TDS Time Machine | Filmmakers

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Speaker 9 You're listening to Comedy Central.

Speaker 9 Please welcome Martin Scorsese.

Speaker 9 Nice to see you.

Speaker 9 First of all, let me tell you, thank you so much for being here tonight.

Speaker 9 Today is your birthday, for goodness sake.

Speaker 9 He's trying to get you a clause.

Speaker 4 But it's so nice to see you.

Speaker 9 I went and saw this film last night. I don't normally do that because I don't normally respect my guests.

Speaker 9 It's a beautiful film, not the body count that I normally like to see in one of your films,

Speaker 9 but a beautiful,

Speaker 9 just a really wonderful, lovely ode, a love letter almost to filmmaking.

Speaker 11 Yeah, that's part of it. I mean,

Speaker 11 of course, there's that boy who's 12 years old, Asa Butterfield in the film, and he's living in the walls of the old Montparnasse station in Paris in 1931.

Speaker 11 This isolated kid gets involved involved with the older gentleman you saw played by Ben Kingsley, who turns out to be George Meliers, who was one of the great inventors and pioneers of cinema.

Speaker 11 And actually,

Speaker 11 he did have a toy store at Montparnasse 16 years after his whole life had been destroyed, after he created

Speaker 11 what we do, everything we do now in cinema from Jim Cameron, Spielberg, Lucas, all comes from what Meliers did.

Speaker 11 And he was discovered at Montparnasse Station, so it does have a happy ending.

Speaker 9 It has a wonderful ending. Yeah, it really ended ends.
What I didn't realize is, because it's got so many fantastic and fantastical elements,

Speaker 9 but I grabbed a little Wikipedia.

Speaker 9 It's a true story. There's this.

Speaker 9 It's true.

Speaker 11 But George Meliers, yes, it was true. He made over about 500 films.
Yes. When they found him at the station, 1928,

Speaker 11 a couple of sine ass had gone by, and they said, he looks just like Meliers.

Speaker 11 And he says, yes, I am. I don't talk about my films.
I don't see them anymore. They're destroyed.

Speaker 11 He lost basically

Speaker 11 most of his financing through when the bigger companies came in.

Speaker 11 And

Speaker 11 what happened also, Edison here also at that time, was a lot going on with copyright, not copyright, and that sort of thing. But in any event, they said, you know, they took him in.

Speaker 11 Again, the Legend de Neur,

Speaker 11 he was feted everywhere around the world, really. I think he died in 1938.
Oh, wow. And he was hoping to come to Hollywood to work on a fantasy film in Hollywood.

Speaker 9 That's tremendous.

Speaker 9 You know, there's a story that Edison had taken one of his films, brought it to America, and showed it, and it became enormously popular in America, but Edison decided not to pay, I guess, what we would call in these days, royalties.

Speaker 8 That's right.

Speaker 11 That's right.

Speaker 11 So what happened is that he,

Speaker 11 the film, I think, was the famous one, A Trip to the Moon. Right.

Speaker 6 With the

Speaker 9 Moon gets hit in the eye with the...

Speaker 11 Yeah, they were just taking the films and making dupes of them. And so that's one of the reasons why

Speaker 11 he was finished financially, ultimately.

Speaker 9 So in some ways, Edison, also the inventor of the phonograph and all those things, invented pirating movies in China.

Speaker 8 Yes, he did.

Speaker 11 Oh yes.

Speaker 9 That's a great idea.

Speaker 11 If you want to see a film, put a nickel in here, that's great.

Speaker 8 That's what I'm talking about.

Speaker 9 That's as it went through. Now, when you were doing,

Speaker 9 this is a 3D movie. Is this your first

Speaker 9 3D? So you pitched a movie to the studios and you said, I've got this idea for a movie. It's a 3D movie about the inside of a clock.

Speaker 8 Yeah, that's right.

Speaker 11 But it looks great inside that clock. Boy, I was in it.
I went up to the clock, and I think it's Gare de Leon or Guerre de Nord in Paris. I went up there and I was, those, that's what it is.

Speaker 11 That's what it is. It's amazing.
I mean, we amplified somewhat based on Brian's book, Brian Selznick. Yes, yes.

Speaker 11 But no, what happened was that five years ago I was going to make the picture, things didn't turn out.

Speaker 11 Graham King gave my wife Helen the book and she read it and read this thing. It's perfect for you, et cetera.

Speaker 11 And

Speaker 11 in the meantime, 12 years ago,

Speaker 10 we had a little girl.

Speaker 11 We had a little girl. In the meantime, all this time, the little kids, when the kids come, they're small.

Speaker 8 They put them in their hand.

Speaker 9 But they're not hamsters.

Speaker 10 I mean, no, but then they got to the point.

Speaker 11 That's the point. They grow.
When they grow, you know, they start to walk, they start to ask you questions, start to talk to you. You're living with this, this, you know, a person.
Yes.

Speaker 11 And then you have to answer these things. So what happens? The kid reads a book.
She likes the book. Helen loves the book.

Speaker 11 And finally, they all look at me and say, why don't you make a picture your kid could see for once? Why not?

Speaker 11 What is the matter with you? I said, I can't. I look at the thing.

Speaker 11 I said, it's nice. A boy, yeah, the boy.
Isolated like I was when when I had asthma all the time when I was a kid. I was always isolated.

Speaker 11 I couldn't play sports or anything like that, so I was kept in like a room, you know.

Speaker 9 I did go out a little bit, you know.

Speaker 9 They wouldn't let me. They just kept you in a room somewhere.

Speaker 11 In the apartment, yeah. Then I went out.
I went out. I went to school and stuff like that, but I wasn't allowed to run or laugh.

Speaker 11 What?

Speaker 11 You were well the laughter. Well, the point is that you start, I start laughing and, you know, you get it.
But you make such a great laugh.

Speaker 14 Well, that's why, now.

Speaker 9 So you sat in a room as a boy working on your laugh.

Speaker 10 Yes.

Speaker 11 You had to. Oh, where I came from, you had to.

Speaker 15 Can I say this?

Speaker 9 Why isn't this a movie?

Speaker 14 Because this,

Speaker 9 what an incredible film that would be.

Speaker 11 We're thinking of it. Nick Peledgi and I working on a script on it.
That's true. I think

Speaker 9 it'd be wonderful. Do you know how to fix clocks?

Speaker 10 Because we could.

Speaker 13 No, I didn't know any of that.

Speaker 11 I don't know how camera works or anything like that.

Speaker 9 Has then this person that has grown in your house

Speaker 9 seen this film?

Speaker 11 Yes, she has only seen it three times, though.

Speaker 11 Yeah, I know, I know. He said, Come on now, you got to do your application.

Speaker 9 Yeah, you got to get it done.

Speaker 8 Exactly.

Speaker 11 Yeah, but the minute I said we were going to do the film, all her and her friends, all her friends, they all yelled, in 3D, right?

Speaker 9 Had to be in 3D. Yeah.
So now that she's seen it, does she now comprehend what you do and has?

Speaker 9 Well,

Speaker 11 she was excited when that shutter island opened. Of course, she couldn't see any of that.

Speaker 11 So the kid is asking, it's like nine years old, she's asking, like, you know, Dad, that's that film is Leo's in this. Look, what's happening?

Speaker 8 I said, no, no,

Speaker 11 it's something for those. So finally, we were doing some of the shots

Speaker 11 in London on Yugo, and she was there. It was the summer.
And we were driving back in the car, and she leaned over to me and said, you know, I think this might be really interesting, this film.

Speaker 11 I think, no offense, there's no offense about Shutter Island, but I think this might be something.

Speaker 14 I said, no, no, listen, tell me.

Speaker 11 And she had another idea, too, which was interesting, which was said, why don't you find out what people like?

Speaker 11 And then make a film. I said, no, I never thought of that.

Speaker 15 You know what I'm saying? So you're thinking this way.

Speaker 11 So what happens that, yes, the kids in the movie were wonderful.

Speaker 8 They were.

Speaker 13 Asa and Chloe and Dylan.

Speaker 9 And it's a wonderful film.

Speaker 9 It really is.

Speaker 9 It's just, you know, thank God I was wearing 3D glasses because I was crying like an idiot.

Speaker 10 I just saw it.

Speaker 9 It was a wonderful wonderful film. But Hugo, it's in the theaters on November 23rd.
Happy birthday to you, sir. And thank you so much for

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Speaker 20 Please welcome Jordan Peele.

Speaker 21 Thank you.

Speaker 8 All right, that was nice.

Speaker 12 Thank you. I feel like we all miss you, man.
We miss you everywhere. Yeah.
We miss you on Key and Peel, and then now you're behind the camera, so we just miss your face. How's your face doing?

Speaker 16 My face is okay. I'm keeping it together.

Speaker 5 I have a five-month-year-old, so there's vomit on it sometimes.

Speaker 12 You have a five-month-old? I have a five-month-old. Like your own five-month-old? I have my own.
Oh, because you never know. It could be like I just have one.
I found one on the streets.

Speaker 12 Congratulations, give it up for the moment.

Speaker 12 My daddy.

Speaker 12 Wait, wait, wait. Let me ask you this.
You've got a five-month-old. Yeah.
Get Out is a film that cost four and a half million dollars to make and then went on to make $253 million.

Speaker 1 So you

Speaker 12 had an amazing 2017.

Speaker 16 This was, it's never going to be 2017 in difficulty or in fun. And the best, of course, was having

Speaker 16 my son, baby Bo. But the second best was hearing audiences respond to this movie that, you know, for me, for so long was this passion project of like, I want to make the horror film that

Speaker 16 I wish somebody would make for me. My favorite movie that doesn't exist.
And it worked. And people, you know, the conversation has been just awesome.

Speaker 12 With the Golden Globes, I'm sure you saw people online going crazy and they were like, wait, why is Get Out being considered for best comedy?

Speaker 12 They're like, get out is not a comedy, get out is not a comedy. And then you tweeted out, get out is a documentary.
And I'm sure some people are like, wait,

Speaker 12 they're like, wait, what, Jordan? No, we were going drama. What are you doing, man? You're throwing us off.
No. Like, how do you frame the film?

Speaker 16 Well, that's the thing. It's, you know,

Speaker 16 it's not a film that can really be boiled down to a genre.

Speaker 16 You know, there's satirical elements, there are dramatic elements, they're horror. The movie I set out to make was a horror.
And so that's what I call it. And a social thriller is also what I call it.

Speaker 16 But I also, I'm like, why do we have to call it anything? It's get out.

Speaker 16 It's true.

Speaker 12 And then let me ask you this: Thanksgiving is coming up.

Speaker 12 Do you think that now there's gonna be mixed couples going to each other's houses where it's just like, okay, okay, I see you, I see you looking at me.

Speaker 12 Yeah, it's have you made it uncomfortable, you think?

Speaker 20 You know, I kind of hope so. I'm like,

Speaker 21 I love

Speaker 16 provoking,

Speaker 16 I love a little bit of mischief, but

Speaker 16 this movie was about accessing things that felt right and felt true. And

Speaker 16 the part of the movie I'd never seen in a film before is in the party sequence.

Speaker 18 He's at the party, and it's the one black guy at the party with a bunch of old white people.

Speaker 16 And it's like this assembly line of people coming up to him being like,

Speaker 16 I know Tiger.

Speaker 22 I know Tiger.

Speaker 19 Or, you know,

Speaker 16 what's your basketball team? Right. You know, that kind of thing.
And that is,

Speaker 16 you know, that is what, you know, I think people usually associate the word racism with

Speaker 16 the typical...

Speaker 12 Of course, the Klan, the torch, the madness,

Speaker 16 Jews will not replace us style racist, which is right.

Speaker 16 They are racist.

Speaker 16 But I wanted to point out that

Speaker 16 a lot of people who claim that they don't have racism are still participating in this system that is oppressive and that puts people in the sunken place.

Speaker 12 Before I let you go, where do we see you now? What are you looking forward to directing? I mean, the world is your oyster right now.

Speaker 3 Okay, so I'm

Speaker 18 a lot of projects.

Speaker 16 I want to, first of all, with my production company, Monkey Paw Productions, I'm going to... Thank you.

Speaker 5 One person, mom, thank you.

Speaker 16 I'm going to help other artists, other voices that I haven't seen represented

Speaker 16 get to tell their stories because I think that's important. I'm going to make

Speaker 5 another movie with Universal.

Speaker 16 I'm going to make another thriller.

Speaker 5 Another social thriller. Right.

Speaker 12 And that's what I'm going to do. I'm excited.
I'm going to pitch you Get Out To. You don't say yes or no now, it's Get Out To.

Speaker 12 It's a story about a black doctor who gets tricked into working for the White House.

Speaker 8 And

Speaker 12 he's like, he's in the sunken place all all the time.

Speaker 16 Is he capable of performing brain surgery on himself?

Speaker 12 Yeah,

Speaker 12 that's like the next level of the whole thing.

Speaker 12 And he's like, I'm not racist,

Speaker 8 just black.

Speaker 12 It's just going to be, it's going to be an amazing movie. I pitched this.
Thank you, bro. $250 million.

Speaker 20 Please welcome Greta Gowig.

Speaker 23 Welcome to the show. Oh, thank you so much for having me.
I'm a big fan.

Speaker 12 That clip, I think everyone is a big fan of yours, and if they aren't, they really should be, because that clip is just a tiny piece of the amazingness that is this film.

Speaker 12 If you were to distill it into one thing, because I feel like it's every story, what would you say the main story in Ladybird is?

Speaker 23 Well, the main story is

Speaker 23 a kind of a love story between Ladybird and her mother, and it's a conflict-ridden relationship because she's 17, and her mom is like, Oh my god, am I done raising you yet?

Speaker 23 I'm gonna send you out into the world. But there's like a lot of love there, and I find mother-daughter relationships to be really rich and exciting, and I wanted to make a whole movie about it.

Speaker 12 It was an interesting story in that it was told from a completely different perspective.

Speaker 12 You know, so many times it feels like stories are told from the outside, where people go, I think this is how a mother and daughter would fight, but I know all the women I spoke to who watched the movie went like, that was me, that was my mom, we fought, but we loved, but

Speaker 12 it was complex as opposed to being a caricature.

Speaker 12 Is that something you strove for when you wrote that? Is that why you wrote it yourself?

Speaker 23 Yeah, well, I mean, I've always loved a great mother-daughter story. Like, you know, Terms of Endearment is one of my favorite movies.

Speaker 23 But I feel like there aren't enough of them. And I felt like

Speaker 23 when I had the script, I brought it around to different producers, most of whom are men who have money to make movies.

Speaker 23 And if they had, if they, I'm just saying, it's just true.

Speaker 23 And if they had daughters or if they had been raised with sisters, they were like, totally know what this is. But if they hadn't, they were like, do women fight like this?

Speaker 23 And I was like, oh yes, no, it's crazy down here.

Speaker 12 It's also interesting to watch a movie where women are on screen for the entire movie and it's not about men.

Speaker 23 No, I mean, yeah, I mean, there are men in the movie, wonderful men, male actors.

Speaker 23 I mean, I just have to say, I have a brilliant cast.

Speaker 23 Timothy Chalamet, who's also in Call Me by Your Name, is in it, and Lucas Hedges, and Tracy Letz, and Stephen McKinley-Henderson, and it's a great cast of men, but their stories are secondary.

Speaker 23 And it was actually amazing because most of the time women have to be the secondary supporting characters for the men's story.

Speaker 23 And then these wonderful actors, so sweet, they were like, oh, we just love being here for you guys.

Speaker 12 I just love the idea that they're like, no, no, no, please, carry on.

Speaker 8 No, please.

Speaker 8 They're like, please.

Speaker 23 You do all the acting stuff.

Speaker 23 We'll just be here. No, they're wonderful in the movie.

Speaker 12 When you're directing your first film,

Speaker 12 it must come with all the pressure in the world. It must come with all the fear in the world.

Speaker 12 And you've gone from what I assume is maybe a nervousness to now having your film be the most highly rated film ever on Rotten Tomatoes.

Speaker 12 I think beating the previous record, which was set by Toy Story 2.

Speaker 23 Yes, Toy Story 2,

Speaker 23 but my brother thinks that Toy Story 2 is like pretty perfect, and he texted me and he was like, I don't know.

Speaker 12 He's gonna drop your tomatoes by one.

Speaker 8 Yeah, yeah.

Speaker 23 No, I mean, it's amazing.

Speaker 23 I mean,

Speaker 23 one of my favorite things about filmmaking is what a collaborative art it is. Because it's, you know, you have your entire cast, which they're so amazing, and they bring themselves to it.

Speaker 23 And then you have your crew and your design team making it with you. So, even though it was a huge leap for me, it was not like I was doing it alone.

Speaker 23 I was doing it with all these people who gave so much to it. And also I've wanted to direct forever.

Speaker 12 You also have a lot of people who see you as, you know, an indie voice, an indie star. They go like,

Speaker 12 you are the star of that world. Do you think you'd ever have aspirations to go into a mainstream film? Would you ever want to direct like a blockbuster movie or are you against that?

Speaker 23 No, I would love to. I would love to.

Speaker 12 Because I have this movie right now.

Speaker 8 Oh, yeah, yeah, yeah.

Speaker 12 But you would be into that.

Speaker 23 You have to send it to my agent.

Speaker 8 Oh, wow. No, no, no, I'm kidding.
I'm kidding. I'm kidding, you guys.

Speaker 23 I accept unsolicited material.

Speaker 23 No, no, I would love to. I mean, I one of the big inspirations for me this year was watching Patty Jenkins directing Wonder Woman.
It was so amazing.

Speaker 23 And I just, like, for me, you know, she made Monster, which is an incredible movie in Indy, and then she made this leap. And

Speaker 23 I'm interested in all different size canvases. And I hope I just keep m making movies.
And I hope some of them are

Speaker 23 big fantasy lands and other are tiny life stories. And I just want to do it all.

Speaker 12 I will tell you this after watching the film, I will not be shocked when I hear your name nominated for an Oscar. Thank you so much for being here.

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Speaker 20 Please welcome Tycho YTT.

Speaker 20 Welcome to the Daily Show, sir.

Speaker 6 Thank you very much for having me.

Speaker 12 I am a big fan of your work. You have been making some of the funniest films that we have had the pleasure of enjoying in the cinema.
Thank God.

Speaker 12 But Jojo Rabbit is truly one of the strangest films people will go and watch in an amazing way. Yeah.

Speaker 12 How do you even begin to pitch to a studio, hey guys, I'm going to make a movie about a young boy who's growing up in Nazi Germany and his imaginary friend is Hitler?

Speaker 6 You say, hey guys, and then you stop there.

Speaker 8 That's pretty much it. It's a very hard film to pitch.

Speaker 6 Oh, so this is a film about a young boy and the Hitler youth. Most people go, that's enough for me.

Speaker 6 Not interested.

Speaker 6 But I actually just ended up having to write the script and let that do all the talking for me. Right.

Speaker 6 It is a very hard thing to pitch, because tonally, it shifts around quite a lot. You have a lot of comedy and drama and tragedy, and it is a real mix.

Speaker 8 Yeah,

Speaker 12 it really is sharp in its satirical voice as well, because you're commenting on something that we all know happened.

Speaker 12 But what's really interesting is you're commenting on something that I think a lot of people don't talk enough about today in the world, and that is how we are conditioned from the time we are children.

Speaker 12 You see this little child who was born in Nazi Germany, and he is only taught to be a Nazi. And we like him because we sort of understand that he had no other choice.

Speaker 12 And we see the conflict that he has with being a Nazi, and then, like, his mother going, like, no, you can be a good person.

Speaker 6 Yeah, that's right. And when children were indoctrinated into the Hitler Youth,

Speaker 6 the first lesson they were taught was to rebel against your parents. Don't listen to your parents and what they try and tell you, listen to us.

Speaker 6 You know, we Hitler is now your father, and listen to us, listen to your teachers.

Speaker 6 And so, for parents in those times,

Speaker 6 if you wanted to try and convince your child, don't be a Nazi. That was

Speaker 6 a very dangerous thing to do, because they would say, if your parents,

Speaker 6 if they judge us or if they criticize the party, tell us and we'll take care of that.

Speaker 5 We'll take care of your parents.

Speaker 16 You see that in the story.

Speaker 12 And I really wish I could explain it to people.

Speaker 12 I don't want to give anything away, but it's like it really is, it is a weird movie in that, like, you're laughing and then you're sad and then you're angry, and then there's moments where you're like, this feels like what's happening today.

Speaker 12 You know, you feel people who are radicalized and you go, why do you have this hate or why do you feel the way you do? And they're like, well, that's all I've known.

Speaker 6 Isn't it weird that in 2019,

Speaker 6 someone still has to make a movie trying to explain to people not to be a Nazi?

Speaker 12 Was it ever awkward for you, like, looking in the mirror? I mean, like, did your family say anything? Because, I mean, you know, you...

Speaker 6 Well, my mother came just to visit Set.

Speaker 12 Because a lot of people don't know this about you, but you're Jewish.

Speaker 20 And then, like,

Speaker 8 you have Jewish people.

Speaker 18 But that makes it okay.

Speaker 8 Well, but I'm saying, like, that makes it more awkward, I think.

Speaker 8 For sure.

Speaker 18 So, like, your family's just like, wait, so you're going to be Hitler?

Speaker 6 It's double the guilt going on.

Speaker 6 So, I, no, I put the costume on for the first time. On paper, you simply, this is going to be a great idea.

Speaker 6 Then you put it all on, you put that ridiculous moustache on, and you look in the mirror. And

Speaker 6 really, the main word to describe it all is embarrassed. That's right.
I was embarrassed. Right.
And, but imagine trying

Speaker 6 to direct people dressed like that.

Speaker 6 You go through most of your day,

Speaker 6 you don't really remember what you look like. And I was like, I'll be directing people.
Hey, that's really good. It's really good, Scarlett.

Speaker 6 So why don't we just try and do another one where you go over there and you can see the

Speaker 6 catch a little glimpse of myself and a reflection and realize, oh my god, that's right. I'm dressed like this guy.
Yes, and so then instantly I said, so you don't have to do what I say.

Speaker 6 That's not an order.

Speaker 6 I'm not forcing you to do that.

Speaker 20 It's your choice.

Speaker 6 You're a free person, you know, in 2018.

Speaker 8 You do what you want to do. I'm not directing.
I'm suggesting. I'm not directing.
I'm suggesting.

Speaker 8 You there's the power of suggestion.

Speaker 12 You have a really stellar cast. I mean, the young man who we see there playing Jojo the rabbit.

Speaker 12 He's phenomenal. And I mean, like, all these young kids in the movie are so amazing in playing the story.
And then you've got Scarlett Johansson, who's also phenomenal as the mom in the story.

Speaker 12 Why did you choose to center the story around the kids? Because it's not a story told through the lens of the adults. The adults are in the story, but it is really through the lens of children.
Why?

Speaker 6 I've never really seen films set

Speaker 6 with the backdrop of conflict or wars,

Speaker 6 really from a child's point of view. And I really wanted to explore that world.

Speaker 6 And I've worked with a lot of kids in my films. A lot of my films

Speaker 6 deal with

Speaker 6 young boys with dad issues.

Speaker 6 Yeah, but so I've always worked with these kids, and the boy who plays JoJo Roman Griffin Davis, incredibly beautiful, sensitive young guy who really carries the film and really saved me from embarrassment.

Speaker 12 I think there's nothing to be embarrassed about. It's truly one of the most original, funny, fantastic films I've watched in a very long time.
Thank you so much for being on the show.

Speaker 12 Thank you for making the movie.

Speaker 22 Please welcome to the program George Lucas.

Speaker 22 For you

Speaker 11 We're very excited to see you.

Speaker 8 Been waiting a long time in the cold weather.

Speaker 9 It's so nice to see you. Thank you for coming by.

Speaker 9 I guess my first question is,

Speaker 9 Senator Organa takes Leah to Alderon and

Speaker 9 Darth Sidious doesn't feel a disturbance in the horse?

Speaker 15 I mean, seriously, you expect me to believe that he can raise Leah on Alderaon

Speaker 9 and the Sith Lords, the Sith Lords, they're not going to pick up anything.

Speaker 15 I mean, Kenobi is on Tatooine.

Speaker 10 He's living right up the street.

Speaker 15 I mean, nobody's going to pick up on this.

Speaker 10 I mean, oh, God!

Speaker 10 I never thought of that.

Speaker 15 I know you didn't, but I've been thinking about it for 13 years.

Speaker 17 Yeah, but you had to have talked to me about it 40 years ago before I would have included it. So I was very young at the time.

Speaker 9 How crazy is it that this,

Speaker 9 the love and adoration and respect that people have for these movies also, the flip side, is the resentment?

Speaker 9 How do you deal with the duality that you get?

Speaker 17 Life is duality.

Speaker 22 Whoa.

Speaker 10 Yeah.

Speaker 17 Page 324. Done.

Speaker 9 Are you able to retain a sense of humor? Do you feel

Speaker 9 you have to answer your critics? Do you feel... Where is it in your mindset?

Speaker 17 It's a work of fiction. It's a metaphor.

Speaker 8 It's not real.

Speaker 17 And therefore, you can either like it or not like it.

Speaker 8 Whatever.

Speaker 17 It's not like...

Speaker 9 But, George, I've built my life around it.

Speaker 9 So to suggest that, obviously, means I have to go down into my panic room and

Speaker 9 make some changes.

Speaker 8 It's whatever you'd like it to be.

Speaker 9 You know, we had a piece earlier about nostalgia and about the way, is some of it that people view things from their childhood with this glowing lens that...

Speaker 17 That was a great piece, absolutely great piece. And it's absolutely true.
We have now three generations of Star Wars fans. The first generation saw episode four and the next two.

Speaker 17 Then when the next three came out, they hated it. They could not stand it.

Speaker 8 And that's when we first discovered that there was a whole new group of kids out there that loved it.

Speaker 17 And they didn't like the first three.

Speaker 17 You know, they said, episode four, it's boring. We don't want to see that.
You know, they love George R. Banks.

Speaker 9 My son. My son, and you met my son.
My son's favorite movie is The Phantom Menace. And I'd explain to him, no, it's not.

Speaker 9 Your favorite movie is A New Hope.

Speaker 9 And Empire Search Vacuum Show.

Speaker 17 And now we have a

Speaker 17 show on Cartoon Network, Clone Clone Wars, and there's a group of kids that are very young, and some teenagers and some older people who can't get enough of Star Wars, who that's their favorite show.

Speaker 17 And some of the kids have never seen any of the films. That's all they know is the Clone Wars.

Speaker 8 Right.

Speaker 9 Where's your mindset on it? Do you still have, like if I'm you,

Speaker 9 I'm up at the ranch, I'm in the R2 costume,

Speaker 9 naked,

Speaker 9 and around 3 in the morning going, whoopy, boopy, boopy, boop, boop,

Speaker 17 You could do that. I'm not that short.

Speaker 17 I put on my rubber Jar Jar Binks hat.

Speaker 9 You can fix my height and post, can't you?

Speaker 10 I can't fix mine.

Speaker 17 I've been working on mine for years, and if I can't fix mine, I can't fix yours either.

Speaker 15 Do you feel, do you still have the imagination?

Speaker 9 The worlds that you've created, both in Indiana Jones and in Star Wars, are so vivid. And there's such attention to detail.

Speaker 9 And the joke earlier about the different questions and all that, that occurs. Does that feel like a different guy created that?

Speaker 9 Does your mind still work in that fashion? Are you still thinking in terms of stories like that?

Speaker 9 What's your process been like now?

Speaker 17 Yeah, I mean, it's, I mean, I love doing Star Wars. At the beginning, I thought it was going to be one little movie, move on.
It's not at all what I expected my life to be.

Speaker 9 So you're disappointed, I guess, in the way you're going to be able to do it. Yeah, I was, actually.

Speaker 17 I expected it to turn into something great.

Speaker 8 But,

Speaker 17 you know, you take what you get. And, you know, and I.

Speaker 9 That's got to be the title of your autobiography.

Speaker 8 George Lucas. Hey, what are you going to do?

Speaker 8 You know,

Speaker 17 I'm having fun now doing television. It's a lot more goofy and fun.
And, you know, you know what that's like.

Speaker 17 and I am working on a producing a feature on African-American fighter pilots during World War II called Red Tails about Tuskegee Airmen a lot of fun doing all kinds of different things and if people read this book cover to cover they will know how to make a a blockbuster film that will spin off I'm assuming some sequels and some merchandise you obviously haven't read it because there's nothing in it no it is it's it's the only way I could get on your show no that's not true

Speaker 17 is to create a doorstop because I know you love doorstops. I know that you're always talking about them.
I knew if I presented you with a doorstop,

Speaker 9 you could get on the show. Can I tell you what I like about this? It's the crazy details.
Like, you have all these charts in here about different films.

Speaker 9 Like, the idea that Superman shot more footage than Gone with the Wind, I had no idea.

Speaker 9 Then, like, it's filled with those kinds of juxtapositions and facts that for someone like me, I find very interesting. But then again,

Speaker 9 I've memorized your films.

Speaker 17 Anybody who loves movies will love this book because it's not the sort of ivory tower opinion of somebody about what's a good movie, what's a bad movie, and the art and the whole thing.

Speaker 17 And it's not a history, which I love the histories, you know, a Kevin Brownlow, you know, very detailed history of film and stuff.

Speaker 17 This is like a history of the business and the technology and the art and how they all intersect.

Speaker 9 It's one of those great James sports books, the ones that are just filled with great statistics and facts from all throughout baseball that you always love to look up and do all that stuff.

Speaker 17 I love these kind of books. I did one before called Cause of Death, which didn't go very far.
Couldn't even get me on the show.

Speaker 17 And this is a

Speaker 9 little more cheerful.

Speaker 17 This is the same kind of reading, which is if you're fascinated by this sort of thing, you

Speaker 8 will really enjoy it.

Speaker 9 Well, it's a pleasure to have you on the show. Thank you.
And you'll come back again without having to write such a big book, please, because I'm delighted to have you on, and it's great to see you.

Speaker 22 Please welcome Brady Corbett.

Speaker 22 Welcome!

Speaker 22 Brady, I loved it. I loved the Brutalist.
I really did. I thought it was what a beautiful piece of art.

Speaker 4 Thank you so much.

Speaker 4 I'm very grateful for that.

Speaker 22 Thank you. Here's the thing that also I love.

Speaker 22 When I start talking to people about the Brutalist, more often than not, people come up to me like, like, did you know Laszlo Toth, the main character, is not a real person?

Speaker 22 Like, there seems to be a confusion.

Speaker 22 A lot of people think that it's based on a real brutalist architect, and I can't tell whether that's a compliment for the world building that you do or just a commentary on American ignorance.

Speaker 18 It's probably a little bit of both.

Speaker 8 Yeah.

Speaker 4 Yeah, I mean, the character is an amalgamation of a lot of, you know, real historical figures like Marcel Breuer, Mies Vandero, Lashla Maholy Noige, and many others. So it should evoke a real person.

Speaker 4 I think that's a positive thing.

Speaker 22 Yeah, yeah, when you started creating this story, what was the nugget? What was the thing that got you interested?

Speaker 4 You know,

Speaker 4 in all seriousness, during

Speaker 4 Trump's first term,

Speaker 4 before we had a brief intermezzo.

Speaker 2 Yeah, you're talking about a billion years ago, way back then?

Speaker 4 He had a mandate that was called, you know, Make Federalist Buildings Beautiful Again.

Speaker 18 It was creative.

Speaker 4 And, you know,

Speaker 4 it's interesting that 75 years

Speaker 4 on, you know, since the term brutalism was coined, it's still so divisive.

Speaker 4 And it's interesting because for me,

Speaker 4 I really feel that post-war psychology and post-war architecture are intrinsically linked.

Speaker 4 And

Speaker 4 this film is, that's what it's mostly concerned with.

Speaker 22 Now,

Speaker 22 it's interesting. This film, there's so many wonderful performances in it.
There's a scene that really stuck with me.

Speaker 22 There's a scene when Adrian Brody gets off the train and he sees his cousin for the first time. And his cousin lets him know that his wife is still alive.
And

Speaker 22 they embrace, and the whole scene is shot so, so, so close, and there's so much physicality between the two of them. They're touching each other's face the whole time.

Speaker 22 It's so intimate, and real, and emotional. I'm like, curious, how do you direct something? Like, was the physicality and the closeness intentional in your direction there?

Speaker 22 How are you working with actors on something like that?

Speaker 4 Yeah, I mean, listen, I mean, it's two brilliant performers in that scene, Alessandro Davola and Adrian Brody.

Speaker 4 And the screenplays are very, you know, precise, mostly because they have to to be. The film was shot in 33 days, and because the film was 170 pages long, it wasn't that much time.

Speaker 4 And so

Speaker 4 we don't storyboard mostly because I don't want to adhere too closely to a cartoon,

Speaker 4 but I want to show up to a space, respond to it, see what the light is doing, what the performers are doing. And I just told them I think it would be extremely moving

Speaker 4 if the two of you are very, very, very physical and and very intimate together. Because you know, when you see your uncle or your father, you know,

Speaker 4 the patriarch,

Speaker 4 when they cry, it's like devastated. You just feel shattered by it because you see it so infrequently.
So I just thought to see these two, you know, men approaching middle age

Speaker 4 sort of being that, you know, letting their guard down, especially in the late 1940s, because they just can't help themselves because they've missed each other so much.

Speaker 4 I thought it was quite beautiful.

Speaker 22 I truly love this film. I hope you have nothing but success at the Academy Awards.

Speaker 22 We had Francis Ford Coppola on this show and he talked about his most recent film and he really wanted to adventize film.

Speaker 22 He's like, so many people are watching this at home now and going to see it in the theater, experiencing the intermission with people at the theater, hearing people talk about it as they're getting popcorn, using the restroom.

Speaker 22 Like it's changing. It feels different than watching it at home.
It feels different than watching just a regular hour and a half Marvel film.

Speaker 22 Do you think there might be some trend towards things that are a little bit longer? That intermissions might be something that more.

Speaker 4 I mean, listen,

Speaker 2 it wasn't that long ago.

Speaker 4 In the 1970s, movies like Midnight Cowboy were commercially viable.

Speaker 4 And I really hope that we get back to that.

Speaker 4 Our industry changed for a lot of reasons, partially because of streaming, partially because of COVID, partially because of the strikes, you know, and I understand why companies are more risk-averse than ever.

Speaker 4 However, if you look at the crop of nominees this year, you know, they're really radical, strange films.

Speaker 4 They're strange propositions, which I think should signal for everyone that audiences do want daring, original, provocative films. And

Speaker 21 I think it's very.

Speaker 22 I'm glad you agree.

Speaker 4 You know,

Speaker 4 I really,

Speaker 4 you know,

Speaker 4 I respect audiences and I believe that that audiences you know

Speaker 4 are really really clever and they're more clever than ever because there's so much information out there about how movies are made and there's an awareness of the post-production process and visual effects etc so you know they're really savvy and I think it's important that we treat them with respect

Speaker 14 Explore more shows from the Daily Show podcast universe by searching the daily show wherever you get your podcasts watch the daily show weeknights at 11 10 central on comedy central and stream full episodes anytime on Fairmount Plus.

Speaker 9 This has been a Comedy Central podcast.

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Speaker 1 More than 1 million people already use Wealthfront to save and build long-term wealth with confidence. Get started today at WealthFront.com.

Speaker 1 Cash account offered by Wealthfront Brokerage LLC, member FINRA SIPC. Wealthfront Brokerage is not a bank.

Speaker 1 Annual percentage yield on deposits as of November 7, 2025, is representative, subject to change, and requires no minimum. The cash account is not a bank account.

Speaker 1 Funds are swept to program banks where they earn the variable APY.