All language subtitles for Palm.Springs.2020.1080p.BluRay.x264.AAC-[YTS.MX]

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OK, here we go‐‐

"Palm Springs."

Uh‐oh!

Here we go!

[MUSIC PLAYING]

Official YIFY movies site:
YTS.MX

There's the title.

Love this song.

There's a goat.

There she is.

(SINGING) Like a movie sun.

[MUSIC CONTINUES]

Uh, didn't actually shoot
this during an earthquake.

Movie magic.

We talked about waiting
for an earthquake,

but then decided
that we didn't have

the budget to wait that long.

Oh.

Yeah.

That was real at the end,
though‐‐ the glowing lights.

Look at those peepers.

That really happened.

Good morning!

We're gonna start
off pretty racy here.

Uh‐oh!

There's history here.

That's a good leg.

For all those kids out there,
"Brooklyn Nine‐Nine" fans

probably don't wanna watch this.

You don't know that.

Are you close?

I really can't start
sweating, babe.

Yeah.

I'm working on it, darling.

OK.

OK, I'm sorry.

I have to get ready.

I'm so sorry.

It's so bright in here, too,
it's just‐‐ and your sweat.

I'm sorry.

You can watch me, though.

Watch me!

OK, that's romantic.

What the hell?

Oh, my god.

Shit, shit‐‐ shit.

Oh, my god, shit.

The sound design here
is not distracting

while trying to talk.

[LAUGHTER]

I'm finding it's helping.

Shit.

No offense, Ny‐Ny, but‐‐

OK, also let's give a shout‐out
to the brilliant Meredith

Hagner.

Such a G.

Such a G.

The best.

So funny.

Definitely my favorite‐‐
definitely my favorite person

that was in the movie.

Yeah, me, too.

It goes Meredith,
JK, June, Peter.

Yeah, yeah.

For me, it's you
and Meredith tied.

Oh, interesting.

But it's OK.

OK, yeah.

You kill me.

Nyles, look‐‐ I know weddings
make you super weird,

super uncomfortable.

But, please, I'm begging you to
not bring our drama here, OK?

Because this is
truly a sacred day.

I will note‐‐

Yes?

‐‐that Nyles sitting
spread eagle on the bed

was in the script.

That was not an acting choice.

OK, cool.

You gonna be happy?

Are you gonna be smiling?

So what early clues kind of
hint that he's in a time loop?

Well, for one, I
mean he says it very

clearly to Jerry in the pool.

You know, today is yesterday.

Today, yesterday‐‐
it's all the same.

To him, it is all the same.

But to Jerry in the pool at
that moment, he doesn't know it.

Got Tongayi.

The best.

Wonderful actor, lovely dude.

Today, tomorrow, yesterday‐‐
it's all the same.

I was gonna say that house
was owned by an optometrist.

Talk more about that.

Right?

That's it.

That's all I got.

Nice try, though.

[MUSIC PLAYING]

Even the worst hipster would
not just go to a nice wedding

in a Hawaiian shirt and shorts.

So why would one
do that and crack

a beer during the ceremony?

Nyles is not a bad guy, so
that is a clue that something

else is going on.

But, no, seriously.

OK, guys, we're all part
of this gorgeous tapestry.

No, come on.

Throw me a bone.

This isn't the day
for moderation.

It's not good wine.

I don't care.

It was about 30 degrees
during this scene‐‐

It was.

‐‐is my memory.

And we put in some nice work in
post getting rid of the bug‐‐

bug apocalypse
that was happening.

Yeah.

We happened to be‐‐

The bugs that come
out during the cold.

Basically, there was
like 700,000 bugs

just hatched, right
where we were shooting

a lot of this wedding stuff.

Yeah.

And they were flying
in and out of frame.

But luckily, it was dark out.

If you looked at any
one of the big lights

that we had lighting
the whole scene,

they were like covered
in bugs, almost like it

was a beehive but grosser.

Yeah.

I also remember
shivering so hard for all

of this, all of these scenes
that the next day, my back

hurt.

You're the maid of honor.

It's your main job.

(WHISPERING) She's
been drinking, Howard.

(WHISPERING) Sarah.

Bonsoir, mi familia!

Et ta mich.

Who is that?

(WHISPERING) Nyles,
what are you doing?

Going in for the save, babe.

I'd like to share
my thoughts on love.

The original movie
was constructed for,

like, all the clues kind of
to be in the wedding speech

and dance.

So the wedding speech, you
kind of hear a longer version.

But he, like, starts
calling out family

members and things that he knows
about certain family members.

He's kind of speaking directly
to Sarah, because he knows,

you know‐‐ he knows
more about Sarah.

He knows more about
Sarah's family.

He knows a lot about
everyone at this wedding,

and you start to
see that he is kind

of a master of the universe.

Their selflessness‐‐
it's in their blood.

And Tala, there's something
that a lot of people

here don't know about
you, but they should.

I hope you don't mind.

It's not just time and
money that Tala has given

to so many charitable causes.

She has also donated‐‐

This speech got cut
down a lot in the end.

It sure did.

And there's some real
tidbits, actually, to be

dropped here in this scene.

There was a segment of the
speech where we introduce Nana.

Right.

And Jerry, and explain
the back story there.

Yep.

And it explains sort of
loosely why they all shukran.

Right.

Which is to say that Nana has
dedicated a lot of her life

to helping people that
have been displaced.

So Jerry, I believe, has
been adopted into her family.

Right.

Into the Schlieffen family.

We may be born lost, but now‐‐

So what were you
thinking in this scene?

Were you like, ugh, I gotta
pretend like he's interesting

and not a butt ugly weirdo.

Oh, my god.

This dance, this song‐‐

immediately, like
I go into how many

times we rehearsed this song.

I know.

I mean, the dance to this song.

I know this song well now.

Conner O'Malley!

This part‐‐ he made me
laugh so hard in this,

I can't believe you
guys got a take.

Well, we actually stole
some of the footage of you

laughing at Conner
and put it later

in the movie for other reasons.

It's mostly background actors.

During the dance scene,
there are some plants

that are actually dancing‐‐

Yeah, there are a couple
of professional dancers.

‐‐that were involved
in our rehearsals.

Yeah.

Yeah.

The guy that I,
like, do this behind,

he's incredible and helped
with the choreography.

Yep.

The bigger gentleman‐‐ taller,
I should say‐‐ who is very drunk

in the scene is one of them.

The guy who slaps my butt.

That move when I slap
my hands over my head

made me, like, lightly
hurt my schlong.

[MUSIC PLAYING]

Yeah, that sounds better.

Yes, thank you.

Yeah.

I think we did five total
takes, maybe, of this?

This first dance?

Astonishing.

We didn't have a lot of time.

So this is their first meet.

We had Nyles
sniffing at the top.

You know, for someone who's
already seen the movie,

you can maybe guess
he thinks he can smell

Roy somewhere in the brush.

That's very weird.

Well, I know my hair mist.

I dated a girl who
used to bathe in it.

Also important to clock the
Orchid Explosion by Fournier,

a brand that was made
up, and that there

were many conversations about
what the title was gonna be.

I believe I pitched some things,
none of which I remember.

They were funny, though.

We probably had like
20 to 30 options.

Yeah.

And that was one of
our few rehearsal days

when you came to
our office, Cristin,

and we were running this scene.

And we were like, what
should it be called?

Yeah.
Nyles.

Hi.

And ended up with Orchid
Explosion by Fournier.

That's right.

It definitely felt like the one.

Yeah, it was.

The scene with June Squibb‐‐

June Squibb is such a G. We shot
this at 5:00 in the morning,

this little thing right here.

Yeah.

5:00 in the morning.

It was about 30 degrees out.

We'd been shooting for hours,
and we were all freezing.

And it was like a damp cold.

And then June Squibb was
like, where do you want me?

And then came and
just, like, nailed it.

We also added a whole
scene on the spot

that ends up later in the
movie, and she was like, OK!

I know.

Yep.

And was great.

Which we got two takes for.

Yep.

You're right.

I remember being
apologetic to June,

being like I'm so sorry
this is taking so long.

She was like, I don't care.

Yeah.

Like, yeah, you're
a real deal actor.

Yeah.

Not give a what.

I just can't handle
that right now.

And what would Misty think
about us running off together?

I have a feeling
she'd be OK with it.

Oh, my god, we're so bad.

Mm‐hmm.

We're so bad.

Mm.

(WHISPERING) Oh, my god!

I can't say I ever liked her.

Yeah, she has her moments.

But this one hurts.

(WHISPERING) Why don't you
go in there and stop them?

Trust me, there is not a
world where these two‐‐

When he brings Sarah to‐‐

to spy on Misty, on Misty's
tryst through the window,

that is another big clue that
he knows what's going on.

And especially when
he's like, you know,

I don't need a leg up.

When he says that line to
Sarah, timed perfectly where

Misty says hold my leg up‐‐

everything in there
is intentional,

and I think those are
just some of the clues.

Of course, you can.

You don't need a leg up.

Hold my leg up.

[MOANING]

That was weird.

This is so fucked up.

So fucked up.

It's kind of hot, though.

Don't you kiss me.

Don't you tell me what to do.

[MOANING]

[OWL HOOTING]

Oh, spicy!

Yeah, we know how to do it.

We know how it physically works.

Right before we got on
those rocks to make out,

a snake wrangler poked a couple
of the rocks and was like,

I think it's good.

And then we laid down on the‐‐

Yeah, I think you're giving
his tone more credit.

It was more like,
I think it's good?

Yeah, that's right.

Oh, yeah.

Oh, yeah.

Let's get it started.

Man, was I waiting on this.

In a lot of ways,
this was the moment

in the script‐‐ when I was
first reading the script‐‐

that I was like, oh!

Yeah.

I might have to do this.

I know.

Getting shot with an
arrow right there.

This is like my
favorite misdirect.

If you're like,
what is this movie?

It's a wedding comedy.

Oh, no!

Perhaps a little zanier
then first thought!

Yeah.

Is what you said.

That's right.

That moment in the writing
of the script kind of

came in late.

The Roy character
was kind of one

of the last things we added.

And once we kind of realized
that and figured out that,

you know, Nyles would
get hit with an arrow

at the beginning, that
would be kind of the biggest

twist in the movie so to speak.

You think you're in one
movie, and then you‐‐ he

gets hit with an
arrow, and you're like,

oh, this is not what I
thought I was watching.

Keep running, shit bird.

I will always find you.

[OMINOUS MUSIC]

This scene is shot
at Bronson Caves.

It is.

Which is where "Batman" was.

The old "Batman," yes.

The old "Batman," not your
Christopher Nolan "Batman."

No.

And many other things.

It's a much used cave area.

That cave is dope.

(WHISPERING) Wake up!

Good morning!

That's a good leg.

OK, fine, but we
have to be fast.

We started this in
2016, November 9th‐‐

the election, all the values
that we had kind of grown up

seemed to be just not
important anymore.

And that's only
accelerated, but it

was a very confusing
world where nothing

seems to be concrete or real.

You?

Today's young.

Ask me again at the end.

Anything can happen.

(GROWLING) You!

What the fuck did you do to me?

(SINGING) What the
fuck did you do to me?

We have a "Zero Dark Thirty"
scene with the torture stuff.

We have our "Saving Private
Scene" with beer cans.

When Sarah comes out and
Nyles jumps in the pool

and she throws beer
cans in the pool,

like those should
be really flying

through the water the way
that those bullets do when

they're storming
Normandy beach on D‐Day

in "Saving Private Ryan."

That could be our "Saving
Private Ryan" scene.

For sure.

What the fuck is going on?

(YELLING) You're
a sick fuck, Roy!

[TENSE MUSIC]

(WHISPERING) Nyles?

Nyles!

No, stop.

Don't come in here!

Are you OK?

(YELLING) Don't come in here!

Hello?

[OMINOUS MUSIC]

(WHISPERING) What the fuck?

How many times‐‐

This was the first
day of shooting.

Yeah.

How many wake‐ups did
you do, would you say?

How many takes?

It was our first
day, so we overshot.

And there were a ton
of days that we needed.

Ironically, these were the most
takes I ever got for anything,

I would say.

Yeah.

I bet you we did 30 takes.

I mean, not of the
same waking up,

but of like sitting up in bed.

Yeah.

Right?

At least.

We spent about the
entire first half

of the first day shooting you
waking up and your eye opening.

Yeah, yeah.

Are you all right?

Oh, my god, look at everybody.

Gallagher.

You must have gotten up early.

Love the detail of him having
the wet towel around his neck.

I know.

Was that his idea?

I almost feel like it was
practical, like he was like,

would anyone care if I did
this with my character?

I'm very hot.

I don't understand
your question.

This‐‐ this day
already happened.

I just think you're
the coolest, Cristin.

Way to go, man.

Andy, you too, man.

Can you believe we did this?

We made this.

It was, like, really‐‐
it was really hard.

Threw it together.

It looks like a breeze
when you watch it.

I know.

So this was a very, very
intensive scene to shoot.

This is the second
time we're showing it.

But obviously, showing
above pool and under pool

with time in between to dry
us all off, to start over

takes and stuff.
Right.

It took a very long time.

Oh, my god, that's right.

Sarah, oh, my god!

What are you doing?

Oh, my god, Camila crushed it.

That was so funny.

So funny.

And she had a really cool,
bad‐ass stunt lady who came in.

Pretty much broken off.

There's one full canine.

This is like a big
day for everyone!

This is a big day for me, too!

The wedding is
today, in six hours.

(YELLING) Sarah, why are you
standing there like a freak?

Why were you in the pool?

This scene was a blast to film.

I was very, very adamant that
I be allowed to throw up.

Yep.

It was one of the
few things I took

a stand on, where I
was like, I will be

throwing up in the teeth scene.

Couldn't respect it more.

I respect you very much.

There it goes.

There it is.

Sarah, no!

Guess you followed me.

What's going on?

Well, the beer is
a fictional beer

that Max and Andy Siara
and our production

designer, Jason Kisvarday,
came up with together.

It's got a hidden
message on it, kinda.

The tortoise that's on
it is representative

of a myth about all of
the universe and such.

Yeah.

Did you keep any?

No.

I mean, they're
filled with water.

I think Max and Andy each
have a couple of them.

That's cool.

I keep wanting a beer company,
even if it's a small one.

I'm appealing to anyone out
there who's a beer company.

Yeah.

To give us a call and be like,
I wanna make that beer for real.

Yeah.

But just know‐‐ just
know that it's not gonna

be like a super dense IPA.

It's gotta be like a really
light, watery summertime beer

that you just want ice cold.

You don't wanna go there.

[MUSIC PLAYING]

So here is Cristin pretending
to be really hot in the desert‐‐

temperature.

He means physically.

I know he means physically.

He said it, and it's
on‐‐ it's on film.

No, temperature hot!

Yep, he said Cristin is in the
desert pretending to be hot.

I have no opinion
one way or the other

on your physical appearance.

It was purely about temperature.

Where‐‐

I told you, you gotta wait.

No matter what we
did, it would never

be completely different
from things like "Groundhog

Day" and "Edge of Tomorrow."

And now we have
wonderful new stuff

like "Russian Doll" and "Happy
Death Day" and all that.

So, you know, in a way we
use that to our advantage,

I like to think.

And Andy Siara, especially
when he was writing it,

did, where we just
kinda gave the audience

the credit of assuming
they have seen those

and know how it works.

Tried to sort of skip past a
lot of the setup parts of that

and start a little deeper in.

And certainly with
my character, he's

been in it for a
long time, which

we felt like was
a nice twist on it

and allowed for a
lot of different kind

of comedic bits and
different dramatic dynamics.

Goes back to the start.

But will this day
end if I go in there?

Sure, for you.

You're wasting your time!

[MUSIC PLAYING]

It's gonna be a
beautiful wedding.

(WHISPERING) Wake up!

Good morning!

[MUSIC PLAYING]

This is some of our
first really awesome

scoring, music score
made by Matthew Compton,

also known as Cornbread.

So good.

He really did a great job.

There's a lot of
debate about how long

Nyles and Sarah have been
stuck there at any given time.

Certainly, he's been there
an insanely long time.

We've never‐‐ we've never
fully said for sure, you know?

There's times where people were
like, it's like 50 to 70 years.

But then it was also like, but
maybe like 150 to 300 years.

Yeah.

And then at other times, it
was like there's a chance

it's been like 1,000 years.

Yeah, I know.

I like that we don't know.

I agree.

I think it helps to
not know, because you

just fill in the blanks with
your imagination to fit‐‐

Yeah.

‐‐you know, how it feels to you.

I think with Nyles,
it almost doesn't

matter as long as you know
it's been a super long time.

Because at a certain
point, he gave up‐‐

Yeah.

‐‐and has been drifting for‐‐

you know, if it was 50
years of doing nothing

and the same thing every day
of just floating and drinking

beer, or if it was 1,000‐‐

Right.

‐‐nothing internally and
emotionally and spiritually has

changed for him.

He's just broken and drifting.

We've been saying‐‐
I like between 40

years and 40 million years.

That's like the sweet spot.

But I will definitely say
it's long enough for him

to remember.

And he also drinks
too much, so that

does something to your memory.

But long enough for him
to forget who he was,

in large part, in real life.

We never‐‐ we never mapped out.

I know there was‐‐

and I think that's something
I loved, too, about the movie.

There are a number
of days that pass,

but also it's very episodic in
that you're cutting in and out

of time, into different scenes,
and there's no real explanation

for how much time is passing.

You goof.

Wait, what?

I don't know what it is.

It could be life,
it could be death.

It might be a dream.

I might be imagining.

You might be imagining me.

It could be purgatory or a
glitch in the simulation.

This is when we started‐‐

we did days of just the
two of us in this car‐‐

Yeah.

‐‐which were some of my most‐‐

like, my fondest memories.

Same.

It was when we started‐‐

Just being in that
dusty car together.

‐‐getting into it.

It was some real acting
going on, you know?

Nothing matters.

Well, then, what's
the point of living?

Well, we kind of have
no choice but to live.

So I think your best
bet is just to learn

how to suffer existence.

So we can't die.

No, the loop just starts over.

There might be some
way to kill yourself,

but I haven't figured it out.

And I've done a
lot of suicides‐‐

so many.

No‐‐ no, I'm gonna
get out of this.

Suit yourself.

What are you doing?

Bracing for a quick death.

I mean, we can't die,
but pain is very real.

There's nothing worse than
slowly dying in the ICU.

This is another scene
in the script that

made me want to do the movie.

I just love that whole convo.

We could just skip
this whole phase.

That level of‐‐ of having
given himself over to it.

Whatever.

[HORN HONKING]

See you tomorrow.

(WHISPERING) Wake up!

Yeah, that‐‐ that is
definitely Nyles' escape,

and it's kind of
a nice microcosm.

You know, it kind of
reaffirms when we meet him,

he's the master of this
universe at the wedding.

But we're really not quite
sure what's going on.

So when he takes Sarah to the
bar and is able to kind of mess

with Darla and take the
guy's hat, it kind of just

hammers on that idea that this
guy has been here way too long

and knows kind of how everything
plays out in the universe.

That's the first film Andy
Siara and I made together

in film school, actually.

It was set at a dive bar as a
hurricane was passing through,

and everybody was
kind of taking refuge.

So maybe that's an enduring
setting and theme for us.

It just is‐‐ if you go to a
good dive bar, there's endless‐‐

I feel like there's stories
about those characters,

definitely Darla,
within that dive bar.

There's just endless stories.

So it's a great
setting for color

and also just that idea
of running a dance number

through there seems
so outrageous,

but I think that's
what made it fun.

Cousin of the Schlieffen clan.

That's about all I
know about the dude.

Yeah, but why was he
trying to kill you?

One night, a very long time
ago, I partied with Roy.

This was back in the early days
before I'd really acquainted

myself with everyone.

I was just feeling
my way through it.

That tuna?

Yes, sir.

I know you know, but you
don't know that I know.

Or do you know?

Do you ever wonder if
people think you're boring?

(WHISPERING) What?

Are you being a dick
to the bartender?

I would like a Moscato, please.

Sure.

What might have been and
what has been point to one

end, which is always present.

Second thought, make that
two shots of bourbon, please.

This moment was improvised
between JK and myself.

I like your hat.

Of course, you do.

There you go.

I like you're hat.

Of course, you do.

Oh, man, I love him.

Here they are!

So JK Simmons, obviously,
is a national treasure.

I worked with him on the
film "I Love You, Man."

He played me and
Paul Rudd's dad‐‐

name drop.

And we have stayed in touch and
our friendly, and I love him.

And when we were
thinking about casting,

we were all holy shit‐‐
what if JK would play Roy?

That would be pretty
much the greatest

thing that ever happened.

So I was all, hey, man,
do you think you'd ever

want to do another indie, dude?

Hey, man, you like
making movies?

You like shooting
in the cold desert?

You like shooting
in a hot desert?

You can have both on this.

Hey, man!

(WHISPERING) We're in the
shit, we're in the shit.

We are the shit, we are‐‐

we're alive.

[MUSIC PLAYING]

Shooting that stuff with
JK was the best, man.

Part of, I think, why he
wanted to do the movie‐‐

it's that montage
and then, you know,

the scene at the end, the
find your Irvine and all

that I think really moved him.

But when he told me he
was thinking about it,

he said he sent moments from
that montage to friends of his,

to be like man, I think
I gotta do this movie.

It's so nuts!

And certainly, for
me, I just loved

knowing that it would be
he and I. The fact that

were already kind of buddies‐‐

it adds an element
of fun to it, of him,

like, torturing me and
making me miserable

and shooting me with
an arrow while I

run naked through the desert
and that kind of stuff.

It just made it funnier
to me, for some reason.

And especially just
somebody like him

who has so much gravitas
and, like, people know

he's such an esteemed actor‐‐
seeing him really get loose

and doing something kind of so
dark and silly was exciting,

I think.

That was a mistake.

When Roy found out
about his new life,

he did not take it lightly.

Luckily, he lives in Irvine
and wakes up there every day,

so he only comes around
once every few days.

Or weeks, I don't know.

My sense of time
is a little fuzzy.

But what does he want?

I think he thinks‐‐

Yeah, I went full butt.

We shot the running away and
getting shot with the arrow

naked thing with one
of my stunt doubles,

Seth, who has a significantly
better looking butt than me.

And then we shot mine, just
in case you could tell.

And you couldn't totally
tell, but my butt was funnier.

Amen to that.

I tied my tubes at 40.

Yeah.

You have to confront him, right?

I mean, you cannot keep running
from this person forever.

What are you talking about?

Of course, I can.

Come on.

Burrito truck just opened.

That's for you.

Keep the change, OK?

But you have to
promise me you're

gonna spend it all today.

Any time anything
gets too serious,

it's like I have
the tendency to just

push it to the other direction.

So if anything sounds a little
too pretentious, I will‐‐

it's good to, like, throw
a banana peel out there

and have a person slip
on the banana peel.

So nothing gets
too, too serious.

Max and I would always
talk about having

one foot on a banana peel
and the other in the grave,

so that you go from moments
of slapstick to, you know‐‐

trying to touch on
something that is maybe

under the surface a little bit.

Daisy, the bar keep.

So the last thing we
actually shot of the movie

was Jena Friedman, who
plays Daisy the bartender‐‐

their moment together in
the car, Nyles and Daisy.

We let the camera roll and
did like 15 minutes of improv.

That was really fun.

All the‐‐ all the sex flashes
when Nyles is describing

his hookup history
within the bubble

were very fun to go and shoot,
just because you got to squeeze

in a little intimate moment
with Peter Gallagher, you know,

one day and then Tongayi.

Jerry Schlieffen?

Well, he fucked me.

He put his penis
in my butt hole.

Yeah, I know how it works.

I really thought I'd try it.

He's a sweet guy.

Nice shot.

And that's it?

That's all you got?

Oh, your dad.

What are we doing?

I don't know.

No, I'm just kidding.

Oh, my god.

I got you, though.

You did.

What about you?

What's going on
with your sex life?

This thing started
out of film school,

us just wanting to go
make something together,

taking a trip out to
the desert, coming back

with the idea of Nyles
being in the throes

of a very busy wedding season.

Me feeling, at the time, very
uncomfortable with commitment,

and Andy having just gotten
married in Palm Springs.

And then, I think, kind
of staring down the barrel

at the rest of his life
and grappling with what

that kind of commitment meant.

And us in a room working on
this idea of developing it,

pushing through drafts, kind
of acting as each other's

therapists.

That's, I think, where
that emotion comes from.

And Andy it's just so
emotionally honest and talented

and funny that it was about
throwing all of ourselves

at each other, every
idea that we ever wanted

to see in a movie at the
wall, while figuring out who

these two principal characters
were that allowed us to kind

of mine those emotional depths.

(WHISPERING) Oh, my god.

Maybe it's a karma thing.

What is?

Yeah.

What if it's like, to get out
of this you have to be selfless,

and then you're free?

It's about $100 a candy
bar, and I'm still here.

Yeah, but not like that‐‐ like
real acts of selflessness,

like the bone marrow
shit that Tala does.

You know, look‐‐ what if‐‐

oh, my god, what if life just
keeps going for everyone else?

Everybody kind of
inherently understood what

the North Star tonally was.

So because of
that, we just tried

to play every moment as
straight as possible,

especially because
the time limit

concept was so heightened.

So it was always about
keeping it grounded

and kind of telling the human
story within this world.

That being said, you do one
take with a certain energy,

and you get something that
feels offbeat and right.

You'll try a different
take that is completely

a different emotion
to kind of then

give yourself options in the
cutting room, to calibrate

a happy moment or a sad moment
or a slapstick moment or kind

of a more downbeat moment.

It's all about
getting everything

that you can to
then give yourself

options to construct
a moment to fit

what you want people to feel.

[MUSIC PLAYING]

I‐‐ I do think what
makes this movie so good

is that I would probably‐‐

like you would just bang
your head against a wall.

You would do all
the same things.

You would attempt to try to
kill yourself to get out of it.

You would attempt
to do every drug.

You would eat
everything you want.

You would try to
sleep with people.

You would just‐‐ it
would be madness.

I don't know.

I mean, this is my nightmare,
to get stuck in a time loop.

Honestly.

I should never have
left the Great Lakes!

This place is a nightmare!

It's all right.

It's all right, Randy.

Everything is great.

Sorry!

I would try to
leave, if I could.

Well, yeah.

I would probably idle
there for a few years

and, like, catch up
on all the shows.

What the hell did
you say to her?

Sister stuff, but
I think I'm good.

But are you stuck in
the time of the shows?

No.

I mean, like, all the TV
shows and movies that I've

always wanted to watch.

But, like, what year is it?

This year.

This has been great.

Well, you know, not great.

I know.

As soon as I asked, then
I realized it wasn't‐‐

I'd be, like, man,
I'm just gonna watch‐‐

My argument was
built on two things.

Yeah.
I'm gonna watch all of "MASH."

Or what?

I'll watch all of "MASH."

All of "MASH?"

Yeah, just now, like‐‐

That's what's gonna get you
to stay in the time loop?

Oh, my god.

They've got, I remember‐‐

Good luck.

‐‐rogue episodes from when I
was younger on syndication.

But I'll be like,
you know, why don't I

sit down and watch "MASH?"

But you can just watch "MASH"
outside of the time loop.

Re‐watch all of "Alf."

"MASH" isn't time loop‐‐

it's not contingent on
the being in a time loop.

Well, yeah.

No, but if I spend my time
now watching all of "MASH,"

that's time I can't get back.

You know?

I'm serious!

But you clearly
seem to have such

an affinity for "MASH"
that you wouldn't

even want that time back.

I could have said anything!

Like "Mork and Mindy,"
"Cheers," you know?

"Mork and Mindy?"

I haven't seen all of
"Better Call Saul."

I would catch up on that.

You know?

Or re‐watch all
of "The Simpsons."

It's like 30 seasons.

Let's waste some time.

[MUSIC PLAYING]

(SINGING) Sinking
in a funny way.

Hey, who's the mustache?

Prick my wife ran off with.

[MUSIC CONTINUES]

I loved filming the deaths
over and over again,

because they're humorous
deaths like falling

out of the top of the car.

The plane was a blast.

That was so much fun.

I remember really,
really having quite

a time in that little plane.

Agreed.

It's very much wish
fulfillment, you

know, getting to sort of try
anything without any fear

of repercussion.

Yeah.

It also felt like‐‐

it felt like we were
doing like cartoon deaths.

Yes.

It felt‐‐

They felt, like,
very Wile E Coyote.

I was gonna say the same thing.

You know what I mean?

Yeah, early Road Runner vibes.

Yeah, strong Road Runner vibes.

Yeah, I think that was also
part of what was a blast.

We were also able to, like,
be live action human cartoons.

I think it goes without
saying that dancing

replaces all iconic
dance scenes from now on.

"Dirty Dancing,"
"Pulp Fiction," "Billy

Elliot," "Fame," "Flashdance."

[MUSIC PLAYING]

Those dance rehearsals
were so much fun.

Do you remember
when you dropped me?

You took it quite well.

Yep.

I still feel bad about it.

You shouldn't, you shouldn't.

Here's the thing.

My arms are weak and floppy
like a baby calf, you know?

Baby calves don't
have arms, Andy.

Get your shit straight.

What if you count‐‐

if you count their front
legs, if they were‐‐

by the way, could.

If they chose to stand
up on their hind legs.

If they chose to‐‐

you're right.

It's an issue of choice.

Sarah, where have you been?

Tala's pissed.

I missed you.

What?

I want you to meet
me in the bathroom.

I like to give
the actors freedom

to improvise and find
things, so there are

flourishes within every scene.

Andy was constantly inventing
moments within scenes

and finding stuff.

It's what‐‐ those are
the surprises that I

think make a script better.

And it was already a
super strong script,

but I think the only fully
improvised scene, so to speak,

was that tattoo moment
within the montage.

So we stole those tattoo shots.

The sun was setting,
but Milioti and I both

really wanted it in the movie.

Just taking a
breather to snuggle.

This was what I
was looking forward

to most when we were shooting.

Yeah.

Milioti insisted on the
hook hand and the eye patch,

and we obliged, of course.

Yep.

That hook hand is on my mantle.

Prove it.

Ugh, goddammit.

I know, but I'm like
stuffed in these jeans.

Hold on.

Prove it!

Damn, check out those jeans!

OK, here's the hook.

Yeah!

Yeah, here it is.

I kept it.

It was the only thing
I asked to keep.

I asked to keep two things‐‐
this hook and my dignity.

And I was only given one.

No one walks away from an
indie shoot with their dignity.

[LAUGHTER]

Ta‐da!

Wow.

You kind of feel that
they're falling in love.

That's what that
was about, bringing

color into that moment.

And we also‐‐ there's a
special on Cristin's slow‐mo

when the confetti is
falling to help it.

But there's like a more
kind of orange‐ish glow,

which is about‐‐

orange, in the movie,
kind of is like‐‐

it's the color of the
tent in the desert, too.

It's kind of that‐‐

and the glow in the
cave, obviously.

It signifies intimacy.

Everything in this
void, the space

where the candy bar once was
but is now in my stomach,

is the past.

And everything that's
remaining is the future,

encased in chocolate.

I have no interest
in this emptiness.

You know, the who,
what, why of your past.

You got here.

That's all that matters.

But if you really want to know
someone deeper, it does matter.

It does.

You have to know
the whole package.

I disagree.

This‐‐ the next bite‐‐

that's all that matters.

I was married for two years.

I knew it wasn't gonna work.

This was one of
my favorite scenes

to shoot in the whole movie.

It was awesome to be shooting
by firelight, obviously.

Yeah.

And everyone was
really far away.

And we also shot
it over two nights,

because the first
night we were shooting,

we had done a lot of it.

But then there was a sandstorm.

Yes, and rain.

So we had to cut bait.

And rain, that's right.

We were hiding under
a tarp for a while.

Yeah.

In the middle of the desert.

And then, we came
back and shot it

the night after, which was the
last night of shooting, right?

This is the last
thing we shot almost?

This is the last thing we shot.

Oh, my god.

This was so great.

It was good because we were
already kind of emotional

about the shoot ending.

And it was also great because
we had run this a ton,

so we really knew
the scene well.

And I think the second night,
we were able to really get loose

with it.

Yeah.

And take it down into the
old dirt, which was good.

Yeah.

I honestly can't remember.

We really knew who the
characters were by then.

Yeah!

And we were just sort of
like left to our own devices.

So that's a long time.

These are fantastic mushrooms.

(WHISPERING) Yeah.

Too bad we're doing them in
such a shit hole, though.

I am not a fan of
this magical desert.

Well, then I just
feel sorry for you.

Yeah?

Oh, wow.

And, you know, we
needed to make sure

that we got a bunch of pertinent
information across, but also

certain energy.

So we lost runs that were
a lot more philosophical.

It's the same way that
I would say that I

feel sorry that, you know‐‐

One of the things when I
signed on to this movie‐‐

that scene was like
one of the most‐‐

I didn't know how you
guys were gonna do it.

I didn't know, like, how
it was gonna be shot.

I didn't know what
the effects were.

But I remember reading
the script and being like,

oh, this is so beautiful
and strange that they

would see these dinosaurs.

And, like, it was one of
the things that made me‐‐

that solidified my decision to
be like yeah, I'm doing this.

Yeah, I also love it.

Obviously, that
whole scene builds

to them suddenly
seeing dinosaurs,

and it's indicative
of Siara's writing.

And it's part of what he does
that I love so much, where you

really feel it, and it's
intentionally ambiguous

because they're tripping.

It's so much more just about
their wavelength and the fact

that they're connecting
on this deeper level.

It really works both as a
magical fun thing to watch

and as a symbolic
moment and totem

of like what's happening between
the characters, which is just‐‐

Yeah.

‐‐very beautiful, I think.

You have two characters who
don't believe they could love

and who, more importantly,
don't believe they

are capable of being loved.

These things are impossible.

And in this moment,
maybe they're

crossing that threshold.

They are feeling something
that is impossible.

So therefore, I felt
like they should

see something that is
technically impossible to see,

which is dinosaurs.

Night.

It was always about‐‐ what was
really exciting was telling

this emotional story,
this love story

but between two people who had
kind of given up on themselves,

in a way.

There is purpose in caring.

In a meaningless world,
there is purpose in caring.

And you have to find
that, whatever that means.

And for these two
people, I think

it's kind of the
consistent thing

that we can all adhere to.

Love is the only kind
of transcendent truth,

in a meaningless world, that
cuts through everything‐‐

your connections with people.

So that's‐‐ that's
what it's about, to me.

Taking that profound
plunge into real commitment

is a beautiful thing.

It can be so transcendent.

That's what the movie
is about, to me.

[MUSIC PLAYING]

Every wake‐up is
different emotionally,

so we want to visually reflect
that with camera height

and lens choice and movement.

It kind of became this
acting exercise, in a way,

to kind of know where
you were within the loop.

Dial it in emotionally
according to that.

They're just so talented
on a performance level

that you could really
tell them to do anything,

and they'll be able to get it.

That was another thing
in the script, when I

read it, that I really loved‐‐

that she has committed this
huge betrayal of her sister,

and it's such an awful thing
to do, but it's so human.

And you also understand
this person who's

filled with such self‐loathing
and sort of sabotages so much

in her life, she's like
torn apart by the fact

that she did that.

But she's not like
self‐aware, and she's

just sort of like at the
whim of her own pain.

Both of the two main
characters are flawed,

and we don't shy away from it.

This is such a
turning point for her,

because she realizes that she
has to repeat one of the worst

days of her life for infinity.

And actually, no
matter what, if she

has to keep waking up with
that same shame every single

morning, she's gonna go insane.

There's no running from it.

She's reached such a
breaking point that‐‐

yeah, she has sort of
veered into the more

Nyles territory,
where you find him

in the beginning of the movie‐‐

where she's
realizing that if she

has to relive this same
horrible event every day, then

what's the point of any of it?

Then, just chaos reigns,
and she's gonna cut

herself off from any caring.

Also, she's genuinely
has developed

an incredible
connection with Nyles,

and I think she's terrified.

It's definitely the
moment it flips.

He has completely given
himself over to it.

And now, after not caring about
anything for maybe hundreds

of years, really
cares about something

and immediately gets
slapped down for it.

Yeah, yeah.

For something having nothing
to do with him, but of course,

he doesn't understand.

For miles, right?

Do you wanna talk about it, or‐‐

The cop?

No, the fact that we
had sex last night.

You said we should have
sex, then we had sex.

What's there to talk about?

During the kind of long
development process‐‐

long writing of this movie
where I was trying to find it‐‐

I got married at a lovely
wedding in Palm Springs.

And I think it was this‐‐

and the world was
changing around this time,

too, drastically.

Like a big pivot
point in history.

And you know, 2015, 2016,
2017, when a lot of this

was constructed, it
was a kind of search

for meaning underneath all
of the noise of the world.

And finding‐‐ I don't know‐‐

joy and beauty and magic and
kind of the more mundane,

routine aspects of life.

(SCREAMING) He's
trying to kill me!

He's trying to kill me‐‐

he's trying to kill me.

Sir, step out of the
vehicle with your hands up.

Thank you, thank you.

Is that‐‐

Sir, if you do not comply,
I'll have no choice

but to remove you by force.

Uh, OK!

I'm coming out!

Sorry about that, Mr. Policeman.

I thought you were someone else.

Should always go with that
first instinct, shit bird.

And obviously, throwing JK
into the mix at the end of this

was so much fun.

Yeah.

And we got incredible ad line‐‐

suck my dick, officer bitch.

You call for back up?

Dude, what the
fuck are you doing?

Oh, come on, relax.

I just‐‐ I just clipped him.

You did not just clip him!

Well, he's a fucking sadist!

I was just saving you.

You should be thanking me.

He was gonna kill you.

OK, well, no thank you.

Freeze!

Put your hands above your head.

Suck my dick, officer bitch.

There it is.

Leave us alone.

If I'm ever lucky enough
that someone makes

a montage of my
work, I would like

it to either begin or end with
suck my dick, officer bitch.

Or both!

Or both.
Bookend it.

Yeah.

Yeah.

This whole stretch from the
campfire scene through to them

on the side of the
road, arguing‐‐

I remember reading that
and like salivating

over getting to do that.

Nothing matters, right?

Those are your words.

No, pain matters.

What we do to other
people matters.

Being a source of
terror is not fun, OK?

It's not fulfilling.

I know this from experience.

Near the tail end of the shoot,
and aesthetically as the movie

went on, it was
always about going

like a little more hand‐held and
loose as they kind of broke out

of the monotony of their days
and connected with each other

and started getting
real with one another.

And that was fun to be out
in the desert, hand‐held,

kind of letting the
actors run around

and roam free a little bit.

And again, much like the
tooth break and the taser,

it's just one of those
things that both Andy

Siara and I just
find endlessly funny,

that kind of physical comedy.

And that's the Andy
Samberg special.

You know, I think he got that on
the first take, just, you know,

the shock.

Something that you clearly
know nothing about.

If I had known that I
was going to be stuck

with a pretentious sad boy
for the rest of eternity,

I would have stayed
so far away from you.

And I sure as hell would
never have fucked you.

Oh, please, you
fucked me 1,000 times.

What?

It's a look at marriage.

It's a look at commitment.

It's a look at how scary it is
to take a giant leap in life.

But to some people‐‐ not
to everyone‐‐ like taking

that leap can be a
profound experience.

And taking a major step‐‐

be it having a kid or getting
married or buying a house

or getting a new job‐‐ and how
these these moves can be scary,

but they also can
be rewarding, too.

So I didn't, OK?

I'm getting out of this day.

Look, Sarah‐‐ I'm sorry, OK?

[HORN HONKING]

[MUSIC PLAYING]

Hey, Pia.

For some reason, I rolled
up one of my sleeves,

and then we couldn't
get out of it.

So that was a real lesson.

Shouldn't have done that.

But, you know, I was like
he was just waking up,

and his sleeve got
rolled up in his sleep.

I don't know.

It was a terrible choice.

So did anyone actually see
her sleep in there last night?

She wakes me up
every morning, guys,

so she's gotta be somewhere.

Nyles, what are you doing?

Sarah!

Come on out, come on out.

(WHISPERING) Wake up!

You know, these are just
kind of fun montage pops.

You know, we picked
them up at sort

of every location we went to so
we had stuff to throw in there.

I love this overhead
shot of the pool so much.

That's Max and Q really
killing it there.

Nice call back here.

You know we've learned
from the time loop formula

it's great to hit
the same moments

and change them as you go,
to signify time passing.

But you recognize them.

This is our awesome indie
film shot, making you know

that you're in an indie film.

(WHISPERING) Wake up!

This is all improvised.

We asked Conner to
throw some stuff at us,

and I found this kind of
late in the editing process.

And it got a great laugh
at the test screening,

so we were really
happy with that.

I don't feel safe anymore.

Yeah.

Just picking off shots
here, knocking them out.

(WHISPERING) Wake up!

Air Force Reserves, I
ate three whole pizzas.

Randy, you have
the best stories.

I know.

Hey!

Oh, my god!

The wedding guy's here!

I need a breather.

Can I‐‐

Oh, please, go for it.

I bought it for you, man.

Misty's boyfriend,
are you in on this?

That's a hard no.

OK, all right.

Don't mind if I do.

This is Nyles' big
realization, which

was an interesting thing to try
and play because the audience

already knows.

So we're trying to bring you
back into his POV a little bit.

Even gave it a little like
moment of discovery music cue,

that Akiva and other
people made fun of me

for liking because it was like
straight out of the "Goonies."

It's very Amblin, twinkly sound.

But I like it.

I thought it conveyed
what we needed.

And then, you know, this is the
big fight, big confrontation.

I have to say, every
time I watch this scene,

I just feel so
horrible for Tala.

Abraham boned each other.

She wakes up with
him every single day,

and then probably sneaks
out in the morning.

God, no wonder
she hates herself.

Here, smell this‐‐
from Abe's room.

Shut up and sit down.

You're drunk.

Nyles, what are you doing?

Just shut up and go fuck Trevor.

That isn't true, is it?

What?

No‐‐ no!

This guy's been drunk all day.

That may be accurate.

However, if you do
smell the pillow,

you will recognize the distinct
scent of Orchid Explosion

by Fournier, the hair mist you
got for Sarah on her birthday.

Does anyone else here wear
Orchid Explosion by Fournier?

Oh, my god.

I didn't think so.

Get the fuck out of here, OK?

Abe, let's take a walk.

You don't actually
believe this guy, do you?

You cheated on your fiancee
the night before your wedding?

It was awesome doing a
fight scene with Tyler

because he's done so much of it.

But also, we had
rad stunt guys doing

a bunch of the crazy stuff
and crashing through things.

The fork moment‐‐
when we first saw it,

we definitely were
all like yeah,

that's how we imagined it‐‐
super gnarly and, like,

you could be all‐‐

[IMITATING SPRING] That
whole fight, I really enjoy.

It was fun.

Love it.

But the fork‐‐

He just got forked in the face.

It was a close up of
Tyler's face, fork in it‐‐

it was a shot that I designed.

We wanted it to be a
close up, so then you

could match cut back
to him the next scene

and the next shot when
everything would reset,

with his face all normal.

Maybe get a laugh across the
cut there, like Nyles can't even

win the fight that he wins.

Tala, you know that I'm
not great with words.

But I do love you
more than anything.

So we're going to perform a
number that I sung to Howard.

It was great.

I love that night.

I remember it very clearly,
because it became‐‐ it was very

stressful, but it
became very fun

when we were racing
to the finish line

and doing all this crazy stuff.

It felt like team
sports or something.

Everybody was on the same page
and hustling to get it done.

(SINGING) That pause
softly on the meadow.

When Sarah goes missing,
or when she's gone,

I think what was really
important to us was that‐‐

at least in the writing of it‐‐

I wanted Nyles and
us as an audience

to maybe think for
a moment that she

actually did get out of the time
loop, that she found a way out.

And so, what would that be like?

If the person you
spent however much time

we believe they have spent
together up to that point,

and now all of a sudden,
this person that you got very

close to just leaves for good.

Where does that
send you spiraling?

And I think that was a big‐‐

we wanted to capture
that feeling.

I don't know if we did.

I don't know if it
was successful at all,

but we were aiming
for that feeling.

What that would have done
to Nyles right at the start

of the movie versus
where he is emotionally

at that point in
the movie‐‐ because

at that point in the movie,
we've now seen his more nothing

matters mindset be challenged.

And we start to see
him go the other way,

onto Sarah's side where
everything matters.

My nephew‐‐ thanks
for your concern.

You cannot be here.

Who is that man?

(WHISPERING) Fuck!
Oh!

Hey, hon.

This is‐‐

(WHISPERING) Nyles.

‐‐Nyles.

He's an old friend.

Tuna will be ready soon.

I am adopted and don't
really have a relationship

with my birth father.

But I met him one time,
and I was in his backyard.

And it was kind of a profound
moment and an emotional moment.

And I remember sitting there,
and he had a son who at that

time was about two years old‐‐

half brother, I guess, of mine.

And as I was having
this conversation

with my birth father, this
kid was out in the yard

just watering dog shit.

And I just remember
thinking, that's so funny.

He looked like I
did at that age.

He was just running
around with a hose,

just pointing dog shit
out and watering it.

And I just remember
thinking, this is surreal.

This is the stuff of life that
gets seared into your memory,

but also we need to use that
in something at some point.

So that's where that came from.

Little Joey is
watering dog shit.

It's weird, but it's beautiful.

One of the things that
I think everyone who

worked on it was drawn
to was the comedy

goes real big and real hard.

But it also doesn't
shy away from some

of the more philosophical
and emotional

conversations and moments.

One of the biggest,
and certainly

one of my personal favorites,
is this scene between Nyles

and Roy, where Roy sort
of talks about coming

to peace with his situation.

And it obviously all works as
a metaphor for what we're all

going through and what
to do with the time

that we're given in this life.

And at a certain point,
you gotta stop swimming

upstream and just
appreciate what you have

and really relish it.

And I don't know.

No one could have pulled
it off quite like JK.

I guess I had my
head up my own ass.

I mean, I didn't
really comprehend.

And so Roy really represents
one of those journeys.

He's completed a
version of this arc.

Roy discovers how to articulate
in his way that he has found,

you know, the kind of
beauty in the mundane,

in the routine of life.

And to him, where at one point
at the start of the movie,

when he first goes
to that wedding,

we see he used this
wedding as a way

to escape family
duties for the day.

He's like, I'm gonna go out to
this wedding in Palm Springs,

because I don't really
wanna be at home

with the family in Irvine.

And he has a long night
of partying with Nyles

because of this feeling.

Then, he gets pissed off
that he's been trapped

in this world with Nyles.

He goes through all of that
only to realize that by getting

trapped in here and
by living the same

day over and over
again‐‐ all the things

that he was running from‐‐

he realizes that he was
running based out of fear.

Well, at least you
have each other.

That Irvine scene was also
just incredible, to see

those two guys act together.

Andy Samberg‐‐ my favorite part
of his performance in the movie

comes in that Irvine scene.

We hold on it in the movie,
when he's kind of rejected.

He can't stay for dinner,
and he has to go back.

He's kind of getting
kicked out of Roy's house

because he's freaking
out his kids.

And Andy delivered
this expression

that was kind of every
single emotional shade

of the movie from,
you know, frustration

to sadness to
disbelief to regret.

And that was so fun to watch.

I mean, it was just
such a blast to make.

I think a lot of people
would choose an arrow

through the chest over
sitting through traffic

all the way home from Irvine.

When he first
pulled that bow back

and we're so close together,
everyone just started laughing.

It was like, oh,
yeah, this is working.

This is why we're making this.

I'm getting out of this day.

Look, Sarah‐‐ I'm sorry, OK?

Sarah, Sarah!

It's gonna be a
beautiful wedding.

Fun little tidbit‐‐
the moment where Abe‐‐

Tyler, who we love‐‐ comes
in shirtless, in some

of the early screenings we did
to sort of test the movie out,

his body was so incredibly,
beautifully ripped

that it was distracting people.

I didn't know that.

So we actually had to‐‐

we knocked it down
in the color correct

so it wouldn't be
pulling focus so much

from the drama of the scene.

Did that happen
in the scene when

I had to take my shirt off?

Just curious.

Uh‐huh!

Yep.

Yeah, I figured.

[MUSIC PLAYING]

There's only one possible
future given the laws of our‐‐

Yeah, but it would allow‐‐

We had the goat on
set a couple of days.

But seeing Cristin,
I just remember

lining up the shot
when she was bringing

the goat into the cave.

And just‐‐ it was one of
those casual moments on set

when you're not
rolling or anything,

but people are just
kind of standing by.

And I just remember looking
over and seeing Milioti just

with this goat, talking to
the goat, getting acquainted

with the goat.

And again, it was what I
was mentioning earlier.

It's like, oh, this is the
chance to be really special.

We're doing so much weird shit.

[MUSIC PLAYING]

Wake up.

Hey.

You're here.

Yep.

Wow.

It's good to see you.

You look‐‐ you look great.

Yeah, well, can't age.

Right.
[KNOCKING AT DOOR]

Let me in, Sarah!

You can't lock me
out of my own room.

Nyles!

Ugh!

So how have you been?

Oh, so bad.

I mean‐‐ no, yeah.

Really, really bad.

But can I just say something?

The journey of this
movie has been‐‐

I don't know‐‐ a long,
joy‐filled experience that,

from the beginning, Max
and I, the director and I

first headed out to Palm
Springs to talk about this back

in summer of 2015.

You live with a script
or an idea for so long,

and you just hope
you get to make it.

And you hope when you
make it that people

are gonna come on board
and make it even better.

And that's what we were
lucky enough to get.

The movie doesn't work
without Nyles and Sarah‐‐

you really believing that
they could fall in love,

but also that there's just
comedic chemistry there.

And it needed to feel
electric, and Andy

and Cristin had that in spades.

It was incredible.

I remember the first time
that we all sat together,

Becky Sloviter, our amazing
producer, and Andy, Cristin,

and me‐‐ just when
Cristin was in town

and we were all kind
of meeting before, we

would start prepping stuff.

And I remember Becky
and I just sat there,

and Andy and Cristin
talked for like two hours.

You couldn't get a word in,
because they just‐‐ you know,

they were so on
the same wavelength

in terms of creativity
and taste in music

and film and life stuff.

And I think that really
carries over into the movie.

It just was super special.

Do we, though?

I mean, I don't want
you to set yourself

up for disappointment again.

Remember the whole karma thing?

This is different.

I tested it.

Tested it how?

Spuds' goat.

I sent her into the
cave, and I blew her up.

I don't know where she went,
but she's not here anymore.

Can you zip me up?

Wait, the goat is gone?

Mm‐hmm.

It's crazy, right?

So I think that we just get
through the rest of today,

we don't do anything too nuts.

And then tonight, we peace the
fuck out of this shit hole.

Well, I mean‐‐ you sure
you don't wanna run

some more tests or something?

What?

No, what are you talking about?

Well, just, the cave's
not going anywhere.

What's the big rush?

You know, in case something
actually does happen.

Holy shit.

Are you scared to leave?

What?

No, not at all.

I just don't want to leave.

There's a difference.
Oh, yeah?

What's the difference.

I wanna stay with you.

Look, I love you, OK?

How about that?

What?

I love you.

You‐‐ how can you
even know that?

I am literally the
only other human

being stuck in here with you.
No.

What about Roy?

I don't love him.

Oh, my god, Nyles.

So you are saying that out
there in the real world,

with the millions of other
people to choose from,

you would still choose me?

Yeah.

But why would I want to go
back there anyway, you know?

It's a world of death and
poverty and debilitating

emotional distress.

At least in here, we
get to be together.

You have lost your mind.

Is that so bad?

That's what love is all about.

Don't be so afraid of it.

This isn't real.

Nyles, everything that
we are doing in here

is fucking meaningless.

So what?

I mean, it's not like things
were going so great for you

out there.

Look, I know about
you and Abe, OK?

And if your plan works,
that's a whole other mess

you're gonna have to deal with.

How do you know about that?

Orchid Explosion by Fournier,
but it doesn't matter.

I don't care about that stuff.

That's like my whole thing.

I can't keep waking up in there.

Just ignore it.

I need my life back.

And I am asking you if you
want to leave this place

and come with me.

And I'm saying no, but I'm
also asking you to stay.

You know, the whole thing was
just kind of a treat to make.

It was that rare
instance of everyone

truly loving and
believing in the material.

No one was there doing
it for the paycheck.

It was all just for the love
and, dare I say, for the art.

(WHISPERING) Sarah‐‐

Nyles, what the fuck was that?

We should break up.

What?

You don't like me.

I don't like you, but I don't
think we should break up.

What?

People don't break up with me.

This is so fucked up.

OK.

I'm breaking up with you!

I had the idea first!

(SINGING) The blind may see,
but stay behind the reeds

of all liability.

And there's nothing
more you need.

Thank you.

You have beautiful skin.

I love your haircut.

Me, too.

Without further
ado, let me bring

up the actual maid of honor, the
big sister of the bride, Sarah.

Good luck, girl.

Thank you, Misty.

When I was 12, I had just
started at this new school.

And I was truly
terrified of the world,

and I kept having these
really awful nightmares.

And then one morning, I woke
up after a full night of sleep.

And I find Tala asleep
next to me, holding me.

She'd heard me
crying in my sleep,

and she crawled into my bed
to snuggle me because she

thought that might help.

And she was like five years old.

Yeah, I think that she's
finally accepted herself.

And also, I think knowing that
this is like maybe the last

time she's ever gonna
see her family possibly‐‐

because she doesn't know
what's gonna happen‐‐

that she's able to like release
and give her sister the wedding

that she should have given her.

Yep.

And the speech that she
should have given her.

Big sisters are supposed
to teach baby sisters,

but I will today and forever‐‐

and ever, ever‐‐ be
learning from you.

Four nights?

That sounds right.
Is that right?

Three to four nights of
shooting the wedding,

all of the wedding stuff.

Can't stress how
much we were rushing.

We had a real breakneck
pace on this thing.

Every scene at the
wedding was like, I think,

two takes except for the
dancing, which was five.

By the way, I think
that's also maybe

why we haven't busted out any
bloopers yet, because we're

using like every shot frame.

Right.

Many, many things
re‐appropriated

to fit different scenes
they weren't meant for

and reaction shots from
totally different scenes.

(WHISPERING) I love you.

I love you, too.

So hopefully, you get this.

And sorry about that, again.

And I hope to see you soon.

OK.

That was a lovely speech.

So a lot of questions
about this scene.

A lot of people want
to know if Nana knows.

Does she know about the loop?

Is she just kind of sensing
that something's up?

I don't want to
answer what I think.

Because, as you know from when
we did press together for this,

I don't like answering
any of these things

because I think that's what
makes the movie so great.

No one knows.

Yes.

I have my own opinion about it.

That's for me.

I don't even tell
Andy what I think.

The truth is‐‐ and
I know this is not

necessarily what
people want‐‐ but I

think maybe deep down it is.

There's no definitive answer
to a lot of these questions,

because a lot of
different people

working on the movie
in a creative capacity

think different things.

So it actually is
meant to be what

you think it is, is what it is.

And that's the correct answer.

Up for interpretation, Thomas.

Yes.

Oh, Thomas.

[MUSIC ‐ LEONARD COHEN, "THE
PARTISAN"]

Love the song.

This was your pitch,
using this song.

When we were driving
to Joshua Tree

one day to shoot in
the car‐‐ me, you,

and our wonderful
producer Becky Sloviter‐‐

and you said there was
a moment in the script

you always imagined
this song was playing.

That's right‐‐ Leonard
Cohen's "The Partisan."

Yes.

And it was actually the
scene right after this scene.

And we tried it there, but
then we reshuffled it and ended

up using it inside the bar.

It works beautifully.

So thank you.

[MUSIC PLAYING]

[TIRE BLOWING]

No‐‐ no!

[MUSIC CONTINUES]

(YELLING) Dammit!

[GUNSHOTS]

What?

Don't shoot, don't shoot!

It's fun seeing‐‐

I love‐‐ this was always,
always a part of the script.

There's actually‐‐ yeah, some
people have been like, wait,

what's the deal with Spuds?

Is he really his dad?

And I'm always confused.

It's just, Nyles knows
everything about Spuds,

so he tricks them in this
moment into giving him a ride.

So, sorry to anyone who wanted
that to be a real thing,

that Spuds was Nyles' dad.

[MUSIC PLAYING]

(YELLING) Sarah!

Sarah, wait‐‐ wait!

I get it now.

You were right.

I was scared.

But I'm not anymore.

Look, Sarah‐‐ from the
first time that I saw you‐‐

No, stop.

Stop it.

Nyles, I don't want another one
of your speeches, all right?

You get one more sentence.

OK, OK.

Even though I pretend not
to be, I've realized that I

am completely codependent.

But I'm cool with
it, because I think

that life should be shared now.

And I need you to survive.

OK, that's your one sentence.

I need you to survive,
comma, but it's

so much more than that.

Colon‐‐ I know you better
than anyone knows you.

And remember that night
when we saw the dinosaurs?

You said it yourself.

I just like that this was‐‐

this scene was always
really true to who she was,

that she doesn't become
like a completely different

person after this connection.

She still is able‐‐ she still
expresses love in the way

that Sarah expresses
love, which is,

I think, through a series of‐‐

I don't think she's very
comfortable being vulnerable.

And, you know, that's one of the
things that ties them together.

But I like that there
wasn't suddenly a shift,

and she was like, oh, my god.

You're right‐‐ I love you!

Like it was just like,
all right come on.

The challenge of it was
making it feel like a payoff,

and like you were
rooting for them

and seeing that they really
cared about each other

without betraying who
we were telling you

they were the whole time.

Exactly.
It's very true to who they are.

Tried to undercut it a bunch
of times with little details

and not having her be like you
said, just fully giving it up.

It's a rom‐com!

I'm hoping it didn't distract
from my point too much.

I mean, an emphatic
period is just‐‐

it's an exclamation point.

I didn't want to seem desperate.

What if we get
sick of each other?

We're already sick
of each other.

It's the best.

I can survive just fine
without you, you know?

But there is a chance that
this life can be a little

less mundane with you in it.

Yeah, less mundane.

That's super low bar.

That's a great place to start.

OK.

OK.

Come on.

Let's see if we blow up and die.

OK.

[MUSIC PLAYING]

So is the whole go
disappearing thing for real?

Oh, Kate Bush.

This‐‐ oh, yeah.

This is your idea?

The first meeting I ever
had with Max and Andy,

I said I feel like we should
have a scene where they go

into the cave and
blow themselves up,

and Kate Bush is playing
and it's this song.

And they were like, love it!

It's so good.

Oh, I love this part.

Love how it looks.

Everyone did such a nice job.

Yeah.

[MUSIC ‐ KATE BUSH,
"CLOUDBUSTING"]

(SINGING) We've been
cloudbusting, daddy.

(SINGING) Yeah‐yeah, yeah‐‐ oh!

There are clues throughout
the entire movie that

can point you to one ending.

However, it shouldn't matter.

What truly matters in
the movie is that they

walk into that cave together.

They embrace the unknown,
but they do it together.

Here's the ending.

No one knows what it means.

No one knows.

And I actually had
my own opinions,

and I would never share them.

Yeah.

They're different than yours.

I know what yours are.

Now what do we do?

Look, it's the
same thing that we

were saying before
earlier, about Nana

and about the dinosaurs.

There are certain things in
this movie that are not meant

to be known with certainty.

Like the thing we talked about
a lot was the movie kinda

could've ended when
they walk into that cave

and blow themselves
up, because they've

both decided that they're in
and they're gonna take the leap.

And that's sort of‐‐

that's the arc, you know?

What the fuck are you
doing in our pool?

Also, the family there is our
producer, Becky Sloviter‐‐

our amazing producer and
that's your husband and kids,

which I love.

They drove a very long
way to do that one

shot for like two seconds.

[MUSIC ‐ HALL & OATES,
"WHEN THE MORNING COMES"]

(SINGING) I went
downtown to see my lady.

She stood me up, and
I stood there waiting.

It'll be all right.

Aw, I love this part where
you see the dinosaurs.

Do you see them,
do you see them?

Yeah.

Oh, yeah, maybe you do.

Maybe that's them
there on the horizon.

(SINGING) When
the morning comes.

Way to go, Max.

Way to go, Siara.

Way to go!

Yay, Andy!

Nice job.

Well produced, well produced.

Yay!

Hey, shit bird.

I got the message from
your girlfriend last night.

That is a pretty crazy theory.

You really think it could work?

We leave a little bit
of a breadcrumb trail

of hope for Roy.

We weren't gonna leave
him high and dry.

Hi.

Hi.

No way.

Wow, Daisy I'd like a‐‐

lots of alcohol, please.

Nice to meet you.

Yeah.

(SINGING) When
the morning comes.

It was a blast.

I mean, the movie was a complete
romp, as designed and written.

And that's kinda what
the shoot felt like, too.

We shot in 21 days, so
there wasn't a lot of time.

But everybody came
inspired and prepared,

and it was just‐‐ you know,
it felt like a fun party

that you hoped
would last forever,

but it had to end at some point.

But it was a total blast.

It was a dream come true.

(SINGING) Standing
here, waiting on you.

It'll be all right
when the morning comes.

[VOCALIZING] When
the morning comes.

[VOCALIZING] It'll be all
right when the morning comes.

[INSTRUMENTAL INTERLUDE]

[VOCALIZING]

(SINGING) When
the morning comes.

[MUSIC ‐ SE ROGIE, "MAN STUPID
BEING"]

(SINGING) Let me give you
a little experience of

some young chickens out today.

I'm gonna give you a
little experience of

some young chickens out today.

They are full of
disappointments.

They are never, never on time.

They don't keep
to an appointment.

They don't let you
catch their lie.

They will tell you this
when they mean that.

I wish I could keep them apart.

But ask your mom, how can I?

These women‐‐ necessary evil.

Oh, man‐‐ oh, man.

Yes, man stupid being.

[INSTRUMENTAL INTERLUDE]

(SINGING) Yeah, 5:00 PM is
10:00 AM on the East Wednesday.

And when you try
to taste heaven,

they'll never come your way.

The only time they
keep to an appointment

is when in desperate need.

They will tell you
all sorts of lies

just to get what they need.

And man, being so stupid,
will give them all they need,

forgetting all the
disappointments

and all their previous lies.

And man‐‐ oh, man, yeah‐‐

man needs help.

I say, man stupid being.

[INSTRUMENTAL INTERLUDE]

(SINGING) Man stupid being.

Man stupid being.