Timothée Chalamet & Adam Sandler Rewatch 'Dune,' 'Uncut Gems,' 'Marty Supreme' & More

[dramatic piano music]

It's very strange for me to watch that with you because

[Adam chuckles]

you were obviously attached to play Oliver for a long time.

Yes.

And then you dropped out at the last second.

[audience cheering]

[Announcer] Let's bring them out right now,

Adam Sandler and Timothee Chalamet!

[exciting music]

[audience applauding]

Clip time, everybody,

let's hear it. Here we go.

Come on now. Yeah, yeah.

Hell yeah!

[upbeat music]

[VCR clicks]

[VCR whirs]

Let me bring the mail in the house for you.

Come on, I'm already gonna be watering your plants.

[audience laughs]

Just say yes to me bringing in your mail, please?

Don't look away, look at me.

[audience laughs]

That guy I did on the show was The Herlihy Boy.

I wrote that skit.

My buddy Tim Herlihy used to write all my,

he wrote Billy Madison and Happy Gilmore

and all the stuff.

He was my college roommate.

But that one in particular, I wrote late night one night.

I wasn't on the show, and Lorne, sometimes this happens,

I wasn't on the show at all, and Lorne said,

Hey, do you have any ideas on like a Thursday night?

I said, Holy cow, I got a kinda clean slate

to write something.

So I wrote that, and I wrote Farley in there

because I love Farley like the whole world did.

I think that was the most I ever laughed on air

at another guy.

Anything Farley said, I was just laughing and laughing.

Why, he just had that instinct?

He just tried to.

He'd say before a skit, he'd go, Adsy, he called me Adsy,

I'm gonna get you.

And I'd be like, Oh, no, no.

And he would look me in the eyes and just try to be funny.

He'd want me to break every time because then he won,

then he knew he could whoop me.

He was by far the funniest dude on the planet.

He walked into the room,

but everybody just went, All right.

Every comedian, the best thing about Farley,

it was unanimous that we all said he was the funniest.

Can we stop this cruel game and allow the boy

to keep one shred of dignity?

Would Lorne give you a hard time if you broke in a scene

or no? Oh, back then,

he didn't like that, yeah.

Oh, really?

You weren't supposed to break.

I think like the first cast, you know, Dan Aykroyd, Belushi,

Jane Curtin, Gilda, they never broke.

They kind of frowned upon it.

They mentioned like, they would, like Carol Burnett,

that show, when they would laugh, we were kids,

that was like a big show for me when I was a kid.

And they, Tim Conway would make 'em laugh,

and Harvey Korman would laugh,

and Carol Burnett would laugh, and you, at home, you'd say,

This is the greatest thing I've ever seen.

They were like having a ball together,

and so I thought it was cool.

But then the first cast on SNL was like,

We're not 'The Carol Burnett Show.'

We take this serious, man.

If you laugh, you're out.

And it was kind of a rule.

And somehow that rule got broken.

And now they, everyone's laughing all the time, you know?

[Timothee laughs]

How about you, Timmy?

Do you ever laugh?

Did you get caught off guard and laugh?

You know, I mean...

You go pretty hardcore.

You are committed.

My boy, Chaz, from way back, he got guap.

I'm like, Damn, man.

Skrrt, skrrt!

You was in Yo Gabba Gabba?

Yeah, one episode like 10 years ago.

Damn, bro, respect.

You a legend for that one, fam.

[chuckles] Damn, that's the whoop thing.

That was ridiculous.

That one was hard not to laugh through.

But I miss that feeling.

You know, you get that feeling all the time growing up,

where you're in situations

where you're not supposed to laugh, like in school.

Oh yeah.

To all the kids in this audience, that goes away, man.

Like, you don't realize those are the most lucrative,

comedic opportunities of your life.

Remember, they had the rap, the rats were driving

and rapping in the commercial?

Wait, wait, whoa, you mean the Kia hamsters?

Yeet, yeet, yeet!

Skrrt, skrrt, skrrt, skrrt!

Uh-huh, okay, so no rappers then.

I mean, I like TikTok.

I remember seeing that the first time, I loved it.

Love it, you're smooth out there, man.

You're on SNL, you're so calm and cool, it's crazy.

I remember the last time I saw you in the hallway

between sketches, which made me feel good, man.

You gave me a pat on the back.

Yeah, you were rolling.

You were like an apparition.

Tell me, man, how has Saturday Night Live changed

procedurally or backstage or the vibe since you started?

It's always been the same.

Like when you were there, that same energy,

where you're having the best time of your life,

and you're also panicked outta your mind.

You're like, This is a one-shot opportunity.

Is that Eminem?

Yeah, and it's just, you gotta do the best you can.

You try to stay focused.

Sometimes your brain spins, and you're like,

Oh, let's get back in it.

Man, it can go away, it comes back.

It's that energy.

I think it'll always be there.

You just go, Let me enjoy this moment, man, and-

Be in it.

Do you get nostalgic for that rush ever or no?

When I left the show, the first year, I couldn't watch it.

I couldn't watch it, it just breaks your heart.

I guess it's like when you play sports or whatever,

and all of a sudden, you're like, you leave

and you see the game keeps going, you go,

Oh, they didn't need me, man.

It breaks your heart a little bit,

but I don't say I wanna get back out there

and do one of those again, but I do remember the times

and remember the friends I met,

and like all of us became so close,

and I love 'em all so much that I'll never forget it.

It's like being on a team.

It's like you guys got this little weird connection

the rest of your life, it's cool.

[upbeat music]

[VCR clicks]

[VCR whirs]

[triumphant music]

Hi, Julian, how you doing?

I'm Scuba Sam, Scuba Steve's father.

You see, my boy needs to take a bath.

The only problem is he's afraid to pay the loan.

So I was wondering if maybe you could keep him company

in the tub.

Amazing movie. Thank you.

And I'm happy for Dylan and Cole, but I feel like

that should have been me 'cause I would've been,

I would've been the same age. You would've been so good.

Did you come in and audition for that?

No.

[Adam laughs]

But now, when you were making Big Daddy,

did you have a sense that it was gonna be as huge as it was

or no?

We had a low, low budget,

and we made some good, old cash on that one.

That was a good time, man.

[Timothee laughs]

Immediately spent it all, but that's okay.

But honestly, it was one of the best times ever.

Actually, that was the, my wife, Jackie,

that was the first movie she, me and Jackie was my waitress

in that movie.

We kinda, we met, it says on the internet,

we met during that movie, but that ain't true.

We met at a party, and we fell in love.

That was fun, but then she was in Big Daddy,

and we had fun flirting, but honestly, take it easy, Timmy.

I'm just-

No, it's just-

I'm flirting with my wife right now,

but that movie was really one of,

I didn't know if it was gonna do good or bad,

but I had the best time, had the best time making it.

All you have to do is work hard

and don't tell a soul about the Scuba Squad,

'cause then everybody's gonna wanna join.

And that scene in particular was from my real life.

I loved this doll called Diver Dan when I was a kid.

And I lost Diver Dan, and apparently I was very upset,

Timmy, and my father had a scuba suit in real life.

My dad, Stan the Man, dressed up as Diver Dan's father.

I lived in an apartment in New York.

And he knocked on the door.

My mother said, Somebody's here to see you, Adam.

And it was my dad dressed in this thing,

and he had a mask on, and he was like,

Are you the boy who was taking care of my son?

And I go, Yeah.

And he goes, I just wanna say thank you.

He's back with me now, and he came back with me,

but I wanna just personally thank you.

He really had a great time with you.

And I was like, Yeah, no problem.

[audience laughs]

And that was it, and I always loved that.

And then my family talked about that story forever.

And so when we were doing Big Daddy,

I tried to make sure we put something like that in there

for my pop. Wow, that is so sweet.

Yeah, thank you. Wow.

[upbeat music]

[VCR clicks]

[VCR whirs]

[dramatic piano music]

That sounds different, did you change it?

[Elio] Well, I changed it a little bit.

Why?

I just played it the way Liszt would've played it

if he'd altered Bach's version.

Play that again.

[Elio] Play what again?

The thing you played outside.

It's very strange for me to watch that with you because

[Adam laughs]

you were obviously attached to play Oliver for a long time.

[Adam] Yes.

And then you dropped out at the last second.

Well, the only reason I didn't do it, I was,

when Timmy kissed me in the audition, I went,

I don't like it.

It's weird watching that.

Just, even in this setting, that whole summer

was like a fever pitch.

And there was no clue that movie

was gonna have any reception.

I remember that Luca wanted to do it in one shot.

And it was the thing I'd worked the most on the piano.

I had a piano teacher named Roberto Solci,

who lived in a cavernous apartment

right below Luca in Italy.

And that's what I remember the most.

You know, it was like one shot,

and there was one crack at it.

[Adam] Crushed it.

Appreciate it, man. It was on the money.

[dramatic piano music]

Speaking of one shot, the very end of that movie,

when you were looking in the camera

and you were heartbroken, and that tune is going on,

and it's like three minutes of you being devastated,

and then the feelings you were feeling, I was,

I couldn't believe how phenomenal you were, buddy.

Man, thank you, Adam. That was breathtaking.

You're the best, kid.

I appreciate it. All right.

[audience applauding and cheering]

Thank you.

[upbeat music]

[VCR clicks]

[VCR whirs]

I'm a nice man.

I mind my own business.

So you tell me that's that before I beat the hell from you.

[feet thumping]

I have so much strength in me, you have no idea.

I have a love in my life.

It makes me stronger than anything you can imagine.

Really, before I ask you anything, I will say,

to actors across all ages, but really, to my generation,

it is one of the most important performances,

important isn't even the right word.

It's like impactful, deeply moving.

I think, because you've ascended to such commercial heights,

and I hope I don't make you uncomfortable

by talking like this, that the people

that aren't really in the know,

like don't understand how impactful that performance was

and how incredible and nuanced and deeply lived in

and heartbreaking it is.

And just thank you, before I ask anything about it,

because really, as a young actor and knowing you

for your comedic work, and then seeing that

thrown against the context of your other work,

I went, Wow, this is a fucking incredible actor.

I hope I can give a performance like this.

Let's, let's, let's figure something out.

Like I said, I'll be home, I'll be home shortly.

Give me a call.

Okay, thank you.

[phone clicks]

That was like, as a 19-year-old,

that was deeply, deeply moving to me.

And at risk of repeating myself,

in the context of all the comedic work you did,

I went, Holy shit, this guy's one of our greats.

I know it's not about awards, blah, blah, blah,

but you should have a golden man in your hand

because man, you're one of the best fucking actors

on the planet, man, and...

[audience applauding and cheering]

Thank you, buddy.

[Timothee] So-

I love you, man.

Thank you for saying that, and thank you all.

I mean it, I mean it.

When PTA gave me the script, I'll never forget,

he came to my house, and he had it in his hand,

and he had like a ribbon around it,

and he said, I'd like to give you this gift.

And I said, he goes, I really think you're gonna do good.

And I said, Oh, thanks, man.

He goes, and I think he said, You mind if I stick around

while you read it?

Oh wow.

[Adam] Yeah.

That's intense.

It was cool, man.

I think he, maybe he went for a drive or something,

but I read it, and I was reading it,

I remember kind of being nervous and going,

Holy shit, this movie's good, man.

Holy shit, like scene to scene, you know that feeling

that I'm sure you had with Marty Supreme,

everything, you go, I get to do that, I get to do that.

Holy shit, like this is as good as it's ever gonna get.

And I just remember-

And in the context of where you were at

in your career then,

did it feel- Yeah.

Did you give any thought to like, Man, every movie

I'm doing is a commercial smash.

Right.

Is this a risk in any way?

Did that deter you?

I think I just got excited even more.

I was like, Yeah, yeah, yeah, let me give this a shot.

This guy's presented me such a opportunity

that I didn't know was coming.

Maybe in the back of my head, when I was studying acting

in college, I was like, I'm kind of prepared

to get to do something different than comedy,

but maybe I'm just gonna be a comedian, I don't know.

I didn't pursue it, you know what I mean?

PTA just kind of like dropped that on me, and I said,

Shit, let me try to do the best I can do,

and then every day was special.

Every day, that guy, Paul Thomas Anderson, you know,

he's one of the greatest of all time,

he was just so sweet about it, pushing you in directions.

But he just saw, he saw the movie in his head.

The whole, he was like tapping his hands.

He knew the music in his head, he knew the cut,

he knew, he'd always just kind of say,

Maybe just move an inch more this way.

I think I'd like it a little more.

Stuff like that.

He was just all over every nuance.

And I knew it was gonna be one of the best times in my life.

You don't have a boyfriend or anything, do you?

[Lena] No, what do you mean?

I just wanted, I just wanted to know.

The Hawaiian, the phone call-

Oh yeah.

Scene, did I read that was unscripted or something,

or that was on the day?

That was just on the day.

We were at a phone booth in Oahu,

and nobody knew we were shooting there.

And they kind of just brought a few crew members,

and he just said, just kind of sneak in there

and try not to be seen,

and there were all real people around us.

And I did the scene, and I was,

I think I was just trying to-

Just you losing your shit in that scene.

I was losing my shit, yeah, exactly.

Mad at my sister in the scene.

And then I was calling the girl I loved in the scene.

And this light turns on when she gets on the phone.

And he had it all, he just had it perfectly rigged,

the whole thing, but it was cool,

that intense feeling of you're not supposed to be somewhere,

and you're doing a movie, and you don't have permission.

And a real parade going by.

It was a real parade, and you wanna get it right exactly.

You know, man, I-

No, I've seen that movie maybe for 30 times, you know?

I love that. Yeah.

It's a remarkable performance,

and I say that like it has its fireworks,

but it's a deeply human performance.

When I say it's remarkable,

it's not like Adam's sniper-crawling on the floor

and screaming.

[Adam laughs]

It's like real, it's just a very human movie, you know?

And just makes you reflect on your own sensitivity

and the people you see in the street or whatever,

and you don't know their story,

and it might be someone that you pass in the street

that's connecting with absolutely no one,

that has a shitty relationship with their family,

that, you know, is venting to a dentist in a closet as-

Right, right, yeah. As he's weeping.

So it's beautiful, man.

Thank you, Timmy.

[upbeat music]

[VCR clicks]

[VCR whirs]

[Paul speaking in a foreign language]

That was a hell of a thing to memorize,

when you're memorizing something in a made-up language,

so I'm always very proud of that.

And Denis had me memorize it in English too,

so there's versions of that that are normal spoken word,

but that sequence, I'm so proud of.

And I basically wrapped filming part three

four days ago, three days ago in Abu Dhabi.

[audience applauding and cheering]

Yeah.

Congratulations, Timmy.

I appreciate it, and it's moving to me

that something as out there as Dune,

I'm talking about the themes even in the book,

what a psychedelic story it is,

has taken this personal resonance on for me,

even like almost tearing up a little bit, watching that,

'cause I've just finished like four days ago, this.

I've grown up through those movies,

and that sequence in particular, you know,

a movie like Marty Supreme or A Complete Unknown,

every day, it feels like, okay, I really gotta bring it.

[Paul speaking in a foreign language]

Dune.

Lisan al-Gaib!

On Dune, by nature of how huge the production is,

you might have two days or three days

where there's not much is demanded of you,

but I always circle that scene.

I was like, Okay, this is my-

Right. Shot,

and I wanted to prove to Denis and myself,

okay, in a movie of this size, you know, doing a speech

in a made-up language in front of 800 people,

you know, whatever, that I can own it,

and I'm so proud of that

'cause I remember even calling a good friend of mine

the night we shot that, I went,

Man, that went fucking awesome,

you know? Wow.

And-

That's cool.

That was awesome, man.

Words don't do it justice.

Yeah, that was just watching you take over.

You can get to that level in real life.

You're a strong bastard, but it was just nice to watch that

and just go, every extra, every person there on the set

must have been like, What the fuck is happening right now?

This guy is strong, bad-ass, smart.

I'm gonna follow this guy.

You look like a leader, just a powerful leader.

You were so cool.

I appreciate it, Adam.

[Adam] It's bad-ass.

And also, it was satisfying, 'cause the, you know,

the first film didn't have, for Paul Atreides,

that climactic moment, so it felt like I was building to it

for years, and now, you know, if I'm in the streets,

someone will go, Lisan al-Gaib, you know,

which is more humiliating than it sounds.

[Adam laughs]

[upbeat music]

[VCR clicks]

[VCR whirs]

Guys won me my phone.

That's one, that's fucking one.

Look at that, look at that, right out the fucking gate.

The man, the man's feeling this, yep!

[Commentator] That Rivers wants to see.

[Howard] Go, get it, get it.

[Commentator] Guarded down low against-

Go, go, finish it, finish it.

Hey, yes!

All right, that's fucking it.

[VCR clicks]

Yeah.

[audience applauding and cheering]

That was like what you felt with Dune 2 when you fucking,

you went, That's my day.

I remember that in the script, going,

Holy shit, this is the big one, let's go.

This is as much a question for you,

but as much as for your family, but do you react

to sports, you know, live like that, or...

In the ballpark, yeah.

I'm a little nuts, a little nuts, right?

Josh has seen me watch a game.

I get kind of worked up.

With the Yankees, I am very, very loud.

Did you have someone in mind when, you know,

'cause he's such a degenerate gambler, if I could say that.

Yeah. Did you have someone

in mind in the public sphere or in your personal life or-

I mean, you guys wrote it, Ronnie and Josh,

and I gotta say like, we did so much research on it

and met so many jewelers and so many people

throughout the process, that I was taken from everybody.

We hung out a couple of nights

with guys with gambling problems who were fighting

with being gamblers, who went to Gamblers Anonymous,

or who were going through it at the time, trying to quit.

And we had like full-on hangs, and I talked to them

and got what they were feeling and what, you know,

the ups and downs of their lives

and how high they get and how down it gets

and how much it spoils their families' lives,

And just, I brought all that into it.

And also, being a sports fan did help.

Tell me about your working relationship with Josh.

Did you feel like he pushed you outside your comfort zone?

Yes, yes, yes, yes, 100%.

I gave myself to, to Josh, Ronnie, Benny.

I gave myself to them.

I mean, I was older than them.

That went out the window.

They knew exactly what they wanted.

We were kind of teammates on it,

like I'm sure you guys became teammates.

We were teammates.

We saw, we started seeing this, the same movie in our heads,

but they saw shit I never could think of.

And Josh would lead me and Benny and Ronnie,

we'd have all these talks throughout the process.

And I would just say, Yeah, yeah, yeah, that's cool,

what a great idea, let me try that, go for it.

And yeah, I'd be scared to do some shit

and feel like I couldn't do it, or I felt foolish

or felt like maybe I don't wanna be seen like that or maybe,

but I just dove in and just-

Was an awesome performance, man.

[Howard screaming]

Holy fuck, yeah!

They fucking bombed.

I was scared, I read it, and Jackie read it.

We were in bed, I was like, I'm fucking a little nervous

being this guy.

And she's like, Do it, this is so good, man.

You get to really try something different and go hard,

and it's different than anything you've ever done.

And then I sat, we went out for a hamburger, and we shot,

hey Darius, we talked about the whole of script,

and we were just discussing shit.

I just got more and more excited,

just how fucking excited they were.

These guys just make you so comfortable

because there's just nothing they're not thinking about.

You never say something that, and you see them go,

Oh, I never thought of that.

They're just like, Yeah, yeah, yeah,

blah, blah, blah, blah, blah.

You know, they got an answer, and we just jammed,

we jammed, it was fun, man.

[upbeat music]

[VCR clicks]

[VCR whirs]

Yeah, these chords I learned from a cowboy

named Wigglefoot.

You were in a carnival.

[gentle guitar music]

You are so completely full of shit.

First of all, the shirt off is fantastic.

Every movie, your shirt's off.

I'm like, There he goes again.

Did you play guitar growing up?

No, but I had, you know, five, six years

to get ready for that, and there's COVID

and all sorts of stuff. Oh, yeah, yeah, yeah.

You were just-

I appreciate it, but I really can't,

you know, even picked one up the other day,

and it's not like 100% fresh level by any stretch.

But you remembered it when you picked it up?

Yeah, but it, you know, I could do chords.

I can't do like, you know, you're doing like solos and-

Yeah, but you were picking like a guitar player.

You look good, you're like-

Yeah, there was some finger-picking patterns I picked up.

It's weird to see that back.

Like, I remember that scene, and particularly,

being an extremely hot day,

but something about doing a biopic

and also being deeply a fan of who you're playing,

I feel like I love the movie, I'm deeply proud of it,

but it's one of the few things I'm in

where like the experience I had doing it,

no, it could be the best movie made of all time,

it'll never match the experience.

I had this weirdly trans, also 'cause Bob

is just this incredible artist,

and it was this weird thing, man, like the cry I had

at the end of that movie was heavy.

What were you feeling, what was it, what, what-

And I felt sad, I felt like it was five, six years

coming to a close.

And I felt like this man's great work had passed through me.

And I felt really humbled by it and also gave me confidence

at how to approach even stuff like this.

And you watch Dylan's interaction with the press,

the way he carried himself,

things that are very hard to do today

because we live in such a fractured

media environment. Sure.

So everyone's clamoring, but I try to remind myself

of this, he's like this North Star, man,

like these people that break through

and become icons of pop culture, but they're not vain.

And it's like, you gotta like cherish them.

Like Frank Ocean, I've said that a million times,

you're like, when these people break through,

you gotta cherish them.

Your songs are like an oil painting

at the dentist's office.

[gentle guitar music]

You're kind of an asshole, Bob.

I love Dylan, I loved and I loved your performance,

and I loved getting to see his world and what you gave us

and the depth of what Dylan was and relationships

and knowing that he was just a guy.

I love her saying, You're an asshole,

and he's like thinks about it, like you did it,

and he's like, Yeah, you're pointing out something

that's kind of true.

Playing someone where the other character

declares you an asshole, you know, and lead characters,

especially in commercial movies,

those are kind of hard things to come by.

I think back to some of the early Pacino movies.

Almost every early Pacino role, and you're like, you know,

the ambiguity of, or even like Killers of the Flower Moon,

that's maybe a weird reference

in regards to what I'm talking about,

but the moral ambiguity of the thing, I'm so proud of that.

[upbeat music]

[VCR clicks]

[VCR whirs]

Maybe your memory's trying to tell you something

about your present.

Like what?

I don't know, I'm tired.

I just had a fight with Daisy.

I wish I was there

to help him. What did you say, what?

What, nothing.

This is the second movie I did with Noah.

Noah Baumbach is awesome.

He's one of the greats,

a great human being, great writer, great director.

And he called me a couple years ago,

said he's writing this movie.

He said he's writing me as a manager.

And I just said, Okay, great, I can't wait to see it.

And then in the back of your head, you go,

Fuck, that's coming, that'll be good.

And then he handed me the script

and told me Clooney was playing Jay Kelly,

and I just got excited, to have had so many scenes in it

that were exciting to do and get deep on.

And I didn't know Clooney, I knew him a little bit.

You know, I played basketball when I was young with him,

but I never really got-

No way, he balls, no way.

[Adam] He's great.

Actually, really?

Oh, he's freaking, he's good.

He's a real real athlete, he's a tough dude,

he's a tough dude.

And then we played ball when he hosted SNL.

He took the whole cast.

I think we rented out like a YMCA or something.

And Farley and me and like Nealon

and a bunch of goofy comedians,

we all went out and played ball with Clooney,

and he was fantastic, so we knew each other from there.

Then I went to a Knicks game with him.

Got, you know, I just got to know him through the SNL week.

And then throughout my 30 years here in LA,

I'd bump into him, and we'd have fun saying hi.

And then, but I never really knew him,

like, you know, when you do a movie with somebody,

it's a daily event, you become family.

And this guy was so cool, such a great spirit,

such a smart bastard, never gives up.

Every scene, he's so involved,

wants to do the best scene possible.

So my job in the movie was to love him

and try to protect him as his manager.

What are you getting at?

I'm just saying, Ben, for instance,

flies home every weekend from the show to see his family.

Ben, Ben Alcock?

I'm not comparing him.

It's hard not to feel like you are.

I'm just saying these are the decisions we make.

I've worked with millions of great people over the years.

I have agents, managers, publicists, all that stuff.

So I took it all in there and wrapped it up.

But it was, I was just trying to make sure Clooney knew,

no matter what, I had his back and his character,

and that was my job.

And then, in the movie, it's kind of messing my family up,

the amount of time he's taken away from me as a superstar

and doing his whatever the hell he wants to do.

My character had to kind of say,

Okay, I guess we're doing that.

The movie's about, for me, it's his life and what he's done

and what he's done right and what he's done wrong

and how it's affected his kids.

And I see that it's affecting my family,

the way he wants to live, and it's about trying to think of,

this is the right path for me.

[upbeat music]

[VCR clicks]

[VCR whirs]

Hey, it's Marty Mauser.

I'm in the royal suite.

I saw you in the lobby yesterday.

[Kay] Okay.

Yeah, we made eye contact, I was being interviewed.

[Kay] [scoffs] I don't recall.

Well, I'm a huge admirer.

Josh gave me this opportunity, man,

where, I'm not gonna look at him when I'm saying this,

but where I feel like he empowered me to be something

I would almost be wary of being in this world,

in this day and age,

which is to be sort of openly aspirational.

To your point earlier, you know, I feel like the gift

of my life is to focus on this acting thing

the way Marty Mauser's locked in on ping pong.

There's a path of living in fear,

there's a path of coasting,

and then there's the path of being locked in.

So this movie's the opportunity to do that.

I'm so proud of this, and I'm grateful to Josh, man,

that he gave this opportunity.

[Kay] Okay, can I help you with something?

Maybe, I just ordered one of everything

off the room service menu.

There's no way I'll be able to eat it all alone.

[Kay] Ah.

It is ridiculous, it's so fresh.

Your character is so fresh.

He's the coolest, most confident bastard

that he's just never gonna take no for an answer

with anybody, but so sweet about it and charming

and still a family.

Nobody's seen a movie like that.

I love that.

I saw it with my family in the cutting room.

Josh and Ronnie let me watch it, and I watched it

when he was putting it together, buddy,

and you're hysterical in the movie.

You're funny as shit.

Man, I appreciate it, and it was an opportunity

that Josh and Ronnie cooked up that's playing a, you know,

a morally questionable person, but that Ronnie and Josh

never took a judgmental attitude on.

That's right. So, on set,

even in the questionable moments, they're never going,

Oh, you're playing a dick, you know,

or, This guy's compromised, you know?

[Kay] Perhaps I should send my husband instead.

Oh sure, he can come up here,

and I'll come down and meet you.

[Kay] Okay, wonderful, thank you.

Whoa, whoa, wait, I wanna keep talking.

Josh said someone had said this to him,

Marty Supreme's really a movie about being an idiot

in your 20s and having that false confidence

to go after a married woman, in the moment you just saw,

and, you know, the responsibility-less life

that you can lead in your early 20s,

especially if you're driven and outta your mind

and egomaniacal at times, and I think that's what you see

in that scene.

You know, again, I don't wanna say too much,

but it was just thrilling to not play a role

that's supposed to be ethically redeeming, necessarily,

and not not that either, you know?

And that's not social commentary.

What about that look, though?

How did that happen?

[Timothee] What do you mean, what look?

Just the way you looked in the movie, that face,

the decisions on the eye-

Well, that was Josh.

That was like two hours

of fake pock marks every morning and-

Yeah.

Josh wanted my eyes beadier in the movie.

So I'm wearing contacts, think negative four, negative six,

that offset my vision.

So I wear real glasses on top of the contacts.

Wow.

Which is like a, you know, a huge fishbowl effect.

But Josh wanted that, you know, and it was well worth it,

you know, 'cause it drives the look of the character.

It allowed me to rush Darius, our brilliant DP,

'cause I could say to him, you know,

I got these contacts in, man, my eyes are burning.

You know, we gotta set up the shot.

Yeah, man, that makes sense.

[upbeat music]

[VCR clicks]

[VCR whirs]

This can feel like, you know, sort of pretentious,

patting each other on the back kind of thing.

But to get up to do this with Sandler,

this is like a man who's actually kept American cinema,

like he's actually put it on his back, you know?

[audience applauding and cheering]

So-

Love you, Timmy.

Thank you, thank you, guys.

And what you are doing and what you continue to do

for cinema and for all of us, you just are beyond,

beyond it all, man.

You're just, cannot wait to see what you bring

in the future, but let's just enjoy Marty Supreme

when it comes out, it's a 10, it's a 12.

It's a 12, I love it.

[Speaker] Yeah!

[upbeat music]