WEBVTT - David Duchovny

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<v Speaker 1>Do you remember when we did that show and you

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<v Speaker 1>had to go find a mini driver? Oh my god,

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<v Speaker 1>Oh my god in London and I had to go

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<v Speaker 1>out of the studio. It was really bad, and they

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<v Speaker 1>had to go out onto the bridge and like find

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<v Speaker 1>someone driving many and not only that, they like, I

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<v Speaker 1>did it. I love it. You didn't. That to me

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<v Speaker 1>is wonderful that you did. That's your curiosity and you

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<v Speaker 1>you're being a game. Hello, I'm Mini Driver. Welcome to

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<v Speaker 1>Many Questions Season two. I've always loved Crust's questionnaire. It

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<v Speaker 1>was originally a nineteenth century parlor game where players would

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<v Speaker 1>ask each other thirty five questions aimed at revealing the

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<v Speaker 1>other player's true nature. It's just the scientific method really.

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<v Speaker 1>In asking different people the same set of questions, you

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<v Speaker 1>can make observations about which truths appeared to me universal.

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<v Speaker 1>I love this discipline and it made me wonder, what

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<v Speaker 1>if these questions were just the jumping off point, what

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<v Speaker 1>to depths would be revealed if I ask these questions

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<v Speaker 1>as conversation starters with thought leaders and trailblazers across all

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<v Speaker 1>these different disciplines. So I adapted prus questionnaire and I

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<v Speaker 1>wrote my own seven questions that I personally think a

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<v Speaker 1>pertinent to a person's story. They are when and where

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<v Speaker 1>were you happiest? What is the quality you like least

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<v Speaker 1>about yourself? What relationship, real or fictionalized, defines love for you?

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<v Speaker 1>What question would you most like answered? What person, place,

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<v Speaker 1>or experience has shaped you the most? What would be

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<v Speaker 1>your last meal? And can you tell me something in

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<v Speaker 1>your life that's grown out of a personal disaster? And

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<v Speaker 1>I've gathered a group of really remarkable people, ones that

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<v Speaker 1>I am honored and humbled to have had the chance

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<v Speaker 1>to engage with. You may not hear their answers to

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<v Speaker 1>all seven of these questions. We've whittled it down to

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<v Speaker 1>which questions felt closest to their experience, or the most surprising,

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<v Speaker 1>or created the most fertile ground to connect. My guest

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<v Speaker 1>today on many questions is actor, writer, musician, and director

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<v Speaker 1>David d Kovney. Dave and I made a movie a

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<v Speaker 1>little while ago, Okay, a lot a while ago that

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<v Speaker 1>remains one of my favorite movie making experiences, largely because

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<v Speaker 1>he is so clever and funny and such a good company.

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<v Speaker 1>I usually measure a good time by how much I

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<v Speaker 1>have laughed, and that time was a solid nine point five.

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<v Speaker 1>Most people at this point know that David is a

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<v Speaker 1>writer as much as he is a brilliant actor, and

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<v Speaker 1>I've actually longed for him to finish the PhD he

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<v Speaker 1>began when he was at university because its title has

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<v Speaker 1>always been so incredibly satisfying to me. It's called Magic

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<v Speaker 1>and Technology and Contemporary American Fiction and Poetry. I mean,

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<v Speaker 1>it's a mouthful, isn't it, But you know, a good one.

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<v Speaker 1>Spending time in close proximity to David's brain has only

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<v Speaker 1>ever been a good and rewarding thing, which is why

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<v Speaker 1>I would urge you to read any of the novels

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<v Speaker 1>he's write, my favorite of which is called Miss Subways.

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<v Speaker 1>I think it's a crucible for some of my favorite

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<v Speaker 1>strands of Decovneyism, the ideas of myth and mythology, time, love,

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<v Speaker 1>and of course New York City. It's always a pleasure

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<v Speaker 1>to speak to someone I've known for a long time,

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<v Speaker 1>but it was extra interesting getting to ask Dave these

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<v Speaker 1>questions at this point in our life, and what I

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<v Speaker 1>hope is a long continuing friendship. Where and when were

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<v Speaker 1>you happiest? Don't laugh unless it's because it's a really

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<v Speaker 1>happy memory. I mean my relationship to the word happy,

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<v Speaker 1>it's pretty fright, you know, I don't know. I mean

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<v Speaker 1>it's a question my mother used to ask me all time,

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<v Speaker 1>are you happy? And I would always think, well, I

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<v Speaker 1>don't know how to answer that question. There are times

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<v Speaker 1>I've felt fully engaged. Those are the times I'm happiest

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<v Speaker 1>when I'm fully engaged, and usually either with family, with

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<v Speaker 1>my kids, or with work. When I'm fully engaged to

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<v Speaker 1>work and just kind of the monkey brain has turned

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<v Speaker 1>off and it's just like creation, creation, creation, go to sleep,

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<v Speaker 1>wake up, trying to create some more. Those are the

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<v Speaker 1>best moments, and you can have that with kids as well,

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<v Speaker 1>But an actual specific instance, No, I think that's what

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<v Speaker 1>I mean, because sometimes it's attached to a thing that

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<v Speaker 1>we do, But it's really what are the tenets of

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<v Speaker 1>I'm interested in and what the tenants of happiness off

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<v Speaker 1>for people? Because it's a weird one. Yeah. For me,

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<v Speaker 1>it's it's bringing something into being that wasn't here before.

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<v Speaker 1>And that's even a person, you know, that's a child,

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<v Speaker 1>that's a book, that's a song, that's a movie, that's

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<v Speaker 1>a it's a joke. I don't know, it's just like

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<v Speaker 1>that to me, that feels happy, like not that I've

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<v Speaker 1>been kind of basking it, you know, like, oh, now

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<v Speaker 1>I've done it, I've created something. No, it's just that

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<v Speaker 1>feeling of you know, that secle vortex when you're kind

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<v Speaker 1>of in the middle of creating something and it's it's

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<v Speaker 1>just this wonderful kind of unseld feeling and what you're

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<v Speaker 1>doing as I go with your instinct, and that's that's

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<v Speaker 1>a lovely feeling for me. I completely agree. The more

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<v Speaker 1>I've thought about it, and the more that I've lived

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<v Speaker 1>and the more death that I've come up against, you

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<v Speaker 1>really do realize that that moment where you can be

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<v Speaker 1>completely engaged in making something that is part of life,

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<v Speaker 1>that is really as good as it gets, because I

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<v Speaker 1>think either everything else. Since my mother died and I

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<v Speaker 1>do bang on about this a bit, and she would

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<v Speaker 1>get so annoyed that I kept using it as an illustration.

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<v Speaker 1>But it's a good one. There's this brilliant pointlessness when

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<v Speaker 1>somebody dies. There's this existential kind of nihilism which is

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<v Speaker 1>awful to begin with, and then if you're lucky, it

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<v Speaker 1>grows into a proper appreciation for what it might actually

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<v Speaker 1>be about or what it seems to me to be about,

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<v Speaker 1>because when you watch somebody die, you really see, oh

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<v Speaker 1>it's it just ends. So those moments I totally get

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<v Speaker 1>that of distilled creation, and in that moment of birthing something,

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<v Speaker 1>of paying attention, of being engaged, and even if it's fleeting,

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<v Speaker 1>or if it lasts for five minutes, or maybe it's

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<v Speaker 1>five hours of sitting writing something or watching your child

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<v Speaker 1>being born, Like, I completely agree with that. My mom's

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<v Speaker 1>ninety two. Now are you kidding me? You met her?

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<v Speaker 1>You met her and oh my god, I did. I

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<v Speaker 1>met her in Edinburgh? Yeah, exactly. She's fantastic. She's got

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<v Speaker 1>dementia and she recognizes us. But no, she's she's not

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<v Speaker 1>all there at all. And that's the other thing. It's

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<v Speaker 1>not just life ends. It's like identity ends sometimes before life,

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<v Speaker 1>and identity ends. And that's a really weird question, like

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<v Speaker 1>what did that mean? That identity? What was that construct

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<v Speaker 1>of character of personality? Was it a lie or was it?

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<v Speaker 1>What was it? You know? Is it just a screen?

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<v Speaker 1>What's the real thing? It says? Essential? Like you said,

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<v Speaker 1>it's as wow, identity is flimsy. It's super flimsy. It's

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<v Speaker 1>built on sand, as demonstrated by what happens when it

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<v Speaker 1>begins to disappear. But I do believe in something more kinetic.

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<v Speaker 1>Let's beyond that. I really really do, having having watched

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<v Speaker 1>the intellectual side and the body diminished, but still felt

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<v Speaker 1>the presence of that kinetic something. There was something amazing.

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<v Speaker 1>It was just particularly when my mom died, it was

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<v Speaker 1>almost like just the tiniest beginning of a breadcrumb trail

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<v Speaker 1>that she left as she left. I think about that

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<v Speaker 1>a lot, and I don't know if that's just the

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<v Speaker 1>wishful thinking of of missing somebody or hoping that there

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<v Speaker 1>is a life. It was a year on mondaysolutely not

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<v Speaker 1>that one. Yeah, it brings up a lot of just

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<v Speaker 1>a lot about the bulwark of that you didn't realize

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<v Speaker 1>was there between you and your own mortality. When your

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<v Speaker 1>parents die, it's suddenly like, oh my god, I am next.

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<v Speaker 1>If you're lucky, you're next, You're lucky. Yes, what person, place,

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<v Speaker 1>or experience has most altered your life? Person, place, or experience? Well,

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<v Speaker 1>I think my mother probably the most formative person for me,

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<v Speaker 1>both going bad you know, place probably New York City.

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<v Speaker 1>I grew up there, spent last like eight years there

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<v Speaker 1>raising my kids that I remember you gave me like

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<v Speaker 1>a whole when we did that screening of Return to

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<v Speaker 1>Me Edinburgh Edinburgh Castle, right, I remember, I remember you

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<v Speaker 1>gave me like a massive prep on your mother, like

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<v Speaker 1>maybe the whole day before we were doing pressed and stuff.

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<v Speaker 1>You were just like just dropping things like, now listen

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<v Speaker 1>if she's really unimpressed and doesn't smile when she says

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<v Speaker 1>hello to like, don't worry, it means this. Now do

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<v Speaker 1>talk about this with her. And there was a whole

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<v Speaker 1>like you knew her so well, you were saying it

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<v Speaker 1>all with a smile. She was so brilliant and she

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<v Speaker 1>was I remember we went on a tour of Edinburgh

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<v Speaker 1>Castle and she was the mistress of the acerbic asides.

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<v Speaker 1>She also like out of shot, which I thought was

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<v Speaker 1>quite kind of her. Of the tour guide filled in

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<v Speaker 1>the massive bits of history that they had missed out

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<v Speaker 1>that she knew about the castle, which was brilliant. So

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<v Speaker 1>I just hung back like the naughty kid with the

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<v Speaker 1>really sort of smart acerbic teacher. Yeah, my mother is Scottish,

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<v Speaker 1>you know. But but I didn't fight out. And here's

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<v Speaker 1>here's the weird thing about one's parents is I didn't

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<v Speaker 1>find out till maybe ten or fifteen years ago. My

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<v Speaker 1>mother was actually born in Queens, New York. What Yeah,

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<v Speaker 1>I did that show, who do you think? But I didn't.

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<v Speaker 1>I didn't learn it there, but I learned other things there.

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<v Speaker 1>But my grandparents came over from Scotland in the late twenties.

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<v Speaker 1>They came to Queens where my grandfather worked as a superintendent.

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<v Speaker 1>That's what I learned in the show. He was super

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<v Speaker 1>for building. They had three kids and then they went

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<v Speaker 1>back to Scotland. So they enjoyed the depression here in America.

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<v Speaker 1>Depression was lifting here, so they decided it's still going

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<v Speaker 1>on at evening. We love the impression so much, we're

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<v Speaker 1>going to continue this good thing in Scotland. So that's

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<v Speaker 1>what they did. Everybody packed your bags were going aback

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<v Speaker 1>for more depression. We're no depressed. One para shute for

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<v Speaker 1>ten years is enough. Mother would als also told me,

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<v Speaker 1>you know, she was in a small town in Scotland.

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<v Speaker 1>She was raised in called White Hills, I believe, and

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<v Speaker 1>she would say that the Germans on their bombing runs

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<v Speaker 1>would take off from I guess Finland, what is closest

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<v Speaker 1>to Scotland and it's right there. It's just so is

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<v Speaker 1>it is it Norway or is it Finland. It's just

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<v Speaker 1>I'm going to go out on a limb and say

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<v Speaker 1>that it's Norway. But quick, someone look at a map.

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<v Speaker 1>I think it's Norway. Yeah. So the Germans had annexed

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<v Speaker 1>whatever country it was for that reason, so they could

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<v Speaker 1>be as close as they could get to London and

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<v Speaker 1>refuel and just go on their their bombing on. So

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<v Speaker 1>they would go on these bombing when I'm taking off

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<v Speaker 1>from Norway on our way to London. And sometimes if

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<v Speaker 1>they hadn't dropped their payload, they would just kind of

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<v Speaker 1>like drop little bombs because any self respecting German aviator

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<v Speaker 1>can't come home with some bombs still in the tank barry.

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<v Speaker 1>They would try to bomb bridges. You know, they're trying

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<v Speaker 1>to trying to create a havoc whatever. You know, they

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<v Speaker 1>didn't drop Willie Hilly. But she says one time she

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<v Speaker 1>was out playing as a young child and this German

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<v Speaker 1>bomber came screaming in low and she made not an

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<v Speaker 1>attach with the pilot and he kind of gave an

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<v Speaker 1>odd and went on his way. Oh my god, It's

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<v Speaker 1>like wow, that is such an eerie story. God, that's

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<v Speaker 1>a really weirdly cinematic image here. That's like when I

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<v Speaker 1>asked my dad he flew in the Second World War,

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<v Speaker 1>and I remember saying, why was going to the Berlin

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<v Speaker 1>Film Festival? And I called him up and I was like, Dad,

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<v Speaker 1>you know Berlin and he was like, only from twelve

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<v Speaker 1>thousand food. I was like, I was more thinking along,

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<v Speaker 1>where could I get a good old schnitzel. That's amazing

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<v Speaker 1>that she remembers that. It's amazing that it was our

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<v Speaker 1>parents generation. I mean, my father was really my grandfather,

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<v Speaker 1>Like I mean, not literally, but he was the same

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<v Speaker 1>age as because he flew in that war, but got

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<v Speaker 1>those stories. Yeah, right, because my dad he was eighteen

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<v Speaker 1>and so he was entraining when the war ended. He

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<v Speaker 1>was lucky. He's really lucky. Yeah. My daddy was eighteen

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<v Speaker 1>and flew the first great and Terrible bombing raid, the

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<v Speaker 1>first and the last day raid that the R A

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<v Speaker 1>F flew, and he was one of only four survivors

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<v Speaker 1>out of twelve planes, five man apiece. There was the

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<v Speaker 1>Verde ron Braun, who was the inventor of that you

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<v Speaker 1>two and instrumental in the creation of nuclear mom he's

0:12:10.640 --> 0:12:15.720
<v Speaker 1>he's a Nazi scientist who re appropriated after the war.

0:12:16.160 --> 0:12:18.320
<v Speaker 1>I remember, I remember they took him in. Yeah, I

0:12:18.320 --> 0:12:20.719
<v Speaker 1>wanted all his intel. Yes, so he you know, he

0:12:21.080 --> 0:12:25.360
<v Speaker 1>got to live his his autobiography. I believe it's called

0:12:25.400 --> 0:12:27.959
<v Speaker 1>I Am for the Stars, and Lenny Bruce said it

0:12:28.040 --> 0:12:30.160
<v Speaker 1>should have been called I Am for the Stars. But

0:12:30.280 --> 0:12:36.679
<v Speaker 1>sometimes I hit love. Oh my god, yes, exactly. Wow.

0:12:36.720 --> 0:12:53.000
<v Speaker 1>What stories, what relationship, real or fictionalized, defines love for you?

0:12:54.320 --> 0:12:57.439
<v Speaker 1>I mean, I'm just gonna go with my first thought.

0:12:57.800 --> 0:12:59.880
<v Speaker 1>But I think of Jesus Christ, who is not my

0:13:00.040 --> 0:13:02.160
<v Speaker 1>lord and savior, but I do recognize him as a

0:13:02.160 --> 0:13:05.520
<v Speaker 1>good teacher, and in the myth he gives his life

0:13:05.760 --> 0:13:09.000
<v Speaker 1>the aga. The Greeks had two notions of love. They

0:13:09.000 --> 0:13:12.080
<v Speaker 1>had aero sexual love romantic love, and they had agape,

0:13:12.200 --> 0:13:15.040
<v Speaker 1>which was friendship or spiritual love. And Jesus to me

0:13:15.360 --> 0:13:18.280
<v Speaker 1>his self sacrifice whatever it is on the cross, you know,

0:13:18.360 --> 0:13:21.160
<v Speaker 1>so that we in the Christian traditions, so that Christians

0:13:21.160 --> 0:13:24.320
<v Speaker 1>may be absolved. The original sin moves me. It moves me.

0:13:24.559 --> 0:13:26.840
<v Speaker 1>It's a kind of a loved one has for what's children.

0:13:26.920 --> 0:13:29.280
<v Speaker 1>You would lay down your life for them. It's a

0:13:29.320 --> 0:13:34.880
<v Speaker 1>complete selflessness without a possessiveness of erotic love. I guess

0:13:34.920 --> 0:13:38.440
<v Speaker 1>that's my definition of that's so lovely. I didn't know

0:13:38.520 --> 0:13:42.120
<v Speaker 1>that aga. I've had friends who go to gatherings where

0:13:42.520 --> 0:13:45.280
<v Speaker 1>I guess that is the particular teaching, like a form

0:13:45.320 --> 0:13:47.960
<v Speaker 1>of worship, like a worship on a Sunday. I didn't

0:13:47.960 --> 0:13:50.000
<v Speaker 1>know that came from the Greek. I think you're right.

0:13:50.200 --> 0:13:54.160
<v Speaker 1>I think that the eros the erotic side, which is different,

0:13:54.400 --> 0:13:56.760
<v Speaker 1>but I think that kind of it's more encompassing the

0:13:56.840 --> 0:14:01.440
<v Speaker 1>unconditional love of a child or a dog. Well, you know,

0:14:01.480 --> 0:14:04.920
<v Speaker 1>I think we confuse ourselves because people in relationships are

0:14:04.920 --> 0:14:08.480
<v Speaker 1>always talking about unconditional love, and I'm thinking that doesn't

0:14:08.480 --> 0:14:10.640
<v Speaker 1>sound very smart. I mean, I feel like he is

0:14:10.679 --> 0:14:13.960
<v Speaker 1>totally conditional for the most parts. You know, the conditions

0:14:14.000 --> 0:14:16.079
<v Speaker 1>are you know that you are when you say you are,

0:14:16.400 --> 0:14:18.800
<v Speaker 1>you know those kinds of things you know. So it's like,

0:14:19.040 --> 0:14:21.120
<v Speaker 1>I just think it's completely impossible for a human to

0:14:21.160 --> 0:14:23.880
<v Speaker 1>be unconditional. We create these conditions, and whether they come

0:14:23.880 --> 0:14:27.400
<v Speaker 1>from like reptilian brains survival, or whether they come from no,

0:14:27.600 --> 0:14:29.400
<v Speaker 1>I think it really is from that, Like, you can't

0:14:29.400 --> 0:14:31.880
<v Speaker 1>be unconditional as a human being, but you can, I

0:14:31.920 --> 0:14:34.520
<v Speaker 1>suppose be aware of how you can sort of maybe

0:14:34.600 --> 0:14:37.920
<v Speaker 1>release those conditions to let love in because it is

0:14:38.000 --> 0:14:42.600
<v Speaker 1>better like that. Yeah, and you know, when you're lucky

0:14:42.720 --> 0:14:45.320
<v Speaker 1>enough to have children, you realize the different kind of

0:14:45.320 --> 0:14:48.560
<v Speaker 1>love as possible in one's life, you know. And it's

0:14:48.560 --> 0:14:52.760
<v Speaker 1>a scarier one for sure, but it's also it's less turbulent.

0:14:53.000 --> 0:14:57.320
<v Speaker 1>It's it's less subject to conditions. It's not subject to conditions.

0:14:57.360 --> 0:15:00.560
<v Speaker 1>It's no, I know, there's so much letting go. No

0:15:00.600 --> 0:15:03.600
<v Speaker 1>one told me that. It's no one told me how

0:15:03.720 --> 0:15:06.160
<v Speaker 1>much letting go that was with your children. I was like, oh,

0:15:06.160 --> 0:15:08.400
<v Speaker 1>but it's like we say, we have children. You know

0:15:08.520 --> 0:15:12.320
<v Speaker 1>I have a child. It's like, no, you don't. But

0:15:12.400 --> 0:15:14.760
<v Speaker 1>I think it does make you a nicer person. I

0:15:14.760 --> 0:15:17.080
<v Speaker 1>think it's made me a nicer person to stand at

0:15:17.080 --> 0:15:19.560
<v Speaker 1>the side of it. Yeah. I'm always amazed that how

0:15:19.960 --> 0:15:24.080
<v Speaker 1>how easily they can do without me. You know, I

0:15:24.160 --> 0:15:28.640
<v Speaker 1>know I thought I was indispensable. I really really thought

0:15:28.680 --> 0:15:31.840
<v Speaker 1>that were It's so annoying because now that my mother

0:15:32.000 --> 0:15:35.000
<v Speaker 1>is gone, I just so wish I could say you

0:15:35.120 --> 0:15:37.520
<v Speaker 1>really were right when you were like, you'll be sorry

0:15:37.520 --> 0:15:41.520
<v Speaker 1>when I'm gone. I really am, But I think that's

0:15:41.520 --> 0:15:43.520
<v Speaker 1>a kid's journey. They have to think that they can

0:15:43.560 --> 0:15:46.760
<v Speaker 1>completely do without us. Yeah, well you want that, But

0:15:46.840 --> 0:15:50.920
<v Speaker 1>at the same time, it's it's terribly painful, suppalling, it's appalling.

0:15:51.160 --> 0:15:54.800
<v Speaker 1>It is to be so entertaining them, you know, unlike

0:15:54.800 --> 0:15:59.760
<v Speaker 1>the coolest, the coolest. Yeah, I guess having children it's

0:15:59.800 --> 0:16:03.320
<v Speaker 1>got some kind of great marketing, like built in marketing campaign,

0:16:03.400 --> 0:16:06.360
<v Speaker 1>because nobody talks about the stuff that is just brutal

0:16:06.600 --> 0:16:08.480
<v Speaker 1>aver how hard it is and how much you have

0:16:08.520 --> 0:16:10.360
<v Speaker 1>to let go of this beautiful thing that used to

0:16:10.400 --> 0:16:13.160
<v Speaker 1>love you and adore you and then has to individuate

0:16:13.320 --> 0:16:17.920
<v Speaker 1>and has to kind of cut ties with you being irrelevant. Yeah,

0:16:18.040 --> 0:16:20.400
<v Speaker 1>at least for a minute. But you know, I'm still

0:16:20.400 --> 0:16:24.480
<v Speaker 1>thinking about your mom. And my dad died in like

0:16:24.640 --> 0:16:27.840
<v Speaker 1>two thousand and five or saying quite a while ago.

0:16:28.280 --> 0:16:31.920
<v Speaker 1>And it's weird because you say so and so died,

0:16:32.400 --> 0:16:34.960
<v Speaker 1>you know, that's the way we say it. We say

0:16:35.080 --> 0:16:37.600
<v Speaker 1>my dad died, and you say my mom died. But

0:16:38.000 --> 0:16:42.320
<v Speaker 1>my experience of it was more, oh, he's still dead,

0:16:43.600 --> 0:16:46.000
<v Speaker 1>you know what I mean. It's like he dies every day.

0:16:46.040 --> 0:16:48.400
<v Speaker 1>In a way. Oh my god, Dave, that's exactly that

0:16:48.600 --> 0:16:52.480
<v Speaker 1>is exactly fucking it. That's it. I've been trying to

0:16:52.600 --> 0:16:55.720
<v Speaker 1>articulate this with these surges of grief, like I had

0:16:55.720 --> 0:16:58.520
<v Speaker 1>one yesterday and I was trying my poor neighbor who

0:16:58.560 --> 0:17:01.080
<v Speaker 1>found me on the beach, just sort of like just

0:17:01.360 --> 0:17:04.960
<v Speaker 1>having a proper moment, and I was trying to explain

0:17:05.000 --> 0:17:08.280
<v Speaker 1>to her exactly that it's that she's still dead. There

0:17:08.280 --> 0:17:12.000
<v Speaker 1>are these moments where my brain simply cannot comprehend that,

0:17:12.119 --> 0:17:14.240
<v Speaker 1>and I think it must be that's the human that's

0:17:14.280 --> 0:17:17.119
<v Speaker 1>the reptilian brain, going that it only exists in and

0:17:17.160 --> 0:17:19.359
<v Speaker 1>of itself, and only when it is gone can the

0:17:19.440 --> 0:17:22.280
<v Speaker 1>heart or the spirit or whatever it is. I got you,

0:17:22.920 --> 0:17:25.880
<v Speaker 1>But we've been having to deal with this extraordinary machine

0:17:25.920 --> 0:17:28.280
<v Speaker 1>in our head that you know, I can't comprehend of

0:17:28.320 --> 0:17:31.320
<v Speaker 1>a lot of stuff beyond it. Well, time from one

0:17:31.440 --> 0:17:33.840
<v Speaker 1>without getting too heavy, because I don't know what I'm

0:17:33.880 --> 0:17:36.680
<v Speaker 1>talking about when I talk about time, Well, who does stay?

0:17:36.760 --> 0:17:38.720
<v Speaker 1>That's why I had you on the show. Who then

0:17:38.840 --> 0:17:41.040
<v Speaker 1>knows anything? But every you know, all the all the

0:17:41.080 --> 0:17:44.719
<v Speaker 1>brilliant physicists and scientists will tell you that time doesn't

0:17:44.720 --> 0:17:47.000
<v Speaker 1>exist in the way we experience it, But it's some

0:17:47.119 --> 0:17:50.920
<v Speaker 1>kind of a simultaneous past and future at the same

0:17:50.960 --> 0:17:53.960
<v Speaker 1>time deal going on and the only thing that's going

0:17:54.040 --> 0:17:57.359
<v Speaker 1>forward is kind of entropy, like things breaking apart, but

0:17:57.480 --> 0:18:00.760
<v Speaker 1>there's no like linear from the past to the future.

0:18:00.760 --> 0:18:03.280
<v Speaker 1>And I think when you have such a strong connection

0:18:03.320 --> 0:18:06.720
<v Speaker 1>with another human being, like with a parent, it obliterates

0:18:06.800 --> 0:18:09.840
<v Speaker 1>that illusion of time that starts in the past and

0:18:09.960 --> 0:18:12.560
<v Speaker 1>go straight into the future and kind of put you

0:18:12.600 --> 0:18:15.920
<v Speaker 1>in this weird flow, you know, which is where I

0:18:16.040 --> 0:18:19.280
<v Speaker 1>Sometimes I know my dad's dead, and sometimes I don't know,

0:18:19.880 --> 0:18:21.840
<v Speaker 1>and so I'll go through a day where I didn't

0:18:21.840 --> 0:18:24.480
<v Speaker 1>know it, I don't realize oh, you know what I mean,

0:18:24.560 --> 0:18:26.320
<v Speaker 1>or a month where I don't think about them. And

0:18:26.320 --> 0:18:28.760
<v Speaker 1>then there were months where I felt I was closer

0:18:28.800 --> 0:18:30.879
<v Speaker 1>to him than I was in life, you know, that

0:18:31.040 --> 0:18:33.240
<v Speaker 1>I needed him to die for me to get really

0:18:33.280 --> 0:18:35.520
<v Speaker 1>close to him, And that was a weird feeling too.

0:18:35.720 --> 0:18:38.640
<v Speaker 1>I'll tell you that I had this novella coming out

0:18:38.720 --> 0:18:41.639
<v Speaker 1>in June called The Reservoir. Because nobody wants to buy

0:18:41.680 --> 0:18:44.240
<v Speaker 1>a novella much. They don't even really want to buy novels,

0:18:44.280 --> 0:18:46.320
<v Speaker 1>but they really don't want to buy an avella. But

0:18:46.560 --> 0:18:49.000
<v Speaker 1>I had this kind of gimmick but cool thing, which

0:18:49.080 --> 0:18:52.320
<v Speaker 1>is a bunch of poems and photographs that I've taken

0:18:52.320 --> 0:18:54.800
<v Speaker 1>and written over the years that you get as like

0:18:54.840 --> 0:18:57.479
<v Speaker 1>a bonus if you buy it early or something. But

0:18:57.520 --> 0:18:59.679
<v Speaker 1>one of the poems I wrote about my dad, and

0:18:59.760 --> 0:19:02.160
<v Speaker 1>I'm imagined him in the poem I think it's called

0:19:02.240 --> 0:19:06.480
<v Speaker 1>seven years Dead, but I was imagining him growing in

0:19:06.680 --> 0:19:09.760
<v Speaker 1>that in death, the way we grow in life. You

0:19:09.760 --> 0:19:12.920
<v Speaker 1>know that he was a child in death somehow and

0:19:13.200 --> 0:19:15.760
<v Speaker 1>in some other consciousness, and I was a man, and

0:19:16.359 --> 0:19:19.280
<v Speaker 1>and does he need me? You know, does he need me?

0:19:19.480 --> 0:19:23.879
<v Speaker 1>Like does that dead child growing in the consciousness of death?

0:19:24.200 --> 0:19:26.159
<v Speaker 1>Does he need to to hold his hand? Or you know?

0:19:26.320 --> 0:19:28.560
<v Speaker 1>You know what we're talking about is like poetry can

0:19:28.640 --> 0:19:32.159
<v Speaker 1>kind of address things like that because it's not sensical,

0:19:32.440 --> 0:19:35.640
<v Speaker 1>it's not scientific, but it tries to get at those

0:19:35.760 --> 0:19:38.760
<v Speaker 1>paradoxes that we're touching on, you know. So I will

0:19:38.800 --> 0:19:41.040
<v Speaker 1>say that I kind of have thought about that, just

0:19:41.160 --> 0:19:43.640
<v Speaker 1>in the sense of, oh, does it grow? Does he grow?

0:19:43.920 --> 0:19:46.560
<v Speaker 1>He was born into that death that that year and

0:19:46.600 --> 0:19:49.639
<v Speaker 1>now he's this many years dead, and is he is

0:19:49.680 --> 0:19:51.439
<v Speaker 1>he growing? Is he you know that kind of a

0:19:51.520 --> 0:19:54.880
<v Speaker 1>question that's so funny. I just I had a conversation. Well,

0:19:54.920 --> 0:19:57.119
<v Speaker 1>I don't know whether it's with her or with my head,

0:19:57.240 --> 0:20:00.240
<v Speaker 1>but I asked Mom something and she went, I, you know,

0:20:00.440 --> 0:20:04.000
<v Speaker 1>I'm newly dead. And it was so funny, and it

0:20:04.080 --> 0:20:06.160
<v Speaker 1>was what makes me think that it was her, because

0:20:06.160 --> 0:20:09.760
<v Speaker 1>it was both annoyed and funny, which was a distillation

0:20:09.840 --> 0:20:12.920
<v Speaker 1>of her. I had the dream a long time ago

0:20:12.960 --> 0:20:15.680
<v Speaker 1>about my grandmother, about my dad's mother, who was dead

0:20:15.720 --> 0:20:19.240
<v Speaker 1>at the time, and she loved Fire Island when she

0:20:19.320 --> 0:20:22.800
<v Speaker 1>had a house there and a summer home there, and

0:20:23.320 --> 0:20:25.439
<v Speaker 1>you have to take a ferry there, you know, you

0:20:25.480 --> 0:20:28.919
<v Speaker 1>can't really drive there. And I dreamt that I was

0:20:28.960 --> 0:20:31.760
<v Speaker 1>on this ferry with Julia. I had to call Julia

0:20:31.840 --> 0:20:34.399
<v Speaker 1>because she wouldn't allow anybody to call her grandmother because

0:20:34.440 --> 0:20:41.199
<v Speaker 1>she was eternally and uh so she was out at

0:20:41.240 --> 0:20:42.879
<v Speaker 1>the front of the boat with you know, she had

0:20:42.920 --> 0:20:46.080
<v Speaker 1>a scarfon on her head in the wind and her

0:20:46.119 --> 0:20:50.400
<v Speaker 1>face and she was clearly like loving this moment, being

0:20:50.400 --> 0:20:52.879
<v Speaker 1>on the ferry and the sun, going out to a

0:20:52.880 --> 0:20:55.320
<v Speaker 1>place that she loved. And I was withst some people

0:20:55.480 --> 0:20:57.600
<v Speaker 1>and they were like, you've got to go tell her

0:20:57.640 --> 0:21:00.400
<v Speaker 1>she's dead, And I was like, why me. I mean,

0:21:02.200 --> 0:21:04.640
<v Speaker 1>like she needs to know, she needs to know she's dead.

0:21:04.920 --> 0:21:08.160
<v Speaker 1>It's not right. So I went and I sat down

0:21:08.200 --> 0:21:09.960
<v Speaker 1>next her, and I just sat there for a bit.

0:21:10.160 --> 0:21:14.120
<v Speaker 1>Eventually they said, Julia, I have to tell you something.

0:21:14.280 --> 0:21:17.480
<v Speaker 1>I have to tell you that you're dead. And she said,

0:21:20.040 --> 0:21:22.960
<v Speaker 1>but that's such a great dream. Yeah, it was a

0:21:22.960 --> 0:21:27.440
<v Speaker 1>good forget it. I love that she knew. Yeah, the matter,

0:21:27.800 --> 0:21:32.960
<v Speaker 1>it was incidental. Maybe it is, Maybe it is incidental. Yeah,

0:21:33.000 --> 0:21:35.360
<v Speaker 1>I just I don't know. Having felt my mother so

0:21:35.480 --> 0:21:38.760
<v Speaker 1>keenly throughout my entire life and lived so far away

0:21:38.800 --> 0:21:41.000
<v Speaker 1>from her for most of my adult life but felt

0:21:41.040 --> 0:21:43.879
<v Speaker 1>her as keenly and tuned in, I feel her as

0:21:43.960 --> 0:21:46.400
<v Speaker 1>keenly now and I can feel like I know she's

0:21:46.440 --> 0:21:49.159
<v Speaker 1>absolutely fine. I don't know whatever form that takes, but

0:21:49.240 --> 0:21:53.359
<v Speaker 1>there is nothing disturbed, and I know that isn't mind made.

0:21:53.640 --> 0:21:57.000
<v Speaker 1>And maybe that's just from having kind of explored feeling

0:21:57.080 --> 0:21:59.639
<v Speaker 1>as a currency in my life, not just as a

0:21:59.760 --> 0:22:02.960
<v Speaker 1>post the actor, but just in general. Do you talk

0:22:03.000 --> 0:22:06.240
<v Speaker 1>to your sister about your Yeah, we do, and we've

0:22:06.240 --> 0:22:09.040
<v Speaker 1>started to laugh more like we would do, like we

0:22:09.119 --> 0:22:10.879
<v Speaker 1>used to laugh at her a lot. And then we

0:22:11.040 --> 0:22:13.200
<v Speaker 1>call her and go we were laughing at you so

0:22:13.240 --> 0:22:15.639
<v Speaker 1>hard because we were remembering when you ate that rotten

0:22:15.720 --> 0:22:18.040
<v Speaker 1>lamb and you said the green stuff was mint sauce

0:22:18.119 --> 0:22:20.520
<v Speaker 1>and we were like, no, it's not, its mold, and

0:22:20.520 --> 0:22:23.399
<v Speaker 1>then you ate it and you almost died. Remember that.

0:22:23.480 --> 0:22:26.840
<v Speaker 1>But now we've just started telling stories. And even though

0:22:26.880 --> 0:22:30.000
<v Speaker 1>there's this weird, this adjunct feeling of like falling off

0:22:30.000 --> 0:22:31.960
<v Speaker 1>the cliff because we can't then call her and say

0:22:32.000 --> 0:22:34.400
<v Speaker 1>we were just having a laugh at your expense, it's

0:22:34.400 --> 0:22:39.560
<v Speaker 1>now becoming clear that there can be a different exchange.

0:22:41.720 --> 0:22:43.960
<v Speaker 1>So what quality do you like, at least about yourself?

0:22:44.160 --> 0:22:48.800
<v Speaker 1>I think impatience impatience. I'm impatient. Are you impatient with

0:22:48.840 --> 0:22:52.000
<v Speaker 1>yourself or you impatient with other people or both? I mean,

0:22:52.080 --> 0:22:55.760
<v Speaker 1>I'm aware of my impatience with other people. I'm aware

0:22:56.080 --> 0:22:59.160
<v Speaker 1>how torrible it is, so I really try and keep

0:22:59.200 --> 0:23:02.000
<v Speaker 1>it to myself. But you know, I feel it, and

0:23:02.520 --> 0:23:04.919
<v Speaker 1>it's something something I wish I didn't have. You know,

0:23:04.960 --> 0:23:06.920
<v Speaker 1>I don't know, I don't know where it comes from.

0:23:07.000 --> 0:23:10.359
<v Speaker 1>I don't think it serves the purpose, but it's there. God,

0:23:10.720 --> 0:23:17.840
<v Speaker 1>movie sets and television sets exacerbate that. I'm sure, Yeah, certainly, yeah,

0:23:17.960 --> 0:23:21.000
<v Speaker 1>I felt that a lot waiting around on a movie set. Sure,

0:23:21.240 --> 0:23:23.159
<v Speaker 1>I don't know. I think I'm so often in my

0:23:23.280 --> 0:23:27.200
<v Speaker 1>head like in some kind of whether it's a creative space,

0:23:27.640 --> 0:23:32.440
<v Speaker 1>I'm maintaining that I'm protective of it. And therefore if

0:23:32.480 --> 0:23:34.800
<v Speaker 1>somebody is kind of knocking in a little bit and

0:23:34.880 --> 0:23:38.080
<v Speaker 1>with information that I'm not crazy about or I don't

0:23:38.200 --> 0:23:41.440
<v Speaker 1>care about, I can I just stop. I don't want

0:23:41.440 --> 0:23:44.119
<v Speaker 1>to hear about that. So it probably made me a

0:23:44.200 --> 0:23:46.520
<v Speaker 1>bad father from time to time. You know, when you're

0:23:46.520 --> 0:23:50.040
<v Speaker 1>living a creative life and you have children, there's no roadmap,

0:23:50.160 --> 0:23:52.560
<v Speaker 1>you know, like to a creative life. It's like you're

0:23:52.560 --> 0:23:55.280
<v Speaker 1>always doing it when you're off. So it took me

0:23:55.320 --> 0:23:57.760
<v Speaker 1>a while to figure out how to be a decent

0:23:57.840 --> 0:24:01.600
<v Speaker 1>person and not carve out all this time in which

0:24:01.640 --> 0:24:05.080
<v Speaker 1>I'm supposed to be creating, even if it's just being quiet. God,

0:24:05.160 --> 0:24:09.520
<v Speaker 1>that's a good reminder, is that being quiet and appreciating

0:24:09.800 --> 0:24:13.119
<v Speaker 1>the pines against the blue sky is being creative. You

0:24:13.160 --> 0:24:15.520
<v Speaker 1>certainly know that when you've spent a winter in London,

0:24:17.040 --> 0:24:20.040
<v Speaker 1>I must say where it's like, Oh the slab, gray

0:24:20.080 --> 0:24:23.480
<v Speaker 1>against the slate, gray against the pigeon, gray against the

0:24:23.520 --> 0:24:27.040
<v Speaker 1>gray gray. Yeah, well, I remember doing the X Files

0:24:27.040 --> 0:24:29.119
<v Speaker 1>in Vancouver and we would always say, you know, we

0:24:29.480 --> 0:24:32.480
<v Speaker 1>go to work in twilight and we rapid twilight, and

0:24:32.520 --> 0:24:35.159
<v Speaker 1>then we sleep and we wake up in twilight. It

0:24:35.240 --> 0:24:38.200
<v Speaker 1>does get to be a weird state of existence. But

0:24:38.359 --> 0:24:41.760
<v Speaker 1>you know, I don't know how much protection I need,

0:24:42.080 --> 0:24:43.919
<v Speaker 1>you know, to do the things that I do. But

0:24:44.040 --> 0:24:47.560
<v Speaker 1>sometimes I air on the side of quiet. Please, you know,

0:24:47.680 --> 0:24:51.040
<v Speaker 1>leave me be, be be. I think it's interesting if

0:24:51.080 --> 0:24:52.560
<v Speaker 1>you know what it's in the service of. Like I

0:24:52.560 --> 0:24:55.040
<v Speaker 1>started querying, like why does this get me so bent

0:24:55.080 --> 0:24:57.280
<v Speaker 1>out of shape? Like why am I being so impatient?

0:24:57.280 --> 0:24:59.880
<v Speaker 1>Because I think impatience is one of my worst qualities

0:25:00.000 --> 0:25:01.240
<v Speaker 1>as well. And I was like, what is it you're

0:25:01.240 --> 0:25:02.960
<v Speaker 1>trying to get to you? And I think it's normally

0:25:03.080 --> 0:25:06.040
<v Speaker 1>that if you're busy wanting to get on with the

0:25:06.080 --> 0:25:08.520
<v Speaker 1>thing that you thought everybody was focused on doing, because

0:25:08.520 --> 0:25:11.720
<v Speaker 1>it usually happens for me at work and it's like, oh,

0:25:11.760 --> 0:25:15.240
<v Speaker 1>but no, it's about someone spraying a little bit of

0:25:15.280 --> 0:25:18.920
<v Speaker 1>something on my ear and then tugging on my pant

0:25:19.000 --> 0:25:21.719
<v Speaker 1>leg and having a whole conversation about the buffet at

0:25:21.800 --> 0:25:25.520
<v Speaker 1>lunch and suddenly I've forgotten what I'm doing. I had

0:25:25.640 --> 0:25:29.200
<v Speaker 1>this rule, like, it's going to make me sound I'm

0:25:29.200 --> 0:25:30.840
<v Speaker 1>a bit of an asshole when I made it up

0:25:30.880 --> 0:25:32.720
<v Speaker 1>and when I use it. But I say it only

0:25:33.000 --> 0:25:35.760
<v Speaker 1>in the nicest way. But if somebody on set is

0:25:36.280 --> 0:25:39.399
<v Speaker 1>super like into their job and they're doing it super

0:25:39.520 --> 0:25:42.400
<v Speaker 1>super well, but it's getting in my way, I'll say,

0:25:42.680 --> 0:25:45.879
<v Speaker 1>you're giving a ten percent and that's really admirable. But

0:25:46.000 --> 0:25:49.120
<v Speaker 1>what I need is like se from you right now.

0:25:50.240 --> 0:25:53.840
<v Speaker 1>Oh my god, Oh my god. I can so imagine

0:25:53.840 --> 0:25:57.400
<v Speaker 1>a teacher saying that to me. It's cool, it's horrible.

0:25:57.440 --> 0:26:00.160
<v Speaker 1>I can see that you're giving and you already think like, oh,

0:26:00.200 --> 0:26:02.679
<v Speaker 1>that's a good things. Been is a good thing. And

0:26:02.680 --> 0:26:07.160
<v Speaker 1>then you're like, what I need from you? Oh ship,

0:26:07.640 --> 0:26:20.240
<v Speaker 1>I gotta let some air out of tires. Okay, last

0:26:20.320 --> 0:26:23.560
<v Speaker 1>question in your life? Can you tell me something that

0:26:23.600 --> 0:26:28.080
<v Speaker 1>has grown out of a personal disaster? Oh? Everything, anything worthwhile,

0:26:28.400 --> 0:26:32.160
<v Speaker 1>anything worthwhile. But specifically, the only specific thing I can

0:26:32.200 --> 0:26:35.119
<v Speaker 1>think of is when I was getting divorced. Obviously I

0:26:35.160 --> 0:26:38.359
<v Speaker 1>had a lot more time because I was living away

0:26:38.400 --> 0:26:41.960
<v Speaker 1>from my kids and my soon b ex wife, And

0:26:42.080 --> 0:26:45.200
<v Speaker 1>that was when I took up guitar started writing songs.

0:26:45.680 --> 0:26:47.920
<v Speaker 1>I never would have done that if I hadn't had

0:26:47.920 --> 0:26:51.880
<v Speaker 1>that particular disaster unfolding and slow motion as divorce does.

0:26:52.040 --> 0:26:55.360
<v Speaker 1>It's like a it's a it's a very slow moving disaster,

0:26:55.680 --> 0:26:57.760
<v Speaker 1>regardless of who wants to do it, who doesn't want

0:26:57.760 --> 0:27:00.639
<v Speaker 1>to every it's a disaster for everyone. I started write novels,

0:27:00.640 --> 0:27:03.040
<v Speaker 1>I started to write songs on guitar, and these are

0:27:03.080 --> 0:27:05.399
<v Speaker 1>things I never probably would have done had I not

0:27:05.600 --> 0:27:09.240
<v Speaker 1>been so uneasy. The cliche that the sand and oyster

0:27:09.680 --> 0:27:13.520
<v Speaker 1>just so kind of irritated, irritated all the time, anxious,

0:27:13.640 --> 0:27:17.080
<v Speaker 1>irritated left what can I do? What can I do?

0:27:17.440 --> 0:27:19.439
<v Speaker 1>And that was my answer was I'm going to do

0:27:19.560 --> 0:27:22.760
<v Speaker 1>things that I haven't done before. Actually think, however, agonizing

0:27:22.880 --> 0:27:25.679
<v Speaker 1>and this sort of guys across the board conflict is

0:27:25.680 --> 0:27:28.960
<v Speaker 1>is ultimately creative. I mean there's a lot of collateral

0:27:29.040 --> 0:27:30.800
<v Speaker 1>damage often along the way, but I do think it

0:27:30.880 --> 0:27:32.840
<v Speaker 1>is creative. I do think that's the other side of it.

0:27:32.960 --> 0:27:35.240
<v Speaker 1>And this being the last question, it's sort of the

0:27:35.280 --> 0:27:37.399
<v Speaker 1>antidote to that first question, because I think we do

0:27:37.640 --> 0:27:42.959
<v Speaker 1>pursue this notion of happiness, probably completely erroneously as human beings,

0:27:43.080 --> 0:27:45.520
<v Speaker 1>when in actual fact it's about not really where were

0:27:45.560 --> 0:27:48.760
<v Speaker 1>you happiest? But where was it shittiest? And what grew

0:27:48.880 --> 0:27:51.560
<v Speaker 1>that was good out of that? I now think the

0:27:51.560 --> 0:27:54.119
<v Speaker 1>person who wrote these questions, which was me, is just

0:27:54.200 --> 0:28:00.200
<v Speaker 1>like dog loving idiot, which was you. Yeah, as me,

0:28:00.560 --> 0:28:03.520
<v Speaker 1>you solved the mystery. I saw the miship and wondering

0:28:03.840 --> 0:28:12.760
<v Speaker 1>which asshole which asshole wrote? It was all yeah, but

0:28:12.840 --> 0:28:16.120
<v Speaker 1>that's it. That's it. Conflict. Conflict is creative. I mean

0:28:16.240 --> 0:28:20.720
<v Speaker 1>way more kind of fundamentally or or literally, divorce or

0:28:20.720 --> 0:28:23.280
<v Speaker 1>any the end of or losing a parent or you know,

0:28:23.400 --> 0:28:29.560
<v Speaker 1>any kind of irrevocable split or loss makes you redefine yourself.

0:28:29.600 --> 0:28:33.080
<v Speaker 1>You have to. You're no longer defined in this way.

0:28:33.160 --> 0:28:36.480
<v Speaker 1>You're no longer defined as a daughter. Necessarily, you're not

0:28:36.720 --> 0:28:38.960
<v Speaker 1>more defined as a mother. What you said like closer

0:28:39.080 --> 0:28:42.000
<v Speaker 1>to mortality, any loss that I could go through, this

0:28:42.080 --> 0:28:43.680
<v Speaker 1>just happens to be the thing that came to mind.

0:28:43.720 --> 0:28:46.040
<v Speaker 1>But in my life, any loss, you do have to

0:28:46.120 --> 0:28:47.960
<v Speaker 1>then look at yourself in the mirror and though, well,

0:28:48.440 --> 0:28:51.880
<v Speaker 1>who am I now? And what does that person do?

0:28:52.200 --> 0:28:55.280
<v Speaker 1>That's exactly it, Like what the sort of evolution of

0:28:55.360 --> 0:28:58.680
<v Speaker 1>identity like on what do you take? What survives that loss?

0:28:58.920 --> 0:29:00.800
<v Speaker 1>What has gone, and it's a good thing. It's gone.

0:29:01.320 --> 0:29:03.200
<v Speaker 1>What am I going to go back and sift through

0:29:03.240 --> 0:29:07.479
<v Speaker 1>the rubble to salvage? But that also takes inquiry, that

0:29:07.600 --> 0:29:11.320
<v Speaker 1>takes interest in inquiring into that. You have to be curious,

0:29:11.520 --> 0:29:14.959
<v Speaker 1>everybody's favorite word. You have to be resilient. Without those things,

0:29:15.560 --> 0:29:18.480
<v Speaker 1>life I think is miserable. I think if there was

0:29:18.560 --> 0:29:21.920
<v Speaker 1>anything that I ever tried to impart to my children,

0:29:21.920 --> 0:29:24.680
<v Speaker 1>it would have been curiosity and resilients. Although it's you

0:29:24.720 --> 0:29:27.200
<v Speaker 1>can't really do that, you know, that's something they either

0:29:27.280 --> 0:29:29.400
<v Speaker 1>have or they don't, or they learn on their own

0:29:29.480 --> 0:29:31.280
<v Speaker 1>or they don't. But I see it all around me,

0:29:31.360 --> 0:29:34.280
<v Speaker 1>especially as I get older, you know, I see the

0:29:34.280 --> 0:29:36.680
<v Speaker 1>people that have given up, and I see the people

0:29:36.680 --> 0:29:39.560
<v Speaker 1>who haven't. I see the people who remain curious and resilient.

0:29:39.800 --> 0:29:42.600
<v Speaker 1>And I'm not judging it. I'm not saying it's easy.

0:29:42.640 --> 0:29:44.280
<v Speaker 1>I'm not saying one way is better than the other.

0:29:44.320 --> 0:29:46.880
<v Speaker 1>I just think for me, I couldn't go on if

0:29:46.920 --> 0:29:49.520
<v Speaker 1>I didn't think I could bounce back in some way.

0:29:49.640 --> 0:29:51.520
<v Speaker 1>I couldn't take chances if I didn't think I could

0:29:51.520 --> 0:29:54.760
<v Speaker 1>bounce back. That's a really good thing to think about.

0:29:54.920 --> 0:29:57.240
<v Speaker 1>That's really interesting. It could be very sick too. It

0:29:57.240 --> 0:29:59.720
<v Speaker 1>could be like, ah, you still have need, You still

0:29:59.720 --> 0:30:03.560
<v Speaker 1>have need to be seen or to give, to make

0:30:03.680 --> 0:30:07.680
<v Speaker 1>something that somebody consumes or you know, appreciates, Like I

0:30:07.760 --> 0:30:11.920
<v Speaker 1>haven't chat enough, motherfucker. You know. It's like I've certainly

0:30:11.920 --> 0:30:14.880
<v Speaker 1>had enough. But there's something in me that once they

0:30:14.960 --> 0:30:16.800
<v Speaker 1>keep doing it, it could be an illness or it

0:30:16.840 --> 0:30:19.840
<v Speaker 1>could be beautiful. I'm not sure. Oh I hope it's

0:30:19.840 --> 0:30:24.360
<v Speaker 1>something beautiful. All right, Love, I'm going to text you

0:30:24.440 --> 0:30:26.960
<v Speaker 1>later loads of love and thank you so much. Thank

0:30:27.000 --> 0:30:30.240
<v Speaker 1>you really appreciate it. D see you, lovel by bye.

0:30:31.400 --> 0:30:33.880
<v Speaker 1>Dave's newest book, The Reservoir, will be released on June

0:30:33.960 --> 0:30:36.520
<v Speaker 1>seven and is available for pre order now. Dave's in

0:30:36.520 --> 0:30:39.360
<v Speaker 1>the new jud Apatow movie The Bubble, which comes out

0:30:39.400 --> 0:30:42.680
<v Speaker 1>on April one on Netflix, but I'll let Dave tell

0:30:42.680 --> 0:30:45.800
<v Speaker 1>you about it, and also how I came to be

0:30:45.840 --> 0:30:48.840
<v Speaker 1>in the movie without actually being in the movie, because

0:30:48.840 --> 0:30:51.080
<v Speaker 1>I'm not in it, but I sort of am, which

0:30:51.120 --> 0:30:56.680
<v Speaker 1>is lovely. Wait when is the Bubble out? It's so funny.

0:30:56.680 --> 0:30:58.800
<v Speaker 1>I was just watching the trailers because like obviously I'll

0:30:58.800 --> 0:31:01.120
<v Speaker 1>watched the trailer with the new jut uptown movie and

0:31:01.360 --> 0:31:05.680
<v Speaker 1>you're in it, and then what happens. It's Kate McKinnon.

0:31:05.920 --> 0:31:09.760
<v Speaker 1>K McKinnon is the movie studio bars. She's like, there's

0:31:09.760 --> 0:31:12.840
<v Speaker 1>Mini Driver. I love her. Yeah, yeah, yeah, yeah. It

0:31:12.960 --> 0:31:15.160
<v Speaker 1>was really weird. I wonder why that came about. I

0:31:15.160 --> 0:31:17.480
<v Speaker 1>mean because Jed wal just sit there on the mic

0:31:17.720 --> 0:31:20.200
<v Speaker 1>and I can just hear him saying, there's a really Driver.

0:31:21.240 --> 0:31:23.800
<v Speaker 1>Just say something. I can't wait. I'll be first in

0:31:23.880 --> 0:31:26.040
<v Speaker 1>line on the Netflix queue. You don't have to be

0:31:26.080 --> 0:31:28.440
<v Speaker 1>on my actual work. It'll jump right ahead of the

0:31:28.480 --> 0:31:31.440
<v Speaker 1>cake shows, straight to number one in my wish list?

0:31:31.560 --> 0:31:35.680
<v Speaker 1>How many times can you watch season? By the way,

0:31:35.880 --> 0:31:38.760
<v Speaker 1>it turns out a fucking lot, because I've done it

0:31:42.000 --> 0:31:45.280
<v Speaker 1>many questions. Is hosted and written by Me Mini Driver,

0:31:45.840 --> 0:31:53.440
<v Speaker 1>Supervising producer Aaron Kaufman, Producer Morgan Levoy, Research assistant Marissa Brown.

0:31:54.000 --> 0:31:59.160
<v Speaker 1>Original music Sorry Baby by Mini Driver. Additional music by

0:31:59.200 --> 0:32:04.400
<v Speaker 1>Aaron Kaufman. Executive produced by Me Mini Driver. Special thanks

0:32:04.600 --> 0:32:10.280
<v Speaker 1>to Jim Nikolay, Will Pearson, Addison, No Day, Lisa Castella

0:32:10.360 --> 0:32:15.600
<v Speaker 1>and Annicke Oppenheim at w kPr, de La Pescadore, Kate

0:32:15.680 --> 0:32:20.200
<v Speaker 1>Driver and Jason Weinberg, and for constantly solicited tech support.

0:32:20.600 --> 0:32:21.440
<v Speaker 1>Henry Driver