WEBVTT - Ep59 - Daniel Kaluuya / "Get Out" and "Black Panther" 0:00:00.080 --> 0:00:03.880 You're listening to playback a Variety podcast. I'm your host, 0:00:03.960 --> 0:00:30.800 Variety Awards editor Chris Tappily. Keep doing good? Does he day? Huh? 0:00:30.920 --> 0:00:36.760 I'd my little coffee so yeah, caffeine freak. That's why 0:00:36.800 --> 0:00:41.840 had it a stroke on dentist kills me. It's nice, Yeah, 0:00:43.080 --> 0:00:53.480 niceness nice? Huh. You're about to turn this machine off 0:00:53.479 --> 0:00:58.880 out there? Good story is? She throwing down? Was laughing? 0:00:59.360 --> 0:01:02.240 It's good. I was up in Sundance. How is it? 0:01:02.280 --> 0:01:06.160 What film? Did you? What? Which one? Oh? No, I missed. 0:01:06.200 --> 0:01:08.119 Everyone told me to see that and I just never 0:01:08.160 --> 0:01:09.960 got hit let to see that? But what films you 0:01:10.080 --> 0:01:14.479 do it? I saw this thing calledure Hereditary. Oh yeah, 0:01:14.520 --> 0:01:19.360 Tony Collette terrifying. Yeah, really good. Yeah, I've caught that script. 0:01:19.440 --> 0:01:21.840 I need to read it. It's pretty It's that. That's 0:01:21.840 --> 0:01:23.959 a good filmmaker. It's his first movie and he's gonna 0:01:24.000 --> 0:01:28.160 be doing more. I'm sure. Um what else? I thought? 0:01:28.200 --> 0:01:31.440 Blind Spotting was awesome? He caught that later in the festival. 0:01:31.800 --> 0:01:34.120 That was David Diggs and his writing partner. They wrote it, 0:01:34.160 --> 0:01:36.600 and then I think it's the first time. Okay, he's 0:01:36.640 --> 0:01:40.800 the first time director. Um. It played early in the festival, 0:01:41.800 --> 0:01:49.400 and uh, it's fantastic. What else? The American Animals is 0:01:49.440 --> 0:01:51.640 this movie about the guys that tried to steal the 0:01:51.680 --> 0:01:55.720 auto bond books from this university in Kentucky and they 0:01:55.720 --> 0:01:59.200 were just idiots. So it's kind of like a narrative 0:01:59.200 --> 0:02:03.040 slash document or anything. So some good stuff. I was 0:02:03.120 --> 0:02:05.440 like there a week, so I squeezed a lot in 0:02:06.440 --> 0:02:11.560 were you there last year? Whenever I'm getting lost of years? No, 0:02:11.680 --> 0:02:13.680 I wasn't there last year. I was in Black Panther. 0:02:14.480 --> 0:02:16.080 I never I was there year before because I was 0:02:16.080 --> 0:02:18.760 in some not screen my slips. So I was there 0:02:19.080 --> 0:02:20.720 for that, and then I went to the festival after. 0:02:20.760 --> 0:02:24.119 So it was the Daniels film, right, um, so saw 0:02:24.200 --> 0:02:29.320 me el so I see Craig Robinson film was the 0:02:29.360 --> 0:02:33.680 one set in Germany. It's quite a few films that. Oh, 0:02:33.760 --> 0:02:36.480 the Morris from America, Yeah, and my friend directed that. 0:02:36.520 --> 0:02:38.799 I went to film schooling that director. Yeah. And then 0:02:40.120 --> 0:02:43.799 the Christine that was yeah, yeah, she was fantastic in that. 0:02:44.080 --> 0:02:45.560 What happened to that film? Because I was like, what 0:02:45.639 --> 0:02:48.280 this is gonna be? And then they just don't even 0:02:48.320 --> 0:02:50.880 remember who picked it up? Actually is there's so many 0:02:51.000 --> 0:02:54.520 movies nowadays, things just sadly fade away. And she was 0:02:54.760 --> 0:02:57.079 amazing that and it was like I didn't know the story, 0:02:57.639 --> 0:03:00.400 so it kind of took me by surprise all the 0:03:00.440 --> 0:03:03.480 tons and then it was just like oh wow. But yeah, 0:03:03.440 --> 0:03:04.919 it was the first kind of festival I've been to. 0:03:04.960 --> 0:03:07.960 I've been to Coppon screening in London Film Festival and 0:03:07.960 --> 0:03:09.720 it's the best. I think it was probably the best 0:03:09.720 --> 0:03:11.880 one because like you're seeing people in the twenties and 0:03:12.160 --> 0:03:16.680 he's like, just geeks you about storytelling and you mean, 0:03:16.720 --> 0:03:18.560 it's like and then like a drink and a dance, 0:03:18.639 --> 0:03:21.400 you know, it's you gotta go up to tell your 0:03:21.480 --> 0:03:23.240 right one year. Man, if you've never loved to get 0:03:23.320 --> 0:03:29.400 Christine tells you, it's amazing. We're film, we're filming, we're recording. 0:03:29.440 --> 0:03:34.679 Now we have Daniel Khaluya here, the Oscar nominated star 0:03:34.760 --> 0:03:37.119 of It's also in Black Panther. We'll talk a little 0:03:37.120 --> 0:03:40.720 bit about that too. Um, congratulations on the Oscar nomination. 0:03:40.760 --> 0:03:43.480 Thank you so much. I mean, it was over a 0:03:43.560 --> 0:03:47.120 year ago that Get Out premiered at Sundance and nearly 0:03:47.160 --> 0:03:50.840 a year ago that it opened in theaters, open on 0:03:50.920 --> 0:03:53.840 School weekend Oscar Weekend. Yeah, I remember how Jordans on 0:03:53.880 --> 0:03:56.760 this show actually that weekend. Um, I don't think either 0:03:56.800 --> 0:03:58.920 of us knew that this was going to be the 0:03:58.920 --> 0:04:02.360 fad for this movie. It's testing to see what it's done. Um. 0:04:02.440 --> 0:04:04.120 You know a lot has happened for you obviously, and 0:04:04.120 --> 0:04:06.320 now you're an Oscar nominated actor. What does this whirlwind 0:04:06.360 --> 0:04:09.760 felt like for you throughout this year? I mean, it's 0:04:09.800 --> 0:04:11.720 it was. It was. It was very surreal because I 0:04:12.080 --> 0:04:13.920 did I did Black Panther, and I did Widows and 0:04:13.960 --> 0:04:17.479 then I kind of went back home to London and 0:04:17.480 --> 0:04:19.520 then I was like, oh, this film is a thing 0:04:19.680 --> 0:04:22.640 because that's like my context. That's like like and then 0:04:23.520 --> 0:04:25.919 I was going back and then I came back to America, 0:04:26.000 --> 0:04:29.560 probably October, and I was like, okay, how it's called bigger. 0:04:29.960 --> 0:04:33.080 I've never experienced anything like that, where usually I do 0:04:33.240 --> 0:04:35.240 a job in two weeks later it kind of disappears 0:04:36.120 --> 0:04:37.760 and something else takes the place. But it was like, 0:04:37.960 --> 0:04:40.400 get up, kept on growing and growing and growing, and 0:04:40.440 --> 0:04:43.280 now I've been here, it keeps on growing and taking 0:04:43.279 --> 0:04:46.000 me to rooms that I never before I could get into. 0:04:46.080 --> 0:04:48.600 So you're like, you're just trying to process it will 0:04:49.000 --> 0:04:51.800 to be honest and yeah, and it's a very it's 0:04:51.800 --> 0:04:56.320 a world would Yeah, has it been like overwhelming it all? 0:04:56.320 --> 0:04:58.000 Because you strike me as like a low key, no 0:04:58.200 --> 0:05:00.360 fuss kind of guy. So has it been just like 0:05:01.240 --> 0:05:02.600 not that you can't handle it, but has it been 0:05:02.640 --> 0:05:05.560 like a lot throughout the year. It's been a it's 0:05:05.600 --> 0:05:08.520 been a it's been a lot just because it's something new, 0:05:09.200 --> 0:05:11.159 you know. So you're trying to go all right, cool, 0:05:11.240 --> 0:05:13.600 what does this mean? What do I do what? And 0:05:13.800 --> 0:05:17.279 the answer is always just be yourself. But like it's 0:05:17.320 --> 0:05:19.080 just kind of like oh, like oh, I mean I'm 0:05:19.120 --> 0:05:22.360 just navigating new spaces. That's that's all it is. And 0:05:22.360 --> 0:05:25.000 it kind of go, oh, I have to go here, 0:05:25.040 --> 0:05:26.760 I have to go there. I forgot, Like it's just 0:05:28.760 --> 0:05:31.520 I mean, like certain events can be overwhelming, like just 0:05:31.560 --> 0:05:34.440 like music festivals and you go out there and people like, okay, 0:05:35.040 --> 0:05:37.360 that's quite kind of like well the first music festival went, 0:05:37.400 --> 0:05:39.520 I was like, wow, I would just go to this. 0:05:39.800 --> 0:05:44.239 Now this is a different experience. And but I try 0:05:44.279 --> 0:05:47.599 and continue to make it about the work because that's 0:05:47.640 --> 0:05:51.479 the heart of it. So it's like like, less, how 0:05:51.520 --> 0:05:53.600 does this help me doing the job that I love 0:05:53.680 --> 0:05:56.360 to do. You know, Yeah, what do you feel like 0:05:57.240 --> 0:06:01.840 I'm always curious about movies that run the gamut from 0:06:02.040 --> 0:06:04.440 Sundance all the way through an ask your season, because 0:06:04.440 --> 0:06:06.000 that's a full year. So do you feel like you 0:06:06.120 --> 0:06:08.719 run out of things to say? Like you've kind of 0:06:09.000 --> 0:06:11.720 it's been wrong out you know, because now as I've 0:06:11.760 --> 0:06:14.159 been filming a lot, I didn't really do that much 0:06:14.240 --> 0:06:15.640 because I was like out of the game, so I 0:06:15.680 --> 0:06:19.680 didn't really commute in England. I didn't so like so 0:06:20.000 --> 0:06:23.200 I've I also, people ask you a question, you just 0:06:23.240 --> 0:06:25.440 engage you with it. Honestly, it's not like it's not 0:06:25.480 --> 0:06:28.800 like it's these answers or whatever I'm talking about is 0:06:29.640 --> 0:06:31.920 foreign to me. It's like it's that it's great. A 0:06:31.960 --> 0:06:34.760 Going said in an interview wants. She was like, the 0:06:34.920 --> 0:06:37.160 stuff that you intellectually know, this stuff you intimately know. 0:06:37.279 --> 0:06:39.120 This is this experiencing get out of stuff that I 0:06:39.160 --> 0:06:42.680 intimately know. So it's kind of like, I don't, I don't. 0:06:43.920 --> 0:06:45.719 It's me you know, you don't have to perform the 0:06:45.720 --> 0:06:49.080 answer question likecause and that's why that's what's quite free 0:06:49.120 --> 0:06:51.640 and about the stuff that I'm a part of at 0:06:51.640 --> 0:06:54.560 the moment, it's just like stuff that is a representation, 0:06:54.720 --> 0:06:57.320 representation of me and my people around me, and then 0:06:57.320 --> 0:06:59.440 I kind of go whenever I can just be honest, 0:07:00.040 --> 0:07:02.599 I mean, and like in every way. So because I 0:07:02.640 --> 0:07:05.039 love Girl as a film, I love Black Fires the film, 0:07:05.120 --> 0:07:06.600 So it's that kind of I don't I think I'm 0:07:06.600 --> 0:07:08.599 gonna love with those as a films always like well cool, 0:07:08.680 --> 0:07:11.600 that's let's just I love Cuicario, Like, let's just just 0:07:11.800 --> 0:07:15.680 keep going, you know. Uh, this was an incredible performance. 0:07:15.720 --> 0:07:18.880 I've said so from before it was posh to say so. 0:07:19.160 --> 0:07:21.640 I thought this was such an incredibly because there's so 0:07:21.720 --> 0:07:24.240 much going on internally, right, I mean, they which had 0:07:24.280 --> 0:07:27.400 to have been both a challenge you know, and a 0:07:27.400 --> 0:07:31.280 delight as an actor to play, I imagine, because the 0:07:31.360 --> 0:07:35.200 work is considerably different when things are so internalized like that. 0:07:35.240 --> 0:07:36.960 But just tell you tell me, I mean, what what 0:07:37.000 --> 0:07:40.400 were the challenges of that aspect of this role because 0:07:40.440 --> 0:07:42.920 he's it's such an observational character in a way, and 0:07:42.920 --> 0:07:46.720 he's he's consistently reacting internally to how things are going 0:07:46.760 --> 0:07:48.800 on around him. So just talk about those challenges. It's 0:07:49.040 --> 0:07:50.480 I mean, they're challenge in the sense that. I mean, 0:07:50.480 --> 0:07:53.600 I learned so much on Sicario and working with that 0:07:53.680 --> 0:07:58.640 group of actors, where the audacity to do nothing, you know, 0:07:58.800 --> 0:08:01.720 the confidence and and and seeing him doing it on 0:08:01.720 --> 0:08:03.720 set and not understanding it but then seeing it on 0:08:03.760 --> 0:08:05.760 screen and go wild. But he was a Toro is 0:08:06.320 --> 0:08:10.080 amazing in that film, Josh is Amazingly's amazing, and I 0:08:10.160 --> 0:08:14.520 kind of it's it's a And then after a year 0:08:14.520 --> 0:08:16.160 and a half off and I kind of had to 0:08:16.320 --> 0:08:19.880 rethink how I saw storytelling, how I saw acting in 0:08:19.880 --> 0:08:22.560 a sense that like I don't want people to see 0:08:22.640 --> 0:08:25.840 him doing it, and I can kinda So it's just 0:08:25.960 --> 0:08:28.840 kind of like if you're playing a real dude, he's 0:08:28.840 --> 0:08:30.520 a real dude, do you mean? And it's like and 0:08:30.520 --> 0:08:34.240 he's going through this, and it's about like people may 0:08:34.240 --> 0:08:36.600 not it may not be the showy role, and you 0:08:36.640 --> 0:08:39.080 have to be okay with people not noticing that you're 0:08:39.600 --> 0:08:41.880 doing what you're doing. But did they notice the story? 0:08:42.120 --> 0:08:44.040 They are they feeling the beats of the story that 0:08:44.040 --> 0:08:48.480 that's the priority for me. So it was me engaging 0:08:49.080 --> 0:08:51.320 with kind of like just kind of death of like 0:08:51.440 --> 0:08:53.559 the acting ego in me, like just kind of go, 0:08:53.800 --> 0:08:57.199 let me just do what I feel feels right and 0:08:57.200 --> 0:09:00.880 and and feels real and and with the internal is 0:09:00.960 --> 0:09:03.400 kind of like I find that. I just find a 0:09:03.480 --> 0:09:06.480 dynamics really interesting. This stuff like I think I'm probably 0:09:06.520 --> 0:09:08.160 doing life, and loads of people do that life. I 0:09:08.200 --> 0:09:10.760 find that interesting. I watch, so I find it interesting 0:09:10.760 --> 0:09:13.600 when someone says a kind of like, especially in the 0:09:13.600 --> 0:09:16.000 professional environment, especially in this industry, people say a lot 0:09:16.000 --> 0:09:18.920 of slick stuff, and I swear absolutely see a lot 0:09:18.920 --> 0:09:21.320 of slick ship. It's encouraged. Okay, let's say a lot 0:09:21.320 --> 0:09:24.320 of slick ship and then like around that's kind of 0:09:24.360 --> 0:09:26.240 like but no one can say it directly because I'm 0:09:26.280 --> 0:09:29.000 from a quite direct tone, so it's I'm having to 0:09:29.080 --> 0:09:31.120 learn that and I can see people react to it, 0:09:31.160 --> 0:09:33.400 but they can't really react to it. So there's there's 0:09:33.400 --> 0:09:36.640 what's being said on paper, what's being said is nothing 0:09:36.720 --> 0:09:40.160 like it doesn't mean anything, but underneath, both parties know 0:09:40.240 --> 0:09:43.600 that there's something happening, and their faces are given hints 0:09:43.640 --> 0:09:45.840 to something that's happening. So I just kind of was like, 0:09:45.840 --> 0:09:47.760 oh that, I find that really. I find it more 0:09:47.800 --> 0:09:49.840 interesting to see in cinema, So it's kind of like, 0:09:50.360 --> 0:09:54.040 let's try and do that, like in but then I 0:09:54.080 --> 0:09:55.800 think I've a with my intern has always been like 0:09:55.840 --> 0:09:59.400 I don't want to feel like I'm showing off what 0:09:59.559 --> 0:10:02.800 I can. I don't. I don't want that. Like even 0:10:02.800 --> 0:10:04.480 when I was doing plays and there was like a 0:10:04.559 --> 0:10:06.560 sequence where I had to like show rage, I'll be like, 0:10:07.240 --> 0:10:09.320 even in Black Mirror, like when I was doing that monologue, 0:10:09.320 --> 0:10:11.520 I'll be like, is it too much? I mean, I 0:10:11.559 --> 0:10:14.680 don't want it. I don't want people to God because 0:10:14.720 --> 0:10:17.520 I probably find that quite overwhelming me. And that's just 0:10:17.559 --> 0:10:21.040 my personal taste. And so we've get out. It was 0:10:21.080 --> 0:10:22.640 just kind of have this in mind, but also as 0:10:22.640 --> 0:10:25.480 well conversates with Jordan and Allison and just going how 0:10:25.520 --> 0:10:28.600 do we ground this amazing genre story, you know, like 0:10:28.640 --> 0:10:30.720 and and I just I just kind of felt and 0:10:30.720 --> 0:10:33.440 that Jordan was like minded about, like you have to 0:10:33.440 --> 0:10:36.320 believe this character and believe this relationship and believe that 0:10:36.360 --> 0:10:40.720 this is real, which grounds all the kind of supernatural 0:10:40.840 --> 0:10:47.000 or other worldly like genre elements to the piece. If 0:10:47.040 --> 0:10:50.120 it's grounded, you know, and you're you're way more likely 0:10:50.160 --> 0:10:53.200 to believe a lot of more stuff, this stuff that's real, 0:10:53.520 --> 0:10:56.800 but you don't even believe you mean, it's like because 0:10:56.880 --> 0:11:01.600 of the gravity at the center of it isn't it's routed, Yeah, 0:11:01.640 --> 0:11:04.000 and that plays up kind of just the psychological like 0:11:04.080 --> 0:11:05.800 things are big, feel like they might be bigger in 0:11:05.800 --> 0:11:07.839 your head and the character's head than they are, but 0:11:08.240 --> 0:11:10.199 we see that they're not. But it just it's another 0:11:10.559 --> 0:11:12.880 dimension of just the performance and the writing in the 0:11:12.880 --> 0:11:16.199 direction that makes it such a multi tiered kind of project. 0:11:16.320 --> 0:11:20.280 You know, um talk about the the improvisation aspect and 0:11:20.320 --> 0:11:22.440 how that affected some of this, because I understand there 0:11:22.520 --> 0:11:28.280 was some improvisation with these scenes. I mean mean us 0:11:28.320 --> 0:11:31.160 and a team, like like the main cost and Jordan 0:11:31.240 --> 0:11:34.240 went to the house and in Alabama and we kind 0:11:34.240 --> 0:11:36.920 of just watch up the scenes, watch up the scenes 0:11:36.960 --> 0:11:41.280 here what a lot of the the hypnotism seen some 0:11:41.400 --> 0:11:43.800 of it, a lot of keen those lines was a 0:11:43.840 --> 0:11:47.920 brilliant limit it was wasn't was it on paper? And 0:11:48.000 --> 0:11:52.160 it was just like because she's putting the pressure onto 0:11:52.200 --> 0:11:55.800 and she's duping Chris, She's like trying to manipulate him 0:11:55.800 --> 0:11:58.240 and get him into it but not feel like it 0:11:58.360 --> 0:11:59.880 is and he's just trying to be a good boy. 0:12:00.240 --> 0:12:04.880 And like the lake scene when before Chris talks about 0:12:05.040 --> 0:12:07.240 his mom and stuff, like that that bit when he's 0:12:07.280 --> 0:12:08.280 like I want to go, I want to go, And 0:12:08.280 --> 0:12:10.319 that was all improv. That was all like and and 0:12:10.640 --> 0:12:13.400 it takes some really really confident director to kind of 0:12:13.440 --> 0:12:18.600 trust that, like trust who he's who he's cast too, 0:12:19.400 --> 0:12:22.320 to go, oh, like tell me what you think, give 0:12:22.360 --> 0:12:24.960 me what you think, or like we're losing light and 0:12:25.000 --> 0:12:27.199 he was like keeps on longpowering us to god, what 0:12:27.240 --> 0:12:28.640 do you feel? How do you feel? Just do do 0:12:28.679 --> 0:12:30.920 what you feel and throwing things out and coming back. 0:12:30.960 --> 0:12:33.760 It's like, especially especially in the scenes between me and Allison, 0:12:33.800 --> 0:12:35.120 there was a lot of improv and I think it 0:12:35.200 --> 0:12:37.880 was necessary because you wanted to you want to buy 0:12:37.920 --> 0:12:39.880 into their love. You wanted to buy into that that 0:12:40.040 --> 0:12:43.840 relationship small talk and that's not that's intangible. That's just 0:12:43.960 --> 0:12:47.959 like you want to think us that they really like 0:12:48.120 --> 0:12:50.160 each other. But you can't just say I love you. 0:12:50.160 --> 0:12:53.160 I mean, that's not that's not what's that I mean, 0:12:53.200 --> 0:12:54.560 it's like you have to go what do they have 0:12:54.600 --> 0:12:57.000 a shorthand do they have this? They have that? So 0:12:57.080 --> 0:13:00.360 it was like and Allison, who's brilliant, got it in 0:13:00.440 --> 0:13:03.120 prop background and Jordan's so it's just to make it 0:13:03.280 --> 0:13:05.839 feel immediate and make it feel like I always love 0:13:05.960 --> 0:13:08.040 performances like that. I mean, Shane Meadows and Films is 0:13:08.040 --> 0:13:10.079 an incredible book for that. When you kind of a 0:13:10.200 --> 0:13:12.120 what is that like? Well, when they do and the 0:13:12.240 --> 0:13:14.840 character made something, I'd see that in life, but I'd 0:13:14.840 --> 0:13:17.520 never see that in film, and you go, why not? Like, 0:13:17.960 --> 0:13:19.439 and then I thought, there's a lot of moments and 0:13:19.480 --> 0:13:23.520 get out there just feels like what a person would do, 0:13:23.800 --> 0:13:27.920 but it's really specific and idiosyncratic of that individual character, 0:13:27.960 --> 0:13:30.720 and Juldan gave us a space to kind of do that. Yeah, 0:13:30.920 --> 0:13:33.559 there's been a lot of talk about genre with this film, 0:13:33.559 --> 0:13:37.400 and it's a very just unclassifiable film in a lot 0:13:37.480 --> 0:13:39.440 of ways. But I wanted to talk about the tight 0:13:39.559 --> 0:13:43.400 rope walk with the comedic elements because, uh, you know, 0:13:43.440 --> 0:13:46.240 I talked to Jordan's roughly a year ago and he 0:13:46.280 --> 0:13:50.640 was talking about how exercising the comedic aspect of his 0:13:50.720 --> 0:13:54.199 brain really informed a lot of just the horror elements 0:13:54.200 --> 0:13:55.720 that he was writing, because they're kind of two sides 0:13:55.760 --> 0:13:57.280 of the same coin. And I'm just curious if there 0:13:57.320 --> 0:14:00.880 was any kind of discussion about that, or you know, 0:14:00.960 --> 0:14:06.120 even just like insinuations about that just how how did 0:14:06.120 --> 0:14:09.120 that tight rope walk work? I think it's it goes 0:14:09.200 --> 0:14:12.199 into the decisions that Jordan makings. Who were who we? 0:14:12.280 --> 0:14:15.600 Cause I think everyone in the cars has comedic bones. 0:14:16.280 --> 0:14:20.040 So it's not a stretch. It's kind of like I 0:14:20.080 --> 0:14:24.240 just feel like Tonally is like I just love pieces 0:14:24.320 --> 0:14:26.880 like get Out and like loads of stuff that I've 0:14:26.880 --> 0:14:28.880 done has always had a hint of comedy or it 0:14:28.920 --> 0:14:31.560 has been comedy. Based on this show called Cycle, it's 0:14:31.560 --> 0:14:34.160 like a horror comedy. That's it's And so it's kind 0:14:34.160 --> 0:14:38.080 of like walking that because I just think that's what 0:14:38.200 --> 0:14:42.240 life like. That's what life's like, like life drama, right 0:14:42.440 --> 0:14:45.280 that I just thought it isn't Life isn't like life 0:14:45.320 --> 0:14:49.400 isn't just a comedy. Life is sometimes horrifying. Life sometimes terrifying. 0:14:49.520 --> 0:14:52.440 Life is sometimes science fiction. We walk around with these 0:14:52.440 --> 0:14:56.320 devices in our pockets that we can watch any series 0:14:56.360 --> 0:14:59.040 around the world if we download the right app, and 0:14:59.040 --> 0:15:01.720 that's illegal. I mean it's like, I mean it's like 0:15:01.720 --> 0:15:04.920 like like you know, if there's all elements and all 0:15:05.000 --> 0:15:08.240 faculties that we that we we navigate so them like, well, 0:15:08.280 --> 0:15:12.600 then like I just expect script to reflect that reflect 0:15:12.720 --> 0:15:15.400 that that but doesn't mean it. It doesn't have to 0:15:15.440 --> 0:15:17.480 be truth as long as it's truthful. It's not like 0:15:17.520 --> 0:15:20.600 we're playing it for comedy. We're playing because he's a 0:15:20.640 --> 0:15:24.240 friend who's trying to tell like a friend, like to 0:15:24.400 --> 0:15:27.120 get the funk out of the house. Like it's like, motherfucker, 0:15:27.160 --> 0:15:28.880 get out of the house. Like I mean, it's like 0:15:29.360 --> 0:15:31.920 it's like and his way of saying it, it's comedic, 0:15:32.160 --> 0:15:33.920 but there's truth in it. It's like you're gonna be 0:15:33.960 --> 0:15:36.400 a sex slip because he probably think because that's how 0:15:36.440 --> 0:15:40.000 his brain works. It's like they cut nigger's heads off 0:15:40.640 --> 0:15:43.680 and feed them to me, and it's like that. But 0:15:43.920 --> 0:15:46.280 everyone has that person in their life, you know, Like 0:15:46.880 --> 0:15:49.520 I just think everyone has that like so and that 0:15:49.560 --> 0:15:51.680 person is being honest. It's just how they're doing it. 0:15:51.840 --> 0:15:54.640 It's done. But that person isn't living a comedy I mean. 0:15:54.680 --> 0:16:00.280 And so it's Um, I think what Jordan is we've 0:16:00.280 --> 0:16:03.440 been joining of bending is just being honest about the 0:16:03.560 --> 0:16:05.680 laugh experience. No, you're right, I mean we laugh every day. 0:16:05.680 --> 0:16:08.720 We're scared every day and dramatic things happen every day. 0:16:09.200 --> 0:16:12.800 You're you're absolutely right, Um, talk about shooting in Alabama, 0:16:12.920 --> 0:16:16.640 what was that, Like I spoke to the dp UM before. Yeah, 0:16:16.720 --> 0:16:19.200 you can tell me before a column I write every 0:16:19.240 --> 0:16:20.760 year about the top ten shots of the year, and 0:16:20.800 --> 0:16:23.640 the first shot of you going into the sunken place 0:16:23.720 --> 0:16:25.920 is what I chose. And he told me about shooting 0:16:25.920 --> 0:16:29.880 that in a civic center auditorium thing, and Alabama is 0:16:29.920 --> 0:16:32.000 just kind of a movie magic. But yeah, just talk 0:16:32.000 --> 0:16:34.920 about shooting in that location and what the environment kind 0:16:34.920 --> 0:16:38.320 of did for you and your performance. I mean it 0:16:38.400 --> 0:16:41.120 was a couple of Confederate flags, but yeah, maybe when 0:16:41.160 --> 0:16:44.560 I was going to my weekly shot, I mean using 0:16:44.560 --> 0:16:47.840 fair Hoop, Alabama, which is like a small small town, 0:16:48.440 --> 0:16:50.400 like more of a retirement kind of time, it was 0:16:50.400 --> 0:16:54.120 always pretty chill. I I don't know, like I feel 0:16:54.920 --> 0:16:56.720 I didn't. I mean, it's the twenty few day shoot 0:16:56.720 --> 0:16:58.520 actually see and I was like an other bus. I 0:16:58.520 --> 0:17:00.960 didn't really get to see Alabama in that kind of 0:17:01.000 --> 0:17:02.920 way of just little kind of trips. But it was 0:17:03.000 --> 0:17:06.000 it was more of like kind of like that we 0:17:06.119 --> 0:17:08.280 came where we went away. It was like the Republican 0:17:10.200 --> 0:17:13.240 candidate debate was on, you know, and and to understanding 0:17:13.320 --> 0:17:20.240 this the context that Chris is in and knowing that 0:17:20.240 --> 0:17:23.240 that's being that's at that that's happening. At that time, 0:17:23.359 --> 0:17:27.520 it was was really in. They didn't inform our conversations 0:17:27.520 --> 0:17:29.679 whilst we were making it. You know, there was like 0:17:29.840 --> 0:17:34.840 loads of elements just being in. Being in America shows that. 0:17:34.880 --> 0:17:38.879 And then it's prep. It's more pronounced when you're not 0:17:39.000 --> 0:17:41.320 driving or walking down the street and you see Trump posters, 0:17:41.359 --> 0:17:44.840 you know, like, yeah, that's just the world we live in, 0:17:44.880 --> 0:17:47.359 and they believe in it. So it's like, and that's 0:17:47.400 --> 0:17:52.840 what one of Chris's fears, you know, like those those 0:17:52.880 --> 0:17:56.280 people that just don't indifferent to racism. It's not even 0:17:56.280 --> 0:17:59.520 like they're racist, are just indifferent, which is it's scarier. 0:18:00.000 --> 0:18:02.800 It's just like whatever, I mean, it's like, you know, 0:18:02.880 --> 0:18:04.560 what wrong is happening? And they keet the moving. I 0:18:04.600 --> 0:18:07.760 always thought the most the scariest character, and in twelve 0:18:07.800 --> 0:18:10.760 years of Slave was was spending at Comma batches because 0:18:12.200 --> 0:18:15.480 he knows what's good and what's right, but he turns 0:18:15.520 --> 0:18:17.720 his back, you know, he doeses to stand up for 0:18:17.920 --> 0:18:21.840 Sulomon Norfolk, and I find that I find that fascinating, 0:18:22.160 --> 0:18:25.560 you know. So so yeah, well, the morning of the 0:18:25.560 --> 0:18:29.240 Oscar nominations, what was your first phone call Christy, Yeah, 0:18:31.440 --> 0:18:37.919 I was congratulation. It was very, very very surreal. It 0:18:38.040 --> 0:18:40.560 was yeah. And then and then I was like, okay, 0:18:40.640 --> 0:18:42.280 let me engage with what because I put my phone 0:18:42.320 --> 0:18:44.600 in another room and then and then like my phone 0:18:44.680 --> 0:18:48.120 just went crazy. And then I was like, I gotta 0:18:48.119 --> 0:18:50.080 FaceTime mom. So I told my mom. I didn't not. 0:18:50.080 --> 0:18:54.040 I think she was just chilling like she wanted to. 0:18:54.280 --> 0:18:56.439 I was at ways usually weren't what you meaning? And 0:18:56.480 --> 0:18:58.880 then and then I say like, and then told her 0:18:59.000 --> 0:19:01.320 and then just worked a couple of friends and a 0:19:01.320 --> 0:19:04.160 couple of people, was worked to my managers out here. Um, 0:19:04.920 --> 0:19:08.359 it was very it's very I'm still going through it, 0:19:08.400 --> 0:19:11.720 you know. It's it's life changing. It's life changing for me. 0:19:12.440 --> 0:19:15.199 But I'm trying to figure out what's changing, you know, 0:19:15.400 --> 0:19:18.959 and and uh, and then what do I want to do? 0:19:19.680 --> 0:19:21.160 Like you mean that do I change what I want 0:19:21.160 --> 0:19:24.720 to do because of this recognition? Like you mean, it's 0:19:24.760 --> 0:19:28.399 like it's always like just that's the trick, finding finding 0:19:28.440 --> 0:19:30.720 your center and the midst of all that. You know, Yeah, 0:19:30.760 --> 0:19:32.800 you have to, yeah, like you have to. It's like 0:19:32.880 --> 0:19:36.040 I did get out because I believed in it. Like 0:19:36.240 --> 0:19:40.640 so this success is amazing, but the success is meant 0:19:40.760 --> 0:19:43.720 just wanted to connect with an audience like someone watching it. 0:19:43.760 --> 0:19:46.400 I wanted you to feel something. That's it like, even 0:19:46.440 --> 0:19:48.080 if you hate, at least you felt something, you know. 0:19:48.119 --> 0:19:49.960 I think the worst bit is when it's met, when 0:19:49.960 --> 0:19:55.000 it's average, when it's I mean, it's like so you 0:19:55.040 --> 0:19:58.360 can't control that. There's always it's just been a ride 0:19:58.359 --> 0:20:01.600 that's kind of gone grown and grown and growing. And yeah, 0:20:01.640 --> 0:20:04.520 well I wanted to touch on Black Panther, which I 0:20:04.560 --> 0:20:08.400 saw last night. Yea, oh man, it's it's got something 0:20:08.440 --> 0:20:12.720 to say. It's it's it's pretty, it's pretty. I love Ryan. 0:20:12.800 --> 0:20:15.560 I was one of the great, one of the great, 0:20:15.920 --> 0:20:19.920 just in my experience conversationalists, just as an interviewer, as 0:20:19.920 --> 0:20:23.080 an interviewee. Uh. And he's just such a good guy 0:20:23.200 --> 0:20:26.080 and I'm I'm really happy that he got this opportunity. 0:20:26.520 --> 0:20:28.119 So you tell me what it was like from your 0:20:28.119 --> 0:20:30.560 perspective working on with him and working on a film 0:20:30.600 --> 0:20:35.480 of this scope. I mean, it's uh, you know, considerably different, 0:20:35.680 --> 0:20:43.560 right it was. It's like, I mean, Ryan cool, we scotted. 0:20:43.720 --> 0:20:47.119 He saw a short film I did called Baby Daniel Malloy. 0:20:47.680 --> 0:20:50.480 I did that in twenty ten and he saw that 0:20:50.640 --> 0:20:52.960 years gone and he said that he'd been watching me 0:20:53.000 --> 0:20:55.960 in a couple of things and then he uh and 0:20:56.000 --> 0:20:57.919 then he Scott had I was doing his plane and 0:20:58.480 --> 0:21:00.240 I did a matinee and there was no way find 0:21:00.280 --> 0:21:02.480 and buildings like across the road to this coffee shop 0:21:02.680 --> 0:21:05.159 had to buy nuts because it had to stay in 0:21:05.160 --> 0:21:06.879