Jonah Hill

Summary

Tetragrammaton with Rick Rubin

Guest: Jonah Hill

Date: April 1, 2026

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Episode Overview

In this deeply personal, often humorous, and consistently insightful conversation, Jonah Hill joins Rick Rubin to discuss creativity, filmmaking, the price of fame, the evolution of comedy, his approach to acting and directing, and the personal transformations that shaped his career and life. Hill offers a candid look into the realities of Hollywood, the nuances of shaping stories both for the screen and for himself, and shares reflections on family, therapy, and finding balance as a parent and artist.

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Key Discussion Points & Insights

1. Working with Iconic Directors

• Contrasting Directing Styles
  • Tarantino vs. Scorsese:
    • Tarantino treats actors like "colors in a painting" — highly controlled with less room for improvisation.

      “You were like a paint color in his painting. And, like, you are red. Come in and be red in this corner of the painting. … that is not what I do.” – Jonah Hill (00:30)

    • Scorsese builds an environment where actors have creative freedom within a well-structured infrastructure.

      “He creates this space where the plumbing is so intact … When you walk onto the stage, you can do anything.” – Jonah Hill (00:41)

  • Coen Brothers & Kubrick:
    • “Very much like Quentin... you are the color red in this painting. … They have the painting in their head and they're fucking brilliant.” – Jonah Hill (03:55)
  • Todd Phillips:
    • “A mix of the two. Very exacting and very open to improvisation. … Old School is, to me, his crown jewel.” – Jonah Hill (04:46)
  • Gus Van Sant:
    • Enigmatic, “vibe and magic,” produces Hill’s favorite acting performance from himself.

      “No idea. It is the most mysterious. … It’s just vibe and magic and it's almost like quietness in his energy till it becomes something.” – Jonah Hill (06:46)

2. The Writer's Foundation in Acting

• Hill sees acting through the lens of writing—character backgrounds, language, and improv.

  “My foundation of acting is writing. Whether I'm saying new words or not.” – Jonah Hill (04:38)

3. Directing Philosophy and Production Culture

• Viewpoint that directing is akin to running a company, with emphasis on respect and care for collaborators.

  “You’re running a mini-company that dissolves after a year… I believe a lot of the things I was bummed on was productions themselves, and we really work hard to make our productions great.” – Jonah Hill (03:07)

4. Influence of Collaborators and Mentors

• Judd Apatow and Comedy Roots:
  • “He put me in Superbad. … I went to, like, the Harvard on steroids of making comedy movies when I was 19.” – Jonah Hill (02:15)
• Seth Rogen, Michael Cera, Kristen Wiig:
  • Deep friendships, gratitude for collaborative energy, effort to keep those ties strong even as each finds new successes.

    “I'm more like, guys, we really should all get dinner …” – Jonah Hill (36:26)

• Mike D and the Beastie Boys:
  • Important friendships and collaborations leading to new habits, like surfing and meditation.

    “Mike D is like an uncle. He's like Uncle Mike … He really got me into surfing and tm.” – Jonah Hill (09:52)

5. Creativity, Social Media, and Mental Health

• Impact of Leaving Social Media:
  • Profoundly beneficial for creativity and personal well-being.

  “I cringe when I think about when I was on social media … I'm not wrapped up in the constant … I get to think about what my opinions are.” – Jonah Hill (10:38)

• Gratitude Lists and Positive Actions:
  • Implementation for mental and creative health; inspired by therapist Phil Stutz.

  “One said gratitude list. It was 10 things and one was positive actions.” – Jonah Hill (13:21)

  • “Catching a negative thought, changing the channel and going to get on your feet and do something for somebody else.” – Jonah Hill (13:35)

6. Family, Loss, and Growth

• Brother’s Passing:
  • Profound emotional catalyst for seeking therapy and growing as a person and surrogate parent.

  “I have a brother who passed away about seven, eight years ago, which is probably the impetus of why I started to see stuts…” – Jonah Hill (17:29)

• Relationships with Siblings:
  • Honest, evolving, occasionally contentious — ultimately supportive.

  “Our relationship has changed so much … It's worth the effort, like it is with your partner or your friends … to do the work, because they might not always be there.” – Jonah Hill (18:44)

7. Art Reflecting Reality: ‘Outcome’ and Hollywood Parody

• Blurring Real & Performative:
  • Not everything is “one thing”—performative moments can be authentic.

  “Just because the cameras are rolling doesn't mean it's not real. Just because it's performative doesn't mean it's not the truth.” – (Interviewer quotes from ‘Outcome’, 20:32)

  • “You can monetize an apology and it can still be real …” – Jonah Hill (22:24)
• Is the Movie Exaggerated Compared to Reality?
  • “I don't think it is farther than you think … there are things that are real that are way too broad to fit in the movie.” – Jonah Hill (25:27)
• Cultural Commentary:
  • ‘Outcome’ is about the new reality where everyone’s a public persona under constant judgment, not just celebrities.

  “My nephews I started to see have the same paranoia that I would have as a famous person about being liked on a grand scale…” – Jonah Hill (62:11)

8. Process of Writing & Collaborating

• Idea Generation:
  • Notes app as creative hub; projects begin with inspiration from people or collaboration.

  “Everything for me originally, when it's just me, has run out of my notes section.” – Jonah Hill (29:43)

• Business Side:
  • Deciding which projects to pursue pragmatically as well as creatively.

  “We have to formulate the business plan … if like, let's say it's something so off the wall… I'll go, fuck it. I'll eat it and lose a bunch of money for a few years because I have to …” – Jonah Hill (31:49)

9. Experience Making ‘Stutz’

• Motivation was purely to share therapeutic tools with those who couldn’t access therapy, especially youth.

  “If you have a Netflix account … you can privately watch this movie that will give you therapeutic tools to help your life…” – Jonah Hill (45:57)

• Vulnerability in art and mixed public response; ultimate pride in helping others.

  “But being vulnerable for me is not hard. …I was, I would say, in a sense punished for being so vulnerable…” – Jonah Hill (47:17)

10. Comedy: Past, Present, and Future

• On the Current State of Comedy Films:
  • “Culturally, it is hard to make jokes in the past, let's say, like, six or seven years up until the last, like, one or two years. …a joke can be misconstrued and you can get into a lot of trouble, right?” – Jonah Hill (79:48)
  • “But actually, fuck that. The real reason is they aren't making money like they used to. …But right now is the perfect time to be making comedies.” – Jonah Hill (80:17)
• Hill’s Mission:
  • “I want to be the guy you come to. To make you laugh with films and at Strong Baby … I think comedy got shifted to TV … Cut off. ...is more like an lol. The jerk. These are morons. Laugh at them. And I miss that.” – Jonah Hill (82:13)

11. Acting Technique and Preparation

• Improvisational Process:
  • “I shoot on digital… I'll do two takes that could be like 40 minutes long because I'll restart myself, I'll try different lines, I'll go off in a different direction and then take it back.” – Jonah Hill (98:03)
• Approaching Characters:
  • “It's basically like writing a book on that person.” – Jonah Hill (69:46)
• Leaving Characters Behind:
  • Now mindful of separating work from home life; would seek coaching for intense roles.

  “I would get training on how to, like, leave the character at work out of respect to the people I live with.” – Jonah Hill (94:52)

12. Test Screening & Collaborative Feedback

• Importance of Early Testing:
  • “I test early, early and often. …I love that process. I love it. And that's been around since, like, Charlie Chaplin.” – Jonah Hill (103:04)
• Iterative Fixes Over Perfection:
  • “It's not about decisions. It's about fixing and creating new decisions to support the decisions that worked…” – Jonah Hill (110:38)

13. Personal Growth and What Matters

• Redefining Happiness:
  • “I didn't believe that happiness was just, like, calm and contentness. …As an adult, I believe fun to be at a turtle's pace.” – Jonah Hill (96:04)
• Affinity for Old-School Comedy & Docs:
  • Stories about Rodney Dangerfield, Mel Brooks, Norman Lear, and doc recommendations like 'Dig', 'Decline of Western Civilization'.

    “No one can take being funny away from you and the spirit that that brings people. But the truth of it is, it brings me joy.” – Jonah Hill (79:17)

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Notable Quotes & Memorable Moments

• On improvising as a director and actor:

  “I'm in the scene, directing Keanu Reeves… and I have a bald. And I look like an insane person… I'll break a tape, you know, because I'm laughing at the absurdity of life.” – Jonah Hill (38:36)

• On creative vulnerability:

  “I do feel I was, I would say, in a sense punished for being so vulnerable … but I had to make that and I did.” – Jonah Hill (47:38)

• On family and loss:

  “I miss my brother. I think about him all the time. He showed me hip hop. … And he lives on through [his kids], and they're amazing boys.” – Jonah Hill (17:53)

• On gratitude practices:

  “Catching a negative thought, changing the channel and going to get on your feet and do something for somebody else. And kids are the best because what makes you feel better than wiping your kid's ass?” – Jonah Hill (13:35)

• On what remains at the end:

  “Dude, when you're, like, 90, you can't have sex. You can't surf. You can't, like, can't do your hobbies, really, but you can laugh … no one can take being funny away from you.” – Jonah Hill (78:49)

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Timestamps for Key Segments

• Tarantino vs. Scorsese, Coen Bros, Directing Styles – 00:24 – 05:30
• Comedy Roots: Judd Apatow & Seth Rogen – 02:13, 36:26
• Family, Loss & Therapy – 17:26 – 18:44
• Creative Process & Social Media Detox – 09:52 – 14:52
• Stutz Documentary's Purpose – 43:01 – 48:46
• Making of 'Outcome', Inspiration, Parody vs. Reality – 20:27 – 25:37
• Improvisational Acting, Directing Technique – 98:03 – 100:17
• Comedy in Modern Hollywood & Censorship – 79:20 – 83:06
• Childhood and Comedy Influences – 76:42, 77:07, 109:17
• Test Screenings and Movie Development – 102:57 – 104:05
• Redefining Fun & Happiness, Family-centered Life – 96:04 – 96:59

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Summary of Tone and Style

The episode blends irreverent comedy with moments of raw vulnerability and self-reflection. Hill is self-aware, quick-witted, and openly grateful for those who shaped his journey. The dialogue oscillates between industry anecdotes, philosophical reflection, heartfelt stories, and meta commentary on making personal art in a public world.

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For Non-Listeners: Why This Episode Matters

If you want an honest, inside look at Hollywood from someone who’s been at its creative center—and has a lot to say about authenticity, struggle, healing, and the purpose of comedy—this episode delivers. Jonah Hill and Rick Rubin unravel how movies are made, how lives are changed, and why sometimes the greatest art (and the greatest laughs) come from embracing your truest self, losses and all.

Transcript

[Narrator/Host]

Tetragrammaton.

[Jonah Hill]

Martin Scorsese and Quentin Tarantino, they couldn't be more different to me.

[Interviewer]

Describe the difference.

[Jonah Hill]

I was in Django Unchained. I was in, like, one scene, so I felt it was. You were like a paint color in his painting. And, like, you are red. Come in and be red in this corner of the painting. And as an actor, which is why I don't act a ton, that is not what I do. I am like, you're this person. Go, and let's see what happens. And Marty is like. When I say one of the most I've ever learned from Marty is he's my hero and lucky to get to ask him questions, like I get to ask you questions, et cetera. He creates this space where the plumbing is so intact, where the infrastructure is so intact that when you walk onto the stage, you can do anything. And it is supporting what the actor wants to do and will creatively, if they want to take it to a place, is still within. He will guide you within the movie itself. So I've never felt such freedom and then sort of like just rigidity. But I love Quentin Tarantino's movies as much as I love Marty's movies. It has nothing to do with the work itself. Quentin Tarantino, Once Upon a Time in Hollywood, I thought it's one of the greatest movies I've ever seen in my life.

[Interviewer]

Same here.

[Jonah Hill]

I think it is one of the most exquisite, incredible movies. I think Leo's performance is unrivaled and that he was so brilliant. I just think Once Upon a Time Hollywood is a complete masterpiece. It's just what I found was the process was different.

[Interviewer]

That's the last movie I saw in a theater.

[Jonah Hill]

Yeah. At the time, I called it the Last Movie because it felt at that time like all movies were going away. And that was like, you know, had real movie stars and a real director that you went to go see their movie because they're the director.

[Interviewer]

What's Judd like as a director?

[Jonah Hill]

Apatow. Yeah, he's awesome. I mean, God, I haven't worked with Judd in so long, but we're very close as. As friends. And he put me on. I mean, dude, he put me in Superbad. Like, end of story. Him and Seth Nevin, I.O. forever. They. They put me in the movie super bad, like, completely launched.

[Interviewer]

And how did that happen?

[Jonah Hill]

I was younger, very improvisational, very open, very much wanting to mine your experiences in life for the piece itself and, like, is just a. Awesome. He's taught myself and a lot of other People how to make these kind of comedy movies, and I'm forever grateful for that. I went to, like, the Harvard on steroids of making comedy movies when I was 19, you know.

[Interviewer]

Would you say you've learned from all of the experience as an actor on what to do as a director?

[Jonah Hill]

Yeah, I think you learn a tremendous amount, most of all on how to talk to actors. But really, in directing, you're running a company. You know, it's just running a mini company that dissolves after a year. So the biggest thing is, like, as producers, like, at Strongbaby, I'm always like, I was in the hotel business for 15 years, and I opened my own hotel. I know how to make the sheets nice. I know how people should be treated. I know how the food should be. Like, if I'm asking Scorsese to come for a few days, I'm like, you're going to get treated nice. The set's going to run smoothly. Your time won't be wasted. You'll be respected. It's a first class experience. I believe a lot of the things I was bummed on was productions themselves, and we really work hard to make our productions great.

[Interviewer]

Tell me about working with the Coen brothers.

[Jonah Hill]

Very much like Quentin, I would put them in that category of, like, you are the color red in this painting.

[Interviewer]

It's like Alfred Hitchcock as well.

[Jonah Hill]

Kubrick. Super exacting. Super. Like, they have the painting in their head and they're fucking brilliant. They made Lebowski full stop. We never have to say anything ever again. They are genius and fun hangs and funny guys. But I didn't find myself adding a ton. Like, I wasn't like. They were just like, please, sit right here. Say this, etc.

[Interviewer]

Well, I think this goes to you saying you see yourself primarily as a writer, not as an actor.

[Jonah Hill]

Yeah. And even as an actor, which I do see myself as an actor, too. My foundation of acting is writing.

[Interviewer]

Yeah.

[Jonah Hill]

Whether I'm saying new words or not.

[Interviewer]

What was Todd Phillips like?

[Jonah Hill]

Awesome.

[Interviewer]

How would you describe that experience?

[Jonah Hill]

I would say a mix of the two. Very exacting and very open to improvisation. And I look back on that experience, I was in a way different place in life. It was a hectic shoot. It was a hard shoot. But Todd's a very, very brilliant director. There's no surprise that he's had so much ginormous success, and he's made some of the best comedies ever. Old School is, to me, his crown jewel. I think Old School would go up with any classic Bill Murray of that era. Any Borat, whatever your thing is. Old School is the only movie to this day I've ever seen in the theaters. Walked out in New York City when I was 18. Walked out and then walked back in and saw it again.

[Interviewer]

Wow.

[Jonah Hill]

The only movie to this day. I said, I gotta see that again right now.

[Interviewer]

I read that you watch movies over and over often.

[Jonah Hill]

Often. And I'll go back to Todd for one sec. He was a very interesting character in movies because he'll like. He's such a punk. You know, his first movie is about Gigi Allen, and it's one of the best docs ever. And you could see even Joker 2 is so punk. It's almost like he wanted to be like, burn it down, to have to rebuild it or something. He made Joker, and it was this crazy success with Joaquin, and they did such a great job. And there's like, the other one was almost like a middle finger in a sense to it all. And then now he's going to like, I just can't wait to see what he does next. Yeah, you know, I'm actually interested to see what that dude does next.

[Interviewer]

And Gus Van Zandt.

[Jonah Hill]

Unbelievable. Just was with Gus the other day. I did my first magazine interview, but it was for Interview, and Scorsese interviewed me for interviews. So Gus was kind enough to shoot the photos.

[Interviewer]

Oh, great.

[Jonah Hill]

And we've remained very close. We're producing a movie that he's directing at Strong Baby, which is an incredible movie. On my DGA certificate, you need three people to sign. And mine were Spike Jonze, Bennett Miller, and Gus Van Zandt.

[Interviewer]

Amazing.

[Jonah Hill]

And so Gus is very near and dear to my heart. And he acts in my next movie, cut off.

[Interviewer]

Oh, cool. How would you describe his strengths as a director?

[Jonah Hill]

No idea. It is the most mysterious. I cannot tell you that anyone who works with him adores him. It's like, I have no idea. He's a man of such few words, such a hard thing to get him to say almost anything. It's just vibe and magic and it's almost like quietness in his energy till it becomes something. I have no idea how to describe what Gus Van Zandt's directing skill is, but I will tell you that it's probably the best performance I've ever given in a movie, in my opinion. And no one saw it. And he is brilliant.

[Interviewer]

Would you say stylistically, he's different than everybody else?

[Jonah Hill]

He. I don't know what he does.

[Interviewer]

And you worked with him and you don't know what he does?

[Jonah Hill]

Yes, he doesn't talk that much.

[Interviewer]

Did that give you a sense of freedom or did it make you self conscious in that I don't know what's happening?

[Jonah Hill]

You feel safe because it's Gus Van Zandt. That's the way I'd put it. If he wasn't Gus Van Zandt, I'm sure me and Joaquin would have been freaking out. And we would joke. We're like, oh, cool. Gus had like, nothing to say today.

[Interviewer]

Yeah.

[Jonah Hill]

You know, and then he'd be like. We'd make fun of him and he'd be like, oh, that's very funny. You know, like, so maybe for a

[Interviewer]

whole day he might not say much.

[Jonah Hill]

Walk in. Hey, Jonah, how are you? Good. Gus, how are you? Good, good. Okay, action. Do the take. Do the scene. Walk up to him. Joaquin wheels up to him in the wheelchair. Go again. Go get one again. Sounds good. Almost like nut like you're like that. And then there's a great director I worked with, Bennett Miller, who's a genius, who did Moneyball. And his style is almost confusion till something great happens. He sometimes confused the shit out of me where he's so smart and he's. I don't really follow what he's talking about a lot of the time. And then somehow he would confuse you into some master. She's a chess player. So I feel like he had everything chest out, and it was more like chess to him.

[Interviewer]

How much do you know about the backstory of the making of the movie Moneyball?

[Jonah Hill]

Everything.

[Interviewer]

Okay, so it was a book. Michael Lewis book, bestseller. And it's a nonfiction book. And if you read the book, it wasn't obvious how to make a movie out of that.

[Jonah Hill]

My dad didn't believe me because he loved the book. And he's like, what do you mean? Like, what are you gonna do?

[Interviewer]

It doesn't seem like you could make that a movie.

[Jonah Hill]

I don't know how they did. I was there for it, and it was amazing to watch. I can tell you how they did. But Bennett's a. You know, there's no one out there that doesn't know that Bennett's not a true genius. He's so brilliant. And what he did with that movie is amazing. And how he utilized two great writers and Aaron Sorkin and Steve Zalien and kind of used their, you know, collaged their work. And the work I did with Brad and Brad and I did. So much fun hanging in time with Bennett to talk about this stuff. And Brad was so his vision. And I think he has a real Authorship over that movie too. Deserves one.

[Interviewer]

How'd you get into surfing?

[Jonah Hill]

Friends. Different friends. Mike D. Spike very influential in me doing tm. Mike D is like an uncle. He's like Uncle Mike, you know, he's like Uncle Mike to my kids. He really got me into surfing and tm. So those are the two biggest, two good ones that year. Riding the Beastie Boys movie. Oh, so I was riding the Beastie Boys movie with Adam and Mike and I produced the Beastie Boys doc that Spike directed. So I was working on that. So we spent a whole year together and he finally convinced me to go surfing. And once I started surfing, he was like, you really need to do tm. And both have in the past seven years have made a massive difference in my life. No social media for the past four or five years and really limited Internet. Really, really limited Internet.

[Interviewer]

How's that changed you?

[Jonah Hill]

I'd say it's the biggest change that I've had. I cringe when I think about when I was on social media as far as like what I posted and the amount of gratification I wanted. It's kind of what the movie outcome is about in a large way. We all do it. We all want people to love us and like us and whatever. And I cringe is that an almost middle aged man. I was posting like fit pics of myself like in outfits or whatever for validation. And you know, I'm not wrapped up in the constant. I don't see 20 bajillion images a day, good or bad. I don't see the hate or love. I don't see the millions of opinions a day. I get to think about what my opinions are. So much of the bad parts of creativity are when you're trying to keep up with the Joneses. And when I left social media, I stopped thinking. Outcome isn't a movie where you're like, what are they doing? I should be doing Outcome. Outcomes. What you make when you're. You just think, what should I be making?

[Interviewer]

Yeah.

[Jonah Hill]

And so it's freed me really creatively to like just be with my family, my thoughts and just kind of like, what am I about? What am I into? You know, not what is culture into at this moment and what should I be doing and what should people think of me and what should I think of myself? I just meet people and I have no idea what their social media presence is like. So I just know what they're like. Based on us talking

[Interviewer]

seems more real.

[Jonah Hill]

I think it's the healthiest thing you could do. But I also have a lot of empathy that a lot of people for their jobs have to use it. And if I had it and had to use it, I would be naughty sometimes and I'd get caught in that a lot. Like a lot of people do. And so the movie is largely about what would happen if we just focused on our interactions. Like, what would happen if we just. Your day starts at 8am or 7am and then you go to bed at 9pm what do you do? Did you pick up the phone and call the person you should call? The older guy that you should call? That's like a father to you, or did you just doom scroll? I used to have a list of, like, positive actions at my time where I was trying to change my mindset the most. I had two whiteboards in my kitchen. One said gratitude list. It was 10 things and one was positive actions. So one positive action could be calling mom.

[Interviewer]

Is this like seven years ago?

[Jonah Hill]

Yeah, this was like around that time. It was great to see. Was great to see that I had done 10 nice things for other people by the end of the day.

[Interviewer]

Where did you get the idea to do that?

[Jonah Hill]

Well, Studs talks a lot about Grateful Flow. So gratitude. Grateful Flow is a mini in your head tool that it does a gratitude list. The gratitude list and that were. It was an idea I. I had. No one told me to do it. I just, you know, a lot of people I know make gratitude lists, but the positive actions one really helped because, you know, so much of the problem with like, not moving forward in life is beating yourself up or like the negative thoughts you have. And I'm really good about catching them now probably. Probably from like seven years of tools and knowing that they don't serve me. They hurt me and everyone around me if I'm beating myself up. So catching a negative thought, changing the channel and going to get on your feet and do something for somebody else. And kids are the best because what makes you feel better than wiping your kid's ass? I mean, I know that sounds crazy, but I feel like I'm a good person. He'd have poop in his butt if I didn't take it out. Like, you know, like, talk about a person who needs your help, you know? Or taking him to Sky Zone, watching him laugh and be like, this is like, I'm getting to do shit for him that makes his life better.

[Interviewer]

When you go with him to Sky Zone, do you jump on the trampolines as well?

[Jonah Hill]

Fuck yeah. Yeah, I love Sky Zone. Diane's a nice friend. From elementary school invented Sky Zone. Shout out Jeff Platt. Isn't that crazy?

[Interviewer]

Yeah.

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[Interviewer]

Do you have brothers and sisters?

[Jonah Hill]

I have a brother who passed away about seven, eight years ago, which is probably the impetus of why I started to see stuts or around when I started seeing studs. I miss my brother. I think about him all the time. I was driving here and going, damn, I wish. He's very proud of me right now. He showed me hip hop. He showed me who you were. Like, how sick, dude? How sick is that?

[Interviewer]

Older brother.

[Jonah Hill]

Older brother Jordan.

[Interviewer]

Yeah.

[Jonah Hill]

And so like, to me, I have those moments and I. And I think about him and I talk to him and I go, like, how cool is this, man? We're going to sit with Rick Rubin right now. And then he has two kids, Josh and Charlie, who I kind of helped raise after. And that was also the biggest moment in the change of my life. I really, I didn't actually bring that up, but it's like I was a lot more responsible for them, so I had to get my act together.

[Interviewer]

I see.

[Jonah Hill]

And they are now 18 and 16. And I've, like, helped them become men, you know, and I'm so proud of them. I love these guys. And he lives on through them, and they're amazing boys.

[Interviewer]

Do you feel like he lives on through them or through you?

[Jonah Hill]

Them. I think he was most proud of them, and I think he. Sorry. Sorry.

[Narrator/Host]

I think he.

[Jonah Hill]

I think he's so proud of them. Yeah, I think he's very proud of his kids. They're fucking awesome kids, you know, they're something to be proud of. And Matt and I grew up together, and we're like brothers, you know, he's my. Matt's my brother, and Uncle Mike's like, a brother, and Spike and all those guys, they've. They've all. I'm embarrassed. Sorry. I have a lot of brothers. And then my little sister Beanie is just so awesome. Our relationship has changed so much. You know, she's a very strong person, and it's kind of always been the boss. She was 16 years younger than my brother and 10 years younger than me, so she's always been like our boss. And then she's, you know, married with an incredible wife and. And has her own booming career that has, you know, had nothing to do with mine, just her own talent. And, like, we've had to go through all the things that siblings go through and the differences of opinions and little fights here and there, but where we've landed is a place where, like, we can totally be ourselves and be there for each other. And it's like, I urge siblings to do that. Yeah, it's work. It's like a marriage in a sense, too, you know, she thinks I'm a moron, which is fair. And I think she's too uptight, which is fair. And, like, you know, it's worth the effort, like it is with your partner or your friends or your business partners with siblings to do the work, because they might not always be there.

[Interviewer]

I'm going to read to you a quote from the new movie.

[Jonah Hill]

Cool.

[Interviewer]

Not everything is one thing. I mean everything in this conversation. Just because the cameras are rolling doesn't mean it's not real. Just because it's performative doesn't mean it's not the truth. Tell me about that.

[Jonah Hill]

I love you, Rick. And you see the things I want you to see. So Rief's mom, played by Susan Lucci, brilliantly in the film Shout out to Ellen Lewis, our casting director. She's a brilliant, maybe the greatest of all time cast, Goodfellas, et cetera. She had the idea to cast Susan Lucci, which was an astonishing choice and Susan was brilliant. So Ryf's mom, Keanu's mom, he has to go make an amends to. But she will only receive the amends on camera during an episode of Real Housewives of Beverly Hills, which she has a cast member on.

[Interviewer]

He has to appear on a reality show to make amends to his mom.

[Jonah Hill]

And you don't realize if he starts his amends and then she asks him to take that again, meaning say that again. Because the label of her drink wasn't facing camera and she's got to get her beak wet with her sponsorships. So, yeah, this is probably the most heady scene in concept, but one I love the most in the movie, which is things can be many different things. Right. You know, the scene is long and goes many different directions in a way that I'm really proud of. And her and Keanu's performance both are brilliant. Keanu gives such a quiet, beautiful performance in that scene, but he didn't respect her choice to be on that show and views her as lower. She won't even accept his amends unless it's monetized. She used his fame for her own benefit. And then she goes on to remind him how she left her marriage and her husband at 19 for him, for his dream.

[Interviewer]

Yeah.

[Jonah Hill]

And moved out to LA, stayed at the Oakwood Apartments. And 19 years old, no supportive family. Left her husband, which ended up ending their relationship. Also, he could live his dream because he was obsessed with it. He would not just ask for it, not just begging for it. But she says, tantrums, days long tantrums. And you can imagine what this 19 year old woman was going through with this 5 year old who was relentless. And she says that quote, and he was, what are apologies? Are they for you? Are they for me? Like, who are they for? What are they for? And I just think it's such an awesome thing because we so quickly want to say things are good and bad or they're real or they're not or they're whatever, but they're a lot of shit. And there's good and bad to both, and there's lies and truths to both and there's falseness and genuineness in both. I could say this to you and want to monetize it, but I could still mean it. I could say something in the most private, intimate setting and not mean it. Yeah, I love that scene. I love that scene. I think it's probably the most important scene in the movie. And it taught me A lot through

[Interviewer]

writing really messes with your perception because our first instinct is this is the most shallow thing we've ever seen. And then she says something like that, and it's profound.

[Jonah Hill]

I'm so happy you felt that way. Thank you. Yeah. I mean, that's just sick.

[Interviewer]

That's a real rug pull out moment for the audience.

[Jonah Hill]

The last thing on earth you're expecting from Susan Lucci playing a Real Housewives mom is like depth.

[Interviewer]

Yeah. It all makes sense. It's amazing.

[Jonah Hill]

You know, it's a funny person in my life, a great person in my life is Ari Emanuel.

[Interviewer]

Yeah.

[Jonah Hill]

I've worked with him in different capacities. He's my agent. And I've been surprised at how people view Ari because there have been many times in my life where the most profound thing I had heard, like all year in a deep, deep emotional level have come from him. You know, a guy who's pegged as, you know, in a superficial industry, the most superficial job in the most superficial industry, and just cares about deals and this and business. Some of the most insanely profound life advice in really heavy moments have come from him. And so I think he's a big inspiration in this movie in that within Hollywood and all of its falseness and all of its this, and it's that there is real depth in real people that populate it as well.

[Interviewer]

Well, the film is a parody about Hollywood and fame. Would you say it's wildly amplified from reality, or is it closer to reality than we might know?

[Jonah Hill]

Not at all. I don't think it is farther than you think I think it is.

[Interviewer]

It's not amplified.

[Jonah Hill]

I think it. Honestly, there are things that are real that are way too broad to fit in the movie that would feel too broad to fit in the movie. And even some of the stuff I put in feels too broad to people.

[Interviewer]

So as outrageous as the movie is, it's representative.

[Jonah Hill]

Yes, absolutely.

[Interviewer]

Can you think of any example in your life of something that happened where you just couldn't believe it happened because it was just so outrageous?

[Jonah Hill]

Yes.

[Interviewer]

Is there one?

[Jonah Hill]

You're comfortable, dude. College Dropout came out before I was famous. Okay. Before I was like, in movies and shit, I probably was the biggest con, the biggest Kanye fan is. Was whatever you want to say of his art of anyone in the world. If you want to talk about surreal, Kanye west went on a Jew hating tour and then Instagram that. I'm the reason he actually loves Jews. If you want to say something is too big to be real, that is an example of it. Like it's from outer space. The whole thing is completely from outer space. But now that I get to live a true, quote unquote, normal life, like I really get to live a normal ass life. I am so grateful for it. Used to be like, how crazy are all these outlandish things that are happening when you're in your 20s and stuff? And all this stuff with movies and stuff happens. And now I live like, I don't live in a mansion when I'm not shooting. The whole job is writing and editing, which is I can walk from my my house, from breakfast with my family, drop my son off at preschool is next to my office. I go to my office, I edit or write for nine to five, come home, walk on the beach with the fam, eat some dinner, get the bath ready, wipe the butts, eat some high chew strawberry flavored candy, which I shouldn't have, and then hit the sack. Started over the next day, 6am with Blippi and Baba, you know, and I'm like, how blessed am I? I just feel blessed that I get to have a family. I feel blessed that I get to feel that kind of love. I feel so blessed to be a dad. I feel so blessed that as a person foremost, but as a comedian second, or a comedic voice, let's say as a writer second, I get to go from being Bart to Homer, you know. And so I'm really excited for this new era of my work as I am with my life.

[Interviewer]

Did you always want to be a dad?

[Jonah Hill]

Yeah, I just didn't know if I'd be able to do it. The movie Stutz, the personal part from my end of Stutz, when the movie had to become personal for me, was my fear of not being able to pull off having kids or a family or if I was always going to be too like working or in my own shit to do it.

[Interviewer]

Yeah.

[Jonah Hill]

And I think by the time we were mixing it or locked it, we were pregnant.

[Interviewer]

Congratulations.

[Jonah Hill]

Thanks, dude. Yeah, it's beautiful.

[Interviewer]

It's almost like the film had to be an art project that got you to the place that you really wanted to be.

[Jonah Hill]

I mean, I think about that a lot. Obviously a lot of artists will say the same thing. Clearly my medium is movies though Surely Stutz in mid-90s came from a very personal place. More so, you know, outcome and cut off. All my movies will be personal, but abstractly, those two were personal.

[Interviewer]

You talk about going to your writing room for the day in either writing

[Jonah Hill]

or editing my office.

[Interviewer]

Describe what that process looks like. Are you by yourself or you with somebody.

[Jonah Hill]

It changes from movie to movie, you know, so it's not always the same. But, like, right now I'm editing Cutoff, right? So I'm on in my office by myself on a system called Evercast, which is awesome. Which is like a better zoom for editing movies where we all can control things. And my editor is at Warner Brothers. Her team has a whole office there working on the stuff that we give the team to do. While me, her, and our producer Amanda Adelson and my assistant Kat Aguilar are all on Evercast. But I love that place. That's my Shangri La. But it's just one little room when

[Interviewer]

you're not editing but writing. Let's say it's the beginning of a project.

[Jonah Hill]

What does that look like, the beginning of a project? It's falling in love. You have these ideas. You have millions of ideas. Everything for me originally, when it's just me, has run out of my notes section. So ideas like, let's say for Cutoff, the original idea there was. I had worked with Jennifer Lawrence on Don't look up. And I was like, jen and I are so funny together. And more so. Jen is so more funny than I've ever seen her be in a movie. I want to make a movie where we both get to kill equally hard. But it's not like a romantic movie. So the way I thought to do that would to be like brother and sister. So I thought of us as siblings, then twins, then rich, obnoxious twins that get cut off in their mid-40s and have to go to the Valley with $0 per year and have no idea how to tie their shoes. It's something that inspires them. The story can come from there. It's not really. It's like the. The players, the. The artists or the feeling or the. The idea or whatever.

[Interviewer]

Does it often have to do with the people or nothing?

[Jonah Hill]

Yeah, people. I love these people. So it didn't end up being Jen. She couldn't do the movie because she was having a baby. And so it ended up being Kristen Wiig, who I'm over the moon about, who's the funniest person on the planet. So it ended up being Jen starting this idea. And then she had nothing to do with the movie except giving me the idea.

[Interviewer]

Yeah.

[Jonah Hill]

Just by loving her. And then so with the idea is you have three or four. You're kind of batting around, like, premises or like, what they could be, right? Let's say like Beastie Boys movie cutoff outcome and then whatever one you can't stop thinking about and you can't stop writing notes in your right note section about. You'll have a note section for each one. Everything runs out of my notes section. So if I can't stop thinking of ideas for one or it's just like one day, you just go, oh, yeah, I don't care about anything else.

[Interviewer]

Do you only do this when you're in the writing room or 247 all the time.

[Jonah Hill]

I'm present with my family and I work on it. And I'm not always perfect at it,

[Interviewer]

but ideas come all the time and you note them.

[Jonah Hill]

Yeah. And I have to say to everyone around me, like, also, because I hate that I'm on my phone, but my notes section is on my phone. So sometimes I'm writing in my notes section and it looks like I could just be around on my phone. And a lot of I say to everyone, a lot of my job is staring at a wall. So it may look like I'm doing nothing, but I'm thinking about this thing for years on end. The same thing. And then the other cool part, I want to say that it's not just creative is if, let's say I become obsessed with the idea and I go, this is it. I'm in love. I then take it to Dines and we strategize. And Ari and Rick, you aren't our manager. And we strategize. Is this a movie that we could get made with who? What is the infrastructure of that movie? And then we have to decide whether we're going to go forward based on can this actually be the next two years of our life? Pragmatically. So we have to formulate the business plan can be as creative. But if, like, let's say it's something so off the wall with no stars or anything, we have to go, I still may do it like studs. No one was banging down my door to make studs. And I'll go, fuck it. I'll eat it and lose a bunch of money for a few years because I have to. But we make that decision together, Matt and I.

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[Interviewer]

How is it working with Adam McKay?

[Jonah Hill]

Amazing.

[Interviewer]

Had you worked with him before?

[Jonah Hill]

I had it. Adam McKay is a total hero of mine. The man made step brothers. He should be knighted in every country. You know, McKay and Will Ferrell, their work together is like Matt and Trey level to me. The holy trilogy. Like their first three, like Anchorman, Talladega, stepbrothers. I have a still brothers tattoo.

[Interviewer]

Where'd you get your first tattoo?

[Jonah Hill]

First tattoo was Nanny rules My grandma. But I wanna say about McKay is he's goaded. He's goaded. And we got to work together during COVID so it wasn't like really. It was all. We made that movie right in the middle of beginning of COVID like, like height of it. So we were all separated. It wasn't a great movie making experience because Covid was so fucked. But like, I love Adam McKay and I think Step Brothers is probably, you know, could be the funniest movie ever made.

[Interviewer]

Tell me about your parents, Rich and Sharon.

[Jonah Hill]

They're awesome. You know, they're parents. They have their flaws and they're, they're great attributes. But now that I am a parent, I think they're a lot greater than I would have. I would have given them shit. And now that I am a parent, I'm like, oh my gosh, are my kids gonna say that I suck to a therapist and make a movie about, you know, like this? I wiped your ass. And I like call them all the time and just say, thanks and I'm sorry, you know, because I'm like, you guys were like 20, whatever, you know, I'm 42, making mistakes. You know, you're 20 something making mistakes and you wiped my ass, you know, so like, how dare I not? I just don't. You have no perspective.

[Interviewer]

To you, what's their relationship like?

[Jonah Hill]

They're like classic bickering old Jewish couple. They've been together since they were like teenagers, literally. Long Island JIU has been together since they were teenagers. I'll probably see them after this.

[Interviewer]

Tell me about your relationship with Seth Rogen.

[Jonah Hill]

I love Seth. I'm so happy for Seth and Evan and their crazy success with the studio. Like, it's so cool to watch them have this new realm of success, too. It feels like a new big chapter for them. I mean, I owe those guys everything they gave me. They wrote Superbad, and they let me play the guy at Superbad, which I would have been something in comedy, but they, you know, they gave me the opportunity of a lifetime, you know, And I love them and I make an effort with them to, like, still try and go to dinner with everybody. I. I'm the annoying one because I'm the schmaltiest one now, where I was the most probably out to lunch that, like, I'm more like. I'm more like, guys, we really should all get dinner and, like, you know, like, see how everybody's doing. And, like, we had a really great dinner recently. Recently. That was, like, hours long and just laughing and making fun of our parents and everything.

[Interviewer]

What do you remember about that first part of Superbad? Tell me about being invited to be part of it.

[Jonah Hill]

You just knew it was the shit. It was the best script I've ever read to this day. They worked on it for 10 years, and Judd infused so much emotion into it, I think, or inspired them to do that. They had just worked on it for. So when we work on something for 10 years, it doesn't get made. And they never gave up. And so it just got better and better. And we were making Knocked up, and then, like, I was able to read it and stuff. I did a table read where I played a different character. Joe Truglio's character. The guy gets hit by the car. They were like real teenagers playing the, like, kids. So everyone thought I was too old, but I just knew I was like, if I get this movie, like, it's a game changer. And I knew the movie was going to be successful because it was so funny. It was like Seth and Evan had just. It was really their writing, you know? And then Michael. Michael Cera is just. I can't talk about my career and my life without talking about Michael. He's one of my best friends to this day. He's such a beautiful friend. And he's just the funniest person. Him and Kristen Wiig are the two funniest people.

[Interviewer]

Do you ever ruin a scene by laughing? Me? Yeah.

[Jonah Hill]

Yes. All the time. All the time.

[Interviewer]

It's just too funny.

[Jonah Hill]

Yeah. It cracks me up. Like, it's. Now that I'm directing, too. I'm the worst. I'll be in the scene. Directing it. And I'll break a tape, you know, because I'm like. I'm like. I'm also, like, laughing at the absurd. I'm like, sometimes I'm, like, directing a scene. I'm in it. I'm like, I'll talk directing Keanu Reeves, but I'm in it. And I have a bald. And I look like an insane person. And like, you know, sometimes I'll just crack up at, like, the absurdity of life. But I break scenes all the time. I. I don't encourage it if it's, like, false or something, but, like, God damn, there's no problem with having a good time.

[Interviewer]

How is acting in a drama different than acting in a comedy?

[Jonah Hill]

I've only done, like, a couple. Like, real.

[Sponsor/Advertisement Voice]

Where there were.

[Jonah Hill]

No, it wasn't both or something, you know?

[Interviewer]

Or was Moneyball the first dramatic role?

[Jonah Hill]

I think I'd won before that. Now as I'm older, there's not much difference to it. I give you all view it as one thing. I'd have to get cast now in a drama I wasn't directing. Yeah, that's the way. The only way I could answer that question, you know, I've done, like, Ira, there's a. There's a. I think there's one knockout dramatic scene with me and Keanu's characters, not because of me, but because of Keanu and the person who plays my son in the movie. And that's a. I think, a dramatic scene I'm very proud of. And there was no, you know, there's difference. It's just honoring what that is.

[Interviewer]

Have you ever been acting in a scene and get so lost in it that you forget it's a movie?

[Jonah Hill]

Yes. Yes.

[Interviewer]

Feels like it's really happening.

[Jonah Hill]

Yes. The best one by far is acting with Joaquin. I say acting with Joaquin is like being directed by Scorsese. I'll say acting with Joaquin and Leo is like, the same level of, like, quality. Like, four seasons of acting. Four seasons of being directed is by Marty. When you act with those guys, it's like, as if it's real. And Joaquin's style is more like mine, where it's more like convincing yourself kind of stuff. Not like, I'm as good of an actor as him, but, like, Leo's just such a trained, talented actor. He could talk about normal life and then they'll actually. He'll do the best acting you've ever seen, whereas Joaquin is more like me. I have to kind of, like, think about it all day. If I'm acting in A movie, and I have to, like, do pretend that something sad's about to happen. So those scenes we had together in the Gus Van Sant movie, I could really forget I was there and really access emotion. And I'll always thank him for that. It was the best acting experience in my life. There's one scene in particular, and I cried because I cried today. And it's funny, I don't cry very often. I cried during that scene, and it was real. And that was the only time that's ever happened to me. Like, I've cried in scenes and been supposed to, but it was because it was, like, not because I was accessing my own life.

[Interviewer]

Was it in the script that you were supposed to cry or you just cried because that's what happened?

[Jonah Hill]

I cried just because that's what happened.

[Interviewer]

And it was because you were taken over.

[Jonah Hill]

Taken over by, like, what I was supposed to be feeling as this person.

[Interviewer]

Yeah.

[Jonah Hill]

And that had never happened to me and hasn't happened to me since.

[Interviewer]

And you think it was because of how convincing they were?

[Jonah Hill]

I think it's because Joaquin sets the table for you to allow yourself to feel that. And he's doing that.

[Interviewer]

Yeah.

[Jonah Hill]

And then you gotta give all credit to Gus. As I'm saying, I can't describe what he does, but Gus does something to create an environment where that happens.

[Interviewer]

Yeah, Gus doesn't say anything, but that happens.

[Jonah Hill]

He's doing something that's making that happening. And it's the director that's doing that. Along with your other actor, you know,

[Interviewer]

was the Phil Stutts documentary. The last thing that you put out?

[Jonah Hill]

The last thing that I put out was the Stutz documentary. And then right after a movie called you'd People that Kenya Barris directed. And I didn't do press, so that's when I stopped doing press, was like, when those two came out. And the main reason was I really didn't want to do press for Phil's movie. You know, I love the movie Studs. Like, I'm obsessed. That sounds so bad to Phil. I didn't want to capitalize on a movie that was designed to help other people. I didn't want to have to get a pat on the back or not a pat on the back. I did it for a very pure reason, and I just wanted to go out there and help the people who were supposed to help and not have to talk about it or, like, make it, like I was getting clout from it or something.

[Interviewer]

How did the idea to make it come?

[Jonah Hill]

The idea to make Stutz came. I couldn't figure out what my second movie was. Best piece. I was talking to, actually talking to Marty the other day about how I will never be in a position where a movie locks and I don't know what my next movie is. I will never do that ever again. Because after mid-90s, it was all I worked on for years, and then it locked and I had no idea what I was going to do. And so I was creatively, like, I was directing a lot of music videos and commercials. I was writing a Beastie Boys movie with Adam and Mike because I thought, okay, well, people liked mid-90s, and I got offered all these movies to direct. And luckily I knew Mike and Adam and the book had just come out and Spike Joni was gonna produce it. And Spike, I think, vouched for me as kind of being the person that should direct the movie. And I adapted it with Mike and Adam, which was an incredible year. But we ultimately, I realized you don't write the Bob Dylan movie with Bob Dylan. Bob Dylan can't be there while you're writing it. And you know, Adam. Adam is like, that didn't fucking happen.

[Interviewer]

Because you want to make the best movie.

[Jonah Hill]

I got it.

[Interviewer]

And they want to tell the story.

[Jonah Hill]

These guys are my heroes and, like, I never want to bum them out. And it was one of the best years of my life. I got to spend a year with Adam and Mike writing like, it was one of the most, like, how this is a gold standard experience. I wouldn't trade the time, but I had no idea when that movie didn't go, I had no idea what I was going to do. So I was just kind of creatively like, what am I going to. You know, if you make movies and you're lucky enough to do this, and especially if you don't have a family yet, you pour everything into it. So when you're left with nothing to pour stuff into, you're confused. So my friend Joaquin Phoenix, who introduced me to Phil Studs, funny person to have introduced you to your therapist. He's like, hey, I've been doing some interviews with Phil and I want to make something, blah, blah. And he kind of was talking to me about it in a way where he wasn't sure about what he was making or what it was going to be. And. And he had seen mid-90s, and it was a big proponent of that movie. He was kind of in the conversation. I felt like he was asking me to do it.

[Interviewer]

Was he feel unlike anyone you've ever met?

[Jonah Hill]

Yeah. So Stutz. You meet him and you kind of, you enter his space and it is like a dojo. It's got like, you know, you see it in the movie. It's like, it's got power to it. And it like your first talk with him, you kind of leave being like, I'm about, if I choose to, I'm about to go on like a really significant journey, which sounds kind of woo woo or whatever, but you're like kind of, you meet someone, you go, you know what? If I, if I go do this, it's going to be an important thing that I go do. And it was, it helped me a lot and a lot, along with a lot of other things. But, but I go back and forth about that movie a lot of whether it was smart to make it.

[Interviewer]

Tell me your thoughts about that.

[Jonah Hill]

I felt the reason for making it was as simple as this. This is what I told Netflix when I pitched it. I want to make a movie about the tools, right? That shows the tools. So if you're a kid that doesn't have a lot of money and your parents, let's say, won't let you do therapy and it's stigmatized, or you need to watch it in private, or you can't afford to go get. If you have a Netflix account or access to one, you can privately watch this movie that will give you therapeutic tools to help your life where you can do it without shame, you can do it without money. And if you're in like a third world country, like, whatever. And then the full circle to that was I went surfing in El Salvador and all the kids were yelling studs at me. And my friend who translated it was because they had all loved Studs and they had all watched it and they were like 10, 11 years old.

[Interviewer]

That's amazing.

[Jonah Hill]

It was epic. It was the whole reason I did it. But being vulnerable for me is not hard. Right? Like during that movie, I wasn't on camera originally, and then I injected myself into it. And Joaquin was a big part of why I did that. As a producer. He was like, you know, it feels weird that you're not, you know, talking about your own stuff alongside this stuff. And for the movie, it was the absolute right thing to do. I'm really proud of the film itself. I'm proud of, really proud of how great Phil feels about it.

[Interviewer]

It's great and it's not like any other documentary.

[Jonah Hill]

And I really appreciate that. And I've gotten that respons from a lot of people I admire and a lot of People. But I do feel I was, I would say, in a sense punished for being so vulnerable or like people calling it self serving or that I think I'm some sort of evolved person. And I'm not.

[Interviewer]

You had kids shouting Stutz at you.

[Jonah Hill]

Yeah. And I guess neither of them actually really, at the end of the day, drive. Why? I make something. I have to make something because I have to make it. And I had to make that and I did. But what I'm saying was it was. It wasn't as comfortable of an aftermath for me is some of the movies.

[Interviewer]

It's also beautiful filmmaking. It's really original.

[Jonah Hill]

Thank you. And I think it was probably the hardest movie I'll ever make.

[Interviewer]

Yeah. Not everybody's ready to see it at a particular time.

[Jonah Hill]

Yeah. I guess maybe the people that were hard on me were people that don't want to look at that stuff or face that stuff. And maybe some people's reactions were that. But I will say, I know Phil is so happy and I wanted to honor Phil. And I know a lot of people who have come up to me and said that they. It's helped them. And a lot of people, people who are studying to become therapists, that they. They show it at school.

[Interviewer]

Yeah.

[Jonah Hill]

And I was like, damn, that is cool.

[Interviewer]

There's no other therapist like Phil Stutz.

[Jonah Hill]

No.

[Interviewer]

He's truly one of a kind.

[Jonah Hill]

He is one of a kind even for letting me do that, you know. But his insight to things without having the answers himself are what make him able to be. Able to receive advice from him.

[Interviewer]

In the first meeting you had with him, did he do a drawing?

[Jonah Hill]

Yeah.

[Interviewer]

Right away?

[Jonah Hill]

Yeah. Yeah. I can probably tell you what it was. It must have been the shadow, something about the shadow. Because we went over the shadow in the first meeting and that was like mind blowing to me. I had done therapy my whole adult life. That was more just me kind of sitting and bitching to the therapist. Me, like. And then this fucking guy cut me off. And I'm pissed about that, you know, like whatever. It was the first guy who kind of broke down like, here's why you may feel this way. And like how you spoke to yourself and were spoken to when you're younger maybe like plays out a lot in this stuff and just mind blowing stuff that I had never heard put in a funny and digestible way. Which is why I thought, oh, this could really work as a film.

[Interviewer]

How many different projects are you developing?

[Jonah Hill]

I don't know, 30 something around there. And it could be anything from a Grateful Dead movie that we're producing that I won't be in or won't direct. I'm also the director of my movies. So when it's one of my movies, if that's what's in production, I have to keep my eye mostly on that.

[Interviewer]

Can you imagine directing a movie that you're not in?

[Jonah Hill]

Yeah, totally.

[Interviewer]

Is that the dream?

[Jonah Hill]

Well, mid-90s, I wasn't in, so my first movie I wasn't in. And I've directed a bunch of commercials and music videos that I wasn't in. So during that 10 year period, I really wanted to not be someone who just wanted to be a writer or director. I had been writing big movies since I was young, so that was nothing new. Like I'd written on the Jump street movies and like, you know, all the movies I've been in as a funny actor, all writing and ideas are. They come from. Well, they come from whatever you believe they come from. I think we're like an.

[Interviewer]

Where do you believe they come from?

[Jonah Hill]

I think we're an open channel. And if you're open, ideas come to you through some sort of whatever you believe in. And what I believe is that I don't come up with anything, that I'm lucky enough to be like a vessel that these mostly comedic ideas come through. And I feel so lucky that the high that I get from this, besides solving a Rubik's cube of really hard work, is a moment of creative. A creative joke or idea comes from whatever channel is open. How lucky are we that we get to be in the room when that happens?

[Interviewer]

It's a miracle when it happens.

[Jonah Hill]

And it's the greatest feeling besides hanging out with your son.

[Interviewer]

Yeah, totally. Totally addictive. Totally addictive.

[Jonah Hill]

Yeah. And it's just as gratifying to me when the plumbing starts to work.

[Interviewer]

Work.

[Jonah Hill]

That's why I like the boring laying pipe of the job. Also because the craftsman aspect. Yeah. Because a great joke or a great idea, you know, a really cool paint color isn't shit if the wall falls down, you know, or the toilet's overflow, you know, you gotta do all the, like, homework. I call it like all the homework of it in between. Those blasts of creative, like, moments are now very gratifying to me too. More than gratifying, I like, cherish them. And I love that I get to be a part of that.

[Interviewer]

What was the initial seed idea for the new movie?

[Jonah Hill]

The first thought was I was paying attention to what was going on with people with a huge form of entertainment, becoming a celebrity Getting in trouble for something. And I was watching, like, we all were all this happening, and I thought, who's the person that we'd all be the most bummed got in trouble for something? And the answer was Keanu Reeves. So I was like, God, everyone loves Keanu Reeves. No one. Everyone would be so bummed if he was, like, an axe murderer or something, right? And that was all I had. And I was like, I want to make a movie where Keanu's like, a movie star, like a beloved movie star, and he gets a call from his crazy crisis lawyer, Ira, played by me, and he just goes, there's a video. And that was the initial idea. And you feel the panic in Keanu Reeves. And to Keanu's credit, I called him, and that was all I had. And he came over to my house in Malibu where I used to live, and I pitched him that, and he said, go write it. I'm in. And he never wavered from me from that day forward. And that was, like, three years ago.

[Interviewer]

That's why he's the guy you'd be so bummed to hear he did something bad, because he's that guy.

[Jonah Hill]

He's that great of a human being, and he's. And he's just an amazing guy. I've never met somebody so hardworking, so dedicated. And it was trippy for me because my first movie. My first two movies, one was about, like, a bunch of skater kids that weren't actors, and then the other one was about Phil Stutts, my therapist. So I hadn't directed movie stars, you know, so it was like my first camera test of outcome. It was like, Keanu Reeves, Cameron Diaz, Martin Scorsese. Like, I was like, wow, I'm directing, like, a big Hollywood movie, and then this next one is the same way with a bunch of stars. And it's like I kind of started implementing stars into the movie, are iconic figures that I love into the movies. And it's become a whole new level of mixing, like, more the documentary style or more, like visceral style of things I was making earlier on to also incorporating all the big Hollywood movies I love and my joy of those into my work.

[Interviewer]

Now, do you feel like the best work always feels like a documentary, regardless of whether it is or not?

[Jonah Hill]

That's such a complex answer, because now everything's different. Every single thing is different. Like, some things cannot feel real in a great way. Some things can feel super real. You kind of always want, like, the emotion to be real, maybe even if it's outlandish like, my newer movie, the one called Cutoff, is with me and Kristen Wiig, and we play two moronic heirs that get cut off in their mid-40s by their rich parents, played by Bette Midler and Nathan Lane. Wow. And it's more like. Like, Preston Sturges are the jerk. You know, it's like it's total screwball comedy. But even in that, I'm finding as I'm editing it, I'm like, wow. When I screen it or when I watch it, I go, you do want some emotion to really hang this on, even if it's absurd. But I used to just view moviemaking as it should be, as real as possible. And then I think of movies like a movie. I always come back to that. I love my favorite director's Mike Nichols. And the Birdcage is a movie that I thought a lot about for outcome, and I think about a lot of my own filmmaking now, which is there's things that feel so unreal about that movie, but the emotions are super, super real. So maybe an emotional documentary, but not always in its, like, fixtures. Does it have to feel like a dog?

[Interviewer]

The new movie is definitely emotional and the premise is funny, but the actual interactions are really heavy.

[Jonah Hill]

Yes.

[Interviewer]

From the beginning, did you know it was going to be as emotional as it turned out?

[Jonah Hill]

No. The best advice I've gotten from Mr. Scorsese was we had dinner with him, like, before we started, and he's in the movie, and he just said, always listen to the movie. Just always listen to the movie. It's telling you everything. Don't be rigid.

[Interviewer]

He's great in the movie.

[Jonah Hill]

I know it's funny to say because he's Martin Scorsese, but he really is phenomenal in the movie. His performance is heartbreaking. He really gives a beautiful performance. I can't believe I directed a beautiful performance by Martin Scorsese, but here we are. And. And when he saw the movie and told me what he thought, that was a pretty special moment for me. But no, I wanted it to be more of a comedy with a capital C. And I gotta give it up to Apple. They're a great company to make movies at because they loved what it was becoming. They saw it was becoming more of, like, maybe more in the Jim Brooks or Mike Nichols direction. And they didn't say walk towards it. They said run towards it. We'd rather make a movie that's funny and moving than a movie that's just funny. And I was so grateful that they supported us in that because it was different than what I even wrote and what we even shot, you know, in a lot of ways, because it's a comedic premise. The premise is essentially he has this video come out that's going to come out, that's fearful of it coming out. And his crisis lawyer, played by me, Ira, makes him go make amends to everybody, apologize to everybody in his life that he hurt, but not to be a better person, but to find out who's extorting him. Which is a very funny, dark, dark, funny premise. Was always the premise of the movie. So he'd go on this immense journey but in no way to like enlighten himself just for really like self serving reasons. And each one of those apologies when I started like almost writing them to shoot, because there's the writing you write as a script and then there's the writing you write to shoot. The truth of it was that Keanu's character Ryf had to be surprised about what they were hurt from by his behavior. That each one had to be like a rug pulled out from under him. He's apologizing for one thing, but that's not even the thing they're upset about. It's like you're so far off from being healthy that you can't even pinpoint the thing you did wrong was. And. And it starts with Marty's character, who's his childhood manager, this guy who works out of a bowling alley.

[Interviewer]

How do you come up with the idea of it being out of a bowling alley?

[Jonah Hill]

At a bowling alley? Yeah, in the Valley there's this pins which is like a bowling alley. That was around even growing up in LA when we were young. It's near the Oakwood Apartments, which is where the child actors. I've seen documentaries and of course I'm an actress, so you know all about this stuff. There's this place called the Oakwood Apartments where all kids move with a dream with their moms or dads or go out to California to try and get on a show or get on Nickelodeon show or something. And it's like these apartments and there's guys that kind of scout the apartments. And you know the character Richie Red Rodriguez, who Marty Marty plays, he's like this schlocky guy who signs kids and some of them turn out to be fucking Johnny Depp. And some of them turn out to be, you know, nothing of note, you know, or a major note. But he knows his inevitability. It's more like the philosophical character is the guy who knows if he does his job Right. You leave him.

[Interviewer]

He says it.

[Jonah Hill]

He says it. Yeah. And that's kind of like, if I do my job right, you leave me. He goes, I know that, you know, I don't want to act out the scene, but it's beautiful. And the way Marty does it is beautiful. And he goes, I know what the fuck I am. And there's a lot of rules in life. It wasn't just about, you know, the movie's not about Hollywood. It's about people we encounter on our journeys who, you know, are temporary. And maybe you are that person who's temporary for someone. Like, I always remember when I was growing up, one of my first girlfriends, and she was so beautiful and so smart. Even at the time, I was like, you know, like, I'm temporary until you meet someone that you will, like, fall for because you're so wonderful. So we've all been on both sides of that, you know, do we discard those people? So the message, a lot of it is like. Like, it's okay that that is their function, but they don't have to be discarded. And. And in fact, like, you know, my big thing is like, it's so hard for me to call, like, my dad or Studs, you know, like, people who are like, Father Fig, you know, that whole thing is like. It's like, so hard to just pick up the phone and just say, like, how are you doing? It's really hard. I don't know if it is for everybody, but it's like. Or when my grandparents were alive, you know, you'd go visit your grand. I'd go visit my grandma, and I'd always, like, gotta go visit Nanny. And I loved her. It wasn't like, you don't love them. It's just, I don't know, you know. Do you know what I'm talking about?

[Interviewer]

I do.

[Jonah Hill]

It's just that effort it takes to do something you know, is great for you and them, but you don't do it a lot. And years fly by sometimes, you know,

[Interviewer]

you usually don't realize it until it's too late.

[Jonah Hill]

Until it's too late. And so that was about realizing now to appreciate the people you should be calling and going to check in on.

[Interviewer]

Do you think that came from your work with Phil Stutz?

[Jonah Hill]

I think a lot of things come from my work with Phil stuff, but that one in particular, he's a figure like that. For me, that's like a fatherly uncle figure or my own dad who I love and am close with, but sometimes I just don't pick up the phone enough to say, how are you doing?

[Interviewer]

Do you know anyone who's gone on an immense tour?

[Jonah Hill]

I know plenty of people who have, yeah.

[Interviewer]

Tell me about the conversations you've had with them.

[Jonah Hill]

This was a comedic version because it is a tour. It is like tour dates. You know, he's so, he's checking them off. He's so focused on self preservation that he makes it almost like a checklist job. But I found in most cases that I've heard about that it's usually from a less sinister place than that and just apologies when you get to them.

[Interviewer]

In the opening scene of the movie, our lovable hero is shown as two faced. Did you do that to humanize him or to vilify him?

[Jonah Hill]

So the whole movie is about social media from the beginning to the end. It's a story based in Hollywood, but it is about how even your 12 year old niece has turned into a middle aged, scorched lifelong movie star. Because everyone, because of social media is judged 20 times a day about everything that they wear, do or say. The main point of the movie is that like, you know, my nephews I started to see have the same paranoia that I would have as a famous person about being liked on a grand scale and how we can value that which is truly impossible over the opinions of the three people you actually are around. And so when I say a new outlook, I only give a fuck what dines who's sitting right here. You know, my friends, my colleagues were like family at Strong Baby. And the people I live with, my family, have to say about me because it is an impossible, lifelong, crippling road to nowhere. But as human beings, we all of course care so deeply about what people think about us, know us or not. And so the movie is about that. And so what I wanted to show right away was a guy, I was just trying to throw you curveballs where you couldn't peg him down. He's nice, he is a movie star. He's humble. He's not humble. He's laid back and casual, but all he does is care about what you're thinking about him in the most uncasual manner ever. And it was an exciting opening for me because it, you know, it reminded me of those kind of great. There's one, okay, so Keanu, there's one scene in Parenthood I'm obsessed with. I love the movie Parenthood, but Keanu kind of is where he's going off on Martha Plimpton and Diane Wiest and he's kind of Kind of like off the rails, yelling at them kind of in it. And I was like, I want to make a movie with that guy, you know, because, like, he's always so cool. He is cool. He's always so like, John Wick and stuff. I was like, I want to see a guy who's like you. You can't emotionally peg down and he's not in control of his emotions. So that opening kind of reflects a guy who is just a mess. He's just a mess. He has no idea who he is. He has no identity. And through talking to these people that he's hurt. I think he's learning his identity is an asshole. And then hopefully by the end you learn that. How do we take some small steps to not be an asshole?

[Interviewer]

Yeah. Is Keanu's character in the movie more based on the real Keanu Reeves or is he more based on the real Jonah Hill?

[Jonah Hill]

Neither. Neither.

[Interviewer]

Made up character.

[Jonah Hill]

Yeah, totally made up character. I mean, I'm not like a Tom Cruise type figure like Reef Hawk is. I would say I'm more of a Don Rickles, Sancho Panza as character. But there's things I relate to about all the characters in my movies, for sure, you know, this is my third movie, but, you know, third and fourth movie, really, as you'll see, like, I love and relate to all of them. You know, I can surely relate to parts of Reef, but, like, I'm in no way, like, if, like, my family met, like, when they see the movie, they don't go like, wow, that's Jonah, you know, like. And it's not Keanu. From what I found, the one funny anecdote I will say about that, though, part is, is that because the character does have anxiety, which I've, you know, had in my life. Keanu did not understand what or how to portray anxiety. He hadn't felt it, in a sense, that he understood.

[Interviewer]

So he experienced it in life but didn't know how to portray it because he never had to portray it.

[Jonah Hill]

He understand it in life.

[Interviewer]

Oh, he's never experienced anxiety.

[Jonah Hill]

That was the essence of what I got now. If I'm wrong, I will immediately take that back. No, that's great that he's just working on the character. He did not understand something. I'd go, that's called anxiety. Like, that's called anxiety.

[Interviewer]

That sounds like a great conversation.

[Jonah Hill]

It was. It was. And every conversation with him was great because I go, like, why is he freaking out? You know? About what? Like someone, you know, and he's like, this person really would do this. And I go, yeah, you know, like you always used to hear all these stories about Larry David. Like, like, like Jason Alexander would go like, you know, nobody would do this, nobody would do this. He'd go, I did that. And as well, I'm very much not Reef, but I would do those, I would care in that way or spin out about the smallest thing. And you know, it's so. I loved working with him. I mean there's a million reasons I loved working with him. I loved working with everybody. Everybody in this movie was just unbelievable and the making of the movie was unbelievable.

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[Interviewer]

How do you think fame changes a person?

[Jonah Hill]

It's like fatherhood. It's like before and after. It's like that day and the day before and the day after. You could buy a newspaper on the day you became a parent and the day you became famous. And it's like that kind of black and white. You have to reprogram yourself. You know, at least from my experience. I can't speak on anybody else's experience. Mine was like, like didn't want to admit it changes your life. It does. And then you gotta like hopefully catch yourself and be like, you gotta rebuild from like square one.

[Interviewer]

Figure out who you are now.

[Jonah Hill]

Just what it is all about from the first square step from waking up in the morning till going to bed. And if you're lucky enough to have that insight and time or, or tenacity to do that, then you're blessed.

[Interviewer]

When you're doing an acting role, how much preparation do you do?

[Jonah Hill]

It's all writing. It might as well Even if I'm acting, it's basically like writing a book on that person.

[Interviewer]

Is it always about the language or is it something else?

[Jonah Hill]

No, I say writing a book about that person, meaning what music they listen to, what books they've read, what clothes they wear.

[Interviewer]

I see.

[Jonah Hill]

It's like, if you're writing the book, he wears this. If you were writing the book, you go, he wears this casual beach outfit because he lives by the ocean and he likes to relax. And what does that say about him? And this and that. And I haven't acted, just straight acted in a long time. I'm looking forward to, like, just acting. You know, if a role came up, it would be really fun. But in the meantime, we're on such a role making these movies that I'm acting in and directing. It kind of all's become one thing. I guess that's the way I would put it. The real answer to that is it's all acting, writing, direct. So I say it's all writing. When I make these movies, it's all encompassing. It's like the whole family's involved, all of our friends are involved. It's like. It's like. And then playing Ira, let's say an outcome, it's all just much as being the writer or the director.

[Interviewer]

Do you remember what Ira's first line in the movie is?

[Jonah Hill]

Do I have shit on my face? Is that it still? Or was that an old line?

[Interviewer]

No, that's it.

[Jonah Hill]

Yeah. He had bagel on his. He had cream cheese on his face. And I love that as an opening line, which was, he has cream cheese on his face. He said, do I have shit on my face?

[Interviewer]

It gives us a lot of information right out of the box.

[Jonah Hill]

Ira as a character, I'm. I'm his top. He's top five, if not top three for me that I've ever played. I. I love Ira. I fucking love Ira, man.

[Interviewer]

Is he based on anyone?

[Jonah Hill]

You know, his job is kind of based on the icons of that job, like a Marty Singer. People like that who are like, historically, you know, if you killed someone, you would call if you were in that position, right? So I thought it was a great comedic character because he's a guy with no judgment. A guy like that has no judgment. So the me I wanted to play that character because I was like, wow. Imagine a guy who, by principle, can't judge anybody else, right? His whole livelihood falls apart if he brings an ounce of judgment. So if you sat here, you're his client, and you say, ira, I killed Someone, he has to go, okay. And he has to just get to the facts of it and where we're at and why and what. How and where are we with it before, you know, he doesn't go, like, what the fuck? And so I thought there's inherently someone so funny comedically with a darkly comedic lack of judgment. And ultimately he ends up being a surprisingly. The thing I'm most proud of, the movie does this. I read, like a miniature part of the movie is the movie does this where you think. Think it's this thing and it's kind of shallow or whatever. And then it ends up being surprisingly deep. And I think Ira is the best version of that because he's the easiest character to peg as just a quote, unquote bad person by what he does and who his clients are and how he lives his life. But when you start to peel back the onion, you start to see layers of a guy. Those things can be true what he does or can be deplorable. But, like, you start to see him as a human being and thought he was fucking hilarious and outlandish. And as outlandish as I could play him, it wouldn't come close to the real life. People that are like this.

[Interviewer]

What was the first movie you were ever cast in?

[Jonah Hill]

I Heart Huckabees, directed by David O. Russell.

[Interviewer]

How did that happen?

[Jonah Hill]

That happened because I knew the Hoffman family. It was Dustin Hoffman's family, their kids. Jake is one of my great friends to this day. They're all amazing. The whole family's amazing. And. And I was starting to do, like, kind of. I wouldn't call it standup traditionally. I was starting to do these kind of, like, plays, one man shows that could kind of like almost spoken word kind of things.

[Interviewer]

Where would you do those?

[Jonah Hill]

In New York City, at a bar called Black and White. They have an open mic every Sunday night. And they kind of started becoming popular. And at the same time, I started making these prank call CDs that I would pass around to friends.

[Interviewer]

And how long would your set be in those days at, like, an open mic?

[Jonah Hill]

It could be anything. They were so cool. Cause it was like, honestly, I think it was like a spoken word, like, poetry kind of night. Really great people. Crispy T and Johnny T. Really awesome guys. I was 18. I shouldn't have been allowed in the bar. And, you know, I would think of the most outlandish premise I could think of. And it would be more like storytelling. One man show storytelling. Kind of.

[Interviewer]

Would you write it before you got on stage? Or would you write it on stage?

[Jonah Hill]

So the cool part that was cool is it would happen every Sunday night. I would start Monday and have to perform Sunday.

[Interviewer]

Like being on a weekly TV show.

[Jonah Hill]

Exactly. So whatever you perform is gone and you're left with nothing. So you've got to find a premise. And the crowd was like, would people laugh? Yeah, they crack up.

[Interviewer]

Great.

[Jonah Hill]

And you know what's funny is I like got this moment where I was all kind of like self serious and like, wasn't into comedy and stuff. And it was all rooted in just like not knowing who I was and stuff. And the second I got happy in life, you know, the second I like had my first kid and was happy and like smiling, all I wanted to do was be funny. And all I wanted to do my whole life was make my friends laugh, you know? So it has been like the greatest couple years, like three years, four years of making these movies with my friends, with my family, being funny. Because if I could think of the best memories in my life, they're sitting like this with loved ones cracking up. Yeah, that's it. That's like the thing. So when we do that on set and it's me and Dimes and we're at work and our families are visiting us at work and we're all cracking up, making something, I'm like, this is like next level fulfillment.

[Interviewer]

Are you as funny when it's not work, just in life?

[Jonah Hill]

I mean, I'm the last person you should ask that question because I'm not Dimes. What do you think? He's like, ah, no fifth Amendment, dude. I think it's pretty obvious that. Yes, I think it extends into real life. It's not a performative thing. It depends if who you ask. I'll tell you this, I love it more personally. Like if we were at dinner and I was just in a good mood and our kids were there and I was like, I would be getting more joy out of it than the people laughing. And how cool is that, man? You know, Making your kids laugh.

[Sponsor/Advertisement Voice]

Laugh?

[Jonah Hill]

Yeah, Me, dude, Making my son laugh, like getting him with a bit and seeing him become funny at almost three,

[Interviewer]

you know, it's amazing.

[Jonah Hill]

It's psychotic. It's mind melding. It's better than any. No accomplishment even should be called an accomplishment than watching your kid tell a joke and have it be funny. It'll be like when he catches his first wave or like I see him do an incredibly kind gesture for someone. You know, it's like this feeling that's like supersedes it. But when you mix comedy in with that, because comedy's taken all these different forms in my life over all these years.

[Interviewer]

When did you first fall in love with comedy?

[Jonah Hill]

I don't even know, man. It's one of those things, like, if there was skateboarding or comedy involved in it. From the first moment I can remember ingesting, like, culture, I needed to know and understand every. And then later, it was rap music. You know, if rap was in a movie, you know, like, if a famous rapper was in a movie and they played a rap song in a movie, I'd all of a sudden have to know everything about that movie.

[Interviewer]

It was always through the reference of movies.

[Jonah Hill]

I was a clown. I was a jester. If you ask my parents or Matt and I have been friends since we were like, three or four. So, like, I know my mom. Cause my mom tells my son, because she tells him, your dad was always funny. And, you know, would there be, like,

[Interviewer]

comedians that you would love that you would imitate?

[Jonah Hill]

Yeah, I would do Richard Pryor and Eddie Murphy later, the Sandler albums. I would, like, perform the songs for, like, you could tell who's going to try and be a comedian in, like, Jewish culture is the person who performs at all the family shit, you know, because, like, I would be performing at every family function. It's like, there was no stage or, like, there shouldn't be a venue. It shouldn't be a venue. But I feel like a lot of my friends, like Andy Samberg or, you know, people I came up with, it's like they were funny and would perform for the family.

[Interviewer]

You think it was about getting acceptance in the family?

[Jonah Hill]

I think it's a million things. That's why I say my. My relationship to humor could be, like, five books. Because it's like, there's times where it's represented something evil to me. There's times it's represented, like, why do you guys just want me to be funny in my darker phases? Or, you know, like, I'm more than that, you know? And then ultimately I'm like, no, this is, like, the most golden light that I was given to love. Like, it is the most, like. Like, maybe the most important thing that ever was given to me was comedy and laughter. Because it's like, dude, when you're, like, 90, you can't have sex. You can't surf. You can't, like, can't do your hobbies, really, but you can laugh. Mel Brooks is still funny. I had lunch with Mel Brooks and Norman Lear, may he rest like, you know, I was friends with Norman, close with him when he passed. He's 101. Guy was still cracking me up.

[Interviewer]

Amazing.

[Jonah Hill]

Making jokes, killing a dinner at 101 years old. His mind was blown by YouTube, which mine is too, by the way. But he could think of any comedy act he ever saw in his life and show me it from, like, 1940. And I love these guys. I love all the old timers. I love getting close to them because, you know, like, no one can take being funny if your mind's still intact. No one can take being funny away from you and the spirit that that brings people. But the truth of it is, it brings me joy.

[Interviewer]

Why do you think most comedies today are not funny?

[Jonah Hill]

I think that's a harsh critique.

[Interviewer]

What's the last comedy film you saw that made you laugh? Like crazy?

[Jonah Hill]

So, again, there's the probably starker reality to it, because my main mission of this is to make comedy movies, not bring them back because they're not gone. But, okay, they're gone, and then I'm being allowed to make make edgy comedy.

[Interviewer]

Why do you think they're in a

[Jonah Hill]

climate where people are not allowing many people to make mainstream comedy movies? And I'm very grateful for it. And with that responsibility, I will say, culturally, it is hard to make jokes in the past, let's say, like, six or seven years up until the last, like, one or two years. Because a joke can be misconstrued and you can get into a lot of trouble, right? That is obviously true. You can make a joke that offends someone.

[Interviewer]

Why is that different than it's been in the past?

[Jonah Hill]

Because the consequences were different. I was even thinking about Seth and Evan who made, you know, they made the interview about Kim Jong Un, and look at the consequences to their movie. That's a comedy about North Korea and the consequences.

[Interviewer]

What were the consequences?

[Jonah Hill]

A global hack and, like, a lot of people lost their jobs and, like, people went crazy and everyone's emails got leaked. And, you know, Michael Lin just released a book that I saw him on, Good morning America today about, you know, who greenlit that movie, was talking about the biggest mistake of his career was green lighting that movie because of the fallout that happened. Right? So that's the consequences of a comedy. Charlie Chaplin can, you know, release the dictator or whatever. You know, it was edgy and it was like, maybe scary or maybe pushing some buttons or Lenny Bruce would push buttons or whatever. But I look at that North Korea. Fuck the cultural, like, you know, right, left, whatever. All Those people going crazy. Like, I'm talking about like, like even the fact that like North Korea took that movie so seriously that they did something that could have, you know, was essentially an act of war that could have gotten people like a war started, you know, based on Seth and Evans farce. Right. So stakes got bigger. But actually, fuck that. The real reason is they aren't making money like they used to. So, like, the real truth of it is is that when I came up with Judd and everybody and said, seth, our movies made a lot of money, you knew your, your comic probably gonna open to $20 million if like Judd's name was on it or I was in it or Seth was in it or, you know, and it was like a good ass time for. Or, you know, Ben and Vince and the dudes right above me, like Ben, Vince, Owen, that crowd, you know, Will Ferrell, like, they were minting money, dude. But Will couldn't get Anchorman made. I didn't know that Will couldn't get Anchorman made. But then look what that kicks off. Right? Right now is the perfect time to be making comedies. Whether, you know, look.

[Interviewer]

Well, there's a void.

[Jonah Hill]

Yeah. And I. I want to be the guy you come to. To make you laugh with films and at Strong Baby. We want to make funny movies. We want to make responsibly budgeted funny movies because 14 year olds have nothing to laugh at, as does everybody else. And I think comedy got shifted to TV comedy be kind of became dramedy, which is kind of what outcome is. And so I'm guilty of that too. Of emotional comedies. Right. You know, the bear becomes what people consider a comedy, which I love the bear. And Chris is a great friend of ours, friend of Strong Baby. Amazing dude. I wouldn't say it's a laugh out loud comedy. Just like, you know, outcome has a lot more serious elements to it. Cut off. The next movie I'm making is more like an lol. The jerk. These are morons. Laugh at them. And I miss that. I really, really miss that. And so I'm having a blast making that too.

[Interviewer]

When did you first meet J. I

[Jonah Hill]

first met Judd through Allison Jones, the casting director. I was a young actor, like 18 or 19.

[Interviewer]

Had you been in anything yet?

[Jonah Hill]

Yeah, I'd been in I Heart Huckabees, the David O. Russell movie, which is a funny first movie to be in. Because if you know the history of that movie, it's like, I don't tell me. There was all these videos that leaked of him, like kind of screaming David O. Screaming at like Lily Tomlin, everybody, like kind of notoriously outbursting at them. And I love David. I've seen him a lot since then. It was kind of a famous movie where the director kind of yelled at everybody. So to be 18 and be the first serious set that you ever were on, I was like, yes, this is crazy.

[Interviewer]

On the set, did you feel like anything was weird or uncomfortable or not at all?

[Jonah Hill]

I was like, this is what directors are like, you know, I was like, this is unlike any other job on the planet. I didn't like love the yelling and stuff, but I was like, it's kind of crazy that the creativity, like there's no like grown up here really now. There are a lot. Work environments are a lot different on sets. I think you can run a very respectful environment and make a good movie.

[Interviewer]

Do you think that the outbursts led to something that you got to see on screen that was of value?

[Jonah Hill]

I would say no. In that case, you know, in that case, just seeing it up close, I wouldn't say it added to the creativity. First thing Phil Stud said to me was, you're not a good artist because you're fucked up. You're a good artist in spite of being fucked up. And so, yeah, I think I know artists that self sabotage is a big part of their process. But like Stut said, I think if they were healthy and still doing their process, it'd be great because they're great.

[Interviewer]

Yeah.

[Jonah Hill]

What do you think?

[Interviewer]

I think so.

[Jonah Hill]

You never see it be like a tool in the toolbox, really?

[Interviewer]

No, but I think there are some people who don't know how to express themselves very well. And it comes out of a frustration of not being able to explain what they want well.

[Jonah Hill]

Where it comes from is like, cool, that and a buck fifty will get you on the bus. It's the ultimate behavior that matters, right? Yeah. I don't know what I find about these work environments that's interesting is like, it is a creative environment, especially an environment like we say on our sets now, like we are making jokes about every person who interviews for the job. Like we are making jokes about things that could very make anyone uncomfortable. It is a comedy movie that is part of the nature of the work. And I am a writer. I'm writing the whole time. So I'm writing at the monitors. I'm writing while I'm in character. I'm writing while I'm out of character. And I and everyone that we work with respects that and they tell us they love it and they're laughing, and they keep coming back.

[Interviewer]

You know, you ever get pushback where, like, you'll say, try this. And it's like, no, that's too far. I won't do that.

[Jonah Hill]

Yeah, Keanu. Because I have a microphone. So I have what they call a God mic, which is funny for the megalomania of directors, but it's called a God mic. So I'm behind the monitors, and if, like, let's say Cameron Diaz and Keanu are doing a scene, or Marty and I'm pitching lines, so I'm writing.

[Interviewer]

Is that coming through a speaker or into an earpiece?

[Jonah Hill]

Yes. And you ask their permission first. Like, you don't. You don't just spring that on. You have. The actor has to be totally comfortable with it. You know, the whole soundstage can hear it. So I'll go, okay, so say, oh, that's great. He said that. Now you say back to him, say this, and he says that and that, and, okay, cool. And it's a process we refine in rehearsal. So no one's like, it's not sprung on anybody. And if the actor doesn't like that they need to be in character. Then, of course, that's not done. But everyone seems to love it. And then Keanu. What would happen was sometimes I'm so in love with what he's doing and writing new jokes. By the ninth joke, he goes, jonah. Okay, okay. Because he's just. He's just too much. It's just because he knows I won't stop.

[Interviewer]

Yeah.

[Jonah Hill]

I'm having the time in my life. Like, if I think something's funny, I'm chasing that like a. Like a hound.

[Narrator/Host]

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[Interviewer]

What's something about the movie business that nobody knows?

[Jonah Hill]

That it is an industry filled with so many. So many people who work in it and a lot of amazing people that work really hard at a job that's really hard. I'm not talking about acting or directing. I'm talking about if you're like, like, you know, a grip or something.

[Interviewer]

There's sometimes 50 or 100 people on a set.

[Jonah Hill]

Yeah. And if you're a grip, you may not be getting paid the most and you'd be working long hours and you have to love movies and care to do it, and you're living paycheck to paycheck. And at its best, it's a beautiful industry that I've seen a lot of people experience great joy and. But it is getting harder and harder for a lot of people to. To have good livelihoods and stay in California, which is a bummer.

[Interviewer]

How different are you than the characters you play?

[Jonah Hill]

Well, I've played a lot of different people. You know, probably most classic, like Seth from Superbad. Like my comedic character, let's say. Like the comedic actor that you love, let's say. You know, there's like the classic Adam Sandler character. My classic comedic character would be like the loud, foul mouth, you know, guy like Wolf of Wall street or Superbad or something. Right. So I can be loud in foul mouth, but I'm. I don't know. Those are like caricatures of a person, I guess, like, maybe like comedic traits. So I could have those. I could also be quiet. I could also be like bajillion different things. I guess the main thing is, even as a public figure of like, how you got to know me, I think we're always changing and are kind of growing and evolving, hopefully. So I guess this conversation is what I'm like now.

[Interviewer]

Yeah. What are your reading habits?

[Jonah Hill]

I listen to tons of books. I'm trying to be better about reading physical books because I think it's good for your brain and I completely abandoned it. So I'm a voracious reader in quotes, but really listener. So I consume a lot of books, but through audio.

[Interviewer]

What type of book?

[Jonah Hill]

People's lives, biographies, books about people. I love books about the entertainment business. I love, like the book I'm reading now, which is a physical copy, is Preston Sturgess. Biography. I love the lives of people that made the art that I like. You could put me there all day and listen to a book and I'd be happy.

[Interviewer]

Tell me about your musical taste.

[Jonah Hill]

Oh, man, I love music. It's obviously. Well, not obviously, but it's very eclectic. From what to what, classical to Trojan Records to hip hop to, you know, like, I was thinking about today about Trojan Records, and that's my favorite label, and it's all over the place in the best way. But it's just like. It's like a movie. Like, I don't care about what genre a movie is. I care about, like, whether it hits, if it, like, makes you feel something great.

[Interviewer]

How do you use music in writing or character development?

[Jonah Hill]

Everything. I write everything to music. Like, I have to have a playlist for the project. So the second thing that happens after the notes section, when it becomes a real project with Matt and I, I start the playlist. So the outcome playlist is like the

[Interviewer]

playlist what the movie sounds like, or is it about the people?

[Jonah Hill]

Well, there's two that become one. There's the master playlist, which is anything like, could be vibe of the movie. Any one of the characters. Like the master outcome playlist. It could be like, this reminds me of the tone. This reminds me of this character. This reminds me of this moment, this joke, this transition.

[Interviewer]

Would you ever think of them as needle drops in the movie or no?

[Jonah Hill]

Then it becomes the ones that make it into the movie. And what I always find more fascinating are not the ones that make it into the movie, but the ones that surround the ones that make it into the movie. I love listening to those after I'm done with a movie.

[Interviewer]

Yeah.

[Jonah Hill]

Because those needle drops serve the movie and the story. The other ones served like ethereal things. So I love reminding myself. What? That you'll sometimes get a song on there. You'll go, why the fuck is 2 Live Crew on here? You know, like, you're just like, oh. Cause this moment, Ira gets out of the car, he gets out bombastically. And I wanted to feel like, hey, we want some pussy. And you're like, that's just one little moment that I would never have to describe to somebody. But for me, it kept me going. In a moment where this is all just in my head.

[Interviewer]

In dramatic roles, do you have to force yourself not to be funny?

[Jonah Hill]

No. I've learned as I've gotten older, if I were to do it now, like, let's say someone were to approach me, and I really wanted to Do a dramatic role. I would have more of a sense of humor in between, like. Like, while making it. I refuse to allow the experience to be heavy at this point in my life.

[Interviewer]

When you're an actor, do you think of your job as making the director happy or doing what's best for the character you're playing?

[Jonah Hill]

I was the epitome of, like, pissy teenager before I became a director actor, where, like, I thought I knew best all this stuff, and it was like I was in my own movie and all this stuff that I've definitely made a lot of apologies for. And now your job is really to serve the vision of what. What the director's doing, and it's the respectful thing to do, and I will never make that mistake again.

[Interviewer]

Can you leave the characters on the set when you leave, or do they sometimes work their way into your life?

[Jonah Hill]

I didn't know how to do that. If I ever were to get a part in a movie that required deep acting, which I purposely haven't done, especially with my family, because I didn't know how to do that, I would bring it home. Like, I would not know how to, like, kind of exit it, because I don't have formal training like that. I would get training on how to, like, leave the character at work out of respect to the people I live with. I would never. So I've never done that to them, nor. Nor would I. And. And so if it were to be asked of me, I would be responsible and hire a professional to kind of, like, give me tools to. To sign out. You know, I've heard Emma Stone told me about, like, signing out of a character at the end of the day or something like that.

[Interviewer]

That's a cool idea.

[Jonah Hill]

Like, she literally. I want to speak for her, but she told me she signs out.

[Interviewer]

Well, it's a physical ritual, and when you ritualize anything, it tends to stick in a different way. It's not just an idea.

[Jonah Hill]

It's like the positive actions list, being on a board instead of just in your head. Oh, I thought of that.

[Interviewer]

Yeah.

[Jonah Hill]

Yeah, that's cool. Cool.

[Interviewer]

Tell me something you believe now that you didn't believe when you were young.

[Jonah Hill]

I didn't believe that happiness was just, like, calm and contentness. I believe that it was exciting and at, like, a fever pitch and at 100 miles per hour. And as an adult, I believe fun to be at a turtle's pace.

[Interviewer]

How has your taste changed over the course of your life?

[Jonah Hill]

Change is constantly, like, your evolution of everything. Some things remain permanent, but change is Constantly. And I'm less ingestive now. I don't intake as much stuff as I used to. Don't have the time. I got like 30 minutes. I'm probably on YouTube. Wants the kids asleep, you know, Like I used to have time to watch and listen and read.

[Interviewer]

For the projects that don't start with you, how do you choose?

[Jonah Hill]

I just haven't in a long time. It's been over. Don't look up would be the last one.

[Interviewer]

And how did you choose to do that?

[Jonah Hill]

Okay, it's mostly director, you know, I'd say direct. It's a director's medium. And like. Like Adam McKay. You don't have to say anything else.

[Interviewer]

Yeah.

[Jonah Hill]

Like that one was like LEO and Adam McKay asked me to do it and I was like, I want to work with both of those guys.

[Interviewer]

Yeah. How different is your performance from take to take?

[Jonah Hill]

I gas out after two takes.

[Interviewer]

Really?

[Jonah Hill]

Yeah, I do two takes and they are probably 30 minute takes where they go all over the place.

[Interviewer]

I don't know what you mean. 30 minute takes.

[Jonah Hill]

Sorry. Okay, so I shoot, except for my first movie, I shoot on digital, which means. Means a film canister ends after like a few minutes. Like probably like 10 minutes. And they have to like reload it or like 11 or 12 minutes. I think you could shoot for hours on a digital camera because it's a card, I guess.

[Interviewer]

When I say another take, I mean doing the same part again. I don't mean reloading the camera.

[Jonah Hill]

So what I mean by that is this. Now, because of digital, I can do it differently. Let's put it that way. If the movie shot on film, I do it differently. But I give my best. Two takes are my first two takes. And you probably wouldn't use anything after.

[Interviewer]

Really?

[Jonah Hill]

Yeah. Whereas like Brad Pitt takes like 10 takes to like get to his good stuff, from what I remember. And like, famously in the two takes,

[Interviewer]

you said they're long takes. I don't know what that means.

[Jonah Hill]

So then when it goes to digital, it becomes a different thing. Meaning that I improvise so much and change the thing. So what I do is like on a. On a digital take take, because it can last forever. I'll do two takes that could be like 40 minutes long because I'll restart myself, I'll try different lines, I'll go off in a different direction and then take it back.

[Interviewer]

You consider that all part of the

[Jonah Hill]

first take because it still goes from the beginning, middle and end of the scene.

[Interviewer]

I see.

[Jonah Hill]

So when I tell the actors, like, I Don't care if you change my words around. Here's what, how it starts. Here's what happens in the middle. Here's the events of the scene and here's the end. So in within that beginning, middle and end, then it's probably two 40 minute takes and then we're off of me. Instead of like, Keanu would do like very exacting takes of. Unless I was shouting new jokes out at him. That would be the exact duration of the page count, essentially. And he would do probably, you know, standard is like five, six takes, you know, but I do mostly like, really couple takes.

[Interviewer]

A couple of takes. But what you're talking about is very different than anyone I've heard talk about performances.

[Jonah Hill]

I think if you asked people who work with me, they would tell you I have an orthodox way of doing it that is heavily improvisational and what they would call improvisational. I might have written 40 of those alts. So they're not improvisational to me because I came in with them. I just didn't implement them in the screenplay because they would make the page count go crazy. Then the studio would call you and say, why do you have 10 extra pages to today? That's kind of more like pragmatic stuff. Right? But like, yeah, I. I love that about it. And I. I love. To me, that's why the brothers are like, get the out of here. They're like, we're better writers than you. Stop trying to, like, say a different. And I'm like, oh, sorry. I just. This is what I do, you know, Like, I'm not saying it's better, I'm just saying it. Yeah, it's just my process. Yeah.

[Interviewer]

Of course. If there was going to be more takes, would it typically come from you requesting more or would it come from the director saying, please do it again as an actor.

[Jonah Hill]

Yeah, either or I usually do my two takes and I probably don't ask for anything else. Like, I honestly can't wait to do it again because I. It's been so long. It's been five years. And I'm a different. Such a different person. We all are from five years, you know. So I'm like, man, I can't wait to see what it's like, what they asked for.

[Interviewer]

Tell me about shooting in 16 millimeter film.

[Jonah Hill]

It was awesome for that film. My big, like, film nerd. Like a 24, like cinema nerd kind of thing is like, I don't like that. People just love, like film stocks or whatever. It's like, does it serve the movie for mid-90s, we wanted it to feel like you found an older movie. So Super 16 was like the best format that we. After testing a lot that felt like a mix of a skate video and an old movie and Decline of Western Civilization was shot on that, which was like a huge visual reference for that movie. So, like, that worked great for mid-90s, but would be terrible for Outcome. But I loved it. I loved everything about mid-90s was like, there's nothing like your first time. Like, I ran into Ethan Cohen the night before I started shooting mid-90s at a restaurant.

[Interviewer]

Yeah.

[Jonah Hill]

And I said, I'm going to direct my first movie. It was after I worked with him. I'm like, if you give me any advice, he goes, let me eat my dinner and I'll think of something good to tell you.

[Sponsor/Advertisement Voice]

You.

[Jonah Hill]

And he comes over at the end and he says, I was so nervous when we were making Blood Simple. I wish I could have enjoyed it more. You know, he's like, just try and enjoy every day. And then I saw him after and he was like, well. And I was like, no, too stressed. But now I look back on it and I'm like, oh, good advice. Best rose colored glasses of. Yeah, but the advice is impossible.

[Interviewer]

Yeah.

[Jonah Hill]

Because the same reason that gets you the position of directing a movie should make you unable to enjoy it as much as you should.

[Interviewer]

Understood. Do you always know when something is funny?

[Jonah Hill]

Yes, I know when I find something funny, I'm surprised. In the process of making movies, you are constantly surprised at when you test. You know, we test our movies a lot, Matt and I. So like a joke you've quoted and made rap sweatshirts out of the joke quoting. The joke bombs at the test screen and you cut it out. Wow. You think it's going to be like the thing that everyone's quot quoting. Like you put it when I say you make a rap sweatshirt with like a quote of that joke and then you go to the first test screening and at Burbank amc, they tell you it wasn't that funny.

[Interviewer]

Tell me about test screenings in general.

[Jonah Hill]

They're amazing. Test screenings are incredible.

[Interviewer]

How soon do you do it in the process?

[Jonah Hill]

So again, I'm very unorthodox. I test early, early and often. So usually I test invest five weeks into a director's cut, which is in the film's infancy. You know, that's, that's the infancy of a film post. Right. So you have 10 weeks to do a director's cut for the DGA, but then you have months after with the studio, friends and family, getting notes or whatever. But legally, 10 weeks, you have your director's cut. So five weeks into my director's cut, I test in front of a test screening to get. Get ahead of what my headline problems are and to really get ahead of what the audience might not understand and not to change it based on necessarily that they may not like something that I may like. And I. I have to then fight for how that can live as opposed to taking it out. So I love that process. I love it. And that's been around since, like, Charlie Chaplin.

[Interviewer]

Like, what are some of the comments you get for comedy?

[Jonah Hill]

It's the best. It's like, off with their heads. It's like the joke gets a laugh or it doesn't. And if you really want to be bullish, you're like, I know this is funny. There's a reason I'm me. And the reason I get to make comedies. Well, you know what? You haven't set it up properly. You haven't set the table for them to laugh. So it's almost always in the setup. Yes. And so, like, I'm obsessed. It's all big puzzle. It's so fun. I'll test the movie five weeks and get my nuts kicked in and my teeth kicked in. In. You want to kill yourself. You're like. You're like, this is. I'm a failure. I. I've ruined it. And then you get one day in, like, bed. Like, one night where I'm like, a total to be around. And then the next day, like, everyone at Strong Baby comes into the office and we're like, what was good? How do we support what's good and how do we build on what's good? And it's such, you know, this is our, like, third movie I've directed at Strong Baby Studs outcome and now cut off. But it's like, it is. So the process is the reward. Being in the bunker with everyone when you're like, you need to, like, help something get better. And then to really take that something not working not as a failure, but that the test screening is a gift. It tells you exactly what needs the life. Love.

[Interviewer]

Yeah. It's an opportunity to see what's not clear. It's like crowdsourcing an answer.

[Jonah Hill]

Yes. Because I can play a movie to Spike and Mike and a whole industry crowd, and they get a lot more than someone who, you know, is not from LA or New York or works in entertainment, you know, and it's. It's an amazing tool to get an audience's reaction of things.

[Interviewer]

When something is funny to you, do you always know why

[Jonah Hill]

I could articulate to you why I found it funny. I think that's a gift I have is to say why I find something funny. But then sometimes things are just so funny about life. Like, you know, having a kid teaches you. Like they do something that's so unexplainable, that's hilarious. And then you'd be a fool to try and evil even waste your time describing. I often will because I like the analytics of comedy. But like, you can intellectualize this stuff all day. But my two year old's funnier than you are. He is, I bet. Not you meaning, like, you know, he's funnier than any of us at any given time, you know, of course.

[Interviewer]

And he's probably not trying now.

[Jonah Hill]

He's starting to try, which is even more incredible because I'm watching him like a sponge learning when to get out on a joke. Joke went to, you know, like, he's almost three, he's about to be three and so he can like, he can tell. Like, I'll like, I'll say like you said it once, get out of there. Do you know the famous Albert Brooks story?

[Interviewer]

No.

[Jonah Hill]

With Rob Reiner, may he rest in peace. Whereas Rob told me this story that Albert killed so hard at a party one time in the 70s. They were all at a social event, party, and Albert just killed from the jump, like was just killing, like socially, just murdering. And he's like, he leaves like right away. He's like, he leaves and then the phone rings and they're like, someone for Rob, Like, Rob, it's for you. And it was Albert. He's like, I left my keys up there, you got to bring them out to me. And he's like, he's like, come back and get him. He's like, I just killed so hard, I had to get the out of there. There's no way I'm going back in there.

[Interviewer]

That's so funny. There's a Seinfeld episode about that. Leaving on a high note. Yeah.

[Sponsor/Advertisement Voice]

Yeah.

[Jonah Hill]

Well, it's not overstaying your welcome. There's a lot to be said for it.

[Interviewer]

How is LA now different than the LA you grew up in?

[Jonah Hill]

Night and day.

[Interviewer]

How?

[Jonah Hill]

Well, night and day, not night and day. Let's say dusk to afternoon. It's like, it's like the coolest parts about it was that I could go skate downtown or see a punk show or something and then sneak into the man on the Moon premiere, which I did. On my 16th birthday. And so, like, where I met Ross. Rodney.

[Interviewer]

Wow.

[Jonah Hill]

Where I Met Rodney, which is one of my favorite stories ever, I could tell as a side, which is because we were making the Rodney biopic. We were producing it. We had developed it with Terence Winter, who wrote Wolf of Wall street at Strong Baby. And we couldn't end up figuring it out. And I wanted to play Rodney, and we were producing it.

[Interviewer]

That'd be amazing.

[Jonah Hill]

I'd still love to play Rodney. Honestly, that's kind of something on my bucket list. So I'm 16 years old. I sneak into the man on the Moon for my buddy Mark. And we're in the back trying to wait for someone to open an exit door so we can. Can go in through the back. And a limo pulls up, and it's Rodney in a suit with no shoes or socks on, and his wife, who's incredible, and a six pack of Mickey's Bombers. And I'm like, rodney, you're my favorite man. Like, you're the king. You're the fucking king. And he's like, oh, wait. And it was my birthday. And so he was like, what are you doing? I'm like, we're trying to sneak in. He's like, I'll sneak you guys in. Hey. And he sneaks us in. He gives us, both of us, one of his middle Mickey's grenades, and he sneaks us into the man on the Moon premiere.

[Interviewer]

Incredible.

[Jonah Hill]

Coolest thing ever, man. Like, I'll never, obviously never forget it, but I have a Dangerfields ashtray in my office from the comedy club with the drawing. Yeah, that's so great. With the cartoon of Rodney.

[Interviewer]

What are your favorite documentaries?

[Jonah Hill]

God, how much time do you have? That's pretty much all. I mean, it's like you love docs, just everything. Yeah, I mean, I love the movie. Dear Dig. I think Dig has stuck with me a long time. That movie really got me, like, just somehow how that story's told and. And the band. The one band being, like, credible but not famous, and the other being famous but not as credible. It's just like this Shakespearean parable that's told through these characters that are. And Anton's just such an interesting character from Brian Jonestown Massacre with the most. One of the greatest, like, main characters of all time. The guy who will never be as fucked up and harmful to himself, but will never be as great as him, is like, holy shit, that movie cut me deep. Yeah, she made another great movie, Andy, called We Live in Public, which we tried to develop a strong Baby into a narrative feature, which is incredible movie you should watch, but all day. I mean, the decline of Western civilization docs are huge for me. I love your doc about Shangri La. I love that. So seen that. Any doc about, like, the Geffen doc, any doc about the, like, business or art or how art or business is made and. Or process docs, you know, I just. I just fucking. I eat it up, man. I eat it up.

[Interviewer]

Tell me about watching movies over and over again.

[Jonah Hill]

If a movie is amazing, I don't get sick of it.

[Interviewer]

What do you get from the repeats?

[Jonah Hill]

I try and learn how it was made, made and how decisions were made. I won't name the movie, but a movie that could or is going to win best or, you know, one of the ones for best picture this year. Great movie on cutoff. We have to rethink our beginning, and we're rethinking it now in the edit. And I watched this movie for the first time. I hadn't seen it this movie. And I watched the beginning and I texted my editor, because you're the same sound mixer as this movie. And I said, did you see this movie? And she goes, yeah. And I go, I guarantee you people didn't understand. Understand it. And they had to redo this opening. And she texted the sound engineer, and he assured me I was right. So I like how things are made for problem solving, for setting the table for the audience, whether it be for characters or the story or the tone. There was some little preamble that was additionally made to help set the table for the audience to immediately lock into the movie. And I saw it before I was even done. I texted my editor guarantee they did this, and I was right. So for me, it's just like a deeper understanding of how movies are made, how good movies are made, how bad movies are made, and all the decisions and fixes it takes to get there. Because now that I'm realizing this is my fourth movie, be, it's not about decisions. It's about fixing and creating new decisions to support the decisions that worked and not beating yourself up about the decisions that didn't work. Tetragrammaton is a podcast. Tetragrammaton is a website. Tetragrammatin is a whole world of knowledge.

[Narrator/Host]

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