On with Kara Swisher - Paul Giamatti Is Good With Words

Episode Date: February 22, 2024

Actor Paul Giamatti seems to have perfected the hyper-articulate, slightly depressed curmudgeon – and this year, it might land him an Oscar. Kara and Paul talk about why his role in The Holdovers hit close to home, the challenges of developing a multi-season TV character like Billions’ D.A. Chuck Rhoades, and how a “chinwag” led him to co-host a podcast about metaphysics, time travel and UFOs. Questions? Comments? Email us at [e-mail] or find us on social media. We’re on Instagram/Threads as @karaswisher and @nayeemaraza Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Holdovers at this year's Oscars. In the movie, which is set at a New England boarding school circa 1970, Paul plays a cranky history teacher who stuck babysitting students left behind at the school over the holidays, developing a surprising bond with one of his charges along the way. Together with the school cook, played by fellow Oscar nominee Davine Joy Randolph, the three form an unlikely trio. I loved it, and I didn't even go to boarding school. I think of Paul Giamatti as a classic journeyman actor who really understands how to embody a character, such as in Sideways, where he also plays a teacher, this time on a trip through California wine country, or the boxing biopic Cinderella Man,

where he played Russell Crowe's fast-talking manager and picked up his first Oscar nomination, or in films like American Splendor, 12 Years a Slave, and Saving Private Ryan, just to name a few. He's been in a lot of movies. You may also know him as the hard-ass district attorney Chuck Rhodes on Showtime's Billions, which wrapped last fall after seven seasons. I was a big fan.

And speaking of Billions, our question today comes from former New York DA Preet Bharara, who was allegedly the inspiration for Rhodes. I want to talk to Paul about the holdovers, his process from script to set, and how the business of making movies is changing. Plus, his esoteric podcast

where he talks to people like Tom Hanks about things like time travel. We'll hear from Paul on that and more after the break. Fox Creative. This is advertiser content from Zelle. When you picture an online scammer, what do you see? For the longest time, we have these images of somebody sitting crouched over their computer with a hoodie on, just kind of typing away in the middle of the night. And honestly, that's not what it is anymore. That's Ian Mitchell, a banker turned fraud fighter.

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that builds campaigns for you, tells you which leads are worth knowing, and makes writing blogs, creating videos, and posting on social a breeze. So now, it's easier than ever to be a marketer. Get started at HubSpot.com slash marketers. Paul, thanks for talking. How are you doing? I'm fine. I'm fine. Thank you. Thank you for talking to me. I'm excited to talk to a fellow podcaster, really. I heard this Oscars thing, but I could care less. I want to talk about podcasts. Yeah, let's talk podcasts. We are. We're going to. We're going to. You have a podcast. I'm intrigued and fascinated by it. I do have one, yes.

Yeah. Well, a lot of celebrities do, but I think this is very different. Anyway, I don't know if you consider yourself a celebrity. I do. Yeah, that's an interesting question in itself. So I do want to start with The Holdovers, which I loved. I really did. It's by writer and director Alexander Payne, who is one of my favorites in every one of his movies. You worked with him on Sideways as well. And he said he wrote the part of Paul Hunnam for you specifically. Why is it you specifically? The thing I keep thinking, it's funny, I don't think we ever really discussed it, he and I, why I think part of it was my familiarity with the world and the background of it, sort of the prep school thing and the academic thing and that kind

of world. I think that maybe is the baseline foundation of why he says he wrote it for me. You had been, you had gone to a prep school, correct? I did. I went to Choate. I didn't board there, so I didn't have that special experience. So I don't know exactly what that would be like, but I went to Choate, yeah. To Choate. That is the prep school, just at Boyd School, just so you know. It's the one? It's one of them. It's right up there. If you had said Exeter, I would have said yes, that's even more. But did it feel like you were back in school, even if you were a day boy? Yes.

Oh, absolutely. I mean, it was all familiar to me, sure. And we were shooting in actual locations, actual schools, and the sort of costuming and the hair and makeup was uncanny. So it all felt very present again, yeah. Traumatically so at times. Yeah, you were in the 80s. This was set in the 70s. Yeah, but it was only about 10 years afterwards.

And a lot of those guys, I mean, there were girls there. But other than that, a lot of those guys were still there. Those teachers were still there. Yeah, I definitely had that feeling, especially. I want to get into what he's done there with the weather and the school itself. Because the school itself is a character in a weird way. Yes, indeed. How different was it from your perspective from Miles,

the wine-obsessed struggling writer and teacher you played in Sideways? Well, it's a similar guy at a different point in his life, later in his life. I actually like this character a lot more. I think he's got a lot more grit and kind of sand. He's got a lot more backbone. Okay. He's a little bit more, I think he's tougher. He's less, he's not self-pitying in the same way that the other guy is.

I just think that he, you know, he's at a different point in his life. So he's sort of settled into his resignation in some ways. Miles is sort of. What he is, his fish smell, everything. Well, he's got his fish smell in his eye and things like that. He has all these sorts of conditions that sort of set him apart and make him even more... He's also... I think he's actually more of a misfit

and a bit more of an outsider than the Miles character. Right. He exists on the margins more than the Miles character. He kind of enjoys it. I don't think he feels... Miles feels left out a lot of ways. Yes, exactly. That's a very good point.

Yes, yes. Particularly that scene in Sideways where your ex-girlfriend tells you she's pregnant. That look was... Yes, he wants a kid. He wants a kid. This guy's kind of decided, well, he's decided in some ways that he never wanted a kid. He never cared. He didn't care about any of that. Whether he really does or not, I don't know. I mean, it's buried, whatever feelings you have are pretty buried. Try not to take this the wrong way, but what is it about these depressive, hyper-educated loner guys that you're able to translate so well? I really don't know. I seem to be the go-to guy for a lot of these things. I mean, you know, it's an interesting question with an actor, how much of it, is it something they bring to it, or is it just something that begins to be brought to them because of something they've done before? So it becomes a tricky question.

I don't know. I play these kind of hyper-articulate people. I do a lot of talking. And so I think early on, people identified me as a guy that was good with the words. The words. So that, I think, happens a lot. I would love to play a character sometimes doesn't talk as much. I would love it.

I've only done it a few times and I really enjoy it, especially on film because it's all, you know. Where did you not talk too much? I just saw, you know, oddly enough, I saw you in the eyes of March the other day.

I was like, what is he doing here? I chatter a lot in that. And no, I did a movie once. I think the one movie where I didn't talk a heck of a lot is a very little known movie I did with Paul Rudd called All is Bright, I think, in which he plays the chattery guy and I play the sort of silent and articulate guy. And I really enjoyed it. You did because you don't get paid by the word, so it's fine.

Well, it's not just that. It's that film acting is so much of it is the inarticulate stuff. You know what I mean? So much of it is just the face and the body being used to convey emotion without the words. You have perfected the stare. You know, the look. The sad-eyed look. The glare?

Oh, the sad-eyed look. Yes. The sad-eyed look. Yeah, but it's like, there's something great about containing all of it and not sort of the energy not going into your words, but into everything else. I want to play a clip from The Holdovers from early on, and Mr. Hunnam is having dinner with the kids he's babysitting over the two-week holiday break. They're being served by the school's head cook, Mary Lam, who's black and whose son recently died in Vietnam.

Davon Joy Randolph, who is also up for an Oscar. Fantastic. Fantastic. Let's play a clip. Mary, maybe you would care to join us? Let's play a clip. Uh, Mary? Maybe you would, uh, maybe you would care to join us? I'm all right, thank you. I mean, I know she's sad about her son and everything,

but still, she's getting paid to do a job. And she should do it well, right? But I guess no matter how bad a cook she is, now they can never fire her. You, you, shut up! You have no idea what that woman has been through. You know, Mr. Koontz, for most people, life is like a henhouse ladder,

shitty and short. You were born lucky. Maybe someday you entitled little degenerates will appreciate that. If you don't, I feel sorry for you. And we will have failed to do our jobs. Now, eat. So, I'm going to use that line on the tech people I have to cover. Shitty and short.

Shitty and short. Born lucky. Entitled little degenerates was hard to say. Yeah, I like it though. I like it. Yeah, it's great. Tell me about that scene, how you were thinking about it. Well, it's interesting.

I mean, the whole relationship between him and Mary is an interesting one. It's never really stated particularly, but there's some sort of simpatico between the two of them that blossoms through the movie that, you know, they don't even necessarily even know it's there. But, you know, I think she sees him and recognizes an outsider and he sees her and recognizes an outsider for different reasons. But, you know, they both feel marginal in the place. And I think he's the only person who probably, we talked about this, Davon and I, briefly. He's probably about the only one who even acknowledges her and knows her name. And likewise, she treats him, you know, I mean, she's funny with him and makes fun of him and stuff. But there's a kind of rapport.

And I think the guy just has, you know, he's got a sort of complicated background. He's a scholarship student. He's from presumably kind of working class background. He's not the same class as these kids either. So it's like, you know, he's got a lot of built up resent them towards them for that. And I think he feels terrible for the woman about her son. You know, lots of things. I think he's a good man. He's not a nice man, but he's a good man underneath it, which was the interesting thing to play. Which you saw in those scenes when watching television and things like that, which was interesting, which is always a bonding experience, even though people don't think of it that way.

Like you said, you went to Choate. Was that true to life for you? I went to a private school. There were a lot of entitled degenerates. Oh, yes, absolutely. Yeah. You know, I come from a background where there's a lot of elite people, but I had not met sort of like really wealthy kids from New York. Like, I'd never really been around kids like that. So, I was even sort of taken aback by a lot of it. But the school itself was a character, too, as I said, as was the weather, which I thought the seeping coldness was really well done. You know, you could feel it. How much time did you spend there? How did that work out? I was super curious about, because you looked cold. It was cold. And we were there for about two months or so, two and a half months shooting,

maybe. And we were outside Boston and in Boston. And one of the things Alexander was pretty fixated on and why it was tricky to schedule it was he wanted weather. He wanted snow. And we got really good snow for this. And in this movie, there's no fake snow. It's all really snowing when you see it snowing. And I think it makes a difference. You can feel it. Like you said, the seeping cold, you can feel it. And then we were on actual locations, five different schools to create the one school. And lots of decrepit buildings and stuff we shot and where you would hear the clanking heaters when it turned on. So, the atmosphere was great for acting in because it felt, it was cold and it was sort of old and it felt like that thing.

And it captures the New England. He's great at capturing regional feel and atmosphere. Yes, he did it very well. He did it in Hawaii. He always does. Yeah, and it's like, and so he got the New England thing brilliantly, I thought. Yeah, also the charmlessness of the schools. You know what I mean?

His room was the only interesting thing. Yeah, well, there's a kind of attempt to build this kind of nostalgic sort of reference to these English schools, but it doesn't really go that far. They don't quite accomplish this sort of fanciness that they set out to be. Right. Now, one of the things you did, you dedicated your Golden Globe that you won. Congratulations to teachers. Can you talk about that? Well, I come from a family of teachers.

You do. Everybody's teachers. My parents were teachers. My grandparents were teachers. My brother's a teacher now. It's like everybody's teachers. So teaching is a big thing. And my dad, teaching and education and all of it was a big, big, big thing in my family.

What happened to you? Why didn't you go into it? Because I wanted to be an actor. I mean, I thought about it sort of glancingly. I thought, well, maybe I'll go into the family business and become a teacher. But I don't think I would have a good one. Why not a good one? I don't think I would be good because I don Why not a good one? I don't think I

would be good because I don't, I think I would be the opposite of the guy in the movie. I don't think I'd have an ounce of discipline. I think I'd just be one of those guys who's like, it's everybody, everybody gets an A, this is great. Let's all, you know, let's all go take a break today and go take a walk. I think I'd be one of those guys. And that's not good either. Probably not. No. The question of who has access to education and who doesn't is front and center of the film. Yes. I thought it was an important thing. Talk about why that was. It's still a huge issue today. My podcast co-host, a professor at NYU, Scott Galloway, says top schools have become luxury

brands now. Yeah, that's true. I mean, it is. And I think that, you know, the movie, Alexander's movies have a lot to do with class. They do. and interested in it as an issue in America, as an American issue. And so, it's a good sort of laboratory to study that as education. And it brings out the things about the characters, too. You know, this guy's resentments and bitterness. Status. The status and ranking. Yeah, and the kid's sort of dealing with this family that doesn't really give a shit about him, and then marries multiple dilemmas of existing in that world.

Now, you've had some big hit movies, but you had a couple of co-stars who really are breaking out now. Talk about that, having so much screen time with them and how you think of yourself in that relationship. Well, I mean, they're both, yeah, they're having a wonderful moment, both of them. And they're at different, very different stages. Dave Vine's been doing it for a while. And she's fantastic and has always been good. And I think she's having a wonderful moment where, because she's mostly done comedy for the most part. People are seeing what she's really capable of. And it's just, you know, she's a great actress, and she's a great person, and it's a wonderful thing.

Dom. Dominic Sessa. Dominic Sessa, who plays Angus Tully, has never, this is the first thing he's ever done. It's astonishing. And so his moment is insane. I can't even imagine being him right now. He was found at a school, right? He was at Deerfield, which is one of the schools we shot at.

He still had a room at Deerfield. He was still living. He was still there, and he was living there. So it's kind of crazy. But he's having an incredible moment in his life. And I'm fascinated to see where he goes from here. But they were great. They an incredible moment in his life. And, you know, I'm fascinated to see where he goes from here. But they were great. They're both great in different ways. I mean, they're both, Dom had this kind of natural professionalism about him, gravity and sort

of seriousness. And so, I never felt like I was working with somebody inexperienced. And Devine and I work similarly and felt very similar and have a similar approach. So, that was just, that was one of those great things where we didn't even need to talk about anything. One of the things that was interesting is it doesn't always happen. You let them shine quite a bit. I was thinking at the end, every single character in this movie got a minute or at least a minute. Absolutely. No, it has to be like that.

I'm not, that's, I mean, I don't ever feel like I play the lead. I play the central character in an ensemble. And'm not, that's, I mean, I don't ever feel like I play the lead. I play the central character in an ensemble. And this was, this just was this anyway. I mean, it's the three people make a hole in this thing. It has to be that. And, you know, I don't know, if I let them shine, they just do, you know? So, it was, it was just a pleasure to do that with them. And it was like a play or something a lot of the time, this thing, you know? It was just the three of us or the two of us a lot. So, it was great. So, let's talk a little bit about the craft and sort of your moment, too, because most people think you're going to win the Oscar. I know you're not supposed

to say anything. No. Whatever, in any case, seems like it. Okay. And then you could have some more In-N-Out Burger, which will be great for you. Yeah, I love In-N-Out Burger. Yeah, you've got to play that trope that they like to do after the end of award shows. Anyway, you've been, but you look great, by the way, in the actual In-N-Out Burger. Well, thanks. I feel comfortable there. You've been working in film and television on the stage for more than 30 years. Yes. You just wrapped up seventh season of Billions, terrific character, DA Chuck Rhodes.

It was inspired in part by U.S. Attorney Preet Bharara. I have a question from the former DA himself. We add these in to every interview we do. Hi, I'm Preet Bharara. I have a question from the former DA himself. We add these in to every interview we do. Hi, I'm Preet Bharara, former U.S. Attorney for the Southern District of New York. The big question I want to ask is this. You had a star turn in the 2004 movie Sideways as a neurotic wine enthusiast. So why on earth, when we once had dinner to discuss your upcoming role in Billions, did you make me pick the wine? Uh-huh, Preet.

First of all, he was forcing, I didn't, I was sick and I didn't want to drink and he kept insisting I have a drink. Okay. Good to know. First of all. I believe you over Preet any day of the week and twice every Sunday. Yeah, that's true. Trust me. I don't know anything about wine. I know nothing about wine. And he's a very, you know,

Preet's a very sophisticated erudite man. So I thought he should pick it because I know zero about wine. I know nothing about wine. He probably drank the wine. Yeah. All right. Well, let's ignore the wine. I was just getting, but I do want to talk about how you developed your character of Chuck Rhodes. Obviously he's a little bit, he doesn't like to, you know, he doesn't like S&M as far as I know. Oh, Preet, you mean doesn't like S&M? far as I know. Oh, Preet? You mean he doesn't like S&M? Yeah. I didn't see it. It seemed very loosely based on Preet.

Yes, I know. It was extremely loose. He thinks it is, and we'll give it to him. No, no, no, listen. I mean, sure, we'll let him live with that illusion. But it was various things. I know I can tell you that one thing that was interesting, the look of the character. I remember thinking, I don't want to just look like everybody always looks when they play these guys.

So I went and I scrolled through and I looked at all these different district attorney guys all over the country. And I came across this guy, John Durham, who is the guy who nailed Whitey Bulger. And he was the Connecticut State. But he was also the guy who did the whole investigation of the Russia investigation thing, the bearded guy with the glasses and a vest. And I thought, he's unusual looking. There's a guy who looks like that, so I borrowed his look, I can tell you that much. And when I read about him, I thought he sounded like this kind of very intense crusader kind of guy. And I thought, oh, he's interesting. So if I based it on anything, on anybody, it was more him than Preet. And then, you know, as with anything that's well-written,

the holdovers or billions, I take everything out of the language because it's going to be there. And the more I run over the language in my head and digest the words, the more my imagination gets fired off. How do you build that kind of character? If that's not, I don't, it's nothing like you, of course. Of course, you're an actor. That's called acting. I get it. It's acting. Yes, indeed. I mean, a character, I'd never done a TV show, so that's part of what's happening is that they're building the character as you're doing it.

Well, you are. Well, you are and they are. It's a sort of interesting dance you're doing as it goes along. And they're sort of seeing what you're doing with it and building off of that, and you're seeing what they're doing. And so it's a curious process building a character over a TV show, the length of a TV show. And they took a lot of twists and turns and curveballs and changed the characters and did these kind of hairpin turns a lot, which was kind of part of the nature of the show. Different allyships, yeah.

Yeah, it was part of the idea of the show that there were these sudden turnarounds, but that was interesting to play. It was, yeah, it was a fun character to build, but they did a lot of the driving. You know, you just went where they wanted you to go. Right. And right now we have a real-life Axe in Bill Ackman. By the way, every Hedge Fund person I know

thinks the character is based on him. I've gotten that from all of them. They aren't, none of them. Brian Cobham was like, no. But besides the obvious drama of it, I think the show is about having power for power's sake, no matter who the betrayer is involved. Talk a little bit about what you think the show did, because it really did burst on the scene, and it was way before its time, because now it feels like much more pertinent.

No, it does, doesn't it? I don't, that's a really good question. It was an interesting thing, because I didn't inhabit the money part of the world of that show. So, I didn't. That's a really good question. It was an interesting thing because I didn't inhabit the money part of the world of that show. So I didn't experience a lot of what I think the guys who played the money guys did. I mean, I think it was always a question for me, like, are we glamorizing this stuff too much or are we, like, critiquing it? And I think we were doing both, actually, in an interesting way. So rich people porn. A little, yes, it was. But I think also they did a pretty good job of still getting in there and sort of critiquing these guys and

not lionizing them all the time. I don't know. I guess you're right that in a way it almost feels more relevant now than it did then. You're right. Yeah. I don't know. What do you think it did for the cultural moment? I thought there was a lot of rich people porn, but I don't mind it, right? I get that. And having spent a lot of time covering tech, I'm used to it. I'm used to their cars and their ridiculous behaviors and their childishness. Yeah. Which they captured, I thought, very well in the show.

Yes, they did. They did. I think they had a lot of stuff that was real to life in a lot of ways, which I thought was that's how they behave. In my experience with hedge fund people who suddenly got involved in tech at the end. I was more interested in the Chuck Rhodes character, actually, because I know those guys. You found him interesting.

I did. Yeah, and I think there is that sort of sense of power for power's sake and a guy who sort of is abusing his power and stuff. I always thought of the character as very sort of like the Javert character in Les Miserables. Oh, that's interesting. Well, because it's this kind of he's so driven, he's lost sight of any sort of – he's lost perspective. And it's this kind of moral scourge that he's sort of set himself up as is kind of an interesting character.

Yeah, I didn't know why he was doing anything. You know what I mean? Well, in a good way or in a bad way? In a good way. In a good way. Yeah, that's you know what i mean like well in a good way or in a good way in a good way i think he was yeah that's good i think he was motivated by a lot of kind of personal animus and things like that you know and then sort of damage and trauma from the father and things like that so i think it was a whole mess of things it was a very messy character he is in a lot of ways a very messy character very isolated lonely character too i would say say. It was an odd character to play because he was very closed off from everybody. I mean, nobody liked him. He didn't

like himself. And so it was a very, it was a really interesting character to play. Did that have any impact on you, yourself, playing this sort of, he was hateful really, in a lot of ways. I mean, it's, I mean, that's a tricky thing. I've played a lot of sort of bad guys and, you know, I mean, it's like, but you learn to just, it's not you. You let it go. And it's like, you know, you don't really feel it. It's interesting.

But a multi-year TV show is different from a film. Building a character on a TV show like Billions differs from what you did in The Holdovers. It does. And you begin to feel very comfortable, sometimes almost alarmingly so, in a TV show. You're like, am I getting too comfortable? Am I sort of losing the sharpness of the character because I'm getting kind of a little too relaxed? So that's an interesting thing. But these guys kept it pretty varied and lively, and the language was always a challenge. Fantastic, yeah.

Yeah. And that was, I mean, and not having really done any other TV shows, most people would say to me, my God, the gift you have of that language. Yeah. And apparently you're good with words, I understand. Uh-huh. Uh-huh. See, that's how I circled back. So you came back.

A little podcast trick there. Nice. Nice. Is this how you do a podcast? Is this the proper way of doing a podcast? Very good. Very good. I'll take notes.

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You recently said that you stopped saying yes to everything after you did Billions. Why is that? I said yes too much. I just worked too much. And I did a lot of stuff where I just was like, I mean, I enjoyed everything I did. I worked too much. And I did a lot of stuff where I just was like, I mean, I enjoyed everything I did. I just, I worked too much. And I liked to work and a bit of a workaholic. And I just thought I can take it easy now too. You know, I did this show and I have some money I can rest on now and I can take it easy a little bit. So I just thought I would. Do you regret saying yes to anything?

No, I don't regret saying yes to anything. I just, I just did a lot, you know, and it just was, I, I sometimes wish that I had just taken more of a break and, you know, and sometimes I don't think my work was great because I was going to have a friend who, well, you know, and it's like, I have a friend who, an actor who said he and I, we chain smoked jobs, really, you know what I mean? And it was like, it's a good way of putting it. Because it's like, you get a little bit. So I don't, you know, I thought the work suffered a little bit. Well, actors always feel that they aren't going to get another job, right? Yeah.

All my friends were actors. So that was also part of it. Yeah. I had the same feeling. So for people who don't know, you won an Emmy as John Adams. You've been Teddy Roosevelt, Santa Claus, French novelist Balzac, former Fed Chairman. Icons. Icons. Former Fed Chairman Ben Bern Fed Chairman. Icons. Icons.

Former Fed Chairman Ben Bernanke. Icon. Yeah, icon. And even yourself in Cold Souls. Is there anyone you'd really like to play? Any person I'd really like to play? Any character. It'd be interesting to play Teddy Roosevelt on camera. I did Teddy Roosevelt as a voiceover.

Right. I'd love to play Teddy Roosevelt on camera. That could be pretty interesting. I'd love to play Teddy Roosevelt on camera. That could be pretty interesting. I don't know that there's any particular living or historical person or figure like that anymore. I've done a lot of those kinds of things. There's kinds of movies I'd like to be in.

I wouldn't mind being in a Western sometime. I wouldn't mind being in a more spy movie type of thing and more sort of horror stuff, genre stuff I really like. I wouldn't mind doing some more of that. A Western would be great. I don't know what I'd play in a Western. Why a Western? I like Westerns. You like Westerns. Yes, I do.

A villain or hero? What would you pick? Well, I don't know. I mean, I imagine I'd play the horrible railroad baron. That's probably what I would. That's where they go first. Yeah. Exactly.

That or maybe. Yeah, with the stash and the pocket watch. Fussy, yeah. Yeah, just kind of, maybe, yeah, with the stash and the pocket watch. Fussy, yeah, fussy. Well, just doesn't care. That railroad's going to go through your farm whether you like it or not kind of guy. Or like maybe the doctor. Maybe I play the sympathetic drunk doctor or something like that. That ends up killing someone, sure.

Yeah, exactly. Redeems himself by healing somebody. Or the goofy prospector. I'm not sure which one, but one of those, you know? Yeah, I can see that. Okay, all right, a Western it is. But when you're deciding on a production, what do you decide on? You obviously get your pick of them compared.

You're a real working actor. You really are. More so, I've gotten. More so. Honestly, first and foremost, beyond the character or anything else, the story has to interest me. That sounds like a real platitude that you hear from actors, but I honestly have to be interested in the story. And that literally means I have to keep turning the pages of the script I get. And if I am bored, if I get bored, I don't want to do it because I just want to do a story that's going to rip me.

Have you written a script? I don't actually know this. I couldn't. No. Directed? No, no. Why not? Too much work.

I'm way too lazy. Okay, okay. Acceptable. Acceptable answer. Yes. But then sticking to actors, living or dead, who do you particularly admire or who you learn from? You remind me like Gene Hackman I would pick for you.

Oh, wow. That's nice. Or Sidney Greenstreet. That's a very nice thing to say. Oh, I love Sidney Greenstreet. Wow, that's nice. Or Sidney Greenstreet. That's a very nice thing to say. Oh, I love Sidney Greenstreet. Wow, that's the best compliment you could have possibly given me. You're welcome. You have made my year saying Sidney.

I love Sidney Greenstreet. Guys like that, I loved. I loved Peter Lorre. I loved Boris Karloff. I loved Alec Guinness. I really liked a lot. I liked guys like that. Now, I admire.

Why do you like them? Tell me what's good. They're unusual. I find them a lot. I liked guys like that. Now, I admire— Why do you like them? Tell me what's good. They're unusual. I find them very odd. They're unusual. They're fun. They do this kind of fun, colorful stuff. When I was a kid, I was always interested in those guys.

As they'd cross the screen and leave, I'd go, but I want to watch that guy because he's sort of fascinating and strange. Yeah, forget this Clark Gable character. Forget Clark Gable. Forget this Humphrey Bogart guy. I want to watch Peter Lorre. And those kinds of guys. And they were creative and fun. And they were sort of an Alec Guinness wonderful.

Guys now, I mean, people that I really love. I'm a great, great admirer of Robert Duvall. I mean, I think of those guys. He's my favorite of those guys. Gene Akman's amazing, too. I really admire Denzel Washington quite a bit. Why is that? Well, I think he's kind of remarkable. I think he's transformative. He does all kinds of things. He's remarkably powerful. He can be funny. He's fascinating to just sit and watch,

drink a cup of coffee. He's unbelievably compelling. I just think he's great. I think he's one of the great living film actors. Any young person you are watching? I'm terribly ignorant about young people. All right, that's okay. You can ignore them completely. It's fine by me. I'm old. I'm old, so I don't look at young people at all. So I want to switch gears. You have a podcast, Chinwag. I do. Why did you call it Chinwag? It's just what my friend, I do it with a guy named Stephen Asma, who's a philosophy professor out in Chicago at Columbia College in Chicago, an arts college.

And we would actually just, he and I used to just have Zooms together like this and talk about weird topics. And he would just say to me. Where did you meet him? I saw him give a talk online several years ago about consciousness and the imagination and stuff. And I thought, that guy's really interesting. I'm going to get in touch with that fellow. And so I did, and we just started chatting online, you know, Zooming together. This was 2020.

And so we were doing that. And at a certain point, he said, this is really funny. We should do something with this because we were talking for hours. And so he gave a chunk of stuff of us talking to a student of his was an animator former student named alex sokel and he animated it and the idea originally was to do an animated show of us talking animated but that didn't happen and so eventually we just made a and he would call them chinwags let's have a chinwag he say. What does it even mean? It's an old school British term that means like a chat. Sit around and have a chat.

A chinwag. All right, okay. Yeah, it's like flapping your meat flaps, right? Okay. Meat flaps is another. You can take it. It's all yours. You and Stephen, let me just say,

this is not your typical celebrity podcast, I would say. You and Stephen discuss metaphysics, Nostradamus, UFOs. You have had celebrities, Tom Hanks, Natasha Lyonne, Neil Gaiman. Well, we have like Mary Beard, too, Roman historian and stuff like that. Yeah, wonderfully historian. What are you going for? How do you look at this medium and pick topics? I have no idea. I'm so ignorant about it that I just kind of blundered into it. I mean, it's generally what Steve and I find interesting. kind of blundered into it. I mean, it's generally what Steve and I find interesting. And, you know,

he's a philosopher, and so we do end up talking a lot. And he has a focus on sort of consciousness and the imagination and the function of imagination and things like that. He has a weird interest in cryptozoology, which means Bigfoot. I've had a lifelong interest in strange things like this. What we end up talking about a lot and what the baseline idea often is, is why do people believe the things they believe is actually a lot of the time. How does the imagination function in people's lives and in consciousness? It often ends up being what we talk about. But it's also just fun. And we have a good time.

And we bring people on. I thought it'd be interesting to have people come on who don't know. And they're not going to talk about the movie they're on or the TV show or the book they wrote. We're going to ask them about ghosts. Do they believe in ghosts? Do they believe in UFOs? Are they interested?

You know, what do they think about cults? We talked to Katherine Hahn about cults because I knew she'd be interested in that. And things like that. And I think Tom Hanks was time travel, right? Correct? Yeah, it was time travel. We ended up talking about a lot of things with him.

I'm obsessed with time travel. Yeah. And he, because I thought his is a fellow who's fascinated with the past. So, and he was great and he was game for it too. Right. Because it's probably different. It turns out that a lot of people have a good time because they're not talking about the thing they usually have to talk about. Right. And so that's why, but then we'll get somebody on. We got a woman on named Deirdre Barrett, who's a sleep and dream expert from Harvard to talk about dreaming and dream science and stuff. And we talked to a guy named Matthew Johnson about psychedelics. Right. And stuff like that. So it's kind of, but yeah, so it's kind of whatever interests us.

Is there one area you like, or is it UFOs? Because right now UFOs are having a moment, right? UFOs are having a big moment. Because apparently they're correct. Apparently they're there. According to our government. We talked to one woman who works for MUFON, which is this sort of UFO network that collects stories. And she's more of a strict believer. We're going to be talking to a woman named Leslie Kane, who is really great.

She's a journalist and a writer who's written a lot of stuff about all kinds of interesting topics. But we're going to talk to her about what's going on now with all the strangeness of it now. Because it's very weird. I don't understand what's going on. It's strange and compelling. Well, they might have been keeping it from us. It may, that a lot of these shows might be true.

A person you should talk to is John Podesta, the big political guy. Sure. I interviewed him only about UFOs once. Yeah, that's a good idea, too. Very good. Thank you. And the other thing that I suspect you're leaving out is that we're in a simulation. We've done a little bit of talking around that. We've talked to Pat Noswell too about the Mandela effect, which is

this sort of mass delusion that people will have. It's based on the notion that when Nelson Mandela died, many people thought he'd already died. And there was a whole kind of internet phenomenon about that. But that all leads into the living in a simulation thing, that there's a glitch in the simulation and you forget something and everybody has a mass misremembering of something. This is so interesting to me. Are you looking for a $100 million deal like Smartless? Whatever. I mean, not really. I mean, if that happens, that would be great. I mean, really, honestly, my friend and I, Steve and I, we have a good time doing it. And you know, it's gathering an audience, whatever. Sure, if that were to happen, that would be splendid.

But if it doesn't, that's also fine. I'm just enjoying myself. All right, I have just two more areas. One, since Chinwag covers the esoteric and the metaphysical, I'd like to do a quick lightning round, Okay. A handful of life's great mysteries. UFOs, are you a believer or not? I'm a believer, qualified believer, that there's something there, but I'm not sure what it is. Bigfoot? No, not so much. Not so much on Bigfoot.

God, or just as real as Bigfoot? Technically, no. I'm not an atheist, but I don't know that I believe in a single creator god. This is not so lightning, is it? I'm not saying yes or no to anything. know that I believe in a single creator God. This is not so lightning, is it? I'm not saying yes or no to anything. No, some people say an agnostic is an agnostic. I'm not an agnostic, because I do believe. I'm not a materialist.

I'm not a strict materialist, so I can't say I'm an atheist, because I believe in ghosts. So I can't claim it. Oh, all right, ghosts. All right, then time travel? Yes, I actually think it maybe is happening. Any place you'd like to go anytime? I think I'd go into the future because I'd be too interested to know what the hell's going to happen. Maybe even the near future would be really interesting.

Oh, right. November 7th, right? Yeah. Well. So if you could clear up one, you'll get there soon enough. If you would clear up one enduring conspiracy, JFK, Area 51, the moon landing, what would it be? Moon landing. I think I'd like to just put that to rest.

Put that to rest. Silly, that one. Yes. I like it. It's fun. It's entertaining, but it's not true. It's not true. No, 100%.

Well, welcome to the internet. Anyway, last question. I want to talk about Hollywood, and we'll finish up on that. I believe in Hollywood. Do you? Good, because it's done you well. Miramax bought worldwide rights to the holdovers in 2021. You were already attached to the film at the time.

Bill Block, the guy who bought the movie, was ousted last fall, reported because Miramax felt the studio would be mining existing IP instead of acquiring films and distribution rights. How do you think about the mentality will impact films in the future? And how much room is there for movies that land in between budget and blockbuster? And so you're saying sort of is there room for original content and stuff like that? And will there be original content like the Holdovers? Which you star in a lot of, yeah.

Yeah. No, I think it will. I mean, people worry about it, and there's often been for years. But I've been hearing this now for 30 years. It's over, and then nobody's going to make movies like this, and yet they do keep making them. And actually, there's a nice slate of them right now. Yeah, sure,, American Fiction. And up for awards, you know? And it's like, so I don't think that, I don't feel as worried and gloomy about it. I do think maybe not a lot of them will get made, but I don't think they're ever going to go away or anything like that. I don't think we're all going to get buried under,

you know, superhero stuff. Which also, it seems to be waning a bit itself. Waning itself, right know, superhero stuff. Which also, it seems to be waning a bit itself. Waning itself, right. That's true. So, who knows what's going to happen? But I do think these things always will. They do always seem to get made. So, you know. Yeah.

Ted Sarandos, when I interviewed him a few years ago, said he didn't think they had a life. They would all be in streaming. There were major strikes in Hollywood in 2023. The streaming services were really in the crosshairs, as was the use of AI. Talk about the strikes. Has it shifted it for you? You were obviously not working. I was not working.

I had just finished. I mean, but I watched a lot of my friends suffer quite a bit. I mean, I think that, you know, they secured the rightful payment is going to happen now for people.

The AI thing is actually a thing that freaks me out. I don't know what's going to happen with that. Would you license your likeness? Would anybody want to license my likeness? What are they going to use me for? I mean, but maybe.

No, I don't think I would. No. Maybe if I'm very old and they want my likeness from the past or something maybe to retire on. There's plenty of material. Plenty of material. You're data rich, as they say in tech. I am data rich. There's a data landscape for you. That freaks me out. Yeah, I'll tell you one thing that has shifted, and this may be getting too granular and too into the weeds, but the whole

way that actors audition now has changed radically. And I don't think it's going to change back. And none of that was solved by the strike, which is that they all have to film themselves now and send their auditions in. And this idea of going in and face-to-face auditioning for things is kind of gone. And I think it's actually a bad thing. I'm going to say it right here and now. And for actors who know what I'm talking about, it's like, it's not a good thing. And that concerns me. It's obviously a time of great change. What are you seeing now that you like? What kind of movies get you in the theater? Because that's the other trend is people watching streaming. Yeah, I mean, I'm a big, like I just said, I'm a big genre fan.

And there's a nice sort of, you know, moment going on for horror movies and things like that. Gets me in the theater. I like to go see a really good, although I saw this on streaming. I'm saying that now when I saw this movie, Barbarian, which was really good. But I'll go and see a horror movie. I enjoyed, I'm a big genre guy. I enjoyed Godzilla Minus One, the Japanese Godzilla movie that just came out. I think there's a lot of really good genre stuff getting made, and that always gets me into it.

Do you like that? Have you heard about Abigail? What is that? I have, and what is that? It's a vampire ballerina. Oh, yeah, that sounds great. I feel like it's right up your alley. Yes, that sounds I have. And what is that? It's a vampire ballerina. Oh, yeah. That sounds great. I feel like it's right up your alley.

Yes, that sounds fantastic. And that kind of thing? Yeah. Boom. I'm there. I'm there. Uh-huh. So when you're looking at the rest of going to the Oscars, this is my very last question,

most people think you are going to win. You don't have to say that. But how do you prepare? Do you like awards? Or do you think? Like. You have to say you love them right now. Yeah.

I mean, yes. I don't really know how I feel about it. It's all just a shitstorm of emotion going through this stuff. I don't know. In one second, it's the greatest thing ever. In the next second, you don't even want to think about it. So, I mean, I don't know. It's fun.

I'm finding the fun in it. I'm old enough now that this is fun. And the parties. Yeah. And it's like, you know, and I get to just, it's not like it's work. I get to talk to you. I get to talk to people like this. It's nice. So it's like, it's a good time. The award itself, who knows? I have no control over it and we'll see what happens. And your next role? Your next role? I don't know what I'm doing. I haven't taken anything. Like I said, I'm actually taking it easy. Not chain smoking?

Not chain smoking anymore. I did a Spanish-language horror show for HBO called 30 Coins that was really great. And I'm probably going to do another season of that at some point. But that's it. That's it. That's it. Yeah, podcasting is a great business. Podcasting.

Right? It's a goldmine and it's just, you know. Don't believe that you can't make money at it. You know, you can do pretty well. I'm enjoying the hell out of it. So yeah, I'm doing that. Yeah. Well, keep doing it, Paul. Thank you so much. I do hope you win. You really deserve it. I love that movie. I appreciate it very much. On with Kara Swisher is produced by Naeem Araza, Christian Castro-Rossell, Kateri Yoakum, Megan Cunane, Megan Burney, and Michael McDowell. Special thanks to Mary Mathis, If you're already following the show,

you're a railroad baron in Paul Giamatti's New Western. If not, you have to film yourself auditioning. Go wherever you listen to podcasts, search for On with Kara Swisher and hit follow. Thanks for listening to On with Kara Swisher from New York Magazine, the Vox Media Podcast Network, and us. You can subscribe to the magazine at nymag.com slash pod. We'll be back on Monday with more. We'll see you next time. revamped for urban adventure. From the design and styling to the performance, all the way to features like the Bose Personal Plus sound system, you can get closer to everything you love about city life in the all-new, reimagined Nissan Kicks.

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