Transcript generated automatically by AI and may contain errors.
Chapter 1: 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.
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Chapter 2: 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.
Chapter 3: 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
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Chapter 4: 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, weĀ“ll write to the point where, like, hey, man, thereĀ“s an audience out there, and they look mad. TheyĀ“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? ItĀ“s kind of the same thing. I mean, with getting a film together, The clock is not ticking that badly. But basically, you sort of say, all right, we're all going to get together in March. And let's say that's six months away. As a writer, you've got basically six months, and the clock is ticking, and you've got to really get it together.
You have to plan that far ahead in advance on film. But it's like a really slow ticking bomb. Let's talk catering.
Okay, what do you... No, we have a different system here. Once it's done, then you have all the post-production and all those other things that you have to do. Does the selling of it feel like you're making something that you did a long time ago?
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Chapter 5: What themes does Sean Penn explore in his novel?
Does it still feel vital in your mind? Like, how does it in that process?
Oh, God. I mean... Yeah, it feels far. You know, I was watching that clip, and I didn't remember what they were going to say. You know? I remembered what Phil was about to say. I can completely understand that. Yeah, and that's a nice place to get to, actually, where you kind of have enough distance from it. Yeah, there's a lot that I don't remember about this film already.
I would love for M. Night Shyamalan to be in one of his own movies and be like, oh, my God, that guy was dead the whole time? I don't know. I can't believe that. What I love about what you do, too, is everything is so, you just feel, you feel the art of it. It's so vivid, you know? And maybe it's every choice you make. Is all that preconceived?
Like, do you have an idea of each one of those moments, how you wanted to create it?
No, I mean, inevitably you're going to get disappointed because usually the things that you see in your head when you really are standing in a place with three dimensions, they're just going to be different, you know.
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Chapter 6: How does Wagner Moura connect his character to real-life experiences?
The light's coming through the window in a different way or somebody's wearing something different. So just try to be as open as possible to situations. But at the same time, it can't just be making a film, can't just be this endless search. There's a lot of kind of planning that you have to do. But hopefully you kind of...
You can create situations where accidents can happen and things can kind of go wrong. A fertile environment.
Yeah.
Aspirational, but realistic. There you go.
The Master! It is a beautiful piece of filmmaking. It's in theaters now. Oh, the great Paul Thomas Anderson, ladies and gentlemen. Tonight is an Academy Award-nominated actor, writer, and director who currently stars in the film Blue Moon. So, uh, you up for that? You feeling healthy? Is that something you could take seriously? Yeah, no, I'm on the wagon. I'm serious.
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Chapter 7: What does Michael B. Jordan reveal about his acting process?
I've been drinking ginger ale all night. Well, except for this second, because this second we have to celebrate. This is the greatest musical in the history of American theater. No, no, no, I'm not drinking with you, Larry. Okay, okay, all right. Ouija, Ouija, shoot this, huh? What? No, no, no. Rogers and Hart, together again. All right, closer. Come on, closer. I want 10 copies of that. Great.
Write me a check. Please welcome Ethan Hawke. They're the king of the world over here. King of the world. Just feeling good. You guys made me feel good.
Appreciate it.
Chapter 8: What reflections does the episode leave on the nature of storytelling?
Hey, you made me feel good. Whoo! I got to tell you. Ethan Hawke, I have heard stories about Hollywood contracting and getting smaller, and then I see you are in Black Phone 2. You are in Blue Moon. I turn on the TV. You are in The Lowdown. Like, are we experiencing a hawkissance right now? Like, I'm not worried about AI taking my job. I'm worried about Ethan Hawke taking my job.
You should be worried, because I've been watching you, and I've got some ideas.
You can do it, right?
Yeah, yeah, I've got some ideas. I could do that sports center thing you guys got going. I could take Ronnie on. You know, it's harder than it looks, you know? It didn't look very hard.
Okay.
Just leave some jobs for the rest of us. Yeah, you got it, you got it, you got it. It's so funny, in that clip, you hear everybody gasp when they see you. You're a five-foot-tall man who has a comb over his head. Like, there's Ethan. Oh, God, he's let himself go. He's let himself go. I know. My wife came to set when she was watching the monitor, and she's like, I think I'm going to go home.
This is not doing anything for me. What's harder, playing a five-foot person or a comb-over person? Oh, comb-over. Comb-over is, right? Yeah, it's just not sexy, you know? So I had to shave the middle of my head and leave it wrong and comb it over, and I dyed the hair. You really realize that you work on the comb-over, and when you're in the mirror, It looks fantastic.
You know, but it's just any other angle from the back. It's just the direct on looks kind of fine. I see why guys, you know, Trump does it pretty good. He does. Give him the hair. The one thing we can all agree on is his hair looks fantastic, right? God, it does. The envy of his generation. Everybody loves it. This movie's fantastic. Blue Moon is wonderful.
It takes place in a night at Sardi's after the premiere of Oklahoma. Right. And it's a theater movie. It's very much, it's a true story based on... Yeah, but that makes it sound not good. Oh, shit. Yeah, no. Theater movie, like, it's... All right, it's... Can I set it up?
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