1 00:00:05,760 --> 00:00:09,640 Speaker 1: I am so excited. We are at the Sunset Tower Hotel. However, 2 00:00:09,920 --> 00:00:13,560 Speaker 1: it is not lunch, it is dinner time, and therefore 3 00:00:13,680 --> 00:00:17,919 Speaker 1: I am dressed in a black velvet armani blazer, trying 4 00:00:17,920 --> 00:00:21,160 Speaker 1: to be all like, you know, sultry sexy for Hollywood tonight, 5 00:00:21,160 --> 00:00:24,360 Speaker 1: because we're having a meal with an incredible guy, a 6 00:00:24,400 --> 00:00:27,280 Speaker 1: guy that you've seen in many movies and television shows 7 00:00:27,320 --> 00:00:31,600 Speaker 1: throughout the decades. Hi, allright, it looked very dashing tonight, 8 00:00:31,720 --> 00:00:37,320 Speaker 1: do I Yeah, he's eternally youthful. He's been rocking it 9 00:00:37,400 --> 00:00:40,959 Speaker 1: since the eighties, right through the nineteen nineties, two thousands. 10 00:00:41,040 --> 00:00:45,880 Speaker 1: He's an actor, a writer, a podcaster. What do you 11 00:00:45,440 --> 00:00:48,839 Speaker 1: eat to the town? Very hungry? Perfect? What is your 12 00:00:48,880 --> 00:00:50,959 Speaker 1: go to here? I tend to do a stake when 13 00:00:51,000 --> 00:00:54,080 Speaker 1: I'm I'm going to do the same. We are having 14 00:00:54,320 --> 00:00:58,000 Speaker 1: dinner tonight with mister Roblow. So pull up a chair, 15 00:00:58,360 --> 00:01:01,120 Speaker 1: grab a glass of rose, and we'll be back soon. 16 00:01:02,320 --> 00:01:05,640 Speaker 1: I'm Bruce Bozzi and this is my podcast Table for two. 17 00:01:10,200 --> 00:01:11,920 Speaker 1: I just want to hit upon because I happened to 18 00:01:11,959 --> 00:01:17,240 Speaker 1: watch the trailer for Unstable. Yes, Rob has a new 19 00:01:17,319 --> 00:01:19,600 Speaker 1: show which will be a number one Netflix show, just 20 00:01:19,640 --> 00:01:22,679 Speaker 1: like The last one was with your son, John Owen. 21 00:01:23,040 --> 00:01:26,800 Speaker 1: Lowe called on a stable and I gotta say, the 22 00:01:27,240 --> 00:01:29,600 Speaker 1: trailer is so fucking funny. Oh good, and it's funny. 23 00:01:29,680 --> 00:01:32,920 Speaker 1: It's great. Okay, it's great. Can you tell us about that? 24 00:01:33,000 --> 00:01:35,200 Speaker 1: And working with your son and the whole fame. So 25 00:01:35,319 --> 00:01:37,800 Speaker 1: the genesis of the whole thing was I have two sons, 26 00:01:37,840 --> 00:01:41,119 Speaker 1: Matthew who's twenty nine and works in finance now and 27 00:01:41,480 --> 00:01:45,440 Speaker 1: John Owen, who is a writer and actor. And he 28 00:01:45,959 --> 00:01:52,600 Speaker 1: would troll me on my Instagram, just bust my chops, relentless, 29 00:01:52,600 --> 00:01:55,680 Speaker 1: relentless busting of chops, just saying, Dad, don't do this, Dad, 30 00:01:55,720 --> 00:01:58,120 Speaker 1: don't do that. Go on my Instagram and go back 31 00:01:58,160 --> 00:02:00,880 Speaker 1: and look and you will see what he what he's 32 00:02:01,280 --> 00:02:04,800 Speaker 1: it's he's super witty. Yeah, and really really he's very 33 00:02:04,840 --> 00:02:10,400 Speaker 1: good the way he delivers lines. Yeah, he's got good timings. Yeah. 34 00:02:10,440 --> 00:02:13,120 Speaker 1: So he started doing that and just to bust my chops. 35 00:02:13,120 --> 00:02:14,880 Speaker 1: There was there was no agenda to it. There was 36 00:02:15,240 --> 00:02:17,000 Speaker 1: he just was doing it as something as a goof 37 00:02:17,000 --> 00:02:20,560 Speaker 1: on his old dad. And people started noticing it, and 38 00:02:20,600 --> 00:02:23,080 Speaker 1: people started commenting on it, and it got to the 39 00:02:23,120 --> 00:02:26,280 Speaker 1: point where when I would do an interview. Whether it 40 00:02:26,360 --> 00:02:29,799 Speaker 1: was for Ellen or Jimmy Kimmel or Good Morning America, 41 00:02:30,240 --> 00:02:33,440 Speaker 1: didn't matter who. They always wanted to ask about John 42 00:02:33,480 --> 00:02:38,000 Speaker 1: Owen and how he trolls me. Right, And finally got 43 00:02:38,040 --> 00:02:39,840 Speaker 1: to the point where John Owen and I sort of thinking, 44 00:02:40,200 --> 00:02:43,080 Speaker 1: people are wanting this and enjoying it. Is there what 45 00:02:43,160 --> 00:02:45,920 Speaker 1: could we possibly do with it as a as a 46 00:02:46,000 --> 00:02:48,960 Speaker 1: project or something? And I thought, well, we're not going 47 00:02:49,000 --> 00:02:52,359 Speaker 1: to do a reality show about our relationship, but is 48 00:02:52,400 --> 00:02:56,400 Speaker 1: there something about the relationship that we can transpose and 49 00:02:56,560 --> 00:03:01,240 Speaker 1: make a show out of? And that became unstable. You know. 50 00:03:01,320 --> 00:03:04,960 Speaker 1: I took some of the some of my qualities and 51 00:03:04,960 --> 00:03:08,360 Speaker 1: put them on steroids, right, And John Owen basically plays 52 00:03:08,400 --> 00:03:12,760 Speaker 1: himself right, and it just is a super funny, fun 53 00:03:13,000 --> 00:03:17,080 Speaker 1: father son comedy. Was it hard working with your son? 54 00:03:17,280 --> 00:03:20,560 Speaker 1: Is it difficult? Is its great? Oh? It's great. It's 55 00:03:20,600 --> 00:03:25,920 Speaker 1: heaven because both my boys. I feel like worth three 56 00:03:25,960 --> 00:03:30,120 Speaker 1: people with the same brain. Okay, wow, you know all 57 00:03:30,400 --> 00:03:35,440 Speaker 1: content is so subjective, you know, art, whatever it is. 58 00:03:36,160 --> 00:03:39,760 Speaker 1: And to have someone who's a partner with you, who 59 00:03:39,760 --> 00:03:43,360 Speaker 1: has the exact same taste, I can delegate things to him, 60 00:03:43,400 --> 00:03:46,560 Speaker 1: he can delegate things to me. As as producers, and 61 00:03:46,640 --> 00:03:49,480 Speaker 1: I like, I know, if new pages are written on 62 00:03:49,520 --> 00:03:52,640 Speaker 1: the script, if he likes them, I know I'll like them. 63 00:03:53,080 --> 00:03:54,560 Speaker 1: Or if he doesn't like them, I know I'm gonna 64 00:03:54,560 --> 00:03:57,120 Speaker 1: like it even less. You know, we grew up exactly 65 00:03:57,200 --> 00:03:58,960 Speaker 1: at the same time, and you and you talk about 66 00:03:58,960 --> 00:04:00,720 Speaker 1: it so much in your warre and I want to 67 00:04:00,720 --> 00:04:03,560 Speaker 1: talk about California in the seventies and the eighties and 68 00:04:04,080 --> 00:04:07,920 Speaker 1: just my favorite sub the parenting that didn't and did happen. 69 00:04:08,000 --> 00:04:09,720 Speaker 1: But I one of the things that I do this 70 00:04:09,840 --> 00:04:13,480 Speaker 1: with my kid too, is we're sort of silly. We 71 00:04:13,720 --> 00:04:17,160 Speaker 1: grew up in a time where we'd get on our 72 00:04:17,200 --> 00:04:20,760 Speaker 1: bikes and we'd go out until it got dark, and 73 00:04:20,800 --> 00:04:23,240 Speaker 1: our parents never asked where we were, didn't know where 74 00:04:23,240 --> 00:04:26,360 Speaker 1: we were, and it didn't care where we're here. And 75 00:04:26,440 --> 00:04:31,680 Speaker 1: so there's a freedom and a sort of zest for life. 76 00:04:31,800 --> 00:04:36,200 Speaker 1: And I think it informs the sort of joada vive 77 00:04:36,279 --> 00:04:39,880 Speaker 1: of certainly of my character my worldview, right. I think 78 00:04:39,880 --> 00:04:43,039 Speaker 1: the Jadevi is key you really want to treat the 79 00:04:43,160 --> 00:04:46,440 Speaker 1: audible is amazing of your book. Hearing you actually, you know, 80 00:04:46,640 --> 00:04:49,839 Speaker 1: talk about that time and the move from Dayton to 81 00:04:50,520 --> 00:04:53,440 Speaker 1: Malibu and then everything that went down, the buses you 82 00:04:53,440 --> 00:04:56,360 Speaker 1: had to take to the parents that didn't exist. And 83 00:04:56,400 --> 00:04:59,680 Speaker 1: there's so much humor in your point of view in 84 00:04:59,720 --> 00:05:02,159 Speaker 1: it even being like where you were allowed to sit 85 00:05:02,200 --> 00:05:04,920 Speaker 1: on the bus. Oh yeah, you weren't allowed to sit 86 00:05:05,000 --> 00:05:07,000 Speaker 1: on the bus. So I was never a cool kid, 87 00:05:07,080 --> 00:05:09,000 Speaker 1: so I couldn't sit with the I find that so 88 00:05:09,080 --> 00:05:11,719 Speaker 1: hard to believe. Like, no, no, man, listen, I wasn't. 89 00:05:11,800 --> 00:05:13,880 Speaker 1: I wasn't a surfer then. I only learned to surf 90 00:05:13,920 --> 00:05:17,680 Speaker 1: in my forties. I came to Malibu at thirteen, and 91 00:05:17,720 --> 00:05:20,120 Speaker 1: you they weren't going to let a thirteen year old 92 00:05:20,120 --> 00:05:25,239 Speaker 1: Ohio kid. They were meet the shit out of you. Wow, 93 00:05:25,360 --> 00:05:26,839 Speaker 1: Like if you were from the Valley and you tried 94 00:05:26,880 --> 00:05:29,440 Speaker 1: to surf there, they'd slash your tires. Really, it's a 95 00:05:29,560 --> 00:05:32,799 Speaker 1: real no fool and territorial surf gangs. And they weren't 96 00:05:32,839 --> 00:05:36,240 Speaker 1: going some kid, right go out and surf. So I 97 00:05:36,279 --> 00:05:39,760 Speaker 1: never learned. But Malibu then was was a very very 98 00:05:39,800 --> 00:05:42,200 Speaker 1: different thing than it was than than it is now. 99 00:05:42,360 --> 00:05:47,320 Speaker 1: It was really rugged, yeah, super rugged. Now you get 100 00:05:47,320 --> 00:05:49,760 Speaker 1: this that feel and sort of and very sort of 101 00:05:50,400 --> 00:05:54,599 Speaker 1: you know, working class. It was like Fireman and cops. Yeah, 102 00:05:54,760 --> 00:05:57,520 Speaker 1: what's so special about you, Rob Is you kind of like, yeah, 103 00:05:57,520 --> 00:05:58,960 Speaker 1: I want to be an actor and I'm going to 104 00:05:59,040 --> 00:06:02,800 Speaker 1: figure this out and I could beat up today. But 105 00:06:03,400 --> 00:06:06,480 Speaker 1: they didn't appreciate me being an actor. Even I came 106 00:06:06,839 --> 00:06:09,360 Speaker 1: from Ohio. They thought I was really crazy wanting to 107 00:06:09,360 --> 00:06:11,840 Speaker 1: be an actor. I get to California to I think 108 00:06:11,880 --> 00:06:15,360 Speaker 1: everybody it's the bastion of show business. And they didn't 109 00:06:15,400 --> 00:06:17,840 Speaker 1: like it either, right, they just did. It was like 110 00:06:17,960 --> 00:06:19,719 Speaker 1: when you go back to Ohio to be and you 111 00:06:19,720 --> 00:06:21,800 Speaker 1: were like, oh, maybe like Peanut Butter and Jelly is 112 00:06:21,839 --> 00:06:25,840 Speaker 1: gonna be like performing it. I was in a a 113 00:06:26,040 --> 00:06:31,560 Speaker 1: Kid's All Star review in Ohio when I was ten 114 00:06:31,640 --> 00:06:35,120 Speaker 1: eleven twelve called Peanut Butter and Jelly and we would 115 00:06:35,120 --> 00:06:38,880 Speaker 1: do covers I think somebody's saying You're so vain by 116 00:06:38,920 --> 00:06:42,400 Speaker 1: Carly Simon. But we also did original pieces and we 117 00:06:42,440 --> 00:06:46,320 Speaker 1: would like do play at the malls and the opening 118 00:06:46,360 --> 00:06:50,240 Speaker 1: of things, and like, we didn't play like bar Mitzva's, 119 00:06:50,279 --> 00:06:51,760 Speaker 1: but it was very close, right. We didn't playing in 120 00:06:51,760 --> 00:06:54,840 Speaker 1: barn Mitchens. They weren't a Jewish. We would have played right. 121 00:06:55,800 --> 00:06:57,840 Speaker 1: But I thought that was like the beginning of my 122 00:06:57,880 --> 00:07:00,240 Speaker 1: big break that I was in Peanut, Butter and Jelly. 123 00:07:00,400 --> 00:07:03,240 Speaker 1: What a great name. As lame as the name is 124 00:07:03,400 --> 00:07:05,599 Speaker 1: is as lame as my memory of it was. But boy, 125 00:07:05,640 --> 00:07:07,559 Speaker 1: I thought it was now. But I love it because 126 00:07:07,560 --> 00:07:09,320 Speaker 1: you tell a story of going back and you're like 127 00:07:09,360 --> 00:07:13,200 Speaker 1: miserable going back something to Ohio and then you call 128 00:07:13,320 --> 00:07:14,800 Speaker 1: up the guy. I was like, hey, we say as 129 00:07:14,800 --> 00:07:16,600 Speaker 1: peot Butter Jelly. Still, it was like it was like 130 00:07:16,640 --> 00:07:19,480 Speaker 1: Fleetwood Mac. So as Fleetwood Mac getting back together. Man, 131 00:07:19,560 --> 00:07:21,280 Speaker 1: we gonna we're gonna go on the road. We're gonna 132 00:07:21,280 --> 00:07:24,520 Speaker 1: play the Dayton Mall. And they just were like, no, kid, 133 00:07:24,600 --> 00:07:33,640 Speaker 1: that's it's over. There's a little life. You're done. You know, 134 00:07:33,680 --> 00:07:35,920 Speaker 1: I know a lot about Rob's career because just being 135 00:07:36,000 --> 00:07:39,120 Speaker 1: basically the same age I watch, and there was a 136 00:07:39,160 --> 00:07:41,840 Speaker 1: lot of influences of your movies and things that were 137 00:07:41,920 --> 00:07:46,000 Speaker 1: going on, your reference sort of growing up in Malibu 138 00:07:46,040 --> 00:07:48,280 Speaker 1: and the kids and the freedom. How did you figure 139 00:07:48,320 --> 00:07:51,400 Speaker 1: that out with Sheryl, with your boys, because the world 140 00:07:51,480 --> 00:07:54,840 Speaker 1: changed so much. The world did change. I mean, no 141 00:07:54,840 --> 00:07:58,320 Speaker 1: no parent today is gonna let their kid go on 142 00:07:58,400 --> 00:08:02,480 Speaker 1: an audition from Mali Boo into Hollywood taking three buses 143 00:08:03,120 --> 00:08:06,440 Speaker 1: by themselves, by themselves at twelve, right, it's not going 144 00:08:06,480 --> 00:08:09,240 Speaker 1: to happen. So when I had kids, I tried to 145 00:08:09,280 --> 00:08:11,000 Speaker 1: give them as from as much freedom as I could. 146 00:08:11,040 --> 00:08:13,720 Speaker 1: And the main thing I did was, there's always going 147 00:08:13,760 --> 00:08:15,960 Speaker 1: to be that cool house that everybody wants to hang 148 00:08:15,960 --> 00:08:19,880 Speaker 1: out at, and I decided it would be mine. Yeah, key, 149 00:08:20,160 --> 00:08:22,720 Speaker 1: because they can keep an eye on everybody. When I 150 00:08:22,760 --> 00:08:24,880 Speaker 1: was young, it was the Sheen's house, but Martin was 151 00:08:24,880 --> 00:08:27,920 Speaker 1: always on location, right, So Rob grew up literally next 152 00:08:27,920 --> 00:08:31,720 Speaker 1: to Martin Sheen and Janet she Martin and Emilio Esteva's 153 00:08:31,760 --> 00:08:34,800 Speaker 1: and Charlie Sheen. We were all friends and there's the 154 00:08:34,840 --> 00:08:37,200 Speaker 1: cool house because they're cool people. But they also had 155 00:08:37,240 --> 00:08:43,000 Speaker 1: a pool. They had an amazing pool. So I recreated 156 00:08:43,040 --> 00:08:45,240 Speaker 1: that with my house, so all the kids were there 157 00:08:45,320 --> 00:08:48,520 Speaker 1: all the time. I know all my my boys friends. 158 00:08:49,040 --> 00:08:51,640 Speaker 1: So you have the intel. Yeah, you have the behind 159 00:08:51,640 --> 00:08:53,240 Speaker 1: the scenes. Otherwise you're not getting it because they're not 160 00:08:53,240 --> 00:08:54,640 Speaker 1: going to give it up to you. But if you 161 00:08:54,920 --> 00:08:58,240 Speaker 1: kind of witness it, then you're It's it's very helpful 162 00:08:58,280 --> 00:09:01,040 Speaker 1: as a parent. You talk about and I find I 163 00:09:01,080 --> 00:09:03,839 Speaker 1: found it so devastating. So you talk about those group 164 00:09:03,880 --> 00:09:06,080 Speaker 1: of kids that you were growing up with they all 165 00:09:06,400 --> 00:09:12,120 Speaker 1: died horribly. Yeah, we had in my junior high, my 166 00:09:12,200 --> 00:09:15,080 Speaker 1: junior I was three grades, was the seventh grade, eighth grade, 167 00:09:15,920 --> 00:09:20,400 Speaker 1: ninth grade, junior high. Seven hundred kids probably right, and 168 00:09:20,480 --> 00:09:24,520 Speaker 1: there were at least seven deaths, And like, if that 169 00:09:24,520 --> 00:09:28,079 Speaker 1: happened today, it'd be like an international news story completely, 170 00:09:28,240 --> 00:09:30,920 Speaker 1: it'd be like what's going on? And nobody cared. It 171 00:09:31,080 --> 00:09:33,320 Speaker 1: was just like it was just a different time. But 172 00:09:33,559 --> 00:09:35,760 Speaker 1: you know, a lot of them were drug overdoses. A 173 00:09:35,760 --> 00:09:39,800 Speaker 1: lot of them were tragic freak accidents. Yeah, but all 174 00:09:39,840 --> 00:09:46,760 Speaker 1: of them were because of the lack of parent oversight, 175 00:09:47,240 --> 00:09:53,600 Speaker 1: access to drugs, and the behavior that unsupervised kids will 176 00:09:53,640 --> 00:09:55,760 Speaker 1: have that put you in a position to have a 177 00:09:55,760 --> 00:09:58,160 Speaker 1: freak accident. Yeah, you lay that out, I think kind 178 00:09:58,160 --> 00:10:00,600 Speaker 1: of perfectly with those like three things that come into 179 00:10:00,640 --> 00:10:05,400 Speaker 1: play as far as what's responsible for that, because clearly 180 00:10:05,520 --> 00:10:07,600 Speaker 1: there's still an issue going on with kids that are 181 00:10:07,640 --> 00:10:11,080 Speaker 1: doing and they're dying from fetanol overdoses, and kids don't 182 00:10:11,080 --> 00:10:13,800 Speaker 1: have the freedom that they used to. But what I 183 00:10:13,840 --> 00:10:17,920 Speaker 1: feel from your growing up was a kid that knew 184 00:10:17,960 --> 00:10:20,960 Speaker 1: who he wanted to be, how to get there, how 185 00:10:21,000 --> 00:10:23,240 Speaker 1: to figure out how to get there, to be a kid, 186 00:10:23,480 --> 00:10:25,200 Speaker 1: to be able to take three buses to go to 187 00:10:25,240 --> 00:10:28,080 Speaker 1: an audition that, like you said, at that age, at 188 00:10:28,160 --> 00:10:31,360 Speaker 1: that age, which is a thirty second audition for a commercial, 189 00:10:31,400 --> 00:10:35,280 Speaker 1: it's like, okay, you know, turnaround, but name great, go home. 190 00:10:35,320 --> 00:10:37,160 Speaker 1: And it's like I knew what I wanted to do. 191 00:10:37,320 --> 00:10:40,640 Speaker 1: I knew who I wanted to be, and it was 192 00:10:40,679 --> 00:10:44,360 Speaker 1: a blessing. It gave me a focus. I didn't have 193 00:10:44,440 --> 00:10:48,080 Speaker 1: to struggle. And I see so many almost everybody, you know, 194 00:10:48,720 --> 00:10:50,240 Speaker 1: at a certain point of going what am I going 195 00:10:50,280 --> 00:10:52,520 Speaker 1: to do with my life? And you know, I just 196 00:10:52,640 --> 00:10:55,280 Speaker 1: didn't have that experience. It's hard for me. I empathize 197 00:10:55,320 --> 00:10:58,080 Speaker 1: with it, huh, But I don't relate to it because 198 00:10:58,120 --> 00:11:02,400 Speaker 1: I didn't have that. I was just a completely driven, 199 00:11:02,960 --> 00:11:06,840 Speaker 1: single focused. You were amazing. You tell the story A 200 00:11:06,880 --> 00:11:11,160 Speaker 1: little heartbreaking. Was Telly Savalis in the department store story? Yeah? 201 00:11:11,200 --> 00:11:14,600 Speaker 1: When I was still living in Dayton in the mid seventies, 202 00:11:14,600 --> 00:11:17,720 Speaker 1: there was nobody bigger than Kojack, nobody nobody. I wanted 203 00:11:17,760 --> 00:11:19,120 Speaker 1: to be an actor. And I read in the paper 204 00:11:19,120 --> 00:11:22,160 Speaker 1: that Telly Savalis is going to be appearing at the 205 00:11:22,160 --> 00:11:25,040 Speaker 1: Reichs department store on the eighth floor next to the 206 00:11:25,040 --> 00:11:28,840 Speaker 1: women's lingerie, and I was like what, So I take 207 00:11:28,880 --> 00:11:31,920 Speaker 1: the bus again with the buses, and then there's another one. 208 00:11:32,240 --> 00:11:35,200 Speaker 1: I'm ten years old and hey, mom, I wanted to 209 00:11:35,559 --> 00:11:40,120 Speaker 1: some Hollywood actor down at the department. Yeah. Great, So 210 00:11:40,720 --> 00:11:42,200 Speaker 1: I go down there. I wait in like a four 211 00:11:42,240 --> 00:11:44,440 Speaker 1: hour line to get his autograph. I finally get to 212 00:11:44,440 --> 00:11:46,920 Speaker 1: the front of the line and they shut the line down. 213 00:11:47,080 --> 00:11:48,920 Speaker 1: It's time for him to go. And I'm super bumped 214 00:11:48,920 --> 00:11:51,840 Speaker 1: because I bought him a lollipop because Kojack his bit 215 00:11:52,000 --> 00:11:53,800 Speaker 1: was he always sucked a lollipop. And I think he 216 00:11:53,840 --> 00:11:57,400 Speaker 1: has taggin who loves you baby? Who loves your baby? 217 00:11:57,440 --> 00:12:01,280 Speaker 1: With his like blowpop or whatever it was. And and 218 00:12:01,440 --> 00:12:05,360 Speaker 1: I'm like all of ten and I and I I 219 00:12:05,400 --> 00:12:08,000 Speaker 1: grab one of the guys by the coat and excuse me, 220 00:12:08,080 --> 00:12:10,439 Speaker 1: circuit you, maybe you could just give this lollipop to 221 00:12:10,480 --> 00:12:13,640 Speaker 1: mistress of policy. Yeah, your kid, absolutely, And he turns 222 00:12:13,640 --> 00:12:15,480 Speaker 1: to walk away and he throws it in the trash 223 00:12:16,040 --> 00:12:19,520 Speaker 1: and I was so like heartbroken, and I just remember it. 224 00:12:19,559 --> 00:12:22,280 Speaker 1: I've never forgotten it. I think about it all the 225 00:12:22,280 --> 00:12:25,600 Speaker 1: time in terms of dealing with people who come up 226 00:12:25,640 --> 00:12:28,240 Speaker 1: to me. I was at once a fan of somebody's 227 00:12:28,800 --> 00:12:30,880 Speaker 1: and so I don't have to try too. It's in 228 00:12:30,960 --> 00:12:35,800 Speaker 1: my nature. I always enjoy meeting people because I remember 229 00:12:35,800 --> 00:12:38,480 Speaker 1: it vividly what it's like to be a fan of somebody's. Yeah, no, 230 00:12:38,520 --> 00:13:00,840 Speaker 1: I don't want to throw anybody's lollipop in the trash. 231 00:13:01,400 --> 00:13:03,800 Speaker 1: We're back today is a special one for me on 232 00:13:03,840 --> 00:13:07,160 Speaker 1: Table for two with the beautiful Rob below. Rob's four 233 00:13:07,160 --> 00:13:10,720 Speaker 1: decade career wasn't always easy, and in nineteen eighty two 234 00:13:11,000 --> 00:13:14,720 Speaker 1: he nearly walked away. But just a year later, Francis 235 00:13:14,720 --> 00:13:19,760 Speaker 1: Ford Copoli's adaptation of the Outsiders changed Rob's life forever. 236 00:13:20,520 --> 00:13:25,120 Speaker 1: Let's jump back into our dinner. You know, your memoir 237 00:13:25,160 --> 00:13:27,480 Speaker 1: really goes deep into the audition process and then the 238 00:13:27,559 --> 00:13:31,000 Speaker 1: actual shooting process with Francis Ford Coppolo, which is like 239 00:13:31,280 --> 00:13:33,760 Speaker 1: crazy what he made you guys do, and like because 240 00:13:33,760 --> 00:13:37,600 Speaker 1: that was like the first really big moment my first movie. 241 00:13:37,720 --> 00:13:42,960 Speaker 1: That was your first movie. I've done a sitcom on 242 00:13:43,080 --> 00:13:46,200 Speaker 1: ABC and I played like the Teenager the Teenage Son 243 00:13:46,640 --> 00:13:50,360 Speaker 1: when it ran for like six episodes and was canceled. Um. 244 00:13:50,840 --> 00:13:54,520 Speaker 1: And then I've done some after school specials. If you 245 00:13:54,600 --> 00:13:59,320 Speaker 1: remember those Wednesdays on yours it was a big deal. 246 00:14:00,080 --> 00:14:02,480 Speaker 1: It was a big one. Yeah, it was. It was. 247 00:14:02,679 --> 00:14:05,520 Speaker 1: It was an important moment for me. But I yeah, 248 00:14:05,559 --> 00:14:08,959 Speaker 1: I'd never done a movie. And you know, sitcoms and 249 00:14:09,000 --> 00:14:11,320 Speaker 1: natter school specials are not movies, right, and they're certainly 250 00:14:11,360 --> 00:14:15,120 Speaker 1: not Frances for Coppola. And you know Coppola at that 251 00:14:15,720 --> 00:14:18,960 Speaker 1: still one of our great filmmakers. Yeah, at that moment, 252 00:14:18,960 --> 00:14:22,200 Speaker 1: he was you know, he was only a few years 253 00:14:22,200 --> 00:14:25,520 Speaker 1: off of making Apocalypse Now, right, and you know, and 254 00:14:25,560 --> 00:14:28,680 Speaker 1: of course got The Godfathers. And so here's this very 255 00:14:28,840 --> 00:14:33,520 Speaker 1: very lauded, serious filmmaker doing a movie where all the 256 00:14:33,640 --> 00:14:37,560 Speaker 1: roles are fifteen, sixteen, seventeen year olds, right, and you know, 257 00:14:37,640 --> 00:14:40,040 Speaker 1: all the kid actors were like this, this is the 258 00:14:40,520 --> 00:14:44,040 Speaker 1: it's the goal. The Willie Wonka gold tickets. Yeah, that 259 00:14:44,160 --> 00:14:47,880 Speaker 1: everybody wanted. And and you talk about the auditions and 260 00:14:47,920 --> 00:14:51,600 Speaker 1: you reference in the auditions. So there's the West Coast 261 00:14:51,640 --> 00:14:54,440 Speaker 1: guys that are auditioning and the New York actors. Right. 262 00:14:54,480 --> 00:14:57,280 Speaker 1: I love this because he really makes you work for this. 263 00:14:58,000 --> 00:15:03,440 Speaker 1: The West Coast actors were you Amelia Amelio. Weirdly enough, 264 00:15:03,520 --> 00:15:06,200 Speaker 1: Tom because he was staying out here with Amelia. So 265 00:15:06,360 --> 00:15:08,920 Speaker 1: Cruz was out here even though he was East Coast 266 00:15:09,280 --> 00:15:13,080 Speaker 1: pony Boy Tommy Howe. And then we went to the 267 00:15:13,120 --> 00:15:17,680 Speaker 1: East Coast and that's where Matt Dillon was, Ralph Maccio played, 268 00:15:18,840 --> 00:15:23,640 Speaker 1: and we went through this whole process months, months of auditions, 269 00:15:23,760 --> 00:15:26,960 Speaker 1: months and months and months and months, and then he 270 00:15:27,040 --> 00:15:28,560 Speaker 1: picked his favorites. And then he took us to New 271 00:15:28,600 --> 00:15:31,920 Speaker 1: York and it was the same thing there, but it 272 00:15:31,960 --> 00:15:34,520 Speaker 1: was months. It was, you know, a week and then 273 00:15:35,280 --> 00:15:37,720 Speaker 1: but we did. I mean, there's more filmed footage of 274 00:15:37,760 --> 00:15:39,880 Speaker 1: us auditioning than there probably is of us making the 275 00:15:39,880 --> 00:15:42,560 Speaker 1: actual movie. Actually, if you go on YouTube you can 276 00:15:42,600 --> 00:15:46,160 Speaker 1: see it. You see some really great early stuff. So 277 00:15:46,240 --> 00:15:48,520 Speaker 1: the process of that film, when your sons look at 278 00:15:48,560 --> 00:15:52,080 Speaker 1: that movie, what was their reaction to that movie? Well, 279 00:15:52,400 --> 00:15:56,560 Speaker 1: I'm not sure how much of anything of mine my 280 00:15:56,600 --> 00:15:59,360 Speaker 1: sons have actually seen. Really. I know, John Owen is 281 00:16:00,080 --> 00:16:03,280 Speaker 1: never seen the West Wing. Really, this is what it's 282 00:16:03,480 --> 00:16:06,880 Speaker 1: it's become a bit now now now that's his professional 283 00:16:06,880 --> 00:16:11,720 Speaker 1: calling card. Of course he doesn't really know, right, right, 284 00:16:12,040 --> 00:16:14,840 Speaker 1: And I actually do think they've all seen The Outsiders because, 285 00:16:15,320 --> 00:16:19,480 Speaker 1: much to their mortification, they had to read the book 286 00:16:19,480 --> 00:16:22,320 Speaker 1: and see the movie in class. Right, it is that's 287 00:16:22,800 --> 00:16:25,920 Speaker 1: seventh grade. It's in the curriculum across the country the 288 00:16:25,920 --> 00:16:29,040 Speaker 1: most part. And there's nothing I love more than going 289 00:16:29,080 --> 00:16:31,720 Speaker 1: into a seventh grade class right after they've seen the 290 00:16:31,760 --> 00:16:33,560 Speaker 1: movie or and read the book and talking to them. 291 00:16:33,600 --> 00:16:36,640 Speaker 1: I love it. I love it because I love kids, 292 00:16:36,840 --> 00:16:42,840 Speaker 1: but also it's a new crop of fans. I mean 293 00:16:42,880 --> 00:16:45,320 Speaker 1: to be able to you know, the key to longevity 294 00:16:45,480 --> 00:16:50,120 Speaker 1: is you can't if your audience ages out. Yeah you're done. 295 00:16:50,160 --> 00:16:52,520 Speaker 1: You're done. So the key to a long career is 296 00:16:53,160 --> 00:16:55,320 Speaker 1: if you're lucky enough to figure it out. Having a 297 00:16:55,440 --> 00:16:58,160 Speaker 1: new crop of people discover you every year. And the 298 00:16:58,160 --> 00:17:02,120 Speaker 1: outsiders does that right by design? That's interesting. Did you 299 00:17:02,160 --> 00:17:05,000 Speaker 1: hear from those young people all the time? I see, 300 00:17:05,080 --> 00:17:08,840 Speaker 1: I still have fourteen fifteen year olds come up to 301 00:17:08,840 --> 00:17:13,359 Speaker 1: me and freak because it's soda pop Curt please, I freaked. 302 00:17:13,400 --> 00:17:16,520 Speaker 1: What was the toughest part when you were in production 303 00:17:16,600 --> 00:17:20,159 Speaker 1: with that? The night shoots? You know, I mean I 304 00:17:20,280 --> 00:17:22,760 Speaker 1: never made a movie, so the notion of shooting all 305 00:17:22,880 --> 00:17:25,440 Speaker 1: night right in the rain, and the fight the big 306 00:17:25,520 --> 00:17:28,000 Speaker 1: rumble scene was a whole week of shooting all at 307 00:17:28,080 --> 00:17:32,600 Speaker 1: night with freezing cold, no dressing rooms, no, no Francis 308 00:17:32,720 --> 00:17:36,359 Speaker 1: was very mercurial. He would treat the cast great and 309 00:17:36,359 --> 00:17:40,560 Speaker 1: then wouldn't provide any anywhere for us to get warm. Right. 310 00:17:41,160 --> 00:17:43,720 Speaker 1: I love that. I didn't know this if Frances when 311 00:17:43,720 --> 00:17:47,359 Speaker 1: you run into Darren Dalton, who plays a soy in 312 00:17:47,400 --> 00:17:51,200 Speaker 1: the elevator and you're with Tommy Howell and you guys 313 00:17:51,200 --> 00:17:53,960 Speaker 1: are on one floor and in the hotel, the socias, 314 00:17:54,040 --> 00:17:57,159 Speaker 1: if you watch this movie, they have like access to 315 00:17:57,200 --> 00:18:00,639 Speaker 1: a gym and room service. I love that whole And 316 00:18:00,760 --> 00:18:02,760 Speaker 1: the best part of it was it didn't work. Though, 317 00:18:03,080 --> 00:18:05,919 Speaker 1: the best part it was it's still the outsiders. Everybody 318 00:18:05,920 --> 00:18:08,880 Speaker 1: wants to be a greaser. Everyone, every one of those 319 00:18:09,040 --> 00:18:11,320 Speaker 1: socials would like like, I'll do without the room service, 320 00:18:11,560 --> 00:18:14,160 Speaker 1: I'll do without the suite. I'd rather have the better part. 321 00:18:14,520 --> 00:18:17,879 Speaker 1: So that's always my I mean, Francis had all of 322 00:18:17,920 --> 00:18:21,960 Speaker 1: these great social engineering experiments he wanted to try. He 323 00:18:22,000 --> 00:18:29,040 Speaker 1: had us playing tackle football in the street, and I'll 324 00:18:29,080 --> 00:18:32,600 Speaker 1: never forget Tommy Howell play pony boy. His dad was 325 00:18:32,720 --> 00:18:36,000 Speaker 1: one of the great stuntman, Chris Howell, the legendary stuntman, 326 00:18:36,280 --> 00:18:38,719 Speaker 1: so Tommy knew his way around even though he's only fifteen. 327 00:18:39,080 --> 00:18:42,920 Speaker 1: He huddled this up, and so listen, I'm calling this game. 328 00:18:42,960 --> 00:18:45,400 Speaker 1: We're done here. If I break my leg on this 329 00:18:45,520 --> 00:18:48,199 Speaker 1: next football play, I'll be on the next flight home 330 00:18:48,240 --> 00:18:50,920 Speaker 1: and somebody else will be playing Pony my favorite thing. Though, 331 00:18:50,920 --> 00:18:54,679 Speaker 1: Francis wanted us to learn about being greasers by talking 332 00:18:54,720 --> 00:18:56,639 Speaker 1: to people who were greasers in the fifties. So me 333 00:18:56,680 --> 00:19:00,119 Speaker 1: and Cruz were hooked up with this family and I 334 00:19:00,160 --> 00:19:01,800 Speaker 1: had to go spend the night at their house and 335 00:19:01,880 --> 00:19:04,520 Speaker 1: the basements, and I can just remember lying in this 336 00:19:04,680 --> 00:19:07,440 Speaker 1: cot in the basement of a house in Tulsa with 337 00:19:07,560 --> 00:19:11,680 Speaker 1: a with a family I never knew, and just looking 338 00:19:11,680 --> 00:19:14,920 Speaker 1: over at Tom and going, what the what the fuck 339 00:19:14,960 --> 00:19:17,520 Speaker 1: are we doing? It was I mean, I understand why 340 00:19:17,560 --> 00:19:20,120 Speaker 1: Francis did it, I get it, but it was It's 341 00:19:20,320 --> 00:19:23,200 Speaker 1: very odd and not the way most people make movies. 342 00:19:23,520 --> 00:19:26,720 Speaker 1: Is that sort of methody in a way, and also 343 00:19:26,800 --> 00:19:29,639 Speaker 1: odd because you guys were young. But I realized the 344 00:19:29,720 --> 00:19:32,840 Speaker 1: only letter when I read I think it's easy Rider 345 00:19:32,920 --> 00:19:36,040 Speaker 1: Raging Bulls so the great book about movie making. Yeah, 346 00:19:36,080 --> 00:19:39,480 Speaker 1: in the seventies and eighties, that Francis had lost the 347 00:19:39,520 --> 00:19:42,080 Speaker 1: money for the movie and or it had an all. 348 00:19:42,359 --> 00:19:46,720 Speaker 1: So he was like vamping smart, so he's like, yeah, 349 00:19:46,920 --> 00:19:49,640 Speaker 1: giving himself time. He also we would make us wake 350 00:19:49,720 --> 00:19:51,960 Speaker 1: up at six in the morning and do tai chi 351 00:19:52,480 --> 00:19:54,960 Speaker 1: on the location. And I could never figure out what 352 00:19:55,720 --> 00:19:58,520 Speaker 1: doing tai chi had to do with playing in nineteen 353 00:19:58,600 --> 00:20:03,040 Speaker 1: fifties grease sir, but whatever, you know, that's Francis said. 354 00:20:02,840 --> 00:20:06,239 Speaker 1: He he's a genius. I mean he beats to his 355 00:20:06,240 --> 00:20:14,959 Speaker 1: own drum. So if you had to like think back then, 356 00:20:15,000 --> 00:20:18,440 Speaker 1: if you had to sort of say, think of an 357 00:20:18,520 --> 00:20:22,679 Speaker 1: adjective for each person that you were with, Like if 358 00:20:22,720 --> 00:20:26,480 Speaker 1: you if I said, Swayzie, like what is he's a mind? 359 00:20:26,520 --> 00:20:31,560 Speaker 1: He was a true renaissance man. He was a professional 360 00:20:31,840 --> 00:20:37,560 Speaker 1: ballet dancer. He was a rodeo champion. He was a songwriter. 361 00:20:38,200 --> 00:20:41,320 Speaker 1: There's there's wasn't a job that he hadn't had. There 362 00:20:41,400 --> 00:20:44,600 Speaker 1: wasn't anything that he wasn't good at. He was a gymnast. 363 00:20:45,800 --> 00:20:47,360 Speaker 1: He was just one of those guys. It was like 364 00:20:49,000 --> 00:20:53,000 Speaker 1: anything you mentioned, yeah, did that, Yeah, and he had right. 365 00:20:53,960 --> 00:20:56,560 Speaker 1: There wasn't like, Hey, this guy that as Scott up 366 00:20:56,600 --> 00:20:59,200 Speaker 1: twenty seven times, he's just one of those guys. Yeah, 367 00:21:00,119 --> 00:21:02,760 Speaker 1: it seems like a really great guy. Good guy. He 368 00:21:02,840 --> 00:21:06,560 Speaker 1: was a great guy in super intense, Like, but if 369 00:21:06,600 --> 00:21:10,480 Speaker 1: you could harness Swayzy and cruise energy, we could light 370 00:21:10,600 --> 00:21:13,240 Speaker 1: the world for a thousand years. So okay, let's go 371 00:21:13,280 --> 00:21:18,880 Speaker 1: to cruise. Cruise seemed like ambitious, ambitious hands never met 372 00:21:18,880 --> 00:21:22,560 Speaker 1: anybody more ambitious, and I'm ambitious. He makes me look 373 00:21:22,560 --> 00:21:27,399 Speaker 1: like a Hackey Sack plan doper with a pork pie 374 00:21:27,440 --> 00:21:31,760 Speaker 1: hat on in Brooklyn. Now did he take that tooth 375 00:21:31,840 --> 00:21:36,679 Speaker 1: out purposely? Yes? That was intense. Yeah, I mean, like 376 00:21:36,720 --> 00:21:39,080 Speaker 1: I remember the tooth out. It was there's a lot 377 00:21:39,080 --> 00:21:41,399 Speaker 1: of one up in going on. It was like, right, 378 00:21:43,560 --> 00:21:45,280 Speaker 1: the only way that any of us got the parts 379 00:21:45,280 --> 00:21:47,479 Speaker 1: where it was killer be killed. So the people who 380 00:21:47,560 --> 00:21:50,760 Speaker 1: figured out a way to stand out got the parts. 381 00:21:50,760 --> 00:21:55,280 Speaker 1: That's what Frances wanted. Pitted everybody against everybody, and so 382 00:21:56,320 --> 00:21:58,959 Speaker 1: sure it was hopefully in theory the best actors one, 383 00:21:59,040 --> 00:22:00,920 Speaker 1: but I've always thought it was it was the people 384 00:22:00,960 --> 00:22:05,000 Speaker 1: who had who could stand the pressure and who could 385 00:22:05,680 --> 00:22:08,800 Speaker 1: find a way to score. And Tom's part of Steve 386 00:22:08,880 --> 00:22:11,200 Speaker 1: Randall is not a huge part, but you know, Tom 387 00:22:11,200 --> 00:22:14,320 Speaker 1: being Tom was like ambitious and you know, I remember all. 388 00:22:14,440 --> 00:22:16,520 Speaker 1: France has also thought that we should all be gymnasts 389 00:22:16,600 --> 00:22:20,240 Speaker 1: for some reason you talk. And so we had to 390 00:22:20,320 --> 00:22:21,840 Speaker 1: learn how to do backflips. And so, I don't know 391 00:22:21,880 --> 00:22:23,520 Speaker 1: if you've ever tried to learn how to do a backflip. 392 00:22:23,600 --> 00:22:27,280 Speaker 1: It's not fun and it's scary as shit. You feel 393 00:22:27,280 --> 00:22:30,600 Speaker 1: like you're gonna break your neck. Yes, and I was 394 00:22:30,720 --> 00:22:33,040 Speaker 1: not good. None of us are particularly swayzy. Of course, 395 00:22:33,080 --> 00:22:35,000 Speaker 1: already knew how to do it right, because he knows 396 00:22:35,040 --> 00:22:38,040 Speaker 1: how to do everything. But Tom took it. So and 397 00:22:38,080 --> 00:22:41,040 Speaker 1: if you see The Outsiders and then there's the movies playing, 398 00:22:41,080 --> 00:22:44,280 Speaker 1: and the movie just stops dead and Tom does a 399 00:22:44,280 --> 00:22:46,200 Speaker 1: backflip off of a card, and then the movie continues 400 00:22:46,320 --> 00:22:50,040 Speaker 1: right which and in that so it starts with Tom 401 00:22:50,080 --> 00:22:52,159 Speaker 1: doing a backflip and the Outsiders it and ends with 402 00:22:52,280 --> 00:22:55,400 Speaker 1: Tom shooting a movie in the space station, which he's 403 00:22:55,400 --> 00:22:59,280 Speaker 1: doing next. We started a very serious trend for him. 404 00:22:59,440 --> 00:23:02,600 Speaker 1: You really did. Yeah. So now Matt Dylan, who seemed 405 00:23:02,640 --> 00:23:05,240 Speaker 1: kind of brooding and intense, he's like the New York 406 00:23:06,080 --> 00:23:08,679 Speaker 1: He was Francis's favorite. He was Francis was in love 407 00:23:08,720 --> 00:23:11,720 Speaker 1: with them, really so much so that when the movie 408 00:23:11,720 --> 00:23:14,280 Speaker 1: came out, we were making the book an exact replica 409 00:23:14,320 --> 00:23:16,080 Speaker 1: of the book. And when the movie came out, it 410 00:23:16,119 --> 00:23:18,879 Speaker 1: was all centered on Matt's character, so they cut a 411 00:23:18,920 --> 00:23:23,200 Speaker 1: lot of what we shot and about I think about 412 00:23:23,200 --> 00:23:27,080 Speaker 1: fifteen years ago, they re cut The Outsiders to what 413 00:23:27,119 --> 00:23:30,320 Speaker 1: we actually know what. It's called The Outsiders the Complete Novel, 414 00:23:30,760 --> 00:23:33,480 Speaker 1: and that is now sort of what everybody watches. But 415 00:23:33,600 --> 00:23:38,840 Speaker 1: that original version is a extremely truncated and it was 416 00:23:38,920 --> 00:23:41,760 Speaker 1: really shocking for all of us when we saw it 417 00:23:41,800 --> 00:23:46,520 Speaker 1: because not what we did, but it was Francis's desire 418 00:23:46,600 --> 00:23:52,320 Speaker 1: to focus totally on the Matt Dylan character so beacting 419 00:23:52,840 --> 00:23:54,720 Speaker 1: when the movie came out that that would be the 420 00:23:54,760 --> 00:23:57,879 Speaker 1: way it was. Never I will never. I've never fully 421 00:23:57,880 --> 00:24:02,639 Speaker 1: gotten over seeing theatrical nineteen eighty three version of The 422 00:24:02,680 --> 00:24:05,399 Speaker 1: Outsiders for the first time because all my stuff was 423 00:24:05,440 --> 00:24:08,159 Speaker 1: basically cut no way. I mean, I still have a 424 00:24:08,240 --> 00:24:11,200 Speaker 1: presence in the movie. That's good and yeah, but one 425 00:24:11,200 --> 00:24:12,560 Speaker 1: of the reasons they cut it was and this is 426 00:24:12,600 --> 00:24:14,960 Speaker 1: just shows you how far we've all come. One of 427 00:24:15,040 --> 00:24:17,439 Speaker 1: my favorite scenes I've ever done cut from the original 428 00:24:17,440 --> 00:24:21,359 Speaker 1: film is pony Boy and I in bed together thinking 429 00:24:21,400 --> 00:24:24,360 Speaker 1: about our parents and holding each other right. And when 430 00:24:24,400 --> 00:24:28,520 Speaker 1: they showed it in the theaters, all of the thirteen 431 00:24:28,560 --> 00:24:31,480 Speaker 1: fourteen year old boys were so uncomfortable by it that 432 00:24:31,600 --> 00:24:33,600 Speaker 1: they kind of made a ruck us and they cut. 433 00:24:33,880 --> 00:24:36,439 Speaker 1: They cut that scene, and then I think, once you 434 00:24:36,520 --> 00:24:40,160 Speaker 1: cut that scene, you start cutting the fan. But it's 435 00:24:40,160 --> 00:24:42,960 Speaker 1: a really beautiful scene and it's in the Outsiders, the 436 00:24:43,000 --> 00:24:46,560 Speaker 1: novel super sweet? Is it in the longer? Noways? Okay? 437 00:24:46,640 --> 00:24:52,200 Speaker 1: I watch this great? Are you friends with the guys 438 00:24:52,240 --> 00:24:55,520 Speaker 1: from the outside? When I was roasted on Comedy Central, 439 00:24:55,560 --> 00:24:57,160 Speaker 1: which is one of my favorite things, by the way, 440 00:24:57,240 --> 00:24:59,680 Speaker 1: it's the meanest roast in the history, the best sense 441 00:24:59,720 --> 00:25:03,199 Speaker 1: of you. It's so fun. I can take it, and 442 00:25:03,240 --> 00:25:07,040 Speaker 1: I condition this is rough. Natchio was on My Dais 443 00:25:07,080 --> 00:25:11,600 Speaker 1: to rest me. So I see Ralph Amelia I haven't 444 00:25:11,600 --> 00:25:13,720 Speaker 1: seen a long time. He and I were best friends 445 00:25:13,720 --> 00:25:17,880 Speaker 1: for years and years and years, and Diane Blaine and 446 00:25:17,920 --> 00:25:21,720 Speaker 1: I are always I've seen her around. I did my 447 00:25:21,800 --> 00:25:27,560 Speaker 1: one man show in Atlanta and Tommy Howell came and 448 00:25:27,640 --> 00:25:29,879 Speaker 1: I brought him up on stage. But it's we don't 449 00:25:29,880 --> 00:25:32,280 Speaker 1: really see each other though. I mean, I haven't seen 450 00:25:32,320 --> 00:25:34,160 Speaker 1: a lot of them in years and years, and it's 451 00:25:34,200 --> 00:25:37,399 Speaker 1: not kind of like life. It is, well, it's kind of, 452 00:25:37,440 --> 00:25:39,640 Speaker 1: but there's always that bond. It's like, I'm sure. It's 453 00:25:39,640 --> 00:25:41,720 Speaker 1: like when you're together, it's like you're it's like you 454 00:25:41,800 --> 00:25:44,640 Speaker 1: never Yeah, And I don't know how if you if 455 00:25:44,680 --> 00:25:47,840 Speaker 1: you suffer from this, like when incredible things happen to 456 00:25:47,880 --> 00:25:50,960 Speaker 1: you and time goes by, you begin to question your 457 00:25:50,960 --> 00:25:55,120 Speaker 1: own memory because it's so outrageous and see that could 458 00:25:55,320 --> 00:25:57,960 Speaker 1: possibly have happened. And then you it's like you do 459 00:25:58,000 --> 00:26:00,280 Speaker 1: with your guy with a brother, and I go, remember 460 00:26:00,320 --> 00:26:03,080 Speaker 1: what mom did? Did she really needs it? Yeah? Because 461 00:26:03,080 --> 00:26:09,280 Speaker 1: you question your youth. Yeah, and so chab Rob's brother 462 00:26:09,320 --> 00:26:13,320 Speaker 1: who I know. I love job, super nice guy. It's 463 00:26:13,359 --> 00:26:16,320 Speaker 1: like you need a witness in life. Yes, having a witness, 464 00:26:16,359 --> 00:26:20,040 Speaker 1: Having a sibling that witnesses all of it so helpful. 465 00:26:20,119 --> 00:26:22,120 Speaker 1: You do get to a point where you're like, wait, 466 00:26:22,119 --> 00:26:25,600 Speaker 1: did that really happen. I'm gonna do that with the outsiders. 467 00:26:25,600 --> 00:26:28,520 Speaker 1: I'm gonna be like, did we really shoot from twenty 468 00:26:28,600 --> 00:26:34,960 Speaker 1: four consecutive hours? Yeah? Right? Did we? Did Francis really 469 00:26:35,000 --> 00:26:40,119 Speaker 1: have a rap party every Friday night, every Friday, every Friday, 470 00:26:40,320 --> 00:26:44,680 Speaker 1: sushi flown in China, eating on China. This is hop 471 00:26:44,760 --> 00:26:46,840 Speaker 1: This doesn't happen now. By the way, we also shout 472 00:26:46,840 --> 00:26:49,639 Speaker 1: the movie in complete continuity, which is unheard of. You 473 00:26:49,640 --> 00:26:52,119 Speaker 1: don't do like so when you make a movie, you 474 00:26:52,200 --> 00:26:55,560 Speaker 1: shoot each location all the way out. So but there 475 00:26:55,560 --> 00:26:58,119 Speaker 1: scenes an in a house that and you go in 476 00:26:58,359 --> 00:27:00,520 Speaker 1: and you watch the movie in the houses throughout the movie, 477 00:27:02,040 --> 00:27:04,919 Speaker 1: you shoot that house everything in it, and then you 478 00:27:05,000 --> 00:27:08,520 Speaker 1: go We shot the entire movie and continuity. So if 479 00:27:08,520 --> 00:27:09,920 Speaker 1: there was a scene in the house, we shot that, 480 00:27:10,000 --> 00:27:11,480 Speaker 1: and then if in the script we went to a lake, 481 00:27:11,520 --> 00:27:12,639 Speaker 1: we shot the lake, and then if there was a 482 00:27:12,640 --> 00:27:14,000 Speaker 1: scene and that, we went back to the house, and 483 00:27:14,000 --> 00:27:17,399 Speaker 1: then we had a better process. I thought it was great. 484 00:27:18,320 --> 00:27:20,920 Speaker 1: Frances did it? I think to help us as actors? Well, 485 00:27:20,920 --> 00:27:22,520 Speaker 1: how did it? Field would be kind of labeled the 486 00:27:22,520 --> 00:27:26,000 Speaker 1: Brat Pack, like what was that at the time? That time? Good? 487 00:27:26,040 --> 00:27:27,800 Speaker 1: I mean, I thought it was cool, but I don't know, 488 00:27:27,840 --> 00:27:31,760 Speaker 1: I wasn't. Well that's what I realized quicker than a 489 00:27:31,800 --> 00:27:33,520 Speaker 1: lot of the other people in the Brat Pack was 490 00:27:34,119 --> 00:27:38,760 Speaker 1: to to the world large. Yeah, they thought it was cool, 491 00:27:38,920 --> 00:27:41,760 Speaker 1: but if you read the article that it was based on, 492 00:27:42,280 --> 00:27:47,280 Speaker 1: it was absolutely meant as a pejorative right, and a 493 00:27:47,400 --> 00:27:56,320 Speaker 1: sort of dismissive catch all for you know, callo ambition soaked. 494 00:27:57,480 --> 00:28:01,440 Speaker 1: You know, Hollywood operators, you know, who are just spending 495 00:28:01,560 --> 00:28:05,840 Speaker 1: as much time partying as they did with their craft. 496 00:28:06,000 --> 00:28:10,359 Speaker 1: That's absolutely what it meant. And the industry certainly got 497 00:28:10,400 --> 00:28:13,440 Speaker 1: that message. And so within the confidence of Hollywood and 498 00:28:13,480 --> 00:28:16,280 Speaker 1: New York it meant one thing, right, But in the 499 00:28:16,280 --> 00:28:19,120 Speaker 1: world it meant something else. And you know, I very 500 00:28:19,160 --> 00:28:21,119 Speaker 1: quickly got to the point where I realized that I 501 00:28:21,280 --> 00:28:24,880 Speaker 1: was like, how great? But there were other other folks 502 00:28:24,920 --> 00:28:28,000 Speaker 1: who to this day won't talk about some of those 503 00:28:28,040 --> 00:28:33,000 Speaker 1: movies because they were so they felt so pigeonholed by 504 00:28:33,160 --> 00:28:36,760 Speaker 1: that name. Right. But you know, like, I've had a 505 00:28:36,760 --> 00:28:39,520 Speaker 1: ton of therapy over my years, and you realize that 506 00:28:39,600 --> 00:29:00,720 Speaker 1: that people's perception is none of your business. Thanks for 507 00:29:00,760 --> 00:29:04,640 Speaker 1: pulling up a chair tonight, everyone, movie star, TV star, 508 00:29:05,040 --> 00:29:08,920 Speaker 1: podcaster and author. But that doesn't mean you get everything. 509 00:29:09,120 --> 00:29:11,640 Speaker 1: It was a show he was obsessed with as a teenager. 510 00:29:11,760 --> 00:29:14,880 Speaker 1: He never got to be on Did you ever do 511 00:29:15,000 --> 00:29:18,320 Speaker 1: in the day? There was the thing that they used 512 00:29:18,320 --> 00:29:21,880 Speaker 1: to do on ABC, The Battle The Network Stars. Oh, 513 00:29:21,920 --> 00:29:25,040 Speaker 1: listen to me, I'm obsessed with Battle Network Stars. I 514 00:29:25,080 --> 00:29:28,400 Speaker 1: went to The Battle Network Stars multiple times. You did oh? 515 00:29:28,640 --> 00:29:30,640 Speaker 1: Did they do it up? In like on the beach 516 00:29:31,360 --> 00:29:33,480 Speaker 1: if you it's a very embarrassing shot of me that 517 00:29:33,520 --> 00:29:38,080 Speaker 1: exists on Google and my red dolphin shorts. Come on, 518 00:29:39,000 --> 00:29:45,440 Speaker 1: anybody can pull them off, no shirt. And I'm sitting 519 00:29:45,480 --> 00:29:47,640 Speaker 1: on the endfield of the Battle of the Network Stars. 520 00:29:47,720 --> 00:29:49,360 Speaker 1: I think I want I wanted to go and see 521 00:29:49,600 --> 00:29:55,120 Speaker 1: Fara Fawcett majors at that time, right, um. But by 522 00:29:55,120 --> 00:29:59,000 Speaker 1: the time I was well known that that era was over, 523 00:29:59,280 --> 00:30:01,680 Speaker 1: was done. Yeah, So the Battle of Network Stars was 524 00:30:01,840 --> 00:30:04,320 Speaker 1: literally the biggest thing out. It was like the Oscars. 525 00:30:04,360 --> 00:30:06,880 Speaker 1: Oh no, yeah, everyone tuned in and it was all 526 00:30:06,920 --> 00:30:10,680 Speaker 1: these actors from the different networks competing against each other. Today, 527 00:30:10,720 --> 00:30:13,800 Speaker 1: I was thinking, how you would do today? But today 528 00:30:13,920 --> 00:30:16,360 Speaker 1: it would it would be like it would have to 529 00:30:16,360 --> 00:30:20,880 Speaker 1: be like from Ozark Jason Bateman, he would be pulling 530 00:30:20,880 --> 00:30:25,480 Speaker 1: a tug of war with the cast of Succession, um 531 00:30:26,280 --> 00:30:28,880 Speaker 1: and you know the cast of Veep in the realist 532 00:30:29,080 --> 00:30:30,720 Speaker 1: like it would be. That's what it would have to be, 533 00:30:30,800 --> 00:30:34,280 Speaker 1: that level the Game of Thrones. People in the dump tank. 534 00:30:36,640 --> 00:30:42,840 Speaker 1: Do you think celebrity and stars have changed for sure? Right? 535 00:30:44,080 --> 00:30:47,120 Speaker 1: I mean, what would it have been like if you 536 00:30:47,160 --> 00:30:53,360 Speaker 1: could see anytime you wanted on TMZ, Marilyn Monroe with 537 00:30:53,360 --> 00:30:56,760 Speaker 1: her yoga mat rolled up under her arm, James Dean 538 00:30:57,000 --> 00:31:01,720 Speaker 1: coming out of Airwan, Steve McClean, Yeah, Steve me. Just 539 00:31:01,800 --> 00:31:04,640 Speaker 1: there's no mystery and now you know you have it 540 00:31:04,680 --> 00:31:07,719 Speaker 1: on TMZ, you have everybody has Instagram and there's just 541 00:31:07,760 --> 00:31:11,080 Speaker 1: no mystery anywhere. And I'm not sure if it's a 542 00:31:11,080 --> 00:31:14,280 Speaker 1: good thing or a bad thing, but I know that 543 00:31:14,480 --> 00:31:22,160 Speaker 1: it has. It's changed how people perceive stars, and it's 544 00:31:22,280 --> 00:31:25,240 Speaker 1: harder for young people who are just starting out to 545 00:31:26,240 --> 00:31:34,840 Speaker 1: achieve the kind of career where they transcend any individual 546 00:31:35,000 --> 00:31:38,440 Speaker 1: part they're playing. Are there people that are resonating with 547 00:31:38,520 --> 00:31:42,160 Speaker 1: you that you're like, wow, this is someone to watch. 548 00:31:42,920 --> 00:31:45,600 Speaker 1: I remember not all of them are young, but there 549 00:31:45,640 --> 00:31:47,480 Speaker 1: are people that you see for the first time and go, 550 00:31:47,600 --> 00:31:50,360 Speaker 1: oh my god. Yeah. I remember watching one of my 551 00:31:50,360 --> 00:31:54,640 Speaker 1: favorite moves is The Witch, and seeing Anya Taylor Joy 552 00:31:55,440 --> 00:31:58,200 Speaker 1: in that and she's going on to have this amazing career, 553 00:31:58,240 --> 00:32:01,320 Speaker 1: and I think she was probably all of seventeen in 554 00:32:01,440 --> 00:32:04,280 Speaker 1: The Witch, and you go, holy crap, who's that right? 555 00:32:04,880 --> 00:32:07,840 Speaker 1: So that's one a young one. But then you also 556 00:32:07,920 --> 00:32:11,880 Speaker 1: get people who are not young, and you watch inglorious 557 00:32:11,920 --> 00:32:16,360 Speaker 1: bastards and you're introduced to Christophe Waltz and I turned 558 00:32:16,360 --> 00:32:18,120 Speaker 1: to my wife, Ago, that guy's winning the Academy Award 559 00:32:18,160 --> 00:32:21,080 Speaker 1: this year, and he did. So it's super fun when 560 00:32:21,120 --> 00:32:24,400 Speaker 1: you when you see that. Yeah, who were your for? 561 00:32:24,480 --> 00:32:28,719 Speaker 1: People that really influence Paul Newman? Paul Newman, But you're 562 00:32:28,720 --> 00:32:33,800 Speaker 1: casting the Sundance Kid, the Staying Robert Redford. Um, you know, 563 00:32:33,840 --> 00:32:39,320 Speaker 1: Electric Horseman, Three Days The Condor, Dustin Hoffman, A marathon Man. 564 00:32:40,040 --> 00:32:44,040 Speaker 1: I mean, these were the movies Alpaccino, Appaccino, Godfather and 565 00:32:44,320 --> 00:32:48,360 Speaker 1: Dog Day Afternoon, Don Day Afternoon, de Niro in Raging 566 00:32:48,440 --> 00:32:54,239 Speaker 1: Bull and Deer Hunter, Debrah Winger, Officer and a Gentleman. Right, 567 00:32:55,600 --> 00:32:58,680 Speaker 1: is amazing, Like that movie. I saw it again the 568 00:32:58,680 --> 00:33:04,120 Speaker 1: other day. It's so good. Richard gear In that it's 569 00:33:04,240 --> 00:33:08,240 Speaker 1: sexy any thing. They had sex scenes in those days, right, 570 00:33:08,320 --> 00:33:10,560 Speaker 1: you know, it's like your sex scenes in your movies. 571 00:33:10,600 --> 00:33:13,280 Speaker 1: I remember you had sex scenes. Oh, I would are 572 00:33:13,280 --> 00:33:17,280 Speaker 1: you had too many sex scenes? Right? Well, only because 573 00:33:17,280 --> 00:33:21,320 Speaker 1: you're in the body you're in, I mean you. And 574 00:33:21,400 --> 00:33:23,200 Speaker 1: by the way, the sex scenes are always on page 575 00:33:23,200 --> 00:33:27,280 Speaker 1: seventy three. I don't know why because I think seventy 576 00:33:27,280 --> 00:33:30,160 Speaker 1: three is the middle of act two, And as any 577 00:33:30,160 --> 00:33:33,600 Speaker 1: writer will tell you, middle of act two is where 578 00:33:33,640 --> 00:33:37,000 Speaker 1: things get a little slow. Okay, so that's where I 579 00:33:37,000 --> 00:33:39,440 Speaker 1: would always go to page I'm just telling you. Look 580 00:33:39,480 --> 00:33:44,400 Speaker 1: at any script from like Vision Quest, like the sort 581 00:33:44,400 --> 00:33:48,400 Speaker 1: of teen. Yes, that's the one where page seventy three, 582 00:33:48,560 --> 00:33:51,320 Speaker 1: somebody has to get naked, and usually it was made. 583 00:33:51,720 --> 00:33:54,600 Speaker 1: Did you ever have a sex scene that it was 584 00:33:54,640 --> 00:33:59,280 Speaker 1: like just gone all wrong? There was like chemistry wasn't 585 00:33:59,320 --> 00:34:02,000 Speaker 1: there that people didn't which was like I had. I 586 00:34:02,040 --> 00:34:04,080 Speaker 1: had sex scenes with people who I thought, oh, this 587 00:34:04,160 --> 00:34:07,080 Speaker 1: is gonna be off the chain and it was like me. 588 00:34:08,120 --> 00:34:13,600 Speaker 1: And then it also had the scenes where I was like, yeah, 589 00:34:13,640 --> 00:34:15,680 Speaker 1: this is whatever the and I was like why going on? 590 00:34:16,760 --> 00:34:20,239 Speaker 1: So you just and you never it never You just 591 00:34:20,320 --> 00:34:23,120 Speaker 1: never know, and it just speaks to chemistry. It really 592 00:34:23,160 --> 00:34:27,080 Speaker 1: proves it's not about the physical necessarily. I mean, there's 593 00:34:27,080 --> 00:34:29,440 Speaker 1: a great pa seeing Paul Newman. You know, Paul Newman 594 00:34:29,520 --> 00:34:32,919 Speaker 1: used to say to actresses before sex scenes. He says, 595 00:34:33,280 --> 00:34:37,080 Speaker 1: if I get aroused, I hope you'll forgive me, and 596 00:34:37,280 --> 00:34:44,759 Speaker 1: also forgive me if I don't. There you go. You 597 00:34:44,880 --> 00:34:47,520 Speaker 1: never know who's going to show up at the Sunset Tower. 598 00:34:47,920 --> 00:34:50,919 Speaker 1: But fresh off the plane from New York City, my 599 00:34:50,960 --> 00:34:55,200 Speaker 1: bestie Andy Cohen walks up, grabs some French fries and 600 00:34:55,320 --> 00:35:06,759 Speaker 1: heckles us over my shoulder. Show pull pull up a 601 00:35:06,800 --> 00:35:09,120 Speaker 1: mic when I was talking about are you letting roth 602 00:35:09,320 --> 00:35:13,200 Speaker 1: of a word in? Yes, totally, of course. No, we 603 00:35:13,280 --> 00:35:16,080 Speaker 1: just we just talked about the Battle of the Network stars. 604 00:35:16,080 --> 00:35:19,960 Speaker 1: Oh my god, it's my favorite competed on Battle of 605 00:35:19,960 --> 00:35:23,240 Speaker 1: the Network. Even better. I went, I went and watched 606 00:35:23,280 --> 00:35:27,640 Speaker 1: it in red dolphin shorts and no shirts. Oh and 607 00:35:27,760 --> 00:35:33,080 Speaker 1: there the picture exists. Sadly, Wow, sadly, Who woman, I'm 608 00:35:33,160 --> 00:35:36,239 Speaker 1: fifteen and I look like Christie McNichol with their top off? 609 00:35:37,880 --> 00:35:41,600 Speaker 1: What woman do you remember seeing that caught your eye 610 00:35:41,920 --> 00:35:44,920 Speaker 1: at the Network? Oh? All of them? Because it was 611 00:35:45,200 --> 00:35:48,160 Speaker 1: what I now realized, it was just an excuse to 612 00:35:48,200 --> 00:35:51,320 Speaker 1: have nipples showing for bathing suits. It was literally only 613 00:35:52,040 --> 00:35:54,960 Speaker 1: you know, if you ever listened to clips of it now, 614 00:35:55,719 --> 00:36:02,440 Speaker 1: Howard Cosell's commentary is so sexist and offense defense. It 615 00:36:03,080 --> 00:36:07,319 Speaker 1: isn't just everything that he's like a dirty old man. Yeah, 616 00:36:08,080 --> 00:36:10,319 Speaker 1: but the year that I wi went multiple years because 617 00:36:10,320 --> 00:36:13,480 Speaker 1: they they shot at a pepperdine and I feel yeah, 618 00:36:13,560 --> 00:36:16,400 Speaker 1: so I went one year because Chevy Chase was going 619 00:36:16,480 --> 00:36:18,279 Speaker 1: to be in it. He was my hero. He did 620 00:36:18,280 --> 00:36:22,640 Speaker 1: not show. And then I went one yeares he Farah 621 00:36:22,640 --> 00:36:26,600 Speaker 1: fawce at Majors. Oh my god, that's worth the trup 622 00:36:27,280 --> 00:36:30,040 Speaker 1: And did you see her? I did? Wow? And did 623 00:36:30,040 --> 00:36:32,160 Speaker 1: you ever know her later in your life when you 624 00:36:32,320 --> 00:36:36,040 Speaker 1: became famous? I did? I remember at right at Spago 625 00:36:36,400 --> 00:36:39,000 Speaker 1: one time in the eighties when Ryan O'Neill and Farah 626 00:36:39,080 --> 00:36:43,000 Speaker 1: walked in this day with the most beautiful couple I'd 627 00:36:43,000 --> 00:36:45,800 Speaker 1: ever seen walk into her room. Wow, like there absolute 628 00:36:45,880 --> 00:36:49,479 Speaker 1: height of their beauty. It was insane. Okay, I'm gonna 629 00:36:49,520 --> 00:36:51,440 Speaker 1: go get a drink and let you guys be I'm 630 00:36:51,440 --> 00:36:53,520 Speaker 1: gonna be at the bar, all right. Good to see you, 631 00:36:53,520 --> 00:36:56,879 Speaker 1: all right, see you never know at the tower at 632 00:36:56,880 --> 00:37:08,400 Speaker 1: the town. This is you know, your wife is amazing. 633 00:37:08,560 --> 00:37:12,280 Speaker 1: You have a very long relationship, married thirty two years. 634 00:37:12,640 --> 00:37:15,960 Speaker 1: Y is one of the coolest women out. Thank you. 635 00:37:16,520 --> 00:37:19,160 Speaker 1: She was super excited that is coming to hang with you. 636 00:37:19,280 --> 00:37:22,839 Speaker 1: This is awesome and we connect. How do you keep 637 00:37:22,840 --> 00:37:26,120 Speaker 1: a marriage in Hollywood in that form? How do you 638 00:37:26,120 --> 00:37:28,399 Speaker 1: you know? Because it's hard. I think it's it's hard. 639 00:37:28,400 --> 00:37:31,239 Speaker 1: Any It's hard anywhere, right, I mean, it is not 640 00:37:31,400 --> 00:37:34,600 Speaker 1: just Hollywood, it's everywhere. Marriage is hard, and it's it 641 00:37:34,640 --> 00:37:36,960 Speaker 1: can be hard. It's not hard. If we're hard, nobody 642 00:37:36,960 --> 00:37:39,919 Speaker 1: would do it right. It can be hard and will 643 00:37:40,000 --> 00:37:43,279 Speaker 1: be hard. Um. I have a couple thoughts. One of 644 00:37:43,280 --> 00:37:47,000 Speaker 1: it one is that it's it's all about who you choose. 645 00:37:47,600 --> 00:37:50,440 Speaker 1: You know, I chose schl was, was and is my 646 00:37:50,480 --> 00:37:53,279 Speaker 1: best friend. So if you marry for anything other than 647 00:37:53,360 --> 00:37:56,279 Speaker 1: the fact that it's your best friend, you're you're at 648 00:37:56,280 --> 00:38:00,200 Speaker 1: a disadvantage from the jump, because that will sustain when 649 00:38:00,200 --> 00:38:03,720 Speaker 1: the other stuff ebbs and flows exactly. People say marriage 650 00:38:03,760 --> 00:38:06,640 Speaker 1: takes work. I'm not sure if it takes work, But 651 00:38:06,920 --> 00:38:10,960 Speaker 1: but what it does take us forgiveness and being really 652 00:38:11,120 --> 00:38:15,040 Speaker 1: cognizant of what hill you're willing to die on. That 653 00:38:15,239 --> 00:38:19,920 Speaker 1: is sage. Yeah, yeah, you know what I mean. It 654 00:38:20,000 --> 00:38:24,439 Speaker 1: takes staying in the room. Yes, because if you leave 655 00:38:24,480 --> 00:38:27,240 Speaker 1: the room, just stay in the room when it ebbs 656 00:38:27,280 --> 00:38:30,920 Speaker 1: and flows. Yes, when you you know you got to 657 00:38:30,960 --> 00:38:34,080 Speaker 1: stay in the room, you definitely have to stay in 658 00:38:34,120 --> 00:38:37,840 Speaker 1: the room. And and then I think that there's a sense, 659 00:38:38,000 --> 00:38:41,719 Speaker 1: maybe on the outside, when when one looks at a 660 00:38:41,760 --> 00:38:46,480 Speaker 1: long marriage and goes, oh it's been they're blast true 661 00:38:47,440 --> 00:38:50,600 Speaker 1: and it's a perfect marriage. And there's nothing that's perfect, right. 662 00:38:51,120 --> 00:38:55,440 Speaker 1: And I think the minute things go south for whatever reason, 663 00:38:55,440 --> 00:38:58,440 Speaker 1: it could be any any many, many, many, many reasons. 664 00:38:58,920 --> 00:39:03,359 Speaker 1: I think people can go, oh, I knew it, this 665 00:39:03,400 --> 00:39:06,680 Speaker 1: is this is bad, this is a mistake. The marriages 666 00:39:06,719 --> 00:39:10,719 Speaker 1: that work don't have it. Everybody has those dark periods 667 00:39:11,719 --> 00:39:15,319 Speaker 1: and and when they come and they do. Just like 668 00:39:15,360 --> 00:39:18,720 Speaker 1: a career. Yeah, everybody has periods where it's not happening 669 00:39:18,880 --> 00:39:21,200 Speaker 1: right like you would like it. You know, life is 670 00:39:21,239 --> 00:39:24,640 Speaker 1: like that, it's ebbs and flows. You just can't bail 671 00:39:24,719 --> 00:39:27,200 Speaker 1: on the ebbs, right because eventually it will turn around 672 00:39:27,239 --> 00:39:29,440 Speaker 1: if you're with the right person, right, if you stay 673 00:39:29,480 --> 00:39:32,520 Speaker 1: in it, it will last because it's unique. And you, guys, 674 00:39:32,560 --> 00:39:35,560 Speaker 1: you could feel your chemistry still. We you know, we 675 00:39:35,600 --> 00:39:38,200 Speaker 1: were together a couple of months ago, right, and you 676 00:39:38,239 --> 00:39:40,279 Speaker 1: feel it and you're I think you're right. If you're 677 00:39:40,360 --> 00:39:43,120 Speaker 1: lucky enough to fall in love with your best friend, 678 00:39:43,280 --> 00:39:46,520 Speaker 1: if a person who becomes you know, you have to 679 00:39:46,520 --> 00:39:48,960 Speaker 1: have the heat. I do believe you need. You need 680 00:39:49,000 --> 00:39:51,000 Speaker 1: the heat for sure. And yeah, if you don't have 681 00:39:51,040 --> 00:39:54,319 Speaker 1: the heat, that's a chemical thing. Yeah, that's like I 682 00:39:54,360 --> 00:39:56,680 Speaker 1: still have it with Cheryl. I mean, and you got 683 00:39:56,680 --> 00:39:58,759 Speaker 1: to keep the heat. You got to keep the heat. 684 00:39:59,000 --> 00:40:01,640 Speaker 1: That ebbs and flows two. It's not like but when 685 00:40:01,640 --> 00:40:03,400 Speaker 1: that comes into those two there there are times when 686 00:40:03,440 --> 00:40:05,360 Speaker 1: you're just like ah, and then all of a sudden 687 00:40:05,360 --> 00:40:08,120 Speaker 1: you're just like a wild for somebody. Russ. It's one 688 00:40:08,120 --> 00:40:16,640 Speaker 1: of the great human mysteries. What's coming up for you? 689 00:40:16,719 --> 00:40:21,000 Speaker 1: So we have Unstable, So Unstable is I can't wait 690 00:40:21,040 --> 00:40:23,760 Speaker 1: to I really can't wait to see you so um 691 00:40:23,760 --> 00:40:28,040 Speaker 1: it's it's out now because Unstables out now streaming on netflixix. 692 00:40:28,440 --> 00:40:32,920 Speaker 1: By the way, it's the breeziest, quickest, lightest, feel good romp. 693 00:40:33,239 --> 00:40:37,040 Speaker 1: You can watch the entire season of Unstable in less 694 00:40:37,080 --> 00:40:40,200 Speaker 1: time than it took you to watch The Irishman. That's 695 00:40:40,280 --> 00:40:44,040 Speaker 1: my that's my selling points. I could feel it and 696 00:40:44,200 --> 00:40:46,719 Speaker 1: you feel it. I could feel it. I mean that's 697 00:40:46,760 --> 00:40:50,680 Speaker 1: the reason I watched the trailer three times. Yeah, like wise, 698 00:40:51,120 --> 00:40:54,840 Speaker 1: um lone start coming back for season five. It's amazing. 699 00:40:55,480 --> 00:40:57,920 Speaker 1: It's so much fun. And you know, the Ryan world 700 00:40:58,000 --> 00:41:00,399 Speaker 1: is a great world. Rand Murphy world is a world 701 00:41:00,440 --> 00:41:04,200 Speaker 1: to be in. We are just I just finished season 702 00:41:05,040 --> 00:41:07,520 Speaker 1: three of the podcast. I think we're we're closing in 703 00:41:07,560 --> 00:41:11,080 Speaker 1: on two hundred episodes. Wow, And what do you love 704 00:41:11,120 --> 00:41:14,279 Speaker 1: about that? I love this, I love what we're doing. Yeah, 705 00:41:14,320 --> 00:41:18,040 Speaker 1: I love I love going down rabbit holes. You know, 706 00:41:18,120 --> 00:41:22,520 Speaker 1: the long form interview very few people do. Podcast is 707 00:41:22,520 --> 00:41:27,640 Speaker 1: where long form interviews live. So that's why I love it. 708 00:41:27,640 --> 00:41:30,279 Speaker 1: And I'm very curious. So I like having people on 709 00:41:30,920 --> 00:41:33,360 Speaker 1: to learn from them. But I also like having people 710 00:41:33,360 --> 00:41:37,799 Speaker 1: on that I know, But I also know that the 711 00:41:37,840 --> 00:41:40,759 Speaker 1: public does not know them in a way that I 712 00:41:40,800 --> 00:41:43,439 Speaker 1: know them, and I want to bring that part out. 713 00:41:43,480 --> 00:41:46,799 Speaker 1: Like a good example for it is Maria Shriver and 714 00:41:46,920 --> 00:41:51,480 Speaker 1: Oprah and I've had them both on the podcast, and 715 00:41:52,800 --> 00:41:57,880 Speaker 1: Maria is one of the smartest, eloquent, dignified former First 716 00:41:57,920 --> 00:42:04,040 Speaker 1: Ladies Kennedy. But she's really funny and can like giggle 717 00:42:04,120 --> 00:42:06,080 Speaker 1: and let her hair down and do that, but you 718 00:42:06,320 --> 00:42:09,200 Speaker 1: never You're not seeing that when she hosts the Today Show, right, 719 00:42:09,480 --> 00:42:12,200 Speaker 1: And the same with Oprah. To get Oprah laughing and 720 00:42:13,000 --> 00:42:15,920 Speaker 1: doing her thing is like, you have to know somebody 721 00:42:16,080 --> 00:42:17,920 Speaker 1: to bring that out. Same with Gwyneth. People have a 722 00:42:18,000 --> 00:42:22,239 Speaker 1: very specific opinion of Gwyneth Paltrow. Right, And then I 723 00:42:22,320 --> 00:42:24,320 Speaker 1: ever on my podcast and she's talking about how my 724 00:42:24,360 --> 00:42:32,160 Speaker 1: wife taught her to give a blowjob. By way true story, 725 00:42:33,320 --> 00:42:36,600 Speaker 1: the sun is setting in the Golden Hour descends upon us. 726 00:42:37,280 --> 00:42:40,279 Speaker 1: I see the magic in Rob's blue eyes, and my 727 00:42:40,360 --> 00:42:43,359 Speaker 1: seventeen year old self could never have dreamed that one 728 00:42:43,400 --> 00:42:48,120 Speaker 1: evening I would be having dinner with Soda Popcortis. As 729 00:42:48,160 --> 00:42:52,560 Speaker 1: we celebrate the fortieth anniversary of The Outsiders, I just 730 00:42:52,800 --> 00:42:58,400 Speaker 1: want to say, stay gold pony boy. What would you 731 00:42:58,480 --> 00:43:04,920 Speaker 1: consider your greatest professional achievement professional? Yeah, I like to 732 00:43:04,960 --> 00:43:11,200 Speaker 1: think that it is. It's my longevity. Yeah, and that 733 00:43:11,320 --> 00:43:15,680 Speaker 1: I like as we sit here, I'm shooting a drama 734 00:43:15,719 --> 00:43:18,840 Speaker 1: and action drama nine one lone Star, right, we're in 735 00:43:18,840 --> 00:43:22,239 Speaker 1: our fourth year, and then also on Netflix have this 736 00:43:24,120 --> 00:43:28,240 Speaker 1: hard comedy Romp and that I get to go between 737 00:43:28,280 --> 00:43:34,000 Speaker 1: those worlds and is that's for me and the thing 738 00:43:34,040 --> 00:43:36,240 Speaker 1: that makes me the happiest Because a lot of folks 739 00:43:36,280 --> 00:43:38,239 Speaker 1: only get to do either drama or comedy and don't 740 00:43:38,239 --> 00:43:41,080 Speaker 1: get to do both. I feel like you've done. I mean, 741 00:43:41,120 --> 00:43:44,879 Speaker 1: you've been in theater in the West End. You from 742 00:43:44,920 --> 00:43:48,480 Speaker 1: the eyes of a teenager when I first was introduced 743 00:43:48,520 --> 00:43:51,680 Speaker 1: to to sort of see this longevity, to see each 744 00:43:51,800 --> 00:43:54,680 Speaker 1: the decades of your war. I think you're right, it's 745 00:43:54,719 --> 00:43:57,920 Speaker 1: not that's not normal. I mean I think that if 746 00:43:58,000 --> 00:44:02,000 Speaker 1: you go back and you know, part of like hearing 747 00:44:02,000 --> 00:44:05,080 Speaker 1: your story, all the TV shows and the things that 748 00:44:05,080 --> 00:44:07,359 Speaker 1: we grew up with a lot of those people no 749 00:44:07,360 --> 00:44:09,799 Speaker 1: one knows. And you know what, Here's the other part 750 00:44:10,160 --> 00:44:13,200 Speaker 1: I love is I never know when someone approaches me 751 00:44:14,760 --> 00:44:18,360 Speaker 1: what they're going to ask about. Right, Like there's a 752 00:44:18,400 --> 00:44:21,160 Speaker 1: world in which an actor is known for one for 753 00:44:21,280 --> 00:44:26,080 Speaker 1: one thing, or two, right, or maybe three. But like 754 00:44:26,400 --> 00:44:30,800 Speaker 1: I was in what a room Jordan in the middle 755 00:44:30,800 --> 00:44:36,040 Speaker 1: of the desert, and they say, we have surprise visitors coming, 756 00:44:36,160 --> 00:44:37,840 Speaker 1: and I look up and then there's a caravan of 757 00:44:37,880 --> 00:44:40,239 Speaker 1: black SUVs coming out of the desert. We're one hundred 758 00:44:40,280 --> 00:44:44,839 Speaker 1: miles from anywhere. It's the Prince of Jordan. It's coming 759 00:44:44,840 --> 00:44:47,120 Speaker 1: to say hello to me. He's brought his wife and 760 00:44:47,120 --> 00:44:51,480 Speaker 1: two kids, because the two kids are huge fans of 761 00:44:51,520 --> 00:44:57,759 Speaker 1: The Low Files, which is an obscure adventure series I 762 00:44:57,800 --> 00:45:01,760 Speaker 1: did with my sons on any So you just don't 763 00:45:01,840 --> 00:45:09,000 Speaker 1: know right where it's gonna hit. You never know. That's crazy, 764 00:45:09,040 --> 00:45:13,360 Speaker 1: it's crazy, it's crazy. I think for me today tonight 765 00:45:13,400 --> 00:45:16,080 Speaker 1: because we're having dinner, which is great. Getting to know 766 00:45:16,160 --> 00:45:18,040 Speaker 1: you over the years and spending time with you, I've 767 00:45:18,080 --> 00:45:20,640 Speaker 1: been not only such a fan, but I admire you. 768 00:45:20,960 --> 00:45:22,759 Speaker 1: I think you know how you live your life with 769 00:45:22,800 --> 00:45:27,839 Speaker 1: such integrity and with intention. You're a cool cat, so 770 00:45:28,000 --> 00:45:31,560 Speaker 1: nice keep talking. It makes me feel below. So I 771 00:45:31,640 --> 00:45:34,239 Speaker 1: just want to say everyone, I hope you enjoyed this conversation. 772 00:45:34,400 --> 00:45:36,719 Speaker 1: I hope you enjoyed kidding me. This is great. I 773 00:45:36,719 --> 00:45:38,880 Speaker 1: couldn't wait to do it. Thank you everyone for pulling 774 00:45:38,960 --> 00:45:48,520 Speaker 1: up a chair on Table for two. Table for two 775 00:45:48,560 --> 00:45:51,680 Speaker 1: with Bruce Bozzy is produced by iHeart Radio seven three 776 00:45:51,760 --> 00:45:55,680 Speaker 1: seven Park and Airmail. Our executive producers are Bruce Bozzi, 777 00:45:56,000 --> 00:45:59,400 Speaker 1: Jonathan Hoss, Dressler and Nathan King. Table for two is 778 00:45:59,480 --> 00:46:02,360 Speaker 1: edited and written by Tina Mullen and researched and written 779 00:46:02,360 --> 00:46:06,560 Speaker 1: by Bridget arsenalt Our sound engineers are Emil B. Klein, 780 00:46:06,960 --> 00:46:10,800 Speaker 1: Paul Bowman and Alyssa Midcaff. Table for two's la production 781 00:46:10,800 --> 00:46:15,520 Speaker 1: team is Danielle Romo and Lorraine Virez. Our music supervisor 782 00:46:15,600 --> 00:46:18,680 Speaker 1: is Randall Poster. Our talent booking is by Jane Sarkin. 783 00:46:18,960 --> 00:46:23,560 Speaker 1: Special thanks to Amy Sugarman, Uni Cher, Kevin Yuvane, Bobby Bauer, 784 00:46:23,719 --> 00:46:27,240 Speaker 1: Alison Cantor, Graber and Barbour, and Jen and Jeff Klein, 785 00:46:27,400 --> 00:46:29,440 Speaker 1: and the staff at the Tower Bar in the world 786 00:46:29,440 --> 00:46:33,919 Speaker 1: famous Sunset Tower Hotel. For more podcasts from iHeartRadio, visit 787 00:46:33,960 --> 00:46:37,759 Speaker 1: the iHeartRadio app, Apple podcast, or wherever you listen to 788 00:46:37,840 --> 00:46:38,800 Speaker 1: your favorite shows.