00:00Do you ever see yourself going back to more blockbuster, big budget type films or do you
00:09prefer this?
00:10I don't know.
00:11I always kind of fool myself sometimes into thinking that there's some kind of macro plan
00:16to my decision making, but it's not, I mean it's just sort of, you just try and find anything
00:21which you hopefully will connect to and you think you can somehow make it a little bit
00:25better or just do anything with it.
00:28I don't know.
00:31Getting into Twilight and everything, everything felt so accidental.
00:34Maybe it's just some kind of self-protection where I'm just like, oh, it's all just, like
00:39everything's just kind of happened by accident, but I don't know.
00:45I think in the same way that when you get incredibly lucky with having roles which give you, which
00:51afford you the opportunity to do smaller things.
00:54What appealed to you about Good Time?
00:57It's a dark role.
00:58There was no role when I first signed up to it.
01:01There was no script or anything.
01:02I just really liked the trailer to the director's previous movie.
01:09And really, it's really just, I'm starting to find as well that I'm just basically playing
01:14a director.
01:15Like every single, in one way or another, I think that's the only way I can really figure
01:19it out.
01:20I really liked their energy just as people.
01:22And they're very, very kind of, they're like little dynamos.
01:26And I'd kind of, I'd played a lot of parts which were quite reactive and quite passive.
01:30And I just wanted to play a part which was really on the front foot and also didn't have any
01:36shame and any fear.
01:38And I could just feel it in them.
01:41I liked doing, they liked writing audacious things.
01:44I just have a client that walked in.
01:45We're good?
01:46You get another 10 grand, your brother will get out.
01:51Where are you?
01:53How much money can you get right now?
01:55Come on, bro.
01:56Oh my gosh.
01:57Are you kidding me?
01:58What do you think I'm doing this for?
02:00I want to get him out tonight.
02:06And then talking about doing things that you're afraid of.
02:08I mean, in the first draft of the script, there were certain scenes in it where I was reading
02:12and I'm like, Jesus, I don't even know if this is legal.
02:16I was like, is there a loophole?
02:18If you do something in a movie, does that make it legal?
02:20Right.
02:22But yeah, I kind of, and it's exciting.
02:27I mean, there's so many other things that get in the way of making a movie, like people
02:31who are providing the money say you can't do so.
02:34And when you have someone who's really kind of punk and just says, I don't even care.
02:39I have this opportunity to make it and this might be my last opportunity.
02:41I'm going to do whatever I want.
02:43And you so rarely meet those people.
02:46I mean, I worked with Claire Denis afterwards and she's like that as well where it's just
02:50kind of, and she's been doing that movie after movie her whole career.
02:53I think it's just like, you know, my own insecurities or whatever.
02:57I want to find someone who doesn't have them and just be like, okay, if I just hold onto the
03:01train, the train will go through the wall and everything will be fine.
03:10Is there a role or even a portion of a role, a line that has particularly stuck with you years
03:16later from someone you've played?
03:18I think my prostate is asymmetrical.
03:21I always really love that.
03:22What is that from?
03:23From Cosmopolis.
03:24Ah.
03:25And it's me and Paul Giamatti have this thing where I say it to him when we're crying together.
03:31And he's like, mine too.
03:32And I'm like, what does it mean?
03:33And he's like, it's nothing.
03:34It's a harmless variation at your age.
03:36Why worry about it?
03:37It's one of my favorite scenes of it.
03:40But there's something, I just, there's something really profound for me anyway.
03:44Couldn't tell you what it means.
03:45Right.
03:46But it really meant something, but it really, really means something to me.
03:50Okay.
03:58Rob, you started as a young actor.
04:00Did you have to get up courage to assert yourself on set with people?
04:04I can't.
04:05I just run away and cry.
04:07Really?
04:08Still?
04:09Still.
04:10No, I don't really.
04:11Well, I do.
04:12No, I mean, it's such a weird thing because you kind of, I think, as soon as you have to
04:18be asserting yourself to a directory, it kind of breaks the fourth wall.
04:21I want someone to be seeing, you know, it's not supposed to be you when you walk onto set.
04:27And so if you're suddenly, the awareness of the unreality of everything suddenly becomes
04:32too much for me.
04:33So I always, I just try and avoid it.
04:35And hopefully they'll just see what they're doing that's wrong.
04:38Never, ever, ever works.
04:40It just gets worse and worse.
04:42But at the same time, I feel like it completely throws me off if I'm trying to, if I had to
04:45say like, hey, this is my process.
04:47It's like, I don't know what my process is.
04:49There needs to be just some kind of understanding that you're trying to do something good.
04:53You're not just like messing around.
05:06How is it going?
05:07What's it going on?
05:08Do you want to do what you say?
05:09You're not just like putting into it.
05:10Wow.
05:11It's been a bei.
05:12Oh, Lord.
05:13Let me show you what your story.
05:14Let me show you what the story is.
05:15I'm coming.
05:16I'm coming.
05:17Now, I'm coming.
05:18Yes, I'm coming.
05:19I am coming.
05:20I'm coming.
05:21What am I returning?
05:22I'm coming.
05:23I'm coming.
05:24I'm coming.
05:25I'm coming.
05:26I'm coming.
05:27I'm coming.
05:29I'm coming.
05:30I'm coming.
05:31Oh, I'm coming.
Comments