Happy Sad Confused - Jeff Goldblum, Vol. II

Episode Date: March 22, 2018

Josh once again remembers what true joy feels like on this episode of "Happy Sad Confused". For Jeff Goldblum, one of the world's most entertaining specimens, has returned! And as one would hope, Jeff is delightfully eccentric and thoughtful in this conversation.  From Jeff's latest collaboration with Wes Anderson ("Isle of Dogs") to "The Fly" and "Jurassic Park", this chat zigs and zags in the best possible ways. Plus, don't let Jeff's light-hearted nature fool you, there are some valuable acting tips from one of the masters in this episode.  Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

During the Volvo Fall Experience event, discover exceptional offers and thoughtful design that leaves plenty of room 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 X-E-90 plug-in hybrid from $599 bi-weekly at 3.99% during the Volvo Fall Experience event. Conditions apply, visit your local Volvo retailer

or go to explorevolvo.com. This episode is brought to by Tron Aries. For the first time the captivating world of Tron breaks out of the grid. Aries, a highly advanced program, journeys into our world on a dangerous mission, marking humankind's first encounter with AI beings. Featuring an electrifying original soundtrack by 9-inch nails. Tron Aries is a must-see movie event filmed for IMAX and made for the big screen. Experience it only in theaters, October 10.

Get tickets now. Today on Happy Second Fused, Jeff Goldblum. It's Jeff Goldblum. What more do I need to say, guys? That's it. You know it's screw it. Just started. Hey, guys, welcome to Happy Second Fuse.

Another edition of Happy Sack Confused. I'm Josh. That's Sammy. And you're about to hear the amazing returning champion. We've had him on before. He is always welcome here. Jeff Goldblum. Just get your ear.

ready. Oh, it's so glorious. Sweet South. I wish he would come by every week, honestly. He probably would. Well, we're getting there. There's a bond forming, I feel. Everyone should know I'm holding the Sharpie he used. He signed something for me. Do you want to tell everyone what he signed for you? Yeah, I have

no shame. I don't do this very often, but there's some, you know, as people would be happy to go around and read what you have. Well, no, but I want people know by now. They know the posters in my office, so we talk about it all the time. And I especially like to put posters from my childhood, the films of the 80s

that I grew up with, and he was in one that, well, there are a couple. I could have done Buccaro Bonzai, let's be frank, but I didn't do that. Let's be frank. Well, he's not the lead in that. I would do Peter Weller first anyway. We digress. We digress. But the fly is such

a, it's a perfect movie, guys. It's just one of the best. David Cronerberg, Goldblum, Gina Davis. Your girl, Gina Davis. She was his girl for a while. You know, I love Gina Davis. Sure, I support the Gina Davis. But honestly, The Fly is one of my favorite films of all time.

So, yeah, I got a little poster signed by Jeff, and it's going to get a, I don't know where I'm going to fit it in this room. I mean, you're going to have to tape it to your body. I know. You've got a poster board. The end is near. But I'm holding the Sharpie. I see.

Where is the poster? You haven't put it up yet? You haven't put it up while he was here? Yeah, yeah. Did he write a message? He did. So, oh, so now you can't sell it, which is what everyone knows. He said, I mean, just because you asked, he said, I wasn't going to say it, but just because you asked.

What did it say? He said, I love you to pieces. Does it really? Yeah. Did you start sobbing? I didn't, I don't think I read it while he was in here. I didn't want to look at it. Yeah.

It was too much. Too much. But, yes. Do you hug him? We did hug. I think we hugged at the end. We'd been through it. Because you don't always.

I'm not a big hugger. Yeah. No. But Goldblum gets it. I'm not going to push him away. If you open, if anyone goes in for a hug, I'm not going to like say, fuck off. You're like, oh, don't touch. I'm except for my parents.

If they do that. Your parents and your wife. Don't touch me. Ew. What do you think I am? But Goldblum goes in for the kill and you, you allow it. Yeah, absolutely. He is starring in the new West Anderson film, Isle of Dogs, which is a wonderful, you know, another one of those kind of stop motion.

I'm most excited about right now. Really? I can't wait to see that movie. Nice. I think you'll be pleasantly not surprised. I think you'll be satisfied. It's an amazing ensemble. I mean, it's kind of all the West Anderson players from Bill Murray, Tilda Swinton, Scarlett Johansson.

They're all in there. It's great. And so that's coming out. Check out Isle of Dogs. This conversation, like any great Jeff Goldblum conversation, goes all over the place. I do, it's the first time I've seen him since, we mentioned this in the podcast recently. I went to see his show in L.A. And just for context, in case I didn't set it up in the conversation enough,

he plays a weekly show every Wednesday night at a place called Rockwell's when he's in L.A. And I can't recommend it enough. He plays jazz. He tells stories. He plays games. It's just a fun, fun night. So we talk a bunch about that at the beginning. And, yeah, we cover a lot, as always.

What was he wearing? Do you remember? You don't even notice anything. I think it was kind of an Ian Malcolmish wardrobe. It was all black. It was all black. Oh, great. Yeah.

Great. Did you guys talk about nine months by any chance? He brought it nine months when we were leaving. I can't remember why. Because that might be one of my favorite gold booms. It's nine months old. What is wrong with you? You're fired again.

That is, yeah, it's a real classic. Sure, whatever. He brought it up. He gets it. I don't think he was bringing it up as like, have you seen nine months, my greatest masterwork. Why didn't you have me signed the nine months poster? That was not the context.

Weird. Yeah, strange. Well, that's leaving room for next time. he's back we're going to get deep into nine months each of the months yeah the only thing i think of when i think of nine months is tom arnold don't say that no is well that was the film in the midst of the hugh grant scandal that was the film he was promoting on the tonight show when he had a little incident the night before yeah but you know i think we made it out all right he did he did nine months over and forgave him and now he's like a father of like five five and that crazy isn't it crazy

that Hugh Grant did the podcast? I don't think you were around or participants in the podcast then. Was I not boring? No, just meaning I don't think you were doing the intros and stuff then. That's pretty crazy. It was. He was good, but that was an intimidating one. I mean, he's the high water mark. No one is. So, yes. So enjoy

this conversation with Jeff Goldblum. Go back to the archives if you want to listen to the first conversation that holds up because it's you know, we talk about topical things but it's all over the place in the best possible way. It was before he was in a superhero movie. That's right. That's right

Part of the Marvel universe He is Okay so enjoy I Love Dogs Now out in theaters And enjoy this conversation And remember Yeah please

I'll of dogs Yes I love dogs Okay Oh God It's not a spiritual sequel To the classic What's that Diane Lane

I get what they're doing Must love dogs Oh must love dogs But I love dogs I love dogs I get it Wes Anderson You're on to him

I get it Yeah. Review, rate, and subscribe to happy, say, and fuse. Spread the good word. Tell your friends. Tell your family. And enjoy this conversation with Jeff Goldblum. It's so exciting to have you back in my strange environments, Jeff.

Your environs aren't strange. Are they comforting? Are they? Yeah, they're comforting. Now, watch this. I see. My eyes falling upon this. remember this? This was the sketch we did, Goldblum's, where you played every character in the

restaurant. Wait a minute. Of course. Now I'm connecting all the dots. I've got some sort of brain disease. You've met everyone a thousand times. It's okay. Not only have we, yeah, not only did we do, that was the first time we met. Yeah, we had done some short interviews, but yes, but then, well, I've been at MTV for 11 years, so you can't escape me, Jeff. Oh, no. But the first time I think we really broke through in a profound way was, yes, the sketch we did That's a wonderful sketch. What happens to a thing like that? It just crumbles into disappears into historical.

Not true at all. Not only did it get some nice play on the interwebs, but then there was a, I think at the draft house here in Brooklyn, they were doing a Jeff Goldblum festival at one point. And they, I think they asked us to, as part of like the pre-show, they used that to kind of warm the audience up. So it's got another shelf life. It continues. Shelf life.

Yeah, that's something. And, of course, all these things, don't they get, if there's life on other planets, that's the hope. Isn't a thing like that? That's somebody's favorite thing on, you know. That's the record they sent out on that satellite 40 years ago, like with every, hello in every language, and Jeff Goldblum's sketches. They should have. They should have, yeah. There's a lot to talk about, as there always is with you.

Here's where I want to start. Okay. I finally saw you do your magical work at Rockwell. Wait a minute. I didn't say hi there. Really? I kept my distance. I didn't want to, you were in your element.

I just wanted to enjoy it from afar. I felt that night. I'm sure that night, there was one night I'm thinking of that I felt a particular, the hair kept standing up on the back of my neck. That was your night. You were there. Yeah, just a few weeks ago. It was a few weeks ago.

It was Micah was in the audience. Micah Monroe, your buddy from Independence Day. Ah, yes. It was that night. And, oh my gosh. Really? Was it surprising? It was anything you'd think we thought it would be?

Well, it's surprising. Yes, in many ways. I mean, I would say, first of all, it is the best deal in Los Angeles. My gosh, people, $25, $30 to just live in. I felt like I was living in your head for two hours. And I liked it. It was a happy place to be. I tried to clean up before it came in.

But it seems like it's just like, I don't know. It feels like you. You're so happy there, and it's palpable, and it's just, it's just, and, and it's a mixture of everything that seems like that you love in a way. Kind of is. Yeah. Now, listen to this. So we were, and we're doing, we have a residency there. I've been doing that for, you know, a couple decades.

I've told you about that. But, and it's evolved. It wasn't always kind of like it is now. It's evolved what we do exactly. And, but right now we have this residency, so called at Rockwell. So we're there every Wednesday, if I'm in town, not this week, but starting in April, every. Wednesday we're there, but then we're playing for the second

year in a row, the Arroyo Seco festival out there. Jack White is playing. Neil Young and Alanis Morris, a bunch of people, and we're playing it too. And then, listen to this. We're making a record. We're going to make

a record with Decca Records, believe it or not. In May, May 18th and May 19th. Two nights in a row, live, there's going to be an audience there of some kind, I hope, at Capitol Records, at that building where, you know, the Beatles and Franks and the historical building. We're going to do it there, and we're going to have some guests. And it's going to be essentially, I think, some of what we do, but a little different. And it's going to be a record, and we're going to film it.

So it's going to be, something is going to be, happen to that, I think. And anyway. Well, it's funny because here was my two-part question for you. It's really a question and a suggestion, aggressive comment. Aggressive comment? Why has what you do at Rockwell in different incarnations over the years? Why is it not a TV show in some capacity? And my second comment is, how can I be a part of it?

How can I help you will this into the universe? No kidding. Well, us talking about it perhaps, or you're thinking about your intent is magical, I'm sure. But people have, you know, said, you know, something not dissimilar. Hey, there's something here. You know, you should kind of invite a larger audience in somehow. And so anyway, it's in, it's in, it's on the burner. Right.

It's on the burner. I mean, the wonder of it, of course, is the intimacy of it in some capacity. And it's a small room and you really feel like you're part of like a, what, it must seat, 150 people or something like that. Yeah, yeah. But that being said, I mean, and just to educate people a little bit, it's, it's the music, certainly. And the music is wonderful, but it is also the interactions with the crowds. It's the games you play. It's just, it's a very unique experience.

Thank you so much. I enjoy it no end, yeah. Well, yeah. Well, how could you, what could you? Here's my take on it. Can I give you my elevator pitch? I think what it is, because you are the most spontaneous, wonderful human being on the planet. You revel in spontaneity, clearly.

I do. And I think the angle on it is something along the lines of surprising Jeff Gold. Let's surprise Jeff Goldman, for lack of a better title of the show. You know, you're thinking Great Minds Think Alike that some other people, I guess they should remain nameless for now because it's all seedling stage. Right. But yes, that's something very similar. You surprise, you book a guest or two. You don't know who the guest is.

But I don't know anything. You don't know anything. That's right. You are the center. You are the center. There's a straight man. Maybe it's Josh Horowitz or not. I don't know.

I'm not going to just cast myself, but I just did. You'd be fantastic. You'd be fantastic in anything in that. Thank you, sir. And yes, and let you be you, because you in that moment of just whether it's playing the movie game or interviewing somebody you know or a Dern who has a wonderful great past or whatever or someone you've never met, I think would be fantastic. That's kind of the idea. And, of course, you blend in the music and the games and all of that. Yeah, yeah, yeah, yeah.

Yeah, that's kind of what we're cooking up. It'll be, who knows if it won't be something like that. But the first step is to do this deck of records, and we're going to film it. So it's going to be some kind of show. Amazing. Along those lines. So, you know, we're trying. So, okay. So let's talk a little bit about, well, we're going to get to Isle of Dogs, which is your latest collaboration with Wes. But here's, okay, so because last time we spoke,

speaking of spontaneity, it felt like, you know, I had a laundry list of things I wanted to cover with you. But like, because this room had a lot, it's a wonderful way, in a wonderful way. This is lovely for a spontaneous junkie like me. Spontaneity junkie. Yeah, I mean, gosh, everything. It's too much for you. Free associate, yeah, with every, you know. Look, I've even got the Isle of Dogs calendar up here. Oh, my gosh, yes, yes, yes. Well, a lot of people already kind of adore it, and rightly so.

It's a maistervark, you know, you'll hear you, I could go on, but it's really something. You saw it. I saw it, I'm going to see it again. I mean, Wes is, I don't even know how to describe him at this point. I mean, he's a master. This is what, your third or fourth collaboration with him. Third, third, the first was 13 years. go with, you know, Life Aquatic

with Steve Zisou, the second one was Grand Budapest Hotel. This is the third. So you literally phoned in your performance for this one. Yeah, I did. Not because he didn't ask me to be part of this group. We were, you know, the dogs, you know, there's a pack of dogs anyway.

They were all, we were to do it together in New York and they did, but without me because I had scheduling problems. So he got on the phone and and I did it on the, you know, he was on the phone and I did it in a studio. although after listen to this this might be of interest to you technology such as it is allowed them to it's so pristine and beautiful and artisanal that holds darned movie but afterwards they said okay now that we got those couple hours of studio time you know what can you do this line again can you do another line can you do something a little different and just do it on your phone no and send it to us yeah and that's the fine that's not I'm not I'm no I know I think something like that could have been used in the movie certainly have you seen that um behind

the scenes interviews with the actors that they then um animated with the same stop motion you haven't seen it no i haven't seen it no it's it's digestible somewhere it's you can find it somewhere and it's and they said just you know talk this is not like the movie which was very west anderson sonian because every line was, you know, beautifully rendered and sculpted. And then I kind of did my, you know, collaborate a little bit. And that was fun. But this, he said, you know, just talk, just do it on your phone once again, like these lines you're sending in,

and talk about kind of like it's a B-roll, and you're like you're doing that behind-the-scenes interviews. Well, I did the here's what it was like working on this movie and da-da-da-da. And then we're going to animate it. Oh, they did. In the same way, in the full raiders. the same way. I feel like that's like 70,000 man hours they used on behind the scenes material.

Well, but first of all, they had to, they culled it down. I gave them about 20 minutes or you, because you can imagine that half an hour of, oh, yeah, let me talk about this and maybe this is interesting. He said, well, this two, I think a minute a half or two or three minutes is kind of interesting. I say something about Duke Ellington and that I sing a little bit. And sure enough, they, they stop motion animated it with all the gorgeous things. Oh, you should see it.

I'll check it out. Yeah, you'll get a kick out of it. Anyway, but anyway, we did it on the phone. And they can use that. And that was used just from the phone. So, yeah. If there's a downside to this, though, I guess, have we still yet to have you and Bill Murray in the same room in a film? I don't think you've been in the film together, right?

Life Aquatic Steve Z. Su. We had, you know, we were nemesis. What's the, what's the plural of? Nemesis. Namaste. Yeah, I think that's it. That's true. I apologize.

How could I forget? How could I forget? So you and Bill, do you and Bill, share sensibilities on and off the set? I'm just curious what you two are like in a room together.

You're so funny. You're so funny. Well, I'm sure many, many people have Bill Murray's stories. He's a magical, magical, international, intergalactic treasure as we know.

I myself sit at his feet as a great, great fan. And to be in the flesh nearby and in proximity, is some kind of wonderful experience, you know. And it's always unpredictable, and he's complicated, as many sides, wonderfully enough. And it's wonderful.

I'm remembering a little moment that we had when the two of us somehow rode in the same car, just the two of us, to the red carpet premiere in Berlin. This is for Aquatic? Where we went? No, for this one. For Isle of Docks.

The first time I'd seen the movie. I hadn't seen the movie yet, And we were all gussied up. I dressed up, and we all dressed up. And we were going to go, and the Berlin Alley is very, every festive. They're very excited over there. It's like an Oscar night. It really is.

Sure. There's just lots of people, and they're hooting and hollering. And anyway, we were in the same car, and we chatted about this and that and had a laugh about one thing or another. It was unique, but unforgettable. He's, and I think you share, I was kind of alluding to this earlier, you both feel very present in the moment. You are embracing sort of the reality

you're in right now. You're not thinking about what's come before, what's after. And, like, I mean, I remember, I've moderated, I've told this story before, but I moderated a thing with Bill for a film he did a couple years ago. It was with this buddy Mitch,

um, Mitch Glazer, uh, buddy of his, of course, and I know him well, of Mitch Glazer. Mitch wrote it, I think Barry Levinson directed the film actually. It was a couple years ago. What movie did I do with Barry Levinson? Can you name it? Wait, wait, wait, wait, wait, wait, yes.

Yes, yes. You were Rain Man, right? You played Rain Man. I was not. You're mitching me up with Dustin Hoffman. It's so often done. But I did do Midnight Cowboy. That was me as Ratsa Rizzo.

No, that's not true. Really? Give me a hint. Give me a hint is, oh, I had a scene with Laura Lennie. Laura Lennie. This is going to drive me, Matt. You may not get it. Man of the Year.

Man of the Year. Man of the Year. Robin Williams. Robin Williams. Yes. Yes. Robin Williams, yes. In any case, that's Barry Levinson.

So Mitch Glazer, that's how we got there. I dropped metal breadcrumbs. What I was going to say is, I just remember, I was monitoring this panel at Comic-Con of all places. The studio had no idea if Bill was going to even show up, of course, as Bill is Bill's want. He shows up. We go backstage. He doesn't want to talk to any publicist.

He hates, I feel like, any kind of artifices of that kind of thing, as you well know. And he just kind of corners me and Mitch, and he's like, I don't know, should we just go to Mexico right now? And I felt like, I think 70%, I think it actually felt like a plausible. idea in Bill Murray's idea. He's a free bird. And I will regret to this day not saying, yeah, let's go. He's a free bird. He's a master and model of he's an eighth-degree black belt master of presence, of course, and he's like an Indian fakir. Whatever that is, I think, well, I think he's right, that's appropriate. Have you in your, because, okay, you are a studied actor,

you, you, you, Meisner trained, you believe in the craft. In any exercises ever employ you to, Do you do those exercises where you have to be like an animal? Do you have to, like, have you been a dog in an acting class? And does that feel insane or does that feel useful to you as a... I have many things to say about that. Let me see how far into the rabbit hole we want to go. However you want. Let's see, you know, first of all, I did play specifically.

I studied dog behavior before for a part. Can you guess which one? Wait, wait. Is this, my instinct says Adam resurrected. Exactly right. Yeah, I was a dog. I had to be a dog in that movie, a person, a survivor of the concentration camps, who, William Defoe's character, makes me act like a dog.

I was a world-class entertainer, clown, mime in Berlin, pre-war. They take my fed. We get to the camps anyway. He makes me act like a dog. So for a big part of this movie, I have to become a dog. So I worked with a person. There was a lady. I just worked at the old Vic, and I met her several times, who's the expert,

who's the real expert on animal behavior. She will work with actors and works on animals, and we did it. We did a lot of things about dogs, and I did it for that movie, yes. So that was kind of, you know, what you think of as acting class kind of stuff. But, yes, just to say a little word about, yeah, I studied with Sandy Meisner and then many other wonderful people, Bill Esper and then I taught for a couple of decades whenever I wasn't working

something based on that method this improvisation you've I'm sure you've heard about and the repeat exercise that's often misunderstood I think and mistought and I wanted to really understand it from the inside out just for myself and I love kind of being in the giving chair and being the one not trying to cut the mustard

and put his best foot forward but trying to actually inspire stimulate and otherwise clarify And in the process of that and in my experimentation and my own acting over the last couple of decades, this is all I want to say, I've come to my own conclusions about methodology. Oh, interesting. Yep, yep, I've myself over, just another boring word about it. I've just inside baseball, I've just overused myself and abused preparation and trying to,

do something with myself or feeling not worthy of being witnessed or filmed unless I was in some kind of condition or opened up to a degree that was et cetera, et cetera. I think I'm either misunderstood or it can sometimes be

taught taught or misguided there anyway. My current thinking is to sort of play freely but I may not have gotten where I am without having done that but if I were to teach somebody now Less as more as the...

Yes, I would de-emphasized. That's right. Some of the, what we think of as traditional, you know... That's interesting. Method things. That's right. And trying to make everything realized in your body that's in the made-up situation. Sandy Meisner used to call it pure acting.

Just, just acted. Just pretend. Pretend good. I would think part of it also is, like, as a young actor, the impulse is to do something. is to cover yourself in something to feel like I'm doing the work. Well, yes, and feeling like you don't know what you're doing, which you don't, which I didn't. I mean, Sandy Measner, I kind of took it to heart. He said it takes 20 years to even call yourself an actor.

I took that as a nice arc and trajectory that I'm still on and fruitfully, I think, because I'm still feeling the threshold of my better and best stuff. But at the same time early on, I felt unworthy, maybe, and didn't secure because of that. And maybe I should have. But for one reason or another, yes, because I felt, geez, I don't know what I'm doing, I better do everything I can and pile something on. That's right. I work too hard and fetishistically and sometimes counterproductively. Are you tough on yourself as an actor to this day? Have you let go of some of that? And can you kind of like trust your instincts and trust that you're going to get to the right place? I'm freer and more confident when I'm in the right zone and I am more often than I've ever been. Yeah, I just do it, and I do it for its own sake, and it's a kind of a joyful little procedure, an endeavor, and then I kind of let it go, and I go, yep, that's something like that, you know, and I'll keep trying to get better, something, yes, it goes something like that, but I'm not unfamiliar with a little now still, I suppose, but certainly before, yeah, torturing myself over, and even if I see now old things, I can go,

Oh, I wish I don't want to look at that. I wish I could, if I'd known then what I know now. But that's good, I guess. That's the way it should go. What about, here's a film that we didn't get to last time that I positively revere as many do, The Fly. The Fly is just arguably when people ask me my favorite films. Well, I'm a lucky guy, David Cronerberg, you know, you can't. And somehow I somehow intersect with some of these guys at their best moments, you know.

Yeah. I mean, to be in a Robert Altman movie, I was in a few of them, but to be in Nashville. That was very early on. Very early on for me and earlier on for him. Yeah, but many consider one of his high watermarks. You know, I lucked out. I got, I did okay. So when you look at a performance like The Fly, do you see, because I feel like that, in today's environment, I think that would be like positioned as an Oscar kind of performance.

I think it's an amazing piece of work that you do in that one. It's such a tragic, powerful film. Are you able to look at that performance, like saying what you said before, and say, like, yeah, I hit close to the mark on that one, or do you see things that you would do differently? No, no, no, I think in that, I saw a few years ago, I think, no, even though something can be chronologically of yesteryear, I can go, pretty good, pretty good, you know, I can be okay with it. Yeah, I think, I don't think I had much fault with that. I thought, oh, okay, okay. When you think back to that experience, do you think of the prosthetics, the pus, the walking around naked with a baboon in your arms?

What do you think? Well, all of that, you know, is unique. You know, you go, gee, this is what I'm, this is my chosen field. What, and quit show business? Some of it belongs in that file. You know that old joke, you know. Yeah. What?

And quit show business? Yeah. So, yeah. Oh, yeah, I remember all of that. Sure. Um, um, um, Chris Whales and Stefan Dupuy put that makeup on me, you know, sometimes took five hours toward the end. They won an Oscar for it and deservedly so. I loved, loved doing that. It took some amount of patience and endurance and meditative, you know, uh, wherewithal. Um, but, uh, but that was beautiful, you know, uh, and, uh, that baboon. I've worked with animals since and shit, that baboon was, there's no fooling around about that. They said, be careful. You know,

And I tried to bond with him because I had to be palsy and close. But they said, you know, if things go wrong, he could, you could be without a face. Could be a man without a face. No makeup required for this last scene. I said, well, we don't want that. Let's figure this out. Has, has Emily seen most of your films? Mostly not, which she's most seen, not seen most of them.

That's fascinating. Was there an initiation when you two bonded and, you two bonded and a profound way. We're like, okay, I need to expose you to some of the Goldwynne classics. I didn't expose her to that. I exposed her other things, but not the Goldwynne classics. Although that is my name for some of my other resources. But no, no, I didn't expose her to the classics in the sense that you mean no, no. And I still, no, I still don't pester her with anything. I said, yeah, you've, you've never seen this or

that. She says, no. But when you want, she wants to see them with me. She says, let's watch them. I go, ah, yeah. I don't know if I want to, I want to, I want I want to sit through. Do you do a running commentary for her while you're watching a Jurassic Park? Let me see. Let me see. We've never seen Jurassic Park together, really. She's seen it.

She saw it. She didn't know. When she met me, she was like, you're, why, you're an actor? She really hadn't remembered that she'd seen it because she was in Russia from where she was, you know, had a Bulgarian coach and she'd get to the Olympics at 17, 17, 17. So from 11 to 16, she was in Russia most of the year. And I think she said she saw during those years when she was quite young. a dubbed, a Russian-dubbed version of Jurassic Park, I think. As it was intended, yeah. Yeah, that's right.

And, you know, I think she then caught up with it a little bit. But, no, there's still many things that she could, might see. Is there anything awkward about the fact, I mean, you've had some relationships over the years with some of your co-stars and your films. So is it awkward seeing a film like that with Emily? You know, she is the coolest, most confident, most self-possessed person I've ever met in so many ways. Nope. Nope. Nope. We're still in the same house that I've had for 30 years. Yeah. And, you know, I got that house because the person, the lovely person before me was a fellow who owned it,

who got a changed lady, girlfriend, wives. And the new one said, well, I can't be here where you were here with Zabagagaga. And for that reason, I got that house. But Emily, No, suffers from no such thing. She's more evolved, clearer than you and I. She's more evolved, although she's helping me. She's my spiritual teacher. And, yeah, because I used to. I remember in my 20s being, where are we going to go on vacation?

Wait, you were here before with, no, I can't go, no, no. Oh, my gosh. I was a maniac of sorts. No, no such thing now. I'm a little bit relieved of that. No. I remember when you were on the podcast last, you said something that was somewhat surprising to me and that you say you're a bit of a home body.

It takes a lot to kind of get you out of the house. That's true. That's true. It's good for me to travel, and she's a traveler. She has a wonder lust, a wander, wonder, wanders, wanders. Yeah. Well, yeah, wonder, wonder, wonder, wonder, wonder, wonder, wonder, wonder lust. Wonder lust.

Yes. But usually you say wonder lust. Right. I think it depends on where you're raised. But that can't be right. because it's never meant to mean a lust for an appetite for wondering and wondering. No, it's wanderlust. Why do we say wonderlust?

I think it's a mispronunciation. I think it is. We've now, are we the first? You're welcome, Merriam. We can plant the flag. Maybe nobody's thought of that before. I'm sure there have been. But it's wanderlust.

It should be wanderlust. Well, she's got a wanderlust. She's a traveler and with all her training and competition, a worldwide competition. Oh, no. Now she takes the kids, the two and a half year old Charlie Ocean, the 11-month-old old River Joe, all over the place with the stuff, and she goes, goes, goes, and she wants to go. She wants to go. And so I go, I go, too, and it's good for me.

And with my movie careers, such as it is, and show business associations, I got to go here and there. Right. Look at me now. Are they going to make, so you've traveled to Berlin for this one. I did. But, you know, given my druthers, I'd go to the kitchen from the farthest reaches of my Magellan, you know, exploring. You've had everything you need there. You're wonderful family.

You're growing family. You've got Rockwell probably nearby where you can go once a week and do your thing. I like it nearby. I wouldn't want to go further. You know. It's part of the appeal. Yeah. Los Feliz.

A lovely area. Los Feliz. So are you going to travel the world for a Jurassic? Are they going to make you, I mean, you know, it's, there's plans afoot. Yeah. Yeah. There's a European leg and there's some legs. Yeah.

You'll try like style. It'll be okay. You know, I'm thrilled to be associated with. that movie and those people and it's lovely i mean i like to do it not only do i like to go to berlin and be here now and all that stuff um but um on this movie as i said i's had no contact contact with anybody in the production right until the publicity you know uh leg of it and now you know i'm hanging around with and having a conversation with tilda swinton the most amazing cast my golly you know so it's a very delicious you know cherished you

you know, once in a lifetime, unforgettable kind of experience. So when Wes, I mean, I know it's a little bit of a different experience on a film like this, but for something like Life Aquatic, is he someone that gives very specific direction on set? When people talk about his films,

you think about the meticulousness, obviously, production design and just feels very mannered in a great way. Is that something that, you know, when you give yourself to Wes's kind of vision and world, you allow yourself maybe more to be handled by a director than you might in other circumstances. Yes, well, me, speaking for myself, yeah, and I know for others too, but speaking for myself,

oh, I trust him so completely and it's so delectable, you know, to be once again imagined as some different version of yourself and a different kind of character. Yeah, you let him, I would let him do, you know, I consider myself a pipe cleaner man in that case. But having said that, and he is very specific, although as I tell my students, You've got to learn how to do both. You've got to improvise. I like to improvise up a storm. But I like to do plays David Mamet and da-da-da-da-da.

And you've got to say every word and make it sound like you're making it up. And, you know, certain directors, not only Wes, but I think the Coen brothers, I've never had the pleasure working with them and Aaron Sork and different people. They go, no, no, no, dot, dot, dot means you pod. I've spent a lot of time alone in a room to get this exactly the way I want it. Yes. And now you learn it like that and make it seem like you're making it up. That's your job. But I like that.

I like that little back, sometimes backbreaking challenge. So he also, I remember for a big speech I had in Grand Budapest Hotel, I'd worked on it very conscientiously. And I'd changed one and to a thee, or thee to an end or something. And I got to the set, and I did it. And he said, yes, that was good. First take of what was going to be like 27 takes. He said, that's good.

Did you change that one end? Yes, and I said, yes, Wes, here's, I didn't just do it hickledy-pigglety. I don't know if I used that word. I didn't do it just to the carolsey. Here's why. Here's my thinking about that. Because, he says, yes, I understand. Please do it the other way.

Please do it my way. I said, okay, my pleasure. I heard you. Yes. I acknowledge you. Yes. So my point is that he's very meticulous, but he loves actors, and he's within that, you know, bullseye. that he's going for, it feels very free, infinitely free and actorly and collaborative.

And so he says in the 27 takes to come, he says, yeah, okay, that's good. Now try it like this. And you kind of come up with something and to fuel your inner thinking or feeling or a different sort of inflection or musicality or behavior or a different kind of thing until you get it just so. And he says, yeah, I think that's it's it. And now let's do just one for pleasure, and so it's just a great, it's great. I would imagine there's nothing as soul-crushing for an actor than to lose the confidence of a director, to kind of be an environment. You mean where they've lost confidence in you or you've lost confidence in them?

I was thinking more of the latter, where obviously with West, you put yourself in his hands and you trust, you've seen the product, you know it's going to deliver. But they're, and I've had this kind of conversation with actors before where, like, whether it's on day one or day 10, and you kind of realize, A, maybe you're making a different movie than the director or you're just, you're not vibing, you realize they don't have the goods, they're, they talked a good game in that initial meeting and they don't have it on set. And there must be, it just must, you must go into a different mode as an actor to protect

yourself, I would imagine. Yeah, here's my thinking about that. And what I tell myself and my students, if I have the chance, is you don't get warm, by the fire, you bring the fire yourself. And proactively, when using those principles of proactivity, there's nobody, there's hardly

anybody that you can imagine, with whom you can't produce your best stuff. You don't need directions sometimes. You should come not necessarily expecting or needing it. I could do this, you know,

but then it's lovely. I love to be directed, but etc., etc. I mean, having said that, it's, you know, Yeah, there are challenges here and there, and sometimes it's disappointing. But mostly, I tell you, I like to be surprised as much as anything. I mean, you know me from the Rockwell. And, you know, if I could write my perfect director and I wouldn't want to. I go, let me see who you are. And if there's a difference, I'm here for a reason, and I'm here to learn, and I'm here in humility,

and to see how we can dance together and make. this something that we both love and make it positive. I think that's very possible to do. If you're in the other mode where you're, you know, where that's not your, where you're not your own best friend like that, you can get into trouble and start blaming all sorts of people for your troubles around you. You know, you know what I'm talking about. And I've done it myself. When you're in the wrong place, yeah, everybody's wrong around you. And they're not helping you and they're the cause of your difficulty. But that's not true. That's all you're doing. You can do otherwise. You can make everybody and everybody's contribution no matter what it is your friend and have

that be the morsel of magic that just the magic you need. Do you, I can't, I would imagine it's been a while since you've had to audition for a role. Sort of, although, listen to this, in the world of, because I'm involved in the world and I still aspire to and I, my hat is in the ring for voiceovers, for commercial voiceovers. I enjoyed doing them. I do commercials, as you know, on screen. I do these. There's a new round of Apartments.com

commercials that you can look. I'd encourage you to look for on your local screen here or there. You know who directed them? Five days we shot. It was a wonderful creative experience. Craig Gillespie. Oh, wow. Who did It Tonya. Yeah, yeah. What a great man and a great director he is.

And I considered them little movies. Once again, in the same vein, I don't look down upon any script situation or, you know, director. And he was, my gosh. And you know, when you're in that mode, the universe becomes generous. And boy, it delivered Craig Gillespie to us and to me. And I've never worked with him. I'd love to again. But I cherish the five days we had. And these little movies, some of the last final cuts I've just seen, I enjoy the heck Heck out of. Anyway, what was I saying? Oh, yeah. So auditioning. So

anyway, I like to do those commercials, but I also like to go, hey, so this car is going to be your car. Go get it. Is that the actual script? Whatever it is, you know. They want you to do the script, but you, but you audition for them. Right. They've heard you, they've heard

Jeff Goldblum, I guess, more times than, you know, I'm like horse manure. I'm all two, two spread, liberally spread here and there. But they want to hear you do, here's our car. And here's our line. Look for our car and look for it now. Go, go, go. You go, you go, you know, whatever it is. And so I do it. And mostly, I don't get them. I don't know what they're doing. I don't know what I'm doing wrong. It might be the dialogue you're improvising that I just heard.

You might want to stick to the scripts off. That's what I just did my audition. You can see it. You wouldn't want that. You don't want that on your commercial. No, I try to do, I put my best foot forward. And, you know, I like auditioning. I like, I like trying to do it. And, And it doesn't matter. And if I don't get it, it's fine. I'm lucky because it's okay, too. But I like auditioning. Anyway, I like, even if I get the part, even if they've offered me the part, I like

getting together with the director before, as if I'm, hey, here's my, here's what I'm thinking. I want them to know what I'm thinking before we go in. You want to see, here's, here's what I'm thinking. You tell me if you disagree and let me see what I like to audition them a little bit. Like, here, what's your, are we on the same page? What do you think? Tell me how you'd like me to do that. Let me hear.

I like line readings. I say, let me hear you do that. Let me hear what you do. You know. Yeah. Oh, yeah. I like that. And, you know, that's the cliche is that that's a no-no for method actors.

No, no, no. From my research, Stanislavsky would give people line readings. He's the granddaddy of the so-called method. No, no, no. Because then you're getting directly into their head. Okay, this is the movie you want to see on the screen. Let me get close to that. I'll do my interpretation.

I literally do it. I can make it my own. Anybody worth their salt can. make it their own and on Grand Budapest Hotel. For instance, there was an animatic version of the movie before we shot it where Wes, where there's a little cartoon moving, you know, motion picture cartoon that you could see the whole movie and the cuts involved. And Wes Anderson voiced all the parts.

There were some actors who didn't want to see it because, you know, fine for them. But I was like, no, no, no, I like it. Let me see what you're thinking about. I want to know all the information that's in your head so that, and then I'll make it my own. When I get with students that I think are sub primitive and seedling and might not even be suited for it, the cliche is that they go, I go, okay, there's the scene. You just showed me from, you know, some Neil Simon play.

I go, have you seen, you know, they've done a movie of this? And they do it on, have you ever seen it? No, no, they say, I don't want to do that. Why is that? Well, I don't want to, you know, some impediment to my own free process of investigation. Mm-hmm. Okay, well, if that's what you want to do, that may be true for you. And I'm willing to see if you do something, that's fine.

But, you know, you're not even in the ballpark. That's my opinion. You're not even in the ballpark. See what professional actors do, and you can steal from them. You can learn from them. Then you might say, hey, I want to do this another way. Or I'll do it that way, but I'll do it better, et cetera, et cetera. It might spark new ideas or whatever.

Anyway, I encourage them to do that. I mean, jazz musicians, does anybody record a new version of My Funny Valentine without knowing very intimately and being a fan of the Miles Davis version and everything that's come before, no. Did Spielberg give you a line reading of now that is one big pile of shit? I don't know if I asked him, but I should. I would have. I could have, and I would have. Now, that is one big pile of shit. I don't know.

I might have popped off of that myself. So we haven't spoken, I think, since you teamed with Taika, Y-T-T, which was such a glorious. Don't get me started on that, Tyga, Y-T-T-T. He sat in your chair. He's the most one. Is he a vivacious? I just left the woman and let him talk for 45 minutes. He's a wonder.

He's a one-man band and just a great force of comic nature and dramatical nature and romantical nature. No, he's a great gift. He's a great, great gift. I had loved working with him and we improvised a lot. You've heard us talk about that. But he and I have fun together. We introduced the movie, you know, to I think a BAFTA.

We were in London, right? And introduced, and we were just supposed to do our regular thing of, you know, well, here's our movie and hope you like it, whatever you know, uncomfortable little film you've seen people do. You couldn't get us off the stage. We lose the theater

at midnight guys. Raffer that. Show them the movie for God's sake. I don't know what we kept doing, but we enjoyed ourselves and each other, I'd say? It seems like there was such a wonderful response to that film and your performance in particular, and I know there's been a lot of talk, whether it's in jest or seriously, about seeing more

of your character, seeing you and Benicio, obviously. Maybe I haven't heard any serious talk. I'd love to. No serious talk. No actual conversation. But I, you know, I love those guys. Kevin Feige and Louis De Esposito and Victoria Olawns.

The people who run Marvel are very special types, you know, very smart and special types. And their approach is unique and newfangled, and they want to make good movies. They have got high integrity. And they build in, as you know, they normally hire these people to do a new version, a knuckleball version of a big movie like that. But then they built in a couple extra weeks. Have you heard about that?

Yeah. Where you go to their compound in Atlanta and reshoot and rewrite all sorts of things. It's a lovely, workshop-y, creative way that they have it. And it really bears fruit. Yeah. And back in the day, the reshoes was like the dirty word, but they've made it into something that's actually a creative endeavor that proves in the pudding of what they've been doing.

The proof is in the pudding. Well, you're a phrase maker. I love a nice pudding. I love a tapioca pudding. Oh, tapioch. Oh, butterscotch. I love it, a chocolate pudding, vanilla pudding. Any kind of pudding.

Yeah. I like a bread pudding. That's in a big indulgence, but it's a good time. It's a good time. It's a good time. You ever go to Muso and Franks? Guy up into Muson Franks. So they have diplomat pudding, which is really right under their bread pudding,

which is really the same bread pudding, and then they put some raspberry sauce on it. And now you're a diplomat. If you've had the diplomat pudding. I get confused by. What the Brits call puddings are their cakes, right? Those madmen. Oh, it's a mad race. They pudding, it confuses your title because pudding is through, of course, all desserts.

Now let's have our pudding. What should we have for pudding? And I go, really, pudding? I like pudding. No, no, it's cake. What do you mean? I thought we were having pudding. No, pudding is everything.

It's a backwards land. Oh, how backwards land. Thank God we broke off. That's what it was over, I think. It was the pudding dispute. It would have been if I were around. We can't bear this anymore. We must have gone too far.

Too far. We threw all the pudding in the harbor. Isn't that what we did? The pudding party. So what kind of stuff are you offered nowadays? Is there a kind of a role that you're sick of seeing a Jeff Goldblum be offered? Do you say to Team Goldblum, enough with X, Y, and Z? Enough with the X, Y, and Z.

I don't know. It's a case-by-case basis. and, you know, luckily, I don't know why people seem to still feed my appetite for variety. I want to get better. And so I think doing different things, you know, is probably a good idea. You know. You were talking about the commercial stuff, but like, are you, do you feel like a competitive kind of, maybe competition is the wrong word, but like a spirit of like when you know you're in the mix for a role and you don't get it,

does that still potentially get you upset? Like, do you still have a lot of ambition for getting the role that can push you in a good direction? Oh, no. No? You're like, I've done my time. Yeah. Who, who, what, what play is it from? I always thought that just having a little less ambition would make me live a lot.

I could live a lot longer if I just had a little less of ambition. Who's that, what's that from? I don't know. That's all that's from a famous play or. movie somebody one of you i think it's hamlets no no no well yeah no i just thought i live a lot just do better if i just had a little less yeah it's not real sim it'll come to me feels a little no no it'll come to me later but um no and of course a death of a salesman uh what do they say um pop he always had a overdeveloped sense of competition oh no it's this it's the american disease

How much competition do we want? If our belly isn't full to bursting and if we're not vomiting from all this competition, supposedly fun, everything's a competition now. You turn it on the TV and you can have everything. Everybody compete for the best this. It's sickening. It's sickening. Be the best you can be, says I.

Do you feel properly acknowledged? People love Jeff Gould. There's a lot of love out there. But here's the crazy thing. And I'll say this because you can't say this. you have never been Oscar nominated for your acting, which is absurd to me. For the acting and for the directing. I was going to say, the one time you directed, you were Oscar nominated.

And you have not directed since. No, no. Explain yourself, Jeff. I don't know. I never wanted to be a director necessarily. I had a big belly full of wild romance for being an actor. I wanted to be an actor, and I never wanted to be a director particularly. And even after that acknowledgement, that boosts.

See? No, that was a nice kiss on the cheek, you know. But no, that came out of my teaching. I like the classroom. And I used my students, some of the people there at the school, plus Rod Steiger and Julia Harris. And everybody else that me and the other people were like, oh, boy, this is going to be an actorly experience. We love, tell us more about Yelia Kazan and the da, da, da, da, da, da. So that's why we did that.

And then, you know, it turned out nicely. No. No. No. What about, what about, do you feel, I mean, like I said, I would imagine walking the streets every day. You feel a lot of love from fans and fellow actors. Does the fact that for whatever reason, I mean, you know, we just saw Sam Rockwell name check like William S. Burr on the stage. So like, cut from the same, unbelievable.

But like when you see those ceremonies and stuff and they're fun, they're silly, they are what they are, do you feel like the love is nice? But at like, you know, at some point it would be nice to be acknowledged in a different way. No, not really. I mean, sure. You still have that part of yourself, but it's not that, you know, never was. I was sort of a hippie kind of idealist, you know, with, I'm in this for the creative adventure, you know. And, and, but, you know, but there's another shadow part of that that, you know, I'm all too familiar with, with, you know, it's overly competitive and self, you know, all manner of self identity and this and this and that. No, no. Over the, I mean, I've aspired to. I've worked on trying to focus my efforts on, you know, on how can we put it? Yeah, on something healthy. Yes. On something healthy. And, you know, no, you can, that can, that's not so healthy. And so, I mean, it's a lovely thing. I'm not here to disparage any, any prize or ceremony. But.

But no, no, no, no. Let's end on a more positive note, because we haven't even, you're the biggest film lover that I know next to myself, maybe. Let's give us some recommendations. What have you loved in the last year? What have you seen recently? What are you? And did we end that on a good note? You know what I mean.

There's much to say about that last thing, but let's end it on a good note. You know what I'm talking about. Yeah. No, it's a lovely, it's a lovely, only way. and you're happy for others and satisfied in yourself. And it's back to this proactivity. Yes. You make your own.

Look, if I can't be nourished by my overly lucky life and lot. And, you know, my God, shame. If you need the Hollywood foreign press to make you feel good at night or something. Shame on me. Yes. A big shame on me. And if you're looking for, really, this is not disparaging of any one award or people. If you're looking to the mad world to tell you that you're okay, you'd still need to study something.

You need to read a little, work on something. And there's no end in sight. It never ends. That's right. No, that's a pit. That's a bottomless shadow pit of disease. Read this book that I just read called Fantasyland or how America went haywire. There's a particular American disease that was here, his thesis is, from the very start, people who were crazy, quick.

get rich quick types that's going to solve my life types and religious fanatics frankly is the beginning of his book not just people as is our myth seeking religious freedom uh from those who would otherwise uh you know you know tether them but particularly not not nutty nutty my religious types and as we know america has since been the place of uh you know proliferation of all manner of things and conspiracy theories and hey it's my own man there's no reality there no facts out there it's just my right my reality man which is okay on both sides of the sensibility um which is why my particular appetite right now is toward neal de graz Tyson and facts and the fact based world i'm plenty familiar with and

still devoted to poetry. Sure. And magical the magical universe. We could use a little bit more of going back in the other direction towards a reliance and adherence the facts in these horrible times. Let's end that with that. There we go. Now, on to, what were you saying?

I wanted a final movie recommendation or two from Jeff Goldwyn because I respect your opinion. Thank you so much. Well, I'd love to talk movies with you. But after we turn off the mics, because we'll do a little bit here. Oh, I've seen many things this year. You know what I like?

I sure. Well, Isle of Dogs. Oh, I know what I was going to say and to promote these other things that I've been doing. And to answer that question, do I get different parts? I've just, I have things in the can. Tell me.

I did. Well, not only did I enjoy this Jurassic thing I did in Jurassic World and the Thor thing that we talked about. And I know this Isle of Dogs if you can't be happy with just being a associated with this bunch in that movie. You know, that's, that's, if nothing ever happened, that would be enough.

Yeah. As we say, uh, Dianu. But, um, but since then, I've done a movie with Jody Foster and Sterling Kay Brown called, uh, um, Hotel Artemis that I just saw all finished. Sci-Fi and some way. Kind of sci-fi. There's not much known about this, which makes me more intrigued as judging by the cast. You might enjoy it. It's a lovely, uh, little morsel.

And then I did a movie. and I'm going to see him tonight because I invited him, he's in New York City he lives in Virginia just as finishing up locking our picture called The Mountain is Rick Alverson but he's here in New York doing something so he's going to see him tonight at the premiere at the Met

of Isle of Dogs. We did a movie that I just finished called The Mountain with me and Ty Sheridan who's now Wonderful Ready Player 1 and and you know Tree of Life and Mud Jeff Nichols and all those movies a wonderful fella. Boy talk to him that's a real that's a real special guy uh udo keir is in this movie yeah a denille lavo

do you know him i don't know french masterful actor who's also in holy motors i've never saw it but yes i've heard things about it rick alverson turned me on to this whole wing of of uh of uh of taste in movies i'm just catching up with some uh claire deni movies whom he likes a lot and so i'm seeing those anyway uh we did this movie yeah where i play a Oh, so in Hotel Artemis, I'm a real bad guy, but complicated. I'm kind of charismatic maybe. We can't turn that off. I mean, come on.

It's very difficult. But very bad in a way. Very bad. And in this movie, I play, it's in 1954. I'm a guy based on the guy who pioneered lobotomy in America in the 40s and 50s, Freeman. Our name is, we give the doctor another name because it's a little poetical critique of the American psyche and meditation on fantasy land and how, where we are. It's not dissimilar and theme to the Florida project in a way. You saw that.

Of course. Yes, the final image of that, the iconic Disney America that we think we're in, that we'd like to be in, that we imagine ourselves to be in, fantasize ourselves to be in and then of course the juxtaposed reality of what we're where we who we actually are and where we are and you know what other movie I'm excited about that movie I think it's going to be interesting

you know what movie I liked is I love P.T. Anderson I loved The Master there will be blood many movies before that and I liked Phantom Threat I loved it very very much I liked the music I liked all of it I want to see that again.

I think it's rich and it's going to... I enjoy it more the second time around. I'll be frank. I want to see it a second time. Oh, yeah. Oh, that's rich. So everybody, go see a Phantom Thread. But more importantly, support Isle of Dogs because there's no one better than Wes Anderson.

That's right. He works with the caliber of actors like yourself, Jeff. Tish-tosh. But it's a good bunch besides me. I'm glad that you've been dragged out of the house to do a few movies because that means you'll be dragged out of the house, hopefully, to talk to me again. You're always welcome here. you're so nice. I like it here. This is, I've never felt more supremely alive. That's when I'm in your presence. I don't know what that means. I don't know either, but we should talk to

your wife about that. I better. I better confess everything immediately. Onward and upwards. I'll see you tonight at the big time premiere. We're on the upward trail. We're on the upward trail. I'm not joining in. See, it's a round. You can come in at any points like row, row, row, roll, row your boat. All right, very good, Josh. Thank you, John. Thank you, Dr. Horwitz. 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 pleasure to do this by Josh.

is full of infamous tales that continue to captivate audiences decades or even hundreds of years after they happened. On the infamous America podcast, you'll hear the true stories of the Salem Witch Trials and the escape attempts from Alcatraz, of bank robbers like John Dillinger and Pretty Boy Floyd, of killers like Lizzie Borden and Charles Starkweather, of mysteries like the Black Dahlia and D.B. Cooper, and of events that inspired movies like Goodfellas, killers of the flower moon, zodiac, eight men out, and many more. I'm Chris Wimmer. Join me as we crisscrossed the country from the Miami Drug Wars and Dixie Mafia in the South, to mobsters in Chicago and New York, to arsonists, kidnappers, and killers in California, to unsolved mysteries

in the heartland and in remote corners of Alaska. Every episode features narrative writing and cinematic music, and there are hundreds of episodes available to binge. Find infamous America, wherever you get Podcasts.