Giancarlo Esposito Breaks Down His Most Iconic Characters
Director: Chris Smith
Producer: Arielle Neblett
Associate Producer: Camille Ramos
Director of Photography: Brad Wickham
Cam Op: Jake Robbins
Audio: Sean Paulsen
Production Assistant: Shenelle Jones
Production Manager: James Pipitone
Line Producer: Jen Santos
Production Coordinator: Jamal Colvin
Post Production Supervisor: Rachael Knight
Associate Director of Post: Jarrod Bruner
Post Production Coordinator: Ian Bryant
Editors: Matt Braunsdorf
Supervising Editor: Rob Lombardi
Assistant Editor: Billy Ward
Senior Talent Manager: Meredith Judkins
Talent Manager: Mica Medoff
Talent: Giancarlo Esposito
Released on 02/03/2023
I understand that you have a problem
with two of my employees.
It is true that they killed one of your associates.
It is possible they acted rashly.
But on the other hand, there was provocation.
The man was selling on their territory.
I didn't want Tony Soprano with the little puppy,
I wanted a guy who was shrewd, smart, non-arrogant,
but was three steps ahead of everyone else,
who could blend,
who seemed to be one person but was another.
[upbeat pop music]
The Mandalorian.
The structure you are trapped in
will be razed in short order,
and your storied lives will come to an unceremonious end.
[tense orchestral music]
What do you propose?
Reasonable negotiation.
You have something I want.
One of my favorite lines,
because you can use it in life.
You see someone you emulate,
you see someone who's really in their own skin,
I always observe older people who have nothing to prove.
They're living their life,
they're comfortable in their own skin,
and that's what I want.
Moff Gideon is a very complicated guy
and I love playing him for a number of reasons.
One, is he's smart,
and he wants to affect change
within this particular galaxy,
and he's unable to.
He thinks he can get it from outside.
Such a mythological story,
when everything you need is inside you.
But he feels like that child, Grogu, who he's after,
has some DNA that's gonna change things for him,
possibly would change things for the world as well.
So I play him in the first two seasons
as if maybe he is trying to write all the wrongs
of the universe and the galaxy,
and the world that he's in, by being in charge.
But he knows everything and no one knows how.
So he has a particularly strong network of intel,
which is great,
but what does he really want?
You don't really know, except for the child.
I think that part of my success is to play
villainous characters with a human touch,
who are very astute and very aware of themselves
and the world around them.
[darksaber melting metal]
[metal thudding]
[slow foreboding music]
The darksaber was a wonderful thing to wield.
There's only a few of us actors
who've had the opportunity
to wield such an iconic piece of equipment, sword.
So for me, there were many that I had to work with.
A wonderful stunt actor who was in the suit
doing the stunt work for Mando,
and I just...
The whole story behind my first big saber fight
was that the stunt guy came out,
and he was 20 years younger, a really small guy,
and I looked over at Jon, I said, Jon,
and he went, shrug.
And I got in the corner,
and I started to work on this fight
'cause I knew I'd have to do every single frame
for it to look believable
for a guy of my age fighting Mando.
We had a bunch of different swords.
Sometimes the hilt, sometimes the long one,
sometimes one that was lit around the end
so they could sort of CGI it in,
and sometimes it was full weight,
sometimes not full weight.
I chose the ones that had a full weight
because I felt like when you wielded it,
you had to see it, how it hits something.
It was very, very important to me,
to have it be really believable.
So, I had practiced at home,
'cause I also have a cape,
to figure out the logistics of it with a broomstick.
And eventually when I got with the darksaber,
I was just very enthusiastic
about being able to practice with it
in the moment on the set,
and to have such a great time
playing this character
with a piece of history that's so very iconic.
Breaking Bad.
That was inspired by a stage direction
that Vince Gilligan wrote
called Hiding in Plain Sight.
And when I read that stage direction
in the script that they asked me to do,
I was fascinated.
I was invited out to do a guest spot
at the end of season three of Breaking Bad
and I said yes.
I was very excited when I read that stage direction
'cause I started to think about who do I see from my window
who lives next door, or the apartment across the hall?
What do they really do?
Hey, hey Jean.
Hey Harry,
Like a cordial conversation to the elevator,
but what do they really do?
Who are they really?
And I got obsessed with that idea.
Lucy, you must remember
to have the salt and pepper shakers wiped.
Okay.
Can I help you, sir?
Diet Coke, please.
And five minutes of your time.
So I did it in one guest spot,
I got off the plane,
they were calling to say would I do another?
And I said yes,
to continue the investigation.
I did another guest spot and they offered me a contract
and I said, let's wait,
because it was the end of the season.
Let's see what you're thinking about for next season.
And they called next season and repeated their offer.
And I said I'd love to speak to the creator
because I wanted to do something different.
I felt like, okay, they've had their villain of the week
and now they want a formidable villain
to play opposite
of Walter White, Brian Cranston,
who was brilliant in that show.
But I didn't wanna sign on
unless I was gonna do something that was atypical.
And so I had to figure out what that was.
So I say now to many people when I lecture colleges,
universities, and I'll tell my children,
ask for what you want.
And so that was a perfect example
of me asking myself what I wanted.
And so, I asked to speak to Vince Gilligan,
we had a long conversation, and we were on the same page.
And things took off after that.
You have failed.
Now it's left to me to deal with him.
You can't.
If you try to interfere,
this becomes a much simpler matter.
I will kill your wife.
I will kill your son.
I will kill your infant daughter.
I enjoyed learning from the process of masters at work.
Vince is a wonderful director,
but I was there, I think,
when he first started directing on Breaking Bad.
He had done a show prior to that
where I believe he directed.
But to be able to direct your own vision
is to take matters in your own hand
and really feel and see the whole story.
So I was with him at a time
where he directed a television show
and at a time where he extended that direction
of shot to shot television
to filmic visionary movie every week.
And so I felt honored to be there.
One episode that really stands out for me,
well there are a number of them,
but one in particular is Box Cutter.
I come from the theater and so to me, you know,
Harold Pinter,
there was a thing called a Pinter Pause
where
you leave
space.
Sometimes that space is an interminable-able
amount of time,
but it allows you to refocus
and it gets your attention.
And so I thought of this when creating Gus.
So for me, my contribution was,
I realized, you can't mess with the words, they were good.
How do I slow the timing down?
How do I slow my timing down,
so I can hear more,
so I can be contemplative,
so I can allow space to affect me?
And so when someone would say something to me
I wouldn't answer right away.
I would really hear them, study them.
And it unnerves people.
[Giancarlo laughing]
I mean, I realize
if I don't answer, I just look at you,
what's going on in your head may be,
Did I say something wrong? Am I stupid?
Oh my God, is he gonna kill me?
What happening with him right now?
Does he have a pulse?
And so, I used that
in combination with my breathing practice of yoga,
to allow me
[Giancarlo breathing slowly]
to just drop down.
And it was a wonderful experience for me
'cause it helped me to realize
that the best actors don't do anything.
You don't have to do anything.
You gotta think it.
But in thinking it, you want people to see it.
So you have to think it and project it and it'll be there.
A wonderful experience in my career, and changed my life.
The Boys!
The Boys, Stan Edgar is a company man.
And what makes a good villain
is he's working for somebody else.
[Giancarlo laughing]
You know?
I mean, we think what makes a good villain
is he wants to take over the world.
And I have some of those in my, you know,
Star Wars Moff Gideon life.
But when you have a guy who is a company man, it's scary.
And so Stan Edgar frightened me a little bit
because he has no fear.
He has no fear of Homelander.
You're in a world where you have superheroes
with human emotions
who could kill you in a heartbeat.
And he's like the head of the company
who has created this Compound V.
So he has business venture.
I don't think I see the point, Stan.
The point is
that you are under a misconception
that we are a superhero company.
We are not.
What we are really is a pharmaceutical company.
And you are not our most valuable asset.
That would be our confidential formula for Compound V
which you, man child that you are, released into the wild.
[Homelander scoffing]
Bam!
You get the idea of big business, big politics,
big government,
how it affects the world.
I love this show.
The way it happened was
completely, in a way, an accident.
I ran into Eric Kripke,
who also was the writer of another show I did years ago
with John Favreau.
And so I ran into him at the studio in Canada
when I was doing another show
and he looked at me and took that step back and went,
scratched his head and went,
looked me up and down.
Afterwards, Hi, how are you?
What are you doing? What are you doing?
And I said, Eric, I know what you're thinking.
And he said to me,
Well if you know what I'm thinking, would you?
And I said, Of course I would. I love working with you.
I said, you're not gonna be able to make a deal,
when that day comes, text me,
'cause they're gonna be talking to my people
and I'm not giving up.
I said, text me.
And that day came, they tried to make a deal,
couldn't make a deal, Eric texted me.
I said, Eric, you know, come on,
you did exactly what I told you to, and I was in.
Eventually, probably soon,
the world will recognize you
for the pitiful disappointment you are.
You are not worthy of my respect.
You are not a God.
You are simply bad product.
You know, they say that daughters
need the validation of their fathers
and that sons need to be mothered.
And so what did we miss in our lives?
What did we miss growing up from that relationship
that we needed to be validated by?
So, Stan Edgar realizes that Homelander's just a big kid
and that he never got the validation that he needed
from his father.
And so it becomes very, very tricky, he understands that.
So he needs to be validated by another man
who says, yeah, you're powerful and good and all that.
In return for that,
Stan also feels like he's holding onto his power.
He's able to control this loose cannon
where no one else can.
You
are not a God.
You
are simply
bad product.
Pow.
Strong.
I say that to myself all the time.
My ego gets outta line.
I'm just bad product.
Better Call Saul.
[man struggling to breathe]
Look at me.
From now on,
you
are
mine.
Big decision for me to make.
I felt like I was going through the same dance
and I hope didn't stress anyone out
at Buena Vista Productions or Vince.
But I felt like
I didn't wanna go back, in my brain.
I was like, I can't mess with that guy.
That guy is done, man, he's history.
You know what I mean?
He's iconic.
I don't wanna mess with him anymore.
[Giancarlo chuckling]
Then I'm sitting there with Vince
I went, okay, what's the name of this show?
And he says, Better Call Saul.
Who's starring in it?
Bob Odenkirk.
Boom!
Bob's genius.
But I went, that's your place,
you are part of an ensemble
and you're here to do, if you choose to do,
very much what you did in Breaking Bad.
But then I went, no, don't choose that.
Choose to surpass that.
So what are your obstacles?
I mean, all this was in my decision process.
What can you do differently?
How can you create a different Gus?
It is before the time period of Breaking Bad.
Okay, so he's more volatile, he's less controlled.
All these things went into the basket and I said, yes.
Adding more product will threaten the reliability
of the entire operation.
May I ask,
did Don Eladio approve this?
I approved this.
And so my work had to be even more subtle
than in Breaking Bad,
and so that became a challenge
to figure out how to grow to be the edge
in Better Call Saul,
and to figure out how to lend
to these two shows being bookends.
I contest that if you watch Breaking Bad first
and then Better Call Saul, that's great.
But if you're able to watch them backwards,
Better Call Saul first, and then Breaking Bad,
you'll be illuminated in a different way.
I felt season six of Breaking Bad,
I had a chance, as subtle as it is,
to reverse all of what I thought I would be locked into.
You got a chance to see a different Gus
because I realized, end of season five into season six,
you had a Gus who was more vulnerable
because there was a threat there.
Lalo Salamanca.
And I didn't want him to be a threat
because Gus is formidable
and because of the events at the end of Breaking Bad,
in a way I'm going into Saul thinking I'm Machiavelli.
So how do I allow myself the vulnerability
to have a chink in my armor?
So, one scene in Breaking Bad that you saw,
I don't know if it's episode nine or 10,
where I'm on the elevator, Johann directed it.
And he noticed,
I'm standing on the elevator, I'm totally still,
and my hands are by my side
and all you see, just tapped my finger.
He caught it.
I did this to see if anyone would catch it.
Standing there.
Completely calm, stoic, right?
But that one little tell.
And he said, My God, do you know you're doing that?
I said, Of course I do.
He said, I have to get that.
I have to get the camera down there.
I have to get it, that's brilliant.
Right, that one little thing.
The work is sometimes in a way silent
and very, very methodical.
And also it's very keen.
And so everything came together in those moments.
And in season six, Gus's turn in six,
which, you know, if you haven't seen it,
I don't wanna have any spoilers,
but you really sort of see him come out of his shell
after the threat is disposed of.
So you get a chance to see an arc
that I think is well worth it
and well deserved to watch this season six
of Better Call Saul.
Do The Right Thing.
You gonna pay now or you gonna pay on layaway?
How much?
You been coming in here at least three times a day,
what are you, a [beep]?
It's a dollar 50.
Yo Sal, put some cheese in that motherfucker, man.
Extra cheese is two dollars.
Two dollars?
Yeah, two dollars.
Hey, you can forget that shit.
[Buggin Out slamming change on the counter]
Buggin Out was a journey
and I so enjoyed working with Spike Lee
in Do the Right Thing
because it was the first time that he really
had an opportunity to explore on a very deep level
the differences between us, culturally,
in a neighborhood setting.
And to me it was the perfect balance of who I am,
Italian and Black.
And so, to create Buggin Out,
I really had an idea that Buggin Out meant well,
but he was that man
who wanted to be, in a way,
a revolutionary, but he had no tools.
He didn't have the education
to carry things out the right way.
So, in his little way,
he wanted to create some kind of change.
So Afrocentric, you know, completely,
and energetic,
and ready to call you on your faults
if you're Sal in the pizzeria.
So, I had this idea that he was a loose cannon
because he didn't have the poise or the charisma
or the expertise to really think it all the way through.
And that allowed me to have someone
who could be, in a way, slightly a pest,
but still someone who was pressing for equality
on his own street level way.
Mookie!
[Mookie] What?
How come you ain't got not brothas up on the wall?
Man, ask Sal, all right?
Hey, hey Sal,
how come you got no brothers up on the wall here?
You want brothers on the wall?
Get your own place, you can do what you wanna do.
You can put your brothers and uncles and nieces and nephews,
your stepfather, stepmother, whoever you want, you see.
But this is my pizzeria.
American Italians on the wall only.
Well, I think that I love the scene in the pizzeria,
you know, where Buggin Out just, you know,
he wants to get his pizza and he wants some extra cheese.
Put some extra cheese on that, mmhmm.
And Sal is like, you know, resistant.
And the attitude that Sal had with Buggin Out
was because he was a pest.
But then when he looks up,
and he sees Sinatra and Perry Como
and all these people white,
he's wondering why he's not represented there
and what does that mean to him,
and it triggers something inside of him.
Those are very volatile scenes in many ways
because of what happened at the end of the movie
between myself and God bless him
and rest his soul Danny Aiello.
The Jordan's scene was an observation
of what Spike was seeing in his neighborhood,
and what he was afraid of.
Yo!
There's a song called Who Stole the Soul?
He was afraid, I think, maybe,
I contest that he was seeing
the soulfulness of his neighborhood
go away because of gentrification.
So that scene to me was great fun with Martin Lawrence
and all the wonderful actors in that scene.
John Savage, to be able to say, you don't belong here.
What are you doing on my block, in my neighborhood,
on my side of the street?
I mean, it's just such great dialogue.
Spike is a genius in terms of how he wrote that.
But he also is a genius in how he translated
what he was seeing.
And he was ahead of his time,
because you go out there now,
and it's completely gentrified
and very very different than what it was
when we shot the movie.
[Interviewer] You are Italian, you are Black, right?
Did you have to navigate any feelings of allegiance?
What was conversation with your father like
after he saw the film?
In this particular case,
I remember the conversation clearly
'cause he was disappointed in the movie.
And we knew we had done something
that was gonna make a difference
or at least open people's eyes to the issues
that were presented,
but also have them be entertained.
But he didn't take to the movie
'cause he thought there was,
Giancarlo, Giancarlo, there's too much cursing.
I said, Excuse me?
It's mother this, motherfucking that, do-ba-dee.
It's too much cursing.
I said, well no, no, what's the point of the movie?
So I think he missed a part of the point of the movie,
which had me realize I wanted to talk to him
about living in this color skin,
because we had the same blood.
And I don't know if I ever really impressed upon him enough
that my life was so different
because I carried this skin.
My Papa thought the movie was visual
but didn't understand the issues at hand.
And I was surprised
because they related to his life as well as mine.
Godfather of Harlem.
To me, it's a wonderful honor to play someone
who has lived.
And it's also a huge responsibility.
Adam Clayton Powell Jr who I portray
in Godfather of Harlem
really lived and really made incredible strides
for African Americans during the sixties and beyond.
He wrote the Powell Amendment,
which was essentially the Civil Rights Act.
And so he, through his relationship
with Linda Banes Johnson and JFK before him,
was able to implement and resist.
As LBJ said to him,
Take out the Powell Amendment
and I have this thing passed.
But he wouldn't do it,
because the Powell Amendment
was the majority of the Civil Rights Act that we have today.
So to me, I would be haunted in my dreams
if I didn't get that right.
Who's the first?
The first what?
The first Italian numbers banker
you're gonna enter into the congressional record.
Well, how the hell do I know?
You promised the congregation one Italian a week.
Why is Jack Kennedy playing possum
with my addendum to the Civil Rights legislation?
Adam, you're evading.
Now, as much as I hate to admit it,
you hit a nerve with that sermon
and some people put names in the suggestion box.
You gon' have to name names.
Well, who'd they put in the suggestion box?
That's the problem.
No one named any Italians.
And so I read a lot of his record,
I listened to him and the cadence of his speech.
When I first saw him, I thought,
this guy is white from Georgia.
He kind of talked like that, really, you know.
He was from New York.
Lived upstate and came to Manhattan,
preacher at Abyssinian Baptist Church.
You may know some of his history.
But for me, the wonderful thing about him
was not only that he was a genius lawyer,
but that he was also someone who enjoyed life.
And this took some of the pressure off me
to always be as serious as I would wanna be
in my life and in my work.
I learned through the legacy of Adam Clayton Powell Jr
that he was able to have fun.
He married Hazel Scott eventually,
loved jazz music, he smoked, he drank,
yet in Sunday morning he was in the pulpit
giving the sermon of his life.
He was also a great orator and statesman.
And when you think about an orator or a statesman,
you wonder how they get their point across
and people really are listening and really hear them,
because it's a God-given gift to move people
from one place in their consciousness to another.
And Adam Clayton Powell did that.
So, for me to play him was my honor.
Every season is a different year
in the history of our movement.
And it really is a show
that's about Bumpy Ellsworth Johnson,
so brilliantly played by Forest Whitaker,
about his journey in affecting African Americans in Harlem.
So, Powell knew Johnson,
didn't agree with his politics,
but knew that he was a helpful figure in Harlem.
The show is about Bumpy, it's about morality, again,
about a guy who's selling heroin to his own people,
is also a slum lord in some ways,
but someone who cares about his people
and will do all he can to protect them.
Bumpy Johnson was not your typical gangster.
He was someone who tried to, and succeeded,
in struggling against the Italians
for their hold over Harlem.
And so, the black market, no pun intended,
is something that's really actively still going today.
And so, that is a help to the people
in certain neighborhoods
because there's certain things
they can't get or afford otherwise.
And so that intricate market is explored
not only in the world of drugs
but also in the world of politics.
Kaleidoscope.
I'm very proud to be a part of this show.
I stepped into this show after having done
the final season of Better Call Saul,
and I had to move quickly to jump in
and feel as if I had enough time to apprise myself
of all that was going on in this particular heist story.
It's based on a heist that took place during Hurricane Sandy
that really happened during a hurricane.
70 billion dollars in unsecured bearer bonds
were stolen in this city.
The moment we come in,
the temperature will start to rise
and once it gets above 73 degrees-
We're fucked.
Game over. Life in prison, got it.
Yeah, we can get by everything else, but not that.
Unless, you've put in a back door.
Did you tell them you put in a back door?
I put in a back door.
They sent me blue to read for the first time,
and I read it and I got yellow, and I read that.
And then I started to realize
that the structure with which they had planned to release it
was not going to be the same,
i.e. when I read scripts, it's 101, 102,
they're all numbered up to eight.
This was orange, green, blue, pink, yellow, white.
And it was all connected.
So for me, I was hooked
because it gave me a chance to show
many different sides of myself that you haven't seen.
And to me, that's an actor's dream.
I love this piece because, again,
you can choose the order with which you watch it.
So you asked me, how did I feel about that structure?
I was hesitant.
Hadn't been done.
How are people gonna know where they're at?
They're all colors, and people still, even today,
after the show has been released, they talk about,
did you watch it in order?
Well there is no order.
Did you watch it in chronological order?
There's that word again.
There's no chronological order,
which gives you the opportunity
to have your imagination run wild
and your visual match up with that
by trying to figure out the story.
It's a heist drama.
There's something left for you to do.
It's to figure it out.
And as you're watching,
you can't but help, as being a human being,
is to wanna figure it out.
Like wait, did you see that?
What just happened there?
That won't get reflected until episode yellow,
or blue won't link up to white, which you should watch last.
I think the whole idea and structure is brilliant
and the ability for them to pull it off
by all of the connections that are there.
When you watch it a second time
and you see the connections you missed the first time,
no matter what order you watched it in,
you
will
be
intrigued.
Starring: Giancarlo Esposito
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Gerard Butler Breaks Down His Most Iconic Characters
Sarah Paulson Breaks Down Her Most Iconic Characters
DMX Breaks Down His Most Iconic Tracks
Cillian Murphy Breaks Down His Most Iconic Characters
Forest Whitaker Breaks Down His Most Iconic Characters
David Copperfield Breaks Down His Most Iconic Illusions
Arnold Schwarzenegger Breaks Down His Most Iconic Characters
Edward Norton Breaks Down His Most Iconic Characters
Al Pacino Breaks Down 4 of His Most Iconic Characters
Tim Blake Nelson Breaks Down His Most Iconic Characters
Mark Ruffalo Breaks Down His Most Iconic Characters
Ray Liotta Breaks Down His Most Iconic Characters
Octavia Spencer Breaks Down Her Most Iconic Characters
Pedro Almodovar Breaks Down His Most Iconic Films
Danny DeVito Breaks Down His Most Iconic Characters
Jack Black Breaks Down His Most Iconic Characters
Diego Luna Breaks Down His Most Iconic Characters
Ben Affleck Breaks Down His Most Iconic Characters
Martin Freeman Breaks Down His Most Iconic Characters
Guy Pearce Breaks Down His Most Iconic Characters
Nick Offerman Breaks Down His Most Iconic Characters
Jeffrey Wright Breaks Down His Most Iconic Characters
Martin Short Breaks Down His Most Iconic Characters
Nicholas Hoult Breaks Down His Most Iconic Characters
Justin Roiland Breaks Down His Most Iconic Characters
Russell Crowe Breaks Down His Most Iconic Characters
Michael K. Williams Breaks Down His Most Iconic Characters
John Cusack Breaks Down His Most Iconic Characters
Gabourey Sidibe Breaks Down Her Most Iconic Characters
Vince Vaughn Breaks Down His Most Iconic Characters
George Clooney Breaks Down His Most Iconic Characters
Jude Law Breaks Down His Most Iconic Characters
Scott Glenn Breaks Down His Most Iconic Characters
Casey Affleck Breaks Down His Most Iconic Characters
Jared Leto Breaks Down His Most Iconic Characters
Bob Odenkirk Breaks Down His Most Iconic Characters
Salma Hayek Breaks Down Her Most Iconic Characters
Tom Hiddleston Breaks Down His Most Iconic Characters
David Harbour Breaks Down His Most Iconic Characters
Wes Studi Breaks Down His Most Iconic Characters
Sean Penn Breaks Down His Most Iconic Characters
Elijah Wood Breaks Down His Most Iconic Characters
Tony Leung Breaks Down His Most Iconic Characters
Matt Damon Breaks Down His Most Iconic Characters
Adrien Brody Breaks Down His Most Iconic Characters
Jeff Daniels Breaks Down His Most Iconic Characters
The Lox Break Down Their Most Iconic Tracks
Henry Cavill Breaks Down His Most Iconic Characters
Jeremy Renner Breaks Down His Most Iconic Characters
Jeff Goldblum Breaks Down His Most Iconic Characters
Djimon Honsou Breaks Down His Most Iconic Characters
Big Boi & Sleepy Brown Break Down Their Most Iconic Tracks
Christopher Lloyd Breaks Down His Most Iconic Characters
Robert Pattinson Breaks Down His Most Iconic Characters
Behind The Scenes with Cover Star Robert Pattinson
John Cena Breaks Down His Most Iconic Characters
Francis Ford Coppola Breaks Down His Most Iconic Films
John Turturro Breaks Down His Most Iconic Characters
Michelle Yeoh Breaks Down Her Most Iconic Characters
Kiefer Sutherland Breaks Down His Most Iconic Characters
Marlon Wayans Breaks Down His Most Iconic Characters
Mike Myers Breaks Down His Most Iconic Characters
Seth MacFarlane Breaks Down His Most Iconic Characters
Jerry Bruckheimer Breaks Down His Most Iconic Films
Andy Garcia Breaks Down His Most Iconic Characters
Chris Hemsworth Breaks Down His Most Iconic Characters
John Lithgow Breaks Down His Most Iconic Characters
Ewan McGregor Breaks Down His Most Iconic Characters
Taika Waititi Breaks Down His Most Iconic Characters
Yunjin Kim Breaks Down Her Most Iconic Characters
The Russo Brothers Break Down Their Most Iconic Marvel Films, Arrested Development & More
Rae Sremmurd Break Down Their Most Iconic Tracks
Neil Patrick Harris Breaks Down His Most Iconic Characters
Karl Urban Breaks Down His Most Iconic Characters
Ralph Macchio Breaks Down His Most Iconic Characters
Pierce Brosnan Breaks Down His Most Iconic Characters
Christian Bale Breaks Down His Most Iconic Characters
Paul Dano Breaks Down His Most Iconic Characters
Daniel Radcliffe Breaks Down His Most Iconic Characters
Mahershala Ali Breaks Down His Most Iconic Characters
Javier Bardem Breaks Down His Most Iconic Characters
Brendan Fraser Breaks Down His Most Iconic Characters
James Cameron Breaks Down His Most Iconic Films
James McAvoy Breaks Down His Most Iconic Characters
Director Alejandro González Iñárritu Breaks Down His Most Iconic Films
Director Rian Johnson Breaks Down His Most Iconic Films
"Weird Al" Yankovic Breaks Down His Most Iconic Tracks
Danny Trejo Breaks Down His Most Iconic Characters
Don Cheadle Breaks Down His Most Iconic Characters
Giancarlo Esposito Breaks Down His Most Iconic Characters
Bryan Cranston Breaks Down His Most Iconic Characters
Donnie Yen Breaks Down His Most Iconic Characters
Paul Rudd Breaks Down His Most Iconic Characters
Sir Roger Deakins Breaks Down His Most Iconic Films
Donald Glover (Childish Gambino) Breaks Down His Most Iconic Characters
Chris Tucker Breaks Down His Most Iconic Characters
John Leguizamo Breaks Down His Most Iconic Characters
Dave Matthews Breaks Down His Most Iconic Tracks
Liev Schreiber Breaks Down His Most Iconic Characters
Ludacris Breaks Down His Most Iconic Tracks
Danny Elfman Breaks Down His Most Iconic Scores (Tim Burton Edition)
Mads Mikkelsen Breaks Down His Most Iconic Characters
Michael Cera Breaks Down His Most Iconic Characters
Chris Evans Breaks Down His Most Iconic Characters
Martin Scorsese Breaks Down His Most Iconic Films
Paul Giamatti Breaks Down His Most Iconic Characters
Barry Keoghan Breaks Down His Most Iconic Characters
Kurt Russell Breaks Down His Most Iconic Characters
Sam Rockwell Breaks Down His Most Iconic Characters
Clive Owen Breaks Down His Most Iconic Characters
Josh Brolin Breaks Down His Most Iconic Characters
John Malkovich Breaks Down His Most Iconic Characters
Eugene Levy Breaks Down His Most Iconic Characters
Michael Keaton Breaks Down His Most Iconic Characters
Danny McBride Breaks Down His Most Iconic Characters
Trent Reznor & Atticus Ross (NIN) Break Down Their Most Iconic Tracks
Zack Snyder Breaks Down His Most Iconic Films
Kevin Costner Breaks Down His Most Iconic Characters
Walton Goggins Breaks Down His Most Iconic Characters
Cate Blanchett Breaks Down Her Most Iconic Characters
M. Night Shyamalan Breaks Down His Most Iconic Films
J. K. Simmons Breaks Down His Most Iconic Characters