Actors on Actors: Robert Pattinson and Jamie Bell (Full Video)

[Music] I'd like to ask you a quick question about good type which I also want to tell you is at this point my favorite film of the earth seriously and your performance in it in it is my favorite performance of the year so far and under saying that

because you're my friend I genuinely think that the immediacy of it desperation of your character and and the visual filmmaking that the safty brothers manage in that movie is astonishing tell me how did it come to you god are you really good that was a as a difficult

one to start you sow elephants good say thank you thank you I was already trying to deflect how did I get it I saw a still on a website I don't think I mentioned the name I'm just on the banner of the website from the last movie of

Ariel Holmes who is the lead in their last maybe have a nice walk and it was one of the it was a really really good stir but it's one of those stills where you kind of it was the first promotional image of the movie and I kept expecting

to read the blurb like check filmmaker or you know it looked like something was very European art house and then when I saw it there from New York I was like huh and I just like the fact they were promoting their movie with that as the first I

mention right and I got their email address and kind of sent an extremely a few savino which is I think kind of what became was a part of the character because I literally hadn't seen anything they'd made right and didn't know anything about them and sent an email

saying I just know I know you hunt I'll do anything in the next thing and they're like why what have you seen seen nothing so you have not seen heaven knows what you hadn't seen that her head wasn't even out the trader hadn't come out very much right

and yes I met them and then I met they came to LA and just before they came to LA the trade of heaven heaven knows what came out the teaser trailer was such a great teaser and we had meeting and they were trying to do the movie they're

doing now and then just kind of I guess in that meeting started thinking oh there's like there's potentially an idea in this kind of low-level hustler criminal anything what'd we do wrong no you with the black sweatshirt y'all my man turn around he's all right we didn't go

how did had it too you get in volton and only film so flavorful I received the script and the film's by Gloria Graham and I'd never heard of Gloria gramma grama watts and I certainly hadn't heard of Peter Turner who's a character that I play in the movie

um so I actually got it I genuinely thought that this is the most bizarre piece of fiction that I've ever read what a bizarre kind of subject for a film and it was only when I met a producer Barbara broccoli who knew both of them personally while they

were together and I did a little reading with with her and Paul McGuigan our director and Annette Bening and in that reading Barbara broccoli the producer was crying I was like how do I think it was that bad and and she gave me Peters memo on which it's

based and then she told me you know that she knew them and and I could see how important the film was to her and our personal it was to and I think whenever you have someone working on the film who comes from that place I think you just

know that there's gonna be kind of extra special care taken to make sure that it's done well and extra special attention to the love story that isn't it and and we went from there basically and how is Paul McGuigan Paul McGuigan was as a filmmaker was great he

brings so much enterprise and so much film language to it and so many ideas and on paper it's kind of difficult movie for most of the time it's Annette Bening in bed and deteriorating in health and me trying to take care of her but also the film deals

a lot with memories and dreams and passages of time and how memories really can't be trusted because they're only seen from one perspective and that doesn't tell the entire story and we had practical sets that moved all set was it all shot in London we shot all of

the movie in Pinewood so if it's a beach in Malibu its Pinewood if it's like lax terminal it's Pinewood and I think he brought that film language to it he really can admit it a moving piece that travelled through time quite eloquently oh so you like disco dancing

I like drunk dancing oh so if I make you a drink come into my room and hustle with me I need a partner for my dance class I have a question about good time which I think is because I'm just fascinated with the way that you guys achieved

it I think you've mentioned this to me before if if you haven't I'm mistaken but when you were filming would you actually have permits to shoot in their locations that you had would they know what the people around you with their extras were there supporting artists that would

be working with you did they know who you were because you said something that you always trying to have hide yourself in plain sight yeah I mean the week I'm not entirely figure out the permit right deal right because I think sometimes and when I first started doing

press for it and I would say like yeah we never had permit show I noticed the directors been very uncomfortable right well I guess what I'm saying is that the film feels incredibly voyeuristic where everything is so immediate and dangerous especially you know you never know what you're

going to do there's a rawness it's right on the edge of stuff and it always feels like that feels relatively kind of unprepared yeah there was they definitely have that they I'm not quite sure I mean you can it's never you never really know it's not a calm

before the storm there's not a calm before action it's literally just like you're just if there's just things rolling all the time I think it helps as well to have if when you have two sibling directors and they both very much directly at the same time and so

you can at any point when you have two people sort of argument each other them both kind of getting excited and inspired at the same time and then trying to channel everything into one person you all right but yeah I mean there was definitely some I think we'd

have we'd get like a permit for one area and then just sort of shooting I asked you about working with Benny safety who to be fair almost and it's a very almost kind of steals the movie from you because he's extraordinary you made in his stillness and his

portrayal of that character is heartbreaking what was that like to work with you know these are young filmmakers amid one from before and also he's taking on this other obligation of acting in the movie with you and it's an important part yeah I mean I had a lot

I had a really trusted them by the time because initially what I the first draft of the script was totally different and body duress those way and it was it was supposed to be me and him being brothers right right and and like I thought body was so

good and have a nice walk the house yeah and I mean it's just so easy when you trust the directors like I just I'd completely just give myself up to it but also a bunch of people auditioned for for next brother but then when bent Benny also did

a an audition mmm that's awful and auditioning for you brother if it his take I know which I was shooting my study of Z when they sent me the tape yeah and Benny can just like he can turn on that character and just be in it right all

day yeah and so it's just impossible to compete with you is astonishing yeah and I was just watching this like 45 minute long improvisation in the really difficult character as they I mean it's kind of like genius seems like what motivates your character is very similar to kind

of what motivates my character in my movie almost in yours instance it seems like misguided love you're trying to protect him and kind of the worst possible way by breaking every law possible and I'm trying to protect this woman from kind of my own family and doing the

right thing and you know she's deteriorating deteriorating and in this in this room and and the health isn't getting better and my characters in this awkward position of what's the right thing to do what what do you think is the motivating factor for is it Connie okay just

called Connie uh-huh what do you think motivates and like what's the thing that drives him I mean I think he's kind of insane I think it's I always liked this idea that he's justifying every single action by saying it's because I love my brother right but it's like

man you don't know what love is at all right now you just think by you it's a completely it's always just a completely narcissistic one-way street like so any and I think a lot of people use their argument saying I'm doing it out of love for my family

it's like right now you're doing out of love yourself and your own personal needs yeah it's nothing to do your family your family half the time do not want this type of love for me you did love him I mean I really felt the protection he does but

it's like I think love in itself is kind of you can't just love someone regardless of what of their reaction if you just keep spraying love like it's kind of it's sort of with the toxic I mean it's I think also I mean the in the backstory of

me and my brothers we're supposed to be estranged as well I mean we haven't seen each other it's kind of Connie's this guy who sort of been kicked out of home at twelve right and hasn't really had any kind of interaction with him so also it's like when

you have a brother who's like he's a difficult person and Connie is just refusing to save it there's anything wrong with them and needs any other treatment other than you know him like and say he's just but he's just willfully blinding himself to the reality I think that

I mean it's funny because it does seem movie is designed to show they're like he's saving his brother who's not it's literally he's endangering he's endangering him and he's literally he's he's he's making him into this kind of he's at he's objectifying him at the same time he's

kind of saying like I want this pure this pure person who doesn't seem to know anything and doesn't feel the same as everyone else they when they're doing the bank robber at the beginning he's saying what are you thinking about and they said nothing and like just Connie

ass just like it makes him feel like you're in an ultimate con he feels he's sort of in an alternate reality and Nick is the proof right so it's like it's like yes nothing means anything and I have because they next reaction to everything it just doesn't mean

anything you can do you can you can app totally without consequences and Nick is proof anyway you started out the gate with a huge movie but then almost immediately decided so I'm asking a slightly different question to that but it's kind of the same thing okay but then

almost immediately transitioned into doing kind of very very I mean I think I feel yeah I think is absolutely masterpiece and I've seen it like billion times thank you out but then to go into to know to go in immediately into like really cool movies and you're like

a little boy how did you know did you know would no no I was totally clueless genuinely I mean it was everyone that I surrounded myself with and I think what is the what I'm so fortunate for and so grateful for in so many ways is my team

I mean my I've had the same manager for 17 years same agent for 17 years and there clearly knew more than I did I mean I didn't know after I made them you know Billy Elliot that I would really have anything have anything else to do after that

I don't know what my life was gonna be like I certainly loved acting and certainly loved you know the process of making films I just loved the alchemy of it of coming together and making something and you have something in the end of it I love that but

there's something didn't entitle me to anything so I really relied on other people who knew more stuff than I did you know and how did you have your agent before Billy Elliot I was like literally paired with these people I I you know is I think I people

who had kind of helped me get to where I was had suggested you should go with this person or meet with that person but I had no idea you know so I was then educated I was told to like you should watch this movie this movie this maybe

Malick movies or whatever when you were like 14 yes and very very shortly I was working with people like you know David Gordon Green and you know because George Washington I watched that very early on and in that time and and fest and the dogma film by Thomas

Vinterberg you were really into it just off the bat I just had never seen movie just getting becoming kind of overloaded with movies and the experience of them and also how they can be so different and the telling of them and that the stories that they're kind of

focused on can be so different and very small sometimes and very intimate and you know I was i watch last one trio movie so I ended up working with later on as well and really kind of got an education as to who these authors are and and also

figuring it out kind of on the job I mean I've never really taken any formal acting study know maybe it shows sometimes but like you really learn on the job I think you learn from the people you're working with the people that you're opposite and I've been very

lucky to have people of that caliber to work with throughout you know but I'm always the thing that I always say to myself is you know from from that kid and that movie to now it's just it's um I don't know how it's happened really there's no kind

of strategy to that I mean I'm just gonna pop my phone because I made a list of the the filmmakers that you've worked with recently who it's like crazy Verna Hertzog David Cronenberg James Gray Harmony Korine potentially potentially who knows you can edit that out David Michaud the

safty Brothers Claire Denis potentially Antonio Campos mmm Brady Colbert these are like oh this is like dreamland I think for like what are you do it literally them yeah but this is you know it's a similar thing right so you want to work with people who inspire you

and push you further it seems like all those people certainly have for you because you're doing easily your best work I mean between city of Z this year which was great almost unrecognizable in that I thought you're great so small all the things you're doing brilliant and good

time you know these people that you're choosing are really pushing you to discover places you haven't been before I think it's interesting about what you're saying about learning on the job I think the people you worked with when you were young always with your list is crazy I

wish it wish it prepared but I think when you work with sort of auteur kind of directors when people are so when people when they're completely singular and how they're making a movie and no one is really telling them what to do that in general much happier about

making it and then you'll learn so much more about someone who's basically making exactly what they want to make rather than someone who's kind of you know could potentially be good was doing a job for money or something and then you know you're not really you you're not

gonna learn the right lessons right but I think I'm just fascinated how like that I mean the people you were working with at 14 there were the people who I'm trying to work with that right right 31 I just didn't even know who they were I mean I

kind I did baby but I didn't even when I first started acting I didn't know I didn't really even know you could work with like Cronenberg I don't think that was really possible I thought that was that they were just films that existed yeah and they just and

I would just do like like stuff on like it's basically like my highest our mission was a bit poorer on Sunset Beach right no one even knows you yes I am we're in the middle of say hello what are you doing we're in the middle of something here

apparently please how would you like it if I made you cry would you like that no I would not do let's go you know obviously your when we think of you you're so obviously associated with this big commercial franchise and those it the work you've been doing much

more recently is the antithesis of that is that a tactic is that something that you're just you want to get away from that or it's at your own interest to push you that way yeah I mean it's you kind of just try and find things that excite you

and I don't know it's not a concerted like what I guess I'm not trying to get away a concerted effort to try and like disguise yourself because I think you're that's an actor's dream is to have roles where you just you can't see that let M&E yeah yeah

it's kind of a it's definitely more exciting of any kind of and there can be an emotional there's doesn't have to be a physical thing it's kind of I like I kind of I think I've said this to you before I like bright whenever I describe a character

I'll break it down to the most extreme moments they have we're like oh and then he like eats a baby kind of extreme things and of kind of string it around that just something which is feels kind of frightening or or it's working where the director who it's

just crazy for me to say it like I mean it's kind of like with Claire Denis for instance I'm out like it's again it's another person around like I didn't know and I don't actually see these half these people as human beings right and it's a name and

and and I just see the movies that have already existed and kind of and been really influential to me but yeah I guess it was a bit about the the franchise work that you've done and that kind of bigger yeah emotional things I never tried to run away

fright right for a man here at though I always kind of if that massive franchise stuff would come up that at I mean it's just kind of it's also it's frightening as well cuz you kind of you feel I think when something becomes really big you feel you

really get an awareness of how small you are yeah when it was me first start acting and you're kind of you feel like a big shot what do you think when you're in a doing like a small like something on BBC three or whatever like it's like your

ego I think anyway my egos a lot bigger when I first started I mean when ever you start losing control of so many different aspects of your life and also the job because I think sometimes when especially when you're doing sequels to something it doesn't matter what you

think in in a singer I think the character would do this it's like a it's already written in a book and be the tone has already been set up and the wheel that the machine is already in motion and so it's it's slightly frightening when you kind of

lose you lose your sense of identity a little bit and I think sometimes it's like getting a car if you get you want to corner it really hard and I don't and so like I think when you start doing jobs afterwards it's I like doing something with just

one extreme to the other well you certainly have I guess more authorship of what you're doing when there's something much smaller and the pressure is inside presumably how how do you decide how good question I mean so much of it in my career so far has been director

driven you know about the people I mean it is a director's medium there's no way around its it's it's their vision that you're trying to achieve so a lot of it is that a lot of it is if the material you know resonates with me personally if they're

something that I think personally I can elevate the material I think whenever I get it I'm always excited to start working with directors and kind of nitpicking at their scripts and and you know only in the last few years I've I've kind of developed the confidence enough to

go now you've been doing this for 17 years like you know you your voice is important you're the author of this character and you should push the scripts harder and make them better as much as you can so I see a lot of potential in places and then

and then can jump in and then go from there listen now I've been offered a job back in England it's a theatre gig in Liverpool Oh in three weeks yeah have you taken it do you want me to take you need to make up your mind for you

fake things they haven't been right for the past few days now I'm just trying to get to the bottom of it that's all and you write as well right I do yeah I work with the my my buddy max Minghella and we like develop stuff and we produced

our first film last year and I'm very interested in the whole process across the poetry was that awards the experience of producing light I mean I feel like actors really put producers through the wringer and I have a lot more sympathy for producing what how do you mean

I don't know just like you know so we start shooting on Monday when does the actor arrive it's like sad it's like so we have how much time for rehearsal zero so you know there's things like that that we don't consider because we're living our lives on the

other side and that's why I incidents that I never understand that about wanting to go as late as possible to issue I mean I think if you have the option and literally mean because I'd literally have no life and so that was another you've led me to a

brilliant question what are you doing when you know nothing really waiting waiting and panicking but how do you prepare the stuff I mean this is such a departure like you you're doing an accent in this you look totally different it's just time and so if you go and

you if you have six even if you're not directly going to like costume fittings whatever you're not completely focused on it if you just go and you're living sort of in isolation and you just have a completely different environment to live in for a month before you start

shooting or longer you just everything starts to come organically and you start to just just something happens I just the idea I've literally been frightened of jobs when if some of her jobs come together too quickly and then suddenly that okay it's coming and then it's in a

week I just can't do it it just it's too and I don't know how I don't know how to prepare for anything it's just kind of it's just starting from scratch like every single time and so that if you have I think with good time we're good time

it was there's no script and so it was I was talking to Josh and Bonnie and Ronnie the writer for like nine months that was the script was developing and then I was in New York for like two months or probably about too much could've got delayed a

little bit and just kind of wandering around you start even doing things like wearing we got a few ideas for costumes and I kind of thought you know you normally do a costume fitting and you keep you have a bunch of stuff to try on you try everything

on right and there's guys like this doesn't feel right this doesn't feel right this feels right I always just I've decided to realize that that feeling of something feeling right it probably means it feels wrong that's just what you feel comfortable as you right right right and so

the initial that we've got these costumes the only any of them are in the movie but it just I thought so ridiculous wearing this stuff but I was like I'm just gonna wear it because I because people do wear this stuff right yeah and like and I see

everyone else right you're you just feel weird wearing it yeah and so just having the amount of time wearing these massive oversized over X jackets and stuff and like I was they almost wear a do-rag one and like really really going for it and if you just force

yourself day and day out I mean you've realized like after a week of wearing this stuff people are not looking at you like you know crazy right like no one notices right I mean after but it takes that amount of time to really realize that not you're the

only one who thinks you're crazy any sudden and the confidence leap that happens from that is just crazy or like you just suddenly read that I can walk into some deli and Queens put on the accent where alph and everything and people believe if they don't question it

and they and I mean that once that happens once you keep trying to repeat that same experience and and you just get more and more confident and then I mean yeah [Applause] what's your preparation for it in fact like your accent your accent is kind of incredible right

right why did you find you find making an accent which is from a vaguely similar passion and that's about it [Laughter] you know it's what's different for this I think certainly from from your experience is that when you're playing someone who really existed it just kind of changes

everything but then secondly when they're still living and will be actively involved in the making of the film it presents kind of another kind of little hurdle I had a wealth of material because the film is based on a memoir that he wrote which is beautifully slim highlights

all the kind of bizarre eccentric elements of their relationship that they shared so I really did have like this amazing blueprint and the script anyway but then also this kind of Bible which is his own memoir and I spent a lot of time with them and talked with

them and and had questions and as I mentioned earlier like wanted to push certain scenes further and kind of mind the script a little bit more to get to the gold and what was interesting is I learned so much about the character just from talking to him and

seeing how fresh all of these memories kind of still were in a way we would talk for many hours and and you know I would kind of prod in all kind of different places and and see if he would give me stuff and you know by the end

he would be actually just physically exhausted I mean he'll be just rubbing his head and borderline falling asleep you just see that this this experience for him that this woman was so important it meant so much to him so much so that when she passed away he had

to purge it and put it down on there for him and get it published and everything but still to this day in some ways he considers himself gloria's kind of guardian he protects her and that to me made me aware of this has to mean like everything to

you like this love that he has for her has to be the best love that I have ever experienced or the most important love that you know one could ever have or share with another person that was revealing and very telling and and then for me and annette

bening to kind of have to create that together as you know like when actors kind of come onto a set they don't know one another they're literally shaking hands and knowing that now love each other like it's the most important love of your life you've never met before

we'd never I mean we might have met briefly at something with Warren Beatty but but no we didn't know each other we weren't friends certainly and this movie asks a lot of us intimately and to share moments with each other where we have to kind of really go

deep in the relationship and we didn't talk about any of that stuff none of that stuff was rehearsed and on the scenes were rehearsed on the on its feet and we spent the week going through the script trying to make it better and I think that established trust

and I think for a movie like that which is intimate you really do need a sense of trust and support and we establish that very quickly as I was walking down Oxford Street in London and I remember you know they have all those calendars and things you know

on the street of like you know random famous people and your face was on there and I think this is even before I knew units right in the height of all that stuff kind of blowing up with your movies and stuff and I and to this day now

knowing you and being friends with you I'm always like you're so normal and so kind of ordinary that I don't know how you've really managed that and also to come out of that with not only a career but like a great career you know and all these opportunities

coming before you how have you really done that I mean I think it's funny I was doing an interview yesterday and I think it's when you do I've noticed I did a thing in an English newspaper the other day and they try and put they're trying to use

the narrative of saying like that everything listening such it must be so stressful and crazy well I was reading an article I really do I sound like that because I really I think my main thing is like like I feel like so lucky like the entire time I

mean and it's been like really fun I've had I have be really fun life I was still getting that to someone else the other day even when when I first started auditioning and it was with like Eddie Redmayne and Andrew Garfield and stuff even then when no one

had any jobs or anything it was really fun to go and do an audition and all mess it up and then just go to the pub afterwards like literally like every single aspect there's never been a down but even being unemployed and I think I think that really

helps because I think if you've if you've had a moment of just sort of just raging at closed door like when the door opens like you're inevitably gonna confront a cold gust of emptiness just like whatever [Music] you

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