Speaker 1: Look help his only films to be buried with. Hello,
Speaker 1: and welcome to Films to be buried with. My name
Speaker 1: is Brett Goldstein. I'm a comedian, an actor, a writer,
Speaker 1: a director, a piano stall and I love films. As
Speaker 1: Emily Dickinson once said, hope is the thing with feathers
Speaker 1: that perches in the soul and sings the tune without
Speaker 1: the words and never stops at all. Also, have you
Speaker 1: ever seen the Meryl Street film Hope Springs. It's wildly underrated.
Speaker 1: I think, oh I would agree with that. Actually, Emily,
Speaker 1: thanks for bringing up. Every week I invite a special
Speaker 1: guest over, I tell them they've died. Then I get
Speaker 1: them to discuss their life through the films that meant
Speaker 1: the most of them. Previous guests include Himesh Patel, Barry Jenkins,
Speaker 1: Sharon Stone and even But this week it is part
Speaker 1: two with the one and only the man himself, Jason Cudakiss.
Speaker 1: Remember you can watch all of Ted last seasons one
Speaker 1: to three on Apple. If you plus get all caught
Speaker 1: up on them before you listen to this, head over
Speaker 1: to the Patreon at patreon dot com Forward Slash Break
Speaker 1: Golds team, where you get extra stuff for all the episodes.
Speaker 1: You get secrets, we discuss beginnings and endings. You get
Speaker 1: all the episodes uncut and ad free, and often as
Speaker 1: a video. Check it out over at patreon dot com.
Speaker 1: Forward slash breat Golds team. This week was a very
Speaker 1: special treat. I've included the Patreon section for everyone because
Speaker 1: it is filled with so much good stuff and I'm
Speaker 1: a nice boy, but I have kept Jason's secret only
Speaker 1: for the Patreons because rules are rules, and I think
Speaker 1: you understand that. So this is part two with Jason Cudakis.
Speaker 1: We picked this up right where we left off with
Speaker 1: everyone's favorite question. So that's it for now. I very
Speaker 1: much hope you enjoy episode two hundred and sixty two
Speaker 1: of Films to be Buried With. Here's probably why everyone's listening.
Speaker 1: What's the film you found the sexiest? Jason Seudakis. It's
Speaker 1: funny because I mean, I think it's Leaving Las Vegas
Speaker 1: or eyes white shirt. Okay, I'm those are fucking nuts, right,
Speaker 1: I put them both. But I think I put them
Speaker 1: both because on the question is like, no, what troubling bonus? Yeah, right,
Speaker 1: which I would have the same two answers, So For
Speaker 1: those who never listened to it, there's a sub category
Speaker 1: traveling boner is worrying why I don't filmy fand arising, Yeah,
Speaker 1: I'm sure you should. So you're putting both these and
Speaker 1: flipping them around now. Firstly, Leaving Las Vegas, I'm a
Speaker 1: huge fan of I listened to that soundtrack on repeat
Speaker 1: for years.
Speaker 2: Amazing.
Speaker 1: I love it. I also think, can't tell you this
Speaker 1: and I will. People versus Larry Flynn, Yeah, which I
Speaker 1: also love years, but I remember loving it has a
Speaker 1: similar thing that I that I really said at the
Speaker 1: end of Leaving Las Vegas and the end of People vs.
Speaker 1: Larry Flinn both has a kind of non judgmental sex
Speaker 1: scene that is what's the word for it, Like, it's
Speaker 1: about love, but it's disturbed. It's often disturbing, and in
Speaker 1: Leaving Las Vegas he spoiler spoiler skip this if you
Speaker 1: haven't seen.
Speaker 2: He's an alcoholic.
Speaker 1: And he achieves he finally has sex with her as
Speaker 1: his goal was to kill himself. Yes, and he and
Speaker 1: he says, he says, he says, I believe, He says,
Speaker 1: Look how hard you made me? My angel is what
Speaker 1: he says. As as they finally consummate their relationship. He's
Speaker 1: not being able to because he's a alcoholic and it's
Speaker 1: sort of disturbing and sad and beautiful and love and
Speaker 1: complicated and people with as Larry Flynn Corney Love plays
Speaker 1: a very difficult, tragic figure, drug addict, all sorts of problems,
Speaker 1: and it's kind of destructive to everyone around her. But
Speaker 1: Larry Flynn loves her, and no one else does. Everyone
Speaker 1: in the film kind of hates her, and at the
Speaker 1: very end of the film, after she's died, and it
Speaker 1: ends with him watching a video of her sort of
Speaker 1: doing his strip tease for him, and it's similar similar
Speaker 1: vibe of like, from the outside, you could judge these people.
Speaker 2: You could say, there's.
Speaker 1: So many things wrong with this, but this love is
Speaker 1: a love story that both complicate beautiful love stories.
Speaker 2: Yeah, probably loved her more as an object in the
Speaker 2: last one, you know, Larry Flynn, I don't know. I'd
Speaker 2: have to rewatch it all to sort of like, yeah,
Speaker 2: download how my brain would handle it now, even the
Speaker 2: leaving Las Vegas thing, like yeah, I mean sexiest versus
Speaker 2: like romantic, and if they're like whatever, wherever those two
Speaker 2: are intertwined is probably is probably more of the way
Speaker 2: I view Leaving Las Vegas as romantic. I mean, the
Speaker 2: sexiness of quote unquote eyes wide shut is pretty you know, obvious,
Speaker 2: and I don't know even though if that's really I mean,
Speaker 2: I wrote them here because I was kind of like, oh,
Speaker 2: these feel I think it is weird. I can judge
Speaker 2: myself for finding Leaving Las Vegas sexy because I'm not
Speaker 2: talking about like obviously like the awful scenes with the
Speaker 2: like the frat guys or even that final scene, but
Speaker 2: like their relationship where they both are in their lives
Speaker 2: and they're willingness to go to like fall into each other,
Speaker 2: I find incredibly sexy and romantic, you know. And there's
Speaker 2: tons of less I don't say controversial, but titillating versions
Speaker 2: of that story you know, out there, like you know,
Speaker 2: like before sunrises, before sunset, Like aren't those like versions
Speaker 2: of that were strange? You know, Strangers, you know, strangers
Speaker 2: meet and then they just have that that moment they fall.
Speaker 2: I haven't seen either, I apologize, but but that's I know,
Speaker 2: I know, I know, but I I just I just
Speaker 2: love that that part of the in Las Vegas, and
Speaker 2: that was another movie that was around that time was
Speaker 2: was when I would if there was a book, I
Speaker 2: would also read the book. And I remember reading the
Speaker 2: book by John O'Brien, and there's passages from that book
Speaker 2: that I think about all the time, Like there's a
Speaker 2: line where where he writes about the unspoken anticipation of
Speaker 2: conversations yet to be had, you know, and I think,
Speaker 2: what what what? What is a better summation of like
Speaker 2: chemistry like young early love, right, you know? And then
Speaker 2: there's the other, like the other I don't have memorized,
Speaker 2: but you know, there's there's quotes that I literally have
Speaker 2: in my wallet right now from that book from your
Speaker 2: our showed that to you. Yeah, yeah, that was fun.
Speaker 2: But I remember, like we've talked about this because it
Speaker 2: comes up all the time, especially with our show. So
Speaker 2: much of it is is is rooted in these things,
Speaker 2: and these things are like yeah, I mean three sheets
Speaker 2: of paper, but this is yeah, this is my handwriting
Speaker 2: from nineteen ninety five. Probably I want to go see
Speaker 2: Leaving Las Vegas by myself on New Year's Eve from
Speaker 2: ninety five and in ninety six. Well, it's probably like
Speaker 2: the second or third time i'd seen the theories. I
Speaker 2: don't know, because I wasn't I wasn't a girlfriend. I
Speaker 2: didn't want to sit at home with my parents, didn't
Speaker 2: want to be in the basement. They were going to
Speaker 2: be out sisters and maybe were gonna have friends over.
Speaker 2: So I want to go see Leaving Las Vegas at
Speaker 2: the Art theater. But this is the This is the
Speaker 2: This is from the book A slight elusive chemistry which
Speaker 2: occurs only occasionally when two people meet, always a welcome surprise.
Speaker 2: It is a sort of quick familiarity, implied permission to
Speaker 2: conduct relations at a level which is a bit deeper
Speaker 2: than the superficiality of introduction. And like last time I
Speaker 2: pulled this out of my wallet and showed it to
Speaker 2: people was when Hannah was shooting her scenes yea on
Speaker 2: the boat. Because I believe in that it happens all
Speaker 2: the time between men and women, between men, between women
Speaker 2: and women, and I think that's sexy. I guess I
Speaker 2: have it. I really did have it, yeah, because because
Speaker 2: I mean, we're all built to be scared of each
Speaker 2: other at this point, you know, like it's like more
Speaker 2: than ever and when when that ship gets dropped, and
Speaker 2: may you keep it dropped as long as possible? Because
Speaker 2: I think at some point when you know, the first
Speaker 2: person that puts a brick down and it's a little
Speaker 2: concrete on top of them, puts another brick and go,
Speaker 2: whoa putting bricks? No? No, no, this is just I know,
Speaker 2: I'm just building making Okay, Okay, I need to sit
Speaker 2: I'm tired. I just want to sit down, all right. Yeah.
Speaker 2: And An eyes Waite show we've talked about now, so
Speaker 2: I watched I've seen it once, Yeah, did not like it.
Speaker 1: I watched it yesterday in preparation for this as an
Speaker 1: as an olderman, and I find it fascinating.
Speaker 2: Yeah, I just think it's I just think it is
Speaker 2: a meditation a male jealousy for like hours, Like I
Speaker 2: just I I I think it's all like the love
Speaker 2: of your life that you've that you've taken for granted
Speaker 2: then tells you that she's had fantasies and then how
Speaker 2: that tears you up inside and like off he goes
Speaker 2: and and and and is presented with you know, one
Speaker 2: obstacle or angel or illusion or you know, possibility endeavor
Speaker 2: after another indulgence, whatever you want to call it, and
Speaker 2: he just has to and he just what's he gonna do?
Speaker 2: What's he gonna do. What's he gonna do? I I
Speaker 2: just think I haven't watched it in a while, but
Speaker 2: it's yeah, but I you know, I I I felt
Speaker 2: that that pain, that that that like that questioning of
Speaker 2: my worth, my self worth, my value at the hands
Speaker 2: of another person at a at a at a young
Speaker 2: enough age that it that it rocked me in a
Speaker 2: way that when I saw it, I was like, oh,
Speaker 2: now that's sexy. No, but it's but I mean the
Speaker 2: imagery is obviously, you know, sexy. I mean, I guess
Speaker 2: if you to a certain degree, like you know, I
Speaker 2: like people's faces, but I guess the mask there's lots
Speaker 2: of that's a very nice boddies. Yeah, yeah, And I'm
Speaker 2: sure all the guys, all the guys in mass probably
Speaker 2: of great bodies. They probably do.
Speaker 1: These has so many thoughts. Have you seen bo Is
Speaker 1: Afraid Afraid?
Speaker 2: The film?
Speaker 1: No, that's sort of like a three hour comedy, a
Speaker 1: kind of extreme extreme comedy of paranoia and guilt. The
Speaker 1: idea that you're sort of like that the world is
Speaker 1: conspiring against or whatever.
Speaker 2: I read.
Speaker 1: Shat is a kind of two and a half hour
Speaker 1: film about the world genuinely conspiring against Tom cruise ever
Speaker 1: getting late, like it's the whole thing and it's and
Speaker 1: it kind of is conceptually funny. It's not funny. It
Speaker 1: didn't make me laugh ever, but it is kind of funny. Well,
Speaker 1: the situations are funny. He guys to this person to
Speaker 1: have sex and then guys to this person president any
Speaker 1: of that sex. Then she's dead. This person headaches IV like,
Speaker 1: it's kind of the whole to night event. He guys
Speaker 1: and he goes to a mask bowl and gets found
Speaker 1: out he's not going to be that even though he's
Speaker 1: runing a mask Like, No.
Speaker 2: He could have he could have taken any of those
Speaker 2: rooms and had sex with Alan Coming if that was
Speaker 2: his if that was his preference. But down Coming incredible
Speaker 2: in that movie. Yeah, really good, like just like three
Speaker 2: minutes and just wait like that. That is an example
Speaker 2: that I would give for for like a day player
Speaker 2: any day of the week where it's just like or night,
Speaker 2: like I'm just like watch this, Well, that's sound coming.
Speaker 2: We didn't know that then, I mean people in New
Speaker 2: York would have known in the theater world, but like
Speaker 2: I didn't know was Alan coming. All I knew was
Speaker 2: that that fucking dude is like it feels it feels
Speaker 2: like so real and knows so much more about what's
Speaker 2: going on than what's going on. And I loved it.
Speaker 2: He said that players Curbity Family, He's probably there for
Speaker 2: five exactly nice work if you can get it prettym alone,
Speaker 2: you know.
Speaker 1: And what I find really interesting And I hadn't realized
Speaker 1: because it's a weird film for Tom Cruise to mate,
Speaker 1: because his character is essentially emasculated for two and a
Speaker 1: half hours. Every scene he walks into he looks like
Speaker 1: him Craiz and acts like Tom crazy.
Speaker 2: It's the scene yeah, emasculated in and the confession she
Speaker 2: makes is about as emasculating as like one could become,
Speaker 2: like through words, you know, like you know, she's just
Speaker 2: in there in that reverie and she's she's living it
Speaker 2: right in front of me, just like what And I
Speaker 2: love the like like even when he thinks about it,
Speaker 2: when they're going to his flashbacks and the guys still
Speaker 2: in his uniform, she's completely naked and it's like that
Speaker 2: blue light where everybody looks good and and it's just
Speaker 2: like that's exactly what it would what it can feel like.
Speaker 1: You know the fact that he did Magnolia next, and like,
Speaker 1: it's so interesting was that right after they came out
Speaker 1: the same year. I always love that he did did
Speaker 1: the most emasculated character and then played the most hyper masculine.
Speaker 2: Yeah, that's something else I love. I think that's a
Speaker 2: good that for me was like, yeah, I think that
Speaker 2: that guy would become that guy if they hadn't. I
Speaker 2: always think about that what Tom hangs like in nineteen
Speaker 2: eighty seven, I think it would have been. He did
Speaker 2: both Punchline and Big. You know, they came out in
Speaker 2: eighty eight, and you're just like, wow, that's like I
Speaker 2: felt that, you know, I think I think right around
Speaker 2: the same time, I did Mother's Day and Colossal, same beard,
Speaker 2: and I think they overlapped. And part of the reason
Speaker 2: I had to I wanted a beard for Colossal and
Speaker 2: I did Mother's Day first and they wanted me to
Speaker 2: be clean shave, and I was like, I can't because
Speaker 2: I have to have a beard for this and this
Speaker 2: is you know, and they it all got worked out.
Speaker 2: But like that's like one of those weird It's certainly
Speaker 2: something I know when choosing things to sketch, like sketch comedy,
Speaker 2: like actor in me that doesn't want to play the
Speaker 2: same characters, you know, in the scene right after I
Speaker 2: just played that character. That's that's a part of me
Speaker 2: that probably made you know, mixtapes. You know, you don't
Speaker 2: you don't want to have you know, two public Enemy
Speaker 2: songs right after each other, want to have you know,
Speaker 2: want to open you up and want to close you
Speaker 2: out or something like that, you know. But but yeah,
Speaker 2: that's that's great. I don't know, I don't in the
Speaker 2: same year, and.
Speaker 1: I know it's like it's like a film noir in
Speaker 1: that he's this kind of guy who doesn't know as
Speaker 1: much as he thinks he knows and is destroyed by
Speaker 1: a fem fatale, except that it's all in his head. Yeah, yeah,
Speaker 1: it's so and in fairness. Yeah, and like a film
Speaker 1: has a happy ending, yeah yeah, yeah, yeah, has a
Speaker 1: positive like similar ending.
Speaker 2: You know, it's like certainly when you're fuck, it's like
Speaker 2: almost similar to what we need to do very soon?
Speaker 2: What's that? Yeah? Okay, yeah good? And you know, not
Speaker 2: to the similar from Le Las Vegas and Larry Flint
Speaker 2: in a way, except you know they're both alives. Yeah,
Speaker 2: very weird.
Speaker 1: Yeah, yeah, what is objectively objectively the greatest film of
Speaker 1: all time might not be your favorite.
Speaker 2: I mean, but I spoke about earlier, but I mean
Speaker 2: Citizen King, Yeah, correct, I I I know it's like
Speaker 2: if I top one, it like sounds like such pretensions,
Speaker 2: I answer, But when I every time I watch it,
Speaker 2: I do have the tendency to put it in the
Speaker 2: time and place of when it was made out it
Speaker 2: was made you know, Yeah, because I don't know, I
Speaker 2: honor that context, and it does it It comes back
Speaker 2: for me, you know, time and time again, and people
Speaker 2: much smarter than myself, you know, would concur. So I
Speaker 2: feel pretty good about my answer.
Speaker 1: I think one of the under the text of this
Speaker 1: question great, what is the film that you could or have?
Speaker 2: What's the mist? And every gain three came to mind
Speaker 2: really quick and they're all still like and so I
Speaker 2: sort of had them based on if anyone came up earlier.
Speaker 2: But none of these ones come up. But I put
Speaker 2: pulp fiction Color of Money in Beverly Hills Cop. Beverly
Speaker 2: Hills Cop I've spoken about to a degree, but you know,
Speaker 2: pulp fiction and Color of Money. I knew I like
Speaker 2: the Color of Money growing up because one of those
Speaker 2: movies I saw with my dad, and I love going
Speaker 2: to play pool with my dad, which really was usually
Speaker 2: me playing pool next to him and sort of what
Speaker 2: the dart speech is based on, although it was billiards
Speaker 2: and my dad would play with friends and I'd play
Speaker 2: on the table next to him and just get plowed
Speaker 2: on cherry cokes and potato skins, and he'd let me
Speaker 2: have money for the jukebox. So it was great, you know,
Speaker 2: and I just get to watch my dad play and
Speaker 2: see him, see him in his Then they played doubles
Speaker 2: and it'd be like, you know, Sunday afternoon, you know,
Speaker 2: Saturday afternoon. It was great, We're going up to buddies.
Speaker 2: You want to come? Yeah, you know, we get taco
Speaker 2: bell afterwards.
Speaker 1: Blah.
Speaker 2: But that movie, I loved it. Then I loved the soundtrack.
Speaker 2: That was a soundtrack I used to bring overder friends
Speaker 2: when I had sleepover, especially a friend. A friend had
Speaker 2: a pool table, which a couple people did you know,
Speaker 2: they're and you know, doing better than my folks. So
Speaker 2: they had pool table in their house and I'd put
Speaker 2: on that thing and I try to do all the
Speaker 2: moves and all the shots from the Color of Money,
Speaker 2: and it was just from beginning to practice, you know,
Speaker 2: once a week all the time with my dad, and
Speaker 2: then Who's Still Alive and all that. That's I'm just
Speaker 2: saying that darts replacement billions. But the impetus for that
Speaker 2: monologue is in that time and space. And then as
Speaker 2: I got older, remember going to see it. Ezra and
Speaker 2: I went to go see it at the Metrograph. They
Speaker 2: did they at all the Scorsese and like it feels
Speaker 2: really really weird when people are talking about Scorsese and
Speaker 2: they're going around, which fair Scorsese movie And I'm the
Speaker 2: one that says color of Money. You know, he says
Speaker 2: color of Money. We say it on the show, you know, like,
Speaker 2: but that's that's it. I was recently, I was saw
Speaker 2: Ed Norton, who's brilliant, like you know, like like legitimately
Speaker 2: like like knows movies but also just flat out like brilliant, right,
Speaker 2: And we were talking about something oddly enough, we were
Speaker 2: talking about like Tom Cruise and and Magnolia and that character,
Speaker 2: and he was saying how much, how much he loved it,
Speaker 2: and that's got a thousand stories about and they're all like,
Speaker 2: you know, fair you know fairly, you know recent too,
Speaker 2: So It's like it's not like he's dipping back into
Speaker 2: his bag of tricks of like you know, when I
Speaker 2: met Walter Mathow, even though he probably knows Walter Mathow,
Speaker 2: you know, or worked with him in some way. Anyway,
Speaker 2: He's talking about Tom Cruise and and he goes, he
Speaker 2: was that part that part by him was so incredible
Speaker 2: and it's just like that, and I was, and I
Speaker 2: was about to say, yeah, but my favorite he goes,
Speaker 2: he goes, I mean between that, I mean not like
Speaker 2: Color of Money. He says that. I go, Now, here's
Speaker 2: a guy who's worked with the Niro you know, many
Speaker 2: times over, like you know, it's like directed films, just
Speaker 2: absolutely a cinophile. And I go, wait really he goes,
Speaker 2: he goes, yeah, hees, Oh, Color Money's incredible. And I
Speaker 2: felt like so seen and like like two kids that
Speaker 2: you know, almost like that scene in Step Brothers where
Speaker 2: they're like, oh, no way, no way. And then got
Speaker 2: to geek out with him and just talk about that movie.
Speaker 2: But yeah, that movie. When that, when that shows up,
Speaker 2: I just love it to pieces. I can pick it
Speaker 2: up anywhere I find so much, so much again similar
Speaker 2: to searching Bobby Fisher of our show is rooted in
Speaker 2: my love and lack of understanding, but like growing and
Speaker 2: grown understanding of color, of money, that it's all about
Speaker 2: just male mentoring, about you know, father and son relationship,
Speaker 2: you know, and who he chooses and and and the
Speaker 2: way we you know, treat and hurt people, whether accidentally
Speaker 2: or you know, just by being ourselves or not realizing
Speaker 2: that you're hurting people, both male and female, all the
Speaker 2: on the way up or on the way over wherever
Speaker 2: you're headed. And yeah, that that one knocks me out.
Speaker 2: Great music, great performances to the all time greatest, like
Speaker 2: great parts, roles of character actors as well to Turro
Speaker 2: is incredible in it. And it's just I love it
Speaker 2: to pieces. And then pulp fiction is similar thing. Pul fiction,
Speaker 2: as I said earlier, was the first one I want
Speaker 2: to go see by myself. But yeah, that's another one
Speaker 2: that I've definitely ripped off, you know, accidentally and intentionally,
Speaker 2: like dozens and dozens of times, whether it be taking
Speaker 2: a couple of a phrase, a style choice and music choice,
Speaker 2: like I find that to be just. But even I'm
Speaker 2: just gonna call him boat guys. You never say his
Speaker 2: name in the show, but boat guy you know on
Speaker 2: the you know, talking about his foot massages. His technique
Speaker 2: is sound. I don't be ticular or nothing. I saw
Speaker 2: pulp fiction, you know, but yeah, put in at the
Speaker 2: end in a lot of sketches too, and stuff we
Speaker 2: do bits. I just think I just think it's it's
Speaker 2: a uh yeah, I think it's a perfect complicated, you know,
Speaker 2: fascinating movie. And it was one of those ones that
Speaker 2: again that I watched that at that time it would
Speaker 2: have been, you know, ninety ninety five that it was
Speaker 2: like that obnoxious thing that they kids feel where it's like, oh,
Speaker 2: if I would have written something, I would have written that,
Speaker 2: like of course you would have yeah, yeah, sure you
Speaker 2: would have. Perfiction is fucking incredible, and I did it.
Speaker 2: I think I was the same. And sorry a million
Speaker 2: times of cinema.
Speaker 1: But Color of Money, I love Scor's mainstream his ones
Speaker 1: for them, Yeah, I think Color of Money cape fit
Speaker 1: fit he makes a banging.
Speaker 2: That would would be considered a one for them, I believe. So.
Speaker 2: I believe it was because he didn't want to.
Speaker 1: It's not like when most of his films he originates
Speaker 1: and like Paul Newman asked him to do it, and
Speaker 1: he didn't really want to.
Speaker 2: That's great.
Speaker 1: He was sort of dragged into it and then was
Speaker 1: like yeah, and he never worked in his mind, he'd
Speaker 1: never worked with a stub.
Speaker 2: Focus grown up with Yeah, yeah, yeah sure.
Speaker 1: So it was sort of like, I'll try and make
Speaker 1: a mainstream filmy fucking bang.
Speaker 2: He makes really good. I love it. We want to
Speaker 2: go see it on the big screen, And it was
Speaker 2: because it was one of his favorite too, and he like, yeah,
Speaker 2: we just geeked out the whole time. Yeah, I love it.
Speaker 2: I mean, there's there's acting things in there that I've
Speaker 2: definitely you know, cribbed again, whether it's what they were
Speaker 2: doing or the intention I got from it, you know,
Speaker 2: I just you know, went along, just just it's just
Speaker 2: always sits there, just always sitting there in the back
Speaker 2: of my head. I feel like I know five movies
Speaker 2: really well, and that's definitely one of them. Yeah, you know,
Speaker 2: and and even the way I remember it now, which
Speaker 2: might not be exactly as it is if I already
Speaker 2: go back, now, yeah, what is that? How does that go?
Speaker 2: You know? And then I'd say, go, oh, you know,
Speaker 2: you might want to hold on to the the teenage
Speaker 2: cut in my head. That's funny. Yeah, it's be negative.
Speaker 2: You love it? What's the West film? I don't. Yeah,
Speaker 2: this was hard because I'm kind of like they all
Speaker 2: had like they've got something. But but I remember being
Speaker 2: outraged at Titanic because it also came out the same
Speaker 2: year as like Magnoia, around around the same time as
Speaker 2: Goodwill Hunting, not that Magnoia was I think Magnoia was
Speaker 2: actually maybe ninety nine, excuse me. So it was definitely
Speaker 2: definitely in the in the same time that I was
Speaker 2: going to see movies in the theater by myself as
Speaker 2: Good One Hunting and give me that movie a hundred times,
Speaker 2: and then I'll watch Titanic, and then I'll watch that
Speaker 2: one hundred more. I'll watch you know, Good One Hunting.
Speaker 2: And it's just just the style of movie that I prefer. Now.
Speaker 2: It doesn't mean visually, it's not you know, debating and
Speaker 2: that the performance start aren't iconic. The song's badass there
Speaker 2: you know you could you could you do that pose
Speaker 2: and everybody knows what you're doing. I love the iconography
Speaker 2: of it. But but for me, I I I just
Speaker 2: was so much more engaged in the storm the Iceberg
Speaker 2: that you know that Robin Williams made Matt Damon hit
Speaker 2: in his heart. I want to see I want to
Speaker 2: see someone drowning their own self esteem or or you know.
Speaker 2: I just love that. And and it's silly to put them,
Speaker 2: you know, neck and neck side by side, make them competitive.
Speaker 2: But unfortunately that's what fucking award shows make you do
Speaker 2: with art. That's like, okay, if I had to pick,
Speaker 2: and so I remember being upset at that, but I don't.
Speaker 2: I haven't watched in ages and I can sider here
Speaker 2: and I know it's I know it's incredible filmmaking. I mean,
Speaker 2: for God's sake, the guy knows what he's doing. He
Speaker 2: doesn't need me to say otherwise. And so I feel again,
Speaker 2: not even from like being a bad show businessman, you know,
Speaker 2: talking shit about.
Speaker 1: He's very sincere. Yeah, because I didn't like but all
Speaker 1: this stuff is very earnest. It makes very earnest. Yeah,
Speaker 1: he really means there's not a lot of sachty in anything. Yeah,
Speaker 1: but he really means it.
Speaker 2: And I probably was a big Yeah he means that,
Speaker 2: I hope, so I'd be curious of people closest to
Speaker 2: him and think that you know, yeah, I got that,
Speaker 2: you know, so I mean, it's I at some point
Speaker 2: in my life I could have you know, that wuld
Speaker 2: have been I'd have, you know, forty answers for you.
Speaker 2: But that's just me, just a prick. You know. At
Speaker 2: some point once, especially once you have the opportunity to
Speaker 2: do it and you've gone through it and it's good,
Speaker 2: it's hard to like, you know, talk about anything I
Speaker 2: unless there's a level of like hubers that involved, or
Speaker 2: or some type of like behind the scenes shenanigans that
Speaker 2: you're aware of that you're kind of like, oh, that sucks.
Speaker 2: But even then, if the work of art like turns out,
Speaker 2: it doesn't excuse any bullshit, but it does, you know,
Speaker 2: temper it a little bit. You know. Again, I still
Speaker 2: don't want Linda Blair, you know, getting strapped to it
Speaker 2: and getting strapped to it a bed that really actually
Speaker 2: moves like that, and her yelling, screaming, saying stop stop,
Speaker 2: and she's not talking about the devil she's talking about
Speaker 2: you know, if that's real, if that's a true story
Speaker 2: in her back, I didn't know that. I love her. Yeah, yeah, what.
Speaker 1: Is You're in comedy, you're a comedian, You're very funny.
Speaker 1: What's the film subjective that may laugh. Well, I said
Speaker 1: it earlier, just invoked it.
Speaker 2: But like Step Brothers mcgroober, yeah, I mean like, I mean,
Speaker 2: I do. I think I think those are both. I
Speaker 2: remember seeing Step Brothers by myself in the theaters and
Speaker 2: I just like, I just laughed my ass off at mcgroober.
Speaker 2: I went to go see you know, I've seen many
Speaker 2: times and that's always one. So you do a certain
Speaker 2: age group that I grew up with, like movies like
Speaker 2: Schwarzenegger and and uh, you know stallone type films are
Speaker 2: Van Damn. I think mcgroober is so so great and
Speaker 2: it really like I remember seeing The Jerk, you know,
Speaker 2: and if you're going to see anything at the Hollywood
Speaker 2: Cemetery yet, yes, okay, great, yeah, so yeah I would.
Speaker 2: I would have hoped so. But I remember going to
Speaker 2: see The Jerk there a few summers ago, and as
Speaker 2: I'm watching it, I was just like, and I didn't
Speaker 2: love the Jerk the first time I saw it, you know,
Speaker 2: but in that same weird way that I think we've
Speaker 2: talked about, like with me and money Python guys pressed
Speaker 2: up like gals. And then I see it when I'm
Speaker 2: like twenty five and I'm like this is everything I
Speaker 2: fucking love, you know, and the movie is the same
Speaker 2: I changed, but the Jerk I love Steve Martin and
Speaker 2: like you know, three amigos I grew up with that.
Speaker 2: I was just a little bit too young to know
Speaker 2: him as like the comedy like you know, Eddie Murphy
Speaker 2: was was more of my generation. And when I saw
Speaker 2: The Jerk, I watched that I and I literally felt
Speaker 2: like I had like nine year old Will Forte sitting
Speaker 2: next to me and like and like I could see
Speaker 2: it like I feel emotional about because it's like I
Speaker 2: and it made me love the Jerk so much more.
Speaker 2: But then I also realized that, you know, and I
Speaker 2: don't know if Will or John Solomon or Yorma, who
Speaker 2: directed the film, like would would own this or but
Speaker 2: it feels to me like so much like what if
Speaker 2: the Jerk was an action hero. There's there's so many
Speaker 2: similar like kind of like and I don't mean he's
Speaker 2: ripping them off, I just mean influenced by it. It's
Speaker 2: just so it's so funny to me and so relentless
Speaker 2: and everything that I love about Will's style of comedy,
Speaker 2: it's just it's just one hundred percent original one hundred
Speaker 2: percent confident, no holds barred, and for him to have
Speaker 2: that sort of connection with his writing partner's good friend
Speaker 2: John Solomon, who I worked with the snel and then
Speaker 2: also our buddy Yrma Tacone who was one of the
Speaker 2: on the island guys to the three of them, and
Speaker 2: then also be able to harmonize, you know, with wigs
Speaker 2: and then all the you know, Ryan Phillippie, and I'm
Speaker 2: blanking on the fella's name who just passed away, who
Speaker 2: plays like the General like the way that everybody no, no, no,
Speaker 2: He passed away a couple years ago at this point,
Speaker 2: I'm blanking on his name, but incredible character actor, but
Speaker 2: he plays like the you know, the general, like he's
Speaker 2: the heavy and it's one of those things that I
Speaker 2: just it tickles me to no end, like it's just
Speaker 2: I love it. I think it's hilarious. Do Do Do
Speaker 2: Do Do Do Do Do Do Do Do to Do,
Speaker 2: to Do, To Do to Do. Welcome to the Patriots section.
Speaker 2: That's incredible and now do you have real music there?
Speaker 2: And that was that was great. Keep pocket that money
Speaker 2: for you. I mean it's gonna be how much.
Speaker 1: Welcome s the Patriots my patrons, what is the film
Speaker 1: that changed your perspective on something?
Speaker 2: Okay, there were a couple and let's see in order
Speaker 2: here at Beverly Hills Cop It was huge that and
Speaker 2: I go to see it at nine years old in
Speaker 2: the theater. But it was also like this fascination with
Speaker 2: like the humanity of race. You know, only one person
Speaker 2: says the N word, even though it's all about you know,
Speaker 2: class and race, you know, and Seddie Murphy, you know, Like,
Speaker 2: but I just loved how much how funny and how
Speaker 2: smart he was and how kind he was to everybody,
Speaker 2: even even the bad guy, you know, even the Victor
Speaker 2: Maitland for a good and Jonathan Banks character for a
Speaker 2: fair amount. And I think that movie is all about friendship,
Speaker 2: you know, And like I didn't know that at the
Speaker 2: time why I loved it, But looking back at it now,
Speaker 2: it's like, oh, I just I just love the way
Speaker 2: he's so it's very much very you know, last so
Speaker 2: very much rooted in the way he looks towards you know,
Speaker 2: Tagger and Rosewood, being like, you know, guys are super cops,
Speaker 2: you know, like, and he doesn't get mad when they
Speaker 2: caught when they rat him out. He's like it was working.
Speaker 2: I don't know, I don't get you guys, but I'm
Speaker 2: gonna figure it out. Like that's all there. But it
Speaker 2: was like there was just a level of humanity to that,
Speaker 2: and I love that it was in a black fellow,
Speaker 2: you know, like growing in the suburbs, you know, like
Speaker 2: we had a few people of color, like, you know,
Speaker 2: but like not not many at all, you know, And
Speaker 2: so it was lovely to just sort of be able
Speaker 2: to view that as this, you know, white kid from
Speaker 2: the suburbs and just he was just such a kick
Speaker 2: ass character doing doing right by people. I love the
Speaker 2: second one I brought up just a second ago, his
Speaker 2: boys in the hood, and that was lovely to see
Speaker 2: the music that I was listening to at that time.
Speaker 2: I was listening to a lot of gangster rapt like
Speaker 2: Iced T and NWA, and it was really really but
Speaker 2: I was a poser, you know, as a tourist, you know,
Speaker 2: I was just listened to it because you know, we
Speaker 2: all were and weren't supposed to do and all that stuff.
Speaker 2: I didn't really understand the stories behind these stories. It
Speaker 2: just all was you know, cops and robbers, you know,
Speaker 2: or you know, cowways and Indians back then, as we
Speaker 2: would say, And so bloods and crips were like, you know,
Speaker 2: different than sharks and jets from West Side Story. And
Speaker 2: then you see this movie and now that it's a
Speaker 2: documentary by any means, but the fact that it showed
Speaker 2: these very human sides of the of this, of these
Speaker 2: conflicts going on, and and and even a deeper understanding
Speaker 2: of why maybe those conflicts are going on and and
Speaker 2: why people gravitate towards those kinds of conflicts, and and
Speaker 2: the importance of having mentors or figures in your life
Speaker 2: or aspirations beyond those conflicts to help you like navigate
Speaker 2: the world, but also maybe even like circumvent those those conflicts.
Speaker 2: And so yeah, that that movie was a big one
Speaker 2: for me because it helped me feel a little bit
Speaker 2: more the again, like the humanity, the real side of this,
Speaker 2: of this art that I was ingesting unknowingly and whatnot.
Speaker 2: And then the other one that came to mind that
Speaker 2: really got me was Dead Man Walking, Oh great with
Speaker 2: you know, with with students rand And I remember watching that.
Speaker 2: I think it might have been when I was working
Speaker 2: a Blockbuster video and I remember watching it in my
Speaker 2: home because I would get five free rentals a week.
Speaker 2: My favorite thing was the five free rentals, and then
Speaker 2: the employees picks a number of which I've already I've
Speaker 2: mentioned and h but I remember watching Dead Man Walking
Speaker 2: and feeling that way about the death penalty. Just when
Speaker 2: she goes into her thing. It's just like so calculated,
Speaker 2: so control, you know, Like I was just like I
Speaker 2: was like, yeah, I was like, as bad as it
Speaker 2: can be. I don't know if it's I don't know
Speaker 2: if it's that bad. And I and I respect anybody
Speaker 2: who's gone through a situation where they've had but I
Speaker 2: am I am a believer in restorative justice. It's it's
Speaker 2: it's again an underlying theme of our TV show, whether
Speaker 2: we've ever spoken about or not. But I think some
Speaker 2: of that is deeply rooted in that film in the
Speaker 2: way I just you know sister, you know, preaging. I
Speaker 2: forget I say her last name, But I just found
Speaker 2: that to be very, very moving in a way that
Speaker 2: I wasn't anticipating. Yeah, I just wanted to watch you know,
Speaker 2: COOLi be a badass, Right, that's a great thing. Yeah, Yeah,
Speaker 2: I haven't watched it in probably since it was pure
Speaker 2: came out on video.
Speaker 1: Yeah, so you would. I'd love to know what your
Speaker 1: employee picks.
Speaker 2: Right. Some were already so so pulp fiction would have
Speaker 2: been in there. Probably die Hard, which I haven't mentioned
Speaker 2: but I but absolutely I think it's brilliant and all
Speaker 2: about fucking stupid guys are leaving Las Vegas would have
Speaker 2: been there. I mean, Golden Child probably would have been
Speaker 2: in there before Billy Hills Cop at that point, you
Speaker 2: know what I mean, without me, without me knowing it,
Speaker 2: just being like, oh, I'll pick the path let's traveled.
Speaker 2: Extracist rope rope was in there. Yeah. Did you enjoy it? Yeah? Yeah?
Speaker 2: Had you ever seen it?
Speaker 1: More? I was basically I think maybe the anw to
Speaker 1: come from ahead and see, Yeah, it's the ultimate there's
Speaker 1: a bum under the type.
Speaker 2: Yeah. H How film is tense? Yeahically it's great. It's
Speaker 2: automatically tense. Again, that was when I started getting that movie,
Speaker 2: when reading about how movies were made and the fact
Speaker 2: it was done you know, in these big sh and
Speaker 2: then people were moving furniture, and I love it again
Speaker 2: that the notion that just translated to me as being
Speaker 2: a former. At that point, just about the end of
Speaker 2: my basketball playing career, but people all working together for
Speaker 2: a common goal, even if they're on the bench. You know,
Speaker 2: they're not, they're not on camera quote unquote on the
Speaker 2: on the but the way they play, the way they practice,
Speaker 2: the way they need cheer and encourage from the from
Speaker 2: the sides, you know, I like, I found that fascinating
Speaker 2: love you know, Jimmy Stewart obviously, and then and then
Speaker 2: the fact that it was based on a real thing,
Speaker 2: you know, like the Leopold and Lobe murders. Who are
Speaker 2: you know, a couple you know, smarty pants that went
Speaker 2: to University of Chicago in like the forties and then
Speaker 2: you know, killed a guy for sport, you know, type
Speaker 2: thing getting a little bit wrong. But I loved that
Speaker 2: idea that you could take real life and then do
Speaker 2: something else with it, like kind of like almost get
Speaker 2: to replay it, you know, to a certain degree, you know.
Speaker 2: I mean we've talked about that. The elements of of
Speaker 2: our shows, like things that that through either my character
Speaker 2: or other people's characters, got to replay things that I
Speaker 2: that I you know, fucked up in my opinion, you know,
Speaker 2: and so instead of having regrets or guilt, you know,
Speaker 2: it's turning into our Color of Money would have been
Speaker 2: in there. But yeah, I mean there's anything. Oh Sleepless
Speaker 2: in Seattle would have definitely been there, I under saying,
Speaker 2: Willie Wonka nice. What's the greatest? I think the first
Speaker 2: one came to mind was The Hustler for me, oddly enough,
Speaker 2: the prequel, if you will, Color of Money, which is
Speaker 2: the way I love, I love sharing those movies with people. Now,
Speaker 2: is that because Color of Money is such a as
Speaker 2: you were saying, a banger, a hit, like the music
Speaker 2: everything boom, we gets you into these characters whereas you
Speaker 2: know a little more meditative, you know, a little more
Speaker 2: deliberate and slow and again black and white and all those,
Speaker 2: you know, things that some people estemily have issues with
Speaker 2: to watch The Hustler, But if they love the Color
Speaker 2: of Money, then you're okay. Now let's go back in
Speaker 2: time and watch how the son of a Gun became
Speaker 2: who he was, See where the fast that he came from.
Speaker 2: But I just I just think it's a great I
Speaker 2: love that scene because it's it sets it sets a tone.
Speaker 2: It's I mean, same thing with these ones that you
Speaker 2: say not to use, you know, Glorious Baster's raiders, you know,
Speaker 2: like where it sets a tone. It's not that you're
Speaker 2: taking care of of But then he's fucking great at
Speaker 2: what he does, and he's like and you're like, boom,
Speaker 2: you I know who the hustler is. I know what he's,
Speaker 2: what his deal is. Let's let's let's let's see what happens.
Speaker 2: But I think it was it Hitchcock or somebody that
Speaker 2: said that, like, you know, if you make a person
Speaker 2: good at their job, they're more likable, like that that's
Speaker 2: inherently likable or something some version of that. It may
Speaker 2: not be Hitchcock, that's interesting, but I think I like
Speaker 2: Stephen King doesn't, or like, you know, some King has
Speaker 2: the thing about how people in stories they love people
Speaker 2: at what they love people's jobs, but with they're good
Speaker 2: at it. I guess I feel like that there's someone
Speaker 2: there's there's something in my head that I've put in
Speaker 2: there a long time ago. I've attributed it to Hitchcock,
Speaker 2: but but maybe that's just all actors are cattle, and
Speaker 2: I'll just try to find the rosier side of it,
Speaker 2: you know. But it's something about if you know someone's
Speaker 2: good at their job, you know they're they're they're inherently interesting,
Speaker 2: maybe more than likable, but interesting, and so like I
Speaker 2: love that Martin Riggs and lethal Weapon is a fucking
Speaker 2: like badass shot. Yeah, you know, like right, like like
Speaker 2: the fact that he could take a dude out from
Speaker 2: from that far away. It was great. It's like he's
Speaker 2: not just crazy, he's also very good good yeah right,
Speaker 2: but yeah, the Hustler is one that that that that
Speaker 2: comes to mind. We use the end in episode we do. Yeah,
Speaker 2: that was a fun day on set to like to
Speaker 2: show all those those young fellas like me holding on
Speaker 2: my iPad like Lloyd Dobbler in his boombox and saying anything,
Speaker 2: I'm like holding up the November like this is what
Speaker 2: we're doing. This is what we're doing.
Speaker 1: We tried to explain it. Then you're like coming here
Speaker 1: and everyone and they just watched They're like, yo, that
Speaker 1: movie looks so dope, and it's like, hey, the movie's great,
Speaker 1: but everybody get what they're doing.
Speaker 2: Would we do that? Two takes? Three takes like whenever
Speaker 2: we did those like those fucking dudes, I mean, but
Speaker 2: that's what I love about working with former athletes and
Speaker 2: theater folk is like like they understand blocking they understand,
Speaker 2: like they understand running a play, they understand the purpose
Speaker 2: of the play, like oh maybe I'm just here to
Speaker 2: just have this little moment. Nobody makes it too much
Speaker 2: about themselves. But I love that ending of that episode.
Speaker 2: I mean that the Fear character most specifically, and the
Speaker 2: song is perfect. But just watching everybody take their little
Speaker 2: moment and knowing what we're doing. It's quickly specific handshake
Speaker 2: for everyone yeah yeah, yeah, yeah, or tap hero tap
Speaker 2: there and then and then you tap on the sign
Speaker 2: and off we go onto the finale. What's the greatest ending?
Speaker 2: Do you know? My answer? I've talked about a lot.
Speaker 2: We watched it in the writer's room, not a bunch
Speaker 2: of beliefs. I remember it being the thing even this
Speaker 2: last season. I think third Man. Oh yeah, like yeah,
Speaker 2: I mean we specifically was the ending? Yeah, we never
Speaker 2: used that day right now? I forget. I remember why
Speaker 2: we watched it. There's there's something, there's something in the
Speaker 2: show that's that's rooted, isn't it visually?
Speaker 1: Like when bid comes up behind said, when the phone
Speaker 1: talks about maybe, but it's obviously.
Speaker 2: That it's Yeah. I can't remember, I can't I can't remember.
Speaker 2: Why may have been a storyline that we didn't actually
Speaker 2: end up manifesting. But regardless of the end of that yeah,
Speaker 2: the end of that movie, because I think it's real.
Speaker 2: It doesn't mean that he doesn't chase her, it doesn't
Speaker 2: mean that, you know, like whatever. But but for the
Speaker 2: end of that of that specific story of that movie, yeah,
Speaker 2: I just think it's badass. And it's so you got
Speaker 2: the Anton kars score, you got the you know, like
Speaker 2: the leading man leaning against his car and here she
Speaker 2: comes walking down this beautiful tree line street and you
Speaker 2: know what's gonna happen. You know what's gonna happen. And
Speaker 2: then she did what happened, and it's it takes it
Speaker 2: takes a while, and it's not but it's one of
Speaker 2: those times that one of those things that we talked
Speaker 2: about like in the in the writs room here and
Speaker 2: there's like, yes, scene can take its time when it
Speaker 2: has a good you know I would say punchline, like
Speaker 2: even if it's not for a laugh, it's like, oh
Speaker 2: but if you know what it is, like we could
Speaker 2: take we could have James Tart like keep needling his
Speaker 2: son from and make that slow walk across the room
Speaker 2: because we know that Roy's gonna make that quick rock
Speaker 2: across after after he gets escorted out, so it's gonna
Speaker 2: be like this, and then you're then you don't even know.
Speaker 2: We didn't have the George Harrison's on at that point,
Speaker 2: but you knew. It's like it's one of those things
Speaker 2: that you I know, it'll it'll present itself when it's
Speaker 2: supposed to be. You know, It's just we didn't need
Speaker 2: it there. It already had music to it. I had
Speaker 2: you know, lifts and drops and falls, and you know
Speaker 2: like it felt orchestrated in a way that was just
Speaker 2: like working. I mean, we pretty much worked backwards from
Speaker 2: that Hug if I remember correctly, like not or to
Speaker 2: a degree, like I remember seeing the Hug very clearly,
Speaker 2: and just feel like, Okay, what's your favorite film? I
Speaker 2: don't know if I've seen it yet. You know, having
Speaker 2: a dad who didn't necessarily or still having a dad
Speaker 2: who doesn't necessarily know his role or or or didn't
Speaker 2: have it to pull from whether what to do or
Speaker 2: what not to do, just not there. And then being
Speaker 2: an older brother. I feel like movies and certainly television
Speaker 2: provided me with a bunch of examples of older brothers,
Speaker 2: you know, uncles. It was always kind of funny to
Speaker 2: have like a famous uncle when I also had all
Speaker 2: these other people that almost maybe subconsciously considered uncles, whether
Speaker 2: it be Tom Hanks and Michael Keaton and people that
Speaker 2: I've actually like got to hang out with at this
Speaker 2: point through we started out live or just you know,
Speaker 2: one reason or another. Music was always that felt that
Speaker 2: way too. That it's hard for me to say what
Speaker 2: the favorite is because it changes. It changes all the time,
Speaker 2: changes all all the time to day to day, the
Speaker 2: day that you were assassinated. Yeah, I mean, I'm trying
Speaker 2: to shake it, but it keeps like post society, which
Speaker 2: I wouldn't haven't mentioned at all, but it's like it's
Speaker 2: like human and Christmas.
Speaker 1: You did that as a play a play, and I
Speaker 1: didn't know you or live in I see it.
Speaker 2: Probably the movie holds up. You'd probably better off. All
Speaker 2: the fellas were great, and I you know.
Speaker 1: Did you do it knowing the film as well as
Speaker 1: I'm assuming you did, like as in.
Speaker 2: It wasn't doing an impression. I did it my version.
Speaker 1: You were the things we like. I have to not
Speaker 1: do that just because it's a bit like like was
Speaker 1: it devid tricky that.
Speaker 2: No, it wasn't. It wasn't that it didn't feel that way,
Speaker 2: and I certainly wasn't directed that way. And Tom Shulman
Speaker 2: wrote the play, but it was like the first first
Speaker 2: time it had been done so flowing John Doyle, who
Speaker 2: was a lovely man, accomplished director in New York on Broadway,
Speaker 2: et cetera. And then then a bunch of young fellas
Speaker 2: you know, and one gal played knocks over streets, you know,
Speaker 2: the woman he yearns for. But no, there were in
Speaker 2: times going past, like like when I when I would
Speaker 2: do like I didn't do plays in high school, I
Speaker 2: would do like a speech and debate class, and we
Speaker 2: would do scenes. We would do like scenes from like plays,
Speaker 2: but sometimes from movies and like you know, a few
Speaker 2: good men with the court room scene, you know you
Speaker 2: can't handle it, tru I'd play the Tom Cruise part.
Speaker 2: My buddy Ryan would play the Jack Nicholson parsity of
Speaker 2: to like you know, seventeen year olds trying to do
Speaker 2: you know, like heavy duty scene like I want the truth,
Speaker 2: you know, did you order the code red? And we
Speaker 2: would do it for like, you know, on Saturday mornings
Speaker 2: at like competing high school, you know, for like whatever
Speaker 2: for class credit and grades and whatnot. But I would
Speaker 2: always try to do an impression straight up of like
Speaker 2: trying to do Tom Cruise, like his cadence how when
Speaker 2: he got mad? At how he and how he got mad,
Speaker 2: And it was kind of interesting, and I sort of
Speaker 2: took that same idea like the Second City when I
Speaker 2: when I worked there, because when you first worked there,
Speaker 2: if you get the chance, like in the touring companies,
Speaker 2: you do archives scenes, you do scenes that you know
Speaker 2: people had done before. And I would pick scenes based on,
Speaker 2: you know, a couple of people that I really really aspired,
Speaker 2: you know, to be, like a guy named Scott ad Said,
Speaker 2: guy named Kevin Dorf. They were both like, you know,
Speaker 2: heroes of mine, and Kevin even at that point, even
Speaker 2: being like an older brother mentor to me when I
Speaker 2: first got there, and I'd watch their scene and I
Speaker 2: would just basically do impressions of them. But people didn't
Speaker 2: know you're doing impressions of them because they weren't qute
Speaker 2: unquote famous, like as if you were doing Humphrey Bogart
Speaker 2: or something like that, Chris Farley, you know, And for me,
Speaker 2: it was just all about trying to serve the peace,
Speaker 2: trying to get the same laughs that the person who
Speaker 2: created the role got right. So now I'm not trying
Speaker 2: to like keep up with that tally board in my
Speaker 2: head trying to get those lasts. So then it was
Speaker 2: like when doing when saying yes, the Dead Post Society,
Speaker 2: I'd already worked second city that had heroes or you
Speaker 2: know standing above me started out live like heroes legends
Speaker 2: like you know that just as ghosts standing and then
Speaker 2: in some real life, you know, in the living legends
Speaker 2: like you know, Wig and Bill and Andy and you
Speaker 2: know friend et cetera, you know, like right next to
Speaker 2: me at the same read through table. So I was
Speaker 2: like used to like taking on something Robin had just
Speaker 2: passed Robin and Robin Williams had just passed, you know,
Speaker 2: with you know, just a little it prior. And I
Speaker 2: just loved that role. I loved that role growing up.
Speaker 2: I loved watching it. I would always answer the question
Speaker 2: if you weren't doing what you're doing now, what would
Speaker 2: you do? Is like, oh, I'd like to coach basketball
Speaker 2: and teach you know, teach English or teach like you know,
Speaker 2: theater or something like that. So I here I get
Speaker 2: to pretend to be a teacher for a little bit
Speaker 2: as a you know, as a new a new father.
Speaker 2: I mean, I remember us performing that piece, that story
Speaker 2: the night of the election in twenty sixteen, you know,
Speaker 2: and it was very surreal to like and then and
Speaker 2: then even more surreal to do it in the in
Speaker 2: the nights following, you know, when they are like protests
Speaker 2: in Union Square Park, like, you know, just two blocks
Speaker 2: away from where we were, and yet when I go there.
Speaker 2: I went by there in between after a rehearsal and
Speaker 2: before our show, and I would I run into Josh Charles,
Speaker 2: who played Knoxcover Street. I was like, hey, and I'd
Speaker 2: known him because he'd come to see improv shows all
Speaker 2: the time. I say, hey, I'm doing this thing. He goes, oh,
Speaker 2: it's so great. He was, you know that in the
Speaker 2: movie John Keating was dying and then and then uh,
Speaker 2: Peter Weird told Tom to take that out. It's like,
Speaker 2: don't don't have him die, And I haven't die because
Speaker 2: that kind of takes away from the whole story. I mean,
Speaker 2: I'm telling you this is probably like gonna be sixty
Speaker 2: five percent correct based on the retaelling retelling, So you know,
Speaker 2: someone might know the story better and I would defer,
Speaker 2: but yeah, but just for him to share that, that
Speaker 2: was like, he's just very human with it, and he's
Speaker 2: you know, he's supportive of it, and like, you know,
Speaker 2: but then I go back and there, hey, I'm met. Yeah,
Speaker 2: you know, you know, I met, I saw and he said,
Speaker 2: you know, good luck and break a leg and he's excited,
Speaker 2: excited for us, and so asking the way those things change,
Speaker 2: and just even even during production and process and and yeah,
Speaker 2: Tom Shuman won the Oscar for that screenplayer. Would he
Speaker 2: have if if if he'd been dying, I don't know,
Speaker 2: or would people have been like that's too much. Just
Speaker 2: have him, get him, have the have the romantic get
Speaker 2: booted from the school because of bureaucracy, and we'll vote
Speaker 2: for that.
Speaker 1: But if he's dying, that's a bridge too far, that's sacase.
Speaker 1: You've been wonderful, Thank you exps much. However, yeah, you
Speaker 1: when you were playing basketball, mind and you being very
Speaker 1: good at basketball as you are, but from behind you
Speaker 1: could be mistaken. It's certainly for him enough a window
Speaker 1: for a former president and someone was trying to fascinate
Speaker 1: that form president for various important political reasons, and they
Speaker 1: pulled the trigger bank back of the head dead. I
Speaker 1: remember when a sway can you replicate it with your web?
Speaker 1: They had a silence around. I was walking along the court,
Speaker 1: walking around to Brooklyn, right with my coffin, you know
Speaker 1: what I'm like, and I see lot of people standing
Speaker 1: around the court not playing. I'm like, play boat, what
Speaker 1: are we doing? And everyone goes I think the former
Speaker 1: president's been shot. I go, what former president?
Speaker 2: Play?
Speaker 1: I come on the court and there you are, dead,
Speaker 1: splattered on the court everywhere.
Speaker 2: It's a mess.
Speaker 1: And because of the impact ability, your face has spread
Speaker 1: out across the corn got like, oh, caught amongst thetomach.
Speaker 2: Yeah, I'm sure probably at that point would be just
Speaker 2: concrete conc outside.
Speaker 1: So I'm like, oh god, guys, can anyone get a digger?
Speaker 1: We get a digger, have to drill into the concrete
Speaker 1: to get all the bits of your stuff, all of
Speaker 1: you in this.
Speaker 2: Banks Yeah they have to do with banks. Yeah.
Speaker 1: Yeah, well it's exactly like you wear a banks. That
Speaker 1: was the twist. Damn this guy, yeah or girl, I
Speaker 1: don't know. I push everything in the coffin. But there's concrete.
Speaker 1: There's more of you than I was expecting. Certainly visually,
Speaker 1: I hadn't predicted this much heavy stuff heavy as well,
Speaker 1: very heavy. But I'm strong. But it was difficult anyway.
Speaker 1: I get everything in the coffin, but it's jammed. There's
Speaker 1: no room in there. There's only enough room for me.
Speaker 1: Just slip one DVD into the side for you to
Speaker 1: take across to the other side. And on the other
Speaker 1: side is maybe night every night, what film are you
Speaker 1: taking to show? The tacos in Heaven? Is your maybe
Speaker 1: Jason c Day case place.
Speaker 2: If possible, takes seasons one, two, and three of Ted
Speaker 2: Lasso here. That is just to just you know, just
Speaker 2: be like yeah, but then maybe that's lovely. I mean
Speaker 2: that feels that feels technically a film. But it's one
Speaker 2: big film. It's true. It's not the you know what
Speaker 2: I said.
Speaker 1: It was one big film, one big three hour story,
Speaker 1: you know, one big, one big, old, big old story.
Speaker 2: Because we definitely did more than three hours. M three acts,
Speaker 2: three acts, three acts. Right, Yeah, you know what I'll do.
Speaker 2: I'll take a sleepless in Seattle because it's you. I'm
Speaker 2: gonna let you take. They have like a case logic,
Speaker 2: like the slide playing take a couple. I mean, I
Speaker 2: don't have to take Ted last season one through three.
Speaker 2: They can, well they can probably if they go out.
Speaker 2: Yeah that's where they're in the eye cloud, but they
Speaker 2: just call it a cloud. Yeah, okay, you can have that,
Speaker 2: and then take Sleepless in Seattle.
Speaker 1: Yeah, Jason, before we sign off, may I say in
Speaker 1: public on here, thank you for everything. Thank you for
Speaker 1: changing my life, thank you for having me on the boat,
Speaker 1: thank you for all of it. If this is the
Speaker 1: end of it, I will miss it. But it's been wonderful.
Speaker 1: And if it isn't great.
Speaker 2: It's this conversation. This is if we're both assassinated on
Speaker 2: the way out of here, Oh the irony? Does someone
Speaker 2: have the code to get this podcast out if we
Speaker 2: if we are assassinated before you get in there?
Speaker 1: And I think if we are assassinated on the way,
Speaker 1: I sort of hope no one has the code, and
Speaker 1: then that it becomes like a oh yeah sort of
Speaker 1: thing that's talked about. I think there was a book
Speaker 1: I heard they had just on a podcast. Yeah, but
Speaker 1: no one has a code to get the recording. Yeah,
Speaker 1: it'd be great, and I must prefer that. Yeah, let
Speaker 1: me send a text. Let me just let me get
Speaker 1: in touch to the kind of assassin if if you
Speaker 1: find the right guy, Gallio, we need one.
Speaker 2: Yeah, and we could if we stand nice enough to
Speaker 2: magic bullet, magic bullet side and just through right right
Speaker 2: through your head, right through my heart, it go down. Yeah, something,
Speaker 2: we're the MythBusters when you need them. Is that possible?
Speaker 2: Fellas you have? I think it is. I've done it
Speaker 2: in a in APERI Games. It must thank you and Bessie.
Speaker 2: We almost didn't talk about Fortnite at all, did Yeah,
Speaker 2: well we got it. And is that anything you would
Speaker 2: like to tell people to look out for listen to
Speaker 2: in the coming Yeah, those angels that we spoke about earlier, Yeah,
Speaker 2: look out for those guys. Yeah, keep an eye out
Speaker 2: for him or if you can't see one, it must
Speaker 2: mean you are supposed to be that for someone else.
Speaker 2: Like really like, if you.
Speaker 1: Talk long enough something interesting, people would take it is me,
Speaker 1: that's the thing. If you need meaning, Yeah, it's always there. Yeah, exactly, Yeah, absolutely, leaning,
Speaker 1: Thank you, Jason, thank you, bra thanks for having me,
Speaker 1: thank you for doing good time. Take you ask me,
Speaker 1: I don't know that. Good days and have a wonderful dear,
Speaker 1: thank you, I love you. Good night. So that was
Speaker 1: episode two hundred and sixty two. Head over to the
Speaker 1: Patreon at patreon dot com. Forward slash Brett Goldstein for
Speaker 1: the secret and the video with Jason. Remember to watch
Speaker 1: all of Ted Lasso on Apple TV plus go to
Speaker 1: Apple Podcast. Give us a five star writing but right
Speaker 1: about the film. It means the most to you and
Speaker 1: why it's a lovely thing to read. The Nabor Marian
Speaker 1: loves it and it's all very appreciated. Thank you so
Speaker 1: much for listening. Thank you to Jason for being so
Speaker 1: good and giving me all his time and changing my life.
Speaker 1: Thanks to Scrivius, Pip and the Distraction Pieces Network. Thanks
Speaker 1: to Buddy Peace for producing it. Thanks to iHeartMedia and
Speaker 1: Will Ferrell's Big Money Players Network for hosting it. Thanks
Speaker 1: to Adam Richardson for the graphics and list A Laden
Speaker 1: for the photography. Come and join me next week for
Speaker 1: another brilliant guest. I hope you're all well. That is
Speaker 1: it for now. In the meantime, have a lovely week
Speaker 1: and please down more than ever, be excellent to each other.
Speaker 1: Back back back back back