TDS Time Machine | Oscar Nominees 2026

Summary

The Daily Show: Ears Edition

Episode: TDS Time Machine | Oscar Nominees 2026
Date: March 22, 2026
Host: Jon Stewart & The Daily Show News Team (notably Trevor Noah)
Theme:
A playful, insightful romp through interviews with top Oscar nominees for 2026. The episode features extended conversations with acclaimed filmmakers and actors including Paul Thomas Anderson, Ethan Hawke, Ryan Coogler, Emma Stone, Joachim Trier, Sean Penn, Bogdar Mor, Rose Byrne, and Michael B. Jordan. The tone is irreverent, human, and often laugh-out-loud, but leans into serious discussions about art, politics, representation, and the state of cinema.

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Segment 1: Paul Thomas Anderson: On Directing, Writing, and the Art of Film

[01:06–08:03]

Key Points & Discussion

• Empowering Actors:
  • PTA attributes his famous caliber of performances to casting great actors and "listening to them and see how they feel about things and give them room."
    • "I hire good ones. That helps." (PTA, [02:41])
• Writer vs. Director Mindset:
  • Discusses the transition from writing to directing:
    • "When you’re a writer, you can get mad at yourself in the room...but when you go to be a director, you gotta pretend you didn’t do that stuff and be cool." ([03:13])
• Writing Process:
  • PTA reveals he often throws out the script once on set for organic performances.
    • "When you get to the set, I just sort of throw the script out the window." ([04:09])
• On Preciousness and Rewriting:
  • Recognizes tension between over-revising versus trusting instincts.
    • "I've written 50 drafts...you realize you had it right the first time...But sometimes you can write something 50 times and make it better, so it creates this endless reach for something that keeps you hungry." ([04:41])
• Deadlines in Film vs. TV:
  • Film deadlines are a "slow ticking bomb;" enforced timeframes help prevent overwriting. ([05:38])
• Distance from Art:
  • The passage of time allows for detachment, saying he sometimes watches his films and doesn’t recall details.
    • "I didn't remember what they were gonna say." (PTA, [06:30])
• Creating Vivid Moments:
  • Emphasizes allowing room for accident on set; not being too rigid with preconceptions helps keep filmmaking open and 'fertile.'
    • "Try to be as open as possible...create situations where accidents can happen" ([07:22])

Notable Quotes

• "I hire good ones. That helps." (PTA, [02:41])
• "When you get to the set, I just sort of throw the script out the window." (PTA, [04:09])
• "There’s a lot I don’t remember about this film already." (PTA, [06:42])

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Segment 2: Ethan Hawke: A Night at Sardi’s and Artistic Sincerity

[08:42–20:41]

Key Points & Discussion

• Transformation for ‘Blue Moon’:
  • Hawke jokes about his unflattering appearance as Larry Hart (5ft tall, comb-over): “Comb-over is right...it’s just not sexy, you know...when you’re in the mirror it looks fantastic, but any other angle…” ([11:16])
  • Discusses trust and immersion with director Richard Linklater, who wanted Hawke to "disappear" into the role.
    • "He just basically said to me, I don’t want to see you...I saw you there in the third line...He wanted me to disappear." (Hawke, [13:36])
• Film’s Context:
  • 'Blue Moon' dramatizes the moment Rodgers and Hammerstein changed Broadway.
  • Hawke frames it as "the day the Beatles are gonna break up – one of them's gonna be in a band five times bigger...and the other one is gonna be dead." ([12:19])
• Themes:
  • Explores American myth-making via 'Oklahoma!' and artistic responsibility during wartime.
    • “Girls in gingham dresses singing I can’t say no is not the story of America.” (Hawke, [16:11])
    • Cites Hitchcock: “‘Sound of Music’ set cinema back 20 years...we love it so much. I don’t even know what Hitchcock meant, but I kind of know..." ([16:46])
• The Cast & Collaboration:
  • "You guys are dancing with each other up there...Bobby and I have known each other...Margaret Qualley's friends with my daughter." ([14:40])
• Perspective on Art:
  • Recommends a new Beatles book on friendship: “So much, I think, that is special about what they touched...artistic excellence...male friendship...it's powerful." (Hawke, [19:35])

Memorable Moments

• Linklater’s challenge: "Why don't you show me if you can do it?" (Hawke, [14:13])
• “American exceptionalism is a comfortable lie.” (Trevor Noah, [17:09])
• “Use whatever connections you have, right?” (Noah to Hawke, on industry networking, [15:08])

---

Segment 3: Ryan Coogler: Creed, Family, and Breaking In

[20:41–25:35]

Key Points & Discussion

• Personal Roots:
  • Inspiration for 'Creed' rooted in his father’s love for 'Rocky'—Coogler wrote it while his dad was sick, as a way of encouraging him.
    • "My dad was a huge Rocky fan...I came up with this idea that maybe if his hero went through something similar...maybe it could cheer him up.” (Coogler, [23:08])
• Unexpected Beginnings:
  • Football scholarship led to an unexpected call to screenwriting from a teacher moved by his storytelling.
    • “She suggested I get into writing movies because my writing was real visual.” ([24:04])
• Collaboration and Success:
  • Teamwork praised: “With filmmaking, it's an art form that you don't do on your own...Michael B. Jordan...just a blessing to do this job.” ([22:06])

Notable Quotes

• “It's just icing on the cake, to be honest.” (Coogler, on awards, [22:06])
• “She suggested I get into writing movies because my writing was real visual.” (Coogler, [24:04])

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Segment 4: Emma Stone: Whimsy, Scarves, and ‘Magic in the Moonlight’

[26:47–33:10]

Key Points & Discussion

• Warm Welcome & Staff Gift
  • Emma shares a story about a staff member knitting her a scarf, highlighting the quirky affection behind the scenes.
    • “Made you a scarf?...Knitted me a scarf. Out of baby alpaca wool. It is so beautiful. And I teared up after she left.” (Stone, [27:55])
• Accessory Banter:
  • Amusing exchanges about men in scarves, turtlenecks, and male fashion faux pas (“bon vivant” vs. “eh, bon vivant”).
• Film Experience:
  • On collaborating with Colin Firth and shooting a Woody Allen film, and admiration for Firth's “scarf game”.
  • Touches on living in New York and random city encounters with the host.

Memorable Moments

• The discussion on male scarf-wearers is pure Daily Show banter—“If you choose to wear a scarf, you must somewhere in you be slightly a bon vivant.” ([29:06])

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Segment 5: Joachim Trier: Family, Tenderness, and Norwegian Cinema

[33:10–42:49]

Key Points & Discussion

• Film Background:
  • ‘Sentimental Value’ and family dynamics, inspired by Trier’s own film-rooted family.
  • “It’s all about trust.” (Trier, [35:58])
• Tenderness vs. Irony:
  • Trier discusses his longing for more tender, hopeful art in a time of irony.
    • "The world is complicated...I have this yearning for some hope...that there could also be a place in art to see the other...” (Trier, [37:29])
• Norwegian Identity:
  • Insightful comparison: Norwegian public art focuses on families, not generals—“I never thought about it...probably true.” ([39:14])
  • Praises Norwegian social policies while poking fun at American perceptions (“So it’s a communistic hellscape,” jokes Noah, [39:37]).
• Avoiding Self-Indulgence:
  • When making films about filmmakers, Trier insists on focusing on family and generational trauma, not industry navel-gazing.
    • “We tried to make it about family...all the stuff we don’t know how to talk about..." (Trier, [41:03])

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Segment 6: Sean Penn: ‘Bob Honey’, America Abroad, and Service

[43:44–47:59]

Key Points & Discussion

• On His First Novel:
  • ‘Bob Honey Who Just Do Stuff’ as surreal satire—a metaphorical commentary on American compulsion to service and national identity.
  • Explores the consequences of American disengagement and longing for civic responsibility.
• America’s Changing Image:
  • “When the Berlin Wall came down, I think it had more to do with Levis 501s and Beatles black market records than Gorbachev or Reagan.” ([46:24])
• World View:
  • “The respect and the aspiration that we modeled is no longer on our country...That’s a touristic comment.” ([47:26])
  • Advocates for unity and active citizenship, pointedly referencing "the impeachment of this president" as a patriotic duty.

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Segment 7: Bogdar Mor: Dictatorship and the Brazilian Present

[48:10–51:41]

Key Points & Discussion

• 'The Secret Agent':
  • Mor plays a man upholding values under the Brazilian dictatorship; the film’s events resonate with modern Brazil (“it didn’t really end in 1985”).
  • “When we elected a far-right president in 2018, that man was sort of a physical manifestation of those echoes.” ([49:45])
• Political Engagement:
  • Affirms the right for actors to engage politically but recognizes not everyone is equipped or obligated.
    • “I don’t see that as a responsibility…that’s how I behave as a human being...” ([51:10])

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Segment 8: Rose Byrne: Accents, Mutants, and Comedy Sequels

[51:54–56:56]

Key Points & Discussion

• Multiple Releases:
  • Byrne discusses starring in both blockbuster (‘X-Men: Apocalypse’) and comedy ('Neighbors’ sequels, ‘The Meddler’).
• Accents & Typecasting:
  • Jokes about her non-mutant role: “Who wants to not be a mutant, right?” ([54:00])
  • Banter with Noah on her accent skills—her only weakness: South African.
• Comedy Sequel Challenges:
  • “Comedy sequels...it's actually very funny, and a lot of people thought it was funnier than the first.” ([56:13])

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Segment 9: Michael B. Jordan: Muscles, Representation, and Modernizing Action

[57:56–68:47]

Key Points & Discussion

• Physical Transformation:
  • Noah teases Jordan about his physique: “At what point?...Do you eat anything?...Who are you, man?” ([59:13])
  • Jordan jokes about quarantine body, promising to get ready for Creed III.
• Making Action Real:
  • Deep immersion into Navy SEAL training for ‘Without Remorse’; credits authenticity to specialists who coached him in stunts ([61:29])
  • "Every stunt that you saw, I had a specialist that I spent...enough time to get comfortable within the stunt and then went out and executed." ([61:44])
• Representation & Modern Storytelling:
  • The importance of telling military stories from a truthful, nuanced perspective.
  • Applauds showcasing a Black female Navy commander (Jodie Turner Smith): “It's so important...that they can go ahead and try to get that too.” ([66:26])
• Future Plans:
  • Eager to direct (‘Creed III’): “That's the next thing for me. The next challenge...to get behind the camera and tell a story.” ([66:52])

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General Notable Quotes & Moments

• "American exceptionalism is a comfortable lie, but is inherently perhaps true." – Trevor Noah ([17:09])
• "Use whatever connections you have, right?" – Trevor Noah, to Ethan Hawke ([15:08])
• "Try to be as open as possible...create situations where accidents can happen." – Paul Thomas Anderson ([07:22])
• "So much of writing is rewriting, right?" – Host ([04:25])
• "That was the one that...it took us about a week and a half to shoot. Every day...I would get to set and be like, 'Who wrote this?'" – Michael B. Jordan ([62:09])

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Timestamps Summary (HH:MM) for Key Segments

• 01:06 – Paul Thomas Anderson Interview Begins
• 02:38 – PTA on Directing Actors
• 03:29 – On Writing vs. Directing
• 07:22 – PTA on Creating Vivid Moments
• 08:42 – Ethan Hawke Interview Begins
• 13:36 – Linklater’s Direction Style
• 16:11 – Hawke on 'Oklahoma!' and American Myth
• 20:41 – Ryan Coogler Interview Begins
• 23:08 – Coogler's Personal Inspiration
• 27:19 – Emma Stone Interview Begins
• 33:10 – Joachim Trier Interview Begins
• 37:29 – Trier on Tenderness in Art
• 43:44 – Sean Penn Interview Begins
• 46:24 – Penn on America’s Image Change
• 48:10 – Bogdar Mor Interview Begins
• 51:54 – Rose Byrne Interview Begins
• 57:56 – Michael B. Jordan Interview Begins
• 61:29 – Jordan on Stunt/Seal Training
• 66:52 – Jordan on Directing Plans

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Wrap-Up

This episode is a whirlwind tour through the stories, inspirations, and methods of leading Oscar-nominated artists, mixing humor, candor, and critique. It’s part masterclass, part industry roast, and wholly entertaining—a perfect snapshot of The Daily Show’s unique approach to cultural conversation.

Transcript

[Trevor Noah]

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[Interviewer/Host]

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[Trevor Noah]

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[Guest or Supporting Speaker]

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[Guest or Supporting Speaker]

you're listening to Comedy Central.

Welcome back. My guest tonight, a director and screenwriter known for such films as Boogie Nights, Magnolia and There Will Be Blood. His latest is the Master.

[Interviewer/Host]

These problems you have.

[Trevor Noah]

I don't have any problems. I don't know what I told you,

[Interviewer/Host]

but if you have work for me to do, I can do it.

[Guest or Supporting Speaker]

You seem so familiar to me.

Yeah.

[Interviewer/Host]

What do you do? I do many, many things. I am a writer, a doctor, a

[Trevor Noah]

nuclear physicist, a theoretical philosopher.

[Guest or Supporting Speaker]

But above all, I am a man. Hopelessly inquisitive man, just like you.

I will follow you. Please welcome Paul Thomas Anderson.

[Interviewer/Host]

Thank you.

[Guest or Supporting Speaker]

I don't even know where to start, so I'm just gonna start. I'm an enormous fan of yours. And I'm just gonna start on the performance end of it. For the actors. Forget about the beautiful writing, the shooting, the cinematography, all the things that you do, the performances you get from the actors that you have. And obviously they're great actors. How do you, as a director, how do you feel like you're able to empower these actors to get the kind of performances you get? I'll leave.

[Interviewer/Host]

I'll just leave.

[Guest or Supporting Speaker]

I'll go.

I hire good ones.

Okay, that helps.

And that helps. And I try to do as much as I can in the writing and then try to listen to them and see how they feel about things and give them room.

Do you stop in a scene after take where you cut, walk out there

[Interviewer/Host]

and be like, you're supposed to look mad.

[Guest or Supporting Speaker]

You know, that kind of thing. Like, is there on set, do you get maniacal? Do you get. What's your temperament?

[Sponsor/Ad Voice]

Pretty?

[Guest or Supporting Speaker]

I don't know.

You seem angry. You seem like an angry guy.

I try to Play it pretty cool. When you're a writer, you can get mad at yourself in the room and you can bang your head against the wall. And then when you go to be a director, you kind of gotta try to pretend that you didn't do that stuff and be cool and kind of be everybody's boss.

So do you complete the writing process in your mind and then become the director or as you're writing, are you. You know, I find it's very difficult to. The difference between writing for the page and writing for the performance is a very different art form. Do you do that as you're writing, or do you have to transition that?

[Interviewer/Host]

I don't know.

[Guest or Supporting Speaker]

When I write, when it's at its best, when it's going really well, it just sort of like you blink your eyes and 10 pretty good pages have happened. At its worst is when you're just desperate to try and get the writing going well. But when you get to the set, I just sort of throw the script out the window. And hopefully they remember it and they know it and they've done it.

Well, you just throw it out the window.

[Trevor Noah]

I.

[Guest or Supporting Speaker]

Do you ever tell yourself, the writer, hey, man, don't sweat this. I'm just gonna ditch it?

Yeah.

I find for myself with writing, there are times where I. It's very difficult not to be precious with the words, to remember, to convince yourself, just put it on paper. So much of writing is rewriting, right? And you can really hold yourself back from even putting it out there.

I think that's true. You know, I've written 50 drafts of things and thank God for saving everything you write because you sort of look back at the first thing and you realize you had it right the first time just because it sort of vomited out of you or something like that. But the other thing is that I've found is, you know, unfortunately, sometimes you can write something 50 times and you can make it better. So it kind of creates this endless sort of reach for something that keeps you hungry and always guessing. Like, how does this stuff work? You know, how does writing work? It's so confusing.

What makes you stop? See, what makes me stop here is it's six o'.

Clock.

Do you know what I mean? Like, we'll write to the point where, like, hey, man, there's an audience out there and they look mad. They've been sitting there for five hours. You better get out there and do a show. But as a writer of film, how do you stop? How do you not overwrite? How do you not destroy it on

the back end, it's kind of the same thing. I mean, with getting a film together, the clock is not ticking that badly. But basically you sort of say, all right, we're all going to get together in March. So. And that, let's say that's six months away. You kind of. As a writer, you got basically like six months and the clock is ticking and you got to really get it together. You have to plan that far ahead in advance when films.

[Interviewer/Host]

So.

[Guest or Supporting Speaker]

Right.

But it's like a really slow ticking bomb.

Let's talk catering. Okay. What do you. No, we have a different system here. Once it's done, then you have all the post production and all those other things that you have to do. Does the selling of it feel like you're making something that you did a long time ago? Does it still feel vital in your mind? Like how does it. In that process?

[Interviewer/Host]

Oh, God.

[Guest or Supporting Speaker]

I mean. Yeah, it feels far. You know, I was watching that clip and I didn't. I didn't remember what they were gonna say. You know, I remembered what Phil was about to say.

[Interviewer/Host]

I completely understand that.

[Guest or Supporting Speaker]

Yeah.

And that's. And that's a nice place to get to actually, where you kind of have enough distance from it and I don't. Yeah, there's a lot that I don't remember about this film already.

I would love for M. Night Shyamalan to be in one of his own movies and be like, oh, oh my God, that guy was dead the whole time. I don't know. I can't believe that. What I love about what you do too is everything is so. You just feel. You feel the art of it. It's so vivid, you know, and maybe it's every choice you make is all that preconceived. Like, do you have an idea of each one of those moments, how you wanted to create it?

No.

I mean, inevitably you're gonna get disappointed because usually the things that you see in your head when are standing in a place with three dimensions, they're just going to be different. You know, the light's coming through the window in a different way or somebody's wearing something different. So just try to be as open as possible to situations. But at the same time, it can't just be making a film. It can't just be this endless search. There's a lot of kind of planning that you have to do, but hopefully you kind of. You can create situations where accidents can happen and things can kind of go wrong or.

Fertile environment.

Yeah.

Aspirational but realistic.

There you Go.

The master. It is a beautiful piece of filmmaking. It's in theaters now. Oh, the great Paul Thomas Anderson. Ladies and gentlemen,

[Interviewer/Host]

My day kicks off with a refreshing Celsius energy drink.

[Guest or Supporting Speaker]

Then straight to the gym, pre K

[Interviewer/Host]

pickup back home to meal prep.

[Guest or Supporting Speaker]

Time for my fire station shift.

[Interviewer/Host]

One more Celsius. Gotta keep the lights on when the three alarm hits. I'm ready. Celsius live fit. Go grab a cold refreshing Celsius at your local retailer or locate [e-mail].

[Trevor Noah]

My guest tonight is an Academy Award nominated actor, writer and director who currently stars in the film Blue Moon.

[Interviewer/Host]

So are you up for that?

[Trevor Noah]

You feeling healthy?

[Interviewer/Host]

Is that something you could take seriously?

[Guest or Supporting Speaker]

Yeah, I'm on the wagon.

Take.

I'm serious. I've been drinking ginger ale all night. Well, except for this second, because this second we have to celebrate. This is the greatest musical in the history of American theater.

[Trevor Noah]

No, no, no. I'm not drinking with you, Larry.

[Interviewer/Host]

Okay, okay. All right.

[Guest or Supporting Speaker]

Ouija.

[Trevor Noah]

Ouija.

[Interviewer/Host]

Shoot this.

[Trevor Noah]

What?

[Interviewer/Host]

Oh, no, no, no.

[Guest or Supporting Speaker]

Rogers and Hart together again.

[Trevor Noah]

All right, Closer come.

[Guest or Supporting Speaker]

I want 10 copies of that.

[Trevor Noah]

Great. Write me a check. Please welcome Ethan Hawk,

[Interviewer/Host]

King of the world, over here.

[Trevor Noah]

King of the world.

[Guest or Supporting Speaker]

Just feeling good.

[Trevor Noah]

Just.

[Guest or Supporting Speaker]

You guys made me feel good, right?

[Interviewer/Host]

They love you. Yeah, you made me feel.

[Trevor Noah]

I gotta tell you, Ethan Hawke, I have heard stories about Hollywood contracting and getting smaller. And then I see you are in Black Phone too. You are in Blue Moon. I turned on the tv, you were in the Lowdown. Like, are we experiencing a hakasance right now? Like, I'm not worried about AI taking my job. I'm worried about Ethan Hawke taking my job.

[Guest or Supporting Speaker]

You should be worried because I've been watching you and I've got some ideas.

[Trevor Noah]

You can do it, right?

[Guest or Supporting Speaker]

Yeah, I got some ideas. I could do that sports center thing you guys got going on. I could take Ronnie on.

[Trevor Noah]

You know, it's harder than it looks.

[Interviewer/Host]

You know, it didn't look very hard.

[Trevor Noah]

Okay, just leave some jobs for the rest of you.

[Guest or Supporting Speaker]

Got it. You got it, you got it.

[Trevor Noah]

It's so funny in that clip, you hear everybody gasp when they see you. You're a five foot tall man who has a comb over hair. Like, there's Ethan. Oh, God, he's let himself go.

[Guest or Supporting Speaker]

He's let himself go.

I know. My wife came to set when she was watching the monitor and she's like, I think I'm gonna go home. This is not doing anything for me.

[Trevor Noah]

What's harder? Playing a five foot person or a comb over person?

[Guest or Supporting Speaker]

Oh, comb over.

[Trevor Noah]

Comb over is right. Yeah.

[Guest or Supporting Speaker]

It's just not sexy, you know, And I. So I had to shave the, you know, middle of my head and leave it wrong and comb it over. And I dyed the hair. And you really realize that you work on the comb over. And when you're in the mirror, it looks fantastic, you know, but it's just any other angle from the back that it's just the direct on looks kind of fine. Yeah, I see why, guys, you know,

[Trevor Noah]

Trump does it pretty good. He does. Give him the. The one thing we can all agree on is his hair looks fantastic. Right?

[Sponsor/Ad Voice]

God.

[Interviewer/Host]

God.

[Guest or Supporting Speaker]

It does. The envy of his generation.

[Trevor Noah]

Everybody loves it. This movie's fantastic. Blue Moon is wonderful. It takes place in a night at Sardi's after the premiere of Oklahoma.

[Interviewer/Host]

Right.

[Trevor Noah]

And it's a theater movie. It's very much. It's a true story based on.

[Guest or Supporting Speaker]

Yeah, but that makes it sound not good.

[Trevor Noah]

Oh, shit.

[Guest or Supporting Speaker]

Yeah.

[Trevor Noah]

No theater movie.

[Guest or Supporting Speaker]

Like, it's all right.

[Trevor Noah]

It's.

[Guest or Supporting Speaker]

Can I.

[Trevor Noah]

Can I set it up? You know what, y'? All. You're taking everybody's theater.

[Guest or Supporting Speaker]

Is that what this is?

[Trevor Noah]

Set it up. What do you got?

[Guest or Supporting Speaker]

It's a night in the life. It's 1943, the middle of the war. Rodgers and Hart, greatest songwriting team of their generation. Cover of Time magazine, did the Lennon and McCartney of their day. Except this is the first time Rogers has written with anyone else. A young man by the name of Oscar Hammerstein. They're about to change musical theater history. Larry Hart is about to be sent off to Antarctica to death. It's literally as if you're with Lennon McCartney. The day the Beatles are gonna break up, one of them's gonna be in a band five times bigger than the Beatles, and the other one is gonna be dead.

[Interviewer/Host]

That's.

[Guest or Supporting Speaker]

We're talking real time. You're at the party. It's a good movie.

[Interviewer/Host]

Did I tell it?

[Trevor Noah]

That's it. It's a great movie. Thank you. I think, honestly, you get to sit. This movie has such great conversations about art, the world, about love. Like, it's all in there. And also, it's directed by Richard Linkletter, who you've worked with many times before. And he loves you in a way that you see he does not. There are no tricks. They sit on you. You have long, long monologues. And it's. There's no tricks around it. We're sitting with Ethan Hawke, and we're watching him act. And that has to be intimidating as all get out.

[Guest or Supporting Speaker]

It was it was the hardest job I've ever had.

[Trevor Noah]

Is that right?

[Guest or Supporting Speaker]

Partly because you say rick loves me, and I imagine some part of that is true. I don't know that he's never said that. And I feel the same way about him. And we were taking a big dare together, and he's directed me, and this is our ninth film together. So he's seen. He spent years of his life editing my performances, and he just basically said to me, I don't want to see you. And so anytime we'd be shooting the movie and I'd do a take, he'd go, I saw you there in the third line, you know, when you picked up, I saw that that was you.

[Trevor Noah]

That's the reason. I know he just.

[Guest or Supporting Speaker]

He wanted me to disappear. So I had to come on that set 5ft tall, comb over, terrible skin, alcoholic, shaking, nervous wreck, and I tried to disappear into it. And, you know, he basically said to me, you've been talking about acting for the 30 years I've known you. Why don't you show me if you

can do it

[Trevor Noah]

Hot down.

[Guest or Supporting Speaker]

And I was like, I. I'll show you. And then I got really nervous.

[Trevor Noah]

I mean, the cast is amazing, though.

[Guest or Supporting Speaker]

Yeah.

Yeah.

Margaret Qualley, Andrew Scott, Bobby Canavali, a lot of great people.

[Trevor Noah]

You guys are dancing with each other up there the whole time.

[Guest or Supporting Speaker]

Well, Bobby and I have known each other, you know, for a long time. We've done plays together. And he really came over there and supported me. He's a great actor, and he. I just needed. He's the barkeep, and I'm the drunk at the bar stool. Can't stop talking. And so I needed him. And Andrew Scott, I didn't know before I'd seen him play Hamlet years ago in London. I wrote his name down in a journal. I was like, I gotta work with that guy. Margaret Qualley's friends with my daughter. So that worked out well. I gotta use my daughter to make connections.

[Trevor Noah]

Use whatever connections you have, right? Yeah. There's an interesting conversation that happens in the movie. It's about Oklahoma. And your character kind of articulates an artistic vision for theater in a way that he leads in the satire. He wants theater to be used as a commentary on what's happening right there, mixed with Roger's view of sincerity in the theater and sort of reaching towards that. Where do you land on that divide?

[Guest or Supporting Speaker]

Where do I land on my judgment of the musical? Oklahomo. Yeah.

Yes.

Who's right?

[Trevor Noah]

He's critical of it. That thing goes on to be the biggest musical ever. And yet he thinks this thing doesn't deserve the praise it's getting.

[Guest or Supporting Speaker]

It's what I see the movie as about is it's a moment in American history where we're right in the middle of the war, we're winning the war, and we start this process of self mythologizing ourselves as a country musical. It's called Oklahoma. That is not the story of the Oklahoma territory. All right. Girls in gingham dresses saying I can't say no is not the story of America.

Okay.

All right.

And we start doing this thing where we believe our own narrative about us as a hero. And it does a lot of good, and it makes a lot of people really happy, and it feels really good. And it's what my character sees as the start of a lie, of being nostalgic for a world that never existed. And so the movie's kind of spinning around. It's not just. It is a night in the life, but it's an important night in art history. Jazz age is ending. Something else is starting. I think it was Hitchcock who said, sound of Music set cinema back 20 years. You ever hear this quote?

[Trevor Noah]

No.

[Guest or Supporting Speaker]

Well.

And that's a Rodgers and Hammerstein musical too. And it's. It's. We love it so much. I don't even know what Hitchcock meant, but I kind of know what he means, because it's just. You just believe in this myth of everything being sunny and, you know, my favorite things. And Hitchcock was asking more of an audience, and he knew, oh, we're never gonna be able to sell it.

[Trevor Noah]

Yeah. I mean, American exceptionalism is a comfortable lie, but is inherently perhaps true.

[Guest or Supporting Speaker]

You tell it every night.

[Trevor Noah]

I do.

[Guest or Supporting Speaker]

Right.

[Trevor Noah]

Thank you. And I deliver it, Ethan. I deliver it. You deliver it with compassion. Right. I will say this. I've heard you talk about the cast in Blue Moon. You talk about it being like a symphony in different instruments. Look to what's happening on FX with the Lowdown, which is a totally different experience. It's a fun. It's noir.

[Guest or Supporting Speaker]

Ish.

[Trevor Noah]

It's gritty. It's Tulsa. It's not giving into this narrative of American exceptionalism. It's showing some fun, moneyed sides of.

[Guest or Supporting Speaker]

Have you seen Reservation Dogs?

[Trevor Noah]

I have, very much so, yeah.

[Guest or Supporting Speaker]

Well, the guy who makes the Lowdown, Sterling Hard Joe, is a great filmmaker. And I fell in love with that show Reservation Dogs. I went down, I did a little cameo on the show, and it was just the most exciting time I'd had on a set since you know, working with Linklater, really, it was. The whole city of Tulsa is alive with all these young artists, and they really have something to say, and they feel like, I don't know, there's something in the whole spirit and energy of what they're doing. I just wanted. I wanted to join their band, and Sterlin invited me down there, and we made the show the Lowdown, and the season finale aired like, yesterday, I think. So it's out.

[Interviewer/Host]

Check it out.

[Guest or Supporting Speaker]

It's very good.

[Trevor Noah]

Not a waste of your time. Yeah, yeah. It's fantastic. I will say, I have not only such a fan of your work, but the algorithm sends me so many Ethan Hawke videos of you talking about art and my clothes. Your clothes, Some of them. I asked ChatGPT to take it off so I get the whole picture.

[Interviewer/Host]

Yeah, yeah, yeah.

[Trevor Noah]

But I keep you with the comb over. It's just a weird thing.

[Guest or Supporting Speaker]

I have the nude stuff with the combos. My best, that is.

[Trevor Noah]

I really think you're so vulnerable there that I appreciate it, but I think you have great. You did a movie called Blaze, which I loved, and got me way into Blaze Foley.

[Guest or Supporting Speaker]

Yeah.

[Trevor Noah]

I told you this backstage for the Criterion Collection. You suggested a movie called the Blues According to Lightning Hopkins.

[Guest or Supporting Speaker]

See it? It's amazing.

[Trevor Noah]

Which was an amazing documentary that I never heard of, and it blew my mind before I let you go. What are you passionate about now? Give me something to get interested in myself. Make me love something.

[Guest or Supporting Speaker]

Yeah, to get interested in yourself. You want me to get. You want to get interested in you?

[Trevor Noah]

No, I'm already. I'm way too fascinated with myself. I was gonna say that. I was gonna say that. You seem fascinated.

[Guest or Supporting Speaker]

Fine on that.

I love it.

[Trevor Noah]

In fact, I can give you stuff about me if you want to get more interested.

[Guest or Supporting Speaker]

It's just first thought, best thought. I'll tell you. You may think you know everything. There's a new book that just came out called John and A Love Story, and it's the story of McCartney and Lennon not told as the Beatles story, but it's really just a portrait of their friendship. And it's really, really moving. And it made me kind of revisit all my thinking on the Beatles. And I thought, there's so much, I think, that is special about what they touched and why they continue to touch people is a, a level of artistic excellence that we really haven't seen very much of, and B, male friendship. And I think that's what really connects people to it, is we don't see a lot about that. And when you see a real sincere friendship, it's powerful.

[Trevor Noah]

That's beautifully said. Well, the movie Blue Moon is fantastic. I haven't seen a performance like that since John Duran.

[Interviewer/Host]

Oh, you're my man.

[Trevor Noah]

The legend Ethan Hawke. Blue Moon is in theaters now, and all episodes of FX's Below Them are available to stream on Hulu. Ethan Hawke.

[Interviewer/Host]

My guest tonight is a director whose latest film is called Creed.

[Guest or Supporting Speaker]

So what are you afraid of?

I'm afraid of taking on the name and losing. Don't call me a fraud. Fake.

Creed, what'd you think about what's true? You love to fight, right? Yeah. It makes you happy, right?

Yeah.

Yeah. And you are Apollo Creed's son, right?

Yes.

So then use the name. It's yours.

[Interviewer/Host]

Please welcome Ryan Coogler. Thank you very much.

[Guest or Supporting Speaker]

Thank you so much.

[Interviewer/Host]

This is great for so many people to see the face behind the films. Congratulations, by the way.

[Guest or Supporting Speaker]

Oh, thanks.

[Interviewer/Host]

Creed is amazing.

[Guest or Supporting Speaker]

Thank you so much.

It really is.

[Interviewer/Host]

No, it really is. I'd like to take a moment and go back on this. First of all, let's. Let's start with the fact that you are just 29 years old. Yeah, 29 years old. And already there's Oscar talk around the film.

[Guest or Supporting Speaker]

Mm.

[Interviewer/Host]

Is that. Is that. Does that make you nervous? Does that. Or is that just a. Is that a humbling experience? What's that like for you?

[Guest or Supporting Speaker]

It's humbling, man. Like, with filmmaking, it's an art form that you don't do on your own, you know? You know, I saw several collaborators come and go, man. I wrote the script with a buddy of mine, Aaron Covington. I got to work with one of my best friends, Michael B. Jordan, and it really feels like it's just a blessing to be able to do this job. You know what I mean? So to have people talk about, you know, your movies at the end of it, for awards and things like that, it's just icing on the cake, to be honest.

[Interviewer/Host]

My barber literally said to me. He was like. He was cutting my hand. He's like, yo, man, you seen Creed? You seen Creed? And I was like, no. He's like, yo, that's the black Rocky, man. He's like, that's black Rocky for this generation. Is that what you were setting out to do when you wrote it? Because you. I read a fascinating story. You wrote this film. You were inspired by your father.

[Trevor Noah]

Yeah, absolutely.

[Guest or Supporting Speaker]

My dad was a huge Rocky fan. Whenever you put these Rocky movies on, he would cry. You know what I'm saying? So I know these movies Had a special, you know, special power over my dad. And I came to like him because my dad liked him. You know, I wanted to be just like him. And then when I finished up film school, my dad got sick, you know, and he started to, you know, develop a neuromuscular condition. He was losing his skeletal muscles. He basically was becoming weaker.

[Interviewer/Host]

Right.

[Guest or Supporting Speaker]

You know, and had to help him from the car to the house sometimes. And all of a sudden, this dude who was always so strong became. And it really did a number on my. On my psyche, you know. But then I came up with this idea that maybe if his hero, you know, went through something similar, you know, and it was a young man who formed a relationship with him, you know, maybe it could be something that my dad would be into. Maybe it'll cheer him up. Maybe it'll motivate him to fight through it.

[Interviewer/Host]

That's beautiful, man. That's. And how does. How does a young black man from a rough neighborhood, like you said, go into making films? I mean, you said your dad was an ex football player. You were going to get into football.

[Guest or Supporting Speaker]

Yeah.

[Interviewer/Host]

What changed?

[Guest or Supporting Speaker]

I mean, school. And I always had great teachers. And then I got a football scholarship to a school called St. Mary's College. And I had a teacher there, during my first year of school, read something that I wrote and called me into her office and basically suggested that I get into writing movies. Because my writing was real visual.

[Interviewer/Host]

No, no, I'm sorry. Just the image for me, because I watch a lot of movies. Just the image that a football player gets called in and the teacher goes, you need to write more.

[Trevor Noah]

Yeah, you.

[Interviewer/Host]

You should quit football and you should write more.

[Trevor Noah]

That's how. So you.

[Interviewer/Host]

You went straight into that. You didn't.

[Guest or Supporting Speaker]

I laughed at her being in the class. And, you know, while we were sitting in her office, I thought she was crazy at first. You know, I thought I was in trouble when she called me into her office.

Yeah, I would think that too.

[Interviewer/Host]

That's what I would think.

[Guest or Supporting Speaker]

Yeah. I'll never forget she called and she was like, hey, you know, she called me in my dorm room. I was in the dorm room with my friends. She was like, hey, are you busy right now? And I'm like, you know, I couldn't lie. Cause I'm in the dorm room, you know, So I was like.

[Interviewer/Host]

I said like, there's no lies in dorm rooms. I couldn't lie. Cause I was in the dorm room.

[Guest or Supporting Speaker]

Nah. But she knew where I was. You know what I mean? She could like, walk down from her office and knock on the door if she wanted to. So she said, I want you to come by. Come by my office hours right now. So I had to kick all my partners out the room. Like, man, I gotta go. You know, maybe the teacher, like, I can't remember what I wrote about to be the story was actually about my dad. Crazy enough, you know, And I thought maybe. Cause it was something crazy that happened. I thought maybe she was like, hey, you know, you need to see a psychiatrist, what you're lying about or something, you know, or like, or like, you know, when I'm gonna get to her office, it's gonna be like the dean of school, like the police there waiting for me. Like, hey, man, you know, true salt, you know, you outta here. But, you know, I went in there, her name was Rosemary Graham and it was just her, you know, and, you know, she sat me down and asked what I wanted to be when I grew up, you know, and I had no idea really at the time. And you know, she suggested that I get into, you know, writing screenplays, doing amazing things.

[Interviewer/Host]

Thank you so much.

[Guest or Supporting Speaker]

I appreciate it.

[Interviewer/Host]

Creed is amazing. Fruitvale's amazing. You're amazing, my friend. Thank you so much. Creed M Theaters now watch Fruitvale if you haven't. Ryan Coogler, everybody. Your little one grew three inches overnight. Adorable. Also expensive.

[Trevor Noah]

Sell their pint sized pieces on Depop

[Interviewer/Host]

and list them in minutes with no selling fees because somewhere a dad refuses

[Trevor Noah]

to pay full price for the clothes

[Interviewer/Host]

his kids will outgrow tomorrow and he's ready to buy your son's entire wardrobe. And right now, consider your future growth bird budget secured. Start selling on Depop where taste recognizes taste. Payment processing fees and boosting fees still apply.

[Trevor Noah]

See website for details.

[Guest or Supporting Speaker]

Springfest means more sun, more fun and more free at Lowe's. Keep your yard in line with an additional free EGO 56 volt battery when you buy a select Ego mower trimmer or blower. Plus keep landscaping fresh with stay green.

1 cubic foot.

[Trevor Noah]

Garden Garden soil.

[Interviewer/Host]

5 bags for $10. Our best lineup is here at Lowe's.

[Guest or Supporting Speaker]

Valid through 4. A while supplies last selection varies by location.

Soil offer excludes Alaska and Hawaii.

Welcome back.

[Trevor Noah]

My guest tonight.

[Guest or Supporting Speaker]

The new film is called Magic in the Moonlight.

[Interviewer/Host]

And when, when you contact the spirits, will we be able to see the souls? And how are they different from ghosts?

[Trevor Noah]

Or are they ghosts?

[Interviewer/Host]

I should think souls are quite different.

[Guest or Supporting Speaker]

Have you ever heard of ectoplasm?

[Interviewer/Host]

Ectoplasm. Now isn't that a milky substance rather like yogurt?

[Guest or Supporting Speaker]

You are a joker, aren't you?

[Interviewer/Host]

So you're saying it might look like yogurt, but it will be Mrs. Catledge's

[Guest or Supporting Speaker]

former husband, please welcome Emma Stone.

[Interviewer/Host]

Hello. What's going on?

[Trevor Noah]

What's up?

[Guest or Supporting Speaker]

What's happening?

Nothing. Nothing at all. Everybody's very excited to have Emma Stone in the house.

Really?

Yeah.

Emma Stone's kind of.

[Trevor Noah]

You are created.

[Guest or Supporting Speaker]

Thank you.

I'm talking about even amongst the staff. Like, there's sometimes we'll have a guest on. I'll be like, oh, you know who's on tonight? And I'll say the name of the guest, and they'll be like, yeah, that's nice.

But did you know that someone on your staff made me a scarf?

Made you a scarf?

Yeah.

Wait, out of what?

Knitted me a scarf. Out of baby alpaca wool. It is so beautiful. And I teared up after she left.

Wow.

So I'm gonna go backstage and say thanks. Has she ever made you a scarf?

No. I've been here 16 years.

Okay.

Baby alpaca. Well, that's okay. Yeah. I once had a guy, it looked like, I guess, lizard skin. Made like. It was like a ball. Found it under his desk. That's really nice. I actually know who that is. Yes, That's Beth.

That's Beth.

She makes beautiful scarves. Sometimes she makes hats.

It's a gorgeous infinity scarf that you can wrap around your neck.

And it's not easy. The scarf is a very delicate thing to pull off.

Knitting in general is a very delicate

[Trevor Noah]

thing to pull off.

[Guest or Supporting Speaker]

Well, you're talking about Megan. I wasn't even talking about wearing it,

but Megan got shook. No. For a man, yes. It's complicated.

It's complicated.

It's complicated. You could throw a scarf on with pretty much anything. I think, as a. You know, I could be wearing a scarf right now.

I was thinking to myself, if you were the one thing missing from your outfit. Do you like a gentleman in a scarf? Because a gentleman in a scarf. Unless he is, if I may, a bon vivant.

Right.

He may not be able. Like, what is the opposite of a bon vivant? Short Jew. Let's say he's a short Jew. You don't pull it off as dashingly. It's a dashing accessory.

It gives a suggestion of bon vivant. If you choose to wear a scarf, you must, somewhere in you be slightly a. Or no, a bon vivant. Here's what else you are. Bon vivant or eh. Bon vivant.

Eh, Bon vivant. Here's why I would wear It. I worry about tonsillitis. So other. There are other. There is a function to it as well.

Just keeping everything warm.

You know what?

I used to wear the. This will really be. I used to wear the turtleneck. I just want to see if we can catch that on a close up. The face she made like that made her nauseous. That right there.

[Interviewer/Host]

Boom.

[Guest or Supporting Speaker]

What is. Let me ask you this. On a purely. This is anthropological or sociological. On a date, like a first date. The worst thing that a guy has ever worn or that would be discussed. The worst thing to wear when joining a young lady on a date. Would a scarf be something like that? Would it be something like a pork pie hat? What would be the worst thing? Oh, pork pie hat. The pork pie is.

Well, no, probably not a shirt.

So you're saying if somebody goes big, you don't want any part of that?

Yeah, I think maybe a not shirt.

Has that ever happened to any of your friends or you?

I don't think anyone's ever shown up with a not shirt on.

You might as well just write in magic marker, I'm a bro. Just on your thing.

[Trevor Noah]

Full bro.

[Guest or Supporting Speaker]

Yeah. On all that stuff. Which, by the way, we should talk about the movie. The movie is you've filmed it?

Yes, with cameras.

And they did the whole thing. They edited it and now it's out. It's always, listen, Woody Allen's films. I feel like I can't even discuss it anymore because of all the things that go along with it. But always entertaining films, always prolific and very good.

[Interviewer/Host]

Yes.

[Guest or Supporting Speaker]

Was it enjoyable to perform it? The gentleman you're performing with the. Colin Firth has been on the program many times. There's a guy who can wear a scarf.

You and this show so much. He can pull off pretty much. He could wear a not shirt.

[Trevor Noah]

That hurts.

[Sean Penn]

Really does.

[Guest or Supporting Speaker]

You know what's nice about me? And I'm saying this. I'm not trying to toot my own horn. And I'm not trying to. Come on. I'm just saying that I could get away with not wearing a shirt. And I'll tell you why. My body is so hairy that I would come in and you would just think like, oh, mink. That's an interesting choice.

So that it's a perpetual body.

Let's see the nauseous face again. If I can get the nauseous. Yeah, that's not good. Are you doing now? What you living in the city now? You live in the city?

I'm in the city and I'm around.

You're around I'm around.

I'll run into you.

Probably run in. And then we could pretend that we don't know each other.

Walk on.

I think that's happened to us once before.

It did happen once.

It did happen.

I ran into her and a gentleman with a dog and I was like, hey, what's going on? Take the dog and pull the dog. I remember that. And then I thought, oh, I should have brought my dog. And then I wouldn't have looked like a crazy person yelling at me. So did I ever apologize for that?

Apologize for what? For running in.

For accosting you on the street when you had a dog with you.

I don't think you accosted a substitute.

You don't think. Oh, that's very kind of you.

I would never think that you saying hi would be accosting. You.

I'm sorry. No, don't even. I am going to knit you a whole outfit.

You.

Magic in the moonlight. It's in the spirit. Select cities July 25 opens everywhere August 15 as always so pleasing, Emma Stone. Thank you.

[Trevor Noah]

My guest tonight is an award winning director and screenwriter whose latest critically acclaimed film is called Sentimental Value.

[Interviewer/Host]

Why didn't you want to do the role?

[Guest or Supporting Speaker]

I can't work with him.

[Interviewer/Host]

Why?

[Guest or Supporting Speaker]

We can't really talk.

[Interviewer/Host]

But he wanted you to do it?

[Guest or Supporting Speaker]

Yeah. Yeah. I don't know.

[Interviewer/Host]

Just keep thinking that he made it.

[Guest or Supporting Speaker]

He made a mistake.

[Trevor Noah]

Please welcome Joachim Trier. Welcome.

[Interviewer/Host]

Thank you.

[Trevor Noah]

Let me tell you, first of all, congratulations. It's a. It's a wonderful film.

[Guest or Supporting Speaker]

Thank you.

[Trevor Noah]

Getting many accolades. You just came back from the Golden Globes where Stellan Skarsgard just won a Golden Globe for best Actor in your film. Correct?

[Guest or Supporting Speaker]

Yes.

We're so proud of him.

[Trevor Noah]

That is. It's amazing. It's curious in watching this film, knowing a little bit about your background. You came up skateboarding, making skateboarding films. And I watched this movie and Stellan Skarsgr did zero ollies in it. Like, no nut punches, no nut anything. Did I miss something? You lost your edge. What was going on there?

[Guest or Supporting Speaker]

Mental nut punches. You know, I think what I'm trying to do here is to give also a platform for actors to explore something, take some risks. So I started doing a lot of skate videos when I was a kid. That's what I did. I stood next to a handrail and saw my friends try some crazy stuff and maybe halfway break their neck or land on their feet. And in a weird way, it's still the same thing I'm trying to do with actors. Have them do something risky and see if they land on their.

[Trevor Noah]

Yeah, how do you. What does that look like? Is that happening in a rehearsal process? It's interesting if you watch the film because you're also watching a director who's coaxing an actor at the time. Is that reflective of your experience working with those actors there?

[Guest or Supporting Speaker]

So just to be clear, Stellan Skarsgrd, who in real life is a really nice and kind man, plays a bit of an asshole director, a bit of a difficult father character. So I'm trying not to be him when I'm directing. Yes, but he's also a good director in the film, you know, so. But no, the process of that performance thing is, I guess, first of all, cast, right. Find people you trust, then give them an opportunity to do their thing and give them some rehearsal time to get to know each other and be safe. And it's all about trust.

To me, that's what it's about.

[Trevor Noah]

What's the set like for you? Is it an intimate set similar to the ones that we saw in the film?

[Guest or Supporting Speaker]

Yeah, it is. It's a mixed energy when the actors are present. We try to make it really soft and, you know, for them, for their individual needs. But when they leave, I tell my team, it's like changing tires on the Formula one car. It has to be very quick. It's very expensive to make movies. And in Norway we don't have an endless budget. So we gotta be really effective about it.

[Trevor Noah]

Well, you're telling a story of a. As you said, of a director who is an acclaimed director, who has family issues. As an acclaimed director, do you have to tell your family not to read into this?

[Guest or Supporting Speaker]

It was interesting to show it to my family. Cause I come from a film family, too. My grandfather was a film director. Both my parents worked with movies. My brother is the documentary director. So, yeah, when they saw it, they were laughing. My younger sister said to me, it's like you've taken a lot of elements that I recognized and put them in a blender. And you're not throwing anyone under the bus, but I see it's you.

[Trevor Noah]

She also wants her cut, right? Exactly.

[Guest or Supporting Speaker]

The family cut.

[Trevor Noah]

It's interesting when people are talking about this film, and I felt it as well. It's a very tender film, which feels bold in this day and age, which we sort of live in, this age of irony, where you don't see that in film so often. Is that a Norwegian thing? Is that an intention? Did you want to bring something that felt softer into the marketplace when you Say marketplace? Yes, I guess.

[Guest or Supporting Speaker]

But no, I think, honestly, yeah. The world is complicated right now for many reasons, political reasons, on societal levels in many countries. And I just have. Because I have small children also have this yearning for some hope and that there could also be a place in art to see the other, you know, and not necessarily make polarized stories that deal only with antagonists and stuff like that. I try to understand people in the movies I make. Even though this is a family story, it's about two adult women, two sisters who are trying to reconcile their relationship to their father and how they deal very differently with it. And through that I wanted to make. You know, a friend of mine said the other day, which I was very happy about. You kind of made a happy ending for once, Joachim. But it's not cheesy, and I felt kind of off the hook there. We're trying to do something about the baby steps in a family where, you know, it's all the stuff we don't know how to talk about that is really at the core of the drama here.

[Trevor Noah]

I did a special recently and I went to Oslo, Norway, and I was struck by many things about traveling to Norway. But the public sculptures in Norway are so beautiful. There's a famous sculpture park that is both hilarious, dark and funny. Angry baby statue. There's a person Viland, I believe or like. There's a father who's, like, catching babies that are up in the air. But also walking the streets of Oslo, I see a lot of statues that, unlike in America, the statues you see here are generals or politicians who have won wars. What I saw was a lot of families. There are a lot of statues of, like, a mother and a daughter. And it felt like culturally, I just saw art and family reflected more walking through Oslo than I see in an American landscape.

[Guest or Supporting Speaker]

Interesting. I never thought about it, but when you say it, it's probably true. There is this kind of. And I also think the politics are geared towards that in a good way in Norway. Norway, as any place, has its political problems. But what I think is good is that you actually get paid time off when you have babies and you have a guarantee of a place, a kindergarten or a childcare thing, you know, from the government and stuff like that.

[Trevor Noah]

So it's a communistic hellscape, is what you call it. Exactly.

[Guest or Supporting Speaker]

Exactly.

We are not allowed to speak. I've been told to say these nice things about Norway. Not at all.

No.

It's actually the interesting thing to think about is when you pay a lot of tax, like you do over here as well, that you get something back for it. Some health care and some childcare,

[Trevor Noah]

and you're still allowed to speak your mind in public.

[Guest or Supporting Speaker]

Isn't it interesting?

[Trevor Noah]

Is that right?

[Guest or Supporting Speaker]

Yeah. Don't tell anyone.

[Trevor Noah]

I won't tell anyone. Is property cheap there? That's what I need to know.

[Guest or Supporting Speaker]

No, it's not.

[Trevor Noah]

Okay.

[Guest or Supporting Speaker]

That's still complicated. The politician could work on that.

Yeah.

[Trevor Noah]

Another thing you do in this film that I think is a difficult line to walk is it's a film about the industry, but it's not. It doesn't feel like it's navel gazing in the industry. Like it's. So I think there's a tendency with a lot of films if you're gonna make a movie about making movies, there's such a reverence for making movies. And I don't think this is dogging the profession. But I think you. I assume you had to be very careful with the ways in which you presented this so that an audience can relate to this and not just see it as the artists only caring about the things that the artists do.

[Guest or Supporting Speaker]

No, no, absolutely. I am working with a co writer for all my six films that I've directed called Eskil Vogt. And when we realize.

[Trevor Noah]

What's his last name?

[Guest or Supporting Speaker]

Eskil Foukt.

[Trevor Noah]

V. V, okay. Pronounces F. No, V. Pronounced as Eskild.

[Guest or Supporting Speaker]

Eskild. Yes.

[Trevor Noah]

This is Norway.

[Guest or Supporting Speaker]

Okay. So here we are.

[Trevor Noah]

I'm.

[Guest or Supporting Speaker]

He's my best friend. I don't want to laugh at television about his name. Poor guy. He's gonna give me a hard time now. Lovely man. We're sitting there, we're making this story, and we're realizing, oh, we're making it about a film group of people. Like, the father is the film director. Navel gazing. Yes. Shameful, isn't it? So what we then try to do is to make it about family, make it about something that we really want to talk about, which is really how trauma travels through generation. And I think the only way to start forgiving one's parents is to realize they were kids once and what did they go through and all those things where. And then we thought, oh, it's interesting because in this family, the father is making a screenplay that is offering his oldest daughter, played by Renate Reinsweeh, because she's an actor and she certainly don't want to work with him. And then they invite this American actress into it, played by Elle Fanning, but she's playing the role of the daughter. So that's the setup. But what it's really about is all that stuff about parents and children that we don't really have language for. So it was trying to get to family stuff through the setup of a film. Family.

[Trevor Noah]

Yeah.

[Guest or Supporting Speaker]

Instead of saying, ooh, film. People are so interested. Of course we are.

[Trevor Noah]

But don't tell everybody that. It's a movie about how do you communicate with your family? It's tender, it's loving. What Marvel movie are you gonna direct next? Yeah, what's the MP that's interesting to you? Is there a Lego? Maybe the Scrabble movie could be interesting for you. Have you thought of this yet?

[Guest or Supporting Speaker]

I think so. Wolverine gone soft.

[Trevor Noah]

Wolverine gone soft. Well, I'll be there. I would watch it. Sentimental Value is available to rent or buy and will be returning to theaters January 25th.

[Sponsor/Ad Voice]

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[Guest or Supporting Speaker]

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[Trevor Noah]

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[Interviewer/Host]

My guest tonight is a two time Oscar winning actor, writer and director who's written his first novel. It's called Bob Honey who just do stuff. Please welcome Sean Penn. Welcome to the show.

[Sean Penn]

Thanks very much.

[Interviewer/Host]

This is a book that I, I, I, I would fail to describe with the, the amount of words I have in my vocabulary. It's, it's a strange story that seems like a metaphor for real life. Bob Honey is a character in the book who goes around murdering people. He, he's a divorced septic tank worker and he, he's an assassin who kills old people with a mallet. And yet when I was reading parts of the book, I was like, but this also feels like real life because it seems like what's happening in the world? Is it a metaphor?

[Sean Penn]

So I thought of this character, Bob Honey and I thought, here's an American man and put him a guy compelled to service in a country that doesn't actually demand mandatory service, which is something that I've always felt I missed out on. And that's something that would be very important in the sense that a young person who, whether the service is forestry or taking care of the elderly or military, whatever it was, that once one had a significant experience of having been able to make a real contribution themselves that that never leaves them. And therefore they engage. And by engaging they're not ignorant. And by not being ignorant they're not fooled and they know who to hold accountable in government. So I thought I would take somebody who couldn't find direction of service but was compelled to service anyway and put them in the kind of quicksand of this current climate in our country and see how he danced over it.

[Interviewer/Host]

One thing I would love to know from you, and to very few people, I would ask this question and expect a candid response. Meeting with the people you've met in the world, do you think that we get the full story of what America's doing in the world and how they are shaping what direction the world is going in, Having spoken to some of the people who deal with America from the other side?

[Guest or Supporting Speaker]

Yes.

[Sean Penn]

I mean, there's a. I think we're at about 28% of the country that has passports. And then there are various economic reasons why people aren't able to travel.

[Guest or Supporting Speaker]

Right.

[Sean Penn]

And without that context, I think we do suffer the. Generally speaking. And I've seen a big change. You know, when the Berlin Wall came down, I think it had a lot more to do with Levi's 501s and the dream of wearing them and the Beatles black market records than it did with Gorbachev or Reagan.

[Guest or Supporting Speaker]

Right.

[Sean Penn]

It's just human dreaming, having a power to make a change. The human dreaming. So much of it was

[Guest or Supporting Speaker]

to take

[Sean Penn]

the American model, the dream that is that. And increasingly now I think that what we are is the most armed of existing democracies. And beyond that, I don't think that I would say that the respect and the aspiration that we modeled is no longer on our country. That's not a political comment.

[Guest or Supporting Speaker]

Right.

[Sean Penn]

That's a touristic comment. Where I've traveled, it's changed. And I think we owe it to ourselves to get it back. And the only way we do that is show that we know how to stop fighting with each other and really listen to each other and really demand that our politicians do the job. And in this case, the job includes, by any historical parallel, the impeachment of this president.

[Interviewer/Host]

You're a fascinating man. I appreciate Your work. Thank you for being on the show. Bub Hunting. He Just Threw stuff is available now. Sean Penn, everybody. We'll be right back.

[Trevor Noah]

My guest tonight this won a best Actor Golden Globe for his role in the Secret Agent. Please welcome Bogdar Mor. Thank you very much. Oh, that's nice.

[Bogdar Mor]

That's very nice.

[Interviewer/Host]

Thank you very much.

[Trevor Noah]

I should be saying Golden Globe winner Wagner Moore is what I should be saying.

[Interviewer/Host]

Thank you.

[Trevor Noah]

That's a big prize. The movie is. It really is a remarkable film. I can't stop thinking about it. Thank you. I really can't stop thinking. How would you describe this film to our audience?

[Guest or Supporting Speaker]

Okay.

[Bogdar Mor]

I think this is a film about a man who is sticking with his values when everything around him says the opposite of what he believes.

[Trevor Noah]

I think that's what's so resonant about it. Right. It takes place in Brazil in 1977. There's a dictatorship.

[Bogdar Mor]

It was a heavy dictatorship.

[Trevor Noah]

It was a heavy dictatorship. Right. From 64 to 85, I would say, right off the bat. I didn't know much about this movie going into it. And there's a scene that kicks it off where you drive into a guest. There's a dead body that is there.

[Guest or Supporting Speaker]

Yeah.

[Trevor Noah]

That the police aren't going to deal with. They haven't dealt with for days. And the police come and they shake you down for money.

[Bogdar Mor]

For money.

[Trevor Noah]

And it just established this tension that felt very resonant right now in a time where we're all feeling a certain tension about the government and what have you. And this film was able to sort of sum up this feeling within seconds.

[Interviewer/Host]

Yeah.

[Bogdar Mor]

It's a scene that sort of establishes like the logic of a dictatorship. I would even say the logic of Brazil, because the dictatorship ended in 85, but it didn't really end in 85. I mean, the echoes of the dictatorship are still there. When we elected a far right president in 2018, that man was sort of like a physical manifestation of those echoes.

[Trevor Noah]

Yes. You talk about. I mean, Bolsonaro, you've had a relationship with, at least in terms you dated for a while. Right.

[Bogdar Mor]

I just. I received one of the awards that we received and I went up there to thank. I thanked him. You did? I was like, thank you. Because without him, we would never had done this film. Because this film comes from the director Clauber Mendonce Filho and I sharing our perplexity over what was going on in Brazil from 2018 to 2022, when this man came elected Democrat. But he came to bring back the values of the dictatorship to Brazil in the 21st century. So we were perplexed. How can we deal with that?

[Trevor Noah]

You're very open and engaged politically, which I don't always see with high profile actors. You see that as a responsibility with you, like activism and performance. They don't always make beautiful bad parts.

[Bogdar Mor]

Yeah, I don't see that as a responsibility. I think that this is. This is how I behave as a human being and that's also why I'm drawn to political projects because it's something that I like. But I don't see that as a responsibility because there also the pressure to so called public figures to go out there and speak. I don't think that's even fair because many people are not ready to talk and the backlash is very strong. Not everybody's ready for that.

[Trevor Noah]

Yeah, yeah. Well, the movie is fantastic. I really hope people go see it. Congratulations on everything. Thank you, guys. The secret agent, the theaters, they come up.

[Interviewer/Host]

Tonight's guest is the star of both Neighbours 2, Sorority Rising and Apocalypse.

[Guest or Supporting Speaker]

They call themselves a sheer n Sabanur, named after an ancient being they believe to be the world's first.

World's first what?

The world's first mutant. These describe a specific set of powers greater than any man could possess.

[Trevor Noah]

An all powerful mutant.

[Guest or Supporting Speaker]

Exactly. And wherever this being was, he always had four principal followers, disciples, protectors he would imbue with powers like the four

horsemen of the Apocalypse.

[Interviewer/Host]

He got that one from the Bible

[Guest or Supporting Speaker]

or the Bible got it from him.

[Interviewer/Host]

Please welcome Rose Byrne. Welcome to the show.

[Guest or Supporting Speaker]

This feels like a job interview. I didn't bring my cv.

[Interviewer/Host]

Who's getting. Who's getting the job? Why does it feel like a job interview?

[Guest or Supporting Speaker]

Because of the desk. I feel like I'm.

[Interviewer/Host]

Is this what job interviews are, a job interview?

[Guest or Supporting Speaker]

Isn't it like.

[Interviewer/Host]

It's normally like a brown desk with like a. With papers. Pens. I've got some pens under here. This. Yeah, this will make. There's. Now it's a job interview.

[Guest or Supporting Speaker]

Shut it up.

[Interviewer/Host]

Now it's a. So welcome to the show.

[Guest or Supporting Speaker]

Thank you.

[Interviewer/Host]

Thank you for being. It's not a job interview. You've got every job right now in Hollywood. It feels. Congratulations. You are doing extremely well in three movies right now. Yeah, three very different movies as well. X Men and then Neighbors two. And then you have a comedy movie that is out as well with Susan Sarandon. She was telling me about that.

[Guest or Supporting Speaker]

Yeah, the Meddler, which is a great movie to take your mom to or your dad or a friend or someone. It's like It's a really sweet motherfucker.

[Interviewer/Host]

I like how that escalated very quickly. Mom, dad, someone I know.

[Trevor Noah]

Yeah, exactly.

[Interviewer/Host]

Just find a stranger on the street. Come on. We're going to watch the Meddler. We're going to watch the Meddler. But you. You know what this is. This may be weird for. For. For some people, but I remember watching you on. It was Neighbours in Australia, wasn't it? The soap opera.

[Guest or Supporting Speaker]

Oh, the soap opera.

[Trevor Noah]

Yes.

[Guest or Supporting Speaker]

Yes.

[Interviewer/Host]

That was huge in South Africa. It was like a really.

[Guest or Supporting Speaker]

Yeah.

[Trevor Noah]

Wow, that's.

[Interviewer/Host]

Oh, man. Really? You could not have made us sound more backwards. Oh, wow, that's a shame. It was new.

[Guest or Supporting Speaker]

Really.

[Interviewer/Host]

Everything, the scenes, like neighbors. Everybody want the name. We would sing that and I'm embarrassed. I feel like a parent's embarrassing me right now. I'm like, yeah, but you have a.

[Guest or Supporting Speaker]

I didn't know that. What else is popular there on tv?

[Interviewer/Host]

Well, everything else, we just go like neighbours and then it's Idol and everything else.

[Guest or Supporting Speaker]

Oh, okay, okay.

[Interviewer/Host]

We just dip into old Australian films. That's what we do.

[Guest or Supporting Speaker]

Okay.

[Interviewer/Host]

That's really what we.

[Guest or Supporting Speaker]

I'm very flattered. I'm very flattered.

[Interviewer/Host]

Let's talk a little bit about X Men. It's a huge franchise to be a part of and you are playing one of the few non mutants.

[Guest or Supporting Speaker]

Yeah.

[Interviewer/Host]

Was it fun not having to sit in makeup for hours? Was that like your superpower?

[Guest or Supporting Speaker]

It basically was. Everyone else is getting, like, blue or green or whatever from 2:00am and I, like, roll up at 8:00 clock and, you know. But it's a bit dull, really. I mean, who wants to not be a mutant, right? Like, I'm surrounded by people who can, you know, set themselves fly and see,

[Interviewer/Host]

you know, but they're not really doing it while you.

[Guest or Supporting Speaker]

Well, yes, they are.

[Interviewer/Host]

No. I mean, you must have felt cool.

[Guest or Supporting Speaker]

The movie's real, Yo.

[Interviewer/Host]

Just because we have neighbors doesn't mean we're dumb. Like, I mean, you can't trick me like that. But it's. You do have a superpower, though. You got.

[Guest or Supporting Speaker]

You can do, like, any accent except South African. That's very hard.

[Trevor Noah]

Really?

[Guest or Supporting Speaker]

Yeah. I'm very impressed with your South African accent. It's not real, is it?

[Trevor Noah]

No.

[Guest or Supporting Speaker]

You're putting that on, right?

[Interviewer/Host]

I'm actually. I'm actually German, right?

[Guest or Supporting Speaker]

Yeah, yeah.

[Interviewer/Host]

And you've caught me. And now I have to go back to my original accent and the show is spoiled.

[Sponsor/Ad Voice]

But you.

[Interviewer/Host]

How many accents can you do?

[Guest or Supporting Speaker]

Um, three, Three, four, five, maybe?

[Interviewer/Host]

I feel like you can do.

[Guest or Supporting Speaker]

I really can't I can do like English, Australian, American. That's about it. Canadian.

[Interviewer/Host]

One thing you do have is not just a gift of talents. You have a gift for cussing real good. In Neighbors, if you haven't watched Neighbours, you have to go. I was a huge fan of Neighbours, the first one that came out.

[Guest or Supporting Speaker]

Oh, thank you.

[Interviewer/Host]

And it's very rare for the second movie to be as funny, if not funny.

[Guest or Supporting Speaker]

It is. It's very challenging, particularly comedy sequels. Yeah. And it's really. I mean, it's actually very funny. And a lot of people thought it was funnier than the first.

[Interviewer/Host]

And it's tough to make a movie where like, I mean, it's all about the sorority coming in now. And you would think going from a fraternity story to a sorority, it'd be like, oh, it gets raunchier.

[Guest or Supporting Speaker]

It gets raunchier. No, the girls are. They're nasty. The girls are nasty.

[Interviewer/Host]

So X Men. X Men is really, I mean, it's a powerful franchise. Its huge Neighbors as well. Number one R rated comedy in America. So congratulations. Thank you. With that and the Meddler coming out as well, basically every movie. I'm still a huge fan. I'm still on the fifth season of Neighbors, so I'll catch up to the rest of it.

[Guest or Supporting Speaker]

You're very sweet. Well, thanks for having me.

[Interviewer/Host]

Thank you so much for being here. Thanks a lot. Thank you so much. Neighbors 2 Sorority Rising is out now and Apocalypse is in theaters Friday, May 27th. Rose Byrne, everybody.

[Trevor Noah]

Zootopia 2 has come home to Disney Plus.

[Guest or Supporting Speaker]

Let's go get ready for a new case.

[Interviewer/Host]

We're the greatest partners of all time. New friends, Gaily the Snake and your

[Guest or Supporting Speaker]

last name, the snake Dream team.

[Interviewer/Host]

New habitats. Zootopia has a secret reptile population.

[Trevor Noah]

You can watch the record breaking phenomenon at home.

[Guest or Supporting Speaker]

Zootopia 2.

[Trevor Noah]

Now available on Disney plus, rated PG. And right now you can get Disney plus and Hulu for just 4.99amonth for three months with a special limited time offer. Ends market March 24th. After three months, plan auto renews and $12.99 a month terms apply.

[Guest or Supporting Speaker]

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[Interviewer/Host]

My guest tonight is actor and producer Michael B. Jordan. He's here to talk about his latest role as action hero John Clark. And being a force of change on and off screen. In Hollywood.

[Guest or Supporting Speaker]

You're pretty messy right now in more ways than one.

No, I'm not.

I spent half my life playing that game. I'm the one who went to hell and did that dirty work. We served a country that didn't love us back. Because we believed in what it could be. We fought for what America could be.

[Interviewer/Host]

Michael B. Jordan, welcome to the Daily Social Distancing Show.

[Guest or Supporting Speaker]

What's going on, man? Thanks for having me.

[Interviewer/Host]

This is great. Thank you for being here, man. Thank you so much for being here. Congratulations. I just watched the film I think everybody else has on Amazon prime without remorse. Before we talk about the movie, I just want to know, how much more muscle are you planning to create, like, from your human body? Like. Like, at what point? Because, I mean, like, the whole movie I'm watching you. And it's very discouraging, Michael. Cause I stay at home and I eat and I eat ice cream. And then when I see you, I'm like, do you. Do you eat anything? Like, how do you. Like, who are you, man?

[Guest or Supporting Speaker]

I mean, I just was about to eat some strawberry donuts, so.

[Interviewer/Host]

I do. I do eat.

[Guest or Supporting Speaker]

I do eat a lot. I've actually let myself go in recent months. It's been. It's been. It's been. It's been pretty bad. Quarantine has taken its toll on this body. But, no, no, I mean, you know, whenever I gotta lock in and actually, like, trains, you know, transform my body for a role, it's, you know, I can get the job done. Creed 3 is coming up, so I'm gonna have to change it pretty soon.

[Interviewer/Host]

I thought I could catch up to you when you were playing a lawyer. So I was like, yeah, I could do this. I could have a Michael B. Jordan lawyer body. And then Michael B. Jordan's like, I'm a boxer and a Navy seal. I was like, yeah, no, I'm just gonna watch the movies. Listen, congratulations.

[Guest or Supporting Speaker]

No, no, we gotta work out one time. That's it.

[Interviewer/Host]

Why would I do that to myself as a human being? Why would I, as Trevor Noah, go work out with Michael B. Jordan? To feel. What about myself, Michael. What are you trying to do?

[Guest or Supporting Speaker]

Feel great. Feel great. You're gonna feel. No, the first couple of days, you're gonna feel death. But then after that, you're gonna feel great. You know, you're gonna feel good. You're gonna look even better, which is hard to do.

[Interviewer/Host]

Let's talk about the movie. Tom Clancy, man. Anybody who's loved the books. Anybody who's loved the games, I Mean, I grew up playing Rainbow Six, you know, I'm sure so did you. This movie without remorse. I watched it with my brother, and he was just like. He was like, man, this is amazing. He was like, this is so much fun. Like, I haven't seen an action movie like this in a long time. Why did you choose to do it? And what made you think, you know, what, I can make this something special?

[Guest or Supporting Speaker]

You know, first of all, thank you. Appreciate that, man. I'm glad you guys enjoyed it, you know, but just like you, I was at home as a kid playing Rainbow Six video game for hours. And you know, where my mom would yell at me, boy, get off that damn game. You know, it was like, you know, and I would be in there envisioning myself, like, in these missions. So when I had opportunity to take, you know, you know, a Tom Clancy, you know, favorite, you know, like, and John Kelly and give it, you know, a breath of fresh air, modernize it, make it more a reflection of the world that we live in today. I mean, these type of movies are the things that I grew up watching. Like, I love, like, action movies, you know, So I was like, one day I want to do my own action, you know, movie, and I'm going to do my own stunts. And this was the one for me to check that box.

[Interviewer/Host]

You trained with, like, it was actual Navy SEAL training that you went through for this movie, right?

[Guest or Supporting Speaker]

Yeah, I worked with, you know, ex military, ex Navy SEALs, ex Marines, military divers for a lot of the water work that we had to do. Really, every stunt that you saw, I had a specialist that I spent, you know, enough time to get comfortable within the stunt and then went out and

[Interviewer/Host]

executed one of the most terrifying stunts in the movie. And I won't spoil it for the people. Involves you in the ocean underwater, in a vessel. I won't tell the people what vessel it is. Don't wanna spoil anything, but, like, you just. You just underwater fl. The camera doesn't cut as well. That's something I noticed. We just follow you holding your breath, swimming underwater. Swimming underwater. Swimming. And I was like. And I was like, no, man, Michael didn't do this. But you actually did that.

[Guest or Supporting Speaker]

Yeah, those are the. That was the one that, you know, it took us about a week and a half to shoot. And every day I would get up and I would get to set and I would be like, who wrote this? Why did we decide to do this? It was my favorite thing. And then it was my, like. I mean, I hate it. And then I fell in Love with it all over again once we finished it, just because we accomplished it and we got it done, you know. So, I mean, it was very ambitious, but it was something that I had to do because Stefano wanted to shoot it in a way that you knew it was me doing those stunts. So, yeah, it was something I have to train really, really, really hard for

[Interviewer/Host]

what I loved about the story and, you know, to talk to your idea of modernizing. The thing is, you know, I know Tom Clancy's novels well. I've read the books. I've played the games. You know, what I loved about the film as well, is it made you think about this from the perspective of the military personnel. You know, people who go out there and go, I'm fighting for my country, only to find out. And we've seen that whether it was with 9, 11, or whatever, in America, where they go like, oh, this is. This is false pretenses, but this is actually my life. You've always been somebody who's. Who's been passionate about, like, you know, telling military personnel stories or connecting with them as human beings. That part of the story seemed really important to you, and I'd love to know what you were hoping to achieve in telling that part of the story.

[Guest or Supporting Speaker]

I think it's just that, you know, the honesty of what it's like from the soldier's perspective, who has a family, who has things that they care about. You know, obviously, they're dedicated to a service to a country in order to, you know, protect the oath. You know what I'm saying? To. To uphold those values. But when that. But when that comes home and you feel betrayed, you know, and you're being lied to on so many different levels, you know, how far would a man go to get those answers? You know, I think we've all felt like this at one point. We feel so small. We feel like we, like, you know, I'm one person. What is my opinion or what can I do to possibly change this bigger thing, this bigger elephant that's in the room, this bigger system? And I think John felt like that for majority of the movie until he started to really feel like, no, I'm taking the power back. I actually can make a difference. I can. They're gonna see me. They're gonna feel me. You know what I mean? They're gonna feel what they messed up. And I think, you know, just getting people to think a little bit and to, you know, obviously be entertained and have fun while watching this movie, but at the same time, to start asking questions, you Got a hotel medicine in the food. Sometimes you gotta put a little sugar with the medicine. And this is a cool vehicle to have fun, but also to think, too.

[Interviewer/Host]

Yeah, man. I think part of what helps the people think in this story is who the storytellers are. I mean, you're amazing. You have fans all over the world because of that. But you have to admit, man, your cast was phenomenal in this film. Let's talk a little bit about Jodie Turner Smith. People fell in love with her in Queen and Slim. She's back again in this film. What was also amazing is seeing a woman, and not just a woman, but a black woman, assuming a high position not just in the film, but in the story as well. Like, there were some beautiful scenes where it wasn't like, oh, you know, the guy's gotta help her. It's like, no, no, no. She's a soldier. She's here to fight. She's doing her thing. That felt like an interesting way to tell the story in a way that we haven't really seen growing up as, you know, like, when we watch movies as action, like, let's be honest, it was like, Rambo helps the damsel in distress all the time. And then here was like, no, everybody. Here's a soldier. Everybody's fighting.

[Guest or Supporting Speaker]

Yeah.

And those are one of the liberties that we did take. You know, first black female commander, you know what I'm saying? In the Navy. In the Navy seals was something that we definitely made a choice with. It was a scene in there where, you know, where a gun jammed. You know, well, okay, sorry, spoiler alerts. But there was a moment in there where John goes to, like, you know, try to rescue and save, you know, Greer. And by the time I get there, it's already neutralized and handled. You know what I mean? So it was. Yeah, man, it was really good to see that, man. And I think, you know, what representation does is so important, and we want that to inspire so many young girls out there that maybe thought that that wasn't possible or not for them, that they can go ahead and try to get that too.

[Interviewer/Host]

Michael B. Jordan is now a movie maker, a movie producer. You've got a mega deal with Amazon. You're gonna be creating content. You're helping others create content. You are a superstar in every single right. I mean, 2020 saw you voted as People magazine's Sexiest Man Alive. Where does life go from here for Michael B. Jordan? Like, what are your goals now? What do you want to do? I mean, it's downhill from Here, let's be honest. Where do you go?

[Guest or Supporting Speaker]

It's all downhill from here. I mean, why not try my hand at directing? I think that's kind of like the next thing for me. The next challenge, man, is to get behind the camera and tell a story. And, like, Creed III is the perfect vehicle for myself because, you know, the third time I'll be playing any character, you know, knowing the world, you know, knowing how to, you know, to film the boxing elements of it all following such a strong system, you know, by Sly, that he created with the Rocky films and that the Creed continued to do, you know, I guess as an actor growing up in the industry, you get. You're taking direction, direction, you know, all the time from every set that you work on. And when you get to a point in age where you're like, well, I kind of want the camera set up here, and I want to, you know, I want to tell it through this lens. And I. You know, and I think it's the perfect time for me right now, so I'm really excited about jumping off the deep end and getting behind the camera and telling the story so well.

[Interviewer/Host]

If you don't do that, you can go and shoot people. I think you're very good at that now. You can go and, like, fight people. I think you're extremely good at that now. And if that fails, I mean, you realize you could probably be a boxer with all the training you've done now. You do realize that, right? I could be okay.

[Guest or Supporting Speaker]

I mean, I got so much respect for those boxers, man. It's insane. But.

[Interviewer/Host]

Yeah, but you've trained. I'm just saying. I'm just saying, like Michael B. I will put my money on you in a fight.

[Guest or Supporting Speaker]

You know what? I appreciate that. That means a lot, because I will put my money on me in a fight, too.

[Interviewer/Host]

Yeah, I thought you were gonna say you would put your money on me in a fight, but then you just put it back. No, I mean. I mean, it's fine. No, no, it's cool. It's cool. Us. You can try and make me feel better, Michael, but at the end of the day, we know the truth, man. We know where your money is. Michael B. Jordan. I appreciate you, man. I appreciate your time. I appreciate everything you do. Look after yourself, my dude.

[Guest or Supporting Speaker]

Man, keep up the good work, man. I'm so proud of you, brother. Yo, you already know. I'm really proud of everything that you're doing. So this is.

This is fun.

[Interviewer/Host]

Much love, man. All right, Mike. Take care. Explore more shows from the Daily Show Podcast Universe by searching the Daily show wherever wherever you get your podcasts. Watch the Daily show weeknights at 1110 Central on Comedy Central and stream full episodes anytime on Paramount. Plus,

[Guest or Supporting Speaker]

this has been a Comedy Central

podcast

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