{"id":2365887,"date":"2026-04-09T18:33:42","date_gmt":"2026-04-09T18:33:42","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2365887"},"modified":"2026-04-09T18:33:42","modified_gmt":"2026-04-09T18:33:42","slug":"jonah-hill-and-martin-scorsese-on-gossip-cancellation-and-keanu","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/jonah-hill-and-martin-scorsese-on-gossip-cancellation-and-keanu\/","title":{"rendered":"Jonah Hill and Martin Scorsese on Gossip, Cancellation, and Keanu"},"content":{"rendered":"

<\/p>\n

\n
\"Jonah<\/p>\n

Jonah Hill wears Shirt Dior. Tank Top Varsity Los Angeles. Glasses and Watch (worn throughout) Jonah\u2019s Own.<\/p>\n<\/div>\n

Jonah Hill has been famous long enough to have been celebrated, scrutinized, written off, and underestimated. For most of his adult life, he\u2019s been one of the most recognizable faces in American movies and he\u2019s absorbed the good, the bad, and the ugly that comes with it. That dynamic\u2014between the public and the private, the person and the persona\u2014informs every scene of Outcome, his second narrative feature as both writer and director. In the dark comedy, Keanu Reeves plays a beloved movie star whose carefully maintained public image is about to come undone, unless he can do something about it. When Hill connected with none other than Martin Scorsese<\/a>, who directed him in The Wolf of Wall Street and makes an appearance in Outcome, celebrity, cancellation, and the American sport of tearing down its heroes were all on his mind.<\/p>\n

\u2014\u2014\u2014<\/p>\n

MONDAY 9 AM FEB. 16, 2026 SO-CAL<\/strong><\/p>\n

JONAH HILL:<\/strong> Hey, Marty. I think you\u2019re muted, my friend.<\/p>\n

MARTIN SCORSEESE:<\/strong> Am I okay?<\/p>\n

HILL:<\/strong> I can hear you. I can see you.<\/p>\n

SCORSESE:<\/strong> There you are, young man.<\/p>\n

HILL:<\/strong> How are you, sir?<\/p>\n

SCORSESE:<\/strong> I\u2019m okay. The picture\u2019s really good.<\/p>\n

HILL:<\/strong> My picture?<\/p>\n

SCORSESE:<\/strong> I finally saw it. It\u2019s hilarious and moving. It seems to have an interesting progression from your first picture, in terms of visual interpretation of the frame. I actually saw it by myself and I enjoyed it by myself. It\u2019s really something to be proud of, Jonah.<\/p>\n

HILL:<\/strong> Thank you, Marty. My biggest fear in doing this was that you\u2019d have to lie about liking the movie.<\/p>\n

SCORSESE:<\/strong> [Laughs] I\u2019d say, \u201cListen, I can\u2019t do the interview,\u201d or something.<\/p>\n

HILL:<\/strong> I was saying to my wife, \u201cHe\u2019s seeing it over the weekend, so what if he hates it but already agreed to do it?\u201d<\/p>\n

SCORSESE:<\/strong> When we see each other, we\u2019ll go into more detail. This is your third film, but the second one was a documentary?<\/p>\n

HILL:<\/strong> Yeah, exactly. This is my second narrative film. Thank you for being a part of it. Your character is my favorite. Was it hard to watch yourself?<\/p>\n

SCORSESE:<\/strong> I forgot it was me. I couldn\u2019t see what you and your DP were doing with the camera.<\/p>\n

HILL:<\/strong> Do you remember when you walked on set and I was like, \u201cDo you want to see the frame?\u201d You had to fight against your instincts to look, but you knew you were in good hands with Beno\u00eet [Debie, the cinematographer].<\/p>\n

SCORSESE:<\/strong> Well, what you have in the frame is a narrative. So I did forget it was me up there, which was really interesting. That\u2019s because of your guidance and your patience, and Keanu. Poor Keanu.<\/p>\n

HILL:<\/strong> He really eats it the entire movie.<\/p>\n

SCORSESE:<\/strong> How did you approach this provocative subject matter, both as an actor and a director? I wonder if you could just slam on about that for a bit.<\/p>\n

HILL:<\/strong> Sure. I\u2019ll just bore you to tears on that, Marty. Need a good nap? I got you.<\/p>\n

SCORSESE:<\/strong> [Laughs] It\u2019ll be fine. I\u2019ll just doze off for a second.<\/p>\n

HILL:<\/strong> I love Keanu Reeves. He has this one part in Parenthood, and it\u2019s the only time you ever see him lose his shit, where he seems out of control in a way I related to. He loses his temper, his patience, and is frustrated with the world.<\/p>\n

SCORSESE:<\/strong> Right.<\/p>\n

HILL:<\/strong> And I thought, \u201cGod, I wish Keanu Reeves would do more parts where he\u2019s a mess of a person.\u201d When all this cancel culture stuff was happening, I thought, \u201cWho\u2019s the one person that people would be the most bummed about getting canceled?\u201d It would be Keanu Reeves.<\/p>\n

SCORSESE:<\/strong> We all love him.<\/p>\n

\"Jonah<\/p>\n

Shirt and Pants Dior. Tank Top Varsity Los Angeles. Shoes Vans.<\/p>\n<\/div>\n

HILL:<\/strong> I just called him up and said, \u201cCan you come over? I have an idea for a film.\u201d I said, \u201cYou\u2019re this guy who\u2019s a beloved movie star, but there\u2019s something that\u2019s going to come out that may threaten what people think of you.\u201d He loved Mid90s, and to his credit, the man stood by me. He said, \u201cGo write it.\u201d<\/p>\n

SCORSESE:<\/strong> In terms of the cancellation, people have always been able to make money off someone else\u2019s desperation. That\u2019s what the confrontation at the end is really about.<\/p>\n

HILL:<\/strong> I think people are just fucking struggling. Ultimately, we\u2019re so wrapped up in ourselves. To me, the whole movie\u2019s an allegory for social media.<\/p>\n

SCORSESE:<\/strong> But it doesn\u2019t play like an allegory, Jonah. An allegory is a lesson. This plays like a story about people.<\/p>\n

HILL:<\/strong> You\u2019re right. Wrong word. Not many people can relate to a movie star, but the way I view it is, we\u2019ve all turned ourselves into scorched, middle-aged movie stars by putting our lives up for judgment on social media every second of every day. You go through the same exact feelings being Tom Cruise as you do being a mom in Salt Lake City putting her kids up online for public judgement.<\/p>\n

SCORSESE:<\/strong> You\u2019re right.<\/p>\n

HILL:<\/strong> You build an identity just like a famous person does. Look at me, or you. \u201cMartin Scorsese. World-renowned director.\u201d \u201cJonah Hill, great actor, moron.\u201d Then you have to live up to the packaging you\u2019ve put out into the world. I started noticing it with younger people, where they have the same feelings I felt as a public person.<\/p>\n

SCORSESE:<\/strong> Yes! There\u2019s something about just existing\u2014you\u2019re judged simply for being. That\u2019s what stardom really is, when you think about it. And it\u2019s not new. There\u2019s a film I mentioned to you, It Should Happen to You. George Cukor directed it. Jack Lemmon\u2019s first film. It\u2019s all right there.<\/p>\n

HILL:<\/strong> You told me to watch that for this film.<\/p>\n

SCORSESE:<\/strong> That\u2019s right. And we thought at that time, \u201cWhat a strange thing.\u201d But it\u2019s happened.<\/p>\n

HILL:<\/strong> Now it happens to everybody. You\u2019re the Reef Hawk [Reeves\u2019s character] of your school because people on social media are following you the same way tabloids follow famous people. I saw my nephews walking through life scared of perception in a way we weren\u2019t in when we were in high school.<\/p>\n

SCORSESE:<\/strong> That\u2019s right.<\/p>\n

HILL:<\/strong> And all you do is lie awake at night freaking out about what people you\u2019ll never meet think of you, versus the three people who know you best and have to tolerate you on a day-to-day basis. I wouldn\u2019t wish the paranoia Reef lives in on my worst enemy, but I have to say at times, I\u2019ve related to it.<\/p>\n

SCORSESE:<\/strong> It\u2019s constant. That\u2019s the world now. Everything is filmed and photographed. It\u2019s the nature of building up a god and goddess and then wanting to tear them down. Talk about how you approached that as a writer and within the structure of the picture.<\/p>\n

HILL:<\/strong> Thank you for pointing that out. It\u2019s very much about how since the dawn of entertainment, since Fatty Arbuckle, there\u2019s the entertainment of the hero soaring, the entertainment of them being knocked down, and then the entertainment of them rising from the ashes.<\/p>\n

SCORSESE:<\/strong> That\u2019s right.<\/p>\n

HILL:<\/strong> But the truth is, modern entertainment is pretty much just tearing someone down.<\/p>\n

SCORSESE:<\/strong> I\u2019m afraid so.<\/p>\n

HILL:<\/strong> I wish it wasn\u2019t. My form of entertainment is your films, or books or music. But if you look at \u201centertainment,\u201d the business around it plays to our sickest parts.<\/p>\n

SCORSESE:<\/strong> The weakest part of our personality is the gossip part. I\u2019m old now, but over the years, I really disliked hearing it.<\/p>\n

HILL:<\/strong> It\u2019s so low.<\/p>\n

SCORSESE:<\/strong> But also I\u2019m afraid of enjoying it. You know what I mean, Jonah?<\/p>\n

HILL:<\/strong> [Laughs] Yeah. Because we\u2019re human. If Reef Hawk saw that Tom Cruise was going through the same thing the next day, he\u2019d read that article. It\u2019s always been that way. When I drive by a car crash, I look.<\/p>\n

SCORSESE:<\/strong> Yes.<\/p>\n

HILL:<\/strong> Our mutual friend Spike Jonze taught me the greatest lesson by accident. One time we were in a car and a bunch of people were gossiping, and Spike, after five minutes, goes, \u201cThat\u2019s enough gossip. Let\u2019s change the subject to something positive.\u201d I use that all the time. It\u2019s our lowest form of connection and communication.<\/p>\n

\"Jonah<\/p>\n

Jacket and Jeans Celine. Polo Lacoste.<\/p>\n<\/div>\n

SCORSESE:<\/strong> Yeah that\u2019s true. Your compositions and your DP\u2019s lighting were really remarkable. At first it has a feeling of a graphic novel. There\u2019s the great film The Ladykillers\u2014Alexander Mackendrick<\/span><\/span> did the original one, and later the Coen brothers<\/span><\/span> did a version of it, quite good. But the original is like an Edward Gorey drawing. Everything is real, but there\u2019s an almost animated feeling to it. You\u2019ve got that here in the first third of the picture. There\u2019s something going on with the shots of that Malibu house. Oh god, the terror of that beautiful sky. Everything\u2019s going to come down.<\/p>\n

HILL:<\/strong> A beautiful nightmare. I really wanted it to feel heightened, almost not real.<\/p>\n

SCORSESE:<\/strong> Heightened is the word. You\u2019re a writer and I\u2019m not.<\/p>\n

HILL:<\/strong> I don\u2019t know. I see a co-writing credit on Goodfellas and a lot of other films.<\/p>\n

SCORSESE:<\/strong> [Laughs] Yeah, a few pictures. Was this something you were generating when you were doing Stutz?<\/p>\n

HILL:<\/strong> It\u2019s funny because I\u2019m editing my next movie now. I made a very conscious choice to be in post while this one comes out. I never wanted to be in the position where I finished such an emotional film with nothing to do.<\/p>\n

SCORSESE:<\/strong> Because you will live in that hell.<\/p>\n

HILL:<\/strong> I finished Mid90s and I finished Stutz with nothing on my plate and no ideas. It was torture. When you finish a movie like Stutz, where you rack your brain and talk about death and your insecurities, you\u2019re like, \u201cWell, what\u2019s next?\u201d How about nothing? How about the blank page?<\/p>\n

SCORSESE:<\/strong> Get out of town.<\/p>\n

HILL:<\/strong> This marked a trilogy of very emotional movies. My next one is way more farcical and funny.<\/p>\n

SCORSESE:<\/strong> Rhythm and pacing. That\u2019s the hardest.<\/p>\n

HILL:<\/strong> You helped inspire this movie. You gave me A New Leaf, Elaine May<\/span><\/span>\u2019s first movie, when we did The Wolf of Wall Street.<\/p>\n

SCORSESE:<\/strong> It\u2019s a masterpiece.<\/p>\n

HILL:<\/strong> I watched it during Wolf of Wall Street and it has my favorite sequence in a movie maybe ever, where Walter Matthau<\/span><\/span> says goodbye to being rich. I thought I really want to make a comedy with a man and a woman where they both go through that excruciation of not being rich anymore. What do you do in that circumstance? So me and Kristen Wiig<\/span><\/span> are adults who get cut off in their mid-40s by their parents, Nathan Lane<\/span><\/span> and Bette Midler<\/span><\/span>.<\/p>\n

SCORSESE:<\/strong> Oh my god, disaster.<\/p>\n

HILL:<\/strong> I wanted to make a movie that has emotion, but the jokes are at the forefront of the engine.<\/p>\n

SCORSESE:<\/strong> You worked with your editor on this for a couple of films?<\/p>\n

HILL:<\/strong> Nick Houy and Nick Ramirez were co-editors. Nick Houy works with Greta Gerwig<\/span><\/span> and me, and he\u2019s pretty much been bouncing back and forth between us two.<\/p>\n

SCORSESE:<\/strong> The rhythm and pace is really well done.<\/p>\n

HILL:<\/strong> I can\u2019t wait to tell them that. I love that I get to leave this call and go edit.<\/p>\n

SCORSESE:<\/strong> That\u2019s the best part.<\/p>\n

HILL:<\/strong> It\u2019s the fucking ace of spades, man. I get to leave and work on the best puzzle in the world, right?<\/p>\n

SCORSESE:<\/strong> Exactly.<\/p>\n

HILL:<\/strong> I get to be in the process, knee-deep in fixing puzzle problems in a Rubik\u2019s Cube. I\u2019m not thinking about how my interview with Marty went, because now I\u2019m working to make a movie.<\/p>\n

\"Jonah<\/p>\n

SCORSESE:<\/strong> That\u2019s what\u2019s going on now in the pre-production of my new film, it\u2019s a Rubik\u2019s Cube constantly.<\/p>\n

HILL:<\/strong> You\u2019re getting 500 billion questions a day in a hotel room in Prague.<\/p>\n

SCORSESE:<\/strong> Beautiful place, by the way.<\/p>\n

HILL:<\/strong> Beautiful place, but you\u2019re away from home.<\/p>\n

SCORSESE:<\/strong> That\u2019s the problem. I\u2019ve got to be here for another two months. I\u2019ve got to get back to New York.<\/p>\n

HILL:<\/strong> I know what that\u2019s like. And I have two kids now. The only thing that could ever separate me from my family is the editing room. I love the writing, I love the shooting, but editing\u2014<\/p>\n

SCORSESE:<\/strong> Editing is the best.<\/p>\n

HILL:<\/strong> It\u2019s like dessert every day. Even the problems are dessert.<\/p>\n

SCORSESE:<\/strong> I would do it for free.<\/p>\n

HILL:<\/strong> I say the same thing. And Rick [Yorn], our mutual manager, says, \u201cDon\u2019t tell anybody that.\u201d<\/p>\n

SCORSESE:<\/strong> I got away with a few. A couple I did for nothing.<\/p>\n

HILL:<\/strong> [Laughs] Thank god for Apple. They let me make a movie with movie stars that reaches for real depth. I\u2019m not saying I\u2019m a great filmmaker, I\u2019m not saying I made a great film, but I\u2019m swinging at depth. Sometimes that can feel like a fool\u2019s errand in today\u2019s culture, because when you were coming up, movies were more culturally important than they are now.<\/p>\n

SCORSESE:<\/strong> That time has changed. It doesn\u2019t mean they\u2019re less important. It\u2019s how they\u2019re presented. It\u2019s where you see them. When you go to a theater, the film begins at a certain time. It demands your attention. At home you can turn it off, go get a glass of water, come back, sit down. You command that. But in the theater, the film commands you and tells you, \u201cLook at me and go into this dream,\u201d in a sense. And that\u2019s why I think to be able to have, as you say, Apple in this case, and also for my new film and the last film\u2014<\/p>\n

HILL:<\/strong> Apple\u2019s producing the film you\u2019re about to make?<\/p>\n

SCORSESE:<\/strong> Yeah. To give us the chance to make something where we\u2019re trying to\u2014<\/p>\n

HILL:<\/strong> Swing at something.<\/p>\n

SCORSESE:<\/strong> Yeah. I see a lot of the newer films and I\u2019m amazed by what I see, but I can never do it. But I do think Apple gives you the chance. They\u2019ve given us the chance to make something that\u2019s different, that takes a little time maybe to seep in.<\/p>\n

HILL:<\/strong> Man, that\u2019s like your movies to me. They hit you more two days later. What I don\u2019t love about fast-paced culture is that you experience it, it\u2019s candy, and you\u2019re onto the next.<\/p>\n

SCORSESE:<\/strong> Yeah, yeah.<\/p>\n

HILL:<\/strong> Before we leave, I want to share with the world or anyone who\u2019s reading this who wants to be a director. Before I shot Outcome, we all had a big dinner, you, me\u2014<\/p>\n

SCORSESE:<\/strong> In L.A.?<\/p>\n

HILL:<\/strong> Yes, when you were promoting Killers of the Flower Moon. Me and my producing partner got to dinner and we were talking about the movie, and you gave us some advice. You told us, \u201cJust make sure to listen to the movie.\u201d Do you remember saying that?<\/p>\n

SCORSESE:<\/strong> The movie\u2019s going to tell you. Sometimes you go off on different roads, but it\u2019s going to pull you back. I think it was Haskell Wexler<\/span><\/span> who said it\u2014you go with a design in mind, and then you come back with what you think you got. Very often you get exactly what you want, but in most cases you don\u2019t. Are you okay with what you got? Because it\u2019s going to change.<\/p>\n

HILL:<\/strong> I think that\u2019s important for people to know if they want to be directors, because it\u2019s crazy how much my movies have changed in the process of making them. And I learned that from acting for you. Obviously we went to millions of crazy places during Wolf of Wall Street.<\/p>\n

SCORSESE:<\/strong> Yeah, well you guys did it. You and Margot Robbie<\/span><\/span> and Leonardo DiCaprio<\/span><\/span>.<\/p>\n

HILL:<\/strong> But you showed me how much a movie can change through making it. It would be cool to hear you expand on that a little bit for someone who\u2019s reading this and may be going to make a movie.<\/p>\n

SCORSESE:<\/strong> Well, in some cases. Not everybody works that way. In other cases people get exactly what they want and that\u2019s the film. That\u2019s great. What we did on Wolf, you know what that is. Suddenly you are off in the ozone layer or something, and I have to bring you guys down. I don\u2019t believe I told Jon Bernthal<\/span><\/span> to hit you, did I?<\/p>\n

HILL:<\/strong> I said it was okay. It wasn\u2019t against my consent [Laughs]. You didn\u2019t tell him to hit me in a mean, fucked-up way. We were discussing it\u2014you, me, Leo, and Jon.<\/p>\n

SCORSESE:<\/strong> And then we had to get out because the man who owned the house was really getting mad at us.<\/p>\n

HILL:<\/strong> For context, the guy who owned Jordan Belfort\u2019s house was desperate to get us out. He goes, \u201cGuys, I\u2019ve got to get back in my fucking office. Ten minutes ago you said you\u2019d be out of here.\u201d Leonardo DiCaprio and Martin Scorsese are shooting a scene in your office. A woman has money taped to her breasts. What do you have to do that\u2019s cooler than this?<\/p>\n

SCORSESE:<\/strong> And I\u2019m saying, \u201cHow the hell do you want me to get her out of here? She\u2019s got money taped all over her.\u201d<\/p>\n

HILL:<\/strong> This guy\u2019s pointing at his watch like, \u201cGet the fuck out of here, Marty.\u201d And listen, did the guy lose 45 minutes of valuable whatever-the-fuck-he-does time? Yes. I\u2019ll leave you with this, Marty. I co-raised my nephews and they\u2019re now 18 and 16. They\u2019re great boys. But we had to have these rules of which of my movies can they see and which they cannot see, right?<\/p>\n

SCORSESE:<\/strong> Oh yeah, I know, the whole thing.<\/p>\n

HILL:<\/strong> Yeah, I\u2019m sure you\u2019ve had that your whole life with kids. The point was that the only movie off-limits when they were like 11 or 12 was Wolf of Wall Street. We let them see Superbad and 21 Jump Street and everything else.<\/p>\n

SCORSESE:<\/strong> Yeah, sure.<\/p>\n

HILL:<\/strong> So we\u2019re at dinner and they\u2019re 13 or 14, and the older brother agrees with something in a very hearty way, and he goes, \u201cUh-uh, uh-uh, uh-uh.\u201d And I look at him and I\u2019m like, \u201cYou saw Wolf of Wall Street,\u201d because he\u2019s doing Matthew McConaughey<\/span><\/span>\u2019s hitting his chest. And the younger brother\u2019s like, \u201cYou fucking idiot. You fucked us.\u201d<\/p>\n

SCORSESE:<\/strong> [Laughs] They\u2019re always ahead of us. Oh, god.<\/p>\n

HILL:<\/strong> Well, I love you Marty. I don\u2019t like to performatively say it, but I love you. I appreciate you. Thank you for taking the time to do this and to watch my film. Thank you for being in my film.<\/p>\n

SCORSESE:<\/strong> Thank you.<\/p>\n

HILL:<\/strong> Your words about it will mean more than anything else, except for the process.<\/p>\n

SCORSESE:<\/strong> It\u2019s terrific.<\/p>\n

HILL:<\/strong> Love you, Marty. Thanks.<\/p>\n

SCORSESE:<\/strong> Love you too. Bye.<\/p>\n

\u2014\u2014\u2014<\/p>\n

Grooming: Jason Schneidman using California Born at Solo Artists.<\/span><\/p>\n

Tailor: Megan Bright.<\/span><\/p>\n

Photography Assistants: David Katzinger and Irene Tang.<\/span><\/p>\n

Fashion Assistant: Sasha Campbell.<\/span><\/p>\n

Production Direction: Alexandra Weiss.<\/span><\/p>\n

Photography Production: Georgia Ford.<\/span><\/p>\n

Production: Eppy at Radish Films.<\/span><\/p>\n<\/p><\/div>\n