Happy Sad Confused - Timothee Chalamet (Vol. III) & Joel Edgerton (Vol. II)

Episode Date: October 16, 2019

Josh welcomes two of his favorite guests back to "Happy Sad Confused" this week! You've never seen Timothee Chalamet quite like this in "The King" and we've got co-writer (and co-star) Joel Edgerton to thank for it. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

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

none of you are safe. New episodes every Wednesday, wherever you get your podcasts. Prepare your ears, humans. Happy, sad, confused begins now. Today on Happy, Sad, Confused, Timothy Shalameh and Joel Edgerton, team up for the king. Hey, guys, I'm Josh Harowitz. So welcome to another edition of Happy, Sad, Confused, yes, two returning champions on the podcast today.

very excited to say that I caught up with our good old buddy Timothy Chalomey. I know a lot of you are big fans of his. Who's not a fan of Timmy Chalomey nowadays? Always killing it, and it's been so exciting to see his career just explode in the last couple years since I first

met and fell in love with Timmy. And same can be said for Joel Edgerton. We go back a little bit further, but always love catching up with Joel, who's a fine director and writer as well as an actor, and he's certainly Don's a couple of those hats in this new film, this new collaboration with Timothy Shalameh called The King. The King is co-written by Joel Edgerton with his frequent collaborator

David Mischo, who you may know as a great director in his own right, directed the rover, an animal kingdom. And this one is kind of a bit of a retelling in some ways of Henry the 5th, the classic Shakespeare play, but no Shakespearean dialogue in this. It's kind of a muscular adaptation. There's some significant action in it. A great ensemble. Timothy is the lead, of course, as King Henry V. But you also had Joel playing Falstaff. You have Robert Pattinson in a scene-stealing role as the Dauphin. Ben Mendelssohn, who we love around here, is amazing. Lily Rose Depp is great. A real great ensemble. The film is currently in select theaters. It's going to be streaming on Netflix on November 1st. So if it's not playing around you, patience, it's going to be available

very soon in your own home. That being said, it looks great on the big screen, and I would recommend it. This was a super fun chat with these two guys. You never know what the combination is going to be like, but they clearly got along like gangbusters on this one. And yeah, I think the first thing you'll probably hear is a little bit of me chatting with Joel, who I'm not sure what we include from the actual conversation, but Joel came in while Timmy was in the bathroom. I caught up with them at a hotel, and Joel took the opportunity to do a lot of fart noises because he's got the same kind of evolved sense of humor as I do. Then Timmy joins in, and we try to class it up a bit, but not really. And yes, of course, I had to ask Timmy

about Dune. You know, we always have to ask about Dune. Oh, and yeah, you're going to hear also, Timothy, I think I can say this, showed me some stuff that obviously you won't be able to see on the podcast, some kind of stuff that's pretty top secret. And yes, it may or may not be related to Dune. And I am as excited, maybe more excited than I was before. There, there's a little tease for you. So that's the main event today, this conversation with Timmy Shalmay and Joel Edgerton. Other things to mention, there's a lot going on in the movie world and the Josh Harowitz World. Let's see. What's what's happening? Oh, yeah. So this weekend, a couple big movies opening. We've got the White House opening, I believe, in select theaters, love that

movie with Robert Pattinson and Wilm Defoe, Jojo Rabbit, excellent movie from Taika Waititi, Zombie Land Double Tap. So Zombiland Double Tap, I'm allowed to say by now, I've alluded to this in the past, I shot a very brief cameo of sorts in Zombiland Double Tap. I can't really say much more now. In a future podcast, I will give you all the details of how it went down. But I will say it was an amazing experience. And the part I'm in is very brief, but stay to the end. Keep your eyes peeled. And you will see Josh Horowitz in a pretty special moment, I think, with a very notable co-star. So I'm very excited about that one. And I've seen the film, and it's honestly great. That makes it all the better.

The film is excellent. If you love the first Zambi Land, this is more of the same in a good way. It's great to see the four key players come back together again. It's legitimately super funny. And Zoe Deutsch, who we love around here, we always talk about, is in this one. And she steals scenes left and right. She's amazing in it. So yeah, Zambuland Double Tap coming out this Friday. What else to mention?

New episode of On Location. My series for Paramount Network is out on all of Paramount Network. digital platforms, go to Paramount Network's YouTube page and Facebook page. This new episode is with the one and only Kevin Smith. I went back to the original Quick Stop in New Jersey with Kevin to reminisce and talk about how he made quirks. It's a really fun episode that Quick Stop, the convenience store has virtually not changed in 25 years. Literally the same people are still working in there. His bosses when he was a convenience store clerk are still working at the store. So it was an amazing experience to hang out in Jersey for a day with

Kevin Smith. And I'm really proud of the episode and proud of the series as a whole. So I hope you check it out. The series, once again, is called On Location. Go to Paramount Networks, YouTube and Facebook channels to check it out. It's a good episode and there's a lot more really cool episodes to come. So yeah, what else? Just spoke to Paul Rudd today for his new show, living with yourself. We're going to unfurl that episode. It's not a podcast. It's a M.T. TV on camera interview. That was fun. His new series for Netflix is really good. He plays himself and his own clone. Very quirky, Charlie Kaufman-esque, highly recommended. Yeah, I'm drowning in content. I'm drowning in good films and good TV. Parasites out now in select theaters.

Everybody's talking about Parasite and the hype is real. It's amazing. One of the best, if not the best movie of the year. A lot going on. Anyway, let's go to the main event. And this one's, it's not a super long conversation. I had to go to them, all the sort of bells and whistles, all these kind of things I had to compromise on a little bit. But I knew you guys would want to hear from Timothy Shalameh and Joel Edgerton about this new film, The King. They're two of my favorites.

So really happy we got a chance to catch up. And I hope you guys enjoy this chat. Remember to review, rate and subscribe to happy, say I confused, spread the good word, and enjoy Mr. Shalmay and Mr. Edgerton. How you do, bro? Good, how you doing? Nice to see you. You too. You've missed about 10 minutes of fart talk. Okay, good. Farting as it relates to what? Nice? You have 30 minutes, all just pop in and give you back. Amazing, thank you. How you doing?

How are you doing? How are you doing? Good, good. This is the reunion? You guys haven't seen each other yet? Ah, I mean, since Venice? No, but uh... No, New York last time. No, that was before Venice. Yeah. That was before, yeah, as I haven't seen in a while. Yeah. You were supposed to be here. Yeah. I just go back from Dublin.

Oh, yeah, because you did a reshoot there, right? Yeah. Is this already recording? I can stop it. All good. Or cut it out. Whatever we want. You want me to stop?

You got something to show me. I'll show you guys at the end. Okay, show me at the end. You guys won't know it, but he showed me something cool later. Joel, Timmy, it's good to see you guys. You both have done the podcast separately, but this is a smorg-sporting of fun. This is the first of 700 duo appearances on this podcast together. It's good to see you both, man.

Congratulations on the film. I really enjoyed this one. Thank you. Great piece of work. First of all, let's talk movies for a second, because I ran into this guy at Toronto. You were seeing some movies for fun. Yes.

Well, I was there for, I had a reason to be there too, yeah. But you saw some good stuff there, I assume. What have we seen? What are we excited for? This is his of the season. This is the good stuff, man. Uncut gems, awesome. It's amazing.

Oh, have you seen it? Yes, that's what, that's, I mean, I had a meeting in Toronto, but I was really there to go see on-cut jumps. Yeah, yeah, yeah. But also because, you know, it was in Toronto. Man, it was just such a good time to be there. I really want to see that, too. I really want to see The Irishman.

I really want to see The Joker. Have you seen that? No, I haven't. I haven't. There's a bunch of cool stuff out there that I don't want to see. But yeah, uncut jams, I reckon he's going to be... From the moment I heard about that film. I was like, oh, that's going to be amazing.

Yeah. The energy on the screen that they... I just saw for the second time last night. Oh, yeah. Oh, did they do their press screening? They did a press screening, and their screening at New York Film Festival this week. The third.

And I'm talking to the safeties in Sandler this week. It's just what they bring to the screen is amazing. The energy, right? I did a, like, a, you know, like a write-up on variety or something. But I haven't heard from them, so I hope I didn't offend them or anything. To be fair, I think it just broke, like, an hour ago. Yeah, yeah, okay, okay, good. Just, like, took my phone off airplane mode and didn't get a ding.

And I was like, uh-oh. No, I'm not kidding. What, you said nice things about that. No, I did, but I guess I made a joke at the beginning about, uh, you know it's all it's all good you were

you were gonna be fine yeah it's all gonna be good um oh I just got a hate audio message from John no

fuck you let's talk a little bit about the king this film is you know we've seen a lot different interpretations of Shakespeare

in texts over the years this comes from Michaud and you freaking collaborators a bit of an animal kingdom reunion on this one

I'd like to see a lot of your face What was the... It's funny if you got married at the end to Jackie Weaver. She's the way to the credits. It's such a twist. She was busy. What's the germ of the idea?

What makes this worth doing for you, Joel, to invest all this time and energy? Look, a number of things. I think, you know, really it's about 20 years ago because I played Howl on stage and then the year after sort of backed it up by doing Henry V. and I've just had those plays and that character in my head for so long and when it came around to kind of 2012 or 13 I'd been asked to do a sword and horse movie that I didn't really love

but so much of the sort of speaking and speeches within it were reminiscent to me of various Shakespeare monologues and I was like oh what if we would it be possible for us to make a version of Henry V and and I actually thought at the time I'd just get laughed out of the room but the people that I pitched that idea to were like, yeah, go away and write it and we'll pay you.

And I was like, right. So then that's when I started. On them again. Yeah, and that's when I started hiding behind David Mishat. It was his idea all the time. No, you do it. Then it's your idea.

You do this. What do you see, okay, let's pretend to him he's not here. When you see someone like Timothy on the screen, I mean, he obviously jumps off the screen from an actor's perspective, what do you see in his performances early on that's making you say

this guy has to play how, has to believe. Well, what's really interesting is when David, you know, David, I think, has an incredible casting brain, clearly because he cast me in the film. But, you know, this, this idea of, you know, like you say, a lot of people have sort of trot on this territory before. And quite often you see the king played by somebody that is older, you know, essentially. And, you know, Henry was 26 when he became the king and there's this one single painting of him in profile and he doesn't look like he's some UFC

medieval UFC fighter of the age of 30 or so he looks like a young person and so the physical type and the age was there and it just happened that the beauty of the fact that we didn't get to make the movie when we first wrote it because Timmy would have had to drag him out of like eighth grade Or in reality, find someone else, you know, that those two roads, the juncture where it arrived was the arrival of Timmy and after a number of incredible performances to then be able to put him in the throne at the very time that he's sort of sitting in a different kind of throne as an actor. And it just seemed like the perfect marriage of elements, you know.

And it's just so thrilling also to see a young actor to start to explore new territory. We've never seen you in this context before, clearly. You know, we've talked before about, like, challenges. That seems to be like the name of the game for you, at least at this stage of your career, perhaps always, hopefully, of chasing the stuff that's elusive and challenging. There are a number of challenges of this one. What's the one that jumped out that scared you the most and excited you the most? Perhaps, though, the whole of it, you know, and just have.

how, you know, sometimes I can read something and think, oh, okay, this is, this makes sense to me why I was kept in mind for this, or maybe they were going off this movie I did or something, and this was one where I thought, whoa, you know, I read it twice before I met with David, and the first time I thought, well, this is an excellent script, you know, for whoever does it, and this is cool, and the second time I really try to, you know, put myself in those shoes as a reader, as a performer, but then also almost like as a total impartial audience member. And I thought, whoa, like this, once David made it clear to me to get it out of my head that we were going to try and tops for Lawrence Olivier or Kenneth Brana, but rather go for

a, not contemporary, but contemporary by a way of its urgent feeling, portrait of a guy who's way beyond his circumstance and who is good intent, but it's basically hopeless the whole time. And it's this thing I said in the Q&A that David made fun of me for a little bit, but I, but I it's like what I love about David's movies so much is they're about what they're about and I and I think it's almost admirable in this day and age where you know songs on albums are a minute 50 so they don't drag on too long and then movies or TV shows will try to work in every theme and element in the world to to check every box and and this that's not what this is this is just a it's just a brutalist

portrait of somebody going through a very tough thing. The funny thing also Also, that occurs to me is, like, you know, a lot of actors your age end up doing a lot of coming-of-age stories. And you are, but they're in different contexts. Yeah, I appreciate you saying that. You've traded, you know, like an Italian villa for a really dirty battlefield. And I have a feeling even the next one we'll talk about Dune is a bit of a coming-of-age in a way, too. These are transitions from boys to men. Right.

And this one's even marked by, like, you know, you have your, like, pretty woman makeover. You cut your hair and then, like, you're the king. Right, right. I mean, do you first have to kind of, like, by yourself in that context? I mean, so be like a leader of men to wear the chain mail and to, like, deliver that kind of speech. No, and I think that's a testament to getting to work with Joel Edgerton, and that's weird you're sitting right here. I could have just said Joel. Again, but also.

Joel demands a lot of these names. Yes, it'll hit me if I don't do that. You'll leave the room and it'll hit me. It's not one of those names that you lead the little pause out to name drop, is it, Joel Edgerton? Tom, Cruz. No, but I, this movie's best suited to that question almost because this is the one that would have required the biggest leap if I wanted to buy myself in advance,

but actually required none because I could just go off David and trusted him. And as it relates to your first point, I feel like this is like a political coming of age and not in the realm of government or politics, but in the realm of the cynical reality that is life for some people that life itself and social dynamics becomes politic in some way.

And it is sort of about also the intractable nature of society and politics. Even with the best of intentions, we're a cyclical race. We repeat the mistakes of our fathers and mothers. And that's sort of the lesson. and if there is one, maybe, of this.

I don't know how we break that, especially in 2019, where it feels like we're, not to make it too real folks, but we're living that. Yeah, and it seems to me like, you know, what's interesting is that, you know, the template of somebody entering a high-stakes position with the ideology that they can be the one person

that can change a system or to presume to do things differently. The change of systems happens, sadly, very slowly, but change within an individual can happen subtly under the surface very quickly. Yeah. Can we talk a little bit about just the fight stuff? Because like you guys, I mean, really capture the stuff

in a very visceral, powerful way. There's some continuous shots that I found really striking. And again, new territory for you. Yeah, absolutely. Did you take to it? Did you feel like... I did because Joel was still cutting boy race, so he had to get back to the States to edit it,

so they shot his stuff out first. So I went to set to watch Joel going to work, and he was relishing it. He was viscerally enjoying every second. He had a little straw in the mud, and he was drinking the mud up, and he was loving it. And I knew when it came time for me to get going, that the best way to do it would be to lean into it. And not in some pretentious way either, but truly, like, it's less about the choreography of those scenes. And maybe this makes it a little more dangerous, but it's more about what a cluster fuck it is.

Yeah, the messiness is what makes it kind of visceral. You know, I remember those early conversations David and I had about when we were writing it, and this also comes from working with my brother a lot, Nash. his theory and there was always this theory that even, you know, a car chase or a footchase or a fight scene should all have a story of its own and really should be rooted in a point of view that I think the problem with a lot of big battles and you can understand why and with all respect to anybody who's ever tried them, it's just hard to do, but there's a lot of jumping around and David had this really firm sense that we needed each scene that had any kind of violence in it to have its own point of view that once you're with how you, you just. just with how, you know, and it allows you to feel the claustrophobia, the danger, the imminent danger of not being able to look around and see what's coming next. It's the way that I felt when I watched straight time with Dustin Hoffman is that the choice to just stay in the bank while those guys were robbing. If you cut to a quiet street outside, you go, tension's gone

because I know that the police aren't there. You just stay with the person you're with. That's why the Safdi brothers are so great too and they just stick in Rob's character in that film you're stuck there yeah yeah let's you mention Rob I have to mention Rob because Rob is amazing and they archive you that segue no he's gonna pick it up anyway but you're good you're good Pattinson kills it

I mean he comes in like an hour in and it just breaks the tension in a fascinating way yes it's like a Nick Cage performance to me it's like a guy that's just like going forward and it's like this is either going to work or it's not going to work and thankfully it works yeah

What was it like to see what Rob was doing when he came to sit? I don't know about you, but I remember that first day because when he, you know, he's sitting in the throne in the tent, you know, it was like watching a theatre performance for the first time because we just started shooting and I think it was, well, it would have been the first rehearsal of just watching Rob do that and, you know, part his hair with his pinky and all this stuff. And it was like, wow, it was like, yeah, go big or go home, you know.

But coming from an honest place, that's why I love big performances, you know, and there's subtlety to it as well, but, you know, there's a certain largesse and a character that he's playing. And I believe that those performances are great when people, like, walk out on a thin limb. And if it comes from an honest place, it lives and deserves to be in the film. And that's what's so kind of risky and great about it. You've worked with another one of those, like I think of Tom Hardy, you know, folks like that, again, that there's something indescribable,

about what they bring. It's totally unique. Are there actors like that you would like to shadow on a set, just sort of see how they do what they do, just have curiosity? Yeah, I mean, look, you know, I've worked with Christian, but I didn't get to, like, shadow him

as in, like, go and sneak into his trailer and watch him have a talk to himself or anything like that. Oh, look, there's so many of them. I would love to get a time machine and go back and basically hang out with Gary Oldman during the early years of those sort of wild performances from film to film

just jumping all over the map and really kind of bringing electricity and danger to the screen but it's impossible to really get inside another actor's head all you can do is sit back and marvel sometimes I remember I worked I had the luxury working with Dennis Hopper

when I was like 23 when I was like your age and he was talking about working with James Dean and he said at one point they were sitting in a car together because they worked on Rebel Without Accords. And he said, I just looked across it in between takes to James, Jimmy. And he said, Dennis said to him, what are you doing? Like, what is it that you're doing?

Because he just couldn't quite work out why this kid was so interesting. And I don't know if he even explained it to him. But it was like, Dennis was like, envious and angry and like curious all at the same time. Because there was some frequency coming off him that he couldn't describe. For you, Tim, are there performances that you keep coming back to? I mean, we've talked about how Dark Night was important to you in Ledger's performance. Are the performances like that or even in the more recent years that you keep coming back to that stick in your mind that are hard to shake and you kind of want to decipher?

Yeah, absolutely. And I mean, I think of Uncut Jams again, I mean, there was Sandler performance in that. And I think maybe just of the time. or, you know, maybe you have just up this month or something over this week. I'm more and more fascinated by, like, the, you know, kind of like Rob and the King and these roles or these appearances that are sharp and biting and strike a match within a movie and as opposed to, like, setting the tone of it in some way. Sure.

Fall staff kind of functions as kind of like the one true voice in Timmy's character's life, right? Like, do you feel like you guys have that in your own lives where you have, like, friends that you can lean on where maybe if you're getting caught up in the business quote unquote too much that will call you out on your shit is that important to have i got my brother he's sort of like my litmus test with most things choices about work just general general good outside opinion it's so like the other voice that echoes in my head and you know on a creative level david is is one of the people i always go to him like written something can you tell me I'm an idiot or not.

Who do you turn to if you have questions about whether it's a performance, a choice, a business choice, et cetera? Like the closest tarot reader? Like tarot card reader? Oh, that's literally good. Jesus. I thought he was being metaphorically like, nope, I go to a gypsy on the corner. Yeah. The marvelous.

Greta. Sit down to me. But right now, is it instinctual? Because, like, you know, we've talked. You know, we've talked in this very unique years for you, where you're getting more and more choice. Is it, are you, do you find you're following your gut, and is that easy to do? Do you second guess yourself the choices you're looking? No, well, no, because the truth is this felt like a no-brainer, then little women felt like a no-brainer,

and then a West Sanderson project felt like a no-brainer, and then Dune felt like a no-brainer, and then that's, I finished a month ago. So that's since the last time we talked, that's what it's been. And so, you know, there hasn't been a lot of calculation. And within my own life, I feel like I'm lucky I grew up, you know, if not in show business around it in New York. And so I feel wise to its traps, I guess, which is what the ignorant man says right before he fucking falls into a hole.

Don't happen. Don't worry. Joel, sadly, you and I are probably old enough to be Timmy's father. Has he educated you about anything of the young ways of the world, about the, the Instagrams and the what the kids are listening to he's the one that's sending me an emojis like I'm like this is true he did just spend

10 minutes showing me how to create a poop emoji I'm wise to the world of the internet the world wide interweb it's weird you know look I couldn't send an email until I finished high school as in not

not that I didn't know how it's just that you couldn't and I worry about what my life would been like if I had access to a smartphone while I was in high school like I think I don't know how I don't think I'd be sitting here with you today I probably just wanted my life um on all the wrong things but yeah in an internet caffeine in Sydney right now yeah it's a wild thing the power of the internet and uh you know but no I I learned I learned things from everybody old and young just by and time spent, you know.

And I think there's more to learn from a younger generation than there is necessarily from an older generation. We always think that the older people are the wiser ones. I don't think, I think the tide's turned. Yeah, educate us to me. Save us from ourselves, please. Suisse. No pressure, but it's all on you.

The planet is in the balance. There's no question there, don't worry. Tim's looking, like, Timmy's looking at your setup here, and he's just like, what is this? so these relics why are the wires there wires everywhere

give me a little Dune tell me a little bit what's the most surreal day on set what's the what's a snapshot of what Deney

has captured in Dune I don't know what I'm allowed to say but it was just a totally surreal experience

and total dream to work with Dene he sent me a nice message about the trailer of this actually and yeah he's very excited to see this

Also the cast he assembled. It was insane. It was really insane. Again, I feel like I'm getting this really incredible opportunity to work with really great actors that are equally not jaded as they are excited about the work they're still doing

and, you know, it's like working with Joel and Sean Harris and Ben Mendelssohn. And on that, it was Oscar Isaac and Josh Brolin and Zendaya and just Javier. Javier Bardem. I mean, yeah, just, and also what's cool, I don't know, Oscar and I were talking about it on set one day, I love that he said, like, you know, Dune's a very grounded story, particularly as it relates to the other stories in that genre. But he was, you know, without divulging all the details of the conversation, he was talking about the surreality of the surreal elements of the story, even though Dine was sticking close to the book and keeping it grounded.

And I love seeing Oscar and Javier and Berlin and Zendaya. and Rebecca work within that surreality and bring a groundedness to it. It felt like storytelling, you know, in its truest form, telling the story. Were there lessons from this that you brought to that? I mean, there are some super, not even superficial. There are, like, there are some connections, I feel. Yeah, absolutely, and I think perhaps more subconsciously

than anything I could formulate, but, I mean, yes and no. It's obviously because of the period, been one taking place, you know, or both taking place in wildly different time periods and maybe different universes. The, that made it different, obviously. But, yeah, there's a parallel in between, you know, young men thrust into a circumstance

before they're already and not quite knowing what to do with it. Have you worked with Barry yet, Barry Jenkins, Mr. Edgerton? That's pretty exciting. Yeah, yeah, yeah. Underground railroad. We're having a pretty amazing time. I mean, I've been sort of traveling back

and forth doing press on this and then going into that world it's it's quite i mean that separation i find quite surreal um doing the kind of red carpet dance and promotional aspects of film and then going and back and doing the work and and going back and forth i find quite tricky but yeah he's he's an incredible man i just feel very you know it's like timid saying it's like the privilege of being able to work yeah with really great people and it's it's one of those phone calls that you just go all right, I'll turn up, whatever you want me to do. Yeah. Because, you know, you really hope that you're always in really safe hands.

Yeah. Because, you know, filmmaking is a village and you hope that the, you know, the shaman at the head of the village or whoever that is is just someone that actually knows how to run the village. Yeah. And then you can do your job. Barry's just sort of so in control of what he's doing. For many years, I feel like we've joked about, like, you know,

when's Owen showing up in a Star Wars project? Okay, now, now, Joel, my friend, we've got an OB-1 TV series, and if I do the math on the timeline, Owen's around. So as much as we've joked, I feel like this could actually happen now. Why is Joel melting into a puddle?

Just looking. No, there is a very real possibility. You know, like there's potentially an assassin on a rooftop just outside the window if I said the wrong thing I was just like... Why is there a gay with a Disney logo on that?

Let me put it this way. Did you ever think this was even a remote possibility because now it does actually feel like this could actually... Well, there's been rumours of it for years and no, I never thought that there was ever a world where I would sort of go back to that universe because I thought, you know, back in the day, George said that there would only be a certain amount of movies

and that was it. But when Disney took it over and started kind of really, really getting back to the old juice, you know, the kind of aesthetic of the first three films. You were like, ah, there's a possibility. And then, you know, once you started to hear, they were doing all this sort of breakaway standalone things. So, yeah.

Have you talked to Ewan? You and who? Oh, my God. Who? Let me translate for me. This is me being all coy. I had this friend who was really annoying. Ewan McGregor, what, me and McGregor.

No, I haven't spoken to Ewan for a while. Last time I saw him was, God knows where. He's a beautiful guy, though, and I'm really glad that they're doing that. And, yeah, I'm, I don't know. Let's talk about other stuff. I didn't even realize. I'd love to say all sorts of things. I just not going to.

I would just think I'm going to see you in it. I'm just excited now. Okay. Charlotte's peaking. Oh, we're bouncing around while you're excited. You guys are working on too many exciting things. Wes Anderson. Yes.

Did it live up to that? Yeah, total, like, an absolutely. trip and, you know, one of those experiences as an actor, or I was really just pinching myself the whole time and thinking, how have I, somebody's coming to the room now, and no, but that, just pinching myself, like, how did I find myself in this world? And that's not a metaphor, it's really just like a world in and of its own. And, you know, that night there's cast dinners, and he's, that word's thrown around a lot, but he's really just, he's a genius and it's

it's humbling to be a cog in the machine of his his storytelling and and equally equally a pinch me moment to be with those folks that have been in a lot of his movies

like Bill Murray and you know Tilda Swinton Francis McDormand searches in it as well and yeah like the last night this is not my place anyway so I don't know why I was doing this but it was like my last night and the other young folks in the movies there last night too so they

they kind of put me up to it and give a little speech and the best speeches are short and sweet, but I got a little carried away. And then as I sat down, Bill Murray clinked his glass and I thought, oh, fuck, he's about to and sure enough, he stood up and he said, edit, and that was it. Like, you know, like,

that's the only thing he said. You got Bill Murray. Classic Murray. What's going to be the abiding memory of this production? This is, it's going to have been an easy shoot just by the nature of it. What's the what's the I think it made me realize the power of power of the pen or well in that case the computer and and and the disconnect that begins with writing something on a page and hoping with all intention that that it will come to life but having the doubt that it will ever come to be and particularly of something of this epic nature I remember the bookend of having that feeling writing the screenplay with David of us sitting in the sand in Lombok first mapping out the battle of agent you know, was standing in the field in Budapest

with hundreds of people in armour and horses everywhere in mud and just going, wow, we made this happen and someone let us build this, put this together and just how privileged it is and just going, how did this even happen? Obviously, like I said before, I hid behind David, like I just go, I'm glad I'm not directing this thing, but wow, we're lucky enough to have the privilege of this.

doing this, then why be cynical? Because it's very easy for cynicism to drop into your brain the order you get or when you face with hard work. But to be reminded of like the 10 year old version of you that would just like marvel at the surroundings that you get to grow up into. Yeah, this is a movie with a capital M. I'm in on a movie set. Like that's like a special thing for those of all three of us grew up obsessed with this medium. Yeah. I like you, I like that you say it like that too. And I think Joel could maybe speak to this better than I could, but for me, it all spoke to the Netflix of it all, too. And all I mean by that is every set I had been on, whether it was like a TV show or having

a small part an Interstellar, I could kind of, even though I wasn't really in the industry, I could kind of gauge what, not that anything ever felt commercial or made for commercial reasons, but we kind of gauge what the vibe was. And here, beautifully, I really felt like we were just making it for what it was, like that day we had the trapeches on set, there's shooting flames into the, the, you know, the hills and and real ones too not that that's all real yeah they built the travischaise that was a pinch me moment too yeah we've got real trebages and you kept them and they're in your garage no one in my backyard yeah my neighbors are terrified never visit jol's garage they're go near

him he sees a scary dude oh yeah you don't like me out with the music upland all right get the trebizier I thought I knew you before today but between the poop emoji stuff and this and owning a Trevor's yeah? Yeah, my property line starts there. Timmy's an open book compared to you, man. It's always good to catch up with the both as evidenced by all the other projects. We also mentioned, I'm going to talk to you guys a lot in the next year. I hope you're directing again soon too. Oh, yeah, I will be. Okay, good. Yeah. No, look, directing is the greatest job in the world. Yeah. It really is, but you really have to be match fit for it as well. Because it's a, it's an I'm taking it's like, you know, it's like tapping the glass in a big function hall and you're

about to tell, make a speech or tell a story. You have to feel the confidence going in and coming out of it and fortify your ego for every step of the process. You know, acting is like, I always say, I'm sure I've said this to you before, is acting is like, is the privilege of being able to be a child and directing is running the household. Yeah, that's an adult job, to say the least. It's going to be able to be both. Great. Thank you, man. 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 pressure to do this by Josh. Goodbye. Summer movies, Hello Fall. I'm Anthony Devaney. And I'm his twin brother, James. We host Raiders of the Lost Podcast, the ultimate movie podcast, and we are ecstatic to break down late summer and early fall releases. We have Leonardo DiCaprio leading a revolution in one battle after another, Timothy Chalime playing power ping pong in Marty Supreme. Let's not forget Emma Stone and Jorgos Lanthamos' Bougonia.

Dwayne Johnson, he's coming for that Oscar in The Smashing Machine, Spike Lee and Denzel teaming up again, plus Daniel DeLuis's return from retirement. There will be plenty of blockbusters to chat about, too. Tron Aries looks exceptional, plus Mortal Kombat too, and Edgar writes, The Running Man starring Glenn Powell. Search for Raiders of the Lost podcast on Apple Podcasts, Spotify, and YouTube.