The TED talk that put writer Pico Iyer in “Marty Supreme”

Summary

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TED Radio Hour | March 18, 2026

Episode: The TED talk that put writer Pico Iyer in “Marty Supreme”

Host: Manoush Zomorodi
Guest: Pico Iyer

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Overview

In this special episode, host Manoush Zomorodi speaks with renowned writer and TED speaker Pico Iyer about his unlikely acting debut in the much-discussed film “Marty Supreme.” The episode explores the intersections of culture, competition, ambition, and community—through the lens of table tennis and Iyer’s personal philosophy—as inspired by his experiences living in Japan and encapsulated in his TED Talk about ping pong. The conversation delves into the story of how Iyer landed his role, the deeper themes in Marty Supreme, and cultural contrasts between Japanese collectivism and American individualism.

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Key Discussion Points & Insights

How Pico Iyer Ended Up in “Marty Supreme”

• The Surprising Call (01:46): Iyer recounts that he had never acted before, and was surprised to be chosen. Josh Safdie, the director, saw Iyer’s TED Talk about ping pong and felt Iyer’s unique demeanor would be perfect for the role of a stuffy official.
  • “I have never acted in my life. I know nothing about that world... But it came about through a TED Talk.” —Pico Iyer (01:46)
• Iyer initially tried to decline due to lack of acting experience and a complicated schedule, but the production was rearranged just for him.

Ping Pong as a Cultural Lens/Philosophy

• Japanese Table Tennis Lessons (03:14–04:19): Iyer explains the deep cultural difference he discovered playing ping pong in Japan: the game there is communal, rotates partners frequently, and is not about individual victory.
  • “Nobody keeps track of who’s winning the games... the whole point... is to ensure that there are no losers and everybody feels like a winner.” —Pico Iyer (03:32)
  • “In Japan, I’m encouraged to believe that really the point of a game is to make as many people as possible around you feel that they are winners… a game of ping pong is really like an act of love.” —Pico Iyer (04:19)
• This Japanese approach stands in sharp contrast to the competitive, winner-take-all American ethos embodied by the film’s protagonist, Marty.

The Film’s Themes—Contrasts Between Cultures

• Binary Thinking and Ambition (05:31–08:55): The episode explores the film’s deeper commentary on American ambition versus Japanese collectivism and harmony.
  • “In many ways the film is almost a questioning of the American dream… pursuing your dream means perhaps trampling over the dreams of everyone else.” —Pico Iyer (05:31)
  • “Your aim is not to stand out, not to be ahead of others, but to play your part within an orchestra to create this beautiful melody and harmony.” —Pico Iyer (08:55)
• Iyer emphasizes how Marty Supreme’s narrative reflects and interrogates ongoing American cultural divides and their implications for society today.

The Acting Experience—Improvisation & Transformation

• On Playing the Role (09:54–13:26): Iyer describes stepping into an entirely different persona—an “angry, joyless, haughty soul”—a far cry from his actual self, requiring significant emotional stretch.
  • “It was like a journey to a foreign country…I hope I was playing somebody very different from myself.” —Pico Iyer (09:54)
• Iyer was surprised by the lack of scripting and rehearsal:
  • “Almost all the scenes in which I was acting were completely improvised and unscripted... I had to deliver equally ad libbed and spontaneous lines... it was a way to give this feeling of gritty, unrehearsed, often messy real life.” —Pico Iyer (10:56)
• There is a key, energetic exchange with Chalamet’s character—demonstrated through a sample of their improvised, high-stress dialogue.
  • [Role-Playing Sample]
    • Chalamet: “I want to stay where you're staying. That’s what I need. I am finding this whole exchange really offensive.”
    • Iyer: “You’re offended?”
    • Chalamet: “I am offended!”
    • Iyer: “I’m offended.” (11:37)

Reflections on Fame, Continuation, & Community Reaction

• Will Pico Return to Entertainment? (13:47):
  • “I don’t think many other directors are so keen to work with non-actors… who knows what the future will bring?” —Pico Iyer (13:47)
• Japanese Community Reaction (14:13):
  • The film is yet to premiere in Japan, so Iyer is “still incognito” among his ping pong partners, who are mostly in their 70s and 80s. He anticipates surprise when they see him on-screen.
  • “I think a lot of them are going to see it and they’re going to be as surprised as you were when they see their haggard old friend suddenly appearing on the screen.” —Pico Iyer (14:36)

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Memorable Quotes & Moments

• On Cultural Differences in Competition
  • “The only way to be a loser is to think too much about winning. Marty scores wonderful victories, but what is the cost of that victory, and what is he losing in terms of his soul?” —Pico Iyer (07:17)
• On American vs. Japanese Societies
  • “I do believe that America is still a land of opportunity... but the shadow side of that is pursuing your dream means perhaps trampling over the dreams of everybody else.” —Pico Iyer (05:36)
• On His Personal Transformation
  • “It made me happy by comparison to go back to my desk where I just write for eight hours a day.” —Pico Iyer (10:57)

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Timestamps: Important Segments

• Pico Iyer’s Casting Story: 01:46–02:58
• Japanese Table Tennis Philosophy: 03:14–05:16
• Film’s Commentary on American Ambition: 05:31–08:55
• Improvised Acting & On-Set Anecdotes: 09:54–13:26
• Will Pico Act Again?: 13:47–14:06
• Awaiting His Japanese Friends’ Reaction: 14:13–14:48

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Tone & Takeaways

The conversation is warm, gently humorous, and reflective—characteristic of both Zomorodi and Iyer. The episode moves seamlessly between the personal and the philosophical, connecting the journey of making a film to much larger questions about how we define “winning,” our relationship with ambition, and the subtle but significant role of cultural values in shaping the way we live and compete.

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Recommended for listeners interested in:

• Cross-cultural insights
• The creative process in film
• Philosophy of games and competition
• Real-life stories of reinvention and risk

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Transcript

[EasyCater Announcer]

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[Minouche Zamorodi]

Learn [e-mail] hey, it's Minouche Zamorodi, host of NPR's TED Radio Hour. I love going to the movies.

[Pico Iyer]

Everything in my life's falling apart, but I'm gonna figure it out.

[Minouche Zamorodi]

A few weeks back, I went to Marty Supreme. That's the film starring Timothee Chalamet as a table tennis champion. That's set in the 1950s.

[Unidentified Commentator]

But I'm telling you, this game, it fills stadiums overseas.

[Minouche Zamorodi]

So I'm watching this movie, right? And I do a big double take when I saw who was starring as the head of the Global Table Tennis association in the movie.

[Pico Iyer]

Ram Sethi.

[Minouche Zamorodi]

Right.

[Pico Iyer]

Sorry, could you hold for a moment?

[Minouche Zamorodi]

You don't mind? It's a TED speaker who has been on our show numerous times.

[Pico Iyer]

So good to see you again, Manouch.

[Minouche Zamorodi]

Hey, Pico writer Pico Iyer.

[Unidentified Commentator]

I am finding this whole exchange really offensive.

[Minouche Zamorodi]

You're offended?

[Pico Iyer]

I am offended.

[Minouche Zamorodi]

I'm not an actor. Pico writes about travel and so much more. He's been on the show talking about the day he lost everything, his house, every possession in a fire, and how that experience led him to become the soulful explorer that he is. But yes, Pico is also really big into table tennis. He even gave a TED talk about it. Which brings us back to the movie and the story of how Pico Iyer was cast in Marty Supreme. Tell me the story of how this came to be.

[Pico Iyer]

Well, Manouch, I was as surprised as you were because I have never acted in my life. I know nothing about that world. But it came about through a TED Talk. The director of Multi Supreme, Josh Safdie, saw me give a talk from 60 years ago about ping pong as a guide to life. And since the film had to do with ping pong, and since I seemed so different from the vision that Marty was embodying the century of the film, he realized that I might be well suited to playing a stuffy official. And I. I tried hard to get out of it, but I think he was very determined that I should play that part. And so it turned out to be a great adventure for me.

[Minouche Zamorodi]

Wait, wait. Why did you try to get out of it? You weren't like, Hollywood, here I come. Like, you're not a flashy guy, so maybe not.

[Pico Iyer]

Well, I knew how hard work it would be and I just have no experience. I was keenly aware. I've never even acted in a high school play or one 30 second video or anything. On the other hand, I think because the director had seen me on the TED stage, he knew that maybe I could speak to cameras a little and wouldn't be daunted by crowds. So that was an advantage. And also my schedule was very complicated, but they actually rearranged the whole schedule to accommodate me. So then I knew I couldn't say no.

[Minouche Zamorodi]

Wow. So, I mean, the thing about your TED Talk. Let's talk about that. Why? You know about ping pong, table tennis, whatever you want to call it, it's very near and dear to your heart. It's been a very big part of this chapter in your life. Can you tell us about that?

[Pico Iyer]

Yes. I've been playing ping pong since I was a little boy. But the last 24 years here in suburban Japan, three times a week, I play with my mostly elderly neighbors. And the great surprise when I began playing was we only play doubles. We change partners every five minutes. So if you happen to win at one moment, you're likely to lose six minutes later. We keep track of the scores, of course, so that it'll be exciting, but nobody keeps track of who's winning the games. And we pay best of two. So quite often there's no winner or loser. And what I gradually learned was that the whole point of this exercise is to ensure that there are no losers and everybody feels like a winner. And so every night I was playing last night when I come home and my wife says, how was it? I say, fantastic. I have no idea whether I've won or lost. I just know I've had a good time. And everybody else in the club would come up with the same answer. So it's exactly the opposite of the furious winner takes all individualism that Marty represents in the film.

[Unidentified Commentator]

In Japan, I'm encouraged to believe that really the point of a game is to make as many people as possible around you feel that they are winners. So you're not careening up and down as an individual might, but you're part of a regular, steady chorus. The most skillful players in our club deploy their skills to turn a 91 lead for their team into a 99 game in which everybody is intensely involved. And my friend who hits these high looping lobs that smaller players flail at and miss, well, he wins a lot of points, but I think he's thought of as a Loser. In Japan, a game of ping pong is really like an act of love. You're learning how to play with somebody rather than against her.

[Sponsor Announcer]

Yeah.

[Minouche Zamorodi]

So when you first read the script, because the movie, you know, for those who haven't seen it, is very much about this young man who is desperate to win, to be the champion. It really is the antithesis of what you describe in the talk.

[Pico Iyer]

Exactly. And I think in many ways the film is almost a questioning of the American dream. I do believe that America is still a land of opportunity in the way that my native Britain and Japan are not. But the shadow side of that is pursuing your dream means perhaps trampling over the dreams of everybody else. And I think one of the fascinating things about this film is that it raises so many questions. I've been surprised that many of my friends have got in touch with me and said, pico, we were so delighted to see you play a villain, this joyless figure standing in the way of a young man with a dream. And as many friends have got in touch with me and said, pico, we're so thrilled that you are the hero of this film, the voice of decency and San in the face of this selfish, ruthless young guy. And so I think the film really presents America within a larger global context. And as you were suggesting, I grew up in England, as I say, I live in Japan. And neither of them have the same sense of the importance of ambition as America does. Which is good and bad, perhaps.

[Minouche Zamorodi]

I mean, I love that idea that you can be playing the same game and having an absolutely, completely different experience of it, depending on your cultural reference points, on the values that have been instilled in you, on what you've been told your goal is, or if you've been told there is no goal other than to be in the moment and experiencing the thing you are doing. It's a really, really important reminder. Do you think that the film captured that as much as you did in your TED Talk?

[Pico Iyer]

I think it hints at it because, as you know, Marty's main adversary is a Japanese person who seems very unemotional, very stoical, doesn't register any emotion when he wins or when he loses. And he probably comes from that background in Japan whereby the only way to be a loser is to think too much about winning. And Marty scores wonderful victories here and there, but what is the cost of that victory and what is he losing in terms of his soul? So I think that's an undercurrent in the film. And it struck me when I was Watching the film. It's set in 1952, as you know. And in some ways, that was when the American empire was at its peak. America just helped win the war. They'd helped to revive Japan with the occupation. The Marshall Plan had helped to rebuild Europe. So America was running high. And yet 1952 is also the year when, in Korea, the war was coming to a stalemate. America wasn't winning. McCarthyism was spreading across the country. And so maybe it was the moment when actually America was falling from its peak, even though it was sitting at the top of the world. And I don't know how much that was in the minds of the filmmakers as they were writing it, but it certainly gives this added dimension. And one thing I've been thinking about since I saw the film was how much it might apply to America today. Because we're hearing a lot about losers today. We're meeting books with titles like Winner Takes all. And we're all painfully aware that America is more divided than ever before, perhaps because of this sense that some people are hell belt on winning, and it leaves most of the rest of us as losers.

[Minouche Zamorodi]

The binary that there is right now, the binary.

[Pico Iyer]

And of course, Japan is the opposite. It's a very harmonious society because of the notion that you're part of a chorus. Your aim is not to stand out, not to be ahead of others, but to play your part within an orchestra to create this beautiful melody and harmony. So there's much to be said for both sides in both parts of the world, but it's an interesting dynamic.

[Minouche Zamorodi]

Well, the irony that also this movie is up to win a lot of Oscars, Oscar awards, but I'm more interested in asking you about the process of being in the film. What was that? I mean, what was it like? Like, I know you as a writer, and I know you as someone who, when you perform, I suppose, on the TED stage, you're speaking from your ideas and your thoughts. How did it feel to transform yourself into someone who was essentially upholding the. The rule of law for the world of Tabletops?

[Pico Iyer]

It was like a journey to a foreign country. I knew in advance this would be going into a world I've never been to before. And what made it interesting in part was, as you say, I hope I was playing somebody very different from myself. If I'd been playing a version of Pico Aya, it wouldn't have been hard and it wouldn't have been interesting. But I'm playing this constantly angry, joyless, haughty soul. And I thought, well, That'll be interesting to see what I can bring out of myself that resembles that. It was very, very hard work, much harder even than I'd imagined. And one of the. Oh my goodness. It made me happy by comparison to go back to my desk where I just write for eight hours a day. Because many in this crew were putting in 23 hour days. We were filming at 4 in the morning, at times having started at lunchtime. And even as I was feeling sorry for myself, everybody else, especially the director and Timothee Chalamet, were working round the clock. And as soon as they stopped. Timothee Chalamet had a series of other engagements because his film was up for the Academy Award last year. A Complete Unknown in which he was playing Bob Dylan. But I think part of what was interesting about this film was that almost all the scenes in which I was acting were completely improvised and unscripted. So I spent a lot of weeks in advance diligently learning my lines for every scene. And then when my first scene came up, it was late at night, I was suddenly whisked off to a little room. All kinds of cameras began to descend upon me. Suddenly, Timothee Chalamet walked into the room and we started shouting at one another. I'm good for table tennis. Mr. Sedley, appeal to the USTTA. Maybe there is something happening.

[Minouche Zamorodi]

The USTTA is two guys in a desk.

[Pico Iyer]

It doesn't exist. It's not my problem.

[Minouche Zamorodi]

It is your problem.

[Pico Iyer]

I want to stay where you're staying. That's what I need. I am finding this whole exchange really offensive.

[Minouche Zamorodi]

You're offended.

[Pico Iyer]

I am offended.

[Minouche Zamorodi]

I'm offended. You're making your star player huddle in a rat's ass.

[Pico Iyer]

I'm so sorry for that interruption. He was delivering lines very different from the ones I'd been prepared for. So I had to deliver equally ad libbed and spontaneous lines. And that was the case with every scene. And I think it was a way to give this feeling of gritty, unrehearsed, often messy real life. So it was very different. I'd imagined, you know, directors sitting placidly in a video village, following things on monitors. And there was no blocking, there were no rehearsals, there were no marks on which I had to stand. There's a handheld camera circling me like a panther. And every moment was fresh. And I think one reason that the director chooses to work with non actors like myself is to keep the professional actors like Mr. Chalamet alive too. Because he knew that he was working with a first timer, with an amateur and so he couldn't take any shortcuts or make any assumptions. So the whole thing was radically different in that way from what I had expected. And because maybe of my background on the TED stage, I had been asked to prepare quite a long speech to deliver to a big crowd. And as it turned out, we never had time even to shoot that scene. So I spent weeks learning my lines, but they were never used. And then later in Japan, suddenly they turned to me and said, we want you to go up to a mic and speak to this large crowd and make up some words right now. So there I had to improvise a speech in front of a big audience. And again, maybe my work would help me with that and maybe that' why they knew that I wouldn't be completely daunted by that. But it was interesting that it was not as programmed at all as I had imagined.

[Minouche Zamorodi]

Yeah, fascinating. I, of course, love as someone who writes, you know, almost poetry and prose about travel and how it changes the soul that you felt that that's what it did to you. Does that mean you'll do it again? Pico, can we expect to see you on the silver screen again? Did you get the bug?

[Pico Iyer]

I don't think many other directors are so keen to work with non actors. Joe Safdie is unusual in that regard. And I'm not sure how many other directors are keen to have an aged, hairless ping pong player and writer defacing their sets. But who knows what the future would bring?

[Minouche Zamorodi]

And what about the gang over at the senior center where you play ping pong in Japan? What did they think?

[Pico Iyer]

So the film hasn't actually arrived in Japan yet. It comes from.

[Minouche Zamorodi]

So you're still incognito?

[Pico Iyer]

Yes, exactly. So I think it's going to be a big thing here because ping pong is still a central game. And most of the friends that I play with learnt in school and played a lot when they were young, sometimes even before World War II. So 70, 75 years ago. My friends are often in their 80s. So the film arrives exactly at the same time as the Academy Awards. And I think a lot of them are going to see it and they're going to be as surprised as you were when they see their haggard old friend suddenly appearing on the screen.

[Minouche Zamorodi]

I love it. You've got a big month ahead. Thank you so much for making time for us.

[Pico Iyer]

Oh, it's always such a delight. Manouch. Thank you.

[Minouche Zamorodi]

That was author Pico Iyer. His most recent book is called Learning from Silence. You can hear his many [e-mail] A special thanks as always to our plus listeners for supporting the show. If you're not a member of NPR yet and you want to support public radio, you can go to plus.NPR.org you will get ad free listening and regular bonus episodes like this one and of course, our Eternal Gratitude. This episode was produced by Matthew Cloutier and edited by James Delahousy. Our partner in NPR is Chow 2. A new episode of TED Radio Hour will be out on Friday. I'm Anoush Zumarodi and I will talk to you then.

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