Jennifer Lawrence Is Emotional Rewatching Winter's Bone & Praises One Battle After Another

God, I'm really nerding out on this couch. I feel like I'm gonna cry. Hi, I'm Jennifer Lawrence, and I'm gonna be playing back some films that are special to me. The first clip we're gonna see is from Die, My Love. You wanna get married? Yeah, yeah, **** yeah. He's meeting her where she is, and I think she's kind of pleasantly surprised by this. Obviously, the proposal is really special, but I feel like what happens before is kind of almost more profound to her. Martin Scorsese called me because he had read this book in his book club, and so I read it right away. I was six weeks postpartum with my first son, and I was actually having a lovely postpartum. Because I was having such a nice experience, I was able to kind of go there, because I think if you identify too much, you would just want to avoid it and be like, I don't wanna do that. So I think it was a blessing that I was in such a kind of floaty headspace. And then I think A Woman Under the Influence is one of the most influential films to me, and any actor would want that kind of role. So if this can work, this would be the most phenomenal thing to do. What struck me at first was this isn't a normal movie, because it's all told from the character's inner world, an inner monologue. So it has to be made in a subversive way. And I think the only filmmaker that comes to mind for me when I think, who is a poet, is Lynne Ramsey. She's a poet. If anybody can create this for cinema, it's only Lynne Ramsey. And then she said yes. This is the best movie I've ever seen. This is one battle after another. What time is it? You know, I don't remember that part, all right? Let's just not nitpick over the password stuff. Look, this is Bob Ferguson, all right? You just called my house. Let's cut the, I need the rendezvous point. What time is it? Look, Steve Lockjaw just attacked my home. Time is an illusion, but it controls us anyway. I don't remember any more of this. I don't remember any more of this code speak, all right? Let's just get on with it. What is the rendezvous point? I can't remember a time where I've had an experience like that in the cinema. And it was shared. When it was over, everyone applauded. I just kept thanking my husband over and over and over again because he had booked the tickets like two weeks in advance. And I just couldn't say anything else other than just like, thank you for that experience. You have to see it in theaters. I think it's an impossible pace to uphold. There's not an extra minute in it. At no point does it drag. And P.T. Anderson has so many characters inside of him and they're all so visceral, so real that it's so alive and you're in it. Every character, you know them and you see them. I mean, the performances are unbelievable. Sean Penn, I mean, Leo, obviously, but I mean, my God. This was the movie that really put me on the map. This is Winter's Bone. If dad has done wrong, dad has paid. And whoever killed him, I don't need to know all that. But I can't forever carry them kids. And my mom, not without that house. So sad. I feel like the last time I saw that I was younger. Now I'm like a mom. I remember it so well. I remember that scene so well. Debra Granik was so, she made it so immersive. It was hard to tell what was real and what wasn't. You know, there were so many people in that movie that weren't actors. And the costume designer, I can't remember her name, but she would buy kind of new Carhartts and new coats and clothes and things like that and trade them for the locals, like kind of worn. So everything had this really realistic veneer. I did a movie, The Poker House, when I was 16. And I won something for it and was just like, I think in my mind, I thought like, well, that's because I could do that one character. And then was really nervous to do a second movie, which was Burning Plain. And then this is, I can't like anything, I ain't got something right in a word. And so I was like, well, that was just that one movie. And so by the time I got to Winter's Bone, I kind of started being like, I think I can do this. I feel like I started kind of listening to my instincts kind of more and kind of having more confidence and like awareness of what I was doing. When it came out, I got nominated for an Oscar and obviously that was shifted me from, I was like an indie kind of unknown person and that obviously put me on a bigger, then I got Hunger Games. So I guess, yeah, it was entirely different. This movie is the most beautiful movie in the world. In my world, it is In the Mood for Love. I mean, I don't, it's for anybody that loves like a period love story, it's like similar to Pride and Prejudice and it's like set in this conservative society and this specific time and this reluctant love story where everything is so chaste, but like just passing in the hallway or like the touch of a hand is so electric. And the cinematography and the set design is so beautiful. There's pastels and pops of color, there's source lighting with shadows. It's, I mean, if anybody wants to do anything in film, this is a must, you must see In the Mood for Love. My husband is more of a cinephile than I am. So he's showed me a lot of stuff. In the Mood for Love, I feel like I watched when I was like younger and I was just starting to kind of get into movies and I loved the love story, but I didn't understand visually kind of what was happening until I had more experience because I'm always interested on set, you know, what the camera guys are doing, how the DP, see, it's just interesting to me because it's not my world. So with more experience, I started paying attention to cinematography. And so my husband and I were trying to find something to watch. And we were both like, oh, I could totally rewatch In the Mood for Love. And I was like, yeah, I would love to rewatch In the Mood for Love. And then it was like, I had never seen it before. And I just, it was just overwhelming. It just makes you cry. When you look at, when somebody is so talented, when there's a group, because what I love about film is the collaboration. You have somebody who's been studying styling for years and they do wardrobe and that combines with somebody who knows how to think of what a person's apartment would look like and where they live and production design and the cinematographer and the directing and it all comes together, obviously the actors and performances, but looking at something so beautiful and seeing people that are so talented, a talent like Wong Kar-Wai, getting, being alive and being able to witness. Like that's how I felt when I saw one battle after another. The fact that I am alive and I got to see this in theaters, I feel so grateful. And that's how I felt when I watched In the Mood for Love. The cinematography made me cry. God, I'm really nerding out on this couch. I feel like I'm gonna cry. What is the one piece of film or piece of TV that you think everyone should watch at least once a month? You're gonna make me choose between In the Mood for Love and One Battle After Another and Phantom Thread? Oh God, In the Mood for Love. Oh, I hate that because you have to, you also have to see One Battle After Another but In the Mood for Love. It's a cinematography must. That's the house from Die My Love. Bonsai tree. Passengers? Oh, there's a tree. Well, you threw me off a bonsai. Not that I would have gotten it anyway. I wouldn't. The urn. Is that mother? The telescope. Don't look up. I get it. And what are the books? Oh, they're just books. Oh, okay. I got them all? Okay. Thanks for having me. What a cool premise.