- We were on set for "Spider-Man." I kept forgetting that you were English because you spoke in your
American accent the whole time. And I was like, oh, shit, he is- - Oh, sugar. - Oh, oh, snap. He is, he is from, dang. - Oh, darn.
- Darn, darn it. - Oh, fudge, fudge. - Fudgesicles. What was really funny, I think, about it is, like, Tom was so nervous
about you guys coming in. - That's so wild.
- So nervous. - He never let anything
onto, pull those pants down. Get those calves. Get under, under wraps.
- Under control. - Yeah. - These crazy forearms. (both laugh) Inside jokes. Wait, wat was that from, what was that? I forget what that was from. - It was a Toby one, and
he was like, "Those crazy," because he was trying to pull up the... - These crazy forearms. - So it reminded me of this. (upbeat funky music) - Acting. - So acting.
- Acting. So, really, acting
though, because (giggles). - We knew this would happen. We were like, "It's gonna
go great off-camera. As soon as it starts
rolling, we're gonna be like, 'So, I don't know how to speak anymore.'" Yeah. - No, but, okay, but seriously though, because I haven't said to you yet, and I've been saving it since
I've seen you this morning. Having seen season two now
of your show "Euphoria," with our friend, Sam Levinson, the brilliant creator, showrunner, director extraordinaire that he is, and your incredible cast, but I just do wanna start
making you very uncomfortable and say that it is kind of one
of the most remarkable things I've seen an actor do in recent memory because of its rawness,
because of its agony, because of its unflinching vulnerability and access to a woundedness, and a kind of universal
soul-cry for meaning that you seem to just have and access. How, but how? - Well, thank you. - No, but like-
- No, but I mean that, that means the world. I really, really appreciate that. - But, like, it's kind of wild, man. And I know it's hard to
receive those things, 'cause you just do what you do, but for me to witness it, especially, I think it was episode five. What's the name of the episode? "Stand Like a Hummingbird." - Yeah, it was "Stand
Still Like a Hummingbird." - "Stand Still Like a Hummingbird." - Where did you put it,
where'd you put my pills, Mom? Where did you put it? - [Leslie] Get out of my
way, get out of my way. I'm calling the police. - [Rue] No you can't, you can't do that. - [Leslie] You will not attack me in my own home.
- I'll do whatever the fuck I want in your own home. - It is one of the most
relentless episodes of television, like emotionally relentless episodes of television I've ever seen, and we love you so much in
the show, just as a character, and to see you being, and I know you, you know, I'm starting to get
to know you better and better, but to have access to
that kind of awfulness. - [Zendaya] Yeah, I know. - And the damage and the pain, and to make it so human, and I'm not asking a question yet, and I don't know how to
ask a question about it, and it's gonna be 30 minutes
of just praising you, and that's fun for me and for all of us. Not for you, but- - I don't know how to, I'm still trying to figure out how to take 'em. - Well, yeah, but that's
another thing we can get into. - Yeah, taking compliments. - Actors taking compliments. Welcome back to actors taking compliments with Zendaya and Andrew. No, but for real, though, so how did you sustain
access to that agony, access to that rage,
access to that yearning, for the whole series, but particularly that relentless episode, like how did you do that? (Zendaya sighs)
(Andrew laughs) - Let's just really go right to it, right? Sorry, it's, like, the
thing I'm interested in. - But I wanna say thank you because, you know, I've obviously been a fan of your work for a long time, and hearing, I think, you know, compliments from people that you admire, and people whose work that you respect, it means so much, you know? So thank you for that. - Well, I'm flattered that
it's so meaningful to you. - Yes, no it is. But it's tough, and I thought what was
actually quite sweet was when that episode did air, I did get a lot of messages
from people checking in on me, which I really appreciated. - That makes me wanna cry a little bit. - It was very kind and
heartwarming in that way, that people were looking out. I think there was a lot of actors that were like, "Are you good?" And I was like, "Yeah,
I'm good, I'm good." - It didn't feel like
there was any acting. It felt like you were
living through something in such an authentic way, so. - I don't know, you know, it's hard to say that there's any specific
process for that, right? I feel like, when it comes
to Rue, at least for me, my experience with her is, I've been able, I've had the privilege of
playing her for a while, right? So I've had the luxury of
living in her skin for a bit, and the closeness that I share
with Sam, who you spoke of, is a huge part of that because I think Rue is very much based on him as a teenager, and I think a lot of the
pain that he went through, and now him being able to turn it into something quite beautiful and express it through Rue. So Rue has become kind
of like an amalgamation of my experiences, his experiences, and our collective pain, and seeing through the eyes of an addict, and trying to always kind of, I think the approach was to try to approach it as human as possible without ever shying away
from the devastation and the ugliness of what that can create. And, also, 'cause it's
not just about Rue, right? That whole kind of opening,
it's about an entire family and friends and loved ones that are affected by that pain, as well, and you have to show that, and you have to go there, and I had actually been very
afraid to shoot that episode because it had been an episode that we, that's why I was having a hard time remembering the name of the episode, 'cause we just always
called it the Rue run. (both laugh) So, you know, it had
been written for, like, a while before the pandemic, and so I was kind of
dreading having to do it. I was very scared to tackle that.
- Of course, yeah. - And also knowing that on top of just kind of this massive blowout, where the pain is coming to a head and getting to a point where
you can't hide it anymore, and then on top of that, she's
going through withdrawal. So that's like a whole
nother physical thing and aspect to kind of
keep inside your brain while also trying to, like, understand everything
else that's happening. What was cool, basically, is we, you know, Sam lit the whole house. So we usually, with "Euphoria," it's like things are very
structured shots, right, and to try to give the show that feels very chaotic,
some type of structure, a lot of dollies and a lot of calculated kind of camera movements for
that, it was all Marcell, our incredible
cinematographer, Marcell Rev. He was, you know, had it on
his shoulder the whole time and was moving with me, and I think it becomes like a dance, you know?
- Of course, yeah. - [Zendaya] When you have that camera operator that understands. - How long were those takes? - Until the mag went out. So, you know- - 'Cause you shoot on film. - Yeah.
- Which is... (imitates camera ticking) And there's very specific film stock that you guys use, as well. - Yeah, Ektachrome. - Yeah.
- That they made for us. - So beautiful.
- So crazy. - It enhances everything and just kind of gives it a hue of beauty and sadness and tenderness. I was gonna ask you, like, did you say, "We're
doing my close up first?" - No, we- - Like, "I don't give a shit about the, a crap about the dolly." - There was no kind of structure
'cause there couldn't be. There had to be a level of volatility and unpredictability to her mood and where it was gonna go, so we just started from the beginning, and they just made, they said, "Listen, you can break whatever you want, we made it so it's safe to break and throw whatever you want.
- Wow, that's great. - And we're gonna light the whole house, so you can go through the whole thing. - So weirdly caring. - So caring, right? To make sure I was good.
- So beautifully caring, yeah. 'Cause they know that you were gonna be doing something incredibly
painful and hard. - [Zendaya] Yeah. - And then how many takes
of that sequence did you do? - You know, just over and over again. until we felt like we had it, and then we moved on to the next part, but it was a long day, 'cause that's like. - That was one day? - It was one day of
just fighting everyone, and, you know, I'm sure
you can understand, but when you're playing a character that you deeply care about, but they're actively making
decisions where you're like, "Why, please don't say
that, don't do that." And then, on top of
that, you, as a person, with your fellow actors, you
love them, you care about them. You don't wanna say these things to other. - Why am I crying? - I know, no. But you don't wanna hurt
somebody else, you know? You don't wanna hurt someone. You don't wanna say something
to someone that hurts them. That's not the kind of
person I feel like I am. You know what's a shame, Mom? My dad's dead. Kind of keeps you from admitting what a shit fucking mother you are. - So evident in that sequence, like, I can see those moments, which are just so
subterranean, which are like, I don't wanna-
- Wanna do this. - "But I have to do it."
- But I have to. - And so, actually, weirdly,
your struggle as an actor can be used as your
struggle as the character. - [Zendaya] Yeah. - And then the lines become- - And anything you have inside, any pain at least I've held
onto throughout my life, I just, I let Rue have it, you know, and I let her use whatever
kind of, I need to hold onto, and I let her get it out for me. - [Andrew] That's beautiful. - 'Cause I get it out in a different way. I'm not like that. And often I shove, so it
allows her to take that on, and I'm just very grateful to have an environment where I felt safe. - My gosh, amen. Like, do you feel, 'cause I
remember when I was a kid, I didn't know where to put, I'm not saying you're a kid, I'm just saying when I was a kid, I didn't know where to put my- - The feelings. - Yeah, and my experience of
this insanity of being alive, and obviously Sam Levinson,
your fearless leader, is kind of dealing with his
own demons within the show, which is so personal, obviously, and so kind of healing, and when I found theater
for the first time, I was like, "Oh my gosh, I get to be all the things I'm told not to be." - Right. - [Andrew] In an
environment where I'm not- - Judged for it.
- Gonna get judged. But in fact I'm going to get thanked. - [Zendaya] Right. - [Andrew] And I love the dynamic between you and your sister, particularly. And then the family of the mom saying, "No, this is about Rue," and then your sponsor- - She's always, look, yeah.
- Coleman Domingo. - Who's brilliant. - Amazing, the whole
cast is so incredible. - I love Colman. - And the young actress who plays your sister is just like, wow. - Storm is also very- - Oh my gosh. - I'm very lucky. - Dang.
- I'm very, very lucky. - It's so cool.
- 'Cause you need that. You know, you need that support 'cause your brain, part of it knows that what you're doing isn't real, right, or that it's not supposed to be real, but your body doesn't know
the difference, right? You're still gonna get the same bruises if you kick a door down. What the fuck else am
I supposed to do, huh? - I have a great acting
teacher who was basically like, "Well, it has to be healing. If it isn't healing, then
we're not doing it right." And it's about pitching
it up, as you said, and pitching it out.
- Right. - And, also, it does become of service. Like, I watched that and
I got a lot of healing for the experiences I've had
with the addicts in my life. - And that's the point of what we do.
- That's everything. - You know what I'm saying?
- I'm with you. - If you can find a way to heal through it and hopefully heal
someone else through it, that is, like-
- That's it. - That's the purpose of it. - Thank you, Brother. Thank you for your understanding. Thank you for sparing me. - There's a million different characters that you're jumping in and out of, and how do you keep track of those people, and how are you able to
separate or compartmentalize to a degree to make it healthy enough to say, "I'm leaving them here and then I'm moving on to this one, and then Andrew's gonna be here, and I'm gonna leave him here." How do you find that balance?
- That's a good question, and I wanna deflect it, and I wanna bring it back to you, but I'll try and keep
it on me for a second, but, like, because it is important, and I don't know about you, but I find actually if, and it's about, I surf as well, so it's about wave selection. It's actually like,
"Okay, is this wave mine or is this wave for that guys? Or that girls or that person's?" Like, "No, I'm gonna let that one pass." And when I started out acting, it was like, "I'll just take them all." - Yeah, right, right,
right, "I just wanna act." - I did, like, the first thing I did was a Doritos commercial in Spain, and I thought I was done, I'd made it. I made like two grand
for two days of work, and I was like, "That's
like, my life is set up." Like showing my father
the pay stub, going. - "I did it." - I don't need to work at
Starbucks for the next week. - I love it. - But then we get, I think
both you and I have gotten to a very privileged position
where we get to decide, and we get to have agency and choose, and I think it's really, I find it important for myself to go, "Well, what am I called to? What am I actually, do
I have a choice in this? - Right, right. - If I'm like, "Oh my God,
oh, no, I have to do this." - [Zendaya] I have to do it. - It's that there are two types of fear. It's like one type of fear is that fear that says, "Oh, don't go there," which means a bus is is coming. And the other fear is the
kind of fear that says, "Oh no, I have to go there." - Because... - Because you're gonna get hit by the right bus.
- Bus. Yeah, if that makes sense, right. It's a good bus, yeah. - It's like a spiritual bus, but you think you're
gonna get trounced by it, but actually it's gonna enhance
your life and expand you. - And that's such a scary feeling. - Yeah, like this
character I play in this, this guy, Jeb Pyre. He's a Mormon detective, father, husband in the '80s in Utah, like (stammers). - There's some difference there. - There's a gap. There's a distance, but that excites me as well. And I'm like, "Well, so where does that Mormon detective live- - [Zendaya] Inside of- - In me.
- Right. - And how can I live as him authentically, and what parts of myself need healing? She's in so much pain, Bishop, and all the pain she's in, what are we, what do I, what do I do? - The average person would look at me and say, "Well, what the hell do they have in common with
this character," right? With Rue.
- Sure. But on that, don't you think that empathic imagination is the job. - Yes. And so, it's funny, so, like, on paper, right, that's what someone would assume, but it's interesting to me because I've found, kind
of like what you're saying, but she's so much of
an extension of myself. - Yeah. - I don't know, you know, a few things different in our life, or, you know, wired a
different way, whatever it is, and that's me, also. - But for the grace of God go I. That kind of like thing where it's like, and that's the beauty
of what we do as actors is we can look at any
human being in any room and go- - "There's part of me in that." - "I could end up there, I can
end up here, I could end up," and that's kind of the
universal thing of what we- - Empathy.
- Yeah, exactly. - Yeah, that idea that, you know, we're all people trying to
survive life and figure it out, and we don't know what
we're doing, you know? And I think with Rue, which
I appreciated so much about when I first kind of went in to meet Sam is he said to me that I was on this board, this dream board that he had made for Rue, and I was like, I just didn't
think that that was true because up until that point, I was like, "I've never really done anything to show that I could do what
you're asking me to do." - [Andrew] Oh, interesting. - But he said, "I watched
interviews and I just knew." - Wow. - And I felt like, you know,
that, to me, A, it meant a lot 'cause it meant somebody believed in me, but also, I think he saw the pieces of me that existed in Rue already, and thus part of himself, too. - Yeah. - You know, there was, like, a connection already creating and forming, and when I met him, he was
like, "Oh, that's her." - [Andrew] Wow. - And so I thought that
that was quite fascinating, and then as I've gotten to be Rue, I feel like, with certain
characters, right, you have to search for 'em, and, you know, it takes you
a little bit longer to like, for them to click in your
body and you feel like, "Oh, I'm in their skin now, right? - Right, right. - With her, I don't have
to think about it as much. She's a little thing that
just kind of takes over, and I know when Rue is here, and it's funny 'cause
we joke about it on set, but, like, my face changes, right? - It really does, yeah. - And I can tell that I look, I'm her now, and that's her expressions
and her way of moving, and it's weird 'cause it's, like, it kind of creates its own thing. I don't know, it's weird to say like, "Oh, I have this love for this character, but I do because I feel she represents so many people that I've met along the way that have shared their stories with me, and I feel like I carry that with her. Do you know what I mean?
- I do, yeah. - She's a collection of
a whole lot of people. - [Andrew] Sure. - And a whole lot of experiences. And every time someone,
I think, shares with me, that's when I gain more
insight and understanding, and I think having to play, like you're saying, those specific things, I think it's just that open conversation, and I trust Sam enough
to go, "I don't buy it." - [Andrew] Right. - I don't believe what you're doing. And he'll tell me. He'll come to me and be like, "Mmm, why are you acting there, I can see it happening," you know, and remind me that I got it, he's like, "You got it, you got
it, you already got it. You don't have to, you got it." Ah, I'm just gonna steal some shit. (upbeat jazz music) - Tell me about the memes. 'Cause, like, I noticed this. No, but like every Sunday, though, like "Euphoria" became
like the meme of the thing. - It was like, "Euphoria" Sundays, it became like a sporting event. It was interesting because
I think it's hilarious. I think so many people, I was like, "Wow, you guys are so creative." I also was a little concerned, 'cause I was like, "Are you
guys watching the episode?" Because how are you typing and staying on time with the episode at the same time?
- Pay attention. - I don't know. But, no, it was cool in the sense that, like, there's a collective, right? There's people coming together and being able to, like,
enjoy something together and, like, talk about something together, have discourse together, which is cool. But, also, I got really nervous, too, because we were still, like,
in the middle of editing while things were coming out, so while episode five was coming out, I was literally in the studio writing, rewriting a version of "I'm
Tired" with Lab to put in the- - That song was so beautiful, by the way. Thank you so much.
- Oh my gosh. - To put in the finale. So we were, like, that's
what we were doing while that was happening. So we're still editing, so
we're still inside of it, so it wasn't like a big separation. - Oh, that's tricky. It's like reading reviews when you're doing a play or something. - You're still doing it.
- You're still making it. You don't want it to influence, you want it to remain pure. - [Zendaya] Exactly. - That song is so gorgeous. - Thank you so much.
- So beautiful. - Lab is very, very
talented, very special. And also, like, I'm very
protective over Rue, and also, like I said, because of all the people
that she represents. - Totally. - And so I know that
sometimes maybe the world won't be as kind to her as I am, and that's hard for me, you know? So I'm like, "Just love her, though, but just wait, just wait, like, you know, just wait 'til we get to the episode we're working on right now. Like, just hold on to this." - Oh, God, it's a mind, it's a mind fudge. - So, again, balance, right? - Yeah, balance.
- With everything So it was a lot of fun, but it was also very,
you know, nerve-racking. Okay, so I'm gonna flip it back to you. - Okay. - Because I am very interested
in your process, right, because I, and I'm trying to,
maybe my memory deceives me, but I wanna say we were
on set for "Spider-Man," I kept forgetting that you were English because you spoke in your
American accent the whole time. And I was like, "Oh, shit, he is." - Oh, sugar. - Oh, oh, snap. He is from, oh, dang. - Oh, darn. - Darn, darn it. - [Andrew] Oh, fudge, fudge. - Fudgesicles, you know? - Okay, let's pick one target. - Right. - And we take them off
the board one at a time. - Now you got it. Okay, Peter One, Peter Two.
- Peter Two. - Peter Three.
- Peter Three. - I don't know your
connections to your characters and how much you stay in
them or step out of them, but I'm sure there's a
process from when you see them on a paper, you know, and you visualize, and you start, again, like, do they, how do you feel that they come into you? Do you feel like you find them? Do you feel like it's a mixture of both. - I find it's different every time. I feel like it's first day
of school every single time. Right, right, right. - And I feel like I start from scratch, and I feel like every single time, I'm stepping, I'm jumping
off the side of a cliff. It never feels safe, and if it feels safe, I'm a bit concerned. And that, I think, is
the bus analogy as well. - Right, a little bit of fear is good. - Oh, a lot of fear, like
a lot of fear and doubt. It's kind of become a friend. It's had to become a friend.
- Comforting. - Yeah, strangely. It's like, "Oh, here
you are, come on, buddy, we're still gonna go back into rehearsal, even though we would rather
throw ourselves in the river." Like, we're still gonna carry on. But, yeah. I mean, with an accent, for me, it's like, I just don't
wanna confuse my body, and I don't wanna confuse
someone else's system, you know what I mean? It's just simpler.
- It's easier. - It's easier and, like, the musculature stays warm in that way. I find it fun because it's
kind of like a more technical, I mean, like, the creative
choices are the creative choices, and I'm so indecisive as well. Like, I, you know, I'm like
redoing my kitchen right now, and I'm like, "Oh my
God, I love this tile, but this tile."
- But this tile. - And it takes me like
a year to figure out, like, I don't, anyway, so with the creative choices, they take moments for me to figure out, but then I love having
something solid to hold onto in a process that is so intangible, like what we were talking about. So, actually, an accent and a voice and a physicality, some, like, hooks and places where I can hang
my hat that will ground me, that can be kind of triggers to get back into the character, actually.
- Right, back into it, yeah. When you feel like you're. - Yeah, or, like, like a piece of costume, or, like, a rhythm, or if I'm doing, like, an
animal study as a physicality, Like, I'm looking for
the forgotten aspects of myself that I can activate. And I need to get Morris
to bring the print kit and a video camera, I need you both to record every single
corner in that house. What drew me into it was, I think, the step-by-step, moment-by-moment process of a kind of psychological breakdown. Like, kind of a belief system crumbling. I remember speaking to a guy in Utah who went through the exact same thing. It was a Mormon police officer who had a really big crisis of faith because of a case he was working on, and was having to reckon with
potentially losing his wife, potentially losing his
kids, losing his community, being thrown out of the Mormon faith, and suddenly this character became like flesh and bones and cells and dreams and longings and a heart and ancestry. Suddenly it was like, "Oh my God- - It's tangible, I can feel it. - Tangible. And, again, a feeling of calling and a responsibility to
represent an experience. To represent a type of
person going through a type of experience that
feels really important. 'Cause I think as long
as we have the longing, then some mystery happens
where we find our way into, like, forcing the skin
of that person. around us, or that skin emerges above our skin. However we want to describe it. You know what, if I were you, I would rather find
that kind of family dead rather than safe and sound. - The endurance that I think you have to have with a character, and emotionally when it comes to a television show, as well, versus a film, and I wanted to kind of ask you about, A, your experiences with that, and then I wanna tag onto that, again, when you're dealing with, I think, the subject matter of your show, I mean, it's so heavy, right, and painful and delicate, you know? And it's not an easy thing
to just say, you know, yeah, today I'm walking
onto a crime scene, like, and I'm just, that's my day today, and I'm gonna pretend like
none of it affects me. And then I have to do this
for the next eight months because this is not a movie
where I can dip up out of it, but I'm in this for, like,
the long haul, right? And how do you stay in that? And how do you find working on, like, a longer medium, I guess, in that way? - It's hard, I found it really hard. - Really hard, yeah, I could imagine. - It was six months in Calgary. - Mm, okay. (Zendaya laughs) - I mean.
- Got it. - And there was, like, beautiful mountains and lakes and really good
restaurants in the city. There's a place called the Repsol Center, which I went most days off, which had a cold plunge and
a steam room and a great gym. Shout out to the Repsol Center. Love you guys, miss you guys so much. Repsol for life.
- You guys were great. - Repsol for life. For real, though, Repsol for life. - They helped get you through, clearly. - They really did. Yeah, Dustin Lance Black,
who created the show and adapted the John
Krakauer non-fiction book from, oh, God, for the last 10 years, it's a real passion project for him. He's an ex-Mormon himself, Dustin, and he, you know, it's
very, very personal for him, and that helps, when you
have someone at the helm who, like Sam Levinson,
like, that it's so personal, it's such a passion
project, it kind of like, it trickles down to the
rest of the ensemble and the rest of the crew. We had a great group of actors, Daisy Edgar Jones and Wyatt Russell and Sam Worthington and Denise Gough. It's just amazing, amazing actors, and I think they, we were
all on location together, and I think that's always fun, when you have a bunch of actors who are kind of taken
out of their day to day, and you're figuring
out a new city together and riding around on those Bird scooters and, like, trying to find,
like, the best ribs in Calgary and not get COVID, it's
like it becomes a game, but it was, it's heavy. It's like the universe and the world that my character had to be dipped in and stay in and explore
and not flinch away from in pursuit of truth, in
pursuit of doing right by this horrendous act of violence that took a mother and a young child, and, like, I think that is the thing that kept this character connected. That was the, the North Star and the light at the end of the tunnel. So, for me, it was like,
"Well, I have no choice." It's, again, it's one of those
things, I have to go there, I have to stay in it, I have to go there, but he's actually struggling
with the same thing of, like, how do I keep this toxicity away from my family.
- Away from my family, yeah. - Away from my kids,
away from my own being, away from my own soul,
how do I stay clean? How do I not lose myself in
this dark, seedy underworld? This kind of hellscape,
'cause it's a hellscape. Like, he's dealing with evil. And I think that is a
remarkably powerful force when you're just faced
with kind of abstract intangible evil that you're attempting to wrangle and to snuff out. It's like dealing with the Nazi regime or something like that. So it was painful, it was
really, really painful and hard, and I, the Repsol Center
just cured all of it. - Shout out again. They get a lot of love. I gotta go. Recommended by. - If you're shooting in
Calgary, you gotta hit Repsol. No, but, like, it was not
fun a lot of the time. My guess is that Sam's army, they consider themselves totally devout, willing to give up their
lives for their beliefs, and their own son's included
in their sacrifices. - Sometimes I'm like, ah,
like I'm, I'm an actor, and I look at myself, I'm
like, "What a ridiculous job." I'm like, "I have the coolest
job, I love my job so much," but sometimes you're just like, "I mean, I dress up for
a living," you know, and I'm like, "I don't wanna
take myself too serious," 'cause I feel like there's people who do far more important things than I do. - My brother's a lung
doctor for crying out loud. - Exactly, right.
- Come on, bro. - I can pretend to be one, but
I can't actually, you know. So within that is, you know,
finding purpose in what you do, and why do I love this so much? And I think that what I found is what you're talking
about in that sense of like, is this understanding of,
like, a collective empathy, and an understanding of someone
else's life and experience, and as corny as it is, but walking mile on their shoes, like, that whole thing
is so deeply important. It's also important to
feel seen in that way because what I've found through "Euphoria" is it gave people the tools
to communicate feelings that they didn't have the
ability to express or say, and say, "Hey, I don't
know how to tell you, but this is how I'm feeling." Or, "This is what I'm going through. Can you watch this with me?" Or, "Let's watch this together." - Beautiful. - Like we talked about "Spider-Man," but the amount of joy
that that brought people is, like, so cool.
- Oh, yeah. - Like, to see you guys have that moment together was special, but then, also, it made people happy. I think that's really cool. - And also, like, about brotherhood. And I love the idea that maybe Tom's Peter would've suffered the same
fate as Andrew's Peter if Andrew hadn't have somehow
come into that universe and learned from the mistakes of the past and made sure that my younger brother and his love didn't have the same fate. That's kind of cosmically- - It's so cool. - It's awesome.
- It's so cool. I mean, I remember when
I read that, I was like. - [Andrew] Yeah, it's really- - It made me very happy. - And that was fun, I loved
shooting that with you so much. - Wasn't that, like, our first thing, too? - I think it was, like, yeah, absolutely. - Like, "Hi, I met you yesterday,
thanks for catching me. How are you? You good? Okay, you have to cry, sorry." - It was pretty intense. It went like that (snaps), and then suddenly we were kind of done, and it was like this huge moment that we just did like a few takes of. - But I guess it was good to get the more emotional stuff out of the way, 'cause the rest of the time was just- - Just giddy, joyful - We were just having a good old time. - Being so dumb. - Yeah. - I don't wanna brag, but I will. I was in "The Avengers." - "The Avengers?" - Yeah.
- That's great. - Thank you.
- What is that? - What was really funny, I think, about it is, like, Tom was so nervous about you guys coming in. - That's so wild.
- So nervous. - He never let anything onto us. Pull those pants down, come on. Get those calves under, get under- - Under control.
- Under wraps, yeah. - Crazy forearms. Inside jokes. - What was that from? I forget what that was from. - It was a Toby one, and he's like, "These crazy," 'cause he was trying
to pull up the (laughs) - Crazy forearms.
- Forearms. So it reminded me of this. Anyway. Good joke bank you got there
in that noggin of yours. - They stay with us, we used them a lot. - [Andrew] Damn, that's really good. - Yeah, we use them a lot. But he was so nervous, and 'cause, like, you know, he was like, "I don't wanna
step on anyone's toes, and I don't want anybody to feel-" - We were like that, me
and Toby were like that. We were like, "We don't
wanna step on Tom's, like this is Tom's movie,
it's your guys' movie," and it was like, "If we can help, again, just to serve and be of," but it's so funny 'cause he
never let, he just seemed so, but that's so sweet that you guys were there.
- That's why we were there. 'Cause he was like, "Can
you guys come with me?" - Cause you guys were like,
"I guess we're gonna come and hang out with you guys at rehearsal." I'm like, "What are these guys doing?" - Yeah, 'cause at rehearsal, we didn't really have very many lines. We were just, like, we were
there for emotional support. - Sweet, very sweet. - But with that being
said, I think, you know, we were like, "I think they don't know how much, like, fun we like to have when we're doing this job. Like, this is, like, we have fun. And it was nice that you guys just, like- - It became very evident very quickly.
- Fell right into to the crew. It was, like, it was
such a fun experience. I was, like, pissing myself laughing, but I was, I was dying. You guys had me dying,
like crying laughing in between takes all the time. - [Andrew] That is so silly. - How cool is that? - It's the best, we are very lucky. And then my brother's
saving lives in London. - Right, here we are. - My brother's treating
COVID patients as we speak, and we're wearing, I'm
wearing a lovely jacket talking about "Spider-Man."
- Exactly. - No, but then he goes home and he watches "Spider-Man" with his boys, do you know what I mean?
- Yeah. - It's that, it's, like, it's, I don't know, I'm just trying
to justify my existence now. - Right, now I'm feeling
bad about my life. I have some things to ask you. - What's that? - I'm like, "We love talking, and I'm like, "Shit, I
have to ask him something that I do really want the answer to. - Next week on Zendaya and Andrew at the Repsol Center, we
will be, what will we- - We'll have visitors
from the Repsol Center. - Yeah, we'll have testimonials. - Live testimonies.
- Right. (upbeat funky music)
