TDS Time Machine | Oscar Nominees 2026
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Who is the Best Director winner discussing his film?
You're listening to Comedy Central.
Welcome back. My guest tonight, a director and a screenwriter known for such films as Boogie Nights, Magnolia, and There Will Be Blood. His latest is The Master.
These problems you have.
I don't have any problems. I don't know what I told you, but if you have work for me to do, I can do it. You seem so familiar to me. Yeah. What do you do? I do many, many things.
I am a writer, a doctor, a nuclear physicist, a theoretical philosopher. But above all, I am a man.
hopelessly inquisitive man, just like you. I will follow you.
Please welcome Paul Thomas Anderson!
I don't even know where to start. So I'm just going to start. I'm an enormous fan of yours. And I'm just going to start on the performance end of it for the actors.
What insights does Ethan Hawke share about his role in Blue Moon?
Forget about the beautiful writing, the shooting, the cinematography, all the things that you do. The performances you get from the actors that you have, and obviously, they're great actors. As a director, how do you feel like you're able to empower these actors to get the kind of performances you get?
I'll leave. I'll just leave. I'll go. I hire good ones. OK. That helps. And that helps. And I try to do as much as I can in the writing and then try to listen to them and see how they feel about things and give them room to do it.
Do you stop? Do you, like, in a scene after a take where you cut, walk out there and be like, this woman look mad? You know, that kind of thing? Like, is there, on set, do you get maniacal? Do you get, what's your temperament?
Uh, pretty, I don't know. You seem angry. You seem like an angry guy. I try to play it pretty cool.
How does Ryan Coogler describe his experience directing Creed?
When you're a writer, you can get mad at yourself in the room and you can bang your head against the wall. And then when you go to be a director, you kind of got to try to pretend that you didn't do that stuff and be cool and kind of be everybody's boss, so.
Do you complete the writing process in your mind and then become the director? Or as you're writing, are you, you know, I find it's very difficult to, the difference between writing for the page and writing for the performance is a very different art form. Do you do that as you're writing or do you have to transition that?
When I write, when it's at its best, when it's going really well, it's just sort of like you blink your eyes and 10 pretty good pages have happened. At its worst is when you're just desperate to try and get the writing going well. But when you get to the set, I just sort of throw the script out the window and hopefully they remember it and they know it and they've done it well.
You just throw it out the window? Do you ever tell yourself, the writer, hey man, don't sweat this. I'm just going to ditch it. Yeah. I find for myself with writing, there are times where it's very difficult not to be precious with the words, to remember, to convince yourself. Just put it on paper. So much of writing is rewriting. Right. And you can really hold yourself back from even putting it out there.
I think that's true. I've written 50 drafts of things and thank God for saving everything you write because you sort of look back at the first thing and you realize you had it right the first time just because it sort of vomited out of you or something like that. But the other thing is that I've found is
What challenges did Emma Stone face in her latest role?
you know unfortunately sometimes you can write something 50 times and you can make it better right so it kind of creates this endless sort of reach for something uh that keeps you hungry and always guessing like how does this stuff work you know how does writing work it's so confusing what what what makes you stop see what makes me stop here is it's six o'clock
Do you know what I mean? Like, we´ll write to the point where, like, hey, man, there´s an audience out there, and they look mad. They´ve been sitting there for five hours. You better get out there and do a show. But as a writer of film, how do you stop? How do you not overwrite?
How do you not destroy it on the back end? It´s kind of the same thing. I mean, with getting a film together,
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Chapters
8 chapters
1
Who is the Best Director winner discussing his film?
0:01–1:28
2
What insights does Ethan Hawke share about his role in Blue Moon?
1:28–2:29
3
How does Ryan Coogler describe his experience directing Creed?
2:29–4:12
4
What challenges did Emma Stone face in her latest role?
4:12–5:35
5
What themes does Sean Penn explore in his novel?
5:35–6:45
6
How does Wagner Moura connect his character to real-life experiences?
6:45–7:44
7
What does Michael B. Jordan reveal about his acting process?
7:44–8:55
8
What reflections does the episode leave on the nature of storytelling?
8:55–1:05:22
Speakers
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