WEBVTT - Interview: Josh & Benny Safdie (Archive) 0:00:00.520 --> 0:00:00.760 Adam. 0:00:00.760 --> 0:00:02.840 Wednesday is when we like to drop something from the 0:00:03.000 --> 0:00:07.600 vast Film Spotting Archive, and we'll get to this week's 0:00:08.200 --> 0:00:11.160 treat But first off, you know, if you want access, 0:00:11.160 --> 0:00:13.680 if a listener wants access to that vast archive, listen 0:00:13.680 --> 0:00:18.920 to everything in there, twenty plus years now of content. 0:00:19.320 --> 0:00:21.520 You could join the Film Spotting Family. And you should 0:00:21.560 --> 0:00:24.239 join the Film Spotting Family this month because it is 0:00:24.680 --> 0:00:29.000 twenty percent off through January. Give me the details, give me, 0:00:29.480 --> 0:00:31.400 give me the promo code. And how they can do 0:00:31.480 --> 0:00:32.120 that again. 0:00:32.120 --> 0:00:34.680 Well, we're talking about Marty Supreme this week, so we thought, 0:00:34.720 --> 0:00:37.800 why not make that promo code Supreme and you'll get 0:00:37.800 --> 0:00:40.519 a supreme discount twenty percent off all subscriptions. So it 0:00:40.520 --> 0:00:44.840 could be the monthly approach to the Film Spotting Family, 0:00:45.280 --> 0:00:47.479 or if you pay annually where you really get the 0:00:47.640 --> 0:00:50.519 biggest discount. You can get twenty percent off that as well. 0:00:50.680 --> 0:00:54.800 Just use promo code Supreme Film Spottingfamily dot Com. 0:00:55.080 --> 0:00:58.200 There you go, So jump on that this week out 0:00:58.200 --> 0:01:00.680 of our gracious hearts, we're going to give you for free, Adam. 0:01:00.680 --> 0:01:05.800 It's your interview with Josh and Benny Safti about Uncut JEMs. 0:01:06.080 --> 0:01:10.240 Yeah, and it's funny, Josh, I haven't listened to this yet. 0:01:10.480 --> 0:01:13.800 Re listened to it, and I just went back and 0:01:14.200 --> 0:01:16.720 looked at my notes for the interview and the questions 0:01:16.720 --> 0:01:18.880 that I had jotted down. You'll never believe some of 0:01:18.880 --> 0:01:22.160 the words and phrases that are littering the page in 0:01:22.200 --> 0:01:24.640 front of me. As we just recorded our review of 0:01:24.640 --> 0:01:27.360 Marty Supreme that's coming later in the week. I've got 0:01:27.360 --> 0:01:33.280 things like single mindedly focused on their objective and spiraling 0:01:33.319 --> 0:01:37.880 out of control and larger purpose. So there are some 0:01:38.000 --> 0:01:41.280 themes that do reoccur. I'm talking there about Connie in 0:01:41.319 --> 0:01:45.000 Good Time played by Robert Pattinson. I'm talking about Howard 0:01:45.160 --> 0:01:49.320 played by Adam Sandler and Uncut Gems and yes that 0:01:49.800 --> 0:01:53.720 is true as well of Timothy Shallomey as Marty and 0:01:53.840 --> 0:01:57.000 Marty Supreme. So we thought, why not set the table, 0:01:57.760 --> 0:02:01.360 set the table. Tennis's at the pink pong table, Josh, 0:02:02.160 --> 0:02:05.240 is that close to a pun? Sure the tennis table 0:02:05.640 --> 0:02:09.160 for our conversation, and we have a lengthy one about 0:02:09.200 --> 0:02:12.560 Marty Supreme coming with this conversation with Josh and Benny 0:02:12.639 --> 0:02:17.120 Safti about Uncut Gems. And this comes to you from 0:02:17.720 --> 0:02:19.400 the year twenty nineteen. 0:02:23.120 --> 0:02:24.600 I made a crazy risk. 0:02:24.760 --> 0:02:34.919 We've gambled limbs about to pay off. So I want 0:02:34.919 --> 0:02:35.839 to Celtics to cover. 0:02:35.960 --> 0:02:38.000 I want to Celtics hand time. I want gone at 0:02:38.120 --> 0:02:39.200 points and rebound. 0:02:40.200 --> 0:02:40.720 What do you know? 0:02:41.720 --> 0:02:42.120 I don't know. 0:02:42.240 --> 0:02:45.200 I just know. Well, I'll tell you what I know. 0:02:45.280 --> 0:02:47.120 That's the dumbest that I ever heard of. 0:02:48.280 --> 0:02:49.919 I disagree. 0:02:50.720 --> 0:02:51.440 I disagree. 0:02:51.480 --> 0:02:52.440 Gary. 0:02:53.200 --> 0:02:56.720 We last spoke for Good Time back in twenty seventeen, 0:02:56.840 --> 0:02:59.080 and I think it's fair to say there's a lot 0:02:59.080 --> 0:03:02.600 of Connie in Howard here in this film. They're both 0:03:02.680 --> 0:03:06.200 kind of single mindedly focused on whatever their objective is, 0:03:06.240 --> 0:03:09.200 though their objectives are very different, and we'll definitely get 0:03:09.240 --> 0:03:11.840 in to that. But there's that sense of the urgency 0:03:11.880 --> 0:03:14.280 of the moment always bringing out kind of the best 0:03:14.320 --> 0:03:16.440 in them or the worst in them, which is something 0:03:16.480 --> 0:03:19.240 we talked about. And I was wondering if you guys 0:03:19.280 --> 0:03:24.119 are aware or how aware are you of a character's lineage, 0:03:24.160 --> 0:03:26.720 if you will, when you're creating that character, are you 0:03:26.800 --> 0:03:29.720 thinking about how similar Howard may be too? 0:03:29.880 --> 0:03:33.440 Well, it's kind of not. No. 0:03:33.639 --> 0:03:36.320 The answer answer is no, But the longer answer is 0:03:36.840 --> 0:03:39.800 what happens when you spend ten years working on a project. 0:03:39.800 --> 0:03:42.760 That's how long we're working on Uncut Gems. So Connie 0:03:43.120 --> 0:03:46.040 and his creation was basically was the whole film. Good 0:03:46.080 --> 0:03:49.200 Time came about because Pattinson wanted to work with us 0:03:49.240 --> 0:03:51.360 and he wasn't right for any role in Uncut Gems, 0:03:51.360 --> 0:03:53.920 and it led to the creation of Good Time. And 0:03:54.000 --> 0:03:58.120 actually Benny's character in Good Time was originally in Uncut 0:03:58.160 --> 0:04:01.360 Gems and then we used for that one. So but 0:04:01.440 --> 0:04:05.520 I do think that the single mindedness and the determination 0:04:05.680 --> 0:04:09.400 to see a dream realized and prove your worth in 0:04:09.440 --> 0:04:13.360 the world or maybe to the universe comes stems from 0:04:14.600 --> 0:04:18.280 a decade long pursuit of a single entity, which is 0:04:18.720 --> 0:04:19.320 Uncut Gems. 0:04:19.520 --> 0:04:21.479 And I think it's it also makes sense to just 0:04:21.560 --> 0:04:24.640 kind of see a character who you might not at 0:04:24.680 --> 0:04:28.200 first see the beauty in or the understanding in, and 0:04:28.320 --> 0:04:31.520 kind of trying to understand to see the love in 0:04:31.560 --> 0:04:34.560 them or understanding And that's what Uncut Gems is, you know, 0:04:34.560 --> 0:04:36.239 It's the rough on the outside of beautiful. 0:04:36.440 --> 0:04:41.720 And the difference for me between Gems and Good Time, 0:04:42.440 --> 0:04:45.880 you know, is that the Connie character was slightly more 0:04:45.920 --> 0:04:50.719 anthropological in the sense that I can I've seen that 0:04:50.839 --> 0:04:54.520 person before, I know people like that. There are tiny 0:04:54.600 --> 0:04:56.280 little pieces of mean it, but it's for more or 0:04:56.360 --> 0:05:00.760 less study. Whereas Gems there's a lot of me and 0:05:01.000 --> 0:05:03.159 Howard there's a lot of you know, there's a lot 0:05:03.200 --> 0:05:07.440 of personal stuff in that movie that maybe wasn't in 0:05:07.520 --> 0:05:09.520 Good Time, not to denigrate Good Time in any way. 0:05:09.680 --> 0:05:11.760 Well, I want to stay on this path for a second, because, 0:05:12.000 --> 0:05:14.440 as you said, they're both kind of con men at 0:05:14.440 --> 0:05:17.840 their core, right, self destructive, always the sense of things 0:05:17.880 --> 0:05:20.960 kind of spiraling out of control around them. But Connie 0:05:21.640 --> 0:05:25.360 is sympathetic and that we can definitely appreciate his larger purpose, 0:05:25.360 --> 0:05:27.279 which is to keep his brother played by you Benny, 0:05:27.560 --> 0:05:29.920 out of jail. We know he needs to be protected. 0:05:29.960 --> 0:05:31.359 We're on board with that. So I feel like for 0:05:31.440 --> 0:05:34.800 most viewers getting to a place where the end justifies 0:05:34.839 --> 0:05:39.200 whatever insane means we're watching unfold, it's easier to get too. Probably, 0:05:39.240 --> 0:05:42.440 I think it's a tougher proposition with Howard, and so 0:05:42.720 --> 0:05:43.200 I'm curious. 0:05:43.320 --> 0:05:44.200 It's the first time i've heard it. 0:05:44.200 --> 0:05:45.960 I don't Well, so that's that's where I was going, 0:05:46.040 --> 0:05:48.359 is that I feel like he's more irredeemable, And I 0:05:48.400 --> 0:05:50.240 wondered if that was part of the challenge and fun 0:05:50.320 --> 0:05:52.960 for you with this project, or if you discard that 0:05:53.040 --> 0:05:54.960 completely and you see him as redeemable. 0:05:55.040 --> 0:05:58.280 I see Howard as as the ultimate provider. I think 0:05:58.279 --> 0:06:00.880 that he's a you know, Connie's kind of does a 0:06:00.920 --> 0:06:03.960 lot of you know, really, he's. 0:06:03.360 --> 0:06:05.520 Also the reason that the brothers in jail in the 0:06:05.520 --> 0:06:07.240 first place, you know, true. 0:06:07.240 --> 0:06:08.839 Yes, So it's like kind of a look. 0:06:08.960 --> 0:06:11.520 I mean, Howard is such a this character Sandler place, 0:06:11.560 --> 0:06:15.760 and also Sandler in general is a notoriously lovable person. 0:06:15.800 --> 0:06:18.839 And I think that Howard is is. I think that 0:06:18.920 --> 0:06:21.400 he's ultimately a righteous person. And I don't I don't 0:06:21.400 --> 0:06:22.880 see him as a con man. I don't think that 0:06:22.920 --> 0:06:25.080 he has any con that he's pulling he's trying to 0:06:25.080 --> 0:06:27.240 pull off in this film. I think that he's he's 0:06:27.279 --> 0:06:30.560 actually he's just trying the con might be to prove 0:06:30.600 --> 0:06:32.880 that he belongs in a society that actually might say 0:06:32.920 --> 0:06:36.280 you don't belong. Maybe your place is to be somewhat 0:06:36.279 --> 0:06:38.520 towards the bottom and not some guy at the top. 0:06:38.560 --> 0:06:40.960 And he's trying to cheat God. And and I think 0:06:41.000 --> 0:06:45.240 that this the pay the patriarchal part of Howard is. 0:06:45.800 --> 0:06:47.800 You know, uh, you know that he has all these 0:06:47.800 --> 0:06:49.640 people who depend on him, that all these people that 0:06:49.680 --> 0:06:53.600 he has to support, which makes him I think. I mean, look, 0:06:53.600 --> 0:06:56.719 they're both, they're both the same sides of there's different 0:06:56.920 --> 0:06:58.680 parts of our voice, but I do. 0:06:58.960 --> 0:07:00.760 But it's funny though, because I do. You know. 0:07:00.800 --> 0:07:04.279 I remember when Scott Ruden, who's one of the producers 0:07:04.320 --> 0:07:06.240 of this film, when he read it, he said the 0:07:06.240 --> 0:07:08.560 opposite when he read the script. He was like, you know, 0:07:08.560 --> 0:07:10.480 the difference here is that you know, Howard's a guy 0:07:10.520 --> 0:07:11.040 you can love. 0:07:11.320 --> 0:07:12.320 Where's Connie you can't? 0:07:12.600 --> 0:07:15.560 Thing, Yeah, And I think it's Howard does bring the 0:07:15.600 --> 0:07:17.720 best out of the people around him. You know, he 0:07:17.760 --> 0:07:21.520 creates this environment where everybody has to say in some ways. 0:07:21.520 --> 0:07:25.280 And I think with him he also knows when he 0:07:25.760 --> 0:07:28.240 does know when he's going to do something, how it 0:07:28.280 --> 0:07:31.440 will affect other people. And I think he knows that 0:07:31.520 --> 0:07:33.720 and then does it anyway, does it anyway. But the 0:07:33.760 --> 0:07:36.560 thing is is, at least he is aware of that, 0:07:36.640 --> 0:07:38.720 and like when he checks in with his daughter, he 0:07:38.800 --> 0:07:41.720 knows he's affected the family in a deep, deep way, right, 0:07:41.800 --> 0:07:43.240 And I think that's part of what we were talking 0:07:43.240 --> 0:07:45.720 about with Sandler too, was here's a guy who does 0:07:45.760 --> 0:07:47.600 some things that you might not be able to get behind. 0:07:47.920 --> 0:07:51.120 But it's very important that we root him in real 0:07:51.120 --> 0:07:54.760 emotions and feelings because you do need to love this guy. 0:07:54.800 --> 0:07:55.320 You do need to. 0:07:55.360 --> 0:07:58.120 Root for him. And when people are yelling at the screen, oh, 0:07:58.200 --> 0:08:00.760 don't do that, don't do this, don't want him to 0:08:00.800 --> 0:08:03.360 do it. If you didn't like somebody or didn't love somebody, 0:08:03.480 --> 0:08:05.400 you wouldn't really be yelling at the screen to get 0:08:05.440 --> 0:08:06.000 them to stop. 0:08:06.200 --> 0:08:08.920 The film is called uncut Gems, Uh, you know, by 0:08:08.960 --> 0:08:13.840 design obviously, Uh, we don't just pick random words out 0:08:13.880 --> 0:08:16.920 of a hat. But you know, the concept of something 0:08:17.160 --> 0:08:21.560 being considered or deemed unvaluable on the outside because of 0:08:21.760 --> 0:08:22.640 rough impressions. 0:08:23.080 --> 0:08:23.400 Uh. 0:08:23.440 --> 0:08:26.920 And when you scope down underneath it and get to something, 0:08:27.000 --> 0:08:30.400 you get to the insides of of this of this gem, 0:08:30.640 --> 0:08:32.880 there's actually deep value there and that you can take 0:08:32.880 --> 0:08:36.680 in the sense that you know, certain people are you know, 0:08:37.160 --> 0:08:39.679 they might appear rough on the outside, but deep down 0:08:39.679 --> 0:08:41.720 inside there's something kind of great about them. And that's 0:08:42.080 --> 0:08:44.640 you know, the perseverance, the fact that it's a very 0:08:44.679 --> 0:08:48.760 egalitarian person. Everyone is equal in their regards someone like Connie. 0:08:48.800 --> 0:08:51.240 Not everybody was equal at all, he was actually very 0:08:51.360 --> 0:08:55.120 very condescending of a person. So there are these elements 0:08:55.200 --> 0:08:58.320 to to the character that that that I can that 0:08:58.360 --> 0:08:59.000 I disagree with. 0:08:59.080 --> 0:09:01.199 You on, but sure or experience, and I want to 0:09:01.200 --> 0:09:03.760 be clear, it's nuanced, right. We could dissect these two 0:09:03.880 --> 0:09:07.120 characters other similarities and differences, I think for a long time, 0:09:07.120 --> 0:09:07.720 and I think that's. 0:09:07.760 --> 0:09:10.840 I love them both, the rich characters. So yeah, and 0:09:10.880 --> 0:09:11.480 that comes through. 0:09:11.640 --> 0:09:13.560 And I think that was one of the surprises for 0:09:13.600 --> 0:09:15.679 me of the film, not knowing really anything about it. 0:09:15.679 --> 0:09:17.160 I try to go in with as much of a 0:09:17.160 --> 0:09:19.640 blank slate, not even watching trailers if I can avoid it. 0:09:19.880 --> 0:09:22.160 And I sort of expected, even after the first few 0:09:22.200 --> 0:09:24.160 minutes that I was going to watch kind of a 0:09:24.200 --> 0:09:28.080 standard movie tale of a gambler who is a loser, right, 0:09:28.120 --> 0:09:29.920 because that's what we usually see guys who are they're 0:09:30.000 --> 0:09:32.320 so that they owe so much money to someone, they're 0:09:32.320 --> 0:09:33.720 just trying to get out of this hole that they're 0:09:33.760 --> 0:09:35.160 in and they're willing to do anything to get out 0:09:35.160 --> 0:09:37.000 of it. But that's not really the character you guys 0:09:37.080 --> 0:09:39.240 have created. He's he's not just trying to get himself 0:09:39.240 --> 0:09:40.959 out of a hole. He's he's willing to dig whatever 0:09:41.080 --> 0:09:44.000 size hole he has to to achieve some kind of 0:09:44.160 --> 0:09:45.640 higher calling all the exactly right. 0:09:45.720 --> 0:09:46.480 Yeah, for sure. 0:09:47.520 --> 0:09:49.160 What's funny is, and I don't want to spoil the 0:09:49.200 --> 0:09:51.280 movie in any way, but for a guy who's a 0:09:51.280 --> 0:09:54.560 degenerate gambler, there's some pretty big bets in this movie. 0:09:54.679 --> 0:09:57.240 Yet he you know that he takes that he maybe make, 0:09:57.360 --> 0:10:00.600 so you know, it is I think the high calling 0:10:00.600 --> 0:10:03.240 element to it is is he's also don't forget he's 0:10:03.280 --> 0:10:05.880 a guy who was the man in the nineties, late 0:10:05.960 --> 0:10:10.360 nineties and early aughts. He was the guy and uh, 0:10:10.400 --> 0:10:12.280 you know, and he's starting to now see that fall 0:10:12.320 --> 0:10:15.120 away and that that life is full of cycles and 0:10:15.160 --> 0:10:19.920 that he's actually trying to kind of go against the 0:10:19.960 --> 0:10:21.760 grain of natural tides. 0:10:21.920 --> 0:10:25.240 Yeah, and I think just like we well, yeah, but 0:10:25.280 --> 0:10:29.080 because it's like I would rather hear from you, he's not. Yes, 0:10:29.240 --> 0:10:31.760 he he has he has lost, but he goes through 0:10:31.760 --> 0:10:32.720 life as a winner. 0:10:32.760 --> 0:10:32.920 You know. 0:10:33.160 --> 0:10:36.040 Yeah, you touched on the casting of Adam Sandler. So 0:10:36.080 --> 0:10:38.680 how important was it whether you love him or not 0:10:38.840 --> 0:10:41.480 or I'm being too harsh on Howard. He certainly does 0:10:41.480 --> 0:10:43.880 a lot of hurtful things to other people. How important 0:10:43.960 --> 0:10:47.160 was it to have a character like Sandler who brings 0:10:47.240 --> 0:10:50.160 just an affability and an amiability. 0:10:49.480 --> 0:10:53.040 To anything amount there wouldn't work. There's no other person. 0:10:53.040 --> 0:10:55.000 The only other person who I could ever see this 0:10:55.160 --> 0:10:59.440 movie functioning with is Rodney Dangerfield and and but that 0:10:59.520 --> 0:11:01.640 was that would have to be ten years before Easy Money. 0:11:01.640 --> 0:11:03.680 But then again, Easy Money came at a time in 0:11:03.720 --> 0:11:05.840 his life when you know, he had a certain age 0:11:05.840 --> 0:11:11.680 that made him lovable. Sandler's Sandler has an an uncanny 0:11:11.760 --> 0:11:15.560 ability to root the most absurd scenarios in a weird 0:11:15.600 --> 0:11:18.199 form of his own brand of realism. Yeah, you look 0:11:18.200 --> 0:11:21.160 at those earliest lovable people love him and I love him, 0:11:21.280 --> 0:11:23.600 I deeply love We grew up on his records before we. 0:11:23.600 --> 0:11:24.559 Even saw the movies. 0:11:24.720 --> 0:11:26.240 You look at you look at his early his like 0:11:26.720 --> 0:11:29.040 so all of his comedies, really those early comedies, which 0:11:29.040 --> 0:11:31.679 are so crazy and so absurd, and you really are 0:11:31.720 --> 0:11:34.120 looking at the screen and saying, I want that guy 0:11:34.320 --> 0:11:35.960 to win and I want him to succeed. 0:11:36.559 --> 0:11:39.240 And it's just something inside of him. 0:11:39.120 --> 0:11:41.360 You know, it's part of his soul that we knew 0:11:41.360 --> 0:11:44.760 that that needed to be brought to the character in 0:11:44.800 --> 0:11:46.640 a way that the film wouldn't work without. 0:11:46.679 --> 0:11:49.000 That you know, And I wanted to ask about one 0:11:49.000 --> 0:11:50.960 element of the performance. And I'm totally prepared for you 0:11:50.960 --> 0:11:53.120 guys to tell me I'm wrong about this part too. 0:11:53.320 --> 0:11:55.160 But the frenetic pace of the film, right, I don't 0:11:55.160 --> 0:11:58.080 want to tell you you're wrong about anything. That's what's 0:11:58.080 --> 0:12:00.319 great about movies is that they're your own. Yeah, the 0:12:00.400 --> 0:12:01.640 viewers experience. 0:12:01.280 --> 0:12:01.640 For sure. 0:12:01.640 --> 0:12:04.160 But this is I know this word talk about cliches. 0:12:04.160 --> 0:12:08.160 You've heard it four thousand times. It's intense, right, And 0:12:08.760 --> 0:12:11.160 it struck me though fairly early on and throughout the film, 0:12:11.160 --> 0:12:14.280 that Howard is never really overwhelmed by it, right, he 0:12:14.360 --> 0:12:16.680 kind of thrives on it. Obviously, he's usually the one 0:12:16.720 --> 0:12:18.600 causing it. But I think you actually see that in 0:12:18.640 --> 0:12:22.800 Sandler's performance a little bit, and how relatively slowly he speaks. Right, 0:12:22.840 --> 0:12:25.720 He's always in motion and he's always talking, that's for sure, 0:12:25.800 --> 0:12:27.640 but it seemed to me almost like he's always slowing 0:12:27.640 --> 0:12:29.480 down the pace a little bit, like a point guard, 0:12:29.760 --> 0:12:31.520 you know, who's like, I'm I'm gonna bring it up. 0:12:31.800 --> 0:12:33.520 It's a little bit too chaotic. I'm going to bring 0:12:33.520 --> 0:12:35.319 it up deliberately and consider my options. 0:12:35.360 --> 0:12:39.840 He's he's always listening it and feeling the conversations around him, 0:12:39.880 --> 0:12:42.360 and yeah, that's the truth is there is like there's 0:12:42.360 --> 0:12:44.319 a moment where it does kind of catch up with 0:12:44.440 --> 0:12:46.880 him and he does feel the weight of it all. 0:12:47.280 --> 0:12:50.640 But for the most part, he is trying. He's trying 0:12:50.679 --> 0:12:52.400 as hard as you know. He's thinking, I guess what 0:12:52.440 --> 0:12:54.800 makes it so stressful is so many decisions happening right 0:12:54.800 --> 0:12:56.320 away and they're all like, oh my god, I wish 0:12:56.320 --> 0:12:58.400 you did that, But he is trying to make the 0:12:58.400 --> 0:13:00.640 best decision and that exact same thing. 0:13:00.800 --> 0:13:01.600 Keep going from there. 0:13:01.679 --> 0:13:03.120 The thing that I'm most. 0:13:04.280 --> 0:13:08.120 Kind of moved by and encouraged by is in the 0:13:08.160 --> 0:13:10.640 screening process of this movie since Tell Your Ide Toronto, 0:13:10.679 --> 0:13:13.040 New York, et cetera, even last night in Chicago, he 0:13:13.280 --> 0:13:18.480 is seeing how entertained people are by the stressful scenarios. 0:13:18.760 --> 0:13:21.199 And that's taking a concept of, Hey, we're going to 0:13:21.280 --> 0:13:24.920 make this comedic thriller or thriller, comedic drama, however you 0:13:24.960 --> 0:13:27.760 want to peg this movie, but it's thrilling in its 0:13:27.800 --> 0:13:32.320 in its soul, and we're going to include in the 0:13:32.440 --> 0:13:36.480 thrill attention that is so lived in and real and 0:13:36.559 --> 0:13:39.199 personal that and then we're going to have someone like 0:13:39.240 --> 0:13:41.640 Adam Sandler come and add humor to it. 0:13:41.720 --> 0:13:42.920 At moments, it's. 0:13:43.000 --> 0:13:47.560 It's making, it's creating this new form of entertainment, if 0:13:47.600 --> 0:13:49.800 you want to call it that, but it's the experience 0:13:49.880 --> 0:13:52.960 is so immersive, and I think seeing it like we 0:13:53.000 --> 0:13:55.480 saw last night in the theater, you can you know, 0:13:55.640 --> 0:13:58.240 if you see a sad movie with an audience, hearing 0:13:58.240 --> 0:14:01.240 someone cry might actually be distracting. Not taking anything away 0:14:01.240 --> 0:14:03.320 from sad movies, but that is the truth. If you 0:14:03.320 --> 0:14:05.280 see a scary movie with a bunch of people, the 0:14:05.360 --> 0:14:07.320 collective fright is a huge. 0:14:07.120 --> 0:14:07.920 Part of the experience. 0:14:08.120 --> 0:14:10.440 Seeing a thriller like this with a bunch of people, 0:14:10.640 --> 0:14:12.920 I'm telling you, I've seen it in every theater. You 0:14:12.920 --> 0:14:16.959 can feel the entire audience lean towards the screen as 0:14:17.000 --> 0:14:18.920 if they want to reach out to the screen and 0:14:19.000 --> 0:14:22.760 grab Howard Adam Sandler and just shake some sense into him. 0:14:22.840 --> 0:14:23.240 Right there. 0:14:24.760 --> 0:14:26.600 It's popping in my head right now. There's a very 0:14:26.600 --> 0:14:30.320 funny scene in the Buster Key movie Steamboat Bill. Yeah, 0:14:30.360 --> 0:14:34.160 and he like he's his whole boat is sinking and 0:14:34.240 --> 0:14:38.320 he's holding all all of the holes water's pouring in. 0:14:38.360 --> 0:14:39.000 He doesn't know what to do. 0:14:39.080 --> 0:14:40.280 So he realized, Okay, I got it. 0:14:40.520 --> 0:14:42.400 He then picks up a hammer. He's in the bottom 0:14:42.400 --> 0:14:44.080 of the boat, picks a hammer and some nails, and 0:14:44.120 --> 0:14:47.120 he goes to nail in over the hole inside the boat. 0:14:47.120 --> 0:14:49.280 And in the moment you're thinking, that's a great idea, 0:14:49.560 --> 0:14:51.960 cover up the hole. The moment the hammer hits the 0:14:52.040 --> 0:14:56.040 nail more water. But that's the essence that you're trying 0:14:56.040 --> 0:14:56.960 to kind of create here. 0:14:57.400 --> 0:14:59.960 When we were here last time, we talked about pattinson 0:15:00.160 --> 0:15:03.240 performance and I asked you guys to talk about a 0:15:03.280 --> 0:15:05.960 moment or a scene in the film where he really 0:15:06.000 --> 0:15:08.200 surprised you with something where it wasn't how you envisioned 0:15:08.240 --> 0:15:10.440 it at all when it was on the page. And Benny, 0:15:10.480 --> 0:15:13.440 you had a great moment which was a moment between 0:15:13.480 --> 0:15:16.000 the two of you, the hug and I Love you 0:15:16.080 --> 0:15:18.960 scene in the elevator, and Josh you talked about that 0:15:19.000 --> 0:15:21.480 great line he has when he says to the younger girl, 0:15:21.720 --> 0:15:23.760 you know, don't don't be confused, s He'll just make 0:15:23.800 --> 0:15:25.800 it harder for me. And also that that kind of 0:15:26.320 --> 0:15:29.280 that story he tells Jennifer Jason Lee in the taxi cab. 0:15:29.400 --> 0:15:32.840 So I'm wondering if there's a similar story with Sandler, 0:15:32.960 --> 0:15:35.960 is there, they're an example for each of you. He 0:15:36.040 --> 0:15:37.320 really surprised you with something. 0:15:37.680 --> 0:15:39.720 I think that the I think that there's a big 0:15:39.760 --> 0:15:42.320 scene between him and Kevin Garnett towards the end of 0:15:42.320 --> 0:15:45.880 the film. It's about a six page scene and it's 0:15:45.960 --> 0:15:47.920 you know, it's a it's the scene we spent the 0:15:47.920 --> 0:15:49.760 most time writing, in the most time editing, and the 0:15:49.840 --> 0:15:53.720 least time shooting. But that's largely because of the testament 0:15:53.800 --> 0:15:57.200 of the two performers. Garnett blew us away, but Sandler 0:15:57.440 --> 0:16:02.400 the way that he was able to give the moral 0:16:02.480 --> 0:16:05.480 compass and the meaning of the movie essentially in one 0:16:05.560 --> 0:16:08.720 scene without it feeling like naked exposition and just like 0:16:08.760 --> 0:16:10.480 it's from his soul and you kind of feel bad 0:16:10.480 --> 0:16:12.640 for him in that moment, and it's and that was 0:16:12.960 --> 0:16:15.360 that was unbelievable. Another moment that, you know, it's like 0:16:15.400 --> 0:16:18.840 a tiny scene. There's a scene with the sports radio 0:16:19.000 --> 0:16:22.400 show host persona Mike Frantz has a where Sandler delivers 0:16:22.440 --> 0:16:22.920 this line. 0:16:22.960 --> 0:16:25.400 I they use it in the trailers. I disagree the 0:16:25.440 --> 0:16:26.440 way that he said it. 0:16:26.560 --> 0:16:28.160 You know, first of all, he has this motor mouth 0:16:28.240 --> 0:16:30.120 quality throughout the whole scene and then he pauses at 0:16:30.120 --> 0:16:30.320 the end. 0:16:30.360 --> 0:16:33.480 He just looks at me, goes, I disagree. I disagree Gary. 0:16:33.760 --> 0:16:34.880 The way that he said it. 0:16:35.720 --> 0:16:38.360 From a as a Sandler fan too, it was just like, oh, 0:16:38.400 --> 0:16:39.840 there's the iconic Sandler moment. 0:16:40.000 --> 0:16:43.320 Yeah, and it's there's so many moments, like it's hard 0:16:43.360 --> 0:16:44.240 to justify one. 0:16:44.200 --> 0:16:46.240 Because I know what's one you want to do though 0:16:46.280 --> 0:16:46.760 with the guard. 0:16:48.080 --> 0:16:52.560 Yeah, when he's with the Dina in that in that conversation. 0:16:52.880 --> 0:16:54.680 Menzell's that's a big scene. 0:16:54.760 --> 0:16:57.800 Yes, But Sandler starts doing this kind of thing where 0:16:57.800 --> 0:16:59.920 he's like ex haling this a lot of mouth movement 0:17:01.840 --> 0:17:04.240 and he's like you can feel the uncomfort like that 0:17:04.280 --> 0:17:06.400 he's he's really trying to get it out, but he's 0:17:06.440 --> 0:17:08.760 not saying it. But yeah, in general, it was just 0:17:08.840 --> 0:17:12.960 watching him make these micro decisions as Howard. It's like 0:17:13.000 --> 0:17:16.639 I wasn't watching Adam perform it. I was watching Howard 0:17:16.680 --> 0:17:18.600 in these scenes doing it. There's like a very little 0:17:18.640 --> 0:17:22.040 one where it's like when Garnett says to his manager, just. 0:17:22.040 --> 0:17:24.080 Wait right here, we'll be right back. 0:17:24.160 --> 0:17:27.679 Howard just instinctively owns that idea and looks at the 0:17:27.680 --> 0:17:30.280 manager and does the same exact hand motion that Garnett 0:17:30.280 --> 0:17:32.000 does like a half a second later, just. 0:17:31.960 --> 0:17:33.040 To be like, oh, yeah, that was my idea. 0:17:33.040 --> 0:17:33.360 This is good. 0:17:33.960 --> 0:17:36.880 I also I also really love the you know, he 0:17:36.880 --> 0:17:40.080 he would add improvised jokes all the time, like little 0:17:40.119 --> 0:17:42.720 things that he felt like Howard could do, you know, 0:17:43.840 --> 0:17:47.000 in particular, like tiny weird borsch belty things like when 0:17:47.000 --> 0:17:49.760 he when he goes and is gonna pawn a ring 0:17:49.840 --> 0:17:51.400 to these two real jewelers. 0:17:51.560 --> 0:17:52.880 He goes, I'd shake your hand, but I know where 0:17:52.880 --> 0:17:55.280 it's been, right, just like it's such a bad joke, 0:17:55.400 --> 0:17:56.639 but it's such a Howard. 0:17:56.680 --> 0:17:58.760 It's such a jeweler joke that he did, and it 0:17:58.800 --> 0:17:59.960 was really great. 0:18:00.200 --> 0:18:02.399 And the movie is filled with stuff like that. 0:18:02.520 --> 0:18:05.920 Yeah, you talked about the immersive quality the film. Sound 0:18:06.000 --> 0:18:09.520 obviously has a big part in that, and I know 0:18:09.600 --> 0:18:11.840 Altman is a big touchstone for you guys, and there's 0:18:11.840 --> 0:18:13.800