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Ana: Oh, my God, Sean. What is this?
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Sean: Hey, what's going on, everybody?
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For <i>First We Feast</i>, I'm Sean Evans, and you're watching <i>Hot Ones</i>.
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It's the show with hot questions and even hotter wings.
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And today we're joined by Ana de Armas.
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She's a <i>Golden Globe</i> and <i>Oscar Award</i> nominated actress, you know, from films like "<i>Knives Out</i>", "<i>Blonde</i>", "<i>No Time to Die</i>" and many more.
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Her latest project, though, is a starring role in the fifth film of the "<i>John Wick</i>" franchise.
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It's called "<i>From the World of John Wick: Ballerina</i>", and it's set to release in theaters on June 6th.
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Ana de Armas, welcome to the show. Ana: Thank you.
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Sean: How are you with spicy food? Before we get started.
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Ana: I'm not good, at all.
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Like I, honestly, I knew this was happening and I've been practicing a little bit, but not ready. Yeah. Let's do it. Okay. Sean: Here we go. Ana: Well, this is good. Oh, I like it. I'm doing good. This is great. It's yummy.
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Sean: So, the "<i>John Wick</i>" franchise is iconic, for its imaginative use of violence, and not to give too much away, but I particularly enjoyed the ice skate massacre and the flamethrower duel.
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What are the creative conversations like in shaping a character like Eve's fighting style?
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Like, were there any interesting chats about how to tailor the signature John Wick choreography to the skills of a ballerina turned assassin?
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Ana: Yeah, I mean, I think we wanted to just keep pushing the humor in the franchise. You know?
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You watch the "<i>John Wick</i>" films, and sometimes the fights are really intense and gory, but it's the kind of action that you're just having so much fun with.
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Like, you put your fingers in your, on your face, but you're looking through. You can't stop it.
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And also, like adding the ballet element to it was really important.
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Like, I really wanted to, like, see her.
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She's a woman in the men's world, and I want it to feel like every punch, every kick, everything was hurting.
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Like, I really wanted her to go through that pain.
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Sean: Kind of reminds me of the experience of doing <i>Hot Ones</i> You know what I mean?
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Like, there's a certain pain that you just become familiar with. You know what I mean?
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And that always allows you to push through, 'cause, you know, on the other side, you'll be fine. Ana: Yeah. Sean: All right, Ana. You're doing great. Ana: Okay.
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Sean: Are you ready to move on here to sauce number two? Ana: Number two. Sean: All right.
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So, up next we have "Just Winging It". Ana: Okay. Still good. Yeah. Sean: There we go. Ana: It's good.
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Sean: So, recently, the <i>Academy Awards</i> announced a new category to recognize achievement in stunt design.
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If you were in charge of the criteria for that award, what do you think are like the most important things to focus on?
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Like, are there elements of best of the best <i>Hollywood</i> action sequences in your opinion? Ana: I think yes.
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I mean, I would say, like, feeling like it's a one, like, you know, like a one continuous shot. That would be cool.
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That's important to to feel like you're in the moment.
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Um, so definitely not cuts. Sean: No cuts. Ana: No cuts.
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Um, I would say just being original, like, doing things that you haven't seen before, like, surprising people. What else? What am I missing? Sean: I... you know what? To me, you nailed it.
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That was you just pulling an arrow, hitting a bullseye. Ana: Right? Sean: Yep. Ana: Those two things? Sean: Yep.
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How are you doing so far? Ana: I'm good. I'm, I'm good. Sean: Whoa. I like that.
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Ana: Yeah, surprisingly good.
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Sean: From nervous to confident. I can see it already.
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Ana: It's not gonna go well. I'm ready.
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Sean: So, lately, we've been in the habit of asking actors about the scenes that they dreaded doing.
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From the second they read them in the script to when they saw it up on the call sheet scheduled. Ana: Yeah.
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Sean: What is it about the chaotic dinner scene in "<i>Eden</i>", which I understand took three days to shoot, that made it one of the scariest things you've ever done? Ana: Singing. I hated it.
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I mean, I remember when I talked to Ron and I was like: "Ron, I really think I should lip sync like, this is not for me."
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, and he, he just didn't want to hear it.
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He was like: "No, you're singing, you're singing.
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It's, you know, if you do it bad, it's good for the character. That's what..."
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, I'm like: "Yeah, but people don't know that." .
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Um, so anyways, I just couldn't, I just couldn't convince him to let me lip sync.
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So, I had to learn the song.
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It was horrible, I was terrified.
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I would rather do 100 stunts than, than singing that song.
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Sean: Than sing on camera. Ana: Yeah.
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It was, it was terrifying.
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'Cause, also, in front of all the actors and I just, I don't know, I just, I just felt very exposed and vulnerable, and it's not, it's not one of my talents, for sure.
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Every time I'm so nervous. They're messy. Sean: They are messy. Ana: Mhm.
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Sean: And then, just be careful around the eyes. You know?
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Ana: Yeah, I definitely don't want this on my eyes.
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Sean: So, in the <i>Spanish Class - SNL</i> skit that you did with Marcello Hernández and Karol G, you rattle off a long list of Cuban foods, everything from ropa vieja to duro frió.
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If you were to put together your last meal on Earth, Cuban style, what would that feast look like?
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Like, what are the dishes that are most nostalgic to you? Ana: Ooh.
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Cuban food is just comfort food for me.
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And it's very basic, you know, it's, it's rice and beans.
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The black beans are my favorite.
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Um, definitely ropa vieja, uh, the tostones, the picadillo is good, too.
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It's, um, minced meat in a tomato sauce and with olives and all that, it's, like, Cuban food is really, well, like, condimented. Sean: Mm.
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Ana: It's not spicy, but it has...
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Sean: Yes, we say we're condimented over here.
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Ana: No, no, but not this kind of spice. It's spices, not spicy. So, it's, it's just... Oh, my gosh. I love it. It's so, it's so yummy.
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Sean: What would you say distinguishes a great mojito from a mediocre one?
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Ana: I think is the, the how much sugar you put it.
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Like, it's a fine line between making it, like, way too sweet and, like, just the right amount, you know, like, um...
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And the rum is important.
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You have to, it's white rum <i>Havana 3</i>. That's what it is.
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You can't put anything else in it. Sean: Rules to live by. Ana: Yes. Ana: Oh, my God. I like the mustard. Sean: It's all right.
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You know, I'm kind of like you.
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I kind of like the more citrusy... Ana: Yeah. Sean: ...
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hot sauces, you know, like a little, uh, fruit to undercut the heat.
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This one's pretty hearty, you know? Ana: Ooh. Sean: Yeah. Ana: Oh, Sean. Sean: I know. It's another level. But, we're here. Ana: Yeah. Sean: We got this.
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Ana: I've been dealing lately with a lot of high fever. You know, allergies. Sean: Yeah. Ana: From spring.
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Sean: Yeah, well, this kind of clears them out. Ana: I know.
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Where were they when I needed them last week? I was really congested.
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And now I'm like: "Look at this." .
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Sean: Yeah, well, now you know, you have this tool in the kit. Ana: Now I know.
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Sean: Should you ever need it again. All right?
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And we're giving you the sauces to go, so you'll have 'em now. Ana: Oh, nice. Sean: Yeah. Ana: I love it.
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Sean: You're on medicine bag. Ana: Okay.
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Sean: Can you talk me through the level of detail that went in to putting together the scene in "<i>Knives Out</i>", where you puke on Chris Evans's face?
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Like, is it true that you and director Ryan Johnson experimented with different kinds of baby food to see which projectile had, like, the longest shot in the air and what looked best on camera? Ana: Yes, it is true.
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We had to, you know, we had the props guys, like, having, like, different textures and mixes in different cups, and we went outside the house while they were lighting the room, and I was just with Ryan out there and crazy...
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pretty much everyone came out just to see. Sean: It was an event.
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Ana: Yeah, it was an event.
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And we needed, like, on Chris's face, like, really well.
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So, we did one that had, like, was kind of chunky. Sean: Yeah, yeah. You wanna be authentic. Yeah.
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Ana: Got pieces of it in it. Yeah, yeah. So, he... Sean: Real to the form. Ana: You know...
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He's so handsome, we wanted it to, like, really... Yeah. Mess with him. I feel good. Mm. Sean: Right. So...
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Ana: How are you feeling?
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Sean: I'm okay, if you're okay. You know? Ana: Khm.
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Sean: But, this one, to me, it's like, you know how we had this tropical one at number one, that you're like: "Oh, it's so nice." ?
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This has that tropical vibe, but then it has that... Ana: I know.
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They all, they all take, like, a little minute to, like... Sean: Really come alive. Ana: Yeah. Sean: Yeah.
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So, through your career, so far, you've gained admiration and support from some true heavy hitters in Hollywood, from Robert De Niro, to Daniel Craig, to Keanu Reeves.
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What, if anything, have you learned from them about what it means to be number one on the call sheet?
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The way that they command a set when they have that distinction.
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Ana: You know, going to LA, or going to Hollywood, was never a plan for me.
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I moved to Spain and then from Spain to LA, but it was, it was just kind of happening naturally, I just never planned on it.
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And to be on set with them was always, uh, kind of like a "pinch me" moment every time. And I've worked with...
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yeah, like you said, really, really amazing people.
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The project becomes the project because of the people in them and the way they collaborate, and they lead by example. This one. Right?
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Sean: Yeah, it's called "Aprichot". Emphasis on hot.
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Ana: Is that the one you were warning me about? No. Sean: No, not yet. Ana: Not, yet?
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Sean: That'll be the next one.
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Sean: But, let's take our wins where we get them here. You know?
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Ana: Oh, I don't like this. Sean: Oh. Ana: Hmm. What is it?
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Sean: It"s almost like a spicy lemon, to me, when I bite into it. Ana: It is. Yeah. Sean: You know?
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Like, it has a citrus quality to it. Ana: Yeah.
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Sean: But, then, it contends with that spice.
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Yeah, a little sour, a little spice. Ana: Yeah. Sean: Right. Puts us in that mode.
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So, when you're watching your own performance, is there a technical aspect that you're always critiquing of yourself or that you're trying to take to the next level?
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Like, when you watch yourself, when are you your own biggest critic?
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Ana: I hate watching myself, I have to say. What was the question?
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Sean: I'm curious, like, when you watch yourself, When are you you're own biggest critic? Ana: Oh, yeah. Watching myself. Sean: Yeah. Ana: So, yeah, I'm...
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that also that, that, that goes all the way through to the end.
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So, I start seeing early cuts of the film.
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So, I've kind of like got, gotten better at watching myself and, like, trying to, like, separate myself from, from my performance alone and just look at the whole thing, the whole picture and what's good for the film sometimes, you know, it's not what, selfishly, you would want to do, you know, for yourself.
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I'm very perfectionist and I like things, you know, they can always be improved, they can always be better. Is the one. Sean: Yeah. You know too much.
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This is "Da' Bomb Beyond Insanity". Ana: Uh. Okay. Sean: Okay. Ana: "Da' Bomb".
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It's called "Beyond Insanity". Oh, my God. Sean, this is bad. Sean: Yeah. I know. That look. I know that look. Who put me here?
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Who volunteered me for this? Ana: Oh, my God. Sean: I know. I know.
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But, this is as bad as it gets. Okay? Ana: Well...
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Sean: So, I understand that in preparation for your role as Marilyn Monroe in "<i>Blonde</i>", that you watched her filmography hundreds of times.
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Do you have a Mount Rushmore of Marilyn Monroe movies?
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Like, four movies that you'd recommend to, maybe, people in the audience who only have a casual awareness of her career in acting? Ana: Oh, my God, Sean. What is this? Sean: I know.
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I t's, you know, just a habanero pepper that's concentrated... Ana: Oh, no. Sean: I know.
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We can only laugh through the pain of it all. Ana: Please help.
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Um, definitely, um, "<i>Some Like It</i> <i>Hot</i>". Sean: Classic.
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Ana: "<i>Some Like It Hot</i>". It's really amazing. She's wonderful in it.
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I love "<i>The Prince and the Showgirl</i>".
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She's so relaxed and you can see her, like, really enjoying that character.
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"<i>Niagara</i>" is another classic that I really loved.
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"<i>Gentlemen Prefer Blondes</i>". Those are... that's a good one, too.
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Sean: And then be careful. Be careful. Yeah.
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Ana: I kind of, like, went away. You know? Sean: Yeah, yeah. But... Ana: But?
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Sean: The problem with this show is, you know, the storm clears, the clouds break, the sunshine comes in, and then more dark clouds start rolling in.
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Ana: What are you telling me?
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Sean: That there are two more to go. Ana: Oh, my God. That was so bad. You can keep that one. I don't want it. I'm just numbed. This is good. Sean: You like it? Ana: No.
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I mean, it's good that I'm numbed. It's good. Yeah. Great.
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Sean: As someone who had a big acting career, both here and abroad, I'm curious, is there a difference between, like, a Spanish moviegoing audience and American movie going audience?
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Like, is there any difference in, like, what somebody who buys a movie ticket in Madrid is looking for versus someone in LA?
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Ana: The influence of American cinema in, in Europe is more, um, it's stronger, I would say.
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Um, and Europeans like European films for the, you know, like, it's a kind of like, um... Sean: Yeah. Ana: I cannot do that. Sean: Be careful. Ana: Um, no.
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Um, I think Europeans also, or Spanish people have a, a pretty wide spectrum of, of they know about cinema. Sean: Right. Ana: You know?
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And they, they have, they have good taste. You know? Yeah. Sean: All right, Ana. Ana: This is it?
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Sean: You don't have to, if you don't want to. Ah-ha!
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Ana: You can't say that to me.
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You can't say that to me. Okay. Sean: I love it. Ana: Okay. Oye. Good thing we did that. Mm. Sean: Cheers, Ana. Look at you. All the way through.
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Ana: Oh, my God, I can't believe I'm doing this. Okay. Sean: All right. Cheers. Ana: Cheers. Here we go. Sean: Here we go.
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And with that, Ana de Armas, you have run the <i>Hot Ones</i> gauntlet.
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And just one more question, before we get you out of here.
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And you know, my favorite thing about watching the "<i>John Wick</i>" films is the use of practical, everyday objects in fight sequences. Ana: Yes.
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Sean: Looking around right now, if you were to storyboard out a combat scene, how might you use what's here in the studio to your advantage?
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Ana: Um, well, I would definitely get this bottle. Break it.
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And I think I would just, like, you know, um, make sure you're close to me, like, on the table.
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So, I would just probably smash your head on the table, on top of the sauce and the glass. Sean: Shards of glass. Well, you know what?
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That right there sounds like it's worth... Ana: You know? Sean: ... the price of admission.
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And look at you, Ana de Armas.
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Taking on the wings of death. Living to tell the tale.
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And now there's nothing left to do, but roll out the red carpet for you.
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This camera, this camera, or this camera.
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Let the people know what you have going on in your life.
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Ana: What do I have, what?
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Sean: If you have, like, a movie coming out or something? Ana: Oh yes, I do. Um... so, yeah.
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I have my movie "<i>Ballerina</i>" coming out on June 6th in theaters. Please watch it. You're gonna like it. Yeah. Thank you. Sean: Great job. Ana: Oh, my God. Oh, this is insane.
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My lawyer came all the way here just to see me. Just to see me.
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Sean: Yeah, yeah, to serve me. Ana: Yeah.
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I'm like: "Are you here to support me or to..." . Uh. Oh, my God.
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Sean: Hey, what's going on, <i>Hot Ones</i> fans?
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By now, you know the drill.
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If you'd like to taste the show at home, well, I've got good news for you.
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The <i>Hot Ones</i> season 27 10 Pack is now available. That's <i>hotones. com</i>, <i>hotones. com</i>, <i>hotones.
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com</i>, to get your hands on this box right here. Ten sauces. One box. Your doorstep.
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Be careful around the eyes.