Happy Sad Confused - Benicio Del Toro

Episode Date: June 2, 2025

One of the most versatile and fascinating actors of the last 30 years joins Josh on the podcast this week. Benicio Del Toro takes centerstage in a new Wes Anderson film and is here to talk about it, not to mention his experience making THE USUAL SUSPECTS, SICARIO, and much more. UPCOMING EVENTS Gary Oldman in LA 6/3 -- ⁠⁠⁠⁠⁠⁠⁠⁠tickets here⁠⁠⁠⁠⁠⁠⁠ Check out the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Happy Sad Confused patreon here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

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going, it's like, I mean, I've been doing movies for a long time. There's no one that has been the same. Just when you thought you figured it all out, you know, a new thing happens, you know. I mean, there's like, you'd be surprised all the time. Prepare your ears, humans. Happy, sad, confused begins now. Hey, guys, it's Josh, and welcome to another edition of Happy, Sad, Confused. The main event today, a really special one. Benicio del Toro. Benicio de Toro. Benicio to our first-time guest on the pod, one of the best actors for the last 30 years. I'm thrilled to say he's on the show

talking Phoenician scheme and his entire career. That is the main event today. I'm happy, say, I'm confused. Other things to briefly mention before we get into that. You have one more shot. If you're listening to this on Monday or Tuesday of this week and you're in Los Angeles, come on out.

I've been touting it for weeks. Gary Oldman, it's not, maybe not going to sell out, but it's going to be pretty damn close to a sellout in this beautiful Fine Arts The there are some seats left but it's an intimate setting it's going to be an intimate chat with one of our greats so horses but also we're going to hit on dracula and true romance and i don't know as much as i possibly can because i adore this man and this actor harry potter batman vatman come on gary oldman um as always hit up our patreon that's where all the early

action is in terms of announcements bonus materials merch patreon dot com slash happy say I confused if you like what I do it honestly really does help us make more of this we are a small operation every little bit counts so check out the Patreon lots of different tier levels support us over there helps us make more of this stuff for all of you okay so Benicio is front and center right now in the Phoenician scheme this movie's about to come out this is the new Wes Anderson film he's been in one other West film. He was in Grand Budapest Hotel, but that was a smaller role this time. He's at the center. Really cool. Great role for him. He's surrounded by Michael Sarah. Mia Threpleton. Put that name on your list. She is indeed the daughter of Kate Winslet. And when you hear her in the film, I know I clocked her and I'm like, oh yeah, that's the daughter of Kate Winslet. Same exact voice and very talented in her own right. Big things ahead for Mia. But it's a huge ensemble, as always. Benedict Cumberbatch, F. Marie Abraham, Bill Murray.

a ton more well worth checking out as is every Wes Anderson film. We touch on as much as possible of Panisio's career in the time allotted. I wish I had more time and hopefully he'll be back on the pod, but we were able to cover a bit of usual suspects and Sicario and his role in the Marvel films a little bit on Star Wars. You're in Loathing. Yeah, I mean, this guy has so many amazing credits. He is

one of the best out there. He's an Academy Award winner for traffic. I believe he also got a nomination for 21 grams. He's worked with some of the best filmmakers on the planet, and I'm just so thrilled he's finally doing the pot. So I hope you guys enjoy this. Check out the Phoenician scheme. It's in theaters any second now. I believe at the end of this week, if you're hearing this as this drops, put it on your list. Every Wes Anderson film is well we're checking out, and this is no exception. And without any further ado, enjoy this. My chat with the great Benicio del Toro. Benicio del Toro, Whether you know it or not, you've been on this list for this podcast has been going 11 years,

so I finally got you. I've made it. Thanks for doing it, man. Thank you. You've obviously worked with West before, but it's a good phone call or email or monogramed letter, however he tells you that's happening. This is a good moment to hear you're going to be in a West film and he wants you for the lead. Yeah, it's kind of like winning the lottery. I mean, I've never won the lottery, maybe winning a bingo game, but you know what it really is, It's a motivational pill of sorts. Yeah. You know, you get motivated.

You get excited. And, you know, you stay up at night thinking about it and hoping you deliver, you know, inside that crazy, you know, meticulous world. Yeah, yeah. And meticulous world of Wes Anderson, you know. But it's got to be a degree. It's super original, too. I mean, yeah, there's no one like.

I mean, there's so many reasons that an opportunity. like this is exciting. I mean, yes, you must feel an amazing amount of safety in the hands of Wes. You also literally every day are working with another amazing different actor. He assembles the best of the best. His crew, he's cultivated over decades. I mean, is it kind of at this stage in your career? Maybe it was even this early on about trust, about comfort, about kind of feeling like I have license to do what I do without worry. Is that kind of a little bit of what this is? Well, you know, I think it's a combination, but you do what you do. And then someone like Wes, who's so unique in what he wants, he's prepared, he's storyboard

every shot, he knows your lines as good as you know them. You know, it really is different, but it's the same. I mean, and by that I mean, like, you prepare the same way. And then what you were saying, which is like, every so often, you know, a new actor or actress comes in and they just elevate you. You know, from Riz Ahmed to Tom Hanks, Brian Cranston, Jeffrey Wright, Matthew Marique, Scarlett, Johansson, Rupert, Friend, Hope Davis, you know, it's just the list is on and on. And then, you know, the dream sequences, which are like, a lot of them are pretty silent, you know, and you look into the side and you got F. Marie Abrams, you got Bill Mary, you got Bill Murray, you got Willem Defoe. It's quite stunning and quite exciting.

And, you know, you really got to pinch yourselves to say, you know, hey, I'm here with these legends. I've heard you talk about with respect to Wes, like, or any director, you even as an actor, having done this a while, an Oscar winner, you've accomplished so much. It's still nice to hear encouragement and positive reinforcement. I mean, what do you need or want to hear from Wes Anderson that's going to kind of like emboldened you and encourage you? What's an actor like you're looking for? You know, collaboration of some sorts. I think that I turned to look at the story. First of all, I need to understand what the writer is trying to do, in this case, what Wes is trying to say.

And I think we got to that. And then I look at it from the point of view of the character. I'm looking at the story kind of like from the point of view of the character. And what I would like to have, which I did with Wes, is it's at least to listen to my, if I have a concern, and I'll give you an example. we were doing a scene where I first meet my daughter Liesel played by Mia Threpleton

and in that scene I'm telling her a lot of information that is very private that my character considers very private but in the same set there is

a character my tutor played by Michael Sarah Bjorn is the name of the character. So he's sitting there and as I read it and we play with it, there was a little bit of rehearsal. I remember telling Wes, you know, I just don't know if my character would be dropping this type of information with a stranger.

Bjorn sitting there. I don't think he would be telling his daughter all this information. And then he said, well, how about if we polygraph them? And then, okay, you know, and then he comes up with this idea of the lie detector and, you know, a very West Anderson prop. Right. And so that's what you look for. You look for that kind of lane of communication, you know, that it can be. And then it makes, then I can, I can try to be in the moment.

Well, that's the eyes of you, although that's the key. And like, even for a filmmaker meticulous who draws the lines very specifically, it's, it's heartening to hear that there's still room for you. Because otherwise, where's the joy for an actor? I mean, you need to find some spontaneity in his animatics, which I know he shows actors. Yes. You know, and, you know, you then you also, you know, it's a little bit like, like if, it's like doing a play. that has already been written and blocked even perhaps yeah yeah and you know like if you did a play from Arthur Miller let's say if you did a play like view from the bridge he's already been you know

interpreted and it's been locked so when you do it you can't change it that much you won't rewrite Arthur Miller so it's a little bit like that but within that you can bring yourself to it yeah and make it unique and that's I think every actor that works in a Wes Anderson somehow it'll, he or she will find that. I've never had the privilege of being on it Wes Anderson's set, but there are certain filmmakers where I feel like, in my mind's eye, I know what it is. I feel like, I mean, tell me, is it basically what I would imagine a West Anderson set to be in terms of... Like, kind of like this?

Yeah, exactly. There's a certain air of, I don't know, seriousness, he's wearing a suit. I don't know, give me a sense of like what the vibe is on the West Anderson. Well, it's, it is everything you're saying, but at the same time, it's just like any other movie set I've been in where the director wants the actor to be in the moment, to be as honest and as truthful as he or she can be, you know. So at the end of the day, you know, I'm trying to be. So being in the moment and being in the moment and being in that set, just kind of like, I can't, like, enjoy it because I am part of the set.

Right, right, right. I am, like, that chair, I am, like, except, you know, I got to perform, but, you know, I am part of the set. And so you might take it, you might have to take it for granted a little bit, you know. Yeah, but catering might be nicer, but at the end of the day, you have to be in the moment and live that life. And think about this next take and try to land here to say that line. And so it takes the, you quickly stop being a tourist.

Right. On a Wes Anderson set. But for those who get to see the film, it's, when you see the film, it's, it's almost like, it's almost like you're doing a movie and there is the camera. I block it out. Yeah. And I just, I don't see the camera anymore. But you might come into the set and go, well, there's a camera right there, but I don't. So for me, the set of West Anderson's.

is I don't get to enjoy it or look at it or I mean I enjoy it of course and I feed from it but you know I don't like I don't sit there and I admire it as much as I would like to yeah you got a job to do yeah during the Volvo Fall experience event discover exceptional offers and thoughtful design that leaves plenty of for autumn adventures and see for yourself how Volvo's legendary safety brings peace of mind to every crisp morning commute this september lease a 2026 xe 90 plug-in hybrid from 599 bi-weekly at 3.99% during the Volvo fall experience event condition supply visit your local Volvo retailer or go to explorevolvo.com simons celebrates freedom of expression with a daily ritual of getting

dressed. Fashion's power lies in its endless possibilities. Each garment is an invitation to get creative, be unique, and show the world exactly who you are as you are. Be true, be authentic, be unapologetically you. Express yourself at Simons. Okay, we have the luxury of a little time, so if you'll indulge me a little bit, I mean, one of the traits of this is seeing you front and center. I mean, you've been the leading man in films. You've been the supporting player in films. When you were starting out, did you envision, I know theater was big, obviously, first,

but when you start to transition to film and TV, did you imagine being at the center of the frame? Did you see yourself Puerto Rican man the name Venicio de Toro? This is not on paper where they center, where they give the leading men roles to, especially 30 years ago. What did you imagine? Well, I did, and I did not. You know, you have to. Yeah, if you can't imagine it. You can't imagine it for you.

You can't even follow it. So I did imagine that I would be, you know, that I wanted to be, you know, an actor that would command, you know, whatever, a good part. And I knew quickly that it would take a lot of effort and a lot of work. kind of a lot of perseverance. I'm being Latino as well, you know. So, but I did kind of, um, so myself, you know, somehow trying to do what actors I admire, like Pacino, De Niro, Denzo, Washington, or, or, or, or, or, or, or, or, and Hoffman, you know, these are actors, Robert Duval, you know, actors that you admire and you're

like, oh, yeah, I want to do what they do. Or even Sean Penn, you know, it was like closer to me. But, but yeah. So you have to, you have to, like, believe. And it's kind of, you know, at some point there's so much grinding that you don't have that belief what's going to keep you going what keeps you going

is like I mean I've been doing movies for a long time there's no one that has been the same just when you thought you figured it all out you know a new thing happens you know I mean there's like you'd be surprised all the time

I mean I'll give you a surprise it's like I thought I've seen everything on the set, and on the set of this, it was Bill Mary's first day. He's playing God in the film, and it's a dream sequence. And we're waiting for him, and I hear this music. And he walks in with his own soundtrack, with a boombox, and he's cranking some Eric Clapton.

And I'm going, wow, I've never seen that before. And it's just, you know, okay, this is good, it's good music, and everybody starts to move. And then from the corner of the set, you hear Wes Anderson go, Bill, Bill, classical music only. Classical music only. And Bill Murray just looked away and just pressed the button

and clapped and turned into Bartok or some classical music came out blasting and kept walking. And it was like, wow, I got to remember that one. Yeah. I haven't done. But that's a little example. But every story, every movie,

every director everything is different and that makes it exciting you know when did your family stop worrying about you like by the time was it before after usual suspects like before usual suspect was that the game changer no no no i mean a little bit but no it was even even after i won the oscar for for best supporting actor um i remember my godmother maybe three days later It's like, you know, you'd be a great lawyer. You'd take some, you know, what do you need to do? Classes at night, at law.

You could do law school at night. You could be a great lawyer. And it's like, no, it kind of like, I think that then, you know, I have to, you know, I don't come from a family of, uh, theater people or movie people. So it was, they were very nervous with me. I come from family professionals, but not in the movie world or the theater world. So my, you know, they were very concerned.

And I understand, you know, I'm a father now. And I, you know, I just let my daughter, if she wants to, you know, she wants to, one day she wants to be a lawyer. I said, great, the next day she wants to be, you know, a designer, great. You know, I just, you know, and I, but I do know that if she wants to be an actress, You know, you just have to let her be. I think there's more opportunity now than when I was going out for auditions for an actor. I think that now there's more of this, just all these TV series, all these, there's a lot of stories being told as we speak.

But still, it's a very, you know, the odds are not in your favor. You know, but you can't get in the, but I do understand it. And I did then, they're concerned. Yeah. You know. So it has been 30 years since usual self. When you showed up on set with that very specific take, the cadence, the mumbling, like the almost inaudible approach, the fencer, what did Brian, what did the producers say? Did they pull you aside and say, like, we might need to make a change or were they all in? No, Brian Singer and Chris McQuarrie, the writer, Brian Singer, the director, they were very encouraging with it, you know, they were like, they were, you know, really my character,

died on page 38 or 39 it was just like I had five scenes so they allowed me they trusted me to create that character and you know give it whatever to it and um but for me it was a little bit scary because you know I I remember my when I finished my my last day of shoot I just, I felt like, yeah, I don't know if this is gonna work. You know, but I got lucky because the movie did so well. Right. Because the cast was so strong. The cast was very encouraging too with what I was doing.

And, you know, so you can only be as good as your movie. Sure. And the characters kind of survives in a way because the movie was terrific. I want to rattle off just a few of the directors you've worked with over the years. It's kind of an insane list. I mean, this is just a fraction.

Steven Soderberg, Denis Villeneuve, Terry Gilliam, Peter Weir, Christopher Macquarie, Alejandro Nauritu, Albert Stone, Paul Thomas Anderson, a second time now, Wes, a second time now. I mean, that's a hell of a roster. Can you cite one or two

that fundamentally changed your approach to acting that really changed you as an actor from that experience? Well, you know, there is Steven Soderberg. He definitely, that was probably the first time I, you know, had a real rapport with him as a director. You know, there'd been some before, like Brian Singer, Julian Schnabel. Sure.

there were filmmakers that I that I could talk to almost like like friends you know yeah but then you know then after that I think all of them all of them all of them have touched me one way or the other whether there is you know Alejandro Gonzalez and Nari too or Oliver Stone you know and there's things

that they've said that I will remember on particular moments, you know, that there's, you know, they're, all of them do. And, you know, Wes Anderson as well. And, you know, he's my latest, you know, influence, you know. I mean, I learn a lot from all these filmmakers. I mean, definitely, uh, De Neville Neve, who, you know, that, uh, but I think all of them, all of them, you take. But Sutterberg was a, uh, a moment. there because of the success of traffic and traffic and then into che which is such an adventure i mean my gosh the trust that you had in each other to go on that journey must have been extraordinary yes it was

you mentioned dene i mean i've talked to josh about this josh brolin and he had a good experience but he also said to me he didn't know what that movie was going to be he didn't realize how good a caria was going to be did you did you have a sense where you kind of shocked of like how holistically the music the cinematography it all was going to come together No. Well, I knew it was a hell of a filmmaker because I've seen his work prior to Socario. But he, you know, there was an opening sequence where my character was introduced. And it was it was a type of scene that my manager and my agent, they were all excited about this scene. And so when I go see the movie, that scene is not in the film.

So, immediately he got it from the get-go. Well, it was like, okay. Yeah. You know, and, you know, the work he did, you know, directing the photography, the music, the editing. Yeah, the whole intention, I mean, the tension, yeah. It's just, I mean, it's super. It's really a tight, tight ship.

That movie was a really tight movie. I heard you talking to Roger Deacons and the great cinematographer, and he said something that was really striking that didn't necessarily surprise me that you're the only actor he's ever seen and ask for less lines. And that was in Sicario and maybe it's been in other works. Is that just intuitive

that like this guy is going to function better as a contrast to these other characters that he's a coiled spring that when he does speak it's going to have more impact? Give me a sense of like the idea behind scaling back on. Well, the idea behind was, it was, the idea behind it was like

there was a, the character was a, explaining what happened to him in Sicario, why he had become a Sicario. Yeah. And I, my suggestion was like in my experience in life, and I've met some men that have been in situations similar to that or have been in traumatic situations, they don't talk about them.

Right. They don't, and especially not to strangers, you know, I mean, it takes, it takes you. Talk to a war veteran, they're not going to tell the way it happened. years before they talk. So that's a, that's, that's, that's, that's the, that's the, that was the approach. The approach was like, you know, I don't know if I'd see a guy like this opening up to Emily Blunt's character.

Yeah. You know, so, you know, it was a, and, and, and he understood that right away. And he kind of said, you know, I get it. And he then had Josh's character explain it to Emily, which makes more sense. Right. But, you know, like, thinking about that movie and the Wes Anderson movie is not a day, you know, because with Wes, you have to, you respect the word. This is the most verbal character maybe you've ever had, probably. I mean, like, you're, I mean, probably, yeah.

It's kind of striking to me, again, when I think of, like, the career as a whole, it's like, you have these wild extremes. Like, you have the most, like, verbose characters sometimes, like, something like this, and these very silent characters. And you're not afraid to, like, kind of go big or go home. Is that, do you like kind of being on the nice edge? Well, yeah, challenging. But also feeling like, this could go either way. This might work or might not work. Yeah, but I think, but I'm kind of like, I know who I'm who's in charge.

Right. I mean, when you have someone like Wes Anderson in charge of this story, the Phoenician scheme, you trust them and you know that you are. in the hands of the one filmmaker. And you can see it too. I mean, I've had an opportunity to work with really good writers or material based on really good writers like Fear and Loading in Las Vegas.

That's an example. And Wes' script reminded me a lot of Hunter S. Thompson's writing. And the fact is that I found myself, asking West, well, telling West, maybe we don't need to say this and convincing him, which wasn't easy, to take something out. And then in the process of filming it, going back to West, and I said, you know what, I think I'm wrong. I think we need to bring that in.

Wow. Yeah. You know, because his writing, it's almost like a, it's like a Jenga building. So if you take a line out, it just falls. You know, and that happens with really good writing in a way. You know, so his writing is superb. And, you know, I, you know, so I, you know, I, you know, I recognize that. And when there is good writing, it just, that writing will feed your choices as an actor, will help your acting.

I mean, yeah, that's a no-brainer. This episode is brought to you by Square. You're not just running a restaurant, you're building something big. And Square's there for all of it. Giving your customers more ways to order, whether that's in-person with Square kiosk or online. Instant access to your sales, plus the funding you need to go even bigger. And real-time insights so you know what's working, what's not, and what's next.

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Talking about kind of the swings of the kind of characters, it's also the kind of films you make over your career. You know, you've made. the ardiest of artie films, whether it is Che or working with Schnovel, et cetera. And then you're not afraid to be in, even in Star Wars and Marvel and these big Bond franchise at the start. I mean, do you get something out of everything? Do you get something out of the Wolfman as much as you do out of a Chee or whatever?

Yeah, absolutely. Yeah. You do. You do. You know, when you do a studio film like, let's say a Marvel movie or, you know, or a Star Wars. It's a different approach in a way, but it's not. Yeah. You know, it is, but it isn't, you know, it's like, um, acting is acting.

Right, once you're, once you get to action, it's still truth, it's still... And I don't, you know, I like all kinds of stories, you know, I like all kinds of movies. It's not, I'm not just like, oh, God, just like these type of movies, you know. I like all kinds of movies, so it's kind of fun to be invited. to do a film like the Phoenician Scheme, for example, which is like a little bit outside of what you would see me doing. Probably closer to something like the collector in a way, or closer to something like that.

It's a heightened reality, but... Yeah, but differently. Yeah, but different. And, you know, so it's exciting to try to, you know, you know, figure it out and, you know, go for it. You did, you mentioned Star Wars, you ended up in Star Wars. Here's a rumor I always wanted to ask you about. Tell me if there's any truth to this.

Way back when, way before Last Jedi, it said that you were offered, or maybe even cast as Darth Mall in the original, in the first prequel movie by Lucas, and then they scaled back the part and you guys agreed to kind of part ways. Is there any truth to that? Do you remember that? No. No. Okay, good. No. Settled.

Settled. No, I don't remember that, but, you know, I don't remember everything, but I don't remember that. Okay, fair enough. I don't remember being cast in another Star Wars movie except for the one I was cast. When Ryan comes to you, that's a double, that's, you get to be in a Star Wars movie and you get to be in a Ryan Johnson movie. Absolutely. Is that as much the excitement? Oh, yeah, it was kind of like, it was really cool that he asked me to come in and play with him, you know, play DJ, you know.

So it was a lot of fun. Did we squeeze enough juice out of the collector? Did you get your money's worth? Do you feel like you got, you know, enough to do? Is there more on the table? I definitely there's more on the table. Yeah. Okay.

Definitely, definitely there's more on the table, you know. It's not up to me, but I think there's. Your game, you're available. Yeah. Okay. Tech avail. Yeah. Directors that have gotten away.

You worked, I listed the amazing directors. I noted you, you worked with Michael Mann on a commercial, though. You didn't get the film experience. No, I didn't. I worked with Michael Mann. As a producer as well, I worked with Michael Mann much earlier because I did a Miami Vice. Right, of course. And I also did a TV series called Drug Wars, the Kiki Camarena story that Michael Mann produced.

So Michael Mann was there at the very beginning of my career. You feel like a natural fit into that world. Yeah. He's one of the greats. I'd love to see him in the overall. Any other filmmakers that you've been chasing or that you're supposed to be. surprised haven't. You know, there's a lot of filmmakers that, you know, I haven't worked with that are great, but, you know, I just... You can only do so much. Yeah, and you, you know,

these filmmakers, when they, when they come find you, you know, if you're not busy doing something else, believe me, you jump at the opportunity, like, you know, like Wes Anderson. Some movies that are like, that they don't get the recognition when they come out. Right. Fear and Loathing's one. Fear and Loathing is one. I mean, we've got. like that cold bucket of ice and then it finds an audience and then you kind of go like well we weren't wrong after all yeah because there's a lot of doubt that happens when you do a film and you put it out there for people to see it and you know some people talk about it critics come in and they talk about it and

they say things and sometimes you know they might say things and you go well maybe they're right and maybe we were wrong and da-da-da-da but it's kind of like amazing when there is a film that finds an audience And Fear and Loathing is, it was a journey like that. It was like really neglected when it came out. And then little by little, you know, it was one of those films that people, you know, come to me and say, oh, Fear Unloathing, Fear on Loathe. You know, the other one that is like that, but it was a success in a way.

Sicario, yeah. Scenario at the time, but you're right. In the near since now it's hailed as a classic. It's an all time now. Yeah, it just kind of like, yeah, it travels in time. real well, yeah. Odds today of the sequel. I know that you mentioned that there's talk about it. Yeah, I haven't read anything, so we're hoping, you know, fingers crossed, yeah. You re-teamed with PTA. This is maybe my most anticipated of the rest of the year.

Get to work with Leo. That's got to be special and fun. Yeah. Guys are contemporaries. You go way back, we go way back as friends and we never worked together and finally we worked together and it was a lot of fun. You know, I finished this and I went straight. right into that. That's a good double header. Yeah, it was kind of like, okay, you know, it's like, you run a marathon and then they go, hey, you have to run another one, when, tomorrow? Did you, did you, you know, back in the day go up for the same roles?

Like you were contemporaries, you were... No, no, I don't think so. Yeah. I don't think, you know, Leo is Leo is Leo. You know, it's like, you know, but did I, did I, I don't think we did. but you know we've been friends for a long time I'm a fan and you know and so it was really nice to work with him

and to be in the process we had a lot of laughs also I'm of you know working with Sean even though I don't have any scenes with him but being in a movie with him I haven't seen him in a long time it was kind of cool all right we're going to end with this

happy second Fuseborough family random questions Are you a dog or cat person, Benicio? I think I'm a dog person, but I like cats too. I'm with you. Do you collect anything? Yeah, I think I collect. I do like a sprint collecting in a way. I just collect something for a little while and then I stop collecting.

But now the thing I've been collecting, and maybe it's not collecting. It's just I like it. You know, it's just music, you know. I think, you know, I keep investigating music, keep finding music that I didn't know existed, you know. Yeah. So I've been listening to, when I was in Berlin, was going after some Crout Rock,

and then, you know, a lot of reggae, some regga tone from San Juan, gotten into that too. So, but I think vinyl has been like, I think, a thing like that it's like it's a lot of fun to go back to it and it sounds better i think physical media always yeah favorite video game of all time pack man old school like love yeah what's the wallpaper on your phone it's my picture of my daughter this is the correct answer yeah last actor you were mistaken for um Guillermo del Toro.

Great filmmaker. No resemblance, but great filmmaker. What's the worst note of director has ever given you? I don't know if he was a director. It was a sound person a long time ago. I think he said, you can never take an article of clothing and talk at the same time. Saying that specific to you? Yeah, you can never take off an article of clothing while speaking at the same time.

Is that a general rule for you specifically? I think it was a general rule, but it was kind of like, well, isn't that what living and, like, acting in the real spaces? Yeah, I think they were more concerned about sound. They're sound, you know, like, you know, so you act for the sound man. Well, the sound woman. Talk, then remove clothing. And finally, the spirit of happy said confused. An actor who always makes you happy, you see them on screen, you're immediately happier.

Who comes to mind? That's a lot. I know. That's a lot. That's a lot. That's a lot. That's a lot. I mean, Marlon Brando is like, you know, he comes up and, you know, I just go there.

But there are so many. Humphrey Bogart. I mean, I look at those old guys, you know, and, you know, keep them alive that way. But, and there's a lot of contemporary, too, that, you know. Yeah. You know, Tom Hanks, you know, Scarlett Johansson. Yeah. You know, yeah.

A movie that makes you sad. It's a wonderful life. Yeah, that comes up a lot. Yeah. Huh. That's a good question. Would you have sent those to me before? That's a good answer.

I would nail it then. No, you know, no, but it's like, yeah. But it's like, you know, yeah, but yeah, definitely that one. Yeah. And last and not least, a food that makes you confused, Benicio. You don't get it. Why do people enjoy that food? You see it on a menu. Not going near that.

I'm with you. Hate olives. Oh, you do? Oh, wow. I know. I don't know. What I love olive oil. Me too.

Yeah. So, you know. We got this. Yeah, we got this. We share good taste of films and hatred of olives. Congratulations, man. Phoenician scheme is exceptional. Wes always delivers.

You always deliver in this combination. always deliver in this combination. Oh, thank you. It's fantastic. Thank you. Thank you so much from taking the time today, man. I appreciate you. Welcome, one.

Thank you. And so ends another edition of happy, sad, confused. Remember to review, rate, and subscribe to this show on iTunes or wherever you get your podcasts. I'm a big podcast person. I'm Daisy Ridley, and I definitely wasn't pressured to do this by Josh. Calling All Book Lovers. The Toronto International Festival of Authors brings you a world of stories all in one place. Discover five days of readings, talks, workshops and more, with over 100 authors from around

the world, including Rachel Maddow, Ketourou Isaku and Kieran Desai. The Toronto International Festival of Authors, October 29th to November 2nd. Details and tickets at Festival of Authors.ca.