Name: Joe Rogan Experience #2464 - Priyanka Chopra Jonas
Uploaded: 2026-03-05T18:00:58.000Z
Description: Watch the stand-up comedy video 'Joe Rogan Experience #2464 - Priyanka Chopra Jonas' from PowerfulJRE on Comedy Buff. Published 2026-03-05. Transcript available.

Watch the stand-up comedy video 'Joe Rogan Experience #2464 - Priyanka Chopra Jonas' from PowerfulJRE on Comedy Buff. Published 2026-03-05. Transcript available.

Joe Rogan Experience #2464 - Priyanka Chopra Jonas

Joe Rogan Podcast, check it out.
The Joe Rogan Experience.
Train by day, Joe Rogan Podcast by night, all day.
I won't lie, I am nervous to talk to you.
Come on.
How can you be nervous? That's ridiculous.
Like I came in slightly intimidated.
Why?
I actually don't know the answer to that because we've never met.
Yeah.
So it's not like you've intimidated me.
But I just, I'm really, I think what I really enjoy about your show is just
such an eclectic perspective on so many diverse things.
And it comes like so naturally to you.
I really admire that.
Well, fortunately, I don't have anybody pick my guests.
So it's all people that I'm actually interested in talking to.
So it's easy.
Oh, that's nice.
Well, thank you for picking me.
Oh, my pleasure.
I'm excited to talk to you.
Your movie is fucking crazy.
Like, I knew it was a pirate movie, but I just did not expect the ultraviolence.
Like from the beginning, I was like, yo.
Like I locked in immediately.
I was like, first scene, I was like, holy shit.
Like, this is crazy.
Well, thank you.
That's a good thing, right?
I mean, when you're doing something that's that hyper-violent, like, is that,
does that freak you out at all?
Like, you're cutting people open with swords and stabbing them in the neck and
it's like, holy shit.
When you're doing it, you know, it's like make-believe.
So it's so much fun to be like, yeah, I'm playing pirates and I'm going to behead
you.
But, I mean, in moments of like scenes and stuff where I actually had to think
about what it must have been like to be a female at that time.
Or, because they existed.
Women, female pirates existed and we just, we didn't hear much about stories
about them.
I mean, I heard about Grace O'Malley, maybe Mary Reed, like a few famous ones.
Ching Shi, after I did my research.
But, like, in those moments, you're like, this stuff must have, like, this was
real.
They lived at a time where it was survival of the fittest.
It was barbaric and I wonder what that must have been like.
But besides that, the stunts and stuff, like, I really have so much admiration
for the amount of precision it requires to pull that stuff off from so many
people.
Not just the stunt department, but, like, the cameras because they're also
moving in sync with you.
Yeah.
And that's cool.
It is cool.
Is it hard to stay in the moment when all that is happening?
Because you have so much coordination and so, there's so much choreography.
There's, like, he's going to swing this way and you're going to block it and
you're going to dive down.
It's like, it's so complex.
Like, these are long, extended fight scenes.
We had, like, a lot of oners, too.
Like, full, the whole scene in one shot.
Whoa.
Which Frankie, our director, really loved the idea of and I honestly love it
because it brings you into that moment is so enriched with everything that you're
supposed to feel between action and cut.
So, I do love a long oner.
But, you know, I come from Bollywood movies.
So, we have a lot of choreography for, like, dance sequences where stories are
also moving forward, like, between, you know, your exchange of expression or
something's happening somewhere else.
You come back.
So, I treat sort of fight sequences like dancing.
It's, you learn the choreography, but that doesn't stop your face from telling
the story.
Right.
That makes sense.
Yeah.
Yeah.
And, I mean, it is kind, I mean, it's just choreography, whether it's
choreography with dance or choreography with movements with your hands and
swords.
I had never worked with blades before this movie, though.
That was cool.
How much training did you have to do?
Like, when you found out that you're going to take the role, how much
preparation did you have to do physically to get ready for all that stuff?
It was a cool year for me because I was filming three jobs which were all
action and stunts.
So, this movie called Heads of State, which I did for Amazon again, and then
Citadel, and this movie.
So, it was a year of three action-packed jobs.
So, the, you know, being agile and being in it was already part of what I was
doing because that's what I was filming every day.
But the swords training was tough, and to be ambidextrous with it as well.
So, I had my stunt coordinator who was doing all three movies with me.
She, in between shots, she and I would just take our rubber swords out and do,
like, choreography and rehearsals.
But, like, it took at least three or four months of just staying in it and
getting loose with it.
Also because Karl Urban, my co-actor, had, casual, learned how to do, like,
sword fights in The Lord of the Rings.
So, he was amazing at it.
So, I didn't, you know, in that last duel, I didn't want to be any less than.
So, I kind of went at it.
No, you look very good at it.
It was really good.
Thank you.
I was, like, did you work with some sort of, like, a kendo specialist or some fencing
specialist?
Like, how did you learn how to move the sword correctly?
It wasn't kendo, for sure.
It definitely wasn't fencing.
It was uniquely, because the swords were, our director was very, very excited
about the weapons in this movie and wanting to get it really right from the
period.
Whether it was the guns that we used or the blades that we used, the machete
was one of my favorite weapons in the movie, because that's, like, her weapon
in the movie, because it's practical.
Use it for coconuts.
Use it for skulls.
Same, same.
And that was really fun.
But our, you know, second unit director, Rob Alonzo, had so much experience in
the amount of work that he's done prior.
He came in with a very specific idea of wanting to make the fighting style
super unique, and each set piece, like, a different design of choreography.
So, you know, there was one which was in a dark cave, so the only time you saw
people was when the gunshot went off, and just different styles of fighting,
which I thought was really cool.
So, but did you have, like, a professional trainer that taught you how to do
that?
Yes.
And so, how would you do it?
Would you do it with a real sword?
Did you do it with, like...
Well, we had three different kinds of swords.
The real sword, like, weighs more than me.
It was insane.
I couldn't do it with the real sword as much.
But for filming, and this is the magic of the movies, you know, you have four
different weights of it.
One is, like, the real sword, where you need it for, like, you know, where it's
a close-up, or the sword is really, really visible.
But when you're doing the big choreography, you have, like, a lighter sword,
which is created by the props department, and then another lighter one.
And when you need to flip it, it's the lightest one.
Because I was thinking...
I'm telling you all my secrets.
That's good.
It's good to know.
That sucks.
Oh, no.
No, listen...
Here, I was trying to impress you with my sword flipping.
No, it's impressive, period.
And talking about my fencing.
But no, it was movie magic.
One of the things that I was thinking when I was watching it is, like, how many
takes did you have to do with this?
Because that's got to be so hard to do.
Because you're swinging this gigantic iron thing.
Yeah.
And clashing into other ones.
And, like, if you have to do three or four takes of this, your arms are going
to be toast.
Oh, we did, like, ten hours of it every day for, like, seven days or something.
Do you have shoulder problems after that?
No, actually, I didn't, but I was jacked.
My arms never looked as good.
Now, I mean, I have a four-year-old and I lift her a lot, so my arms are, like,
all right.
But during this movie, oof.
Because we were just, like, at it.
Yeah.
And we both, you know, threw ourselves at it, Carl and I.
And it took, it was a big choreography on top of this bluff.
We shot on 100% of this movie.
At least 90% is definitely on practical sets, real sets.
We did not want to use a lot of VFX.
So, you know, Phil Ivey, our production designer, we built the ships.
We built the house.
We built...
Really?
Everything was a replica of what it would have looked like in the 1900s in the
Cayman Islands.
We went and saw it.
It was amazing to be able to do that with real stuff, you know?
Yeah.
Well, the whole history of piracy is so fascinating.
And one of the things that the movie is about is this...
The Carl Urban character is from...
He was one of the soldiers of the East India Trading Company.
Then I went on a deep dive on the East India Trading Company.
You did.
That is crazy.
When you learn the history of that one corporation is one of the first publicly
traded corporations
that essentially was in control of India, Pakistan, and Bangladesh, went to war
with China over opium.
And that's how they took over Hong Kong.
You're like, holy shit.
One crazy fucking corporation involved in the slave trade, the opium trade,
just a corporation, publicly traded corporation.
People could buy stock in it.
Like one of the first ones.
And it just went haywire to the point where it got so big.
There was a revolt and then the British government took over it and nationalized
it.
But the whole story is insane.
If you think about how much in their minds they were able to achieve and how
much they were able to destroy in that duration is crazy if you go down history.
Changed the course of countries forever.
Of human lives forever.
Forever.
Like the amount of pillaging that happened.
Yes.
Millions and millions of lives.
And this movie actually has a really interesting slice of what they were
capable of doing.
They utilized pirates in order to, you know, take over new lands, right, in
their conquests.
And then when piracy was abolished, they, you know, went after them and they
wanted to arrest them.
And they vilified the same people that helped them build their entire empire.
So this was really interesting because my character's story, her parents and
her family are indentured servants, which was the truth of many, many people,
especially in India, where young people were, you know, told better
opportunities, new lands, more money.
Come with us and take them off as servants and then drop them in different
parts of the world and islands.
And the Caribbean has a huge Indian community whose history started with just
being displaced from their lands and dropped somewhere else in the world and
then having to figure out what your future looks like.
I mean, it still happens to many, many people around the world right now.
But I thought it was really interesting that my character came from that and
her entire identity was erased, taken from her.
She had no idea.
She was 12, so she had no idea what it meant to have that identity.
And I met so many people, actually, when I went to the Cayman who don't know
anything about their family tree beyond, like, five generations.
They were, they know where their family may have come from, from Sri Lanka or
from India or, you know, any other nation, but have no idea what, like, what it
was, where, from what village, like, what was your culture.
And that ambiguity in, in a history of a human being erases a part of you, it,
it, it denies you of, of knowing the depth of your culture or where you come
from or your roots.
And I thought that was really, really interesting for my character to play and,
and then reclaim herself through the journey of the movie.
Well, it's a fascinating part of human history and it's taken place all over
the world.
And for a lot of cultures, they, they don't have an understanding of exactly
what happened before they were colonized.
Yeah.
Like one of the great examples is Mexico.
I went in a long deep dive on Mexico recently over the last few months, because
I've had a bunch of people who are historians who came on the podcast, who were
just researching these ancient Incas.
and Mayan sites and talking to them about it.
And then I went into it and it's like, there was over a hundred different
languages that are just lost forever in that whole, what is now called Mexico.
And that's the reason why everybody over there spea