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Speaker 1: I've had this happen to me before, and it's been

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Speaker 1: really difficult when I've been in a scene or a

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Speaker 1: production with someone who's like, I'm ready, I'm there. I

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Speaker 1: got there, man.

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Speaker 2: I thought about my dead dog, and now I'm ready

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Speaker 2: to cry roll the cameras.

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Speaker 1: Hi, I'm David Desmalchin and I am an actor.

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Speaker 3: Welcome back, everybody, Thank you for joining me for another

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Speaker 3: episode of Off the Beat. This is your host, Brian Baumgartner.

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Speaker 3: Today we have a very spooky guest, a little insane

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Speaker 3: lurking in the shadows, or at least that's the type

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Speaker 3: of character he often plays. The great actor and well,

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Speaker 3: let's call him the King of Darkness. David Deastmulchin is

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Speaker 3: with us today. You might know him from such blockbusters

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Speaker 3: as The Dark Knight, Ant Man, The Suicide Squad, or

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Speaker 3: even Oppenheimer. Or maybe you've seen the films he wrote

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Speaker 3: and starred in, Animals and All Creatures here below, Or

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Speaker 3: if you're into comic books, David is also the author

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Speaker 3: of the series Count Crawley Reluctant Midnight Monster Hunter. Or

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Speaker 3: if you've been casket shopping lately, you might know him

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Speaker 3: from his partnership with titan caskets, whatever the case may be.

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Speaker 3: He is a multi hyphen it in the industry, and

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Speaker 3: he does it all very very well. I might add,

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Speaker 3: we're going to talk about how he got all those

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Speaker 3: hyphens in the first place, how he overcame addiction and

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Speaker 3: ended up a movie star. His latest film, Late Night

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Speaker 3: with the Devil. I cannot wait to see it. Let's

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Speaker 3: get the conversation going. Here is the immensely talented David Destmulchin.

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Speaker 4: Bubble and Squeak. I love it, Bubble and Squeakna Bubble

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Speaker 4: and Squeaker cook it every month. Lift over from the

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Speaker 4: night Boat.

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Speaker 3: What's up, David?

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Speaker 1: Hey, how's it going?

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Speaker 5: Man?

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Speaker 1: So nice to meet you, see you on this weird place.

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Speaker 1: But I was just I was just with somebody who

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Speaker 1: I believe you know. I could be wrong, but I

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Speaker 1: feel like you're friendly with if you're not friends with

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Speaker 1: Steve Age. Oh, you guys know each other. I think

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Speaker 1: you guys know one another. We did somewhere in the

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Speaker 1: comedy world.

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Speaker 3: Yes way.

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Speaker 1: It was his birthday today and I threw him a

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Speaker 1: little birthday brunch. His birthday was on Sunday, but I

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Speaker 1: threw my birthday brunch and I rushed back because I

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Speaker 1: was excited to get to talk to you.

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Speaker 3: Oh well, that is uh, that's so nice. Happy birthday

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Speaker 3: to Steve.

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Speaker 1: Shout out to Steve Ag. Everybody, shout out.

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Speaker 3: Shout out to the legend, the master Steve Agent.

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Speaker 1: Weeks after his birthday, we're gonna be giving him a

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Speaker 1: shout out. I don't even know when this is gonna air,

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Speaker 1: but that's okay.

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Speaker 3: Well, several weeks ago it was Steve AG's birthday. Everybody

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Speaker 3: which begs, of course, the question, where was my invite?

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Speaker 3: I mean, was it fun?

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Speaker 1: It was very fun. It was Blue Jam Cafe and Tarzana,

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Speaker 1: which serves really delicious French toast. If anybody's a fan

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Speaker 1: of French toast, you go to Blue Jam Cafe and Tarzana,

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Speaker 1: and you never know, you may stumble upon the birthday

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Speaker 1: party for Steve Ag and his cluster of middle aged

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Speaker 1: dude friends who sit around and yuck it up and

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Speaker 1: probably overstay. Are welcome.

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Speaker 3: Here's the thing. Blue Jam Cafe, I know it very well.

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Speaker 3: There's one there in West Hollywood, Hollywood, there on on

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Speaker 3: Melrose or something. Here's the thing about the French toast,

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Speaker 3: or at least if you have a friendly or semi

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Speaker 3: famous face. You debate whether to order the French toast,

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Speaker 3: you choose not to, and then they'll bring it to

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Speaker 3: you anyway.

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Speaker 1: Oh wow, because I ordered oatmeal and you know what

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Speaker 1: they brought me?

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Speaker 3: What oatmeal?

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Speaker 1: I got? Screwed? Man, I don't have a friendly face. Though,

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Speaker 1: this is like the creepy, scary character actor face. I

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Speaker 1: guess that probably nobody's thinking, well, let's show him a

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Speaker 1: kind gesture, that poor man looks like he could use

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Speaker 1: a nice slice of our famous French toast. No, they're

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Speaker 1: probably like, get him his oatmeal, get him out of here,

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Speaker 1: get him out or some amount of people. Yeah, he

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Speaker 1: makes people uncomfortable.

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Speaker 3: Well, we're certainly going to talk about that. I mean, well, actually,

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Speaker 3: before we get into it, I was thinking about this

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Speaker 3: knowing that I was going to talk about you on

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Speaker 3: our past. We have never met before, but I've been

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Speaker 3: a fan of your work for a long time. So

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Speaker 3: we're both character actors. Yes, but very very different in

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Speaker 3: a way. And not that I don't do creepy, but

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Speaker 3: maybe I do more, you know, in the drama world,

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Speaker 3: maybe I do more scary or like, I don't know

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Speaker 3: what it is, like I mean like.

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Speaker 1: He You've got this wonderful range, and I'm always so

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Speaker 1: impressed by artists who can play different instruments really well,

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Speaker 1: Like I feel like you can play dry, deadpan, sweet, vulnerable,

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Speaker 1: and then yeah, I've seen you be totally the opposite

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Speaker 1: of Obviously, there's the things that you're known for. If

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Speaker 1: you will, I think the sand goes for me where

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Speaker 1: people like, oh, I know you from and it's always

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Speaker 1: kind of the same things. But I do in the

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Speaker 1: dream of being the kind of artists that or actor

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Speaker 1: or whatever we want to call ourselves that can live

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Speaker 1: in space, and it's it seems like you feel the

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Speaker 1: same way, since you're comfortable describing yourself as such. I

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Speaker 1: think that being a character actor, although maybe we don't

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Speaker 1: get as many zero's at the end of our checks,

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Speaker 1: we tend to get a lot of freedom and flexibility

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Speaker 1: in the sense that we get the opportunity to stretch

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Speaker 1: in ways that sometimes different types of journeys go for actors.

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Speaker 1: And I think it's a real gift.

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Speaker 3: You know, it's a real gift. You're right, And honestly,

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Speaker 3: the only reason I brought this up I was searching

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Speaker 3: for compliments. But aside from that, there's an edge that

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Speaker 3: I admire in you, and I'm not talking physically, but

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Speaker 3: there's a sharpness and angularity maybe that I think is

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Speaker 3: maybe more subversive than me, and maybe part of it

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Speaker 3: is physically as well. But it's interesting to me because

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Speaker 3: while we would sort of on the surface both describe

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Speaker 3: ourselves as character actors, I think we use that term

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Speaker 3: so often and so loosely that it's it's almost reductive

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Speaker 3: in a way.

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Speaker 1: Does that make sense, Yeah, it is, but I prefer it.

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Speaker 1: I think people go They'll say things to me like, oh,

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Speaker 1: when are you going to get a leading role or

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Speaker 1: something like that, and I kind of think I've never

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Speaker 1: felt like I'm not getting awesome roles. I've always been like,

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Speaker 1: if I think about the movies I've been in where

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Speaker 1: I have played minor supporting or a supporting or a

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Speaker 1: major supporting role, who has been whatever he's been meant

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Speaker 1: to be in the purpose of serving the story and

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Speaker 1: the protagonist and the director's vision. If I look at

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Speaker 1: the film as a whole, I can't imagine. I can't

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Speaker 1: look at a film and be like, Oh, I should

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Speaker 1: have been there's there. I was meant to play Bob

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Speaker 1: till I look at a movie like The Dark Knight,

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Speaker 1: and I don't think to myself like I wish I

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Speaker 1: would have been the Batman or the Joker. No, I

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Speaker 1: think like that role just seemed like it was just

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Speaker 1: so suited for what my skills and joy. People often

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Speaker 1: ask me like, oh, You've made such great choices in

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Speaker 1: your career, and I wish that I could take more

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Speaker 1: credit than the Roulette wheel of being an actor. I

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Speaker 1: wish that I was some savante artist living in my cabin,

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Speaker 1: cobbling shoes and getting to go no, no, no, no, oh,

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Speaker 1: yes that one. Oh that. It's just not my reality.

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Speaker 1: I'm a working actor who reads work. I'm just so

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Speaker 1: I think dedicated maybe to the kind of stuff that

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Speaker 1: I consume as a watcher, reader, listener that maybe energetically

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Speaker 1: in some woiy way, it's maybe like made me do

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Speaker 1: better auditions or have stronger energetic connections to material that

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Speaker 1: is in the genre space is a little more in

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Speaker 1: the dark shadows whatever. But the times I've said no

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Speaker 1: to things genuinely, and there's been stuff that I have

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Speaker 1: absolutely done because it wasn't my favorite script or role,

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Speaker 1: but I was like, I'm working, I need to work

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Speaker 1: and I know I can make something useful and help

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Speaker 1: this story. The times when I have said no was

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Speaker 1: either because there was no money, and that happens often

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Speaker 1: where people go, we've got this great project and we

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Speaker 1: just can't pay you, and I go, I'm sorry. I

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Speaker 1: have to support a family. And when I'm going to

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Speaker 1: do no money work, it's always my own stuff because

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Speaker 1: I'm always trying to make my own little things. So

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Speaker 1: I try to block out three or four months a

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Speaker 1: year of no money work, and that's always my own stuff.

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Speaker 1: But the other reason is only when I genuinely try

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Speaker 1: to connect with the material and I feel like I

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Speaker 1: can't find my way into it, and I won't do

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Speaker 1: it because I genuinely believe you can see it, you

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Speaker 1: can feel it in a performance. If you don't connect

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Speaker 1: with in any way, shape or form, or you're just

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Speaker 1: like I would be doing a great disservice to somebody

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Speaker 1: who's paying me or someone who's trying to direct me.

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Speaker 1: If my internal monologue is I don't connect with this

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Speaker 1: at all, I feel like that would be really hard.

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Speaker 1: So aside from that, though, I'm kind of a yes man,

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Speaker 1: and luckily that's just snowballed into getting to work with

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Speaker 1: really cool people and cool projects, and being open to

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Speaker 1: making myself. I think you do this as well, and

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Speaker 1: it's another badge of honor in being a character actor.

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Speaker 1: The vulnerability of playing the fool, to me is a

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Speaker 1: really powerful experience as an actor. I really think getting

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Speaker 1: over my fear and my ego and being willing to

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Speaker 1: just stand still and be If anyone knows much about

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Speaker 1: history of storytelling, theater, comaedia, dell art, whatever, that very

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Speaker 1: important function of the fool, and it's not as simple

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Speaker 1: or pejorative as it may sound in saying that word

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Speaker 1: to your viewers or listeners, but it's like it's actually

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Speaker 1: kind of a beautiful place to exist in storytelling. It's

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Speaker 1: like I want to strip down myself of all ego.

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Speaker 1: I want to just stand there and experience things and

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Speaker 1: let the camera capture those feelings of vulnerability. And sometimes

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Speaker 1: I'm very lucky that it just it works. Whether it's

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Speaker 1: in comedy or drama or horror, it's a place I

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Speaker 1: like to go.

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Speaker 3: Yeah, I know you grew well. You were born in Pennsylvania, Allentown. Yes,

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Speaker 3: you ended up growing up in Kansas City. By the

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Speaker 3: way I read, you played football are you a football fan.

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Speaker 1: I am a football fan. I've had a very good

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Speaker 1: year this year as a Kansas City Fanglas. Thank you

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Speaker 1: you're a Cisco fan.

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Speaker 3: I'm no, God, oh god, no, no, no, I was

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Speaker 3: rooting for you in that game. Let's just say I

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Speaker 3: might have had some a financial interest, not a rooting interest,

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Speaker 3: but a financial interest in Kansas City. But no, congratulations.

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Speaker 3: I mean, you've got those fancy new headphones now. I'm

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Speaker 3: glad to see that we won those for you. That's nice.

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Speaker 1: I appreciate the team's efforts in making sure that your

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Speaker 1: pockets were padded. I honestly don't watch football regularly. I'm

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Speaker 1: not a diehard fan. I'm a bit of a fair

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Speaker 1: weather fan. I left the field my senior year of

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Speaker 1: high school after our last game, a painful loss to

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Speaker 1: Shawnee Mission North in which we should have won the game,

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Speaker 1: but a couple of really major errors on our team

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Speaker 1: part dropped the last literally in the last two minutes

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Speaker 1: of the game. We you know, listen, I sound like

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Speaker 1: Uncle Rico right now, but I genuinely like I like.

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Speaker 1: I walked off the field and football was to me

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Speaker 1: a means to an end. I loved playing it at

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Speaker 1: the time. I loved my team and my coach and

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Speaker 1: the experience of going out on the gridiron and playing

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Speaker 1: football and giving it all I had. But my heart

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Speaker 1: was definitely I was yearning to be like making haunted

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Speaker 1: houses and being in the theater. And I was always

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Speaker 1: a little I was building sets for the theater, like

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Speaker 1: they were doing a production of Dracula, and I was

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Speaker 1: like helping build sets, but I wanted to be in

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Speaker 1: the play. I wanted to be, you know, doing that.

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Speaker 1: And I had good grades, but not good enough to

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Speaker 1: get academic scholarships. But I was good enough at football

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Speaker 1: that it was going to help me get to go

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Speaker 1: to college. So it was something I really dedicated myself to.

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Speaker 1: And then when I walked off the field the end

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Speaker 1: of my senior year, I assumed the next summer I

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Speaker 1: would be in training at one of the colleges that

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Speaker 1: was recruiting me to play football. And I was preparing

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Speaker 1: to go do the next six months of continuing to

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Speaker 1: get bigger and bigger, and then I was encouraged by

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Speaker 1: a couple of teachers to audition for this theater training

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Speaker 1: program in Chicago, and I did, and I got a scholarship.

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Speaker 1: I completely did a one eighty, and I said, that's

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Speaker 1: that's what I want to do. That's what I'm going

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Speaker 1: to do.

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Speaker 3: And so that's De Paul right, Yes.

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Speaker 1: De Paul Theater School.

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Speaker 3: So this is a legitimate program here to Paul, I remember,

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Speaker 3: to Paul, I mean, I don't know how old we

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Speaker 3: are where we're well, I actually I do know how

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Speaker 3: old you.

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Speaker 1: Are, with forty eight.

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Speaker 3: No, I know we're close to the same age, so

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Speaker 3: I know De Paul was good. So you're telling me

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Speaker 3: you didn't have any experience at that point.

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Speaker 1: No formal training. I had done some community theater in

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Speaker 1: high school. I had an amazing speech coach in high school.

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Speaker 1: I had an awesome drama teacher that we had like

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Speaker 1: a repertory theater company at my high school. But I

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Speaker 1: had no formal It's funny. When I went to my audition,

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Speaker 1: I'm in cut off Jean shorts, a Janis Joplin tied

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Speaker 1: it T shirt Chuck Taylor's. I've totally screwed up because

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Speaker 1: I didn't realize that they didn't want us to do

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Speaker 1: dialect monologues. And I had prepared a monologue from a

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Speaker 1: play by Peter Shaffer called Equis and I was kind

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Speaker 1: of obsessed with that play in high school. And I

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Speaker 1: and I also had done a monologue from Eric Bagosian's

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Speaker 1: talk radio where I played a bunch of different characters,

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Speaker 1: and they didn't want any of that shit. So I

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Speaker 1: show up. Here's all these kids in dance belts with

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Speaker 1: jazz shoes on and coming from you know, all these

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Speaker 1: training ground places. They just everybody was like, I was

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Speaker 1: so intimidated. I was so out of my depth. But

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Speaker 1: I had something that I'll always be grateful for that

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Speaker 1: Maybe if I had overtrained as a kid and teenager,

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Speaker 1: maybe if I had been so ingrained in thinking, I

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Speaker 1: had an approach that I knew what I was doing.

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Speaker 1: Because I believed that I had no clue what I

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Speaker 1: was doing. I was like raw dull. I just was

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Speaker 1: like open to and I had this willingness to just

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Speaker 1: jump into whatever and kind of make a fool of myself.

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Speaker 1: And then I do this monologue completely wrong. And the

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Speaker 1: guy running the audition was the dean of the school

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Speaker 1: at the time. He's like, no, no, no, what else

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Speaker 1: do you got? And in my back pocket, I had

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Speaker 1: been reading this play called does a Tiger wear a necktie.

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Speaker 1: And I had just started to like kind of on

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Speaker 1: my own, do this monologue. And I did it, and

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Speaker 1: then I get a letter, you know, two months later

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Speaker 1: that's like you get into the school. And I was like,

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Speaker 1: that's great, but there's no way I'm going. At that time,

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Speaker 1: I think maybe it was sixteen seventeen thousand dollars a year,

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Speaker 1: and here I've got an opportunity to go to either

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Speaker 1: Iowa or California, or to go back east and get

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Speaker 1: like a full ride, you know, to get an English

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Speaker 1: degree and play football at one of these other colleges.

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Speaker 1: And then this letter comes that says you've or were

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Speaker 1: happy to inform you that you've been awarded this this scholarship.

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Speaker 1: And I I'll never forget that moment, man, I'll never

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Speaker 1: forget opening that letter and seeing that and knowing my

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Speaker 1: life was about to change. Now I was going. I

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Speaker 1: was going to go to Chicago. I was going to

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Speaker 1: go the path of so many of my heroes, you know,

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Speaker 1: John Malkovich in this up in Wolf Theater Company and

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Speaker 1: the Goodman Theater, and and it happened. It's wild, it's crazy.

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Speaker 1: I'm so low, it's awesome.

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Speaker 5: I'm so lucky.

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Speaker 3: What did De Paul give you? I mean I talk

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Speaker 3: about you know, I started in the theater as well,

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Speaker 3: and I you know, there was there was a time

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Speaker 3: for me where I considered it just something to do

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Speaker 3: or more an activity, and then there was a moment

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Speaker 3: where my eyes were opened to like the possibility in

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Speaker 3: terms of process, in terms of study, in terms of

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Speaker 3: you know, just everything that went into what ended up

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Speaker 3: being the thing that I love, which is character creation, physical,

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Speaker 3: you know, vocal movement, all of those things. Was there

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Speaker 3: a moment for you did that happen at to Paul

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Speaker 3: where you were like, oh, oh, I see now and

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Speaker 3: this is awesome.

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Speaker 1: Well, what was wonderful about the curriculum? At the time

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Speaker 1: that I went to De Paul it had been kind

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Speaker 1: of inherited from the Goodman's School of Drama, and it

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Speaker 1: was this old school steeped in Russian theater, in Polish

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Speaker 1: lab theater, body work theater, very intensive, very almost monastic

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Speaker 1: kind of the way you would you know, you approached

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Speaker 1: to the work was your body, your voice, and then

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Speaker 1: technique didn't come until you had been there already like

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Speaker 1: two years. And it was a really intense environment where

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Speaker 1: they would cut maybe a quarter of the students every year.

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Speaker 1: I think I just had that openness and willingness because

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Speaker 1: I knew nothing, but I knew that I had this

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Speaker 1: like attraction to the words, getting the words out of

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Speaker 1: my mouth, finding a way to inhabit the body and manufacture.

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Speaker 1: In the beginning of the journey, I thought it was

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Speaker 1: about finding the way to tap into having the real

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Speaker 1: physical and emotional and verbal responses and reactions that I

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Speaker 1: would have in the given circumstances. And so we began

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Speaker 1: training doing strictly improvisation. It was all Spolen work and

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Speaker 1: Dell Close work and all of this really important stuff,

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Speaker 1: learning about being present, being in the moment, being a responder,

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Speaker 1: to seeing partners, into material and to given circumstances and environment. Oh,

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Speaker 1: there was so much emphasis put on how your environment

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Speaker 1: affects your body, and just all this work to keep

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Speaker 1: you in the space of your imagination so that you

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Speaker 1: can pretend to have these experiences, so you can manufacture

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Speaker 1: these emotional states of being. And what was really cool

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Speaker 1: about it, each of the different teachers you had would

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Speaker 1: come from a different school of thought, so you'd have

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Speaker 1: somebody with what felt very methody, and somebody you know,

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Speaker 1: there was you name it, Stanislavsky on down every book

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Speaker 1: that every teacher seemed to have their day. But what

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00:20:12,840 --> 00:20:16,240
Speaker 1: started to click and crack through for me that I

351
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Speaker 1: didn't realize until much later was the very pragmatic tools

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Speaker 1: that I could utilize to manufacture and imagine these states

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Speaker 1: of being and then to replicate them. At this point,

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Speaker 1: it was strictly theater training, So the idea of being

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Speaker 1: able to replicate them on a nightly basis while still

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Speaker 1: feeling present and still feeling like you're able to respond

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Speaker 1: to any changes that may occur, but finding the tools

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Speaker 1: so that I could, if I'm playing Vince in Bury Child,

359
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Speaker 1: scream my guts out for twenty minutes a night, and

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Speaker 1: come back and do it the next night and have

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Speaker 1: all of my faculties with me. And at that point

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Speaker 1: I was still in the place of like, I'm going

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Speaker 1: to go there. If I'm in mourning, I'm going to

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Speaker 1: lay here and think about all the people who've died,

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Speaker 1: and I'm going to build myself up. But what was

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Speaker 1: being laid, the groundwork that was being laid underneath that

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Speaker 1: approach was a much more technical style and approach of acting.

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Speaker 1: And this is just for context, something that I think

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Speaker 1: is important to know. During those years when I was

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Speaker 1: at school, I had a lot of addressed mental health issues.

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Speaker 1: I had a lot of untreated struggles that manifested in

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Speaker 1: a pretty debilitating opiate addiction. So by the time I

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Speaker 1: left this incredible school with all these incredible tools and knowledge,

374
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Speaker 1: I didn't think I was ever going to act again

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Speaker 1: because I just was so lost in the sea of

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Speaker 1: my addiction that I swam out in a way from

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Speaker 1: kind of society for a number of years, nearly died

378
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Speaker 1: a number of times. Eventually came had a miracle of

379
00:22:00,160 --> 00:22:02,919
Speaker 1: consciousness where I came to the belief and decision that

380
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Speaker 1: I needed help and that I was wanted to live.

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Speaker 1: You know, I was like, I was like Frank Cross,

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Speaker 1: Bill Murray and Scrooge when he's in his coughin casket

383
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Speaker 1: getting pushed into the to the crematorium and he's like,

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Speaker 1: I want to live. I want to live. And it

385
00:22:16,080 --> 00:22:17,520
Speaker 1: was like a miracle. All of a sudden, I was

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Speaker 1: alive again. But it took me about five years to

387
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Speaker 1: get back on stage once I got clean, because I

388
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Speaker 1: was so scared that I wouldn't be any good if

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Speaker 1: I didn't have the benefit of getting sedatives after work,

390
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Speaker 1: and I was also afraid that going there emotionally every

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Speaker 1: night was going to trigger me to relapse. And instead

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Speaker 1: what happened was I did I got back on stage,

393
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Speaker 1: and I found that my acting was much better than

394
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Speaker 1: it had ever been before because of all the work

395
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Speaker 1: I had been doing and the sobriety. And then secondly,

396
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Speaker 1: I had this incredible breakthrough where so let's say, and

397
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Speaker 1: it's one of the very first things I did when

398
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Speaker 1: I got back on stage was I played both in

399
00:23:01,000 --> 00:23:04,360
Speaker 1: Oscar Wilde solom and he's a soldier who's so obsessed

400
00:23:04,359 --> 00:23:07,840
Speaker 1: with Solome and when she refutes his advances, he kills

401
00:23:07,920 --> 00:23:11,199
Speaker 1: himself on stage. And I am a person who has

402
00:23:11,200 --> 00:23:15,320
Speaker 1: struggled with suicide attempts and suicidal ideation. So I thought, oh,

403
00:23:15,560 --> 00:23:18,639
Speaker 1: I just have to go there didn't work, and the

404
00:23:18,720 --> 00:23:21,119
Speaker 1: performance when I was trying that in rehearsal and the

405
00:23:21,160 --> 00:23:24,399
Speaker 1: director was so wonderful, was like it was not I

406
00:23:24,400 --> 00:23:27,040
Speaker 1: wasn't working, And instead I started to go back into

407
00:23:27,040 --> 00:23:29,480
Speaker 1: all these tools that I'd learned that I didn't even

408
00:23:29,480 --> 00:23:36,840
Speaker 1: realize I'd learned about manufacturing something really beautiful with my face,

409
00:23:37,440 --> 00:23:42,480
Speaker 1: my voice, my eyes, my body, my presence, my energy,

410
00:23:42,800 --> 00:23:45,840
Speaker 1: but manufacturing in a way that was much more skilled,

411
00:23:45,880 --> 00:23:49,520
Speaker 1: like like a guitarist who has notes he is hitting

412
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Speaker 1: and is manipulating the little muscles to get those notes

413
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Speaker 1: because it's not real. It's like what I'm doing in

414
00:23:58,600 --> 00:24:02,359
Speaker 1: that theater wasn't real. It was a little bigger than real,

415
00:24:02,359 --> 00:24:03,959
Speaker 1: and it was a little to the left of this,

416
00:24:04,080 --> 00:24:06,520
Speaker 1: and it was to fit in the world of Wild's

417
00:24:06,640 --> 00:24:10,119
Speaker 1: language and the director's vision. It needed to be sculpted

418
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Speaker 1: some other way. And it just started to click. Man,

419
00:24:14,080 --> 00:24:17,000
Speaker 1: and I just started to go, oh wow. And that

420
00:24:17,080 --> 00:24:20,920
Speaker 1: has been the journey now for my God, that's been

421
00:24:21,280 --> 00:24:25,800
Speaker 1: you know, eighteen years, almost twenty years of this path,

422
00:24:26,000 --> 00:24:29,919
Speaker 1: this journey for me, that has been the joy that

423
00:24:30,040 --> 00:24:33,200
Speaker 1: I get out of being a technical actor. So many

424
00:24:33,240 --> 00:24:35,639
Speaker 1: of those tools I learned in school. And you know

425
00:24:35,640 --> 00:24:37,000
Speaker 1: what else I learned in school that I think is

426
00:24:37,000 --> 00:24:39,000
Speaker 1: really important. And if anyone's an actor and watching this,

427
00:24:39,040 --> 00:24:43,480
Speaker 1: it's like becoming comfortable with who I am energetically physically

428
00:24:44,200 --> 00:24:46,159
Speaker 1: knowing who I am and knowing that there is a

429
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Speaker 1: there is a probability that any role from Hamlet to Falstaff,

430
00:24:52,320 --> 00:24:56,680
Speaker 1: from Willie Lohman to Biff Loman, depending on the vision

431
00:24:56,720 --> 00:25:00,000
Speaker 1: of the production, if I bring my authentic David self.

432
00:25:00,080 --> 00:25:02,960
Speaker 1: But I'm not trying to create the Dustin Hoffman version

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00:25:02,960 --> 00:25:05,240
Speaker 1: of Willy Loman or the Philip Seymour Hoffman version of

434
00:25:05,240 --> 00:25:07,600
Speaker 1: Willy Lohman. I'm not trying to create the so and

435
00:25:07,600 --> 00:25:10,800
Speaker 1: so version of this thing, the Marlon Brando version of whatever.

436
00:25:11,480 --> 00:25:13,320
Speaker 1: That I can take my best shot at it, and

437
00:25:13,359 --> 00:25:15,240
Speaker 1: if I don't get it, I don't get it. But

438
00:25:16,359 --> 00:25:20,119
Speaker 1: it gave me this great freedom that anything felt possible

439
00:25:20,600 --> 00:25:23,560
Speaker 1: and that I could embrace being who I am as

440
00:25:23,600 --> 00:25:26,280
Speaker 1: a character actor. I honestly think DePaul is one of

441
00:25:26,280 --> 00:25:29,639
Speaker 1: the best training grounds for character actors just because of

442
00:25:29,640 --> 00:25:33,119
Speaker 1: that very thing, and in fact, actors like Michael Rooker,

443
00:25:33,840 --> 00:25:39,600
Speaker 1: w Earl Brown, who else, Judy Greer, PJ byrne Ough,

444
00:25:39,720 --> 00:25:44,160
Speaker 1: so many fantastic I'm forgetting tons. Carl Malden studied there

445
00:25:44,240 --> 00:25:47,200
Speaker 1: back in the day. Like it's kind of like a

446
00:25:47,320 --> 00:25:49,359
Speaker 1: character actor's dream school.

447
00:25:49,480 --> 00:25:52,920
Speaker 3: You know, No, that's awesome. I mean, there's so much

448
00:25:53,000 --> 00:25:55,280
Speaker 3: that you just said that I want to unpack. I

449
00:25:55,359 --> 00:25:59,800
Speaker 3: respect so much and agree so much with what you're

450
00:25:59,800 --> 00:26:03,080
Speaker 3: saying that you know, I get asked all the time about,

451
00:26:03,640 --> 00:26:06,520
Speaker 3: you know what, was it difficult for you to go

452
00:26:06,840 --> 00:26:11,040
Speaker 3: certain places? I think that the particularly in the theater,

453
00:26:11,200 --> 00:26:17,639
Speaker 3: the physical and sort of mental stamina can be draining

454
00:26:17,880 --> 00:26:22,200
Speaker 3: and difficult. But I think ultimately, if you're using those

455
00:26:22,240 --> 00:26:26,840
Speaker 3: tools to create a character and not you know, self

456
00:26:26,880 --> 00:26:30,359
Speaker 3: abusing yourself, you know that part of it for me

457
00:26:30,680 --> 00:26:33,800
Speaker 3: is not as difficult to go certain places.

458
00:26:34,040 --> 00:26:36,840
Speaker 1: I think too, we're part of an ensemble, right, We're

459
00:26:36,880 --> 00:26:39,000
Speaker 1: part of a team of people who are trying to

460
00:26:39,880 --> 00:26:43,240
Speaker 1: achieve something. Of course, we as actors are in front

461
00:26:43,240 --> 00:26:45,400
Speaker 1: of the camera or we're at the front of the stage.

462
00:26:45,720 --> 00:26:50,520
Speaker 1: But if my process can be as technically astute as

463
00:26:50,600 --> 00:26:54,480
Speaker 1: I want it to be, whenever I achieve my nirvana

464
00:26:54,520 --> 00:26:57,160
Speaker 1: as an actor, I could exist in a place that's

465
00:26:57,200 --> 00:26:59,800
Speaker 1: almost like a monk, where like I could sit there

466
00:26:59,840 --> 00:27:02,760
Speaker 1: so violently and be ready and you let's say you're

467
00:27:02,760 --> 00:27:04,360
Speaker 1: directing me in a scene and you're like, Okay, I'm

468
00:27:04,400 --> 00:27:07,000
Speaker 1: so sorry, David. We realized we didn't get the coverage

469
00:27:07,000 --> 00:27:08,680
Speaker 1: on this thing. We need to go back to where

470
00:27:08,680 --> 00:27:11,120
Speaker 1: we were five minutes ago. When you're saying to her,

471
00:27:11,480 --> 00:27:14,119
Speaker 1: I think I'm leaving you now, and I need you

472
00:27:14,160 --> 00:27:16,320
Speaker 1: to Can you do that? But can you make sure

473
00:27:16,359 --> 00:27:18,919
Speaker 1: your face is kind of sorry? The lighting in this

474
00:27:18,960 --> 00:27:21,479
Speaker 1: place is weird. Could you like, could you face that way?

475
00:27:21,520 --> 00:27:22,880
Speaker 1: Because I want to make sure we get the light

476
00:27:22,920 --> 00:27:24,439
Speaker 1: on you. And I just look at you and I

477
00:27:24,480 --> 00:27:27,520
Speaker 1: go yes, and I go and I can do it.

478
00:27:27,840 --> 00:27:29,680
Speaker 1: And then you go, oh my god, that was so great.

479
00:27:29,800 --> 00:27:31,600
Speaker 1: Can we do it again? But this time we just

480
00:27:31,600 --> 00:27:32,960
Speaker 1: had to pick up the pace a little bit because

481
00:27:32,960 --> 00:27:34,760
Speaker 1: I needed yes, and I can pick up the pace

482
00:27:34,800 --> 00:27:36,880
Speaker 1: a little bit. Oh god, that was a little too fast.

483
00:27:36,880 --> 00:27:38,760
Speaker 1: Can you slow down a little bit next time? I go, yes,

484
00:27:38,840 --> 00:27:42,119
Speaker 1: I can do it. That to me is the dream,

485
00:27:42,560 --> 00:27:45,040
Speaker 1: not And I've had this happen to me before, and

486
00:27:45,080 --> 00:27:47,280
Speaker 1: it's been really difficult when I've been in a scene

487
00:27:47,320 --> 00:27:50,840
Speaker 1: or a production with someone who's like, I'm ready, I'm there.

488
00:27:52,040 --> 00:27:55,720
Speaker 2: I got there, man, I thought about my dead dog

489
00:27:55,760 --> 00:27:58,960
Speaker 2: and now I'm ready to cry roll the cameras and

490
00:27:59,040 --> 00:28:01,600
Speaker 2: some poor gaffer it's just trying to do his job.

491
00:28:02,160 --> 00:28:05,919
Speaker 2: I'm just getting yelled at because this actor is ready.

492
00:28:06,400 --> 00:28:09,320
Speaker 1: That's my heart. But I know that some people's process.

493
00:28:09,359 --> 00:28:11,600
Speaker 1: So when it is some people's process, I try to

494
00:28:11,600 --> 00:28:13,919
Speaker 1: support them as a fellow actor, and I try to

495
00:28:13,960 --> 00:28:16,600
Speaker 1: just give them what they need. And this is one

496
00:28:16,600 --> 00:28:18,960
Speaker 1: of the reasons I could never probably be a director.

497
00:28:19,000 --> 00:28:21,480
Speaker 1: I don't think I have the patience to be a director.

498
00:28:21,520 --> 00:28:24,560
Speaker 1: I would just be like, well, Brian, I told you

499
00:28:24,560 --> 00:28:29,240
Speaker 1: to sit in the chair in the terre a damn line.

500
00:28:29,640 --> 00:28:33,360
Speaker 3: Yeah, what you're saying is is great in the ideal.

501
00:28:33,520 --> 00:28:35,840
Speaker 3: I think you're a much nicer person than I am.

502
00:28:35,920 --> 00:28:38,720
Speaker 3: And I'll and I'll only say this, it's not about

503
00:28:38,760 --> 00:28:41,600
Speaker 3: not being able to get back to that place. But

504
00:28:41,720 --> 00:28:44,920
Speaker 3: I do think for me, it's about the five minutes

505
00:28:45,000 --> 00:28:47,560
Speaker 3: later thing. We can do, however many we need to

506
00:28:47,560 --> 00:28:51,040
Speaker 3: do in a row, but once my mind has moved

507
00:28:51,160 --> 00:28:53,400
Speaker 3: on and we have to go, that's a little tough

508
00:28:53,400 --> 00:28:55,080
Speaker 3: for me. It's hard. That's a little tough for me,

509
00:28:55,600 --> 00:28:58,240
Speaker 3: you know. For me, the only time that I need

510
00:28:58,280 --> 00:29:01,560
Speaker 3: to put myself somewhere like what you're talking about, I

511
00:29:01,560 --> 00:29:03,920
Speaker 3: think you and I work exactly the same. And so

512
00:29:04,200 --> 00:29:06,280
Speaker 3: partly why I'm asking this is to find out if

513
00:29:06,320 --> 00:29:09,040
Speaker 3: you have that. One of the things that we talked

514
00:29:09,040 --> 00:29:14,000
Speaker 3: about in school was about entrances, and we spent those

515
00:29:14,280 --> 00:29:19,080
Speaker 3: tons of time with just a door right like we.

516
00:29:18,960 --> 00:29:21,760
Speaker 1: Had an actual exercise where we're a door in the

517
00:29:21,760 --> 00:29:23,800
Speaker 1: middle of the classroom and you would knock on the

518
00:29:23,840 --> 00:29:26,560
Speaker 1: door and your improv partner had to open the door

519
00:29:26,680 --> 00:29:29,800
Speaker 1: kind of based on what they thought the energy was

520
00:29:29,800 --> 00:29:32,640
Speaker 1: that you were bringing into the room, based on the

521
00:29:32,640 --> 00:29:52,840
Speaker 1: way that you knocked. Yes, entrances are everything.

522
00:29:53,760 --> 00:29:57,960
Speaker 3: So you have this dark period, you make your way

523
00:29:58,440 --> 00:30:02,959
Speaker 3: back out of it. You start using the theater and

524
00:30:03,040 --> 00:30:05,959
Speaker 3: feel like you're better than ever. And it sounds like

525
00:30:06,120 --> 00:30:10,440
Speaker 3: we're talking circa two thousand and six to two thousand

526
00:30:10,480 --> 00:30:12,640
Speaker 3: and eight, And in two thousand and eight you get

527
00:30:12,640 --> 00:30:17,239
Speaker 3: your first role in a major motion picture, maybe the

528
00:30:17,280 --> 00:30:21,040
Speaker 3: biggest motion picture of the last twenty years. I'm referring,

529
00:30:21,040 --> 00:30:25,400
Speaker 3: of course, to The Dark Knight from zero to Christopher

530
00:30:25,440 --> 00:30:31,400
Speaker 3: Nolan in No Time Flat. That experience for you being

531
00:30:31,440 --> 00:30:35,040
Speaker 3: on set with the late great Heath Ledger and Aaron

532
00:30:35,120 --> 00:30:38,880
Speaker 3: Eckhart and Christian Bale, Gary Oldman, just to name a couple.

533
00:30:39,120 --> 00:30:42,320
Speaker 3: What was that experience for you at that time in

534
00:30:42,360 --> 00:30:42,880
Speaker 3: your career.

535
00:30:43,880 --> 00:30:47,320
Speaker 1: So you know, I've been collecting comics my whole life.

536
00:30:47,400 --> 00:30:51,080
Speaker 1: You can see my Longbock collection behind me. I have

537
00:30:51,440 --> 00:30:55,960
Speaker 1: been always obsessed with the Batman, Detective comics and all

538
00:30:56,080 --> 00:30:59,080
Speaker 1: forms and iterations of Batman stories, but the Joker was

539
00:30:59,120 --> 00:31:03,280
Speaker 1: always my favorite characters. So here's this, you know, recovered

540
00:31:03,760 --> 00:31:08,040
Speaker 1: addict who's now acting and doing mostly theater first audiences

541
00:31:08,040 --> 00:31:11,720
Speaker 1: of one hundred sometimes twenty five people Storefront Theater, and like,

542
00:31:12,120 --> 00:31:15,360
Speaker 1: you know, smaller regional theater is amazing theater. Some of

543
00:31:15,400 --> 00:31:18,240
Speaker 1: the best theater in the world, in my opinion, is

544
00:31:18,240 --> 00:31:20,720
Speaker 1: in Chicago. And I was having these incredible experiences, but

545
00:31:20,760 --> 00:31:22,600
Speaker 1: you know, I was not I was making a meager living.

546
00:31:22,840 --> 00:31:27,240
Speaker 1: I was getting occasional commercial actually working with pretty incredible

547
00:31:27,240 --> 00:31:30,320
Speaker 1: directors on like silly commercials. But you know, these these

548
00:31:30,360 --> 00:31:34,800
Speaker 1: a tour doc filmmakers and indie filmmakers would be shooting

549
00:31:34,800 --> 00:31:39,360
Speaker 1: commercials to make money. And all of a sudden, this

550
00:31:39,480 --> 00:31:43,200
Speaker 1: lifelong dream of being in cinema and finding some way

551
00:31:43,240 --> 00:31:46,400
Speaker 1: to merge my love of acting with my love of

552
00:31:46,680 --> 00:31:50,280
Speaker 1: comic books and sci fi and genre, I get this

553
00:31:50,880 --> 00:31:55,240
Speaker 1: insane opportunity to audition for the sequel to Batman Begins,

554
00:31:55,280 --> 00:31:59,520
Speaker 1: which I had loved Batman Begins. So I was so excited,

555
00:32:00,040 --> 00:32:02,680
Speaker 1: and I auditioned along with every other actor in Chicago

556
00:32:02,840 --> 00:32:06,520
Speaker 1: for a very small there's a cluster of clowns at

557
00:32:06,520 --> 00:32:09,640
Speaker 1: the beginning of the movie, pulling off of Michael manstyle heist,

558
00:32:10,080 --> 00:32:12,080
Speaker 1: and that was the role I auditioned for. I got

559
00:32:12,080 --> 00:32:14,920
Speaker 1: called back, got to read in front of Christopher Nolan,

560
00:32:14,960 --> 00:32:17,720
Speaker 1: one of my favorite directors, one of the best directors

561
00:32:17,840 --> 00:32:20,320
Speaker 1: of all time and definitely of our time, and then

562
00:32:20,320 --> 00:32:22,320
Speaker 1: I didn't hear anything from them for four months, so

563
00:32:22,560 --> 00:32:26,120
Speaker 1: I did an entire run of Othello. I closed that show.

564
00:32:26,920 --> 00:32:27,600
Speaker 3: It was July.

565
00:32:27,920 --> 00:32:30,160
Speaker 1: That audition in April and July they called and said,

566
00:32:30,160 --> 00:32:32,400
Speaker 1: do you have a passport? And I said sure, and

567
00:32:32,440 --> 00:32:35,800
Speaker 1: I didn't because you're going to shoot a scene in

568
00:32:35,840 --> 00:32:38,440
Speaker 1: the New Batman movie and they want you for this role,

569
00:32:38,480 --> 00:32:41,080
Speaker 1: and you're going to shoot for this big parade sequence

570
00:32:41,160 --> 00:32:44,480
Speaker 1: in downtown Chicago, and then in October they're going to

571
00:32:44,520 --> 00:32:47,120
Speaker 1: pick up the scene where you're kidnapped and they're shooting

572
00:32:47,160 --> 00:32:49,080
Speaker 1: it at this warehouse, but that's in London, so you're

573
00:32:49,080 --> 00:32:50,840
Speaker 1: going to get to go to London and Jude. So

574
00:32:50,920 --> 00:32:53,400
Speaker 1: all of a sudden, man, I'm standing in the midst

575
00:32:53,440 --> 00:32:58,320
Speaker 1: of this surreal reality that is making me in the

576
00:32:58,320 --> 00:33:00,720
Speaker 1: moment of having to be on set on camera with

577
00:33:00,760 --> 00:33:04,320
Speaker 1: thousands of extras actors like Gary Oldman walking around, Christian Bale,

578
00:33:04,320 --> 00:33:07,760
Speaker 1: Heath Ledger. I'm in the presence of greatness and i

579
00:33:07,840 --> 00:33:12,000
Speaker 1: have to deliver really important energy into a sequence that

580
00:33:12,280 --> 00:33:17,160
Speaker 1: is supposed to really terrify one of the main protagonists

581
00:33:17,200 --> 00:33:20,600
Speaker 1: of the story. And I felt so out of my depth.

582
00:33:20,640 --> 00:33:24,080
Speaker 1: I felt so terrified, and thank the power of great directors,

583
00:33:24,480 --> 00:33:27,520
Speaker 1: somebody like Christopher Nolan, who could like give me some

584
00:33:27,560 --> 00:33:30,320
Speaker 1: really simple direction, help set me at ease, told me

585
00:33:30,400 --> 00:33:32,720
Speaker 1: a couple of jokes I think to loosen me up,

586
00:33:33,400 --> 00:33:36,080
Speaker 1: and then really just encouraged me to follow my impulses.

587
00:33:36,280 --> 00:33:41,280
Speaker 1: And we created that character in that moment. And I'm

588
00:33:41,320 --> 00:33:46,080
Speaker 1: still floating. I'm still levitating fifteen years later on the

589
00:33:46,240 --> 00:33:49,400
Speaker 1: exhilaration I got walking off of that set. Even though

590
00:33:49,440 --> 00:33:52,640
Speaker 1: I was racked with insecurity and I was sure that

591
00:33:52,680 --> 00:33:56,440
Speaker 1: I had done a terrible job, just the opportunity to

592
00:33:56,480 --> 00:33:59,080
Speaker 1: have done that was like a drug like I'd never

593
00:33:59,120 --> 00:33:59,800
Speaker 1: felt before.

594
00:34:00,880 --> 00:34:05,200
Speaker 3: Well, the role may have been small, but was incredibly

595
00:34:05,920 --> 00:34:11,240
Speaker 3: meaningful and memorable, and obviously it struck a note with

596
00:34:11,600 --> 00:34:14,920
Speaker 3: Chris Nolan. He just had you back, of course for

597
00:34:15,000 --> 00:34:19,000
Speaker 3: the new film, Oppenheimer. Was it fun? Did it feel

598
00:34:19,040 --> 00:34:21,840
Speaker 3: like full circle for you coming back and getting to

599
00:34:21,880 --> 00:34:22,760
Speaker 3: work with him again.

600
00:34:23,000 --> 00:34:25,400
Speaker 1: It really did. He changed my life, you know. He

601
00:34:25,600 --> 00:34:28,040
Speaker 1: putting me in the Dark Knight was something that had

602
00:34:28,080 --> 00:34:31,160
Speaker 1: completely altered the course of my trajectory as an actor

603
00:34:31,320 --> 00:34:35,359
Speaker 1: and as a person, and I always wanted the opportunity

604
00:34:35,400 --> 00:34:38,879
Speaker 1: to really thank him and to express my gratitude, and

605
00:34:39,080 --> 00:34:41,879
Speaker 1: never interacted after the Dark Knight. Once I ran into

606
00:34:41,920 --> 00:34:43,799
Speaker 1: him in a park in Sherman Oaks where I was

607
00:34:43,800 --> 00:34:46,440
Speaker 1: playing with my kid, and I did get to say

608
00:34:46,760 --> 00:34:49,440
Speaker 1: thank you. I think I just verbally diarrhead a bunch

609
00:34:49,480 --> 00:34:51,839
Speaker 1: of words at him, and he was like, oh, okay, Hi,

610
00:34:52,840 --> 00:34:55,800
Speaker 1: but you know, you go you get a chance to

611
00:34:56,239 --> 00:35:02,000
Speaker 1: play on a maestro's orchestra. There's a part of me

612
00:35:02,160 --> 00:35:04,920
Speaker 1: that was always like, oh, I wish I could get

613
00:35:04,960 --> 00:35:08,719
Speaker 1: another chance to play the triangle for him. And then

614
00:35:08,800 --> 00:35:11,160
Speaker 1: when that call came in and they said, hey, there's

615
00:35:11,200 --> 00:35:13,440
Speaker 1: a role that Chris wants you to play in his

616
00:35:13,480 --> 00:35:15,600
Speaker 1: new film and would you come down to Universal you

617
00:35:15,640 --> 00:35:17,680
Speaker 1: could read the script, and I flipped.

618
00:35:17,800 --> 00:35:18,360
Speaker 3: I flipped.

619
00:35:18,400 --> 00:35:21,800
Speaker 1: Being back on set with him. I'm still as nervous

620
00:35:22,160 --> 00:35:26,600
Speaker 1: and insecure as ever, and he's still so wonderful at

621
00:35:26,640 --> 00:35:30,280
Speaker 1: helping me feel present and makes me feel really safe,

622
00:35:30,520 --> 00:35:33,880
Speaker 1: getting vulnerable and just being still and allowing discomfort to

623
00:35:33,920 --> 00:35:36,319
Speaker 1: take over, which is really important for some of these

624
00:35:36,360 --> 00:35:39,600
Speaker 1: moments that we had to capture. I had all these

625
00:35:40,719 --> 00:35:44,400
Speaker 1: imagined perspectives of Killian Murphy, and I didn't know what

626
00:35:44,440 --> 00:35:45,680
Speaker 1: he was going to be like. Was he going to

627
00:35:45,680 --> 00:35:47,560
Speaker 1: be really weird and brooding? Was he going to be this?

628
00:35:47,719 --> 00:35:47,799
Speaker 3: That?

629
00:35:47,840 --> 00:35:49,799
Speaker 1: And he was just he was so lovely and I've

630
00:35:49,840 --> 00:35:51,440
Speaker 1: been such a fan of him for so long, so

631
00:35:51,560 --> 00:35:55,040
Speaker 1: to get to get in his space and get weird

632
00:35:55,640 --> 00:35:57,280
Speaker 1: was really really lovely.

633
00:35:58,400 --> 00:36:02,760
Speaker 3: I love it. Speaking of amazing directors, Prisoners, Blade Runner

634
00:36:02,960 --> 00:36:07,560
Speaker 3: twenty forty nine, Dune Part one, and of course the

635
00:36:07,640 --> 00:36:12,080
Speaker 3: new installment of the Dune films, tell me about working

636
00:36:12,280 --> 00:36:16,320
Speaker 3: with Denise and your experience. The only actor I'm told

637
00:36:16,400 --> 00:36:21,200
Speaker 3: who has worked with both he and Christopher Nolan multiple times.

638
00:36:21,680 --> 00:36:25,600
Speaker 1: That's bonkers. That's just this weird old kid from Kansas

639
00:36:25,600 --> 00:36:29,960
Speaker 1: has gotten to play with two of the greatest filmmakers

640
00:36:29,960 --> 00:36:33,680
Speaker 1: of all time multiple times. Is bonkers to me. Denise

641
00:36:33,760 --> 00:36:38,439
Speaker 1: is like a brother to me. He's so loving and

642
00:36:38,480 --> 00:36:42,560
Speaker 1: he's so open, and he's such a like an oracle

643
00:36:42,760 --> 00:36:46,719
Speaker 1: of creativity and imagination, and he's relentless. He is a

644
00:36:46,760 --> 00:36:51,680
Speaker 1: relentless creator, and he's always trying to kick under the

645
00:36:51,760 --> 00:36:54,719
Speaker 1: rocks and look around and find all the detail and

646
00:36:54,760 --> 00:36:58,399
Speaker 1: all the magic and kilcondure anything that he can make

647
00:36:58,520 --> 00:37:01,279
Speaker 1: happen by the way he puts people together and the

648
00:37:01,320 --> 00:37:05,680
Speaker 1: way he creates a space that is so safe and encouraging. Again,

649
00:37:05,719 --> 00:37:07,719
Speaker 1: I've had to do some really dark and twisted and

650
00:37:07,760 --> 00:37:09,799
Speaker 1: weird things in his films, and I always feel like

651
00:37:09,840 --> 00:37:14,279
Speaker 1: he just makes me feel so safe to go there,

652
00:37:14,600 --> 00:37:17,719
Speaker 1: and I always land you in his arms and feel

653
00:37:17,760 --> 00:37:20,640
Speaker 1: really really proud of the work that he's elevated out

654
00:37:20,680 --> 00:37:22,359
Speaker 1: of me. I feel like I've learned so much as

655
00:37:22,440 --> 00:37:25,239
Speaker 1: an actor from him, And again, it's very similar to

656
00:37:25,280 --> 00:37:28,040
Speaker 1: what you learn from Nolan and all of these great directors.

657
00:37:28,800 --> 00:37:32,640
Speaker 1: You've got to trust what's inside. You've got to trust

658
00:37:32,640 --> 00:37:35,960
Speaker 1: that camera, got to trust your director. Got to stop

659
00:37:36,120 --> 00:37:39,120
Speaker 1: trying to telegraph or tell the body anything with your

660
00:37:39,160 --> 00:37:41,960
Speaker 1: body and voice. You've got to allow it to be

661
00:37:42,440 --> 00:37:47,040
Speaker 1: sent with the most microwaved signals. And believe when I

662
00:37:47,120 --> 00:37:49,880
Speaker 1: do that, with their encouragement, I always feel like I

663
00:37:49,920 --> 00:37:53,160
Speaker 1: can give performances that I didn't know I was capable of.

664
00:37:54,200 --> 00:37:57,640
Speaker 3: Well, maybe it has all led you to this Late

665
00:37:57,760 --> 00:38:03,960
Speaker 3: Night with the Devil porting role Anymore, releasing March twenty second.

666
00:38:04,360 --> 00:38:07,000
Speaker 3: How excited are you for the world to see this?

667
00:38:07,560 --> 00:38:10,319
Speaker 1: I'm so excited and I really I hope you dig it. Man,

668
00:38:10,520 --> 00:38:14,759
Speaker 1: I can't wait. I have never imagined myself getting the

669
00:38:14,800 --> 00:38:17,440
Speaker 1: opportunity to play someone who is he's a comedian. I mean,

670
00:38:17,480 --> 00:38:20,280
Speaker 1: he's a late night talk show host. He's delivering comedic monologues.

671
00:38:20,280 --> 00:38:22,080
Speaker 1: He has to be charming, and he has to be affable,

672
00:38:22,080 --> 00:38:24,319
Speaker 1: and he has to be engaging and quick witted, and

673
00:38:24,360 --> 00:38:26,080
Speaker 1: he's all these things that I never would think to

674
00:38:26,080 --> 00:38:29,000
Speaker 1: define myself as in the kinds of roles that I've

675
00:38:29,040 --> 00:38:33,040
Speaker 1: been able to play before, and so he was a

676
00:38:33,239 --> 00:38:34,960
Speaker 1: bear of a role to take on. But it was

677
00:38:35,000 --> 00:38:37,439
Speaker 1: an awesome challenge and I'm so proud of the movie.

678
00:38:37,440 --> 00:38:40,439
Speaker 1: It's so scary and yet so fun at the same time,

679
00:38:40,480 --> 00:38:42,360
Speaker 1: and it was really dramatic for me. It's about a

680
00:38:42,400 --> 00:38:44,520
Speaker 1: guy who's on the verge of a nervous breakdown, who's

681
00:38:44,560 --> 00:38:47,360
Speaker 1: lost his wife, who's drinking too much, who's about to

682
00:38:47,400 --> 00:38:50,920
Speaker 1: get canceled. His show is literally on the chopping block

683
00:38:51,000 --> 00:38:54,200
Speaker 1: because he's like fiftieth in the ratings and Carson's at

684
00:38:54,280 --> 00:38:57,080
Speaker 1: number two at this point in nineteen seventy seven. So

685
00:38:57,160 --> 00:38:59,600
Speaker 1: he just throws everything he possibly can at the screen

686
00:38:59,600 --> 00:39:04,040
Speaker 1: one night, hoping to elicit shock, and instead really bends

687
00:39:04,400 --> 00:39:08,960
Speaker 1: the boundaries of his own ethics and invites onto his

688
00:39:09,040 --> 00:39:12,680
Speaker 1: show some stuff that he really shouldn't have. And Yeah,

689
00:39:12,760 --> 00:39:14,880
Speaker 1: I'm so excited. I'm so proud of it, and I

690
00:39:14,920 --> 00:39:16,279
Speaker 1: can't wait for everybody to see it.

691
00:39:16,880 --> 00:39:20,640
Speaker 3: Dude, I cannot wait to see it. I enjoy watching

692
00:39:20,680 --> 00:39:24,600
Speaker 3: you in every single thing that you do, and that's

693
00:39:24,640 --> 00:39:27,759
Speaker 3: a lot, by the way, ten projects IMDb says you

694
00:39:27,800 --> 00:39:31,359
Speaker 3: were in just this last year. Here's my wish for

695
00:39:31,400 --> 00:39:35,680
Speaker 3: you that well, that we get eleven this year. How

696
00:39:35,680 --> 00:39:40,800
Speaker 3: about that. Let's not crush that number, let's just keep going.

697
00:39:40,960 --> 00:39:42,880
Speaker 1: I wish that we get to play together sometime.

698
00:39:43,400 --> 00:39:47,720
Speaker 3: I would after our conversation today, I want it even

699
00:39:47,920 --> 00:39:52,160
Speaker 3: more than before. David. You have been so great, so

700
00:39:52,280 --> 00:39:54,759
Speaker 3: generous with your time. Thank you so much, Thanks for

701
00:39:54,880 --> 00:39:55,480
Speaker 3: coming on here.

702
00:39:55,560 --> 00:39:58,200
Speaker 1: Thank you so much, and let's do it again.

703
00:40:09,960 --> 00:40:13,480
Speaker 3: Thanks so much, David. It was so good talking to you, truly,

704
00:40:13,800 --> 00:40:16,680
Speaker 3: my pleasure and great to meet you the other night

705
00:40:16,840 --> 00:40:20,799
Speaker 3: before the Oscars, listeners, go see David in Late Night

706
00:40:21,000 --> 00:40:23,479
Speaker 3: with the Devil. I can't wait to see it. It comes

707
00:40:23,480 --> 00:40:26,480
Speaker 3: out this week, and then come back here next Tuesday

708
00:40:26,600 --> 00:40:30,520
Speaker 3: for more of Me and Off the Beat. Until then,

709
00:40:31,000 --> 00:40:43,400
Speaker 3: have a great week. Off the Beat is hosted and

710
00:40:43,480 --> 00:40:48,280
Speaker 3: executive produced by me Brian Baumgartner, alongside our executive producer,

711
00:40:48,440 --> 00:40:52,480
Speaker 3: lingg Lee. Our senior producer is Diego Tapia. Our producers

712
00:40:52,520 --> 00:40:56,240
Speaker 3: are Liz Hayes, Hannah Harris, and Emily Carr. Our talent

713
00:40:56,280 --> 00:41:00,319
Speaker 3: producer is Ryan Papa Zachary, and our intern is Ali

714
00:41:00,440 --> 00:41:04,960
Speaker 3: Amir Sahi. Our theme song Bubble and Squeak, performed by

715
00:41:05,280 --> 00:41:07,240
Speaker 3: the one and only Creed Bradon