Adam Sandler just proved he’s more than punchlines and pratfalls.
In Noah Baumbach’s latest film “Jay Kelly,” the comedy legend delivers what critics are calling a career-defining dramatic performance as Ron Sukenick, manager to George Clooney’s A-list star character.
And perhaps his biggest fan? Pop superstar Ariana Grande, who recently sat down with Sandler for Variety and CNN’s Actors on Actors series.
What emerged was a masterclass in discussing craft, vulnerability, and why Bobby Boucher from “The Waterboy” might just be one of cinema’s most underrated emotional performances.
When Comedy Icons Get Serious About Drama
Grande didn’t hold back her admiration for Sandler’s dramatic turn. She revealed she cried five times watching “Jay Kelly” — not subtle tears, but full-on emotional breakdowns.
I cried five times. Not choking up and holding back, but tears streaming out and fully breaking down.
One scene particularly destroyed her: watching Sandler’s character walk back to a train after an emotional moment with Laura Dern at a station. The wide shot, she explained, captured something devastating about loneliness and restraint.
Sandler’s response? He connected it back to Bobby Boucher being alone on football fields — proving that even his broadest comedy roles contain profound truth.
The Craft Behind Crying On Command
Both actors opened up about technical challenges rarely discussed publicly: how to access genuine emotion take after take, angle after angle.
Grande, despite being a “crier in life,” admitted performing emotion isn’t simply flipping a switch.
I’m a crier in life, but it’s not as easy when you’re performing. It’s not a party trick.
Her solution for playing Glinda in “Wicked: For Good”? Creating specific emotional triggers for her character rather than mining her own pain. Themes in the film hit too close to home, so she designed Glinda’s emotional landscape separately.
Sandler revealed his approach stems from four years studying at NYU’s Strasberg Institute while doing standup comedy at night. His preparation method remains thorough:
- Writing down everything his character thinks
- Documenting what they’ve experienced before the story begins
- Mapping out future worries and concerns
- Ensuring he never lets down crew members waiting on his performance
Learning From Legends: Clooney, Goldblum, and Hoffman
Both actors discussed stealing techniques from collaborators. Sandler shared how Dustin Hoffman starts talking in character before cameras roll, so when “Action!” is called, momentum already exists.
Working with George Clooney on “Jay Kelly” provided similar lessons. Sandler observed Clooney’s ability to remain focused before takes while snapping directly into character when needed.
There were scenes when we were so locked in together.
Grande experienced parallel connection with Cynthia Erivo during their five-year journey bringing “Wicked” to screen. That timeline included extensive voice retraining and acting technique work with teacher Nancy Banks, whom Grande described as “a healer more than anything.”
Why “The Waterboy” Makes Grande Cry
Perhaps the conversation’s most revealing moment came when Grande confessed Bobby Boucher ranks among her favorite film characters ever.
Sounds crazy, but he makes me cry a lot.
She praised Sandler’s ability to ground broad comedy with genuine humanity — something that disarms audiences and creates unexpected emotional depth. During the pandemic, she even dressed as Bobby Boucher, though she barely remembers that “whole chunk of time.”
Sandler revealed his own deep affection for Bobby, loving “being that guy” and feeling what an outsider experiences while craving safety. He jokingly suggested if anyone remakes “The Waterboy,” Ben Stiller should play Bobby with Grande as Vicki Valencourt.
Her response? Leave perfect things alone.
Battle Scars: When Method Acting Gets Physical
Grande shared affection for returning home with “unexplained bruises or scratches” from elaborate costumes. Her lavender gown in “Wicked: For Good,” nicknamed “Bubble Two,” required perching on apple boxes during lunch breaks.
Sandler one-upped her with stories of massive bicep bruising lasting two weeks after filming fight scenes with Ben Stiller for “The Meyerowitz Stories.” He accused Stiller of getting “crazy eyes” and taking the fight seriously.
I want you to know, Ariana, that if Stiller was to bring that energy in real life, I would choke him out immediately.
Grande revealed she also got bruised working with Stiller on “Focker-in-Law,” though she took blame for perpetuating physical comedy with his body. Both agreed adrenaline masks pain during scenes.
Humanizing Villains Through Vulnerability
Sandler shared fresh perspective after watching “Wicked: For Good” with his family across five televisions (he usually watches football there). One moment struck him profoundly: the Tin Man reveal, where amplified sound design emphasized the character’s horror discovering his transformation.
Grande connected this to “Wicked’s” central theme: showing how perpetrators of evil were once victims themselves. That humanization, she argued, creates essential understanding without excusing harmful behavior.
What Dogs Are Really Saying
The conversation took a whimsical turn when Sandler asked Grande’s opinion on whether animals should talk more — inspired by “Wicked’s” talking animal themes.
I think they are talking. I think we’re not listening enough.
Sandler agreed completely, describing his dog’s morning look that clearly communicated: “It’s 9:30 a.m. I haven’t been out yet. What’s the matter with you man?”
Both actors, despite massive career success, revealed themselves as deeply thoughtful craftspeople still learning, still vulnerable, and still finding profound meaning in characters — whether playing good witches, Hollywood managers, or sweet-hearted waterboys.
They’ll reunite soon at Ben Stiller’s 60th birthday party, where Grande offered to let Sandler put his name on whatever gift she’s getting. His response was pure gratitude.