WEBVTT - Tate Donovan

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<v Speaker 1>I go into this room. It's really funny, and Ron

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<v Speaker 1>and John are there, they're the two directors, and they're like, Okay,

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<v Speaker 1>thank you very much, and you know, you've got this

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<v Speaker 1>microphone in front of you and they're sitting on a

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<v Speaker 1>couch and it's sort of like a regular audition except

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<v Speaker 1>for the microphone. And then they're like, anytime you're ready,

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<v Speaker 1>just go ahead. And then they just bowed down their

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<v Speaker 1>heads and closed their eyes as if, you know, they

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<v Speaker 1>were praying or something like that. Like, you know, I

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<v Speaker 1>was like, what, I had no idea, Like they didn't.

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<v Speaker 1>They didn't need to look at me at all. Hey,

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<v Speaker 1>it's day Donovan, and I've been around a long time.

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<v Speaker 1>You've probably seen me in something and you're probably gone,

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<v Speaker 1>what's that guy's name? Yeah, I've seen him in other things. Hello,

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<v Speaker 1>my friends, and welcome to yet another episode of Off

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<v Speaker 1>the Beat. I am your excitable host, Brian bomb Partner.

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<v Speaker 1>Now today's guest, as you just heard, is the amazing

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<v Speaker 1>and very funny Tate Donovan. Now, Tate has taken on

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<v Speaker 1>a huge range of roles. Everyone knows him, but I've

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<v Speaker 1>noticed that fans seem to recognize him for something different

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<v Speaker 1>depending on their age. I mean to give you a sense.

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<v Speaker 1>He worked on The O C as Jimmy Cooper, otherwise

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<v Speaker 1>known as the resident Dad facing embezzlement charges, which I

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<v Speaker 1>assure you is a thing. He also guest starred on

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<v Speaker 1>Friends for five episodes, was in Damages with Glenn Close.

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<v Speaker 1>He was an Argo good Night and good Luck Manchester

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<v Speaker 1>by the Sea, and you or your kids might even

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<v Speaker 1>recognize his voice as the title character of Disney's Hercules

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<v Speaker 1>in both the film and TV series. Tate has truly

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<v Speaker 1>done it all. So today we're gonna get into those roles,

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<v Speaker 1>Tate's directing career and how he has found common in

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<v Speaker 1>a variety of genres, shows, and characters. This was such

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<v Speaker 1>a pleasure for me, So without further at you, Kate Donovan,

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<v Speaker 1>Bubble and Squeak, I love it Bubble and Squeak on

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<v Speaker 1>Bubble and Squeaker, Cookie, every moment left over from the Nabby.

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<v Speaker 1>What's update, Brian? How are you? I'm great, man, I'm great.

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<v Speaker 1>I'm so happy to be talking to you. Oh my gosh,

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<v Speaker 1>I'm so happy to be talking to you. Thank you

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<v Speaker 1>so much for joining me. Here are you kidding me?

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<v Speaker 1>I'm a I'm a huge fan. Well, listen, I'm a

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<v Speaker 1>huge fan of yours as well. I'm I'm gonna be

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<v Speaker 1>fan boying all over you today. I wanted to start, however,

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<v Speaker 1>to go to go back before before I knew who

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<v Speaker 1>you were. Remarkably, you grew up in Jersey. Is this right?

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<v Speaker 1>You grew up in Jersey? Now at this point it

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<v Speaker 1>was kind of a national pastime to make fun of

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<v Speaker 1>Jersey when you were growing up. Did you have a

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<v Speaker 1>complex about that or were you Oh? Yeah, I still do.

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<v Speaker 1>I still do. I have a total complex. When everyone

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<v Speaker 1>asked me like, where are you from, I'm like, outside

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<v Speaker 1>of New York City. I can where, uh the New

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<v Speaker 1>Jersey right right right across the George Washington Bridge. Yeah,

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<v Speaker 1>it's it's so far. I used to lie about it

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<v Speaker 1>all the time because you're right, I mean, growing up,

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<v Speaker 1>you know, in the seventies, listening to Saturday Night Live,

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<v Speaker 1>every joke was about how he's from New Jersey, you know, Rosanne,

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<v Speaker 1>Zanna Dana. It was just like all the idiots were

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<v Speaker 1>from New Jersey. It was like the cancer capital of

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<v Speaker 1>the world. Everybody made fun like what eggs it? Are

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<v Speaker 1>you from? In New Jersey? You know, like they didn't

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<v Speaker 1>have towns or anything just exits off the turnpike. Yeah. Yeah,

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<v Speaker 1>I'm still a little I still I need a couple

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<v Speaker 1>more sessions with my therapist and I should be ready

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<v Speaker 1>to accept that I'm from the Jersey. Yeah, I but

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<v Speaker 1>I'm told which is again, this is this is not

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<v Speaker 1>what I would have expected that that you you never

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<v Speaker 1>locked your doors as a child. There It's like it

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<v Speaker 1>was it was it did you feel safe? Well? Yeah,

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<v Speaker 1>we never had a lock on our doors. Like when

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<v Speaker 1>my parents finally sold the house, they were like, okay,

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<v Speaker 1>can we have the keys? And they're like, we haven't

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<v Speaker 1>seen keys in a hundred and fifty years. Um, we've

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<v Speaker 1>never had keys. I remember one time we went away

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<v Speaker 1>for vacation. We used to vacation out in Long Island,

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<v Speaker 1>which is sort of like the second worst place to

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<v Speaker 1>be from um and like the north Shore, not the

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<v Speaker 1>beautiful Hamptons opposite. Yeah, we left our front door open

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<v Speaker 1>for two weeks. Finally, our our next door neighbor was like, hey, uh,

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<v Speaker 1>you know, can I close your front door? It's been

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<v Speaker 1>opened for two weeks. And I'm like we're like yeah, sorry, sorry,

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<v Speaker 1>thank you. Yeah, it's ridiculous. Yeah, I never locked a

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<v Speaker 1>bike in my life, you never locked a bike. No,

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<v Speaker 1>not until I went to college. Did you ever have

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<v Speaker 1>a bike stolen? I guess this's then the next question. Uh,

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<v Speaker 1>you know yeah, um borrowed, Yeah, borrowed. Yeah, like kids

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<v Speaker 1>would take your bike, you know, and to mess with you.

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<v Speaker 1>But you know it's never stolen. We always got it

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<v Speaker 1>back and you know, yeah wow, but you know my

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<v Speaker 1>first bike I was stolen was in New York City

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<v Speaker 1>and I went up to audition and I have run

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<v Speaker 1>up the stairs through audition. I locked my bike. It's

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<v Speaker 1>like one of those kryptonite bikes, you know, like bike locks.

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<v Speaker 1>It was like guaranteed. And I run up to the

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<v Speaker 1>audition and that I find out it's not there. So

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<v Speaker 1>I run back down. I must have been gone thirty

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<v Speaker 1>five seconds and my bike was stolen. I was anyway,

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<v Speaker 1>New York City, different place. Yeah, that's a that's a

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<v Speaker 1>different place. You were the youngest of six kids. Now

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<v Speaker 1>did you did you feel like you needed to do

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<v Speaker 1>something to stand out as a child or were you

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<v Speaker 1>were you? Were you all fairly close and well adjusted?

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<v Speaker 1>Or I mean I'm asking more, when did you start performing?

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<v Speaker 1>And I don't mean professionally, I mean, when did you

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<v Speaker 1>feel like you started right? Yeah, well, um, at the

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<v Speaker 1>age of four, I went to see a movie with

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<v Speaker 1>my parents and I wanted to sit away from them.

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<v Speaker 1>I always wanted to be like an adult or I

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<v Speaker 1>don't know, for some weird reason, I just wanted to

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<v Speaker 1>be like independent. So I sat away from them. And

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<v Speaker 1>it was a movie about medieval nights. I don't know

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<v Speaker 1>what movie it was, but it was like st and

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<v Speaker 1>I just looked up on that screen and I was like,

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<v Speaker 1>Oh my god, that's what I want to do that

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<v Speaker 1>for a living. I want to I want to be

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<v Speaker 1>in a movie. And and what's interesting is that my

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<v Speaker 1>next thought was, Wow, if I feel this way, everybody

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<v Speaker 1>must feel this way, Like I must be really hard.

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<v Speaker 1>You can't just waltz into that, you know. But I

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<v Speaker 1>sort of had to keep that a secret because, um,

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<v Speaker 1>I would do high school plays and and stuff like

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<v Speaker 1>that all the time. But my parents were I came

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<v Speaker 1>from a crazy group of kids. Like we weren't adjust

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<v Speaker 1>well adjusted, let's just put it that way, Like besides murder,

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<v Speaker 1>we basically committed every sin you could possibly do. It

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<v Speaker 1>was like the sixties and seventies. It's just a crazy time.

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<v Speaker 1>And teenagers in my family were just nutbags. So I

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<v Speaker 1>was just sort of like conservative one and went into

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<v Speaker 1>a theater and acting. So that's shows you how crazy

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<v Speaker 1>my not politically conservative, but no lifestyle, lifestyle conservative. So

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<v Speaker 1>you're just doing high school plays. But are you at

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<v Speaker 1>that point, you know, you started four, you're doing high

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<v Speaker 1>school plays. Are you still committed, like this is what

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<v Speaker 1>you want to do? You were, you were an early

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<v Speaker 1>you decided early what you wanted to do with your life. Yeah,

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<v Speaker 1>I did. And and I remember hearing Meryl Street get

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<v Speaker 1>interviewed and she said when she was in high school,

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<v Speaker 1>she would pretend that she was already a professional actress

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<v Speaker 1>and that she would get involved in every show like

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<v Speaker 1>like like it was a job, like she needed the

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<v Speaker 1>money and and so that's what I did. I was

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<v Speaker 1>just like, you know, I'll take a small role here,

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<v Speaker 1>I do I do? I have no lines in some

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<v Speaker 1>play in the school musical. Uh, you know, I would

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<v Speaker 1>just be on stage or whatever, you know, like carry

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<v Speaker 1>a spear and then I'd be the lead and something

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<v Speaker 1>else I was. I was just like I wanted to

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<v Speaker 1>do it so badly, and I had to keep it

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<v Speaker 1>a complete secret. It was it was, Yeah, it's interesting. Yeah,

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<v Speaker 1>my dad was a doctor and my mother wanted me

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<v Speaker 1>to be a lawyer or you know, something decent that

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<v Speaker 1>required an education and stuff like that, and yeah, yeah,

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<v Speaker 1>it was heartbreaking for them when you made the decision. Yeah,

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<v Speaker 1>when I told him I I was in college. I

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<v Speaker 1>told him I was going to a major in theater.

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<v Speaker 1>And my dad literally for two and a half years,

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<v Speaker 1>did not talk to me. Wow, he's he sent me

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<v Speaker 1>articles from the New York Times about either how impossible

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<v Speaker 1>it is to become an actor or like he'd sent

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<v Speaker 1>these articles on these actors who just like became stars

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<v Speaker 1>and never take an acting class in their life, you know,

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<v Speaker 1>like he just thought it was a giant waste of

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<v Speaker 1>you know, education to study theater. It's like the dumbest thing, right,

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<v Speaker 1>And he may be right. Actually, wait, so you so

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<v Speaker 1>you're your New York City adjacent so you're not you're

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<v Speaker 1>you're not auditioning in the city. You're just doing school

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<v Speaker 1>plays and trying to do that and kind of pretending

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<v Speaker 1>to your parents have this was a hobby. And then

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<v Speaker 1>how do you find because USC because I actually, you know,

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<v Speaker 1>I applied to USC, was actually offered a scholarship, Thank

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<v Speaker 1>you very much. I didn't go to USC, but I

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<v Speaker 1>but that that was like it wasn't necessarily a conservatory

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<v Speaker 1>training program, but but it was a significant program. How

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<v Speaker 1>did you convince them if your scheme was to go

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<v Speaker 1>to USC and eventually get into theater, how did you

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<v Speaker 1>convince them to for you to even go to USC that? Well?

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<v Speaker 1>I got into two colleges, n y U and USC,

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<v Speaker 1>and I I they were sort of like, you know,

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<v Speaker 1>I was the last one, and they were sort of

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<v Speaker 1>sick and tired of dealing with kids, and they were

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<v Speaker 1>just like, okay, we'll do whatever you want. And I

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<v Speaker 1>was general you know, uh general major when I first

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<v Speaker 1>went there, Liberal arts or whatever. Yeah, yeah, liberal arts,

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<v Speaker 1>and um I did a play and I fell in

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<v Speaker 1>love with studying theater. I was just like, oh god,

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<v Speaker 1>I gotta do this. And I quietly switched my major.

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<v Speaker 1>And uh, my dad found out and hit the roof

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<v Speaker 1>and just like we got in the biggest argument. But

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<v Speaker 1>to his credit, I also had professors right to him

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<v Speaker 1>and say, hey, Tate has a chance of making it

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<v Speaker 1>in this business. He should he should study. And I

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<v Speaker 1>always thought my dad ignored all of those letters, and

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<v Speaker 1>but One of the more moving things was when my

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<v Speaker 1>dad passed away and I went through his um his desk,

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<v Speaker 1>I found this letter from one of my professors, John

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<v Speaker 1>Blanket Ship at USC, and I just dissolved, you know,

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<v Speaker 1>like obviously he he he listened to those letters and

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<v Speaker 1>he ended up paying my tuition, which you know was

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<v Speaker 1>a fraction of what it is now. But yeah, yeah,

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<v Speaker 1>I mean, so he did it. And you know, fortunately

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<v Speaker 1>I got work while I was going to college. I

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<v Speaker 1>was lucky enough to get some jobs, and so he

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<v Speaker 1>was like, well, maybe he'll make a living and yeah,

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<v Speaker 1>where did you go to school? I went to s

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<v Speaker 1>m U Southern Methodist University in Dallas. In Dallas, so

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<v Speaker 1>at the time, it was a conservatory training program and

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<v Speaker 1>that was sort of for me. That was what I

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<v Speaker 1>was I was looking for. And you know, they had

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<v Speaker 1>and I don't know if USC was going through some

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<v Speaker 1>renovations at the time, but I've told this story before,

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<v Speaker 1>never specifically to USC graduate. But I was from Atlanta,

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<v Speaker 1>and so I I flew, we flew, me and my

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<v Speaker 1>dad we flew to California and went to USC and

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<v Speaker 1>went to the theater department office. I'm putting that in

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<v Speaker 1>quote because it was a trailer. It was it was

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<v Speaker 1>in a trailer, a trailer. It wasn't temporary. It was

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<v Speaker 1>still there. It wasn't temporary. Hit hoole, right. So I

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<v Speaker 1>went there and I met them, and I was like,

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<v Speaker 1>all right, this is Los Angeles. And actually while we

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<v Speaker 1>were there on that trip, I went to I still

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<v Speaker 1>remember going with my dad to the old Grammins Chinese Well.

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<v Speaker 1>We went to hard Rock Cafe, of course because we

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<v Speaker 1>were from Atlanta, and we thought that's what you did.

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<v Speaker 1>And then we went to Gramma's Chinese Theater and I

0:13:23.400 --> 0:13:27.360
<v Speaker 1>saw Goodfellas. I don't know if that was when it

0:13:27.480 --> 0:13:29.800
<v Speaker 1>was out or if it was a special showing shortly after.

0:13:29.880 --> 0:13:31.320
<v Speaker 1>I would have to look at the day, but I

0:13:31.360 --> 0:13:33.800
<v Speaker 1>know that's what I saw, a Gramins Chinese theater, and

0:13:33.800 --> 0:13:36.079
<v Speaker 1>I thought it was so cool. And then I flew

0:13:36.160 --> 0:13:40.200
<v Speaker 1>from Los Angeles to Dallas and walked into the theater

0:13:40.280 --> 0:13:44.760
<v Speaker 1>department at s m U, which was about a thirty

0:13:44.880 --> 0:13:50.160
<v Speaker 1>million dollar building with three fully functional thrust stage, a

0:13:50.240 --> 0:13:55.840
<v Speaker 1>precenium stage, black box that was fully and I was like, well,

0:13:55.920 --> 0:14:00.679
<v Speaker 1>let me see. I could go to a trailer are

0:14:00.920 --> 0:14:04.160
<v Speaker 1>or I could stay here. And that was that was

0:14:04.240 --> 0:14:06.600
<v Speaker 1>for me, a quick decision, and it was a little

0:14:06.640 --> 0:14:10.400
<v Speaker 1>closer to Atlanta, which I think probably made my folks happy.

0:14:10.640 --> 0:14:13.920
<v Speaker 1>But but but I was curious about this, knowing I

0:14:13.960 --> 0:14:15.760
<v Speaker 1>was talking to you and you going to USC So

0:14:15.840 --> 0:14:19.840
<v Speaker 1>you you did start auditioning, sort of getting into the

0:14:19.920 --> 0:14:23.680
<v Speaker 1>business while you were in school, right, Yeah, yeah, I

0:14:23.800 --> 0:14:27.160
<v Speaker 1>lucked out. There was a girl in the class ahead

0:14:27.160 --> 0:14:30.520
<v Speaker 1>of me who was doing an internship at a tiny

0:14:30.600 --> 0:14:36.160
<v Speaker 1>talent agency called Contemporary Coreman Artists. And they said, they're

0:14:36.160 --> 0:14:38.360
<v Speaker 1>They're like, are there any kids that in your school

0:14:38.400 --> 0:14:40.960
<v Speaker 1>that are you know, you think you can work? And

0:14:41.040 --> 0:14:43.560
<v Speaker 1>she was. She picked about four or five and we

0:14:43.640 --> 0:14:47.680
<v Speaker 1>all went to their crappy little offices and uh in

0:14:47.840 --> 0:14:52.520
<v Speaker 1>Beverly Hills, and they signed me. And the other intern

0:14:52.920 --> 0:14:57.120
<v Speaker 1>was a guy named David di Camillo and he, uh,

0:14:57.200 --> 0:14:59.560
<v Speaker 1>he was just out of college and I was still

0:14:59.560 --> 0:15:04.359
<v Speaker 1>in college. And he is still my agent. Four wow,

0:15:05.280 --> 0:15:08.880
<v Speaker 1>some odd years later, I'm at gersh But I'm trying

0:15:08.920 --> 0:15:13.120
<v Speaker 1>to think, this is nine eighty three or four, So

0:15:13.440 --> 0:15:17.000
<v Speaker 1>what has it It's been forty years. Forty years, Yeah,

0:15:17.440 --> 0:15:21.480
<v Speaker 1>forty years I've had the same agent. Can you imagine

0:15:21.920 --> 0:15:25.080
<v Speaker 1>that is amazing? I know, it's incredible. I mean, I

0:15:25.120 --> 0:15:28.160
<v Speaker 1>have a similar story. I have the same manager that

0:15:28.200 --> 0:15:31.400
<v Speaker 1>I have when I moved to Los Angeles, not not

0:15:31.520 --> 0:15:34.480
<v Speaker 1>quite that long. I think I've been through seventeen agents,

0:15:35.040 --> 0:15:41.040
<v Speaker 1>just to be clear. Agents. I think probably had actually

0:15:41.080 --> 0:15:45.440
<v Speaker 1>I never went to. But yes, I um, that's that's awesome.

0:15:45.640 --> 0:15:48.320
<v Speaker 1>I love to hear that. But you were at school

0:15:49.280 --> 0:15:52.520
<v Speaker 1>and you had some people I don't know if if

0:15:52.560 --> 0:15:57.120
<v Speaker 1>they were accepted this agency, George Clooney, Grant Heslov who

0:15:57.200 --> 0:16:00.920
<v Speaker 1>now have become longtime friends. Were you classes together? Were

0:16:00.960 --> 0:16:04.520
<v Speaker 1>you in the actual the same class? Well, George wasn't.

0:16:04.960 --> 0:16:08.280
<v Speaker 1>George wasn't at SC, but Grant, Grant and I were

0:16:08.400 --> 0:16:13.080
<v Speaker 1>best friends in going to s C, and Grant one

0:16:13.120 --> 0:16:16.520
<v Speaker 1>summer did a play with George and then they became

0:16:16.640 --> 0:16:20.120
<v Speaker 1>with great friends. And then sort of like George and

0:16:20.160 --> 0:16:24.440
<v Speaker 1>I became friends through Grant. Yeah, so I'm still great

0:16:24.440 --> 0:16:26.600
<v Speaker 1>friends with Grant. I don't I don't really see George

0:16:26.600 --> 0:16:29.520
<v Speaker 1>too much, but you know, we ever get a basketball

0:16:29.560 --> 0:16:33.440
<v Speaker 1>game together, I'd love to be there. Yeah, it's crazy.

0:16:33.920 --> 0:16:36.840
<v Speaker 1>Who else who else was in my class? Uh? Forest

0:16:36.880 --> 0:16:41.560
<v Speaker 1>Whittaker was a two years older than us. Eric Stoltz

0:16:41.560 --> 0:16:44.640
<v Speaker 1>was a year older than us. Anthony Edwards was a

0:16:44.720 --> 0:16:48.640
<v Speaker 1>year older than us. Oh Ali Shedy, do you remember her,

0:16:48.720 --> 0:16:51.480
<v Speaker 1>she was a couple of years older than us. Yeah, yeah,

0:16:51.480 --> 0:16:53.960
<v Speaker 1>there's some. There was some great, great it was. It

0:16:54.040 --> 0:16:56.800
<v Speaker 1>was a great time to go there because there were

0:16:56.880 --> 0:17:00.680
<v Speaker 1>so many jobs for young kids. You know, they were

0:17:00.680 --> 0:17:04.560
<v Speaker 1>making tons of coming of age movies and television shows,

0:17:04.640 --> 0:17:07.919
<v Speaker 1>and so I really I was very, very, very very

0:17:08.040 --> 0:17:29.400
<v Speaker 1>lucky to go there at that time for sure. What

0:17:29.480 --> 0:17:33.040
<v Speaker 1>was the first role you booked outside of school? Well,

0:17:33.080 --> 0:17:36.080
<v Speaker 1>I got a I got a spear carrier at the

0:17:36.160 --> 0:17:40.840
<v Speaker 1>Lahoya Playhouse for for As You Like It. But while

0:17:40.880 --> 0:17:45.400
<v Speaker 1>I was carrying the spear for that production, I auditioned

0:17:45.560 --> 0:17:50.159
<v Speaker 1>for a movie called No Small Affair with John Cryer

0:17:50.359 --> 0:17:54.040
<v Speaker 1>and Danny Moore, and I had one line. I didn't

0:17:54.040 --> 0:17:56.679
<v Speaker 1>have a sad card, but one line, why don't you

0:17:56.680 --> 0:17:59.159
<v Speaker 1>take her to the bathroom? It was in reference it

0:17:59.280 --> 0:18:03.480
<v Speaker 1>was a bachelor party, and um it was a prostitute

0:18:03.520 --> 0:18:06.080
<v Speaker 1>or a stripper had come in and we were I

0:18:06.160 --> 0:18:09.920
<v Speaker 1>was encouraging him to take the stripper. Is this fantastic movie?

0:18:10.040 --> 0:18:13.880
<v Speaker 1>Very high class? I went from Shakespeare to why don't

0:18:13.880 --> 0:18:18.399
<v Speaker 1>you take her to the bathroom? Oh? My God, So

0:18:18.440 --> 0:18:23.640
<v Speaker 1>that was my very first SAG job. Yes, well you

0:18:23.640 --> 0:18:29.560
<v Speaker 1>you booked No Small Affair. Also Kevin Donaldson in Space Camp,

0:18:29.800 --> 0:18:35.960
<v Speaker 1>Luke Sinclair in Memphis Bell. Yes, do you remember that?

0:18:36.119 --> 0:18:38.760
<v Speaker 1>I just reminded you of something? By the way, I

0:18:38.840 --> 0:18:41.640
<v Speaker 1>can't remember. I can't remember either. At some point someone

0:18:41.680 --> 0:18:43.119
<v Speaker 1>told me they saw me in something and I was

0:18:43.160 --> 0:18:46.280
<v Speaker 1>convinced I'd never done it. Um, how are how are

0:18:46.320 --> 0:18:51.439
<v Speaker 1>you balancing school? And obviously I assume working on on

0:18:51.560 --> 0:18:55.080
<v Speaker 1>your craft and theater right and beginning to book some

0:18:55.160 --> 0:19:01.600
<v Speaker 1>of these roles in in in Hollywood in quotes, it was, Um,

0:19:01.640 --> 0:19:04.280
<v Speaker 1>it was a great time because I've never been so

0:19:04.400 --> 0:19:06.959
<v Speaker 1>busy in my life, so it's sort of trained me

0:19:07.080 --> 0:19:11.000
<v Speaker 1>to like multitask. And I was for a couple of

0:19:11.000 --> 0:19:14.200
<v Speaker 1>months there. I was just like or two years. Basically,

0:19:14.280 --> 0:19:17.320
<v Speaker 1>I was just killing myself either trying to get a

0:19:17.400 --> 0:19:20.960
<v Speaker 1>job and then doing my work. And you know, SC

0:19:21.320 --> 0:19:23.960
<v Speaker 1>is great because a lot of theater schools don't let

0:19:23.960 --> 0:19:26.960
<v Speaker 1>you work while you're going to them, and like Juilliard

0:19:27.080 --> 0:19:30.320
<v Speaker 1>and Jail or whatever, you know, but SC is very

0:19:30.400 --> 0:19:33.679
<v Speaker 1>encouraging of work, which sometimes they gave me credit for it,

0:19:33.720 --> 0:19:37.240
<v Speaker 1>which was awesome. They'd give me like production credit instead

0:19:37.280 --> 0:19:40.840
<v Speaker 1>of you know, sewing buttons on costumes for you know,

0:19:40.920 --> 0:19:43.560
<v Speaker 1>like they would give me. You know, I showed a

0:19:43.560 --> 0:19:47.080
<v Speaker 1>lot of television movie. Yeah yeah, I know, right, yeah, yeah,

0:19:47.119 --> 0:19:50.080
<v Speaker 1>I know. It's so funny. Running Crew was like you know,

0:19:50.119 --> 0:19:54.520
<v Speaker 1>doing lights for plays and stuff like that. Right. Did

0:19:54.920 --> 0:19:57.879
<v Speaker 1>you do multiple productions a year though at SC as

0:19:57.920 --> 0:20:01.320
<v Speaker 1>an actor. Yeah? That was another good thing about SC

0:20:01.480 --> 0:20:04.399
<v Speaker 1>is that they was it was it was. It was

0:20:04.480 --> 0:20:07.320
<v Speaker 1>just like constantly putting up a play somewhere, you know,

0:20:07.400 --> 0:20:10.880
<v Speaker 1>like a whether it's experimental play or a classic or

0:20:11.119 --> 0:20:14.199
<v Speaker 1>Elizabethan you know, like plays that you never hear of

0:20:14.320 --> 0:20:17.280
<v Speaker 1>or never produced, but you know, we're just doing them

0:20:17.320 --> 0:20:21.000
<v Speaker 1>and everyone is. You know. It wasn't like when I

0:20:21.040 --> 0:20:23.840
<v Speaker 1>was in college. I got the I think I got

0:20:23.920 --> 0:20:27.560
<v Speaker 1>one lead the entire four years in college. You know,

0:20:27.640 --> 0:20:30.199
<v Speaker 1>it's just like you're just sort of doing everything you

0:20:30.240 --> 0:20:33.560
<v Speaker 1>can and you're playing an eighty nine year old or

0:20:33.640 --> 0:20:36.760
<v Speaker 1>you're playing you know, an infanter, you know what I mean.

0:20:36.760 --> 0:20:40.119
<v Speaker 1>It's just sort of like crazy, just working hard every

0:20:40.160 --> 0:20:45.120
<v Speaker 1>weekend out late, breaking down sets, and you know, it's fantastic.

0:20:45.160 --> 0:20:48.640
<v Speaker 1>It was really kind of kind of a group. I'm

0:20:48.720 --> 0:20:51.680
<v Speaker 1>so happy I had that experience, you know, just sort

0:20:51.720 --> 0:20:55.760
<v Speaker 1>of push yourself as far as you could. And yeah,

0:20:56.240 --> 0:20:58.760
<v Speaker 1>it's funny how you look back and a lot of

0:20:58.760 --> 0:21:01.960
<v Speaker 1>those people aren't working in the business or but you

0:21:02.000 --> 0:21:04.639
<v Speaker 1>would never know, like you never know who's gonna make it,

0:21:04.720 --> 0:21:07.480
<v Speaker 1>or who's gonna who's going to be an actor, who's

0:21:07.480 --> 0:21:11.520
<v Speaker 1>gonna end up winning an Academy Award for you know, producing. Uh,

0:21:11.560 --> 0:21:16.280
<v Speaker 1>you know, it's crazy, it's crazy. It's a lot of fun. Yeah,

0:21:16.520 --> 0:21:19.639
<v Speaker 1>it just occurred to me. I think for myself it

0:21:19.720 --> 0:21:23.240
<v Speaker 1>was always about theater for me initially, like that's really

0:21:23.280 --> 0:21:26.920
<v Speaker 1>what and it sounds like for you it was really

0:21:26.960 --> 0:21:30.520
<v Speaker 1>about about the experience of being an actor. And like

0:21:30.560 --> 0:21:34.239
<v Speaker 1>you talked about having sort of this epiphany even at

0:21:34.240 --> 0:21:37.040
<v Speaker 1>age four watching the screen, being like that's what I

0:21:37.080 --> 0:21:40.239
<v Speaker 1>want to do. It's it's I don't know. It's just

0:21:40.359 --> 0:21:44.280
<v Speaker 1>kind of striking me right now. And the fact that

0:21:44.320 --> 0:21:47.520
<v Speaker 1>you started to have experiences in film and television, you know,

0:21:47.560 --> 0:21:49.840
<v Speaker 1>even while you were in school that you know, in

0:21:49.840 --> 0:21:52.959
<v Speaker 1>a large way becomes part of your training to right

0:21:53.080 --> 0:21:56.679
<v Speaker 1>and how important, how important that is. I've talked to

0:21:56.760 --> 0:21:59.399
<v Speaker 1>a lot of people on the podcast about about just

0:21:59.560 --> 0:22:04.560
<v Speaker 1>that like experience in front of a camera on a set,

0:22:04.600 --> 0:22:09.800
<v Speaker 1>how important that is, right, Yeah, I mean it's just

0:22:09.880 --> 0:22:14.800
<v Speaker 1>a there's no replacement, there's no class, there's no teacher,

0:22:14.880 --> 0:22:20.639
<v Speaker 1>there's nothing that can prepare you for the you know,

0:22:20.720 --> 0:22:24.879
<v Speaker 1>waiting around for hours and hours and hours and then

0:22:24.960 --> 0:22:28.440
<v Speaker 1>getting to go right before lunch and you've got your

0:22:28.600 --> 0:22:33.240
<v Speaker 1>two lines that you've you know, this pressure and everybody

0:22:33.280 --> 0:22:36.040
<v Speaker 1>wants to go to lunch and they're just fucking miserable.

0:22:36.040 --> 0:22:38.480
<v Speaker 1>They don't know who you are, and you're looking to

0:22:38.560 --> 0:22:40.600
<v Speaker 1>the director for some help and he doesn't give a

0:22:40.760 --> 0:22:46.240
<v Speaker 1>ship about about you and your motivations and actors coming

0:22:46.280 --> 0:22:54.200
<v Speaker 1>from and yeah, yeah, I know, it's just so funny.

0:22:54.320 --> 0:22:56.560
<v Speaker 1>It's it's yeah, just the attitude of the crew, which

0:22:56.600 --> 0:22:59.639
<v Speaker 1>is like, hey, man, I'm doing my job, you do yours,

0:22:59.680 --> 0:23:01.560
<v Speaker 1>Let's get out of here. You know, you're sort of

0:23:01.560 --> 0:23:04.000
<v Speaker 1>fun a response. And you know when you come from

0:23:04.000 --> 0:23:07.239
<v Speaker 1>theater school, I'm sure you had this experience where so

0:23:07.320 --> 0:23:10.800
<v Speaker 1>intense emotionally and get really close to everybody and the

0:23:10.880 --> 0:23:13.640
<v Speaker 1>director is really there to help you and discuss all

0:23:13.680 --> 0:23:17.440
<v Speaker 1>the ramifications and we need to do a fucking television job.

0:23:17.520 --> 0:23:20.879
<v Speaker 1>It's like nobody gives a ship. You're just like, collect

0:23:20.920 --> 0:23:23.960
<v Speaker 1>the paycheck, Pal, and let's get out of here. Yeah, no,

0:23:24.240 --> 0:23:27.600
<v Speaker 1>I hear you. It's it's a It is a crazy thing.

0:23:27.680 --> 0:23:31.479
<v Speaker 1>It's like that right before lunch or that like end

0:23:31.520 --> 0:23:34.679
<v Speaker 1>of the day, the end of the day, and you

0:23:34.720 --> 0:23:37.840
<v Speaker 1>know they're already on a triple overtime. You're at our

0:23:38.000 --> 0:23:42.239
<v Speaker 1>fifteen and now you're expected to deliver and you've been

0:23:42.240 --> 0:23:45.200
<v Speaker 1>sitting around for fifteen hours not doing it, thinking about

0:23:45.200 --> 0:23:48.199
<v Speaker 1>your line, and suddenly they're like, stand here, here's the

0:23:48.240 --> 0:23:52.399
<v Speaker 1>camera there and go and you're like, what's my line again?

0:23:52.640 --> 0:23:56.840
<v Speaker 1>Where where am i? Yea? Or how about how about

0:23:56.840 --> 0:23:59.639
<v Speaker 1>when um there's the whole process of like shooting the

0:23:59.720 --> 0:24:03.040
<v Speaker 1>mass stir and then shooting the wide and then coming

0:24:03.080 --> 0:24:05.640
<v Speaker 1>around on the all the other actors, and then finally

0:24:06.160 --> 0:24:09.359
<v Speaker 1>five hours later the cameras on you and you have

0:24:09.560 --> 0:24:12.679
<v Speaker 1>no idea now what the scene what You're just like

0:24:12.720 --> 0:24:16.760
<v Speaker 1>a robot and you're not feeling anything, and you're just like, oh,

0:24:16.920 --> 0:24:22.040
<v Speaker 1>it's so. You know. What's interesting to me is that, Okay,

0:24:22.119 --> 0:24:24.760
<v Speaker 1>I've been doing it for forty years, right, and I

0:24:25.040 --> 0:24:29.600
<v Speaker 1>still no matter. I just thought by after forty years

0:24:29.640 --> 0:24:32.760
<v Speaker 1>I would be more confident or more like relaxed, and

0:24:32.800 --> 0:24:35.840
<v Speaker 1>I know the deal, but there's always something. I'm sure

0:24:35.880 --> 0:24:38.800
<v Speaker 1>you find this too, Like, isn't there always something that

0:24:38.840 --> 0:24:41.480
<v Speaker 1>trips you up and that you're like, oh ship, I

0:24:41.480 --> 0:24:44.000
<v Speaker 1>didn't expect that. Oh Christ, I don't know what I'm doing?

0:24:44.200 --> 0:24:46.840
<v Speaker 1>Who am I? What am I saying? What? You know? Like?

0:24:47.359 --> 0:24:51.520
<v Speaker 1>I mean, it's amazing to me how you never get it?

0:24:51.720 --> 0:24:53.879
<v Speaker 1>You know what I mean? You never at least I

0:24:53.960 --> 0:24:58.320
<v Speaker 1>don't know. But Tate, I have, I have talked about this,

0:24:58.960 --> 0:25:02.480
<v Speaker 1>and I I apologize. I everybody as listening has heard

0:25:02.520 --> 0:25:04.840
<v Speaker 1>me say this, but you know, it's kind of like

0:25:04.880 --> 0:25:07.920
<v Speaker 1>I'm saying it in a slightly different way. It says though,

0:25:08.080 --> 0:25:10.439
<v Speaker 1>if you're a if you're a I don't know, a

0:25:10.480 --> 0:25:14.359
<v Speaker 1>stockbroker or an accountant or a lawyer or something, and

0:25:14.440 --> 0:25:18.879
<v Speaker 1>imagine every week going to a different office to do

0:25:18.960 --> 0:25:22.560
<v Speaker 1>your job, like you know how to crunch these numbers.

0:25:23.280 --> 0:25:26.040
<v Speaker 1>But as I have said, when you show up as

0:25:26.080 --> 0:25:30.040
<v Speaker 1>a guest star on a show, you literally don't know

0:25:30.400 --> 0:25:33.879
<v Speaker 1>where the bathroom is and you're confronted by a hundred

0:25:33.880 --> 0:25:36.679
<v Speaker 1>and twenty people who all know each other, and you

0:25:36.760 --> 0:25:40.240
<v Speaker 1>don't know anyone's name, and everyone's introducing themselves a mile

0:25:40.280 --> 0:25:44.199
<v Speaker 1>a minute, and you're like, I don't know, where's the

0:25:44.240 --> 0:25:46.320
<v Speaker 1>sound guy again? And then if I can find him

0:25:46.400 --> 0:25:49.720
<v Speaker 1>for my mike, what's his name? I forgot and it's

0:25:49.960 --> 0:25:53.639
<v Speaker 1>it's it's Yeah. It's all set up for failure in

0:25:53.760 --> 0:25:59.480
<v Speaker 1>that way, like there's a again every if it's a Friday,

0:25:59.520 --> 0:26:02.800
<v Speaker 1>everybody has been working for sixty hours Monday through Thursday,

0:26:02.920 --> 0:26:05.240
<v Speaker 1>and now you show up. No one's thinking like, oh,

0:26:05.359 --> 0:26:07.840
<v Speaker 1>let's let's give the new guy a break right there,

0:26:07.880 --> 0:26:11.159
<v Speaker 1>Like no, we're a well oiled machine. You get you

0:26:11.280 --> 0:26:14.080
<v Speaker 1>get in there and grind away and let's keep going. Now.

0:26:14.119 --> 0:26:17.800
<v Speaker 1>It's very right. It actually gives me makes me feel

0:26:17.800 --> 0:26:21.440
<v Speaker 1>good that you still feel it after four years. Yeah, yeah,

0:26:21.960 --> 0:26:24.880
<v Speaker 1>And you know, isn't it interesting, Like like I imagine

0:26:25.160 --> 0:26:27.360
<v Speaker 1>when you worked on the office, Now that is like

0:26:28.240 --> 0:26:30.840
<v Speaker 1>one of the great jobs of all time, right, I mean,

0:26:30.880 --> 0:26:34.119
<v Speaker 1>you're working with people who are at the top level.

0:26:34.480 --> 0:26:38.960
<v Speaker 1>The writing everything from from a viewer's point of view

0:26:39.040 --> 0:26:42.879
<v Speaker 1>is like the best television can be. And you know,

0:26:42.960 --> 0:26:47.040
<v Speaker 1>like I imagine for you because it's happened to me

0:26:47.200 --> 0:26:50.560
<v Speaker 1>a couple of times when I've been involved with amazing people.

0:26:51.080 --> 0:26:54.760
<v Speaker 1>You're sort of so used to just like getting through

0:26:54.800 --> 0:26:57.680
<v Speaker 1>and surviving and just like you know, dealing with kind

0:26:57.680 --> 0:27:01.280
<v Speaker 1>of crappy material that all of a sudden you're like,

0:27:01.359 --> 0:27:05.040
<v Speaker 1>oh wow, I can take my time. Oh wow, like

0:27:05.400 --> 0:27:08.400
<v Speaker 1>they do want me to put my two cents in

0:27:08.560 --> 0:27:11.520
<v Speaker 1>or like what I say matters, or I'm dealing with

0:27:11.600 --> 0:27:15.320
<v Speaker 1>really complicated material and and it's got you know, and

0:27:15.520 --> 0:27:19.480
<v Speaker 1>there's real humor here, Like I don't know, it's like

0:27:19.760 --> 0:27:22.240
<v Speaker 1>then you have to make the lead to greatness, you know,

0:27:22.359 --> 0:27:25.960
<v Speaker 1>Like it's interesting. I don't know, I'm be curious that

0:27:26.080 --> 0:27:29.720
<v Speaker 1>what your experience was getting that job and and then

0:27:29.760 --> 0:27:33.760
<v Speaker 1>working with such great, amazing people. Yeah, I mean I think, Look,

0:27:33.800 --> 0:27:37.680
<v Speaker 1>I think that the hugely unique thing that that of course,

0:27:37.680 --> 0:27:40.359
<v Speaker 1>it's very obvious when you think about it, is you know,

0:27:40.640 --> 0:27:44.119
<v Speaker 1>you've been in shows with varying degrees of being the

0:27:44.200 --> 0:27:47.480
<v Speaker 1>lead or not the lead. And you know, typically on

0:27:47.520 --> 0:27:49.960
<v Speaker 1>television shows, you have the number one on the call

0:27:50.040 --> 0:27:52.800
<v Speaker 1>sheet who's there for twelve to fourteen hours a day,

0:27:52.800 --> 0:27:54.560
<v Speaker 1>and everybody else comes in a day or two and

0:27:54.600 --> 0:27:57.240
<v Speaker 1>you do your scenes and and you move on. You know,

0:27:57.359 --> 0:28:00.320
<v Speaker 1>for us, we were all there all the time, so

0:28:00.400 --> 0:28:05.199
<v Speaker 1>that was a wholly unique situation where because the cameras

0:28:05.200 --> 0:28:09.440
<v Speaker 1>moving around, because we are all essentially you know, a

0:28:09.480 --> 0:28:12.760
<v Speaker 1>part of every single scene, whether it's a look or

0:28:13.080 --> 0:28:16.880
<v Speaker 1>you know anything, we were all there. So that time,

0:28:18.080 --> 0:28:22.119
<v Speaker 1>that consistent time of us all being together brought something

0:28:22.600 --> 0:28:26.520
<v Speaker 1>totally different. And I think that while we did, you know,

0:28:26.640 --> 0:28:29.240
<v Speaker 1>the joke was I don't know if this was totally

0:28:29.240 --> 0:28:32.640
<v Speaker 1>true by the end. You know, usually it takes an

0:28:32.640 --> 0:28:34.679
<v Speaker 1>hour for a lighting set up and then you you

0:28:34.680 --> 0:28:38.400
<v Speaker 1>shoot the scene in fifteen minutes. Right on our show,

0:28:38.520 --> 0:28:41.400
<v Speaker 1>typically it was the reverse, and and that that you're

0:28:41.600 --> 0:28:43.880
<v Speaker 1>very astute to point that out. I mean, you know,

0:28:43.880 --> 0:28:46.120
<v Speaker 1>the lighting was not a big deal. Let's just roll

0:28:46.200 --> 0:28:49.720
<v Speaker 1>the cameras and and and play, which I think give

0:28:50.000 --> 0:28:52.400
<v Speaker 1>you know, gave up. We were the ones who were

0:28:52.440 --> 0:28:55.160
<v Speaker 1>there a lot of confidence. But you know, I talked

0:28:55.200 --> 0:28:58.680
<v Speaker 1>to Amy Ryan on the podcast. You know, Oscar Nominee

0:28:58.880 --> 0:29:03.160
<v Speaker 1>could not be a more fantastic actress who talked about

0:29:03.160 --> 0:29:06.880
<v Speaker 1>walking into that room for the first time to be

0:29:06.960 --> 0:29:12.440
<v Speaker 1>on the show and feeling incredibly uncomfortable and nervous because

0:29:12.480 --> 0:29:16.440
<v Speaker 1>of that time we were all there. Everybody, everybody's ass

0:29:16.480 --> 0:29:20.520
<v Speaker 1>had warned up you know, a dent, accustomed dent in

0:29:20.600 --> 0:29:23.280
<v Speaker 1>the seats right like there was there was, there was

0:29:23.360 --> 0:29:25.560
<v Speaker 1>nothing fake. We had all just sort of been there

0:29:26.200 --> 0:29:28.840
<v Speaker 1>and so yeah, I think I think that made it

0:29:29.160 --> 0:29:31.480
<v Speaker 1>different for for people in another way. But yeah, the

0:29:32.360 --> 0:29:35.440
<v Speaker 1>freedom to play, and particularly the freedom to play with

0:29:35.520 --> 0:29:39.200
<v Speaker 1>great material, you know, was it was Yeah, that was

0:29:39.240 --> 0:29:44.640
<v Speaker 1>a gift for sure. Yeah, to be on a great team. Yeah,

0:29:44.880 --> 0:29:51.720
<v Speaker 1>your first leading role came alongside Sandra Bullock in Love

0:29:51.800 --> 0:29:56.160
<v Speaker 1>Potion Number nine. How did that come about? It was

0:29:56.200 --> 0:30:00.560
<v Speaker 1>that a continuation of momentum or was that, you know,

0:30:00.640 --> 0:30:04.480
<v Speaker 1>an audition situation that that just became that just went

0:30:04.560 --> 0:30:09.240
<v Speaker 1>really well. That was just an audition that went really well. Yeah.

0:30:09.320 --> 0:30:12.760
<v Speaker 1>I was in New York and uh, I just took

0:30:12.800 --> 0:30:15.160
<v Speaker 1>the train into. I was out in Long Island and

0:30:15.200 --> 0:30:18.080
<v Speaker 1>I took the train in and and it was really funny.

0:30:18.240 --> 0:30:22.200
<v Speaker 1>I did the audition and I left and I was

0:30:22.240 --> 0:30:24.320
<v Speaker 1>walking down I don't know if it was like twenty

0:30:24.400 --> 0:30:27.040
<v Speaker 1>three Street or something like that, and I had just

0:30:27.160 --> 0:30:32.120
<v Speaker 1>read that people who hear their name in every sound

0:30:32.840 --> 0:30:36.280
<v Speaker 1>it's a sign of narcissism, you know, like a serious narcissism.

0:30:36.800 --> 0:30:39.479
<v Speaker 1>You're like, you think everyone's talking to you or whatever,

0:30:39.880 --> 0:30:42.400
<v Speaker 1>or like a car horn and you hear your name.

0:30:42.920 --> 0:30:46.440
<v Speaker 1>So I kept hearing my name, but I kept what

0:30:46.560 --> 0:30:48.920
<v Speaker 1>I was like, don't be a narcissist. State come on,

0:30:48.960 --> 0:30:51.680
<v Speaker 1>she used to keep going and nobody's calling you, And

0:30:51.880 --> 0:30:55.760
<v Speaker 1>sure enough it was the director leaning down, like six

0:30:55.840 --> 0:31:01.360
<v Speaker 1>flights down going day. Finally looked up and he's like,

0:31:01.520 --> 0:31:04.760
<v Speaker 1>come on, come back up. So I went back up

0:31:04.800 --> 0:31:09.160
<v Speaker 1>and I redid the scene, and uh it was hilarious. Yeah, Dale, donor,

0:31:09.120 --> 0:31:12.239
<v Speaker 1>iill never forget, like, you know, thinking that, you know,

0:31:12.320 --> 0:31:14.920
<v Speaker 1>like I'm a narcissist that in fact, it was the

0:31:14.960 --> 0:31:17.840
<v Speaker 1>one time that I wasn't a narcissist. It was true.

0:31:20.040 --> 0:31:23.560
<v Speaker 1>What was that like? Having that first experiences as being

0:31:23.800 --> 0:31:29.040
<v Speaker 1>a leading man on film? It was great. I mean,

0:31:30.000 --> 0:31:32.080
<v Speaker 1>you know I like to work, right, I mean, you

0:31:32.120 --> 0:31:35.640
<v Speaker 1>and I both like to work, So being asked to

0:31:35.680 --> 0:31:39.160
<v Speaker 1>come to work every day it's fantastic, you know. I mean,

0:31:39.200 --> 0:31:42.240
<v Speaker 1>you just get these great relationships. And you know, Sandy

0:31:42.720 --> 0:31:46.600
<v Speaker 1>is like one of the great human beings to work with.

0:31:46.720 --> 0:31:50.880
<v Speaker 1>I mean, she is so generous and so she's so

0:31:50.960 --> 0:31:54.760
<v Speaker 1>concerned about the extra is about craft service. She's so

0:31:54.840 --> 0:31:59.080
<v Speaker 1>concerned about everyone else on the set, and I haven't

0:31:59.120 --> 0:32:02.200
<v Speaker 1>worked with her since, but I hear she's still the

0:32:02.240 --> 0:32:05.000
<v Speaker 1>same way that you know, she's you know, she fights

0:32:05.040 --> 0:32:07.720
<v Speaker 1>for you know, if if she sees somebody being mistreated

0:32:07.720 --> 0:32:11.360
<v Speaker 1>on the set, she stops everything, and you know, uh,

0:32:11.400 --> 0:32:15.000
<v Speaker 1>and that that's the way she was in nineteen eighty nine.

0:32:15.200 --> 0:32:18.200
<v Speaker 1>I think we shot that yeah, so but yeah, yeah,

0:32:18.200 --> 0:32:20.520
<v Speaker 1>it was. I mean, you know, none of us knew,

0:32:20.720 --> 0:32:22.280
<v Speaker 1>you know, that she was going to be such a

0:32:22.440 --> 0:32:25.440
<v Speaker 1>huge star. I mean she was great, and she was gorgeous.

0:32:26.120 --> 0:32:29.360
<v Speaker 1>She's so beautiful, and she acted like a woman who

0:32:29.800 --> 0:32:32.640
<v Speaker 1>never was told that she was beautiful her whole you

0:32:32.640 --> 0:32:34.600
<v Speaker 1>know what I mean. She she has this sort of

0:32:34.720 --> 0:32:38.160
<v Speaker 1>very humble way of like she doesn't act like a

0:32:38.200 --> 0:32:41.600
<v Speaker 1>gorgeous woman at all. She acts like a kind of

0:32:41.640 --> 0:32:44.560
<v Speaker 1>the ugly duckling best friend kind of you know role.

0:32:45.160 --> 0:32:49.120
<v Speaker 1>But I think that's why, you know, she's so appealing

0:32:49.120 --> 0:32:53.720
<v Speaker 1>as an actress. Yeah, no, she's fantastic. And my co

0:32:53.880 --> 0:32:56.040
<v Speaker 1>worker Oscar Nuoni has has had the opportunity to work

0:32:56.080 --> 0:32:59.040
<v Speaker 1>with her a couple of times and says equally nice,

0:32:59.560 --> 0:33:02.560
<v Speaker 1>uh and generous things about her. I do want to

0:33:02.600 --> 0:33:06.840
<v Speaker 1>go in a in a slightly different direction briefly, because

0:33:07.360 --> 0:33:10.160
<v Speaker 1>I have from the beginning of time, I never would

0:33:10.200 --> 0:33:15.440
<v Speaker 1>have thought this. From the beginning of moving to Los Angeles,

0:33:16.080 --> 0:33:20.560
<v Speaker 1>you're sort of told it's really, really difficult to be

0:33:21.040 --> 0:33:26.280
<v Speaker 1>an actor and to get roles. It's twenty five times

0:33:26.440 --> 0:33:33.200
<v Speaker 1>more difficult to be a voice actor in Hollywood because

0:33:33.520 --> 0:33:39.280
<v Speaker 1>you're not seeing and there's no exclusivity and casting voice

0:33:39.360 --> 0:33:42.240
<v Speaker 1>casting directors and directors of voice work. They want to

0:33:42.240 --> 0:33:44.520
<v Speaker 1>work with the same people who they know they can

0:33:44.560 --> 0:33:46.520
<v Speaker 1>get in in an hour and get their job done.

0:33:46.680 --> 0:33:53.160
<v Speaker 1>You began voicing quite a long time ago, now, Greek

0:33:54.000 --> 0:33:57.840
<v Speaker 1>demigod Hercules. You did the Disney film, you did the

0:33:57.880 --> 0:34:01.120
<v Speaker 1>animated You've done you know, my friend Cary Peyton, I

0:34:01.160 --> 0:34:05.120
<v Speaker 1>talked to him about his He's been doing teen Titans

0:34:05.160 --> 0:34:08.280
<v Speaker 1>in one way or another for I think over twenty

0:34:08.360 --> 0:34:12.560
<v Speaker 1>years now. How did how did you get into that?

0:34:12.800 --> 0:34:15.720
<v Speaker 1>And and and do you do you enjoy that work

0:34:15.719 --> 0:34:20.240
<v Speaker 1>of creating a character through just your voice? Uh? Yeah,

0:34:20.320 --> 0:34:24.280
<v Speaker 1>I mean, gosh, who doesn't. But um And that's where

0:34:24.320 --> 0:34:28.960
<v Speaker 1>the my theater training really came in Handy was just

0:34:29.040 --> 0:34:32.319
<v Speaker 1>relying on your voice. But you know, I got Hercules

0:34:33.120 --> 0:34:35.760
<v Speaker 1>just the old fashioned way. I'll never forget walking into

0:34:35.800 --> 0:34:39.960
<v Speaker 1>that because Aladdin had just been a huge hit, and

0:34:40.360 --> 0:34:44.360
<v Speaker 1>so suddenly everybody kind of thought, you know, voice acting

0:34:44.480 --> 0:34:47.000
<v Speaker 1>was like no, no stars did voice acting, and they

0:34:47.040 --> 0:34:49.640
<v Speaker 1>didn't do animation. They just let other actors do that.

0:34:50.040 --> 0:34:53.080
<v Speaker 1>But Robin Williams was the first guy to be like,

0:34:53.280 --> 0:34:55.719
<v Speaker 1>I'm star, I'm gonna do this amazing job. And it

0:34:56.360 --> 0:35:00.320
<v Speaker 1>like everybody in the world like suddenly wanted to to

0:35:00.360 --> 0:35:04.120
<v Speaker 1>do a voice actor for Disney. And I remember walking

0:35:04.239 --> 0:35:09.239
<v Speaker 1>into that audition and just being so bummed out because

0:35:09.239 --> 0:35:13.520
<v Speaker 1>in the waiting room was Key for Sutherland, Rob Low,

0:35:14.000 --> 0:35:17.799
<v Speaker 1>all these huge stars at the time, and I I,

0:35:17.920 --> 0:35:21.680
<v Speaker 1>you know, I hadn't I hadn't actually worked in the

0:35:22.160 --> 0:35:26.640
<v Speaker 1>year before I got Hercules, I earned fifteen thousand dollars. Uh.

0:35:26.680 --> 0:35:29.840
<v Speaker 1>For the whole year, I I could not get a job,

0:35:30.400 --> 0:35:32.439
<v Speaker 1>and I was just like, God, damn, I'm never gonna

0:35:32.480 --> 0:35:35.640
<v Speaker 1>get this, I mean, you know whatever. So I go

0:35:35.719 --> 0:35:39.120
<v Speaker 1>into this room. It's really funny, and Ron and John

0:35:39.120 --> 0:35:41.800
<v Speaker 1>are there, they're the two directors, and they're like, Okay,

0:35:41.840 --> 0:35:43.520
<v Speaker 1>thank you very much, and you know, you've got this

0:35:43.640 --> 0:35:45.520
<v Speaker 1>microphone in front of you, and they're sitting on a

0:35:45.560 --> 0:35:47.680
<v Speaker 1>couch and it's sort of like a regular audition except

0:35:47.719 --> 0:35:50.880
<v Speaker 1>for the microphone. And then they're like, anytime you're ready,

0:35:51.000 --> 0:35:54.759
<v Speaker 1>just go ahead. And then they just bowed down their

0:35:54.760 --> 0:35:57.719
<v Speaker 1>heads and closed their eyes as if, you know, they

0:35:57.719 --> 0:35:59.560
<v Speaker 1>were praying or something like that. Like you know, I

0:35:59.640 --> 0:36:02.920
<v Speaker 1>was like, what, I had no idea, Like they didn't

0:36:03.000 --> 0:36:04.759
<v Speaker 1>they didn't need to look at me at all, Like

0:36:05.080 --> 0:36:07.919
<v Speaker 1>it's funny. But so I was just like taking it back,

0:36:07.960 --> 0:36:10.400
<v Speaker 1>and I thought they were gonna like lead in prayer

0:36:10.560 --> 0:36:12.760
<v Speaker 1>something like that, you know, like it was like Disney

0:36:12.800 --> 0:36:16.920
<v Speaker 1>maybe it's a really Christian organization, you know. So I

0:36:16.960 --> 0:36:19.279
<v Speaker 1>waited and they sort of like we're you know, had

0:36:19.280 --> 0:36:21.560
<v Speaker 1>their heads down and eyes closed, and then they sort

0:36:21.560 --> 0:36:24.400
<v Speaker 1>of looked up and they're like anytime you're ready, and

0:36:24.440 --> 0:36:26.600
<v Speaker 1>I'm like, oh, I'm sorry, I'm sorry. Sorry. Yeah, so

0:36:27.040 --> 0:36:29.040
<v Speaker 1>that's how it started. And yeah, I mean that was

0:36:29.239 --> 0:36:32.719
<v Speaker 1>just a gift, that job that was just so much

0:36:32.719 --> 0:36:36.000
<v Speaker 1>fun and working with people who had you know, when

0:36:36.040 --> 0:36:39.640
<v Speaker 1>you worked with Disney Animation, you were working with animators

0:36:39.680 --> 0:36:42.600
<v Speaker 1>that had been doing their job for like thirty years,

0:36:42.719 --> 0:36:46.480
<v Speaker 1>you know, like when we're working on television shows, you know,

0:36:46.840 --> 0:36:49.080
<v Speaker 1>the guys just became a prop guy, you know, like

0:36:49.120 --> 0:36:51.279
<v Speaker 1>six months ago on his first show. This is is

0:36:51.360 --> 0:36:53.560
<v Speaker 1>you know what I mean. Everyone's very you know, they're

0:36:53.600 --> 0:36:56.600
<v Speaker 1>young and they're just getting into things, and but these

0:36:56.600 --> 0:36:59.440
<v Speaker 1>guys were like masters, and they had been doing it

0:36:59.520 --> 0:37:03.920
<v Speaker 1>for deck aids and uh, it was really um it

0:37:04.040 --> 0:37:07.440
<v Speaker 1>was an honor for sure. I knew then. I was like, wow,

0:37:07.520 --> 0:37:10.799
<v Speaker 1>this is really special, man, you know, this is this

0:37:10.880 --> 0:37:14.839
<v Speaker 1>is really cool. Did you know when you left the room.

0:37:15.480 --> 0:37:17.239
<v Speaker 1>Did you know when you left the room that you

0:37:17.280 --> 0:37:21.080
<v Speaker 1>had that you No, no, no, they just lifted their

0:37:21.080 --> 0:37:24.160
<v Speaker 1>heads and said thank you. Oh yeah yeah, They're like

0:37:24.280 --> 0:37:27.399
<v Speaker 1>thank you, Oh yeah, absolutely, yeah, yeah yeah. I mean

0:37:27.600 --> 0:37:31.560
<v Speaker 1>I don't know. I very rarely know, do you do

0:37:31.600 --> 0:37:34.080
<v Speaker 1>You have you had that experience a lot where you're like,

0:37:34.200 --> 0:37:40.520
<v Speaker 1>I got this yeah, yeah, no, And I'm being I'm

0:37:40.520 --> 0:37:44.840
<v Speaker 1>being I'm saying it. I'm saying it now. I have

0:37:44.920 --> 0:37:51.520
<v Speaker 1>been I have been wrong as well. But no, I know,

0:37:52.440 --> 0:37:57.400
<v Speaker 1>I know. Yeah, maybe part of it is, and certainly

0:37:57.440 --> 0:37:59.560
<v Speaker 1>you do comedy. We'll talk about that in a second.

0:37:59.560 --> 0:38:02.960
<v Speaker 1>But I think I've been so heavily, heavily in the

0:38:03.080 --> 0:38:05.520
<v Speaker 1>in the in the comedy world. I think that there's

0:38:05.640 --> 0:38:10.319
<v Speaker 1>more there's more sort of in the room feedback. Yeah,

0:38:10.360 --> 0:38:13.120
<v Speaker 1>but the laughter, yeah, the left yeah, and you can

0:38:13.200 --> 0:38:15.680
<v Speaker 1>you can just I don't know. I just I feel

0:38:15.680 --> 0:38:18.120
<v Speaker 1>like I can kind of feel it. I mean, it

0:38:18.120 --> 0:38:20.440
<v Speaker 1>doesn't always go my way, but when I leave, I

0:38:21.000 --> 0:38:27.399
<v Speaker 1>I oftentimes know, yeah, they're not interested in me, or

0:38:27.480 --> 0:38:30.319
<v Speaker 1>yeah I think I'm in the mix, or or this

0:38:30.440 --> 0:38:34.239
<v Speaker 1>is yeah, this is this is definitely know when they're

0:38:34.239 --> 0:38:38.360
<v Speaker 1>not interested. That is, you do it one time and

0:38:38.360 --> 0:38:41.320
<v Speaker 1>they're like, thank you for coming in in a bland

0:38:41.440 --> 0:38:44.680
<v Speaker 1>voice and you're like, yeah, you know what I get,

0:38:44.760 --> 0:38:47.880
<v Speaker 1>I get a lot is um, you're a very good actor.

0:38:48.320 --> 0:38:51.520
<v Speaker 1>Then I'm like, ah, I'm screwed, you know, because like

0:38:51.719 --> 0:38:54.560
<v Speaker 1>if they're if they're complimenting you as an actor, they're

0:38:54.600 --> 0:38:57.400
<v Speaker 1>just trying to make you feel better that you've definitely

0:38:57.440 --> 0:39:18.279
<v Speaker 1>not gotten this role. Right. Let me ask you this.

0:39:19.040 --> 0:39:21.960
<v Speaker 1>I haven't talked to anybody about this before, but I mean,

0:39:22.040 --> 0:39:27.560
<v Speaker 1>you've done such a diverse range of projects. When you

0:39:27.600 --> 0:39:32.080
<v Speaker 1>are given a script and you're not offered it, you

0:39:32.080 --> 0:39:36.359
<v Speaker 1>you you need to go in an audition and you know,

0:39:37.080 --> 0:39:41.640
<v Speaker 1>for one reason or another that you are not going

0:39:42.520 --> 0:39:49.680
<v Speaker 1>to to get it, not because not because you aren't

0:39:49.800 --> 0:39:53.680
<v Speaker 1>right for it. But does that happen, like I don't

0:39:53.719 --> 0:39:58.000
<v Speaker 1>even know exactly. Do you go in or do you

0:39:58.080 --> 0:40:02.440
<v Speaker 1>just say no, Yes, I go in because my agent,

0:40:02.560 --> 0:40:07.719
<v Speaker 1>David d says, don't turn down offers, don't turn down auditions,

0:40:08.560 --> 0:40:12.960
<v Speaker 1>and I fought against that for years. But I go

0:40:13.000 --> 0:40:17.680
<v Speaker 1>in anyway, because once I started directing, I realized you

0:40:17.719 --> 0:40:23.359
<v Speaker 1>should always go in because actors don't know necessarily what

0:40:23.400 --> 0:40:27.120
<v Speaker 1>they bring to something. And even though on the page

0:40:27.239 --> 0:40:31.879
<v Speaker 1>it's like totally not you. The director maybe looking for

0:40:31.960 --> 0:40:35.520
<v Speaker 1>something that isn't on the page, you know, he's like,

0:40:35.520 --> 0:40:37.399
<v Speaker 1>you know, yeah, I want to go to the opposite way.

0:40:37.520 --> 0:40:41.960
<v Speaker 1>So so always go in, Always put it, you know,

0:40:42.200 --> 0:40:46.120
<v Speaker 1>going for the audition. At least I do, even though

0:40:46.160 --> 0:40:49.080
<v Speaker 1>it's difficult to audition and a lot of work and

0:40:49.360 --> 0:40:51.640
<v Speaker 1>you know you're going to get a lot of rejection,

0:40:51.760 --> 0:40:56.000
<v Speaker 1>and you know, yeah, that's interesting. I think that's great

0:40:56.000 --> 0:40:58.680
<v Speaker 1>advice because you never know, you never know, you know,

0:40:58.760 --> 0:41:03.440
<v Speaker 1>you never know. Around this time you start doing some

0:41:04.520 --> 0:41:07.000
<v Speaker 1>guest star roles, we talked about how difficult it is

0:41:07.120 --> 0:41:11.800
<v Speaker 1>on on a few very very high profile shows, first

0:41:12.080 --> 0:41:17.480
<v Speaker 1>Ally McBeal with Calista Flockhart and then of course on Friends,

0:41:18.320 --> 0:41:22.399
<v Speaker 1>you appear in several episodes of season four. You're at

0:41:22.440 --> 0:41:26.839
<v Speaker 1>this point, Friends is a gigantic hit. I mean, this

0:41:26.920 --> 0:41:29.799
<v Speaker 1>is this is the biggest show on television, and you

0:41:29.840 --> 0:41:31.560
<v Speaker 1>have that opportunity to talk to me a little bit

0:41:31.600 --> 0:41:34.760
<v Speaker 1>about your process of of going in and being cast

0:41:35.520 --> 0:41:41.000
<v Speaker 1>on on Friends. Well, Friends was interesting because I I

0:41:41.000 --> 0:41:44.399
<v Speaker 1>had done a sitcom with two writers that had left

0:41:44.440 --> 0:41:49.719
<v Speaker 1>Friends and with John Cryer called Partners, which was a

0:41:49.719 --> 0:41:53.160
<v Speaker 1>lot of fun, but it got canned after one year.

0:41:53.200 --> 0:41:57.479
<v Speaker 1>But while while I was doing it, the writers were like,

0:41:58.120 --> 0:42:01.040
<v Speaker 1>do you know Jennifer Aniston? And I'm like, yeah, she's

0:42:01.040 --> 0:42:03.640
<v Speaker 1>on Friends. You know, yeah, yeah, I know her, Rachel,

0:42:04.160 --> 0:42:07.440
<v Speaker 1>And they're like, you should you she's single and you're single.

0:42:07.520 --> 0:42:10.480
<v Speaker 1>You guys should meet. So we went out on a

0:42:10.600 --> 0:42:12.040
<v Speaker 1>date and we hit it off and we ended up

0:42:12.120 --> 0:42:15.720
<v Speaker 1>dating for I don't know, gosh two or three years,

0:42:16.280 --> 0:42:19.319
<v Speaker 1>and um, you know. So I would go to the

0:42:19.320 --> 0:42:21.880
<v Speaker 1>Friends set all the time. Uh, you know, I was

0:42:22.080 --> 0:42:25.560
<v Speaker 1>there every taping and that was so much fun to

0:42:25.600 --> 0:42:28.640
<v Speaker 1>watch watch those guys go. I mean, they were like,

0:42:29.520 --> 0:42:32.480
<v Speaker 1>they were such an amazing team, and to be behind

0:42:32.520 --> 0:42:36.799
<v Speaker 1>the scenes and see them work, Uh, was just so

0:42:36.920 --> 0:42:39.560
<v Speaker 1>much fun. And I knew some of the directors, and

0:42:39.560 --> 0:42:41.480
<v Speaker 1>I knew the a d and it was just like

0:42:41.520 --> 0:42:44.239
<v Speaker 1>a family. It was so much fun. Every Friday we'd

0:42:44.239 --> 0:42:46.640
<v Speaker 1>go up there and I'd go and watch the taping

0:42:46.719 --> 0:42:50.120
<v Speaker 1>and it was a blast. So Jen and I are

0:42:50.280 --> 0:42:54.840
<v Speaker 1>are breaking up, and literally like two days after, nobody

0:42:54.880 --> 0:42:57.840
<v Speaker 1>knew that we were breaking up. Two days after the

0:42:58.719 --> 0:43:02.319
<v Speaker 1>breaking up to it's a process to break to break up,

0:43:02.400 --> 0:43:05.359
<v Speaker 1>you're going through. Well, we were living together, we were

0:43:05.360 --> 0:43:08.839
<v Speaker 1>living together, and I decided I was gonna move out,

0:43:09.160 --> 0:43:12.120
<v Speaker 1>So I moved out and I found a new place,

0:43:12.239 --> 0:43:14.640
<v Speaker 1>and you know, it was it was heartbreaking and awful

0:43:14.760 --> 0:43:17.719
<v Speaker 1>and miserable, but no one knew. They all thought we

0:43:17.719 --> 0:43:20.520
<v Speaker 1>were still living together and still dating, and but it

0:43:20.560 --> 0:43:24.919
<v Speaker 1>was sort of kept it close to the vest. And um,

0:43:25.080 --> 0:43:28.960
<v Speaker 1>the producers called me and they're like, you know, we

0:43:29.000 --> 0:43:31.600
<v Speaker 1>would love to have you on the show for like

0:43:31.640 --> 0:43:35.800
<v Speaker 1>a five episode arc. And I was like, oh god,

0:43:35.920 --> 0:43:40.640
<v Speaker 1>this is And then I thought, mistakenly, I thought, well,

0:43:40.680 --> 0:43:44.160
<v Speaker 1>maybe this will if we work together, maybe it'll sort

0:43:44.160 --> 0:43:47.080
<v Speaker 1>of ease the breakup, Like we'll still to get to

0:43:47.120 --> 0:43:50.160
<v Speaker 1>see each other and we'll, you know, maybe this would

0:43:50.160 --> 0:43:53.600
<v Speaker 1>be a good thing. To to work together, and I

0:43:53.640 --> 0:43:57.960
<v Speaker 1>was I was totally wrong. It was cool, It was

0:43:58.040 --> 0:44:00.440
<v Speaker 1>very it was very It was very difficult to uh

0:44:00.480 --> 0:44:03.520
<v Speaker 1>to work and be like, you know, in a comedic

0:44:03.640 --> 0:44:07.000
<v Speaker 1>scene with somebody who you're breaking up with. This you know,

0:44:07.400 --> 0:44:09.759
<v Speaker 1>it's pretty tough. But you know, at the end of it,

0:44:09.840 --> 0:44:13.160
<v Speaker 1>I realized, hey, I'm I'm a pro. You know. Once again,

0:44:13.239 --> 0:44:16.359
<v Speaker 1>my therapist really helped me get through that, and he's like, dude,

0:44:16.400 --> 0:44:19.080
<v Speaker 1>you're a pro if you can, if you can still

0:44:19.200 --> 0:44:22.359
<v Speaker 1>do your job with a woman who's you know, your

0:44:22.400 --> 0:44:26.759
<v Speaker 1>heart is breaking. So that's good that I was. I

0:44:26.800 --> 0:44:30.040
<v Speaker 1>did not specifically know the ins and outs of the

0:44:30.200 --> 0:44:34.520
<v Speaker 1>or the timing of that situation. That sounds really difficult.

0:44:35.080 --> 0:44:41.720
<v Speaker 1>That sounds really but yeah, it's funny. Most people are like, um,

0:44:41.840 --> 0:44:44.000
<v Speaker 1>I think that we met there, like if they know

0:44:44.080 --> 0:44:46.040
<v Speaker 1>that we're dated for a period of time, they think

0:44:46.080 --> 0:44:48.719
<v Speaker 1>that we met there, but in fact we we sort

0:44:48.719 --> 0:44:52.520
<v Speaker 1>of ended it there. Wow. Well, well that it must

0:44:52.520 --> 0:44:56.800
<v Speaker 1>have been easier for you, you you know, in a sense

0:44:56.880 --> 0:45:00.759
<v Speaker 1>working on this mega hit showed they you were sort

0:45:00.800 --> 0:45:04.560
<v Speaker 1>of familiar at least that part would be very difficult,

0:45:04.600 --> 0:45:06.719
<v Speaker 1>but you were sort of familiar with the surroundings and

0:45:07.080 --> 0:45:10.960
<v Speaker 1>knew everybody else sort of involved. I'm sure Jimmy Burrows

0:45:11.040 --> 0:45:14.160
<v Speaker 1>and and you know everyone else. Yeah. Yeah, And the

0:45:14.239 --> 0:45:16.520
<v Speaker 1>cast was so sweet to me. They were they were

0:45:16.600 --> 0:45:19.480
<v Speaker 1>so great because they kind of knew they found out

0:45:19.520 --> 0:45:21.920
<v Speaker 1>and they were awesome to me. I mean those guys,

0:45:22.120 --> 0:45:26.120
<v Speaker 1>every single one of them were incredibly supportive. Yeah for sure.

0:45:27.360 --> 0:45:32.759
<v Speaker 1>I Uh, I first became really familiar with you. I

0:45:32.760 --> 0:45:35.279
<v Speaker 1>don't think we met at this time, but I had

0:45:35.520 --> 0:45:38.640
<v Speaker 1>a young friend who had who had started the business,

0:45:38.680 --> 0:45:44.480
<v Speaker 1>Chris Carmack, who was on The o C. And you

0:45:44.640 --> 0:45:51.040
<v Speaker 1>play what you have described as TV's worst dad ever. Uh,

0:45:51.320 --> 0:45:55.680
<v Speaker 1>Jimmy Jimmy Jimmy Cooper on the o C. Give me

0:45:55.760 --> 0:46:03.040
<v Speaker 1>three words to describe Jimmy Cooper. Let's see, Uh, mildly corrupt.

0:46:03.160 --> 0:46:05.960
<v Speaker 1>I guess that's two, but okay, that's fine. That counts

0:46:06.000 --> 0:46:13.200
<v Speaker 1>is one negligent father and affable, like he's like one

0:46:13.239 --> 0:46:17.600
<v Speaker 1>of these kind of crazy characters who's like super nice guy,

0:46:18.560 --> 0:46:24.319
<v Speaker 1>great guy, but just was a negligent father and kind

0:46:24.320 --> 0:46:29.560
<v Speaker 1>of you know, didn't mind bilking his customers and being

0:46:29.719 --> 0:46:33.600
<v Speaker 1>sort of like a horribly corrupt financially because he was

0:46:33.640 --> 0:46:36.239
<v Speaker 1>a nice guy. He was like, you know, yeah, it's

0:46:36.280 --> 0:46:38.799
<v Speaker 1>it's a very interesting character to play, you know, it's

0:46:38.880 --> 0:46:41.759
<v Speaker 1>it's funny. And and the producers had no idea that

0:46:41.800 --> 0:46:44.080
<v Speaker 1>he was a terrible father. That was the interesting thing.

0:46:44.800 --> 0:46:49.680
<v Speaker 1>That's when I heard Stephanie Savage. They didn't. Yeah, yeah,

0:46:49.719 --> 0:46:53.239
<v Speaker 1>they didn't. And and years years later, there was an

0:46:53.360 --> 0:46:56.680
<v Speaker 1>article in like People magazine or US Weekly or something

0:46:56.760 --> 0:46:59.520
<v Speaker 1>like that, and it said the five worst fathers on

0:46:59.560 --> 0:47:02.960
<v Speaker 1>televisi and I was one of them. I was like

0:47:03.080 --> 0:47:05.759
<v Speaker 1>number two. And I find I sent it to them

0:47:05.800 --> 0:47:07.839
<v Speaker 1>and I'm like, do you guys see what you're what

0:47:07.880 --> 0:47:12.600
<v Speaker 1>I've been saying? And really, I think Jimmy's great. That's

0:47:13.000 --> 0:47:18.160
<v Speaker 1>crazy because he's affable. I guess that's why. Yeah, yeah,

0:47:18.200 --> 0:47:20.800
<v Speaker 1>because he's nice. He's a funny guy. He's a good guy.

0:47:21.000 --> 0:47:24.719
<v Speaker 1>He's not a bad dad. I guess they didn't. They

0:47:24.760 --> 0:47:27.720
<v Speaker 1>didn't have kids at the time, so they didn't realize

0:47:27.760 --> 0:47:32.640
<v Speaker 1>that being holy negligent and saying to your daughter, I've

0:47:32.680 --> 0:47:35.400
<v Speaker 1>got to go to Hawaii to be a better father.

0:47:36.880 --> 0:47:43.920
<v Speaker 1>It's one of the most ridiculous lines in television history. Uh.

0:47:44.520 --> 0:47:48.680
<v Speaker 1>I think about that often now. I don't think I've

0:47:48.680 --> 0:47:51.520
<v Speaker 1>ever said anything like this on the show. But I do.

0:47:52.719 --> 0:47:58.799
<v Speaker 1>I do have a running joke about shows where there

0:47:58.800 --> 0:48:03.680
<v Speaker 1>are adult characters with children. That's sometimes for four or

0:48:03.680 --> 0:48:08.160
<v Speaker 1>five episodes at the time, the children mysteriously disappear. They don't,

0:48:09.160 --> 0:48:12.920
<v Speaker 1>you're not, you're not. We're not focused on the children.

0:48:13.440 --> 0:48:16.440
<v Speaker 1>And so I guess they thinking is we just forgot

0:48:16.480 --> 0:48:18.799
<v Speaker 1>they had them for a little while. But if you

0:48:18.880 --> 0:48:22.960
<v Speaker 1>have kids, you know, it's an omnipresent part. Whether you're

0:48:23.040 --> 0:48:26.720
<v Speaker 1>negligent or not, they're still in your on your mind

0:48:26.960 --> 0:48:31.080
<v Speaker 1>or you got to pick them up from softball or something. Right,

0:48:32.719 --> 0:48:35.759
<v Speaker 1>it's like twenty four hour thing. Like if you have

0:48:35.800 --> 0:48:39.160
<v Speaker 1>a kid, it's just like forget. Your whole life's changed everything,

0:48:39.520 --> 0:48:42.600
<v Speaker 1>like no matter what, And uh, you're right. I know.

0:48:42.640 --> 0:48:45.440
<v Speaker 1>It's funny how these characters on television could just be

0:48:45.520 --> 0:48:48.720
<v Speaker 1>like they just appear. And I figured they just appear

0:48:48.760 --> 0:48:51.600
<v Speaker 1>every once in a while, the kids because they're under

0:48:51.640 --> 0:48:54.880
<v Speaker 1>eighteen and they can't take ours, you know or not.

0:48:56.280 --> 0:48:59.240
<v Speaker 1>The kids I know, and the tutors and the stuff.

0:48:59.760 --> 0:49:03.360
<v Speaker 1>So how is this for you? You know, you you

0:49:03.480 --> 0:49:07.640
<v Speaker 1>talked earlier about it being a good time for you

0:49:08.600 --> 0:49:11.239
<v Speaker 1>when you started at USC because they were looking at

0:49:11.280 --> 0:49:14.080
<v Speaker 1>a lot of coming of age stories and young actors.

0:49:14.800 --> 0:49:19.520
<v Speaker 1>So now suddenly you're a dad, and by the way,

0:49:19.760 --> 0:49:23.120
<v Speaker 1>you're a very young father to the age of these children.

0:49:23.200 --> 0:49:26.600
<v Speaker 1>Let's be clear about that at this time. But how

0:49:26.760 --> 0:49:30.520
<v Speaker 1>is that, how is that shift for you, um to

0:49:30.719 --> 0:49:35.640
<v Speaker 1>now become become the grown up? Well, I mean, now

0:49:36.040 --> 0:49:39.359
<v Speaker 1>I've been a grown up for a long time, I know,

0:49:40.200 --> 0:49:43.160
<v Speaker 1>you know, I mean beginning to get those roles as

0:49:43.200 --> 0:49:45.360
<v Speaker 1>like now you're the Now you're the dad, You're no

0:49:45.480 --> 0:49:50.319
<v Speaker 1>longer the young Now now I'm the grandfather. Well so

0:49:51.160 --> 0:49:54.960
<v Speaker 1>you know, I'm like, I'm my grandfather now. Yeah, I

0:49:54.960 --> 0:49:58.839
<v Speaker 1>mean it's uh, you know, I had a kid very

0:49:58.920 --> 0:50:02.040
<v Speaker 1>late in life. I sort of wish I could go

0:50:02.120 --> 0:50:05.239
<v Speaker 1>back to some of those early father roles and sort

0:50:05.280 --> 0:50:07.239
<v Speaker 1>of like change the moment. I didn't have kids when

0:50:07.239 --> 0:50:10.720
<v Speaker 1>I was doing doing the o C. But my sister

0:50:10.840 --> 0:50:13.000
<v Speaker 1>had three kids and she'd call me up every week

0:50:13.040 --> 0:50:15.799
<v Speaker 1>and just say, what are you doing? You're the worst dad.

0:50:16.000 --> 0:50:18.439
<v Speaker 1>I'm like, you know, you got to talk to those people.

0:50:19.320 --> 0:50:21.799
<v Speaker 1>Uh yeah, yeah, I mean I think I would like to.

0:50:23.320 --> 0:50:25.879
<v Speaker 1>I'd like to revisit some of those roles for sure,

0:50:26.000 --> 0:50:28.640
<v Speaker 1>because you know, as you know, it's sort of like

0:50:29.440 --> 0:50:33.080
<v Speaker 1>everything changes when you're when you have kids. It's uh, yeah,

0:50:33.120 --> 0:50:36.759
<v Speaker 1>that's great. The o C. It's where you started directing.

0:50:37.080 --> 0:50:40.400
<v Speaker 1>What was this? Was this something you always knew that

0:50:40.440 --> 0:50:45.080
<v Speaker 1>you wanted to do or or did the opportunity just

0:50:45.160 --> 0:50:48.279
<v Speaker 1>present itself once you were on that show? Because I

0:50:48.320 --> 0:50:51.960
<v Speaker 1>and by the way, so full disclosure, I started directing

0:50:52.120 --> 0:50:55.439
<v Speaker 1>on the Office as well. That was my directoral debut.

0:50:55.520 --> 0:50:57.799
<v Speaker 1>So I understand once you're in and you get to

0:50:57.840 --> 0:51:00.400
<v Speaker 1>know producers and they sort of see you have an

0:51:00.400 --> 0:51:02.839
<v Speaker 1>eye for something, It's it's much easier than to just,

0:51:02.960 --> 0:51:04.920
<v Speaker 1>you know, go to the network and try to get

0:51:04.920 --> 0:51:06.480
<v Speaker 1>them to hire you want to show You're not on.

0:51:06.840 --> 0:51:09.759
<v Speaker 1>But was that something you always wanted to do or

0:51:09.960 --> 0:51:12.399
<v Speaker 1>did the opportunity present itself and you thought it might

0:51:12.400 --> 0:51:16.319
<v Speaker 1>be fun? Yeah? No, I was. I was always the

0:51:16.400 --> 0:51:19.440
<v Speaker 1>kind of actor that hung out by the monitors and

0:51:20.080 --> 0:51:24.360
<v Speaker 1>got to know directors and the crew, and you know,

0:51:24.400 --> 0:51:26.600
<v Speaker 1>I don't I don't hang out at my trailer. I'm

0:51:26.600 --> 0:51:29.120
<v Speaker 1>not I'm not a I don't really have much of

0:51:29.160 --> 0:51:31.239
<v Speaker 1>an other life when I'm at work. I'm just sort

0:51:31.239 --> 0:51:34.080
<v Speaker 1>of there and you know, like hanging out of craft service,

0:51:34.239 --> 0:51:37.799
<v Speaker 1>you know, like chatting people up. Um, so I was

0:51:38.400 --> 0:51:41.520
<v Speaker 1>very interested in and the part, you know, Jimmy Cooper

0:51:41.640 --> 0:51:43.479
<v Speaker 1>was kind of a small part, and I didn't really

0:51:43.520 --> 0:51:46.000
<v Speaker 1>work enough for for for my taste, you know, one

0:51:46.080 --> 0:51:48.879
<v Speaker 1>or two days a week, and I was like, God,

0:51:48.920 --> 0:51:50.960
<v Speaker 1>this is boring. I want to do something. So I

0:51:50.960 --> 0:51:55.160
<v Speaker 1>started shadowing and I was shocked. You know, it's so

0:51:55.320 --> 0:51:59.520
<v Speaker 1>much fun. I mean, I was so excited. I was

0:51:59.560 --> 0:52:03.080
<v Speaker 1>there for first rehearsal, all the the all the location

0:52:03.160 --> 0:52:07.200
<v Speaker 1>scouts and the casting meetings and the tone meeting. I

0:52:07.239 --> 0:52:10.200
<v Speaker 1>don't remember the tone meeting like your first tone meeting.

0:52:10.239 --> 0:52:13.720
<v Speaker 1>I mean, that is the most exciting meeting I've ever

0:52:13.800 --> 0:52:16.239
<v Speaker 1>been to. I mean, for for those of you who

0:52:16.280 --> 0:52:19.680
<v Speaker 1>don't know what a tone meeting is, it's when the

0:52:19.760 --> 0:52:23.520
<v Speaker 1>producer and writer of the episode sits down with the

0:52:23.560 --> 0:52:26.480
<v Speaker 1>director and goes seen by scene like, Hey, this is

0:52:26.520 --> 0:52:28.400
<v Speaker 1>what we're doing with this character, this is what we

0:52:28.440 --> 0:52:31.400
<v Speaker 1>need here. Uh, this character is heading in this direction,

0:52:31.480 --> 0:52:33.920
<v Speaker 1>that character is heading in the other direction. And you

0:52:34.000 --> 0:52:37.360
<v Speaker 1>get the inside scoop and they're like, okay, so this actor,

0:52:37.960 --> 0:52:40.000
<v Speaker 1>he's a real pain in the ass and he's not

0:52:40.000 --> 0:52:42.239
<v Speaker 1>going to know his line. So you have to do

0:52:42.280 --> 0:52:44.080
<v Speaker 1>this or whatever. You know, you get, you get your

0:52:44.120 --> 0:52:46.520
<v Speaker 1>and you're shocked. It's sort of like listening to your

0:52:46.520 --> 0:52:50.360
<v Speaker 1>parents talk about your siblings, you know, listening to the

0:52:50.360 --> 0:52:52.640
<v Speaker 1>door of their bedroom. You know, you're just like, I

0:52:52.680 --> 0:52:56.640
<v Speaker 1>can't believe they know that. You know, Jimmy smokes pot.

0:52:56.719 --> 0:52:59.840
<v Speaker 1>You know, we know he smokes pot. You know, it's like, oh, Ship.

0:53:01.120 --> 0:53:06.320
<v Speaker 1>So I just was fully enamored. And I'll always love

0:53:07.160 --> 0:53:09.520
<v Speaker 1>of the people of the OC for giving me a

0:53:09.560 --> 0:53:13.560
<v Speaker 1>shot at directing, because it was so exciting and it

0:53:13.600 --> 0:53:15.839
<v Speaker 1>made me sort of fall in love with acting all

0:53:15.880 --> 0:53:18.520
<v Speaker 1>over again. I don't know if you had that experience.

0:53:18.560 --> 0:53:20.879
<v Speaker 1>Did you have that experience where you know, you're sort

0:53:20.880 --> 0:53:23.160
<v Speaker 1>of like acting schmack ing and then you direct and

0:53:23.200 --> 0:53:27.480
<v Speaker 1>you're like, oh my god, actors they're so important. I mean,

0:53:27.520 --> 0:53:29.920
<v Speaker 1>you have a great actor, you can just take it easy.

0:53:29.920 --> 0:53:31.680
<v Speaker 1>As a director, you're just like I just put the

0:53:31.680 --> 0:53:34.640
<v Speaker 1>camera on or from you know, and when you don't

0:53:34.680 --> 0:53:37.400
<v Speaker 1>have a good actor, you're like, oh, Ship, what are

0:53:37.440 --> 0:53:39.600
<v Speaker 1>we gonna do here? You know, you gotta like a

0:53:39.680 --> 0:53:42.880
<v Speaker 1>massage it with the camera, and you know, I don't know,

0:53:42.960 --> 0:53:46.799
<v Speaker 1>I just fell in love with acting again. How what

0:53:46.880 --> 0:53:52.360
<v Speaker 1>was your experience. Yeah, I mean again, I think I

0:53:52.400 --> 0:53:55.040
<v Speaker 1>mean you're one. You're so right about the tone meeting,

0:53:55.120 --> 0:53:57.799
<v Speaker 1>and you become aware of what everyone is aware of

0:53:57.840 --> 0:53:59.760
<v Speaker 1>that maybe you think you're the only one that sees

0:53:59.800 --> 0:54:02.880
<v Speaker 1>it it or that it's you know, something that's not spoken.

0:54:03.640 --> 0:54:07.799
<v Speaker 1>You know, for us on the office specifically, you know

0:54:08.719 --> 0:54:12.839
<v Speaker 1>there was because, as I discussed earlier, we were all

0:54:13.000 --> 0:54:17.239
<v Speaker 1>there all the time, and because I like you, it

0:54:17.280 --> 0:54:20.719
<v Speaker 1>appears enjoy the process. It's not like I went and

0:54:20.800 --> 0:54:22.920
<v Speaker 1>hid in my trailer like I was watching if I

0:54:22.960 --> 0:54:25.840
<v Speaker 1>wasn't on set for a brief period of time. And

0:54:25.920 --> 0:54:29.360
<v Speaker 1>so there was there were no real surprises in that regard.

0:54:30.160 --> 0:54:33.400
<v Speaker 1>There were some there were some tips to achieve maybe

0:54:33.480 --> 0:54:36.000
<v Speaker 1>certain things that that we would need to get for

0:54:36.040 --> 0:54:40.279
<v Speaker 1>that specific episode. You know, we had the DP and

0:54:40.440 --> 0:54:44.719
<v Speaker 1>one other camera person who had been there forever, and

0:54:44.840 --> 0:54:49.120
<v Speaker 1>that felt like I was going to be heavily covered.

0:54:49.719 --> 0:54:52.080
<v Speaker 1>I think for me, the thing on the Office that

0:54:52.160 --> 0:54:55.640
<v Speaker 1>was the most fun and required the most time was

0:54:56.320 --> 0:55:00.920
<v Speaker 1>every single scene there was a discussion about how to

0:55:01.040 --> 0:55:05.440
<v Speaker 1>what degree the camera was present or not, and the

0:55:05.480 --> 0:55:09.480
<v Speaker 1>awareness of the camera for all of the characters there,

0:55:10.280 --> 0:55:13.400
<v Speaker 1>and that I loved. I mean being a part of

0:55:13.440 --> 0:55:18.320
<v Speaker 1>those conversations, and specifically that episode that that I directed.

0:55:19.360 --> 0:55:23.719
<v Speaker 1>There was there was a potential of flirtation with Jim

0:55:23.880 --> 0:55:27.720
<v Speaker 1>with another character and to what degree do we pass

0:55:27.840 --> 0:55:30.840
<v Speaker 1>the line of people getting mad at us because of

0:55:30.920 --> 0:55:33.640
<v Speaker 1>Jim and Pam and anyway that kind of stuff was

0:55:33.640 --> 0:55:37.520
<v Speaker 1>was was really fun for me and and being able to, yeah,

0:55:37.600 --> 0:55:39.640
<v Speaker 1>to work with other actors. I mean, I had done

0:55:39.719 --> 0:55:43.640
<v Speaker 1>quite a bit of directing but in theater before that.

0:55:44.239 --> 0:55:46.920
<v Speaker 1>But I loved it. And it sounds like you as

0:55:46.960 --> 0:55:50.280
<v Speaker 1>you said, you really did. You went on to direct,

0:55:50.600 --> 0:55:54.760
<v Speaker 1>I mean a ton of shows, a few Niptuck, Weeds,

0:55:55.360 --> 0:55:59.759
<v Speaker 1>Gossip Girl, Glee. Do you you said it made you

0:55:59.760 --> 0:56:02.560
<v Speaker 1>fall in love with acting again? Do you do you

0:56:02.680 --> 0:56:09.120
<v Speaker 1>now prefer acting or or directing? Well? I kind of

0:56:09.160 --> 0:56:13.200
<v Speaker 1>love them both, you know, I mean, directing is uh.

0:56:13.280 --> 0:56:15.200
<v Speaker 1>I mean, you know, I just hope and pray I

0:56:15.239 --> 0:56:18.480
<v Speaker 1>get to do both for the rest of my days.

0:56:18.600 --> 0:56:22.400
<v Speaker 1>But you know, directing is so much more work, but

0:56:22.560 --> 0:56:24.600
<v Speaker 1>you get to use so much more of your brain.

0:56:24.800 --> 0:56:26.719
<v Speaker 1>I mean, to go in an editing room, I mean

0:56:26.840 --> 0:56:30.759
<v Speaker 1>that is so exciting and fun and just being on

0:56:30.920 --> 0:56:33.920
<v Speaker 1>set and I don't know, I mean, I just I

0:56:34.040 --> 0:56:38.239
<v Speaker 1>just love it. And but also acting is great. I

0:56:38.280 --> 0:56:43.520
<v Speaker 1>mean you're generally paid better, and um, you have such

0:56:43.560 --> 0:56:46.040
<v Speaker 1>an easier life. I mean really all you have to

0:56:46.080 --> 0:56:49.080
<v Speaker 1>do is memorize your lines and uh, you know, have

0:56:49.200 --> 0:56:51.040
<v Speaker 1>a couple of ideas about what you want to do,

0:56:51.160 --> 0:56:55.120
<v Speaker 1>and it's definitely an easier life. You know, you're there

0:56:55.160 --> 0:56:56.960
<v Speaker 1>for a couple of hours and you take off, and

0:56:57.440 --> 0:57:00.600
<v Speaker 1>everybody treats you so nicely when you're an actor. Have

0:57:00.680 --> 0:57:02.640
<v Speaker 1>you noticed that? But then you know, like when you're

0:57:02.640 --> 0:57:06.279
<v Speaker 1>a guest director, like they care less about you, just

0:57:06.320 --> 0:57:28.479
<v Speaker 1>like you're on your own. Man. It's hilarious, It's really funny.

0:57:30.840 --> 0:57:38.720
<v Speaker 1>I loved Damages. I was a huge fan of Damages. Obviously,

0:57:38.840 --> 0:57:43.080
<v Speaker 1>Glenn Close, someone who I had worked with very peripherally

0:57:43.360 --> 0:57:47.920
<v Speaker 1>many years before, who I think is just a genius. Jakavonik. Oh, yeah,

0:57:48.920 --> 0:57:52.680
<v Speaker 1>I just I loved him so much. And I understand

0:57:53.160 --> 0:57:56.680
<v Speaker 1>you're working on that. You directed some episodes there. You

0:57:56.800 --> 0:58:02.280
<v Speaker 1>learned a lot about directing from Glenn Close, I understand.

0:58:02.600 --> 0:58:05.800
<v Speaker 1>Tell me a little bit about that. Well, yeah, that's

0:58:05.800 --> 0:58:11.200
<v Speaker 1>a classic classic story. Well, basically, I was directing my

0:58:11.240 --> 0:58:13.439
<v Speaker 1>first episode and there were a couple of days where

0:58:13.440 --> 0:58:15.560
<v Speaker 1>Glenn wasn't on the set. So the first three days

0:58:15.680 --> 0:58:18.160
<v Speaker 1>or first two days were without Glenn and things were

0:58:18.200 --> 0:58:21.240
<v Speaker 1>going well, but everyone was sort of like, you know,

0:58:21.320 --> 0:58:25.280
<v Speaker 1>Glenn does not She's brilliant and she's the smartest person

0:58:25.400 --> 0:58:28.920
<v Speaker 1>on the set, including the directors and producers. She's just

0:58:29.000 --> 0:58:32.360
<v Speaker 1>like has a nose in an instinct that is just

0:58:33.160 --> 0:58:39.600
<v Speaker 1>powerful and she really tracks everything. Um So, everyone was like,

0:58:40.760 --> 0:58:43.640
<v Speaker 1>how it's gonna be with Glenn when Glenn gets on

0:58:43.680 --> 0:58:45.440
<v Speaker 1>the set, Let's see how you do. You know, you're

0:58:45.480 --> 0:58:48.479
<v Speaker 1>doing fine now, but trust me, when number one gets

0:58:48.520 --> 0:58:52.640
<v Speaker 1>on the set. Um So, I was you know, it

0:58:52.760 --> 0:58:55.240
<v Speaker 1>was my first episode, so you know, when you're when

0:58:55.240 --> 0:58:58.600
<v Speaker 1>you're just starting out, you've got so many ideas you've

0:58:58.600 --> 0:59:02.000
<v Speaker 1>been thinking about it. So Junior so ampt, you know.

0:59:02.120 --> 0:59:06.000
<v Speaker 1>And and so we sit down for rehearsal and it's

0:59:06.040 --> 0:59:08.840
<v Speaker 1>in this nail salon kind of scene with with Rose,

0:59:09.360 --> 0:59:11.840
<v Speaker 1>and I am just so excited and I'm like, so

0:59:11.880 --> 0:59:14.040
<v Speaker 1>we're gonna put the camera here, and so you're gonna

0:59:14.080 --> 0:59:16.400
<v Speaker 1>be sitting there and Rose is gonna be there, and

0:59:16.400 --> 0:59:17.840
<v Speaker 1>and we're gonna put the camera here and then we're

0:59:17.840 --> 0:59:20.200
<v Speaker 1>gonna move it and then down, and she goes shut up,

0:59:20.960 --> 0:59:25.000
<v Speaker 1>shut up, shut up, in front of the whole set,

0:59:25.080 --> 0:59:28.920
<v Speaker 1>and she just lays into me, and I am like

0:59:29.760 --> 0:59:34.720
<v Speaker 1>completely humiliated and like shut down, and I slink back

0:59:34.720 --> 0:59:37.880
<v Speaker 1>to my director's chair in front of the monitors and

0:59:37.880 --> 0:59:43.640
<v Speaker 1>and I'm like action, you know, I'm totally petrified I've

0:59:44.160 --> 0:59:48.800
<v Speaker 1>ruined everything. And then she proceeds to give me a

0:59:48.880 --> 0:59:53.240
<v Speaker 1>performance that is nothing I even thought of. And I

0:59:53.240 --> 0:59:56.760
<v Speaker 1>didn't need to explain anything to her or move the

0:59:56.840 --> 0:59:59.160
<v Speaker 1>camera or do anything. I just need to turn the

0:59:59.200 --> 1:00:02.240
<v Speaker 1>camera on and off. And like, she gave me more

1:00:02.320 --> 1:00:06.520
<v Speaker 1>than I could have possibly imagined. And so we we

1:00:06.640 --> 1:00:09.680
<v Speaker 1>finished out the day, and you know, my feelings were hurt,

1:00:09.760 --> 1:00:13.120
<v Speaker 1>but you know, I suck it up. And she came

1:00:13.120 --> 1:00:16.280
<v Speaker 1>to me a couple of days later and she's like, listen,

1:00:16.360 --> 1:00:19.800
<v Speaker 1>I'm sorry I yelled at you in front of everybody.

1:00:19.840 --> 1:00:23.400
<v Speaker 1>But I just feel like when actors direct, they talk

1:00:23.520 --> 1:00:27.080
<v Speaker 1>too much, and you have to trust your actors. You know,

1:00:27.160 --> 1:00:30.960
<v Speaker 1>they don't trust they're actors as much, and and that

1:00:31.120 --> 1:00:34.600
<v Speaker 1>is such an important lesson to learn, especially if you're

1:00:34.640 --> 1:00:36.840
<v Speaker 1>an actor. I mean, I don't know if you found that,

1:00:36.960 --> 1:00:39.880
<v Speaker 1>but because you want to do it, for them, you

1:00:39.920 --> 1:00:42.320
<v Speaker 1>know what I mean, and you have to let them

1:00:42.520 --> 1:00:45.520
<v Speaker 1>do it. And uh, it's it's a you know, you

1:00:45.600 --> 1:00:48.480
<v Speaker 1>know how you would do the line, but you have

1:00:48.560 --> 1:00:51.640
<v Speaker 1>to let them. Only they can say the line. And

1:00:52.000 --> 1:00:53.919
<v Speaker 1>what they're gonna bring is going to be so much

1:00:53.960 --> 1:00:57.720
<v Speaker 1>better than what you're imagining in your in your you know,

1:00:57.880 --> 1:01:00.440
<v Speaker 1>on your desk four days ago, know what I mean?

1:01:00.880 --> 1:01:04.520
<v Speaker 1>That's right, well, it is and it has to be

1:01:05.320 --> 1:01:09.560
<v Speaker 1>to be truly great. A collaborative process, I mean that

1:01:09.560 --> 1:01:12.480
<v Speaker 1>that's what that's what elevates it, right, I mean, you

1:01:12.560 --> 1:01:19.520
<v Speaker 1>have geniuses who are visionaries and do things completely their

1:01:19.560 --> 1:01:23.600
<v Speaker 1>own unique way, right, So like the Cohen Brothers or

1:01:23.680 --> 1:01:26.720
<v Speaker 1>something right where where they are creating a world and

1:01:26.760 --> 1:01:31.320
<v Speaker 1>a way of talking that exists wholly and uniquely to them. However,

1:01:32.600 --> 1:01:37.920
<v Speaker 1>they still use the actors to collaborate with them by

1:01:37.960 --> 1:01:42.520
<v Speaker 1>creating characters that have to be richer than what they

1:01:42.960 --> 1:01:46.880
<v Speaker 1>had envisioned, even them. And I think that that's what's

1:01:47.080 --> 1:01:51.840
<v Speaker 1>so important, that that that collaboration happens, and that directors

1:01:51.880 --> 1:01:56.400
<v Speaker 1>allow that collaboration to happen, because if all the actors

1:01:56.400 --> 1:02:00.000
<v Speaker 1>are doing, are is just fulfilling a vision that's already

1:02:00.240 --> 1:02:03.840
<v Speaker 1>pre pre pre created. I literally just made that up.

1:02:04.000 --> 1:02:09.520
<v Speaker 1>God dang, I'm pre created, precreated. Then what are we? Yeah,

1:02:09.640 --> 1:02:12.360
<v Speaker 1>then then you might you literally might as well hire

1:02:12.360 --> 1:02:14.720
<v Speaker 1>a monkey like you know, like that, you know, but

1:02:14.800 --> 1:02:17.919
<v Speaker 1>if you're going to allow the actor there to bring

1:02:17.960 --> 1:02:21.160
<v Speaker 1>their own unique set of skills, I think that's really smart.

1:02:21.200 --> 1:02:25.600
<v Speaker 1>Though I'm sorry you got humiliated. That sounds I don't

1:02:25.640 --> 1:02:30.480
<v Speaker 1>know her, that sounds terrifying. Yeah, but she's you know,

1:02:30.640 --> 1:02:33.919
<v Speaker 1>she's great. I mean, listen, she turned around and and

1:02:34.080 --> 1:02:37.640
<v Speaker 1>got me my first She went to John Landgraf, who's

1:02:37.680 --> 1:02:41.480
<v Speaker 1>the head of f X, and just said, hey, take

1:02:41.560 --> 1:02:44.720
<v Speaker 1>Donovan is uh you know a great director. You should

1:02:44.800 --> 1:02:47.080
<v Speaker 1>hire him. And he went on to, you know, hire

1:02:47.120 --> 1:02:50.600
<v Speaker 1>me for the first jobs that I got outside of

1:02:50.760 --> 1:02:53.720
<v Speaker 1>shows that I was acting in. So I owe a

1:02:53.760 --> 1:02:56.720
<v Speaker 1>lot to her, for sure. But you know, when you're

1:02:56.760 --> 1:03:00.440
<v Speaker 1>talking about the collaboration and the pre creation and that

1:03:00.520 --> 1:03:05.480
<v Speaker 1>directors have, I um, that's why you know a lot

1:03:05.560 --> 1:03:07.720
<v Speaker 1>of people are like, aren't you scared that? You know,

1:03:07.800 --> 1:03:10.439
<v Speaker 1>people are just gonna be able to sample actors and

1:03:10.960 --> 1:03:13.960
<v Speaker 1>be able to like a, I will be able to

1:03:14.000 --> 1:03:18.200
<v Speaker 1>make a film that's better than any director. And uh,

1:03:18.240 --> 1:03:21.160
<v Speaker 1>you know, I always think that I'm not really worried

1:03:21.160 --> 1:03:25.720
<v Speaker 1>about that because because it's got to take a bunch

1:03:25.720 --> 1:03:30.560
<v Speaker 1>of different you know, like a a director and an actor,

1:03:30.920 --> 1:03:34.720
<v Speaker 1>sort of scuffling over a scene is sort of the

1:03:34.760 --> 1:03:37.680
<v Speaker 1>best thing possible, you know what I mean, Like when

1:03:37.720 --> 1:03:39.680
<v Speaker 1>you get to oppose, like I don't see the scene

1:03:39.720 --> 1:03:41.640
<v Speaker 1>that way, I see it this way, and and the

1:03:41.720 --> 1:03:44.520
<v Speaker 1>way they come together and the way it ends up shooting,

1:03:45.120 --> 1:03:48.600
<v Speaker 1>the compromise that has made is always the best thing.

1:03:48.840 --> 1:03:51.640
<v Speaker 1>And uh yeah, I think it's it's going to be

1:03:51.680 --> 1:03:56.640
<v Speaker 1>around a long time. Actors and directors and prop guys

1:03:56.800 --> 1:03:59.040
<v Speaker 1>or whatever, you know, all of us sort of coming

1:03:59.040 --> 1:04:03.920
<v Speaker 1>together and trying to figure this out. Yeah, I uh,

1:04:04.120 --> 1:04:06.480
<v Speaker 1>I can't let you go before we talk about three

1:04:06.560 --> 1:04:10.400
<v Speaker 1>of the largest, most well important, at least from an

1:04:10.400 --> 1:04:14.600
<v Speaker 1>outsider's perspective, credits that you've been involved with three Academy

1:04:14.600 --> 1:04:18.840
<v Speaker 1>Award nominated films for Best Picture, Goodnight and Good Luck,

1:04:19.320 --> 1:04:23.640
<v Speaker 1>Manchester by the Sea, and of course Argo that that

1:04:23.760 --> 1:04:27.320
<v Speaker 1>ends up winning. Let's talk about Argo a little bit.

1:04:27.520 --> 1:04:31.560
<v Speaker 1>To start, Bob Anders you played, How did you get

1:04:31.600 --> 1:04:36.440
<v Speaker 1>involved with Argo? Well, that was going back to sc

1:04:37.320 --> 1:04:42.520
<v Speaker 1>Grant Heslov. You know Grant totally found that story and

1:04:44.480 --> 1:04:48.680
<v Speaker 1>champion that whole movie from you know, step one. He

1:04:48.800 --> 1:04:51.120
<v Speaker 1>was like, that would make a great movie. He found

1:04:51.160 --> 1:04:54.840
<v Speaker 1>a great writer. George was originally gonna star and direct

1:04:54.840 --> 1:04:57.960
<v Speaker 1>in it, and that changed so it looked like it

1:04:58.040 --> 1:05:00.520
<v Speaker 1>was dead in the water. And then he found Ben

1:05:01.200 --> 1:05:04.720
<v Speaker 1>and he just um the whole time. He was like,

1:05:04.800 --> 1:05:06.440
<v Speaker 1>I gotta role for you. I gotta role for you,

1:05:06.480 --> 1:05:08.640
<v Speaker 1>I gotta roll for you. So it was very sweet

1:05:08.680 --> 1:05:11.760
<v Speaker 1>and and Ben was not into it. He didn't want

1:05:11.760 --> 1:05:15.040
<v Speaker 1>me for the role, but but Grant really fought for me.

1:05:15.280 --> 1:05:20.440
<v Speaker 1>And uh, I always always be grateful for for that

1:05:20.480 --> 1:05:25.840
<v Speaker 1>experience because that was working on Argo was like crazy, great,

1:05:26.720 --> 1:05:30.440
<v Speaker 1>great experience. Um, I don't even know where to start.

1:05:30.680 --> 1:05:33.880
<v Speaker 1>One thing that Ben did was he stuck all the

1:05:33.920 --> 1:05:37.080
<v Speaker 1>house guests, you know, the hostages, in the house that

1:05:37.120 --> 1:05:39.440
<v Speaker 1>we shot in, and we had to live there with

1:05:39.480 --> 1:05:43.960
<v Speaker 1>no contact, no email, no phone, nothing, no television, no

1:05:44.160 --> 1:05:49.240
<v Speaker 1>radio for seven full days. And I was like, oh,

1:05:49.320 --> 1:05:53.960
<v Speaker 1>come on, man, I'm too old for this, like method bullshit,

1:05:54.080 --> 1:05:56.200
<v Speaker 1>you know, like, let me do my own thing. I

1:05:56.240 --> 1:05:58.360
<v Speaker 1>don't want to live with these guys. I don't know.

1:05:58.400 --> 1:06:00.680
<v Speaker 1>You know, a bunch of young actors who were going

1:06:00.720 --> 1:06:03.480
<v Speaker 1>to be in character seven. You know, I was just

1:06:03.520 --> 1:06:07.560
<v Speaker 1>like jeez, So I was dragged into that house and

1:06:07.600 --> 1:06:10.920
<v Speaker 1>you had to drag me and everybody else out of

1:06:10.960 --> 1:06:15.560
<v Speaker 1>it because it was we We had the most amazing time.

1:06:15.600 --> 1:06:19.600
<v Speaker 1>It was an incredible experience that just spend a week

1:06:19.760 --> 1:06:23.240
<v Speaker 1>in that world and we weren't allowed to leave the house.

1:06:23.840 --> 1:06:27.240
<v Speaker 1>It was we just bonded so much. We just we

1:06:27.400 --> 1:06:30.640
<v Speaker 1>just loved each other and had the best times and

1:06:31.240 --> 1:06:33.560
<v Speaker 1>drank and it sort of did a lot of what

1:06:33.640 --> 1:06:36.480
<v Speaker 1>the hostages did, but they did a lot of partying.

1:06:36.560 --> 1:06:39.600
<v Speaker 1>I know that we shot a bunch of scenes where

1:06:39.760 --> 1:06:42.800
<v Speaker 1>the hostages were partying and playing cards and getting drunk,

1:06:43.360 --> 1:06:45.560
<v Speaker 1>uh and celebrating, but they had to cut them all

1:06:45.560 --> 1:06:48.520
<v Speaker 1>out because, um, it made us look like a bunch

1:06:48.560 --> 1:06:51.080
<v Speaker 1>of assholes, because like here's the CIA and the whole

1:06:51.080 --> 1:06:53.840
<v Speaker 1>government in Canada and the whole world is trying to

1:06:53.880 --> 1:06:56.080
<v Speaker 1>get them out and we're just like partying and having

1:06:56.080 --> 1:06:59.680
<v Speaker 1>a great time. Um. But you know, working with Ben

1:07:01.120 --> 1:07:03.720
<v Speaker 1>it was really interesting. He was the star of it, right,

1:07:03.760 --> 1:07:07.720
<v Speaker 1>so he sort of directed us by his acting. We

1:07:07.880 --> 1:07:11.640
<v Speaker 1>do a scene with him and he was just business

1:07:12.000 --> 1:07:14.680
<v Speaker 1>and there was no there was no flurry. There were

1:07:14.680 --> 1:07:18.880
<v Speaker 1>no curly cues, There was no showmanship in his performance.

1:07:18.960 --> 1:07:22.080
<v Speaker 1>He was just giving us the facts and the lines,

1:07:23.000 --> 1:07:26.439
<v Speaker 1>and so we took that in and just gave him

1:07:26.480 --> 1:07:29.680
<v Speaker 1>our lines back, you know. And he did a lot

1:07:29.720 --> 1:07:34.240
<v Speaker 1>of non verbal directing, which I really I really admired.

1:07:34.440 --> 1:07:37.880
<v Speaker 1>I really um looking back on it and and seeing

1:07:37.920 --> 1:07:42.160
<v Speaker 1>the film that he made, so impressed by how little

1:07:42.240 --> 1:07:46.320
<v Speaker 1>he sort of directed us, and yet how how much

1:07:46.360 --> 1:07:51.240
<v Speaker 1>he directed us just subconsciously at any rate. Uh yeah,

1:07:51.280 --> 1:07:53.880
<v Speaker 1>it was amazing experience. We went to Turkey, we shot

1:07:53.920 --> 1:07:57.400
<v Speaker 1>in Turkey, and that was an amazing go to Istanbul

1:07:57.680 --> 1:08:02.320
<v Speaker 1>was just a incredible town, an incredible city. So that, yeah,

1:08:02.480 --> 1:08:04.560
<v Speaker 1>I mean, and then it won the Academy Award. We

1:08:04.640 --> 1:08:09.200
<v Speaker 1>couldn't believe it. We could not believe it. You weren't.

1:08:09.320 --> 1:08:12.880
<v Speaker 1>You weren't fell Obama gave it to us. No, not

1:08:13.000 --> 1:08:17.679
<v Speaker 1>at all, no way. Lincoln was like, you know, Argo

1:08:17.760 --> 1:08:19.880
<v Speaker 1>didn't get great reviews. It was like, yeah, that's a

1:08:19.880 --> 1:08:22.640
<v Speaker 1>good movie, you know, patting itself on the back, Hollywood

1:08:22.640 --> 1:08:25.439
<v Speaker 1>patting itself on the back. But you know, everyone was

1:08:25.479 --> 1:08:29.519
<v Speaker 1>in love with Lincoln. It was just like, uh yeah,

1:08:29.640 --> 1:08:34.960
<v Speaker 1>Lincoln was just like everyone's gonna win everything. And yeah

1:08:34.520 --> 1:08:40.240
<v Speaker 1>it was argo. Yeah crazy, that's so, that's so great

1:08:41.160 --> 1:08:44.160
<v Speaker 1>and and and and to have my my best my

1:08:44.200 --> 1:08:47.960
<v Speaker 1>best friend, I mean for I mean, I can't tell

1:08:47.960 --> 1:08:50.920
<v Speaker 1>you we were roommates for years and years and years.

1:08:51.640 --> 1:08:56.920
<v Speaker 1>To have him win an Academy award, to see him

1:08:57.080 --> 1:09:01.760
<v Speaker 1>up there, I can't tell you how in credible a sensation.

1:09:01.840 --> 1:09:04.719
<v Speaker 1>It is, like, I know what that guy has gone through,

1:09:05.280 --> 1:09:09.479
<v Speaker 1>and he came from nothing, from nowhere. It's just hard

1:09:09.560 --> 1:09:13.960
<v Speaker 1>work and smarts and just two And he's such a

1:09:14.000 --> 1:09:17.439
<v Speaker 1>good guy. Grant has love. He's such a kind and

1:09:17.479 --> 1:09:20.640
<v Speaker 1>considerate guy. You know, like we all think, oh, Hollywood's

1:09:20.680 --> 1:09:23.120
<v Speaker 1>filled with, you know, the worst people in the world,

1:09:23.160 --> 1:09:25.760
<v Speaker 1>and that's what you have to be to succeed. And

1:09:25.840 --> 1:09:29.680
<v Speaker 1>like Grant Heslov is the the example that that is

1:09:30.000 --> 1:09:33.800
<v Speaker 1>so not true. You can be an amazing guy, uh,

1:09:34.000 --> 1:09:38.120
<v Speaker 1>super kind, super generous and be on top of the hill.

1:09:38.680 --> 1:09:42.839
<v Speaker 1>Oh it was awesome. I love that. Uh. You recently

1:09:42.840 --> 1:09:47.920
<v Speaker 1>wrap production on a new series set in Hawaii, You

1:09:48.560 --> 1:09:51.360
<v Speaker 1>lucky dog. You I know it was fun. Tell us

1:09:51.360 --> 1:09:53.680
<v Speaker 1>a little bit about that. Oh, it's a it's a

1:09:53.920 --> 1:09:58.599
<v Speaker 1>crazy fun little Um. I'm so curious how it's going

1:09:58.680 --> 1:10:01.519
<v Speaker 1>to come out because it's it's it's all over the

1:10:01.560 --> 1:10:03.640
<v Speaker 1>place in terms of the script. I mean, it was

1:10:03.640 --> 1:10:05.360
<v Speaker 1>a lot of fun to make. You know, you can't

1:10:05.760 --> 1:10:08.720
<v Speaker 1>you can't turn down a gig in Hawaii, you know

1:10:08.720 --> 1:10:15.200
<v Speaker 1>what I mean. So it should be fun. But but

1:10:15.240 --> 1:10:19.320
<v Speaker 1>I also finished, um, I think it's gonna be equally

1:10:19.360 --> 1:10:22.400
<v Speaker 1>as good as Manchester by the Sea or some of

1:10:22.400 --> 1:10:26.400
<v Speaker 1>the other movies that Alexander Paine's new movies starring m

1:10:26.960 --> 1:10:30.599
<v Speaker 1>Paul Giamatti. I just have a tiny role in it.

1:10:30.640 --> 1:10:33.599
<v Speaker 1>I only I only work, I only really have one scene.

1:10:34.200 --> 1:10:38.560
<v Speaker 1>But oh my god, Paul Giamatti. It's called The Holdovers,

1:10:39.160 --> 1:10:44.320
<v Speaker 1>and Paul Giamatti in this script, he is he is

1:10:44.400 --> 1:10:48.000
<v Speaker 1>so good. I've been acting for forty years and I've

1:10:48.040 --> 1:10:51.400
<v Speaker 1>never did done what I did with Paul Giamatti. I'm

1:10:51.400 --> 1:10:52.920
<v Speaker 1>in the scene with him and he's he has a

1:10:52.960 --> 1:10:55.679
<v Speaker 1>sort of long speech, and I have the line after

1:10:55.760 --> 1:10:59.400
<v Speaker 1>long speech, and I just got so caught up as

1:10:59.439 --> 1:11:02.760
<v Speaker 1>an audience. Remember watching Paul Giamatti, I was just like

1:11:04.160 --> 1:11:07.400
<v Speaker 1>captured by his performance that I completely forgotten. I'm I've

1:11:07.400 --> 1:11:10.599
<v Speaker 1>forgotten my lines before, but I was I wasn't even

1:11:10.600 --> 1:11:13.160
<v Speaker 1>in the room. I was just like, I was just

1:11:13.200 --> 1:11:16.439
<v Speaker 1>like a fan, just thinking, God, Paul Giamatti is the

1:11:16.439 --> 1:11:19.960
<v Speaker 1>greatest actor. And they were like cut They're like, I'm like,

1:11:20.000 --> 1:11:22.320
<v Speaker 1>oh God, sorry, guys, sorry, I know, I don't know.

1:11:22.479 --> 1:11:26.000
<v Speaker 1>I was just like so captured by his performance that

1:11:26.040 --> 1:11:28.519
<v Speaker 1>I completely forgot that I had to say something to it.

1:11:29.360 --> 1:11:31.479
<v Speaker 1>I can't wait to see that. It makes me very

1:11:31.520 --> 1:11:35.240
<v Speaker 1>excited to see that I was nder pain man. He

1:11:35.360 --> 1:11:37.640
<v Speaker 1>is I would I would have done craft service for

1:11:37.720 --> 1:11:41.519
<v Speaker 1>Alexander Pain. I mean he is. He is an amazing director.

1:11:41.600 --> 1:11:43.280
<v Speaker 1>I don't know if you you're familiar, but you know

1:11:43.280 --> 1:11:49.040
<v Speaker 1>he did. Uh of course. Yeah, he's so good. Tate,

1:11:49.160 --> 1:11:51.799
<v Speaker 1>thank you so much for coming to talk to me today.

1:11:52.080 --> 1:11:58.000
<v Speaker 1>I have long admired your work. The scope, the scale,

1:11:58.200 --> 1:12:04.280
<v Speaker 1>the diversity. Uh is so impressive. I appreciate you coming

1:12:04.320 --> 1:12:07.000
<v Speaker 1>to talk to me. And yeah, at some point we'll

1:12:07.160 --> 1:12:09.919
<v Speaker 1>we'll go get we'll go get a beer or a coffee.

1:12:10.160 --> 1:12:12.040
<v Speaker 1>That would be awesome. I would love to That would

1:12:12.040 --> 1:12:14.360
<v Speaker 1>be so great. And thanks for having me on man.

1:12:14.439 --> 1:12:16.920
<v Speaker 1>I really I'm a huge fan of yours too. I

1:12:17.000 --> 1:12:21.000
<v Speaker 1>just you're just fantastic, and uh, yeah, I look for

1:12:21.360 --> 1:12:23.799
<v Speaker 1>it would be great. If we get a beer after

1:12:24.040 --> 1:12:26.640
<v Speaker 1>after working together, that's right, Let's do that would be

1:12:26.680 --> 1:12:43.759
<v Speaker 1>the ultimate. Let's do that deal. Thanks Tate Man, Tate,

1:12:44.160 --> 1:12:47.760
<v Speaker 1>thank you so much for chatting with me today. I'm

1:12:47.880 --> 1:12:50.840
<v Speaker 1>you know what, I'm gonna go watch Hercules tonight with

1:12:50.880 --> 1:12:55.559
<v Speaker 1>my kids. Just in your honor, listeners, We're gonna see

1:12:55.560 --> 1:12:58.679
<v Speaker 1>you next week for another episode of Off the Beat.

1:12:59.120 --> 1:13:03.160
<v Speaker 1>I'll have our guest, You'll have another laugh. I mean, really,

1:13:03.240 --> 1:13:05.960
<v Speaker 1>what more can we ask for? Make sure to check

1:13:06.000 --> 1:13:09.400
<v Speaker 1>out Off the Beat on Instagram and leave us a

1:13:09.479 --> 1:13:14.000
<v Speaker 1>review on Apple Podcasts in the meantime, and I will

1:13:14.040 --> 1:13:23.600
<v Speaker 1>catch you next week. Off the Beat is hosted an

1:13:23.640 --> 1:13:28.879
<v Speaker 1>executive produced by me Brian Baumgartner, alongside our executive producer Langley.

1:13:29.200 --> 1:13:33.400
<v Speaker 1>Our producers are Diego Tapia, Liz Hayes, Hannah Harris, and

1:13:33.439 --> 1:13:37.800
<v Speaker 1>Emily Carr. Our talent producer is Ryan Papa Zachary, and

1:13:37.880 --> 1:13:42.000
<v Speaker 1>our intern is Sammy Cats. Our theme song Bubble and

1:13:42.080 --> 1:13:46.280
<v Speaker 1>Squeak performed by my great friend Creed Breton, and the

1:13:46.320 --> 1:14:01.679
<v Speaker 1>episode was mixed by Seth olandscape Uno