The Daily Show: Ears Edition - TDS Time Machine | Oscar Nominees 2026

Episode Date: March 22, 2026

As awards season comes to a close, take a look back at this year's nominees through their visits to The Daily Show desk. Best Director winner Paul Thomas Anderson joined Jon Stewart to discuss his then latest film, The Master. Best Actor nominee Ethan Hawk sat with Jordan Klepper to talk Blue Moon. Best Director (and Original Screenplay winner) Ryan Coogler visited Trevor Noah to talk Creed. Best Actress nominees Emma Stone and Rose Byrne both stopped by the desk. Best Director nominee discussed his movie Sentimental Value. Best Supporting Actor winner Sean Penn dug into writing his novel. Best Actor nominee Wagner Moura talked Secret Agent, and, finally, Best Actor winner Michael B. Jordan joined Trevor to talk about his process, and looking ahead. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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These problems you have? I don't have any problems. I don't know what I told you, but if you have work for me to do, I can do it. You seem so familiar to me. Yeah. What do you do? I do many, many things. I am a writer, a doctor, a nuclear physicist, a theoretical philosopher.

But above all, I am a man, hopelessly inquisitive man, just like you. I will follow you. Please welcome Paul Thomas Anderson. I don't even know where to start. So I'm just going to start. I'm an enormous fan of yours. And I'm just going to start on the performance end of it for the actors. Forget about the beautiful writing, the shooting, the cinematography, all the things that you do.

The performances you get from the actors that you have, and obviously they're great actors. How do you, as a director, how do you feel like you're able to empower these actors to get the kind of performances you get? I'll leave. I'll just leave. I'll go. I hire good ones. Okay. That helps. And that helps. And I try to do as much as I can in the writing and then try to listen to them and see how they feel about things. Do you stop? Do you, like, in a scene after a take, where you cut, walk out there and be like,

Hey, he's want to look mad, you know, that kind of thing? Like, is there on set, do you get maniacal? Do you get, what's your temperament? Pretty, I don't know. You seem angry. You seem like an angry guy. I try to play it pretty cool. When you're a writer, you can get mad at yourself in the room,

and you can bang your head against the wall. And then when you go to be a director, you kind of got to try to pretend that you and do that stuff and be cool and kind of be everybody's boss. So what do you complete the writing process in your mind and then become the director or as you're writing are you, you know, I find it's very difficult to the difference between writing for the page and writing for the performance is a very different art form. Do you do that as you're writing or do you have to transition that? I don't know, when I, when I'm right when it's at its best, when it's going really well,

it's just sort of like you blink your eyes and 10 pretty good pages have happened. At its worst is when you're just desperate to try and get the writing going well. But when you get to the set, I just sort of throw the script out the window and hopefully they remember it and they know it and they've done it well.

You just throw it out the window? Do you ever tell yourself the writer? Hey, man, don't sweat this. I'm just gonna ditch it. Yeah. I'm up for myself with writing. There are times where it's very difficult not to be precious with the words, to remember, to convince yourself, just put it on paper.

So much of writing is rewriting. Right. And you can really hold yourself back from even putting it out there. I think that's true. You know, I've written 50 drafts of things, and thank God for, you know, saving everything you write because you sort of look back at the first thing and you realize you had it right. the first time just because it sort of vomited out of you or something like that.

But the other thing is that I've found is, you know, unfortunately, sometimes you can write something 50 times and you can make it better. Right. So it kind of creates this endless sort of reach for something that keeps you hungry and always guessing, like, how does this stuff work, you know? How does writing work?

It's so confusing. What makes you stop? See, what makes me stop here is, it's 6 o'clock. Do you know what I mean? Like, we'll write to the point where like, hey, man, there's an audience out there, and they look mad. They've been sitting there for five hours. You better get out there and do a show.

But as a writer of film, how do you stop? How do you not overwrite? How do you not destroy it on the back end? It's kind of the same thing. I mean, with getting a film together, the clock is not ticking that badly. But basically, you sort of say, all, we're all going to get together in March. So, and let's say that's six months away. you kind of, as a writer, you got basically like six months

and the clock is ticking and you've got to really get it together. You have to plan that far ahead and advance on film, so. Right. But it's like a really slow ticking bomb. Let's talk catering. Okay, what do you... No, we have a different system here. Once it's done, then you have all the post-production

and all those other things that you have to do. Does the selling of it feel like you're making something that you did a long time ago? Does it still feel vital in your mind? Like, how does it in that process? Oh, God. I mean, yeah, it feels far. You know, I was watching that clip,

and I didn't remember what they were going to say, you know. I remember what Phil was about to say. I can completely understand that. Yeah, and that's a nice place to get to, actually, where you kind of have enough distance from it. And I don't, yeah, there's a lot that I don't remember about this film already.

I would love for M. Night Chamelon to be in one of his own movies and be like, oh my God, that guy was dead the whole time? I don't know. I can't believe that. What I love about what you do, too, is everything is so, you just feel, you feel the art of it. It's so vivid, you know? And it's maybe it's every choice you make. Is all that preconceived? Like, do you have an idea of each one of those moments, how you want it to?

to create it? No, I mean, inevitably, you're going to get disappointed because usually the things that you see in your head, when you really are standing in a place with three dimensions, they're just going to be different. The lights coming through the window in a different way, or somebody's wearing something different. So just try to be as open as possible to situations.

But at the same time, it can't just be making a film, can't just be this endless search. There's a lot of kind of planning that you have to do. but hopefully you kind of, you can create situations where accents can happen and things can kind of go wrong. A fertile environment. Yeah. Aspirational, but realistic.

There you go. The master! It is a beautiful piece of filmmaking. It's in theaters now. Oh, the great Paul Thomas Anderson, ladies. My morning flew by, and I didn't have time to cook anything. And I looked up at the clock, and now it's 10 a.m. And I'm hungry.

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Is that something you could take seriously? Yeah. I'm on the wagon. I'm serious. I've been drinking ginger ale all night. Well, except for this second. Because this second, we have to celebrate. This is the greatest musical in the history of American theater. No, no, no, I'm not drinking with you, Larry.

Okay, okay, all right. Ouija, Ouija, shoot this. What? No, no, no, no. Larry, I've got to... Rogers and Hart, together again. All right, closer. Come on, closer.

I want 10 copies of that. Great. Write me a check. Please welcome Ethan Hawk. King of the world. Just feeling good. You guys made me feel good. Right? They love Ethan Hawk. I have heard stories about Hollywood contracting and getting smaller. And then I see you are in Black Phone 2.

You are in Blue Moon. I turn on the TV. You are in the lowdown. Like, are we experienced a hawkassance right now? Like, I'm not worried about AI taking my job. I'm worried about Ethan Hawk taking my job. You should be worried, because I've been watching you, and I've got some ideas.

You can do it, right? Yeah, yeah, I got some ideas. I can do that sports center thing you guys got going. I can take Ronnie on. You know, it's harder than it looks, you know? It didn't look very hard. Okay. Just leave some jobs for the rest of this.

All right, all right, yeah, you got it, you got it. It's so funny in that clip, you hear everybody gasp when they see you. You're a five-foot tall man who has a comb over hair. like, there's Ethan. Oh, God, he's let himself go. He's let himself go. I know. My wife came to set when she was watching the monitor

and she's like, I think I'm gonna go home. This is not doing anything for it. What's harder? Playing a five-foot person or a comb over person? Oh, comb over. Comover is, right? Yeah, it's just not sexy, you know? So I had to shave the, you know,

middle of my head and leave it wrong and combed over, and comb it over and I died the hair. And you really realize that you work on the comb over and when you're in the mirror, it looks fantastic. You know, but it's just any other angle from the back. It's just the direct on looks kind of fine. Yeah. I see why guys, you know, Trump does it pretty good.

He does. One thing we can all agree on is his hair looks fantastic, right? God, it does. The envy of his generation. Oh, everybody loves it. Yeah, yeah. This movie's fantastic. Blue Moon is wonderful. is wonderful. It takes place in a night at Sardis after the premiere of Oklahoma.

Right. And it's a theater movie. It's very much, it's a true story based on. Yeah, but that makes it sound not good. Oh, shit. Yeah, no. Theater movie, like, it's, all right, it's, can I set it up? You know what? You're talking everybody's job there. Is that what this is? Set it up. What do you guys? All right. It's a night in life. It's 1943, the middle of the war. Rogers and Hart, greatest songwriting team of their generation, cover of Time Magazine, They're the Lennon and McCartney of their day. Except this is the first time Rogers has written with anyone else,

a young man by the name of Oscar Hammerstein. They're about to change musical theater history. Larry Hart is about to be sent off to Antarctica to death. It's literally as if you're with Lennon McArney, the day the Beatles are going to break up. One of them is going to be in a band five times bigger than the Beatles, and the other one is going to be dead. That's we're talking.

Real time, you're at the party. It's a good movie. Did I sell it? It's a great movie. Thank you. I think, honestly, you get to sit. This movie has such great conversations about art, the world, about love. Like, it's all in there.

And also it's directed by Richard Link Letter, who you worked with many times before. And he loves you. In a way that you see, he does not, there are no tricks. They sit on you. You have long, long monologues. And there's no tricks around it. We're sitting with Ethan Hawk and we're watching him act. And that has to be intimidating as I'll get up.

It was the hardest job I've ever had. Is that right? Partly because you say Rick loves me, and I imagine some part of that is true. I don't know. He's never said that. And I feel the same way about him. And we were taking a big dare together, and he's directed me, and this is our ninth film together.

So he's spent years of his life editing my performances, and he just basically said to me, I don't want to see you. And so anytime we'd be shooting the movie, and I'd do a take, you go, I saw, He goes, I saw you there in the third line, you know, when you picked up that stuff. That was you.

That's Ethan, I know. He just, he wanted me to disappear. So I had to come on that set, five feet tall, comb over, terrible skin, alcoholic, shaking, nervous wreck. And I tried to disappear into it. And, you know, he basically said to me, you've been talking about acting for the 30 years I've known you. Why don't you show me if you can do it?

Hot damn. And I was like, I'll show you. And then I got really nervous. I mean, the cast is amazing, though. Yeah, yeah. Margaret Qualley, Andrew Scott, Bobby Kenevali, a lot of great people. You guys are dancing with each other up there the whole time. Well, Bobby and I've known each other, you know, for a long time.

We've done plays together, and he really came over there and supported me. He's a great actor, and he... I just needed...he's the bar keep, and I'm the drunk at the bar stool who can't stop talking. And so I needed him, and Andrew Scott, I didn't know before. I'd seen him play Hamlet years ago in London. And I wrote his name down in a journal. I was like, I got to work with that guy. Margaret Quali's friends with my daughter.

So that worked out well. I got to use my daughter to make connections. Use whatever connections you have, right? Yeah. There's an interesting conversation that happened in the movie. It's about Oklahoma. And your character kind of articulates an artistic vision for theater in a way that he leads in the satire.

He wants theater to be used as a commentary on what's happening right there. mixed with Roger's view of sincerity in the theater and sort of reaching towards that. Where do you land on that divide? Where do I land on my judgment of the musical Oklahoma? Yeah. Yes.

Who's right? He's critical of it. That thing goes on to be the biggest musical ever, and yet he thinks this thing doesn't deserve the praise it's getting. What I see the movie is about is it's a moment in American history where we're right in the middle of war, We're winning the war, and we start this process of self-mythologizing ourselves as a country.

Musical is called Oklahoma. That is not the story of the Oklahoma territory, all right? Girls in gingham dresses saying, I can't say no, is not the story of America, okay? All right. And we start doing this thing where we believe our own narrative about us as a hero, and it does a lot of good,

and it makes a lot of people really happy, and it feels really good. And what my character sees is the start of a lie of being nostalgic, for a world that never existed. And so the movie's kind of spinning around. It's not just, it is a night in the life, but it's an important night in art history,

jazz age is ending, something else is starting. I think it was Hitchcock who said, Sound of Music, set cinema back 20 years. You ever hear this quote? No. Well, and that's a Rogers and Hammerstein musical too. And it's, we love it so much. I don't even know what Hitchcock meant,

but I kind of know what he means. It's just you just believe in this myth of everything being sunny and, you know, my favorite things. And Hitchcock was asking more of an audience and he knew, oh, we're never going to be able to sell it. Yeah. I mean, American exceptionalism is a comfortable lie, but is inherently perhaps a lot. And you tell it every night.

I do. Right? Thank you. And I deliver it. I delivered it. With compassion, right? I've heard you talk about the cast in Blue Moon. You talk about it being like a symphony.

different instruments. Look to what's happening on FX with the lowdown, which is a totally different experience. It's a fun. It's noirish. It's gritty. It's Tulsa. It's not giving into this narrative of American exceptionalism. It's showing some fun moneyed sides of... Have you seen Reservation Dogs? I have. Very much so. Well, the guy who makes the Lowdown, Sterling Hard Joe, is a great filmmaker. And I fell in love with that show Reservation Dogs. I went down. I did a little cameo in the show. And it was just the most exciting time I'd had on a set since, you know, working with Link Letter, really.

It was, the whole city of Tulsa is alive with all these young artists. And they really have something to say. And they feel like, I don't know, there's something in the whole spirit and energy of what they're doing. I just wanted to join their band. And Sterling invited me down there.

We made the show The Lowdown. And the season finale aired, like, yesterday, I think. So it's out. Check it out. It's very good. Not a waste of your time. Yeah. Yeah. It's fantastic.

I will say, I have not only such a fan of your work, but the algorithm sends me so many Ethan Hawk videos of you talking about art. Am I close? Some of them. I asked Chachy BT to take it off, so I get the whole picture. Yeah, yeah, yeah. But I keep you with the comb over. It's just a weird thing I have.

The nude stuff with the comb over is my best. That is, I really think. You're so vulnerable there, Ethan. I appreciate it. But I think you have great taste. You did a movie called Blaze, which I loved and got me way into Blaze Foley. I told you this backstage. For the Criterion Collection, you suggested a movie called The Blues According to Lightning Hopkins.

See it. It's amazing. Which was an amazing documentary that I never heard of and it blew my mind. Before I let you go, what are you passionate about now? Give me something to get interested in myself. Make me love something. To get interested in yourself, you want me to get interested in you? No, I'm already, I'm way too fascinated with myself. I was going to say that.

I was going to say that. I was going to say, something else. You seem fine on that front. Oh, I love it. In fact, I can give you stuff about me if you want to get more interested. It's just first thought, best thought. I'll tell you, you may think you know everything.

There's a new book that just came out called John and Paul a love story. And it's a story of McCartney and Lennon, not told as the Beatles story, but it's really just a portrait of their friendship. And it's really, really moving. And it made me kind of revisit all my thinking on the Beatles.

And I thought, But there's so much, I think, that is special about what they touched and why they continue to touch people is, A, a level of artistic excellence that we really haven't seen very much of, and B, male friendship. And I think that's what really connects people to it, is we don't see a lot about that. And when you see a real sincere friendship, it's powerful. That's beautifully sad.

Well, the movie Blue Moon is fantastic. I haven't seen a performance like that since John Derriman. Oh, you're my man. My guest tonight is a director whose latest film is called Creed. So, what are you afraid of? I'm afraid of taking on the name and losing. I call me a fraud. Fake Creed.

What'd you think about what's true? You love to fight, right? Yeah, it makes you happy, right? Yeah. Yeah, and you are Apollo Creed's a son, right? Yes. So then use the name. It's yours.

Please welcome Ryan Cougler. This is great for so many people to see the face behind the films. Congratulations, by the way. Oh, nice. Creed is amazing. Thank you so much. It really is.

It really is. I'd like to take a moment and go back on this. First of all, let's start with the fact that you are just 29 years old. Yeah, 29 years old. And already there's Oscar. talk around the film. Is that, does that make you nervous?

Does that, or is that just a, is that a humbling experience? What's that like for you? It's humbling, man. Like, with filmmaking, it's an art form that you don't do on your own. You know, I saw several collaborators come and go.

I wrote the script with a buddy of mine, Aaron Cummington. I got to work with one of my best friends, Michael B. Jordan. And it really feels like, it's just a blessing to be able to do this job. You know what I mean? So I have people talk about,

you know, your movies at the end of it for awards and things like that. It's just icing on the cake. to be... My barber literally said to me, he was like... He was cutting my hand. He's like, yo, man, you've seen Creed? You seen Creed? And I was like, no, he's like, yo, that's the Black Rocky, man. He's like, that's Black Rocky for this generation? Is that what you were setting out to do when you wrote to it? Because you...

I read a fascinating story. You wrote this film. You were inspired by your father. Yeah, absolutely. My dad was a huge Rocky fan. Whenever you put these Rocky movies on, he would cry. You know what I'm saying? So I know these movies had a special, you know, special power over my dad. And I kind of like him because my dad liked him. I wanted to be just like him. And then when I finished up film school, my dad got sick, you know, and he started to develop a neuromuscular condition when he was losing his skeletal muscles.

He basically was becoming weaker. Right. You know, and had to help him from the car to the house sometimes. And all of a sudden, this dude who was always so strong became weak. And it really did a number on my psyche, you know. But then I came up with this idea that maybe if his hero, you know, went through something similar, you know, and there was a young man who formed a relationship with him.

You know, maybe it could be something that my dad would begin Maybe you're to cheering him up, maybe you're to motivate him to fight through it. That's beautiful, man. And how does a young black man from a rough neighborhood, like you said, go into making films? I mean, you said your dad was an ex-football player. You were going to get into football. What changed? I mean, school, and I always had great teachers.

And then I got a football scholarship to a school called St. Mary's College. And I had a teacher there during my first year of school, read something that I wrote. and called me into her office and eventually suggested that I get into writing, writing movies, because my writing was real visual. Wait. No, no, I'm sorry. Just the image for me, because I watch a lot of movies,

just the image that a football player gets called in and the teacher goes, you need to write more. You should quit football and you should write more. So you went straight into that? You didn't, I laughed out a bit in the class. And while we were sitting in her office, I thought she was crazy at first. I thought I was in trouble.

But she called me into her office. Yeah, I would think that too. That's what I would think. Yeah, I never forget she called. She was like, hey, she called me my dorm room. I was in the dorm room with my friends. She was like, hey, are you busy right now? And I'm like, you know, I couldn't lie because I'm in the dorm room.

You know, so I was like... Like he said, like, there's no lies in dorm rooms. I couldn't lie because I was in the dorm. No, but she knew where I was. You know what I mean? She could like walk down from her office and knock on the door if she wanted to. So she said, I want you to come by, come by my office halls right now. So I had to kick all my punders out the room.

I got to go, you know, maybe the teacher, like, I can't remember what I wrote about to be, the story was actually about my dad, crazy enough, you know, and I thought maybe because it was something that crazy that happened, I thought maybe she was like, hey, you know, you need to see a psychiatrist what she's writing about or something, you know, or like, you know, we're like, you know,

where I'm gonna get to her office, it's gonna be like the dean of school, like the police there waiting for me, like, hey, man, you know, truth's all, you know what I'm, you out of here. But, you know, I went in there, her name was Rosemary Graham, and it was just her, you know,

she, you know, she sat me down and asked what I wanted to be when I grew up, you know, and I had no idea really at the time. And, you know, she suggested that I get into, you know, writing screenplays. Doing amazing things. Thank you so much. I appreciate it, Paul. Creed is amazing. Fruitvale is amazing. You are amazing, my friend. Thank you so much. Thank you so much.

The answer is now. Watch Fruitvale if you're having. Ryan Cougla, everybody. One Plus 1 equals more of the greatest stories. The Hulu on Disney Plus. Stories about survivors. The most dangerous planet. Family, retribution, murder, prophecy. Fear and Prophecy.

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Inline skates were everywhere, and two out of three women rocked, the Rachel. While those things stayed in the 90s, one thing that hasn't is that fuzzy feeling you get when WestJet welcomes you on board. Here's to West Jetting since 96. Travel back in time with us and actually travel with us at westjet.com slash 30 years. Film is called Magic in the Moonlight. And when you contact the spirits, will we be able to see the souls? And how are they different from ghosts? Or are they ghosts?

I should think souls are quite different. Have you ever heard of ectoplasm? Actoplasm. Now, isn't that a milky substance rather like yogurt? You are a joker, aren't you? So you're saying it might look like yogurt, but it will be misplasmus? his Catholic's former husband. Please welcome Emma Stone.

Nothing. Nothing at all. Everybody's very excited to have Emma Stone in the house. Really? Yeah. Emma Stone's kind of... I'm talking about even amongst the staff. Like, there's sometimes I'll have a guest on.

I'll be like, oh, you know who's on tonight? And I'll say the name of the guest, and they'll be like, yeah, that's nice. Did you know that someone on your staff made me a scarf? Made you a scarf? Yeah. Wait, out of... Out of what? Nitted me a scarf out of baby, I'll pack of wool.

It is so beautiful, and I teared up after she left. Wow. So I'm going to go backstage and say thanks. Has she ever made you a scarf? No, I've been here 16 years. Okay. Baby alpaca. Well, that's okay.

Yeah. I once had a guy, it looked like, I guess, lizard skin made like, like it was like a ball founded under his desk. That's really nice. I actually know who that is. Yeah. That's Beth. That's Beth.

She makes beautiful scarfs. Sometimes she makes hats. It's a gorgeous infinity scarf. that you can wrap around your neck and keep warm forever. It's not easy. The scarf is a very delicate thing to pull off. It's knitting in general is a very delicate thing to pull off. Oh, you're talking about making.

I was even talking about wearing it. Oh, okay, got it. Okay. No, for a man. Yes. It's complicated. It's complicated. It's complicated.

You could throw a scarf on with pretty much anything, I think, as a, you know, I could be wearing a scarf right now. I was thinking to myself, it's the one thing missing from your outfit. Do you like a gentleman in a scarf because a, uh, a, uh, a, a gentleman in a scarf, unless he is, if I may, a bon vivant. Right. He may not be out of, like, what is the opposite of a bon vivant? Short Jew.

Let's say he's a short Jew. You don't pull it off as dashingly. It's a dashing accessory. It gives a suggestion of bon vivant. If you choose to wear a scarf, you must somewhere in you be slightly A or no A, bon vivant. Is it just you are bon vivant or a bon vivant? A bon vivant. Here's why I would wear it.

I worry about tonsillitis. So other, there are other, there is a function to it as well. Just keeping everything. You know what I used to wear the, this'll really be. I used to wear the turtleneck. I just want to see if we can catch that on a close up. The face she made, like that made her nauseous. That right there, boom!

What is, let me ask you this on a purely, this is a, a, a, a, a, a, a, a, a, a, a, a, anthropological or sociological, on a date, like a first date, the worst thing that a guy has ever worn or that would be discussed, the worst thing to wear when joining a young lady on a date. Would a scarf be something like that? Would it be something like a pork pie hat? What would be the worst thing? The pork pie is... Well, no, probably not a shirt. So you're saying if somebody goes big, you don't want any part of that. Yeah, I think maybe a knot shirt.

Has that ever happened to any of your friends or you? I don't think anyone's ever shown up with a not shirt on. You might as well just write in Magic Marker, I'm a bro. Just on your thing. Whole bro. Yeah, on all that stuff. Which, by the way, we should talk about the movie. The movie is, you've filmed it.

Yes. With cameras and... They did the whole thing, they edited it. And now it's out. It's always, listen, Woody Allen's films. I feel like I can't even discuss anymore because of all the things that go along with it. But always entertaining films, always prolific and very good.

Yes. Was it enjoyable to perform it? The gentleman you're performing with the Colin Firth has been on the program many times. There's a guy who can wear a scarf. He loves you and this show so much. He can pull off pretty much. He could wear a not shirt.

You know what's nice about me in an un-safe. I'm not trying to to tip my own horn, and I'm not trying to come on. I'm just saying this. I could get away with not wearing a shirt, and I'll tell you why. My body is so hairy that I would come in and you would just think like, oh, mink. That's an interesting choice. So that... It's a perpetual body start.

Let me see the nauseous face again. If I can get the nauseous. Yeah, that's not good. Are you doing now what... You living in the city now? I'm living in the city, I'm living in the city, and I'm, I'm around. You're around. I'm around.

I'll run into you. Probably run in, and then we could pretend that we don't know each other. Yeah. I think that's happened to us once before. We did happen once. I ran into her and a gentleman with a dog, and I was like, hey! Take the dog and pull a dog. I remember that, and then I thought, oh, I should have brought my dog, and then I wouldn't

have looked like a crazy person yelling at me. So did I ever apologize for that? Apologize for running in? For accosting you on the street when you had a dog with you. I don't think you accosted us on the street. You don't think? Well, that's very kind of you. I would never think that you saying hi would be accosting.

You. I'm sorry, no, don't even. I am going to knit you a whole outfit. Magic in the Moonlight. It's in the city's, Select City's July 25th. It opens everywhere August 15th. As always, so pleasing. Emma Stone.

Thank you. It's an award-winning director and screenwriter whose latest critically acclaimed film is called Sentimental Value. Why didn't you want to do the role? I can't work with him. Why? We can't really talk.

But he wanted you to do it. Yeah. Yeah. I don't know. Just keep thinking that he made it. He made a mistake. Please welcome Joachim Trier. Well, congratulations. It's a wonderful film.

Thank you. Getting many accolades. You just came back from the Golden Globes where Stel and Skarsgaard just won a Golden Globe for best actor in your film, correct? Yes, we're so proud of him. That is, it's amazing. This film, knowing a little bit about your background,

you came up skateboarding, making skateboarding films. And I watched, I watched this movie, and Stel and Skarsgaard did zero Ollie's in it. Like, no nut punches, no nut anything. Did I miss something? You lost your edge? What was going on there? Mental nut punches.

You know, I think what I'm trying to do here is to give also a platform for actors to explore something, take some risks. So I started doing a lot of skate videos when I was a kid. That's what I did. I stood next to a handrail and saw my friends try some crazy stuff and maybe halfway break their neck or land on their feet.

And in a weird way, it's still the same thing I'm trying to do with actors, have them do something risky and see if they land on their feet. Yeah. What does that look like? Is that happening in a rehearsal process? It's interesting if you watch the film because you're also watching a director who's coaxing an actor at the time. Is that reflective of your experience working with those actors there? So just to be clear, Still and Scars Guard, who in real life is a really nice and kind man,

plays a bit of an asshole director, a bit of a difficult father character. So I'm trying not to be him when I'm directing. But he's also a good director in the film. Yes. But no, the process of that performance thing is, I guess, first of all, cast right? find people you trust, then give them an opportunity to do their thing and give them some rehearsal time to get to know each other and be safe, and it's all about trust to me. That's what it's about.

What's a set like for you? Is it an intimate set similar to the ones that we saw in the film? Yeah, it is. It's a mixed energy. When the actors are present, we try to make it really soft and, you know, for them, for their individual needs. But when they leave, I tell my team,

it's like changing tires on the Formula One car. It has to be very quick. It's very expensive. to make movies. And in Norway, we don't have an endless budget. So we've got to be really effective about it. Well, you're telling a story of a, as you said, of a director who is an acclaimed director who has family issues. As an acclaimed director, do you have to tell your family

not to read into this? It was interesting to show it to my family, because I come from a film family, too. My grandfather was a film director. Both my parents worked with movies. My brother is a documentary director. So yeah, when they saw it, they were were laughing. My younger sister said to me,

it's like you've taken a lot of elements that I recognize and put them in a blender. And you're not throwing anyone under the bus, but I see it's you. She also wants her cut, right? Exactly, yeah, the family cut. It's interesting when people are talking about this film, and I felt that as well, it's a very tender film,

which feels bold in this day and age, which we sort of live in this age of irony where you don't see that in film so often. Is that a Norwegian thing? Is that an intention? Did you want to bring something that felt softer into the marketplace? When you say marketplace, yes, I guess. But, no, I think honestly, yeah, the world is complicated right now, for many reasons, political reasons, on societal levels in many countries.

And I just have, because I have small children, also have this yearning for some hope, and that there could also be a place in art to see the other. you know and not necessarily make polarized stories that deal only with antagonists and stuff like that I I try to understand people in the movies I make even though this is a family story it's about two adult women two sisters who are trying to reconcile their relationship to their father and how they deal very differently with it and through that I wanted to make you know a friend

of mine said the other day which I was very happy about you kind of made a happy ending for once Jo Kim but it's not cheesy and I felt kind of off the hook there. We're trying to do something about the baby steps in a family where it's all the stuff we don't know how to talk about. That is really at the core of the drama here. I did a special recently, and I went to Oslo, Norway. And I was struck by many things about traveling to Norway.

But the public sculptures in Norway are so beautiful. There's a famous sculpture park that is both hilarious, dark and funny, angry baby statues. There's a person. Vizeland, I blame. Or like, there's a father who's, like, catching babies that are up in the air. But also walking the streets of Oslo, I see a lot of statues that, unlike in America, the statues you see here are generals or politicians who have won wars.

What I saw was a lot of families. There are a lot of statues of, like, a mother and a daughter, and it felt like culturally. I just saw art and family reflected more walking through Oslo that I see in an American landscape. Interesting. I never thought about it, but when you say it's probably true. There is this kind of, and I also think the politics are geared towards that in a good way in Norway. Norway, as any place, has its political problems. But what I think is good is that you actually get paid time off when you have babies.

And you have a guarantee of a place, a kindergarten or a child care thing, you know, from the government and stuff like that. So it's a communistic hellscape, is what you're telling me. Exactly, exactly. We are not allowed to speak. I've been told to say these nice things about Norway. Not at all. No, it's actually, the interesting thing to think about is when you pay a lot of tax like you do over here as well,

that you get something back for it, some health care and some child care. And you're still allowed to speak your mind in public. Isn't it interesting? Is that right? Yeah, don't tell anyone. I won't tell anyone. Is property cheap there?

That's what I need to know. No, it's not. So that's still complicated. The politician could work on that. Another thing you do in this film that I think is a difficult, line to walk is it's a film about the industry but it's not it doesn't feel like it's navel-gazy in the the industry like it's so it's so I think there's a tendency with a lot of

films if you're gonna make a movie about making movies there's such a reverence for making movies I don't think this is dogging the profession but I think you I assume you had to be very careful with the ways in which you presented this so that an audience can relate to this and not just see it as the artists only caring about the things that the artists do no no you absolutely I am working with a co-writer for all my six films that I've directed called Eskilfogt. And when we realized Eskilfukt, V, pronounces F F, no.

Okay. V pronounces Eskilfitt. Yes. Norway. Okay. I'm fucking moving tomorrow. He's my best friend. He's my best friend.

I don't want to laugh at television about his name. Poor guy. He's going to give me a hard time now. Lovely man. We're sitting there. this story and we're realizing, oh, we're making it about a film group of people, like the father is the film director, navel-gazing, yes. Shameful, isn't it? So what we then try to do is to make it about family, make it about something that we really want to talk about, which is really how

trauma travels through generation. And I think the only way to start forgiving one's parents is to realize they were kids once and what did they go through. And all those things where, and then we thought, oh, it's interesting because in this family, the father is making a screenplay that is offering his oldest daughter, played by Renato Reinsway, because she's an actor, and she certainly don't want to work with him. And then they invite this American actress into it, played by El Fanning, but she's playing the role of the daughter. So that's the setup. But what it's really about is all that stuff about parents and children that we don't really have language for. So it was trying to get to family stuff through the setup

of a film family. Yeah. Instead of saying, ooh, film people are so interesting. Of course we are. Yeah. Don't tell everybody that. It's a movie about how do you communicate with your family.

It's tender, it's loving. What Marvel movie are you going to direct next? Yeah, what's the vulnerable... Is there IP that's interesting to you? Is there a Lego? Maybe the Scrabble movie could be interesting for you. Have you thought of this yet? I think so.

Wolverine Gone Soft. Wolverine Gone Soft. Well, I'll be there. I would watch it. Centimental value is available to rent or buy and will be returning to theaters January 25th. Joachim Trier. At Medcan, we know that life's greatest moments are built on a foundation of good health. From the big milestones to the quiet winds.

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Find an agent today at Dejardin.com slash business coverage. Guest tonight is a two-time Oscar-winning actor, writer and director who's written his first novel. It's called Bob Honey, Who Just Do Stuff. Please welcome, Sean Penn. Welcome to the show. Thanks very much. This is a book that I would fail to describe with the amount of words I have in my vocabulary. It's a strange story that seems.

like a metaphor for real life. Bob Honey is a character in the book who goes around murdering people. He's a divorced septic tank worker, and he's an assassin who kills old people with the mallets. And yet, when I was reading parts of the book, I was like, but this also feels like real life because it seems like what's happening in the world today.

Is it a metaphor? So I thought of this character, Bob Honey, and I thought, here's an American man and put him a guy compelled to service in a country that doesn't actually demand mandatory service, which is something that I've always felt I missed out on. And that's something that would be very important in the sense that a young person, whether the service is forestry or taking care of the elderly or military, whatever it was, that once one had a significant experience of having been able

to make a real contribution themselves, that that never leaves them. And therefore, they engage, and by engaging, they're not ignorant. And by not being ignorant, they're not fooled. And they know who to hold accountable in government. So I thought I would take somebody who couldn't find direction of service, but was compelled to service anyway, and put them in the kind of quicksand

of this current climate in our country, and see how he danced over it. One thing I would love to know from you, and the very few people I would ask this question, and expect a candid response, meeting with the people you've met in the world, do you think that we get the full story of what America's doing in the world

and how they are shaping what direction the world is going in? Having spoken to some of the people who deal with America from the other side? Yes, I mean, there's a, I think we're at about 28% of the country that has passports. And then there are various economic reasons. economic reasons why people aren't able to travel.

Right. And without that context, I think we do suffer. There's the, generally speaking, and I've seen a big change. You know, when the Berlin Wall came down, I think it had a lot more to do with Levi's 501s and the dream of wearing them and the Beatles' black market records than it did with Gorbachev or Reagan. Right. It's just human dreaming having a power to make a change.

The human dreaming, so much of it, was to take the American model, the dream that is that. And increasingly now, I think that what we are is the most armed of existing democracies. And beyond that, I would say that the respect and the aspiration that we would say that the respect and the aspiration that we're we modeled is no longer on our country. That's not a political comment. That's a touristic comment. Where I've traveled, it's changed. And I think we owe it to ourselves to get it back. And the only way we do that is show that we know how to stop fighting with each other. And really listen to each other and really demand that our politicians do the job. And in this case, the job includes, by any historical parallel, the impeachment of this president. Fascinating man, I appreciate the world.

Thank you very much. Bob Honey, he just do stuff, is available now. Sean Penn, everybody. We'll be right back. Tonight just won a best actor, Golden Globe, for his role in The Secret Agent. Please welcome Wagner Mora. Very nice. Thank you very much.

I should be saying Golden Globe winner, Wagner Mora, is what I should be saying. That's a big prize. Well, the movie is, it really is a remarkable film. I can't stop thinking about it. I really can't stop thinking. How would you describe this film to our audience? Okay, I think this is a film about a man who is sticking with his values

when everything around him says the opposite of what he believes. I think that's what's so resonant about it, right? It takes place in Brazil in 1977. There's a dictatorship. It was a heavy dictatorship. It was a heavy dictatorship. From 64 to 85. I was it right off the bat.

I didn't know much about this movie. going into it. And there's a scene that kicks it off where you drive into a gas station, there's a dead body that is there, that the police aren't going to deal with. They haven't dealt with for days. And the police come and they shake you down for money. For money. And it just established this tension that felt very resonant right now. In a time where we're all feeling a certain tension about the government and what have you.

And this film was able to sort of sum up this feeling within seconds. Yeah, it's a scene that sort of establishes like the life. the logic of a detectorship, right? The law, I would even say the logic of Brazil, because the detectorship ended in 85, but it didn't really end in 85. I mean, the echoes of the detectorship are still there.

When we elected a far-right president in 2018, that man was sort of like a physical manifestation of those echoes. Yes. You talk about it. I mean, Bolsonaro, you've had a relationship with, at least in terms of you guys, You dated for a while, right? I received this one of the awards that we received,

and I went up there to thank, I thanked him. I was like, thank you, because without him, we would never have done this film, because this film comes from the director, Claude Mendoza, Filio, and I, sharing our perplexity over what was going on in Brazil from 2018 to 2022, when this man came, elected democratically,

but he came to bring back the values of the detectorship to Brazil in the 21st century. So we were perplexed. How can we deal with that? You're very open and engaged politically, which I don't always see with high-profile actors. You see that as a responsibility with you? Like activism and performance, they don't always make beautiful bedpillars.

Yeah, I don't see that as a responsibility. I think that this is me. This is how I behave as a human being. as a human being, and that's also why I'm drawn to political projects, because it's something that I like and that... But I don't see that as a responsibility, because there are also the pressure to so-called public figures to go out there and speak.

I don't think that's even fair, because many people are not ready to talk. And the backlash is very strong. Not everybody's ready for that. Yeah, yeah. Well, the movie is fantastic. I really hope people go see it. Congratulations on everything. Guys, the secret agent that the theater has watched.

Tonight's guest is the star of both Neighbors Two Sorority Rising and X-Men Apocalypse. They call themselves a sheer n. Sabineur, named after an ancient being, they believe, to be the world's first. World's first what? The world's first mutant. These describe a specific set of powers

greater than any man can possess. An all-powerful mutant. Exactly. And wherever this being was, he always always had four principal followers, disciples, protectors you would imbue with powers. Like the four horsemen of the apocalypse. You got that one from the Bible.

Or the Bible got it from him. Please welcome, Roseburn. Welcome to the show. This is like a job interview. I didn't bring my CV. Who's getting the job? Why does it feel like a job interview? Because of the desk.

I feel like I'm... Is this for what job interviews? A job interview? A job interview? It's normally like a brown desk with like a, with papers, pens. I've got some pens under here. This, yeah, this one make, there's, now it's a job interview. Let's set it up.

Now it's a show. Welcome to the show. Thank you. Thank you for being, it's not a job interview. You've got every job right now in Hollywood. It feels. Congratulations. You're doing extremely well in three movies right now. Yeah.

Three very different movies as well. X-Men and then Neighbors 2. And then you have a comedy movie movie. that is out as well with Susan Sarandon. She was telling me about that. Yeah, the meddler, which is a great movie to take your mom to or your dad or a friend or someone. It's a really sweet mother-doll story.

I like how that escalates it very quickly, mom, dad, someone. I know, exactly. Just find a stranger on the street. Come on, we're going to watch the meddler. We're going to watch the meddler. But you, you know what, this may be weird for some people, but I remember watching you on, it was neighbors in Australia, wasn't it?

The soap opera. Oh, the soap opera? Yes, yes, yes. That was huge. South Africa was like a yeah wow that's oh man you could not have made us on more backwards oh wow that's a shame it was huge was everything the scene that neighbors everybody more than name we would sing that song and i'm embarrassed i feel like a parent's embarrassing right now i'm like yeah but you have i didn't know that what else is popular there on

tv uh well everything else no we just go like neighbors and and then it's idle and everything else. Okay, okay. We just dip into old Australian films. Oh. That's what we do. Okay. That's really good.

I'm very flattered. I'm very flattered. Let's talk a little bit about X-Men. It's a huge franchise to be a part of, and you are playing one of the few non-mutants. Yeah. Was it fun not having to sit in makeup for hours? Was that like your superpower?

It basically was. Everyone else is getting blue or green or whatever from 2 a.m. and I'd like roll up at 8 o'clock. And, you know, but it's a bit dull, really. I mean, who wants to not be a much. mutant, right? Like, I'm surrounded by people who can, you know, set themselves to fly and see, you know. But they're not really doing it while you, well.

Yes, they are. No, I mean, you must have felt cool. The movie's real. Yo, just because we have neighbors, doesn't mean we're dumb. Like, I mean, you can't trick me like that. But it's, it's a, you do have a superpower, though. You can do, like, any accents. Except South African, that's very hard.

Really? Yeah, I'm very impressed with your South African accent. It's not real, is it? No. You're putting that on, right? I'm actually German. Right? Yes.

Yeah, and you've caught me, and now I have to go back to my original accent, and the show is spilt. How many accents can you do? Three. Three, four, five? Yeah, maybe. I feel like you can do a whole. I really can't. I can do like English, Australian, American.

It's about it. Canadian. One thing you do have is not just give for talent. You have a gift. for cussing real good. In Neighbors, if you haven't watched Neighbors, you have to go, I was a huge fan of Neighbors, the first one that came out.

Oh, thank you. And it's very rare for the second movie to be as funny, if not fun. It is. It's very challenging, particularly, on comedy sequels. Yeah. And it's really, I mean, it's actually very funny. A lot of people thought it was funnier than the first one said.

And it's tough to make a movie where, like, I mean, it's all about the sorority coming in now. And you would think, going up from a fraternity story to a sorority, it would be like, oh, it gets raunchier. It gets raunchier. No, the girls are, they're nasty. Girls are nasty. So, X-Men, X-Men is really, I mean, it's a powerful franchise.

It's huge, Neighbors as well. Number one, R-rated comedy in America, so congratulations with that, and the meddler coming out as well. Basically, every movie, I'm still a huge fan. I'm still on the fifth season of Neighbors, so I'll catch up to the rest of it. You're very sweet. Well, thanks for having me. Thank you so much for being here. Thanks a lot.

Thank you. Two, Sorority Rising is out now, and X-Men Apocalypse is in theaters Friday, May 27th. Rose Byrne, everybody. I'm not an astronaut. I don't need an astronaut. Project Hail Mary is the cinematic experience of a generation. So, I met an alien. It's exhilarating and awe-inspiring, the perfect film.

Ryan Gosling gives a performance that goes down in history. Hey, us! This is one for the ages. Project Hail Mary, now playing only theaters. My guest tonight is actor and producer Michael B. Jordan. He's here to talk about his latest role as action hero John Clark and being a force of change on and offscreen in Hollywood. You're pretty messy right now.

In more ways than one. No, I'm not. I spent half my life playing that game. I'm the one that went to hell. We served the country that didn't love us back because we believe in what it could be. We fought for what America could be. Michael B. Jordan, welcome to the Daily Social Distancing Show.

What's going on, man? Thanks for having me. Oh, man, thank you for being here, man. Thank you so much for being here. Congratulations. I just watched the film. I think everybody else has on Amazon Prime without remorse. Before we talk about the movie, I just want to know how much more muscle are you planning to create like from your human body?

Like, at what point, because I mean, like, the whole movie, I'm watching you, and it's very discouraging, Michael, because I stay at home and I eat and I eat ice cream. And then when I see you, I'm like, do you, do you eat anything? Like, how do you, what, like, who are you, man? I mean, who, I just was about to eat some strawberry donuts. So I do, I do, I do eat. I do eat a lot. I've actually let myself go in recent months. It's been, it's been, it's been, it's been pretty bad.

Quarantine has taken its toll on this body. But, no, no, I mean, you know, whenever I got to lock in and actually, like, you know, transform my body for a role, it's, you know, I can get the job done. Cree three's coming up, so I'm going to have to change it pretty soon. I thought I could catch up to you when you were playing a lawyer. So I was like, yeah, I could do this. I could have a Michael B. Jordan lawyer body.

And then Michael B. Jordan's like, I'm a boxer and a Navy seal. I was like, yeah, no, I'm just going to watch the movies. But congratulations, man. No, no, we got to work out one time. Why would I do that to myself as a human being? Why would I, as Trevor Noah, go work out with Michael B. Jordan, to feel what about myself, Michael? What are you trying to do? Feel great?

Feel great. You're going to feel, no, the first couple of days, you're going to feel death. But then after that, you're going to feel great. You're going to feel great. You're going to feel good. You're going to look even better, which is fucking hard to do. Let's talk about the movie. Tom Clancy, man.

Anybody who's loved the books, anybody who's loved the games. I mean, I grew up playing Rainbow Six, you know. I'm sure so did you. This movie with Dr. Morse, I watched it with my brother, and he was just like, he was like, man, this is amazing. He was like, this is so much fun. Like, I haven't seen an action movie like this in a long time. Why did you choose to do it?

And what made you think, you know what? I can make this something special. You know, first of all, thank you. Appreciate that, man. I'm glad you guys enjoyed it, you know. But just like you, I was at home as a kid playing Rainbow Six video game for hours. And, you know, where my mom would yell at me.

And, boy, get off that damn game. You know, it was like, you know, and I would be in there envisioning myself. like in these missions. So when I had opportunity to take, you know, a Tom Clancy, you know, favorite, you know, and John Kelly and give it a, you know, a breath of fresh air, modernize it,

make it more reflection of the world that we live in today. I mean, these type of movies are the things that I grew up watching. Like, I love, like, action movies, you know? So I was like, one day, I want to do my own action, you know, movie, and I'm gonna do my own stunts. And this was the one for me to check that box. You trained with, like,

it was actual Navy SEAL training that you went through for this movie, right? Yeah, I worked with, you know, military, ex-Navy Seals, ex-marines, military divers for a lot of the water work that we had to do. Really, every stunt that you saw, I had a specialist that I spent, you know,

enough time to get comfortable with, within the stunt, and then went out and executed. One of the most terrifying stunts in the movie, and I won't spoil it for the people, involves you in the ocean, underwater in a vessel. I won't tell the people what vessel it is. Don't spoil anything.

But, like, you just underwater for long. The camera doesn't cut as well. That's something I noticed. We just follow you holding your breath, swimming underwater, swimming underwater, swimming. And I was like, no, man, Michael didn't do this, but you actually did that. Yeah, those are the, that was the one that,

you know, it took us about a week and a half to shoot. And every day, I would get up and I would get to set and I would be like, who wrote this? Why did we decide to do this? It was my favorite thing. and then it was my least favorite. Like, I mean, I hated it, and then I fell in love with it all over again

once we finished it, just because we accomplished it and we got it done, you know? So, I mean, it was very ambitious, but it was something that I had to do because Stephano wanted to shoot it in a way that you knew it was me doing those stunts. So, yeah, it was something I have to train really hard for.

What I loved about the story, and, you know, to talk to your idea of modernizing the thing is, you know, I know Tom Clancy's novel as well. I've read the books, I've played the games. You know, what I loved about the film as well is, it made you think about this from the perspective

of the military personnel, you know, people who go out there and go, I'm fighting for my country only to find out, and we've seen that where there was, with 9-11 or whatever in America, where they go like, oh, this is false pretences, but this is actually my life. You've always been somebody

who's been passionate about, like, you know, telling military personnel stories or connecting with them as human beings. That part of the story seemed really important to you. And I'd love to know what you were hoping to achieve telling that part of the story? I think it's just that, you know, the honesty of what it's like,

what it's like from the soldiers' perspective, who has a family, who has things that they care about. You know, obviously they're dedicated to a service, to a country in order to protect the oath, you know what I'm saying, to to uphold those values. But when that comes home and you feel betrayed, and you're being lied to on so many different levels, you know, how far would a man go to get those answers?

You know, I think we all felt like this at one point. We feel so small. We feel like we, like, you know, I'm one person. What is my opinion or what can I do to possibly change this bigger thing, this bigger elephant that's in the room, this bigger system? And I think John felt like that for the majority of the movie until he started to really feel like, no, I'm taking the power back. I actually can make a difference.

I can't, they're going to see me, they're going to feel me. You know what I mean? They're going to feel what they, like, they messed up. And I think, you know, just getting people to think a little bit and to, you know, obviously be entertained and have fun while watching this movie, but at the same time, to start asking questions. You got to hide medicine in the food sometimes. You've got to put a little sugar with the medicine.

And this is a cool vehicle to have fun, but also to think, too. Yeah, man, I think part of what helps the people think in this story is who the story teller Zah. I mean, you're amazing. You have fans all over the world because of that. But you have to admit, man, your cost was phenomenal in this film. Let's talk a little bit about Jody Turner Smith. People fell in love with her in Queen and Slim. She's back again in this film. What was also amazing is seeing a woman and not just a woman, but a black woman, assuming a high position, not just in the film, but in the story as well. Like, there were some beautiful scenes where it wasn't like, oh, you know, the guy's got to help her.

It's like, no, no, no. She's a soldier. She's here to find. fight, she's doing her thing. That felt like an interesting way to tell the story in a way that we haven't really seen growing up as, you know, like when we watch movies as action, like, let's be honest, it was like, Rambo helps the damsel in distress all the time. And then here was like, no, everybody hears a soldier, everybody's fighting. Yeah, and those are one of the liberties that we did take, you know,

the first black female commander, you know what I'm saying, in the Navy, in the Navy sales was something that we definitely made a choice with. It was a scene in there where, you know, we're a gun jammed, you know, Well, okay, straight, spoiler alerts. There was a moment in there where John goes to, like, you know, try to rescue and save, you know, Greer. And by the time I get there, it's already neutralized and handled, you know what I mean? So it was, it was, yeah, man, it was really good to see that, man. And I think, you know, what representation does is so important.

And we want that to inspire so many young girls out there that maybe thought that that wasn't possible or not for them, that they can go ahead and try to get that too. Michael B. Jordan is now a movie maker, a movie producer. You've got a mega deal with Amazon. You're going to be creating content. You're helping others create content. You are a superstar in every single right. I mean, 2020 saw you voted as People Magazine's sexiest man alive.

Where does life go from here for Michael B. Jordan? Like, what are your goals now? What do you want to do? I mean, it's downhill from here. Let's be honest. Where do you go? It's all downhill from here. I mean, why not try my hand in directing?

I think that's kind of like the next thing. You know, for me, the next challenge, man, is to get behind the camera and tell a story. And, like, Creed 3 is the perfect vehicle for myself. Because, you know, the third time I'll be playing any character, you know, knowing the world, you know, knowing how to, you know, to film the boxing elements of it all, following such a strong system, you know, by Sly that he created with the Rocky films

and that the Creed continued to do. You know, I guess as an actor growing up in the industry, you're taking direction, you know, all the time from every set that you work on. And when you get to a point in age, you're like, well, I kind of want the camera set up here. And I want to tell it through this lens. And I think it's the perfect time for me right now.

So I'm really excited about jumping off the deep end and getting behind the camera and telling the story. Well, if you don't do that, you can go and shoot people. I think you're very good at that now. You can go in, like, fight people. I think you're extremely good at that now. And if that fails, I mean, you could probably be a boxer

with all the training you've done now. You do realize that, right? I could be okay. I mean, I got so much respect for those boxes, man. It's insane. Yeah, but you trained, I'm just saying. I'm just saying, like, Michael Beat, I will put my money on you in a fight. You know what?

I appreciate that. That means a lot, because I will put my money on me in a fight, too. Yeah, I thought you were going to say you would put your money on me in a fight, but then you just put it back on yourself. No, I mean, it's fine. No, no, it's cool. It's cool. Mike, you can try and make me feel better, Michael, but at the end of the day,

we know the truth, man. We know where your money is. Michael B. Jordan. I appreciate you, man. I appreciate your time. I appreciate everything you do. Look after yourself, my dude. Man, keep up the good work, man.

I'm so proud of you, brother. Yo, you already know. I'm really proud of everything that you're doing. So this is fun. Much love, man. All right, Mike. Take it. Explore more shows from the Daily Show Podcast,

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