{"id":124030,"date":"2023-12-19T10:28:10","date_gmt":"2023-12-19T15:28:10","guid":{"rendered":"https:\/\/filmmakermagazine.com\/?p=124030"},"modified":"2023-12-19T10:28:10","modified_gmt":"2023-12-19T15:28:10","slug":"michelle-monaghan","status":"publish","type":"post","link":"https:\/\/filmmakermagazine.com\/124030-michelle-monaghan\/","title":{"rendered":"\u201cIt\u2019s a Gift When People Share with Me their Stories\u201d: Michelle Monaghan, Back To One, Episode 273"},"content":{"rendered":"<p>Discovering Michelle Monaghan in <em>Kiss Kiss Bang Bang<\/em> was like finding evidence that the old-school Hollywood comedy actress gene, long thought extinct, was alive and well. She did more than hold her own opposite Robert Downey Jr. and Val Kilmer \u2014 she stole the movie. I\u2019ve been rooting for her ever since. A few <em>Mission Impossible<\/em>s, <em>Gone Baby Gone<\/em>, <em>True Detective<\/em> followed, as well as some significant work in small indies like <em>Trucker<\/em>, <em>Fort Bliss<\/em>, and <a href=\"https:\/\/filmmakermagazine.com\/tag\/nanny\/\"><em>Nanny<\/em>.<\/a> She returns to comedy with her latest, <em>The Family Plan<\/em>, which is streaming now on Apple TV+. On this episode, she talks about how her deep desire to be a journalist is actually still playing out in her career, why a good vocabulary is the best trait for a director, what precipitates the necessity to protect the arc of her character and how she does it, plus much more. <\/p>\n<p>Back To One can be found wherever you get your podcasts, including <a href=\"https:\/\/itunes.apple.com\/us\/podcast\/back-to-one\/id1372499952\">Apple Podcasts<\/a>, <a href=\"https:\/\/playmusic.app.goo.gl\/?ibi=com.google.PlayMusic&amp;isi=691797987&amp;ius=googleplaymusic&amp;apn=com.google.android.music&amp;link=https:\/\/play.google.com\/music\/m\/Io7ws6gur4lfg24ynygv7vfthse?t%3DBack_To_One%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16\">Google Play<\/a>, and <a href=\"https:\/\/open.spotify.com\/show\/55EIFPtBeBXRkuuDV1qCci?si=vm3uWgNwQK2kwQ3ZMPzRmw\">Spotify<\/a>. And if you&#8217;re enjoying what you are hearing, please subscribe and rate us! Follow Back To One on <a href=\"https:\/\/www.instagram.com\/backtoonepodcast\/\">Instagram<\/a>.<\/p>\n<p><iframe title=\"Libsyn Player\" style=\"border: none\" src=\"\/\/html5-player.libsyn.com\/embed\/episode\/id\/29139458\/height\/90\/theme\/custom\/thumbnail\/yes\/direction\/backward\/render-playlist\/no\/custom-color\/0a0a09\/\" height=\"90\" width=\"100%\" scrolling=\"no\"  allowfullscreen webkitallowfullscreen mozallowfullscreen oallowfullscreen msallowfullscreen><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Discovering Michelle Monaghan in Kiss Kiss Bang Bang was like finding evidence that the old-school Hollywood comedy actress gene, long thought extinct, was alive and well. She did more than hold her own opposite Robert Downey Jr. and Val Kilmer \u2014 she stole the movie. I\u2019ve been rooting for her ever since. A few Mission Impossibles, Gone Baby Gone, True Detective followed, as well as some significant work in small indies like Trucker, Fort Bliss, and Nanny. She returns to comedy with her latest, The Family Plan, which is streaming now on Apple TV+. On this episode, she talks about [&hellip;]<\/p>\n","protected":false},"author":18704,"featured_media":124031,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","wds_primary_category":0,"wds_primary_column":0},"categories":[3931],"tags":[3449,19002,21433,18704,24665,3812,24666],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts\/124030"}],"collection":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/users\/18704"}],"replies":[{"embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/comments?post=124030"}],"version-history":[{"count":1,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts\/124030\/revisions"}],"predecessor-version":[{"id":124032,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts\/124030\/revisions\/124032"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/media\/124031"}],"wp:attachment":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/media?parent=124030"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/categories?post=124030"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/tags?post=124030"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}