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Downloaded from
YTS.MX

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OK, here we go‐‐

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"Palm Springs."

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Uh‐oh!

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Here we go!

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[MUSIC PLAYING]

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Official YIFY movies site:
YTS.MX

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There's the title.

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Love this song.

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There's a goat.

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There she is.

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(SINGING) Like a movie sun.

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[MUSIC CONTINUES]

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Uh, didn't actually shoot
this during an earthquake.

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Movie magic.

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We talked about waiting
for an earthquake,

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but then decided
that we didn't have

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the budget to wait that long.

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Oh.

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Yeah.

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That was real at the end,
though‐‐ the glowing lights.

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Look at those peepers.

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That really happened.

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Good morning!

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We're gonna start
off pretty racy here.

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Uh‐oh!

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There's history here.

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That's a good leg.

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For all those kids out there,
"Brooklyn Nine‐Nine" fans

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probably don't wanna watch this.

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You don't know that.

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Are you close?

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I really can't start
sweating, babe.

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Yeah.

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I'm working on it, darling.

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OK.

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OK, I'm sorry.

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I have to get ready.

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I'm so sorry.

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It's so bright in here, too,
it's just‐‐ and your sweat.

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I'm sorry.

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You can watch me, though.

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Watch me!

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OK, that's romantic.

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What the hell?

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Oh, my god.

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Shit, shit‐‐ shit.

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Oh, my god, shit.

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The sound design here
is not distracting

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while trying to talk.

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[LAUGHTER]

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I'm finding it's helping.

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Shit.

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No offense, Ny‐Ny, but‐‐

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OK, also let's give a shout‐out
to the brilliant Meredith

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Hagner.

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Such a G.

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Such a G.

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The best.

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So funny.

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Definitely my favorite‐‐
definitely my favorite person

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that was in the movie.

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Yeah, me, too.

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It goes Meredith,
JK, June, Peter.

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Yeah, yeah.

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For me, it's you
and Meredith tied.

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Oh, interesting.

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But it's OK.

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OK, yeah.

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You kill me.

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Nyles, look‐‐ I know weddings
make you super weird,

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super uncomfortable.

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But, please, I'm begging you to
not bring our drama here, OK?

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Because this is
truly a sacred day.

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I will note‐‐

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Yes?

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‐‐that Nyles sitting
spread eagle on the bed

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was in the script.

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That was not an acting choice.

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OK, cool.

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You gonna be happy?

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Are you gonna be smiling?

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So what early clues kind of
hint that he's in a time loop?

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Well, for one, I
mean he says it very

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clearly to Jerry in the pool.

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You know, today is yesterday.

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Today, yesterday‐‐
it's all the same.

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To him, it is all the same.

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But to Jerry in the pool at
that moment, he doesn't know it.

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Got Tongayi.

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The best.

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Wonderful actor, lovely dude.

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Today, tomorrow, yesterday‐‐
it's all the same.

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I was gonna say that house
was owned by an optometrist.

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Talk more about that.

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Right?

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That's it.

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That's all I got.

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Nice try, though.

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[MUSIC PLAYING]

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Even the worst hipster would
not just go to a nice wedding

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in a Hawaiian shirt and shorts.

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So why would one
do that and crack

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a beer during the ceremony?

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Nyles is not a bad guy, so
that is a clue that something

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else is going on.

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But, no, seriously.

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OK, guys, we're all part
of this gorgeous tapestry.

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No, come on.

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Throw me a bone.

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This isn't the day
for moderation.

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It's not good wine.

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I don't care.

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It was about 30 degrees
during this scene‐‐

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It was.

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‐‐is my memory.

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And we put in some nice work in
post getting rid of the bug‐‐

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bug apocalypse
that was happening.

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Yeah.

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We happened to be‐‐

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The bugs that come
out during the cold.

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Basically, there was
like 700,000 bugs

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just hatched, right
where we were shooting

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a lot of this wedding stuff.

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Yeah.

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And they were flying
in and out of frame.

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But luckily, it was dark out.

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If you looked at any
one of the big lights

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that we had lighting
the whole scene,

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they were like covered
in bugs, almost like it

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was a beehive but grosser.

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Yeah.

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I also remember
shivering so hard for all

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of this, all of these scenes
that the next day, my back

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hurt.

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You're the maid of honor.

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It's your main job.

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(WHISPERING) She's
been drinking, Howard.

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(WHISPERING) Sarah.

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Bonsoir, mi familia!

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Et ta mich.

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Who is that?

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(WHISPERING) Nyles,
what are you doing?

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Going in for the save, babe.

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I'd like to share
my thoughts on love.

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The original movie
was constructed for,

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like, all the clues kind of
to be in the wedding speech

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and dance.

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So the wedding speech, you
kind of hear a longer version.

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But he, like, starts
calling out family

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members and things that he knows
about certain family members.

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He's kind of speaking directly
to Sarah, because he knows,

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you know‐‐ he knows
more about Sarah.

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He knows more about
Sarah's family.

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He knows a lot about
everyone at this wedding,

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and you start to
see that he is kind

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of a master of the universe.

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Their selflessness‐‐
it's in their blood.

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And Tala, there's something
that a lot of people

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here don't know about
you, but they should.

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I hope you don't mind.

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It's not just time and
money that Tala has given

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to so many charitable causes.

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She has also donated‐‐

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This speech got cut
down a lot in the end.

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It sure did.

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And there's some real
tidbits, actually, to be

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dropped here in this scene.

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There was a segment of the
speech where we introduce Nana.

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Right.

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And Jerry, and explain
the back story there.

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Yep.

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And it explains sort of
loosely why they all shukran.

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Right.

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Which is to say that Nana has
dedicated a lot of her life

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to helping people that
have been displaced.

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So Jerry, I believe, has
been adopted into her family.

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Right.

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Into the Schlieffen family.

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We may be born lost, but now‐‐

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So what were you
thinking in this scene?

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Were you like, ugh, I gotta
pretend like he's interesting

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and not a butt ugly weirdo.

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Oh, my god.

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This dance, this song‐‐

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immediately, like
I go into how many

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times we rehearsed this song.

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I know.

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I mean, the dance to this song.

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I know this song well now.

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Conner O'Malley!

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This part‐‐ he made me
laugh so hard in this,

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I can't believe you
guys got a take.

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Well, we actually stole
some of the footage of you

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laughing at Conner
and put it later

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in the movie for other reasons.

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It's mostly background actors.

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During the dance scene,
there are some plants

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that are actually dancing‐‐

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Yeah, there are a couple
of professional dancers.

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‐‐that were involved
in our rehearsals.

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Yeah.

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Yeah.

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The guy that I,
like, do this behind,

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he's incredible and helped
with the choreography.

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Yep.

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The bigger gentleman‐‐ taller,
I should say‐‐ who is very drunk

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in the scene is one of them.

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The guy who slaps my butt.

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That move when I slap
my hands over my head

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made me, like, lightly
hurt my schlong.

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[MUSIC PLAYING]

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Yeah, that sounds better.

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Yes, thank you.

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Yeah.

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I think we did five total
takes, maybe, of this?

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This first dance?

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Astonishing.

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We didn't have a lot of time.

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So this is their first meet.

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We had Nyles
sniffing at the top.

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You know, for someone who's
already seen the movie,

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you can maybe guess
he thinks he can smell

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Roy somewhere in the brush.

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That's very weird.

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Well, I know my hair mist.

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I dated a girl who
used to bathe in it.

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Also important to clock the
Orchid Explosion by Fournier,

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a brand that was made
up, and that there

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were many conversations about
what the title was gonna be.

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I believe I pitched some things,
none of which I remember.

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They were funny, though.

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We probably had like
20 to 30 options.

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Yeah.

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And that was one of
our few rehearsal days

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00:09:01,500 --> 00:09:03,010
when you came to
our office, Cristin,

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and we were running this scene.

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And we were like, what
should it be called?

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Yeah.
Nyles.

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00:09:09,220 --> 00:09:10,020
Hi.

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And ended up with Orchid
Explosion by Fournier.

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That's right.

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It definitely felt like the one.

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Yeah, it was.

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The scene with June Squibb‐‐

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June Squibb is such a G. We shot
this at 5:00 in the morning,

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this little thing right here.

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Yeah.

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5:00 in the morning.

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It was about 30 degrees out.

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We'd been shooting for hours,
and we were all freezing.

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And it was like a damp cold.

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And then June Squibb was
like, where do you want me?

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And then came and
just, like, nailed it.

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We also added a whole
scene on the spot

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that ends up later in the
movie, and she was like, OK!

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I know.

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Yep.

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And was great.

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Which we got two takes for.

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Yep.

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You're right.

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I remember being
apologetic to June,

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being like I'm so sorry
this is taking so long.

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She was like, I don't care.

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Yeah.

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00:10:03,630 --> 00:10:05,440
Like, yeah, you're
a real deal actor.

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00:10:05,440 --> 00:10:06,240
Yeah.

269
00:10:06,240 --> 00:10:07,410
Not give a what.

270
00:10:10,490 --> 00:10:12,000
I just can't handle
that right now.

271
00:10:15,360 --> 00:10:19,530
And what would Misty think
about us running off together?

272
00:10:19,530 --> 00:10:21,060
I have a feeling
she'd be OK with it.

273
00:10:21,060 --> 00:10:22,180
Oh, my god, we're so bad.

274
00:10:22,180 --> 00:10:22,980
Mm‐hmm.

275
00:10:22,980 --> 00:10:23,820
We're so bad.

276
00:10:23,820 --> 00:10:24,620
Mm.

277
00:10:24,620 --> 00:10:26,430
(WHISPERING) Oh, my god!

278
00:10:26,430 --> 00:10:27,930
I can't say I ever liked her.

279
00:10:27,930 --> 00:10:29,250
Yeah, she has her moments.

280
00:10:29,250 --> 00:10:31,610
But this one hurts.

281
00:10:31,610 --> 00:10:33,980
(WHISPERING) Why don't you
go in there and stop them?

282
00:10:33,980 --> 00:10:35,690
Trust me, there is not a
world where these two‐‐

283
00:10:35,690 --> 00:10:39,460
When he brings Sarah to‐‐

284
00:10:39,460 --> 00:10:45,190
to spy on Misty, on Misty's
tryst through the window,

285
00:10:45,190 --> 00:10:50,860
that is another big clue that
he knows what's going on.

286
00:10:50,860 --> 00:10:55,930
And especially when
he's like, you know,

287
00:10:55,930 --> 00:10:57,010
I don't need a leg up.

288
00:10:57,010 --> 00:11:01,360
When he says that line to
Sarah, timed perfectly where

289
00:11:01,360 --> 00:11:05,320
Misty says hold my leg up‐‐

290
00:11:05,320 --> 00:11:08,120
everything in there
is intentional,

291
00:11:08,120 --> 00:11:09,910
and I think those are
just some of the clues.

292
00:11:09,910 --> 00:11:10,840
Of course, you can.

293
00:11:10,840 --> 00:11:11,920
You don't need a leg up.

294
00:11:11,920 --> 00:11:13,060
Hold my leg up.

295
00:11:13,060 --> 00:11:14,740
[MOANING]

296
00:11:14,740 --> 00:11:16,580
That was weird.

297
00:11:16,580 --> 00:11:18,380
This is so fucked up.

298
00:11:18,380 --> 00:11:20,890
So fucked up.

299
00:11:20,890 --> 00:11:22,830
It's kind of hot, though.

300
00:11:22,830 --> 00:11:24,700
Don't you kiss me.

301
00:11:24,700 --> 00:11:26,595
Don't you tell me what to do.

302
00:11:26,595 --> 00:11:29,505
[MOANING]

303
00:11:29,505 --> 00:11:32,295
[OWL HOOTING]

304
00:11:34,030 --> 00:11:37,490
Oh, spicy!

305
00:11:37,490 --> 00:11:39,810
Yeah, we know how to do it.

306
00:11:39,810 --> 00:11:42,170
We know how it physically works.

307
00:11:42,170 --> 00:11:44,540
Right before we got on
those rocks to make out,

308
00:11:44,540 --> 00:11:47,300
a snake wrangler poked a couple
of the rocks and was like,

309
00:11:47,300 --> 00:11:48,170
I think it's good.

310
00:11:48,170 --> 00:11:50,850
And then we laid down on the‐‐

311
00:11:50,850 --> 00:11:54,090
Yeah, I think you're giving
his tone more credit.

312
00:11:54,090 --> 00:11:55,640
It was more like,
I think it's good?

313
00:11:55,640 --> 00:11:56,680
Yeah, that's right.

314
00:12:00,810 --> 00:12:01,725
Oh, yeah.

315
00:12:01,725 --> 00:12:02,525
Oh, yeah.

316
00:12:02,525 --> 00:12:04,770
Let's get it started.

317
00:12:04,770 --> 00:12:07,950
Man, was I waiting on this.

318
00:12:07,950 --> 00:12:09,783
In a lot of ways,
this was the moment

319
00:12:09,783 --> 00:12:11,550
in the script‐‐ when I was
first reading the script‐‐

320
00:12:11,550 --> 00:12:12,900
that I was like, oh!

321
00:12:12,900 --> 00:12:14,790
Yeah.

322
00:12:14,790 --> 00:12:15,960
I might have to do this.

323
00:12:15,960 --> 00:12:16,760
I know.

324
00:12:16,760 --> 00:12:18,990
Getting shot with an
arrow right there.

325
00:12:18,990 --> 00:12:20,640
This is like my
favorite misdirect.

326
00:12:20,640 --> 00:12:22,260
If you're like,
what is this movie?

327
00:12:22,260 --> 00:12:23,370
It's a wedding comedy.

328
00:12:23,370 --> 00:12:26,820
Oh, no!

329
00:12:26,820 --> 00:12:29,640
Perhaps a little zanier
then first thought!

330
00:12:29,640 --> 00:12:30,450
Yeah.

331
00:12:30,450 --> 00:12:31,470
Is what you said.

332
00:12:31,470 --> 00:12:33,900
That's right.

333
00:12:33,900 --> 00:12:36,570
That moment in the writing
of the script kind of

334
00:12:36,570 --> 00:12:38,070
came in late.

335
00:12:38,070 --> 00:12:39,540
The Roy character
was kind of one

336
00:12:39,540 --> 00:12:42,150
of the last things we added.

337
00:12:42,150 --> 00:12:46,507
And once we kind of realized
that and figured out that,

338
00:12:46,507 --> 00:12:47,940
you know, Nyles would
get hit with an arrow

339
00:12:47,940 --> 00:12:51,020
at the beginning, that
would be kind of the biggest

340
00:12:51,020 --> 00:12:52,170
twist in the movie so to speak.

341
00:12:52,170 --> 00:12:53,883
You think you're in one
movie, and then you‐‐ he

342
00:12:53,883 --> 00:12:55,216
gets hit with an
arrow, and you're like,

343
00:12:55,216 --> 00:12:56,749
oh, this is not what I
thought I was watching.

344
00:13:00,580 --> 00:13:03,220
Keep running, shit bird.

345
00:13:03,220 --> 00:13:05,884
I will always find you.

346
00:13:05,884 --> 00:13:08,836
[OMINOUS MUSIC]

347
00:13:22,620 --> 00:13:26,200
This scene is shot
at Bronson Caves.

348
00:13:26,200 --> 00:13:27,000
It is.

349
00:13:27,000 --> 00:13:29,550
Which is where "Batman" was.

350
00:13:29,550 --> 00:13:31,250
The old "Batman," yes.

351
00:13:31,250 --> 00:13:33,870
The old "Batman," not your
Christopher Nolan "Batman."

352
00:13:33,870 --> 00:13:36,150
No.

353
00:13:36,150 --> 00:13:37,890
And many other things.

354
00:13:37,890 --> 00:13:40,560
It's a much used cave area.

355
00:13:40,560 --> 00:13:41,595
That cave is dope.

356
00:13:44,196 --> 00:13:47,565
(WHISPERING) Wake up!

357
00:13:47,565 --> 00:13:48,365
Good morning!

358
00:13:56,520 --> 00:13:59,150
That's a good leg.

359
00:13:59,150 --> 00:14:02,440
OK, fine, but we
have to be fast.

360
00:14:02,440 --> 00:14:07,190
We started this in
2016, November 9th‐‐

361
00:14:07,190 --> 00:14:11,960
the election, all the values
that we had kind of grown up

362
00:14:11,960 --> 00:14:15,320
seemed to be just not
important anymore.

363
00:14:15,320 --> 00:14:17,450
And that's only
accelerated, but it

364
00:14:17,450 --> 00:14:19,370
was a very confusing
world where nothing

365
00:14:19,370 --> 00:14:21,480
seems to be concrete or real.

366
00:14:21,480 --> 00:14:22,280
You?

367
00:14:22,280 --> 00:14:23,990
Today's young.

368
00:14:23,990 --> 00:14:26,610
Ask me again at the end.

369
00:14:26,610 --> 00:14:28,410
Anything can happen.

370
00:14:28,410 --> 00:14:30,060
(GROWLING) You!

371
00:14:30,060 --> 00:14:33,230
What the fuck did you do to me?

372
00:14:33,230 --> 00:14:34,710
(SINGING) What the
fuck did you do to me?

373
00:14:34,710 --> 00:14:36,643
We have a "Zero Dark Thirty"
scene with the torture stuff.

374
00:14:36,643 --> 00:14:39,360
We have our "Saving Private
Scene" with beer cans.

375
00:14:39,360 --> 00:14:40,980
When Sarah comes out and
Nyles jumps in the pool

376
00:14:40,980 --> 00:14:42,213
and she throws beer
cans in the pool,

377
00:14:42,213 --> 00:14:43,770
like those should
be really flying

378
00:14:43,770 --> 00:14:47,490
through the water the way
that those bullets do when

379
00:14:47,490 --> 00:14:49,110
they're storming
Normandy beach on D‐Day

380
00:14:49,110 --> 00:14:50,100
in "Saving Private Ryan."

381
00:14:50,100 --> 00:14:52,870
That could be our "Saving
Private Ryan" scene.

382
00:14:52,870 --> 00:14:53,670
For sure.

383
00:14:53,670 --> 00:14:56,301
What the fuck is going on?

384
00:14:56,301 --> 00:14:58,270
(YELLING) You're
a sick fuck, Roy!

385
00:15:02,540 --> 00:15:05,510
[TENSE MUSIC]

386
00:15:07,985 --> 00:15:09,850
(WHISPERING) Nyles?

387
00:15:09,850 --> 00:15:10,650
Nyles!

388
00:15:10,650 --> 00:15:11,550
No, stop.

389
00:15:11,550 --> 00:15:12,590
Don't come in here!

390
00:15:12,590 --> 00:15:13,390
Are you OK?

391
00:15:13,390 --> 00:15:14,940
(YELLING) Don't come in here!

392
00:15:18,330 --> 00:15:19,130
Hello?

393
00:15:23,567 --> 00:15:26,525
[OMINOUS MUSIC]

394
00:15:28,497 --> 00:15:30,469
(WHISPERING) What the fuck?

395
00:15:33,940 --> 00:15:35,080
How many times‐‐

396
00:15:35,080 --> 00:15:36,400
This was the first
day of shooting.

397
00:15:36,400 --> 00:15:37,200
Yeah.

398
00:15:37,200 --> 00:15:39,550
How many wake‐ups did
you do, would you say?

399
00:15:39,550 --> 00:15:40,390
How many takes?

400
00:15:40,390 --> 00:15:42,610
It was our first
day, so we overshot.

401
00:15:42,610 --> 00:15:46,730
And there were a ton
of days that we needed.

402
00:15:46,730 --> 00:15:50,910
Ironically, these were the most
takes I ever got for anything,

403
00:15:50,910 --> 00:15:51,710
I would say.

404
00:15:51,710 --> 00:15:53,120
Yeah.

405
00:15:53,120 --> 00:15:54,970
I bet you we did 30 takes.

406
00:15:54,970 --> 00:15:56,840
I mean, not of the
same waking up,

407
00:15:56,840 --> 00:15:59,330
but of like sitting up in bed.

408
00:15:59,330 --> 00:16:00,810
Yeah.

409
00:16:00,810 --> 00:16:01,830
Right?

410
00:16:01,830 --> 00:16:04,710
At least.

411
00:16:04,710 --> 00:16:07,080
We spent about the
entire first half

412
00:16:07,080 --> 00:16:10,350
of the first day shooting you
waking up and your eye opening.

413
00:16:10,350 --> 00:16:14,050
Yeah, yeah.

414
00:16:14,050 --> 00:16:15,100
Are you all right?

415
00:16:15,100 --> 00:16:17,530
Oh, my god, look at everybody.

416
00:16:17,530 --> 00:16:19,920
Gallagher.

417
00:16:19,920 --> 00:16:22,030
You must have gotten up early.

418
00:16:22,030 --> 00:16:26,450
Love the detail of him having
the wet towel around his neck.

419
00:16:26,450 --> 00:16:27,250
I know.

420
00:16:27,250 --> 00:16:28,720
Was that his idea?

421
00:16:28,720 --> 00:16:31,240
I almost feel like it was
practical, like he was like,

422
00:16:31,240 --> 00:16:33,520
would anyone care if I did
this with my character?

423
00:16:33,520 --> 00:16:36,340
I'm very hot.

424
00:16:36,340 --> 00:16:39,170
I don't understand
your question.

425
00:16:39,170 --> 00:16:42,470
This‐‐ this day
already happened.

426
00:16:42,470 --> 00:16:44,470
I just think you're
the coolest, Cristin.

427
00:16:44,470 --> 00:16:45,610
Way to go, man.

428
00:16:45,610 --> 00:16:47,580
Andy, you too, man.

429
00:16:47,580 --> 00:16:49,030
Can you believe we did this?

430
00:16:49,030 --> 00:16:50,690
We made this.

431
00:16:50,690 --> 00:16:52,690
It was, like, really‐‐
it was really hard.

432
00:16:52,690 --> 00:16:54,280
Threw it together.

433
00:16:54,280 --> 00:16:55,900
It looks like a breeze
when you watch it.

434
00:16:55,900 --> 00:16:57,250
I know.

435
00:16:57,250 --> 00:17:00,550
So this was a very, very
intensive scene to shoot.

436
00:17:00,550 --> 00:17:02,500
This is the second
time we're showing it.

437
00:17:02,500 --> 00:17:05,740
But obviously, showing
above pool and under pool

438
00:17:05,740 --> 00:17:09,800
with time in between to dry
us all off, to start over

439
00:17:09,800 --> 00:17:10,677
takes and stuff.
Right.

440
00:17:10,677 --> 00:17:11,510
It took a very long time.

441
00:17:11,510 --> 00:17:13,770
Oh, my god, that's right.

442
00:17:13,770 --> 00:17:15,319
Sarah, oh, my god!

443
00:17:15,319 --> 00:17:16,720
What are you doing?

444
00:17:16,720 --> 00:17:18,220
Oh, my god, Camila crushed it.

445
00:17:18,220 --> 00:17:19,549
That was so funny.

446
00:17:19,549 --> 00:17:20,349
So funny.

447
00:17:20,349 --> 00:17:26,230
And she had a really cool,
bad‐ass stunt lady who came in.

448
00:17:26,230 --> 00:17:27,910
Pretty much broken off.

449
00:17:27,910 --> 00:17:29,320
There's one full canine.

450
00:17:29,320 --> 00:17:31,130
This is like a big
day for everyone!

451
00:17:31,130 --> 00:17:32,950
This is a big day for me, too!

452
00:17:32,950 --> 00:17:34,810
The wedding is
today, in six hours.

453
00:17:34,810 --> 00:17:37,440
(YELLING) Sarah, why are you
standing there like a freak?

454
00:17:37,440 --> 00:17:39,140
Why were you in the pool?

455
00:17:39,140 --> 00:17:41,470
This scene was a blast to film.

456
00:17:41,470 --> 00:17:44,530
I was very, very adamant that
I be allowed to throw up.

457
00:17:44,530 --> 00:17:46,780
Yep.

458
00:17:46,780 --> 00:17:48,718
It was one of the
few things I took

459
00:17:48,718 --> 00:17:51,040
a stand on, where I
was like, I will be

460
00:17:51,040 --> 00:17:52,970
throwing up in the teeth scene.

461
00:17:52,970 --> 00:17:55,900
Couldn't respect it more.

462
00:17:55,900 --> 00:17:56,840
I respect you very much.

463
00:17:56,840 --> 00:17:57,640
There it goes.

464
00:17:57,640 --> 00:17:58,830
There it is.

465
00:17:58,830 --> 00:17:59,660
Sarah, no!

466
00:18:04,720 --> 00:18:07,070
Guess you followed me.

467
00:18:07,070 --> 00:18:07,870
What's going on?

468
00:18:07,870 --> 00:18:10,180
Well, the beer is
a fictional beer

469
00:18:10,180 --> 00:18:15,490
that Max and Andy Siara
and our production

470
00:18:15,490 --> 00:18:18,325
designer, Jason Kisvarday,
came up with together.

471
00:18:21,790 --> 00:18:24,800
It's got a hidden
message on it, kinda.

472
00:18:24,800 --> 00:18:26,680
The tortoise that's on
it is representative

473
00:18:26,680 --> 00:18:33,280
of a myth about all of
the universe and such.

474
00:18:33,280 --> 00:18:34,080
Yeah.

475
00:18:34,080 --> 00:18:36,220
Did you keep any?

476
00:18:36,220 --> 00:18:37,020
No.

477
00:18:37,020 --> 00:18:38,190
I mean, they're
filled with water.

478
00:18:38,190 --> 00:18:40,820
I think Max and Andy each
have a couple of them.

479
00:18:40,820 --> 00:18:42,300
That's cool.

480
00:18:42,300 --> 00:18:45,600
I keep wanting a beer company,
even if it's a small one.

481
00:18:45,600 --> 00:18:48,300
I'm appealing to anyone out
there who's a beer company.

482
00:18:48,300 --> 00:18:49,350
Yeah.

483
00:18:49,350 --> 00:18:52,870
To give us a call and be like,
I wanna make that beer for real.

484
00:18:52,870 --> 00:18:54,750
Yeah.

485
00:18:54,750 --> 00:18:57,840
But just know‐‐ just
know that it's not gonna

486
00:18:57,840 --> 00:18:59,700
be like a super dense IPA.

487
00:18:59,700 --> 00:19:04,020
It's gotta be like a really
light, watery summertime beer

488
00:19:04,020 --> 00:19:07,370
that you just want ice cold.

489
00:19:07,370 --> 00:19:08,470
You don't wanna go there.

490
00:19:13,420 --> 00:19:16,390
[MUSIC PLAYING]

491
00:19:38,780 --> 00:19:43,545
So here is Cristin pretending
to be really hot in the desert‐‐

492
00:19:43,545 --> 00:19:44,345
temperature.

493
00:19:44,345 --> 00:19:45,663
He means physically.

494
00:19:45,663 --> 00:19:47,180
I know he means physically.

495
00:19:47,180 --> 00:19:49,070
He said it, and it's
on‐‐ it's on film.

496
00:19:49,070 --> 00:19:50,180
No, temperature hot!

497
00:19:50,180 --> 00:19:53,720
Yep, he said Cristin is in the
desert pretending to be hot.

498
00:19:53,720 --> 00:19:55,730
I have no opinion
one way or the other

499
00:19:55,730 --> 00:19:56,870
on your physical appearance.

500
00:19:56,870 --> 00:19:58,918
It was purely about temperature.

501
00:20:02,510 --> 00:20:03,310
Where‐‐

502
00:20:06,240 --> 00:20:10,580
I told you, you gotta wait.

503
00:20:10,580 --> 00:20:12,140
No matter what we
did, it would never

504
00:20:12,140 --> 00:20:15,440
be completely different
from things like "Groundhog

505
00:20:15,440 --> 00:20:17,800
Day" and "Edge of Tomorrow."

506
00:20:17,800 --> 00:20:21,200
And now we have
wonderful new stuff

507
00:20:21,200 --> 00:20:24,360
like "Russian Doll" and "Happy
Death Day" and all that.

508
00:20:24,360 --> 00:20:29,480
So, you know, in a way we
use that to our advantage,

509
00:20:29,480 --> 00:20:30,290
I like to think.

510
00:20:30,290 --> 00:20:32,930
And Andy Siara, especially
when he was writing it,

511
00:20:32,930 --> 00:20:35,330
did, where we just
kinda gave the audience

512
00:20:35,330 --> 00:20:37,640
the credit of assuming
they have seen those

513
00:20:37,640 --> 00:20:39,470
and know how it works.

514
00:20:39,470 --> 00:20:44,060
Tried to sort of skip past a
lot of the setup parts of that

515
00:20:44,060 --> 00:20:45,410
and start a little deeper in.

516
00:20:45,410 --> 00:20:47,450
And certainly with
my character, he's

517
00:20:47,450 --> 00:20:48,950
been in it for a
long time, which

518
00:20:48,950 --> 00:20:51,560
we felt like was
a nice twist on it

519
00:20:51,560 --> 00:20:53,180
and allowed for a
lot of different kind

520
00:20:53,180 --> 00:20:58,400
of comedic bits and
different dramatic dynamics.

521
00:20:58,400 --> 00:21:00,440
Goes back to the start.

522
00:21:00,440 --> 00:21:03,200
But will this day
end if I go in there?

523
00:21:03,200 --> 00:21:04,220
Sure, for you.

524
00:21:07,130 --> 00:21:08,570
You're wasting your time!

525
00:21:08,570 --> 00:21:11,552
[MUSIC PLAYING]

526
00:21:18,520 --> 00:21:20,200
It's gonna be a
beautiful wedding.

527
00:21:25,020 --> 00:21:28,880
(WHISPERING) Wake up!

528
00:21:28,880 --> 00:21:30,330
Good morning!

529
00:21:30,330 --> 00:21:33,258
[MUSIC PLAYING]

530
00:21:39,610 --> 00:21:41,920
This is some of our
first really awesome

531
00:21:41,920 --> 00:21:45,010
scoring, music score
made by Matthew Compton,

532
00:21:45,010 --> 00:21:46,140
also known as Cornbread.

533
00:21:46,140 --> 00:21:47,420
So good.

534
00:21:47,420 --> 00:21:50,500
He really did a great job.

535
00:21:50,500 --> 00:21:52,290
There's a lot of
debate about how long

536
00:21:52,290 --> 00:21:57,000
Nyles and Sarah have been
stuck there at any given time.

537
00:21:57,000 --> 00:22:02,220
Certainly, he's been there
an insanely long time.

538
00:22:02,220 --> 00:22:05,430
We've never‐‐ we've never
fully said for sure, you know?

539
00:22:05,430 --> 00:22:08,850
There's times where people were
like, it's like 50 to 70 years.

540
00:22:08,850 --> 00:22:12,400
But then it was also like, but
maybe like 150 to 300 years.

541
00:22:12,400 --> 00:22:13,200
Yeah.

542
00:22:13,200 --> 00:22:15,870
And then at other times, it
was like there's a chance

543
00:22:15,870 --> 00:22:18,540
it's been like 1,000 years.

544
00:22:18,540 --> 00:22:19,620
Yeah, I know.

545
00:22:19,620 --> 00:22:22,730
I like that we don't know.

546
00:22:22,730 --> 00:22:23,530
I agree.

547
00:22:23,530 --> 00:22:25,200
I think it helps to
not know, because you

548
00:22:25,200 --> 00:22:27,700
just fill in the blanks with
your imagination to fit‐‐

549
00:22:27,700 --> 00:22:28,500
Yeah.

550
00:22:28,500 --> 00:22:30,390
‐‐you know, how it feels to you.

551
00:22:30,390 --> 00:22:34,080
I think with Nyles,
it almost doesn't

552
00:22:34,080 --> 00:22:37,080
matter as long as you know
it's been a super long time.

553
00:22:37,080 --> 00:22:39,520
Because at a certain
point, he gave up‐‐

554
00:22:39,520 --> 00:22:40,320
Yeah.

555
00:22:40,320 --> 00:22:42,990
‐‐and has been drifting for‐‐

556
00:22:42,990 --> 00:22:45,810
you know, if it was 50
years of doing nothing

557
00:22:45,810 --> 00:22:47,820
and the same thing every day
of just floating and drinking

558
00:22:47,820 --> 00:22:50,310
beer, or if it was 1,000‐‐

559
00:22:50,310 --> 00:22:51,450
Right.

560
00:22:51,450 --> 00:22:54,220
‐‐nothing internally and
emotionally and spiritually has

561
00:22:54,220 --> 00:22:55,020
changed for him.

562
00:22:55,020 --> 00:22:57,840
He's just broken and drifting.

563
00:22:57,840 --> 00:22:59,970
We've been saying‐‐
I like between 40

564
00:22:59,970 --> 00:23:01,800
years and 40 million years.

565
00:23:01,800 --> 00:23:03,450
That's like the sweet spot.

566
00:23:03,450 --> 00:23:06,970
But I will definitely say
it's long enough for him

567
00:23:06,970 --> 00:23:07,770
to remember.

568
00:23:07,770 --> 00:23:09,680
And he also drinks
too much, so that

569
00:23:09,680 --> 00:23:10,680
does something to your memory.

570
00:23:10,680 --> 00:23:17,340
But long enough for him
to forget who he was,

571
00:23:17,340 --> 00:23:19,410
in large part, in real life.

572
00:23:19,410 --> 00:23:21,030
We never‐‐ we never mapped out.

573
00:23:21,030 --> 00:23:23,310
I know there was‐‐

574
00:23:23,310 --> 00:23:27,960
and I think that's something
I loved, too, about the movie.

575
00:23:27,960 --> 00:23:29,310
There are a number
of days that pass,

576
00:23:29,310 --> 00:23:32,490
but also it's very episodic in
that you're cutting in and out

577
00:23:32,490 --> 00:23:35,370
of time, into different scenes,
and there's no real explanation

578
00:23:35,370 --> 00:23:36,520
for how much time is passing.

579
00:23:36,520 --> 00:23:37,320
You goof.

580
00:23:40,200 --> 00:23:41,000
Wait, what?

581
00:23:43,670 --> 00:23:45,240
I don't know what it is.

582
00:23:45,240 --> 00:23:47,270
It could be life,
it could be death.

583
00:23:47,270 --> 00:23:48,140
It might be a dream.

584
00:23:48,140 --> 00:23:48,980
I might be imagining.

585
00:23:48,980 --> 00:23:50,330
You might be imagining me.

586
00:23:50,330 --> 00:23:52,380
It could be purgatory or a
glitch in the simulation.

587
00:23:52,380 --> 00:23:53,480
This is when we started‐‐

588
00:23:53,480 --> 00:23:55,450
we did days of just the
two of us in this car‐‐

589
00:23:55,450 --> 00:23:56,250
Yeah.

590
00:23:56,250 --> 00:23:57,860
‐‐which were some of my most‐‐

591
00:23:57,860 --> 00:23:59,390
like, my fondest memories.

592
00:23:59,390 --> 00:24:00,470
Same.

593
00:24:00,470 --> 00:24:01,400
It was when we started‐‐

594
00:24:01,400 --> 00:24:03,230
Just being in that
dusty car together.

595
00:24:03,230 --> 00:24:04,530
‐‐getting into it.

596
00:24:04,530 --> 00:24:06,530
It was some real acting
going on, you know?

597
00:24:06,530 --> 00:24:07,970
Nothing matters.

598
00:24:07,970 --> 00:24:09,350
Well, then, what's
the point of living?

599
00:24:09,350 --> 00:24:13,100
Well, we kind of have
no choice but to live.

600
00:24:13,100 --> 00:24:16,940
So I think your best
bet is just to learn

601
00:24:16,940 --> 00:24:20,280
how to suffer existence.

602
00:24:20,280 --> 00:24:21,630
So we can't die.

603
00:24:21,630 --> 00:24:23,430
No, the loop just starts over.

604
00:24:23,430 --> 00:24:24,840
There might be some
way to kill yourself,

605
00:24:24,840 --> 00:24:25,950
but I haven't figured it out.

606
00:24:25,950 --> 00:24:29,730
And I've done a
lot of suicides‐‐

607
00:24:29,730 --> 00:24:31,120
so many.

608
00:24:31,120 --> 00:24:34,050
No‐‐ no, I'm gonna
get out of this.

609
00:24:38,585 --> 00:24:39,385
Suit yourself.

610
00:24:41,820 --> 00:24:42,620
What are you doing?

611
00:24:42,620 --> 00:24:44,860
Bracing for a quick death.

612
00:24:44,860 --> 00:24:48,170
I mean, we can't die,
but pain is very real.

613
00:24:48,170 --> 00:24:51,040
There's nothing worse than
slowly dying in the ICU.

614
00:24:51,040 --> 00:24:52,600
This is another scene
in the script that

615
00:24:52,600 --> 00:24:53,770
made me want to do the movie.

616
00:24:53,770 --> 00:24:55,450
I just love that whole convo.

617
00:24:55,450 --> 00:24:57,040
We could just skip
this whole phase.

618
00:24:57,040 --> 00:25:01,240
That level of‐‐ of having
given himself over to it.

619
00:25:01,240 --> 00:25:03,295
Whatever.

620
00:25:03,295 --> 00:25:04,780
[HORN HONKING]

621
00:25:04,780 --> 00:25:06,265
See you tomorrow.

622
00:25:06,265 --> 00:25:07,750
(WHISPERING) Wake up!

623
00:25:10,720 --> 00:25:15,220
Yeah, that‐‐ that is
definitely Nyles' escape,

624
00:25:15,220 --> 00:25:17,620
and it's kind of
a nice microcosm.

625
00:25:17,620 --> 00:25:21,910
You know, it kind of
reaffirms when we meet him,

626
00:25:21,910 --> 00:25:23,710
he's the master of this
universe at the wedding.

627
00:25:23,710 --> 00:25:25,660
But we're really not quite
sure what's going on.

628
00:25:25,660 --> 00:25:30,400
So when he takes Sarah to the
bar and is able to kind of mess

629
00:25:30,400 --> 00:25:34,330
with Darla and take the
guy's hat, it kind of just

630
00:25:34,330 --> 00:25:36,910
hammers on that idea that this
guy has been here way too long

631
00:25:36,910 --> 00:25:42,140
and knows kind of how everything
plays out in the universe.

632
00:25:42,140 --> 00:25:45,400
That's the first film Andy
Siara and I made together

633
00:25:45,400 --> 00:25:46,330
in film school, actually.

634
00:25:46,330 --> 00:25:49,960
It was set at a dive bar as a
hurricane was passing through,

635
00:25:49,960 --> 00:25:51,640
and everybody was
kind of taking refuge.

636
00:25:51,640 --> 00:25:56,690
So maybe that's an enduring
setting and theme for us.

637
00:25:56,690 --> 00:25:59,860
It just is‐‐ if you go to a
good dive bar, there's endless‐‐

638
00:25:59,860 --> 00:26:02,080
I feel like there's stories
about those characters,

639
00:26:02,080 --> 00:26:05,560
definitely Darla,
within that dive bar.

640
00:26:05,560 --> 00:26:06,570
There's just endless stories.

641
00:26:06,570 --> 00:26:08,020
So it's a great
setting for color

642
00:26:08,020 --> 00:26:12,970
and also just that idea
of running a dance number

643
00:26:12,970 --> 00:26:15,280
through there seems
so outrageous,

644
00:26:15,280 --> 00:26:17,350
but I think that's
what made it fun.

645
00:26:17,350 --> 00:26:20,630
Cousin of the Schlieffen clan.

646
00:26:20,630 --> 00:26:22,390
That's about all I
know about the dude.

647
00:26:22,390 --> 00:26:25,810
Yeah, but why was he
trying to kill you?

648
00:26:30,810 --> 00:26:38,690
One night, a very long time
ago, I partied with Roy.

649
00:26:38,690 --> 00:26:41,120
This was back in the early days
before I'd really acquainted

650
00:26:41,120 --> 00:26:42,750
myself with everyone.

651
00:26:42,750 --> 00:26:44,300
I was just feeling
my way through it.

652
00:26:44,300 --> 00:26:45,277
That tuna?

653
00:26:45,277 --> 00:26:46,077
Yes, sir.

654
00:26:50,750 --> 00:26:54,020
I know you know, but you
don't know that I know.

655
00:26:54,020 --> 00:26:54,980
Or do you know?

656
00:26:54,980 --> 00:26:56,930
Do you ever wonder if
people think you're boring?

657
00:26:56,930 --> 00:26:58,490
(WHISPERING) What?

658
00:26:58,490 --> 00:27:01,220
Are you being a dick
to the bartender?

659
00:27:01,220 --> 00:27:03,200
I would like a Moscato, please.

660
00:27:03,200 --> 00:27:04,580
Sure.

661
00:27:04,580 --> 00:27:06,470
What might have been and
what has been point to one

662
00:27:06,470 --> 00:27:08,465
end, which is always present.

663
00:27:11,410 --> 00:27:13,620
Second thought, make that
two shots of bourbon, please.

664
00:27:18,950 --> 00:27:22,950
This moment was improvised
between JK and myself.

665
00:27:22,950 --> 00:27:23,750
I like your hat.

666
00:27:23,750 --> 00:27:25,130
Of course, you do.

667
00:27:25,130 --> 00:27:27,810
There you go.

668
00:27:27,810 --> 00:27:28,925
I like you're hat.

669
00:27:28,925 --> 00:27:30,410
Of course, you do.

670
00:27:30,410 --> 00:27:33,580
Oh, man, I love him.

671
00:27:33,580 --> 00:27:35,970
Here they are!

672
00:27:35,970 --> 00:27:38,460
So JK Simmons, obviously,
is a national treasure.

673
00:27:41,110 --> 00:27:44,440
I worked with him on the
film "I Love You, Man."

674
00:27:44,440 --> 00:27:46,680
He played me and
Paul Rudd's dad‐‐

675
00:27:46,680 --> 00:27:47,710
name drop.

676
00:27:47,710 --> 00:27:55,050
And we have stayed in touch and
our friendly, and I love him.

677
00:27:55,050 --> 00:27:56,910
And when we were
thinking about casting,

678
00:27:56,910 --> 00:28:00,270
we were all holy shit‐‐
what if JK would play Roy?

679
00:28:00,270 --> 00:28:01,920
That would be pretty
much the greatest

680
00:28:01,920 --> 00:28:03,330
thing that ever happened.

681
00:28:03,330 --> 00:28:07,650
So I was all, hey, man,
do you think you'd ever

682
00:28:07,650 --> 00:28:10,800
want to do another indie, dude?

683
00:28:10,800 --> 00:28:13,620
Hey, man, you like
making movies?

684
00:28:13,620 --> 00:28:15,690
You like shooting
in the cold desert?

685
00:28:15,690 --> 00:28:17,010
You like shooting
in a hot desert?

686
00:28:17,010 --> 00:28:18,960
You can have both on this.

687
00:28:18,960 --> 00:28:19,760
Hey, man!

688
00:28:23,898 --> 00:28:26,010
(WHISPERING) We're in the
shit, we're in the shit.

689
00:28:26,010 --> 00:28:29,860
We are the shit, we are‐‐

690
00:28:29,860 --> 00:28:30,660
we're alive.

691
00:28:30,660 --> 00:28:33,612
[MUSIC PLAYING]

692
00:28:35,580 --> 00:28:37,920
Shooting that stuff with
JK was the best, man.

693
00:28:37,920 --> 00:28:41,090
Part of, I think, why he
wanted to do the movie‐‐

694
00:28:41,090 --> 00:28:43,140
it's that montage
and then, you know,

695
00:28:43,140 --> 00:28:46,990
the scene at the end, the
find your Irvine and all

696
00:28:46,990 --> 00:28:49,590
that I think really moved him.

697
00:28:49,590 --> 00:28:53,940
But when he told me he
was thinking about it,

698
00:28:53,940 --> 00:28:57,990
he said he sent moments from
that montage to friends of his,

699
00:28:57,990 --> 00:28:59,910
to be like man, I think
I gotta do this movie.

700
00:28:59,910 --> 00:29:01,860
It's so nuts!

701
00:29:01,860 --> 00:29:03,660
And certainly, for
me, I just loved

702
00:29:03,660 --> 00:29:06,030
knowing that it would be
he and I. The fact that

703
00:29:06,030 --> 00:29:08,850
were already kind of buddies‐‐

704
00:29:08,850 --> 00:29:11,460
it adds an element
of fun to it, of him,

705
00:29:11,460 --> 00:29:14,520
like, torturing me and
making me miserable

706
00:29:14,520 --> 00:29:16,410
and shooting me with
an arrow while I

707
00:29:16,410 --> 00:29:18,480
run naked through the desert
and that kind of stuff.

708
00:29:18,480 --> 00:29:22,230
It just made it funnier
to me, for some reason.

709
00:29:22,230 --> 00:29:23,760
And especially just
somebody like him

710
00:29:23,760 --> 00:29:26,910
who has so much gravitas
and, like, people know

711
00:29:26,910 --> 00:29:29,940
he's such an esteemed actor‐‐
seeing him really get loose

712
00:29:29,940 --> 00:29:33,960
and doing something kind of so
dark and silly was exciting,

713
00:29:33,960 --> 00:29:36,450
I think.

714
00:29:36,450 --> 00:29:38,220
That was a mistake.

715
00:29:38,220 --> 00:29:39,880
When Roy found out
about his new life,

716
00:29:39,880 --> 00:29:42,150
he did not take it lightly.

717
00:29:42,150 --> 00:29:44,370
Luckily, he lives in Irvine
and wakes up there every day,

718
00:29:44,370 --> 00:29:48,420
so he only comes around
once every few days.

719
00:29:48,420 --> 00:29:49,620
Or weeks, I don't know.

720
00:29:49,620 --> 00:29:51,570
My sense of time
is a little fuzzy.

721
00:29:51,570 --> 00:29:52,620
But what does he want?

722
00:29:52,620 --> 00:29:53,790
I think he thinks‐‐

723
00:29:53,790 --> 00:29:55,050
Yeah, I went full butt.

724
00:29:58,200 --> 00:30:00,390
We shot the running away and
getting shot with the arrow

725
00:30:00,390 --> 00:30:04,290
naked thing with one
of my stunt doubles,

726
00:30:04,290 --> 00:30:07,920
Seth, who has a significantly
better looking butt than me.

727
00:30:07,920 --> 00:30:10,830
And then we shot mine, just
in case you could tell.

728
00:30:10,830 --> 00:30:16,760
And you couldn't totally
tell, but my butt was funnier.

729
00:30:16,760 --> 00:30:18,180
Amen to that.

730
00:30:18,180 --> 00:30:20,260
I tied my tubes at 40.

731
00:30:20,260 --> 00:30:21,060
Yeah.

732
00:30:21,060 --> 00:30:22,560
You have to confront him, right?

733
00:30:22,560 --> 00:30:25,470
I mean, you cannot keep running
from this person forever.

734
00:30:25,470 --> 00:30:26,830
What are you talking about?

735
00:30:29,530 --> 00:30:31,660
Of course, I can.

736
00:30:31,660 --> 00:30:32,460
Come on.

737
00:30:32,460 --> 00:30:34,170
Burrito truck just opened.

738
00:30:34,170 --> 00:30:35,160
That's for you.

739
00:30:35,160 --> 00:30:36,430
Keep the change, OK?

740
00:30:36,430 --> 00:30:37,530
But you have to
promise me you're

741
00:30:37,530 --> 00:30:39,210
gonna spend it all today.

742
00:30:39,210 --> 00:30:40,890
Any time anything
gets too serious,

743
00:30:40,890 --> 00:30:46,320
it's like I have
the tendency to just

744
00:30:46,320 --> 00:30:48,490
push it to the other direction.

745
00:30:48,490 --> 00:30:52,770
So if anything sounds a little
too pretentious, I will‐‐

746
00:30:52,770 --> 00:30:54,750
it's good to, like, throw
a banana peel out there

747
00:30:54,750 --> 00:30:56,310
and have a person slip
on the banana peel.

748
00:30:56,310 --> 00:31:00,750
So nothing gets
too, too serious.

749
00:31:00,750 --> 00:31:03,780
Max and I would always
talk about having

750
00:31:03,780 --> 00:31:05,820
one foot on a banana peel
and the other in the grave,

751
00:31:05,820 --> 00:31:11,850
so that you go from moments
of slapstick to, you know‐‐

752
00:31:11,850 --> 00:31:13,800
trying to touch on
something that is maybe

753
00:31:13,800 --> 00:31:15,630
under the surface a little bit.

754
00:31:15,630 --> 00:31:16,733
Daisy, the bar keep.

755
00:31:16,733 --> 00:31:18,300
So the last thing we
actually shot of the movie

756
00:31:18,300 --> 00:31:22,470
was Jena Friedman, who
plays Daisy the bartender‐‐

757
00:31:22,470 --> 00:31:26,430
their moment together in
the car, Nyles and Daisy.

758
00:31:26,430 --> 00:31:29,730
We let the camera roll and
did like 15 minutes of improv.

759
00:31:29,730 --> 00:31:31,860
That was really fun.

760
00:31:31,860 --> 00:31:37,650
All the‐‐ all the sex flashes
when Nyles is describing

761
00:31:37,650 --> 00:31:40,560
his hookup history
within the bubble

762
00:31:40,560 --> 00:31:46,850
were very fun to go and shoot,
just because you got to squeeze

763
00:31:46,850 --> 00:31:50,780
in a little intimate moment
with Peter Gallagher, you know,

764
00:31:50,780 --> 00:31:52,460
one day and then Tongayi.

765
00:31:52,460 --> 00:31:53,270
Jerry Schlieffen?

766
00:31:53,270 --> 00:31:54,930
Well, he fucked me.

767
00:31:54,930 --> 00:31:56,030
He put his penis
in my butt hole.

768
00:31:56,030 --> 00:31:56,990
Yeah, I know how it works.

769
00:31:56,990 --> 00:31:58,250
I really thought I'd try it.

770
00:31:58,250 --> 00:32:00,290
He's a sweet guy.

771
00:32:00,290 --> 00:32:01,580
Nice shot.

772
00:32:01,580 --> 00:32:02,620
And that's it?

773
00:32:02,620 --> 00:32:03,420
That's all you got?

774
00:32:03,420 --> 00:32:07,820
Oh, your dad.

775
00:32:07,820 --> 00:32:08,630
What are we doing?

776
00:32:11,420 --> 00:32:12,580
I don't know.

777
00:32:12,580 --> 00:32:13,570
No, I'm just kidding.

778
00:32:13,570 --> 00:32:14,900
Oh, my god.

779
00:32:14,900 --> 00:32:16,190
I got you, though.

780
00:32:16,190 --> 00:32:16,990
You did.

781
00:32:16,990 --> 00:32:18,410
What about you?

782
00:32:18,410 --> 00:32:20,500
What's going on
with your sex life?

783
00:32:20,500 --> 00:32:23,590
This thing started
out of film school,

784
00:32:23,590 --> 00:32:25,780
us just wanting to go
make something together,

785
00:32:25,780 --> 00:32:28,450
taking a trip out to
the desert, coming back

786
00:32:28,450 --> 00:32:31,570
with the idea of Nyles
being in the throes

787
00:32:31,570 --> 00:32:34,210
of a very busy wedding season.

788
00:32:34,210 --> 00:32:37,960
Me feeling, at the time, very
uncomfortable with commitment,

789
00:32:37,960 --> 00:32:40,570
and Andy having just gotten
married in Palm Springs.

790
00:32:40,570 --> 00:32:44,260
And then, I think, kind
of staring down the barrel

791
00:32:44,260 --> 00:32:48,400
at the rest of his life
and grappling with what

792
00:32:48,400 --> 00:32:49,810
that kind of commitment meant.

793
00:32:49,810 --> 00:32:54,660
And us in a room working on
this idea of developing it,

794
00:32:54,660 --> 00:32:57,900
pushing through drafts, kind
of acting as each other's

795
00:32:57,900 --> 00:32:59,250
therapists.

796
00:32:59,250 --> 00:33:01,350
That's, I think, where
that emotion comes from.

797
00:33:01,350 --> 00:33:06,630
And Andy it's just so
emotionally honest and talented

798
00:33:06,630 --> 00:33:12,810
and funny that it was about
throwing all of ourselves

799
00:33:12,810 --> 00:33:15,060
at each other, every
idea that we ever wanted

800
00:33:15,060 --> 00:33:18,030
to see in a movie at the
wall, while figuring out who

801
00:33:18,030 --> 00:33:21,120
these two principal characters
were that allowed us to kind

802
00:33:21,120 --> 00:33:23,250
of mine those emotional depths.

803
00:33:23,250 --> 00:33:25,630
(WHISPERING) Oh, my god.

804
00:33:25,630 --> 00:33:27,230
Maybe it's a karma thing.

805
00:33:27,230 --> 00:33:28,080
What is?

806
00:33:28,080 --> 00:33:28,880
Yeah.

807
00:33:28,880 --> 00:33:33,390
What if it's like, to get out
of this you have to be selfless,

808
00:33:33,390 --> 00:33:34,260
and then you're free?

809
00:33:34,260 --> 00:33:36,780
It's about $100 a candy
bar, and I'm still here.

810
00:33:36,780 --> 00:33:39,150
Yeah, but not like that‐‐ like
real acts of selflessness,

811
00:33:39,150 --> 00:33:40,980
like the bone marrow
shit that Tala does.

812
00:33:40,980 --> 00:33:42,160
You know, look‐‐ what if‐‐

813
00:33:42,160 --> 00:33:44,460
oh, my god, what if life just
keeps going for everyone else?

814
00:33:44,460 --> 00:33:46,800
Everybody kind of
inherently understood what

815
00:33:46,800 --> 00:33:48,240
the North Star tonally was.

816
00:33:48,240 --> 00:33:50,520
So because of
that, we just tried

817
00:33:50,520 --> 00:33:52,720
to play every moment as
straight as possible,

818
00:33:52,720 --> 00:33:54,390
especially because
the time limit

819
00:33:54,390 --> 00:33:55,800
concept was so heightened.

820
00:33:55,800 --> 00:33:57,450
So it was always about
keeping it grounded

821
00:33:57,450 --> 00:34:00,510
and kind of telling the human
story within this world.

822
00:34:00,510 --> 00:34:05,190
That being said, you do one
take with a certain energy,

823
00:34:05,190 --> 00:34:08,969
and you get something that
feels offbeat and right.

824
00:34:08,969 --> 00:34:12,929
You'll try a different
take that is completely

825
00:34:12,929 --> 00:34:15,750
a different emotion
to kind of then

826
00:34:15,750 --> 00:34:20,219
give yourself options in the
cutting room, to calibrate

827
00:34:20,219 --> 00:34:23,429
a happy moment or a sad moment
or a slapstick moment or kind

828
00:34:23,429 --> 00:34:25,440
of a more downbeat moment.

829
00:34:25,440 --> 00:34:27,360
It's all about
getting everything

830
00:34:27,360 --> 00:34:29,310
that you can to
then give yourself

831
00:34:29,310 --> 00:34:33,659
options to construct
a moment to fit

832
00:34:33,659 --> 00:34:35,317
what you want people to feel.

833
00:34:35,317 --> 00:34:38,239
[MUSIC PLAYING]

834
00:34:50,920 --> 00:34:53,380
I‐‐ I do think what
makes this movie so good

835
00:34:53,380 --> 00:34:55,330
is that I would probably‐‐

836
00:34:55,330 --> 00:34:57,940
like you would just bang
your head against a wall.

837
00:34:57,940 --> 00:34:59,230
You would do all
the same things.

838
00:34:59,230 --> 00:35:03,160
You would attempt to try to
kill yourself to get out of it.

839
00:35:03,160 --> 00:35:04,540
You would attempt
to do every drug.

840
00:35:04,540 --> 00:35:06,100
You would eat
everything you want.

841
00:35:06,100 --> 00:35:07,690
You would try to
sleep with people.

842
00:35:07,690 --> 00:35:09,650
You would just‐‐ it
would be madness.

843
00:35:09,650 --> 00:35:10,450
I don't know.

844
00:35:10,450 --> 00:35:15,275
I mean, this is my nightmare,
to get stuck in a time loop.

845
00:35:15,275 --> 00:35:16,250
Honestly.

846
00:35:16,250 --> 00:35:18,220
I should never have
left the Great Lakes!

847
00:35:18,220 --> 00:35:19,390
This place is a nightmare!

848
00:35:19,390 --> 00:35:20,190
It's all right.

849
00:35:20,190 --> 00:35:21,310
It's all right, Randy.

850
00:35:21,310 --> 00:35:22,390
Everything is great.

851
00:35:22,390 --> 00:35:23,740
Sorry!

852
00:35:23,740 --> 00:35:25,840
I would try to
leave, if I could.

853
00:35:25,840 --> 00:35:27,640
Well, yeah.

854
00:35:27,640 --> 00:35:29,590
I would probably idle
there for a few years

855
00:35:29,590 --> 00:35:31,150
and, like, catch up
on all the shows.

856
00:35:31,150 --> 00:35:32,620
What the hell did
you say to her?

857
00:35:32,620 --> 00:35:34,540
Sister stuff, but
I think I'm good.

858
00:35:34,540 --> 00:35:36,620
But are you stuck in
the time of the shows?

859
00:35:36,620 --> 00:35:37,420
No.

860
00:35:37,420 --> 00:35:40,060
I mean, like, all the TV
shows and movies that I've

861
00:35:40,060 --> 00:35:40,975
always wanted to watch.

862
00:35:44,090 --> 00:35:46,130
But, like, what year is it?

863
00:35:46,130 --> 00:35:47,250
This year.

864
00:35:47,250 --> 00:35:48,290
This has been great.

865
00:35:48,290 --> 00:35:49,170
Well, you know, not great.

866
00:35:49,170 --> 00:35:49,970
I know.

867
00:35:49,970 --> 00:35:53,330
As soon as I asked, then
I realized it wasn't‐‐

868
00:35:53,330 --> 00:35:55,100
I'd be, like, man,
I'm just gonna watch‐‐

869
00:35:55,100 --> 00:35:57,050
My argument was
built on two things.

870
00:35:57,050 --> 00:35:58,400
Yeah.
I'm gonna watch all of "MASH."

871
00:35:58,400 --> 00:35:59,200
Or what?

872
00:35:59,200 --> 00:36:00,875
I'll watch all of "MASH."

873
00:36:00,875 --> 00:36:02,300
All of "MASH?"

874
00:36:02,300 --> 00:36:03,380
Yeah, just now, like‐‐

875
00:36:03,380 --> 00:36:07,650
That's what's gonna get you
to stay in the time loop?

876
00:36:07,650 --> 00:36:08,450
Oh, my god.

877
00:36:08,450 --> 00:36:09,450
They've got, I remember‐‐

878
00:36:09,450 --> 00:36:10,250
Good luck.

879
00:36:10,250 --> 00:36:12,700
‐‐rogue episodes from when I
was younger on syndication.

880
00:36:12,700 --> 00:36:14,000
But I'll be like,
you know, why don't I

881
00:36:14,000 --> 00:36:14,867
sit down and watch "MASH?"

882
00:36:14,867 --> 00:36:18,620
But you can just watch "MASH"
outside of the time loop.

883
00:36:18,620 --> 00:36:19,910
Re‐watch all of "Alf."

884
00:36:19,910 --> 00:36:21,980
"MASH" isn't time loop‐‐

885
00:36:21,980 --> 00:36:23,820
it's not contingent on
the being in a time loop.

886
00:36:23,820 --> 00:36:24,620
Well, yeah.

887
00:36:24,620 --> 00:36:27,290
No, but if I spend my time
now watching all of "MASH,"

888
00:36:27,290 --> 00:36:29,420
that's time I can't get back.

889
00:36:29,420 --> 00:36:30,410
You know?

890
00:36:30,410 --> 00:36:32,210
I'm serious!

891
00:36:32,210 --> 00:36:34,027
But you clearly
seem to have such

892
00:36:34,027 --> 00:36:35,360
an affinity for "MASH"
that you wouldn't

893
00:36:35,360 --> 00:36:36,530
even want that time back.

894
00:36:36,530 --> 00:36:38,090
I could have said anything!

895
00:36:38,090 --> 00:36:44,650
Like "Mork and Mindy,"
"Cheers," you know?

896
00:36:44,650 --> 00:36:45,450
"Mork and Mindy?"

897
00:36:45,450 --> 00:36:47,390
I haven't seen all of
"Better Call Saul."

898
00:36:47,390 --> 00:36:49,490
I would catch up on that.

899
00:36:49,490 --> 00:36:51,230
You know?

900
00:36:51,230 --> 00:36:53,930
Or re‐watch all
of "The Simpsons."

901
00:36:53,930 --> 00:36:56,990
It's like 30 seasons.

902
00:36:56,990 --> 00:36:58,832
Let's waste some time.

903
00:36:58,832 --> 00:37:00,956
[MUSIC PLAYING]

904
00:37:01,832 --> 00:37:04,025
(SINGING) Sinking
in a funny way.

905
00:37:08,476 --> 00:37:11,020
Hey, who's the mustache?

906
00:37:11,020 --> 00:37:14,001
Prick my wife ran off with.

907
00:37:14,001 --> 00:37:16,743
[MUSIC CONTINUES]

908
00:37:17,660 --> 00:37:20,120
I loved filming the deaths
over and over again,

909
00:37:20,120 --> 00:37:23,780
because they're humorous
deaths like falling

910
00:37:23,780 --> 00:37:25,640
out of the top of the car.

911
00:37:28,550 --> 00:37:29,600
The plane was a blast.

912
00:37:29,600 --> 00:37:30,980
That was so much fun.

913
00:37:30,980 --> 00:37:34,400
I remember really,
really having quite

914
00:37:34,400 --> 00:37:36,020
a time in that little plane.

915
00:37:36,020 --> 00:37:36,820
Agreed.

916
00:37:36,820 --> 00:37:38,990
It's very much wish
fulfillment, you

917
00:37:38,990 --> 00:37:42,560
know, getting to sort of try
anything without any fear

918
00:37:42,560 --> 00:37:44,870
of repercussion.

919
00:37:44,870 --> 00:37:45,670
Yeah.

920
00:37:48,880 --> 00:37:51,520
It also felt like‐‐

921
00:37:51,520 --> 00:37:54,050
it felt like we were
doing like cartoon deaths.

922
00:37:54,050 --> 00:37:54,850
Yes.

923
00:37:54,850 --> 00:37:55,650
It felt‐‐

924
00:37:55,650 --> 00:37:56,930
They felt, like,
very Wile E Coyote.

925
00:37:56,930 --> 00:37:58,670
I was gonna say the same thing.

926
00:37:58,670 --> 00:37:59,470
You know what I mean?

927
00:37:59,470 --> 00:38:02,686
Yeah, early Road Runner vibes.

928
00:38:02,686 --> 00:38:06,160
Yeah, strong Road Runner vibes.

929
00:38:06,160 --> 00:38:09,070
Yeah, I think that was also
part of what was a blast.

930
00:38:09,070 --> 00:38:12,440
We were also able to, like,
be live action human cartoons.

931
00:38:15,190 --> 00:38:18,610
I think it goes without
saying that dancing

932
00:38:18,610 --> 00:38:22,450
replaces all iconic
dance scenes from now on.

933
00:38:22,450 --> 00:38:25,510
"Dirty Dancing,"
"Pulp Fiction," "Billy

934
00:38:25,510 --> 00:38:29,950
Elliot," "Fame," "Flashdance."

935
00:38:29,950 --> 00:38:32,680
[MUSIC PLAYING]

936
00:38:33,590 --> 00:38:36,440
Those dance rehearsals
were so much fun.

937
00:38:36,440 --> 00:38:38,150
Do you remember
when you dropped me?

938
00:38:38,150 --> 00:38:39,230
You took it quite well.

939
00:38:39,230 --> 00:38:40,030
Yep.

940
00:38:40,030 --> 00:38:41,350
I still feel bad about it.

941
00:38:41,350 --> 00:38:42,750
You shouldn't, you shouldn't.

942
00:38:42,750 --> 00:38:43,550
Here's the thing.

943
00:38:43,550 --> 00:38:48,980
My arms are weak and floppy
like a baby calf, you know?

944
00:38:48,980 --> 00:38:51,080
Baby calves don't
have arms, Andy.

945
00:38:51,080 --> 00:38:52,580
Get your shit straight.

946
00:38:52,580 --> 00:38:53,540
What if you count‐‐

947
00:38:53,540 --> 00:38:56,670
if you count their front
legs, if they were‐‐

948
00:38:56,670 --> 00:38:57,470
by the way, could.

949
00:38:57,470 --> 00:38:59,410
If they chose to stand
up on their hind legs.

950
00:38:59,410 --> 00:39:00,500
If they chose to‐‐

951
00:39:00,500 --> 00:39:01,370
you're right.

952
00:39:01,370 --> 00:39:03,470
It's an issue of choice.

953
00:39:03,470 --> 00:39:05,390
Sarah, where have you been?

954
00:39:05,390 --> 00:39:06,690
Tala's pissed.

955
00:39:06,690 --> 00:39:08,340
I missed you.

956
00:39:08,340 --> 00:39:09,140
What?

957
00:39:09,140 --> 00:39:10,660
I want you to meet
me in the bathroom.

958
00:39:10,660 --> 00:39:12,950
I like to give
the actors freedom

959
00:39:12,950 --> 00:39:14,570
to improvise and find
things, so there are

960
00:39:14,570 --> 00:39:16,250
flourishes within every scene.

961
00:39:16,250 --> 00:39:21,320
Andy was constantly inventing
moments within scenes

962
00:39:21,320 --> 00:39:22,670
and finding stuff.

963
00:39:22,670 --> 00:39:24,560
It's what‐‐ those are
the surprises that I

964
00:39:24,560 --> 00:39:28,820
think make a script better.

965
00:39:28,820 --> 00:39:31,400
And it was already a
super strong script,

966
00:39:31,400 --> 00:39:35,850
but I think the only fully
improvised scene, so to speak,

967
00:39:35,850 --> 00:39:39,350
was that tattoo moment
within the montage.

968
00:39:39,350 --> 00:39:41,780
So we stole those tattoo shots.

969
00:39:41,780 --> 00:39:44,750
The sun was setting,
but Milioti and I both

970
00:39:44,750 --> 00:39:46,490
really wanted it in the movie.

971
00:39:49,070 --> 00:39:51,860
Just taking a
breather to snuggle.

972
00:39:51,860 --> 00:39:54,740
This was what I
was looking forward

973
00:39:54,740 --> 00:39:56,978
to most when we were shooting.

974
00:39:56,978 --> 00:39:58,880
Yeah.

975
00:39:58,880 --> 00:40:01,160
Milioti insisted on the
hook hand and the eye patch,

976
00:40:01,160 --> 00:40:02,570
and we obliged, of course.

977
00:40:02,570 --> 00:40:04,615
Yep.

978
00:40:04,615 --> 00:40:06,441
That hook hand is on my mantle.

979
00:40:06,441 --> 00:40:08,550
Prove it.

980
00:40:08,550 --> 00:40:10,550
Ugh, goddammit.

981
00:40:10,550 --> 00:40:14,740
I know, but I'm like
stuffed in these jeans.

982
00:40:14,740 --> 00:40:15,650
Hold on.

983
00:40:15,650 --> 00:40:17,960
Prove it!

984
00:40:17,960 --> 00:40:21,220
Damn, check out those jeans!

985
00:40:21,220 --> 00:40:24,170
OK, here's the hook.

986
00:40:24,170 --> 00:40:25,640
Yeah!

987
00:40:25,640 --> 00:40:27,300
Yeah, here it is.

988
00:40:27,300 --> 00:40:28,100
I kept it.

989
00:40:28,100 --> 00:40:30,080
It was the only thing
I asked to keep.

990
00:40:30,080 --> 00:40:32,670
I asked to keep two things‐‐
this hook and my dignity.

991
00:40:32,670 --> 00:40:34,460
And I was only given one.

992
00:40:34,460 --> 00:40:37,298
No one walks away from an
indie shoot with their dignity.

993
00:40:37,298 --> 00:40:39,360
[LAUGHTER]

994
00:40:39,360 --> 00:40:40,160
Ta‐da!

995
00:40:42,680 --> 00:40:43,550
Wow.

996
00:40:43,550 --> 00:40:44,990
You kind of feel that
they're falling in love.

997
00:40:44,990 --> 00:40:46,190
That's what that
was about, bringing

998
00:40:46,190 --> 00:40:47,210
color into that moment.

999
00:40:47,210 --> 00:40:50,680
And we also‐‐ there's a
special on Cristin's slow‐mo

1000
00:40:50,680 --> 00:40:52,580
when the confetti is
falling to help it.

1001
00:40:52,580 --> 00:40:54,390
But there's like a more
kind of orange‐ish glow,

1002
00:40:54,390 --> 00:40:57,380
which is about‐‐

1003
00:40:57,380 --> 00:40:59,180
orange, in the movie,
kind of is like‐‐

1004
00:40:59,180 --> 00:41:00,890
it's the color of the
tent in the desert, too.

1005
00:41:00,890 --> 00:41:02,300
It's kind of that‐‐

1006
00:41:02,300 --> 00:41:04,790
and the glow in the
cave, obviously.

1007
00:41:04,790 --> 00:41:07,370
It signifies intimacy.

1008
00:41:07,370 --> 00:41:10,700
Everything in this
void, the space

1009
00:41:10,700 --> 00:41:14,720
where the candy bar once was
but is now in my stomach,

1010
00:41:14,720 --> 00:41:16,640
is the past.

1011
00:41:16,640 --> 00:41:19,790
And everything that's
remaining is the future,

1012
00:41:19,790 --> 00:41:21,470
encased in chocolate.

1013
00:41:21,470 --> 00:41:25,040
I have no interest
in this emptiness.

1014
00:41:25,040 --> 00:41:27,990
You know, the who,
what, why of your past.

1015
00:41:27,990 --> 00:41:28,790
You got here.

1016
00:41:28,790 --> 00:41:29,790
That's all that matters.

1017
00:41:29,790 --> 00:41:33,860
But if you really want to know
someone deeper, it does matter.

1018
00:41:33,860 --> 00:41:35,290
It does.

1019
00:41:35,290 --> 00:41:37,480
You have to know
the whole package.

1020
00:41:37,480 --> 00:41:38,680
I disagree.

1021
00:41:38,680 --> 00:41:40,870
This‐‐ the next bite‐‐

1022
00:41:43,860 --> 00:41:44,990
that's all that matters.

1023
00:41:48,670 --> 00:41:49,900
I was married for two years.

1024
00:41:55,350 --> 00:41:57,250
I knew it wasn't gonna work.

1025
00:41:57,250 --> 00:41:58,590
This was one of
my favorite scenes

1026
00:41:58,590 --> 00:42:02,340
to shoot in the whole movie.

1027
00:42:02,340 --> 00:42:05,760
It was awesome to be shooting
by firelight, obviously.

1028
00:42:05,760 --> 00:42:06,630
Yeah.

1029
00:42:06,630 --> 00:42:09,690
And everyone was
really far away.

1030
00:42:09,690 --> 00:42:12,360
And we also shot
it over two nights,

1031
00:42:12,360 --> 00:42:14,430
because the first
night we were shooting,

1032
00:42:14,430 --> 00:42:15,640
we had done a lot of it.

1033
00:42:15,640 --> 00:42:17,490
But then there was a sandstorm.

1034
00:42:17,490 --> 00:42:18,660
Yes, and rain.

1035
00:42:18,660 --> 00:42:20,070
So we had to cut bait.

1036
00:42:20,070 --> 00:42:21,210
And rain, that's right.

1037
00:42:21,210 --> 00:42:23,160
We were hiding under
a tarp for a while.

1038
00:42:23,160 --> 00:42:25,410
Yeah.

1039
00:42:25,410 --> 00:42:27,870
In the middle of the desert.

1040
00:42:27,870 --> 00:42:30,240
And then, we came
back and shot it

1041
00:42:30,240 --> 00:42:33,300
the night after, which was the
last night of shooting, right?

1042
00:42:33,300 --> 00:42:34,620
This is the last
thing we shot almost?

1043
00:42:34,620 --> 00:42:35,970
This is the last thing we shot.

1044
00:42:35,970 --> 00:42:38,480
Oh, my god.

1045
00:42:38,480 --> 00:42:40,430
This was so great.

1046
00:42:40,430 --> 00:42:42,380
It was good because we were
already kind of emotional

1047
00:42:42,380 --> 00:42:43,470
about the shoot ending.

1048
00:42:43,470 --> 00:42:45,740
And it was also great because
we had run this a ton,

1049
00:42:45,740 --> 00:42:47,180
so we really knew
the scene well.

1050
00:42:47,180 --> 00:42:50,270
And I think the second night,
we were able to really get loose

1051
00:42:50,270 --> 00:42:51,380
with it.

1052
00:42:51,380 --> 00:42:52,235
Yeah.

1053
00:42:52,235 --> 00:42:54,400
And take it down into the
old dirt, which was good.

1054
00:42:54,400 --> 00:42:55,200
Yeah.

1055
00:42:55,200 --> 00:42:57,230
I honestly can't remember.

1056
00:42:57,230 --> 00:42:59,460
We really knew who the
characters were by then.

1057
00:42:59,460 --> 00:43:00,260
Yeah!

1058
00:43:00,260 --> 00:43:04,660
And we were just sort of
like left to our own devices.

1059
00:43:04,660 --> 00:43:06,100
So that's a long time.

1060
00:43:14,980 --> 00:43:16,772
These are fantastic mushrooms.

1061
00:43:20,628 --> 00:43:23,520
(WHISPERING) Yeah.

1062
00:43:23,520 --> 00:43:26,460
Too bad we're doing them in
such a shit hole, though.

1063
00:43:26,460 --> 00:43:29,196
I am not a fan of
this magical desert.

1064
00:43:29,196 --> 00:43:32,100
Well, then I just
feel sorry for you.

1065
00:43:32,100 --> 00:43:33,250
Yeah?

1066
00:43:33,250 --> 00:43:34,050
Oh, wow.

1067
00:43:34,050 --> 00:43:36,570
And, you know, we
needed to make sure

1068
00:43:36,570 --> 00:43:39,390
that we got a bunch of pertinent
information across, but also

1069
00:43:39,390 --> 00:43:42,000
certain energy.

1070
00:43:42,000 --> 00:43:46,020
So we lost runs that were
a lot more philosophical.

1071
00:43:46,020 --> 00:43:47,790
It's the same way that
I would say that I

1072
00:43:47,790 --> 00:43:49,620
feel sorry that, you know‐‐

1073
00:43:49,620 --> 00:43:52,050
One of the things when I
signed on to this movie‐‐

1074
00:43:52,050 --> 00:43:54,120
that scene was like
one of the most‐‐

1075
00:43:54,120 --> 00:43:55,740
I didn't know how you
guys were gonna do it.

1076
00:43:55,740 --> 00:43:57,390
I didn't know, like, how
it was gonna be shot.

1077
00:43:57,390 --> 00:43:58,860
I didn't know what
the effects were.

1078
00:43:58,860 --> 00:44:01,320
But I remember reading
the script and being like,

1079
00:44:01,320 --> 00:44:06,210
oh, this is so beautiful
and strange that they

1080
00:44:06,210 --> 00:44:07,710
would see these dinosaurs.

1081
00:44:07,710 --> 00:44:11,700
And, like, it was one of
the things that made me‐‐

1082
00:44:11,700 --> 00:44:16,950
that solidified my decision to
be like yeah, I'm doing this.

1083
00:44:16,950 --> 00:44:19,980
Yeah, I also love it.

1084
00:44:19,980 --> 00:44:21,450
Obviously, that
whole scene builds

1085
00:44:21,450 --> 00:44:24,360
to them suddenly
seeing dinosaurs,

1086
00:44:24,360 --> 00:44:27,510
and it's indicative
of Siara's writing.

1087
00:44:27,510 --> 00:44:30,720
And it's part of what he does
that I love so much, where you

1088
00:44:30,720 --> 00:44:35,820
really feel it, and it's
intentionally ambiguous

1089
00:44:35,820 --> 00:44:38,190
because they're tripping.

1090
00:44:38,190 --> 00:44:41,340
It's so much more just about
their wavelength and the fact

1091
00:44:41,340 --> 00:44:43,650
that they're connecting
on this deeper level.

1092
00:44:43,650 --> 00:44:47,670
It really works both as a
magical fun thing to watch

1093
00:44:47,670 --> 00:44:51,210
and as a symbolic
moment and totem

1094
00:44:51,210 --> 00:44:53,620
of like what's happening between
the characters, which is just‐‐

1095
00:44:53,620 --> 00:44:54,420
Yeah.

1096
00:44:54,420 --> 00:44:57,420
‐‐very beautiful, I think.

1097
00:44:57,420 --> 00:45:02,270
You have two characters who
don't believe they could love

1098
00:45:02,270 --> 00:45:05,030
and who, more importantly,
don't believe they

1099
00:45:05,030 --> 00:45:07,260
are capable of being loved.

1100
00:45:07,260 --> 00:45:08,850
These things are impossible.

1101
00:45:08,850 --> 00:45:11,360
And in this moment,
maybe they're

1102
00:45:11,360 --> 00:45:13,130
crossing that threshold.

1103
00:45:13,130 --> 00:45:16,740
They are feeling something
that is impossible.

1104
00:45:16,740 --> 00:45:19,580
So therefore, I felt
like they should

1105
00:45:19,580 --> 00:45:23,180
see something that is
technically impossible to see,

1106
00:45:23,180 --> 00:45:24,491
which is dinosaurs.

1107
00:45:28,350 --> 00:45:29,150
Night.

1108
00:45:36,380 --> 00:45:38,480
It was always about‐‐ what was
really exciting was telling

1109
00:45:38,480 --> 00:45:41,120
this emotional story,
this love story

1110
00:45:41,120 --> 00:45:45,450
but between two people who had
kind of given up on themselves,

1111
00:45:45,450 --> 00:45:46,250
in a way.

1112
00:45:49,970 --> 00:45:54,160
There is purpose in caring.

1113
00:45:54,160 --> 00:45:56,330
In a meaningless world,
there is purpose in caring.

1114
00:45:56,330 --> 00:45:59,030
And you have to find
that, whatever that means.

1115
00:45:59,030 --> 00:46:00,860
And for these two
people, I think

1116
00:46:00,860 --> 00:46:02,060
it's kind of the
consistent thing

1117
00:46:02,060 --> 00:46:04,310
that we can all adhere to.

1118
00:46:04,310 --> 00:46:07,730
Love is the only kind
of transcendent truth,

1119
00:46:07,730 --> 00:46:09,680
in a meaningless world, that
cuts through everything‐‐

1120
00:46:09,680 --> 00:46:11,040
your connections with people.

1121
00:46:11,040 --> 00:46:14,900
So that's‐‐ that's
what it's about, to me.

1122
00:46:14,900 --> 00:46:20,960
Taking that profound
plunge into real commitment

1123
00:46:20,960 --> 00:46:22,860
is a beautiful thing.

1124
00:46:22,860 --> 00:46:24,800
It can be so transcendent.

1125
00:46:24,800 --> 00:46:26,636
That's what the movie
is about, to me.

1126
00:46:26,636 --> 00:46:29,612
[MUSIC PLAYING]

1127
00:46:39,050 --> 00:46:40,460
Every wake‐up is
different emotionally,

1128
00:46:40,460 --> 00:46:43,850
so we want to visually reflect
that with camera height

1129
00:46:43,850 --> 00:46:46,130
and lens choice and movement.

1130
00:46:46,130 --> 00:46:48,920
It kind of became this
acting exercise, in a way,

1131
00:46:48,920 --> 00:46:52,160
to kind of know where
you were within the loop.

1132
00:46:52,160 --> 00:46:54,680
Dial it in emotionally
according to that.

1133
00:46:54,680 --> 00:46:57,050
They're just so talented
on a performance level

1134
00:46:57,050 --> 00:47:00,830
that you could really
tell them to do anything,

1135
00:47:00,830 --> 00:47:04,580
and they'll be able to get it.

1136
00:47:04,580 --> 00:47:06,680
That was another thing
in the script, when I

1137
00:47:06,680 --> 00:47:08,300
read it, that I really loved‐‐

1138
00:47:08,300 --> 00:47:13,310
that she has committed this
huge betrayal of her sister,

1139
00:47:13,310 --> 00:47:18,440
and it's such an awful thing
to do, but it's so human.

1140
00:47:18,440 --> 00:47:21,020
And you also understand
this person who's

1141
00:47:21,020 --> 00:47:25,970
filled with such self‐loathing
and sort of sabotages so much

1142
00:47:25,970 --> 00:47:28,640
in her life, she's like
torn apart by the fact

1143
00:47:28,640 --> 00:47:29,510
that she did that.

1144
00:47:29,510 --> 00:47:32,030
But she's not like
self‐aware, and she's

1145
00:47:32,030 --> 00:47:36,620
just sort of like at the
whim of her own pain.

1146
00:47:36,620 --> 00:47:39,020
Both of the two main
characters are flawed,

1147
00:47:39,020 --> 00:47:41,090
and we don't shy away from it.

1148
00:47:41,090 --> 00:47:42,650
This is such a
turning point for her,

1149
00:47:42,650 --> 00:47:47,240
because she realizes that she
has to repeat one of the worst

1150
00:47:47,240 --> 00:47:50,000
days of her life for infinity.

1151
00:47:50,000 --> 00:47:52,610
And actually, no
matter what, if she

1152
00:47:52,610 --> 00:47:55,310
has to keep waking up with
that same shame every single

1153
00:47:55,310 --> 00:47:57,450
morning, she's gonna go insane.

1154
00:47:57,450 --> 00:47:58,520
There's no running from it.

1155
00:47:58,520 --> 00:48:02,060
She's reached such a
breaking point that‐‐

1156
00:48:02,060 --> 00:48:05,750
yeah, she has sort of
veered into the more

1157
00:48:05,750 --> 00:48:07,370
Nyles territory,
where you find him

1158
00:48:07,370 --> 00:48:08,960
in the beginning of the movie‐‐

1159
00:48:08,960 --> 00:48:10,580
where she's
realizing that if she

1160
00:48:10,580 --> 00:48:13,970
has to relive this same
horrible event every day, then

1161
00:48:13,970 --> 00:48:15,020
what's the point of any of it?

1162
00:48:15,020 --> 00:48:18,020
Then, just chaos reigns,
and she's gonna cut

1163
00:48:18,020 --> 00:48:19,640
herself off from any caring.

1164
00:48:19,640 --> 00:48:23,270
Also, she's genuinely
has developed

1165
00:48:23,270 --> 00:48:24,950
an incredible
connection with Nyles,

1166
00:48:24,950 --> 00:48:26,840
and I think she's terrified.

1167
00:48:26,840 --> 00:48:28,820
It's definitely the
moment it flips.

1168
00:48:28,820 --> 00:48:31,620
He has completely given
himself over to it.

1169
00:48:31,620 --> 00:48:35,090
And now, after not caring about
anything for maybe hundreds

1170
00:48:35,090 --> 00:48:37,940
of years, really
cares about something

1171
00:48:37,940 --> 00:48:40,450
and immediately gets
slapped down for it.

1172
00:48:40,450 --> 00:48:42,290
Yeah, yeah.

1173
00:48:42,290 --> 00:48:45,740
For something having nothing
to do with him, but of course,

1174
00:48:45,740 --> 00:48:47,540
he doesn't understand.

1175
00:48:47,540 --> 00:48:53,080
For miles, right?

1176
00:48:53,080 --> 00:48:54,470
Do you wanna talk about it, or‐‐

1177
00:48:54,470 --> 00:48:55,270
The cop?

1178
00:48:55,270 --> 00:48:58,330
No, the fact that we
had sex last night.

1179
00:48:58,330 --> 00:49:00,820
You said we should have
sex, then we had sex.

1180
00:49:00,820 --> 00:49:04,190
What's there to talk about?

1181
00:49:04,190 --> 00:49:08,390
During the kind of long
development process‐‐

1182
00:49:08,390 --> 00:49:12,890
long writing of this movie
where I was trying to find it‐‐

1183
00:49:12,890 --> 00:49:17,760
I got married at a lovely
wedding in Palm Springs.

1184
00:49:17,760 --> 00:49:19,850
And I think it was this‐‐

1185
00:49:19,850 --> 00:49:22,370
and the world was
changing around this time,

1186
00:49:22,370 --> 00:49:23,450
too, drastically.

1187
00:49:23,450 --> 00:49:26,060
Like a big pivot
point in history.

1188
00:49:26,060 --> 00:49:31,190
And you know, 2015, 2016,
2017, when a lot of this

1189
00:49:31,190 --> 00:49:36,620
was constructed, it
was a kind of search

1190
00:49:36,620 --> 00:49:42,710
for meaning underneath all
of the noise of the world.

1191
00:49:42,710 --> 00:49:48,110
And finding‐‐ I don't know‐‐

1192
00:49:48,110 --> 00:49:56,360
joy and beauty and magic and
kind of the more mundane,

1193
00:49:56,360 --> 00:49:58,100
routine aspects of life.

1194
00:49:58,100 --> 00:50:01,840
(SCREAMING) He's
trying to kill me!

1195
00:50:01,840 --> 00:50:04,415
He's trying to kill me‐‐

1196
00:50:04,415 --> 00:50:06,530
he's trying to kill me.

1197
00:50:06,530 --> 00:50:09,760
Sir, step out of the
vehicle with your hands up.

1198
00:50:09,760 --> 00:50:13,470
Thank you, thank you.

1199
00:50:13,470 --> 00:50:14,680
Is that‐‐

1200
00:50:14,680 --> 00:50:17,650
Sir, if you do not comply,
I'll have no choice

1201
00:50:17,650 --> 00:50:18,750
but to remove you by force.

1202
00:50:25,133 --> 00:50:26,040
Uh, OK!

1203
00:50:28,850 --> 00:50:30,050
I'm coming out!

1204
00:50:33,920 --> 00:50:35,900
Sorry about that, Mr. Policeman.

1205
00:50:35,900 --> 00:50:39,500
I thought you were someone else.

1206
00:50:39,500 --> 00:50:41,990
Should always go with that
first instinct, shit bird.

1207
00:50:45,760 --> 00:50:48,610
And obviously, throwing JK
into the mix at the end of this

1208
00:50:48,610 --> 00:50:50,110
was so much fun.

1209
00:50:50,110 --> 00:50:51,550
Yeah.

1210
00:50:51,550 --> 00:50:56,200
And we got incredible ad line‐‐

1211
00:50:56,200 --> 00:50:58,452
suck my dick, officer bitch.

1212
00:50:58,452 --> 00:51:00,940
You call for back up?

1213
00:51:00,940 --> 00:51:02,690
Dude, what the
fuck are you doing?

1214
00:51:02,690 --> 00:51:04,020
Oh, come on, relax.

1215
00:51:04,020 --> 00:51:05,530
I just‐‐ I just clipped him.

1216
00:51:05,530 --> 00:51:06,990
You did not just clip him!

1217
00:51:06,990 --> 00:51:08,470
Well, he's a fucking sadist!

1218
00:51:08,470 --> 00:51:09,573
I was just saving you.

1219
00:51:09,573 --> 00:51:10,440
You should be thanking me.

1220
00:51:10,440 --> 00:51:11,380
He was gonna kill you.

1221
00:51:11,380 --> 00:51:12,740
OK, well, no thank you.

1222
00:51:12,740 --> 00:51:13,540
Freeze!

1223
00:51:13,540 --> 00:51:14,710
Put your hands above your head.

1224
00:51:14,710 --> 00:51:16,340
Suck my dick, officer bitch.

1225
00:51:16,340 --> 00:51:17,140
There it is.

1226
00:51:17,140 --> 00:51:18,250
Leave us alone.

1227
00:51:18,250 --> 00:51:20,470
If I'm ever lucky enough
that someone makes

1228
00:51:20,470 --> 00:51:22,090
a montage of my
work, I would like

1229
00:51:22,090 --> 00:51:26,410
it to either begin or end with
suck my dick, officer bitch.

1230
00:51:26,410 --> 00:51:27,570
Or both!

1231
00:51:27,570 --> 00:51:28,710
Or both.
Bookend it.

1232
00:51:28,710 --> 00:51:29,510
Yeah.

1233
00:51:29,510 --> 00:51:30,790
Yeah.

1234
00:51:30,790 --> 00:51:37,450
This whole stretch from the
campfire scene through to them

1235
00:51:37,450 --> 00:51:39,520
on the side of the
road, arguing‐‐

1236
00:51:39,520 --> 00:51:42,760
I remember reading that
and like salivating

1237
00:51:42,760 --> 00:51:43,930
over getting to do that.

1238
00:51:43,930 --> 00:51:45,520
Nothing matters, right?

1239
00:51:45,520 --> 00:51:46,470
Those are your words.

1240
00:51:46,470 --> 00:51:47,540
No, pain matters.

1241
00:51:47,540 --> 00:51:49,450
What we do to other
people matters.

1242
00:51:49,450 --> 00:51:51,430
Being a source of
terror is not fun, OK?

1243
00:51:51,430 --> 00:51:52,480
It's not fulfilling.

1244
00:51:52,480 --> 00:51:54,520
I know this from experience.

1245
00:51:54,520 --> 00:51:58,930
Near the tail end of the shoot,
and aesthetically as the movie

1246
00:51:58,930 --> 00:52:00,250
went on, it was
always about going

1247
00:52:00,250 --> 00:52:02,710
like a little more hand‐held and
loose as they kind of broke out

1248
00:52:02,710 --> 00:52:06,970
of the monotony of their days
and connected with each other

1249
00:52:06,970 --> 00:52:08,860
and started getting
real with one another.

1250
00:52:08,860 --> 00:52:11,920
And that was fun to be out
in the desert, hand‐held,

1251
00:52:11,920 --> 00:52:14,650
kind of letting the
actors run around

1252
00:52:14,650 --> 00:52:15,790
and roam free a little bit.

1253
00:52:15,790 --> 00:52:19,240
And again, much like the
tooth break and the taser,

1254
00:52:19,240 --> 00:52:22,270
it's just one of those
things that both Andy

1255
00:52:22,270 --> 00:52:23,800
Siara and I just
find endlessly funny,

1256
00:52:23,800 --> 00:52:26,500
that kind of physical comedy.

1257
00:52:26,500 --> 00:52:28,360
And that's the Andy
Samberg special.

1258
00:52:28,360 --> 00:52:31,490
You know, I think he got that on
the first take, just, you know,

1259
00:52:31,490 --> 00:52:32,290
the shock.

1260
00:52:32,290 --> 00:52:34,750
Something that you clearly
know nothing about.

1261
00:52:34,750 --> 00:52:37,420
If I had known that I
was going to be stuck

1262
00:52:37,420 --> 00:52:41,890
with a pretentious sad boy
for the rest of eternity,

1263
00:52:41,890 --> 00:52:45,110
I would have stayed
so far away from you.

1264
00:52:45,110 --> 00:52:47,130
And I sure as hell would
never have fucked you.

1265
00:52:47,130 --> 00:52:52,052
Oh, please, you
fucked me 1,000 times.

1266
00:52:52,052 --> 00:52:52,852
What?

1267
00:53:00,150 --> 00:53:01,320
It's a look at marriage.

1268
00:53:01,320 --> 00:53:02,650
It's a look at commitment.

1269
00:53:02,650 --> 00:53:12,530
It's a look at how scary it is
to take a giant leap in life.

1270
00:53:12,530 --> 00:53:15,380
But to some people‐‐ not
to everyone‐‐ like taking

1271
00:53:15,380 --> 00:53:18,470
that leap can be a
profound experience.

1272
00:53:18,470 --> 00:53:23,000
And taking a major step‐‐

1273
00:53:23,000 --> 00:53:26,870
be it having a kid or getting
married or buying a house

1274
00:53:26,870 --> 00:53:30,200
or getting a new job‐‐ and how
these these moves can be scary,

1275
00:53:30,200 --> 00:53:35,220
but they also can
be rewarding, too.

1276
00:53:35,220 --> 00:53:37,580
So I didn't, OK?

1277
00:53:44,600 --> 00:53:48,240
I'm getting out of this day.

1278
00:53:48,240 --> 00:53:50,680
Look, Sarah‐‐ I'm sorry, OK?

1279
00:53:50,680 --> 00:53:53,620
[HORN HONKING]

1280
00:53:53,620 --> 00:53:56,560
[MUSIC PLAYING]

1281
00:54:01,950 --> 00:54:04,400
Hey, Pia.

1282
00:54:04,400 --> 00:54:07,340
For some reason, I rolled
up one of my sleeves,

1283
00:54:07,340 --> 00:54:09,110
and then we couldn't
get out of it.

1284
00:54:09,110 --> 00:54:12,230
So that was a real lesson.

1285
00:54:12,230 --> 00:54:15,410
Shouldn't have done that.

1286
00:54:15,410 --> 00:54:17,780
But, you know, I was like
he was just waking up,

1287
00:54:17,780 --> 00:54:19,200
and his sleeve got
rolled up in his sleep.

1288
00:54:19,200 --> 00:54:20,000
I don't know.

1289
00:54:20,000 --> 00:54:20,960
It was a terrible choice.

1290
00:54:26,250 --> 00:54:30,030
So did anyone actually see
her sleep in there last night?

1291
00:54:30,030 --> 00:54:31,560
She wakes me up
every morning, guys,

1292
00:54:31,560 --> 00:54:32,550
so she's gotta be somewhere.

1293
00:54:32,550 --> 00:54:33,510
Nyles, what are you doing?

1294
00:54:33,510 --> 00:54:34,590
Sarah!

1295
00:54:34,590 --> 00:54:38,085
Come on out, come on out.

1296
00:54:38,085 --> 00:54:39,330
(WHISPERING) Wake up!

1297
00:54:39,330 --> 00:54:42,300
You know, these are just
kind of fun montage pops.

1298
00:54:42,300 --> 00:54:44,310
You know, we picked
them up at sort

1299
00:54:44,310 --> 00:54:47,740
of every location we went to so
we had stuff to throw in there.

1300
00:54:47,740 --> 00:54:50,010
I love this overhead
shot of the pool so much.

1301
00:54:50,010 --> 00:54:54,720
That's Max and Q really
killing it there.

1302
00:54:54,720 --> 00:54:55,860
Nice call back here.

1303
00:54:55,860 --> 00:54:59,520
You know we've learned
from the time loop formula

1304
00:54:59,520 --> 00:55:01,530
it's great to hit
the same moments

1305
00:55:01,530 --> 00:55:04,410
and change them as you go,
to signify time passing.

1306
00:55:04,410 --> 00:55:06,600
But you recognize them.

1307
00:55:06,600 --> 00:55:09,450
This is our awesome indie
film shot, making you know

1308
00:55:09,450 --> 00:55:12,198
that you're in an indie film.

1309
00:55:12,198 --> 00:55:14,310
(WHISPERING) Wake up!

1310
00:55:14,310 --> 00:55:15,300
This is all improvised.

1311
00:55:15,300 --> 00:55:17,970
We asked Conner to
throw some stuff at us,

1312
00:55:17,970 --> 00:55:20,970
and I found this kind of
late in the editing process.

1313
00:55:20,970 --> 00:55:22,990
And it got a great laugh
at the test screening,

1314
00:55:22,990 --> 00:55:24,720
so we were really
happy with that.

1315
00:55:24,720 --> 00:55:27,190
I don't feel safe anymore.

1316
00:55:27,190 --> 00:55:29,520
Yeah.

1317
00:55:29,520 --> 00:55:33,665
Just picking off shots
here, knocking them out.

1318
00:55:33,665 --> 00:55:35,310
(WHISPERING) Wake up!

1319
00:55:35,310 --> 00:55:37,560
Air Force Reserves, I
ate three whole pizzas.

1320
00:55:37,560 --> 00:55:38,910
Randy, you have
the best stories.

1321
00:55:38,910 --> 00:55:39,990
I know.

1322
00:55:39,990 --> 00:55:41,160
Hey!

1323
00:55:41,160 --> 00:55:43,110
Oh, my god!

1324
00:55:43,110 --> 00:55:44,970
The wedding guy's here!

1325
00:55:47,650 --> 00:55:48,450
I need a breather.

1326
00:55:48,450 --> 00:55:49,250
Can I‐‐

1327
00:55:49,250 --> 00:55:50,430
Oh, please, go for it.

1328
00:55:50,430 --> 00:55:52,560
I bought it for you, man.

1329
00:55:52,560 --> 00:55:54,120
Misty's boyfriend,
are you in on this?

1330
00:55:58,410 --> 00:55:59,210
That's a hard no.

1331
00:55:59,210 --> 00:56:00,710
OK, all right.

1332
00:56:00,710 --> 00:56:01,640
Don't mind if I do.

1333
00:56:01,640 --> 00:56:05,990
This is Nyles' big
realization, which

1334
00:56:05,990 --> 00:56:08,210
was an interesting thing to try
and play because the audience

1335
00:56:08,210 --> 00:56:09,240
already knows.

1336
00:56:09,240 --> 00:56:15,410
So we're trying to bring you
back into his POV a little bit.

1337
00:56:15,410 --> 00:56:19,220
Even gave it a little like
moment of discovery music cue,

1338
00:56:19,220 --> 00:56:22,460
that Akiva and other
people made fun of me

1339
00:56:22,460 --> 00:56:24,980
for liking because it was like
straight out of the "Goonies."

1340
00:56:24,980 --> 00:56:28,280
It's very Amblin, twinkly sound.

1341
00:56:28,280 --> 00:56:29,360
But I like it.

1342
00:56:29,360 --> 00:56:32,640
I thought it conveyed
what we needed.

1343
00:56:32,640 --> 00:56:37,430
And then, you know, this is the
big fight, big confrontation.

1344
00:56:37,430 --> 00:56:39,200
I have to say, every
time I watch this scene,

1345
00:56:39,200 --> 00:56:40,880
I just feel so
horrible for Tala.

1346
00:56:40,880 --> 00:56:42,830
Abraham boned each other.

1347
00:56:42,830 --> 00:56:45,140
She wakes up with
him every single day,

1348
00:56:45,140 --> 00:56:46,940
and then probably sneaks
out in the morning.

1349
00:56:46,940 --> 00:56:48,860
God, no wonder
she hates herself.

1350
00:56:48,860 --> 00:56:50,660
Here, smell this‐‐
from Abe's room.

1351
00:56:50,660 --> 00:56:51,470
Shut up and sit down.

1352
00:56:51,470 --> 00:56:52,270
You're drunk.

1353
00:56:52,270 --> 00:56:53,300
Nyles, what are you doing?

1354
00:56:53,300 --> 00:56:54,740
Just shut up and go fuck Trevor.

1355
00:56:54,740 --> 00:56:56,550
That isn't true, is it?

1356
00:56:56,550 --> 00:56:57,350
What?

1357
00:56:57,350 --> 00:56:58,150
No‐‐ no!

1358
00:56:58,150 --> 00:56:59,390
This guy's been drunk all day.

1359
00:56:59,390 --> 00:57:01,230
That may be accurate.

1360
00:57:01,230 --> 00:57:03,140
However, if you do
smell the pillow,

1361
00:57:03,140 --> 00:57:06,320
you will recognize the distinct
scent of Orchid Explosion

1362
00:57:06,320 --> 00:57:10,120
by Fournier, the hair mist you
got for Sarah on her birthday.

1363
00:57:10,120 --> 00:57:13,840
Does anyone else here wear
Orchid Explosion by Fournier?

1364
00:57:13,840 --> 00:57:15,730
Oh, my god.

1365
00:57:15,730 --> 00:57:17,352
I didn't think so.

1366
00:57:17,352 --> 00:57:19,330
Get the fuck out of here, OK?

1367
00:57:19,330 --> 00:57:20,830
Abe, let's take a walk.

1368
00:57:20,830 --> 00:57:22,317
You don't actually
believe this guy, do you?

1369
00:57:22,317 --> 00:57:24,250
You cheated on your fiancee
the night before your wedding?

1370
00:57:24,250 --> 00:57:26,860
It was awesome doing a
fight scene with Tyler

1371
00:57:26,860 --> 00:57:28,870
because he's done so much of it.

1372
00:57:28,870 --> 00:57:31,030
But also, we had
rad stunt guys doing

1373
00:57:31,030 --> 00:57:35,950
a bunch of the crazy stuff
and crashing through things.

1374
00:57:35,950 --> 00:57:39,130
The fork moment‐‐
when we first saw it,

1375
00:57:39,130 --> 00:57:41,620
we definitely were
all like yeah,

1376
00:57:41,620 --> 00:57:45,440
that's how we imagined it‐‐
super gnarly and, like,

1377
00:57:45,440 --> 00:57:46,240
you could be all‐‐

1378
00:57:46,240 --> 00:57:49,880
[IMITATING SPRING] That
whole fight, I really enjoy.

1379
00:57:49,880 --> 00:57:50,680
It was fun.

1380
00:57:50,680 --> 00:57:51,490
Love it.

1381
00:57:51,490 --> 00:57:52,330
But the fork‐‐

1382
00:57:52,330 --> 00:57:54,570
He just got forked in the face.

1383
00:57:54,570 --> 00:57:58,000
It was a close up of
Tyler's face, fork in it‐‐

1384
00:57:58,000 --> 00:57:59,180
it was a shot that I designed.

1385
00:57:59,180 --> 00:58:01,450
We wanted it to be a
close up, so then you

1386
00:58:01,450 --> 00:58:04,930
could match cut back
to him the next scene

1387
00:58:04,930 --> 00:58:07,660
and the next shot when
everything would reset,

1388
00:58:07,660 --> 00:58:09,200
with his face all normal.

1389
00:58:09,200 --> 00:58:12,400
Maybe get a laugh across the
cut there, like Nyles can't even

1390
00:58:12,400 --> 00:58:16,120
win the fight that he wins.

1391
00:58:16,120 --> 00:58:18,400
Tala, you know that I'm
not great with words.

1392
00:58:18,400 --> 00:58:22,970
But I do love you
more than anything.

1393
00:58:22,970 --> 00:58:27,000
So we're going to perform a
number that I sung to Howard.

1394
00:58:27,000 --> 00:58:28,430
It was great.

1395
00:58:28,430 --> 00:58:29,620
I love that night.

1396
00:58:29,620 --> 00:58:32,240
I remember it very clearly,
because it became‐‐ it was very

1397
00:58:32,240 --> 00:58:34,010
stressful, but it
became very fun

1398
00:58:34,010 --> 00:58:35,660
when we were racing
to the finish line

1399
00:58:35,660 --> 00:58:37,010
and doing all this crazy stuff.

1400
00:58:37,010 --> 00:58:38,910
It felt like team
sports or something.

1401
00:58:38,910 --> 00:58:42,740
Everybody was on the same page
and hustling to get it done.

1402
00:58:42,740 --> 00:58:45,632
(SINGING) That pause
softly on the meadow.

1403
00:58:49,750 --> 00:58:55,990
When Sarah goes missing,
or when she's gone,

1404
00:58:55,990 --> 00:59:00,340
I think what was really
important to us was that‐‐

1405
00:59:00,340 --> 00:59:01,420
at least in the writing of it‐‐

1406
00:59:04,790 --> 00:59:08,170
I wanted Nyles and
us as an audience

1407
00:59:08,170 --> 00:59:12,040
to maybe think for
a moment that she

1408
00:59:12,040 --> 00:59:17,750
actually did get out of the time
loop, that she found a way out.

1409
00:59:17,750 --> 00:59:22,180
And so, what would that be like?

1410
00:59:22,180 --> 00:59:24,970
If the person you
spent however much time

1411
00:59:24,970 --> 00:59:28,600
we believe they have spent
together up to that point,

1412
00:59:28,600 --> 00:59:32,200
and now all of a sudden,
this person that you got very

1413
00:59:32,200 --> 00:59:35,320
close to just leaves for good.

1414
00:59:35,320 --> 00:59:39,610
Where does that
send you spiraling?

1415
00:59:39,610 --> 00:59:43,150
And I think that was a big‐‐

1416
00:59:43,150 --> 00:59:44,630
we wanted to capture
that feeling.

1417
00:59:44,630 --> 00:59:45,430
I don't know if we did.

1418
00:59:45,430 --> 00:59:46,797
I don't know if it
was successful at all,

1419
00:59:46,797 --> 00:59:48,710
but we were aiming
for that feeling.

1420
00:59:51,700 --> 00:59:55,090
What that would have done
to Nyles right at the start

1421
00:59:55,090 --> 00:59:58,000
of the movie versus
where he is emotionally

1422
00:59:58,000 --> 00:59:59,260
at that point in
the movie‐‐ because

1423
00:59:59,260 --> 01:00:07,000
at that point in the movie,
we've now seen his more nothing

1424
01:00:07,000 --> 01:00:10,150
matters mindset be challenged.

1425
01:00:10,150 --> 01:00:12,730
And we start to see
him go the other way,

1426
01:00:12,730 --> 01:00:15,370
onto Sarah's side where
everything matters.

1427
01:00:15,370 --> 01:00:19,810
My nephew‐‐ thanks
for your concern.

1428
01:00:19,810 --> 01:00:21,130
You cannot be here.

1429
01:00:21,130 --> 01:00:22,010
Who is that man?

1430
01:00:22,010 --> 01:00:23,330
(WHISPERING) Fuck!
Oh!

1431
01:00:23,330 --> 01:00:24,130
Hey, hon.

1432
01:00:24,130 --> 01:00:25,456
This is‐‐

1433
01:00:25,456 --> 01:00:26,480
(WHISPERING) Nyles.

1434
01:00:26,480 --> 01:00:27,590
‐‐Nyles.

1435
01:00:27,590 --> 01:00:28,790
He's an old friend.

1436
01:00:28,790 --> 01:00:31,070
Tuna will be ready soon.

1437
01:00:31,070 --> 01:00:35,100
I am adopted and don't
really have a relationship

1438
01:00:35,100 --> 01:00:35,900
with my birth father.

1439
01:00:35,900 --> 01:00:39,350
But I met him one time,
and I was in his backyard.

1440
01:00:39,350 --> 01:00:43,310
And it was kind of a profound
moment and an emotional moment.

1441
01:00:43,310 --> 01:00:45,590
And I remember sitting there,
and he had a son who at that

1442
01:00:45,590 --> 01:00:47,690
time was about two years old‐‐

1443
01:00:47,690 --> 01:00:49,400
half brother, I guess, of mine.

1444
01:00:49,400 --> 01:00:51,950
And as I was having
this conversation

1445
01:00:51,950 --> 01:00:56,360
with my birth father, this
kid was out in the yard

1446
01:00:56,360 --> 01:00:58,565
just watering dog shit.

1447
01:00:58,565 --> 01:01:01,160
And I just remember
thinking, that's so funny.

1448
01:01:01,160 --> 01:01:02,650
He looked like I
did at that age.

1449
01:01:02,650 --> 01:01:03,950
He was just running
around with a hose,

1450
01:01:03,950 --> 01:01:05,710
just pointing dog shit
out and watering it.

1451
01:01:05,710 --> 01:01:08,060
And I just remember
thinking, this is surreal.

1452
01:01:08,060 --> 01:01:11,600
This is the stuff of life that
gets seared into your memory,

1453
01:01:11,600 --> 01:01:15,180
but also we need to use that
in something at some point.

1454
01:01:15,180 --> 01:01:16,610
So that's where that came from.

1455
01:01:16,610 --> 01:01:19,850
Little Joey is
watering dog shit.

1456
01:01:19,850 --> 01:01:24,610
It's weird, but it's beautiful.

1457
01:01:24,610 --> 01:01:26,470
One of the things that
I think everyone who

1458
01:01:26,470 --> 01:01:30,490
worked on it was drawn
to was the comedy

1459
01:01:30,490 --> 01:01:33,010
goes real big and real hard.

1460
01:01:33,010 --> 01:01:35,470
But it also doesn't
shy away from some

1461
01:01:35,470 --> 01:01:39,100
of the more philosophical
and emotional

1462
01:01:39,100 --> 01:01:40,255
conversations and moments.

1463
01:01:42,770 --> 01:01:44,870
One of the biggest,
and certainly

1464
01:01:44,870 --> 01:01:48,290
one of my personal favorites,
is this scene between Nyles

1465
01:01:48,290 --> 01:01:54,080
and Roy, where Roy sort
of talks about coming

1466
01:01:54,080 --> 01:01:55,490
to peace with his situation.

1467
01:01:55,490 --> 01:01:59,390
And it obviously all works as
a metaphor for what we're all

1468
01:01:59,390 --> 01:02:03,110
going through and what
to do with the time

1469
01:02:03,110 --> 01:02:04,700
that we're given in this life.

1470
01:02:04,700 --> 01:02:07,580
And at a certain point,
you gotta stop swimming

1471
01:02:07,580 --> 01:02:09,740
upstream and just
appreciate what you have

1472
01:02:09,740 --> 01:02:11,510
and really relish it.

1473
01:02:11,510 --> 01:02:14,200
And I don't know.

1474
01:02:14,200 --> 01:02:15,925
No one could have pulled
it off quite like JK.

1475
01:02:15,925 --> 01:02:17,950
I guess I had my
head up my own ass.

1476
01:02:17,950 --> 01:02:20,540
I mean, I didn't
really comprehend.

1477
01:02:20,540 --> 01:02:23,560
And so Roy really represents
one of those journeys.

1478
01:02:23,560 --> 01:02:26,440
He's completed a
version of this arc.

1479
01:02:26,440 --> 01:02:33,840
Roy discovers how to articulate
in his way that he has found,

1480
01:02:33,840 --> 01:02:36,780
you know, the kind of
beauty in the mundane,

1481
01:02:36,780 --> 01:02:38,220
in the routine of life.

1482
01:02:38,220 --> 01:02:42,210
And to him, where at one point
at the start of the movie,

1483
01:02:42,210 --> 01:02:44,460
when he first goes
to that wedding,

1484
01:02:44,460 --> 01:02:48,210
we see he used this
wedding as a way

1485
01:02:48,210 --> 01:02:50,880
to escape family
duties for the day.

1486
01:02:50,880 --> 01:02:53,140
He's like, I'm gonna go out to
this wedding in Palm Springs,

1487
01:02:53,140 --> 01:02:54,930
because I don't really
wanna be at home

1488
01:02:54,930 --> 01:02:57,060
with the family in Irvine.

1489
01:02:57,060 --> 01:03:00,540
And he has a long night
of partying with Nyles

1490
01:03:00,540 --> 01:03:04,290
because of this feeling.

1491
01:03:04,290 --> 01:03:06,480
Then, he gets pissed off
that he's been trapped

1492
01:03:06,480 --> 01:03:09,840
in this world with Nyles.

1493
01:03:09,840 --> 01:03:14,700
He goes through all of that
only to realize that by getting

1494
01:03:14,700 --> 01:03:17,717
trapped in here and
by living the same

1495
01:03:17,717 --> 01:03:19,050
day over and over
again‐‐ all the things

1496
01:03:19,050 --> 01:03:20,370
that he was running from‐‐

1497
01:03:20,370 --> 01:03:27,540
he realizes that he was
running based out of fear.

1498
01:03:27,540 --> 01:03:31,510
Well, at least you
have each other.

1499
01:03:31,510 --> 01:03:36,010
That Irvine scene was also
just incredible, to see

1500
01:03:36,010 --> 01:03:37,900
those two guys act together.

1501
01:03:37,900 --> 01:03:42,790
Andy Samberg‐‐ my favorite part
of his performance in the movie

1502
01:03:42,790 --> 01:03:44,950
comes in that Irvine scene.

1503
01:03:44,950 --> 01:03:47,390
We hold on it in the movie,
when he's kind of rejected.

1504
01:03:47,390 --> 01:03:50,585
He can't stay for dinner,
and he has to go back.

1505
01:03:50,585 --> 01:03:53,080
He's kind of getting
kicked out of Roy's house

1506
01:03:53,080 --> 01:03:54,640
because he's freaking
out his kids.

1507
01:03:54,640 --> 01:03:57,220
And Andy delivered
this expression

1508
01:03:57,220 --> 01:04:00,010
that was kind of every
single emotional shade

1509
01:04:00,010 --> 01:04:02,860
of the movie from,
you know, frustration

1510
01:04:02,860 --> 01:04:07,600
to sadness to
disbelief to regret.

1511
01:04:07,600 --> 01:04:09,990
And that was so fun to watch.

1512
01:04:09,990 --> 01:04:14,420
I mean, it was just
such a blast to make.

1513
01:04:14,420 --> 01:04:16,700
I think a lot of people
would choose an arrow

1514
01:04:16,700 --> 01:04:19,070
through the chest over
sitting through traffic

1515
01:04:19,070 --> 01:04:22,760
all the way home from Irvine.

1516
01:04:22,760 --> 01:04:24,860
When he first
pulled that bow back

1517
01:04:24,860 --> 01:04:27,380
and we're so close together,
everyone just started laughing.

1518
01:04:27,380 --> 01:04:29,420
It was like, oh,
yeah, this is working.

1519
01:04:29,420 --> 01:04:30,995
This is why we're making this.

1520
01:04:30,995 --> 01:04:34,640
I'm getting out of this day.

1521
01:04:34,640 --> 01:04:37,580
Look, Sarah‐‐ I'm sorry, OK?

1522
01:04:37,580 --> 01:04:39,930
Sarah, Sarah!

1523
01:04:39,930 --> 01:04:41,940
It's gonna be a
beautiful wedding.

1524
01:04:41,940 --> 01:04:45,840
Fun little tidbit‐‐
the moment where Abe‐‐

1525
01:04:45,840 --> 01:04:50,640
Tyler, who we love‐‐ comes
in shirtless, in some

1526
01:04:50,640 --> 01:04:54,300
of the early screenings we did
to sort of test the movie out,

1527
01:04:54,300 --> 01:04:59,070
his body was so incredibly,
beautifully ripped

1528
01:04:59,070 --> 01:05:01,060
that it was distracting people.

1529
01:05:01,060 --> 01:05:02,160
I didn't know that.

1530
01:05:02,160 --> 01:05:03,120
So we actually had to‐‐

1531
01:05:03,120 --> 01:05:05,010
we knocked it down
in the color correct

1532
01:05:05,010 --> 01:05:06,810
so it wouldn't be
pulling focus so much

1533
01:05:06,810 --> 01:05:09,410
from the drama of the scene.

1534
01:05:09,410 --> 01:05:10,830
Did that happen
in the scene when

1535
01:05:10,830 --> 01:05:12,410
I had to take my shirt off?

1536
01:05:12,410 --> 01:05:13,210
Just curious.

1537
01:05:13,210 --> 01:05:14,490
Uh‐huh!

1538
01:05:14,490 --> 01:05:15,290
Yep.

1539
01:05:15,290 --> 01:05:16,127
Yeah, I figured.

1540
01:05:16,127 --> 01:05:19,109
[MUSIC PLAYING]

1541
01:06:04,900 --> 01:06:07,313
There's only one possible
future given the laws of our‐‐

1542
01:06:07,313 --> 01:06:08,180
Yeah, but it would allow‐‐

1543
01:06:08,180 --> 01:06:11,230
We had the goat on
set a couple of days.

1544
01:06:11,230 --> 01:06:14,860
But seeing Cristin,
I just remember

1545
01:06:14,860 --> 01:06:17,590
lining up the shot
when she was bringing

1546
01:06:17,590 --> 01:06:19,780
the goat into the cave.

1547
01:06:19,780 --> 01:06:22,690
And just‐‐ it was one of
those casual moments on set

1548
01:06:22,690 --> 01:06:24,520
when you're not
rolling or anything,

1549
01:06:24,520 --> 01:06:25,960
but people are just
kind of standing by.

1550
01:06:25,960 --> 01:06:28,870
And I just remember looking
over and seeing Milioti just

1551
01:06:28,870 --> 01:06:32,270
with this goat, talking to
the goat, getting acquainted

1552
01:06:32,270 --> 01:06:33,070
with the goat.

1553
01:06:33,070 --> 01:06:35,470
And again, it was what I
was mentioning earlier.

1554
01:06:35,470 --> 01:06:38,260
It's like, oh, this is the
chance to be really special.

1555
01:06:38,260 --> 01:06:39,976
We're doing so much weird shit.

1556
01:06:39,976 --> 01:06:41,920
[MUSIC PLAYING]

1557
01:06:41,920 --> 01:06:42,892
Wake up.

1558
01:06:51,326 --> 01:06:52,126
Hey.

1559
01:06:55,540 --> 01:06:56,470
You're here.

1560
01:06:56,470 --> 01:06:59,295
Yep.

1561
01:06:59,295 --> 01:07:02,260
Wow.

1562
01:07:02,260 --> 01:07:03,280
It's good to see you.

1563
01:07:03,280 --> 01:07:04,910
You look‐‐ you look great.

1564
01:07:04,910 --> 01:07:08,800
Yeah, well, can't age.

1565
01:07:08,800 --> 01:07:10,300
Right.
[KNOCKING AT DOOR]

1566
01:07:10,300 --> 01:07:11,110
Let me in, Sarah!

1567
01:07:11,110 --> 01:07:13,780
You can't lock me
out of my own room.

1568
01:07:13,780 --> 01:07:15,580
Nyles!

1569
01:07:15,580 --> 01:07:17,830
Ugh!

1570
01:07:17,830 --> 01:07:18,820
So how have you been?

1571
01:07:18,820 --> 01:07:21,160
Oh, so bad.

1572
01:07:21,160 --> 01:07:24,860
I mean‐‐ no, yeah.

1573
01:07:24,860 --> 01:07:26,250
Really, really bad.

1574
01:07:26,250 --> 01:07:28,520
But can I just say something?

1575
01:07:28,520 --> 01:07:30,890
The journey of this
movie has been‐‐

1576
01:07:30,890 --> 01:07:36,530
I don't know‐‐ a long,
joy‐filled experience that,

1577
01:07:36,530 --> 01:07:40,220
from the beginning, Max
and I, the director and I

1578
01:07:40,220 --> 01:07:44,270
first headed out to Palm
Springs to talk about this back

1579
01:07:44,270 --> 01:07:46,860
in summer of 2015.

1580
01:07:46,860 --> 01:07:50,150
You live with a script
or an idea for so long,

1581
01:07:50,150 --> 01:07:51,573
and you just hope
you get to make it.

1582
01:07:51,573 --> 01:07:52,940
And you hope when you
make it that people

1583
01:07:52,940 --> 01:07:54,780
are gonna come on board
and make it even better.

1584
01:07:54,780 --> 01:07:58,460
And that's what we were
lucky enough to get.

1585
01:07:58,460 --> 01:08:02,340
The movie doesn't work
without Nyles and Sarah‐‐

1586
01:08:02,340 --> 01:08:05,210
you really believing that
they could fall in love,

1587
01:08:05,210 --> 01:08:08,250
but also that there's just
comedic chemistry there.

1588
01:08:08,250 --> 01:08:12,320
And it needed to feel
electric, and Andy

1589
01:08:12,320 --> 01:08:15,500
and Cristin had that in spades.

1590
01:08:15,500 --> 01:08:16,340
It was incredible.

1591
01:08:16,340 --> 01:08:19,850
I remember the first time
that we all sat together,

1592
01:08:19,850 --> 01:08:23,750
Becky Sloviter, our amazing
producer, and Andy, Cristin,

1593
01:08:23,750 --> 01:08:25,819
and me‐‐ just when
Cristin was in town

1594
01:08:25,819 --> 01:08:28,550
and we were all kind
of meeting before, we

1595
01:08:28,550 --> 01:08:29,819
would start prepping stuff.

1596
01:08:29,819 --> 01:08:32,359
And I remember Becky
and I just sat there,

1597
01:08:32,359 --> 01:08:34,189
and Andy and Cristin
talked for like two hours.

1598
01:08:34,189 --> 01:08:36,229
You couldn't get a word in,
because they just‐‐ you know,

1599
01:08:36,229 --> 01:08:38,149
they were so on
the same wavelength

1600
01:08:38,149 --> 01:08:42,080
in terms of creativity
and taste in music

1601
01:08:42,080 --> 01:08:44,479
and film and life stuff.

1602
01:08:44,479 --> 01:08:47,060
And I think that really
carries over into the movie.

1603
01:08:47,060 --> 01:08:49,550
It just was super special.

1604
01:08:49,550 --> 01:08:50,510
Do we, though?

1605
01:08:50,510 --> 01:08:52,790
I mean, I don't want
you to set yourself

1606
01:08:52,790 --> 01:08:54,120
up for disappointment again.

1607
01:08:54,120 --> 01:08:55,910
Remember the whole karma thing?

1608
01:08:55,910 --> 01:08:57,649
This is different.

1609
01:08:57,649 --> 01:08:59,330
I tested it.

1610
01:08:59,330 --> 01:09:01,040
Tested it how?

1611
01:09:01,040 --> 01:09:02,270
Spuds' goat.

1612
01:09:02,270 --> 01:09:04,939
I sent her into the
cave, and I blew her up.

1613
01:09:04,939 --> 01:09:07,609
I don't know where she went,
but she's not here anymore.

1614
01:09:07,609 --> 01:09:08,540
Can you zip me up?

1615
01:09:08,540 --> 01:09:10,685
Wait, the goat is gone?

1616
01:09:10,685 --> 01:09:11,990
Mm‐hmm.

1617
01:09:11,990 --> 01:09:13,550
It's crazy, right?

1618
01:09:13,550 --> 01:09:15,830
So I think that we just get
through the rest of today,

1619
01:09:15,830 --> 01:09:17,149
we don't do anything too nuts.

1620
01:09:17,149 --> 01:09:20,700
And then tonight, we peace the
fuck out of this shit hole.

1621
01:09:20,700 --> 01:09:25,170
Well, I mean‐‐ you sure
you don't wanna run

1622
01:09:25,170 --> 01:09:26,145
some more tests or something?

1623
01:09:26,145 --> 01:09:26,945
What?

1624
01:09:26,945 --> 01:09:27,978
No, what are you talking about?

1625
01:09:27,978 --> 01:09:29,490
Well, just, the cave's
not going anywhere.

1626
01:09:29,490 --> 01:09:30,399
What's the big rush?

1627
01:09:30,399 --> 01:09:35,434
You know, in case something
actually does happen.

1628
01:09:35,434 --> 01:09:37,800
Holy shit.

1629
01:09:37,800 --> 01:09:38,679
Are you scared to leave?

1630
01:09:38,679 --> 01:09:39,479
What?

1631
01:09:39,479 --> 01:09:43,140
No, not at all.

1632
01:09:43,140 --> 01:09:45,444
I just don't want to leave.

1633
01:09:45,444 --> 01:09:46,930
There's a difference.
Oh, yeah?

1634
01:09:46,930 --> 01:09:47,790
What's the difference.

1635
01:09:47,790 --> 01:09:50,920
I wanna stay with you.

1636
01:09:50,920 --> 01:09:53,210
Look, I love you, OK?

1637
01:09:53,210 --> 01:09:54,010
How about that?

1638
01:09:56,746 --> 01:09:58,010
What?

1639
01:09:58,010 --> 01:09:58,810
I love you.

1640
01:10:01,880 --> 01:10:06,290
You‐‐ how can you
even know that?

1641
01:10:06,290 --> 01:10:08,000
I am literally the
only other human

1642
01:10:08,000 --> 01:10:09,420
being stuck in here with you.
No.

1643
01:10:09,420 --> 01:10:10,220
What about Roy?

1644
01:10:10,220 --> 01:10:11,020
I don't love him.

1645
01:10:11,020 --> 01:10:12,950
Oh, my god, Nyles.

1646
01:10:12,950 --> 01:10:17,360
So you are saying that out
there in the real world,

1647
01:10:17,360 --> 01:10:19,100
with the millions of other
people to choose from,

1648
01:10:19,100 --> 01:10:20,520
you would still choose me?

1649
01:10:20,520 --> 01:10:21,320
Yeah.

1650
01:10:21,320 --> 01:10:24,080
But why would I want to go
back there anyway, you know?

1651
01:10:24,080 --> 01:10:26,390
It's a world of death and
poverty and debilitating

1652
01:10:26,390 --> 01:10:27,830
emotional distress.

1653
01:10:27,830 --> 01:10:30,530
At least in here, we
get to be together.

1654
01:10:30,530 --> 01:10:32,860
You have lost your mind.

1655
01:10:32,860 --> 01:10:34,030
Is that so bad?

1656
01:10:34,030 --> 01:10:36,100
That's what love is all about.

1657
01:10:36,100 --> 01:10:37,360
Don't be so afraid of it.

1658
01:10:37,360 --> 01:10:38,770
This isn't real.

1659
01:10:38,770 --> 01:10:40,750
Nyles, everything that
we are doing in here

1660
01:10:40,750 --> 01:10:42,010
is fucking meaningless.

1661
01:10:42,010 --> 01:10:43,443
So what?

1662
01:10:43,443 --> 01:10:45,310
I mean, it's not like things
were going so great for you

1663
01:10:45,310 --> 01:10:47,870
out there.

1664
01:10:47,870 --> 01:10:51,440
Look, I know about
you and Abe, OK?

1665
01:10:51,440 --> 01:10:54,140
And if your plan works,
that's a whole other mess

1666
01:10:54,140 --> 01:10:55,790
you're gonna have to deal with.

1667
01:10:55,790 --> 01:10:59,570
How do you know about that?

1668
01:10:59,570 --> 01:11:04,790
Orchid Explosion by Fournier,
but it doesn't matter.

1669
01:11:04,790 --> 01:11:05,950
I don't care about that stuff.

1670
01:11:05,950 --> 01:11:09,710
That's like my whole thing.

1671
01:11:09,710 --> 01:11:11,220
I can't keep waking up in there.

1672
01:11:11,220 --> 01:11:13,160
Just ignore it.

1673
01:11:13,160 --> 01:11:16,860
I need my life back.

1674
01:11:16,860 --> 01:11:22,050
And I am asking you if you
want to leave this place

1675
01:11:22,050 --> 01:11:23,530
and come with me.

1676
01:11:23,530 --> 01:11:28,580
And I'm saying no, but I'm
also asking you to stay.

1677
01:11:28,580 --> 01:11:33,920
You know, the whole thing was
just kind of a treat to make.

1678
01:11:33,920 --> 01:11:36,830
It was that rare
instance of everyone

1679
01:11:36,830 --> 01:11:39,800
truly loving and
believing in the material.

1680
01:11:39,800 --> 01:11:41,540
No one was there doing
it for the paycheck.

1681
01:11:41,540 --> 01:11:46,014
It was all just for the love
and, dare I say, for the art.

1682
01:11:46,014 --> 01:11:47,008
(WHISPERING) Sarah‐‐

1683
01:11:53,980 --> 01:11:55,500
Nyles, what the fuck was that?

1684
01:11:58,600 --> 01:12:00,760
We should break up.

1685
01:12:00,760 --> 01:12:01,560
What?

1686
01:12:01,560 --> 01:12:02,430
You don't like me.

1687
01:12:02,430 --> 01:12:06,130
I don't like you, but I don't
think we should break up.

1688
01:12:06,130 --> 01:12:06,930
What?

1689
01:12:06,930 --> 01:12:09,120
People don't break up with me.

1690
01:12:09,120 --> 01:12:10,600
This is so fucked up.

1691
01:12:10,600 --> 01:12:11,400
OK.

1692
01:12:11,400 --> 01:12:12,780
I'm breaking up with you!

1693
01:12:12,780 --> 01:12:15,142
I had the idea first!

1694
01:12:15,142 --> 01:12:22,770
(SINGING) The blind may see,
but stay behind the reeds

1695
01:12:22,770 --> 01:12:26,690
of all liability.

1696
01:12:29,630 --> 01:12:34,230
And there's nothing
more you need.

1697
01:12:34,230 --> 01:12:35,030
Thank you.

1698
01:12:35,030 --> 01:12:36,860
You have beautiful skin.

1699
01:12:36,860 --> 01:12:38,000
I love your haircut.

1700
01:12:38,000 --> 01:12:39,470
Me, too.

1701
01:12:39,470 --> 01:12:41,090
Without further
ado, let me bring

1702
01:12:41,090 --> 01:12:46,970
up the actual maid of honor, the
big sister of the bride, Sarah.

1703
01:12:46,970 --> 01:12:48,320
Good luck, girl.

1704
01:12:48,320 --> 01:12:51,140
Thank you, Misty.

1705
01:12:51,140 --> 01:12:54,890
When I was 12, I had just
started at this new school.

1706
01:12:54,890 --> 01:12:57,260
And I was truly
terrified of the world,

1707
01:12:57,260 --> 01:13:02,330
and I kept having these
really awful nightmares.

1708
01:13:02,330 --> 01:13:05,960
And then one morning, I woke
up after a full night of sleep.

1709
01:13:05,960 --> 01:13:13,320
And I find Tala asleep
next to me, holding me.

1710
01:13:13,320 --> 01:13:14,970
She'd heard me
crying in my sleep,

1711
01:13:14,970 --> 01:13:20,370
and she crawled into my bed
to snuggle me because she

1712
01:13:20,370 --> 01:13:21,310
thought that might help.

1713
01:13:21,310 --> 01:13:23,910
And she was like five years old.

1714
01:13:23,910 --> 01:13:28,080
Yeah, I think that she's
finally accepted herself.

1715
01:13:28,080 --> 01:13:31,140
And also, I think knowing that
this is like maybe the last

1716
01:13:31,140 --> 01:13:33,660
time she's ever gonna
see her family possibly‐‐

1717
01:13:33,660 --> 01:13:36,450
because she doesn't know
what's gonna happen‐‐

1718
01:13:36,450 --> 01:13:40,830
that she's able to like release
and give her sister the wedding

1719
01:13:40,830 --> 01:13:42,470
that she should have given her.

1720
01:13:42,470 --> 01:13:44,080
Yep.

1721
01:13:44,080 --> 01:13:47,690
And the speech that she
should have given her.

1722
01:13:47,690 --> 01:13:49,940
Big sisters are supposed
to teach baby sisters,

1723
01:13:49,940 --> 01:13:54,890
but I will today and forever‐‐

1724
01:13:54,890 --> 01:14:01,130
and ever, ever‐‐ be
learning from you.

1725
01:14:01,130 --> 01:14:02,190
Four nights?

1726
01:14:02,190 --> 01:14:03,380
That sounds right.
Is that right?

1727
01:14:03,380 --> 01:14:04,880
Three to four nights of
shooting the wedding,

1728
01:14:04,880 --> 01:14:06,980
all of the wedding stuff.

1729
01:14:06,980 --> 01:14:11,996
Can't stress how
much we were rushing.

1730
01:14:11,996 --> 01:14:16,250
We had a real breakneck
pace on this thing.

1731
01:14:16,250 --> 01:14:18,410
Every scene at the
wedding was like, I think,

1732
01:14:18,410 --> 01:14:21,050
two takes except for the
dancing, which was five.

1733
01:14:21,050 --> 01:14:22,430
By the way, I think
that's also maybe

1734
01:14:22,430 --> 01:14:26,240
why we haven't busted out any
bloopers yet, because we're

1735
01:14:26,240 --> 01:14:27,740
using like every shot frame.

1736
01:14:30,120 --> 01:14:30,920
Right.

1737
01:14:30,920 --> 01:14:32,750
Many, many things
re‐appropriated

1738
01:14:32,750 --> 01:14:34,820
to fit different scenes
they weren't meant for

1739
01:14:34,820 --> 01:14:38,270
and reaction shots from
totally different scenes.

1740
01:14:41,981 --> 01:14:43,399
(WHISPERING) I love you.

1741
01:14:43,399 --> 01:14:44,896
I love you, too.

1742
01:14:48,890 --> 01:14:50,220
So hopefully, you get this.

1743
01:14:50,220 --> 01:14:53,000
And sorry about that, again.

1744
01:14:53,000 --> 01:14:57,289
And I hope to see you soon.

1745
01:14:57,289 --> 01:14:59,560
OK.

1746
01:14:59,560 --> 01:15:01,660
That was a lovely speech.

1747
01:15:01,660 --> 01:15:04,270
So a lot of questions
about this scene.

1748
01:15:04,270 --> 01:15:06,610
A lot of people want
to know if Nana knows.

1749
01:15:06,610 --> 01:15:08,140
Does she know about the loop?

1750
01:15:08,140 --> 01:15:12,380
Is she just kind of sensing
that something's up?

1751
01:15:12,380 --> 01:15:14,080
I don't want to
answer what I think.

1752
01:15:14,080 --> 01:15:17,480
Because, as you know from when
we did press together for this,

1753
01:15:17,480 --> 01:15:19,480
I don't like answering
any of these things

1754
01:15:19,480 --> 01:15:22,810
because I think that's what
makes the movie so great.

1755
01:15:22,810 --> 01:15:24,200
No one knows.

1756
01:15:24,200 --> 01:15:25,000
Yes.

1757
01:15:25,000 --> 01:15:26,590
I have my own opinion about it.

1758
01:15:26,590 --> 01:15:27,435
That's for me.

1759
01:15:29,980 --> 01:15:32,410
I don't even tell
Andy what I think.

1760
01:15:32,410 --> 01:15:34,600
The truth is‐‐ and
I know this is not

1761
01:15:34,600 --> 01:15:36,040
necessarily what
people want‐‐ but I

1762
01:15:36,040 --> 01:15:38,410
think maybe deep down it is.

1763
01:15:38,410 --> 01:15:41,560
There's no definitive answer
to a lot of these questions,

1764
01:15:41,560 --> 01:15:43,450
because a lot of
different people

1765
01:15:43,450 --> 01:15:46,900
working on the movie
in a creative capacity

1766
01:15:46,900 --> 01:15:48,350
think different things.

1767
01:15:48,350 --> 01:15:51,370
So it actually is
meant to be what

1768
01:15:51,370 --> 01:15:53,020
you think it is, is what it is.

1769
01:15:53,020 --> 01:15:56,230
And that's the correct answer.

1770
01:15:56,230 --> 01:15:58,330
Up for interpretation, Thomas.

1771
01:15:58,330 --> 01:15:59,950
Yes.

1772
01:15:59,950 --> 01:16:00,780
Oh, Thomas.

1773
01:16:08,856 --> 01:16:11,770
[MUSIC ‐ LEONARD COHEN, "THE
PARTISAN"]

1774
01:16:18,050 --> 01:16:19,000
Love the song.

1775
01:16:19,000 --> 01:16:22,870
This was your pitch,
using this song.

1776
01:16:22,870 --> 01:16:26,170
When we were driving
to Joshua Tree

1777
01:16:26,170 --> 01:16:29,500
one day to shoot in
the car‐‐ me, you,

1778
01:16:29,500 --> 01:16:31,930
and our wonderful
producer Becky Sloviter‐‐

1779
01:16:31,930 --> 01:16:34,090
and you said there was
a moment in the script

1780
01:16:34,090 --> 01:16:38,197
you always imagined
this song was playing.

1781
01:16:38,197 --> 01:16:39,730
That's right‐‐ Leonard
Cohen's "The Partisan."

1782
01:16:39,730 --> 01:16:40,530
Yes.

1783
01:16:40,530 --> 01:16:42,850
And it was actually the
scene right after this scene.

1784
01:16:42,850 --> 01:16:46,060
And we tried it there, but
then we reshuffled it and ended

1785
01:16:46,060 --> 01:16:47,340
up using it inside the bar.

1786
01:16:47,340 --> 01:16:48,310
It works beautifully.

1787
01:16:48,310 --> 01:16:49,672
So thank you.

1788
01:16:49,672 --> 01:16:52,624
[MUSIC PLAYING]

1789
01:17:00,496 --> 01:17:02,464
[TIRE BLOWING]

1790
01:17:02,464 --> 01:17:03,940
No‐‐ no!

1791
01:17:03,940 --> 01:17:06,892
[MUSIC CONTINUES]

1792
01:17:06,892 --> 01:17:09,844
(YELLING) Dammit!

1793
01:17:09,844 --> 01:17:12,150
[GUNSHOTS]

1794
01:17:12,150 --> 01:17:12,950
What?

1795
01:17:12,950 --> 01:17:14,430
Don't shoot, don't shoot!

1796
01:17:14,430 --> 01:17:16,010
It's fun seeing‐‐

1797
01:17:16,010 --> 01:17:21,090
I love‐‐ this was always,
always a part of the script.

1798
01:17:21,090 --> 01:17:23,060
There's actually‐‐ yeah, some
people have been like, wait,

1799
01:17:23,060 --> 01:17:23,960
what's the deal with Spuds?

1800
01:17:23,960 --> 01:17:25,270
Is he really his dad?

1801
01:17:25,270 --> 01:17:27,350
And I'm always confused.

1802
01:17:27,350 --> 01:17:30,590
It's just, Nyles knows
everything about Spuds,

1803
01:17:30,590 --> 01:17:34,070
so he tricks them in this
moment into giving him a ride.

1804
01:17:34,070 --> 01:17:37,070
So, sorry to anyone who wanted
that to be a real thing,

1805
01:17:37,070 --> 01:17:38,638
that Spuds was Nyles' dad.

1806
01:17:38,638 --> 01:17:41,566
[MUSIC PLAYING]

1807
01:17:46,934 --> 01:17:48,886
(YELLING) Sarah!

1808
01:17:48,886 --> 01:17:53,270
Sarah, wait‐‐ wait!

1809
01:17:53,270 --> 01:17:54,390
I get it now.

1810
01:17:54,390 --> 01:17:55,320
You were right.

1811
01:17:55,320 --> 01:17:57,420
I was scared.

1812
01:17:57,420 --> 01:17:59,160
But I'm not anymore.

1813
01:17:59,160 --> 01:18:02,460
Look, Sarah‐‐ from the
first time that I saw you‐‐

1814
01:18:02,460 --> 01:18:03,330
No, stop.

1815
01:18:03,330 --> 01:18:04,140
Stop it.

1816
01:18:04,140 --> 01:18:07,740
Nyles, I don't want another one
of your speeches, all right?

1817
01:18:16,470 --> 01:18:18,000
You get one more sentence.

1818
01:18:18,000 --> 01:18:21,070
OK, OK.

1819
01:18:21,070 --> 01:18:24,610
Even though I pretend not
to be, I've realized that I

1820
01:18:24,610 --> 01:18:26,740
am completely codependent.

1821
01:18:26,740 --> 01:18:29,620
But I'm cool with
it, because I think

1822
01:18:29,620 --> 01:18:31,760
that life should be shared now.

1823
01:18:31,760 --> 01:18:35,803
And I need you to survive.

1824
01:18:35,803 --> 01:18:38,120
OK, that's your one sentence.

1825
01:18:38,120 --> 01:18:41,190
I need you to survive,
comma, but it's

1826
01:18:41,190 --> 01:18:42,870
so much more than that.

1827
01:18:42,870 --> 01:18:48,470
Colon‐‐ I know you better
than anyone knows you.

1828
01:18:48,470 --> 01:18:51,500
And remember that night
when we saw the dinosaurs?

1829
01:18:51,500 --> 01:18:52,760
You said it yourself.

1830
01:18:52,760 --> 01:18:55,610
I just like that this was‐‐

1831
01:18:55,610 --> 01:18:58,640
this scene was always
really true to who she was,

1832
01:18:58,640 --> 01:19:00,590
that she doesn't become
like a completely different

1833
01:19:00,590 --> 01:19:03,620
person after this connection.

1834
01:19:03,620 --> 01:19:06,530
She still is able‐‐ she still
expresses love in the way

1835
01:19:06,530 --> 01:19:08,720
that Sarah expresses
love, which is,

1836
01:19:08,720 --> 01:19:11,840
I think, through a series of‐‐

1837
01:19:11,840 --> 01:19:14,760
I don't think she's very
comfortable being vulnerable.

1838
01:19:14,760 --> 01:19:19,950
And, you know, that's one of the
things that ties them together.

1839
01:19:19,950 --> 01:19:21,920
But I like that there
wasn't suddenly a shift,

1840
01:19:21,920 --> 01:19:23,090
and she was like, oh, my god.

1841
01:19:23,090 --> 01:19:24,410
You're right‐‐ I love you!

1842
01:19:24,410 --> 01:19:26,390
Like it was just like,
all right come on.

1843
01:19:26,390 --> 01:19:29,490
The challenge of it was
making it feel like a payoff,

1844
01:19:29,490 --> 01:19:31,460
and like you were
rooting for them

1845
01:19:31,460 --> 01:19:34,220
and seeing that they really
cared about each other

1846
01:19:34,220 --> 01:19:36,440
without betraying who
we were telling you

1847
01:19:36,440 --> 01:19:39,720
they were the whole time.

1848
01:19:39,720 --> 01:19:41,350
Exactly.
It's very true to who they are.

1849
01:19:41,350 --> 01:19:43,250
Tried to undercut it a bunch
of times with little details

1850
01:19:43,250 --> 01:19:48,560
and not having her be like you
said, just fully giving it up.

1851
01:19:48,560 --> 01:19:49,823
It's a rom‐com!

1852
01:19:49,823 --> 01:19:51,590
I'm hoping it didn't distract
from my point too much.

1853
01:19:51,590 --> 01:19:53,060
I mean, an emphatic
period is just‐‐

1854
01:19:53,060 --> 01:19:54,210
it's an exclamation point.

1855
01:19:54,210 --> 01:19:55,524
I didn't want to seem desperate.

1856
01:19:59,880 --> 01:20:03,010
What if we get
sick of each other?

1857
01:20:03,010 --> 01:20:06,245
We're already sick
of each other.

1858
01:20:06,245 --> 01:20:07,045
It's the best.

1859
01:20:12,440 --> 01:20:14,810
I can survive just fine
without you, you know?

1860
01:20:18,330 --> 01:20:22,310
But there is a chance that
this life can be a little

1861
01:20:22,310 --> 01:20:26,270
less mundane with you in it.

1862
01:20:26,270 --> 01:20:29,540
Yeah, less mundane.

1863
01:20:29,540 --> 01:20:30,450
That's super low bar.

1864
01:20:30,450 --> 01:20:31,610
That's a great place to start.

1865
01:20:36,450 --> 01:20:38,070
OK.

1866
01:20:38,070 --> 01:20:38,870
OK.

1867
01:20:41,774 --> 01:20:43,240
Come on.

1868
01:20:43,240 --> 01:20:46,466
Let's see if we blow up and die.

1869
01:20:46,466 --> 01:20:47,424
OK.

1870
01:20:47,424 --> 01:20:50,090
[MUSIC PLAYING]

1871
01:20:51,240 --> 01:20:55,340
So is the whole go
disappearing thing for real?

1872
01:20:55,340 --> 01:20:57,440
Oh, Kate Bush.

1873
01:20:57,440 --> 01:20:59,190
This‐‐ oh, yeah.

1874
01:20:59,190 --> 01:20:59,990
This is your idea?

1875
01:20:59,990 --> 01:21:01,945
The first meeting I ever
had with Max and Andy,

1876
01:21:01,945 --> 01:21:04,580
I said I feel like we should
have a scene where they go

1877
01:21:04,580 --> 01:21:06,710
into the cave and
blow themselves up,

1878
01:21:06,710 --> 01:21:08,280
and Kate Bush is playing
and it's this song.

1879
01:21:08,280 --> 01:21:11,270
And they were like, love it!

1880
01:21:11,270 --> 01:21:14,182
It's so good.

1881
01:21:14,182 --> 01:21:16,480
Oh, I love this part.

1882
01:21:16,480 --> 01:21:18,440
Love how it looks.

1883
01:21:18,440 --> 01:21:20,470
Everyone did such a nice job.

1884
01:21:20,470 --> 01:21:21,270
Yeah.

1885
01:21:21,270 --> 01:21:24,210
[MUSIC ‐ KATE BUSH,
"CLOUDBUSTING"]

1886
01:21:26,660 --> 01:21:29,600
(SINGING) We've been
cloudbusting, daddy.

1887
01:21:29,600 --> 01:21:32,050
(SINGING) Yeah‐yeah, yeah‐‐ oh!

1888
01:21:38,430 --> 01:21:42,180
There are clues throughout
the entire movie that

1889
01:21:42,180 --> 01:21:46,080
can point you to one ending.

1890
01:21:46,080 --> 01:21:48,000
However, it shouldn't matter.

1891
01:21:50,720 --> 01:21:54,450
What truly matters in
the movie is that they

1892
01:21:54,450 --> 01:21:56,820
walk into that cave together.

1893
01:21:56,820 --> 01:21:59,335
They embrace the unknown,
but they do it together.

1894
01:22:08,450 --> 01:22:09,250
Here's the ending.

1895
01:22:09,250 --> 01:22:12,040
No one knows what it means.

1896
01:22:12,040 --> 01:22:12,840
No one knows.

1897
01:22:12,840 --> 01:22:14,560
And I actually had
my own opinions,

1898
01:22:14,560 --> 01:22:15,670
and I would never share them.

1899
01:22:15,670 --> 01:22:17,020
Yeah.

1900
01:22:17,020 --> 01:22:18,010
They're different than yours.

1901
01:22:18,010 --> 01:22:19,640
I know what yours are.

1902
01:22:19,640 --> 01:22:21,310
Now what do we do?

1903
01:22:21,310 --> 01:22:23,440
Look, it's the
same thing that we

1904
01:22:23,440 --> 01:22:26,260
were saying before
earlier, about Nana

1905
01:22:26,260 --> 01:22:28,300
and about the dinosaurs.

1906
01:22:28,300 --> 01:22:32,840
There are certain things in
this movie that are not meant

1907
01:22:32,840 --> 01:22:35,060
to be known with certainty.

1908
01:22:35,060 --> 01:22:39,890
Like the thing we talked about
a lot was the movie kinda

1909
01:22:39,890 --> 01:22:43,370
could've ended when
they walk into that cave

1910
01:22:43,370 --> 01:22:46,160
and blow themselves
up, because they've

1911
01:22:46,160 --> 01:22:48,830
both decided that they're in
and they're gonna take the leap.

1912
01:22:48,830 --> 01:22:50,210
And that's sort of‐‐

1913
01:22:50,210 --> 01:22:51,457
that's the arc, you know?

1914
01:22:51,457 --> 01:22:52,790
What the fuck are you
doing in our pool?

1915
01:22:52,790 --> 01:22:55,460
Also, the family there is our
producer, Becky Sloviter‐‐

1916
01:22:55,460 --> 01:22:58,170
our amazing producer and
that's your husband and kids,

1917
01:22:58,170 --> 01:22:58,970
which I love.

1918
01:22:58,970 --> 01:23:00,337
They drove a very long
way to do that one

1919
01:23:00,337 --> 01:23:01,610
shot for like two seconds.

1920
01:23:01,610 --> 01:23:11,963
[MUSIC ‐ HALL & OATES,
"WHEN THE MORNING COMES"]

1921
01:23:11,963 --> 01:23:16,440
(SINGING) I went
downtown to see my lady.

1922
01:23:16,440 --> 01:23:19,200
She stood me up, and
I stood there waiting.

1923
01:23:19,200 --> 01:23:21,270
It'll be all right.

1924
01:23:21,270 --> 01:23:25,215
Aw, I love this part where
you see the dinosaurs.

1925
01:23:25,215 --> 01:23:28,765
Do you see them,
do you see them?

1926
01:23:28,765 --> 01:23:29,565
Yeah.

1927
01:23:29,565 --> 01:23:32,050
Oh, yeah, maybe you do.

1928
01:23:32,050 --> 01:23:33,870
Maybe that's them
there on the horizon.

1929
01:23:33,870 --> 01:23:35,910
(SINGING) When
the morning comes.

1930
01:23:42,370 --> 01:23:44,140
Way to go, Max.

1931
01:23:44,140 --> 01:23:45,740
Way to go, Siara.

1932
01:23:45,740 --> 01:23:47,120
Way to go!

1933
01:23:47,120 --> 01:23:47,920
Yay, Andy!

1934
01:23:47,920 --> 01:23:48,720
Nice job.

1935
01:23:48,720 --> 01:23:49,970
Well produced, well produced.

1936
01:23:49,970 --> 01:23:50,770
Yay!

1937
01:23:57,800 --> 01:23:59,240
Hey, shit bird.

1938
01:23:59,240 --> 01:24:00,950
I got the message from
your girlfriend last night.

1939
01:24:00,950 --> 01:24:03,187
That is a pretty crazy theory.

1940
01:24:03,187 --> 01:24:04,220
You really think it could work?

1941
01:24:07,380 --> 01:24:10,560
We leave a little bit
of a breadcrumb trail

1942
01:24:10,560 --> 01:24:12,360
of hope for Roy.

1943
01:24:12,360 --> 01:24:14,190
We weren't gonna leave
him high and dry.

1944
01:24:19,320 --> 01:24:20,480
Hi.

1945
01:24:20,480 --> 01:24:21,280
Hi.

1946
01:24:26,290 --> 01:24:29,440
No way.

1947
01:24:29,440 --> 01:24:32,410
Wow, Daisy I'd like a‐‐

1948
01:24:32,410 --> 01:24:35,410
lots of alcohol, please.

1949
01:24:35,410 --> 01:24:36,470
Nice to meet you.

1950
01:24:36,470 --> 01:24:37,270
Yeah.

1951
01:24:37,270 --> 01:24:38,604
(SINGING) When
the morning comes.

1952
01:24:41,880 --> 01:24:42,760
It was a blast.

1953
01:24:42,760 --> 01:24:47,940
I mean, the movie was a complete
romp, as designed and written.

1954
01:24:47,940 --> 01:24:49,720
And that's kinda what
the shoot felt like, too.

1955
01:24:49,720 --> 01:24:54,330
We shot in 21 days, so
there wasn't a lot of time.

1956
01:24:54,330 --> 01:24:59,550
But everybody came
inspired and prepared,

1957
01:24:59,550 --> 01:25:03,060
and it was just‐‐ you know,
it felt like a fun party

1958
01:25:03,060 --> 01:25:06,150
that you hoped
would last forever,

1959
01:25:06,150 --> 01:25:08,880
but it had to end at some point.

1960
01:25:08,880 --> 01:25:09,960
But it was a total blast.

1961
01:25:09,960 --> 01:25:11,814
It was a dream come true.

1962
01:25:11,814 --> 01:25:15,190
(SINGING) Standing
here, waiting on you.

1963
01:25:15,190 --> 01:25:19,095
It'll be all right
when the morning comes.

1964
01:25:21,870 --> 01:25:34,320
[VOCALIZING] When
the morning comes.

1965
01:25:34,320 --> 01:25:45,774
[VOCALIZING] It'll be all
right when the morning comes.

1966
01:25:50,754 --> 01:25:53,742
[INSTRUMENTAL INTERLUDE]

1967
01:26:05,196 --> 01:26:08,184
[VOCALIZING]

1968
01:26:12,666 --> 01:26:15,156
(SINGING) When
the morning comes.

1969
01:26:19,638 --> 01:26:22,626
[MUSIC ‐ SE ROGIE, "MAN STUPID
BEING"]

1970
01:26:57,486 --> 01:27:01,420
(SINGING) Let me give you
a little experience of

1971
01:27:01,420 --> 01:27:03,915
some young chickens out today.

1972
01:27:03,915 --> 01:27:07,420
I'm gonna give you a
little experience of

1973
01:27:07,420 --> 01:27:10,090
some young chickens out today.

1974
01:27:10,090 --> 01:27:13,150
They are full of
disappointments.

1975
01:27:13,150 --> 01:27:16,420
They are never, never on time.

1976
01:27:16,420 --> 01:27:19,450
They don't keep
to an appointment.

1977
01:27:19,450 --> 01:27:22,120
They don't let you
catch their lie.

1978
01:27:22,120 --> 01:27:25,450
They will tell you this
when they mean that.

1979
01:27:25,450 --> 01:27:28,190
I wish I could keep them apart.

1980
01:27:28,190 --> 01:27:31,150
But ask your mom, how can I?

1981
01:27:31,150 --> 01:27:34,257
These women‐‐ necessary evil.

1982
01:27:34,257 --> 01:27:37,130
Oh, man‐‐ oh, man.

1983
01:27:37,130 --> 01:27:41,220
Yes, man stupid being.

1984
01:27:41,220 --> 01:27:44,184
[INSTRUMENTAL INTERLUDE]

1985
01:28:15,310 --> 01:28:21,448
(SINGING) Yeah, 5:00 PM is
10:00 AM on the East Wednesday.

1986
01:28:21,448 --> 01:28:24,510
And when you try
to taste heaven,

1987
01:28:24,510 --> 01:28:27,220
they'll never come your way.

1988
01:28:27,220 --> 01:28:30,340
The only time they
keep to an appointment

1989
01:28:30,340 --> 01:28:33,370
is when in desperate need.

1990
01:28:33,370 --> 01:28:36,700
They will tell you
all sorts of lies

1991
01:28:36,700 --> 01:28:39,200
just to get what they need.

1992
01:28:39,200 --> 01:28:45,560
And man, being so stupid,
will give them all they need,

1993
01:28:45,560 --> 01:28:48,145
forgetting all the
disappointments

1994
01:28:48,145 --> 01:28:51,110
and all their previous lies.

1995
01:28:51,110 --> 01:28:54,820
And man‐‐ oh, man, yeah‐‐

1996
01:28:54,820 --> 01:28:55,870
man needs help.

1997
01:29:05,940 --> 01:29:08,000
I say, man stupid being.

1998
01:29:08,000 --> 01:29:09,800
[INSTRUMENTAL INTERLUDE]

1999
01:29:41,600 --> 01:29:43,700
(SINGING) Man stupid being.

2000
01:29:47,900 --> 01:29:51,250
Man stupid being.