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Speaker 1: Look may oh, I see my own and look over

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Speaker 1: there is that culture. Yes, goodness, we lost culture. Ding

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Speaker 1: Dong lost cultus tlling super warning. You're gonna hear that twice.

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Speaker 1: We're gonna ding Dong again because we are not currently

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Speaker 1: with our guest of this episode, which you can probably

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Speaker 1: see now based on the title, is with the one

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Speaker 1: and only Kate Blanchette. Kate Blanchett got a new movie,

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Speaker 1: Black Bag. It's great. It's great. I was actually like,

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Speaker 1: I was.

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Speaker 2: Watching Black Bag and then I was gonna choose another

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Speaker 2: thing from her filmography to watch again before this.

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Speaker 1: There's so much. I got overwhelmed. You got antsy. I

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Speaker 1: got antsy when you're at the bookstore. Yeah, so many options,

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Speaker 1: not even just little options where it's like, oh it

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Speaker 1: could be that could be that big delicious options. It's

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Speaker 1: like a it's like a cheesecake factory. Her filmography, it's

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Speaker 1: a menu with the spiral spine. This is a real

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Speaker 1: culture if I've ever heard one. This is a real

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Speaker 1: coature number ninety four, ninety four filmography. It's like the

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Speaker 1: menu at a cheesecake factory. The options, What were you

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Speaker 1: were you juggling? Did you like whittle? It down to

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Speaker 1: a final selection. I mean, there's always Tar. Yep, there's

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Speaker 1: always Tar. But the thing about Tar is it is

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Speaker 1: it is the let's just call it the big steak

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Speaker 1: of options because it's so, it's long, it's it's it's

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Speaker 1: a big old hate. You're gonna get. It's the most

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Speaker 1: bang for your buck, Cape Blanchet, You're gonna get. Yes.

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Speaker 1: But having already seen that several times, and then I thought,

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Speaker 1: why don't we do Carol? And I thought, hmmm.

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Speaker 2: I was like, this could be good, but I've also

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Speaker 2: seen that a couple of times. And then I thought, no,

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Speaker 2: it's on a scandal, which is ultimately what I went

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Speaker 2: with because I know that's what you went That's what

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Speaker 2: I went with. This is my favorite film on her

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Speaker 2: philmography will tell not.

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Speaker 1: It's on a scandal. I think it is because I

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Speaker 1: love melodrama. We are off track.

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Speaker 2: So the reason why we're doing this is because because

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Speaker 2: we want to give you a little bit of a

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Speaker 2: culture catchup.

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Speaker 1: We know that people have been sort of desiring this

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Speaker 1: because a lot has happened Wow in the last month.

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Speaker 1: Where do we start in our lives? And of course,

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Speaker 1: in the grand scheme of thing but we just thought

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Speaker 1: we'd give you like a little sort of hybrid episode,

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Speaker 1: and I feel like someone like Kate Lynchett deserves sort

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Speaker 1: of like little preamble because it's it's just gonna be

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Speaker 1: a lot. Yeah.

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Speaker 2: I also thought to myself, I'm like, what if Kate

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Speaker 2: Blenchett came in here and we did like a traditional

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Speaker 2: intro and Kate Blanchette, the legendary Kate Clenchette, was just

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Speaker 2: sitting here. So we'll probably do like a thirty second

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Speaker 2: intro for her and just get into it, because I

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Speaker 2: actually can't bear the thought of her sitting here listening. Well,

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Speaker 2: we're like, so, well, the thing about like my favorite

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Speaker 2: soup is or whatever dumb shit we would say clamp,

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Speaker 2: thank you for asking. I always just wanted to say

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Speaker 2: New England clam. But it's hard to pick a favorite soup.

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Speaker 2: It's so hard, I don't think so honey, having to

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Speaker 2: pick a favorite soup, and it feels like the pressure

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Speaker 2: is always on to choose a favorite soup nowadays.

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Speaker 1: Well, I feel like that's a self invented pressure that

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Speaker 1: because you just brought that up as like an example.

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Speaker 1: You feel that pressure day in and day out. Ever

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Speaker 1: since Halen Hardy has disappeared from New York City, I

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Speaker 1: don't even know. I'm no longer making the decision of

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Speaker 1: what soup do I want today? It is nose dived

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Speaker 1: and it makes me sick because it used to be

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Speaker 1: like the only thing that gave me joy was to

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Speaker 1: like pick a new soup, and now I just don't

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Speaker 1: encounter soup as much as I would like. Excuse me.

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Speaker 2: First of all, let me tell you something, Halen Hardy,

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Speaker 2: that was a great American institution. And I'm so disappointed

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Speaker 2: in all the consumers of America and everyone that eats

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Speaker 2: food out there. What you did, what you allowed to

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Speaker 2: happen to Halen Hardy is unacceptable, because where else are

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Speaker 2: you going to get I'm sorry, twelve thirteen, sometimes fourteen

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Speaker 2: options of soup when you see Morocan lentil on a

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Speaker 2: menu at to cart, at to cart, because you're lucky

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Speaker 2: to have that opportunity, and now unbelievable.

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Speaker 1: I'm sorry. There have been rumors for I want to say,

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Speaker 1: decades now, seck of rumors starting, rumors starting that it's

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Speaker 1: coming back. No, it's not, no, it's not shut up,

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Speaker 1: it's I've heard this for years.

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Speaker 2: No, it's twenty twenty five. We don't have optimistic thoughts anymore.

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Speaker 1: Who are you? Who are you? The one that got away?

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Speaker 1: I picked up and moved to a different town, and

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Speaker 1: you're like, I'm thinking of moving back into New York.

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Speaker 1: Lose my lore? You are VV Helen Hardy coming back? YEAV.

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Speaker 1: You know VV e a V. You don't think that

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Speaker 1: VV is more fun? It's very fun. It's not the

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Speaker 1: French way to say it, but you can say you

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Speaker 1: can you can say VAV. You better.

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Speaker 2: You have to understand nowadays. Bo One has to be

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Speaker 2: helping me with this because we're going to Europe.

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Speaker 1: We're going to We're going to Europe. Very tar coded.

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Speaker 1: She'd fly back and forth, you know.

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Speaker 2: Yeah, a cultured woman, a culture with secrets, can't wait

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Speaker 2: to ask Cate Blanchette.

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Speaker 1: If she has secrets too. We're talking about soup. We

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Speaker 1: were talking about soup. We're talking about preamble culture catchup? Yeah,

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Speaker 1: Favorite Role? Is its a scandal? Yeah? Oh this is

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Speaker 1: what I was gonna say. R kpfk's ks whatever. R

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Speaker 1: k p f kska what r k p fk. Yeah,

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Speaker 1: you're right, I'm sorry. I'm sorry, it's getting in wheel dy.

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Speaker 1: I was gonna say, hold me to account. I want

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Speaker 1: to ask her if she thinks, well, I guess what

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Speaker 1: is there any use to this? I want to be like,

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Speaker 1: do you think they could they would make notes on

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Speaker 1: a scandal? Now, like you would not be able to

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Speaker 1: have like make out with the teenager, not just make

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Speaker 1: out fuck in a train yard? Can I tell you something?

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Speaker 1: She fucks that kid? Shit? I mean and listen, it's like,

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Speaker 1: that's that's that's the whole crux of the film. That's

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Speaker 1: the scandal. I didn't write it podcast on a scandal.

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Speaker 1: Oh my god, that's the sequel. That's the starring us. Wait,

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Speaker 1: who's Kate and who's Judy? That I'm Judy. I love

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Speaker 1: that you really, Sheba I have here. I do think

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Speaker 1: what we should do and it will be embarrassing, but

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Speaker 1: we should say the iconic line to Kate, you think

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Speaker 1: this is a love you you wanna fuck me? B

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Speaker 1: How come I thought you did this is a love

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Speaker 1: of it? It was clearly you want to fuck you

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Speaker 1: know what?

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Speaker 2: I have a you want to fuck me Barbara t

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Speaker 2: shirt that I had made as a rap gift for

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Speaker 2: game show, and it's in La, I didn't wear it.

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Speaker 1: Where's your Lydia tar Innocent T shirt? Oh my god,

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Speaker 1: we should have worn that. I'm literally thinking, can we

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Speaker 1: make it home? No, this sucks. It's okay. We'll just

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Speaker 1: tell her, We'll show her the photo. We should both

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Speaker 1: have been wearing our Lydia tart Is Innocent T shirts.

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Speaker 1: What if she had been like, you know, she's not,

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Speaker 1: she's not. She was an awful woman. She drops in,

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Speaker 1: She's like, this is I don't like this at all.

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Speaker 1: I don't agree with this. This is our culture catch

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Speaker 1: up portion of the episode. Yes, so let's just make

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Speaker 1: the list. Now, let's just make the program. It okay.

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Speaker 1: Lady Gaga was on Lost.

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Speaker 2: Coach Bowen sang with Lady Gaga in two sketches and

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Speaker 2: became best friends.

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Speaker 1: Matt was front rowe at the Oscar. I wouldn't present

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Speaker 1: it at the Oscars. It's not Matt.

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Speaker 2: I have been such a happy accessory this past month.

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Speaker 2: You have no idea. I feel like the most beautiful

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Speaker 2: purse in the world. Stop it, no, stop, I love

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Speaker 2: it you. I feel like I'm your emotional support animal,

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Speaker 2: and I'm so.

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Speaker 1: Happy about it. But you know, it's like it's It's

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Speaker 1: like when a movie starts. It's like when an actress

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Speaker 1: like brings her dog to a red carpet. Let's say,

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Speaker 1: like it's someone like de Me Moore brings Oh that dog,

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Speaker 1: I forget the names, We're gonna call him Pip. It's like, well,

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Speaker 1: everyone's everyone's obsessed with Pip. You know what I mean.

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Speaker 1: I mean, you know what's really happened? Is we fulfilled

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Speaker 1: the prophecy. I'm busy. I'm busy Phillips. You are Michelle,

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Speaker 1: I'm busy. The prophecy has been fulfilled. There's officially a

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Speaker 1: gay but Michelle Williams and Busy Phillips. No, no, no,

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Speaker 1: that I'm not Michelle. You are not busy, And that

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Speaker 1: is both like that would be a diservice to both

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Speaker 1: of them and us. Excuse me. I'm saying this was.

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Speaker 2: All the love in the world for both of those legends,

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Speaker 2: and I'm saying it with a lot of love for.

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Speaker 1: Us, for us, But I'm saying, like, there's something about listen,

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Speaker 1: I'm walking on to the red carpet of the Oscars,

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Speaker 1: and it's people everyone being like Matt Bow and Matt

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Speaker 1: in a way that was like that filled me with

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Speaker 1: such profound joy. I was like, yes, we slayed the Glambot.

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Speaker 1: We slayed the Glambot, and just like and they're talking

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Speaker 1: about it. I can't believe I'm here with my best

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Speaker 1: friend at the Oscars and we're like, put your hearts up,

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Speaker 1: and it's it's really I still have to journal about

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Speaker 1: SNEL fifty. I feel like rkpfkfs JK. We're not totally

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Speaker 1: satisfied with their SNAL fifty recap. No, they weren't. We're

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Speaker 1: happy to go into more detail with that. Let's just say,

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Speaker 1: let's say top highlights. Let's start there, fifty. Okay, top

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Speaker 1: highlights for you waving at chair backstage, doing the pre

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Speaker 1: tape with Andy Samberg, which is so much fun, and yes,

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Speaker 1: just loving the moments that we shared together with everybody.

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Speaker 1: It felt like this wonderful family reunion. It felt like

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Speaker 1: we were all sort of giving each other. It was

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Speaker 1: like a Dickensian experience of like everyone was being visited

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Speaker 1: by the ghosts of SNL past, present, future in a

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Speaker 1: way that was actually not terrible. Like we were all

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Speaker 1: screwged and we all were waking up on Christmas morning

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Speaker 1: like God bless us everyone, and that was the highlight

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Speaker 1: for me. Yeah, I mean everyone was obsessed with Matt

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Speaker 1: working the carpet. That was fun.

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Speaker 2: I will say one of the highlights after it for

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Speaker 2: me was when so you've been on it before, but

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Speaker 2: I made my at Nikki Cbell.

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Speaker 1: Debut on Ted Talk.

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Speaker 2: We love the nkey obsessed, deeply obsessed, and I was

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Speaker 2: so I'm of course watching it bed riding, like watching

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Speaker 2: the TikTok in bed, and then like Nikki is like, yeah, exactly.

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Speaker 1: We were very much sympatico there. I was like, I

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Speaker 1: want to lay down to and be lazy on.

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Speaker 2: My TikTok And then I see myself and he goes,

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Speaker 2: not the right color, and I so then then I

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Speaker 2: wasn't following him. So I followed him, which was a

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Speaker 2: mistake on my part, and he sends me a message

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Speaker 2: and he goes he revealed himself as a reader. I

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Speaker 2: don't know how he identifies God, but he's a finalist.

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Speaker 2: I go just so you know, it wasn't as bright

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Speaker 2: in person. Great, and when he goes, okay, I get it,

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Speaker 2: yeah totally. But I loved it because it's a celebration

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Speaker 2: to even be on that.

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Speaker 1: Of course that he had to press save on a

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Speaker 1: photo of you. You know what I mean, it didn't

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Speaker 1: look that bright in person. Like I absolutely loved what

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Speaker 1: I wore. The blue. Yeah, so good, thank you. It

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Speaker 1: wasn't even like it was not like a jewel tone.

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Speaker 1: It was not even, but it was certainly not. It

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Speaker 1: was still can you imagine me in a jewel tone?

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Speaker 1: But it was just a deep, sumptuous blue. Yeah, it

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Speaker 1: was great. By the way, I don't know why I

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Speaker 1: pictured me in a jewel tone at S n L

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Speaker 1: fifty And this was the pose like like like Lea

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Speaker 1: Michelle like yeah, like taking your two hands me and

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Speaker 1: putting it pushing like your hips forward and like this

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Speaker 1: clavical know you're claviical first. And you just hear you,

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Speaker 1: just hear Matt, that Matt. And you know what they

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Speaker 1: always say to me, Big smile, man, big smile, big smile.

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Speaker 1: Check up, chin up, chin up down. That was that's

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Speaker 1: too much chinned down. A little bit of a smile

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Speaker 1: over here. And they're always over that. Always you know

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Speaker 1: what we should do, even when our backs of our

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Speaker 1: outfits are really bad. Just the shoulder. I love an

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Speaker 1: older I love that. I like your fucking Gwyneth. Oh, anyway,

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Speaker 1: that was that sound tifty was amazing. Oscars, Oscars, you

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Speaker 1: really did crush that present thing. And there was bts.

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Speaker 1: It was back and forth weather and not that bit

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Speaker 1: was gonna happen, yes, and you stuck to your gun.

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Speaker 1: I stuck to my guns. The producers pitched the idea,

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Speaker 1: the producers and the writers, wonderful team. They're they're just

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Speaker 1: like for working the Oscars. They are a cool chill

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Speaker 1: bunch whatever. It's like these people do, this is their thing,

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Speaker 1: year in, year out. Yeah, you know what I mean.

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Speaker 1: They know how this all works. They're at the Dolby,

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Speaker 1: they know where the bathrooms are, and it was so

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Speaker 1: much fun. I stayed up after SNL, got on a plane,

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Speaker 1: took a little gummy, conked out, woke up, went straight

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Speaker 1: to the Dolby. Felt great, did the bits, had lovely

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Speaker 1: stand ins. Saw the rehearsal for the OZ medley with

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Speaker 1: the standings and I was still dad. I was like,

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Speaker 1: it's not even Cynthia and Ai doing it, and I'm

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Speaker 1: still like in tears. Actually just like a stand in slay.

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Speaker 1: It was. It was these stand ins who like we're slave, yeah,

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Speaker 1: who like we're not. I would say, like maybe they're

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Speaker 1: professional vocalists and singers, but they were just like But

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Speaker 1: I even saw the shot of like Ari in the

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Speaker 1: background was a great shot and it was just like

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Speaker 1: missing a blonde girl in the back, just kind of

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Speaker 1: like watching this this this other woman on the race platform,

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Speaker 1: and I was like, this is gonna fucking stand in

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Speaker 1: for them, just like seeing the station and like me

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Speaker 1: and all and all Conan's background dances for the opening bit,

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Speaker 1: we're all just dying that this this is so fun.

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Speaker 2: I also want to say, in terms of stand ins,

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Speaker 2: shout out whoever was sitting next to me for ninety minutes.

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Speaker 2: So first of all, Bowen says to me beforehand, we're

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Speaker 2: sitting in the front row. I said, you better shut

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Speaker 2: the fuck up, and he goes, also, I can't be

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Speaker 2: with you for like he goes for the first forty

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Speaker 2: minutes presenting the fourth Award, and I have to get

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Speaker 2: into the costume because we are doing that bit. Like

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Speaker 2: it went back and forth about whether that was gonna

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Speaker 2: happen because it was going to be a big costume change.

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Speaker 1: Made big costume change, and they weren't sure they were

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Speaker 1: going to have their proper rehearsal time with me because

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Speaker 1: I was flying in the day of yeah, so it

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Speaker 1: might not have happened. And so I told Nat I

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Speaker 1: budgeted forty minutes. It was the full It was ninety

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Speaker 1: ninety minutes at the show, it was ninety and literally

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Speaker 1: I'm with this seat filler the whole time. And she

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Speaker 1: probably seventy minutes in turns to me and goes, where

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Speaker 1: is Bowen? I go, I go, am I not fun?

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Speaker 1: Or are you not? She was in great vibe, but

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Speaker 1: I was just saying to go to the bathroom probably,

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Speaker 1: but also I think she was just like there was

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Speaker 1: a little bit of like happen. There was a little

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Speaker 1: bit of like, I feel bad.

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Speaker 2: That Bowen isn't in his front row seat at the Oscars,

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Speaker 2: and I was like, I mean, I hope he comes soon.

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Speaker 2: I am, I'm enjoying you, but like I do want

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Speaker 2: because I know you want to be out there watching

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Speaker 2: it because you missed him, obviously Cynthia and Arianna, which

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Speaker 2: was amazing, and the Bond.

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Speaker 1: The Bond Trivia with Lisa and Doja and Ray and

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Speaker 1: Margaret Quality and Margaret oh my god, Margaret.

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Speaker 2: Yeah, I mean, And it was I will say, sitting

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Speaker 2: there for ninety minutes and looking to my left and

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Speaker 2: just seeing all those people, I was like, what the fuck?

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Speaker 1: You know what I was really proud about. I was like, Wow,

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Speaker 1: I've really managed my anxiety because I was sitting there. Wow,

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Speaker 1: I'm so proud.

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Speaker 2: And I think a year ago I wouldn't have been

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Speaker 2: like that. I think it would have been like mm.

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Speaker 2: But I was like, okay, it's okay, it's okay, okay,

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Speaker 2: I'm okay. I was channeling Tate.

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Speaker 1: You were channeling Tate. Tate would be cool as a

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Speaker 1: cucumber in front Road with the so be like this

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Speaker 1: is fun. Yeah.

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Speaker 2: I think she'd be like this is cool man, this

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Speaker 2: is cool. Yeah, why would that be the cool man?

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Speaker 2: But you did finally come out. We got to see

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Speaker 2: the last half.

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Speaker 1: Of the Oscars together, just just as fun. It was great.

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Speaker 2: I mean, the Winds went as expected until that was

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Speaker 2: a sad moment when to me lost. But Mikey's so

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Speaker 2: fucking great.

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Speaker 1: On that movie. It's like that. That's what's It's not

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Speaker 1: like an out and out snub necessarily, but it is

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Speaker 1: just a thing of like, God, this there's just something

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Speaker 1: about the expectation being sort of slowly downloaded into you correct,

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Speaker 1: like as just as on a human level, like if

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Speaker 1: you are told, like over several months that like it's yours,

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Speaker 1: it's yours, it's yours, something's gonna happen to you, something great,

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Speaker 1: and it doesn't. That is very just for lack of

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Speaker 1: a better word, devastated and with a.

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Speaker 2: Camera in your face the moment it doesn't happen, like like,

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Speaker 2: here's what I'll say after that. And you know, I

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Speaker 2: love Anora. I think Mikey Madison crowd. I actually think

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Speaker 2: it was even better on the second time I watched it.

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Speaker 2: I think that that performance is great, especially when you

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Speaker 2: see how dissimilar she is to that character. I think

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Speaker 2: she deserves to win, but it's just tough. When there's

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Speaker 2: so many of these award shows, it makes you feel

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Speaker 2: like is it a little too much?

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Speaker 1: Is yeah? Absolutely? Right?

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Speaker 2: After another after another, it feels like a job that

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Speaker 2: can't possibly have any reward outside of like ultimately if

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Speaker 2: you do win and only one person can and if

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Speaker 2: you happen to like you make yourself like a fashion moment,

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Speaker 2: which I'll say again, Brad Gereski absolutely crushed it with

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Speaker 2: me all season.

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Speaker 1: I hope she feels good. I'm sure she feels good.

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Speaker 1: I'm sure she does. And it makes me go to

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Speaker 1: answer your question like is this too much? Kill me

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Speaker 1: for saying this. It makes me go like, well, for

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Speaker 1: Culture Awards, I think we should like build out precursors.

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Speaker 1: Oh no, the Cultural Awards will have twenty made up precursors.

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Speaker 2: No, there's gonna be a brunch, there's gonna be there's

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Speaker 2: gonna be a lot governor, a lot of precursors. Like,

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Speaker 2: we are actually going to create many other small awards

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Speaker 2: with guilds that we create. Actually, that's going to be

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Speaker 2: a Reader Awards, a Publicist Awards, a Katie Awards, a

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Speaker 2: Finalist Awards, and the Kyle Awards. And you are going

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Speaker 2: to get to sign up for the guild. This actually

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Speaker 2: is happening in real time.

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Speaker 1: We've not discussed and we don't think we have the

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Speaker 1: We're looking at producer beck Yall where like this is

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Speaker 1: a nightmare in terms of execution.

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Speaker 2: It's also kind of officially not really up to us anymore.

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Speaker 2: I don't know what we can say, what way we can,

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Speaker 2: but it is we are nearing the time of really

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Speaker 2: being able to say something very big and cool. But

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Speaker 2: like I don't know if it's now. We were told

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Speaker 2: it might be around now, but I don't know. I

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Speaker 2: don't Yeah, let's for now watch the space.

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Speaker 3: For now.

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Speaker 1: We're going to pretend we can say anything we want

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Speaker 1: and we'll be told later if we can't. If we're

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Speaker 1: in there. That's actually a great way to approach. Ask

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Speaker 1: for forgiveness, Yes, ask for forgiveness. Yeah, you know.

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Speaker 2: I'm watching the UK season three Traders right now, and

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Speaker 2: there's an Anglican priest on the show, and her defense

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Speaker 2: of not being able to be a trader is I

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Speaker 2: can't lie. I'm not able to be deceitful. I'm not

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Speaker 2: able to do it. I can't be traitorous.

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Speaker 1: And was she a trader? Is she traded? No?

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Speaker 2: But it's interesting because half the people are like, I mean,

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Speaker 2: she's a priest, Like she can't do this, and then

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Speaker 2: other people are like, no, she can lie.

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Speaker 1: She just has to confess. I yeah, yeah she will,

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00:18:39,160 --> 00:18:42,640
Speaker 1: but it's unclear like whether or not she feels that way.

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Speaker 1: Uh huh. So just know that you can't trust priests.

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00:18:46,160 --> 00:18:49,480
Speaker 1: Are there fun Northern accents on UK Trader season three

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00:18:49,600 --> 00:18:52,960
Speaker 1: Because I miss miss Amanda from season one? Iconic Northern

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00:18:52,960 --> 00:18:57,080
Speaker 1: accent so yeah, there's really good. There's do a northern accent.

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Speaker 1: So are you talking about this? It's like it's very scarce.

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00:19:03,240 --> 00:19:07,919
Speaker 1: She goes really like Alexander. I love being around him.

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00:19:09,000 --> 00:19:14,439
Speaker 1: It's Cheryl Cole. I can't believe the murder. We've got

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Speaker 1: to murder the murder again. And the Tarret. It's like

385
00:19:18,240 --> 00:19:23,359
Speaker 1: in the Tarret, the Tarret. The territt is very bea.

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Speaker 1: It's like Liverpool. It's like it's that. I love it,

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00:19:26,040 --> 00:19:26,520
Speaker 1: I love it.

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Speaker 3: My street.

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00:19:29,720 --> 00:19:34,040
Speaker 1: That's famously what Cheryl Cole said to cherr Lloyd Oh

390
00:19:34,080 --> 00:19:37,640
Speaker 1: when Cherload was on X Factor. Correct, I'll you're right

391
00:19:37,840 --> 00:19:42,640
Speaker 1: up my streets, right, my straight. This is the most

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Speaker 1: gay millennial ship ever. Pretty much is knowing what Cheryl

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Speaker 1: Cole said to sher Lloyd from being obsessed with X

394
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Speaker 1: Factor UK on YouTube in two thousand. Who knows? Wait

395
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Speaker 1: a minute call from an eight hundred number, Oh, don't

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00:19:59,680 --> 00:20:01,920
Speaker 1: pick up. Well, now it's in the voicemail, and that

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Speaker 1: means it's in God's hands. It's in gods. It's actually

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00:20:03,920 --> 00:20:06,400
Speaker 1: a really coachure number eight. When it goes to voicemail,

399
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Speaker 1: that means it's in God's hands. And that is kind

400
00:20:10,160 --> 00:20:13,920
Speaker 1: of how voicemail feels. Now you're just kind of it's

401
00:20:13,960 --> 00:20:16,600
Speaker 1: a message in a bottle, and you're in a terrible

402
00:20:16,680 --> 00:20:20,720
Speaker 1: stormy ocean. Yeah, like who knows if it'll get there? Okay,

403
00:20:20,840 --> 00:20:23,359
Speaker 1: so oscars And then we went to the Vanity Fair party.

404
00:20:23,440 --> 00:20:26,080
Speaker 1: Went to the Vanity Fair party. That was so fun. Fun.

405
00:20:26,359 --> 00:20:28,239
Speaker 1: Can I tell you my favorite sentence that's ever come

406
00:20:28,280 --> 00:20:29,760
Speaker 1: out of my mouth? White bestie summer?

407
00:20:30,400 --> 00:20:30,840
Speaker 3: No, what not?

408
00:20:31,000 --> 00:20:32,880
Speaker 1: My bestie summer? That was fun, that was fun.

409
00:20:33,560 --> 00:20:36,280
Speaker 2: This is my favorite sentence I've ever said out loud. Okay,

410
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Speaker 2: Madison Beer. Do you know Alison Bree?

411
00:20:39,640 --> 00:20:43,959
Speaker 1: Wow? And they hadn't met, but they did, they did,

412
00:20:44,160 --> 00:20:46,000
Speaker 1: and you introduced them.

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00:20:46,119 --> 00:20:46,280
Speaker 3: Well.

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Speaker 2: Our friend Michael brought over Madison Beer, who I was

415
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Speaker 2: so thrilled to me, and I said to her, I

416
00:20:51,320 --> 00:20:53,920
Speaker 2: said to her, Madison Beer, whenever anyone does the glambot,

417
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Speaker 2: I say, why are you doing the glambot? You're not

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Speaker 2: Madison Beer, we told.

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Speaker 1: And then she died. If you love that. I was

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Speaker 1: trying to play it cool around her because Michael, our friend,

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00:21:00,760 --> 00:21:04,960
Speaker 1: Yes Hoffman, Hello, Hi Michael, somehow became besties with Madison Beer.

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00:21:05,000 --> 00:21:06,840
Speaker 1: Within me, I get it, scands, I get it, but

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00:21:07,040 --> 00:21:10,280
Speaker 1: just like, but minutes before m hmm. They just times

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00:21:10,320 --> 00:21:13,600
Speaker 1: you have chemistry with people like us. But Madison was

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Speaker 1: following Michael into the crowd and then we saw Michael

426
00:21:16,080 --> 00:21:17,760
Speaker 1: and said hi. And then I look over and there

427
00:21:17,880 --> 00:21:21,080
Speaker 1: was Madison Beer and the full Glory and I was like, hey,

428
00:21:21,440 --> 00:21:23,920
Speaker 1: how are you. I'm bowing up. It's so nice to

429
00:21:23,960 --> 00:21:26,760
Speaker 1: meet you, trying to play it cool. How's your night going?

430
00:21:26,920 --> 00:21:29,520
Speaker 1: And then finally I was like, finally you came over

431
00:21:29,600 --> 00:21:31,680
Speaker 1: and you were like, you're Madison Beer, and I dropped

432
00:21:31,680 --> 00:21:33,680
Speaker 1: the whole thing. I was like, I mean, where Madison

433
00:21:33,720 --> 00:21:38,439
Speaker 1: and we invited her on the pot. We know if

434
00:21:38,480 --> 00:21:41,760
Speaker 1: you're not listening to Madison Beer's beca are you a stan?

435
00:21:42,400 --> 00:21:42,600
Speaker 3: Yeah?

436
00:21:42,920 --> 00:21:46,520
Speaker 1: Period? Madison Beer's music is really good. And can I

437
00:21:46,600 --> 00:21:50,440
Speaker 1: say as a boob gay period, that's she is. She

438
00:21:50,720 --> 00:21:51,400
Speaker 1: is top tier.

439
00:21:51,560 --> 00:21:53,040
Speaker 2: And then I was looking to my right at the

440
00:21:53,080 --> 00:21:54,840
Speaker 2: Glory that was Alison Brie, and I said, oh, I

441
00:21:54,920 --> 00:21:57,080
Speaker 2: have to make this happen. I was like, Madison Beard Beard,

442
00:21:57,080 --> 00:21:59,080
Speaker 2: do you know Adams Alison Brie? And they hadn't met.

443
00:21:59,200 --> 00:22:02,320
Speaker 2: They hugged, I can only assume, traded numbers and became

444
00:22:02,359 --> 00:22:02,800
Speaker 2: best friends.

445
00:22:02,840 --> 00:22:05,320
Speaker 1: We'll find out what was the vibe. Because we were

446
00:22:05,359 --> 00:22:07,800
Speaker 1: with mister Ham love him for John had to be

447
00:22:07,880 --> 00:22:11,359
Speaker 1: in close proximity to Alison Brie made me truly thrilled me.

448
00:22:11,800 --> 00:22:13,680
Speaker 1: Oh my god, you know what's funny. I didn't realize

449
00:22:13,720 --> 00:22:16,200
Speaker 1: it until right after. Oh, like, oh my god, fucking

450
00:22:16,320 --> 00:22:23,320
Speaker 1: Don and Trudy. Oh that was good. You really stay allegend.

451
00:22:24,359 --> 00:22:26,320
Speaker 1: This is my life now. This is actually like a

452
00:22:26,359 --> 00:22:28,800
Speaker 1: perfect microcosm for like what the last month has been,

453
00:22:28,840 --> 00:22:30,600
Speaker 1: and it is my peak and like it's all downhill

454
00:22:30,640 --> 00:22:32,480
Speaker 1: from here. We're at the Vanity Fair party. We're talking,

455
00:22:32,480 --> 00:22:35,280
Speaker 1: we're talking for this person to come up and tap

456
00:22:35,320 --> 00:22:36,360
Speaker 1: me on the shoulder and be like, oh my god,

457
00:22:36,400 --> 00:22:37,040
Speaker 1: thank god you're here.

458
00:22:37,119 --> 00:22:37,439
Speaker 4: M hm.

459
00:22:37,840 --> 00:22:39,720
Speaker 1: For this to be the person I'm about to say

460
00:22:39,880 --> 00:22:42,920
Speaker 1: three words, this was good. We've all been this person

461
00:22:43,040 --> 00:22:45,840
Speaker 1: at any party where it's like, oh, thank god you're here. Yeah,

462
00:22:46,160 --> 00:22:48,800
Speaker 1: like I have someone to talk to. Megan the Stallion

463
00:22:48,800 --> 00:22:50,680
Speaker 1: coming up to me, she goes, oh my god, thank

464
00:22:50,680 --> 00:22:54,160
Speaker 1: god you're here. I'm like, hi, Hey, Megan thee Stallion.

465
00:22:54,960 --> 00:22:57,960
Speaker 1: Someone i've like fully like been not a professional, I

466
00:22:58,000 --> 00:22:59,640
Speaker 1: have been like enough to be on a professional level

467
00:22:59,680 --> 00:23:01,960
Speaker 1: with and worked with before, but it's every time I'm

468
00:23:01,960 --> 00:23:05,040
Speaker 1: still shocking to me. Whenever she's like Hi, I'm like, Hi,

469
00:23:05,880 --> 00:23:08,399
Speaker 1: it's a bitch, It's Tina Snow. Let's go.

470
00:23:09,000 --> 00:23:11,399
Speaker 2: That whole party was just like and I say this

471
00:23:11,520 --> 00:23:15,560
Speaker 2: in the most revelation I say this, and the most

472
00:23:15,960 --> 00:23:16,560
Speaker 2: how do I say that?

473
00:23:17,240 --> 00:23:19,960
Speaker 1: This and the most reverence. I say this in the

474
00:23:20,000 --> 00:23:25,320
Speaker 1: most reverent way, the most random group of people each other.

475
00:23:25,920 --> 00:23:26,760
Speaker 3: And I was like, whoo.

476
00:23:27,359 --> 00:23:29,159
Speaker 1: And then I don't think we can say where we

477
00:23:29,280 --> 00:23:31,520
Speaker 1: went next. We can't say where we went next, but

478
00:23:32,080 --> 00:23:34,000
Speaker 1: I think we can say this because this is actually

479
00:23:34,040 --> 00:23:35,600
Speaker 1: a huge moment that I want to share with people.

480
00:23:35,840 --> 00:23:38,760
Speaker 1: And it's like the perfect karmic law. We went to

481
00:23:38,840 --> 00:23:42,159
Speaker 1: a party, yes, and we were the Megan thee Stallion

482
00:23:42,160 --> 00:23:44,439
Speaker 1: in this situation where we look around everyone's way too

483
00:23:44,480 --> 00:23:46,840
Speaker 1: cool for us, and then we this is the person

484
00:23:46,880 --> 00:23:48,199
Speaker 1: that we zeroed in on, and we were like, oh,

485
00:23:48,240 --> 00:23:49,200
Speaker 1: we can talk to this person.

486
00:23:49,320 --> 00:23:54,399
Speaker 2: Yes, Chapel Roone, Chapel Roan, and guess what. The groundwork

487
00:23:54,440 --> 00:23:58,040
Speaker 2: has been laid this year for Chapel last. This is

488
00:23:58,400 --> 00:24:01,600
Speaker 2: we're just putting it out there, but incredibly cool. I mean, like,

489
00:24:01,840 --> 00:24:04,399
Speaker 2: was did I did I help facilitate that introduction. But

490
00:24:05,160 --> 00:24:08,040
Speaker 2: that was so kind and like, she was so sweet

491
00:24:08,119 --> 00:24:08,359
Speaker 2: and like.

492
00:24:08,480 --> 00:24:09,959
Speaker 1: But I got to tell her, and I told her

493
00:24:10,000 --> 00:24:11,680
Speaker 1: like when I first met her, I was like, or

494
00:24:11,720 --> 00:24:13,119
Speaker 1: when I first talked to her for interview, I was

495
00:24:13,200 --> 00:24:16,720
Speaker 1: just like, my best friend Matt Ronders was years ahead

496
00:24:16,720 --> 00:24:18,760
Speaker 1: of the curve well, and I was just like, look,

497
00:24:18,800 --> 00:24:21,840
Speaker 1: I was like, Chapel this is my friend Matt likes

498
00:24:22,119 --> 00:24:26,280
Speaker 1: and and you two hit it off. She really liked you.

499
00:24:26,440 --> 00:24:30,199
Speaker 2: Yeah, I mean, listen, we love chapelone, and I'm excited

500
00:24:30,240 --> 00:24:34,160
Speaker 2: about I guess, oh, by by the time this comes out,

501
00:24:34,200 --> 00:24:37,640
Speaker 2: I guess by the Giver slash tomorrow the Giver, We're

502
00:24:37,920 --> 00:24:39,400
Speaker 2: headed for a really fun Chapel era.

503
00:24:39,720 --> 00:24:50,520
Speaker 1: Definitely. God tell me, baby, I'm excited. I love it. No, no, no, no,

504
00:24:50,640 --> 00:24:54,720
Speaker 1: no no, it's really no great bridge God, she's a

505
00:24:54,760 --> 00:24:57,439
Speaker 1: bridge queen. Thank God too. You know what I love

506
00:24:57,440 --> 00:25:00,920
Speaker 1: about Mayhem not a song on three minutes on that

507
00:25:01,040 --> 00:25:04,120
Speaker 1: goddamn album. And thank God for Gaga for bringing back

508
00:25:04,240 --> 00:25:09,960
Speaker 1: the breakdown outro. Please the outros are it helps you

509
00:25:10,119 --> 00:25:12,240
Speaker 1: live in the song. I think you can apply this

510
00:25:12,320 --> 00:25:14,840
Speaker 1: across the board, especially in terms of a pop structure.

511
00:25:14,880 --> 00:25:19,359
Speaker 1: It's like outro us show off the production, highlight the production.

512
00:25:19,560 --> 00:25:22,440
Speaker 1: This is just as key in the song as the vocals.

513
00:25:23,040 --> 00:25:26,399
Speaker 2: Not to give them too much credit, but her highest

514
00:25:26,480 --> 00:25:31,280
Speaker 2: Pitchfork ever, Yeah, sure, eight point zero, mister rich and

515
00:25:31,359 --> 00:25:33,520
Speaker 2: I think it's deserved, and also it's so great to

516
00:25:33,560 --> 00:25:35,120
Speaker 2: see it get the critical acclaim.

517
00:25:35,800 --> 00:25:38,639
Speaker 1: But okay, so are we moving on to Gaga now? Yes? Okay,

518
00:25:40,600 --> 00:25:42,640
Speaker 1: I mean now you know she was on the podcast,

519
00:25:42,880 --> 00:25:45,400
Speaker 1: which we had to keep a secret for a long time. Yes,

520
00:25:46,040 --> 00:25:50,280
Speaker 1: and I'm still not so. We're recording this on Monday,

521
00:25:50,600 --> 00:25:54,200
Speaker 1: two days after the show, and I God, just like

522
00:25:55,240 --> 00:26:01,040
Speaker 1: that is a consummate entertainer in every way, Killa. I

523
00:26:01,400 --> 00:26:03,720
Speaker 1: got to see the sound check for it on Thursday

524
00:26:04,000 --> 00:26:07,120
Speaker 1: and I lost my mind. So good.

525
00:26:07,960 --> 00:26:11,000
Speaker 2: One of the most memorable, both of her performances, some

526
00:26:11,119 --> 00:26:13,480
Speaker 2: of the most memorable in recent memory. We got to

527
00:26:13,520 --> 00:26:15,520
Speaker 2: go on the floor to watch Abrica Dabra and you

528
00:26:15,600 --> 00:26:20,200
Speaker 2: had been saying, like Aberca Dabra goes crazy crazy, and

529
00:26:20,359 --> 00:26:22,720
Speaker 2: it did. And we were also just gagged before we

530
00:26:23,119 --> 00:26:25,880
Speaker 2: started on the podcast. We were like, Gaga performed where

531
00:26:25,880 --> 00:26:26,880
Speaker 2: Ali once performed.

532
00:26:27,400 --> 00:26:31,480
Speaker 1: Gaga performed where Ali once performed, I was honored to

533
00:26:31,600 --> 00:26:34,600
Speaker 1: introduce her for Africa Gatra. So I I brought my friends,

534
00:26:34,680 --> 00:26:37,320
Speaker 1: my dressing room guests, which included Matt too. Before we

535
00:26:37,359 --> 00:26:40,400
Speaker 1: were waiting in the tunnel steps away from the host

536
00:26:40,480 --> 00:26:43,600
Speaker 1: cook change booth where she was getting into her red

537
00:26:43,840 --> 00:26:48,399
Speaker 1: encrusted the war bodysuit with vocally warming up, vocally warming up.

538
00:26:48,600 --> 00:26:51,040
Speaker 1: Unbelievable to be able to be there while she was

539
00:26:51,160 --> 00:26:53,919
Speaker 1: like in the zone getting her voice ready, and then

540
00:26:54,160 --> 00:26:57,960
Speaker 1: just watching her walk on stage and just destroy that

541
00:26:58,080 --> 00:27:00,920
Speaker 1: performance at dress rehearsal. I think this did happen on

542
00:27:01,000 --> 00:27:03,320
Speaker 1: air too, but like on the walkout when she was

543
00:27:03,359 --> 00:27:05,720
Speaker 1: walking on stage, when everyone could everyone in the audience

544
00:27:05,720 --> 00:27:08,080
Speaker 1: can see her, I've never heard a gasp like that.

545
00:27:09,040 --> 00:27:14,080
Speaker 2: Everyone's like, oh, looks all night too, Like even when

546
00:27:14,119 --> 00:27:16,120
Speaker 2: she was going over to the after party, like yeah,

547
00:27:16,320 --> 00:27:18,280
Speaker 2: that was amazing. And just do you see the shots

548
00:27:18,560 --> 00:27:20,680
Speaker 2: that they got of her coming out of them that

549
00:27:21,080 --> 00:27:24,119
Speaker 2: her one eye, the one eye looking truly good holding

550
00:27:24,240 --> 00:27:24,920
Speaker 2: Pip the mouse.

551
00:27:25,040 --> 00:27:27,840
Speaker 1: Oh yeah, oh holding Pip them out. The sketches were

552
00:27:28,000 --> 00:27:31,480
Speaker 1: so good too, just like on Fire this week. And

553
00:27:31,560 --> 00:27:34,119
Speaker 1: I told Bobby like this is like her manager was like,

554
00:27:34,280 --> 00:27:35,800
Speaker 1: I feel like this is reflective of like who she

555
00:27:35,960 --> 00:27:37,880
Speaker 1: is and and you know, maybe even on the nose

556
00:27:37,920 --> 00:27:39,560
Speaker 1: what the album is. I'm seeing on the nose, like

557
00:27:39,640 --> 00:27:45,000
Speaker 1: my analysis of it, it's like all ten to one sketches. Yeah, weird.

558
00:27:45,640 --> 00:27:47,159
Speaker 2: It was weird from the top. I was like, I

559
00:27:47,160 --> 00:27:49,679
Speaker 2: remember the first sketch being that scooter sketch. We were

560
00:27:49,720 --> 00:27:51,280
Speaker 2: all turning to each other and your dress are gonna

561
00:27:51,280 --> 00:27:54,399
Speaker 2: be like that was the first sketch. Was like a huge,

562
00:27:54,760 --> 00:27:57,120
Speaker 2: huge swing, like like which I love.

563
00:27:57,280 --> 00:28:00,960
Speaker 1: I loved and I'm like wait, I'm like so invested

564
00:28:01,000 --> 00:28:06,480
Speaker 1: in this romance now between Marcel and No so sweet.

565
00:28:06,760 --> 00:28:10,879
Speaker 1: It was that little pug that was good. I'm getting

566
00:28:11,000 --> 00:28:14,240
Speaker 1: the dog tomorrow. It is time for you, isn't it.

567
00:28:14,960 --> 00:28:20,320
Speaker 1: I have like I have like dog fever, Yeah, burning up,

568
00:28:20,960 --> 00:28:25,520
Speaker 1: and I'm burning up, burning up for you, bab A

569
00:28:25,680 --> 00:28:30,159
Speaker 1: Jonas Brothers shout yeah, why not love them? Jersey Kings. Oh,

570
00:28:30,200 --> 00:28:32,320
Speaker 1: I never really think about it like that. I never

571
00:28:32,400 --> 00:28:35,040
Speaker 1: think about the Jonas Brothers as Jersey Kings. But I

572
00:28:35,080 --> 00:28:37,879
Speaker 1: guess it's a rural culture. Number thirty. The Jonas Brothers

573
00:28:37,920 --> 00:28:42,600
Speaker 1: are Jersey Kings. And then I can't believe I got

574
00:28:42,640 --> 00:28:44,400
Speaker 1: to sing with her twice. That was never the plan

575
00:28:45,200 --> 00:28:48,320
Speaker 1: was amazing. The plan was always just let's have fun.

576
00:28:48,560 --> 00:28:51,120
Speaker 1: I'm gonna try to write, you know, a couple of things.

577
00:28:51,760 --> 00:28:54,360
Speaker 1: And then I just lucked out in every possible way

578
00:28:54,400 --> 00:28:58,680
Speaker 1: that like this past week, you sounded so good and

579
00:28:58,800 --> 00:29:00,920
Speaker 1: I said, I was like, I was like, did you

580
00:29:01,440 --> 00:29:03,520
Speaker 1: did you actually do some sort of little vocal training

581
00:29:03,560 --> 00:29:05,760
Speaker 1: because your placement and like the ease with wish you

582
00:29:05,800 --> 00:29:09,240
Speaker 1: were getting up there, you do sing very hard. You

583
00:29:09,360 --> 00:29:13,040
Speaker 1: were very like something about being next to her. Yeah,

584
00:29:13,200 --> 00:29:16,040
Speaker 1: Like I know that sounds crazy, but I would say

585
00:29:16,040 --> 00:29:19,840
Speaker 1: it chromaticable. Yeah, I was the best singer. Well, we

586
00:29:19,920 --> 00:29:21,160
Speaker 1: were on a lot of mushrooms, and we were on

587
00:29:21,200 --> 00:29:24,680
Speaker 1: a lot of mushrooms. But there's something about the chemical

588
00:29:25,120 --> 00:29:30,440
Speaker 1: shit that happens your brain chemistry giving you singing ability

589
00:29:30,440 --> 00:29:33,480
Speaker 1: and ability. Y'all just hit thirty five minutes. By the way,

590
00:29:33,520 --> 00:29:37,200
Speaker 1: thank you beca. Oh no, that's a great way to

591
00:29:37,200 --> 00:29:39,760
Speaker 1: communicate with us because we're just we're just energy.

592
00:29:39,800 --> 00:29:39,920
Speaker 3: You know.

593
00:29:40,000 --> 00:29:43,160
Speaker 1: That's how producers talk to housewives on set. Yeah, so

594
00:29:43,280 --> 00:29:45,760
Speaker 1: they'll they have like, so what you don't know, what

595
00:29:45,840 --> 00:29:47,160
Speaker 1: do you want to right now? Google docs?

596
00:29:47,200 --> 00:29:50,520
Speaker 2: What do you what do you want she be put

597
00:29:50,600 --> 00:29:52,600
Speaker 2: up a Google slide just on a white background that

598
00:29:52,680 --> 00:29:56,480
Speaker 2: said y'all just hit thirty five minutes BTW. So I,

599
00:29:57,320 --> 00:29:59,680
Speaker 2: at one point in my life was hanging out with

600
00:30:00,680 --> 00:30:04,440
Speaker 2: someone who produces for the Housewives, Yes, and they were

601
00:30:04,520 --> 00:30:06,240
Speaker 2: telling me that the way that they get them to

602
00:30:06,280 --> 00:30:10,240
Speaker 2: ask certain questions is they'll put up like like a tablet.

603
00:30:10,560 --> 00:30:12,480
Speaker 2: They'll show up to Meredith Mark and they'll be like,

604
00:30:12,920 --> 00:30:16,920
Speaker 2: ask Angie about this, this this on like at the restaurant,

605
00:30:16,920 --> 00:30:19,840
Speaker 2: and that's how they get reminded to answer certain questions

606
00:30:20,160 --> 00:30:22,800
Speaker 2: or ask certain things, et cetera. Wow, is that it's

607
00:30:22,920 --> 00:30:25,760
Speaker 2: just a producer, like our very own producer, Becca was

608
00:30:25,840 --> 00:30:27,080
Speaker 2: producing us just now.

609
00:30:27,040 --> 00:30:29,640
Speaker 1: Yes, this is how it works. It's kind of like

610
00:30:31,000 --> 00:30:33,440
Speaker 1: some person at a club like holding up their phone

611
00:30:33,480 --> 00:30:39,000
Speaker 1: being like play yeah, play may Stream Mayhem play be

612
00:30:39,160 --> 00:30:45,200
Speaker 1: Ophelia exactly. Yeah that's you, that's me be Ophelia. Okay,

613
00:30:45,240 --> 00:30:50,320
Speaker 1: what afore? Oh yeah, I just amazing. Oh yeah. Vocally no,

614
00:30:50,440 --> 00:30:52,959
Speaker 1: we just we did like extensive musical hustles with her

615
00:30:53,240 --> 00:30:56,080
Speaker 1: in a way that made me really appreciate, like because

616
00:30:56,080 --> 00:30:59,400
Speaker 1: she just kept turning to me and going, it'll just

617
00:30:59,520 --> 00:31:01,520
Speaker 1: be so much funny or if we sound great, And

618
00:31:01,600 --> 00:31:05,640
Speaker 1: I was like, and she was just so exact about

619
00:31:05,640 --> 00:31:08,280
Speaker 1: the way things were phrased and the way things scanned

620
00:31:08,440 --> 00:31:12,760
Speaker 1: on the melody. And so we found the right key

621
00:31:12,800 --> 00:31:15,520
Speaker 1: because like it was in like it was like in

622
00:31:15,680 --> 00:31:17,320
Speaker 1: g and then we got it all the way up

623
00:31:17,440 --> 00:31:19,560
Speaker 1: or down. I don't know, you were up there, we were.

624
00:31:19,640 --> 00:31:23,200
Speaker 1: I think it was a be a B sharper b whatever.

625
00:31:23,320 --> 00:31:25,120
Speaker 1: It was just like we tried it out all these

626
00:31:25,120 --> 00:31:28,120
Speaker 1: different ways, got in your pocket. But like to find

627
00:31:28,200 --> 00:31:31,040
Speaker 1: the right key with a duet with Gaga, I didn't

628
00:31:31,080 --> 00:31:35,360
Speaker 1: realize until literally just now with that sort of would

629
00:31:35,520 --> 00:31:37,960
Speaker 1: like what that means to me? Yep, And it was

630
00:31:38,000 --> 00:31:41,320
Speaker 1: so fun. I mean, I can't believe it. And then

631
00:31:41,400 --> 00:31:46,320
Speaker 1: it's crazy and then I don't know, like what she

632
00:31:46,480 --> 00:31:49,440
Speaker 1: said to us, what she said to me and Celesti newsflash,

633
00:31:49,560 --> 00:31:53,640
Speaker 1: loves celast Everyone loves everyone loves any Any person who

634
00:31:54,680 --> 00:31:58,160
Speaker 1: you would think like seems distant or I don't know,

635
00:31:58,400 --> 00:32:03,560
Speaker 1: like unassailable in a way is obsessed with celestium. And

636
00:32:03,680 --> 00:32:08,480
Speaker 1: I get it. Yeah, would it be Christopher Vega the

637
00:32:08,640 --> 00:32:13,280
Speaker 1: Christopher Vegas, Matt's nickname for Celestie for some reason, and

638
00:32:14,760 --> 00:32:17,320
Speaker 1: just it makes sense when you're there, it makes sense.

639
00:32:17,360 --> 00:32:19,680
Speaker 1: It's like being next to Gaga singing exactly. It's like

640
00:32:20,080 --> 00:32:22,480
Speaker 1: you know, but Gaga was just like telling me in Celesti,

641
00:32:22,640 --> 00:32:24,480
Speaker 1: and this is what she brought up on our episode,

642
00:32:24,600 --> 00:32:28,239
Speaker 1: like community. She's really been revisiting this idea, This thing

643
00:32:28,320 --> 00:32:31,000
Speaker 1: that she misses a lot about coming up in New

644
00:32:31,080 --> 00:32:33,080
Speaker 1: York is that she was like every night doing shows

645
00:32:33,080 --> 00:32:36,360
Speaker 1: at the slipper Room, like having comedians on or doing

646
00:32:36,600 --> 00:32:38,040
Speaker 1: like like you know what I mean. Like she was

647
00:32:38,120 --> 00:32:40,080
Speaker 1: like she was a New York artist, she was a

648
00:32:40,120 --> 00:32:43,720
Speaker 1: New York art community is so important doing her very

649
00:32:44,000 --> 00:32:46,040
Speaker 1: different version of like what you and I were doing.

650
00:32:46,160 --> 00:32:48,520
Speaker 1: Not to compare things, but it's like you and I

651
00:32:48,600 --> 00:32:51,040
Speaker 1: would like bring our fucking props to like shows and

652
00:32:51,200 --> 00:32:53,480
Speaker 1: like be on lineups with people, and that's how we

653
00:32:53,520 --> 00:32:55,400
Speaker 1: got to meet people, and that's why we still keep

654
00:32:55,480 --> 00:32:58,480
Speaker 1: in touch with these people and still have these relationships

655
00:32:58,520 --> 00:33:02,960
Speaker 1: that we cultivate. Like I completely I love that this

656
00:33:03,120 --> 00:33:05,880
Speaker 1: is the thing that she's like really returning to. She

657
00:33:06,120 --> 00:33:09,360
Speaker 1: is like grounded and happy and like really inspired in

658
00:33:09,400 --> 00:33:13,480
Speaker 1: a way that like we haven't seen in a long time,

659
00:33:13,920 --> 00:33:16,040
Speaker 1: not since Chromatica. But that was like during COVID when

660
00:33:16,080 --> 00:33:17,880
Speaker 1: like we couldn't really see it, she wasn't really out

661
00:33:17,920 --> 00:33:21,040
Speaker 1: there doing too much press for it, And it feels

662
00:33:21,040 --> 00:33:22,760
Speaker 1: like in the last five years she's really been in

663
00:33:22,840 --> 00:33:25,960
Speaker 1: that place. And I just love that she that we

664
00:33:26,440 --> 00:33:28,480
Speaker 1: got to intersect at all, yeah, with her, that you

665
00:33:28,560 --> 00:33:30,840
Speaker 1: and I did, that the show that SNL did, she's

666
00:33:30,920 --> 00:33:32,600
Speaker 1: on like a mission of joy too. I feel like

667
00:33:32,680 --> 00:33:37,880
Speaker 1: the the like emotional landscape of Chromatica was different, yeah,

668
00:33:37,880 --> 00:33:40,040
Speaker 1: because it came from a different place, like she's on

669
00:33:40,160 --> 00:33:41,920
Speaker 1: record saying, I came from a place of real pain,

670
00:33:42,000 --> 00:33:47,040
Speaker 1: and so she she's so clearly joyful right now.

671
00:33:47,240 --> 00:33:51,160
Speaker 2: And there was something about, like even with watching her

672
00:33:51,240 --> 00:33:53,720
Speaker 2: to bounce from sketch to sketch at SNL et cetera,

673
00:33:53,880 --> 00:33:57,360
Speaker 2: like watching her do the press that she's doing surrounding

674
00:33:57,680 --> 00:34:00,280
Speaker 2: Mayhem and that she involved us in that was so

675
00:34:01,280 --> 00:34:03,560
Speaker 2: lovely and you know, it's just it feels like it's

676
00:34:03,600 --> 00:34:06,040
Speaker 2: a really good moment. I also think, you know, I'm

677
00:34:06,120 --> 00:34:08,520
Speaker 2: obviously sitting her gagged that you're singing in that sketch,

678
00:34:08,560 --> 00:34:11,560
Speaker 2: but I don't think she's sounded better in years. And

679
00:34:11,880 --> 00:34:14,640
Speaker 2: we were saying to her, like obviously on the album

680
00:34:14,760 --> 00:34:17,880
Speaker 2: the the way that she sings is just so mind blowing.

681
00:34:17,920 --> 00:34:20,440
Speaker 2: But you know, I think it's the best singing that

682
00:34:20,520 --> 00:34:22,879
Speaker 2: she's don in a real which is obviously saying something

683
00:34:22,960 --> 00:34:25,400
Speaker 2: She's one of the greats, but perfect celebrity.

684
00:34:26,000 --> 00:34:28,319
Speaker 1: You kill me. Even at the end of How Bad

685
00:34:28,320 --> 00:34:30,880
Speaker 1: Do You Want Me? It is happening again where I

686
00:34:31,000 --> 00:34:33,040
Speaker 1: listened to an album that I do get I love

687
00:34:33,239 --> 00:34:35,279
Speaker 1: everything on the album, but I get stuck on one.

688
00:34:35,360 --> 00:34:39,120
Speaker 1: So normal, it happens every time something comes out. I

689
00:34:39,160 --> 00:34:42,080
Speaker 1: get stuck on one song and just can't get over it.

690
00:34:48,080 --> 00:34:48,960
Speaker 3: I love it.

691
00:34:49,480 --> 00:34:52,359
Speaker 1: It's so interesting watching the fans discuss that song. Well,

692
00:34:52,360 --> 00:34:54,680
Speaker 1: you know, but Bobby, Bobby Campbell was saying, like the

693
00:34:54,800 --> 00:34:56,600
Speaker 1: day of the album coming out, he goes It's just

694
00:34:56,719 --> 00:34:59,359
Speaker 1: so interesting because like so much of what the fans

695
00:34:59,400 --> 00:35:01,959
Speaker 1: are saying are just echoes of what you and Matt

696
00:35:02,040 --> 00:35:04,560
Speaker 1: were saying in that we listened to it. We listened

697
00:35:04,600 --> 00:35:06,800
Speaker 1: to it, yeah, and like it never crossed their minds.

698
00:35:06,800 --> 00:35:08,560
Speaker 1: They were like, oh, I guess it does sound like

699
00:35:08,600 --> 00:35:09,279
Speaker 1: a tailor's song.

700
00:35:09,200 --> 00:35:11,480
Speaker 2: Because I did say, forty five seconds into listening to

701
00:35:11,520 --> 00:35:13,160
Speaker 2: How Bad Do You Want Me? I did say, this

702
00:35:13,280 --> 00:35:16,279
Speaker 2: is giving Taylor and Bobby was like really yeah, And

703
00:35:16,600 --> 00:35:18,560
Speaker 2: I was like, but is it not? Like it's sort

704
00:35:18,560 --> 00:35:22,279
Speaker 2: of and that has I will drag myself now, and

705
00:35:22,320 --> 00:35:24,279
Speaker 2: I will also drag everyone who's kind of saying that.

706
00:35:24,400 --> 00:35:27,480
Speaker 2: And here's why I don't get upset yet. What I'm

707
00:35:27,520 --> 00:35:31,200
Speaker 2: gonna say is Taylor didn't invent that kind of pop music.

708
00:35:31,400 --> 00:35:32,320
Speaker 1: Go back to the fame.

709
00:35:32,800 --> 00:35:36,600
Speaker 2: Like before Taylor was doing pop, like Lady Gaga had

710
00:35:36,640 --> 00:35:39,040
Speaker 2: big emotional pop songs like Papa Razzi, you know what

711
00:35:39,120 --> 00:35:41,120
Speaker 2: I mean, Like that's a big emotional pop song.

712
00:35:41,160 --> 00:35:43,880
Speaker 1: And like Gaga also has roots in this kind of thing,

713
00:35:43,920 --> 00:35:45,840
Speaker 1: she hasn't done it in a while, right, right, right,

714
00:35:45,960 --> 00:35:48,920
Speaker 1: But I feel like to give this entire genre to

715
00:35:49,000 --> 00:35:52,279
Speaker 1: Taylor speaks a little bit to like Taylor's omnipresence, which

716
00:35:52,320 --> 00:35:56,560
Speaker 1: I guess is understandable. But let's not say this isn't

717
00:35:56,600 --> 00:35:58,920
Speaker 1: a Gaga song, because it's very much a Gaga song

718
00:35:59,000 --> 00:36:02,359
Speaker 1: if you give it's broad I think I just love

719
00:36:02,440 --> 00:36:04,920
Speaker 1: that I'm in this. I like that I'm able to

720
00:36:05,440 --> 00:36:07,799
Speaker 1: radiate out from this album and connect it to other

721
00:36:08,000 --> 00:36:10,239
Speaker 1: Gaga things where I'm like, yeah, this is the same

722
00:36:10,360 --> 00:36:14,320
Speaker 1: woman who sang fucking Edge of Glory, which is basically

723
00:36:14,560 --> 00:36:19,640
Speaker 1: like a Springsteen song who sang shallow obviously yeah, like

724
00:36:20,800 --> 00:36:23,880
Speaker 1: and everything off of jo Wanne and everything, and like

725
00:36:24,320 --> 00:36:27,560
Speaker 1: Rick Rubenshin on art pop, it's like she's so expansive

726
00:36:27,600 --> 00:36:30,320
Speaker 1: as an artist, like it's a culmination. It's it's like

727
00:36:30,920 --> 00:36:33,000
Speaker 1: she's my favorite, She's my favorite.

728
00:36:33,120 --> 00:36:37,680
Speaker 2: It name another legend anyway, All right, now, do we

729
00:36:37,760 --> 00:36:40,239
Speaker 2: feel like we did a culture catch up? Is there

730
00:36:40,239 --> 00:36:42,960
Speaker 2: anything that we missed that people are gonna be saying, well,

731
00:36:43,120 --> 00:36:45,799
Speaker 2: we missed it, which is doesn't feel good?

732
00:36:45,920 --> 00:36:48,800
Speaker 1: Doesn't feel good? No, God, we don't like that. No.

733
00:36:48,920 --> 00:36:50,719
Speaker 1: I think I think we covered our basis and now

734
00:36:51,920 --> 00:36:56,040
Speaker 1: we present to you are very very We don't know

735
00:36:56,120 --> 00:36:57,960
Speaker 1: what the conversation is yet because we haven't had it.

736
00:36:58,120 --> 00:37:00,640
Speaker 1: I actually I have some thoughts about things to ask

737
00:37:00,760 --> 00:37:03,880
Speaker 1: her me too. Wouldn't you believe it? Wouldn't you believe it?

738
00:37:03,960 --> 00:37:06,600
Speaker 1: We're so excited to talk to Kate Blanchette here it is.

739
00:37:07,120 --> 00:37:23,480
Speaker 1: Our conversation with two time Academy Awarde Ulsa is calling

740
00:37:23,760 --> 00:37:27,160
Speaker 1: while we're sitting here was one of the greatest ever, truly, truly,

741
00:37:27,239 --> 00:37:29,759
Speaker 1: truly one of the greatest ever. Okay, I mean, we're

742
00:37:29,880 --> 00:37:32,480
Speaker 1: not gonna waste any time she's here. We've done a

743
00:37:32,520 --> 00:37:37,680
Speaker 1: whole preamble already. Two time Oscar winner Countless Beftiz and.

744
00:37:38,080 --> 00:37:40,840
Speaker 2: The winner of the Kate Blanchette Award for Good Acting

745
00:37:41,080 --> 00:37:43,760
Speaker 2: at the Lost coult Rasos Cultural Awards, which I believe

746
00:37:43,920 --> 00:37:46,600
Speaker 2: gagged the audience harder than anything that anything else.

747
00:37:46,880 --> 00:37:48,879
Speaker 1: It was a harder gag than even when, like I'm

748
00:37:48,880 --> 00:37:51,160
Speaker 1: gonna say, Taylor sent in two videos and that was

749
00:37:51,200 --> 00:37:55,160
Speaker 1: a gag. But when Kate Blanchette sent a I was

750
00:37:55,160 --> 00:37:56,799
Speaker 1: gonna say wordless, but no, you did say the words

751
00:37:57,120 --> 00:38:00,480
Speaker 1: I want. Yes, you know, confetti went up that air.

752
00:38:00,680 --> 00:38:03,000
Speaker 1: It was a huge acceptance. Small man, if your dog

753
00:38:03,080 --> 00:38:04,520
Speaker 1: got scared, yeah it was.

754
00:38:04,800 --> 00:38:06,600
Speaker 3: It was a big moment for everybody.

755
00:38:06,840 --> 00:38:10,320
Speaker 2: Yes, well it deserved it. I mean, this is the

756
00:38:10,400 --> 00:38:12,879
Speaker 2: star of Black Bag, which is out this Friday, which

757
00:38:12,920 --> 00:38:15,920
Speaker 2: we saw. We love Soderbergh's new one. I mean, so

758
00:38:16,120 --> 00:38:19,760
Speaker 2: exciting and let's waste no more time. Everyone, Please welcome

759
00:38:19,800 --> 00:38:20,360
Speaker 2: into your ears.

760
00:38:20,400 --> 00:38:24,520
Speaker 3: Ok thank you, thanks for having me.

761
00:38:24,680 --> 00:38:29,440
Speaker 1: Okay, we just discussed a shoe theory. Yeah tell us this.

762
00:38:29,719 --> 00:38:34,480
Speaker 3: No, I was told today while I was wearing white sneakers.

763
00:38:34,840 --> 00:38:37,880
Speaker 3: If you wear white sneakers. It means you're not getting

764
00:38:37,920 --> 00:38:41,000
Speaker 3: any but you are not a fornicator. And I just went,

765
00:38:41,160 --> 00:38:46,279
Speaker 3: hang on a minute. And I've been sending out really

766
00:38:46,400 --> 00:38:48,560
Speaker 3: bad signals for quite a long time. And I have

767
00:38:49,160 --> 00:38:52,920
Speaker 3: three pairs which I wear. I alternate, so I'm basically

768
00:38:53,080 --> 00:38:55,320
Speaker 3: in Well I'm not today, I'm wearing heels, but a

769
00:38:55,440 --> 00:38:58,920
Speaker 3: lot of the time I'm sending out non fornications and

770
00:38:59,200 --> 00:38:59,920
Speaker 3: even signal.

771
00:39:00,080 --> 00:39:01,960
Speaker 1: Do this person seem like an authority on this or

772
00:39:02,000 --> 00:39:03,360
Speaker 1: were you like, okay, he said it.

773
00:39:03,400 --> 00:39:07,200
Speaker 3: With great authority, but I was, and I was very alarmed.

774
00:39:07,560 --> 00:39:10,040
Speaker 3: You know, you think you get dressed, you're getting dressed

775
00:39:10,080 --> 00:39:13,600
Speaker 3: for yourself, right, you don't over well, I mean I

776
00:39:13,719 --> 00:39:17,560
Speaker 3: didn't overthink the sequence. You're in the right place, but

777
00:39:17,680 --> 00:39:19,840
Speaker 3: you know you don't. You don't think that's a signal

778
00:39:19,920 --> 00:39:23,040
Speaker 3: you're sending out right? Never maybe you were a nun's

779
00:39:23,080 --> 00:39:27,400
Speaker 3: habit or absiny and gloves you think maybe that?

780
00:39:27,600 --> 00:39:29,440
Speaker 1: So is that what this person was saying, like it's

781
00:39:29,440 --> 00:39:31,320
Speaker 1: a it's a chastity signal?

782
00:39:31,840 --> 00:39:33,640
Speaker 3: Like well, I don't know. It seemed to be a

783
00:39:33,680 --> 00:39:35,920
Speaker 3: little bit like wearing your keys on. Whichever is that

784
00:39:36,160 --> 00:39:36,320
Speaker 3: is that?

785
00:39:36,400 --> 00:39:39,239
Speaker 1: Really? Eighties? Wait, what's that about like.

786
00:39:41,400 --> 00:39:46,680
Speaker 3: So much seventies and eighties. I'm gay and I know

787
00:39:46,880 --> 00:39:49,759
Speaker 3: that like as like a as like a way to

788
00:39:49,920 --> 00:39:53,160
Speaker 3: like say you see that. So if you do that,

789
00:39:53,239 --> 00:39:54,360
Speaker 3: does that mean I'm available?

790
00:39:54,719 --> 00:39:55,720
Speaker 1: Oh? I'm availing.

791
00:39:55,880 --> 00:39:58,120
Speaker 2: Everything I do is shouting that I'm available. And I

792
00:39:58,200 --> 00:40:01,800
Speaker 2: also want to say I wear sneakers a lot. And

793
00:40:01,880 --> 00:40:04,520
Speaker 2: you were saying I don't have problems before we rolled it.

794
00:40:04,640 --> 00:40:07,520
Speaker 3: Now what sex problems? You don't have problems getting it?

795
00:40:07,800 --> 00:40:10,680
Speaker 2: No, I'm saying my sluttiest times were when I was

796
00:40:10,800 --> 00:40:13,479
Speaker 2: in a white converse. I used to wear a white

797
00:40:13,600 --> 00:40:16,560
Speaker 2: leather converse to like weddings where I was singing.

798
00:40:16,360 --> 00:40:18,000
Speaker 3: But you were you wearing anything else?

799
00:40:18,360 --> 00:40:19,680
Speaker 1: I was wearing like a blue.

800
00:40:19,560 --> 00:40:22,640
Speaker 2: Suit or a red suit my wedding sort of drag,

801
00:40:23,200 --> 00:40:25,440
Speaker 2: and then a white leather converse because I think I'm

802
00:40:25,480 --> 00:40:27,360
Speaker 2: gay and can get away with it. You can go

803
00:40:27,400 --> 00:40:28,880
Speaker 2: to a straight wedding and you can kind of take

804
00:40:28,920 --> 00:40:30,000
Speaker 2: a swing with the shoe.

805
00:40:30,320 --> 00:40:31,880
Speaker 3: Okay, you know what I mean, But not with a

806
00:40:31,960 --> 00:40:35,239
Speaker 3: white converse. Apparently, did you get did you get any

807
00:40:35,239 --> 00:40:35,880
Speaker 3: of that? Each I did?

808
00:40:35,960 --> 00:40:38,560
Speaker 1: I hooked up with the bride, so it's scrubbish.

809
00:40:38,719 --> 00:40:40,280
Speaker 3: Yes, I don't need to be worried.

810
00:40:40,440 --> 00:40:40,640
Speaker 1: You can.

811
00:40:41,000 --> 00:40:42,759
Speaker 3: You can put them back on my bunion will be

812
00:40:42,840 --> 00:40:44,560
Speaker 3: so happy you buy another pair.

813
00:40:45,080 --> 00:40:48,400
Speaker 1: I'm gonna buy not that honestly though, because there, Why

814
00:40:48,440 --> 00:40:50,520
Speaker 1: did they get a little scuff? You need a backup

815
00:40:50,560 --> 00:40:52,160
Speaker 1: in a backup back, That's what I said.

816
00:40:52,280 --> 00:40:54,799
Speaker 3: I said in a very apologetic way. I said, they're

817
00:40:54,800 --> 00:40:57,680
Speaker 3: a little bit scuffy and dirty. So does that mean

818
00:40:59,360 --> 00:41:03,120
Speaker 3: street that looks desperate? That's like I'm trying to pretend

819
00:41:03,160 --> 00:41:05,799
Speaker 3: that I'm not wearing them anyway. I was freaked out

820
00:41:06,440 --> 00:41:08,880
Speaker 3: by a message that I didn't know that I was sending.

821
00:41:09,520 --> 00:41:12,920
Speaker 1: I don't believe anyone believes that you're not getting any No,

822
00:41:13,080 --> 00:41:15,640
Speaker 1: you don't give celibate, okay, I don't give celibate. No,

823
00:41:17,480 --> 00:41:18,520
Speaker 1: Thank you so much.

824
00:41:19,880 --> 00:41:20,960
Speaker 3: I gave in to the reference.

825
00:41:22,440 --> 00:41:26,600
Speaker 1: Could you play celibate? Celibate? Have you played a none? Not? Not?

826
00:41:26,840 --> 00:41:30,680
Speaker 3: Intentionally played it none? An alcoholic none?

827
00:41:31,239 --> 00:41:32,680
Speaker 1: Yes? An alcoholic none?

828
00:41:32,760 --> 00:41:32,880
Speaker 3: Yes?

829
00:41:32,960 --> 00:41:33,520
Speaker 1: Which film was that?

830
00:41:33,719 --> 00:41:36,520
Speaker 3: Then prostrated herself on the grave of a priest? But

831
00:41:36,640 --> 00:41:41,200
Speaker 3: I don't think that that was sexual intentionally. But then, yeah,

832
00:41:41,360 --> 00:41:44,760
Speaker 3: I see, And did it feel right in the body?

833
00:41:44,880 --> 00:41:46,480
Speaker 3: Did it feel good in the spirit?

834
00:41:46,719 --> 00:41:47,600
Speaker 1: Like you do it again.

835
00:41:47,760 --> 00:41:50,480
Speaker 3: Yeah, I didn't wear underwear, okay, but it was set

836
00:41:50,560 --> 00:41:52,840
Speaker 3: back in time, you know. The worst speaking of not

837
00:41:52,880 --> 00:41:56,000
Speaker 3: wearing underwear, where I played Queen of the Elves, they

838
00:41:56,080 --> 00:41:59,640
Speaker 3: gave they gave the I don't know the toy man

839
00:41:59,680 --> 00:42:02,680
Speaker 3: of fact sing thing to some company, and a lot

840
00:42:02,719 --> 00:42:05,319
Speaker 3: of the Hobbits were very upset because they didn't feel

841
00:42:05,320 --> 00:42:07,480
Speaker 3: that those toys were going to be made properly. And

842
00:42:07,680 --> 00:42:09,440
Speaker 3: my I had a little and then I had one

843
00:42:09,520 --> 00:42:15,640
Speaker 3: child and I have four, so clearly born. But I

844
00:42:16,280 --> 00:42:19,959
Speaker 3: gave the elf toy of me Galadriel to my son,

845
00:42:20,840 --> 00:42:24,200
Speaker 3: and he was really upset because he said, else don't

846
00:42:24,239 --> 00:42:27,680
Speaker 3: wear underwear, and they hadn't bothered to put underwear on

847
00:42:27,840 --> 00:42:28,800
Speaker 3: the elf toy.

848
00:42:28,760 --> 00:42:29,840
Speaker 1: But they did for the Hobbits.

849
00:42:29,920 --> 00:42:31,799
Speaker 3: You said, no, no, But the Hobbits were upset because

850
00:42:31,800 --> 00:42:33,600
Speaker 3: they didn't feel the toys were going to be made properly,

851
00:42:33,640 --> 00:42:35,960
Speaker 3: and they weren't because I wore underwears and elf. I

852
00:42:36,000 --> 00:42:37,320
Speaker 3: think elves do wear underwear.

853
00:42:37,840 --> 00:42:39,560
Speaker 1: I think. So when you see the Hobbits were upset,

854
00:42:39,560 --> 00:42:41,000
Speaker 1: do you mean the actress who play the Hobbits? We

855
00:42:41,040 --> 00:42:41,680
Speaker 1: shore you're talking.

856
00:42:41,520 --> 00:42:46,239
Speaker 3: About my friends, the hobby community. I meant, I meant

857
00:42:46,280 --> 00:42:49,040
Speaker 3: the heart the actor Hobbits, not really Hobbits.

858
00:42:49,000 --> 00:42:54,440
Speaker 1: Right, really Hobbits. Yeah, I guess I have not ever

859
00:42:54,560 --> 00:42:56,320
Speaker 1: had the experience of having a toy made of me

860
00:42:56,680 --> 00:42:59,080
Speaker 1: and you will. I don't think that will be that

861
00:42:59,239 --> 00:43:02,320
Speaker 1: injustice be corrected. Do you have input in that process?

862
00:43:02,840 --> 00:43:05,360
Speaker 3: Well, no, clearly I didn't, because if they had asked me,

863
00:43:05,719 --> 00:43:08,600
Speaker 3: I would have I would have said they had knitted underwear. Yeah,

864
00:43:08,960 --> 00:43:12,840
Speaker 3: knitted I think hilandriol out of elf kind of web.

865
00:43:13,239 --> 00:43:15,560
Speaker 1: Yeah sure, yeah, but if you're immortal, if you're in

866
00:43:15,680 --> 00:43:18,880
Speaker 1: Elf in Tolkien's world in Middle Earth, it's like you.

867
00:43:18,920 --> 00:43:20,680
Speaker 3: Don't need to wash your underwear, but you need to

868
00:43:20,719 --> 00:43:23,120
Speaker 3: wear it. Yes, okay, yeah, all right.

869
00:43:23,239 --> 00:43:25,560
Speaker 1: Wow. I never thought about their process in terms of

870
00:43:25,719 --> 00:43:26,880
Speaker 1: like their Sartorius.

871
00:43:26,920 --> 00:43:29,680
Speaker 3: You know, we should see this toy. It was discussing

872
00:43:30,000 --> 00:43:32,480
Speaker 3: it's like Bobby not having gentitles. Do you think after

873
00:43:32,600 --> 00:43:35,000
Speaker 3: the Bobby movie that the Bobbies are now going to

874
00:43:35,080 --> 00:43:37,880
Speaker 3: have genitals? I mean, that's what kids learn about stuff.

875
00:43:38,000 --> 00:43:38,760
Speaker 1: You know. What's funny.

876
00:43:39,000 --> 00:43:41,440
Speaker 2: One time I remember seeing when I was a kid,

877
00:43:41,760 --> 00:43:44,319
Speaker 2: there was a ken with like more of a lump there,

878
00:43:44,800 --> 00:43:46,920
Speaker 2: and I was being it did weird me out, and

879
00:43:47,000 --> 00:43:48,759
Speaker 2: I was like, if people thought this was something that

880
00:43:48,880 --> 00:43:50,960
Speaker 2: needed to be corrected, I can now tell you as

881
00:43:51,000 --> 00:43:53,120
Speaker 2: someone who's seen a Ken with a penis, we didn't

882
00:43:53,120 --> 00:43:53,360
Speaker 2: need this.

883
00:43:53,719 --> 00:43:55,840
Speaker 3: But it was a lumpu is not a penis. But

884
00:43:55,920 --> 00:43:58,480
Speaker 3: it was sugges something you need to get checked.

885
00:43:58,760 --> 00:43:59,920
Speaker 1: Yeah, right, it help?

886
00:44:00,480 --> 00:44:04,719
Speaker 3: Yeah that, But I know, I know I didn't learn

887
00:44:04,719 --> 00:44:07,200
Speaker 3: a lot from Bobby's growing up or Ken's.

888
00:44:07,239 --> 00:44:07,880
Speaker 1: What did you play with?

889
00:44:08,200 --> 00:44:10,520
Speaker 3: What did I play with as a kid? I had?

890
00:44:10,719 --> 00:44:13,680
Speaker 3: I had a ballerina Bobby and so the crown you

891
00:44:13,719 --> 00:44:17,120
Speaker 3: could turn her around. I had one of which I

892
00:44:17,400 --> 00:44:20,640
Speaker 3: loved is I had one of those dolls, which was

893
00:44:20,880 --> 00:44:23,680
Speaker 3: a Red Riding Hood wolf doll. When you turned it

894
00:44:23,840 --> 00:44:26,720
Speaker 3: upside down, it was the wolf and the other way around.

895
00:44:26,800 --> 00:44:29,200
Speaker 3: So you don't you can get out of the vine, yes.

896
00:44:30,680 --> 00:44:31,000
Speaker 1: Skirt?

897
00:44:32,040 --> 00:44:34,000
Speaker 3: Well, yes, when it was the wolf right?

898
00:44:34,080 --> 00:44:37,319
Speaker 1: Oh, but the wolf was dressed as the grandmother. Oh wait?

899
00:44:37,640 --> 00:44:39,399
Speaker 1: Was it was it Red Riding Hood and the wolf,

900
00:44:39,480 --> 00:44:41,040
Speaker 1: because that changes the story in a way.

901
00:44:41,040 --> 00:44:42,000
Speaker 3: It wasn't the grandmother.

902
00:44:42,320 --> 00:44:44,839
Speaker 1: Oh wow, But the wolf was dressed as the grand Yeah,

903
00:44:44,840 --> 00:44:45,480
Speaker 1: but the skirt.

904
00:44:45,320 --> 00:44:47,560
Speaker 3: Was kind of brown. It was a bit amish. It

905
00:44:47,640 --> 00:44:50,240
Speaker 3: was an amish I got, of course.

906
00:44:50,200 --> 00:44:52,239
Speaker 1: God, what performance they were giving?

907
00:44:52,320 --> 00:44:53,320
Speaker 3: What did you guys play with?

908
00:44:54,000 --> 00:44:56,440
Speaker 1: I had an Aladdin Ken doll and he had the

909
00:44:56,520 --> 00:44:59,640
Speaker 1: suggestion of a lump as well, okay, and kind of

910
00:44:59,640 --> 00:45:02,359
Speaker 1: a queer awakening for me. I went, well, he's really

911
00:45:02,400 --> 00:45:04,880
Speaker 1: handsome and I'd like to see him naked, right, you know,

912
00:45:05,160 --> 00:45:08,840
Speaker 1: I think? Okay. So you're saying children learn from these dolls, Well.

913
00:45:08,719 --> 00:45:11,480
Speaker 3: They could, right, they could learn from the dolls.

914
00:45:11,680 --> 00:45:13,480
Speaker 1: I just I'm not learning as much as I am

915
00:45:13,560 --> 00:45:18,200
Speaker 1: just like intrigued by my own like fascination, you know

916
00:45:18,239 --> 00:45:19,320
Speaker 1: what I mean, Like, I'm.

917
00:45:19,440 --> 00:45:21,680
Speaker 3: Would you definitely with those dolls? They're made to be

918
00:45:22,000 --> 00:45:22,960
Speaker 3: dressed and undressed?

919
00:45:23,080 --> 00:45:24,279
Speaker 1: Yes, so it could be.

920
00:45:25,080 --> 00:45:27,600
Speaker 3: I mean then when it's your body starts to change.

921
00:45:27,360 --> 00:45:29,520
Speaker 1: And you go, oh okay, yeah. I think one of

922
00:45:29,520 --> 00:45:30,080
Speaker 1: my favorites is.

923
00:45:30,160 --> 00:45:32,959
Speaker 3: No longer a lump. It's something that's up doing something, it's.

924
00:45:32,920 --> 00:45:33,879
Speaker 1: Meaning something else.

925
00:45:34,160 --> 00:45:36,279
Speaker 2: One of my favorite parts of the Barbie movie was

926
00:45:36,320 --> 00:45:39,200
Speaker 2: the depiction of like the fucked Barbie that Kate McKinnon played,

927
00:45:39,239 --> 00:45:41,440
Speaker 2: the one that was just throwed hard and put away wet.

928
00:45:41,760 --> 00:45:44,320
Speaker 2: Because I really was the king of the Barbies. My

929
00:45:44,440 --> 00:45:46,200
Speaker 2: sister had dozens.

930
00:45:45,800 --> 00:45:48,719
Speaker 3: Of them for some reason, and and you were never

931
00:45:48,760 --> 00:45:49,239
Speaker 3: given any.

932
00:45:49,600 --> 00:45:52,920
Speaker 1: So no, but I kind of was. I did. I remember.

933
00:45:52,960 --> 00:45:55,520
Speaker 2: Actually one of my earliest memories I'm from Long Island

934
00:45:55,880 --> 00:45:58,719
Speaker 2: was sitting on Santa's lap and asking for a barbie and.

935
00:45:58,760 --> 00:46:00,600
Speaker 1: His reaction being really negative.

936
00:46:00,680 --> 00:46:03,600
Speaker 2: Oh and so I could never ask for one because

937
00:46:03,640 --> 00:46:05,920
Speaker 2: it was really explicit in that moment, like, don't ask

938
00:46:06,000 --> 00:46:08,799
Speaker 2: for that, Like, yeah, sort of Long Island man playing

939
00:46:08,880 --> 00:46:10,279
Speaker 2: Santa really instance.

940
00:46:10,239 --> 00:46:11,960
Speaker 3: Creepy anyway, exactly.

941
00:46:12,000 --> 00:46:13,920
Speaker 1: I mean it's really that. That's all a lot.

942
00:46:14,080 --> 00:46:16,680
Speaker 3: We did the visit to to the grotto with our

943
00:46:16,760 --> 00:46:19,000
Speaker 3: kids one time when they were little, and they were like,

944
00:46:19,120 --> 00:46:20,239
Speaker 3: this is wrong, and.

945
00:46:20,239 --> 00:46:22,040
Speaker 1: You're sort of watching it as a parent, like seeing

946
00:46:22,120 --> 00:46:24,120
Speaker 1: the pageantry a little differently, I would imagine.

947
00:46:24,280 --> 00:46:26,759
Speaker 3: Yeah, yeah, yeah, I think I was quite traumatized by

948
00:46:26,880 --> 00:46:28,440
Speaker 3: the Santa Claus Grotto growing up.

949
00:46:28,680 --> 00:46:28,879
Speaker 5: Yeah.

950
00:46:28,960 --> 00:46:33,439
Speaker 3: All the photos were like kids can smell the booze. Yeah,

951
00:46:34,200 --> 00:46:37,160
Speaker 3: parents taking the photo is slightly removed so they can't

952
00:46:37,160 --> 00:46:37,480
Speaker 3: smell it.

953
00:46:37,640 --> 00:46:39,080
Speaker 1: They're not within an inch of Yeah.

954
00:46:39,160 --> 00:46:41,320
Speaker 3: Yeah, but I'm sure that was before they did the

955
00:46:41,600 --> 00:46:42,400
Speaker 3: safety chase.

956
00:46:42,560 --> 00:46:45,040
Speaker 2: Yes, i mean it's like like allowing your children to

957
00:46:45,080 --> 00:46:46,880
Speaker 2: go over there. Have like a private conversation with this,

958
00:46:47,080 --> 00:46:47,759
Speaker 2: like with a.

959
00:46:47,840 --> 00:46:50,520
Speaker 3: Dude who's wearing you cannot recognize.

960
00:46:50,760 --> 00:46:54,920
Speaker 1: Yeah, yeah, it's just truly ensconced in like all this

961
00:46:55,120 --> 00:46:58,400
Speaker 1: like fun friendly stuff and it's just it's dark. It

962
00:46:58,680 --> 00:47:00,920
Speaker 1: belies something very it does very in.

963
00:47:01,239 --> 00:47:03,239
Speaker 2: The Barbie thing. I remember for us, me and my

964
00:47:03,320 --> 00:47:06,080
Speaker 2: sister was a lot about survival. We would play Titanic

965
00:47:06,160 --> 00:47:08,480
Speaker 2: with the Barbies and like they would they would slowly

966
00:47:09,480 --> 00:47:13,239
Speaker 2: pass away to the devastation that was caused by the

967
00:47:13,320 --> 00:47:15,200
Speaker 2: Titanic that iceberg in nineteen.

968
00:47:14,960 --> 00:47:17,120
Speaker 3: Twenty and the one that remained got to be undressed.

969
00:47:17,400 --> 00:47:20,440
Speaker 3: It was as it was.

970
00:47:20,440 --> 00:47:22,880
Speaker 2: Always like this is me as a kid. It was

971
00:47:22,880 --> 00:47:26,800
Speaker 2: always like the prettiest Barbie. Yeah, she wore like a blue,

972
00:47:27,360 --> 00:47:30,480
Speaker 2: very shiny mini dress, and it was it was always her.

973
00:47:30,560 --> 00:47:32,319
Speaker 2: She was always the sole survivor of the rose as

974
00:47:32,360 --> 00:47:32,600
Speaker 2: it were.

975
00:47:32,880 --> 00:47:36,560
Speaker 1: Uh huh. But yeah, no, I do remember like really

976
00:47:36,680 --> 00:47:39,239
Speaker 1: loving that that group of that community of women that

977
00:47:39,440 --> 00:47:41,600
Speaker 1: was the Barbies, the ensemble cast.

978
00:47:41,880 --> 00:47:44,279
Speaker 3: I know, when you never had your own, but I

979
00:47:44,360 --> 00:47:46,839
Speaker 3: only had the one. I found them boring in the end, right,

980
00:47:47,280 --> 00:47:50,120
Speaker 3: I loved the movie, but I found yeah, the actual

981
00:47:50,480 --> 00:47:54,359
Speaker 3: So my kids have never had yeah, barbies probably good.

982
00:47:54,400 --> 00:47:58,200
Speaker 1: Would you besides Galadriel, would you want other characters that

983
00:47:58,280 --> 00:48:00,680
Speaker 1: you portrayed to be dolls? I feel like I'm Sheba Heart.

984
00:48:00,960 --> 00:48:02,880
Speaker 1: Sheba Heart doll would be very fun, a notes on

985
00:48:02,920 --> 00:48:04,879
Speaker 1: a scandal dolls. That would be very fun.

986
00:48:05,000 --> 00:48:07,880
Speaker 3: That would be interesting, that would be interesting. There were

987
00:48:07,960 --> 00:48:10,440
Speaker 3: some really good games you could play with those dogs.

988
00:48:10,239 --> 00:48:10,960
Speaker 1: You know what's funny.

989
00:48:11,560 --> 00:48:13,799
Speaker 2: Separately of each other, we were like, we obviously watched

990
00:48:13,840 --> 00:48:17,400
Speaker 2: Black Bag phenomenal, and then we were we each picked

991
00:48:17,920 --> 00:48:19,400
Speaker 2: one of your other movies watching last Night.

992
00:48:19,440 --> 00:48:21,759
Speaker 1: Didn't tell each other it was notes on It is

993
00:48:21,800 --> 00:48:24,959
Speaker 1: one of our favorite films. It is fun every time.

994
00:48:25,880 --> 00:48:31,520
Speaker 3: Oh god, she turns ninety something, she's just had her birthday.

995
00:48:31,800 --> 00:48:38,200
Speaker 1: Yeah, Temple, yes, Temple, how old I am? Yeah?

996
00:48:38,280 --> 00:48:42,080
Speaker 2: But she was fabulous, She's amazing. I wanted to ask, like,

997
00:48:42,680 --> 00:48:48,440
Speaker 2: the really just pronounced queerness of your filmography is that

998
00:48:48,600 --> 00:48:51,640
Speaker 2: like it? It's really it's really something. I mean, I

999
00:48:51,800 --> 00:48:54,360
Speaker 2: was thinking about it, and there's there's elements.

1000
00:48:54,000 --> 00:48:56,759
Speaker 1: Of this in a lot of what you do. Really, Yeah,

1001
00:48:56,800 --> 00:48:58,560
Speaker 1: I mean tar obviously, I guess.

1002
00:48:58,719 --> 00:49:00,400
Speaker 3: I guess it's growing up in Sydney.

1003
00:49:00,719 --> 00:49:01,719
Speaker 1: Yeah, I think so.

1004
00:49:01,960 --> 00:49:04,239
Speaker 3: I spent so much time at gaining lesbian Marti Gar,

1005
00:49:04,360 --> 00:49:07,040
Speaker 3: which was just wild. I think it's been a bit

1006
00:49:07,120 --> 00:49:09,840
Speaker 3: o h and s now, but the parties were so fabulous.

1007
00:49:09,920 --> 00:49:11,239
Speaker 2: I went a couple of years ago for a World

1008
00:49:11,280 --> 00:49:13,480
Speaker 2: Pride and I was really blown away by how Sidney

1009
00:49:13,560 --> 00:49:16,440
Speaker 2: really committed to and embraced the fact that they were

1010
00:49:16,520 --> 00:49:19,280
Speaker 2: hosting Pride. It was really lovely, especially now with everything

1011
00:49:19,360 --> 00:49:21,880
Speaker 2: going on. Looking back at that, I was like, I

1012
00:49:22,040 --> 00:49:24,520
Speaker 2: wonder if an American city would go for it this hard,

1013
00:49:24,960 --> 00:49:27,760
Speaker 2: because Sydney was really felt beautiful to be there because

1014
00:49:27,960 --> 00:49:29,439
Speaker 2: it felt like a very queer city.

1015
00:49:29,719 --> 00:49:34,120
Speaker 3: Yeah, it totally is. It's occupational health and safety.

1016
00:49:34,360 --> 00:49:37,960
Speaker 1: Oh I did, I did?

1017
00:49:38,000 --> 00:49:39,200
Speaker 3: I the opening right?

1018
00:49:39,480 --> 00:49:43,080
Speaker 1: Wait? So, and you're saying, Australian Marty Gar.

1019
00:49:43,400 --> 00:49:48,480
Speaker 3: The things that went on in those rossrooms, in in

1020
00:49:48,560 --> 00:49:50,680
Speaker 3: the clubs that but you know you were probably too

1021
00:49:50,760 --> 00:49:53,319
Speaker 3: young to go to you know that they've they've all

1022
00:49:53,440 --> 00:49:54,680
Speaker 3: been kind of cordened off.

1023
00:49:54,960 --> 00:49:58,000
Speaker 1: Sure. Yeah, I feel like you would have a fun

1024
00:49:58,120 --> 00:50:00,359
Speaker 1: experience going to I think it's a vent. Are still

1025
00:50:00,400 --> 00:50:02,800
Speaker 1: happening in the world over. Yeah, I would encourage you to.

1026
00:50:03,560 --> 00:50:06,240
Speaker 1: We came out in my white sneakers and your white sneakers.

1027
00:50:06,280 --> 00:50:07,640
Speaker 3: Yeah, hey, dude, back off.

1028
00:50:07,880 --> 00:50:11,959
Speaker 1: Yeah, listen me alone. I'm not interested. Don't you see

1029
00:50:12,040 --> 00:50:12,399
Speaker 1: my feet?

1030
00:50:12,600 --> 00:50:13,880
Speaker 3: But non fornicue?

1031
00:50:14,160 --> 00:50:17,000
Speaker 2: Yeah, hello, look at the shoes. We're going to Berlin

1032
00:50:17,200 --> 00:50:18,800
Speaker 2: in a couple of weeks, We're going to go to Burkehi.

1033
00:50:19,480 --> 00:50:24,200
Speaker 3: Oh my god, yes, yes, once. It's pretty wild to

1034
00:50:24,239 --> 00:50:25,839
Speaker 3: wait in line and like you do the whole thing

1035
00:50:25,880 --> 00:50:27,759
Speaker 3: of being weak. I knew someone who knew someone who

1036
00:50:27,800 --> 00:50:28,200
Speaker 3: knew something.

1037
00:50:28,239 --> 00:50:30,320
Speaker 1: Okay, I got cha. Was this recent?

1038
00:50:31,040 --> 00:50:33,960
Speaker 3: I can't remember, maybe five six years ago? Okay, it

1039
00:50:34,080 --> 00:50:34,840
Speaker 3: was pre COVID.

1040
00:50:35,239 --> 00:50:36,879
Speaker 1: Yeah, sure, just for COVID, I guess.

1041
00:50:37,440 --> 00:50:40,080
Speaker 3: Yeah, you don't. You don't need to keep your eyes open.

1042
00:50:40,239 --> 00:50:42,880
Speaker 3: Things just happened. Oh yeah you can.

1043
00:50:43,040 --> 00:50:45,120
Speaker 1: You can close your eyes and things happen.

1044
00:50:44,960 --> 00:50:47,640
Speaker 3: And things happen. It depends, well, it depends where you are.

1045
00:50:47,760 --> 00:50:49,880
Speaker 3: It's a bit of a labyrinth. Sure, I mean, and

1046
00:50:50,000 --> 00:50:52,040
Speaker 3: look there were things and places that I did not

1047
00:50:52,160 --> 00:50:52,560
Speaker 3: go into.

1048
00:50:52,800 --> 00:50:59,200
Speaker 1: Sure, I'm a bit too for me. A bit is

1049
00:50:59,239 --> 00:51:02,160
Speaker 1: title about to I. I just want to go to

1050
00:51:02,239 --> 00:51:03,560
Speaker 1: the Did you go to the gelato stand?

1051
00:51:04,000 --> 00:51:04,200
Speaker 3: Yes?

1052
00:51:04,360 --> 00:51:06,800
Speaker 1: Okay, is this a famous thing? Yeah, there's a gelato

1053
00:51:06,800 --> 00:51:10,080
Speaker 1: stand that people like, everyone's just serving gelato. I love

1054
00:51:10,160 --> 00:51:12,000
Speaker 1: it at all, relief.

1055
00:51:13,880 --> 00:51:14,320
Speaker 3: A palate.

1056
00:51:16,360 --> 00:51:19,400
Speaker 1: Yeah, oh that's fun from the delights from the cardinal.

1057
00:51:19,960 --> 00:51:22,839
Speaker 3: Oh well, so I used to say, a research trip

1058
00:51:22,960 --> 00:51:25,000
Speaker 3: it is, how did you How did you know?

1059
00:51:25,080 --> 00:51:26,200
Speaker 1: How did you know? I don't know.

1060
00:51:26,280 --> 00:51:33,319
Speaker 3: I just assumed always working. Oh wow, Okay, I don't

1061
00:51:33,360 --> 00:51:34,279
Speaker 3: I don't want to prize it out.

1062
00:51:34,440 --> 00:51:37,200
Speaker 1: No, no, no, I was just going to say, we

1063
00:51:38,000 --> 00:51:39,440
Speaker 1: I can't tell if we want to go down the

1064
00:51:39,520 --> 00:51:41,120
Speaker 1: front of a friend of a friend route or if

1065
00:51:41,160 --> 00:51:43,440
Speaker 1: we I think it would be informative for us to

1066
00:51:43,480 --> 00:51:45,840
Speaker 1: wait in the line and being rejected.

1067
00:51:46,000 --> 00:51:47,279
Speaker 3: Yes, they won't reject you.

1068
00:51:47,680 --> 00:51:49,799
Speaker 1: I don't know. I think they may. I think I'm

1069
00:51:50,560 --> 00:51:51,240
Speaker 1: I don't think.

1070
00:51:51,120 --> 00:51:52,640
Speaker 3: You look gay at all?

1071
00:51:54,719 --> 00:51:55,520
Speaker 1: Count against us.

1072
00:51:56,840 --> 00:51:58,600
Speaker 3: I'm looking for you.

1073
00:51:59,120 --> 00:52:00,839
Speaker 1: We won't wear white shoes because what if they feel

1074
00:52:00,840 --> 00:52:02,520
Speaker 1: about what if they feel about this week? I was

1075
00:52:02,520 --> 00:52:04,279
Speaker 1: telling Dada this when she was at SNL. Was like,

1076
00:52:04,360 --> 00:52:04,960
Speaker 1: She's like, what are you doing?

1077
00:52:05,520 --> 00:52:12,600
Speaker 3: How amazed? I'mmenal, god phenomenal anyway, anyway, but the only

1078
00:52:12,680 --> 00:52:17,719
Speaker 3: thing more exciting was you in I'm not excited. I'm

1079
00:52:17,760 --> 00:52:18,200
Speaker 3: not excited.

1080
00:52:18,239 --> 00:52:22,840
Speaker 1: I was, Yeah, it was amazing volcanic. No, I did erupt.

1081
00:52:22,920 --> 00:52:25,560
Speaker 1: She she was saying that she has been turned away.

1082
00:52:26,239 --> 00:52:27,960
Speaker 1: She has been turned away from that line because they

1083
00:52:28,000 --> 00:52:30,279
Speaker 1: were like, I think the implication was she was like,

1084
00:52:30,280 --> 00:52:32,040
Speaker 1: I think it was because I was a woman and

1085
00:52:32,160 --> 00:52:33,800
Speaker 1: it was a bit too sexy of a night, a

1086
00:52:33,840 --> 00:52:35,759
Speaker 1: bit too fornic katie of a night in a way

1087
00:52:35,840 --> 00:52:40,800
Speaker 1: that was exclusive to fallacies. You know what I mean? Oh, Okay,

1088
00:52:40,960 --> 00:52:43,000
Speaker 1: So I think maybe that's the thing that happens, depending

1089
00:52:43,120 --> 00:52:43,760
Speaker 1: on and you're.

1090
00:52:43,600 --> 00:52:48,680
Speaker 3: Going to she could have bought one. Yeah, you can

1091
00:52:48,840 --> 00:52:49,800
Speaker 3: all buy a fallacy.

1092
00:52:50,239 --> 00:52:52,360
Speaker 1: You can't buy a hole. You can't buy an orifice,

1093
00:52:53,120 --> 00:52:54,080
Speaker 1: Which wouldn't you agree?

1094
00:52:54,360 --> 00:52:57,719
Speaker 4: You have many of them, so many, but don't you

1095
00:52:57,800 --> 00:53:01,080
Speaker 4: want to Like, I think buying a fact gives you

1096
00:53:01,239 --> 00:53:03,920
Speaker 4: like a degree of removal in a way that you're like, oh,

1097
00:53:04,040 --> 00:53:04,960
Speaker 4: I'm I'm.

1098
00:53:04,840 --> 00:53:07,040
Speaker 1: Purely using I can put this away. Yeah, I can

1099
00:53:07,120 --> 00:53:09,520
Speaker 1: put this away. A hole as a hole in your

1100
00:53:09,600 --> 00:53:10,560
Speaker 1: You're you're stuck with it.

1101
00:53:10,800 --> 00:53:13,160
Speaker 3: I don't mind being stuck with mine. I'm great happy.

1102
00:53:13,360 --> 00:53:15,239
Speaker 3: I don't want Tom pleased to have all the holes

1103
00:53:15,280 --> 00:53:15,440
Speaker 3: I have.

1104
00:53:15,719 --> 00:53:16,640
Speaker 1: Yes, but I'm.

1105
00:53:20,200 --> 00:53:28,000
Speaker 3: Talk to me after you've been to burg show.

1106
00:53:30,000 --> 00:53:33,040
Speaker 1: For family communities. I don't think anyone's they're not going

1107
00:53:33,080 --> 00:53:33,839
Speaker 1: to be shock by anything.

1108
00:53:34,560 --> 00:53:36,239
Speaker 3: But are you are you taking in a microphone? You

1109
00:53:36,560 --> 00:53:38,279
Speaker 3: won't be allowed to take it in unless.

1110
00:53:38,040 --> 00:53:41,400
Speaker 1: You Oh no, we're not taking But it's research. It's

1111
00:53:41,480 --> 00:53:44,040
Speaker 1: research where the phone being put away, right.

1112
00:53:44,320 --> 00:53:46,840
Speaker 3: But there's so actually, there's so few spaces that you

1113
00:53:46,920 --> 00:53:49,960
Speaker 3: can go now where you are private like that, where

1114
00:53:50,000 --> 00:53:52,799
Speaker 3: people can really That's what I loved about the late

1115
00:53:52,880 --> 00:53:56,600
Speaker 3: eighties going to all of the dance parties in Sydney. Yeah,

1116
00:53:56,760 --> 00:53:57,520
Speaker 3: for the Mardi.

1117
00:53:57,280 --> 00:53:59,480
Speaker 1: Gras is because people were just there.

1118
00:53:59,520 --> 00:54:02,120
Speaker 3: There was so present, you know, they were just together

1119
00:54:02,320 --> 00:54:06,160
Speaker 3: collectively having a great time. That was non aggressive. No

1120
00:54:06,239 --> 00:54:09,239
Speaker 3: one was being recorded, no one cared what anyone did

1121
00:54:09,520 --> 00:54:10,000
Speaker 3: the other night.

1122
00:54:10,040 --> 00:54:11,399
Speaker 2: We went to a place like that. There's a place

1123
00:54:11,440 --> 00:54:15,520
Speaker 2: called Basement. Yes, they put a tag on the phone.

1124
00:54:15,600 --> 00:54:16,479
Speaker 3: It was Yeah.

1125
00:54:16,880 --> 00:54:18,200
Speaker 1: It celebrated the idea of.

1126
00:54:18,560 --> 00:54:21,800
Speaker 3: Such a relief of I think people are profoundly relieved,

1127
00:54:21,960 --> 00:54:24,080
Speaker 3: and I feel I don't need to record this, right,

1128
00:54:24,320 --> 00:54:25,480
Speaker 3: I can just tell people or not.

1129
00:54:26,320 --> 00:54:29,759
Speaker 1: Yeah, But now it feels like that chasm between that

1130
00:54:30,040 --> 00:54:33,440
Speaker 1: kind of event, that ideal is widening from the thing

1131
00:54:33,480 --> 00:54:36,160
Speaker 1: that's very common now at like an award show. Let's say,

1132
00:54:36,239 --> 00:54:40,840
Speaker 1: where you've got lip readers. You're being photographed in lip readers.

1133
00:54:40,960 --> 00:54:41,920
Speaker 1: Oh yeah. On TikTok.

1134
00:54:41,960 --> 00:54:44,440
Speaker 2: There'll be people that are, you know, looking at a

1135
00:54:44,520 --> 00:54:46,920
Speaker 2: video of two celebrities talking to each other and at

1136
00:54:46,920 --> 00:54:50,080
Speaker 2: an show they lip read, and it looks like it

1137
00:54:50,480 --> 00:54:52,560
Speaker 2: it looks like it could be exactly what you're saying

1138
00:54:52,640 --> 00:54:54,439
Speaker 2: in a way that's a little bit odd.

1139
00:54:54,800 --> 00:54:56,520
Speaker 1: That's really what I mean.

1140
00:54:57,200 --> 00:54:59,720
Speaker 3: Do something learn ikeybana or something.

1141
00:55:00,000 --> 00:55:04,759
Speaker 1: I mean, it's like the skill that there's so many trains. Yeah. Wow,

1142
00:55:05,000 --> 00:55:08,280
Speaker 1: but that makes it feel even kind of more treacherous.

1143
00:55:08,400 --> 00:55:09,440
Speaker 3: Yeah, it is treacherous.

1144
00:55:09,600 --> 00:55:09,719
Speaker 4: You know.

1145
00:55:10,239 --> 00:55:12,600
Speaker 2: You do see celebrities nowadays on the carpet going like

1146
00:55:12,680 --> 00:55:14,439
Speaker 2: this a lot because you know those are the ones

1147
00:55:14,480 --> 00:55:16,719
Speaker 2: on TikTok and know they're at risk of being lip red.

1148
00:55:17,040 --> 00:55:20,400
Speaker 3: Yeah. Yeah, but I mean I say, I mean, it's blasphemy.

1149
00:55:20,600 --> 00:55:25,080
Speaker 3: Go back to the day when it wasn't televised, you know,

1150
00:55:25,440 --> 00:55:28,279
Speaker 3: bring that back and just have a great party where

1151
00:55:28,400 --> 00:55:30,600
Speaker 3: people can just let go. I mean, the industry is

1152
00:55:30,680 --> 00:55:33,680
Speaker 3: so scattered in such a point of which I think

1153
00:55:33,719 --> 00:55:36,640
Speaker 3: could potentially be exciting or it could be really depressing, right,

1154
00:55:36,719 --> 00:55:39,400
Speaker 3: but it's at a pivot point, and so we need

1155
00:55:39,480 --> 00:55:43,000
Speaker 3: to gather together and celebrate what it is that we

1156
00:55:43,160 --> 00:55:47,560
Speaker 3: do without it having to have any public facing. I mean,

1157
00:55:47,760 --> 00:55:49,680
Speaker 3: the fashion is great and all of that stuff. Well,

1158
00:55:49,760 --> 00:55:51,839
Speaker 3: we'll find out in the end who won or who

1159
00:55:51,960 --> 00:55:54,399
Speaker 3: didn't win, you know, but it would be so nice

1160
00:55:54,440 --> 00:55:57,760
Speaker 3: that that happened behind closed doors. A very different evening.

1161
00:55:57,960 --> 00:56:01,520
Speaker 2: You were saying that, especially after you know, the Oscars

1162
00:56:01,600 --> 00:56:04,240
Speaker 2: just happened, and there's it just feels like the march

1163
00:56:04,400 --> 00:56:06,439
Speaker 2: to that evening is so long. Do you feel there's

1164
00:56:06,480 --> 00:56:10,479
Speaker 2: maybe too many ceremonies, Well.

1165
00:56:10,400 --> 00:56:13,120
Speaker 1: That's what you're saying, like untelevised them.

1166
00:56:13,600 --> 00:56:16,320
Speaker 3: Yeah, you still have them. It's so great. It's so

1167
00:56:16,440 --> 00:56:19,279
Speaker 3: great that people's work is celebrated and we and that way.

1168
00:56:19,400 --> 00:56:21,720
Speaker 3: I think there's a kind of a sense that because

1169
00:56:21,760 --> 00:56:24,320
Speaker 3: this is the thing is you all these films are amazing.

1170
00:56:24,480 --> 00:56:27,759
Speaker 3: There's so many amazing films and performances and and all

1171
00:56:27,800 --> 00:56:30,719
Speaker 3: of the craft awards cinematography, and you know there you

1172
00:56:30,800 --> 00:56:33,160
Speaker 3: want you want to celebrate them, of course, but you

1173
00:56:33,320 --> 00:56:36,239
Speaker 3: can get sick of those films by the time because

1174
00:56:36,239 --> 00:56:38,960
Speaker 3: they all get whittled down as they must. Yes, and

1175
00:56:39,080 --> 00:56:40,880
Speaker 3: then I don't want to get sick of any of

1176
00:56:40,960 --> 00:56:42,360
Speaker 3: those films because they're brilliant.

1177
00:56:42,520 --> 00:56:44,279
Speaker 1: Yeah, and I fantasy value there.

1178
00:56:44,360 --> 00:56:47,560
Speaker 2: There doesn't need to be an over conversation about Honora

1179
00:56:47,680 --> 00:56:50,360
Speaker 2: the way that it's happening on online and stuff like that,

1180
00:56:50,440 --> 00:56:51,680
Speaker 2: to the point where it's we really lose.

1181
00:56:51,719 --> 00:56:55,439
Speaker 3: It's amazing, it's great, and it is amazing full style.

1182
00:56:55,719 --> 00:56:57,040
Speaker 3: Sean Baker is a genius.

1183
00:56:57,280 --> 00:56:59,800
Speaker 1: Yeah, yes he is. I'm such a fan of his

1184
00:57:00,160 --> 00:57:01,960
Speaker 1: for such a long time. Yeah, he's brilliant.

1185
00:57:02,120 --> 00:57:02,319
Speaker 3: Yeah.

1186
00:57:02,400 --> 00:57:06,759
Speaker 1: Red Rocket was Red Rock. It was really incredible.

1187
00:57:06,600 --> 00:57:09,319
Speaker 3: When she got off the bed with him and then

1188
00:57:09,480 --> 00:57:12,640
Speaker 3: sang like an angel at the at the synth. It

1189
00:57:12,800 --> 00:57:13,920
Speaker 3: was just breathtaking.

1190
00:57:14,080 --> 00:57:16,880
Speaker 1: Yeah. Just his earlier stuff has the same DNA of

1191
00:57:17,040 --> 00:57:19,920
Speaker 1: like the realism to it. It's it's all pretty consistent.

1192
00:57:29,280 --> 00:57:31,240
Speaker 1: What was the most Soderbrik thing that he did on

1193
00:57:32,040 --> 00:57:34,960
Speaker 1: I feel like he's such an expansive filmmaker. He can

1194
00:57:35,080 --> 00:57:37,640
Speaker 1: do pretty much anything. Like I think it's crazy that

1195
00:57:37,680 --> 00:57:39,560
Speaker 1: he's like under budget so many times.

1196
00:57:39,640 --> 00:57:42,800
Speaker 3: When he when he makes the time, he's got this,

1197
00:57:43,040 --> 00:57:45,560
Speaker 3: he's he made the presence. If you haven't seen that recently.

1198
00:57:46,120 --> 00:57:48,240
Speaker 3: Lucy Lou was in it and the cast was amazing

1199
00:57:48,720 --> 00:57:51,280
Speaker 3: and it was set in a house where a family

1200
00:57:51,440 --> 00:57:53,960
Speaker 3: moved in and it was haunted by a presence. And

1201
00:57:54,160 --> 00:57:58,160
Speaker 3: so the whole narrative unfolds according to what the presence

1202
00:57:58,200 --> 00:58:01,560
Speaker 3: in the house learns. Oh, it's amazing, but he shot that,

1203
00:58:01,640 --> 00:58:04,720
Speaker 3: I think in nine or eleven days. So it's like, oh, man,

1204
00:58:05,040 --> 00:58:07,960
Speaker 3: how quickly are we going to shoot black bag? But

1205
00:58:08,160 --> 00:58:10,560
Speaker 3: the thing with Soderberg is he's so economical. He's so

1206
00:58:10,920 --> 00:58:13,280
Speaker 3: he always gets into work early. He knows how he's

1207
00:58:13,280 --> 00:58:15,520
Speaker 3: going to shoot it. But the reason why he started

1208
00:58:15,560 --> 00:58:17,680
Speaker 3: to operate, I asked him finally. I'd worked with him before,

1209
00:58:17,720 --> 00:58:21,720
Speaker 3: but I've gotten to ask him. He edits, he lights, shoots,

1210
00:58:21,800 --> 00:58:24,240
Speaker 3: he directs, He doesn't write anymore. But he said the

1211
00:58:24,240 --> 00:58:26,640
Speaker 3: reason why he operates is because he wants it to

1212
00:58:26,760 --> 00:58:29,320
Speaker 3: keep moving and flowing, and he doesn't want the actors

1213
00:58:29,360 --> 00:58:33,280
Speaker 3: to go off the boil waiting around between takes and setups.

1214
00:58:33,800 --> 00:58:35,720
Speaker 3: And so what he does is you start at the

1215
00:58:35,760 --> 00:58:38,880
Speaker 3: normal time, but you're done by three, which is great.

1216
00:58:39,640 --> 00:58:41,240
Speaker 3: Do you want to pick up your kids from school

1217
00:58:41,520 --> 00:58:43,040
Speaker 3: or I don't know, get on a plane and go

1218
00:58:43,080 --> 00:58:47,520
Speaker 3: to Berkeley is But then what he does, he's at

1219
00:58:47,560 --> 00:58:50,360
Speaker 3: a workhorse as he goes and he edits and so

1220
00:58:50,480 --> 00:58:53,800
Speaker 3: then where he spends the money is keeping the sets

1221
00:58:54,000 --> 00:58:57,080
Speaker 3: open so if he needs to pick something up, he can,

1222
00:58:57,440 --> 00:59:00,760
Speaker 3: and so he assembles the thing. But then he's really forensic,

1223
00:59:00,800 --> 00:59:03,440
Speaker 3: gives no, that's too long, No, that piece of information

1224
00:59:03,520 --> 00:59:06,040
Speaker 3: needs to be revealed there. And so it's a really

1225
00:59:06,280 --> 00:59:09,680
Speaker 3: fluid thing with him. So you've got to dance with him.

1226
00:59:09,720 --> 00:59:12,640
Speaker 3: But he did say typical sodaberg was I said, we

1227
00:59:12,720 --> 00:59:15,000
Speaker 3: did one take and he wanted to move on, and

1228
00:59:15,120 --> 00:59:17,640
Speaker 3: I said to him, I said, I said, are we

1229
00:59:17,800 --> 00:59:21,720
Speaker 3: moving on because you're bored, because you've got it? And

1230
00:59:21,880 --> 00:59:26,360
Speaker 3: he went yes, and yes he was bored with me

1231
00:59:26,880 --> 00:59:30,440
Speaker 3: and heed. So he's but he's great. He's really blunt,

1232
00:59:30,800 --> 00:59:33,840
Speaker 3: but he really really loves actors. And the cast in

1233
00:59:33,960 --> 00:59:34,640
Speaker 3: Black Bag.

1234
00:59:34,720 --> 00:59:38,479
Speaker 1: Is Yeah, it's really I wasn't.

1235
00:59:38,480 --> 00:59:41,919
Speaker 2: I was surprised that it was such an ensemble, like, yeah,

1236
00:59:41,960 --> 00:59:43,800
Speaker 2: that is, and then it really is like it's like

1237
00:59:43,840 --> 00:59:45,960
Speaker 2: a watching a very thrilling, stylish play.

1238
00:59:46,800 --> 00:59:48,960
Speaker 1: And I say that and obviously the most you know

1239
00:59:49,360 --> 00:59:51,400
Speaker 1: rever not to spoil it. There's there's like there's like

1240
00:59:51,480 --> 00:59:55,480
Speaker 1: a fun like almost like POI ro Agatha christiasue it

1241
00:59:55,640 --> 00:59:56,720
Speaker 1: that I loved.

1242
00:59:57,000 --> 00:59:59,919
Speaker 3: Yeah, Yeah, well, it's basically about a fast spender monk

1243
01:00:00,040 --> 01:00:03,240
Speaker 3: husband and I play husband and wife and their espionage,

1244
01:00:03,520 --> 01:00:05,600
Speaker 3: you know, M I five, m I six, But it's

1245
01:00:05,680 --> 01:00:08,160
Speaker 3: all with technology, so it's a real It's like, oh

1246
01:00:08,240 --> 01:00:10,920
Speaker 3: my god, I can't even open my phone. So that

1247
01:00:11,080 --> 01:00:12,880
Speaker 3: was the acting bit that I had to do. But

1248
01:00:13,000 --> 01:00:15,520
Speaker 3: they're devoted to each other, they're married, and then he

1249
01:00:15,680 --> 01:00:20,360
Speaker 3: suspects her of being involved in this release in this cyberworm.

1250
01:00:20,840 --> 01:00:23,280
Speaker 3: She sounds pretty icky. I wouldn't want to hear the

1251
01:00:23,360 --> 01:00:24,560
Speaker 3: noise that is cyberworm.

1252
01:00:25,000 --> 01:00:26,000
Speaker 1: It's probably.

1253
01:00:27,760 --> 01:00:34,840
Speaker 3: Film, you know, the coot film Existence. Existence. The noise

1254
01:00:34,960 --> 01:00:38,720
Speaker 3: that it made when Jennifer, Jason Lee and Judelore put

1255
01:00:38,800 --> 01:00:42,440
Speaker 3: the portal into their body made made me what it

1256
01:00:43,120 --> 01:00:47,560
Speaker 3: was like. How did you feel about the substance, the substance,

1257
01:00:47,680 --> 01:00:52,240
Speaker 3: what the noises? I thought the sound was unbelievable. I

1258
01:00:52,400 --> 01:00:53,800
Speaker 3: had a similar kind of thing.

1259
01:00:54,240 --> 01:00:56,960
Speaker 1: Yeah, misoponia, misophonia.

1260
01:00:56,600 --> 01:00:59,880
Speaker 3: Yes, mesophonia and quinophobia, which is what Tar had.

1261
01:01:00,360 --> 01:01:00,560
Speaker 1: Yes.

1262
01:01:00,840 --> 01:01:04,000
Speaker 2: Oh right, yeah, So speaking of Tar, because this was

1263
01:01:04,080 --> 01:01:06,760
Speaker 2: truly our favorite movie. I remember I we watched it.

1264
01:01:07,360 --> 01:01:09,120
Speaker 2: We didn't see it together, but.

1265
01:01:09,280 --> 01:01:11,400
Speaker 1: We both had the same exact checking with each other.

1266
01:01:11,480 --> 01:01:13,160
Speaker 1: We were like wow, wow, wow.

1267
01:01:13,400 --> 01:01:15,400
Speaker 2: Well I remember leaving the movie the first time and

1268
01:01:15,520 --> 01:01:18,160
Speaker 2: feeling really confused after the first five and ten minutes,

1269
01:01:18,200 --> 01:01:20,280
Speaker 2: walking out of the movie, being like what And then

1270
01:01:20,320 --> 01:01:22,880
Speaker 2: I realized, like as I thought of it, I was like,

1271
01:01:23,200 --> 01:01:27,040
Speaker 2: that was phenomenal, and it just wasn't ultimately the genre

1272
01:01:27,160 --> 01:01:28,600
Speaker 2: I thought it was going to be at the top

1273
01:01:28,880 --> 01:01:31,680
Speaker 2: YEA thought it ended up being this like incredibly funny

1274
01:01:31,720 --> 01:01:34,800
Speaker 2: satire in a way, but also like presenting as this

1275
01:01:34,920 --> 01:01:37,920
Speaker 2: like very stark drama from the whole time, and it

1276
01:01:38,040 --> 01:01:40,080
Speaker 2: is both of those things. But the question I wanted

1277
01:01:40,120 --> 01:01:42,680
Speaker 2: to ask you was, and I find this with several

1278
01:01:42,720 --> 01:01:45,800
Speaker 2: of your movies, are you ever really surprised when you

1279
01:01:45,960 --> 01:01:48,480
Speaker 2: see the end result of something in terms of the

1280
01:01:48,560 --> 01:01:51,280
Speaker 2: tone and genre from when you read it the first time?

1281
01:01:52,560 --> 01:01:55,720
Speaker 3: There was so much I mean tar made and first

1282
01:01:56,280 --> 01:01:59,240
Speaker 3: sitting because it asks a lot of the audience right,

1283
01:01:59,520 --> 01:02:02,680
Speaker 3: made a lot of people really angry, And you know,

1284
01:02:02,760 --> 01:02:05,520
Speaker 3: I was really grateful to the critics and the people

1285
01:02:05,560 --> 01:02:07,960
Speaker 3: who had seen it, who kept alive all of the

1286
01:02:08,040 --> 01:02:11,920
Speaker 3: other balls that Todd Field had written, because people said, oh,

1287
01:02:11,960 --> 01:02:15,360
Speaker 3: it's about cancel culture, or it's about abuses of power,

1288
01:02:15,640 --> 01:02:19,240
Speaker 3: but it wasn't. I always thought it was about about

1289
01:02:19,760 --> 01:02:23,040
Speaker 3: what happens in the art For me personally anyway, when

1290
01:02:23,080 --> 01:02:26,760
Speaker 3: we create something, we forget that we have to destroy something,

1291
01:02:27,280 --> 01:02:30,920
Speaker 3: you know, And so it's the destructive urge in the

1292
01:02:31,040 --> 01:02:32,960
Speaker 3: creative force. You don't have to be an artist to

1293
01:02:33,000 --> 01:02:35,080
Speaker 3: have a creative force, but we all want to make

1294
01:02:35,200 --> 01:02:37,720
Speaker 3: something in the world. But you often have to be

1295
01:02:37,880 --> 01:02:41,280
Speaker 3: really brutal with yourself when you make that. So and

1296
01:02:41,360 --> 01:02:43,320
Speaker 3: there was quite a lot of there was kind of

1297
01:02:43,400 --> 01:02:46,000
Speaker 3: a ghost story in that, and so we you know,

1298
01:02:46,080 --> 01:02:48,520
Speaker 3: and there were elements in there. I guess it's far

1299
01:02:48,640 --> 01:02:50,600
Speaker 3: enough away. I didn't want to talk about it when

1300
01:02:50,640 --> 01:02:52,800
Speaker 3: it was coming out, because you don't want to tell

1301
01:02:52,840 --> 01:02:55,200
Speaker 3: an audience too much with a movie like that. Definitely,

1302
01:02:55,200 --> 01:02:57,800
Speaker 3: but you know, we shot things or talked about things

1303
01:02:57,840 --> 01:03:00,080
Speaker 3: that we decided not to shoot. In the end, you

1304
01:03:00,120 --> 01:03:04,160
Speaker 3: know that the gift and I've got friends who are

1305
01:03:04,200 --> 01:03:05,720
Speaker 3: conductors who have perfect pitch.

1306
01:03:06,040 --> 01:03:09,240
Speaker 1: You probably have. I do not.

1307
01:03:10,520 --> 01:03:13,480
Speaker 3: I apparently have a three octave range thore. Wow, apparently

1308
01:03:13,600 --> 01:03:17,000
Speaker 3: I just wanted to throw that in there. No, but

1309
01:03:17,720 --> 01:03:21,480
Speaker 3: that she had perfect pitch and incredible music ability that

1310
01:03:21,640 --> 01:03:24,960
Speaker 3: her parents were she was raised by deaf parents. So

1311
01:03:25,400 --> 01:03:27,760
Speaker 3: when I thought about the Earl, it was an early

1312
01:03:27,840 --> 01:03:31,840
Speaker 3: sequence and these are very very minor things that I used.

1313
01:03:32,120 --> 01:03:34,920
Speaker 3: There was a shot I think from memory of her

1314
01:03:34,960 --> 01:03:37,760
Speaker 3: conducting as a student, which I think it'd ended up

1315
01:03:37,760 --> 01:03:41,960
Speaker 3: in a movie, and I used sign language to how

1316
01:03:42,040 --> 01:03:44,560
Speaker 3: I conducted then. But that was just fun. I mean,

1317
01:03:44,880 --> 01:03:46,600
Speaker 3: you know, they're not even easter eggs because you're not

1318
01:03:46,720 --> 01:03:49,080
Speaker 3: ever thinking that the audience will pick those things up.

1319
01:03:49,120 --> 01:03:50,840
Speaker 3: But there was so much in there, and he's such

1320
01:03:50,840 --> 01:03:52,800
Speaker 3: a great writer. I have to get him out of

1321
01:03:52,840 --> 01:03:55,960
Speaker 3: the barn, Toddfield. So he makes another film before Ten

1322
01:03:56,040 --> 01:03:57,000
Speaker 3: Years Past the.

1323
01:03:57,040 --> 01:03:59,880
Speaker 1: Barn, the Bar. But hard to price someone out of

1324
01:03:59,880 --> 01:04:03,200
Speaker 1: a barn, it is, No, I'm just I'm just saying, like, do.

1325
01:04:03,240 --> 01:04:03,880
Speaker 3: You have a barn?

1326
01:04:04,480 --> 01:04:06,480
Speaker 1: God? Do you want to? I want to barn?

1327
01:04:06,760 --> 01:04:08,800
Speaker 3: You want someone to pries you out of it? I'm

1328
01:04:08,840 --> 01:04:09,600
Speaker 3: going into the bar.

1329
01:04:09,760 --> 01:04:11,680
Speaker 1: I'm going I would love a bar, Are you kidding?

1330
01:04:11,720 --> 01:04:13,840
Speaker 1: And you'd be great in a barn. I really do

1331
01:04:14,000 --> 01:04:17,480
Speaker 1: think I would love a barn personally, not very good

1332
01:04:17,520 --> 01:04:21,120
Speaker 1: with hay and all that. No, it doesn't. No, it's

1333
01:04:21,280 --> 01:04:23,600
Speaker 1: just I like my little creature comforts. But so do

1334
01:04:23,640 --> 01:04:25,360
Speaker 1: you now I'm thinking you wouldn't love a barn.

1335
01:04:25,440 --> 01:04:30,520
Speaker 3: Now you get a cashmere bar, a little barn, a

1336
01:04:30,600 --> 01:04:31,520
Speaker 3: barn by wayfair.

1337
01:04:32,200 --> 01:04:34,200
Speaker 1: I don't mean a barn functionally, I mean a barn

1338
01:04:34,320 --> 01:04:36,760
Speaker 1: just in terms of a metapharic. Yeah, somewhere to go.

1339
01:04:37,360 --> 01:04:39,280
Speaker 3: Yeah, he has a literal and a metaphorica.

1340
01:04:39,520 --> 01:04:41,560
Speaker 1: There you go. It's a two for a job. It's

1341
01:04:41,600 --> 01:04:43,800
Speaker 1: like you gotta bring him out of the headspace and

1342
01:04:43,880 --> 01:04:47,400
Speaker 1: the actual physical space. True, well, true, I mean tar

1343
01:04:47,880 --> 01:04:50,880
Speaker 1: is just for me. Do you consider it a comedy

1344
01:04:50,920 --> 01:04:52,920
Speaker 1: because I feel like it's one of the great comedies

1345
01:04:53,480 --> 01:04:53,760
Speaker 1: this year.

1346
01:04:53,920 --> 01:04:57,000
Speaker 3: Was really funny. Yeah, you know, I mean how seriously

1347
01:04:57,120 --> 01:04:58,040
Speaker 3: she took herself.

1348
01:04:58,400 --> 01:05:01,160
Speaker 2: The second time I watched it, I couldn't stop laughing

1349
01:05:01,240 --> 01:05:04,840
Speaker 2: at the first conversation the top back's so funny. Oh,

1350
01:05:05,080 --> 01:05:08,400
Speaker 2: just how seriously she takes herself. And like the performance

1351
01:05:08,440 --> 01:05:12,000
Speaker 2: that is happening, and really the amount of ego, because

1352
01:05:12,040 --> 01:05:13,840
Speaker 2: that was that's really ultimately.

1353
01:05:13,480 --> 01:05:15,560
Speaker 1: I think it's just like crazy meditation on ego.

1354
01:05:16,160 --> 01:05:18,520
Speaker 3: Yeah, well it is, but you have to having stepped

1355
01:05:18,520 --> 01:05:22,320
Speaker 3: onto the podium in front of the Dressden Philharmony as

1356
01:05:22,400 --> 01:05:25,920
Speaker 3: a woman, you know, but as a conductor anyway, is

1357
01:05:26,080 --> 01:05:29,240
Speaker 3: they sense fear. So you have to as a conductor,

1358
01:05:29,360 --> 01:05:32,320
Speaker 3: you have to have a lot of and that you

1359
01:05:32,480 --> 01:05:35,120
Speaker 3: have to say this is where we're going. And because

1360
01:05:35,160 --> 01:05:37,200
Speaker 3: I realized it to be like boarding school, like a

1361
01:05:37,280 --> 01:05:39,760
Speaker 3: lot of the members they're all soloists, right, but the

1362
01:05:39,840 --> 01:05:43,120
Speaker 3: conductor has to bring them to make one unified sound.

1363
01:05:43,440 --> 01:05:46,120
Speaker 3: So there's a lot of egos and complications. And they

1364
01:05:46,160 --> 01:05:48,280
Speaker 3: would all come up to me and start talking to

1365
01:05:48,400 --> 01:05:51,240
Speaker 3: me and telling me things about you know, I know

1366
01:05:51,440 --> 01:05:55,760
Speaker 3: I'm acting as the first cello, but I'm really only

1367
01:05:55,840 --> 01:05:58,600
Speaker 3: the second cello, so I'm really concerned about And it

1368
01:05:58,760 --> 01:06:00,960
Speaker 3: was like, you have to hold all of this stuff together.

1369
01:06:01,080 --> 01:06:04,800
Speaker 3: But I got up there and they hadn't played together

1370
01:06:04,840 --> 01:06:07,800
Speaker 3: because of COVID they had the orchestra hadn't played together

1371
01:06:08,040 --> 01:06:10,680
Speaker 3: for quite a long many many months, right, And so

1372
01:06:11,000 --> 01:06:13,240
Speaker 3: when I said, look in my bad germ and I said,

1373
01:06:13,240 --> 01:06:16,160
Speaker 3: when i'm you know, I'm not an actor. I mean

1374
01:06:16,160 --> 01:06:18,520
Speaker 3: I'm not a conductor. You're not actors, and we're going

1375
01:06:18,560 --> 01:06:20,400
Speaker 3: to have to swap roles, so let's be patient with

1376
01:06:20,520 --> 01:06:23,240
Speaker 3: one another. And I gave the downbeat at the rehearsal

1377
01:06:23,600 --> 01:06:27,720
Speaker 3: and they didn't follow me, and I went let's start again.

1378
01:06:28,000 --> 01:06:31,000
Speaker 3: And they all went ooh, and they realized in fact

1379
01:06:31,520 --> 01:06:34,040
Speaker 3: that I didn't. I mean I was I was winging it.

1380
01:06:34,200 --> 01:06:36,800
Speaker 3: I did a lot of you know, preparation, and I

1381
01:06:37,200 --> 01:06:40,400
Speaker 3: examined the score and everything, and I had the music

1382
01:06:40,480 --> 01:06:42,600
Speaker 3: in my those bits of music in my head. But

1383
01:06:42,720 --> 01:06:44,760
Speaker 3: it was such a gift because then they had to

1384
01:06:44,880 --> 01:06:47,720
Speaker 3: lean in realize that we did have to do it together.

1385
01:06:48,240 --> 01:06:50,200
Speaker 3: But it's not a film about conducting.

1386
01:06:50,200 --> 01:06:52,320
Speaker 1: So it's not well, I feel like you telling that

1387
01:06:52,400 --> 01:06:57,280
Speaker 1: story filtered through the character of Lydiuitar makes me think of, like,

1388
01:06:57,400 --> 01:07:00,240
Speaker 1: I am Petra's father. It's like that is that that's

1389
01:07:00,280 --> 01:07:04,080
Speaker 1: the same person in a completely different context of like, no,

1390
01:07:04,560 --> 01:07:07,480
Speaker 1: she thinks of herself as she is that person that

1391
01:07:07,600 --> 01:07:09,960
Speaker 1: like is being like called for at the school or something.

1392
01:07:10,080 --> 01:07:12,600
Speaker 3: Yeah, I mean yeah, and I think she was probably

1393
01:07:12,840 --> 01:07:16,960
Speaker 3: mercilessly bullied herself. Yeah. And it's also I think when

1394
01:07:17,000 --> 01:07:19,400
Speaker 3: you have an exceptional gift like that, And I always

1395
01:07:19,440 --> 01:07:23,640
Speaker 3: imagined her having parents who were made fun of and

1396
01:07:23,880 --> 01:07:28,000
Speaker 3: who couldn't hear the thing that she love, it's a

1397
01:07:28,080 --> 01:07:31,760
Speaker 3: really complicating thing. And I it's all these little things

1398
01:07:31,880 --> 01:07:34,840
Speaker 3: that because he's todd as an amazing director, but and

1399
01:07:34,880 --> 01:07:37,959
Speaker 3: also an amazing writer. Is he put all these little

1400
01:07:38,000 --> 01:07:40,600
Speaker 3: clues in that she went and she'd obviously spend a

1401
01:07:40,680 --> 01:07:44,440
Speaker 3: lot of time with the Shippibo Guinnebo people taking Ayahuascar, right,

1402
01:07:44,680 --> 01:07:46,360
Speaker 3: And if it had enough time, I would have done

1403
01:07:46,360 --> 01:07:49,640
Speaker 3: a little research and did that part of it. But

1404
01:07:49,800 --> 01:07:52,240
Speaker 3: you know, like she was really adventurous and so she

1405
01:07:52,840 --> 01:07:55,560
Speaker 3: she you know she did she was running away from

1406
01:07:55,640 --> 01:07:58,720
Speaker 3: something herself, right, and also coming out of COVID. I

1407
01:07:58,760 --> 01:08:01,600
Speaker 3: don't know what you guys did. You probably were able

1408
01:08:01,640 --> 01:08:03,960
Speaker 3: to continue the podcast, right, yes, but if you can

1409
01:08:04,240 --> 01:08:07,160
Speaker 3: do what you do, if you couldn't make music and

1410
01:08:07,200 --> 01:08:12,200
Speaker 3: you would lydi gitar for two years, what happens your

1411
01:08:12,320 --> 01:08:15,880
Speaker 3: creative turns destructive? Yes, So you know I thought about

1412
01:08:15,920 --> 01:08:16,639
Speaker 3: all that stuff.

1413
01:08:17,120 --> 01:08:17,800
Speaker 1: We're talking about.

1414
01:08:17,800 --> 01:08:20,520
Speaker 2: So many elements of a movie like this, you know, obviously,

1415
01:08:20,720 --> 01:08:25,200
Speaker 2: like huge respect for the director and it like real

1416
01:08:25,400 --> 01:08:29,240
Speaker 2: interest in the incredibly dynamic character and this story that

1417
01:08:29,320 --> 01:08:31,280
Speaker 2: you can read in so many different ways. I wonder,

1418
01:08:31,600 --> 01:08:34,799
Speaker 2: when you are embarking on something or you're sent to script,

1419
01:08:35,000 --> 01:08:37,160
Speaker 2: is there one of those elements, whether it's like the

1420
01:08:37,240 --> 01:08:40,200
Speaker 2: people you get to work with or the story itself.

1421
01:08:40,320 --> 01:08:43,360
Speaker 2: Or the specific character. Is there something that you feel

1422
01:08:44,000 --> 01:08:46,240
Speaker 2: is what pulls you each and every time or is

1423
01:08:46,280 --> 01:08:48,760
Speaker 2: it different. I would imagine it's a combination. But for you,

1424
01:08:49,360 --> 01:08:51,000
Speaker 2: if you could speak to me, you know it's.

1425
01:08:51,000 --> 01:08:53,960
Speaker 3: The couple of times early on, when I accepted to

1426
01:08:54,040 --> 01:08:57,960
Speaker 3: do a script based on the role, it's always been

1427
01:08:58,040 --> 01:09:01,040
Speaker 3: slightly disappointing because it's like a theater script is called

1428
01:09:01,040 --> 01:09:03,880
Speaker 3: a play because you have to play with it's it's

1429
01:09:03,960 --> 01:09:07,280
Speaker 3: not a work of literature. And so it's always now

1430
01:09:07,640 --> 01:09:10,920
Speaker 3: for me about the director. It's never the role. So

1431
01:09:11,000 --> 01:09:13,800
Speaker 3: because it doesn't matter. You could be acting your socks off.

1432
01:09:14,200 --> 01:09:17,200
Speaker 3: But if the camera's in the wrong position, or you know,

1433
01:09:17,400 --> 01:09:19,479
Speaker 3: you haven't all been cast in the right way, or

1434
01:09:19,560 --> 01:09:23,160
Speaker 3: you haven't been brought together by the director into an ensemble,

1435
01:09:23,240 --> 01:09:26,080
Speaker 3: the thing wasn't left off, and so it won't mean

1436
01:09:26,160 --> 01:09:29,080
Speaker 3: anything to an audience. And so, for example, with Black

1437
01:09:29,160 --> 01:09:32,519
Speaker 3: Bag working, I'd worked with Stephen and when we were

1438
01:09:32,760 --> 01:09:34,760
Speaker 3: my husband and I were running the Sydney Theater Company.

1439
01:09:34,840 --> 01:09:36,960
Speaker 3: He came in our first season and he wanted to

1440
01:09:37,000 --> 01:09:38,880
Speaker 3: do an all male production of All About If We

1441
01:09:38,880 --> 01:09:42,439
Speaker 3: Could Wow. So he got obsessed with Nancy Grace in

1442
01:09:42,680 --> 01:09:47,760
Speaker 3: Casey Anthony's story and he concocted this bizarre, fascinating theater piece.

1443
01:09:48,160 --> 01:09:50,960
Speaker 3: But when he called me and said he had a

1444
01:09:51,000 --> 01:09:54,400
Speaker 3: slot and David Kep had written this great ensemble piece,

1445
01:09:54,680 --> 01:09:57,240
Speaker 3: it was to work with him. And it was Fast

1446
01:09:57,240 --> 01:10:01,560
Speaker 3: Spender and Tom Burke, who's an amazing stage within the

1447
01:10:01,640 --> 01:10:04,280
Speaker 3: Seagull at the Barbican in London. And so it's it

1448
01:10:04,439 --> 01:10:07,439
Speaker 3: is the director and then I'm fascinated with who they

1449
01:10:07,479 --> 01:10:08,240
Speaker 3: want to cast them.

1450
01:10:08,360 --> 01:10:10,240
Speaker 1: Yeah, yeah, you realized that more and more it is

1451
01:10:10,280 --> 01:10:14,560
Speaker 1: about the people. Yes, not necessarily about which it feels counterintuitive,

1452
01:10:14,560 --> 01:10:18,479
Speaker 1: but it's not necessarily about the content and the primary

1453
01:10:18,560 --> 01:10:19,080
Speaker 1: way like.

1454
01:10:19,160 --> 01:10:21,800
Speaker 3: Yeah, it's not about the role, you know, because sometimes

1455
01:10:21,840 --> 01:10:24,040
Speaker 3: it's like, wow, you know that's a piece of action,

1456
01:10:24,360 --> 01:10:27,240
Speaker 3: or I haven't spoken to that audience before, you know

1457
01:10:27,320 --> 01:10:29,519
Speaker 3: that's a chamber piece, or you know in fact that

1458
01:10:29,680 --> 01:10:32,559
Speaker 3: that character is really still I've been moving around too much.

1459
01:10:33,680 --> 01:10:35,960
Speaker 3: So sometimes yeah, I don't know, but I don't want

1460
01:10:35,960 --> 01:10:37,680
Speaker 3: I don't know that I necessarily want to do it

1461
01:10:37,760 --> 01:10:39,680
Speaker 3: anymore anyway. I think I want to spend time with

1462
01:10:39,800 --> 01:10:41,919
Speaker 3: my my chickens and my gardens.

1463
01:10:42,160 --> 01:10:46,519
Speaker 1: Real barn, Yeah, you need a barn yeah, well occasional

1464
01:10:46,600 --> 01:10:47,240
Speaker 1: Burghund trip.

1465
01:10:47,439 --> 01:10:51,479
Speaker 3: Yes, yeah, I will venture out to berg from the bond.

1466
01:10:52,800 --> 01:10:54,839
Speaker 1: Let's go. We're reading a book now in the research.

1467
01:10:55,120 --> 01:10:58,240
Speaker 1: It's called Lost and Sound, the Beginnings of Bergheim and

1468
01:10:58,320 --> 01:11:01,439
Speaker 1: the easy Jet set. So this writer, oh Redd, it

1469
01:11:01,640 --> 01:11:03,760
Speaker 1: is kind of putting out this theory that like with

1470
01:11:03,920 --> 01:11:07,160
Speaker 1: the introduction of easy Jet in Europe, with budget travel

1471
01:11:07,280 --> 01:11:08,240
Speaker 1: within Europe.

1472
01:11:08,439 --> 01:11:10,960
Speaker 3: Oh, that it eroded the integrity.

1473
01:11:11,320 --> 01:11:13,960
Speaker 1: Not the integrity, it just brought people to Berlin and

1474
01:11:14,080 --> 01:11:16,920
Speaker 1: it created a nightlife capital in Berlin after the wall

1475
01:11:17,320 --> 01:11:20,840
Speaker 1: went down, with technical coming out of Detroit. It's like

1476
01:11:20,960 --> 01:11:22,600
Speaker 1: it all kind of aligned in a way that like

1477
01:11:23,240 --> 01:11:25,960
Speaker 1: made it this magical still magical thing that must be

1478
01:11:26,040 --> 01:11:29,200
Speaker 1: preserved because it's a cultural site. Now it's considered a

1479
01:11:29,320 --> 01:11:32,120
Speaker 1: concert venue and not necessarily a club.

1480
01:11:32,479 --> 01:11:34,479
Speaker 3: But you know, they have to be really careful having

1481
01:11:34,800 --> 01:11:37,240
Speaker 3: Thomas Ostamyer, who runs a show Booner and Berlin, has

1482
01:11:37,240 --> 01:11:40,160
Speaker 3: directed this production of The Seagull. He's such an amazing

1483
01:11:40,240 --> 01:11:43,560
Speaker 3: person and an amazing director. But they are, you know,

1484
01:11:43,720 --> 01:11:46,680
Speaker 3: so many Australians are in Berlin because you get to

1485
01:11:46,840 --> 01:11:50,200
Speaker 3: you don't apologize for you know, being a musician or

1486
01:11:50,200 --> 01:11:52,040
Speaker 3: an actor or a painter or a writer or whatever

1487
01:11:52,120 --> 01:11:55,160
Speaker 3: where you kind of do in Australia. But he was saying,

1488
01:11:55,439 --> 01:11:59,639
Speaker 3: like cultural funding is really going down and they don't.

1489
01:11:59,720 --> 01:12:03,160
Speaker 3: It's such a it's a stupidity from an economic point

1490
01:12:03,200 --> 01:12:05,360
Speaker 3: of view, have let alone a cultural point of view.

1491
01:12:05,840 --> 01:12:09,360
Speaker 3: You know, you talk about culture on your podcast, but

1492
01:12:09,680 --> 01:12:13,960
Speaker 3: because because of the multiplier effect, it's the restaurants, it's

1493
01:12:14,080 --> 01:12:17,960
Speaker 3: the bars, it's the taxi drivers, it's cyclos, it's all

1494
01:12:18,040 --> 01:12:21,400
Speaker 3: of those other things that that actually suffer when you

1495
01:12:21,600 --> 01:12:25,599
Speaker 3: remove culture from a place apart from you know, that's why,

1496
01:12:25,760 --> 01:12:27,599
Speaker 3: as you say, that's why tourists go to Berlin.

1497
01:12:27,880 --> 01:12:30,599
Speaker 1: Yeah, absolutely. I feel like you have that in America too,

1498
01:12:30,720 --> 01:12:32,840
Speaker 1: of like that apology of like hey, yeah, I'm an actor.

1499
01:12:33,520 --> 01:12:37,800
Speaker 1: I'm It's like people think it's like cool to shy

1500
01:12:37,880 --> 01:12:40,560
Speaker 1: away from there. There's a certain sect of people I

1501
01:12:40,640 --> 01:12:44,800
Speaker 1: think that don't stand in like pride for being an artist.

1502
01:12:44,840 --> 01:12:46,840
Speaker 1: I don't know. Maybe it's a self consciousness.

1503
01:12:46,560 --> 01:12:48,920
Speaker 3: Yeah, or you know, there's a sense that somehow, if

1504
01:12:49,320 --> 01:12:52,960
Speaker 3: you are in a creative profession, that there's an indulgence.

1505
01:12:53,640 --> 01:12:56,679
Speaker 3: It's elite and you go, no, it's like you remember

1506
01:12:56,720 --> 01:12:59,320
Speaker 3: of a circus family, ya, it's not.

1507
01:12:59,479 --> 01:12:59,960
Speaker 1: It's true.

1508
01:13:00,120 --> 01:13:02,720
Speaker 3: You do it for an audience. And that's where Soderberg's

1509
01:13:02,720 --> 01:13:05,120
Speaker 3: so great is he kept saying with black Bag, He's like,

1510
01:13:05,200 --> 01:13:08,360
Speaker 3: we're making a movie. Yeah, making a film. I want

1511
01:13:08,400 --> 01:13:10,360
Speaker 3: people to go to see this in the cinema and

1512
01:13:10,720 --> 01:13:15,280
Speaker 3: eat their podcast and have fun. And it's witty and stylish.

1513
01:13:15,439 --> 01:13:17,840
Speaker 3: It's like, you know, and then and you know you

1514
01:13:17,920 --> 01:13:20,960
Speaker 3: don't have to Not every piece of cinema has to

1515
01:13:21,040 --> 01:13:23,600
Speaker 3: have the same function or reach the same audience, their

1516
01:13:23,720 --> 01:13:25,879
Speaker 3: multifarious audiences. But it's for an audiences.

1517
01:13:25,960 --> 01:13:29,000
Speaker 1: I'm not doing it for myself, right, you know, just

1518
01:13:29,080 --> 01:13:31,559
Speaker 1: to speak because you mentioned that we talk about culture,

1519
01:13:31,760 --> 01:13:34,400
Speaker 1: We're going to ask you a question and it's a

1520
01:13:34,400 --> 01:13:35,880
Speaker 1: little bit of a little bit of a you know,

1521
01:13:36,280 --> 01:13:39,640
Speaker 1: unifier on this podcast alongside this question, which is what

1522
01:13:39,800 --> 01:13:42,680
Speaker 1: was the culture that made you say culture was for you?

1523
01:13:43,400 --> 01:13:47,720
Speaker 1: Talking about like how you Kate Blanchett became Kate Blanchette,

1524
01:13:47,760 --> 01:13:49,040
Speaker 1: if you could think about.

1525
01:13:49,200 --> 01:13:57,200
Speaker 3: I'm constantly becoming that transition. I don't know, like I'm

1526
01:13:57,240 --> 01:14:01,479
Speaker 3: so eclectic, and you know, I read Eden Blinton books.

1527
01:14:01,600 --> 01:14:04,439
Speaker 3: I spend all the time on my bicycle thinking I

1528
01:14:04,560 --> 01:14:07,600
Speaker 3: was Nancy Drew or Trixie Belden, you're looking at me

1529
01:14:07,680 --> 01:14:12,439
Speaker 3: blankly because you're away. Trixie Belden was a girl detective. Yeah,

1530
01:14:12,520 --> 01:14:15,800
Speaker 3: as was Nancy Drew, of course. But I think there

1531
01:14:15,920 --> 01:14:18,920
Speaker 3: was a kind of an intersection for me of the

1532
01:14:19,080 --> 01:14:22,960
Speaker 3: Royal wedding Princess Diana and Charles, which was in nineteen eighty.

1533
01:14:23,000 --> 01:14:26,280
Speaker 3: At the moment, my grandmother was having a double bypass surgery,

1534
01:14:26,840 --> 01:14:31,080
Speaker 3: so death was meeting sort of life and pageantry. At

1535
01:14:31,080 --> 01:14:34,120
Speaker 3: the same time, the Moscow Olympics was on, and I

1536
01:14:34,280 --> 01:14:37,840
Speaker 3: was obsessed. I did calisthenics, you know, like I'm quite

1537
01:14:37,920 --> 01:14:39,800
Speaker 3: not very strong when I'm bent, Like I put my

1538
01:14:39,920 --> 01:14:42,200
Speaker 3: legs behind my heads. I have no skills, but I

1539
01:14:42,240 --> 01:14:46,800
Speaker 3: can do that. Yeah, I know. But that and I

1540
01:14:47,000 --> 01:14:50,599
Speaker 3: got really obsessed with I don't know what this is culture.

1541
01:14:50,720 --> 01:14:54,479
Speaker 3: I got very obsessed with ribbon dancing. Oh that's you know, culture,

1542
01:14:54,479 --> 01:14:58,000
Speaker 3: and then the dancing they do with the ball wow.

1543
01:14:58,840 --> 01:14:59,720
Speaker 3: So maybe it was that.

1544
01:15:00,000 --> 01:15:01,920
Speaker 1: So when we filed this under like you know, the

1545
01:15:02,000 --> 01:15:04,080
Speaker 1: bending of it all, like like rhythmic.

1546
01:15:03,840 --> 01:15:07,200
Speaker 3: Gymnastic, rhythmic gymnastics. Yeah, I think that that was my

1547
01:15:08,320 --> 01:15:12,760
Speaker 3: high culture expression. And then later on you saw Picasso

1548
01:15:12,880 --> 01:15:15,920
Speaker 3: painting with light, and so that reminded me of my

1549
01:15:16,080 --> 01:15:19,479
Speaker 3: ribbon dancing obsession, you know, so yeah, maybe it was

1550
01:15:19,560 --> 01:15:20,320
Speaker 3: ribbon I'm.

1551
01:15:20,160 --> 01:15:23,200
Speaker 2: Thinking of your performance in the Curious Case of Benjamin Button.

1552
01:15:23,800 --> 01:15:26,719
Speaker 2: Like I wasn't ribbon dancing, I know, but a dancer,

1553
01:15:26,920 --> 01:15:29,040
Speaker 2: you know what I mean, Like you've never forgiven.

1554
01:15:28,880 --> 01:15:34,320
Speaker 3: Fincher he we were doing there was a dance sequence

1555
01:15:34,360 --> 01:15:34,680
Speaker 3: which I.

1556
01:15:36,360 --> 01:15:37,479
Speaker 1: Did for aged.

1557
01:15:37,560 --> 01:15:40,760
Speaker 3: No, no, no, it's in there. But he decided to

1558
01:15:40,840 --> 01:15:44,479
Speaker 3: shoot it at five o'clock in the morning having been

1559
01:15:44,600 --> 01:15:46,920
Speaker 3: called you know, because he shoots forever, having been called

1560
01:15:46,920 --> 01:15:49,559
Speaker 3: at like, you know, nine o'clock the previous morning.

1561
01:15:49,600 --> 01:15:50,160
Speaker 1: It's like you.

1562
01:15:52,600 --> 01:15:54,400
Speaker 3: Yeah, yeah, so I don't know how much is me

1563
01:15:54,479 --> 01:15:57,080
Speaker 3: and how much is my body double? But I didn't

1564
01:15:57,080 --> 01:15:58,160
Speaker 3: get to ribbon dance in that.

1565
01:15:58,560 --> 01:16:00,599
Speaker 1: No, not ribbon dancing, but I just my age.

1566
01:16:00,600 --> 01:16:02,040
Speaker 3: I want to sell a lot of coal that I

1567
01:16:02,040 --> 01:16:06,439
Speaker 3: don't ask you to ribbon fifty that's actually going into Yeah,

1568
01:16:06,560 --> 01:16:09,680
Speaker 3: we'll get your ribbon dancing. But the ball, Yeah, it's

1569
01:16:09,720 --> 01:16:11,320
Speaker 3: the ball so beautiful.

1570
01:16:11,920 --> 01:16:14,600
Speaker 1: What does the ball represent? You know, the girls and

1571
01:16:14,640 --> 01:16:15,759
Speaker 1: the course of people.

1572
01:16:15,560 --> 01:16:17,599
Speaker 3: Who work with the ball and they move it around.

1573
01:16:17,640 --> 01:16:20,520
Speaker 3: It's incredible waters so magnificent.

1574
01:16:20,680 --> 01:16:23,120
Speaker 1: I don't even understand how you are. Do you do that?

1575
01:16:23,479 --> 01:16:26,080
Speaker 3: It's like magic. If you were to do magic trips

1576
01:16:26,160 --> 01:16:28,840
Speaker 3: like pull up the Ace of Spades out of a lemon,

1577
01:16:30,040 --> 01:16:33,160
Speaker 3: I mean I would literally pee my pants.

1578
01:16:33,400 --> 01:16:35,799
Speaker 2: What's crazy about that is the answers are so simple,

1579
01:16:36,080 --> 01:16:39,519
Speaker 2: but they're done with such what do you because, like

1580
01:16:39,720 --> 01:16:41,479
Speaker 2: the answer to how the card comes out of the

1581
01:16:41,560 --> 01:16:42,080
Speaker 2: lemon or whatever?

1582
01:16:42,160 --> 01:16:42,400
Speaker 1: The hell?

1583
01:16:42,520 --> 01:16:45,240
Speaker 2: I don't know, But what I'm saying is we don't know,

1584
01:16:45,479 --> 01:16:48,479
Speaker 2: and like for us it seems so crazy, but their

1585
01:16:48,640 --> 01:16:51,280
Speaker 2: answers to that are so simple, Like the sleight of

1586
01:16:51,360 --> 01:16:53,400
Speaker 2: hand is so second nature.

1587
01:16:54,320 --> 01:16:55,720
Speaker 3: I know, but I'm still where do you put a

1588
01:16:55,800 --> 01:17:00,840
Speaker 3: lemon up? I mean that's I mean, I don't all

1589
01:17:01,040 --> 01:17:03,240
Speaker 3: that eleven go out, don't touch.

1590
01:17:03,080 --> 01:17:06,320
Speaker 1: The lemon, touch the lemon? But would you agree that,

1591
01:17:06,479 --> 01:17:09,120
Speaker 1: like have you ever applied this to your own sort

1592
01:17:09,200 --> 01:17:11,599
Speaker 1: of craft where you're like, I don't want to tell

1593
01:17:11,640 --> 01:17:13,000
Speaker 1: you too much about how I do I.

1594
01:17:13,040 --> 01:17:14,840
Speaker 3: Never want I never want to talk about it because

1595
01:17:14,920 --> 01:17:16,040
Speaker 3: I don't know how I do it?

1596
01:17:16,240 --> 01:17:16,560
Speaker 1: Do you not?

1597
01:17:16,800 --> 01:17:19,920
Speaker 3: I don't have a process really, no, Like people say, oh,

1598
01:17:19,960 --> 01:17:22,439
Speaker 3: you know I do Maisner or at least Straisner or

1599
01:17:22,520 --> 01:17:25,640
Speaker 3: I do. I know uder Hagen is my whoever it is,

1600
01:17:26,080 --> 01:17:28,880
Speaker 3: I read it all. I'm I'm a bower bird. If

1601
01:17:28,960 --> 01:17:31,519
Speaker 3: someone has done something great, I will steal it and

1602
01:17:32,000 --> 01:17:34,320
Speaker 3: use it. Got it because you know it's always going

1603
01:17:34,400 --> 01:17:39,720
Speaker 3: to be reinterpreted through your lens. Yeah, so, yeah, I

1604
01:17:39,720 --> 01:17:42,519
Speaker 3: don't know. Every night before I, you know, I start

1605
01:17:42,560 --> 01:17:44,160
Speaker 3: a new job, it's always the first day of school.

1606
01:17:44,200 --> 01:17:47,120
Speaker 3: I'm always terrified. And I say to my husband, who's

1607
01:17:47,320 --> 01:17:49,760
Speaker 3: so bored with me asking the same questions over and

1608
01:17:49,880 --> 01:17:52,679
Speaker 3: over and over, I said, what do I Do's my process? Really?

1609
01:17:53,400 --> 01:17:54,320
Speaker 1: Just show up?

1610
01:17:55,560 --> 01:17:58,320
Speaker 3: And so you have to go into a room and go,

1611
01:17:58,680 --> 01:18:01,400
Speaker 3: I do not know how to do this. You humble

1612
01:18:01,479 --> 01:18:04,200
Speaker 3: yourself to the task and the material and the other

1613
01:18:04,280 --> 01:18:09,000
Speaker 3: actors and the directors and the circumstances reveal what research

1614
01:18:09,040 --> 01:18:10,599
Speaker 3: you need to do, if you need to do any

1615
01:18:10,680 --> 01:18:12,600
Speaker 3: Sometimes you don't need to. Sometimes you just have to

1616
01:18:12,680 --> 01:18:13,120
Speaker 3: be present.

1617
01:18:13,560 --> 01:18:16,240
Speaker 2: I feel like that's so comforting as an actor to

1618
01:18:16,360 --> 01:18:19,000
Speaker 2: hear even you say that, because there's like a freedom

1619
01:18:19,840 --> 01:18:22,080
Speaker 2: that like, there's a freedom you can have to give

1620
01:18:22,120 --> 01:18:25,120
Speaker 2: yourself when you realize this thing I have about my

1621
01:18:25,240 --> 01:18:28,640
Speaker 2: anxieties about being quote unquote good enough, right, for it.

1622
01:18:29,120 --> 01:18:30,960
Speaker 2: I was going to ask you how you are about

1623
01:18:31,040 --> 01:18:33,519
Speaker 2: moving on, because it sounds like every actor has a

1624
01:18:33,560 --> 01:18:35,880
Speaker 2: different relationship to that. But to hear you speak to

1625
01:18:36,600 --> 01:18:40,400
Speaker 2: not insecurity, but like any apprehension or you know, nerves

1626
01:18:40,439 --> 01:18:41,080
Speaker 2: about doing.

1627
01:18:40,960 --> 01:18:43,840
Speaker 3: Something, I think for even you to say that you

1628
01:18:43,960 --> 01:18:47,639
Speaker 3: know it's and it gets service, I think it gets worse, yeah,

1629
01:18:47,760 --> 01:18:51,960
Speaker 3: because then there's a sense that maybe people have preconceptions

1630
01:18:52,160 --> 01:18:56,320
Speaker 3: or expectations if you have some kind of a track record,

1631
01:18:56,520 --> 01:18:59,080
Speaker 3: and I think it's you have to risk. I'm sure

1632
01:18:59,080 --> 01:19:01,080
Speaker 3: you both feel this too. You have to and particularly

1633
01:19:01,160 --> 01:19:04,160
Speaker 3: with stand up, it's like you have to risk falling

1634
01:19:04,320 --> 01:19:07,320
Speaker 3: flat on your face. And so if you're not, if

1635
01:19:07,360 --> 01:19:09,560
Speaker 3: you're not on that knife edge, you're not going to

1636
01:19:09,640 --> 01:19:12,280
Speaker 3: keep growing, you know. And so it is confronting, but

1637
01:19:12,360 --> 01:19:13,920
Speaker 3: you have to get yourself in the zone where you

1638
01:19:14,000 --> 01:19:15,160
Speaker 3: go fucking yeah.

1639
01:19:15,320 --> 01:19:18,760
Speaker 1: But well, my thing with a lot of comedians, and

1640
01:19:18,760 --> 01:19:20,599
Speaker 1: I'm going to say excuse mail, but like a lot

1641
01:19:20,640 --> 01:19:25,160
Speaker 1: of male comedians seem to have this allergy to like

1642
01:19:25,360 --> 01:19:29,120
Speaker 1: anything that is theatrical about comedy, and they have to

1643
01:19:29,240 --> 01:19:32,120
Speaker 1: understand that stand up is just theater, the schema of

1644
01:19:32,160 --> 01:19:34,080
Speaker 1: it of like one person being on stage talking to

1645
01:19:34,120 --> 01:19:36,000
Speaker 1: a crowd of people. Yah, dot matter how big the

1646
01:19:36,040 --> 01:19:39,760
Speaker 1: crowd is or small it is, it's theater. So and

1647
01:19:40,120 --> 01:19:43,120
Speaker 1: they are like performing the fact that these thoughts are

1648
01:19:43,160 --> 01:19:45,840
Speaker 1: coming to them off the cuff when they've been refining

1649
01:19:45,960 --> 01:19:50,160
Speaker 1: this routine for a long time, over many experimental contacts

1650
01:19:50,200 --> 01:19:52,960
Speaker 1: that it's like, let's just embrace that this is all

1651
01:19:53,080 --> 01:19:56,400
Speaker 1: kind of artificial. And I don't know what my point is.

1652
01:19:56,439 --> 01:19:58,280
Speaker 1: I'm just saying like, there's yeah, and.

1653
01:19:58,280 --> 01:20:00,760
Speaker 3: There's a structure to it. It's like if you're telling

1654
01:20:00,800 --> 01:20:03,599
Speaker 3: a story and you forget the pivot point the story,

1655
01:20:03,640 --> 01:20:06,479
Speaker 3: it's it's not going to work. But I've always found

1656
01:20:06,520 --> 01:20:10,519
Speaker 3: it really such an education to go and watch stand

1657
01:20:10,640 --> 01:20:13,400
Speaker 3: up at the beginning when they're building the material, because

1658
01:20:13,520 --> 01:20:15,960
Speaker 3: in the end, I think the process is the most

1659
01:20:16,040 --> 01:20:18,920
Speaker 3: exciting thing, and sometimes when you get to the end point,

1660
01:20:19,280 --> 01:20:22,840
Speaker 3: the hard thing is to keep it fresh, you know.

1661
01:20:23,439 --> 01:20:25,600
Speaker 2: And of course then there's the thing of you know,

1662
01:20:26,520 --> 01:20:28,400
Speaker 2: I've now done I find this with a lot of

1663
01:20:28,439 --> 01:20:30,200
Speaker 2: stand ups. It's like you see people start to get

1664
01:20:30,240 --> 01:20:33,439
Speaker 2: insecure about having done things for several years. It's like,

1665
01:20:33,640 --> 01:20:35,679
Speaker 2: you know what I mean, It's because then it's less

1666
01:20:35,720 --> 01:20:37,920
Speaker 2: even about how do I keep this fresh? And you're like,

1667
01:20:38,200 --> 01:20:41,360
Speaker 2: did I get too comfortable with? Am I too good

1668
01:20:41,400 --> 01:20:43,000
Speaker 2: at keeping it fresh? Am I not moving on and

1669
01:20:43,040 --> 01:20:44,439
Speaker 2: pushing myself to do something else?

1670
01:20:44,560 --> 01:20:47,639
Speaker 3: Yeah? Well, I got great advice from Hungarian director who

1671
01:20:47,760 --> 01:20:51,080
Speaker 3: directed us as a company and a production of Uncle Vanya.

1672
01:20:51,720 --> 01:20:53,960
Speaker 3: And we'd had previews and then we're all great and

1673
01:20:54,040 --> 01:20:57,200
Speaker 3: there's a really lovely company. And he came in and

1674
01:20:57,560 --> 01:21:00,280
Speaker 3: you know, we rehearsed through an interpreter, and so he

1675
01:21:00,320 --> 01:21:03,200
Speaker 3: said through his interpreter, he said, all of those amazing

1676
01:21:03,360 --> 01:21:07,240
Speaker 3: things that you did last night, they were wonderful tonight

1677
01:21:07,600 --> 01:21:10,080
Speaker 3: opening night, don't do any of them.

1678
01:21:10,200 --> 01:21:10,479
Speaker 1: Love it.

1679
01:21:10,840 --> 01:21:13,599
Speaker 3: And it was such great advice, and you go, okay,

1680
01:21:14,280 --> 01:21:16,960
Speaker 3: this is I think they it's because they come from

1681
01:21:17,000 --> 01:21:20,120
Speaker 3: a culture where things sit in rep right, And yeah,

1682
01:21:20,160 --> 01:21:23,679
Speaker 3: so he's interested in the long health of the show,

1683
01:21:24,120 --> 01:21:27,120
Speaker 3: not getting good reviews, you know, because often the good

1684
01:21:27,160 --> 01:21:30,519
Speaker 3: reviews are actually harder to deal with because certainly if

1685
01:21:30,560 --> 01:21:32,439
Speaker 3: you read them, you go, oh that's a good bit,

1686
01:21:32,600 --> 01:21:35,160
Speaker 3: and then it dies right, you know, so you can't

1687
01:21:35,520 --> 01:21:37,360
Speaker 3: you can't think about the good or bad bit.

1688
01:21:37,479 --> 01:21:39,280
Speaker 1: You just have to think it's all a process, right,

1689
01:21:39,439 --> 01:21:41,800
Speaker 1: or you just can't stay with it in any case

1690
01:21:41,880 --> 01:21:44,559
Speaker 1: because in comedy they say, like your act becomes your enemy.

1691
01:21:45,240 --> 01:21:46,680
Speaker 1: It's like what you're talking about, where like.

1692
01:21:46,760 --> 01:21:48,440
Speaker 3: When you say you're acting me and you stick.

1693
01:21:48,360 --> 01:21:51,519
Speaker 1: Or like what you've given. It's like I kind of

1694
01:21:51,520 --> 01:21:53,360
Speaker 1: feel that way now with I guess and I'm like, oh,

1695
01:21:53,600 --> 01:21:56,680
Speaker 1: I'm playing another inanimate object. And sometimes and I just

1696
01:21:56,720 --> 01:21:58,640
Speaker 1: want to say, because sometimes in the bits at it,

1697
01:21:58,800 --> 01:22:02,240
Speaker 1: sometimes it's not all up to the cast member. Of course,

1698
01:22:02,640 --> 01:22:04,400
Speaker 1: you're being handed the material like Okay, I guess you

1699
01:22:04,479 --> 01:22:06,479
Speaker 1: need me to play you know this by balloon that

1700
01:22:06,560 --> 01:22:09,479
Speaker 1: got shot down? Okay, Like fine, you know it's and

1701
01:22:09,560 --> 01:22:11,559
Speaker 1: then it becomes this thing that you're trying to pull

1702
01:22:11,600 --> 01:22:14,760
Speaker 1: away anyway. This is not this is microcosmically compared to

1703
01:22:14,880 --> 01:22:16,639
Speaker 1: like anything that could.

1704
01:22:16,479 --> 01:22:18,160
Speaker 3: You know, because I mean this is the thing is

1705
01:22:18,240 --> 01:22:20,160
Speaker 3: you don't want to be thinking about yourself. You want

1706
01:22:20,160 --> 01:22:22,760
Speaker 3: to be thinking about the energy that it's going out

1707
01:22:22,800 --> 01:22:24,519
Speaker 3: in your audience. And I think when you start to

1708
01:22:24,560 --> 01:22:29,120
Speaker 3: feel uncomfortable about that or habitual about that, then you

1709
01:22:29,160 --> 01:22:31,360
Speaker 3: become self conscious and the thing's going to die anyway,

1710
01:22:31,720 --> 01:22:32,040
Speaker 3: which is.

1711
01:22:32,040 --> 01:22:34,200
Speaker 1: Why it's refreshing and also sort of speaks to your

1712
01:22:34,280 --> 01:22:37,560
Speaker 1: skill besides putting your lives behind your head, is that

1713
01:22:37,720 --> 01:22:41,000
Speaker 1: like you have this, you have this, you amalgamate all

1714
01:22:41,120 --> 01:22:42,840
Speaker 1: these things in your process to the point where you

1715
01:22:42,880 --> 01:22:44,679
Speaker 1: don't have one, which is perfect.

1716
01:22:44,960 --> 01:22:48,719
Speaker 3: Yeah. I mean, look, I do like having a task

1717
01:22:48,880 --> 01:22:52,719
Speaker 3: that I feel is impossible to say. For something like tar,

1718
01:22:53,320 --> 01:22:56,679
Speaker 3: I thought, I don't know how to read a score.

1719
01:22:56,720 --> 01:22:59,320
Speaker 3: I learned piano as a girl. But I have to

1720
01:22:59,400 --> 01:23:01,400
Speaker 3: I have to break score a part and choose the

1721
01:23:01,479 --> 01:23:03,160
Speaker 3: bits that we're going to play, and I really have

1722
01:23:03,280 --> 01:23:05,240
Speaker 3: to learn how to do this. And so in a way,

1723
01:23:05,520 --> 01:23:07,840
Speaker 3: the part was so overwhelming. It's not it's not a

1724
01:23:07,880 --> 01:23:10,920
Speaker 3: film about conducting, as I said, but it gave me

1725
01:23:11,080 --> 01:23:13,280
Speaker 3: something to do to stave off the anxiety because I

1726
01:23:13,400 --> 01:23:14,599
Speaker 3: had so much to prepare.

1727
01:23:14,760 --> 01:23:15,639
Speaker 1: Yeah, lots of homework.

1728
01:23:15,840 --> 01:23:18,000
Speaker 3: It's just I think in the end, process is a

1729
01:23:18,040 --> 01:23:20,400
Speaker 3: way of staving off anxiety, which I can make you

1730
01:23:20,640 --> 01:23:31,080
Speaker 3: clam Yeah, this is.

1731
01:23:31,080 --> 01:23:32,360
Speaker 1: A little bit of a left turn. But have you

1732
01:23:32,439 --> 01:23:37,040
Speaker 1: seen on Broadway? No? I have. I tell you, I'm

1733
01:23:37,080 --> 01:23:38,760
Speaker 1: getting to know you a little bit now. I think

1734
01:23:38,840 --> 01:23:42,960
Speaker 1: that like you are going to absolutely I've heard it's love.

1735
01:23:43,920 --> 01:23:45,080
Speaker 3: I know who's seen it's loved it.

1736
01:23:45,560 --> 01:23:46,000
Speaker 1: In New York.

1737
01:23:46,080 --> 01:23:48,000
Speaker 2: I've now seen it with three different marrias. I've seen

1738
01:23:48,040 --> 01:23:50,200
Speaker 2: it with Colors School, I've seen Hannah solo, the understudy,

1739
01:23:50,240 --> 01:23:53,080
Speaker 2: and Betty who was fantastic, and.

1740
01:23:53,120 --> 01:23:55,719
Speaker 3: It's just different every time at the very time.

1741
01:23:56,000 --> 01:23:58,839
Speaker 2: And it's just it's just really interesting to see something

1742
01:23:59,520 --> 01:24:03,200
Speaker 2: start as that off Broadway moment and then no Cole

1743
01:24:03,400 --> 01:24:05,640
Speaker 2: was doing it, and to now see an actress like

1744
01:24:05,760 --> 01:24:09,439
Speaker 2: Betty doing it. It's just it's the interpretation is like

1745
01:24:09,600 --> 01:24:13,080
Speaker 2: it's ever evolving. I just think you have such an

1746
01:24:13,080 --> 01:24:14,800
Speaker 2: amazing sense of humor. You would absolutely love this.

1747
01:24:15,040 --> 01:24:17,760
Speaker 3: Yeah, no, no, not how long. It's such a well

1748
01:24:17,880 --> 01:24:19,840
Speaker 3: yeah right, I mean to see you.

1749
01:24:22,240 --> 01:24:23,000
Speaker 1: And we're so happy.

1750
01:24:23,120 --> 01:24:26,759
Speaker 3: It was worth that we canceled a show at London,

1751
01:24:27,200 --> 01:24:28,000
Speaker 3: but I'm so happy.

1752
01:24:28,760 --> 01:24:30,599
Speaker 2: Okay, so it might be time to do I don't

1753
01:24:30,640 --> 01:24:33,639
Speaker 2: think so, honey, Which is our sixty second segment where

1754
01:24:33,680 --> 01:24:35,840
Speaker 2: we take something in pop culture that really needs to

1755
01:24:35,880 --> 01:24:39,040
Speaker 2: get pummeled into the ground, you know, And I have

1756
01:24:39,200 --> 01:24:42,040
Speaker 2: something Okay, it's sort of been popping up for years now,

1757
01:24:42,200 --> 01:24:43,160
Speaker 2: and I would.

1758
01:24:43,000 --> 01:24:45,040
Speaker 3: Like it's disturbing you. I can I like rubbing it.

1759
01:24:45,080 --> 01:24:48,599
Speaker 1: For Yeah, that was my tell. It's your right sneaker.

1760
01:24:48,720 --> 01:24:50,519
Speaker 1: Let's go all right, this is Matt Rodgers. I don't

1761
01:24:50,520 --> 01:24:52,240
Speaker 1: think so many time starts now, I don't think so.

1762
01:24:52,360 --> 01:24:55,799
Speaker 2: Honey, buddy, one of my buddies. I got a buddy

1763
01:24:55,920 --> 01:24:59,599
Speaker 2: who let me tell you something, buddy, like, maybe it's

1764
01:24:59,680 --> 01:25:01,240
Speaker 2: the cons the B and the D.

1765
01:25:01,960 --> 01:25:04,920
Speaker 1: I don't think creative and it's too fricative, and I

1766
01:25:05,000 --> 01:25:07,559
Speaker 1: was going to use the word maybe it's not evenative.

1767
01:25:07,520 --> 01:25:08,639
Speaker 3: Buddy, if you're not a buddy.

1768
01:25:08,960 --> 01:25:11,400
Speaker 2: Yeah, My thing is just like it feels like something

1769
01:25:11,800 --> 01:25:13,680
Speaker 2: and it's been used sexually a couple of times with.

1770
01:25:16,280 --> 01:25:18,560
Speaker 1: When my wife's suckers were really pumping off, and I

1771
01:25:18,680 --> 01:25:20,880
Speaker 1: don't like it there. I don't know what it is.

1772
01:25:21,600 --> 01:25:23,559
Speaker 2: It feels like when you use the word buddy, you're

1773
01:25:23,640 --> 01:25:26,639
Speaker 2: not saying friend. It feels like something more like backing

1774
01:25:26,720 --> 01:25:27,200
Speaker 2: off or like.

1775
01:25:27,320 --> 01:25:28,400
Speaker 3: It's an active aggression.

1776
01:25:28,560 --> 01:25:30,760
Speaker 2: Yes, yeah, it's an active aggression that use of the

1777
01:25:30,800 --> 01:25:32,920
Speaker 2: word buddy, or it's just not committing to what it is.

1778
01:25:33,000 --> 01:25:35,559
Speaker 2: It's my close friend, it's my you know, I think

1779
01:25:35,680 --> 01:25:38,000
Speaker 2: some people, especially the gay guys i've been having sex with,

1780
01:25:38,120 --> 01:25:41,840
Speaker 2: I'm your lover, okay, call me something else, not buddy.

1781
01:25:42,320 --> 01:25:46,200
Speaker 1: It's like it's like when someone calls you dude, that's

1782
01:25:46,320 --> 01:25:49,800
Speaker 1: very creative as well. We think D and D, dude

1783
01:25:49,880 --> 01:25:52,560
Speaker 1: and buddy. I'm just not feeling it. I think we

1784
01:25:52,640 --> 01:25:55,320
Speaker 1: should say like, I think we should just use our

1785
01:25:55,400 --> 01:25:58,880
Speaker 1: words with more intention because buddy, it's existing in a

1786
01:25:58,920 --> 01:26:01,640
Speaker 1: gray area. I don't think and that's one minute, you know,

1787
01:26:02,080 --> 01:26:02,960
Speaker 1: do you use buddy?

1788
01:26:03,320 --> 01:26:05,920
Speaker 3: I do say dude a bit. I'm trying to okay

1789
01:26:06,040 --> 01:26:09,639
Speaker 3: for you is for a straight white woman to say dude.

1790
01:26:09,840 --> 01:26:11,800
Speaker 2: I think dude is fine and I have less of

1791
01:26:11,840 --> 01:26:14,000
Speaker 2: a problem with it. It's not my fa I guess

1792
01:26:14,040 --> 01:26:15,479
Speaker 2: what I'm saying is when gay.

1793
01:26:15,439 --> 01:26:19,320
Speaker 3: Guys my same I'm going out with my buddy? Yeah

1794
01:26:19,880 --> 01:26:22,479
Speaker 3: what I am? What am I to you? Right? Yeah?

1795
01:26:22,479 --> 01:26:23,360
Speaker 1: Where do I exist?

1796
01:26:23,760 --> 01:26:26,759
Speaker 2: Because buddy isn't like, it's existing in an area between

1797
01:26:26,760 --> 01:26:27,639
Speaker 2: acquaintance and I've.

1798
01:26:27,479 --> 01:26:29,240
Speaker 3: Never thought about it. I don't like this is an

1799
01:26:29,360 --> 01:26:30,280
Speaker 3: educational play, this.

1800
01:26:30,320 --> 01:26:33,000
Speaker 1: Is an educational podcast. Friend, I'm gonna put a theory

1801
01:26:33,040 --> 01:26:35,880
Speaker 1: out there. The English language is sort of limited in

1802
01:26:36,280 --> 01:26:39,600
Speaker 1: the kind of words we have for friend, buddy. I

1803
01:26:39,640 --> 01:26:43,280
Speaker 1: don't like when someone's like, five times out of ten,

1804
01:26:43,320 --> 01:26:46,599
Speaker 1: I'm gonna say half the time. Half the time when

1805
01:26:46,680 --> 01:26:50,320
Speaker 1: someone says, hey friend, I go, huh, like I shudder

1806
01:26:50,360 --> 01:26:52,080
Speaker 1: a bit. Well, no, here's what I'm saying.

1807
01:26:52,120 --> 01:26:55,320
Speaker 3: It's not it's hey anything, yeah, hey you, hey buddy,

1808
01:26:55,360 --> 01:26:58,640
Speaker 3: Hey friend, it's like hello, hello, exqueeze me.

1809
01:26:59,000 --> 01:27:04,040
Speaker 1: Yeah, it's rather act is back now as a result

1810
01:27:04,080 --> 01:27:07,519
Speaker 1: of you're saying it's the same kind of weird, we

1811
01:27:07,640 --> 01:27:10,880
Speaker 1: haven't found the right word yet that feels right on

1812
01:27:10,960 --> 01:27:15,519
Speaker 1: the tongue for what for friends, in the same way

1813
01:27:15,560 --> 01:27:20,639
Speaker 1: that we don't have the good words for marijuana, weed pot. Yeah,

1814
01:27:20,680 --> 01:27:25,040
Speaker 1: but I like, yeah, yeah, I don't know.

1815
01:27:25,360 --> 01:27:27,240
Speaker 3: But what would you say? In what context? Are you

1816
01:27:27,320 --> 01:27:29,880
Speaker 3: calling someone a friend or a buddy or a mate

1817
01:27:30,000 --> 01:27:30,400
Speaker 3: or a pal?

1818
01:27:30,600 --> 01:27:34,320
Speaker 1: Think I got triggered. I like power, I like mate

1819
01:27:34,520 --> 01:27:36,519
Speaker 1: to mate is fun mate.

1820
01:27:36,560 --> 01:27:39,479
Speaker 3: It is just it's not in Australia. It's just so abused.

1821
01:27:39,680 --> 01:27:40,360
Speaker 1: Is it really? Really?

1822
01:27:40,880 --> 01:27:44,960
Speaker 3: Get But maybe the way you say it's probably not

1823
01:27:45,080 --> 01:27:45,439
Speaker 3: so bad.

1824
01:27:45,560 --> 01:27:47,040
Speaker 1: I got some mates in time. I mean it doesn't

1825
01:27:47,040 --> 01:27:47,559
Speaker 1: sound right.

1826
01:27:47,640 --> 01:27:50,800
Speaker 3: But you don't you think lover is such a kind

1827
01:27:50,840 --> 01:27:53,559
Speaker 3: of I don't like it's it's I feel like it's

1828
01:27:53,720 --> 01:27:59,160
Speaker 3: taking your shirt off in an inappropriate way. It's but sweetheart,

1829
01:28:00,320 --> 01:28:02,320
Speaker 3: my sweetheart, you know what I mean, and.

1830
01:28:02,360 --> 01:28:03,880
Speaker 1: My friends make fun of me. I say thank you,

1831
01:28:03,960 --> 01:28:06,559
Speaker 1: my love. I love that, restaurants I say my love.

1832
01:28:06,680 --> 01:28:07,800
Speaker 1: I call a lot of people my love.

1833
01:28:07,880 --> 01:28:09,920
Speaker 2: And our friend Jared is always like I want to

1834
01:28:10,320 --> 01:28:11,880
Speaker 2: tie when you say it, and I'm like, well, that's

1835
01:28:11,920 --> 01:28:12,800
Speaker 2: how I feel about buddy.

1836
01:28:13,040 --> 01:28:15,920
Speaker 3: Yeah, but you wouldn't go away to buddy, or if

1837
01:28:15,960 --> 01:28:16,840
Speaker 3: you did so.

1838
01:28:17,000 --> 01:28:18,880
Speaker 2: I was in the service industry for ten years. I've

1839
01:28:18,920 --> 01:28:22,160
Speaker 2: done hard yards. Getting called buddy it feels degrading. Yeah,

1840
01:28:22,160 --> 01:28:24,240
Speaker 2: maybe that's what I'm picking up on it.

1841
01:28:24,360 --> 01:28:28,679
Speaker 3: Yes, it's a post trauma. Yeah, you haven't recovered from

1842
01:28:29,080 --> 01:28:29,800
Speaker 3: your waiting time.

1843
01:28:29,840 --> 01:28:31,880
Speaker 1: I think we've we stumbled upon it.

1844
01:28:32,400 --> 01:28:34,000
Speaker 2: That it feels like a little bit of a put

1845
01:28:34,080 --> 01:28:36,360
Speaker 2: down or like yes, or it feels like that's maybe

1846
01:28:36,439 --> 01:28:37,320
Speaker 2: what I'm getting at with it.

1847
01:28:37,439 --> 01:28:39,920
Speaker 1: That it feels noncommittal, you know what I mean. It's

1848
01:28:40,000 --> 01:28:44,160
Speaker 1: just it's there's something pased down about it. Yeah, it's pat.

1849
01:28:44,880 --> 01:28:49,320
Speaker 1: Maybe it's simply pat, simply okay, interesting, fascinating, I don't know.

1850
01:28:49,479 --> 01:28:51,200
Speaker 2: Yeah, I just needed needed to walk that through and

1851
01:28:51,200 --> 01:28:53,439
Speaker 2: I'm happy what we did here today. Okay, So this

1852
01:28:53,560 --> 01:28:55,080
Speaker 2: is Bow and Yang's I don't think sowenty, did you

1853
01:28:55,120 --> 01:28:55,880
Speaker 2: come from here today.

1854
01:28:56,040 --> 01:28:58,840
Speaker 1: I did. And this has been brewing for several years

1855
01:28:58,840 --> 01:29:02,080
Speaker 1: as well, for several years. We're really unearthing a lot. Wow, okay,

1856
01:29:02,360 --> 01:29:05,320
Speaker 1: this ended up herapy. Yeah, so this is Bowen Yang's

1857
01:29:05,320 --> 01:29:07,200
Speaker 1: I don't think so, honey. His time starts now. I

1858
01:29:07,200 --> 01:29:11,000
Speaker 1: don't think so, honey. Hakuna matata, Oh, no worries for

1859
01:29:11,120 --> 01:29:14,600
Speaker 1: the rest of your day's privilege. I'm worried. It's not

1860
01:29:14,640 --> 01:29:17,080
Speaker 1: even a privileged thing. It's a it's a detachment from

1861
01:29:18,120 --> 01:29:24,160
Speaker 1: the human condition, which is to experience, experience, stake, experience,

1862
01:29:25,200 --> 01:29:28,000
Speaker 1: some kind of investment in the future. And how can

1863
01:29:28,080 --> 01:29:29,599
Speaker 1: and how can you be invested in the future if

1864
01:29:29,600 --> 01:29:32,320
Speaker 1: you're not worried a little bit about losing the thing

1865
01:29:32,400 --> 01:29:36,640
Speaker 1: that you want, about about letting go of desire to

1866
01:29:36,840 --> 01:29:39,880
Speaker 1: Buddhists too aggressively Buddhist, which is not what Buddhism is,

1867
01:29:40,000 --> 01:29:42,960
Speaker 1: which is which is anathemat of Buddhism in the first place.

1868
01:29:43,040 --> 01:29:45,759
Speaker 1: You can't be an aggressive Buddhist to say no worries

1869
01:29:46,000 --> 01:29:48,120
Speaker 1: for the rest of your days, to be that absolute

1870
01:29:48,280 --> 01:29:53,519
Speaker 1: about not worrying something's off, You're numbing yourself too much

1871
01:29:53,600 --> 01:29:57,439
Speaker 1: to circumstance to what life throws out you. You're gonna

1872
01:29:57,439 --> 01:30:00,280
Speaker 1: be worried because guess what everyone in this room. I'm

1873
01:30:00,280 --> 01:30:03,160
Speaker 1: looking at a heat matt behind the camera. We're all worried.

1874
01:30:03,280 --> 01:30:04,880
Speaker 1: You have something to worry about. You have something to

1875
01:30:04,960 --> 01:30:07,880
Speaker 1: worry about, and that's one minute. But their worries also

1876
01:30:08,000 --> 01:30:10,840
Speaker 1: not for nothing. They were a ward hog and a groundhog,

1877
01:30:12,240 --> 01:30:15,240
Speaker 1: a mere cat, thank you. In Africa, you have worries.

1878
01:30:15,280 --> 01:30:19,639
Speaker 1: You've got worries. There are predators all around you. Be worried.

1879
01:30:19,960 --> 01:30:24,320
Speaker 1: Stay vigilant in these streets. And by these streets I

1880
01:30:24,400 --> 01:30:28,800
Speaker 1: do mean the prairie land, prairie. Yes, this red room,

1881
01:30:29,400 --> 01:30:31,240
Speaker 1: stay on very afraid.

1882
01:30:32,200 --> 01:30:32,680
Speaker 3: I think not.

1883
01:30:32,800 --> 01:30:37,200
Speaker 1: It's number fourteen Matata, I think not. I love that

1884
01:30:37,280 --> 01:30:40,880
Speaker 1: bo thank you. It's from the heart. Yeah, we were

1885
01:30:40,920 --> 01:30:42,200
Speaker 1: told that you you can't prepared as well.

1886
01:30:42,600 --> 01:30:44,519
Speaker 3: I meant to have one. I'm not going to be

1887
01:30:44,600 --> 01:30:48,000
Speaker 3: as eloquent as you are, that's okay, but I have something.

1888
01:30:48,080 --> 01:30:51,160
Speaker 3: I have a lot of things that really you know,

1889
01:30:51,600 --> 01:30:53,200
Speaker 3: what's the first bit I have to say say?

1890
01:30:53,320 --> 01:30:56,320
Speaker 1: I don't think so, honey, I don't like I don't

1891
01:30:56,320 --> 01:30:59,840
Speaker 1: think so honey. Okay, we're going to put the time,

1892
01:31:00,320 --> 01:31:02,600
Speaker 1: but I think you should feel unbounded by this.

1893
01:31:02,920 --> 01:31:05,800
Speaker 3: Okay, lord, I don't think so honey. Timing. I don't

1894
01:31:05,800 --> 01:31:11,920
Speaker 3: think so honey. I don't my blood pressures just gone up.

1895
01:31:12,120 --> 01:31:15,440
Speaker 1: Okay, we're just for ceremony. Okay, this is Cape Blanchette'

1896
01:31:15,439 --> 01:31:16,960
Speaker 1: I don't think so honey. Her time starts now.

1897
01:31:17,280 --> 01:31:20,880
Speaker 3: I don't think so honey. Leaving the toilet seat up

1898
01:31:21,000 --> 01:31:23,920
Speaker 3: and I am not talking about the lid. I am

1899
01:31:24,040 --> 01:31:26,840
Speaker 3: talking about the thing that you sit off in a

1900
01:31:26,920 --> 01:31:31,200
Speaker 3: domestic setting. Men may think, or people with penises may

1901
01:31:31,280 --> 01:31:34,000
Speaker 3: think that their aim is good, but it is all

1902
01:31:34,280 --> 01:31:36,519
Speaker 3: over the seat and I have to put that thing

1903
01:31:36,720 --> 01:31:40,880
Speaker 3: down because in the end, everyone sits down more than

1904
01:31:40,920 --> 01:31:43,760
Speaker 3: they stand up. And when you are at you know,

1905
01:31:43,920 --> 01:31:46,920
Speaker 3: somebody else's house and you and it's not only the

1906
01:31:47,240 --> 01:31:49,479
Speaker 3: pea that goes onto the seat, it's little bits of

1907
01:31:49,560 --> 01:31:51,519
Speaker 3: hair and you think I want to touch that, You

1908
01:31:51,600 --> 01:31:53,600
Speaker 3: think I want to smell that, and so I have

1909
01:31:53,720 --> 01:31:56,120
Speaker 3: to put it down. And then I put the seat down,

1910
01:31:56,439 --> 01:31:58,439
Speaker 3: and then the whole thing comes up and it starts

1911
01:31:58,439 --> 01:32:01,400
Speaker 3: all over again. And if you are in a public bathroom,

1912
01:32:02,000 --> 01:32:04,360
Speaker 3: it's like I am going to invest in a shi

1913
01:32:04,479 --> 01:32:07,680
Speaker 3: wi because do you know what she oh my god.

1914
01:32:07,840 --> 01:32:10,320
Speaker 3: It's a cup with a little tube on it that

1915
01:32:10,479 --> 01:32:13,759
Speaker 3: women use for going for a bush wei when they're campaign.

1916
01:32:14,560 --> 01:32:16,719
Speaker 3: I don't want to have to spend money just because

1917
01:32:16,800 --> 01:32:19,120
Speaker 3: people who need to put the should be putting the

1918
01:32:19,200 --> 01:32:22,880
Speaker 3: seat down can't peeve straight right, And yeah, so it's

1919
01:32:23,000 --> 01:32:25,439
Speaker 3: my whole thing is the toilet seat thing. And I

1920
01:32:25,600 --> 01:32:27,960
Speaker 3: have I live in a household with three boys and

1921
01:32:28,120 --> 01:32:31,120
Speaker 3: my husband, and each of them say I always put

1922
01:32:31,160 --> 01:32:34,800
Speaker 3: it down, which is almost more a live lies.

1923
01:32:35,240 --> 01:32:39,439
Speaker 1: It's the plot. There's a trader in your mets.

1924
01:32:40,280 --> 01:32:44,920
Speaker 3: But this is you're going to defend yourself. I don't

1925
01:32:44,960 --> 01:32:46,880
Speaker 3: want to hear your defense because it is not true.

1926
01:32:46,920 --> 01:32:50,160
Speaker 1: I'm not defending myself. I'm actually but i'm self. I'm

1927
01:32:50,240 --> 01:32:55,360
Speaker 1: sort of self owning when I say it's always so jarring.

1928
01:32:55,439 --> 01:32:58,559
Speaker 1: This is the thing about living alone. I'm going, well,

1929
01:32:58,600 --> 01:33:01,720
Speaker 1: that's my hair to get mad at myself. Yeah, but

1930
01:33:01,880 --> 01:33:03,679
Speaker 1: do you do you find yourself getting mad at yourself

1931
01:33:03,680 --> 01:33:03,920
Speaker 1: if you.

1932
01:33:03,960 --> 01:33:06,880
Speaker 3: Go, well, I don't should Yeah, but you can't.

1933
01:33:06,920 --> 01:33:10,120
Speaker 1: You can't control that, can you? Oh? Yeah? Yeah? Years

1934
01:33:10,160 --> 01:33:10,479
Speaker 1: of work.

1935
01:33:10,600 --> 01:33:11,759
Speaker 3: I am tourist toy stories.

1936
01:33:11,760 --> 01:33:12,840
Speaker 1: I told you that before I came.

1937
01:33:13,520 --> 01:33:16,320
Speaker 3: I'm very controlling hair. Stay in there.

1938
01:33:16,479 --> 01:33:19,080
Speaker 2: I can't stand going to someone else's bathroom and when

1939
01:33:19,080 --> 01:33:21,840
Speaker 2: they're okay with hair being all over the toilet like

1940
01:33:22,080 --> 01:33:22,880
Speaker 2: I am, I am.

1941
01:33:23,360 --> 01:33:26,760
Speaker 1: I am essentially like a top level cleaner. Whenever I

1942
01:33:26,880 --> 01:33:29,439
Speaker 1: have anyone coming over, I make sure I put I

1943
01:33:29,640 --> 01:33:30,760
Speaker 1: put muscle into it. I know.

1944
01:33:30,920 --> 01:33:33,080
Speaker 3: But do you put the lid down all ways?

1945
01:33:33,280 --> 01:33:33,800
Speaker 1: Yeah? The lid?

1946
01:33:34,400 --> 01:33:37,800
Speaker 3: Yes, I want photographic evidence. That's what my husband said,

1947
01:33:38,000 --> 01:33:39,960
Speaker 3: and he said, come on, just leave me alone. It's

1948
01:33:40,040 --> 01:33:41,920
Speaker 3: it's six in the morning. I do put it down

1949
01:33:42,000 --> 01:33:44,680
Speaker 3: and I go to the toilet saying it's like, do

1950
01:33:44,800 --> 01:33:46,960
Speaker 3: I take up. We've been married twenty seven years and

1951
01:33:47,160 --> 01:33:49,320
Speaker 3: we are still married because I just had to let

1952
01:33:49,400 --> 01:33:53,040
Speaker 3: it go. But I tried to teach my boys, but

1953
01:33:53,120 --> 01:33:56,840
Speaker 3: I realized they're imprinted on my husband. So I failed

1954
01:33:56,880 --> 01:34:00,080
Speaker 3: as a parent. No, No, I have, I have. I

1955
01:34:00,160 --> 01:34:03,000
Speaker 3: have noice my sons in a way that I probably

1956
01:34:03,000 --> 01:34:03,479
Speaker 3: shouldn't be.

1957
01:34:05,280 --> 01:34:06,479
Speaker 1: We don't know which of the sons.

1958
01:34:07,000 --> 01:34:08,559
Speaker 3: Yeah, all of them.

1959
01:34:08,760 --> 01:34:11,840
Speaker 1: Well you've now specified, so there we go them. You

1960
01:34:11,920 --> 01:34:14,679
Speaker 1: can ask us for photographic evidence. You as a mother.

1961
01:34:14,880 --> 01:34:17,080
Speaker 1: This is your your success as a mother is that

1962
01:34:17,160 --> 01:34:20,920
Speaker 1: you're not asking photographic evidence of them. You never make it.

1963
01:34:20,960 --> 01:34:21,360
Speaker 1: It's true.

1964
01:34:21,560 --> 01:34:24,519
Speaker 3: I know I don't shame them, right, but they do

1965
01:34:24,760 --> 01:34:29,040
Speaker 3: get the passive aggressive every time I go to the bathroom.

1966
01:34:29,439 --> 01:34:31,559
Speaker 1: My thing is that I'll reveal this and I bet

1967
01:34:31,600 --> 01:34:34,040
Speaker 1: you'll agree the older I get. I'm sitting down to

1968
01:34:34,080 --> 01:34:36,840
Speaker 1: be more anyway, because I do have.

1969
01:34:36,920 --> 01:34:39,519
Speaker 3: Male friends who sit down out of deference to the

1970
01:34:39,640 --> 01:34:42,920
Speaker 3: friends of all sexual deslations and orientations. I'm going to

1971
01:34:42,960 --> 01:34:46,120
Speaker 3: sit down because I'm not going to miss if I say, exactly.

1972
01:34:45,800 --> 01:34:49,800
Speaker 2: The risk becomes exponentially less when you are when when

1973
01:34:50,000 --> 01:34:52,160
Speaker 2: quite frankly, your dick is already in the bowl.

1974
01:34:52,200 --> 01:34:54,720
Speaker 3: Exactly, And if you don't have a dick, you know

1975
01:34:54,880 --> 01:34:55,479
Speaker 3: your holes in the.

1976
01:34:55,479 --> 01:34:59,439
Speaker 1: Bowl, holes in the ball. Honestly, HiT's a win win.

1977
01:35:00,600 --> 01:35:03,200
Speaker 1: This is huge And with that, you can cut that out.

1978
01:35:03,800 --> 01:35:06,120
Speaker 3: Mother's gonna listen. I'm sorry, Mom.

1979
01:35:06,400 --> 01:35:08,920
Speaker 1: Sorry, Mom. No, And this is good for us, for

1980
01:35:09,000 --> 01:35:11,479
Speaker 1: Berghem because there's the pist goblin there and it's.

1981
01:35:11,320 --> 01:35:12,360
Speaker 3: Probably a hole in the room.

1982
01:35:14,000 --> 01:35:15,759
Speaker 1: You know, we're all we're all going to be sitting

1983
01:35:15,880 --> 01:35:17,560
Speaker 1: I'm sitting on the pists goblin.

1984
01:35:18,160 --> 01:35:23,479
Speaker 3: Okay, and not get photographic evidence of that. I'll get

1985
01:35:23,520 --> 01:35:27,040
Speaker 3: the descriptor absolutely, we'll fill you in have fun. Thank you,

1986
01:35:27,360 --> 01:35:29,320
Speaker 3: We're gonna have the best time, just like we did today.

1987
01:35:29,560 --> 01:35:32,920
Speaker 1: This was so amazing. It's so great to meet you,

1988
01:35:33,080 --> 01:35:34,760
Speaker 1: and you really are just one of the best, and

1989
01:35:35,040 --> 01:35:36,679
Speaker 1: this has just been one of the best.

1990
01:35:37,479 --> 01:35:39,800
Speaker 3: Well, would you like calling me your friend?

1991
01:35:40,240 --> 01:35:40,880
Speaker 1: Would you? Now?

1992
01:35:41,920 --> 01:35:43,479
Speaker 3: Hey, buddy, of the best?

1993
01:35:44,360 --> 01:35:44,759
Speaker 1: The best?

1994
01:35:45,200 --> 01:35:47,320
Speaker 3: You know you're meant to say to every guest you're

1995
01:35:47,520 --> 01:35:51,000
Speaker 3: the best, you are the great, feeling good about themselves.

1996
01:35:51,479 --> 01:35:52,800
Speaker 3: I'm seeing the next one comes in.

1997
01:35:53,000 --> 01:35:57,280
Speaker 1: You are the best. You are you too, You're the

1998
01:35:57,520 --> 01:36:03,000
Speaker 1: undisputed best. We named an award after you, forgot Award

1999
01:36:03,040 --> 01:36:08,400
Speaker 1: for Good Actor was named after and confused, I can understand.

2000
01:36:08,720 --> 01:36:10,800
Speaker 1: We said those We're like, are they gonna have any

2001
01:36:10,880 --> 01:36:12,559
Speaker 1: reference for this? And then the fact that you went

2002
01:36:12,600 --> 01:36:14,160
Speaker 1: out and did it, we were like, thank you for

2003
01:36:14,240 --> 01:36:17,720
Speaker 1: the commitment. Well we end up ups with the song.

2004
01:36:17,800 --> 01:36:21,519
Speaker 1: We sure do. I wish we only had were an orchestra,

2005
01:36:21,600 --> 01:36:23,080
Speaker 1: right and we can play and be conducted.

2006
01:36:24,439 --> 01:36:30,560
Speaker 5: Let's see, Well, you got my hoppeat run away like

2007
01:36:30,680 --> 01:36:34,920
Speaker 5: a drama is coming your way, be like boom room boom,

2008
01:36:34,920 --> 01:36:35,719
Speaker 5: boom boom.

2009
01:36:36,000 --> 01:36:37,880
Speaker 1: You get that hormony there and it didn't work. It's okay,

2010
01:36:38,040 --> 01:36:43,719
Speaker 1: we'll get it next time. Thanks Bye. Love. Culture Reachs

2011
01:36:43,840 --> 01:36:45,600
Speaker 1: is the production by Will Ferrel's Big Money Players in

2012
01:36:45,640 --> 01:36:46,679
Speaker 1: iHeartRadio Podcasts.

2013
01:36:47,080 --> 01:36:50,360
Speaker 2: Created and hosted by Matt Rogers and Bowen Yang, Executive

2014
01:36:50,400 --> 01:36:51,639
Speaker 2: produced by Ana Hasby

2015
01:36:51,920 --> 01:36:55,240
Speaker 1: Produced by Beck Ramos, edited mixed by Doug Bammniqua Board

2016
01:36:55,360 --> 01:36:57,200
Speaker 1: and Our Music Is Why Henry Kmerski