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Speaker 1: So I'm in the in the fitting and they're putting

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Speaker 1: the Iron Man costume on me, and it's a little

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Speaker 1: snug and they're like, well, it's this is this isn't

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Speaker 1: really working. And I'm like, well, you're can let out

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Speaker 1: the crotch a little bit, you know, like it's your

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Speaker 1: this is your jobs.

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Speaker 2: Hez and Sean I had a nickel.

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Speaker 1: Hey, welcome to Hollywood Handbook, and it's Ader's guide to

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Speaker 1: kicking button dropping names in the red carpet lineback hallways

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Speaker 1: of this industry we call showbiz. What Up? What Up?

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Speaker 1: I'm Hayes Davingport. I'm here with with Sean Clements. What up?

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Speaker 1: What Up? Well? Tis the season to get screeners? As

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Speaker 1: it were.

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Speaker 2: Around this time of year. There are eight to twelve.

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Speaker 3: Packages on my doorstep every night when I get home

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Speaker 3: from really working hard, which is a thing I want

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Speaker 3: to say. I work very hard. People think that because

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Speaker 3: I love what I do and because it sounds fun

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Speaker 3: to make movies, that it's not work.

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Speaker 1: But it is work.

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Speaker 2: Sorry, just that's a side note.

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Speaker 3: But I've just been pissed lately that a lot of

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Speaker 3: you know, my family members have been calling my job play.

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Speaker 1: It's all work. I mean, sometimes you're shooting eighty ninety

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Speaker 1: days a year. You're going in and recording voices, you're

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Speaker 1: doing press.

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Speaker 3: You're looking at real after reel of girls taking their

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Speaker 3: clothes off for the big scene in your movie where

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Speaker 3: you need to have a really sexy girl in that

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Speaker 3: scene or it's not gonna make sense.

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Speaker 1: And when you're not doing anything, you're it seems like

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Speaker 1: you're not doing anything. You're figuring out what you're gonna

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Speaker 1: do next. And that's work too, choosing the path anyway,

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Speaker 1: Speaking of paths, let's get back on ours.

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Speaker 3: Anyway. I get home from work and here's eight to

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Speaker 3: twelve packages each night. It's a total about three hundred movies,

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Speaker 3: is what they send me.

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Speaker 1: And these these are are screeners. They're sent by the

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Speaker 1: studios during a war season so that people who vote

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Speaker 1: on these awards can watch the movies and make a

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Speaker 1: decision about whether to vote on them. It's not because

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Speaker 1: they can't afford to go pay for them in the theaters.

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Speaker 3: It's because the companies that make them basically want to

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Speaker 3: pathetically beg us for our votes.

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Speaker 1: Yes, so we get all these screeners, and there's a

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Speaker 1: message when you put the screener in that appears on

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Speaker 1: your screen, which is why they call them screeners, and

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Speaker 1: it says, when you finish this movie I'm paraphrasing, but

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Speaker 1: please destroy this disc by breaking it in half, because

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Speaker 1: otherwise the movie gets into the hands of these pirates,

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Speaker 1: and pirates, as we all know, are the biggest threat

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Speaker 1: facing the movie industry today. I don't want to get

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Speaker 1: too fired up about pirates, but the short version is

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Speaker 1: people work really hard on this material and the fact

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Speaker 1: that you're going out and distributing it for free is

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Speaker 1: just a great big middle finger to the all, to

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Speaker 1: all the people who put their blood, sweat and tears

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Speaker 1: in it.

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Speaker 3: And I would go one step further and say that

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Speaker 3: you're putting the middle finger, you're sticking it inside their ass,

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Speaker 3: and you're wiggling it around in a way that's uncomfortable.

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Speaker 3: So it's not just flipping them the middle finger, but

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Speaker 3: you are jamming it as far up as you can

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Speaker 3: and you're moving it sort of against the walls at

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Speaker 3: awkward angles to kind of make them pretty uncomfortable with

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Speaker 3: where you're putting your middle finger.

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Speaker 1: Yeah, and TV, you know, just as one example, like

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Speaker 1: if you're distributing TV for free. All they get is

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Speaker 1: ad revenue from the from the show's appearing on TV,

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Speaker 1: and it with just ad revenue, TV's going to go away. Sorry.

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Speaker 1: You know, if you like it, you gotta pay for it. Now.

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Speaker 3: I don't own a TV, but I know a lot

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Speaker 3: of people do, and that must be a pretty scary

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Speaker 3: proposition for that to go away.

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Speaker 1: M hm, So think about that anyway. We we take

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Speaker 1: this warning on the screeners very seriously for that reason.

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Speaker 1: We don't want these movies to get into the hands

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Speaker 1: of pirates, and so it's very important for us to

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Speaker 1: make sure that doesn't happen. So this is a segment

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Speaker 1: called a disc tisk disc, which is where we give

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Speaker 1: our listeners because we do have a lot of industry

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Speaker 1: people listening advice on how to dispose of these screeners,

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Speaker 1: and if our non industry listeners do ever get into

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Speaker 1: the industry, they'll need to know some of the ins

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Speaker 1: and outs in terms of or if.

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Speaker 3: They find a screener on the street that was dropped

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Speaker 3: by someone careless Giovanni Ribisi, they may be afraid. They

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Speaker 3: don't want to get it rested, go to.

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Speaker 1: Jail, because that's one of the easiest ways out of

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Speaker 1: the industry is to be trusted with these screeners, which

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Speaker 1: are laser tagged with your name, and then when they

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Speaker 1: get on the open they realize that you are the

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Speaker 1: one who leaked it. You you might not be seeing

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Speaker 1: any more movies after your watermark shows up, you know,

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Speaker 1: in the corner of a screener that's been pirated onto

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Speaker 1: the inner Darren Aronovsky. You may not be able to

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Speaker 1: work with a Hayes or a Shawn next year, like

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Speaker 1: maybe you wanted to. So our advice for when you

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Speaker 1: get these screeners what to do with them to make

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Speaker 1: sure they don't get into the wrong hands. What we do,

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Speaker 1: first of all, is we don't watch them. That's the

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Speaker 1: fastest way. If you love movies as much as Sean

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Speaker 1: and I do, and we think movies is the best,

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Speaker 1: the fastest way to get information about a movie out

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Speaker 1: into the public is to watch it, and then you

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Speaker 1: just gotta talk about it.

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Speaker 3: Yeah, And if you catch yourself talking about the movies,

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Speaker 3: and then the movies is just available to everyone, basically

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Speaker 3: from some of the stuff you said, which is a

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Speaker 3: little too specific, Maggie Smith. And so when you're talking

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Speaker 3: the movies and everyone who can hear you is listening. Yeah,

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Speaker 3: that's breaking the law. Yes, because we Sean and I.

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Speaker 3: Our knowledge of.

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Speaker 1: Cinema and the miss and Sen and the Chiaroscuro and

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Speaker 1: the de New Mo and the and the cameras.

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Speaker 2: Is and the speakers is such.

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Speaker 1: That when we talks about some of these movies, the

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Speaker 1: people listening can basically go recreate them for themselves. We

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Speaker 1: like we express it in such detail, and sometimes the

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Speaker 1: movies we're describing is even better than some of the

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Speaker 1: ones that we originally saw, because we like to make.

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Speaker 2: Little now real storytellers.

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Speaker 3: And so if you are one of these Hollywood rip

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Speaker 3: off artists that's gonna listen to us and then go

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Speaker 3: make something similar Kevin Neelan, then that's against the law.

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Speaker 1: Yes, that's breaking the law. And that and that is federal.

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Speaker 1: That is federal. So good luck. The other thing we

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Speaker 1: do so nobody else can watch the screeners either as

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Speaker 1: we drop them right in the tub, and then because

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Speaker 1: of how the technology works that shorts them out. Nobody's

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Speaker 1: able to see them anymore after that.

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Speaker 3: And what's in the tub apple sauce. You need something

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Speaker 3: thick and viscous.

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Speaker 2: It can't be just water. The screeners are too smart

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Speaker 2: now for that.

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Speaker 1: Then what we do is we create sort of a

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Speaker 1: decoy screener so that the people who are prowling around

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Speaker 1: our properties tirrit bait tried to get at our screeners,

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Speaker 1: they get the fake one instead. And sometimes we cast

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Speaker 1: these new screeners in sort of a way we wish

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Speaker 1: they had been originally done. Like for The Wolf of

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Speaker 1: Wall Street, I thought Idris Elbow would have been really

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Speaker 1: great in that role that the little shrimpy guy did

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Speaker 1: like he just didn't he wasn't as intimidating as a

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Speaker 1: wolf I think should be.

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Speaker 3: Yeah, And for Inside Leewin Davis, I thought there was

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Speaker 3: a real missed opportunity in not having Gilbert Gottfried and

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Speaker 3: bobcat Goldthwaite in the two lead roles sort of doing

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Speaker 3: some crazy voices, because as great as that movie was,

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Speaker 3: the voices were not very crazy.

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Speaker 1: And sometimes, regrettably this does happen. We will create a

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Speaker 1: decoy screener and it will get out into the world

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Speaker 1: and it will actually become a popular movie that does

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Speaker 1: end up getting awards. This happened with Silver Lining's Playbook

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Speaker 1: a couple of years ago. We just sort of threw

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Speaker 1: together this idea of like us, like this guy's crazy

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Speaker 1: and they go dancing, and we like football, so we

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Speaker 1: threw some football stuff in there, and like Bobby de

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Speaker 1: Niro is in it, and and that he just happened

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Speaker 1: to be over and so that thing we shot as

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Speaker 1: a decoy.

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Speaker 3: We were having a meeting of gentlemen who share a

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Speaker 3: particular attribute. De Niro has this, Hayes and I have this.

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Speaker 1: Who are endowed with the sort of a blessing yes

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Speaker 1: which so to speak, And we talked about explaining to

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Speaker 1: people who don't. We talked about sort of navigating the

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Speaker 1: day to day ins.

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Speaker 2: And ouncer resisting the urge to perhaps.

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Speaker 3: Some deferralay and insert into.

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Speaker 1: Anyway.

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Speaker 3: Bobby was over for that, so we shot him sort

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Speaker 3: of being mad at his crazy kid.

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Speaker 2: And we didn't know Chris Tucker was in the movie. No,

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Speaker 2: he was sneaking in.

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Speaker 1: He sometimes stands outside our window hoping to get into

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Speaker 1: shots of our movies, and he did get into that one.

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Speaker 1: And as we all know, that was one of Oscar's

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Speaker 1: faiths last year. So after we've shot the decoy screeners,

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Speaker 1: the real screeners get loaded up into the into a

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Speaker 1: time capsule and we shoot him right into space, because

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Speaker 1: those are for basically, if if, if another civilization. And

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Speaker 1: I do believe that we are not a in this universe.

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Speaker 3: Whiz, it is so cocky and narcissistic to think that

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Speaker 3: in a universe which is infinite, you're the only intelligence.

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Speaker 1: Look at the numbers, look at the books. You know,

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Speaker 1: the the math is right there. We are, We have

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Speaker 1: we have company, so to speak. And if we are

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Speaker 1: ever when I should say we are visited by some

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Speaker 1: of our galactic neighbors, what I want them to know

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Speaker 1: about us is that we did movies.

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Speaker 3: Is that we did movies, and also that we broke

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Speaker 3: the movies when when it's because we were scared of pirates.

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Speaker 1: Yes, we're assuming that they will have the technology at

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Speaker 1: that point will be far long enough to recover the

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Speaker 1: data from us throwing the screeners in the tub.

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Speaker 3: And that is actually why we do it that way

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Speaker 3: in the tub. And Haze and I don't ever punch

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Speaker 3: the movies because that would actually that would destroy them.

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Speaker 1: There is no technological developed that that that that they

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Speaker 1: could recover from one well placed punch to a screen.

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Speaker 3: One medium speed punch from either Hayes or I would

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Speaker 3: basically disintegrate the screener so that there was no evidence

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Speaker 3: that ever existed.

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Speaker 1: And I'd also like the aliens to see what a

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Speaker 1: breath of fresh air Jennifer Lawrence is in this era

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Speaker 1: we live in of everyone's so anorexic models and like

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Speaker 1: people thinking that those are real women.

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Speaker 3: And just and just spouting out these rehearsed statements, and

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Speaker 3: it's like, is anybody a real person anymore?

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Speaker 2: Oh? Yeah, one person is.

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Speaker 1: It's so refreshing to see an actress with big titties

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Speaker 1: rise to this level of fame because usually you're not

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Speaker 1: allowed to be famous if your titties are really big.

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Speaker 1: And so she's on she's on billboards, she's on bus

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Speaker 1: ads with her titties right out there for all to see.

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Speaker 1: And that, you know, call me crazy. I think that's

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Speaker 1: really brave.

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Speaker 2: Yeah, and it's a great point.

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Speaker 3: I don't think people are talking about how there hasn't

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Speaker 3: really been any full bodied actresses. It's all these tweaks, yeah,

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Speaker 3: and these bony skeletons. And it's like such a breath

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Speaker 3: of fresh air to see some juicy titties spilling out

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Speaker 3: of address on a billboard.

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Speaker 1: Not carrying It's like she doesn't care what anyone thinks.

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Speaker 1: She's like, yeah, so my titties are big, so what.

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Speaker 3: She's not ashamed the way that women are and are

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Speaker 3: told they should be.

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Speaker 1: She carries herself with a very refreshing confidence, and she

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Speaker 1: gets the Hollywood Handbook. Bravo Keep It Up Award for

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Speaker 1: this week.

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Speaker 3: We've got a killer guest coming up today. Andy Daly

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Speaker 3: from TV and movies is here and we're gonna talk

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Speaker 3: to him a little bit about some of his famous

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Speaker 3: characters and just really get into.

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Speaker 2: The good stuff with Andy. When we come back Hollywood.

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Speaker 3: I've caught him, you know, brummaging around in the trash

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Speaker 3: and pulls out the scratch on.

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Speaker 2: And he goes, sir, you've thrown out of Winner. And

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Speaker 2: I goes here, that's for like a freaking bucks.

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Speaker 3: I'm not gonna round.

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Speaker 2: Can and know it's my trash.

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Speaker 1: Yeah, get your own trash. So frustrat I didn't earn that.

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Speaker 2: Yeah.

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Speaker 1: Hey, Welcome to Hollywood and an Insider's Guide to kicking

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Speaker 1: button dropping names of the red carpet lineback hallways of

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Speaker 1: this industry we call showbiz. We have a very exciting

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Speaker 1: guest today. We sort of like to think of this

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Speaker 1: as the intro to other Earwolf podcasts. We're sort of

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Speaker 1: the gate keepers people come to this one and we uh,

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Speaker 1: in that way, we like to tell you sort of

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Speaker 1: what's coming up around the network, to sort of spread

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Speaker 1: awareness to these guys who are really sort of like

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Speaker 1: our family. Uh. And we have a very exciting guest

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Speaker 1: today in that day, Andy Day, what's up, bros. I'm

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Speaker 1: so excited to be here. He's doing thank you characters.

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Speaker 4: And sometimes I throw around bros. Not all the time,

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Speaker 4: for sure, but under certain circumstances. You know, people don't

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Speaker 4: know we're doing this kind of late at night, and uh,

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Speaker 4: the hour is right for throwing down bros.

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Speaker 2: Fell really natural over here.

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Speaker 4: Well, it sure did, hear. I'll tell you that I'm

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Speaker 4: excited to be here. Thank you for allowing me and

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Speaker 4: my show to pass.

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Speaker 2: Through your porthal, your portal, your portal that this show

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Speaker 2: is man. And also the other reason I'm excited to

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Speaker 2: be here is that a lot.

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Speaker 4: Of the time when I'm speaking publicly on podcasts, or

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Speaker 4: on television or or you know, wherever I am on stage,

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Speaker 4: which is as you know, my first love, I sound

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Speaker 4: I try to sound humble about show business.

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Speaker 2: But this is this seems like a safe zone to like.

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Speaker 1: Really, you don't want to hurt anyone's feeling, people who

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Speaker 1: might not have gotten to the places that you've got

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Speaker 1: a lot of times it's not a big deal.

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Speaker 3: A lot of times the people hosting these pod casts

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Speaker 3: are doing it because they couldn't cut it elsewhere. Yeah,

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Speaker 3: all right, and that's not the case in this one.

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Speaker 3: So you can feel free to boast. You're not gonna

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Speaker 3: make us blush.

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Speaker 4: I guess I try to project an image a lot

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Speaker 4: of the time, like I'm just some regular, normal guy

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Speaker 4: who's just sort of stumbled into this fantasy world of

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Speaker 4: show business and I'm kind of like, wow, it's weird

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Speaker 4: here and whatever.

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Speaker 3: You know.

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Speaker 4: The reality, of course is I'm far from a normal

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Speaker 4: regular person. The three of us are, you know, we're

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Speaker 4: especially yes, exactly.

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Speaker 1: It's also a better story than that somehow luck was

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Speaker 1: involved for you or like that it wasn't always going

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Speaker 1: to happen, Like what kind of story is like you

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Speaker 1: were born now it was hard work.

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Speaker 3: Like a lot of times people talk about hard work,

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Speaker 3: right right, right, that's not as if she could work

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Speaker 3: your way.

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Speaker 4: In hard We can say that here on this show

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Speaker 4: and not in many other places. It hasn't been hard, no,

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Speaker 4: and uh and there's yeah. I mean there's nothing weird

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Speaker 4: about it, you know, and we're and we're special.

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Speaker 2: So that feels great to just say it.

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Speaker 1: This is the first time we have cross paths with you,

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Speaker 1: and we have we have sort of a little history.

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Speaker 1: We haven't spent much time sitting down together. But I

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Speaker 1: feel like we have a lot of walking meetings. If

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Speaker 1: we're gonna have a meeting, it's a walking meeting. It's

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Speaker 1: like an episode of a Sorkin show. With us, it's

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Speaker 1: all walk and talks. It's up in the canyons or

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Speaker 1: you know, high Erin. But we I feel like we

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Speaker 1: almost get mistaken for you a lot because people remember.

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Speaker 3: Well, they remember that there was a transition period sort of.

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Speaker 3: You used to do a weekly show on Comedy Central

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Speaker 3: called The Daily Show. Yes, Yes, the Andrew Daily Show.

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Speaker 3: And so at a certain point we were kicking around

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Speaker 3: ideas of the execs. You were kind of bored with it,

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Speaker 3: and we said, we think we could be that funny

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Speaker 3: literally every single day, and so we brought in doing We.

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Speaker 1: Said the Daily We said something about that Tilly does fit.

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Speaker 3: We love the title, and so Hayes and I at

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Speaker 3: that time, we're doing this sort of Tony Clifton esque,

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Speaker 3: sort of brash, insult comic character by the name of

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Speaker 3: Craig Kilbourne.

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Speaker 1: Where Sean would sit on my shoulders.

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Speaker 2: You guys had a suit that it looked like, Yeah,

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Speaker 2: it was who's in the suit? You never knew who

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Speaker 2: was yah?

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Speaker 3: Yeah, yeah, And so we sort of brought that to

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Speaker 3: the screen and people didn't really notice the difference.

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Speaker 4: Yeah, what between my show and your care Yeah? Yeah,

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Speaker 4: And that was that, you know, And I was ready

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Speaker 4: to move on, So it's all cool. You know, there's

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Speaker 4: no hard feelings there at all. I was ready to

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Speaker 4: move on from the Weekly Daily Show and you guys.

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Speaker 1: And that's good that you're ready. That was a good

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Speaker 1: coincidence that you were ready to move on just at

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Speaker 1: the moment that they were forcing you to.

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Speaker 2: Yes, exactly, that was right.

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Speaker 1: That was a lucky thing.

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Speaker 2: Yeah, I mean, it's hard to say.

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Speaker 4: I mean, it was one of these weird things where

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Speaker 4: I took a meeting with Comedy Central and I'm I'm

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Speaker 4: saying the words I'm ready to move on at the

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Speaker 4: same moment that the president of Comedy Central is saying,

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Speaker 4: we need you to leave the building. Like we said

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Speaker 4: that simultaneously, and I said, and then I simultaneously said,

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Speaker 4: I am going to see myself out while he was

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Speaker 4: saying this security guard is going to walk you out

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Speaker 4: of the building. But I mean to the point where

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Speaker 4: I didn't even necessarily hear it. Only later did I go, wait,

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Speaker 4: what was I hearing while I was talking?

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Speaker 1: And it was that I know that these you know,

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Speaker 1: you visualize your own reality. So you saying, oh, maybe

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Speaker 1: it's time for me to move onto the show. It's

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Speaker 1: like the universe responds and the ratings collapse, and so

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Speaker 1: you sort of get what you put out there.

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Speaker 2: Oh, I think that's very true. Absolutely.

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Speaker 4: There isn't a single project experience in show business that

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Speaker 4: has failed where the person behind it did not desperately

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Speaker 4: want it to fail every single time. That's I you know,

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Speaker 4: I'm working on a book, a showbiz book call you

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Speaker 4: failed because you desperately.

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Speaker 2: Wanted to And that's I mean, that's the whole That's

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Speaker 2: all I have so far.

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Speaker 3: Are you I won't read it because I can't relate, right, No,

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Speaker 3: I know, but some people will really find that helpful.

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Speaker 1: Yeah, what's the process been so far for do you

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Speaker 1: are you doing yourself? Are you sitting down with guy? Okay?

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Speaker 1: Oh no, no no.

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Speaker 4: I sent it to a team of writers in India

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Speaker 4: that are you know, they've got like I don't know what,

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Speaker 4: fifty or one hundred guys on a floor, so.

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Speaker 2: Many people they bang out these books.

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Speaker 3: That's what.

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Speaker 4: It's the same company Bill O'Reilly uses for his you know,

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Speaker 4: Lincoln and Kennedy books and stuff like that. It's just

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Speaker 4: like one hundred guys on a floor in India and they.

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Speaker 2: Do great stuff.

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Speaker 1: They do great work. And do you have you read

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Speaker 1: the stuff they're sending?

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Speaker 3: Like?

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Speaker 1: Are you just going to read it when it comes out?

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Speaker 4: If you you know, I'm going to probably ask that

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Speaker 4: it be broken down into bullet points for when I

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Speaker 4: promote it, you know what I mean? And that because

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Speaker 4: because basically the person who's interviewing an author has bullet points. Sure,

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Speaker 4: you know, why should the author have any more than that?

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Speaker 4: And they're not going to interview those guys in India.

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Speaker 3: You know, it's no absolutely bad is not to be insensitive,

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Speaker 3: but they wouldn't understand what they were saying.

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Speaker 1: It just wouldn't make any sense their accents are so

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Speaker 1: heavy and they and they aren't successful or famous. It

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Speaker 1: just wouldn't make any sense. Why would they do well?

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Speaker 1: Why am I being interviewed? That's the only question they

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Speaker 1: would have.

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Speaker 3: Yeah.

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Speaker 4: Well, and from what I understand, if one of them

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Speaker 4: was interviewed and talked about their role in writing any

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Speaker 4: one of these books, they would immediately be put to death.

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Speaker 4: That's just part of the deal, you know.

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Speaker 2: And it's a good deal. Hey, that's India, and.

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Speaker 1: It's better than the alternatives over there in a lot

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Speaker 1: of cases. Mmm.

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Speaker 2: Oh, I don't even no one knows what those alternatives are.

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Speaker 1: Uh. We wanted to talk a little about you have

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Speaker 1: this this character based podcast coming up. Yes, do you do?

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Speaker 1: You want to speak on that a little bit? Well, no,

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Speaker 1: I don't.

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Speaker 2: Oh, okay, okay, No, I will, all right, I will.

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Speaker 1: I will.

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Speaker 2: It's a new it's a new podcast here on.

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Speaker 4: The Earwolf podcast network. You're on the Aarwolf podcast Network.

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Speaker 4: We're in their building. Yeah, and it's called The Andy Daily.

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Speaker 4: The funny thing is I listened today to the teaser

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Speaker 4: episode and I got it wrong. And the teaser episode,

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Speaker 4: which is very embarrassing. The teaser episode begins with me

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Speaker 4: getting the title of the of the podcast wrong, and

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Speaker 4: that's a real rookie mistake.

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Speaker 3: You got it.

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Speaker 2: You really got to try and get the name right.

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Speaker 1: Was this one of those things where your manager You

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Speaker 1: wake up that morning and you call your manager and

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Speaker 1: they say what am I doing today? And they say, oh,

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Speaker 1: you have a podcast now? So you go. You just

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Speaker 1: show up at the mic. Yes, And sometimes you haven't

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Speaker 1: been fully briefed on what this thing is that you're

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Speaker 1: supposed to be doing.

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Speaker 2: Apparently not.

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Speaker 4: And I fired I think I fired nine people this

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Speaker 4: morning when I heard that podcast. I just said I

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Speaker 4: fired one guy and I said him, pick eight other

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Speaker 4: people and you fire them.

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Speaker 2: And so I don't know what the upshot of that is,

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Speaker 2: but firings have occurred.

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Speaker 4: But anyway, it is called and I'll read it here

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Speaker 4: because Paul up Tompkins wrote it on this table. It's

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Speaker 4: called the Andy Daily Podcastlot Project. Very easy to invert

436
00:22:02,280 --> 00:22:05,719
Speaker 4: podcasts and pilot in that and they both work. But anyway,

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Speaker 4: the point of it is it's going to be eight

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Speaker 4: pilots that have been compiled, that have been contributed by

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Speaker 4: aspiring podcasters, and they put together pilots.

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Speaker 1: You know, that's it. It's late.

441
00:22:25,000 --> 00:22:27,560
Speaker 2: It's hard to explain, but I think people understand it.

442
00:22:27,800 --> 00:22:28,000
Speaker 1: Sure.

443
00:22:28,119 --> 00:22:31,320
Speaker 4: We spend a thirty minute podcast explaining it, me and

444
00:22:31,400 --> 00:22:34,399
Speaker 4: Matt Gurley and Scott Ackerman explaining it to one another,

445
00:22:34,880 --> 00:22:37,240
Speaker 4: and we grappled it. We wrestled it to the ground.

446
00:22:37,400 --> 00:22:40,440
Speaker 1: This concept, well, we we wanted to if we really

447
00:22:40,480 --> 00:22:42,159
Speaker 1: want to drive it home. We had sort of a

448
00:22:42,200 --> 00:22:44,680
Speaker 1: game we thought we might play because as actors, the

449
00:22:44,840 --> 00:22:48,320
Speaker 1: three of us, we all play characters. That's sort of

450
00:22:48,359 --> 00:22:50,879
Speaker 1: what I like to say acting is is playing characters.

451
00:22:51,119 --> 00:22:52,760
Speaker 2: Yeah, that's an interesting way of looking at that.

452
00:22:53,320 --> 00:22:55,280
Speaker 3: Yeah, but we've looked at it that way and we've

453
00:22:55,320 --> 00:23:00,320
Speaker 3: always said that. So you play so many characters, mister

454
00:23:00,440 --> 00:23:04,560
Speaker 3: everybody they call you. We wanted to play kind of

455
00:23:04,640 --> 00:23:09,520
Speaker 3: a fun game called Yours, Mine or ours. And the

456
00:23:09,600 --> 00:23:13,720
Speaker 3: way the game works is we are gonna name bundles

457
00:23:13,760 --> 00:23:17,359
Speaker 3: of characters and then you go and just dig around

458
00:23:17,400 --> 00:23:20,239
Speaker 3: in your noodle and go, are these my characters? Are

459
00:23:20,280 --> 00:23:24,040
Speaker 3: these their characters? Or did we all do these characters together?

460
00:23:24,800 --> 00:23:27,800
Speaker 3: And I think it's gonna be fun. It's so we'll

461
00:23:27,880 --> 00:23:33,360
Speaker 3: just rip off a couple bundles character bundles. Yes, yes, yes, yeah,

462
00:23:33,920 --> 00:23:38,120
Speaker 3: Just as an example, and as example.

463
00:23:38,520 --> 00:23:40,560
Speaker 2: Okay, yeah, now I'm feeling the late thing you were

464
00:23:40,600 --> 00:23:41,160
Speaker 2: talking about.

465
00:23:41,280 --> 00:23:48,600
Speaker 3: Uh huh. To start off with, I got three iconic characters. Yeah,

466
00:23:48,640 --> 00:23:55,320
Speaker 3: you know, are these yours mine or ours? Ferdinand the Bull,

467
00:23:56,320 --> 00:23:58,640
Speaker 3: Charlie Hunnam and Almo.

468
00:24:02,520 --> 00:24:05,600
Speaker 4: I feel like there's almost a trick because I did

469
00:24:05,680 --> 00:24:09,600
Speaker 4: do Elmo from ninety eight to two thousand and one.

470
00:24:09,960 --> 00:24:12,639
Speaker 4: I was the voice of Elmo for those three years.

471
00:24:13,440 --> 00:24:15,920
Speaker 4: But I've literally never heard the words Charlie Huntum together.

472
00:24:16,359 --> 00:24:19,480
Speaker 4: It's not that doesn't mean I haven't done it, but

473
00:24:19,640 --> 00:24:21,000
Speaker 4: I don't think that's my character.

474
00:24:21,160 --> 00:24:22,120
Speaker 1: And what was the third one?

475
00:24:23,080 --> 00:24:26,680
Speaker 2: Ferdinand the Bull. God, I've played a lot of bulls,

476
00:24:26,760 --> 00:24:29,199
Speaker 2: kind of a gentle bull. I've played a lot of bulls.

477
00:24:29,840 --> 00:24:33,680
Speaker 2: I gotta say, those aren't mine. I'm very sorry, Andy,

478
00:24:33,760 --> 00:24:36,560
Speaker 2: those are yours? Those aren't my characters? Did I play

479
00:24:36,640 --> 00:24:37,520
Speaker 2: Ferdinand the Bull?

480
00:24:37,720 --> 00:24:37,880
Speaker 1: Yes?

481
00:24:38,920 --> 00:24:41,560
Speaker 3: Wow? And I created these characters. You're saying, Hey, nobody

482
00:24:41,600 --> 00:24:43,560
Speaker 3: said this game was gonna be easy. Yeah, you came

483
00:24:43,680 --> 00:24:44,160
Speaker 3: up with those.

484
00:24:44,520 --> 00:24:47,720
Speaker 1: You did mo cap for Fernan the Bowl in the

485
00:24:48,160 --> 00:24:51,200
Speaker 1: children's book, in the original children's book, theyn't want to

486
00:24:51,320 --> 00:24:55,639
Speaker 1: do motion capture. Oh yeah, and you did sort of

487
00:24:55,680 --> 00:24:57,800
Speaker 1: the Andy Serkis role of showing up and getting.

488
00:24:58,400 --> 00:25:00,520
Speaker 4: I was covered in the Ping Pong Balls. Now, of

489
00:25:00,600 --> 00:25:03,480
Speaker 4: course I remember someone could draw you. I remember both

490
00:25:03,600 --> 00:25:07,159
Speaker 4: being a bull in ping pong balls and being timid.

491
00:25:07,760 --> 00:25:10,040
Speaker 1: Yeah. And then Charlie Hunnam.

492
00:25:10,280 --> 00:25:10,720
Speaker 3: What is that.

493
00:25:11,000 --> 00:25:14,840
Speaker 1: He's the actor who starred in Pacific Rim this past year,

494
00:25:14,880 --> 00:25:17,480
Speaker 1: he's on Sons of Anarchy and you played him in

495
00:25:17,600 --> 00:25:19,760
Speaker 1: his story just a couple months ago.

496
00:25:19,800 --> 00:25:22,440
Speaker 4: Oh yeah, yeah, yeah, sorry, yep. You know what though,

497
00:25:22,520 --> 00:25:25,439
Speaker 4: if that what I do when I look at a script,

498
00:25:25,840 --> 00:25:29,000
Speaker 4: I say take the names out. The first thing I

499
00:25:29,080 --> 00:25:30,600
Speaker 4: do before I even read it. I say take the

500
00:25:30,680 --> 00:25:33,720
Speaker 4: names out because what it doesn't matter what a character's

501
00:25:33,800 --> 00:25:36,239
Speaker 4: name is. People don't say one another's names to one

502
00:25:36,240 --> 00:25:37,760
Speaker 4: another in real life because.

503
00:25:37,480 --> 00:25:39,960
Speaker 2: It's all just people. Yes, exactly, it's all just people

504
00:25:40,040 --> 00:25:40,480
Speaker 2: in the movie.

505
00:25:40,520 --> 00:25:42,480
Speaker 4: And if you're trying to communicate a lot to me

506
00:25:42,920 --> 00:25:45,479
Speaker 4: through your choice of the name of a character, then

507
00:25:45,560 --> 00:25:46,520
Speaker 4: it's lazy writing.

508
00:25:46,600 --> 00:25:48,639
Speaker 2: I say take the names out. I'll find out what

509
00:25:48,720 --> 00:25:51,240
Speaker 2: I need to know about the character from what he says.

510
00:25:51,760 --> 00:25:54,879
Speaker 1: I taking sort of a method approach. I see exactly

511
00:25:54,920 --> 00:25:57,440
Speaker 1: where you're coming from. Yeah, but I really want to

512
00:25:57,440 --> 00:25:59,359
Speaker 1: get immerse myself in the character. So I say with

513
00:25:59,480 --> 00:26:02,399
Speaker 1: this character, to take his name away and change it

514
00:26:02,520 --> 00:26:06,680
Speaker 1: to my name, because I want it to be I

515
00:26:06,800 --> 00:26:08,520
Speaker 1: want to be able to sync into this character. And

516
00:26:08,560 --> 00:26:10,480
Speaker 1: if I hear a different name, it's going to take

517
00:26:10,560 --> 00:26:11,080
Speaker 1: me out of it.

518
00:26:11,200 --> 00:26:11,880
Speaker 2: That's better.

519
00:26:12,000 --> 00:26:13,800
Speaker 3: Yeah, I'm not going to turn around with if they're

520
00:26:13,840 --> 00:26:16,040
Speaker 3: talking to me, that's not my name. Unless they say

521
00:26:16,119 --> 00:26:17,720
Speaker 3: my name, it doesn't make scause I want it to

522
00:26:17,800 --> 00:26:18,520
Speaker 3: be relatable.

523
00:26:19,200 --> 00:26:22,880
Speaker 2: Yeah, yeah, that's great. I learned something. I just learned something.

524
00:26:22,920 --> 00:26:23,240
Speaker 1: I do that.

525
00:26:23,400 --> 00:26:25,520
Speaker 3: And then also, I have one name that I'll have

526
00:26:25,600 --> 00:26:26,919
Speaker 3: the muse a lot if they don't want to use

527
00:26:27,000 --> 00:26:30,880
Speaker 3: my name. Trick Dastardly is a name that I think

528
00:26:31,000 --> 00:26:34,320
Speaker 3: is very strong. You go buy that name a lot

529
00:26:34,960 --> 00:26:37,320
Speaker 3: if they if the for some reason the script, he

530
00:26:38,119 --> 00:26:43,679
Speaker 3: is unable to plug my name in. Frequently, I've written

531
00:26:43,760 --> 00:26:46,359
Speaker 3: the script and I'm directing the film, and it's too

532
00:26:46,440 --> 00:26:49,160
Speaker 3: confusing to have my name be the characters' names. Yeah,

533
00:26:49,720 --> 00:26:52,399
Speaker 3: So as a stand in, Trick Dastardly is a name.

534
00:26:52,480 --> 00:26:54,320
Speaker 3: I'll use it, and I think it's got a real.

535
00:26:54,200 --> 00:26:58,080
Speaker 1: Sa internally when he thinks of his own name and

536
00:26:58,080 --> 00:27:01,000
Speaker 1: it's just sort of internal monologue. That's it comes out.

537
00:27:01,400 --> 00:27:02,359
Speaker 1: You've said I like to go.

538
00:27:02,440 --> 00:27:03,479
Speaker 2: By Blanket Jackson.

539
00:27:03,840 --> 00:27:06,520
Speaker 4: Oh, I'm I asked people to call me that a

540
00:27:06,560 --> 00:27:10,240
Speaker 4: lot and feels great to hear it and to think

541
00:27:10,280 --> 00:27:10,960
Speaker 4: that that might be me.

542
00:27:11,560 --> 00:27:13,399
Speaker 2: Hay, did you want to lay a character bundle on

543
00:27:13,600 --> 00:27:13,920
Speaker 2: my man?

544
00:27:14,080 --> 00:27:17,440
Speaker 1: Yeah, let's let's do another bundle of characters and you'll

545
00:27:17,640 --> 00:27:24,320
Speaker 1: say something about them. These three characters are mister Bean,

546
00:27:25,200 --> 00:27:29,119
Speaker 1: Oh yeah, Osmosis Jones and Gandolf.

547
00:27:32,720 --> 00:27:37,440
Speaker 2: I think those are mine, sorry, characters.

548
00:27:37,520 --> 00:27:40,000
Speaker 1: None of us played those characters. Mister Bean was played

549
00:27:40,040 --> 00:27:44,479
Speaker 1: by Rowan Atkinson, Osmosis Jones was voiced by Eddie Murphy. Oh,

550
00:27:44,960 --> 00:27:47,080
Speaker 1: and Gandalf from the Lord of the Rings movies was

551
00:27:47,160 --> 00:27:48,520
Speaker 1: voiced by Ian McKellen.

552
00:27:49,040 --> 00:27:50,720
Speaker 3: And we did say there would be a lot of

553
00:27:50,800 --> 00:27:52,719
Speaker 3: trick questions at the beginning of this, and we did

554
00:27:52,800 --> 00:27:56,560
Speaker 3: say that several times. That is very, very tricky. Yeah,

555
00:27:56,640 --> 00:27:59,680
Speaker 3: we did say that. I'm not sure Eddie Murphy was

556
00:27:59,760 --> 00:28:00,600
Speaker 3: us Jones.

557
00:28:00,600 --> 00:28:02,320
Speaker 1: I think it was Chris. I actually think it might

558
00:28:02,359 --> 00:28:03,040
Speaker 1: have been Chris Rock.

559
00:28:03,240 --> 00:28:07,440
Speaker 2: Yeah, this is a Hollywood handbook time out.

560
00:28:07,920 --> 00:28:10,240
Speaker 1: Hey, guys, this is a This is Hayes and John

561
00:28:10,240 --> 00:28:12,880
Speaker 1: and we just wanted to take a quick time out

562
00:28:13,000 --> 00:28:18,000
Speaker 1: from our interview with Andy Daly to talk to you

563
00:28:18,119 --> 00:28:19,679
Speaker 1: guys straight.

564
00:28:19,440 --> 00:28:21,840
Speaker 2: Out, talk a little bit about what what happened.

565
00:28:21,960 --> 00:28:26,880
Speaker 1: Yes, now, you may have heard when I was talking

566
00:28:26,880 --> 00:28:31,960
Speaker 1: about the movie Osmosis Jones, I mistook Chris Rock for

567
00:28:32,160 --> 00:28:35,160
Speaker 1: Eddie Murphy. I said that, I said that Eddie Murphy

568
00:28:35,280 --> 00:28:37,960
Speaker 1: was the voice of that character when it was Chris Rock.

569
00:28:38,280 --> 00:28:45,600
Speaker 1: And Scott Anchorman reviewed the tapes and he has requested

570
00:28:45,680 --> 00:28:46,240
Speaker 1: that we do.

571
00:28:47,160 --> 00:28:49,160
Speaker 2: We issue a formal apology, a formal on.

572
00:28:49,240 --> 00:28:53,920
Speaker 1: Air apology, and I think that's great. I appreciate that

573
00:28:54,000 --> 00:28:57,960
Speaker 1: he's not censoring us, and I think it'll give me

574
00:28:58,200 --> 00:28:59,120
Speaker 1: something to think about.

575
00:28:59,760 --> 00:29:02,680
Speaker 3: As always, we don't edit this show in any way. Yeah,

576
00:29:02,800 --> 00:29:06,640
Speaker 3: so we think it's important that you hear the raw

577
00:29:06,800 --> 00:29:12,400
Speaker 3: version of one actual good man making an honest mistake

578
00:29:13,200 --> 00:29:14,920
Speaker 3: and having to pay the piper.

579
00:29:15,120 --> 00:29:19,560
Speaker 1: Mmm. And of course I have the utmost respect for

580
00:29:20,480 --> 00:29:24,600
Speaker 1: Chris and Eddie's careers. Didn't mean anything as far as

581
00:29:24,800 --> 00:29:27,600
Speaker 1: they're both friends of mine, and I think that's why

582
00:29:27,760 --> 00:29:30,000
Speaker 1: I get them confused, because I do have so much

583
00:29:30,040 --> 00:29:30,760
Speaker 1: respect for both.

584
00:29:31,400 --> 00:29:33,600
Speaker 3: Just to clarify and answer some of the nasty rumors

585
00:29:33,600 --> 00:29:35,880
Speaker 3: that I'm sure will come out. Hayes does not think

586
00:29:36,680 --> 00:29:40,200
Speaker 3: that all SNL cast members look the same. I know

587
00:29:40,320 --> 00:29:41,840
Speaker 3: they were both on SNL.

588
00:29:42,560 --> 00:29:46,120
Speaker 1: And I despise that attitude. Honestly. Putting them all together

589
00:29:46,200 --> 00:29:48,480
Speaker 1: in one box is I think one of the biggest

590
00:29:48,520 --> 00:29:50,720
Speaker 1: problems that we face in Hollywood today, and I like

591
00:29:50,840 --> 00:29:53,800
Speaker 1: to think that with my career, I've tried to fight

592
00:29:53,880 --> 00:29:55,240
Speaker 1: that as hard as I can. So it makes me

593
00:29:55,800 --> 00:29:59,280
Speaker 1: just sick to think that I would be do do

594
00:29:59,400 --> 00:30:01,720
Speaker 1: anything to hurt those two guys. Are any SNL.

595
00:30:01,440 --> 00:30:04,480
Speaker 3: Actors help of course, that he confused Bill Hayter and

596
00:30:04,560 --> 00:30:07,920
Speaker 3: Chris Catan just a few months ago at that Awards show,

597
00:30:08,040 --> 00:30:12,200
Speaker 3: But it's an unfortunate coincidence, and that's it.

598
00:30:12,960 --> 00:30:16,040
Speaker 1: So time in and to the back to the show.

599
00:30:16,160 --> 00:30:18,240
Speaker 1: Sorry and Gandalf.

600
00:30:18,360 --> 00:30:21,040
Speaker 4: From what I understand, was in the course of even

601
00:30:21,080 --> 00:30:23,600
Speaker 4: a single one of those movies played by thirty or

602
00:30:23,680 --> 00:30:26,160
Speaker 4: forty different actors. I mean, well, yes, I McKellen was

603
00:30:26,200 --> 00:30:26,520
Speaker 4: one of them.

604
00:30:26,560 --> 00:30:28,280
Speaker 1: They were all we talked about Andy Serkis, but he

605
00:30:29,240 --> 00:30:32,680
Speaker 1: played pretty much every character in Circus was in all

606
00:30:32,720 --> 00:30:33,280
Speaker 1: those movies.

607
00:30:33,400 --> 00:30:36,440
Speaker 4: You can you can sense that watching it. Ian McKellen

608
00:30:36,520 --> 00:30:38,920
Speaker 4: is an old man he can't wield a staff like that.

609
00:30:39,240 --> 00:30:40,280
Speaker 2: Something's going on there.

610
00:30:40,800 --> 00:30:43,400
Speaker 3: Yeah, I knew something smelled fishy. And then we finally

611
00:30:43,480 --> 00:30:45,120
Speaker 3: dug it up and it sure does stink.

612
00:30:45,840 --> 00:30:45,959
Speaker 1: Now.

613
00:30:46,720 --> 00:30:53,200
Speaker 3: We the next dug up a fish. Yeah, we dug

614
00:30:53,320 --> 00:30:56,160
Speaker 3: up the truth of it fish and we got it

615
00:30:56,160 --> 00:30:59,080
Speaker 3: and it sure does stink. Now this last round is

616
00:30:59,080 --> 00:30:59,920
Speaker 3: worth double the point?

617
00:31:02,360 --> 00:31:02,680
Speaker 1: How many?

618
00:31:02,880 --> 00:31:03,040
Speaker 2: Yeah?

619
00:31:03,040 --> 00:31:03,360
Speaker 3: All right?

620
00:31:03,440 --> 00:31:03,840
Speaker 1: Never mind?

621
00:31:03,920 --> 00:31:08,800
Speaker 3: Okay, ratso Rizzo from Midnight cow Poke, Frau Barbisona and

622
00:31:09,000 --> 00:31:09,760
Speaker 3: CM Punk.

623
00:31:12,360 --> 00:31:18,120
Speaker 2: Huh, I'm gonna say not me, But am I supposed

624
00:31:18,120 --> 00:31:18,560
Speaker 2: to guess.

625
00:31:18,360 --> 00:31:20,320
Speaker 1: Who it is? Okay? Well?

626
00:31:20,960 --> 00:31:22,280
Speaker 2: Yours mine or ours?

627
00:31:25,280 --> 00:31:25,400
Speaker 1: Oh?

628
00:31:25,440 --> 00:31:26,160
Speaker 2: Can it be ours?

629
00:31:26,880 --> 00:31:27,240
Speaker 3: It is?

630
00:31:28,280 --> 00:31:28,840
Speaker 1: It is ours?

631
00:31:29,120 --> 00:31:31,960
Speaker 3: We cook these three up after one too many Apple

632
00:31:32,120 --> 00:31:37,600
Speaker 3: teenis one night out in Santa beeB got it and

633
00:31:37,960 --> 00:31:42,520
Speaker 3: uh we just you know, we were riffing, uh and

634
00:31:42,680 --> 00:31:46,000
Speaker 3: just having having having a laugh, and we wound up

635
00:31:46,040 --> 00:31:48,120
Speaker 3: creating three huge characters that are still part of pop

636
00:31:48,160 --> 00:31:48,800
Speaker 3: culture today.

637
00:31:49,040 --> 00:31:52,920
Speaker 1: We said what if they're We said, what if Doctor

638
00:31:53,000 --> 00:31:57,360
Speaker 1: Evil had sort of a female sidekick? And what if

639
00:31:57,400 --> 00:32:02,400
Speaker 1: there were a straightedge wrestler m and uh, what if

640
00:32:02,480 --> 00:32:04,320
Speaker 1: the Midnight Cowbok had a friend?

641
00:32:05,680 --> 00:32:05,920
Speaker 3: Yeah?

642
00:32:06,840 --> 00:32:07,120
Speaker 2: Great?

643
00:32:07,200 --> 00:32:11,280
Speaker 1: Who was dying of tuberculosis and we said he should

644
00:32:11,280 --> 00:32:13,280
Speaker 1: cough a lot. That was my one note for that character.

645
00:32:13,480 --> 00:32:17,160
Speaker 3: Yeah, and we were busting up Yeah, and then we

646
00:32:17,440 --> 00:32:19,000
Speaker 3: and then we went out and we bust up America

647
00:32:19,080 --> 00:32:19,920
Speaker 3: with those characters.

648
00:32:21,600 --> 00:32:22,520
Speaker 2: Now, great job.

649
00:32:24,800 --> 00:32:25,520
Speaker 1: That was a good game.

650
00:32:26,240 --> 00:32:29,160
Speaker 2: I thought it was fun. Sure did anybody win? Oh?

651
00:32:29,240 --> 00:32:31,000
Speaker 2: The listeners always win on this show.

652
00:32:31,040 --> 00:32:33,320
Speaker 1: All right, O, good. We want to talk a little

653
00:32:33,320 --> 00:32:39,440
Speaker 1: about you. You've done some improvisational, some improv comedy. Yes,

654
00:32:39,760 --> 00:32:41,480
Speaker 1: in the past. You have some experience with that.

655
00:32:41,800 --> 00:32:45,800
Speaker 2: Absolutely. Sean and I are big fans. Okay, I love

656
00:32:45,920 --> 00:32:47,160
Speaker 2: watching it, but we've.

657
00:32:47,080 --> 00:32:49,840
Speaker 1: Always wanted We have a lot of questions about it,

658
00:32:50,000 --> 00:32:51,280
Speaker 1: just from the from the outside.

659
00:32:51,640 --> 00:32:55,840
Speaker 3: Yes, I will to me, possibly the only thing scarier

660
00:32:55,960 --> 00:33:04,680
Speaker 3: than Frankenstein's is improv. Oh okay, fair fair play mummies.

661
00:33:05,880 --> 00:33:09,120
Speaker 3: And then I would say improv oh okay, because going

662
00:33:09,240 --> 00:33:15,400
Speaker 3: out there, I mean, how scared are you?

663
00:33:18,280 --> 00:33:18,520
Speaker 1: Well?

664
00:33:19,320 --> 00:33:21,320
Speaker 4: One of the things that people don't talk about it

665
00:33:21,360 --> 00:33:23,160
Speaker 4: too much, but you know how there are like four

666
00:33:23,200 --> 00:33:27,880
Speaker 4: different levels at UCB. You know, if you make it

667
00:33:28,040 --> 00:33:30,680
Speaker 4: past level one and level two and level three and

668
00:33:30,720 --> 00:33:34,240
Speaker 4: you're on your way into level four, what happens is

669
00:33:34,480 --> 00:33:37,360
Speaker 4: that you at that point are brought to see a

670
00:33:37,480 --> 00:33:41,000
Speaker 4: doctor and this doctor and it's a very They've gotten

671
00:33:41,040 --> 00:33:43,120
Speaker 4: it to the point. I mean literally thousands of people

672
00:33:43,160 --> 00:33:46,240
Speaker 4: have come through the system where it's minimally invasive and

673
00:33:46,360 --> 00:33:49,160
Speaker 4: it's not dangerous at all, but there is the fear

674
00:33:49,280 --> 00:33:53,080
Speaker 4: center of your brain that is simply severed. I mean,

675
00:33:53,120 --> 00:33:54,920
Speaker 4: they've gotten to a point where they can just find

676
00:33:55,440 --> 00:33:59,360
Speaker 4: where fear resides in your lizard brain and just and

677
00:33:59,480 --> 00:34:03,160
Speaker 4: take it out, and it's gone, and it's it's great

678
00:34:03,320 --> 00:34:06,960
Speaker 4: for improvisation, it's terrible for so many of the other

679
00:34:07,040 --> 00:34:09,880
Speaker 4: aspects of an improviser's life, like driving.

680
00:34:10,080 --> 00:34:13,600
Speaker 1: I see all these improvisers driving very fast around the city.

681
00:34:13,640 --> 00:34:16,200
Speaker 2: They literally have no capacity for fear.

682
00:34:17,000 --> 00:34:18,239
Speaker 1: And fear, you know.

683
00:34:18,800 --> 00:34:21,960
Speaker 4: Some might say is something that has evolved within us

684
00:34:22,160 --> 00:34:26,279
Speaker 4: as as a way of protecting us from danger, you know,

685
00:34:26,560 --> 00:34:27,560
Speaker 4: But that's look I mean.

686
00:34:27,600 --> 00:34:31,160
Speaker 3: But it's also protecting us from doing good, funny improv Yep,

687
00:34:31,320 --> 00:34:32,200
Speaker 3: that's exactly right.

688
00:34:32,360 --> 00:34:33,919
Speaker 2: And if you want to make it into level four,

689
00:34:34,520 --> 00:34:35,600
Speaker 2: which also.

690
00:34:35,520 --> 00:34:38,200
Speaker 4: There are lots of other perks of level four. Somebody

691
00:34:38,239 --> 00:34:41,440
Speaker 4: brings speak on that. Somebody brings cookies to every class.

692
00:34:41,920 --> 00:34:44,799
Speaker 4: Oh and you know, I'm not saying that they're the best.

693
00:34:45,239 --> 00:34:48,520
Speaker 4: You know, we're not talking about little school boy cookies

694
00:34:48,600 --> 00:34:50,000
Speaker 4: or anything like, you know, I mean those are the best.

695
00:34:49,920 --> 00:34:54,319
Speaker 1: Right, you're not professional chefs, you know, you'ily the little

696
00:34:54,360 --> 00:34:55,280
Speaker 1: schoolboy himself.

697
00:34:55,800 --> 00:34:59,680
Speaker 4: Yeah, but sometimes they're day old bakery cookies, you know,

698
00:34:59,719 --> 00:35:01,480
Speaker 4: the one that are shaped like leaves and whatnot.

699
00:35:01,520 --> 00:35:03,880
Speaker 1: And you know nobody likes those out of season.

700
00:35:04,120 --> 00:35:07,800
Speaker 4: Yeah yeah, yeah, yeah, sure, yeah, but but there's cookies

701
00:35:07,840 --> 00:35:10,560
Speaker 4: there nonetheless, and so that's you know, and you're not

702
00:35:10,640 --> 00:35:13,000
Speaker 4: afraid to eat a stale cookie at that point.

703
00:35:13,239 --> 00:35:16,840
Speaker 1: There's no oh yeah, I've had that experience that I

704
00:35:16,880 --> 00:35:18,400
Speaker 1: think we've all had in the city where we're in

705
00:35:18,520 --> 00:35:22,600
Speaker 1: a some group event with improvisers and they'll just start

706
00:35:22,920 --> 00:35:26,000
Speaker 1: base jumping, you know, just out of you know, you're

707
00:35:26,200 --> 00:35:28,680
Speaker 1: having a conversation with them, and then they'll just run

708
00:35:28,719 --> 00:35:29,879
Speaker 1: away and base jump.

709
00:35:30,040 --> 00:35:30,239
Speaker 2: Yeah.

710
00:35:30,640 --> 00:35:33,879
Speaker 4: The survival rate for people who do this is low.

711
00:35:34,000 --> 00:35:36,560
Speaker 4: You know, you don't live once you've had once, you've

712
00:35:36,600 --> 00:35:38,400
Speaker 4: had the fear center of your brain removed.

713
00:35:39,440 --> 00:35:40,080
Speaker 2: But it's worth it.

714
00:35:40,480 --> 00:35:42,520
Speaker 4: I mean, you burn brightly on stage for those few

715
00:35:42,640 --> 00:35:45,280
Speaker 4: years that you're around before you go plunging off a building.

716
00:35:46,160 --> 00:35:49,239
Speaker 3: What great scoops for our Scoop Troop. This was the

717
00:35:49,360 --> 00:35:51,839
Speaker 3: real peek inside how the UCB work.

718
00:35:51,880 --> 00:35:54,080
Speaker 1: I've always wanted to just as a as a fan

719
00:35:54,239 --> 00:35:58,000
Speaker 1: of this kind of comedy, what Ryan Styles is like

720
00:35:58,040 --> 00:36:02,320
Speaker 1: when he's off the stage and is he doing that stuff? Like,

721
00:36:02,960 --> 00:36:05,000
Speaker 1: is does he have that same energy? Is he coming

722
00:36:05,120 --> 00:36:09,719
Speaker 1: up with as much good stuff just when he's having

723
00:36:09,800 --> 00:36:11,919
Speaker 1: like a personal conversation with a friend.

724
00:36:12,120 --> 00:36:15,240
Speaker 4: Well, as you know, you know, the UCB is Matt Walsh,

725
00:36:15,880 --> 00:36:21,120
Speaker 4: Matt Besser, Ian Roberts, Amy Poehler, Ryan Stiles, Image and

726
00:36:21,200 --> 00:36:29,040
Speaker 4: Coca and Mel mel Brooks, and then there's a bunch

727
00:36:29,040 --> 00:36:34,520
Speaker 4: of other guys. But yeah, Styles is always on. He

728
00:36:34,760 --> 00:36:37,920
Speaker 4: is never off to the point where he has gotten

729
00:36:37,960 --> 00:36:41,080
Speaker 4: to a point where he can be doing those bits

730
00:36:41,480 --> 00:36:44,200
Speaker 4: and getting a solid eight hours of sleep at the

731
00:36:44,280 --> 00:36:48,439
Speaker 4: same time. So you it's horrible from what I've heard,

732
00:36:48,800 --> 00:36:50,320
Speaker 4: you know, to live with him or share a hotel

733
00:36:50,400 --> 00:36:52,719
Speaker 4: room with him or whatever, because he's literally sleeping, but

734
00:36:52,840 --> 00:36:54,480
Speaker 4: he is doing those bits.

735
00:36:54,239 --> 00:36:54,799
Speaker 1: That we love.

736
00:36:55,440 --> 00:36:58,840
Speaker 4: From whose line is it any way while getting a

737
00:36:58,920 --> 00:37:00,719
Speaker 4: solid eight hours of sleep? Is it's literally always on?

738
00:37:00,880 --> 00:37:03,040
Speaker 1: Is it true that he has a full time prompt guy?

739
00:37:04,080 --> 00:37:06,560
Speaker 1: Prompt guy, Like what do you mean a guy who

740
00:37:06,640 --> 00:37:07,480
Speaker 1: gives him prompts for.

741
00:37:07,960 --> 00:37:09,920
Speaker 2: Well like suggestions and stuff like that. Yeah, Oh he

742
00:37:10,000 --> 00:37:12,800
Speaker 2: has to. He absolutely has to. It's not it's not

743
00:37:12,920 --> 00:37:14,960
Speaker 2: something he wants necessarily.

744
00:37:15,520 --> 00:37:18,239
Speaker 4: It's just if he didn't have it, he'd run out

745
00:37:18,280 --> 00:37:22,000
Speaker 4: of stuff and it would God only knows what would happen. So, yeah,

746
00:37:22,200 --> 00:37:23,840
Speaker 4: there's just a guy that walks around with him who,

747
00:37:23,880 --> 00:37:25,600
Speaker 4: at this point they've got it down to Styles doesn't

748
00:37:25,600 --> 00:37:27,960
Speaker 4: even have to ask for it. This guy knows I'll

749
00:37:28,000 --> 00:37:31,040
Speaker 4: throw in a location, I'll throw him an occupation, you know,

750
00:37:31,760 --> 00:37:34,480
Speaker 4: if they're out style of a Western, yes, yes, a genre.

751
00:37:34,640 --> 00:37:36,640
Speaker 4: If they're out and about, he'll grab something that could

752
00:37:36,640 --> 00:37:38,279
Speaker 4: be used as a prop, you know, handed to him

753
00:37:38,320 --> 00:37:40,040
Speaker 4: and Styles and just like come up with different uses

754
00:37:40,080 --> 00:37:40,799
Speaker 4: for the prop or whatever.

755
00:37:41,320 --> 00:37:42,920
Speaker 2: And you know, it's fine, it's not.

756
00:37:42,960 --> 00:37:43,439
Speaker 1: A big deal.

757
00:37:43,520 --> 00:37:45,560
Speaker 4: Actually, you just get used to seeing him with this guy,

758
00:37:46,200 --> 00:37:48,160
Speaker 4: you know, but they're out twenty four to seven.

759
00:37:48,440 --> 00:37:50,319
Speaker 2: I mean, this guy is guy.

760
00:37:50,480 --> 00:37:53,000
Speaker 4: I don't know when this guy sleeps, because during the night,

761
00:37:53,320 --> 00:37:55,279
Speaker 4: while Styles is getting his eight hours of sleep and

762
00:37:55,400 --> 00:37:59,040
Speaker 4: doing bits, this guy's throwing him stuff. And it's it's

763
00:37:59,080 --> 00:38:01,839
Speaker 4: another reason you don't want to share hotel room and styles.

764
00:38:01,680 --> 00:38:03,880
Speaker 3: To double back for just a moment. I've heard that

765
00:38:03,960 --> 00:38:08,360
Speaker 3: imaging Coca can be pretty mean between improvs. She's electric

766
00:38:08,440 --> 00:38:12,120
Speaker 3: on stage right, But is it true that it's sort

767
00:38:12,160 --> 00:38:15,440
Speaker 3: of a David Letterman thing where when you're not actually

768
00:38:17,320 --> 00:38:20,080
Speaker 3: in the moment performing, you're not allowed to look at her.

769
00:38:22,160 --> 00:38:24,160
Speaker 3: I mean, you can look at her, but you will

770
00:38:24,239 --> 00:38:25,360
Speaker 3: get punched, you know.

771
00:38:26,600 --> 00:38:29,200
Speaker 2: So it's just a trade off. And I wouldn't go

772
00:38:29,280 --> 00:38:30,040
Speaker 2: anywhere near.

773
00:38:30,000 --> 00:38:32,080
Speaker 4: Like a flight of stairs when she's around, just because

774
00:38:32,080 --> 00:38:34,279
Speaker 4: it's irresistible for her to push somebody down or trip

775
00:38:34,320 --> 00:38:35,040
Speaker 4: them downstairs.

776
00:38:36,680 --> 00:38:38,520
Speaker 2: But other than that, like a lot of fun, also

777
00:38:38,600 --> 00:38:39,120
Speaker 2: a lot of fun.

778
00:38:39,480 --> 00:38:42,759
Speaker 1: Andy. Yes, we know you like to sort of keep

779
00:38:42,800 --> 00:38:46,240
Speaker 1: a private relationship with the media and with your fans,

780
00:38:46,280 --> 00:38:49,880
Speaker 1: and you don't really answer a lot of questions. But

781
00:38:50,640 --> 00:38:53,000
Speaker 1: coming on this show, we like to break down those

782
00:38:53,400 --> 00:38:54,719
Speaker 1: walls between Well.

783
00:38:54,640 --> 00:38:57,040
Speaker 4: I feel that this is a safe space to really

784
00:38:57,120 --> 00:38:59,040
Speaker 4: kind of let my real showbiz personality.

785
00:38:59,360 --> 00:39:02,680
Speaker 1: So this is a segment called the Popcorn Gallery, where

786
00:39:02,719 --> 00:39:07,239
Speaker 1: we submit we take submissions for questions from our listeners

787
00:39:07,800 --> 00:39:10,480
Speaker 1: for our guests on the show, and we say popcorn

788
00:39:10,520 --> 00:39:12,919
Speaker 1: instead of peanut gallery because popcorn is like a food

789
00:39:12,960 --> 00:39:14,719
Speaker 1: that you eat at the at the movies. And this

790
00:39:14,920 --> 00:39:18,239
Speaker 1: is a show about Hollywood where we wait where we

791
00:39:18,360 --> 00:39:22,680
Speaker 1: make movies. That so let's reach into the into the

792
00:39:22,719 --> 00:39:30,239
Speaker 1: popcorn bag, Yeah, Fluffy one.

793
00:39:30,560 --> 00:39:34,800
Speaker 2: Do you always do that or play the popcorn gallery

794
00:39:34,840 --> 00:39:35,360
Speaker 2: sound effect?

795
00:39:35,719 --> 00:39:38,520
Speaker 3: Yeah? Yeah, we always have the engineer hit the soundboard

796
00:39:38,600 --> 00:39:42,680
Speaker 3: button and for every question and we play the drop Okay,

797
00:39:42,719 --> 00:39:43,799
Speaker 3: all right, all right good.

798
00:39:45,960 --> 00:39:50,080
Speaker 1: This question is from our listener Joe mcgirrel, and this

799
00:39:50,160 --> 00:39:51,880
Speaker 1: is sort of variation on something we've talked about a

800
00:39:51,920 --> 00:39:55,000
Speaker 1: little bit on this show, mister Daily. When you are

801
00:39:55,080 --> 00:39:58,560
Speaker 1: in the funny zone, are you aware of what you're

802
00:39:58,680 --> 00:40:01,040
Speaker 1: doing or is it like looking out where you have

803
00:40:01,200 --> 00:40:04,479
Speaker 1: no memory of what happened after you leave the funny zone.

804
00:40:05,280 --> 00:40:07,520
Speaker 1: Oh wow, Well, this.

805
00:40:07,640 --> 00:40:12,880
Speaker 4: Is obviously an incredibly insulting question because the implication here

806
00:40:12,960 --> 00:40:15,279
Speaker 4: is that is that I do leave the funny zone. Yes,

807
00:40:17,200 --> 00:40:19,480
Speaker 4: I literally have no idea what it looks like outside

808
00:40:19,480 --> 00:40:22,680
Speaker 4: the funny zone. I'm a little like the boy in

809
00:40:22,680 --> 00:40:25,840
Speaker 4: the bubble in that regard. He can't leave the bubble

810
00:40:25,920 --> 00:40:28,719
Speaker 4: or he'll die. I don't know the way out of

811
00:40:28,760 --> 00:40:29,760
Speaker 4: the funny zone anymore.

812
00:40:29,840 --> 00:40:31,239
Speaker 2: I'd love to get out of the funny zone.

813
00:40:31,360 --> 00:40:33,720
Speaker 4: I'd love to be out there amongst regular people, enjoying

814
00:40:34,040 --> 00:40:36,560
Speaker 4: a regular life, going to the post office without being

815
00:40:36,640 --> 00:40:40,200
Speaker 4: hilarious while I'm there, going grocery shopping without realizing a

816
00:40:40,280 --> 00:40:42,640
Speaker 4: thousand hilarious things about grocery shopping.

817
00:40:42,760 --> 00:40:46,359
Speaker 2: It can't be done. I'm in the funny zone all

818
00:40:46,920 --> 00:40:47,400
Speaker 2: the time.

819
00:40:48,480 --> 00:40:51,839
Speaker 1: I took myself out of it. You remember a few

820
00:40:52,239 --> 00:40:55,440
Speaker 1: years ago, I had that little procedure to sort of

821
00:40:55,520 --> 00:40:57,400
Speaker 1: see what it was like, and it was sort of

822
00:40:57,520 --> 00:41:01,240
Speaker 1: like the movie pleasant Phil seen that movie where everything

823
00:41:01,640 --> 00:41:07,000
Speaker 1: only a million times, where everything was in black and white.

824
00:41:07,239 --> 00:41:09,480
Speaker 4: I've not seen Pleasantville, but I am going to pretend

825
00:41:09,560 --> 00:41:12,120
Speaker 4: that I did. Yeah, black and white was very effective

826
00:41:12,120 --> 00:41:12,600
Speaker 4: in that film.

827
00:41:13,200 --> 00:41:18,800
Speaker 1: Everything everyone wears lame clothes and everyone is afraid of

828
00:41:19,239 --> 00:41:20,560
Speaker 1: making social taboos.

829
00:41:20,560 --> 00:41:21,400
Speaker 2: They're terrified.

830
00:41:22,880 --> 00:41:26,319
Speaker 1: And I said, doc, you know, get me out of here.

831
00:41:26,920 --> 00:41:29,840
Speaker 4: So you're saying a doctor helped you get out of

832
00:41:29,840 --> 00:41:32,319
Speaker 4: the funny zone, and you were immediately like, yes, there

833
00:41:32,440 --> 00:41:34,160
Speaker 4: was a put me back into it procedure.

834
00:41:34,160 --> 00:41:36,800
Speaker 1: It's similar to the one you're talking about. They've located

835
00:41:37,440 --> 00:41:40,120
Speaker 1: you know, it's unwrapping the human genome. A part of

836
00:41:40,160 --> 00:41:42,719
Speaker 1: that is locating the funny zone, locating the fear center

837
00:41:42,800 --> 00:41:44,960
Speaker 1: of the brain, and they can sort of move us

838
00:41:45,040 --> 00:41:46,640
Speaker 1: in and out at will.

839
00:41:46,960 --> 00:41:48,440
Speaker 4: I'm sorry you told me that, because now I'm going

840
00:41:48,520 --> 00:41:51,120
Speaker 4: to be tempted to try it. Remove me from the

841
00:41:51,160 --> 00:41:51,640
Speaker 4: funny zone.

842
00:41:51,680 --> 00:41:54,200
Speaker 3: Please don't, because I tried it. My experience was sort

843
00:41:54,200 --> 00:41:55,880
Speaker 3: of like that movie Blink if you ever.

844
00:41:55,800 --> 00:41:58,840
Speaker 2: Saw that movie. I did not, but again I loved it.

845
00:41:59,160 --> 00:42:04,640
Speaker 3: A woman has her restored and it's coming back gradually, yep.

846
00:42:05,600 --> 00:42:10,080
Speaker 3: And so she's seeing flashes of things and realizes that

847
00:42:10,200 --> 00:42:13,600
Speaker 3: she's witnessed a murder, but you know, can't fully see

848
00:42:13,680 --> 00:42:13,960
Speaker 3: all of.

849
00:42:13,960 --> 00:42:15,360
Speaker 2: It or something like that.

850
00:42:15,600 --> 00:42:18,919
Speaker 4: That's the exact same plot as Awakenings. Exact same plot

851
00:42:18,920 --> 00:42:19,520
Speaker 4: as Awakenings.

852
00:42:19,880 --> 00:42:22,800
Speaker 3: I agree, And and so I remember turning to the

853
00:42:22,880 --> 00:42:24,839
Speaker 3: doctor and saying, doctor, get me out of here. By

854
00:42:24,880 --> 00:42:26,840
Speaker 3: getting me back in there and in there was the

855
00:42:26,880 --> 00:42:29,759
Speaker 3: funny zone, right, get me out of not being in

856
00:42:30,120 --> 00:42:35,920
Speaker 3: the funni zone, because what I realized was without the

857
00:42:36,000 --> 00:42:41,040
Speaker 3: ability to laugh, the world is a pretty scary, sad place.

858
00:42:42,160 --> 00:42:43,879
Speaker 3: And so it was sort of like getting your site

859
00:42:43,920 --> 00:42:46,200
Speaker 3: back and witnessing a murder right away is you see

860
00:42:46,280 --> 00:42:48,400
Speaker 3: the tragedy and it's just too much for me to

861
00:42:48,440 --> 00:42:50,239
Speaker 3: handle if I can't just laugh and just throw my

862
00:42:50,320 --> 00:42:51,399
Speaker 3: head back and laugh and laugh.

863
00:42:51,960 --> 00:42:55,160
Speaker 1: If you want to talk about this procedure, if you like,

864
00:42:55,320 --> 00:42:59,319
Speaker 1: want a card or something. I have actually been told

865
00:42:59,360 --> 00:43:00,920
Speaker 1: that within a couple years you'll be able to just

866
00:43:01,160 --> 00:43:03,680
Speaker 1: do it on your phone. Oh switch to switch it

867
00:43:03,719 --> 00:43:06,399
Speaker 1: on and off from your phone. Well, you know that's

868
00:43:06,400 --> 00:43:07,759
Speaker 1: going to be a real tough one for me, Like

869
00:43:07,880 --> 00:43:08,759
Speaker 1: everything these days.

870
00:43:08,800 --> 00:43:13,520
Speaker 4: Mm hm boy, I'll tell you no, kid, these phones unbelievable.

871
00:43:14,400 --> 00:43:16,320
Speaker 2: They're literally like computers in your pocket.

872
00:43:16,840 --> 00:43:17,960
Speaker 1: I'm glad you speak on that.

873
00:43:18,160 --> 00:43:18,920
Speaker 2: Please speak on that.

874
00:43:19,160 --> 00:43:23,080
Speaker 4: Well okay, look, I don't want to date myself, but

875
00:43:23,239 --> 00:43:25,680
Speaker 4: I was around before you had computers in.

876
00:43:25,680 --> 00:43:29,320
Speaker 2: Your pocket and now you do. That is all I

877
00:43:29,440 --> 00:43:30,120
Speaker 2: have to say about it.

878
00:43:32,080 --> 00:43:35,080
Speaker 3: Uh Hey, slip me a pretty uh funny joke on

879
00:43:35,120 --> 00:43:38,000
Speaker 3: a piece of paper. Just a moment ago, where when

880
00:43:38,080 --> 00:43:40,000
Speaker 3: you said I don't want to date myself, he said, hey,

881
00:43:40,040 --> 00:43:42,040
Speaker 3: I don't want to date him either, And I think

882
00:43:42,120 --> 00:43:46,759
Speaker 3: that it's just he's just teasing. Sure, but I think

883
00:43:46,800 --> 00:43:49,520
Speaker 3: that's a great example of being in the moment. Yes,

884
00:43:50,040 --> 00:43:52,239
Speaker 3: that's not how I actually feel, you know, like when

885
00:43:52,239 --> 00:43:54,960
Speaker 3: you come up with a joke real. No, no, no,

886
00:43:55,080 --> 00:43:57,400
Speaker 3: no no, And that is important for people to understand.

887
00:43:57,400 --> 00:43:59,320
Speaker 4: I think a lot of people who are outside of

888
00:43:59,360 --> 00:44:00,640
Speaker 4: comedy you don't understand that.

889
00:44:00,840 --> 00:44:03,799
Speaker 2: Yes, that jokes are yeah, they're not all jokes is real,

890
00:44:03,960 --> 00:44:08,640
Speaker 2: They're not necessarily the at all times. That's good that

891
00:44:08,880 --> 00:44:10,800
Speaker 2: it's good that we brought that up, such a powerful

892
00:44:10,880 --> 00:44:11,799
Speaker 2: thing to teach them.

893
00:44:12,800 --> 00:44:15,960
Speaker 1: Let's let's reach back into the into the popcorn bag.

894
00:44:17,640 --> 00:44:19,080
Speaker 2: I really hope I'm not insulted again.

895
00:44:21,360 --> 00:44:24,600
Speaker 1: If you're reckoning, you hit the button again.

896
00:44:24,640 --> 00:44:33,880
Speaker 2: Sorry, popcorn. That sounds slightly different that time. That's interesting.

897
00:44:33,960 --> 00:44:37,120
Speaker 2: Do you have multiple takes of it on there same drop?

898
00:44:37,239 --> 00:44:37,959
Speaker 1: It's the same drop?

899
00:44:38,600 --> 00:44:39,479
Speaker 2: Then I must be wrong.

900
00:44:40,040 --> 00:44:43,360
Speaker 1: This is a question for our listener, Octor Doctopus. Andy,

901
00:44:43,440 --> 00:44:45,399
Speaker 1: you started as the evil Mayor Brown and the live

902
00:44:45,480 --> 00:44:48,120
Speaker 1: action animated movie Yogi Bear. How much time did you

903
00:44:48,200 --> 00:44:50,040
Speaker 1: have to spend in the motion capture suit for them

904
00:44:50,080 --> 00:44:52,280
Speaker 1: to bring all of your lifelike motions onto the screen.

905
00:44:52,400 --> 00:44:52,560
Speaker 3: Oh?

906
00:44:52,680 --> 00:44:54,960
Speaker 4: Well, here we are again, back to the subject of

907
00:44:55,040 --> 00:45:02,359
Speaker 4: motion capture. Uh that film, you know, I guess I don't.

908
00:45:02,800 --> 00:45:03,920
Speaker 1: It's not cool to.

909
00:45:03,960 --> 00:45:07,400
Speaker 2: Say this because other actors were credited in the other roles.

910
00:45:08,040 --> 00:45:11,560
Speaker 2: But I did the body motions of all the characters.

911
00:45:14,080 --> 00:45:14,920
Speaker 1: I knew it.

912
00:45:15,360 --> 00:45:17,080
Speaker 2: Yeah, you can kind of tell.

913
00:45:17,160 --> 00:45:19,160
Speaker 4: I think I'd like to think I have a versatile body,

914
00:45:19,600 --> 00:45:21,880
Speaker 4: and I do. But there are times when you can

915
00:45:21,920 --> 00:45:25,320
Speaker 4: tell that it's you know, that's not just in Timberlake.

916
00:45:25,440 --> 00:45:28,600
Speaker 3: Sure, no effing way, no fing way, that's TJ. Miller

917
00:45:28,640 --> 00:45:30,800
Speaker 3: in that right, in that one scene.

918
00:45:31,040 --> 00:45:33,440
Speaker 1: Yeah, we sometimes say that that's all acting is, is

919
00:45:33,480 --> 00:45:36,560
Speaker 1: just moving your body, and I think no one embodies

920
00:45:36,640 --> 00:45:38,400
Speaker 1: that so to speak as much as as much as

921
00:45:38,440 --> 00:45:38,959
Speaker 1: Andy Dailey.

922
00:45:39,080 --> 00:45:41,719
Speaker 4: But to answer the question, I spent three years in

923
00:45:41,880 --> 00:45:47,439
Speaker 4: a motion capture suit down there in New Zealand, under

924
00:45:47,520 --> 00:45:51,080
Speaker 4: the guiding hand of Peter Jackson, not in the sense

925
00:45:51,160 --> 00:45:52,759
Speaker 4: that he was there or had anything to do with

926
00:45:52,880 --> 00:45:55,959
Speaker 4: the project, just in the sense that if you're doing

927
00:45:56,120 --> 00:45:58,680
Speaker 4: that kind of work, you are in someweight guided by

928
00:45:59,239 --> 00:46:06,520
Speaker 4: Peter Jackson, the spirit of him, his spirit parbades New Zealand. Yeah,

929
00:46:06,719 --> 00:46:08,440
Speaker 4: So it was about what did I say, three years?

930
00:46:08,440 --> 00:46:09,080
Speaker 2: About three years?

931
00:46:09,239 --> 00:46:09,840
Speaker 1: Three years?

932
00:46:10,000 --> 00:46:12,040
Speaker 2: Three years honoring p jacks in that suit.

933
00:46:12,880 --> 00:46:16,600
Speaker 1: Yeah, Okay, I think there's one more question in the bags,

934
00:46:16,680 --> 00:46:17,479
Speaker 1: one last question.

935
00:46:17,640 --> 00:46:28,840
Speaker 2: Okay, sound to fact one more time. Oh, I'm pretty

936
00:46:28,840 --> 00:46:30,400
Speaker 2: sure it was an last time, wasn't it.

937
00:46:32,280 --> 00:46:34,800
Speaker 1: Andy. Here's a question from our listener, Scoops. Andy, you

938
00:46:34,960 --> 00:46:36,920
Speaker 1: are one funny guy. Would you call your head a

939
00:46:37,000 --> 00:46:38,640
Speaker 1: giggle nut or the laugh melon?

940
00:46:39,160 --> 00:46:42,920
Speaker 2: What I call my head a giggle nut or the

941
00:46:43,040 --> 00:46:46,279
Speaker 2: laugh melon? Yes, my friend, that's what's known as a

942
00:46:46,360 --> 00:46:50,439
Speaker 2: false choice. My head can be both a giggle nut

943
00:46:50,760 --> 00:46:51,720
Speaker 2: and a laugh melon.

944
00:46:52,000 --> 00:46:54,279
Speaker 1: Sometimes it's a you wake up, it's a giggle nut.

945
00:46:54,440 --> 00:46:57,000
Speaker 2: Yeah, Sometimes it's a laugh melon.

946
00:46:57,480 --> 00:46:57,600
Speaker 3: You know.

947
00:46:57,680 --> 00:46:59,680
Speaker 2: The idea that I would somehow have to choose between

948
00:46:59,719 --> 00:47:03,840
Speaker 2: those two is I just call bullshit on it. I

949
00:47:03,920 --> 00:47:06,680
Speaker 2: think it's both. I think it's always been both, and

950
00:47:07,280 --> 00:47:07,920
Speaker 2: I'm proud of that.

951
00:47:08,239 --> 00:47:09,200
Speaker 1: What is it today?

952
00:47:11,320 --> 00:47:14,080
Speaker 2: It is both at the same time.

953
00:47:14,840 --> 00:47:16,880
Speaker 4: It's a giggle nut and a laugh melon, and it

954
00:47:16,920 --> 00:47:19,680
Speaker 4: feels great. And by the way, nuts and melons together

955
00:47:20,560 --> 00:47:23,919
Speaker 4: is not your first thought of a dessert, but try

956
00:47:23,960 --> 00:47:30,520
Speaker 4: it sometime. Some walnuts, right, cashews, along with some canalope

957
00:47:30,840 --> 00:47:31,800
Speaker 4: and honeydew melon.

958
00:47:32,320 --> 00:47:34,600
Speaker 2: I mean, that's great. That right there is all I

959
00:47:34,680 --> 00:47:38,440
Speaker 2: need for dessert. That would be so controversial.

960
00:47:39,200 --> 00:47:41,239
Speaker 1: You mean, all those flavors of ice cream.

961
00:47:42,400 --> 00:47:44,440
Speaker 2: That's not what I'm talking about. But I don't disagree

962
00:47:44,480 --> 00:47:45,000
Speaker 2: with that either.

963
00:47:46,440 --> 00:47:48,400
Speaker 1: That's sometimes all I need for a dessert is for

964
00:47:50,840 --> 00:47:53,000
Speaker 1: flavors of ice cream, and I'm good. I'm good, I'm

965
00:47:53,000 --> 00:47:54,280
Speaker 1: good to go. I'm not greedy.

966
00:47:54,680 --> 00:47:58,120
Speaker 3: Just give me four different ice creams, unique ones like that,

967
00:47:58,960 --> 00:48:01,480
Speaker 3: and I am basically all set, some kind of cookie

968
00:48:01,520 --> 00:48:01,960
Speaker 3: to eat.

969
00:48:01,840 --> 00:48:03,520
Speaker 2: It with, a couple of cream pies.

970
00:48:04,640 --> 00:48:07,120
Speaker 3: Well, naturally, if it's dessert time, there's cream pies on

971
00:48:07,200 --> 00:48:10,279
Speaker 3: the table. But I'm saying in addition to that, I'm

972
00:48:10,640 --> 00:48:13,480
Speaker 3: pretty much happy with just four ice creams, some kind

973
00:48:13,520 --> 00:48:16,480
Speaker 3: of cookie to eat it with, and maybe a chocolate

974
00:48:16,560 --> 00:48:20,800
Speaker 3: candy like a peanut butter cup or something like that,

975
00:48:21,680 --> 00:48:26,000
Speaker 3: a seven layer cake, seven layer cake or a tierramasuh.

976
00:48:27,200 --> 00:48:28,279
Speaker 2: I mean, that's all I need.

977
00:48:28,760 --> 00:48:31,439
Speaker 3: I'm a simple guy, you know, as Hollywood as we get,

978
00:48:32,000 --> 00:48:33,040
Speaker 3: it's still the simple thing.

979
00:48:34,880 --> 00:48:37,760
Speaker 1: We're just like other people and that we like dessert.

980
00:48:37,840 --> 00:48:39,960
Speaker 2: Yeah, we just can afford one regard.

981
00:48:40,120 --> 00:48:43,080
Speaker 1: Yes, Adie, thank you so much for joining us.

982
00:48:43,280 --> 00:48:44,040
Speaker 2: It was my pleasure.

983
00:48:44,520 --> 00:48:47,920
Speaker 1: Thanks for listening rate us on iTunes, chat with us

984
00:48:48,000 --> 00:48:50,480
Speaker 1: on the forums. You've got a Facebook page, and please

985
00:48:50,800 --> 00:48:53,600
Speaker 1: please buy the pro version. We've got some really nice

986
00:48:53,760 --> 00:48:55,120
Speaker 1: goodies in the pro version.

987
00:48:55,239 --> 00:48:57,400
Speaker 2: That's so important that you buy the pro version.

988
00:48:57,600 --> 00:49:00,400
Speaker 1: We have our Skype Sean's and I are are Skype

989
00:49:00,480 --> 00:49:02,680
Speaker 1: names or Skype I d so you can see when

990
00:49:02,719 --> 00:49:04,400
Speaker 1: we log in and log out. We're not going to

991
00:49:04,480 --> 00:49:06,280
Speaker 1: talk to you, but you can track.

992
00:49:06,280 --> 00:49:08,680
Speaker 2: Just knowing that we're on there. It's got to be

993
00:49:08,719 --> 00:49:09,239
Speaker 2: a big run.

994
00:49:09,280 --> 00:49:12,719
Speaker 1: You can track our Skype activity and that is a

995
00:49:12,760 --> 00:49:13,160
Speaker 1: big gift.

996
00:49:13,239 --> 00:49:14,840
Speaker 2: That's what they get with the pro package.

997
00:49:15,400 --> 00:49:19,279
Speaker 1: Yeah, it's one thing that Okay, and Freya bought the

998
00:49:19,360 --> 00:49:24,040
Speaker 1: pro version last week and she wins today's pro version prize,

999
00:49:24,080 --> 00:49:28,600
Speaker 1: which is Andy Daly will turn her into a character. Okay,

1000
00:49:29,520 --> 00:49:32,640
Speaker 1: and do one line in the voice of this newest

1001
00:49:32,760 --> 00:49:37,040
Speaker 1: character Freya on this podcast right now.

1002
00:49:39,040 --> 00:49:39,960
Speaker 2: Yeah, that sounds great.

1003
00:49:42,800 --> 00:49:48,280
Speaker 1: When does that happen? Whenever you're ready?

1004
00:49:48,840 --> 00:49:52,520
Speaker 2: Oh boy, I bought the pro version Now I could

1005
00:49:52,560 --> 00:49:53,200
Speaker 2: take a bath.

1006
00:49:57,160 --> 00:49:58,239
Speaker 1: Bye. Hold on.

1007
00:50:03,880 --> 00:50:06,839
Speaker 3: This has been an Earwolf Media production executive producers Jeff

1008
00:50:06,880 --> 00:50:07,840
Speaker 3: Ulrick and Scott Ackerman.

1009
00:50:08,000 --> 00:50:15,880
Speaker 2: For more information, visit Earwolf dot com, ear Warf Radio,

1010
00:50:16,280 --> 00:50:25,240
Speaker 2: Boom dot com, The Worf Dead