Edward Norton — On Creative Process and Struggle, and Motherless Brooklyn | The Tim Ferriss Show

An automation software service that connects various business applications, saving users hundreds of hours by automating tasks like connecting Facebook ad campaigns to email platforms or publishing Instagram content to other social media. It supports over 1,500 applications.

A company co-founded by Edward Norton that applies advanced data science and machine learning to analyze audience engagement signals for media and advertising. Its data and software are used by major film studios and television networks.

A social media platform where content can be automated for publishing to other platforms using Zapier, saving time.

A social media platform mentioned in the context of connecting ad campaigns to email platforms via Zapier.

A company providing audience measurement data, alongside which Edo data is now included in television networks' pricing metrics.

The largest social fundraising platform globally, which acquired Crowdrise, a charitable crowdfunding platform co-founded by Edward Norton.

A film studio led by Toby Emmerich, where he initially supported Edward Norton's 'Motherless Brooklyn' project.

A major film studio, where Toby Emmerich became head and championed Edward Norton's 'Motherless Brooklyn,' aligning with the studio's tradition of 'auteur-driven stuff.'

A streaming service that became a significant force in film financing. Edward Norton considered them for 'Motherless Brooklyn' but preferred a theatrical release, noting their later move towards theatrical commitments for films like 'Roma' and 'Marriage Story.'

A 'really nice small theater' in Austin where Tim Ferriss watched 'Motherless Brooklyn,' praising its sound system and luminosity.

A film from which Tim Ferriss quotes C.S. Lewis's line, "we read to know we're not alone," in the context of connecting with fictional characters.

A film ironically referenced by Edward Norton as financiers' preferred comparison, rather than 'Rain Man,' when pitching 'Motherless Brooklyn' to make it sound more accessible.

A film Edward Norton mentions as one of his 'excellent films' that was not financially successful but became a 'zeitgeist-y movie.'

A film directed by Bradley Cooper that Toby Emmerich championed at Warner Bros., exemplifying Emmerich's commitment to 'auteur-driven stuff.'

Edward Norton's most recent film at the time of the recording, which he wrote, directed, produced, and starred in. It is based on Jonathan Lethem's book and is described as spectacular, especially for its music.

A big film Edward Norton worked on in 2002 with great actors, preceding his sabbatical.

A play by Lanford Wilson that Edward Norton performed in New York, contributing to a vital and satisfying year of creative work.

A comedic musical film that Edward Norton references to explain the tonal difference he wanted for 'Motherless Brooklyn,' aiming for drama and complexity rather than an ironic or gag-focused approach.

A film cited by an executive friend of Edward Norton as an example of an actor successfully taking a big swing by directing a challenging role.

A film written by Brian Koppelman and David Levien, mentioned as an example of their skilled tradecraft.

A film referenced by Edward Norton when describing how financiers perceived 'Motherless Brooklyn,' jokingly combining its themes with 'Chinatown' to highlight the complexity of the pitch.

A film Edward Norton considers one of his favorites, directed by Sydney Pollack, known for its transcendent music and its powerful thematic exploration of loss and impermanence.

A documentary by Ken Burns that first introduced Tim Ferriss to the story of Robert Moses.

A film that pulled Edward Norton away from 'Motherless Brooklyn' when Naomi Watts became available for the project, requiring six months of filming in China.

A film that Edward Norton mentions as one of his 'excellent films' that was not financially successful but became a 'zeitgeist-y movie.' He also defends it against accusations of nihilism, asserting its message of evolution and growth.

A TV show co-created by Brian Koppelman, David Levien, and Andrew Ross Sorkin, highlighted for their 'serious tradecraft' as writers.

A film directed by Spike Lee, starring Edward Norton and Philip Seymour Hoffman, which Norton considers a vital and satisfying creative work.

A 'weird cool script' that Edward Norton decided to do as an independent film, initially thinking it would be a quick project before returning to 'Motherless Brooklyn.'

A film cited by Edward Norton as an example of how filmmakers can 'de-risk' a project by preselling foreign rights for more than the budget, ensuring profitability before shooting.

A monumental long-form documentary film by Ken Burns that Edward Norton credits with redefining the genre and proving audience demand for rich, nuanced long stories.

A film cited by an executive as an example of an actor successfully directing a challenging role.

A film Edward Norton worked on, produced by Brian Koppelman and David Levien, which temporarily diverted him from 'Motherless Brooklyn.'

A film released by Netflix that had theatrical commitments, which Edward Norton would have considered for 'Motherless Brooklyn' had it been an option earlier.

A film by Noah Baumbach released by Netflix with theatrical commitments, mentioned as an example of Netflix's evolving approach to film distribution.

A more accessible noir film compared to 'Chinatown,' mentioned by Edward Norton as financiers' preferred comparison for 'Motherless Brooklyn.'

An album by Radiohead that Edward Norton cites as an example of Thom Yorke's exploration of dissonance, which found synergy with the jazz score of 'Motherless Brooklyn.'

A Spike Lee film that had a 'seismic impact' on Edward Norton, serving as an aspirational goal for how a movie can be entertaining, visually original, and provoke audiences to engage with tough social questions without offering easy answers.

The band whose lead singer, Thom Yorke, contributed a song to 'Motherless Brooklyn,' blending their modernist sensibility with the film's jazz score.

An album by Radiohead that Edward Norton cites as an example of Thom Yorke's exploration of dissonance, which found synergy with the jazz score of 'Motherless Brooklyn.'

A playwright whose work 'Burn This' Edward Norton performed in on stage in New York in 2002.

A hard-boiled detective fiction writer, whose 'gumshoe detectives' vernacular inspired the old-school feeling of 'Motherless Brooklyn,' which Norton chose to set in the 1950s to avoid irony.

A writer, producer, and pal of Edward Norton, known for writing 'Rounders' and co-creating 'Billions,' who helped Norton overcome writer's block on 'Motherless Brooklyn.'

A jazz genius who helped Edward Norton curate 'some of the key music' for the club scenes in 'Motherless Brooklyn' and contributed to the film's score.

An author whose line from 'Shadowlands' — 'we read to know we're not alone' — is referenced by Tim Ferriss in relation to the relatable struggles of characters like Lionel Essrog.

The author of the book 'Motherless Brooklyn,' which Edward Norton adapted into a film. Norton received the galley form of the book before its publication and praises Lethem's ability to create an emotionally engaging character from the first page.

A writer and pal of Edward Norton, known for writing 'Rounders' and co-creating 'Billions,' who helped Norton overcome writer's block on 'Motherless Brooklyn.'

A director whose film 'Marriage Story' was released by Netflix with theatrical commitments, indicating a shift in Netflix's release model.

A director whose films were traditionally done at Warner Bros., mentioned by Edward Norton as an example of the studio's legacy of supporting auteur-driven projects.

The lead singer of Radiohead, who wrote a beautiful song for 'Motherless Brooklyn.' Edward Norton worked with him to integrate modernist dissonance into the film's jazz score.

A legendary documentarian who wrote a 'meaningful' and 'effusive' piece praising 'Motherless Brooklyn,' which Edward Norton considers one of the most significant compliments of his career.

The protagonist of 'Catcher in the Rye,' whose emotional hooks Edward Norton compares to those of Lionel Essrog in 'Motherless Brooklyn'.

The protagonist of 'Motherless Brooklyn,' a Tourettic detective with obsessive-compulsive disorder. Edward Norton highlights his relatability as a proxy for the human mind's internal struggles.

One of the most celebrated actors of his generation, nominated for three Academy Awards, who has starred in, produced, written, or directed over 30 films. Also has a substantial parallel career as an entrepreneur, investor, and activist.

The author of the memoirs 'Out of Africa' and 'Shadows on the Grass,' which served as the theoretical basis for the film adaptation 'Out of Africa.'

A studio executive, initially at New Line and later head of Warner Bros., who acted as a 'stalwart champion' for Edward Norton's 'Motherless Brooklyn' project, both encouraging him through writer's block and helping to secure financing.

A psychologist and economist known for his work on cognitive biases, whose book 'Thinking, Fast and Slow' is referenced by Edward Norton when describing the mental state achieved during piloting.

Edward Norton mentions that Toby Emmerich also championed Bradley Cooper's 'A Star Is Born' at Warner Bros., similar to how he supported 'Motherless Brooklyn.'

A jazz artist appreciated by Thom Yorke, whose exploration of dissonance influenced the musical direction of 'Motherless Brooklyn.'

A poet whose quote, 'ten years is nothing to an artist, gestation is everything,' resonated with Edward Norton's long creative process for 'Motherless Brooklyn.'

A director with whom Edward Norton worked on 'The 25th Hour' and considers a hero. Norton credits Lee's influence on his capacity to direct his own film.

An actor with whom Edward Norton did two films in a row, followed by a play next door to each other, which Norton found very gratifying.

A 'truly great director' praised by Edward Norton for his work on films like 'Out of Africa.'

A influential public official in New York City's 20th-century development, often seen as an autocratic figure who shaped the physical landscape of the city, becoming the incarnate villain in 'Motherless Brooklyn'.

An actress whose availability for 'The Painted Veil' led Edward Norton to temporarily postpone work on 'Motherless Brooklyn.'

Co-creator of the show 'Billions' along with Brian Koppelman and David Levien.

An actor and producer who, with Steven Soderbergh, brilliantly de-risked films like 'Magic Mike' by preselling foreign rights to cover the budget.

The author of 'The Power Broker,' a book about Robert Moses, referenced by Tim Ferriss.

A director Edward Norton credits with brilliantly de-risking films like 'Magic Mike' by preselling foreign rights to cover the budget.

A legendary jazz musician, whose 1950s style arrangements were an inspiration for the film's musical score, particularly in reinterpreting Thom Yorke's song.

An 'incredible young composer' from London who contributed to the soundtrack of 'Motherless Brooklyn,' forming a trifecta with Thom Yorke and Wynton Marsalis.

An actor and director famous for 'Reds,' who told Edward Norton about the skepticism he faced for making a long film about socialists, serving as an inspiration for persevering through hardship.

A free solo climber referenced by Edward Norton to describe the 'without a rope' feeling of risk and precision involved in his unique financing deal for 'Motherless Brooklyn.'

An actor who 'stepped in and stepped up' to support 'Motherless Brooklyn,' making a difference in getting the film financed.

An actress from 'Chinatown' whose character's tragic fate provides a contrast for Edward Norton's desired ending for 'Motherless Brooklyn,' which avoids nihilism.

Edward Norton credits working with him as having a big impact on his capacity to direct 'Motherless Brooklyn' effectively within limitations.

A musician cited by Edward Norton as an example of an artist who 'galvanized people' through his art without explicitly stating his message, inspiring participation in societal causes.

A director with whom Edward Norton worked, influencing Norton's capacity to direct 'Motherless Brooklyn' logistically well within limitations.

A book by Daniel Kahneman discussed in the context of different mental gears and meditative states, particularly how piloting allows for deep focus akin to 'slow thinking.'

A book written by Tim Ferriss, which emphasizes automation as the third step in optimizing workflow: eliminate, then automate, then delegate.

A novel that Edward Norton compares to 'Motherless Brooklyn' in its ability to immediately draw the reader into the protagonist's emotional state and perspective.

A book by Robert Caro about Robert Moses, mentioned by Tim Ferriss as a source of information about Moses's influential and controversial career.

Memoirs by Isak Dinesen, alongside 'Out of Africa,' that provided the essential spiritual observations for the film adaptation 'Out of Africa'.

A collection of letters by Rilke that contains a quote about the importance of artistic gestation over time, which Edward Norton found impactful.

Portable nut butter pouches, described as a convenient, high-calorie, keto and paleo-friendly snack with various ingredient cocktails like MCT oil, protein, macadamia, and caffeine.

A video game company whose cartridges (e.g., Pong, Combat) are referenced by Edward Norton as an analogy for his father's fearless career shifts, pulling one 'cartridge' out and putting another in.

An international organization that appointed Edward Norton as its first Goodwill Ambassador for Biodiversity in 2010.

An award-winning Kenyan conservation and community development organization for which Edward Norton is a founding board member.

Warren Beatty's 'incredible, three-hour-long movie about American socialists,' which Edward Norton considers one of the great films about America and human relationships.

A charitable crowdfunding platform co-founded and chaired by Edward Norton in 2010, which raised over $500 million for US nonprofit organizations before its acquisition by GoFundMe.

A classic noir film referenced multiple times by Edward Norton as an example of a dense, convoluted mystery where comprehension isn't the immediate point, but rather an exploration of power and hidden dangers. Also, a benchmark for noir quality.