All language subtitles for Hot.Ones.S29E11.WEB.H264-DARK-CEsubsA

I'm not even focused up here at the
moment. I'm just kind of like, what's

happening?

Lots of plates spinning over here. Yeah,
what's happening?

Hey, what's going on, everybody? For
First We Feast, I'm Sean Evans, and

watching Hot Ones. It's the show with
hot questions and even hotter wings.

And today we're joined by Oscar Isaac.

He's a Golden Globe award -winning actor
whose work spans everything from the

Broadway stage to beloved indie films to
the biggest box office franchises in

Hollywood. You can also catch him
starring in the rage -fueled dark comedy

series Beef, which returns for a second
season on Netflix April 16th. Oscar

Isaac, welcome to the show. Hey, Sean.
I'm very delighted to be here.

At least in the beginning.

What's going through your head as you
prepare to take on this gauntlet?

Just surrender.

Surrendering the war with reality.

I'm here.

I'm ready.

All right,

we're in.

Okay.

All right, little cat.

Garlic delight.

So,

beef creator

Lee Sung -jin says that the second
season of the show is about the internal

repression of rage you see in the
workplace, a different engine from

one's road rage clash.

As an actor, what's it like to play
someone who's constantly suppressing

beef rather than acting on it?

Yeah, it was interesting because I think
like I was a couple of weeks in, I was

finding myself getting really hoarse and
I was having trouble getting air out.

And I was like, I feel like I'm just so
strangled. And so it was manifesting

itself as like a very strangled feeling.

And that was like not on purpose. It
just, I think, was from playing somebody

that's being so squeezed.

You know, Sonny's just so great at that
humor of people kind of being squeezed

and they make these sounds.

As you learn.

Which is what life is, really.

Life squeezes us, and these are the
sounds we make.

That's yummy.

You like that one?

I like pickled things.

So, I've heard you describe acting as
humiliation management.

Can you unpackage that?

Yeah, you know, that's kind of like the
tightrope walk, right? That's why it's a

little bit of an extreme sport because
you put yourself out there. There's no

separation between you and the work.

You know, and you arrive in a room with
lots of people, their lights on, and

expecting you to find some sort of
honest moment or whatever that is.

But, you know, I mean, they say public
speaking, and people are more afraid of

that than death. Like anything, yeah.

No, that's part of the thing of just,
like, you put yourself out there and,

know, some people deal with it by, like,
punching themselves in the face before

a take and some people want to humiliate
themselves more. Some people need to

control everything.

And so that, for me, it gives me a lot
of empathy for the way people need to

manage those things to try to arrive to
somewhere that's interesting to them.

How easy is it for you to switch into
iambic pentameter? Like, is there a

metronome in your head? We were just
talking about iambic pentameter. Yeah.

there, like, a metronome in your head
that you can lock into to describe hot

sauce flavors, or is it something that
requires a lot of work with the script?

mean, a little bit of both, but we
naturally speak.

If you speak English, you kind of
naturally speak in iambic pentameter. If

start to break it down, like, you know,
we naturally speak in iambic pentameter.

If you start to break it down, you know,
it just kind of keeps going in that

way. And it's just fun to see if you can
force things into that rhythm, and it

can sometimes elicit almost like Chris
Walken -esque readings of things,

you're like, that splits right in the
middle, and, you know, it's fun.

Well, sweetness?

Well, it's just like a lull, so I put
the guard down.

Oh, you're recognizing it.

You know too much.

So, in working in the Star Wars
franchise, I've heard you say that a TIE

is more comfortable than an X -Wing.
From an actor's perspective, what is,

the difference in those cockpits?

The X -Wing is a lot tighter.

I think it was also just the nature of
the way we filmed those scenes, because,

especially on the first one, it was
outside on a gimbal.

And so, you know, I'd be kind of...

squashed into this x -wing like the sun
bearing down and like the cameras kind

of they're like really high up and uh
and that was just it was really intense

and they're screaming like okay look
left look right he's like all right the

just died be afraid but not too afraid
be heroically afraid you know so and i'm

just kind of like moving on this like on
this horrible ride uh and then the x

the uh tie fighter

You know, the way we shot that, they
kind of made a lot more room in it so

camera could go around.

And I'm back to back with Boyega on that
one. And that was actually, it was one

of the first things that we shot. And I
just remember the whole thing being a

bit lighter.

So in my mind, TIE fighters are the way
to go.

Which one is the smoking dragon?

Edgy. Oh, edgy. Yeah, we're getting edgy
over here.

Getting dangerous.

Right. So when you have a particularly
critical or taxing scene circled on the

script, like, for example, Victor
Frankenstein's deathbed, what is the day

and the buildup to it? Like, is it
different from other days on the call

or more similar than one would think?

Yeah, it's an interesting one that you
bring up. That day I spent it, you know,

like, I want to focus. I'm not going to
really, you know, expend a lot of

energy. I kind of want to just maintain
myself in a state of as much relaxation

as I can be.

so that I'm available for stuff to come
up. And I listened to my sad sack music,

and I, you know, looked at pictures of
people that have passed and people that

mean something to me. When I was at
someone's deathbed, you know, just kind

bringing up some of those things.

And I went in, and we shot the scene.

And it was five or six takes.

And Guillermo was very happy with it.
Everyone felt really good. There were

tears in the crew. It's like, we got it,
great. And then the way that Guillermo

edits, he's kind of quilting the movie
as it goes.

He's got, like, a pretty full edit with
music on it the very next day, which is

kind of terrifying. But he's like, you
want to see it? You want to see it,

cabrón? And I'm like, okay.

And I was like, and I watched it, and I
just was like.

was that take four that we used? He's
like, yeah, that was take four. I was

like, I don't know if that was take
four. He's like, it's take four.

And then we looked and it wasn't take
four. It was like, it wasn't the right

take, but then I saw the take and it
wasn't that much better either.

And I was like, all right. And I was
sitting down and we were going to shoot

insert. And then he's like, he comes and
sits next to me. He's like, what's the

matter? I'm like, well, you know, I'm
feeling a little, I'm feeling a little

insecure. And he's like, well, you are
an actor. And I was like, no, no, I

I know, but I just feel like maybe I
should have looked up and said, you

I'm sorry, or should I? And he's like,
no, no, those are all ideas. You know,

you were really in it.

And my Spidey sense says that it's
great.

And then he's like, go take a break, and
we're going to shoot this insert. And I

went to my trailer, and I just relaxed,
and I made a phone call or whatever, and

forgot everything, and came back in, and
he was set up for something else. I was

like, what's this? He's like, we're
going to do it again. We're going to do

close -up again.

I was like, what? He's like, you know,
if nothing comes, then I'll just make

of you for the rest of your life.

And so...

I didn't have time to, like, listen to
anything or think of anybody or, you

know, and we just did it. And a lot of
different things came out. And that's

what ended up being in the movie.

So, you know, it's one of the funny
things where you try to control it and

not totally up to you how it comes out,
you know. And it's usually better when

you get out of the way.

I love you, Amarillo.

I feel it. I think I'm good so far.

So far, so good.

I'm all right if you're all right. Yeah.

Is it true that your costume in X -Men
Apocalypse was so heavy and

claustrophobic that you'd have to
retreat to a cooling tent in between

I would.

I would.

One of the big reasons I did the job, I
was like, Fassbender, Jennifer Lawrence,

McAvoy, all these amazing actors. Yeah.

And then I never saw any of them because
I was so overheated and I couldn't

turn. So I just got put in this cooling
tent. And sometimes someone would come

by and be like, hey, Oscar.

By the time I turned around, they were
gone already.

It was very challenging.

It was very challenging, but I'm
thankful for the cooling tent.

Is it true that your uncle, a huge Star
Wars fan, brought custom shirts for the

cast when he visited the set? A gesture
that moved J .J. Abrams to make him an

extra in the film? He did. My uncle, he
had made these Star Wars shirts.

And he was such a huge fan and a
collector. And actually, speaking about

I'm wearing this shirt, which is Hidden
Temple Toys, which my dear cousin Ed and

his wife Jen, they have this
collectibles toy shop in Selma, North

And sadly, my cousin last month lost his
life in a car accident.

And he was...

like an amazing superhero of a human,
you know, and I do believe you are what

you love. And he really loved
superheroes and he loved collectibles.

And he was just like a protector of
people that are less fortunate and

that are vulnerable and like a
beautiful, beautiful man. And he was

Oscar, you've got to do hot ones. You've
got to do hot ones, man. I was like, I

don't know, man. I don't know if I can
handle it. He's like, you've got to do

it, man. Don't be a pussy.

And so, you know, to get to be here, I
was like, all right, I'm taking you with

me, Ed.

Love that. And thank you, Ed, for the
referral, by the way.

Okay, how am I doing, Gino?

That sounds like, just don't embarrass
me, Dad. Please don't embarrass me.

All right, so this one is called
Homegrown Hell here. Okay.

And these are the ones for the season,
because you change them every season,

right? Mm -hmm. So you're getting used
to these a little bit now. Yeah, this is

the second -to -last shoot of this
season, so about to say goodbye.

All right. Actually, to this lineup
right here. To this lineup.

Savoring every last drop. Oh, I got it,
you know?

It's always so sad to say goodbye to
these ones. But there's no color

at all on the lifts? I mean, you've got
it down.

I'm practiced. You know, I put my 10
,000 hours in at this point. That's

Well, we all got to be good at
something.

This is what I got.

Which theater was more essential in your
journey as an actor, the Coconut Grove

Playhouse or the old Area Stage Theater?

Oh, that's a very sweet question.

Without a doubt, Area Stage. I love that
Coconut Grove was always such a staple

there, which has since gone.

But Area Stage, John Rodez and Maria
Rodez, I remember that was the first

even saw a play that wasn't like a
musical or anything, straight play.

A friend took me, and I watched, I saw
Oliana, David Mamet's Oliana.

I just, my mind was blown. I was 17.

And I waited afterwards to, like, meet
the artistic director. I was like, I

would like to work with you, sir.

And then about a year later, I
auditioned for, like, an original play,

that, and I got to do that play, and I
became really close with John, and he

became a mentor to me.

And we did quite a few plays after that
together.

That was the first domino.

Yeah, yeah, we keep in touch. And he
came up to see me do a play, the last

I did a couple years ago.

And they have an acting school down in
Miami.

Okay. Now we're getting silly, right?

No.

I mean, I guess I'm pretty numbed out
already, so...

Good place to be on this show. I'm not
feeling too many sharp hits, but I see

what's coming.

For me, I just feel this one in my
chest, you know?

I was going to say staying neck up for
me right now, but we'll see what happens

later in the day. Yeah, hopefully we can
catch the same wave at some point over

here. So you've collected the Infinity
Stones of A -list directors from the

brothers to Ridley Scott to Guillermo
del Toro, and that's kind of just

scratching the surface. Yeah, yeah,
starting to come in a little bit. Just

waving and saying hello.

Hello, I'm here.

Of the directors you've worked with,
which one would you say requires the

number of takes in aggregate before
moving on to the next lead? Oh, that was

Paul Schrader. It was like one, two,
max.

Soderbergh as well. I mean, that was
like one of my very first things I ever

did. And he just, he's editing it in his
head so much that he knows exactly the

snippets that he needs. I remember I
was, I remember following Benicio. We

movie called Che Guevara and I was
following him into the United Nations.

think there was someone behind me.

He goes in, the door kind of hits me,
and then I keep going, and then someone

else literally, like, falls and gets
stuck in it, and we keep going, and then

he's like, moving on!

And I was like, did you see that? He's
like, yeah, yeah, yeah.

Anyway, next thing, you know, so that I
was, you just never know what's going on

in there.

Is it true that you and director Alex
Gardland debated what the robot's

parts should be called in Ex Machina?
And if so, do you remember how you

where you landed? Yeah, so this is my
dad, my dad's a doctor.

And, you know, it's an incredible
script. It's so amazing. And I showed it

him and he's like, I don't buy it. And I
was like, like the whole thing? He's

like, yeah.

I was like, why?

And it was just because of this. He's
like, you wouldn't call it a cavity.

And he's like, ew.

You wouldn't call it a cavity. I'm like,
what do you mean? He's like, it's an

orifice. A cavity is like a cavity.
You'd call it an orifice?

Or a...

Yeah, and I was like, all right, Dad.

And if I change that, then it's awesome?
He's like, yeah.

And so I think we went with orifice.

Hole? I don't know. I don't know what we
went with. I'm not sure. But it wasn't

cavity. As long as it wasn't cavity.

And, you know, speaking of cavities,
mine are kind of lighting up right now.

Yeah, yeah, yeah. But not enough to stop
me.

Yeah, I feel like this.

It'll change the situation, and then I
won't be able to recover. So I'm holding

off as long as I can. All right. Then I
will, too.

We'll see if we can hold off after this
one. All right. This is the bomb beyond

insanity. Yep. And this has not changed
at all? No. You talked about out with

the old and with the new, except for
this one, which always holds down. Or

ingredients or the stuff. It's always
the same. Exactly. Every single time.

It's our control in the experiment.

Looking over, can we get a thumbs up?

There it is.

Yeah, okay.

Okay, okay.

So you've been an incredibly prolific
actor over the last couple of decades,

stacking up dozens and dozens of credits
along the way. So what I want to do

here is test your recall.

What I'm going to do is I'm going to
give you the tagline to an Oscar Isaac

film, and then I'm going to challenge
you to try to connect the tagline to the

name of the movie, if you're ready.

What's that?

To erase the line between man and
machine is to obscure the line between

God. Totally.

Do you know which Oscar I as in the
movie?

I said that?

No, it's a tagline in the movie. It's a
tagline in the movie that I was in?

Yeah.

Give it to me one more time?

Yep.

To erase the line between man and
machine is to obscure the line between

God.

A little wordy.

Explicit? Bing, bing, bing, bing. One
for one.

That was good. That was good. How about
this one?

New York City, 1981.

A dangerous place to build an empire.

That was your use in the context clues
right there. Don't get harder.

Don't get harder.

Let the past die.

Kill it if you have to.

Yeah.

Let the past die. Kill it if you have
to.

We'll go back in time. It's got to be
like a...

Something about going back to the past.

Send me one more time of it?

Let the past die. Kill it if you have
to.

Apocalypse? The X -Men?

The last... I'm sorry?

I'm sorry.

Make no apologies. I'm so sorry, Sean.
Make no apologies.

You seem so disappointed.

Beyond fear, destiny awaits. It begins.

Doom. There you go.

Yeah, no fear.

Back on the horse. No fear.

Only monsters play God.

Frankenstein. There you go.

He's playing the hand he was dealt.

Card counter.

You are doing great using the context
here. How about this?

Warrior hero, the untold story of the
man behind the legend.

The man behind the legend.

What is the man behind the legend?

It's a legendary man.

Did I do a legendary man? It's an untold
story.

I don't think I do legendary men.

Is Robin Hood a legend?

Oh, God, yeah.

I'm just thinking about myself, you
know?

I'm just up in here too much right now.
I get it. One last one. It's about

others. It's about serving others. It's
Russell Crowe.

He's a legend.

Every couple meets their match.

Every couple meets their match.

Is this the beef timeline?

What a pro.

I mean, I haven't seen it. What a pro.

What a pro.

I mean, all right. Two?

Two? Six out of eight is good on the
show. It's a recurring game that we

Okay, all right. And you're... Does it
mean I'm just, like, so egotistical that

I just know them? Like, I got this.

But you know what? The work paid off.
Good.

Good. The work paid off.

Are you ready to move on here to sauce
number nine?

So up next is a squash reaper egg sauce.

You're in the nine spot.

Okay, baby.

Okay, baby.

I'm just trying not to shit my pants
right now. I feel like that's the

that I'm having. I'm not even focused up
here at the moment.

I'm just kind of like, what's happening?

Subterranean. Lots of plates spinning
over here. Yeah, yeah, yeah. Just a

tectonic shift.

Can you give us one highlight and one
low light of having a cat as a co -star?

Like, what are the pitfalls and what are
the rewards of sharing so many scenes

with an orange tabby for inside the one
day? Most of the pitfalls. Yeah, I'd

imagine.

There was, like, six different cats that
all had different skill sets.

Or just what, you know, we're just
naturally. Areas of specialization.

Like this one is basically kind of dead.
So just, if you just needed to sit

there. The docile cat.

Yeah.

And then, but the one that they'd often
give me was like the more feral one.

And they would tie it, they would tie it
to me with like this wire.

So that if it did run out, it wouldn't
get away.

And I had to run down the steps to try
to catch the subway.

And almost every time it would jump.

And then because it couldn't get away,
get really pissed at me, and then just

attack my leg. And you're tethered, so
you can't even escape. I couldn't get

away. We're both like, ah!

That was awful.

Be careful around the ass. Yeah, yeah,
yeah.

And, yeah, the animal trainers, God
bless them, seemed to be more like

agitators. They were like, get them
really nervous, and then give them to

So that was tough, but we got through
it.

All right, Oscar.

Okay. You know the drill.

I do.

Okay. Mama.

All right. Okay.

And with that... Salud. Salud.

And this is like the millions and the
millions up there?

We're up in the clouds. But the good
news is the

wings of death are behind us. You have
conquered the hot ones gauntlet. And to

close things out, it's been such a
remarkable journey through your acting

career, through the spice. But to close
things out, I want to bring it full

circle. Your high school yearbook quote
was.

I like to be different, and I'm into the
art.

When you look at me, you can tell.

How accurate is that to the Oscar of
2026?

Like, does that yearbook quote hold up?
Let's hear it again. I just gotta hear

it again.

Sure. I like to be different, and I'm
into the art. When you look at me, you

tell.

Does that hold up 25 years later?

I mean, look at me.

You can tell.

When I look... I'm into the arts.

The dark arts.

And you know what? You've conquered the
dark arts of spice today. And now

there's nothing left to do but roll out
the red carpet for you. This camera,

this camera, this camera. Let the people
know what you have going on in your

life. Beef.

Season two.

No.

Beef season two.

April 16th.

You guys are fucking good, man.

You're really good.

April 16th, like Sean said.

Beef season two.

It's going to be good.

And you can tell when you look at my
eyes.

That's the guy who's into VR.

Yeah, he's into VR. He knows. He knows
what's good.

Thank you.

Thank you.

Sweet,

man.

I did ask for the bad bunny of the
coconut ice cream. Oh, well, you know

When I saw that, I'm like, that's my
jam.

We do have that. I heard.

Hold on. And we're quick on the draw, or
at least.

I think I've earned it.

I think I've earned the.

Yeah, you've earned this. The Benito
Coco.

I got to get some of yours now.

For the plot.

There we go.

Great job.

Great job.

Thanks, buddy.

Hey, what's going on, Hot Ones fans?

You know you can catch me every Thursday
interviewing celebrities over the wings

of death. But if you're looking for a
little more Scoville -laced action, tune

in Tuesdays for Hot Ones Versus.

It's the show where celebrities go head
-to -head. They either tell the truth or

suffer the wrath of the last dab.

So tune in Tuesdays for a front -row
seat to the fiery fights and celebrity

clashes. That's Hot Ones vs.

Tuesdays on Firstly Feast. Don't miss
it.