Angelique Jackson: Have you ever wanted to be a fly on the wall when your favorite movie stars get together?

Margot Robbie: It's a perfect double billing, "Oppenheimer" and "Barbie."

Cillian Murphy: That was a good instinct.

Angelique: Variety Studio allows you to listen in as A-list talent talk about their latest blockbuster films.

Emma Stone: She was, like, the most joyous, curious, inspiring character to be in.

Angelique: With Cillian Murphy and Margot Robbie, and Bradley Cooper and Emma Stone.

♪♪♪ Angelique: Welcome to Variety Studio, "Actors on Actors."

I'm Angelique Jackson.

Clayton Davis: And I'm Clayton Davis.

On this episode, we're hearing from the actors behind some of the year's biggest movies.

Angelique: They delivered show-stopping performances in movies about women eager to understand the world around them and about men whose creations forever changed 'em.

Angelique: What do you get when you cross Cillian Murphy and Margot Robbie?

One word comes to mind: Barbenheimer.

With both "Barbie" and "Oppenheimer" hitting theaters on the same day, these films took the Internet and the box office by storm.

Cillian Murphy takes center stage in "Oppenheimer," starring as the father of the atomic bomb.

The actor delivers a haunting performance as a trio of timelines offer insight into the fame, scientist's methods, his personal affairs, and the fallout from the bomb's detonation.

General Groves: Are we saying there's a chance that when we push that button, we destroy the world?

J. Robert Oppenheimer: Chances are near zero.

Groves: Near zero?

Oppenheimer: What do you want from theory alone?

Groves: Zero would be nice.

♪♪♪ Angelique: Margot Robbie produces and stars in "Barbie," playing the iconic doll who must travel to the real world after suffering an existential crisis.

Robbie's stereotypical Barbie takes audiences on a soulful journey, one that is pink, plastic, and fantastic.

Barbie: Bad breath this morning, a cold shower, burnt waffle, and falling off my roof.

female: [gasps] You're malfunctioning.

Barbie: What?

No, I'm just, I'm--am I?

female: I've never seen this kind of malfunction before.

It's usually just hair-related.

You know, you're gonna have to visit Weird Barbie.

Barbie: I have never had to visit Weird Barbie.

female: That's because you've never malfunctioned.

female: I heard that she used to be the most beautiful Barbie of all, but then someone played with her too hard in the Real World.

Barbie: She's so weird.

Cillian: Well, congratulations on your reasonably successful film.

Margot: Congratulations to you.

Cillian: So you're producer on the movie as well.

How did you know a Barbie movie would connect with audiences in the manner that it did?

Margot: Yeah, it's like 90% of me was certain that this would be a big deal and a massive hit, and then, like, 10% of me thought, "Oh, this could go so badly wrong."

But I went after Greta Gerwig from the beginning to direct and hopefully write as well, and then she invited Noah to write with her.

You know, it was a pretty long process.

It was about 6 years ago we got the property.

First we had to, you know, it was set up at Sony.

We got it out of Sony, set it up at Warner Brothers, got Mattel's blessing to let us produce.

Then went after Greta.

Cillian: Okay.

Margot: And then it was, like, the writing process and, obviously, I didn't know it was gonna have the kind of-- be the cultural phenomenon that it ended up being.

Cillian: When did you realize that that was what it was going to be?

Margot: It was all the way along.

Like it--I was, like, "Okay, I think people are picking up that we're trying to do something interesting here, you know, the fact that it's Greta Gerwig, people are like, "Greta Gerwig in a Barbie movie, what?"

And so that was the right reaction.

That's what I was hoping for.

And then, you know, the pictures of Ryan and I rollerblading on Venice Beach came out and, like, it was starting to occur that, oh, this might even be bigger than I'm even thinking, and I believe in this more than anyone.

So I'd been thinking big for it and it still turned out bigger than I expected.

Cillian: It sure did.

In terms of the idea of it, you know, were Mattel cool with that from the beginning?

Did you have any kind of pushback with how kind of radical you were trying to make it or-- Margot: Yeah, I mean, Mattel were amazing to let us do this and-- Cillian: So they had a sense of humor?

Margot: They did and they were wonderful and they let us do so much and they had such a good sense of humor about the whole thing.

But what about you?

Did you think so many people were gonna watch a movie about the making of the atomic bomb?

Cillian: Ha, ha, no.

I don't think any of us did but, you know, Christopher Nolan was always determined that it would be released in the summer as a big temporal movie.

That was always his plan and he has this kind of superstition around that date, the 21st-- Margot: Do all his movies come out on that date?

Cillian: In and around the 21st of July or it could be always the 21st.

So they're always--they always come out then.

Margot: Really?

Cillian: But yeah, I mean, it doesn't-- Margot: I mean, it's a good date.

Cillian: It's a good date.

It is now.

Margot: We picked that date too.

Cillian: Yeah, I know.

Margot: I remember your producer, Chuck, or one of your producers, Chuck Roven, called me 'cause we worked together on some other projects.

And he was like, "I think you guys should move your date."

And I was like, "We're not moving our date.

If you're scared to be up against us, then you move your date."

And he was like, "We're not moving our date.

I just think it would be better for you to move," and I was like, "We're not moving.

I think this is a really great pairing, actually.

I think it's like, it's a perfect double billing, "Oppenheimer" and "Barbie."

Cillian: That was a good instinct.

Margot: Clearly, the world agreed, thank God.

Cillian: Yeah, it did.

And tell me this.

Like, being the producer and being the star of the movie, how did you manage to kind of, I guess, split those responsibilities or were you always gonna play Barbie?

Margot: Not necessarily.

I, you know, even when we got the property and sat with Mattel, I said--you know, they were like, "Will you play Barbie?"

And I said, "No, that's up to the filmmaker.

So it's, you know, I wanna go after Greta Gerwig and she should cast whoever she wants.

And if that's not me, that's okay."

And I said that to Greta as well.

It's like, you write the script that you wanna write.

You and Noah write it, and if you think I'm the right actor for it, great, and if you don't, like, let's go get the best actor for it.

Cillian: Cool.

Margot: But you've done five movies with Christopher Nolan now, right?

Cillian: This is six, actually.

Margot: Six, really?

Cillian: Uh-huh, yeah, yeah.

Margot: So you like the guy?

Big fan?

Cillian: It seems to--it seems to work.

You know, I mean, this is the first time playing a proper lead role for him.

Like, he called me up out of the blue 'cause he'd never, like, I didn't know he was-- I didn't even know he was writing it.

And he said in his, you know, very understated British way, "You know, I'm just making this movie, 'Oppenheimer.'

I'd like you to play the part."

And so, it was like, wham, out of nowhere.

I did realize then that it was different to the other jobs I'd done with him because it was the story of Oppenheimer's life and then when he eventually gave me the script, it was written in the first person, which I'd never read before, and so I kind of-- Margot: The script was written in the first person?

Cillian: Yes, and so it was very clear that he wanted it to be truly subjective storytelling, you know?

And that did add to the feeling of, like, "Oh, like, this is a biggie."

But then I knew as well that he was gonna people it with all these extraordinary actors and the thing about all those roles is they were all very consequential characters in history and in the movie, so I'm, you know, we've put all these extraordinary actors in the-- Yeah, it was bonkers.

Every time he would tell me, oh, you know, Gary Oldman's gonna pop in and, you know, we got Downey to play Strauss.

And so it felt lovely and I think I've developed a shorthand with Chris over the years, like, we do understand each other.

I think we share a similar kind of taste or approach to storytelling.

Margot: And prepping for the role, what's your prep process like?

Cillian: I mean, I don't know about you but I'll take as much as I can get.

With this one, it was 6 months from when we--when he called me to when we start shooting.

And I would have taken--I would have taken another 6 months if I could have got it.

Just did an awful lot of reading.

In the end, it was a kind of a-- Margot: Yeah, when he called you and said, "Movie about Oppenheimer," were you, like, "Gotcha," or were you like, "Who's that?

I've got--I should go read a book.

I know nothing about it."

Cillian: I knew kind of very basic, you know, Wikipedia-level.

Now, I knew about the Trinity Tests and I knew about, you know, the Manhattan Project and then, obviously, what happened in '45 but, like, I didn't know what happened afterwards or anything like that.

Margot: Yeah, yeah, so you read a lot to prep.

What else do you do?

Cillian: Like, walk around my basement talking to myself, really.

Margot: Really?

Do you record yourself?

Cillian: I do sometimes.

Do you?

Margot: No, only if I'm doing dialect stuff, but I prep like a psychopath as well.

Cillian: It's the only way, isn't it?

Margot: I prep--I'll prep as, like, as long as I possibly can, because then I can walk on set and just be, like, totally free.

But if I hadn't prepped, like, I'd be so terrified.

Like, when I hear some other actors I, like, look at their script and there's nothing written on it, I'm like, "I'd be so terrified like a bazillion notes and thoughts."

Then I'd be having all those thoughts on set as opposed to just like-- Cillian: Exactly, and I think, you know, when you get on set, time is your most important commodity, as you know, and the last thing you wanna be doing is-- Margot: Finding it.

Cillian: --figuring it out.

You gotta--every second counts, so you wanna do all the figuring out before, and then park it, you know?

Margot: Yup.

Cillian: And tell me about casting your movie then.

What was your kind of goal or plan to--when you were casting it and what was your-- Margot: I mean, most people's names were written into the script.

Like, I was Barbie Margot and it said "Ken, Ryan Gosling."

Like, everyone, you know, Greta kind of manifested the cast she got.

Also, everyone was so keen to do it.

We just said from the start, like, "Let's make a massive dance party, invite everyone."

And it just--it was like that on set.

Like, it was so fun.

Every day was so fun.

Cillian: I think you can kind of feel that in the movie.

I do think that that stuff transfers.

Margot: It--definitely, and I think it all trickles down from the top.

Like, whatever mood the director sets, it's like it seeps into everything, and everyone really got on board with that.

It's always, like, the guys I feel like that are, like, "Oh, finally.

Finally I have permission to wear pink and get dressed up."

Cillian: Do you feel like there's a sequel in the works?

Margot: We put everything into that movie and it's so good that I'm, like, "Oh, no," and I was so--also so proud of the fact that it was an original.

It wasn't a sequel or a prequel or a remake, which is getting rarer and rarer these days.

And your movie too is original and it's amazing that we both got these big theatrical opportunities for original ideas.

Cillian: Yeah.

Margot: I would do anything to be back on that set.

And I'll do anything to be on set with Greta again and Ryan again.

Again, if it was-- Cillian: So you're not saying-- Margot: So it's not "No."

No "No," but also it would have to--it would take a lot for it to be a-- Cillian: Yeah, to live up to what you guys did.

Margot: Yeah, to live up to it, yeah.

Cillian: Yeah, I know that feeling, yeah.

Margot: It's out there on the Internet that you're not that aware of memes and things like that.

First of all, is that true?

And second of all, if that is true, were you even aware of the Barbenheimer, like, phenomenon or were you just blissfully unaware because you use a dial-up phone or something?

Cillian: No, I have two teenage boys so they keep doing this, so, and I do know what a meme is.

Now, I know that there are memes about me not knowing what a meme is-- Margot: It's a great meme.

It's a conception of memes, a meme within a meme.

Cillian: It is a--I genuinely, at the time, did not know, but people forget that was-- Margot: A while ago.

Cillian: It was a long time ago.

Margot: Long time ago, yeah.

I might not have known back then what a meme is.

Cillian: No, and I mean-- Margot: I'm not that tech savvy.

Cillian: But now that it's become this sort of, like, meme that's eating itself, like, I am aware, but it's mostly because of people either sending it to me or showing, saying, "Look at--you gotta look at this."

Margot: Did you see any of the Barbenheimer fan art?

Cillian: I mean, it was impossible to-- Margot: Wasn't there some great ones?

Cillian: --avoid any of that stuff, which is-- Margot: People are so clever, the things they come up with.

Cillian: It was incredible and it was self-generated, do you know what I mean?

Margot: I know.

Cillian: And I think it's--it happened because, like, both movies were good.

Margot: Yeah.

Cillian: I think it just connected in a way that you or I or the studios or anybody could never have-- Margot: No, you can't force that.

Cillian: --have predicted, no.

Margot: You can't orchestrate that.

It just happens.

Cillian: No, and it may never happen again.

Margot: I know.

I mean, it was wild seeing that many people going in the movies.

Wild.

Cillian: The fact that people were going, dressed up as Barbie or dressed up as Oppenheimer to go and see the movies multiple times, was kind of so flattering and, you know, kind of overwhelming.

So great for cinema.

Margot: Totally.

Cillian: Yeah.

♪♪♪ Clayton: It's been 15 years since Bradley Cooper and Emma Stone rocked out on the set of the comedy, "The Rocker."

Now, they're reuniting to discuss their physically demanding and transformative performances.

Bradley Cooper has collected a stunning nine Oscar nominations over the last decade, across multiple categories.

He's sure to add some more nods for his daring and immersive turn as famed composer, Leonard Bernstein, in "Maestro."

Shirley Bernstein: Who did I miss?

Have I missed anyone?

Leonard Bernstein: Just the piano player.

Shirley: Well, I figured you needed no introduction.

Leonard: Hello.

I'm Lenny.

Felicia Montealegre: Hello.

Felicia.

Leonard: Bernstein.

Like that one.

Felicia: Montealegre.

Leonard: Montealegre?

Felicia: Montealegre Cohn.

Leonard: Cohn, Montealegre Cohn.

Well, that's an interesting marriage of words.

Clayton: In "Poor Things," Oscar winner Emma Stone delivers a career-defining performance as a woman brought back to life.

Her curiosity about the world sends her on a daring quest to understand the complicated experience of womanhood.

Duncan Wedderburn: Your behavior is unconscionable.

Will you behave?

Bella Baxter: The food was cack in my throat, the baby annoying, and the woman boring with words.

Duncan: You'll rejoin the table and you confine yourself to the following three phrases: "How marvelous," "Delighted," and "How do they make the pastry so crisp," yes?

Bella: You are hurting Bella.

Duncan: Sorry.

Reason does not penetrate.

Let us go.

Duncan: Oh.

Emma: I'm so happy to see you.

Bradley Cooper: You too.

Emma: You're looking so fresh.

Bradley: Am I?

Emma: Yeah.

Bradley: Oh, thanks.

You look great.

I like the blazer.

Emma: Thank you.

I have to give it back at the end of the day.

Bradley: And the leather skirt.

Emma: Also not mine.

Bradley: Well, maybe you should ask to keep them.

Emma: Okay.

Thanks for having me.

Bradley: And thanks, I just moved in so we just only have a couple of things.

Emma: It's gorgeous.

I like the kind of liminal space, as it were.

Bradley: Yeah, it's like we're in a space shuttle but we're also in a living room.

Emma: Yeah, it's really nice.

It's cozy but scary.

Bradley: So, can I just skip to "Poor Things"?

Is that all right?

Emma: Oh, okay, yeah, I would love that.

Bradley: Yeah, just because I was blown away by the film.

There's nothing like being able to communicate with somebody you love when they--you've seen them create art like that.

So, my first question, I assume you didn't shoot in order.

Emma: No.

Bradley: Right.

Emma: No.

Bradley: So how were you able to track her evolution 'cause you're basically playing a baby to a 35-year-old, in the matter of 2 hours.

How did you do that?

Emma: Yorgos told me about the general overall structure of the story, right after we made "The Favourite."

So we had about 4½ years between talking about "Poor Things" to making "Poor Things," and we realized after a while that we needed to create stages for her, and then we talked about her language and how that evolves and then the physicality within each stage and what occurs sort of on her journey to kick her into the next stage.

So at the beginning, we basically only did stage one and stage 5.

And then we sort of did the middle of the movie afterwards.

Bradley: So did you shoot that last scene in the beginning?

Emma: Yeah.

Bradley: Amazing.

Emma: Yeah, it was really like the two of us collaborating through the entire thing, so we have like-- Bradley: So what does that mean?

Are you Facetiming or are you spending time together?

How are you-- Emma: Well, we went to Budapest for a month before we started shooting so we had, like, a month-long rehearsal process where-- Bradley: With the other actors?

Emma: With the other actors and then we would have solo rehearsals with just him and I where we would work just experimenting in the moment, because a big thing was, you know, early on I went into it being, I think, more literal than I needed to be, you know, watching videos of, like, a toddler learning to walk or how someone says their first words.

And because she's in this fully formed adult, healthy body, her relationship to not knowing how to walk, you know, it's not even like you could compare it to someone who's just been, like, in an accident and is recovering and learning to walk.

She's completely fine and needing--it's just her brain that hasn't caught up.

So--which was great because there was nothing to compare it to, so it was just completely like does this work?

Bradley: It's all absolutely believable, that's what's amazing.

Emma: Oh, I'm glad you feel that way.

Bradley: Do you talk about comedy or he just trusts that you have comedic rhythm?

Because it's just so believable and so funny at the same time.

Emma: Well, Tony's writing-- Tony McNamara who wrote the script, also wrote "The Favourite."

He also wrote "Cruella," so I've worked with him quite a few times and he's very funny and he's a very specific type of, you know--he just has that sort of, like, feel for it.

Bradley: But when you say he's writing, did he write the sounds that you're making and the rhythm in which you make them in the beginning, 'cause you're not even saying words, really.

Emma: No, no, no, no.

Bradley: So I mean, that's just you.

That's you and Yorgos figuring it out.

Emma: Yeah, we're kind of figuring out what would happen.

Bradley: But the rhythm of it around the dinner table, you know, I mean, all that stuff, it was just-- Emma: Yeah, I mean, that's--but that-- Bradley: That's just instinct?

Emma: I guess so, partially, but it also was that rehearsal process was so helpful because we all got to know each other so well and we--all you do in a rehearsal with Yorgos is, like, mess around.

You play theater games.

It's not literal at all.

You're not, like, reading the scenes and working out how they're gonna go.

Bradley: Oh, that's good.

Emma: It's very playful.

Like, you're like a human noodle or you're doing log rolls or whatever.

Bradley: Really?

Emma: Yeah, like, really fun things.

So everybody feels really, like, silly.

Bradley: Like a troupe.

Emma: And like a troupe.

Bradley: And that's what his movies feel like, quite honestly, that there's a troupe.

Emma: It's because of that.

It's because of that process and we had the same, like, on "The Favourite."

Bradley: Like no other cast on any other film.

It feels like I'm watching this film and then they're gonna take it somewhere else.

Emma: And that's exactly what it feels like by the time you're even on set for the first day.

You're, like, with your friends.

Bradley: Are you the kind of actor where, like, you're just you talking, making jokes, and then you switch it on with action?

Or with this movie, which is so in your body, was it easier just to sort of be in that place the whole time?

Emma: I didn't think that I was staying in it between at all, but then I think once the movie finished and I, like, went back to life and I left Budapest and I went back to New York, I was like, "Whoa, it is very weird to not be Bella."

Like, I miss Bella.

I actively miss Bella because-- Bradley: I do.

I mean, it's an infectious person.

Emma: She was, like, the most joyous, curious, inspiring character to be in.

And so I didn't really know how kind of altered-- Bradley: Just interrupt for a second.

That's what I love about the writing too because everybody feels that way in the movie.

All the other characters feel that way, which leads to Mark Ruffalo.

Emma: Oh my God.

Bradley: Who I've always loved and--but I haven't seen him do something like this where you just realize, "Oh, oh, like, this guy can do anything."

Emma: He's so funny.

He's so funny.

Bradley: And just went out on a limb.

Emma: Completely, and the amazing thing about Mark is that could not be more opposite of that character in real life.

Bradley: Right, yeah.

Emma: And so, in between, he's just like this love bug that-- Bradley: Wait, so he was not like that in between?

Emma: "--this is so--my God, like, what I'm doing?

This is so--I'm being so nasty," and then, you know, it's like, "Action," and he's like... You know, and so-- He's--it was incredible.

They could not be more opposite as people.

Anyway, I remember when you were beginning the process of "Maestro" years ago, but for you, entering into that, what I heard which I didn't understand was that there was, like, a Spielberg--like, he was gonna direct that.

Bradley: He was gonna direct a movie about Leonard Bernstein.

Emma: Got it.

Bradley: And he talked to me about potentially acting in it, just acting in it because he knew how much I loved conducting since I was a kid, obsessed with it.

Emma: How did you get into conducting, as a kid?

Bradley: I mean, when I say "conducting," play conducting, like, you know, just holding the baton.

Emma: No, I know, but why--what was it?

Bradley: Tom and Jerry, you know, Bugs Bunny, you know, the cartoons?

Emma: So it was like cartoon conducting.

You thought that was so cool?

Bradley: Well, I just--that's where I--I was like, "Oh, you can do this and, like, sound comes out," you know?

And then I asked Santa Claus for a baton when I was, like, just around 8 years old.

And then I would just conduct all the time because there was classical music playing in my house.

We had a record player in the living room.

And I used to always just sit in the living room and just start to conduct whatever the music was and then I started to have favorite pieces of music and I would ask my dad to get CDs of that, and so I would spend hours and hours.

And then in grad school, Ellen Burstyn came and did a workshop with us and we, like, created a character and I wrote a monolog about a conductor.

So I was like this conductor thing has always been-- Emma: Oh my God, it was really in you.

Bradley: So I always thought that, gosh, if I ever got to play one, I might, like, cellularly, I'd believe it.

And then he wasn't gonna direct it and I'd just finished "A Star Is Born," and I really found what I loved, which is writing and directing movies.

I just never dreamt that big when I was a kid but that was actually the dream I had.

But then he decided not to do it.

He didn't think he was gonna do it and I just said, "Well, could I--what would you think if I took it on?"

And then I showed him "A Star Is Born," and then he said, "Yeah."

Then I had to get the rights of the music from the kids and then it just all started and I just started doing research, and that's how it started, back in 2017, the end of 2017.

Emma: So that is interesting because we--it sounds like we worked--I mean, obviously, I didn't direct "Poor Things."

You were also, like, writing, directing, producing.

You were in every single facet of that experience and then the lead actor of the film.

I mean, that's so much to take on.

But will you talk to me about conducting the cathedral scene?

Bradley: You know, there's really nothing on the cutting room floor within the scenes.

They are just what they are, which was wonderful for the actors and also challenging.

But that scene I had, like, five different set-ups and I realized 'cause it was all out of fear that I wasn't gonna be able to pull it off.

I didn't consciously know that at the time, but the rest of the movie is, like, two cameras, not even, you know, and then we're done.

We had very short days.

But that one, I just kept messing it up, 'cause we were doing it live.

And conducting is the hardest thing.

People are always like, "What's conducting?

You're sort of just like--it's like--" No, no, you-- Emma: It looks--you're like, pouring sweat and like-- Bradley: Well, you're keeping tempo a little bit ahead to make sure and you're also reminding everybody of these things that you've worked on in rehearsal.

Luckily, they're the greatest orchestra in the world, but still, I had to conduct them because the shot is seeing everybody and you just would know it if it wasn't happening.

So I messed up the whole first day.

I kept messing up.

And the minute I was behind tempo, it's over.

And they don't really give you anything, you know, these musicians.

And I was just, like, "Oh my--" It was a nightmare.

We didn't have it.

Emma: You had to do it again?

Bradley: No, so I woke up in the morning, the next morning.

We were supposed to shoot the outdoor scene with the cathedral and there was a scene of her driving up that I didn't keep in the movie.

So we had a technocrane for that.

And again, honestly, like, I feel like Lenny kept showing me what to do all the time, I really did.

So, because we were all staying right in that little small town, Ely, we shot in the cathedral that he played in.

I walked into that church and it was empty.

And we were not supposed to shoot there that day, and I just--and I looked up and I just--I had, like, a conversation with him and I was, like, "I gotta give it one more shot."

And they all came in.

Matty came in, Mango, Scott Sakamoto, the crew-- said, "Guys, before we go outside, I know we have time, that's not gonna take long.

Let's bring the technocrane in."

And it was so crazy, like, this huge, you know, 40-foot technocrane, we'd bring in the bowels of the cathedral, and I actually said, like, a prayer to Lenny in front of everybody, like, "Thank you for this opportunity.

We're just--we're gonna do it again," and that's what's in the movie.

It was one take.

Emma: Whoa!

Bradley: And that did it.

And when it ended, the timpanist, the guy, you know, from the back, came running up and he was, like, "You know, what you did yesterday, it was total... you know, today you conducted us."

I was like, "No, no, I know.

I know."

"No, no, you don't understand.

You can't use yesterday at all."

I was, "No, no, no, we're not.

We're not.

We got it.

We got it, we got it."

And he's like-- Emma: That's unbelievable.

Bradley: It was crazy, yeah.

And it was really like-- and my feeling, my memory, of that, of that take, 'cause the other one, I was just in my head, was that I was actually floating above the orchestra and that I was able to, like, point to each musician.

Emma: Do you think that's what-where conductors get to?

Bradley: Well, he talked about like, you know, it was--I dunno, but it was the most, you know-- you see at the Oscars, like, playing at Glastonbury, which I thought would be the things that I would-- didn't even compare to what that experience was.

It was-- Emma: You you're saying those were...experiences?

Bradley: No, but it was like really, and I'm not-- and everybody--and I feel like everybody felt it.

It wasn't just me.

Like, everybody-- Emma: It's totally transcending.

I mean-- Bradley: Something actually happened in that take.

Emma: That's what it feels like when you're watching the film.

It feels like-- Bradley: It was crazy.

I don't know what the heck happened, but it was-- Emma: It's beautiful.

Bradley: But the only thing I can say is that, you know, all the prep, you know, that kind of thing can only happen if you work.

And that's what I see in your movie.

It's like, there's no way she just winged it, do you know what I mean?

Like, you're sick talented but, like, that had to be a tremendous amount of work.

Emma: It was, but it was like the most joyous work ever.

Bradley: Yeah, and by the way, and then we feel like it was hard.

You know, people say, "Was it so hard?"

I was like, "It's not--hard is not the word I would use."

Emma: Hard is not the word I don't think ever when it comes to making-- Bradley: No, when you're enjoying it, yeah.

Emma: Yeah, completely.

It's beautiful.

We're so lucky to get to do this.

This is like--it's a joy.

Bradley: Yeah.

♪♪♪ Clayton: We hope you've enjoyed this episode of Variety Studio "Actors on Actors."

Angelique: Please join us again next time.

Margot: Yeah, now people in the street say, "Hi, Barbie," a lot.

I like it.

I'd rather people be shouting that at me than other things.

Cillan: This is true.

Margot: I'll take it.

Cillan: For the rest of your life?

Margot: For the rest of my life.

Bradley: Talent, is that okay?

Emma: Why are your eyes so closed?

Bradley: 'Cause I realize, like, as I've gotten older, no, I'm serious, as I, like, got more comfortable with myself, the truth is I think better when my eyes are closed.

Emma: It's not--you have to work through this.

Bradley: Oh man, I think it's really nice.

Emma: It's crazy.

Bradley: Okay, so Emma--