-Ana, welcome back to the show. -Thank you.
Happy new year. -Happy new year!
Our first guest!
Our first guest of the new year! That's good luck for us.
-Yes. -You know I always loved you,
but I heard something, and now I even love you even more.
-Okay. -Because I heard that you --
you like a certain ice cream. -Oh.
-It's one of your favorite ice creams?
-The only ice cream I like.
-The only ice cream you like is The Tonight Dough.
-Yeah. That is true. -This is our ice cream.
[ Cheers and applause ]
This is Ben & Jerry's.
-Yeah. It's all I eat.
-That's -- I love that.
It's the best ice cream, right? -Just, like, every day.
When I'm on a diet, when I'm not on a diet.
-It doesn't matter. -It doesn't matter.
-No. You burn it off. -Yeah. I do.
-It gives you the energy you need to keep going
and keep Ana de Armas the way -- at the top of her game.
The Tonight Dough. -That's the secret.
-Did you know, by the way -- 100% of my proceeds from this
goes to SeriousFun.
It's a great charity, by the way.
Paul Newman. Joanne Woodward. -That's awesome.
-It's the best. So it's a win-win.
-Yes. -It is a win.
And I love that you -- -Why did you put it away?
-Oh, I have it right here. Let's go. I can go --
-Okay. -Absolutely. Yeah. Here.
-Don't judge me. -We won't share.
Yeah. I've got my own over here.
-Oh, it's kind of melting. So even better.
-It's even better! I know! It is better!
I know. I can't stop.
But the problem with this is I start
and I really eat the whole -- I eat the whole thing.
-Mm-hmm. -It's got cookies in there.
It's got cookie dough. Peanut-butter cookie dough.
I mean, it's such an ad for this, but why not?
It goes to a great cause. It goes to a great cause.
-To me, you know you've made it
when you have your own ice cream.
-Yeah. -I want my own ice cream.
I want Ben & Jerry's to make my own flavor.
-Yeah.
[ Cheers and applause ]
-The problem is... it would be the same ice cream.
-Because you like this? -Because this is better.
-No, but you could --
-Maybe just adding condensed milk to it.
-Ooh, condensed milk. -I would still buy yours.
-No. Wait. What could we add for the Ana de Armas edition?
Maybe a blondie -- Like, you know, those --
-I don't know what blondie is. This is very American.
-Brownies. Brownies are --
Blondies are the, like, vanilla cake version of brownies.
-Okay. -So you can add that --
Like, would that work? -Audience: Yeah.
-Yeah. People like --
Ben and Jerry, are you hearing this?
Let's make this work. Come on.
By the way, you've been on the show for "Bond" last time,
and now you're on for "Blonde."
-I know.
-One letter every time you come on.
[ Laughs ] You are the greatest.
Congrats on this and congrats on the Golden Globe nom.
-Thank you. -I mean, it's got to feel good.
[ Cheers and applause ]
-Thank you so much.
-It's got to feel good. -Yeah.
-Where were you when you found out you got nominated?
-I was on set.
I'm still filming "Ballerina," the "John Wick" spin-off.
-Oh, yeah. Oh, with Ke-- Yeah.
How's Keanu Reeves doing?
-He's awesome.
I mean, Keanu is Keanu. You know.
-He is the best, right? He's a cool customer.
-We've been in Prague filming for four months.
We still have one more month to go.
-Wow. -And I'm in pain.
I'm not gonna -- You know, my body, my back.
Everything hurts.
I'm complaining. I'm sore. I'm bruised.
-You did action stuff in "Bond."
-Well, "Bond" was 15 minutes. This is a whole movie.
Another level.
But the other day, Keanu and I were rehearsing
our very difficult stunt scene,
and this man is just rolling
and throwing me and doing these crazy stunts.
And I'm like -- I can't complain anymore.
I'm done.
-Why? -Because he is doing it!
-And he doesn't complain? -No, never.
He's just... -Keanu.
-He truly is the best, and he's always --
-Can't you just complain about one thing,
say, "Oh, my back hurt me on that one"?
-No. -He doesn't say anything?
-No. Nothing. Never. So I'm like, "Okay."
-"Okay. This is fun. Yeah. We're just doing it."
So then you're on set, and what do you get?
-Oh, sorry. That was the question.
-No. I love it.
-So, I'm on set, and they were just, like, in between takes.
They're changing lenses or something,
and my assistant comes with a phone,
like, very straight-faced and just gives me something
to read, and it was this text chain.
And I start reading, and then I realized
what I'm reading, and I scream.
But, of course, it was a stunt scene,
so everyone got very worried
thinking that something was happening.
I was, like, "No, no, no, no. It's okay."
-"No, no. This is great news.
-I got nominated for a Golden Globe!
Yeah, this is great news."
-So...yeah. It was pretty cool.
-You knocked it out of the park, unbelievably.
I can't even imagine how tough it is to play this role.
-Thank you. -You're playing Marilyn Monroe.
And the story behind what we know of Marilyn Monroe,
it's like -- it's a pretty dark take on this.
-Yeah. -You're phenomenal.
Let me just show everyone a picture.
This is you and also another screenshot of Marilyn.
That is unbelievable. -Yeah.
[ Cheers and applause ]
-I mean, did you have to do every take,
like, a thousand times
just to make sure you got it perfect?
-A lot of times, yeah. Yeah.
Andrew is a very -- is an incredible filmmaker
and also very detailed and precise.
And it was really important for him and me
and every department to really nail this re-creation.
And so we had two monitors,
our movie and then Marilyn's movie,
and they were playing both at the same time,
and if we didn't get it right, we had to do it again.
-Really? -I mean, it was so accurate.
There was a moment where my hairstylist
kept coming back and forth to me and the monitor to fix my hair.
And she was -- poor thing -- doing so many trips
that I'd just go with her to the monitors.
-Yeah. "Show me what the problem is."
-Yeah. "What is going on?"
And I realized that she is looking at Marilyn
trying to fix my hair.
-She wasn't even looking at you.
-Yeah, she wasn't looking at me.
-"I'm on this monitor."
You're like, "Oh, okay." Oh, my God. Wow.
-So, yeah, it is a testament to, you know...
-They did such an amazing job. Perfectionists.
-...the incredible work that the art department
and hair and makeup and wardrobe did.
-Choreography, the way it looked.
The lighting was unbelievable.
And you do this and you go,
"Okay, I think I have a take on this
and how to do this scene."
And do you remember the first scene you did
where you were like, "Alright. Action. And here we go.
And let's see if, you know..."
-Well, it was a pretty tough scene.
Andrew didn't, you know, give me, like,
a slow "breaking the ice" thing.
We just went for a, you know,
very long dialogue scene with the mother.
So -- And, you know, we didn't have any rehearsals.
Andrew had never heard me speaking or moving like Marilyn,
so I just went to set and I did this very intense scene,
and it was the first time for everyone
to hear me and see me playing Marilyn.
And it was terrifying.
-Yeah. -Yeah.
-Well, "Blonde" takes --
Like we said, it's a take on Marilyn.
How else can we describe this movie
for anyone who hasn't seen it?
-I think this is a movie more about Norma Jean.
-Yeah. -The person who --
The woman who's been unseen, you know, this whole time.
And I feel like this photographic memory
that we have of Marilyn's life. -Yeah.
-All these images that we've seen
and we have an idea of what that story was.
It's kind of like a take on that
through her lens and what her life was like, so...
-I want to show everyone a clip.
Here's Ana de Armas in "Blonde." Take a look at this.
[ Cheers and applause ]
-[ Sobbing ] Please.
-She's coming. -Please come.
-She's coming.
-Don't abandon me.
-She's coming.
She's almost here.
-[ Sniffles ] Please come.
♪♪
[ Sniffles ]
♪♪
[ Giggling ]
[ Crowd chanting "Marilyn" ]
♪♪
[ Smooches ]
-Ooph!
[ Cheers and applause ]
Transform into -- Oh, my gosh.
Ana de Armas, everybody!
"Blonde" is streaming now on Netflix.
Ana and I are playing a new game when we come back.
Stick around, everybody.