Happy Sad Confused - Cillian Murphy, Vol. III

Episode Date: February 22, 2024

It's been six months since Cillian Murphy joined Happy Sad Confused. Now nearly one billion dollars in tickets sales, 13 Oscar nominations, and a pop culture phenomenon later, he's back to look back at OPPENHEIMER and four other key roles in his fantastic career.  SUPPORT OUR SPONSORS! Vessi -- Go to Vessi.com/HappySad for 15% off your first order! BetterHelp -- Go to BetterHelp.com/HSC UPCOMING LIVE EVENTS Sydney Sweeney March 20th in NYC -- https://www.92ny.org/event/sydney-sweeney Check out the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Happy Sad Confused patreon here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We've got discount codes to live events, merch, early access, exclusive episodes of, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Josh's youtube channel here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Learn more about your ad choices. Visit megaphone.fm/adchoices

D.C. high volume, Batman. The Dark Nights definitive DC comic stories adapted directly for audio for the very first time. Fear, I have to make them afraid. He's got a motorcycle. Get after him or have you shot. What do you mean blow up the building? From this moment on,

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And that Chris said something to him and before the take, and the camera was pushing in, like moving down on a big kind of, I think it was on a track, I'm not sure, but I thought he was going to punch shit on me like Jason Carr. It was so outrageously aggressive. He was like moving down with the camera. And we were just kind of improvising, but he was, it was terrifying, but excellent.

And that's the take that's in the movie. Prepare your ears, humans. Happy, sad, confused begins now. I'm Josh Horowitz, and today on Happy, Sad, Confused, well, it's a full circle moment for the podcast. About seven months ago, I had a guest by the name of Mr. Killian Murphy on. The movie Oppenheimer had not come out yet, and nearly a billion dollars, 13 Oscar nominations later. Killian's back talking Oppenheimer. It's good to see you, man.

It's good to be here. It has been quite a right. Congratulations on everything that's come since we chatted. Thank you. First of all, before we get into, we're going to kind of do a little bit of a different take on the conversation for happy sake and fused here. But, you know, I was talking to Emily Blunt recently, and she talked about the moment of seeing folks dressed up as Oppenheimer in the theater as the moment she knew, like, okay, this is not a normal experience. Yes. Did you have a comparable moment in this journey?

There wasn't kind of one eureka moment like that, but I think people stopping me on the street and saying they've seen the movie four and five and six times, that has been pretty staggering. You know, and obviously when we began to realize that the kind of business that movie was doing as well, it was just kind of overwhelming. And it's in the best way possible. You know, it seems to be people telling other people

you have to go and see it, people going to see it two or three times, people seeing it in IMAX. And yeah, we're all still a bit, we're still reeling from it, you know. Who is, I mean, I know this is obviously meaningful for you, but like, who in your orbit is this meaningful for? Are friends and family getting a kick out of the ride you've been on the last six, seven months? Oh, yeah. I mean, they're all, they all think it's gas.

And I've just been away a lot as well. I haven't seen that many people because they're kind of been on the road. But people are thrilled, you know. It's wild. So, as I said, I wanted to kind of treat this a little bit differently because we, it's rare to have a, it's a good sign. I will say, when you have a guest on twice for the same movie. That means someone's doing something right. But I want to kind of like take a little bit of a step back

and look at some of your notable moments in your career. I've chosen five films of yours, including Oppenheimer. I'm going to point out a couple scenes. I just want to get some reflections from you at the point you were at in your life and career. And we're going to start at the beginning. For those that don't know, Disco Pigs, was the play that really got you started. And then became the film.

It wasn't necessarily the first film you shot, as I have. understand it um but take me back 2001 i believe i think it was 2000 or 2001 yeah okay so you've done the play for a while yeah now you step on a set and you have some experience on camera but how green were you on the set of disco pigs as you as you recall yeah it was pretty green i think i think i was 24 when i did that film and that means i would have been acting for about four years and I was playing a 17 year old as well at 24 but I was I had done an awful lot of theatre

and I'd started getting parts in films but I was watching an awful lot of films that's what I would spend my time doing was watching films and watching actors and watching performances and I knew that we had to kind of transpose the performance that in the film sorry on the on stage

into the film and I knew that it would involve modulating the performance because the performance on stage was was inevitably and had to be big yeah kind of to reach the you know the back rafters yeah yeah so I remember thinking right this is going to have to be different sort of performance but we had a great director Kirsten Sheridan and and I knew the character really really really well I mean you'd play this like hundreds of times yeah by that point Yes, we had done the play for like 18 months on and off. So even though the script was different, but I knew the sort of essence of the character. So, and for those who don't know, this is about kind of a codependent relationship between a young man that clearly has mental issues.

I mean, there's some serious problems that he's going through and the woman that he has this very intense relationship with. I rewatched it again the other night. And the scene I wanted to mention that that jumped out at me was about 30 minutes in. I believe it's the day after you kiss this woman that you're infatuated with and develop this amazing bond with. And then you have this monologue on the bed kind of talking about fantasizing a bit about her. Do you remember that? You're shirtless. You're on a bed and it's like a three minute solid shot on you delivering this monologue.

Yeah, I remember that because that monologue was actually verbatim. from the play that was completely just lifted and End of Walsh who wrote the play and wrote the film just took that

so I knew that speech like the back of my hand I had performed it for 18 months but again I knew that I had to deliver it in a different way in a much more

sort of naturalistic way if possible and I remember we we shot that on a stage I think and I think we took the day to do it

and you know Like every most days on set, you feel like you haven't got it. Well, I felt like I hadn't got it and didn't think I nailed it. But I remember the director was very happy. I haven't seen it in many, many, many years. It's good. I mean, do you still have that dialogue in your brain? Like, do scripts stick with you years later?

The dialogue? The actual dialogue. Like, I mean, is Oppenheimer still in there? Is even Disco Pig still in there and some dark, deep, recess of your brain. I think the plays by the nature just how deep it had to go in there it's yeah and because you're doing it every night and sometimes twice a day that I think they stay in there but you know I think a lot of actors were kind of like you have to clear the hard drive to make room for the next thing and I've never had a problem retaining lines but I and I can read them

pretty quickly because you develop this thing it's the I think it's the hippocampus is the part of your brain that retains all that information. So I think most actors have a fairly well-developed hippocampus, you know. And even the volume on Oppenheimer. Goodbye. Summer movies, Hello Fall. I'm Anthony Devaney. And I'm his twin brother, James.

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kind of like, that's, your brain is just a tune to that now. You can. It is now. With Oppenheimer, I remember I learned it all, more or less, all of it in advance. Because I knew the insane pace that Chris would be working at. Yeah. Now, I just learned the mechanically. I didn't, sure. They were like, You didn't assign actual emotion. There was none. It was just I knew the lines. And because it was quite, you know, verbose. So I needed to.

Yeah. So, of course, this is your collaboration with Danny Boyle. And as I understand it, um, he put you through the paces on the audition. in the audition process. Yes, he did, but I mean, that's what I was going through all of the time there at that stage in my career was like auditioning for things and not getting things. But I desperately wanted this one because I had a transpotting poster on my bedroom as a kid. I went to see that movie when it first came out, you know, the first day we were all there.

And similarly with shallow grave, you know, so I realized this was significant because he was a proper or a class director so I think we did five or six auditions for that Is that a happy day do you remember when you actually got the role? Yeah I do I was in the I was in an airport

queuing up for a Ryanair flight And I remember jumping up and down The finest air wine Yeah and I was jumping up and down So It's hard to beat those moments Except maybe when Chris Nolan says You're going to be the lead in Oppenheimer

I would imagine that takes you back That was another good day Yeah So okay there were a bunch of scenes in 2018 days later, I could bring up people obviously bring up the iconography of wandering the streets of London where it's abandoned. But another scene that that jumped out at me is towards the end of the film where you kind of like go native essentially. You kind of like you're saving Selena. Yeah. You're burying your fingers into the eyes of your, of the aggressor. And what struck

me is also that marriage of sound, the John Murphy score. Yeah. I mean, seeing the finish product of that. Can you remember shooting it and then seeing the finished product and how that felt to you in the before and the after of that? Well, yeah, I think the journey for the character is that like he is this kind of, we meet him at the beginning and he's kind of doesn't know what's happening. He's, you know, completely like at a loss to figure out what's going on and he's so naive and scared and all of that. And then by the end he's become this sort of killing machine, you know kind of like yeah like the infected and um i remember we shot that whole sequence over three weeks and nights i remember and i was shirtless in november in england somewhere

and it was rain machines and just being freezing but i remember you know danny he's so great visually his films are always so confident visually and i knew that it would look great if we got if we got it right. But it was miserable. The anger was within. You didn't have to tap into too much the frustration. No, it was freezing cold. But it was just brilliantly written. And it's an it's an amazing sequence. It's so tense. Oh my God. Yeah. Do you see, do you see Danny as a kind of spirit with Christopher? They're both kind of like these obviously cinnophiles that can do kind of anything on a set, have enthusiasm in different ways about the process. I don't know.

Is there a linkage you see between them at all? I know that they both have immense respect for each other. And I know that, you know, Chris saw 28 days later before he cast me and when Batma begins. And I know that they're a fan of each other's work. Yeah, they're just, they're singular voices. You know, they really are unique filmmakers. And they have that same passion and energy on set when you work with. I would expect now, given recent news, you're happy that 28 days later went with the ending it did, that your character survived the ending.

There were two endings. Right. Yeah. So the character lived, and I don't expect you to say anything, but the news is out there that finally, after all these years, Alex, Danny and you are collaborating on a sequel. Yeah. Because when we spoke six, seven months ago, either you were a great actor, which you are, like, is this recent developments, did this come together relatively recently? I mean, it's for them to speak about it, I suppose, but I think it's been brewing for a while.

And, you know, the first movie was so important for me as an actor, and I, like, love working with those guys. And Alex has an idea. That's kind of enough. Alex Garland has a good idea, then we're in, right? Yeah, and Danny, I think Danny directing it is just a huge. So watch this space. No, and again, I know we can't talk about it yet, but we talked about how SARS kind of, like, was of that time.

And the fact that we just lived through COVID, it can't help but influence, I would imagine, where we're going to see. I don't know. It's going to be exciting. It'll be exciting. Okay, fair enough. That's for another conversation one day. Batman begins. Yeah. Okay.

So I know you've talked about, like, work begetting work. And clearly there is. Like, if we trace each of these projects to the other, they are linked, right? Yes. As you said. So you were a fan of Christopher Nolan's. Yeah. you get the call he wants to meet with you to play Batman yeah you knew in your heart of

hearts maybe this didn't feel right but here's my question how do you prep for an audition when you know you're going to be up for Batman like do you get the sides in advance are you reading the comic books do you remember what you did to even prep for that audition that's really good question it's so long ago um I feel like we must have been given sides in and around the day of the shoot we shot on the Warner's lot I think and everyone like you could see all I knew the other guys that were auditioning and I knew that Christian Payle was the obvious choice and I knew that I was very, very slight physically back then

and I knew that I didn't have that physicality then to kind of do it. But for me, it was just to be able to get in a room with Chris for Nolan and to be able to say, well, I've worked with him, you know? And that was all I was looking for. And there was a full, like they'd built a set and they shot it on 35 and it was a big,

Can I keep this footage? Because I just shot a film with Christopher Nolan, technically. Well, I think it exists. I think the footage exists. But that was it. I genuinely was like, lovely to meet you guys, have a, you know, good look at the movie. And then he called me a week or two later. I can't remember and said, look, it's not going to work out.

We thought it might. But there's this other part. You know what's interesting, like this kind of like house of cards or like how one thing changes something else is like I had Gary Oldman on the podcast recently. And he talked about, because I asked him about, was he always up for Gordon? And he said, actually, as he understands, Chris first wanted him for Scarecrow. Oh, really? Which, again, I can almost see because, like, it's almost a strange choice to go younger with that character. Yeah.

On paper, you could see that kind of character be a little bit older. But, again, opening your mind and kind of like, oh, wait, maybe Gary makes more sense for this. It's just fascinating how one thing leads to the other. Yeah, and I think that some, you know, Chris has so many. feathers to his bow as a director but I think his skill at casting is something that people don't quite talk enough about yeah he's always been genius at casting his films kind of in an unexpected way yeah you know and he he kind of he doesn't go the conventional way with with the casting and I think it's always

worked out from there are two scenes in Batman begins that jumped out of me when I was again rewatching it the other day for the 20th time the scene with you and Tom Wilkinson is just fantastic and obviously a little more resonant Isn't it now that we've lost the great Tom Wilkinson? And also, I mean, like in kind of like a classic comic book fashion, when Rachel is kidnapped, you kind of take her in and Batman kind of comes into the scene. Clearly, like, it feels like this is the kind of role where you felt some license to have some fun with it, to go big. Yeah. And like, did you feel out on a limb then?

Because you hadn't had this relationship with Chris established yet. But like, you know, your, even your elocution is very precise. You're kind of like leaning in a little bit more than some actors might. yeah but you felt like the material warranted it and it would work for this precise role yes and I felt like this is great he's just like he's an out-and-out villain you know this is rare you get to do that and just have a bit of fun and I remember even that reading of when I call him the Batman and I remember doing that a bit big and I went and I thought he's never going to he's never going to use that because it's a bit but he loved it and he put it in and that the bat

man. Yeah, it was like, I just thought I'll have a bit of fun with it. Yeah. And the thing I think, you know, with great directors is you just got to show them stuff. Yeah. And they may or may not like it. They may or may not use it. But if you show them stuff, then it's there rather than just talk about it.

If you actually just demonstrate it, you know? Yeah. I also, I love that the end of that sequence. You know, there's some really great moments of humor in that film. And you get the great line, Dr. Creighton isn't here right now. but if you'd like to make an appointment. Oh, yeah. Just works.

And also, like, noted that, you know, all these Batman villains we see in these different incarnations, we still have never seen Scarecrow in another film, which I think you should take as a badge of honor. Oh, yeah. That's right. Yeah, I didn't think about that. Just adding to your quiver of accomplishments.

Okay, so we could spend an hour, three hours, 10 hours, on peeky blinders. As you can imagine, you want to open up a Pandora's box on the internet, asked the internet what their favorite peeky blinders scene is, as I did. Oh, did you? Wow, what did you guess? I got a lot.

Where do we even begin? Well, first, let's just talk about the phenomenon of peeky blinders, which I know you're very grateful for it and means a lot to you. That character, Tommy Shelby, has been immortalized on the body of Dave Battista and many a people. By accident, apparently. Is that right? Apparently, that's what he said.

That's hysterical. Do you still see tattoos of Tommy every once in a while? Yep, yep. How does that strike you when your face has been immortalized on a human being's body? I mean, it's quite something, you know, that's quite a level of, I don't know, zeitgeistism, whatever the word is. But, yeah, I've seen some amazing tats, like a really, really cool ones. So they're always, like, I'm very impressed and honored. Would you ever consider immortalizing?

I feel like you would go with a musician if you were going to do any kind of figure. from pop culture on your body, a tattoo? Probably a musician, yeah. Right. But I don't, don't ask me who. But no. Not Bowie? I feel like Bowie keeps coming up.

Oh, I just buy the records, you know. You're gonna get, but I know the music. Records are enough. Yeah, they are kind of for me. All right, so a few moments that jump out from Piki Blinders. People, of course, talk about many wonderful scenes with Annabel Wallace playing Grace. The I'll Break Your Heart, already broken, exchange.

Do you remember reading that exchange and feeling like, oh, that's just heartbreaking, amazing. Great writing. Yeah. Great writing. And really well directed. And Annabel was great in it. And it was just a kind of a good scene.

I remember the director cut that scene together and showed it to us and said, I think we got something special here. Do you feel that generally in the moment now at this point? Do you have kind of like that barometer on a set or not really? Generally, the default thing is, I could have done that better. Like, you know, could have nailed that more.

There's other stuff we should have explored. That's always the way, I feel like if you finish a scene and you all are high-fiving. That's, yeah. That's a weird vibe. Yeah. So, and it doesn't get, it doesn't go away. It's, it's the same. Yeah.

So, end of season two, Tommy thinks he's meeting his maker. People always, of course, talk about this and that, that walk away from the grave. Oh, yeah. Do you remember what's going on in your brain, in Tommy's brain? how you're processing that moment? I was just in it. You know, I can't really recall it's quite a while ago,

but I just remember being in it. I was almost like most normal people would be relieved to not be dead. I think he was relieved. No, he was wishing that he was dead, I think. Right. So that was the distinction with him, I think.

On a kind of a more trivial note, But like a resonant note, no fucking fighting. It's just like the meme of all memes. You love a good meme, Killian. Talk to me. Do you remember like, I mean, again, rewatching that, like, how much of that is in the script of kind of like how you're going to kind of roam the room and get in people's faces? Is that kind of like found on the set in terms of the physical?

I remember there was a stage direction in that scene and it said, this is the angriest we've ever seen Tommy Shelby. So again, it gives you a license to go. let's go for it and it was brilliantly written and it was kind of it was funny but it was also like he meant he meant it do you know yeah we had a brilliant director for that series that series tim meelan so i've just made another movie with and going to do another movie with so we were in really great hands there that series hey michael hey tom well big news to share it right yes huge monumental earth shaking heartbeat sound effect big

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important to you, things you can use in your life and that will fascinate you. We deliver three episodes a week and have over a thousand episodes available to listen. So get listening to Something You Should Know wherever you get your podcasts. And so how, again, I know we've joked about this in the past like you're you're not plugged in this is not your world the internet but like when something like that travels how aware are you of it that like that's become a thing on the internet do people send that to you do you oh yeah like my kids show me show me just you know yeah so you're aware and it's kind of yeah it's it's it's it gets used for every out of context you know but it's just I think that's it's great it's a great

reflection on the show and then the writing and then the direction if that stuff lands like that 100% yeah okay it's official we are very much in the final sprint to election day and face it between debates polling releases even court appearances it can feel exhausting even impossible to keep up with i'm brad milky i'm the host of star Here, the Daily Podcast from ABC News, and every morning my team and I get you caught up on the day's news in a quick, straightforward way that's easy to understand with just enough context so you can listen, get it, and go on with your day. So, kickstart your morning. Start Smart with Start Here and ABC News, because staying informed shouldn't feel overwhelming. quickly to Oppenheimer. Okay. So Oppenheimer, I mean, again, in a three-hour movie, there are a lot of great moments. I know one of your favorite sequences is also one of

mine. It's when you go toe-to-toe, Mr. Jason Clark. Yeah. Towards the end. And it feels like suddenly we're like in like a classic, I don't know, a classic play, like 12-angery men, this like confrontation between Rob and your character, Oppenheimer. And this happened relatively later on in the shoot, as I understand it. This was the last two weeks of the shoot, that whole sequence that whole hearing we shot pretty much in order at the end of the movie which is rare enough yeah and so everyone was really warmed up by then and and and like we were really in it we're all exhausted but we were really in it and it felt to me like being like you say piece of theater like it felt like being a company of actors yeah we were in this horrible

tiny location and everyone was squashed into that one room But we just go in and hit it every day with those scenes, and they were great. There were some of my friends, you know, Jason Clark is such a wonderful actor, and he gave me so much stuff in that scene. In the sequence that is in the movie, where, you know, it's right at the end, and then all the light comes through the window and everything. And that, like Chris said something to him and before the take, and the camera was pushing in, like moving down on a big kind of,

I think it was on a track, I'm not sure, but I thought, thought he was going to punch a shit out of me like Jason Carr. It was so outrageously aggressive. He was like moving down with the camera. And we were just kind of improvising, but he was, it was terrifying, but excellent. And that's the take that's in the movie. Was the light, was that practical? All practical, yeah.

Wow. Yeah, there was a huge rig outside the window that went up. So, yeah, and his physicality, his bulldog energy, taken off the glasses and just like terror, poor Hopi is just like hollowed out. You feel he is like a shell of a human being. Yeah. And we just feel it depleted. He's, he's dead.

He's like dead inside by the end of that scene. Yeah. And the stuff that he's addressing, it doesn't really get addressed in any other part of the movie, but it's kind of the theme of the film, John. Right. So, and then how long does that take you say that's a couple weeks in that room doing all the stuff in there?

Like that specific, that specific confrontation is a couple days? Is that like? We were doing sections of it, you know, over and back. But that big, the big showdown probably would have been a half a day just to do that. Because we were working at such a lick, you know, it was crazy. No, it's good. It's fun. Again, Emily said the reverse, she like wanted to punch him out.

Like she was like so angry. Oh my God, Emily Blon's performance in that, and that sequence is one for the gods. Truly, truly. What's it like by the way to go? I mean, have you learned something about like the way like Downey and Emily approach this kind of crazy process the last six months? months of like going on this ride. Because I feel my sense is like you've, you've, like, you've found a way to enjoy this in your own way.

And like this isn't your natural thing. We've talked about this. But like you, I feel like you've like leaned in as much as you feel comfortable leaning into this kind of crazy part of the process. Yeah. I mean, I'm with a lot of great people. You know, you mentioned Emily and Downey. Like, they're just the best.

Yeah. And Chris and Emma. So I'm with really good people. And it's, it's such a joyous celebration of all the hard work. and the movie and like again you know you when you see the reaction from fans from people that have watched this movie over time over and over again like it's it's very hard not to be humbled by it all and to be very grateful so yeah and I think the more you do it it's never of normal which becomes slightly more used to it fair enough um yeah speaking of like being humbled by it

a photo just started circulating of your script I guess all right from up and So was this the script that he gave you? You can see on it. It's Chris Nolan writing to you, Dearest Killian, finally a chance to see you lead. Oh, yeah. I got him to sign that at the end. So, because the script is, you know,

it's all annotated and like bashed up. And like everyone knows now, it's on red paper with black ink. But it's, to me, it was one of the greatest screenplays I had ever read. And I really wanted Chris to sign it from me me and they wrote that lovely dedication what do what do your typical annotations on a script say like what are you writing what are your notes to yourself all sorts of different things can be stuff the character stuff can be very basic stuff um can be just thoughts i'm having you know

some i was looking at them and some of them i can't even read because they have my handwriting so bad i don't know what i was saying to myself but it's just it's just a kind of a it's a kind of a stream of consciousness sort of stuff yeah is the is the is the ultimate extension of this crazy Barbenheimer thing where you guys both succeeded in your own ways, which is fantastic. A win for everybody. It feels right that you should be

physicist, Ken, in Barbie, too. Are you game, Killian? I mean, now that you've said it, everyone on the internet will probably insist on that. I'm just trying to get you work, buddy. Thanks, man. Thanks, man. But you have said, you know,

in more serious way, work begets work. We talked about earlier. Like, and you've gotten a chance to like meet and fraternize with these amazing actors and filmmakers through this process. That's been the best part, you know? That's been the best part is like meeting all these amazing filmmakers and, you know, chatting to Greta Gerwig and like talking about her process and how she's getting on with. Like all these great people, that's just one example. But just to be in a room with filmmakers and actors and is kind of, I never get to do that normally. Yeah.

No, you strip away kind of like the silly parts of it. and it's like, oh, wait, I'm with the greatest artists of our time, making the stuff that I love and respect. This is pretty cool. And, you know, I think it's a really, really strong era for cinema. Last year was, you know, so I've really enjoyed all these movies. Did you, since we last spoke, did you finish Succession? Did you ever get around here?

Yeah. Are you happy with who ended up inheriting the throne? Very. No, man, I'm kind of devastated. It's over. Yeah. That was, I adore that, Joe. What will you do the day after, after Oscars, after all of this?

Have you already kind of fantasized what the day after and the week after and the month after this mad run ends? Yeah, just I'll return to my normal, boring self. That's what I'll do, which I'm quite happy to do. You know, I'm very happy to be, you know, just at home with the family. You'll be happy to know since against our last conversation. Your nihilist approach to the iPhone blank screen has affected me. I've gone dark on my iPhone. Nice.

And I feel like it's soothing. I understand what you're getting at. Yep. I'm glad to hear that. Soon we'll just have to just dump them and get like a dumb phone. I can't do that. I can't go that far. I know.

I wish I could. We're tethered forever, unfortunately. It might be. All right. I'm going to end with, you did the profoundly random questions last time. I've got a few more for you and we'll end on this. Okay.

Happy second, confused profoundly random questions. Just taste-wise. Are you Star Wars or Star Trek guy? Oh, Star Wars. Yeah. No question, yeah. Empire Strikes Back the best, Star Wars?

That's a controversial question. Yeah, the first three are that, that's, I'm that generation, you know? Yeah. They were, I saw them when I was a kid in the movies, yeah. James Bond or Doctor Who? James Bond. Yeah, with James Bond, I guess we didn't really have the channel, the Doctor Who growing up in Ireland, didn't have those. I didn't have those.

Oh, sorry, James Bonden. Weirdest place you've been recognized. Oh, I don't. I mean, it happens everywhere, doesn't it? It kind of happens everywhere. At this point in time, it's always weird. Yeah, I get it. Movie, you're embarrassed to admit you've never seen?

I've never seen Gone with the Wind. You're good. Okay. It's a little dated. Let's be honest. Not culturally appropriate stuff in there anymore. Some people say, yeah. The best karaoke song of all time is, are you karaokeer?

I have karaokeed in the past. What would be, gosh, I don't, I tend, I don't know, man. No? Is there an artist that you would gravitate towards when you look on the, it's in your range? I could do it, maybe do a thin Lizzie or something like that. Okay. Okay.

What bothers you on a set? What takes you out of the moment? Well, we spoke about phones. I think they should be banned. Yeah. I don't think they should be allowed in any workplace environment, not to mind at a film set.

I think they steal away the focus and the kind of, you know, a concentration. And finally, what's a word that you maybe overuse? What's your go-to word that, like, is in your lexicon? You're like, I might need to retire that. I say sound a lot This is an Irish thing For some, you know

He's a nice guy He's sound, your sound Oh, that's sound Or also you can say Sound can be thank you So I'll say It's a very adaptable Useful word, yeah

Right So don't take it out Because that's helping you It is But I probably overuse it I feel like I didn't even know this The end You're too hard on yourself

Always Your sound I want you to know First of all I so appreciate your time Always This is the 10th anniversary of Happy Say I Confuse. You're my 10th anniversary guest, 10 years in.

It feels very appropriate that we're having the great Killian Murphy on, not once but twice, for this astounding film. I'm so happy for you, man, and I'm so happy it's given us a chance to connect a few times. Thank you, as always, for the time. It's a pleasure and an honor to be here on the 10th anniversary. I appreciate, man. All right, I'll see you. Get some rest after the Oscars.

You've earned it. Thanks, man. All right. See you soon. Sound. Sound. And so ends. another edition of happy, sad, confused. Remember to review, rate and subscribe to this show on

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