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Speaker 1: Look man, oh, I see you? Why why and look

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Speaker 1: over there? How is that culture? Yes? Goodness, ding Dong

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Speaker 1: lost culture. Okay, I have to say I was going

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Speaker 1: to try something like I was gonna do it with

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Speaker 1: a deep voice, but then I chickened out of the

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Speaker 1: last second and go ding Dong law school Jerusale's calling.

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Speaker 1: I thought it might be funny, but then I chickened

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Speaker 1: out of the last second. What does that say about me?

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Speaker 1: It means it's spooky season. So you wanted to spool,

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Speaker 1: wanted to scare me, but then you were scared yourself.

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Speaker 1: Kind of officially fall, there's no way of saying it's

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Speaker 1: officially fall. So autumn vibes definitely spooky, scary in the air, etcetera.

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Speaker 1: Haunted houses are definitely packing up. Um those actors are employed,

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Speaker 1: thank god, thank god, and wait all year for the

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Speaker 1: season to scare and spook. Do you think I do

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Speaker 1: you think there are swings that haunted houses, like there's

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Speaker 1: a there's a there's an understudy for you know, Freddy

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Speaker 1: Krueger or something. Legally, they I think there has there

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Speaker 1: has to be. I think legally, I hope, I hope

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Speaker 1: they're unionized. If the Haunted House workers aren't unionized, then

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Speaker 1: we need to start getting on that. Then Halloween is

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Speaker 1: cancer period. Then Halloween is canceled. If I don't know

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Speaker 1: that my girls, my fellow actors, my community are safe

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Speaker 1: in their place of work, because when they come out,

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Speaker 1: think about how physical it is for them to get up,

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Speaker 1: like poke behind a curtain like this, so physical. Oh

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Speaker 1: my god, you just said, readers, you didn't see that.

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Speaker 1: But Matt just kind of kind of mind poking out

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Speaker 1: of curtains. I think there was curtains. Tell me this

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Speaker 1: isn't what it's like in a haunted house. Tell me

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Speaker 1: it's not. Yeah, no, for sure, And I'm not even joking.

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Speaker 1: This doesn't even a bit like they need to be

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Speaker 1: protected because you never, because because never is an audience

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Speaker 1: more hostile in a performance setting then in a haunted

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Speaker 1: house where they were like where these people kind of

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Speaker 1: have permission to be like ah and like hit you.

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Speaker 1: I'm so shy too that every year rolls around and

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Speaker 1: we don't hear more about guests sort of striking back.

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Speaker 1: It's like it's truly, if anything, that the Haunted House

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Speaker 1: employees are more in danger than the actual guests. You

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Speaker 1: know what I mean it's on bowen because also they

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Speaker 1: have the knowledge of where to go if something does

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Speaker 1: go wrong, like the like you know what I'm saying,

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Speaker 1: they can see everything, like you know what I mean,

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Speaker 1: Like these guests are just sort of flailing through. God awful,

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Speaker 1: just awful, and it's so scary to think about. Well, um,

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Speaker 1: I didn't even mean to bring this up as uh,

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Speaker 1: sort of leading into our guests a sort of segway

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Speaker 1: if you will, But God, do you ever have one

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Speaker 1: of those shows where you go, oh, I wish that

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Speaker 1: would come back, but then you go, oh, I wish

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Speaker 1: that would have been off COVID? Well a story like COVID.

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Speaker 1: Let me tell you something. It's never been told like

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Speaker 1: this before these have been through. We're gonna talk about that.

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Speaker 1: We're gonna talk about this with our friends, our guests.

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Speaker 1: We're gonna make them relive their their professional trauma, live

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Speaker 1: on their on lost culturing stuff. It's gonna be really

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Speaker 1: really cool. Really was the first moment of like, oh no,

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Speaker 1: this is really this is a this is a global thing.

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Speaker 1: Where are when when it affected losest bookies? We know, Okay,

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Speaker 1: this has gone COVID has gone international, has crossed hemispheres

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Speaker 1: has gone down south to Chile. It attacked the production. Well,

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Speaker 1: the faith they say about COVID is it attacks productions

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Speaker 1: first and then it goes out from there. But it's

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Speaker 1: the virus is becoming very intelligent and it wants to

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Speaker 1: have our favorite shows, productions, the smartest favorite shows. It

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Speaker 1: wants to It wants to destroy our favorite shows from

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Speaker 1: the inside out. That's what they're saying now. Ms. Rochelle Wilenski,

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Speaker 1: Um of the CDC, she just came out and said that.

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Speaker 1: She said, I didn't I didn't know who was leading

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Speaker 1: the CDC. Good for you for keeping up with Zelenski.

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Speaker 1: But I believe it's pronounced. You know what I'm saying,

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Speaker 1: as w's off and our again, this is an international thing. Um.

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Speaker 1: But here's the thing. Here's the thing about Lost of

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Speaker 1: Spookies And for people like me who gets sort of scared,

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Speaker 1: this is more funny than scary, you know what I mean.

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Speaker 1: Like this show, it's really more funny than scary. It's

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Speaker 1: like the Haunted Mansion that doesn't the world. It's like, yeah,

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Speaker 1: of course the like presents us like spooky is scary,

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Speaker 1: but really it's really more funny it's really more funny

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Speaker 1: for me. But this is the thing is that the

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Speaker 1: things that they are asked to do on that show

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Speaker 1: bec says huge fan TVH. I mean, I'm sure she's

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Speaker 1: she's a person who likes, who has tastes good things.

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Speaker 1: In this week's episode, you had our four principles hanging

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Speaker 1: from fucking crazy racks on in a graveyard. I said,

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Speaker 1: this is watch the goal. This is a practical effect

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Speaker 1: that we're not seeing in other things. You know, my

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Speaker 1: biggest problem with Marvel is it's not you know what

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Speaker 1: I mean, Like when they go out to space. I

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Speaker 1: would like to see that, but not be like that's

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Speaker 1: a card, damn cards, you know what I mean. Like

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Speaker 1: my girls were really truly hanging in the show. Yeah,

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Speaker 1: I want to see more of that, more practical. My

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Speaker 1: girls were dressed in a sea monster costumes, sitting on

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Speaker 1: a runting a rock in the middle of the ocean

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Speaker 1: while the waves crashed. I actually found that to be scary,

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Speaker 1: Like I was watching it. I was watching it and

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Speaker 1: I was like, okay, take myself out of knowing that

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Speaker 1: it's more funny than scary, Like and just was like

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Speaker 1: in a world where like I'm walking into this and

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Speaker 1: I don't know. Am I scared? And I saw the

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Speaker 1: sea creature and I was scared for sure, a little

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Speaker 1: bit like if I saw that in real life. Forget it,

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Speaker 1: forget it. We need, we need, we need, we need

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Speaker 1: to bring them in. This is so exciting. Yeah, so

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Speaker 1: they can explain how they achieve all of this great stuff. Absolutely,

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Speaker 1: it really is an incredible show. If you if you

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Speaker 1: aren't already watching its Loss Bukie season two, are the

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Speaker 1: the our guests, are the co creators of this wonderful,

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Speaker 1: wonderful program. When you said, hbl baby, it's not TV,

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Speaker 1: it's low spo. There you go. Everyone, please welcome and

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Speaker 1: a brea Hi. The last time you guys came on,

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Speaker 1: Do you guys remember this was when I'm in the

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Speaker 1: mistake of calling Poppy Juice a circuit party. I remember that.

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Speaker 1: I remember that. And then and then they reached out

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Speaker 1: and they were like, what why did you say that?

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Speaker 1: And I was like, I don't know. I don't know

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Speaker 1: what circuit parties are, but now I do. Now you know,

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Speaker 1: what do you prefer? I think that's similar to like

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Speaker 1: if someone said that you do skits. No not even

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Speaker 1: It's like said that I do. If someone said that

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Speaker 1: I do ad libs, oh s, that's that. That's that

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Speaker 1: ad libs show. If they called Saturday Night Live a review,

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Speaker 1: like there's a popular weekly review. Yeah, that's it's like that.

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Speaker 1: It's like that. It's like that anyway. Not a circuit party, Well,

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Speaker 1: these are two party animals. How do you define a

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Speaker 1: circuit party? A circuit party is the circuit party is

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Speaker 1: a party that travels. There's literally a circuit there's like

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Speaker 1: there's like a circus well kind of and like Dumbo,

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Speaker 1: like I don't want to go to a circus party

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Speaker 1: for real. Like if they cleared out all the animals

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Speaker 1: and just let you party in the circus area, that

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Speaker 1: could be fun as heck, like and they maybe like

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Speaker 1: you jump on the trampolines and stuff. And this is

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Speaker 1: assuming that there's trampolines at the circus. I don't know.

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Speaker 1: I haven't been in a long time, but I feel

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Speaker 1: like that's one of those things. I feel like that's

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Speaker 1: one of those high concept ideas that sounds really fun

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Speaker 1: on paper and then logistically it's it's just not fun.

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Speaker 1: Do you guys think I want I want to put

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Speaker 1: a question to the group, is it possible to have

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Speaker 1: a circus themed party that is not heterocepxtual and aesthetic, Like,

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Speaker 1: is it possible to clear a circus party in the

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Speaker 1: look and the feel of it? I think I'm fortunately yes,

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Speaker 1: but in but in a way that we wouldn't enjoy it,

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Speaker 1: because it's like Joak and Booster says, like a Great

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Speaker 1: Gatsby party will always away, always frustraight, no matter what.

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Speaker 1: That is correct. Also the same goes for a Madman party. Yes, yeah,

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Speaker 1: but also we don't need to do those parties. No,

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Speaker 1: it's true. No, I absolutely agree. I said, but if

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Speaker 1: if it were to come to that that someone's held

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Speaker 1: gun into your head said you need to throw a

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Speaker 1: queer circus party, which you could do? You think that's possible,

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Speaker 1: Julio saying yes, but yeah, but it would be lame,

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Speaker 1: it would be I think I think that, like I

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Speaker 1: So the other night I found myself going to Union Pool,

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Speaker 1: which I haven't been to since college dangerous, and it

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Speaker 1: was like, oh, yeah, like these people need a gimmick.

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Speaker 1: They need a little taco truck in the back. They

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Speaker 1: need like little tickets to get their pizza. Gets for pizza,

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Speaker 1: and the tickets for drinks. It's like, can we bypass this?

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Speaker 1: Like what is the tickets of it? All? They need?

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Speaker 1: They need like, oh, it's really good because it's like

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Speaker 1: when you get a drink, they give you a little

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Speaker 1: ticket and then you get the pizza and it's just

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Speaker 1: like wow, you really need just task. You need a

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Speaker 1: task because each other's companies is not fa filion enough.

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Speaker 1: Oh no, you think so? You think that's what it says.

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Speaker 1: I think so yeah, wait, I think I know a

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Speaker 1: way to clear the circus party. You have the animals,

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Speaker 1: they're just sort of running them up. Sure, yeah, then

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Speaker 1: I think that circus party has become queer. Yeah, okay,

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Speaker 1: that's good. I mean, and I think we've we've talked

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Speaker 1: about this at at length, but I can't remember if

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Speaker 1: in public forms were privately but like about how every

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Speaker 1: cloth starre unfortunately months go space circus. So the circus Harris,

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Speaker 1: some of them are stuck in it, like pink right,

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Speaker 1: like profess what we're stuck in it? But cups must

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Speaker 1: go through a circus era because it plays with like

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Speaker 1: and that is that is when the pop starts coming

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Speaker 1: to terms with like feeling like a like a caged animal,

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Speaker 1: feeling like you know, it's just there to entertain feeling

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Speaker 1: like because it's it's very akin to like tears of

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Speaker 1: a clown, like I'm here for you, but like who's

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Speaker 1: here for me? Sort of like and then it's either

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Speaker 1: that or they go the other. They go with the

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Speaker 1: more aggressive route of grappling with their fame, which is

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Speaker 1: themes of surveillance like hands like get out of my face.

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Speaker 1: It's like yeah, it's like cameras everywhere. Uh So it's like, yeah,

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Speaker 1: it's one or the other. It's either like you take

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Speaker 1: take on those themes with sad this which its circus,

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Speaker 1: or with aggression, which is But every every pop star

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Speaker 1: does have a song about like the perils of fame

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Speaker 1: in a way that like I was listening to I

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Speaker 1: don't know if you've listened to like MO plus. Yeah,

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Speaker 1: so there's some new songs and one of them is

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Speaker 1: about like, yeah, going outside with a hoodie and sunglasses,

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Speaker 1: hope no one sees me paparazzi TMZ. And it's like

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Speaker 1: even Resale has got one. It's like they all have

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Speaker 1: to have the like this is me suffering for you, yeah, yeah,

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Speaker 1: comments on my public pain, right, even like the York.

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Speaker 1: But The York's was about divorce, like if if you

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Speaker 1: if you bypass, if you avoid circus or surveillance, then

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Speaker 1: your fate is written in stone, which is you will

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Speaker 1: write a divorce album, like Kelly Clarkson is about to

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Speaker 1: release her divorce album The York How to Be how

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Speaker 1: to Divorce album, Like there's no escape like these are

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Speaker 1: this is the maze And if Kelly Clarkson and b

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Speaker 1: York are both doing it, that's how you know. Truly

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Speaker 1: it's just truly international, which is which is the title

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Speaker 1: of app Truly International. I would I would say that

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Speaker 1: there's three eras, and I think the surveillance era sort

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Speaker 1: of sort of like is one of the sub genres

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Speaker 1: of one of these three. There's three. It's circus and

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Speaker 1: whatever fun you can have in the circus, there is

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Speaker 1: general dark. I'm unhappy and that can be for many

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Speaker 1: different reasons, one of which one of the top reasons

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Speaker 1: is surveillance perazzi, I can't live my life. And then

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Speaker 1: the third era that every pop star goes through is

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Speaker 1: of course Christmas slash Holiday. So once they've hit all

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Speaker 1: three actually have to be killed. They have this is interesting,

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Speaker 1: So you're saying that Christianity cannot be avoided. I don't

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Speaker 1: think so. In in, I don't think it can be. Yes,

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Speaker 1: we are living in a commercial, capitalist society, and therefore,

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Speaker 1: even if you do not have a connection to Christmas,

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Speaker 1: you do have to participate in it because it's a checkbox.

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Speaker 1: And you know this is probably their labels deciding or

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Speaker 1: whoever the hell, but you must at least pretend that

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Speaker 1: you decorate a treat. I can't wait for Arcas Christmas album.

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Speaker 1: I can't wait for our Game and Rosalia's Christmas album.

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Speaker 1: Christmas album is literally coming, yeah, I think, yeah, yeah.

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Speaker 1: The Spaniards love Christmas spinnings. I love Christmas. I literally

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Speaker 1: I was studing student. I were in Mayorka trying to

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Speaker 1: heal a cab and then like one of the caps

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Speaker 1: like sped off. We were waiting in line with some

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Speaker 1: people and then one of these girls, I think she

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Speaker 1: was local, she was like one of the girls just

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Speaker 1: screamed mommy, and it kind of was really fun to

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Speaker 1: hear out in the wild. I was like, oh, yeah,

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Speaker 1: like it's international. Why did I think this was just

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Speaker 1: I'm I'm stupid and thinking that this was only something

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Speaker 1: people in New York were listening to this international sound

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Speaker 1: is very New York whatever, It's stupid. Wait does LOSAs Spookies?

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Speaker 1: Is lois Spookies in Chile? Does it? Is there a

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Speaker 1: place in Chile for people to watch it? HBO Max,

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Speaker 1: isn't Chile? Great? Yeah? We know that in just like

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Speaker 1: that plate and Chia we know about while you were aware. Yeah,

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Speaker 1: the crew knew which idea was. Yeah, they were like,

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Speaker 1: They're like, the obsession and the fascination with D is

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Speaker 1: international and it's coming from the same place emotionally. Yeah,

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Speaker 1: everyone's shocked. Everyone shocks and yeah, yeah, well did you

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Speaker 1: see um the table ideas? Like there was there was

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Speaker 1: a picture of D as a script on the table

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Speaker 1: read and it really filled me with anticipation. I can't

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Speaker 1: even describe. I love an actor of posting a table

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Speaker 1: read pick. Yes, exciting coming together? Who knows what for

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Speaker 1: me this season? Did you guys? Did you guys do

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Speaker 1: table rates for season two? H right? Yeah it was

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Speaker 1: at Yeah, okay, So then what we were talking about

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Speaker 1: earlier before we brought you guys on is I will

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Speaker 1: never ever forget the face time call that we were

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Speaker 1: all on and I don't know I don't know if

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Speaker 1: you were in the bedroom with Julia was in the

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Speaker 1: bedroom with Sam Taggert and like Greta and like every

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Speaker 1: you guys were all in CHILEA and you guys were

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Speaker 1: you guys like yeah, we're all flying back tomorrow, like

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Speaker 1: mar They were like we don't know, like what customs

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Speaker 1: is going to be, like like it's crazy, like that

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Speaker 1: was that was like that was a really low moment

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Speaker 1: for I don't know his stream human history, but like

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Speaker 1: people I think and like and like like our our friends,

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Speaker 1: I think everyone being like oh did you hear like

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Speaker 1: Lusi's like they're all having to fly back in Chile

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Speaker 1: was hard for our friends going through productions. COVID hit

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Speaker 1: hardest with those of us m artists that were commis productions.

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Speaker 1: Very sad to me, were you okay? What so that was?

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Speaker 1: Mark was in New York. I was just in New York.

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Speaker 1: I remember faced hiding and then like yeah. It was

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Speaker 1: like Taggart and gret At being like this is this

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Speaker 1: is really crazy. We were like on the fence about

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Speaker 1: like what should we do? Do we wait? And once

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Speaker 1: border started closing, we were like we gotta get home now. Otherwise,

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Speaker 1: oh my god, and Sam Taggard became patient zero for

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Speaker 1: Oh yeah, Sam was our sort of like that's a

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Speaker 1: final straw, no more wait and see because he had

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Speaker 1: been at a show in New York and uh got

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Speaker 1: a call once he was back in Chile that he

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Speaker 1: was exposed to COVID and then we were called from

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Speaker 1: Comedy Central. So much. This was when you guys returned

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Speaker 1: this like we have to stop. It's here, it's too close.

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Speaker 1: It's among us. Yeah, it's among them to have comedy

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Speaker 1: sant Haggard to be a Comedy Central has brought COVID

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Speaker 1: toilet negative. But it was like, okay, so Sam might

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Speaker 1: have this like new Byras none of us know anything about. Yeah,

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Speaker 1: it was like it was like the thing of the

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Speaker 1: like one of the big reasons I might be wrong

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Speaker 1: on this, so nobody quote me, but it was one

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Speaker 1: of the big the big pathways of it going from

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Speaker 1: China to Italy was like people sat Taggard, it was

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Speaker 1: Sam's happen because they bring in new talent from that

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Speaker 1: It's never been seen before from Italy industry. Why no,

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Speaker 1: what what? What? What do you think? It was? It

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Speaker 1: was people? It was people going to fashion week in

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Speaker 1: Milan it was like fall fast in Milan in March

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Speaker 1: or whatever it was, people like were hanging out in

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Speaker 1: Shanghai or whatever the funk and then going to Italy

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Speaker 1: and then people from Italy taking it to New York.

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Speaker 1: That was like the sort of because he did follow

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Speaker 1: the trail is very fashion. It's very that a fashion. Yeah. Yeah,

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Speaker 1: and again the fact that it got to the least

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Speaker 1: fashionable places last, Yes, that's to arrive because yes, it's

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Speaker 1: so far, but then Red States took a while for

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Speaker 1: them to get hit because fashion fashion, we kind of

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Speaker 1: made it there. Yet the biggest successory. Yeah wait, yeah,

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Speaker 1: what we're gonna say about Santiago, Like it just took

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Speaker 1: a while. Yeah, it took a while. And then it

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Speaker 1: was the thing where like once cases started popping up,

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Speaker 1: it was rich people that had been traveling that had

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Speaker 1: come back. Yeah, okay. I feel like this season on

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Speaker 1: a SPOOKI is like you're really seeing like, um, Santiago, shine,

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Speaker 1: wealth or whatever you're You're you're seeing like a big

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Speaker 1: house in the hills and like like like um like

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Speaker 1: Tatti Tati's house. Um is yes, the houses and Sheila,

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Speaker 1: It's so funny. Rich people in Santiago love Marilyn Monroe,

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Speaker 1: And so when we scout, every house has like happy

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Speaker 1: pop art Marilyn Monroe paintings and like basements that are

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Speaker 1: decorated for the kids, that have like fax panels of

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Speaker 1: like big crowds. It like it's a very strange. There

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Speaker 1: was truly that mural with a circuit party. Actually, Like

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Speaker 1: there was one that had a crowd that had like

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Speaker 1: hands up in the air and it was like three

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Speaker 1: kids in the basement. Wow, when are we going to

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Speaker 1: hear her story? You know? Yeah? Out what was really

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Speaker 1: going on there? Do you guys feel like a location

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Speaker 1: scout is sort of the best kind of way to

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Speaker 1: see a place is to really learn about it. When

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Speaker 1: I travel, I look for location scouts so I can

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Speaker 1: doesn't really know a place. Yeah, I always make I

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Speaker 1: always be sure to like cook up with a location scout. Honestly, Yeah,

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Speaker 1: that's a hot job. I took a her. He's a

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Speaker 1: location scouting things craft, he's going to go. I worked

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Speaker 1: with a with a location scout on a different thing

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Speaker 1: here in New York, and I was interviewing location scouts

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Speaker 1: and I like didn't truly like how do you get

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Speaker 1: tommal conversation whether or not it's almost going to be

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Speaker 1: a good location scout right. Oh yeah. And I was

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Speaker 1: talking to her and she said, and I quote, I

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Speaker 1: love locations. Yes, you told me about her. Oh, she

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Speaker 1: will be in my life for the rest of my life.

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Speaker 1: And I love her. I love her the best place

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Speaker 1: to go. I adore her. Hy Elizabeth says, I love locations.

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Speaker 1: That that is really that is really meaningful because then

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Speaker 1: that means that like she loves all of it, right,

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Speaker 1: she loves going to places. She loves figuring out where

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Speaker 1: should go and the locations within a location, you know,

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Speaker 1: Like that that is a real skill. Like I don't

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Speaker 1: ever walk into a place and like you get a

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Speaker 1: feel for like the layout or like the traffic patterns

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Speaker 1: of it all. Like that's a very hard concern. I

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Speaker 1: feel like I'm always like underestimate what it takes to

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Speaker 1: make something happen in the place, and I like walk

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Speaker 1: into like uh, like some there's always a time in

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Speaker 1: pre production, whether the Loves the Spookies or anything where

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Speaker 1: I'm like, uh, what if we just do it there

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Speaker 1: in that corner, like whether everyone's like no, everyone's like no,

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Speaker 1: don't you see how that's And you're like I really don't. Yeah,

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Speaker 1: I'm like, well, what if you clear these asks and

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Speaker 1: we do it here in the office. But you know,

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Speaker 1: you know what I think about is that the people,

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Speaker 1: the people who have to put up the signs, who

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Speaker 1: have to tape up pieces of paper in these locations

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Speaker 1: and arrows to the bathroom, arrows to like crafty Like,

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Speaker 1: I'm like, that is like, I can't. I don't think

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Speaker 1: that way. I feel like that's a very that's a skill.

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Speaker 1: But how But you're saying, like, how do you know

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Speaker 1: how if someone's good at locations unless they say I

378
00:23:09,040 --> 00:23:14,400
Speaker 1: love Yeah, anyway, you also have a passion for staying

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Speaker 1: someplace and seeing it and then also going somewhere else

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Speaker 1: and seeing that place and staying there and being able.

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Speaker 1: And you know it's all about totality. Yeah, it's all abity. Well,

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Speaker 1: I think this season is perfect already and I can't

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Speaker 1: wait for more. My girl, Kim Petris is in it.

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Speaker 1: Kim is playing the Secretary of State, the secret Melanie's boss.

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Speaker 1: She's US ambassador. Melody Gibbons is boss Kim Petris in

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Speaker 1: her acting debut. I want to say, wow, Well, it

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Speaker 1: depends whether you consider music videos acting because so much.

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Speaker 1: So much what happens in film and television also happens

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Speaker 1: in music videos, such as hitting marks such as giving

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00:24:06,160 --> 00:24:10,479
Speaker 1: emotional intention. So is music video acting acting? I think

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Speaker 1: you have to answer that question Bowen before you ask,

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Speaker 1: is this Kim Patriss's acting debut? I think I think,

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Speaker 1: case by case, I think that sometimes it's an extension

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Speaker 1: of performing. Sometimes they do see it as like, oh,

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Speaker 1: I'm making a short film and I have lines like

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00:24:29,000 --> 00:24:33,000
Speaker 1: if like if we're talking like totally like what's there

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Speaker 1: a Katy Perry music video where she's like an old

398
00:24:36,680 --> 00:24:39,200
Speaker 1: lady makeup and she's like the one that got away

399
00:24:42,320 --> 00:24:47,800
Speaker 1: looking at a box of memories. She's she's extremely old woman.

400
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Speaker 1: In fact, the makeup artist probably did a little too

401
00:24:50,400 --> 00:24:54,880
Speaker 1: much house. Yeah, she looks maybe like the oldest woman alive.

402
00:24:55,280 --> 00:24:57,199
Speaker 1: She's in the future house and she looks through an

403
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Speaker 1: old box and then she flashes back to being young

404
00:25:00,000 --> 00:25:02,159
Speaker 1: Eaty Perry, and then only then it only matter she

405
00:25:02,240 --> 00:25:05,600
Speaker 1: able to tell the story. That's the device. Okay, see,

406
00:25:05,640 --> 00:25:09,600
Speaker 1: that's that's acting period. Yeah. But what I would argue,

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00:25:09,680 --> 00:25:12,240
Speaker 1: if there's no dialogue, they don't have to memorize dialogue.

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Speaker 1: Dialogue video it's like, what are you thinking about? Nothing?

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00:25:21,119 --> 00:25:24,040
Speaker 1: You thinking about the one that got away? Sure? Anna.

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00:25:24,119 --> 00:25:27,920
Speaker 1: On that note, I was gonna say that it's not

411
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Speaker 1: acting if the person is singing or lip syncing to

412
00:25:32,520 --> 00:25:35,760
Speaker 1: the words, But it is acting when it's cutting to

413
00:25:35,920 --> 00:25:39,200
Speaker 1: them and there's music playing, but they're not making any

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Speaker 1: shapes with their mouth that they're To me, the hardest

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00:25:41,840 --> 00:25:44,440
Speaker 1: kind of acting in a music video potentially is when

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00:25:44,880 --> 00:25:48,280
Speaker 1: they just have to like like you know, like like

417
00:25:48,440 --> 00:25:51,240
Speaker 1: like look, like emote, do something, you know, like kind

418
00:25:51,240 --> 00:25:53,880
Speaker 1: of like you're supposed to like get a peek into

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Speaker 1: your interior world or something, and they're just sitting there

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00:25:57,560 --> 00:26:00,200
Speaker 1: and they're just kind of like frowning or smiling or

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00:26:00,280 --> 00:26:02,600
Speaker 1: you know, doing or just holding an emotion. Does that

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00:26:02,680 --> 00:26:06,040
Speaker 1: make sense? Yeah? I think I mean that that is acting,

423
00:26:06,359 --> 00:26:09,320
Speaker 1: of course, But I would still argue that the dialogue

424
00:26:09,359 --> 00:26:12,840
Speaker 1: thing is a big difference, a big differentiator, because someone

425
00:26:12,920 --> 00:26:17,200
Speaker 1: who hasn't memorized dialogue before getting you know, sheets of paper,

426
00:26:17,280 --> 00:26:19,120
Speaker 1: that's like you have to memorize this. I think it's

427
00:26:19,200 --> 00:26:23,959
Speaker 1: very like, oh gosh, yeah, I can feel overwhelming um

428
00:26:24,080 --> 00:26:26,960
Speaker 1: and then having to like perform it, you know, not

429
00:26:27,080 --> 00:26:28,760
Speaker 1: just do you know it, But can you act the

430
00:26:28,800 --> 00:26:30,680
Speaker 1: way you did in your music video? While you say

431
00:26:30,760 --> 00:26:34,359
Speaker 1: these words, you should you should teach a class that

432
00:26:34,600 --> 00:26:38,119
Speaker 1: is for pop stars learning how to act? And oh,

433
00:26:38,160 --> 00:26:40,040
Speaker 1: I would love to n y U as an adjunct

434
00:26:40,080 --> 00:26:44,920
Speaker 1: professor acting. I think a lot of I think a

435
00:26:44,960 --> 00:26:47,120
Speaker 1: lot of the pop girls would go back and take

436
00:26:47,200 --> 00:26:48,840
Speaker 1: that class because I think a lot of them are

437
00:26:48,880 --> 00:26:52,400
Speaker 1: interested in acting clearly, I mean you see them all

438
00:26:52,520 --> 00:26:55,080
Speaker 1: out here. I mean not just Kim, I mean moving

439
00:26:55,119 --> 00:26:58,880
Speaker 1: beyond that. How many? What is the best pop star

440
00:27:00,000 --> 00:27:07,560
Speaker 1: acting performance? What is it? I guess share I think objectively, Yes,

441
00:27:07,760 --> 00:27:13,480
Speaker 1: yes I have something if you count for yes, yes,

442
00:27:13,920 --> 00:27:17,600
Speaker 1: I have a question another question, but I guess it's

443
00:27:17,680 --> 00:27:20,520
Speaker 1: what's the best pop star acting performance in a music video?

444
00:27:21,080 --> 00:27:24,200
Speaker 1: M and I have I have I have a bad answer,

445
00:27:24,280 --> 00:27:26,400
Speaker 1: but it's an answer that I will stand by for now.

446
00:27:27,480 --> 00:27:34,000
Speaker 1: It is It is Britney Spears and every time and

447
00:27:34,240 --> 00:27:38,199
Speaker 1: Lucky See Lucky. Lucky is really good because it's more

448
00:27:38,320 --> 00:27:40,240
Speaker 1: camp and it's more just like ticks you on a ride,

449
00:27:40,280 --> 00:27:42,080
Speaker 1: like she's having fun with it, and every time she's

450
00:27:42,119 --> 00:27:44,080
Speaker 1: trying to be dropped in and give you again peek

451
00:27:44,119 --> 00:27:49,040
Speaker 1: into her surveiled world. That's the one which she reincarnates, right, Yes,

452
00:27:49,119 --> 00:27:52,640
Speaker 1: that's the baby at the end. Yeah, well, every time

453
00:27:52,680 --> 00:27:56,439
Speaker 1: where she watches herself, she watches herself die, she watches

454
00:27:56,480 --> 00:27:58,960
Speaker 1: herself die. She gets into a huge fight with her

455
00:27:59,000 --> 00:28:01,200
Speaker 1: boyfriend and they barge into the huge mansion together and

456
00:28:01,240 --> 00:28:04,240
Speaker 1: she like throws ship. He kicks the lamp and she's

457
00:28:04,280 --> 00:28:07,520
Speaker 1: like yelling at him, like it's really raw. I actually

458
00:28:07,640 --> 00:28:10,560
Speaker 1: have what I think is a very close to correct

459
00:28:10,600 --> 00:28:14,080
Speaker 1: answer for this, and it's Rihanna in the Stay music video,

460
00:28:14,640 --> 00:28:17,359
Speaker 1: because it's just her in the tub and she just

461
00:28:17,440 --> 00:28:19,119
Speaker 1: sits in the tub the whole time. It's a wonner.

462
00:28:19,280 --> 00:28:21,240
Speaker 1: It's one shot of her in the tub, and she

463
00:28:21,440 --> 00:28:24,399
Speaker 1: only she only sings the lyrics sometimes the rest of

464
00:28:24,480 --> 00:28:26,320
Speaker 1: his or her sort of just as Bone was saying,

465
00:28:26,720 --> 00:28:29,280
Speaker 1: like sitting there and sort of living the song. And

466
00:28:29,359 --> 00:28:32,080
Speaker 1: then at the end she does like sing early lip

467
00:28:32,160 --> 00:28:34,960
Speaker 1: sync the end of it, and the very last shot

468
00:28:35,040 --> 00:28:36,960
Speaker 1: as her sinking into the tub, but you just see

469
00:28:37,240 --> 00:28:40,480
Speaker 1: her tears start to fall down and she just looks exhausted,

470
00:28:40,600 --> 00:28:43,000
Speaker 1: and I'm like, yeah, I mean, you can't tell me

471
00:28:43,120 --> 00:28:49,760
Speaker 1: this wasn't acting in this moment. I mean, she Rihanna

472
00:28:50,320 --> 00:28:53,800
Speaker 1: she gets out of her own way enough to access

473
00:28:54,160 --> 00:28:58,000
Speaker 1: an acting ability, whereas I think a lot of pop

474
00:28:58,120 --> 00:29:01,000
Speaker 1: stars get in their head about the fact that they

475
00:29:01,040 --> 00:29:04,360
Speaker 1: are acting with dialogue whatever it is, and then they

476
00:29:05,120 --> 00:29:08,440
Speaker 1: stop acting the second may stop singing, like you know

477
00:29:08,480 --> 00:29:12,600
Speaker 1: what I mean, like like it's so it's interesting, who's

478
00:29:12,880 --> 00:29:15,920
Speaker 1: a bad actor? They approach it the way they approach

479
00:29:16,040 --> 00:29:17,600
Speaker 1: lip syncing, which is you have to make it over

480
00:29:17,680 --> 00:29:20,520
Speaker 1: the top and whatever because you're not you know so,

481
00:29:20,640 --> 00:29:23,800
Speaker 1: So then they bring that same energy to acting and

482
00:29:23,880 --> 00:29:26,480
Speaker 1: then it feels like, oh gosh, you're trying so hard

483
00:29:26,560 --> 00:29:34,920
Speaker 1: to act. Like Kim was really good at she played

484
00:29:35,040 --> 00:29:40,160
Speaker 1: someone who really believed the words that she was saying. Yeah, Kim,

485
00:29:41,000 --> 00:29:47,120
Speaker 1: Yeah Kim, and good stuff. Yeah. They're so funny together,

486
00:29:47,720 --> 00:29:51,240
Speaker 1: and the friends now love it. They like hang out

487
00:29:51,960 --> 00:29:55,880
Speaker 1: the New Paris and Nicole. I think, I think the

488
00:29:55,960 --> 00:29:58,600
Speaker 1: power that Kim, Fachris and Gratis Heidelman could wield would

489
00:29:58,640 --> 00:30:02,720
Speaker 1: be very, very very ense. It would be very immense.

490
00:30:03,400 --> 00:30:06,200
Speaker 1: I really I had to write down the line because

491
00:30:06,240 --> 00:30:08,640
Speaker 1: I think it's I think it's I think I think

492
00:30:08,640 --> 00:30:10,840
Speaker 1: I get I think it's it's very representative of the

493
00:30:10,880 --> 00:30:13,600
Speaker 1: show in some way. But I don't know how. But

494
00:30:13,800 --> 00:30:15,680
Speaker 1: in the first episode of this season, I wrote down

495
00:30:16,240 --> 00:30:22,520
Speaker 1: Oliver Twigs like the movie was an important is an

496
00:30:22,600 --> 00:30:28,520
Speaker 1: important character that I hope an important character? Really? Yeah yeah,

497
00:30:30,920 --> 00:30:39,480
Speaker 1: yeah yeah. He runs a graveyard but just buries the

498
00:30:39,560 --> 00:30:42,120
Speaker 1: bodies and doesn't is not responsible for them being buried

499
00:30:42,160 --> 00:30:44,280
Speaker 1: in the right place because on paper, what you've hired

500
00:30:44,320 --> 00:30:46,280
Speaker 1: him to do is to bury the bodies, and now

501
00:30:46,320 --> 00:30:47,960
Speaker 1: if you want to know where they are, well, I'm sorry,

502
00:30:48,040 --> 00:30:50,360
Speaker 1: that's not that's not on him. That to me is

503
00:30:50,440 --> 00:30:52,320
Speaker 1: like such a I don't know, like I've missed the

504
00:30:52,320 --> 00:30:54,680
Speaker 1: show so much because that. I don't know. I just

505
00:30:54,720 --> 00:30:56,640
Speaker 1: feel like that is so you guys in your sense

506
00:30:56,680 --> 00:30:59,120
Speaker 1: of humor and just there's no show making jokes like

507
00:30:59,200 --> 00:31:04,440
Speaker 1: that does none none. Isn't it weird that comedy shows

508
00:31:04,480 --> 00:31:10,200
Speaker 1: aren't like silly? I think it is weird. I think

509
00:31:10,240 --> 00:31:12,960
Speaker 1: it is one of the one of the weirdest things

510
00:31:13,120 --> 00:31:15,800
Speaker 1: is that comedy shows aren't funny. It's such a phenomenon,

511
00:31:16,280 --> 00:31:18,920
Speaker 1: like it's like not that I'm not going to directly

512
00:31:19,040 --> 00:31:24,440
Speaker 1: like quote unquote shade the same shade, etcetera, all those things,

513
00:31:24,760 --> 00:31:28,720
Speaker 1: but it's just like, oh, that was that's filed under comedy. Huh. Interesting,

514
00:31:29,040 --> 00:31:31,080
Speaker 1: I don't I never want I never want to watch

515
00:31:31,360 --> 00:31:33,240
Speaker 1: a comedy show. And at the end of that was

516
00:31:33,400 --> 00:31:35,080
Speaker 1: a good point, you know what I mean, I'd like,

517
00:31:37,320 --> 00:31:40,000
Speaker 1: I think that so many shows feel like they have

518
00:31:40,200 --> 00:31:42,840
Speaker 1: to do that is to make you walk away going huh,

519
00:31:43,200 --> 00:31:46,440
Speaker 1: I never thought about it like that, and you don't

520
00:31:46,480 --> 00:31:50,400
Speaker 1: have to or or or you know, like I don't,

521
00:31:51,880 --> 00:31:54,400
Speaker 1: I like I think that huh. I never thought about

522
00:31:54,440 --> 00:31:58,880
Speaker 1: it like that is so much better than finally, yes,

523
00:32:00,280 --> 00:32:05,800
Speaker 1: oh god, it's about damn time. It's about damn time,

524
00:32:06,360 --> 00:32:08,720
Speaker 1: or even do you guys agree with this, or even

525
00:32:08,800 --> 00:32:11,440
Speaker 1: to come away from a show and go, wow, that

526
00:32:11,600 --> 00:32:17,600
Speaker 1: was really well balanced. Unless it's like parasite, unless it's

527
00:32:17,640 --> 00:32:19,960
Speaker 1: like a movie that switches genres in the middle or something,

528
00:32:20,040 --> 00:32:22,080
Speaker 1: then yeah, then that's great. Then that's a very formal

529
00:32:22,280 --> 00:32:25,560
Speaker 1: thing like it honestly like it should be well balanced

530
00:32:25,600 --> 00:32:28,320
Speaker 1: if if it's that, But like sometimes people are like, like, oh,

531
00:32:28,400 --> 00:32:30,200
Speaker 1: well we were What we really wanted was for this

532
00:32:30,320 --> 00:32:33,000
Speaker 1: to be grounded, and it's like who is leaving something

533
00:32:33,080 --> 00:32:37,200
Speaker 1: and being like I loved how grounded it felt so real.

534
00:32:37,640 --> 00:32:40,200
Speaker 1: That felt just like my that felt just like my

535
00:32:40,520 --> 00:32:44,080
Speaker 1: boring life, except except the people on the screen have

536
00:32:44,360 --> 00:32:46,600
Speaker 1: like so much makeup and their teeth are so white,

537
00:32:47,320 --> 00:32:50,240
Speaker 1: and the up are insane, and all the women have

538
00:32:50,400 --> 00:32:53,880
Speaker 1: like fake eyelashes, just like my life. It's like my life.

539
00:32:54,120 --> 00:32:56,320
Speaker 1: It's an interesting thing though, because like I think, like

540
00:32:56,440 --> 00:32:59,920
Speaker 1: this weirdly does fall under the banner of like people

541
00:33:00,000 --> 00:33:02,000
Speaker 1: want to see themselves reflected. But it's like at a

542
00:33:02,080 --> 00:33:04,160
Speaker 1: certain points, like, yes, that is true, like in terms

543
00:33:04,200 --> 00:33:08,000
Speaker 1: of diversity, obviously, like everyone should be reflected, everyone should

544
00:33:08,040 --> 00:33:10,120
Speaker 1: be on screen. But it's like I don't necessarily want

545
00:33:10,160 --> 00:33:12,440
Speaker 1: to see like something that looks like my life on

546
00:33:12,520 --> 00:33:15,080
Speaker 1: screen because I know it's boring. Like I do want

547
00:33:15,120 --> 00:33:17,560
Speaker 1: to see like the white teeth version of myself say

548
00:33:17,640 --> 00:33:20,760
Speaker 1: these things because they can feel so much more entertaining

549
00:33:20,800 --> 00:33:23,440
Speaker 1: than I can as a regular viewer, Like I would

550
00:33:23,480 --> 00:33:29,600
Speaker 1: so much rather my avatar Sandra Bullock like do this

551
00:33:29,920 --> 00:33:32,160
Speaker 1: for me, Like I don't want to see my own

552
00:33:32,200 --> 00:33:36,520
Speaker 1: life up up screen. See, I really don't like the

553
00:33:36,680 --> 00:33:41,080
Speaker 1: way that everyone on TV, particularly comedies, look like they're

554
00:33:41,080 --> 00:33:45,320
Speaker 1: in a Capital one commercial. They all looks so like

555
00:33:45,520 --> 00:33:48,840
Speaker 1: we've seen it. All the sets are so like meat

556
00:33:49,720 --> 00:33:53,240
Speaker 1: and you know, like during the during the pandemic, like everyone,

557
00:33:53,360 --> 00:33:55,560
Speaker 1: like everyone on Planet Earth. I rewatched Sex in the

558
00:33:55,600 --> 00:33:59,240
Speaker 1: City and the first season of Sex in the City

559
00:34:00,120 --> 00:34:05,960
Speaker 1: the carry's apartment on the on the edge of her door,

560
00:34:06,680 --> 00:34:10,319
Speaker 1: you could see like fingers mudges, which is a very

561
00:34:10,440 --> 00:34:13,480
Speaker 1: real thing. It's like, oh yeah, like this person is

562
00:34:13,560 --> 00:34:16,120
Speaker 1: like opening the door and placing her hand there and

563
00:34:16,239 --> 00:34:19,880
Speaker 1: she hasn't repainted obviously, and it's and then it's like

564
00:34:20,040 --> 00:34:23,080
Speaker 1: asked the series, you know, morphs into what we have

565
00:34:23,239 --> 00:34:26,040
Speaker 1: that which isn't just like that. Everyone looks like they're

566
00:34:26,080 --> 00:34:32,799
Speaker 1: in like earned sky miles by like like like an

567
00:34:32,920 --> 00:34:37,640
Speaker 1: oral b commercial. Yes, yes, it's it's interesting because they

568
00:34:37,680 --> 00:34:39,239
Speaker 1: get the budget to do it and they get the

569
00:34:39,360 --> 00:34:41,239
Speaker 1: time and energy to do it. Because that's another thing

570
00:34:41,440 --> 00:34:43,320
Speaker 1: is it's just like a lot of these things like

571
00:34:44,600 --> 00:34:47,080
Speaker 1: like you you only have so much time to shoot it,

572
00:34:47,120 --> 00:34:48,920
Speaker 1: and you only have so much money, as you guys know,

573
00:34:49,560 --> 00:34:53,080
Speaker 1: And so that actually can be a strength when you're

574
00:34:53,200 --> 00:34:57,080
Speaker 1: like leading into the reality of something because just because

575
00:34:57,120 --> 00:34:59,600
Speaker 1: you have the time, budget, energy, money to do this,

576
00:35:00,040 --> 00:35:03,719
Speaker 1: like Sex in the City two point oh, doesn't necessarily

577
00:35:03,840 --> 00:35:06,520
Speaker 1: mean that that's what we wanted to see. Maybe we

578
00:35:06,640 --> 00:35:09,759
Speaker 1: wanted to see like, you know, these characters that have

579
00:35:09,920 --> 00:35:13,480
Speaker 1: inherent glamour because they're played by these actresses in situations

580
00:35:13,560 --> 00:35:16,319
Speaker 1: that feel a little bit more realistic that maybe that's

581
00:35:16,400 --> 00:35:21,200
Speaker 1: the thing. Yeah, It's like the set dressing or the

582
00:35:21,560 --> 00:35:24,840
Speaker 1: art direction starts to mimic the sort of like perfect

583
00:35:24,880 --> 00:35:27,040
Speaker 1: look of the actor whose hair is never going to

584
00:35:27,120 --> 00:35:29,760
Speaker 1: move at a place, whose clothes is like perfectly ironed,

585
00:35:29,840 --> 00:35:32,000
Speaker 1: and and then it all starts to feel like none

586
00:35:32,040 --> 00:35:36,359
Speaker 1: of it feels so uh like not lived in by

587
00:35:36,400 --> 00:35:40,000
Speaker 1: either performers or the sets. I love. I love a

588
00:35:40,040 --> 00:35:43,520
Speaker 1: wrinkly shirt on TV. I love a wrinkle shirt. I

589
00:35:43,719 --> 00:35:48,480
Speaker 1: love staink teeth. I'm always were to have a character

590
00:35:48,680 --> 00:35:51,520
Speaker 1: like in a cast or in crutches and like that

591
00:35:51,719 --> 00:35:55,520
Speaker 1: just like never goes addressed. Yeah, what they do to

592
00:35:55,560 --> 00:35:58,160
Speaker 1: their knee. Yeah, it's like they don't want to talk

593
00:35:58,160 --> 00:36:02,520
Speaker 1: about it. The stuff out about that and they live

594
00:36:02,560 --> 00:36:05,399
Speaker 1: in a world because because in reality, though, someone walking

595
00:36:05,400 --> 00:36:09,120
Speaker 1: around and crutches, you like, their friends would be like

596
00:36:09,320 --> 00:36:11,000
Speaker 1: what are you? Are you? Where do you get out

597
00:36:11,040 --> 00:36:13,160
Speaker 1: of those? I mean, but is that is that not

598
00:36:13,200 --> 00:36:16,000
Speaker 1: what you're saying though? Is that you're like they never

599
00:36:17,080 --> 00:36:20,200
Speaker 1: because like no, like if you no no, no, like

600
00:36:20,320 --> 00:36:23,080
Speaker 1: if if I would love like just the scene of

601
00:36:23,280 --> 00:36:26,000
Speaker 1: like you go to a party and someone at the

602
00:36:26,080 --> 00:36:28,960
Speaker 1: party has a cast and no one talks about it

603
00:36:29,040 --> 00:36:32,759
Speaker 1: because you don't know that person that yes, yes in

604
00:36:32,840 --> 00:36:36,880
Speaker 1: a very real way or like or like even just

605
00:36:37,080 --> 00:36:41,920
Speaker 1: like at an office, like like no one's ever pregnant,

606
00:36:42,080 --> 00:36:44,080
Speaker 1: and if they are, that's the point of the story.

607
00:36:44,920 --> 00:36:51,759
Speaker 1: No one's like actually pregnant, right right. Ah see, that's

608
00:36:51,800 --> 00:36:54,840
Speaker 1: great because sometimes they want to Like sometimes as an actor,

609
00:36:55,160 --> 00:36:56,640
Speaker 1: I want to walk onto a set and be like,

610
00:36:56,960 --> 00:37:03,480
Speaker 1: oh I had an idea, maybe I'm at yeah literally though,

611
00:37:03,600 --> 00:37:05,360
Speaker 1: and then and then everyone just kind of gives you

612
00:37:05,440 --> 00:37:08,560
Speaker 1: a look like well Jamie Lee Curtis and everything, everyone

613
00:37:08,600 --> 00:37:12,800
Speaker 1: at once has that sling on her. I don't know

614
00:37:12,920 --> 00:37:16,520
Speaker 1: whose idea that was, but I love that it was like, oh, yeah,

615
00:37:16,640 --> 00:37:19,720
Speaker 1: this person is a fully realized person out of this world. Yeah,

616
00:37:19,920 --> 00:37:23,480
Speaker 1: and she's probably very tense and like we sucked up

617
00:37:23,520 --> 00:37:26,520
Speaker 1: her arm in some way and you're not actually going

618
00:37:26,560 --> 00:37:28,320
Speaker 1: to talk about it, but it's like it's such a

619
00:37:28,400 --> 00:37:31,000
Speaker 1: telling detail. It was giving, like it was giving like

620
00:37:31,200 --> 00:37:35,359
Speaker 1: low impact stress fracture, you know what I mean. Someone

621
00:37:35,400 --> 00:37:40,160
Speaker 1: who one day and it's like she's it's like it

622
00:37:40,360 --> 00:37:42,840
Speaker 1: contributes to her anger and her the fact that like

623
00:37:42,960 --> 00:37:45,000
Speaker 1: she is on moving. You don't need to know why

624
00:37:45,200 --> 00:37:47,719
Speaker 1: she has that injury. It's just part of who she

625
00:37:47,920 --> 00:37:49,960
Speaker 1: is and part of how you're going to experience her

626
00:37:50,040 --> 00:37:52,000
Speaker 1: and how the characters are going to be treated by her.

627
00:37:52,280 --> 00:37:54,719
Speaker 1: You're right. I never thought about it like that, Like

628
00:37:55,040 --> 00:37:57,520
Speaker 1: it's it's a very good detail, like you see you

629
00:37:57,680 --> 00:38:01,279
Speaker 1: like sort of get her. Yeah, you know what I

630
00:38:01,360 --> 00:38:03,680
Speaker 1: saw the other night, I did go see you don't

631
00:38:03,719 --> 00:38:07,120
Speaker 1: worry darling um. By the way, I have friends who

632
00:38:07,120 --> 00:38:10,400
Speaker 1: are going to be the door don't worry darling prest

633
00:38:10,600 --> 00:38:20,319
Speaker 1: at their Halloween costume, but they always be together. Yeah,

634
00:38:23,840 --> 00:38:28,600
Speaker 1: would have the s on the other one. And then

635
00:38:29,480 --> 00:38:31,480
Speaker 1: about how whether or not it happened or not. I

636
00:38:31,640 --> 00:38:33,400
Speaker 1: felt like because we talked about it so much, I

637
00:38:33,719 --> 00:38:35,120
Speaker 1: owed it to the movie to go see it, and

638
00:38:35,200 --> 00:38:37,160
Speaker 1: like I did go see it, and what I think

639
00:38:37,280 --> 00:38:39,840
Speaker 1: is interesting about some some of these things, just like

640
00:38:40,320 --> 00:38:43,080
Speaker 1: my problem with the movie is like it's so obsessed

641
00:38:43,160 --> 00:38:46,400
Speaker 1: with being a social satire that it doesn't get that

642
00:38:46,560 --> 00:38:48,440
Speaker 1: what it really is and what it could have been

643
00:38:48,520 --> 00:38:51,160
Speaker 1: so much better is just a straight up thriller, like

644
00:38:51,520 --> 00:38:54,719
Speaker 1: these things don't have to be important, like especially when

645
00:38:54,920 --> 00:38:57,240
Speaker 1: we can tell what you're saying from this for a second,

646
00:38:57,320 --> 00:38:59,919
Speaker 1: it starts like the trailer. I was like, I've seen

647
00:39:00,040 --> 00:39:02,040
Speaker 1: the entire movie. After I saw the trailer, I know

648
00:39:02,160 --> 00:39:07,200
Speaker 1: exactly where this is going. I doubt yeah, yeah, And

649
00:39:07,280 --> 00:39:09,200
Speaker 1: it's like, why do we have another one of these?

650
00:39:09,280 --> 00:39:12,920
Speaker 1: Like actually, things are not as they seem, you know.

651
00:39:13,280 --> 00:39:16,840
Speaker 1: It's like, Okay, we've seen that movie a million times,

652
00:39:17,520 --> 00:39:19,200
Speaker 1: or like if that is going to be the movie,

653
00:39:19,400 --> 00:39:22,880
Speaker 1: then reveal it early and then let this movie become

654
00:39:23,040 --> 00:39:26,000
Speaker 1: something else like that. I guess that's that's the thing is.

655
00:39:26,120 --> 00:39:29,719
Speaker 1: It's like it's just so rare to see things genuinely

656
00:39:29,880 --> 00:39:33,719
Speaker 1: having fun like and and it because I get things

657
00:39:33,800 --> 00:39:37,239
Speaker 1: get tripped up in the well, what is it in

658
00:39:37,320 --> 00:39:40,279
Speaker 1: a macro sense? What are we saying of it all?

659
00:39:40,320 --> 00:39:42,960
Speaker 1: It's like sometimes you actually don't need to say anything.

660
00:39:43,280 --> 00:39:46,680
Speaker 1: It can just be you know, like fun. And I

661
00:39:46,760 --> 00:39:49,000
Speaker 1: guess that's what I like about. That's what I love

662
00:39:49,040 --> 00:39:51,839
Speaker 1: about LOSAs Spookies is like it feels like you guys

663
00:39:52,160 --> 00:39:56,480
Speaker 1: like break story with comedy first, and I really I

664
00:39:56,520 --> 00:39:59,480
Speaker 1: don't know if that's true, but for example, like in

665
00:40:00,040 --> 00:40:04,200
Speaker 1: the second episode Greta, Greta getting rid of her by

666
00:40:04,320 --> 00:40:06,359
Speaker 1: putting her in the lead bikini and having her jump

667
00:40:06,400 --> 00:40:08,640
Speaker 1: off the boat. That to me seems like, oh, this

668
00:40:08,800 --> 00:40:11,839
Speaker 1: is like a way to communically solve this problem. That's

669
00:40:11,880 --> 00:40:16,640
Speaker 1: completely liked. It's just like so many things are like

670
00:40:16,960 --> 00:40:19,440
Speaker 1: but but but but but and so heavy, and it's

671
00:40:19,480 --> 00:40:21,600
Speaker 1: just like, no, the audience will go along with you

672
00:40:21,840 --> 00:40:24,880
Speaker 1: whatever it is as long as it's fun, funny or

673
00:40:24,960 --> 00:40:36,279
Speaker 1: makes sense. You know what, I you know what movie

674
00:40:36,320 --> 00:40:40,240
Speaker 1: I keep thinking about that, I like watched it truly

675
00:40:40,360 --> 00:40:43,680
Speaker 1: is one of my favorite comedies now is back. For

676
00:40:48,200 --> 00:40:51,000
Speaker 1: so reason I keep thinking about it is because a

677
00:40:51,320 --> 00:40:54,440
Speaker 1: it's funnier than any comedy that's been done recently, true,

678
00:40:55,160 --> 00:40:59,600
Speaker 1: and I feel like it. It is sort of like

679
00:41:00,000 --> 00:41:04,359
Speaker 1: wiltely moving and it's a beautiful movie. It's a beautiful movie.

680
00:41:04,400 --> 00:41:07,440
Speaker 1: And it's like a celebration of just like everyday normal

681
00:41:07,600 --> 00:41:11,279
Speaker 1: people in like everyday normal places like it takes place

682
00:41:11,360 --> 00:41:17,960
Speaker 1: of like Gray Sky, Virginia rest stops that like like

683
00:41:18,080 --> 00:41:20,600
Speaker 1: places that you like don't want to set a movie is.

684
00:41:21,600 --> 00:41:25,360
Speaker 1: It just stays with you far more than any like

685
00:41:25,680 --> 00:41:30,440
Speaker 1: thing created by like eight writers Yes, it's just so

686
00:41:30,719 --> 00:41:34,279
Speaker 1: like carefree and fun. And I was like, oh, yeah,

687
00:41:34,520 --> 00:41:37,920
Speaker 1: like this is ideally what we get into this business

688
00:41:38,080 --> 00:41:40,800
Speaker 1: or it just makes something that's like it didn't I Like,

689
00:41:41,120 --> 00:41:43,400
Speaker 1: I don't think they were like, Okay, we need to

690
00:41:43,560 --> 00:41:45,840
Speaker 1: like have a point. I think that eric Andre's just

691
00:41:46,000 --> 00:41:48,160
Speaker 1: Eric Andre and who's just like incredibly funny. But then

692
00:41:48,200 --> 00:41:52,000
Speaker 1: they like accomplished so much more right because they leaned

693
00:41:52,040 --> 00:41:54,040
Speaker 1: in with what they were good at. Yeah, And I

694
00:41:54,120 --> 00:41:56,120
Speaker 1: just feel like, you guys with Fred is such a

695
00:41:56,280 --> 00:41:59,680
Speaker 1: nice It's such a perfect like match in terms of

696
00:42:00,080 --> 00:42:02,719
Speaker 1: like what what what he like like like like his

697
00:42:02,880 --> 00:42:04,520
Speaker 1: journey to get to this point in his career and

698
00:42:04,520 --> 00:42:07,359
Speaker 1: then you guys coming to meet him is like oh yeah,

699
00:42:07,400 --> 00:42:09,800
Speaker 1: Like the three of you aren't really not concerned with

700
00:42:10,480 --> 00:42:13,840
Speaker 1: importance in that sense of like it should be you

701
00:42:13,880 --> 00:42:16,759
Speaker 1: know what I mean important, it's like significance or like

702
00:42:16,960 --> 00:42:19,760
Speaker 1: you know, yeah, I mean imagine we were like, you guys,

703
00:42:20,080 --> 00:42:22,440
Speaker 1: this show is a queer lot X. You have to

704
00:42:22,600 --> 00:42:32,439
Speaker 1: watch Yeah, seeing it a lot, it's it's like, yeah,

705
00:42:32,719 --> 00:42:35,399
Speaker 1: I mean Julio has talked about this, like we've talked

706
00:42:35,400 --> 00:42:38,840
Speaker 1: about the sort of like you know, it's activism, like

707
00:42:38,920 --> 00:42:41,200
Speaker 1: watching our show is some form of activism or making

708
00:42:41,239 --> 00:42:42,840
Speaker 1: it a some form of activism, and it's like, no,

709
00:42:43,000 --> 00:42:47,719
Speaker 1: it's not, no, that's not consuming. Equating consumerism with activism

710
00:42:47,880 --> 00:42:51,920
Speaker 1: is the thing that like kills everything. It is like

711
00:42:52,000 --> 00:42:57,920
Speaker 1: a capitalist thing of it's so it's just exploits because

712
00:42:57,960 --> 00:43:00,239
Speaker 1: of course, I like people feel that need to quote

713
00:43:00,280 --> 00:43:03,560
Speaker 1: unquote do good and be a reactionary against like the

714
00:43:03,680 --> 00:43:06,880
Speaker 1: horrors of the world. That is like a beautiful instant

715
00:43:07,120 --> 00:43:12,480
Speaker 1: and for like all these media conglomerates to exploit that

716
00:43:12,719 --> 00:43:15,920
Speaker 1: and be like, okay, we hear you that, like all

717
00:43:16,000 --> 00:43:18,399
Speaker 1: these like really scary things are happening, like towards queer

718
00:43:18,480 --> 00:43:21,040
Speaker 1: people or whatever kind of people, is like, how about

719
00:43:21,800 --> 00:43:29,880
Speaker 1: you watch this? You stick it to the Supreme Court?

720
00:43:31,960 --> 00:43:38,560
Speaker 1: Like what are you talking about? Truly it's spooky, it's spooky.

721
00:43:39,120 --> 00:43:43,479
Speaker 1: But the thing too is like I guess the fact

722
00:43:43,680 --> 00:43:47,120
Speaker 1: being like, look, it exists. That already makes it like

723
00:43:47,280 --> 00:43:49,320
Speaker 1: if you need it to be this important, you know

724
00:43:49,320 --> 00:43:50,600
Speaker 1: what I mean. If you need it to be that,

725
00:43:50,800 --> 00:43:53,400
Speaker 1: then it is because it exists. But why but but

726
00:43:53,640 --> 00:43:55,320
Speaker 1: but is it good? You know what I mean? And

727
00:43:55,400 --> 00:43:58,040
Speaker 1: the fact is like like I would love to hear

728
00:43:58,120 --> 00:43:59,759
Speaker 1: that things are good first, you know what I mean.

729
00:43:59,800 --> 00:44:02,480
Speaker 1: Like example, like I feel like with the Woman King,

730
00:44:03,000 --> 00:44:05,640
Speaker 1: like the first thing I heard was this is really

731
00:44:05,719 --> 00:44:08,880
Speaker 1: really really good. And now I'm like watching the interviews

732
00:44:08,920 --> 00:44:11,640
Speaker 1: with like Viola Davis and everyone, and like they're talking

733
00:44:11,680 --> 00:44:13,759
Speaker 1: about how like cool it is that it's like an

734
00:44:13,800 --> 00:44:17,680
Speaker 1: all dark skinned black woman cast, international cast of women

735
00:44:17,760 --> 00:44:21,080
Speaker 1: all telling a story about like a shared history UM

736
00:44:21,320 --> 00:44:24,160
Speaker 1: and like telling the story that like maybe people didn't

737
00:44:24,200 --> 00:44:26,680
Speaker 1: know that like the Dora Milaj from Marvel was based

738
00:44:26,719 --> 00:44:31,920
Speaker 1: on this actual like warrior group of women UM from

739
00:44:31,920 --> 00:44:35,200
Speaker 1: the Dahomey. But like it's just it's just like the

740
00:44:35,400 --> 00:44:37,480
Speaker 1: first thing I heard was that it was good. The

741
00:44:37,600 --> 00:44:41,359
Speaker 1: first thing was not you better see this or we'll

742
00:44:41,560 --> 00:44:43,759
Speaker 1: never get another movie like this and it will be

743
00:44:44,040 --> 00:44:47,440
Speaker 1: your fault. And it's like, and this is why they

744
00:44:47,560 --> 00:44:58,439
Speaker 1: passed these laws because you don't see this film. It's yeah,

745
00:44:58,640 --> 00:45:03,400
Speaker 1: I think that the the like obsession with anything that

746
00:45:03,680 --> 00:45:10,239
Speaker 1: is not like assists white straight like narrative being like, well,

747
00:45:10,320 --> 00:45:14,279
Speaker 1: it's actually like so critical and important that you watch this.

748
00:45:14,520 --> 00:45:16,600
Speaker 1: It's like okay, but yeah, like you said, is it

749
00:45:16,680 --> 00:45:19,560
Speaker 1: good or is it because just because it has a

750
00:45:19,719 --> 00:45:23,080
Speaker 1: diverse cast writers or whatever. Doesn't mean it's good. It

751
00:45:23,160 --> 00:45:25,279
Speaker 1: could be. There's a lot of really bad shows with

752
00:45:25,520 --> 00:45:30,680
Speaker 1: diverse writers and you know one one doesn't like. I

753
00:45:30,760 --> 00:45:32,040
Speaker 1: don't know. I think at the end of the day,

754
00:45:32,160 --> 00:45:35,719
Speaker 1: it's still like, well, is what's the quality? Like Yeah,

755
00:45:36,960 --> 00:45:39,479
Speaker 1: that's almost why I feel like press tours almost don't

756
00:45:39,560 --> 00:45:42,719
Speaker 1: help sometimes, Like I don't think it helped. I don't

757
00:45:42,760 --> 00:45:45,160
Speaker 1: think it's helped a single. I don't think the press

758
00:45:45,280 --> 00:45:48,520
Speaker 1: tour has helped something I've seen in a long time.

759
00:45:48,760 --> 00:45:51,200
Speaker 1: Like I don't think the press store has made me

760
00:45:51,320 --> 00:45:53,880
Speaker 1: want to watch something more than just seeing the trailer

761
00:45:54,239 --> 00:45:56,759
Speaker 1: in a very long time. Like that's something I think

762
00:45:56,800 --> 00:45:58,600
Speaker 1: we need to maybe look at. I do think that

763
00:45:58,640 --> 00:46:01,520
Speaker 1: press stour should only be a trailer. I do agree

764
00:46:01,560 --> 00:46:03,719
Speaker 1: with that, and then let's talk about it afterwards, you

765
00:46:03,719 --> 00:46:05,560
Speaker 1: know what I mean. Of course, we understand how it works,

766
00:46:05,640 --> 00:46:07,200
Speaker 1: like you know, the star system, like you have to

767
00:46:07,280 --> 00:46:09,279
Speaker 1: trot out people, but at a certain point, it's like

768
00:46:09,640 --> 00:46:12,400
Speaker 1: you have to know it's not helping for one person

769
00:46:12,600 --> 00:46:14,640
Speaker 1: or two or three people from a movie to be

770
00:46:15,400 --> 00:46:18,399
Speaker 1: like in someone's face every single second of every single

771
00:46:18,520 --> 00:46:21,839
Speaker 1: day in the media landscape, that is so like black

772
00:46:21,920 --> 00:46:24,400
Speaker 1: and white, Like it's just it's kind of asking for

773
00:46:25,040 --> 00:46:28,120
Speaker 1: you know that don't worry Darling drama. Imagine deciding whether

774
00:46:28,239 --> 00:46:32,360
Speaker 1: or not you're gonna go watch a movie and being like, Okay,

775
00:46:32,520 --> 00:46:35,120
Speaker 1: I'm just gonna watch the behind the looks feature rent

776
00:46:35,800 --> 00:46:40,719
Speaker 1: Ye to decide to decide if I want to see this. Yeah,

777
00:46:41,760 --> 00:46:44,040
Speaker 1: it exists to like support each other. It's like these

778
00:46:44,120 --> 00:46:47,719
Speaker 1: media outlets think like, oh, we need to have yeah,

779
00:46:48,080 --> 00:46:51,359
Speaker 1: behind the scenes talks with the cast and crew or something. Um,

780
00:46:52,320 --> 00:46:54,000
Speaker 1: but it's like no one's really watching that. These are

781
00:46:54,000 --> 00:46:56,399
Speaker 1: YouTube videos that have like, you know, a thousand views

782
00:46:57,000 --> 00:47:00,239
Speaker 1: and like, but then they need to be able to

783
00:47:00,239 --> 00:47:02,879
Speaker 1: sell themselves to the places that making them to get

784
00:47:02,880 --> 00:47:04,279
Speaker 1: the money for doing you know, it's just like a

785
00:47:04,320 --> 00:47:11,200
Speaker 1: little self fulfilling like yeah, yeah, yeah, or imagine like

786
00:47:11,320 --> 00:47:13,839
Speaker 1: after all this, don't worry Darling Press were like, I'm

787
00:47:13,880 --> 00:47:15,839
Speaker 1: sort of on the fence about seeing the movie. I'm

788
00:47:15,880 --> 00:47:24,120
Speaker 1: gonna see how Olivia Wilde does on Kimmel. She has

789
00:47:24,160 --> 00:47:26,120
Speaker 1: the answers I want, then maybe I'll go buy a

790
00:47:26,160 --> 00:47:29,200
Speaker 1: ticket to this two hour plus movie. I checked the

791
00:47:29,239 --> 00:47:32,600
Speaker 1: reviews doesn't have good ones. Okay, yeah, this might be

792
00:47:32,719 --> 00:47:35,920
Speaker 1: the maker break this might be like just very gay

793
00:47:36,000 --> 00:47:38,080
Speaker 1: of me or very basic, but I feel like the

794
00:47:38,400 --> 00:47:40,440
Speaker 1: only press stores that have like made me want to

795
00:47:40,520 --> 00:47:48,520
Speaker 1: go see something I haven't live megas yeah, and like

796
00:47:48,600 --> 00:47:50,320
Speaker 1: but like I feel like people got sick of it.

797
00:47:50,400 --> 00:47:52,520
Speaker 1: For Gucci, people are like, oh god, like what is

798
00:47:52,719 --> 00:47:54,360
Speaker 1: what is the story? Now? She was haunted by a

799
00:47:54,400 --> 00:48:00,200
Speaker 1: ghost the press an Oscar campaign that's different. Yeah, those

800
00:48:00,200 --> 00:48:05,040
Speaker 1: are so hers and she had she had one where

801
00:48:05,200 --> 00:48:08,239
Speaker 1: dovetailed into the Oscars campaign and then when when she

802
00:48:08,320 --> 00:48:11,120
Speaker 1: wasn't winning Precursores, when she wasn't nominated, then ended it

803
00:48:11,239 --> 00:48:13,840
Speaker 1: kind of got truncated, which might have been a mercy,

804
00:48:13,920 --> 00:48:15,719
Speaker 1: but I feel like with it, like that is a

805
00:48:15,840 --> 00:48:18,399
Speaker 1: memorable press store that I think honestly did get people

806
00:48:18,440 --> 00:48:23,279
Speaker 1: to watch that movie. But also Stars First Stars. Yes,

807
00:48:23,560 --> 00:48:26,680
Speaker 1: that that worked because that timing wise worked with Gucci.

808
00:48:27,080 --> 00:48:30,920
Speaker 1: That ended with her not getting and she was nominated

809
00:48:31,000 --> 00:48:34,000
Speaker 1: for everything else. So I just think there is a

810
00:48:34,120 --> 00:48:36,279
Speaker 1: case to be made for having these people shut the

811
00:48:36,320 --> 00:48:39,640
Speaker 1: far group A great agree, But I did see I

812
00:48:39,760 --> 00:48:42,680
Speaker 1: actually saw Gucci, and I did not see a star

813
00:48:42,800 --> 00:48:46,000
Speaker 1: is Born feels right for you, though, I feel like

814
00:48:46,400 --> 00:48:53,080
Speaker 1: Gucci is screaming is Yeah, Starborn looked sleepy. You still

815
00:48:53,080 --> 00:48:57,799
Speaker 1: haven't seen Stars Born? No, just I don't think you're

816
00:48:57,840 --> 00:49:00,319
Speaker 1: missing out. Fine, that's fair, but I feel like Juli

817
00:49:00,360 --> 00:49:02,160
Speaker 1: should at least watched the first twenty minutes. You know

818
00:49:02,200 --> 00:49:05,239
Speaker 1: what I'm saying. You know, like that beginning is nice.

819
00:49:05,560 --> 00:49:06,880
Speaker 1: You need to get through. Why did you do that?

820
00:49:08,320 --> 00:49:09,760
Speaker 1: You need to get to where they get to SNL

821
00:49:10,440 --> 00:49:14,879
Speaker 1: they go to performs. She goes, wow, do you look

822
00:49:14,960 --> 00:49:19,800
Speaker 1: so good in those genes? You come around me with

823
00:49:20,040 --> 00:49:23,320
Speaker 1: Alice like that? You hear je You hear Jenner Rosatan

824
00:49:23,360 --> 00:49:26,080
Speaker 1: of the stage manager at SNL go okay, and we're

825
00:49:26,120 --> 00:49:29,120
Speaker 1: back in five for Alec and then Alec Baldwin goes

826
00:49:29,239 --> 00:49:35,640
Speaker 1: Ladies and Gentlemen once again, the show is Alec Baldwin

827
00:49:35,680 --> 00:49:40,960
Speaker 1: with musical guest Alid. No, you have to have to

828
00:49:41,040 --> 00:49:43,879
Speaker 1: get to that. You have to watch Stars Born. I mean,

829
00:49:44,920 --> 00:49:46,880
Speaker 1: and I understand what you're saying. I don't think. I

830
00:49:46,960 --> 00:49:49,399
Speaker 1: don't think that anyone would go like about their life

831
00:49:49,440 --> 00:49:51,719
Speaker 1: like being like I never saw it, but Julio has

832
00:49:51,800 --> 00:49:57,400
Speaker 1: to see it once? Yeah, yeah, because I was with

833
00:49:57,520 --> 00:49:59,040
Speaker 1: someone that wanted to watch it. It was not a

834
00:49:59,080 --> 00:50:01,880
Speaker 1: movie that I was had any interesting scene. So I

835
00:50:02,000 --> 00:50:07,360
Speaker 1: go to see it and um, and yeah, it was

836
00:50:07,400 --> 00:50:09,560
Speaker 1: just like Okay, here's this movie that it is taking

837
00:50:09,600 --> 00:50:16,440
Speaker 1: itself so serious. Yes it is so yeah, like you

838
00:50:16,520 --> 00:50:20,279
Speaker 1: can you can see Bradley Cooper off camera being like

839
00:50:22,200 --> 00:50:24,600
Speaker 1: you know, and it's just like yeah, I was like,

840
00:50:24,680 --> 00:50:33,560
Speaker 1: this movie is not for me. Yeah it was this

841
00:50:33,719 --> 00:50:37,560
Speaker 1: was this what your directorial style was? Yeah, what's the

842
00:50:37,640 --> 00:50:42,879
Speaker 1: best way to capture the obsession? I also I hate

843
00:50:42,920 --> 00:50:45,440
Speaker 1: movies that were like so much of the marketing it

844
00:50:45,520 --> 00:50:48,759
Speaker 1: for it is I guess what the actor directed, you know,

845
00:50:49,600 --> 00:50:54,200
Speaker 1: and it's like, Okay, fucking caresfle directed? Like who cares?

846
00:50:54,600 --> 00:50:56,840
Speaker 1: Has it been annoying for you to talk about this season?

847
00:50:56,920 --> 00:50:58,520
Speaker 1: Because I'm sure people are asked, well, but I was

848
00:50:58,560 --> 00:51:01,160
Speaker 1: going to say that it is like think, actually really

849
00:51:01,280 --> 00:51:07,440
Speaker 1: funny to realize that that is directing. I think that's

850
00:51:07,480 --> 00:51:11,880
Speaker 1: actually really funny and really do yeah, because that's the

851
00:51:12,200 --> 00:51:16,440
Speaker 1: directing in But anytime an actor like directs and then

852
00:51:16,480 --> 00:51:20,800
Speaker 1: it's like wow, like you know, like now it's some

853
00:51:20,920 --> 00:51:24,720
Speaker 1: sort of like tortured artist thing of like I'm the director.

854
00:51:24,840 --> 00:51:28,840
Speaker 1: So now it's like yeah for me, like that's what

855
00:51:28,960 --> 00:51:30,759
Speaker 1: I can't stand. And I felt like a star was born.

856
00:51:30,840 --> 00:51:33,080
Speaker 1: So much of the marketing was like, you know, shots

857
00:51:33,120 --> 00:51:35,160
Speaker 1: of Bradley Cooper on set and there's like a crane

858
00:51:36,160 --> 00:51:40,239
Speaker 1: and it's like a really high yeah. I also love

859
00:51:40,360 --> 00:51:43,440
Speaker 1: BTS photos of directors in this era because it's always

860
00:51:43,560 --> 00:51:46,640
Speaker 1: them like with like a ship shirt on, like the

861
00:51:46,760 --> 00:51:49,399
Speaker 1: COVID masks, like a little bit of skew under their nose,

862
00:51:49,480 --> 00:51:51,399
Speaker 1: and then pointing at something with a hand on their

863
00:51:51,480 --> 00:51:54,840
Speaker 1: hip you know what I mean. I just that signaling

864
00:51:55,280 --> 00:52:00,359
Speaker 1: and the crane to the crane has to be yes,

865
00:52:01,320 --> 00:52:09,880
Speaker 1: absolutely yeah wild and I get up like Bradley. They

866
00:52:10,200 --> 00:52:12,840
Speaker 1: asked me I had to I had to approve pictures

867
00:52:12,920 --> 00:52:14,400
Speaker 1: of me directing. And I was like, do we have

868
00:52:14,600 --> 00:52:17,440
Speaker 1: to do these? And they were like, um, They're like

869
00:52:17,680 --> 00:52:19,480
Speaker 1: you know, yeah, Like can you pick some of these?

870
00:52:19,520 --> 00:52:21,239
Speaker 1: I was like, okay, I'll pick two pictures and it

871
00:52:21,400 --> 00:52:23,400
Speaker 1: is they want me with the mask with the actors,

872
00:52:23,640 --> 00:52:30,320
Speaker 1: you know, gesturing I was working. I have proof, like

873
00:52:30,640 --> 00:52:33,400
Speaker 1: like if you ever have to point, like there's there's marks.

874
00:52:33,480 --> 00:52:36,920
Speaker 1: We we all know what it is. Like, Yeah, pointing

875
00:52:37,040 --> 00:52:40,560
Speaker 1: is directing. That's a real culture, real culture. Number pointing

876
00:52:40,760 --> 00:52:43,879
Speaker 1: is pointing directing. I wouldn't drink I feel like it's

877
00:52:44,120 --> 00:52:47,719
Speaker 1: really such a hard job. Um, I don't know. I

878
00:52:47,960 --> 00:52:49,080
Speaker 1: I feel like it's one of those things where I

879
00:52:49,120 --> 00:52:51,480
Speaker 1: have too much respect for it to do it myself

880
00:52:51,560 --> 00:52:55,200
Speaker 1: because I feel like I would not rise to the occasion.

881
00:52:55,400 --> 00:52:57,520
Speaker 1: What about you, Matt, I want to do it. I

882
00:52:57,560 --> 00:52:59,600
Speaker 1: feel like it's been domestified a little bit for me,

883
00:52:59,680 --> 00:53:03,200
Speaker 1: and that makes maybe a little bit more interesting, I think.

884
00:53:03,320 --> 00:53:06,280
Speaker 1: I I similarly, it had this kind of like mystique

885
00:53:06,280 --> 00:53:07,960
Speaker 1: of like, oh wow, I don't know if I can

886
00:53:08,040 --> 00:53:09,640
Speaker 1: do that, and then once you realize what it is,

887
00:53:09,719 --> 00:53:13,480
Speaker 1: it's like, oh, okay, no wonder Olivia Wild is director.

888
00:53:13,560 --> 00:53:16,080
Speaker 1: No one. It's like it's not that you know, I'm

889
00:53:16,120 --> 00:53:18,520
Speaker 1: just using that as an example. No shape of to

890
00:53:19,560 --> 00:53:22,239
Speaker 1: you know, directors, But it's something that it's almost like

891
00:53:22,280 --> 00:53:25,600
Speaker 1: directors don't want other people to know that, Like it's

892
00:53:25,640 --> 00:53:27,759
Speaker 1: not it's not the most difficult thing in the world

893
00:53:27,840 --> 00:53:31,560
Speaker 1: to direct, Like, um, yes there's art to it, Yes

894
00:53:31,640 --> 00:53:36,640
Speaker 1: there's skill, etcetera. Um, but it's not fucking brains, you know.

895
00:53:36,760 --> 00:53:41,839
Speaker 1: Mostly what it is is just making decisions. Yes. Yes.

896
00:53:42,040 --> 00:53:44,319
Speaker 1: The thing the thing about directing that I think makes

897
00:53:44,400 --> 00:53:47,960
Speaker 1: me the most nervous is like making sure things are

898
00:53:48,080 --> 00:53:52,239
Speaker 1: managed well, which but that's not really your job that

899
00:53:54,080 --> 00:53:56,920
Speaker 1: lean into that. But but let's say let's say, like

900
00:53:57,040 --> 00:53:59,120
Speaker 1: on like a dirt Worry Darling, like if like ship

901
00:53:59,360 --> 00:54:02,080
Speaker 1: is crazy and and that's maybe why Olivia is getting

902
00:54:02,200 --> 00:54:04,200
Speaker 1: some and I'm sorry, I'm sorry we're talking about this

903
00:54:04,560 --> 00:54:06,920
Speaker 1: this much, but like that's why Olivia is getting some

904
00:54:07,200 --> 00:54:11,000
Speaker 1: flack for like not making not keeping it professional and

905
00:54:11,080 --> 00:54:13,000
Speaker 1: like male directors do this all the time too, and

906
00:54:13,120 --> 00:54:15,759
Speaker 1: all this stuff, but like making sure like the environment

907
00:54:15,920 --> 00:54:19,400
Speaker 1: is is nice. And that's why, like David O. Russell,

908
00:54:19,640 --> 00:54:22,239
Speaker 1: I have no respect for his style of directing where

909
00:54:22,280 --> 00:54:24,799
Speaker 1: it's like, oh, you're a tyrant. You make people feel bad,

910
00:54:25,200 --> 00:54:28,560
Speaker 1: like I hate, like I feel like, yeah, yeah, I

911
00:54:28,600 --> 00:54:31,520
Speaker 1: mean you do set the tone right, like the directors

912
00:54:31,760 --> 00:54:35,719
Speaker 1: huge and setting the tone of the set um that's

913
00:54:35,760 --> 00:54:39,520
Speaker 1: definitely an important part of it. But yeah, sometimes I'm

914
00:54:39,520 --> 00:54:43,520
Speaker 1: not sure, like, Okay, is it entirely the director's fault

915
00:54:43,600 --> 00:54:46,000
Speaker 1: if it's bad on set or is also maybe an

916
00:54:46,040 --> 00:54:48,600
Speaker 1: executive producer that's there, that's you know what I mean, Like,

917
00:54:50,640 --> 00:54:53,160
Speaker 1: like as someone who's seen don't Worry Darling, now, like

918
00:54:53,719 --> 00:54:58,280
Speaker 1: all her departments were perfect, like the fucking makeup was stunning,

919
00:54:58,360 --> 00:55:01,080
Speaker 1: the hair was stunning, the shots were incredible, Like it

920
00:55:01,239 --> 00:55:04,400
Speaker 1: was all great. It just came down to the script

921
00:55:04,600 --> 00:55:07,280
Speaker 1: wasn't good and it was and there was no vision,

922
00:55:07,760 --> 00:55:10,960
Speaker 1: which which ultimately, like the director has to have a

923
00:55:11,200 --> 00:55:13,839
Speaker 1: vision and they have to be able to make decisions

924
00:55:14,200 --> 00:55:17,560
Speaker 1: that point towards that vision. What's hard about it is

925
00:55:17,640 --> 00:55:21,640
Speaker 1: that there are so many areas where something can go wrong,

926
00:55:21,719 --> 00:55:24,200
Speaker 1: So if you make the incorrect or wrong decision in

927
00:55:24,280 --> 00:55:26,560
Speaker 1: one area, it can derail the whole thing. So you

928
00:55:26,640 --> 00:55:28,719
Speaker 1: do have to have good instincts, and you have to

929
00:55:28,800 --> 00:55:31,359
Speaker 1: be firm in those instincts and be a good collaborator.

930
00:55:31,800 --> 00:55:35,400
Speaker 1: But ultimately, like it's about vision and making decisions that

931
00:55:35,760 --> 00:55:39,040
Speaker 1: work toward that that vision, and you can make the

932
00:55:39,080 --> 00:55:43,600
Speaker 1: decision of the time correctly, which I think like in

933
00:55:43,719 --> 00:55:46,920
Speaker 1: this case she did, but then like the other ten

934
00:55:47,000 --> 00:55:49,319
Speaker 1: percent can be so wrong that it doesn't even matter.

935
00:55:49,520 --> 00:55:52,120
Speaker 1: That's I think what's hard about directing is that, like,

936
00:55:52,520 --> 00:55:55,920
Speaker 1: ultimately it's all on you and those decisions, like, and

937
00:55:56,040 --> 00:55:57,800
Speaker 1: you can have a great team, but if one area

938
00:55:58,000 --> 00:56:02,080
Speaker 1: that's major, like the script isn't right, then it doesn't

939
00:56:02,120 --> 00:56:06,759
Speaker 1: matter a famously major areas, Yeah, yeah, I know. It's

940
00:56:06,800 --> 00:56:08,960
Speaker 1: like there there are movies where it's like, Okay, that

941
00:56:09,120 --> 00:56:13,200
Speaker 1: was well made, but the script was bad, right, and

942
00:56:13,320 --> 00:56:16,360
Speaker 1: it's like it's very hard to separate one from the

943
00:56:16,440 --> 00:56:18,680
Speaker 1: other one. Okay, you did your job well, Like imagine

944
00:56:18,719 --> 00:56:20,560
Speaker 1: you get the shitty script to director, like, well, I'm

945
00:56:20,560 --> 00:56:22,200
Speaker 1: gonna do my best job to direct it as well

946
00:56:22,239 --> 00:56:24,640
Speaker 1: as I can. The script is bad, so the end

947
00:56:24,719 --> 00:56:27,319
Speaker 1: products will not be great because good directing can only

948
00:56:27,400 --> 00:56:31,399
Speaker 1: make up for so much of that writing. Um, and yeah,

949
00:56:31,480 --> 00:56:33,719
Speaker 1: but but but if it's like written and directed by

950
00:56:33,760 --> 00:56:36,080
Speaker 1: the same person, then it's like, okay, then you kicked up.

951
00:56:36,400 --> 00:56:38,200
Speaker 1: Well I want to I want to say something that

952
00:56:38,280 --> 00:56:41,240
Speaker 1: has it's like fully a segue out of this topic

953
00:56:41,360 --> 00:56:44,520
Speaker 1: that I it's It's an anecdote that I heard about

954
00:56:44,640 --> 00:56:47,600
Speaker 1: recently that I keep thinking about and I don't knowunced

955
00:56:47,600 --> 00:56:53,040
Speaker 1: about this is that apparently Alfred Hitchcock uh would uh

956
00:56:53,360 --> 00:56:57,000
Speaker 1: would go to restaurants and he would order a lot

957
00:56:57,040 --> 00:57:00,600
Speaker 1: of food, and all the courses would come. He would

958
00:57:00,640 --> 00:57:03,560
Speaker 1: finish eating, then he'd call on the waiter and he

959
00:57:03,880 --> 00:57:10,239
Speaker 1: would wave his little index finger and go again, and

960
00:57:10,320 --> 00:57:12,719
Speaker 1: then have the meals start from the very beginning all

961
00:57:12,760 --> 00:57:18,440
Speaker 1: over again and people, no, he would you need all

962
00:57:18,480 --> 00:57:25,160
Speaker 1: of it? That strong decision he was making the decision

963
00:57:27,320 --> 00:57:32,680
Speaker 1: again again that I love that too, imagine being so

964
00:57:33,280 --> 00:57:37,960
Speaker 1: it's it's very um king like like I am so

965
00:57:38,240 --> 00:57:40,040
Speaker 1: rich and I am so powerful that I will have

966
00:57:40,160 --> 00:57:46,120
Speaker 1: dinner more than once. I'm gonna have dinner as many

967
00:57:46,200 --> 00:57:49,120
Speaker 1: times as I please. No one can, no one can

968
00:57:49,160 --> 00:57:52,160
Speaker 1: stop me. That that that it bleeds out into the

969
00:57:52,240 --> 00:57:56,000
Speaker 1: real world for him and to the exterior world. It's

970
00:57:56,160 --> 00:57:59,200
Speaker 1: very it's very that scene from Spirit Away with the

971
00:57:59,360 --> 00:58:07,040
Speaker 1: with the no sponsor, the restaurants so expressed past arrived

972
00:58:07,080 --> 00:58:11,160
Speaker 1: and they can't they don't. They keep bringing like giant

973
00:58:11,360 --> 00:58:15,080
Speaker 1: like he keeps crossing gold to them and he's good.

974
00:58:15,320 --> 00:58:17,040
Speaker 1: You need to write you need to write a movie

975
00:58:17,080 --> 00:58:20,320
Speaker 1: called Hithcock at Dinner, which is just like a literal,

976
00:58:20,520 --> 00:58:23,080
Speaker 1: like it all takes place in two hours and it's

977
00:58:23,160 --> 00:58:26,600
Speaker 1: just his dinner and like the mid turn is like

978
00:58:26,760 --> 00:58:30,959
Speaker 1: they realized he's ordered it again. Yeah, and was thrown

979
00:58:31,000 --> 00:58:33,959
Speaker 1: into chaos. Yeah. I feel is there like a movie

980
00:58:34,040 --> 00:58:36,160
Speaker 1: that like it sounds like like link Later would have

981
00:58:36,200 --> 00:58:40,360
Speaker 1: directed this, like a movie that's just a meal? Is

982
00:58:40,880 --> 00:58:45,320
Speaker 1: my dinner with Andre? Is that it, Oh, my week

983
00:58:45,360 --> 00:58:55,480
Speaker 1: with Maryland, my weeks me myself, and I like I

984
00:58:55,600 --> 00:58:59,040
Speaker 1: keep saying to Julio, like his thread for his special

985
00:58:59,080 --> 00:59:01,280
Speaker 1: ship be the word I has to be in all

986
00:59:01,360 --> 00:59:05,080
Speaker 1: of them. Yeah, you want me to call the movie

987
00:59:05,200 --> 00:59:11,680
Speaker 1: my first movie, my first my first movie idea. There's

988
00:59:11,720 --> 00:59:14,280
Speaker 1: something so powerful communically about the word that. And there's

989
00:59:14,280 --> 00:59:17,400
Speaker 1: something so powerful communically about the word MyD me being

990
00:59:17,480 --> 00:59:20,880
Speaker 1: in a title. Yeah something. Yeah, that's that's my that's

991
00:59:20,920 --> 00:59:26,360
Speaker 1: my like linguistic theory and my my story, my little idea,

992
00:59:26,760 --> 00:59:30,800
Speaker 1: my little idea, my little idea is really good. And

993
00:59:30,880 --> 00:59:33,560
Speaker 1: the sequel can be my big idea, my big idea.

994
00:59:36,160 --> 00:59:41,160
Speaker 1: Everyone loved My Little Ideas. The sequel Don't Love My

995
00:59:41,240 --> 00:59:45,320
Speaker 1: Little Idea is a documentary about the first film, Yeah,

996
00:59:46,800 --> 00:59:50,080
Speaker 1: about the success of the film feature It's a million,

997
00:59:51,560 --> 00:59:56,280
Speaker 1: the first get a million viewers. Yes, some featurettes, I

998
00:59:56,400 --> 01:00:01,160
Speaker 1: remember some feature atts, Like I actually remember one hunting

999
01:00:01,240 --> 01:00:04,040
Speaker 1: featurette that we have talked about. Which one, which is

1000
01:00:04,120 --> 01:00:09,320
Speaker 1: what Utterly Hunting? Uh? It is a featurette about shooting

1001
01:00:09,600 --> 01:00:12,640
Speaker 1: the finale for Desperate Housewives, seen through the eyes of

1002
01:00:12,720 --> 01:00:17,800
Speaker 1: the creator of Desperate Housewives, Mark Mark Haunting Hunting. Yeah,

1003
01:00:17,880 --> 01:00:21,040
Speaker 1: that was a pretty haunting. I know someone who was

1004
01:00:21,120 --> 01:00:25,040
Speaker 1: a writer on that series, and like was there when

1005
01:00:25,120 --> 01:00:29,040
Speaker 1: the Nicolette and Mark slap went down, the quote unquote

1006
01:00:29,040 --> 01:00:33,440
Speaker 1: slap that that caused the lawsuit, and just like hearing

1007
01:00:33,560 --> 01:00:36,000
Speaker 1: about like the temperature of the set at that time,

1008
01:00:36,080 --> 01:00:38,320
Speaker 1: what was going on with all the women, Like it's

1009
01:00:38,400 --> 01:00:41,320
Speaker 1: just nothing is what it seems, And there must be

1010
01:00:41,480 --> 01:00:44,720
Speaker 1: a film about that there. There has to be. There

1011
01:00:44,840 --> 01:00:47,720
Speaker 1: has to be a story told about the final about

1012
01:00:47,720 --> 01:00:51,120
Speaker 1: the darkest, thickest days of Desperate Housewives. It's just too good.

1013
01:00:51,480 --> 01:00:53,200
Speaker 1: It's also like I feel like it's the kind of

1014
01:00:53,240 --> 01:00:55,840
Speaker 1: thing that can't happen. Well, actually I don't know, because

1015
01:00:55,840 --> 01:00:57,360
Speaker 1: I was gonna say, like I feel like no one

1016
01:00:57,400 --> 01:01:00,360
Speaker 1: earns that kind of money on TV anymore, but maybe

1017
01:01:00,440 --> 01:01:04,680
Speaker 1: that's changing with like I don't know, only the movie

1018
01:01:04,840 --> 01:01:08,320
Speaker 1: stars that go there for like like with and with

1019
01:01:08,560 --> 01:01:11,760
Speaker 1: like a real exception, like like if there's anyone making

1020
01:01:11,800 --> 01:01:17,240
Speaker 1: a million per episode, and Jennifer Anison make two million

1021
01:01:17,320 --> 01:01:19,800
Speaker 1: an episode on the morning show to the Morning Shows,

1022
01:01:20,840 --> 01:01:24,080
Speaker 1: which means they make they each make twenty million a season,

1023
01:01:24,600 --> 01:01:28,880
Speaker 1: and then people long ago and like who do you

1024
01:01:28,960 --> 01:01:34,280
Speaker 1: know that has seen Apple TV hit shows. I say

1025
01:01:34,400 --> 01:01:37,880
Speaker 1: it is my favorite television program. Sorry de losis bookies.

1026
01:01:38,160 --> 01:01:41,960
Speaker 1: It's almost as good as Morning Show, almost, guys, yeah

1027
01:01:42,360 --> 01:01:44,560
Speaker 1: you almost got there. I've never seen it. I don't

1028
01:01:44,560 --> 01:01:46,320
Speaker 1: know anyone that sees it. And it is a show

1029
01:01:46,400 --> 01:01:49,320
Speaker 1: that you hear about these astronomical fees that people get,

1030
01:01:49,880 --> 01:01:53,920
Speaker 1: and it's like and they keep adding high commanding people

1031
01:01:53,960 --> 01:01:57,080
Speaker 1: to the cast, like they added Julianna Margalis. Season was

1032
01:01:57,160 --> 01:02:00,160
Speaker 1: on e Er for like thirty d years so and

1033
01:02:00,280 --> 01:02:03,280
Speaker 1: the Good Wife, so she's not commanding no dollars. They

1034
01:02:03,360 --> 01:02:05,720
Speaker 1: just put John Hamm in the cast. Like it's just

1035
01:02:05,880 --> 01:02:11,120
Speaker 1: like it keeps getting season three season Season three is

1036
01:02:11,200 --> 01:02:14,360
Speaker 1: coming and the third graders are pounding the pavement to

1037
01:02:14,440 --> 01:02:16,680
Speaker 1: make this happen. Our bit is that third graders, right,

1038
01:02:17,000 --> 01:02:20,360
Speaker 1: And just like that in the Morning Show, Beyonce woman

1039
01:02:20,400 --> 01:02:23,320
Speaker 1: in the Morning Show, Beyonce as a weather woman in

1040
01:02:23,400 --> 01:02:26,880
Speaker 1: the morning so would be I think that they could

1041
01:02:26,880 --> 01:02:29,200
Speaker 1: write a really good art for her. She could be

1042
01:02:29,280 --> 01:02:34,960
Speaker 1: the one that says a big hurricane is coming and

1043
01:02:36,200 --> 01:02:41,800
Speaker 1: get all your CaTiO furniture. She's a woman. Would you

1044
01:02:41,920 --> 01:02:45,280
Speaker 1: say math that it is a spiritual successor to Desperate Housewives,

1045
01:02:45,440 --> 01:02:48,480
Speaker 1: like I can't be fucking show because when you because

1046
01:02:48,520 --> 01:02:52,880
Speaker 1: when you were when aware that it's kidding, show wants

1047
01:02:52,920 --> 01:02:58,480
Speaker 1: to be like, I'm sorry, is it an It pretends

1048
01:02:58,520 --> 01:03:01,720
Speaker 1: to be a swork and show, but it's like, but

1049
01:03:01,760 --> 01:03:05,040
Speaker 1: when we're talking about like Melanie Gibbons killing off her reflection,

1050
01:03:05,600 --> 01:03:08,720
Speaker 1: as we like just like quickly resolve this, like cliffhanger

1051
01:03:08,840 --> 01:03:12,360
Speaker 1: from season one, like Housewives would try to do that

1052
01:03:12,400 --> 01:03:14,800
Speaker 1: in a way that was not aware of how goofy,

1053
01:03:15,000 --> 01:03:18,080
Speaker 1: and it was goofy. It was being up the future

1054
01:03:18,360 --> 01:03:19,880
Speaker 1: well like well like house Does would always have like

1055
01:03:19,960 --> 01:03:22,240
Speaker 1: crazy cliffhangers, right, and then the next season within the

1056
01:03:22,280 --> 01:03:24,440
Speaker 1: first with an episode one, it's like, oh yeah, that thing,

1057
01:03:24,760 --> 01:03:29,840
Speaker 1: it doesn't matter anymore. Someone died by being impaled by

1058
01:03:29,880 --> 01:03:38,560
Speaker 1: the tornado the tornado episode the Tornado basically because it

1059
01:03:38,880 --> 01:03:43,280
Speaker 1: was November Sweeps, like the character the characterized, the character dized,

1060
01:03:43,800 --> 01:03:46,960
Speaker 1: So John Stattery plays like a politician husband who marries

1061
01:03:47,000 --> 01:03:50,800
Speaker 1: Eva Longoria and it's quickly becomes a parent that he's

1062
01:03:50,840 --> 01:03:53,920
Speaker 1: married her because for optics and they're in a very

1063
01:03:54,000 --> 01:03:58,600
Speaker 1: unhappy relationship. And luckily because it was November Sweeps, a

1064
01:03:58,760 --> 01:04:02,400
Speaker 1: tornado hit was Aria Lane and a white picket fence

1065
01:04:02,520 --> 01:04:04,960
Speaker 1: goes through his body as he's trying to chase her down.

1066
01:04:05,000 --> 01:04:10,480
Speaker 1: In this to me, you can't just you can't just

1067
01:04:10,560 --> 01:04:13,720
Speaker 1: have a tornado hit the block without being aware that

1068
01:04:13,800 --> 01:04:17,439
Speaker 1: this is camp. But that's what I loved about those

1069
01:04:17,520 --> 01:04:22,320
Speaker 1: like those like primetime soaps of of of Yesteryear, which

1070
01:04:22,400 --> 01:04:24,880
Speaker 1: apparently which for Grey's Anatomy it's very much still on,

1071
01:04:25,440 --> 01:04:28,000
Speaker 1: but they would have like a disaster of the season

1072
01:04:28,440 --> 01:04:30,440
Speaker 1: and it was truly like my bit was always like, oh,

1073
01:04:30,480 --> 01:04:32,800
Speaker 1: there's a lion loose on with Steria Lane because they

1074
01:04:32,960 --> 01:04:38,120
Speaker 1: would do that hits the hospital and Grey's Anatomy like

1075
01:04:38,320 --> 01:04:42,480
Speaker 1: literally literally you have you have two characters you want

1076
01:04:42,480 --> 01:04:44,560
Speaker 1: to get rid of Mama. Put him on a small plane.

1077
01:04:44,600 --> 01:04:49,040
Speaker 1: We can crash it, like like oh we like it

1078
01:04:50,080 --> 01:04:53,680
Speaker 1: literally got that insane though, Like I'll never forget the

1079
01:04:53,760 --> 01:04:57,560
Speaker 1: Desperate House five Supermarket shooting with Laurie Metcalf. Yes, that

1080
01:04:57,680 --> 01:05:00,400
Speaker 1: was amazing performance from an incredible form. It's and in

1081
01:05:00,480 --> 01:05:04,040
Speaker 1: a highly problematic episode of television that probably would not

1082
01:05:04,120 --> 01:05:06,200
Speaker 1: be made today. What was problematic about I don't think

1083
01:05:07,200 --> 01:05:13,320
Speaker 1: it was like entertainment. It was like someone gets shot

1084
01:05:13,480 --> 01:05:16,880
Speaker 1: in public and it was like, oh my god, that

1085
01:05:16,960 --> 01:05:22,400
Speaker 1: commands a salary. Probably not like but like they dangled

1086
01:05:22,440 --> 01:05:26,320
Speaker 1: the you know, mass shooting of it all to get

1087
01:05:26,360 --> 01:05:30,720
Speaker 1: people to watch, and that sweeps culture. That was we

1088
01:05:30,840 --> 01:05:34,320
Speaker 1: need to do a big episode culture, which these streaming

1089
01:05:34,360 --> 01:05:37,960
Speaker 1: shows don't need to do because they stream. Yeah, but

1090
01:05:38,080 --> 01:05:44,040
Speaker 1: they do at the time, right right, right, exactly, exactly exactly. Wow,

1091
01:05:44,400 --> 01:05:47,480
Speaker 1: what a beautiful treat use on the television. And that

1092
01:05:47,600 --> 01:05:50,520
Speaker 1: was a treat use on the status of television, and

1093
01:05:51,200 --> 01:06:02,280
Speaker 1: that only could have happened with our guests. We are

1094
01:06:02,400 --> 01:06:05,480
Speaker 1: now transitioning into I don't Think so, Honey, which is

1095
01:06:05,520 --> 01:06:08,400
Speaker 1: our sixty second segment that we all do that I

1096
01:06:08,480 --> 01:06:10,280
Speaker 1: can tell on the faces of the guests they're just

1097
01:06:10,400 --> 01:06:16,960
Speaker 1: now remembering never really innovated on the form. She was

1098
01:06:17,040 --> 01:06:18,800
Speaker 1: the first person to say, I don't think so, honey,

1099
01:06:18,800 --> 01:06:20,560
Speaker 1: I don't think so honey, just one minute. I mean

1100
01:06:20,640 --> 01:06:23,880
Speaker 1: that is the first, the first meta, the first meta,

1101
01:06:23,880 --> 01:06:26,440
Speaker 1: I don't think the honey, I think we ever someone's

1102
01:06:26,440 --> 01:06:30,640
Speaker 1: ever done. The first is the bowl of things that

1103
01:06:30,760 --> 01:06:36,360
Speaker 1: happens on the podcast, only the live one. Oh, we're

1104
01:06:36,400 --> 01:06:42,760
Speaker 1: not doing that for you, okay, okay, and then then

1105
01:06:42,920 --> 01:06:46,760
Speaker 1: you guys go, But I have something that it's afflicting

1106
01:06:46,800 --> 01:06:49,520
Speaker 1: me as of today. Okay, this is Matt Rodgers. I

1107
01:06:49,520 --> 01:06:51,360
Speaker 1: don't think so many as time starts to know, I

1108
01:06:51,400 --> 01:06:54,880
Speaker 1: don't think so honey, all medicine tastes bad? How come

1109
01:06:54,960 --> 01:06:57,760
Speaker 1: we there hasn't been an invention of medicine that get

1110
01:06:57,880 --> 01:07:00,520
Speaker 1: this tastes good. I don't think so money that we

1111
01:07:00,600 --> 01:07:03,280
Speaker 1: can put again, I will say, it's satellites in the sky.

1112
01:07:04,040 --> 01:07:07,400
Speaker 1: We can't have a day quote that tastes good. How

1113
01:07:07,400 --> 01:07:11,200
Speaker 1: about day quote that tastes like I don't know strawberries?

1114
01:07:11,920 --> 01:07:15,360
Speaker 1: How about day quote that tastes like I don't know cherries?

1115
01:07:15,800 --> 01:07:17,480
Speaker 1: And I understand that they try to make this a

1116
01:07:17,560 --> 01:07:19,800
Speaker 1: cherry flavor. I would probably go out there and I

1117
01:07:19,800 --> 01:07:22,040
Speaker 1: would say, hey, what would you think? What would you say?

1118
01:07:22,080 --> 01:07:24,439
Speaker 1: The day quill taste like? They're like, oh, I guess cherry, Yeah,

1119
01:07:24,600 --> 01:07:29,600
Speaker 1: cherry with terrible medicine. So honey, where are doctors on this?

1120
01:07:29,680 --> 01:07:34,040
Speaker 1: Where a scientists on this? Get get your flavoring out, mama,

1121
01:07:34,400 --> 01:07:38,200
Speaker 1: Now make the medicine taste better, because I haven't. I'm congested.

1122
01:07:38,560 --> 01:07:40,600
Speaker 1: I have things going on inside of me, but I

1123
01:07:40,640 --> 01:07:43,040
Speaker 1: I wake up every day and my eyes open and

1124
01:07:43,080 --> 01:07:45,200
Speaker 1: they opened in terror because I know, I mean, I

1125
01:07:45,280 --> 01:07:48,040
Speaker 1: have the bad taste of day quill, night quill. Don't

1126
01:07:48,080 --> 01:07:49,880
Speaker 1: even get me started. Now I'm supposed to sleep, I

1127
01:07:49,880 --> 01:07:55,760
Speaker 1: don't think so. Wait, you know you can also take

1128
01:07:55,800 --> 01:07:58,480
Speaker 1: a pill for me. Yeah, but you don't have to taste.

1129
01:07:58,680 --> 01:08:01,120
Speaker 1: I'm sorry, but you know what that that that while

1130
01:08:01,240 --> 01:08:03,760
Speaker 1: I see a here and respect that, and have taken

1131
01:08:03,840 --> 01:08:06,720
Speaker 1: in my life many pills, and let's not get it twisted.

1132
01:08:07,120 --> 01:08:09,920
Speaker 1: I have taken pills and I will in the future.

1133
01:08:10,320 --> 01:08:14,680
Speaker 1: I still don't understand why this medicine that's supposed to

1134
01:08:14,720 --> 01:08:16,599
Speaker 1: be over the counter, and you know, sometimes it's tough

1135
01:08:16,640 --> 01:08:18,920
Speaker 1: to get these pills. This over the counter stuff so

1136
01:08:19,080 --> 01:08:22,759
Speaker 1: has to taste like ab solute poison. It tastes like poison,

1137
01:08:22,920 --> 01:08:28,120
Speaker 1: I will say some of them. I likes taste great.

1138
01:08:28,160 --> 01:08:31,519
Speaker 1: No days, I don't mind the flavor at all. You

1139
01:08:31,600 --> 01:08:35,439
Speaker 1: don't mind day. That's that's why. Maybe it's the fact

1140
01:08:35,439 --> 01:08:37,439
Speaker 1: that I had a cold right after it and the

1141
01:08:37,560 --> 01:08:42,479
Speaker 1: day cold brew like that was not choice. People like

1142
01:08:42,680 --> 01:08:46,960
Speaker 1: pepto bismol legitimately has no I have no notes for

1143
01:08:47,000 --> 01:08:54,559
Speaker 1: the taste. It feels. It feels so good. You enjoy absolutely,

1144
01:08:55,160 --> 01:08:58,400
Speaker 1: you probably pepped a lot like a tornado one with

1145
01:08:58,439 --> 01:09:01,880
Speaker 1: stereo lane. There we go kill John Slattery every now

1146
01:09:01,960 --> 01:09:08,559
Speaker 1: and then period. Alright, so yeah, I'm ready. Um okay,

1147
01:09:08,680 --> 01:09:11,120
Speaker 1: so this is the blessed moment where we get to

1148
01:09:11,200 --> 01:09:13,320
Speaker 1: experience Bon Yang's I don't think so, honey, And as

1149
01:09:13,360 --> 01:09:16,240
Speaker 1: time starts now, I don't think so honey. Figurines with

1150
01:09:16,520 --> 01:09:19,800
Speaker 1: the arms and legs that don't move, And better yet,

1151
01:09:20,640 --> 01:09:24,000
Speaker 1: why don't statues have arms and legs that I'm not

1152
01:09:24,080 --> 01:09:26,519
Speaker 1: talking animatronics. I don't need them to like move around.

1153
01:09:27,040 --> 01:09:29,120
Speaker 1: I just want you to be able. The public should

1154
01:09:29,120 --> 01:09:31,560
Speaker 1: be able to adjust the arms and legs of a

1155
01:09:31,680 --> 01:09:35,240
Speaker 1: statue because because otherwise, if I want to just look

1156
01:09:35,280 --> 01:09:38,360
Speaker 1: at something, a static representation of something, I would just

1157
01:09:38,560 --> 01:09:42,160
Speaker 1: google the image searching. I need to be able to.

1158
01:09:42,479 --> 01:09:45,519
Speaker 1: It's the joy of seeing something in three dimensional space

1159
01:09:45,640 --> 01:09:48,320
Speaker 1: and in reality is to be able to sort of

1160
01:09:48,600 --> 01:09:52,080
Speaker 1: engage with it, you know, articulate in certain ways. I

1161
01:09:52,120 --> 01:09:55,320
Speaker 1: need articulation in my action figures. I'm not action to.

1162
01:09:55,439 --> 01:09:59,120
Speaker 1: It's just figurines, statues. If it makes them action figures,

1163
01:09:59,200 --> 01:10:02,240
Speaker 1: it makes them engaging. It's art that you can just

1164
01:10:02,560 --> 01:10:05,640
Speaker 1: really sort of feel like you created and collaborated on.

1165
01:10:05,800 --> 01:10:08,760
Speaker 1: That's the truest form of art figuring where you can

1166
01:10:08,800 --> 01:10:11,080
Speaker 1: move around the arms and legs and sometimes even the head.

1167
01:10:11,360 --> 01:10:12,800
Speaker 1: You can you can spin the head around and make

1168
01:10:12,840 --> 01:10:14,400
Speaker 1: it nod and shake it out, and that's one minute.

1169
01:10:14,439 --> 01:10:16,400
Speaker 1: So you wish that all figurines would sort of take

1170
01:10:16,439 --> 01:10:20,280
Speaker 1: a page from Barbie's book. Yes, but Barbie, Barbie, you

1171
01:10:20,320 --> 01:10:22,719
Speaker 1: can't even Barbie, you can't even move. You can't bender

1172
01:10:22,800 --> 01:10:25,200
Speaker 1: at the knee or the elbow. But she certainly can

1173
01:10:25,280 --> 01:10:30,560
Speaker 1: do something like this in the clicking. The clicking is

1174
01:10:30,600 --> 01:10:32,680
Speaker 1: so nice and what we're gonna say. That reminded me

1175
01:10:32,800 --> 01:10:37,679
Speaker 1: that I have a theory about stum that some statues

1176
01:10:37,760 --> 01:10:40,200
Speaker 1: I think. I'm like, were they they mean to put

1177
01:10:40,280 --> 01:10:41,920
Speaker 1: it here? Or whoever was in charge of moving it

1178
01:10:42,000 --> 01:10:44,000
Speaker 1: sort of got tired. I went to take a break

1179
01:10:44,120 --> 01:10:47,360
Speaker 1: and never moved it again. I was in I was

1180
01:10:47,439 --> 01:10:49,760
Speaker 1: by a hospital and there was a statute that was

1181
01:10:49,800 --> 01:10:51,920
Speaker 1: placed in the most bizarre place that I was like,

1182
01:10:52,360 --> 01:10:54,479
Speaker 1: why is there a statue here? This is There's no

1183
01:10:54,600 --> 01:10:57,360
Speaker 1: way this was on purpose. And then and then I thought, well,

1184
01:10:57,400 --> 01:11:00,960
Speaker 1: maybe this extends beyond the hospital statue. This problem, yes,

1185
01:11:01,160 --> 01:11:03,800
Speaker 1: that people just got lazy and moved it there. What

1186
01:11:03,960 --> 01:11:06,040
Speaker 1: was Oh my god, the statue, the shakier statue must

1187
01:11:06,040 --> 01:11:08,280
Speaker 1: have taken a long time to make for for this season.

1188
01:11:09,200 --> 01:11:14,479
Speaker 1: For the first step, the prosthetic obviously, but the bottom statue.

1189
01:11:14,520 --> 01:11:16,600
Speaker 1: That's that's like, that's a big ask I feel on

1190
01:11:16,680 --> 01:11:22,160
Speaker 1: the status We need a statue of something, Yeah, because

1191
01:11:22,200 --> 01:11:27,360
Speaker 1: that was you shot that early. Yeah, I forget the

1192
01:11:27,479 --> 01:11:30,639
Speaker 1: logistics of this something. I remember there was a whole

1193
01:11:30,680 --> 01:11:33,800
Speaker 1: thing about the statue not maybe not being frogen in time.

1194
01:11:34,360 --> 01:11:39,640
Speaker 1: Oh yeah, but when when you started talking, I was

1195
01:11:39,720 --> 01:11:42,519
Speaker 1: really thinking you were describing an animatronic, and I was

1196
01:11:42,560 --> 01:11:45,880
Speaker 1: going to tell you that not an animatronic. It's not

1197
01:11:46,880 --> 01:11:48,920
Speaker 1: you're looking for it. You're you're you're speaking to the

1198
01:11:48,960 --> 01:11:51,880
Speaker 1: state of statues. But it reminded me it doesn't. I

1199
01:11:52,280 --> 01:11:54,919
Speaker 1: don't want robotics. I want like just you know, I understand.

1200
01:11:55,439 --> 01:11:59,000
Speaker 1: They opened up in in like Tokyo Disney, they opened

1201
01:11:59,040 --> 01:12:02,200
Speaker 1: up a new beauty in the Beast like ride and

1202
01:12:02,360 --> 01:12:04,160
Speaker 1: it's like a state of the art ride that has

1203
01:12:04,200 --> 01:12:07,280
Speaker 1: like state of the art animatronics and at the end

1204
01:12:07,360 --> 01:12:08,960
Speaker 1: of the ride, like you know in the movie when

1205
01:12:09,000 --> 01:12:11,680
Speaker 1: all the when like all the household aptters come to

1206
01:12:11,720 --> 01:12:15,560
Speaker 1: life and their people. These audio anactronics are so expensive.

1207
01:12:15,800 --> 01:12:18,800
Speaker 1: They made audio animatronics of all the humans at the

1208
01:12:18,920 --> 01:12:21,439
Speaker 1: end when they come, so like they spent millions of

1209
01:12:21,520 --> 01:12:24,679
Speaker 1: dollars to make an animatronic of like Fifi the made

1210
01:12:24,760 --> 01:12:27,120
Speaker 1: as a human at the end, and it's just like

1211
01:12:28,360 --> 01:12:31,439
Speaker 1: one second, one second that no one knows who they are.

1212
01:12:31,720 --> 01:12:35,880
Speaker 1: They put all this money into character. So it's like,

1213
01:12:36,280 --> 01:12:37,880
Speaker 1: you know, and Beauty and the Beast, like all the

1214
01:12:37,960 --> 01:12:41,120
Speaker 1: household objects, like they're they're frozen like that because of

1215
01:12:41,200 --> 01:12:46,519
Speaker 1: the spell. And she's the dust, She's the duster, and

1216
01:12:46,640 --> 01:12:51,080
Speaker 1: so at the end of the ride, Beau, she's great

1217
01:12:51,120 --> 01:12:54,120
Speaker 1: and gorgeous. But it's just so funny because no one

1218
01:12:54,320 --> 01:12:56,200
Speaker 1: grows up thinking, I can't wait to go to Disney

1219
01:12:56,240 --> 01:13:04,200
Speaker 1: World and see the Fifi um the human animatronics Mrs

1220
01:13:04,280 --> 01:13:06,800
Speaker 1: Cross as a human and Chip as a human are there,

1221
01:13:06,880 --> 01:13:09,360
Speaker 1: and like, they spent millions of dollars to make these

1222
01:13:09,360 --> 01:13:13,920
Speaker 1: animatronics figures, and no single soul was like, you can't

1223
01:13:13,920 --> 01:13:16,280
Speaker 1: wait to go see them brought to life, but they did.

1224
01:13:16,640 --> 01:13:19,160
Speaker 1: The heartbreaking part about that, the ending of that movie

1225
01:13:19,200 --> 01:13:21,439
Speaker 1: that no one talks about is that you know, Mrs

1226
01:13:21,479 --> 01:13:25,000
Speaker 1: Popps and Chip and they all become human, then presumably

1227
01:13:25,080 --> 01:13:27,479
Speaker 1: they'll be servants for the rest of their lives. Yeah,

1228
01:13:28,840 --> 01:13:33,240
Speaker 1: they're going to like bring her breakfast in bed. They

1229
01:13:33,320 --> 01:13:36,920
Speaker 1: had the choice to be like fun and immortal, and

1230
01:13:37,040 --> 01:13:40,000
Speaker 1: they wanted so badly to be mortal. And you know,

1231
01:13:40,439 --> 01:13:43,400
Speaker 1: in surface, it's very it has a whiff of that

1232
01:13:44,040 --> 01:13:48,200
Speaker 1: that really has anyone here seemed down the nabbey and

1233
01:13:50,200 --> 01:13:54,080
Speaker 1: there's always these like speeches were like the butler legitimizes

1234
01:13:54,680 --> 01:13:57,240
Speaker 1: basically the cast system, where there's like, no, we were

1235
01:13:57,320 --> 01:14:07,840
Speaker 1: born to the toxic mentality, hon Yeah, okay, mentality. It's

1236
01:14:07,840 --> 01:14:10,519
Speaker 1: a toxic mentality. Who of you two are going to

1237
01:14:10,640 --> 01:14:17,639
Speaker 1: go first? I'm ready, I have mine, Okay, first out time.

1238
01:14:17,920 --> 01:14:19,760
Speaker 1: This is Julio taures Is. I don't think so, honey.

1239
01:14:19,800 --> 01:14:23,480
Speaker 1: This time starts now. I don't think so, honey. Weddings

1240
01:14:23,760 --> 01:14:29,160
Speaker 1: that end in I do, honey. If you're going to

1241
01:14:29,240 --> 01:14:31,439
Speaker 1: ask me to come to your little show, give me

1242
01:14:31,560 --> 01:14:34,960
Speaker 1: a show, you mean to tell me that you you

1243
01:14:36,080 --> 01:14:38,760
Speaker 1: we're all here. We're gonna watch this person walk down

1244
01:14:38,800 --> 01:14:40,439
Speaker 1: the aisle and then you're gonna kiss, and then it's

1245
01:14:40,439 --> 01:14:44,280
Speaker 1: gonna end. If you're not running in a wedding dress.

1246
01:14:44,960 --> 01:14:48,280
Speaker 1: Why are you buying a wedding dress? If that wedding

1247
01:14:48,360 --> 01:14:51,320
Speaker 1: dress is not gonna end up pattered, were covered in

1248
01:14:51,400 --> 01:14:54,720
Speaker 1: a little bit of blood, then what a what are

1249
01:14:54,760 --> 01:14:57,960
Speaker 1: we doing? Where is the where is the drama? I

1250
01:14:58,120 --> 01:15:02,559
Speaker 1: can't believe that you sold me on a falls narrative

1251
01:15:02,760 --> 01:15:04,880
Speaker 1: by inviting me to this big dramatic thing, this big

1252
01:15:04,960 --> 01:15:07,599
Speaker 1: dramatic ceremony, and it just sort of deflates at the end.

1253
01:15:08,200 --> 01:15:13,519
Speaker 1: Mm hmm. I need I need her to run away

1254
01:15:15,240 --> 01:15:19,400
Speaker 1: five seconds or to be crying at the author because

1255
01:15:20,320 --> 01:15:23,000
Speaker 1: because he ran one of the minute. You know, I

1256
01:15:23,080 --> 01:15:25,360
Speaker 1: always feel like it's a shame that there are no

1257
01:15:25,520 --> 01:15:28,000
Speaker 1: objections because I feel like that is a part where

1258
01:15:28,120 --> 01:15:30,479
Speaker 1: someone could make a really good point, you know what

1259
01:15:30,560 --> 01:15:33,120
Speaker 1: I mean, Like like, if you are at a wedding

1260
01:15:33,400 --> 01:15:36,240
Speaker 1: and there's no objections, that means that Brian has no

1261
01:15:36,360 --> 01:15:38,640
Speaker 1: good friends. And that's a rural culture. Now, that's a

1262
01:15:38,680 --> 01:15:41,040
Speaker 1: rule culture number fifty two. If you are at a

1263
01:15:41,120 --> 01:15:44,320
Speaker 1: wedding and there are there are no objections, that means

1264
01:15:44,400 --> 01:15:48,479
Speaker 1: the friends, what about the groom? The groom I just

1265
01:15:48,560 --> 01:15:55,679
Speaker 1: assume has no We don't we don't care about the groom.

1266
01:15:56,400 --> 01:15:59,200
Speaker 1: That's right, Julio. Would you would you ever produce a

1267
01:15:59,280 --> 01:16:02,600
Speaker 1: wedding or oh right, not planned not that's different than

1268
01:16:02,640 --> 01:16:05,760
Speaker 1: planning a wedding. But you would like write a wedding. Yeah,

1269
01:16:06,200 --> 01:16:08,400
Speaker 1: like right, someone's wedding. That would be fun. I would

1270
01:16:08,439 --> 01:16:11,400
Speaker 1: love I would love you know what I love like

1271
01:16:13,560 --> 01:16:15,240
Speaker 1: I'm not gonna get I'm never gonna get married, but

1272
01:16:15,400 --> 01:16:18,040
Speaker 1: I wouldn't have my wedding would be very like a

1273
01:16:18,600 --> 01:16:28,360
Speaker 1: dictator funeral, like like dictators. Dictator funeral a little scary,

1274
01:16:28,600 --> 01:16:33,920
Speaker 1: like so many people lined up, the public wailing outside. Yeah, exactly.

1275
01:16:37,040 --> 01:16:39,160
Speaker 1: And then it's both It's about you. It's about you

1276
01:16:39,200 --> 01:16:42,320
Speaker 1: in the person you're marrying in like a glass case.

1277
01:16:43,800 --> 01:16:47,280
Speaker 1: If me in a glass case approaching this person, oh

1278
01:16:47,439 --> 01:16:50,000
Speaker 1: my god, don't touch me or kiss me, this wedding

1279
01:16:50,040 --> 01:16:53,400
Speaker 1: will not end in I do it when ending your death. Yeah,

1280
01:16:54,040 --> 01:16:58,479
Speaker 1: I love a dictator funeral. Remember was it Kim Jongs

1281
01:16:58,520 --> 01:17:04,680
Speaker 1: or Kim John Ills gneral snow the snowy funeral? I mean,

1282
01:17:06,760 --> 01:17:12,920
Speaker 1: chic I do. In Tenneman Square, you can line up

1283
01:17:13,000 --> 01:17:16,760
Speaker 1: to go see MOUs tomb and it is now embalmed

1284
01:17:17,439 --> 01:17:20,880
Speaker 1: in a glass coffin. It's crazy, but you can go

1285
01:17:21,000 --> 01:17:26,920
Speaker 1: see maus body and there's something really chic about that, honestly. Yeah. Yeah.

1286
01:17:27,840 --> 01:17:31,479
Speaker 1: People lining up to see remains of people is crazy,

1287
01:17:31,600 --> 01:17:33,320
Speaker 1: like in churches and they're like, this is a dried

1288
01:17:33,360 --> 01:17:35,439
Speaker 1: blood of Christ that we have. I mean it's like

1289
01:17:35,479 --> 01:17:38,600
Speaker 1: a little scab in and people come and they're like

1290
01:17:38,800 --> 01:17:41,400
Speaker 1: it's crazy, but I kind of love there's something about

1291
01:17:41,479 --> 01:17:44,880
Speaker 1: that's that's to love about it as well. People who

1292
01:17:45,479 --> 01:17:48,599
Speaker 1: have open castor funerals, they don't if they saw how

1293
01:17:48,760 --> 01:17:52,360
Speaker 1: foolish they looked, they would have changed that plan. You

1294
01:17:52,520 --> 01:17:59,960
Speaker 1: all look bloated as hell. You look bloated, fucking washed them,

1295
01:18:00,000 --> 01:18:02,439
Speaker 1: do you Your wake up is brutal? And also like

1296
01:18:02,640 --> 01:18:05,320
Speaker 1: the makeup artist was just the like embomber, Like it

1297
01:18:05,479 --> 01:18:07,960
Speaker 1: wasn't like they didn't bring in like your girl son,

1298
01:18:08,479 --> 01:18:10,280
Speaker 1: your makeup that day, you know what I mean? Oh,

1299
01:18:10,400 --> 01:18:13,920
Speaker 1: I have I have an idea for for the for

1300
01:18:14,040 --> 01:18:17,120
Speaker 1: that whole business. I'm like, okay, a funeral home where

1301
01:18:17,200 --> 01:18:19,680
Speaker 1: they offer like part of their thing if they have

1302
01:18:19,760 --> 01:18:22,320
Speaker 1: a ton of wardrobe options that you can choose from

1303
01:18:22,760 --> 01:18:25,840
Speaker 1: for the open casket, you know, so you can have

1304
01:18:26,080 --> 01:18:27,880
Speaker 1: like all kinds of looks that maybe you didn't have

1305
01:18:28,000 --> 01:18:34,000
Speaker 1: access to in your regular life. You can designed, you

1306
01:18:34,040 --> 01:18:37,880
Speaker 1: can be very designer. That's really good's amazing. And then

1307
01:18:38,000 --> 01:18:40,519
Speaker 1: you go and like you try on like all the clothes.

1308
01:18:40,600 --> 01:18:46,600
Speaker 1: It's like I'm gonna be a superna dress like me

1309
01:18:47,200 --> 01:18:51,280
Speaker 1: that vibe. Um all right, Anna, are you ready? Um?

1310
01:18:51,640 --> 01:18:55,559
Speaker 1: I am. And I'm not sure if this is really

1311
01:18:55,640 --> 01:18:59,800
Speaker 1: gonna resonate with anyone, but someone else, you know, someone

1312
01:18:59,840 --> 01:19:04,880
Speaker 1: I think touch, even one person you will have done. Yeah,

1313
01:19:05,600 --> 01:19:07,240
Speaker 1: this is an I guess. I don't think so of

1314
01:19:07,280 --> 01:19:10,439
Speaker 1: your time starts now. I don't think so, honey. Self

1315
01:19:10,520 --> 01:19:14,280
Speaker 1: oriented thinking, self referential thinking. You mean to tell me

1316
01:19:14,560 --> 01:19:17,640
Speaker 1: that I'm going to spend my day thinking about what

1317
01:19:17,840 --> 01:19:19,479
Speaker 1: is going to happen to me in the future and

1318
01:19:19,600 --> 01:19:21,439
Speaker 1: thinking about what has happened in the past, and I

1319
01:19:21,479 --> 01:19:24,519
Speaker 1: will just suffer as a result. That my that our

1320
01:19:24,600 --> 01:19:28,439
Speaker 1: brain's default mode of operation is to be not in

1321
01:19:28,560 --> 01:19:30,719
Speaker 1: the present, but either in the future or in the past,

1322
01:19:30,960 --> 01:19:33,560
Speaker 1: always suffering. You mean to tell me I have to

1323
01:19:33,720 --> 01:19:37,200
Speaker 1: learn this as an adult and then find past positive

1324
01:19:37,280 --> 01:19:40,360
Speaker 1: things to do to engaged in the present moment using

1325
01:19:40,479 --> 01:19:43,880
Speaker 1: my hands so that I'm not wandering off and causing

1326
01:19:43,960 --> 01:19:46,880
Speaker 1: myself suffering, And you mean to tell me that I

1327
01:19:47,080 --> 01:19:49,400
Speaker 1: again have was not taught this until I was older.

1328
01:19:49,560 --> 01:19:52,439
Speaker 1: And only now do I see how much suffering I

1329
01:19:53,600 --> 01:19:56,759
Speaker 1: cause myself to have every day thinking about the future

1330
01:19:56,840 --> 01:19:59,679
Speaker 1: and the past. And so I'm gonna say, I don't

1331
01:19:59,720 --> 01:20:03,320
Speaker 1: think so, honey, Uh, suff orient of thinking. I am

1332
01:20:03,400 --> 01:20:06,000
Speaker 1: trying so hard to get out of this nasty habit,

1333
01:20:06,439 --> 01:20:09,280
Speaker 1: and I hope that we all find peace in the press.

1334
01:20:11,120 --> 01:20:14,479
Speaker 1: What do you mean that wouldn't resonate. Some people don't care,

1335
01:20:15,600 --> 01:20:21,639
Speaker 1: they're too busy watching. Don't worry. I don't care. I'm

1336
01:20:21,720 --> 01:20:26,800
Speaker 1: talking about the press toward dramas. My god, wow, that

1337
01:20:26,880 --> 01:20:30,080
Speaker 1: was that was wondering. It really is. It's it's something

1338
01:20:30,160 --> 01:20:33,040
Speaker 1: that I like because I'm aware of it now and

1339
01:20:33,120 --> 01:20:35,760
Speaker 1: I catch myself doing it and I know that it is,

1340
01:20:35,840 --> 01:20:38,800
Speaker 1: like what causes suffering. I'm like, oh, my god, and

1341
01:20:38,920 --> 01:20:44,200
Speaker 1: yet I can't stop thinking about thinking that's very Buddhist

1342
01:20:44,320 --> 01:20:46,120
Speaker 1: thing of like, it's that the suffer the root of

1343
01:20:46,160 --> 01:20:50,800
Speaker 1: suffering is to think about, wow, wow, that what a

1344
01:20:50,880 --> 01:20:55,040
Speaker 1: beautiful what a beautiful note. And also I mean it's

1345
01:20:55,040 --> 01:20:57,240
Speaker 1: sort of it was I don't think so, honey. But

1346
01:20:57,360 --> 01:21:00,360
Speaker 1: Anna's segment was you mean to tell me, you mean

1347
01:21:00,400 --> 01:21:04,560
Speaker 1: to you mean to tell me, honey. I think I

1348
01:21:04,640 --> 01:21:07,439
Speaker 1: think I think you really you take that idea, and

1349
01:21:08,400 --> 01:21:13,920
Speaker 1: I think I think you make that something. You tell

1350
01:21:14,080 --> 01:21:18,479
Speaker 1: me like it's it's very powerful syntactically. You mean to

1351
01:21:18,560 --> 01:21:22,880
Speaker 1: tell me, Wow, there's it's really beautiful. You mean to

1352
01:21:22,920 --> 01:21:26,360
Speaker 1: tell me. This episode is coming to a close, and

1353
01:21:26,400 --> 01:21:28,800
Speaker 1: I'm finding out about this now. I'm finding about this

1354
01:21:28,920 --> 01:21:32,000
Speaker 1: now an hour and minutes in. Let me tell you something.

1355
01:21:33,120 --> 01:21:36,280
Speaker 1: What I'll tell you. What's roughly twenty five minutes each

1356
01:21:36,400 --> 01:21:41,080
Speaker 1: episode of Losest Bookies, and they're streaming by at least

1357
01:21:41,120 --> 01:21:44,320
Speaker 1: the first two hours, and then and then there's how

1358
01:21:44,360 --> 01:21:48,320
Speaker 1: many in this season? Six or seven? Six six six

1359
01:21:48,520 --> 01:21:52,360
Speaker 1: action packed half hours which will, sorry but make you

1360
01:21:52,520 --> 01:21:55,160
Speaker 1: laugh if you're out there being like, oh I wanted

1361
01:21:55,240 --> 01:21:58,800
Speaker 1: to show. That was like, good point, mama. Maybe the

1362
01:21:58,840 --> 01:22:01,559
Speaker 1: show is for you, but most primarily you're gonna chuckle,

1363
01:22:02,000 --> 01:22:08,400
Speaker 1: laugh and have a fine time watching these characters get spooky.

1364
01:22:08,720 --> 01:22:13,680
Speaker 1: That was beautiful. Wow, what an endorsement. It's so good.

1365
01:22:13,880 --> 01:22:16,320
Speaker 1: It's so good. I have nothing to add. Are you

1366
01:22:16,400 --> 01:22:21,200
Speaker 1: proud of yourself? Yeah? I'm happy with it. That was

1367
01:22:21,200 --> 01:22:23,200
Speaker 1: an earnest moment to end the body. I just wanted

1368
01:22:23,240 --> 01:22:25,320
Speaker 1: to hear you guys say it. And we end every

1369
01:22:25,360 --> 01:22:37,080
Speaker 1: episode with a song every time, Mature, Full Happy. I

1370
01:22:37,280 --> 01:22:43,479
Speaker 1: guess if you want to hear the rest of that song,

1371
01:22:43,920 --> 01:22:46,280
Speaker 1: you can listen to in the Zone, the album by

1372
01:22:46,320 --> 01:22:49,720
Speaker 1: Britney Spears, and that song is every Time written by

1373
01:22:50,360 --> 01:22:53,320
Speaker 1: Britney Spears. Bye Bye Bye