Conan O’Brien Needs A Friend - Diego Luna

Episode Date: June 23, 2025

Actor Diego Luna feels really comfortable about being Conan O’Brien’s friend. Diego sits down with Conan to discuss growing up around the sets his father designed, landing breakout roles in telenovelas, Y Tu Mamá También, and Rogue One, and reaching for specificity with the hit series Andor. For Conan videos, tour dates and more visit TeamCoco.com.Got a question for Conan? Call our voicemail: [phone]. Get access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/conan.

Okay, wait a second. I need to put these things on. You all look really cool and professional. Yeah, don't we look? Yeah. I look like I'm part of a franchise, a Star Wars franchise. Okay, hi. My name is Diego Luna. And I feel, damn it, I feel, I have to say I feel really comfortable. Oh good! About being Conan O'Brien's friend. Thank you. I feel very safe. Walk and lose, climb the fence, books and pens. I can tell that we are gonna be friends.

Yes, I can tell that we are gonna be friends. Hey there, welcome to Conan O'Brien Needs a Friend. I'm joined by Sona Moffsesian, Matt Gorley. Nice to see you folks. Why'd you pause? I paused because I was thinking and then I thought, yeah, it is nice to see you. Sona, you're having a bit of an issue today.

You had a bit of a spill and this is a common problem for you, is it not? It's a common problem. You're a spiller. I am, you know what? Okay, you know what I love? Before I get angry. You know what I love?

You always say what? And then immediately say yes. I know, I know, because you are right. I do spill on myself a lot. And I have to be more aware of it because this is filmed. But earlier today, I had, because you are right. I do spill on myself a lot. And I have to be more aware of it, because this is filmed. But earlier today, I had a dish with pesto and I spilled it all over.

Oh, I see it. Yeah. Do you? It's right there. You see it green, yeah. How did you try to get it out? With a tied stick, shout out, tied. Well, not shout out, tied,

because I don't think it worked. Well, you used the tied pesto stick. Yeah, it's gotta be specifically tied p because I don't think it worked. Well, you used the Tide pesto stick. Yeah, it's gotta be specifically Tide pesto. I really got it in. And then it was wet for a really long time. They were like two wet spots. And then I thought, oh, when it dries, maybe it'll be cleared up and it's not.

And I just, it's bothering me. That's gotta go to it, isn't it? Boy, and can I say I've known you quite a while, Sona, and you have been traditionally a spiller. I'm a sloppy eater. Yes. Oh. Well, you are.

Who else is a sloppy eater? You are a sloppy eater. I don't spill on myself though. I always wear a giant bib. And then I say, goo goo gaga when I'm eating. And I have to feed you. And you have to feed me. And why do I wear a bonnet?

And I kick my feet up in the air in little booties. Yeah, and you're sitting in a high chair. I'm off and doze off, and then you put me right in the crib. Sona, why? It's just something I used to request. And you went along with it. I want out, I want out.

Six foot four baby needs to go to bed bed. Look, we all have our fetishes, that was mine. I'm trying to burp you. What are you gonna do in the future to avoid these spills because- Nothing. It's just a part of my life. It's like something I know about myself.

And I think I need to carry more Tide sticks. Shout out Tide. Well, or something that's going to work. Did the Tide stick work, do you think? No. Okay, well then why do you want more of them sent this way? And maybe they just need to work on their formula or maybe Tide's gonna say, look, we're a good product

but there's nothing we can do with Son of Moises. Like that's not fair. Like that's not fair, you know? I do have a good sponge. But you just threw us in the Pacific and you're bitching that it's still, the Pacific is still there. So I'm gonna say Tide, I bet you're a great product

because I can almost not see it and it's sonum obsessus. Yeah, really. So good work, Tide. I have a lot of them all over the place. Sometimes they- What, Tide sticks? Yeah, I do. Oh, so you're like someone who hides knives around the house only for you it's Tide sticks.

What do you mean? You know what people- What do you mean hide knives? When they hide weapons in movies, when people have secreted weapons and guns around the house, only for you it's tied sticks. What do you mean? You know what people, when they hide weapons in movies, when people have secreted weapons and guns around the room, that's you, except it's all cleaning sticks. Yeah, it is. But when you have a three-year-old,

I'm the same way, your clothes are constantly covered in food from your kids, you know? Yeah, it's from the kids. Yeah. Oh, wait a minute. Uh-oh. No, it's from me. Oh, wow. Do you often get food on your kids? They're very clean. They're very tidy.

They're very clean. You have three and a half year olds who are always wearing little white tuxedos and very fastidious about their eating habits. Yeah. And you're like, hey guys, this burrito's good, that mama's blah. Yeah.

Mommy, mommy, our white tuxedos. You know, I love eating. I love eating. And I'm a shoveler into my mouth. And so it just, sometimes it spills on me and that's okay. Cause it's an expression of joy. I love that you love eating. I eat quickly.

I unhinge my mouth, get it in and swallow it. And I don't enjoy it. You have to enjoy it. I know, but do you agree that? Yeah. It's just, I've got, I've got to get rid of that. I'm getting better, but that just get to the grave mentality. Get this food in and then get to bed and blah.

I like, you know, for me, it's like, I swear, I feel like after every bite, I sometimes I can hear in my brain going, mm, mm, mm, yum, yum, yum, yum, yum. And then I'll do it again and I'll be like, yum, mm, yum, yum, yum, yum, yum. And then I'll do it again. I'll be like, yum, yum, yum, yum, yum, yum. You know, I can tell when Sona's liking her food

is that she'll have a knife and fork. And if she's really liking it, she conducts a little bit while she's chomping. She does. She's like, mm. And then I can see her. I've seen her conducting an orchestra that's not there. I do that.

Because she's really liking her food. You do that. I do that. People in cartoons do that. That's nice. I like that. Yeah.'s really liking her food. You do that. I do that, I really do that. Like people in cartoons do that. That's nice. I like that. Yeah, you should be more like me. I should.

You know what? I've always- Yes, you should aspire to love the food you eat as much as I love my food. And love life. Yeah, I do love life. As much as you do. You're a Zorba.

But yeah, okay, all right. No, you are, you're Zorba the Armenian. Okay, also quarter Greek. And also quarter Greek. Yeah, yeah, yeah. You're Zorba the quarter Greek. I think, and you get to like eat such delicious food. I feel like, okay, all right, nevermind.

Whenever the waiter brings it over, I'm like, let's just, he starts to say, now let me tell you what we did with the food. And I'm like, let's get it in me. Grave waiting. No. Sir, what we do here, it's very beautiful. We infuse the olives.

Ah! Just push it in the hole, and open the casket and shut it. My God! So someone else can live. I want to give up my spot. That's me. I don't know what my problem is, but that's always been me.

From now on, in your head, just go, -"Yum, yum, yum, yum." -"Yum, yum, yum, yum, yum." Conducting, conducting an orchestra that isn't there. What about you, girl? You seem like someone who can live... You live life, you enjoy it? Uh, you know, I'm more like, I mean, even more like you, but lately, I've been more like you, but I wish I could say it was because it's like,

ah, life, it's more stress. I'm like finding in my 20s, it was weed, 40s was alcohol, and 50s is food, is how I cope. cope. Kind of like I've used up all those other ones, you know? So now I love food, but it's like a stress coping. You skipped heroin. That's my 60s. Heroin in your 60s, never a bad idea. This message brought to you by...

Yesterday I was having lunch with my friend and I had to come here for the... Got to come here. I had to come here for the- Got to come here. I had to come here. And I had a piece, there was a piece of sourdough on the table and I was like, should I take it with me? And then I did.

And I just came here just shoving a giant thing, slice of sourdough in my face. So you walked down the street holding the sourdough that you were taking from the table. Just a huge slice of sourdough. And I was like, is this a normal thing to do, to just eat a giant piece of bread? That's okay, that's kind of Parisian, you know?

Yeah, exactly. Exactly, having some bread. Is it? Yeah, you were walking along the banks of the Seine, here in Larchmont. Yeah. And there was someone, did you pass an old man playing the accordion?

I know. Yeah. Did you pass a painter painting a nice landscape? How about a mime? A mime? Okay, yeah. Okay, we went too far. Yeah, a lot of stereotypes. Well, anyway, I do think I should try

and be more like you even if it means the occasional spill. Enjoy life, live life, tied. It's the stick that can help anyone but Sona. Yeah. Yeah. My guest today has starred in such movies as I Tu Mame Tambien and Rogue One, as Star Wars Story.

You can also see him in season two of the hit Disney plus series, Andor. I love Andor. I know you're a fan too, Matt. Yes, sir. I'm thrilled he's here today. Diego Luna, welcome. You feel safe being with me.

Being your friend. Yes, being my friend. I mean, I can use that, right? I've been using it. Yeah. To get into places, to get away with doing things that are dodgy, you know? I go like, oh, but I'm Conan's friend.

And they go, oh, of course, now we get it. Oh, oh, wow. Okay, like I'm glad that my name creates that much of a sense of protection for you. Yes You live we were just talking be before we began that you live in Mexico City and In in the south or as I say sewer Espanol and perfect Monday

Listen Espanol perfectamente. Oh my. Listen. Oh God. And I know, it's just a great dynamic. Eduardo. Eduardo, Eduardo, our sound.

I love, it's not Eduardo, it's Eduardo. Eduardo. Eduardo. Eduardo is in a constant hell of me pretending that I am fluent in Spanish and understand the culture and that maybe I'm from Central America or Mexico. Oh. And I look at, I look at.

You can blend right in. So, and then you immediately bonded with Eduardo because of the pain. Oh, as soon as we arrive to a place, you know, as soon as you get into a place and someone speaks Spanish, you go like, oh, okay, I'm comfortable now. I mean, he's gonna protect me. Well, that's why you're comfortable being his friend.

Yeah, yeah, no, but obviously, obviously, yeah. But what about when someone like me butchers it in a well-intentioned way? I, it's very, I mean, it makes me, it makes me feel like, yeah, like I've done something good in my life, that I get to witness you trying so hard. Because the first times I went to your show,

it's you, I mean, I'm freaking out always before going in there. Oh. Yes. Just because I'm so scary, I'm tall, very, very white. Well, yeah, and you have an audience and they laugh, you know, to what you say. And so-

Or they're punished. Or they punish, no one pays them. So they laugh at what you say and that makes everything you say be so like, so then you're freaking out. So it's kind of nice to see you now freaking out trying to speak another language. Yes, yes. Well, you did a, you and I have a bond,

which is very important to me. Yes. Which is, many years ago, during the first Trump administration, my staff and I, when we were doing the show at TBS, and you were part of the Sona. I was. We worked it out with Televisa,

and we did a show from Mexico City, and you were a guest, and it was really a beautiful thing. I loved doing that show. I did a show from Mexico City and you were a guest. And it was really a beautiful thing. I loved doing that show. I did a monologue in Espanol and got through it. And the audience actually kind of laughed. It's sort of the right places.

And I think there was some pity there, but there's some pity for them. Oh, he's trying. He's trying, he's really trying. Which is how my wife- They were all Televisa actors. All the people from the telenovelas were sitting there. Didn't they look extra cute?

They were so beautiful. Yeah. I did, but you came on the show and. No, you did amazing. I just wanna make sure people understands. You really put yourself there, which was something like, it needed gods. It was like a big risk and a lot of fun

to see you really going for it. Well, you know what was fun is Vicente Fox, the former president of Mexico came on the show and I still, they're in my office. He gave me these boots. Holy crap. Which say, no fucking wall. And they put my name on them and they're fantastic.

They're fantastic boots. He found out my size. He does good boots, I guess. That's what he does good. His main contribution, I think as the president was he, people voted for him because he made good boots. I'm sure he charged someone for those boots. I mean, they might be a gift to you, but not-

No, somebody had to pay. Yeah, somebody had to pay. Someone paid for that, yeah. You know, we were talking earlier about, we did that show and it was a very special time and we thought, well, those times ended. Yeah. And now in some ways, those times have returned

with a vengeance. And I know you touched on it a little bit when you first started talking about how you feel safe being here. And these are tricky times, but it is, and we're not the most political podcast, we're really not a political podcast at all, but we have to address the fact that

you and I had this really special time and this special moment during that first administration, and then many of us thought that we were moving past that to maybe a better future, and here we are again. Yeah, history repeats, no? And but a reloaded kind of thing, no? Yeah, yeah. Yeah, it's, I don't know, I'm shocked on, yeah,

on many things of what we're witnessing these days. And I think the best way to talk about this is I don't think I can fully understand what some part of the community, the Hispanic community in this country are going through, you know, the fear and it's like I can't imagine, I mean, how that is, you know, that you dedicate your life, work to build something and suddenly they tell you they're going to take that away from you instantly just because of it. It's quite scary, yeah, scary times. It's also just pointing out that we, I've been living in Los Angeles for many years

and Matt and Sony Sony from Los Angeles. But you live here in Los Angeles and everybody, just everybody I work with, everybody who works with me, everybody who helps me in any way or helps my family in any way with, you know, everything that needs to be done with our house. There's no, in every way, every day, I am working with people who are from Mexico

or Central America or South America. They are such a vital, they are the community in Los Angeles. That just feels like it's such a, they're doing all the work, which is really powerful to see every day. And it's, I have empathy because if you're paying attention, you understand that it feels like 80%

of what's getting done here to sustain, you know, our lives and our culture and our community is coming from south of the border. So I didn't mean for things to get this heavy this quickly because you're such a funny guy, but I think I just had a little bit of a flashback to the times we've spoken before. And I know that this is very important to you

and you're a very proud and vocal member of your community. And so it's meaningful to me that you're here today. Cause I've been thinking about it a lot lately and I was very happy you're coming. And it meant so much to me that you did our show in Mexico city. And I consider you a very special friend for that reason. I consider you a special friend to me.

And I was very disappointed to hear that because every time I have to come and promote something, I always go like, can we go to Conan? And I'm glad we're here. You're creating the impression that people say no, no. Well, it's just that you don't have a show anymore. What happened? That would not be a good move for you.

Diego, we're trying to build up your career and it's really going great for you. Conan's the wrong move at this time. No, you're always welcome here. Always welcome here. I love that now you have this new format. I love it. And it's good we started like that.

It's good we said it because it's important. You cannot come to this country. You cannot come to California. You can not be in front of a microphone and not say something about that. Situation. What this community is going through not be in front of a microphone and not say something about that, you know, what the situation with this community is going through and the amount of support and help they need these days, you know, they need you to show up.

So that you dedicate some space for that means a lot. And it's a good example of what people should be doing with microphones these days. That being said, I do miss you having a show on TV because now I can't go there when I have something to promote. I might stop acting. You can come here and also I do a travel show now for Max. So maybe we'll go someplace.

Oh, can we travel together? Oh, we just did a new season is starting in a few days, and Javier Bardem did a whole episode with me in Madrid. And we're total idiots, lunatics. It was really fun and silly. And he's a fun guy. He is a really fun guy.

And so, and I'm thinking you and I, He's a really fun and silly. He's a fun guy. He is a really fun guy. And I'm thinking you and I, we'll find a way to go and do it. I mean, you did do a travel show with me because that was the Mexico City show, but in this new HBO Max format, it would be really fun to do something with you. So we'll do it.

I would love to. I'm gonna bring you to Northern Ireland. Exactly. You'll feel right at home. Well, I'll tell you one thing, you're not gonna believe it, but I am half Scottish. I did know that. Okay. I did know that.

My mom was born in Scotland and Scottish family. I have a big British family and I've never done, I've never traveled through Scotland looking for my roots. So- Oh, this is perfect. Oh, wait a minute, this is perfect because- And now I have to pay you for the idea.

I did have the idea, right? Yeah, it's- Eduardo, you got it right. You got my back, man. I got it. Gracias. Okay. Eduardo.

Oh no. Por favor. Por favor. Como se dice? Edit. I wonder what the word could be. I was reading about your family. I know you lost your mom at a very early age. Yeah. And your father, this fascinates me, your father was a set designer for everything,

for theater, for opera, for movies, anything. And so you grew up, it's no accident. I mean, I'm sure it's part of it's, you're extremely talented obviously, but you grew up in a house where your dad would be building sets in the house that had to inform your sense that, oh, life is magical and mysterious.

And there was different, my dad is building weird sets for operas in the house that would maybe think, make you think this is a world I could inhabit. Definitely. And I saw things go from like a quick drawing to like a model thing to then suddenly like a gigantic set. You know, there's a, there is a film called Santa Sangre. And I was very young.

That's why I remember Santa Sangre because it made a huge impact. It's a Kitsa Khodorovsky film. And my father was working there as the art director. And there's this moment where an elephant dies, you know? And I was with half of the head of the elephant and the Trump. You call them trumps?

Trunk. Trunk. Yeah. Trunk. Trunk. Oh good. I just said Trump, right? Damn it. Listen, he's the other end of the elephant. Yeah. Cut to 1930s audience applauding.

Very well done, Matt, very well done. I'm sorry to bring that, I wasn't trying. So, and because the thing, there's a moment where blood is coming out of the trunk. Yeah. And so I, but I had the piece of the prop, the gigantic thing in my living room for months, you know? I was interacting with that thing.

It's like the sandworm. Yeah, exactly. From Dune. Well, that's Jodorowsky as well, Dune. Yeah. Well, exactly. So it was quite a thing. And my father at the same time,

because everything you do somehow at that age is to piss off your parents. So my father, like, he loves actors, and he works for actors to suddenly use his sets. But he always complains about what they do, you know? He would always say, like, oh, the actor never gets in the light, where, you know, I put a light here, and he stands there. Then I move the light, and he stutters in the other side.

Or, like, they don't. These damn actors. These damn actors don't know how to use the ramp in the theater or blah, blah, blah. So I decided to become an actor, also to piss him off. And then intentionally stand in the wrong spot. Exactly, exactly. But yes, it was...

And to be honest, it was more... I never had like the moment where I went like, oh, I wanna be an actor because of what happens. It was just about being part of his world and make sure no one would take him away from me, you know? Like, and also because school was boring and it was nice to feel I could be around adults that were acting like kids, you know?

That's what theater represented for me. Like these adults are much more fun than the kids in school. These adults, these crazy adults pretending to be someone else telling stories, playing games, like spending all day in this fantasy world. It's like that old idea of running away with the circus. Yeah.

There's my reaction to getting into comedy and when I was 18, 19, and seriously thinking about it was, wait a minute, this can be a job? I just assumed that my job had to be something that I hated, that I have to go and do something serious and it's gonna be something I hate, but then I can be fun with my friends and my family when I go home.

And the idea that this could be a profession was insane to me, because I'm from Boston, Massachusetts, nobody's doing that. It was a very strange feeling, but I know that idea that, well, of course I'd rather do this than go to school or memorize something or take a test.

And also it's a family that shares a passion and that is like such a difficult thing to find. Imagine a Christmas dinner where everyone talks about something that matters to the other, because Christmas are like, oh my God, here the uncle, the drunk uncle again, oh shit. Now he's gonna tell the story of,

but imagine you care about what they're talking about and you really wanna be around that gang and that's how it feels in these communities, you know? Also, my mom passed away when I was two years old, but she was a costume designer and a painter and she worked with half of the people I grew up working with. So on a way, it was her love stories that were around me,

and all these people trying to be their best because they knew my mom wasn't around. So suddenly everyone was like feeling for my mom, somehow I got all these crazy, interesting mothers, you know, that were like actresses or directors or, yeah, designers. And they were all like very into making my life nice and easy and fun. And it was the best.

You've said that you had a real connection with women always and this, what you're saying may have been the introduction to it, but that women would befriend you and confide in you and trust you. And you were that guy growing up. Oh yeah. Which sometimes I was that way a little bit and I would take it a little bit of as an insult.

You know, Conan, we don't see you as a sexual threat. Yes. You don't even seem like a man to us. So we're very comfortable. I'll braid your hair, you braid mine, and we'll tell you all our secrets. And there was a time there where I thought, this is insulting, but I'm still happy.

Yes, no, I never felt I was being insulted. Yeah. No, no, no. And I do connect I was being insulted. Yeah. No, no, no. And I do connect with that, definitely. Yeah. Yes, yes. And always also there was stories you could tell, no? I mean, because I was having a life that no other kid was having, so I could talk to you

about stuff no one else could. Yeah. So it was fun, I guess. That's a nice way in. so I could talk to you about stuff no one else could. So it was fun, I guess. That's a nice way in. But then it's quite frustrating to have to go back home and say like, oh no, she's now with a boyfriend. Yeah. Yes.

Yeah, yeah. We have this great deep connection, but she doesn't see me that way. She's with this other guy. That happened to me. like from, yeah, like for a year or two of my life. Yeah. Then things got better.

Are you still there? Because you look very, you look very sad. Well, things never got better. I do have a wife. I love her and we've been together a long time, but she also does not see me as a sexual person. You're the mayor of friend zone. I'm in the friend zone.

I have a very healthy marriage, but I'm in the friend zone with my wife of 23 years. And I don't know how that happened. And we have two children, but who knows how that happened. For your wedding, you guys just gave each other friendship bracelets. Exactly, yeah, exactly. Instead your wedding, you guys just gave each other friendship bracelets. Exactly, yeah, exactly. Instead of kissing after you high five.

We high five. Do you take this friend to be your friend? And do you take this friend to be your friend? I'm curious about, I know the breakout for you was that beautiful, terrific movie, Ito Mama Tambien, and that, how old were you when you did that film? That's probably the best Spanish I've heard from you.

Eh? No, really, wasn't it? Yes. Didn't he say, Y Tu Mama También? Y Tu Mama También. Okay, okay, guys, if we call it out, every time I manage to get it kind of right, it makes it worse.

Okay? Good job, Corey. Corey, it makes it worse. Okay? Good job, Corey. Corey, you did it. That was cute. Aww. Oh my God. This is quite like a structure.

Your show is about them making fun of you the whole time? Yes. When the guests are here, when you guys leave though, he comes at us. But you don't record that, therefore, like the actual- No, no, no. Oh, God, we record it. No, I'm very comfortable being,

I'm one of six children in my family, many brothers and sisters, so being mercilessly made fun of, in my DNA and I actually, in a sick sadomasochistic way, I like it. But- Yeah, sorry, you were saying- No, no, no, I was saying that that was, how old were you when you made that film? I was it. But- Yeah, sorry. No, no, no, I was saying that that was,

how old were you when you made that film? I was 19, I think, when we did that film. And- That kind of changed, I mean, obviously theater was a big part of your life and theater still is a big part of your life, but that must've been a huge change for you. I was doing, yeah, because I was very comfortable in Mexico

and I didn't even think it was possible to actually start moving around and traveling with my work and finding new audiences. I was pretty comfortable doing cinema that was very small. We had an industry that was doing 10 to 12 films a year back then. So it was very small. Your family would watch it and someone in a festival probably, but that was it. But I had theater and I was doing TV to support myself. I was living by it. Yeah. What kind of TV did you do?

Oh, like the last. Did you do telenovelas? The last telenovela I did, it was just right before Ito Mama Tambien because I was 19 years old. I remember that day as like the day I stopped doing telenovelas. I'm never gonna forget. But I started really like at 12.

I worked on the first telenovela, so it was good seven years of my life. I occasionally will be talking to someone from Mexico. This happens a lot. They'll be chatting and they'll wanna know, they know that I work in television, they've seen clips, but I always say to them, well, I did a telenovela because I did it when I was in,

and I was in, I think it was the something, malediction, I forget what it's called. Me adorable maldicion. Yeah. Me adorable maldicion. That's close, it's more like me adorable maldicion. You'll get it, Eduardo. Okay.

You'll get it. Yeah, no, he just needs a little more time under my tutelage. Wow. Yeah, I know. Oh no. He just needs a little more time under my tutelage. Wow. Yeah, I'll teach how to do it in a Boston accent. But no, they wrote apart for me, and they were really funny. They wrote apart for me as a cheese merchant.

And they gave me a mustache, and I come in, and I have this scene where I'm getting very angry and it's this, one of the most beautiful women I've seen in my life, the women in these, the men are so good looking. This woman was, took my breath away. She was so beautiful and you can see the clip online and she, there's a point where I'm getting very angry with her and I'm, it's all in Spanish

and I'm yelling at her in Spanish, you do not treat me this way, I will not be, and she puts her hand out and she touches me. And I guess they have a name for it in telenovelas, which is the thunderbolt or something where a woman touches a man and suddenly they have that moment of connection. And it's such a soap opera thing. It is.

But she, I'm yelling at her and she touches me. And I look at her and they cut to her and she suddenly feels this emotion, which by the way, she would never feel in real life. And the crowd went crazy. This crap, they go crazy. And it's one of my favorite moments from my career. And I love to show it to people I talk to.

I'm constantly calling it up on my phone and saying, check this out. And my wife is like, you're not making them watch. You're telling them. I'm like, this is Pedro. And this is Jose. And I'm just showing it to them. And they always, but I, it's so funny I'm like, this is Pedro and this is Jose and I'm just showing it to them.

And they always, but I, it's so funny because- It all depends on the perspective, right? I'm trying to disappear everything that's out there from the work I did in telenovelas. Nah, nah, nah. You're a kid, you're a young man. I was 19, I was still doing telenovelas. And there was a few, no, there's a few that I'm more proud of than the others,

but it is a big thing. And it was one, I grew up in theater where they would see, like they would like judge you if you were going to work on a telenovela. But the point came where every actor had to be in both things, you know, to survive, you know, theater wouldn't be enough to pay your rent and actors would be doing telenovelas and theater at night. And it was quite a thing. And you can tell, like, what happens with the popularity, you know,

in telenovelas. Like, you are doing one and you are very popular, but another one comes and everyone forgets immediately, you know? It's that kind of thing where, because it's... What some people have said too about being in soap operas or telenovelas is that if you're playing the bad guy, people in the supermarket who see you are mad at you. They're like, I don't like what you're doing.

And you're like, no, no, no, that is a role. So yes, people take it very seriously, become part of their lives. Obviously, I mean, and things have changed. I think in the 90s and early 2000s, like the TV was always on, you know, in many homes and you were there. You were part of their everyday's life.

It was like telenovelas, there was the ones that were meant to be playing while you were doing something else also. And that's why they repeat them over and over the same scene because you're not really paying attention sometimes. But television was really important for audiences, not these days now. Now people are more like into searching

for what they wanna be consuming, you know? Yes, there was a time they, it's a great term for it here, where people are siloed. Everyone's in their own little tube watching all this stuff that they just wanna see. They're not connected to each other. Yeah, the bubble, no? You live in this bubble.

You're in your own little bubble and you're watching, and all the content is catered just to you, if you're online, you're seeing everything that you would wanna see as opposed to when I was growing up, obviously I'm much older than everybody here, but it was TV was there's three, four channels and you had to wait for what had good reception

because we didn't have cable. So sometimes the channel that had something good on wasn't coming in and then you'd flip the channel and it's a Catholic mass. You're like, oh my God, but it looks good. It's coming in. I guess we'll watch this and hope a gunfight breaks out. Um.

Jesus. Never did. But you're right. You were forced to be exposed to things like old movies, things that you wouldn't watch normally because that was what was on television. What's fascinating to me about your career is that you have this very bohemian background,

theater, small movies, art house movies, and then you're in what's arguably one of the best of the Star Wars franchise films, Rogue One, and that's gotta just change everything. I mean, and then it's led to, you know, today, you're here because Andor is out with the second season, a show I love, by the way. It's fantastic. Oh, cool.

And I'm not even a Star Wars person per se, but I love it. I think it's such a great, it's a beautifully told story. And so now you find yourself in this world of a huge international audience and the power of the Star Wars franchise behind you. It's such a, you weren't setting out, you weren't looking for that. No, not at all, not at all.

And also because it would have been painful, there was no room. I grew up watching these films, but I never thought, I mean, I never saw someone like me there. I never thought it was possible. And I didn't even want to, like I was doing theater really happy. I was, when I did Ito Mamantambien,

I started traveling with my work and it was, suddenly I realized there was a community that it was really close to me, you know, in the States, for example, when I went the first time to Sundance, I realized there was people that struggled the same way I struggled to work on film, you know? The Hollywood wasn't a thing, like a Hollywood,

like Hollywood was just like a... There were different subsets, communities. Yeah, independent cinema, theater, people doing cinema but theater and then cinema again and struggling to get financing for their movies and finally getting it and having very little resources. So I have to like with creativity solve things and all of that. I started finding those connections in the States, in London, in Spain. And suddenly it was like, okay, great.

I can keep doing what I do. When I was asked to do Rogue One or to go into the process of doing auditions for Rogue One, the director said to me, I want to do a film in this universe The director said to me, I want to do a film in this universe that totally feels very realistic, close to what you guys did in Itumama también. And I was saying this specifically? Gareth Edwards. Yeah, yeah, yeah. The director who I owe him being here talking about Andor,

because he had the idea. He shot in Mexico a film, he loved Itumama también, and he was crazy enough to think that there was a room for me in that project. I couldn't really believe it. I make the joke a lot of times about like, I was sitting there going like, what does he want from me? Does he want the number of an actor

or like does he want me to help him with Gael or what? What? You know, I don't even speak English, you know? I mean, what is this about? And he was like very honest and saying like, and he got an amazing cast of people that were doing the cinema I was doing, but in their context, you know, Felicity, Rhys Amann, Mads Mikkelsen.

Like it was a cast of like people that were doing tiny films in their countries and dramas that were all about the storytelling. Anyway, so I went into doing that and I freaked out. I was like, wow, this is amazing because I can still be myself. And I have to thank, yeah, Lucasfilm and Disney and everyone because they gave us the tools, but then the freedom too, you know? So it felt like I was just on a set of a film that I've been my whole life. I felt the same freedom.

I didn't feel like, oh shit, we have to now behave differently because we're doing these gigantic projects. Well, I think that also the moral of the story is sometimes a big popular movie can be fantastic. Yeah. Do you know what I mean? There's a, it, it, it, there can be-

And it can have integrity. Yes, there can be a reverse snobbery sometimes of, oh, this is a popcorn movie, this is gonna be huge, everyone's gonna love it. No, yes, people are gonna love it, a lot of people are gonna see it, it's a big franchise, but, and it's now this television series, and it is beautifully acted, The story is so well told.

And what's so fascinating to me is Cassian, your character, it makes sense to me because of the story, the backstory of Rogue One is he comes from this other place and he doesn't belong. And so there's something that lines up very neatly with someone coming from, in your case, Mexico. Yes. You know, and you are coming from a different land

and trying to struggle to figure out what your place is in it. So it's all, it all makes sense, but it takes someone with vision to see that and go, we gotta get Diego Luna. And 99.9% of the people in the room would say, what are you talking about? That's exactly what Garrett said.

Including me, I'd have mixed it. I'd have, they did call me, because I had worked with you and I said, I think it's a mistake. It's a mistake. It's a very good word. I said, I'm more of a- Get him a telenovela.

Yeah, I like it. Yeah. I said, I'm more of a Cassian when you think about it. And they did some tests and apparently not good. No, you don't fit in the cockpits also. My head, they had to cut a hole through the spaceship. No, but it is. My head sticks out.

I did realize on the process of Rogue One and then Andor, that it was more my prejudice speaking, you know, because I think Andor is a great example of how things should be done, you know? It's like a, it is a gigantic project. It has a wonderful and very diverse reach, but the way they did it is the way they do the films I love. We are there because there's a perspective, a point of view, which is the creators, Tony Gilroy, the amazing writer and

producer and director that is behind this. And we're following a leader and a voice. And if you commit to that, then that's integrity. That's where integrity comes from. And then this thing can fly and be huge. And obviously we all get it. I mean, we're part of a community. People really want to see this. People really want this to be good. And they're expecting the best out of you and you have to bring it. But it had that kind of like, that sense of like, okay, we're working for a vision, you know? Yeah. From beginning to end. And I was really pleased. And then many people think your life changes

because of being part of a project like that. And it's true, but not in the way probably that people imagine, you know? It changes because like I'm a different person I went through a revolution myself with this project. I'm part of a community I got to work with people that are as talented as it gets and I got to learn But then you go back to your life and your life is the same. Yes, you know, I Go back and I want to do a tiny little film about this particular event or character, and I don't go out there and find money to do it.

You know, they're going like, oh no, that one, no, not for that one. Yeah, yeah, yeah. No, it doesn't change, and in a way that's refreshing. It is, because you can still be yourself, and you can go through an experience like this and be transformed in the best possible way, but then also go back to who you were

without having to, yeah, to leave something behind or don't, yeah, to avoid being back, you know, as if it was a bad thing. To me, it's the opposite. So going back is great. I've always found it very, in a way, refreshing that I'll have a moment that's supposedly like a big moment or something in my career. And then the next day someone will say,

oh, I saw you host the Oscars last night and then you did a really good job. Oh, you did a good job. But I'll say, thank you very much. And they'll say, and you can't park there. Exactly. And I can't park there. Exactly. And I go, oh, oh, I'm sorry.

And you're like, oh, good. Nothing's, it's gravity. Gravity is always acting on you. Well, I want to cede the floor to Matt for a second, Well, I want to cede the floor to Matt for a second because Matt is a huge- He's falling asleep. No, no, no. No, no, no. I'm just so relaxed listening to you guys talk.

I'm serious. I could listen all day. I don't know that you should sleep tonight. But I just, it's only fair and right because Star Wars and all of it means so much to you. And this is, I know that you have raved about, I mean, when you saw Rogue One, just you thought that, oh, they've really, they've made a beautiful, beautiful movie. Particularly Andor and Rogue One and what you

and Tony Gilroy and all the other actors are doing is so damn enjoyable and so good. I mean, it's just, that's all I have to say. No, but I mean, you were in a very happy place today because Diego was coming in. And I know what I've noticed about Andor is that I don't, again, there are some shows that are part of a big franchise that kind of demand, you know, X, Y, and Z.

And I remember going to see, when I was a kid, my brother Luke and I went to see the movie Dune, with Kamma Coughlin in whatever it was, 1980 or something, at the Hearthstone Plaza Theater, which isn't even a theater anymore. I think it's a pot dispensary, because everything that I grew up with is now a pot dispensary.

Except the pot dispensary is now an ATM. But I remember we got there and they handed you a little booklet that you had to read before you could watch the movie that explained, okay, this is this, and I thought, what the fuck is this? I think that's just because what David Lynch did to that story. Yeah, yeah, God bless his soul.

But anyway. I like him, don't get me wrong. Yeah, yeah, don't get me wrong. It's just insane. You and your anti-David Lynch propaganda. I won't have it. But what I love about Andor is you can know absolutely nothing.

And it's just great storytelling. Really great storytelling and terrific acting. And then- And you get to sit in a TIE fighter. What's that like? Oh boy. Yeah. Yeah?

We got to that. You be quiet. The TIE fighter, yeah, it's a special prototype, right? Oh yeah, it sure is. It was fascinating because things actually work. You guys can go, we got this. No, I want to hear. So when you say things actually work, what do you mean?

You turn on a button and a light comes on. The screens are showing you information you can relate and communicate with the object. I didn't know that. It's, we, and I don't know. I mean, I'm not sure how they do every, every Star Wars show, but ours is very mechanical. It's very much like a homage to the filmmaking

that started the whole thing. You can feel it. You know? And so we are interacting with props, with real pieces of, yeah, of the stage is real, is built. You have to wait till it's built, you have to use it, and then they bring it down, you know?

There's a whole process, and there's a whole design behind things. Things don't get decided later, you know? They don't tell you like, just turn buttons and pretend you're flying, and then we'll figure it out. No, there's a reason. There's things on the right, the things on the left.

If you move these forward, it has to be like this. And also, there's someone behind the design. So there's someone defending the design and telling you and walking you through what you are about to use. Therefore, it's like actually happening and you're in a platform that actually moves. So you turn right and the thing moves right, left, down, up. You know, if you're hit, it shakes.

Are they ever like your father where you're just like, oh, he's messing up my design? Many times, I'm sure that happened. Many times. And sometimes you have screens in front of you. So you are looking at what's going to be there, you know, somehow. So it is a... The putting together of the show takes a long time because there's a lot of work behind everything. And that, again, is because it has to do with the vision.

The way Tony writes is very special. You'll be interested in this. He doesn't write a scene where they go like, okay, they're doing a podcast in a studio. And he sits down with the set designer and says, okay, how big is the studio? Okay. And they design a studio and a piece of paper, and they go like, okay, they'll have a table with four microphones. So over there is going to be the computer, there's three seats there. So when he's writing the scene, he's describing a space that already exists and that is being designed for this.

Therefore everything has a reason, everything has a purpose, and things are already designed when he's writing. And he's the master, I believe, of collaboration because somehow in that moment it's not just his material, it's not just his material. It's also the production designer's material, because his vision is already in the page. So when you get to the place and you read a line and a direction, it makes sense.

You go like, oh, okay, I get it. Now I get it. But it informs, it informs, it's a collaboration between, because you're acting then, it's a collaboration between all this work that's happened before you even show up to set. Definitely. And one of the things that always,

because I'm old enough to remember what it used to be, science fiction used to be shiny and clean, meaning spaceships always were kind of shiny. Buck Rogers. And Buck Rogers, everything, and people wore these immaculate spacesuits and that was what we knew as science fiction. And if you watch 2001, that's how it is.

And then I wanna say Blade Runner was kind of a revelation because as we all know in real life, cars are rusty or dirty or banged up or dented. And then in Star Wars, you saw that things are kind of retrofitted, they're kind of holding it together with tape. Yeah. You know, the Millennium Falcons got some problems.

Some of the robots or the droids are kind of dirty. They've been banged around a little bit. And I remember that being a real revelation. And what you really see in Andor and in Rogue One too is also just this idea that stuff, these are machines that get used, they have to be fixed, they have to be repaired, people are, there's dirt everywhere,

things get fucked up, and that informs the story a lot. Do you know what I mean? Like clearly it's, and it makes it to me more real. It makes it very real, and it's different than the science fiction I grew up with. It's just so tactile, the world that you guys have created. And you just feel like all exists for real. How much of it is on location or at least exterior, right?

Cause the wind's blowing and it doesn't feel like a studio. It's all Cleveland. All of it. And you don't have to do anything to Cleveland. It just looks like a, you know. The first season we had in mind was, it was gonna be a shoot that we were gonna travel around the world, hoping to be in amazing locations.

And again, be a homage to filmmaking, you know, allow the accident of the real location to come part, to be part of the result, you know, and the creative process to be influenced by what happens when you're out there and you can't control everything. But then the COVID came and we had to adjust. And we did a very, a show that happened mostly on studio

because we had to be there, you know? And we started building things in the studio and they build Ferrics completely, like the whole town. And it's a town like you can get lost in Ferrics. I mean, Adrian talks about getting lost in Ferrics and it did happen. Like you can, it's so wonderful. And, but it's again, it's a design

that Luke Hall did next to Tony. And Tony understood the logic of that city perfectly and then started writing for the city. And the city gave you everything, gave you alleys, big streets, stores, food, the restaurants, the hotel, the place where you would need to hide or do exist. And they're the size for you to actually play that scene there, you don't have to like, you know, you can shoot in order and allow things to actually happen.

That's how we did the first season. Then we went to Scotland for a bit when we were allowed to travel and to the mountains. And it was beautiful. And again, you can't control everything. There's a scene where we are supposed to be in the top of the mountain seeing where we're going to hit the next day to do the big robbery. And we get to the mountain. You can get in cars to one point and then we had to walk and we get with all the equipment to the top of the mountain and there's a huge cloud not moving.

And we go like, oh God. And it signifies those sins, you know, you have a scene with Nemec talking about how much fear he has for what's coming and it adds because yes, I'm scared too. We can't even see where we're going. This is crazy, you know? But the scene just becomes that scene we did because of the place. There's no telling the cloud,

hey, this is Lucas. Lucasfilm, I mean, come on. Move along, cloud. Exactly, Kathleen Kennedy sent a note. No, it's not. And the beauty of this is that it brings all the attention to where it has to be. Everyone is, you know, like, focus on,

okay, how do we tell the story? How do we tell the story? Because also we know the story by that point. There is no, there is a secrecy, you know, out of the bubble, but for us, we are all very much invested in the same story that Tony Gilroy wants to tell, you know? That's great. I'm just sad this is the last season. Well, sad, but relieved, no?

Yes, I'm very relieved for you. No, no, but not in terms of like, oh, I want to be at home. No, it's just like, it's not easy to get something right. So when it happens, it's nice that you keep it that big. Let me put it this way, I think TV has brought great things, you know? It's a great place for young talents to find their voices.

It's wonderful, it's taking all the risks cinema stopped taking, you know? Which is great. But there's one thing I don't like, which is things start without knowing where they're gonna end. You want, everyone's talking about the next season and probably there's another one

and there's an anxiety of like, how much more can we achieve? And it's nice to start something knowing where it ends. Therefore you throw everything in, you know, you put everything there and if you succeed, you celebrate. And if you don't, you learn everything in, you know, you put everything there. And if you succeed, you celebrate. And if you don't, you learn and you try again. But knowing the ending of the story allowed us to, yeah, to work this tough and in detail in all those layers that you can bring in. in all those layers that you can bring in. But I remember we sat down in the first season,

half the way of the shoot in Scotland, Tony and I, and he was like, we can't do five seasons of this. It takes two years and a half of our lives. I'm going to be 60 years old pretending I'm the guy I was in 2016, impossible. So how do we do this? And he came up with the idea of doing this four blocks because our goal was, let's tell the story of the five years before Rogue One and then finish this story the moment Rogue One starts, right?

That was the goal. So he came up with this idea of like in the second season, move through four years of the life of these characters and get to the point that we promised at the beginning. And that was such a relief because then suddenly we understood that it was possible that we had to aim for another three and a half years of work, but we were gonna make it, you know?

Which is great, because that's what Rogue One does, is it goes right up to the end before Star Wars too, so they all just connect so seamlessly. It's a prequel, Rogue One is a prequel, then we did a prequel, and it's, yeah. So this is the prequel of the prequel, right? A repeatquel. Yeah.

Exactly. We got very technical now, right? Suddenly everyone's like, oh, no. I do think, and this is like... And I appreciate that little tangent, by the way. Thank you. Yeah, no, it wasn't little at all. And you're fired.

You're fired. I understand. So you'll now work with... You'll go with Diego. Okay. Really? Yeah. Okay.

He's now... You live with him now. Okay. I do think people talk... I don't eat a lot. That's just work. You live with him now. Okay. I do think people talk- I don't eat a lot. People- That's just work you live with him. People, I like that Diego has no say in it either. Conan said so.

And then there's bunk beds. You're in Mexico City in bunk beds. Oh, good night, Matthew. Just one more thing about Cassie Daniels. Go to sleep! You know, it does, people talk about this a lot, but, and it can almost sound like a cliche, but it's so powerful that when you said

you didn't see yourself in any of the Star Wars, in the Star Wars world when you were growing up, and it seemed like an impossibility to you that someone like you coming from where, from Mexico City could be in that world. Think of how powerful that is to millions of kids who are seeing you in this franchise. And what's fascinating is that it has,

your role has absolutely nothing to do with the fact that you grew up in Mexico. You know what I mean? It has nothing to do with that. You're just up in Mexico. You know what I mean? It has nothing to do with that. You're just a great actor. The more that happens in different cultures, I can't prove it, but I feel like it's the answer to a lot of our problems.

No, I agree with you. I think it's, if I think about the reference I grew up, you know, watching, following, and hoping one day I could like, be like them compared to the ones that are, my kids are growing up with. It feels much diverse, interesting, rich today, you know, and things are changing and getting there.

And I always, like, I always wanna bring it back to where I think everything started happening, which is, it's because of the audience. It's because the audience started to have a voice, you know? And now all these tools that we have, they're terrible and dangerous in many ways, but they are also very useful. And one very useful thing they do is that you can send messages. You know, you click or you buy a ticket and you're sending a message. And the industry has to listen because they want you to keep clicking, you know?

And if you ignore, if you decide not to click, not to buy the ticket, you're also sending a message. So it's audiences who are somehow reshaping what the industry is talking about, what voices are there, what stories get to be made. It's still a process, we're not there yet. But the idea, I grew up like watching those films where every decision in the movie business

was made behind the desk and someone was like, this is what they wanna see. Big cigar. You know, big cigar. Here's what we're gonna do, see? Exactly, you got it right. And today is not like that. Today's people at home, you know, clicking or not clicking,

paying attention or not paying attention. So if we as audience act with responsibility, the responsibility that this tool brings or gives you, we are having something to say on this industry that somehow for a long time, it didn't seem to talk to us, and now it is. So I think it's cool. I think I'm part of something big. I see many people coming from where I come from having an opportunity.

You were just talking about how cool it was to travel with Javier in Spain. I mean, it is happening. It is happening somehow. And again, I think we can be really proud because it's a moment where you can be yourself. I grew up with people telling me, are you gonna work on your accent?

Are you gonna clean your accent? And I was like, clean your, well, I mean, why do you think it's dirty? Or what's wrong with my accent? My accent is mine, it might not be yours. But you know, but when I was 20, that was the thing is like, okay, you're doing great. What if you start working on your accent

and you start sounding like these other people and you can start doing what they can do? And today is a moment where that is changing. I think, I mean, I'm here because I bring what I am, you know? And that's what got me here. Uh, I might not be there and not there, but I'm here because of this. You're exactly where you're supposed to be and where you should be. Yeah.

And that's kind of like a cool idea and message. And also things are happening where sometimes you can do something in another context that not even thinking of traveling and that can resonate with someone here or in Europe or in Japan or whatever. And so there's also like a respect and a search for a specificity

that today is really cool in the movie making. Well, I'm very proud to call you a friend. I'm honored. It was one of the great honors of my life that you came on my show in Mexico City and blessed our Kuki project there. Just delighted, delighted to have you here. And I love what you represent.

You're an artist and you're a really good guy. And just a pleasure, absolute pleasure to have you here. And so please come back and let's have an adventure together. I'll take you to Scotland. Scotland, so much water. It's incredible. That is not what the tourist bureau says. Scotland, so much water.

But also I think- So green, man, it is beautiful. And also I accept your invitation to return to Mexico City and appear on a telenovela with you and live with you. I think that was mentioned at some point. That was my invitation. I get to live with you.

No, no, I'm living with- Triple bunk bed. Yeah, triple bunk bed. You can come too. I'm out. You're gonna wake us up, I'm living with- Triple bunk bed. Yeah, triple bunk bed. Yeah. You can come too. I'm out. You're gonna wake us up at night to ask him questions about Andor.

And that bullshit is not happening. And I'm gonna wake you up to correct you on your accent. Yes, please. In Spanish. Very, very important. No, thank you so much. Yeah, yeah, this was so much fun. And come back soon, Diego.

I will. And thank you for everything. Seriously, great to have you here. Oh man, thank you, thank you. ["Sona of Sessian"] Conan O'Brien needs a friend. With Conan O'Brien, Sonam of Sessian, and Matt Gourley. Produced by me, Matt Gourley.

Executive produced by Adam Sacks, Jeff Ross, and Nick Leow. Theme song by The White Stripes. Incidental music by Jimmy Vivino. Take it away, Jimmy. Our supervising producer is Aaron Blair, and our associate talent producer is Jennifer Samples. Engineering and mixing by Eduardo Perez and Brendan Burns. Additional production support by Mars Melnick. Talent booking by Paula Davis, Gina Battista, and Brit Kahn. You can rate and review this show on Apple Podcasts and you might find your review read on a future

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