”


Steve Sandvoss: “Yeah.”


C. Jay Cox: “That was one of the first things that Steve said to Mary Kay when you guys met.”


Steve Sandvoss: “She actually looks more like my mom than ever. My mom said that she doesn’t want to meet her in a dark alley, but I shouldn’t anticipate that. There’s a scene coming up between the two of us.”


[In the scene where Christian phones Aaron, and Sister Davis answers]


Steve Sandvoss: “I’m just laughing at the phone. What the hell was up with that?”


C. Jay Cox: [Laughs] “It does look like an enormous phone. And one of the things with Mary Kay is I noticed we always have her stepping over camera tracks. And so, she’s always, several times you can catch her stepping over the camera tracks.”


[In the scene when Sister Davis breaks the plate]


C. Jay Cox: “There you will notice the matching plates, and just this wallpaper. Yeah, this is a woman who’s got too much time on her hands. She’s gonna wallpaper everything or go crazy.”


Steve Sandvoss: “C. Jay and I went over to Mary Kay’s place the night before and rehearsed it and then got to the set the next day and it was totally different.”


C. Jay Cox: “ ‘Cause we’d just roughly blocked it out.”


Steve Sandvoss: “Yeah.”


C. Jay Cox: “Although, one thing that I notice that’s interesting, we found out how many times kind of crosses were appearing kind of behind Aaron and were really evident in this scene with just those cupboards kind of make this perfect cross around his head.”


Steve Sandvoss: “Oh wow, look at that.”


C. Jay Cox: “And crosses are not a Mormon symbol.”


Steve Sandvoss: “Really?”


C. Jay Cox: “So I’d kind of forbade our production designer from putting crucifixes on there…Mary Kay was actually only with us for a couple of days, but I just loved what she did with this, you know it was such a…she pulled me aside and just said that she had taken such a liking to Steve that this scene was going to be really difficult for her. And this was also the first scene that I cut together.”


[Gladys Davis slaps Aaron]


C. Jay Cox: “What was that slap like for you?”


Steve Sandvoss: “It really hurt. She is a total shock.”


C. Jay Cox: “She actually, now you had never been slapped before, right?”


Steve Sandvoss: “Not like that.”


C. Jay Cox: “Yeah. And we were over the shoulder doing that first shot when she connected with him, and I “Oh, we didn’t get his reaction on that, but Mary Kay’s reaction, that was genuine. She, it kind of just threw her for a moment, but she stayed in character and it really, it felt like this woman who had never struck her child before.”


Wes Ramsey: “Right.”


C. Jay Cox: “And then it really didn’t work.”


Steve Sandvoss: “Yeah, after that I just kept, couldn’t stop anticipating, and I kept flinching and like kind of subconsciously moving my face so it wouldn’t really hurt.”


C. Jay Cox: “Yeah.”


Steve Sandvoss: And you went up to her and said…”


C. Jay Cox: “And we stopped. We actually stopped doing that, so we shot it several different ways. She would kind of push you or shove you, and I just said when we were, kind of the last take we did on that, I just said, ‘Like, okay, if you find an opening, kind of smack him.’ It was one of the few times I think I lied to you. I just said, ‘Okay, she’s not gonna slap you anymore.’ So that shot over her shoulder of her smacking him was just a…you know…she just found an opening and really connected, and I felt bad about that, but it really…I saw our crew people just cringing during that scene and I though, ‘Okay, it’s possibly got something there’.”


[In the scene when Aaron’s parents return home after Aaron’s suicide attempt]


C. Jay Cox: “I like this moment between the two of them, where they really feel like they could have a discussion about something meaningful. I think that this guy uses the Church as kind of an escape from his family, that he buries himself in that the way that people do burying themselves in work or golf or something.”


Wes Ramsey: “Right, denial.”


[Telephone rings and Gladys Davis speaks to Christian]


C. Jay Cox: “And once again, we see Mary Kay stepping over the camera track. [Laughs]

Now I’ve gotten so used to watching this scene cut together that I forget that we shot those performances, you know, a week apart. They’re very separate.”


[In the scene when Christian brings Aaron’s watch to Gladys Davis]


C. Jay Cox: “Now, we see those gloves again, they, uh, you’ll see them once again.”


Wes Ramsey: “This scene originally we had cut from the film I remember and…”


C. Jay Cox: “Yes, and it was, uh, one of those coincidences where somebody had sent an old version of the script to Mary Kay, she said like, ‘Oh, we’re not doing this scene?’ And so, we really tried to find time in the schedule to put it in in rewrite.”


Wes Ramsey: “She insisted we put it back in.”


C. Jay Cox: “We were a day…”


Wes Ramsey: “It allowed me to work with Mary Kay for my one and only time, and it also turned out to be one of my favorite scenes in the film. Actually, I was grateful we put it back in.”


C. Jay Cox: “Yeah, I really like this reaction here, this kind of assumption that Mormon missionaries look one way, and she’s built up this picture in her head of what kind of monster Christian might be. I always believed that this character, she had just an entire litany of things in her head that she would say to this person if she ever…”


Wes Ramsey: “Yeah.”


C. Jay Cox: “…ran into him, and she just finds herself sort of caught off guard and…”


Wes Ramsey: “Compelled to want to reach out.”


C. Jay Cox: “…to give her a moment, just leave a door open for a possible change there. I like to believe that that character Gladys, Davis’s mother, giver her five years and she might be the president of the Pocatello chapter of PFLAG, which is Parents and Friends of Gays and Lesbians. I think that right now she’s really having a tough time of it.”


Making of Latter Days (2003) Short DVD Feature:


Steve Sandvoss: “The scene with Mary Kay in the kitchen was probably the most intense scene in the movie for me, and probably the most, you know, the toughest place I’ve ever been as an actor. Mary Kay said, ‘I can’t slap this kid.’ And then so I didn’t know if it was going to happen or not the next day. And then the first take, bang! That physical action, it really hit me on a pretty deep level. It hurt, physically, but it was also like, really king of humiliating.”



Lonesome Jim (2005) DVD Commentary


Director, Steve Buscemi

Writer, Jim Strouse


[When Mary Kay Place first appears on screen]


Steve Buscemi: “Mary Kay Place, who I’ve always wanted to work with, and it was my wife actually, who, after she read the script, thought of Mary Kay, and soon as she said her name, I couldn’t think of anybody else to play the part of Sally.”


[When Casey Affleck is taking a bath]


Jim Strouse: “Oh, this is a beautiful sequence. This is really…I, uh, I’m a big fan of this scene. This is the last thing you shot, right?”


Steve Buscemi: “This was on the last day. This scene was almost cut out of the film because we only had 17 days to shoot the film. We actually went over a day, and, um, you know, we were looking for stuff to cut out of the script, and I mistakenly thought that, maybe, this scene was not needed, and actually Mary Kay begged me to put it back in. Casey had first agreed with me, but then, Mary Kay sort of won him over. So he was bugging me to put it back in, and I kept saying, ‘We don’t have any time. We don’t have any time.’ I said, ‘Okay, on the last day of the shoot if at the end of the day we have any time then we’ll get it.’ So this was literally the last thing that we shot. There were no lights in the bathroom. It was just Phil Parmet and I, and, uh, I had to hold my mouth to keep from laughing so hard. I think I did ruin a couple of takes. Then of course it’s, uh, it not only fits beautifully in the film, but it’s a really important scene ‘cause it’s, uh, it’s the first, I mean, you really get the relationship between mother and son, and it’s the first real laugh. You know, I think it’s the first clue to the audience that it’s okay to laugh.”


[In the breakfast scene after Kevin Corrigan’s character is hospitalized after an auto accident]


Steve Buscemi: “There’s a good dynamic between the actors, I think, uh, having Seymour [Cassell] play the dad against Mary Kay.”


[In a scene in which Mary Kay is separating peaches into two bowls]


Steve Buscemi: “Now, we should explain the peaches, ‘cause we see peaches constantly in the film, and, uh, there was a reason for it that was actually cut out of the film. But, it was a contest that the girls [Kevin Corrigan’s character’s daughters; Mary Kay’s character’s granddaughters] were involved with, Sarah and Rachel.


Jim Strouse: “But the peaches were, yeah, one of the girls have a contest at school, and they are, um, whoever can sell the most peaches gets a limo ride to Pizza Hut, and Sally buys crates and crates so that they get what they want, and it’s just another, I remember you deciding to cut that out because, uh, Mary Kay had done, had performed this so well, it was like, kind of like, you know, just…”


Steve Buscemi: “Yeah.”


Jim Strouse: “…stating the obvious.”


Steve Buscemi: “Yeah, I mean, about her character, about how she does everything…”


Jim Strouse: “…going the extra mile at all times.”


Steve Buscemi: “…for the family, yeah.”


[In the next scene in which Casey Affleck’s character has taken his mother’s van when she had planned to go shopping]


Steve Buscemi: “This scene was, uh, there’s a number of scenes in the film where, you know, you could sometimes feel the audience either gasp or laugh, you know, and this is one of them when he just drives past his mother [laughs].”


Jim Strouse: “And it’s beautiful; her small little trip…”


Steve Buscemi: “Right.”


Jim Strouse: “…it breaks my heart.”


[In a scene with Mary Kay’s character feeding chips to Kevin Corrigan’s character]


Steve Buscemi: [Laughs] “Another funny image of, uh, Sally being the ultimate mom, and [laughs] feeding her son who’s recovering, you know, just the worst junk food.”


Jim Strouse: “Casey and Kevin really seem like brothers. They look like brothers. They have that d…, it’s good casting.”


Steve Buscemi: “Yeah, I mean, I think that is, you know, you’re more than half way, you’re 90 percent there with the right casting. And I think, you know, I think I could never direct Seymour to give that kind of line reading, but he was just picking up on Mary Kay’s performance, and that is the thing that a husband would do, you know, sort of make fun of the way his wife talks.


[In a scene in which Jim is watching a porno tape and Sally walks into his bedroom]


Jim Strouse: “This is the scene that gets the biggest gasp, I think, of all the scenes in the movie. Whenever we screen this it’s, uh, I remember we were at a screening in, uh, New Jersey, and I was sitting in front of three women, and they were just like, ‘No, no. That’s wrong. How could he do that’?”


Steve Buscemi: “This is a scene, another scene that, um, well, in the editing that, um, was almost cut out of the film because, because it is, you know, it is pretty harsh, and it sort of, you know, we went back and forth, well, you know, does this push Jim over the edge of making Jim too unlikable? You know, do you stop caring about him at this point?”


[In the scene in which Sally is being arrested by the Drug Enforcement Agency]


Steve Buscemi: “And here we were able to get your real brother, Tim…”


Jim Strouse: “Yep. Putting Mary Kay in the car.”


Steve Buscemi: “…putting his mom… arresting his own mother and then driving away.”



Making of Lonesome Jim (2005) Short DVD Feature


Director, Steve Buscemi

Actor, Kevin Corrigan

Actor, Mary Kay Place


Mary Kay Place: “I really found it a challenging part, and I had the great privilege to meet Jim Strauss’s actual mother, and I hope infused some truth to the character ‘cause it was easy to go, you know, had to stay in a very tight, little spot of, hopefully, truth.”


Steve Buscemi: [Discussing characters in Lonesome Jim] “The relationships between, you know Casey [Affleck as Jim] and Mary Kay [as Jim’s mother] and with Seymour [Cassell as Jim’s father] and how he is sort of repelled by the uncle [played by Mark Boone, Junior] but totally gets sucked in and is implicated, and that’s why he can’t really step in and save his mom because he would be jeopardizing himself.”


Kevin Corrigan: “Mary Kay is definitely the hub of the whole cast of characters, you know, and this whole, you know, and this whole culture of repression, this repressed like, excruciatingly slow pace, kind of unspoken, people living in this unspoken pain.”



“Numb3rs” (2005) TV Series DVD Commentary


Episode: “Protest”


Co-creator, Exectutive Producer, and Writer, Nicolas Falacci

Co-creator, Exectutive Producer, and Writer, Cheryl Heuton

Actor, David Krumholtz


[Interior scene in Mary Kay Place’s character’s kitchen with Robert Forster, Rob Morrow, and Bess Wohl]


Cheryl Heuton: “Here’s two actresses we are also very happy and proud to have worked with, Mary Kay Place, who is just, you know, fabulous, and brought so much to this.”


Nicolas Falacci: “And Bess Wohl.”


Cheryl Heuton: “And Bess Wohl playing her daughter, who’s the daughter that’s never known her father, who disappeared. And it was just, this was a great day, this scene that Robert [Forster] and Mary really...”


Nicolas Falacci: “And this was the house near Cal Tech, I guess, in Pasadena.”


Cheryl Heuton: “This was an episode where I just felt, so many of our guest stars, you know, it’s hard to bring people back ‘cause you have to get to these, you know, you have to work them into the story why they’re coming back, but this is one, all three, Robert, Mary, and Bess would be people we’d love to bring back.”


[Exterior scene with Rob Morrow and Mary Kay Place as she plants potted flowers]


Nicolas Falacci: “It was really interesting to see how Mary Kay, how she got into this scene, and whenver we finished a take you could see that she really had to take like 10 seconds before she could actually come out of the...”


Cheryl Heuton: “Out of the moment.”


Nicolas Falacci: “...out of the moment.”


Cheryl Heuton: “And she took it to some pretty intense places. I think we chose a cut that’s, um, kept it kinda even. A couple of the cuts, she was really screaming at Rob Morrow.”


Nicolas Falacci: “Throwing dirt [potting soil] around.”


Cheryl Heuton: “Yeah [chuckles]. She’s a terrifically powerful actress.”


Nicolas Falacci: “I've had a crush on her ever since...what was that movie?”


Cheryl Heuton: “The Big Chill?”


Nicolas Falacci: “The Big Chill. She still looks great.”


David Krumholtz: “I feel very awkward right now.”


Nicolas Falacci: [laughs]


David Krumholtz: “The two of you are married, how long now? 16 years?”


Nicolas Falacci: “You can have crushes. That's what being married's all about. What’s your crush?”


David Krumholtz: “Cheryl.”


Cheryl Heuton: “The Big Chill was long before he met me.”



“Big Love” (2006) TV Series DVD Commentary


Episode: “The Ceremony”


Actor, Ginnifer Goodwin

Actor, Chloe Sevigny

Actor, Jeanne Tripplehorn


[Rhonda (Daveigh Chase) is using a “Be Dazzler” on her skirt of the front of the house set as

Adaleen (Mary Kay Place) drives to the curb in a Hummer.]


Chloe Sevigny: “Is Mary Kay driving?”


Ginnifer Goodwin: “Love it!”


[all clap]


Jeanne Tripplehorn: “Mary Kay Place. Now that is an interest...”


Ginnifer Goodwin: “Her timing is perfect.”


Jeanne Tripplehorn: “There is a brilliant actress.”


Chloe Sevigny: [gasps] “She’s going to steal her [Rhonda] away...poor Rhonda.”


Ginnifer Goodwin: “That...those are both your moms.”


Chloe Sevigny: “I know, frightening. Is she gonna run away, Rhonda?”


[Adaleen tells Rhonda, “Now get in this car tout de suite.”]


All: “Tout de suite.”


Jeanne Tripplehorn: “Now that was the line of the episdode. You know, I think it's worth the price of admission just to see Mary Kay drive a Hummer.”


[Rhonda runs away from the Hummer, and Mary Kay as Adaleen, in full costume, chases her.]


Ginnifer Goodwin: [laughs]

Jeanne Tripplehorn: “Look at her.”



Death & Texas (2006) DVD Commentary


Director, Kevin DiNovis

Producer, Stephen Israel

Casting Director, Linda Phillips Palo


[All scenes are in a “mockumentary” style in which the actors speak directly to the camera. Interior scene in Mary Kay Place’s character’s murdered son’s room]


Kevin DiNovis: [discussing a Photoshop overlay technique to create an illusion of a television screen image] “They never quite ring true to me…just on a personal level. I don’t know.”


Linda Phillips Palo: “But, you were happy with Mary Kay Place.”


Kevin DiNovis: “Yeah. Outstanding.”


Linda Phillips Palo: “Who is now just knocking us out on HBO, but she, uh, I mean, this woman is an amazing actress.”


Linda Phillips Palo: “Mary Kay is amazing.”


Kevin DiNovis: “She just is terrific. I’ve been a fan of hers for, well, you know…”


Linda Phillips Palo: “I’ve been since ‘Mary Hartman, Mary Hartman.’”


Kevin DiNovis: “‘Mary Hartman,’ exactly.”


Linda Phillips Palo: “Yeah, that was before video, so you actually had to stay up at night and watch it because they didn’t repeat it.


Stephen Israel: “Before my time.”


Linda Phillips Palo: “Yes, it was before a lot of people’s time.”


Stephen Israel: “Well I mean I lived…”


[Interior scene in Mary Kay Place’s character’s dining room]


Stephen Israel: “Mary Kay performance again. Just gloriously cracked.”


Kevin DiNovis: “Yeah, she gets the grieving mother, I mean, but, ooh, she gets the satire too.”


Stephen Israel: “Mmm hmm.”


[Interior scene in Mary Kay Place’s character’s murdered son’s room]


Kevin DiNovis: “One of the things about having such a large cast and about getting this caliber of actors, uh, is that the way the movie was designed, because it’s all interviews, a lot of it’s, uh, interviews, sit down interviews, we were able to wrap almost everybody in a day. Yeah, for instance, Mary Kay Place, we had her for a day. And so it wasn’t such a drain on her schedule the way that it would have been if we had needed her, you know, in a more traditional film.”



Youth in Revolt (2009) DVD Commentary


Director, Miguel Arteta

Actor, Michael Cera


Miguel Arteta: “Mary Kay Place…I’ve been wanting to work with her since ‘Mary Hartman, Mary Hartman,’ when I was like six years old.”


Michael Cera: “Yeah, I’m so happy she’s in this.”


Miguel Arteta: “I love her.”


Michael Cera: “She’s really awesome.”


Miguel Arteta: “How great was she in Being John Malkovich?”


Michael Cera: “Oh, yeah.”


Miguel Arteta: “What was her name, Suarez? Floris!”


Michael Cera: “Right.”


Miguel Arteta: “Her name was Floris.”


Michael Cera: “And what does she…she’s just…yeah, she’s so funny. Everything she says in that is…”


Miguel Arteta: “Yeah, she doesn’t understand the conversation at all…”


Michael Cera: “Yeah.”


Miguel Arteta: “…like disengaged from what the person is saying. She’s super-fast.”


[Interior scene at the Thanksgiving dinner table after Mary Kay’s character, Mrs. Saunders, has been dosed with hash brownies]


Miguel Arteta: “I love Mary Kay reaching her hand out.”


Michael Cera: “She loves Trent.”




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