27 Of The Nicest Celebrities According To Pilots
Recently, I came across a pilot's forum and a thread on it asking about the nicest celebrities pilots have flown. Some of these make a ton of sense (looking at you, Julie Andrews), but some were a delightful surprise.
"Anthony Hopkins. Flew him back from LA. A delight and absolute gentleman."
— olster
"Gordon Ramsay, recently. Utterly lovely and charming, 'Please call me Gordon.' Just wanted a bottle of water and slept for the entire flight."
— galanjal
"Celine Dion, when I was flying private. Completely lovely – even offered to take us to dinner, but we had to return to base."
— toratoratora
"Anne Bancroft and Mel Brooks. He was hilarious, but she was really quiet, almost shy!"
— Extrolleydolly
"The only one that really impressed me and should impress every pilot here was Sen. John Glenn. He came up after a very rough flight. We were the last plane into KCLT as the others started going around after us. He shook both of our hands, and he was flying coach."
— skyhighfallguy
"Forest Whitaker. Super nice guy! He signed my passenger manifest."
— nick_m_007
"Robert De Niro. Very pleasant, funny, and friendly. He was wearing a wig as a disguise."
— HEMS driver
"Tom Cruise. Splendid fellow. Asked politely if he might come to the flight deck before departure, whereupon he asked some questions and we chatted about his new P51. Obviously, he stayed on with Cameron Diaz for some photos. Salzburg to Seville for the filming of Knight and Day."
— blue up
"Denzel Washington. Very friendly and chatty. We had a good chin wag in the galley."
— Tray Surfer
"Amy Winehouse. Met her a couple of times. The last time she got off, and was lovely (obviously had been at the cooking sherry), and wanted to know how my day was, and what I was doing after work."
— EKA380LHR
"Prince William, a few years ago. Absolutely delightful, very down-to-earth."
— bunnygirl
"Sade. Lovely, charming woman. Had time to chat with the crew and gave tickets to all of us on the flight, including backstage passes, plus meet and greet photos. She even invited the flight deck (us) to her concert and made sure her assistants looked after our tickets."
— NG_Kaptain
"Michael Caine. Such a LOVELY man! Flew him to Venice for the film festival, and he came into the galley and had a chat with us and was just so lovely."
— jumpseatR4
"Julie Andrews. Wonderful, warm, and friendly."
— vctenderness
"Zac Efron. Engaging, personable, and signed an autograph. Those eyes do glimmer so much more in real life. True gentleman!"
— mjo84
"Gerard Butler. Had the pleasure of meeting him on a Virgin Atlantic flight to LAX last month. What a nice man. He was very friendly and chatty. A real pleasure to talk with."
— Lucky747
"Grace Jones. I met her in the Senator Lounge at FRA. She asked me if I knew how to use the massage chairs, as I was just about to get on one. I didn't realize who she was until I heard the lady with her address her as 'Grace', then the penny dropped. I offered her the first use of the massager, and she declined. She is charm personified, very dignified and quiet. She must have been in her mid-fifties then; she looked about 40."
— Capetonian
"Eric Clapton. A legend and a hell of a nice guy. He gave the entire crew comps for them and their family to his concert."
— joeflyguy
"Kelly Rowland. Was lovely. She slept for a lot of the flight as she had flown in from LAX, and we were taking her on to her final destination, but she happily posed for pictures with the crew. Very down-to-earth and stunningly beautiful."
— glider12000
"Tina Turner. LHR–LAX in first class. She sat on the floor for several hours playing with a baby also traveling in first class. Charming and entirely without airs and graces."
— Flightwatch
"Olivia Newton-John. I have taken her between LAX–SYD a couple of times. So pleasant, friendly, and polite."
— Grove
"Michael Douglas. A true 'A' lister. Absolutely charming, shook everybody's hand, and thanked us after the flight."
— bunkrest
"Sean Connery. Top bloke. Sat in the cockpit for nearly the whole flight and chatted about anything from politics to football. Really nice."
— Abusing_the_sky
"Kate Hudson. Quiet, initiated conversation, showed a genuine interest in our lives, and felt more like a good friend than a passenger. She was even joking/teasing me about a very attractive bloke behind the curtain in economy."
— ozangel
"Jack Johnson was onboard one of my short sectors between Sydney and the Gold Coast. He was a very pleasant guy, smooth voice, beautiful tanned skin, and also had his wife/girlfriend with him as well as his cute little son."
— TeamJQboy
"I met Ricky Martin in our training centre. He was there to do some filming in a flight simulator for a TV show. He was lovely, posed for photos, and was very chatty. Shame I got really nervous and could not think of a single thing to say to him."
— ezpz
Finally, "Robin Williams. The most down-to-earth, sweetest guy. No entourage for him, boards quietly and low-profiles it. Very funny and will laugh at your own jokes."
— Dea Certe
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Forbes
10 hours ago
- Forbes
This Grande Dame Copenhagen Hotel Has A Michelin Star, Champagne Bar, And The City's Only Indoor Pool
Hotel d'Angleterre Courtesy of d'Angleterre Some very special hotels allow guests to time-travel, transporting them back to a more elegant era when wearing sweatpants and slippers in first class, or showing up to a high-end restaurant in a t-shirt and ripped jeans, would have been unimaginable. That's the case with Hotel d'Angleterre, an opulent neoclassical palace-turned 5-star hotel whose glamorous legacy and elegant interiors layered with fine marble, plush silks, twinkling crystals, and priceless artworks dates back to 1755. Alfred Hitchcock on the set of his 1966 film, Torn Curtain Getty Images The legacy hotel was even used as a backdrop in several scenes of Torn Curtain , a 1966 movie starring Julie Andrews and Paul Newman. Its famed director, Alfred Hitchcock, makes a cameo from the hotel's glam lobby. Boasting a decadent Michelin-starred restaurant, luxe Champagne Bar, beautiful pink patisserie, and a see-and-be-seen terrace — not to mention the only indoor swimming pool in all of inner Copenhagen and one of the city's biggest ballrooms — there's a lot to love about this iconic grande dame hotel in the City of Spires. Hotel d'Angleterre, on Kongens Nytorv, in 1880 Sepia Times/Universal Images Group via Getty Images Hotel d'Angleterre's rich history dates back 270 years, making it one of the world's longest-operating hotels. In the mid-1700s, Jean Marchal — a young Frenchman who originally came to Denmark as part of a theatre troupe — was hired as a valet to Count Conrad Danneskiold Laurvig. When Marchal fell in love with the royal chef's daughter, Maria, the pair married. In 1755, Mr. and Mrs. Marchal put their service and culinary talents to use by opening a restaurant and hotel on Kongens Nytorv (King's New Square), in the heart of Copenhagen. In 1787, the property changed hands and took on the name that it would carry for hundreds of years: Hotel d'Angleterre. When the hotel burnt down in The Great Copenhagen Fire of 1795, the owner reopened the hotel in a converted building nearby, in the location where it has stood ever since. The property went through a succession of owners and ambitious renovations over the many decades that followed, and got upgrades like a luxurious spa and the gorgeous mosaic-roofed Palm Court. Hotel d'Angleterre's glamorous legacy dates back to 1755 Courtesy of d'Angleterre Location The hotel is conveniently located in the heart of Copenhagen. It's just 1,000 feet from Nyhavn, the rainbow-colored 17th-century canal and dining destination that's one of the city's most popular attractions. Marchal's lively terrace Courtesy of d'Angleterre Exquisite plating at the hotel's French-Nordic restaurant, Marchal Courtesy of d'Angleterre Highlights Prime location in the heart of the city center 5-star service Elegant old world architecture with stylish and luxe interiors Michelin-starred French restaurant, Marchal Balthazar Champagne bar A stellar art collection that includes works by Warhol, Miró, and many contemporary Scandinavian artists 92 guest rooms (including 55 suites) that are individually decorated Beautiful spa, and the only indoor swimming pool in inner Copenhagen Royal suite Courtesy of d'Angleterre An original Warhol hangs over the reception desk Courtesy of d'Angleterre Architecture and Decór The historic property's beautiful bones are complemented by opulent layers of marble and gold, silks and velvets. Which is not to say that it feels dated or dusty: all of the best historic elements have been preserved, and everything else has been renovated and refreshed. Traditional pieces sit alongside more modern furnishings, lighting fixtures, and art. (Andy Warhol's original portrait of Her Majesty Queen Margrethe II sits above the reception desk, and contemporary works from the Danish art scene are on display throughout the property.) Guest room with balcony overlooking Kongens Nytorv Courtesy of d'Angleterre The lavish 2,690 square-foot Royal Suite Courtesy of d'Angleterre Rooms & Suites There are 92 elegant guest rooms (including 55 suites), all of which are individually decorated in tasteful and calming earthy neutrals. The hotel's crowning gem is the Royal Suite, which marries old world luxury and stylish contemporary accents. At 2,690 square feet, the lavish suite (which was designed to feel like a private apartment) boasts one of the largest hotel balconies in the city, with an unbeatable view over all the comings-and-goings around Kongens Nytorv. The sleek indoor swimming pool, a rarity in Copenhagen hotels Courtesy of d'Angleterre Spa The tranquil spa on the property's lower level feels like a hidden oasis, with a sleek and contemporary pool that is, in fact, the only indoor swimming pool in inner Copenhagen. The chef's table at Michelin-starred Marchal Courtesy of d'Angleterre Marchal showcases beautifully plated classic French dishes with Nordic flair Courtesy of d'Angleterre Dining The hotel's signature restaurant plays homage to its original owners with its swanky fine dining restaurant, Marchal. The French Nordic-inspired nabbed its first Michelin star in 2014, and has maintained its one-star rating ever since. The restaurant is helmed by chef Alexander Baert — an English-born chef who was raised in France — who trained under culinary greats including Alain Ducasse, Anne-Sophie Pic, and Rasmus Kofoed of Copenhagen's famed Geranium restaurant. The a la carte and 6-course tasting menus lean luxe, starting with a 'parade of canpés'(think petite crab tartlets in gelée decorated with edible flowers, smoked salmon topped with caviar, and foie gras on brioche with 23k gold). French classics like canard à la presse, pithivier, and crêpes Suzette adorn the menu, but are given Nordic flair, and modern and refined plating. When the weather allows, guests should not miss the opportunity to dine on the popular terrace across from Kongens Nytorv, where it seems you can watch all of Copenhagen bustling by. Before of after dinner at Marchal, be sure to stop by Balthazar bar (the name of a 12-litre bottle of Champagne) for a glass of bubbly in another one of d'Angleterre's glamorous see-and-be-seen destinations that are popular with visitors and fashionable locals alike. Balthazar Champagne bar Courtesy of d'Angleterre Who It's Best For Couples Families, including multi-generational groups Solo travelers Business travelers Foodies The hotel is 1,000 feet from Nyhavn harbor Design Pics Editorial/Universal Images Group via Getty Images What's Nearby D'Angleterre's prime location on King's New Square makes it easy for guests to explore the city. Metro and bus stops are literally feet from the hotel's doors, and countless top attractions are a quick walk or bike ride away. Walkable destinations include: For more information, or to book a stay about this Copenhagen hotel, visit Hotel d'Angleterre.
Buzz Feed
a day ago
- Buzz Feed
22 Best And Worst Movie Musical Adaptations
As a movie musical lover (and a once theatre kid), I love seeing how passionate people get when debating movie adaptations of beloved stage shows. Over on Reddit, theatre fans are sharing the absolute BEST of the best stage-to-movie-musicals, to the ones that massively flopped and ultimately embarrassed themselves. Here's what they had to say — and fair warning, theatre folks don't hold back (it's the trauma from getting brutal post-show notes from drama teachers.) "Chicago works because it's one of the only ones that didn't think of a movie as an improvement on the limitations of the stage, but rather imported the idiosyncrasies of theatre into the movie. Other movie musicals are often ashamed of their origin, but Chicago embraced it." "The fact that they pulled off Wicked after all these years, all the production delays, and so many stage play iterations to compare it to if it went blows my mind how good it was! I know we still have Part 2 but considering it was all filmed as one movie, I think we're gonna be just fine!" "I saw the Wicked stage production for the first time a few weeks after seeing the movie, and I actually prefer the movie. When watching the stage, I got whiplash from the pacing on the first act, and the writing of the second act felt messy. I understand why the stage production is the way it is, but the movie had the chance to correct one of my biggest gripes. That being said — "Defying Gravity" is the only thing I enjoyed more on stage. Seeing someone lifted into the air in person hits harder than on screen." "I know how some people feel about jukebox musicals on here, but the movie version of Mamma Mia is legitimately so much better than the stage version imo." "The Fiddler on the Roof is not only one of the best movie versions of a musical I've seen, but might be one of the best movies I've ever seen in general. (Granted, the list of movies I would consider "one of the best I've seen" is pretty extensive!) "Can't believe how little The Sound of Music is being mentioned in this thread. Kind of THE definitive Broadway-to-movie adaptation, both in terms of cultural impact and in terms of how it improved on the stage version. Julie Andrews gives an all-time iconic performance as Maria, and the filming location in Austria with all the helicopter shots of the Alps is just magic." "I'm always in awe of how amazing Matilda is throughout all mediums. The book, the movie, the musical, and the musical movie are all incredible and I think there's something really special about that." "Probably The Rocky Horror Picture Show. Capturing the spirit and vibe of such a musical is amazing, and they did it." "I haven't seen every single movie adaptation of the musical, but of the ones I have seen, I usually refer to 1962's The Music Man as a perfect way to transfer a Broadway show to a film..." "I will also say that Oliver! is the rare example of a film version of a musical that is actually better than the stage version." "Best: Hairspray. I honestly think that the few changes that were made improved the story/flow." "Please do yourself a favour and watch The Producers with Matthew Broderick and Nathan Lane. It is an almost 1-to-1 adaptation of the stage show, minus a song or two. It is a clever and hilarious thrill ride, with loveably unloveable characters." And now, the worst: "As someone who treasures and adores Rent (it meant SO much to me at a certain time), the movie was horrid and made me angry!" "In terms of worst, there's a lot of options, but 13's movie adaptation will never fail to bewilder me. It's like they went out of their way to make every wrong choice they could..." "I've got a bone to pick with the In the Heights movie. Lots of good, fun choreo, but John Chu cut it from a love story between a neighbourhood and its people into one between Usnavi and Vanessa. Lots of very weird changes, including the "X days until the blackout timer," which ruins the surprise of the act I finale. I could go on and on...I lived near the set, though, so that was a really fun summer." "Honestly, if The Phantom of the Opera had better male leads, it would've been perfect. But putting 17 year-old Emmy Rossum with two 30+ year-old men, and having her kiss them gives me the heebie jeebies. (On top of the male actors' terrible singing)." "A Chorus Line takes the cake as the worst. Some great performances (Terry Mann can do no wrong) but the transfer to film doesn't work." "They didn't use Michael Bennett's original choreography, they completely sidelined certain characters, and they CUT 'THE MUSIC AND THE MIRROR'." "Rock of Ages. Why Tom Cruise? Why Alec Baldwin? Why goddamn Russell Brand? Terrible show gives you a lot to work with and that adaptation just turned it to crap. I was so excited, ROA is genuinely a good show. It's campy as fu**, but it's SUPPOSED TO BE! The '80s were cheesy and campy and ridiculous. The stage show was great. The movie sucked balls." "Dear Evan Hansen was pretty high up there with not good adaptations. As much as I love the score and the show, I know it's problematic — but that show and its music got me through one of the harder times in my life. I love my Benny boy fiercely but he definitely looked extremely out of place and it felt like the whole thing was trying too hard. I loved the addition of 'The Anonymous Ones' — that is a beautiful song. But cutting out 'Good For You' was not a great call. "Meh: They faceplanted on The Last 5 Years by having them both in every scene together, imo. Completely effs up the emotional impact." "Sweeney Todd (unpopular opinion). It's hard to capture Sondheim properly, and they failed at almost every stop. This story needs to be Shakespearean, incredibly complex, and highly absurd in order for it to work. They reached for it all, but landed at none. Also, they started the dreadful trend of having tenors singing Sweeney's part, and I can't forgive that." "The Into The Woods movie SUCKS ASS I hate it so much. They cut out 'No More' (literally a pivotal moment in the baker's character development) and cut the narrator and the mysterious old man entirely?? And kept Rapunzel alive?????? Not to mention JAMES CORDEN. UGHHHH I hate this movie." And because these two were such popular answers, we had to give a special shoutout (or side-eye?) to what might just be the most universally hated movie musical adaptations... "Cats is genuinely one of the worst films I've ever seen. I thought it would be funny as a hate-watch, but it wasn't even 'so bad it's good.' It was just awful and made me sick to my stomach at several different moments lol." "I mean Cats is so obviously the worst so it shouldn't count to say Cats hahaha." "Cats was horrific and I wonder how anybody got roped into it. The cast was stacked." "The Mean Girls musical movie adaptation was awful. It felt like they were embarrassed they were making a musical." "The Mean Girls musical movie was one of the worst things i've ever seen." Let us know your all-time favourite and most hated movie musicals in the comments — I'll go first: I LOVE Mamma Mia (yes, even with Pierce Brosnan' singing, it's campy!), and I HATED the Mean Girls movie musical. Not super original answers, I me.😅😅 If you like what you see, be sure to follow BuzzFeed Canada on TikTok and Instagram for even more hot takes and theatre kid energy.🎭✨
Yahoo
18-06-2025
- Yahoo
How Kathy Bates Cracked ‘Matlock' — with Wisdom from Anthony Hopkins and ‘Fried Green Tomatoes'
On June 5, the IndieWire Honors Spring 2025 ceremony will celebrate the creators and stars responsible for some of the most impressive and engaging work of this TV season. Curated and selected by IndieWire's editorial team, IndieWire Honors is a celebration of the creators, artisans, and performers behind television well worth toasting. We're showcasing their work with new interviews leading up to the Los Angeles event. A studied actor celebrating her biggest TV role ever at age 76, Kathy Bates recruited some legendary help to get ready for 'Matlock.' In 1992, the year after she won her Academy Award for 'Misery,' Bates presented Anthony Hopkins with his Oscar for 'Silence of the Lambs.' More from IndieWire On '1923,' Aminah Nieves Delivered One of TV's Great Breakout Performances - but She Almost Said No to It Amazon MGM Studios Unveils 'Vought on Ice' Fan Activation in Los Angeles to Celebrate 'The Boys' The pair caught up in 2021 when Hopkins won Best Actor again for 'The Father.' Both killers of the silver screen, Hannibal Lecter and Annie Wilkes were keen to talk shop — an honor Bates extended to IndieWire as our 2025 Vanguard award winner. 'When he was doing 'The Father,' I had seen a lot of the interviews [Hopkins] was giving to the press,' said Bates. 'He was talking about being an actor who did extensive work on his characters and took tremendous notes on his scripts. At his age now, though, he just learns his lines and learns his lines. Then, he goes out and has a ball.' Hopkins and Bates are world-famous for disappearing into their characters. What it takes to pull that off is still a mystery to many, but the challenges facing Bates on 'Matlock' are clear. CBS's so-called 'reboot' centers on a quietly extraordinary role and an undeniably genius actor. To hear Bates tell it, you need a robust toolkit to make the part work, and the script is where you start. 'It's interesting to me that [Hopkins] went from being fully prepared to letting it fly and staying in the moment. With this, I find I really have to do both,' said Bates. 'This is not your grandfather's 'Matlock.'' A contemporary Trojan horse, this unique spin on a classic crime title — starring Andy Griffith from 1986 to 1995 — sees Bates leading the charge as Madeline Kingston. Yes, Kingston. The new Matlock is an accomplished attorney too, but one who only assumes the iconic moniker as an alias. Last season, viewers watched Matty Matlock go undercover at Jacobson Moore, an elite law firm in New York City, to investigate its culpability in the opioid epidemic. 'For the pilot especially, to walk into that boardroom, I had to have a fully formed character without being able to relate to any of the other actors,' Bates said. 'I had to really dig deep and find out, 'Who is this woman? How much of myself can I use to create her?'' Confronted inside by megawatt talents Skye P. Marshall, Jason Ritter, and more from the show's stellar cast, Bates spins Matty into a walking-talking subversion of the 'invisibility' so many women say they feel as they age. Teaming up with Cloud Nine to secure the rights to 'Matlock,' showrunner Jennie Snyder Urman and her production company, Sutton Street, delivered a ratings juggernaut. 'Every bit of this show, I just can't believe it,' said Bates. 'I feel like this should have come earlier in my career. It's a total surprise to me that I would have this success right now, and we're all just going, 'Can you believe this?' The numbers are incredible.' The smash-hit legal drama has appeal across demographics and continents. Bates says it's also the most publicity she's ever done. Much like Demi Moore's 2024 Oscar campaign for 'The Substance,' the pensive reexamination of sexism at the core of 'Matlock' continues to connect with fans. Per Bates, Urman came up with the idea while taking a walk to reflect on her own evollution as a woman in Hollywood. What had aging into her forties really meant for Urman? And what else might change in the showrunner's fifties, sixties, and beyond? 'I was extremely lucky they wanted Matty to be in her seventies, because they could have easily gone with the great-great granddaughter of Andy Griffith's Matlock,' said Bates. 'But Jennie really puts her soul into things. I've always felt that who you are as an artist has to be informed by who you are as a human being, and she's this stellar human being who has really put her heart inside this character.' 'Matlock' lets Bates repurpose erasure as a kind of narrative cloaking device. While Matty hunts for clues and argues cases, Bates covertly thumbs through the psychological layers of a woman on a well-meaning revenge mission. On TV shows, it's common for directors to set 'tone meetings' to decide the look, feel, and flavor for each episode. With 'Matlock,' Urman gave Bates a specific mood to hit in every scene. That's 'deeper than stage directions,' said Bates, who added, 'You don't want to play the character. You want to be the character so that you can play with the other actor.' Bates combed through pages and pages of 'Matlock' to find what she calls 'essential storytelling architecture.' Trained in the Sanford Meisner method of acting — and not afraid to throw that terminology around! — Bates prepares solo by combining heavy line repetition with deep character work. (For annotations, shes uses the Scriptation app, but said her process used to involve stacks of paper, colored pens, and a three-hole-punch.) Devouring that same material in a group, Bates said, has produced a new technique. As suggested by actor David Del Rio (aka first-year associate Billy Martinez), the main collaborative engine for 'Matlock' grew out of the spare time that gets wasted on some sets. After checking their marks and moving to allow the cameras to get in position, actors often go back to their trailers. 'With the Del Rio method, we take that time to go and all sit down in another room and say, 'OK, I don't understand this case,'' said Bates. ''What's happening here?' 'Can you explain that case to me?' 'What's going on with you and I here?' 'Where are we?' 'What's the tone of this?' That gives us a way to really be firm and understand what's happening in each scene.' This isn't the first time Bates has leaned into the expertise and advice of other actors. One of the first big instances came with her bittersweet comedy performance in 'Fried Green Tomatoes' — a memory with lessons Bates says she recognizes now but that wishes she had learned then. 'I wish I had a chance to go back and redo Evelyn Couch,' she said. Post-Oscars for 'Misery,' Bates was in Japan when she got the script from director John Avnet. 'I thought, 'Oh, this is fabulous! I want to do it,'' said Bates. 'But when I got back home, my head was spinning. He was asking me about wigs and costumes and this and that, and I thought, 'Holy crap.' I was used to doing theater where you have weeks to prepare.' On set, 42-year-old Bates found herself overwhelmed by the frantic pace of shooting and said she was unsure how to bring the sympathetic role of Evelyn to life. That's when she went to talk to her senior co-star, the zesty Jessica Tandy, who at 74 was two years younger than Bates is now. 'I knocked on Jessica's trailer door and she said, 'Ah, you've come to see the Wise Woman,'' said Bates. Tandy pushed her junior castmate to refocus on her acting skills and told her to 'go do three plays on Broadway.' An accomplished stage performer, who had just left New York, Bates realized years later that Tandy was pushing her to embrace the same ethos titans like Hopkins are sharing with her now. 'The English actors and the British actors and the Australian actors make it look so easy. Even when they're young, they train in the theater,' said Bates. 'That rehearsal time has to be part of who you are as an actor, and I don't think I did it long enough in New York to have had that under my belt. At the time we did 'Fried Green Tomatoes,' I certainly was nowhere near the level of Jessica.' Bates still loves that movie and says she'll end up watching scene after scene if she catches 'Fried Green Tomatoes' on TV. She's especially fond of the menopause moment, when Evelyn says, 'I'm too old to be young and I'm too young to be old.' And yet, looking back, the 'Matlock' star says she can't help but see the film as an uncracked case. 'I was always running to catch up, and I think it shows on screen,' said Bates, adding that she also wished she had done more to support Mary-Louise Parker and Mary Stuart Masterson on the press tour. Bates said they were frequently sidelined in coverage by the attention on her and Tandy — despite the two Oscar winners repeatedly insisting, 'It's their story.' Once again, Bates used the word 'effortless.' These days, the ferociously kind talent is fast to compliment CBS, cast, and crew but continues to demand more from herself as an actor and public representative who is ready to fight for 'Matlock.' 'I kind of rake myself over the coals when I shouldn't, but I do feel a tremendous responsibility,' Bates said. 'Last season, I asked somebody, 'How long have you been doing this?' And one guy would say, 'Oh, I've been doing this for 35 years.' 'Oh, I've been doing this for 20 years.' You start adding that up, and there's hours and hours and hours of experience of all these people there.' She continued, 'So, you respect that. You respect each human being and what they bring to the table. That's what I walk onto set with — the respect for the experience that everybody has brought to create this show. It truly fills me with joy to be around such people.' Happy to discuss cliffhangers but overjoyed to pick apart character choices, Bates said 'Matlock' still feels 'like serendipity.' It's also become her second home in Hollywood — the first Bates says she's had since falling for Rob Reiner's team on 'Misery.' The actor lives near the CBS backlot in Los Angeles, where Matty Matlock will spend Season 2 living in a studio version of New York, while Bates continues to embrace real wisdom. 'You've got to know your stuff so you can make it look easy,' she said. 'Then, you can fly.' 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