WEBVTT - "Huge Fornicators" (w/ Cate Blanchett)

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<v Speaker 1>Look may oh, I see my own and look over

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<v Speaker 1>there is that culture. Yes, goodness, we lost culture. Ding

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

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<v Speaker 1>We're gonna ding Dong again because we are not currently

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<v Speaker 1>with our guest of this episode, which you can probably

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<v Speaker 1>see now based on the title, is with the one

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<v Speaker 1>and only Kate Blanchette. Kate Blanchett got a new movie,

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<v Speaker 1>Black Bag. It's great. It's great. I was actually like,

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<v Speaker 1>I was.

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<v Speaker 2>Watching Black Bag and then I was gonna choose another

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<v Speaker 2>thing from her filmography to watch again before this.

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<v Speaker 1>There's so much. I got overwhelmed. You got antsy. I

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

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<v Speaker 1>not even just little options where it's like, oh it

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<v Speaker 1>could be that could be that big delicious options. It's

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<v Speaker 1>like a it's like a cheesecake factory. Her filmography, it's

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<v Speaker 1>a menu with the spiral spine. This is a real

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<v Speaker 1>culture if I've ever heard one. This is a real

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<v Speaker 1>coature number ninety four, ninety four filmography. It's like the

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<v Speaker 1>menu at a cheesecake factory. The options, What were you

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<v Speaker 1>were you juggling? Did you like whittle? It down to

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<v Speaker 1>a final selection. I mean, there's always Tar. Yep, there's

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<v Speaker 1>always Tar. But the thing about Tar is it is

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<v Speaker 1>it is the let's just call it the big steak

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<v Speaker 1>of options because it's so, it's long, it's it's it's

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

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

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<v Speaker 1>But having already seen that several times, and then I thought,

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

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<v Speaker 2>I was like, this could be good, but I've also

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<v Speaker 2>seen that a couple of times. And then I thought, no,

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<v Speaker 2>it's on a scandal, which is ultimately what I went

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<v Speaker 2>with because I know that's what you went That's what

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<v Speaker 2>I went with. This is my favorite film on her

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<v Speaker 2>philmography will tell not.

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<v Speaker 1>It's on a scandal. I think it is because I

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<v Speaker 1>love melodrama. We are off track.

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<v Speaker 2>So the reason why we're doing this is because because

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<v Speaker 2>we want to give you a little bit of a

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<v Speaker 2>culture catchup.

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<v Speaker 1>We know that people have been sort of desiring this

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<v Speaker 1>because a lot has happened Wow in the last month.

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<v Speaker 1>Where do we start in our lives? And of course,

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<v Speaker 1>in the grand scheme of thing but we just thought

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<v Speaker 1>we'd give you like a little sort of hybrid episode,

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<v Speaker 1>and I feel like someone like Kate Lynchett deserves sort

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<v Speaker 1>of like little preamble because it's it's just gonna be

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<v Speaker 1>a lot. Yeah.

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<v Speaker 2>I also thought to myself, I'm like, what if Kate

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<v Speaker 2>Blenchett came in here and we did like a traditional

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<v Speaker 2>intro and Kate Blanchette, the legendary Kate Clenchette, was just

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<v Speaker 2>sitting here. So we'll probably do like a thirty second

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<v Speaker 2>intro for her and just get into it, because I

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

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<v Speaker 2>we're like, so, well, the thing about like my favorite

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<v Speaker 2>soup is or whatever dumb shit we would say clamp,

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<v Speaker 2>thank you for asking. I always just wanted to say

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

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<v Speaker 2>It's so hard, I don't think so honey, having to

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<v Speaker 2>pick a favorite soup, and it feels like the pressure

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<v Speaker 2>is always on to choose a favorite soup nowadays.

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<v Speaker 1>Well, I feel like that's a self invented pressure that

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<v Speaker 1>because you just brought that up as like an example.

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<v Speaker 1>You feel that pressure day in and day out. Ever

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<v Speaker 1>since Halen Hardy has disappeared from New York City, I

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

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<v Speaker 1>what soup do I want today? It is nose dived

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<v Speaker 1>and it makes me sick because it used to be

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<v Speaker 1>like the only thing that gave me joy was to

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<v Speaker 1>like pick a new soup, and now I just don't

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<v Speaker 1>encounter soup as much as I would like. Excuse me.

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<v Speaker 2>First of all, let me tell you something, Halen Hardy,

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<v Speaker 2>that was a great American institution. And I'm so disappointed

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<v Speaker 2>in all the consumers of America and everyone that eats

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<v Speaker 2>food out there. What you did, what you allowed to

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<v Speaker 2>happen to Halen Hardy is unacceptable, because where else are

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<v Speaker 2>you going to get I'm sorry, twelve thirteen, sometimes fourteen

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<v Speaker 2>options of soup when you see Morocan lentil on a

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<v Speaker 2>menu at to cart, at to cart, because you're lucky

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<v Speaker 2>to have that opportunity, and now unbelievable.

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

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<v Speaker 1>decades now, seck of rumors starting, rumors starting that it's

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<v Speaker 1>coming back. No, it's not, no, it's not shut up,

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<v Speaker 1>it's I've heard this for years.

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

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<v Speaker 1>Who are you? Who are you? The one that got away?

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<v Speaker 1>I picked up and moved to a different town, and

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

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<v Speaker 1>Lose my lore? You are VV Helen Hardy coming back? YEAV.

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<v Speaker 1>You know VV e a V. You don't think that

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<v Speaker 1>VV is more fun? It's very fun. It's not the

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<v Speaker 1>French way to say it, but you can say you

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<v Speaker 1>can you can say VAV. You better.

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<v Speaker 2>You have to understand nowadays. Bo One has to be

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<v Speaker 2>helping me with this because we're going to Europe.

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<v Speaker 1>We're going to We're going to Europe. Very tar coded.

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<v Speaker 1>She'd fly back and forth, you know.

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<v Speaker 2>Yeah, a cultured woman, a culture with secrets, can't wait

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<v Speaker 2>to ask Cate Blanchette.

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<v Speaker 1>If she has secrets too. We're talking about soup. We

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

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<v Speaker 1>Favorite Role? Is its a scandal? Yeah? Oh this is

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<v Speaker 1>what I was gonna say. R kpfk's ks whatever. R

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<v Speaker 1>k p f kska what r k p fk. Yeah,

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

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<v Speaker 1>I was gonna say, hold me to account. I want

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<v Speaker 1>to ask her if she thinks, well, I guess what

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<v Speaker 1>is there any use to this? I want to be like,

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<v Speaker 1>do you think they could they would make notes on

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<v Speaker 1>a scandal? Now, like you would not be able to

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<v Speaker 1>have like make out with the teenager, not just make

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<v Speaker 1>out fuck in a train yard? Can I tell you something?

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

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<v Speaker 1>that's that's that's the whole crux of the film. That's

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<v Speaker 1>the scandal. I didn't write it podcast on a scandal.

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

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<v Speaker 1>who's Kate and who's Judy? That I'm Judy. I love

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<v Speaker 1>that you really, Sheba I have here. I do think

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<v Speaker 1>what we should do and it will be embarrassing, but

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<v Speaker 1>we should say the iconic line to Kate, you think

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<v Speaker 1>this is a love you you wanna fuck me? B

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<v Speaker 1>How come I thought you did this is a love

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<v Speaker 1>of it? It was clearly you want to fuck you

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<v Speaker 1>know what?

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<v Speaker 2>I have a you want to fuck me Barbara t

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<v Speaker 2>shirt that I had made as a rap gift for

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

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

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<v Speaker 1>we should have worn that. I'm literally thinking, can we

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

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<v Speaker 1>tell her, We'll show her the photo. We should both

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<v Speaker 1>have been wearing our Lydia tart Is Innocent T shirts.

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<v Speaker 1>What if she had been like, you know, she's not,

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<v Speaker 1>she's not. She was an awful woman. She drops in,

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<v Speaker 1>She's like, this is I don't like this at all.

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<v Speaker 1>I don't agree with this. This is our culture catch

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

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<v Speaker 1>the list. Now, let's just make the program. It okay.

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<v Speaker 1>Lady Gaga was on Lost.

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<v Speaker 2>Coach Bowen sang with Lady Gaga in two sketches and

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<v Speaker 2>became best friends.

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<v Speaker 1>Matt was front rowe at the Oscar. I wouldn't present

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<v Speaker 1>it at the Oscars. It's not Matt.

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<v Speaker 2>I have been such a happy accessory this past month.

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<v Speaker 2>You have no idea. I feel like the most beautiful

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<v Speaker 2>purse in the world. Stop it, no, stop, I love

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<v Speaker 2>it you. I feel like I'm your emotional support animal,

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<v Speaker 2>and I'm so.

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<v Speaker 1>Happy about it. But you know, it's like it's It's

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<v Speaker 1>like when a movie starts. It's like when an actress

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

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<v Speaker 1>like it's someone like de Me Moore brings Oh that dog,

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

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<v Speaker 1>everyone's everyone's obsessed with Pip. You know what I mean.

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

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<v Speaker 1>the prophecy. I'm busy. I'm busy Phillips. You are Michelle,

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

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<v Speaker 1>gay but Michelle Williams and Busy Phillips. No, no, no,

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<v Speaker 1>that I'm not Michelle. You are not busy, And that

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<v Speaker 1>is both like that would be a diservice to both

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<v Speaker 1>of them and us. Excuse me. I'm saying this was.

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<v Speaker 2>All the love in the world for both of those legends,

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<v Speaker 2>and I'm saying it with a lot of love for.

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

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<v Speaker 1>I'm walking on to the red carpet of the Oscars,

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<v Speaker 1>and it's people everyone being like Matt Bow and Matt

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<v Speaker 1>in a way that was like that filled me with

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<v Speaker 1>such profound joy. I was like, yes, we slayed the Glambot.

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<v Speaker 1>We slayed the Glambot, and just like and they're talking

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<v Speaker 1>about it. I can't believe I'm here with my best

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

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<v Speaker 1>and it's it's really I still have to journal about

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<v Speaker 1>SNEL fifty. I feel like rkpfkfs JK. We're not totally

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

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

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<v Speaker 1>let's say top highlights. Let's start there, fifty. Okay, top

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<v Speaker 1>highlights for you waving at chair backstage, doing the pre

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<v Speaker 1>tape with Andy Samberg, which is so much fun, and yes,

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<v Speaker 1>just loving the moments that we shared together with everybody.

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<v Speaker 1>It felt like this wonderful family reunion. It felt like

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<v Speaker 1>we were all sort of giving each other. It was

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<v Speaker 1>like a Dickensian experience of like everyone was being visited

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<v Speaker 1>by the ghosts of SNL past, present, future in a

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<v Speaker 1>way that was actually not terrible. Like we were all

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<v Speaker 1>screwged and we all were waking up on Christmas morning

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<v Speaker 1>like God bless us everyone, and that was the highlight

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<v Speaker 1>for me. Yeah, I mean everyone was obsessed with Matt

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<v Speaker 1>working the carpet. That was fun.

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<v Speaker 2>I will say one of the highlights after it for

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<v Speaker 2>me was when so you've been on it before, but

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<v Speaker 2>I made my at Nikki Cbell.

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<v Speaker 1>Debut on Ted Talk.

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<v Speaker 2>We love the nkey obsessed, deeply obsessed, and I was

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<v Speaker 2>so I'm of course watching it bed riding, like watching

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<v Speaker 2>the TikTok in bed, and then like Nikki is like, yeah, exactly.

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<v Speaker 1>We were very much sympatico there. I was like, I

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<v Speaker 1>want to lay down to and be lazy on.

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<v Speaker 2>My TikTok And then I see myself and he goes,

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<v Speaker 2>not the right color, and I so then then I

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<v Speaker 2>wasn't following him. So I followed him, which was a

0:10:11.679 --> 0:10:14.080
<v Speaker 2>mistake on my part, and he sends me a message

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<v Speaker 2>and he goes he revealed himself as a reader. I

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

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<v Speaker 2>I go just so you know, it wasn't as bright

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<v Speaker 2>in person. Great, and when he goes, okay, I get it,

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<v Speaker 2>yeah totally. But I loved it because it's a celebration

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<v Speaker 2>to even be on that.

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<v Speaker 1>Of course that he had to press save on a

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

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<v Speaker 1>look that bright in person. Like I absolutely loved what

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<v Speaker 1>I wore. The blue. Yeah, so good, thank you. It

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<v Speaker 1>wasn't even like it was not like a jewel tone.

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<v Speaker 1>It was not even, but it was certainly not. It

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<v Speaker 1>was still can you imagine me in a jewel tone?

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<v Speaker 1>But it was just a deep, sumptuous blue. Yeah, it

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<v Speaker 1>was great. By the way, I don't know why I

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<v Speaker 1>pictured me in a jewel tone at S n L

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<v Speaker 1>fifty And this was the pose like like like Lea

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<v Speaker 1>Michelle like yeah, like taking your two hands me and

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<v Speaker 1>putting it pushing like your hips forward and like this

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<v Speaker 1>clavical know you're claviical first. And you just hear you,

0:11:11.960 --> 0:11:15.400
<v Speaker 1>just hear Matt, that Matt. And you know what they

0:11:15.400 --> 0:11:18.319
<v Speaker 1>always say to me, Big smile, man, big smile, big smile.

0:11:18.440 --> 0:11:22.480
<v Speaker 1>Check up, chin up, chin up down. That was that's

0:11:22.520 --> 0:11:24.960
<v Speaker 1>too much chinned down. A little bit of a smile

0:11:25.200 --> 0:11:27.400
<v Speaker 1>over here. And they're always over that. Always you know

0:11:27.480 --> 0:11:29.679
<v Speaker 1>what we should do, even when our backs of our

0:11:29.720 --> 0:11:32.800
<v Speaker 1>outfits are really bad. Just the shoulder. I love an

0:11:32.840 --> 0:11:37.040
<v Speaker 1>older I love that. I like your fucking Gwyneth. Oh, anyway,

0:11:37.200 --> 0:11:41.240
<v Speaker 1>that was that sound tifty was amazing. Oscars, Oscars, you

0:11:41.600 --> 0:11:43.960
<v Speaker 1>really did crush that present thing. And there was bts.

0:11:44.120 --> 0:11:45.760
<v Speaker 1>It was back and forth weather and not that bit

0:11:45.880 --> 0:11:47.679
<v Speaker 1>was gonna happen, yes, and you stuck to your gun.

0:11:47.760 --> 0:11:50.440
<v Speaker 1>I stuck to my guns. The producers pitched the idea,

0:11:50.480 --> 0:11:53.199
<v Speaker 1>the producers and the writers, wonderful team. They're they're just

0:11:53.280 --> 0:11:57.240
<v Speaker 1>like for working the Oscars. They are a cool chill

0:11:57.320 --> 0:12:00.800
<v Speaker 1>bunch whatever. It's like these people do, this is their thing,

0:12:00.880 --> 0:12:02.520
<v Speaker 1>year in, year out. Yeah, you know what I mean.

0:12:02.880 --> 0:12:05.360
<v Speaker 1>They know how this all works. They're at the Dolby,

0:12:05.520 --> 0:12:09.640
<v Speaker 1>they know where the bathrooms are, and it was so

0:12:09.840 --> 0:12:14.160
<v Speaker 1>much fun. I stayed up after SNL, got on a plane,

0:12:14.920 --> 0:12:18.280
<v Speaker 1>took a little gummy, conked out, woke up, went straight

0:12:18.280 --> 0:12:23.480
<v Speaker 1>to the Dolby. Felt great, did the bits, had lovely

0:12:23.640 --> 0:12:27.040
<v Speaker 1>stand ins. Saw the rehearsal for the OZ medley with

0:12:27.160 --> 0:12:29.120
<v Speaker 1>the standings and I was still dad. I was like,

0:12:29.360 --> 0:12:31.120
<v Speaker 1>it's not even Cynthia and Ai doing it, and I'm

0:12:31.200 --> 0:12:35.080
<v Speaker 1>still like in tears. Actually just like a stand in slay.

0:12:35.120 --> 0:12:39.240
<v Speaker 1>It was. It was these stand ins who like we're slave, yeah,

0:12:39.320 --> 0:12:41.440
<v Speaker 1>who like we're not. I would say, like maybe they're

0:12:41.480 --> 0:12:43.520
<v Speaker 1>professional vocalists and singers, but they were just like But

0:12:43.720 --> 0:12:45.599
<v Speaker 1>I even saw the shot of like Ari in the

0:12:45.640 --> 0:12:49.120
<v Speaker 1>background was a great shot and it was just like

0:12:49.240 --> 0:12:52.120
<v Speaker 1>missing a blonde girl in the back, just kind of

0:12:52.160 --> 0:12:54.720
<v Speaker 1>like watching this this this other woman on the race platform,

0:12:54.760 --> 0:12:56.920
<v Speaker 1>and I was like, this is gonna fucking stand in

0:12:57.120 --> 0:12:59.599
<v Speaker 1>for them, just like seeing the station and like me

0:12:59.760 --> 0:13:02.040
<v Speaker 1>and all and all Conan's background dances for the opening bit,

0:13:02.080 --> 0:13:05.320
<v Speaker 1>we're all just dying that this this is so fun.

0:13:05.520 --> 0:13:07.640
<v Speaker 2>I also want to say, in terms of stand ins,

0:13:07.960 --> 0:13:11.320
<v Speaker 2>shout out whoever was sitting next to me for ninety minutes.

0:13:11.679 --> 0:13:14.760
<v Speaker 2>So first of all, Bowen says to me beforehand, we're

0:13:14.800 --> 0:13:16.720
<v Speaker 2>sitting in the front row. I said, you better shut

0:13:16.800 --> 0:13:20.520
<v Speaker 2>the fuck up, and he goes, also, I can't be

0:13:20.600 --> 0:13:23.440
<v Speaker 2>with you for like he goes for the first forty

0:13:23.480 --> 0:13:26.600
<v Speaker 2>minutes presenting the fourth Award, and I have to get

0:13:26.640 --> 0:13:28.520
<v Speaker 2>into the costume because we are doing that bit. Like

0:13:28.800 --> 0:13:30.720
<v Speaker 2>it went back and forth about whether that was gonna

0:13:30.720 --> 0:13:32.640
<v Speaker 2>happen because it was going to be a big costume change.

0:13:32.559 --> 0:13:35.480
<v Speaker 1>Made big costume change, and they weren't sure they were

0:13:35.480 --> 0:13:37.040
<v Speaker 1>going to have their proper rehearsal time with me because

0:13:37.040 --> 0:13:38.920
<v Speaker 1>I was flying in the day of yeah, so it

0:13:39.040 --> 0:13:40.880
<v Speaker 1>might not have happened. And so I told Nat I

0:13:41.200 --> 0:13:44.080
<v Speaker 1>budgeted forty minutes. It was the full It was ninety

0:13:44.720 --> 0:13:47.080
<v Speaker 1>ninety minutes at the show, it was ninety and literally

0:13:47.360 --> 0:13:50.120
<v Speaker 1>I'm with this seat filler the whole time. And she

0:13:50.559 --> 0:13:53.760
<v Speaker 1>probably seventy minutes in turns to me and goes, where

0:13:53.880 --> 0:13:58.960
<v Speaker 1>is Bowen? I go, I go, am I not fun?

0:13:59.080 --> 0:14:02.520
<v Speaker 1>Or are you not? She was in great vibe, but

0:14:02.600 --> 0:14:04.640
<v Speaker 1>I was just saying to go to the bathroom probably,

0:14:04.800 --> 0:14:07.199
<v Speaker 1>but also I think she was just like there was

0:14:07.240 --> 0:14:09.240
<v Speaker 1>a little bit of like happen. There was a little

0:14:09.240 --> 0:14:10.480
<v Speaker 1>bit of like, I feel bad.

0:14:10.320 --> 0:14:12.920
<v Speaker 2>That Bowen isn't in his front row seat at the Oscars,

0:14:13.400 --> 0:14:15.319
<v Speaker 2>and I was like, I mean, I hope he comes soon.

0:14:15.400 --> 0:14:18.000
<v Speaker 2>I am, I'm enjoying you, but like I do want

0:14:18.040 --> 0:14:19.560
<v Speaker 2>because I know you want to be out there watching

0:14:19.600 --> 0:14:24.000
<v Speaker 2>it because you missed him, obviously Cynthia and Arianna, which

0:14:24.240 --> 0:14:26.720
<v Speaker 2>was amazing, and the Bond.

0:14:26.720 --> 0:14:29.560
<v Speaker 1>The Bond Trivia with Lisa and Doja and Ray and

0:14:29.680 --> 0:14:32.040
<v Speaker 1>Margaret Quality and Margaret oh my god, Margaret.

0:14:32.280 --> 0:14:34.600
<v Speaker 2>Yeah, I mean, And it was I will say, sitting

0:14:34.640 --> 0:14:36.960
<v Speaker 2>there for ninety minutes and looking to my left and

0:14:37.120 --> 0:14:40.480
<v Speaker 2>just seeing all those people, I was like, what the fuck?

0:14:40.720 --> 0:14:42.520
<v Speaker 1>You know what I was really proud about. I was like, Wow,

0:14:42.560 --> 0:14:46.200
<v Speaker 1>I've really managed my anxiety because I was sitting there. Wow,

0:14:46.600 --> 0:14:47.400
<v Speaker 1>I'm so proud.

0:14:47.480 --> 0:14:48.960
<v Speaker 2>And I think a year ago I wouldn't have been

0:14:49.040 --> 0:14:50.080
<v Speaker 2>like that. I think it would have been like mm.

0:14:50.840 --> 0:14:53.400
<v Speaker 2>But I was like, okay, it's okay, it's okay, okay,

0:14:53.520 --> 0:14:55.600
<v Speaker 2>I'm okay. I was channeling Tate.

0:14:55.680 --> 0:14:58.560
<v Speaker 1>You were channeling Tate. Tate would be cool as a

0:14:58.600 --> 0:15:01.040
<v Speaker 1>cucumber in front Road with the so be like this

0:15:01.200 --> 0:15:01.880
<v Speaker 1>is fun. Yeah.

0:15:01.880 --> 0:15:03.800
<v Speaker 2>I think she'd be like this is cool man, this

0:15:03.880 --> 0:15:06.440
<v Speaker 2>is cool. Yeah, why would that be the cool man?

0:15:06.920 --> 0:15:09.400
<v Speaker 2>But you did finally come out. We got to see

0:15:10.040 --> 0:15:10.960
<v Speaker 2>the last half.

0:15:10.800 --> 0:15:13.880
<v Speaker 1>Of the Oscars together, just just as fun. It was great.

0:15:14.040 --> 0:15:17.600
<v Speaker 2>I mean, the Winds went as expected until that was

0:15:17.640 --> 0:15:19.840
<v Speaker 2>a sad moment when to me lost. But Mikey's so

0:15:20.400 --> 0:15:21.240
<v Speaker 2>fucking great.

0:15:21.040 --> 0:15:23.400
<v Speaker 1>On that movie. It's like that. That's what's It's not

0:15:23.520 --> 0:15:26.360
<v Speaker 1>like an out and out snub necessarily, but it is

0:15:26.480 --> 0:15:29.560
<v Speaker 1>just a thing of like, God, this there's just something

0:15:29.680 --> 0:15:36.240
<v Speaker 1>about the expectation being sort of slowly downloaded into you correct,

0:15:36.760 --> 0:15:39.000
<v Speaker 1>like as just as on a human level, like if

0:15:39.040 --> 0:15:41.920
<v Speaker 1>you are told, like over several months that like it's yours,

0:15:41.920 --> 0:15:44.640
<v Speaker 1>it's yours, it's yours, something's gonna happen to you, something great,

0:15:45.400 --> 0:15:49.560
<v Speaker 1>and it doesn't. That is very just for lack of

0:15:49.600 --> 0:15:51.080
<v Speaker 1>a better word, devastated and with a.

0:15:51.120 --> 0:15:53.720
<v Speaker 2>Camera in your face the moment it doesn't happen, like like,

0:15:54.160 --> 0:15:57.480
<v Speaker 2>here's what I'll say after that. And you know, I

0:15:57.600 --> 0:16:00.840
<v Speaker 2>love Anora. I think Mikey Madison crowd. I actually think

0:16:00.880 --> 0:16:02.640
<v Speaker 2>it was even better on the second time I watched it.

0:16:02.760 --> 0:16:05.640
<v Speaker 2>I think that that performance is great, especially when you

0:16:05.760 --> 0:16:10.840
<v Speaker 2>see how dissimilar she is to that character. I think

0:16:10.880 --> 0:16:13.880
<v Speaker 2>she deserves to win, but it's just tough. When there's

0:16:14.080 --> 0:16:17.640
<v Speaker 2>so many of these award shows, it makes you feel

0:16:17.680 --> 0:16:19.320
<v Speaker 2>like is it a little too much?

0:16:20.120 --> 0:16:22.840
<v Speaker 1>Is yeah? Absolutely? Right?

0:16:22.960 --> 0:16:25.840
<v Speaker 2>After another after another, it feels like a job that

0:16:26.120 --> 0:16:30.560
<v Speaker 2>can't possibly have any reward outside of like ultimately if

0:16:30.600 --> 0:16:33.200
<v Speaker 2>you do win and only one person can and if

0:16:33.240 --> 0:16:36.000
<v Speaker 2>you happen to like you make yourself like a fashion moment,

0:16:36.080 --> 0:16:40.000
<v Speaker 2>which I'll say again, Brad Gereski absolutely crushed it with

0:16:40.320 --> 0:16:41.040
<v Speaker 2>me all season.

0:16:41.320 --> 0:16:43.120
<v Speaker 1>I hope she feels good. I'm sure she feels good.

0:16:43.160 --> 0:16:45.560
<v Speaker 1>I'm sure she does. And it makes me go to

0:16:45.600 --> 0:16:48.760
<v Speaker 1>answer your question like is this too much? Kill me

0:16:48.840 --> 0:16:50.880
<v Speaker 1>for saying this. It makes me go like, well, for

0:16:51.080 --> 0:16:53.880
<v Speaker 1>Culture Awards, I think we should like build out precursors.

0:16:54.480 --> 0:16:58.520
<v Speaker 1>Oh no, the Cultural Awards will have twenty made up precursors.

0:16:58.600 --> 0:17:01.080
<v Speaker 2>No, there's gonna be a brunch, there's gonna be there's

0:17:01.080 --> 0:17:03.520
<v Speaker 2>gonna be a lot governor, a lot of precursors. Like,

0:17:03.840 --> 0:17:06.720
<v Speaker 2>we are actually going to create many other small awards

0:17:07.080 --> 0:17:09.879
<v Speaker 2>with guilds that we create. Actually, that's going to be

0:17:09.960 --> 0:17:12.680
<v Speaker 2>a Reader Awards, a Publicist Awards, a Katie Awards, a

0:17:12.720 --> 0:17:15.320
<v Speaker 2>Finalist Awards, and the Kyle Awards. And you are going

0:17:15.359 --> 0:17:17.359
<v Speaker 2>to get to sign up for the guild. This actually

0:17:17.440 --> 0:17:18.360
<v Speaker 2>is happening in real time.

0:17:18.680 --> 0:17:21.680
<v Speaker 1>We've not discussed and we don't think we have the

0:17:22.320 --> 0:17:24.359
<v Speaker 1>We're looking at producer beck Yall where like this is

0:17:25.320 --> 0:17:27.000
<v Speaker 1>a nightmare in terms of execution.

0:17:27.119 --> 0:17:30.440
<v Speaker 2>It's also kind of officially not really up to us anymore.

0:17:30.600 --> 0:17:32.560
<v Speaker 2>I don't know what we can say, what way we can,

0:17:32.680 --> 0:17:35.480
<v Speaker 2>but it is we are nearing the time of really

0:17:35.560 --> 0:17:37.879
<v Speaker 2>being able to say something very big and cool. But

0:17:38.040 --> 0:17:40.040
<v Speaker 2>like I don't know if it's now. We were told

0:17:40.119 --> 0:17:42.080
<v Speaker 2>it might be around now, but I don't know. I

0:17:42.119 --> 0:17:44.879
<v Speaker 2>don't Yeah, let's for now watch the space.

0:17:45.240 --> 0:17:45.560
<v Speaker 3>For now.

0:17:45.640 --> 0:17:47.680
<v Speaker 1>We're going to pretend we can say anything we want

0:17:47.960 --> 0:17:50.920
<v Speaker 1>and we'll be told later if we can't. If we're

0:17:50.920 --> 0:17:52.880
<v Speaker 1>in there. That's actually a great way to approach. Ask

0:17:53.000 --> 0:18:05.399
<v Speaker 1>for forgiveness, Yes, ask for forgiveness. Yeah, you know.

0:18:05.440 --> 0:18:09.399
<v Speaker 2>I'm watching the UK season three Traders right now, and

0:18:10.040 --> 0:18:15.240
<v Speaker 2>there's an Anglican priest on the show, and her defense

0:18:15.440 --> 0:18:17.480
<v Speaker 2>of not being able to be a trader is I

0:18:17.840 --> 0:18:22.200
<v Speaker 2>can't lie. I'm not able to be deceitful. I'm not

0:18:22.480 --> 0:18:24.879
<v Speaker 2>able to do it. I can't be traitorous.

0:18:25.000 --> 0:18:26.800
<v Speaker 1>And was she a trader? Is she traded? No?

0:18:27.320 --> 0:18:29.919
<v Speaker 2>But it's interesting because half the people are like, I mean,

0:18:30.040 --> 0:18:32.840
<v Speaker 2>she's a priest, Like she can't do this, and then

0:18:32.880 --> 0:18:35.200
<v Speaker 2>other people are like, no, she can lie.

0:18:35.359 --> 0:18:39.080
<v Speaker 1>She just has to confess. I yeah, yeah she will,

0:18:39.160 --> 0:18:42.640
<v Speaker 1>but it's unclear like whether or not she feels that way.

0:18:42.960 --> 0:18:46.119
<v Speaker 1>Uh huh. So just know that you can't trust priests.

0:18:46.160 --> 0:18:49.480
<v Speaker 1>Are there fun Northern accents on UK Trader season three

0:18:49.600 --> 0:18:52.960
<v Speaker 1>Because I miss miss Amanda from season one? Iconic Northern

0:18:52.960 --> 0:18:57.080
<v Speaker 1>accent so yeah, there's really good. There's do a northern accent.

0:18:57.440 --> 0:19:03.000
<v Speaker 1>So are you talking about this? It's like it's very scarce.

0:19:03.240 --> 0:19:07.919
<v Speaker 1>She goes really like Alexander. I love being around him.

0:19:09.000 --> 0:19:14.439
<v Speaker 1>It's Cheryl Cole. I can't believe the murder. We've got

0:19:14.520 --> 0:19:17.800
<v Speaker 1>to murder the murder again. And the Tarret. It's like

0:19:18.240 --> 0:19:23.359
<v Speaker 1>in the Tarret, the Tarret. The territt is very bea.

0:19:23.520 --> 0:19:25.879
<v Speaker 1>It's like Liverpool. It's like it's that. I love it,

0:19:26.040 --> 0:19:26.520
<v Speaker 1>I love it.

0:19:28.600 --> 0:19:29.240
<v Speaker 3>My street.

0:19:29.720 --> 0:19:34.040
<v Speaker 1>That's famously what Cheryl Cole said to cherr Lloyd Oh

0:19:34.080 --> 0:19:37.640
<v Speaker 1>when Cherload was on X Factor. Correct, I'll you're right

0:19:37.840 --> 0:19:42.640
<v Speaker 1>up my streets, right, my straight. This is the most

0:19:42.760 --> 0:19:46.240
<v Speaker 1>gay millennial ship ever. Pretty much is knowing what Cheryl

0:19:46.359 --> 0:19:51.399
<v Speaker 1>Cole said to sher Lloyd from being obsessed with X

0:19:51.480 --> 0:19:57.480
<v Speaker 1>Factor UK on YouTube in two thousand. Who knows? Wait

0:19:57.520 --> 0:19:59.640
<v Speaker 1>a minute call from an eight hundred number, Oh, don't

0:19:59.680 --> 0:20:01.920
<v Speaker 1>pick up. Well, now it's in the voicemail, and that

0:20:02.000 --> 0:20:03.920
<v Speaker 1>means it's in God's hands. It's in gods. It's actually

0:20:03.920 --> 0:20:06.400
<v Speaker 1>a really coachure number eight. When it goes to voicemail,

0:20:06.520 --> 0:20:10.160
<v Speaker 1>that means it's in God's hands. And that is kind

0:20:10.160 --> 0:20:13.920
<v Speaker 1>of how voicemail feels. Now you're just kind of it's

0:20:13.960 --> 0:20:16.600
<v Speaker 1>a message in a bottle, and you're in a terrible

0:20:16.680 --> 0:20:20.720
<v Speaker 1>stormy ocean. Yeah, like who knows if it'll get there? Okay,

0:20:20.840 --> 0:20:23.359
<v Speaker 1>so oscars And then we went to the Vanity Fair party.

0:20:23.440 --> 0:20:26.080
<v Speaker 1>Went to the Vanity Fair party. That was so fun. Fun.

0:20:26.359 --> 0:20:28.239
<v Speaker 1>Can I tell you my favorite sentence that's ever come

0:20:28.280 --> 0:20:29.760
<v Speaker 1>out of my mouth? White bestie summer?

0:20:30.400 --> 0:20:30.840
<v Speaker 3>No, what not?

0:20:31.000 --> 0:20:32.880
<v Speaker 1>My bestie summer? That was fun, that was fun.

0:20:33.560 --> 0:20:36.280
<v Speaker 2>This is my favorite sentence I've ever said out loud. Okay,

0:20:36.800 --> 0:20:38.560
<v Speaker 2>Madison Beer. Do you know Alison Bree?

0:20:39.640 --> 0:20:43.959
<v Speaker 1>Wow? And they hadn't met, but they did, they did,

0:20:44.160 --> 0:20:46.000
<v Speaker 1>and you introduced them.

0:20:46.119 --> 0:20:46.280
<v Speaker 3>Well.

0:20:46.680 --> 0:20:49.320
<v Speaker 2>Our friend Michael brought over Madison Beer, who I was

0:20:49.400 --> 0:20:51.280
<v Speaker 2>so thrilled to me, and I said to her, I

0:20:51.320 --> 0:20:53.920
<v Speaker 2>said to her, Madison Beer, whenever anyone does the glambot,

0:20:54.040 --> 0:20:55.600
<v Speaker 2>I say, why are you doing the glambot? You're not

0:20:55.680 --> 0:20:56.879
<v Speaker 2>Madison Beer, we told.

0:20:56.800 --> 0:20:58.720
<v Speaker 1>And then she died. If you love that. I was

0:20:58.760 --> 0:21:00.640
<v Speaker 1>trying to play it cool around her because Michael, our friend,

0:21:00.760 --> 0:21:04.960
<v Speaker 1>Yes Hoffman, Hello, Hi Michael, somehow became besties with Madison Beer.

0:21:05.000 --> 0:21:06.840
<v Speaker 1>Within me, I get it, scands, I get it, but

0:21:07.040 --> 0:21:10.280
<v Speaker 1>just like, but minutes before m hmm. They just times

0:21:10.320 --> 0:21:13.600
<v Speaker 1>you have chemistry with people like us. But Madison was

0:21:13.640 --> 0:21:16.080
<v Speaker 1>following Michael into the crowd and then we saw Michael

0:21:16.080 --> 0:21:17.760
<v Speaker 1>and said hi. And then I look over and there

0:21:17.880 --> 0:21:21.080
<v Speaker 1>was Madison Beer and the full Glory and I was like, hey,

0:21:21.440 --> 0:21:23.920
<v Speaker 1>how are you. I'm bowing up. It's so nice to

0:21:23.960 --> 0:21:26.760
<v Speaker 1>meet you, trying to play it cool. How's your night going?

0:21:26.920 --> 0:21:29.520
<v Speaker 1>And then finally I was like, finally you came over

0:21:29.600 --> 0:21:31.680
<v Speaker 1>and you were like, you're Madison Beer, and I dropped

0:21:31.680 --> 0:21:33.680
<v Speaker 1>the whole thing. I was like, I mean, where Madison

0:21:33.720 --> 0:21:38.439
<v Speaker 1>and we invited her on the pot. We know if

0:21:38.480 --> 0:21:41.760
<v Speaker 1>you're not listening to Madison Beer's beca are you a stan?

0:21:42.400 --> 0:21:42.600
<v Speaker 3>Yeah?

0:21:42.920 --> 0:21:46.520
<v Speaker 1>Period? Madison Beer's music is really good. And can I

0:21:46.600 --> 0:21:50.440
<v Speaker 1>say as a boob gay period, that's she is. She

0:21:50.720 --> 0:21:51.400
<v Speaker 1>is top tier.

0:21:51.560 --> 0:21:53.040
<v Speaker 2>And then I was looking to my right at the

0:21:53.080 --> 0:21:54.840
<v Speaker 2>Glory that was Alison Brie, and I said, oh, I

0:21:54.920 --> 0:21:57.080
<v Speaker 2>have to make this happen. I was like, Madison Beard Beard,

0:21:57.080 --> 0:21:59.080
<v Speaker 2>do you know Adams Alison Brie? And they hadn't met.

0:21:59.200 --> 0:22:02.320
<v Speaker 2>They hugged, I can only assume, traded numbers and became

0:22:02.359 --> 0:22:02.800
<v Speaker 2>best friends.

0:22:02.840 --> 0:22:05.320
<v Speaker 1>We'll find out what was the vibe. Because we were

0:22:05.359 --> 0:22:07.800
<v Speaker 1>with mister Ham love him for John had to be

0:22:07.880 --> 0:22:11.359
<v Speaker 1>in close proximity to Alison Brie made me truly thrilled me.

0:22:11.800 --> 0:22:13.680
<v Speaker 1>Oh my god, you know what's funny. I didn't realize

0:22:13.720 --> 0:22:16.200
<v Speaker 1>it until right after. Oh, like, oh my god, fucking

0:22:16.320 --> 0:22:23.320
<v Speaker 1>Don and Trudy. Oh that was good. You really stay allegend.

0:22:24.359 --> 0:22:26.320
<v Speaker 1>This is my life now. This is actually like a

0:22:26.359 --> 0:22:28.800
<v Speaker 1>perfect microcosm for like what the last month has been,

0:22:28.840 --> 0:22:30.600
<v Speaker 1>and it is my peak and like it's all downhill

0:22:30.640 --> 0:22:32.480
<v Speaker 1>from here. We're at the Vanity Fair party. We're talking,

0:22:32.480 --> 0:22:35.280
<v Speaker 1>we're talking for this person to come up and tap

0:22:35.320 --> 0:22:36.360
<v Speaker 1>me on the shoulder and be like, oh my god,

0:22:36.400 --> 0:22:37.040
<v Speaker 1>thank god you're here.

0:22:37.119 --> 0:22:37.439
<v Speaker 4>M hm.

0:22:37.840 --> 0:22:39.720
<v Speaker 1>For this to be the person I'm about to say

0:22:39.880 --> 0:22:42.920
<v Speaker 1>three words, this was good. We've all been this person

0:22:43.040 --> 0:22:45.840
<v Speaker 1>at any party where it's like, oh, thank god you're here. Yeah,

0:22:46.160 --> 0:22:48.800
<v Speaker 1>like I have someone to talk to. Megan the Stallion

0:22:48.800 --> 0:22:50.680
<v Speaker 1>coming up to me, she goes, oh my god, thank

0:22:50.680 --> 0:22:54.160
<v Speaker 1>god you're here. I'm like, hi, Hey, Megan thee Stallion.

0:22:54.960 --> 0:22:57.960
<v Speaker 1>Someone i've like fully like been not a professional, I

0:22:58.000 --> 0:22:59.640
<v Speaker 1>have been like enough to be on a professional level

0:22:59.680 --> 0:23:01.960
<v Speaker 1>with and worked with before, but it's every time I'm

0:23:01.960 --> 0:23:05.040
<v Speaker 1>still shocking to me. Whenever she's like Hi, I'm like, Hi,

0:23:05.880 --> 0:23:08.399
<v Speaker 1>it's a bitch, It's Tina Snow. Let's go.

0:23:09.000 --> 0:23:11.399
<v Speaker 2>That whole party was just like and I say this

0:23:11.520 --> 0:23:15.560
<v Speaker 2>in the most revelation I say this, and the most

0:23:15.960 --> 0:23:16.560
<v Speaker 2>how do I say that?

0:23:17.240 --> 0:23:19.960
<v Speaker 1>This and the most reverence. I say this in the

0:23:20.000 --> 0:23:25.320
<v Speaker 1>most reverent way, the most random group of people each other.

0:23:25.920 --> 0:23:26.760
<v Speaker 3>And I was like, whoo.

0:23:27.359 --> 0:23:29.159
<v Speaker 1>And then I don't think we can say where we

0:23:29.280 --> 0:23:31.520
<v Speaker 1>went next. We can't say where we went next, but

0:23:32.080 --> 0:23:34.000
<v Speaker 1>I think we can say this because this is actually

0:23:34.040 --> 0:23:35.600
<v Speaker 1>a huge moment that I want to share with people.

0:23:35.840 --> 0:23:38.760
<v Speaker 1>And it's like the perfect karmic law. We went to

0:23:38.840 --> 0:23:42.159
<v Speaker 1>a party, yes, and we were the Megan thee Stallion

0:23:42.160 --> 0:23:44.439
<v Speaker 1>in this situation where we look around everyone's way too

0:23:44.480 --> 0:23:46.840
<v Speaker 1>cool for us, and then we this is the person

0:23:46.880 --> 0:23:48.199
<v Speaker 1>that we zeroed in on, and we were like, oh,

0:23:48.240 --> 0:23:49.200
<v Speaker 1>we can talk to this person.

0:23:49.320 --> 0:23:54.399
<v Speaker 2>Yes, Chapel Roone, Chapel Roan, and guess what. The groundwork

0:23:54.440 --> 0:23:58.040
<v Speaker 2>has been laid this year for Chapel last. This is

0:23:58.400 --> 0:24:01.600
<v Speaker 2>we're just putting it out there, but incredibly cool. I mean, like,

0:24:01.840 --> 0:24:04.399
<v Speaker 2>was did I did I help facilitate that introduction. But

0:24:05.160 --> 0:24:08.040
<v Speaker 2>that was so kind and like, she was so sweet

0:24:08.119 --> 0:24:08.359
<v Speaker 2>and like.

0:24:08.480 --> 0:24:09.959
<v Speaker 1>But I got to tell her, and I told her

0:24:10.000 --> 0:24:11.680
<v Speaker 1>like when I first met her, I was like, or

0:24:11.720 --> 0:24:13.119
<v Speaker 1>when I first talked to her for interview, I was

0:24:13.200 --> 0:24:16.720
<v Speaker 1>just like, my best friend Matt Ronders was years ahead

0:24:16.720 --> 0:24:18.760
<v Speaker 1>of the curve well, and I was just like, look,

0:24:18.800 --> 0:24:21.840
<v Speaker 1>I was like, Chapel this is my friend Matt likes

0:24:22.119 --> 0:24:26.280
<v Speaker 1>and and you two hit it off. She really liked you.

0:24:26.440 --> 0:24:30.199
<v Speaker 2>Yeah, I mean, listen, we love chapelone, and I'm excited

0:24:30.240 --> 0:24:34.160
<v Speaker 2>about I guess, oh, by by the time this comes out,

0:24:34.200 --> 0:24:37.640
<v Speaker 2>I guess by the Giver slash tomorrow the Giver, We're

0:24:37.920 --> 0:24:39.400
<v Speaker 2>headed for a really fun Chapel era.

0:24:39.720 --> 0:24:50.520
<v Speaker 1>Definitely. God tell me, baby, I'm excited. I love it. No, no, no, no,

0:24:50.640 --> 0:24:54.720
<v Speaker 1>no no, it's really no great bridge God, she's a

0:24:54.760 --> 0:24:57.439
<v Speaker 1>bridge queen. Thank God too. You know what I love

0:24:57.440 --> 0:25:00.920
<v Speaker 1>about Mayhem not a song on three minutes on that

0:25:01.040 --> 0:25:04.120
<v Speaker 1>goddamn album. And thank God for Gaga for bringing back

0:25:04.240 --> 0:25:09.960
<v Speaker 1>the breakdown outro. Please the outros are it helps you

0:25:10.119 --> 0:25:12.240
<v Speaker 1>live in the song. I think you can apply this

0:25:12.320 --> 0:25:14.840
<v Speaker 1>across the board, especially in terms of a pop structure.

0:25:14.880 --> 0:25:19.359
<v Speaker 1>It's like outro us show off the production, highlight the production.

0:25:19.560 --> 0:25:22.440
<v Speaker 1>This is just as key in the song as the vocals.

0:25:23.040 --> 0:25:26.399
<v Speaker 2>Not to give them too much credit, but her highest

0:25:26.480 --> 0:25:31.280
<v Speaker 2>Pitchfork ever, Yeah, sure, eight point zero, mister rich and

0:25:31.359 --> 0:25:33.520
<v Speaker 2>I think it's deserved, and also it's so great to

0:25:33.560 --> 0:25:35.120
<v Speaker 2>see it get the critical acclaim.

0:25:35.800 --> 0:25:38.639
<v Speaker 1>But okay, so are we moving on to Gaga now? Yes? Okay,

0:25:40.600 --> 0:25:42.640
<v Speaker 1>I mean now you know she was on the podcast,

0:25:42.880 --> 0:25:45.400
<v Speaker 1>which we had to keep a secret for a long time. Yes,

0:25:46.040 --> 0:25:50.280
<v Speaker 1>and I'm still not so. We're recording this on Monday,

0:25:50.600 --> 0:25:54.200
<v Speaker 1>two days after the show, and I God, just like

0:25:55.240 --> 0:26:01.040
<v Speaker 1>that is a consummate entertainer in every way, Killa. I

0:26:01.400 --> 0:26:03.720
<v Speaker 1>got to see the sound check for it on Thursday

0:26:04.000 --> 0:26:07.120
<v Speaker 1>and I lost my mind. So good.

0:26:07.960 --> 0:26:11.000
<v Speaker 2>One of the most memorable, both of her performances, some

0:26:11.119 --> 0:26:13.480
<v Speaker 2>of the most memorable in recent memory. We got to

0:26:13.520 --> 0:26:15.520
<v Speaker 2>go on the floor to watch Abrica Dabra and you

0:26:15.600 --> 0:26:20.200
<v Speaker 2>had been saying, like Aberca Dabra goes crazy crazy, and

0:26:20.359 --> 0:26:22.720
<v Speaker 2>it did. And we were also just gagged before we

0:26:23.119 --> 0:26:25.880
<v Speaker 2>started on the podcast. We were like, Gaga performed where

0:26:25.880 --> 0:26:26.880
<v Speaker 2>Ali once performed.

0:26:27.400 --> 0:26:31.480
<v Speaker 1>Gaga performed where Ali once performed, I was honored to

0:26:31.600 --> 0:26:34.600
<v Speaker 1>introduce her for Africa Gatra. So I I brought my friends,

0:26:34.680 --> 0:26:37.320
<v Speaker 1>my dressing room guests, which included Matt too. Before we

0:26:37.359 --> 0:26:40.400
<v Speaker 1>were waiting in the tunnel steps away from the host

0:26:40.480 --> 0:26:43.600
<v Speaker 1>cook change booth where she was getting into her red

0:26:43.840 --> 0:26:48.399
<v Speaker 1>encrusted the war bodysuit with vocally warming up, vocally warming up.

0:26:48.600 --> 0:26:51.040
<v Speaker 1>Unbelievable to be able to be there while she was

0:26:51.160 --> 0:26:53.919
<v Speaker 1>like in the zone getting her voice ready, and then

0:26:54.160 --> 0:26:57.960
<v Speaker 1>just watching her walk on stage and just destroy that

0:26:58.080 --> 0:27:00.920
<v Speaker 1>performance at dress rehearsal. I think this did happen on

0:27:01.000 --> 0:27:03.320
<v Speaker 1>air too, but like on the walkout when she was

0:27:03.359 --> 0:27:05.720
<v Speaker 1>walking on stage, when everyone could everyone in the audience

0:27:05.720 --> 0:27:08.080
<v Speaker 1>can see her, I've never heard a gasp like that.

0:27:09.040 --> 0:27:14.080
<v Speaker 2>Everyone's like, oh, looks all night too, Like even when

0:27:14.119 --> 0:27:16.120
<v Speaker 2>she was going over to the after party, like yeah,

0:27:16.320 --> 0:27:18.280
<v Speaker 2>that was amazing. And just do you see the shots

0:27:18.560 --> 0:27:20.680
<v Speaker 2>that they got of her coming out of them that

0:27:21.080 --> 0:27:24.119
<v Speaker 2>her one eye, the one eye looking truly good holding

0:27:24.240 --> 0:27:24.920
<v Speaker 2>Pip the mouse.

0:27:25.040 --> 0:27:27.840
<v Speaker 1>Oh yeah, oh holding Pip them out. The sketches were

0:27:28.000 --> 0:27:31.480
<v Speaker 1>so good too, just like on Fire this week. And

0:27:31.560 --> 0:27:34.119
<v Speaker 1>I told Bobby like this is like her manager was like,

0:27:34.280 --> 0:27:35.800
<v Speaker 1>I feel like this is reflective of like who she

0:27:35.960 --> 0:27:37.880
<v Speaker 1>is and and you know, maybe even on the nose

0:27:37.920 --> 0:27:39.560
<v Speaker 1>what the album is. I'm seeing on the nose, like

0:27:39.640 --> 0:27:45.000
<v Speaker 1>my analysis of it, it's like all ten to one sketches. Yeah, weird.

0:27:45.640 --> 0:27:47.159
<v Speaker 2>It was weird from the top. I was like, I

0:27:47.160 --> 0:27:49.679
<v Speaker 2>remember the first sketch being that scooter sketch. We were

0:27:49.720 --> 0:27:51.280
<v Speaker 2>all turning to each other and your dress are gonna

0:27:51.280 --> 0:27:54.399
<v Speaker 2>be like that was the first sketch. Was like a huge,

0:27:54.760 --> 0:27:57.120
<v Speaker 2>huge swing, like like which I love.

0:27:57.280 --> 0:28:00.960
<v Speaker 1>I loved and I'm like wait, I'm like so invested

0:28:01.000 --> 0:28:06.480
<v Speaker 1>in this romance now between Marcel and No so sweet.

0:28:06.760 --> 0:28:10.879
<v Speaker 1>It was that little pug that was good. I'm getting

0:28:11.000 --> 0:28:14.240
<v Speaker 1>the dog tomorrow. It is time for you, isn't it.

0:28:14.960 --> 0:28:20.320
<v Speaker 1>I have like I have like dog fever, Yeah, burning up,

0:28:20.960 --> 0:28:25.520
<v Speaker 1>and I'm burning up, burning up for you, bab A

0:28:25.680 --> 0:28:30.159
<v Speaker 1>Jonas Brothers shout yeah, why not love them? Jersey Kings. Oh,

0:28:30.200 --> 0:28:32.320
<v Speaker 1>I never really think about it like that. I never

0:28:32.400 --> 0:28:35.040
<v Speaker 1>think about the Jonas Brothers as Jersey Kings. But I

0:28:35.080 --> 0:28:37.879
<v Speaker 1>guess it's a rural culture. Number thirty. The Jonas Brothers

0:28:37.920 --> 0:28:42.600
<v Speaker 1>are Jersey Kings. And then I can't believe I got

0:28:42.640 --> 0:28:44.400
<v Speaker 1>to sing with her twice. That was never the plan

0:28:45.200 --> 0:28:48.320
<v Speaker 1>was amazing. The plan was always just let's have fun.

0:28:48.560 --> 0:28:51.120
<v Speaker 1>I'm gonna try to write, you know, a couple of things.

0:28:51.760 --> 0:28:54.360
<v Speaker 1>And then I just lucked out in every possible way

0:28:54.400 --> 0:28:58.680
<v Speaker 1>that like this past week, you sounded so good and

0:28:58.800 --> 0:29:00.920
<v Speaker 1>I said, I was like, I was like, did you

0:29:01.440 --> 0:29:03.520
<v Speaker 1>did you actually do some sort of little vocal training

0:29:03.560 --> 0:29:05.760
<v Speaker 1>because your placement and like the ease with wish you

0:29:05.800 --> 0:29:09.240
<v Speaker 1>were getting up there, you do sing very hard. You

0:29:09.360 --> 0:29:13.040
<v Speaker 1>were very like something about being next to her. Yeah,

0:29:13.200 --> 0:29:16.040
<v Speaker 1>Like I know that sounds crazy, but I would say

0:29:16.040 --> 0:29:19.840
<v Speaker 1>it chromaticable. Yeah, I was the best singer. Well, we

0:29:19.920 --> 0:29:21.160
<v Speaker 1>were on a lot of mushrooms, and we were on

0:29:21.200 --> 0:29:24.680
<v Speaker 1>a lot of mushrooms. But there's something about the chemical

0:29:25.120 --> 0:29:30.440
<v Speaker 1>shit that happens your brain chemistry giving you singing ability

0:29:30.440 --> 0:29:33.480
<v Speaker 1>and ability. Y'all just hit thirty five minutes. By the way,

0:29:33.520 --> 0:29:37.200
<v Speaker 1>thank you beca. Oh no, that's a great way to

0:29:37.200 --> 0:29:39.760
<v Speaker 1>communicate with us because we're just we're just energy.

0:29:39.800 --> 0:29:39.920
<v Speaker 3>You know.

0:29:40.000 --> 0:29:43.160
<v Speaker 1>That's how producers talk to housewives on set. Yeah, so

0:29:43.280 --> 0:29:45.760
<v Speaker 1>they'll they have like, so what you don't know, what

0:29:45.840 --> 0:29:47.160
<v Speaker 1>do you want to right now? Google docs?

0:29:47.200 --> 0:29:50.520
<v Speaker 2>What do you what do you want she be put

0:29:50.600 --> 0:29:52.600
<v Speaker 2>up a Google slide just on a white background that

0:29:52.680 --> 0:29:56.480
<v Speaker 2>said y'all just hit thirty five minutes BTW. So I,

0:29:57.320 --> 0:29:59.680
<v Speaker 2>at one point in my life was hanging out with

0:30:00.680 --> 0:30:04.440
<v Speaker 2>someone who produces for the Housewives, Yes, and they were

0:30:04.520 --> 0:30:06.240
<v Speaker 2>telling me that the way that they get them to

0:30:06.280 --> 0:30:10.240
<v Speaker 2>ask certain questions is they'll put up like like a tablet.

0:30:10.560 --> 0:30:12.480
<v Speaker 2>They'll show up to Meredith Mark and they'll be like,

0:30:12.920 --> 0:30:16.920
<v Speaker 2>ask Angie about this, this this on like at the restaurant,

0:30:16.920 --> 0:30:19.840
<v Speaker 2>and that's how they get reminded to answer certain questions

0:30:20.160 --> 0:30:22.800
<v Speaker 2>or ask certain things, et cetera. Wow, is that it's

0:30:22.920 --> 0:30:25.760
<v Speaker 2>just a producer, like our very own producer, Becca was

0:30:25.840 --> 0:30:27.080
<v Speaker 2>producing us just now.

0:30:27.040 --> 0:30:29.640
<v Speaker 1>Yes, this is how it works. It's kind of like

0:30:31.000 --> 0:30:33.440
<v Speaker 1>some person at a club like holding up their phone

0:30:33.480 --> 0:30:39.000
<v Speaker 1>being like play yeah, play may Stream Mayhem play be

0:30:39.160 --> 0:30:45.200
<v Speaker 1>Ophelia exactly. Yeah that's you, that's me be Ophelia. Okay,

0:30:45.240 --> 0:30:50.320
<v Speaker 1>what afore? Oh yeah, I just amazing. Oh yeah. Vocally no,

0:30:50.440 --> 0:30:52.959
<v Speaker 1>we just we did like extensive musical hustles with her

0:30:53.240 --> 0:30:56.080
<v Speaker 1>in a way that made me really appreciate, like because

0:30:56.080 --> 0:30:59.400
<v Speaker 1>she just kept turning to me and going, it'll just

0:30:59.520 --> 0:31:01.520
<v Speaker 1>be so much funny or if we sound great, And

0:31:01.600 --> 0:31:05.640
<v Speaker 1>I was like, and she was just so exact about

0:31:05.640 --> 0:31:08.280
<v Speaker 1>the way things were phrased and the way things scanned

0:31:08.440 --> 0:31:12.760
<v Speaker 1>on the melody. And so we found the right key

0:31:12.800 --> 0:31:15.520
<v Speaker 1>because like it was in like it was like in

0:31:15.680 --> 0:31:17.320
<v Speaker 1>g and then we got it all the way up

0:31:17.440 --> 0:31:19.560
<v Speaker 1>or down. I don't know, you were up there, we were.

0:31:19.640 --> 0:31:23.200
<v Speaker 1>I think it was a be a B sharper b whatever.

0:31:23.320 --> 0:31:25.120
<v Speaker 1>It was just like we tried it out all these

0:31:25.120 --> 0:31:28.120
<v Speaker 1>different ways, got in your pocket. But like to find

0:31:28.200 --> 0:31:31.040
<v Speaker 1>the right key with a duet with Gaga, I didn't

0:31:31.080 --> 0:31:35.360
<v Speaker 1>realize until literally just now with that sort of would

0:31:35.520 --> 0:31:37.960
<v Speaker 1>like what that means to me? Yep, And it was

0:31:38.000 --> 0:31:41.320
<v Speaker 1>so fun. I mean, I can't believe it. And then

0:31:41.400 --> 0:31:46.320
<v Speaker 1>it's crazy and then I don't know, like what she

0:31:46.480 --> 0:31:49.440
<v Speaker 1>said to us, what she said to me and Celesti newsflash,

0:31:49.560 --> 0:31:53.640
<v Speaker 1>loves celast Everyone loves everyone loves any Any person who

0:31:54.680 --> 0:31:58.160
<v Speaker 1>you would think like seems distant or I don't know,

0:31:58.400 --> 0:32:03.560
<v Speaker 1>like unassailable in a way is obsessed with celestium. And

0:32:03.680 --> 0:32:08.480
<v Speaker 1>I get it. Yeah, would it be Christopher Vega the

0:32:08.640 --> 0:32:13.280
<v Speaker 1>Christopher Vegas, Matt's nickname for Celestie for some reason, and

0:32:14.760 --> 0:32:17.320
<v Speaker 1>just it makes sense when you're there, it makes sense.

0:32:17.360 --> 0:32:19.680
<v Speaker 1>It's like being next to Gaga singing exactly. It's like

0:32:20.080 --> 0:32:22.480
<v Speaker 1>you know, but Gaga was just like telling me in Celesti,

0:32:22.640 --> 0:32:24.480
<v Speaker 1>and this is what she brought up on our episode,

0:32:24.600 --> 0:32:28.239
<v Speaker 1>like community. She's really been revisiting this idea, This thing

0:32:28.320 --> 0:32:31.000
<v Speaker 1>that she misses a lot about coming up in New

0:32:31.080 --> 0:32:33.080
<v Speaker 1>York is that she was like every night doing shows

0:32:33.080 --> 0:32:36.360
<v Speaker 1>at the slipper Room, like having comedians on or doing

0:32:36.600 --> 0:32:38.040
<v Speaker 1>like like you know what I mean. Like she was

0:32:38.120 --> 0:32:40.080
<v Speaker 1>like she was a New York artist, she was a

0:32:40.120 --> 0:32:43.720
<v Speaker 1>New York art community is so important doing her very

0:32:44.000 --> 0:32:46.040
<v Speaker 1>different version of like what you and I were doing.

0:32:46.160 --> 0:32:48.520
<v Speaker 1>Not to compare things, but it's like you and I

0:32:48.600 --> 0:32:51.040
<v Speaker 1>would like bring our fucking props to like shows and

0:32:51.200 --> 0:32:53.480
<v Speaker 1>like be on lineups with people, and that's how we

0:32:53.520 --> 0:32:55.400
<v Speaker 1>got to meet people, and that's why we still keep

0:32:55.480 --> 0:32:58.480
<v Speaker 1>in touch with these people and still have these relationships

0:32:58.520 --> 0:33:02.960
<v Speaker 1>that we cultivate. Like I completely I love that this

0:33:03.120 --> 0:33:05.880
<v Speaker 1>is the thing that she's like really returning to. She

0:33:06.120 --> 0:33:09.360
<v Speaker 1>is like grounded and happy and like really inspired in

0:33:09.400 --> 0:33:13.480
<v Speaker 1>a way that like we haven't seen in a long time,

0:33:13.920 --> 0:33:16.040
<v Speaker 1>not since Chromatica. But that was like during COVID when

0:33:16.080 --> 0:33:17.880
<v Speaker 1>like we couldn't really see it, she wasn't really out

0:33:17.920 --> 0:33:21.040
<v Speaker 1>there doing too much press for it, And it feels

0:33:21.040 --> 0:33:22.760
<v Speaker 1>like in the last five years she's really been in

0:33:22.840 --> 0:33:25.960
<v Speaker 1>that place. And I just love that she that we

0:33:26.440 --> 0:33:28.480
<v Speaker 1>got to intersect at all, yeah, with her, that you

0:33:28.560 --> 0:33:30.840
<v Speaker 1>and I did, that the show that SNL did, she's

0:33:30.920 --> 0:33:32.600
<v Speaker 1>on like a mission of joy too. I feel like

0:33:32.680 --> 0:33:37.880
<v Speaker 1>the the like emotional landscape of Chromatica was different, yeah,

0:33:37.880 --> 0:33:40.040
<v Speaker 1>because it came from a different place, like she's on

0:33:40.160 --> 0:33:41.920
<v Speaker 1>record saying, I came from a place of real pain,

0:33:42.000 --> 0:33:47.040
<v Speaker 1>and so she she's so clearly joyful right now.

0:33:47.240 --> 0:33:51.160
<v Speaker 2>And there was something about, like even with watching her

0:33:51.240 --> 0:33:53.720
<v Speaker 2>to bounce from sketch to sketch at SNL et cetera,

0:33:53.880 --> 0:33:57.360
<v Speaker 2>like watching her do the press that she's doing surrounding

0:33:57.680 --> 0:34:00.280
<v Speaker 2>Mayhem and that she involved us in that was so

0:34:01.280 --> 0:34:03.560
<v Speaker 2>lovely and you know, it's just it feels like it's

0:34:03.600 --> 0:34:06.040
<v Speaker 2>a really good moment. I also think, you know, I'm

0:34:06.120 --> 0:34:08.520
<v Speaker 2>obviously sitting her gagged that you're singing in that sketch,

0:34:08.560 --> 0:34:11.560
<v Speaker 2>but I don't think she's sounded better in years. And

0:34:11.880 --> 0:34:14.640
<v Speaker 2>we were saying to her, like obviously on the album

0:34:14.760 --> 0:34:17.880
<v Speaker 2>the the way that she sings is just so mind blowing.

0:34:17.920 --> 0:34:20.440
<v Speaker 2>But you know, I think it's the best singing that

0:34:20.520 --> 0:34:22.879
<v Speaker 2>she's don in a real which is obviously saying something

0:34:22.960 --> 0:34:25.400
<v Speaker 2>She's one of the greats, but perfect celebrity.

0:34:26.000 --> 0:34:28.319
<v Speaker 1>You kill me. Even at the end of How Bad

0:34:28.320 --> 0:34:30.880
<v Speaker 1>Do You Want Me? It is happening again where I

0:34:31.000 --> 0:34:33.040
<v Speaker 1>listened to an album that I do get I love

0:34:33.239 --> 0:34:35.279
<v Speaker 1>everything on the album, but I get stuck on one.

0:34:35.360 --> 0:34:39.120
<v Speaker 1>So normal, it happens every time something comes out. I

0:34:39.160 --> 0:34:42.080
<v Speaker 1>get stuck on one song and just can't get over it.

0:34:48.080 --> 0:34:48.960
<v Speaker 3>I love it.

0:34:49.480 --> 0:34:52.359
<v Speaker 1>It's so interesting watching the fans discuss that song. Well,

0:34:52.360 --> 0:34:54.680
<v Speaker 1>you know, but Bobby, Bobby Campbell was saying, like the

0:34:54.800 --> 0:34:56.600
<v Speaker 1>day of the album coming out, he goes It's just

0:34:56.719 --> 0:34:59.359
<v Speaker 1>so interesting because like so much of what the fans

0:34:59.400 --> 0:35:01.959
<v Speaker 1>are saying are just echoes of what you and Matt

0:35:02.040 --> 0:35:04.560
<v Speaker 1>were saying in that we listened to it. We listened

0:35:04.600 --> 0:35:06.800
<v Speaker 1>to it, yeah, and like it never crossed their minds.

0:35:06.800 --> 0:35:08.560
<v Speaker 1>They were like, oh, I guess it does sound like

0:35:08.600 --> 0:35:09.279
<v Speaker 1>a tailor's song.

0:35:09.200 --> 0:35:11.480
<v Speaker 2>Because I did say, forty five seconds into listening to

0:35:11.520 --> 0:35:13.160
<v Speaker 2>How Bad Do You Want Me? I did say, this

0:35:13.280 --> 0:35:16.279
<v Speaker 2>is giving Taylor and Bobby was like really yeah, And

0:35:16.600 --> 0:35:18.560
<v Speaker 2>I was like, but is it not? Like it's sort

0:35:18.560 --> 0:35:22.279
<v Speaker 2>of and that has I will drag myself now, and

0:35:22.320 --> 0:35:24.279
<v Speaker 2>I will also drag everyone who's kind of saying that.

0:35:24.400 --> 0:35:27.480
<v Speaker 2>And here's why I don't get upset yet. What I'm

0:35:27.520 --> 0:35:31.200
<v Speaker 2>gonna say is Taylor didn't invent that kind of pop music.

0:35:31.400 --> 0:35:32.320
<v Speaker 1>Go back to the fame.

0:35:32.800 --> 0:35:36.600
<v Speaker 2>Like before Taylor was doing pop, like Lady Gaga had

0:35:36.640 --> 0:35:39.040
<v Speaker 2>big emotional pop songs like Papa Razzi, you know what

0:35:39.120 --> 0:35:41.120
<v Speaker 2>I mean, Like that's a big emotional pop song.

0:35:41.160 --> 0:35:43.880
<v Speaker 1>And like Gaga also has roots in this kind of thing,

0:35:43.920 --> 0:35:45.840
<v Speaker 1>she hasn't done it in a while, right, right, right,

0:35:45.960 --> 0:35:48.920
<v Speaker 1>But I feel like to give this entire genre to

0:35:49.000 --> 0:35:52.279
<v Speaker 1>Taylor speaks a little bit to like Taylor's omnipresence, which

0:35:52.320 --> 0:35:56.560
<v Speaker 1>I guess is understandable. But let's not say this isn't

0:35:56.600 --> 0:35:58.920
<v Speaker 1>a Gaga song, because it's very much a Gaga song

0:35:59.000 --> 0:36:02.359
<v Speaker 1>if you give it's broad I think I just love

0:36:02.440 --> 0:36:04.920
<v Speaker 1>that I'm in this. I like that I'm able to

0:36:05.440 --> 0:36:07.799
<v Speaker 1>radiate out from this album and connect it to other

0:36:08.000 --> 0:36:10.239
<v Speaker 1>Gaga things where I'm like, yeah, this is the same

0:36:10.360 --> 0:36:14.320
<v Speaker 1>woman who sang fucking Edge of Glory, which is basically

0:36:14.560 --> 0:36:19.640
<v Speaker 1>like a Springsteen song who sang shallow obviously yeah, like

0:36:20.800 --> 0:36:23.880
<v Speaker 1>and everything off of jo Wanne and everything, and like

0:36:24.320 --> 0:36:27.560
<v Speaker 1>Rick Rubenshin on art pop, it's like she's so expansive

0:36:27.600 --> 0:36:30.320
<v Speaker 1>as an artist, like it's a culmination. It's it's like

0:36:30.920 --> 0:36:33.000
<v Speaker 1>she's my favorite, She's my favorite.

0:36:33.120 --> 0:36:37.680
<v Speaker 2>It name another legend anyway, All right, now, do we

0:36:37.760 --> 0:36:40.239
<v Speaker 2>feel like we did a culture catch up? Is there

0:36:40.239 --> 0:36:42.960
<v Speaker 2>anything that we missed that people are gonna be saying, well,

0:36:43.120 --> 0:36:45.799
<v Speaker 2>we missed it, which is doesn't feel good?

0:36:45.920 --> 0:36:48.800
<v Speaker 1>Doesn't feel good? No, God, we don't like that. No.

0:36:48.920 --> 0:36:50.719
<v Speaker 1>I think I think we covered our basis and now

0:36:51.920 --> 0:36:56.040
<v Speaker 1>we present to you are very very We don't know

0:36:56.120 --> 0:36:57.960
<v Speaker 1>what the conversation is yet because we haven't had it.

0:36:58.120 --> 0:37:00.640
<v Speaker 1>I actually I have some thoughts about things to ask

0:37:00.760 --> 0:37:03.880
<v Speaker 1>her me too. Wouldn't you believe it? Wouldn't you believe it?

0:37:03.960 --> 0:37:06.600
<v Speaker 1>We're so excited to talk to Kate Blanchette here it is.

0:37:07.120 --> 0:37:23.480
<v Speaker 1>Our conversation with two time Academy Awarde Ulsa is calling

0:37:23.760 --> 0:37:27.160
<v Speaker 1>while we're sitting here was one of the greatest ever, truly, truly,

0:37:27.239 --> 0:37:29.759
<v Speaker 1>truly one of the greatest ever. Okay, I mean, we're

0:37:29.880 --> 0:37:32.480
<v Speaker 1>not gonna waste any time she's here. We've done a

0:37:32.520 --> 0:37:37.680
<v Speaker 1>whole preamble already. Two time Oscar winner Countless Beftiz and.

0:37:38.080 --> 0:37:40.840
<v Speaker 2>The winner of the Kate Blanchette Award for Good Acting

0:37:41.080 --> 0:37:43.760
<v Speaker 2>at the Lost coult Rasos Cultural Awards, which I believe

0:37:43.920 --> 0:37:46.600
<v Speaker 2>gagged the audience harder than anything that anything else.

0:37:46.880 --> 0:37:48.879
<v Speaker 1>It was a harder gag than even when, like I'm

0:37:48.880 --> 0:37:51.160
<v Speaker 1>gonna say, Taylor sent in two videos and that was

0:37:51.200 --> 0:37:55.160
<v Speaker 1>a gag. But when Kate Blanchette sent a I was

0:37:55.160 --> 0:37:56.799
<v Speaker 1>gonna say wordless, but no, you did say the words

0:37:57.120 --> 0:38:00.480
<v Speaker 1>I want. Yes, you know, confetti went up that air.

0:38:00.680 --> 0:38:03.000
<v Speaker 1>It was a huge acceptance. Small man, if your dog

0:38:03.080 --> 0:38:04.520
<v Speaker 1>got scared, yeah it was.

0:38:04.800 --> 0:38:06.600
<v Speaker 3>It was a big moment for everybody.

0:38:06.840 --> 0:38:10.320
<v Speaker 2>Yes, well it deserved it. I mean, this is the

0:38:10.400 --> 0:38:12.879
<v Speaker 2>star of Black Bag, which is out this Friday, which

0:38:12.920 --> 0:38:15.920
<v Speaker 2>we saw. We love Soderbergh's new one. I mean, so

0:38:16.120 --> 0:38:19.760
<v Speaker 2>exciting and let's waste no more time. Everyone, Please welcome

0:38:19.800 --> 0:38:20.360
<v Speaker 2>into your ears.

0:38:20.400 --> 0:38:24.520
<v Speaker 3>Ok thank you, thanks for having me.

0:38:24.680 --> 0:38:29.440
<v Speaker 1>Okay, we just discussed a shoe theory. Yeah tell us this.

0:38:29.719 --> 0:38:34.480
<v Speaker 3>No, I was told today while I was wearing white sneakers.

0:38:34.840 --> 0:38:37.880
<v Speaker 3>If you wear white sneakers. It means you're not getting

0:38:37.920 --> 0:38:41.000
<v Speaker 3>any but you are not a fornicator. And I just went,

0:38:41.160 --> 0:38:46.279
<v Speaker 3>hang on a minute. And I've been sending out really

0:38:46.400 --> 0:38:48.560
<v Speaker 3>bad signals for quite a long time. And I have

0:38:49.160 --> 0:38:52.920
<v Speaker 3>three pairs which I wear. I alternate, so I'm basically

0:38:53.080 --> 0:38:55.320
<v Speaker 3>in Well I'm not today, I'm wearing heels, but a

0:38:55.440 --> 0:38:58.920
<v Speaker 3>lot of the time I'm sending out non fornications and

0:38:59.200 --> 0:38:59.920
<v Speaker 3>even signal.

0:39:00.080 --> 0:39:01.960
<v Speaker 1>Do this person seem like an authority on this or

0:39:02.000 --> 0:39:03.360
<v Speaker 1>were you like, okay, he said it.

0:39:03.400 --> 0:39:07.200
<v Speaker 3>With great authority, but I was, and I was very alarmed.

0:39:07.560 --> 0:39:10.040
<v Speaker 3>You know, you think you get dressed, you're getting dressed

0:39:10.080 --> 0:39:13.600
<v Speaker 3>for yourself, right, you don't over well, I mean I

0:39:13.719 --> 0:39:17.560
<v Speaker 3>didn't overthink the sequence. You're in the right place, but

0:39:17.680 --> 0:39:19.840
<v Speaker 3>you know you don't. You don't think that's a signal

0:39:19.920 --> 0:39:23.040
<v Speaker 3>you're sending out right? Never maybe you were a nun's

0:39:23.080 --> 0:39:27.400
<v Speaker 3>habit or absiny and gloves you think maybe that?

0:39:27.600 --> 0:39:29.440
<v Speaker 1>So is that what this person was saying, like it's

0:39:29.440 --> 0:39:31.320
<v Speaker 1>a it's a chastity signal?

0:39:31.840 --> 0:39:33.640
<v Speaker 3>Like well, I don't know. It seemed to be a

0:39:33.680 --> 0:39:35.920
<v Speaker 3>little bit like wearing your keys on. Whichever is that

0:39:36.160 --> 0:39:36.320
<v Speaker 3>is that?

0:39:36.400 --> 0:39:39.239
<v Speaker 1>Really? Eighties? Wait, what's that about like.

0:39:41.400 --> 0:39:46.680
<v Speaker 3>So much seventies and eighties. I'm gay and I know

0:39:46.880 --> 0:39:49.759
<v Speaker 3>that like as like a as like a way to

0:39:49.920 --> 0:39:53.160
<v Speaker 3>like say you see that. So if you do that,

0:39:53.239 --> 0:39:54.360
<v Speaker 3>does that mean I'm available?

0:39:54.719 --> 0:39:55.720
<v Speaker 1>Oh? I'm availing.

0:39:55.880 --> 0:39:58.120
<v Speaker 2>Everything I do is shouting that I'm available. And I

0:39:58.200 --> 0:40:01.800
<v Speaker 2>also want to say I wear sneakers a lot. And

0:40:01.880 --> 0:40:04.520
<v Speaker 2>you were saying I don't have problems before we rolled it.

0:40:04.640 --> 0:40:07.520
<v Speaker 3>Now what sex problems? You don't have problems getting it?

0:40:07.800 --> 0:40:10.680
<v Speaker 2>No, I'm saying my sluttiest times were when I was

0:40:10.800 --> 0:40:13.479
<v Speaker 2>in a white converse. I used to wear a white

0:40:13.600 --> 0:40:16.560
<v Speaker 2>leather converse to like weddings where I was singing.

0:40:16.360 --> 0:40:18.000
<v Speaker 3>But you were you wearing anything else?

0:40:18.360 --> 0:40:19.680
<v Speaker 1>I was wearing like a blue.

0:40:19.560 --> 0:40:22.640
<v Speaker 2>Suit or a red suit my wedding sort of drag,

0:40:23.200 --> 0:40:25.440
<v Speaker 2>and then a white leather converse because I think I'm

0:40:25.480 --> 0:40:27.360
<v Speaker 2>gay and can get away with it. You can go

0:40:27.400 --> 0:40:28.880
<v Speaker 2>to a straight wedding and you can kind of take

0:40:28.920 --> 0:40:30.000
<v Speaker 2>a swing with the shoe.

0:40:30.320 --> 0:40:31.880
<v Speaker 3>Okay, you know what I mean, But not with a

0:40:31.960 --> 0:40:35.239
<v Speaker 3>white converse. Apparently, did you get did you get any

0:40:35.239 --> 0:40:35.880
<v Speaker 3>of that? Each I did?

0:40:35.960 --> 0:40:38.560
<v Speaker 1>I hooked up with the bride, so it's scrubbish.

0:40:38.719 --> 0:40:40.280
<v Speaker 3>Yes, I don't need to be worried.

0:40:40.440 --> 0:40:40.640
<v Speaker 1>You can.

0:40:41.000 --> 0:40:42.759
<v Speaker 3>You can put them back on my bunion will be

0:40:42.840 --> 0:40:44.560
<v Speaker 3>so happy you buy another pair.

0:40:45.080 --> 0:40:48.400
<v Speaker 1>I'm gonna buy not that honestly though, because there, Why

0:40:48.440 --> 0:40:50.520
<v Speaker 1>did they get a little scuff? You need a backup

0:40:50.560 --> 0:40:52.160
<v Speaker 1>in a backup back, That's what I said.

0:40:52.280 --> 0:40:54.799
<v Speaker 3>I said in a very apologetic way. I said, they're

0:40:54.800 --> 0:40:57.680
<v Speaker 3>a little bit scuffy and dirty. So does that mean

0:40:59.360 --> 0:41:03.120
<v Speaker 3>street that looks desperate? That's like I'm trying to pretend

0:41:03.160 --> 0:41:05.799
<v Speaker 3>that I'm not wearing them anyway. I was freaked out

0:41:06.440 --> 0:41:08.880
<v Speaker 3>by a message that I didn't know that I was sending.

0:41:09.520 --> 0:41:12.920
<v Speaker 1>I don't believe anyone believes that you're not getting any No,

0:41:13.080 --> 0:41:15.640
<v Speaker 1>you don't give celibate, okay, I don't give celibate. No,

0:41:17.480 --> 0:41:18.520
<v Speaker 1>Thank you so much.

0:41:19.880 --> 0:41:20.960
<v Speaker 3>I gave in to the reference.

0:41:22.440 --> 0:41:26.600
<v Speaker 1>Could you play celibate? Celibate? Have you played a none? Not? Not?

0:41:26.840 --> 0:41:30.680
<v Speaker 3>Intentionally played it none? An alcoholic none?

0:41:31.239 --> 0:41:32.680
<v Speaker 1>Yes? An alcoholic none?

0:41:32.760 --> 0:41:32.880
<v Speaker 3>Yes?

0:41:32.960 --> 0:41:33.520
<v Speaker 1>Which film was that?

0:41:33.719 --> 0:41:36.520
<v Speaker 3>Then prostrated herself on the grave of a priest? But

0:41:36.640 --> 0:41:41.200
<v Speaker 3>I don't think that that was sexual intentionally. But then, yeah,

0:41:41.360 --> 0:41:44.760
<v Speaker 3>I see, And did it feel right in the body?

0:41:44.880 --> 0:41:46.480
<v Speaker 3>Did it feel good in the spirit?

0:41:46.719 --> 0:41:47.600
<v Speaker 1>Like you do it again.

0:41:47.760 --> 0:41:50.480
<v Speaker 3>Yeah, I didn't wear underwear, okay, but it was set

0:41:50.560 --> 0:41:52.840
<v Speaker 3>back in time, you know. The worst speaking of not

0:41:52.880 --> 0:41:56.000
<v Speaker 3>wearing underwear, where I played Queen of the Elves, they

0:41:56.080 --> 0:41:59.640
<v Speaker 3>gave they gave the I don't know the toy man

0:41:59.680 --> 0:42:02.680
<v Speaker 3>of fact sing thing to some company, and a lot

0:42:02.719 --> 0:42:05.319
<v Speaker 3>of the Hobbits were very upset because they didn't feel

0:42:05.320 --> 0:42:07.480
<v Speaker 3>that those toys were going to be made properly. And

0:42:07.680 --> 0:42:09.440
<v Speaker 3>my I had a little and then I had one

0:42:09.520 --> 0:42:15.640
<v Speaker 3>child and I have four, so clearly born. But I

0:42:16.280 --> 0:42:19.959
<v Speaker 3>gave the elf toy of me Galadriel to my son,

0:42:20.840 --> 0:42:24.200
<v Speaker 3>and he was really upset because he said, else don't

0:42:24.239 --> 0:42:27.680
<v Speaker 3>wear underwear, and they hadn't bothered to put underwear on

0:42:27.840 --> 0:42:28.800
<v Speaker 3>the elf toy.

0:42:28.760 --> 0:42:29.840
<v Speaker 1>But they did for the Hobbits.

0:42:29.920 --> 0:42:31.799
<v Speaker 3>You said, no, no, But the Hobbits were upset because

0:42:31.800 --> 0:42:33.600
<v Speaker 3>they didn't feel the toys were going to be made properly,

0:42:33.640 --> 0:42:35.960
<v Speaker 3>and they weren't because I wore underwears and elf. I

0:42:36.000 --> 0:42:37.320
<v Speaker 3>think elves do wear underwear.

0:42:37.840 --> 0:42:39.560
<v Speaker 1>I think. So when you see the Hobbits were upset,

0:42:39.560 --> 0:42:41.000
<v Speaker 1>do you mean the actress who play the Hobbits? We

0:42:41.040 --> 0:42:41.680
<v Speaker 1>shore you're talking.

0:42:41.520 --> 0:42:46.239
<v Speaker 3>About my friends, the hobby community. I meant, I meant

0:42:46.280 --> 0:42:49.040
<v Speaker 3>the heart the actor Hobbits, not really Hobbits.

0:42:49.000 --> 0:42:54.440
<v Speaker 1>Right, really Hobbits. Yeah, I guess I have not ever

0:42:54.560 --> 0:42:56.320
<v Speaker 1>had the experience of having a toy made of me

0:42:56.680 --> 0:42:59.080
<v Speaker 1>and you will. I don't think that will be that

0:42:59.239 --> 0:43:02.320
<v Speaker 1>injustice be corrected. Do you have input in that process?

0:43:02.840 --> 0:43:05.360
<v Speaker 3>Well, no, clearly I didn't, because if they had asked me,

0:43:05.719 --> 0:43:08.600
<v Speaker 3>I would have I would have said they had knitted underwear. Yeah,

0:43:08.960 --> 0:43:12.840
<v Speaker 3>knitted I think hilandriol out of elf kind of web.

0:43:13.239 --> 0:43:15.560
<v Speaker 1>Yeah sure, yeah, but if you're immortal, if you're in

0:43:15.680 --> 0:43:18.880
<v Speaker 1>Elf in Tolkien's world in Middle Earth, it's like you.

0:43:18.920 --> 0:43:20.680
<v Speaker 3>Don't need to wash your underwear, but you need to

0:43:20.719 --> 0:43:23.120
<v Speaker 3>wear it. Yes, okay, yeah, all right.

0:43:23.239 --> 0:43:25.560
<v Speaker 1>Wow. I never thought about their process in terms of

0:43:25.719 --> 0:43:26.880
<v Speaker 1>like their Sartorius.

0:43:26.920 --> 0:43:29.680
<v Speaker 3>You know, we should see this toy. It was discussing

0:43:30.000 --> 0:43:32.480
<v Speaker 3>it's like Bobby not having gentitles. Do you think after

0:43:32.600 --> 0:43:35.000
<v Speaker 3>the Bobby movie that the Bobbies are now going to

0:43:35.080 --> 0:43:37.880
<v Speaker 3>have genitals? I mean, that's what kids learn about stuff.

0:43:38.000 --> 0:43:38.760
<v Speaker 1>You know. What's funny.

0:43:39.000 --> 0:43:41.440
<v Speaker 2>One time I remember seeing when I was a kid,

0:43:41.760 --> 0:43:44.319
<v Speaker 2>there was a ken with like more of a lump there,

0:43:44.800 --> 0:43:46.920
<v Speaker 2>and I was being it did weird me out, and

0:43:47.000 --> 0:43:48.759
<v Speaker 2>I was like, if people thought this was something that

0:43:48.880 --> 0:43:50.960
<v Speaker 2>needed to be corrected, I can now tell you as

0:43:51.000 --> 0:43:53.120
<v Speaker 2>someone who's seen a Ken with a penis, we didn't

0:43:53.120 --> 0:43:53.360
<v Speaker 2>need this.

0:43:53.719 --> 0:43:55.840
<v Speaker 3>But it was a lumpu is not a penis. But

0:43:55.920 --> 0:43:58.480
<v Speaker 3>it was sugges something you need to get checked.

0:43:58.760 --> 0:43:59.920
<v Speaker 1>Yeah, right, it help?

0:44:00.480 --> 0:44:04.719
<v Speaker 3>Yeah that, But I know, I know I didn't learn

0:44:04.719 --> 0:44:07.200
<v Speaker 3>a lot from Bobby's growing up or Ken's.

0:44:07.239 --> 0:44:07.880
<v Speaker 1>What did you play with?

0:44:08.200 --> 0:44:10.520
<v Speaker 3>What did I play with as a kid? I had?

0:44:10.719 --> 0:44:13.680
<v Speaker 3>I had a ballerina Bobby and so the crown you

0:44:13.719 --> 0:44:17.120
<v Speaker 3>could turn her around. I had one of which I

0:44:17.400 --> 0:44:20.640
<v Speaker 3>loved is I had one of those dolls, which was

0:44:20.880 --> 0:44:23.680
<v Speaker 3>a Red Riding Hood wolf doll. When you turned it

0:44:23.840 --> 0:44:26.720
<v Speaker 3>upside down, it was the wolf and the other way around.

0:44:26.800 --> 0:44:29.200
<v Speaker 3>So you don't you can get out of the vine, yes.

0:44:30.680 --> 0:44:31.000
<v Speaker 1>Skirt?

0:44:32.040 --> 0:44:34.000
<v Speaker 3>Well, yes, when it was the wolf right?

0:44:34.080 --> 0:44:37.319
<v Speaker 1>Oh, but the wolf was dressed as the grandmother. Oh wait?

0:44:37.640 --> 0:44:39.399
<v Speaker 1>Was it was it Red Riding Hood and the wolf,

0:44:39.480 --> 0:44:41.040
<v Speaker 1>because that changes the story in a way.

0:44:41.040 --> 0:44:42.000
<v Speaker 3>It wasn't the grandmother.

0:44:42.320 --> 0:44:44.839
<v Speaker 1>Oh wow, But the wolf was dressed as the grand Yeah,

0:44:44.840 --> 0:44:45.480
<v Speaker 1>but the skirt.

0:44:45.320 --> 0:44:47.560
<v Speaker 3>Was kind of brown. It was a bit amish. It

0:44:47.640 --> 0:44:50.240
<v Speaker 3>was an amish I got, of course.

0:44:50.200 --> 0:44:52.239
<v Speaker 1>God, what performance they were giving?

0:44:52.320 --> 0:44:53.320
<v Speaker 3>What did you guys play with?

0:44:54.000 --> 0:44:56.440
<v Speaker 1>I had an Aladdin Ken doll and he had the

0:44:56.520 --> 0:44:59.640
<v Speaker 1>suggestion of a lump as well, okay, and kind of

0:44:59.640 --> 0:45:02.359
<v Speaker 1>a queer awakening for me. I went, well, he's really

0:45:02.400 --> 0:45:04.880
<v Speaker 1>handsome and I'd like to see him naked, right, you know,

0:45:05.160 --> 0:45:08.840
<v Speaker 1>I think? Okay. So you're saying children learn from these dolls, Well.

0:45:08.719 --> 0:45:11.480
<v Speaker 3>They could, right, they could learn from the dolls.

0:45:11.680 --> 0:45:13.480
<v Speaker 1>I just I'm not learning as much as I am

0:45:13.560 --> 0:45:18.200
<v Speaker 1>just like intrigued by my own like fascination, you know

0:45:18.239 --> 0:45:19.320
<v Speaker 1>what I mean, Like, I'm.

0:45:19.440 --> 0:45:21.680
<v Speaker 3>Would you definitely with those dolls? They're made to be

0:45:22.000 --> 0:45:22.960
<v Speaker 3>dressed and undressed?

0:45:23.080 --> 0:45:24.279
<v Speaker 1>Yes, so it could be.

0:45:25.080 --> 0:45:27.600
<v Speaker 3>I mean then when it's your body starts to change.

0:45:27.360 --> 0:45:29.520
<v Speaker 1>And you go, oh okay, yeah. I think one of

0:45:29.520 --> 0:45:30.080
<v Speaker 1>my favorites is.

0:45:30.160 --> 0:45:32.959
<v Speaker 3>No longer a lump. It's something that's up doing something, it's.

0:45:32.920 --> 0:45:33.879
<v Speaker 1>Meaning something else.

0:45:34.160 --> 0:45:36.279
<v Speaker 2>One of my favorite parts of the Barbie movie was

0:45:36.320 --> 0:45:39.200
<v Speaker 2>the depiction of like the fucked Barbie that Kate McKinnon played,

0:45:39.239 --> 0:45:41.440
<v Speaker 2>the one that was just throwed hard and put away wet.

0:45:41.760 --> 0:45:44.320
<v Speaker 2>Because I really was the king of the Barbies. My

0:45:44.440 --> 0:45:46.200
<v Speaker 2>sister had dozens.

0:45:45.800 --> 0:45:48.719
<v Speaker 3>Of them for some reason, and and you were never

0:45:48.760 --> 0:45:49.239
<v Speaker 3>given any.

0:45:49.600 --> 0:45:52.920
<v Speaker 1>So no, but I kind of was. I did. I remember.

0:45:52.960 --> 0:45:55.520
<v Speaker 2>Actually one of my earliest memories I'm from Long Island

0:45:55.880 --> 0:45:58.719
<v Speaker 2>was sitting on Santa's lap and asking for a barbie and.

0:45:58.760 --> 0:46:00.600
<v Speaker 1>His reaction being really negative.

0:46:00.680 --> 0:46:03.600
<v Speaker 2>Oh and so I could never ask for one because

0:46:03.640 --> 0:46:05.920
<v Speaker 2>it was really explicit in that moment, like, don't ask

0:46:06.000 --> 0:46:08.799
<v Speaker 2>for that, Like, yeah, sort of Long Island man playing

0:46:08.880 --> 0:46:10.279
<v Speaker 2>Santa really instance.

0:46:10.239 --> 0:46:11.960
<v Speaker 3>Creepy anyway, exactly.

0:46:12.000 --> 0:46:13.920
<v Speaker 1>I mean it's really that. That's all a lot.

0:46:14.080 --> 0:46:16.680
<v Speaker 3>We did the visit to to the grotto with our

0:46:16.760 --> 0:46:19.000
<v Speaker 3>kids one time when they were little, and they were like,

0:46:19.120 --> 0:46:20.239
<v Speaker 3>this is wrong, and.

0:46:20.239 --> 0:46:22.040
<v Speaker 1>You're sort of watching it as a parent, like seeing

0:46:22.120 --> 0:46:24.120
<v Speaker 1>the pageantry a little differently, I would imagine.

0:46:24.280 --> 0:46:26.759
<v Speaker 3>Yeah, yeah, yeah, I think I was quite traumatized by

0:46:26.880 --> 0:46:28.440
<v Speaker 3>the Santa Claus Grotto growing up.

0:46:28.680 --> 0:46:28.879
<v Speaker 5>Yeah.

0:46:28.960 --> 0:46:33.439
<v Speaker 3>All the photos were like kids can smell the booze. Yeah,

0:46:34.200 --> 0:46:37.160
<v Speaker 3>parents taking the photo is slightly removed so they can't

0:46:37.160 --> 0:46:37.480
<v Speaker 3>smell it.

0:46:37.640 --> 0:46:39.080
<v Speaker 1>They're not within an inch of Yeah.

0:46:39.160 --> 0:46:41.320
<v Speaker 3>Yeah, but I'm sure that was before they did the

0:46:41.600 --> 0:46:42.400
<v Speaker 3>safety chase.

0:46:42.560 --> 0:46:45.040
<v Speaker 2>Yes, i mean it's like like allowing your children to

0:46:45.080 --> 0:46:46.880
<v Speaker 2>go over there. Have like a private conversation with this,

0:46:47.080 --> 0:46:47.759
<v Speaker 2>like with a.

0:46:47.840 --> 0:46:50.520
<v Speaker 3>Dude who's wearing you cannot recognize.

0:46:50.760 --> 0:46:54.920
<v Speaker 1>Yeah, yeah, it's just truly ensconced in like all this

0:46:55.120 --> 0:46:58.400
<v Speaker 1>like fun friendly stuff and it's just it's dark. It

0:46:58.680 --> 0:47:00.920
<v Speaker 1>belies something very it does very in.

0:47:01.239 --> 0:47:03.239
<v Speaker 2>The Barbie thing. I remember for us, me and my

0:47:03.320 --> 0:47:06.080
<v Speaker 2>sister was a lot about survival. We would play Titanic

0:47:06.160 --> 0:47:08.480
<v Speaker 2>with the Barbies and like they would they would slowly

0:47:09.480 --> 0:47:13.239
<v Speaker 2>pass away to the devastation that was caused by the

0:47:13.320 --> 0:47:15.200
<v Speaker 2>Titanic that iceberg in nineteen.

0:47:14.960 --> 0:47:17.120
<v Speaker 3>Twenty and the one that remained got to be undressed.

0:47:17.400 --> 0:47:20.440
<v Speaker 3>It was as it was.

0:47:20.440 --> 0:47:22.880
<v Speaker 2>Always like this is me as a kid. It was

0:47:22.880 --> 0:47:26.800
<v Speaker 2>always like the prettiest Barbie. Yeah, she wore like a blue,

0:47:27.360 --> 0:47:30.480
<v Speaker 2>very shiny mini dress, and it was it was always her.

0:47:30.560 --> 0:47:32.319
<v Speaker 2>She was always the sole survivor of the rose as

0:47:32.360 --> 0:47:32.600
<v Speaker 2>it were.

0:47:32.880 --> 0:47:36.560
<v Speaker 1>Uh huh. But yeah, no, I do remember like really

0:47:36.680 --> 0:47:39.239
<v Speaker 1>loving that that group of that community of women that

0:47:39.440 --> 0:47:41.600
<v Speaker 1>was the Barbies, the ensemble cast.

0:47:41.880 --> 0:47:44.279
<v Speaker 3>I know, when you never had your own, but I

0:47:44.360 --> 0:47:46.839
<v Speaker 3>only had the one. I found them boring in the end, right,

0:47:47.280 --> 0:47:50.120
<v Speaker 3>I loved the movie, but I found yeah, the actual

0:47:50.480 --> 0:47:54.359
<v Speaker 3>So my kids have never had yeah, barbies probably good.

0:47:54.400 --> 0:47:58.200
<v Speaker 1>Would you besides Galadriel, would you want other characters that

0:47:58.280 --> 0:48:00.680
<v Speaker 1>you portrayed to be dolls? I feel like I'm Sheba Heart.

0:48:00.960 --> 0:48:02.880
<v Speaker 1>Sheba Heart doll would be very fun, a notes on

0:48:02.920 --> 0:48:04.879
<v Speaker 1>a scandal dolls. That would be very fun.

0:48:05.000 --> 0:48:07.880
<v Speaker 3>That would be interesting, that would be interesting. There were

0:48:07.960 --> 0:48:10.440
<v Speaker 3>some really good games you could play with those dogs.

0:48:10.239 --> 0:48:10.960
<v Speaker 1>You know what's funny.

0:48:11.560 --> 0:48:13.799
<v Speaker 2>Separately of each other, we were like, we obviously watched

0:48:13.840 --> 0:48:17.400
<v Speaker 2>Black Bag phenomenal, and then we were we each picked

0:48:17.920 --> 0:48:19.400
<v Speaker 2>one of your other movies watching last Night.

0:48:19.440 --> 0:48:21.759
<v Speaker 1>Didn't tell each other it was notes on It is

0:48:21.800 --> 0:48:24.959
<v Speaker 1>one of our favorite films. It is fun every time.

0:48:25.880 --> 0:48:31.520
<v Speaker 3>Oh god, she turns ninety something, she's just had her birthday.

0:48:31.800 --> 0:48:38.200
<v Speaker 1>Yeah, Temple, yes, Temple, how old I am? Yeah?

0:48:38.280 --> 0:48:42.080
<v Speaker 2>But she was fabulous, She's amazing. I wanted to ask, like,

0:48:42.680 --> 0:48:48.440
<v Speaker 2>the really just pronounced queerness of your filmography is that

0:48:48.600 --> 0:48:51.640
<v Speaker 2>like it? It's really it's really something. I mean, I

0:48:51.800 --> 0:48:54.360
<v Speaker 2>was thinking about it, and there's there's elements.

0:48:54.000 --> 0:48:56.759
<v Speaker 1>Of this in a lot of what you do. Really, Yeah,

0:48:56.800 --> 0:48:58.560
<v Speaker 1>I mean tar obviously, I guess.

0:48:58.719 --> 0:49:00.400
<v Speaker 3>I guess it's growing up in Sydney.

0:49:00.719 --> 0:49:01.719
<v Speaker 1>Yeah, I think so.

0:49:01.960 --> 0:49:04.239
<v Speaker 3>I spent so much time at gaining lesbian Marti Gar,

0:49:04.360 --> 0:49:07.040
<v Speaker 3>which was just wild. I think it's been a bit

0:49:07.120 --> 0:49:09.840
<v Speaker 3>o h and s now, but the parties were so fabulous.

0:49:09.920 --> 0:49:11.239
<v Speaker 2>I went a couple of years ago for a World

0:49:11.280 --> 0:49:13.480
<v Speaker 2>Pride and I was really blown away by how Sidney

0:49:13.560 --> 0:49:16.440
<v Speaker 2>really committed to and embraced the fact that they were

0:49:16.520 --> 0:49:19.280
<v Speaker 2>hosting Pride. It was really lovely, especially now with everything

0:49:19.360 --> 0:49:21.880
<v Speaker 2>going on. Looking back at that, I was like, I

0:49:22.040 --> 0:49:24.520
<v Speaker 2>wonder if an American city would go for it this hard,

0:49:24.960 --> 0:49:27.760
<v Speaker 2>because Sydney was really felt beautiful to be there because

0:49:27.960 --> 0:49:29.439
<v Speaker 2>it felt like a very queer city.

0:49:29.719 --> 0:49:34.120
<v Speaker 3>Yeah, it totally is. It's occupational health and safety.

0:49:34.360 --> 0:49:37.960
<v Speaker 1>Oh I did, I did?

0:49:38.000 --> 0:49:39.200
<v Speaker 3>I the opening right?

0:49:39.480 --> 0:49:43.080
<v Speaker 1>Wait? So, and you're saying, Australian Marty Gar.

0:49:43.400 --> 0:49:48.480
<v Speaker 3>The things that went on in those rossrooms, in in

0:49:48.560 --> 0:49:50.680
<v Speaker 3>the clubs that but you know you were probably too

0:49:50.760 --> 0:49:53.319
<v Speaker 3>young to go to you know that they've they've all

0:49:53.440 --> 0:49:54.680
<v Speaker 3>been kind of cordened off.

0:49:54.960 --> 0:49:58.000
<v Speaker 1>Sure. Yeah, I feel like you would have a fun

0:49:58.120 --> 0:50:00.359
<v Speaker 1>experience going to I think it's a vent. Are still

0:50:00.400 --> 0:50:02.800
<v Speaker 1>happening in the world over. Yeah, I would encourage you to.

0:50:03.560 --> 0:50:06.240
<v Speaker 1>We came out in my white sneakers and your white sneakers.

0:50:06.280 --> 0:50:07.640
<v Speaker 3>Yeah, hey, dude, back off.

0:50:07.880 --> 0:50:11.959
<v Speaker 1>Yeah, listen me alone. I'm not interested. Don't you see

0:50:12.040 --> 0:50:12.399
<v Speaker 1>my feet?

0:50:12.600 --> 0:50:13.880
<v Speaker 3>But non fornicue?

0:50:14.160 --> 0:50:17.000
<v Speaker 2>Yeah, hello, look at the shoes. We're going to Berlin

0:50:17.200 --> 0:50:18.800
<v Speaker 2>in a couple of weeks, We're going to go to Burkehi.

0:50:19.480 --> 0:50:24.200
<v Speaker 3>Oh my god, yes, yes, once. It's pretty wild to

0:50:24.239 --> 0:50:25.839
<v Speaker 3>wait in line and like you do the whole thing

0:50:25.880 --> 0:50:27.759
<v Speaker 3>of being weak. I knew someone who knew someone who

0:50:27.800 --> 0:50:28.200
<v Speaker 3>knew something.

0:50:28.239 --> 0:50:30.320
<v Speaker 1>Okay, I got cha. Was this recent?

0:50:31.040 --> 0:50:33.960
<v Speaker 3>I can't remember, maybe five six years ago? Okay, it

0:50:34.080 --> 0:50:34.840
<v Speaker 3>was pre COVID.

0:50:35.239 --> 0:50:36.879
<v Speaker 1>Yeah, sure, just for COVID, I guess.

0:50:37.440 --> 0:50:40.080
<v Speaker 3>Yeah, you don't. You don't need to keep your eyes open.

0:50:40.239 --> 0:50:42.880
<v Speaker 3>Things just happened. Oh yeah you can.

0:50:43.040 --> 0:50:45.120
<v Speaker 1>You can close your eyes and things happen.

0:50:44.960 --> 0:50:47.640
<v Speaker 3>And things happen. It depends, well, it depends where you are.

0:50:47.760 --> 0:50:49.880
<v Speaker 3>It's a bit of a labyrinth. Sure, I mean, and

0:50:50.000 --> 0:50:52.040
<v Speaker 3>look there were things and places that I did not

0:50:52.160 --> 0:50:52.560
<v Speaker 3>go into.

0:50:52.800 --> 0:50:59.200
<v Speaker 1>Sure, I'm a bit too for me. A bit is

0:50:59.239 --> 0:51:02.160
<v Speaker 1>title about to I. I just want to go to

0:51:02.239 --> 0:51:03.560
<v Speaker 1>the Did you go to the gelato stand?

0:51:04.000 --> 0:51:04.200
<v Speaker 3>Yes?

0:51:04.360 --> 0:51:06.800
<v Speaker 1>Okay, is this a famous thing? Yeah, there's a gelato

0:51:06.800 --> 0:51:10.080
<v Speaker 1>stand that people like, everyone's just serving gelato. I love

0:51:10.160 --> 0:51:12.000
<v Speaker 1>it at all, relief.

0:51:13.880 --> 0:51:14.320
<v Speaker 3>A palate.

0:51:16.360 --> 0:51:19.400
<v Speaker 1>Yeah, oh that's fun from the delights from the cardinal.

0:51:19.960 --> 0:51:22.839
<v Speaker 3>Oh well, so I used to say, a research trip

0:51:22.960 --> 0:51:25.000
<v Speaker 3>it is, how did you How did you know?

0:51:25.080 --> 0:51:26.200
<v Speaker 1>How did you know? I don't know.

0:51:26.280 --> 0:51:33.319
<v Speaker 3>I just assumed always working. Oh wow, Okay, I don't

0:51:33.360 --> 0:51:34.279
<v Speaker 3>I don't want to prize it out.

0:51:34.440 --> 0:51:37.200
<v Speaker 1>No, no, no, I was just going to say, we

0:51:38.000 --> 0:51:39.440
<v Speaker 1>I can't tell if we want to go down the

0:51:39.520 --> 0:51:41.120
<v Speaker 1>front of a friend of a friend route or if

0:51:41.160 --> 0:51:43.440
<v Speaker 1>we I think it would be informative for us to

0:51:43.480 --> 0:51:45.840
<v Speaker 1>wait in the line and being rejected.

0:51:46.000 --> 0:51:47.279
<v Speaker 3>Yes, they won't reject you.

0:51:47.680 --> 0:51:49.799
<v Speaker 1>I don't know. I think they may. I think I'm

0:51:50.560 --> 0:51:51.240
<v Speaker 1>I don't think.

0:51:51.120 --> 0:51:52.640
<v Speaker 3>You look gay at all?

0:51:54.719 --> 0:51:55.520
<v Speaker 1>Count against us.

0:51:56.840 --> 0:51:58.600
<v Speaker 3>I'm looking for you.

0:51:59.120 --> 0:52:00.839
<v Speaker 1>We won't wear white shoes because what if they feel

0:52:00.840 --> 0:52:02.520
<v Speaker 1>about what if they feel about this week? I was

0:52:02.520 --> 0:52:04.279
<v Speaker 1>telling Dada this when she was at SNL. Was like,

0:52:04.360 --> 0:52:04.960
<v Speaker 1>She's like, what are you doing?

0:52:05.520 --> 0:52:12.600
<v Speaker 3>How amazed? I'mmenal, god phenomenal anyway, anyway, but the only

0:52:12.680 --> 0:52:17.719
<v Speaker 3>thing more exciting was you in I'm not excited. I'm

0:52:17.760 --> 0:52:18.200
<v Speaker 3>not excited.

0:52:18.239 --> 0:52:22.840
<v Speaker 1>I was, Yeah, it was amazing volcanic. No, I did erupt.

0:52:22.920 --> 0:52:25.560
<v Speaker 1>She she was saying that she has been turned away.

0:52:26.239 --> 0:52:27.960
<v Speaker 1>She has been turned away from that line because they

0:52:28.000 --> 0:52:30.279
<v Speaker 1>were like, I think the implication was she was like,

0:52:30.280 --> 0:52:32.040
<v Speaker 1>I think it was because I was a woman and

0:52:32.160 --> 0:52:33.800
<v Speaker 1>it was a bit too sexy of a night, a

0:52:33.840 --> 0:52:35.759
<v Speaker 1>bit too fornic katie of a night in a way

0:52:35.840 --> 0:52:40.800
<v Speaker 1>that was exclusive to fallacies. You know what I mean? Oh, Okay,

0:52:40.960 --> 0:52:43.000
<v Speaker 1>So I think maybe that's the thing that happens, depending

0:52:43.120 --> 0:52:43.760
<v Speaker 1>on and you're.

0:52:43.600 --> 0:52:48.680
<v Speaker 3>Going to she could have bought one. Yeah, you can

0:52:48.840 --> 0:52:49.800
<v Speaker 3>all buy a fallacy.

0:52:50.239 --> 0:52:52.360
<v Speaker 1>You can't buy a hole. You can't buy an orifice,

0:52:53.120 --> 0:52:54.080
<v Speaker 1>Which wouldn't you agree?

0:52:54.360 --> 0:52:57.719
<v Speaker 4>You have many of them, so many, but don't you

0:52:57.800 --> 0:53:01.080
<v Speaker 4>want to Like, I think buying a fact gives you

0:53:01.239 --> 0:53:03.920
<v Speaker 4>like a degree of removal in a way that you're like, oh,

0:53:04.040 --> 0:53:04.960
<v Speaker 4>I'm I'm.

0:53:04.840 --> 0:53:07.040
<v Speaker 1>Purely using I can put this away. Yeah, I can

0:53:07.120 --> 0:53:09.520
<v Speaker 1>put this away. A hole as a hole in your

0:53:09.600 --> 0:53:10.560
<v Speaker 1>You're you're stuck with it.

0:53:10.800 --> 0:53:13.160
<v Speaker 3>I don't mind being stuck with mine. I'm great happy.

0:53:13.360 --> 0:53:15.239
<v Speaker 3>I don't want Tom pleased to have all the holes

0:53:15.280 --> 0:53:15.440
<v Speaker 3>I have.

0:53:15.719 --> 0:53:16.640
<v Speaker 1>Yes, but I'm.

0:53:20.200 --> 0:53:28.000
<v Speaker 3>Talk to me after you've been to burg show.

0:53:30.000 --> 0:53:33.040
<v Speaker 1>For family communities. I don't think anyone's they're not going

0:53:33.080 --> 0:53:33.839
<v Speaker 1>to be shock by anything.

0:53:34.560 --> 0:53:36.239
<v Speaker 3>But are you are you taking in a microphone? You

0:53:36.560 --> 0:53:38.279
<v Speaker 3>won't be allowed to take it in unless.

0:53:38.040 --> 0:53:41.400
<v Speaker 1>You Oh no, we're not taking But it's research. It's

0:53:41.480 --> 0:53:44.040
<v Speaker 1>research where the phone being put away, right.

0:53:44.320 --> 0:53:46.840
<v Speaker 3>But there's so actually, there's so few spaces that you

0:53:46.920 --> 0:53:49.960
<v Speaker 3>can go now where you are private like that, where

0:53:50.000 --> 0:53:52.799
<v Speaker 3>people can really That's what I loved about the late

0:53:52.880 --> 0:53:56.600
<v Speaker 3>eighties going to all of the dance parties in Sydney. Yeah,

0:53:56.760 --> 0:53:57.520
<v Speaker 3>for the Mardi.

0:53:57.280 --> 0:53:59.480
<v Speaker 1>Gras is because people were just there.

0:53:59.520 --> 0:54:02.120
<v Speaker 3>There was so present, you know, they were just together

0:54:02.320 --> 0:54:06.160
<v Speaker 3>collectively having a great time. That was non aggressive. No

0:54:06.239 --> 0:54:09.239
<v Speaker 3>one was being recorded, no one cared what anyone did

0:54:09.520 --> 0:54:10.000
<v Speaker 3>the other night.

0:54:10.040 --> 0:54:11.399
<v Speaker 2>We went to a place like that. There's a place

0:54:11.440 --> 0:54:15.520
<v Speaker 2>called Basement. Yes, they put a tag on the phone.

0:54:15.600 --> 0:54:16.479
<v Speaker 3>It was Yeah.

0:54:16.880 --> 0:54:18.200
<v Speaker 1>It celebrated the idea of.

0:54:18.560 --> 0:54:21.800
<v Speaker 3>Such a relief of I think people are profoundly relieved,

0:54:21.960 --> 0:54:24.080
<v Speaker 3>and I feel I don't need to record this, right,

0:54:24.320 --> 0:54:25.480
<v Speaker 3>I can just tell people or not.

0:54:26.320 --> 0:54:29.759
<v Speaker 1>Yeah, But now it feels like that chasm between that

0:54:30.040 --> 0:54:33.440
<v Speaker 1>kind of event, that ideal is widening from the thing

0:54:33.480 --> 0:54:36.160
<v Speaker 1>that's very common now at like an award show. Let's say,

0:54:36.239 --> 0:54:40.840
<v Speaker 1>where you've got lip readers. You're being photographed in lip readers.

0:54:40.960 --> 0:54:41.920
<v Speaker 1>Oh yeah. On TikTok.

0:54:41.960 --> 0:54:44.440
<v Speaker 2>There'll be people that are, you know, looking at a

0:54:44.520 --> 0:54:46.920
<v Speaker 2>video of two celebrities talking to each other and at

0:54:46.920 --> 0:54:50.080
<v Speaker 2>an show they lip read, and it looks like it

0:54:50.480 --> 0:54:52.560
<v Speaker 2>it looks like it could be exactly what you're saying

0:54:52.640 --> 0:54:54.439
<v Speaker 2>in a way that's a little bit odd.

0:54:54.800 --> 0:54:56.520
<v Speaker 1>That's really what I mean.

0:54:57.200 --> 0:54:59.720
<v Speaker 3>Do something learn ikeybana or something.

0:55:00.000 --> 0:55:04.759
<v Speaker 1>I mean, it's like the skill that there's so many trains. Yeah. Wow,

0:55:05.000 --> 0:55:08.280
<v Speaker 1>but that makes it feel even kind of more treacherous.

0:55:08.400 --> 0:55:09.440
<v Speaker 3>Yeah, it is treacherous.

0:55:09.600 --> 0:55:09.719
<v Speaker 4>You know.

0:55:10.239 --> 0:55:12.600
<v Speaker 2>You do see celebrities nowadays on the carpet going like

0:55:12.680 --> 0:55:14.439
<v Speaker 2>this a lot because you know those are the ones

0:55:14.480 --> 0:55:16.719
<v Speaker 2>on TikTok and know they're at risk of being lip red.

0:55:17.040 --> 0:55:20.400
<v Speaker 3>Yeah. Yeah, but I mean I say, I mean, it's blasphemy.

0:55:20.600 --> 0:55:25.080
<v Speaker 3>Go back to the day when it wasn't televised, you know,

0:55:25.440 --> 0:55:28.279
<v Speaker 3>bring that back and just have a great party where

0:55:28.400 --> 0:55:30.600
<v Speaker 3>people can just let go. I mean, the industry is

0:55:30.680 --> 0:55:33.680
<v Speaker 3>so scattered in such a point of which I think

0:55:33.719 --> 0:55:36.640
<v Speaker 3>could potentially be exciting or it could be really depressing, right,

0:55:36.719 --> 0:55:39.400
<v Speaker 3>but it's at a pivot point, and so we need

0:55:39.480 --> 0:55:43.000
<v Speaker 3>to gather together and celebrate what it is that we

0:55:43.160 --> 0:55:47.560
<v Speaker 3>do without it having to have any public facing. I mean,

0:55:47.760 --> 0:55:49.680
<v Speaker 3>the fashion is great and all of that stuff. Well,

0:55:49.760 --> 0:55:51.839
<v Speaker 3>we'll find out in the end who won or who

0:55:51.960 --> 0:55:54.399
<v Speaker 3>didn't win, you know, but it would be so nice

0:55:54.440 --> 0:55:57.760
<v Speaker 3>that that happened behind closed doors. A very different evening.

0:55:57.960 --> 0:56:01.520
<v Speaker 2>You were saying that, especially after you know, the Oscars

0:56:01.600 --> 0:56:04.240
<v Speaker 2>just happened, and there's it just feels like the march

0:56:04.400 --> 0:56:06.439
<v Speaker 2>to that evening is so long. Do you feel there's

0:56:06.480 --> 0:56:10.479
<v Speaker 2>maybe too many ceremonies, Well.

0:56:10.400 --> 0:56:13.120
<v Speaker 1>That's what you're saying, like untelevised them.

0:56:13.600 --> 0:56:16.320
<v Speaker 3>Yeah, you still have them. It's so great. It's so

0:56:16.440 --> 0:56:19.279
<v Speaker 3>great that people's work is celebrated and we and that way.

0:56:19.400 --> 0:56:21.720
<v Speaker 3>I think there's a kind of a sense that because

0:56:21.760 --> 0:56:24.320
<v Speaker 3>this is the thing is you all these films are amazing.

0:56:24.480 --> 0:56:27.759
<v Speaker 3>There's so many amazing films and performances and and all

0:56:27.800 --> 0:56:30.719
<v Speaker 3>of the craft awards cinematography, and you know there you

0:56:30.800 --> 0:56:33.160
<v Speaker 3>want you want to celebrate them, of course, but you

0:56:33.320 --> 0:56:36.239
<v Speaker 3>can get sick of those films by the time because

0:56:36.239 --> 0:56:38.960
<v Speaker 3>they all get whittled down as they must. Yes, and

0:56:39.080 --> 0:56:40.880
<v Speaker 3>then I don't want to get sick of any of

0:56:40.960 --> 0:56:42.360
<v Speaker 3>those films because they're brilliant.

0:56:42.520 --> 0:56:44.279
<v Speaker 1>Yeah, and I fantasy value there.

0:56:44.360 --> 0:56:47.560
<v Speaker 2>There doesn't need to be an over conversation about Honora

0:56:47.680 --> 0:56:50.360
<v Speaker 2>the way that it's happening on online and stuff like that,

0:56:50.440 --> 0:56:51.680
<v Speaker 2>to the point where it's we really lose.

0:56:51.719 --> 0:56:55.439
<v Speaker 3>It's amazing, it's great, and it is amazing full style.

0:56:55.719 --> 0:56:57.040
<v Speaker 3>Sean Baker is a genius.

0:56:57.280 --> 0:56:59.800
<v Speaker 1>Yeah, yes he is. I'm such a fan of his

0:57:00.160 --> 0:57:01.960
<v Speaker 1>for such a long time. Yeah, he's brilliant.

0:57:02.120 --> 0:57:02.319
<v Speaker 3>Yeah.

0:57:02.400 --> 0:57:06.759
<v Speaker 1>Red Rocket was Red Rock. It was really incredible.

0:57:06.600 --> 0:57:09.319
<v Speaker 3>When she got off the bed with him and then

0:57:09.480 --> 0:57:12.640
<v Speaker 3>sang like an angel at the at the synth. It

0:57:12.800 --> 0:57:13.920
<v Speaker 3>was just breathtaking.

0:57:14.080 --> 0:57:16.880
<v Speaker 1>Yeah. Just his earlier stuff has the same DNA of

0:57:17.040 --> 0:57:19.920
<v Speaker 1>like the realism to it. It's it's all pretty consistent.

0:57:29.280 --> 0:57:31.240
<v Speaker 1>What was the most Soderbrik thing that he did on

0:57:32.040 --> 0:57:34.960
<v Speaker 1>I feel like he's such an expansive filmmaker. He can

0:57:35.080 --> 0:57:37.640
<v Speaker 1>do pretty much anything. Like I think it's crazy that

0:57:37.680 --> 0:57:39.560
<v Speaker 1>he's like under budget so many times.

0:57:39.640 --> 0:57:42.800
<v Speaker 3>When he when he makes the time, he's got this,

0:57:43.040 --> 0:57:45.560
<v Speaker 3>he's he made the presence. If you haven't seen that recently.

0:57:46.120 --> 0:57:48.240
<v Speaker 3>Lucy Lou was in it and the cast was amazing

0:57:48.720 --> 0:57:51.280
<v Speaker 3>and it was set in a house where a family

0:57:51.440 --> 0:57:53.960
<v Speaker 3>moved in and it was haunted by a presence. And

0:57:54.160 --> 0:57:58.160
<v Speaker 3>so the whole narrative unfolds according to what the presence

0:57:58.200 --> 0:58:01.560
<v Speaker 3>in the house learns. Oh, it's amazing, but he shot that,

0:58:01.640 --> 0:58:04.720
<v Speaker 3>I think in nine or eleven days. So it's like, oh, man,

0:58:05.040 --> 0:58:07.960
<v Speaker 3>how quickly are we going to shoot black bag? But

0:58:08.160 --> 0:58:10.560
<v Speaker 3>the thing with Soderberg is he's so economical. He's so

0:58:10.920 --> 0:58:13.280
<v Speaker 3>he always gets into work early. He knows how he's

0:58:13.280 --> 0:58:15.520
<v Speaker 3>going to shoot it. But the reason why he started

0:58:15.560 --> 0:58:17.680
<v Speaker 3>to operate, I asked him finally. I'd worked with him before,

0:58:17.720 --> 0:58:21.720
<v Speaker 3>but I've gotten to ask him. He edits, he lights, shoots,

0:58:21.800 --> 0:58:24.240
<v Speaker 3>he directs, He doesn't write anymore. But he said the

0:58:24.240 --> 0:58:26.640
<v Speaker 3>reason why he operates is because he wants it to

0:58:26.760 --> 0:58:29.320
<v Speaker 3>keep moving and flowing, and he doesn't want the actors

0:58:29.360 --> 0:58:33.280
<v Speaker 3>to go off the boil waiting around between takes and setups.

0:58:33.800 --> 0:58:35.720
<v Speaker 3>And so what he does is you start at the

0:58:35.760 --> 0:58:38.880
<v Speaker 3>normal time, but you're done by three, which is great.

0:58:39.640 --> 0:58:41.240
<v Speaker 3>Do you want to pick up your kids from school

0:58:41.520 --> 0:58:43.040
<v Speaker 3>or I don't know, get on a plane and go

0:58:43.080 --> 0:58:47.520
<v Speaker 3>to Berkeley is But then what he does, he's at

0:58:47.560 --> 0:58:50.360
<v Speaker 3>a workhorse as he goes and he edits and so

0:58:50.480 --> 0:58:53.800
<v Speaker 3>then where he spends the money is keeping the sets

0:58:54.000 --> 0:58:57.080
<v Speaker 3>open so if he needs to pick something up, he can,

0:58:57.440 --> 0:59:00.760
<v Speaker 3>and so he assembles the thing. But then he's really forensic,

0:59:00.800 --> 0:59:03.440
<v Speaker 3>gives no, that's too long, No, that piece of information

0:59:03.520 --> 0:59:06.040
<v Speaker 3>needs to be revealed there. And so it's a really

0:59:06.280 --> 0:59:09.680
<v Speaker 3>fluid thing with him. So you've got to dance with him.

0:59:09.720 --> 0:59:12.640
<v Speaker 3>But he did say typical sodaberg was I said, we

0:59:12.720 --> 0:59:15.000
<v Speaker 3>did one take and he wanted to move on, and

0:59:15.120 --> 0:59:17.640
<v Speaker 3>I said to him, I said, I said, are we

0:59:17.800 --> 0:59:21.720
<v Speaker 3>moving on because you're bored, because you've got it? And

0:59:21.880 --> 0:59:26.360
<v Speaker 3>he went yes, and yes he was bored with me

0:59:26.880 --> 0:59:30.440
<v Speaker 3>and heed. So he's but he's great. He's really blunt,

0:59:30.800 --> 0:59:33.840
<v Speaker 3>but he really really loves actors. And the cast in

0:59:33.960 --> 0:59:34.640
<v Speaker 3>Black Bag.

0:59:34.720 --> 0:59:38.479
<v Speaker 1>Is Yeah, it's really I wasn't.

0:59:38.480 --> 0:59:41.919
<v Speaker 2>I was surprised that it was such an ensemble, like, yeah,

0:59:41.960 --> 0:59:43.800
<v Speaker 2>that is, and then it really is like it's like

0:59:43.840 --> 0:59:45.960
<v Speaker 2>a watching a very thrilling, stylish play.

0:59:46.800 --> 0:59:48.960
<v Speaker 1>And I say that and obviously the most you know

0:59:49.360 --> 0:59:51.400
<v Speaker 1>rever not to spoil it. There's there's like there's like

0:59:51.480 --> 0:59:55.480
<v Speaker 1>a fun like almost like POI ro Agatha christiasue it

0:59:55.640 --> 0:59:56.720
<v Speaker 1>that I loved.

0:59:57.000 --> 0:59:59.919
<v Speaker 3>Yeah, Yeah, well, it's basically about a fast spender monk

1:00:00.040 --> 1:00:03.240
<v Speaker 3>husband and I play husband and wife and their espionage,

1:00:03.520 --> 1:00:05.600
<v Speaker 3>you know, M I five, m I six, But it's

1:00:05.680 --> 1:00:08.160
<v Speaker 3>all with technology, so it's a real It's like, oh

1:00:08.240 --> 1:00:10.920
<v Speaker 3>my god, I can't even open my phone. So that

1:00:11.080 --> 1:00:12.880
<v Speaker 3>was the acting bit that I had to do. But

1:00:13.000 --> 1:00:15.520
<v Speaker 3>they're devoted to each other, they're married, and then he

1:00:15.680 --> 1:00:20.360
<v Speaker 3>suspects her of being involved in this release in this cyberworm.

1:00:20.840 --> 1:00:23.280
<v Speaker 3>She sounds pretty icky. I wouldn't want to hear the

1:00:23.360 --> 1:00:24.560
<v Speaker 3>noise that is cyberworm.

1:00:25.000 --> 1:00:26.000
<v Speaker 1>It's probably.

1:00:27.760 --> 1:00:34.840
<v Speaker 3>Film, you know, the coot film Existence. Existence. The noise

1:00:34.960 --> 1:00:38.720
<v Speaker 3>that it made when Jennifer, Jason Lee and Judelore put

1:00:38.800 --> 1:00:42.440
<v Speaker 3>the portal into their body made made me what it

1:00:43.120 --> 1:00:47.560
<v Speaker 3>was like. How did you feel about the substance, the substance,

1:00:47.680 --> 1:00:52.240
<v Speaker 3>what the noises? I thought the sound was unbelievable. I

1:00:52.400 --> 1:00:53.800
<v Speaker 3>had a similar kind of thing.

1:00:54.240 --> 1:00:56.960
<v Speaker 1>Yeah, misoponia, misophonia.

1:00:56.600 --> 1:00:59.880
<v Speaker 3>Yes, mesophonia and quinophobia, which is what Tar had.

1:01:00.360 --> 1:01:00.560
<v Speaker 1>Yes.

1:01:00.840 --> 1:01:04.000
<v Speaker 2>Oh right, yeah, So speaking of Tar, because this was

1:01:04.080 --> 1:01:06.760
<v Speaker 2>truly our favorite movie. I remember I we watched it.

1:01:07.360 --> 1:01:09.120
<v Speaker 2>We didn't see it together, but.

1:01:09.280 --> 1:01:11.400
<v Speaker 1>We both had the same exact checking with each other.

1:01:11.480 --> 1:01:13.160
<v Speaker 1>We were like wow, wow, wow.

1:01:13.400 --> 1:01:15.400
<v Speaker 2>Well I remember leaving the movie the first time and

1:01:15.520 --> 1:01:18.160
<v Speaker 2>feeling really confused after the first five and ten minutes,

1:01:18.200 --> 1:01:20.280
<v Speaker 2>walking out of the movie, being like what And then

1:01:20.320 --> 1:01:22.880
<v Speaker 2>I realized, like as I thought of it, I was like,

1:01:23.200 --> 1:01:27.040
<v Speaker 2>that was phenomenal, and it just wasn't ultimately the genre

1:01:27.160 --> 1:01:28.600
<v Speaker 2>I thought it was going to be at the top

1:01:28.880 --> 1:01:31.680
<v Speaker 2>YEA thought it ended up being this like incredibly funny

1:01:31.720 --> 1:01:34.800
<v Speaker 2>satire in a way, but also like presenting as this

1:01:34.920 --> 1:01:37.920
<v Speaker 2>like very stark drama from the whole time, and it

1:01:38.040 --> 1:01:40.080
<v Speaker 2>is both of those things. But the question I wanted

1:01:40.120 --> 1:01:42.680
<v Speaker 2>to ask you was, and I find this with several

1:01:42.720 --> 1:01:45.800
<v Speaker 2>of your movies, are you ever really surprised when you

1:01:45.960 --> 1:01:48.480
<v Speaker 2>see the end result of something in terms of the

1:01:48.560 --> 1:01:51.280
<v Speaker 2>tone and genre from when you read it the first time?

1:01:52.560 --> 1:01:55.720
<v Speaker 3>There was so much I mean tar made and first

1:01:56.280 --> 1:01:59.240
<v Speaker 3>sitting because it asks a lot of the audience right,

1:01:59.520 --> 1:02:02.680
<v Speaker 3>made a lot of people really angry, And you know,

1:02:02.760 --> 1:02:05.520
<v Speaker 3>I was really grateful to the critics and the people

1:02:05.560 --> 1:02:07.960
<v Speaker 3>who had seen it, who kept alive all of the

1:02:08.040 --> 1:02:11.920
<v Speaker 3>other balls that Todd Field had written, because people said, oh,

1:02:11.960 --> 1:02:15.360
<v Speaker 3>it's about cancel culture, or it's about abuses of power,

1:02:15.640 --> 1:02:19.240
<v Speaker 3>but it wasn't. I always thought it was about about

1:02:19.760 --> 1:02:23.040
<v Speaker 3>what happens in the art For me personally anyway, when

1:02:23.080 --> 1:02:26.760
<v Speaker 3>we create something, we forget that we have to destroy something,

1:02:27.280 --> 1:02:30.920
<v Speaker 3>you know, And so it's the destructive urge in the

1:02:31.040 --> 1:02:32.960
<v Speaker 3>creative force. You don't have to be an artist to

1:02:33.000 --> 1:02:35.080
<v Speaker 3>have a creative force, but we all want to make

1:02:35.200 --> 1:02:37.720
<v Speaker 3>something in the world. But you often have to be

1:02:37.880 --> 1:02:41.280
<v Speaker 3>really brutal with yourself when you make that. So and

1:02:41.360 --> 1:02:43.320
<v Speaker 3>there was quite a lot of there was kind of

1:02:43.400 --> 1:02:46.000
<v Speaker 3>a ghost story in that, and so we you know,

1:02:46.080 --> 1:02:48.520
<v Speaker 3>and there were elements in there. I guess it's far

1:02:48.640 --> 1:02:50.600
<v Speaker 3>enough away. I didn't want to talk about it when

1:02:50.640 --> 1:02:52.800
<v Speaker 3>it was coming out, because you don't want to tell

1:02:52.840 --> 1:02:55.200
<v Speaker 3>an audience too much with a movie like that. Definitely,

1:02:55.200 --> 1:02:57.800
<v Speaker 3>but you know, we shot things or talked about things

1:02:57.840 --> 1:03:00.080
<v Speaker 3>that we decided not to shoot. In the end, you

1:03:00.120 --> 1:03:04.160
<v Speaker 3>know that the gift and I've got friends who are

1:03:04.200 --> 1:03:05.720
<v Speaker 3>conductors who have perfect pitch.

1:03:06.040 --> 1:03:09.240
<v Speaker 1>You probably have. I do not.

1:03:10.520 --> 1:03:13.480
<v Speaker 3>I apparently have a three octave range thore. Wow, apparently

1:03:13.600 --> 1:03:17.000
<v Speaker 3>I just wanted to throw that in there. No, but

1:03:17.720 --> 1:03:21.480
<v Speaker 3>that she had perfect pitch and incredible music ability that

1:03:21.640 --> 1:03:24.960
<v Speaker 3>her parents were she was raised by deaf parents. So

1:03:25.400 --> 1:03:27.760
<v Speaker 3>when I thought about the Earl, it was an early

1:03:27.840 --> 1:03:31.840
<v Speaker 3>sequence and these are very very minor things that I used.

1:03:32.120 --> 1:03:34.920
<v Speaker 3>There was a shot I think from memory of her

1:03:34.960 --> 1:03:37.760
<v Speaker 3>conducting as a student, which I think it'd ended up

1:03:37.760 --> 1:03:41.960
<v Speaker 3>in a movie, and I used sign language to how

1:03:42.040 --> 1:03:44.560
<v Speaker 3>I conducted then. But that was just fun. I mean,

1:03:44.880 --> 1:03:46.600
<v Speaker 3>you know, they're not even easter eggs because you're not

1:03:46.720 --> 1:03:49.080
<v Speaker 3>ever thinking that the audience will pick those things up.

1:03:49.120 --> 1:03:50.840
<v Speaker 3>But there was so much in there, and he's such

1:03:50.840 --> 1:03:52.800
<v Speaker 3>a great writer. I have to get him out of

1:03:52.840 --> 1:03:55.960
<v Speaker 3>the barn, Toddfield. So he makes another film before Ten

1:03:56.040 --> 1:03:57.000
<v Speaker 3>Years Past the.

1:03:57.040 --> 1:03:59.880
<v Speaker 1>Barn, the Bar. But hard to price someone out of

1:03:59.880 --> 1:04:03.200
<v Speaker 1>a barn, it is, No, I'm just I'm just saying, like, do.

1:04:03.240 --> 1:04:03.880
<v Speaker 3>You have a barn?

1:04:04.480 --> 1:04:06.480
<v Speaker 1>God? Do you want to? I want to barn?

1:04:06.760 --> 1:04:08.800
<v Speaker 3>You want someone to pries you out of it? I'm

1:04:08.840 --> 1:04:09.600
<v Speaker 3>going into the bar.

1:04:09.760 --> 1:04:11.680
<v Speaker 1>I'm going I would love a bar, Are you kidding?

1:04:11.720 --> 1:04:13.840
<v Speaker 1>And you'd be great in a barn. I really do

1:04:14.000 --> 1:04:17.480
<v Speaker 1>think I would love a barn personally, not very good

1:04:17.520 --> 1:04:21.120
<v Speaker 1>with hay and all that. No, it doesn't. No, it's

1:04:21.280 --> 1:04:23.600
<v Speaker 1>just I like my little creature comforts. But so do

1:04:23.640 --> 1:04:25.360
<v Speaker 1>you now I'm thinking you wouldn't love a barn.

1:04:25.440 --> 1:04:30.520
<v Speaker 3>Now you get a cashmere bar, a little barn, a

1:04:30.600 --> 1:04:31.520
<v Speaker 3>barn by wayfair.

1:04:32.200 --> 1:04:34.200
<v Speaker 1>I don't mean a barn functionally, I mean a barn

1:04:34.320 --> 1:04:36.760
<v Speaker 1>just in terms of a metapharic. Yeah, somewhere to go.

1:04:37.360 --> 1:04:39.280
<v Speaker 3>Yeah, he has a literal and a metaphorica.

1:04:39.520 --> 1:04:41.560
<v Speaker 1>There you go. It's a two for a job. It's

1:04:41.600 --> 1:04:43.800
<v Speaker 1>like you gotta bring him out of the headspace and

1:04:43.880 --> 1:04:47.400
<v Speaker 1>the actual physical space. True, well, true, I mean tar

1:04:47.880 --> 1:04:50.880
<v Speaker 1>is just for me. Do you consider it a comedy

1:04:50.920 --> 1:04:52.920
<v Speaker 1>because I feel like it's one of the great comedies

1:04:53.480 --> 1:04:53.760
<v Speaker 1>this year.

1:04:53.920 --> 1:04:57.000
<v Speaker 3>Was really funny. Yeah, you know, I mean how seriously

1:04:57.120 --> 1:04:58.040
<v Speaker 3>she took herself.

1:04:58.400 --> 1:05:01.160
<v Speaker 2>The second time I watched it, I couldn't stop laughing

1:05:01.240 --> 1:05:04.840
<v Speaker 2>at the first conversation the top back's so funny. Oh,

1:05:05.080 --> 1:05:08.400
<v Speaker 2>just how seriously she takes herself. And like the performance

1:05:08.440 --> 1:05:12.000
<v Speaker 2>that is happening, and really the amount of ego, because

1:05:12.040 --> 1:05:13.840
<v Speaker 2>that was that's really ultimately.

1:05:13.480 --> 1:05:15.560
<v Speaker 1>I think it's just like crazy meditation on ego.

1:05:16.160 --> 1:05:18.520
<v Speaker 3>Yeah, well it is, but you have to having stepped

1:05:18.520 --> 1:05:22.320
<v Speaker 3>onto the podium in front of the Dressden Philharmony as

1:05:22.400 --> 1:05:25.920
<v Speaker 3>a woman, you know, but as a conductor anyway, is

1:05:26.080 --> 1:05:29.240
<v Speaker 3>they sense fear. So you have to as a conductor,

1:05:29.360 --> 1:05:32.320
<v Speaker 3>you have to have a lot of and that you

1:05:32.480 --> 1:05:35.120
<v Speaker 3>have to say this is where we're going. And because

1:05:35.160 --> 1:05:37.200
<v Speaker 3>I realized it to be like boarding school, like a

1:05:37.280 --> 1:05:39.760
<v Speaker 3>lot of the members they're all soloists, right, but the

1:05:39.840 --> 1:05:43.120
<v Speaker 3>conductor has to bring them to make one unified sound.

1:05:43.440 --> 1:05:46.120
<v Speaker 3>So there's a lot of egos and complications. And they

1:05:46.160 --> 1:05:48.280
<v Speaker 3>would all come up to me and start talking to

1:05:48.400 --> 1:05:51.240
<v Speaker 3>me and telling me things about you know, I know

1:05:51.440 --> 1:05:55.760
<v Speaker 3>I'm acting as the first cello, but I'm really only

1:05:55.840 --> 1:05:58.600
<v Speaker 3>the second cello, so I'm really concerned about And it

1:05:58.760 --> 1:06:00.960
<v Speaker 3>was like, you have to hold all of this stuff together.

1:06:01.080 --> 1:06:04.800
<v Speaker 3>But I got up there and they hadn't played together

1:06:04.840 --> 1:06:07.800
<v Speaker 3>because of COVID they had the orchestra hadn't played together

1:06:08.040 --> 1:06:10.680
<v Speaker 3>for quite a long many many months, right, And so

1:06:11.000 --> 1:06:13.240
<v Speaker 3>when I said, look in my bad germ and I said,

1:06:13.240 --> 1:06:16.160
<v Speaker 3>when i'm you know, I'm not an actor. I mean

1:06:16.160 --> 1:06:18.520
<v Speaker 3>I'm not a conductor. You're not actors, and we're going

1:06:18.560 --> 1:06:20.400
<v Speaker 3>to have to swap roles, so let's be patient with

1:06:20.520 --> 1:06:23.240
<v Speaker 3>one another. And I gave the downbeat at the rehearsal

1:06:23.600 --> 1:06:27.720
<v Speaker 3>and they didn't follow me, and I went let's start again.

1:06:28.000 --> 1:06:31.000
<v Speaker 3>And they all went ooh, and they realized in fact

1:06:31.520 --> 1:06:34.040
<v Speaker 3>that I didn't. I mean I was I was winging it.

1:06:34.200 --> 1:06:36.800
<v Speaker 3>I did a lot of you know, preparation, and I

1:06:37.200 --> 1:06:40.400
<v Speaker 3>examined the score and everything, and I had the music

1:06:40.480 --> 1:06:42.600
<v Speaker 3>in my those bits of music in my head. But

1:06:42.720 --> 1:06:44.760
<v Speaker 3>it was such a gift because then they had to

1:06:44.880 --> 1:06:47.720
<v Speaker 3>lean in realize that we did have to do it together.

1:06:48.240 --> 1:06:50.200
<v Speaker 3>But it's not a film about conducting.

1:06:50.200 --> 1:06:52.320
<v Speaker 1>So it's not well, I feel like you telling that

1:06:52.400 --> 1:06:57.280
<v Speaker 1>story filtered through the character of Lydiuitar makes me think of, like,

1:06:57.400 --> 1:07:00.240
<v Speaker 1>I am Petra's father. It's like that is that that's

1:07:00.280 --> 1:07:04.080
<v Speaker 1>the same person in a completely different context of like, no,

1:07:04.560 --> 1:07:07.480
<v Speaker 1>she thinks of herself as she is that person that

1:07:07.600 --> 1:07:09.960
<v Speaker 1>like is being like called for at the school or something.

1:07:10.080 --> 1:07:12.600
<v Speaker 3>Yeah, I mean yeah, and I think she was probably

1:07:12.840 --> 1:07:16.960
<v Speaker 3>mercilessly bullied herself. Yeah. And it's also I think when

1:07:17.000 --> 1:07:19.400
<v Speaker 3>you have an exceptional gift like that, And I always

1:07:19.440 --> 1:07:23.640
<v Speaker 3>imagined her having parents who were made fun of and

1:07:23.880 --> 1:07:28.000
<v Speaker 3>who couldn't hear the thing that she love, it's a

1:07:28.080 --> 1:07:31.760
<v Speaker 3>really complicating thing. And I it's all these little things

1:07:31.880 --> 1:07:34.840
<v Speaker 3>that because he's todd as an amazing director, but and

1:07:34.880 --> 1:07:37.959
<v Speaker 3>also an amazing writer. Is he put all these little

1:07:38.000 --> 1:07:40.600
<v Speaker 3>clues in that she went and she'd obviously spend a

1:07:40.680 --> 1:07:44.440
<v Speaker 3>lot of time with the Shippibo Guinnebo people taking Ayahuascar, right,

1:07:44.680 --> 1:07:46.360
<v Speaker 3>And if it had enough time, I would have done

1:07:46.360 --> 1:07:49.640
<v Speaker 3>a little research and did that part of it. But

1:07:49.800 --> 1:07:52.240
<v Speaker 3>you know, like she was really adventurous and so she

1:07:52.840 --> 1:07:55.560
<v Speaker 3>she you know she did she was running away from

1:07:55.640 --> 1:07:58.720
<v Speaker 3>something herself, right, and also coming out of COVID. I

1:07:58.760 --> 1:08:01.600
<v Speaker 3>don't know what you guys did. You probably were able

1:08:01.640 --> 1:08:03.960
<v Speaker 3>to continue the podcast, right, yes, but if you can

1:08:04.240 --> 1:08:07.160
<v Speaker 3>do what you do, if you couldn't make music and

1:08:07.200 --> 1:08:12.200
<v Speaker 3>you would lydi gitar for two years, what happens your

1:08:12.320 --> 1:08:15.880
<v Speaker 3>creative turns destructive? Yes, So you know I thought about

1:08:15.920 --> 1:08:16.639
<v Speaker 3>all that stuff.

1:08:17.120 --> 1:08:17.800
<v Speaker 1>We're talking about.

1:08:17.800 --> 1:08:20.520
<v Speaker 2>So many elements of a movie like this, you know, obviously,

1:08:20.720 --> 1:08:25.200
<v Speaker 2>like huge respect for the director and it like real

1:08:25.400 --> 1:08:29.240
<v Speaker 2>interest in the incredibly dynamic character and this story that

1:08:29.320 --> 1:08:31.280
<v Speaker 2>you can read in so many different ways. I wonder,

1:08:31.600 --> 1:08:34.799
<v Speaker 2>when you are embarking on something or you're sent to script,

1:08:35.000 --> 1:08:37.160
<v Speaker 2>is there one of those elements, whether it's like the

1:08:37.240 --> 1:08:40.200
<v Speaker 2>people you get to work with or the story itself.

1:08:40.320 --> 1:08:43.360
<v Speaker 2>Or the specific character. Is there something that you feel

1:08:44.000 --> 1:08:46.240
<v Speaker 2>is what pulls you each and every time or is

1:08:46.280 --> 1:08:48.760
<v Speaker 2>it different. I would imagine it's a combination. But for you,

1:08:49.360 --> 1:08:51.000
<v Speaker 2>if you could speak to me, you know it's.

1:08:51.000 --> 1:08:53.960
<v Speaker 3>The couple of times early on, when I accepted to

1:08:54.040 --> 1:08:57.960
<v Speaker 3>do a script based on the role, it's always been

1:08:58.040 --> 1:09:01.040
<v Speaker 3>slightly disappointing because it's like a theater script is called

1:09:01.040 --> 1:09:03.880
<v Speaker 3>a play because you have to play with it's it's

1:09:03.960 --> 1:09:07.280
<v Speaker 3>not a work of literature. And so it's always now

1:09:07.640 --> 1:09:10.920
<v Speaker 3>for me about the director. It's never the role. So

1:09:11.000 --> 1:09:13.800
<v Speaker 3>because it doesn't matter. You could be acting your socks off.

1:09:14.200 --> 1:09:17.200
<v Speaker 3>But if the camera's in the wrong position, or you know,

1:09:17.400 --> 1:09:19.479
<v Speaker 3>you haven't all been cast in the right way, or

1:09:19.560 --> 1:09:23.160
<v Speaker 3>you haven't been brought together by the director into an ensemble,

1:09:23.240 --> 1:09:26.080
<v Speaker 3>the thing wasn't left off, and so it won't mean

1:09:26.160 --> 1:09:29.080
<v Speaker 3>anything to an audience. And so, for example, with Black

1:09:29.160 --> 1:09:32.519
<v Speaker 3>Bag working, I'd worked with Stephen and when we were

1:09:32.760 --> 1:09:34.760
<v Speaker 3>my husband and I were running the Sydney Theater Company.

1:09:34.840 --> 1:09:36.960
<v Speaker 3>He came in our first season and he wanted to

1:09:37.000 --> 1:09:38.880
<v Speaker 3>do an all male production of All About If We

1:09:38.880 --> 1:09:42.439
<v Speaker 3>Could Wow. So he got obsessed with Nancy Grace in

1:09:42.680 --> 1:09:47.760
<v Speaker 3>Casey Anthony's story and he concocted this bizarre, fascinating theater piece.

1:09:48.160 --> 1:09:50.960
<v Speaker 3>But when he called me and said he had a

1:09:51.000 --> 1:09:54.400
<v Speaker 3>slot and David Kep had written this great ensemble piece,

1:09:54.680 --> 1:09:57.240
<v Speaker 3>it was to work with him. And it was Fast

1:09:57.240 --> 1:10:01.560
<v Speaker 3>Spender and Tom Burke, who's an amazing stage within the

1:10:01.640 --> 1:10:04.280
<v Speaker 3>Seagull at the Barbican in London. And so it's it

1:10:04.439 --> 1:10:07.439
<v Speaker 3>is the director and then I'm fascinated with who they

1:10:07.479 --> 1:10:08.240
<v Speaker 3>want to cast them.

1:10:08.360 --> 1:10:10.240
<v Speaker 1>Yeah, yeah, you realized that more and more it is

1:10:10.280 --> 1:10:14.560
<v Speaker 1>about the people. Yes, not necessarily about which it feels counterintuitive,

1:10:14.560 --> 1:10:18.479
<v Speaker 1>but it's not necessarily about the content and the primary

1:10:18.560 --> 1:10:19.080
<v Speaker 1>way like.

1:10:19.160 --> 1:10:21.800
<v Speaker 3>Yeah, it's not about the role, you know, because sometimes

1:10:21.840 --> 1:10:24.040
<v Speaker 3>it's like, wow, you know that's a piece of action,

1:10:24.360 --> 1:10:27.240
<v Speaker 3>or I haven't spoken to that audience before, you know

1:10:27.320 --> 1:10:29.519
<v Speaker 3>that's a chamber piece, or you know in fact that

1:10:29.680 --> 1:10:32.559
<v Speaker 3>that character is really still I've been moving around too much.

1:10:33.680 --> 1:10:35.960
<v Speaker 3>So sometimes yeah, I don't know, but I don't want

1:10:35.960 --> 1:10:37.680
<v Speaker 3>I don't know that I necessarily want to do it

1:10:37.760 --> 1:10:39.680
<v Speaker 3>anymore anyway. I think I want to spend time with

1:10:39.800 --> 1:10:41.919
<v Speaker 3>my my chickens and my gardens.

1:10:42.160 --> 1:10:46.519
<v Speaker 1>Real barn, Yeah, you need a barn yeah, well occasional

1:10:46.600 --> 1:10:47.240
<v Speaker 1>Burghund trip.

1:10:47.439 --> 1:10:51.479
<v Speaker 3>Yes, yeah, I will venture out to berg from the bond.

1:10:52.800 --> 1:10:54.839
<v Speaker 1>Let's go. We're reading a book now in the research.

1:10:55.120 --> 1:10:58.240
<v Speaker 1>It's called Lost and Sound, the Beginnings of Bergheim and

1:10:58.320 --> 1:11:01.439
<v Speaker 1>the easy Jet set. So this writer, oh Redd, it

1:11:01.640 --> 1:11:03.760
<v Speaker 1>is kind of putting out this theory that like with

1:11:03.920 --> 1:11:07.160
<v Speaker 1>the introduction of easy Jet in Europe, with budget travel

1:11:07.280 --> 1:11:08.240
<v Speaker 1>within Europe.

1:11:08.439 --> 1:11:10.960
<v Speaker 3>Oh, that it eroded the integrity.

1:11:11.320 --> 1:11:13.960
<v Speaker 1>Not the integrity, it just brought people to Berlin and

1:11:14.080 --> 1:11:16.920
<v Speaker 1>it created a nightlife capital in Berlin after the wall

1:11:17.320 --> 1:11:20.840
<v Speaker 1>went down, with technical coming out of Detroit. It's like

1:11:20.960 --> 1:11:22.600
<v Speaker 1>it all kind of aligned in a way that like

1:11:23.240 --> 1:11:25.960
<v Speaker 1>made it this magical still magical thing that must be

1:11:26.040 --> 1:11:29.200
<v Speaker 1>preserved because it's a cultural site. Now it's considered a

1:11:29.320 --> 1:11:32.120
<v Speaker 1>concert venue and not necessarily a club.

1:11:32.479 --> 1:11:34.479
<v Speaker 3>But you know, they have to be really careful having

1:11:34.800 --> 1:11:37.240
<v Speaker 3>Thomas Ostamyer, who runs a show Booner and Berlin, has

1:11:37.240 --> 1:11:40.160
<v Speaker 3>directed this production of The Seagull. He's such an amazing

1:11:40.240 --> 1:11:43.560
<v Speaker 3>person and an amazing director. But they are, you know,

1:11:43.720 --> 1:11:46.680
<v Speaker 3>so many Australians are in Berlin because you get to

1:11:46.840 --> 1:11:50.200
<v Speaker 3>you don't apologize for you know, being a musician or

1:11:50.200 --> 1:11:52.040
<v Speaker 3>an actor or a painter or a writer or whatever

1:11:52.120 --> 1:11:55.160
<v Speaker 3>where you kind of do in Australia. But he was saying,

1:11:55.439 --> 1:11:59.639
<v Speaker 3>like cultural funding is really going down and they don't.

1:11:59.720 --> 1:12:03.160
<v Speaker 3>It's such a it's a stupidity from an economic point

1:12:03.200 --> 1:12:05.360
<v Speaker 3>of view, have let alone a cultural point of view.

1:12:05.840 --> 1:12:09.360
<v Speaker 3>You know, you talk about culture on your podcast, but

1:12:09.680 --> 1:12:13.960
<v Speaker 3>because because of the multiplier effect, it's the restaurants, it's

1:12:14.080 --> 1:12:17.960
<v Speaker 3>the bars, it's the taxi drivers, it's cyclos, it's all

1:12:18.040 --> 1:12:21.400
<v Speaker 3>of those other things that that actually suffer when you

1:12:21.600 --> 1:12:25.599
<v Speaker 3>remove culture from a place apart from you know, that's why,

1:12:25.760 --> 1:12:27.599
<v Speaker 3>as you say, that's why tourists go to Berlin.

1:12:27.880 --> 1:12:30.599
<v Speaker 1>Yeah, absolutely. I feel like you have that in America too,

1:12:30.720 --> 1:12:32.840
<v Speaker 1>of like that apology of like hey, yeah, I'm an actor.

1:12:33.520 --> 1:12:37.800
<v Speaker 1>I'm It's like people think it's like cool to shy

1:12:37.880 --> 1:12:40.560
<v Speaker 1>away from there. There's a certain sect of people I

1:12:40.640 --> 1:12:44.800
<v Speaker 1>think that don't stand in like pride for being an artist.

1:12:44.840 --> 1:12:46.840
<v Speaker 1>I don't know. Maybe it's a self consciousness.

1:12:46.560 --> 1:12:48.920
<v Speaker 3>Yeah, or you know, there's a sense that somehow, if

1:12:49.320 --> 1:12:52.960
<v Speaker 3>you are in a creative profession, that there's an indulgence.

1:12:53.640 --> 1:12:56.679
<v Speaker 3>It's elite and you go, no, it's like you remember

1:12:56.720 --> 1:12:59.320
<v Speaker 3>of a circus family, ya, it's not.

1:12:59.479 --> 1:12:59.960
<v Speaker 1>It's true.

1:13:00.120 --> 1:13:02.720
<v Speaker 3>You do it for an audience. And that's where Soderberg's

1:13:02.720 --> 1:13:05.120
<v Speaker 3>so great is he kept saying with black Bag, He's like,

1:13:05.200 --> 1:13:08.360
<v Speaker 3>we're making a movie. Yeah, making a film. I want

1:13:08.400 --> 1:13:10.360
<v Speaker 3>people to go to see this in the cinema and

1:13:10.720 --> 1:13:15.280
<v Speaker 3>eat their podcast and have fun. And it's witty and stylish.

1:13:15.439 --> 1:13:17.840
<v Speaker 3>It's like, you know, and then and you know you

1:13:17.920 --> 1:13:20.960
<v Speaker 3>don't have to Not every piece of cinema has to

1:13:21.040 --> 1:13:23.600
<v Speaker 3>have the same function or reach the same audience, their

1:13:23.720 --> 1:13:25.879
<v Speaker 3>multifarious audiences. But it's for an audiences.

1:13:25.960 --> 1:13:29.000
<v Speaker 1>I'm not doing it for myself, right, you know, just

1:13:29.080 --> 1:13:31.559
<v Speaker 1>to speak because you mentioned that we talk about culture,

1:13:31.760 --> 1:13:34.400
<v Speaker 1>We're going to ask you a question and it's a

1:13:34.400 --> 1:13:35.880
<v Speaker 1>little bit of a little bit of a you know,

1:13:36.280 --> 1:13:39.640
<v Speaker 1>unifier on this podcast alongside this question, which is what

1:13:39.800 --> 1:13:42.680
<v Speaker 1>was the culture that made you say culture was for you?

1:13:43.400 --> 1:13:47.720
<v Speaker 1>Talking about like how you Kate Blanchett became Kate Blanchette,

1:13:47.760 --> 1:13:49.040
<v Speaker 1>if you could think about.

1:13:49.200 --> 1:13:57.200
<v Speaker 3>I'm constantly becoming that transition. I don't know, like I'm

1:13:57.240 --> 1:14:01.479
<v Speaker 3>so eclectic, and you know, I read Eden Blinton books.

1:14:01.600 --> 1:14:04.439
<v Speaker 3>I spend all the time on my bicycle thinking I

1:14:04.560 --> 1:14:07.600
<v Speaker 3>was Nancy Drew or Trixie Belden, you're looking at me

1:14:07.680 --> 1:14:12.439
<v Speaker 3>blankly because you're away. Trixie Belden was a girl detective. Yeah,

1:14:12.520 --> 1:14:15.800
<v Speaker 3>as was Nancy Drew, of course. But I think there

1:14:15.920 --> 1:14:18.920
<v Speaker 3>was a kind of an intersection for me of the

1:14:19.080 --> 1:14:22.960
<v Speaker 3>Royal wedding Princess Diana and Charles, which was in nineteen eighty.

1:14:23.000 --> 1:14:26.280
<v Speaker 3>At the moment, my grandmother was having a double bypass surgery,

1:14:26.840 --> 1:14:31.080
<v Speaker 3>so death was meeting sort of life and pageantry. At

1:14:31.080 --> 1:14:34.120
<v Speaker 3>the same time, the Moscow Olympics was on, and I

1:14:34.280 --> 1:14:37.840
<v Speaker 3>was obsessed. I did calisthenics, you know, like I'm quite

1:14:37.920 --> 1:14:39.800
<v Speaker 3>not very strong when I'm bent, Like I put my

1:14:39.920 --> 1:14:42.200
<v Speaker 3>legs behind my heads. I have no skills, but I

1:14:42.240 --> 1:14:46.800
<v Speaker 3>can do that. Yeah, I know. But that and I

1:14:47.000 --> 1:14:50.599
<v Speaker 3>got really obsessed with I don't know what this is culture.

1:14:50.720 --> 1:14:54.479
<v Speaker 3>I got very obsessed with ribbon dancing. Oh that's you know, culture,

1:14:54.479 --> 1:14:58.000
<v Speaker 3>and then the dancing they do with the ball wow.

1:14:58.840 --> 1:14:59.720
<v Speaker 3>So maybe it was that.

1:15:00.000 --> 1:15:01.920
<v Speaker 1>So when we filed this under like you know, the

1:15:02.000 --> 1:15:04.080
<v Speaker 1>bending of it all, like like rhythmic.

1:15:03.840 --> 1:15:07.200
<v Speaker 3>Gymnastic, rhythmic gymnastics. Yeah, I think that that was my

1:15:08.320 --> 1:15:12.760
<v Speaker 3>high culture expression. And then later on you saw Picasso

1:15:12.880 --> 1:15:15.920
<v Speaker 3>painting with light, and so that reminded me of my

1:15:16.080 --> 1:15:19.479
<v Speaker 3>ribbon dancing obsession, you know, so yeah, maybe it was

1:15:19.560 --> 1:15:20.320
<v Speaker 3>ribbon I'm.

1:15:20.160 --> 1:15:23.200
<v Speaker 2>Thinking of your performance in the Curious Case of Benjamin Button.

1:15:23.800 --> 1:15:26.719
<v Speaker 2>Like I wasn't ribbon dancing, I know, but a dancer,

1:15:26.920 --> 1:15:29.040
<v Speaker 2>you know what I mean, Like you've never forgiven.

1:15:28.880 --> 1:15:34.320
<v Speaker 3>Fincher he we were doing there was a dance sequence

1:15:34.360 --> 1:15:34.680
<v Speaker 3>which I.

1:15:36.360 --> 1:15:37.479
<v Speaker 1>Did for aged.

1:15:37.560 --> 1:15:40.760
<v Speaker 3>No, no, no, it's in there. But he decided to

1:15:40.840 --> 1:15:44.479
<v Speaker 3>shoot it at five o'clock in the morning having been

1:15:44.600 --> 1:15:46.920
<v Speaker 3>called you know, because he shoots forever, having been called

1:15:46.920 --> 1:15:49.559
<v Speaker 3>at like, you know, nine o'clock the previous morning.

1:15:49.600 --> 1:15:50.160
<v Speaker 1>It's like you.

1:15:52.600 --> 1:15:54.400
<v Speaker 3>Yeah, yeah, so I don't know how much is me

1:15:54.479 --> 1:15:57.080
<v Speaker 3>and how much is my body double? But I didn't

1:15:57.080 --> 1:15:58.160
<v Speaker 3>get to ribbon dance in that.

1:15:58.560 --> 1:16:00.599
<v Speaker 1>No, not ribbon dancing, but I just my age.

1:16:00.600 --> 1:16:02.040
<v Speaker 3>I want to sell a lot of coal that I

1:16:02.040 --> 1:16:06.439
<v Speaker 3>don't ask you to ribbon fifty that's actually going into Yeah,

1:16:06.560 --> 1:16:09.680
<v Speaker 3>we'll get your ribbon dancing. But the ball, Yeah, it's

1:16:09.720 --> 1:16:11.320
<v Speaker 3>the ball so beautiful.

1:16:11.920 --> 1:16:14.600
<v Speaker 1>What does the ball represent? You know, the girls and

1:16:14.640 --> 1:16:15.759
<v Speaker 1>the course of people.

1:16:15.560 --> 1:16:17.599
<v Speaker 3>Who work with the ball and they move it around.

1:16:17.640 --> 1:16:20.520
<v Speaker 3>It's incredible waters so magnificent.

1:16:20.680 --> 1:16:23.120
<v Speaker 1>I don't even understand how you are. Do you do that?

1:16:23.479 --> 1:16:26.080
<v Speaker 3>It's like magic. If you were to do magic trips

1:16:26.160 --> 1:16:28.840
<v Speaker 3>like pull up the Ace of Spades out of a lemon,

1:16:30.040 --> 1:16:33.160
<v Speaker 3>I mean I would literally pee my pants.

1:16:33.400 --> 1:16:35.799
<v Speaker 2>What's crazy about that is the answers are so simple,

1:16:36.080 --> 1:16:39.519
<v Speaker 2>but they're done with such what do you because, like

1:16:39.720 --> 1:16:41.479
<v Speaker 2>the answer to how the card comes out of the

1:16:41.560 --> 1:16:42.080
<v Speaker 2>lemon or whatever?

1:16:42.160 --> 1:16:42.400
<v Speaker 1>The hell?

1:16:42.520 --> 1:16:45.240
<v Speaker 2>I don't know, But what I'm saying is we don't know,

1:16:45.479 --> 1:16:48.479
<v Speaker 2>and like for us it seems so crazy, but their

1:16:48.640 --> 1:16:51.280
<v Speaker 2>answers to that are so simple, Like the sleight of

1:16:51.360 --> 1:16:53.400
<v Speaker 2>hand is so second nature.

1:16:54.320 --> 1:16:55.720
<v Speaker 3>I know, but I'm still where do you put a

1:16:55.800 --> 1:17:00.840
<v Speaker 3>lemon up? I mean that's I mean, I don't all

1:17:01.040 --> 1:17:03.240
<v Speaker 3>that eleven go out, don't touch.

1:17:03.080 --> 1:17:06.320
<v Speaker 1>The lemon, touch the lemon? But would you agree that,

1:17:06.479 --> 1:17:09.120
<v Speaker 1>like have you ever applied this to your own sort

1:17:09.200 --> 1:17:11.599
<v Speaker 1>of craft where you're like, I don't want to tell

1:17:11.640 --> 1:17:13.000
<v Speaker 1>you too much about how I do I.

1:17:13.040 --> 1:17:14.840
<v Speaker 3>Never want I never want to talk about it because

1:17:14.920 --> 1:17:16.040
<v Speaker 3>I don't know how I do it?

1:17:16.240 --> 1:17:16.560
<v Speaker 1>Do you not?

1:17:16.800 --> 1:17:19.920
<v Speaker 3>I don't have a process really, no, Like people say, oh,

1:17:19.960 --> 1:17:22.439
<v Speaker 3>you know I do Maisner or at least Straisner or

1:17:22.520 --> 1:17:25.640
<v Speaker 3>I do. I know uder Hagen is my whoever it is,

1:17:26.080 --> 1:17:28.880
<v Speaker 3>I read it all. I'm I'm a bower bird. If

1:17:28.960 --> 1:17:31.519
<v Speaker 3>someone has done something great, I will steal it and

1:17:32.000 --> 1:17:34.320
<v Speaker 3>use it. Got it because you know it's always going

1:17:34.400 --> 1:17:39.720
<v Speaker 3>to be reinterpreted through your lens. Yeah, so, yeah, I

1:17:39.720 --> 1:17:42.519
<v Speaker 3>don't know. Every night before I, you know, I start

1:17:42.560 --> 1:17:44.160
<v Speaker 3>a new job, it's always the first day of school.

1:17:44.200 --> 1:17:47.120
<v Speaker 3>I'm always terrified. And I say to my husband, who's

1:17:47.320 --> 1:17:49.760
<v Speaker 3>so bored with me asking the same questions over and

1:17:49.880 --> 1:17:52.679
<v Speaker 3>over and over, I said, what do I Do's my process? Really?

1:17:53.400 --> 1:17:54.320
<v Speaker 1>Just show up?

1:17:55.560 --> 1:17:58.320
<v Speaker 3>And so you have to go into a room and go,

1:17:58.680 --> 1:18:01.400
<v Speaker 3>I do not know how to do this. You humble

1:18:01.479 --> 1:18:04.200
<v Speaker 3>yourself to the task and the material and the other

1:18:04.280 --> 1:18:09.000
<v Speaker 3>actors and the directors and the circumstances reveal what research

1:18:09.040 --> 1:18:10.599
<v Speaker 3>you need to do, if you need to do any

1:18:10.680 --> 1:18:12.600
<v Speaker 3>Sometimes you don't need to. Sometimes you just have to

1:18:12.680 --> 1:18:13.120
<v Speaker 3>be present.

1:18:13.560 --> 1:18:16.240
<v Speaker 2>I feel like that's so comforting as an actor to

1:18:16.360 --> 1:18:19.000
<v Speaker 2>hear even you say that, because there's like a freedom

1:18:19.840 --> 1:18:22.080
<v Speaker 2>that like, there's a freedom you can have to give

1:18:22.120 --> 1:18:25.120
<v Speaker 2>yourself when you realize this thing I have about my

1:18:25.240 --> 1:18:28.640
<v Speaker 2>anxieties about being quote unquote good enough, right, for it.

1:18:29.120 --> 1:18:30.960
<v Speaker 2>I was going to ask you how you are about

1:18:31.040 --> 1:18:33.519
<v Speaker 2>moving on, because it sounds like every actor has a

1:18:33.560 --> 1:18:35.880
<v Speaker 2>different relationship to that. But to hear you speak to

1:18:36.600 --> 1:18:40.400
<v Speaker 2>not insecurity, but like any apprehension or you know, nerves

1:18:40.439 --> 1:18:41.080
<v Speaker 2>about doing.

1:18:40.960 --> 1:18:43.840
<v Speaker 3>Something, I think for even you to say that you

1:18:43.960 --> 1:18:47.639
<v Speaker 3>know it's and it gets service, I think it gets worse, yeah,

1:18:47.760 --> 1:18:51.960
<v Speaker 3>because then there's a sense that maybe people have preconceptions

1:18:52.160 --> 1:18:56.320
<v Speaker 3>or expectations if you have some kind of a track record,

1:18:56.520 --> 1:18:59.080
<v Speaker 3>and I think it's you have to risk. I'm sure

1:18:59.080 --> 1:19:01.080
<v Speaker 3>you both feel this too. You have to and particularly

1:19:01.160 --> 1:19:04.160
<v Speaker 3>with stand up, it's like you have to risk falling

1:19:04.320 --> 1:19:07.320
<v Speaker 3>flat on your face. And so if you're not, if

1:19:07.360 --> 1:19:09.560
<v Speaker 3>you're not on that knife edge, you're not going to

1:19:09.640 --> 1:19:12.280
<v Speaker 3>keep growing, you know. And so it is confronting, but

1:19:12.360 --> 1:19:13.920
<v Speaker 3>you have to get yourself in the zone where you

1:19:14.000 --> 1:19:15.160
<v Speaker 3>go fucking yeah.

1:19:15.320 --> 1:19:18.760
<v Speaker 1>But well, my thing with a lot of comedians, and

1:19:18.760 --> 1:19:20.599
<v Speaker 1>I'm going to say excuse mail, but like a lot

1:19:20.640 --> 1:19:25.160
<v Speaker 1>of male comedians seem to have this allergy to like

1:19:25.360 --> 1:19:29.120
<v Speaker 1>anything that is theatrical about comedy, and they have to

1:19:29.240 --> 1:19:32.120
<v Speaker 1>understand that stand up is just theater, the schema of

1:19:32.160 --> 1:19:34.080
<v Speaker 1>it of like one person being on stage talking to

1:19:34.120 --> 1:19:36.000
<v Speaker 1>a crowd of people. Yah, dot matter how big the

1:19:36.040 --> 1:19:39.760
<v Speaker 1>crowd is or small it is, it's theater. So and

1:19:40.120 --> 1:19:43.120
<v Speaker 1>they are like performing the fact that these thoughts are

1:19:43.160 --> 1:19:45.840
<v Speaker 1>coming to them off the cuff when they've been refining

1:19:45.960 --> 1:19:50.160
<v Speaker 1>this routine for a long time, over many experimental contacts

1:19:50.200 --> 1:19:52.960
<v Speaker 1>that it's like, let's just embrace that this is all

1:19:53.080 --> 1:19:56.400
<v Speaker 1>kind of artificial. And I don't know what my point is.

1:19:56.439 --> 1:19:58.280
<v Speaker 1>I'm just saying like, there's yeah, and.

1:19:58.280 --> 1:20:00.760
<v Speaker 3>There's a structure to it. It's like if you're telling

1:20:00.800 --> 1:20:03.599
<v Speaker 3>a story and you forget the pivot point the story,

1:20:03.640 --> 1:20:06.479
<v Speaker 3>it's it's not going to work. But I've always found

1:20:06.520 --> 1:20:10.519
<v Speaker 3>it really such an education to go and watch stand

1:20:10.640 --> 1:20:13.400
<v Speaker 3>up at the beginning when they're building the material, because

1:20:13.520 --> 1:20:15.960
<v Speaker 3>in the end, I think the process is the most

1:20:16.040 --> 1:20:18.920
<v Speaker 3>exciting thing, and sometimes when you get to the end point,

1:20:19.280 --> 1:20:22.840
<v Speaker 3>the hard thing is to keep it fresh, you know.

1:20:23.439 --> 1:20:25.600
<v Speaker 2>And of course then there's the thing of you know,

1:20:26.520 --> 1:20:28.400
<v Speaker 2>I've now done I find this with a lot of

1:20:28.439 --> 1:20:30.200
<v Speaker 2>stand ups. It's like you see people start to get

1:20:30.240 --> 1:20:33.439
<v Speaker 2>insecure about having done things for several years. It's like,

1:20:33.640 --> 1:20:35.679
<v Speaker 2>you know what I mean, It's because then it's less

1:20:35.720 --> 1:20:37.920
<v Speaker 2>even about how do I keep this fresh? And you're like,

1:20:38.200 --> 1:20:41.360
<v Speaker 2>did I get too comfortable with? Am I too good

1:20:41.400 --> 1:20:43.000
<v Speaker 2>at keeping it fresh? Am I not moving on and

1:20:43.040 --> 1:20:44.439
<v Speaker 2>pushing myself to do something else?

1:20:44.560 --> 1:20:47.639
<v Speaker 3>Yeah? Well, I got great advice from Hungarian director who

1:20:47.760 --> 1:20:51.080
<v Speaker 3>directed us as a company and a production of Uncle Vanya.

1:20:51.720 --> 1:20:53.960
<v Speaker 3>And we'd had previews and then we're all great and

1:20:54.040 --> 1:20:57.200
<v Speaker 3>there's a really lovely company. And he came in and

1:20:57.560 --> 1:21:00.280
<v Speaker 3>you know, we rehearsed through an interpreter, and so he

1:21:00.320 --> 1:21:03.200
<v Speaker 3>said through his interpreter, he said, all of those amazing

1:21:03.360 --> 1:21:07.240
<v Speaker 3>things that you did last night, they were wonderful tonight

1:21:07.600 --> 1:21:10.080
<v Speaker 3>opening night, don't do any of them.

1:21:10.200 --> 1:21:10.479
<v Speaker 1>Love it.

1:21:10.840 --> 1:21:13.599
<v Speaker 3>And it was such great advice, and you go, okay,

1:21:14.280 --> 1:21:16.960
<v Speaker 3>this is I think they it's because they come from

1:21:17.000 --> 1:21:20.120
<v Speaker 3>a culture where things sit in rep right, And yeah,

1:21:20.160 --> 1:21:23.679
<v Speaker 3>so he's interested in the long health of the show,

1:21:24.120 --> 1:21:27.120
<v Speaker 3>not getting good reviews, you know, because often the good

1:21:27.160 --> 1:21:30.519
<v Speaker 3>reviews are actually harder to deal with because certainly if

1:21:30.560 --> 1:21:32.439
<v Speaker 3>you read them, you go, oh that's a good bit,

1:21:32.600 --> 1:21:35.160
<v Speaker 3>and then it dies right, you know, so you can't

1:21:35.520 --> 1:21:37.360
<v Speaker 3>you can't think about the good or bad bit.

1:21:37.479 --> 1:21:39.280
<v Speaker 1>You just have to think it's all a process, right,

1:21:39.439 --> 1:21:41.800
<v Speaker 1>or you just can't stay with it in any case

1:21:41.880 --> 1:21:44.559
<v Speaker 1>because in comedy they say, like your act becomes your enemy.

1:21:45.240 --> 1:21:46.680
<v Speaker 1>It's like what you're talking about, where like.

1:21:46.760 --> 1:21:48.440
<v Speaker 3>When you say you're acting me and you stick.

1:21:48.360 --> 1:21:51.519
<v Speaker 1>Or like what you've given. It's like I kind of

1:21:51.520 --> 1:21:53.360
<v Speaker 1>feel that way now with I guess and I'm like, oh,

1:21:53.600 --> 1:21:56.680
<v Speaker 1>I'm playing another inanimate object. And sometimes and I just

1:21:56.720 --> 1:21:58.640
<v Speaker 1>want to say, because sometimes in the bits at it,

1:21:58.800 --> 1:22:02.240
<v Speaker 1>sometimes it's not all up to the cast member. Of course,

1:22:02.640 --> 1:22:04.400
<v Speaker 1>you're being handed the material like Okay, I guess you

1:22:04.479 --> 1:22:06.479
<v Speaker 1>need me to play you know this by balloon that

1:22:06.560 --> 1:22:09.479
<v Speaker 1>got shot down? Okay, Like fine, you know it's and

1:22:09.560 --> 1:22:11.559
<v Speaker 1>then it becomes this thing that you're trying to pull

1:22:11.600 --> 1:22:14.760
<v Speaker 1>away anyway. This is not this is microcosmically compared to

1:22:14.880 --> 1:22:16.639
<v Speaker 1>like anything that could.

1:22:16.479 --> 1:22:18.160
<v Speaker 3>You know, because I mean this is the thing is

1:22:18.240 --> 1:22:20.160
<v Speaker 3>you don't want to be thinking about yourself. You want

1:22:20.160 --> 1:22:22.760
<v Speaker 3>to be thinking about the energy that it's going out

1:22:22.800 --> 1:22:24.519
<v Speaker 3>in your audience. And I think when you start to

1:22:24.560 --> 1:22:29.120
<v Speaker 3>feel uncomfortable about that or habitual about that, then you

1:22:29.160 --> 1:22:31.360
<v Speaker 3>become self conscious and the thing's going to die anyway,

1:22:31.720 --> 1:22:32.040
<v Speaker 3>which is.

1:22:32.040 --> 1:22:34.200
<v Speaker 1>Why it's refreshing and also sort of speaks to your

1:22:34.280 --> 1:22:37.560
<v Speaker 1>skill besides putting your lives behind your head, is that

1:22:37.720 --> 1:22:41.000
<v Speaker 1>like you have this, you have this, you amalgamate all

1:22:41.120 --> 1:22:42.840
<v Speaker 1>these things in your process to the point where you

1:22:42.880 --> 1:22:44.679
<v Speaker 1>don't have one, which is perfect.

1:22:44.960 --> 1:22:48.719
<v Speaker 3>Yeah. I mean, look, I do like having a task

1:22:48.880 --> 1:22:52.719
<v Speaker 3>that I feel is impossible to say. For something like tar,

1:22:53.320 --> 1:22:56.679
<v Speaker 3>I thought, I don't know how to read a score.

1:22:56.720 --> 1:22:59.320
<v Speaker 3>I learned piano as a girl. But I have to

1:22:59.400 --> 1:23:01.400
<v Speaker 3>I have to break score a part and choose the

1:23:01.479 --> 1:23:03.160
<v Speaker 3>bits that we're going to play, and I really have

1:23:03.280 --> 1:23:05.240
<v Speaker 3>to learn how to do this. And so in a way,

1:23:05.520 --> 1:23:07.840
<v Speaker 3>the part was so overwhelming. It's not it's not a

1:23:07.880 --> 1:23:10.920
<v Speaker 3>film about conducting, as I said, but it gave me

1:23:11.080 --> 1:23:13.280
<v Speaker 3>something to do to stave off the anxiety because I

1:23:13.400 --> 1:23:14.599
<v Speaker 3>had so much to prepare.

1:23:14.760 --> 1:23:15.639
<v Speaker 1>Yeah, lots of homework.

1:23:15.840 --> 1:23:18.000
<v Speaker 3>It's just I think in the end, process is a

1:23:18.040 --> 1:23:20.400
<v Speaker 3>way of staving off anxiety, which I can make you

1:23:20.640 --> 1:23:31.080
<v Speaker 3>clam Yeah, this is.

1:23:31.080 --> 1:23:32.360
<v Speaker 1>A little bit of a left turn. But have you

1:23:32.439 --> 1:23:37.040
<v Speaker 1>seen on Broadway? No? I have. I tell you, I'm

1:23:37.080 --> 1:23:38.760
<v Speaker 1>getting to know you a little bit now. I think

1:23:38.840 --> 1:23:42.960
<v Speaker 1>that like you are going to absolutely I've heard it's love.

1:23:43.920 --> 1:23:45.080
<v Speaker 3>I know who's seen it's loved it.

1:23:45.560 --> 1:23:46.000
<v Speaker 1>In New York.

1:23:46.080 --> 1:23:48.000
<v Speaker 2>I've now seen it with three different marrias. I've seen

1:23:48.040 --> 1:23:50.200
<v Speaker 2>it with Colors School, I've seen Hannah solo, the understudy,

1:23:50.240 --> 1:23:53.080
<v Speaker 2>and Betty who was fantastic, and.

1:23:53.120 --> 1:23:55.719
<v Speaker 3>It's just different every time at the very time.

1:23:56.000 --> 1:23:58.839
<v Speaker 2>And it's just it's just really interesting to see something

1:23:59.520 --> 1:24:03.200
<v Speaker 2>start as that off Broadway moment and then no Cole

1:24:03.400 --> 1:24:05.640
<v Speaker 2>was doing it, and to now see an actress like

1:24:05.760 --> 1:24:09.439
<v Speaker 2>Betty doing it. It's just it's the interpretation is like

1:24:09.600 --> 1:24:13.080
<v Speaker 2>it's ever evolving. I just think you have such an

1:24:13.080 --> 1:24:14.800
<v Speaker 2>amazing sense of humor. You would absolutely love this.

1:24:15.040 --> 1:24:17.760
<v Speaker 3>Yeah, no, no, not how long. It's such a well

1:24:17.880 --> 1:24:19.840
<v Speaker 3>yeah right, I mean to see you.

1:24:22.240 --> 1:24:23.000
<v Speaker 1>And we're so happy.

1:24:23.120 --> 1:24:26.759
<v Speaker 3>It was worth that we canceled a show at London,

1:24:27.200 --> 1:24:28.000
<v Speaker 3>but I'm so happy.

1:24:28.760 --> 1:24:30.599
<v Speaker 2>Okay, so it might be time to do I don't

1:24:30.640 --> 1:24:33.639
<v Speaker 2>think so, honey, Which is our sixty second segment where

1:24:33.680 --> 1:24:35.840
<v Speaker 2>we take something in pop culture that really needs to

1:24:35.880 --> 1:24:39.040
<v Speaker 2>get pummeled into the ground, you know, And I have

1:24:39.200 --> 1:24:42.040
<v Speaker 2>something Okay, it's sort of been popping up for years now,

1:24:42.200 --> 1:24:43.160
<v Speaker 2>and I would.

1:24:43.000 --> 1:24:45.040
<v Speaker 3>Like it's disturbing you. I can I like rubbing it.

1:24:45.080 --> 1:24:48.599
<v Speaker 1>For Yeah, that was my tell. It's your right sneaker.

1:24:48.720 --> 1:24:50.519
<v Speaker 1>Let's go all right, this is Matt Rodgers. I don't

1:24:50.520 --> 1:24:52.240
<v Speaker 1>think so many time starts now, I don't think so.

1:24:52.360 --> 1:24:55.799
<v Speaker 2>Honey, buddy, one of my buddies. I got a buddy

1:24:55.920 --> 1:24:59.599
<v Speaker 2>who let me tell you something, buddy, like, maybe it's

1:24:59.680 --> 1:25:01.240
<v Speaker 2>the cons the B and the D.

1:25:01.960 --> 1:25:04.920
<v Speaker 1>I don't think creative and it's too fricative, and I

1:25:05.000 --> 1:25:07.559
<v Speaker 1>was going to use the word maybe it's not evenative.

1:25:07.520 --> 1:25:08.639
<v Speaker 3>Buddy, if you're not a buddy.

1:25:08.960 --> 1:25:11.400
<v Speaker 2>Yeah, My thing is just like it feels like something

1:25:11.800 --> 1:25:13.680
<v Speaker 2>and it's been used sexually a couple of times with.

1:25:16.280 --> 1:25:18.560
<v Speaker 1>When my wife's suckers were really pumping off, and I

1:25:18.680 --> 1:25:20.880
<v Speaker 1>don't like it there. I don't know what it is.

1:25:21.600 --> 1:25:23.559
<v Speaker 2>It feels like when you use the word buddy, you're

1:25:23.640 --> 1:25:26.639
<v Speaker 2>not saying friend. It feels like something more like backing

1:25:26.720 --> 1:25:27.200
<v Speaker 2>off or like.

1:25:27.320 --> 1:25:28.400
<v Speaker 3>It's an active aggression.

1:25:28.560 --> 1:25:30.760
<v Speaker 2>Yes, yeah, it's an active aggression that use of the

1:25:30.800 --> 1:25:32.920
<v Speaker 2>word buddy, or it's just not committing to what it is.

1:25:33.000 --> 1:25:35.559
<v Speaker 2>It's my close friend, it's my you know, I think

1:25:35.680 --> 1:25:38.000
<v Speaker 2>some people, especially the gay guys i've been having sex with,

1:25:38.120 --> 1:25:41.840
<v Speaker 2>I'm your lover, okay, call me something else, not buddy.

1:25:42.320 --> 1:25:46.200
<v Speaker 1>It's like it's like when someone calls you dude, that's

1:25:46.320 --> 1:25:49.800
<v Speaker 1>very creative as well. We think D and D, dude

1:25:49.880 --> 1:25:52.560
<v Speaker 1>and buddy. I'm just not feeling it. I think we

1:25:52.640 --> 1:25:55.320
<v Speaker 1>should say like, I think we should just use our

1:25:55.400 --> 1:25:58.880
<v Speaker 1>words with more intention because buddy, it's existing in a

1:25:58.920 --> 1:26:01.640
<v Speaker 1>gray area. I don't think and that's one minute, you know,

1:26:02.080 --> 1:26:02.960
<v Speaker 1>do you use buddy?

1:26:03.320 --> 1:26:05.920
<v Speaker 3>I do say dude a bit. I'm trying to okay

1:26:06.040 --> 1:26:09.639
<v Speaker 3>for you is for a straight white woman to say dude.

1:26:09.840 --> 1:26:11.800
<v Speaker 2>I think dude is fine and I have less of

1:26:11.840 --> 1:26:14.000
<v Speaker 2>a problem with it. It's not my fa I guess

1:26:14.040 --> 1:26:15.479
<v Speaker 2>what I'm saying is when gay.

1:26:15.439 --> 1:26:19.320
<v Speaker 3>Guys my same I'm going out with my buddy? Yeah

1:26:19.880 --> 1:26:22.479
<v Speaker 3>what I am? What am I to you? Right? Yeah?

1:26:22.479 --> 1:26:23.360
<v Speaker 1>Where do I exist?

1:26:23.760 --> 1:26:26.759
<v Speaker 2>Because buddy isn't like, it's existing in an area between

1:26:26.760 --> 1:26:27.639
<v Speaker 2>acquaintance and I've.

1:26:27.479 --> 1:26:29.240
<v Speaker 3>Never thought about it. I don't like this is an

1:26:29.360 --> 1:26:30.280
<v Speaker 3>educational play, this.

1:26:30.320 --> 1:26:33.000
<v Speaker 1>Is an educational podcast. Friend, I'm gonna put a theory

1:26:33.040 --> 1:26:35.880
<v Speaker 1>out there. The English language is sort of limited in

1:26:36.280 --> 1:26:39.600
<v Speaker 1>the kind of words we have for friend, buddy. I

1:26:39.640 --> 1:26:43.280
<v Speaker 1>don't like when someone's like, five times out of ten,

1:26:43.320 --> 1:26:46.599
<v Speaker 1>I'm gonna say half the time. Half the time when

1:26:46.680 --> 1:26:50.320
<v Speaker 1>someone says, hey friend, I go, huh, like I shudder

1:26:50.360 --> 1:26:52.080
<v Speaker 1>a bit. Well, no, here's what I'm saying.

1:26:52.120 --> 1:26:55.320
<v Speaker 3>It's not it's hey anything, yeah, hey you, hey buddy,

1:26:55.360 --> 1:26:58.640
<v Speaker 3>Hey friend, it's like hello, hello, exqueeze me.

1:26:59.000 --> 1:27:04.040
<v Speaker 1>Yeah, it's rather act is back now as a result

1:27:04.080 --> 1:27:07.519
<v Speaker 1>of you're saying it's the same kind of weird, we

1:27:07.640 --> 1:27:10.880
<v Speaker 1>haven't found the right word yet that feels right on

1:27:10.960 --> 1:27:15.519
<v Speaker 1>the tongue for what for friends, in the same way

1:27:15.560 --> 1:27:20.639
<v Speaker 1>that we don't have the good words for marijuana, weed pot. Yeah,

1:27:20.680 --> 1:27:25.040
<v Speaker 1>but I like, yeah, yeah, I don't know.

1:27:25.360 --> 1:27:27.240
<v Speaker 3>But what would you say? In what context? Are you

1:27:27.320 --> 1:27:29.880
<v Speaker 3>calling someone a friend or a buddy or a mate

1:27:30.000 --> 1:27:30.400
<v Speaker 3>or a pal?

1:27:30.600 --> 1:27:34.320
<v Speaker 1>Think I got triggered. I like power, I like mate

1:27:34.520 --> 1:27:36.519
<v Speaker 1>to mate is fun mate.

1:27:36.560 --> 1:27:39.479
<v Speaker 3>It is just it's not in Australia. It's just so abused.

1:27:39.680 --> 1:27:40.360
<v Speaker 1>Is it really? Really?

1:27:40.880 --> 1:27:44.960
<v Speaker 3>Get But maybe the way you say it's probably not

1:27:45.080 --> 1:27:45.439
<v Speaker 3>so bad.

1:27:45.560 --> 1:27:47.040
<v Speaker 1>I got some mates in time. I mean it doesn't

1:27:47.040 --> 1:27:47.559
<v Speaker 1>sound right.

1:27:47.640 --> 1:27:50.800
<v Speaker 3>But you don't you think lover is such a kind

1:27:50.840 --> 1:27:53.559
<v Speaker 3>of I don't like it's it's I feel like it's

1:27:53.720 --> 1:27:59.160
<v Speaker 3>taking your shirt off in an inappropriate way. It's but sweetheart,

1:28:00.320 --> 1:28:02.320
<v Speaker 3>my sweetheart, you know what I mean, and.

1:28:02.360 --> 1:28:03.880
<v Speaker 1>My friends make fun of me. I say thank you,

1:28:03.960 --> 1:28:06.559
<v Speaker 1>my love. I love that, restaurants I say my love.

1:28:06.680 --> 1:28:07.800
<v Speaker 1>I call a lot of people my love.

1:28:07.880 --> 1:28:09.920
<v Speaker 2>And our friend Jared is always like I want to

1:28:10.320 --> 1:28:11.880
<v Speaker 2>tie when you say it, and I'm like, well, that's

1:28:11.920 --> 1:28:12.800
<v Speaker 2>how I feel about buddy.

1:28:13.040 --> 1:28:15.920
<v Speaker 3>Yeah, but you wouldn't go away to buddy, or if

1:28:15.960 --> 1:28:16.840
<v Speaker 3>you did so.

1:28:17.000 --> 1:28:18.880
<v Speaker 2>I was in the service industry for ten years. I've

1:28:18.920 --> 1:28:22.160
<v Speaker 2>done hard yards. Getting called buddy it feels degrading. Yeah,

1:28:22.160 --> 1:28:24.240
<v Speaker 2>maybe that's what I'm picking up on it.

1:28:24.360 --> 1:28:28.679
<v Speaker 3>Yes, it's a post trauma. Yeah, you haven't recovered from

1:28:29.080 --> 1:28:29.800
<v Speaker 3>your waiting time.

1:28:29.840 --> 1:28:31.880
<v Speaker 1>I think we've we stumbled upon it.

1:28:32.400 --> 1:28:34.000
<v Speaker 2>That it feels like a little bit of a put

1:28:34.080 --> 1:28:36.360
<v Speaker 2>down or like yes, or it feels like that's maybe

1:28:36.439 --> 1:28:37.320
<v Speaker 2>what I'm getting at with it.

1:28:37.439 --> 1:28:39.920
<v Speaker 1>That it feels noncommittal, you know what I mean. It's

1:28:40.000 --> 1:28:44.160
<v Speaker 1>just it's there's something pased down about it. Yeah, it's pat.

1:28:44.880 --> 1:28:49.320
<v Speaker 1>Maybe it's simply pat, simply okay, interesting, fascinating, I don't know.

1:28:49.479 --> 1:28:51.200
<v Speaker 2>Yeah, I just needed needed to walk that through and

1:28:51.200 --> 1:28:53.439
<v Speaker 2>I'm happy what we did here today. Okay, So this

1:28:53.560 --> 1:28:55.080
<v Speaker 2>is Bow and Yang's I don't think sowenty, did you

1:28:55.120 --> 1:28:55.880
<v Speaker 2>come from here today.

1:28:56.040 --> 1:28:58.840
<v Speaker 1>I did. And this has been brewing for several years

1:28:58.840 --> 1:29:02.080
<v Speaker 1>as well, for several years. We're really unearthing a lot. Wow, okay,

1:29:02.360 --> 1:29:05.320
<v Speaker 1>this ended up herapy. Yeah, so this is Bowen Yang's

1:29:05.320 --> 1:29:07.200
<v Speaker 1>I don't think so, honey. His time starts now. I

1:29:07.200 --> 1:29:11.000
<v Speaker 1>don't think so, honey. Hakuna matata, Oh, no worries for

1:29:11.120 --> 1:29:14.600
<v Speaker 1>the rest of your day's privilege. I'm worried. It's not

1:29:14.640 --> 1:29:17.080
<v Speaker 1>even a privileged thing. It's a it's a detachment from

1:29:18.120 --> 1:29:24.160
<v Speaker 1>the human condition, which is to experience, experience, stake, experience,

1:29:25.200 --> 1:29:28.000
<v Speaker 1>some kind of investment in the future. And how can

1:29:28.080 --> 1:29:29.599
<v Speaker 1>and how can you be invested in the future if

1:29:29.600 --> 1:29:32.320
<v Speaker 1>you're not worried a little bit about losing the thing

1:29:32.400 --> 1:29:36.640
<v Speaker 1>that you want, about about letting go of desire to

1:29:36.840 --> 1:29:39.880
<v Speaker 1>Buddhists too aggressively Buddhist, which is not what Buddhism is,

1:29:40.000 --> 1:29:42.960
<v Speaker 1>which is which is anathemat of Buddhism in the first place.

1:29:43.040 --> 1:29:45.759
<v Speaker 1>You can't be an aggressive Buddhist to say no worries

1:29:46.000 --> 1:29:48.120
<v Speaker 1>for the rest of your days, to be that absolute

1:29:48.280 --> 1:29:53.519
<v Speaker 1>about not worrying something's off, You're numbing yourself too much

1:29:53.600 --> 1:29:57.439
<v Speaker 1>to circumstance to what life throws out you. You're gonna

1:29:57.439 --> 1:30:00.280
<v Speaker 1>be worried because guess what everyone in this room. I'm

1:30:00.280 --> 1:30:03.160
<v Speaker 1>looking at a heat matt behind the camera. We're all worried.

1:30:03.280 --> 1:30:04.880
<v Speaker 1>You have something to worry about. You have something to

1:30:04.960 --> 1:30:07.880
<v Speaker 1>worry about, and that's one minute. But their worries also

1:30:08.000 --> 1:30:10.840
<v Speaker 1>not for nothing. They were a ward hog and a groundhog,

1:30:12.240 --> 1:30:15.240
<v Speaker 1>a mere cat, thank you. In Africa, you have worries.

1:30:15.280 --> 1:30:19.639
<v Speaker 1>You've got worries. There are predators all around you. Be worried.

1:30:19.960 --> 1:30:24.320
<v Speaker 1>Stay vigilant in these streets. And by these streets I

1:30:24.400 --> 1:30:28.800
<v Speaker 1>do mean the prairie land, prairie. Yes, this red room,

1:30:29.400 --> 1:30:31.240
<v Speaker 1>stay on very afraid.

1:30:32.200 --> 1:30:32.680
<v Speaker 3>I think not.

1:30:32.800 --> 1:30:37.200
<v Speaker 1>It's number fourteen Matata, I think not. I love that

1:30:37.280 --> 1:30:40.880
<v Speaker 1>bo thank you. It's from the heart. Yeah, we were

1:30:40.920 --> 1:30:42.200
<v Speaker 1>told that you you can't prepared as well.

1:30:42.600 --> 1:30:44.519
<v Speaker 3>I meant to have one. I'm not going to be

1:30:44.600 --> 1:30:48.000
<v Speaker 3>as eloquent as you are, that's okay, but I have something.

1:30:48.080 --> 1:30:51.160
<v Speaker 3>I have a lot of things that really you know,

1:30:51.600 --> 1:30:53.200
<v Speaker 3>what's the first bit I have to say say?

1:30:53.320 --> 1:30:56.320
<v Speaker 1>I don't think so, honey, I don't like I don't

1:30:56.320 --> 1:30:59.840
<v Speaker 1>think so honey. Okay, we're going to put the time,

1:31:00.320 --> 1:31:02.600
<v Speaker 1>but I think you should feel unbounded by this.

1:31:02.920 --> 1:31:05.800
<v Speaker 3>Okay, lord, I don't think so honey. Timing. I don't

1:31:05.800 --> 1:31:11.920
<v Speaker 3>think so honey. I don't my blood pressures just gone up.

1:31:12.120 --> 1:31:15.440
<v Speaker 1>Okay, we're just for ceremony. Okay, this is Cape Blanchette'

1:31:15.439 --> 1:31:16.960
<v Speaker 1>I don't think so honey. Her time starts now.

1:31:17.280 --> 1:31:20.880
<v Speaker 3>I don't think so honey. Leaving the toilet seat up

1:31:21.000 --> 1:31:23.920
<v Speaker 3>and I am not talking about the lid. I am

1:31:24.040 --> 1:31:26.840
<v Speaker 3>talking about the thing that you sit off in a

1:31:26.920 --> 1:31:31.200
<v Speaker 3>domestic setting. Men may think, or people with penises may

1:31:31.280 --> 1:31:34.000
<v Speaker 3>think that their aim is good, but it is all

1:31:34.280 --> 1:31:36.519
<v Speaker 3>over the seat and I have to put that thing

1:31:36.720 --> 1:31:40.880
<v Speaker 3>down because in the end, everyone sits down more than

1:31:40.920 --> 1:31:43.760
<v Speaker 3>they stand up. And when you are at you know,

1:31:43.920 --> 1:31:46.920
<v Speaker 3>somebody else's house and you and it's not only the

1:31:47.240 --> 1:31:49.479
<v Speaker 3>pea that goes onto the seat, it's little bits of

1:31:49.560 --> 1:31:51.519
<v Speaker 3>hair and you think I want to touch that, You

1:31:51.600 --> 1:31:53.600
<v Speaker 3>think I want to smell that, and so I have

1:31:53.720 --> 1:31:56.120
<v Speaker 3>to put it down. And then I put the seat down,

1:31:56.439 --> 1:31:58.439
<v Speaker 3>and then the whole thing comes up and it starts

1:31:58.439 --> 1:32:01.400
<v Speaker 3>all over again. And if you are in a public bathroom,

1:32:02.000 --> 1:32:04.360
<v Speaker 3>it's like I am going to invest in a shi

1:32:04.479 --> 1:32:07.680
<v Speaker 3>wi because do you know what she oh my god.

1:32:07.840 --> 1:32:10.320
<v Speaker 3>It's a cup with a little tube on it that

1:32:10.479 --> 1:32:13.759
<v Speaker 3>women use for going for a bush wei when they're campaign.

1:32:14.560 --> 1:32:16.719
<v Speaker 3>I don't want to have to spend money just because

1:32:16.800 --> 1:32:19.120
<v Speaker 3>people who need to put the should be putting the

1:32:19.200 --> 1:32:22.880
<v Speaker 3>seat down can't peeve straight right, And yeah, so it's

1:32:23.000 --> 1:32:25.439
<v Speaker 3>my whole thing is the toilet seat thing. And I

1:32:25.600 --> 1:32:27.960
<v Speaker 3>have I live in a household with three boys and

1:32:28.120 --> 1:32:31.120
<v Speaker 3>my husband, and each of them say I always put

1:32:31.160 --> 1:32:34.800
<v Speaker 3>it down, which is almost more a live lies.

1:32:35.240 --> 1:32:39.439
<v Speaker 1>It's the plot. There's a trader in your mets.

1:32:40.280 --> 1:32:44.920
<v Speaker 3>But this is you're going to defend yourself. I don't

1:32:44.960 --> 1:32:46.880
<v Speaker 3>want to hear your defense because it is not true.

1:32:46.920 --> 1:32:50.160
<v Speaker 1>I'm not defending myself. I'm actually but i'm self. I'm

1:32:50.240 --> 1:32:55.360
<v Speaker 1>sort of self owning when I say it's always so jarring.

1:32:55.439 --> 1:32:58.559
<v Speaker 1>This is the thing about living alone. I'm going, well,

1:32:58.600 --> 1:33:01.720
<v Speaker 1>that's my hair to get mad at myself. Yeah, but

1:33:01.880 --> 1:33:03.679
<v Speaker 1>do you do you find yourself getting mad at yourself

1:33:03.680 --> 1:33:03.920
<v Speaker 1>if you.

1:33:03.960 --> 1:33:06.880
<v Speaker 3>Go, well, I don't should Yeah, but you can't.

1:33:06.920 --> 1:33:10.120
<v Speaker 1>You can't control that, can you? Oh? Yeah? Yeah? Years

1:33:10.160 --> 1:33:10.479
<v Speaker 1>of work.

1:33:10.600 --> 1:33:11.759
<v Speaker 3>I am tourist toy stories.

1:33:11.760 --> 1:33:12.840
<v Speaker 1>I told you that before I came.

1:33:13.520 --> 1:33:16.320
<v Speaker 3>I'm very controlling hair. Stay in there.

1:33:16.479 --> 1:33:19.080
<v Speaker 2>I can't stand going to someone else's bathroom and when

1:33:19.080 --> 1:33:21.840
<v Speaker 2>they're okay with hair being all over the toilet like

1:33:22.080 --> 1:33:22.880
<v Speaker 2>I am, I am.

1:33:23.360 --> 1:33:26.760
<v Speaker 1>I am essentially like a top level cleaner. Whenever I

1:33:26.880 --> 1:33:29.439
<v Speaker 1>have anyone coming over, I make sure I put I

1:33:29.640 --> 1:33:30.760
<v Speaker 1>put muscle into it. I know.

1:33:30.920 --> 1:33:33.080
<v Speaker 3>But do you put the lid down all ways?

1:33:33.280 --> 1:33:33.800
<v Speaker 1>Yeah? The lid?

1:33:34.400 --> 1:33:37.800
<v Speaker 3>Yes, I want photographic evidence. That's what my husband said,

1:33:38.000 --> 1:33:39.960
<v Speaker 3>and he said, come on, just leave me alone. It's

1:33:40.040 --> 1:33:41.920
<v Speaker 3>it's six in the morning. I do put it down

1:33:42.000 --> 1:33:44.680
<v Speaker 3>and I go to the toilet saying it's like, do

1:33:44.800 --> 1:33:46.960
<v Speaker 3>I take up. We've been married twenty seven years and

1:33:47.160 --> 1:33:49.320
<v Speaker 3>we are still married because I just had to let

1:33:49.400 --> 1:33:53.040
<v Speaker 3>it go. But I tried to teach my boys, but

1:33:53.120 --> 1:33:56.840
<v Speaker 3>I realized they're imprinted on my husband. So I failed

1:33:56.880 --> 1:34:00.080
<v Speaker 3>as a parent. No, No, I have, I have. I

1:34:00.160 --> 1:34:03.000
<v Speaker 3>have noice my sons in a way that I probably

1:34:03.000 --> 1:34:03.479
<v Speaker 3>shouldn't be.

1:34:05.280 --> 1:34:06.479
<v Speaker 1>We don't know which of the sons.

1:34:07.000 --> 1:34:08.559
<v Speaker 3>Yeah, all of them.

1:34:08.760 --> 1:34:11.840
<v Speaker 1>Well you've now specified, so there we go them. You

1:34:11.920 --> 1:34:14.679
<v Speaker 1>can ask us for photographic evidence. You as a mother.

1:34:14.880 --> 1:34:17.080
<v Speaker 1>This is your your success as a mother is that

1:34:17.160 --> 1:34:20.920
<v Speaker 1>you're not asking photographic evidence of them. You never make it.

1:34:20.960 --> 1:34:21.360
<v Speaker 1>It's true.

1:34:21.560 --> 1:34:24.519
<v Speaker 3>I know I don't shame them, right, but they do

1:34:24.760 --> 1:34:29.040
<v Speaker 3>get the passive aggressive every time I go to the bathroom.

1:34:29.439 --> 1:34:31.559
<v Speaker 1>My thing is that I'll reveal this and I bet

1:34:31.600 --> 1:34:34.040
<v Speaker 1>you'll agree the older I get. I'm sitting down to

1:34:34.080 --> 1:34:36.840
<v Speaker 1>be more anyway, because I do have.

1:34:36.920 --> 1:34:39.519
<v Speaker 3>Male friends who sit down out of deference to the

1:34:39.640 --> 1:34:42.920
<v Speaker 3>friends of all sexual deslations and orientations. I'm going to

1:34:42.960 --> 1:34:46.120
<v Speaker 3>sit down because I'm not going to miss if I say, exactly.

1:34:45.800 --> 1:34:49.800
<v Speaker 2>The risk becomes exponentially less when you are when when

1:34:50.000 --> 1:34:52.160
<v Speaker 2>quite frankly, your dick is already in the bowl.

1:34:52.200 --> 1:34:54.720
<v Speaker 3>Exactly, And if you don't have a dick, you know

1:34:54.880 --> 1:34:55.479
<v Speaker 3>your holes in the.

1:34:55.479 --> 1:34:59.439
<v Speaker 1>Bowl, holes in the ball. Honestly, HiT's a win win.

1:35:00.600 --> 1:35:03.200
<v Speaker 1>This is huge And with that, you can cut that out.

1:35:03.800 --> 1:35:06.120
<v Speaker 3>Mother's gonna listen. I'm sorry, Mom.

1:35:06.400 --> 1:35:08.920
<v Speaker 1>Sorry, Mom. No, And this is good for us, for

1:35:09.000 --> 1:35:11.479
<v Speaker 1>Berghem because there's the pist goblin there and it's.

1:35:11.320 --> 1:35:12.360
<v Speaker 3>Probably a hole in the room.

1:35:14.000 --> 1:35:15.759
<v Speaker 1>You know, we're all we're all going to be sitting

1:35:15.880 --> 1:35:17.560
<v Speaker 1>I'm sitting on the pists goblin.

1:35:18.160 --> 1:35:23.479
<v Speaker 3>Okay, and not get photographic evidence of that. I'll get

1:35:23.520 --> 1:35:27.040
<v Speaker 3>the descriptor absolutely, we'll fill you in have fun. Thank you,

1:35:27.360 --> 1:35:29.320
<v Speaker 3>We're gonna have the best time, just like we did today.

1:35:29.560 --> 1:35:32.920
<v Speaker 1>This was so amazing. It's so great to meet you,

1:35:33.080 --> 1:35:34.760
<v Speaker 1>and you really are just one of the best, and

1:35:35.040 --> 1:35:36.679
<v Speaker 1>this has just been one of the best.

1:35:37.479 --> 1:35:39.800
<v Speaker 3>Well, would you like calling me your friend?

1:35:40.240 --> 1:35:40.880
<v Speaker 1>Would you? Now?

1:35:41.920 --> 1:35:43.479
<v Speaker 3>Hey, buddy, of the best?

1:35:44.360 --> 1:35:44.759
<v Speaker 1>The best?

1:35:45.200 --> 1:35:47.320
<v Speaker 3>You know you're meant to say to every guest you're

1:35:47.520 --> 1:35:51.000
<v Speaker 3>the best, you are the great, feeling good about themselves.

1:35:51.479 --> 1:35:52.800
<v Speaker 3>I'm seeing the next one comes in.

1:35:53.000 --> 1:35:57.280
<v Speaker 1>You are the best. You are you too, You're the

1:35:57.520 --> 1:36:03.000
<v Speaker 1>undisputed best. We named an award after you, forgot Award

1:36:03.040 --> 1:36:08.400
<v Speaker 1>for Good Actor was named after and confused, I can understand.

1:36:08.720 --> 1:36:10.800
<v Speaker 1>We said those We're like, are they gonna have any

1:36:10.880 --> 1:36:12.559
<v Speaker 1>reference for this? And then the fact that you went

1:36:12.600 --> 1:36:14.160
<v Speaker 1>out and did it, we were like, thank you for

1:36:14.240 --> 1:36:17.720
<v Speaker 1>the commitment. Well we end up ups with the song.

1:36:17.800 --> 1:36:21.519
<v Speaker 1>We sure do. I wish we only had were an orchestra,

1:36:21.600 --> 1:36:23.080
<v Speaker 1>right and we can play and be conducted.

1:36:24.439 --> 1:36:30.560
<v Speaker 5>Let's see, Well, you got my hoppeat run away like

1:36:30.680 --> 1:36:34.920
<v Speaker 5>a drama is coming your way, be like boom room boom,

1:36:34.920 --> 1:36:35.719
<v Speaker 5>boom boom.

1:36:36.000 --> 1:36:37.880
<v Speaker 1>You get that hormony there and it didn't work. It's okay,

1:36:38.040 --> 1:36:43.719
<v Speaker 1>we'll get it next time. Thanks Bye. Love. Culture Reachs

1:36:43.840 --> 1:36:45.600
<v Speaker 1>is the production by Will Ferrel's Big Money Players in

1:36:45.640 --> 1:36:46.679
<v Speaker 1>iHeartRadio Podcasts.

1:36:47.080 --> 1:36:50.360
<v Speaker 2>Created and hosted by Matt Rogers and Bowen Yang, Executive

1:36:50.400 --> 1:36:51.639
<v Speaker 2>produced by Ana Hasby

1:36:51.920 --> 1:36:55.240
<v Speaker 1>Produced by Beck Ramos, edited mixed by Doug Bammniqua Board

1:36:55.360 --> 1:36:57.200
<v Speaker 1>and Our Music Is Why Henry Kmerski