The Big Picture

‘Marty Supreme’ Is the Moment, With Josh Safdie!

December 24, 2025

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  • The hosts consider Josh Safdie's *Marty Supreme* to be one of the best movies of the year, praising its electric, joyous, and relentlessly propulsive filmmaking style. 
  • Timothée Chalamet's central performance as Marty Mauser is highlighted as an incredible channeling of impenetrable, self-obsessed confidence, drawing comparisons to actors like Al Pacino and Paul Newman. 
  • The film's period setting (1950s New York) allows the Safdie Brothers to shift into a more fantastical, dream-nightmare state compared to their contemporary settings in films like *Uncut Gems*. 
  • The discussion heavily focuses on the strong awards potential for *‘Marty Supreme’*, particularly for Best Picture and Timothée Chalamet's nomination, while acknowledging the tough competition in the directing category. 
  • Director Josh Safdie detailed the profound personal shift and feeling of emptiness he experienced immediately following the completion of *Uncut Gems* before finding the world of *‘Marty Supreme’*. 
  • The casting strategy for *‘Marty Supreme’* emphasizes populating the film with unforgettable mini-performances from non-traditional actors, a hallmark of the Safdie brothers' filmmaking style, which Safdie believes is an art form unto itself. 
  • Safdie praised Kevin O'Leary's performance as an 'iconic asshole' and discussed the meticulous nature of both Chalamet and O'Leary as performers, noting the complexity of shooting the final Japan sequence. 
  • The conversation concluded with Safdie revealing his last great thing seen was the obscure 1989 sci-fi horror film *The Borrower*, directed by John McNaughton, which influenced a sequence in *Marty Supreme*. 

Segments

Initial Praise for Marty Supreme
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(00:00:16)
  • Key Takeaway: The hosts immediately establish Marty Supreme as one of the year’s best films, praising its relentless and propulsive filmmaking.
  • Summary: The episode opens with hosts Sean Fennessey and Amanda Dobbins expressing extreme excitement for Marty Supreme, starring Timothée Chalamet. They confirm Josh Safdie, the director, will join later in the show. The film is described as a ‘ping pong period piece’ that made Amanda Dobbins place it as number two on her top five movies of the year list.
Film Credits and Plot Snapshot
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(00:02:42)
  • Key Takeaway: The film’s key creative team includes Ronald Bronstein (co-writer/editor) and Darius Kanji (cinematographer), and it is set for a December 25th release.
  • Summary: The segment fences out the production details, noting Ronald Bronstein’s collaboration on writing and editing, and Darius Kanji’s cinematography. The plot centers on Marty Mauser, an ambitious 1950s NYC hustler pursuing world championship table tennis glory amidst petty crime and a secret pregnancy. The film features a notable cast including Gwyneth Paltrow and Tyler the Creator.
Ambition, Confidence, and Period Setting
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(00:04:07)
  • Key Takeaway: The movie is fundamentally about delusional but recognizable confidence, where the protagonist seeks to make his external reality match his internal greatness.
  • Summary: The discussion contrasts Marty Supreme with other films about ambition, focusing on Marty’s drive to be acknowledged as great. The confidence displayed is described as endearing rather than annoying, rooted in a specific, youthful period of life before one must fully grow up. Shifting to a period piece allows the film to access a ‘Fantasia dream nightmare state’ more easily than contemporary anxiety-driven films.
Chalamet’s Modern Star Power
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(00:08:10)
  • Key Takeaway: The film uniquely blends 1950s setting, 1980s music/score inspiration, and 2020s energy, anchored by Chalamet’s modern ‘white boy swag’ performance.
  • Summary: The movie is a mishmash of eras, utilizing 1980s music cues over a 1950s setting, shot with a 2020s lighting style. Chalamet’s performance is central, embodying an impenetrably confident modern star who confronts the day without the ironic self-awareness common in contemporary figures. The performance is physically demanding, requiring Chalamet to convincingly play table tennis.
Favorite Scenes and Propulsive Editing
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(00:18:25)
  • Key Takeaway: The opening credits sequence, featuring Odessa A’zion’s introduction and the ‘Forever Young’ cue, immediately sets a funny, unique tone that misdirects expectations about the ending.
  • Summary: The hosts highlight the opening credits as a favorite scene for its humor and announcement of the film’s weirdness, despite the pregnancy being foreshadowed. Another key sequence involves a rapid-fire montage starting with a shoe store robbery transitioning to London, introducing numerous characters and escalating action quickly. The film’s editing style is noted for being fast, hard, and cut specifically to the music, creating a ‘cosmic jazz feeling’.
Key Character Introductions and Dynamics
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(00:21:44)
  • Key Takeaway: Gwyneth Paltrow’s character, Kay Stone, provides a meta-commentary on former movie stars returning to the spotlight, mirroring Paltrow’s own career status.
  • Summary: The segment praises Gwyneth Paltrow’s engaged performance as Kay Stone, a former movie star attracted to Marty due to his resemblance to her deceased son. The dynamic is noted as Oedipal, with Marty seeking validation from a figure of past stardom. Fran Drescher’s role as the nagging, hustling mother is also cited as informing Marty’s own manipulative tendencies.
The Kevin O’Leary Villain Arc
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(00:33:23)
  • Key Takeaway: Kevin O’Leary, despite being an untrained actor, delivers a shockingly effective performance as the film’s true villain, Milton, embodying the ‘immortality of capitalism.’
  • Summary: Kevin O’Leary’s casting as Milton, Kay’s husband and the film’s heavy, is noted as controversial but surprisingly effective, matching his real-life controversial persona. His confrontation with Marty in Japan features a jarring, allegorical speech where he claims to be a vampire born in 1601, warning Marty he will ’never be happy.’ This moment illustrates Marty running up against insurmountable systemic power.
Climactic Emotional Resolution
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(00:37:35)
  • Key Takeaway: The final table tennis showdown against Endo provides a conventional sports drama catharsis, immediately followed by the deeply emotional, life-altering moment Marty meets his newborn son.
  • Summary: Marty’s victory over Endo in Tokyo is described as a thrilling, conventional sports climax that moved one host to tears, despite the stylized filmmaking. This is immediately contrasted by the profound, ‘steamroller’ emotional impact of meeting his son, a moment of genuine transition and growing up. The scene is underscored by the 80s song ‘Everybody Wants to Rule the World,’ which hits hard as a sincere, non-ironic needle drop.
Awards Potential Discussion
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(00:57:44)
  • Key Takeaway: The film is considered a strong contender for Best Picture, and Timothée Chalamet is expected to receive a Best Actor nomination, though Josh Safdie’s directing nod faces stiff competition.
  • Summary: The movie is projected to make the top five for Best Picture, with Chalamet’s nomination being highly anticipated. The directing category is noted as particularly challenging, listing competitors like Paul Thomas Anderson and Chloe Zhao. Daniel Lopatin’s score is highlighted as essential and deserving of recognition, especially following last year’s omissions.
Post-Uncut Gems Life
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(01:03:56)
  • Key Takeaway: Finishing Uncut Gems left Josh Safdie feeling hollow and uncertain about his next steps, a feeling exacerbated by the onset of the pandemic.
  • Summary: Safdie described the decade-long journey of making Uncut Gems as his singular purpose, leading to an emotional void upon completion. The casual question of ‘what’s next’ after finishing the film was devastating to him. His life shifted significantly afterward, coinciding with getting married and starting a family.
Marty’s Maturity and Fate
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(01:09:09)
  • Key Takeaway: Safdie views ‘Marty Supreme’ as a more mature film than Uncut Gems, reflecting his changed perspective after becoming a father and contemplating themes of change and happiness.
  • Summary: The film explores how happiness is haunted and how the past influences the future, a theme deepened by Safdie’s experience of fatherhood. Experiencing the birth of his child provided a cosmic realization that life is not centered on the self. The movie’s ending, which is hinted at in the credit sequence, involves Marty’s attempt to control fate through his dream.
Table Tennis History Research
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(01:11:39)
  • Key Takeaway: The historical research for ‘Marty Supreme’ uncovered the deep, often overlooked history of table tennis, including its connection to post-war Japanese cultural shifts and American Cold War propaganda via the Harlem Globetrotters.
  • Summary: The film’s genesis came from a dime store book, Confessions of a Table Tennis Champion and Hustler, which revealed a subculture of intellectuals and outsiders in New York. Lawrence’s, the first Black-owned business in Times Square, served as a historical hub for these players. The research also touched upon the theory that the Harlem Globetrotters’ international tours were a form of U.S. government propaganda combating communist narratives.
Chalamet’s Ambition and Casting
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(01:18:33)
  • Key Takeaway: Timothée Chalamet’s personal drive for greatness mirrored the character’s ambition, making him the perfect fit for the lead role, exhibiting an ’larger than life realism’ in his acting.
  • Summary: Chalamet was identified early on by his intense vision and inability to stand still, suggesting he was not yet where he wanted to be. His commitment was extreme, including filming a 23-hour shoot day before immediately leaving for college commitments. Safdie praises Chalamet’s acting style as nuanced yet larger than life, similar to a young Tom Cruise.
Filmmaking Style and Music
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(01:29:15)
  • Key Takeaway: The propulsive yet picaresque editing style of ‘Marty Supreme’ is achieved through strategic, patient cutting and the music, which functions as a ‘second screenplay’ combining 80s synthetic sounds with organic orchestral elements.
  • Summary: The editing avoids being fast-paced, instead employing ebbs and flows, often dropping out of scenes abruptly to maintain the feeling of constant motion. Daniel Lopatin’s score blends organic instruments (strings, flutes) with synthetic sounds, echoing the synthetic mallets of 80s music and the ticking rhythm of ping pong. The use of 80s needle drops, like ‘Everybody Wants to Rule the World,’ provides a thunderclap emotional resonance.
Casting Duality and Iconography
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(01:43:39)
  • Key Takeaway: Casting choices like Abel Ferrara and Kevin O’Leary leverage the actors’ entire public histories, using them as vessels to express the film’s themes, with Ferrara bringing a ‘street poet’ history and O’Leary embodying the ‘corporate colonialist’ antagonist.
  • Summary: Abel Ferrara, now sober, brought his complex history as a director and street poet to his role, committing deeply to the script despite his real-life fear of dogs. Kevin O’Leary was cast after Safdie recognized his sincere, meticulous, and entertaining ‘asshole’ persona from Shark Tank, viewing him as the embodiment of the American dream archetype. Safdie believes that when casting, you bring the actor’s entire filmography into the new movie on a subconscious level.
Timothée Chalamet’s Artistic Drive
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(01:52:21)
  • Key Takeaway: Timothée Chalamet is a meticulous artist who edits his own material and photographs street scenes while traveling.
  • Summary: Chalamet possesses timing that allows him to be an entertaining yet sincere figure, stemming from his background as an artist. He edits his own material and maintains his own studio for shooting. Safdie observed Chalamet editing photos he took that day on a rooftop bar in Japan, highlighting his passion and meticulous nature.
Pitching Chalamet and Casting Strategy
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(01:53:13)
  • Key Takeaway: Securing Timothée Chalamet for Marty Supreme felt like pitching on Shark Tank because the actor needed to see the business vision.
  • Summary: Safdie felt he had to pitch the movie to Chalamet as a business proposition, noting Chalamet loved Uncut Gems, which helped sell the vision. The director emphasizes that the character’s essence must precede the actor speaking, which is crucial for casting decisions. Public figures like Chalamet bring an inherited public perception, whereas first-timers allow the audience to discover them in real-time.
Kevin O’Leary’s Critical Performance
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(01:54:35)
  • Key Takeaway: Kevin O’Leary delivered an undeniably critical performance in Marty Supreme because he is an ‘iconic asshole’ performer.
  • Summary: The reaction to Kevin O’Leary’s performance is frequently cited as one of the best in the movie, despite him not being a traditional actor. Safdie notes O’Leary is a performer who was generous with his time during the hectic Japan shoot. O’Leary understood the economics of the character’s backstory, which involved the pen patent and subsequent ‘pen wars’ with Bic and Pilot.
Table Tennis Scene Nuances
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(01:56:53)
  • Key Takeaway: Safdie used a secondary camera on Kevin O’Leary during long set takes of the table tennis scenes to capture the piling up of emotions between points.
  • Summary: The Japan section required long set takes where Timothée Chalamet and Koto (Endo) seamlessly transitioned between complex table tennis points. Safdie used a separate camera on O’Leary to observe his internalized feelings about control and avenging his son in real-time. This technique allowed O’Leary to reach emotional depth organically without needing specific direction for each shot.
Favorite Scene: Hotel Conversation
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(01:58:34)
  • Key Takeaway: The favorite scene for Safdie is the hotel room conversation between Marty and his mother, which required extensive rewriting to balance fast-paced dialogue with deep meaning.
  • Summary: The hotel room scene functions simultaneously as philosophical discussion and essential information delivery, feeling natural despite its complexity. The dialogue mirrors a mother-son dynamic where the mother’s lost dream due to pregnancy is referenced, contrasting with Marty’s complicated relationship with his own mother. The scene successfully delivered narrative necessity without feeling forced.
Fertilization Sequence Inspiration
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(02:00:13)
  • Key Takeaway: The film’s sequence depicting fertilization was inspired by Niels Larson’s 1960s microphotography book Child is Born and later influenced by the 1988 film The Borrower.
  • Summary: Safdie initially aimed for a realistic, science-class look based on Larson’s black-and-white microphotography, but the result was too abrasive. The sequence evolved to incorporate a romantic quality, drawing inspiration from the 1980s film Eternal and the 1987 film Look Who’s Talking. The final sequence uses a children’s choir to underscore the inevitability of the events being depicted.
Filmmaking Speed and Time
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(02:04:05)
  • Key Takeaway: Safdie embraces maximalist, propulsive filmmaking as a form of wish fulfillment against the anxiety of time moving too quickly in life.
  • Summary: Safdie feels comfortable working at a high speed, noting that life’s days move fast, which freaks him out, leading him to seek wish fulfillment in movies. He views cinema as a maximalist art form where characters perform actions he wouldn’t do in real life. He expressed a need to figure out how to make movies quicker, as he intends to work until the day he dies.
Future Aspirations and Directing Sports
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(02:07:19)
  • Key Takeaway: If not directing films, Josh Safdie’s dream is to become an architect to design public-facing buildings with narrative flow.
  • Summary: Safdie expressed a desire to build a public-facing building, focusing on the narrative experience of entering and leaving the structure. Following a positive review linking his capturing of table tennis to basketball, Safdie is considering directing a game telecast to capture the psychology of the sport. He plans to speak with John DeMarsico, who directs the Mets games, for insight.