Matt Damon

Summary

Podcast Summary
Good Hang with Amy Poehler
The Ringer
Episode: Matt Damon (July 7, 2026)

Overview
This episode of Good Hang is an energetic and intimate conversation between Amy Poehler and Matt Damon, with a special pre-interview cameo from director Christopher Nolan. The discussion centers on Damon’s career, his enduring professional partnerships, the challenges and joys of filmmaking (especially for Nolan’s new film, The Odyssey), reflections on aging, teamwork, creative process, collaborations with friends, and what makes life and work meaningful in midlife. The tone is warm, humorous, thoughtful, and self-deprecating, full of anecdotes, laughter, and honest talk about the realities of show business, family, and personal growth.

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Key Segments & Themes

[00:00-02:38] Opening & Christopher Nolan Interview Setup

• Amy sets the table: Episode will focus on Matt Damon’s career, particularly his new starring role in Nolan’s The Odyssey, long-lasting friendships, teamwork, pranks, reality TV, and why Damon hasn’t directed yet.
• Before Matt joins, Amy brings in Christopher Nolan to talk about casting Damon as Odysseus and to provide a backchannel question for Matt.

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[02:38-14:14] Christopher Nolan on The Odyssey & Damon’s Qualities

• Tea preferences as icebreaker ("I don't do anything without tea." – Nolan, 02:41)
• Nolan discusses tackling a legendary story like The Odyssey:
  • “You have to trust that what people want from you is your most sincere attempt to do justice to the material… with seriousness and an appreciation of the original text. But it has to be your own interpretation.” (Nolan, 03:32-04:37)
• Why Damon as Odysseus:
  • Cites Matt’s empathetic ability to pull audiences in, combined with an “iconic, superhero presence.”
  • “He also can project an iconic, frankly superhero presence...to do such disparate things and sort of fuse them into a character was exactly what I needed.” (Nolan, 05:02-06:56)
• Behind-the-scenes detail: Damon’s tattoo revealed at a wardrobe fitting (“I thought my bare bicep days were over. And I said, okay, fair enough. The truth is, I think they’re just beginning.” 08:06)
• On Nolan’s creative/life partnership with Emma Thomas: praises her as producer and co-creator (“Calm, clear, you know, we’ll get through this. We’ll find a way.” 10:50)
• Nolan’s lingering question for Damon: “Why hasn’t Matt Damon directed? … He’s so knowledgeable… He knows more about everything on set than anyone… holding in his head what everyone’s doing… which is why he’s such a great collaborator.” (11:26-12:50)

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[15:02-16:47] Matt Damon Joins: The Odyssey, Age & Personal Resonance

• Reaction to The Odyssey: huge scale, loud, “sticks with you… meditation on aging.” (Amy, 15:39)
• Damon on layers of meaning in the story:
  • “There was a guy who worked on the film named Duff, who was a Navy SEAL, and... he said, I think this is the best movie about PTSD that I’ve ever read or seen. I think that’s why [The Odyssey] survived for 3,000 years, because it works for everybody who encounters it at a different place in their life.” (Damon, 16:47)

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[18:05-22:35] Midlife, Joy, and Partnerships

• Damon on what's great about this stage:
  • “There’s a greater sense of calm. When Ben [Affleck] and I started our company...it’s the most joyful thing, our dream since we were kids.” (18:22-19:13)
• The lifelong partnership with Affleck:
  • “There was a deep and abiding love and respect underneath everything.” (20:09-20:50)
• Value of trust and creative shorthand (“Then things that we’re like, this is really important, we have to get this right.” – Amy, 22:02)

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[23:44-28:26] Growing Up in Boston, Education, Teacher Influence

• Comparing sibling dynamics with Ben Affleck; ties to The Beatles.
• Boston roots: feeling of “getting out” vs. staying.
• Sweet banter about Boston identity, Red Sox victory in 2004:
  • “Once we won that game, I knew I had to watch every single moment on that couch by myself. Cause that was the lucky thing.” (Damon, 25:46)
• Conversation about Damon not finishing Harvard; started Good Will Hunting in school; impactful professors encouraging him at a key moment.

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[28:26-32:47] Work, Joy, and The Hardest Shoot Ever

• On the evolution of work and choosing projects for joy over pressure.
• Shooting The Odyssey described as more "expedition" than film:
  • “The hardest movie I’ve ever done… but so joyful. It felt more like an expedition.” (Damon, 29:26-30:22)
  • Shooting Cyclops scene: in an actual cave, with a 60-foot puppet, “not CGI – as practical as possible, like David Lean would have done it” (31:26-33:30)

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[37:05-42:59] SNL, Pranks, and Collaboration

• Reminiscing about hosting SNL (“I love doing it. That first time... Bruce Springsteen’s the musical guest, so I did it.” 37:05)
• Recounts old sketches with Amy, Rachel Dratch, and Chris Parnell ("That's the whole joke. It’s a name." – Matt, 39:18)
• On showbiz collaboration: “I always just defaulted to the better. The thing is, you’re making the better for everybody.” (Matt, 41:53)
• Prefers creating ensemble work and taking roles in good movies, not just leads.

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[43:57-48:57] Collaborations with Icons: Robin Williams & Philip Seymour Hoffman

• On Robin Williams: “Overflowing with generosity… took our work so seriously. He did a lot of takes, wanting to make sure he got it.” (Damon, 43:57, 44:28)
• The legendary “son of a bitch, he stole my line” Good Will Hunting moment was improvised by Williams ("I grabbed Gus... You know when a piece of dialogue falls from heaven." – Damon, 46:12)
• Discusses working with Philip Seymour Hoffman on The Talented Mr. Ripley: “When you’re working with a great actor, they’re great enough for both of you… you just get transported.” (49:39-51:01)

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[51:39-56:57] Theatrical Aspirations, Ocean’s Movies, and Soderbergh’s Genius

• Interest in Broadway (“Once my youngest is out of the nest, I’d definitely do it… not a great parenting schedule right now.” – Damon, 51:43)
• Ocean’s movies: “So fun… just a wonderful group of people… nice run of life for us.” (53:07-53:35)
• On Soderbergh: “He’s like he sees the Matrix… the scene we shot that day, fully scored, as it would appear in the movie, would be on my iPad by evening… it’s like, the only excuse an actor has if you suck is, ‘I didn’t know what movie I was in.’” (55:31-56:58)

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[57:22-59:03] Acting Direction & Process

• Soderbergh helping Damon align performance, e.g., “Do it like an awards acceptance speech.” (58:25)
• Lesson: Authenticity is great, but only if it fits the tone of the movie.

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[60:26-62:22] Physical Demands and Midlife Wellness

• On training for The Odyssey at 50+: “Complete lifestyle change. Just put your foot on the gas, that’s it.” (60:26)
• Discovering gluten sensitivity changed his life.
• “Odyssey 5”: if he got five hours of sleep a night during the shoot, it was a blessing.

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[62:58-64:46] Directing Dilemma – Why Hasn’t Damon Directed? (Nolan’s Question)

• Damon has almost directed several times (Promised Land, Manchester by the Sea), but logistics or better fits with other directors made him step back:
  • “As a producer, I made the movie better.”
  • “I think Kenny [Lonergan], you gotta do it.”
  • “The only person I’m giving this role to is Casey [Affleck].” (63:21-64:42)

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[65:10-68:25] Family Joy, Comfort Viewing, & Water.org

• On fatherhood to four daughters: “They’re my favorite people… a side of the human experience I didn’t have access to before.” (65:48)
• Comfort watches: “Usually Will Ferrell’s movies… in our house, you can’t go wrong with him.” (66:57)
• Damon’s Water.org work: “If you see anything that says Get Blue… proceeds go to water.org… sustainable solution; 92 million people helped so far.” (67:40)

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[68:40-71:58] What’s Making Damon Laugh? Reality TV & Teenagers

• Daughters love Love Island; whole family watched Temptation Island with friends.
• “It did not disappoint. … These four couples… and all the guys come in and rip their shirts off.” (69:23-70:07)
• “I have a feeling someone’s gonna bump up… just from a writing perspective, I can tell you we’re gonna need some… a little more conflict.” (71:00-71:58)

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Notable Quotes & Memorable Moments

• “You have to trust that what people want from you is your most sincere attempt to do justice to the material…” (Christopher Nolan, 03:32-04:37)
• "[Ben and I] should make every single movie we can together. … There was a deep and abiding love and respect underneath everything that was never in question.” (Matt Damon, 19:48-20:50)
• “I think that’s why [The Odyssey has] survived for 3,000 years, is because it works for everybody who encounters it.” (Damon, 16:47)
• “As a producer, I made the movie better.” (Damon, reflecting on not directing, 63:21)
• “I always just defaulted to the better. The thing is, you’re making the better for everybody.” (Damon, 41:53)
• “When you’re working with a great actor, they’re great enough for both of you… you just get transported.” (Damon on Philip Seymour Hoffman, 49:39-51:01)
• “Usually Will Ferrell’s movies… in our house, you can’t go wrong with him.” (Damon, 66:57)
• “If you could get five hours [of sleep], you were thrilled.” (Damon on shooting The Odyssey, 62:04)

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Timestamps for Key Segments:

• [02:38] – Nolan on tea and tackling epic stories
• [05:02] – Why Damon was cast as Odysseus
• [10:46] – Nolan on Emma Thomas and creative partnership
• [11:26] – Nolan’s big question: Why hasn’t Damon directed?
• [15:39] – First impressions of The Odyssey; aging themes
• [18:22] – Damon on the peace of midlife and creative joy
• [19:48] – The long partnership with Ben Affleck
• [25:33] – Where Damon was for Red Sox’s 2004 win
• [29:26] – Joy and hardship of shooting The Odyssey
• [37:05] – SNL hosting memories
• [43:57] – On Robin Williams
• [49:39] – On Philip Seymour Hoffman
• [53:07] – Ocean’s movies & Soderbergh
• [60:26] – Getting physically fit for Odysseus at 50+
• [62:58] – Why Damon hasn’t directed
• [65:10] – Raising daughters, comfort watches
• [68:40] – Damon’s family reality TV habits

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Conclusion
This warm, insightful episode is a mosaic of creative process, personal growth, aging, friendship, hard work, joy, collaboration, and family. It’s an engaging portrait of Matt Damon at the height of his career, sharing honestly about his journey, the people he loves working with, and the things that keep him laughing and grounded. If you’re interested in Hollywood stories, legendary partnerships, or just hearing two wisecracking Boston natives reflect on life, you’ll find lots to savor.

Transcript

[A]

This episode is brought to you by Allstate. Checking Allstate first could save you hundreds on car insurance. Not checking how long that recipe takes before you start cooking. Well, that's how you learn that simmer for four hours is buried halfway down the page. Yeah, checking first is a good idea. So check Allstate first for an auto quote. It could save you hundreds. You're in good hands with Allstate. Potential savings vary subjects to terms, conditions and availability. Allstate North American Insurance company and affiliates non Northbrook, Illinois. Hello, everyone. Welcome to another episode of Good Hang. I'm very, very excited about our guest today. It is a superstar and that star is Matt Damon. Matt Damon is joining us, Boston's own so good at so many things. Such a professional and in the peak of his career in a huge movie. And we're gonna talk about a lot of things today. We're gonna talk about long lasting professional relationships and how important they are. We're gonna talk about hating pranks, but loving a little bit of reality tv. We're gonna talk about shooting in caves and working with giant puppets. And we're gonna talk about the Odyssey, the new film that is out. The giant new film by Christopher Nolan that he is the star of. He plays Odysseus. He's on the journey, babe. But before we get to talking to Matt, we are gonna talk to somebody who knows our guest who wants to speak well behind their back and give me a question to ask them. And we have a great get. We've got filmmaker named Christopher Nolan. He is on the rise. Keep an eye out for this kid. He's doing great work. And Chris Nolan is joining us and we are very, very excited to talk to him. And let's see if we can get him on the zoom. This episode is presented by Allstate. Checking Allstate first could save you hundreds on car insurance. Not checking how long that recipe takes before you start. Cook well. That's how you learn that simmer for four hours is buried halfway down the page. Yeah, checking first is a good idea. So check Allstate first for an auto quote. It could save you hundreds. You're in good hands with Allstate. Potential savings vary subjects to terms, conditions and availability. Allstate North American Insurance Company and affiliates, Northbrook, Illinois. How are you doing? Hi, Chris. Nice to meet you.

[B]

Nice to meet you.

[A]

Oh, are you pouring some tea?

[B]

I am. I didn't do anything without tea.

[A]

I also am a excessive tea drinker. What's your brand?

[B]

Earl Grey.

[A]

Oh, I see. I Enjoy a black tea. Who makes your Earl Grey?

[B]

Twinings.

[A]

I see. Have you heard of Barry's tea? Yeah, but you don't. Like.

[B]

I would say that. I wouldn't. I don't want to upset the Irish contingent, but. No, but every. Every country, every nation has their own particular blend. Twinings works for me.

[A]

Well, thanks for talking today. I'm very, very excited to talk to Matt. Congratulations on another incredible film.

[B]

Thank you.

[A]

How do you compete with the imagination of people who have read and studied the Odyssey? I mean, it's like you're competing with the idea of the Odyssey in a way.

[B]

I mean, you can't. And I learned this. We all learned this. Who worked on the Dark Knight trilogy. You couldn't compete with people's idea of that amazing character. And at the time, 75 years of history behind it. This is 3,000 years. People imagine these words. So you can't compete with it. What we realized, addressing character of Batman, and I brought it very much to the Odyssey, is you have to trust that what people want from you is your most sincere attempt to do justice to the material, to do it with a seriousness and with an appreciation of the original text. But it has to be your own interpretation. Certainly I, as a film go, respond to that and other people, if I go see a movie. And I realize that people have loved this and have really tried to give you an experience and try to put something across in the way that they really believe is great. I think people cut you a lot of slack for that because, yes, you cannot compete with people's own imaginings when they read a text.

[A]

If we are to care that Odysseus makes it home, we need to care about the person trying to make it home. We need to just feel like they even care about home. And there's something about Matt as just an actor, I think, that's innate in him and able to express that. What made you cast him in this film?

[B]

Well, you know, I'd gone to nine or 10 other people by the time I got that.

[C]

Him on the Lynn.

[B]

No, the truth is, I actually don't think about actors when I'm writing. I try not to. I try to really just live through the characters in the writing process and then come out the other side and go, okay, how's this going to work? Who. Who are we getting for this? And Matt really immediately popped into my head because you're looking for this, what you're talking about, that kind of empathetic ability to draw the audience into a character's dilemma and he has that openness, he brings the audience with him, but he also can project an iconic, frankly superhero presence. I mean, he's, you know, he's the guy from the Martian or We Bought a Zoo and then Good Will Hunting and then he's Jason Bourne. And to be able to do such disparate things and sort of fuse them into a character was exactly what I needed. Also worked with Matt twice before and I knew that the way we wanted to take this on and what was really important to us in making the Odyssey was to try and get out there and find a way to bring the audience with us, put the audience on the deck of his ship and climb mountains and go into the Cyclops cave with him. So, you know, I needed a partner. I needed somebody who would leave from the front and just dive in and do all of this crazy stuff without complaining about it. And he's just such a wonderful place in his life of Korea. He really appreciates what he gets to do. He understands how good he is at it, I think, you know, in a really comfortable way, in a really great way. And he just leads from the front. He gets everybody inspired with him. And I think without that, you know, we would have crashed and burned horribly. From a practical point, you can't have

[A]

an Odysseus complaining that it's cold or it's late or. And I mean, you put him through the wringer.

[B]

Put him through the wringer. And what's fun about working with Matt is, you know, he's a great writer himself. You can have really, really specific and detailed conversations about script and about how we're going about things. But he also doesn't, he doesn't talk for the sake of it. You know, he doesn't want to just use you as a sound important hero's own ideas about the character. He sort of goes off and figures out who he is and then brings that to the floor, which is, yeah, really fun to deal with.

[A]

Well, he has to go rest because he has to work out a thousand, do like 5,000 sit ups a day because you're insisting on making this, let's face it, middle aged man.

[B]

Yeah, he was exactly the right place in his time of life and everything to do it. And I actually

[C]

had a moment with

[B]

him at his first wardrobe fitting. We'd been fitting all of the supporting cast, all the guys who play his crew and some younger actors and everything. And they all come in and they've all got tattoos, which is a nightmare for a period film. It means hours and shakers you have to cover all that up.

[A]

Yeah.

[B]

And then put the costume on, and then rain and wind and the costume will rub it away. And I. You know, and I thought, okay, well, he is, you know, he takes his shirt off the fitting, and he's got a fucking tattoo. And I was like, not you as well. Like, what? And it was, you know, very small, tasteful tattoo, you know, of his children and all that, you know, and he said to me, well, to be perfectly honest, I thought my bare bicep days were over. And I said, okay, fair enough. The truth is, I think they're just beginning, but, you know, so, yeah, little extra time in the chair.

[A]

Do you have to physically train to get ready for a film, too? I mean, it is exhausting to be directing. You. Like, do you do. Do you physically train when you're getting ready to go on set?

[B]

No, I don't, but no, it's actually kind of a natural process of it, because what happens before you shoot the film on a film like this is you start jumping on planes and getting in vans and driving all over the place, and you. You go off to scout to find these places. And I do that with my designer. Just the two of us. We go off and gradually we add people to that group, and we make multiple trips, but we cover thousands and thousands of miles, and we're just constantly climbing up hills and, you know, all that. And the first couple trips are bad. You know, I'm like, well, not up to this. Like, how is this going to work?

[A]

And you're doing that thing where you're like, I know it's beautiful, but maybe. Maybe Odysseus.

[B]

Maybe something a little closer to the hotel. Exactly.

[A]

Well, congratulations. It's just such a triumph. And everything you make is so incredible and just what a career you've had. And I ask my guests a question from someone I speak to beforehand, and we talk well behind their back, and then we ask a question of them. And I want to get to that. But just one last thing before I do, which is your wife, Emma Thomas is so instrumental in the stuff that you make. Such a badass. So incredibly talented. And I don't really have a question other than I just want to remind people of your beautiful union.

[B]

I'm just thinking right now, I wish I'd asked her to leave the room before I did the interview, because she heard all that.

[A]

Well, Emma, if you're there, I will

[B]

never hear the end of it.

[C]

Emma.

[A]

I mean, just like, hey, Hi. You're such a badass. He's Never gonna forgive you for that. I mean, it's so cool how you guys work together and what you do together and how you work together. I have such great respect for Emma and her work.

[B]

Well, me too. No, that's really. I love everything you say, that's all.

[A]

I mean, no question other than how. Isn't it great to be married to such a cool lady?

[B]

It is very great to be married to such a cool lad. It is very great to have such a great producer on the film. So, I mean, you take something like this, it would be really unthinkable without her. Calm, clear, you know, we'll get through this. We'll find a way. Sort of sensibility. So. Thank you for bringing that up.

[A]

Yeah, of course. So do you have a question you think I should ask Matt specifically about the project or about him or anything you want to know about him, big or small, that you don't feel like, you know.

[B]

There is a question I've tried to ask him before and I've never got. Ok. A clear answer. So I think you might have better luck, which is so Matt, as I'm sure you know. But he's obviously an amazing actor, wonderful movie star, as well as we talked about. He's also a great writer. He's an Academy Award winning writer, as he occasionally reminds me something in the script, but. And a fantastic producer, produced, you know, best picture nominees, all the rest of the films he wasn't in. You know, everything. And I'm pretty curious and I haven't got a straight answer from him about this as to why he hasn't directed.

[A]

Ooh, great question.

[B]

It's something he could have chosen to do. He's so knowledgeable. You know, you get on a set with him. He knows more about everything on set than anyone. Well, almost anyone. I'm going to claim a little bit more knowledge of what I want to do on my set. But he's pretty. He's. He's pretty in control of every aspect, holding in his head in terms of what everybody's doing, which is one of the reasons he's such a great collaborator as an actor, because he's not just looking at his part, he's looking at how what he's doing is advancing the story. And he's very, very cognizant and respectful of all the other things I'm trying to balance in terms of how the scene we're doing interacts with the rest of the narrative.

[A]

Okay, I'm gonna ask him that and I'm going to say that you said that he would make a great director.

[B]

I don't know if I actually said that. I was curious as to why he doesn't try maybe notice something. I think he know he. Yeah, he has such. He has such a clear ability to be able to step into that role if he wanted to. So I'm curious. I mean, maybe there's. Maybe there's something about him that I don't.

[A]

Have you ever acted?

[B]

I have far too much respect for what actors do to try and tread on their toes.

[A]

I know we always say on a set everyone should just do everyone's job just for one take.

[B]

Yes. I think nobody's afraid of being the director. They all think it'd be a great kid. Yeah, everybody is to do it.

[C]

But I think that might be the

[B]

answer you get from Matt. It might be that he knows so much about it and he's seen so many people do it that he doesn't fancy sitting in the hot seat.

[A]

Yeah. Awesome. Awesome. Well, thank you so much for your time. Thanks for your incredible work. I'm gonna let you get back to your tee. I know it's sitting right under frame and we all know any good director, they've set up the tea in the beginning. We need to see that tea very soon. Cause it's gonna be a big part of the story. Thank you. Emma, if you're still there. And really nice talking to you. Thanks, Chris. Pleasure.

[C]

Nice talking to you.

[A]

Yeah, you too. Bye. Bye. Take care. Bye. This episode is brought to you by Subaru. There's something about being on the road that has a way of leading to those unexpectedly memorable little moments. And in the all new 2026 Subaru Hybrid, it's like the destination isn't even important. It's the drive, baby. And let me tell you, I'm in that car and I feel like a million bucks. Quiet ride, comfortable. Love my Subaru. Can't get enough. With up to 581 miles in the Subaru Forester Hybrid and even more 590 and the Crosstrek Hybrid, you can go further between stops and stay in the moment longer. Visit subaru.com hybrid to learn more. The Subaru Forester Hybrid and Crosstrek Hybrid love goes the extra mile.

[C]

Woo hoo hoo.

[A]

We were just talking about. We just got to see. We got.

[C]

I'm so happy. I have talked to so few people who've seen it.

[A]

Oh my. I mean I feel really lucky that we got to see it.

[B]

Great.

[A]

And it was so great to be able to see it. Like, congratulations thank you. It is such a huge movie.

[B]

Yeah.

[C]

It's by far the biggest thing I've ever been anywhere near.

[A]

It's gonna be big. And it is big. And it's so loud. It's a really loud movie.

[C]

Get.

[A]

Bring. IMAX is intense.

[B]

Yeah.

[C]

Yeah.

[A]

IMAX is intense.

[B]

Yeah.

[A]

It's incredible.

[B]

Yeah.

[C]

The whole experience was like that. It was just. It was awesome.

[A]

Matt Damon's here, everybody. Sorry. We're jumping into the Odyssey, but I wanted to start there because lucky enough to get to see it, I've been thinking about it a lot. It's one of those things that sticks with you, of course. Cause it's, like, in many ways, probably the most famous story ever told. I watched it, and it's been swirling around in my head, obviously, because of what it represents, but I'm thinking about it as this meditation on aging.

[C]

Okay, no, no, I hear you.

[A]

And I agree, because you and I are the same age. It feels like there's this moment in life now where it's like there's a past and all of the wreckage or whatever joy and love and drama that comes with that and trauma that comes with the past. This, like, real present that, like, is really hard. And there's, like, a lot of people. You're taking care of aging parents, kids, and then this version of how people think we are. Or are we still the version that people think we are? It's a very cool. I've been thinking about it a lot because it's just really hitting me at this age. Does that resonate at all?

[C]

It definitely does. And that's what I love about this movie and about the script. Like, he's a really underrated writer. I think, Chris, because he's such a brilliant director, that it kind of overshadows his writing. I've read three of his scripts now. Cause this is the third movie I've done with him. And they're just so well written. And thematically, this touches on so much. And why I love hearing that is because to different people, it's gonna mean completely different things. And where you are in your life, where we both are in our lives. That piece will resonate with us. But, for instance, there was a guy who worked on the film named Duff, who's a Navy seal. And we were on the boat one day out in the middle of the ocean and sailing back. And he just turned to me and we. About the screenplay. And this is without having seen the movie. And he said, I think this is the most. The best movie about PTSD that I've ever read or seen. So I think it depends on where you are and where you've been. And that's what's so great about the Odyssey, is I think that's why it's survived for 3,000 years, is because it works for everybody who encounters it. Encounters it at a different place in their life. And it's got some resonance for them.

[A]

I ask this to people my age. Cause I've found that this life is getting better. And it certainly feels. I mean, from the outside, not knowing your life. It feels like you've been able to just keep making more stuff that you enjoy. And, like, just growing as an artist and all that stuff. What is great about being our age?

[C]

I think. Honestly, I think that. I think that, look, the business we're in is tough. And I think, you know, the first time we met and worked together, we were probably in our late 20s, early 30s.

[A]

And.

[C]

And you don't know how things are gonna work out. You know, there's so much up in the air, and there's a lot of pressure. And, you know, there's a lot you want to do. There's a lot you feel like you have to say.

[A]

Everything feels ahead of you.

[C]

That's right.

[B]

Yeah.

[C]

And then I think the place we're at now, or at least speaking for myself, is a place. There's a greater sense of calm, I think. And really, like, when Ben and I started a company together a few years ago. It was partly because we were like, we. What are we doing? This is the most joyful thing, our dream that we had when we were kids. Literally children together. Teenagers.

[A]

What, you met, what, 10 and 8 or something?

[C]

10 and 8. But then we really were bizarre kids who were serious about acting. And we were in the Union. And at 16 and 14 years old, we were going to New York together to audition for stuff. And our friendship was, you know, founded on quite a bit of common experience. But that was central to it and very unique to the two of us. And here we are 40 years later, and it's like, we should make every single movie we can together. You know what I mean? Because it's the most.

[A]

It's an unusual. You said this before, that you're really good at partnerships. And it feels like Chris is another one where you're like, I'm really good at picking people who can be partners in my life. And the fact that you guys still work together this many years later. And that you love working together, it's unusual. It's just like, what do you like about working with them.

[C]

I think for us, we've experienced so much of life together. It's not a friendship that could ever be replicated just because we grew up together, which meant we were together all the time, writing a screenplay together. And I think working together is. One of the great things about writing with him was always the fact that there was a deep and abiding love and respect underneath everything that was never in question. It was very helpful. And when you're working creatively with someone because you're not worried about their feelings,

[A]

and I mean, I imagine you guys have a pretty quick shorthand about what works is. Nothing is taken that personally when you're creating something ever.

[C]

And it's just the allegiances to the thing that we're making. And we're trying to get there as quickly as we can and as efficiently as we can. And there's a deep trust. You can get hung up on an idea sometimes, you know, as a writer and dig in. And sometimes you can be wrong. And if you have somebody that you trust that much, they'll also hear you out. And they're humble enough to know they might be wrong, too. So it's just a very easy experience. And it also ends up being just really fun because you're doing it with. For me, it's like, you know, my closest friend for 40 years, 45 years. It's like, who else would I want to hang out with and do.

[A]

Yeah. Tina and I went on tour this year. We've been friends now for, like, over 30 years. And we have a similar dynamic, which is we just work so well together. Like, we don't care about the same thing. Like, we don't. Like, we have similar things that we don't stress about.

[C]

Right.

[A]

And then things that we're like, this is really important. We have to get this right.

[C]

Right.

[A]

There's this theory that the age you meet people like you were Ben's eight. I'll compare. I'm going to compare you guys to the Beatles. So get ready.

[C]

It's coming from you, not me.

[A]

Paul McCartney. No, you said, I had to, Paul. You squeezed my arm when you came

[C]

in and you said you had one note that came before me.

[A]

I got slipped a note. And you said, you call me Paul McCartney before the scene is over. But no, but it was like, Paul McCartney is a couple years older than George Harrison, and they always had an older brother, younger brother dynamic just because they were two years apart. Do you guys have an older brother, younger brother dynamic? No. Like, same age dynamic?

[C]

No. And in fact, Ben is an older brother, and I'm a younger brother, even though I'm older than him. So I'm sure we fall. And I've noticed that my wife is also an older sibling. And there's something about that, I think, that makes it easy. You naturally fall into your role, like, as a younger sibling. I had one, my big brother, and he was like a God. And it was just like, I just had to follow him around. My mom, she worked. She was like. My brother joined the YWCA swap because his girlfriend was on the YWCA swim team. So I had to join the YWCA swim team. You know, doesn't matter. Like, I could swim. Okay. Didn't love it. But, you know, I was on the swim team. Yeah. And so. But it never occurred to me that I could protest.

[B]

Right.

[C]

You know what I mean? Whereas an older sibling is questioning everything because they're the ones who are kind of trailblazing and they're kind of responsible.

[A]

You can tell an older sibling right away.

[C]

Yeah. For sure.

[A]

You really can. And they're also translating life to their other siblings, even though they could be, like, 12 months older than you. And they're like, here's how it goes. Yeah, yeah, yeah.

[C]

Here's the thing about this.

[A]

But you brought up your mom. My mom is a teacher. Both my parents are teachers growing up. Your mom is an educator, Author, like, academic. You guys grew up in Boston, as we know. Famously. I also did. Sometimes you do feel like you got out.

[C]

Yeah, yeah.

[A]

And people are like, good for you for getting out. You know? And sometimes they're like, I'm still here. And you're like, that's great. I have no judgment about that. That's fantastic. Your life is great. And sometimes they have a feeling about it.

[C]

Well, Krasinski has this great character called Bitter. Boston guy, must be nice. And he leaves occasionally voicemails. And they are just. But it's like, no, Good for you. Good for you, good for you. No, I know. I'm sure you're real busy, Amy, with your big life and everything. And from what I understand, you're bi. Coastal now. I mean, not to Boston, but to New York. And I get. And it's just. And it's one of those. And it goes on and on for, like, five minutes, and I'm just crying by the end of these things, you

[A]

know, I said to myself, if I go up there and talk to her, she's not gonna wanna talk to me.

[C]

She probably won't remember me.

[A]

She won't Remember me. But I remember you. I remember you. And good for you. And then lastly, on behalf of all Bostonians, I'm sure you've talked about this a lot too, but I don't think I know. On behalf of all of us, where were you when we won in 2004, when the Red Sox won?

[C]

I was so. I was making a movie called Syriana. And that was shooting at the time in Dubai. And I was watching all the Yankee games on. In fact, I was in Geneva during. When we clinched against the Yankees. And I was supposed to work the following week in Dubai. And George Clooney, thank God, was a producer on the movie. And I called him immediately and he said, I already redid the entire schedule. You can go home.

[A]

No way.

[C]

So I came back. I landed at jfk. I was living in New York. I landed at jfk. The game was just starting. I made it to my apartment by like the second or third inning. And we won that game.

[A]

Yep.

[C]

You know, obviously we won all four. But once we won that game, I knew that I had to watch every single moment on that couch by myself. Cause that was the lucky thing.

[A]

Oh, you watch it by yourself.

[C]

Absolutely. I was just like. Well, I didn't want to jinx anything.

[A]

We used to scream at my mom to leave the room. She walked into the room. She couldn't. She was holding the laundry.

[C]

She had to hold it the whole time.

[A]

Totally.

[C]

Yeah. And I do feel like something psychically changed for all of us when that happened.

[A]

I know it did for my family, my dad. It felt like a release of a long awaited something. It felt like the Odyssey.

[C]

It did. This can't be true. But it is.

[A]

Wait a minute. Is the Odyssey about that? Wait a minute. What did your mom think about you not finishing Harvard?

[C]

Bo, by then, I mean, I was working.

[A]

But you were really close to finishing.

[C]

I was. I was. In fact, I probably did five years of classes there. Cause I would go. And then there was one semester. The last semester I left, I was two weeks away from the end of the semester. So I'd done everything. All I had to do was take the finals. But the rule was, at the time, at least, you had to take your finals at the exact moment they were offered in Cambridge. And I was like, I'm number five on the call sheet. You think I'm gonna shut a movie down for three hours? Four different times? I just had to eat the semester.

[B]

Damn.

[A]

Do you ever have a fantasy about going?

[C]

I think I used to. Like, there was a. But I also, you know, I was an English major and in fact I started writing Good Will Hunting for a class. I just had wonderful professors and that professor really encouraged me to keep going with it. And I didn't know I'd never tried to do that. And in fact, I wrote. We were supposed to write a one act play and I wrote the first act of a three act movie. But at that point I'd already been leaving and going, you know, I mean, I was kind of out in the world working, so I wasn't like sweating grades the way I was kind of in the. I was kind of out of the pipeline. And I was really in school for myself at that point. And I went to the guy and I said, I think I failed your class, but this is the first act of a movie. And he read it and he gave me a straight A and he just said, don't stop, keep going. Like, he gave me all this encouragement. And that was when I just took it out and showed it to Ben.

[A]

And it's so cool because you can also tell that respect you have for teachers in the film. Like it's in Good Will Hunting. And we grew up around educators and like, we're saying the obvious, but it is still wild how people can remember the teacher. Oh my God, the three teachers.

[C]

I had multiple teachers.

[A]

Me too. That were like, you're doing good. Hang in there. Just those like positive reinforcements about anything you were doing. So, okay, you guys moved to Hollywood. Congratulations, you win an Academy Award, you do good. While hunting everybody's favorite movie, give the best speech ever. You bring your mom's. It's incredible.

[C]

And we didn't have a choice.

[A]

But from that moment, like where, you know, you've been working to your point, what you were saying, you've been working for a long time. We know you then we meet you then. And I'm the same age as you. I'm watching you, like be my age, like entering into some system. And you're from Boston and it's like, oh, okay, we don't have to live near the game to be in the game. Basically. What is your relationship to work now? Because when you're young, like we talked about, you're like, I want to do this and this. And then you start getting these things then, like, so then what is your relationship? Are you tired? That's a long question asked, but I'm personally asking for myself, dude, sometimes, I

[C]

mean, yeah, but I think that's where this. I, I feel like, and for both Ben and me, that we are at the same time. Kind of stepped into this new phase of life and really felt it. Yeah. What is that new phase that we just wanna work on? It's about, really, the pursuit of joy in our lives and in our work. And, like, this movie, I never would have. I think, 20 years ago, I would've bitched a lot about, you know.

[A]

I don't think that actually hits home.

[C]

It was, like, the physical discomfort in making this movie that everybody. Everybody had to go through, the entire crew. So the experience of doing this movie, though, it was the hardest movie that I've ever done, by far, was so joyful. Yeah, it really was.

[A]

That's amazing.

[C]

And also, it felt more like an expedition than a movie because of how we made it. And to know that every single person around was weathering those same difficulties and pushing themselves, like, it's just this feeling of being a part of that team of people was just. It was one of the best feelings I've ever had.

[A]

That's very cool. I mean, you're making me think of that Sanskrit idea that life is what you say it is, basically. So you can be like, this is the worst. This is the hardest thing. And this is the. Or you can be like, this is the most incredible opportunity I'm getting to do.

[C]

Yeah. And I definitely, from the moment Chris gave me the part, I felt that. Because first of all, he. First of all, it's one of the great roles of all time.

[A]

Yeah.

[C]

And he was gonna make this thing at the scale that it deserved to

[A]

be made and pretty practical, right? Practical like, that's gonna make it the

[C]

way David Lean would have made it. The way somebody would have made it

[A]

80 years ago for people that are gonna see it. And you guys can tell us if it's too spoiler and we'll cut it. But, like, there's scenes where Cyclops is. You're meeting Cyclops, who, by the way, I was proud of myself. I was like, is that Bill Irwin?

[C]

You got him right away, huh? Yeah. Yeah. He's amazing. He's amazing.

[A]

Rachel getting married, amazing. And I was like, oh, my God, is that Bill Irwin's face that I find out is a giant puppet?

[C]

Yeah.

[A]

What the fuck? That is wild.

[C]

It's really wild when you realize we shot it in an actual cave and so there's no soundstage.

[A]

That's wild.

[C]

So we would hike to this cave, and it was called Zeus's cave. They say it's where Zeus was born. And we would hike up to this cave and the rigging that the guys did in this cave they basically turned it into a soundstage almost. You know, there were. I mean, it was just the amount of work that went into doing this was like.

[A]

And I bet you shot at places that no one had ever been allowed in. And like.

[C]

Or that nobody would be crazy enough to try to shoot in was what it really was. Like, honestly, I would go. Every time I would go, I would show up and I would start laughing. I would be looking like, you gotta be kidding me.

[A]

You're like, we're going up there.

[C]

Yeah, that's fair. Yeah. Like, so what are we shooting? Well, we're not shooting anything till we get up there. Cause that's where everything is. So.

[A]

Yeah, that's wild.

[C]

So that part of it was. That's what I mean about an expedition. And it was. And we were all in it together. We all hike up the mountain and. And in that cave that was. Chris was like no 60 foot puppet. And so basically he does as little special effects as humanly possible, which means you can do quite a bit without CGI and where he needs it. He understands what year he lives in. And he has the absolute best special effects teams. They really help try to figure out how we can do everything, almost just about everything in camera.

[A]

This episode is brought to you by Visible. Folks, it's officially summer. Whether you're planning summer travels or staying home to watch all the action in the villa, you need a wireless network that keeps you connected and you don't have to splurge. With Visible, you get unlimited 5G data and unlimited hotspot powered by Verizon for just $25 a month so you can save and order some extra spritzes this summer. Visible is more than just a wireless plan. It's unlimited wireless, designed to always keep you connected. And there's no contract to tie you down. Switch [e-mail] plans start at $25 a month. Or get the premium Visible Plus Pro plan and save $10 on your first month. When you use promo code, hang terms apply. See visible.com for plan features and network management details. This episode is brought to you by CarMax. Thinking of selling your car, but still a little unsure if or how? Start by getting an online offer from CarMax. It's a real offer worth real money, but there's no pressure to take it. CarMax gives you up to seven days to compare offers and think it over. And when you're ready to sell, they'll pick the car up directly from your home. Get a real offer [e-mail] at home. Pickup not available in all locations. Distance restrictions and fees may apply. This episode is brought to you by Pure Leaf. Picture this. It's 3pm the day started. Strong. Spirits were high, goals were set. And then something happened. Your energy evaporated. Your motivation clinging on for dear life. Bring yourself back with Pure Leaf, a real brewed, naturally caffeinated iced tea designed to help you take on what's next with bold flavor and just enough natural caffeine to snap back into it without the jitters. Time for a tea break. Time for a Pure Leaf. This episode is brought to you by American Airlines. You'd think sitting on a plane with just a couple of hours between you and your vacation would be reward enough. But American Airlines said, what if we gave them even more? With the American Airlines Advantage program, you earn miles not only when you fly, but with thousands of your favorite brands. And then redeem those miles for flights, upgrades and experiences worldwide. That and Advantage members also enjoy earlier boarding and free high speed WI fi in flight. Join for free and start earning towards your next [e-mail] Amy Much like I compared you to Paul McCartney, I'm going to compare the Odyssey to SNL. But SNL is SNL. That's another thing that I told you. But similarly, there's few places left that's like, we have a show tonight and you know, cause you've done it hosted many times and you're like, everyone's just, it's like comedy emergency room. Everyone's doing the best version that they can do in the time that they have. And therefore everything feels really human. It's very cool that way. Like things feel practical and tactile and stuff. And you've done the show a bunch of times. And I don't know if you remember the first time you hosted. I think it was like 2002. I was like my second year there. I have a great picture of us, me and Dratch. And you have your arms around us. We look like 10 years old. We look like babies, such babies. And we're all like the whole world. But it was. I remember just starting when you came and I remember that exact feeling of like, holy shit, look at all these talented people trying to make something like real and human. Basically. What was it like to. What is it like to do that show? Do you like doing it?

[C]

I still remember. I love doing it. And that first time, the reason I did it, Patrick, my agent called me and said, you're hosting Saturday Night Live. And I said, oh, okay. But I don't have anything coming Out. And he goes, no, Bruce Springsteen's the musical guest. We're gonna get to hear two songs from Bruce. So I was like, oh, yeah, we're huge fans of Bruce Springsteen. So that was really why I did. And I remember going on the Monday night for the. You know, the little pitch in Lauren's office, and everybody pitches these ideas. And then everybody went, let's go to a bar. And I was like, guys, we have 90 minutes to do by Saturday. Like, how are you people so calm? Like, I couldn't.

[A]

There's like a push where people have to, like, force. Force panic almost to get anything creatively done.

[C]

I was fully panicked on Monday, but then Tuesday night was the night everyone and I stayed up. They were like, you're welcome to stay as long as you want. I stayed up overnight till like, five in the morning, popping into different rooms and writing with people and, you know, and love that part of it. And then from the read through on Wednesday, it's just. You're just shot out of a cannon.

[A]

Yeah. It's done in five minutes. Yeah. And the minute you're done, you're like, okay, I got it. Let's do it again. And it's like, it's over.

[C]

The rush that you get is incredible.

[A]

Yeah, yeah, yeah. I actually. We were looking up some stuff. Cause I was like, what did I do with Matt? And there's a sketch that I do not remember it. And I.

[C]

There's a better chance I'll remember it

[A]

because I have zero memory of it. I. You played a doctor. I saw it, and I was like, no idea what the joke is. Sorry, I can't. I got to get my commercials off my YouTube.

[C]

Is this the one where Parnell.

[A]

Where we're.

[C]

Where we're on it, where it's everybody's name? Matt Damon. Is that the joke?

[A]

Maybe that's it. It sounds like that's it. All I know is. Okay, here we go.

[C]

Excuse me. I hate to bother you, but are you Matt Damon?

[B]

Yeah. That's amazing. That's.

[C]

That's really amazing.

[A]

Barnesy. The Iceman.

[C]

The Iceman. Oh, really? Oh, yeah. They're Dr. Matt Damon. Yeah.

[B]

Chief of oncology.

[A]

Okay, so he's a Dr. Matt Damon.

[B]

Matt Damon.

[A]

This is.

[C]

That's the whole joke. It's a name. Have no idea what it's been like for me. And that's not true. Your identity is not by your name, man. It's about who you are, what you do.

[B]

That's easy for you to say.

[A]

Matt Damon. Oh, my God. Are you Matt Damon?

[C]

Yeah.

[A]

How about Q? This is so weird. My name is Pat Damon. Okay, now we're heightening. We're two minutes in.

[C]

And now we'll do the introduction.

[A]

Wait, you do remember this.

[C]

So st. Stupid.

[A]

Oh, my God, that's so cool.

[C]

And it's totally ridiculous. I haven't seen. That's really funny.

[A]

I did not. I mean, it is. I.

[C]

Well, I remember because I. Look, I think I've hosted the show three times, and I've come on and done guest spots, but that means I've probably done less than 20 sketches in my life, so I think I probably remember all of them.

[A]

You would think you will, but, I mean, I.

[C]

It's so dumb. And then at the end, I think someone comes out and is Dr. Julius Irving. I think that's the point. I think that's the. I have a memory. I forget how it happens, but it's like, Matt Damon. Matt Damon, Pat Damon, Matt Damon, Pat Damon, Matt Damon, Ben Affleck and Dr. Julius Irving. I don't think it played that well. I thought it was funny.

[A]

I know, but it's a good example of, like, you know, there are hosts who, like, you know, especially in your first time, you don't really know the power you have. You know, no one really tells you the power that you have where you can be like, I don't want to do that, but. But there are hosts that are like, I like to pick the funny stuff. And then there are hosts that are like, I wanna pick the stuff that I'm in a lot or that, you know, like. And that's a real ensemble Y sketch. You don't get to do much in that.

[C]

Well, I said. But I always say to Laurent, I want the best show. Like, I just, you know, this last one, I think we cut five sketches after dress, you know, that I was, like, in heavily, and I was like, whatever makes it. Also, you've got a younger cast, and it's like they're trying to establish themselves. And, like, all right, if you've got. Got something for them to do that. You know what I mean? Like, you all have to do this next week, you know?

[A]

Yeah, but a lot of people don't really take that in. And I don't even necessarily mean it's a bad thing. They're just, like, focusing on other, like, things. Like, you have this ability, you always have, I think, to pay attention to, like, the environment that you're in, what other people need. I mean, I think it's what makes you such a good producer. I Think it's what makes you such a good collaborator. Like that isn't always people's process. They just don't know how to take all that in.

[C]

Yeah, I guess I always just defaulted to the better. The thing is, you're making the better for everybody.

[A]

Yeah, very true.

[C]

And I really do think that way about movies too. I don't always take the best role, you know what I mean? I wanna be in a good movie.

[A]

You've been in so many good movies. God damn. I mean, that's interesting you say that because, like, even in Interstellar, that role that you take is a really surprising role to take with.

[C]

Yeah, Chris undersold it to me, actually, because Chris, I was really happy to get the call from him and he, I guess, like, trying to manage my expectations, said, you know how they say there are no small parts, only small actors? And I said, yeah. And he was, this is a small part. So I was like, okay. But I read it and I was like, no, this is a terrific part. Like, it's a really great. I mean, it's not big, but it's a really good part. Really good part. And so, yeah, it's always about if there's something I feel like worth doing, it doesn't have to be the biggest thing.

[A]

Yeah, I mean, you got to work with so many amazing people. If it's okay, I want to just ask you about a few because some of them we talk about here a lot. And some I had the pleasure to either meet or work with. And I love talking about them. And you've talked about him a lot. Can we just talk about Robin for a second? Because I had the experience, as I'm sure you did, of feeling like I got to watch him use his gift to make young people feel like they had some kind of future in whatever they were doing. That was basically. He would come. Robin Williams would come and improvise at UCB and like, like jump in the theater, the improv theater that I was a part of. And he would just show up. I mean, people would lose their minds. He would show up and he'd talk to 20, all of us 20 year olds, like, we were like, smart and funny and like, change our lives. What was he like? What was it like to work with him when you were so young?

[C]

Yeah, he was like that generous. Like, that was just his. That's just who he was. Yeah, it just like overflowing with generosity, like as a. A creative partner to work with, to do scenes with. And obviously this was something that we'd Written. We'd been holding onto this thing for five years. And how seriously he took it, how prepared he was. Interestingly, he was very. He did a lot of takes at his.

[A]

What did he feel like he didn't have it? Like, would he want more? Because he wasn't quite sure if he was having it.

[C]

Yeah. And I remember Terry Gilliam telling me, like, Terry Gilliam gave him. After they did the Fisher King. And Robin's brilliant in that movie.

[A]

Amazing.

[C]

And Terry gave him a report card at the end. And it had all these different things, like creativity, you know, energy, all this stuff, you know. Hey, hey, hey. Late night phone calls F. Cause Robin would get home and he would call.

[A]

He was a ruminator.

[C]

He was a ruminator. And there were things. We went back and did another pickup of a thing, and we'd shot it 15 times already. And Ben and I knew we had it. Gus knew we had it.

[A]

Yeah.

[C]

And he just. And I think that might be the comedy background where it's like, I'm gonn refine this joke.

[A]

Yeah, there's always a joke.

[C]

There's always something more that I can grab in there.

[A]

Yeah.

[C]

And he had this, like. You know, and he was, like, indefatigable. Like, the guy just had so much energy. And so we went over budget in film. I remember every day at lunch, we would send out to Kodak. They'd come back with more film. Because we were burning through a lot of film, really, just for him to feel like we got it. Yeah. You know, I mean, Ben and I knew, like. I mean, even like the last line of the movie that was not written, he was just supposed to come out and read a letter. And it was just supposed. The camera was supposed to sit on him for as long as he wanted. As he thought about this boy driving out of town, and he's on his way, you know, he's gonna go see about the girl and Robin. We left the camera rolling and we were shooting up at him. And. And I was right next to the camera. Cause every time he came out, when he opened up the letter, I said it so that he could hear my voice. And so Gus and I. The director was standing, and you were

[A]

standing by camera today.

[C]

And he wasn't meant to look at me, but just so he could hear me. And he must have done 15 takes. And he'd put the envelope back, and he'd put it back in the mailbox. And then he'd go in and we'd still be rolling, and then he'd come back out and he did, you know, a few without saying anything. And then he just started improvising lines. And unlike the ninth line, he opened the door and he looked and he read the letter and he said, son of a bitch, he stole my line. And I grabbed Gus. I mean, it's like, you know when a piece of dialogue falls from heaven and you just know. But Robin went back in and he did it five, six more times. He came back. And I remember Ben wasn't on set that day for some reason, or maybe he couldn't fit up where we were. And so he was back, and I just couldn't get to him fast enough to tell him. You're not gonna fucking believe what he said. Listen. And Ben, the second he heard it, like, that's it. Yeah, like we knew. Like, that's the. But Robin must have known because it came out of him. But, like, when that line comes out of me, if ever I'm lucky enough to come up with something on the spot, that just comes out in the moment and it works. I know it. And now I'm a dog with a bone. You know what I mean? I'm not gonn.

[A]

That is the thing I love about improv, I have to say, is it's like so many ideas are flung around, and a lot of them are jewels and they're just thrown for free. Like, it's like, here's 10 more. And you're like, whoa, whoa. These are like, let me pick these up. Like, each one could be interesting, but, like, when you're with, like, an incredible improviser, it's like, I have a million of these. Like, these are never gonna go away.

[C]

That's what. See, when I wrote. I wrote a movie that not many people saw called Promised Land with John Krasinski and John. And because John's like, Ben, he's got a supercomputer on board, he goes really fast. And I'm much more. I don't know, I got a Commodore 56 or whatever, so my processing chip isn't quite as fast. And so John would throw out a line of dialogue. We'd be sitting in the kitchen writing, and he'd throw out a line of dialogue. And my face would do something like this. And John would read that as he hates it. And then he'd give me another one, and then another. And then now he's given me four, five lines of dialogue. And I just go. I'm like, stop. I'm still on the first one, John. I think the first one's really good. Now I Gotta think about all these other ones because I think they're really good too. Just give me a minute. And I think, yeah, you're right. They're like jewels that are falling on the ground. And I'm like somebody who wants to pick up each one and go like, we're gonna put this thing together like a Swiss watch.

[A]

And that's why I think sometimes it's always. I mean, it's interesting to watch people be able to be okay with that speed and stillness. It's what like film actors do so well is they allow things to just stay. And when you're coming up in like from a comedy perspective, like speed is where you get your self esteem to everything. And you just have to sometimes just like stop. You just have to just stop. With that in mind. What was it like to work with Phil Hoffman? Who like, what an incredible actor. What was it like to be. Cause your character is really. You have to square off with him in this way that is. I mean, he's so intimidating.

[C]

He's so good in that movie. He's just. I mean, he's good.

[A]

Talented. Mr. Ripley. Yes.

[C]

He's great in everything, but holy shit, he's good in everything. Talk about a role where you come in and I mean he. That scene, the scene where he comes back where I kill him in towns of Mr. Ripley.

[A]

Spoiler alert. Spoiler alert. Spoiler alert. Odyssey. Until he.

[B]

He.

[C]

I loved him because he, you know, we'd re. We'd rehearse. There was a whole month of rehearsal and we got to know each other and. But I hated him so much that day.

[A]

Yeah.

[C]

You know what I mean? Because that's how he. It's like he like built the energy for that scene. It was like a fucking Marvel superhero coming out of him and sucked me right into it. And we had this day of working where. And we liked each other, you know what I mean? But that was not. That wasn't in the room. And I just remember it's that I've said. I say it all the time because it really is the truth. When you're working with a great actor, they're great enough for both of you. And it's like just. Just paddle into the wave and stand up and that's it. And you just get transported. And that was what he was. I mean, he was just phenomenal. Phenomenal.

[A]

Yeah, he's incredible.

[C]

And his theater company was great. I used to go and see them.

[A]

Did you ever do anything like, did you do a lot of theater in New York when you Were.

[C]

No, no, I was working already. And the last play I did, in fact, Phil was there. We did. He. I think he was doing Jesus Hopped the A train or he was directing it, I can't remember. But we were all over. And then Gwyneth was doing Proof, and Casey Affleck and I were. And Summer were doing this is Our Youth. And we were all in the West End in the same summer. And none of us saw each other's plays because we were on the same schedule, but we were all. It was like the Ripley reunion kind of. Right. And I think Jude was, like, doing something that summer, too, but we were all.

[A]

Do you ever get a. I'm sure you get offered all the time. Do you ever want to do something on Broadway?

[C]

I've thought a lot about it. It's the schedule that until my youngest is a freshman and once she's out of the nest, I would definitely do it. It's just not a great schedule for parenting.

[A]

It's a crazy schedule. All the SNL ladies are on Broadway this summer. Like, they're all, Dratch is in Rocky Horror and Ana's in Schmegadoon. Amaya's doing oh, Mary right now. I'm like, watching them all do it. And we've had a bunch of Broadway actors on here. Having the hardest part of your day be the end of your day every day, sometimes twice a day, is brutal.

[C]

Yeah.

[A]

So hard.

[C]

And I remember Even this is 20 something years ago doing that play. And I love that play, and I love Kenny Lonergan. But this elation coming off stage, when things went, when it was like, oh, my God, that was something. And then that would last like five minutes. And then I'd go, I have to do this twice tomorrow. And I remember thinking, why didn't someone just film. You guys are making this so unnecessarily difficult.

[A]

We can be in the can, we can be done. We could be in Toronto. We could show it in Toronto.

[C]

We should be at the festival. What is happening? Yeah, but. But yeah, I mean, I. You know, Cheadle's doing. Is doing Proof right now.

[A]

Yeah, that's right.

[C]

Saw that. And he's fantastic.

[A]

But how fun were those Ocean's movies, by the way? Speaking of Cheadle, that looks like, I mean, what a boondog.

[C]

Well, you guys, Steven Soderbergh.

[A]

Yeah. He was the one that had to make them. And you guys were like, having cappuccino and he was like, can we. I mean, God, they look so fun. They look so cool.

[C]

They were really fun. And it was just a wonderful group of people. And we. And the group changed. You know, it's like as the movies went along, then suddenly people were married, people had babies, we were loaning diapers to each other. You know what I mean? It was just a nice kind of run of life for us.

[A]

Yeah, you mentioned Clooney. We have a fun thing with. I don't know if you remember us and Clooney and you. Because what a Hollywood thing. I just said we have a fun thing. Me, you, and Clooney. No, but when. When we poked fun at him at the Golden Globes. He's got a great. As do you. Great sense of humor about himself. Do you know this? That he made stationary?

[C]

Yeah.

[A]

Okay.

[C]

So not the first time he's done this.

[A]

And by the way, and I've told. I've said this to his face. I'm not talking behind his back. I don't like pranks. I don't fuck with pranks.

[C]

I'm not a prank guy either.

[A]

I don't know.

[C]

I know.

[A]

I don't. It makes me stressed.

[C]

He loves them enough for all of us.

[A]

He does. Yeah, he loves them all. And I'm like, don't do your weird pranks on me. And he's like, oh, okay. And anyway, Tina and I hosted the Golden Globes. We made a joke that now that you were in tv, you were basically a garbage person. Cause you were there for just TV and you weren't in the movie section anymore. And you of course, laughed and played along with it. George Clooney made stationary pretending he was you and sent us like a strongly worded letter saying that really hurt our people.

[C]

Really, really hurt my feelings.

[A]

Now. Did he tell you he was gonna do it? Okay, got it.

[C]

No, the. The way I found out. And by the way, the only reason I found out was cause you guys sent me some like, fruit basket or something. And I was like. I was so bewildered.

[A]

We were like, we think this is a prank.

[C]

That's right. Yeah. You were honored. Just in case it's not. It's a real fruit basket. But. And then I called one. I think I called Tina. I was like, what the fuck? Cause she lived right down the street from me at that time. I was on the Upper west side. And. And then we, you know, we put it together pretty quickly.

[A]

Yeah, it was Clooney's doings, but yeah, I guess Soderbergh is the one that has to make such a well crafted movie. Movie is.

[C]

So that's him. I mean, I'VE done, I think, 10 movies with.

[A]

So yeah.

[C]

Yeah. I will do the phone book with Steven Soderbergh. I absolutely love working with him.

[A]

And what do you love about working with him?

[C]

Well, he's just. He's is. It's like he sees the Matrix.

[A]

Yeah.

[C]

Like really. I mean, by the time. So when we did behind the candelabra in 2012.

[A]

So good.

[C]

But Steven would. I'd get to work, we'd shoot a scene. I'd go home at like 5 o' clock because Steven operates the camera, is the editor, is the cinematographer and the director. And I'd go home and the kids were little and, you know, we'd bathe them. We'd give them dinner, read them a story, put them to sleep. I'd come downstairs by like 8, 7:30 or 8 o', clock, and on my iPad there was a new delivery And I'd open it up and it was the scene we shot that day, fully scored as it was going to appear in the movie when it came out nine months later.

[A]

Holy shit.

[C]

Yeah. So for Michael and me.

[A]

Oh, wow.

[C]

You know, you're playing this relationship, which is this kind of dysfunctional relationship. It kind of into like drugs and it unfolds over time. And so to calibrate the performance is difficult, but not when you can watch.

[A]

Yeah. What you just did.

[C]

Here's the scene that's gonna happen after this. And here's the scene that just happened before this. I know. And then Steven's like, all right, I'm starting on Michael's face. And you know exactly where you are at all times.

[A]

Oh, God, that feels really comforting.

[C]

It's unbelievable. Unbelievable. It's like. And I always say, like, the only excuse an actor has, and it's a legitimate excuse if you suck in a movie, is, I didn't know what movie I was in. Yeah, that's a totally fair. Like if the director just couldn't communicate the tone and didn't, you know, couldn't. It's very easy to be in the wrong movie. Here's another Soderbergh story. Like, I did this movie with him, the Informant.

[A]

Great movie.

[C]

And. Yeah, I love that one. And. And we shot a scene where my character had to apologize to the entire town. Basically, he stood up in court and

[B]

we had

[C]

the transcript of what he said, and those were my lines. And so we're in Illinois. I think it was Springfield, Illinois, in the courthouse he was actually in. And the entire cast is there. Cause they're all sitting in the gallery and they're the people that I need to apologize to. And so I stand up and I start this apology, and I get legitimately choked up. I don't mean to. I'm trying not to. And I get through it. And Steven's kind of shooting a wide shot on the other side, and I hear, cut. And he walks over, and I'm sitting at the defense table, and he kind of comes up and he goes, no. And I'm like, no. I said, fuck you. No. I go, that shit just happened, man. That was real. Like, what?

[A]

He goes.

[C]

He goes, yeah, yeah. No, no. You're in the wrong movie. And I went, oh, okay. Get me in the right movie. And he sits there and he thinks for a second, and he goes, do it like an awards acceptance speech.

[A]

Oh, incredible direction.

[C]

Yeah. Because it was like, yeah, this was this guy's moment. It wasn't. I'm admitting my. It was. Everyone's here for me.

[A]

Yes, that's right.

[C]

Like, this is incredible. This is like, wow.

[B]

Right?

[C]

And I think that's what I said. Like, wow.

[A]

Yeah. You know, so interesting now.

[C]

Both scenes in a vacuum.

[A]

Also, like, you know, it makes sense that, like, I had a real emotion. Like, I really felt something. Isn't that what I'm supposed to be doing?

[C]

This is connected to the part of me. That's how this is supposed to go.

[A]

Oh, yeah.

[C]

But not if you're in the wrong movie.

[A]

Mm. Okay. And so Christopher Nolan, the Odyssey, we're talking about it. You're back with him again. You've made three films with him. Him. So we do this thing where we. We talk to somebody before our guest comes in and talk. Well, behind their back. And I talked. I got to talk to Christopher and intimidate. I was a little intimidated, to be honest. He's very intimidating. Wore a suit, drank tea, and is so good at directing. And just such a formidable artist and, like, really such a. Like the director of this decade in so many ways. And you know this because you've worked with him so many times, but he's asking a lot of you. And you just said earlier, like, that's the part that you're realizing, oh, I'm not gonna complain about this. I'm actually gonna. I'm gonna decide that this is gonna be the most, like, fulfilling, incredible experience. But it is still a physical experience. Like, it still means that you have to get in probably the best shape of your life. And as a person of similar age, it's one thing running and punching and born in your 30s. It's way different. To be getting jacked in your 50s. It's really hard.

[C]

It's just a complete, complete lifestyle change.

[A]

Right. So everything goes away.

[C]

There's no planning it any other time I tried to do something like that, it was always like, well, my time, my workouts and my thing. And this was like, no, no. Just everything.

[A]

Yeah.

[C]

Just put your feet on. Put your foot on the gas, and that's it. That's the only way to do it. And eat a little less.

[A]

But no gluten?

[C]

No, no gluten. Which changed my life.

[A]

Are you still no gluten?

[C]

Still no gluten.

[A]

You don't have any desire for it anymore

[C]

because of what it does to me. Yeah. I didn't realize the level to which. I didn't know.

[A]

Well, it's funny you say that, because I feel like our generation, like, a lot of food allergies and stuff. Or what. Or sensitivities. We didn't really have that. We didn't talk about that.

[C]

We didn't talk about it. And I didn't realize the level to which it was affecting me and affecting my life. It's completely changed my life these last couple years of not eating it. And so that's made it. It's a bummer. I'm a big fan of bread and beer. You know what I mean? So pasta and pizza and all that stuff. But how I feel is just.

[A]

Just so much better. Yeah. Incredible. Okay. And then sleep. What's your sleep situation? Do you. Do you sleep?

[C]

Yeah. I mean, we do.

[A]

You love to sleep?

[C]

I do.

[A]

You got teenagers in the house, but,

[C]

you know, like, once you had kids, did you ever sleep well again?

[A]

No.

[C]

Like, all the.

[A]

Like, it wasn't until they got older. Like, it was this huge stretch where I didn't sleep for. I felt like, for like, 10 years.

[C]

Yeah. I feel like. I feel like I've been a lighter sleeper, but on this movie, there was, like, me and the Pas. We had this kind of joke called the Odyssey 5. If you could get five hours, you were thrilled.

[A]

That's tough.

[C]

Yeah.

[A]

That's not a lot of sleep.

[C]

It's not a lot of sleep, but it was enough.

[A]

Yeah, it was enough. I get it.

[C]

But I did realize that five is the cutoff. Cause there were some. Four nights. There were some. No nights. I had two nights where I did not sleep.

[A]

Because you were working.

[C]

No, because I got home and I was, like, overly tired and just did that thing sitting there, and I missed the window. And now I'm panicking because.

[A]

And you're like, tomorrow I literally have to lift a rock through the mud.

[C]

Yeah.

[A]

Like, every day.

[C]

I have to do sprints tomorrow.

[A]

It seemed, like, so hard.

[C]

It was hard. It was hard for everybody, though. That's what made it. That's what made it wonderful.

[A]

It's funny you talk about other departments, because. Chris, question for you. He had a question for you, which was basically like, why haven't you directed? He said, and I quote, you would be an amazing director. You'd probably be better than me.

[C]

He lies in interviews. That's his.

[A]

That's what he said.

[C]

That's a lovely thing to say. That's not true, but it's a very lovely thing to say. I almost directed a couple things. I almost directed that movie, promised land in 2012. I ran long on another movie, and I would have had to come home, put my bags down, and leave again. And so I bowed out and then called Gus Van Sant, who then stepped in and directed it. So as a producer, I made the movie better. And then another movie that John Krasinski and I commissioned Kenny to write Manchester by the Sea. And I was gonna direct it.

[A]

Incredible movie.

[C]

And then as it started to come in, I was like, kenny, you gotta do it. And I was gonna play the part. And we were about to start shooting, but we were behind. We couldn't get the production office open. We were five weeks out. And I called Kenny and I was like, I'm putting you in a position to fail here. Let's take a breath. And I didn't have anything for two years, or. I'm sorry. I had work for two years. And Kenny was ready to go. And I was like, all right. The only person I'm giving this role to is Casey. Cause we'd all done the play together in London, and we're all four,

[A]

and

[C]

I'm like, this is the best role that I've seen in a long time. But we were able to get it financed with Casey.

[A]

And he stole that Oscar from you. That's how he returned the favor. He took your.

[C]

I like to say I gave it to him. I'm sure he wouldn't mind that, right?

[A]

Yeah, not at all.

[C]

After ripping his heart open in that

[A]

performance, I allowed you to have it.

[C]

I love it.

[A]

Okay, Lightning round as we end. You have four girls. You've talked so much about how great it is. Do you know the fact the research shows that the more daughters you have, the longer you live? Did you know that?

[C]

I believe it. I've never heard that before.

[A]

Yeah, there's research that says you get a year or something added to your life with each daughter.

[C]

That's great.

[A]

And mothers lose a year for each child they have, so congrats. Yes. Of course. Boy or girl, the dads get. Yes. Doesn't matter. The dads get all the years. Mothers wither away.

[C]

That sounds totally fair.

[A]

No, but having all these women in your life, in your house and all, what's the biggest joy? Speaking about joy, what's the biggest joy about watching them get older and grow up and become real people in the world?

[C]

Oh, wow. I mean, they're just incredible. I mean, they're so different and so different from one another.

[A]

Are they, like, launching into the world now in different ways?

[C]

Yeah. I've got one about to turn 28, one who just turned 20, and then we still have two in the nest. 17, almost 18 and 15. They're just amazing. They're my favorite people, you know, And I feel very lucky that I grew up with just a brother, and it was just a side of the human experience that I just. Just didn't have access to. And I got that in that next chapter of my life, and it's just been beautiful.

[A]

Okay. And your comfort watch, what are you. Like, I was thinking about it. I was like, wow. When Matt's changing the channels and watching movies, there must be a lot of times where you're like, I was in that. I work with that person. I almost got that part. There's a lot of movies that you've been in and a lot of movies that you know a lot about or that you've produced or that. So what is a comfort watch? One that you can watch where you can check out and be like, if it's on, I'm watching it.

[C]

Usually Will Ferrell's movies, you know, like, in our house, you kind of can't go wrong with him. Like, he. We've watched, you know, Stepbrothers and Talladega Nights and, you know, again and again and again. Blades of Glory, too.

[A]

Oh, my God.

[C]

And Will Speck is a great friend of ours.

[A]

Yes, that's right. Will's great.

[C]

That is one that's definitely in the pantheon.

[A]

Oh, my God, that movie. How fun and dumb that movie is.

[C]

It's so genius.

[A]

Okay, and water. How do we fix it?

[C]

Oh, my gosh.

[A]

And this is a speed round. But, I mean, I've been reading the work you're doing. It's incredible. What should we be doing? What can we do?

[C]

You could go check out water.org and you can donate directly or there's this new. We have Get Blue, which we launched this summer, which is if you see anything that says Get Blue on it, if you. Or if there's hoodies and T shirts at the Gap, let's say Get Blue. You can go to Starbucks and get a blue Matcha or a Coconut Refresher. And proceeds from that will go to water.org and do the work we're doing. And we've reached 92 million people so far, which is really something because we do it through microfinance, through these small micro loans. And had we stayed with drilling wells, it would have taken us 600 years to get to where we are right now. So it's scaling, it's a sustainable solution, and there's a lot more to be done.

[A]

And. Amazing. Talk about the Odyssey, man.

[C]

Yeah, that's a big one.

[A]

600 years too long. Okay, so last question. I ask everybody anything you're watching right now that's making you laugh. Video a scene from a show I literally.

[C]

Last night.

[A]

Okay, great.

[C]

So my kids are watching this thing called Love Island.

[A]

Oh, yeah. The teens are obsessed.

[C]

I couldn't do it.

[A]

I mean, I get too much embarrassment.

[C]

Yeah, I couldn't. But before. And then we literally sat down, we had some friends visiting. Then they have a teenage daughter and they're staying with us. And so the kids at dinner were like, we're gonna watch this thing. So we sat down, and it didn't come on till nine. And so we're flicking, and there's something called Temptation Island.

[A]

Oh, yeah.

[C]

And so I run, we look at the little thing, and I'm like, you guys want to give this a shot for an hour before Love island comes on? And, I mean, it did not disappoint.

[A]

Am I wrong that Temptation island is if you make out or have sex, you're out?

[C]

No, from what I could understand.

[A]

Okay, that's. Wait, that's called too hot to something.

[C]

I watched episode one of season two last night, and it was. They introduced these four couples. Four unmarried couples. Yeah.

[A]

Four unmarried couples travel to a tropical island to have their fidelity tested. So they bring in.

[C]

They bring in hot singles. It was so funny. So they bring in these, you know, the hot singles, and all the guys come in and, like, rip their shirts off. And they're like, you made a mistake bringing her here, bro.

[A]

Like, I gotta watch.

[C]

I don't know how long you'll last. We did make it through an episode, but it was really funny.

[A]

Oh, that's great.

[C]

And my friend, she. She was visiting with her daughter, and we Were howling. But it's these four couples, and you're like. And the kids are, like, trying to. They're taking bets on which couples are gonna make it. And I'm like, you know, guys, I doubt if they all just were faithful to each other. There wouldn't be much of a show. So I have a feeling.

[A]

I have a feeling someone's gonna bump up.

[C]

I'm gonna see some cracks in the veneer.

[A]

Also, the acting exercise of having to come in and be so confident, it's unbelievable. I'm breaking you guys up.

[C]

I know.

[A]

I know.

[C]

It's unbelievable. The women and the men, they're just. You've never seen more. Well, couples get all. You know, they do these in depth interviews, and then, you know where they're. Where it's just like, you know, he's had a problem with fidelity in the

[A]

past, but this time is gonna be better.

[C]

He's gonna prove it by going to Temptation Island. And, like, you see these guys, like, they get split up into seps. So the four guys who are in, the couples, they get split up from their partner, and they go into a house with these, you know, ten gorgeous women.

[A]

Yeah. Some honey pots over there.

[C]

Like, you see them. These guys start to crack within 30 seconds. They're like, well, I mean, I didn't know it was gonna be like this.

[A]

I mean, what is a man supposed to do? Exactly.

[C]

And it's also. They're like. They're all in their 20s, and they're all like, you know. You know, I mean, this. I mean, she really means a lot to me. We've been together for 15 months. It's like. I mean, after six months, I mean, I had my lapse and I was unfaithful to her. But since then, I've been. And you're just like, this is a fucking disaster. I don't know if I'll hang in there. I made it through one episode. We had some laughs.

[A]

I love that your kids are like, I don't know, they seem pretty in love. And you're like, I have a feeling someone's gonna fall down.

[C]

Just from a writing perspective, I can tell you we're gonna need some. A little more conflict.

[A]

It would be so sad, too, for that casting. And they're like, good news is you got Temptation Island. Oh, my God. Exciting. Bad news is you're not coming in to tempt any of the people. Why not? We just thought it would be better if you were the lady that worked at the island. Well, Matt, thank you so much for coming and doing this. It was such a blast. Congrats on this incredible movie and all the work you do. And thanks so much for being here.

[C]

I appreciate it. Thanks, guys. Thank you.

[A]

Well, thank you so much. Matt Damon, hometown hero of mine, Boston boy, done good. Thank you for coming and what a pleasure to talk to you. And your work is incredible. So congrats and keep doing it. And for this polar plunge, you know, Matt talked very briefly about something that he created, a global [e-mail] but what it really is is an incredible organization founded by himself and Gary White, and they provide microloans to, you know, make sure that there's clean water and proper sanitation all over the world. So it's pretty awesome. I mean, sometimes on these plunges I talk about, oh, I don't know, a song I'm listening to could use this plunge to goof around about the Martian. But no, I want to just remind you to go donate time, energy or money to water.org and go see the Odyssey. I mean, the Odyssey doesn't need me to pump it. Everyone in the world is going to go see it. Okay, thanks for listening. Give a good hang. Okay, bye. You've been listening to Good Hang. The executive producers for this show are Bill Simmons, Jenna Weiss Berman and me, Amy Poehler. The show is produced by the Ringer and Paper Kite for the Ringer, production by Jack Wilson, Cat Spillane, Kaia McMullen and Alaya Zaneris. For Paper Kite, production by Sam Green, Joel Lovell and Jenna Weiss Berman. Original music by Amy Miles.