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Transcript of 'The Odyssey' cast on 'the ultimate adventure story' | AP interview | JumpWatch

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YouTube Transcript/'The Odyssey' cast on 'the ultimate adventure story' | AP interview

Transcript of 'The Odyssey' cast on 'the ultimate adventure story' | AP interview

Associated Press

Key takeaways

The director aimed to make the Odyssey feel earthy and relatable for modern audiences, avoiding past Hollywood depictions and staying true to the poem’s everyday details.
Matt Damon was selected because he can embody both an iconic hero and an accessible everyman, drawing on his roles in The Martian and Jason Bourne.
The production required massive practical resources, including filming on real ships, rowing a 100‑ton Viking‑style vessel, shooting in remote locations like Morocco, Greece, and Iceland, and completing a 91‑day shoot nine days early despite extreme physical demands.
The Cyclops creature was designed using a rotating vertical eye inspired by Goya’s painting, combining animatronics, puppetry, and CGI with help from Ruth D. Young and a specialist who worked on Interstellar.
Christopher Nolan’s technical approach emphasized documentary‑like realism, using IMAX cameras, a sound‑isolating “blimp” for dialogue, and a disciplined set without phones to maintain focus.

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Made with by the JumpWatch Team

Emily Wilson’s modern translation of the Odyssey informed the film’s language choices, aiming for a liberating, contemporary tone.

Tom Rothman’s backing reflects a broader industry effort to sustain ambitious, large‑scale epic filmmaking.

What this video covers

Vision and Modern Adaptation

The filmmakers wanted to present the Odyssey as an earthy, relatable story for today’s audience, steering clear of traditional Hollywood epics and drawing on modern translations.

Casting Matt Damon

Matt Damon was chosen for his ability to combine iconic heroism with an everyman quality, referencing his performances in The Martian and Jason Bourne.

Production Logistics and Locations

Shooting spanned Morocco, Greece, and Iceland, involved a repurposed Viking ship that actors had to row, and wrapped a physically grueling 91‑day schedule nine days early.

Cyclops Design and Effects

The Cyclops was created using a rotating eye concept inspired by Goya, merging animatronics, puppetry, and CGI with contributions from Ruth D. Young and a veteran from Interstellar.

Technical Filmmaking Approach

Nolan’s team used IMAX cameras, a sound‑isolating “blimp” for dialogue, and a phone‑free set to achieve a documentary‑like realism and maintain tight efficiency.

Creative Philosophy and Industry Support

The interview highlights Nolan’s push to expand the medium, the influence of Guillermo del Toro’s monster philosophy, and Tom Rothman’s commitment to big‑budget epic cinema.

Language and Translation Influence

Emily Wilson’s modern translation of the Odyssey guided the film’s language choices, aiming for a contemporary, liberating tone.

Mentioned in this video

People

Matt Damon

Christopher Nolan

Emily Wilson

Ruth D. Young

Bill

Guillermo del Toro

Tom Rothman

Lupita

Robert Patson

Chris

Annie

Products & tools

IMAX cameras

blimp (sound‑isolating box)

Viking ship (repurposed as Greek warship)

Referenced works

The Odyssey

Oppenheimer

The Martian

Jason Bourne

Interstellar

Lawrence of Arabia

Tenet

Goya’s painting of Saturn eating his children

0:04Thank you so much [music] for speaking 0:05to me. I think back to your Oscar speech 0:08and you spoke about being a hundred 0:10years into cinema and how exciting it 0:11must have been to be at the beginning of 0:13painting and and theater and I wondered 0:16did you have the inkling that the 0:17Odyssey was going to be your next great 0:19adventure then? I don't think I was 0:21thinking about anything at [laughter]0:23other than getting off stage in that 0:25moment. But uh no, I I I do one thing at 0:29a time. Um and I don't remember where 0:32that fell in in you know what [music] I 0:34was vaguely thinking about. But what 0:36you're looking for uh in terms of a new 0:38project is you're looking for a way to 0:40challenge yourself and you're looking 0:41for 0:42some way to add something. [music] I 0:44mean that was sort of my point in that 0:45speech. you're looking for some way to 0:46kind of add something to what's been 0:47done in in movies and uh you know 0:51looking around looking at the world of 0:52Greek mythology and realizing it hadn't 0:54really been brought to a modern audience 0:56on a on a large scale. Uh so that for me 0:59was part of the excitement of working in 1:01this genre with this this world 1:03>> and Oenheimer seemed to present an 1:05opportunity to to to ask and to to do 1:08something large and grand.1:10>> Yeah. I mean, I think the the thing is 1:12if if you're lucky enough that you make 1:13a film [music] that connects with the 1:15public and makes money for the people 1:17who finance it and everything, you you 1:18do you sort of earn yourself an 1:20opportunity to do something make 1:22something that might not get made 1:24otherwise 1:25>> and something like the Odyssey requires 1:27to do it the way I wanted to do it, it 1:29requires vast resources.1:31>> Um, and so coming off, we had the chance 1:34to do something like that and I I felt I 1:36really wanted to to take it and try and 1:38put as much into it as [music] possible.1:39Emily Wilson sort of wrote that all 1:42modern translations are equally modern 1:44and I feel like that must be a 1:45liberating phrase for someone attempting 1:47an adaptation too and I wonder if you 1:49could speak to the ways you chose in the 1:52language the accents to make it 1:53accessible for a modern audience.1:55>> Yeah, I mean what I found when I when I 1:57went to the text of the poem and when I 1:58started looking at a lot of different 2:00translations, a lot of different 2:01adaptations and things um what I found 2:04in the original poem was a very earthy 2:06sensibility. there's there's a lot of 2:08talk about how people eat and what they 2:10eat and how they live and and that's 2:12contrasted with the epic grandeur, you 2:15know, of the story. And so I felt I 2:18wanted to be true to that in a in a 2:20broader sense and make something that 2:21was [music] earthy and relatable and 2:23accessible. I wanted these to to feel 2:25like people that we know. Um, you know,2:27it's a story about family. It's a coming 2:29of age story of Tmacus. It's about 2:32homecoming. Uh, and I wanted to make it 2:35really accessible and relatable and not 2:38look back to sort of past Hollywood 2:40versions of of how to take on the uh the 2:43ancient world, but really try and just 2:45throw the audience into uh a world that 2:49they haven't lived in yet.2:51>> Why did you call in Matt Damon for this 2:53sort of gargantuan task?2:55>> Well, I've worked with Matt a couple of 2:56times and and 2:58really enjoy working with him. any 3:00excuse to work with Matt is great, but 3:02really in the case of Adysius, what 3:03you're looking for is 3:05>> you need somebody who will take the 3:06audience on this journey. You need 3:08somebody who has that empathetic 3:10connection with the audience. Um, but 3:13who also can be this iconic hero. And if 3:16you look at Matt, you know, this is 3:18incredible actor, incredible movie star.3:20[music] Um, and he can be an accessible 3:22everyman. You know, when he does things 3:23like The Martian, you know, we bought a 3:25zoo, things like that. he's just this 3:27this really likable ordinary guy and 3:30then he's [music] Jason Bourne. And I 3:33needed both those things for Adysius.3:35And so with Matt, he's able to combine 3:38that iconic sort of superhero thing 3:42>> with a very very emotionally accessible 3:44and comprehensible person. He can just 3:46take you into his dilemma, into his 3:49journey, and that makes it much more 3:50exciting for an audience.3:52>> Absolutely. I um laugh. It must have 3:54been a bit of fun knowing that you 3:56really only had to have a two-word pitch 3:58for for most of your actors.4:00>> It was a very short pitch uh to Matt.4:03It's like the Odyssey. You got it 4:05immediately. Uh we all know the title.4:07We all know what it means. We all know 4:08what it promises. And uh you know,4:11hopefully for the audience coming to see 4:12the film, um they'll feel we made good 4:15on that promise because that that's the 4:17fun of the Odyssey. It's the ultimate 4:19adventure story. It's something that 4:21>> we all know a little bit about. Some of 4:23us know a lot about it. Some of us know 4:25nothing about it. But but uh we're 4:27making the film for that whole range of 4:29people's relationship with this 4:31foundational text, this incredible 4:33story.4:34>> No one's glossing over how difficult 4:36this uh was to make. You know, what is 4:38so, I guess, invigorating and essential 4:41about the challenge in sort of choosing 4:43the hard way? Well, I mean, normally 4:45when when you talk about a shoot being 4:47hard or difficult, generally what's 4:49underlying that is some kind of creative 4:51tension or tension with the studio or 4:53whatever the the politics of the thing 4:55or whatever or things going wrong and 4:58everything. That wasn't the case with 4:59this. With this, it was just a question 5:00of, okay, we know we're doing the 5:02Odyssey. We never want to [music] do it 5:04>> in an accessible and realistic tone. And 5:06that means traveling the world. That 5:08means going to places people haven't 5:09shot before. That means, you know, being 5:11out on real ships, on real seas, uh 5:15going into the cave with Cyclops,5:17bringing the audience to these places in 5:19a way that feels as credible as 5:20possible. And um you know, that that 5:23really required a level of commitment 5:25from everybody and a and a and a sort of 5:28level of of difficulty just in in 5:31physical terms. I think by the end,5:33everybody was exhausted. But but it's 5:35that thing of it was hard, but in the 5:36way that it should [music] be hard. I 5:37mean, it's the Odyssey. this should be a 5:39difficult film to make and it was a 5:40difficult film to make but very very 5:42satisfying and as you say very 5:44invigorating 5:45>> and you still ended nine days early.5:48>> We ended nine days early but I mean it's 5:51it's good that we did. I think everybody 5:52was so exhausted. I think you know I 5:54think about the length of a shoot is 5:57it's it's always this balance between do 5:59you go as fast as possible uh or do you 6:02pace yourself? Is it a sprint? Is it a 6:04marathon? It's somewhere in between. At 6:06times it's both. uh and uh we went in at 6:09100 days. I found that after 100 days 6:11it's very diminishing returns. It's very 6:13[music] tough to keep getting new 6:14material because everyone's so 6:16exhausted. Um we finished a little early 6:18cuz a lot of things broke our way in 6:20terms of weather or getting the 6:22conditions we needed or wanted to to 6:24make particular shots. Uh and at the end 6:26of that 91 days, uh I certainly couldn't 6:28have done another nine days. So I think 6:30I think the shoot took the length of 6:32time that it that it needed to take.6:33>> Yeah. Um, the Cyclops is just fabulous.6:36Did you have a hand in creating the 6:38design of that [music] and that effect?6:41>> Yeah, I mean uh the design of the 6:44cyclops was something that that Ruth D.6:46Young myself took on very very early.6:48Uh, and 6:50really 6:52for me there were a couple of touchston.6:54There's a painting by Goya, one of the 6:55black paintings of Saturn eating his 6:57children. That was a sort of touchstone 6:59for the the mood, the sort of horror of 7:02it that we wanted to to achieve. Um, and 7:06Ruth came up with a very brilliant idea 7:07fairly early on of rotating the eye,7:10having the eye vertical in the face. Um,7:14and that just clicked together for me.7:16You know, we did a lot of Photoshop. We 7:18took pictures of my face and moved the 7:20eye around, figured it out. And then 7:22very early on I realized um I needed uh 7:26my friend Bill to come on and Bill is 7:28the guy who brought the robots to life 7:30in Interstellar uh puppeteered them all 7:32over the world, provided the voices and 7:35um 7:36>> I knew that he could look at this. We 7:39didn't know how we were going to achieve 7:40it. We knew we were going to need every 7:41trick in the book from animatronics to 7:43puppetry to computer graphics. Um, but I 7:46knew that I needed a performer to really 7:47look at it and help us find the design 7:49of it and and find um how this this 7:54character would would live and move and 7:57and so forth. Uh, so it was a it was a 8:00very long process. Bill was on the film 8:01for months.8:02>> Oh wow, that's incredible. Yeah, it's um 8:04it's he [music] brings POS to it too.8:06It's a really emotional.8:08>> Yeah. He doesn't treat um a cyclops as 8:12just a monster. [music] And that's 8:14something I very much picked up from the 8:15work of my friend GMO del Toro over the 8:17years. You know, GMO is someone who's 8:20chief and I think in [music] his work is 8:22a monster is never just a monster.8:24>> Um and you have to look beyond that. You 8:26have to look for what uh what what this 8:29creature is as as an individual. [music]8:31And that's what Bill was able to to 8:33bring to the the soul of the Cyclops. uh 8:36even as we figured out the mechanics of 8:37how to how to produce this this effect,8:41>> you know, and finally, people sort of 8:43are talking about this film as sort of 8:44the last of its kind that you that you 8:46and Emma are the only ones even 8:47attempting epics this grand, you know,8:51taking audiences to locations they'd 8:52never be big sets, big movie stars. I 8:55mean, do you believe that that's true or 8:58>> No, I I don't. I mean, I think that it 9:00[music] it's a while since a film like 9:02this has been made in this way. It's 9:04certainly true, but we had an incredible 9:06crew of people uh you know, using uh all 9:10of the skills that that are there in in 9:12modern Hollywood to make films. Uh and I 9:15think a lot of the the ways [music] in 9:16which films are made comes down to 9:18choice. It comes down to what tone are 9:19you looking for? And that shifts over 9:21time. Um, [music] and you know, there's 9:23a generation of, uh, younger filmmakers,9:26you know, perfectly capable of doing the 9:27most ambitious things. And [music] I 9:29think a lot of how people are attempting 9:31to make their films is to do with what 9:32what tone are they trying to achieve.9:34And for me, being on a real location,9:37shooting certain things like when the 9:39crew is out setting sail on that boat or 9:41going through a storm, you know, I want 9:43it to feel almost like a documentary. I 9:44want to just put the audience there like 9:46like they're really there. Uh, and 9:48that's the tone I'm looking for rather 9:50than the tone of something perhaps more 9:52painterly or controlled. Um, but all 9:55approaches are valid. And you know, I 9:57think this, you know, next generation of 9:59filmmakers are going to do all kinds of 10:00incredible things.10:02>> Tell me what you remember.10:03>> So you and Emily Blunt during the 10:05Oppenheimer Pster, you were sort of 10:07joking about like maybe eventually 10:09you'll graduate to the Killian role.10:11[laughter]10:12>> Then just a few years later, you you 10:15[music] really did. I mean, what was it 10:16like sort of receiving this assignment 10:19from Chris?10:20>> I mean, it's it's it was a dream come 10:22true. And then and then when I heard 10:23what we were doing, it was really Yeah,10:26it was overwhelming. Really, really 10:28exciting. I mean, it's the best role 10:29I've ever had a chance to [music] play.10:31I mean, just given the kind of 10:33foundational nature of the the story 10:35[music] and it's, you know, 3,000 years 10:37old and um so that it was uh yeah, I 10:42mean then luckily he gave it to me like 10:446 months before we started shooting so I 10:46had a lot of time to work on it and 10:47prepare and um and but just the the 10:52shooting of it was um incredible like 10:56the most challenging thing I've ever 10:58done and and 10:59>> challenging for everybody. everybody um 11:02in every department and [music] there 11:04was a real joy in 11:06because everyone was so experienced.11:09>> Everyone could see how hard other people 11:11were being pushed and and so there was 11:14just this real kind of it was a real 11:16shared experience in that way. Um and 11:19and I think we drew a lot of energy from 11:22watching how hard other people were 11:24working around us and it helped it 11:26certainly helped me keep keep going.11:28>> Sure. And and he had sort of prepared 11:29you for that this was going 11:32>> Oh, he told me it was going to be hard.11:33[laughter]11:34He told me it was going to be hard,11:35which I kind of blew I blew off at 11:37first. I'm like, "Yeah, yeah, yeah, it's 11:38going to be hard." He said, "No, no,11:40this is going to be really hard."11:42>> Um, and he did not disappoint. And yeah,11:45I think I did say to him in the middle 11:46of the movie at some point,11:48>> we were somewhere, you know,11:50you know, enduring something and I just 11:52turned to him [music] and said, "Well,11:53you did say it would be hard. [laughter]11:58you know, he's sort of talked about 11:59Odysius in in Star Wars terms as being 12:02more of a Han Solo versus a Luke 12:04Skywalker, more of a complicated I mean,12:06is that do you see I mean, that's a 12:07little that's a funny way to describe 12:09it. How do you sort of see him? Well,12:11he's a very complicated uh protagonist,12:14which I which I loved and and um [music]12:16and I love and and Chris reveals how and 12:21why, you know, in in in a [music] in in 12:24his way. And a lot becomes clear kind of 12:26by the end 12:27>> of the movie, which explains, you know,12:29a lot of how he's behaving at the 12:31beginning. And and um and and and I love 12:34that. I think for a story that's this 12:36big, it's it's it's wonderful to have a 12:38a character that's very human at the at 12:40the at the center. He's he's he's 12:42certainly not perfect and um and he's 12:45and he's living with the uh the 12:47consequences of his actions. Um and and 12:50that's dictating his behavior. I guess 12:52like we mortals that can only sort of 12:54like theorize difficult film sets and 12:57and and when I say difficult I do mean 12:59you know arduous and hard and not a 13:01contentious film set but you [laughter]13:04I guess 13:06>> could you walk us through one of your 13:08more grueling days or is it just 13:10impossible to [music] even single one 13:11out?13:11>> No, you could single out just any day. I 13:13mean just picking a location 13:16um you know the the Favinana location 13:19required you know you know 45 minute 13:21hike in [music] the morning you know was 13:23but just like a thousand vertical feet 13:25it and uh which is fine but it's just 13:28that's you you do that before you start 13:30shooting and then you know you shoot you 13:32know for 12 hours and then you walk 13:34down.13:34>> So it's just that there was a 13:36relentlessness to the schedule. um you 13:39know every day had you know some kind of 13:41hike or some kind of uh you know or or 13:44you're or you're shooting out at sea 13:45which you know that that takes a that's 13:48technically challenging for a bunch of 13:50reasons. So there's a you know a boat 13:52ride to get to the there was always a 13:54little journey to get to the [laughter]13:55place um cuz it's an ancient story and 13:57you want [music] to be out in the in the 13:59wilderness for a lot of it and so um so 14:01there were things like that. It was all 14:02manageable. It [music] was just the 14:04amount of coordination it took to get 14:06all of the crew and all of the different 14:10elements that were needed for every 14:11[music] shot. Um, you know, it was just 14:13it was just a big undertaking.14:15>> Yeah. Tell me about the ship being on 14:17that with the real real sailors, right?14:19Real mariners. the the Draen. It was a 14:22boat that they uh from Norway that they 14:24it was a Viking ship that they 14:26repurposed and made it uh into an 14:28ancient Greek uh warship and and and 14:31that came with all of its, you know,14:33that boat uh had orlocks and and and and 14:37had to be rowed. It could be sailed or 14:39it could be rode if there was no wind.14:40And so all of the guys who played, you 14:43know, the Odysius crew, all of the 14:45actors had to learn how to row. We went 14:47to a rowing camp. we had to really move 14:50this 100 ton ship.14:52>> Um, and so, you know, that's a that's a 14:54not a standard acting job, [music]14:56right? You're you're um you're you're 14:58you're playing a role, but you're also 15:00really serving a real purpose on the 15:02ship and moving it around. So, there was 15:04things like that um that were just 15:06really unique to this experience.15:07>> Yeah. Um, you know, I think you would 15:10talked about I think for everybody 15:12[music] but Killian, maybe Oenheimer was 15:14sort of a fun time and you could go out 15:15to dinner and socialize. Did you did you 15:17turn more monastic sort of on the 15:19>> I I had Killian's job on [laughter] this 15:21one. Yeah. Yeah. I was the one Yeah.15:23skipping the the the fun dinners. Yeah.15:25[laughter]15:26>> Um but again, as you said, there's this 15:28sort of camaraderie and there's this 15:29Everybody must have been exhausted. This 15:31was not a White Lotus situation.15:33>> No. Exactly. And that's what's great 15:35about it is um you know everybody who's 15:37going through it and and the cast 15:39members were all going through it and 15:41and so could commiserate and and and 15:43kind of draw inspiration from one 15:45another and um people weren't 15:48complaining and and um and not 15:51complaining can be infectious, you know.15:53Um, [music]15:54and uh, and a lot of that comes from 15:56Chris, you know, and I I've noticed that 15:58from working on [music] Interstellar 16:01with him where we were on a glacier and 16:03Chris was the only one who, you know,16:05his jacket would never be all the way 16:07zipped up and if everyone had a hat on,16:09he wouldn't wear a hat. Like it was he 16:11made things a little tougher for 16:12himself. Um and uh and and there's a 16:16great example in that because if if you 16:18know the person with the most 16:19responsibility and the most difficult 16:21job is out there with you and they're 16:23not complaining then then [music] you 16:24have no right to complain either.16:26>> Yeah. I mean we know the story is the no 16:28chairs the the rigor of it and you know 16:31doing it the hard way and choosing that 16:33but I feel like there is or what is the 16:36payoff in the end? What is 16:37>> the payoff is the thing you're making 16:39right? because the message you're 16:40sending is 16:42the this thing that we're all here to do 16:44is the most important thing and it's 16:45what I'm putting all of my focus and my 16:47energy on. And so no chairs is just a 16:51way of saying like, you know,16:54we it's it's a way of of keeping the 16:57momentum, right? And not and not 16:59resting. Like I've never seen Chris sit 17:00down. he he doesn't uh you know it's all 17:04about it's it's a real kind of kind of 17:06hunger to get the next [music] shot and 17:08and and to keep that that shared project 17:11kind of front and center and as the 17:13focus and [music] um he's not alone in 17:15that there are a lot of other great 17:17directors that I've worked with who have 17:18that same philosophy and um they they 17:21just don't want to settle like it's it's 17:23about the urgency of of the thing you're 17:25making 17:27>> and to that end you know I I feel like 17:30could you sort talk about the place that 17:32he occupies in Hollywood in this sort of 17:34singular thing of of you know nobody's 17:37really doing what he's doing on this 17:39level and why that is important in the 17:41scope of cinema history and 17:43>> well I he's he's he's pushing the medium 17:47in any in any way that he can and um and 17:50he's using this this leverage that he's 17:53earned um uh and you know to to to 17:57[music] push the medium rather than to 17:59protect is kind of beach head, which is 18:02which is something that I think [music]18:03can happen to people where they suddenly 18:05have all this stuff and their their 18:07impulse becomes to protect it. And his 18:09his [music] is to just keep kind of 18:10pushing the bounds and um he's very 18:13focused on the audience and and what 18:14their experience is. Um, and you know, I 18:18in in my life I compare him to Spielberg 18:20because because Spielberg has always 18:23occupied that place and and is always 18:25thinking about his audience and and um 18:28and and and and ways to keep it.18:30>> It's it's it's the joy in it's the same 18:32reason that we fell in love with movies.18:34It's it's ways in which directors have 18:36surprised you and their storytelling um 18:39that that always stay with you and and 18:41and Chris is somebody who kind of seeks 18:43to do that with [music] everything he's 18:44with everything he does. And there's a 18:46long game to it, too. The way 18:47Interstellar has sort [music] of settled 18:49into the culture and just become so much 18:51even more beloved than than when [music]18:53it came out in a way.18:55>> Yeah, for sure. I think you you you you 18:57make you make what you're [music] making 18:59as best you can. You can't do anything 19:01about the reception. Um, you know, I 19:05actually didn't even remember that 19:06Interstellar didn't have like the the 19:08warmest reception. I I I [music] didn't 19:10and I was talking to Chris about it cuz 19:12I rewatched it and I hadn't seen it 19:14>> you know in 10 years and I I I watched 19:16it with one of my daughters and and I 19:18called him I said man this I really love 19:20this movie cuz I'm not in a lot of it so 19:23I can kind of really judge it you know 19:25as a uh on its own merit and I said just 19:28really love it and 19:29>> how emotional it is and and Chris 19:32reminded me that it hadn't been received 19:33well when it came out and I'd totally 19:35forgotten. Yeah. [laughter] Are you able 19:37to watch this one yet and take yourself 19:39out of it or 19:39>> No, no, no. I I it's it's overwhelming.19:42I'm There's still so much tied to the 19:44experience of making it. Um, you know,19:47the this the experience of making this 19:49was it was the best of my of my career 19:51in the sense that it because it was so 19:54challenging and because of the way it 19:55challenged all [music] of us, that 19:57feeling of being a part of that team was 19:58just so just wonderful and profound. and 20:01uh it'll probably take me a while before 20:03I can actually look at the movie and 20:04understand what I'm seeing.20:07>> How did you sort of root your 20:08relationship with an and with Penelope?20:11>> Well, I think I think it was very 20:14helpful. this the scenes were really 20:16well written and and [music] it's the 20:19emotional kind of undergurtding of the 20:21movie and so we knew the these scenes 20:23needed to land and when Annie and I 20:25talked about it I think it was in the 20:26context of this being a real real love 20:30connection between these two in a time 20:32in which that that wasn't necessarily 20:34that common and that each of them were 20:36aware of it. Um, and I think it was very 20:39helpful and we both talked about, you 20:41know, our own our both being in these 20:43marriages that have endured and [music]20:45and and and so knowing that that's what 20:48these that that was at the center of 20:50these two characters kind of emotional 20:52lives and um so uh I I just [music]20:55found her to be um incredible on this 20:58part and and and 21:01I've always said I think if some if if 21:02if an actor is [music] great, they're 21:04they're good enough for both of you. And 21:06I found in these scenes with her, all I 21:08had to do was was look at her and I just 21:11she just pulled me right into that that 21:14world and and uh I was very very 21:16grateful for her on this one. She was 21:18amazing.21:18>> A wife,21:22>> a son,21:23>> your dress is done.21:24>> Oh goodness. Thank you. As is yours. Um 21:27and congratulations on all your 21:29wonderful personal things uh happening.21:31It's kind [laughter] of um this film and 21:34I know you fancy yourself or not fancy 21:36yourself. Sorry. Let me start over. And 21:38I [laughter] know that you're a bit of a 21:41Greek mythology enthusiast. Maybe I do 21:43fancy. [laughter]21:45>> You might have you might have you might 21:46have actually hit the target bullseye.21:50[laughter]21:51>> Well, in that respect, you know what is 21:54so sort of astonishing and impressive 21:56about what Christopher Nolan has done 21:58with this?21:59>> Oh my gosh. Oh, where to start? Because 22:02I I'm a huge Christopher Nolan [music]22:04fan. I'm lucky enough to be a fan of him 22:06as a person because I have that personal 22:08experience. But as a filmmaker, the way 22:12he 22:13the way he takes us on these journeys 22:15where we never know where we are, but he 22:18always does. Um, he dilates time, he 22:21plays with it. And I think that for me,22:24the thing that is so beautiful is that 22:27Homer does the same thing. [music] And 22:29so the fact that Christopher Nolan as a 22:32filmmaker has taken this text that is so 22:35well known. I mean it it is it is taught 22:38in so many schools. So many people have 22:41a vision of it in their head that's 22:43lived there for years and years that's 22:45been handed down generation to 22:46generation. And Chris has created 22:48something that's totally new. When I saw 22:51the film I realized I didn't actually 22:53know the Odyssey [music] or I thought 22:54that I knew the Odyssey but Chris has 22:56created a new way into it. I think 22:59that's 23:01a remarkable achievement.23:03>> Absolutely. Um the in making it 23:06accessible to a modern audience is this 23:09incredible feat and you have to make 23:10choices and know that you're maybe going 23:13to annoy some like classic scholars or 23:15people who prefer this translation over 23:17that. I mean, how did you Tom sort of 23:20get behind things like even the accent?23:23To me, it was just in Chris we trust,23:25you know, like he's so talented and he's 23:27so tried and tested and I'm such a fan 23:29of his work. I was sort of really kind 23:32of a point andoot type of actor. It's 23:34like where do you want me to stand and 23:35how do you want me to say it and I'll 23:36and I'll do it. Um I uh I you know I 23:40thought some of his interpretations of 23:41of the [music] text and you know the way 23:43he tackled it and makes it relevant for 23:46a younger audience is is really amazing 23:48because the movie has so much scale.23:51There are times where it feels like 23:52you're on this kind of action adventure 23:54roller coaster, but he doesn't sacrifice 23:56any of the heart and the intimacy 23:58between our characters, between you and 24:00Matt, between Matt and I, who are two 24:02characters who have never really met 24:03before. But throughout the film, there's 24:05this real sense of connection between 24:07the two of us. Um, and I just think that 24:10that is a testament to who he is as a 24:12filmmaker is his ability to, you know,24:14take a piece of text, which isn't the 24:15easiest piece of 24:17>> work to read. like I read it and then 24:19felt really stupid when I found out they 24:20taught it in high school here. I was 24:22like, "Wow, this is [laughter]24:23not the easiest read." Um, but no, it 24:26was a fantastic experience and I think 24:27modern audiences will really resonate 24:29with the piece.24:30>> And and one of the reasons why I think 24:32it's resonated for so many thousands of 24:34years is [music] because there's no one 24:36definitive version of it. You know,24:38there's 24:39>> um and the thing that Chris has done is 24:40he's [music] just interpreted it in his 24:43way. it. I think it's always important 24:45to remember that the the Odyssey is a 24:47poem.24:48>> And so I think that [music] Chris's this 24:49is Chris's interpretation of a poem 24:52based on when he lives and what's and 24:54and what influences him and [music] um 24:58and yeah, so so I think that's one of 25:00the reasons why it remains relevant 25:01[music] to people is because the themes 25:03are timeless and I don't know, we see 25:06kind of seem we we haven't yet figured 25:08out how to master the golden rule.25:10[laughter] Oh,25:10>> how to live by it. So yes. Yes. the the 25:14Zenia thing is is is really made 25:16poignant. Um, uh, Tom, I am just 25:19fascinated by how you summon the courage 25:21to ask another studio to sort of let you 25:24>> I'm fascinated by that, too. [laughter]25:26I'm learning a lot from from you in this 25:28in this one, by the way.25:30>> It's a testament to who Tom Rosman is as 25:32a person. You know, I have a really 25:33fantastic relationship with him and, you 25:36know, we're good friends and we probably 25:38play golf more than we talk about work.25:40Um, [music] and you know, this is a huge 25:43opportunity and there's no person in our 25:45business that wouldn't recognize what a 25:47wonderful opportunity it [music] is to 25:48work with Chris, especially in the role 25:50that he had offered me to do and the 25:52movie that he was planning on making.25:54You know, it was obviously a setback and 25:56it would have been a very difficult 25:57thing for him to deal with, but a 25:59testament to who he is as a person was 26:01that he was willing to move the start 26:03date. That came with a lot of benefits.26:05Gave us a lot more prep time, gave 26:06Destin some more time to figure out the 26:08script. Um, but it just is something 26:10that I will forever be grateful for to 26:12him and I owe him big time.26:15>> I'll probably give him a few more shots 26:16on the golf course next time I 26:17[laughter] play. Uh, but 26:19>> don't tell him.26:20>> But I was I was Yeah, exactly. I was um 26:23I was nervous calling him up for sure.26:25Yeah.26:26>> I think one of the things just cuz I 26:27know Tom as well that really helps is 26:29that he really is a champion of cinema.26:31Like he's of course the head of a studio 26:33and that's really, [music] you know,26:34carries with it own.26:35>> You're talking about amazing. You're 26:36talking about big Tom. [laughter]26:37>> Sorry. Tom.26:38>> Yes, I do love cinema. You're right.26:39>> I just realized that you are the 26:41[laughter]26:42>> It's just one of the things that is so 26:43great about working with Tom is his love 26:45of cinema. Um, no, but actually this is 26:47a story about So, anyway, I was going to 26:48say, so Tom Rothman is a big fan of just 26:50cinema thriving. He's really invested in 26:52the ongoing health of cinema. So, I 26:55think that it actually says a lot about 26:57who he is as a person, but also as like 27:00a member of our community.27:01>> Yeah. Like he would love to make this 27:03movie, you know? He actually, you 27:06actually did something so special which 27:07was he Tom Rothman had a print of 27:10Lawrence of Arabia and you arranged a 27:12screening for all of us to watch on the 27:14lot where we were shooting on a Sunday 27:16and we got to I mean it was amazing.27:18>> It was awesome.27:18>> It was so cool.27:19>> Oh my god, it was so cool.27:20>> That's incredible. Um well, I'm very 27:23jealous. And um Penelopey's a bit of an 27:27enigma even to Emily Wilson who who has 27:30such empathy for all of the female 27:31characters in in the book and in the 27:33poem. How did you sort of make her your 27:35own and like find [music] the person 27:37behind this?27:38>> Oh, I just trusted my script, you know,27:41and I trusted my director and I trusted 27:44my co-stars. [music] I just I was just 27:47I was very aware about the fact that,27:49[music] you know, she's a very 27:51well-known character. She's probably the 27:53most well-known character that I've ever 27:55played. [music] Um, but we only know her 27:58as far as we can see. And so I just felt 28:01very excited about the idea that I 28:03didn't want to negate anything that 28:05anyone had ever felt about Penelopey 28:07that she was, you know, the picture of 28:09modesty. She's a paragon of patience,28:12all of those things. But a paragan isn't 28:13a person. And so I thought, okay, so 28:16let's let's allow that that's the way 28:18the world sees her. Who is she when no 28:21one's looking? And I kind of built it up 28:23from that.28:24>> Yeah. I have to ask about Robert [music]28:26Patson because he's so funny. Isn't he 28:28great? You guys both get his performance 28:30insane.28:31>> So good. [laughter]28:32>> So good. What I mean, does he bring that 28:34sort of energy just to set and to 28:37>> Yeah.28:38>> He's he's the type of actor where I've 28:40worked with him three times now and I've 28:41loved every time, even more than the 28:43last. And he he's the type of actor 28:46where you really have to be on [music]28:47your toes because he just is so good at 28:51making bold choices and you never see 28:53them coming. and he's all about 28:55character, you know, that he he 28:57experiments, he tries things. Um, but 29:00he's really dependable.29:02>> Yeah.29:02>> You know, like in a scene like you feel 29:04like Rob's going to kind of lift you up 29:05with him.29:06>> And um I I love him as a person. Like 29:08we've been good friends for a long time,29:10but working with him is is such a 29:12pleasure.29:13>> He's very electric, you know, as as an 29:15actor and also as a person, which makes 29:18it incredibly fun because it's a little 29:20bit like working with lightning.29:21>> Yeah.29:22>> You know, you're just like, "Wow, that's 29:22incredible. Okay. Don't get zapped.29:24Okay. He's not trying to zap you. But um 29:27but yeah. No, he it's kind of I don't 29:29know like working with a jazz improv.29:31>> Yeah.29:31>> He's he's it's wonderful. Wonderful. But 29:33you're right. He is dependable. Super.29:35>> He knows where the beat is. You're both 29:37making the same song, but it's it's 29:39[music] really thrilling.29:42>> I miss this is your second time working 29:43with Christopher Nolan. I mean, what was 29:45it like to be sort of called upon again?29:47>> Oh, it was it was a huge honor, you 29:49know, to be asked to come back. It kind 29:52of it made me go I guess I did something 29:53right the first time that you [laughter]29:55know that he felt that I had the right 29:56sort of work ethic to do this because it 29:58was a real undertaking but I had the 30:00best time and uh I'm very thankful to 30:02have been asked back.30:03>> What was the pitch like for these two 30:05roles for you Lupita?30:07>> Well he I was invited to meet with him 30:10in person. So I went to his office which 30:12is at his residence and he sat across 30:15from me and told me he wanted he was 30:17going to be making the Odyssey. I 30:20immediately said no to self. Read the 30:21Odyssey. [laughter]30:24And then he he said he had a small but 30:27mighty role for me, Helen of Troy. And 30:31then he said, "And I also have another 30:32role for you, Clyde Nestra, but I'd like 30:34you to read the script and see whether 30:36it's something you would like to do."30:37And I said, "I do want to do it." And 30:39and he said, "But read the script." I 30:41said, "Yes, but I want to do it." So 30:43I'll read the script, but I want to do 30:44it.30:45>> And he would not um take my yes until I 30:47read the script. So, I read the script 30:49and then I said again, Chris, yes.30:52[laughter]30:53>> I mean, Helen is such a fascinating 30:55character and and the Emily Wilson sort 30:57of translation is very empathetic 30:59towards her, too. Really, really 31:00beautiful. I mean, how did you sort of 31:03internalize that and like what her 31:05struggle was? Well, part of the 31:08conversation with Chris, uh, he 31:11mentioned his interest in telling this 31:14story and really not shying away from,31:18uh, the cost of war, actually 31:20investigating and exploring it. And so,31:23as such with these with with Helen's 31:25character, it's like she's known to be 31:27the reason for this war. Is that even 31:30really true or was it, you know, and 31:32then also what is what is her life after 31:35the war? I love that we get a glimpse of 31:38that and we really get to see the cost 31:41of everything. The the the rage,31:44resentment, guilt, shame,31:47disappointment,31:49endurance 31:51>> uh of of it all.31:53>> Absolutely. And you are also a 31:55representation of this cost of war and 31:57following Odysius on this journey. Um 32:00you really went through the ringer. Uh 32:03[laughter]32:05>> yeah. I I mean from the boat to the cave 32:08to the I how can you even sort of 32:10process what this experience was?32:13>> Yeah, it's I'm I'm kind of doing it in 32:15real time to be honest as we as we speak 32:17about it and and reflect on it. But 32:20>> um it's always heartening to see the 32:22final film and and see it all 32:24represented in the truth of of what it 32:27was. You know, we went, you know, we 32:29went through that all because 32:30>> we wanted this to be a visceral 32:32experience. We wanted it to feel,32:34>> you know, real in a way that, you know,32:37um, telling mythical stories like this,32:41they're usually a lot more sort of 32:42grandiose.32:43>> And there is grandeur in this movie, of 32:45course there is, but there's real 32:47reality. There's there's visceral truth 32:50to those moments. And that's why we 32:52>> we I would say it's kind of the most 32:54physically challenging role I've ever 32:56played because because of that.32:59>> Absolutely. Chris talks about the sort 33:01of earthiness of it too and sort of 33:03grounding it which is a really wonderful 33:05way to describe it. Um how would you 33:08sort of describe it like compare it to 33:10your experience on tenant because tenno 33:11was its own thing very [clears throat]33:12confusing very you know intricate in a 33:14way this is more straightforward but no 33:17less challenging. Yeah, challenging in a 33:19whole other way, you know, and 33:20especially in sort of the scale of what 33:22I had to do, you know, on tenant, I 33:23popped in and, you know, flew or drove a 33:27plane into a building and then left and 33:29uh, you know, [laughter]33:30um, whereas on uh, on this, I was there 33:33by Matt's side, you know, almost the 33:35entire shoot. Um, and so 33:38>> it it felt like I I felt more of the 33:42fabric of this of this story 33:44>> and um and I really got to know 33:47everyone. Um, beyond obviously the 33:49wonderful actors I was working with 33:50every day, the crew, um, all those 33:53wonderful people, the stunt team, I 33:55really felt like we all became like a 33:57family and I felt part of that in a way 33:59that I just didn't have the scope to do 34:01that on tennet, you know. So,34:03>> yeah. Where were your things primarily 34:05shot? Where?34:06>> In Morocco and Greece.34:08>> Okay. Wonderful. Did you Did you en you 34:11know what was your You weren't hiking to 34:13the castle, but but what was your sort 34:14of Oh, were [laughter] you you castle 34:17required hike? Yeah.34:19>> Yeah. Required activity. There was one 34:21hike to a castle, but um you Well, yeah.34:26I mean, I had a very different 34:29experience from uh Himimehir, but um it 34:32was still grand. I mean, I remember 34:34walking onto set on my first day for the 34:37banquet 34:39scene and just really being stunned by 34:43how much life was in that room, how much 34:47detail the the banquet table was spread 34:50with this food that looked ancient and 34:53fresh at the same [laughter] time. you 34:55know, and being walked through the 34:56specificity of the food and there was so 34:59much attention to detail and you can 35:00just feel it's it was so visceral on the 35:03day and then to see it translate onto 35:06screen.35:07None of that work was in vain.35:09>> Yeah. What were these cameras like to 35:11work with?35:13>> Yeah. You [laughter] go. Yeah.35:15>> Uh sometimes noisy, which has always 35:17been the case with these IMAX cameras.35:19they've always been very noisy and 35:20that's been the challenge of shooting 35:22>> anything really beyond major action 35:25sequences with these cameras 35:27>> and I think maybe pushed it a bit 35:29further with Oppenheimer with because it 35:31being a lot more intimate he still used 35:32the technology but there was still a lot 35:34of overdubbing of dialogue 35:35>> which would be captured on the day so we 35:37did some of that on this as well you do 35:39the take you do the scene and then you 35:40just run it without the camera and 35:42they'll put the dialogue over the top 35:44>> but on this we have the new technology 35:46of this insulating box they call it the 35:48blimp 35:49And so it it insulated the sound almost 35:52entirely so that you could shoot 35:53dialogue.35:54>> I imagine that you you know shot a lot 35:56of dialogue with that thing on. It just 35:57commands a level of respect 36:00>> that you that you have on any on 36:02anything.36:02>> But shooting on film as a first stage,36:05you you feel the sort of physicality of 36:07that, the magic in a way of that.36:10>> And then add IMAX to the to the equation 36:12and you're really feeling I mean the 36:14physicality but the cost of the film 36:17going through.36:1824 frames a second. You know, it's um 36:20it's pretty epic. So,36:22>> it just there's a level of respect that 36:24it commands that you it really makes you 36:26bring your game.36:28>> You know, this concept of Zenia and 36:29Zeus's law is is obviously very 36:32paramount [music] and what happens to 36:34civilization when that's broken. You 36:35know, how did you sort of did you were 36:37you thinking about our modern times as 36:39well while sort of making this or maybe 36:41just processing it after you saw it?36:43Honestly, it was processing it after I 36:45saw it. I was so busy trying to like 36:49put myself in that time in those 36:51circumstances and I was aware. I mean,36:54that is a universal law, right? I mean,36:57is the biblical version, do unto others 36:58as you'd like them to do unto you. We 37:00have these these values 37:03that we seem to have lost sight of. So,37:05I knew it was relevant, but I could not 37:07have known how palpable it would be. I 37:11just [music] I did not know how moving 37:14the message would be with all the 37:16exposition that has to happen in this 37:18movie. And somehow we're able to keep 37:21characters straight with names like 37:23Urillicus and then also 37:26>> really feel something about, you know,37:29this this law that we seem really really 37:32intent on breaking to our own detriment.37:35You know, I I just that feeling like,37:37wow, this is amazing. When you have a a 37:41story that is such an event and it's 37:45such a spectacle, but it hasn't lost 37:47sight of the value of like impact and um 37:52giving us inviting us into an 37:53opportunity to really like consider our 37:56times.37:58>> Yeah, it does that so well.38:00>> Yeah.38:01>> Tell me about the siege of Troy. M 38:04>> it was I that was fairly early on in the 38:07shoot and it it I I it really brought 38:11home to me what we were trying to 38:12achieve with this movie. There was a 38:14point I know Matt's told this story but 38:17he we were we were shooting the scene 38:20where we all rush in and we're all just 38:23storming the the the the whole city.38:26It's all going crazy. It's fire light.38:28There's people screaming. There's people 38:29being killed. And you know the amount of 38:31actors and extras is kind of 38:33unfathomable. And then Hoita the DP 38:36turned to Matt and went this is a 38:38flashback 38:40you know and it was like [laughter]38:42oh yeah 38:44>> this is a flashback in this movie. This 38:46isn't even the movie. Yeah, this is like 38:48>> a very important part of the story, but 38:50it's like 38:51>> it comes out in spits and spurts until 38:54of course then there's the 38:55>> the you know what the epic sort of 38:57conclusion of that strand, but it it was 38:59just like 39:01>> the the scale of it was suddenly came 39:03home to us all that this is just the 39:05beginning.39:06>> Yeah.39:06>> of of everything. So,39:08>> was there a location that you found 39:09particularly [music] all inspiring?39:12>> Every single one. I Iceland was pretty 39:15special just because it's such an 39:17incredible landscape, you know,39:19everywhere you turn.39:21>> But we were shooting in twilight, you 39:24know, because the sun doesn't set at 39:26that time of year that we were shooting 39:27around this time of year,39:28>> but we wanted that twilight because it 39:30was for the Hades sequence. And so it it 39:33was kind of surreal, but to look around 39:35and see this, you really felt the power 39:37of nature.39:38>> Yeah.39:39Tell me a little bit about the 39:40efficiency of a Christopher Nolan set 39:42and just like everybody being on their 39:44game and being able to finish nine days 39:46early. It just it's incredible.39:48>> Yeah.39:49>> Yeah.39:50>> I mean, I think it lends itself to the 39:52IMAX first of all. That's an expensive 39:54camera. You got two and a half minutes 39:57with each roll of film. So, you got to 39:59get it in and keep it moving. Uh so 40:01there's that urgency and there's a 40:03respect for uh the limitations you know 40:08and you and those limitations kind of 40:09free you because you have you got to 40:10work with them. Um and then I think also 40:14not having phones on set lends itself to 40:17a very very focused set.40:20>> There's a different vibration on a Chris 40:22Nolan set. [music] Everyone is present.40:24everyone is ready, alert, and and doing 40:28their bit to keep the the train on the 40:30tracks. Um, yeah, that's what I'd say.40:33Yeah.40:34>> Yeah. I think every that that being 40:35present thing is is you don't get to do 40:38what you are used to doing on other film 40:40sets where it's like, oh, we're 40:41relighting, you've got like half an hour 40:43to go chill.40:44>> Yeah.40:44>> It's like even if we're relighting for 40:4610 minutes, stay here 40:48>> cuz we're going to go. We're not going 40:49to waste any time. And I think that 40:51comes from Chris, it seems to me, has an 40:53ethic of of not taking for granted 40:55anything that he gets to do.40:56>> Yeah.40:57>> Anything that he's got to do for for 40:59years now, people would expect him to 41:00start just sort of being at ease with 41:01it.41:02>> And he takes ownership of it. Of course 41:04he does, but he doesn't take for granted 41:05at all. So he expects everyone to to 41:07bring their agame.41:09>> Zenaia, tell me the story of how you 41:11heard you were being considered for this 41:13role. It's how it's actually a really 41:15cool story because Tom got the call 41:17first [music] and I was like 41:20>> so excited like you have no idea. I you 41:22know Chris Leon is one of my favorites 41:24of all time and I was like flipping I 41:26was like you have to do this like we got 41:28to figure out the schedule like this is 41:29like 41:30>> I was so excited and then he had another 41:32meeting and you know I had secretly read 41:34the script with him that [laughter]41:36night and I was peeking over his 41:37shoulder while he was reading it, you 41:39know. Um and then he came back from 41:41another meeting with Chris and he was 41:43like read he handed me a script and he 41:45was like read it again and I was like 41:48okay and he was like but now think of 41:50Athena. And I was like, "Stop [snorts]41:52[laughter] right now." Like, "You're 41:54you're joking." So, I it was it was 41:57really cool. He was he was able he was 41:59allowed to tell be the one to tell me 42:01and that was really special. So, I just 42:04I was already on Cloud9. The fact that I 42:06was even got to be involved as well was 42:08like just a cherry [music] on top.42:10>> Absolutely. What did it mean to you to 42:12to take on? Oh, well, I mean,42:16here I am with Chris Nolan, one of the 42:18great directors, living living directors 42:20of our time, and this incredible script 42:23that I don't know how he put it 42:24together, but it's one of the most 42:26amazing pieces of literature that I've 42:28read. The way he's captured this ancient 42:31classic piece of western literature and 42:34and then to be um he told me he was the 42:36most loyal character in Western 42:38literature, I was like, "Oh, okay.42:40That's a lot of responsibility. How am I 42:42going to do that?" that you know but 42:43there was with so much help you know the 42:45crew that he amasses is so brilliant 42:48everybody's so great at their job uh 42:51actors included I mean this brilliant a 42:54team uh and then I you know they put 42:56context where I can't see so that helps 42:58me be visually impaired they aged me up 43:01literally you know with age spots and 43:04wrinkles and like four hours the first 43:06day and then they got it down a little 43:08shorter but that all that helped and 43:10then Chris gives you the space to to 43:13really land inside your character and 43:15gives you the time.43:17>> It sounds like Zinde, you were really 43:18invigorated by [music] the sort of 43:20challenge of it, the locations, the the 43:22the epicness of it. Um, tell me a little 43:25bit about that experience.43:26>> Yeah, I mean, I was really nervous. I'll 43:28say that because also you kind of get 43:30dropped into these incredible landscapes 43:33and worlds that like [music]43:34>> I think we were talking about it 43:36earlier, but it's like otherwise I 43:37probably never would have had the 43:38opportunity to explore. Um because this 43:42the landscapes that they found to shoot 43:44are are stunning and so many things are 43:46done practically and you kind of walk on 43:48and in many ways what you see in the 43:51camera is what we got to see and [music]43:53it's I mean it's like being in another 43:56time in another world and you really 43:58feel deeply transported [music] and so I 44:01think kind of that awe was hugely a part 44:04of like one of those things I had to 44:05like okay compartmentalize that but then 44:07also again being surrounded by, you 44:10know, people like yourself like that.44:12I'm [music] just huge fans of have been 44:14able to watch my entire life. It it it 44:17it's another thing you're like, okay,44:18[laughter]44:19also compartmentalized as well. Let me 44:21try not to freak out too much, you know,44:23and really try to lock in here because I 44:25want to do my best work. But it is 44:27really such a special thing to be a part 44:29of. And you, you know, you just want to 44:32>> rise to the occasion because everybody 44:33around you is just kind of operating on 44:36the the best level.44:38>> Yeah. And only you had to hike to the 44:40castle or were you part of that?44:42>> I I didn't hike to the castle.44:43>> Well, I only hiked one day.44:44>> I I saw it from the ground.44:46>> I hiked one day and I was like, I'm not 44:48doing this again cuz it's not I mean 40 44:51minutes climbing up that 900t cliff and 44:53then you got to act for 12 hours. No, I 44:55took the helicopter after that.44:57[laughter]44:57>> I saw them like airlifting things too.44:59>> Oh my god. Yeah.45:01>> Like floating.45:03>> Pigs, dogs. I mean, they put a whole 45:06entire village from the 300 BC up there 45:10on this 900t cliff. It was incredible.45:12And everything was poisonous.45:14>> And it really 45:15>> Oh my god. Yeah. Every bush was 45:16poisonous on top of the hill.45:18>> Yeah.45:18>> Or you'll die.45:18>> But they told they they it was safe set.45:20I mean, they there were stunt men who 45:21told you, "Don't touch that." And if you 45:23break the sap and you put in your eye,45:24you go blind.45:25>> Really?45:26>> So, you know, but nobody did.45:27>> Nobody did that. Nobody did [laughter]45:28that,45:29>> thankfully.45:29>> But it looks incredible on film. Then 45:31you go, "Oh, that's why we're up here."45:33because it looks phenomenal.45:35>> Yeah, that's amazing. Um, you know, I've 45:38read the story about uh Christopher 45:40Nolan giving you a perfect after one of 45:42your takes and Matt and Tom being very 45:44jealous. Did it track when [laughter]45:46that happens?45:47>> Do you know it? Like we were talking 45:49about this earlier, but he is so chill.45:51>> Like I remember those first few days 45:53being like, "Oh, I hope I'm doing a good 45:55job because I can't tell because he's so 45:57like chill." He's so like, "Yeah, great.45:58All right, moving on." And you're just 45:59like,46:00>> "I hope that that's a good thing." You 46:02know? So, I was pretty I I must say I 46:04was pretty excited when I got a perfect 46:06I was like [laughter]46:07>> I got a perfect 46:09>> That's 46:12Yeah. Um tell me about the dog. I love 46:15that the dog is sort of elevated to a 46:17better 46:17>> Oh my god, the dog is is everything is 46:19amazing, right? Tell me all there's only 46:2275 of those these dogs. An ancient 46:24ancient breed called a Portuguese 46:27pandeno. I call Portuguese pandeo just 46:30cuz he was cute. Uh so you know I pet 46:33him a lot try to make him feel 46:34comfortable and uh you know he was my 46:37pet. I spend all the time with him and 46:38he's waiting there for his master 46:41Odysius to come home and he's staying 46:43alive. So they had an old uh Argus, they 46:46had a medium Argus and they had puppy 46:48Arguses.46:50>> And then when I had to toss the Arguses 46:52off the cliff, [laughter] I go, "Oh my 46:53god, I'm going to be hated for the rest 46:55of cinema history." The guy who threw 46:57the little puppies off the cliff, but 46:59they weren't, you know, it was a cloth.47:01with the cotton. Yeah. Very safe.47:02>> That's good. [laughter] Is Is the 47:04blindness sort of a nod to the sort of 47:06Homer 47:06>> specul Oh my god, I can't believe you've 47:09got that. That That's awesome. Yeah,47:10it's a it's a tipping of the of the hat 47:13to Homer who who was sight impaired and 47:17walked with the cane, had the dog. Yeah.47:19Yeah, it is.47:20>> Yeah. Um [music] that's so interesting.47:22I um I it's been fascinating learning 47:25all about this. Um Athena too is such a 47:27I mean, how do you make her just not I 47:30bring her to life. I guess 47:32>> I know it's a hard thing to carry. I 47:35don't know. It's it's like I had the 47:36same question. I was like, how do I 47:38bring to life what is a you know a 47:41goddess? I guess you know. Um but I 47:43think so much of it was in the story and 47:45the way he um he's telling it. I think 47:49the humanity of it and and bringing that 47:52um more human element to this idea of a 47:55goddess, but what they kind of represent 47:58to Adysius in this story, this the the 48:01lessons that they're [music] teaching 48:02him and why she presents the way she 48:05does and in the moments that she does.48:08Um I think ultimately 48:10are are are teaching him a lesson and 48:13guiding him through something that's 48:14very difficult. And [music]48:16um yeah, I think without like giving 48:18anything away um but it is it is quite I 48:21think when I just thought about it from 48:24more of a like like you're like I was 48:25saying like human perspective you know 48:27and with like I said without spoiling 48:30anything but yeah 48:32>> and just finally the scope you both get 48:34to interact with Matt like the scope of 48:36what he did and what he accomplished.48:37Yeah,48:38>> I mean he was an inspiration. Every time 48:40I saw him, I was like, "Wow, this guy 48:42doesn't complain, is happy every day.48:44He's been thrown in water, cliffs, stuck 48:47in a horse." I mean, he was doing these 48:49things for real. For real. This wasn't 48:51like, you know, pampered actors. No, he 48:54we were all freezing, cold, you know,48:57put in the in in places that were really 48:59impossible. And he always had a great 49:01attitude, always friendly, always so 49:04cool and chill. I mean, he's he's just a 49:06lovely dude.49:06>> Yeah. I felt I felt the same way because 49:09many of my scenes obviously are are with 49:11him and 49:12>> he was just I was so nervous coming in 49:15and wanting to do this, you know,49:17wanting to do a great job and wanting to 49:19like live up to like what's around me.49:22And he was just so great at setting the 49:24tone of like it's all good. Like you're 49:26you're you know, we're all in this 49:28together. And yeah, I really appreciate 49:30that. Very welcoming.49:35>> I think it's asleep.49:38>> [screaming]

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