Brad Pitt & Adam Sandler - Actors on Actors - Full Conversation
Brad Pitt & Adam Sandler - Actors on Actors - Full Conversation
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00:00 (upbeat music)
00:02 - Actors on actors.
00:08 I feel like we should be talking about colonoscopies.
00:10 That's kind of our wheelhouse these days.
00:14 By the way, I always wondered,
00:16 because when they put you out, you were on your back.
00:19 - I was on my backish side.
00:22 - It wasn't 'til your film, Uncut Gems, that's a plug.
00:27 When I realized, they just must push us over
00:30 while we're out.
00:31 - Oh man, I'm terrified knowing that,
00:33 because I was awake during that shot,
00:37 but I didn't pretend to be asleep.
00:39 That was a real doctor in there,
00:41 and he was talking, and he was touching,
00:43 and I wish I was out.
00:46 - And poking, and prodding, and,
00:49 hey, this is what we do for art.
00:51 You gotta suffer.
00:52 - They say it's in the script, I do it.
00:54 Now I'm--
00:55 - No, it was convincing,
00:56 'cause you looked out, you had this kind of--
00:58 - I did, I did.
00:59 - This very feeble--
01:00 No, I--
01:01 - I know, I know.
01:02 - No, that's hard to pull off.
01:03 - I was in a weird position, yeah, yeah, yeah.
01:05 I can't--
01:05 - It was compromising.
01:06 - It was compromising.
01:08 I know, man, it's funny.
01:11 I got shoulder surgery.
01:12 I played basketball with the guy
01:14 who did my shoulder surgery,
01:16 and he looks at me now like he knows something.
01:19 I'm like, what did you do to me, man?
01:21 What did you do to me?
01:23 But the Once Upon a Time in Hollywood, Tarantino.
01:28 - He's good, that Tarantino.
01:30 He's pretty good.
01:31 - He should keep going.
01:32 He should make at least one more, I feel.
01:33 - I think so, I think he should make one more.
01:35 - Exactly, but then he's gotta pull the plug.
01:38 To me, he's got one more in him, and then that's it.
01:41 He sure, now, you get that script.
01:44 I know, I've seen Quentin.
01:46 He is, he goes hardcore at perfection in the script.
01:50 So the script itself, you get that.
01:52 You get your character.
01:54 What's the first thing you do
01:56 when you know you're gonna do it?
01:57 - Well, this one, because the previous one,
02:01 the script got burned, so this one,
02:05 it was just one copy, his first copy,
02:07 and you had to go to his house and read it.
02:09 And I think the Rick Dalton character
02:12 had to get cast first before.
02:14 He was trying to find the pair
02:16 before the cliff booth would happen.
02:18 So the first time I went,
02:19 it was a nice, clean, crisp script.
02:21 And I got called back, I don't know how many weeks later,
02:24 and it was all dog-eared and snot-stained
02:26 and coffee cups. - Yeah, yeah, yeah.
02:28 So you got to read it pretty much first.
02:30 - I don't know, I was somewhere.
02:32 - You were up top. - The script was pretty clean
02:34 when I first got there. - Yeah, yeah, yeah,
02:35 you started out.
02:36 - When I got the job, it was pretty well-used.
02:38 It was pretty dirty.
02:40 - And the dialogue itself, it's, you--
02:45 - Tarantino's different.
02:46 Tarantino, me, who's never done Shakespeare,
02:51 but there is a specific rhythm.
02:58 They talk about the,
02:59 and I found that with the Coen brothers,
03:01 and I find that with Tarantino,
03:03 that there is a very particular music to it,
03:07 and where some jobs we do, we get to riff,
03:10 and that's great, we make it natural,
03:12 and we put our little interesting bits in it,
03:14 you know, and we make it our own,
03:17 but here, I find it only just lets the air out of the tire,
03:21 and the stuff goes. - That's right.
03:23 Yeah, you feel it, yeah, yeah.
03:25 That's so fun.
03:26 - He's one of the few scripts,
03:28 he's one of the few writers that I've read
03:30 where you get it, you can hear it immediately.
03:33 - Yes, for sure. - It's so specific.
03:34 - For sure, yes.
03:37 - He's also, you know when you're out somewhere,
03:39 and you're like, I describe his writing this way,
03:41 when you're, and you have an embarrassing moment,
03:44 or you get ripped, you don't,
03:46 you know, you're not sharp on the comeback,
03:47 and you're driving home, you think of the perfect comeback,
03:50 and you're like, oh. - Yes, yes, yes.
03:51 Yes, he has that. - He has it.
03:52 - Laid out for you. - Yeah.
03:53 - Man, even that last, even that bagel thing at the end,
03:57 when you said you could make a bagel,
03:59 what was that? - It's so funny.
04:01 That was so funny, man. - Often, it's good.
04:04 - Was that your last line in the movie,
04:05 or something, or something?
04:06 Oh no, I try, I try. - Close to it.
04:07 That's close to it.
04:09 - Man, you were funny. - But that's him.
04:10 That's, that's, that's the famous Tarantino.
04:12 - I think that might have been a little bit of the valley
04:16 of knowing a lot about L.A.,
04:20 and also the fact that he married an Israeli girl.
04:22 The bagel was on his mind when he was putting this together.
04:25 Maybe that was the connection.
04:26 - Didn't question it.
04:28 I just liked it, 'cause it didn't--
04:30 - It just was so strong that he's like, let me be alone.
04:33 You're just gonna waste your time with me.
04:35 - Without making sense. - Yeah, yeah, yeah.
04:39 - It's official, old buddy.
04:41 - Well, it has been.
04:43 - What are you talking about?
04:44 What did that guy tell you?
04:45 - Told me the goddamn truth is what he told me.
04:47 - Whoa, whoa.
04:51 Hey. - I'm sorry about that.
04:54 - Man, scene after scene was making me laugh.
04:57 It was, to me, you know, it's not a full-on comedy,
05:02 but my goodness, I saw Conan O'Brien,
05:05 and I was at a hotel.
05:07 I just was talking to him, and he just got done seeing it,
05:09 and we talked about the movie,
05:11 and we were both going, man, that was so funny.
05:13 This was so funny.
05:14 It's got the rhythm of a comedy, kinda.
05:19 - What, Quentin's? - Yeah, yeah, yeah.
05:21 - I mean, well, thank you coming from you, 'cause--
05:24 - You, well, thank you.
05:27 - You know that stuff, but it's a different kind of humor,
05:29 isn't it?
05:30 It's kinda, it's a subtle, it's a ride.
05:33 - It also makes you wanna be, you're--
05:36 - It's behavioral. - Yeah, yeah, yeah.
05:38 - Well, the Bruce Lee scene, man,
05:41 you just laughing on the side,
05:42 and just getting excited about a guy boasting,
05:46 and just being, of all people,
05:49 I've seen those guys hang out before,
05:51 the stuntmen, sitting on the side, talking,
05:55 and you do always go, well, those guys
05:57 are the coolest guys on the set.
05:58 - They are. - They are.
05:59 - We all know. - We all know that, yeah.
06:01 They're so much cooler than--
06:03 - And by the way, I'm so happy they're there.
06:05 I'm relying on 'em for-- - Oh, God.
06:07 - For every scene.
06:08 - Oh, yes. - I am the opposite of,
06:09 I don't know about you, but I have no pride
06:13 in doing my own stunt. - Oh, no, no, no, let's go.
06:15 - I'll be taking a rest over there,
06:17 you do your thing, I'll be rooting for you, buddy.
06:19 - I'll run right over to 'em after,
06:20 and they're like, "Way to go, baby."
06:21 That was amazing.
06:23 You really made me look good there,
06:24 but I even look at those guys when I,
06:26 if I'm trying to be funny, if the stunt guys are laughing,
06:29 I'm like, all right, the stunt guys thought it was good,
06:31 everything's good. - It's good.
06:32 - Exactly.
06:33 - But when you do comedies, when you do,
06:36 you know, what I've noticed about,
06:40 you know, you usually have a group,
06:41 and you guys are used to riffing.
06:42 You guys will try another line.
06:44 - Right, right, right. - And another line.
06:46 And then another take, you'll throw out another,
06:47 you know, look for that capper or something.
06:49 - You're always looking for a big out, yeah, sure.
06:50 - Do you bring that same thing when you get to a drama
06:53 or a serious thing?
06:55 - Not really, I let those guys, the Safdie brothers,
06:58 I let them have total, I throw thoughts out there,
07:03 and I talk to 'em during the pre-production and stuff,
07:07 and then on the day, they'll say, try this, try that,
07:10 maybe don't be so upset there,
07:12 and see if what happens there.
07:14 We, you know, we did, and that, like, with the Quentin,
07:17 we did go off the script a little bit,
07:21 mostly script, but then on occasion, you know,
07:25 before action, I would be back in a different room
07:29 about to enter a set, and the Safdie guys would say,
07:32 hey, maybe say this when you go out there,
07:34 see what happens, you know?
07:36 And we went off like that a few times,
07:38 and that got in there.
07:40 - I just figured that would be amazing training,
07:42 'cause it takes a while to be able to get that loose
07:44 where you can, and in truth, I find the scenes end up best
07:49 if you're operating that same way, like,
07:54 the lines don't have to be different,
07:56 but your approach is different, your tone's different,
08:01 and I just thought that would be,
08:04 I was really impressed with you guys, the way you do that,
08:06 and I thought that's really,
08:08 that's the way to approach a scene.
08:09 - I see you out there with the stadiums all booing you,
08:12 you're 30 up, you're still going full tilt.
08:15 Let's see what Vegas, what has Vegas got you guys
08:18 at tonight, take a look, let's see.
08:20 - Are you serious, you're gonna pull this up right here?
08:22 - Look at this, the Sixers are supposed
08:24 to win the game tonight.
08:25 - It's so funny, because when you do a scene,
08:28 and you've gotta cover a scene,
08:29 and do the master, and blah, blah, blah,
08:31 and shoot, and shoot, and shoot,
08:33 there's nothing better than somebody coming up
08:35 with a new line, all of a sudden,
08:37 it's like the freshest thing to you.
08:39 You say that new line, you're like,
08:40 can you give me five more new lines,
08:41 'cause I think I'm getting stiff here
08:43 with this other stuff, you know?
08:45 And that was nice, they--
08:48 - Yeah, I worked with Adam McKay once,
08:50 he would do that, he would just be throwing out
08:52 scenes now. - Right, yes, yes, exactly.
08:54 That's how we, a lot of the comedians
08:57 and the comedy directors do it,
08:59 it's like you got a list of a couple
09:01 of comedy writers in the background
09:03 going blah, blah, blah, blah, blah,
09:04 handing it to the director, director screams out,
09:06 maybe try saying this, this, this,
09:08 and then you either say that line
09:10 or something close to it, and it does create a--
09:13 - But the point, what I took note is,
09:15 I once saw Tony Hopkins, we were doing this scene,
09:19 this was mid-90s, or '97 or something,
09:23 and the scene wasn't working for him.
09:25 I mean, for me, I thought it was great,
09:27 but for me, it wasn't working,
09:29 and he turned around, he turned his back to us all
09:31 for about 30 seconds and turned back around,
09:34 and he did it, he just came in,
09:35 it was just a completely different tone.
09:37 The words were the same, but the tone was different,
09:39 and it was glorious, and I've always made a point
09:44 since then to keep trying to mess up
09:47 the intention of the scene, and that's what I drew
09:51 from whenever I see the comedy guys
09:54 riffing like that, it's always fresh, it's fresh, it's fresh.
09:57 - Yes, and if you know you're gonna get a few shots at it
10:00 in your head, it frees up so much where you go,
10:03 I can't play with this stuff and come at it
10:06 with different directions and stuff.
10:08 When you're on the move and it's pressing,
10:11 we gotta get this shot, get out of there,
10:12 then you do sort of make a decision like,
10:15 I better give my A take, or we're gonna end up
10:20 with something that's not enough energy or whatever,
10:23 but it is cool.
10:26 - Well, maybe it's different, 'cause when I get
10:27 into a drama, it's, don't necessarily know the answer again,
10:32 and again, it's such a subtle, it's about feeling,
10:37 what you feel, what you feel from the scene.
10:39 - Oh, yes, and what the other person brings you.
10:41 - And so that I find it kind of search and destroy.
10:43 - Yeah, yeah, yeah, it's funny, we did a few scenes
10:47 in Gems where when I'm at home working on it
10:51 and I'm alone working on it, it's one thing,
10:53 and then all of a sudden, you're with the other actor,
10:55 you're meeting eyes, you're like, oh man,
10:57 this is bringing a whole other feeling up,
11:00 and it's either working or not, but it is different.
11:03 You never, that's usually when I feel I did something
11:07 right where I was there in the moment,
11:10 when you're locking in with somebody.
11:11 - When you surprise yourself.
11:13 - Yes, and you let yourself say, okay,
11:16 well, that was real at least.
11:17 I don't know if it made 100% sense for the scene,
11:20 but I was there and I felt what I was supposed to.
11:22 - That's always my argument, that if it's real for you,
11:25 it's gonna read real, 'cause the camera, man,
11:28 the camera reads that, and I just wonder
11:31 how you approach that with comedy.
11:33 Is it the same?
11:34 Is it?
11:36 - Right, right, I think so, I think so.
11:38 I think you try to make it make sense
11:40 to the story and your character and whatever you pick,
11:44 and the realer, the better, but then there are guys
11:51 who come at it where they step back from it being real
11:54 and they do something bananas, and it's funnier
11:57 than anything you could do.
11:58 - But like, well, I would say, I see that
12:02 in some of your other stuff, like the really irreverent ones
12:05 like Zohan and stuff.
12:06 - Right, right, right.
12:07 - But I equate that too to like Will Ferrell.
12:09 - Yeah, yeah, yeah, oh yeah, he's incredible at that.
12:12 - But it's still, there's truth in--
12:14 - He always looks like the guy you know.
12:15 - What he's making fun of, you know?
12:16 - Yes, yes, he always looks--
12:17 - There's truth in what you're making fun of.
12:18 - In the scene as that guy, as whoever person he's playing,
12:23 you believe Will Ferrell is in that situation
12:27 and being put upon or taken over or whatever he does.
12:31 He is incredible at that.
12:33 - Well, what I love, but you are too,
12:35 you guys are making fun of truthful situations.
12:37 - Right, right.
12:38 - It can get absurd, it can get bananas,
12:39 but there's truth in the thing.
12:41 - Yes, yes, you're right.
12:42 - But all right, back to Uncut Gems.
12:43 - Yes, okay.
12:44 - I'm a little obsessed with comedy right now,
12:45 that's why I'm banging on your door that way.
12:47 - I love when you, yes, I love that you like that.
12:49 - But this movie, first of all, hats off, man.
12:54 - Thank you, buddy, I'm so happy you liked it.
12:56 - I had such anxiety watching it.
13:00 - Yeah, yeah, yeah.
13:01 - It looked like a ball to make.
13:02 - It was, it was.
13:03 - Except for the panic scenes,
13:04 looked really difficult. - There was some
13:05 heavy moments, yes, yeah, sure,
13:07 but there was so many people in every scene,
13:10 it was so rat-tat-tat and everybody going nuts,
13:13 and it was alive most of the time.
13:15 - It was alive.
13:16 - Yeah.
13:17 - It was noisy, it was chaotic.
13:19 - It was, right.
13:20 - It was a lot of energy going.
13:21 - Yes, yeah.
13:22 - Very kinetic.
13:23 - Yeah, man.
13:24 - But oh my, watching it, oh my God,
13:27 I was so anxious.
13:30 - Yeah, right, right, right.
13:31 - You guy, you know, watching someone,
13:34 the way they describe an airline disaster
13:36 is like a series of bad mistakes,
13:38 there's never like one mistake.
13:39 - Sure.
13:40 - And we knew, watch, you're like,
13:41 just a man, just keep making bad choices.
13:44 - Yeah, that's right.
13:46 - It's so funny too, because you know
13:47 when you're shooting, it's scene to scene,
13:49 in the morning you shoot one scene and you go,
13:53 oh, that's where he makes that wrong decision,
13:56 okay, let's concentrate on that,
13:57 but as a whole, when you watch the movie back,
13:59 you're like, oh yeah, that does get on you, man.
14:03 You feel terrible, like I can't get it together.
14:05 - But doing it though, isn't there a certain
14:08 perverse freedom in it?
14:11 - Oh my God, yeah, sure.
14:12 - Isn't there a sense of fun?
14:14 - This was probably the most free I could ever be
14:16 in a movie, just, he made so many mistakes
14:20 that, and was so unlikable at times,
14:23 and that--
14:24 - He was never unlikable.
14:25 - Well, in my head he was, but I'm glad--
14:29 - He was never unlikable.
14:30 - Yeah, that's good to know.
14:31 - In fact, you worried for him,
14:34 and that's why it was so--
14:35 - That's great.
14:36 - Anxiety producing.
14:39 - Yeah, that was shockingly cool to get to be that guy.
14:45 - I think you are the most annoying person I have ever met.
14:48 I hate being with you, I hate looking at you,
14:51 and if I had my way, I would never see you again.
14:55 - That's 'cause you're mad.
14:57 You're mad, and it makes sense.
15:00 - You know, this is something that I,
15:04 one of my favorite things you've ever done is
15:06 punch, you know, punch drunk--
15:10 - Punch drunk, yeah, yeah.
15:11 - With PTA.
15:12 - Sure.
15:13 - And--
15:14 - He's the man.
15:14 - But there's something in everything you do,
15:17 I mean, we go way back, but what I love about,
15:22 you know, it's what I love most in people,
15:26 but what I'm trying to say is there is a,
15:30 there's always a kindness that you bring
15:33 to all your characters, there's a kindness of heart
15:36 in the back of it, and it's why you care for your man
15:41 on Cut Gem so much, and you worry for him so much.
15:43 - That's amazing, 'cause there are times I don't,
15:46 I don't think, I don't think it's,
15:48 I think I'm being strong, I think I'm being in my head--
15:52 - You are.
15:52 - But--
15:53 - You are being strong, and you're being,
15:55 making, you're being--
15:57 - There's something no matter what I do
15:59 that it's a little like, something about me
16:03 slightly goopy at all times, so it kind of makes you go,
16:06 I don't know, he's off a little bit.
16:09 - He's definitely off.
16:11 - No, you're definitely off, no question.
16:13 - Yeah, yeah, yeah, I try not to be,
16:14 but it turns out that it goes that way.
16:16 - But there's this thing underneath,
16:18 sorry, you were gonna say?
16:19 - I wanna talk about you, that's why.
16:21 - Way off, okay, we're not getting off you just yet.
16:24 But there is this, I don't know,
16:27 it's something that's unexplainable,
16:30 it's probably something you're not aware of.
16:36 I mean, you have a reputation for being
16:39 very kind, very honorable, and honorable with friends.
16:45 I don't think that's so known out in the old universe.
16:49 - We, yeah.
16:51 - And I got great respect for that,
16:52 but it reads in the characters,
16:54 and that's why I love Punch Drunk Love so much,
16:57 'cause it's so embodied in that character, he's so--
17:01 - Oh yeah, that guy is--
17:02 - He's such warmth and--
17:05 - He's wanting something too, yeah, I know.
17:08 - Oh, he's trying, he's trying so hard.
17:11 - And while I have that, okay, but let me just,
17:14 of course, can I just say, watching you,
17:18 we're gonna talk about Hollywood now,
17:21 Once Upon a Time in Hollywood,
17:23 but your character, to me, so, again,
17:28 like you were saying about me,
17:30 I thought your guy was so warm, so kind,
17:32 loved Leo's character, was his brother,
17:36 sat and like was so, made Leo feel proud
17:41 of his performance as his character,
17:44 you know, I love that you were sat and,
17:46 that was so funny when he said,
17:48 "You wanna watch me, the show?"
17:50 And you're like, well, I couldn't think of nothing else
17:52 I'd rather do, or something, whatever the line was.
17:54 It just was so genuinely loving, like, that's my buddy,
17:57 I'm gonna, he loves when I watch and tell him
17:59 he's doing a good job.
18:01 And that was the best, that was a real friendship.
18:04 It reminded me of a lot of friendships
18:07 that me and you have mutual friends.
18:09 It reminded me of my feelings for the guys
18:12 we hang out with, it was just like,
18:14 just, he needs something, he needs a friend,
18:18 he needs something dependable in his life.
18:21 You were so dependable for Leo,
18:22 even when he had to say goodbye to you,
18:26 and when he got married, and he was having a hard time
18:29 saying goodbye, just the fact that you guys
18:31 get back together so quick, you're with him,
18:33 you're just with him all the time,
18:34 he's like, I cannot be with this guy, he's my rock.
18:37 - I know, but don't you have those people who,
18:40 - Oh yeah.
18:41 - You know, I know you do.
18:42 - Yeah.
18:43 - Friends of 30 years who,
18:44 - Yes, yes.
18:44 - It's in between, it's the downtime, isn't it,
18:46 - Oh man.
18:47 - That can be torturous or joyful,
18:49 it's those people,
18:50 - Oh God, yeah.
18:51 - You rely on so much, those friendships out here.
18:53 - It's, even when, in one of the best scenes,
18:58 when the guy punctures your tire,
19:00 there's like pain, you're like, besides the fact that
19:03 we're so excited to watch you possibly pummel this guy,
19:07 'cause we saw what you're capable with,
19:09 with the fight earlier in the movie,
19:11 just like the fact that he damaged your buddy's car,
19:15 and you're like, hmm, man, that's, you can't do that, man.
19:18 That's it, like, it hurt you, like,
19:20 besides it being a job for you,
19:22 you're like, that's, it means a lot to him, that car.
19:25 That's, yeah, that was great.
19:27 - It was nice playing a guy with,
19:29 who had kind of evolved past drama,
19:33 so there was never, you know, those,
19:36 like, some of the scenes,
19:37 you had panic scenes in Uncut Gems,
19:40 where you're in full panic, breakdown mode,
19:42 like, you're scared for your life,
19:43 like, it could all, the walls could come tumbling down,
19:46 and you know those mornings when you go in,
19:48 and you gotta put yourself in that position,
19:50 and it's an exhausting kind of day,
19:52 you know what you're up for,
19:53 you're up for a 15-round fight,
19:55 when they're only 12 rounds now,
19:58 and, and, and, oh,
20:01 and like, it was almost a bit of a joy,
20:04 not to, you know, this was a guy who'd found his,
20:08 you know, found his peace. - Yes, you were at peace, man.
20:10 - He was like, you know, - Your character was very--
20:12 - Listen, I look for the best in people.
20:14 - Oh, man. - I expect the worst.
20:16 - You know, it surprised me, - Oh, my God.
20:17 - and if not, we'll deal with it as it comes along,
20:19 and that was like, no hassle in the castle.
20:20 - Well, that's what made you love this guy so much,
20:22 he's so confident and cool, and just,
20:24 and your days alone, when you would drop Leo off at the set
20:29 and be like, I got some errands to make,
20:31 and just those drives when you would see
20:33 one of the young hippie girls hitchhiking
20:38 and having a little eye contact session,
20:41 it was just so, you were so happy for like,
20:43 all right, he's getting to enjoy his day a little bit.
20:45 He's flirting, having fun.
20:47 - Well, look, Red, I'm coming in there.
20:52 With my own two eyes, I'm gonna get a good look at George.
20:56 And this ain't stopping me.
21:02 - So, I was thinking, too, when I watched that Astra,
21:04 and I saw you had so many days where,
21:08 first of all, the way it was shot was incredible.
21:10 - Hoyt Van Hoytman, one of our best.
21:12 - Good Lord. - Yeah, beautiful.
21:14 - Good Lord, one day. - And James Gray, but--
21:15 - Yeah, yeah. - He's one of our best.
21:18 - My God, man, and just the timing of like,
21:21 the shield of the helmet coming into
21:24 where we actually see your face from it
21:26 and your emotions were so powerful.
21:28 And I was thinking the same thing with you.
21:30 Like, you had so many days where you had to
21:33 be in the trailer before going out and being like,
21:35 oh no, here we go again.
21:36 This one's a rough moment, too.
21:38 You didn't have any calm moments in that movie.
21:40 That was a very, very, that was a tough shoot, huh?
21:43 - Yeah, that was not, you know, it's interesting
21:47 because of the set, you know, what you're exploring,
21:49 but it does, it takes a toll.
21:52 I mean, I'm not complaining,
21:55 but you just know what you're in for, you know?
21:57 You know what you're in for when you sign up for it
21:58 and what it's gonna be and really grateful
22:01 when you come out the other end.
22:02 But yeah, those were, yeah, those were those kind of days
22:06 where you got to be in, you got to put yourself in that.
22:10 Whatever's personal for you,
22:12 whatever the upset is in the scene,
22:15 tonally, you have to, you know, you gotta be there.
22:18 - Yeah, I know, I know.
22:20 - So, me, I don't know how you get there.
22:21 What do you do?
22:22 - I hope to get there. - Booze.
22:25 - Booze, when that has happened,
22:28 that has worked every time.
22:29 But yeah, it's, but when I don't do it--
22:32 - You got Daniels.
22:33 - In this, in Uncut Gems, I've had movies
22:36 where I had to break down before,
22:38 and I get really nervous about those days.
22:41 If it's a couple days or so, I mean, I'm not kidding you.
22:44 - Leading up to it?
22:45 - Leading up to it, I'll say, when is that,
22:47 when are they shooting that scene?
22:48 Is that--
22:49 - Counting down on the call sheet,
22:50 when you see the--
22:51 - Exactly, it screws me up a little.
22:52 - Oh, the third week, I know I'm approaching that,
22:54 I gotta be up for it.
22:55 - And then once you do it, and if you get there,
22:57 you're like, phew, the rest is,
22:58 then you're like, no, it's, you still gotta get it.
23:00 - Next week, there's--
23:01 - You gotta be, yeah, yeah.
23:02 I don't know, I don't know how I get--
23:03 - I do the same negotiation.
23:05 - It's--
23:06 - Check.
23:06 - Yeah, yeah. - Check.
23:07 - I actually, I didn't do as much as I usually do
23:12 where I put this pressure on myself.
23:14 I just said, I'm feeling like this guy,
23:16 I really did my backstory, I worked hard at this character
23:21 and knowing the way he thinks and where he goes,
23:23 in my head, I felt confident that I knew the guy.
23:26 So I was a little more confident than usual
23:30 on the days he had a really awful day
23:32 where I had to break down or whatever.
23:33 I was just like, let me just go, let me just do it,
23:35 instead of doing that whole thing of worrying and worrying.
23:38 I just did my own way of getting there,
23:42 and I actually talked, I called my wife,
23:44 and I said, all right, today I'm there,
23:46 I gotta do this, and she gave me some thoughts
23:48 and blah, blah, blah.
23:49 And so, good, it was great, I got it done.
23:52 But, it's funny--
23:53 - Now it plays.
23:54 - It plays. - It plays.
23:55 - Thanks, but I mean, I saw you, I saw those close-ups,
24:00 I saw like, you always had this,
24:04 so much baggage going on in your head
24:06 and every facial expression, even when you weren't moving,
24:11 even when it was such a still shot, it was very effective.
24:15 I could just tell you were deep in something
24:17 the whole movie.
24:19 - Yeah, that was, you know, I talked to James
24:22 before going in, because it was such an insular
24:24 and lonely kind of existence, in the abyss of space
24:31 and where we were gonna end up, I told him,
24:35 I asked him, you know, I see this as very, very, very still.
24:39 I'm gonna see how-- - Right.
24:42 - How still we can be, and when it gets flat,
24:45 you know, just pull me out.
24:47 - Yeah, that's, yeah, 'cause that loneliness was there.
24:51 You were lonely and you were in pain and you missed,
24:54 you just, there was something constantly going on.
24:56 It's like, I can't remember the particular scene,
25:01 but when you, oh, when you look at that video of your dad
25:04 the first time and see what he said and done.
25:07 - And then masturbate, yeah, it's weird.
25:08 It was a weird move, but I thought it,
25:11 I thought it said something about specific,
25:14 that was universal.
25:15 - That's, I loved, the masturbation was wonderful.
25:20 - What can you tell us about the Lima Project?
25:23 - First manned expedition to the outer solar system, sir.
25:27 Some 29 years ago.
25:31 - And the commander was?
25:32 - He was my father, sir.
25:34 - It reminded me a lot when you found out something
25:39 about your dad and it crushed you 'cause you had a belief
25:41 about one thing, your whole life growing up
25:44 and then all of a sudden you hit with something else.
25:46 It's when my father's funeral, when my father passed away
25:51 and after the funeral, and I love, yeah, you know,
25:54 I love my dad a lot.
25:55 - You guys were very close.
25:56 - We were tight and then you have people coming up to you
25:59 and telling you their own stories about your dad and them
26:04 and you're just like, what happened?
26:06 It is a shocking feeling to get hit with stuff
26:09 you didn't know about your father.
26:11 Just stuff that you didn't wanna know.
26:13 Stuff that he did that was totally out of character.
26:17 It is a shocking, weird change, but anyways.
26:21 Yeah, old Tommy Lee was great in the movie too, huh?
26:26 Goodness.
26:27 - He's another one.
26:28 I didn't think some of the dialogue actually even worked
26:33 on paper.
26:34 I was talking to James, James, we gotta work this for him.
26:37 - Right, right, right.
26:38 - He comes in, nope, and just like--
26:41 - Oh, he made it, yeah, so great.
26:41 - Which just tells me I have more to learn.
26:44 - You're right.
26:45 - I don't know how he did it.
26:46 - Tommy Lee, whenever we work with these guys
26:48 who are older than us and better than us,
26:51 you do walk away going, oh yeah, I guess we,
26:54 you start panicking, okay, the great,
26:56 this great actor's coming in, let's make sure his stuff
26:58 is as good as it can be and then you're like,
27:01 wait a minute, they get there like, I took the gig
27:03 'cause I like it, I like what I'm gonna get to do
27:06 with this stuff.
27:07 - I know what I'm doing.
27:08 - Yeah, just relax. - Don't worry about me.
27:09 - Exactly, it's cool, man.
27:12 - Well, I mean, let's talk about the cast in Uncut Gems
27:16 is sublime, everyone is so specific.
27:21 And how much, you know, what's often,
27:25 like we'll get credit for a performance,
27:27 but what's rarely talked about is what we do
27:31 as a collaborative sport.
27:33 - Right, right.
27:34 - And we rely so much on, not just the set
27:37 and how it's shot and the music and the sound design
27:42 and the score, but our partners we're playing with.
27:46 - Oh yeah, yeah.
27:47 - And it does, it really, when everyone's firing,
27:52 the scene is so rich.
27:55 - Exactly. - And it gives you
27:55 so much more and I felt like you had a lot
27:58 to bounce off on because everyone was--
28:00 - Those guys, the Safdie brothers, they take it so serious.
28:05 Every person in the movie meant so much to them.
28:09 So they had legitimate people there,
28:11 people who aren't actors, people who are really jewelers,
28:14 people who are, you know, the FedEx guy in the movie
28:17 who just drops off the rock to me,
28:19 that's the 47th Street FedEx guy.
28:21 Like, they just like, we love his look, we want him.
28:24 He'll play it more real than, you know,
28:25 they just, they made that very easy for me
28:30 to be more alive in every scene
28:32 'cause it all felt legitimate.
28:34 And then, yeah, and then the other parts, I mean--
28:38 - Well, you blended right in.
28:40 Lakeith Stanfield is amazing.
28:41 - That kid is incredible.
28:43 - Yeah, no, he's incredible.
28:44 - He is deep and he goes all day long.
28:46 He goes all day long.
28:47 When we're not shooting, it's an hour set up,
28:51 I swear to God, I never saw him not working hard.
28:54 He was just on the side, either going over his stuff
28:57 or just staying in character,
28:58 or being on his own, coming back.
29:00 We would talk, we'd have real conversations,
29:02 and then I would feel like, all right,
29:05 I better step back and get him back to his world.
29:08 He goes, he goes, he's a guy that I felt,
29:11 when we had toe-to-toe scenes a lot,
29:14 I felt like, oh yeah, this is a whole other thing
29:16 than I expected.
29:17 - Yeah, he's giving it back.
29:19 - He gives it up, yeah, yeah, yeah.
29:21 - So, me and you know each other from many years ago,
29:26 when we first started, we kinda like started getting
29:29 to do more and more of what we wanted to do
29:33 at the same time.
29:36 We both kinda, I think you were ahead of me,
29:39 but in the same era of getting to do stuff
29:42 that was important to us, and we're still getting
29:45 to do that, I don't know how the hell that happened.
29:47 - Yeah, we snipped through.
29:48 - Sneaky, sneaky.
29:50 - Sneaky bastards.
29:51 - This could be it, though.
29:52 - Well, we ended up.
29:53 - Maybe, yeah, let's not get cocky.
29:55 - Exactly.
29:56 But yeah, I just, I feel like--
29:59 - Well, when we started, it was, I mean,
30:01 I got out here at the end of the '80s.
30:03 When did you, when did you get, early '90s?
30:05 - I finished college '88, got here like '89, '80,
30:10 end of '88.
30:11 - And then it was still, you know, it was big blockbusters
30:16 with Stallone and Schwarzenegger,
30:19 and then we went through the '90s,
30:20 where independent cinema, which certainly Tarantino
30:25 was a part of its birthing, and we went through that,
30:30 and then we, I don't know what we call the aughts,
30:33 I don't know how I would define that,
30:35 but then streaming services came on,
30:38 and it's been, you know, after, in early 2000s,
30:43 you could see films, you know, it was getting harder
30:46 and harder to make interesting material,
30:48 like you could see it heading towards the blockbuster,
30:51 and this was mainly because, as you know,
30:53 prints and advertising was so goddamn expensive.
30:57 You couldn't take those gambles on gutsy material.
30:59 So, I say that, I don't mean that there weren't
31:05 gutsy films made, but though they would usually--
31:09 - More opportunity for it. - More gambles, yeah,
31:11 you had to do it under 10 million or something.
31:14 And then streaming service came along
31:16 and blown it wide open again
31:17 in a very interesting way. - Yeah.
31:19 - I mean, I see more and more interesting stuff
31:21 getting made, you were one of the very first
31:23 to go to Netflix Film Life. - I lucked out doing that,
31:26 yeah, yeah, yeah, I can't believe what they made.
31:28 - You crossed the picket line at that time.
31:30 - I sure did, I didn't even know I was doing that,
31:32 I was just, they were interested in working together,
31:35 and then it just turned out, they are so passionate,
31:40 so many of these companies are,
31:42 I mean, I'm just tight with Netflix,
31:44 I know those guys very well,
31:46 they just wanna make great material,
31:48 and that's all they talk about,
31:49 they just, they love providing opportunities
31:54 for so many different types of comedies.
31:59 - Well, in all fairness, I mean, it became,
32:01 they were certainly the first to bust open the door,
32:04 and then it's become an arms race as far as material.
32:07 But you were one of the first to go that route, film wise.
32:10 - You too.
32:10 - And I wasn't far behind looking at you,
32:13 but I think you were the very first.
32:15 I remember I said-- - Film wise.
32:16 - Let me get this going for Brad,
32:18 and then I did it, and look at you now.
32:20 - Thank you, thank you. - You're welcome.
32:21 - Thank you, thank you, sir, thank you.
32:23 - My pleasure.
32:24 - No, but it's interesting to see,
32:26 you know, listen, I'm all for,
32:29 I guess my point is, I'm all for change.
32:31 I mean, I'm not gonna fight it,
32:33 but go with it and see what it is.
32:35 I see the positive more and more,
32:39 I see really interesting material getting made.
32:41 - So many great filmmakers now.
32:42 - So much amazing talent.
32:43 - So many people out there--
32:45 - That were there all along and not getting a shot.
32:47 - Right, yeah, right, exactly.
32:49 - On the other hand, people talk about lamenting
32:52 the death of the cinematic experience.
32:54 Is that gone because the home experience has gotten so good?
32:58 - I don't see it being gone.
32:59 I like saying, I saw your movie in a theater.
33:01 - Yeah, I don't see it being gone.
33:03 - It's different now.
33:04 - It'll be pure and far between.
33:07 - It's exciting when you're there.
33:09 It's very exciting when you're at a movie theater.
33:12 And when I saw, it's funny, I saw your movie a week ago
33:16 or five days ago, Once Upon a Time in Hollywood.
33:20 I was in New England and I looked up, where's it playing?
33:24 And I had to drive an hour and 20 minutes
33:27 because it's at a some theater.
33:30 And it was so much fun going to the theater,
33:32 watching it on a big screen.
33:34 Of course, Tarantino wants you to see it on a big screen.
33:37 It looked incredible.
33:38 - Shot on film still.
33:38 - Man, was it shot nice.
33:40 Man, oh man, it just looked cool as hell.
33:43 - But that's exactly the question.
33:45 Does it have to be an event film for them to play now?
33:49 Which it seems to be heading that way.
33:51 There needs to be some kind of event propulsion.
33:54 - Yeah, that's where it's at right now.
33:56 And I bet it goes back and I bet it makes a comeback
34:00 into the movies you see on streaming a lot
34:05 being on big screen.
34:06 I just think it's a moment.
34:07 I think it's a moment.
34:08 I don't think stuff goes away forever.
34:10 I just think this is where it's at right now.
34:12 And like I said, sitting back and watching how great
34:17 that movie looked, Tarantino's movie,
34:19 and just seeing you guys on a big screen
34:23 was just a great experience.
34:24 But I saw Ad Astra at home on my screen
34:29 and it felt more private.
34:31 I loved being alone with it.
34:33 I loved because of the sound design.
34:35 I was digging the sound design.
34:37 I was digging the shots and the quiet,
34:40 the stuff on the moon, that quiet feeling up there.
34:43 It was just me alone and the screen
34:46 and it kind of rocked me hard.
34:49 I thought it would've rocked,
34:50 it got me better than it would in the theater.
34:52 - It got you there.
34:53 - Not hard, not hard.
34:55 Rocked me, not hard.
34:58 That thing is, that's a long time ago.
35:00 - Just wanted to be clear.
35:00 (laughing)
35:01 - That doesn't happen anymore.
35:03 But.
35:03 (laughing)
35:05 I'm not gonna take a stab at the comedy, I'm sorry.
35:07 I apologize.
35:08 - You set me up, I had to do something.
35:10 I don't know.
35:11 - I was at home, I was alone.
35:13 (laughing)
35:15 It was dark.
35:16 (laughing)
35:17 - There was a pause button.
35:17 - You can't do that in a theater.
35:19 - It had nothing to do with you.
35:20 - It paused in my own thinking.
35:22 - You could in the 70s, but you can't do that.
35:24 The times have changed.
35:24 - No, you can't do that.
35:25 - No, I guess the only fear, not the fear.
35:29 The downside of, the upside of films
35:35 through streaming is a lot of them get more eyes on it.
35:39 More people have an opportunity.
35:40 More people actually see them.
35:41 - Yeah, yeah.
35:42 - The downside is there's so much material
35:46 that they can become disposable.
35:48 - Right.
35:49 - Where we just see it click, gone, like a meal.
35:52 - Seems like stuff that is exciting to see, though,
35:55 does get talked about a lot, where you say,
35:58 okay, I gotta check that out.
35:59 So, but I hear what you're saying.
36:01 - I don't really care, do you?
36:02 - About other people saying, making a--
36:05 - No, where it, I mean, I just don't really,
36:09 I mean, things are getting made.
36:11 - I like that.
36:12 - And that's what I care about.
36:13 - I do like that.
36:14 - And quality, quality is with quality.
36:16 - With a lot of care from the people
36:19 that help him get it made.
36:20 Again, I just, Ted Sarandos, man,
36:24 does that guy care about movies
36:26 more than anyone I've ever heard.
36:28 He really gets excited about films
36:31 and gets excited about filmmakers, and it's cool.
36:34 - Well, what I love is, we don't have to do much press.
36:38 - Oh, yeah, that does make life a lot easier.
36:39 - No, it's kinda nice, isn't it?
36:40 - Yeah, yes, yes.
36:41 - We don't have to get out there,
36:42 we're not fighting for eyes.
36:43 - Yeah, for that opening weekend, yeah.
36:43 - We're not trying to put butts in seats
36:45 as they tell us we need to do.
36:47 - You're right.
36:49 You did put a few butts in the Hollywood seats,
36:51 though, I gotta say.
36:52 - Well, that was, again, Tarantino,
36:56 Cass, my friend Leo, you know,
36:59 it became an event thing.
37:00 Hollywood, '69, Manson.
37:03 - Yeah, yeah, man.
37:06 - What about, we didn't talk about 100% Fresh,
37:08 'cause that came out this year, too.
37:10 Come on, it's a movie.
37:11 Doesn't it count, don't we call this a film?
37:12 - I don't think it's a movie, no, I don't know.
37:13 - We don't call this a film?
37:14 - A special, a special.
37:15 - We call this a special?
37:16 - A variety show, or something like that, I don't know.
37:18 - Really?
37:19 - But I love that you, Brad, me do stand-up,
37:22 that was a fun night.
37:24 - But it's wholly original.
37:26 - Thanks, buddy.
37:28 - I hope you keep doing that as well.
37:29 - Yeah, yeah, me too.
37:31 It is, it's funny.
37:32 I was saying to you back before--
37:34 - It's good-hearted.
37:35 - Yeah, yeah, yeah.
37:36 - Sorry, man.
37:37 - Yeah, yeah, yeah, exactly.
37:38 - Sorry, but you're good-hearted.
37:39 - I have that, most of the time I am.
37:40 Not every day, though.
37:43 - No, listen, you're a reverend.
37:45 - Yes, yes.
37:46 - And you get down and dirty, but--
37:47 - Yes, yes.
37:48 - It's good-hearted.
37:49 - You're a good-hearted man, too, I know that.
37:51 But I was gonna just ask you,
37:54 this is kind of an actor question.
37:55 Now, sometimes you sit, you've done a movie,
38:00 it's coming out, and then you have to think about,
38:04 okay, life has to go on, I have to do another movie,
38:07 or I have to sit for a while, or what do you do?
38:10 What goes, do you have stuff that you've been working on
38:13 a long time, like Ad Astra?
38:16 How long were you working on that
38:17 before you actually shot it and had it go?
38:20 - Well, I mean, James Gray, much longer,
38:23 I think he developed it, working on it for like five years.
38:26 We worked on it for, I think a good 10 months,
38:31 up to really honing the script.
38:34 - Right.
38:34 - Until we got to shooting, and then afterwards,
38:38 the post-production was pretty long for us.
38:41 It was almost--
38:42 - That seemed--
38:44 - A year and a half, almost two years.
38:45 - Oh, man.
38:46 - By the time we got it out.
38:47 - Yeah, the look of that movie--
38:48 - Almost.
38:49 - Look at that movie, the cut of that movie,
38:51 it's incredible, and the sound and everything.
38:54 That was, and the music, I love the music also.
38:56 - Yeah.
38:57 - That got me good, too.
38:58 - But I feel like we're, you know, it's easy,
39:01 when you're on a film, you can put everything else aside
39:03 and you say, hey, man, I'm on a film.
39:05 - That's a good feeling.
39:05 - You know, I can get myopic about it.
39:07 - Yeah.
39:08 - I feel like we're busier when we're not shooting something.
39:11 - Oh, man.
39:12 - Like we're called upon.
39:13 - I don't talk about anything else
39:16 except when I'm doing that movie.
39:18 I don't know what else is going on out there.
39:20 - How long was the shoot, the Shafti books?
39:21 - It wasn't bad, it was probably 37 days
39:25 or something like that.
39:25 - That's amazing, man.
39:26 - It was kind of--
39:27 - That's fast, that's a lot of energy.
39:28 - All over New York, most of it live,
39:30 most of it in the city and most of it in apartments and stuff
39:34 and then the jewelry store itself, that was a set.
39:37 - Great set.
39:38 - That was a cool set.
39:39 - It was great.
39:40 - That was nice.
39:41 - Dude, I put on a dinosaur mask
39:43 and I got recognized in New York City.
39:44 (laughing)
39:45 I like, it's like, I don't know what it is,
39:46 you know, especially when people grow up with you,
39:49 but I mean, you were deep in character.
39:53 - I had a character going, I still got recognized,
39:55 yes, yes, yes, no, it may be a little more of a delay,
40:00 but like you were just saying, Fit,
40:02 I was skiing one time, had the helmet on,
40:06 the dickie up, the goggles,
40:10 and I was like, this is gonna be a fun day,
40:11 no one's gonna literally, just like 6.37 in the morning,
40:16 hey, Adam Sandler, I go, how'd you know he was dead?
40:19 I'm like, big nosy, what are you, all right, man.
40:22 (laughing)
40:23 - No, I think it's something in growing up,
40:26 we can discuss it later, I won't waste it here,
40:29 but just our body types, people just know,
40:31 like when you see the Bigfoot in the forest.
40:34 (laughing)
40:36 - Yeah, the body types are Brad's body
40:39 and then my scoliosis pops out.
40:42 People go, there's Adam.
40:43 - Huh, well, I mean, you know, you started out
40:49 like originating your own comedies.
40:52 - Yeah, I kinda got to that.
40:53 - Which is still your favorite.
40:54 - Yes, yes.
40:55 - The films I'll go to when I'm done with the day.
40:57 - Yeah, yeah.
40:58 - That's where I wanna, you can watch those over and over.
41:01 - That's funny, I just watched a Will Ferrell,
41:04 Kevin Hart movie the other night
41:06 and I was so calm watching it, so happy.
41:08 - You're a keystreet.
41:10 - Makes me laugh, I don't have to,
41:13 I don't know why I'm so happy watching comedies,
41:15 but I was like that my entire life.
41:16 - No, we all are, I think there's something,
41:18 they're playable where a heavy drama,
41:22 you just, you need distance from, you can't invest.
41:25 - Yeah, you jump in, you gotta adjust
41:28 when you sit down to watch a heavy movie.
41:30 You gotta go, okay, am I gonna,
41:31 do I wanna get myself into that right now?
41:34 But it is a good feeling.
41:36 It is a good feeling to get lost in a movie.
41:39 Like I said, the Lima Project, baby, that really hurt me.
41:46 It hurt me, I was heartbroken watching it
41:48 and that's a good lengthy movie and I was just moved by it.
41:53 By the way, I did Uncut Gems, Darius, Kanji.
41:57 - Yeah, shot seven.
41:59 - Shot seven, Kanji, Kanji?
42:01 - Kanji.
42:02 - Kanji's a good guy.
42:03 He was shooting me and he really, he couldn't help himself.
42:08 He kept saying your face, something about your face
42:11 is better than Brad's and you just shoot,
42:14 he just said I shoot better than you,
42:15 I have better eyes or something.
42:17 No, no, no, no.
42:18 But yeah, he's a superstar, that guy.
42:20 - He's a sweetheart.
42:21 - He's a sweetheart, yeah.
42:22 - Really sweet guy.
42:23 - Those Safdie boys were really funny
42:25 because they were pushing their stuff on him too
42:29 and he was, and Darius was very much like,
42:32 no, no, no, that will never work, you can't use that lens.
42:35 And they'd go, and they were like, they're two young guys
42:38 and they love so many movies and they know so much.
42:41 They go, please, Darius, just look at it, look at it.
42:43 I'm telling you, I'm telling you, it's gonna be good.
42:45 You're gonna like it.
42:46 And he'd be like, it's impossible, I'll never.
42:48 And then he'd put on this 200 lens or whatever
42:51 and he'd be like, I do like it, let's go, let's try this.
42:55 - Yeah, you feel them breaking rules.
42:57 - They were breaking rules, yeah, yeah, yeah.
42:59 I never knew what they were shooting, the whole shoot,
43:02 because they were using such long lenses
43:04 that I didn't know what the hell was being done half the time.
43:07 - The crew would be way off, the camera crew
43:09 would be way off in the distance.
43:10 - They'd be way off and they'd be in tight on you
43:11 and you didn't know it.
43:12 - Yeah, yeah, yeah.
43:13 - Then I started going, I can't walk through anything.
43:15 I gotta really give every take my all
43:17 'cause I don't know what the hell they're doing
43:19 and there was no playback.
43:21 You know how that goes.
43:22 Tarantino has no playback, right?
43:24 - No, no, no, he's there.
43:26 - Yeah.
43:27 - What I love is, when we started, cables everywhere
43:33 and massive lights that you'd be sweating all the time.
43:38 - Right.
43:39 - And big ass cameras that were super loud
43:42 and now it's getting down to, we're almost,
43:45 we'll just be sitting in our room
43:47 and you're shooting the dark now
43:48 and it's a whole 'nother thing.
43:50 It's an amazing thing.
43:51 - It is cool.
43:52 It allows you--
43:52 - But starting out in comedy, I mean, dude,
43:55 you can do dramas all day long if you want.
43:58 You've proven that with several films
44:00 and especially this last one.
44:01 Were you ever, coming from comedy,
44:08 were you ever reluctant to make that switch
44:12 or what did it take you to find your confidence in that?
44:15 - I think ultimately it was just
44:18 Paul Thomas Anderson writing me something.
44:20 I didn't know how to write that stuff for myself
44:22 and I went to NYU.
44:26 I studied acting at Strasburg and all that stuff.
44:28 I was never doing comedy monologues in school.
44:31 I always was doing Indian Wants the Bronx
44:33 and stuff like that.
44:34 - Really?
44:35 - Oh yeah, I mean, I didn't know any comedy stuff.
44:38 - That's hilarious.
44:39 - It existed.
44:39 I was doing standup on my own,
44:41 but when I was in school, I was just doing serious stuff.
44:43 So I always knew I was kinda like,
44:45 I felt comfortable doing that stuff.
44:50 - How amazing was standup training for this thing?
44:53 'Cause here's my take on it.
44:56 One, it scares the shit out of me.
44:58 I mean, I'm too old to jump off that bridge.
45:02 It scares the shit out of me.
45:03 But you guys, you don't figure out,
45:07 what I understand, like before you put a show together,
45:09 before it makes it, you gotta go in front of a live audience
45:13 and you gotta try stuff out.
45:14 I mean, you gotta fail, you gotta fail,
45:16 you gotta fall flat until you find those gems that work
45:19 and then start pulling those gems.
45:20 - Yeah, you put 'em together in an order
45:22 that makes sense.
45:23 - You gotta have a pretty tough--
45:25 - You don't even think about it anymore.
45:27 I got to the place where, even,
45:32 I mean, sometimes all of a sudden
45:33 you get punched in the face so hard
45:34 where you're going, "What just happened there?"
45:37 And you're rocked in front of an audience
45:39 and you're like, "Oh," you feel naked
45:42 or whatever the hell happens.
45:43 But now, I even had this when I was 19.
45:48 I would say something that didn't work.
45:51 I was just going, "What's this?
45:52 "These guys didn't get it.
45:53 "They didn't understand what was good about that."
45:55 But I'll forgive them.
45:56 - Oh, it was their fault?
45:57 - Yeah, it was their fault.
45:58 I never blamed me.
45:59 - It was the audience.
46:00 - The times you blame yourself, though, you are shook up.
46:03 When you finally just go, "What am I doing, man?
46:05 "That was a very stupid thing to do
46:06 "in front of decent human beings."
46:09 But, anyways, but you, Brad, you know your comedy, man.
46:14 You certainly, it'd be funny as hell on set.
46:17 Like, how funny was it in the acid trip
46:21 when you had the gun up to the guy?
46:23 What a funny-ass side shot of you
46:26 and when you said, "I know it's Rex,"
46:29 or, "And it's something stupider than that."
46:32 - So that was the funny-ass moment.
46:34 - Yeah, he, Quentin said right before we started shooting,
46:38 "By the way, the end's gonna be, you're on acid."
46:41 - That was crazy.
46:43 - Right?
46:43 - That was so funny that you bought that thing,
46:46 such a throwaway earlier in the movie,
46:48 and then you go, "Tonight's the night,"
46:50 and you hit it, and then--
46:52 - Now, that's Tarantino.
46:54 But when you get to those with him,
46:55 he's all for playing, like, he'll be throwing out stuff.
47:00 - Oh, really?
47:00 - Yeah, he'll be calling audibles.
47:02 - And audibles with lines, too?
47:03 - He'll be Peyton Manning.
47:04 - Oh, that's good.
47:05 - Like, looking at, yeah, and calling something else.
47:07 - That was really the funniest scene.
47:09 I mean, that last 20 minutes or so was just full-on--
47:13 - It's outrageous.
47:14 - Hilarious, the dog.
47:16 - It's outrageous.
47:17 - You just, there was not one corny move Tarantino made
47:21 with just the action of it all.
47:24 It was just like, boom, boom, boom, boom,
47:26 everything was fun.
47:26 - You're right, he should do one more.
47:27 - He's gotta do one more, but then I'm telling you,
47:29 that's it.
47:30 - It's probably done.
47:31 - I don't want him to do any more.
47:32 He's just gotta start hanging out more and enjoy his life.
47:36 - You were talking about NYU, your time at NYU.
47:38 - Yeah, yeah, yeah.
47:39 - This is my favorite Adam Sandler story
47:41 that I heard from Bennett Miller.
47:44 - Oh, really?
47:45 - Yeah.
47:46 - Yeah, yeah.
47:46 - And it was that you were at NYU.
47:49 - Yes.
47:50 - And it was an acting coach, I believe,
47:52 or acting professor.
47:53 - Acting professor, yeah.
47:54 - Okay, and he said to you, he said,
47:57 oh, I want to take you out for a beer?
47:59 Is this how it, he took you out for a beer.
48:01 - Yeah, something like that.
48:02 - This is what I'm told.
48:03 He took you out for a beer.
48:05 - Right.
48:05 - You guys went to a bar.
48:06 - Right.
48:07 - And he kindly said to you,
48:09 - Yes.
48:10 - Think about something else.
48:11 - Exactly.
48:12 - Listen, you got a heart, but you don't have it.
48:13 You don't have it.
48:14 - Yeah, yeah, right, right.
48:15 - Choose another path.
48:16 - Oh, yeah, yeah.
48:17 - Truth, truth?
48:18 - It was like that, and he actually, he sent a letter.
48:23 This is just one.
48:25 - There's a second part to the story.
48:26 - Yeah.
48:27 - You okay?
48:28 - Yeah, yeah, I'm okay.
48:29 - That you, that you.
48:29 - Oh, right, this is the event that reminded me of this.
48:32 - This is why it's my favorite Adam Sandler story,
48:34 and I think it says a lot about you.
48:36 That you ran into him at the Heights,
48:39 you know, when you're getting the ultimate payday,
48:41 and you're with a bunch of friends,
48:42 and you run into him out at a bar.
48:45 - Yeah.
48:46 - And anyone would think that's the opportunity
48:49 where you go, you know, you rub it in his face.
48:54 And reportedly, what you did was, you said hi,
48:59 and you introduced him to your friends,
49:01 and you said, "This is the only teacher
49:04 "to ever buy me a beer."
49:05 - Something like that, that's right, that's right, yeah.
49:07 - True?
49:08 - Yeah, yeah, yeah.
49:09 - I love that.
49:10 - Of course, of course.
49:11 - I love that.
49:12 - Thanks, man.
49:12 - I think it just, that's the guy I know,
49:16 and I think that's why you're here after all these years.
49:18 - I love you, you too, Brad, as nobody,
49:21 I mean, even when I would talk to you about,
49:24 I just got done seeing your movies,
49:26 and I was just trying to tell you how much I loved them,
49:28 which they both crushed me,
49:32 you didn't wanna talk about that for one second,
49:34 you just think, that's my mom, man,
49:36 you don't wanna sit in here.
49:37 - Doesn't it feel like you get onto the next, you know?
49:39 - Yeah, yeah, yeah, we like to.
49:40 - Live our lives, and yeah.
49:41 - But I gotta tell you, when you tell me
49:43 I did good in Uncut Gems, that feels good.
49:45 I can sit in that a little bit,
49:47 I'm like, 'cause what you've been doing over so many years,
49:51 and crushing for so long,
49:53 when you tell me I'm doing something good,
49:54 'cause it's not my,
49:56 I'm so much more comfortable with the comedy,
49:59 and if you're saying I'm doing well on this stuff,
50:01 that does feel nice.
50:02 - Crushed it.
50:03 - Right on, baby.
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