Name: Bill Burr & Adam Driver on the FERRARI Movie
Uploaded: 2024-01-11T16:00:38.000Z
Description: Watch the stand-up comedy video 'Bill Burr & Adam Driver on the FERRARI Movie' from Fans of Bill Burr on Comedy Buff. Published 2024-01-11. Transcript available.

Watch the stand-up comedy video 'Bill Burr & Adam Driver on the FERRARI Movie' from Fans of Bill Burr on Comedy Buff. Published 2024-01-11. Transcript available.

First off, great to see you, and I am very excited about this movie
because there has been movies about F1 and that type of stuff,
but this seems like it's going to dig further.
You're playing Enzo Ferrari?
Okay, and this isn't just going to be, it's not like Days of Thunder meets
Italian supercars.
No, if people are expecting it to just be nonstop racing, it's not that.
There is racing for sure in its shot.
It works really well because it's a Michael Mann movie, but it's also because...
You have a big competition, you're fighting for the same girl, and Robert Duvall's
in it.
Yeah, exactly.
I raised Robert Duvall in 1957.
Yeah, there we go.
But it's a very character-driven movie, just like Michael Mann's movies are.
So hopefully by the time that somebody actually crashes, you care that they
live or die.
Well, one of the few books I've read in my life, I was saying, I read this,
that wasn't a sports autobiography.
I read this book called The Limit.
And it was this amazing story.
Basically, it was a history of F1, kind of like how dangerous it was in the
1950s.
And I looked up most of the, like some of the worst, like of these crashes.
And it would be literally like on straightaways.
They would just have spectators standing behind like a yellow rope.
Yeah.
And it's a straightaway, so they weren't expecting centrifugal force to affect
it.
But then they would hit each other, and they would go into the crowd.
And like so many people would die, and like nobody got sued back then.
But this book was called The Limit.
It was about the first American to win the F1 championship.
And as much as it was about the race and the danger and everything, there was
this one story
that kind of gave me a hint into the complexities and the drama of Enzo Ferrari,
the guy that
you're playing, was when Phil Hill was the name of the guy, the American driver,
when he
got his first car, the last driver had just died.
And so they're calling you up, and he couldn't believe he got the call.
And when he got the call in the floor pan, there was a hole like the size of a
quarter
in the floor pan of it.
And they're like, all right, this is your car.
And he just, he asked why the floor pan, why it had the hole in it.
The last driver got decapitated and bled out in the car.
So they just drilled the hole, and they hosed it out.
And I love where aerodynamics was, that they didn't weld it shut.
And then he just, it's like, all right, dude, you're like, you're up next.
And it was just like, I mean, I feel like, you know, when I watch like those
World War
II movies, when you were in one of those, you know, those giant bombers, and
you were
like in that little bubble at the bottom, I feel like that job, you know, like
this is
the racing version of that.
So what I got excited about when I heard this movie, that it wasn't just going
to be like,
you know, you know, I'm just going around a track and some weak story to
surround that,
is that they're actually going to get into this guy, Enzo Ferrari, and that it's
Michael Mann,
is, am I on the right track as far as like?
Yeah, completely.
I think like the death rate of the Ferrari team in the late 50s, probably from
1955 to
when our movie starts, 1957, was something like 50%.
You know, the goal was to kind of get thrown from a car, as opposed to get
stuck in a car
and burned to death.
Burned to death, yeah.
And they didn't have seatbelts or, you know, it wasn't big, not because of them
being
absent-minded, it just wasn't part of the racing culture at the time.
You know, aerodynamics was kind of new, mid-engine vehicles were something that
Enzo was very
adverse to.
He was very much of the philosophy that the ox pulls the car.
TV was entering F1 for the first time, so that was a completely new transition.
And also, in our movie, Enzo, you know, he has this woman that he'd been, that
he had
a child with named Lena Lardy, who he had a kid with.
The son was about to be confirmed.
He didn't know if he was going to be confirmed as a Lardy or a Ferrari.
Everybody in the town knew who he was, except his wife, Laura, who he ran the
business with.
His son, who was on his way to be an engineer, died when he was about 21.
So it's very much a...
Didn't he name the Denali after him?
Oh, he made the Enzo after...
The Enzo after him.
Yeah, yeah, yeah.
Oh, okay.
Or the Dino, sorry.
The Dino.
Yeah.
Okay.
You know, I just saw one of those recently, and it's this episode one of season
five of
Kojak.
No, I watch...
I live in the past.
I can't deal with today...
Kojak, like the Kojak Kojak?
Kojak Kojak.
Yeah, yeah, right, right.
Which, by the way, my three-and-a-half-year-old son loves.
Oh, really?
Yeah, there's something about it.
There's cars, there's shooting, there's good-looking women, and there's this
gorgeous woman.
She just comes walking out of the elevator.
She walks by two Porsches and then gets in the, whatever, the Denali.
I thought it was called Denali.
I have no idea.
That early 70s one.
And it's gray, too, which is a really unique color.
And then, of course, somebody gets shot next to a yellow Pacer, which I thought
was interesting
to have all of those cars and then just have that in there.
But anyway, what I love about your career, other than that you're amazing at
what you
do, is you just seem to be working with directors that also, I think, have the
same approach
that you do.
You just seem like you're always going for something great.
So I always know that if I'm scrolling on Netflix or whatever, and if I see
your face,
whatever it is, it's like...
You're like, fuck.
No, no, I know this guy doesn't just, you know, this isn't going to be fucking
Police
Academy 6 and he's buying a house in Malibu, like that thing.
Like, hey, you know, it's about time I get paid.
I'm doing Con Air Part 9, which I don't fucking, I don't judge anybody anymore
the way they're
not fucking paying anybody.
Everybody's doing commercials now.
You're one of those guys.
So you get to work with Michael Mann, who, it's amazing.
I've been watching, I mean, basically been watching his movies my entire life.
And I thought he had way more.
So before I came in here and I looked at the ones that he did, he doesn't have
nearly as
many movies as I thought.
It's just that he just hit so many home runs.
Right, yeah, yeah.
You know, like, I actually, like, last year I went back and I watched, like, Thief,
which
I think was his first one.
And obviously I saw, like, the heats, you know, heat and all of that, which,
you know.
The insider, last, the Mohicans.
Insider I loved.
Collateral, Ali, you know, they have staying power and they're timeless because
he makes,
he's so specific.
So every time you watch them, even Heat, I've seen probably 200 times.
And every time I watch it, I always see something different about, oh, God,
like, it's such a
great detail that I never picked up on before.
And it's the same with this.
I don't think it's, it's kind of impossible to watch this once.
I mean, it's very possible.
But, uh.
So what's that like when you get in, you're with the guy, okay, you're working
with somebody
who's a legend like that, it's a director.
They obviously know what they're doing.
And then he gives you a direction and you're thinking of going in a different
direction.
Is there anything in your head going like, well, that was Michael Mann.
I can't, I can't say, hey, I was thinking of.
You have to try it, I would say, because it might be a good idea.
But then at the same time, he, he is also trying to figure out how to
communicate with
you, just like you're trying to figure out how to communicate with him.
And you can't keep each other from each other.
Like you, you can't, uh, you can't keep it like, oh, I'm secretly going to do
something
else.
If you, if, if you disagree, then you kind of have to talk about it.
Have you ever tried that?
Yeah.
You're secretly disagreeing and then doing something.
Yeah.
Or, or someone like gives me a direction and I'm like, okay, maybe I'll just,
and in the
moment I don't want to do it.
So I'll just do something else just because, because it's film.
So if we don't, if it doesn't work, we'll just go back and do it again, you
know.