Happy Sad Confused - Jacob Elordi

Episode Date: November 6, 2025

Jacob Elordi is not anyone's idea of a monster but he's playing the most iconic of creatures in Guillermo Del Toro's Frankenstein, and he's earning the best reviews of his stellar career yet! Here he joins Josh to chat about EUPHORIA, SALTBURN, the upcoming WUTHERING HEIGHTS, Heath Ledger, and being a crazy dog dad. UPCOMING EVENTS Brendan Fraser 11/18 in NYC -- ⁠⁠⁠⁠⁠⁠⁠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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I've worked with him for like seven years A little euphoria action Sam Okay, all right But you know what? He was right It looked really stupid Prepare your ears humans Happy, sad, confused begins now Hey guys, it's Josh.

Welcome to another edition of Happy, Sad, Confused. Another first-time guest. We're on a run lately. We've had a lot of first-timers. We often have the repeat guests today. Jacob Awardy, one of the hottest young actors on the scene, joining me to talk about everything from the kissing booth, euphoria, and of course, Frankenstein.

Thanks, guys, as always, for checking out the pod. This is a really, I won't see this was a surprise. but I didn't know what to expect from Jacob Allorty. And boy, did he deliver not only in performance in Frankenstein, but in this conversation, I really gained so much more respect, even, that I already had for him, because he's just a true, I don't know, he loves this stuff. He loves acting. He loves film.

It clearly lives and breathes this stuff, and I can always vibe with someone like that. So you're going to dig this one. I dug it. Before we get to Jacob, a reminder, of course, check out our Patreon, where you get all the early access. and discount codes and autographed merch and so much cool stuff patreon.com slash happy say i confused we are publishing so many cool episodes right now so there's more more stuff there than ever to be honest and um we do have some live events coming up including breton fraser November 18th in new york city um get in on that one we're screening his new film rental family and some really some really

cool other events coming up very soon oh there's lucy she's getting up that's that's the bonus if you're watching on Spotify or YouTube um okay so Jacob look this guy is doing it right he of course came to fame in the kissing booth series and that's one thing and he's very sweet and appreciative of that but to see what he's been doing lately you know big props to this guy for how he's navigating his career euphoria of course but then of course working with um you know paul schrader and Sophia Coppola and now Guillermo del Toro. Yeah. As the creature, no less, in Frankenstein, and I say this to him, and I am not alone in this.

Jacob Lordy is kind of the best thing in Frankenstein, and it's not a slight to anybody else, but he, he's amazing. It's a really great performance, and I honestly hope he gets some recognition in the award space. I mean, not that stuff really matters, blah, blah, blah, but he deserves it. guys look at her face look at lucy's is that the cutest dog ever and that's a good actually that's a good connection to jacob because we talk a lot of better dogs he's a big dog person too so again won my heart on that point too dog chat and movies chat and german the toro chat with an actor triple win um frankenstein i believe this is still in some theaters but is also going to hit netflix i think it might be on netflix by the time you are listening or watching this

So no excuses. Enjoy the feast that is Gammer Datorre delivering one of his passion projects. And enjoy watching, you know, a guy really coming into his own as an actor. And of course, I didn't even mention Salt Burn. He's going to be in weathering heart. Wuthering Heights. Wuthering Heights, can't say it out loud. Coming soon, which is going to be a big movie next year.

So lots in this conversation to enjoy without any further ado. Here's me and Jacob Allorty. well look it's jacob alorty on my zoom screen how are you man thank you for doing this i appreciate you josh thank you for having me um our paths really have had barely crossed i think we had like a fleeting moment at an mtv movie award silly bananas show which is not a real place to have any kind of human interaction yes this is the real deal now you ready this is the real this is the real this is the realest of deals a zoom screen the idea of you a digital idea of me I don't know about you, but I'm better in digital form.

Oh, God, don't say that. Well, I was saying before I'm coming to your event tonight, so hopefully we'll see each other in person after this. I'll see you in the flesh. I just start crying when I see your face. Oh, God, he was right. Oh, God. Get back into your Zoom box. Get back in your screen.

So before, okay, so before we talk Frankenstein, and I adore this film and adore this performance, let's talk dogs for a second. second. It's on your shirt. My dog pillow is right behind me. I can see that, yeah. We are, we are, I believe we're both obsessive dog dads. Layla is yours? A little staffy. Oh, yeah, staffy pit. A little staffy pit. Yeah, the best. So cute. Their bellies are so nice. Don't get me started. Yeah. She does that warm little belly. Just so, so good. The mine is out on a walk right now, but tell me about yours is Layla. That's, that's, that's My dog walker is known as my wife. My, uh, no, we just, we trade off.

Oh, that does a lot about me. Tell me about your dog and your, have you always been a dog guy? Yeah, yeah, my whole life. We grew up with, um, we had a Dalmatian when I was smaller called Doddy. And, um, and then we had a cavalier, King Charles Spaniel called Paris. And love them, just love, love, love, love dogs. And my dream, actually, when I was a teenager when I was in high school, my dream was to live in New York in an apartment with a German Shepherd

and feed it pizza while I watch cartoons. So I kind of, I essentially do that now, but in a much more responsible way, I don't give my dog pizza because I wanted to live forever, but I am essentially living my dream. Where do you stand on dressing a dog in human, in clothing. Halloween is coming up. Is Layla going to get a costume or no? You know, I should say, I should say that I hate it, but I can't.

No, I'm with you. I used to make fun of people that did that, but now I... It's so cute when you put a little t-shirt on them. And they follow you around with a t-shirt on. It's so beautiful. I mean, it's probably... And also, I think my dog enjoys it. Like, she gets really proud when she puts something on.

she starts just wiggling around the house. Totally. What have you dressed her as in just in a shirt? I put her in the Matilda's are in an Aussie soccer team and I put her in a little Matilda's jersey which was honestly I cried a bit. It was so cute.

She looks so so cute. And then I put her in like, I just usually put her in my clothes. She just takes it. She just kind of stands. Yeah. Arters I feel like is specializing in horror figure.

For one Halloween, she was Chucky, and this Halloween, she's going to be Pennywise, the clowns. So we're just running through all right. There's the other kind of one. Have you seen those costumes where the arm moves? There's like an arm attached to it. That's exactly it.

That's what it's stabbing while they want. The video I have of her doing that is one of my favorites. It's just the fucking seen I've ever seen. gifts aren't gifts at all. Their experiences, journeys, something that unwraps them. This year, help them explore their past with ancestry DNA. Help them discover where they come from and who they're connected to. Now with even more regions, exclusive features, and incredible detail. They can see where they're from and the paths that shape their family's story. This holiday, give more than a gift. Give ancestry DNA. Visit ancestry.ca for more details. Terms apply. Goodbye, Kyle.

the sound of those words called you like Pavlov's dog, then you might enjoy our podcast Turtle Time. Every week you can join me, Riley Hamilton, and my co-host Amy Scarletta as we cover the most pressing Bravo news and dig into the new episodes to answer important questions like, who the hell is Adrian Maloof in this world? Listen to Turtle Time on Apple Podcasts, Spotify, or wherever you get your podcasts, new episodes every Wednesday and Friday. Okay, we got the important stuff out of the way. The second most important is Frankenstein. Dude, this movie, this performance, you are the heart and soul of this movie.

I mean, truly, what an accomplishment. Congratulations. I mean, this is a stacked cast. Let's be real. Oscar Isaac, Christoph Waltz, Mia Gotham talking to Mia tomorrow. And with all due respect to all of them, you steal this movie, man. This is your movie. I mean, talk to me a little bit about not only being in a Guillermo movie.

being the creature in a Guillermo movie, this is, this is rarefied error. This is checking off, I would imagine, something that wasn't even on the bucket list, perhaps. I don't know. No, it wasn't on any tangible bucket list. This was on the list of impossible dreams that you have. Because your first dream is just to act, you know, to act in some kind of professional sense anywhere to be on a stage or do something. And then I remember I had this pang. when I was 16 I was looking at

I was looking can you hear that wind a lot it's okay it's fine yeah yeah it's all good could you close those windows please thank you I was looking I was like I was sleepless and I knew I was going to be able to perform but then I was like what if you don't get to like do it the way that you've seen it done like what if you don't get to

go to that next place and really be in movies so this kind of feels like the kind of beginning of of that sort of dream or fear that I had to I'm kind of in a strange space afterward sort of driving around New York and seeing the creature on a billboard and understanding that I just I just did my my dark night you know you know there is it feels like that for me so it's it's really heady and and you cut you I think I'm hoping this is the sign of a sane man, but you can't, you can't comprehend it. Right. You know,

you can't really sit down and go, this is real and this is happening. And everything that you saw play in your head is playing out almost like it's deja vu. You know, it's enough to make a man go mad. Well, I mean, look, you more than met the moment, man, because like that's, it's one thing to get that role, get that opportunity, but then to deliver in the way you did. I mean, truly, kudos all around. I mean, and this happened, for those that don't know, in an unusual way. I mean, I, you know, I've talked to the lovely Andrew Garfield, who's been so sweet. He's, like, so excited to see you, your take on this.

And, you know, he was attached. This is obviously a passion project for Guillermo, that he was trying to get off the ground for many years. And you kind of, like, were just dropped into this pretty last minute. In a way, are you happy it happened the way it did? I mean, obviously, you probably would have liked more prep time, but you clearly had enough. No, it happened. It happened in the way that it was supposed to happen. I think if I had been originally attached and I had to sit on it for a year and a half, I think I would have overcooked it.

I also had just come out of a job with Justin Cozell that was sort of felt like a different level of uh that it took a different it took a different piece of me to make um that i was looking to kind of process and go away and and reflect on but it ended up being the the fact that i had just given a different piece of myself was exactly what i needed to do to be able to just step straight into uh into into into playing the creature so everything kind of happened for a reason and i'm not completely opposed to the idea that it's because giamo del torre has been had like a witch's stew brewing for 20 plus years. And somewhere along the way, he sent a little fairy into my room

to pluck my hair out and put it into the pot. Because so much of it felt like deja vu, if that makes sense, so much of it felt like it had been happening for a really long time. And it did feel like I had been preparing to play that character for a really long time subconsciously. It felt like the kind of, it's like what you, if you're a samurai, like what you've kind of been training towards, yeah, building towards your whole life. And you can only build towards

something like that kind of unconsciously, I think, as well. You can't direct that kind of that energy. It's just something that has to, has to happen, I think. It also takes someone like Guillermo who like, look, I've been privileged enough to know for many years. I'll journalists love them, film fans love them, actors love them, because I don't know how many hugs he's given you. I think I've been hugged by Yermuda Turo more than by my mom. Perhaps he's the sweetest man on the planet and lives and breathes this shit and is born to be what he is. And I would imagine create such a warm, inviting space where you can take risks and you can feel like you're out on a limb and know he's going to have your back. Totally.

I mean, he creates this kind of factory space in which he, he allows all different professional artists to come and expose themselves and feel good about contributing I think and it's also just through curation like a director is a great curator I think a curator of taste and of style and he's put this this team is not deliberate is not not deliberate right you know um it's taken him years to kind of he's to build this crew, which is like an extent there every person that works on that film is an extension of his creative soul. Everybody knows the language and everybody sort of when you check into work in the morning,

it's like you're plugging into the Guillermo mainframe, you know, you're aware of the law, you know the world that he's created through his cinema, you know how he feels about films. And that's just, he just pumps that out constantly. concept, you know, but I think it's because he receives something from the process of filmmaking as well. He's getting an energy from somewhere else that we can't, we, we can't be privy to because he's dedicated his whole life to this thing. And then he's generous in that he shares that with the, with the people around him when he's making a project. And then the hope is that something comes out, which I think is what this film is, that is this sort of

wonderful masterpiece made by a bunch of different artisans and crafts people yeah well I mean you alluded to this I love that you already mentioned Dark Night because I've come across this in the research you mentioned that as a formative experience and like there are two actors that always come up on this podcast when I talk to actors from like 20 to 60

it's Philip Seamer Hoffman and Heath Ledger Heath Ledger yeah because they have the same they have the same gaze the pair of them have the same they say something and then their eyes say something else and then there's this other thing that just gets into your stomach

when you're watching them and I don't know what that is I don't know what that it's an unattainable thing and I think it's moved all of us you know so you have indelible memories you're what like 11 years old or so when you see dark night

and it's everything about it but in particular is it that Joker performance that knocked you back Yeah, because I'm sure you remember, too, the marketing, there was these posters that said, why so serious in the fog of the, there was a fogged out window. And there's this like sort of purple silhouette behind the fog. And all you could see was his smile in the, and even now I can, like, I get, I'm terrified of that, of that thing.

And then I remember, it was the first time I was aware of press. I remember driving to school and hearing people talk on the radio and they were like, well, don't take your young ones because there's a pencil scene that is just, you know, like highlighting this one sort of point. And I remember sitting in the car and being like, how does he make the pencil? Because like he makes a pencil disappear in a way

that will make your stomach turn. And I was like, how could you make a pencil disappear in my stomach turn? I remember not really fully understanding it. And then one time my mom was away and my dad had taken me on a basketball trip. and I remember we were driving after that radio interview and I was like please I know mom said no but please like please take me to see that I've got to see this movie

and we went and saw it and I'll never forget when the pencil the pencil disappeared I just about threw up out of out of excitement like just pure excitement every movement he does with the the grenade strings as he backs out of the room everything everything the humor the the depth, the voice, the movement, the costume. And then just the film, Nolan's film as well, you know. It's an interesting thing because now to speak like this about that movie, because of the internet, it's become like a, it's become a cinema boy trope.

Justifiable in this case. It can't be upright. It's okay. Which is sad because it is a masterpiece. And for a certain generation, it did. it did rupture our movie-going experience. And very few films have really done that because we were sort of going into a different kind

of commercial cinema at the time. So I think it is historically a really important film and performance. It's also then when you grow up and you get a little older and you start to get serious about this and you think about the context of his career and it is applicable to many young actors. like yourself at this juncture where like what he did with this like you know he could

have been the pretty boy taken kind of the boring leading man roles yeah like broke back and Dylan Bob Dylan and Joker it was like he was doing something he was doing something else you know he was um he was and if you watch him speak in interviews he was he was talking about something else he was he was pushing something else and that's something else i think is something that's vital to not just cinema but to art and to and to to being here i i do think he was one of our great great artists and i and i am biased because when you see when you've when i realized that he came from just the other side of my country and i realized that he drove across to sydney which is what i was going to do as soon as i finished school when i realized it was a it was a tangible thing

and that somebody from from home could cultivate something like that. It's an inspiration that I'll never be able to say thank you enough for. So growing up, it sounds like from what I gather, that's kind of the exception. You weren't a comic book could necessarily, but that one kind of transcended that realm. I was, I was, but in a, I loved, I just had an obsession with stories. I read all kinds of comic books and watched a lot of movies and read a lot. I've always just, my world has always existed through fable and stories. Lord of the Rings Kid, like what were you going to do with your bad?

Yeah, yeah, yeah, massively. But especially around like 12 and 13 when all you want to do is you want to see monsters. And that's what I love about. I mean, they'll hate that I say this about. Frankenstein, but there was a few times where I would walk past a mirror and I thought I looked like a Urukai, like from, you know, like I'd just come out of the mud, like there was something in that long hair and I was like, he could be, he could go straight into Lord of the Rings and play something, because that, that, the scope of that world is, I'm

pretty sure what most young actors, your dream is to step on to like, you know, Peter Jackson set and see, you know, fantasy and magic and, um, prosthetics and practical effects and, you know, because I read a lot of Empire. I read a lot of Empire magazine. Oh, please. That was, for me, was I was buying old copies on eBay and like, you know, just going through the whole sort of process. Yeah, back in my day in the States, it was Premiere magazine, but later on, Empire totally in the UK. Love it. Hey, Michael. Hey, Tom. So big news to share it, right? Yes, huge. Monumental.

Earth shaking. Heartbeat sound effect. Big. Mait is back. That's right. After a brief snack nap. We're coming back. We're picking snacks. We're eating snacks. We're raiding snacks. Like the snackologist we were born to be. Mates is back. Mike and Tom, eat snacks.

Wherever you get your podcast. Unless you get them from a snack machine, in which case, call us. is dedicated to my younger self because she really needed it. She couldn't keep a man or a job. Welcome to Broco Therapy. I'm your host, Stephanie Megan. I'm your co-host, Rose McAlees. Every week, we dive into dating, sex, and relationships.

We are not professionals, but we bring professionals on the pod to give us some advice. Listen to Broco Therapy wherever you love to listen to podcasts. Therapy is too expensive, but this podcast isn't. So when you start to get serious about acting, do you remember who the first person was that kind of gave you some validation that said, like, stick with this? Yeah, yeah.

I did, well, I did my first play when I played The Cat in the Hat in Susical, The Musical. something happened on stage that kind of feeling when and maybe they just felt sorry for me I'm not sure but when you feel when you feel that you have hooked the audience in a moment when you when you feel them sort of hanging on your words I think a small version of that happened or it was just like my mum's enthusiasm and love for me just beaming to me on the stage whatever it was I think I felt a lot of validation when I did that stage play, because I would, I'd be down in the floor under the trap door. And then I think the line was, um, maybe some kind of hat wearing. And then the, the floor would come up and I'd go, cat. You know, from the moment that trap door sprung up and

that like that energy that just surged through your, through your body. I think that was the kind of validation that I was like, oh, I'm, I'm in trouble here. I'm going to have to do this. Yeah. for my whole life. Then I had a great acting teacher. I went to these NIDA short courses when I was 14 on Sundays. And I had a teacher there named Zoe who I did a speech from goodwill hunting. Like, what do you want to hear, Skyler, that I put these cigarettes out of me or whatever it is. That one that everybody loves to do and you're really intense and yelling.

But she saw something in that. And then she told her agent, and then through her agent, I met another wonderful woman named Veronica, and she would kind of, she would just have long lunches with me and talk to me as if I was an artist on the same level. And they were in, you know, stage productions in Sydney and Melbourne. And they were the first actors that I felt like really kind of understood what I was trying to say, or the thing that I couldn't quite articulate,

but that I was driving at. It's so funny to look back and think of kind of like the things that like, you know, we laugh about now. It's cat in the hat, but it's so meaningful. And then you think of something like later later on and like, look, I mean, a lot of people, you know, I work for MTV. So a lot of people from kissing booth. And obviously like that at the time when you're casting that must have been so huge. Must have felt like the world was opening up. It was. And making that film, the first film was one of the greatest experiences I've ever had on a set.

It was like, I remember that. when I really had the thought, like, you know, the best day in the real world doesn't compare to even the worst day on a film set. Like, you know, it was magic, like, to be with people from a different country and to be able to connect with people with a completely different culture and to stand around and think that filming these words or this thing was important in some kind of way and just the level of play. And I took that movie dead serious.

Like to me, it was like, you know, I broke down the kind of the teenage existential catastrophe that is Noel Flynn. You know, the tragedy of the tragedy of choice and, you know, all these, all these things. But it was, it was incredible, you know, somebody was somebody, I think Pacino and maybe Hoffman said something along the lines of this. but if someone is paying for the for the room and the space that you are and then asking you to come in and act in that space then you're doing it then you then you are and you're an actor if someone else is paying the rent on the building that you're acting in and that's what that was it's like someone's someone is paying money for me to put on a leather jacket and wear a disgruntled tie and ask this young woman when her boobs came in over the summer like It's so, so totally absurd. Living the dream, beyond again. But it is, you know. Yeah, I get it.

And I was, you know, I farewelled my friends and family. Everybody came down to the airport and I got to fly a business class and cut the line. And, you know, it felt like something was happening. And I remember I bought like new shoes for the trip, like some Adidas sneakers that I never would have been able to get. And, and I'm still, I mean, to now, talking to you now, I'm still on that same trip. I never went, I never went home. I've stayed with the same, same suitcases, essentially. It does feel like coming full circle

to what you were talking about, this is almost like the end of act one. It feels like Frankenstein kind of like, if I'm writing the book, the biopic, Jake Boretti, this is either like the beginning of the second act or the end of act one. And now you're between saltburn and euphoria and this, you're like, you get into the juicy stuff.

This is the fun times. I've been so lucky, yeah. I was understood very quickly, which is a great, a great gift. And I've been given the opportunity to act on sets with people. So you don't get this opportunity, and that's not lost on me, you know. Was it shocking? Look, you have Kissing Booth is huge in its own way. And then euphoria is huge in a totally different way.

And the reception to that could it be more, in some ways, it's very similar. It's another obsessive, like, obsessive fan. but it was so similar it was actually really similar it was just like a different age bracket and some of the and some of the same it was weird too because i had i'd had once euphoria came out i'd had people that had been watching my work since they were 12 right and then i was ready i was meeting them at 16 or 17 and they're like i watched you in this so i felt old really quickly right just by the nature of the size of both those the sort of social size of both those the sort of social size of both jobs you know were you immediately defensive protective of Nate when the film when

the show came out and the reactions were I mean it's part of the design of the character you should have a strong reaction to him but did it catch you off guard I think I was I was excited that it had that it had that it made some people so sort of because if you get a reaction from something that you play that's kind of that's kind of the dream and and And someone, like people telling you that they're scared of you on the street is actually an excellent compliment, you know, because it means that you've done something. You've caused some kind of effect, not effect, like an actual, you've affected something,

which is nice. But there was a moment, actually, when I was in New York in a room not too similar to this. I remember online, it was maybe one of the worst things that he'd done had just happened on television. And there was this picture going around on the internet of my face on a TV screen and somebody was holding a Glock up to the face. And then I was watching people sort of live tweet because I was spent far too much time on the internet. And I was watching people be like, oh, he's on 57th Street.

He's here. Someone run him over with your car. Like it was like people were following where I was walking around the city. So I got incredibly paranoid. Maybe next season, let's make him sweeter. Yeah, at that point. But at the same time, it was like the X-Games version of knowing that you'd had some kind of effect.

It seems like in the years, in this kind of period of time, especially since euphoria, like many smart actors, you've been director-driven. I mean, you see the filmmakers you've worked with, whether it's, you know, Sophia or Paul Schrader, Emerald, Justin Kurtzell, Ridley Scott. Yeah. Is that kind of like the rule of thumb, surround my, just put myself in the hands of the best.

Let me learn as much as possible at this point in time. Like, how are you figuring out this stage? Because you're getting opportunities. You're getting a lot of cool opportunities. So for the first time you can say no to things. Like, how are you figuring this out? That's the kind of ultimate. for me if you work with a great filmmaker filmmakers are solely contributing to cinema and

cinema is the thing that i want to be a part of so these people that i'm working with have single-handedly from ridley have pioneered this this art form this like this form of expression um and then you have people like kursel pushing pushing the form and and making films uh the sake of making films. They keep my spirit alive because my spirit lives in movies and it has for as long as I've been conscious now. So for me it's partly like I have a great reverence for them and a respect and these people are my my heroes and I, you know, if I wasn't working with them, I'm devouring their retrospectives or like they are the kind of gods of my of my world um so uh there's there's that first and foremost just a kind of um a great respect but then

also you can guarantee whether the film is received or not received that it if it's made by a filmmaker that i that i really believe and that i think is an artist in the gallery of kind of cinema that film will will have a room it'll have a spot where it can go on the wall and that's more important to me than than being a career actor. I want to kind of at the end of my time walk into this kind of, what for me would be this kind of holy temple of movies. Right, the posters on the wall.

Exactly. The Jacob-a-Lordy closet. Yeah, a personal criterion closet. Because Guillemus is something really interesting. These films are our biographies. First and foremost, the filmmakers. But every character I've played is a part of my biography. And I'm never, I'm never hiding anything on screen.

Or my goal is to hide nothing to be a performance artist and to put, to put everything that I need to say on, stamped in that, you know, piece of celluloid or in that, or in that moment in time. That is my, my biography, sincerely. Every, every single one, cinematic or not cinematic. So for me, I can, I feel more comfortable and I feel better understood in my biography when it's articulated through the lens of a filmmaker who, who I respect and think is, is of importance. So I got to think at some point you send over, you email your representation, here's my top five,

here are the filmmakers, I'm going to, I'm going to do anything for. Give me a couple. Who, who's in the list? I have. Well, my, it's constantly, it's constantly shifting and, and, and, and, and, and, and, and, and, and, and I don't, you know, I'm not even going to answer, because if I do, then I'll be up all night thinking about, I really wanted to say, like, this person, or I really wish I'd, I'd, um, I'd, um, I'd, I'd, um, I'd, I'd, um, I'd, I'd, um, I'd, I'd met, um, uh, uh, uh, hearing him speak about Walters at, uh, uh, at the, uh, uh, uh, uh, at the academy. Museum Gala was a really, I've only ever read and watched Vim Bender's stuff. I've never sort of seen it. And to see him give this speech, which I would have read in a book of essays or something,

10 years from now was super profound. So, you know, somebody like that would be incredible. And I was also, I would have loved to have worked with David Lynch. I think that, I mean, obviously, it's such an obvious thing. No, it's, of course. things. There's a spark that left the world when he passed. I obviously don't know him, but everyone, if you, if you have, you know, dined with his catalogue, you, you know that something's gone now, something that really was from, from a different place. And I think a filmmaker like

that, that would have been, for me, that would have been, I could, I could happily have sort of, you know, laid down. No, I tell the story a lot. I got a chance. to talk to him over Zoom. And they hate his last years. And I still have, I don't keep a lot of swag. He sent me a mug, an autographed mug after a conversation. That sits on my coffee table and it's like my most prize. That is really spectacular.

That's really, really cool. Are there rules you live by in terms of like conducting a career? I mean, Leo famously said, I think to Chalameh's like, no superheroes, no hard drugs. Do you subscribe to anything like that? in your own career no because I think that to think in that way is a little bit like playing playing a movie star or something like like it's so specific right whereas I kind of um because people ask this too they're like is there any kind of like film that you want to make or character that you want to play and no you don't want to close yourself off

no I really don't think of it like that it really is this kind of I've Unfortunately, I've been referring to the process as a cancer recently, but it feels like something that just kind of mutates and grows. And I keep going down different tangents with it, and it's constantly changing my relationship to movies. And I think if I thought about rules, then I'd feel like I was trying to construct a career or something. It would feel very, very business-like,

or whereas whereas I do really I can sound so pretentious but I consider myself like a player really like a like a like a stock artist in a company

and when I find these filmmakers or they find me I feel like I'm being hired to do this one this very specific thing which is to act and hopefully I can keep

my tool sharp enough that people want to, I can, I can apply it in different sort of spaces and in different films. And hopefully the more films that I make with great filmmakers, that your tool becomes more varied or something like that. But I don't have, I don't have any kind of like Hollywood rules. Well, it makes sense. It's like, I mean, on paper, with all due respect, I don't have you cast in Hiramu Toro as the creature, not on the top of my list. And now, like, having seen you do this it opens up so many more but that's why giamma del toro is is that's why he's him and i'm me you know what i mean yeah because he does but he does see with that with that lens and it

takes it takes that kind of trust and it takes the the ability to see in that way yeah to to to to to to to know you know um and he knew he knew before we spoke that that it was going to that it was going to work you know um i caught up with margot wonderful margot rob recently a light of the universe another yeah i saw you you guys were out about an oh i recently a witch she's a witch she's a witch and just like such a film geek herself you know you know her like she knows she knows all margot ruby she knows all yeah so you guys have cooked up something special i'm sure with emerald um she's teased it a little bit is this going to make our head spin this your take on wuthering heights emerald fennel doesn't do a normal wuthering heights

what am i think it's going to obliterate your heart I think it's going to, I, I, I, I, it's such a, it's such a painful love story and such a sort of, such a tragedy, um, the whole thing. And, and I just got to see the film recently. And, um, it's so painfully beautiful, uh, and agonizing to watch the film suffer to, to, to, to suffer. In the, in the most beautiful frames, you know, you've, you've, you've, uh, you've, you've, you've, uh, you've ever seen Lina shot the film. So it's just, it's stunning. I haven't quite wrapped my head around it yet, but I mean, it's, I've not seen a film like it in a long while. Did you, going back to Saltburn in your last collaboration with Emerald, where you must have known how it was going to push buttons. I mean, it's kind of part of the design of it.

She's a provocateur in the best possible way. Were you surprised, excited? No, not really. I didn't think it was so extreme. I found the world's reaction to be slightly prudish, actually. Oh, really? Well, you know cinema. There's so many films out there that are like infinitely more disturbing.

But not many to play on like 4,000 screens, I guess. Like this was a mainstream movie that was. Do you know, the film lived two different lives, though. There was a life when it was just in cinemas and it had a different response. And then once it hit a streaming service, it got a whole different, the whole lens on the film changed. which was an interesting to see how a film structure can kind of change through its endurance and through the format that it's viewed in was really interesting because once it goes on a streamer, it gets looked at through more of a social lens

than an experiential cinematic sort of experience, you know, a Friday night experience kind of thing. And it does change the way the film is understood. I think. Well, yeah, I had the same kind of, I had the same kind of conversation with Harris Dickens and one of your contemporaries about baby girl and how that was kind of like, well, yeah, actually, I saw a memeification. Yeah, yeah, like how it becomes a meme and it kind of like, you know, gift and and just becomes a different thing.

It's not, it's not, it's not for better or worse, but it does, it does change the intention, but there is something about giving, there is something when you do serve a film up to the world. it does become the worlds and that and that is that is in its own way that's it's a good thing you know even if your point is lost maybe it's a nice lesson in like letting your point go um and then sort of and moving on and i'm a firm believer that once once i've sort of put the film in the can and i've finished it it's not it really it really isn't mine anymore and the interpretation of it the edit none of it none of it applies to the sort of job that i've just done um so the feeling I had when we were making it was it did it did feel like our last special summer as a

family or so it did feel like that wonderful yeah that it was the sun was out every day and and it felt like a moment like a personal sort of moment in time you know I I know it's a busy day so I promise to let you go in a minute but quickly um euphoria I guess you've shot I mean we we're just thankful it was shot because I mean for a while I think a lot of us were working Were you kind of like, is this ever going to happen? I think every, I knew, I knew it, I knew it would, I knew it would come around eventually. But, but just so much, I mean, so much, the duration of that show has, the world has changed as the show has changed. And the way in which it came out pre-COVID and then during COVID and then now sort of post-COVID, it has marked a really, for lack of a better word, interesting.

time in the world, but also particularly in like American culture. So it's strange. It's really, it's really quite strange. And I'm excited to see what, how this season plays into the kind of, I guess, world that Sam, Sam created. But it was, it was, I saw, I've seen, you know, dailies and things like that. And it's, it looks so good. like it looks so so good and I think the score is going to be the score is going to be something else

I'm really really excited to and because I've only done one sort of portion of it I'll get to watch the rest of it and just consume it which is really really nice do you have a favorite snippy direction from Ridley Scott that guy is just like he can really like cut you to the core I know what's your favorite piece of direction Ridley gave you on dog stars

I got this so much yeah i think it was maybe him coming out of his trailer and just giving me the finger and saying fuck me man you're all right something like that i mean that's all you want to hear he's one of the what a what a totally sort of mesmerizing experience i got to watch this man who has been plugging himself into into cinema his whole life and it's it literally pumps through his blood like when he arrives on set in the morning the energy that he comes into the set with and and carries through the duration of the shoot like he's he's living off of cinema you know it's not even about the end product it's about the actual

tactile act of going and making a movie he's like a he's a he's a he's a master craftsman and he's like my dad in a lot of ways like my dad survives because he works you know he's a he's a he's a he's a laboring man and Ridley Scott labors on these movies and that's what keeps the sort of the engine running. So I'm literally watching like cinema sustain a life

which is a pretty profound thing to be in Italy watching you know. Yeah he's writing the storyboards for the next three movies while he's setting up the he's sitting there storyboarding in the car in the back of a Mayback on the way to work and and there's something about you know he directs from this trailer

which is wrapped to look like the set and you'll hear this voice sort of croaked from inside, you know, Jake, and then you come and the curtain pulls back and Oz is sitting there in a body of Lies bucket hat, smoking a Cuban cigar with 20 monitors in front of him showing you exactly how he's going to cut from this friend of that. Because he's got 10 cameras going. It's like, what the fuck? Like he's cutting this movie while he's sitting in there.

He's like, you're going to walk from this camera and then you're going to come in through here. And so I'm watching playback on like 11 different monitors while he smokes a Cuban. And then he pats me on the back and says, isn't this what it's about, you know? Isn't this what it's about? And I'm like, this is what it's about. This is it, you know. All right.

We're going to end with this. I promise. We're over time. But I'm happy, say, I confused, profoundly random questions. Here we go. I know the answer to this one. Dogs are cats, Jacob. Dogs.

Come on. I don't, I don't, I don't, I don't, I'm not anti-cat, though. I do, I do love a cat. Okay. Do you collect anything? Um, yes. Um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, um, Couriosityy, um, would you rather have a mouthful of bees or one B in your butt?

Mouthful of Bs. That is a rate, not many people, um, uh, not many people ain't that. Like Candyman. That's a movie reference, of course. That clock. What's the wallpaper on your phone? Oh, oh, right now, my wallpaper is me and my beautiful friend, Kaylee's Maney, from Priscilla.

I adore her. I love her. What a performance. Last actor you were mistaken for? Nicholas Cage. I mean, amazing, a little bit of a different age bracket. It's a longer story. I'll tell you to not.

Okay, fair enough. Worst noted director has ever given you? Um, um, what are you doing with your mouth? Stop doing that. It looks stupid. I've worked with him for like seven years. A little euphoria action, Sam. Okay.

All right. you know what he was right it looked really stupid and finally in the spirit of happy say i confused an actor who always makes you happy you see them on screen you're in a better mood josh brolin good call movie that makes you sad um connected in new york and a food that makes you confused you don't get it mango and meat mango and chicken salad fruit fruit chutney anything oh no better answer minestroney soup it should be banned there's the Jacob Lordy hot take of the day

it's just a fact um man congratulations on the movie frankenstein is fantastic the performance is honestly next level and I'm so happy this happened I've been back in the career for a while and I'm a big fan as you can tell I wanted to talk to you for a long time so thank you for taking the time I know I'll catch up with you hopefully for a second in person tonight yeah sounds good man i'll see you then 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 riddley and i definitely

wasn't pressured to do this by josh welcome and enter if you dare hi i'm hallie keeper and i'm Allison Libby, and together we're the hosts of Ruined, a scary movie podcast where Hallie tells me the grisly details of a haunting new horror film each week. Whether you're a terror hound like me or a scaredy cat like Allison, we've got so many thrills, chills, and obviously kills to share with you in every episode. It's the podcast that I'll have you saying, that was so funny. I should not have listened to it at night with all the lights off. From the grates like The Exorcist and Poultergeist to modern classics such as Hereditary and Get Out to the freakiest new releases like a quiet place. and terrifier. We ruin them all and we'll leave you howling, mostly from laughter, sometimes because you're turning into a werewolf. Ooh, listen along as I try and guess the movie's twist,

predict who will survive, and answer the hardest question of all. What would you do? So please listen to new episodes of ruined every Tuesday on Apple Podcasts, Spotify, or wherever you get your podcast. And whatever you do, we're begging you, please keep it spooky.