Over Your Dead Body

Summary

Podcast Summary: The Lonely Island & Seth Meyers Podcast
Episode: Over Your Dead Body (April 22, 2026)

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Episode Overview

This episode features a deep-dive conversation primarily between Yorma Taccone and Akiva “Keith” Schaffer of The Lonely Island, focusing on the process, stories, and creative decisions behind Yorma’s new film "Over Your Dead Body," which hits theaters April 24. The hosts explore the film’s development from remake origins to unique casting tales, production challenges, and the nuances of comedy-action-horror. Along the way, they share candid and humorous behind-the-scenes moments, including exclusive voice notes from stars Jason Segel and Samara Weaving, and reflect on the camaraderie and vulnerability of filmmaking.

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Key Discussion Points & Insights

1. Flyover-Style Pod: The Kickoff (01:00–02:00)

• Yorma and Keith jokingly banter about the absence of “Hollywood elites” Andy Samberg and Seth Meyers, setting a playful, irreverent tone.
• Both emphasize their "heartland" roots, poking fun at coastal elitism.

2. Theatrical Releases & The Moviegoing Experience (02:15–09:40)

• The importance of seeing "Over Your Dead Body" in theaters, particularly on opening weekend, is stressed.
  • Yorma: “It’s actually genuinely very important because opening weekend…really matters” (02:15).
• Comparison of theater types and the effect on viewing experience: old-school theaters with low slope ("rake") foster more communal laughter; luxurious recliners hamper audience connection.
  • Keith: “Even when it killed and everyone laughed, it didn’t feel like the other theater…just because of the way it's set up” (09:03).
• Reflections on LA's landmark cinemas and the distinct energy they bring.

3. Remake Origins & The Art of Adaptation (17:34–24:39)

• Genesis of "Over Your Dead Body":
  • Producer Guy Danella, inspired by director Tommy Wirkola’s love of "MacGruber," "Popstar," and "Hot Rod," approached Yorma about remaking a Norwegian film ("The Trip").
  • Hesitation around remakes was won over by the strength of the script and its unique narrative structure.
  • Yorma: “I couldn't get the movie out of my head just because…it doesn't move how you think...which I really appreciated” (18:56).
• Major differences from the original:
  • The U.S. version aims for more sympathetic characters.
  • Added roles (notably Juliette Lewis), and a tonal shift to blend dark comedy with true emotional arcs.

4. Filming Abroad: Finland as Upstate New York (23:04–28:11)

• Shot in Finland for budget and scenery reasons; Finland’s 17,000 lakes offered perfect “upstate New York” cabin locations.
• Unique production trivia: Finnish cabins often lack running water or bathrooms; makeshift soundstages included a boat warehouse and potential pickleball stadium.
• On location bonding: The “destination wedding” effect, where cast and crew grew close while stranded together abroad, leading to more in-depth rehearsals and even home-cooked gatherings.

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5. Casting: Jason Segel, Samara Weaving & On-Set Stories

Jason Segel (31:49–38:06; 60:26–62:28)

• Voicemail segment: Jason recounts Yorma playfully dropping (prop) wood on his head despite mock protests, leading to much laughter from the team.
  • Jason Segel: “I whispered, I don't want that. And then Yorma said, okay…quickly whispered, I'm gonna do it anyway.” (60:47)
• Method acting: Segel recorded the entire script from all perspectives and rehearsed by listening during dawn walks in Finland.

Samara Weaving (33:55–38:06; 62:59–64:53)

• Praised for comedic chops, commitment, and meticulous script work (pasting full scripts on the walls).
• Delightfully nerdy: Obsessed with "Prince of Persia" and video games; known for her “Homeland”-style visual script mapping.
• Voicemail: Recalls Segel’s audible culinary joy in thin-walled trailers, highlighting both cast chemistry and on-set quirks.
  • Samara Weaving: “[Jason] ramped it up even more [after I confronted him about his food noises].” (64:22)
• The cast’s dynamic likened to summer camp due to the remote Finland shoot.

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6. Comedy, Gore & Genre-Bending (47:10–49:19)

• Debate on genre labels—dark comedy, horror, thriller—with both hosts leaning toward "thriller-comedy" rather than pure horror.
  • Yorma intended for gore to remain palatable via comedic context (“My mom and mother-in-law have laughed at some of the most horrendous parts of this movie.” 48:22).
• Emphasis on maintaining emotional reality even as action escalates to cartoonish heights; some jokes (“I’m on a boat” reference) were cut for breaking the film’s reality.

7. Collaborative Direction & Happy Accidents (39:13–44:59)

• Open admission of on-set uncertainty (“I don’t necessarily have immediate direction...I need to process this in my brain for a second.” – Keith, 39:39).
• The value of welcoming ideas from cast, crew, and even surprise outsiders—e.g., a production designer’s suggestion improving a big gag in "Naked Gun."
  • Yorma: “Listen to the good ideas. None of this should be about your ego.” (41:35)

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8. Action Comedy Shoot Logistics (51:58–55:59)

• Partnership with seasoned action teams (87 North) allowed comedy and action to fuse seamlessly.
• Filming stunts and effects in freezing Finnish waters, with practical concerns (e.g., dry suits and actor safety).
• Makeup, continuity, and shooting logistics of physically transformative roles; shooting as much as possible in chronological order for swelling, wounds, etc.

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Notable Quotes & Memorable Moments

• On cinema community:
  “Having them right next to each other and with not a big, you know, slope in front of you…creates a sense of community between the audience.” (06:16, Keith)
• On the challenges of comedy/horror:
  “One of the things I had to watch was…always maintaining the reality, regardless of how crazy the reality gets.” (49:19, Yorma)
• On Jason Segel’s technique:
  “He would record the whole script, doing everyone’s parts…walking around [alone] in the Finnish woods.” (36:17, Yorma)
• On indie comedies:
  “All things [Hot Rod, MacGruber, Popstar] we were incredibly proud of…So just super…My plea is just for Yorm to feel. He’s been through a lot.” (59:31, Keith)

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Cast Voicemails: Fun Revelations

• Jason Segel (60:47): Comical account of trusting/director-actor relationship: allowing (fake) wood to be dropped on him, to Samara’s horror.
• Samara Weaving (63:00): Playful retelling of sharing a paper-thin trailer wall and overhearing Jason’s rapturous mealtimes: “I can fully hear you...”

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Industry Reflections & Personal Stakes

• The push for audiences to support original comedies in theaters, with a candid acknowledgment of how box office affects emotional well-being and the ability to make more films.
  • Yorma: “Don’t make me sad opening weekend.” (58:40)
• Keith’s pep talk highlights the unpredictability of cinematic reception and the lasting pride in making something good, regardless of immediate commercial success.

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Timestamps for Key Segments

• Flyover Pod & Opening Banter: 01:00–02:00
• Theatrical Experience & Popstar Screening: 02:15–09:40
• Film’s Origin Story & Remake Decisions: 17:34–24:39
• Finland Shooting Adventures: 23:04–28:11
• Segel & Weaving On-Set Voice Notes: 60:26–64:53
• Comedy vs. Horror Genre Debate: 47:10–49:19
• Direction, Collaboration, and New Gags: 39:13–44:59

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Final Thoughts

"Over Your Dead Body" exemplifies how creative camaraderie, open collaboration, and a willingness to push genre boundaries produce memorable, laughter-filled film experiences. This episode, full of sincere encouragement, filmmaking candor, and behind-the-scenes hilarity, not only spotlights the Lonely Island’s enduring creative spirit—but also offers aspiring filmmakers and fans a masterclass in balancing humor, action, and emotional stakes.

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TL;DR: Go see "Over Your Dead Body" in theaters—not just for laughs, but to support the kind of daring, heartfelt comedy that needs and deserves a crowd. And don’t let Yorm get sad—he’s already on all the pills.

Transcript

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[Yorma (Director/Filmmaker)]

It's the Lonely island and Seth Meyers podcast. Keev, I'm so glad to finally get the riffraff off of this pod. You know what I mean? Like the pretty boy famous faces are finally fucking gone.

[Keith (Interviewer/Co-host)]

Now we can get really real.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Welcome to the sho Lonely Island Seth Meyers podcast with just Yorm and me. Where we get real.

[Yorma (Director/Filmmaker)]

Yeah. Taking it to the streets.

[Keith (Interviewer/Co-host)]

Yeah. Not those weird elites. Andy and Seth are such Hollywood elites. Not you and me, man.

[Yorma (Director/Filmmaker)]

This is for flyover country. But we don't call it that.

[Keith (Interviewer/Co-host)]

Yeah, no, me and you are flyover country. Me and you are.

[Yorma (Director/Filmmaker)]

We're the heartland.

[Keith (Interviewer/Co-host)]

Ah, the heartland of the pod. Finally.

[Yorma (Director/Filmmaker)]

Finally. Not those coastal elite shitheads.

[Keith (Interviewer/Co-host)]

Those fucking bastards. They assigned their souls to the devil so they could get famous. Not you and me, man. We're pure.

[Yorma (Director/Filmmaker)]

No, we're director raised on corn husks and alfalfa. The two of us.

[Keith (Interviewer/Co-host)]

That's right. Now, Yoram.

[Yorma (Director/Filmmaker)]

Yes, Keith.

[Keith (Interviewer/Co-host)]

Before we get into. We're here to talk about your movie. Yeah, and anybody who clicked in knows that because it's the title. But you did it for me with Naked Gun. So this is, you know, the week it's coming out.

[Yorma (Director/Filmmaker)]

Tit for tat.

[Keith (Interviewer/Co-host)]

It's coming out this Friday in theaters.

[Yorma (Director/Filmmaker)]

It is? Yeah. April 24th. Go, go get tickets, guys. It's actually genuinely very important because opening weekend. Right. Really matters. Also, this movie is so fun to see in theaters of history.

[Keith (Interviewer/Co-host)]

Okay, we're going to get to that. But listen, listen. Does it come out internationally?

[Yorma (Director/Filmmaker)]

I don't have any idea.

[Keith (Interviewer/Co-host)]

I don't think you should know that. We should find out. You think this is just domestic this weekend?

[Yorma (Director/Filmmaker)]

I think it is. I think it is just domestic. But it's going to go as wide as possible. So it will be like around. It's going to be in like at least 1500, possibly 2000 theaters.

[Keith (Interviewer/Co-host)]

So the pot will get back to. We were in the middle of kind of the Jon Hamm episode. We had done shy Ronnie 2 Ronnie and Clyde. Then we wanted to hear from Jon Hamm. We wanted to talk about some of the other shorts or sketches rather. So we'll get back to that. And this week I did the pop star screening and I was the only one because Andy is still shooting his movie and you had dates on either side of it, you know, in on the east coast and New Orleans and stuff.

[Yorma (Director/Filmmaker)]

So you couldn't super bummed not to go. How was it? Was it.

[Keith (Interviewer/Co-host)]

But it was wonderful. So thank you. There was a lot, I mean when someone yelled Quaid army, almost the entire place did it. So clearly it was a bunch of people that will hear this.

[Yorma (Director/Filmmaker)]

Dude. I've been going around the country now and it's been every screening and it's like I wouldn't say it was everyone though. It was like maybe 40%. And so for the or elite, maybe half. But like that makes it so you have to then be like, hey, for those of you who don't know, we have a podcast.

[Keith (Interviewer/Co-host)]

Well so this was moderated by one of the two Daniels, Daniel Scheinert. He's just the best for doing it. For people that don't know, the Daniels did like everything everywhere all at once. And the turn down for what video?

[Yorma (Director/Filmmaker)]

They're pretty. I like that. Those are your two touchstones.

[Keith (Interviewer/Co-host)]

Those are my two.

[Yorma (Director/Filmmaker)]

And the turn down for what?

[Keith (Interviewer/Co-host)]

Yeah, I mean those are. They did a lot of amazing things, but those are two of the standouts in my mind. You know, they did their farting corpse movie as. As everyone calls it, of course, Swiss Army Man.

[Yorma (Director/Filmmaker)]

Swiss Army Man's fantastic.

[Keith (Interviewer/Co-host)]

Anyways, but he moderated which was very sweet and I would say it was 60% of the audience of what fellow 50. And then he was starting to try to explain Quaid army and I was like just don't bother say and the ones enough of this People now. But it was so fun. And it was at this theater in LA called the Egyptian Theater that Netflix bought a few years ago and renovated for like $70 million. And it's a single screen, like, old Hollywood Theater on Hollywood Boulevard that I had never been in before.

[Yorma (Director/Filmmaker)]

They're definitely gonna make their money back on that one for sure. I'm sure they've made $70 million now.

[Keith (Interviewer/Co-host)]

Yeah. But then there's a company or whatever you'd want to call it called American Cinema Tech that does the programming for the Aero Theater in Santa Monica and the Los, which are both very small theaters kind of on either ends of parts of la. And then this is kind of right in the middle, and they do amazing. Like, I'm just so glad that things like it still exist, because it's kind of like New Beverly and the Vista to the Tarantino ones, where every day you can check and all of a sudden it's like, oh, they're playing the Fugitive today or some old Humphrey Bogart movie or whatever.

[Yorma (Director/Filmmaker)]

Oh, dude. I mean, you came to our LA premiere at Vidiots for.

[Keith (Interviewer/Co-host)]

Oh, yeah, that's another one.

[Yorma (Director/Filmmaker)]

Vidiots.

[Keith (Interviewer/Co-host)]

That does amazing. They had just played Beaches.

[Yorma (Director/Filmmaker)]

What is the slope like? What is the rake like at the Egyptian? Because it matters now, having gone to so many different theaters around the country for over your Dead Body coming out this Friday, April 24, like, the rake matters so much. It's almost like when Brian was telling us about low ceilings and how it really affects performance for when we were doing a live show. But, like, it's the same thing with theaters where, like, a low rake is so nice for theaters. It just, like, laughs. Like, it feels so punchy.

[Keith (Interviewer/Co-host)]

Yeah, you're talking about old school theaters.

[Yorma (Director/Filmmaker)]

Oh, my God, they're the best.

[Keith (Interviewer/Co-host)]

The slope you were just barely seeing over the head in front of you. You if at all. And if a tall person sat in front of you, you were screwed. Yeah, but what it did do is by having normal seats, not recliners and stuff like that, and having them right next to each other and with not a big, you know, slope in front of you. Rake. What's another word for it?

[Yorma (Director/Filmmaker)]

I don't know.

[Keith (Interviewer/Co-host)]

The grade. Grade. Yeah, exactly. Like, it creates a sense of community between the audience. Way more. Like.

[Yorma (Director/Filmmaker)]

Is that what the Egyptian is like, too?

[Keith (Interviewer/Co-host)]

Yeah, you hear your neighbors. So the Egyptian was somewhere right in between. It was actually really good because it wasn't like the theaters we grew up with, where it's almost flat, where you really could get screwed with. Somebody tall in front of you. Especially when we were kids.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

So it was a little steeper than that.

[Yorma (Director/Filmmaker)]

But I think that's what you want. You want like a little bit so you're right over the person's head. But it still has that sense of community because you really feel it. Like movies, like comedies.

[Keith (Interviewer/Co-host)]

Yeah. With movies that are asking for an audience to interact with it, you know, laughing or being scared or whatever. Yeah. It makes a huge difference. The weekend Naked Gun came out and I went around to those theaters, it was not a bummer. But it was interesting going to the ones that were the most luxurious for the audience where everyone gets their own big recliner. Because you're in an auditorium that should fit 200 people and instead it's like 75 chairs. And you really. Even when it killed and everyone laughed, it didn't feel like the other theater down, just even in the same.

[Yorma (Director/Filmmaker)]

It's because the sound is going in a straight line. So if it's going right over people's heads, you're actually not hearing the person behind you laughing. And it really matters. It's so like, it's so fun to see like a comedy or like, especially like with a movie like ours, like traveling around the country or pop Star or anything that we've made. Like, it's so fun to see the reactions. Like it like south by was amazing. Like, you know, we won the audience award with that. But like the one in Chicago was so fantastic. I just went to one in Orlando that was incredible. That was recliners, but it was more of that kind of rake sort of thing. So it was almost like being in someone's living room, honestly. And that was. Oh God, I'm really bummed I missed the pop star one.

[Keith (Interviewer/Co-host)]

You know, it was, you know, it was interesting just talking, nerding out about theaters for one more second. So the night, the Saturday night or Friday night, I can't remember when I did the little going around la, looking at different theaters. I went to the Universal City Walk and there was a screening that was like, let's say an 8 o' clock and an 8:30. Right. And so I kind of peeked my head into it. I introed one and then I peeked my head into the other. And they were such a different experience. Like the people that were in one theater was like a 300 seat or 250. They were both sold out, but it felt sold out, do you know what I mean? Like, it felt like a giant energy because it was a lower rake and not the huge Seats. They're still big, padded seats, but not the ones that are, like, creating all this space around you. And the screen was huge. And it was properly masked, you know, like, meaning the movie, you know, is 2,40. And it was black all around it, so it felt really clean. Not like when you go into certain theaters and it's almost like when you're watching TV and you can see the black, like, gray letter boxing around it because they.

[Yorma (Director/Filmmaker)]

You can still see projecting the. Like, the map. You can.

[Keith (Interviewer/Co-host)]

Yeah, like. Or you can just see the part of the screen that's not being used, essentially. This was not it. It was perfect, and it was huge, and it was loud, and it was like my dream way someone sees the movie. And then we had a bunch of friends, their whole family had gone and seen it in the neighboring theater, like, still the universe. They're in this amc, the same complex. So they would think they're having the exact same experience. But theirs was the other way that I was talking about with the. Like, the recliners and the bad screen and the sound didn't look as good. And it's interesting cause it's a different experience. But all those people would leave saying, we saw it at the same theater the same night, but they didn't really even have the same experience.

[Sponsor/Ad Voice]

Yeah.

[Yorma (Director/Filmmaker)]

Having said that, the movie comes out Friday, and you should see it regardless of what the theater experience is like. Because here's the thing. It's not the same as streaming for any.

[Keith (Interviewer/Co-host)]

Yeah, you're not wrong. All right, but wait one last thing, and then we'll really get into it. This is a good segue, actually. So I'm watching Pop Star. It looked great, by the way, and sounded great because this theater's been redone, so it was playing off DC beats. The first time I saw with an audience since the premiere. It was a real treat. I wish you guys had been there. And it gets towards the end, and it's the scene where Andy has put on prosthetics and has gone to visit you at a nightclub. And people have been making fun of him. Sarah Sermon said he kind of looks like a Matthew Modine if he got, like, stung by bees or something, et cetera, Nazi propaganda. And then it gets to your part, and it turns into Jason Siegel.

[Yorma (Director/Filmmaker)]

This is what you want to start with?

[Keith (Interviewer/Co-host)]

Well, this is the transition. This is a seg. It's called the Segway. So you say you look. Kind of look like Jason Siegel right now. And he goes, oh, my God. Yeah, like Sarah Marshall, like, from Forgetting Sarah Marshall. And you're like, oh, my God, I love that movie. I love that movie too. And then he's kind of like, hey. And he starts doing an impression like, Sarah Marshall, I'm gonna forget her, kind of. And he kind of does these kind of dopey little looks that actually do feel pretty seagull esque in hindsight. Now, having just seen Siegel a lot in your movie, and we worried about it after we did. We, like, God, it's really funny. We're saying we like him and we like his movie. We do like Siegel in real life. We didn't know him that well, but we had all interacted with him at various times. And Judd Apatow, who produced Popstar, of course produced Forgetting Sarah Marshall and made Freaks and Geeks.

[Yorma (Director/Filmmaker)]

So he's worked with him since he was a child.

[Keith (Interviewer/Co-host)]

Yes. He had discovered Jason and worked with him since he was a child. Exactly. Since he was a teenager. Yeah. So we really just were like, judd, can we. Is what's going on here? Should we take this out? And he's like, no, I think Jason will be fine with this. And we were like, do we. Should we, like, show it to him? Like, what do we do? We don't want to make him mad for no reason.

[Yorma (Director/Filmmaker)]

It's not. It's not even our style of joke, really.

[Keith (Interviewer/Co-host)]

No. We don't like making fun of. We don't like making fun of people at anyone. Yeah. And he just kind of said, nah, just roll with it.

[Yorma (Director/Filmmaker)]

It's fine.

[Keith (Interviewer/Co-host)]

And we just kind of went, okay. But it made us uncomfortable. Exactly. For that reason, because we're not usually.

[Yorma (Director/Filmmaker)]

It still makes me uncomfortable. I mean, obvious. So now, having worked with you, it's a little bit like your Pam joke from.

[Keith (Interviewer/Co-host)]

I think I came from my hit song.

[Yorma (Director/Filmmaker)]

Yeah, yeah, exactly. Yeah. Just years later.

[Keith (Interviewer/Co-host)]

So when I played that for her, she was like, that's why I wanted to make Nick again, because I love that joke so much.

[Yorma (Director/Filmmaker)]

Well, to answer your question, me and Jason have never talked about it. Not once.

[Keith (Interviewer/Co-host)]

Oh, hell yeah. Let's get a voice note right now. This is the time he sent a voice note.

[Yorma (Director/Filmmaker)]

But it's not about that.

[Keith (Interviewer/Co-host)]

But let's.

[Yorma (Director/Filmmaker)]

I. If I'm being honest, like, what I thought was gonna happen was because I was so geeked that he was gonna do the movie, it was so such a perfect role for him. He's sympathetic, but, like, obviously he can go dark. He's a great actor. He can also do, like, comedy, obviously, incredibly well. Da, da, da. Like, for all Those reasons. I was like, fuck, this guy's perfect. And I was like, he's gonna say yes. And then right before the movie is about to shoot, he's gonna be like, fuck you. He looked like me. He didn't look like me. I'm bailing on your shit. Got you back. Bing bong.

[Keith (Interviewer/Co-host)]

That have been a great prank. But you know what? It's not too late for the second half of that prank. We don't know.

[Yorma (Director/Filmmaker)]

Yeah, he's probably doing some talk shows this week.

[Keith (Interviewer/Co-host)]

Maybe he'll be like, you know what? Maybe he'll show up in prosthetics that look like you.

[Yorma (Director/Filmmaker)]

Yeah, well, here's the thing. He's in a lot of prosthetic makeup in this movie. And I will say, like, he looks. He gets so fucked up. He wears his arc of his character on his face and body in this movie. And so there's a ton of, like, crazy special effects makeup. And by the end, he's pretty fucked up.

[Keith (Interviewer/Co-host)]

Up looking. This is a spoiler free interview today.

[Yorma (Director/Filmmaker)]

Yeah. Yeah, but you can see it from. From the trailer. He gets. He gets.

[Keith (Interviewer/Co-host)]

He gets a bit.

[Yorma (Director/Filmmaker)]

He gets pretty torn.

[Keith (Interviewer/Co-host)]

His face is a bit swollen.

[Yorma (Director/Filmmaker)]

Yeah, we'll try to do no spoilers. But it is.

[Keith (Interviewer/Co-host)]

There's some other things.

[Yorma (Director/Filmmaker)]

Well, no, what's good about this movie, though, is that there's so many twists and turns. It's very hard to, like, ruin everything because this movie goes in way.

[Keith (Interviewer/Co-host)]

Let me say the nice things.

[Yorma (Director/Filmmaker)]

Oh, I'm sorry. I'm sorry. Sorry.

[Keith (Interviewer/Co-host)]

Yeah, you go, ah, there's so many twists and turns, like, and it's really nice.

[Yorma (Director/Filmmaker)]

What if you don't like twists and turns, though? You know what I mean? Like, then I'm just.

[Keith (Interviewer/Co-host)]

What if you're more like someone that wants to be on the autobahn and just kind of. You like going fast but straight.

[Yorma (Director/Filmmaker)]

You like mundane. The mundane.

[Keith (Interviewer/Co-host)]

No, no. Fast. It's fucking dangerous. But it's just a straightaway. I want my story points to be.

[Yorma (Director/Filmmaker)]

To be exactly where I think they should go. There's a McDonald's. I've been to McDonald's before.

[Keith (Interviewer/Co-host)]

Yeah. I'm trying to think of a good movie that just goes from A to B. That's it. B's the end. A's the beginning. It's a straight line.

[Yorma (Director/Filmmaker)]

What's a good road trip movie? You know? I don't know.

[Keith (Interviewer/Co-host)]

Yeah, exactly. Well, now they still always put twists and turns. These fuckers, these Hollywood elites, not us. I don't like the twists and turns.

[Yorma (Director/Filmmaker)]

That's why yeah, we're corn fed.

[Sponsor/Ad Voice]

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[Narrator/Advertiser]

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[Keith (Interviewer/Co-host)]

Tomorrow morning is knocking. Stock your fridge now. How about a creamy mocha frappuccino drink? Or a sweet vanilla smooth caramel maybe? Or white chocolate mocha?

[Narrator/Advertiser]

Whichever you choose, delicious coffee awaits.

[Keith (Interviewer/Co-host)]

Find Starbucks Frappuccino drinks wherever you buy your groceries. All right, so let's go back to the beginning here, Yoram. We'll decide, you know, how detailed we want to get. But basically, how were you approached about this movie in the very, like the very, very, very first time it came? Did you have a general meeting? What did you do?

[Yorma (Director/Filmmaker)]

Will appreciate this because this came about because Tommy, I'm gonna say his last name is Wirkola because I want to, like, really put some Norwegian stank on it, and I hope that's how you actually say it. But Tommy, who did Violent Night, he's done a whole bunch of other movies. He was on set with my producer for this movie, Guy Donella, and apparently every day he was quoting MacGruber and pop star and Hot Rod, like, over and over. And guy like, who is, is a real go getter of a producer. Like, I've never met anybody. Like, this dude was like, let' call that guy. Let's hit him up. And so he called me, we had like an hour long conversation, but he, like, out of the blue, like, hit me up. We like vibed out for like an hour. The Venn diagram of what Tommy does and what I do is similar in that, like, Tommy's like an action comedy guy and I'm comedy action. So, like, there's a bit of crossover there. So I was like, yeah, I love Tommy stuff and da, da, da. And so then a week later, Guy called me up and was like, hey, I don't know if you'd ever, would you ever want to do a remake? And I was like, no. Like, absolutely not. Like, I have no interest in. And he was like, well, just, just, just watch this movie that Tommy did. He's a couple years old. It was Like, I think right before the pandemic, which is even crazier to, like, do a recent remake. But he was like, it's on Netflix. It's called the Trip. I watched it and then I. He was like. And just read. Read the script, and I couldn't get it out of my head. The script is by Nick and Brian of Britannic, the sketch comedy troupe. They're really fucking funny dudes. And I couldn't get the movie out of my head just because of kind of what I was talking about with the. It doesn't move how you think the movie's gonna move, which I really appreciated. So the structure of it was really exciting for me.

[Keith (Interviewer/Co-host)]

How different. These are genuine questions that I've never asked. How different is the script that you read from the original finished movie?

[Yorma (Director/Filmmaker)]

It is very much the same movie, which was another part of it that I was like, oh, man.

[Keith (Interviewer/Co-host)]

Even the comedy's the same.

[Yorma (Director/Filmmaker)]

The comedy. Okay. This is the major difference between the two films. And it's actually, I think, really fun to watch. The difference. Obviously, I want everyone to go see ours first because it's coming out this weekend, but.

[Keith (Interviewer/Co-host)]

Yeah, yeah, yeah.

[Yorma (Director/Filmmaker)]

But if you turn on Netflix, there's

[Keith (Interviewer/Co-host)]

this cartoon actually that you could watch. It's called Digman.

[Yorma (Director/Filmmaker)]

Oh, yeah, Digman. Yeah. Check that out.

[Keith (Interviewer/Co-host)]

Yeah, yeah.

[Yorma (Director/Filmmaker)]

Anything else? And I assume that they could get on his own. What's it on?

[Keith (Interviewer/Co-host)]

Prime? Prime and Paramount.

[Yorma (Director/Filmmaker)]

Yeah. Also, if you're on prime, check out last one. Laughing. Fucking great show. Anyway, but, like. But this is actually in the theaters, guys, so you can't see it streaming. So. But the major difference, though, between the two movies is, like, the original, the comedy is sort of coming out of a very dark place. Like, it's a very. It's a very emotionally dark movie, which is exactly what time we wanted it to be. I love the original, but it's also, like, that's not me. And it's not really Nick and Brian. And, like, so with. I wanted the characters to be more sympathetic than they are in the original. Like, the original. Like, they're gonna murder each other. And it goes hard in this version for sure. But I really wanted to. I don't wanna ruin anything but their relationship and the arc of their relationship in this version. So that was very instrumental in hiring Jason and Sam. The chemistry between the two of them. There's a big shift in this movie in that the Juliette Lewis character is a major difference of the addition of her. And it really creates a sort of symmetry with the relationship stories in this movie, which I think is very different than the original. So it's both very much the original structure.

[Keith (Interviewer/Co-host)]

Again, nobody has seen it but Tim Oliphant and Julia Lewis. Julia Lewis are a different couple in the movie.

[Yorma (Director/Filmmaker)]

Yeah, yeah. So that's a major difference. And then I think that, like, the other thing is just I'm pushing the comedy weirdly, like, in making a remake, I didn't want to make the American. Like, this is a softer version, so it's a more violent movie and I think actually weirdly gorier. But it's all. I'm all pushing everything into a more comedic kind of realm. While this movie was like, a trick of, like, keeping all of these different tones alive and then stitching it all together with the comedy and, like, creating a cohesive tone, which I was like. That was like, the challenge of the movie. That's why I wanted to do it. I'm very proud that I think that we actually achieved that. And honestly, like, one of the big things was like, can I make something that I think is as good as the original? And I think we achieved that. So that was really the reason why

[Keith (Interviewer/Co-host)]

I wanted to do it. I never watched the original because I'm. I'm on Team Jorma. You know what I mean?

[Yorma (Director/Filmmaker)]

Oh, yeah. Thanks. I mean, you should. You should. It would be fun to watch the original.

[Keith (Interviewer/Co-host)]

But what if I like it more, though? That would throw me. That would really fuck me up.

[Narrator/Advertiser]

Sure.

[Keith (Interviewer/Co-host)]

And then the funny part to me is that. So it's a Finnish movie.

[Yorma (Director/Filmmaker)]

Yes.

[Keith (Interviewer/Co-host)]

Tommy is from Finland.

[Yorma (Director/Filmmaker)]

No, no, no, Tommy's Norwegian.

[Keith (Interviewer/Co-host)]

Oh, Norwegian. He's Norwegian.

[Yorma (Director/Filmmaker)]

We shot it in Finland.

[Keith (Interviewer/Co-host)]

Yes, well, your movie. No, no, no. But what about his? Is his movie Norwegian, then?

[Yorma (Director/Filmmaker)]

His is. Yeah, it's shot in Norway. Norwegian actors in Norwegian.

[Keith (Interviewer/Co-host)]

Yes, got it. It is a full. A full sentimental value.

[Yorma (Director/Filmmaker)]

Euro. Yes. European production.

[Keith (Interviewer/Co-host)]

Full sentimental value. Just say that. That's clear. Okay, so then, so. And it's also about family drama. So they're very. They're kind of like sister movies. Anyways. The Finland part of it.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Then where does Finland come into the picture at all?

[Yorma (Director/Filmmaker)]

So one of the production companies, xyz, had done a movie with Karen Gillan, who's a producer on this film, executive producer on this film. And the way Nick, one of the writers, is married to Karen, they were shooting a movie for XYZ in Finland called Duel. And then it came about that the script was up. They had rights to the script, and they asked Nick and his partner Brian to write the script. So they had a connection to Finland already. They loved shooting in Finland. And then when it came time to shoot this movie, my options. Cause it's a cabin on a lake. There are, I think, 17,000 lakes in Finland. And when it came time to ship, my two options, for budgetary reasons were Winnipeg and Finland.

[Keith (Interviewer/Co-host)]

Well, wait, wait. We should say the movie takes place in upstate New York.

[Yorma (Director/Filmmaker)]

Yes.

[Keith (Interviewer/Co-host)]

The setting is like. It starts like they're. Where's their house supposed to be when they're at home? Where? Neighborhood in New York. Where are they supposed to live?

[Yorma (Director/Filmmaker)]

Oh, oh, oh. I mean, like, I was always thinking, it was. It was like Astoria in Queensland.

[Keith (Interviewer/Co-host)]

Right. So they live somewhere in the city, and then they're driving up to a cabin in upstate New York somewhere. And so it had to look like that.

[Yorma (Director/Filmmaker)]

Yeah, she's an actress. He's a sort of hacky director. She's, like, doing off Broadway stuff. And he's like, they're. It's about a couple who is on the outs in their relationship and has lost their way. And they both decide to kill each other, unbeknownst to each other.

[Keith (Interviewer/Co-host)]

Calling him hacky feels a little harsh because. Okay, yeah, he's doing commercials, and you do a lot of commercials.

[Yorma (Director/Filmmaker)]

He's. Well, okay, not hacky. He's just. His life is not where he wanted to go.

[Keith (Interviewer/Co-host)]

Directorial, but directing commercials is, you know, for some people, that could be the whole dream, and that would still be hard to achieve.

[Yorma (Director/Filmmaker)]

For scene that I wrote that first scene, and it is verbatim, I could

[Keith (Interviewer/Co-host)]

tell it felt like you on, like a Pepsi ad being told to put the Pepsi on screen.

[Yorma (Director/Filmmaker)]

Pepsi ad was fine. Whoa, whoa, whoa. Calling them out. We'll bleep them.

[Keith (Interviewer/Co-host)]

All right, so Finland looks a lot like upstate New York.

[Yorma (Director/Filmmaker)]

Oh, and by the way, when I was driving from Helsinki to where we shot, second biggest city in. In Finland called Tampere, which is like 200,000 people. Perfect. Like, perfect location. Like, we found this amazing cabin. It was so awesome. Cabins in Finland, bizarrely, don't have running water, a lot of them. Or bathrooms, which I did not understand at all.

[Keith (Interviewer/Co-host)]

So where do people. Is it like outhouses?

[Yorma (Director/Filmmaker)]

I don't know. There was no outhouse built into this cabin either. So I have no idea where.

[Keith (Interviewer/Co-host)]

So they're like camping, indoor camping. And then how do you get water? Is there like a pump thing outside?

[Yorma (Director/Filmmaker)]

I don't. I don't know. They had a sink. I never really even tried it, but there was no bathroom in. In this cabin. We did, like, A build on stage. So, like, the interiors are all on stage there. But, yeah, it was. It was fantastic.

[Keith (Interviewer/Co-host)]

Are there proper soundstages in that little city in Finland?

[Yorma (Director/Filmmaker)]

No, dude. And we were the options that we had for sound stages. We ended up in, like, a big warehouse that they would use to store boats in the winter.

[Keith (Interviewer/Co-host)]

That makes more sense.

[Yorma (Director/Filmmaker)]

And so they. So there were some boats in our warehouse at one point. And then one of the options was we were going to be in a pickleball stadium. Like, that was one of the places that we were. Yeah, it was like a huge. But like a really nice pickle ball. Like, it's like.

[Keith (Interviewer/Co-host)]

Have you ever looked at any of the photos of when they shot Home Alone where they built the stage?

[Yorma (Director/Filmmaker)]

No.

[Keith (Interviewer/Co-host)]

No.

[Yorma (Director/Filmmaker)]

Where is that?

[Keith (Interviewer/Co-host)]

It's. It was in Chicago or out, you know, suburbs of Chicago. And it was a. I love that.

[Yorma (Director/Filmmaker)]

You know that.

[Keith (Interviewer/Co-host)]

I think it was a high school and it was in, like, the gymnasium and in the swimming pool and stuff.

[Yorma (Director/Filmmaker)]

Wow.

[Keith (Interviewer/Co-host)]

It just, like, was random.

[Yorma (Director/Filmmaker)]

That's, like, how much he was.

[Keith (Interviewer/Co-host)]

I don't want to. I'm sure someone will correct in the notes, but I just remember it.

[Yorma (Director/Filmmaker)]

John Hughes just wanted to, like, be right down the street from his house.

[Keith (Interviewer/Co-host)]

Well, yeah, because the whole movie's in Chicago. Right. And then so. And the house, the real house from the exteriors was.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

So they just had to find somewhere. But of course, there was no sound stages.

[Yorma (Director/Filmmaker)]

I wonder if they did it, like, right close to all their other locations.

[Keith (Interviewer/Co-host)]

Yeah. I don't know.

[Yorma (Director/Filmmaker)]

Everything was pretty close. It was like. It was very easy to get around. And. And honestly, like, everything in this movie just sort of fell into place in a really. And then, honestly, shooting in Finland was like. It became like Destination Wedding, like, where it's like. Because we're all just stuck together, like, it just super bonded the cast. I had way more time to, like, be able to, like, actually rehearse things, which was great. And then. And, like, we all spent Thanksgiving together. Yeah.

[Keith (Interviewer/Co-host)]

No one has. It is the. I always am pushing to shoot in LA so that we can sleep in your own bed and see your family and stuff. But then that is the benefit of. Of it's the same as when we did Hot Rod in Vancouver, when you force everybody to go somewhere when nobody knows anybody, then it's summer camp and everybody just totally gets to know each other in a really different way because nobody has anything to do. So on Saturday afternoons, like, well, I'll have a barbecue at my house or let's all go See a movie or dude on.

[Yorma (Director/Filmmaker)]

On a Sunday. I literally peeled, like, Tim off and was like, hey, let's make this little music video. So I made like a 30 second music video with him. That was great.

[Keith (Interviewer/Co-host)]

It's a perfect use of time.

[Yorma (Director/Filmmaker)]

Guys, Yorm here. Special video message. I know we don't usually do that. The movie is coming out Friday. I'm so excited about it. I really, really hope you guys see it in the theaters. It would make me so happy. It's such a fun movie to see in the theaters. I've been traveling around the country showing it to audiences. It's been raucous. We won the audience award in South By. I'm just gonna keep saying that. It is really such a good time. The cast is awes, so please see it. And IFC has sponsored our podcast this week. Thank you, ifc. So we're gonna show either the trailer or a scene or both. I'm not sure what we're showing, but take it away, please. Go see it this Friday, April 24th. Over your dead body. All right. Love you guys.

[Jason Siegel (Actor)]

Lisa and I, we're going up to the cabin this weekend. Did I tell you?

[Samara Weaving (Actress)]

No. How are things with you and Lisa?

[Yorma (Director/Filmmaker)]

Did you not crush the garlic? It needs to be sliced.

[Samara Weaving (Actress)]

Yes, Chef.

[Keith (Interviewer/Co-host)]

This could be a mess.

[Jason Siegel (Actor)]

Lisa's planning a big hike by herself up into the mountains.

[Samara Weaving (Actress)]

Okay.

[Jason Siegel (Actor)]

It's also supposed to snow up there, which feels even more dangerous.

[Yorma (Director/Filmmaker)]

You.

[Samara Weaving (Actress)]

I think you were going to cut me up and sink me to the

[Yorma (Director/Filmmaker)]

bottom of the lake. You wouldn't have felt anything.

[Samara Weaving (Actress)]

Oh, okay.

[Yorma (Director/Filmmaker)]

Because I am considerate.

[Samara Weaving (Actress)]

Yeah, you're real considerate. Should we renew our vows? Do it on the table? Like, Who are you?

[Keith (Interviewer/Co-host)]

I hate to overstep. It seems like you guys have some marital issues.

[Samara Weaving (Actress)]

I will give you $1 million. Shoot him in the face.

[Yorma (Director/Filmmaker)]

Oh, you.

[Keith (Interviewer/Co-host)]

When I party, I spot what I do label. In a relationship. You do anything. He was finding ways to keep things fresh.

[Yorma (Director/Filmmaker)]

That is honestly so fucked up.

[Commercial Announcer]

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[Samara Weaving (Actress)]

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[Keith (Interviewer/Co-host)]

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[Yorma (Director/Filmmaker)]

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[Keith (Interviewer/Co-host)]

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[Commercial Announcer]

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[Keith (Interviewer/Co-host)]

Prices and participation may vary. Prices may be higher for delivery. Let's talk about Cass if you've got some good voice notes. So seagull we. We, you know, fans of but we had kind of met him over the years and then like I met him

[Yorma (Director/Filmmaker)]

like playing piano at chateau Marmont. That was like like where I first saw and and said hello to him. He would never remember that. But yeah. And I was like that guy's really good at piano. Piano.

[Keith (Interviewer/Co-host)]

I went to if you recall, I went to the set of knocked up before shooting hot rod to just have seen a movie set since I had never seen a real studio movie set.

[Yorma (Director/Filmmaker)]

Just because you were like, like, like oh what's this gonna be like?

[Keith (Interviewer/Co-host)]

Yeah. Do we. We might have talked about it on the hot rod episode. So forgive me the quids and quades if that's paying respect for, you know, across the pond. Ques. Yeah, I got you for the quids and quades. Oh wait, let me just take a total detour. I texted you guys I saw a comment on the yout last time and I thought it was really worthwhile. So this is an episode isn't going to be complete if it doesn't mention alf and I know the other guys aren't here but I just would be remiss not to talk about.

[Yorma (Director/Filmmaker)]

Sure.

[Keith (Interviewer/Co-host)]

We were going off last week yorm about what if it turned out he wasn't an alien and that was just the dad's lie cuz he had an aardvark and brought it home. I mean everybody that's listening to this knows everything I'm saying already.

[Yorma (Director/Filmmaker)]

It's obviously, I mean I don't.

[Keith (Interviewer/Co-host)]

And he told him like this is an alien to his family but really it was just his bastard child who he wanted to raise now and have in the house and he made up all this stuff and then this was the comment. It was if in the finale of alf the mom has a kaiser sose style scene where she sees melmac plate in the cupboard and puts it all together, realizes it was all a lie that her husband had made up. She reads the back of the plate and goes oh God, Melmac wait. Maybe this thing wasn't an alien.

[Yorma (Director/Filmmaker)]

I like. I like thinking that the show alf wasn't weird enough.

[Keith (Interviewer/Co-host)]

Maybe my husband actually smoked. Maybe he smoked.

[Yorma (Director/Filmmaker)]

Dream of maybe.

[Keith (Interviewer/Co-host)]

Maybe he smoked and an aardvark. Maybe that's more realistic and brought home.

[Yorma (Director/Filmmaker)]

Anyways, the 80s was a better decade. Maybe it was possible.

[Keith (Interviewer/Co-host)]

Make sure you beep What I said, of course. As is. As we do. All right. That was a good little break. It felt important. Yeah. All right. So Samara Weaving.

[Yorma (Director/Filmmaker)]

Yes.

[Keith (Interviewer/Co-host)]

I've never met her. I saw her at videots at the LA premiere from Afar. She was nine months pregnant, ready to break.

[Yorma (Director/Filmmaker)]

She's the fucking jam. The jam.

[Keith (Interviewer/Co-host)]

I've been a fan of hers. I mean, I'm sure I had seen her in something else. But our friend Matt made Ready or not and Ready or not too. And when he made Ready or Not, I was like, whoa, where did this woman come from? She's so funny and likable and gorgeous.

[Yorma (Director/Filmmaker)]

Y.

[Keith (Interviewer/Co-host)]

And I mean, obviously just the rarest find of a movie star.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

And I know you talked to Matt before casting her and got the, you know, the full throated. Oh, yeah, she's amazing.

[Yorma (Director/Filmmaker)]

I was. I was genuinely nervous for how good looking she is. Of like, if this was gon and da da. And then like, couldn't have been more of a. You have to hire her from Matt. Like, she's unbelievably. She's just like such a fun person to be around but, like, does the work. She's a great actress and she. She really, really is. And like, it was. It was honestly like. That was one of the other things that I really enjoyed about doing this movie is that there are quite a few real, like, sit in a moment acting scenes. Like, I hate to say real quote unquote acting scenes, but like, they're. And to like, leave the camera on, act interrupt, like, let scenes play out, let people have facial movements and process things and blah, blah, blah. Because there's a lot going on in this movie that's like backstory that if you watched a second time, then you'd be like, oh, this is a different. I don't want to ruin anything. But like. But yeah, she's. She was phenomenal. She's also like, so fun and nerdy. Like, Sam was obsessed with and probably still is obsessed with Prince of Persia, the video game and her and Jimmy Warden, who she is married to, wrote Cocaine Bearer. Really fucking funny, dude. We were. We've actually, for a party over here, we're trying to work with him on a show and his writing partner. But they both love Prince of Persia so much that they had to get two different video game systems because they couldn't share because they wanted to play at the same time. But I'm like, oh, my God, these fucking wonderful nerds.

[Keith (Interviewer/Co-host)]

Is there a new Prince of Persia? I used to play it on a computer at home, way back.

[Yorma (Director/Filmmaker)]

Really?

[Keith (Interviewer/Co-host)]

Like my parents computer. Like I'm talking about in high school. Yeah. Is there new, like, I mean, dude,

[Yorma (Director/Filmmaker)]

I. I think, I think any of those brands that you're like, you can just keep making them better and better and better. I mean, like, as you know, me and my son got obsessed with Breath of the Wild. Like, fantastic Link has certainly changed over the years.

[Keith (Interviewer/Co-host)]

Yeah. Oh yeah, look at this. There's a Prince of Persia, the lost crown from January 2024. I wonder if that's the one. I mean, will you ask her which one she likes?

[Yorma (Director/Filmmaker)]

Yeah, I will. Sam and I were in the same building and she was down the hall from me. And you know, occasionally, like, there's a bunch of like songs in this movie and like, you know, occasionally we would like either rehearse at my apartment or her. Her apartment. But it very funny to go over there and just hear the sounds of Prince of Persia in the background.

[Keith (Interviewer/Co-host)]

And of course, the Jake Gyllenhaal film version is one of her favorites.

[Yorma (Director/Filmmaker)]

Yeah. Oh yeah, for sure. Let's just put that out there. Also, Sam, just talking about her work ethic. She. I don't want to put her on blast, but she like a psychopath, like prints out the entire script and then pastes it on her wall. So the other thing about her apartment was that just all of the hovered with the sky everywhere. Like, it's like Homeland. Like, she's like Danes in Homeland. Like, no, this leads to this.

[Keith (Interviewer/Co-host)]

She had the red string connecting all the moments.

[Yorma (Director/Filmmaker)]

Yeah, well, and then talking about Jason Siegel and his work ethic. Like, so Jason lived outside of town and he had this place that was like in the middle of nowhere. Because he's like, he's a romantic. Like, he loves being by himself. Like experience things by. By himself. And Jason would record, like a lot of actors do that, like to learn their lines. He would record the whole script. So he had a version where he recorded him doing all of the whole script, doing everyone's parts. Listen to that. And then he had a different version which was everyone's lines except his. And he would do the entire script walking around. And like, honestly, when he first got to Finland, he told me that he was like, he got up at like 3 o' clock in the morning. I don't know, he was like on a time zone thing or whatever, but he walked from like three to six in the morning just listening to the script, like, talk about dialed in. Like, it was amazing. That's such a kind of psychopath almost. You Know what I mean?

[Keith (Interviewer/Co-host)]

Yeah, but that's such a treat to have actors that are taking. Taking it that seriously and know all their stuff.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

So you can just turn the camera on and they do it.

[Yorma (Director/Filmmaker)]

Yeah. I mean, like, I think the only potential disadvantage is that they're so used to doing in a certain type of way that occasionally you have to, like, you know, jar things a little bit because they're so dialed in with the lines, but they may have, like, nubba worn the grooves a little bit.

[Keith (Interviewer/Co-host)]

That's interesting. Like, you can feel that a choice that they made of, how to say it has now become calcified. Like, you do three takes, they're identical because they've already done it 40 times, 100 times at time.

[Sponsor/Ad Voice]

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[Keith (Interviewer/Co-host)]

So you're.

[Yorma (Director/Filmmaker)]

I'm sure you've had this. This experience before, but, like, there was one scene, a dining room scene that we did, and it even happens with. With me watching a scene where it's like, you do, like, you know, five takes, and you're like, those are all great. And then you have to stop and think, like, what would actually be happening in this situation? Like, there's one where he wakes up and he's been tased, which is in the trailer. So I'm not ruining anything, but, like. But he wakes up and, like, I hadn't really given him the note of, like, play the grogginess of waking up more. And then that is the take that we use for the first half of the scene. I only got one or two takes of that version, but it's always having to.

[Keith (Interviewer/Co-host)]

It's surprising when there's something that obvious, that because everyone's been sitting with this script for a while and everyone's in a rush, and you're like, all right, let's bring it up. And then what I noticed even just shooting this pilot the other day with Jake Johnson and Keith David and everybody, like, they would do two quick takes and then look to me for, like, a direction, and I'd be like, yo, I need to process this in my brain for a second.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Like, I don't necessarily have immediate. Like. Especially if you can tell something's not quite right. You don't necessarily know the answer immediately. Like, sometimes I have to sit there because it can be as simple as, like, oh, you're just doing it too fast. Like, it's a groggier scene and sometimes you know it right away.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

But sometimes. Well.

[Yorma (Director/Filmmaker)]

And it's a testament to your actors. Right. Because we're working with pretty highly calibrated. Actors who have done this for years and years and years. So you are taken in with like, oh, you're doing this very well.

[Keith (Interviewer/Co-host)]

Yeah, you can get tricked because they're too good.

[Yorma (Director/Filmmaker)]

But honestly, a big thing for me. And weirdly, I really noticed this on when I was doing the Pepsi commercial, the Super Bowl Pepsi commercial with Ben Stiller and Steve Martin, because we had so little time to work with them together. They had, like, half an hour. And it was one of the moments that I was like. I was very proud of myself for being like, stop the cameras. Let's talk. Talk. Let's figure this out. Like, together and slow it down. Like, who gives a about time if it's wrong? It was like, really, like, those moments where you're like, stop. Nobody stress out. We're gonna get there. But sit there, figure out what. Like, what feels wrong. What feels wrong to you, because it's. The other advantage that both of us have is that you're working with unbelievably professional people, and they're still going to

[Keith (Interviewer/Co-host)]

be happy to stop everything to figure it out 100%.

[Yorma (Director/Filmmaker)]

But, like. But all these people, like, I mean, Siegel, Julia Lewis, like. Like, Tim. Like, Tim had great suggestions for things, and you find some. A lot of things in rehearsal, but they're great storytellers.

[Keith (Interviewer/Co-host)]

So, like, those are for just killer professionals.

[Yorma (Director/Filmmaker)]

Like, oh, unreal.

[Keith (Interviewer/Co-host)]

You're never gonna get bad takes out of them. You're just gonna get different takes.

[Yorma (Director/Filmmaker)]

No, but. But. But it's even beyond that to me because, like, there's a moment, and we haven't talked about this, but, like, we were talking through the. The first. There's a flashback that happens, and it was Tim's suggestion to be like, it would be neat if at the start of a flashback, there's something that's being said that's sort of a mystery of what I'm talking about that is resolved by the end of the flashback. And I was like, that's such a good note. And honestly, like, as a director, I feel like I'm constantly having to be like. Like, listen to the good ideas. None of this should be about your ego. It's like, literally, like, work with the people that have been doing this for years and years and years. And, like, you know, those ideas that come up, I mean, you know, it's. It feels like such a blessing. And you. You're so grateful when you're like, that's so much better. Like, thank you for that suggestion.

[Keith (Interviewer/Co-host)]

Yeah, it is the. It is the best. When we did The Naked Gun 1. Did we talk about the. The scene where the chargers for the electric car are all getting ripped out of the ground?

[Yorma (Director/Filmmaker)]

I think we did, but tell it again.

[Keith (Interviewer/Co-host)]

It's just so in the script, all the chargers get ripped out and the cables are getting ripped out of the ground, and then they go up the wall just like they do in the movie. And then they rip a big hole in the wall. Right. But in the script it said police squad, swimming pool on the wall. Like recreation center and swimming pool. And when the wall ripped open, open, you know, like 10,000 gallons of water would spill out with a bunch of.

[Yorma (Director/Filmmaker)]

A little bit pricey joke.

[Keith (Interviewer/Co-host)]

And with a bunch of cops, like big Chicago looking cops in like little bathing suits that would like spill out onto the ground like fishes, like, and flop around like fish. And we really went down the road like they had figured out how we could do a tank and how we could do it there. But then they were like, the stunt people can't all be in the water because they could drown while we're getting ready. So they'd have to kind of, you know, like, like jump, dive into the water as it's spilling out from the sides. And we'd have to shoot kind of from the side. And we were just going through all this and it was going to be impossible to reset. And then we were like, God, what else could it be? And we hadn't like, spent a lot of time thinking about it, but very quickly, Bill Bretzky, the production designer, was like, what if it's the prison? And I was like, oh my God, that's so much better on so many levels.

[Yorma (Director/Filmmaker)]

So much better. That's.

[Keith (Interviewer/Co-host)]

And it's one of the rare. There aren't that many ideas that came from outside me or the writers. Sure, Dan Douglas, but that's a huge joke.

[Yorma (Director/Filmmaker)]

But they happen. They happen, you know, somebody.

[Keith (Interviewer/Co-host)]

And it was like, oh my God, thank. And you just are so grateful for it too. You're like.

[Yorma (Director/Filmmaker)]

There's all those moments that like, that happen where it's like somebody like brings you a prop that you're like, oh, fuck, that gives me an idea for this. Like, maybe it's not like the idea that you're gonna use, but, like, it becomes another idea, which is great. Did like. I got a question on that. So did you always know that for the credits you were gonna have the sort of swim pool? Because that sort of like would cannibalize that a little bit. Like, you know, because at the end of your movie that you go to like the retreat. It's like the, you know, I wouldn't even call it White collar cousin. Yeah, no, the we a little bit. You would have already seen like cops in bathing suits that are all, you

[Keith (Interviewer/Co-host)]

know what, in the script of that, they were at a sandal style resort, but they were by the beach. And you know what? I hadn't really visualized how the other cops would look there. So it would have. Yeah, you're right.

[Yorma (Director/Filmmaker)]

Seeing it would have been like a similar thing. So better on that level too.

[Keith (Interviewer/Co-host)]

Even better on that. But also just infinitely more repeatable. You know, obviously we had to rebuild the wall and break the wall again. We did it to twice.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

And it's so much funnier. Just like. Of course. And it makes more sense.

[Yorma (Director/Filmmaker)]

Makes more sense. But it also, it like is with his character of like, you want like Liam's character to always be causing more chaos.

[Keith (Interviewer/Co-host)]

Yeah. Letting out criminals is so much like making cops fall out of things. Just annoying. Letting out criminals is the complete opposite. Yeah. It just was better on.

[Yorma (Director/Filmmaker)]

That's great.

[Keith (Interviewer/Co-host)]

Like it made our other one just suck. I was like, oh, our sucks. That's it. And it was like I felt dumb for not having thought of it.

[Yorma (Director/Filmmaker)]

Yeah. It's the best when you're like. You're like, how did we not come up with that?

[Keith (Interviewer/Co-host)]

That's what it was. It was such a no brainer. We felt like idiots. Yeah. Yeah.

[Yorma (Director/Filmmaker)]

That's awesome.

[Keith (Interviewer/Co-host)]

Yeah.

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[Yorma (Director/Filmmaker)]

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[Keith (Interviewer/Co-host)]

So obviously you've got these great actors before we get to like the release stuff. Obviously on a personal level you' all the comedy stuff that everybody you know has seen. You've done these commercials and then you know, pilots and stuff. And this was like this is a little bit different for you. I wouldn't say this is. People sometimes use the word horror and as somebody who doesn't like horror movies, I don't quite put. I wonder like Matt would really know all the like talking about horror versus thriller to me, like I would have

[Yorma (Director/Filmmaker)]

been saying this was dark. Dark comedy with like, you know, it has horror elements I guess, but like. Or horrific elements.

[Keith (Interviewer/Co-host)]

It's a thriller comedy is what I would say that the part it takes from horror. Horror is like it's a little gorier than.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

You think it's going to be. It shows things a little more. Yeah, but it could easily like if you just didn't show those things then it just becomes an action comedy.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Because to me like and I might just be wrong and so I'm sure the comments will do it. Like horror gets something a little supernatural. Like even Silence of the Lambs is called a horror movie. But when I watch it I'm like, it's trippy. I mean it's definitely scary.

[Yorma (Director/Filmmaker)]

Yeah, it's very.

[Keith (Interviewer/Co-host)]

It is scary.

[Yorma (Director/Filmmaker)]

So it's a pretty heightened world too. Like, but it's still.

[Keith (Interviewer/Co-host)]

Because it's in the real World, it feels more like a thriller.

[Yorma (Director/Filmmaker)]

Well, the other thing about the word horror, because I'm right there with you. Like, I'm squeamish about a lot of stuff. And, like, one of the things I was sort of proud of because there are some gory moments in this movie is like, my mom and my mother in law, like, have laughed at some of the most horrendous parts of this movie. Like, and I've had quite a few people be like, I'm not usually able to see gore. And, like, because this movie is so funny, it, like, was totally palatable for, like, people that were not, like, super excited.

[Keith (Interviewer/Co-host)]

It was shocking how big the laughs were on, like, I won't describe it here necessarily, but on something that if I just described it is just horrible. Just, you know, somebody being, let's say, stabbed in the head.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

And the audience was like, ha, ha ha. Just fucking as if it was the funniest thing they were seen. But it has to do with how much, you know, those characters don't want to be doing that. Yeah. And how they can't believe this is what it's come to. And.

[Yorma (Director/Filmmaker)]

Well, that is, I will say, one of the tricks and one of the things that not surprisingly, because especially for people like you and I, who are always trying to sort of push the comedy was like, one of the things I had to watch was just always sort of maintaining the reality, regardless of how crazy the reality gets, which is like, this movie goes to crazy places. But it really was important for me to be like, if I was pushing the comedy too much and breaking the reality that I was like, I had to pull back. There's even, as you saw, like, a Lonely island joke that I had to take out.

[Keith (Interviewer/Co-host)]

Oh, right.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Wait, well, that's out. So does it ruin anything to say what it was?

[Yorma (Director/Filmmaker)]

No, it's not. There was a moment where Timothy Oliphant is on a boat and then he's just singing to himself, I'm on a boat. I'm on a boat, motherfucker. Wait, whatever happened to those guys? They still do skits.

[Keith (Interviewer/Co-host)]

Yeah, yeah. That would not have. That would have felt self indulgent. But also, are you putting together deleted things and stuff, like, for itunes, bonus features?

[Yorma (Director/Filmmaker)]

Yeah. And honestly, the thing I'm most excited about the bonus features is. But again, see it in theaters. I don't know when this shit's coming out and streaming.

[Keith (Interviewer/Co-host)]

Maybe we'll never put it on streaming.

[Yorma (Director/Filmmaker)]

Yeah, it could easily never come out. You guys go see it this weekend over Your dead body. But our mutual homie and guy you scooped many years ago doing the wash. David need noggle. David is our like go to VFX, man. He did 300 shots for this, this movie and he did pop. He did an awesome series of like, there's a lot of like pretty violent gags in the movie. And he does a plate like version of like how to do each of these things. So like thing like, I'm not gonna say what, what is actually happening, but like, but there's a series of like, this is the A plate, this is the B side. Like, these are the like blank plate that you need to like make this gag work. And then hilariously. So we're gonna put all of that on the, on the extras when this event eventually comes out, but maybe it never will is that he's doing it with his like daughters. So it's like his 13 year old girl like, like getting their head like. Well, I'm not.

[Keith (Interviewer/Co-host)]

Yeah, yeah. That's how he's always done it.

[Yorma (Director/Filmmaker)]

We had some, we had videos of

[Keith (Interviewer/Co-host)]

his daughter doing in Pop Star when Andy's doing the quick change thing where it's the cloth tube that goes over his body when it comes down, he's wearing a, you know, a cowboy outfit or whatever. And then he's naked.

[Yorma (Director/Filmmaker)]

Obviously he didn't do naked. He didn't do the naked.

[Keith (Interviewer/Co-host)]

No, no, he didn't do it with any. Well, he didn't have any of the wardrobe either. It was just with like, she's in a blue out now she's in a red outfit. It was a proof of concept.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

But even back then it was videos of his daughter. We've seen those daughters.

[Yorma (Director/Filmmaker)]

There's so much more.

[Keith (Interviewer/Co-host)]

Yeah. Because they're violent.

[Yorma (Director/Filmmaker)]

It's super funny.

[Keith (Interviewer/Co-host)]

That's hilarious.

[Yorma (Director/Filmmaker)]

Doing, doing all the action shit. Was this because like, for, for me, I was actually weirdly like nervous of like the real action stuff because this is like 87 North. Like who did like John Wick and like Bullet.

[Keith (Interviewer/Co-host)]

Yeah, the producing team that came in. At least you knew you were with people that have done what you knew the comedy part, but they've done all the action stuff.

[Yorma (Director/Filmmaker)]

And you've. You did this with Naked Gun going through like. And then I'm sure it was very similar in that like you're adding comedy within that, like so you're getting all the benefits of these amazing fucking choreographers and they're mocking up stuff and then you're adding like, I want this to. Cause you're sort of trying to, like. It's almost like the comedy's enhancing the action because it creates these breaks in it where you're getting, like, a real laugh, especially for your movie, obviously, but you're getting, like, a real laugh, and then you're going straight back into the action and, like, one's enhancing. So it was really fun for me to, like, work with these. Super professional. In the same way it was, I'm sure, for you, for. For Naked Gun. It was. It was such a rad experience to, like, you know, one hand washing the other kind of thing.

[Keith (Interviewer/Co-host)]

Yeah. But you guys also had so little time. How many days was the shoot?

[Yorma (Director/Filmmaker)]

This is 32.

[Keith (Interviewer/Co-host)]

Yeah.

[Yorma (Director/Filmmaker)]

And there's. There's a lot of gags, and it's

[Keith (Interviewer/Co-host)]

just hard when it comes to action stuff because depending on the stunt, things can really slow down for safety reasons and. And for effects reasons. I mean, if you're spraying blood, then you take two, whereas is it a whole new change of clothes to get the blood off? And it can slow stuff down a lot, too.

[Yorma (Director/Filmmaker)]

Did you have any, like, moments that you had to, like, call actual, like, audibles on. On set? We had. We had a couple moments where we were like, oh, shit.

[Keith (Interviewer/Co-host)]

Like ours. Because we're not trying to scare anybody. It was, you know, and, like. And it's just supposed to be so friendly, like, in general. We would just veer towards. It's a cartoon. So, like, it'd be like, so should his shirt rip? And I'd be like. Like, nope, he'll just be perfect again in the next shot. Because, you know, he's wearing that suit. I mean, you barely notice. But Liam's wearing the same suit the whole movie, basically.

[Yorma (Director/Filmmaker)]

That's hilarious. That's hilarious.

[Keith (Interviewer/Co-host)]

He's just in that gray suit all the time. Like a cartoon character. Like, that's what he looks like.

[Yorma (Director/Filmmaker)]

KOD or McGurber.

[Keith (Interviewer/Co-host)]

Exactly. Like, that's just what he wears.

[Yorma (Director/Filmmaker)]

Dude. That is big swing comedy, dude. That's awesome.

[Keith (Interviewer/Co-host)]

He's in. He's in a. A blue suit at one point, a little bit, but barely ever. And it was even him. He was like, why don't I just wear this the whole time? And you're like, yeah, I think we changed his shirt underneath, but barely. And I mean, when they go on the date, when he gets home, you know, then he's in, like, the sweater and stuff. But basically. But days are passing in the movie. You know, the movie.

[Yorma (Director/Filmmaker)]

Right. So in the montage, like, when it's meant to convey days and.

[Keith (Interviewer/Co-host)]

Yes. And he's On a. In a cabin. So he's in snow clothes and cozy, but, like, days are passing. Then when the montage is over, he's back in that suit, even though it's the next day. So did he get it dry clean?

[Yorma (Director/Filmmaker)]

I mean, for this. For this, like, because there's so much special effects makeup, and they're so good at being, like, this injury. Cause it was always, like, the scene after that, you would actually see what had caused the injury. In the previous scene, you're shooting out

[Keith (Interviewer/Co-host)]

of order sometimes, so you're having to create the being like.

[Yorma (Director/Filmmaker)]

Yeah, so you proved that all in the beginning of, like, this is this. Like, this is. Cause this is damage. This is, like, what happens. But it was happening chronologically in terms of, like, you see the fight, and then in the next scene, you start to see the swelling from what happened. So they have to be so on point with, like, how that. And then the only thing we actually shot out of order, really. Cause obviously, like, I wanted to shoot as much as you can in Orner was it was so cold in Finland that we had to shoot some of the boat. There's, like, a bunch of boat stuff. And Jason gets in the water for. It was freezing. Like, freezing. And he was so game. But that was the only thing that we actually had to, like, do. And it was to the point where, like, he wanted to go again. We have a crane, like, zooming at him. We almost hit him with the. With the crane. And, like. And he was like, let's go again. I was like, dude, no. Like, I'm looking at this. We got this, like, you're good.

[Keith (Interviewer/Co-host)]

He's wearing, like, a wetsuit under his clothes.

[Yorma (Director/Filmmaker)]

Yeah, he's wearing. Yeah, he's. I think they call it dry. Dry suits or something. Or camera. What it's called, but. Yeah, I've never heard of a dry suit.

[Keith (Interviewer/Co-host)]

That's cool.

[Yorma (Director/Filmmaker)]

Maybe that's for the camera ops. I'm. I'm not sure anyway, but, you know, he's still freezing when he gets out. I mean, it's. It's really. But we had to, like, do that early days because it was genuinely dangerous for the actors.

[Keith (Interviewer/Co-host)]

All right, well, now it's time for me to do the pitch of selling this that you keep trying to do, and it just comes off crass.

[Yorma (Director/Filmmaker)]

I'm not a classy. Hey, Keith. I'm not a classy guy, but here's the rea.

[Keith (Interviewer/Co-host)]

The reality of it is you made the whole movie. It's going to come out. And the truth is, people already like it y. And so we were texting the other day and it's already. You already did your job really well.

[Yorma (Director/Filmmaker)]

Thanks, man.

[Keith (Interviewer/Co-host)]

Anything else from my opinion in my pep talk to you is gravy, because people love it. Those screens screenings were fantastic. This is a side note, but I always remember Sandler talking about the movie Spanglish, how in the theater, even though that movie's more drama than comedy, it's a James L. Brooks movie, he was talking about how it would just get these enormous laughs.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

And he was like, oh, my God. Like, those are laughs that are bigger than the ones I get in my movies where I'm trying to be funny all the time. And it's that thing of, like, when you're in a movie where the story is working so well, it can get laughs that are actually, you know, like Pop Star and Naked Gun have to work so hard for every laugh because that's what it is promising you. Whereas this movie's getting just as big laughs the way that horror or drama can.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Because you're being pulled into the story and then are so with the characters that. The littlest thing. Yeah, like, just the way she says something to him about the, like, you know, way she's cutting garlic is a huge laugh. Even though it's like just the little. Littlest thing. It's not a written.

[Yorma (Director/Filmmaker)]

It's awesome when it's a visual joke, too. There's a moment in the kitchen where she's tiptoeing at one point and it kills. And it is just a visual thing,

[Keith (Interviewer/Co-host)]

but they're not jokes, so to speak. They're just character moments, things blooming from character. Anyways, that was a tangent, but it really was fun to see this in a big theater. I guess that's my pitch. And it just would be great for yhorm to not be super bummed after it comes out.

[Yorma (Director/Filmmaker)]

Even though that's the real pitch, my

[Keith (Interviewer/Co-host)]

pep talk to him is still true. Which is. I'm saying he already has won. He set out to make something and it came out good. And it doesn't matter, truthfully, when people see it. I mean, that's not what he wants me to say, but in 10 years, he'll be doing a screening of this the way that I was. Just that one for Pop Star. And he should have been at that one too. But point being is, it's already done. Like, if he can jump forward in his head, it's already done. But that's still.

[Yorma (Director/Filmmaker)]

Well, the reason I think it is really important to See it, though, is because whenever people talk about, like, comedies, I'm like, you gotta go see them so that we can make more of,

[Keith (Interviewer/Co-host)]

you know, I mean, like.

[Yorma (Director/Filmmaker)]

Like, it helps everybody.

[Keith (Interviewer/Co-host)]

Yeah. And you just don't want to get sad.

[Yorma (Director/Filmmaker)]

Oh, yeah. Like, okay, so that's the real pitch to the Quaid's, is that don't make me sad opening.

[Keith (Interviewer/Co-host)]

Yeah. Helping them out to not be sad. Because that's the thing, like, ultimately, you know what I mean? It's like famous people go on talk shows every week and say, please go see my movie. It doesn't really mean anything because you're going to get to make another movie.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Because it's already good. Like, in general, people can kind of say, like, I just hope it does well enough that they let me make another. But I can tell you, you can already make another because it's already good. And you're not going to make more money from it doing good because it's not how the deal is structured. So what's in it for you is to not get sad.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

It's just your mental health.

[Yorma (Director/Filmmaker)]

Well, and by the way, like, how. How sad did we get on all of the things?

[Keith (Interviewer/Co-host)]

Well, that's what I'm saying. The heartbreak of it is. So you don't want to feel that again.

[Yorma (Director/Filmmaker)]

Oh, God. Hot Rod McGruber, pop star.

[Keith (Interviewer/Co-host)]

Exactly.

[Yorma (Director/Filmmaker)]

All things we were incredibly proud of. Exactly.

[Keith (Interviewer/Co-host)]

So just super. My plea is just for Yorm to feel. He's been through a lot.

[Yorma (Director/Filmmaker)]

I've been through a lot.

[Keith (Interviewer/Co-host)]

He's been through a lot. He's already on every pill you can take, so he's not gonna. He's not gonna be able to mask it with drugs. He can't. He can't just take a bunch of. Of, like, sedatives. He's at max drugged out already. There's nowhere to go here.

[Yorma (Director/Filmmaker)]

Yeah. This is all true. Thanks KE for that.

[Keith (Interviewer/Co-host)]

Yeah.

[Yorma (Director/Filmmaker)]

Rousing endorsement.

[Keith (Interviewer/Co-host)]

So that's. Well, everything else sounds, you know, Pat. It sounds like what everybody. What is somebody going to do, go on and not tell you to see whatever it is? I mean, that's the whole job. But this is real. Go.

[Yorma (Director/Filmmaker)]

Go out there and see it before it sells out, guys, because, you know, this is hot off the. The hotcakes press.

[Keith (Interviewer/Co-host)]

Yeah.

[Yorma (Director/Filmmaker)]

This Friday. Over your dead body. April 24th.

[Keith (Interviewer/Co-host)]

If you want him to get sad, I'm going to be so sad for him.

[Yorma (Director/Filmmaker)]

Guys, can I play you Jason Siegel's voice note?

[Keith (Interviewer/Co-host)]

Yeah. Yeah. What did you ask them for?

[Yorma (Director/Filmmaker)]

Well, okay, so I got a Voice note from Siegel. I just said, hey, are there any remembrances that you had from that? And I will say that I disagree with this voice note. All right, I've listened to it.

[Keith (Interviewer/Co-host)]

Okay, good.

[Yorma (Director/Filmmaker)]

Yeah. And so I'll give my response after we listen to it.

[Keith (Interviewer/Co-host)]

All right, let's roll it. Yeah.

[Jason Siegel (Actor)]

I guess the moment that stands out most to me from shooting is the trust that I had established with Yorma, my director, who I knew would never betray me in any way. And we did a scene where Sam and I are laying unconscious on the ground, having just fallen through the ceiling. And we're about to roll, and someone said there would probably still be some wood falling. And Yorma called out, do we have any wood? And someone said, yeah, here's a two by four. And then Yoarma came up and said, I'm gonna drop this on your head. And I whispered, I don't want that. And then Yoarma said, okay. And then he called action. And then quickly whispered, I'm gonna do it anyway. And then dropped a solid piece of wood on my head with a clunk. And when they yelled cut. I had never seen Sam look so appalled and shocked in my whole life. And then the guy did it again, next take, but wouldn't change it for the world. Love you, Yarma. Bye.

[Yorma (Director/Filmmaker)]

Okay.

[Keith (Interviewer/Co-host)]

Yeah. What do you mean, yeah?

[Yorma (Director/Filmmaker)]

Okay, I'm just gonna read you my rebuttal of what I said to Siegel after he said that, which was I wrote back to him. I said, this is very funny. It was. It was propwood and very light. So you are entirely inaccurate and a liar. But this is a very funny read. Retelling. He said, I haven't been able to write since. Since from the brain damage. It's good that you were paid so little that you can't afford a lawyer. Good for me. At least that made me laugh. I assume you laughed and then coughed up blood a little from your never healing internal injuries. Love you, pal.

[Keith (Interviewer/Co-host)]

Love you.

[Yorma (Director/Filmmaker)]

That was our exchange. So.

[Keith (Interviewer/Co-host)]

So it was a prop. It was not.

[Yorma (Director/Filmmaker)]

It was prop would really dramatic, a little whiny.

[Keith (Interviewer/Co-host)]

Yeah. And he probably told Sam it was real and that's why her looking at Gast might have have been true. Like, I can't believe he's doing that to him.

[Yorma (Director/Filmmaker)]

Yeah.

[Keith (Interviewer/Co-host)]

Okay, so he's trying to turn. Turn the rest of the crew against you is the point.

[Yorma (Director/Filmmaker)]

I mean, I will say that Sam did seem kind of a cast.

[Keith (Interviewer/Co-host)]

Yeah. She might have thought it was real.

[Yorma (Director/Filmmaker)]

And because I did. Because I did whisper, though, I'm Just going to do it. Yeah. All right. Here's Sam's note.

[Keith (Interviewer/Co-host)]

Okay.

[Samara Weaving (Actress)]

Hello, podcasting gang. Y asked me to tell a little tale from the incredible over your dead body shoot. And I think one of the best and the silliest memories I have is the trailers that we had had very thin walls, so you could sort of hear everything anyone said if you were like, next to them. And Jason's room was next to mine.

[Yorma (Director/Filmmaker)]

And so.

[Samara Weaving (Actress)]

So at lunch they would bring us these incredible meals, shout out to the catering, and I suddenly start hearing Jason in his trailer going, oh, yeah.

[Yorma (Director/Filmmaker)]

Oh.

[Samara Weaving (Actress)]

Oh, my God. Oh, shit, that is good. And it was sort of. It was day one of shooting, so I really didn't know. I was in quite a predicament. I was laughing, but also didn't know whether to say, like, hey, it was a private moment. I can. I can hear you when you eat. And this happened every day. Every lunchtime I'd be like, trying to have a nap or something and I'd just hear him having a whale of

[Keith (Interviewer/Co-host)]

a time eating a whale of a time.

[Samara Weaving (Actress)]

Yeah, it makes me giggle. And then eventually I had to be like, hey, dude, I can fall fully hear you. And then he just, instead of stopping, he ramped it up even more. Yeah, I'm sure Jason will tell you about the time that Yoma dropped wood on his head without consent a few times. I hope he tells that story. That's also a fave. Anyway, it was one of the best and most fun times I've had on a job. And. Yeah, love you, Yoma. Let's do it again.

[Yorma (Director/Filmmaker)]

Oh, my God, what a great human being.

[Keith (Interviewer/Co-host)]

That was wonderful. Well, I had a follow up question that I wish she was live. I wanted to ask, which is, well, I guess it's a question for Seagull, which is if she confronted him, I thought she was going to say, he said, like, I've been doing that for you as a bit. But instead he just got louder, like as if he went, oh, that's funny. I'll now I'll do it even louder. But what was he doing it for before?

[Yorma (Director/Filmmaker)]

No, he's doing it because he's in the moment. He's a man. He's a Zen man in the moment enjoying food. And like, he told this story kind of on Kimmel, but he went to like a food court and was like eating a donut and he was like doing the same, like, mmm, yeah. Like, by the way, this is in fucking Finland.

[Keith (Interviewer/Co-host)]

So he's kind of stoic. Oh, hell yeah. Oh, that's good. But just by himself.

[Yorma (Director/Filmmaker)]

Just to give you, like, some context. My first ad, Auntie, like, my impression of him was, I am Anthy. I'm doing a joke. No, I'm serious. No, I'm doing a joke. He was like a beautiful looking Navy seal, like, tacked up, like, dude, like, he was just, like, so stoic. Like that movie Sisu, like, which is about, like, perseverance against all odds, no matter what, is like, that's Finland 100%. So to have a big dude just being like, oh, yeah, this boot is good. It's like. It's like, that is not normal in Finland. So he got stopped after, like, eating at this place by, like, this woman who was like this security guard who was trying to take his car keys because she was like, you're clearly super high. And he had to be. And he had to be like, no, I'm American.

[Keith (Interviewer/Co-host)]

No, I'm just. This is how we are. We're this dumb all the time.

[Yorma (Director/Filmmaker)]

When we enjoy something, we're gonna let you know.

[Sponsor/Ad Voice]

I just like him being alone.

[Keith (Interviewer/Co-host)]

Being like, oh, shit.

[Yorma (Director/Filmmaker)]

Oh. Oh. By the way, catering was super good. And this was the first time I've ever had catering where there was no options. They just made you one thing.

[Keith (Interviewer/Co-host)]

They just made you a meal.

[Yorma (Director/Filmmaker)]

Oh, that's really so good.

[Keith (Interviewer/Co-host)]

That sounds very good, honestly. Oh, well, this was a treat.

[Yorma (Director/Filmmaker)]

Yeah. Thanks for talking about my movie.

[Keith (Interviewer/Co-host)]

Thank you for those voice notes. It made me want to go to a din with Samara and Jason and hear a ton of it. So invite me when you're in LA and wrangling them into a dinner. Just be like, Akiva's tagging along so I can hear it because they sound very funny and her Australian accent is spot on. She's doing it so, so believable.

[Yorma (Director/Filmmaker)]

She has a couple. She has a couple Australian isms that I really like, and that actually feels

[Keith (Interviewer/Co-host)]

like fair dues a lot, dude.

[Yorma (Director/Filmmaker)]

They. They feel like they're straight out of our podcast too, because she calls somebody a gronk and that sounds like a very much like this podcast.

[Keith (Interviewer/Co-host)]

Not a donk.

[Yorma (Director/Filmmaker)]

Yeah, you gronk.

[Keith (Interviewer/Co-host)]

Not. Not a gronk. A gronk. That is really good.

[Yorma (Director/Filmmaker)]

Yeah. And by the way, speaking of dinners, I loved this moment was when we were in Finland, we were out to a very nice dinner, all the cast together, and Timothy and Juliet were talking and they were talking about. They were like, oh, yeah, what did you do with Leo? And I was like, oh, Leo DiCaprio. They both were worked with Leo. And I was like, wait, Julia, what'd you do with Leonardo? And she was like, oh, this movie. What's eating Gilbert Grape? And I was like, yep, yep. No, I know it. It's right. You are a amazing actor who's been

[Keith (Interviewer/Co-host)]

doing it for 40 years.

[Yorma (Director/Filmmaker)]

Yep.

[Keith (Interviewer/Co-host)]

All right. Well, Yoram, it's been a pleasure. I hope we talk some quades into a theatrical experience this coming weekend. And thank you in advance to them. And congratulations to you, Yorm. And it's nice to, you know, get real with with you without the jokesters around. Oh, my God.

[Yorma (Director/Filmmaker)]

Thank you for bringing that up.

[Keith (Interviewer/Co-host)]

Anything serious where you're a real director,

[Yorma (Director/Filmmaker)]

a real artist, like, get getting down

[Keith (Interviewer/Co-host)]

to brass tax sarcasm from those guys, you're like, are you being serious right now? I can never tell anything serious.

[Yorma (Director/Filmmaker)]

Can't you just be real for a second? Oh, my God.

[Keith (Interviewer/Co-host)]

Exactly. Exactly. What are they so afraid of? Yeah, they're running from. From something. Just like the Quaids are going to be running into the theater so that Yorm doesn't have to run from his emotions. All right, thank you, buddy. All right.

[Yorma (Director/Filmmaker)]

Don't make me depressed, guys.

[Keith (Interviewer/Co-host)]

Love you, Yorm.

[Yorma (Director/Filmmaker)]

Love you, Keith.

[Keith (Interviewer/Co-host)]

Later, Arnold. Later, Quaid.