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Speaker 1: Welcome to One Bad Movie. Today.

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Speaker 2: We're excited to have actor Joseph Rightman, but as we

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Speaker 2: continue reading what you've written, I.

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Speaker 1: Might have to critique it a little bit. Right sure.

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Speaker 2: Known for his work in films like Lady in the Water,

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Speaker 2: where he had a memorable role. So do we want

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Speaker 2: to say about Joe like he was in Lady I'd

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Speaker 2: be worried already right there, you know, as well as

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Speaker 2: Clerks too and The Perfect Man. Joseph has a diverse

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Speaker 2: career spanning film, TV and even voice work, and will

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Speaker 2: be diving into his experiences, including his time on the

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Speaker 2: set of Lady in the Water.

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Speaker 1: You take that last line, this.

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Speaker 3: Is how I would have done it, and I'm not

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Speaker 3: the actor. Please help me, all right, please welcome back

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Speaker 3: to One Bad Movie. All right, So today we have

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Speaker 3: a good episode, well known character actor named Joseph Rightman.

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Speaker 3: You may not know his name, but you'll definitely recognize

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Speaker 3: his face from movies like Lady in the Water, Clerks

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Speaker 3: to The Perfect Man, shows like Charmed. Just very well

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Speaker 3: known working actor. He had a little run on a

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Speaker 3: Disney Plus show recently, So may not know the name,

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Speaker 3: but you'll definitely recognize the face.

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Speaker 1: Acting coach, and we talked about you don't mention that

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Speaker 1: in this little writer, but this is what you're for. Yeah,

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Speaker 1: that's meaningful, of course, And.

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Speaker 3: You guys definitely talked about that a lot in the episode.

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Speaker 3: I thought that was some of the best part of

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Speaker 3: the conversation.

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Speaker 2: I told Joe that it was the first time I

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Speaker 2: had ever heard about what do you call that? A

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Speaker 2: zoom audition? Remember, I never heard about the young people

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Speaker 2: today and Hollywood doing zoom auditions.

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Speaker 3: And we do, and we actually do a lot of

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Speaker 3: zoom audition references throughout One Bad Movie because that's a

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Speaker 3: that's an ongoing theme. And we definitely dive into him

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Speaker 3: working with m Night Shamalan. Remember the water, Yeah it

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Speaker 3: was that was a great episode he had. He has

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Speaker 3: a lot of good stories.

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Speaker 1: So we got that comment.

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Speaker 3: Yes, that is on this episode of One Bad Movie,

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Speaker 3: creating doll bad lips.

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Speaker 4: It's so bad, it's good. It's guilty manness, this sun this,

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Speaker 4: it's so bad, it's good.

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Speaker 1: One Bad Airplane. I'll have no phone, airplane amazing airplane mode,

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Speaker 1: airplane mode. That's my goal, no phone, cell phone. I

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Speaker 1: want to live somewhere when they just have a landline. Yeah,

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Speaker 1: and then just go, hey, man, tell Joe rightman, I'll

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Speaker 1: talk to him Tuesday at three.

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Speaker 2: Cool, move on, No, But I just mean scheduling in life. Yeah,

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Speaker 2: imagine mentioned you imagine if you scheduled your existence are

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Speaker 2: you recording We're good? Imagine if you scheduled your existence

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Speaker 2: so that you only talk to people on a real

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Speaker 2: old phone reverse engineer that from right now you just

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Speaker 2: put your cell phone down.

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Speaker 1: All that you do with that, you wouldn't do anymore. True.

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Speaker 1: You would have a laptop. Let's say you were in

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Speaker 1: the woods in a log cabin that had an ISDN line,

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Speaker 1: high speed fiber whatever, but you wouldn't have to hold

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Speaker 1: a cell phone. You could click your fingers onto the

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Speaker 1: so the radiation of all that would no longer be

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Speaker 1: connected to you. See, that's what I'm going to do

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Speaker 1: in the future. It's not a grounding thing, if you

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Speaker 1: know what that is. I understand, right sure, but I

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Speaker 1: I it creeps Jared and John out that I never

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Speaker 1: hold the phone. If I talk to you right now

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Speaker 1: like this, then I turn it on, I click it,

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Speaker 1: and I'll start doing it. But now I'm not holding

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Speaker 1: it and going like yeah, yeah, because the matrix. It's bad.

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Speaker 1: The hold cell.

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Speaker 3: Phone, Steven, You'm gonna take that?

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Speaker 1: Take what the board?

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Speaker 3: The board, the beating up, the beating up board.

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Speaker 1: Yeah, we need a new one on one. That's one

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Speaker 1: bad one bad board. Clac stick what every what do

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Speaker 1: you call it? Clapstick clacker, clapboard, clapboard slate? What were

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Speaker 1: we talking about?

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Speaker 3: Let's adjust your mike, Stephen, just got to get closer.

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Speaker 1: Why it's Joe and I can be cool with Joe. Yeah.

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Speaker 1: I don't have to be so official, but just just

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Speaker 1: Jared likes my voice.

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Speaker 3: That's what you want to hear this. It is a podcast.

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Speaker 2: I might break into an Alec impersonation, and when I

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Speaker 2: do that, I gotta have the mic very close.

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Speaker 1: I bet you do a good app. You have no idea.

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Speaker 1: I'm sure you do a good out. I do Alec

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Speaker 1: from way back baby, yeah wave, Well, yeah, I dated

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Speaker 1: a few of his ex girlfriends. You know what I mean?

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Speaker 1: Did you really? I didn't know. I didn't know that. Well,

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Speaker 1: come on, bro, makes sense, I get it. I'm I'm

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Speaker 1: nine years younger than him. Sure, you know when I

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Speaker 1: came out of the American Academy of Dramatic Arts and

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Speaker 1: I was working at Mama's Pizza, which is at the

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Speaker 1: same time I met my wife. So prior to meeting

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Speaker 1: my wife, right who I married in nineteen ninety were

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Speaker 1: still married amazing, So you can imagine when I was

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Speaker 1: in that waiter period before becoming a professional actor, that

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Speaker 1: my brother, who at the time was already kind of cruising,

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Speaker 1: you know, he already done knots landing, things like that,

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Speaker 1: you know, which back then was not slanding was pretty big. Yeah,

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Speaker 1: So he would, you know, have friends that he dated,

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Speaker 1: and then he no longer dated.

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Speaker 2: So once in a while I'd be at the old

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Speaker 2: you know, Irish pub and bump into so and so

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Speaker 2: who knew one of my brothers.

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Speaker 1: Yeah, is his cup run over? And there you go.

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Speaker 2: And I would simply say to that gal, he's a prick.

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Speaker 2: We all know he's a prick. His drink it was.

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Speaker 1: It's awful, Joe, it's terrible scenarios to be and all right, well,

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Speaker 1: I was, you know, a bit of a comforter because

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Speaker 1: what they had to deal with was, you know, what's

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Speaker 1: your name, Susie, Hi, Susie alec nice to mean you,

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Speaker 1: you know, so there's this kind of have you seen

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Speaker 1: my shweaty balls. Well that's a character, that's something else.

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Speaker 2: But Alec himself, Alex real sweaty balls is uh something

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Speaker 2: that requires a voice to do that in personal you're

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Speaker 2: not the right voice frequency to replicate the sweaty balls frequency.

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Speaker 1: Sure, is what I'm saying. God, it's already, it's already

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Speaker 1: a great interview, bro saying, Okay, we got sweaty balls.

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Speaker 2: You'll be putting in like pop up, so so so

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Speaker 2: much for why I needed to adjustment.

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Speaker 1: Yeah, of course, sorry, Sorry, Joe. You're a serious guy,

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Speaker 1: and here you are. I'm not really that serious now,

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Speaker 1: not so much. But you've been in a lot of stuff, sure, yeah, no,

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Speaker 1: but yeah, cool stuff some yeah, some of it was

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Speaker 1: some cool. Yeah yeah yeah but back in the day. Yeah,

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Speaker 1: but I think your coolest stuff was back in the day.

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Speaker 2: Sure, but I think, like many brilliant Thespians like myself,

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Speaker 2: you gravitated away from what seemed to be like a

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Speaker 2: studio system norm and did your own thing.

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Speaker 1: I mean, I've constantly tried to just do whatever felt

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Speaker 1: right in general, but like and then occasionally you have

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Speaker 1: to pay the bills. So like there's a weird mix

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Speaker 1: of times that you kind of like have to succumb

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Speaker 1: to doing work that you're not necessarily believing in, you know,

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Speaker 1: So there's stuff to pay the bills, right, and then

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Speaker 1: there's stuff that's thus one bad movie, thus many bad movie. Correct.

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Speaker 1: It's one of those. Well, I've noticed in my filmography

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Speaker 1: that the higher up that I am on the call sheet,

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Speaker 1: the closer I get to one, the lower the ratings

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Speaker 1: for the film are. The more the more bad review

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Speaker 1: there are. So like I'm if I'm like at number

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Speaker 1: twenty on the call sheet, it usually is a pretty

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Speaker 1: good movie. If I'm number one, it's a piece of craps.

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Speaker 2: In future one bed movie episodes, that's a bit we

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Speaker 2: have to do some kind of a call sheet scale.

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Speaker 1: Yeah, the higher up that I am in the call sheet,

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Speaker 1: the worst your movie is all the time. There's got

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Speaker 1: to be a cross pollenization of that, like there is

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Speaker 1: if we could actually get call sheets from bad movies

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Speaker 1: and then see who.

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Speaker 2: The actors and figure out where their position. Oh my god,

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Speaker 2: that's fascinating. See I'm already curious about the numerology of that.

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Speaker 1: It's frustrating, it really is. Well, like the Goofy tragedy

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Speaker 1: is if you love acting, right, if you're good at

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Speaker 1: it, it doesn't matter.

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Speaker 2: Like I tell people, the Baldwin Brothers four guys. You know,

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Speaker 2: the four of us have done more films than any

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Speaker 2: siblings ever.

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Speaker 1: It's just because there's four of us. But it just

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Speaker 1: trips me out because the game has changed some of

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Speaker 1: the folks that we talked to earlier. I switched up

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Speaker 1: on you stay with me because Sam, it works in

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Speaker 1: the edit. Okay, I'm staying with you, just.

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Speaker 2: Just like my performances. Sure it works in the edit, Joe.

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Speaker 2: But I'm just saying all that because I don't want to.

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Speaker 2: I don't want to forget in this conversation that we're

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Speaker 2: going to cover all that other stuff. Like you're sure

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Speaker 2: we'll play and talk about it, but I don't want

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Speaker 2: to forget that in the where you're at now and

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Speaker 2: in the where I'm at now, it seems to be

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Speaker 2: a cool retro.

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Speaker 1: Trend that folks who have been around for a while,

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Speaker 1: who are serious about loving film and acting in theater

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Speaker 1: or you know, just doing quality stuff that when you

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Speaker 1: watch it, people go, wow, right, that thing is eroding.

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Speaker 1: It's always has always has been, you know, as you

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Speaker 1: get in this game.

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Speaker 2: As you get in the business. I mean, you and

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Speaker 2: I can sit here and talk about your next project. Sure,

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Speaker 2: stay with me. But at the same time, if either

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Speaker 2: one of us got offered, you know, even being a

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Speaker 2: supporting guy with multiple opportunities and some Marble Universe, did

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Speaker 2: I say Marble Marble?

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Speaker 1: Did I said Marble Universe?

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Speaker 2: The Marble Universe shows you how I shows you how

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Speaker 2: bad I want to be in the Marvel Universe.

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Speaker 1: Okay, okay, and look, I've I've done a couple of

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Speaker 1: jobs in that universe. But you sit there and you

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Speaker 1: and all you can think to yourself is like, if

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Speaker 1: I just got like one decent break in this world,

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Speaker 1: you know, you freaking change everything. You know. I always

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Speaker 1: feel that way about my career. I feel like I

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Speaker 1: do a lot of work where I'm trying to pay

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Speaker 1: the bills or whatever happens, or I'm trying to be creative,

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Speaker 1: and you always feel like you're just one job away

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Speaker 1: from like everything changing again.

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Speaker 2: But for you, if the potential for the one bigger

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Speaker 2: gig came along and it just was something you just

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Speaker 2: didn't vibe with, would you do it?

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Speaker 1: Yeah? What do we?

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Speaker 4: Yes?

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Speaker 1: It's official. Joe Wrightman is our first one bad actor.

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Speaker 1: Oh god, if I was given an opportunity to horrmi again. Sure, wow,

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Speaker 1: I appreciate your honest. I feel like we're in an

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Speaker 1: AA meeting now. Yeah, it's fantastic. Yeah, he was just

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Speaker 1: so rigorously honest. Yeah.

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Speaker 2: Please bring please bring in mister Ragmens mancha latte. Please

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Speaker 2: my two fisted My goodness, it took forever. Did you

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Speaker 2: take my bike? What retro And now for this promotional

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Speaker 2: moment from Steve Baldwin about retrospect e bikes. Just I'm kidding,

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Speaker 2: but if retrospect can send me like some free fricking tires,

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Speaker 2: I appreciate it. Sorry, Joe Tug gotta plug when you

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Speaker 2: can plug, I get you.

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Speaker 1: Sorry, Thanks for being here, Joe, Thank you for having me.

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Speaker 1: Where was I.

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Speaker 3: You're about to ask him what his one bad movie is.

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Speaker 1: No, I'm not going to ask him that yet.

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Speaker 2: I want to hear from this guy, Okay, who's like

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Speaker 2: boots on the ground in Hollywood, teaching young people about

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Speaker 2: the craft right and at the same time, the biggest

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Speaker 2: hit movie ever was Barbie. Now, Joe and I already

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Speaker 2: know Joe's like mcgalliard, He's going to debate me on Barbie.

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Speaker 1: Am I did you hate it? Yes? Ah, I love you.

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Speaker 1: I hated. I hated. I think I think Ryan did

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Speaker 1: a very good job. You know. I thought his performance

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Speaker 1: was good. I think the sets and the costumes were

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Speaker 1: done very well. Right, I can't really deny that, you know,

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Speaker 1: But I think the message was horrible in garbage. That's

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Speaker 1: what I felt like the message. Okay, well, I think

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Speaker 1: less less, less, less more about it. I hate it.

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Speaker 2: Oppenheimer, Well, we'll talk about that's another conversation. Wow, yeah,

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Speaker 2: see my guys. Yeah, yeah, I like that.

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Speaker 1: I did. He's the youngest Baldwin.

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Speaker 2: Obviously, he's the most like you know, wow, Okay, something's

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Speaker 2: wrong with him.

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Speaker 1: But I'll talk about Oppenheimer's sap separate.

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Speaker 2: Barbie to me, quite simply is just that event movie commercialization.

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Speaker 1: Thing, but about something.

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Speaker 2: It's about taking an American a doll and then morphing

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Speaker 2: in morphing it into this thing.

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Speaker 1: That's so bad story wise. It's such a forced, you know,

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Speaker 1: marketing machine. It's so zombie America that people are just

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Speaker 1: going pink, I see pink. They're not even watching a movie.

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Speaker 1: They're just they're blinded by pink. But here's the thing.

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Speaker 1: I think Greta is a very good filmmaker. She's a

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Speaker 1: very smart woman. She knows what she's doing. So my

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Speaker 1: problem is is that the message that she tried to

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Speaker 1: put out there with that movie upset me. So is

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Speaker 1: she that smart if that's what she tried to do?

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Speaker 1: So hold on. You can take your hollywood nessnessness, your

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Speaker 1: great director talent and get inside a movie studio that

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Speaker 1: they're going to spend tens of mirions. You got the cast,

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Speaker 1: you got all the power. If you're Greta coming into

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Speaker 1: this opportunity and forget see for me, I'm not I

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Speaker 1: don't want to debate the story thing and the outcome

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Speaker 1: of that. That's your interest, okay. My interest is if

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Speaker 1: you're all we're taught, if you're this woman that talented.

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Speaker 1: I watched interviews after I didn't see the film, but

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Speaker 1: I watched her go well, this is an important timely

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Speaker 1: moment in the history of women and power. And I'm

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Speaker 1: sitting there going and you took all of that stuff

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Speaker 1: and wrapped it up into a fantasy movie for little

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Speaker 1: kids and totally manipulated your audience. That's how I see Barbie.

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Speaker 1: I see this like Oppenheimer a marketing manipulation, but it's

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Speaker 1: a hy the Hollywood lead to be fair, it worked,

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Speaker 1: of course, right to be fair, of course, so like

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Speaker 1: we could argue that point. But the thing is she

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Speaker 1: was extremely successful if that was her goal, extremely.

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Speaker 2: Successful and in the working that means the success. So

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Speaker 2: now my question, Joe Ryman, is is the success and

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Speaker 2: it's working, what's good for the industry?

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Speaker 1: I feel that it's like the issue is this is

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Speaker 1: like if she is this woman who created this film

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Speaker 1: and made this, she now can make any movie she

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Speaker 1: wants in her life, right, correct, so that she doesn't

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Speaker 1: have to do another movie. That's like, and the gal

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Speaker 1: that plays the lead, Margot Robbie, you know how much

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Speaker 1: she made a lot seventy million on the back end,

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Speaker 1: not her feet. Yeah, I understanding. Yeah, So here's my

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Speaker 1: other beef. I'm the new guy coming back to Hollywood,

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Speaker 1: going guy. Look if the game now is that kind

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Speaker 1: of money, God bless Margot Robbie.

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Speaker 2: Margaret Robbie does not deserve seventy million dollars on the

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Speaker 2: back end. She has not been in the business long enough.

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Speaker 2: She's not Meryl Streep. When does Meryl Streep make seventy

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Speaker 2: million dollars in the back end. That's what I want

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Speaker 2: to know.

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Speaker 1: Dog, what what? Hey, Steve, don't say that he kids,

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Speaker 1: sh don't piss on Hollywood, Steve. But you know what,

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Speaker 1: her negotiator. But she had a negotiation. She had a

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Speaker 1: good piece of the back end, and she got what

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Speaker 1: she deserved because of her contract. Right. I mean, how

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Speaker 1: many contracts have you signed for bad movies where you

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Speaker 1: were guaranteed back end where you knew it wasn't gonna come.

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Speaker 1: Nobody knows that better than the youngest Baldwin. That's what

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Speaker 1: I'm telling you, of course. But my point, but what

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Speaker 1: if one of them became Sharknado and made like one

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Speaker 1: hundred million dollars? Would you deserve the money that day?

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Speaker 1: That's not the question I'm asked. That's not the question

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Speaker 1: I'm asked. I understand. But you're telling that she if

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Speaker 1: I become a billion in the future, yeah, I'm going

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Speaker 1: to do a Warren Buffett. I'm going to drive an

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Speaker 1: old car. Sure, I'm gonna not live beyond my means.

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Speaker 1: I don't think that superachts and all that stuff are

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Speaker 1: for me. I understand, that's just me I get it.

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Speaker 1: I think that you can't say yes in Hollywood and

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Speaker 1: make seventy million on the back end and there's sixty

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Speaker 1: thousand homeless on the streets of LA that you drive

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Speaker 1: by every day and do nothing to solve it. Well,

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Speaker 1: we don't know what she's going to do with that money, Okay,

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Speaker 1: But if I had seventy million on the back end,

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Speaker 1: I take half of it. I would take half of

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Speaker 1: seventy million dollars personally and give it to the city

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Speaker 1: of Los Angeles with the right plan to rescue homeless

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Speaker 1: people up the streets. And that's what I would do.

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Speaker 1: That's great, and I that's great and I and I

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Speaker 1: hope that you make your seventy million so you can

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Speaker 1: do that, because that's great. Yeah, think absolutely, you know,

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Speaker 1: but you heard it your first Poe. Yeah yeah. But

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Speaker 1: with that said, we don't know what she's going to

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Speaker 1: do with that money. I mean, she made that money,

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Speaker 1: and you just have to decide at that point. Hopefully

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Speaker 1: she'll do the right thing in some way, you know,

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Speaker 1: and give some of it back. But because I agree

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Speaker 1: with you, like, that's too much money for anybody anyway,

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Speaker 1: you know, it's too much money for anybody.

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Speaker 5: Well, she'll net what it's fair, not even it's fair,

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Speaker 5: And I don't disrespect that.

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Speaker 2: It's fair for Margot Robert to make that back in

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Speaker 2: in the system to which we exist, correct. I find

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Speaker 2: it ironic and hypocritical that that same system doesn't fix

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Speaker 2: its own city.

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Speaker 1: Well as we both know, like the studios, it's the

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Speaker 1: Kodak theater. Yeah, but it doesn't fix anything. Yeah, but

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Speaker 1: the studio system which she's making that money from, has

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Speaker 1: no interest in doing good for the people. I mean,

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Speaker 1: you know as well as I do. Like they don't.

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Speaker 1: They don't look out for the people. They don't look

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Speaker 1: out for the actors, they don't look out for the people.

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Speaker 1: That's not what studios do. So it's not their job

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Speaker 1: to do that.

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Speaker 5: If the city of question becomes yeah, well I have

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Speaker 5: a pipe in for a fact check because technically the

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Speaker 5: studio that made it is in the city of Burbank,

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Speaker 5: and we're doing great, so they.

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Speaker 3: Take they take care of that city.

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Speaker 1: That's good for you. Good for you, Joy Burbank Jared

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Speaker 1: for Mayor of Burbank. Ladies and gentlemen.

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Speaker 2: No, but I'm just I'm being a dick to make

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Speaker 2: a point which is with your point. I don't want

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Speaker 2: to work in that system anymore. As best I can,

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Speaker 2: I don't want to work in that system anymore.

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Speaker 1: If they called me to do a Marvel movie tomorrow,

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Speaker 1: I'm not into it. I'd rather really, I'd rather do

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Speaker 1: really fetishish documentaries then be iron Man any day. That's

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Speaker 1: just me. Well, we have different priorities, but yeah, you'd

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Speaker 1: be iron Man. Oh my god, you would? Are you kidding? Oh? Wow?

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Speaker 3: Joe share with him? The Batman's George.

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Speaker 1: So I worked at this movie called The Perfect Storm

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Speaker 1: years ago, of course, and I worked with Clooney. I

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Speaker 1: love that, right, And I asked Mark Wahlberg, Yeah, And

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Speaker 1: I asked Clooney a few questions. One of the questions

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Speaker 1: I asked him while were on the boat is I said,

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Speaker 1: I said, I go, what made you decide to do Batman?

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Speaker 1: You know, because I'm like, hey, I figured he had

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Speaker 1: to have read the script, it had to have known

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Speaker 1: that it wasn't going to be the best Batman or

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Speaker 1: whatever the situation was. I go, what made you say

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Speaker 1: yes to Batman? And he took a second and he

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Speaker 1: looked at me, and he goes. I went to my

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Speaker 1: accountant and I said, if I do this movie, do

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Speaker 1: I ever have to work again? And his accountant said, now,

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Speaker 1: if you do this Batman film, you can do whatever

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Speaker 1: you want for the rest of your life. And he said,

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Speaker 1: then I'm going to do it, because then I can

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Speaker 1: choose whatever movie I want to make, I can choose things,

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Speaker 1: I can say no to whatever I want, I can

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Speaker 1: say no to the system, and I can absolutely have

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Speaker 1: control of my career for the first time in my life.

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Speaker 1: And I thought that was a great answer. You know,

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Speaker 1: to do one bad movie, you know, to be able

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Speaker 1: to do whatever you want for the rest of your life.

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Speaker 2: If we keep peeling this on, and of course we

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Speaker 2: could peel it down to well, you know, could you

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Speaker 2: justify as an artist? Could I justify? That's seventy million

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Speaker 2: back ends your question. In other words, would I do

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Speaker 2: something that I don't agree with artistically in order to

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Speaker 2: have artistic freedom in the future?

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Speaker 1: Forever? Forever? Are you iron Man? Once? It sounds to

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Speaker 1: me like the god of eaten Joe. If you ask

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Speaker 1: me just to eat from this tree, I wouldn't. I

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Speaker 1: would eat that apple and all hard what you're talking

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Speaker 1: about I want to talk about. Okay, the Mullet Talk

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Speaker 1: with the Mullets TV show The Mullets. Yes, okay, don't

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Speaker 1: ever tell me why you did that. Don't tell you

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Speaker 1: why I did the Bullets. Just tell me why you

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Speaker 1: like it, Why I like the Mullets. Yeah, okay. So

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Speaker 1: I'm kind of known for like doing unconventional things, I think,

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Speaker 1: for auditions, especially if I don't really like the material necessarily.

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Speaker 1: So I had called him from the Mullets, and The

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Speaker 1: Mullets was a show that I don't think anybody would

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Speaker 1: call us good. Uh, No, one like you know, anyone

404
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Speaker 1: ever saw an episode was like that was a horrible

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Speaker 1: idea for a TV show, and uh, but which is fine.

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Speaker 1: And what happened is that I got the audition to

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Speaker 1: play a character named Thrash, who was basically Slash from

408
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Speaker 1: Guns and Roses. And the lines in the script were

409
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Speaker 1: so bad that the jokes were so bad that I

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Speaker 1: decided instead of saying the lines, I would just mumble

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Speaker 1: the whole time and say so, I had a line

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Speaker 1: where I said, well, you know, it's better than I said,

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Speaker 1: better than being stuck on a television show blah blah blah,

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Speaker 1: and I don't even remember the line was instead of that,

415
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Speaker 1: I went, well, he's gone, there's a taxi cat confessions

416
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Speaker 1: literally nonsensical, nonsensical literally didn't say words except for the

417
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Speaker 1: last two words of every sentence they gave me, and

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Speaker 1: they used it and they thought it was It was

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Speaker 1: obviously funnier than anything on the page. So they just

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Speaker 1: hired me to actually not say the lines and then

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Speaker 1: improv whatever you want to. Yes, just mumble to myself

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Speaker 1: and then say two words and we laugh at my

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Speaker 1: joke with a mullet. Correct. And I didn't have a mullet.

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Speaker 1: I had my slash slash hair and a top hat.

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Speaker 1: I mean they addressed me like slash. The three guys

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Speaker 1: who were the lead. I needed to understand how you

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Speaker 1: were involved in anything called and to be honest, like

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Speaker 1: Lonnie Anderson was on the show, and I was in

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Speaker 1: love with her, like when I was a kid, so

430
00:23:26,200 --> 00:23:27,639
Speaker 1: like I would have done anything to be kind of

431
00:23:27,640 --> 00:23:31,600
Speaker 1: like be in her presence. Yeah, more than one day. Yeah,

432
00:23:31,600 --> 00:23:35,120
Speaker 1: I played her ex boyfriend. Yeah, you played Lannie Anderson's

433
00:23:35,240 --> 00:23:38,240
Speaker 1: ex boyfriend. She There were three guys in the show.

434
00:23:38,280 --> 00:23:40,040
Speaker 1: One was supposed to be Keith Richards and then me

435
00:23:40,119 --> 00:23:42,359
Speaker 1: and Tommy Lee. We were all like based on like

436
00:23:42,520 --> 00:23:44,879
Speaker 1: you know those characters and uh and we were all

437
00:23:44,920 --> 00:23:47,639
Speaker 1: supposedly guys. Are there any flashback scenes? Like? No, No.

438
00:23:47,760 --> 00:23:50,000
Speaker 1: They just talked about like how we used to hang

439
00:23:50,000 --> 00:23:51,199
Speaker 1: out and stuff and what we used to do. Was

440
00:23:51,200 --> 00:23:55,400
Speaker 1: she a doll? Uh? Yes? But married? Was she married? Yeah? Well,

441
00:23:55,400 --> 00:23:57,159
Speaker 1: we didn't talk about her marriage much. I just kind

442
00:23:57,160 --> 00:23:59,240
Speaker 1: of sat there and just giggled about being like Joe,

443
00:23:59,240 --> 00:24:01,200
Speaker 1: what's the matter with you get next to Lonnie Anderson?

444
00:24:01,200 --> 00:24:03,159
Speaker 1: You ask her if she's married. I was just so

445
00:24:03,200 --> 00:24:06,760
Speaker 1: happy to be in the present. I mean, I swear

446
00:24:06,800 --> 00:24:08,880
Speaker 1: to got like, you know, she was like a fantasy

447
00:24:08,880 --> 00:24:10,480
Speaker 1: girl of mine for like when I was twelve, Are

448
00:24:10,480 --> 00:24:12,480
Speaker 1: you kidding me? She was everything?

449
00:24:12,600 --> 00:24:14,520
Speaker 3: Can we tell the listeners who are under fifty who

450
00:24:14,520 --> 00:24:15,280
Speaker 3: Lonnie Anderson is?

451
00:24:15,400 --> 00:24:17,919
Speaker 1: Lonnie Anderson was on a TV show called w KRAP

452
00:24:18,040 --> 00:24:21,000
Speaker 1: in Cincinnati when I was young, and she, to me

453
00:24:21,200 --> 00:24:22,640
Speaker 1: was like the most beautiful girl in the work.

454
00:24:22,800 --> 00:24:24,679
Speaker 2: Listening to me, you're being way too nice. I'm from

455
00:24:24,680 --> 00:24:28,720
Speaker 2: massapeak with Lonnie Anderson's boobs, Oh my god, Lonnie.

456
00:24:28,359 --> 00:24:32,760
Speaker 1: Anderson's boobs, you are correct? And Jarednia Anderson's boob yeah

457
00:24:33,200 --> 00:24:33,639
Speaker 1: this dream.

458
00:24:33,960 --> 00:24:37,720
Speaker 2: Yeah, so we have four yeas that just as male

459
00:24:38,400 --> 00:24:44,680
Speaker 2: American h young people. Yeah, back during when we were

460
00:24:45,000 --> 00:24:47,439
Speaker 2: how old back then, seven, eight, nine, ten were we

461
00:24:47,480 --> 00:24:47,800
Speaker 2: back then?

462
00:24:47,840 --> 00:24:51,200
Speaker 1: Guys ten to twelve? I was a ten, yeah.

463
00:24:52,200 --> 00:24:56,960
Speaker 2: But Lonnie Anderson on w Krapy in Cincinnati was she

464
00:24:57,080 --> 00:24:59,280
Speaker 2: was very pretty the top five for me. But that

465
00:24:59,440 --> 00:25:01,399
Speaker 2: was when you you could do serious back then, and

466
00:25:01,400 --> 00:25:04,080
Speaker 2: the women could dress a certain way and not wear

467
00:25:04,160 --> 00:25:06,959
Speaker 2: braziers under their clothes, and they did things much different

468
00:25:07,000 --> 00:25:07,400
Speaker 2: back then.

469
00:25:07,600 --> 00:25:10,080
Speaker 1: For sure. I'm not saying that to be like weird.

470
00:25:10,119 --> 00:25:13,760
Speaker 1: I'm saying as that little kid like stand by Me movie,

471
00:25:13,800 --> 00:25:17,639
Speaker 1: and I like that little POV of young man. Lonnie

472
00:25:17,680 --> 00:25:20,919
Speaker 1: Anderson was lon Anson and and Linda Carter to me

473
00:25:21,000 --> 00:25:24,120
Speaker 1: were just like everything in the world. She was top

474
00:25:24,160 --> 00:25:29,000
Speaker 1: five two, but to me, like Linda Carter going back

475
00:25:29,000 --> 00:25:31,480
Speaker 1: to superhero stuff, like where I really started with my

476
00:25:31,520 --> 00:25:34,479
Speaker 1: superhero stuff was literally the Carter. Like I was like,

477
00:25:34,680 --> 00:25:36,120
Speaker 1: I didn't start with I've ever seen.

478
00:25:36,400 --> 00:25:38,960
Speaker 2: I didn't start with superhero stuff. I kind of like

479
00:25:39,040 --> 00:25:41,919
Speaker 2: girls that were more like dirty, you know, Linda Carr.

480
00:25:42,400 --> 00:25:44,480
Speaker 2: The Carter was a little too clean for Yeah, she

481
00:25:44,640 --> 00:25:46,640
Speaker 2: was beautiful and when she spun and then she got

482
00:25:46,640 --> 00:25:48,320
Speaker 2: on a skateboard. I was like, oh, that's cool, but

483
00:25:48,359 --> 00:25:50,680
Speaker 2: you know I needed you know, I needed like I'm

484
00:25:50,720 --> 00:25:54,800
Speaker 2: more kind of gritty. Yeah, I'm more raw kind of chick,

485
00:25:54,920 --> 00:25:57,720
Speaker 2: you know. And so you know, like that girl from

486
00:25:57,840 --> 00:25:59,640
Speaker 2: uh Terminator.

487
00:25:59,359 --> 00:26:02,800
Speaker 1: Oh wow, was the original Mom Hamilton? Yeah, like that's

488
00:26:02,880 --> 00:26:05,720
Speaker 1: you know when the Hamilton Mike looking at you, it's Jim.

489
00:26:05,800 --> 00:26:08,840
Speaker 1: You're like, will you spot me? You know, I feel

490
00:26:08,840 --> 00:26:10,320
Speaker 1: like i'd ask her for some help, you know what

491
00:26:10,359 --> 00:26:10,600
Speaker 1: I mean?

492
00:26:12,920 --> 00:26:13,800
Speaker 3: And we'll be right back.

493
00:26:15,119 --> 00:26:19,520
Speaker 1: Not again. We're talking about fantasy that part, that's that's okay.

494
00:26:19,560 --> 00:26:22,280
Speaker 3: But let's talk about movies and bad movies.

495
00:26:22,320 --> 00:26:26,600
Speaker 1: And we're talking a great and you're using all of this, Jared,

496
00:26:26,640 --> 00:26:27,680
Speaker 1: whether you like it or not.

497
00:26:27,840 --> 00:26:28,399
Speaker 3: That's fine.

498
00:26:30,720 --> 00:26:36,600
Speaker 1: Kind of shift gears. Yeah please? So can I put

499
00:26:36,600 --> 00:26:37,200
Speaker 1: my feet.

500
00:26:37,000 --> 00:26:42,000
Speaker 3: Up from it'll affect the mics? Yeah, it shakes the

501
00:26:42,040 --> 00:26:42,880
Speaker 3: mic and vibrates.

502
00:26:43,600 --> 00:26:46,200
Speaker 1: Okay, Sorry, sorry, Joe, I mean I don't know, well,

503
00:26:47,240 --> 00:26:48,679
Speaker 1: what were you gonna say? I was gonna say. So

504
00:26:48,680 --> 00:26:50,720
Speaker 1: they talking about fantasy girls and moving to other stuff

505
00:26:50,760 --> 00:26:53,639
Speaker 1: like bad movies. That were talking about one bad movie.

506
00:26:54,640 --> 00:26:58,560
Speaker 1: I did a movie called The Real Deal that was starting.

507
00:26:58,600 --> 00:27:02,160
Speaker 1: Leela Bricado who is like in the Bronx Tail. Yeah, yeah,

508
00:27:02,200 --> 00:27:04,840
Speaker 1: yeah he was in that movie. We were the two leads.

509
00:27:04,880 --> 00:27:08,879
Speaker 1: And then uh and besides that, like Madison was in

510
00:27:08,920 --> 00:27:10,359
Speaker 1: the movie, who I know was do on the show already,

511
00:27:10,400 --> 00:27:12,520
Speaker 1: so imagine did a one day guest start in the

512
00:27:12,600 --> 00:27:14,960
Speaker 1: In the movie, he did a cameo playing himself where

513
00:27:14,960 --> 00:27:16,520
Speaker 1: I had to like just be oh my god, it's

514
00:27:16,560 --> 00:27:18,800
Speaker 1: Michael Madson. But the real reason I did the movie

515
00:27:19,000 --> 00:27:24,200
Speaker 1: is because Angie Everheart and I got it because I

516
00:27:24,560 --> 00:27:26,320
Speaker 1: had scenes with I had to roll around with Anngie

517
00:27:26,320 --> 00:27:29,359
Speaker 1: Everheart like like uh, like we had a fight scene,

518
00:27:29,359 --> 00:27:31,800
Speaker 1: but it was like very intense. And my ex wife

519
00:27:31,880 --> 00:27:33,680
Speaker 1: knew that I was in love with Angie Everhart. I

520
00:27:33,800 --> 00:27:35,600
Speaker 1: in love with her, and she took the movie and

521
00:27:35,600 --> 00:27:37,520
Speaker 1: she goes, you're not allowed to sleep over on set.

522
00:27:37,640 --> 00:27:39,880
Speaker 1: If Angie sleeping over on location, you need to drive

523
00:27:39,920 --> 00:27:43,160
Speaker 1: back from Malibu or like she she's there, you drive home.

524
00:27:43,200 --> 00:27:45,080
Speaker 1: She would not let me spend the night. But you

525
00:27:45,080 --> 00:27:48,280
Speaker 1: were married at the time, yes, And I was like right,

526
00:27:48,320 --> 00:27:49,719
Speaker 1: and I was like I'm like okay, And I did

527
00:27:49,840 --> 00:27:51,800
Speaker 1: the movie and Angie and I had a scene where

528
00:27:51,840 --> 00:27:53,159
Speaker 1: like we had like a fight scene but it was

529
00:27:53,359 --> 00:27:55,040
Speaker 1: on a bed where we were like a very second

530
00:27:55,240 --> 00:27:59,480
Speaker 1: gorgeous and the director knew that I was in love

531
00:27:59,480 --> 00:28:01,520
Speaker 1: with her, and he told and we're rolling around and

532
00:28:01,560 --> 00:28:02,879
Speaker 1: I have her like pinned down where like in a

533
00:28:02,880 --> 00:28:05,400
Speaker 1: wrestling move. He's like, he's like, how's this working for you? Joe?

534
00:28:05,400 --> 00:28:07,040
Speaker 1: I'm like, stop it, and she goes, what are you

535
00:28:07,040 --> 00:28:09,119
Speaker 1: talking about. He goes, oh, you didn't know. I'm like,

536
00:28:09,280 --> 00:28:12,200
Speaker 1: do not tell her? And he goes, oh, yeah, Joe's

537
00:28:12,240 --> 00:28:13,720
Speaker 1: wife won't let her spend the let me spend the

538
00:28:13,800 --> 00:28:16,159
Speaker 1: night here because you're here and you're like in his

539
00:28:16,240 --> 00:28:19,400
Speaker 1: like top five list of like you know right right.

540
00:28:19,600 --> 00:28:21,840
Speaker 1: He's like, you know, while you're holding right down as

541
00:28:21,840 --> 00:28:24,760
Speaker 1: I'm holding her now, at which point she goes, how's

542
00:28:24,800 --> 00:28:27,360
Speaker 1: this and she pushes her butt back into me as

543
00:28:27,359 --> 00:28:29,840
Speaker 1: I'm holding her, and she goes like is this better

544
00:28:29,880 --> 00:28:32,600
Speaker 1: for you? And I'm like, oh my god. And Angie

545
00:28:32,600 --> 00:28:35,480
Speaker 1: for the rest of the shoot would not stop torturing

546
00:28:35,560 --> 00:28:37,840
Speaker 1: me because she knew there was nothing that I could

547
00:28:37,880 --> 00:28:39,680
Speaker 1: do about it, and he just sat there and yeah,

548
00:28:39,840 --> 00:28:42,240
Speaker 1: she was impressive. Did the last part of the story

549
00:28:42,320 --> 00:28:44,360
Speaker 1: was that ever told to your ex wife before? No,

550
00:28:45,600 --> 00:28:50,680
Speaker 1: my ex wife. She wouldn't care. Now she'd laugh. Now

551
00:28:50,800 --> 00:28:55,200
Speaker 1: at the time, what's your ex wife's name? Uh shennon Elizabeth. Oh,

552
00:28:55,440 --> 00:28:56,600
Speaker 1: it's Shannon.

553
00:28:58,360 --> 00:29:00,000
Speaker 3: I was trying to get you to ask that follow up.

554
00:29:00,160 --> 00:29:01,080
Speaker 1: That is funny.

555
00:29:01,120 --> 00:29:12,160
Speaker 2: First mention, that's brilliant, much more so because Shannon's good

556
00:29:12,200 --> 00:29:18,400
Speaker 2: looking gal. Yes, probably, i'd say better looking than Ange.

557
00:29:19,000 --> 00:29:21,480
Speaker 2: I would put them on the same tier. I would say,

558
00:29:21,720 --> 00:29:26,840
Speaker 2: is that fair sex is more attractive in my opinion. Now,

559
00:29:26,880 --> 00:29:30,120
Speaker 2: that doesn't mean dirty. Don't reference what I look.

560
00:29:30,160 --> 00:29:32,560
Speaker 1: I'm not gonna lie. Here's the thing. Okay, the dirty

561
00:29:32,560 --> 00:29:33,720
Speaker 1: girl is Angie Everhart.

562
00:29:33,760 --> 00:29:34,000
Speaker 4: I'm not.

563
00:29:34,080 --> 00:29:37,120
Speaker 1: I'm not. Yes, that's correct, very correct. That's so great.

564
00:29:37,200 --> 00:29:40,520
Speaker 1: If she back, thank you. But I mean Shannon. But

565
00:29:40,560 --> 00:29:48,280
Speaker 1: she's funny, Angie's She's like, Angie, You're amazing, Shannon. I look,

566
00:29:48,680 --> 00:29:50,360
Speaker 1: and I will say this to the day. And Shannon,

567
00:29:50,400 --> 00:29:52,200
Speaker 1: to me was the most beautiful woman I'd ever seen

568
00:29:52,200 --> 00:29:56,720
Speaker 1: when I met her, like I loved her because she

569
00:29:56,760 --> 00:29:59,680
Speaker 1: knows that. But indeed, I can tell you the moment

570
00:29:59,680 --> 00:30:00,840
Speaker 1: that I knew that I was going to marry her,

571
00:30:00,840 --> 00:30:03,320
Speaker 1: which is a little side note, but I went to

572
00:30:03,360 --> 00:30:06,600
Speaker 1: the premiere of Drop Dead gorgeous, which Dinias Richard's was

573
00:30:06,640 --> 00:30:09,280
Speaker 1: in right and uh. And the two of them were

574
00:30:09,280 --> 00:30:13,800
Speaker 1: talking at the premiere, and Denise to me was also

575
00:30:13,920 --> 00:30:16,000
Speaker 1: one of the most beautiful women. Can't talk about Denise,

576
00:30:16,080 --> 00:30:17,720
Speaker 1: she's my friend, right, I'm just saying, like I can

577
00:30:17,800 --> 00:30:19,680
Speaker 1: just say it beautiful. I can't even talk about time.

578
00:30:20,440 --> 00:30:23,120
Speaker 1: But she was beautiful, right, Yeah, beautiful about Denise. That's fine.

579
00:30:23,160 --> 00:30:25,000
Speaker 1: You don't have to I will, I will, my brain

580
00:30:25,080 --> 00:30:27,200
Speaker 1: will just implode. That's fine. But for me, I thought

581
00:30:27,240 --> 00:30:28,640
Speaker 1: she was one of the most beautiful women at that time,

582
00:30:28,720 --> 00:30:30,479
Speaker 1: especially at that time. And the two of them were

583
00:30:30,480 --> 00:30:32,240
Speaker 1: talking and I sat there and I went, oh, my god.

584
00:30:32,280 --> 00:30:34,400
Speaker 1: If I had an opportunity to be with Denise, who

585
00:30:34,440 --> 00:30:35,800
Speaker 1: I think is one of the most beautiful in the world,

586
00:30:36,040 --> 00:30:38,040
Speaker 1: or be with my girlfriend, who would I want to

587
00:30:38,040 --> 00:30:40,400
Speaker 1: be with. I'm like, oh my god, I want to

588
00:30:40,400 --> 00:30:41,160
Speaker 1: be with my girlfriend.

589
00:30:41,360 --> 00:30:41,520
Speaker 4: Yeah.

590
00:30:41,560 --> 00:30:43,880
Speaker 1: I was like, I go, I should marry this girl, because,

591
00:30:43,920 --> 00:30:47,520
Speaker 1: like she is, she is more important to me than

592
00:30:47,600 --> 00:30:49,360
Speaker 1: the fantasy that I could ever have. So that's why

593
00:30:49,360 --> 00:30:51,120
Speaker 1: I know it's going to marry her. God, you're a

594
00:30:51,200 --> 00:30:52,880
Speaker 1: nice guy.

595
00:30:53,120 --> 00:30:56,080
Speaker 2: I'd dated Denise for a weekend and then got married

596
00:30:56,200 --> 00:30:56,920
Speaker 2: but that's just me.

597
00:30:57,120 --> 00:30:58,440
Speaker 1: I mean, to be fair, if I could have taken them,

598
00:30:58,440 --> 00:31:02,920
Speaker 1: both of them, I would have done that one bad

599
00:31:03,000 --> 00:31:06,160
Speaker 1: beauty if I could. If I if I swung that,

600
00:31:06,240 --> 00:31:08,560
Speaker 1: I'd be a god. That's like that. But you know

601
00:31:08,760 --> 00:31:14,400
Speaker 1: that did not happen, and now you're single. Yeah no, girlfriend, No,

602
00:31:16,360 --> 00:31:21,080
Speaker 1: what's that like? Salt meat wound salt? We are hysterical,

603
00:31:22,080 --> 00:31:24,880
Speaker 1: Uh you know, yeah, I mean it's a process. I

604
00:31:24,880 --> 00:31:26,400
Speaker 1: mean it's been a while since I've been kind of

605
00:31:26,440 --> 00:31:27,640
Speaker 1: like on my own for a while.

606
00:31:27,800 --> 00:31:38,840
Speaker 2: So yeah, yeah, I'm curious because I really think your

607
00:31:38,880 --> 00:31:41,760
Speaker 2: perspective is is your I don't call it opinion. I

608
00:31:41,800 --> 00:31:45,800
Speaker 2: think your perspective is very interesting because you wear multiple

609
00:31:45,800 --> 00:31:47,080
Speaker 2: hats in this town right now.

610
00:31:47,400 --> 00:31:49,280
Speaker 1: Yeah, you could be hired as an actor to do

611
00:31:49,320 --> 00:31:53,640
Speaker 1: whatever the heck you want very next month. Yeah. Sometimes yeah,

612
00:31:53,840 --> 00:31:59,200
Speaker 1: and you are actively online with Zoom dealing with students

613
00:32:00,640 --> 00:32:06,120
Speaker 1: that are ping correct, right, tell me about because you've

614
00:32:06,120 --> 00:32:08,720
Speaker 1: already answered about the political system in Hollywood, in the

615
00:32:08,720 --> 00:32:10,800
Speaker 1: studio system very wisely.

616
00:32:11,000 --> 00:32:14,560
Speaker 2: Unlike Stephen Baldwin, You've been very wise. But I just

617
00:32:14,600 --> 00:32:17,880
Speaker 2: want to know, in your experience as an actor yourself,

618
00:32:17,960 --> 00:32:20,280
Speaker 2: what have you seen in the last three decades as

619
00:32:20,280 --> 00:32:25,080
Speaker 2: a progression of acting now now, like I made the

620
00:32:25,200 --> 00:32:27,720
Speaker 2: joke I recently talked about, Hey, I've been out of

621
00:32:27,760 --> 00:32:28,040
Speaker 2: this game.

622
00:32:28,080 --> 00:32:29,960
Speaker 1: I'm just coming back right now. I'm getting ready to

623
00:32:30,440 --> 00:32:35,800
Speaker 1: start the writer director part season of my career is

624
00:32:35,800 --> 00:32:37,600
Speaker 1: what I did you do? What's tripped me out is

625
00:32:37,920 --> 00:32:40,080
Speaker 1: two years ago I was here visiting my granddaughter. I'm

626
00:32:40,080 --> 00:32:42,320
Speaker 1: in line at a Starbucks and this kid in front

627
00:32:42,320 --> 00:32:43,840
Speaker 1: of me, he's on the phone. He's like, yeah, cool,

628
00:32:44,000 --> 00:32:46,480
Speaker 1: I'll see you there. Yeah, I'll see at six. Right.

629
00:32:46,520 --> 00:32:48,560
Speaker 1: But at five o'clock I got a Zoom audition and

630
00:32:48,640 --> 00:32:52,680
Speaker 1: after that, I'll I went zoom audition. It took me

631
00:32:52,920 --> 00:32:59,600
Speaker 1: fifteen seconds to download. Zoom is that thing where you

632
00:32:59,720 --> 00:33:02,840
Speaker 1: talk to somebody on video. And so this kid means

633
00:33:02,880 --> 00:33:09,560
Speaker 1: he was auditioning for a movie, yeah or whatever through Zoom.

634
00:33:09,920 --> 00:33:12,840
Speaker 1: I'm exaggerating to make a point. You don't even have

635
00:33:12,880 --> 00:33:15,080
Speaker 1: to be in the room anymore. I haven't gotten to

636
00:33:15,080 --> 00:33:17,280
Speaker 1: a room to audition to four years. Sorry, I haven't

637
00:33:17,280 --> 00:33:20,160
Speaker 1: been in an audition room for four years. It's all

638
00:33:20,200 --> 00:33:22,440
Speaker 1: been zoom. It's all been self tape. I haven't been

639
00:33:22,440 --> 00:33:24,040
Speaker 1: in a room four Talk to me about that and

640
00:33:24,080 --> 00:33:26,520
Speaker 1: the young people you work with the now, in the

641
00:33:26,560 --> 00:33:30,000
Speaker 1: in the genetics, and in the in the digital aspect

642
00:33:30,080 --> 00:33:32,440
Speaker 1: of that. Like well, I mean the overall the biggest

643
00:33:32,440 --> 00:33:34,240
Speaker 1: thing to be aware of is the fact that we

644
00:33:34,320 --> 00:33:36,000
Speaker 1: all have a camera in our pocket now, right, So

645
00:33:36,160 --> 00:33:38,640
Speaker 1: everybody has that. So the thing that's I tell people, like,

646
00:33:38,680 --> 00:33:42,600
Speaker 1: the greatest thing that's happened in our generational change is

647
00:33:42,640 --> 00:33:45,760
Speaker 1: that everybody has a camera in their pocket, and anybody

648
00:33:45,760 --> 00:33:47,760
Speaker 1: can make a movie. The biggest nightmare that we have

649
00:33:47,800 --> 00:33:50,880
Speaker 1: in this society is that anybody can make a movie, everybody, right, So,

650
00:33:51,080 --> 00:33:53,520
Speaker 1: so like that's the that's the problem, right, right, it's

651
00:33:53,560 --> 00:33:56,440
Speaker 1: the win and the loss, correct, So because anybody has

652
00:33:56,440 --> 00:33:59,560
Speaker 1: the capability now of making something, which makes a lot

653
00:33:59,600 --> 00:34:02,000
Speaker 1: of bad movies. Now when we deal with the idea

654
00:34:02,120 --> 00:34:04,760
Speaker 1: of like acting, though, the biggest shift that I've seen

655
00:34:04,800 --> 00:34:07,840
Speaker 1: is that thirty years ago when we started, we didn't

656
00:34:07,840 --> 00:34:10,960
Speaker 1: really see ourselves on tape until we started working, right,

657
00:34:11,120 --> 00:34:14,320
Speaker 1: you know, we'd acted on right, we'd act on stage,

658
00:34:14,360 --> 00:34:16,399
Speaker 1: we had done things, but we really hadn't acted on

659
00:34:16,480 --> 00:34:21,839
Speaker 1: camera until we actually started working. But now everybody on

660
00:34:21,880 --> 00:34:24,759
Speaker 1: the planet has now seen themselves and how they act

661
00:34:24,840 --> 00:34:27,400
Speaker 1: and what acting naturally is because you and I had

662
00:34:27,440 --> 00:34:29,600
Speaker 1: to learn how to bring down our performance because we

663
00:34:29,600 --> 00:34:32,000
Speaker 1: were trained on stage probably I'm assuming you were too,

664
00:34:32,280 --> 00:34:34,120
Speaker 1: and we were trained to project to the back row.

665
00:34:34,360 --> 00:34:37,919
Speaker 1: But the kids today, they've seen themselves on camera doing

666
00:34:37,960 --> 00:34:40,680
Speaker 1: face times and zooms and all these things, and constantly

667
00:34:40,680 --> 00:34:44,719
Speaker 1: glanced at themselves subconsciously learning what natural acting is, right,

668
00:34:44,840 --> 00:34:48,640
Speaker 1: watching one's like to be real. So everybody now knows

669
00:34:48,680 --> 00:34:50,960
Speaker 1: what it's like to be real. Now there's no there

670
00:34:51,160 --> 00:34:54,800
Speaker 1: there's no lesson to be caught from that, except for

671
00:34:54,880 --> 00:34:59,040
Speaker 1: the fact organically understanding what feels natural. That doesn't teach

672
00:34:59,080 --> 00:35:01,480
Speaker 1: you how to act, obviously, to make choices, how to

673
00:35:01,520 --> 00:35:04,360
Speaker 1: build an arc, how to actually develop a character, that

674
00:35:04,520 --> 00:35:06,880
Speaker 1: still has to be taught. But the ability to deliver

675
00:35:06,960 --> 00:35:10,520
Speaker 1: a natural performance that everybody has learned how to do

676
00:35:11,080 --> 00:35:13,799
Speaker 1: from a very young age because it's ingrained in them Nowaday.

677
00:35:13,560 --> 00:35:17,200
Speaker 2: Think about what you just said, almost like Andy Warhol

678
00:35:17,280 --> 00:35:20,320
Speaker 2: said that fifteen Minutes of fame because of what's gonna

679
00:35:20,440 --> 00:35:23,880
Speaker 2: happen with media. At some point, media will be so

680
00:35:24,160 --> 00:35:28,319
Speaker 2: overly exposed to everyone inaccessible. You can film yourself and

681
00:35:28,360 --> 00:35:33,839
Speaker 2: get so comfortable with that. That's what's changed, Joe weird

682
00:35:34,280 --> 00:35:38,840
Speaker 2: because like you just said, and forget from stage to

683
00:35:39,560 --> 00:35:42,840
Speaker 2: screen or from stage to a camera. Forget even that

684
00:35:42,920 --> 00:35:44,560
Speaker 2: psychology of performance for a second.

685
00:35:46,080 --> 00:35:50,640
Speaker 1: Just if you and I worked on thirty five millimeter

686
00:35:50,840 --> 00:35:55,480
Speaker 1: feature films in the past, which we did correct before

687
00:35:55,680 --> 00:35:59,160
Speaker 1: the cell phone or before the ability to film yourself,

688
00:35:59,400 --> 00:36:03,640
Speaker 1: because we worked on thirty five millimeter films before there

689
00:36:03,680 --> 00:36:07,640
Speaker 1: was the ability to film yourself. Correct. But since then.

690
00:36:09,680 --> 00:36:14,120
Speaker 2: In the in the through the kaleidoscope of acting and

691
00:36:14,160 --> 00:36:18,120
Speaker 2: how you learn acting and traditionally schools and students.

692
00:36:17,640 --> 00:36:22,040
Speaker 1: And teachers, and now that first phase of the teaching,

693
00:36:22,080 --> 00:36:26,680
Speaker 1: which is to learn to edit yourself and not to

694
00:36:26,680 --> 00:36:31,640
Speaker 1: get in the shadow and all that's already taught correct, yep,

695
00:36:31,760 --> 00:36:33,800
Speaker 1: And that's that's exactly what do you have to break

696
00:36:33,840 --> 00:36:35,480
Speaker 1: through that in your acting class? Do you have to

697
00:36:35,520 --> 00:36:37,520
Speaker 1: tell kids, no, don't do it to the camera like

698
00:36:37,560 --> 00:36:40,759
Speaker 1: that because that's the way they like it, or no, no, not.

699
00:36:40,920 --> 00:36:43,279
Speaker 1: That hasn't really become a thing. Actors have really learned,

700
00:36:43,440 --> 00:36:45,719
Speaker 1: like their angles at a very young age, where like

701
00:36:45,760 --> 00:36:49,000
Speaker 1: before you know how to look good? Is everyone know

702
00:36:49,120 --> 00:36:52,520
Speaker 1: chined down three quarter profile? Everybody knows how to do right?

703
00:36:53,120 --> 00:36:54,359
Speaker 1: You know, you still have to teach people.

704
00:36:54,440 --> 00:36:58,600
Speaker 2: My granddaughter's almost four. Yeah, and the kid can look

705
00:36:58,880 --> 00:37:01,759
Speaker 2: at a phone and look, and she's looking.

706
00:37:01,560 --> 00:37:04,399
Speaker 1: She's watching herself. And that's what I'm saying. Everybody's learned

707
00:37:04,400 --> 00:37:06,840
Speaker 1: how to do that. That's been the really big shift

708
00:37:06,880 --> 00:37:09,000
Speaker 1: over the last thirty years. The other thing is, too,

709
00:37:09,120 --> 00:37:10,880
Speaker 1: is like I teach my class over zoom, and some

710
00:37:10,920 --> 00:37:12,759
Speaker 1: people have said to me, like, go oh, but I

711
00:37:12,760 --> 00:37:14,279
Speaker 1: want to be in a class and on stage. I'm like,

712
00:37:14,280 --> 00:37:17,160
Speaker 1: but that teaches you horrible habits. You need to learn

713
00:37:17,200 --> 00:37:19,640
Speaker 1: how to act in this frame right here, because every

714
00:37:19,680 --> 00:37:22,719
Speaker 1: audition that you have over zoom or self tape is

715
00:37:22,719 --> 00:37:25,360
Speaker 1: how that functions now. So if you know that first,

716
00:37:25,480 --> 00:37:27,600
Speaker 1: you need to know how to use this frame, how

717
00:37:27,600 --> 00:37:28,879
Speaker 1: to move in it, and how.

718
00:37:28,960 --> 00:37:31,080
Speaker 2: Because the reverse psychology of what you said earlier is

719
00:37:31,160 --> 00:37:33,680
Speaker 2: very interesting, which is it's harder to take from projecting

720
00:37:33,719 --> 00:37:37,080
Speaker 2: to the back of the room to the close up.

721
00:37:37,680 --> 00:37:40,080
Speaker 2: But teaching somebody to start to learn the close up

722
00:37:40,160 --> 00:37:43,080
Speaker 2: and then taking that and blowing it out on stage

723
00:37:43,280 --> 00:37:46,360
Speaker 2: would probably be probably be an easier progression.

724
00:37:46,560 --> 00:37:48,520
Speaker 1: I think. So too, is that it turn it up. Yeah,

725
00:37:48,520 --> 00:37:50,920
Speaker 1: that's a book, dude, You should write that book. You

726
00:37:50,920 --> 00:37:52,640
Speaker 1: should write that book. You should write Why do I

727
00:37:52,680 --> 00:37:54,880
Speaker 1: have to write it. I'm not the acting teacher, just

728
00:37:54,920 --> 00:37:58,520
Speaker 1: a schmuck doing one bed, but I do feel like

729
00:37:58,560 --> 00:37:59,959
Speaker 1: but that's the things I do feel like the frame.

730
00:38:00,320 --> 00:38:02,080
Speaker 1: You teach people how to use the frame, just even

731
00:38:02,080 --> 00:38:03,919
Speaker 1: to move like this much, how to like I'm leaving.

732
00:38:03,920 --> 00:38:05,440
Speaker 1: If I'm leaving the room, all I have to do

733
00:38:05,520 --> 00:38:07,400
Speaker 1: is this right and then come back. I don't have

734
00:38:07,480 --> 00:38:09,960
Speaker 1: to actually walk away. I can be seated and create

735
00:38:10,000 --> 00:38:11,920
Speaker 1: the same kind of vibe. And I think like teaching

736
00:38:11,960 --> 00:38:14,399
Speaker 1: people how to do that on camera. But actors will

737
00:38:14,400 --> 00:38:16,680
Speaker 1: become super lazy because everyone can have their script on

738
00:38:16,760 --> 00:38:19,880
Speaker 1: their screen. People aren't memorizing the way they need to

739
00:38:20,280 --> 00:38:22,759
Speaker 1: or should, even the sad contract which has made it

740
00:38:22,800 --> 00:38:25,120
Speaker 1: so that actors don't have to memorize for an audition.

741
00:38:25,200 --> 00:38:27,680
Speaker 1: And the truth is, if you do memorize it, and

742
00:38:27,719 --> 00:38:29,800
Speaker 1: you know it and you can internalize it, your performance

743
00:38:29,880 --> 00:38:31,600
Speaker 1: is going to be better than reading up a piece

744
00:38:31,600 --> 00:38:34,840
Speaker 1: of paper, you know. And actors will become lazy and stupid,

745
00:38:35,200 --> 00:38:37,239
Speaker 1: you know, because they're like, oh, this is easier now

746
00:38:37,560 --> 00:38:40,640
Speaker 1: if you have a two page monologue. Sure, if we're

747
00:38:40,640 --> 00:38:42,759
Speaker 1: not issuing you have twenty four hours to memorize. Of

748
00:38:42,800 --> 00:38:44,359
Speaker 1: course you're gonna need to learn some of it, but

749
00:38:44,400 --> 00:38:46,239
Speaker 1: not to put the time in to internalize it and

750
00:38:46,280 --> 00:38:48,440
Speaker 1: feel it. I just feel like that's lazy, and I

751
00:38:48,480 --> 00:38:50,080
Speaker 1: feel like a lot of actors are really, really lazy,

752
00:38:50,160 --> 00:38:52,320
Speaker 1: and only one person gets to the job. I asked.

753
00:38:52,400 --> 00:38:54,200
Speaker 1: I ask actors all the time. I go, who's the

754
00:38:54,200 --> 00:38:56,880
Speaker 1: fastest person on the planet? If I ask you that,

755
00:38:56,880 --> 00:39:01,280
Speaker 1: who's the fastest person? You say both, Who's second? Sorry,

756
00:39:01,320 --> 00:39:06,399
Speaker 1: who's second? Nobody knows because nobody cares. Right, one guy

757
00:39:06,440 --> 00:39:09,400
Speaker 1: gets the job. You know in Hollywood that guy's really

758
00:39:09,400 --> 00:39:12,200
Speaker 1: fast and that guy who's second is also super fast,

759
00:39:12,280 --> 00:39:14,879
Speaker 1: either the second fastest guy in Jamaica or the second

760
00:39:14,960 --> 00:39:17,279
Speaker 1: fastest guy or the fastest guy in his country. And

761
00:39:17,320 --> 00:39:20,960
Speaker 1: it doesn't matter because if you're not number one, you

762
00:39:21,000 --> 00:39:23,080
Speaker 1: don't get the job. And that's how Hollywood jobs work.

763
00:39:23,160 --> 00:39:25,440
Speaker 1: So anybody who's lazy, who puts a hurdle in their

764
00:39:25,480 --> 00:39:27,560
Speaker 1: way or is lazy in the choice will never get

765
00:39:27,560 --> 00:39:28,920
Speaker 1: the job. Just can't happen.

766
00:39:30,560 --> 00:39:32,480
Speaker 3: So what kind of advice as an acting teacher would

767
00:39:32,520 --> 00:39:37,080
Speaker 3: you give someone of Steven's experience? What kind of advice

768
00:39:37,080 --> 00:39:39,760
Speaker 3: would they give Toh, like, what kind of lesson acting

769
00:39:39,840 --> 00:39:41,600
Speaker 3: lessons to who?

770
00:39:41,800 --> 00:39:42,080
Speaker 1: Steve?

771
00:39:42,480 --> 00:39:44,560
Speaker 3: Oh to me, didn't you say you wanted to audit

772
00:39:44,560 --> 00:39:44,960
Speaker 3: his class?

773
00:39:46,040 --> 00:39:48,399
Speaker 1: But I'm more interested in.

774
00:39:50,560 --> 00:39:54,440
Speaker 2: I'm not in the last ten years the active zoom

775
00:39:54,480 --> 00:39:59,239
Speaker 2: audition thing. Really, I've done it very little, hardly at all,

776
00:40:00,080 --> 00:40:02,400
Speaker 2: maybe three times, and ten years have I done like

777
00:40:02,880 --> 00:40:06,319
Speaker 2: a self tape. I'll get to Joe in a minute.

778
00:40:06,360 --> 00:40:09,440
Speaker 1: I'm just saying that. But no, But the reason the

779
00:40:09,480 --> 00:40:11,919
Speaker 1: reason I like to talk to him is he's seeing

780
00:40:12,080 --> 00:40:17,839
Speaker 1: the people, the younger generation, how they're you know, engaging

781
00:40:17,960 --> 00:40:20,799
Speaker 1: this community and this pool of activity. Right.

782
00:40:21,000 --> 00:40:23,680
Speaker 2: So the reason I want to talk about with you

783
00:40:23,760 --> 00:40:26,000
Speaker 2: is you're actively doing it each and every day. And

784
00:40:26,160 --> 00:40:30,400
Speaker 2: all I ever see when I watch programming about acting

785
00:40:31,160 --> 00:40:38,239
Speaker 2: is the professionals, the working actors again, that club I

786
00:40:38,400 --> 00:40:41,720
Speaker 2: call it talking about acting.

787
00:40:42,040 --> 00:40:45,480
Speaker 1: Sure, so now you have these round tables of people

788
00:40:46,400 --> 00:40:49,600
Speaker 1: who whoever they are, whatever their experience is, you know,

789
00:40:49,640 --> 00:40:53,359
Speaker 1: whatever their method is, whatever their technique is, five Tom

790
00:40:53,400 --> 00:40:56,960
Speaker 1: Hanks and whatever. Yeah, but they're the ones projecting out

791
00:40:57,000 --> 00:41:00,200
Speaker 1: to young people. Now, like what it's about. You see

792
00:41:00,200 --> 00:41:01,799
Speaker 1: where I'm going with this. I want to talk on

793
00:41:01,800 --> 00:41:05,600
Speaker 1: this show to somebody who's doing it. And it's interesting

794
00:41:05,640 --> 00:41:09,600
Speaker 1: to me that you're saying, what's important for young actors

795
00:41:09,600 --> 00:41:15,560
Speaker 1: today is learn acting. Yeah, of course, yes, learn the camera,

796
00:41:16,320 --> 00:41:19,319
Speaker 1: yeah yes, But but if you're if you're in an

797
00:41:19,320 --> 00:41:22,720
Speaker 1: acting class or you're studying somewhere now where you're gravitating

798
00:41:22,840 --> 00:41:28,040
Speaker 1: towards learning the lines, knowing the lines, doing a brand oh,

799
00:41:28,160 --> 00:41:30,880
Speaker 1: reading it off the screen instead of actually going back

800
00:41:30,960 --> 00:41:36,160
Speaker 1: to like that little childlike kid that was playing with

801
00:41:36,239 --> 00:41:39,320
Speaker 1: the army man, you know, at the at the beach.

802
00:41:39,520 --> 00:41:41,359
Speaker 1: I mean, here's the thing, so you understand what I'm saying.

803
00:41:41,360 --> 00:41:43,319
Speaker 1: I do. So here's the thing. Like Meisner technique, which

804
00:41:43,320 --> 00:41:45,360
Speaker 1: I'm sure you're aware of course, Meisner for those of

805
00:41:45,400 --> 00:41:47,440
Speaker 1: you who don't know at home, Meisner is a technique

806
00:41:47,480 --> 00:41:49,600
Speaker 1: we learn how to act natural, you know, and it's

807
00:41:49,640 --> 00:41:52,160
Speaker 1: really about listening and kind of connecting with somebody else.

808
00:41:52,200 --> 00:41:54,239
Speaker 1: I feel like everybody's learned that now because of the

809
00:41:54,280 --> 00:41:57,120
Speaker 1: way that the camera has operated in self tapes and zoom.

810
00:41:57,160 --> 00:41:59,560
Speaker 1: So like Meisner isn't what it used to be because

811
00:41:59,560 --> 00:42:02,799
Speaker 1: all of that stuff kind of we could argue about

812
00:42:02,800 --> 00:42:04,799
Speaker 1: whether or not like century memory stuff which they talk

813
00:42:04,800 --> 00:42:06,719
Speaker 1: about is something they could use, but like the idea

814
00:42:06,719 --> 00:42:10,080
Speaker 1: of connecting and really responding, that's not as helpful anymore

815
00:42:10,360 --> 00:42:12,040
Speaker 1: because I feel like everybody learns that. But when we're

816
00:42:12,040 --> 00:42:13,640
Speaker 1: talking about like acting, what they need to learn what

817
00:42:13,680 --> 00:42:16,760
Speaker 1: they don't teach you because these people who make TikTok videos,

818
00:42:16,760 --> 00:42:18,359
Speaker 1: and that is they don't learn how to build an

819
00:42:18,440 --> 00:42:21,080
Speaker 1: arc for a scene for a great character, right right,

820
00:42:21,160 --> 00:42:22,839
Speaker 1: And that's something that as somebody who's been a lead

821
00:42:22,840 --> 00:42:24,560
Speaker 1: in a film, that you understand that films are not

822
00:42:24,560 --> 00:42:27,319
Speaker 1: shot in order, and understanding where you are at every

823
00:42:27,360 --> 00:42:30,680
Speaker 1: point of that arc is super important because that is

824
00:42:30,719 --> 00:42:34,160
Speaker 1: what really holds the character together and we're able to foreshadows.

825
00:42:34,920 --> 00:42:35,080
Speaker 4: Yeah.

826
00:42:35,160 --> 00:42:38,240
Speaker 2: Yeah, last time you saw all that click of actors

827
00:42:38,239 --> 00:42:41,760
Speaker 2: at a round table talking about acting, when's the last

828
00:42:41,760 --> 00:42:43,600
Speaker 2: time you heard what I'm going, Well, the arc of

829
00:42:43,640 --> 00:42:44,640
Speaker 2: my character.

830
00:42:44,480 --> 00:42:46,040
Speaker 1: And that's what I'm saying is I don't see it,

831
00:42:46,160 --> 00:42:48,720
Speaker 1: And look, I love watching those. This is important, Jared.

832
00:42:49,400 --> 00:42:52,399
Speaker 1: This is showing young people that some old guys who

833
00:42:52,400 --> 00:42:55,719
Speaker 1: have been around a little bit really still care about

834
00:42:55,760 --> 00:42:58,480
Speaker 1: the craft. Well, these other guys are sitting around with

835
00:42:58,520 --> 00:43:01,760
Speaker 1: all the money going yeah it's the craft. Well, sorry,

836
00:43:01,920 --> 00:43:05,400
Speaker 1: not just my attitude about it, But to be honestly,

837
00:43:05,520 --> 00:43:08,160
Speaker 1: I love watching those round tables with the Hey guys,

838
00:43:08,480 --> 00:43:11,200
Speaker 1: I understand that you can hate them, but I enjoy

839
00:43:11,320 --> 00:43:15,640
Speaker 1: here and I totally get it, you know. But listen,

840
00:43:15,800 --> 00:43:19,440
Speaker 1: I think Tom Hanks is very Will you be my therapist? Sure, yeah,

841
00:43:19,520 --> 00:43:21,360
Speaker 1: you'd be a good therapist. I'd love to.

842
00:43:21,719 --> 00:43:23,400
Speaker 2: Maybe I should just take your acting quess just so

843
00:43:23,440 --> 00:43:26,080
Speaker 2: you can like help me yea with my personal Yeah,

844
00:43:26,120 --> 00:43:26,439
Speaker 2: we can.

845
00:43:26,360 --> 00:43:29,080
Speaker 1: Do that too. Calm down, private sessions too. It's all

846
00:43:29,120 --> 00:43:32,960
Speaker 1: good sessions. One on ones all the time, Okay, one

847
00:43:32,960 --> 00:43:35,640
Speaker 1: of ones most of my I mean I teach two classes,

848
00:43:35,640 --> 00:43:37,440
Speaker 1: but the one on one classes are you know. This

849
00:43:37,480 --> 00:43:39,640
Speaker 1: is the thing is working like a cornerman for a fighter,

850
00:43:39,800 --> 00:43:41,920
Speaker 1: which is really how I picture myself as an acting coach.

851
00:43:42,440 --> 00:43:44,040
Speaker 1: Is like you know, I'm like, I'm like the corner man.

852
00:43:44,080 --> 00:43:51,759
Speaker 1: I kind of sit there and great age because you

853
00:43:51,800 --> 00:43:55,560
Speaker 1: have to understand where you talk. Like Jake, I thought

854
00:43:55,560 --> 00:43:58,560
Speaker 1: I was over there fooling around. Huh. I thought I

855
00:43:58,600 --> 00:44:02,040
Speaker 1: was over there fooling around. Judges thought I was fooling

856
00:44:02,080 --> 00:44:04,120
Speaker 1: around too. Who knows what happened with them. I'd like

857
00:44:04,120 --> 00:44:07,680
Speaker 1: to say I could do the whole speedro so that's

858
00:44:08,239 --> 00:44:12,000
Speaker 1: that's de neuro doing Jack. Yeah. I think the thing

859
00:44:12,000 --> 00:44:14,520
Speaker 1: about the acting in talking about the art that I

860
00:44:14,560 --> 00:44:16,520
Speaker 1: was saying is like, I don't think any classes teach

861
00:44:16,560 --> 00:44:18,600
Speaker 1: that the way they should, because we have these kids

862
00:44:18,640 --> 00:44:21,279
Speaker 1: who learn how to act in a TikTok video or

863
00:44:21,440 --> 00:44:23,440
Speaker 1: learn how to do like Instagram videos and do all

864
00:44:23,480 --> 00:44:25,960
Speaker 1: that stuff, but they don't. That's just a microcosm of

865
00:44:25,960 --> 00:44:30,399
Speaker 1: a performance understanding, especially for an audition, and they never

866
00:44:30,400 --> 00:44:32,960
Speaker 1: talk about this in acting classes, and they should. Is like,

867
00:44:33,000 --> 00:44:35,400
Speaker 1: you sit there and you're like, if my scene that

868
00:44:35,520 --> 00:44:37,920
Speaker 1: I have is in the beginning of the movie and

869
00:44:37,960 --> 00:44:40,000
Speaker 1: it's a scene, let's say in The Wizard of Oz,

870
00:44:40,320 --> 00:44:43,920
Speaker 1: Dorothy has to project that she hates Kansas or it

871
00:44:43,960 --> 00:44:46,600
Speaker 1: doesn't matter when she says there's no place like home, right,

872
00:44:46,760 --> 00:44:48,359
Speaker 1: So you have to understand where you are in those

873
00:44:48,360 --> 00:44:51,440
Speaker 1: first thirty pages, and that what the performance calls for

874
00:44:51,880 --> 00:44:54,320
Speaker 1: is a real hatred for Kansas. If you're doing Star Wars,

875
00:44:54,480 --> 00:44:57,279
Speaker 1: Luke has to be pissed at the Droids and has

876
00:44:57,320 --> 00:45:00,560
Speaker 1: to kick them because his angst and anger has to

877
00:45:00,600 --> 00:45:03,040
Speaker 1: eventually be resolved for him to find the force and

878
00:45:03,040 --> 00:45:06,120
Speaker 1: find peace. Understanding where you are in the story to

879
00:45:06,239 --> 00:45:09,760
Speaker 1: build that arc. So a character has learns, learns things,

880
00:45:10,000 --> 00:45:14,719
Speaker 1: you know, overcomes obstacles and gets to where they need to.

881
00:45:14,760 --> 00:45:18,680
Speaker 1: Besides the story of whatever it is the backdrop in

882
00:45:18,800 --> 00:45:22,000
Speaker 1: Rocky finding love in that case, you know, finding self

883
00:45:22,040 --> 00:45:24,440
Speaker 1: worth is what really Rocky's about. Not about being a boxer.

884
00:45:24,680 --> 00:45:27,440
Speaker 1: It's about loving yourself right and understanding that it's not

885
00:45:27,480 --> 00:45:29,560
Speaker 1: about the boxing, but it's really about like being a

886
00:45:29,600 --> 00:45:32,399
Speaker 1: broken man and figuring out how do you find love

887
00:45:32,400 --> 00:45:35,360
Speaker 1: and self worth? Right? So teaching those things that's what

888
00:45:35,440 --> 00:45:37,239
Speaker 1: I really like to do with actors because I think

889
00:45:37,239 --> 00:45:39,279
Speaker 1: that's the thing that is missing from a lot of

890
00:45:39,280 --> 00:45:40,320
Speaker 1: the classes that I see.

891
00:45:40,520 --> 00:45:45,200
Speaker 2: We should do an acting podcast, Okay, Jared make a note,

892
00:45:45,200 --> 00:45:50,200
Speaker 2: please done. It'll just be Joe being smart and me

893
00:45:50,320 --> 00:45:58,959
Speaker 2: being stupid and asking dumb questions. Joe right man, Yeah,

894
00:45:59,160 --> 00:46:04,120
Speaker 2: most important question of the entire interview, what is your

895
00:46:04,320 --> 00:46:05,240
Speaker 2: one bad movie?

896
00:46:06,719 --> 00:46:08,960
Speaker 1: There's too many, really, to be honest. Can you can

897
00:46:09,000 --> 00:46:10,799
Speaker 1: you think of one in your filmography?

898
00:46:10,840 --> 00:46:14,400
Speaker 3: That's just it was just I can chime in. You

899
00:46:14,440 --> 00:46:17,680
Speaker 3: guys both worked with someone an actor you mentioned just

900
00:46:17,920 --> 00:46:21,279
Speaker 3: ten minutes ago, right in Paul Giamata. You guys both

901
00:46:21,920 --> 00:46:24,799
Speaker 3: did movies with him. I did Fred Klaus and you

902
00:46:24,840 --> 00:46:27,640
Speaker 3: did Lady in the Water. What's it called Lady in

903
00:46:27,680 --> 00:46:30,040
Speaker 3: the Water? Lady in the Water, which.

904
00:46:29,880 --> 00:46:32,279
Speaker 1: I don't think is a bad movie. I don't think

905
00:46:32,280 --> 00:46:33,080
Speaker 1: it's a bad movie.

906
00:46:33,280 --> 00:46:33,360
Speaker 6: No.

907
00:46:33,680 --> 00:46:37,239
Speaker 1: I think it's just some freakish experimental thing. I mean,

908
00:46:37,239 --> 00:46:41,480
Speaker 1: it's a dream. It's a dream night Charleman. Yeah, it was.

909
00:46:41,560 --> 00:46:43,080
Speaker 1: It was a it was a night. It was a

910
00:46:43,120 --> 00:46:46,480
Speaker 1: bedtime story that night. Shyamalan made it for his Shamalan

911
00:46:46,880 --> 00:46:49,000
Speaker 1: wrote a story for his daughter, and they turned into

912
00:46:49,040 --> 00:46:50,960
Speaker 1: a movie which is more of a thriller than a

913
00:46:50,960 --> 00:46:53,160
Speaker 1: horror film. I feel like the studio really didn't do

914
00:46:53,200 --> 00:46:55,480
Speaker 1: them justice. They released it as a horror movie and

915
00:46:55,600 --> 00:46:57,520
Speaker 1: try to push the horror, and it really isn't that movie.

916
00:46:57,560 --> 00:47:00,120
Speaker 1: It's really more of a fantasy based film. But it

917
00:47:00,160 --> 00:47:01,840
Speaker 1: was a bummer. I really liked that movie. I actually

918
00:47:01,880 --> 00:47:04,960
Speaker 1: liked that movie sadly. Yeah, what was it like?

919
00:47:05,000 --> 00:47:07,520
Speaker 3: Cause it was a It was his fourth big movie,

920
00:47:07,640 --> 00:47:10,759
Speaker 3: fourth big studio movie, right forem night. Yeah, I don't

921
00:47:10,840 --> 00:47:12,319
Speaker 3: I think it was like his fourth, No, it was

922
00:47:12,320 --> 00:47:15,320
Speaker 3: his fifth. Because the village, he just had the village. Yeah,

923
00:47:15,360 --> 00:47:18,960
Speaker 3: and basically he's the hottest director in town. So how

924
00:47:18,960 --> 00:47:20,240
Speaker 3: did you get the project?

925
00:47:20,640 --> 00:47:23,279
Speaker 1: Uh? Well, I mean I I auditioned for Lady in

926
00:47:23,320 --> 00:47:25,880
Speaker 1: the Water like anybody else does a sentencemitted tape. I

927
00:47:25,920 --> 00:47:29,120
Speaker 1: actually kind of got all gothic for it, like I

928
00:47:29,120 --> 00:47:31,279
Speaker 1: did put on like some eyeliner and a bunch of stuff,

929
00:47:31,280 --> 00:47:33,120
Speaker 1: which is not what ended up in the movie. But

930
00:47:33,160 --> 00:47:35,720
Speaker 1: I gave you the audition, and uh when they offered

931
00:47:35,760 --> 00:47:37,239
Speaker 1: me the job, I said I wanted to read the

932
00:47:37,239 --> 00:47:39,799
Speaker 1: script first, and they were like, really, you're not going

933
00:47:39,840 --> 00:47:41,239
Speaker 1: to say yes. I'm like, no, I want to read

934
00:47:41,239 --> 00:47:42,680
Speaker 1: the script before I say yes. I don't want to

935
00:47:42,680 --> 00:47:43,960
Speaker 1: I don't want to agree to his film that I

936
00:47:43,960 --> 00:47:46,560
Speaker 1: don't know what I'm doing right, And uh so Warner

937
00:47:46,600 --> 00:47:48,279
Speaker 1: Brothers had me go to the studio and I had

938
00:47:48,280 --> 00:47:50,080
Speaker 1: to hand over my phone and sign an NDA and

939
00:47:50,080 --> 00:47:52,160
Speaker 1: they put me in a private room with like the

940
00:47:52,239 --> 00:47:54,440
Speaker 1: script and I had to read it in one city.

941
00:47:54,520 --> 00:47:57,520
Speaker 1: That is awesome in a private room by myself. Yeah,

942
00:47:57,760 --> 00:47:59,239
Speaker 1: but isn't it cool that, like they could have just

943
00:47:59,239 --> 00:48:01,319
Speaker 1: told you to this off. They could have, but they

944
00:48:01,360 --> 00:48:02,960
Speaker 1: understood that. I said, I just want to be able

945
00:48:02,960 --> 00:48:04,520
Speaker 1: to read the script before I say yes. I just

946
00:48:04,520 --> 00:48:06,560
Speaker 1: want to read it, you know, and so but they

947
00:48:06,640 --> 00:48:08,080
Speaker 1: so they set it up. They set up that could

948
00:48:08,080 --> 00:48:10,000
Speaker 1: go in a room, and that's a dope story. I

949
00:48:10,040 --> 00:48:14,440
Speaker 1: love it had me down And I have a question, Yeah, Bandidas,

950
00:48:15,520 --> 00:48:18,839
Speaker 1: were you in the movie Ben Dida's sure was now

951
00:48:18,920 --> 00:48:24,480
Speaker 1: there was that movie? Yeah? Thank you, yeah, thank you?

952
00:48:24,600 --> 00:48:26,560
Speaker 1: Because here you are in the film. What's your character

953
00:48:26,600 --> 00:48:29,400
Speaker 1: in Bendida's the Regulator, which I was like just the

954
00:48:29,480 --> 00:48:32,160
Speaker 1: bad guy who worked you know that. Did you have

955
00:48:32,200 --> 00:48:34,080
Speaker 1: scenes with the girls? Of course I did, yeah, And

956
00:48:34,120 --> 00:48:38,239
Speaker 1: who were the girls? Penelope Cruz and Sma hyak So

957
00:48:38,400 --> 00:48:41,640
Speaker 1: I just and then the guy who's Sam Shepherd. Sam

958
00:48:41,680 --> 00:48:45,120
Speaker 1: Shepherd was Sam Shepherd's making a movie where he's training

959
00:48:45,200 --> 00:48:47,879
Speaker 1: these two gals how to be like cowboys. And Sam

960
00:48:47,880 --> 00:48:51,480
Speaker 1: Shepherd's like the greatest American cowboy, right, And here I am.

961
00:48:51,800 --> 00:48:54,480
Speaker 1: And I had performed like scenes from like True West

962
00:48:54,520 --> 00:48:56,840
Speaker 1: in college, and like I had done all of his

963
00:48:56,960 --> 00:48:59,399
Speaker 1: plays in college. I loved Sam.

964
00:49:00,000 --> 00:49:02,880
Speaker 2: He's horror for the money to teach these two gorgeous

965
00:49:02,920 --> 00:49:04,920
Speaker 2: Hollywood starlets how to beat calboy.

966
00:49:04,920 --> 00:49:06,480
Speaker 1: Here am I doing a scene with him, And I'm

967
00:49:06,480 --> 00:49:08,960
Speaker 1: so excited to be working with like a legend I'm like, here,

968
00:49:09,000 --> 00:49:12,040
Speaker 1: I am like this Jewish kid from Boston. He's jew

969
00:49:12,120 --> 00:49:14,520
Speaker 1: from Boston trying to like act like a cowboy with

970
00:49:14,560 --> 00:49:17,600
Speaker 1: the greatest American cowboy. And I see him at breakfast

971
00:49:17,719 --> 00:49:19,880
Speaker 1: day one and I go up to him and I go,

972
00:49:20,400 --> 00:49:22,320
Speaker 1: mister Shepherd, I said, I'm sorry, say I'm in the

973
00:49:22,360 --> 00:49:24,000
Speaker 1: movie with you. I just want to say how excited

974
00:49:24,000 --> 00:49:25,920
Speaker 1: I am. I've done all your plays in college and

975
00:49:25,960 --> 00:49:28,239
Speaker 1: I just think you're so talented. And Sam Shepherd looks

976
00:49:28,239 --> 00:49:31,000
Speaker 1: at me and he goes, can I eat my breakfast? Now?

977
00:49:33,480 --> 00:49:35,799
Speaker 1: He was in character? I wish he was. He was

978
00:49:35,920 --> 00:49:40,000
Speaker 1: just a character. I wish he was. See you're on

979
00:49:40,160 --> 00:49:46,800
Speaker 1: Banditas and it's a very sexy movie. Sure the way

980
00:49:46,560 --> 00:49:47,480
Speaker 1: they wrote it.

981
00:49:48,000 --> 00:49:50,080
Speaker 2: They got the girls running around and you know, they're

982
00:49:50,120 --> 00:49:54,120
Speaker 2: shooting guns, and there being women running around shooting guns,

983
00:49:54,960 --> 00:49:59,680
Speaker 2: as you know, as Hollywood depicts that in history. Hello,

984
00:50:01,800 --> 00:50:05,640
Speaker 2: tell me about not just the fact what like you

985
00:50:05,680 --> 00:50:08,279
Speaker 2: were talking earlier, your your your ex wife, just that

986
00:50:08,719 --> 00:50:10,000
Speaker 2: you enjoy a pretty face.

987
00:50:11,280 --> 00:50:14,400
Speaker 1: What was it like to be on Benita's like playing

988
00:50:14,480 --> 00:50:16,879
Speaker 1: your role. But I don't mean on a personal level.

989
00:50:16,960 --> 00:50:19,279
Speaker 1: Everybody's married this, it doesn't matter. I just mean was

990
00:50:19,320 --> 00:50:21,920
Speaker 1: it fun for you to be in that film with

991
00:50:21,960 --> 00:50:25,800
Speaker 1: these two gals being that silly and crazy? No? Why?

992
00:50:26,280 --> 00:50:30,120
Speaker 1: I mean, the whole experience was We're in Mexico filming

993
00:50:30,120 --> 00:50:34,840
Speaker 1: a movie with a European cast, mostly French, a crew

994
00:50:34,960 --> 00:50:40,520
Speaker 1: of who didn't speak English. Like even with all these stories,

995
00:50:40,520 --> 00:50:42,000
Speaker 1: it was a train wreck. It was. It was an

996
00:50:42,000 --> 00:50:46,240
Speaker 1: absolute train wreck. Like it was like nobody spoke English

997
00:50:46,239 --> 00:50:49,200
Speaker 1: on the set. It was. They got horses. I had

998
00:50:49,200 --> 00:50:51,399
Speaker 1: to ride a horse I trained in La we got

999
00:50:51,440 --> 00:50:53,560
Speaker 1: down there. They didn't get stunt horses. They just got

1000
00:50:53,560 --> 00:50:55,880
Speaker 1: horses from a local guy who had horses. So the

1001
00:50:55,880 --> 00:50:58,480
Speaker 1: first time I got on a horse that they were firing.

1002
00:50:58,520 --> 00:51:01,959
Speaker 1: They're doing gun tests thing while the horse was on set,

1003
00:51:02,280 --> 00:51:05,000
Speaker 1: which of course was freaking the horse out there. Get

1004
00:51:05,000 --> 00:51:07,400
Speaker 1: on the horse. I'm like, this is a really bad idea.

1005
00:51:07,840 --> 00:51:09,640
Speaker 1: And I get on the horse and the horse bucked

1006
00:51:09,680 --> 00:51:11,719
Speaker 1: and threw me the first time that I got on

1007
00:51:11,760 --> 00:51:15,040
Speaker 1: the horse. Who was the director? Uh? It was directed

1008
00:51:15,640 --> 00:51:19,439
Speaker 1: by these two guys who Yoka who was it?

1009
00:51:22,239 --> 00:51:28,279
Speaker 3: Joahim running and and Espen Sandberg Scandinavian Scandinavian.

1010
00:51:28,320 --> 00:51:30,359
Speaker 1: Yet he's doing what was the film they did just

1011
00:51:30,400 --> 00:51:35,160
Speaker 1: before that? And they're just they're doing tron now. I'm

1012
00:51:35,200 --> 00:51:36,839
Speaker 1: playing the politics right now. I just want to see

1013
00:51:36,840 --> 00:51:37,279
Speaker 1: something right now.

1014
00:51:37,960 --> 00:51:40,440
Speaker 3: They did just before that.

1015
00:51:40,680 --> 00:51:42,719
Speaker 1: And what was the year you did the Benas they.

1016
00:51:42,680 --> 00:51:44,200
Speaker 3: Did a short, They did a short movie.

1017
00:51:44,400 --> 00:51:48,719
Speaker 1: This was their first year, was Benas. And before that

1018
00:51:48,800 --> 00:51:50,720
Speaker 1: they did a short. So this is their first feature.

1019
00:51:51,480 --> 00:51:55,719
Speaker 1: It was written by lucas On. Oh did he ride it? Yeah?

1020
00:51:56,040 --> 00:52:00,799
Speaker 2: Oh wow, Well Luke took all the money. That right,

1021
00:52:00,920 --> 00:52:02,240
Speaker 2: That's what happened on that production.

1022
00:52:04,520 --> 00:52:07,800
Speaker 1: Thank god, you're okay. I got through it was it

1023
00:52:08,040 --> 00:52:10,600
Speaker 1: just that throughout the whole shoot you kept getting bucked off.

1024
00:52:10,600 --> 00:52:13,320
Speaker 1: There was safety problems. There were there were some safety problems.

1025
00:52:13,640 --> 00:52:15,239
Speaker 1: They wanted me to ride the horse while carrying a

1026
00:52:15,239 --> 00:52:17,279
Speaker 1: flaming torch and throw it through a window and do

1027
00:52:17,320 --> 00:52:18,560
Speaker 1: all this stuff that you know, I was doing my

1028
00:52:18,560 --> 00:52:22,280
Speaker 1: own stunts, you know. It was that kind of thing. Uh,

1029
00:52:22,440 --> 00:52:24,680
Speaker 1: it was. It was just scenes with the girls. Of course,

1030
00:52:24,840 --> 00:52:27,400
Speaker 1: have stunts with the girls, not stunts with the girls.

1031
00:52:28,000 --> 00:52:29,759
Speaker 1: You have to make out with the girls. No, that

1032
00:52:29,840 --> 00:52:32,600
Speaker 1: wasn't me. That would have been a stunt. Yeah yeah, no,

1033
00:52:32,800 --> 00:52:36,439
Speaker 1: and some actual cruise. Some Kayak is a better looking

1034
00:52:36,560 --> 00:52:38,799
Speaker 1: person than she is even on film. I do the

1035
00:52:38,840 --> 00:52:41,680
Speaker 1: movie with some Hiakus, that's unimaginable. I know that she

1036
00:52:41,719 --> 00:52:43,840
Speaker 1: could be any more. I thought some hiak was a

1037
00:52:43,840 --> 00:52:45,239
Speaker 1: better looking person than she is on film.

1038
00:52:45,440 --> 00:52:48,160
Speaker 2: Was I do the movie with Someahayak with Laurence Fishburne

1039
00:52:48,160 --> 00:52:51,120
Speaker 2: called Fled, where we played two guys.

1040
00:52:50,960 --> 00:52:54,120
Speaker 1: Who were escaping from prison. Some was fabulous.

1041
00:52:54,120 --> 00:52:57,480
Speaker 2: One of the coolest people on the Planet's very sweet

1042
00:52:58,640 --> 00:53:01,239
Speaker 2: and yes too, from the top of her head to

1043
00:53:01,239 --> 00:53:04,360
Speaker 2: the botto of her feet, she's pretty bulletproof.

1044
00:53:04,680 --> 00:53:14,040
Speaker 1: Yeah, Penelope Cruz, I think it's probably a hair more.

1045
00:53:15,800 --> 00:53:17,920
Speaker 2: Healthy is the only word I would use. Health think,

1046
00:53:18,040 --> 00:53:21,560
Speaker 2: I'd just say healthy. I think Salma's gorgeous. But I

1047
00:53:21,600 --> 00:53:25,720
Speaker 2: think Phenelpi Cruz I couldn't work with is all I'm saying. Really,

1048
00:53:26,480 --> 00:53:28,759
Speaker 2: I couldn't even direct her in a film. Interesting, Yeah,

1049
00:53:28,880 --> 00:53:33,040
Speaker 2: I would just elaborate. I would bump into the furniture constantly,

1050
00:53:33,080 --> 00:53:34,760
Speaker 2: and just I wouldn't be able to focus.

1051
00:53:35,080 --> 00:53:38,960
Speaker 1: She was much quieter. Penelope was a much quieter kind

1052
00:53:39,000 --> 00:53:41,759
Speaker 1: of like introvert, right. Selma was a little bit more

1053
00:53:41,880 --> 00:53:45,160
Speaker 1: in your face extroverted, Yeah, which is fine. Sala's very

1054
00:53:48,120 --> 00:53:50,759
Speaker 1: She's there. I was a filthy dirty, kind of like

1055
00:53:51,280 --> 00:53:53,640
Speaker 1: Cowboy and and I cleaned up one day before I

1056
00:53:53,640 --> 00:53:55,200
Speaker 1: had to fly back to la for a week off,

1057
00:53:55,239 --> 00:53:56,840
Speaker 1: and she saw me. She goes, look at you.

1058
00:53:58,719 --> 00:53:59,160
Speaker 4: What she's like?

1059
00:54:00,200 --> 00:54:03,080
Speaker 1: You clean up? And I go, I go, is that

1060
00:54:03,200 --> 00:54:05,480
Speaker 1: it she was? And I asked, somebody always said a

1061
00:54:05,480 --> 00:54:08,480
Speaker 1: good or bad thing? She was, It's a thing that

1062
00:54:08,640 --> 00:54:10,920
Speaker 1: was your president, that was your brush with beauty.

1063
00:54:13,080 --> 00:54:16,640
Speaker 3: Well, he was married to my angie everheart, Shannon Elizabeth,

1064
00:54:16,680 --> 00:54:18,000
Speaker 3: so I don't know if it was his only brush.

1065
00:54:17,880 --> 00:54:21,480
Speaker 1: With Oh my angie ever heard. That's cute.

1066
00:54:22,760 --> 00:54:25,040
Speaker 3: Wait, so let's go back. Luke Bassan wrote this at

1067
00:54:25,080 --> 00:54:26,920
Speaker 3: the time. He's like one of the biggest directors. You

1068
00:54:27,040 --> 00:54:31,120
Speaker 3: get that script, like, what are your thoughts after reading it? Uh?

1069
00:54:31,880 --> 00:54:34,400
Speaker 1: I thought the script was fine. When I read Bandita's

1070
00:54:34,680 --> 00:54:37,880
Speaker 1: I thought it was fine. It's a funny, cute movie.

1071
00:54:38,200 --> 00:54:40,239
Speaker 2: It was a good you're talking about it the fact

1072
00:54:40,280 --> 00:54:42,120
Speaker 2: that it's a bad movie for you because because in

1073
00:54:42,239 --> 00:54:44,200
Speaker 2: the experience behind the scenes.

1074
00:54:44,239 --> 00:54:46,839
Speaker 1: He that was part of it. It was a train

1075
00:54:46,920 --> 00:54:48,680
Speaker 1: wreck experience. It was a mess, Like you know, the

1076
00:54:48,800 --> 00:54:51,360
Speaker 1: trailers were awful down there. They really it was a

1077
00:54:51,440 --> 00:54:52,839
Speaker 1: hot box. I had to stay in and while wearing

1078
00:54:52,880 --> 00:54:57,120
Speaker 1: like entire leather outfits. It was very tough. It was

1079
00:54:57,160 --> 00:54:59,799
Speaker 1: a tough shoot, you know it. But they also paid

1080
00:54:59,840 --> 00:55:02,000
Speaker 1: me more money than I'd ever seen before to do it,

1081
00:55:02,480 --> 00:55:03,840
Speaker 1: and it was like I was, I mean, there was

1082
00:55:03,920 --> 00:55:06,719
Speaker 1: no way I wasn't doing that. You've laid Barney roble Bro,

1083
00:55:07,000 --> 00:55:09,600
Speaker 1: I understand was my biggest bencheck. And sometimes you sit

1084
00:55:09,640 --> 00:55:11,640
Speaker 1: there and you're like, there's no way I can say

1085
00:55:11,680 --> 00:55:13,279
Speaker 1: no to this, no matter what they do. You know,

1086
00:55:13,320 --> 00:55:14,440
Speaker 1: I was like, this is crazy.

1087
00:55:14,560 --> 00:55:17,200
Speaker 3: You know, One bad Barney Baby wait for both of

1088
00:55:17,280 --> 00:55:19,080
Speaker 3: you on both of these movies. Is there ever a

1089
00:55:19,160 --> 00:55:21,600
Speaker 3: point where you're in the middle of it, right and

1090
00:55:21,680 --> 00:55:23,800
Speaker 3: you're just like, I don't know if this paycheck is

1091
00:55:23,840 --> 00:55:25,279
Speaker 3: worth it? Does it ever get that bad?

1092
00:55:25,800 --> 00:55:30,880
Speaker 1: Well for you, No, not for Bandidas. He never got

1093
00:55:30,920 --> 00:55:31,160
Speaker 1: that bad.

1094
00:55:32,239 --> 00:55:35,960
Speaker 2: Now that I'm doing my own program, one bad movie, Uh,

1095
00:55:36,120 --> 00:55:37,360
Speaker 2: there will be critics.

1096
00:55:38,160 --> 00:55:39,320
Speaker 1: I'm gonna have haters.

1097
00:55:39,719 --> 00:55:41,360
Speaker 2: You're gonna have people that I worked with in the

1098
00:55:41,440 --> 00:55:44,359
Speaker 2: past who didn't like me, right, so they're gonna say

1099
00:55:44,360 --> 00:55:48,280
Speaker 2: whatever they say. So the director Brian Levant, the director

1100
00:55:48,360 --> 00:55:52,399
Speaker 2: of The Flintstones, Viava Rock Vegas. Hey, Brian, how you doing?

1101
00:55:52,480 --> 00:55:55,239
Speaker 2: I got this microphone. Now you a little douche, So

1102
00:55:55,360 --> 00:56:01,719
Speaker 2: pay attention. I'm kidding. I'm kidding, I'm kidding. Yeah, calm down, Yeah,

1103
00:56:02,320 --> 00:56:02,600
Speaker 2: I'm not.

1104
00:56:02,600 --> 00:56:03,399
Speaker 1: Gonna go off again.

1105
00:56:05,120 --> 00:56:08,320
Speaker 2: But in retrospect, I saw this video of that director

1106
00:56:09,080 --> 00:56:12,280
Speaker 2: years after we made the movie, and he was busting

1107
00:56:12,360 --> 00:56:14,320
Speaker 2: my balls with some guys. He was doing an interview

1108
00:56:14,360 --> 00:56:18,080
Speaker 2: with you know, talking about my unprofessionalism. So it just

1109
00:56:18,160 --> 00:56:21,160
Speaker 2: made me wonder, did he think that while he was

1110
00:56:21,280 --> 00:56:22,040
Speaker 2: directing me?

1111
00:56:22,400 --> 00:56:25,520
Speaker 1: Right? Did he not like me? Wow?

1112
00:56:25,640 --> 00:56:28,240
Speaker 2: Now I already knew that because my ideas were better

1113
00:56:28,360 --> 00:56:31,440
Speaker 2: than his as the actor. I would come to him

1114
00:56:31,440 --> 00:56:33,440
Speaker 2: as the director and go hey this and he goes nah.

1115
00:56:33,960 --> 00:56:36,200
Speaker 2: And he was a stand up comic formerly so Brian

1116
00:56:36,280 --> 00:56:38,760
Speaker 2: Levant was a comedian who became a director only because

1117
00:56:38,760 --> 00:56:41,320
Speaker 2: he was very involved in comics. The only reason the

1118
00:56:41,360 --> 00:56:43,880
Speaker 2: studio picked him because he was like an expert in comics,

1119
00:56:44,840 --> 00:56:48,760
Speaker 2: not to delineate from his you know, talent or anything.

1120
00:56:48,760 --> 00:56:51,440
Speaker 2: He's a very good director. He directed a sixty million

1121
00:56:51,520 --> 00:56:55,680
Speaker 2: dollar film called Flintstone viaver our Face. But it's just

1122
00:56:55,800 --> 00:56:58,360
Speaker 2: weird this business, right, Yeah, Like if if you wondered

1123
00:56:58,400 --> 00:56:59,920
Speaker 2: why you had a weird time with somebody who or

1124
00:57:00,000 --> 00:57:01,960
Speaker 2: weird experience. Then the years later on social media him

1125
00:57:02,000 --> 00:57:03,640
Speaker 2: go like, oh yeah, it was one person on that

1126
00:57:03,719 --> 00:57:06,719
Speaker 2: movie was a dick. So I'm just talking about that

1127
00:57:06,800 --> 00:57:13,000
Speaker 2: because it's trippy now industry wise to have to consider

1128
00:57:13,120 --> 00:57:14,720
Speaker 2: in an art form all.

1129
00:57:14,600 --> 00:57:17,840
Speaker 1: Of that politics. And look, the directors of like Bandias

1130
00:57:18,040 --> 00:57:19,880
Speaker 1: were great guys, you know what I mean. You can

1131
00:57:19,960 --> 00:57:22,400
Speaker 1: have a great guide directors and then just have like

1132
00:57:22,520 --> 00:57:25,360
Speaker 1: a crazy amount of like things go wrong on a set,

1133
00:57:25,840 --> 00:57:27,600
Speaker 1: you know, and then you have times that things are

1134
00:57:27,600 --> 00:57:29,120
Speaker 1: great on a set and the director is just a

1135
00:57:29,200 --> 00:57:30,400
Speaker 1: horrible human being, you know.

1136
00:57:30,880 --> 00:57:34,480
Speaker 2: And how much better would performances be if most directors

1137
00:57:34,560 --> 00:57:38,600
Speaker 2: could just get over whatever their personal shit was to

1138
00:57:38,920 --> 00:57:43,200
Speaker 2: be able to let the actress express themselves without.

1139
00:57:44,600 --> 00:57:47,480
Speaker 1: In all humility, I guess, in all humbleness.

1140
00:57:47,600 --> 00:57:50,640
Speaker 2: Yeah, I mean, I played a character in a film

1141
00:57:50,680 --> 00:57:53,480
Speaker 2: that now in retrospect, I realize the director was more

1142
00:57:53,720 --> 00:57:56,760
Speaker 2: what was more important to Brian Levant about my performance

1143
00:57:57,040 --> 00:58:01,760
Speaker 2: that his jokes got in for the care because I literally,

1144
00:58:01,800 --> 00:58:03,600
Speaker 2: and I'm not saying this to be a dick in retrotech,

1145
00:58:03,600 --> 00:58:06,280
Speaker 2: I'm simply saying I've learned the industry now, so now

1146
00:58:06,360 --> 00:58:09,080
Speaker 2: I don't waste my time when I'm working with certain people,

1147
00:58:09,240 --> 00:58:11,280
Speaker 2: if I'm working with the director that is shut down,

1148
00:58:11,440 --> 00:58:14,560
Speaker 2: like Brian Lant was shut down to my creativity.

1149
00:58:14,680 --> 00:58:17,000
Speaker 1: He just wanted you wanted me to put the pilton

1150
00:58:17,160 --> 00:58:18,640
Speaker 1: and be the guy that did the last But like

1151
00:58:18,680 --> 00:58:21,000
Speaker 1: the Bandiana's movie is like even though it ended up

1152
00:58:21,040 --> 00:58:22,960
Speaker 1: being and I think it was because of the mess

1153
00:58:23,120 --> 00:58:25,320
Speaker 1: that was made by the production and it's.

1154
00:58:25,240 --> 00:58:27,640
Speaker 2: Heart comp But then the directors, I mean, if you

1155
00:58:27,680 --> 00:58:29,120
Speaker 2: don't want to say that, I'm just saying it's it's

1156
00:58:29,200 --> 00:58:29,840
Speaker 2: their vision.

1157
00:58:30,280 --> 00:58:31,800
Speaker 1: Yeah, but I don't think I don't blame them for

1158
00:58:31,840 --> 00:58:34,200
Speaker 1: the production. Like like like was said, like this was

1159
00:58:34,240 --> 00:58:37,400
Speaker 1: the it was luke best song. Luke wasn't even on set,

1160
00:58:37,480 --> 00:58:38,400
Speaker 1: Like you know, you have to sit there and be

1161
00:58:38,480 --> 00:58:40,160
Speaker 1: like the producers who were from Europe who were there

1162
00:58:40,440 --> 00:58:43,000
Speaker 1: were dealing with like you know, Mexican crew and a

1163
00:58:43,080 --> 00:58:46,800
Speaker 1: couple of Scandinavian directors. It was every there were different voices, actors,

1164
00:58:46,840 --> 00:58:48,480
Speaker 1: and all these things were kind of a mess. Those

1165
00:58:48,520 --> 00:58:50,440
Speaker 1: directors went on to direct like the Pirates of the

1166
00:58:50,520 --> 00:58:52,680
Speaker 1: Caribbean and made a great movie I think out of

1167
00:58:52,760 --> 00:58:55,080
Speaker 1: that movie, right, and they looked they were kind enough

1168
00:58:55,200 --> 00:58:57,720
Speaker 1: reming the same guy that same guys and they brought

1169
00:58:57,760 --> 00:59:00,480
Speaker 1: me into kind of like audition for that movie Adidas

1170
00:59:00,520 --> 00:59:02,840
Speaker 1: the Pirates of the Caribbean. Yeah, and you sit there

1171
00:59:02,840 --> 00:59:04,440
Speaker 1: and you're like those guys are you know they were

1172
00:59:04,480 --> 00:59:07,600
Speaker 1: good guys the heartfelt tell them it's it, Yes, very much, so,

1173
00:59:08,320 --> 00:59:10,640
Speaker 1: you know, in a bad situation. Yeah, because I mean

1174
00:59:10,640 --> 00:59:13,440
Speaker 1: their first feature, they're at the mercy of every of this,

1175
00:59:13,680 --> 00:59:16,600
Speaker 1: of the production company. I think that's weird. That's weird.

1176
00:59:16,960 --> 00:59:20,400
Speaker 3: You guys have both worked with like huge name directors, right,

1177
00:59:20,600 --> 00:59:23,040
Speaker 3: and from different backgrounds. You said Brian was a stand

1178
00:59:23,120 --> 00:59:25,440
Speaker 3: up comic, Like all these directors come from different places.

1179
00:59:25,600 --> 00:59:29,240
Speaker 3: Is there one characteristic from directors that you've worked with

1180
00:59:29,640 --> 00:59:33,240
Speaker 3: that work well that you've noticed, like, for example, actors

1181
00:59:33,280 --> 00:59:36,040
Speaker 3: who become directors are better or is there any common

1182
00:59:36,120 --> 00:59:38,680
Speaker 3: background that you've from your experiences that you find make

1183
00:59:38,840 --> 00:59:39,600
Speaker 3: better directors.

1184
00:59:40,120 --> 00:59:41,920
Speaker 1: I mean, I think what makes a really good director

1185
00:59:42,040 --> 00:59:44,280
Speaker 1: tends to be somebody who like listens to the actors

1186
00:59:45,480 --> 00:59:48,280
Speaker 1: and works with you, you know, doesn't just say just

1187
00:59:48,480 --> 00:59:50,240
Speaker 1: do this. You know, it doesn't matter if they have

1188
00:59:50,280 --> 00:59:53,880
Speaker 1: an acting background or not, or just film, but collaborative,

1189
00:59:54,040 --> 00:59:56,720
Speaker 1: you know, a collaborative experience on set is super expensive,

1190
00:59:57,080 --> 01:00:00,720
Speaker 1: super important. I think the experience is better if you're

1191
01:00:00,800 --> 01:00:03,080
Speaker 1: working with the director. You have ideas, they hear them,

1192
01:00:03,480 --> 01:00:05,520
Speaker 1: he says, they say what they're thinking, and you work

1193
01:00:05,600 --> 01:00:07,720
Speaker 1: together to do what's needed. And if they're what they

1194
01:00:07,800 --> 01:00:09,960
Speaker 1: need is not what you're doing, and they can justify it.

1195
01:00:10,360 --> 01:00:11,760
Speaker 1: I'm sure you're like me. If they go like I

1196
01:00:11,880 --> 01:00:14,720
Speaker 1: need this because of X, Y and Z, that resonates

1197
01:00:14,920 --> 01:00:17,680
Speaker 1: you go got it. I think it's twofold. I think

1198
01:00:17,720 --> 01:00:24,240
Speaker 1: there's actors directors and shooter directors. Michael Bay is a

1199
01:00:24,360 --> 01:00:26,600
Speaker 1: shooter director. I never worked with him, but he's an

1200
01:00:26,600 --> 01:00:28,960
Speaker 1: action guy, you know. I don't think he sits down

1201
01:00:29,120 --> 01:00:32,080
Speaker 1: and breaks down the miisoner of it with people. No

1202
01:00:32,880 --> 01:00:35,200
Speaker 1: that said, I worked with.

1203
01:00:36,800 --> 01:00:40,400
Speaker 2: You, no unusual suspects, right, Brian Singer, he was a

1204
01:00:40,440 --> 01:00:42,600
Speaker 2: guy who would go through the process with you, but

1205
01:00:42,680 --> 01:00:45,000
Speaker 2: he knew what he wanted, so when he was filming,

1206
01:00:45,040 --> 01:00:49,640
Speaker 2: he wouldn't waste time. I worked with Brian de Palma

1207
01:00:49,800 --> 01:00:52,680
Speaker 2: on Casualties of War. I have fired in the film,

1208
01:00:52,720 --> 01:00:54,280
Speaker 2: but to Palma was somebody that didn't talk to you

1209
01:00:54,320 --> 01:00:57,320
Speaker 2: at all. He only talked to you the main guys.

1210
01:00:58,400 --> 01:01:01,640
Speaker 2: He relied on you to show up and know the work. Yeah,

1211
01:01:01,680 --> 01:01:05,600
Speaker 2: And there's a lot of directors like that who I

1212
01:01:05,920 --> 01:01:08,760
Speaker 2: prefer the director who talks to me and helps me

1213
01:01:08,840 --> 01:01:12,720
Speaker 2: create the character and understand. And there's a difference between

1214
01:01:13,360 --> 01:01:16,120
Speaker 2: directors who do that a tiny bit and shut up

1215
01:01:16,160 --> 01:01:18,000
Speaker 2: and show up and do it because they're focused on

1216
01:01:18,080 --> 01:01:24,000
Speaker 2: so many other things, like Brian to Palma. But I ironically,

1217
01:01:24,120 --> 01:01:27,600
Speaker 2: I have found that the best films I was in,

1218
01:01:28,520 --> 01:01:31,160
Speaker 2: the ones that had the best outcome, were with those

1219
01:01:31,280 --> 01:01:34,640
Speaker 2: directors that were really the shooter guys who didn't give

1220
01:01:34,680 --> 01:01:38,680
Speaker 2: you much to go on. I think, you know, usual suspects,

1221
01:01:38,720 --> 01:01:40,920
Speaker 2: you know, Born on the fourth of July with Oliver Stone, right,

1222
01:01:41,000 --> 01:01:41,600
Speaker 2: I was working on that.

1223
01:01:41,640 --> 01:01:42,440
Speaker 1: I did a little part of it.

1224
01:01:42,480 --> 01:01:45,880
Speaker 2: But the process with Oliver Stone was very similar. He

1225
01:01:45,920 --> 01:01:47,520
Speaker 2: talked about the character and he was just like, do

1226
01:01:47,640 --> 01:01:50,800
Speaker 2: what you want, and then he edited around what he wanted.

1227
01:01:51,000 --> 01:01:52,720
Speaker 2: So when he was directing you like you're saying, he

1228
01:01:52,840 --> 01:01:54,920
Speaker 2: got what he knew in the edit, in the cut

1229
01:01:54,960 --> 01:01:57,320
Speaker 2: of his mind. So I guess those in the cut

1230
01:01:57,400 --> 01:02:01,120
Speaker 2: directors I think make the better movies. It's very interesting.

1231
01:02:01,840 --> 01:02:04,720
Speaker 1: Yeah, I mean I think obviously a mix of the

1232
01:02:04,800 --> 01:02:06,160
Speaker 1: two makes a really good movie.

1233
01:02:06,720 --> 01:02:09,360
Speaker 2: Well, then you get like a guy like Ron Howard

1234
01:02:09,400 --> 01:02:12,720
Speaker 2: who's both Yeah, you know, which answers your question because

1235
01:02:12,720 --> 01:02:16,680
Speaker 2: he was an actor. Yeah, so I don't think necessarily.

1236
01:02:18,000 --> 01:02:19,560
Speaker 2: And here's the point I want to make to you, Jared,

1237
01:02:19,760 --> 01:02:23,320
Speaker 2: which is, yes, Ron Howard's great, but he's not as

1238
01:02:23,360 --> 01:02:27,120
Speaker 2: great as Francis Ford Coppola, who was never an actor.

1239
01:02:27,480 --> 01:02:30,720
Speaker 1: A sure point. Sure, that's just my opinion. Look. M

1240
01:02:30,760 --> 01:02:32,960
Speaker 1: Knight was very good with the actors, which I thought

1241
01:02:33,080 --> 01:02:35,520
Speaker 1: was really really great. He flew us all out for

1242
01:02:35,600 --> 01:02:37,760
Speaker 1: the first table read and then just said how grateful

1243
01:02:37,800 --> 01:02:39,960
Speaker 1: he was for us all to be there, and he's like,

1244
01:02:40,040 --> 01:02:42,400
Speaker 1: I got my first choice for every role that I wanted.

1245
01:02:42,480 --> 01:02:44,320
Speaker 1: I'm so grateful for all of you. And the guy

1246
01:02:44,400 --> 01:02:46,240
Speaker 1: next to me said, wow, I can't believe he got

1247
01:02:46,280 --> 01:02:48,360
Speaker 1: the first guy ever ever ago. Who knows if it's true,

1248
01:02:48,400 --> 01:02:50,240
Speaker 1: but it was the smart thing to say, because we

1249
01:02:50,320 --> 01:02:52,560
Speaker 1: all believe. I admire M. Knight. You'd like to work

1250
01:02:52,600 --> 01:02:55,440
Speaker 1: with him again? Of course? Yeah. I think he's very

1251
01:02:55,480 --> 01:02:58,800
Speaker 1: smart and very kind man and really well, he's brilliant. Yeah, story,

1252
01:02:58,960 --> 01:03:01,600
Speaker 1: he's unique as a story. Yeah, he's great, great, And

1253
01:03:01,600 --> 01:03:04,160
Speaker 1: then technically his films are brilliant. I think so too,

1254
01:03:04,360 --> 01:03:06,360
Speaker 1: And I think he makes cool stuff. He doesn't make Barbie.

1255
01:03:06,680 --> 01:03:09,400
Speaker 1: Now see now m Knight wouldn't do a sequel to Barbie.

1256
01:03:09,520 --> 01:03:11,280
Speaker 1: That's what I'm saying. And look the guys you directed,

1257
01:03:11,360 --> 01:03:13,160
Speaker 1: like like I said, the guys directed Banditas, Like I

1258
01:03:13,200 --> 01:03:15,440
Speaker 1: think they're great directors. You sit there, but they were

1259
01:03:15,520 --> 01:03:17,360
Speaker 1: young when they started, and they had just done a short,

1260
01:03:17,520 --> 01:03:19,440
Speaker 1: and like, you know, the problem is going back to

1261
01:03:19,480 --> 01:03:21,960
Speaker 1: the studio system. The studio, you know, whatever the producers

1262
01:03:22,040 --> 01:03:24,320
Speaker 1: want when they're When you're a first time director, you

1263
01:03:24,400 --> 01:03:26,000
Speaker 1: get bullied around a little bit and you don't have

1264
01:03:26,040 --> 01:03:27,520
Speaker 1: all the control and you can't say where you want

1265
01:03:27,520 --> 01:03:29,120
Speaker 1: the money. You can't put your foot down, right.

1266
01:03:29,280 --> 01:03:31,720
Speaker 2: It's like those guys, that's yeah, Like like what you're saying,

1267
01:03:31,720 --> 01:03:34,120
Speaker 2: people don't understand in the in the industry side of it.

1268
01:03:34,920 --> 01:03:37,360
Speaker 2: You know, if you're going to punch a clock because

1269
01:03:37,360 --> 01:03:40,000
Speaker 2: you're working on an assembly line, you know that whatever

1270
01:03:40,040 --> 01:03:43,120
Speaker 2: that drama is nine to five Monday through Friday. That's

1271
01:03:43,160 --> 01:03:47,320
Speaker 2: one thing. Yeah, But movies is show business, right, what's

1272
01:03:47,360 --> 01:03:49,200
Speaker 2: the first word? What's the second word? Like you've heard

1273
01:03:49,200 --> 01:03:52,320
Speaker 2: that old cliche, you know, but it's art meeting commerce

1274
01:03:52,920 --> 01:03:56,680
Speaker 2: in the most unique way. Yeah, I tell people the

1275
01:03:56,760 --> 01:03:59,919
Speaker 2: process of making a movie it is actually a pross

1276
01:04:00,200 --> 01:04:02,959
Speaker 2: that goes completely against the process of making a movie.

1277
01:04:03,720 --> 01:04:06,360
Speaker 1: Yeah, that makes sense. The creative process of how to

1278
01:04:06,520 --> 01:04:07,080
Speaker 1: do your bath.

1279
01:04:07,280 --> 01:04:10,280
Speaker 2: Like anything that wins an oscar or you know, really

1280
01:04:10,800 --> 01:04:18,200
Speaker 2: credibly creatively deserves a certain outcome of success. The industry

1281
01:04:18,240 --> 01:04:20,600
Speaker 2: is designed for the opposite to that to happen. Every

1282
01:04:20,920 --> 01:04:25,120
Speaker 2: the forces of the process of making a movie here, well,

1283
01:04:25,160 --> 01:04:27,360
Speaker 2: you know, people blows my mind if you think about it.

1284
01:04:27,440 --> 01:04:31,560
Speaker 1: I did. I did another movie that was a super

1285
01:04:31,600 --> 01:04:35,240
Speaker 1: low budget film. Those shot during the coronavirus experience. And

1286
01:04:37,360 --> 01:04:39,120
Speaker 1: and the thing is is that it was done for

1287
01:04:39,280 --> 01:04:41,640
Speaker 1: like no money with a crew of less than ten people.

1288
01:04:42,000 --> 01:04:43,720
Speaker 1: It was the first film that that SAG approved of

1289
01:04:43,880 --> 01:04:48,000
Speaker 1: being done after the strike. It was shot during the picks,

1290
01:04:48,120 --> 01:04:50,160
Speaker 1: during the pandemic. It was like, you know, literally a

1291
01:04:50,280 --> 01:04:53,480
Speaker 1: crew of like six people in a house with two actors. Right,

1292
01:04:53,520 --> 01:04:58,480
Speaker 1: that's the whole movie. And from an artistics standpoint, you'd

1293
01:04:58,520 --> 01:04:59,840
Speaker 1: be like, oh, this movie made for no money. If

1294
01:04:59,840 --> 01:05:02,000
Speaker 1: you at a film festival, people would sit there and

1295
01:05:02,000 --> 01:05:03,960
Speaker 1: be like, wow, that was made for no money. Two

1296
01:05:04,000 --> 01:05:07,360
Speaker 1: people talking on a set, no money, it's fine, but

1297
01:05:07,440 --> 01:05:10,600
Speaker 1: the movie got distribution, right, They changed the name of

1298
01:05:10,640 --> 01:05:13,000
Speaker 1: it to a stupid name that nobody agreed with, and

1299
01:05:13,080 --> 01:05:15,720
Speaker 1: then ended up making this movie and releasing it and

1300
01:05:15,800 --> 01:05:18,120
Speaker 1: put it like in red boxes, and it wasn't good

1301
01:05:18,240 --> 01:05:21,240
Speaker 1: enough to be there, right, So if you went to

1302
01:05:21,280 --> 01:05:24,040
Speaker 1: a festival and saw it, you'd be like, wow, impressive,

1303
01:05:24,360 --> 01:05:27,000
Speaker 1: they made a movie for nothing. You pay seven ninety nine.

1304
01:05:27,040 --> 01:05:29,320
Speaker 1: Someone in Oklahoma pays seven to ninety nine to see

1305
01:05:29,360 --> 01:05:32,080
Speaker 1: this movie. They expect a friggin' movie, you know, not

1306
01:05:32,200 --> 01:05:34,400
Speaker 1: an artistic endeavor. They don't even know what that. They

1307
01:05:34,440 --> 01:05:36,480
Speaker 1: don't understand what it takes to make a movie or

1308
01:05:36,560 --> 01:05:37,959
Speaker 1: what it's like to make a movie for no money,

1309
01:05:38,080 --> 01:05:40,880
Speaker 1: you know. So it's hard the perspective of like what

1310
01:05:41,040 --> 01:05:43,400
Speaker 1: a movie is and what it takes to make it.

1311
01:05:43,480 --> 01:05:45,840
Speaker 1: Most people don't even know. I don't think no idea

1312
01:05:45,840 --> 01:05:46,080
Speaker 1: at all.

1313
01:05:46,200 --> 01:05:53,160
Speaker 2: Yeah that some idea, but not the very heavy technical,

1314
01:05:53,400 --> 01:05:55,280
Speaker 2: behind the scenes aspects.

1315
01:05:55,080 --> 01:06:01,720
Speaker 1: No idea, how complicated it is. What we've talked about

1316
01:06:01,800 --> 01:06:05,280
Speaker 1: is I don't see guys who have made as many

1317
01:06:05,360 --> 01:06:09,320
Speaker 1: movies as us on the real real talking about acting.

1318
01:06:10,680 --> 01:06:12,320
Speaker 1: Because there's going to be young people that see this

1319
01:06:12,440 --> 01:06:14,240
Speaker 1: bro that go like, wow, I watched one bad movie

1320
01:06:14,280 --> 01:06:16,640
Speaker 1: because it was funny, but like there was this awesome

1321
01:06:16,680 --> 01:06:20,240
Speaker 1: conversation about these guys talking about like how important it

1322
01:06:20,520 --> 01:06:24,400
Speaker 1: is as an actor to foundationally understand it's not about

1323
01:06:24,400 --> 01:06:27,520
Speaker 1: all this other crap. Contemporarily, it's not about all this

1324
01:06:27,600 --> 01:06:32,600
Speaker 1: other you know, tricks and you know, you know, it's

1325
01:06:32,640 --> 01:06:36,240
Speaker 1: not the TMZ scroll of a Sorry yeah, sorry, right,

1326
01:06:36,760 --> 01:06:39,960
Speaker 1: so you see my pun there. Yeah, So thank you

1327
01:06:40,040 --> 01:06:42,040
Speaker 1: for doing this because I just think that that sort

1328
01:06:42,080 --> 01:06:45,760
Speaker 1: of thing is important. Sure, I do too, Yeah, I

1329
01:06:45,840 --> 01:06:48,400
Speaker 1: do too. Yes, Jared, you were saying I.

1330
01:06:48,480 --> 01:06:56,000
Speaker 3: Forgot now after I was gonna say some of your stories,

1331
01:06:56,080 --> 01:06:58,760
Speaker 3: like the stories and bad movies, how they're perceived after

1332
01:06:58,800 --> 01:07:00,520
Speaker 3: they're done, versus cant listen.

1333
01:07:01,000 --> 01:07:04,760
Speaker 2: The one bed for me, the thing that has made

1334
01:07:04,880 --> 01:07:09,480
Speaker 2: certain movies or experience is bad. Are the other actors

1335
01:07:09,960 --> 01:07:14,880
Speaker 2: are other method actors. My first feature film was called

1336
01:07:14,920 --> 01:07:20,840
Speaker 2: The Beast. Very Kevin Reynolds, who directed Water World Right,

1337
01:07:21,280 --> 01:07:27,520
Speaker 2: directs this movie with Jason Patrick. The actor was a

1338
01:07:27,640 --> 01:07:32,520
Speaker 2: producer on this film who had developed the concept of

1339
01:07:32,560 --> 01:07:37,320
Speaker 2: the movie from a play called Nanawatee. So the movie

1340
01:07:37,440 --> 01:07:40,520
Speaker 2: was literally about the Soviet invasion of Afghanistan. So it's

1341
01:07:40,520 --> 01:07:44,400
Speaker 2: about how this tank battalion of Russians gets lost in

1342
01:07:44,480 --> 01:07:48,520
Speaker 2: a valley and how these Mujahadeen are attacking them with

1343
01:07:48,680 --> 01:07:51,840
Speaker 2: like stones and stuff and winning, you know, because of

1344
01:07:51,920 --> 01:07:52,360
Speaker 2: their faith.

1345
01:07:54,240 --> 01:07:58,080
Speaker 1: So I'm literally working on this movie. I'm playing a

1346
01:07:58,240 --> 01:08:04,360
Speaker 1: tank loader, a Ohian tankloader, and I had to study

1347
01:08:04,520 --> 01:08:07,600
Speaker 1: with a guy named Dale Dye from Warriors in Corporated.

1348
01:08:07,600 --> 01:08:10,080
Speaker 1: Had to learn how to do the tank and he

1349
01:08:10,160 --> 01:08:12,800
Speaker 1: had trained Charlie Sheen and all those guys for what

1350
01:08:13,000 --> 01:08:16,240
Speaker 1: was it read, don no no no, no, no no

1351
01:08:16,280 --> 01:08:21,439
Speaker 1: no no platoon for a platoon. So here I am

1352
01:08:22,200 --> 01:08:25,560
Speaker 1: playing a Russian soldier and this actor Don Harvey, you

1353
01:08:25,600 --> 01:08:29,400
Speaker 1: know Don Harvey. Oh, Don's great. Don's a very talented guy.

1354
01:08:30,120 --> 01:08:31,160
Speaker 1: I don't know what he's doing now.

1355
01:08:31,200 --> 01:08:35,760
Speaker 2: He's always working, but he's a he's a pretty smarmy,

1356
01:08:35,960 --> 01:08:42,240
Speaker 2: intense method guy. And we're sitting there in Israel, I'm

1357
01:08:42,280 --> 01:08:45,320
Speaker 2: away from to my first movie ever, like eating some

1358
01:08:46,040 --> 01:08:49,040
Speaker 2: food at the that's the all in buffet at the

1359
01:08:49,120 --> 01:08:52,880
Speaker 2: hotel they put us, and he turns to me and

1360
01:08:53,000 --> 01:08:57,720
Speaker 2: just says something totally mean and like, you know, just

1361
01:08:58,560 --> 01:09:04,760
Speaker 2: just uh, trying to deliberately hurt my feelings, but not

1362
01:09:04,920 --> 01:09:08,640
Speaker 2: in the context of the work. In our personal interaction.

1363
01:09:10,560 --> 01:09:12,599
Speaker 2: He literally turns me like he us, you know, I'm Steven.

1364
01:09:13,680 --> 01:09:15,639
Speaker 2: What really bothers me about? And like, what I didn't

1365
01:09:15,640 --> 01:09:17,519
Speaker 2: know is it was like it was a method trick

1366
01:09:17,600 --> 01:09:19,200
Speaker 2: he was doing. He was doing that in our personal

1367
01:09:19,280 --> 01:09:20,960
Speaker 2: life because on the set the next day he wanted

1368
01:09:20,960 --> 01:09:26,560
Speaker 2: things to go a certain way. And I'm like, that

1369
01:09:26,840 --> 01:09:31,600
Speaker 2: was weird, and I don't know what technique that is,

1370
01:09:32,240 --> 01:09:35,800
Speaker 2: but it's very inefficient. Sure, I mean, I think you

1371
01:09:35,840 --> 01:09:37,280
Speaker 2: need to be on the same page with another actor

1372
01:09:37,280 --> 01:09:39,600
Speaker 2: you're working with. If you're not trusting each other and

1373
01:09:39,720 --> 01:09:42,080
Speaker 2: working with each other, then I it doesn't make any

1374
01:09:42,120 --> 01:09:43,240
Speaker 2: sense to me because it's a dance.

1375
01:09:43,280 --> 01:09:46,080
Speaker 1: Now, Don Harvey might call in someday on this program

1376
01:09:46,160 --> 01:09:48,479
Speaker 1: and go, no, dude, I just did it because it's possible.

1377
01:09:48,720 --> 01:09:50,000
Speaker 1: But what are you talking about. It's like, if you're

1378
01:09:50,000 --> 01:09:51,800
Speaker 1: doing a dance with somebody else, somebody you know you

1379
01:09:51,880 --> 01:09:53,840
Speaker 1: need to work together on the dance. That's funny.

1380
01:09:54,400 --> 01:09:58,120
Speaker 2: Yeah, well, but but I don't think other other than

1381
01:09:58,360 --> 01:10:00,640
Speaker 2: accidents on a set, you know, stepped on a rake

1382
01:10:00,640 --> 01:10:01,640
Speaker 2: and a hitch in the head, you didn't know what

1383
01:10:01,720 --> 01:10:02,240
Speaker 2: was going to happen.

1384
01:10:02,920 --> 01:10:03,000
Speaker 3: Uh.

1385
01:10:03,120 --> 01:10:05,880
Speaker 2: I think the I think actors have been the creepiest

1386
01:10:05,960 --> 01:10:07,280
Speaker 2: thing about my experience.

1387
01:10:07,520 --> 01:10:11,080
Speaker 1: Creepiest yep, the one bad movie. I mean I did

1388
01:10:11,120 --> 01:10:12,960
Speaker 1: a commercial with Steven Saga and he punched me in

1389
01:10:13,040 --> 01:10:15,520
Speaker 1: the face. I mean that was like an awful experience.

1390
01:10:16,200 --> 01:10:18,120
Speaker 1: But break that down for me because he's in Russia now,

1391
01:10:18,200 --> 01:10:18,800
Speaker 1: so you're safe.

1392
01:10:18,920 --> 01:10:23,760
Speaker 2: Yeah, Cigal, you're doing a commercial with Steven Sagal and

1393
01:10:23,880 --> 01:10:26,080
Speaker 2: did you say something or he just thought you were.

1394
01:10:26,160 --> 01:10:27,599
Speaker 1: They tired, these actors, but they wanted to make sure

1395
01:10:27,640 --> 01:10:29,200
Speaker 1: we could all do stunts. And we get to set

1396
01:10:29,439 --> 01:10:31,960
Speaker 1: and Steven Sagal goes. He goes, so you're stunt guy.

1397
01:10:32,040 --> 01:10:33,519
Speaker 1: I'm like, well, I'm actually an actor, but I do

1398
01:10:33,600 --> 01:10:35,680
Speaker 1: my own stunts. He goes. Most of the time when

1399
01:10:35,680 --> 01:10:37,960
Speaker 1: I work with stunt guys, they wear a metal sheet

1400
01:10:38,040 --> 01:10:40,120
Speaker 1: under their clothes because when I hit them, I don't

1401
01:10:40,120 --> 01:10:44,599
Speaker 1: break their ribs. I was like, okay, And we get

1402
01:10:44,640 --> 01:10:46,280
Speaker 1: to the scene and he has to throw a backfist

1403
01:10:46,439 --> 01:10:48,479
Speaker 1: to my face and I had heard that he hits

1404
01:10:48,520 --> 01:10:51,560
Speaker 1: people and can't pull his punches. So I went to

1405
01:10:51,600 --> 01:10:53,120
Speaker 1: the other actors in the set when we're about to

1406
01:10:53,160 --> 01:10:54,599
Speaker 1: do my shot, and I gave them all twenty bucks

1407
01:10:54,640 --> 01:10:56,040
Speaker 1: and go when the time comes, come and give me

1408
01:10:56,120 --> 01:10:58,800
Speaker 1: my twenty buck. And we'd go to the shot and

1409
01:10:58,880 --> 01:11:01,120
Speaker 1: he throws the backfist and he pulls a function but

1410
01:11:01,200 --> 01:11:03,439
Speaker 1: throws it and hits me in the face, like literally,

1411
01:11:04,040 --> 01:11:06,760
Speaker 1: he knocks you to the ground. Yeah it's cigall. Yeah,

1412
01:11:06,840 --> 01:11:08,960
Speaker 1: it's a big fist. And he hit me and I

1413
01:11:09,120 --> 01:11:13,519
Speaker 1: drop and the director comes out and says, we got it. No, no,

1414
01:11:13,680 --> 01:11:16,560
Speaker 1: director goes to goes, he goes, he goes, did he

1415
01:11:16,720 --> 01:11:20,240
Speaker 1: lean in? Was it his fault? And yes, and Seagall

1416
01:11:20,360 --> 01:11:25,400
Speaker 1: looks at me and goes, no, not such a bad guy.

1417
01:11:25,600 --> 01:11:27,200
Speaker 1: I hit the ground and I went to here when

1418
01:11:27,200 --> 01:11:29,320
Speaker 1: I said, pay up, and everyone comes up and gives

1419
01:11:29,360 --> 01:11:31,799
Speaker 1: me the twenty back and he goes, you bet everybody

1420
01:11:31,840 --> 01:11:35,000
Speaker 1: that i'd hit you. I'm like, yeah, everybody, because I

1421
01:11:35,080 --> 01:11:37,040
Speaker 1: knew he would do it. And we do another take

1422
01:11:37,520 --> 01:11:39,960
Speaker 1: and he hit me in the face again. Yeah, hit

1423
01:11:40,000 --> 01:11:44,120
Speaker 1: me twice, drop me twice. Yeah, you took two backfists

1424
01:11:44,200 --> 01:11:46,320
Speaker 1: from Stevens Sigal And at the end of the day

1425
01:11:46,320 --> 01:11:48,080
Speaker 1: he called me to his trailer and he had two

1426
01:11:48,439 --> 01:11:52,240
Speaker 1: girls in there. His uh. His he had some sort

1427
01:11:52,240 --> 01:11:55,320
Speaker 1: of like military training guy and like a microbiotics chef

1428
01:11:55,360 --> 01:11:57,360
Speaker 1: and they were all there and somebody playing the guitar

1429
01:11:57,400 --> 01:11:58,600
Speaker 1: and he comes. He goes like, I just want to

1430
01:11:58,640 --> 01:12:01,080
Speaker 1: thank you for your work today, because he sat there

1431
01:12:01,080 --> 01:12:04,519
Speaker 1: in his kimono playing the guitar, and he's he's like, no, mistay,

1432
01:12:05,040 --> 01:12:06,360
Speaker 1: thank you so much for being here.

1433
01:12:07,640 --> 01:12:09,880
Speaker 2: I'm like, this dude touched me in the face twice today.

1434
01:12:10,040 --> 01:12:14,559
Speaker 2: Somebody gets right and his rider is trainer chef. Two

1435
01:12:14,680 --> 01:12:17,240
Speaker 2: chicks on the side pretty much. Wow, yeah, must they

1436
01:12:17,280 --> 01:12:20,839
Speaker 2: were interns. Interesting they weren't dressing interns.

1437
01:12:23,600 --> 01:12:26,160
Speaker 1: What was the location of that movie the commercial here

1438
01:12:26,200 --> 01:12:29,400
Speaker 1: in America? That was in the valley in a liquor store. Yes, yeah,

1439
01:12:29,439 --> 01:12:31,720
Speaker 1: I was like a victory in some liquor store off

1440
01:12:31,760 --> 01:12:34,920
Speaker 1: of like I want to say, Cold Water Canyon Circus.

1441
01:12:35,920 --> 01:12:38,080
Speaker 1: It was not Circus, but I shot at Circus before.

1442
01:12:38,760 --> 01:12:40,519
Speaker 2: Well, can I just tell you right now, I literally

1443
01:12:41,640 --> 01:12:45,559
Speaker 2: told that guy in the yellow shirt two months ago,

1444
01:12:47,320 --> 01:12:52,320
Speaker 2: if I raise the money and I call Segal in Russia.

1445
01:12:52,360 --> 01:12:54,680
Speaker 2: Now I want to call Stephen Skull and go, if

1446
01:12:54,760 --> 01:13:00,599
Speaker 2: I give you a million dollars, will you be my instructor?

1447
01:13:00,680 --> 01:13:02,639
Speaker 2: My martial arts instructor for a month. If I pay

1448
01:13:02,720 --> 01:13:05,320
Speaker 2: a million dollars and I film it, I'll give you

1449
01:13:05,439 --> 01:13:07,200
Speaker 2: the back end. I'll negotia whatever.

1450
01:13:07,040 --> 01:13:09,000
Speaker 1: Pros, but fifty to fifty all the prophets. If it

1451
01:13:09,040 --> 01:13:11,000
Speaker 1: makes one hundred million, I give a fifty. Okay, I

1452
01:13:11,240 --> 01:13:12,920
Speaker 1: just want to come to Russia and have you teach

1453
01:13:13,080 --> 01:13:17,120
Speaker 1: me martial arts. Because you ever see his videos, it's

1454
01:13:17,200 --> 01:13:19,680
Speaker 1: the cool it's Fred Astaire of martial arts. Dude. He

1455
01:13:19,720 --> 01:13:21,080
Speaker 1: like take a guy by his stump and goes and

1456
01:13:21,160 --> 01:13:24,000
Speaker 1: the guy goes like the matrix. The guy flipped through

1457
01:13:24,000 --> 01:13:28,000
Speaker 1: the arts. Yeah, it's great. I want to learn that. Sure,

1458
01:13:28,320 --> 01:13:32,559
Speaker 1: r suky, Joe, you can director. Let's go to Russia.

1459
01:13:32,680 --> 01:13:34,479
Speaker 1: You can direct it. We're going to Russia.

1460
01:13:36,360 --> 01:13:41,680
Speaker 7: Good Uh poutin ain't ready for rightman and bald when

1461
01:13:41,720 --> 01:13:42,680
Speaker 7: I tell you right now?

1462
01:13:42,880 --> 01:13:43,160
Speaker 4: Baby?

1463
01:13:44,600 --> 01:13:47,080
Speaker 1: But yeah, no, I mean think I mean actor. I

1464
01:13:47,240 --> 01:13:51,919
Speaker 1: did a movie recently with an actor who I deeply admired,

1465
01:13:52,960 --> 01:13:55,679
Speaker 1: who I was a hero of mine when I was younger,

1466
01:13:55,720 --> 01:13:57,760
Speaker 1: and I was offered the job by a friend. He's like,

1467
01:13:57,800 --> 01:13:59,040
Speaker 1: do you want to do a scene with this actor?

1468
01:13:59,080 --> 01:14:01,879
Speaker 1: I said absolutely, he's a hero of mine. I absolutely

1469
01:14:01,880 --> 01:14:04,479
Speaker 1: want to do it. And I got to set and

1470
01:14:04,560 --> 01:14:06,360
Speaker 1: my friends like, you want to meet him? And the actor,

1471
01:14:06,560 --> 01:14:09,439
Speaker 1: who I admire, was talking to a craft service person

1472
01:14:10,120 --> 01:14:11,599
Speaker 1: and they led me up to him and he goes

1473
01:14:11,720 --> 01:14:14,720
Speaker 1: in and the producer said, I'd like to introduce you,

1474
01:14:14,760 --> 01:14:17,719
Speaker 1: and the guy goes, I'm busy because he was talking

1475
01:14:17,760 --> 01:14:20,720
Speaker 1: to a girl, at which point Casper Van Dean walks by.

1476
01:14:20,920 --> 01:14:23,120
Speaker 1: You know Casper, right, yes, yeah, Cap watch by. He

1477
01:14:23,320 --> 01:14:25,280
Speaker 1: he's like word of the wise, don't interrupt him when

1478
01:14:25,280 --> 01:14:27,040
Speaker 1: he's talking to women like that. Was like, I was like,

1479
01:14:27,640 --> 01:14:30,800
Speaker 1: what is that right? You can't rather?

1480
01:14:32,880 --> 01:14:34,840
Speaker 3: And it was his brother.

1481
01:14:35,000 --> 01:14:38,160
Speaker 1: Yeah, and then uh. And then we got to shoot

1482
01:14:38,200 --> 01:14:40,760
Speaker 1: the scene and they were like, the directors says, who

1483
01:14:40,800 --> 01:14:42,640
Speaker 1: do he wants to do coverage of first, and the

1484
01:14:42,720 --> 01:14:45,320
Speaker 1: actor says, I want to do my coverage first. So

1485
01:14:45,400 --> 01:14:47,120
Speaker 1: they set up the camera, they go over my shoulder

1486
01:14:47,200 --> 01:14:49,880
Speaker 1: and they go to the actor and the director. He

1487
01:14:49,960 --> 01:14:52,000
Speaker 1: goes to the directors, how long have I known this guy?

1488
01:14:52,320 --> 01:14:55,840
Speaker 1: He's like, uh, years, He's like, how long have you

1489
01:14:55,920 --> 01:14:58,599
Speaker 1: been here? A couple hours? How long you've been having

1490
01:14:58,600 --> 01:15:01,840
Speaker 1: this conversation? Five minutes? Okay, I'm ready And then he

1491
01:15:01,880 --> 01:15:03,800
Speaker 1: sits and he looks at me. They go action the

1492
01:15:03,960 --> 01:15:06,160
Speaker 1: role and he just goes line.

1493
01:15:07,640 --> 01:15:07,880
Speaker 6: And the.

1494
01:15:09,360 --> 01:15:13,040
Speaker 1: And the director goes. The director goes, where's my money?

1495
01:15:13,080 --> 01:15:16,400
Speaker 1: And he goes, where's my money? And then I go,

1496
01:15:16,640 --> 01:15:18,160
Speaker 1: I don't know, and then he goes and then he

1497
01:15:18,200 --> 01:15:22,080
Speaker 1: looks at me, and he was line and he did

1498
01:15:22,120 --> 01:15:25,160
Speaker 1: that for the whole scene, the whole scene, said line,

1499
01:15:25,680 --> 01:15:28,799
Speaker 1: one line at a time. The director fed him every

1500
01:15:28,960 --> 01:15:30,240
Speaker 1: line for the whole scene.

1501
01:15:30,240 --> 01:15:48,120
Speaker 7: He was like, he's the only legend they can get

1502
01:15:48,160 --> 01:15:50,599
Speaker 7: away with that kind of behavior because he's so brilliant

1503
01:15:51,000 --> 01:15:52,080
Speaker 7: but hero.

1504
01:15:52,400 --> 01:15:55,920
Speaker 2: But now you know, he goes to his defense a

1505
01:15:55,960 --> 01:15:59,040
Speaker 2: little bit like Bruce Willis right now, he's having you know,

1506
01:15:59,160 --> 01:16:02,080
Speaker 2: not memories. I understand, but Mickey's getting up there and

1507
01:16:02,120 --> 01:16:04,560
Speaker 2: he's slowing down. If you sit with Mickey like this,

1508
01:16:04,840 --> 01:16:08,320
Speaker 2: he's can have a totally normal conversation, I understand. But

1509
01:16:08,520 --> 01:16:09,880
Speaker 2: right now, because I just in a movie with him,

1510
01:16:09,920 --> 01:16:13,200
Speaker 2: like a year ago, uh uh, when did you work

1511
01:16:13,200 --> 01:16:13,439
Speaker 2: with him?

1512
01:16:13,439 --> 01:16:14,639
Speaker 1: How long ago? Year and a half?

1513
01:16:14,720 --> 01:16:18,200
Speaker 2: Maybe same thing, which was he kind of wasn't able

1514
01:16:18,280 --> 01:16:20,960
Speaker 2: to I don't know how much listen to me. I

1515
01:16:21,160 --> 01:16:25,080
Speaker 2: know Mickey Rourke pretty good, and I'm willing to bet

1516
01:16:25,160 --> 01:16:27,479
Speaker 2: you just like if Mickey's talking to a pretty girl,

1517
01:16:28,160 --> 01:16:29,400
Speaker 2: see how focused he can be.

1518
01:16:29,560 --> 01:16:34,360
Speaker 1: Then ah, you know what I mean, Mickey's a little eccentric,

1519
01:16:34,520 --> 01:16:38,160
Speaker 1: he is. And I'm hero of mine. Hero. Oh bro

1520
01:16:38,720 --> 01:16:42,760
Speaker 1: Mickey Rourke. You know I and Iron Man. He was

1521
01:16:42,800 --> 01:16:45,120
Speaker 1: in Iron Man Going Full Circle.

1522
01:16:45,360 --> 01:16:49,360
Speaker 2: Mickey Rourke in Barfly is one of the top ten

1523
01:16:49,680 --> 01:16:53,760
Speaker 2: greatest single performances by an actor in film history in

1524
01:16:53,840 --> 01:16:54,520
Speaker 2: my opinion.

1525
01:16:54,320 --> 01:16:55,760
Speaker 1: And Look an Angel Heart to Me is one of

1526
01:16:55,840 --> 01:16:57,320
Speaker 1: my favorite movies When I think.

1527
01:16:57,560 --> 01:17:01,000
Speaker 2: I think Barfly is as I would have a performance

1528
01:17:01,840 --> 01:17:04,160
Speaker 2: as Roberts and Iron Raging.

1529
01:17:03,960 --> 01:17:06,559
Speaker 1: Ball and Look the Wrestler is one of my favorite

1530
01:17:06,600 --> 01:17:09,640
Speaker 1: ten movies right for us, I mean Wrestling Rocky and

1531
01:17:09,640 --> 01:17:10,040
Speaker 1: the Wrestler.

1532
01:17:10,080 --> 01:17:11,400
Speaker 2: But again, I remember how I said at the beginning

1533
01:17:11,479 --> 01:17:14,360
Speaker 2: this conversation, I like it dirty. Yeah, Mickey's a dirty actor,

1534
01:17:14,479 --> 01:17:16,320
Speaker 2: you know what I mean. Mickey's just always done it

1535
01:17:16,560 --> 01:17:21,280
Speaker 2: his way. You he insisted his reward robe for the shoot.

1536
01:17:21,560 --> 01:17:23,599
Speaker 2: You were like an orange cowboy suit.

1537
01:17:23,800 --> 01:17:26,240
Speaker 1: It was like the craziest thing. And then they didn't

1538
01:17:26,280 --> 01:17:28,400
Speaker 1: have like duplicates, so like when his standing came and

1539
01:17:28,400 --> 01:17:30,400
Speaker 1: he just stripped down to his underwear, handed it over

1540
01:17:30,439 --> 01:17:31,880
Speaker 1: to Stanga and he just sat in a chair. But

1541
01:17:32,360 --> 01:17:34,519
Speaker 1: it was crazy. Mickey's the kind of guy that when

1542
01:17:34,560 --> 01:17:39,519
Speaker 1: he understood like what Brando was like, yeah, he started

1543
01:17:39,520 --> 01:17:39,800
Speaker 1: to cut.

1544
01:17:39,880 --> 01:17:42,880
Speaker 2: Like there's few actors around anymore, like Sean Penn, you know,

1545
01:17:43,240 --> 01:17:45,160
Speaker 2: just a few guys around anymore that really want.

1546
01:17:45,040 --> 01:17:49,840
Speaker 1: To, you know, just search the mystery of that thing.

1547
01:17:50,120 --> 01:17:50,280
Speaker 1: You know.

1548
01:17:50,439 --> 01:17:53,439
Speaker 2: Now, personally, I don't agree with a lot of like,

1549
01:17:53,520 --> 01:17:54,880
Speaker 2: you know, there's a lot of actors that think in

1550
01:17:55,000 --> 01:17:59,240
Speaker 2: order to be that creative or powerful or dramatic, you know,

1551
01:17:59,280 --> 01:18:00,920
Speaker 2: you have to be an alcohol you have to you know,

1552
01:18:00,960 --> 01:18:02,559
Speaker 2: you have to suffer, you have to. I don't believe

1553
01:18:02,600 --> 01:18:04,560
Speaker 2: in any of that. It's kind of like when Gilgood

1554
01:18:04,720 --> 01:18:08,639
Speaker 2: said on Marathon Man to Hoffmann, you know, that's try acting.

1555
01:18:09,360 --> 01:18:12,000
Speaker 1: But it's a great line. Because I worked with the movie.

1556
01:18:12,080 --> 01:18:14,360
Speaker 2: I worked on a movie called eight Seconds, which was

1557
01:18:15,360 --> 01:18:19,360
Speaker 2: a rodeo picture with Luke Perry yep. And the director

1558
01:18:19,400 --> 01:18:22,040
Speaker 2: of that at the time was the guy from Rocky

1559
01:18:22,160 --> 01:18:27,840
Speaker 2: What's his name passed away? John Ableton. So when I

1560
01:18:27,960 --> 01:18:31,679
Speaker 2: worked on that movie, I was playing a cowboy character

1561
01:18:31,800 --> 01:18:34,519
Speaker 2: with an accent with John Albleton, dude one oscars and

1562
01:18:34,520 --> 01:18:37,080
Speaker 2: all this kind of stuff and learning the accent.

1563
01:18:37,160 --> 01:18:38,799
Speaker 1: Like we were talking here. It was a very serious

1564
01:18:38,840 --> 01:18:43,679
Speaker 1: commitment to a character, and here was Ableton. Great director.

1565
01:18:43,760 --> 01:18:46,479
Speaker 2: We're talking about directors giving great You prefer when you

1566
01:18:46,560 --> 01:18:49,360
Speaker 2: can communicate with the director and go through the development

1567
01:18:49,400 --> 01:18:51,400
Speaker 2: of the character and all that stuff. I did another

1568
01:18:51,479 --> 01:18:54,320
Speaker 2: movie called Crossing the Bridge early on in my career,

1569
01:18:54,360 --> 01:18:58,720
Speaker 2: a little low budget indie film with Jason Gedrick and

1570
01:18:58,800 --> 01:19:01,960
Speaker 2: Josh Charles, and it was written and directed by a

1571
01:19:01,960 --> 01:19:06,280
Speaker 2: guy named Mike Binder. Mike Binder is a very successful

1572
01:19:06,720 --> 01:19:12,479
Speaker 2: comedian comedy writer. He did a sex Monster, the series

1573
01:19:12,600 --> 01:19:15,519
Speaker 2: and the series Mind of the Married Man.

1574
01:19:15,600 --> 01:19:17,479
Speaker 1: Did you ever see that? Many years ago? I don't remember.

1575
01:19:17,640 --> 01:19:19,800
Speaker 2: Binder's been in He's written and directed a lot of

1576
01:19:20,439 --> 01:19:22,920
Speaker 2: really cool stuff. So he does this little indie film

1577
01:19:22,960 --> 01:19:26,200
Speaker 2: with me, and he's a stand up comic, is his roots.

1578
01:19:26,760 --> 01:19:29,280
Speaker 2: And now he's directing this feature film with me and

1579
01:19:29,320 --> 01:19:31,799
Speaker 2: these two other actors. It's his first movie. Mike Binder.

1580
01:19:32,120 --> 01:19:36,720
Speaker 2: He's a stand up comic directing his first feature. And

1581
01:19:36,840 --> 01:19:37,960
Speaker 2: I'm doing the scene and.

1582
01:19:38,000 --> 01:19:41,080
Speaker 1: It's a heavy scene. I gotta cry and this and

1583
01:19:41,200 --> 01:19:42,519
Speaker 1: I have all these beats and I have it all

1584
01:19:42,560 --> 01:19:44,000
Speaker 1: worked out and I know how I want to do it,

1585
01:19:44,720 --> 01:19:47,040
Speaker 1: and we shoot the scene and I do one tick,

1586
01:19:47,479 --> 01:19:51,400
Speaker 1: two ticks, three ticks, four ticks, four takes.

1587
01:19:51,479 --> 01:19:54,680
Speaker 2: Mike comes over. He goes, hey, I just go keep

1588
01:19:54,720 --> 01:19:56,920
Speaker 2: giving me one more because I'm trying to find this

1589
01:19:57,200 --> 01:20:01,560
Speaker 2: thing in this shot, by this little arc in the

1590
01:20:01,920 --> 01:20:06,679
Speaker 2: in the scene that I'm portraying as the actor. Finally,

1591
01:20:06,760 --> 01:20:09,320
Speaker 2: after like nine takes, Joe Mike Binder gives at to

1592
01:20:09,360 --> 01:20:12,000
Speaker 2: me and he goes, I said, okay, if I just

1593
01:20:12,080 --> 01:20:16,280
Speaker 2: give you one little suggesting I go yeah, man, yeah, yeah,

1594
01:20:16,479 --> 01:20:18,960
Speaker 2: just like I keep asking for one more because I'm

1595
01:20:18,960 --> 01:20:20,880
Speaker 2: just trying to find a certain flow in the scene here.

1596
01:20:20,920 --> 01:20:23,479
Speaker 1: And he goes. He goes, yeah, you just do one.

1597
01:20:23,760 --> 01:20:26,639
Speaker 1: I just want you to try one for me. I go, yeah,

1598
01:20:26,680 --> 01:20:30,360
Speaker 1: he goes, just say the words I could cry right now,

1599
01:20:30,640 --> 01:20:34,600
Speaker 1: I literally went, he goes, because he wasn't thinking in

1600
01:20:34,880 --> 01:20:39,879
Speaker 1: the bubble. I understand, understand. He literally just went stop acting.

1601
01:20:40,200 --> 01:20:42,920
Speaker 1: See what happens that you go the opposite way with

1602
01:20:43,160 --> 01:20:45,400
Speaker 1: your process right now? That's the take they used and

1603
01:20:45,640 --> 01:20:51,360
Speaker 1: think nothing sure and just say I will never My

1604
01:20:51,439 --> 01:20:54,040
Speaker 1: whole acting career changed after that film because I no

1605
01:20:54,360 --> 01:20:58,040
Speaker 1: longer I had the same story. Right when I was

1606
01:20:58,080 --> 01:21:00,840
Speaker 1: doing the Perfect Storm. At the end of the movie,

1607
01:21:00,960 --> 01:21:04,559
Speaker 1: I'm sitting at the bar and I survived. I see

1608
01:21:04,560 --> 01:21:07,160
Speaker 1: the boats gone down on the TV, and I go

1609
01:21:07,240 --> 01:21:09,280
Speaker 1: to Wolfgang and they brought me back. They added the

1610
01:21:09,360 --> 01:21:10,800
Speaker 1: scene that they wanted me to do where I'm just

1611
01:21:10,920 --> 01:21:12,880
Speaker 1: like where I see the boat went down, and I

1612
01:21:12,960 --> 01:21:14,640
Speaker 1: went to Wolfgang. Thank you so much for bringing me

1613
01:21:14,680 --> 01:21:16,600
Speaker 1: back and having an extra scene. I'm so grateful. I go,

1614
01:21:16,720 --> 01:21:17,760
Speaker 1: I don't know what you want me to do. Want

1615
01:21:17,760 --> 01:21:19,280
Speaker 1: me to smash a bottle? Or do you want me

1616
01:21:19,360 --> 01:21:21,120
Speaker 1: to cry? Or do you want me to sit there

1617
01:21:21,160 --> 01:21:22,960
Speaker 1: and hold my head and sob or.

1618
01:21:23,200 --> 01:21:31,280
Speaker 6: He goes, Joe, do is apt and the comed will

1619
01:21:31,320 --> 01:21:35,200
Speaker 6: push in and the music will spell and you will

1620
01:21:35,240 --> 01:21:35,839
Speaker 6: look brilliant.

1621
01:21:37,400 --> 01:21:39,880
Speaker 1: And I was like, he walked away and went, what

1622
01:21:40,240 --> 01:21:44,040
Speaker 1: the does that mean? Right? And I go, I'm just

1623
01:21:44,200 --> 01:21:49,519
Speaker 1: going to stare and not blink at the TV and

1624
01:21:49,640 --> 01:21:52,080
Speaker 1: just sit there and see what happens with the smoke

1625
01:21:52,120 --> 01:21:54,680
Speaker 1: in the room and just see what happens. And I

1626
01:21:54,760 --> 01:21:57,360
Speaker 1: did that, right, That's all I did. And it's way more.

1627
01:21:57,520 --> 01:21:59,599
Speaker 1: And my mom watches the movie. She goes that scene

1628
01:21:59,640 --> 01:22:02,680
Speaker 1: at the end and when the camera pushes in and

1629
01:22:02,720 --> 01:22:07,120
Speaker 1: the music swells. You were so emotional. She's like, what

1630
01:22:07,280 --> 01:22:09,719
Speaker 1: were you h Yeah, she goes, what were you thinking?

1631
01:22:10,680 --> 01:22:13,360
Speaker 1: I was thinking, don't blink? And she goes, don't this

1632
01:22:13,560 --> 01:22:16,400
Speaker 1: movie up for me? Do you not this movie up

1633
01:22:16,439 --> 01:22:19,200
Speaker 1: for me? But but is that revelation of like you said,

1634
01:22:19,200 --> 01:22:20,960
Speaker 1: there go, I don't have to do as much as

1635
01:22:21,000 --> 01:22:21,640
Speaker 1: I think I have to do.

1636
01:22:21,800 --> 01:22:24,479
Speaker 2: But you just encapsulated the point of one bad movie. Like,

1637
01:22:24,560 --> 01:22:28,000
Speaker 2: there's the perception people have of movies, and then there's

1638
01:22:28,200 --> 01:22:29,880
Speaker 2: the people who make them, like you and me, who

1639
01:22:30,000 --> 01:22:32,400
Speaker 2: get to talk about it, you know, and and hopefully

1640
01:22:32,479 --> 01:22:35,400
Speaker 2: share with this because I just think it's so that

1641
01:22:35,600 --> 01:22:39,040
Speaker 2: that is really interesting in the same bubble that I.

1642
01:22:39,160 --> 01:22:44,160
Speaker 1: Was just correct mentioning. And I worked with a director

1643
01:22:44,200 --> 01:22:46,360
Speaker 1: named George Schleiser. I don't know if you know that

1644
01:22:46,439 --> 01:22:46,600
Speaker 1: it is.

1645
01:22:46,920 --> 01:22:49,639
Speaker 2: He made a movie called The Vanishing that was very successful,

1646
01:22:49,680 --> 01:22:52,679
Speaker 2: the Dutch version first, and then they did the American

1647
01:22:52,760 --> 01:22:55,559
Speaker 2: version with Jeff Bridges and it was a bad movie. Yeah,

1648
01:22:55,720 --> 01:22:58,800
Speaker 2: you know, Schleiser never worked with the American studio system again.

1649
01:22:58,920 --> 01:23:02,240
Speaker 1: Oh really after that movie just they screwed them. I know,

1650
01:23:02,320 --> 01:23:03,040
Speaker 1: they changed the ending.

1651
01:23:03,080 --> 01:23:06,000
Speaker 2: I think they did Sandra Bullock, and this it just

1652
01:23:06,080 --> 01:23:09,400
Speaker 2: it just wasn't the original. You know, they didn't let

1653
01:23:09,479 --> 01:23:11,679
Speaker 2: him do what he did with the original.

1654
01:23:11,920 --> 01:23:13,439
Speaker 1: You know the same thing with bands, like I said,

1655
01:23:13,479 --> 01:23:15,640
Speaker 1: they did. Don't let somebody like that who's new to

1656
01:23:15,720 --> 01:23:17,880
Speaker 1: the system, right, same thing too. Shut.

1657
01:23:19,400 --> 01:23:21,560
Speaker 2: What was fascinating about Schleizer was we were shooting this

1658
01:23:22,400 --> 01:23:26,800
Speaker 2: feature film about an actor who plays on a reoccurring

1659
01:23:27,439 --> 01:23:35,479
Speaker 2: crime drama series. So imagine like, there's Unsolved Mysteries the

1660
01:23:35,560 --> 01:23:39,160
Speaker 2: TV show, and I'm an actor being hired by a

1661
01:23:39,280 --> 01:23:42,920
Speaker 2: TV show doing stories about real crimes, and they bring

1662
01:23:43,040 --> 01:23:44,720
Speaker 2: the actor and do like and then he went to

1663
01:23:44,800 --> 01:23:47,000
Speaker 2: the front door with a knife, and you have the actor.

1664
01:23:46,760 --> 01:23:48,320
Speaker 1: Come in and go like that, and they put that in.

1665
01:23:49,479 --> 01:23:50,479
Speaker 1: So it's that idea.

1666
01:23:50,560 --> 01:23:55,840
Speaker 2: But now the actor who's weekly portraying a killer gets

1667
01:23:55,960 --> 01:23:59,920
Speaker 2: contacted by the killer. So now the movie is about

1668
01:24:00,240 --> 01:24:02,320
Speaker 2: a guy who's an actor trying to find the method

1669
01:24:02,400 --> 01:24:05,360
Speaker 2: and the truth. And now he doesn't tell anyone that

1670
01:24:05,960 --> 01:24:08,000
Speaker 2: he's re enacting the crimes.

1671
01:24:08,000 --> 01:24:10,160
Speaker 1: Every week after this guy kills somebody, and he doesn't

1672
01:24:10,160 --> 01:24:11,920
Speaker 1: tell the cops that he's talking to because he wants

1673
01:24:11,960 --> 01:24:14,640
Speaker 1: to get so close to the real thing and then

1674
01:24:14,680 --> 01:24:17,880
Speaker 1: it becomes It seems psychologically kind of crazy, but it's

1675
01:24:17,920 --> 01:24:19,559
Speaker 1: interesting in the thought of.

1676
01:24:21,560 --> 01:24:24,760
Speaker 2: How that actor, how close to the sun that actor

1677
01:24:24,840 --> 01:24:28,200
Speaker 2: can fly before becoming, you know, an axe murderer himself.

1678
01:24:29,840 --> 01:24:31,839
Speaker 2: So I'm working with George Sliser, he does the Vanishing.

1679
01:24:31,880 --> 01:24:35,759
Speaker 2: I'm a big fan, and every time there's a murder

1680
01:24:36,120 --> 01:24:38,439
Speaker 2: in the film, he never shows the violence.

1681
01:24:40,080 --> 01:24:41,639
Speaker 1: I play the crime reenactment actor.

1682
01:24:41,720 --> 01:24:43,360
Speaker 2: So I take like an ice pick, and I got

1683
01:24:43,439 --> 01:24:46,080
Speaker 2: this woman in an alley and I lift the ice

1684
01:24:46,160 --> 01:24:49,320
Speaker 2: pick up right in front of her face, and right

1685
01:24:49,400 --> 01:24:51,800
Speaker 2: before I stick it in her eye because later in

1686
01:24:51,840 --> 01:24:54,720
Speaker 2: the film that just goes her eye was removed by

1687
01:24:54,760 --> 01:24:57,200
Speaker 2: an ice pick. But in the scene previously where I'm

1688
01:24:57,240 --> 01:24:59,479
Speaker 2: doing it, you see me lift the ice pick to

1689
01:24:59,560 --> 01:25:03,120
Speaker 2: her eye, and then the camera goes down her body

1690
01:25:03,560 --> 01:25:09,760
Speaker 2: and you hear you see your feet going like like

1691
01:25:09,880 --> 01:25:12,200
Speaker 2: very hitchcock. This guy had a very hitchcock but he

1692
01:25:12,479 --> 01:25:18,280
Speaker 2: never hardly ever showed the blood or the violence. I'm

1693
01:25:18,320 --> 01:25:20,000
Speaker 2: working with this guy in London and I turned him.

1694
01:25:20,240 --> 01:25:22,680
Speaker 2: I go, George, Arge, you're gonna like show it. I

1695
01:25:22,760 --> 01:25:25,080
Speaker 2: said to George Slide, I'm like, you know, the lead

1696
01:25:25,160 --> 01:25:27,960
Speaker 2: actor in the film I'm like, just will there be

1697
01:25:28,040 --> 01:25:30,320
Speaker 2: any because after the third or fourth re enactment, when

1698
01:25:30,360 --> 01:25:32,839
Speaker 2: the way he filmed it, there was no blood, no violence.

1699
01:25:33,240 --> 01:25:35,479
Speaker 2: It was the suggestion of it in the psychology. So

1700
01:25:35,560 --> 01:25:37,320
Speaker 2: I turned around, I said, are they all gonna be

1701
01:25:37,400 --> 01:25:41,080
Speaker 2: like that? He goes, oh, yes, Steven, Yeah.

1702
01:25:42,000 --> 01:25:46,280
Speaker 1: The violence is farm extreme in the mind of the viewer.

1703
01:25:46,840 --> 01:25:49,680
Speaker 1: Then if I show them the eyeball being scooped out

1704
01:25:49,800 --> 01:25:50,599
Speaker 1: by the ice.

1705
01:25:50,439 --> 01:25:54,240
Speaker 2: Pick, yeah, again it was like Mike Finder, I went,

1706
01:25:55,160 --> 01:25:59,439
Speaker 2: the vision of the violence is far greater in the mind.

1707
01:26:00,680 --> 01:26:03,680
Speaker 2: So if you apply that to acting, yeah, and what

1708
01:26:03,760 --> 01:26:06,280
Speaker 2: if your performance is so less is more because you're

1709
01:26:06,320 --> 01:26:07,360
Speaker 2: so inviting the man?

1710
01:26:08,280 --> 01:26:10,439
Speaker 1: You know what I mean? It's I mean acting. I mean, like,

1711
01:26:10,560 --> 01:26:12,800
Speaker 1: you know, the first thing you learn film school is

1712
01:26:12,840 --> 01:26:14,800
Speaker 1: they show like the footage of a guy to sit

1713
01:26:14,840 --> 01:26:17,320
Speaker 1: in there thinking, you know, and then they cut away

1714
01:26:17,400 --> 01:26:21,479
Speaker 1: to like a piece of like some food. And then

1715
01:26:21,520 --> 01:26:22,640
Speaker 1: when you cut to the food, you cut back to

1716
01:26:22,680 --> 01:26:24,720
Speaker 1: me and go, oh, he's thinking about food, you know.

1717
01:26:24,880 --> 01:26:26,360
Speaker 1: And then if you show the prince and person just

1718
01:26:26,400 --> 01:26:28,479
Speaker 1: sit in there thinking and you cut to him rolling

1719
01:26:28,520 --> 01:26:32,040
Speaker 1: on the beach with a woman in the water, Oh,

1720
01:26:32,080 --> 01:26:34,240
Speaker 1: he's thinking about that. If you have happy music that

1721
01:26:34,320 --> 01:26:36,719
Speaker 1: you put on top of that, he's having a positive memory.

1722
01:26:37,000 --> 01:26:39,800
Speaker 1: You put sad music, he's acting with sad memory. Right.

1723
01:26:40,120 --> 01:26:42,639
Speaker 1: So it's not so much what we do as long

1724
01:26:42,680 --> 01:26:45,599
Speaker 1: as we're thinking, because they can make anything you want

1725
01:26:45,640 --> 01:26:47,720
Speaker 1: if we understand the process of what's important. A good

1726
01:26:47,720 --> 01:26:49,960
Speaker 1: director will create that emotion that has to happen with

1727
01:26:50,120 --> 01:26:53,760
Speaker 1: music and imagery. That's it we can do less or

1728
01:26:53,800 --> 01:26:57,160
Speaker 1: a good editor. They're a good editor. Or did you

1729
01:26:57,240 --> 01:27:00,880
Speaker 1: get that? Sure? Did you get that shirt?

1730
01:27:01,439 --> 01:27:01,519
Speaker 6: Uh?

1731
01:27:01,880 --> 01:27:04,840
Speaker 1: There was? There was. There's a place I want to

1732
01:27:04,840 --> 01:27:08,920
Speaker 1: say in Arizona called the Unicorn Cupcake Company or something,

1733
01:27:09,439 --> 01:27:11,679
Speaker 1: and they were at a gifting suite in Los Angeles

1734
01:27:12,160 --> 01:27:14,240
Speaker 1: and they said, if you ever come to a new

1735
01:27:14,439 --> 01:27:16,200
Speaker 1: if you ever come to Arizona, coming to the shop.

1736
01:27:16,320 --> 01:27:19,080
Speaker 1: I went in. The shirt was on there, I saw it.

1737
01:27:19,160 --> 01:27:20,719
Speaker 1: I loved the shirt, and they gave me the shirt.

1738
01:27:21,439 --> 01:27:24,080
Speaker 1: I love the shirt now. Just so you know, see

1739
01:27:24,160 --> 01:27:29,080
Speaker 1: that in the box see that creature black Lagoon? Did

1740
01:27:29,120 --> 01:27:32,080
Speaker 1: you see Batman up there? Do not see Batman? You

1741
01:27:32,160 --> 01:27:33,280
Speaker 1: see killer Tomatoes?

1742
01:27:33,400 --> 01:27:33,559
Speaker 3: Yes?

1743
01:27:33,720 --> 01:27:37,680
Speaker 1: Those are t shirts. Look at that that we stretched

1744
01:27:37,720 --> 01:27:41,040
Speaker 1: and had put in there framed. They're so fabulous. Yeah.

1745
01:27:41,080 --> 01:27:43,240
Speaker 3: Instead of turning them into pillows, we framed them.

1746
01:27:45,160 --> 01:27:48,360
Speaker 1: Joe, thank you so much. Good beer. Did you drink

1747
01:27:48,680 --> 01:27:51,000
Speaker 1: both of your Macho LTEs for almost like one and

1748
01:27:51,040 --> 01:27:56,080
Speaker 1: a half? Good? Yeah, very thanks having man, thank you,

1749
01:27:57,240 --> 01:27:57,960
Speaker 1: thanks for having.

1750
01:28:00,400 --> 01:28:05,200
Speaker 4: Love be during the richly sex and guilty pleasures. This

1751
01:28:05,439 --> 01:28:09,840
Speaker 4: sun is food. It's so bad it's good. One bad move,

1752
01:28:10,120 --> 01:28:11,360
Speaker 4: the only sure