Podcast Summary: “‘Marty Supreme’ Is the Moment, With Josh Safdie!”

Podcast: The Big Picture (The Ringer)
Hosts: Sean Fennessey, Amanda Dobbins
Date: December 24, 2025
Guest: Josh Safdie (co-writer, co-editor, director of "Marty Supreme")
Episode Theme:
A deep dive into the making, meaning, stylistics, and significance of Josh Safdie’s new film "Marty Supreme"—a period, sports-caper starring Timothée Chalamet—and a discussion with Safdie about his creative process, parenthood, ambition, casting, and more.

Overview

This episode celebrates and unpacks the high-energy, emotionally resonant new film "Marty Supreme". Sean and Amanda break down its story, aesthetics, music, casting, themes of ambition and confidence, and situate it as a crucial 2025 film with both wild propulsion and unexpected warmth. The episode features a long, candid interview with director Josh Safdie, offering insight into both his creative journey after "Uncut Gems" and the specific inspirations and choices that make "Marty Supreme" unique.

Key Discussion Points & Insights

1. Why "Marty Supreme" Is a Standout (01:31–03:55)

• Amanda’s Praise:

  • Film is electrifying, wild, and made her feel young.
  • “This movie rules. I would like to thank Timothée Chalamet and Josh Safdie for that.” (01:47)

• Summary/Credits:

  • Directed/co-written/co-edited by Josh Safdie and Ronald Bronstein.
  • Cinematography by Darius Khondji; Score by Daniel Lopatin (Oneohtrix Point Never).
  • Cast includes Timothée Chalamet, Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler, the Creator, Fran Drescher, Abel Ferrara.

• Plot Overview:

  • Timothée Chalamet plays Marty Mouser, a hustler in 1950s NYC inspired by real ping pong legend Marty Reisman. The story tracks Marty’s chaotic path through petty crime, secret romance, a pregnancy, and a bid for world table tennis glory.

2. Themes: Ambition, Confidence, Youth (03:59–08:52)

• A Movie About Going for It:

  • “What he’s trying to do is make the outside match the inside… It’s delusional but recognizable confidence that’s only possible in the young.” – Amanda (05:24)

• Difference from Safdies’ Past Work:

  • The period setting allows a blend of fantasia and lucid energy, unlike the urgent discomfort of "Uncut Gems."
  • Kinetic, genre-crossing: period piece, but with 1980s-inspired music, 2000s energy, and Timothée Chalamet’s very modern charisma.

• Chalamet’s Performance:

  • Both hosts agree the film doesn’t work without his “impenetrably confident and poised…” (09:31)

3. Style and Structure: Propulsion, Episodic Flow (08:52–18:01)

• Energy:

  • The film is likened to “cosmic jazz”: relentless, anxious, yet propulsive and vibrant (17:14).

• Editing:

  • Nonstop forward movement; little downtime—“There are no breaks between activities.” – Amanda (17:59)

4. Memorable Scenes, Key Sequences (18:18–27:43)

• Favorite Moments:

  • Opening credits and Odessa A’zion’s entrance as Rachel (18:26–19:56)
  • Shoe store robbery through Marty’s arrival at the London tournament, including swift transitions and immersive match scenes (20:10–21:38)
  • Gwyneth Paltrow telephone scene: “It’s nice to see Gwyneth Paltrow trying.” – Amanda (22:12)

• Supporting Character Dynamics:

  • Fran Drescher as the archetypal Jewish mother; Odessa A’zion’s “surprising” performance (42:42–55:29).
  • The film is filled with vivid, Dickensian one- or two-scene performances.

5. Conventional vs. Innovative Storytelling (26:45–27:55)

• Uses familiar sports-underdog milestones but “gets real rowdy” around them.
• “The movie gives you enough movie familiarity to then get real rowdy.” – Sean (26:45)

6. Japan Sequence and Climactic Payoff (33:16–46:50)

• Marty’s Big Loss, Perseverance, and Final Match:

  • Japan segment brings tension and sports-movie euphoria, even after decades of the genre.
  • Chalamet’s performance during the final win: “I cried twice in this movie… like someone finally wins their gold medal.” – Amanda (38:08)

• The "Vampire Speech":

  • Kevin O’Leary’s villain Milton delivers a surreal monologue: “I was born in 1601. I’m a vampire. You’ll never be happy.” (39:55) That overlays themes of ambition, class, capitalism, and the impossibility of fulfillment.
  • “Letting someone literalize it is jarring in the movie… There is a gasp weirdness to ‘I’m a vampire.’” – Sean (41:04)

7. The Fatherhood Twist and Emotional Resolution (42:03–46:55)

• Emotional Power of the Ending:

  • Marty’s emotional breakdown meeting his newborn son, scored to “Everybody Wants to Rule the World” (44:46).
  • “Timmy’s unbelievable in this scene… as we saw in Call Me By Your Name, any movie that just ends on Timmy Chalamet crying into a screen, like, it feels like a callback.” – Amanda (44:44)

• Shift in Tone:

  • Normally abrasive and kinetic, the movie slows for an earnest, emotional close, “your heart cracks open in a beautiful way at the end.” – Amanda (47:26)

8. Cultural Moment & Box Office/Awards Questions (48:45–62:06)

• Can It Succeed?

  • Much speculation about whether the film will make $100M+, with cautious optimism around word of mouth and broad demo appeal.

• Oscar Potential:

  • Top five Best Picture slot predicted. Chalamet seen as a lock for a nomination.
  • Score by Daniel Lopatin is called “unreal, amazing” and should be nominated (59:03).
  • The film’s casting, both major stars (Chalamet, Paltrow) and inspired “mini-performances,” is lauded as award-worthy.

9. Interview Highlights: Josh Safdie on The Creative Process (62:07–126:47)

A. Post-"Uncut Gems", Parenthood, and Time (63:03–68:20)

• The “Hollow Feeling” After Success: Burned out, unsure what’s next: “After 10 years chasing Gems… when someone asked what’s next, I cried… I didn’t know.” (64:10)
• Becoming a Dad:
  • Fatherhood changed his sense of time and focus: “Time started to move in a very different way. Time is the enemy.”

B. Inspirations: Book, Real Table Tennis History (70:47–74:18)

• Hotbed of NYC Table Tennis:

  • Sourced from the “Confessions of a Table Tennis Champion and Hustler” by Marty Reisman.
  • “They were these X-class autodidacts, jokers, orphanage-like crowds—super serious but also all in.” (71:44)

• Authentic Details:

  • Holocaust survivor stories (Kletzky’s honey anecdote is real), era-specific cultural shifts in both US and Japan.

C. Themes of Fate, Destiny, and Ambition (77:43–80:47)

• Parallel with "Lenny Cooke", Safdie’s documentary:
  • The Chosen One motif appears here too—“Marty has this thing, but nobody cares; Lenny Cooke had this thing imposed upon him.” (78:22)
• “Dreams are heists on fate, trying to control destiny.” (79:21)

D. Timothée Chalamet as Marty (81:01–86:27)

• Early Connection:
  • Met before "Call Me By Your Name"; Chalamet exuded iconic star energy even then.
• Athletic Preparation:
  • “He wanted to be the best version of himself, and that passion was perfect for the character.” (87:04)
• Speed & Precision:
  • Safdie amped up Chalamet: “I would jack Timmy up on coffee. He’d say lines so quickly…” (88:22)

E. Film as Picaresque, Propulsive (88:34–89:46)

• The editing strategy: “falling in and out of scenes,” music as a second screenplay, always chasing “big feelings.” (89:46)

F. 80s Score in a 50s Movie ("Hauntology") (91:33–93:52)

• Collaborating with Daniel Lopatin:
  • The period setting is a “postmodern” move, so using 1980s musical cues made sense—paralleling how the 80s revived the 50s.

G. Iconic Casting Choices (102:14–114:17)

• Abel Ferrara (Ezra Mishkin): Written for him. Ferrara’s complicated history brings “the soul of New York” onscreen: “He’s a street poet… you feel his past, you feel the Bronx.”
• Kevin O’Leary (“Mr. Wonderful”):
  • Cast for real-world “corporate colonialist” energy; not a trained actor, but “he is an iconic asshole… has timing, can hold the screen.” (110:08)
  • “When he steps on screen, you immediately feel this guy might not be up to much good.” (104:28)
  • Safdie tells a great anecdote about O’Leary photo-editing in the Tokyo bar, demonstrating his drive and creativity. (111:59)

10. The Opening Credit Sequence: Look Who’s Talking? (119:28–122:21)

• Safdie confirms its inspiration was more from 1960s photomicroscopy but acknowledges a hat-tip to “Look Who’s Talking” (the sperm/egg approach), aligning with the movie’s blend of the earnest, the scientific, and the mythic.

11. Final Thoughts: What’s Next? + Sports Talk (126:54–132:49)

• Safdie on his career: “Work sets you free. I want to work until the day I die. I don’t understand retirement.” (126:09)
• Segues into a Knicks/NBA fandom chat—both director and host relate team chemistry in sports and movies.
• Safdie was invited to direct an NBA game broadcast, inspired by the ways he and collaborators shoot sport.

12. The Last Great Thing Josh Safdie Saw (133:00–137:54)

• Safdie’s latest memorable watch: The Borrower (dir. John McNaughton), a wild, obscure sci-fi/horror blend about an alien who has to inhabit new heads, reminiscent of “The Thing” and “The Hidden.”

Notable Quotes & Memorable Moments

• Amanda (on the movie’s confidence):
  “It is delusional but recognizable confidence that I found endearing as opposed to annoying.” (05:24)

• Sean (on Chalamet’s role):
  “It is impossible to take your eyes off him… This is rare air for an actor to conjure that feeling.” (12:42)

• Amanda (comparing Chalamet’s performance): “It was Pacino… and also just, like, very wiry and, like, extremely hot.” (12:42)

• Sean (on O’Leary’s villainous casting):
  “His face is right for it… irritating shit-eating ‘I have you, I’m a rich guy’ way…” (34:28)

• Safdie (on ambition):
  “Dreams are heists on fate… Marty’s dream is an attempt to control fate.” (79:21)

• Safdie (on parenting):
  “Time started to move in a very different way. Time is the enemy. But you start to see the personification of time in your kid getting older.” (68:20)

• “I was born in 1601. I’m a vampire... You’ll never be happy.”—Kevin O’Leary as Milton (39:55)

• Amanda (on ending): “Any movie that just ends on Timmy Chalamet crying into a screen—like, it feels like a callback [to Call Me By Your Name].” (44:44)

Timestamps to Key Segments

• Amanda’s initial reaction & movie’s energy: 01:37–02:42
• Plot summary & cast rundown: 02:42–03:55
• Theme of youth ambition/confidence: 05:24–06:50
• Chalamet’s performance compared to Pacino: 12:42–13:28
• Gwyneth Paltrow/character dynamics: 22:12–23:45
• Discussion of editing style & energy: 17:14–18:18
• Vampire speech (Milton): 39:55–41:53
• Final sports sequence/emotional ending: 44:44–46:55
• Safdie on Marty’s ambition & destiny: 79:21–80:47
• Casting O’Leary & Ferrara: 102:51–114:17
• Safdie on period details & 80s score: 91:33–94:52
• Look Who’s Talking opening sequence: 119:28–122:21
• Josh’s "Last Great Thing": 133:00–137:54

Concluding Thoughts

Both hosts and their guest agree: “Marty Supreme” is an electric blend of sports, ambition, youth, period detail, myth-making, and unconventional casting, culminating in a uniquely emotional ending. Safdie’s creative evolution, the innovative soundtrack and editing, and Chalamet’s performance combine for a film that both embodies and revises the Safdie formula—a “heart cracks open” movie for a new cultural moment.

If you love movies that are both a rush and emotionally honest, don’t miss "Marty Supreme."