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Speaker 1: Your earliest dream was to be a clown. Is that correct.

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Speaker 1: That's where it all started. Yeah, I wanted to be

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Speaker 1: a clown in the circus. After I went to the

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Speaker 1: circus and it was explained to me that clowns were

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Speaker 1: just normal people with makeup on. Oh you didn't know

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Speaker 1: that at first. Yeah, you know. I thought that's just

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Speaker 1: how those people looked. So I was like, hold on

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Speaker 1: just a second. You're telling me I can look like that.

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Speaker 1: They're like, yeah, yeah, just makeup on. Okay, Well that's

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Speaker 1: what I want to do. My name is Eric stone Street.

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Speaker 1: I played Cameron Tucker on Modern Family, and I am

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Speaker 1: a Chiefs fan. Hello everybody, it's a new day. It's

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Speaker 1: a new Tuesday, which means a new episode of Off

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Speaker 1: the Beat. I'm your host, Brian Baumgartner. I am so

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Speaker 1: excited to share with you today. This is the reason

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Speaker 1: that we're doing Off the Beat conversations like today, my guest,

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Speaker 1: you just heard the one and only Eric stone Street. Now,

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Speaker 1: I've known Eric for a long time and I know

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Speaker 1: that he had a bit of an unconventional start in

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Speaker 1: show biz. Well I'm not sure if performing at parties

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Speaker 1: quite counts as jobiz, but it certainly was the road

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Speaker 1: that led him to where he is today. You probably

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Speaker 1: know him as Cam from Modern Family, half of the

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Speaker 1: iconic duo that was Mitch and Cam, a couple that

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Speaker 1: would pave the way for same sex couples on primetime television.

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Speaker 1: He's one Emmy's He's made appearances on everything from America's

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Speaker 1: Got Talent to C s I to even a weird

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Speaker 1: Al Yankovic music video. Now like me, he is a

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Speaker 1: huge sports fan. Yes, and he's done his fair share

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Speaker 1: of voice acting. And oh yeah, I almost forgot. He

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Speaker 1: could have been Kevin Malone on the Office. So there's that.

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Speaker 1: Let's just dive right in. Please welcome my friend and

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Speaker 1: yours America's sweetheart, Eric stone Street. Bubble and Squeak. I

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Speaker 1: love it, Bubble and Squeak on Bubble and Squeaker Cookie

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Speaker 1: at every month left over from the NAT before. What

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Speaker 1: is happening? Wi, Brie, Brian? How are you good? How's

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Speaker 1: it going? You know? I almost wore my packers hat.

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Speaker 1: I was wondering if you would have the Chiefs thing rolling?

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Speaker 1: I know, I mean what I heard so much? It does?

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Speaker 1: It does? I mean, especially after you guys won, what

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Speaker 1: might be the greatest game in the history of the NFL. Yeah,

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Speaker 1: it was the greatest game. Is there any good feelings

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Speaker 1: about that or is it just still no? It makes

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Speaker 1: it worse, like because none of it matters. I mean,

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Speaker 1: that's the great thing about the sport we love so much, right,

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Speaker 1: it only matters what you do in this game. It's

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Speaker 1: like it's just immediately erased from meaning anything means zero. Now. Yeah,

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Speaker 1: well listen, I want to get back, go back into

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Speaker 1: your history. But the first thing I feel like we

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Speaker 1: need to talk about because I think we have never

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Speaker 1: discussed this specifically, but you we're up for the role

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Speaker 1: of Kevin Malone in the office. And I don't know

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Speaker 1: if you've ever heard this story, but when Steve left

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Speaker 1: the show, Alison Jones came to me and said, you know,

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Speaker 1: I was looking for like momentum. Alison Jones throws nothing away.

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Speaker 1: She keeps every document, every casting sign in sheet, every

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Speaker 1: note ever written. I'd love to see some of my notes,

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Speaker 1: like from maybe my Curb your Enthusiasm audition. But she said,

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Speaker 1: I didn't really find that much for Steve, but I

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Speaker 1: found this for you. So this is, you know, seven

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Speaker 1: years into our run. This is circa and she hands

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Speaker 1: me up a sheet of paper and it says, Kevin Malone,

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Speaker 1: Brian Baumgartner, Eric stone Street and Jorge Garcia. What and

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Speaker 1: this was the final three for Kevin Malone. We were

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Speaker 1: the three? Did you know that you were that close?

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Speaker 1: Or is this a surprise to you know? Not a surprise,

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Speaker 1: but what's so cool about this? And you're right that

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Speaker 1: we've always known this little bit of Hollywood trivia. I

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Speaker 1: have perspective on it from my end because I was

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Speaker 1: friends with Angela Kinsey and Warren lieberste from my improv

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Speaker 1: Olympic days. Well, when I came in and read like

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Speaker 1: I'm sure you did. It started with me reading for

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Speaker 1: you know, the Steve Carell part, like that's was my

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Speaker 1: just go in and meet Allison Jones and read and

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Speaker 1: then she called back and said, well, you're not right

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Speaker 1: for that, but come in for this other part. So

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Speaker 1: then I went in and I read for your part,

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Speaker 1: and I called Warren and you know, I knew his

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Speaker 1: brother had something to do with the show, and his

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Speaker 1: brother in law, you know, had created the show with

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Speaker 1: the old Marin version. Mike, Dude, I'm testing for the

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Speaker 1: show and he's like, yeah, you're you're in the top three,

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Speaker 1: Like there's three tapes that they're looking at, and I

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Speaker 1: don't know what time of year it was, this is

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Speaker 1: your story, so you would have better references than I would,

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Speaker 1: because I quickly tried to have to forget about this moment.

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Speaker 1: But for whatever reason, whether it was a football game,

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Speaker 1: a baseball game, or whatever, I was over at Paul

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Speaker 1: Deieberstein's house and I saw your picture. I saw your

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Speaker 1: picture at his house, really, and I yeah, like the

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Speaker 1: decision hadn't been made yet, and so I knew who

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Speaker 1: you were and I saw your picture and tapes, and

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Speaker 1: I just wanted to be like, be like nose over

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Speaker 1: there and be like, what's there any of that? What's

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Speaker 1: you know? Like, what's any of this? Say? Like is

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Speaker 1: there anything written down yet? Is it decided? But then

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Speaker 1: it wasn't long after that that you know, you got

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Speaker 1: it and and I didn't get it. But yeah, what

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Speaker 1: a great what a great moment. But it's also great

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Speaker 1: for everyone who wants to be an actor and in

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Speaker 1: our business to understand that you know, you got the

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Speaker 1: part because you deserved the part. It was your part.

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Speaker 1: They just didn't know it was your part yet. And

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Speaker 1: it wasn't my part and it wasn't my time. And

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Speaker 1: then a couple of years later, then another audition rolls

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Speaker 1: around for Modern Family and that turned out to be

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Speaker 1: my part, and Hey obviously had his part. He found

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Speaker 1: his part. So it's pretty cool little Hollywood intersection for us,

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Speaker 1: it is. And I think the other thing that is

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Speaker 1: so cool about it was, you know, we were three

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Speaker 1: guys not well known at all at that point, um,

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Speaker 1: but everybody ended up getting their part. As you said,

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Speaker 1: everybody ended up. You know, it's not like who was

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Speaker 1: that guy? Has anybody ever heard from him before? Yeah?

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Speaker 1: Everybody did. Yeah, really really neat And you know, you

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Speaker 1: you were the best, Like we as fans of TV

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Speaker 1: and fans of things like you, you watched TV shows

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Speaker 1: and think like, well, nobody else could have done that.

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Speaker 1: And my version of that character certainly wasn't your version.

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Speaker 1: Your version wasn't mine. And you know I went to

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Speaker 1: the right person. Now here we are, here we are, Yeah,

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Speaker 1: you could be talking to me right now. I guess

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Speaker 1: I will disagree with you about Alison Jones not throwing

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Speaker 1: anything away though, because she threw me away a lot

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Speaker 1: of times out of those but she kept the mementos

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Speaker 1: of throwing you away. Yeah, she it and she I

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Speaker 1: know you've talked to her and talked about her many times,

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Speaker 1: but I just want to reiterate she's the greatest, the best.

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Speaker 1: And here's a great Allison Jones story for you. So

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Speaker 1: when I came from Chicago, I had an acting teacher

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Speaker 1: in Chicago named Glenn Haynes. And when I moved out here,

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Speaker 1: Allison was nice enough to you know, she came to

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Speaker 1: prop Olympic and I got a one line part on

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Speaker 1: um Michael J. Fox's TV show that he was the

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Speaker 1: mayor assistant. Well, all of a sudden, I get called

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Speaker 1: from my agent and said, hey, you've got to You're

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Speaker 1: gonna work on Spin City this week. I'm like, I've

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Speaker 1: never even auditioned for Spin City and she's like, yeah, well,

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Speaker 1: Alison Jones saw you in an improv show and there's

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Speaker 1: one line of a photographer and she's just giving you

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Speaker 1: the part. And I'm like, that's awesome. So I go in,

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Speaker 1: I do the part whatever, and then this is you know,

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Speaker 1: we're talking here. So then Allison would call me in

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Speaker 1: for different things over the years, never got anything. Then

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Speaker 1: got you know, close with with the office and we'll

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Speaker 1: hear from her every once while. Ever got anything. Well,

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Speaker 1: Glenn Hayes, this acting teacher. I happened to run into

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Speaker 1: him in Los Angeles. He was out here. I said,

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Speaker 1: what's going on? He's like, Oh, I'm out here doing

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Speaker 1: some classes and I'm I'm actually living, um stay with

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Speaker 1: Alison Jones. I'm like, this is before Modern Family. I said,

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Speaker 1: would you do me a favor? Like, would you ask

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Speaker 1: Alison Jones honestly? Like, what's what her assessment of me is?

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Speaker 1: You know, I never know because I'm this insecure actor

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Speaker 1: like all of us that she keeps calling me in

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Speaker 1: but I'm not booking anything, And so he asked her.

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Speaker 1: He called me the next night and he said, Alison

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Speaker 1: Jones said, you are a series regular waiting to happen.

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Speaker 1: And you know what, whether it was true or not,

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Speaker 1: it was so gracious of her to give me that

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Speaker 1: moment of confidence. She knew. The basis of my question

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Speaker 1: was I'm not feeling great about myself right now, like

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Speaker 1: I'm not I have traction, but I'm not really I'm

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Speaker 1: not really making it. And Alison's response was whether she

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Speaker 1: believed it or not, which I think she's an honest person,

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Speaker 1: and I value her opinion. She said, you're a series

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Speaker 1: regular waiting to happen, and that just lifted me so

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Speaker 1: much and made me feel so good. And that's what

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Speaker 1: a casting director can do to you in addition to

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Speaker 1: helping you get hired on jobs. Yeah, that's that's an

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Speaker 1: amazing story. And also the first part of your story

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Speaker 1: about Spin City. I mean, she is the hardest working

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Speaker 1: casting director in Hollywood, and she is out there all

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Speaker 1: the time. And the fact that she goes and sees

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Speaker 1: an improv show and sees you and it's like, Okay,

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Speaker 1: that guy needs to work, that guy needs let's throw

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Speaker 1: him something. No, I mean let's throw him something because

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Speaker 1: he he's got it. And yeah, she's she's the best. Um. So,

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Speaker 1: before your audition for the office, we're gonna get back

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Speaker 1: to some of those other things. Apparently every funny person

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Speaker 1: in Hollywood working today grew up in or around Kansas City, Missouri.

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Speaker 1: You know, I've talked Keckner, Wriggle, all of these guys.

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Speaker 1: You're in Kansas City. Your earliest dream was to be

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Speaker 1: a clown, Is that correct? That's where it all started. Yeah,

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Speaker 1: I wanted to be a clown. In the circus. After

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Speaker 1: I went to the circus and it was explained to

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Speaker 1: me that clowns were just normal people with makeup on.

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Speaker 1: Oh you didn't know that at first, Yeah, you know.

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Speaker 1: I I thought that's just how those people looked. So

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Speaker 1: I was like, hold on just a second, you're telling

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Speaker 1: me I can look like that, Like, yeah, just makeup on. Okay,

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Speaker 1: Well that's what I want to do. How old are you? Oh?

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Speaker 1: I was like eight when that epiphany happened. And then

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Speaker 1: at my Grandma's making me clown costumes, and I'm going,

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Speaker 1: you know, in four h and I'm taking makeup classes

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Speaker 1: with shrine clowns. And you know, I always give my

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Speaker 1: dad so much credit, you know, and my mom too,

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Speaker 1: but my dad more importantly because here he's you know,

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Speaker 1: I'm in Kansas, I have pigs and cows, I'm playing football,

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Speaker 1: taking karate, put on my mom's wig and makeups, you know,

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Speaker 1: things like that. So I know at some point he's like,

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Speaker 1: what's going on? Uh, And he didn't yield. He just

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Speaker 1: he's just like, this is my son, and I'm not

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Speaker 1: gonna you know, they encouraged me so much to just

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Speaker 1: follow any and all my dreams and interests. I wanted

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Speaker 1: to play the drums. I had a snare drum. I

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Speaker 1: was in karate, I had a karate I wanted to

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Speaker 1: be a clown. I had a red nose, you know, whatever,

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Speaker 1: whatever it was. So I'm thankful that they allowed me

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Speaker 1: just to do that. And you went then to k

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Speaker 1: s U Kansas State, and yeah, and you when did

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Speaker 1: you decide that this was something that you wanted to do?

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Speaker 1: That was it? Was there a moment? Was it a

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Speaker 1: gradual progression to say, oh no, I want to be

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Speaker 1: an actor? M hm? So I had a high school

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Speaker 1: girlfriend that broke my heart, broke broke up with me,

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Speaker 1: and she stayed behind. That's okay, so anyway, she stayed behind.

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Speaker 1: I went on to Kansas State. I did a year

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Speaker 1: of track and field. I threw the shop putting discus

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Speaker 1: until I found out that sixteen pounds is a lot.

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Speaker 1: Every of the twelve pounds and I'm like, I can't

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Speaker 1: throw this thing. This is too heavy, this is this

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Speaker 1: is this is really heavy, guys. So I went to UH.

224
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Speaker 1: I went to Kansas State, left my track and field

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Speaker 1: dreams behind and we ended up ending our relationship. And

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Speaker 1: my best friend then Paul, who I met is still

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Speaker 1: my best friend, Paul. Now he saw that I was

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Speaker 1: bombed and down and you know, melancholy, and he's like,

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Speaker 1: you know, you you always want to be a clown.

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Speaker 1: I know it's not clowning, but why don't you audition

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Speaker 1: for a play? Have you ever thought about doing it?

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Speaker 1: I'm like no, He's like, well, I did forensics and

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Speaker 1: plays in high school. All audition, if you will. So

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Speaker 1: we both went up to the theater department. It was

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Speaker 1: to fraternity guys in audition for Hamlet and pray Lude

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Speaker 1: to a Kiss to plays. He got cast as Bernardo

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Speaker 1: and Hamlet, and I got cast as Uncle Fred in

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Speaker 1: pray Lude to a Kiss. Smallest part ned Baby played

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Speaker 1: at the movie. So I did that. I had a

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Speaker 1: few lines, and I loved it. Man. I loved writing

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Speaker 1: my little notes on my pages. And I loved all

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Speaker 1: the people. I mean, you're talking about this not that

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Speaker 1: I was a farm kid, but I certainly was mostly

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Speaker 1: farm kid. But now I'm I'm in the theater department

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00:14:06,840 --> 00:14:10,160
Speaker 1: with all these people with piercings and tattoos and having

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Speaker 1: these crazy parties that I knew nothing about, that we're

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Speaker 1: going on on campus. I'm like I love this, like

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Speaker 1: it's a pass for me on a lot of it.

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Speaker 1: But wow, this is really interesting. Uh. And you know,

250
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Speaker 1: met some of my closest friends still that worked for

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Speaker 1: Blue Man Group in New York and have you know

252
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Speaker 1: forever I always called Tim my first GID guy I

253
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Speaker 1: ever met tim O Miller Tim, and so I loved it.

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Speaker 1: And then people made the mistake of telling me they

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Speaker 1: thought I was good, and I made the mistake of

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Speaker 1: believing that people in Manhattan, Kansas knew what good was.

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Speaker 1: And then I was like, well, Ship, I guess I'm

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Speaker 1: going to give this a try. So I kept auditioning

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Speaker 1: for plays and got bigger parts in the plays, and

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Speaker 1: then I think it was after my first lead that

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Speaker 1: I decided, well, I'm gonna go for this, and that

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Speaker 1: was it. Yeah, at that point, there's probably not a

263
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Speaker 1: whole lot of outside of college in Manhattan, Kansas opportunities.

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Speaker 1: You eventually go to Chicago. So was that the decision, like,

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Speaker 1: you're gonna leave school, You're gonna graduate from school and

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Speaker 1: go to Chicago and try to pursue this. How did

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Speaker 1: you make that path? Yeah? I basically stayed in school

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Speaker 1: an extra year and learned kind of the business just

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Speaker 1: and did another play, got a little more experience, and

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Speaker 1: then always knew Chicago would be where I went because

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Speaker 1: of the improv stuff and Second City, and so I

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Speaker 1: moved there just to kind of figure out, like if

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Speaker 1: I could hang with people that maybe had gone to

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Speaker 1: DePaul or Loyola or acting schools, and just to see

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Speaker 1: like where I ranked, you know, and if I was good. Again.

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Speaker 1: It was really me testing out to see if you know,

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Speaker 1: my professor in Manhattan, Kansas knew what good was. I

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Speaker 1: didn't know. So I needed to go figure that out.

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Speaker 1: In Chicago seemed like a safe place to kind of

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Speaker 1: land first, So I went there, and of course, you know,

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Speaker 1: ended up being around some of the people that we

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Speaker 1: now rely on for a lot of our humor in

283
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Speaker 1: the world. The Tina Phase, the Rachel Dredges, the Keckner's,

284
00:16:09,080 --> 00:16:13,640
Speaker 1: the Brian Stacks, Pat Finns, you know, tons of improvisers

285
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Speaker 1: and actors that are just really truly funny people. They

286
00:16:17,120 --> 00:16:19,080
Speaker 1: had all kind of moved on, but I got to

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00:16:19,120 --> 00:16:21,800
Speaker 1: see them performed. Tina Fe was my level two teacher

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Speaker 1: at the Second City Conservatory program, and so I just

289
00:16:25,480 --> 00:16:30,680
Speaker 1: started taking classes and assessed that for my experience. I

290
00:16:30,760 --> 00:16:34,000
Speaker 1: was doing okay and then said it in my mind

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00:16:34,040 --> 00:16:35,600
Speaker 1: that I'm going to move to l A. I'm going

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00:16:35,640 --> 00:16:38,080
Speaker 1: to give this a run here in Chicago, and then

293
00:16:38,080 --> 00:16:40,280
Speaker 1: moved to Los Angeles because my friends Paul, that guy

294
00:16:40,360 --> 00:16:43,440
Speaker 1: talked about he had moved out here and was pursuing

295
00:16:43,440 --> 00:16:45,240
Speaker 1: a writing career. So I was like, well, my best

296
00:16:45,240 --> 00:16:47,080
Speaker 1: friends in l A. I don't really have any close

297
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Speaker 1: friends in Chicago, So well that direction right. How long

298
00:16:51,200 --> 00:16:54,240
Speaker 1: were you in Chicago? Two years? One year in eleven months?

299
00:16:55,320 --> 00:16:57,800
Speaker 1: And the reason I decided to leave Brian was because

300
00:16:58,040 --> 00:16:59,960
Speaker 1: here I had put all my eggs in the set

301
00:17:00,040 --> 00:17:02,320
Speaker 1: Can City basket. I'm like, I'm gonna be on the

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00:17:02,320 --> 00:17:04,320
Speaker 1: main stage a second city someday, Like that's a goal.

303
00:17:04,359 --> 00:17:06,359
Speaker 1: There was always one of our body types on the

304
00:17:06,359 --> 00:17:10,960
Speaker 1: main stage, the Chris Farley's and Ratio Sands and John Candy's.

305
00:17:11,000 --> 00:17:14,040
Speaker 1: There always was a heavy set dude. So I thought, well,

306
00:17:14,080 --> 00:17:15,840
Speaker 1: I have a decent chance. Well, then I did my

307
00:17:15,920 --> 00:17:19,840
Speaker 1: Level five conservatory program and at the end of it,

308
00:17:20,160 --> 00:17:23,679
Speaker 1: I asked my teacher, John Hildreth, was Kelly Leonard here

309
00:17:23,680 --> 00:17:26,080
Speaker 1: where the producers a Second City? Did they see me perform?

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00:17:26,280 --> 00:17:29,760
Speaker 1: And He's like no, Like, wait a minute, so no,

311
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Speaker 1: nobody that makes decisions on like casting was here and no,

312
00:17:33,840 --> 00:17:36,800
Speaker 1: like no, I'm in the pipeline and they're like no.

313
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Speaker 1: So then I realized I had just done that conservatory

314
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Speaker 1: just to start over and go and audition again at

315
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Speaker 1: some other point, and I'm like, screw this, I'm going

316
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Speaker 1: to Los Angeles. So you had a friend? Did that

317
00:18:07,359 --> 00:18:11,520
Speaker 1: make that transition fairly easy coming to Los Angeles? Socially?

318
00:18:11,560 --> 00:18:15,280
Speaker 1: At least socially for sure? You know, UH had no

319
00:18:15,359 --> 00:18:18,439
Speaker 1: real traction other than one name of a casting director

320
00:18:18,840 --> 00:18:21,040
Speaker 1: who you've run into. I'm sure. Her name was Julian O'Neill,

321
00:18:21,480 --> 00:18:25,480
Speaker 1: and she worked with Nicky Valco Casting and the producer

322
00:18:25,480 --> 00:18:27,359
Speaker 1: in Chicago that had helped me get my SAG card

323
00:18:27,359 --> 00:18:29,679
Speaker 1: by doing three backgrounds. She's like, when I was moving,

324
00:18:30,119 --> 00:18:32,439
Speaker 1: she said, Oh, I have a friend that is a

325
00:18:32,480 --> 00:18:35,040
Speaker 1: casting associate for somebody in l A. And I'll give

326
00:18:35,080 --> 00:18:37,240
Speaker 1: you her name. That was the only professional name I

327
00:18:37,280 --> 00:18:40,679
Speaker 1: came to town with. And she was nice enough to

328
00:18:41,240 --> 00:18:43,040
Speaker 1: accept my head shot and she's like, yeah, we'll call

329
00:18:43,080 --> 00:18:45,919
Speaker 1: you in. You know, something comes up, we'll give you

330
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Speaker 1: a call. And she called me in and it took me,

331
00:18:48,880 --> 00:18:50,720
Speaker 1: you know, maybe four or five times of going in

332
00:18:50,760 --> 00:18:54,200
Speaker 1: for I can't think of his name, biggest producer in town,

333
00:18:54,280 --> 00:18:59,560
Speaker 1: TV wise, big bank, Theory Lori, Chuck Lori, Yeah, Chuck Lori.

334
00:19:00,080 --> 00:19:01,919
Speaker 1: It took me like four or five times going in

335
00:19:02,000 --> 00:19:03,680
Speaker 1: and getting called back. And finally I got a little

336
00:19:03,680 --> 00:19:06,600
Speaker 1: part on Darman Greg and that was really the beginning.

337
00:19:07,080 --> 00:19:10,320
Speaker 1: But I didn't, you know, know anybody. But again it

338
00:19:10,359 --> 00:19:12,800
Speaker 1: all comes down to people just being nice and like

339
00:19:12,840 --> 00:19:16,480
Speaker 1: giving me a shot, right. I think for me, a

340
00:19:16,520 --> 00:19:21,679
Speaker 1: big lesson you learn is how important just like the

341
00:19:21,840 --> 00:19:24,439
Speaker 1: number of jobs you get, regardless of what they are. Right.

342
00:19:24,480 --> 00:19:28,000
Speaker 1: So there's like commercials and there's this show and that show,

343
00:19:28,040 --> 00:19:30,320
Speaker 1: and you start to build a career. I know you

344
00:19:30,400 --> 00:19:33,680
Speaker 1: did a lot of commercials. I hear over a hundred

345
00:19:33,800 --> 00:19:37,879
Speaker 1: commercials you did. After arriving in Los Angeles. Well, I

346
00:19:37,920 --> 00:19:41,080
Speaker 1: did a national campaign in Chicago for the n c

347
00:19:41,240 --> 00:19:43,560
Speaker 1: A where I played this character named Joe Football, where

348
00:19:43,560 --> 00:19:46,960
Speaker 1: I was painted red and blue. And then that helped

349
00:19:46,960 --> 00:19:51,400
Speaker 1: me get a commercial agent in l A. And then

350
00:19:51,520 --> 00:19:54,840
Speaker 1: I was lucky enough one day to meet a guy

351
00:19:54,920 --> 00:19:59,199
Speaker 1: named Joe Picka. And Joe Picka is a legendary commercial

352
00:19:59,280 --> 00:20:02,240
Speaker 1: director unless Angelists, and I went in and I auditioned

353
00:20:02,240 --> 00:20:05,960
Speaker 1: for an American Express Tiger Woods commercial where the balls

354
00:20:06,040 --> 00:20:08,159
Speaker 1: traveling all over the world and I was just a

355
00:20:08,200 --> 00:20:10,919
Speaker 1: guy on a tea box somewhere and the ball lands

356
00:20:10,960 --> 00:20:13,800
Speaker 1: and I smashed the ball. So I go into this

357
00:20:13,840 --> 00:20:16,920
Speaker 1: audition and when before I went in, my agent called

358
00:20:16,920 --> 00:20:21,199
Speaker 1: me and was like, you're auditioning for Joe pa Like, okay,

359
00:20:21,240 --> 00:20:24,480
Speaker 1: what what does that mean. She's like, you don't know

360
00:20:24,720 --> 00:20:27,480
Speaker 1: who Joe Pitka is. I'm like, no, what do I

361
00:20:27,560 --> 00:20:29,680
Speaker 1: need to be right now? Do I need to pull over?

362
00:20:29,840 --> 00:20:34,879
Speaker 1: What's happening? She's like no, he's very intimidating. He's very scary,

363
00:20:34,960 --> 00:20:39,160
Speaker 1: you know, he's very loyal. Just be cool, becom, don't

364
00:20:39,200 --> 00:20:42,320
Speaker 1: poke the bear. I'm like, what the hell? So I

365
00:20:42,400 --> 00:20:46,120
Speaker 1: go in and I auditioned for this Tiger Woods commercial

366
00:20:46,119 --> 00:20:47,960
Speaker 1: where it's like, I don't even think I have lines.

367
00:20:48,000 --> 00:20:49,760
Speaker 1: He just was like looking me up and down at

368
00:20:49,800 --> 00:20:52,080
Speaker 1: my body and maybe a swing the golf like a

369
00:20:52,119 --> 00:20:54,920
Speaker 1: golf club or something. And I'm standing there and he's

370
00:20:54,960 --> 00:20:58,000
Speaker 1: just staring at me, like literally like a lion about

371
00:20:58,040 --> 00:21:02,520
Speaker 1: to pounce on a pound of meat. He goes worried from,

372
00:21:02,560 --> 00:21:05,720
Speaker 1: and I said, um, from Kansas City. It was Kansas City.

373
00:21:06,320 --> 00:21:10,920
Speaker 1: I said, yeah, where are you from? And he goes Pittsburgh.

374
00:21:11,200 --> 00:21:14,240
Speaker 1: I said Pittsburgh. He goes, yeah, you got a problem

375
00:21:14,280 --> 00:21:16,240
Speaker 1: with Pittsburgh And I said, well, no, but it seems

376
00:21:16,240 --> 00:21:18,600
Speaker 1: like you have a problem with Kansas City. He's kind

377
00:21:18,640 --> 00:21:20,040
Speaker 1: of have a problem with Kansas City. Why do you

378
00:21:20,040 --> 00:21:21,640
Speaker 1: think I have a problem with Kansas City? And I said,

379
00:21:21,640 --> 00:21:23,639
Speaker 1: well because I said where I was from, and you

380
00:21:23,680 --> 00:21:27,560
Speaker 1: were like judgemental about it. Yes, I wasn't judgemental about

381
00:21:27,560 --> 00:21:29,280
Speaker 1: He goes, what's your problem? And I go, well, I

382
00:21:29,359 --> 00:21:31,080
Speaker 1: don't have a problem. And I'm like, oh my god,

383
00:21:31,119 --> 00:21:34,080
Speaker 1: it's happening. Like she warned me that this could happen,

384
00:21:34,119 --> 00:21:36,480
Speaker 1: and I've just been I'm engaged. Now I'm in an

385
00:21:36,600 --> 00:21:39,960
Speaker 1: argument with the guy who like is maybe hiring me.

386
00:21:40,640 --> 00:21:42,359
Speaker 1: So he's like, get the funk out of here, and

387
00:21:42,440 --> 00:21:45,000
Speaker 1: like literally said it like that, and like I leave,

388
00:21:45,200 --> 00:21:47,040
Speaker 1: and I'm like I call her and I said, well,

389
00:21:47,880 --> 00:21:50,000
Speaker 1: I guess I screwed that moment up. I guess I

390
00:21:50,000 --> 00:21:53,320
Speaker 1: didn't heed your warning. She's like, what happened? I said, Well,

391
00:21:53,320 --> 00:21:56,240
Speaker 1: we got into an argument about where I was from like,

392
00:21:56,520 --> 00:21:58,680
Speaker 1: She's like, what did you do? What did you do?

393
00:21:59,200 --> 00:22:03,160
Speaker 1: I said, I didn't do anything. I just answered his question. Well,

394
00:22:03,280 --> 00:22:06,840
Speaker 1: long story short, like a day later, she calls me

395
00:22:06,840 --> 00:22:08,439
Speaker 1: and she's like, you are not going to believe this.

396
00:22:08,600 --> 00:22:11,480
Speaker 1: And I said what she said, you are not getting

397
00:22:11,480 --> 00:22:14,960
Speaker 1: that American Express commercial? And I said, well, yeah, clearly.

398
00:22:15,440 --> 00:22:18,160
Speaker 1: She goes, but Joe Pitca had his casting director callback

399
00:22:18,240 --> 00:22:21,040
Speaker 1: and say he can't wait to work with you on something.

400
00:22:21,680 --> 00:22:24,840
Speaker 1: And I was like so confused. And then a month

401
00:22:24,920 --> 00:22:26,959
Speaker 1: later I get a phone call. It says, show up

402
00:22:27,000 --> 00:22:29,160
Speaker 1: in the Long Peach Harbor. You're in an IBM commercial

403
00:22:29,160 --> 00:22:31,160
Speaker 1: with Joe Picca. And that was the beginning of our

404
00:22:31,880 --> 00:22:38,399
Speaker 1: our run. Wow, incredible, unbelievable. How many did you end

405
00:22:38,440 --> 00:22:41,520
Speaker 1: up doing with him? This is gonna sound so ridiculous

406
00:22:41,560 --> 00:22:43,320
Speaker 1: what I'm about to say, but it's like a couple

407
00:22:43,320 --> 00:22:45,960
Speaker 1: of campaigns, but it was like almost sixty and he

408
00:22:45,960 --> 00:22:48,680
Speaker 1: would just call and listen. I have talked about him

409
00:22:48,840 --> 00:22:52,000
Speaker 1: when I've been asked, you know, for comments about acting

410
00:22:52,000 --> 00:22:53,560
Speaker 1: and things like that. I just had dinner with him

411
00:22:53,600 --> 00:22:56,240
Speaker 1: a month ago here in Los Angeles. And he doesn't

412
00:22:56,240 --> 00:22:58,560
Speaker 1: like to hear this because he's this guy. You know,

413
00:22:58,680 --> 00:23:02,320
Speaker 1: he's Polish from pitts Burg. He's stubborn and he's bullheaded,

414
00:23:02,320 --> 00:23:05,920
Speaker 1: and he's you know, he is he him. But I'm like, Joe,

415
00:23:06,000 --> 00:23:11,880
Speaker 1: you have to acknowledge my appreciation and my thankfulness to you,

416
00:23:12,560 --> 00:23:16,240
Speaker 1: because you taught me so much about like working under pressure.

417
00:23:17,040 --> 00:23:20,879
Speaker 1: You taught me so much about like being prepared you

418
00:23:20,920 --> 00:23:23,600
Speaker 1: saw me, taught me so much about being patient and

419
00:23:23,640 --> 00:23:26,920
Speaker 1: like confident in your abilities and like you. But more

420
00:23:26,960 --> 00:23:29,480
Speaker 1: than anything, you gave me the ability to go into

421
00:23:29,480 --> 00:23:33,600
Speaker 1: these theatrical auditions with the confidence that I had somebody

422
00:23:33,640 --> 00:23:37,280
Speaker 1: outside of this room it's going to hire me for something,

423
00:23:37,600 --> 00:23:40,200
Speaker 1: And like you don't know what that means to an

424
00:23:40,200 --> 00:23:43,800
Speaker 1: actor to know that, Like I'm not walking in with

425
00:23:43,880 --> 00:23:47,800
Speaker 1: desperation on my brow. It's like fuck you, Like no,

426
00:23:48,080 --> 00:23:51,199
Speaker 1: I'm serious. You need to know that you mean a

427
00:23:51,240 --> 00:23:53,919
Speaker 1: tremendous amount of my career and that I wouldn't be

428
00:23:54,160 --> 00:23:56,560
Speaker 1: where I ended up being without you. And that's all

429
00:23:56,600 --> 00:24:00,280
Speaker 1: I'm going to say about it. That's amazing. Yeah. Good,

430
00:24:00,320 --> 00:24:02,200
Speaker 1: He's a good guy. I just figured out his stick man.

431
00:24:02,280 --> 00:24:05,800
Speaker 1: I mean, he he is tough, but he just appreciated

432
00:24:05,840 --> 00:24:09,080
Speaker 1: that I in that room that first moment that I

433
00:24:09,160 --> 00:24:12,679
Speaker 1: engaged him and that I wasn't like whimpering, and that

434
00:24:12,800 --> 00:24:14,679
Speaker 1: was his test. His test was like, well, can you

435
00:24:14,720 --> 00:24:17,600
Speaker 1: work with me on set when there's ten hours of

436
00:24:17,680 --> 00:24:19,480
Speaker 1: time we've wasted and we've got to get the shot

437
00:24:19,640 --> 00:24:23,240
Speaker 1: in one minute? Can you be that person? And that's

438
00:24:23,359 --> 00:24:26,679
Speaker 1: what he kind of puts people through. It's another thing

439
00:24:26,720 --> 00:24:30,040
Speaker 1: you don't hear so much about in terms of in

440
00:24:30,160 --> 00:24:32,840
Speaker 1: terms of other things you could be thankful to him for.

441
00:24:33,040 --> 00:24:37,440
Speaker 1: But just you know, you can be at Second City.

442
00:24:37,520 --> 00:24:39,800
Speaker 1: You can I mean, hell, you can be at SNL.

443
00:24:40,040 --> 00:24:43,800
Speaker 1: You can be on live stage in front of a thousand,

444
00:24:43,800 --> 00:24:51,280
Speaker 1: two thousand people. There's something different about the camera and

445
00:24:51,560 --> 00:24:55,080
Speaker 1: shooting in front of the camera that's not a live setting,

446
00:24:55,680 --> 00:24:59,119
Speaker 1: and just the process of going through that, as you

447
00:24:59,160 --> 00:25:01,920
Speaker 1: said sixty times or a hundred times or however many times,

448
00:25:02,000 --> 00:25:06,480
Speaker 1: it was having that onset experience. I know it sounds stupid,

449
00:25:06,480 --> 00:25:10,560
Speaker 1: but just like hitting your mark, showing up knowing what

450
00:25:10,640 --> 00:25:13,600
Speaker 1: you're supposed to do, what your ultimate job is, and

451
00:25:13,600 --> 00:25:16,240
Speaker 1: then also being pliable enough to change and adjust in

452
00:25:16,320 --> 00:25:21,000
Speaker 1: the moment. It sounds so simple, but unless you actually

453
00:25:21,080 --> 00:25:25,280
Speaker 1: do it in stakes that matter. A tremendous amount to people,

454
00:25:25,480 --> 00:25:27,720
Speaker 1: meaning they're paying a bunch of money for this shoot

455
00:25:27,760 --> 00:25:30,639
Speaker 1: to happen. It doesn't ever feel the same way, and

456
00:25:30,680 --> 00:25:34,320
Speaker 1: that's got to be an amazing gift. Well it is,

457
00:25:34,480 --> 00:25:38,720
Speaker 1: And let me tell you that is why directors have

458
00:25:39,200 --> 00:25:42,520
Speaker 1: people they hire over and over again, because you know,

459
00:25:42,600 --> 00:25:44,600
Speaker 1: as you know as well as I know, everybody is

460
00:25:44,640 --> 00:25:48,720
Speaker 1: scared of someone in this business. So Joe is being

461
00:25:48,800 --> 00:25:51,720
Speaker 1: hired to shoot a commercial and create a commercial that

462
00:25:51,840 --> 00:25:54,640
Speaker 1: needs to be good, right or he doesn't get hired again. Well,

463
00:25:54,680 --> 00:25:57,480
Speaker 1: how does he go about making sure he makes a

464
00:25:57,480 --> 00:26:00,040
Speaker 1: good commercial? Well, he hires people he can really I

465
00:26:00,240 --> 00:26:02,200
Speaker 1: on and count on and that no, aren't going to

466
00:26:02,280 --> 00:26:07,800
Speaker 1: waste a bunch of time. And like that's just it

467
00:26:07,880 --> 00:26:11,080
Speaker 1: is the practice and experience of being in front of

468
00:26:11,080 --> 00:26:15,080
Speaker 1: the camera and like you said, hitting a mark and

469
00:26:15,160 --> 00:26:19,200
Speaker 1: having the confidence to hit a mark and knowing your lines.

470
00:26:19,760 --> 00:26:22,200
Speaker 1: I just remember showing up on like the first set

471
00:26:22,240 --> 00:26:26,119
Speaker 1: of a TV show being nervous as hell, but also

472
00:26:26,440 --> 00:26:29,200
Speaker 1: knowing that I had been through it and knew what

473
00:26:29,240 --> 00:26:31,479
Speaker 1: my job was and knew to be prepared. And that

474
00:26:31,560 --> 00:26:35,359
Speaker 1: was because of that experience. Yeah, that's that's awesome. So

475
00:26:35,400 --> 00:26:39,439
Speaker 1: at this point, you you have this confidence and you

476
00:26:39,920 --> 00:26:44,320
Speaker 1: start booking small roles on things, you start becoming a

477
00:26:44,359 --> 00:26:50,240
Speaker 1: working actor. Obviously almost famous comes to mind through my research.

478
00:26:50,280 --> 00:26:54,640
Speaker 1: I understand you auditioned for Lester Banks, which you didn't get.

479
00:26:54,920 --> 00:26:58,439
Speaker 1: But the legend is Cameron Crowe said you needed to

480
00:26:58,440 --> 00:27:02,280
Speaker 1: be in the movie. He need it Happen World movie. Yeah, Gail,

481
00:27:02,920 --> 00:27:06,000
Speaker 1: another casting director. You know, as actors that are listening,

482
00:27:06,600 --> 00:27:10,160
Speaker 1: we always wanna kind of pit ourselves against casting directors

483
00:27:10,160 --> 00:27:12,720
Speaker 1: sometimes and think of most gatekeepers. And I'm not going

484
00:27:12,760 --> 00:27:15,159
Speaker 1: to tell you that doesn't exist, because I think that

485
00:27:15,240 --> 00:27:19,399
Speaker 1: does exist. But the really great casting directors, which is

486
00:27:19,440 --> 00:27:22,000
Speaker 1: so true in all of our business, the really good, good,

487
00:27:22,080 --> 00:27:26,000
Speaker 1: great people at their jobs are not that the confident

488
00:27:26,040 --> 00:27:29,000
Speaker 1: people in their abilities. They're not what you think of

489
00:27:29,080 --> 00:27:31,000
Speaker 1: as the worst of the worst. It's kind of like

490
00:27:31,680 --> 00:27:34,040
Speaker 1: when I hate to use this analogy because it sounds

491
00:27:34,040 --> 00:27:36,600
Speaker 1: so fancy, but it's just one that works. You like

492
00:27:36,640 --> 00:27:39,879
Speaker 1: when you're in first class sometimes and most everyone in

493
00:27:39,920 --> 00:27:43,600
Speaker 1: first class is really nice to everyone and accommodating and helpful,

494
00:27:43,920 --> 00:27:46,320
Speaker 1: and then some a hole gets on and is mean

495
00:27:46,359 --> 00:27:48,760
Speaker 1: to the flight attendant and can't believe they don't have

496
00:27:48,920 --> 00:27:52,880
Speaker 1: ranch dressing when he clearly ordered ranch dressing. If you

497
00:27:52,960 --> 00:27:55,840
Speaker 1: look at that person's ticket, you will probably see that

498
00:27:55,960 --> 00:27:59,760
Speaker 1: they themselves aren't paying for that ticket or they got upgraded.

499
00:28:00,080 --> 00:28:03,879
Speaker 1: They're playing the role of what they think a person

500
00:28:04,040 --> 00:28:07,320
Speaker 1: in first class acts like Snootye and Nobody. That's not

501
00:28:07,400 --> 00:28:09,639
Speaker 1: to say there aren't a holes that are in first class.

502
00:28:10,040 --> 00:28:14,359
Speaker 1: For the most part, the confidence of being someplace and

503
00:28:14,400 --> 00:28:19,120
Speaker 1: in your abilities doesn't always translate to what people think

504
00:28:19,160 --> 00:28:23,520
Speaker 1: it is right. Actors are the same way. The really

505
00:28:23,560 --> 00:28:27,360
Speaker 1: good actors and the really good confident people aren't punching

506
00:28:27,400 --> 00:28:30,840
Speaker 1: down at people. Casting directors that are really good at

507
00:28:30,840 --> 00:28:32,800
Speaker 1: their job and confident in their job and work for

508
00:28:32,800 --> 00:28:35,840
Speaker 1: big people, they're not punching down at people. They're helpful.

509
00:28:35,880 --> 00:28:37,920
Speaker 1: They want you to succeed. They hope you're the next

510
00:28:37,960 --> 00:28:40,880
Speaker 1: Marlon Brando when you walk into the room, right, because

511
00:28:40,880 --> 00:28:45,840
Speaker 1: that means their days over. They just found the part. Anyway.

512
00:28:46,040 --> 00:28:49,760
Speaker 1: My point on Gail Levin, the casting director for Almost Famous,

513
00:28:49,760 --> 00:28:52,920
Speaker 1: she called me in and she again she said, honey,

514
00:28:53,000 --> 00:28:55,320
Speaker 1: you're not going to get this part of Lester Banks,

515
00:28:55,400 --> 00:28:58,200
Speaker 1: and I'm like, god, No. I had the episode of

516
00:28:58,240 --> 00:29:03,000
Speaker 1: Dharmaine Greg on my resume at that one. She said,

517
00:29:03,040 --> 00:29:06,280
Speaker 1: but you're really really good, like you did a really

518
00:29:06,320 --> 00:29:09,280
Speaker 1: good job with this, and I said, well, thank you,

519
00:29:09,440 --> 00:29:13,160
Speaker 1: and she said I think Cameron should meet you and

520
00:29:13,200 --> 00:29:17,120
Speaker 1: I said okay, And so I leave that audition. I

521
00:29:17,200 --> 00:29:19,000
Speaker 1: called my parents. That's back when I would call my

522
00:29:19,040 --> 00:29:21,760
Speaker 1: parents and tell them news before they started hounding me

523
00:29:21,840 --> 00:29:24,400
Speaker 1: constantly about well, have you heard anything? Have you heard anything?

524
00:29:25,600 --> 00:29:30,160
Speaker 1: You get? Oh? Are we this? We have the same

525
00:29:30,200 --> 00:29:36,240
Speaker 1: parents that is, oh my god, have you heard anything

526
00:29:36,920 --> 00:29:38,880
Speaker 1: that audition that you did three weeks ago that you

527
00:29:38,920 --> 00:29:41,600
Speaker 1: mistakenly told them you had. You wish you had never

528
00:29:41,680 --> 00:29:44,240
Speaker 1: told them you had that audition, but now they're asking

529
00:29:44,280 --> 00:29:46,000
Speaker 1: you about it, and of course I didn't get it.

530
00:29:46,320 --> 00:29:49,080
Speaker 1: Have you heard anything? Did you? Now? I know you

531
00:29:49,120 --> 00:29:52,080
Speaker 1: had that callback to have you heard like? Yeah, the

532
00:29:52,120 --> 00:29:56,640
Speaker 1: answers no. Marshall Bell. Marshall Bell, great character actor that

533
00:29:56,680 --> 00:29:59,000
Speaker 1: I worked with with Joe Pitka. He's the one that

534
00:29:59,000 --> 00:30:01,960
Speaker 1: taught me that Hollywood as the fastest yes and the slowest.

535
00:30:02,040 --> 00:30:04,840
Speaker 1: Now and I told my parents that, I'm like, if

536
00:30:04,880 --> 00:30:09,560
Speaker 1: I haven't heard anything, The answer is no, like I

537
00:30:09,600 --> 00:30:13,000
Speaker 1: would tell you if I got the McDonald's commercial. Yeah,

538
00:30:14,240 --> 00:30:18,000
Speaker 1: So Gail I call home and I say, well, she

539
00:30:18,080 --> 00:30:19,720
Speaker 1: told me she wants me to meet the director and

540
00:30:19,760 --> 00:30:23,880
Speaker 1: Cameron Crows like a legendary director. We'll see if it happens.

541
00:30:24,280 --> 00:30:27,040
Speaker 1: And then she called a couple of weeks later and

542
00:30:27,200 --> 00:30:29,640
Speaker 1: was like, can you come in and meet Cameron? And

543
00:30:29,720 --> 00:30:33,760
Speaker 1: so I did, and this is again talking about the

544
00:30:33,800 --> 00:30:38,760
Speaker 1: best act in a different way. He's just so nice

545
00:30:39,160 --> 00:30:42,880
Speaker 1: and so accommodating. He's like, hey, so do you mind

546
00:30:42,880 --> 00:30:45,040
Speaker 1: if I follow follow you around in the room with

547
00:30:45,080 --> 00:30:47,720
Speaker 1: my cam quarter And I'm like, uh, for these four

548
00:30:47,760 --> 00:30:50,720
Speaker 1: lines and he's like yeah, yeah, yeah, And I said sure,

549
00:30:51,440 --> 00:30:54,440
Speaker 1: So I read my four lines and he's just like

550
00:30:54,520 --> 00:30:57,760
Speaker 1: moving the camera all around me like a like it's

551
00:30:57,760 --> 00:31:01,160
Speaker 1: on some kind of jib and he's like, yeah, okay,

552
00:31:01,200 --> 00:31:04,200
Speaker 1: now show me one like like do jealous? Like do

553
00:31:04,320 --> 00:31:08,600
Speaker 1: really jealous? Do angry? Do sad? Do do like you've

554
00:31:08,600 --> 00:31:10,560
Speaker 1: been up all night? Like he had to run through

555
00:31:10,600 --> 00:31:17,240
Speaker 1: all these emotions. And I leave there so artistically, creatively fulfilled,

556
00:31:17,640 --> 00:31:19,800
Speaker 1: because it didn't matter then if I got the job.

557
00:31:20,200 --> 00:31:22,719
Speaker 1: I just went through the most incredible work session with

558
00:31:22,800 --> 00:31:27,080
Speaker 1: Cameron Crowe and I learned so much and I left

559
00:31:27,240 --> 00:31:29,320
Speaker 1: and they called and they were like, yeah, you're gonna

560
00:31:29,360 --> 00:31:32,520
Speaker 1: do this part in the movie, and I said okay,

561
00:31:32,760 --> 00:31:36,240
Speaker 1: And that really kind of helped helped me get started.

562
00:31:36,920 --> 00:31:39,440
Speaker 1: Like that did that was a major help for my

563
00:31:39,480 --> 00:31:43,200
Speaker 1: career Almost Famous? Yeah, Well, because again, like I said,

564
00:31:43,240 --> 00:31:47,120
Speaker 1: and as you know, everyone needs somebody else's opinion. And

565
00:31:47,200 --> 00:31:49,800
Speaker 1: so now when I walk into a room, it's not

566
00:31:50,400 --> 00:31:52,480
Speaker 1: just Chuck Laurie's opinion that I was good enough to

567
00:31:52,480 --> 00:31:55,560
Speaker 1: be on an episode of Darmaine Greg It's Cameron Crow's

568
00:31:55,600 --> 00:31:57,960
Speaker 1: opinion that I'm good enough to be in one of

569
00:31:58,000 --> 00:32:00,959
Speaker 1: his movies. And we know small parts in feature films

570
00:32:01,040 --> 00:32:04,280
Speaker 1: are very hard to get auditions for and very hard

571
00:32:04,320 --> 00:32:07,280
Speaker 1: to book. And so now when I walk into an

572
00:32:07,320 --> 00:32:11,320
Speaker 1: audition for cs I for a recurring role, my intro

573
00:32:11,680 --> 00:32:14,800
Speaker 1: is this Sarah stone Street who's just an almost famous

574
00:32:14,880 --> 00:32:17,600
Speaker 1: and he's so funny in the movie. Like, it just

575
00:32:17,720 --> 00:32:21,600
Speaker 1: changes the perspective for everyone, for you in that moment.

576
00:32:22,160 --> 00:32:25,720
Speaker 1: So I always say that Almost Famous changed the landscape

577
00:32:25,760 --> 00:32:27,440
Speaker 1: for me, not because it's like I made all this

578
00:32:27,600 --> 00:32:29,960
Speaker 1: money or something like that. It was just that now

579
00:32:30,200 --> 00:32:33,240
Speaker 1: someone could say point to Cameron Crow and DreamWorks and

580
00:32:33,280 --> 00:32:35,800
Speaker 1: Steven Spielberg and say, well, he's good enough to be

581
00:32:35,840 --> 00:32:40,600
Speaker 1: in their movie, right right? How many episodes of I

582
00:32:40,640 --> 00:32:44,040
Speaker 1: Did You Do? Did A fifteen? Or sixteen? Yeah or

583
00:32:44,080 --> 00:32:47,040
Speaker 1: something like that. Were you ever on that one? Did one? Did?

584
00:32:47,160 --> 00:32:49,160
Speaker 1: What did you put? Did you play killer? I was

585
00:32:49,200 --> 00:32:55,040
Speaker 1: a furry? Oh my god, I remember that. Remember that episode.

586
00:32:55,800 --> 00:32:57,400
Speaker 1: I don't know that you were. I definitely didn't have

587
00:32:57,400 --> 00:33:00,840
Speaker 1: any scenes with you, but I don't know. I think

588
00:33:00,880 --> 00:33:04,400
Speaker 1: I might have been hold on, well, you're rolling the camera,

589
00:33:04,480 --> 00:33:06,480
Speaker 1: but they people won't be able to see this. But

590
00:33:06,520 --> 00:33:10,000
Speaker 1: I do have something to show you and loathing fur

591
00:33:10,040 --> 00:33:13,040
Speaker 1: and loathing was the name of it. Dude, Brian, I

592
00:33:13,080 --> 00:33:18,160
Speaker 1: think I was in that episode. I was in the lab. Probably. Look,

593
00:33:18,200 --> 00:33:22,880
Speaker 1: here's this is for you. I could send you is

594
00:33:23,720 --> 00:33:29,720
Speaker 1: I had my own trading card, Ronny nice. Look at that.

595
00:33:29,720 --> 00:33:34,560
Speaker 1: That is amazing. They did not give me that. Have

596
00:33:34,720 --> 00:33:37,680
Speaker 1: somebody find out if I that's Kevin Bacon were in

597
00:33:37,840 --> 00:34:02,040
Speaker 1: one one episode of TV show together. That's great. So

598
00:34:02,520 --> 00:34:04,480
Speaker 1: I want to talk to you a little bit, obviously

599
00:34:04,560 --> 00:34:08,840
Speaker 1: about modern family. I'm gonna tell you a story that

600
00:34:08,960 --> 00:34:12,000
Speaker 1: I know I haven't told you. Also, but in two

601
00:34:12,040 --> 00:34:17,279
Speaker 1: thousand and ten and eleven and twelve, that's fine, But

602
00:34:17,480 --> 00:34:22,160
Speaker 1: you were nominated for the Best Supporting Actor the Emmys,

603
00:34:22,560 --> 00:34:26,719
Speaker 1: and this is the time the office was getting nominated

604
00:34:26,800 --> 00:34:29,319
Speaker 1: and we were all there and I was sitting next

605
00:34:29,320 --> 00:34:32,399
Speaker 1: to Angela Ckenzie and I you know, I met you,

606
00:34:32,760 --> 00:34:35,000
Speaker 1: We spent some time together. I know that you worked

607
00:34:35,000 --> 00:34:37,839
Speaker 1: with Angela, as you mentioned earlier, quite a bit at

608
00:34:37,880 --> 00:34:43,200
Speaker 1: improv Olympic. She loved you, and I didn't know you

609
00:34:43,320 --> 00:34:46,120
Speaker 1: that well. I took a little bit of a different path,

610
00:34:46,560 --> 00:34:51,000
Speaker 1: more through the theater route, but I envisioned us as

611
00:34:51,040 --> 00:34:55,720
Speaker 1: a as having sort of a similar journey. And I

612
00:34:55,760 --> 00:34:57,720
Speaker 1: remember sitting there in the audience and I was sitting

613
00:34:57,719 --> 00:35:02,960
Speaker 1: next to Angela and we were like, this is bizarre,

614
00:35:03,840 --> 00:35:07,839
Speaker 1: but we were like essentially holding hands when they were

615
00:35:07,880 --> 00:35:15,080
Speaker 1: announcing you. And when you won, I cried and Angela

616
00:35:15,200 --> 00:35:21,160
Speaker 1: cried hard tears. Angela cried hard tears. I cried, maybe

617
00:35:21,200 --> 00:35:23,400
Speaker 1: because she was crying, but I think that that's just

618
00:35:23,560 --> 00:35:29,320
Speaker 1: me not owning up to it. It was something about you,

619
00:35:29,320 --> 00:35:33,480
Speaker 1: your work. Your work was so good. So there was that,

620
00:35:34,320 --> 00:35:38,880
Speaker 1: but it was also like, well, to quote Kevin Malone,

621
00:35:38,960 --> 00:35:42,200
Speaker 1: I guess it's just nice to win one. It felt

622
00:35:42,239 --> 00:35:45,920
Speaker 1: like you winning was like winning for me in a

623
00:35:45,960 --> 00:35:48,719
Speaker 1: weird way. I don't even know how or like, not

624
00:35:48,800 --> 00:35:51,799
Speaker 1: just me, but like all of us who are sort

625
00:35:51,840 --> 00:35:57,080
Speaker 1: of in the ensemble cast of the office. That it was.

626
00:35:57,239 --> 00:36:01,080
Speaker 1: It was just like a validation of like someone who

627
00:36:01,120 --> 00:36:05,320
Speaker 1: works hard in Hollywood has a career, builds a career

628
00:36:06,160 --> 00:36:09,720
Speaker 1: and keeps working at Improv Olympic, trying to get better

629
00:36:09,800 --> 00:36:13,400
Speaker 1: and doing commercials and doing these little roles. It just

630
00:36:13,480 --> 00:36:17,879
Speaker 1: felt like a victory for all of us. So that's

631
00:36:17,880 --> 00:36:20,359
Speaker 1: a true it's a true story. I don't I don't

632
00:36:20,360 --> 00:36:22,520
Speaker 1: think i've ever because it's a weird thing to say,

633
00:36:22,600 --> 00:36:26,040
Speaker 1: Like we weren't like brothers, are like best friends, but

634
00:36:26,200 --> 00:36:29,560
Speaker 1: somehow you're winning. That was that was a thing for me.

635
00:36:31,000 --> 00:36:35,719
Speaker 1: That is so nice that that means a lot. I

636
00:36:35,719 --> 00:36:39,200
Speaker 1: mean it means a lot because what you're describing you

637
00:36:39,400 --> 00:36:45,960
Speaker 1: felt is exactly how I felt, right I I felt

638
00:36:46,160 --> 00:36:50,160
Speaker 1: that way like I was nominated for all of us

639
00:36:50,719 --> 00:36:53,960
Speaker 1: and I won for all of us, because you know,

640
00:36:54,920 --> 00:36:57,400
Speaker 1: a year before that, I didn't know what I was

641
00:36:57,480 --> 00:37:00,560
Speaker 1: doing on a Thursday, I joke. But we were shooting

642
00:37:00,560 --> 00:37:02,840
Speaker 1: the pilot a modern family, and everybody we're getting to

643
00:37:02,920 --> 00:37:06,359
Speaker 1: kind of know each other. Everyone had something to do,

644
00:37:07,000 --> 00:37:10,600
Speaker 1: like Rico was gonna he was shooting an episode of

645
00:37:10,640 --> 00:37:13,560
Speaker 1: Some and c I S the next week. Julie was

646
00:37:13,600 --> 00:37:16,640
Speaker 1: in second position on a pilot. Tyberrelle was in second

647
00:37:16,680 --> 00:37:18,680
Speaker 1: position on a pilot. Jesse was going to do a

648
00:37:18,719 --> 00:37:21,799
Speaker 1: Broadway musical. If it didn't go Ed was just rich

649
00:37:21,840 --> 00:37:23,359
Speaker 1: and he didn't care. He was going to go home

650
00:37:23,360 --> 00:37:24,719
Speaker 1: and put a pot roast in a crock pot and

651
00:37:24,760 --> 00:37:26,960
Speaker 1: drink a bottle of thousand dollar wine like it wasn't

652
00:37:27,120 --> 00:37:30,040
Speaker 1: a big deal to him. Sophia had a deal at ABC.

653
00:37:30,360 --> 00:37:34,040
Speaker 1: Everybody had. My point is everybody had something in the

654
00:37:34,160 --> 00:37:37,040
Speaker 1: in the hopper. And it's not like I was this

655
00:37:37,160 --> 00:37:39,359
Speaker 1: down and out actor. I don't want to portray that.

656
00:37:39,600 --> 00:37:44,200
Speaker 1: But I didn't have anything lined up because I got

657
00:37:44,239 --> 00:37:47,640
Speaker 1: this audition, and I wasn't going on every pilot audition

658
00:37:47,680 --> 00:37:50,279
Speaker 1: at that point. I was going on a lot. But

659
00:37:50,400 --> 00:37:53,120
Speaker 1: here I got it. And then a year later, I'm

660
00:37:53,160 --> 00:37:55,719
Speaker 1: nominated for an Emmy and I'm up on stage with

661
00:37:55,760 --> 00:37:58,680
Speaker 1: the late great Betty White handing me my Emmy, and

662
00:37:58,800 --> 00:38:00,920
Speaker 1: look out, I see John Goodman in the crowd and

663
00:38:00,960 --> 00:38:04,960
Speaker 1: I completely blank out, Like I just blank out. And

664
00:38:05,040 --> 00:38:07,800
Speaker 1: so for you to say that that's how you felt.

665
00:38:08,560 --> 00:38:13,200
Speaker 1: Helps me feel exactly how I felt at that time,

666
00:38:13,280 --> 00:38:19,040
Speaker 1: which was this journeyman who was just like everybody else. Yeah,

667
00:38:19,239 --> 00:38:23,319
Speaker 1: I mean literally just like everyone else. And now I'm

668
00:38:23,320 --> 00:38:26,440
Speaker 1: in a tuxedo in front of a bunch of fancy

669
00:38:26,440 --> 00:38:29,359
Speaker 1: people winning a trophy. That's what it felt like, and

670
00:38:29,360 --> 00:38:33,440
Speaker 1: that's what it was. So thank you. That's very meaningful

671
00:38:33,480 --> 00:38:36,480
Speaker 1: and very nice of you to say. It just takes

672
00:38:36,480 --> 00:38:38,920
Speaker 1: me back, man, it just takes me back. So I'm

673
00:38:39,000 --> 00:38:44,359
Speaker 1: I'm happy to hear that story. What a year. Here's

674
00:38:44,360 --> 00:38:46,959
Speaker 1: a good one for you. There's a good one for you, Brian.

675
00:38:46,960 --> 00:38:49,640
Speaker 1: When I walked off stage the night before the party,

676
00:38:49,680 --> 00:38:51,600
Speaker 1: Tina Fey asked me if I had a speech ready,

677
00:38:51,680 --> 00:38:53,920
Speaker 1: and I said, I really haven't written anything down. And

678
00:38:53,960 --> 00:38:57,560
Speaker 1: she's like, look at me, write something down, just write

679
00:38:57,640 --> 00:39:00,399
Speaker 1: some bullet points down. I said, okay. So I went

680
00:39:00,440 --> 00:39:02,160
Speaker 1: home and I put a little trip sheet in my

681
00:39:02,200 --> 00:39:04,640
Speaker 1: hand out the size of my palm, and I wrote

682
00:39:04,640 --> 00:39:08,480
Speaker 1: some bullet points down. Parents, Steve and Chris co workers,

683
00:39:08,600 --> 00:39:11,080
Speaker 1: just things like that, and they say my name, and

684
00:39:11,160 --> 00:39:13,120
Speaker 1: I get up, and if you watch the video, you

685
00:39:13,160 --> 00:39:15,520
Speaker 1: see me take it out of my jacket pocket and

686
00:39:15,560 --> 00:39:19,319
Speaker 1: then I proceed to never look at it again. I

687
00:39:19,360 --> 00:39:23,279
Speaker 1: just blanked out, but I said what I wanted to say,

688
00:39:23,520 --> 00:39:26,280
Speaker 1: and I went off stage. And the person that greets

689
00:39:26,320 --> 00:39:28,879
Speaker 1: me when I walk off stage as I'm handing back

690
00:39:28,920 --> 00:39:32,200
Speaker 1: the fake Emmy that they give you is John Lithgow.

691
00:39:33,280 --> 00:39:37,080
Speaker 1: John Lithgow, who I admire respect a doors, one of

692
00:39:37,080 --> 00:39:40,600
Speaker 1: the greatest American actors ever, looks at me and he goes,

693
00:39:41,080 --> 00:39:43,880
Speaker 1: that was a great speech. And I looked at him

694
00:39:43,920 --> 00:39:47,160
Speaker 1: and I said, John, I'm going to trust that it

695
00:39:47,280 --> 00:39:49,960
Speaker 1: was because I have no memory of it. But if

696
00:39:50,040 --> 00:39:54,960
Speaker 1: you say so, I believe it. And that was that

697
00:39:55,080 --> 00:39:59,480
Speaker 1: was it. That's so awesome. Oh I love that. I

698
00:39:59,520 --> 00:40:03,600
Speaker 1: love that. Couldn't happen to a better guy. Um. The

699
00:40:03,640 --> 00:40:06,160
Speaker 1: show unlike The Office, it, I mean, it comes out

700
00:40:06,160 --> 00:40:10,320
Speaker 1: of the gate just enormous. How is that for you?

701
00:40:10,640 --> 00:40:14,640
Speaker 1: That experience of you're doing guest stars, you're doing commercials,

702
00:40:14,719 --> 00:40:17,560
Speaker 1: you're working at Improv Olympic, you're doing all these things.

703
00:40:17,880 --> 00:40:21,280
Speaker 1: What is that for you that it just you're suddenly

704
00:40:21,320 --> 00:40:23,520
Speaker 1: you're on a show and it's like the number one

705
00:40:23,520 --> 00:40:26,920
Speaker 1: show on TV. Yeah, I mean, and it it happened

706
00:40:26,920 --> 00:40:29,879
Speaker 1: that fast shoot the pilot you wait, it gets picked

707
00:40:29,960 --> 00:40:32,520
Speaker 1: up and then we start production. The first my first

708
00:40:32,600 --> 00:40:36,160
Speaker 1: day of work on the show, the series, not the pilot,

709
00:40:36,200 --> 00:40:39,120
Speaker 1: but the series. My first day of work, I show up.

710
00:40:39,239 --> 00:40:41,759
Speaker 1: In the first scene I shoot is the scene of

711
00:40:41,800 --> 00:40:44,520
Speaker 1: me charging across the parking lot with trash can above

712
00:40:44,520 --> 00:40:48,640
Speaker 1: my head, screaming I'm gonna break the window. So here

713
00:40:48,680 --> 00:40:52,080
Speaker 1: I am on my first like of I don't know

714
00:40:52,080 --> 00:40:53,600
Speaker 1: what it means to be on a show on a

715
00:40:53,680 --> 00:40:57,680
Speaker 1: daily basis, you know, And now I'm there, I mean,

716
00:40:58,200 --> 00:41:00,760
Speaker 1: I'm in it. And that's where the pick of stuff

717
00:41:00,800 --> 00:41:04,879
Speaker 1: comes back to play. It's like, I better just get

718
00:41:04,920 --> 00:41:07,919
Speaker 1: this job done. Like they've given me this job, so

719
00:41:08,560 --> 00:41:11,680
Speaker 1: they clearly have confidence in me. I better find the

720
00:41:11,680 --> 00:41:15,000
Speaker 1: confidence in myself to know that, like, well, I'm here

721
00:41:15,000 --> 00:41:17,960
Speaker 1: because I'm supposed to be, and I better start acting

722
00:41:18,040 --> 00:41:22,840
Speaker 1: like it. So it was quite a shock to have

723
00:41:22,920 --> 00:41:25,960
Speaker 1: a place to go to work. I mean, you remember that,

724
00:41:26,120 --> 00:41:30,000
Speaker 1: You remember pulling up to your sound stage and thinking, like,

725
00:41:30,480 --> 00:41:33,680
Speaker 1: I have a place to go after For me, it

726
00:41:33,840 --> 00:41:38,120
Speaker 1: was it was eleven years and then two in Chicago,

727
00:41:38,200 --> 00:41:42,799
Speaker 1: thirteen years, thirteen years of never knowing where I was

728
00:41:42,800 --> 00:41:45,279
Speaker 1: going to be day to day or week to week,

729
00:41:45,800 --> 00:41:50,120
Speaker 1: and now I had a place to go. I I

730
00:41:50,200 --> 00:41:52,080
Speaker 1: just remember thinking, like, I bet I can drive a

731
00:41:52,080 --> 00:41:55,920
Speaker 1: golf cart on a studio a lot. I'll bet if somebody,

732
00:41:56,040 --> 00:41:58,000
Speaker 1: if I asked somebody, I'll bet I could drive this

733
00:41:58,120 --> 00:42:01,520
Speaker 1: golf cart around here, and thinking that was the greatest

734
00:42:01,560 --> 00:42:05,960
Speaker 1: thing I've ever heard of. That's the thing. Ever, Yeah,

735
00:42:06,280 --> 00:42:13,200
Speaker 1: that's amazing. You were on Where Where were you? I

736
00:42:13,239 --> 00:42:15,800
Speaker 1: wish we would have been on Warner Brothers like a paramount.

737
00:42:15,800 --> 00:42:18,640
Speaker 1: They're just such iconic lots. I mean, twenty is fine,

738
00:42:18,960 --> 00:42:22,799
Speaker 1: but it's not Warner Brothers. It's not universal where you

739
00:42:22,880 --> 00:42:25,840
Speaker 1: have all this interaction with these people that the that

740
00:42:25,880 --> 00:42:27,879
Speaker 1: are just happened to be there. There's nothing better than

741
00:42:28,200 --> 00:42:31,080
Speaker 1: being on set and walking to set and then a

742
00:42:31,200 --> 00:42:34,960
Speaker 1: tour walked by from you know, Illinois, and being like,

743
00:42:35,120 --> 00:42:38,279
Speaker 1: holy cow, there's one of those actor folks getting, you know,

744
00:42:38,360 --> 00:42:41,160
Speaker 1: like and you'd be like, Hi, welcome to Los Angeles.

745
00:42:41,160 --> 00:42:43,640
Speaker 1: I mean, that's what you want to do, right. I Mean,

746
00:42:43,640 --> 00:42:46,920
Speaker 1: it's just so fun because I remember coming to l

747
00:42:46,960 --> 00:42:49,880
Speaker 1: A and going on on a four eight trip to

748
00:42:49,960 --> 00:42:54,000
Speaker 1: the Ross Shafer Show and Chuck Norris was a guest,

749
00:42:54,480 --> 00:42:56,759
Speaker 1: and I got to ask Chuck Norris a question from

750
00:42:56,800 --> 00:42:59,719
Speaker 1: the audience and like, I'm like, I'm never forgetting this

751
00:42:59,760 --> 00:43:02,920
Speaker 1: in my life. And so I always just thought it

752
00:43:02,960 --> 00:43:05,800
Speaker 1: was so cool to see, you know, just your folks

753
00:43:05,840 --> 00:43:09,200
Speaker 1: from the Midwest on a studio tour and then be

754
00:43:09,239 --> 00:43:11,040
Speaker 1: able to go home and say, and yeah, there he was.

755
00:43:11,120 --> 00:43:13,280
Speaker 1: He was walking, he had bandies all over his face.

756
00:43:13,640 --> 00:43:17,520
Speaker 1: He was just he's just like you and me. Everybody.

757
00:43:17,560 --> 00:43:20,080
Speaker 1: I think everybody who's ever been here has some story

758
00:43:20,160 --> 00:43:24,000
Speaker 1: like that. Mine was, Chuck Norris is pretty good. Mine was.

759
00:43:24,120 --> 00:43:26,759
Speaker 1: I was doing a tour on the Universal lot and

760
00:43:26,800 --> 00:43:31,440
Speaker 1: I saw Kit the night Rider Car. Oh my gosh,

761
00:43:31,840 --> 00:43:34,560
Speaker 1: that was it. That was That was my star siding

762
00:43:34,600 --> 00:43:37,400
Speaker 1: was Kit the night Rider Car. I don't know what

763
00:43:37,440 --> 00:43:43,160
Speaker 1: that means. It's it's pretty good. God. You and Jesse

764
00:43:44,080 --> 00:43:50,880
Speaker 1: played the first committed queer relationship on a major network

765
00:43:51,200 --> 00:43:57,760
Speaker 1: prime time television show. Yeah. Were you aware of that

766
00:43:58,440 --> 00:44:01,920
Speaker 1: in advance? Like where were you thinking, like, oh, this

767
00:44:02,040 --> 00:44:07,080
Speaker 1: is a first or did that come later like when

768
00:44:07,080 --> 00:44:08,800
Speaker 1: you were cast, when you were going through the casting

769
00:44:08,840 --> 00:44:12,480
Speaker 1: process or whatever. Yeah, not not the first thing i'd

770
00:44:12,680 --> 00:44:15,080
Speaker 1: or not the aspect of us being the first, that

771
00:44:15,200 --> 00:44:17,560
Speaker 1: wasn't on my mind at all because I didn't. I

772
00:44:17,560 --> 00:44:19,879
Speaker 1: don't think I knew that. I didn't realize that, but

773
00:44:20,680 --> 00:44:24,200
Speaker 1: you know, more than anything, I just wanted the part,

774
00:44:24,239 --> 00:44:28,080
Speaker 1: and like I felt like my life perspective as an

775
00:44:28,080 --> 00:44:33,560
Speaker 1: actor as a person could enhance and help people get

776
00:44:33,640 --> 00:44:36,319
Speaker 1: over fears of gay people. Like I just thought, like,

777
00:44:36,880 --> 00:44:39,520
Speaker 1: this is a good opportunity for this pig rays and

778
00:44:39,600 --> 00:44:43,680
Speaker 1: farm guy cow steer tipping, you know, dude, to be

779
00:44:43,760 --> 00:44:48,680
Speaker 1: like I'm so confident in myself and also so not

780
00:44:49,000 --> 00:44:53,160
Speaker 1: concerned with anyone thinking that I would be gay like

781
00:44:53,280 --> 00:44:55,239
Speaker 1: to play this part, and that I thought that I

782
00:44:55,239 --> 00:44:56,960
Speaker 1: could be any I could be a really good ally,

783
00:44:57,160 --> 00:45:01,200
Speaker 1: like I thought, and I just thought my life experiences

784
00:45:01,320 --> 00:45:05,520
Speaker 1: to that character would be making really diverse, like with

785
00:45:05,600 --> 00:45:09,480
Speaker 1: the drumming, the clowning, the farming, football and all that.

786
00:45:09,600 --> 00:45:13,239
Speaker 1: It's like that would just make this character hopefully a

787
00:45:13,320 --> 00:45:17,440
Speaker 1: very well rounded gay man, not just a gay man. Right,

788
00:45:17,680 --> 00:45:20,560
Speaker 1: So that's what I was fighting for from the beginning,

789
00:45:20,640 --> 00:45:23,440
Speaker 1: is just like I just want this part. I just

790
00:45:23,480 --> 00:45:25,839
Speaker 1: feel like I can do this part. And then the

791
00:45:25,880 --> 00:45:31,000
Speaker 1: idea that we were first and cultural touchstones for people

792
00:45:31,520 --> 00:45:34,480
Speaker 1: just added to the meaningfulness of it, Like it just

793
00:45:34,960 --> 00:45:38,880
Speaker 1: made it even better and more fun and more important

794
00:45:39,680 --> 00:45:42,439
Speaker 1: for myself, but also but for the gay community, which

795
00:45:42,520 --> 00:45:48,319
Speaker 1: was great. Were you embraced by the LGBTQ community. Oh yeah,

796
00:45:48,840 --> 00:45:51,480
Speaker 1: Jesse and I were at all the different functions in

797
00:45:51,520 --> 00:45:54,080
Speaker 1: the beginning of Trevor projects, the human Rights campaign all that.

798
00:45:54,239 --> 00:45:57,320
Speaker 1: I think it was great. You know, I just wanted

799
00:45:57,400 --> 00:46:02,800
Speaker 1: to create a character people liked and loved and thought

800
00:46:03,080 --> 00:46:05,960
Speaker 1: that was my uncle, or that's my aunt, or that's

801
00:46:06,000 --> 00:46:08,360
Speaker 1: my brother in law. I just didn't want I just

802
00:46:08,440 --> 00:46:13,040
Speaker 1: didn't want anyone to see one thing right. I wanted

803
00:46:13,120 --> 00:46:15,080
Speaker 1: him to be able to and that that was would

804
00:46:15,080 --> 00:46:16,560
Speaker 1: always mean the most to me is when I would

805
00:46:16,560 --> 00:46:18,120
Speaker 1: be out and they would say, oh my god, your

806
00:46:18,200 --> 00:46:20,839
Speaker 1: character reminds me so much of my cousin, like, oh,

807
00:46:20,920 --> 00:46:22,800
Speaker 1: what's his name? It's like, oh, no, her name, Or

808
00:46:23,560 --> 00:46:25,719
Speaker 1: they would say, your character reminds me so much of

809
00:46:25,800 --> 00:46:28,399
Speaker 1: my uncle. Well what's his name? Well he's not he's

810
00:46:28,400 --> 00:46:32,040
Speaker 1: not even gay. Like, I just didn't want to be defined.

811
00:46:32,239 --> 00:46:34,840
Speaker 1: I want him to be a confident gay man, but

812
00:46:34,880 --> 00:46:37,320
Speaker 1: I didn't want the fact that Caim was gay to

813
00:46:37,440 --> 00:46:40,400
Speaker 1: be what defined him. Right, and Steve and Chris were

814
00:46:40,480 --> 00:46:46,000
Speaker 1: the same way. Yeah, it's amazing to me obviously talked

815
00:46:46,040 --> 00:46:48,680
Speaker 1: to Rain Wilson a lot. His character is sort of

816
00:46:49,040 --> 00:46:53,560
Speaker 1: the most easily identifiable in this way, but like a

817
00:46:53,719 --> 00:46:58,680
Speaker 1: character full of dichotomy, right, So like Dwight Shrut drives

818
00:46:58,719 --> 00:47:02,560
Speaker 1: a trans am, listens to heavy metal, but is into

819
00:47:02,719 --> 00:47:06,960
Speaker 1: dungeons and dragons, and as the sheriff's you know, deputy,

820
00:47:07,719 --> 00:47:09,760
Speaker 1: you know, all of these things that don't go together,

821
00:47:10,000 --> 00:47:12,920
Speaker 1: yet when they go to that's reality that actually brings

822
00:47:13,000 --> 00:47:15,160
Speaker 1: a greater reality. And I think that your character a

823
00:47:15,239 --> 00:47:17,719
Speaker 1: lot of the same things can be said. Taking what

824
00:47:17,880 --> 00:47:22,640
Speaker 1: someone would expect and you know, pig farming football, playing

825
00:47:22,960 --> 00:47:28,000
Speaker 1: from Kansas. How much of your life was put into

826
00:47:28,320 --> 00:47:31,319
Speaker 1: the character? I mean how much did did you influence

827
00:47:31,400 --> 00:47:34,400
Speaker 1: how that character was written? Eventually, well, quite a bit

828
00:47:34,480 --> 00:47:36,880
Speaker 1: from the beginning we when I got the part. In

829
00:47:37,000 --> 00:47:41,880
Speaker 1: between getting the part in the pilot and then the

830
00:47:41,960 --> 00:47:45,040
Speaker 1: pilot and shooting the series, they talked to us a lot.

831
00:47:45,680 --> 00:47:47,320
Speaker 1: I have a very vivid day of the day that

832
00:47:47,360 --> 00:47:50,279
Speaker 1: Michael Jackson passed away. I, along with my dad, was

833
00:47:50,320 --> 00:47:53,640
Speaker 1: the twentieth Century Fox having a meeting with the writers

834
00:47:53,840 --> 00:47:59,080
Speaker 1: and giving them examples of my my raising, my rearing childhood,

835
00:47:59,400 --> 00:48:01,560
Speaker 1: and they're just all right, and all this down and

836
00:48:01,960 --> 00:48:04,240
Speaker 1: you know a lot of it. But they had written

837
00:48:04,480 --> 00:48:09,600
Speaker 1: it's so hard because they had written this character and

838
00:48:09,719 --> 00:48:14,160
Speaker 1: they said, the more paternal of the two, the more enthusiastic.

839
00:48:14,480 --> 00:48:16,239
Speaker 1: Those were the words they used. But then they said,

840
00:48:16,280 --> 00:48:19,520
Speaker 1: but not over the top. Well yet they wrote in

841
00:48:19,600 --> 00:48:22,360
Speaker 1: the pilot a scene where I introduce our baby with

842
00:48:22,480 --> 00:48:26,240
Speaker 1: a spotlight to the lion king theme. So as an actor,

843
00:48:26,440 --> 00:48:28,960
Speaker 1: you know that, Well that's a pitfall, right, How do

844
00:48:29,080 --> 00:48:32,200
Speaker 1: I build a character that is it over the top,

845
00:48:32,360 --> 00:48:36,200
Speaker 1: yet that's where we're headed to that moment? So how

846
00:48:36,239 --> 00:48:39,799
Speaker 1: do you have those stepping stones in place in an

847
00:48:40,040 --> 00:48:42,680
Speaker 1: arc that's not too over the top but yet leads

848
00:48:42,760 --> 00:48:45,120
Speaker 1: to a way over the top place. So that was

849
00:48:45,239 --> 00:48:47,560
Speaker 1: what was hard about the character. Well, that's why I

850
00:48:47,719 --> 00:48:50,239
Speaker 1: ended up kind of in the world of opposites, you know,

851
00:48:50,840 --> 00:48:54,520
Speaker 1: playing sort of a character inspired by my mom cut

852
00:48:54,600 --> 00:48:59,759
Speaker 1: with my physicality being six ft one pounds, and then

853
00:49:00,040 --> 00:49:02,479
Speaker 1: hutting that with avoid a soft voice and a soft

854
00:49:02,520 --> 00:49:05,080
Speaker 1: approach and the jewel tones of the clothes and the hair.

855
00:49:05,640 --> 00:49:07,680
Speaker 1: All that. I thought, well, those all kind of work

856
00:49:07,719 --> 00:49:10,839
Speaker 1: in opposite together, and maybe that would work. That will

857
00:49:11,120 --> 00:49:14,400
Speaker 1: be the pathway there. So that's that's how that happened.

858
00:49:14,480 --> 00:49:19,560
Speaker 1: But it's always this balance of delivering these crazy lines,

859
00:49:19,640 --> 00:49:24,279
Speaker 1: these word gymnastics, these crazy scenarios, but yet maintaining a

860
00:49:24,360 --> 00:49:26,680
Speaker 1: sense of believability. Well, the way I did that was

861
00:49:27,280 --> 00:49:29,880
Speaker 1: I used my mom as a guide post, because my

862
00:49:30,040 --> 00:49:34,200
Speaker 1: mom is not a character, She's a fun, loving character.

863
00:49:34,400 --> 00:49:36,480
Speaker 1: So I thought, well, I'll always just take it up

864
00:49:36,520 --> 00:49:39,160
Speaker 1: to how my mom would say it, and if I

865
00:49:39,640 --> 00:49:41,640
Speaker 1: just leave it at that, then I know it's still

866
00:49:41,680 --> 00:49:47,400
Speaker 1: in the world of believability. Yeah, congratulations on all than

867
00:49:47,560 --> 00:49:50,440
Speaker 1: you eleven years. What is the thing that you think

868
00:49:50,520 --> 00:49:53,719
Speaker 1: about the most now that you don't necessarily have a

869
00:49:53,800 --> 00:49:55,520
Speaker 1: place to go quite in the same way that you

870
00:49:55,600 --> 00:49:57,520
Speaker 1: did for those eleven years, what's the thing you think

871
00:49:57,520 --> 00:50:03,040
Speaker 1: about the most? You know, a smell, the feeling of

872
00:50:03,120 --> 00:50:06,120
Speaker 1: a sound stage at six thirty seven o'clock in the morning,

873
00:50:06,239 --> 00:50:10,919
Speaker 1: the construction, the paint, the noises, the sound stage coming

874
00:50:11,000 --> 00:50:13,160
Speaker 1: alive with the hundreds and some men and women that

875
00:50:13,520 --> 00:50:17,280
Speaker 1: come to work and bring everything. The smell of craft

876
00:50:17,400 --> 00:50:22,200
Speaker 1: service and catering, the coffee bruin and the makeup trailer,

877
00:50:22,640 --> 00:50:26,160
Speaker 1: like all the stuff around it. Because that's what as

878
00:50:26,200 --> 00:50:29,800
Speaker 1: an actor you fantasize about of like being on a set.

879
00:50:30,480 --> 00:50:33,120
Speaker 1: That's all we ever wanted was just that set experience.

880
00:50:33,200 --> 00:50:35,600
Speaker 1: Like you said, the experience is what builds your career.

881
00:50:36,320 --> 00:50:38,360
Speaker 1: And then here we are our own place to go

882
00:50:39,080 --> 00:50:42,080
Speaker 1: with relationships. I know the first name of the grip,

883
00:50:42,200 --> 00:50:44,480
Speaker 1: I know the first name of the painter, I know

884
00:50:44,640 --> 00:50:47,160
Speaker 1: the first name of the best boy, and we're all

885
00:50:47,719 --> 00:50:51,280
Speaker 1: kind of working together to bring this thing. So honestly,

886
00:50:51,400 --> 00:50:54,480
Speaker 1: what I think of is just the composition of an

887
00:50:54,560 --> 00:50:58,279
Speaker 1: all right, take a step back and look at that

888
00:50:58,400 --> 00:51:03,680
Speaker 1: sound stage in think of everything that goes into making

889
00:51:03,800 --> 00:51:06,840
Speaker 1: that tick in that day. That's what I miss. You know,

890
00:51:06,960 --> 00:51:09,759
Speaker 1: I always joke, but I'm very serious that I cry

891
00:51:09,800 --> 00:51:13,960
Speaker 1: at parades because I love a parade because I know

892
00:51:14,880 --> 00:51:18,680
Speaker 1: and think about all the conversations that went in to

893
00:51:18,800 --> 00:51:23,240
Speaker 1: getting everybody at that starting line, the dance studio, fire trucks,

894
00:51:23,320 --> 00:51:26,080
Speaker 1: the shriner's, the phone calls the night before of like

895
00:51:26,360 --> 00:51:28,600
Speaker 1: my costumes ripped, I don't know what I'm gonna wear it, Tommy,

896
00:51:28,640 --> 00:51:30,960
Speaker 1: It's gonna be fine. You're gonna still show up at

897
00:51:30,960 --> 00:51:33,319
Speaker 1: eight o'clock, and everybody taking it so seriously, Well, that's

898
00:51:33,360 --> 00:51:38,320
Speaker 1: Hollywood every day. Everyone has over and over conversations about

899
00:51:38,400 --> 00:51:42,239
Speaker 1: making sure Brian's suit is the way it's supposed to be,

900
00:51:42,719 --> 00:51:44,680
Speaker 1: and somebody sets it there and you know what, I

901
00:51:44,800 --> 00:51:47,200
Speaker 1: have insuls in my shoe and you know what, we've

902
00:51:47,239 --> 00:51:49,680
Speaker 1: missplaced Derek's insults from last time. Somebody has to go

903
00:51:49,760 --> 00:51:52,800
Speaker 1: get those insults. Like all, So what I think about

904
00:51:53,000 --> 00:51:56,600
Speaker 1: is the production of it all, the company of making

905
00:51:56,840 --> 00:52:01,040
Speaker 1: it all happen, and how it's so fun to be

906
00:52:01,120 --> 00:52:07,440
Speaker 1: a part of that. Amen, congratulations on everything. Domino Masters.

907
00:52:07,680 --> 00:52:12,160
Speaker 1: Now you're a hosts Domino Masters, you're a host. Now.

908
00:52:12,600 --> 00:52:17,040
Speaker 1: I'm so happy for all of your success, truly, and

909
00:52:18,280 --> 00:52:20,000
Speaker 1: I know maybe we maybe we got to go to

910
00:52:20,239 --> 00:52:23,759
Speaker 1: a game together at some point. This year was the

911
00:52:23,840 --> 00:52:25,279
Speaker 1: year you could have come to the Packers game in

912
00:52:25,400 --> 00:52:29,600
Speaker 1: Kansas City. You know that game didn't carry the same

913
00:52:30,120 --> 00:52:34,439
Speaker 1: enthusiasm because they're not playing or just because yeah, because

914
00:52:34,440 --> 00:52:37,160
Speaker 1: I was thinking about it, I've never been. I need

915
00:52:37,280 --> 00:52:40,200
Speaker 1: to come. Now let me ask you this. Will you

916
00:52:40,360 --> 00:52:43,640
Speaker 1: have two teams next year you root for if there

917
00:52:43,719 --> 00:52:48,160
Speaker 1: is a split? Uh yeah, yeah, because you're going to

918
00:52:48,239 --> 00:52:50,920
Speaker 1: root for the player, yeah, and you're going to root

919
00:52:50,960 --> 00:52:54,839
Speaker 1: for the team. Yeah. Now, if it was actually wait,

920
00:52:54,880 --> 00:52:56,399
Speaker 1: a minute. Actually, wait a minute, Wait a minute, wait

921
00:52:56,400 --> 00:52:59,000
Speaker 1: a minute, was that like a fancy catch? I don't

922
00:52:59,080 --> 00:53:01,320
Speaker 1: know that there will will be two teams. Let me

923
00:53:01,400 --> 00:53:05,400
Speaker 1: say that very clearly. Yes, we'll see what happens. But

924
00:53:05,560 --> 00:53:08,160
Speaker 1: what if it was a far situation, would you all

925
00:53:08,160 --> 00:53:10,120
Speaker 1: of a sudden route for Aaron to do well? And

926
00:53:10,880 --> 00:53:14,279
Speaker 1: not that he's going to Minnesota, but like Chicago, Minnesota.

927
00:53:14,880 --> 00:53:18,880
Speaker 1: Listen between us and anyone listening, I just I really,

928
00:53:20,200 --> 00:53:22,440
Speaker 1: I really don't want him to go to the Niners.

929
00:53:22,880 --> 00:53:24,919
Speaker 1: That would be that would be the one that would

930
00:53:24,920 --> 00:53:28,839
Speaker 1: be the hardest. And you know what for him, No, well, listen,

931
00:53:28,920 --> 00:53:30,480
Speaker 1: I don't know that he would go to the Niners

932
00:53:30,600 --> 00:53:33,000
Speaker 1: because what's made part of what's made Aaron so great

933
00:53:33,600 --> 00:53:35,840
Speaker 1: is the chip on his shoulder that he's had that

934
00:53:35,920 --> 00:53:38,080
Speaker 1: they did the Niners didn't take him, Like why would

935
00:53:38,120 --> 00:53:42,640
Speaker 1: he give him that satisfaction now? Right? Like I would

936
00:53:42,680 --> 00:53:46,120
Speaker 1: think the player with the edge that he has that

937
00:53:46,200 --> 00:53:48,880
Speaker 1: I assume he has that people say he has. It's like, hey,

938
00:53:48,960 --> 00:53:50,479
Speaker 1: we could have had a love affair for the last

939
00:53:50,520 --> 00:53:52,960
Speaker 1: twelve years, Like you guys chose not to have that

940
00:53:53,040 --> 00:53:54,560
Speaker 1: love affair with me. Why am I going to now

941
00:53:55,000 --> 00:53:57,120
Speaker 1: come give you a little bit of my Aaron Rodgers

942
00:53:57,239 --> 00:54:01,880
Speaker 1: love no ask you know selfishly. I want him in

943
00:54:01,880 --> 00:54:05,040
Speaker 1: the A f C. West. I'll take him in Denver. Interesting,

944
00:54:05,160 --> 00:54:08,239
Speaker 1: do you want him there? His hair do matches Denver?

945
00:54:08,400 --> 00:54:10,960
Speaker 1: Now he's kind of a gren old guy looking like dude,

946
00:54:11,440 --> 00:54:13,840
Speaker 1: looks like he's got his tevas on driving his subar u.

947
00:54:15,200 --> 00:54:19,040
Speaker 1: How good was the cornuroy suit? Oh my god? Can

948
00:54:19,080 --> 00:54:21,560
Speaker 1: you imagine imagine the friction you and I would have

949
00:54:21,840 --> 00:54:25,520
Speaker 1: in that corduroy suit. You and I'm working in that

950
00:54:25,680 --> 00:54:30,520
Speaker 1: corduroy suit. It would just be what it would get.

951
00:54:30,600 --> 00:54:33,279
Speaker 1: It would get worn down quicker, that's for sure. It

952
00:54:34,840 --> 00:54:43,120
Speaker 1: we'd have some tiger bomb in action. Thank you, my Fred. Yeah, good, good,

953
00:54:43,239 --> 00:54:45,839
Speaker 1: good chat. We'll get to a game together though. Let's

954
00:54:45,840 --> 00:55:02,239
Speaker 1: do it. Eric, thank you so much for stopping by.

955
00:55:02,480 --> 00:55:06,600
Speaker 1: I am so excited to see where your career takes

956
00:55:06,640 --> 00:55:12,160
Speaker 1: you next. Where the dominoes fall, if you will. That's it.

957
00:55:12,680 --> 00:55:16,919
Speaker 1: That's our episode. Everyone follow us on Instagram at Off

958
00:55:17,000 --> 00:55:19,040
Speaker 1: the Beat and let us know what you thought of

959
00:55:19,160 --> 00:55:23,600
Speaker 1: today's episode. You'll find me here, same time and place

960
00:55:23,840 --> 00:55:27,840
Speaker 1: next week, where we have another amazing guest, one that

961
00:55:28,080 --> 00:55:33,040
Speaker 1: you may never want to captain your ship. We'll see

962
00:55:33,040 --> 00:55:46,480
Speaker 1: you then. Off the Beat is hosted an executive produced

963
00:55:46,560 --> 00:55:51,239
Speaker 1: by me Brian Baumgartner, alongside our executive producer Langley. Our

964
00:55:51,280 --> 00:55:56,160
Speaker 1: producers are Diego Tapia, Liz Hayes, Emily Carr, and Hannah Harris.

965
00:55:56,560 --> 00:56:00,200
Speaker 1: Our talent producer is Ryan Papa Zachary Art. The theme

966
00:56:00,239 --> 00:56:05,080
Speaker 1: song Bubble and Squeak performed by Hi Great Friend Creed Bratton,

967
00:56:05,400 --> 00:56:08,160
Speaker 1: and the episode was mixed by Seth Olandscape