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Brendan Fraser on Eisenhower, The Mummy 4, and Chris Farley

May 21, 2026 / 01:07:14

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I always feel like someone's going to

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walk in the door and hand me a dish

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towel and say, "Fraser, get back to the

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get out of here."

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>> You know, I it just it's in me. Yeah.

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The third one, um,

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>> it's it it's it's kind of it's sort of

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the problem child. Um,

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>> okay.

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>> Which had

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the strange elements that the audience

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were like, you know, you're giving me

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something that I I don't you're telling

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me it's one thing and it's kind of

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>> got away from what people like.

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>> I hate that. We We can't do that. that

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we did in the other movie. They want to

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see something new and then it's like

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>> you can't reinvent the wheel.

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>> No, you want if you want you eat an

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Oreo, you want that cookie sound that

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tastes like

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>> you want you want the band to get back

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together which is what we are going to

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do.

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>> And the band is back together.

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>> Yes, we're getting the band back

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together. The fly on the wall aspect of

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being in the room to see what I

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>> Thanks for the plug. That's the name of

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the podcast.

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>> Oh, excellent. That's right.

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So Brendan Fraser, you you say it wrong.

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I say it right. Brendan a Frasier. I say

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it funny because he did a cameo and

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Dicky Roberts

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and he knew the director. The director

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did George the Jungle was it? Not

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Tarzan. George of the Jungle. George of

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the Jungle, which was a parody of

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>> Tarzan and he was funny and it was a big

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movie, hundred million dollar movie.

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>> Mhm.

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>> And he had done the show before and he

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was nice enough to say, "I have a movie

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coming out.

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>> Can I come on again?" We had a good

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time. Movie is called Pressure. It's

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about D-Day. Uh

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>> he plays Dwight D. Eisenhower has to

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make a decision about the weather.

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>> I'm definitely seeing it because

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>> you know more about history than me,

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Dana, but I hearing about it made me

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want to see it. I like those kind of

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movies. So,

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>> yeah, tense. A lot of tension.

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>> It's in a theater. And then last night,

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coincidentally, I ran into Paulie Shaw

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at the comedy store and he said, "Uh

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>> oh."

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>> I said, "We had Brendan." I go,

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"Brendan's very softspoken and very

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>> has a very sweet vibe to him." And I

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said, "Was he always like that on Encino

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man where he played like

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>> Good question."

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>> And he said, "Uh, he said he was. He

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even back then he's very careful how he

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talks to you and he's even on the

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podcast he's very quiet and he's very uh

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we talked after so did you very nice to

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me very nice to you after so couldn't be

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a cooler dude

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>> a lot of talent packed in there oh he

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tried on Farley's coat by the way yeah

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I'm going to put a picture

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>> dance in it

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>> because he saw Chris's coat up from

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>> and he started doing some Chris Farley

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sweet

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>> um yeah so

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>> this this One's interesting. We had him

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a couple years ago. It was really about

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just um his travailes in show business.

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He had injuries and his wilderness years

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and how he came back and he did the

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whale. And then we talk about what's

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going on now and that and this new movie

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and another surprise if you listen to

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the end. A surprise to me anyway. Happy

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surprise

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>> and his post Oscar life because before

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he hadn't won it. I I think he was just

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up for the whale and

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>> Yeah.

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>> Okay. Here he is. Brennan Fraser.

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You got in. There's a rumor you got in

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yesterday.

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>> Yeah.

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>> And Dana got in yesterday from New York.

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>> I did a one nighter in New York.

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>> Did you come in the morning?

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>> I came in. I left at 3:30 at Kennedy

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Heavy on American Airlines. And so we

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climbed south for a bit and then Well,

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you don't need the details, but anyway,

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uh the guy came on and said, "We just

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got a weather report. We're going to

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have two hours and it uh it could get it

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could get pretty rough." Yeah.

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>> You got it, too?

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>> Choppy. Yeah. Yeah, more choppy than

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rough.

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>> I didn't think it was bad cuz I was

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ready for rock and roll. I was ready for

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>> barrel rolls and war kind. Yeah, we will

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go in the counterfree

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back full circle

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>> a guy playing a harmonica.

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>> Dennis used to say we got a little light

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shop or dirty air. Those are ways of

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saying it's going to get bad, but I'd

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rather hear it tamp down like that.

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Little bit of dirty air coming up.

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>> Dirty air. Peter Dinklage told me that

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um he said that he is a a pilot in his

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family and he said that just to put your

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mind at ease if something bad's going to

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happen

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>> it's after takeoff like you know once

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you're in the air you're good landing it

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is a lot you know comparing the risk and

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if you think of you know air chop as

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like skipping a stone on water like you

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know it's not

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>> oh that's not as bad

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>> so you give yourself a mental image

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>> well I heard two minutes like it's

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probably a million to one when you take

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off. It's 10 million to one after 2

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minutes. So, I just count backwards. Oh,

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>> and take deep breaths and then we get to

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120 seconds, which would be 2 minutes,

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right?

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>> Yeah.

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>> What about the landing?

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>> Metric minutes.

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>> Is the landing more dangerous than the

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takeoff?

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>> Uh gosh, depends on the weather.

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>> Take off.

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>> Take off.

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>> It depends on I don't know.

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>> Well, the takeoff proves the thesis that

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the thing's going to fly again.

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>> Okay. you know.

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>> Yeah.

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>> Because, you know,

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>> they do stuff like, "Oh, we've only got

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one engine." You're like, "Yeah."

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>> Yeah. I don't like that.

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>> I don't like

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>> I flew on an A380 once out of Paris.

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>> A380.

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>> A380. It's a shopping center with with

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with an engine. You know, it's just so

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[ __ ] big.

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>> The bowling.

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>> So, we go up in the My wife and I go out

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and we're first class. Whoops.

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>> And we meet Maurice Travalier, if you

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know the reference, the pilot.

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>> We may not be taking off today. We have

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a little engine problem. So anyway, so

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we did go. I was kind of nervous. The

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exact same flight, seven days later,

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lost an engine, emergency, landed in

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Greenland.

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>> Wow.

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>> They interviewed the French guy. It was

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a [ __ ]

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>> I'm so punchy. I can't even. It's

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Brendon, right? Jet.

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>> It's Brendon.

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>> Uh, one thing I wanted to say to you

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because I was looking at some of the

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comments on the trailer and someone

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said, "I'm so down for this

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Brena Renaissance."

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Bnee sauce.

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>> Oh, you've seen this. Is it a meme?

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>> I've been

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>> This is

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>> Is it a meme? Uh I think it's painted on

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someone's ceiling at Cistine Chapel.

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>> Yeah, it's been Has it been around?

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People are saying it.

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>> People told me the other day, I want to

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see you make a comeback. I go,

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>> oh, am I gone? They're like,

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>> I was like, I've always been here, guys.

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Maybe.

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>> Yeah, you just never really know if

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you're in it. You don't really know

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where you are on the

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>> No. Why? I heard probably 10 times this

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week because just casually, where you

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going? What are you doing? Well, I'm

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doing this podcast interview Brendon

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Frasier. I LOVE THAT GUY.

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>> OH, REALLY?

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>> Every single one.

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>> Every single one.

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>> Every single one. I love that guy. I

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don't know why they got to got a memo or

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went to a meeting, but anyway, we you

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know,

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>> I'm going to have to send him a Je Oscar

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winner. It's very It's difficult. It's a

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little intimidating.

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>> Is it intimidating? Come on. Not for you

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guys. I'm still a douche.

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>> Definitely. We don't have advocating,

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but it's it's kind of it's very cool.

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>> It's it's um it's an affirmation that

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you don't really understand what the um

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you know, protocol is until it happens

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to you. Um and in

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you know the final analysis I think it's

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just um a way of

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me remembering how many people helped me

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get to that place

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>> where you even considered and then when

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it comes down to that envelope opening

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moment it could be anyone I mean any

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other you know we don't know we don't

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and and there's relief because you said

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something. We know an answer. Um, you

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know, and

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there's among, you know, in your

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category, at least the year I was there,

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we had we we'd been through a gauntlet

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of press and that's a lot of questions,

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>> all of that. And yeah, that's your job.

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You should do that. But it it takes a

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toll. And what it does is just make

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>> it's an odd job.

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>> It's a weird job. And but you you become

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like, you know, you know, you you got a

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lot closer. you care for one another and

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you're pulling for each.

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>> Who was in your cadre?

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>> Who was your co-stars? Not that they're

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losers, but they did lose.

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>> Um

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>> Oh, Bill Nye. And who was the first one

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called?

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>> Bill Nye.

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>> Austin Butler.

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>> Okay.

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>> Yeah,

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>> I like him. Yeah.

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>> Um All great guys.

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>> And you smoked them. But now when you

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>> Not true.

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>> No, not true. It could have been by 1%.

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You don't know. It could have been like

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this. How were you crawling up to the

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Oscars like Golden Globes, all the

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Critics's Choice? What was your batting

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ratio?

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I'm just trying to remember.

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>> No, no, no, no. Colin was winning

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everything since Venice. Um

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>> or Colin

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>> other Colin.

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>> The other Colin.

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>> Colin.

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>> Banshees of insurance.

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>> A man of work.

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>> You can say it.

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>> Oh, yeah. The Banshees of Insurance.

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I really committed. I just said it. I

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got I knew it was a lot of letters. No,

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I know you're calling me

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>> or what? You think it's Colin Pharaoh?

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>> Colin Quinn.

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>> Just want to see how many Colins you

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know.

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>> I know. I don't know that many. Colin

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Quinn.

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>> If it's not the guy from Man at Work,

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I'm out.

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>> I'm going to tap out on Colin.

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>> No. Colin from England.

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>> Ireland. Come on.

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>> That guy. You know that guy first. Well,

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Colin Frell.

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>> No. Was it Colin?

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>> Yes.

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>> Did we already do it and we kept

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guessing? I mean, I guess at the first

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time you came back.

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>> Listen, we'll be right back. We'll be

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right back.

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>> And I saw the whale.

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>> You did?

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>> Interesting.

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>> Yeah.

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>> Yeah.

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>> The banshees had no chance against the

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whale.

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>> No, the whale the whale performance is

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like it's supernatural. I mean, it's

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historic.

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I mean I mean it was just like insane.

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Uh it was uh a lot of real hardcore

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rehearsal with Darren Areronowski is um

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the first to tell you that he would have

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been a baseball umpire if he wasn't a

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director because he's kind of guy sees

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everything. He gets the last call. He

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knows the play

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>> and he did couldn't cast it right. He

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saw you in some older movie and went ah

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that guy can do it

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>> what he said. Yeah. Yeah.

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>> Uh he he had that

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>> intention to make the movie for a number

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of years I guess. But

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>> Mhm.

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>> when we met uh I was no I was this

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formidable director and if you He's got

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eyes that are kind of like you very kind

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behind you know formidable frames.

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>> You're looking at Dana.

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>> Yeah. Come on. I can go anywhere. Go get

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your facts straight. Jack go straight

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hormones.

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>> Joe Biden.

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>> Joe Biden. Someone had someone.

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>> He's Clark Kent and Joe Biden takes him

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off. Um, but yeah, is he kind of

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considered is he a taskmaster in a way,

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but brilliant Darren? I mean, I don't

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know, but he's

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>> he has high standards and he he he's he

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the thing about him is that he he he

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does get the ideas from the best

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uh he calls every, you know, he gets

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everyone's opinion. He's diplomatic.

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He's a very good leader. Like he

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>> and he credits right away with whomever

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came up with whatever suggestion he

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answer, you know, what to submit. But

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he's also uh quick to say, "No, that's

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not right." And he's always he's always

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correct. Like he asks that from any

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department, right? Wardrobe, makeup, all

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that. He knows the answer. And

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>> Mhm.

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>> he has a a real spontaneity and a

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confidence to him. like if he sees

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something a scene is playing out,

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>> he'll

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change the

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um order of the coverage to capture a

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performance from an actor from a

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different angle just automatically

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because he saw

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>> it's working like let's get

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>> he saw that. So he'll, you know, he'll

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turn the room around just to get that

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now.

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>> Yeah. And um he's uh I think I think

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he's one of among the directors who we

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admire who have um courage who kind of

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fear no art in a way you know they they

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and and having courage doesn't mean you

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know you're not challenged or you're

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fearless or something like that but he

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he he he does take risks and I think

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that's where you know big rewards come

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>> he kind of work with less location so he

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has that ability to kind of flip the

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camera. It's not like we're going to the

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beach now. Oh, you had a less location.

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>> In the case of that film, The Whale, it

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was it was in one room, right?

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>> Literally in one room.

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>> Yeah. It was Charlie's apartment. And

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you know, it was in

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>> it was like a stage play in that sense

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that you could really get intimate with

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the scene.

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>> The way it felt Well, it was written by

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um as

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>> as a stage play.

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>> Yeah. And adapted for the screen.

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>> Yeah. Dana

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>> by Sam.

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>> Let me look at my notes. I knew that.

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No. Is it better to have like a

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director? Because you've had a lot of

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directors. We've all had a lot of

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directors.

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>> And I think it's better when because

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there's ultimately a final say.

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>> So, which makes the system work, you

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know, when everyone pitches in, you give

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your ideas. I'm in these movies. You

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give your ideas, but someone's going to

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make the final call. Sometimes they take

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your suggestions. But ultimately, it's

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better when you think they're really

00:13:15

good because it's easier to take when

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they make the final call because some

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movies you don't down deep think they're

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any good.

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>> And then you go, so this is what we're

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going with. Okay. And then you kind of

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go in knowing, I don't think this is

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right. And that's that's a tricky

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situation, but luckily you got this guy.

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>> And you probably work with better and

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better guys all the time.

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>> Um,

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they're all good in their own way. There

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are some directors who

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I don't understand their direction.

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>> I will smile and nod.

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>> Yeah.

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>> And then I'll

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>> try to get what they said. You don't

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even know.

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>> And then afterward they go, yes, that

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was it. And you're like, I have no idea

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what you told me.

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>> I did the same thing.

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>> I know. You try. You go, I think this is

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what they mean. I've done that where

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they go, nope. Nope. And then, yep.

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>> Ah.

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>> And you go, I don't know what happened.

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I still think have you had this

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experience with a director where they're

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sort of allowing you to discover it

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while you're filming or you have those

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moments where this you're doing it for

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the very first time like Woody Allen or

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something or Clint Eastwood. They'll

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kind of huddle.

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>> Yeah.

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>> You know, you go to the end, you know, I

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mean, and then they just go in and they

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start doing it, you know. Have you had

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an experience like that? You'll probably

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be good at that.

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>> Um

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>> I'll I'll make a call.

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>> Um I think I'm a first take, best take

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kind of guy.

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>> Yeah.

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>> Okay. Okay. Well, there you go.

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>> I think I or early ones and once I

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started doing too much then gilding the

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lily and

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>> so Kubric would have been a nightmare

00:14:44

for you.

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>> It would have been a long day.

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>> 200

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>> even venture they say that I'm like I

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would not envy being 100 takes like some

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people brag. We like Tom Cruz like we

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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

Hey guys, if you're loving this podcast,

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01:06:22

We're on video now. Fly on the Wall is

01:06:25

presented by Odyssey, an executive

01:06:27

produced by Dana Carvey and David Spade,

01:06:29

Heather Santoro and Greg Holtzman,

01:06:31

Mattie Sprung Kaiser, and Leah Reese

01:06:34

Dennis of Odyssey. Our senior producer

01:06:36

is Greg Holtzman and the show is

01:06:37

produced and edited by Phil Sweet Tech.

01:06:41

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01:06:43

Special thanks to Patrick Fogerty, Evan

01:06:46

Cox, Mora Curran, Melissa Wester,

01:06:50

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01:06:53

Gainner, Shan Cherry, Kurt Courtourtney,

01:06:56

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01:06:59

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01:07:01

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01:07:03

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