With director Ol Parker’s Ticket to Paradise now playing in select countries and opening in North America this weekend, a few days ago I got to sit down with Julia Roberts and George Clooney to talk about their new romantic comedy. In the film, they play a divorced couple who agree to put aside their differences to stop their lovestruck daughter from marrying someone she just met. As you might expect, things do not go according to plan.

Ticket to Paradise also stars Kaitlyn Dever as the daughter of Clooney and Roberts's characters, Maxime Bouttier plays the young man from Bali who Dever wants to marry, and Billie Lourd plays Dever’s best friend from college. The film also stars Lucas Bravo, Rowan Chapman, Sean Lynch, Romi Paulier, and Murran Kain, among many others.

During the fun interview, Roberts and Clooney talked about what they did to prepare for playing drunk on camera, how they like to get ready to film something emotional, and reveal the first thing someone should watch if they’ve never seen their work.

Watch what they had to say in the player above, or you can read our conversation below.

COLLIDER: Listen, I want to start with, and I mean this sincerely, I'm a really big fan of both of your work and I just want to thank you for everything that you've done, making movies and entertaining me and the whole planet.

JULIA ROBERTS: Aw. That's so nice. Thank you.

GEORGE CLOONEY: Thanks, man. Thank you.

I am curious though, if someone has never seen anything that you've done before, what is the first thing you want them watching and why?

ROBERTS: Okay, but hold on, let's get this straight.

CLOONEY: Yes.

ROBERTS: Is it we want them to see a movie that is just going to entertain them and we want them to see a great movie? Or do we want them to see something that we think says more about us as an actor?

CLOONEY: That's a very good question. That's a very good question.

Well, you see, that's the thing. Say there's a 12-year-old who has not seen anything you've done or a 20-year-old.

CLOONEY: 12-year-olds aren't allowed to see the films I'm in.

ROBERTS: None of them. None of them.

Is there one movie or project that you've done that really that, I don't know, you want people…

CLOONEY: You mean putting in your time capsule, right? The film you'd put in the time capsule.

ROBERTS: Do you want to laugh or cry?

See, listen, that's the problem with both of your resumes are too amazing to pick one thing. So maybe it's tough. I don't know. You know what I mean though.

CLOONEY: For me, it would be Good Night, and Good Luck, because I wrote it and directed it.

ROBERTS: Oh, yes. Well chosen. Yes.

CLOONEY: And it was about something that was important to me and it was a tip of my hat to my father. So all those things, I think for that reason, not for my acting part, because I didn't have much to do with it, but that, for me, was the one that I'd go.

ROBERTS: That's a good choice. I'm going to say Pulp Fiction. It might be obvious. Might be.

CLOONEY: Yeah. Yes.

ROBERTS: I know that's probably what George was thinking I was going to say, and then I said it.

I did think your performance in that was spectacular.

ROBERTS: Thank you. Almost unrecognizable, is me.

CLOONEY: I mean, and the way you danced, wow.

ROBERTS: Yeah. Wow. Not to brag. Speaking of dancing.

Well, I know you've talked about the dance in this a lot, but I am curious what is it like before you're stepping on set, thinking about a scene like that where you need to play drunk, you need to be having fun on camera. How are you getting ready before you step into that scene?

CLOONEY: So I'm a method actor, and I spent time-

ROBERTS: I just thought about all the times that George and I have sat around drunk, laughing, dancing, and thought, I know what that looks like. Let's go.

CLOONEY: I know how to do this. We've been prepping for this movie for years, yeah.

ROBERTS: For 20 years.

CLOONEY: By the way, I was very good at the beer pong.

ROBERTS: Yes.

CLOONEY: I was very good at it, because they brought in guys to throw the…and I was like, dude, let the master to it.

ROBERTS: Yes.

Say on a Monday morning, you have a really emotional scene or something very dramatic, something that you know you really got to dig inside to pull it out, to deliver it on set. How early on, before Monday, are you thinking about that scene and preparing for it? And do you save the emotion for the day or are you sort getting that ready prior to stepping on set?

CLOONEY: Okay, so what do you do? Do you prepare?

ROBERTS: I am going to say I think about it a lot, but I wouldn't say that I prepare emotionally, as it were, until the day. Until the day.

CLOONEY: Yeah. I think the secret is always specifically to know, to really have your lines down pat, because you don't want to be searching for that. And then everything else, I think, because that's why rehearsals sometimes don't work, is because you can be rehearsing here. A lot of times you'll come to a hotel room and rehearse the scene. We would talk about this in other projects we've done, and all of the elements that you have when you're doing it here, once you get on a set with the real actors and with the real set and with everything else going on, can be completely different. And so oftentimes, it's about understanding the basics and then getting into the room and letting whatever happens happen.

On that note, I need to go. I'm just going to say again, thank you so much for entertaining me for so long, and I hope this is a huge hit for you guys.

ROBERTS: Thank you.