SmartLess - "Edward Norton"

Episode Date: December 26, 2022

History major Edward Norton swims with the pod this week, uncovering rare treasures like a Portillo’s private plane, Asian long-horned beetles, a wonky browser, and a wet Marlon Brando. But at the end of the day, “it was the kind of thing I would have really done just for the poster."Please support us by supporting our sponsors!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Shon, happy holidays to you, if you're a musical genius, if you were to make up a new Christmas classic song, how would it go? What if I give you a little beat right now, you write some lyrics, right? So, Merry Christmas to Jason and Will. Merry Christmas, Merry Christmas. Do you know anybody named Bill? Merry Christmas. Merry Christmas.

This is going to give kids nightmares. What's going on? Welcome to Smart List. Welcome to Smart List. Welcome to Smart List. Enjoy the show. It's going to be better than the song. We're just talking about dirty desktops, Shon, and dirty inboxes.

Do you have like a bunch of emails that you have? You haven't read, or you did read, and you haven't really deleted them, and it's not in sync with your iPhone, and are you a mess technologically, or is it tight? So funny. Answer the question. Answer the question, Shon. Or take your time. We're not on the air or anything.

You know what? I don't delete emails, but I don't go back and check them out. Is that the question? No. How many do you keep unread, I think, is what he's getting? Oh, no. I like zero, zero, zero unread. So once you read them, you don't delete them?

Why not? No. Well, I don't know. It's an extra step. I didn't think I had to do. So you just have all the emails you've ever received are sitting in your inbox. So your inbox is empty? No.

It's full. No. All my emails I've ever received. Yours I'm saying to Jason. Yeah. Absolutely clean. The only emails that I have read that I keep in there are the things that I need to respond to when I have the time to really focus on them and respond to them.

They're like a little reminder, like to-do list. You keep them unread, right? No, no, no. I read them. And then if they're in the inbox still, that means I still have yet to respond to them. So what you can do is, alternatively, you can keep them read, but you still hold onto them in case you need to reference them and go like, hey, what was that thing I need to go back?

Because I go back all the time. But that's in the trash. You can just go into the trash and see them there. No, because they eventually get deleted. So like, I need- You have a thing you can check and say never delete. Guys, guys. I'll be like, you know, did I get that version of the script or like, especially if I'm going

back and forth that I'm doing drafts with Chappie, I'll be like, oh, wait, where was the fucking drafts? Oh, Chappie. Boy, Sean, I knew we'd get a Chappie. Yeah, Chappie. It's early today. Hello, old Chappie. Mark Chappell, the greatest writer in the history of Britain.

There we go. There is the quote. That's the clip. Did you guys- Wait, do you- but do you- what was I going to say about- You know, the problem I have, and I hope Apple's listening, the problem is on iMessage. When I read a text from somebody and I go, oh, I really want to respond to that, but I don't have the time to really focus on it the way that it deserves, I want to mark

it as unread so that it stays lit up, because otherwise I'll forget to go back to it. And then the person thinks I'm just the A-hole that I'm trying to pretend not to be when I don't respond. Sorry, Sean's having a conversation with somebody on the side. What's going on? It's got away. Yeah, can you tell? Do you guys have a night's spinning around in your room like we do?

You know we're rolling, right? Sorry, Scottie was asking me something. Wait. We love that. What? No, but- Is it about whipped cream? He asked me if I wanted another sugar in my tea.

Did he really? Yeah. Wait, you have tea? Oh, that's right. You don't drink coffee, do you, Sean? No, I drink tea, but it's like a milkshake, because I put tons of cream and sugar in it. That's shocking. But wait, the last thing about that, because I think, you know now, Jason, you can unsend

from your phone. That's the latest iPhone update. Wait, on text? So if you send an email, you have, you can- Oh, right. Yeah. There's an oops, there's an oops button. Yeah, like if you wanted to edit it.

How does that work? Does it then disappear from the sender's inbox or from the recipients? Oh, really? That's correct. Well, I still think that it would be easy for them to mark texts as unread, if you'd like to, but they haven't done it yet. I'm pissed about it today. Will, I see you're white again, Sean, I see you have a hat on again.

Yeah. I don't always wear white. Yeah, you do. Makes your teeth pop. What are you talking about? All right. Let's get on with it. It's early in the morning and my friends aren't that chatty, so we're going to go ahead and

we're going to introduce- No, I can chat about stuff. I am very chatty, but- I can chat about stuff. Yeah, and I do want to get to your guests, but you know what it is- Do you have anything worth chatting about? Sean, go to your list. Okay, let me just think.

What have you worked on? What are your bits today? Well, I have- Oh, the first bit was, oh, what if he started reading, Scotty coming to ask me about it? No, Artie did that. No. Well, remember when we had Ryan Johnson on and Scotty just, Scotty appears whenever there's a Star Wars reference of any kind.

When Ewan was on, he made a bright appearance as well. All right, we got a fella today. Okay. Who has had to put up with a lot of BS? Well, probably. So we got a fella today that has somehow managed to keep his head down and do some really cool work in a lot of different areas that many people notice and are affected by. Some of that is acting, some of that is directing, some of that is producing, some of that is

entrepreneurial, philanthropic, environmental. Did you just say philanthropic? Yeah, he did. Okay. Philanthropic. All right. He's been all, I'm going to start at the top. Don't you dare.

Don't you dare. He's been all around us, but we know very little about him or at least less than you would assume given his fame. Well, that ends today with this hard-hitting investigative journalistic hour. He was born in Boston. He's married to a Canadian. Prick up, Will. Yeah.

He speaks Japanese. What? Got the acting bug from watching Cinderella. He debuted in Annie, Get Your Gun, Prick Up, Sean, has one kid, three Oscar nominations, a degree from Yale, knows Akito and Krav Maga, and he's big brother to Molly and James. Folks, please welcome Sean's dude, Edward Harrison Norton. No way. Oh, look at this guy.

Oh my God. Yeah. Big slice of class today. Yeah. You classed it up. Classic guest. So nice to meet you. There he is.

Wow. I like the lighting. I needed a towel to bite on. I bit through my thumb during the warm-up. Because it was so embarrassing. Yeah, because it was so embarrassing. Because of the Kelly and Regis vibe to our powder, right? I think we're all just, it's just early.

We're tired. We're a little tired. I know. It's too cute. Let's give him some hard-hitting journalistic questions. There was so much weird stuff in what you just read. Like, where do you, what are you on? Like, something other than Wikipedia that's doing it.

I don't know. It's just straight Wikipedia. That's all Wikipedia. Were you making that stuff up, like, Krav Maga? He kind of weaves in his little funny is that he weaves stuff into Wikipedia. Well, I usually, yeah, I usually add some stuff that's not true. But this is, I didn't do any ads. Akido and Krav Maga is on your page.

Is that not accurate? No. I'm going to have to go talk with Jimmy Wells and Krav Maga. I think your car is getting stolen right now. I was stealing your car. Or is that Sean? That's not me. That's Scottie making a run for it while Sean is distracted.

I don't know. No, that's not me. So you, but hang on, but you do know Japanese? Yeah, I'm okay on that. Wow. That's real good. What do you mean they're okay on that? I was like one of those things I did in my youth with a lot of passion and then I went

and lived over there. You know, I'm okay. I'm okay. I can do enough to impress, like, in the junket in Tokyo, I can get them all flutter and then I don't understand anything they're saying after I've done my few key phrases that sound sophisticated. Can you say, good God, somebody's stealing my car? No, that's what I mean.

Really? No. But you did study it and then you went there and you worked for a few years. But this has been a long time. We're all like middle aged now. Yeah. I can't remember. All of us.

Well past middle aged now. But we all play, we all play roles in our thirties. We sure do. That's what's amazing. Edwin, where are we finding you? Are you on the East Coast right now? No, I'm in California. California.

Wow. And wait, and so you're married to a Canadian? Yeah. Shana Robertson. I didn't know that she, I've only met her a handful of times. I don't think we've ever met. Nice to meet you formally. Yeah.

Likewise. I didn't know that Shana was Canadian. Where is she from? Toronto. Canadian farm girl from outside Toronto. No kidding. Parents are still on a 100 acre farm out there. What part of, Ontario, can you say the area?

Markham. Markham. Of course, yeah. Yeah. Markham. Oh, is that Canadian? Yeah. But she came, she, you know, she started producing movies when she was literally like 18 years

old. Yeah. That's true. For Mike Binder. No. Oh, of course. Mike Binder, friend of ours, friend of the show. Right.

Yeah. We know Mike Binder. Sure would you. It's funny. I'm really, I'm sitting here thinking, I'm actually surprised that we haven't met. Like I feel like. Yeah. I'm surprised too.

I'm surprised you don't know Shana. Yeah. I've met Shana a number of times, probably four or five times over the last 20 years. Yeah. Just briefly, did she work for Judd at one point? Yeah. Well, she and Judd started Apatow. She produced all Judd's movies.

Right. Oh, really? So I suppose that was it. That's cool. And then. She did Elf. She did Elf and she produced Elf and she produced Anchorman, Anchorman and then she and Judd teamed up after Anchorman and then did that whole run of 40-year-old Virgin and knocked

out. Right. Did she produce something that you were working on? Is that how you guys met? No. No. Just, we met in London. What?

Woody Harrelson and his wife introduced us. Well, how about that? We went, Woody was doing, Woody was doing Night of the Iguana on the West End. Amazing. And actually it was very, I was rehearsing a movie in New York and I was getting a little aggravated with the process and they were like, can you do another day tomorrow? And I had this very impulsive, it was a little bit of a passive-aggressive thing. I said, no, no, I can't, I'm not free tomorrow.

And they said, you know, how come? And I said, oh, I'm going to London tonight to see a friend in a play. And I had that plan. Quickly bought a ticket. So I got to go. And then I called, I literally went on like, you know. Expedia. Yeah, Expedia and got a ticket to London and called Woody and said, I'm coming to see you

and, and that's, you know, that's, that's. And then it changed your life. Yeah. So that's crazy. We was meant to, meant to be. And now you got Atlas and you're just sailing off into the sunset, playing dad. Now. So.

Wait, Jason, do you and Ed know each other? We do. We know a little bit. Like how? From, from where? I don't know. Well, through Shawna. Shawna.

Gax. Yeah. Yeah. Little mixers. Yeah. And, and Amanda. You're Sean and Amanda friends. Yeah.

Amanda. Amanda is the key to my entire social life. As you two guys know. That is for sure. Will and Sean. Yeah. You know, I, I, I know no one. I have no friends.

Jason, I must say, I'm always amazed slash slightly shocked at how, how well you know other people's kids names. You always call out their names like, you know, I do a little research, you know, but the way that you throw it out with, with such ease makes it seem like I'm really familiar with their name. And in fact, I've just been studying my notes. And what happens is, and it's disarming for the, for the, for the guests because they go, oh man.

And I realize it's a style and I call BS on it. Right. They think that I care and that I'm close with them and it's all, it's all, I'm a professional liar. We all are. Let's, let's, let's bust him right now though. But because he's on Wikipedia, he actually thinks I only have one child still. And I actually have two because they have that wrong on Wikipedia.

And so he just, by the way, you know, he's going to kill Amanda. Let me finish. Tell me, tell me how little Sebastian is doing, is he still a little angel? Jason, Amanda is going to kill you for this. Fucking kill me for that. She is going to kill you. And you know, and you know what else? Let me tell you something.

Here's a, God, you just busted me, Edward. So here's the thing. So I was doing my little notes about an hour ago and, and I see on Wikipedia, yeah. So Atlas, I'm like, boy, you know, Amanda sent me two pictures yesterday. It looked like two different kids. But then I thought, then I thought, well, no, Wikipedia's just got Atlas there. That must be a second picture of an older picture of Atlas. Boy.

Because I, and I'm like, God damn it. So now Amanda's going to be like, hey, Dick, I sent you two pictures, two children. And he's going to say, once again, you trusted Wikipedia over her. And once again, it's proven one thing, always trust my instincts. I was so right. I'm so glad that we dug into this because there was so much fruit here. All right. But in my defense, they both have beautifully long, luxurious blonde hair, right?

Which could be boy or girl because they're, they've got these great sharp features. One's a boy, one's a girl. And they're nine and six, but they, they did both. He had, he had real, like Greg Allman level, you know, a lot of that was extension, so right? I, some people were saying, God, he looks like, you know, Brad Pitt and legends of the fall. And I was like, I think it's a little more Greg Allman, like share era, you know, so

wait, Jason, speaking of kids, I want to see if this is an urban legend because it's become an oft repeated story in our family when it comes to work family dynamics that one of the girls heard you over telling Amanda that Ozark was going to get picked up for season two and that she leaned in and said, oh, I was really looking forward to getting to know you better. Is that true? No, I need to know if it's true. Did one of your girls say to you, I was really looking forward to getting to know you better.

That's the first time I've fucking heard that. But I don't doubt that it's true. And pass that one along to us. Well, you see, Amanda was probably protecting me and you, Edward, have now scarred me. No, that's so funny. I am murdered. This is one of the greatest things. It sounds like Franny at about age six.

Which times out about right. Is smartlist now four people? Is this what it is now? Is Edward a permanent, this is so phenomenal. We would love to keep you in the bullpen in the event of illness or anything like that. I could be the fourth beetle on the leaded beetle. The rest of you will all be in light and I'll be Paul in red. Sean, did you know that there was only three beetles and then they brought in the fourth?

Not true. This is you talking, yeah, the guy laughing is the dumb ass that was surprised to hear that beetles is spelled B-E-A-T and he was like, huh, hey, that is clever. Hey, listen, penis. There's a ton of comments. Are we still calling him penis? I called him penis. There's a ton of comments that agree with me.

They didn't know either. Well, they're dumb as you. That's true. Yeah. Sean's like, oh, that's like in the Tom Hanks movie, The Wonders, you know, what was his movie about the one hit, you know, the one, oh, any, he uses a Tom Hanks directorial debut to reference the beetles like that thing you do, that thing you do, that thing you do.

Speaking of debuts, so Edward, I don't know where, where did, what part of the country did you grow up in? Columbia. I've got that part. I've got that part. Central. He was born in Boston, Massachusetts, and then he was brought up in Maryland. In Maryland.

Oh, wow. Baltimore, Washington. Did you spend time in Chicago? I thought no. All right. No. Nevermind. Did you, so did you grow up in, were the arts a big part of your life as a kid?

Were you doing stuff, were you, how old were you when you started to perform or act or whatever? Yeah. I mean, the answer is yes. I, my folks were like really not artists, but aficionados of the theater. They loved theater. They loved film. I'm glad you said aficionado.

It's a word I would have used and it would have befuddled both of these fucking idiots, but thank you. Yeah. Yesterday, he threw out a couple of multi-syllabic words that was just. I said it and Sean squinted even more. No. I know why. You will audibly go, I sometimes keep a log of funny shit that everybody says.

And as you were telling your very nice story, I started laughing at Jason saying, well, they're as dumb as you are. Yeah. So he was also on a delay, Edward. I have a little bit on a delay. The synapses are a little rusty. And now a word from our sponsor. SmartLess is supported by GMC.

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I'm not going to say it again. And now, back to the show. Sorry, we're in a row, so your parents were aficionados, yeah? No, no. My mom was an English teacher. She taught Shakespeare and all that kind of stuff, but honestly, I had a babysitter who was at a local theater art school, and my parents took me to see her in a thing, and it really lit me up, and I started.

Was this Cinderella? Does Wiki have that right? Not really. I think it was a musical of Cinderella or something like that, but it wasn't called Cinderella. It was called Cinderella. The babysitter brought you to the show? No, no, she was in it, so my parents took me to see this very, you know.

Well, but hang on a second. What was a musical version of Cinderella that was so like, ah, I got to do that? Because it was a theater art school, you know, like an outside of regular school kind of thing in our community that, like, waiting for guffman, basically, but for kids. But it was, because it had kids ranging from like 18 to five, they would do these productions where there was something for everyone, and there were little kids in this production. And you thought that might be for me? I thought that was pretty cool, yeah.

And I just, it wasn't like, oh, this is what I'm going to do at all. I just was interested in, you know, if I said soccer looks fun, my parents would put me in soccer. And it was a thing I started doing like many of us. It was, you know, one among many things I did when I was young. And then I kind of, I was, I loved it, I was, I think I was good at it then, but mostly it was just fun. It was something I did after school, it was fun, I did it with regular, but in high school

I got very self, I went to public school. There actually was a really great theater director there, but I got super self-conscious in high school. I was really little, and I grew like a foot. A lot of that was the weed. Yeah, the weed. No, I was very self-conscious about, in high school, about performing and stuff like that. So I wasn't, I kind of pulled back from it, but then maybe I was 16 or 17, I think.

I saw a class trip went down to the National Theater in DC, and Ian McKellen was doing, he was doing this one man show that he toured with that was about his life in theater. It was about Shakespeare's life, the Shakespearean texts, and his life in the theater. Oh, that's cool. I can't remember what he called it, but it was absolutely amazing. It was, it sounds, it actually sounds, now that I'm saying it, it actually sounds really sort of esoteric, but he, Sean just went it again when I said it was esoteric. No, no.

Yeah, he was looking up. He was looking up. No, I'm scratching that. Dictionary.com. But anyway, I saw Ian McKellen when I was in a high school trip, and it had a big, big impact on me. I'm sure. I was very, it suddenly seemed like something you could do as an adult.

Was it the performance part? I mean, if it was, I guess, quasi-autobiographical in that he was talking about his life in the theater, et cetera, was him describing that alluring to you in that way? Yes, exactly. It was the combo of the life he described and the things that had taken him into. But then it was his weave, he was doing things from Shakespeare, which I wasn't super lit up on Shakespeare or something in high school, like everybody. You wanted to like it, but it was tough to get into in some ways.

Despite your mother's proficient- Yeah, yeah. No, she was really, and she was good at illuminating it for kids, I think. But you guys remember, remember when Ken Branagh's thing, Henry V, came out? It was more maybe when we were in college, but anyway- Sean squinting again. Ian McKellen, he would do these pieces, and he was talking about his life. And then suddenly he would just sort of spin and almost-

How did you have any idea that you were any good at it? Do you remember that moment where it was like, oh, some people say it's the first time they make somebody laugh or the first time they make somebody cry or something? Was there a moment where you were like, oh, I might not suck at this? That's a good question. I think I went through phases when I decided, okay, this actually does interest me. Then I went to college, then I was playing sports and I wasn't really doing much theater. Then I started doing theater again and I think I started getting, you know, I was doing

all kinds of stuff. Yeah, but you're talking about the Yale drama school. No, no, no. I didn't go to Yale drama school. No, I didn't go to Yale drama school. I went, I was like- You got to refresh your page, Jason. Yeah, I know.

You got a wonky browser. You were like, oh for four today. Oh for four. You did go to Yale, though, yes? I did. Did not go to the drama school at Yale, though. No, I did not. I was a history major and I wasn't-

Oh my God. Are you kidding? There comes Will. I was doing theater on the side, a fair amount of it, but again, it was mostly just fun and I- the idea- when I went to New York after, it was in the back of my mind that I wanted to see whether you could- I kind of was having a double life. I was like, I'm going to get a job, I'm going to do something, but I couldn't kind of let go of this interest in it.

I was very passionate about film and stuff like that, but it wasn't even that I didn't love it or it was that I wasn't really giving myself permission to do it. And why do you think so? Because my granddad, who was very influential in my life, he paid for me to go to college and he was very excited and proud about the fact that I'd gotten into a good school and all these things. Mom's dead or dad's dead? My mom's dead and I was very close with him and he- I really actually felt- I sort of

owed him doing something quote unquote serious with my- you know, I felt like I- and I actually kind of worked for him in doing low income housing, finance and development when I got into school. In Japan. No, no, in New York. Boy, you're over a thousand. I don't know what the fuck- Edward, you and I have very similar tracks and yours is much more successful.

That is like the poor man's version of you, but I also was very close to my mom's dad and he was very influential and helped me out a lot and I also was a history- briefly I dropped out of college and not Yale. My sister went to Yale. But I- so I'm like the loser version of Edward. Eddie. Eddie Arnett. No, no, no, your version would be Eddie Arnett.

I guess so. Yeah. Anyway, I'm with you every step of the way. I was going to say it's funny that your mom was a teacher and yet you were surrounded by this and you had access to I guess things like Shakespeare or whatever, but I do- I find it interesting that as a young actor, I found it very- as much as I wanted to connect with it, I found it very inaccessible and every step of the way, for whatever reason, this is just me personally, when it came to text like that, I just couldn't find an access.

It doesn't matter whether it was Kenneth Branagh, I saw Ray Fiennes do Hamlet on Broadway 25 years ago, I don't know if you saw- like every time I tried to connect with it, I found it very, very difficult and I don't know why and I think I can appreciate it more now than I did then. It was kind of wasted on me then. Do you know what I mean? I do, yeah. I do think people like Ray who I've seen- like he did Antony and Cleopatra, which is a tough

play like not, but he was able to illuminate it, he was able to let you know what it was really about with it, which is becoming middle aged and wanting to find passion again and I've definitely seen people who are able to bring it to life again in a special way. I'm not one of them, I did some Shakespeare stuff in college, but sometimes it almost felt more like a box that someone's ticking in a career than it did. I love it, but I love going to it when I see people who have that, but I was always drawn much more to things that felt like, what could I do with that that's- it doesn't fit me and what could I do with it that can make it new or what, you know, I don't know.

I always like the blank page. I feel like it's more like it might be like performative, like I've got to do the Shakespeare as it is intended to be done as opposed to a free ball character that's written in an original screenplay that you have total autonomy over and you can create a brand new person. The interaction with the others, you know, with the writer, with the director, to try to like pour something into a mold and come up with something interesting together. And look, I'm not saying that doesn't happen when people do classical stuff. You strike me as somebody who definitely has a very specific idea or plan about the way

in which you're going to play a character, and yet you have worked with some of the greatest directors of our time that are famous for having a very specific idea or plan about the way in which they're going to make their film. You're asking if you're getting to, did you clash with all these directors? It's not the way I would have phrased it, but my question is, was that a calculated risk that you were taking or were you excited to work for them in their films or it seemed like, you know. I'm assuming it's Deftus Mucci that's made you think of Mike.

Yeah, but these directors are the best at what they do and might not be that flexible to accommodate your question. Actually, I mean, tell me if you relate to this, I bet you do. There are some people, a Spike Lee, a David Fincher, Wes Anderson, the specificity of the way they do it is so liberating to me. It's so great to just, and I'm not saying it's puppetry, I'm not saying they're not looking for you to bring an inflection or whatever, but I think that in film anyway, when someone's in such command of the style that they're going to work in and you can

just fit into it, I find that really liberating. Who was primal for your first film? I auditioned for it. Not you, Sean. And we're going on the show today. But I did. Yeah, it was. It was.

And I think I might have passed Sean in the lobby of Gulf and Western Building in New York. You remember because he... He told that once on the show. Did you... I did, yeah, I remember that. Did you really? Oh, you actually did?

I did. I got like two or three callbacks. It was in Chicago. I was like 22 years old. I'm still waiting to hear. I remember we were talking to, Matt Damon was on the show and he referenced you and that part. Yeah, it's amazing.

You were incredible in that. Yeah, for sure. Oh my God. But Matt tells a story about how he and Ben, before they wrote, what you call it? Good Will Hunting. Good Will Hunting, yeah. That was like, well, there's only one primal fear part in a generation and Edward just got it.

So we better start writing. We got to write something for us to do. Oh, that's good. Yeah. It was a big deal. I actually helped a casting director in New York as they were doing an open casting for it. And I was like, can I read?

No, no, no. Why don't you just help us? And we're not interested in seeing you. And I was like, this is great. Well, this is fantastic for my ego, but yeah. You're reading the part of Carol and you're queuing in. They asked you to read for the Connie Britton role. Yeah, they did.

No, I asked to. I asked to. And it is a compliment because they saw you as too masculine to be a stuttering altar boy who gets raped. They were like, no one would buy it. No one would buy this guy as a victim. Now, was your interest in, I apologize for being all over the place. I'm a disaster, but was your interest in philanthropy and business and investments and stuff like

that? You were a part of kind of who you are and yeah. Yeah. Those are different. Within those categories, I'd say my family's been very involved in kind of, I want to say philanthropic, their work is my dad's a great conservation advocate, attorney. He's a phenomenal leader in the conservation and land conservation movement. My grandfather was a famous developer, but was involved in affordable housing very deeply

and my mother was in education reform. So I grew up in a world of people swirling around me who were doing all kinds of mission driven kind of cause related work that was very passionate and very inspiring. The funny thing is a lot of that sounds noble when you say it a certain way, but the truth is, the thing that was coolest about my family was they were just all having a ball. My dad loved and still loves, he's 80, the work he did. He was inspired by like John Muir and Ed Abbey and Aldo Leopold and like all these, you know, these great-

More hay squinting. Yeah. The great American conservation kind of warriors, David Brower and he was like, he wanted to be outside. He wanted to be fighting for these like great places and in them. When we were kids, it was just like the work my dad did just seemed like the ultimate fun. Then as you started to accrue a crew capital and influence, it was natural for you to say, well, let me channel some of that towards, let's shine some of the light on these issues.

And yeah. Yeah. Yeah. I mean, I always found that work, the stuff I've done working on conservation related stuff environmental work, I find it very adventurous. I think it's, you know, it's, I mean, it's fun to play people in this weird gig we do, but it's also fun to like actually get out and really help the world. Live a life.

Yeah. Sean, one time hired a private jet to bring milkshakes back from Chicago on their own. Holy shit. What's the name of that place? What's the issue? Portillo's. Portillo's. Yeah.

That's a joke. Well, while we're there, while we're on, you know, charities that deserve some attention. If you had a free billion dollars that would you found in your pocket, you have to channel it somewhere. Well, these aren't charities. These are causes. These are. Okay.

No, but that, that, that would not be difficult for me. I, I've spent a, I would, where would you put it? You got to put it one place. One place. That, that's. Peel off a hondo for me. Don't be a dick. Yeah.

Peel off a hondo. Where do you think it most be used to today as opposed to last year or in 10 years? I guess, you know, without getting too into the weeds, I think global conservation and environmental protection that's gone from sort of this idea of preservation through defense, you know, like putting lines around places and protecting them and creating protecting areas to people. I'd say there's a more sophisticated understanding now than there was even when I was in college that, you know, these, these complex systems wrap the world and you really, you really

can't like, you can't, you basically have to bring the way that eight billion people are living in line with ecological sustainability. You can't separate like our economies from it. So you, to me, the most exciting thing that's happening now is that I think people are really coming to understand that you've got to value nature and natural systems within our economic framework and that when you price it the right way, when you, when you understand that air and water and biodiverse, all these things actually aren't free. You can build new, very interesting models of, you know, you can have the poor people

in the planet who live on the front lines of the places that we're degrading. You got to come up with better economic outcomes for people from sustainably managing like the planet, then, then trashing it. And that's, that's, that's what I think is most interesting today is that we're. We can't wall ourselves off and then continue to live in the same manner that we have to do, accept where we live and, and change the way that we live and our attitudes and our perspectives towards the environment in which we live. And does some of that also still include reclamation of, of various lands and that's as well?

Or is that a not, not as worthy? Oh, no, for sure. But I think with a different understanding, I think of which, which degradations hurt us the most and what kinds of restorations actually deliver value. If I, you know, we're all friends with Dax, I don't, I don't know if you happen to hear this one interview he did recently with this guy named George Monbiot. It's, it's, you know, anything, but it is, if I've heard one person recently articulate these macro dynamics, absolutely brilliantly, that interview is anyone who's interested

in just sort of where. What was his name again? Dax Shepard. I don't know if I'm pronouncing it. You know him actually. What's Dax short for? He's, he's, I've always wondered Dax a million. You've always, it's just Dax.

We'll be right back. SmartList is supported by Audible. You know what? I love Audible so much. I'm going to try a new pronunciation every time we do it. This time I'm going to try outie bleh. You don't ride an elevator for the music or pick an airline for the movies. So when it comes to audio entertainment, it makes sense to choose outie bleh.

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Visit audible.com slash smartlist or text smartlist to 500-500. That's audible.com slash smartlist or text smartlist to 500-500 to try audible free for 30 days, audible.com slash smartlist. Back to the show. Now I want to shift gears and I want to talk about one of my favorite, there have been a few times over the years where I've watched people on a late night show tell a great story. One of my favorite stories that I've repeated many times is you on Letterman describing working on the score with two of your idols.

It's one of my favorite stories. Please tell it. I don't know it. And it's a little fuzzy because it was a few years ago, it was about 20 years ago. A few. Yeah. Yeah. But do you remember that, do you remember telling Dave that story?

You know what is the only, the ego narrows what you remember. And of course what I remember in that is imitating them maybe and Letterman goes, you are a regular rich little, my friend. He compared me to rich little. Which is a high compliment. Yeah. Famous person. Long before everybody was doing Matt McConaughey and their imitations, rich little was the

guy, right? He was the guy. He was amazing. He was the impersonation guy. Also Canadian. Yeah. He was. Yeah.

It was a good pull anyway. So if you don't remember it, the way, I'm going to do it so that you don't have to, which was, unless you do remember it. No. Of course I remember it was, I would like to hear it if you'd like to tell it. You were describing working with two of your, you know, of course acting sort of idols, if you will. Yes.

Well, it was Marlon Brando's last movie. I had known him prior to doing it. Robert De Niro kind of pulled him and me into this film. He wanted to do it. And he was the one who sort of recruit, I credit him with the idea that it would be interesting for the three of us to line up in this kind of multi-generational heist thing. I think that Bob was getting a really big paycheck and he didn't want it to fall apart also and he was thinking like, how can I hold it together with people I like and blah, blah.

And anyway, he pulled us all together and it was the kind of thing I would have really done just for the poster, you know, I mean, you really like, like the whole idea that it would say, you know, Brando De Niro, Affleck would have really, you know, it would, I would have been on the show saying, why did I let that one get away? You know what I mean? There's only one of that because they, and they had never done a movie together. The Godfather movies, but they weren't in the same scenes. Yeah.

So it was kind of like, you know, I need to get on that set just for the story. And then it was really great. It actually was, even though it was kind of a genre movie and it had its formulaic qualities, I did actually think they were both really great and Marlon had this idea that was not in the script that he used to, you know, he got a lot of flak from people for being a little bit of an anarchist or being things. And I didn't actually think it was warranted. I thought that Marlon would, if he thought you were going to venerate him, if he thought

you were going to be one of those, you know, kind of gooey, I'm talking to Marlon Brando, he would really stick a fork in you and he didn't like it. He wanted to... Well, he sure liked to stick forks in things. We know that. Yeah. Good. That was a layup.

I was like, thank you. Sorry. But he had this idea that his character was in love with Bob's character and that he, you know, and I think a lot of people honestly kind of got, went a little gripped, like, oh God, what is he doing? He's going to, he's, you know, he's coming up with the idea of this character, this tough heist movie and suddenly he's acting like, you know, Truman Capote and everything. But the thing was, is, I'm going to say this though, when you have an idea in your head

about what something's going to be and someone else does something else, you can tighten up, right, and not pay attention to whether there's really something in that idea. And the truth is, I think everybody was reacting to, oh, we got Brando De Niro and Edward, and these things, it's going to be tough, it's going to be great. And Marlon had this totally different idea, which was that he was in love with Bob. But it's, it's fantastic, it's a fantastic idea. And it is great in the film. You can feel, you feel that the hold in their relationship has been this longstanding, unrequited

thing. And it's much more, I mean, who's tougher or more stoic than Bob? It's not, what's the value of doubling up on it, right? But if you watch Brando in that movie, it's really, really good what he's doing. He's lighter. He plays a character who's, it adds a whole other layer to the film that wasn't in there and it's really good. And I thought it was kind of a shame in a way that he, he kind of got, you know, painted

with the like, oh, he's just, he's being disruptive. He's being, he's been, for what, for like proposing that the character might, you know, have a thing for Bob. You know, it's like, what? But you guys had this, but you have this big scene where the three of you and he's drinking sparkling water. This is the moment that you described. Good memory.

God, I didn't even remember. Yeah. Yes. Now I know what you're talking about. Now I know what you're talking about. Remlosa sparkling water, by the way, to be specific, I have a crazy, weird memory. So I think, I think it was aqua mineral, is it? Oh, you might be right.

Oh, crap. And he, he, no, you're, now I know what you're talking about. I didn't know what you're talking about. Yes. He, it was the first scene with the three, it was the first scene that we got to do together, the three of us. And, and I allowed myself a little bit of a moment of, you know, I'm walking with giants like this is amazing.

And in the first take, Marlon is, we're pitching the heist to De Niro. And Marlon has this riff and then I'm supposed to have a little riff and then Bob is supposed to have this reaction. So De Niro is, you know, just listening and very stoic and intense. And Marlon's telling this very flowery story and it's a big tracking shot with all three of us and they, they call it and Marlon goes right into it. And he's really terrific. He's, he's, he's funny.

He's rye. He's saying this thing and he's talking about how a shipment got hung up in custom because of Asian longhorn beetles or something. And he's saying, you know, in hamburgers was the fucking bugs. And he's, and he's saying this thing and he says Asian longhorn beetles, they got inside the crate and he's put, and he starts pouring his water into the glass. He's very fluid and he's terrific in the scene. But I notice that he's, he's very in it.

He's looking at De Niro and he's pouring the water down the outside of the glass onto his own linen shirt and it's pooling on his stomach in this little pool in his linen, a cup in his linen shirt and filling the shirt. And I go to look at De Niro like, is he, how's he going to react to this? And Bob was falling asleep. He'd been up very late and he was listening, but he was, he was actually starting to nod out and then, then someone says, cut and Bob snaps up and looks at me and he says, was I falling asleep?

And I said, I nodded like really hesitantly and he started, he goes, oh, that's the first, you know, and I was like, one of them is pouring water down his stomach and the other is falling asleep. He's falling asleep. He's walking with these, oh God, I fuck that is stuck with me. I have told that story. That's so funny. Three dozen times.

So all of the, I mean, I'm so sort of in on humble by your intelligence, your thoughtfulness, all that. What do you, what do you do that's the, what's the lowest brow thing you do? The dumb guy. Sometimes I, oh. Lowest brow. I mean, like, is it, is it, is it a, you love to listen to a shitty disco? Do you, do you watch a gravity reality show?

Low Brown. Do you have a sugar addiction? What, what? Yeah. I'm always, I have a terrible, I'm terrible with like, I'm like, Sean, I drink coffee as an excuse for milk and sugar, but see, we bonded, Sean, we bonded. So all right. No, no.

I don't know. I don't know. You know, it's funny. I just did this. You said you had Ryan Johnson on. Yeah. Yeah. So I did, I did this knives out.

Right. Glass onion coming out. Yeah. It's coming out. And it's, and he, I mean, you, you saw what a dry humor. I mean, he, that guy is just so sweet. That guy is, is really sweet and iconic and laid back, but holy shit, is he funny? And he's, you talk about someone who, you were saying like, what's the low thing you

do? But when we were doing that film, you know, sometimes you know how this is, sometimes you're doing a thing, right? You're doing a thing and you're like, how low can we go in this? Like how, what, what level? What's the right level? Because it was really funny, but is it all highbrow funny or is some of it slapstick Yeah.

you know, physical comedy funny, or are we allowed, you know, a joke that's down here in, in. Tonal shirts. Yeah. And he, he just, you know, sometimes like you get this feeling that a director's not really sure and is willing to take everything. Ryan, Ryan is like a Swiss clock maker. He knows exactly what he wants.

He knows what level and tone he wants at exact. I was so impressed by his. I would imagine Wes Anderson is a lot like that too, because there are, there are moments that are heartbreakingly nuanced in, in their, in their drama, in their authenticity, in their humanity, but then there's just these hugely absurd, broad, slapsticky, almost cartoonish comical moments and they all work in the same world. Yeah. I would imagine Edward is, is Wes Anderson more sort of not tonally, tonally specific

in the sense that he has a, has a, it appears to me that he might be more sort of inclined to have a, have a set idea of tonally exactly how he wants the film to be. He does. He's, I mean, needless to say the production design, the costumes, it's like two within an inch of its life that there's nothing he'll come in and he will step in. And, and, and, and adjust your tie just so, you know, like, like, like, he's like, sorry, the Donné racket, that particular model of Donné racket didn't come out until 78. So you can't have it in this shot.

It's more, is it the, is it the angle he wants you to hold it at is the, you know, his precision and his, his, his feeling for the, the, the visual aesthetic is legendary. And it's everything everyone would think he is that hands-on and that, that, that precise and he cares an enormous amount about those details. And like a lot of people who are like that, when you're in the moment and he seems to be splitting hairs, you can have a moment where you're so, can we just, Jesus, let's just get on with it. Like, let's get on with it.

Right. It's all great. But then you can't argue with the total effect. Right. Right. You can't argue with the total effect of the final product. And so when we got, it's going back to that thing you were saying earlier, I love working with people like that because when you, when you are a fan going in, when you believe in,

when you believe that the final result that they consistently deliver is so good that you just want to be inside whatever that process is, you surrender any defensiveness. You surrender self-protection. You surrender, it liberates you because you're in the hands, you're in trust, you're in the state of trust. Right. And at the end of the day, if Fincher wants to do it 40 times or 50 or whatever, you find the gear within yourself that is saying, well, this is what this is.

This is how he does it. And you love it, right? And Wes will give you, I mean, I, you know, you can say, oh, no one would give Edward a line reading. He has line readings all the time, imitating Wes's line readings is a joy. It's a joy to get a line reading from Wes. You know, and, and I mean, you talk about like, I, I, the Tenenbaum's like he, he told me one time that I'm not telling tales out of school.

I think Gene Hackman was, was, was legendarily tough on people. Yes. Like Fran, Fran McDormand told me on Mississippi Burning that he was so mean to Willem Dafoe that she called him mean Gene and, and, and, and you know, look, the guys, he's Gene Hackman, like my, my view is like, be any way you want to be, just give us that thing. Right. Right. But, but Willem told me when we were doing Mother's Brooklyn, Willem told me that, that

he had been pretty tough on him, but that he was telling himself as a young actor, hey, this guy's a grizzled old FBI agent and he's supposed to be tough on me. I don't, don't, you know, don't fold, like let him lean into it and go with it. But he said the night before his big monologue, like his biggest monologue in Mississippi Burning, he said Hackman took him out to dinner and he said, he thought, oh, wow, you know, finally he's kind of like, you know, you know, things, and he said they were having a drink and not saying anything. He said Hackman, Hackman looked at him, this is like, this is like two weeks from the end

of the, there's a whole shoot and he said, Hackman looked at me and goes, so is this what you're going with? Oh my God. No way. You're going to keep doing this right to the end, huh? But anyway, I thought about that because Wes said, one of my favorite moments in Royal Town and Bumps is when Hackman is in the kitchen with Danny Glover and he says, are you making time with my wife Coltrane?

And Danny Glover goes, did you just call me Coltrane? You know, and he's like going to get in a fight with him, right? And Wes said that Hackman came in in a good mood saying, this is a funny scene, you know, it's a good scene, Wes. And Wes said, oh, geez, thanks, Gene, you know, and he said, just one thing, I think we should change Coltrane to Satchmo. And Wes said, he goes, oh, well, why, you know, why? And he said, well, you and I know what Coltrane is and it's funny to us, but a lot of people,

that might be a little things. I think more people know what Satchmo means and it's going to be more accessible to more people. And Wes said, well, the thing is, I like the sound of the word Coltrane and I think if some people don't know what that means, I'm okay with that. And he said, Hackman said, it's just our audience, but fuck him, I guess, right? And he's just like in a black and black mood for the rest of the day. And I'm like, you know, whenever people say like, oh, you know, so and so is difficult

or whatever, I'm like, I'm like, I just talked about this with Phil Hoffman. I feel like there's like, there's like the serious actors of our generation. And then there's those guys, you know, like they are just a totally, it's a totally different breed. I really honestly think a lot of those guys, I've gotten to work with a lot of them, Harvey Kytel, a couple of times, De Niro, a couple of times, John Voight, you know, Nick Nolte, like you go through, here's these guys, they are, they are in a different frequency entirely. Like it's not the language we grew up in.

They authentically don't give a shit. No. And also, I mean, I don't want to say they're weird, but they just like, like when Phil and I were doing, we did two, we did two movies back to back and we did the 25th hour with Spike Lee, we were working on that. And you know, Phil was himself, like, you know, a curmudgeonly dude sometimes I really loved him, but he, he could be, he could be prickly and stuff. And we were talking and, and he, we were talking about, he'd worked with De Niro and he was

like, does it make you, don't you just feel like a square with these guys? And for Phil, for Phil to say anyone makes him feel like a square, like it, it's just, there's just something different about those guys and the way they work and how weird they can be. They're, they're so not, some of them are just not. They're kind of like not of us. No.

Yeah. Yeah. What's your, what, what, what are you, what are you, you're so great at, at, at so many things clearly as we've covered here. What would people be surprised at that you're terrible at? What, what, what do you do that? Like I, I can't dance or I can't, I don't even sing in the shower. I wish I, I have no facility for, for drawing.

I've always wanted, you know, like when I draw storyboards, it's just, it's the, it's the most embarrassing thing in the world. They're useless. You can't draw depth, right? I finally ended up with these apps. I figured out that if I wanted to go around in New York and, and storyboard a car chase or something like that, I would take, I would take pictures of all the angles and then in my childish scrawl, like try to draw the shape of a car in a general arrow direction

on it. And it's like, I'm so envious, I'm so envious of people who can, like I would draw a box with a circle next to it and say, that's a car. And then draw an arrow and be unable to have the arrow stay on the line of the street. What about the opposite? What would people be really amazed that you're fantastic at? Mmm, amazed that I'm good at. Yeah.

Like, are you musical at all? You're playing anything? Yeah, but I'm not amazing. I've been a pilot for a long time. Oh, wow. I'm a pretty good pilot. That qualifies. I think I knew that.

I love surfings like my later in life addiction and it's something I'm, like I'm okay at now, but I really wish I was better. You know, if there, if there's a thing that I, that like haunts my dreams that I really wish I was, that I'm trying to get better at and that I love like in an addictive way, I don't want to. That's not that great thing where you, when you and Pitt did Fight Club forever, people when they think about you without your shirt on, they think of you as super ripped. So you kind of get to, that kind of lives forever, that image.

And it's something. You understand that Brad is Brad and I'm me, right? No. Like you. Jason's crying right now. Jason is just thinking about it. I will never be stuck with that reputation. How much less do I have to eat?

I'm going to say something that's, that's not correct because the first time we met, the first time we really hung out, we went to dinner, took your shirts off on Sunset Boulevard and you were in the middle of doing, you were the first person I knew who did the clean diet. Do you remember? Oh my God, that is going back. You, you, you and Amanda had done the clean diet and you'd been on it for like a while and we walked in and you walked up to the table and I went, oh my God, this guy is chiseled

and he looks chiseled and he looks like he has the body of a college athlete. And I was like, Jason Bateman, is that fit? Well, now he's chiseled, but he has the, he has the body of like an old man who's in hospice. Right. Like a veal. And because if you do it too long. It all becomes porridge.

Right. Because he's been on that very, you know, he's been on a version of that diet for 20 years now. Yeah. Just keeping myself in pleasure. Yeah. Yeah. But that was at the start.

It's because I've got an enormous man inside of me waiting to get out. You know, I just have to keep my eye on the ball. I'm just saying I was actually impressed by your, um, thank you. Well, there you go. You should see me now. I had an enormous man inside of me and I was okay with it for a while. So listen, there's you. Sean is ending.

You know the beautiful. I'm just saying. That's how we're going to end it. That's how we're going to end it. No, it's been delightful. No, it is. Do you have anything guys? It's been delightful.

What a delight to talk to you after all these years. Questions about every single movie you've been in, but I know, let's just go have dinner. Dinner. Four of us will go eat. Yeah, we should know. And, uh, thank you for spending all this time with us. Please. Yeah.

It was a delight. Thanks for having me. Absolutely. Great to meet you. Catch you guys soon. All right, Edward. See you, pal. Thanks, bud.

Bye. Oh man. That was, uh, what a, what a thoughtful, pleasant, normal, incredibly talented man. Yeah. He brings a lot. There's a lot going on, Jay, that, that you knew, like the, I didn't know the philanthropy and the investment and the, oh, I'm surprised that you didn't ask him how much. I'm surprised he didn't say, give me a number because usually you'd go, give me a number.

How much you got? How much you got? How much you got? How much you got? If we did have dinner together, Sean would probably open with that. Would you? Absolutely. And while we're still looking at the menu, because you're looking at prices, how much

you make off of Uber? What's going on? How much did you make? How much? Give me the number. By the way, it's what everybody wants to know. You know who else has been real savvy with all that stuff is Ashton Kutcher. Yes.

Super savvy. And Gio Ciri. Thanks for the breaking news. Oh, that one I knew. That one I knew. That's well known. No, that one I know. I didn't know about.

I see him. I didn't know about Edward either. Yeah. No, these guys, they've got their finger on the pulse. By the way, and all his stories, he's, I love how he'll open it is about the stories about each job and like the actors, they're so, those are so funny. Right. Yeah.

So funny. So many of the people that he's worked with, just, yeah, stunning. And maybe we could all have dinner and will you could invite your Canadian friend that they're, that your friends with, what's his name? Mike. Bye. Bye. Beautiful.

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