Tim Robbins

30:02It's, of course, Susan Sarandon. It's the great Kevin Costner. Were they all on board? Were you the last one cast? Did you have to fight for that one? What are your recollections of getting... I think I might have been the last of the three cast. Because I had to go play catch with Kevin Costner out in Burbank. That was the test? The final test? That was my final audition. Really? Oh yeah, for sure. Ron didn't want to cast someone that hadn't played baseball. Got it. And I had played a lot of baseball. I played mostly softball growing up in Manhattan. as you know there's not a lot of grass fields in Manhattan and not a lot of Little League as we right as America knows it but I I could throw and I play used to play third base so I had a pretty good arm I just had to learn the mechanics of pitching and I had a great time on that I had a couple friends with me there it was it was a it was a lovely memory and it changed my life the not so long after you're in a film that has a long, you know, like I think there's a reverberating effect to a film like Jacob's Ladder.

31:08That's a movie that, again, you see at a certain point in your life, that breaks your brain open. That's like a haunting, haunting film. Yeah, it is. Does that come up somewhat often still? A lot, yeah. People love that film. That's one that's lasted and another one that didn't do business. Oh, it didn't do well at the time? Not at all. It was the, if there's a, what's the opposite of zeitgeist? that's what it was yeah because it was coming it was a movie about uh a um veteran yeah that was tortured by uh memories and it was coming out uh three weeks before we were to invade iraq the first time and it was not on the uh cultural short list shall we say yeah and uh it was it It couldn't have succeeded considering that.

32:00And so, again, time is my best friend. And if you do something that's good, people will find it eventually. There's three movies I love that very few people saw. And they're the three movies I chose to do after I won my Oscar. And they are Catch a Fire with Philip Noyce. Secret Life of Words directed by Isabel Cozette. Okay. With Sarah Pauly and Julie Christie. And the third one is Code 46 directed by Michael Winterbottom. Yes. With Samantha Morton. She was just here, by the way, Samantha. Unbelievable. Yeah. Yeah. And she's in Odyssey. She's fantastic. She's great. So. Time is the best. Time will be my friend with those three movies.

32:57I think they're all brilliant movies. Yeah. And for whatever reason, they weren't seen. One other thing I want to mention on Jacob's Ladder, I don't know if you're aware of this. It's been brought to my attention. Apparently, the video game series Silent Hill is heavily influenced by Jacob's Ladder. Oh, really? Have you heard that? I haven't seen any money for that. Show it to me. If it's so influential, where's the money? Lawsuit. No, no, no. That's cool. That's cool. It's a great movie. I mean, Bruce Joel Rubin, who wrote Jacob's Ladder, had kind of based it on the Tibetan book of the dead. There's so many layers of philosophy and different ways of thinking in it that are so intriguing.

33:43And Adrian Lyon created a vibrant, scary film. I'm really proud of that. That was my first starring role in a movie. More Happy Say Confused coming up.

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35:19Go to shopify.com slash realm. That's shopify.com slash realm. The war is over and both sides lost. Kingdoms were reduced to cinders and armies scattered like bones in the dust. Now the survivors claw to what's left of a broken world, praying the darkness chooses someone else tonight. But in the shadow dark, the darkness always wins. This is old school adventuring at its most cruel. Your torch ticks down in real time, and when that flame dies, something else rises to finish the job. This is a brutal rules light nightmare with a story that emerges organically based on the decisions that the characters make.

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36:33Well, you do another starring role not so long after. I mean, it must have been a huge moment to work with Robert Altman. And the player, you know, all of his films are important in their own ways. But that was kind of like his comeback movie. Comeback movie at the time, right? It was. As I recall. And again, remains a classic. Whether you're like a Hollywood insider or not, it plays. It's kind of, you know, I think of the opening shot, the iconic eight-minute tracking shot. Did you get along well, famously, with Altman? Loved him to death. I was so blessed to, first of all, meet him. He was a hero of mine.

37:09When I saw Nashville, I realized what film could be. I was really scared to meet him, and immediately he made me at home. It was actually at his home, and he had lunch ready and he just wanted to talk. I was asking my agent for sides and they said, no sides, no audition, he just wants to meet you. And at that point he was trying to set up shortcuts. So we had a nice long talk and we smoked a joint at the end of it and I thought, wow, this guy is amazing. I love him. And then he didn't get shortcuts put together and I was being offered a part in a film and I had to decide whether I was going to do this thing, but I had the opportunity, if I waited, possibly that the player would get financed.

38:06And I turned down a lot of money with the off chance that I could get this thing with Robert Altman. And then that came through and that was another defining moment in my career because not only did I get to work with one of the great filmmakers of all time, but I was able to look at the experience as film school because I knew I was about to direct Bob Roberts. You can see the linkage, of course. There's got to be that. That's got to lead one right. So I was watching everything. And Bob, by the way, when I first arrived at the production office on the player before we started shooting, basically said, I want to make a deal with you.

38:51we're going to do things to this script we're going to change stuff and we're going to do things to schedule we're going to change things a bit um we're going to go with a different way and it might piss some producers off so let's make a deal if the producers start messing with you i will walk off the set if the producers start messing with me you walk off we got each I said, deal. Like, you are a rogue. I want to be hanging out with you. That's the thing about him. He was like a rogue that could sometimes work within the system. He found a way. I mean, he often was on his own path. He certainly was, but he was iconoclastic and he was making movies that only he could make.

39:33And actors loved him. And we loved him because he allowed you such freedom. And so I was in offices with him, observing him and rewriting with him and watching him deal with department heads where someone would come in and say, Bob, what do you think about this? He said, what do you think about this and this and this and this and this and this? And Bob would always say, what do you think? Imagine that, yeah. And the prop guy or the costume person would then talk, and he'd nod his head, and he'd say, well, okay, good, let's think about it, right? Now, I asked him, why'd you do that? Because you know what you want, right?

40:13He said, yeah, I know what I want, but why would I ever cheat myself out of a better idea? And which was exactly the lesson that I wish everyone could hear. You can be brilliant, but to have humility with that brilliance is the golden ticket. That is what makes everything possible. Arrogance, when people start considering themselves auteurs, watch out. God-given genius, it all comes through me. Yeah, because they've stopped learning. And there's nothing more boring than someone that's stopped learning. They're just talking the same stuff, and they're not curious anymore. And curiosity is what makes someone interesting.

41:02Not to mention you're empowering those around you and making them feel like they're engaged and not just like clocking in and out and just like do what the man wants. And then at the end of shooting every day, we'd go to dailies. And there'd be wine and cheese and snacks and everyone could come. So you had actors and department heads and even the crew members, if they wanted to come, could come. Love it. And everyone would see what we did the day before. and if there were mistakes we would know it everyone would know it and Bob reaction wasn't anger it was like well just get him next time a lot of great things about Bob Roberts one of them is that you gave us Jack Black do we credit you with launching Jack Black as an actor even before his first movie which was Bob Roberts he was a member of the actors gang right you guys go way back Yeah, I cast him in a play when he was 12 years old.

42:02That's amazing. Now, was the 12-year-old Jack that you saw basically what we see today? Like, were the germs there? Was the seeds there?

42:12Yeah, the germ was there, but not the wildness, not the craziness. Okay. Yeah, he was a relatively normal 12-year-old. So what did you see? What was so exciting? Well, he was also brilliant. Yeah. Yeah. So that must be remarkable. And that's one of the pleasures of sticking in this business as long as folks are able to is like to go along the journey with folks and use the work of Jack at different points in your lives and to see where he's gone. It must just like boggle your mind to see what he's capable of dramatically, comedically, et cetera. I was invited. They were coming through New York, Tenacious D, the music he does with Kyle Gass, who were both members of the Actors' Gang.

42:52As a matter of fact, they met on a show called Carnage that we toured to New York Public Theater and to Edinburgh Festival with. They said, we're going to be playing at the Garden and you should come see us. And I thought, of course, there was going to be the theater at the Garden. You know, there's two venues at the Master's Square Garden. And, you know, they were in the Garden. They sold out the Garden. I just couldn't believe it. I was like, what the hell happened? Yeah, it was, I've seen them several times live. It's always fun. Yeah, I love when people I know get success. I think it's just such a thrill to watch people enter into that.

43:41And I have, on occasion, been able to give some advice on how to avoid, you know, the pitfalls and dangers that are there. when fame presents its beautiful and ugly head. Do you have a go-to? What's like the Tim Robbins 101 to handling fame and success?

44:02Um, don't believe it. Yeah, don't believe the hype. If you believe the hype, then you're gonna believe the critics, that kind of thing? Yeah, but more that don't believe that you've been elevated above anything. Yeah. Because at the end of the day, when you walk onto a set, you still gotta remember your lines and you still got to do something fresh and new. And anything you've done in the past is irrelevant. So if you're famous for what you've done in the past, that's not very helpful in dealing with new creativity. It also can turn you into a bit of an asshole too. And I've seen that happen. And sometimes people just need a humility check.

44:50I remember telling a friend of mine that was very famous, he was talking about how in a way that was like, I had to respond like, listen, guy, it's really great that it's happening, but it does not elevate you into any kind of realm above simple human being. Yeah, you're still the same person. Yeah, still the same person. Happy for you, but don't go there. It's a dangerous road. It's a trap. I mentioned the other film that I'm obsessed with in that period of time in the 90s is Hudsucker Proxy, which has its lovers out there. No, I'm glad you're obsessed with that. It's a great movie. I love that movie.

45:32Right? Yeah. For context, I think folks that listen and watch the podcast know, but it's a Coen Brothers film, The Union of the Coen Brothers and Joel Silver. Sure, why not? And Paul Newman, Jennifer Jason Leigh. Like, come on. Like, just on another level. The best. Magical. Do you remember, I mean, there's a lot of lore about the casting that Joel wanted, like Tom Cruise, that Winona Ryder, who I also love, came close to almost playing that role. Do you remember being in the audition room for that? I remember being in the audition room with Winona and with a few other actresses for that part.

46:05That was the major, that was the role that they were auditioning for. Yeah, that was, I think I had to audition too at the beginning. I think what they were after was they were after actors that really understood what the 40s and 30s and 40s madcap comedies were like. You know, that kind of fast talking. Oh, the cadence was so specific. Yeah, it really, if you didn't get that, they weren't going to be able to work with you. And I love those films. I mean, My Man Godfrey is one of my favorite films. Yeah. I dreamed about being in a film like that. And it was such a lovely opportunity. Also, you know, after playing in Jacob's Ladder and Shawshank, to play a total goofball.

46:55It's kind of an idiot. A beautiful idiot. A beautiful, sweet idiot. A naive, brilliant idiot. You know, for kids. Yeah. Do you ever get that? Do people ever quote you, you know, for kids? Yes, occasionally. I would. I one of my keepsakes from that film was a you know those industrial drawings they do like three you know the overview the side view the side the bottom view sure of the hula hoop yeah it's a circle a line and a line it is so great um the art direction on that was just brilliant and um Roger Deakins also a cinematographer right exactly yes uh Roger who I met on that film um so i when i was offered shawshank redemption it was a brilliant script one of the best scripts i've ever read but it was a first-time director frank and i got in my contract in the negotiations i got them to agree to allow me cinematographer approval never heard of that even so i gave the script to Roger Wow and I said I'm gonna be doing this movie I'd love for you to do it and that's how he came on so that film obviously you know it was such a beautiful thing how it turned out and how it continues to just surprise me every day.

48:27Remarkable. Yeah. I mean, so many people's favorite films that talk about a film that has an enduring legacy and will clearly always will. I mean, so much, I can, I can, so much great iconography in that film. When I think of Deacon's, how he shot it in Darabont, his first feature as a director, like, how do you even do that? But like, you know, raising your arms in the rain, like, do you remember like shooting that emergence, that shot? And you know, it's the cliche question, but like, do you feel in the moment like, Oh, this is like a special, this is a special shot this could have some resonance i did i did yes i also needed to get whatever was on me off because i was falling into a real creek and the real creek was runoff from farmland yeah so it was toxic so i i needed urgency i had an urgency to let that rain get the tox toxins off me that's amazing um yeah and that's now probably just still that will be a daily part of your life yeah shawshank that's just there but hot sucker was as well you know there were two i think they came out in the same year and there were two difficult titles too you know there's two difficult titles to remember um but i i'm i really love you know shawshank gets a lot of attention and I love that yeah but Hutsucker is like that kid that didn't get the attention you know it's funny I asked Bob Altman uh what his favorite film of his was yeah and he says I think about my films the way I think about my kids the ones that didn't get the ones that don't get attention are my favorites yeah and uh so you know in a way Hutsucker is one of my favorites for that reason because it it really didn't get the audience it deserved there's a timeless quality about it It feels like it could have been made in the 30s or today.

50:16And it's just sort of like a magic. It's a jewel box of a movie to me. It is. And it's a great movie to watch on New Year's Eve, too. Yes. Do you still remember the fight on Dear Muncie song? Well, I don't know if I can sing it for you right now. You can't say yes and then not. Give me something. No, I don't remember. That didn't take long. You have to get Jennifer Jason Leigh in here. The duet is what it's all about. Her trying to keep up. Her trying to keep up. Yeah. She's brilliant in that. It's so good. Okay, jumping around a bit. I mean, we should give some props to your Oscar win for Mystic River.

50:50Remarkable. Working with Quint is a moment for any actor. You obviously have worked with Sean in a couple different capacities as well. But like Quint is so famous. Minimal amount of takes. Like talk about Altman having a hospitable working environment. Quint, in his own way, same kind of thing. Really? Did you feel like that? like was that eye-opening for you as someone who had already directed by that point to see how quince ran a set and was able i loved it i loved it we were out every day started every day at nine we're out by two it's like not even shouldn't be allowed like how is that possible it should be allowed and it should be encouraged no it's true you got i got it what it's about is discipline yeah it was uh we knew going in that clint was only getting about one take he had three setups usually on every scene one take so you had three chances and so we came in ready we came in disciplined yeah and all of us would after we got off at two o 'clock would look at the schedule the next day and we'd go into a room in the hotel and start rehearsing so we were ready uh all great actors in that film all bought in completely yeah and what it here's the great thing about it is usually when you're doing a movie it's not necessarily always in order the scenes you're doing sure so you're scrambling to remember what state of emotion and what urgency and what intensity you had in a scene because you're playing the scene after that one.

52:32A month later. Well, with this one, you didn't have to catalog in your memory. You didn't have to go, which take were they using? Because I did it in many different ways. I did it twice. It's one of those two. I know exactly what I did. So I know exactly how to modulate my performance from beginning to end. It also provided us an opportunity to really get some sleep, have meals with each other. This is the way, by the way, it started when I was doing episodics in LA in the 80s. Crews would get home at night and see their families and raise them. Or if you were young, you could have a date after you worked on a movie set.

53:26and then it got into I think it's everything has started deteriorating post mergers I was gonna say and the bottom line is about efficiencies and money like yeah right like that's kind of a core problem that respect for the crews went away yeah the whole idea that crews are human beings and and they have families seem to have been forgotten. And Clint never forgot that. Clint always knew that that was the way that it should be done. And demanded the discipline and the quiet and the concentration on a set. It was very zen, it was very masterful, and it was a beautiful experience. Famously doesn't scream action just like, on your own time or whatever, right?

54:17or when you're ready. When you wanna go, go. Yeah. All right, let's start. So great. Yeah. I would imagine a different kind of environment. Here's a left field one. You probably don't get asked a lot about working with Brian De Palma on Mission to Mars. I mean, I respect Brian De Palma's work, but I know he's also a tough cookie as a filmmaker. I loved him. Did you? You got along. Yeah. What's your remembrance? Because that was kind of his last Hollywood movie. He had the money, he had the budget. Clearly it didn't whatever click for whatever reason. and it was a happy experience though for you?

54:52Yes, I would say that the happy experience, yeah, I had, I was, yes, why not? It was fun. I was working with Don Cheadle who became a friend. I liked the cast, I liked, I had my family with me, which is always nice. It was the summer in Vancouver. I was able to go down to Seattle to see Friends. Yeah, it was a good time. Okay. Another master, you did get to re-team with Tom for War of the Worlds with Spielberg. Yes. And you get this like nice, it's almost like this like separate Twilight Zone episode in the middle of this great movie, War of the Worlds. I mean, is that, what are you, it must have been meaningful to reunite with Tom but also to get a chance to work with Spielberg in that context.

55:42What do you remember about your experience on War of the Worlds? It was, what I remember the most, it was great to work with Tom and, of course, Stephen, but what I remember the most was how Dakota looked like an adult to me. She was so professional and so concentrated. and it was as if it was as if she was a mature actress and it was rare so rare for a kid she was just here last week I ran into her out in LA a few weeks ago and it was really nice to see her I hadn't seen her since she was a little kid and she's got good parents She did well. Her sister's doing well. It's all nice to see. Let's talk a little bit of where you're at now.

56:40We mentioned at the start, I got a chance to see you briefly in San Diego for Silo. We can now say your dramatic return from the dead. He's back. Bernard's okay. Or is he? Or is he? The rewards of this kind of ongoing show, spending a lot of time shooting in London, as I understand it, right? working with a great ensemble and Rebecca Ferguson, etc. What's been the joy of Silo these last few years for you? Oh, what a gift. Great crew, great production team, producers, directors, writers, Graham Yosts, editing it all, hiring good people, 10-hour days. Again, it goes back to quality of people having lives.

57:28yeah it's so essential people they're able to go home see their kids yeah uh it creates a completely different environment than the one i've been used to over these past few years is it's this idea that we are all professionals we can do this in 10 hours we don't have to go into 14 16 hour days it's i just had this you know random thought you know a few years before I did Silo. I was like, this is the 21st century and our union is okay with us working 16-hour days. Going in the wrong direction. What happened? Why wasn't that part of the negotiation? First off, flat out, we're not letting our actors work more than 12 hours.

58:19That's it. Figure it out. Light and sound, right? Yeah. I just yeah anyway don't get me started on the unions but but Silo was not only was good people but the ability to work on that kind of material at that particular time when we started it COVID times right yeah so rare yeah it was like I couldn't actually I just couldn't believe it I was I read that the first season script and I thought how is this possible that they are doing something that is completely about what we are going through right now. Yeah how rare is that yeah. It's so rare. Yeah. A controlled society where if you do not behave and do what the government wants you will be banished.

59:15We had just lived in that. And whatever you think about what went on is metaphorically what the silo is. And I saw it as a great cautionary tale. And the character, as Graham described him to me was a powerful person but he said have patience with it he's not he is not what he seems to be which is a great thing any actor wants to hear that right and he came through with that in season three he he there was such a great turn and it's everything you want to do as an actor like how can you like your arc starts here and yeah gets into this weird place over here it's usually arcs are like this it's not very much of an arc but this one was magnificent and uh and then to get to work with common and rebecca it was you know and harriet walt it's just so great It's just, yeah, I loved it.

1:00:29I loved being in London. I loved the way I was treated by the production and by Apple. And they're doing good stuff, Apple. They have respect for good writing and good direction and good acting, which I can't say of all the major producers in streaming right now. They have a real understanding of the creative process, as Apple does. And they have also a certain intelligence about what makes a good series. Yeah. What are you losing more sleep over, getting more up in the arms over lately? The prospect of AI dominating or the consolidation of media, the increasing consolidation, I should say, of media?

1:01:19Well, they're both bad news. The consolidation of media has been happening for quite a long time. And we see it in the results of what is being produced. There's less and less risk-taking. Those that do take risks are entering into a pretty hostile marketplace. And AI is the beginning of the end for truth, really. um i'm now looking as i'm looking through social media i'm now i'm now able to still identify what is fake and what is not they're going to try to get better and better at that but i also have a very strong faith in humanity and in artistry and i know that for years um uh this this that same kind of formula has existed there is the standardized uh kind of by rote script that you read this is pre-ai this kind of formulaic way of writing and that's usually being done because they feel that's what the studio wants yeah and what you get is more and more boring.

1:02:48Yeah, iterative and it just gets... Yeah. And so that's already existed. Sure. The fact that they're putting that through AI is even worse for them because it's just going to get more and more based on what has happened in the past. Yeah. However, these cells working on up here are unique and unique to every individual and that will create unique artistry. I have no doubt about that. One thing I do know, as someone that has done a lot of theater, is that you will never replace that. They are trying, you know, to do like what they think are innovative things in theater by using AI. It's just ridiculous.

1:03:37Give me a blank stage, eight good actors and a piece of material and i will make magic for you i know how to do that yeah um i i did a production of midsummer night's dream with no sets and i had this one kid come up to me and said that my favorite set of all time was midsummer night's dream because we created through movement and through using different sticks and flowers we created a hundred different looks in that forest but it was all done with maybe a budget of five hundred dollars right you can make magic with in a live situation with actors and with people's imagination in the audience that will never be replaced by AI they can get slick with you in movies we've already seen how CGI can pretty much do anything but at the same time you can tell and it becomes it becomes So it becomes so much that you think, wow, they really created a big bang-em-up bashing moment there.

1:05:01But you're not moved. No, it's soulless. It doesn't feel, yeah. It doesn't feel real. It's not grounded in anything. Yeah. You're witnessing something that's manipulated. You're not witnessing something real. Yeah. Whereas a real special effect, you register in a different way. You go, wow, how did they do that? Yeah. Now the wonder is, yeah, they did it with AI, so I'm bored. Again, can you be a Luddite with your creativity? Can you use principles of Ludditism to address creativity? In other words, get back to the basics. What are the essentials that you need to create magic? And can you do it with less?

1:05:55That's what I find interesting. And what I've had to live with my whole life because I've never had a budget that allows me to do that kind of stuff. You have to be creative. You have to use your limitations to your benefit. As much as I'd like to keep you the rest of the afternoon, a couple quick things, couple random things before I let you go, okay? A couple rumor roles that I've heard about over the years. Is it true that you almost did Quiz Show way back when? Yes. Is that a regret? I mean, it's a great movie. No, not at all. I had another thing I had to do. It just didn't work out. I would have loved to work with Robert Redford.

1:06:30I admired him so much. But one of the true geniuses, great people, also a model for any actor coming up. If you make a lot of money, provide opportunity for others. Yeah. You know, his legacy is beyond just his films. He made so many filmmakers out of Sundance. That's just, that's his legacy. He said, that's the way you should live your life. Same thing with Newman. You know who I got to work with, Paul Newman, who took his money, his influence, and created products that created opportunities for the disadvantaged. Totally. Here's a super random one. There was a report way back when, talking about these kind of silly comic book things, that you almost played Dr.

1:07:14Doom 20 years ago in the Fantastic Four movie of 2005. Not true. Not true. Not true. Don't remember that coming up. No. Okay, we've set the record straight. I do this with actors with... No more rumors? That's it. That's all I got for you. Is there one you want to put out there? Well, there's a lot. How about this? I do this with actors with very impressive filmographies. We're going to pick your best film in your career, Tim. All right. And you're going to choose it, bracket style. So for instance, we're pitting against each other. Cradle of Rock. We're not doing directing efforts, we're doing the acting.

1:07:48Okay. Let's start with my two faves, Howard the Duck versus Hudsucker Proxy. Let's start. Okay. Bull Durham versus Jacob's Ladder. Not fair. That's why this game is so great. No, it's not a great game. No, it's great. They're two totally different movies. I know, but today, what do you choose? Just today, at this moment. Today it's summer, it's baseball, it's Bull Durham. Okay, Bull Durham. Bob Roberts versus The Shawshank Redemption yeah oh that's terrible I know it's great that's terrible no I'm not answering that yes you are you can do it I'm taking a pass on that one no you've come this far they're both important movies to me I agree we're not eliminating one from the universe we're just saying at this moment you're choosing one at this moment I'm choosing the one that I also directed okay Bob Roberts it is Mystic River versus The Player this is a terrible game why are you doing this?

1:08:42Jack Black did this, it melted his brain too you're in good company it's like you're making me choose between two things I love we'll do your children next no, it's like I'm not going to sacrifice my children for you God for my amusement Mystic River vs. The Player The Player changed my life when I met Robert Altman but Mr. Griver changed my life and I met Pliny Swit. It's a tie. Oh my God. So is Bob Roberts and whatever that was pitted against. They're ties. You lose this game. I'm just in a tie. You've lost the game. I'm happy to lose this game. Okay. We're going to end here. Happy Second Fuse Profoundly Random Questions.

1:09:26Are you a cat or a dog person? Different times of my life. I have been cat person. I'm a cat person currently. Okay. And other times of my life I was a dog person and I loved dogs. Not a better friend in the world when you're alone. The best. Cats are more like, you know I am a superior being to you. I pity you, human being. And I'll come by you if you want to pet me, but I don't really care. Gotta respect that in a way. You don't have enough fur on you. You're pathetic the way you live your life, but I have pity on you. Yeah, just feeling constantly judged. So I'll let you pet me if you want.

1:10:11What do you collect? What do I collect? I collect baseball cards. Oh, yeah? I collect photographs. Okay. Favorite video game of all time? I don't play video games. Never played of a game. Not like the Ms. Pac-Man back in the day. Nothing. Okay. Nope. I used to play pinball. We'll allow it. You're going to allow pinball? Well, after you screwed up the other game, I'm going to let this one. Dakota Johnson asked me this. I ask everybody, would you rather have a mouthful of bees or one bee in your butt? A mouthful of bees? Are they dead or alive? Great question. They're alive. Fuck no. Yeah. On the butt.

1:10:54Yeah. What's the wallpaper on your phone? My girlfriend. Okay. Last actor you were mistaken for? Last actor I was mistaken for. That hasn't happened in a long time. No? When I was first starting out, this kid shows up at my door after I'd done St. Elsewhere. So I hadn't done much. Yeah. And this guy knocks on my door at Westwood, and he asks if Tim Bottoms is here. Oh, sure. And I was freaked out, and the guy was one of these kids that made the trip to Los Angeles for their dreams and didn't understand that you got to work hard and just thought that if he asked Tim Bottoms for a leg up, he'd give it to him.

1:11:44That's how it works. Yeah, that was a sad one. I wrote about that. Yeah, that was a sad one. What's the worst note a director has ever given you? Worst note a director has ever given me. Well, I actually thought it was a great note. Be better. I'm all into that note yeah? yeah you respond to that? oh yeah who gave that to you? I forget I just remember thinking that's a great note be better just do better as a director I want to give that note be better okay yeah because it's an actor knows exactly what they need to do better most of the time it's just telling you double down on what you're doing or just try just be better okay all right and that can be interpreted any way sure right yeah um it's like when i'm working with actors at the actors gang and i'm training them we have a rule no uh you know at the end of a scene or at the end of a workshop we don't say what negative happened we say what positive happened no actor needs to be told that they suck they know so how i humiliate them in front of other people.

1:12:58Let's just accentuate the positive and move on. Another day will come and you'll be better. So be better. And finally, in the spirit of happy, sad, confused, an actor that makes you happy. You see them on screen, you're in a better mood. Jimmy Stewart. Bill Murray. Excellent. Movie that makes you sad.

1:13:29Oh, wow. I stumped you. Yeah, I don't know. Really? You don't have a go-to. You're not a crier at films? I try to, because of the world being what it is, I try to watch a lot of comics. I hear you. Sad movies.

1:13:50Yeah, I don't have one. Okay. It's a Wonderful Life, Jimmy Stewart. It can bring a tear. There's some emotional stuff in there. It's an uplifting movie. In the end, yeah, but you go through an emotional roller coaster, I think, on the journey. Yeah, but I was thinking of how it leaves you. Yeah, no, 100%. One of my favorite movies of the past 10 years has been Cold War. Yeah. That was such a beautiful movie. Oh, my goodness. What's a food that makes you confused? A food that makes me confused?

1:14:31Oh, yeah. Anything you put in a microwave. Anti-microwave. Oh, hell no. I mean, like, how can you eat that? I just don't understand how people can eat something that has been zapped by a radiated force. Seems healthy. Seems right. It's all bad. How could you say that? It's all bad. I see some Cheez-Its over there. Those are all bad. All your triggers are in the room. Yeah. My mom, you know, was a macrobiotic and organic in 1967. Wow. Headed to her time. Yeah. Way ahead of her time. And so we weren't allowed processed food. So I'm totally confused by processed food. You never went off the deep end?

1:15:20You never like... Of course I did. But you came back around. Like any rebellious teenager, I had to eat some Cheetos. And now you know, glorious. Yeah. Oh, this sticky cheese. Yeah. It's still in there somewhere. Yeah. But they were horrible. Yeah. Inside. Now you're wise, you know, mom, mom, new best. No more cheeses. That is our PSA for the day. Tim Robbins.com and no cheeses. It's everybody. You have a cheeses. Like, do they give you those for free? I wish. Cause you're not getting them anymore. You ruined my sponsorship deal. Damn you, Tim. This has been a blast. I really appreciate you. As you can tell, I'm a big fan of your work.

1:15:55always in front of and behind the camera. Congratulations on Silo. The new season is out there for everybody. And I myself will be digging into your website for Howard the Duck content and more. Oh my God, it's so much fun. I can't wait. Hope to chat with you again soon. And again, thank you for the time, man. Thank you. Appreciate you. And so ends another edition of Happy, Sad, Confused. Remember to review, rate, and subscribe to this show on iTunes or wherever you get your podcasts. I'm a big podcast person. I'm Daisy Ridley, and I definitely wasn't sure to do this by Josh.

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