Happy Sad Confused - Jeff Goldblum, Vol. III (LIVE!)

Episode Date: June 14, 2022

Strap in because this one is a wild rollercoaster with the one and only Jeff Goldblum! Taped in front of a LIVE NYC audience this is a delightful journey through Jeff's career (including JURASSIC PARK and JURASSIC WORLD: DOMINION of course) but also through the many films and actors who have influenced him. On June 22nd, Josh will be chatting with Evan Rachel Wood! Buy your tickets here! You can also watch the event LIVE online on June 22nd via tickets here! Don't forget to check out the Happy Sad Confused patreon here! We've got exclusive episodes of GAME NIGHT, video versions of the podcast, and more! For all of your media headlines remember to subscribe to The Wakeup newsletter here! Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

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Happy, sad, confused begins now. Today on Happy, Sad, Confused, a wild live taping of HappySack Infused with the one and only, Jeff Goldblum. Hey guys, Josh Harrowitz here with another edition of Happy, Sad, Confused, and yes, another live taping in New York City that we recorded for your benefit. If you couldn't be there in person, and I know many of you obviously can't, for various reasons, we couldn't deny you the madness, the genius of the one and only Jeff Goldblum. Currently starring in the ginormous

hit, of course it's a Jurassic Park movie. It's a Jurassic World movie. Jurassic World Dominion now in theaters. is the return of Jeff and Sam Neal and Lordearn as well as the new cast, and it's packing them in, so check it out. More on Jeff in a second, but first I want to talk about our next live event coming up very soon. We've been doing a bunch of these lately, and our next one is on tap for next week in New York City with Evan Rachel Wood, Star of Westworld. The new season of Westworld is about to drop.

We're going to talk about that, but we're also going to talk about anything and everything about Evan's remarkable career from 13 to across the universe, true blood, so much to catch up on with Evan. She's always a delight, so talented. So June 22nd in New York City at the 92nd Street, Y, 7.30 p.m., all the information in the show notes. Get your tickets now. I believe there will be a virtual option if you can't be there in person. And yeah, as always, I hope to see some of you guys there. All right, let's talk about today's show, which, as I said, it features Jeff Goldblum, who of course has been on the podcast a couple times before and is, there's just nobody like him. I mean, I'm talking about, yes, the affectation, the vocal, unique vocal mannerisms,

but also that brilliant mind that darts and weaves and is just a joy to try to keep up with. I always feel like it's a bit of a roller coaster in the best possible way to hang with Jeff, and this evening may have taken the cake. This is a long episode. This is, I think, almost like an hour and 15, an hour and 20 minutes, something like that. We just kept talking. And a lot of it, as you'll hear, is real free association about movies and movies that Jeff loves and movies that I love. He came prepared with a list, a super long list of movies that he watched growing up in Pittsburgh with his sister.

he came prepared with his comfort movie and two plus pages of handwritten notes about the comfort movie. I mean, Jeff Goldblum gets a gold star, gets an A in my book for prep. Did more prep than I did. We talked about Jurassic Park, the original, what he brought to that role of Ian Malcolm and how he created it, both from the page and from his own interpretation. And, of course, we talk about him, again, reteaming with his old friends, Sam Neal and Laura Dern in the new film, Jurassic World Dominion. But there's, I mean, there's just so much in this episode. There's a ton about all the great roles in his career.

There's a ton about the movies he loves. There's a ton about his approach to acting. I don't even know what to say. We talk about his drug use. That makes it sound illicit and, like, rampant. No, he talks about a couple times that he did acid like 40 years ago. Don't worry. Don't cancel Jeff Goldblum for dropping acid 45 years ago. But this was such a delight. And it was really fun to share it with a New York City crowd. And it's always fun to do these

events in conjunction with 92Y who are awesome to work with. And I'm so thrilled that we get to share it with you guys. I'm trying to think if there's anything that's not going to translate in audio form. I mean, you know, there's the usual references. Jeff is a very tangible in the moment person who will reference things around him. him. So yeah, he'll reference the flowers on the table, etc. But I think you'll get it. And if you want to watch it, by the way, you have that option. I don't mention this every week and I keep forgetting. But Patreon, the Happy Sad Confused, I encourage you guys to check out if you so desire. Patreon.com slash Happy Sad Confused. We put up nearly every episode of the podcast there. Not only do we put up the episodes early, but we put up video versions. So you can watch all 80 minutes or so of me and Jeff. on the Patreon, as well as literally probably 100 other, 50, 100 other video versions of the podcast there right now. And we add every single week. And we add game nights. We're doing these episodes of a second look. We just posted, oh, by the way, I haven't mentioned that.

We put up our episode of a second look featuring Loki star Tom Hiddleston and writer Michael Waldron and director Kate Herron. And that was a blast. That just went up a few days ago. That's a deep dive into a bunch of scenes that we love from the Loki series. That's exclusively on the Patreon. You can check that out. Yeah, an embarrassment of riches, guys. Let's see, what else to mention? I'll tease this.

We got a chance, and by we, I mean me, I got a chance to catch up with Chris Evans. Yeah, big time Chris Evans. Talking about his new wonderful Pixar film Lightyear. That's going to be, that's an MTV News interview. for them. That's going to be out there, I believe, the end of this week, this Friday, just in time for the release of Lightyear. I'll put that out there on my social media as always, but it was a real fun one. I was so thrilled. It's been a while since I had a one-on-one with Chris, and he was great. We touched on a lot of things. So look forward to that one. And just not much else to say,

except to say, like, we are in such a groove guys on the podcast. I'm so thrilled. Not only the live episodes. But, you know, we had Gary Oldman last week. I've got another legendary actor. I've always won on the podcast that has been taped. That's coming up very soon. Mentioned Evan Rachel Wood. There's a, there's a lot of really cool folks coming up on the podcast. And I'm just so, so thrilled that you guys are here with me on this adventure through the podcast landscape. Remember to review, rate and subscribe to happy, say, I confused. Spread the good word. Check out the Patreon. Patreon.com slash happy, say it confused. Decide if that's for you. And let's get to the main event, because like I said, this is a long, juicy one with, yes,

the one and only, Mr. Jeff Goldberg. A man of many talents. He is a fine actor. He's a human meme generator. He is the star of Jurassic World Dominion. Please give a New York well. Welcome to Mr. Jeff Goldblum. Wow, nice, nice, nice. Oh, well, well, well, look at you. Look at your audience, may I? Hey, hey, this is different dispense than the other one, right?

Have you ever been to the other? 90 Second Street, Y, proper? Yeah, it was different, wasn't it? It was kind of a big, bigger space? A bit bigger, look, we're intimate. We want to get up close and personal with you today, Jeff. We must. We're going to go around the room over each person here.

We're going to get to know tonight. I hope so. I hope so. Are they going to ask questions? May I ask? Yes, we're going to take some of your questions. Really? That's kind of my favorite part, although I want to have.

I went, no, no, no, this is nothing against you. No. Hey, and look at this arrangement. Yeah, I put that together for you. Do you like it? What have you done? I love. You ever see that you go on these things like, you know, some of those daytime talk shows, and they have plastic or silk flowers? Nope.

Real. I'm highly opposed to it. The real stuff. What is this? Wait a minute. This is called the, hey, that smells good. That's aromatic. Yeah.

This is going to go well for the podcast listeners, those listening to you smell a flower. Well, what kind? Well, let's say to the. Does anybody, can anybody identify that flower? Well, that's obviously a peony. What'd you call me? Excuse me? Oh, yeah, sir.

A peony, of course. And this, of course, is the noble lily. Am I correct? Just go with it. It's what? Calla lily. Do you work, are you a forest, ma'am? What's happening?

What kind of lily is this? A calla lily. A calla lily. Like the calla lilies are in bloom. Of course, said by, that was the impersonation done by everybody when they did. I know. I don't know. I don't know.

I don't know. You would certainly know. Catherine Hepper. Catherine Hepburn, yeah. The Kallelal lizard in bloom, you know, da-da-da-da. They'd do that. Well, a lovely, a lovely, and of course the thistle. I believe no arrangement is complete without the thistle.

I'm just going to leave and let you... I don't know why I bother to write notes for this. I should know better by now, Jeff. Well, we have, come on. have a, wait, this is a three-hour, four-hour conversation. This is a benefit. Okay, questions. Let's get to questions.

I have no questions for you, except, no, I do. I have some things I want to cover with you. We're, in case you didn't know, you're in New York City. You might not know that because you've been traveling the world. This is New York. I'm well aware that I'm in New York City. I love New York City. So, yes.

I do. And we took a poll. New York City loves you, Jeff. Really? Well, and these are in New York. You have civic pride, I see, and you have... Of course. Really?

I do love New York City. Hey, just a bookmark. for a second. Have you ever seen, all your New York lovers, have you ever seen Rick Burns, R-I-C, Ken Burns' brother, documentary called New York, a documentary series? Excellent. I love that. I've seen that a couple of times all the way through. You know, even the score gets me. Da-da-da-da-da-da-da-da-d-da. Bum- bang-gong. It kind of quotes musically the Gershwin thing. Sure. But it kills me. I'm in tears during that whole thing. I love, love that.

Approx- I'm just going to keep going. Approximately 49 years ago, by my count. 49? I think 49. You made your film debut shooting a film right here in New York City, just across the park. You were freak number one.

Freak number one, yes, yes. In Death Wish. A little picture called Death Wish. It was the first of that series. Do you know who directed it? Oh, I do know. Michael Winner. Michael Winner, exactly right.

British director. I have to really be on my A-game with Jeff. He really keeps you on your toes. I like to play trivia games. And that was 1973-ish, I think. It was the first movie I ever auditioned for after coming out of the neighborhood playhouse and it was hot to act and try my stuff out

and should they send us up to the Gulf and Western building in Columbus Circle. And three at a time, we went in and, you know, did nasty-looking things, you know, and da-da-da-da-da. You were the nasty-looking things? Yes, yes. You know, if you haven't seen it, there were three.

If you were going to be a freak, number one or two. Number one and two and three, we all go, we meet to Hope Lang, to Charles Bronson's wife and daughter, Kathy Tolan was her name, in the Gristides supermarket and put a beat on it, and then follow them home to their Upper East Side apartment and then say, groceries, ma'am, and get into the apartment, do very bad things to them, which causes Bronson to go off on that spree.

Never finds us, but he goes off and starts looking for bad guys all over. He doesn't like crime in New York. And that was in the 70s during the Manhattan, as you know, Gerald Ford dropped dead New York period. And it was, you know, it was a different town. Was New York always the goal? Was New York your first stop when you left home? Or was L.A. A pit stop? Give me the sequence of events of New York versus L.A. That was the sequence of events. And I'll tell you, but it was not strategic. It was not a goal. I had, you know, I came from Pittsburgh, West Homestead. And when I was 17, I tried out for Carnegie Mellon University,

where I'd gone to a couple of summer sessions between 9th and 10th and 10th and 11th grades, fallen in love with life and that campus and acting, was obsessed with doing it, tried out for that school. They turned me down. I was bad in the audition. I did a couple of bad things. And then I scrambled around and came to New York

and found myself at the neighborhood playhouse with still Sanford Meisner. It was the best thing to have happened. And then, you know, I found, my parents got me in and my mom came and set me up in this apartment on East 57th, near the neighborhood playhouse, went to that school, et cetera, et cetera. During that summer between the first and second years, I fell into the Delacorte Theater production of two gentlemen of Verona with Ravel Julia. Galt McDermott had done the music, who had done hair, of course, and John Gware adapted the Shakespeare for the play. It was the biggest hit that the Shakespeare Festival had ever had. Joe Papp was still around in those days, and it was very good.

And then I started the second year of the Playhouse and then went to Broadway with it, at the St. James Theater, and the rest is not historical, but trivial and good and boring. And was the goal to pursue film? Was that the ultimate goal? Right, that's the question. So, no, I didn't have, so I came from, I was just taking one step at a time and one day at a time, And that was the thing. So, no, I had no goal.

The goal was to, geez, could I possibly pursue this thing or find myself into a school and then by a fluke into a production? Let's see what happens. I had a belly full of inflammation. Oh, no. Or some malady of that kind. I'd gotten the bug.

And that's what led me from one thing to another. So one thing led to another. No. But when I first thought of being an actor, I think it's because my parents took me to see theater. That's true. And I was like, oh, and I was very jazzed up about it.

What are they doing? And who are those people? And I got to do something like that. I was kind of staged. But at the same time, I was watching some movies, which we'll go into, maybe. He's come with preparation. I have a list of all the movies that I saw when I was a kid in a movie theater. You know, because I'm telling people to go see this Jurassic movie in movie theaters.

So I started to think about one of the first movies I saw. And I had very big experiences with interesting movies that you may be interested in hearing about or not when I was little. Let's go right to it. Look, you put in the effort. We don't want to run out of time. I put in the effort.

And by the way, here's some gum. If we want to chew during this thing. We'll pass around. I was fine that that is fine. I stole it from Jimmy Fallon. This was in the, not from him personally, but it was in the green room. I think they mean you to help yourself.

Take anything that's not nailed down. anything that's not nailed down. To a pack of gum, come on. Okay. You can take the flowers with you tonight. But I do love, oh, thank you. But I do love gum. I'm a serial chewer.

If given half a chance, I'll go one, put it away, next one, die a, till the whole pack is gone. This is like a serial killer's handwriting right here. I'm seeing handwritten notes. This is to our other topic that you encouraged me to also include in that. And I'll tell you what I did in order to make these notes, but I didn't try to rewrite them.

prettily or, you know, I just kind of put them where they... Okay, so these are films you saw growing up that made an impact. Yes, yes. I have two different categories. One is the ones that I saw at the Leona Theater with my sister Pam. Yes. And that was very young, although the other ones are some young too, but it was very young, but those are the ones we went by ourselves.

They put us off, you know, 25 cents or whatever it was to see a double bill or a single every couple of weeks at the Leona beautiful theater. three balconies, a candy box of a theater. And we would see the first run of, now I'm going to go, let's go through some of these. Well, this made a big impression to me. Absent-minded professor, would you know what that is? Of course, Fred McMurray.

Fred McMurray, Flubber. That flying car, Model T, I thought that was great. And then, of course, Fred McMurray, which I think is on this list, too, in the apartment, playing Jeff Sheldrake. Ooh, I don't know that movie. So the blob. How about the blob with Steve?

I just watched that recently again. Steve McQueen's first movie. And he's already, he went to the neighborhood playhouse too. I think he studied with Sandy Meiser. He was already... Are all of your films on the list, goo-related? Do they have flubber or blabbish? No, you may assume that after two.

But listen to this. Here's a list of... Who stars in these? The Bellboy, Cinderfella. Disorderly, orderly. Visit to a small planet. Gatia Boy. delinquent rockabai baby and nutty professor.

Of course, it's Jerry Lewis. And I was, you know, can I be indiscreet and tell you that I was cast as his son in Max Rose, his last movie, before Kevin Pollock, before I bowed out to do something else, and Kevin Pollock took, oh, the wonderful

Kevin Pollock took over for that part. But not before I had gone to Las Vegas to bond with Jerry. I had, well, I'd met him on one. occasion very briefly but we spent a couple hours together in Vegas in his office and I'm telling you he had meant a lot to me I'd since I saw those it was just post Dean breakup and all those Paramount movies that he started to direct I thought he was kind of great and and so hanging out with him of course at

that stage a different Jerry and older Jerry and as we all the famous film that he directed that's never been released do you know about that one the day the clown cried of course I do you guys know about this you know Jerry Lewis also invented essentially playback I know that, on Cinderfella, yes. He wanted to see, he was directing himself and needed to see the thing. So yes, the playback, which they have on the camera now,

so you can see what's just recorded, what you've just filmed, was his invention. Remarkable, yeah. Yes, he has that book, The Complete Filmmaker. Jerry Lewis, the complete filmmaker. Yeah, yeah, yeah, I know all about that. Well, I did a movie called Adam resurrected that has a little bit like the day the clown cried.

Here, I'm a performer and a comedian, and I go to the concentration camps, and the guy, yeah, they're in hangs the tail. Much hilarity ensues, as you can imagine. Paul Schrader films are generally laugh riots. Paul Schrader, well, an interesting guy. We could talk about many, many things. Lovely guy. I love him.

Very good. Steril Cuckoo. Who knows that? I don't know that one. Liza Minnelly. I think early on, first movie maybe, sterile cuckoo. Oh, Georgie Girl. Lynn Redgrave, with whom I then later acted at some point. Hey, there, Georgie Girl.

Briss ringing down the street, so fancy, free Georgie Girl. I love that. It's different when you sing it to my face. It feels like a different kind of vibe. I like to sing to your face. Hey, how about, and you can stop me anytime, because there are... I don't think I can. Well, you know, I'm directable.

I'm nothing of not directable. Bridge on the River Kwai. Now we're talking. Come on. Oh my gosh. And I just saw it recently again. You can imagine me at 11 or I don't know when I saw it. Well, I was born in 52, so whenever it came out, it was the year it came out.

That's a, you know, anti-war. war movie of sophistication, of course, David Lean, you know, wow. I just saw it recently and went, wow, Bill Holden is a kind of great guy, but any, I think the theme is, anybody who gets involved in the madness of war loses their humanity. Right. He becomes a, it's kind of fabulous. Ooh, bridge on the room guy. How about this?

The man who shot Liberty Valance. Geez, I love that. Lee, Marvin, and oh, that was good. Would he strode? Would he strode? Lee Marvin? Ever meet Lee Marvin? He seemed quite a character.

Oh, I'll bet he was. Well, you know my friend Bill Hurt, Oliver Sholem, who just passed, was in altered states. But Lee Marvin, what's the connection to Lee Marvin? What are you in? Gorky Park. Gorky Park. Gorky Park. And so Bill had some stories about Lee Marvin after that a little bit, as I remember.

But Lee Marvin, no, I never met him. But Point Break, I sure like. I like Cat Balloo. Like Cat Ballou. Oh, I didn't put this on the list. Our family saw, I'm always doing this now. I'm going, oh, that reminds me of another. I didn't put on those.

Cat Ballou, we saw in a theater. Do you know that movie? Jane Fonda. Stubby, Jane Fonda, and he won an Oscar for Best Supporting Actor, Lee Marvin, he had that thing. He was a gunslinger, half a fabulous gunslinger. Yes, and half a drunk, a drunken guy on a horse. But Stubby K. and Nat King Cole would come in between scenes

and sing, you know, Cat Ballou, the Ballad of Cat Ballou. Is this annoying that we're just talking about movies? Is this good? Okay, so I want to make sure that it's like, okay. I'm just like nerding out with Jeff. Because you know what else we need to get to. I don't, I don't.

And I have no particular agenda. See Jurassic World. Okay, no, we did it. That's our message. There we go. But besides that, anything that you want to know about and anything. Or anything you want to know about Jurassic World to tell you about that too, I'd be happy to. But the man who shot Liberty.

Oh, I said that. See it twice. Hush, hush. Sweet Charlotte. Well, you know, it was the subject of the making of was the subject of that recent, what's his name who did the nice series depicting the two ladies, Joan Crawford and Betty Davis played by... In the recent series, Susan Sarandon and...

Susan Sarandon and... Thank you, Jessica Lang. And Jessica Lang. I thought they were cool. And who's that director who does those... Ryan Harvey. Of course, I did DeLie. I did a couple episodes of Glee.

Wasn't that also Ryan Murphy? Yes, so I ran into him. No one will know this. This was an early animated movie that we saw. I remember the day my sister and I saw it called Gay Peri, P-U-R-R-E-E. No, and it was done in the style of a kind of French impressionism a little bit. And it was musical, and Robert Goulet was in it, as I remember. It was about cats, cats.

It was, you know, kitty cats. Hey, how about this? No, go ahead, go ahead. Yeah, unless you have any questions. Bob Goulaye. Yeah. We're going to do a companion podcast parsing out what all of this means afterwards.

Hey, what was that show that Robert Smygel, who I love doing, especially in the Unself-Colting Dog, tribe, did, where the pets, what was the name of that show, TV, not Fun House, but it was a show? series where real dogs and animals and chickens would co-act with co-star with puppets and people like Robert Goulet on one episode would come into it. It's kind of hilarious. We took mushrooms backstage right before this, so that's going to explain a lot of this. Everybody's taken those mushrooms these days.

Have you ever taken, I've never taken a real illicit drug, Jeff. Are you surprised to hear that? I know. No. No. No. What would you recommend? Do you think in my... I'm not a guide, a shaman guide for you. What do you have on you, right? I don't have anything. And I'm straight as an arrow these low these last few decades.

But when I was here during that same period in the year, 1971, so the year I was in two gents, I experimented with three times with a little group of friends, mescaline. So we took mescaline a few times, and then we took acid. Then we took acid in Brooklyn Heights once. Wow. That was something, I'll tell you. Now we're getting to the good stuff.

I took it and I was playing a conga drum. I went nothing, I don't feel anything, nothing's happening. They put that record on the photograph by the Rolling Stones, you know, give me shelter. So it's just a kiss away, kiss away. And I was playing the conga. By the time that song ended. You know, I had forgotten that I'd taken anything.

It was not like mescaline. I was like, what's happening? And the lady of the house, and then I'll stop talking. I'm probably not doing myself any service by disclosing all this. The lady of the house, because there was a bunch of guys, and I think the guy's girlfriend was there, and we'd sent out for pizza, and she offered me pizza, and I took a slice of pizza, and I went, I watched a drop on their shabler.

bag, garbage, and she was like, oh, and I saw her dismay and I was like, oh, no, and I tried to offer her money, and she said, no, no, no, Jeff, that's okay. Anyway, but it turned out to be a kind of, you know, as people have, you know, a kind of, not bad thing, but kind of, you know, a kind of a cosmic, portal, portal into something. But kids don't do it. Just don't do it. Although all the kids are now microdosing. So I hear, yeah. And with the kind of a blessing of many new, you know, types saying, you know, this is a, you know, this is a therapy or a portal into something and micro-any. Anyway, I know nothing about it. I haven't done it. Nor do I, these days, my sister, you know, even when I go, I'm wild and I kind of

don't, as you can see, I'm plenty freewheeling, I'm open, I'm open, I'm okay. I feel like This entire event could be part of the mesquine-inspired trip from 40 years ago that you had. It may be, yeah. I may open my eyes and go, wow. Did I dream that 30 years, that 40 years? In any case, okay, I'll continue before I just credit myself more. That's too late. See Jurassic World, by the way, guys.

Yes, yes. Let's see. Dr. No, from Russia with Love and Goldfinger, Happened right at the time that I needed to see it, I was crazy about Sean Conry and those movies. You could have been a good Bond villain. Have they ever come calling? I thought you were going to say James Bond.

Well, they've never cast an American as Bond, have they? No, there's never been an American. The first, listen to this, as I go through, you know, the first Jimmy Bond that was depicted in a kind of a TV, you know, live drama, Barry, I just forgot who was. Who?

Barry Nelson. Was played by Barry Nelson, an American Jimmy Bond and da-da-da. And then they went looking around for and they cast Sean Conner

in this movie version. That's how the story goes. That's right. Thank you. Barry Nelson. Yes. And then I saw Armand Flint, the first, you know,

kind of, you know, and in like Flint and Lee J. Cobb, you know, Death of a Salesman. You know, fantastic. You can go and see him do his performance with George Siegel playing Biff Lohman. And you know who plays Bernard in that is Gene Wilder.

It's something to see. I like that a lot. We were quoting Young Frankenstein backstage. That's a favorite. That's a perfect movie. Oh, yes, yes. And all things, Gene Wilder. Fantastic.

Well, the producers, we were talking about the producers, too, with Zero Mostel. That's right. I love that movie. And, you know, Mel Brooks produced The Fly. You did? Brooks films produced David Cronenberg's The Fly. And I met him on a couple of occasions. Stop me whenever you want.

Pink Panther, the first time it was ever seen, oh my gosh, with Clouseau and that Henry Mancini score. Love that. Psycho. My friend Bobby D. and I went to the Leona and saw Psycho when it came out. I just saw a documentary about the shower scene. And ran into Jamie Lee Curtis, who was on the cycle, you know, talking about Halloween as I was talking at CinemaCon about this, and we got to talk. We had a nice talk about many things, including Tony Curtis and Janet Lee.

Hey, how about Hard Day's Night, Richard Lester? Here's an interesting story. Richard Lester, I had a meeting with over some movie that I never wound up doing or he didn't want me to do. Very early on, I was very young, and he said, and I was kind of bushy-tailed. And I said, you know, oh, well, things work out or something. I made some remark to that effect. And he said, yeah, he was kind of a wise knowing. He said, yeah, yeah, well, you know, like they say,

just when things, just before, just when things are darkest, just before the, yeah, just when things. It's darkest before the dawn? Yeah, things are always darkest just before they go completely black. Now, when you see Jurassic World Dominion, if you choose to, you'll see me do a line in it, and I say to the first scene I have with Sam and Laura, the great Laura Dernan and the great Sam Neal, I say to them, well, just before, what's the line, just before things, it always is darkest, just before eternal nothingness.

I say that it gets less of a laugh course maybe that's all but anyway I think I sort of suggested it and then Colin Travaro the wonderful director

and I kind of tweak the line anyway I say that so there you go there's a kind of a let's do a little Jurassic Park talk because I do want to put this away for now we'll come back to it don't you work because you give me a good segue

into both your history with Jurassic and bringing it up to date with Jurassic World Dominion I have a couple clips I want to show I want to first show the introduction of your I had no idea. It's going to be okay.

It's going to be okay. Really? This is, in case you've never seen, Jurassic Park, you're right. This is the first scene. This is your introduction in Jurassic Park. I want to look at this, and then let's see what memories this conjures up for all of us together. If you like, all right. Okay, here we go.

Let's watch us together. So you two, um, dig up, dig up dinosaurs? Well. Try it, so. You'll have to get used to Dr. Malcolm. He suffers from a deplorable excess of personality, especially for a mathematician. Chaotician, chaotician, actually. John doesn't subscribe to chaos, particularly what it has to say about his little science project.

Odd Swallop, Ian, you've never been able to sufficiently explain your concern. Oh, John, don't, don't, don't, because of the behavior of the system in phase space? A load, if I may say so, of fashionable number crunch. That's what I'd do as you wouldn't do that. Dr. Sattler, Dr. Graham. Have you heard of chaos here? No. No, non-linear equations?

Strange attractors. Dr. Saffer, I refuse to believe that you aren't familiar with the concept of attraction. I bring scientists. You bring a lock star. There it is. There you go. Well, you want to go first? You want to go first? I'll go.

Well, well, here's my question. How much of that is on the page? I'm talking about wardrobe. I'm talking about mannerisms. I'm talking about the fortation not only with Dr. Sattler, but Dr. Hammond. You're squeezing his leg. There's clearly a history. I'll tell you everything.

Let me see. So, first of all, Stephen Spielberg, you know, hats off to a giant and a genius of cinema, because that's all beautifully chosen and done and directed and everything like that. The great Richard Attenborough, of course, who we saw in The Great Escape. And how about seance on a wet afternoon?

I'm not familiar with that one. I've never seen it all the way through, but I must see that. It was a young Richard Adler, and he plays with Kim Stanley, one of the pillars of and highly esteemed early practitioners of the cinematic arts and kind of method exemplar. In any case, you know, no, it was all on the page dialogue-wise. My lad, did it say Malcolm laughs, maybe. But, you know, and then somebody suggested recently,

hey, were you done trying to laugh like a dinosaur, you know, growl a little bit? No, I don't remember that. But, you know, that's why I laughed. I think the gum was my idea, maybe. You were talking about the chewing. I'm still infatuated with the gums of all kinds. I do believe that Richard Attenborough, I had discovered that he was, you know,

because the world falls into two categories of people, some people with whom that doesn't do anything. You, I already sense that it could, you know. Okay, so I realized he was particularly sensitive. Makes it all the more fun. You know, I enjoyed either going, I may do it, I don't know when I'll do it, but, you know, and I think to get him to jump.

I thought that was an enlivening, interesting, you know, addition as I played on that day, as the time, you know, it came to fruition. Let's see. Wardrobe-wise, did you have a lot of say in that? Or was that, did they tell you how many buttons the button on the shirts? Was it really? As I remember, here's what happens 30 years ago, but I think, I see, you know, I'm nothing if not conscientious.

So I started to work on the innards of the character and also from the outside in. And so it interests me, even then, what I might, how I might outfit this character. Maybe if you go back to the book, maybe something was written or in the script that he's in black or something. I don't already has a leather jacket. I'm not sure that that's the case. Maybe it describes something, but certainly not the full thing. And I went shopping.

I went shopping and talked to the person in Universal. Because Stephen, I'd met him when I got hired. But then he was, you know, away. And I was in touch with a universal costume person. But I went there and said, look, look what I've got. I think this might be, here's the, look at this jacket I bought. And look at these pants that I got. Look at these shoes that I got.

And look at this little thing that I'm wearing, this turquoise thing. And look, I got a turquoise ring. And I think I did the whole thing. And then I got a watch that I showed them. And I think it all went. And here's the shirt. I think I purchased, without any disrespect

to the wonderful costumier, whom I'm sure we could find on the credits. And a person of, I'm sure, great. No, I think I, without trying to take credit or anything away from anybody, but I do believe I supplied that. And then I think he took Polaroids or whatever we did in those days and sent them to Mr. Spielberg and we got a thumb of us up. And then I went on the set on the day when we met him there in Hawaii

and I think he went, yeah, yeah, that's right, that's right. Something like that. You know. Amazing. But on this one again, you know, Joanna Johnston was fantastic, but I once again was a little proactive. with her blessing and collaboration, and for instance, got this watch, which I wear in the movie. Which I had done. It's black, matte black. It's especially, it's one of a kind.

It's got the Jurassic logo there, which I thought Ian Malcolm could have had. By that time, that logo exists in that world, and my initials I am, Ian Malcolm, are on the face of that. And it's worn by scientists. It's the Milgauss. It's the Rolex Milgauss, who, from what I understand, is using. by scientists when they don't want to upset the electronics around them and vice versa. So, there's that. I will trade you this lovely vase of flowers

for that watch tonight. We have a special treat for the audience. We have a clip I don't think has been seen yet. This is your introduction with your old buddies, Sam Neal, and Warder in the new film. This is a clip

from Jurassic World Dominion. Let's see where we can... Getting the gang back together. Should we see this? Oh, I guess. Yes. Yes. So you have no choice in the matter. So you might as well say yes. Yeah, we got. Let's take a look.

Hey, I don't want to be rude to my friends. Thank you. Catch me on my way out. Thanks, everybody. Look at you. And look at me. And look at you. Wow, this is so trippy.

You look like you're doing well. Well, I got five kids, you know, who might adore more than life itself. So expenses add up. You, Alan, are you, are you, uh, are you, uh, you have any family or? No. So, uh, I need to talk to you. Yeah, I need to talk to you, too, privately. Do you two talk a lot?

He slid into my DMs. Did you what? It's urgent, Ian. What did you do? Seven minutes to midnight stuff. Uh, the doomsday clock might be about out of time, but as they say, it's always darkest just before eternal nothingness. What?

There it is. There it is. Well, you can start, but I can start. I'll tell you, once again, Colin Travaro, it's the director, I'll tell you. You can't be, you know, even a little bit okay if the director isn't doing a challenging, ambitious thing, which is, for instance, in this scene, to get the three of us back together in a pithy way, touch some dynamics that might be enjoyable and make the whole thing work. work. Colin Travaro. He knows what he's doing. I enjoy that. I think he did a very nice job and

to see the three of us. Anyway, Sam, how about how handsome he was in the first and how handsome he is in this. You want to frame a crazy fact. Sam Neal is older than Richard Attenborough was in the first Phil. That is crazy. And Laura Dern, how fantastic she is in the first one and now this. That's a, you know, it's an interesting thing to kind of play like that. It's like that boyhood movie, right? Right. Where you intentionally do part of the story, but here we are, part of the story and now another part and we don't need makeup, you know, we're, look at us.

I will say one of the joys of this film is these are not glorified cameos. These are like, you are integral to the story and it's quite a balancing act. It's essentially an ensemble film, like from the current cast and the legacy characters, however we want to determine you guys. And they throw in DeWanda Wise, who has a great role in this. The great DeWanda Wise is fantastic in this. And Mamadu Ache is fantastic. And Campbell Scott is fantastic. And the returnees, of course, B.D. Wong.

Yes. And rounding out his character arc. And Isabella Sarmine, who's the daughter, and who has a very interesting thing. She's wonderful in it. And Omar C., if you know, yes, how wonderful he is. And then, of course, Deichen Lachman, who I enjoyed so much in that Severance series that I just saw. Oh, I dug that thing, and she's terrific. And Danielle Pineda and Justice Smith to round out the crowd.

It's a nice cast. And he is, yes, I think he did a neat thing to write something that includes us all, that gives us something logically to do, that is balanced, that is satisfying in terms of how it closes out the stories. Now these six movies, pretty good trick, you know. And he worked hard. Like I said backstage, I wouldn't want to have taken on what a guy like that does. Man, that's a giant mammoth undertaking and accomplishment, in my humble opinion. You also might not be able to tell it from his energy today, but this man has been traveling the world.

Like this has been a major, I mean, you know, as befits this kind of a movie, you have to do, put in the miles. And I know this from talking to you in the past, you're a homebody. You'd rather be at home with the family. So how do you create the oasis of Jeff Goldblum when you travel? How do you maintain happiness and joy and serenity as you travel the world, Jeff? Well, not that I'm always successful. Certainly not, because it is, yeah, you're right. It's good for me to get out of my comfort zone because it's not just my advanced years.

I think I always kind of wanted to, I was always a little bit, you know, stayed in my zone. Emily, on the other hand, is an adventure. Boy, she'll go to the drop of a hat any old place and be comfortable like James Bond or something. But if I'm on the road, well, different things, different. You know, the kids and Emily came with us when we shot that. That helped us. It was a lovely experience to all be bubbled up

because we were the first COVID people out there in those difficult times. But Alexander Derbyshire invented and Pat Crowley invented our protocols. protocols. So that helped. But here I am just for a couple of days. Well, the answer is, um, sleep, sleep and focus. I'm kind of a good boy and I, when they say, oh, after my, after I've discharged my obligations, I go, well, you've got stuff tomorrow to, like, but come out and play with us. Come out to, I go, no, I'm sorry, I'd love to, but I'm going to, I'm going to race home, I'm going to do my... Microdose, some mescaline, and just go straight to bed.

I'm going to get some room service, and then I'm going to try to sleep, even though it's three hours earlier, really my time. I'm going to try to make myself sleep, and then get a night's sleep. And then I had a couple of breaks today after I got a sort of adequate night's sleep. And I took a couple of naps. Nothing wrong with it. That's how I... Okay.

And then nowadays, a cup of coffee, and then I'm wearing to go. I'm too chatty, you know, as you see. Never. As you can tell, Jeff knows more about film than most human beings, short of Martin Scorsese and I don't even know who, Quentin Tarantino. Quentin Tarantino. I like to listen to him. I just listen to a four, almost four-hour podcast with him and Eli Roth talking about horror movies, which I loved No End. I eat that stuff up. So let's see how well you know your own IMDB. I'm going to name a character name. I'm not putting you on the spot, but I'm curious if you, if you, okay, so. I like games of all kinds.

Um, tricycle man. I know, I know it exactly. Do you, would you have known it before? I wouldn't have to be honest. Really? I'm rusty on my, well, we'll get there. Okay. Would anybody know that's the name of my character in a movie?

Wow. Interesting. Yeah. Yeah. Okay. It's one of, I think, my high, high moments when I got to work with Robert Altman. It was in Nashville. which I think was, I intersected with him

in one of his high points, this movie, Nashville. Do you know the movie Nashville? Oh, undersea. Wow. No one in this audience. We're all going to rent it tonight. Hey, I recommend it. I would, excuse me, if I just enjoy my little gum.

We know the man lives to chew. It's okay. Yeah. Did you mesh with Altman's style? I mean, like, you know, you've worked with many different types, whether it's the Wes Anderson kind of very rigid kind of performing. Rigid in some way. Well, I wouldn't even call it rigid, specific and meticulous, although within it, free, free, artistically trustful, collaborative, and internally free and creative and a beautiful experience.

Oh, yeah, yeah, even though there are demands. Oh, Jeff, I want you just symmetrically right there, not there, let's do another one, just get right there. and don't change the to end, you know, I know just what we want to do here. And so, you know, but then you do several takes and he's, and he gets it right. So it's a very beautiful little play time. It's hard, it's hard guys up here. I've got an excess of personality. No, it's my problem. It's perfect.

But that's not Altman, the way you described Wes. No, Altman has another, although Wes Anderson, I believe, kind of loves, Many things about Altman and creates shooting experiences that are not unlike the communal, wonderful experience that was Altman's. He also goes to exotic places or interesting places and has the cream of the crap actors and crew around him and considers the shooting in the movie as important as the result. he goes and that's why he invited everybody to Dailies every night and it would be a kind of a party because look he says this is our movie once we'll awaken into something good

but this is our work let's enjoy our work because all of it's going to disappear someday the final product and all of this so this is what we're doing we're kind of making up a reason to be together and to play together and you know with something that gives us passion you know

and so so Wes Anderson I think does something like that too it's just a delicious experience It's interesting the way you described that experience back on Altman, especially, because you told me a couple years ago that you kind of had a major change in philosophy of the way you approached acting. Me? Yeah. That you want to be a little bit more playful, a little bit less.

I don't know. You tell me, maybe you've gone back now. Was there a shift at some point in terms of, like, a major shift in terms of having you. I'd say in evolution. I'm a humble student, and I've constantly been trying to develop. Sandy Mosner said you have to work for 20 years before, continually before you can even call yourself an actor. And then if you get lucky enough to get chances, you keep improving, possibly, and you keep progressing. I took it to heart, and so I'm trying to do that, and I feel like maybe I am. So I'm developing each thing is evolving and developing. Like when you see this, when you see, I'm going to tell you, yeah.

I was going to say, when you see the early work, do you see, do you kind of groan? Do you say like, oftentimes? Yeah, yeah, yeah. I could do better. I could do better in a lot of different ways they'll tell you. I just did a, you know, a few years ago. a DVD special interview about Into the Night. And for it, I was conscientious and looked at it again and went, oh, boy, here, okay, specifically.

But, and then told them in the interview, I said, here's what I would, here's how I think I could improve it if I did it now. Although everything is, you know, has to be accepted for what you can do when you can do it. That's part of how you grow, the growth process. So, first of all, Altman, yes, was different, but he played with different things. He did plays. He did different. He was always experimenting.

You know, he was prolific, of course, as you know. And during Nashville, he had the script as a blueprint, and it was a lot of improvisation was going on. And kind of, you know, he was somebody not like Hitchcock or somebody, or a painter. He was painterly who would kind of work the whole thing out and then render it. He was like, let's see the canvas, here are the things, let's start putting paint on and see what happens, and you're the actors, let me see what I'm going to photograph, you tell me, you know, very like that. But really, really artful and just great and educational, and I loved it. It kind of gave me an education early on about a lot of things. How I've developed is just maybe in a few different ways, but let's just talk about for a second.

the fact that, you know, I can hold my head up. I not only took some classes and exposed myself to Lee Strasberg, took a Lestella Adler course, Harold Klerman, I heard. And so I know about method, I know what you're after. And then I taught for a couple of decades. So from the inside out, I believe I know what they're after and how to make use of yourself in an authentic and personal way. And I think I miss, at least the way I early on for the first couple of decades, probably, practiced acting was a little too over-emphasizing of the preparation and getting into a state of some kind.

And this one piece of the puzzle, which is emotional preparation. It occurred to me, I misunderstood or maybe got it into my mind that in order to be worthy of attention, or to make the scene work, I had to get into some extraordinary condition of openness that wasn't readily available to me somehow and emotionality that must be right. And, you know, maybe I was experimenting with myself and needed to, you know.

It's almost like you have to pay a penance to like. Yes, you have to suffer for your art. I probably had to practice to learn how to become open, ways to open myself up to the incoming and the outgoing and to, so anyway, I would do things that then I kind of dropped. I mean, I'll do anything now to, case-by-case basis, to solve a scene or a moment or an obligation, artist creatively. But generally, I trust myself more.

This I think is kind of earned after you kind of just work at it, work at it. You trust yourself more, I'm a little freer, and I go, hey, you know, I have a little I have in me to solve whatever it is. If I don't, I don't. And I'll work as hard as I can. But I think I can show up. I'm conscientious and I do many different things in preparation. But I let myself a little more alone.

And it occurs to me if I were teaching, I'd say, you know, this is, it's not rocket science and it is pretending. So yes, you may get real mad, real sad, or real glad possibly, but it's acting and it's and so play. And that makes me feel free. Of course, everybody does it differently. You know, I can't quibble with Daniel DeLewis. Whatever he does or did is Jake with me.

And everybody solves it differently. But I do see people who I think are, you know, I could say, you know, I think what you're aiming at is kind of a glamorous, cliched idea of how we work. And I don't know that it's paying off. off, hey, death is cured. So, you know, that's why I'm not criticizing anybody, but just for myself, that's kind of what it's, what I've come to currently, open to new discoveries as we continue, if I ever get any chance again. I hope you're on West Coast time, because I'm just like a third of the way into this, man.

Good, let's, no, no. New Jersey. You play New Jersey in, come on, guys, someone's a, someone's a fantasy. this one. What's a great cult movie about 84? These guys know nothing about me. They think at this point I'm still John Turtur or...

It's J-E-F-G-O-D-B-L-L-U-N. You can look me up. I've done some work as an actor. No, no. They're overwhelmed by your presence. I get it. No, they're sweet. No. Who needs to know this? No, New Jersey, also known as Sid Zwebel from the same movie.

is in Buccaro Banzai across the eighth dimension. Beautiful, beautiful piece of work. I was a odd piece of work, but delicious. John Lithgow, just going for it. John Lithgow. We're palsy. I adore John Lithgow. Geez, he sends me a Christmas card,

that's a Christmas card, which he draws. You know, he's a very talented, gifted artist. And he makes these Christmas cards, which he sends out. That's fantastic. It just annoys me that in this age of all, look, legacy sequels that we've seen. and you've been a part of them that Bukhru Bonsai, one of my true loves, has never gotten the sequel. Really? Well, people have, you know, and have, thank you, have said,

it's got a devoted, maybe a cult, smilish, coterie of fans and followers. And Earl McRouch, who wrote it, and W.D. Richter, had some things in mind up their sleeves if they had been called upon. I don't think it's sold enough tickets to require any follow-up. I'll just give some love to this because it's, as far as I'm concerned, one of a handful of perfect movies. What's all this muttering? What, what, what? No, the fly.

Seth Brundle and the fly. Yes, sir. Which is David Cronenberg back, I mean, as he should be. I love David Cronenberg. I ran into him recently at the Venice Film Festival as we were showing the mountain there and we had a tete-to-tat. And then my wife got a hold of his information and invited him to our backyard surprise to surprise me for a birthday party a couple of years ago. He showed up.

I was like, That was fantastic, but I want to see his new movie. Have you seen it? I have. It's excellent. It's back into his body horror, as it were, yeah? I can't wait to see it, because I love Kristen Stewart, who's in it? She's doing a thing in it, and I love it. Oh, my gosh.

I love her. And who else is in it? Vigo, Vigo Morgensen, Leia Seidu. Leia Seidu. Leia Sedu, who I knew crossed pads with because of Wes Anderson. She had a little part in Grand Budapest Hotel. So we were all there in, you know, Girlless Germany. Yes, yes.

I know you have a velociraptor from Jurassic Park, but do you have a telepod from the fly? Who owns those? I don't know. A telepod, you know, those things were enormous. What would I be doing with a telepath? No, I'm not Mr. memorabilia anyway. You know, I kind of...

But you do have a velociraptor. That is true. I do not jest. You don't jest. You heard it somewhere, possibly. Oh, is it not true? It's one of those old wives still? No, no.

This is a talk show story that's not true. No, not necessarily. Recently, I've been asked about it, and I expanded on it a little bit whimsically and said it was a giant thing that I built a... It was in a wing of my home with a light on it, but... No, no, Mr. Steven Spielberg gave a few of us, I believe. It's, you know, it was a kind of breadbox version of a glass or plastic case with a beautifully, Stan Winston, the Oscar-winning maker of those animatronics. Yes, I think rendered a velociraptor. And it's there.

Oh, yes, yes. You lost it, is what you're saying. You can't find it and you're feeling guilty. Oh, no, no, no. I cherish it. If my house were burning to the ground, I would race in and get that wine item. That's the only thing. I run out with that velociraptor.

It's quite an image. Yes, yes. I know this crowd has seen some of your recent work in... I doubt it. Based on their tests testing so far. Yeah. Thor Ragnarok, anybody? There you go.

You're too kind. You're too kind. Hey, what line is this? I was going to say to them, can you prove it to me? What's that from? It's a line from a movie. Come on, come on. We've just done nothing but disappoint you tonight, Chef.

It's about a creepy moment in Raging Bull, when Jake Lamata says, you know, she's, how old is she? She's 18. Can you prove it to me? But Scorsese, I love, hey, I love that King of Comedy movie. Oh, so good. And I love that. Speaking of Jerry Lewis, hey.

I have no segue back, but Thor Ragnarok. Thor Ragnarck, Grandmaster. What can I tell you? Why have we not seen more of Grandmaster? Everyone's getting a Disney Plus show. Where is your Disney Plus show about the Grandmaster? Yeah. Maybe I used up my Disney Plus with the world, according to Jeff Goldblum.

You know, I've got 22 episodes of that. Well, thank you so much. Well, Tyca, you know, that may stand as a singular... No. I think we may stand Pat, you know, with what we offered of the Grandmaster in Ragnarok. In Ragnarok, you know who I just heard from? I hate to brag or name drop. Why stop now?

From Thor Ragnarok. You only just list the cast of Thor Ragnar. Chris Hemsworth. Tessa Thompson. What am I doing? What's happening? Anybody can throw out her name. I shouldn't.

This is indiscreet of me. What? Tika. Tom Hilton? No, Tika I'm in touch with, and I adore him. And we had a great time on that, and I can tell you about him. But, no, one of the actors. Tom Hilton?

I love Tom Hilton. No, no. He was very good, by the way, with trivia games on the set. I had no end of fun. Who? Anthony Hopkins, Sir Anthony Hopkins. Oh, I wish Sir Anthony Hopkins. See, I'd love to talk to him.

I adore Anthony Hopkins. Who? Can't that grow along? Kate Blanchard. I can't believe as I sit here that I know, personally, that I've ever been in proximity to Kate Blanchett. And today, we were in touch. We were in touch, and she said, hey, can you make a,

there's a friend of mine who, you know a little bit, and it's our birthday, can you make a video? So at the Jimmy Fallon show, I said, hey, put the, my David Cox, who's there, who fixes up my hair so beautifully, and all these presentations is my videographer. And, you know, I said, happy birthday, blah, blah, blah. So, I'm just, I'm just bragging. But don't you love Kate Blanchett, come on.

The best. Oh, my God. I saw her on stage here at BAM doing Blanche Dubois. It was the best. I've seen several versions of that, but boy, that's the best Blanche Dubois I ever saw. We have some audience questions. Before we get to that, this is something I've always been curious about. In other countries, when they dubbed Jeff Goldblum parts, do they sound like you?

Do they hire an actor that has the affectation of Goldblum, or is there one guy that does I think that's what happens. And, you know, I kind of don't avail myself. No disrespect, and I'm sure they're very good. And from what I heard, I just, you know, we were in Mexico City and then we went to London, then we went to Cologne, Germany. And I said, so what's the current practice here? How many of these, you know, screens will be with dubbed versions and how many?

And I think the answer that came back, I don't know if it was definitive, but I think The answer is, in many countries, mostly dubbed. Mostly dubbed. I mean, I like to see if I go on, and I'm no snob here and there, but I like to see, I really don't like to see. I don't want to see La Dolce Vita, you know, with somebody speaking the English. No, I like to hear the thing, plus which,

plus which for me, even in English-speaking movies, I like to read along. I don't know if anybody's with me. I like to read. I actually like to read. I don't want to miss a thing. I like those words. Yeah, et cetera, et cetera. So, yes, I think they have, and in some countries, I do believe they have repeat castings of some guy. But I don't, I haven't, unless I come upon them, I don't seek them out and kind of don't hear them. Sure, they're fine and dandy.

Let's see what this audience has for you. Okay. And then are you going to get to that other thing? Yeah, we're going to end with that. Really? Okay. I mean, if you have nowhere to go. Well, everywhere, you know, we could talk, I'm sure, for a long time until I run out of steam, you know. But yes, he had an assignment for me, which I'm fulfilled.

I'll show you how. Would you rather fight a chicken every time you get into a car or fight a lion once a year? Ah. We found the culprits. We found the culprit. It's whimsical and hilarious. Give it to me again. Yes.

Would you rather fight a chicken every time you get into a car. or fight a lion once a year. That's ridiculous. Okay, let me see. Every time I get into a car, I have to fight a chicken. I certainly would. These are two, you know, the lesser of two evils, I believe. This is the file, a heading.

I certainly wouldn't want that. But I would forego the automobile. I would forgo. I'd find another way you know, come on Jeff, walk or get on a bicycle, so I would avoid the chicken. So that's my answer to that. So that might be a good

kind of lemons into lemonade, unless I was going to take a big trip and then, I don't know what I'd do. The lion business, oh come on. No, that's, we don't want that. Hey, if Jurassic Park teaches us anything, it's that human beings have

no, even though we've seen it in circuses and Clyde Beatty, you know, I believe who's a famous name who went, look, look what we humans can do. And the lions will do our bidding. You know, as we learned from a grizzly man, Director by Bernard Herzog, Werner Herzlertzl, you know. You know, or I believe Siegfried and Roy, finally. They, we must coexist peacefully.

And if they're not meant to, you know, if what they do is they eat us. Sure. Or kill us. Stay away. Let them have their own space. So I would not pick that. I'm picking the chicken, which I would avoid and walk and ride the bicycle.

Wow. Okay. Well, and thorough and thoughtful answer. This comes from, we've already made the acquaintance of Natalie, our Peony expert in the audience. If you could play another character in the Jurassic Park or Jurassic World franchise, who would it be? and why? Well, of course, I wouldn't want to take a part away from anyone, and certainly I'm only right, what the heck is this?

Oh, these are questions. Keep on coming. That someone was storming the stage. And I'm, of course, I'm only, you know, I don't know, is acting becoming such that we can only, really, should only rightfully play the parts that we're intended for. Sure. So, I wouldn't want to take a part away from anybody else unless...

Well, you know... Well, I suppose... I suppose in another... Of course, you can't get better than Richard Attenborough. But I suppose I'm coming into the age, as you said, probably older than Richard Anbar was. You know, Sean, I might be cast as a different vein. variation of an eccentric, kindly, but misguided entertainer, John Hammond.

Yeah, hey, okay, okay, yes, yes, yeah. This is a little bit of like a dance monkey kind of a question, damp monkey. Well, not dance, dance, dance, dance. Dance monkey? Not dance, dance, dance, dance. Dance monkey. Meaning, it's a request for you to perform for us.

So it feels like putting you on the spot. But Karen does say I love you and says, Where's this Karen of whom you speak? Karen, hi, Karen. Oh, Karen. Oh, wow, front row Karen. Hello, Karen. Karen wants you to demonstrate the sound of a velociraptor.

Oh. Okay. Oh. Is that what you wanted? You wanted me to do that part. That's an unusual thing. Can anybody else do that? Conan O'Brien kind of taught me that.

And I think he got it from Bob Hope. You don't go d-drr-r-it's not d'-it. It's with the back of your throat, which you must relax and go. Uh-uh. Should we all try to do it together? You can. Oh. Is anybody succeeding?

Really? Oh. It feels good. I believe it feels good. It's a bit of a massage, an auto massage. Our time is dwindling. Let's end with this. No, not then.

I did ask you, I had an assignment for you. I asked you for a comfort movie. And I gave you. Do you remember what I gave you? You gave me a list. You gave me like six or seven. With lists. And I brought the on the back of one of these.

Now, listen, I'll give you what I gave him, and then I'll go zero in on the one. Give you one he chose. I said, because I think what you meant by comfort is... It means whatever you want to be. Well, it mushes me all up. That's, first of all. It does make me feel good, and I've seen them multiple times these movies. The Dresser.

Do you know that movie? With Albert Finney and Tom Courtney. It's a love letter to theater and to theater actors, and it breaks me up. I love that movie. The Elephant Man. David Lynch's beautiful movies. I've seen that over and over again. That I'm crying at the end of that

with that beautiful music, Adagio, and then Anthony Hopkins, you know, Dr. Treves, you know. Did you, you know, John, did you enjoy it tonight? Yes, yes, thank you ever so much. You know, da-da-da-da-da-da. Oh, it's so grateful. May I ask you a question?

He says, can I be cured? We have a cure? No, John, no, John. I don't think we did. I thought not. I thought not. Oh, God. And then he says goodbye.

And then he looks at the picture, that he likes the picture. And he's finished his model of the spiritual church that he can see just a bit of out the window. He's finished it. And now he knows that if he tries to lay his head down on the pillow, he'll die. but he goes I saw the theater once it was so enchanting I've made my thing

I'm going to lay down on my pillow and they play that thing oh my God and then his mother comes to him in that dream David Lynch is a genius love him so that's one but he didn't choose that you've ruined the movie for everybody here oh yes

spoiler alert spoiler alert the apartment which I've said I've loved it who knows the theme musically to that movie See, da-ta-tah-tun-ta, sing it with me. Okay, never mind. And then I said Wizard of Oz, which I, even though my kids are too scared to go through the whole thing, I love. I could see it over and over again.

And here's the one he chose. A serious man. Wow. Wow. Chris Walkin, I believe that was Chris Walkin. Wow. Wow. Wow.

So serious man, that's the one we're going to talk about. So serious man, of course, is from the Cohn Brothers. Do you know that movie? Who knows that movie? Wow. There we go. Not too many. Many have to see it, which is good. You have, I envy your journey ahead of you.

You're about to discover something wonderful. It's part of a series, I mean, a put upon men that has recurred throughout the Coen Brothers works, I would say. What attracts you to this one? Some have said this is their most personal work in a way. It takes place in Minnesota. It's maybe their Jewishists of their work. their work. Yes.

What do you love about a serious map? I love it. I loved it when it first came out. And I just saw it again, during which I took notes. So I can answer that question thoroughly. Well, I love, you know, that's kind of my, I think they're the send. I've met them now, and they've, you know, I hope, geez, I'd love to work with them. Yeah, why has that not happened?

Have you ever come close to working with the cones? They've said, here's what happened. I hate to pass this all. pass this on if it's indiscreet, but the last time I ran into both of them, they separately said, oh, we should can't. I said, oh, from your mouth to heaven's ears, let's, you know, I'd love to do something with you. I adore this and that and this and that. So we haven't done anything, and are they going to work together again? I know. I know. I saw the McBath and all this sound. But, you know, so it's, it's not only them and their sensibility, but it's kind of

They were similar ages. So I was bar mitzvahed, like that kid, around those same years in a suburb of Pittsburgh. So the whole thing is a little bit, you know, deliciously familiar to me. Michael Stoolbarg, I did, I adore. He's brilliant. I did The Pillow Man with him, so we spent many days together. I remember the first reading, and I was not familiar with him or his work. We had a reading, a read-through.

You know, different actors approach read-throughs differently. Sometimes acting, no, no, we're going to read the... He kind of came full without being external, fully realized, and entirely, internally supported, and rich, a characterization of a version of performance of that thing that was stunning. He's great. So I love him.

Do you know, I just learned this literally the other day. You know who almost who was up for that? role? Oh, that's, I remember the two names, and I was trying to remember, I just read that what role were those two guys up for? Yes. And now you remind me, now remind me of those two guys, wait a minute, wait a minute. Oh, I know. Okay. One was somebody I was talking about today, who was, um, the podcast man who was, um, and I did his podcast, of course, the wonderful comedian, who Jimmy Fallon was saying, oh, yes, he's the greatest, yeah, Mark Marron. He was up for that and

this is a much I mean I love oh I know Patton Oswald I did not know that those are the two names I read about I have a third contender

for you that's gonna rock your world who Mark Rylance I love Mark Rylance everybody does too now

you know in the movies and his Oscar winning performances I saw him on stage and he's a stage animal I mean that in the best sense Oh, my gosh, I'd never seen anybody function and live on stage.

Like Mark Rylance, he did Labette. I saw Labette. Did anybody see that? Oh, my golly. That Ma, he comes out with his mind. Like, oh, my bet. He's entirely free and living there. And just, I couldn't believe.

Went backstage and said, oh, he was, oh, we talked a little bit. Wow, what a guy. Hey, he would have been great. Well, Michael Stilbar. Great, great, great. Remarkable. Yeah, remarkable. We have to release you.

Do you have anything, any final thoughts? Do you want to close, you have a closing argument? You have a... Yeah, I do, but I... You don't want to hear... Should I run... You're the one that has to go. I'm here.

Here's what I put down, as I was watching it. First of all, that first quote that they have, you know, receive what happens with simplicity by Rashi. It begins that movie. Then, of course, I love Five-ish Finkel. I love that whole Yiddish part. It's great. Simon Helberg, I went to school to the neighborhood playhouse with his father.

Sandy Helberg plays Rabbi Scott. Look at the... parking lot, fantastic. Adam Arkin has been a friend of mine for years. I think he's spectacular in that. As the lawyer, he got... She wants to get a get. What?

Oh, oh, yeah. And who's she going with? Yeah, she's going with this other guy. Who, Cy Abelman? Cy Abelman. Cy Abelman? Oh, yeah. And then they say, and then his brother, you know,

the great Richard Kahn. gets into the trouble at the place. His sebaceous cyst, he's draining, and he's working on the metaculous. But he gets in trouble with the police. And now they have to, he had the same lawyers. Are he not only going to handle the divorce, but the brother's case?

And he goes, well, why do we do it? He goes, well, Ron Meshbesher is very good. He goes, really? How is that expensive? He goes, Ron is not cheap. Ron is not cheap. I have to be honest with you, et cetera. And then, what's his name?

Michael Lerner, with whom I worked a couple of times and a couple of movies comes in, has a heart attack in that scene. You know, it's fantastic. Oh, my gosh, when they're trying to bribe him. You know, this is all spoiler alert if you haven't seen it. But if you have seen it, this is why I loved it. They're trying to bribe the grade and, you know,

oh my God, what a thing. And, you know, he's teaching physics and the mystery of the dead cat paradox and Cy Abelman by Fred Malden. This is a wine. This is not a Moken David, Larry. And he's hugging him. Oh, my God. Fantastic.

Richard Kind, oh, my God. On curb your enthusiasm and all that. But the production is on the score by, you know, a Carter Burwell. Fantastic. Roger Deacons shot it. This is a masterful work. This isn't a Moken David. This isn't a, this is a, and but how did I get the photographer?

Oh, actions have consequences. The theme of the movie. as appears in those Cohen brothers, things are fantastic. And actions have consequences. It's a biblical thing. And be a good boy, finally. And if you do something, if you violate your integrity, and he finally takes the bribe for the change the grade,

immediately he's beset with a cancer notification, and the hurricane is going to come and destroy the town, possibly. So, bab, bab, bab, bab, blah, blah, what's going on? F troop, he's trying to get, Dad, can you go up on top of the roof where he gets that perspective. It's all about him getting another spiritual or physical's perspective on the neighborhood and the West.

Because we wanted... F. Troop is coming in F. Troop. Who is in F. Troop? Larry Storch. Larry Storch, Larry Storch, Ken Barry. I loved F.Trupe. It was right around my period. I was watching F. Troop. Oh, that's great song,

Dem Milner's Treon, that sings is sung over and over is haunting. and fantastic. The neighbors, the deer hunting neighbors mowing the lawn. Oh, my God. Fantastic. Arlen, who comes in at the office, who's talking about tenure.

You know, hilarious scenes, hilarious. You put more effort into this than I did. Like you, look at your notes. I take an assignment seriously. Rabbi Nachner with the guy's teeth, the story about the ghost. Fantastic. the Jolly Roger.

He starts staying at the Jolly Roger. Santana Abraxas, the guy calls him, you know, we were going to get you to pay this out. You get it because you Santana Abraxas? He says, I didn't, I didn't listen to Santana. I didn't order Santana Braxas. No, I don't want

Santana Braxas. You know, he's having a breakdown. Rabbi Marshaq is finally, you should see Marshaq. He's the old guy. And then the uncertainty principle and Mrs. Samski, of course, the Amy Landecker is who he sees next door, goes over. She's going, do you know about the new freedoms?

And she's, and he gets high and da-da-da-da. And that's when the cops show up. Oh, we have another page. Here we go. This is all. Right, sir. Let me just discharge this as long as I did. The new freedoms.

Oh, I'm like, oh, you know. Truth is my job. Well. Now you're self-editing? Now? Yeah, yeah, I've already covered this. No, the song, the Jefferson Airplane, The Airplane, and the Grace Slick, those lyrics, When the Truth is Found to Be Lies, and the Hope Within You Dyes, Great, Great, Dark and Great.

Finally, Be a Good Boy, the tornado, Roger Deacon, that's it, that's it, that's it. I want it, no. Oh, yes, give it set, tip time. Well, that's all I want to do. I hope. back for another day. These I'm putting back for another day. I hope you guys have enjoyed this ride

through Jeff Goldblum's brain for a few hours. Let's see. I know that, I know that, thank you. I know that you've stimulated me, over-stimulated me with your open intelligence, and you've overstimulated. So I hope I haven't been too chatty or excessive. Impossible.

Let's see, did I say anything that I shouldn't have? No, I think God. Of course, yes, of course you did. That's why it was so lovely. I think it's okay. As if you needed another reminder, Jurassic World Dominion. Check it out. Opens this Friday.

There you go. And Jeff, you're my favorite human on the planet. You're the most interesting man on the planet. I love you, Marowitz. I love you, Horowitz. We'll do this again sometime. We must. Thank you again for your time tonight, guys.

Jeff Goldblum, everybody. And so ends another edition of Happy, Sad, Confused. Remember to review, rate, and subscribe to this show on iTunes or wherever you get your podcasts. I'm a big podcast person. I'm Daisy Ridley, and I definitely wasn't pressured to do this by Josh. I'm Amy Nicholson, the film critic for the LA Times. And I'm Paul Shear, an actor, writer, and director.

You might know me from the league, Veep, or my non-eligible for Academy Award role. In Twisters. We love movies, and we come at them from different perspectives. Yeah, like, Amy thinks that, you know, Joe Pesci was miscast in Goodfellas, and I don't. He's too old. Let's not forget that Paul thinks that Dude, too, is overrated. It is. Anyway, despite this, we come together to host Unspooled, a podcast where we talk about good movies, critical hits.

Fan favorites, must season, and case you miss them. We're talking Parasite the Home Alone. From Greece to the Dark Night. We've done deep dives on popcorn. We've talked about why Independence Day deserves a second look. And we've talked about horror movies, some that you've never even heard of like Ganges and Hess. So if you love movies like we do, come along on our cinematic adventure. Listen to Unspooled wherever you get your podcast.

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