Timothée Chalamet & Josh Safdie Marty Supreme Q&A | Moderated by Jimmy Fallon

Oscar-nominated director, producer, co-writer, and co-editor of Marty Supreme. Everyone, welcome Josh Safdie! Wow! Well done, buddy. Nice to see you, brother. He is the Oscar-nominated and Golden Globe-winning star of Marty Supreme. Please welcome Timothee Chalamet! Yes! Yes! Come on. Come on, buddy. I love you, buddy. I love you. Come on. All right. Here we go. Man, what a performance. I love watching it myself all the time. What a performance, and what a great crew you had, and everybody. I got to say, and everyone probably agrees with me, but we love this movie. But you could tell that everyone was on the same page with this movie, and I think that's what makes the best movies. So you go, oh, they're all wanting to make this movie. The sound, the audio, the cinematographer, the set design, the wardrobe. Everybody in this movie, I'm like, oh, they're all on the same page. They're playing the same game. It's a beautiful, beautiful movie. It's fantastic. Thank you so much. We all were on the same page. Every single department head, we all worked out a back story. Everything had meaning. We were trying to do our best. To Jack Fist, the production designer, Miyako, who leads to the costume designer. Darius Kanji, the cinematographer, Jen. Every single element was exactly the same, and we all knew that. So there was an egalitarian quality to it. Didn't care if you were a background actor or Timmy. So therefore, we all kind of brought the same passion. You could feel that in the movie. I got to do a couple lines with Cameron Crowe in Almost Famous, and we're doing the scene in the... It's a great scene. You're talking about the plane? It's a great scene. We're not here for this. We're going to go through all my scenes. I told him about it the other day when we were on a plane. I was like, there's a great scene in the Cameron Crowe movie where they think they're going down, and he admits to the crazy... Yeah, I killed somebody. I admit that I killed... And then the plane levels out, and everyone's looking at him. Like, you're a murderer? But they recreated Max's Kansas City, and so we're supposed to be there, and we're at this club, and it's late, and I see Cameron go up to this extra, and he goes, okay, all right, you had a long day. Okay, you got to work. You got one more hour to go, and then you go home, and he wasn't... He was talking to a guy, an actor, that had no lines. He wasn't doing it for show to show anybody. I just happened to see it out of the corner of my eye, and it made him feel like a million bucks, dude. And that was exactly the type of love that was on that movie, and I was like, I and all of you do the same thing. You watch a movie, but you're watching attention to detail in every single little bit, and I go, if that's off, I'm out. If a wig is bad, I'm out. Everything attention to detail in this worked, and I'm like, I bet you... Like, the guy with the safe? Yeah, Lloyd. Who in the world is that guy, and what in the hell? I love him so much. Every character's so interesting. His name is Ralph Calucci. Holy mackerel! He's one of the great horse betters of Brooklyn. What? Yeah, and I had worked with him very briefly on something, and he was such a natural and such a movie star. You know, movie stars, you put a camera on them, and they just come alive, and he came alive, and he was... Last time I worked with him, it was all improv, and this time it was all scripted, and the way he would... Timmy, the way you guys would get into it, and the way that you would bring on to set this little bit of animosity towards him, but also a little bit of sympathy. You played it so well, by the way. Oh, yeah, that scene in the safe is so great. No, it's all fantastic. You're like a cocky, kind of unlikable dude, but yet I root for you, and I loved you. I go, no one else can do what you did. You did an amazing job, and I loved it. I'm like, it's so perfectly laid in, and you do it all the time, and I gotta be honest, I was a little worried. I heard Marty Supremio, cool name, they go, it's about a ping-pong movie. I go, uh-oh. God, Timothy Chalmers is a nice guy. Please let his career survive this. And then I saw it. I go, it was levels. So let's get into some questions. When did you first meet? When did you collaborate with each other? When did you know you wanted to work with each other? When I wanted to work with Josh, as soon as I saw his early work. It was a good time. Premiere was my way in, not his earlier films, but I was dying to work with him the way any young actor or actress would be chomping at the opportunity to work with him. Weirdly, we were supposed to do some sort of fashion short that fell apart in 2017, 2018. He had this idea for Marty, and I was always circling him, hoping the things he was working on were going to fall apart. How did he pitch you the idea? The idea was, correct me if any of this is wrong, I think the Strand Bookstore has a one dollar, five dollar rack outside. His wife, Sarah, who worked on the film, saw a book that the movie is very loosely inspired by. It gave him this idea about the 1950s and about American exceptionalism, all these things you can speak to better than I can. I don't want to speak for you, but I think he saw a New York spirit in me and a spirit of ambition. When I met him at the Good Time premiere, I was with one of my best friends, Cody, who claimed we were on acid, which wasn't true. It was a good performance, though. I don't know, I think he saw a kindred spirit, in a sense. Like the scrappiness? Yeah, and I always loved that. The part of me and my crew, which I've been fortunate to have, that I got him to do perfume commercials and stuff like that, that's everything he did not want in this film. He wanted a different part of me, the New York part of me, the Hell's Kitchen part of me, the one that had a big dream from the jump and who is ******* living it. You know what I mean? Yeah, I met someone. An agent came up to me and said, you want to meet the next big superstar? And I rolled my eyes. I was like, oh my God. Exactly, here we go. Then I meet him and his buddy and immediately the energy, the intensity. I met Timmy Supreme. I met a kid who was not where he wanted to be. I just could tell he looked like a trapped person who had a dream inside of him who was trying to get him to escape. I never saw... I was watching him do all these great films, but he was never expressing himself through any of those characters, the kid that I met. The idea for this film for me is about a boy becoming a man. It's a guy puffing himself up and dreaming pathologically. I saw that inside of Timmy. I wanted to express that. Sorry about that. For the record, it was Housing Works. That's where the books... Housing Works, Thrift Shop. That's where my wife... I think the first thing I sent to you was a video of late 40s British open video of these wiry young table tennis players set to Peter Gabriel music. My thought was I'm going to make... I didn't want to do a period film with him because he was so contemporary to me at the time but also so timeless. I was like, I want to do this film that takes place in 1952, but as if we were there, the people who we are today going to 1952 in a time machine, making that film for all of us here and bringing it back, getting into the car and bringing it back so that I can use my skills to tell the story as best I can but I'm just in 1952. I wanted something about putting the 80s music to that helped dislodge it. How do you do this, Josh? I don't know why I did it. When you're writing it or co-writing it, who's your partner? Ronald Bronstein. I write and edit with him. You're editing things. You're directing this. You're shooting this. In your head, you're seeing the edit? Of course. Are you seeing the song being played? Yes. Every song, Needle Drop, was written into the script. You had sent me a playlist way before we started shooting. That's right. There's a 23-hour playlist. How many years did you work on this? Six years. Timmy and I started talking about it six years ago. Talking about this character, where is he from? The big thing was no father. That was a big part of the character. The earlier version of the movie, the relationship with his mom was way more intense and crazier. Fran Drescher was fantastic. I love Fran Drescher. She was great. I love Sandra Bernhardt. By the way, Kevin O'Leary, not a cameo. Not a cameo. He's fantastic. When you cast somebody, you're casting their essence. I believe all films are a documentary in some regards. You're using actors to tap in and create these real characters. Sometimes when you're working with actors who've done it a bunch and they're so great at it, you can get really micro about some of the things you're expressing. With other people, you just want them to tell you who the character is before they open their mouth. When you meet Milton, he's not a bad guy. He did nothing wrong. You should feel sympathetic for him because this young guy is hitting on his wife from across the room. Yet you don't like him. He's an asshole because he plays an asshole on TV. He represents American greed and corporate colonialism and the American dream in quotes. This is the show. The show is a great American export because it is so its thing. Tyler, the creator. That's right. Tyler was actually the first person outside Timmy that we wrote for because they had an incredible energy. Tyler is so timeless. I know he was a great performer. I have a photo, actually, of the two of you in my office in 2017. They're both smiling ear to ear. It's a great image. To me, the movie is also about friendship and people who believe, the believers, and how important belief is. I think that his buddy, Tyler, Wally, unfortunately, because he's a black man in 1952, he's not allowed to dream big. He had a family and things like that. That moment when they're out tonight, they have a micro dream. That moment when they're dancing outside the car, which was one of the first things that I wrote in the movie, it fills me with so much... It's one of the moments in the movie that I call purity. There's a purity there. It's that feeling of being with a friend and you're the only two people who exist on planet Earth. You've jumped up out of the trappings of life and you've captured that dream and you're living the purity of that moment. It's just the two of you and you're dancing. It almost feels like you're on another planet. It feels like it's in Mars. That scene does take place in Mars. Perfect. Then I understood the movie. When you get into this character, how do you get into this character? I know you always give 110% when you do a thing. 120%. You don't goof off. You don't have people busy on set. What gets you into Marty? I think it was a lock-in mentality. It was the last dance in the Michael Jordan documentary. I've talked about Ad Nauseam. It was John McEnroe. Jack Fisk, who's the incredible production designer on this film, said it beautifully. We did a Q&A together. He feels when he pulls from movies, he's pulling from a watered-down effect because he's already pulling from what's a representation on screen. If you pull from real life, something like The Last Dance still has an artful editing sequence in the Michael Jordan documentary, but that's real life. That's Jordan at his prime. That's Kobe at his prime. People that rub people the wrong way but wouldn't take no for an answer in pursuit of greatness. The preparation here wasn't artful in a sense. Also, there was the actual table tennis preparation. That was a six-year process. I don't mean that in a pretentious way. That was day by day by day when I had time off. During COVID, I had moved all my furniture out of my living room in my apartment downtown. I put a table tennis table in. Josh came over to play. My floors were so dusty, he turned his ankle. We had to stop playing. He literally injured himself. I did injure myself. Literally, yeah. It's a process of osmosis. The more time you get to put in, the better the product's going to be. I remember Jack on There Will Be Blood. Jack Fist, the production designer. Daniel Day-Lewis, I think, asked him to build a little attache to his house down in Marfa where it was perfect period. He could just go and be in the character. That way, he could show up and do his job. He said to me, he saw Timmy. Recently, my props person gave me Marty's wallet. We got it. I never knew what was inside Marty's wallet. In it, Timmy had two actresses that Marty loved and a picture of Odessa, who plays Rachel. She's phenomenal, by the way. She's so good. About $13, which is $130 today. Wow. I was talking to Jack about it. Part of my job is to write these character backstories, which we would go through. He was very interested in the backstories that I was writing for the other characters and how they interacted with Marty, particularly Rachel. I think that Jack and myself and obviously Miyako and the way he was developing all the costume work, just seeing and feeling what this guy's life looks like was something very important to him. That obviously inspires someone like Jack. The way Daniel Day asked for that. When you hear someone say, I need to feel this physically, you know that they're searching for the reality of that character in real life. When you get these people surrounding you like Jack Fisk and you get Darius Kanji, are you doing flips? A lot of my crew I've worked with a bunch of times. They're like a family. Jack, when I knew I had to do period and I knew I wanted the syntax and everything to be perfect because I was going to get in there and I was not going to be playing period. It was going to be telling the story presently. This wasn't a period film. This was a contemporary film I was making in 1952. That was what it was. I knew and I said there's only one person who can give me hidden histories. He's basically a U.S. historian at this point. It's Jack Fisk. What other films has he done? There Will Be Blood, Badlands, Tree of Life, Killers of the Flower Moon, Carrie. All right, stop. That's enough. Wow, wow, wow. Mulholland Drive. He grew up with David Lynch. He is, I think, one of the greatest working production designers. I went to him. He was working on Killers of the Flower Moon in 2021. I begged him. He's like, I'm working on a movie. We ended up in 2024 making this. He's got to believe in you because it's about this guy Marty Reisman who plays ping pong. I'll call you next week. He loves hidden histories. I think, for me personally, the smaller the story, the bigger the picture. Sometimes you can learn so much about life through a very small detail. He loved that there was this story, the true story of the Japanese coming out of isolation in 1952. He loved this table tennis parlor that was on 55th and Broadway called Lawrence's. He loved that it was the first black-owned business in the Times Square district. He's like, that's history. No one even knows about it. Him and my wife, who's a producer on the film, who ran research, she found, they went into the real barracks of the paperwork of the city. They found the architectural drawings for the building. They found all the renovation drafts. You do that tenement house. Is that a real? He built that. He built three stories of the tenement. That's a set? Yeah, it's a set. Darius is crazy too. He's been wanting to work with Jack forever. Jack's whole thing is he walked in and he saw how we were all inspiring one another. There was no difference between a piece of clothing, an actor, a chair on set, the way a wall looks. They were all the same thing. Because they were all the same thing, we were all impassioned by it. He saw that. I think Timmy could speak to that as an actor. All the actors are treated the same. Jack saw that and he's like, I want to be a part of this family too. He fit right in. Jack is, he's going to be 80, but he's the youngest guy I've ever met. He's an eight-year-old. He is so curious. Eyes wide open. He was really into, he loves creating something that you don't have reference for because he gets to create it and it becomes a documentary. He said, Josh, I'm going to design a documentary for you so that you can go and shoot any which way you want. But when you're writing this, I can't believe you wrote this, edited this, but when you're writing this, do you go, and then the bathtub falls, then the dog's legs break, the dog's barking, he's squealing. Or you can just go, he falls in and it's funny, and go to the next scene. You made your life harder. I enjoy the challenge because if it was easy, anyone could do it. I think that if you challenge yourself, you're inundated, you become blind to any of the scary parts of the movie, which is like, oh my god, it cost this much money, and you have this many days, so you're just so inundated to be, you have to be present. How am I going to get a dog to act? And the trainer's like, dogs don't act. They do. So we have to train it to, how do we train it to look like it's in distress? So that's really difficult. So I have to start thinking like an animal trainer. So it's hard. It's really hard. Yes! Like working with a baby. Babies don't act. Infants don't do anything. They don't. But you can, well, we can caress the back. You can cast the woman who was handling the baby. She's the SAG person who handles babies, who's on set to make sure, so that she knows how to handle the baby. So it's like, alright, let's caress the back quietly so we can get that moment of connection. So you have to come up with all these things, and again, the challenges are the things that keep you up at night. But you gotta be up at night. Did you have the last scene written? When you're writing? It's one of the first things written. It was that. The beginning and the end was bookended. That's what seals the deal. When you look at the baby and you go, I lost it. I'm sure. He did that in two takes. Yeah. It was cool and moving and fascinating. And you know an actor is so in it. As a director, you have to be like, okay, the actor, they're doing something right now. Sometimes you're so in it together and you're having an incredible conversation and you walk into his trailer and he's got all these people on the walls. Huge intense picture of Michael Jordan and he's sitting there and he's so intense sometimes. But then you're in that moment. I just looked at you. We had talked so much about that moment. He's looking into infinity when he's looking into this child's eyes. It's a moment. He's looking at someone who's not judging him, but who will judge him for the rest of his life. It's a big moment. It's a big moment. He's thinking of everything he's ever done wrong. He's thinking of everything that he's going to try to do right and he can't handle it. He's thinking about this dream that he's put to bed and there's a sadness to that, but there's also a happiness because it was killing him. You have this conversation and then you get to set and you think as a director, maybe I'll remind him of this stuff. You walk into the room and you just see Timmy like this. Listening to music. I make eye contact with him and his eyes already look like they're ready to go. He's just like, I'm out. I'm not going to say anything to him. Then you do a take and there's a fake baby. You're just like, no, we can't do it. You only get 11 minutes with an infant. Really? We had two infants. He was good about not being shocked that it was switched. Timothy, what was the favorite piece of direction that Josh gave you or note? Man, it was the first shot we did in the film in the shooting schedule which is the first shot we did is Marty walking down a street in Paris or what we designed to look like Paris. We did the first take and Josh said, more swagger, more audacity, more swagger. I've worked on a number of projects. No one's ever said to me more swagger, more audacity. I thought, wow, this is going to be fun, man. This guy's pushing me in a direction that's like... I remember your face because I was like, more swagger. I said, this is what's going on in your head. You had the glasses on. I put contact lenses. He put plus six and a half contact lenses into his eyes and negative six and a half prescription eyeglasses in front of them. It was his day one and he was like, this is a whole new guy. He's looking at the world literally differently. You went negative 10 but then I was banging to walls and stuff. He called me. He sent me FaceTime and I was like, oh my God, it looks amazing. He goes, I'm going to throw up, Josh. I can't do negative 10. We got to ease it up. Then I said to him, all right, let's go down. Eventually, he said he feels comfortable with negative six and a half. That's still crazy. Every once in a while, I put them on. Made yourself blind and then got glasses to correct your vision. Living a life of visual impairment. That's not the way he's perceived by people. That's just the lived experience. When those glasses come off, it's a minute detail in the movie but when I fly through the floor and the bathtub, he's walking through the hallway, Marty, without glasses. I think for me, that contributes to that New York feeling. Your audacity is your personality regardless of how you look, whether you're sinewy, whatever. I know that because I grew up with that. I went to LaGuardia. I know that feeling where it's like, if we didn't go to school together, everyone here knows that person. That carries himself with that. They lead with their personality. He says one long leap. I said, these are long strides. This guy is one foot. He's trying to climb there quicker. I said, he got caught in a lie in Amsterdam. He's starting to think about how he's going to correct it. You looked at me and you're like, wow. I remember being like, okay, this is going to be a great collaboration because you looked at me and you said, all right, I got it. In the next take, I could see that you were thinking about it. You could see that. That's a good director. That's a good actor. That's a good team right there because you listen to each other but you need someone to push you as a director. Was there ever a choice that Timothy made where you were like, interesting, or you're like, that's actually better than I thought. I'm going to use that. There's a couple of them. There's a bunch in the movie. We would do a lot of takes and then sometimes we would go out so far away from the script and we'd end up coming back to it. I'll say two of them really quickly. One of them was with Kevin O'Leary in the restaurant scene where he talks about his son dying and he laughs. It was nervous laughter. He just naturally did it. It was nervous laughter. I said, I actually kind of like it because I have nervous laughter too. There was something really human about it. It was something that he felt in the moment. I think it's kind of humbling but it's also kind of a dickish moment. Again, it speaks to that whole thing about because Kevin O'Leary just made the nasty comment about my son died liberating you. My son died liberating you, which is latent anti-Semitism. The other one that I really like is he does that scene when he's getting arrested and the guy who's arresting him, this guy worked at a cemetery for a long time and he was amazing in all of our auditions and then Ratzo, Larry Ratzo Sloman, who I worked with before and he was more of a TV, more radio personality. He's incredible but it's a six-page scene and I'm sometimes with some of these first-timers or these people who are not used to doing six-page scenes, I have to lean on Timmy and Timmy's kind of guiding the scene through his performance sometimes. Nudging, doing something that's going to force this person to remember where they are in the moment and that was very helpful but he did this one thing the first time and it's one of my favorite moments of the movie. We talked about, for some reason you were really into, you thought Marty his toiletries because he travels all over the world are so important to him. That's like his home is this toiletry. He's a man of beauty. The suits are perfect, the hair is perfect. He's an Adonis. Yeah, and so he talked for some reason, Timmy really was like, I want to have this in the toiletry kit and I'll have that and I love that. I enjoy those conversations. In the scene, he takes it and puts it and he goes, my toiletries! And there was something, I was hilarious because it was like, that was everything to this guy and his toiletries are being taken from him. There's also great comedy in this movie as well and great delivery. I told you there's that one where you go, I know Mrs. I hate, that's why I don't use, I don't like this brand of shoes, whatever, it's like Colson's shoes. They're too small. They don't fit on dolls. They don't fit on dolls. That's so funny and I was like, dude, I'm going to love this movie. You know who that is that he's talking to? That's Marianne from Brooklyn, like the best Howard Stern co-star. Yes! That's exactly who that is. No way! I was like, I was wondering who that was. Is the Gwyneth character based on someone? Loosely, it's loosely, the back story is kind of derived from Ruby Keillor and Grace Kelly and a few other silent movie actresses but it's an amalgamation of people and Gwyneth is in that too. Gwyneth herself is in that part as well. Yeah. To some degree. How do you, as an actor work with Gwyneth Paltrow who's done this for decades as opposed to Ratso? I found the experience enlivening in an equal way. I remember the first time I worked with Gwyneth, I remember thinking to myself, wow, she's really talented and then thinking like I felt like I was the first person to ever know that and quickly correct myself to go, no, I'm working with this screen legend, Shakespeare in Love and everything else that she's been tremendous in. I love working with Ratso, with Luke Manley who plays Dion in this movie. The first time actors, because acting is a representation of humanity. We're in a room full of actors right now. You have people who approach it through a training lens and that's appropriate too and you have people that really just step into it. I feel like if a scene was dead with some of the non-actors, that was really on me. It puts you on your toes. It's a good challenge. It's also amazing sometimes there'll be a lot of crew members and there's a certain anxiety being on set. I'll do a number of takes like with Ratso that day and you feel like, okay, this is kind of flat and then all of a sudden there'll be a magical moment. Do you get it out of them? I don't think I necessarily have anything to do. Sometimes they have to do it three or four times. Sometimes they have to get the nerves out. Sometimes maybe to steal Josh's words, maybe I'll try to trigger them in some way or do something that brings out the lines. Like if you laugh at Kevin O'Leary. Yeah, that's a good point. Kevin is a good example that he would, I feel like unbeknownst to him, sometimes he would sink into a really great piece of acting. It was thrilling from a collaborative perspective with Josh. I've never had this experience. I'll be lucky to ever have it again if I do. He'd call cut on the take and I'd go to him and go, wow, what that person just did was incredible. I had that experience. They shut the door and they're like, oh my god, that was great. There we go, we're cool. Even with Odessa, there was a scene in the hospital where she's getting wheeled down on the gurney and I remember, I don't want to speak out of turn, but I remember on that day her not being maybe super satisfied with the performance she was giving and I remember just thinking to myself, she is incredible in this scene. She looks full of desperation and anguish and the father of her children is leaving her and it was a fantastic position Josh put me in collaboratively. Speaking of that moment, she was like, I didn't do it. Can we do one more? One more. And I was like, we did enough. You're perfect. I don't need anything else. We're good. That was so Odessa. But that moment when you see Marty looking and knowing he's not in control of himself in that moment. He is possessed. The illusion of individualism is that you're in control. You're not in control. There's limits to that. You're possessed by a dream. And in that moment, you see the little boy in him being like, I got it. I think I have to go. And it's the wrong thing to do, but it's the right thing to do. In his mind, he's like, I didn't ask her to go and do that thing. She went and did that on her own. She's here with the hospital now, but it takes him to see that dream go to bed, to realize all that stuff was wrong, but the way you performed it. I remember we did three takes of the push-in into you and it was tied in a really long shot going all the way down that hallway. And then at the end, what's nice about doing long takes is you can let the actors go all the way through it. And then at the end, I'm on the mic talking to the camera guy and I'm like, alright, now it's push-in. And then it pushes in and Tim is able to watch that whole take of Odessa going nuts. Don't go, don't go. And the way that moment is filled with so much nuance because the music is climbing. And when he gets off that plane, there's a triumph to it. Even though you're not rooting for it, but you're rooting for it. And there's something very interesting going on there. And it's all, again, I gotta tip my hat to Timmy there because this movie is Marty Supreme. It's funny, people sometimes call him, they think his name is Marty Supreme. Like the way kids call the shark in Jaws, Jaws. Yeah, that's not his name. They're like, oh man, I loved it when Marty Supreme did this. And I was like, yeah. Yeah, your name isn't Marty Supreme. But it is. I also love that 824, you put out this movie. It's in theaters. We all need movie theaters to succeed and survive and people to go to pay tickets and go to see the movies. You did that. Made over $116 million. Not streaming yet. Just in theaters alone. Thank you for doing that. It's crazy to hear. It's surreal to hear. I need it for my career so I'm being a little selfish. But I thank you for doing that and for believing that and pushing for that. What's crazy is this is such a personal movie and it really is, to me, a moving piece of art that I get to experience. I get to watch him. I get to watch this thing and it's really epic. But it's also very small. It's amazing to me to see the audience that it's found. It's surreal. It's hard. It's impossible for me to really understand it. It's impossible. I'm totally humbled and weirded out by it. Do you understand what's going on? No, I don't. I walk in. Every time I go into a movie theater, I expect there to be eight people. It's a true thing. I once did a Q&A for one of my films. I walked in. I said to the theater manager, how many people in there? He goes, there's two people in there. I go, really? He goes, you don't have to do a Q&A. I was like, I must. You can call them at home. I'll give you their phone numbers. Clearly, you guys can see I talk too much. I literally did a one-hour Q&A. To call it a Q&A is very misleading. It was a conversation. It was more of an A. They didn't get to ask any questions. It was all of an A. Someone I was talking to. The other person was someone who worked at the theater. It was literally one paying customer. My point is, when I walk in and I see this, this is like, I'll never... Isn't it cool? I want to mention really quick. You got 11 BAFTA nominations. DGA nominee. PGA nominee. Winner, New York Film Critics Circle. Best screenplay. Winner, LA Film Critics. Best editing. Nine Oscar nominations. Best picture. Josh and Timothy, both producers. Best director, Josh Safdie. Best original screenplay, Josh Safdie. I have to do it. Best editing, Josh Safdie. Ronald Bronstein. Best actor, Timothy Chalamet. Best casting, Jennifer Vendetti. Great casting, by the way. Best cinematography, Darius Kanji. Best costume design. Is it... Bianco Belizi. Fantastic. Best production design, Jack Fisk. I want to say congratulations. Thank you for making a piece of art. It was awesome. And thanks for talking to everybody. Thank you everybody for staying late. We appreciate it.