00:00:00
I always feel like someone's going to
00:00:01
walk in the door and hand me a dish
00:00:03
towel and say, "Fraser, get back to the
00:00:06
get out of here."
00:00:06
>> You know, I it just it's in me. Yeah.
00:00:08
The third one, um,
00:00:10
>> it's it it's it's kind of it's sort of
00:00:13
the problem child. Um,
00:00:15
>> okay.
00:00:15
>> Which had
00:00:19
the strange elements that the audience
00:00:21
were like, you know, you're giving me
00:00:22
something that I I don't you're telling
00:00:25
me it's one thing and it's kind of
00:00:26
>> got away from what people like.
00:00:27
>> I hate that. We We can't do that. that
00:00:29
we did in the other movie. They want to
00:00:31
see something new and then it's like
00:00:33
>> you can't reinvent the wheel.
00:00:34
>> No, you want if you want you eat an
00:00:36
Oreo, you want that cookie sound that
00:00:38
tastes like
00:00:39
>> you want you want the band to get back
00:00:41
together which is what we are going to
00:00:42
do.
00:00:42
>> And the band is back together.
00:00:43
>> Yes, we're getting the band back
00:00:45
together. The fly on the wall aspect of
00:00:49
being in the room to see what I
00:00:52
>> Thanks for the plug. That's the name of
00:00:53
the podcast.
00:00:54
>> Oh, excellent. That's right.
00:00:58
So Brendan Fraser, you you say it wrong.
00:01:02
I say it right. Brendan a Frasier. I say
00:01:05
it funny because he did a cameo and
00:01:07
Dicky Roberts
00:01:09
and he knew the director. The director
00:01:13
did George the Jungle was it? Not
00:01:16
Tarzan. George of the Jungle. George of
00:01:18
the Jungle, which was a parody of
00:01:20
>> Tarzan and he was funny and it was a big
00:01:22
movie, hundred million dollar movie.
00:01:24
>> Mhm.
00:01:25
>> And he had done the show before and he
00:01:27
was nice enough to say, "I have a movie
00:01:28
coming out.
00:01:30
>> Can I come on again?" We had a good
00:01:31
time. Movie is called Pressure. It's
00:01:34
about D-Day. Uh
00:01:35
>> he plays Dwight D. Eisenhower has to
00:01:38
make a decision about the weather.
00:01:40
>> I'm definitely seeing it because
00:01:42
>> you know more about history than me,
00:01:43
Dana, but I hearing about it made me
00:01:46
want to see it. I like those kind of
00:01:48
movies. So,
00:01:49
>> yeah, tense. A lot of tension.
00:01:51
>> It's in a theater. And then last night,
00:01:53
coincidentally, I ran into Paulie Shaw
00:01:55
at the comedy store and he said, "Uh
00:01:57
>> oh."
00:01:57
>> I said, "We had Brendan." I go,
00:01:58
"Brendan's very softspoken and very
00:02:01
>> has a very sweet vibe to him." And I
00:02:04
said, "Was he always like that on Encino
00:02:06
man where he played like
00:02:08
>> Good question."
00:02:09
>> And he said, "Uh, he said he was. He
00:02:12
even back then he's very careful how he
00:02:15
talks to you and he's even on the
00:02:17
podcast he's very quiet and he's very uh
00:02:19
we talked after so did you very nice to
00:02:22
me very nice to you after so couldn't be
00:02:25
a cooler dude
00:02:27
>> a lot of talent packed in there oh he
00:02:29
tried on Farley's coat by the way yeah
00:02:32
I'm going to put a picture
00:02:33
>> dance in it
00:02:34
>> because he saw Chris's coat up from
00:02:36
>> and he started doing some Chris Farley
00:02:39
sweet
00:02:40
>> um yeah so
00:02:41
>> this this One's interesting. We had him
00:02:43
a couple years ago. It was really about
00:02:45
just um his travailes in show business.
00:02:48
He had injuries and his wilderness years
00:02:50
and how he came back and he did the
00:02:52
whale. And then we talk about what's
00:02:53
going on now and that and this new movie
00:02:55
and another surprise if you listen to
00:02:58
the end. A surprise to me anyway. Happy
00:03:00
surprise
00:03:00
>> and his post Oscar life because before
00:03:02
he hadn't won it. I I think he was just
00:03:04
up for the whale and
00:03:05
>> Yeah.
00:03:06
>> Okay. Here he is. Brennan Fraser.
00:03:10
You got in. There's a rumor you got in
00:03:12
yesterday.
00:03:13
>> Yeah.
00:03:14
>> And Dana got in yesterday from New York.
00:03:15
>> I did a one nighter in New York.
00:03:17
>> Did you come in the morning?
00:03:18
>> I came in. I left at 3:30 at Kennedy
00:03:21
Heavy on American Airlines. And so we
00:03:24
climbed south for a bit and then Well,
00:03:25
you don't need the details, but anyway,
00:03:27
uh the guy came on and said, "We just
00:03:30
got a weather report. We're going to
00:03:32
have two hours and it uh it could get it
00:03:36
could get pretty rough." Yeah.
00:03:37
>> You got it, too?
00:03:38
>> Choppy. Yeah. Yeah, more choppy than
00:03:42
rough.
00:03:43
>> I didn't think it was bad cuz I was
00:03:44
ready for rock and roll. I was ready for
00:03:46
>> barrel rolls and war kind. Yeah, we will
00:03:48
go in the counterfree
00:03:51
back full circle
00:03:52
>> a guy playing a harmonica.
00:03:57
>> Dennis used to say we got a little light
00:03:59
shop or dirty air. Those are ways of
00:04:02
saying it's going to get bad, but I'd
00:04:03
rather hear it tamp down like that.
00:04:06
Little bit of dirty air coming up.
00:04:08
>> Dirty air. Peter Dinklage told me that
00:04:10
um he said that he is a a pilot in his
00:04:14
family and he said that just to put your
00:04:16
mind at ease if something bad's going to
00:04:17
happen
00:04:19
>> it's after takeoff like you know once
00:04:21
you're in the air you're good landing it
00:04:22
is a lot you know comparing the risk and
00:04:26
if you think of you know air chop as
00:04:29
like skipping a stone on water like you
00:04:31
know it's not
00:04:32
>> oh that's not as bad
00:04:33
>> so you give yourself a mental image
00:04:35
>> well I heard two minutes like it's
00:04:38
probably a million to one when you take
00:04:39
off. It's 10 million to one after 2
00:04:42
minutes. So, I just count backwards. Oh,
00:04:45
>> and take deep breaths and then we get to
00:04:47
120 seconds, which would be 2 minutes,
00:04:50
right?
00:04:50
>> Yeah.
00:04:52
>> What about the landing?
00:04:53
>> Metric minutes.
00:04:55
>> Is the landing more dangerous than the
00:04:57
takeoff?
00:04:58
>> Uh gosh, depends on the weather.
00:04:59
>> Take off.
00:05:00
>> Take off.
00:05:01
>> It depends on I don't know.
00:05:02
>> Well, the takeoff proves the thesis that
00:05:04
the thing's going to fly again.
00:05:05
>> Okay. you know.
00:05:06
>> Yeah.
00:05:07
>> Because, you know,
00:05:08
>> they do stuff like, "Oh, we've only got
00:05:09
one engine." You're like, "Yeah."
00:05:11
>> Yeah. I don't like that.
00:05:12
>> I don't like
00:05:13
>> I flew on an A380 once out of Paris.
00:05:16
>> A380.
00:05:17
>> A380. It's a shopping center with with
00:05:19
with an engine. You know, it's just so
00:05:21
[ __ ] big.
00:05:21
>> The bowling.
00:05:22
>> So, we go up in the My wife and I go out
00:05:24
and we're first class. Whoops.
00:05:26
>> And we meet Maurice Travalier, if you
00:05:28
know the reference, the pilot.
00:05:30
>> We may not be taking off today. We have
00:05:33
a little engine problem. So anyway, so
00:05:36
we did go. I was kind of nervous. The
00:05:38
exact same flight, seven days later,
00:05:40
lost an engine, emergency, landed in
00:05:43
Greenland.
00:05:44
>> Wow.
00:05:45
>> They interviewed the French guy. It was
00:05:46
a [ __ ]
00:05:49
>> I'm so punchy. I can't even. It's
00:05:51
Brendon, right? Jet.
00:05:52
>> It's Brendon.
00:05:53
>> Uh, one thing I wanted to say to you
00:05:55
because I was looking at some of the
00:05:56
comments on the trailer and someone
00:05:58
said, "I'm so down for this
00:06:02
Brena Renaissance."
00:06:04
Bnee sauce.
00:06:05
>> Oh, you've seen this. Is it a meme?
00:06:07
>> I've been
00:06:09
>> This is
00:06:10
>> Is it a meme? Uh I think it's painted on
00:06:13
someone's ceiling at Cistine Chapel.
00:06:16
>> Yeah, it's been Has it been around?
00:06:17
People are saying it.
00:06:19
>> People told me the other day, I want to
00:06:20
see you make a comeback. I go,
00:06:22
>> oh, am I gone? They're like,
00:06:23
>> I was like, I've always been here, guys.
00:06:25
Maybe.
00:06:26
>> Yeah, you just never really know if
00:06:27
you're in it. You don't really know
00:06:29
where you are on the
00:06:30
>> No. Why? I heard probably 10 times this
00:06:33
week because just casually, where you
00:06:34
going? What are you doing? Well, I'm
00:06:36
doing this podcast interview Brendon
00:06:37
Frasier. I LOVE THAT GUY.
00:06:39
>> OH, REALLY?
00:06:40
>> Every single one.
00:06:41
>> Every single one.
00:06:42
>> Every single one. I love that guy. I
00:06:45
don't know why they got to got a memo or
00:06:47
went to a meeting, but anyway, we you
00:06:49
know,
00:06:49
>> I'm going to have to send him a Je Oscar
00:06:51
winner. It's very It's difficult. It's a
00:06:53
little intimidating.
00:06:54
>> Is it intimidating? Come on. Not for you
00:06:57
guys. I'm still a douche.
00:06:59
>> Definitely. We don't have advocating,
00:07:01
but it's it's kind of it's very cool.
00:07:03
>> It's it's um it's an affirmation that
00:07:06
you don't really understand what the um
00:07:09
you know, protocol is until it happens
00:07:12
to you. Um and in
00:07:17
you know the final analysis I think it's
00:07:20
just um a way of
00:07:24
me remembering how many people helped me
00:07:29
get to that place
00:07:31
>> where you even considered and then when
00:07:34
it comes down to that envelope opening
00:07:36
moment it could be anyone I mean any
00:07:39
other you know we don't know we don't
00:07:40
and and there's relief because you said
00:07:43
something. We know an answer. Um, you
00:07:46
know, and
00:07:48
there's among, you know, in your
00:07:50
category, at least the year I was there,
00:07:55
we had we we'd been through a gauntlet
00:07:57
of press and that's a lot of questions,
00:08:01
>> all of that. And yeah, that's your job.
00:08:03
You should do that. But it it takes a
00:08:04
toll. And what it does is just make
00:08:05
>> it's an odd job.
00:08:06
>> It's a weird job. And but you you become
00:08:08
like, you know, you know, you you got a
00:08:10
lot closer. you care for one another and
00:08:12
you're pulling for each.
00:08:12
>> Who was in your cadre?
00:08:14
>> Who was your co-stars? Not that they're
00:08:17
losers, but they did lose.
00:08:19
>> Um
00:08:20
>> Oh, Bill Nye. And who was the first one
00:08:22
called?
00:08:22
>> Bill Nye.
00:08:23
>> Austin Butler.
00:08:24
>> Okay.
00:08:25
>> Yeah,
00:08:26
>> I like him. Yeah.
00:08:27
>> Um All great guys.
00:08:29
>> And you smoked them. But now when you
00:08:32
>> Not true.
00:08:33
>> No, not true. It could have been by 1%.
00:08:35
You don't know. It could have been like
00:08:36
this. How were you crawling up to the
00:08:38
Oscars like Golden Globes, all the
00:08:40
Critics's Choice? What was your batting
00:08:43
ratio?
00:08:44
I'm just trying to remember.
00:08:46
>> No, no, no, no. Colin was winning
00:08:48
everything since Venice. Um
00:08:50
>> or Colin
00:08:52
>> other Colin.
00:08:53
>> The other Colin.
00:08:55
>> Colin.
00:08:55
>> Banshees of insurance.
00:08:56
>> A man of work.
00:08:57
>> You can say it.
00:08:58
>> Oh, yeah. The Banshees of Insurance.
00:09:01
I really committed. I just said it. I
00:09:03
got I knew it was a lot of letters. No,
00:09:05
I know you're calling me
00:09:06
>> or what? You think it's Colin Pharaoh?
00:09:10
>> Colin Quinn.
00:09:12
>> Just want to see how many Colins you
00:09:13
know.
00:09:13
>> I know. I don't know that many. Colin
00:09:14
Quinn.
00:09:15
>> If it's not the guy from Man at Work,
00:09:16
I'm out.
00:09:18
>> I'm going to tap out on Colin.
00:09:19
>> No. Colin from England.
00:09:23
>> Ireland. Come on.
00:09:24
>> That guy. You know that guy first. Well,
00:09:27
Colin Frell.
00:09:28
>> No. Was it Colin?
00:09:30
>> Yes.
00:09:30
>> Did we already do it and we kept
00:09:32
guessing? I mean, I guess at the first
00:09:34
time you came back.
00:09:36
>> Listen, we'll be right back. We'll be
00:09:39
right back.
00:09:39
>> And I saw the whale.
00:09:40
>> You did?
00:09:41
>> Interesting.
00:09:43
>> Yeah.
00:09:43
>> Yeah.
00:09:44
>> The banshees had no chance against the
00:09:46
whale.
00:09:47
>> No, the whale the whale performance is
00:09:50
like it's supernatural. I mean, it's
00:09:52
historic.
00:09:54
I mean I mean it was just like insane.
00:09:57
Uh it was uh a lot of real hardcore
00:10:00
rehearsal with Darren Areronowski is um
00:10:03
the first to tell you that he would have
00:10:05
been a baseball umpire if he wasn't a
00:10:08
director because he's kind of guy sees
00:10:10
everything. He gets the last call. He
00:10:12
knows the play
00:10:13
>> and he did couldn't cast it right. He
00:10:15
saw you in some older movie and went ah
00:10:17
that guy can do it
00:10:18
>> what he said. Yeah. Yeah.
00:10:19
>> Uh he he had that
00:10:22
>> intention to make the movie for a number
00:10:23
of years I guess. But
00:10:25
>> Mhm.
00:10:25
>> when we met uh I was no I was this
00:10:29
formidable director and if you He's got
00:10:31
eyes that are kind of like you very kind
00:10:34
behind you know formidable frames.
00:10:38
>> You're looking at Dana.
00:10:39
>> Yeah. Come on. I can go anywhere. Go get
00:10:43
your facts straight. Jack go straight
00:10:45
hormones.
00:10:45
>> Joe Biden.
00:10:47
>> Joe Biden. Someone had someone.
00:10:50
>> He's Clark Kent and Joe Biden takes him
00:10:53
off. Um, but yeah, is he kind of
00:10:55
considered is he a taskmaster in a way,
00:10:57
but brilliant Darren? I mean, I don't
00:10:59
know, but he's
00:11:00
>> he has high standards and he he he's he
00:11:02
the thing about him is that he he he
00:11:03
does get the ideas from the best
00:11:07
uh he calls every, you know, he gets
00:11:09
everyone's opinion. He's diplomatic.
00:11:11
He's a very good leader. Like he
00:11:13
>> and he credits right away with whomever
00:11:16
came up with whatever suggestion he
00:11:18
answer, you know, what to submit. But
00:11:20
he's also uh quick to say, "No, that's
00:11:24
not right." And he's always he's always
00:11:25
correct. Like he asks that from any
00:11:27
department, right? Wardrobe, makeup, all
00:11:30
that. He knows the answer. And
00:11:31
>> Mhm.
00:11:32
>> he has a a real spontaneity and a
00:11:35
confidence to him. like if he sees
00:11:37
something a scene is playing out,
00:11:40
>> he'll
00:11:42
change the
00:11:44
um order of the coverage to capture a
00:11:48
performance from an actor from a
00:11:50
different angle just automatically
00:11:51
because he saw
00:11:52
>> it's working like let's get
00:11:53
>> he saw that. So he'll, you know, he'll
00:11:55
turn the room around just to get that
00:11:56
now.
00:11:57
>> Yeah. And um he's uh I think I think
00:12:02
he's one of among the directors who we
00:12:04
admire who have um courage who kind of
00:12:08
fear no art in a way you know they they
00:12:12
and and having courage doesn't mean you
00:12:13
know you're not challenged or you're
00:12:16
fearless or something like that but he
00:12:18
he he he does take risks and I think
00:12:21
that's where you know big rewards come
00:12:23
>> he kind of work with less location so he
00:12:26
has that ability to kind of flip the
00:12:28
camera. It's not like we're going to the
00:12:29
beach now. Oh, you had a less location.
00:12:32
>> In the case of that film, The Whale, it
00:12:33
was it was in one room, right?
00:12:34
>> Literally in one room.
00:12:35
>> Yeah. It was Charlie's apartment. And
00:12:38
you know, it was in
00:12:39
>> it was like a stage play in that sense
00:12:41
that you could really get intimate with
00:12:42
the scene.
00:12:43
>> The way it felt Well, it was written by
00:12:45
um as
00:12:46
>> as a stage play.
00:12:47
>> Yeah. And adapted for the screen.
00:12:49
>> Yeah. Dana
00:12:50
>> by Sam.
00:12:51
>> Let me look at my notes. I knew that.
00:12:53
No. Is it better to have like a
00:12:55
director? Because you've had a lot of
00:12:56
directors. We've all had a lot of
00:12:57
directors.
00:12:58
>> And I think it's better when because
00:13:00
there's ultimately a final say.
00:13:02
>> So, which makes the system work, you
00:13:04
know, when everyone pitches in, you give
00:13:06
your ideas. I'm in these movies. You
00:13:08
give your ideas, but someone's going to
00:13:10
make the final call. Sometimes they take
00:13:11
your suggestions. But ultimately, it's
00:13:13
better when you think they're really
00:13:15
good because it's easier to take when
00:13:19
they make the final call because some
00:13:21
movies you don't down deep think they're
00:13:24
any good.
00:13:24
>> And then you go, so this is what we're
00:13:27
going with. Okay. And then you kind of
00:13:28
go in knowing, I don't think this is
00:13:30
right. And that's that's a tricky
00:13:32
situation, but luckily you got this guy.
00:13:34
>> And you probably work with better and
00:13:35
better guys all the time.
00:13:37
>> Um,
00:13:38
they're all good in their own way. There
00:13:40
are some directors who
00:13:42
I don't understand their direction.
00:13:45
>> I will smile and nod.
00:13:47
>> Yeah.
00:13:47
>> And then I'll
00:13:48
>> try to get what they said. You don't
00:13:50
even know.
00:13:50
>> And then afterward they go, yes, that
00:13:52
was it. And you're like, I have no idea
00:13:54
what you told me.
00:13:54
>> I did the same thing.
00:13:56
>> I know. You try. You go, I think this is
00:13:58
what they mean. I've done that where
00:14:00
they go, nope. Nope. And then, yep.
00:14:03
>> Ah.
00:14:04
>> And you go, I don't know what happened.
00:14:08
I still think have you had this
00:14:09
experience with a director where they're
00:14:11
sort of allowing you to discover it
00:14:14
while you're filming or you have those
00:14:15
moments where this you're doing it for
00:14:18
the very first time like Woody Allen or
00:14:20
something or Clint Eastwood. They'll
00:14:21
kind of huddle.
00:14:22
>> Yeah.
00:14:23
>> You know, you go to the end, you know, I
00:14:25
mean, and then they just go in and they
00:14:26
start doing it, you know. Have you had
00:14:28
an experience like that? You'll probably
00:14:29
be good at that.
00:14:30
>> Um
00:14:30
>> I'll I'll make a call.
00:14:33
>> Um I think I'm a first take, best take
00:14:35
kind of guy.
00:14:36
>> Yeah.
00:14:36
>> Okay. Okay. Well, there you go.
00:14:37
>> I think I or early ones and once I
00:14:40
started doing too much then gilding the
00:14:42
lily and
00:14:43
>> so Kubric would have been a nightmare
00:14:44
for you.
00:14:45
>> It would have been a long day.
00:14:46
>> 200
00:14:47
>> even venture they say that I'm like I
00:14:49
would not envy being 100 takes like some
00:14:51
people brag. We like Tom Cruz like we
00:14:53
did this 100 takes to get it right and I
00:14:54
go how bad is everyone?
00:14:57
>> You can't get it in 50. I mean,
00:15:00
>> yeah. Or what
00:15:01
>> things are different now considering
00:15:02
that it's digital, right?
00:15:04
>> Cameras are like flipping on a light
00:15:06
switch. You know, you just leave them on
00:15:07
all the time and then the kind of we
00:15:09
used to say, you know, we'll fix it in
00:15:10
post or, you know,
00:15:12
>> you can do it in the box right now
00:15:14
overnight even. Um,
00:15:16
>> yeah, digital
00:15:17
>> takes are longer and longer. There isn't
00:15:19
the rhythm of changing
00:15:20
>> and like sorry to interrupt, but I kind
00:15:22
of like to sometimes if you're
00:15:24
comedians, you like to improvise. So
00:15:25
digital was revolutionary for people
00:15:28
like Will Frell. You know, Adam Mccay
00:15:29
would just put the camera on him for
00:15:31
like 10 minutes and Will would just
00:15:32
throw lines and pick the best one,
00:15:35
>> right? And that can also be prohibitive
00:15:39
in a sense that
00:15:40
>> too much time.
00:15:41
>> Too much time. Yeah. and you feel like
00:15:44
you are in almost,
00:15:46
you know, aatrical sort of venue when
00:15:49
it's inherently
00:15:53
work, you know, cinema for, you know, a
00:15:55
smaller size performance. So, you know,
00:15:56
we're not acting out a whole play scene.
00:15:58
But then sometimes there's pros and
00:16:00
cons, of course. I mean, the physical
00:16:02
act of taking magazines of film off the
00:16:04
top of the camera and having the rhythm
00:16:06
of, okay, well, they got to reload. That
00:16:08
means I can breathe for a second. I can
00:16:10
check in with the whatever, have a chat
00:16:12
about this, talk to the camera guy. Um,
00:16:15
now, um, you know, a whole new
00:16:18
generation's come of age in a period
00:16:21
where it's ubiquitous and and and
00:16:24
constant and and it it gives you a sense
00:16:27
of um, needing to be sort of on all the
00:16:31
time.
00:16:32
>> Yeah.
00:16:33
>> It's it's open-ended. It's not really
00:16:36
>> there's an interesting thing when this
00:16:37
happens when you're shooting and then
00:16:38
they they're doing more and more takes
00:16:41
and if you even feel like you're getting
00:16:43
it right, maybe they're looking for
00:16:44
something else and then I start changing
00:16:46
my performance because I go we're not
00:16:49
moving on so I'm going to try different
00:16:50
things and sometimes when they move on
00:16:53
I'm thinking the early ones were better.
00:16:56
I don't you know I think maybe they're
00:16:57
looking for someone else's
00:16:59
uh coverage. They go, "Oh, that was
00:17:01
better." And I'm like, "Well, now I'm
00:17:02
stuck in mine that I didn't love."
00:17:05
>> These things is inside baseball. But you
00:17:06
know what I mean. Like you go, I'm just
00:17:08
changing because we're not moving on. So
00:17:11
I'm tweaking and trying to try anything
00:17:13
else to feel like it hit.
00:17:15
>> And then sometimes the one they go, "Got
00:17:16
it." And you go, "Wait."
00:17:18
>> And then you have your own inner critic
00:17:20
going
00:17:21
>> Yeah.
00:17:21
>> You know, 10 minutes later, oh, I should
00:17:24
have I could have. That's the worst when
00:17:26
you move on and then
00:17:28
>> wait and then you got to feel like
00:17:29
you're going to run up the escalator to
00:17:31
get to the top again. I just want to do
00:17:32
one.
00:17:33
>> Yeah. Yeah. Yeah. Since you did uh you
00:17:36
know big comedies or you know and then
00:17:38
you've done real drama. Does do they
00:17:42
scare you equally or or it's like what's
00:17:45
the most frightening for because I I
00:17:47
think just being very vulnerable on a
00:17:49
set would be harder than comedy in some
00:17:52
ways.
00:17:52
>> I'm a I'll shoot just straight. Dana, I
00:17:55
always feel like someone's gonna walk in
00:17:56
the door and hand me a dish towel and
00:17:58
say, "Fraser, get back to the get out of
00:18:01
here."
00:18:01
>> You know, I it just it's in me and I
00:18:03
>> Sure.
00:18:04
>> So, even after the Oscar, you didn't
00:18:06
kind of affect you a little bit. Not
00:18:08
cocky, but a little bit. I must be doing
00:18:10
something right.
00:18:11
>> Well, I got the Yeah. I mean, like,
00:18:14
well, for in that case, I do know that
00:18:17
with a whale, I I did everything that I
00:18:19
humanly possibly could. It was 2022. We
00:18:22
all thought we were going to die
00:18:23
tomorrow anyway because co there's
00:18:25
existential threat for everyone. Actors
00:18:27
are, you know, ideally
00:18:29
>> supposed to do this like it's the first
00:18:31
and last time you ever will.
00:18:33
>> So, you know, leave it everything. Give
00:18:35
it everything you got. That's
00:18:36
>> that's right for the part.
00:18:38
>> Mhm. um
00:18:40
when when I can remember feeling like
00:18:47
I had everything to prove at that time
00:18:49
in my career and um if the film didn't
00:18:54
land with an audience or it was not
00:18:57
received in a favorable way you know
00:18:58
with everyone has best hopes for their
00:19:00
work then I
00:19:04
I would I just would have taken it
00:19:06
straight up no chaser that Okay, I
00:19:08
really don't know what I'm doing cuz I
00:19:10
was all out of moves.
00:19:12
>> Yeah,
00:19:13
>> I didn't have any other ones. So, that
00:19:17
that that really did exhaust what was in
00:19:19
my repertoire at that time.
00:19:21
>> And so, it's nice that it was
00:19:24
wellreceived and that it was awarded and
00:19:26
given all this recognition, but it
00:19:30
>> is not because of anything that I
00:19:32
specifically did. It was Hongcha, it was
00:19:34
Sadi Sink, it was Darren. I think was
00:19:37
good in that. Yeah. I I think it's also
00:19:39
you you get in a place where you go
00:19:41
>> I hope this is the one that works
00:19:43
because it feels like to get the
00:19:45
elements to come together. Forget, you
00:19:47
know, you got the cast
00:19:48
>> and the director and the script and then
00:19:50
you go and the editing
00:19:51
>> and the promotion. You're like and the
00:19:52
trailer and you go,
00:19:54
>> "So far we're doing good. I've seen the
00:19:56
final product. We just got to get people
00:19:58
to see it." And a lot of movies that the
00:20:00
wheels go off earlier and you're like,
00:20:01
"I don't think this is the one. I don't
00:20:03
think this is going to hit it on all
00:20:04
cylinders."
00:20:05
And then there's that X factor of who
00:20:07
knows what audiences where they are
00:20:11
>> culturally in their head space. What
00:20:14
>> you hit it at the right time.
00:20:15
>> What do they need to see? What do they
00:20:16
want to feel more about? You know, we
00:20:18
all go through these sort of trends of
00:20:21
>> culture, right? What think about the way
00:20:23
they
00:20:23
>> That's true. Yeah. Especially with
00:20:25
comedy, it really there was, you know,
00:20:26
Tropic Thunder and The Hangover, movies
00:20:28
like that.
00:20:29
>> Only till recently there was an R-rated
00:20:31
comedy. Kind of felt like it was from
00:20:33
the '9s. brief brief run at the box
00:20:35
office. It was called Bus Boys that
00:20:37
David made. It
00:20:38
>> very quick. It's just great. I did a
00:20:41
movie,
00:20:42
>> but it was lowbudget movie.
00:20:43
>> It was post any kind of woke stuff and
00:20:47
politically incorrect.
00:20:48
>> Yeah. Yeah.
00:20:49
>> Which brings me to this question, Brent.
00:20:51
>> Yeah.
00:20:52
>> Is it too late for you to be in Buzz
00:20:53
Boys? No. Is it um No. When you did uh
00:20:57
>> I did answer the call back in the day.
00:21:00
>> Oh, you came. I love it. Uh that was Sam
00:21:02
Weissman, right? Because he did Tarzan,
00:21:04
right?
00:21:04
>> George of the Jungle.
00:21:05
>> George of the Jungle. Yeah. What did you
00:21:06
say? George of the Jungle. George of the
00:21:08
Jungle.
00:21:08
>> You played Tarzan.
00:21:11
>> George. You played George was based on
00:21:13
Tarzan from the cartoon.
00:21:16
>> So,
00:21:17
>> you had quite a range, man.
00:21:18
>> You do uh let's just say some comedies.
00:21:22
Then you get really deep.
00:21:25
All the way to the whale. You did a
00:21:27
rental family, which was a very nice
00:21:28
yoga movie. Another sort of series on
00:21:30
Rotten Tomatoes. Not bad, right?
00:21:33
>> Yeah. An incredibly
00:21:35
>> I got 88 with all mine combined.
00:21:37
>> I read a review.
00:21:39
>> Um it was 86. I'll talk later.
00:21:42
>> You um I read a review said Oscar
00:21:46
worthy. This is for them.
00:21:47
>> Oh, really?
00:21:48
>> Yeah.
00:21:48
>> Possibly if you know an audience's
00:21:50
headsp space was in a a a place where it
00:21:54
needed to hear that kind of story or
00:21:56
appreciate. In the case of rental
00:21:58
family, it's a movie about a guy who is
00:22:02
in a country that is not his own and the
00:22:05
country he's not in is the United States
00:22:08
and he hasn't been there for about seven
00:22:09
or eight years. I mean, you figure out
00:22:12
why did he leave America?
00:22:14
>> Who is this guy?
00:22:14
>> Who is this guy? And what was it that he
00:22:16
doesn't want to go back to? Well, you
00:22:18
know, what's the temperature in America
00:22:19
today? That's a whole another
00:22:20
conversation, right? It is.
00:22:21
>> But he finds himself in a new place and
00:22:23
he's extraordinarily lonely in the one
00:22:25
of the busiest cities of the world.
00:22:26
Yeah.
00:22:27
>> And uh is realizing that yeah, he's
00:22:32
going to die a lonely man who with
00:22:33
father issues of his own
00:22:35
>> if he doesn't have some sort of sense of
00:22:38
connection with people that he can't get
00:22:40
through his acting career because let's
00:22:42
face it, he's not a very good one. He
00:22:44
his big gig was Mr. Clearbrite Man and
00:22:48
the toothpaste commercial. And you know,
00:22:50
and that's a trope.
00:22:51
>> It is. You know, if you've ever been,
00:22:52
you've been to Tokyo, I mean, you see
00:22:54
there's mascot culture is huge.
00:22:57
>> Yeah.
00:22:57
>> And uh expats taking those jobs are like
00:23:01
plastered all over uh advertising
00:23:04
everywhere in Japan.
00:23:06
>> And um it's still not enough. And once
00:23:13
he stops
00:23:15
performing, you know, in this sort of
00:23:17
buffoonish clownish way
00:23:19
>> and is able to make proper connections
00:23:22
with people in a in a meaningful way
00:23:24
when he's not, you know, performing for
00:23:26
a camera, but instead he's
00:23:28
>> uh
00:23:30
working at a service uh industry to um
00:23:34
give companionship to people
00:23:36
>> who are
00:23:38
>> and desperate
00:23:40
for authenticity.
00:23:41
>> It's a good premise.
00:23:43
>> And if
00:23:45
you know that uh
00:23:47
can help, it does. Sometimes it can't.
00:23:50
And that's where this film really lives.
00:23:54
What are those thorny questions about
00:23:57
standing in as surrogates in people's
00:24:00
lives? Was it kind of fun playing an
00:24:02
actor who ends up acting like he's
00:24:05
pretending to be the the longlost father
00:24:08
or whatever?
00:24:09
>> He goes on
00:24:10
>> the guy you're playing is also
00:24:11
pretending.
00:24:13
>> It's a performance of a performance.
00:24:14
You're right. until it the the the
00:24:17
logarithm gets a little bit too
00:24:19
confusing and he and he just realizes
00:24:21
I'm going to stop doing that
00:24:23
>> and jump in with both feet and just
00:24:26
>> uh be and and then learn of course that
00:24:29
he indeed is actually being
00:24:32
>> Is there anything like that in Japan?
00:24:34
>> Yes, it's a business model that existed
00:24:36
since the 80s.
00:24:37
>> I did not. Wow.
00:24:38
>> That's why it's a great idea. And then
00:24:40
uh
00:24:42
>> yeah, I saw a scene with you and this
00:24:43
young girl and she was
00:24:44
>> that's Shannon Gorman. She was nine
00:24:47
years old. Never acted before.
00:24:48
>> She's nine.
00:24:49
>> Oh, she was good. Yeah. 12 almost never
00:24:52
before.
00:24:52
>> No. Oh, she's 9 years old. I mean, she
00:24:54
was a little kid.
00:24:56
>> She been around the block by
00:25:00
>> she'd be a little worn out by nine.
00:25:02
Yeah. A couple sitcoms.
00:25:04
>> Um that was But anyway, so she was
00:25:07
really good, right? There is something
00:25:09
about the purity of a kid, you know,
00:25:13
>> maybe not overthinking.
00:25:14
>> Well, when you're when you're casting a
00:25:15
kid, you're also casting their parents,
00:25:17
>> you know.
00:25:18
>> How are they? Let's
00:25:20
>> terrific. Oh, good.
00:25:21
>> I mean, just terrific, supportive.
00:25:24
>> Her mother uh is Japanese, her father is
00:25:28
Irish. So, I mean, she fit the bill to a
00:25:31
tea. um she was, you know, naturally
00:25:35
gregarious and interested in
00:25:38
pleasing the grown-ups and performing on
00:25:40
her own. So, you know, it it fit the the
00:25:44
criteria perfectly. And we quickly
00:25:47
learned we had to stop rehearsing with
00:25:48
her because
00:25:51
she had because she hadn't acted before.
00:25:53
She was learning Kids Are Sponges,
00:25:55
right? You know, and
00:25:56
>> we didn't want her playing her game in a
00:25:58
locker room. So just get her on set,
00:26:01
shoot it,
00:26:02
>> capture capture lightning in a bottle,
00:26:04
you know.
00:26:04
>> I like this this Hakkari was that the
00:26:06
director?
00:26:07
>> Yeah, that's right.
00:26:07
>> And is Hakari some who you knew
00:26:10
something they did or you just the
00:26:12
script is the part that got you?
00:26:13
>> Script was first uh I did not know her.
00:26:16
I met her of course, but um that was
00:26:19
just before the strike and then we had
00:26:20
to wait for a year. Um
00:26:24
she and her writing partner Steven
00:26:26
Blahoot uh were in Tokyo trapped there
00:26:32
during the lockdown
00:26:34
>> and he's an American and uh he was
00:26:36
looking for a job and he was going
00:26:38
through like classifides and he saw an
00:26:41
advertisement looking for
00:26:42
>> yeah you know rent rental boyfriend or
00:26:46
rental you know that sounds a little
00:26:48
hokey and a little dodgy in some ways
00:26:50
and you those services existed. Go
00:26:52
ahead. A whole another movie. But
00:26:54
>> and he said, "What is this?" He asked
00:26:55
her. She said, "I'm Japanese. I don't
00:26:57
know what this is." And that's how they
00:26:58
started researching and finding out.
00:27:00
>> Interesting.
00:27:00
>> Well, the fact that it's real is even
00:27:02
better. H And what's this latest one?
00:27:04
I'm sorry.
00:27:05
>> It's called Pressure.
00:27:06
>> Yes. I'm very excited to see that. Are
00:27:09
you really?
00:27:09
>> I honest to God, I saw because it gave
00:27:12
me vibes of the Churchill movie with
00:27:14
Gary Oldman,
00:27:15
>> Focus Features. Yeah. That's what they
00:27:17
do.
00:27:18
>> Yeah. And I love that movie. I've seen
00:27:19
it probably five times.
00:27:22
>> My wife and I visit it every once in a
00:27:24
while, but this one um knowing a little
00:27:27
bit about it, you know, and how intense
00:27:29
the weather thing was and how
00:27:31
rudimentary our weather thing was.
00:27:33
>> Yeah.
00:27:34
>> So, how did this come to you and I want
00:27:36
to just know what what you
00:27:38
>> you know, you're going to play Dwight D.
00:27:40
Eisenhower. I mean, at first you kind of
00:27:41
go, okay, and then and then what do you
00:27:43
do? But
00:27:44
>> yeah, and tell them tell the crowd a
00:27:46
little bit about what it's about.
00:27:47
>> Sure. Yeah. Uh, well, pressure is the
00:27:50
weekend before the D-Day invasion, which
00:27:54
was,
00:27:55
>> as history tells us, Tuesday, June 6th,
00:27:58
1944.
00:28:00
I didn't know that the date originally
00:28:02
was Monday,
00:28:04
>> June 5th, 1944.
00:28:05
>> Largest amphibious attack.
00:28:08
>> 300,000
00:28:09
troops in a morning.
00:28:12
>> Yeah.
00:28:13
>> Ever. It's the biggest
00:28:16
location detail.
00:28:19
Logistical. Yeah. Uh,
00:28:22
>> new equipment never been done in battle
00:28:24
before.
00:28:25
>> Early call sheet for extras.
00:28:26
>> Exactly.
00:28:28
It's
00:28:30
>> We got to get there at 2 a.m. We got to
00:28:31
start shooting at 6:00.
00:28:32
>> Well, one of the most indelible moments
00:28:34
of of my cinematic life, seeing The
00:28:36
Longest Day with my dad when I was like
00:28:38
eight
00:28:38
>> and the Germans like Shaz, you know,
00:28:41
they don't think there's any attack
00:28:42
coming.
00:28:44
And then he goes all like that and you
00:28:47
see like a million ships.
00:28:49
>> Yes.
00:28:49
>> And as a kid I was like, "Holy
00:28:51
>> the the that weekend,
00:28:55
of course, they factored in everything
00:28:56
that goes into an invasion and certainly
00:29:00
meteorology and the weather plays a huge
00:29:03
part. That's another combatant
00:29:05
>> essentially." And um it was
00:29:11
for the efforts of a meteorologist named
00:29:15
Skagg who was
00:29:19
uh courageous enough to stand up and
00:29:24
tell everyone almost Cassandra like you
00:29:28
need to heed the warning that there is
00:29:30
an inbound storm
00:29:32
>> and delay
00:29:33
>> storm like a big
00:29:36
completely six foot waves, air force
00:29:38
couldn't hit targets,
00:29:40
>> landing craft, and mean those were
00:29:42
>> dodgy enough to begin with.
00:29:44
>> Yeah.
00:29:44
>> And many of them didn't make it under
00:29:46
good circumstances. Uh and he said, "You
00:29:49
you you have to take this seriously."
00:29:51
>> And um
00:29:54
they did delay. Actually, it was going
00:29:57
to be later. I think it was the 18th was
00:30:00
the soonest they could do it considering
00:30:02
>> the phases of the moon, the amount of uh
00:30:04
reflected light to attack
00:30:06
>> the levels of the 18th. Yeah.
00:30:09
>> Everything. And then
00:30:11
>> deciding you're the guy that decides.
00:30:13
>> Pardon?
00:30:13
>> You're the guy that decides.
00:30:15
>> Well, um he had the final word. Um you
00:30:19
know, he was Eisenhower of the Joint
00:30:21
Chiefs of Staff was the last word.
00:30:24
>> Yeah. and the final word and and the
00:30:26
responsibility was his and his alone.
00:30:28
And he took it. He did. I mean, he's, as
00:30:31
I studied and learned, he wrote a letter
00:30:34
in advance of a response to whatever the
00:30:38
outcome of the invasion would be
00:30:41
in uh victory and one that was in uh
00:30:46
defeat.
00:30:47
>> Wow.
00:30:47
>> And the one in victory was the one that
00:30:49
we know of. But he cared for the troops
00:30:52
intensely. That's I mean no secret. He
00:30:55
he definitely
00:30:57
didn't have uh we will get boots on the
00:31:00
beach no matter what.
00:31:02
>> They knew they were going to go and have
00:31:05
a
00:31:06
bare knuckle fight with a chainsaw as it
00:31:09
was already. But uh he he didn't um want
00:31:14
there to
00:31:17
uh be the he wanted the fewest reasons
00:31:21
for people for his soldiers to uh
00:31:24
prevail knowing that there's an
00:31:27
estimated 75% casualty
00:31:31
>> anticipation.
00:31:33
>> That's on a good day. Like that's
00:31:35
>> that under those circumstances.
00:31:36
>> Whoa. Whoa. We can talk about it and
00:31:39
hearing you say that and seeing you get
00:31:40
a little emotional. It is sort of like
00:31:43
hard for us to fathom his responsibility
00:31:46
that task those young men that happen to
00:31:49
be 18 or 19 or 20 or 21 on those landing
00:31:52
craft you know it's just
00:31:55
>> it's um you know we all saw Saving
00:31:57
Private Ryan which was sort of
00:31:59
>> it's it's an it's an anthem for you know
00:32:02
the genre. Mhm.
00:32:03
>> Yes, there are battle sequences to put
00:32:05
us in the right place that are in the
00:32:07
film Pressure
00:32:08
>> um
00:32:10
>> because you know they're required, but
00:32:12
also
00:32:14
>> um Pressure takes advantage of um
00:32:18
archival
00:32:20
uh footage, documentary footage that
00:32:21
we're all pretty familiar with. We watch
00:32:23
the History Channel growing up, but that
00:32:26
imagery was actually
00:32:28
>> a dupe of a dupe of a dupe of a dupe. M
00:32:30
>> and so Anthony Maris director went to
00:32:33
the source and he upresed the originals
00:32:37
and you know whatever our feelings about
00:32:40
so you know guard rails around CG or AI
00:32:44
>> which was formerly CGI
00:32:47
>> um you know
00:32:50
>> upres going it it does give you a
00:32:53
feeling of authenticity when
00:32:57
>> it's also in different eyes you're
00:32:58
seeing it because it's very
00:32:59
It is Ken Burns film um
00:33:03
was on the first world war was
00:33:05
inspiration for this and you know and in
00:33:07
that one you can see
00:33:09
>> soldiers breath you can you can
00:33:12
>> uh they brought in lip readers
00:33:15
>> and to learn that somebody in the
00:33:18
trenches was going oh the sergeant he's
00:33:19
lost we're going to
00:33:21
>> we don't you know or they're swearing at
00:33:23
each other who took my boots or you know
00:33:25
whatever it is you can and it gives such
00:33:26
reality to and and and the way that we
00:33:31
see the footage in the film, uh,
00:33:33
Pressure, it seriously looks like it was
00:33:35
shot, you know, last week. Yeah.
00:33:37
>> On a news broadcast,
00:33:39
>> but it's the real thing.
00:33:41
>> You probably wouldn't have used it if it
00:33:42
wasn't looking up to snuff anyway.
00:33:44
>> Well, that too. And also, hey, let's,
00:33:46
you know, it saved a lot of money
00:33:47
because a lot of that gets recreated
00:33:49
and, you know, to various
00:33:51
>> big big
00:33:52
>> levels of success, right?
00:33:53
>> Things are rec. Yeah. Right. Yeah.
00:33:56
Charlton H. Chuck u he told me once they
00:33:59
couldn't make Benh her
00:34:02
>> uh again and they tried um maybe 15
00:34:07
years ago because of the real chariots
00:34:09
and if it's a thousand people it's
00:34:10
actually a thousand extras or 2,000
00:34:13
extras. It's just so vast. But we'll see
00:34:16
where AI goes. But it's it's you're
00:34:18
trying to get it connected to you can't
00:34:20
tell that it's not a real guy on a horse
00:34:23
running and stuff. I guess it's
00:34:25
>> when we don't see the construction lines
00:34:26
around the images, our brains are
00:34:29
satisfied. I mean, you know, we we
00:34:32
gentlemen, we live in an age now where
00:34:35
the next generation has had their
00:34:39
lobe uh trained by digital imagery to
00:34:44
recognize
00:34:45
>> what smacks of authenticity and what
00:34:48
does not just automatically by virtue of
00:34:50
looking at phones in their hands since
00:34:52
childhood. And you and I didn't we had
00:34:54
something completely different. I mean,
00:34:56
we can
00:34:56
>> all remember looking at CGI heavy movies
00:35:00
in the '9s and the 80s and, you know,
00:35:02
giving a pass to really funny looking
00:35:05
effects,
00:35:06
>> but they all had their certain charm at
00:35:08
that time, too.
00:35:09
>> I can tell what's written.
00:35:10
>> The first Jurassic Park was the best I
00:35:12
saw.
00:35:13
>> First Jurassic Park.
00:35:14
>> First Jurassic Park.
00:35:15
>> Well, Spielberg, the dinosaurs,
00:35:17
>> was it when he jumped up the se the
00:35:19
raptor who jumped? I I jumped when I saw
00:35:21
that film. the one they're in a kitchen
00:35:23
>> and the dinosaur they're trying to climb
00:35:25
I think through a hatch in the ceiling
00:35:26
and the point of view is down and the
00:35:28
raptor comes in looks up and jumps and
00:35:30
you go ah boo
00:35:31
>> I think so
00:35:32
>> I remember they brought Spielberg
00:35:34
>> there's five of them now right
00:35:35
>> a thing about the movie before they did
00:35:37
it
00:35:38
>> and what convinced him was they showed
00:35:39
him what the dinosaurs would look at and
00:35:40
he watched he goes oh [ __ ] this is
00:35:43
>> this is better than I thought let's do
00:35:45
it like if they can look like this
00:35:47
>> we can do the movie around this you know
00:35:50
which they did and it and it worked
00:35:53
I have some trivia for you.
00:35:54
>> So anyway, so the the film really
00:35:56
centers on this incredible decision that
00:35:59
lands on Dwight D. Eisenhower's head.
00:36:01
>> Well, take into consideration in 1944
00:36:03
that meteorology was kind of just
00:36:05
looking out the window.
00:36:06
>> Yeah. Wasn't it? No. No. Literally,
00:36:08
right?
00:36:10
It's actually raining over out here in
00:36:11
the North Sea and then you try to
00:36:13
extrapolate. Yes. What made the
00:36:15
gentleman and the meteorologist special?
00:36:17
Well, the the Americans, as depicted in
00:36:20
the film, were reliant on analog, so
00:36:24
they went off of records. If the
00:36:25
farmer's almanac farmer's almanac,
00:36:27
that's true,
00:36:27
>> in 1912 that it didn't rain, then it
00:36:30
won't rain today.
00:36:31
>> Wow. Farmers Farmers Almanac doesn't get
00:36:33
enough uh crops last
00:36:36
men are ready to go. Let's see what
00:36:38
farmers out on.
00:36:39
>> When did the crops grow last year?
00:36:42
>> It's just really Look out. It's cloudy.
00:36:43
Like you do all growing up. You're like,
00:36:45
"Oh, it's raining. This is very less
00:36:47
nest from WKR
00:36:49
>> or a barometer, you know.
00:36:50
>> Didn't he just wouldn't he like go and
00:36:53
he would give a report from the
00:36:54
helicopter?
00:36:55
>> That's right. Yeah.
00:36:56
>> Less that was his big move.
00:37:01
>> Well, you know, and and using science is
00:37:03
essential, which is the point of the
00:37:05
film
00:37:06
>> to say, hey, give me the data. So
00:37:08
weather balloons and barometric readings
00:37:10
and all of that are the collision of
00:37:12
ideology and which one will prevail and
00:37:15
which is the uh you know tried and
00:37:18
trueue method and which is the obvious
00:37:20
difference the the North African
00:37:24
campaign um had pretty dry conditions.
00:37:27
So it was safe to say hey it's not going
00:37:29
to rain tomorrow. But in Northern Europe
00:37:31
there's 10 different weather source
00:37:33
systems that come through every hour.
00:37:36
And we we really take it for granted in
00:37:39
in in a manner of speaking, you know,
00:37:41
when our airplane starts chopping up and
00:37:43
down.
00:37:44
>> It says here, you know, yeah, I know.
00:37:46
>> So weather boy comes in and starts
00:37:47
saying, "Hey, I don't think you guys
00:37:48
should go." I like that anyone even
00:37:49
listen to this guy,
00:37:51
>> you know, that's that's to a certain
00:37:53
extent and that is dramatized now for
00:37:55
because it's look, face it, it's a
00:37:57
movie, but he didn't show up really at
00:37:59
the last minute and go, "Hold the
00:38:01
phone."
00:38:01
>> Yeah.
00:38:02
>> He had been
00:38:03
>> there's some grumblings, I'm sure, like
00:38:05
there was dissent. And so that's the
00:38:07
point of the film is what were the
00:38:09
conversations in the 72 hours or so
00:38:12
>> leading up to it and what really was at
00:38:14
stake and the weather was just I mean
00:38:16
imagine the punch list of things to do.
00:38:19
That was just one item,
00:38:20
>> right? And you're going to stop it for
00:38:22
that and that's and you're like this
00:38:24
sounds crazy but he's probably like when
00:38:26
you see in the trailer it's like two
00:38:28
storms coming. It's like the perfect
00:38:29
storm with Clooney. You go this is going
00:38:31
to be worse than you guys think. Don't
00:38:33
go. And then you go, I've been in
00:38:36
storms. And you go, well, if it's this
00:38:37
bad, that will make it go from 75%
00:38:41
ineffective. Yes. 95.
00:38:43
>> I did not know that. And I did not know
00:38:46
this about the weather delay when D-Day
00:38:49
was, you know, taught to us.
00:38:52
>> What Stag did was he did accurately
00:38:55
predict that there was a break in that
00:38:58
storm.
00:38:59
>> That was a big thing, right?
00:39:00
>> 12, 14 hours, something like that. And
00:39:02
if they were going to go, go then.
00:39:05
Otherwise, they would have to wait until
00:39:06
the 18th and the Germans would know
00:39:11
a whole other reasons why it would have
00:39:14
been calamity.
00:39:15
>> Mhm.
00:39:16
>> So, if you think about it again now,
00:39:20
okay, this thing is delayed. We're not
00:39:22
going to go on Monday. We're going to go
00:39:24
on Tuesday.
00:39:25
>> All right. We're already at
00:39:26
>> delay. You're going to wait for one
00:39:28
storm to pass.
00:39:29
>> Yeah. Okay. And a lot of them are
00:39:30
already at sea.
00:39:32
>> Yeah.
00:39:32
>> And the law had to turn back, gas up
00:39:34
again, you know, and
00:39:36
>> it's not like you're rerouting your
00:39:39
FedEx package delivery here.
00:39:41
>> And
00:39:44
that they did go during that narrow
00:39:46
window of opportunity
00:39:50
made the Germans think they'd be crazy
00:39:52
to attack in weather like this. So they
00:39:54
really did catch them unawares in that
00:39:56
regard. I mean, the Germans were rooted
00:39:58
in. Is there some red herring like they
00:40:00
Germans thought they were coming some
00:40:01
other way?
00:40:02
>> Oh, misinformation was used so many
00:40:05
ways, but yeah, they were convinced that
00:40:07
they would be attacking from Sherborg.
00:40:09
>> Um, but they had been misdirected with
00:40:13
all kinds of, you know,
00:40:14
>> sure,
00:40:15
>> operative. I love that about World War
00:40:17
II. And that's the fascination of fake
00:40:20
planes from afar that are made of
00:40:22
cardboard or whatever.
00:40:23
>> Inflatable tanks and
00:40:25
>> and the parachuting little men coming
00:40:27
down all
00:40:28
>> you'll see those in this film.
00:40:29
>> Oh, good. I like them with the clickers.
00:40:32
>> Just one of the buttons.
00:40:34
>> One of six. I don't know if you know
00:40:36
this, D.
00:40:36
>> One and six.
00:40:37
>> One paratroopers
00:40:39
>> landed in the right place. Just one of
00:40:41
six.
00:40:43
>> This is trivia.
00:40:44
>> Brandon, I'm just going to tell you. I
00:40:45
just want to ask some questions about
00:40:47
getting into Dwight D. Eisenhower and
00:40:49
trying to get cuz like into forming
00:40:53
whatever you were going to bring to it
00:40:55
the because I was reading about him
00:40:57
today and he was
00:40:58
>> it's interesting in any kind of
00:41:00
hierarchy how he's going around going
00:41:02
around then he becomes the guy at a
00:41:04
given point. He deals with Patton later
00:41:07
on it's Churchill
00:41:08
>> and of course Damen Lewis plays Monty
00:41:11
you know that's a great he's I love
00:41:14
seeing him in a movie. So what what was
00:41:16
your process? Were you got it? Were you
00:41:17
terrified or you like I'm playing
00:41:19
Dwight?
00:41:20
>> No I was daunted. Absolutely. And when
00:41:22
Anthony said on a call that I got the
00:41:25
offer I said me like I mean why?
00:41:28
>> Well you look just like but do I? I
00:41:31
don't know. I I didn't I didn't It's not
00:41:33
the first thing I would think of, but
00:41:35
I'm like, "Okay, yeah, the hair." All
00:41:36
right. Well, you know,
00:41:38
>> I could probably
00:41:40
I just didn't I didn't And then he said
00:41:43
sent me two photographs alongside myself
00:41:45
and I, oh, hang on.
00:41:47
>> We're about the same age at the time.
00:41:49
I'm 57 and he was I think 54 when
00:41:52
>> Mhm.
00:41:53
>> at that time in his life. Um, and
00:41:57
we we did have similar features. I I am
00:42:01
taller than he was. I I am uh I have a
00:42:05
much different build than he does. Um he
00:42:08
was eating like everyone rations at that
00:42:11
time. Um uh I I knew that my body type
00:42:16
as it is is kind of what you see is what
00:42:19
you get. So I couldn't will myself into
00:42:23
looking like the shape of another human
00:42:24
being that I'm not reductively on,
00:42:28
>> you know, as opposed to what I did in
00:42:29
the whale, which is the other way
00:42:30
around.
00:42:31
>> So
00:42:32
>> um I had to find a way honestly to just
00:42:35
give myself a break and alleviate the
00:42:38
>> um I have to give a fimile performance
00:42:41
because honestly I'm not the kind of
00:42:43
actor who knows how to do that. I'm not.
00:42:45
There are those who are great. Carrie
00:42:48
Oldman, fantastic disappear. That was
00:42:50
Churchill. I don't know how many people
00:42:52
really know what how I talked. I know
00:42:55
he's president in the 50s, but he didn't
00:42:57
seem to have a big
00:42:59
>> hook, you know, or a weird accent or
00:43:01
like, you know,
00:43:02
>> he was from Kansas. Um,
00:43:04
>> Midwestern Abalene. He uh he graduated
00:43:09
um you know, top of his class. He wanted
00:43:12
to go into the first war, but the timing
00:43:14
was he graduated and the war was over.
00:43:16
So for the next 40 or so years of his
00:43:19
career, he he never fired a shot in
00:43:21
anger, never was fired at in battle.
00:43:24
>> He was an excellent strategist,
00:43:27
excellent diplomat. Um he was a product
00:43:31
of his time as everyone was and I tried
00:43:34
to dismiss the things that I, you know,
00:43:37
ethically, morally didn't don't concur
00:43:40
with. However, that's not my job.
00:43:42
>> Different time. But he was precient in
00:43:46
the sense that he really cared about um
00:43:50
partnering with an enemy rather than
00:43:54
rubbing their nose in it. Hence NATO,
00:43:57
hence uh
00:43:59
>> the beginnings of civil rights,
00:44:02
>> um NASA, you know, he
00:44:05
>> Yeah, he was part of a lot of things.
00:44:08
Yes, he he he he was a leader
00:44:11
>> and and and he didn't um
00:44:15
demand respect. He he he commanded it
00:44:17
because he earned it.
00:44:18
>> Yeah.
00:44:19
>> For the
00:44:22
you know the sincerity and the the um
00:44:26
truth that he brought to how he did his
00:44:28
job. Everybody wanted to follow him. It
00:44:32
is interesting, you know, a brain trust
00:44:33
if it's a military one. Even in
00:44:35
Hollywood movies, you're around a table
00:44:37
and you're discussing an idea and then
00:44:40
you go person to person. So, was Dwight
00:44:42
the kind of mic drop guy like people
00:44:43
going, "We should do this, we should do
00:44:45
that. Hey guys, this is what I think."
00:44:47
>> My take is that he was kind of like
00:44:49
Darren Areronowski in that he heard
00:44:51
everyone's opinion whether he agreed
00:44:53
with it or not. He went around the room
00:44:56
and the good idea was the good idea that
00:44:59
we all because and he knew what it was
00:45:00
but he but he did hear from everyone
00:45:03
>> and he um gave credit right away
00:45:07
>> for where it came from. So
00:45:10
>> I mean this is this you know these this
00:45:12
is this is this is not sitting around a
00:45:16
table in Hollywood somewhere. This was
00:45:17
you know the headquarters
00:45:19
Supreme.
00:45:20
Um, so
00:45:23
the the fly on the wall aspect of being
00:45:27
in the room to see what I say.
00:45:30
>> Thanks for the pluck. That's the name of
00:45:31
the podcast.
00:45:32
>> Oh, excellent. That's right. The fly
00:45:35
onthe-wall point of view. That
00:45:37
>> was the first time anyone's seen it.
00:45:39
>> This is is what makes this movie because
00:45:42
you get to see what really would they
00:45:45
have had been talking about.
00:45:47
>> Yeah. Wh who are the people when you
00:45:50
know we know
00:45:52
>> we know you're polite and everything
00:45:53
you're nice but what do you really think
00:45:55
right
00:45:55
>> and that's how Anthony directed this
00:45:57
movie
00:45:58
>> um and it you know and I was I expressed
00:46:00
a little bit of conernnation about long
00:46:02
takes and all that but he definitely had
00:46:05
a method where we did very long takes
00:46:09
repeated ones reset but working in
00:46:12
England with British actors they all
00:46:14
come from um
00:46:17
grand tradition of Yes.
00:46:21
>> And um I you'd be surprised how much you
00:46:24
find yourself upping your game when
00:46:26
you're surrounded by incredible actors.
00:46:29
>> That also helps.
00:46:29
>> So long takes like that, the camera's
00:46:31
moving around goes a little elsewhere
00:46:33
and then and and you got to stay in
00:46:36
character, comes back around. Yeah.
00:46:40
>> You talking about that like with
00:46:41
movement or just even regular?
00:46:42
>> There were two. Yeah, like two or three
00:46:45
cameras depending on
00:46:46
>> other cameras going at all times. Like a
00:46:47
couple.
00:46:48
>> There was always at least triple or
00:46:50
double.
00:46:50
>> Whoa. You think that speeds it up? You
00:46:52
think?
00:46:53
>> You'd be surprised, right?
00:46:56
>> Go slow. Yeah. Yeah. Yeah.
00:47:00
>> By the way, I have a trivia for you.
00:47:01
Another one.
00:47:02
>> Is it true four packs of Camel
00:47:05
cigarettes for Eisenhower every day?
00:47:08
>> Filterless.
00:47:09
>> Did you ever hear that?
00:47:10
>> I did. Oh, yes. not not that precient on
00:47:12
the cancer.
00:47:13
>> K. Somesby his u his left arm his his
00:47:18
right arm his his girl Friday uh would
00:47:22
ration would ration them to him. You
00:47:25
could get four and six a day or
00:47:26
something like that because Yes. And he
00:47:28
drank pots and pots of coffee. Did they
00:47:31
ever talk about sports or anything like
00:47:35
that that would be in the movie? Like
00:47:36
they're trying to like just get their
00:47:38
mind off what's going anyone like what's
00:47:40
going on at the time in the world or is
00:47:41
it all just about the war?
00:47:42
>> I'd like to talk about fishing.
00:47:44
>> Oh, he did. Okay.
00:47:45
>> That's what he talked about. Fly fishing
00:47:46
>> to like calm him down like just talk
00:47:48
about anything else and he played bridge
00:47:49
a lot.
00:47:50
>> Uh yeah, of course. Um and he he
00:47:52
organized baseball and football leagues
00:47:54
in his youth.
00:47:55
>> Okay.
00:47:56
>> Um I mean he was a team player. They're
00:47:58
very famous photographs before the
00:48:00
airborne take off. And you look at these
00:48:02
pictures and you think, you know, like
00:48:05
three and five of these guys are not
00:48:07
going to come back.
00:48:08
>> Oh my, it's so horrible.
00:48:09
>> And you see him shaking hands with them
00:48:11
and they're talking about fly fishing
00:48:13
>> is what they're doing. And he was just a
00:48:15
regular guy.
00:48:16
>> And he it wasn't an affectation. I mean,
00:48:18
he was the boss. Definitely.
00:48:21
>> Yeah.
00:48:21
>> He he wore those four stars on his
00:48:23
shoulder. Uh
00:48:25
um and what's the quote? Like they
00:48:28
weighed a ton a piece is what someone
00:48:30
said of him.
00:48:31
>> Yeah, I see. Yeah. Because you think of
00:48:33
Montgomery and Patton is being you very
00:48:35
theatrical. At least this way they're
00:48:37
presented in really big egos and
00:48:39
Eisenhower at least he was presented as
00:48:41
kind of the steady hand that like you
00:48:44
said created all this respect. And there
00:48:46
was, you know, east coast, west coast,
00:48:50
you know, Americans and the Yanks and
00:48:52
the Brits. You know, you do it your way,
00:48:54
we do it our way. We've worked together.
00:48:57
Here come the Americans again. You know,
00:48:58
that that that's all. And that's
00:49:00
appropriate. That's right.
00:49:02
>> But there's no room for uh any kind of
00:49:05
like, you know, sociopathic approach
00:49:09
when when when the stakes are this high.
00:49:11
You know, we will get boots on the
00:49:13
ground no matter what. Leave it to me.
00:49:15
was um the uh often account of of of
00:49:20
Montgomery's approach to it. But he of
00:49:23
course had been in battles many many
00:49:25
more and he had you know a real ego
00:49:28
about you're the new guy here
00:49:31
>> Ike right
00:49:32
>> but you're also my boss and yes there
00:49:35
was friction had to have been
00:49:37
>> Was that fun? Um, did you have some, you
00:49:39
know, blowups with, uh, Damen Lewis
00:49:42
playing Montgomery versus Eisenhower or
00:49:45
scenes where you're arguing and yelling
00:49:47
and
00:49:47
>> uh, we butt heads. I think when you can
00:49:50
tell it's around the office, but the the
00:49:53
house that they were in um, kind of in a
00:49:57
way they'd been locked there for weeks.
00:49:58
They weren't allowed to come and go
00:50:00
>> for, you know, private secrecy reasons.
00:50:02
And um, you know, it must have been in
00:50:04
one way like, you know, some really
00:50:05
weird summer camp for them,
00:50:07
>> right? and and I insisted on sleeping
00:50:09
out in a tent with the men and uh that
00:50:12
was also because they didn't want him in
00:50:14
the building in case it got bombed, but
00:50:17
a target, you know. Um but yeah, there
00:50:19
there there's, you know, that
00:50:21
headbutting and who who's in charge here
00:50:23
and who's pulling rank uh is certainly
00:50:26
an aspect of it. Montgomery was uh um
00:50:30
avidly anti anti-smoking and would you
00:50:34
know at that time would it was kind of
00:50:36
like astonishing as someone you would
00:50:38
ask someone to put their cigarette out.
00:50:39
Right.
00:50:40
>> Right. Yeah. Totally.
00:50:41
>> It was ubiquitous and
00:50:42
>> um I think that
00:50:47
I I would I would comply but you know
00:50:50
that it was like an issue around the
00:50:52
office that day.
00:50:53
>> For sure. the balls of someone telling
00:50:55
you to put your cigarette out.
00:50:57
>> Yeah. Do you have a question?
00:50:59
>> Of course I do.
00:51:00
>> Because I like to ask.
00:51:01
>> There's um you know this movie, The
00:51:03
Mummy, right?
00:51:04
>> Sure.
00:51:05
>> Now, did you
00:51:07
>> It's a wrap.
00:51:08
>> Is there another movie? Uh
00:51:10
>> is there maybe a Mummy 4?
00:51:12
>> Yes.
00:51:13
>> More than maybe. Did we get a banger
00:51:15
here?
00:51:15
>> No. I think I heard that.
00:51:16
>> Has it been announced?
00:51:18
>> Yeah. Yeah. Yeah.
00:51:19
>> Oh, really? Try not to smile.
00:51:22
>> You can smile. Did you Is that exciting
00:51:24
to go back?
00:51:25
>> Yes.
00:51:26
>> You really That's great.
00:51:28
>> Yeah.
00:51:28
>> Now we hear it.
00:51:29
>> I'm looking forward to it.
00:51:30
>> Well, I'm seeing a smile. I can't even
00:51:32
believe it. You're holding this.
00:51:34
>> Don't you get Yahoo News? I mean, my
00:51:36
gosh.
00:51:36
>> No, but I'm so happy everyone, you know.
00:51:38
>> Me, too.
00:51:39
>> And when was the last mommy that you
00:51:40
did?
00:51:41
>> The last one.
00:51:42
>> The Yeah.
00:51:43
>> The third one was in in China. It was
00:51:45
the year that 2007.
00:51:48
>> That year of the
00:51:49
>> nine 2009 or eight, eight or nine.
00:51:51
>> Emperor or something like that. Yeah,
00:51:53
>> NBC had the rights to broadcast the
00:51:56
Olympics and so they went, "Oh, I got
00:51:57
it. Let's put the mummy in China." And
00:52:00
so,
00:52:01
>> is Tom Cruz going to do a cameo in this
00:52:04
mummy?
00:52:04
>> Not to my knowledge.
00:52:05
>> Okay.
00:52:06
>> Oh, did he do the mummy?
00:52:08
>> Was he in a mummy or something? He did
00:52:10
one kind of
00:52:11
>> correct?
00:52:12
>> He did do a mummy.
00:52:13
>> Yes, he did.
00:52:14
>> Stay in your lane, Tom.
00:52:15
>> Jeez Louise. He flew in on a F-15 and
00:52:19
attacked the mummy. Right. It was more
00:52:21
of an AC130 kind of looking thing.
00:52:24
>> But uh
00:52:24
>> I like Tom Cruz cuz he hangs off things.
00:52:27
He holds his breath for a half hour. I
00:52:28
mean, you just got to go, I will watch
00:52:30
this guy risking his life to entertain
00:52:33
me
00:52:33
>> hold my breath. And how can I jump off
00:52:36
plane?
00:52:36
>> And is is he really running that fast?
00:52:38
That's amaz. But yeah,
00:52:41
>> faster than me these days.
00:52:42
>> He can run fast.
00:52:43
>> So the mummy I'm so excited about that,
00:52:45
you know.
00:52:46
>> Me, too.
00:52:47
>> I was going to ask you a question
00:52:48
because I asked Chris Rock the other
00:52:49
day. I thought it was interesting. Um,
00:52:52
mailbox money, which which thing that
00:52:55
you've done, you know, checks,
00:52:56
residuals, or whatever. Which thing that
00:52:58
you've done pays you the most?
00:53:00
>> The most.
00:53:01
>> Yeah.
00:53:02
>> The least is more interesting, isn't it?
00:53:05
>> Well, that's not better. What's the
00:53:07
tiniest? Who's the cheapest?
00:53:10
>> Oh, that's right. Rock likes to talk
00:53:12
about what people earn and make.
00:53:14
>> I do, too. Yeah. He's very into.
00:53:18
>> You gota
00:53:18
>> He's got a yacht.
00:53:20
>> Oh, boat.
00:53:21
>> I like boats.
00:53:22
>> I like boats. He calls them are 500 feet
00:53:24
long.
00:53:25
>> He's been on everyone's boat, by the
00:53:27
way. Space whoever loves it. So, what's
00:53:29
your tiniest residual?
00:53:31
>> My tiniest residual check. Um, I still I
00:53:34
got one the other day from a film called
00:53:37
Glory Days that Ben Affleck
00:53:42
uh was in. It was in the '9s. really
00:53:44
young Ben.
00:53:46
>> Yes. And I rode a bus in it for one day
00:53:49
morning and I talked to someone else. I
00:53:51
will be honest and say I never saw that
00:53:53
movie.
00:53:54
>> But I still get like, you know, a 13
00:53:56
cent check.
00:53:57
>> 13 cents.
00:53:58
>> Go to Residuals.
00:53:59
>> Yeah.
00:54:00
>> You ever been to Residuals?
00:54:00
>> Amen. It all adds up.
00:54:02
>> Bar,
00:54:02
>> they're stapled up on the wall, right?
00:54:04
>> If they're under a dollar, you get a
00:54:07
free drink. And they're all under a
00:54:08
dollar. I mean, the ones I get from
00:54:10
whatever. But Mummy, it's nice when you
00:54:13
just get one out of the blue.
00:54:15
>> I get stuff from Just Shoot Me, probably
00:54:17
that old sitcom.
00:54:18
>> Um, yeah, Mike talked to him a couple
00:54:21
months ago. Yeah. Oh, we're we're doing
00:54:23
two more Shreks.
00:54:25
That's awesome.
00:54:26
>> Oh, Jesus.
00:54:26
>> I just think this is a full circle
00:54:28
moment because when last time you're on,
00:54:31
we talked about,
00:54:32
>> you know, the peak stardom and then
00:54:34
injuries and all that, you know, dark
00:54:36
side of the moon thing, then the whale.
00:54:38
>> Yeah. and and and now this, you know, in
00:54:41
the other movie, these are kind of
00:54:42
serious acting things. And now you're
00:54:44
full circle
00:54:46
doing a mummy again and you look great.
00:54:50
>> Thank you.
00:54:50
>> Um, mummies are fun.
00:54:51
>> That's just kind of cool, right?
00:54:53
>> I'm looking forward to this.
00:54:54
>> I mean, cuz I I You got beat up.
00:54:56
Hollywood beat the [ __ ] out of you for a
00:54:58
while, you know, and I love
00:54:59
>> I beat it back. Don't worry.
00:55:01
>> No, but now it's now it's not only the
00:55:03
Oscar, it's also the tent pole billion
00:55:06
dollar potential movie. And people have
00:55:09
been wanting
00:55:11
another one for 20 what, five, four
00:55:14
years I've been hearing it. I go to fan
00:55:16
conventions and I'm serious. People show
00:55:18
up dressed in costume.
00:55:19
>> Totally.
00:55:20
>> Like Evelyn Carneahan, Rachel Vice's
00:55:22
character. There's Rick Oonnell's, you
00:55:24
know, than me. Yeah.
00:55:25
>> That come through to get an autograph.
00:55:27
I'm not kid. There are I've lost count
00:55:29
of the number of young women who uh
00:55:32
>> I've met
00:55:34
who have said, "I'm an Egyptologist. I
00:55:37
am an archaeologist. I am a historian.
00:55:40
>> Um I have studied ancient languages
00:55:43
because they saw the mummy and it, you
00:55:45
know, gave them so much
00:55:47
>> dopamine when they were young and they
00:55:49
went and that's what that that that's
00:55:50
what I want to do and they pursued it. I
00:55:52
mean it was a real
00:55:53
>> real catalyst of u um springboard
00:55:57
kind of
00:55:58
>> and Rachel does a good job. I mean, so
00:56:00
you guys go back and forth and that has
00:56:02
to work and it worked. And so what was
00:56:05
the problem for 20 years? Did I miss
00:56:06
that part? What just the rights went
00:56:08
somewhere else or what happened for the
00:56:10
last 20 years about not doing?
00:56:12
>> Oh, um,
00:56:13
>> going back to 2007, actually.
00:56:15
>> Well, uh, I don't know if we break it
00:56:17
down. Um, the
00:56:18
>> Well, they made three. Usually things
00:56:20
are trilogies.
00:56:21
>> Yeah. The third one, um,
00:56:23
>> it's it it's it's kind of it's sort of
00:56:25
the problem child.
00:56:27
>> Oh. Um, okay.
00:56:29
>> Which
00:56:30
>> had
00:56:32
>> the strange elements that the audience
00:56:34
were like, you know, you're giving me
00:56:36
something that I I don't telling me it's
00:56:38
one thing and it's kind of
00:56:39
>> you got away from what people like.
00:56:41
>> I hate that. Oh, we can't do that. We
00:56:43
did it in the other movie. They want to
00:56:45
see something new and then it's like
00:56:47
>> you can't reinvent the wheel.
00:56:48
>> No, you want if you want to eat an Oreo,
00:56:50
you want that cookie sound that tastes
00:56:52
like
00:56:52
>> you want you want the band to get back
00:56:54
together, which is what we are going to
00:56:56
do.
00:56:56
>> And the band is back together. Yes,
00:56:57
we're getting the band back together.
00:56:59
>> Full tilt.
00:57:00
>> Look, everyone's been approached. I hope
00:57:02
they're available.
00:57:03
>> Yeah,
00:57:04
>> if I'm around, can you wrap me up and
00:57:05
just have me come at you like that as an
00:57:07
actor? If I'm just in town, I don't need
00:57:09
to be seen. I mean, you know, JJ,
00:57:12
>> but you got to make a movie that's fun.
00:57:14
You know, you got to make a movie that's
00:57:15
fine. I mean, there's roller coasters of
00:57:17
The Mummy at Universal and here in
00:57:19
Hollywood. That's right.
00:57:20
>> And it's a roller coaster ride of a
00:57:22
movie, you know, and that's what people
00:57:24
want. They want to get thrilled. They
00:57:25
want to have a little boo scare. They
00:57:27
don't really want to feel terrified like
00:57:29
they didn't really just witness a
00:57:30
homicide or something, you know, on
00:57:32
screen. But,
00:57:33
>> right, they want to come back and do it
00:57:34
again.
00:57:35
>> This is because some of the younger
00:57:37
people who saw that movie then now they
00:57:39
have kids that they know that kids will
00:57:42
be blown away and grow up to be
00:57:43
archaeologists.
00:57:44
>> But were you injured on one of those or
00:57:46
what was the movie you got injured on?
00:57:47
>> Oh, maybe a lot. I got
00:57:49
>> I'm just wondering about this one. Are
00:57:50
you going to be
00:57:51
>> the first one? It got choked out on day
00:57:52
three or four from
00:57:54
>> He doesn't get choked out a noose.
00:57:56
>> That's crazy. Oh, that's right. You
00:57:58
>> I've talked about this to ad. But I
00:58:00
mean, I'm only using as context for this
00:58:02
movie now. Are they going to choke you
00:58:03
out again? Don't let him.
00:58:04
>> That's not a bad idea. Actually, we
00:58:07
should
00:58:09
quick.
00:58:09
>> You need a good story.
00:58:12
>> Let's looks like you. He's very
00:58:14
athletic. If you need a stunt double,
00:58:15
just cut. Brendan, go to your trailer.
00:58:18
Now, we'll hang this guy. I'll be the
00:58:21
first to say, "Bro, you're going to be
00:58:22
great in this shot."
00:58:23
>> You're gonna be great.
00:58:24
>> Well, are you gonna have to run through
00:58:26
tunnels and are you gonna have to are
00:58:29
you going to really train for this or or
00:58:31
you're just fine the way you are?
00:58:32
>> You're looking at a work in pro you're
00:58:34
working at a work in progress right now.
00:58:35
I'm doing my best.
00:58:36
>> My first point when I saw you is that
00:58:38
you looked fit.
00:58:38
>> Oh, thanks. I'm trying to get my gear
00:58:40
together here and uh I got some time.
00:58:44
>> Um I'm
00:58:45
>> How long have you got? Uh it's like 67
00:58:50
like 80 days or something like that.
00:58:52
>> 80 days.
00:58:53
>> 89 days.
00:58:53
>> Go around the world in that amount of
00:58:54
time.
00:58:55
>> I know.
00:58:56
>> Yeah. I tried to make that movie. That's
00:58:58
another story.
00:58:58
>> I think it's nice that you go to do some
00:59:01
because it's comedic. So, it's good that
00:59:02
I was going to say earlier, you're doing
00:59:04
these comedies, you do these dramas all
00:59:07
the way to an Oscar and these these last
00:59:10
two are, you know, I think it was
00:59:11
Lighter on Rental Family
00:59:13
>> and then Pressure sound like a lot of
00:59:15
pressure.
00:59:15
>> Another slapper,
00:59:17
>> but just to go back to you're good at
00:59:19
being light and funny and
00:59:21
>> I think The Mummy has a lot of that.
00:59:23
>> Let's be hope I hopeful. Thanks.
00:59:25
>> It has a tone. It's of what it does. The
00:59:28
Mummy, you know, it's not slapstick.
00:59:30
It's funny, but it's also for kids of a
00:59:32
certain age. It's kind of cool.
00:59:34
>> It's cool and it looks good.
00:59:35
>> And it's nostalgia to
00:59:37
>> Yeah.
00:59:37
>> a generation in its own right now, too.
00:59:40
>> And then with with AI, could Mike and I
00:59:42
make another Wayne's World?
00:59:44
>> Yes.
00:59:44
>> Look, just take this out, this down
00:59:46
this.
00:59:47
>> Why bother? We should have Wayne's World
00:59:49
come and like meet uh
00:59:52
>> Wayne's World meets the Mummy.
00:59:54
>> Like, you know, like
00:59:55
>> Yeah.
00:59:56
Will you play the nemesis or if we do a
00:59:59
Wayne's world?
01:00:00
>> Wayne's world.
01:00:01
>> Yeah, I'd be glad to cross over. Yeah.
01:00:03
>> Yeah. Crossover.
01:00:04
>> You're the ghost of Dwight D.
01:00:05
Eisenhower.
01:00:07
>> I said hairbrain. That was another movie
01:00:09
I made that airheads is what I was
01:00:12
saying.
01:00:13
>> With Adamu.
01:00:16
>> Yeah.
01:00:17
>> You brought him to show business.
01:00:19
>> You know, I think it's the other way
01:00:21
around. Come on.
01:00:22
>> I'm just so happy to hear about the
01:00:23
mummy. That's how I met Farley was doing
01:00:25
>> I saw Airheads there. I saw Airheads at
01:00:28
and uh that 60th Street one over by
01:00:30
Columbus Square that theater and we were
01:00:33
doing SNL. It was fun.
01:00:34
>> Yeah.
01:00:35
>> At the time though, people were like,
01:00:37
"No, no, no. I don't get it." Cuz it was
01:00:39
too contemporary. It was like Now it's
01:00:41
nostalgia. Now at the fan conventions,
01:00:44
people show up in Chaz Derby outfits.
01:00:46
>> I sign a lot of
01:00:48
>> Was Farley a security stuff?
01:00:50
>> Yes, he was. WHY YOU CAN'T go here?
01:00:54
>> Hey, back it up. Uh, he was one in
01:00:57
Wayne's world,
01:00:58
>> huh?
01:00:58
>> He was one in Wayne's world.
01:01:00
>> Yeah. Or two, I think.
01:01:02
>> He pulled the guy's nipple ring off in
01:01:03
Airhead.
01:01:05
>> Airheads did.
01:01:06
>> Yeah.
01:01:08
>> Ah, how funny.
01:01:09
>> He was I think was Chris too where I was
01:01:12
doing I was just talking casually and
01:01:15
then occasionally I would girls would
01:01:16
walk by. Swing. So anyway, I don't know.
01:01:19
We may go there on Saturday night.
01:01:20
Swing. swing.
01:01:22
I think sorry it was comedy back then.
01:01:25
>> Disgusting. Well, anyway, this feels
01:01:28
like after talking to you last time, the
01:01:29
whale, it just has all this beautiful
01:01:33
kind of thing. Now, now this it's
01:01:35
blowing my mind. I had no idea.
01:01:37
>> Yeah. So, you got pressure and you got
01:01:39
the mummy. And um
01:01:40
>> do you feel pressure by doing the mummy?
01:01:43
>> Yes. Uh but I I I do normally under any
01:01:47
circumstances, whatever. But is that
01:01:48
like putting on an old friend in a way
01:01:50
when you get the gear on and there I am?
01:01:52
>> You know, it's funny you say that
01:01:53
because I was at a fitting for a
01:01:58
a western thing that I did a saga like I
01:02:01
like eight nine years ago. It was about
01:02:03
the Texas Rangers. And at the fitting,
01:02:05
someone pulled the boots from uh Deep
01:02:09
Freeze at Universal that I wore in The
01:02:12
Mummy. Really? Brought them to the
01:02:13
fitting. And uh
01:02:15
>> the sign or
01:02:16
>> No, no, they they were the boots, the
01:02:18
riding boots that the Rick Oonnell
01:02:19
boots. So, from the Mummy.
01:02:21
>> Oh. And then you put them on.
01:02:22
>> And I put them on. They still your your
01:02:24
feet don't change, right? The rest of
01:02:25
you does. And I did get a real
01:02:30
suddenly I could smell the camel spit
01:02:33
and
01:02:34
>> you know it was really it was it was
01:02:37
unique. Exactly. Exactly.
01:02:39
>> You know where you're going to do it?
01:02:40
>> Uh yeah in Tanger in North Africa.
01:02:43
>> Oh it's the nicest time of year
01:02:44
>> and the UK.
01:02:45
>> It's a coastal dry heat.
01:02:48
>> Okay. Good. Yeah, you know, it's it's
01:02:50
the same uh and also locations that are
01:02:52
uh if not the then very similar ones
01:02:54
from the first.
01:02:55
>> Have you negotiated completely what
01:02:58
you're going to get for Mummy for
01:03:01
>> I haven't signed anything yet. I got a
01:03:03
feeling about pressure and that's going
01:03:05
to put pressure on the negotiating team
01:03:07
at Universal or is that where it's
01:03:09
going?
01:03:10
>> I think Pressure is going to do really
01:03:11
well.
01:03:12
>> Let Hey, you know, let's let's be
01:03:14
hopeful. It it's a film that does show
01:03:18
us what we need to remember about why
01:03:24
the number of people who lived and died
01:03:27
at that time
01:03:30
made the effort
01:03:32
to stop fascism
01:03:35
from becoming the scourge of the world.
01:03:37
And it makes us compare ourselves today
01:03:42
to that time. And I will leave the
01:03:45
audience to make their own summary
01:03:47
judgment. But my hope, my hope is that
01:03:53
we will be reminded not just of the
01:03:55
sacrifice,
01:03:57
but of the reason why we were even
01:04:01
fighting that war in the first place.
01:04:05
>> Well, that's heavy. And I also thought
01:04:07
you were going to fall back in the chair
01:04:08
the whole podcast. And that was my
01:04:10
pressure. I was worried because every
01:04:12
time he leans back.
01:04:13
>> No, he's a natural. That was a stunning
01:04:16
That was a bad fall. That was like Danny
01:04:18
Kay.
01:04:18
>> That seriously, dude. This is
01:04:20
>> This is Look at how easy it is for him
01:04:21
to fall back. And it's it's sort of
01:04:23
inching up when he
01:04:25
>> was one of my favorite bits in
01:04:26
auditions. I was running out of ideas. I
01:04:28
would throw myself over. Oh, yeah. All
01:04:29
the time. Oh [ __ ] Oh, he's so funny.
01:04:31
Bring it back. He was
01:04:34
>> Did you do that? That's a great
01:04:35
>> You think I got hired for Inino Man.
01:04:37
>> Oh, that's great. Oh, you just threw
01:04:39
yourself off.
01:04:40
>> I was wrestling with the plants in the
01:04:41
room.
01:04:42
>> I was eating them.
01:04:44
>> Yeah. Really? You went and went crazy.
01:04:46
>> There were no lines. I was a
01:04:49
>> I was a weird theater kid from Seattle.
01:04:51
Of course.
01:04:52
>> Yeah.
01:04:53
>> How funny.
01:04:54
>> Yeah.
01:04:55
>> All right. Well, you got anything? Thank
01:04:57
you for coming. That was very nice of
01:04:59
you.
01:05:00
>> Dana's going to look at this May 29th
01:05:01
toilet paper.
01:05:02
>> May 29th. I always like to get that out
01:05:03
there. I don't know. May 29th. May 29th.
01:05:06
So, it's in like Yeah. I don't know when
01:05:08
this airs. 2028, I think, early.
01:05:11
>> Theaters,
01:05:12
>> right?
01:05:13
>> Yes. Theaters. Remember theaters,
01:05:14
everyone?
01:05:15
>> Theaters. Big.
01:05:17
>> See it in a theater.
01:05:18
>> Fun to go see.
01:05:19
>> Uh, it's it's it's it's a cinematic
01:05:22
experience. It's, you know, it's it's
01:05:24
British film making
01:05:25
>> in the sense that this is what they do.
01:05:28
The detail.
01:05:29
>> Yeah.
01:05:30
>> You know, it's
01:05:31
extraordinary. Yes.
01:05:33
>> You shall see it in the theaters.
01:05:35
>> We'll see it in the lounges. Good idea.
01:05:37
>> We'll see it in the cinniplexes. I don't
01:05:39
know if I'm JFK or No, Winston Church. I
01:05:41
was doing JFK. Uh anyway, uh thanks for
01:05:45
coming.
01:05:45
>> I could chat with you guys all
01:05:46
afternoon. I'm so grateful for your
01:05:48
time.
01:05:48
>> Appreciate it. He came out.
01:05:49
>> We love having you. I saw your name on
01:05:51
the dock. I go, "Of course, this is
01:05:52
fantastic."
01:05:53
>> Course I remember how much fun and
01:05:55
interesting it was the first time we
01:05:57
chatted with you. So,
01:05:58
>> all right. So, let's never do this
01:05:59
again.
01:05:59
>> Let's never do it again.
01:06:00
>> Let's do it after the mummy five.
01:06:08
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01:06:27
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01:06:34
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01:06:41
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01:06:46
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