"Cillian Murphy"

Hi, everybody.

Welcome to the cold open verse.

So it's not a smart list. I am a true reason.

“You know, it'd be great if our net was here”

to warm this cold open up a little bit. I don't think you'd be able to. No, he's not available. No, we should just start. Let's just start.

Oh, God, look at all these goosies on my arm. Welcome to Spartless. [MUSIC PLAYING] [MUSIC PLAYING] Guess what I just finished watching moments ago?

A pizza pocket heat up in the microwave. Oh, wait. Now, let me try. [LAUGHTER] Yeah.

Oh, there's something with Scotty. I don't have that yet. It's your zipper on your pants not be able to close. Oh, wait, I know what it is. It's the top button on your trousers flying

across a room of breaking a light bulb. No, I just watched the first literally 10 minutes ago, finished watching a DCF St. Louis, the first episode. Let me tell you, it is so good.

It is a ride up my alley, and Jay, another incredible character

by you, like really, like so different.

“The quick question, did you say it's a ride up your alley?”

To ride up your alley, try to make a ride. I think it's going wrong for years. Well, don't stop him now. No, it's a ride up my alley. The way it's shot, and of course, performed, you're brilliant.

It's so good, Jay. I can't wait to see if he's so good in it. A rider director. I mean, that's the swing, this is the shot of the swing. That's all I'll say.

I mean, that's so smart. It's so cool. We get's real real, real, real crazy. Yeah, and the ending of the first episode, wow. It's really good.

It's really good. It's so good. It's so good. Do you, I don't know if I've ever admitted this on this show before, but speaking of saying things wrong for years.

Yeah. And this is, I'll attribute this to not reading a lot, you know, a allergic to books, and I'm not proud of that, because I feel if I had seen this written, I wouldn't have made the mistake all

these years, but I've always thought that when you say the phrase,

I'm just trying to make ends meet. I thought that was a phrase that one would say when they're saying, listen, I'm just trying to get by with just the bare minimum. I'm not being greedy. I'm not entitled.

I'm just trying to make ends meet, meaning I'm just looking for the part of the cow that doesn't cost a lot. I just need sustenance. I need some food. I'm looking for ends meet, like NET, the end of the cow,

the ass, which is not going to cost you a lot. This is what my stupid head. This is what I'm going to do. I'm 57, and this was probably a couple years ago. I was 55 until I realized that it is, it is ends of, you know,

strings or whatever, creating a circle. I pray, you want these ends to meet and create a whole thing, and which can mean something similar to you. I'm just trying to make it all come together for myself. Trying to make, well, you're trying to be able to afford stuff.

You're trying to make ends meet, trying to stuff within your budget. Yeah, it wasn't a proud moment for me. But I'm just trying to be on admitting my flaws. I'm just trying to think of like the Gacha headlines in the very social media stuff about this.

Oh, no, this will be cut. No, this is just for you, you and your guest. Well, we can't cut this. Just be kidding. What kind of cut is that at the end of the cow that you're talking about?

You're talking about it. Like steak. Well, the flank is, it's often, it's often called the flank. Where we're the end. That's not the end.

Wait, but do you know, you know, that, like, I love, you know that.

“Remember that I love like, sayings and they're originate or origination or this stupid ass.”

Yeah. This is where they origin are originate from. This is where they originate from. Okay. Good.

And where they originated from, you know what I mean? And so, remember I did the same by the bell. I told you guys about the same by the bell. Or that episode? Or, no.

Or, no. No. Where that saying comes from? Oh. Remember?

The guy people used to get buried, remember I told you, they used to get buried alive. Oh. And they didn't know it at the time because people were unconscious. They just thought they were dead. So they buried them in these coffins.

Then they dig them back up to reuse the coffins and they saw these scratch marks. So they're like, oh, my God, we've been bearing people alive. So they bury people alive. They tie a string to their toe. If they put it through the ground and tie it to a bell and you say by the bell, if the bell

goes off. And the person who had a sit there and wait to see if the bell went off, worked to the graveyard shift. Wow. Okay.

And this is what you thought, say, by the bell was for years.

That is what it is. It's not. It's a bomb thing. No.

But thenally it originated with this, J.B.

That's right. Really? Yes. That's what telling you. Wait, so hang on.

“So we'll, you're taking, that's news to you and you're going with Sean?”

Yes. That's, that's news to me. I do vaguely remember Sean mentioning this before. Yeah. Well, that doesn't make it true.

He's just repeating insane. I mean, we can, I'm sure people can just look it up as they're listening to this right now. I don't know why we would. That's where it comes from.

Come on. We're going to have our fact checkers get on that while we're, well, we're the fact checkers now. Yeah. Yeah.

So let's have to do that. We'll go ahead and introduce your guest. And let's get on with that. Shoot. Jason.

I've been having, I'm trying to get will panic. Did you see it? Did I ever get panicked about it? No, I don't think it worked. It's my guess and I'm so excited.

And Willie, I think you're going to be excited too. I think I remember. I think it was you telling me that you're just a cookie fan for this fella. And I don't blame you because I am, too. Gentlemen.

I'm not going to care. No. No. Great. Let's start.

For you, Sean, now you will, everybody, everybody freaks on this guy for very good reason.

“Have you searched for the answer to the age-old question?”

What should I do after pursuing rock stardom and being a lawyer? Well, our guest this week has the answer. You've become one of the finest actors on the planet. You go out there. You work with the best directors in the world.

You turn in some of the most powerful and moving performance is ever, and then you grab yourself

an arm full of awards, including the little gold guy named Oscar. He's done three careers worth the work already in his 30 years of performing, and it's been theater and film and television. But one of those television products, projects, is now a film, and he's here to talk to us about that gentleman.

Please welcome Tommy Shelby himself, Mr. Killian Murphy. Oh, my God. Yeah. Here with us. Hi, guys.

Today. Oh, my God. Killian. How cool. So nice to meet you.

Hey, man. Nice to meet you. That was a lovely introduction. Thank you. Have you ever heard a minute?

Where, what time is it for you today now? It's like nearly six p.m. in London. All right. Now, does that?

If you're like me, you're about an hour away from sleep.

Are you, are you, are you, and pump your socks? Are you getting ready to get horizontal, or are you about to start your night? I do start thinking about beds from, yeah, about half past five. Yeah. That is true.

Right. So we're keeping you up right now. No, I mean, I'm just thinking about it. Yeah. Yeah.

Yeah. But I will be approaching. I'll be in bed, but like half night. Right. You're good.

We're all in the same way. Yeah. I think with a four of us are very good at relaxing and taking it easy. Now is that because we're of a certain age, or is it because we've all really been good at getting after it?

And we're kind of done with that. Yeah. Is that it? And now I want to enjoy the relaxation of wisdom and age. I don't, I mean, what do you guys think?

Let's put some. Well, I, I'm 100% agree with Jason, although I'm just going to ask you, killing is like the having, I'm doing theater right now, and I know you've done a lot of theater.

“And it's like all of a sudden you have to retrain your brain to be have the most energy”

at 8 to PM. Yeah. Yeah. Like, of the whole day, you have to have most of your energy at 8 PM and boy, it's rough.

Are you going on stage tonight? And tomorrow, my quote unquote, week starts Wednesdays. And he's doing a one-man show killing. And I think you've done, you've done one of those. Have I?

I certainly have. Yeah. Yeah. Good man. It's a lot.

It's like the fucking Everest of acting. That's what I guess. Yeah. It's very rough. Did you ever have, well, Sean, I haven't asked you all, ask you both at the same time.

Has there been a wipe out yet, like a total, like, that's my fear, like there's no that. There's no actor. You can find the eyes of and sort of communicate silently. Right.

I have no idea what I'm supposed to say next, throw me a line. Yeah. My line the other night was, he tells me the line is he tells me two kids came forward to confess to it. It was an accident.

That's the line. And three show, three or four shows go literally on stage. He tells, ah, oh no, he, ah, ah, ah, the four wheel slannacks is just unbelievable. I mean, you feel like it's 20 minutes long and I would go teenagers, brand their car and do them, kill them.

And then I just started. But by the way, I'm sure the audience probably did not know. No, I know. But for you it seemed like an interpretable, like, yeah, yeah, yeah. But isn't, isn't the line you have forgotten linked to the line that follows it?

Yeah. That just improvised the line you can't remember because that doesn't shine any light

But, but you do know the kind of the context, you just kind of forget that word order.

So then you paraphrase until you get back on the train. Yeah, you get back on the train. So you got right back on and it was all right. Yeah, yeah, I was fine.

“But Killian, any, any, any, any nightmare like that?”

Yeah. You know, you know the way, when you're didn't theater, it's like the, you got, like, the left-hand side and the right-hand side. You got to sort of stage manager side of your brain and you got the acting side of your brain, right?

So you got the stage manager side going, right? You can drop the prop back there. So you got to go back and pick up the prop while you're saying the lines. That's right. That's right.

And they're acting similar, they're, they're running parallel, so you got this kind of management in your head going. That's right. You got to fix this. And then the other side is talking to you.

So I, I did probably, but I was, it was like, I quite liked not having to rely on the,

you know, the terrified eyes across the stage, just some other actor that saying, can you pick

up the prop that was not supposed to. So I quite enjoyed it. But what I did find, and I don't know about you, Sean, I could not sleep after it. I could not sleep. Oh, yeah.

It's been right. Just wired. Yeah. Absolutely. It was like being thrown out of a helicopter.

I could not sleep. How are you about about the folks coming backstage and wanting to congratulate you and and talk a little bit like, are you, I would imagine that, I'm obsessed with this. I'm obsessed with this. I don't want to be fucking bothered for the most part at any point in the day.

This will keep you from throwing Broadway. This, this very thing will keep you from doing Broadway. I'm with you, though, Jay. But I just feel like I, I would feel, I would feel, I would feel burdened to make the person feel comfortable right backstage and, and, and I would just feel their awkwardness

and I would feel like I, I need to host them now. And I need to, just because I want, I don't want people to feel uncomfortable. So I, like, I'm still working. I'm still on.

“And, and, and do you, do you feel that, either one of you guys with that moment?”

Killian? Um, yeah.

And I, I would be, I think when I was younger, I would, I would always be up for the,

like, come back to the dressing room and we'll have a drink and we'll go out. But then, as I got older, I just couldn't fake it. I think, I mean, long. Yeah. Just, and then, and then, but I, but equally, I couldn't sleep.

So I didn't want to do, like, I didn't go for a long walk. Have a glass. Because you're a adrenaline, you mean? Still? Yeah.

I then go to the pub. I didn't want to go to the pub. Sit alone, drinking, not a good idea. So what do you, like, what do you do? I don't know what to do.

Especially in the top. I don't know what to do. Yeah. Well, can I ask you, this, this is another thing I fascinated with. And you guys, plug yours, you've heard me twice on about this before.

But, uh, is, is, is it the same practice overseas there that it is apparently in New York, where if you are famous, even pseudo-famous, you are obligated. You are obligated to go backstage and pay your respects and say hi, even if the actor, even if you don't know the actor, any of the actors, and they don't know that you're there. Yeah.

Like, is that apparent? What I've heard is that it's very rude to just watch the show and leave if you're of any sort of, uh, notoriety. Is that, is that the same thing in over there? Do you guys go back?

Do you guys go back? Sometimes. I, my other half, makes me go back. So you prefer not to, but you, but sometimes there is, there is a practice. There is a tradition.

There's an obligation. There is. Yeah. There's like a little pressure. Like, if they know, you're in the audience, because the stage manager comes up and says,

we do, I'd love to say hi, aren't we? Yeah, we do that. But then, of course. Then you do that. That's just, that's just for you.

“But if you don't know the person, and they haven't made that connection, I think you're”

well within your right to just sort of. Yeah, I mean, I've had people who don't, that don't come back. I don't pick, I don't think anything about it. But even if they, they, they're not in house seats or anything like that. So there's no way for them to assume that you know that they're there.

I went to see, I went to see some preview. I went to see Sean and previews that in telman. I just left. I didn't even go and say, I don't know. It wasn't until we all went together that I went back state.

Not true, Sean. Not true. So, killing, it's the same thing overseas as far as the practice. Yeah, I mean, I can't. People, people, people do.

I remember once I was in as doing a show in New York and I had a night off like you have Sean, and at the time, John Hurt was doing Crap's last tape. And I went to see the play and it was unbelievable. And it was, you know, it was John Hurt. And this stage manager came up and said, would you like to go back and meet Mr. Hurt?

And I went, I was doing a show at the same time when I told, "Wait, I like, right, John Hurt came back to see me." Now, I wasn't comparing myself to John Hurt. But I went, you know what, I think he'd probably a bit tired. I'm going to just leave.

So I just left. And then afterwards I went, you fucking idiot. Why didn't you knock a pocket and meet John Hurt? He's like, "One of my acting heroes." Right.

But I didn't, because I felt he might be a little tired. And it's like, your famous, I'm famous, so I thought I'd come back and say, "Hi, that's the thing that sort of cringes me out about it." But I hear that it's actually the opposite that it's, it's...

You should bring it up more often, Jay. Yeah. Wait, I want to hear about Philians musical career. I didn't know this about you. Can you expand on that a little bit?

Yeah. Well, it seems to be... Excuse me, it seems to be quite common. There's a lot of frustrated musicians in acting. I've kind of had lots of them.

Yeah. Yeah, it's initially what I'm sure there's probably some of you guys are among them. That's all I want to do from the very beginning was play music. When I saw you, Jayson was at the radio head show. Yeah.

Yeah, yeah. But then obviously it's in work out. And so I kind of moved into theater.

“I think for to try and get that live experience.”

You know, that connection with an audience that you got when you play music. And then I just... That just became the main thing. But it was always music. And I'm still obsessed with their students.

Oh, yeah. My first love. I didn't know that. Are you in a band? I'm sorry.

Forgive me. No, I mean, it's just why would you... He was my brother. And... And is it true?

Is this a story? This is Wikipedia fact. So forgive our rigorous journalism skills. But you guys had a band together. And then there was a record label that wanted you to sign.

But you were like... This smells like maybe an overreach. And so it's not sign. And then things kind of transitioned into theater. And that became your passion.

Was that kind of the way it went? More or less. Yeah. I more or less. Like it was...

My brother was still in... He was playing keys in the band. And he was... He was only 16 or something when we were on for the record. So my parents...

That's absolutely...

“For both and you're not like ruining your life.”

They said to me, "I can ruin my life." But they were just... He was going to protect. Yeah. We...

So we... It just all kind of fell apart. Yeah.

And then I'd never been to the theater before that.

And then after that I saw a play in Cork City, where I'm from, which was like... It's exactly, yeah. And it was a prom and ad version of that play. And absolutely...

Absolutely... Like... I just said... It was the greatest thing I've ever seen. Had you seen the film before that?

Not at that. It was banned in Ireland. Oh, that was... That was banned in Ireland. For...

The first time I saw it was I bought a VHS copy that in Canada. Wow. Wow. Yeah. That's about...

My grandpa... We love it in Canada. We love it. My grandfather's from Dingo. My grandmother...

Really? From... Counter-cary. Yeah. Oh, man.

I mean... I spent a lot of time in Dingo, and they're around... It's beautiful, right? It's like my favorite place in the world. Oh, wow.

Beautiful. Charlie, have you been over there? Yeah, just once. It's just... I mean, to Ireland a couple times.

But to Dingo just once, I still have a... I still have a cousin's, like, distant cousins. I think they'll still live there. Oh, man. But yeah, it's really...

They're really... They're really... They're still have a sweatshirt that says... I got this. You got Barry?

Yes.

So the first time you really experienced the theaters,

when you saw Clockwork Orange on stage, yeah, is that what your testimony is? Hmm. Do we have your answer, right? Yeah.

Well, how did that... How did that moment go? Because your... Your parents are both educators. Yes.

Correct, yeah. And so this... This conversation of... Hey, I... I've got good news, and...

And even better news. I'm just stopping my pursuit of rock and roll, and I'm... And I'm going into theater. Was that...

Was that where they... Were they bullied by that? Or were they, like... No, killing... Yeah.

Were they all right with it? I think... Like, I was... You mentioned that I had a very short... A flirtation with, like, low...

I did, like, a year, a vlog, a grey, and I... Yeah. Failed, like, abysmally. And then I tried to get the repeats, and then I got the repeats, and then...

I got a part of the play.

“So I think, but that stage, Dave, kind of, got, like, whatever.”

Just... He's going to do... He's going to do this thing. You know, I was... I was 20 then.

So... It's... that's when you're meant to make mistakes, isn't it? Yeah, of course. Yeah, sort of, and declare, I'm not really sure, but I'm following some instincts,

and those are going to change. Listen, killing. I'm continuing making mistakes, and I'm 55. Yeah. But what, you know, I'm...

Right? I am... As I said the other day, I am firmly in the student section in life.

I finally come to that realization that I'm, like, it's okay.

Well, your tan and the ceiling fan looks like you're... You're doing it right right now. Yeah. It is. I know it's really going, I'm sorry about that.

I'm not getting anything out of the...

Right. Right. You've got a monkey on a wheel. Yeah, just keeping the... The Wi-Fi going.

But I'm curious about... I'm curious about you getting your deciding to... Try to get a lot of greed. Like that decision. And then while you're doing that, thinking the whole time...

Where does that kind of rather be doing theater? Like I've been affected by this. I've got this thought. Is that kind of... How did that all kind of transpire?

Uh...

“I think I just had that naturally inclination to perform,”

which I'm sure you guys are familiar with. You know, just from the very early age. I just... I'm quite a shy person, but I really enjoy... Getting to my new stage.

I hate getting to my stage as myself, but I love getting up as stage as someone else or playing music. Isn't that a weird thing where... You know, I think all four of us are... You know, proudly private people.

We don't... We're not... We're not shy per se because of what we do. But like... Isn't it an interesting thing where we'll sit there in front of a camera

and be exposed to millions and millions of people... You know, wanting, hoping in a perfect world. Millions of people are going to watch what I am doing. Yet... We sort of shy away from being...

You know, the center of attention often when we... When we go out or even when we go out... To promote that thing that we want people to see... We're sort of like... I mean, I'll speak for myself.

It's like... I... I gotta go out and talk about it over here and over there and kind of light my hair on fire. It is sort of...

“The two things are kind of at odds with one another.”

The... The one's controlled and one isn't. Yeah. That's a very good point. That's true.

That's true. What's your... What's your favorite way...

A million to interact with fans?

Like, when is it... When is it comfortable for you? I think... I think I know what my answer would be. Well, tell me yours because...

Tell me yours. I feel... If it's one-on-one... And... Them...

Us talking is not going to cause a larger sort of spectacle and cause a scene. Like, I don't want to embarrass myself. My kids, them, you know, create a... So like, in an elevator. If it's just me and one person...

And, you know... We can have a little conversation as opposed to... Oh, take a picture here and then to... People walking by, look at what's going on here. Oh, maybe I should get a picture too.

Yeah, I recognize that person. Like, and then it becomes a thing. And then... I don't know. I like sort of the one-on-one stuff.

What about you? That's... I'm the same, yeah. And I love a chat. I love them. Yeah.

They have a real chat. And someone has really enjoyed something you've done. Right. Like, particularly, like, you know... We've all been in shows at a run a long time and people love...

The people are very invested in the characters, right? And, sure. And... And...

“And so, you have to acknowledge that investments”

and that they've spent that much time with your characters and... And I love those conversations. You know? You know? I don't like when stuff gets like fetishized.

He's going to the shop to buy me. Oh, God, my God. Yeah. That's... He's just like us.

Right. Right. What I love about... I love a conversation. Right. And we will be right back.

And now, back to the show. Are you able at times to have the same kind of experience with your characters that some of your fans might? In other words, are you able to watch what you do? And enjoy it from an audience's point of view?

Or can you not get the separation from your experience inside the character? Oh, that's a great question. And I'd love to hear what you guys think about it. Well, start with, like, do you watch your own stuff? Or are you an actor that... Because I know both.

Both very, very good actors that watch themselves and learn from that and then others that they can't. And they won't. Well, it's different jobs sometimes. Like, this peaky blinder's phone.

Like, we had the premiere last night's in burn. We just watched it two nights ago. It's incredible. It's incredible. I can't wait to hear it. I'm there. It was very cool.

And what I was producing on that, so I was seeing the thing like 500 times. So, you know, it was a very different kind of experience watching it too. You know, when you just turn up and show as an actor for her and you do your work, and then you see it.

And some stuff I've never seen at all.

And some stuff I'm immensely proud of. But again, I mean, I feel like I try to move forward with everything. And then it's like about the next thing. Or rather than going backwards. What about you guys? What's your take on it?

I do, I do, I do, I do use it around watching your work. And listening to...

That way I wake up every morning. I can't get out of bed without it. I'll... That's where I'll... Like, what about, what about, like, on set?

Will you ever watch a little bit of playback to the end of the... That's what I was gonna... Beginning of the production, just to get a sense of how you're coming across, how they're lighting you, the lenses, or just to get a feel of the tone of it?

Yeah. Occasionally, like, particularly for technical stuff. Like, you know, like, stuff that's technical or, like, it's done to whatever.

But I know I would never go back and look at, like,

like, a big emotional stuff. But the producing thing has been interesting because it takes the curse off for a little bit. Like, yeah. You know, you...

“You look at it and you just go, oh my God, that's how you look.”

And then you just go, right? But it's important for this character to do this. And this guy has got to enter here. And she's got to say this. And we've got to cut her in there.

And then it takes the curse off of it. Sure. Well, you look at it through different lens obviously, right? So you just, like, this thing that I did last year, I spent a lot of time having to watch different cuts

and stuff and eventually got to a place where I got over watching myself and was actually able to watch it really objectively. Yes. About wait, are we telling the best version of the story?

We should go back, we should take... We are returning the best version. Is this the best thing? But all these kinds of things. And it did, as you say, sort of break the curse a little bit.

I was no longer watching my performance. I was watching a bigger thing. Yeah. No vanity, just sort of being enough. Zero or zero.

Yeah, I always think I'm slightly better looking than I actually am.

Yeah. And then I'll watch it, I'll go, nope. No, you're not. You're not at all actually. Turn it off.

Close to being what you thought you look like. I know. Well, uh, a million, well, uh, was there, I was speaking of, of, of music and then law and all this, was there ever a moment where, and thank God you didn't,

but was there ever a moment where you thought, yeah, maybe this acting thing that, let's put that in the bin as well. Let's try career path number four and go into, industry X or occupation Y.

“Did you ever think about about giving up on, on doing this?”

No, no, really after a period you kind of like, you burnt your bridges, I think. Yeah. It's not an else available really. Then during the follow periods,

obviously get really cranky and like, oh, that fucking thing. But, but, and I don't like, I'm not a writer. I'm definitely not a writer and, uh, so I did not have that, but I would go and play music

and the kind of follow bits for just, you know, and just go and just watch movies and read books,

but it is, I didn't know I never got to the stage right out.

Ah, fuck this, but I did, whenever it's stuff started to get kind of dry up and fill or television, I was very lucky to have a friend of mine called Andy Walsh who I met at an awful lot of theatre with. And we did some really great plays.

He gave me my first ever play part in a play after I saw a clock of parents when I was like, 19 to 20. And so I continued to work with him, making like new plays throughout my 30s and 40s.

And that kind of kept me sane. I think, you know, one of this stuff kind of just, people aren't calling, you know? Wow, that's great. That's great.

So you establish, like, so long ago, this collaboration, and you've managed to sort of keep it going for all these years. Yeah, I haven't done a play in a while now, because, yeah, it's kind of become a little terrifying to me.

And obviously, I'm a lizard. Because you're worried about Jason Bateman coming back stage and saying, "Yeah, I'm going to show you." Yeah, this is that. Is that what's keeping you up?

Kelly, it's me again. I just have come back for one more night. I'm busy with a good game. I want every theatre to put up Jason's picture backstage and do not let this guy back here.

Super eager will not leave. So you start going to try to do it, and they're like, "No, no, we're good." It's the main reason I did this podcast, so that we could talk about it.

I said up the warning. Is there something that you have, is there, is there some sort of advice that you have, you've gained with your experience now, that you wish you could go back and tell that dude

back then that don't worry about the fall of periods. It's going to be, is there something that you wish you would have known then that would have made

“those, those ups and those downs a bit more tolerable?”

Yeah. This was a great question. I mean, aside from, don't worry, you're going to win an Oscar one day, hang in there.

Yeah. Yeah, that would definitely lighten the mood. Yeah. I don't know. I think it's that thing about,

overthinking stuff, overthinking it, over intellectualizing everything, and not sticking to your instinct, I think, is that key thing is that I know, but what is that healthy balance?

Because I've always heard that with everything

I think we've all heard somebody say,

"Ah, you're overthinking it." But, like, isn't, how do you know what the difference is between overthinking and interpreting it amount of thinking?

It's just using the intelligence that you've been working on. You know, it's like, we work hard to be smart or at least we think that we're smart. And so, how do you know when to pull back on that?

I just don't know. Well, what's your guys' approach to, like, prepped, then, for example? Because sometimes I would get so over, it would just take up everything

and everything we all consuming. Because the whole point when you get into a scene

“is that you have to be completely free of all that.”

Yeah. No, I mean. So it's kind of counterintuitive or kind of productive to have a lot of that prepped sometimes. But, yeah, you think your duty is to do all of that.

So, what, what, what, what, what, what, what, how what have you shifted for me? It's shifted for me. It's shifted for me. I was, I was different from Jason

because I was blown away. And maybe, maybe, you do this too will. Do, do this too will. It's like, I make sure I'm off book completely

from the first time I stepped on set

or walk on on rehearsal or whatever it is. Because if I'm, if I'm having my book in my hand or whatever, I just can't be free. Like you're saying, killing to explore and being where Jason has said in the past.

Is it? Where you don't make choices. You just literally memorize the words and then you work on it and rehearsing. But I don't even memorize the words

because I, my part in the term process when I memorize has a lot to do with my imagination of, of kind of how that's going to kind of go. And I don't like to decide or, or, or start to approach a decision of how I'm going to do something.

“Until I see and understand what the other actors”

are going to be doing. Yeah. I'm just looking for, and how this scene is blocked and where it camera's going to be and all this up. Because if I predetermine how I'm going to do something

and what my faces are going to look like and they're like, you know, it might not work with what the other people are doing. We've got that book of faces.

I know you've got those memories.

Yeah. I started doing, I started memorizing in really monotone ways. It's truly, I started memorizing monotone ways and recording myself.

This is, this is true. Yeah. And with a very monotone voice that I had zero inflection and crossing out all stage direction.

Yeah. And just taking all of that away. And I did get into a situation I was working on this thing. I got there and they're like,

now you've, you've got to go and get the thing on the other side of the room. I'm like, oh, do I? I didn't even know that. You know?

But because I was. But, but actually, it was very helpful because it just happened very organically. It hadn't thought about that. And so, it's really shifted as I've got

an older, how I look at it. My preparation is so much different now than it was. And also, JB, I think about like, when we were, when we used to do a rest of development, for instance,

it was much more, Sean, it's a TV show. Yeah. It's not used to be a band. It's never seen.

Yeah. We got sued by them. I think for, I think for, when you're, when you're. I, I used to think about sort of

prepping for to do comedy, especially because it was so quick and it would happen. So that, that it didn't serve me certainly. And I know that you were similar in this way, JB,

because we did a lot of scenes together. That it was, you, you just kept it. It was all kind of just at the surface until you got there. Right.

Because that, that puts that, increases my odds of reacting to you. Yeah. Like, the audience is experiencing it. Yeah.

You know, so much about rhythm and comedy in that way. rhythm is the big thing, I think. The meaning can come after the rhythm. Or the, I guess, for you guys, like, if the, if the, the comedy or the gag or the bit that comes up.

But like, if you get into a rhythm with us in a scene. And if you, I guess if you have a pre-determined rhythm. Oh. And then how are you going to lock it when anyone else?

“Like, you can't, you, you, you need to stay nimble”

to allow for shit to happen. Yeah. But I do think it's different for a theater, because I would be the same as you, Sean, like when a, with a theater piece,

I would be completely off-book when I get to. Yeah. But you also, and here's the difference. You also have a theater. By the time you get there, you're, in, in, in, in your, in rehearsal.

I mean, Sean, I know you, for instance, in this, and also for, for, for, for, goodnight Oscar. What a show. That you, that you were completely off-book. Yeah.

And then, and then, and then, but then you get into previews. And now you've got a couple of weeks of previews and changes. And it changes. And it changes. And that starts to eat away at all your pre-determined stuff

that you have. So you don't, but you don't have that luxury when you're making a film or making a show. It's, it's, the, the performance is the one, is that day. And that's it.

Yeah. It's funny. You know, it's only, there, there is this one line where I reference a very famous musical in this current show. And one of the producers of this famous musical came to the show. And didn't like that we mentioned his musical. That he produced.

So it's a 75 minute monologue.

Just me.

“And so we had changed the one word to another musical.”

Huh. And so from the time you started all I thought about from the time the curtain opened was that one word I had to change. Yeah, sure to get it right. And I was like, oh, shit.

From the time you started. Yeah. I was like, thanks a lot, dude. Oh, yeah. Yeah.

All right. Killian 28 days later. Um, that was, uh, first film? No. No, I don't know few films in Ireland kind of small independent films in Ireland.

But this is, this is the one that, that, that, that. What a film. Yeah. Mm-hmm. Put what you want a lot of, a lot of radars.

Um, yes. And yeah. And, um, did it, did it, did it feel like, okay. I've got a little bit of wind at my back now. Um, and, uh, this, this might work out.

Mm-hmm. Yes. Or, yeah. Yeah. I think so.

At that stage, the film, like, we never expected the film to do.

Well, and it did well. But you didn't have Danny Boyle. I mean, you knew your, your odds were good, right? I mean, they were good. They were, because he's a master.

Sure. And I had like his posters of his films on my, all of my bedroom. Wow. And before I ever became an actor, and because he, they were just so cool, like, transporting and chattering.

I had a lot of different and... I mean, some masterpieces. And, um, but the thing about it was that zombie genre was, wasn't very cool. At the time, or wasn't really like, I hadn't been a kind of a zombie thing.

Right. And even though this is technically like an infection, they're not on dead. But, anyway, at that time that we shot it, like it was too, the summer of 2001. And then, then obviously, like nine alone happening.

Then I put before that star as it happened. And then, and then obviously, all those years later, like COVID happened. And it became this kind of run-eam. Yeah. It's a very prescient, right, and very good writing.

Yeah. And people went nuts for the original movie. So, yeah, it was a great start. But I went through the ring for that movie. Danny, I had like five or six auditions for that to get the parks.

It done very little at the time. Yeah. I kind of knew it was a real substantial script for Alex Garland, or the script and Danny directing it. Great writer.

Yeah.

Such a great writer and an amazing director.

What an amazing director. What was the moment from your last audition? When did you find out that you got it after going through all the auditions and being like, Jesus Christ? You remember that moment?

You remember where you were? I do, actually. I was in a, I was in a, I was in, I was in a, I was in Stansted Airport in the queue to get a Rynar flight back to Dublin. And Danny called me.

You know, how to do one of those like, on the leavely contained. Oh, yeah. So the British is very like, drop my bag and sit down and kind of put them. Yeah, it was, it was massive for me. But that movie.

It's fucking, twenty, twenty, three years ago or something. Wow. Now he, he, he talks often doesn't he about energy over perfection. Do I have that right? His, his sort of, his ammo on, on set.

“Can, can, can you explain what, what he might mean by that?”

What, what, what, what, what it's, what his direction is environment is like. What that said is like, what his, what his style is like. Sounds about right. Yeah, he, he's incredible energy and passion for it.

Like he never stops moving, he never stops.

Like he's on every single element of the, of the, of the set. And, and it's constant ideas, constant. He's constantly pushing, you know, and really pushing the actors and pushing every department. And I, I absolutely love that at that age. I don't think I'd been in, you know, working with someone who was so.

So coherent in their vision for the film, if you know what I mean. Yeah, sure, just full enthusiasm and just knows all four corners of what this scene Supposed to do and how it's supposed to be. Yeah. Yeah.

And it's infectious and every time you think, oh, I thought I was pretty good. Like, you know, you're off again. I mean, we shot that on domestic cameras. Like, these little, to remember in the early 2000s, everyone had these little cameras with. Yeah.

Like cards and them and stuff. So they're all like stuff you could buy and so that. That's what I like the most. Yeah. Yeah.

There was slightly more of as they can't remember what the format is. But anyway, it was just one of those movies that kind of clicked to them. Yeah. Yeah. A style that I would imagine is, is it wildly different than, you know,

what incredible collaboration you've had with Christopher Nolan.

“I think I was going to get projects, right?”

Incredible.

Yes or no.

“And, you know, to the extent you're comfortable talking about it, because I would assume that, you know,”

environments on sets, well, it's not assume I know. They're often private, you know, individual environments that are weird to re-describe. But it just strikes me having not many actors get to work with the same director. Six different projects. I'd imagine you guys have a bit of a shorthand and a real comfort in each other's style.

Oh, yeah. I mean, I've learned so much from Chris is completely kind of shaped my old career. I mean, it's very clear like working over 20 years. But he's absolutely remarkable. He's incredibly rigorous, incredibly precise.

But within that, there's fantastic freedom. Yeah. You know, there's only what everyone camera and this Chris and he's got this tiny little monitor that he has. It puts back. Never two cameras.

Rarely, unless there's a big set piece, you know. But he has this tiny little thing again from like the 90s until he watches his shitty little playback from the thing. But he rarely is watching because he's right beside the camera watching you.

And you'll never leave it.

You'll never leave a scene unless he feels like, you know, you're happy and he's happy. And it's, it's, I can't really explain how wonderful it is, how focused his, how fast it is. But yet it never feels fast. And like we shut up and I'm around 59 days or something like that. Wow, that's cool.

I know. So do you think that that speed or that efficiency just comes as a result of him really being precise about knowing what what he wants, what he needs. He's properly prepared and he doesn't hang around longer than he's gotten what he wants for that particular shot and off we go. Exactly. I mean, he's written the thing and he knows every single frame.

He's storyboarded all in his head.

So it's, and the thing about Nolan movies is, if when they used to be DVDs, there was never any extras because he shoots the script.

The script is the script. There's no deleted scenes. There's no extra, it's the script. And he finishes every movie, like, head a schedule on the budget. Yeah.

Do you, do you feel, having him? Yeah, it's a pretty remarkable. Having him right next to camera. And obviously you guys, because you've worked so much together, there is a comfort there.

“Do you, do you, do you get a comfort of having, do you feel that comfort of having him right there next to camera close to you?”

Yeah. There's not such thing as video about it or like, yeah. Yeah, yeah. It's like when I stand next to you well. Yeah.

You can say, you know, we're talking about comfort. No, we're talking about comfort. No, we're talking about comfort. But I mean, so, and so, so then I'm going to ask you, so you feel that. And you must, that's, yeah, it's evident in, in your work that you do with him.

And, and so I wonder if, when you go and you do work with other directors, do you ever feel that like sort of sense of not detachment? But sometimes if it is for, they are for their way or they are at video village or you not, and you don't have that sort of that proximity that relationship that's so close. Do you, do you feel the difference sometimes? And, and I don't mean this is a, it's disparage of the directors clearly. Sure.

No, I understand. No, I think it's like what we were discussing earlier.

“We, over time, you, I think it's our duty to be really, really flexible, isn't it?”

Because if you come on one set with us, and I guess the only way I will work with some directors low to her, some directors don't low to her. Some directors love, have everybody look at the manager and chat and others, you know, don't do that. So you have to kind of bend to their approach, I find, and, and I love doing that, like, and, you know, I don't particularly love rehearsal on film. But if there's a director that insists on it, I'll go for it, you know, and that goes for it. Yeah.

It's their vision, and I'm just there to serve the vision, and so I kind of like that, the adventure of it.

And I'm sure you guys are all the, the same, you know, it's like, it's always like a new circus.

And every time you get a new job, it's like this new circus and what's it going to involve and what are, what, you know, so I like that. For sure. We'll be right back. And back to the show. How do you like affecting the, the health of that circus, the harmony of that environment, depending on your level of influence on that set.

Like, you know, just even the Nolan films, for example, that there are some where you're a part of an ensemble, and then, like, Openheimer, you're, you're, you're the lead and you're, you're, you can, you can, you can affect the environment.

And be like a soldier. I think it's, it's a bit of both really isn't it, like, if, because it is funny, you say, soldier, because the whole, like, the whole of the film set is based off, like, the old military kind of set of, isn't it, like, what's your, your director and your first lady and your second lady and your third lady and, you know, everyone's got, you got number one of the calls, you number two and the call, you know, it's, and it has to work like that. And, you know, and everything comes from the top, I think, you know, the, the atmosphere and the ambiance and the vibe and the energy always, is, circulates down from the leaders, like the producers and the director and the lead actors down to everyone.

“So I think it's always nice to, I love to have a set where people are having a bit of fun and a bit of crank and, like, cranking the Irish vernacular.”

- Yeah, yeah, yeah. - We were with you. We were with you. - Okay, okay. (laughing) - Oh boy. - I wanna know how our feet loves crack. We've got our, yep.

- Kelly, how do you speak about how do you stay so fit?

You're always like, I know you're younger than us,

but I think it's crack is not a just hold us. (laughing) - You're because you have kids too, right? You're constantly working, you're constantly on the go, and but you're in incredible shape.

We'll look pretty good there, I guess. - Oh, thanks. - That's Bronzer, a lot of that's Bronzer. - Yeah, it is. I just spread it on.

“- No, I think all of you guys are very well-maintained.”

I think he was kind of part of the job and there's some forcibly or forcibly, I don't know.

- Well, there's another part of that Wikipedia incredible hints I got.

There was, is it true that you to avoid Mad Cow disease? You went vegetarian, then you started eating meat to bulk up for picky blinders, and then you stopped eating meat and you're back to vegetarian for, it didn't give me the reason for the return. - But do they have it right so far?

- That's more or less accurate. I met my wife when I was 20 and she's been a vegetarian all the time. So I was kind of became a vegetarian then, and then I did kind of, so it was more out of convenience than a vanilla meal, sort of opposition to it.

But now I do do it because I don't really want to eat animals. - But if you were to, you would make ends meet. - Thank you, Will. And that's our episode, everybody. Thank you for joining us with wonderful book.

We have made the two pieces of string connect at the bottom. - No, but you know that whole, that whole bulking up thing, I don't know all over the place, but I said this documentary once, 'cause I went vegetarian for a year to try to lower my cholesterol,

and it only dropped one point after 12 months of eating nothing, but I remember the sticks and berries, yeah. - Wasn't that one ago? - But I watched this documentary about it, I was doing it, and they made a point

that you don't need meat to bulk up, because they made a point that like gorillas are vegetarians, rhinoceros, giraffe, like these huge animals, all they eat are leaves, and you're absolutely right there. - Right, I mean, the update is that I am now like,

I've always been pescatarian, and I don't need any meat.

So that's the Wikipedia update. - So the fish, well, that's down there today. - Thanks. - You say you do the fish. - I do do the fish, yeah.

- And you're entirely right, it's very possible

“if you need to do that to a through plant protein, of course.”

- I don't know, I was just being an idiot back then. - I'm still an idiot. All right, let's talk to me about peaky blinders. Now, just how long have you been doing? How long have you been doing, sorry, Jay?

How long have you been peaky blinders before? How long have you been living in the world of peaky blinders? - So we did the show on and off, for since we shot the first season in the end of 2012. - So that's well, 14 years ago.

- So which I worked at was like a quarter of my life. - Yeah, yeah, and how have you, I'm sure you have enjoyed 'cause you could have left it earlier, but you have undoubtedly enjoyed the progression of Tommy and shaping his growth along with Stephen Knight, yes.

- Yes, but I'm curious about what you guys look, 'cause people ask me this stuff, and that old show is atage, don't quit a hit. So, but like, amen. - Yeah, like if something is working,

and people a lot of journalists will say,

- It's amazing, right? - Well, if it's incredibly high quality, like what you guys have there, and the film, my God, took it to even a higher level of production value and cinematic pleasures

just unbelievably well-directed and shot and scored and formed and lit. I mean, what a film. But yes, amen, if you've got a gig in this business, stick with it, these people that quit their series job,

because they want to be open for all the feature opportunities that they feel might be just around the corner. It's like no ding-dong. - Yeah. - You got time for those two.

- I love that character of yours. The guy who talks like this, who does the thing that this, does the thing that this, does the thing that this, is for people who need up for features. - Yeah, exactly.

“- But also, I think the thing that those people forget”

is that the features people are all watching the show. - Right. - Yeah, I think that's all. - Right, right. - Of course. - Right. - Yeah, wouldn't they be great in my film?

- Yeah, right, right. - Kelly, do you spend a lot of time in the States? - Or are you happy where you are? - I do come over for work, yeah.

I've never, I've lived other than, you know,

for jobs and things, jobs and so you love Ireland. - Well, I lived in London for a long time for, like, we lived here for 14 years and yeah. - Oh, you live in London now, I'm sorry, I think. - No, I'm sorry, sorry, I, we're back in Ireland.

Now, for about 10 years, but we did live in London for 14 years. - Oh, you got it. - And then before that, we're kind of like, you know, wherever a work would take me, I guess. - Why do I show, do you have a B, Airbnb?

- Well, no, it's been nice to have you. - You got a rental that you were to pay off the mortgage, just to cover cost, right? And what can you offer? (laughing)

- How's keep it going? - 'Cause it's a week, yeah. - Yeah, why keep it just take off? - I just think first and last and then deposit, we're good.

- No, because, no, I don't know, I'm always curious

because I love it where you are and I get, I get the draw to both, I mean, America's - I'm a brassman, right, a bowling, yeah. - Yeah, but we're kind of like, I tend to just have to follow the work

and that's the nature of it. - Yeah, we're in the circus as you say. - Yeah, and see, kind of, my friend one's called "The Circus of the Unemployables." (laughing)

(laughing) Very different, yeah, that is. - The thing I was going to ask you about about doing multiple seasons years of the same character is how much of you enjoyed having that character grow

with you because of you as killing and grown through what you've been experimenting with with Tommy. I mean, I'm sure there's a yes to all of this. So I'm not positive what the question is, which is a habit of mine.

- I know what you mean, I know what you mean.

“- Yeah, yeah, I know, I think it's a good question.”

And honestly, I don't really have a really good answer though because we just finished, we'll just finish it and it's just come on out. And I think a little bit of distance to reflect it. I think it's my initial kind of response to it is

that it was a massive gift to be able to tap that vein of writing and for it to stay that good. And for it, 'cause it was this little show on BBC2 on a Sunday night that no one had any expectations for it had no promotion or anything like that.

And it was genuinely maves by fans on the internet telling each other to watch it. - Yeah. - It just grew one of those kind of beautiful kind of freaks that happen sometimes in our business

where people just love it. And then the show gets confidence. - Yeah, it's because I mean, I would think it was because it took such a distinct point of view. There, you weren't sort of pandering to a huge audience.

You were sort of like, we're gonna make the show that we really like, we're gonna put the way we wanna shoot it, we're gonna put this music in there that we really love. And hopefully enough people like it to just keep us on the air, but we're not looking to be

some massive hit. And that type of specificity and commitment actually yielded a real, fervent fantasy. - Well, as opposed to sort of trying to retrofit it, trying to go like,

“we wanna make a show, all this audience and so how can we?”

And that's that recipe for disaster. I wanna, killing with our moments during various seasons of the show and certainly before the film, like where their moments, you're like, this is it. This is the last one and then it happened again.

Like, did you ever have those like,

were you felt like you always had always open ended?

Like, we're gonna do more. - Well, they were never, like, we only got one series

You know, I think we did maybe four and five

“one after the other, I can't really recall.”

But he all, like Steve always had it in his head

so the series begins at the end of World War One and he always had it in his head that it would end at the opening at sort of the beginning of World War Two and he's achieved that. - Yeah. - So that was such a, like, no one had,

like there's lots and lots of, you know, films about the First World War and many, many, many films about the Second World War but not so many films or TV shows that deal with Britain between the wars. - I was just, so that's where he said it.

- And in Birmingham which is like the Second City and the UK and has, it's very on specific and unique history. And so, I think because, like you say, it didn't have these ambitions to be the huge show. But yes, it, because it was so unique

that people came to it. I don't know, I just don't know why. - Yeah, well, if we all know what made ahead, everything gonna be ahead. - You are such a classy fella,

I'm sure you'd be very hesitant to take any credit. But I would guess that you can take some credit, perhaps, for the incredibly beautifully bold move of the music. - Jericho's through. (laughing)

- The music throughout the show is that, is that something that, I mean,

“given your music background, your current musical taste?”

I mean, it's just such an exciting sort of juxtaposition and, you know, that this modern, fucking punk rock throughout something that is set in, you know, World War One. - Yeah, yeah, it's just great. It was a bit of a, I guess, like, a big swing at the time.

And I ought to about her directed the first three series and he put that Nick Cave tune that Red Right hand right at the beginning of the, and it was incredibly anachronistic and it shouldn't have worked for some reason that did.

And then we were kind of off. And then all these artists throughout it, like PJ Harvey and like, very David Bowie, Radiohead and everybody started wanting to have their music on the show and giving us original music.

And it was, it's been kind of remarkable. I was just in a history privilege. - For a music nerd, it's like me, you know? - Yeah. - What a treat.

- All right, well, I'm assuming you've answered this question

a million times, but we're putting picky blinders to bed.

I will ask you, are you good? - I'm sure you're gonna take a big part of him with you. Do you, do you gonna miss him? Are you gonna miss playing that character? It's just been, you just done so much work in that skin.

- I guess I suppose I, I probably will. - Yeah, I don't think about, what do you guys feel

“about those long running shows and those characters?”

I'm curious to know what's going on in the page, right? - Yeah, yeah. - But you actually feel, I mean, are you extremely on sentimental, or do you have a great affection for them?

- My personal either limits or strategy or style, or whatever, is to find that character inside of me. It's usually way over on one side of the other of what my goalposts are, the limits of who I am.

So that person's always inside of me,

so I'll always carry that character with me a bit. I feel like if it's outside my goalpost, then I get into acting. So I gotta find, you know, there would be a version of him inside me somewhere.

What about you two fellas? - Yeah, I'm proud and excited that the fans love the character I played for so many years, but for me personally, I'm, yeah, like Chase just said, ready to move on, turn after that.

- Yeah, I'm not sentimental in that way. - Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. - You're happy to say kind of goodbye nice knowing you're next. - Yeah, I think so, yeah.

- And very proud of it, and like you said, I really proud that it had such an impact, and that the people invested so much. But yeah, yeah, it has to have a forward momentum. - It's more for me, usually it's the people

I've worked with doing it, that it's really tragic that we have to use to say goodbye to, right? That's an odd muscle that we all, unfortunately, we have to have to have to strengthen. Is he saying goodbye to these families

that we're constantly creating on sets? - That's the strange thing. - Yeah, yeah, yeah. - When you run into someone, I was just thinking about you run into people

that you worked with on something really intensely, and you see them like at a restaurant or out of the street or at something else, you know, and it's, I don't even just mean actors like anybody who's part of the filmmaking process, a production designer

and you go, oh, you're doing it.

“- You've got this, you've got this like really intense”

part of your life where you had this real, can I, where you're both doing this creative endeavor,

you're like, hey, but you've always got that,

you know what I mean? - And your family has no idea who these people are. And you've spent more time with them in the last few years than you have your actual family. And they've never met them.

- And they bring you such joy in that moment when you see them. - Yeah, yeah. - And then it's instant, there's no getting to know you again, just straight back into it because you've been through the trenches again.

- Yeah, straight. - Well, we are doing it's over. Yeah, partying shot, Shawnee? - No, I was just gonna say now when I run into you, Kylian, we worked on this together.

- We did. - So we have this moment for this experience together. - So we run into each other. - Peak blinders, the immortal man in select theaters, it already, a March 6th, it was,

and on Netflix March 20th, it, I highly recommend this thing.

“And you can't fold laundry, watching it, either.”

Put the laundry down, tuck in, and enjoy every frame

of this thing, incredible work done by in front of them

behind the cameras, just it's a stunning film. - Really, very kind, it's slowly to chat to you guys. I want to, I had loads of questions to ask you guys. - Oh, let's start. - Get yourself a podcast, invite us on.

They're handing it off. - We haven't had a gossip. - Yeah, oh, we got it. - Guys, it's a Paul Day line. - But you can gossip after I leave.

- Yeah, it's such a pleasure to meet you. - I'm not a pleasure. - Been a big fan for a long time. - It's a big fan, yeah, same, such a big fan. - Likewise, guys.

- You're the man, Kylian. - Lovely to chat to you all, and we'll do it again. - It's to enjoy your evening, get your slippers on. - Thanks, all right. - See you guys, yeah, it's nearly bedtime now.

- All right, bye, bye. - Thanks, bye, bye. - Like, well, there he is. And you know, even the most remarkable thing about his talent, that accent, completely fake.

He is actually-- - Wow. - Yeah, yeah, yeah, yeah, yeah. - Yeah, yeah, no, hi-o. - Why would we?

- Why would we? - Can't, no, hi-o. - Yeah, his dad actually was one of the people that helped help build the NFL Hall of Fame.

- Well, all that's amazing.

- Yeah, yeah, no. - No, this is a character he hasn't dropped for years. - Wow. - That's deep. - He's been being deep.

- So, wow, that's what it felt like. - Yeah, you know what? - Yeah, he's so good. - Christopher Nolan and him, like you kind of think of those two together.

And I was trying to think of it cool. So there's a lot of, there's a lot of them, like Tim Burton and Johnny Dapp. - Yeah, Leonardo DiCaprio and Mercedes. - And Martin Scorsese?

- Sure. - Yeah. - I mean, did he really talk with Mercedes? - Yeah, Tom Hanks and Spielberg did a bunch, didn't they? - Yeah, yeah, yeah, yeah.

- Yeah, yeah. - He's one of them. - Oh, here comes a joke, right? Let's see. - I thought there's leading to a buy, but no,

that was a real observation. - He was being sincere while he searches for a buy. - Where'd you go? Is there a buy website? - I don't know.

- I don't have a bunch of buy things, but, boy, that I have. - I have. - You're showing a lot of restraint, not doing any of the buy jokes at all.

- I'm not sure. - That's a good shot.

“- Oh, sh*t, did you cut, sh*t, did you key it on one?”

- I thought that this was just came to me. - I hope, you know, I hope I'm the movie, I can't wait to see the movie of our guest today. - That's great. - He's called, it's called, "Peaky Binders"

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