Joseph Gordon-Levitt & Rian Johnson

0:03So you're me in 30 years. So it's down into your eyes. Too strange. Your face looks backwards. Do you know what's gonna happen? You done all this already? As me? I don't want to talk about time travel. We both know how this has to go down. Well, thanks so much for doing this guys. Appreciate it. Thank you. Opening TIFF. It's a big deal. Yeah. Two screenings tonight. So you're gonna go to both? You're gonna try and hit up both? We're gonna introduce the first one. Okay. And then we're gonna go to the second one. And that's the one I think we'll sit down and watch. Nice. Yeah. We're gonna enter both. Watching the movie with an audience, could it change the final cut? Because there's still what? Three weeks before the film's ready. It's done. It's finished. No matter what. No more. Oh no, the head of it. Ah! Right. Yeah, does this be up in the other room with the pair of scissors?

0:50Yeah. Well, obviously you guys know each other well. From Brick and whatnot. Yeah. A little well. The really knows that. But I guess talk about crafting Joe together. Because you wrote the part. You are Joe. Bruce is kind of Joe as well. So how does that work? Well, once we, I mean, we had been talking about the story for a long time. I told you about it like ten years ago when I wrote the idea first. So it had been in the air between us for a while. And I think, you know, a large part of what we talked about was figuring out how we were going to sell you as a younger version of Bruce. I feel like the character, you know, we talked somewhat about that. The large part of discussion was figuring out both makeup wise and performance wise how far we were going to push that aspect of it.

1:35Yeah. You know, that was where most of the work went into, I think. And how do you use an actor choose to take things that Bruce has done? Obviously you studied Bruce watching him in the way he speaks and his menuisms and whatnot. But you're also trying to create Joe as your own character and Ryan's character of Joe. So what do you take from Bruce and what do you bring in? Do you trust your own instincts and say this is how I would do it? Or this is how Bruce would have done it? Yeah, I think I just, you know, I studied him. I would watch his movies and take the audio off of his movies and put them on the iPod so I could listen over and over and just hanging out with them and sort of seeping up who he is and how he is. And then taking it from there, I mean, yeah, it wasn't an impersonation and it wasn't the kind of thing where I wanted to, in any sort of exact way, do it just like Bruce would do

2:22it. Because every character is a new character, you know, this is a different guy than the guy that you've seen in Die Hard or 12 Monkeys or Pulp Fiction, you know, it's his own character. Did you write the part with him in mind? I feel like you did because you studied friend poetry and you want to go to friends. Because I remember being in the theatre the biggest laugh line was, I'm from the future, you should go to the chat. Down your list. Having him as a crime boss is interesting. That's different. It's not the role you'd expect. I don't know. There's a crime boss I'd wanted to be, Jeff Daniels. Oh, it works well. I wanted him to run my mob. Well, I mean, there's a great movie Scott Frank made with Joe and Jeff called the lookout where they had a terrific chemistry together and it made just all the sense in the world for me to put them back there. But yeah, and Jeff, I wanted someone who was going to be not your traditional crime boss

3:12and he's that. Yeah. What a little off topic there, sorry about that. Sorry. But writing the part. Luckily, the character does have kind of a Franco file spin to him but luckily the similarities end there in terms of Joe and the character. The reason I wrote it for him was not so much that the role was like him is really just that I wanted to work with my friend first of all. Also, I just thought Joe would really be excited about and be really good at jumping into the challenge of creating a brand new character that you buy as a younger version of this other person. And I think that's the first time I've ever written a part for me like that. It was a real honor. I just got the wrap up science. We do something called Five Questions, Five Quick Questions, one more day.

3:58And then we're at the end of the series. Well, due to the time travel thing, let's start with Terminator or back to the future. That's my one more answer is impossible. Yeah, that's a common one. My one more answer is impossible. Yeah, that's a common one. Leonard McCartney. Leonard McCartney. Spielberg or Scorsese? Come on, these are silly questions. I asked these questions. No, that's not a good question. If given the option, what year would you time travel to? A hundred years in the future. Future. Future. Yeah, I'll take 200 years in the future. But both of you. Son of a gun. Well, in one word, looper. That's the hardest thing in the universe.

4:47It is easier writing the script than it would be coming up with one word for it. One word, looper, time travel emotional, static satisfying action and fest. I like that. Yeah. Top that one. Super Califredulous. Yes, Viola. Awesome. Thanks guys. Appreciate it. Thank you so much. Yeah, that's really cool. Thank you. I'm sorry.