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Speaker 1: What's up? Motherfucker's Hi? How are you hi? Friends? How's

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Speaker 1: it going? Donald and I just played tennis? We did.

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Speaker 1: I'm hurting right now, are you sure? Yeah? I've been

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Speaker 1: where I'm on this real hard workout kick. You know

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Speaker 1: we lost weight. By the way, you look good. I

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Speaker 1: gotta get skinnier. I gotta get down a little bit more,

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Speaker 1: I know, But I want I want you to know

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Speaker 1: that I see that you're looking good. Good work. I'm

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Speaker 1: putting the work in. Like if I miss peloton, I'm

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Speaker 1: going to the I go all right, So look, I

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Speaker 1: go to this gym unbreakable performance. I gotta shout him

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Speaker 1: out because I've been going there for so long and

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Speaker 1: they have an outdoor facility right now that's really dope.

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Speaker 1: And I've been, you know, putting the work in, lifting weights.

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Speaker 1: You know, they're you know, like I said, they're really safe.

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Speaker 1: I've been boxing and stuff. You know. I can't stay

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Speaker 1: at home and motivate myself enough to work out every day. Yeah,

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Speaker 1: so the peloton is great. Cody. I love you, bro,

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Speaker 1: Thank you so much. Yet I don't know that Cody

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Speaker 1: listens yet, even if he done, even if he doesn't,

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Speaker 1: I love you, Bro. Thank you so much. Like for real, man,

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Speaker 1: Cody's gonna when it's all said and done, these Peloton

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Speaker 1: instructors are gonna be like Peloton famous man. That's real talk.

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Speaker 1: I really want to have it. I want to hang

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Speaker 1: out with Cody one day. That'd be great. I appreciate him.

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Speaker 1: I appreciate him, and I appreciate unbreakable performance. Thank you

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Speaker 1: guys for it. Thanks for helping me, you know, start

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Speaker 1: this journey again. I joke about it and I say,

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Speaker 1: you know, in my next comeback, after this comeback, I'll

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Speaker 1: get really ripped. Well, you look good and I know

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Speaker 1: that it's hard, and I'm at it. I'm working at

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Speaker 1: it too, and I gotta say that. So Donald is

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Speaker 1: that person. Maybe you listeners have a friend who cannot

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Speaker 1: play tennis for years and then come back and be

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Speaker 1: doing like trick shots behind his head, and everyone else

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Speaker 1: that's been taking lessons the whole time is like, oh Jesus,

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Speaker 1: you played really well today. Man, you're the most consistent

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Speaker 1: out of everyone. Want I want MVP. According to Chris

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Speaker 1: our teacher, Yeah, definitely, Chris crab shout out. Definitely were

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Speaker 1: MVP today. You won a lot of your games. I'm

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Speaker 1: just in my head. You know I have a a

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Speaker 1: sports tick. Is that? Is that what you call it? No,

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Speaker 1: I'm what you call it when you I have a

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Speaker 1: mind thing with my forehand. You saw like I was

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Speaker 1: running around my forehend to get to my backhand because

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Speaker 1: I'm just like in a fun my head about my forehand.

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Speaker 1: It's fucked up, but so I run around it. And bizarrely,

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Speaker 1: most people have more trouble with your backhand. My backhands consistent.

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Speaker 1: You need to work on your forehand. But I know, bro,

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Speaker 1: I know, but I'm telling you that I get into

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Speaker 1: a groove with it. You sound like country clubs country

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Speaker 1: clubs snobs. You need to focus on your forehead. But

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Speaker 1: I thought the fans would appreciate. I thought the fans

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Speaker 1: would appreciate that I'm talking about sports for a second.

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Speaker 1: I h you know, I just there's times where I

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Speaker 1: can hit it fine. I'm just in my head about it.

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Speaker 1: Blah blah blah. You gotta you just gotta work on

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Speaker 1: your forehand. You work on your forehand. You're golden, dude.

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Speaker 1: I know I'm gonna get good. That was fun. I

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Speaker 1: love tennis. Um, I gotta high. I gotta start off

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Speaker 1: the show. Just by telling everyone to watch the Bill,

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Speaker 1: the Eilish documentary. It's on Apple and it was amazing.

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Speaker 1: I haven't seen it. It's incredible. I don't want anything

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Speaker 1: about Billy Eilish other than you know her hit songs

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Speaker 1: and that she won all those Grammys. This documentarian follows her. R. J.

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Speaker 1: Cutler's his name. He did. He's a famous documentarian, and

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Speaker 1: he followed her for a year, the Key year where

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Speaker 1: she like, there's footage of them recording in her brothers

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Speaker 1: Phineas's bedroom all the way through to them winning all

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Speaker 1: the Grammys. And I have a question, but let me

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Speaker 1: just tell you that, you know some documentaries you feel like, oh,

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Speaker 1: this is just a fucking pr bullshit. She really gave

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Speaker 1: the whole family, gave this documentarian such access and and

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Speaker 1: it just is really special. I love documentaries and I

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Speaker 1: love music documentaries, and I'm telling you all to watch this.

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Speaker 1: And what an incredible family she has. Her parents are incredible,

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Speaker 1: her brothers incredible. I just I've been thinking about it

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Speaker 1: all day. It's one of those so I highly recommend it.

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Speaker 1: How did they know she was gonna blow up like that? Though? Like,

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Speaker 1: wouldn't they like? How would they bet this is the

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Speaker 1: crazy thing. How do you document something like that before

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Speaker 1: you know what's going to be? I think no, because

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Speaker 1: I'll answer that because there was an album before that

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Speaker 1: was getting her insane traction, not the one that not

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Speaker 1: the one that made her a global name and one

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Speaker 1: one hundred grammys, but before she was becoming like everywhere,

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Speaker 1: and the kids, you know, young kids were just downloading

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Speaker 1: or streaming her song incessantly. She had a lot of

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Speaker 1: her Instagram followers were climbing like this, and so they

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Speaker 1: obviously knew something was cooking. So and you know, and

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Speaker 1: you see her, you see her. She's doing small venues,

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Speaker 1: but they're selling out. And then but she's literally the

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Speaker 1: whole album is made on a laptop and a piano

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Speaker 1: mic in her brother's fucking tiny bedroom. She's talented also,

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Speaker 1: but he's you know, he's he won producer. He won

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Speaker 1: Producer of the Year that year. Thinking about this was

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Speaker 1: that's crazy about I love these stories, dude. They're they're

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Speaker 1: just a brother and sister. You know, they're just really

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Speaker 1: good friends. They love music. They've been playing music their

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Speaker 1: whole lives. Their parents got them into music. They're just

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Speaker 1: sitting in his bedroom writing songs and then this guy

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Speaker 1: wins Producer of the Year, beating out people in zillion

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Speaker 1: dollars studios with all the fancy musicians in the world.

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Speaker 1: And this young girl, she's seventeen years old when this

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Speaker 1: is being shot, and her voice, I had no idea.

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Speaker 1: I'm sorry, I don't know enough about Billy Eilish, but

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Speaker 1: her voice is incredible skills and he's the mastermind producer.

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Speaker 1: They write it together. I don't know. I sound like

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Speaker 1: I'm the press agent for this documentary, but I'm telling you,

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Speaker 1: and you can watch you. If you're listening and you

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Speaker 1: have teenagers, you can watch you with them. There's not

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Speaker 1: a single, you know, R rated thing in it, and

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Speaker 1: it's fucking awesome. And her parents are inspirational, like they're

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Speaker 1: so supportive, and it's just it's great. Speaking of tennis,

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Speaker 1: Richard Kind is an amazing tennis player, and this show,

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Speaker 1: well he's only really good at his serve, but he's here.

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Speaker 1: Should we count in and then bring him in? Guys,

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Speaker 1: we have Richard Kind. Let's beat it up, all right?

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Speaker 1: Donald count stories about show we made about a bunch

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Speaker 1: of doctor nurses said stories around here, yea around here,

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Speaker 1: all right, We're very thrilled. Everybody. You know, we've been

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Speaker 1: talking about Richard Kind. Let's bring him in. We we

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Speaker 1: love Richard Kind, and we finally got him. What are

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Speaker 1: you laughing about, Daniel? Just what? I'm sorry the message

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Speaker 1: of the Joels. I'm sorry. I know he said it

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Speaker 1: to me. I just I'm sorry. Richard is concerned his

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Speaker 1: curse or on his computer will work. Yes, as they

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Speaker 1: switched over to his tablet, so he should be good.

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Speaker 1: We can let him. I've been on the phone with

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Speaker 1: Richard while you guys were doing your interest to be amazing.

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Speaker 1: I was wondering what all the faces were for. You

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Speaker 1: were like so nervous. I just assume she was watching

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Speaker 1: rebels on the other team. My god, Richard Kind. Everybody

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Speaker 1: living fucking legend looking good too, guys, Richard. That's Joel

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Speaker 1: and Daniel, our producers. How are you, Richard Kind. I'm

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Speaker 1: gonna tell you. We've been doing this podcast and the

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Speaker 1: mantra of everyone is like, fuck all those other people,

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Speaker 1: forget that Bill Lawrence, bring me Richard Kind. Let me

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Speaker 1: tell you something. My friend Rick Builder and his son Jeff. Yeah,

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Speaker 1: so you know there's a podcast about Scrubs and you

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Speaker 1: call them and tell them you want to be on

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Speaker 1: I go. They'll call. If I call, that's me me,

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Speaker 1: and that's me wanting attention. I said, they will call.

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Speaker 1: You're so funny, Richard. I guess that's all. Let me

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Speaker 1: tell you. I'm very happy and thrilled to be on this.

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Speaker 1: But it's so nice to see you guys. It's good

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Speaker 1: to see you too. I love you, guys. I love

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Speaker 1: you too. We've played We played golf together, Richard and

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Speaker 1: I for a couple of holes. Actually, you're a very

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Speaker 1: good golfer. You I am not. You take your time.

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Speaker 1: I used to be a very good golfer. I used

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Speaker 1: to be very smart. There are lots of things that

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Speaker 1: have dissipated over the years. But wait, Richard, are you

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Speaker 1: genuinely good at tennis? Because in this episode your serve

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Speaker 1: is ridiculously on fire? In what episode? Um, we are

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Speaker 1: talking about the episode of Scrubs that we're talking about.

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Speaker 1: Did you watch it by any chance? I haven't seen Scrubs.

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Speaker 1: I haven't seen years. Oh great, it's a great show. Well,

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Speaker 1: don't worry. We're talking about are you. Are you on

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Speaker 1: a show right now? You do a show right now? Yes,

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Speaker 1: I am the costco of acting, and I come see

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Speaker 1: and if I'm honest, show you get well paid, right yeah,

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Speaker 1: well yeah, but it's a guest on the show. Oh

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Speaker 1: we throw the Oh you're so bud, You're wonderful. Here

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Speaker 1: are a couple of quarters, like a little monkey with

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Speaker 1: a cop Oh my god. Well, Richard, what I'm saying

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Speaker 1: is that you were on an episode of You're on

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Speaker 1: multiple but the one we were going to focus on today.

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Speaker 1: Your your character hurt his Do you remember this? Your character?

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Speaker 1: And you think Donald fucked up your shoulder and and

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Speaker 1: but you have in the episode we cut to you

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Speaker 1: serving and it's so good that you throw it hits

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Speaker 1: Johnny c McGinley, and it throws him against the back wall.

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Speaker 1: Do you remember That's when he goes, I sort of do.

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Speaker 1: I was a good tennis player, but that was high school,

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Speaker 1: and uh, well, I wasn't a good What I had

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Speaker 1: was one shot because I was a fat kid, and

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Speaker 1: the ball would come to me and I would hit

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Speaker 1: a foss court shot that was pinpoint in the corner

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Speaker 1: so that the guy couldn't return it and I wouldn't

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Speaker 1: have to run with every point. That way, That's what

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Speaker 1: I was good at the net. But if yeah, I

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Speaker 1: really had to reach, I wasn't so agile, but I

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Speaker 1: was okay at that. Donald does these trick shots we play.

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Speaker 1: We just played today actually, and he does these. He

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Speaker 1: didn't do any today, Donald, but he does these things

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Speaker 1: where I didn't. I don't even know what kind of

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Speaker 1: spin it is. He like loops around it like it's

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Speaker 1: a lacrosse stick, and the ball you just do not.

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Speaker 1: You have no fucking chance to touch him. Yes, it's

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Speaker 1: top spin. It's it is top spin. And Donald, you

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Speaker 1: hit the ball, the golf ball very far, just not

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Speaker 1: straight right, just not straight. You're putting spin on. You

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Speaker 1: hit down to the bottom and you turn it over.

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Speaker 1: But God only knows where it's going to be. Because

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Speaker 1: if you come over it that I know where it's good.

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Speaker 1: If I come over it, I know where it's going.

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Speaker 1: But I don't want it to go that way because

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Speaker 1: you don't want to do. You know that it's gonna

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Speaker 1: go into the other fairway, right, but a long way

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Speaker 1: into the other fairway. But you're strong, you have a

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Speaker 1: good a decent you know, mobility and everything. But you've

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Speaker 1: gotten better, Donald, haven't you since you played Richard? Probably

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Speaker 1: I've never played him in golf, but I've played a

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Speaker 1: few holes with him, right improved play. Now, I haven't

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Speaker 1: played in a couple of weeks. I played once, Yeah,

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Speaker 1: I played once. Lessons. Are you thinking I was? I

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Speaker 1: was for a while. I was, you know, I was

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Speaker 1: messing with Rondel Barrio Golf Tech. This dude, David uh Day.

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Speaker 1: Even Frank's at Calabasas Country Club. Like, I've gone to

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Speaker 1: a lot of people to work on my swing. The

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Speaker 1: loss I've gotten. I shot a seventy one at Encino Balboa.

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Speaker 1: I've shot a seventy at at Wood like a courses.

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Speaker 1: Those are easy courses. Oh, no doubt, I'm I'm just

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Speaker 1: gonna say one. It doesn't matter if you can shoot

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Speaker 1: a seventy one, seventy whatever. If you can shoot below

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Speaker 1: seventy eight, you're a good golfer. Well, I the best

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Speaker 1: I've played at a harder course like Rustic Canyon. I

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Speaker 1: shot a eighty one at Rustic Yeah yeah, yeah, Oh

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Speaker 1: you'll kill me, You'll kill me. I had children. That'll

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Speaker 1: kill your game. I moved to New York and New

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Speaker 1: York New York kills your game. That'll kill your game.

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Speaker 1: It was your game. I've been in New York for

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Speaker 1: over ten years. You can't go play. But one of

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Speaker 1: the reasons I moved from Los Angeles was because I

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Speaker 1: became addicted to the game and the club that I

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Speaker 1: play at, because you just go there and you sit,

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Speaker 1: you play, you have a drink or anything like that.

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Speaker 1: And I would get home to my kids and I

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Speaker 1: I'm falling asleep, like trying to play with them. And

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Speaker 1: then and I would literally, this is horrible because I

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Speaker 1: love to act. But I would say, if you can't

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Speaker 1: get me the audition before like eleven thirty, then I

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Speaker 1: can't make it, or until after three or four, because

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Speaker 1: that's when I was playing golf. So I would give up.

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Speaker 1: What is in essence jobs, I got news for you.

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Speaker 1: Now that we're on and everybody's going to hear you

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Speaker 1: asked me, can we switch this time from one o'clock

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Speaker 1: when we take it to two o'clock. Well, if I

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Speaker 1: take it at two o'clock, that means I got out

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Speaker 1: to the club very late, and I want to go

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Speaker 1: play golf. After this, I said, I said, I compromise,

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Speaker 1: and I'll give them one third. Well, thank you for

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Speaker 1: we appreciate that. I know I know how I'm kidding.

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Speaker 1: I'm not. No, you're not You're not kidding, Donald, Donald,

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Speaker 1: I know how important it is. I know how important

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Speaker 1: it is. And yeah, and it's it's still not the

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Speaker 1: Savings time yet. If it were, and I could play

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Speaker 1: on eight eight thirty because something goes down now at six.

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Speaker 1: All right, So will Richard, we gotta ask you, because

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Speaker 1: we always ask people when they come on. We got

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Speaker 1: to go back to the beginning. Let's start at the

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Speaker 1: very beginning, a very very good place test start. Um,

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Speaker 1: how did you you? You don't have to go like that,

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Speaker 1: give us the novel version, but give us the cliff notes?

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Speaker 1: How did you get started in in being a working,

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Speaker 1: successful actor? Because you've been in nine zillion things. Um,

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Speaker 1: very fancy filmmakers and very fancy showrunners love you and

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Speaker 1: continue to cast you. And you have a career that

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Speaker 1: actors would dream of because you've had such longevity. I

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Speaker 1: will tell you I'm going to be humble and bragging

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Speaker 1: at the same time. I am the luckiest man in

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Speaker 1: show business because when I was a kid, Archie Bunker

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Speaker 1: and Adam West were two of the biggest stars and

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Speaker 1: heroes of who I wanted to be Oh my god,

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Speaker 1: Carol O'Connor was magnificent, not just as Archie Bunker, but

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Speaker 1: I knew his stuff before, and he got pigeonholed into

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Speaker 1: being Archie Bunker, one of the most magnificent actors who

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Speaker 1: would never guess it. Adam West certainly was only Batman,

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Speaker 1: and it was my goal as an actor to not

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Speaker 1: be them or not have their career. I wanted to

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Speaker 1: be in as many things as I possibly could, in everything.

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Speaker 1: I mean, I know, you've done Broadway. I've done lots

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Speaker 1: of shows on Broadway, and before the pandemic would be

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Speaker 1: in a show a year somewhere. You know, nobody sees it,

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Speaker 1: you know, because it's a limited audience, but it's theater.

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Speaker 1: So I wanted to be in as many things as

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Speaker 1: I could. And when I was on Spin City, everybody

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Speaker 1: was going, Oh, you're gonna be the breakout character. You'll

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Speaker 1: be the breakout character. And I didn't have any publicity.

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Speaker 1: I didn't want. I did not want to be known

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Speaker 1: as Paul Lasseter, so I didn't do a lot of

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Speaker 1: publicity or anything. And I know this sounds crazy. I

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Speaker 1: have the career that I wanted. I really do. I

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Speaker 1: get to do. I've done opera, I do radio, I do,

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Speaker 1: I do sitcoms. I do I'm gonna be and I'm

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Speaker 1: doing a movie coming up in New Mexico where it

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Speaker 1: is not funny at all and I'm playing a gangster.

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Speaker 1: It's fantastic. Yeah. The only thing is that with more

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Speaker 1: fame comes picking of roles. I could pick or choose roles.

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Speaker 1: I'll get offered more roles or at least get to

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Speaker 1: audition for more roles, because being a star makes a

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Speaker 1: project that much more uh easy to finance. And I'm

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Speaker 1: not exactly a star. I mean, people don't say, oh,

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Speaker 1: a Richard Kine movie, I gotta go. You know, they

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Speaker 1: may say while they're watching it, oh I like that guy,

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Speaker 1: but they will not run out of their house to

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Speaker 1: go see. But you're saying, but you're saying, you you

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Speaker 1: there was a fork in the road and you chose

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Speaker 1: that path. I wish I could say it was an

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Speaker 1: absolute fork in the road. It was not. I was

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Speaker 1: a realization. Well no, I mean, I mean, just for example,

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Speaker 1: you could know, for example, you're on Spin City, you

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Speaker 1: saying I chose not to do publicity. You could have

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Speaker 1: milked the fuck out of that. Well, I guess I

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Speaker 1: could have. I don't. I would not have been a star.

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Speaker 1: I might have had more fame. It's just I did

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Speaker 1: not want to be pigeonholed into that role. But but

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Speaker 1: so so don't don't think I could. But also look

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Speaker 1: at who you're talking to. I will not be the

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Speaker 1: lead of anything of any of any movie and maybe

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Speaker 1: even TV show. And I can be a leader in

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Speaker 1: a play because the economic consequences of a play aren't

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Speaker 1: as strong as a movie or a TV show. But

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Speaker 1: you got to get a good looking guy. You got

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Speaker 1: to get somebody who is I don't want to say

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Speaker 1: middle of the road, but but as somebody who is

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Speaker 1: appealing that you want to turn tune into. I'm a

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Speaker 1: satellite character, always proud to be a satellite character. You

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Speaker 1: don't know who you are. You sound like a producer,

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Speaker 1: and I'm gonna be when you when you talk like that.

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Speaker 1: But I tend to agree with you, and I tend

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Speaker 1: to agree with you as of late late in my life,

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Speaker 1: as of recently, as of actually this morning I was

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Speaker 1: watching I was watching WandaVision right, and everybody knows this

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Speaker 1: about me. I want to be in Star Wars. I

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Speaker 1: want to be in Marvel. I even think Star Wars

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Speaker 1: and Marvel know I want to be in that. So

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Speaker 1: I've said, I's right, I'm pretty sure. But so I've

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Speaker 1: aspired right in my whole acting career to be in

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Speaker 1: those movies now Here's a Thing, or in those TV

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Speaker 1: shows now Here's the thing. What happens? If I get it?

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Speaker 1: Then what do I aspire to be after that? You

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Speaker 1: know what I mean? In other words, be careful of

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Speaker 1: what comes true, because because then then well you're wrong. Okay,

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Speaker 1: you're wrong. Okay. When I was a kid, I had

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Speaker 1: three dreams. Now, most kids want to be like Mick

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Speaker 1: Jagger or or or play center field for the Yankees

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Speaker 1: or something. Mine was. I wanted to be in a

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Speaker 1: Stanley Kubrick movie, a Woody Allen movie, and an original

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Speaker 1: Stephen soheime how Prince musical Stanley Kubrick's dead Woody Allen

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Speaker 1: wasn't hiring me, and I love this for a Stephen

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Speaker 1: someheime how Prince musical and got it and I was

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Speaker 1: the lad God, I was the lead. It was the

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Speaker 1: dream of a lifetime. And I sing but not well

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Speaker 1: enough to be in a Sondheim musical. But he likes

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Speaker 1: actors better than singers, and I sang well enough to

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Speaker 1: do his stuff. It's unbelievable. And Sondheim and Prince a

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Speaker 1: split in nineteen eighty two after Merrily We Roll Along,

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Speaker 1: and Harold Prince didn't didn't direct any of his plays anymore.

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Speaker 1: They haven't got get back together. And I did it.

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Speaker 1: And this was over ten years ago, and I continue

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Speaker 1: to work. I work so much that I did a

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Speaker 1: Woody Allen movie which I'm really proud of. It's not

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Speaker 1: a huge, great part, but I was part of it.

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Speaker 1: I almost was with Zach. I know you were. I

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Speaker 1: have to admit, with all due respect to the gentleman

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Speaker 1: who got the role, I was hoping that it was

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Speaker 1: going to be you. Richard was up for the part

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Speaker 1: of in Bullets over Broadway. Because Richard, I have to say,

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Speaker 1: and I've said this on the podcast many times, I

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Speaker 1: know what you're saying about being a satellite character. I'm

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Speaker 1: one of those people when I see your face, and

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Speaker 1: you work a lot, so I see your face all

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Speaker 1: the time. I a giant smile comes across my face.

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Speaker 1: If I had if I was not in this business

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Speaker 1: at all and just a fan of acting, I would

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Speaker 1: I would just be I would just be a giant

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Speaker 1: fan of yours. I just think that you are so

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Speaker 1: talented and so funny. I know that you do drama

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Speaker 1: as well. But when I just see you and you

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Speaker 1: could say in this and Scrubs, you say one sentence

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Speaker 1: and I just started giggling. I'm for a bottle. Yeah

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Speaker 1: there's I saw you in the show that I've spoken

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Speaker 1: about here before. UM called the other the other two?

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Speaker 1: Is that? Are you on that? Oh? You don't even remember?

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Speaker 1: You do so many shows. You don't remember. You're you're

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Speaker 1: somebody's agent. Uh. And it was a small show, Richard.

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Speaker 1: I love the show. I'm sure they're gonna make it.

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Speaker 1: I think it'll be back. It's back, I think without me,

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Speaker 1: I sort of a one joke could sit and it

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Speaker 1: had run its course. So I don't blame you. My

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Speaker 1: point is this, but this morning, when watching WandaVision, I

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Speaker 1: was like, why am I so worried about being on

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Speaker 1: all of this. I'm a working actor. I have so

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Speaker 1: many credits behind me. Now, maybe just focus on what

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Speaker 1: I'm good at and if it comes, it comes, You

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Speaker 1: know what I mean? I enjoy being a fan of

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Speaker 1: it too. You know, so maybe just enjoy the fandom

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Speaker 1: and you are right. But first of all, you're really good,

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Speaker 1: or you wouldn't have the career you have. Right. The

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Speaker 1: second thing is, maybe we're not always great, but we're

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Speaker 1: never bad anymore because we've been around. You've done how

394
00:22:47,480 --> 00:22:50,399
Speaker 1: many episodes of Scrubs did you do? Over one hundred

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Speaker 1: and something? And if you're not by now, yeah, if

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Speaker 1: you don't know how to work a camera, if you

397
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Speaker 1: don't know how to get the tone of a scene

398
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Speaker 1: or parse a script and deliver what the writer wants,

399
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Speaker 1: then then when you're not thinking right, I'm an idiot.

400
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Speaker 1: And if that's the you are, I'm saying you're absolutely right.

401
00:23:12,119 --> 00:23:14,760
Speaker 1: So you can get into into something and you've got

402
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Speaker 1: a career that a backlog of stuff that people can say, Oh,

403
00:23:19,040 --> 00:23:23,639
Speaker 1: he's more than justice. And Mike, my friend Michael Boltman,

404
00:23:23,720 --> 00:23:28,800
Speaker 1: you know Michael Boatman. He he says, we are at

405
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Speaker 1: the point in our career of what you guys are

406
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Speaker 1: certainly that we will always be better than good. We

407
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Speaker 1: will always deliver. There might be some who will be great,

408
00:23:40,480 --> 00:23:43,200
Speaker 1: and there might or will it will be better. There

409
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Speaker 1: might be certain roles that we will be great in

410
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Speaker 1: and we were not able to achieve greatness, but we

411
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Speaker 1: will always deliver because we're good, which is good. It's

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Speaker 1: not that we were for some people are just blessed.

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Speaker 1: Uh you know something, well, you know people with a

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Speaker 1: smoldering lust and sexuality. I disagree. I disagree, however, but

415
00:24:10,480 --> 00:24:15,040
Speaker 1: those are gifts somehow. But we have amassed a talent

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Speaker 1: and a and a credibility and and a facility of

417
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Speaker 1: how to do our job, and we'll just be fine.

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Speaker 1: Do you still have the hunger Richard? Like when you

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Speaker 1: when you when someone says we want you to read

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Speaker 1: and and and uh, and you get and you get

421
00:24:30,480 --> 00:24:32,520
Speaker 1: the script and it's a really good part. Do you

422
00:24:33,400 --> 00:24:35,960
Speaker 1: do you find yourself going, oh shit, I want to

423
00:24:36,000 --> 00:24:38,879
Speaker 1: work on this one. I really want this all right.

424
00:24:38,920 --> 00:24:40,920
Speaker 1: I got a couple of answers to you. Yes, I do.

425
00:24:41,080 --> 00:24:43,280
Speaker 1: And it's the silliest thing that makes me jump up

426
00:24:43,280 --> 00:24:47,119
Speaker 1: and down because because I was. I actually, as of

427
00:24:47,200 --> 00:24:53,320
Speaker 1: this time, I was offered something yesterday that was more

428
00:24:53,359 --> 00:24:56,760
Speaker 1: money than I've ever made in my life. Wow, congratulating

429
00:24:56,760 --> 00:24:59,320
Speaker 1: more money than ever. I don't make that much, but

430
00:24:59,359 --> 00:25:05,080
Speaker 1: this was more money and I turned it down because

431
00:25:05,320 --> 00:25:10,159
Speaker 1: two weeks in a Quarantine and then being on the

432
00:25:10,240 --> 00:25:14,359
Speaker 1: set of a very good script, but I was Parsley.

433
00:25:14,640 --> 00:25:18,199
Speaker 1: I was the the overpaid extra. I had one decent

434
00:25:18,280 --> 00:25:20,520
Speaker 1: scene that was maybe a page and a half through pages.

435
00:25:21,040 --> 00:25:25,720
Speaker 1: Otherwise I'm just part of dinner family where I have

436
00:25:25,840 --> 00:25:27,679
Speaker 1: one line and you got to be away from your

437
00:25:27,680 --> 00:25:29,719
Speaker 1: family for that, and I would I would kill myself

438
00:25:30,640 --> 00:25:33,159
Speaker 1: that that would really make me unhappy. It would have

439
00:25:33,200 --> 00:25:36,800
Speaker 1: made me unhappy. Forgive me in Bullets over Broadway, because

440
00:25:36,800 --> 00:25:39,679
Speaker 1: that was I didn't have a song and the part

441
00:25:40,040 --> 00:25:43,080
Speaker 1: was really chopped down from what it was in the movie,

442
00:25:43,320 --> 00:25:46,240
Speaker 1: and I was it was although I haven't the love

443
00:25:46,320 --> 00:25:48,520
Speaker 1: the production, Well, didn't I give him the song at

444
00:25:48,520 --> 00:25:52,080
Speaker 1: the end of Banana Song? No, that banana song was

445
00:25:52,359 --> 00:25:56,000
Speaker 1: started by somebody else, but um. And also the thing

446
00:25:56,000 --> 00:25:58,560
Speaker 1: with that contract was I didn't know if if you

447
00:25:58,600 --> 00:26:00,800
Speaker 1: were you get anything, you would have been no as

448
00:26:00,840 --> 00:26:02,959
Speaker 1: a year, everyone, no matter who you were, you had

449
00:26:02,960 --> 00:26:05,280
Speaker 1: to sign up for a year. And I was like,

450
00:26:05,480 --> 00:26:07,960
Speaker 1: what a year? And I was going to I was

451
00:26:08,000 --> 00:26:10,159
Speaker 1: going to pass on it because I was but my

452
00:26:10,200 --> 00:26:13,640
Speaker 1: friend was like, bro, like, what are you talking about.

453
00:26:13,680 --> 00:26:16,439
Speaker 1: You're not gonna pass on starring in a woody Allen

454
00:26:16,640 --> 00:26:25,120
Speaker 1: Broadway Musical and Susan Stroman and you were challenged every night. Yeah,

455
00:26:25,160 --> 00:26:27,919
Speaker 1: it was very hard. We truly challenged every night. You know.

456
00:26:27,960 --> 00:26:30,240
Speaker 1: It's I was thinking about this last night. Um, this

457
00:26:30,320 --> 00:26:32,639
Speaker 1: is I guess a bit of a non sequitor, but

458
00:26:32,680 --> 00:26:35,520
Speaker 1: I was thinking about just in terms of the theater,

459
00:26:35,640 --> 00:26:38,040
Speaker 1: and I was thinking, you know, you know, most of

460
00:26:38,040 --> 00:26:40,720
Speaker 1: our listeners aren't in the entertainment industry, Richard. So I

461
00:26:40,840 --> 00:26:43,800
Speaker 1: sometimes just explained that in the theater world, in the

462
00:26:43,840 --> 00:26:47,480
Speaker 1: New York theater world, Uh, really, whether the show is

463
00:26:47,520 --> 00:26:49,439
Speaker 1: successful or not comes down to the review of the

464
00:26:49,480 --> 00:26:52,520
Speaker 1: New York Times. It used to. It doesn't anymore, but

465
00:26:52,560 --> 00:26:54,960
Speaker 1: it used to. Okay, well, all I'll tell you is

466
00:26:55,359 --> 00:26:58,399
Speaker 1: book Bullets over Broadway. It did. I gotta tell you

467
00:26:58,440 --> 00:27:00,560
Speaker 1: that Bulltimo was supposed to run. Mike contract was for

468
00:27:00,600 --> 00:27:03,280
Speaker 1: a year. And and Richard, I'm sure you've been through

469
00:27:03,280 --> 00:27:06,960
Speaker 1: this in Donald's Done Theater too. But you you're playing

470
00:27:07,000 --> 00:27:09,399
Speaker 1: to preview houses, meaning the critics aren't allowed to come

471
00:27:09,480 --> 00:27:12,400
Speaker 1: yet you're working out the kinks. We're playing a sold

472
00:27:12,440 --> 00:27:14,680
Speaker 1: out houses in a giant theater. It's like a twenty

473
00:27:14,720 --> 00:27:17,960
Speaker 1: seven theater sold out that we have to stop the

474
00:27:18,000 --> 00:27:21,360
Speaker 1: show because they're laughing so hard. We have to. There

475
00:27:21,440 --> 00:27:23,399
Speaker 1: was one moment they would give it for Nick, for

476
00:27:23,800 --> 00:27:25,959
Speaker 1: the late great Nick Cordero. They would give a standing

477
00:27:26,000 --> 00:27:28,840
Speaker 1: ovation in the middle of the show for a dance number.

478
00:27:29,119 --> 00:27:33,600
Speaker 1: We were on fire. We open that night the night

479
00:27:33,600 --> 00:27:37,120
Speaker 1: you open it, like midnight. The reviews came out The Times,

480
00:27:37,359 --> 00:27:41,720
Speaker 1: didn't destroy it, but was met and the next night

481
00:27:41,760 --> 00:27:46,920
Speaker 1: it was like Golfer's claps. Everyone everyone, this is what's

482
00:27:46,920 --> 00:27:50,000
Speaker 1: so fucked up about it. Everyone coming into that theater

483
00:27:50,160 --> 00:27:54,560
Speaker 1: now went, oh, this isn't that good because Brent Browley

484
00:27:54,560 --> 00:27:57,400
Speaker 1: didn't love it, And now we're gonna watch it differently,

485
00:27:57,560 --> 00:27:59,879
Speaker 1: and you can. If you're in the play, you're like,

486
00:28:00,119 --> 00:28:03,720
Speaker 1: what the fuck happened? We haven't changed anything. You're right,

487
00:28:03,880 --> 00:28:06,760
Speaker 1: But they had just been conditioned that this is not good. Yeah,

488
00:28:07,000 --> 00:28:10,080
Speaker 1: it's horrible. In fact, what it is, what it really is,

489
00:28:09,920 --> 00:28:12,720
Speaker 1: is a review could make or break the success of

490
00:28:12,760 --> 00:28:17,960
Speaker 1: a play. But now a review can make or break

491
00:28:18,320 --> 00:28:24,200
Speaker 1: the audience's attitude towards a play. Yes, and that that's horrible.

492
00:28:24,320 --> 00:28:26,720
Speaker 1: It's because I never I love the theater. It's my

493
00:28:26,760 --> 00:28:28,960
Speaker 1: favorite thing in the world. And I and I and

494
00:28:29,080 --> 00:28:31,760
Speaker 1: I get so much joy out of it. I never

495
00:28:32,359 --> 00:28:35,239
Speaker 1: read a review before I go because I want to

496
00:28:35,240 --> 00:28:37,840
Speaker 1: experience the play anew. Of course, if you're into the

497
00:28:37,840 --> 00:28:40,120
Speaker 1: theater community, you hear the buzz of oh, everyone's talking

498
00:28:40,160 --> 00:28:42,440
Speaker 1: about this show. But I the last thing I want

499
00:28:42,600 --> 00:28:45,560
Speaker 1: is someone telling me, oh, this scene sucks. It's funny.

500
00:28:45,600 --> 00:28:47,280
Speaker 1: There was one big number. There was a hot dog number,

501
00:28:47,320 --> 00:28:49,560
Speaker 1: if you recall, and it was so silly. They were

502
00:28:49,640 --> 00:28:51,560
Speaker 1: dancing and hot dogs. It was all. It was just

503
00:28:51,600 --> 00:28:54,560
Speaker 1: a giant dick joke for but it was hilarious, and

504
00:28:54,640 --> 00:28:56,720
Speaker 1: the audience would be you could look and you'd see

505
00:28:56,760 --> 00:28:59,520
Speaker 1: them holding their bellies, and that next and that next night,

506
00:28:59,560 --> 00:29:03,280
Speaker 1: it was like, that's just terrible, it's terrible. Well, they

507
00:29:03,320 --> 00:29:07,640
Speaker 1: certainly had it out for Woody yea. But what's unusual

508
00:29:07,800 --> 00:29:11,560
Speaker 1: is they had it out for Strow and that's she

509
00:29:11,760 --> 00:29:15,680
Speaker 1: doesn't deserve that. Yeah, I think that Susan Stroman um,

510
00:29:15,720 --> 00:29:17,120
Speaker 1: you know if for those of you who not in

511
00:29:17,160 --> 00:29:20,840
Speaker 1: the Nose is very, very a list a huge musical

512
00:29:20,880 --> 00:29:25,480
Speaker 1: theater director in New York, and she her first giant hit.

513
00:29:25,600 --> 00:29:29,040
Speaker 1: I believe Richard was the producers, right, was the producers? Yeah? Yeah,

514
00:29:29,080 --> 00:29:31,400
Speaker 1: And it almost feel like there was animosity towards her, like,

515
00:29:31,480 --> 00:29:34,840
Speaker 1: how dare you be that successful? Absolutely? Yeah? And she

516
00:29:34,960 --> 00:29:38,680
Speaker 1: works the hardest. You've never met anybody so loyal. She

517
00:29:38,760 --> 00:29:43,280
Speaker 1: does everything from ballet to the opera, to UH to

518
00:29:43,400 --> 00:29:47,600
Speaker 1: the musicals. She even did the movie of the Producers,

519
00:29:47,600 --> 00:29:53,560
Speaker 1: which did deserve the dreadful reviews it got. However, she

520
00:29:53,840 --> 00:29:57,960
Speaker 1: is great. You did the Producers, didn't you? I did?

521
00:29:58,040 --> 00:30:02,000
Speaker 1: I'm Broadway and at the Hollywood. Wow. I have a question,

522
00:30:02,320 --> 00:30:06,040
Speaker 1: what is this? What is this rule? Though? Now? I

523
00:30:06,080 --> 00:30:07,800
Speaker 1: don't like this is the one thing I do not

524
00:30:07,960 --> 00:30:12,200
Speaker 1: like about Broadway? If you dare you? How dare you?

525
00:30:12,400 --> 00:30:15,400
Speaker 1: The only thing way you're talking about? Yes, these people

526
00:30:15,440 --> 00:30:18,320
Speaker 1: need These people need our support right now, not any criticism.

527
00:30:19,040 --> 00:30:21,560
Speaker 1: This is the only thing when it comes to Tony Awards.

528
00:30:22,000 --> 00:30:25,280
Speaker 1: How comes somebody like let's say, let's say Zach did

529
00:30:25,400 --> 00:30:28,160
Speaker 1: Bullets over Broadway and he wins the Tony for Bullets

530
00:30:28,160 --> 00:30:31,360
Speaker 1: over Broadway, then leaves. Then somebody else comes in it

531
00:30:31,440 --> 00:30:36,400
Speaker 1: does Bullets over Broadways win? Why can't that person win?

532
00:30:36,480 --> 00:30:39,080
Speaker 1: If and and so what if they Zach won? His

533
00:30:39,160 --> 00:30:41,200
Speaker 1: ego isn't going to be heard If that person wins.

534
00:30:41,480 --> 00:30:47,240
Speaker 1: If that person gets nominated them is even better. There

535
00:30:47,320 --> 00:30:50,000
Speaker 1: is talk, Richard, I at least heard, but you might

536
00:30:50,080 --> 00:30:53,400
Speaker 1: know of them creating a category for best replacement, right.

537
00:30:53,800 --> 00:30:56,400
Speaker 1: I believe that should be done. However, every once in

538
00:30:56,400 --> 00:31:01,480
Speaker 1: a while, there is simply a role that just can't beat, right,

539
00:31:01,840 --> 00:31:03,640
Speaker 1: Like if if Fiddler around the Roof is going to

540
00:31:03,720 --> 00:31:06,680
Speaker 1: go on how have You? Is always going to win,

541
00:31:06,960 --> 00:31:10,240
Speaker 1: or or Max beiala stock and the producers, they're always

542
00:31:10,240 --> 00:31:16,680
Speaker 1: going to win because it's the role. Right. Also, sometimes, Richard,

543
00:31:16,720 --> 00:31:19,960
Speaker 1: what you're saying is true that and with no disrespect

544
00:31:20,000 --> 00:31:22,520
Speaker 1: to the person that originated the role, someone might come

545
00:31:22,560 --> 00:31:25,760
Speaker 1: in and be like revelatory. Absolutely. And I was talking

546
00:31:25,760 --> 00:31:29,240
Speaker 1: about this the other day. Um the somebody said his

547
00:31:29,320 --> 00:31:34,160
Speaker 1: most exciting uh theater experiences was seeing Richard Burton do

548
00:31:34,320 --> 00:31:38,320
Speaker 1: the original cast of Equis. I said, Richard Burton did

549
00:31:38,360 --> 00:31:41,280
Speaker 1: not create the role, but he did go into it.

550
00:31:41,320 --> 00:31:43,960
Speaker 1: And my guess is he was better than the original

551
00:31:44,040 --> 00:31:48,080
Speaker 1: guy because he was Richard Burton. Yeah. So yeah, but

552
00:31:48,160 --> 00:31:52,080
Speaker 1: I think you are correct. I think I don't think

553
00:31:52,120 --> 00:31:54,640
Speaker 1: it's a bad thing. You shouldn't take away from the

554
00:31:54,800 --> 00:32:00,480
Speaker 1: five original nominees because putting up a show sometimes what

555
00:32:00,560 --> 00:32:05,680
Speaker 1: they do helps create the character is so good. But

556
00:32:05,880 --> 00:32:09,200
Speaker 1: once the characters established, you are right a but you

557
00:32:09,280 --> 00:32:14,720
Speaker 1: can with it for a revival, that's the only happen. Yeah,

558
00:32:14,760 --> 00:32:16,920
Speaker 1: but then it has to next talk about t D.

559
00:32:17,360 --> 00:32:20,040
Speaker 1: I don't, but you, guys, I like the revival also

560
00:32:20,080 --> 00:32:22,600
Speaker 1: because it still has to go through the same work

561
00:32:22,720 --> 00:32:24,800
Speaker 1: that the original did. You gotta start a small theater,

562
00:32:24,840 --> 00:32:26,200
Speaker 1: then it has to get you a bigger theater. Then

563
00:32:26,240 --> 00:32:28,520
Speaker 1: that's I like that. I do like I could talk.

564
00:32:28,800 --> 00:32:31,120
Speaker 1: By the way, we've decided this this episode is called

565
00:32:31,160 --> 00:32:34,560
Speaker 1: the Conversation with Richard Kind because that's what it is.

566
00:32:34,600 --> 00:32:36,680
Speaker 1: Everybody and I could talk to you about so many things.

567
00:32:36,720 --> 00:32:39,080
Speaker 1: You're so knowledgeable about a lot of things. I know

568
00:32:39,160 --> 00:32:42,320
Speaker 1: you have you wait one thing that I want to

569
00:32:42,720 --> 00:32:45,440
Speaker 1: get to Wait. Wait. This is called wait, Richard pause,

570
00:32:45,520 --> 00:32:48,000
Speaker 1: This is called a tease. We're gonna be right back

571
00:32:48,080 --> 00:32:50,640
Speaker 1: after this break. But I have something to say. I know,

572
00:32:50,680 --> 00:32:54,520
Speaker 1: but I'm gotten choosing the audience. I'm doing a drive

573
00:32:54,560 --> 00:32:57,440
Speaker 1: by of their proverbial genitalia and we'll be right back

574
00:33:04,120 --> 00:33:06,840
Speaker 1: and we're back, Richard, go ahead. What were you saying,

575
00:33:06,880 --> 00:33:09,480
Speaker 1: Richard Kind? Well, I'm fall because I just had a

576
00:33:09,560 --> 00:33:15,680
Speaker 1: huge meal and now after that. Pay geez, Louise, I hope,

577
00:33:16,080 --> 00:33:19,560
Speaker 1: I hope you remember what you were going to say. Okay,

578
00:33:19,800 --> 00:33:21,640
Speaker 1: what I wanted to say. I mean you talked about

579
00:33:22,800 --> 00:33:25,440
Speaker 1: do I get excited about a script or or excited

580
00:33:25,440 --> 00:33:28,120
Speaker 1: about a part? Yes, I do, I certainly do. Or

581
00:33:28,160 --> 00:33:31,560
Speaker 1: you pray that you have an opportunity to play that part.

582
00:33:33,240 --> 00:33:35,680
Speaker 1: I'm gonna say something that that might be interesting to

583
00:33:35,760 --> 00:33:41,040
Speaker 1: you guys. Or I'm one of the idiots that likes auditioning.

584
00:33:42,120 --> 00:33:48,720
Speaker 1: Really why what a couple of reasons. Number one, as

585
00:33:48,720 --> 00:33:51,000
Speaker 1: an actor, I like to play all different kinds of roles.

586
00:33:51,920 --> 00:33:54,440
Speaker 1: I may not be I may not be hired, but

587
00:33:54,600 --> 00:33:59,360
Speaker 1: for ten minutes, I got to play that role. And

588
00:33:59,480 --> 00:34:02,040
Speaker 1: I can't do it alone in the bathroom. I'm not

589
00:34:02,080 --> 00:34:05,200
Speaker 1: going to invite friends over and go, hey, listen to me,

590
00:34:05,280 --> 00:34:08,279
Speaker 1: do this. Listen to me do Willie Lowman, because you know,

591
00:34:08,400 --> 00:34:10,880
Speaker 1: just here, I'll give you a sandwich. And although I

592
00:34:10,880 --> 00:34:15,120
Speaker 1: would come to see you do someday, I'd love to

593
00:34:15,160 --> 00:34:17,160
Speaker 1: do it. But but but the thing is, you need

594
00:34:17,320 --> 00:34:20,480
Speaker 1: an actro needs an audience, and even if it's a

595
00:34:20,560 --> 00:34:25,360
Speaker 1: kid with a camera, you're still performing. So I happen

596
00:34:25,440 --> 00:34:31,319
Speaker 1: to appreciate it. The other thing is is um, I

597
00:34:31,400 --> 00:34:36,000
Speaker 1: like being nervous. I like the jitters of like an

598
00:34:36,000 --> 00:34:40,480
Speaker 1: opening night. That's fun for me. I know I'm not

599
00:34:40,520 --> 00:34:43,520
Speaker 1: going to die. I know that my life is not

600
00:34:43,680 --> 00:34:45,680
Speaker 1: on the line. I know nothing's going to happen to

601
00:34:45,719 --> 00:34:48,400
Speaker 1: my kids, but I get nervous, like being on a

602
00:34:48,480 --> 00:34:52,359
Speaker 1: roller coaster can be fun. And so you're going in

603
00:34:52,360 --> 00:34:54,960
Speaker 1: front of important people. You make it a job. This

604
00:34:55,120 --> 00:34:59,280
Speaker 1: could be the job that makes you a huge amount

605
00:34:59,280 --> 00:35:02,600
Speaker 1: of money, brings fame, and you might be Matt Terry

606
00:35:02,600 --> 00:35:05,799
Speaker 1: in friends. You don't know, so who knows what this

607
00:35:05,880 --> 00:35:08,279
Speaker 1: audition is going to bring or that the person that

608
00:35:08,320 --> 00:35:11,719
Speaker 1: you're auditioning for may become a good friend, whatever it is.

609
00:35:11,920 --> 00:35:14,879
Speaker 1: But you're nervous. Things around the line. Yeah, a good

610
00:35:14,880 --> 00:35:18,120
Speaker 1: way to live. I never heard a bet like that,

611
00:35:18,440 --> 00:35:21,040
Speaker 1: but I heard the nervous. I've heard the nervous part

612
00:35:21,040 --> 00:35:24,320
Speaker 1: put like that. I've never heard the actors need to perform.

613
00:35:24,360 --> 00:35:26,399
Speaker 1: Look at it as a room to perform. I do. Oh,

614
00:35:26,480 --> 00:35:29,719
Speaker 1: it's an opportunity, such an amazing and that's that's such

615
00:35:29,719 --> 00:35:33,160
Speaker 1: a golf analogy too. That's such a golf analogy, dude.

616
00:35:33,280 --> 00:35:36,960
Speaker 1: But it's an opportunity. Here's here's another crazy thing that

617
00:35:37,160 --> 00:35:39,719
Speaker 1: if I'm teaching, which I don't do a lot of

618
00:35:39,760 --> 00:35:43,280
Speaker 1: but I have, when you go in for an audition,

619
00:35:44,560 --> 00:35:47,920
Speaker 1: you are going, oh, dear God, let me get this role. Please,

620
00:35:48,000 --> 00:35:49,920
Speaker 1: let me be good, Please let me be great. I

621
00:35:50,000 --> 00:35:52,719
Speaker 1: don't go in that way. I go in and I

622
00:35:52,960 --> 00:35:57,240
Speaker 1: see six people who all want to make Larry David money.

623
00:35:57,880 --> 00:36:00,759
Speaker 1: They all want the successive side field. They all want

624
00:36:00,800 --> 00:36:03,919
Speaker 1: the success of curb your enthusiasm. That's what they want.

625
00:36:04,000 --> 00:36:07,399
Speaker 1: They want money, they want success. They don't care whether

626
00:36:07,480 --> 00:36:11,200
Speaker 1: I get the role. They want money. And I go

627
00:36:11,360 --> 00:36:13,920
Speaker 1: in saying, if and you have to believe this, you

628
00:36:14,080 --> 00:36:16,239
Speaker 1: have to believe you're the right actor for the role.

629
00:36:16,680 --> 00:36:18,839
Speaker 1: But if I, if I believe that, which a lot

630
00:36:18,880 --> 00:36:21,440
Speaker 1: of times I do, I can do this. I go

631
00:36:21,640 --> 00:36:27,120
Speaker 1: in with the mindset of, guys, I'm going to help

632
00:36:27,239 --> 00:36:32,799
Speaker 1: you make a lot of money. You better if when

633
00:36:32,880 --> 00:36:37,239
Speaker 1: you cast me, you better cast around me as good

634
00:36:37,320 --> 00:36:41,680
Speaker 1: as me, because I'll help you make money. I'm going

635
00:36:41,719 --> 00:36:45,600
Speaker 1: to help make this thing great. Wow, don't worry, I

636
00:36:45,840 --> 00:36:50,000
Speaker 1: got your back talk. But most people go in going, oh,

637
00:36:50,040 --> 00:36:51,799
Speaker 1: I gotta get this, Oh, I gotta get this role.

638
00:36:52,200 --> 00:36:54,080
Speaker 1: If you go in with the with the feeling of

639
00:36:54,239 --> 00:36:58,560
Speaker 1: I'm going to help you make the success. That takes

640
00:36:58,640 --> 00:37:01,200
Speaker 1: all the pressure off of you. Yeah, Richard, I love that.

641
00:37:01,280 --> 00:37:03,600
Speaker 1: And I have to say from when I'm directing. I

642
00:37:03,960 --> 00:37:06,720
Speaker 1: learned a lot about auditioning when I was directing, because

643
00:37:07,320 --> 00:37:09,239
Speaker 1: you sit you think that being on the other side

644
00:37:09,280 --> 00:37:11,400
Speaker 1: of the table is fun. It's fun for about thirty

645
00:37:11,440 --> 00:37:15,720
Speaker 1: five minutes, and then it's really grueling and stressful because

646
00:37:15,800 --> 00:37:18,279
Speaker 1: all you're thinking is, fuck, we're not going to find

647
00:37:18,360 --> 00:37:21,239
Speaker 1: this guy or this gal. So what I always say

648
00:37:21,239 --> 00:37:23,759
Speaker 1: to actors is you need to I mean, you're just

649
00:37:23,920 --> 00:37:25,960
Speaker 1: brilliant and I'm gonna steal it. But I also say

650
00:37:27,080 --> 00:37:30,719
Speaker 1: they're you don't know this. They're rooting for you. They want,

651
00:37:30,840 --> 00:37:33,320
Speaker 1: they're dying for you to be good. If you're great,

652
00:37:33,520 --> 00:37:37,359
Speaker 1: they're done great. If you're great, they're gonna make money

653
00:37:37,600 --> 00:37:41,040
Speaker 1: if you're good, and all want to be good for yourself.

654
00:37:41,640 --> 00:37:45,120
Speaker 1: Don't guess they're they're saying, Dear God, give me somebody

655
00:37:45,160 --> 00:37:47,480
Speaker 1: who's good. I agree with you. Now I'm gonna bring

656
00:37:47,600 --> 00:37:49,320
Speaker 1: up something that you're gonna hate, but you know that

657
00:37:49,360 --> 00:37:51,839
Speaker 1: I'm gonna bring it up. When you were doing going

658
00:37:51,960 --> 00:37:58,640
Speaker 1: my way in style. I auditioned for the bank or

659
00:37:58,680 --> 00:38:01,320
Speaker 1: at the beginning, and I did not have and I

660
00:38:01,360 --> 00:38:03,360
Speaker 1: only went on tape and I did not have. I

661
00:38:03,560 --> 00:38:08,640
Speaker 1: remember not being not feeling good about it. I remember it,

662
00:38:09,160 --> 00:38:12,440
Speaker 1: and I, of course you care whether or not to

663
00:38:12,480 --> 00:38:15,400
Speaker 1: get it. I think I requested you come in for it. Okay,

664
00:38:15,480 --> 00:38:18,960
Speaker 1: good being what I wanted to do. Let's not get

665
00:38:19,040 --> 00:38:22,680
Speaker 1: the role I wanted to do. I wanted to impress Zack.

666
00:38:23,320 --> 00:38:26,560
Speaker 1: Oh my god, that's what I wanted to do. Now,

667
00:38:26,680 --> 00:38:29,080
Speaker 1: the guy you hired happened to be a friend of mine,

668
00:38:30,040 --> 00:38:34,680
Speaker 1: and he's great. Yeah, it's wonderful. Uh And I you

669
00:38:34,920 --> 00:38:37,240
Speaker 1: your mind not getting a role? Oh yeah, yeah, it happens.

670
00:38:38,080 --> 00:38:42,160
Speaker 1: But that that was my mindset, and it could have

671
00:38:42,239 --> 00:38:44,839
Speaker 1: gotten in my way of doing a good job. Well,

672
00:38:44,840 --> 00:38:47,080
Speaker 1: I got to say that. What I think is, I

673
00:38:47,160 --> 00:38:49,640
Speaker 1: recall I asked you to come in because I literally

674
00:38:50,320 --> 00:38:53,160
Speaker 1: when I when I'm casting something ill and it's a

675
00:38:53,440 --> 00:38:55,800
Speaker 1: particularly a funny part, I'm like, well, who are the

676
00:38:55,920 --> 00:38:59,080
Speaker 1: funny people that I like working with? I agree, I agree,

677
00:38:59,120 --> 00:39:01,920
Speaker 1: and you're at the top of that list. Um, and uh,

678
00:39:02,400 --> 00:39:06,160
Speaker 1: but yeah, I I I I I really like and

679
00:39:06,280 --> 00:39:09,920
Speaker 1: I'm sure there's a lot of actors listening. Who who who?

680
00:39:10,200 --> 00:39:13,000
Speaker 1: This is? This is really useful advice. The audition process.

681
00:39:13,239 --> 00:39:15,080
Speaker 1: We've all been groomed our whole lives to be like

682
00:39:15,400 --> 00:39:17,200
Speaker 1: and we do it. Oh shit, I'm nervous. Oh shit,

683
00:39:17,320 --> 00:39:20,040
Speaker 1: come on, please, come on, God, come on, Universe, give this.

684
00:39:20,560 --> 00:39:22,880
Speaker 1: But it really comes down to not walking in that

685
00:39:23,040 --> 00:39:26,160
Speaker 1: room terrified, walking in that room with your shoulders back going. Guys,

686
00:39:26,600 --> 00:39:28,759
Speaker 1: let me let me help you. I'm here to do this.

687
00:39:28,920 --> 00:39:31,640
Speaker 1: Let me help you. I'm not necessarily saying that you

688
00:39:31,760 --> 00:39:34,759
Speaker 1: can't say no, no performance it. Let's just be clear,

689
00:39:35,520 --> 00:39:38,520
Speaker 1: just through the performance. Yes, yes, actors, please don't walk

690
00:39:38,560 --> 00:39:41,360
Speaker 1: in the room and say you're looking. I'm here. You

691
00:39:41,440 --> 00:39:43,840
Speaker 1: don't say it out loud, you go, you don't say hey, fuckers,

692
00:39:44,080 --> 00:39:50,759
Speaker 1: you better cast as well. Let's this is a good

693
00:39:50,840 --> 00:39:54,440
Speaker 1: segue into can you tell us about Spince your audition

694
00:39:54,520 --> 00:39:56,680
Speaker 1: for Spin City and and and and Bill and how

695
00:39:56,719 --> 00:40:00,080
Speaker 1: all that went? I got a great story this This

696
00:40:00,400 --> 00:40:03,040
Speaker 1: will take about five minutes. Great story you can you

697
00:40:03,120 --> 00:40:06,000
Speaker 1: can take an hour. Go ahead, tea time. He's got

698
00:40:06,040 --> 00:40:09,640
Speaker 1: a tea time. Yes, but we're talking about me, so

699
00:40:09,760 --> 00:40:12,759
Speaker 1: I guess I have a lot only I only play

700
00:40:12,800 --> 00:40:17,400
Speaker 1: eight homes if I can keep talking about me, tell

701
00:40:17,520 --> 00:40:21,319
Speaker 1: me how good I am. Richard Richard, Richard only as

702
00:40:21,320 --> 00:40:23,680
Speaker 1: a tea time, if we talk about things unrelated to him,

703
00:40:26,239 --> 00:40:31,120
Speaker 1: all right, So, h Gary David Goldberg had a show

704
00:40:31,200 --> 00:40:34,520
Speaker 1: called Champs. It was about it was sort of like

705
00:40:34,600 --> 00:40:36,840
Speaker 1: that Champions to Sason, it was it was sort of

706
00:40:36,880 --> 00:40:39,719
Speaker 1: based on his life. It was one coach and five

707
00:40:39,800 --> 00:40:43,279
Speaker 1: guys who were best friends, of which Gary does have

708
00:40:43,480 --> 00:40:46,320
Speaker 1: that life. He had his best friends who were a

709
00:40:46,400 --> 00:40:49,840
Speaker 1: basketball team from when he was in high school. So

710
00:40:49,960 --> 00:40:54,080
Speaker 1: he made a sitcom about that club, Champs, and I

711
00:40:54,200 --> 00:40:57,680
Speaker 1: wanted to read for him, and Gary said, he's not right.

712
00:40:58,080 --> 00:41:00,759
Speaker 1: He goes, I know Richard kind, I know him from

713
00:41:00,880 --> 00:41:03,359
Speaker 1: man about He's not right for it, and I'm going

714
00:41:03,680 --> 00:41:06,960
Speaker 1: I just let me read. He would not see me.

715
00:41:08,560 --> 00:41:12,840
Speaker 1: That show went the way of most shows, like one season.

716
00:41:13,920 --> 00:41:20,360
Speaker 1: Then he had Spin City and he didn't want to

717
00:41:20,400 --> 00:41:24,680
Speaker 1: see me, and we called the casting director, and the

718
00:41:24,800 --> 00:41:28,880
Speaker 1: casting director spoke to Bill Lawrence and Bill wanted to

719
00:41:28,920 --> 00:41:31,800
Speaker 1: see me, and I said, let me go in and

720
00:41:31,920 --> 00:41:35,120
Speaker 1: see the casting director first so that I can practice

721
00:41:35,200 --> 00:41:37,000
Speaker 1: and see it because Gary doesn't want to see me.

722
00:41:37,200 --> 00:41:39,359
Speaker 1: And Gary says, Oh, I know. I know Richard Kind

723
00:41:39,480 --> 00:41:42,279
Speaker 1: from Man About You, and he's great. He's great, He's

724
00:41:42,280 --> 00:41:44,880
Speaker 1: not right for the role. Gary didn't want to see me.

725
00:41:45,200 --> 00:41:48,560
Speaker 1: Bill did. I had a handle on this part. The

726
00:41:48,719 --> 00:41:51,759
Speaker 1: only thing that would have not gone it for me

727
00:41:51,920 --> 00:41:53,839
Speaker 1: is because I was too tall from Michael J. Fox,

728
00:41:54,640 --> 00:41:58,080
Speaker 1: or I might have been too Jewish ethnic New York

729
00:41:58,160 --> 00:42:02,560
Speaker 1: City for whatever. But otherwise, if they called me back,

730
00:42:03,960 --> 00:42:07,239
Speaker 1: the role is mine. So I wanted to go into

731
00:42:07,320 --> 00:42:11,759
Speaker 1: the casting director and then I went into uh the

732
00:42:13,080 --> 00:42:16,239
Speaker 1: to read for Bill and for Gary, and indeed I

733
00:42:16,480 --> 00:42:19,520
Speaker 1: was called back, and I literally said to myself, if

734
00:42:19,560 --> 00:42:23,520
Speaker 1: they called me back, this role is mine. Okay, I

735
00:42:23,920 --> 00:42:28,400
Speaker 1: have to go in to meet with Michael. Cut back

736
00:42:28,800 --> 00:42:33,000
Speaker 1: years before when I was at Second City, Michael J.

737
00:42:33,239 --> 00:42:36,719
Speaker 1: Fox came to Second City was doing the movie Satisfaction.

738
00:42:36,960 --> 00:42:38,560
Speaker 1: Let me just for those that don't For those that

739
00:42:38,640 --> 00:42:41,520
Speaker 1: don't know, Second Cities an improv group. Go ahead, right

740
00:42:41,840 --> 00:42:44,279
Speaker 1: and H and I was part of the company, and

741
00:42:44,680 --> 00:42:47,560
Speaker 1: whenever somebody famous was in the audience, we would invite

742
00:42:47,600 --> 00:42:50,200
Speaker 1: them to improvise with us, which we did with Michael.

743
00:42:50,840 --> 00:42:54,279
Speaker 1: So Michael and Robin Duke are doing a scene. There

744
00:42:54,440 --> 00:42:57,239
Speaker 1: was obviously he was the son, she was the mother.

745
00:42:58,200 --> 00:43:00,920
Speaker 1: It's obvious. If I opened the door and I say, honey,

746
00:43:01,000 --> 00:43:05,480
Speaker 1: i'm home, I'm the father and I belong there. So

747
00:43:05,680 --> 00:43:09,400
Speaker 1: I come into the scene with honey, I'm home. And

748
00:43:09,680 --> 00:43:18,320
Speaker 1: Michael bounded one, two, three and jumped into like this,

749
00:43:20,440 --> 00:43:24,400
Speaker 1: I mean, off the floor into my arms. Now a

750
00:43:24,480 --> 00:43:28,840
Speaker 1: couple of things. I'm strong, but I'm not that strong.

751
00:43:30,880 --> 00:43:36,920
Speaker 1: Michael J. Fox is so light that anybody's strong. And

752
00:43:37,520 --> 00:43:41,360
Speaker 1: he clumped on to me like David Letterman did with

753
00:43:41,480 --> 00:43:45,359
Speaker 1: self pro Do you remember when he did that? Two?

754
00:43:46,400 --> 00:43:49,800
Speaker 1: And Michael did that and he hung on like that

755
00:43:50,520 --> 00:43:54,040
Speaker 1: when I tell you, and you've got to understand how

756
00:43:54,200 --> 00:43:59,600
Speaker 1: long time is. There was a forty five second last

757
00:44:03,200 --> 00:44:05,720
Speaker 1: and it wasn't that. It was that. It was Michael

758
00:44:06,040 --> 00:44:10,719
Speaker 1: was so athletic and agile and knew the laugh and

759
00:44:10,960 --> 00:44:14,440
Speaker 1: he just hung on and I walked around with him.

760
00:44:16,440 --> 00:44:19,680
Speaker 1: I'm telling you, like a moudience, like a monkey. Yeah,

761
00:44:19,960 --> 00:44:23,120
Speaker 1: they were dying. It is a laugh. I will always

762
00:44:23,160 --> 00:44:26,080
Speaker 1: remember it in my head. It's like a movie. I

763
00:44:26,160 --> 00:44:30,879
Speaker 1: can see what it looks like. Memorable. Before I went

764
00:44:30,920 --> 00:44:33,880
Speaker 1: into the audition. Cut to today, okay, to the audition

765
00:44:33,960 --> 00:44:38,720
Speaker 1: for Spin City and sometimes I don't have a therapist anymore,

766
00:44:38,760 --> 00:44:40,719
Speaker 1: but at the time I had a therapist, and it

767
00:44:40,840 --> 00:44:42,719
Speaker 1: was a good luck thing that I go and see

768
00:44:42,760 --> 00:44:45,960
Speaker 1: my therapist sometime before I had the audition, and it

769
00:44:46,000 --> 00:44:48,080
Speaker 1: would loosen me up, it would make me feel alive

770
00:44:48,239 --> 00:44:50,520
Speaker 1: or whatever. So I go in and I say, I

771
00:44:50,640 --> 00:44:53,440
Speaker 1: tell him the story. And I say, should I bring

772
00:44:53,520 --> 00:44:57,120
Speaker 1: it up? And my therapist goes, absolutely, if it was

773
00:44:57,239 --> 00:45:01,560
Speaker 1: that memorable, absolutely bring it up. I go in, I

774
00:45:01,719 --> 00:45:03,960
Speaker 1: meet Michael, and I say, I've got to tell you.

775
00:45:04,160 --> 00:45:08,600
Speaker 1: You may not we've met before. I was on stage

776
00:45:09,120 --> 00:45:11,759
Speaker 1: at Second City and we did this, and this is

777
00:45:11,800 --> 00:45:14,680
Speaker 1: what Michael said, and he's given me permission to tell

778
00:45:14,800 --> 00:45:20,040
Speaker 1: the story. He goes, I'm sorry, I don't remember it

779
00:45:20,680 --> 00:45:24,440
Speaker 1: because I was so drunken high during that point in

780
00:45:24,520 --> 00:45:29,600
Speaker 1: my life. I don't even remember doing Satisfaction. Why God,

781
00:45:29,880 --> 00:45:33,040
Speaker 1: he did not remember being at Second City, he didn't

782
00:45:33,080 --> 00:45:36,560
Speaker 1: remember being in Chicago. He had no memory of really

783
00:45:36,680 --> 00:45:40,920
Speaker 1: doing the movie. Isn't that amazing? Oh my god, I know,

784
00:45:41,280 --> 00:45:44,440
Speaker 1: isn't that isn't that sessing one of the biggest It's

785
00:45:44,480 --> 00:45:47,439
Speaker 1: crazy that one of the biggest moments in your life,

786
00:45:47,719 --> 00:45:51,360
Speaker 1: one of the moments that ye a memorable left. He

787
00:45:51,480 --> 00:45:54,600
Speaker 1: has no clue, no clue. He has no memory of

788
00:45:54,760 --> 00:45:58,520
Speaker 1: leaping on, leaping onto one of the improv comedians. He

789
00:45:58,600 --> 00:46:02,560
Speaker 1: has no memory of leaping on, holding on, keeping on. However,

790
00:46:02,840 --> 00:46:06,840
Speaker 1: this is something I then remember about the audition. This

791
00:46:07,000 --> 00:46:10,920
Speaker 1: is something I clearly remember, is I had a They

792
00:46:11,000 --> 00:46:15,720
Speaker 1: wrote a Bill Lawrence. As you know, as everybody who's listening,

793
00:46:16,239 --> 00:46:21,440
Speaker 1: Bill Lawrence is a fucking genius. He works very hard

794
00:46:21,719 --> 00:46:25,440
Speaker 1: at being a genius, and sometimes he works to the

795
00:46:25,600 --> 00:46:29,840
Speaker 1: last minute at being a genius. But nonetheless he is

796
00:46:29,920 --> 00:46:33,239
Speaker 1: a genius at what he has chosen to do. Yes,

797
00:46:33,800 --> 00:46:38,920
Speaker 1: he's he makes things accessible, funny, weird, and let me

798
00:46:38,960 --> 00:46:43,520
Speaker 1: get to that a little later. But I remember doing

799
00:46:43,560 --> 00:46:46,879
Speaker 1: the scene and he wrote such a brilliant funny line.

800
00:46:47,080 --> 00:46:50,439
Speaker 1: Because he was a great writer. Gary was a great

801
00:46:50,480 --> 00:46:53,680
Speaker 1: show runner. Not necessarily he was a great captain. He

802
00:46:53,840 --> 00:46:56,800
Speaker 1: was not necessarily as great a writer as some of

803
00:46:56,840 --> 00:46:58,600
Speaker 1: the product that he put out. But when you have

804
00:46:58,960 --> 00:47:02,120
Speaker 1: a genius like Bill Lawrence, you can get it. And

805
00:47:02,320 --> 00:47:06,160
Speaker 1: Gary was able to teach things to build and generate

806
00:47:06,600 --> 00:47:10,359
Speaker 1: things that build not only learn, but cultivated and made

807
00:47:10,440 --> 00:47:15,720
Speaker 1: blossom even more. But that I had one hilariously funny

808
00:47:15,800 --> 00:47:19,560
Speaker 1: line that I read and Michael J. Fox took. I

809
00:47:19,880 --> 00:47:21,279
Speaker 1: wonder if I can do it. I don't think I'm

810
00:47:21,280 --> 00:47:23,800
Speaker 1: met late anymore. And this chair's gonna gonna roll. He

811
00:47:24,120 --> 00:47:27,160
Speaker 1: jumped in the air like this and just landed. He

812
00:47:27,400 --> 00:47:32,439
Speaker 1: jumped in the air with laughter and landed on the chair.

813
00:47:32,880 --> 00:47:35,400
Speaker 1: He laughed that hard at my delivery. And I have

814
00:47:35,560 --> 00:47:38,520
Speaker 1: to admit I walked out of there going the part

815
00:47:38,640 --> 00:47:44,480
Speaker 1: is mine, Yeah, part, It's mine. We we we. Donald

816
00:47:44,480 --> 00:47:47,479
Speaker 1: and I have spoken about his timing, uh, Michael J. Fox.

817
00:47:47,560 --> 00:47:50,000
Speaker 1: I mean I grew up watching family ties and I

818
00:47:50,080 --> 00:47:54,480
Speaker 1: didn't know how to analyze comedy or or anything about

819
00:47:54,560 --> 00:47:57,000
Speaker 1: it at a young age. But I just knew that

820
00:47:57,600 --> 00:48:02,000
Speaker 1: he was doing something unique. Is his timing that was

821
00:48:02,239 --> 00:48:05,359
Speaker 1: so special. And Bill has said to us that no one,

822
00:48:06,040 --> 00:48:09,360
Speaker 1: no one could hold the pause and wait for the

823
00:48:09,480 --> 00:48:12,600
Speaker 1: laugh better than Mike Fox. He he just knew. It's

824
00:48:12,600 --> 00:48:15,200
Speaker 1: like you watch those teenage girls playing double Dutch and

825
00:48:15,440 --> 00:48:17,920
Speaker 1: how they know just when to go in. Like Michael J.

826
00:48:18,040 --> 00:48:20,920
Speaker 1: Fox was just so skilled at just the right amount

827
00:48:20,920 --> 00:48:22,960
Speaker 1: of pause right he was. I'm gonna tell you. I'll

828
00:48:22,960 --> 00:48:27,560
Speaker 1: tell you two things. Number One, I heard Carl Reiner,

829
00:48:27,680 --> 00:48:34,399
Speaker 1: interviewed by Bob Costas and Carl Reyner said sitcoms were

830
00:48:34,520 --> 00:48:39,800
Speaker 1: written by Jews to be acted by non Jews, and

831
00:48:40,120 --> 00:48:44,600
Speaker 1: Michael J. Fox has the rhythm of a Borsbolt comedian.

832
00:48:46,760 --> 00:49:04,000
Speaker 1: Michael great, great talent. He has that rhythm. And now

833
00:49:04,040 --> 00:49:06,000
Speaker 1: I'm going to tell you something else. This is sour

834
00:49:06,080 --> 00:49:11,320
Speaker 1: grapes a little bit. Michael could hold for the for that,

835
00:49:11,520 --> 00:49:14,760
Speaker 1: he could take a line and make it three lines,

836
00:49:15,800 --> 00:49:17,879
Speaker 1: and the camera would always be on him because he's

837
00:49:17,920 --> 00:49:20,319
Speaker 1: Michael J. Fox and he's the star of the show.

838
00:49:21,560 --> 00:49:24,920
Speaker 1: If we tried to do it, Gary would edit it

839
00:49:25,120 --> 00:49:28,000
Speaker 1: and it would all be compressed because we're not the star,

840
00:49:28,480 --> 00:49:32,160
Speaker 1: and you just gotta understand you're not the star. But

841
00:49:32,440 --> 00:49:36,160
Speaker 1: I would, well, maybe I couldn't do what he did because,

842
00:49:36,320 --> 00:49:40,200
Speaker 1: quite honestly, what he did something I've done this with Michael,

843
00:49:40,600 --> 00:49:43,880
Speaker 1: and I've done this with Christopher Walkin. I have acted

844
00:49:43,960 --> 00:49:50,320
Speaker 1: with them, and as they're talking, in my head, I'm going, really,

845
00:49:50,640 --> 00:49:54,160
Speaker 1: that's how you're going to deliver the line? Really you,

846
00:49:56,400 --> 00:49:59,719
Speaker 1: that's your choice. That's what you want to say and

847
00:50:00,000 --> 00:50:02,200
Speaker 1: how you want to say. All right, that's im that's

848
00:50:02,239 --> 00:50:04,360
Speaker 1: going on in my head. And I would do that

849
00:50:04,840 --> 00:50:07,239
Speaker 1: with Michael And I was lucky enough to act with

850
00:50:07,360 --> 00:50:11,040
Speaker 1: Christopher Walking and I see them on screen and it

851
00:50:11,160 --> 00:50:16,719
Speaker 1: takes your breath away. They know what they're doing. Yeah, yeah,

852
00:50:16,800 --> 00:50:20,520
Speaker 1: they're they're magnetic. And Michael okay, and here's something different.

853
00:50:20,560 --> 00:50:22,520
Speaker 1: I was also lucky enough to do a series with

854
00:50:22,680 --> 00:50:28,080
Speaker 1: Carol Burnett. And there was a difference between the expertise

855
00:50:28,560 --> 00:50:31,400
Speaker 1: of Carol Burnett and Michael J. Fox, who are of

856
00:50:31,520 --> 00:50:36,799
Speaker 1: course the greatest who have ever taken the screen on TV.

857
00:50:37,800 --> 00:50:41,880
Speaker 1: Michael J. Fox played for the camera but needed the

858
00:50:42,040 --> 00:50:46,759
Speaker 1: audience to get his timing, to know, to hear, to

859
00:50:47,040 --> 00:50:50,200
Speaker 1: get the whole milieu of the comedy. Otherwise it's a

860
00:50:50,280 --> 00:50:53,800
Speaker 1: straight out drama, you know, you deliver it seriously. But

861
00:50:53,920 --> 00:50:58,480
Speaker 1: he was able to play that last. Carol Burnett played

862
00:50:58,560 --> 00:51:01,160
Speaker 1: to the back of the house, but knew that the

863
00:51:01,280 --> 00:51:04,600
Speaker 1: camera was capturing her. She needed the audience. That's who

864
00:51:04,680 --> 00:51:07,879
Speaker 1: she really played too, And the camera caught her right.

865
00:51:08,040 --> 00:51:12,440
Speaker 1: And that was the difference I as an actor and

866
00:51:12,600 --> 00:51:15,880
Speaker 1: more like and more like Michael J. Fox, I have

867
00:51:15,960 --> 00:51:19,759
Speaker 1: a hard time with and and and it's and it's

868
00:51:19,880 --> 00:51:22,319
Speaker 1: worked for me, and it's worked against me. It's worked

869
00:51:22,320 --> 00:51:24,440
Speaker 1: against me to the point where I've been fired before

870
00:51:24,840 --> 00:51:28,719
Speaker 1: because I was playing for I needed the audience and

871
00:51:28,760 --> 00:51:31,200
Speaker 1: I needed the timing for it to work. But then

872
00:51:31,760 --> 00:51:34,759
Speaker 1: I've also been on shows. I've also I've been on

873
00:51:34,840 --> 00:51:39,399
Speaker 1: a sitcom net lasted for five seasons, and I had

874
00:51:39,440 --> 00:51:41,680
Speaker 1: an actress tell me one day, she was like, you know,

875
00:51:42,400 --> 00:51:46,160
Speaker 1: I thought you were gonna blow it until the audience

876
00:51:46,239 --> 00:51:48,720
Speaker 1: got in, and then you turned it into something different.

877
00:51:49,200 --> 00:51:52,360
Speaker 1: I can't do it without the audience if you're not

878
00:51:52,400 --> 00:51:54,480
Speaker 1: gonna laugh, if you're not gonna give me the rhythm.

879
00:51:54,600 --> 00:51:56,919
Speaker 1: And I think that's what's great about Bill, because Bill

880
00:51:57,080 --> 00:51:59,759
Speaker 1: at the audition for Scrubs would give you the laugh.

881
00:52:00,080 --> 00:52:03,400
Speaker 1: He helped you create the rhythm in the audition. You

882
00:52:03,400 --> 00:52:05,400
Speaker 1: know what I mean? And so I have I have,

883
00:52:05,640 --> 00:52:07,840
Speaker 1: I know exactly what you're talking about. I have. I

884
00:52:07,960 --> 00:52:10,799
Speaker 1: have a hard time. I appreciate people that are more

885
00:52:10,880 --> 00:52:13,720
Speaker 1: like Bill because of that, Bill and Mike a perfet

886
00:52:13,800 --> 00:52:16,239
Speaker 1: for each other. If that's yes, they are, I call

887
00:52:16,280 --> 00:52:19,560
Speaker 1: it you ride the laugh, Yeah right. It gives you

888
00:52:19,680 --> 00:52:21,840
Speaker 1: a breath, It gives you a way to get to

889
00:52:21,920 --> 00:52:25,520
Speaker 1: the next sentence or or though. And as Michael could do,

890
00:52:25,640 --> 00:52:28,279
Speaker 1: he could either hold it or in my situation and

891
00:52:28,360 --> 00:52:32,120
Speaker 1: you make a face. Yeah, you're riding the laugh. I

892
00:52:32,160 --> 00:52:35,160
Speaker 1: feel like about to say something, but but you're holding

893
00:52:35,239 --> 00:52:37,440
Speaker 1: for the laughs. Yeah. I feel like Michael J. Fox

894
00:52:37,560 --> 00:52:39,200
Speaker 1: would do this thing where he would almost start to

895
00:52:40,480 --> 00:52:43,600
Speaker 1: like nod like he was he was, he was nodding

896
00:52:43,640 --> 00:52:46,000
Speaker 1: along with the laugh and the audience was was him.

897
00:52:46,040 --> 00:52:49,560
Speaker 1: They were in and I forgot what the I forgot

898
00:52:49,600 --> 00:52:51,479
Speaker 1: what the example Bill told us was. It was something

899
00:52:51,560 --> 00:52:54,080
Speaker 1: like shaven, a haircut, two bits or whatever it was,

900
00:52:54,239 --> 00:52:56,960
Speaker 1: but the audience knew what the two bits of it

901
00:52:57,040 --> 00:53:00,480
Speaker 1: all was. Absolutely, that's the easiest thing. And and Michael

902
00:53:00,520 --> 00:53:03,080
Speaker 1: Fox would would would just kind of nod with them,

903
00:53:03,239 --> 00:53:05,799
Speaker 1: let them laugh, let them get ahead of it. Then

904
00:53:06,040 --> 00:53:08,640
Speaker 1: then just pause even longer so they're like, when is

905
00:53:08,640 --> 00:53:09,920
Speaker 1: he gonna do it? What is he gonna do it?

906
00:53:10,160 --> 00:53:11,799
Speaker 1: And then just say and then he would just say

907
00:53:11,840 --> 00:53:15,200
Speaker 1: it and they would guffaw. Absolutely, And that is a

908
00:53:15,440 --> 00:53:20,160
Speaker 1: very that is a comforting thing, and the audience is

909
00:53:20,280 --> 00:53:27,560
Speaker 1: relieved that they were delivered by such a waiter. It's

910
00:53:27,880 --> 00:53:30,040
Speaker 1: it's the it is the greatest. It's you love them,

911
00:53:30,160 --> 00:53:32,880
Speaker 1: do you love I gotta tell you one other thing.

912
00:53:32,920 --> 00:53:38,200
Speaker 1: A lot of times because of Michael's impairment, which we

913
00:53:38,280 --> 00:53:42,040
Speaker 1: didn't even know about until the last year. But Michael

914
00:53:42,040 --> 00:53:45,160
Speaker 1: couldn't have a long evening on Friday nights taping in

915
00:53:45,239 --> 00:53:47,800
Speaker 1: front of the audience. So in order to make it shorter,

916
00:53:50,000 --> 00:53:54,200
Speaker 1: all of the extraneous that's the wrong word. All of

917
00:53:54,239 --> 00:53:58,520
Speaker 1: the supporting cast, they had scenes. We would do their

918
00:53:58,640 --> 00:54:02,000
Speaker 1: scenes and they were in swing sets in the back,

919
00:54:02,640 --> 00:54:04,120
Speaker 1: so they were not in front of the audience. They

920
00:54:04,160 --> 00:54:06,319
Speaker 1: would have just been shown on TV, just paused there

921
00:54:06,400 --> 00:54:08,160
Speaker 1: for the audience. Swing sets or sets that if you're

922
00:54:08,200 --> 00:54:10,640
Speaker 1: doing a sitcom, aren't right in front of the audience there.

923
00:54:10,719 --> 00:54:12,600
Speaker 1: They may be out of out of the audience's view.

924
00:54:12,800 --> 00:54:15,520
Speaker 1: Right right, the audience is seeing it live, but not

925
00:54:15,760 --> 00:54:18,920
Speaker 1: with their they're seeing it live on a screen, but

926
00:54:19,080 --> 00:54:21,520
Speaker 1: but not in front. Most of Michael's stuff was done

927
00:54:21,920 --> 00:54:23,880
Speaker 1: in front of an audience, even if it was on

928
00:54:23,960 --> 00:54:29,560
Speaker 1: a swing set, because that's what Michael wanted so in

929
00:54:29,719 --> 00:54:32,560
Speaker 1: order to get and I was in either the B

930
00:54:32,920 --> 00:54:36,320
Speaker 1: or sometimes I was usually a C story that was

931
00:54:36,400 --> 00:54:39,440
Speaker 1: all about me, but just took a few pages. But

932
00:54:40,000 --> 00:54:42,399
Speaker 1: I did not get the audience, so I didn't hear

933
00:54:42,480 --> 00:54:45,040
Speaker 1: that laugh. And I couldn't write it, but when I

934
00:54:45,120 --> 00:54:46,960
Speaker 1: was in front of an audience, I of course was

935
00:54:47,080 --> 00:54:51,240
Speaker 1: much better as But those are some of the things

936
00:54:51,640 --> 00:54:55,239
Speaker 1: that the people don't know. But it's absolutely fair. I

937
00:54:55,600 --> 00:54:59,160
Speaker 1: over the years, and you're gonna you're gonna say, oh no, no, Richard, No,

938
00:54:59,600 --> 00:55:03,520
Speaker 1: I do four cameras sitcom nearly as well as I

939
00:55:03,640 --> 00:55:06,800
Speaker 1: got to. I'm a much better actor now and therefore

940
00:55:06,960 --> 00:55:09,680
Speaker 1: to be big on four camera, which you really have

941
00:55:09,840 --> 00:55:12,280
Speaker 1: to do, you have to. It's it's it's the greatest

942
00:55:12,320 --> 00:55:15,520
Speaker 1: amountum of theater and TV. I'm not nearly as good.

943
00:55:15,840 --> 00:55:19,400
Speaker 1: So do you know by choice or by by choice?

944
00:55:19,480 --> 00:55:22,200
Speaker 1: I can't do it anymore. It's not by choice. I

945
00:55:22,320 --> 00:55:25,720
Speaker 1: am a better actor on single camera. I prefer single camera,

946
00:55:25,880 --> 00:55:28,680
Speaker 1: meaning not four cameras going at once. You do almost

947
00:55:28,680 --> 00:55:32,239
Speaker 1: seem it's for the audience. It's it's one camera. They've

948
00:55:32,280 --> 00:55:36,080
Speaker 1: lit it all up. And which is how uh Scrubs

949
00:55:36,120 --> 00:55:40,200
Speaker 1: has done? You know, for those who who want to know,

950
00:55:40,640 --> 00:55:43,600
Speaker 1: when you watch All in the Family, you watch Roseanne,

951
00:55:44,160 --> 00:55:47,080
Speaker 1: there is a different look of those shows versus when

952
00:55:47,120 --> 00:55:50,839
Speaker 1: you watch Scrubs. You can feel that difference of videotape

953
00:55:51,200 --> 00:55:54,600
Speaker 1: and and here the audience so that's, uh, that is

954
00:55:54,680 --> 00:55:56,800
Speaker 1: the difference. But you're very good at that, so you

955
00:55:57,080 --> 00:56:00,879
Speaker 1: you you wouldn't you know, if if from sitcom came

956
00:56:00,960 --> 00:56:02,800
Speaker 1: up in New York City, you would pass on it.

957
00:56:03,040 --> 00:56:05,719
Speaker 1: If a sitcom came up in La Dude, that's all

958
00:56:05,800 --> 00:56:11,359
Speaker 1: the golfing. Now, He's right. I'm just saying I am

959
00:56:11,440 --> 00:56:14,719
Speaker 1: not nearly as well. I want to say a depth.

960
00:56:15,080 --> 00:56:18,239
Speaker 1: I can't be as I suppose. I can't. You want something,

961
00:56:18,280 --> 00:56:23,920
Speaker 1: I'm wrong because I'm lately doing the Goldbergs. I'm huge

962
00:56:24,320 --> 00:56:27,480
Speaker 1: on the Goldbergs and that's single camera, that single Yeah,

963
00:56:27,840 --> 00:56:35,799
Speaker 1: I'm huge, and but the premise the character is written, right,

964
00:56:36,400 --> 00:56:43,120
Speaker 1: I'll serve it absolutely. Tim Hobart though, to me, is

965
00:56:43,160 --> 00:56:46,399
Speaker 1: Tim Hobart running the Goldbergs. What is Tim Hobart working

966
00:56:46,440 --> 00:56:48,080
Speaker 1: on the Goldbergs or running the Goldbergs? No, no, no.

967
00:56:48,400 --> 00:56:50,960
Speaker 1: Tim Hobert did that wonderful show The Middle. Yeah, he

968
00:56:51,080 --> 00:56:53,760
Speaker 1: ran the fiddle. And I came on as a guest,

969
00:56:54,560 --> 00:56:59,360
Speaker 1: and uh, Lee Salat Semmel, who I adore, came on

970
00:56:59,480 --> 00:57:02,040
Speaker 1: and wanted my character to be a little larger, and

971
00:57:02,080 --> 00:57:04,880
Speaker 1: I went, Lee, I don't do that anymore, and she

972
00:57:05,000 --> 00:57:09,400
Speaker 1: sort of said, I know, but do it. And so

973
00:57:09,600 --> 00:57:12,640
Speaker 1: I had I became larger for a single camera and

974
00:57:12,760 --> 00:57:16,560
Speaker 1: it didn't feel comfortable. The person I was acting opposite

975
00:57:17,400 --> 00:57:20,120
Speaker 1: was should be big. I should be small so that

976
00:57:20,320 --> 00:57:23,680
Speaker 1: she could be big. Now we were both big. Not

977
00:57:23,880 --> 00:57:27,240
Speaker 1: my cup of tea. But I know the genre, I

978
00:57:27,360 --> 00:57:29,280
Speaker 1: know what it had to be. I didn't want to

979
00:57:29,360 --> 00:57:31,240
Speaker 1: do it. I agree with I agree with you. You

980
00:57:31,320 --> 00:57:34,440
Speaker 1: can't the second if you if you watch Scrubs. Of

981
00:57:34,560 --> 00:57:36,920
Speaker 1: course there's times when we're for example, Don I are

982
00:57:36,960 --> 00:57:39,680
Speaker 1: both big, but usually we're riding a line where one

983
00:57:39,760 --> 00:57:42,160
Speaker 1: person has the license to be the water of the two,

984
00:57:42,560 --> 00:57:45,760
Speaker 1: because you can't because if it's it's it's if you're

985
00:57:45,800 --> 00:57:49,240
Speaker 1: both on that level, then it doesn't feels right. And John,

986
00:57:49,320 --> 00:57:56,760
Speaker 1: of course was written to be ridiculously outsized. You know

987
00:57:56,960 --> 00:58:01,280
Speaker 1: John McGinley, he was, He was see a huge with it,

988
00:58:01,360 --> 00:58:03,320
Speaker 1: even if it was smoke, it was, it was at

989
00:58:03,720 --> 00:58:06,320
Speaker 1: that huge, you know. Was he would that the medic

990
00:58:06,440 --> 00:58:12,200
Speaker 1: and uh, there are larger characters on the show, which

991
00:58:12,360 --> 00:58:17,320
Speaker 1: made your show so wonderful, And there are enormous situations

992
00:58:17,760 --> 00:58:21,640
Speaker 1: where if you treat it realistically, they are that much funnier.

993
00:58:21,760 --> 00:58:25,280
Speaker 1: So sometimes you're acting with uh, with with the script,

994
00:58:26,000 --> 00:58:29,880
Speaker 1: but but I always thought that the audience was the

995
00:58:30,280 --> 00:58:33,680
Speaker 1: third member of the scene. Yeah, and you do that

996
00:58:33,840 --> 00:58:36,400
Speaker 1: with in theater, and you do that in sitcoms in

997
00:58:36,520 --> 00:58:40,200
Speaker 1: four camera, but you don't do it on scrubs. I've never,

998
00:58:40,320 --> 00:58:42,760
Speaker 1: I've never. I've done guest spots on the sitcoms. I

999
00:58:43,280 --> 00:58:45,400
Speaker 1: did Donald's and I and we did we did a

1000
00:58:45,440 --> 00:58:48,600
Speaker 1: spoof of one on the show Scrubs. But I I've

1001
00:58:48,640 --> 00:58:53,240
Speaker 1: never done it. I think that I would, the theater

1002
00:58:53,560 --> 00:58:55,360
Speaker 1: guy in me would would probably have a lot of

1003
00:58:55,400 --> 00:58:58,800
Speaker 1: fun doing it. It's a lot of fun. It's a

1004
00:58:58,880 --> 00:59:01,960
Speaker 1: lot of fun. This is my experience with it. It's

1005
00:59:02,000 --> 00:59:04,480
Speaker 1: a lot of fun. On show night. I can't sleep

1006
00:59:04,560 --> 00:59:11,400
Speaker 1: after a show. But that's what theater is, right right,

1007
00:59:11,760 --> 00:59:14,480
Speaker 1: every actor goes out and has a drink or two

1008
00:59:15,080 --> 00:59:18,120
Speaker 1: after because who goes home from work after having all

1009
00:59:18,160 --> 00:59:20,360
Speaker 1: of this energy? You just don't go and you know

1010
00:59:20,480 --> 00:59:23,240
Speaker 1: what it's it's it's ten thirty. I'll go home and

1011
00:59:23,320 --> 00:59:25,640
Speaker 1: go to sleep. You don't, right, you go out and

1012
00:59:25,720 --> 00:59:27,440
Speaker 1: you have to let you have to let off steam

1013
00:59:27,720 --> 00:59:31,120
Speaker 1: after a day's work. Even even after even after the

1014
00:59:31,320 --> 00:59:33,520
Speaker 1: drink and I got home, I was still like it

1015
00:59:33,640 --> 00:59:38,080
Speaker 1: was still still up. But the thing about about theater

1016
00:59:38,320 --> 00:59:43,280
Speaker 1: is it is a person's life compressed into two and

1017
00:59:43,360 --> 00:59:46,160
Speaker 1: a half hours. I call it a little piece of shampoo.

1018
00:59:47,240 --> 00:59:49,760
Speaker 1: It's this much, it's two and a half hours, but

1019
00:59:49,920 --> 00:59:51,960
Speaker 1: to rub it and all of a sudden, it's just

1020
00:59:52,120 --> 00:59:54,800
Speaker 1: all of this ladder. It's it's huge, all in this

1021
00:59:55,280 --> 00:59:58,640
Speaker 1: little dot, and it's it's. Uh. It takes a lot

1022
00:59:58,720 --> 01:00:01,280
Speaker 1: to come down. And when you do a show, you

1023
01:00:01,440 --> 01:00:04,560
Speaker 1: are on indortinate energy. But I got to ask you,

1024
01:00:05,000 --> 01:00:06,960
Speaker 1: I got to ask you this, man, When you do

1025
01:00:07,160 --> 01:00:09,160
Speaker 1: plays and stuff like that, don't you find that more

1026
01:00:09,280 --> 01:00:13,360
Speaker 1: gratifying than doing fulfilling, I should say, than doing movies

1027
01:00:13,480 --> 01:00:16,000
Speaker 1: and TV and stuff like that. Like I cry at

1028
01:00:16,040 --> 01:00:18,040
Speaker 1: the end when I'm done with a play. For some reason,

1029
01:00:18,120 --> 01:00:20,080
Speaker 1: I'm crying at the end of it. I don't feel

1030
01:00:20,120 --> 01:00:22,680
Speaker 1: that way necessarily when I'm doing TV shows or when

1031
01:00:22,720 --> 01:00:25,480
Speaker 1: I'm doing movies and stuff like that. But at the

1032
01:00:25,560 --> 01:00:27,600
Speaker 1: end of a play, it just feels like, holy cow,

1033
01:00:27,760 --> 01:00:35,080
Speaker 1: what a release. Bill Lawrence got very insulted properly about

1034
01:00:35,160 --> 01:00:37,840
Speaker 1: the story that I'm about to tell. And I didn't

1035
01:00:37,920 --> 01:00:41,040
Speaker 1: mean it this way, but I used to call TV

1036
01:00:41,960 --> 01:00:44,760
Speaker 1: was my waiter's job so that I could afford to

1037
01:00:44,880 --> 01:00:48,920
Speaker 1: do a play. Yeah, TV gave me the wherewithal the

1038
01:00:49,040 --> 01:00:53,440
Speaker 1: money to raise children, have a house, eat so that

1039
01:00:53,640 --> 01:00:56,360
Speaker 1: I could go and starve. Because no matter what play

1040
01:00:56,360 --> 01:00:58,720
Speaker 1: you're doing, even if you're the highest paid person on stage,

1041
01:00:59,120 --> 01:01:01,760
Speaker 1: you're not making them money that TV and movie pays.

1042
01:01:02,560 --> 01:01:05,440
Speaker 1: And so I said it's my waiter's job, and he

1043
01:01:05,680 --> 01:01:10,439
Speaker 1: took it like TV is a second rate job. It's

1044
01:01:10,520 --> 01:01:13,320
Speaker 1: not if you are lucky enough to be doing first

1045
01:01:13,400 --> 01:01:18,640
Speaker 1: rate material. Yeah, of course. However, however, I get more

1046
01:01:18,720 --> 01:01:24,720
Speaker 1: satisfaction doing plays. I am. I'm thrilled in the rehearsal,

1047
01:01:25,040 --> 01:01:26,720
Speaker 1: in fact, just doing I don't have to do a

1048
01:01:26,760 --> 01:01:29,880
Speaker 1: play for longer than a month. I like rehearsing better

1049
01:01:29,880 --> 01:01:32,080
Speaker 1: than doing the play. I agree. When I did when

1050
01:01:32,120 --> 01:01:35,320
Speaker 1: I did my six months run on Broadway and it ended,

1051
01:01:35,360 --> 01:01:37,840
Speaker 1: it was very sad, but I remember like collapsing on

1052
01:01:37,920 --> 01:01:41,360
Speaker 1: the ground, being like six months was plus. Yes, fine,

1053
01:01:41,520 --> 01:01:46,439
Speaker 1: I'm fine. This is it's flock. It's not the salt minds.

1054
01:01:46,600 --> 01:01:49,320
Speaker 1: And it's also like going to the gym. Uh you

1055
01:01:49,400 --> 01:01:51,560
Speaker 1: know how going getting to the gym, Oh my god,

1056
01:01:51,600 --> 01:01:54,920
Speaker 1: oh my god. But after the workout, you're happy you didn't. Yeah, yeah.

1057
01:01:55,320 --> 01:01:57,920
Speaker 1: Getting to the theater is oh Christ, this guy again,

1058
01:01:58,720 --> 01:02:01,800
Speaker 1: this life again, this show again. But then you do

1059
01:02:01,880 --> 01:02:04,440
Speaker 1: it and the show is over and you're happy. And

1060
01:02:04,600 --> 01:02:07,000
Speaker 1: the camaraderie nothing nothing, I think Donald, one of the

1061
01:02:07,040 --> 01:02:09,800
Speaker 1: reasons you're trying is that nothing, even nothing in film

1062
01:02:09,840 --> 01:02:12,520
Speaker 1: and TV matches the camaraderie of of doing a play

1063
01:02:12,600 --> 01:02:14,800
Speaker 1: with a group of people. Absolutely, absolutely, because you're on

1064
01:02:15,000 --> 01:02:18,560
Speaker 1: you're on the line together. Man, you're on it together together.

1065
01:02:19,040 --> 01:02:22,080
Speaker 1: One person falls, somebody has to pull that person back

1066
01:02:22,320 --> 01:02:24,080
Speaker 1: or the play is going to fall apart. Every it'll

1067
01:02:24,120 --> 01:02:25,920
Speaker 1: fall apart. And when I did Summer Stock when I

1068
01:02:26,000 --> 01:02:28,600
Speaker 1: was a kid, and we did like fourteen shows and

1069
01:02:28,680 --> 01:02:30,800
Speaker 1: fifteen weeks, it was it was huge and with the

1070
01:02:30,920 --> 01:02:33,120
Speaker 1: same cast. It was all a repertory company, and we

1071
01:02:34,160 --> 01:02:37,480
Speaker 1: were so close, and for a year or two we

1072
01:02:37,600 --> 01:02:41,680
Speaker 1: were so close. I've I don't keep in touch with

1073
01:02:41,800 --> 01:02:44,760
Speaker 1: one of them. But I'm telling you, I said, these

1074
01:02:44,920 --> 01:02:49,040
Speaker 1: people will be my friends for the rest of my life,

1075
01:02:49,760 --> 01:02:53,000
Speaker 1: and then they don't, and well, well sometimes they do.

1076
01:02:53,160 --> 01:02:54,720
Speaker 1: Sometimes I take that back. I don't. I don't know

1077
01:02:54,760 --> 01:02:57,280
Speaker 1: about the lie. I did a play at the Old

1078
01:02:57,360 --> 01:03:02,520
Speaker 1: Globe in uh In Sandy Diego Picasso at the Lapanage.

1079
01:03:02,720 --> 01:03:05,640
Speaker 1: It's a Steve Martin play, It's sure, and with with

1080
01:03:06,000 --> 01:03:11,120
Speaker 1: Joey No, I did it with Justin Long. With Justin Long,

1081
01:03:11,640 --> 01:03:14,640
Speaker 1: was Dan Pestelonetta in it? No, none of these people

1082
01:03:14,680 --> 01:03:18,600
Speaker 1: were in well then, I know nothing of what it

1083
01:03:18,800 --> 01:03:20,960
Speaker 1: was it was, but it was anyway. So we did

1084
01:03:21,040 --> 01:03:24,200
Speaker 1: a play there and I just remember thinking, well, I

1085
01:03:24,320 --> 01:03:26,320
Speaker 1: really like these guys. I hope we hang out after this,

1086
01:03:26,680 --> 01:03:28,760
Speaker 1: and we do. I still talk to these guys, you

1087
01:03:28,800 --> 01:03:31,440
Speaker 1: know what I mean. I still Justin and I we

1088
01:03:31,680 --> 01:03:34,480
Speaker 1: FaceTime every now and then, like, dare you I know,

1089
01:03:34,560 --> 01:03:36,200
Speaker 1: I know, I knew if I brought this up you

1090
01:03:36,240 --> 01:03:39,320
Speaker 1: would get upset. I want to hear about your relationship

1091
01:03:39,360 --> 01:03:42,680
Speaker 1: with Justin Long everybody. I'm still close with all the

1092
01:03:42,720 --> 01:03:45,520
Speaker 1: guys from City, and you are obviously close with all

1093
01:03:45,520 --> 01:03:48,280
Speaker 1: the guys from Scrubs. No personally of course. And I

1094
01:03:48,400 --> 01:03:50,800
Speaker 1: and I, you know, there's people from the Bullets Show

1095
01:03:50,800 --> 01:03:52,800
Speaker 1: and other shows that I that I you know, we

1096
01:03:52,880 --> 01:03:55,160
Speaker 1: don't see them that much, but we text and look,

1097
01:03:55,200 --> 01:03:56,960
Speaker 1: I have tea time. So we want to let you go.

1098
01:03:57,080 --> 01:03:59,880
Speaker 1: But I let you go, But but I will say

1099
01:04:00,160 --> 01:04:03,160
Speaker 1: and Uh I said this to you in a text

1100
01:04:03,240 --> 01:04:07,120
Speaker 1: or email. But uh, Zach, you are a great man.

1101
01:04:07,240 --> 01:04:09,760
Speaker 1: You're you're great at what you do. But I know

1102
01:04:10,080 --> 01:04:12,480
Speaker 1: the history that you had with your co star and

1103
01:04:12,680 --> 01:04:16,440
Speaker 1: you are great. You were a good good man. I'm

1104
01:04:16,480 --> 01:04:19,880
Speaker 1: talking about your co star in Bullets, Nick, and I'm

1105
01:04:19,920 --> 01:04:22,800
Speaker 1: well aware of your goodness and your kindness, and anybody

1106
01:04:22,840 --> 01:04:25,120
Speaker 1: wants to look it up. We won't talk because it's

1107
01:04:25,120 --> 01:04:28,760
Speaker 1: so serious, but you are a great man. Well, thank you, sir.

1108
01:04:28,880 --> 01:04:32,600
Speaker 1: All I've done is stand by um my friends, which

1109
01:04:32,640 --> 01:04:34,840
Speaker 1: I which I hope that we all would do. Um.

1110
01:04:35,000 --> 01:04:38,240
Speaker 1: We also, if someone we love is in is in need,

1111
01:04:38,360 --> 01:04:40,720
Speaker 1: that I think we all aspire to be the person

1112
01:04:40,760 --> 01:04:42,800
Speaker 1: that will show up. Yeah, listen, I want to I

1113
01:04:42,880 --> 01:04:45,960
Speaker 1: want to thank you, sir. We it is no smoke

1114
01:04:46,120 --> 01:04:49,760
Speaker 1: to say that we genuinely admire you and look up

1115
01:04:49,800 --> 01:04:51,560
Speaker 1: to you and quote you all the time. I mean,

1116
01:04:51,920 --> 01:04:53,840
Speaker 1: Donald and Bill and I will be together on just

1117
01:04:53,920 --> 01:04:57,000
Speaker 1: all of a sudden be like I have yaba. I

1118
01:04:57,160 --> 01:05:02,520
Speaker 1: was waiting for that word. I was because I always yeah,

1119
01:05:02,560 --> 01:05:04,520
Speaker 1: we know that, and then you go, you go, here

1120
01:05:04,600 --> 01:05:07,160
Speaker 1: you go, you go, um, you go. I have I

1121
01:05:07,280 --> 01:05:10,000
Speaker 1: have Yamba and and Cox goes, oh, really have you

1122
01:05:10,080 --> 01:05:13,840
Speaker 1: been around um this this rare type of monkey. That's

1123
01:05:13,880 --> 01:05:16,240
Speaker 1: the only person to give that to you in Africa,

1124
01:05:16,360 --> 01:05:19,240
Speaker 1: And you go, I have been to the zoo. Continue.

1125
01:05:24,920 --> 01:05:27,640
Speaker 1: First of all, that is also the genius of Bill

1126
01:05:28,600 --> 01:05:32,760
Speaker 1: who can write for me, who wrote brilliantly for me,

1127
01:05:33,240 --> 01:05:36,640
Speaker 1: and to choose the vowels that I can make a

1128
01:05:36,760 --> 01:05:42,240
Speaker 1: meal with. A lot of people do an impression of me.

1129
01:05:42,840 --> 01:05:46,560
Speaker 1: I can't do an impression of me, except that I

1130
01:05:46,720 --> 01:05:48,600
Speaker 1: used to be a recurring character on a show called

1131
01:05:48,640 --> 01:05:52,720
Speaker 1: The Commiss and and uh, somebody when I was at

1132
01:05:52,720 --> 01:05:55,240
Speaker 1: a poker game and they said, are you gonna be

1133
01:05:55,280 --> 01:05:58,320
Speaker 1: here next week? And I go, I can't. I'm doing

1134
01:05:58,520 --> 01:06:02,919
Speaker 1: a commiss that I could do with it. I can't

1135
01:06:03,000 --> 01:06:06,440
Speaker 1: do me. But when I when I say the words

1136
01:06:08,320 --> 01:06:13,520
Speaker 1: that is those are the bowels that are just as

1137
01:06:13,720 --> 01:06:16,040
Speaker 1: your timing. There was an episode last week we did

1138
01:06:16,080 --> 01:06:18,600
Speaker 1: where you were the janitors trying to get you to

1139
01:06:18,680 --> 01:06:22,160
Speaker 1: conspire with him and and he's like, hey, I, if

1140
01:06:22,240 --> 01:06:24,480
Speaker 1: you you know do X y Z, I can help you.

1141
01:06:24,560 --> 01:06:25,960
Speaker 1: And you kind of look up and there's a long

1142
01:06:26,040 --> 01:06:30,920
Speaker 1: pause and you go go on, it's just two fucking

1143
01:06:31,000 --> 01:06:33,440
Speaker 1: syllables and it's funny. And the one, the one that's

1144
01:06:33,480 --> 01:06:35,800
Speaker 1: really great is when he walks into the room and

1145
01:06:36,160 --> 01:06:39,600
Speaker 1: he's complaining about everything and they close the curtain on

1146
01:06:39,760 --> 01:06:43,240
Speaker 1: him and Cock says to him, Uh, you know this

1147
01:06:43,400 --> 01:06:46,000
Speaker 1: is going to cost you your your insurance isn't gonna

1148
01:06:46,000 --> 01:06:49,720
Speaker 1: pay for this, and you immediately and you're fully trusted.

1149
01:06:51,320 --> 01:06:54,480
Speaker 1: I remember that that. I do remember how did you

1150
01:06:54,640 --> 01:06:57,120
Speaker 1: do that without a cowboy without a cowboy switch? How

1151
01:06:57,160 --> 01:07:00,360
Speaker 1: did they do that? Because it's done so well, it's

1152
01:07:00,400 --> 01:07:02,280
Speaker 1: not there's no cut. There must have been people back

1153
01:07:02,320 --> 01:07:05,000
Speaker 1: there helping you because it's literally like a it's like

1154
01:07:05,080 --> 01:07:08,160
Speaker 1: a four second change and it's hilarious. Is that crazy? Yeah,

1155
01:07:09,200 --> 01:07:11,720
Speaker 1: here's what I wanted to say about Bill, and I

1156
01:07:11,840 --> 01:07:19,520
Speaker 1: mean this. He started with Spin City, took it to

1157
01:07:19,680 --> 01:07:27,280
Speaker 1: a greater extreme with you guys. Two page, three page

1158
01:07:27,400 --> 01:07:34,840
Speaker 1: scenes that add up to a story that was never

1159
01:07:35,000 --> 01:07:38,560
Speaker 1: done before, and when you get things like thirty Rock

1160
01:07:39,080 --> 01:07:44,480
Speaker 1: and successive shows. It started with Bill and it started

1161
01:07:44,960 --> 01:07:49,480
Speaker 1: on Spin City a little bit, but it really continued

1162
01:07:49,560 --> 01:07:52,640
Speaker 1: with you guys. He is the creator, He is the

1163
01:07:52,840 --> 01:07:57,160
Speaker 1: mind behind the new thing. Because he was young and

1164
01:07:58,600 --> 01:08:02,440
Speaker 1: attention spans camera, but that's what he did he was.

1165
01:08:02,960 --> 01:08:07,000
Speaker 1: He created that and it's astounding what he did. And

1166
01:08:07,040 --> 01:08:09,720
Speaker 1: I don't think anybody credits him. They all credit him

1167
01:08:09,760 --> 01:08:12,000
Speaker 1: with being great and you know, and and and and

1168
01:08:12,840 --> 01:08:16,080
Speaker 1: super successful and commercial. But he did that with you.

1169
01:08:16,680 --> 01:08:18,400
Speaker 1: I agree with you. I don't think Bill gets the

1170
01:08:18,439 --> 01:08:21,840
Speaker 1: credit he deserves. I mean he's not at all. Maybe

1171
01:08:21,880 --> 01:08:24,120
Speaker 1: now with ted Lasso, because guess what on Sunday he

1172
01:08:24,200 --> 01:08:27,360
Speaker 1: might win the Golden Globe. Oh that'd be great. I

1173
01:08:27,479 --> 01:08:30,639
Speaker 1: love ted Lasso. It's it's wonderful. Episode two is your favorite,

1174
01:08:30,680 --> 01:08:33,479
Speaker 1: wasn't it? Because that's the one I directed. It was.

1175
01:08:33,600 --> 01:08:35,840
Speaker 1: I did like it. I do know that that you

1176
01:08:35,960 --> 01:08:38,679
Speaker 1: directed it. I actually do because I have a feeling

1177
01:08:38,720 --> 01:08:40,439
Speaker 1: you too, is going to work together soon. I have

1178
01:08:40,520 --> 01:08:43,400
Speaker 1: a feeling in some way, are you kidding me? There's

1179
01:08:43,439 --> 01:08:46,840
Speaker 1: not if someone, if I'm directing something and there's something

1180
01:08:46,960 --> 01:08:49,519
Speaker 1: he's right for, I literally request him. I say, you

1181
01:08:49,720 --> 01:08:52,000
Speaker 1: have to ask Richard if he's available, and I'll save,

1182
01:08:52,280 --> 01:08:55,960
Speaker 1: I will shave, I will let you go, sir with

1183
01:08:56,040 --> 01:08:59,040
Speaker 1: your tea time. But thank you so much. I love

1184
01:08:59,120 --> 01:09:03,880
Speaker 1: you both. I remember Daniel now. But great to see

1185
01:09:03,920 --> 01:09:13,040
Speaker 1: you guys. Very thank my buddy. Care Richard let's take

1186
01:09:13,080 --> 01:09:15,880
Speaker 1: a break. We'll be right back after these fine words.

1187
01:09:22,360 --> 01:09:26,240
Speaker 1: Oh my god, I can't stop laughing. You guys. Daniel

1188
01:09:26,280 --> 01:09:28,519
Speaker 1: and I were messaging while we were listening, and I

1189
01:09:28,600 --> 01:09:30,000
Speaker 1: was like, it's so rare. You just get to sit

1190
01:09:30,080 --> 01:09:33,640
Speaker 1: back and listen and past while you're recording. That was

1191
01:09:34,520 --> 01:09:39,200
Speaker 1: so good that far, you guys, he had like nine

1192
01:09:39,320 --> 01:09:41,200
Speaker 1: thousand more stories to tell. But I was like, we

1193
01:09:41,280 --> 01:09:43,400
Speaker 1: promised we'd get him up for his tea time. I'm

1194
01:09:43,439 --> 01:09:45,280
Speaker 1: Mike Shake. We have to see if he can come

1195
01:09:45,320 --> 01:09:48,559
Speaker 1: back and tell us more stories away he's got He's

1196
01:09:48,600 --> 01:09:51,960
Speaker 1: got so many stories, uh, you know, because he's just

1197
01:09:52,040 --> 01:09:55,600
Speaker 1: a journeyman actor who's been in a zillion things. But

1198
01:09:55,880 --> 01:09:58,759
Speaker 1: I really want everybody out there who is an actor

1199
01:09:58,960 --> 01:10:02,680
Speaker 1: and who is coming up and everything. Just listen. If

1200
01:10:02,760 --> 01:10:07,480
Speaker 1: you if this podcast did anything for you today, rewind

1201
01:10:08,120 --> 01:10:13,200
Speaker 1: to when he's talking about auditions. That is, those are jewels,

1202
01:10:13,479 --> 01:10:17,080
Speaker 1: those are gyms given to you from Richard Kind. And

1203
01:10:17,280 --> 01:10:20,639
Speaker 1: I'm telling you right now, I'm gonna I'm gonna use them.

1204
01:10:20,640 --> 01:10:22,759
Speaker 1: I'm gonna steal a lot of the stuff you mean today,

1205
01:10:23,240 --> 01:10:24,479
Speaker 1: me too. And by the way, you don't even have

1206
01:10:24,479 --> 01:10:26,000
Speaker 1: to be an actor. It's about if you're going into

1207
01:10:26,120 --> 01:10:28,000
Speaker 1: a job interview, if you're going into a big meeting,

1208
01:10:28,560 --> 01:10:33,360
Speaker 1: it's about like this, mind you're gonna mind fuck yourself

1209
01:10:33,439 --> 01:10:35,679
Speaker 1: one way or the other. Why not mind fuck yourself

1210
01:10:35,760 --> 01:10:38,400
Speaker 1: into like I'm a badass and you guys are gonna

1211
01:10:38,439 --> 01:10:40,599
Speaker 1: be fucking lucky to have me. By the way, you're

1212
01:10:40,600 --> 01:10:44,400
Speaker 1: saying this in your mind, not outline. We don't want

1213
01:10:44,439 --> 01:10:46,240
Speaker 1: you writing this being like I said it out loud,

1214
01:10:46,320 --> 01:10:50,920
Speaker 1: like you said I walked into the audition. Give me

1215
01:10:51,080 --> 01:10:53,800
Speaker 1: this part because you know I'm the one who's gonna

1216
01:10:53,840 --> 01:10:56,439
Speaker 1: make you the most money. Doesn't work out of your mouth?

1217
01:10:56,680 --> 01:11:00,320
Speaker 1: All right, Well listen obviously, because Richard hadn't seen the episode,

1218
01:11:00,760 --> 01:11:03,559
Speaker 1: which was an ultimate blessing in disguise because we got

1219
01:11:03,600 --> 01:11:06,200
Speaker 1: to talk about so much more. We'll we'll do this

1220
01:11:06,400 --> 01:11:10,400
Speaker 1: episode next time, right, Joel. Yeah, and then and we'll

1221
01:11:10,439 --> 01:11:14,599
Speaker 1: just call this conversation with Richard kind um. I want

1222
01:11:14,640 --> 01:11:16,280
Speaker 1: to dannel. This gives us a chance to do a

1223
01:11:16,400 --> 01:11:20,240
Speaker 1: rap if you want to do one, Okay, we'll try.

1224
01:11:21,720 --> 01:11:23,560
Speaker 1: This episode was very funny, by the way. Yeah, it

1225
01:11:23,600 --> 01:11:25,960
Speaker 1: had some great moments. I laughed out loud a bunch. Donald,

1226
01:11:25,960 --> 01:11:29,200
Speaker 1: I just have to say when you say, um, let's

1227
01:11:29,200 --> 01:11:31,040
Speaker 1: not get into it. Let me just say one thing.

1228
01:11:31,240 --> 01:11:33,479
Speaker 1: When you're with the heavy set gal and you're pushed

1229
01:11:33,520 --> 01:11:37,880
Speaker 1: into the mattress, and it's not it's not a fantasy

1230
01:11:38,320 --> 01:11:41,040
Speaker 1: she has. She has in real life pushed you down

1231
01:11:41,160 --> 01:11:44,439
Speaker 1: into the mattress. That was funny. I'm gonna tell you

1232
01:11:44,479 --> 01:11:47,719
Speaker 1: something right now. I love the fact that Turk likes BBW.

1233
01:11:48,080 --> 01:11:53,200
Speaker 1: That's a beautiful thing. Baby. Yeah, well I like BBW two. Listen, Donald, Um,

1234
01:11:53,479 --> 01:11:55,080
Speaker 1: we have to tell everyone our big news. Should we

1235
01:11:55,080 --> 01:11:59,200
Speaker 1: tell everyone our big news? We're doing? We're doing family.

1236
01:12:00,040 --> 01:12:01,240
Speaker 1: I thought I was going to be to get to

1237
01:12:01,320 --> 01:12:07,559
Speaker 1: one to the time You're fine, no, no, no, leave it, Daniel,

1238
01:12:08,080 --> 01:12:11,080
Speaker 1: Um listen. It is one of my child'shood dreams. I

1239
01:12:11,200 --> 01:12:12,880
Speaker 1: never thought in my life that I would get to

1240
01:12:12,920 --> 01:12:15,400
Speaker 1: be on family feud. And I'm talking. I used to

1241
01:12:15,479 --> 01:12:17,640
Speaker 1: waltch back in the day when Richard Dawson was like

1242
01:12:17,840 --> 01:12:22,040
Speaker 1: groping people. Um now, but but now, Steve Harvey, My

1243
01:12:22,160 --> 01:12:24,800
Speaker 1: one of my life goals is to say something on

1244
01:12:25,040 --> 01:12:28,320
Speaker 1: Family Feud that will make Steve Harvey do his classic

1245
01:12:28,600 --> 01:12:34,720
Speaker 1: deadpan look away. And we have been contacted. I don't

1246
01:12:34,720 --> 01:12:36,840
Speaker 1: know how many podcasts have been on Family Feud before

1247
01:12:36,880 --> 01:12:38,519
Speaker 1: I heard The Office Ladies, but I don't know how

1248
01:12:38,560 --> 01:12:41,759
Speaker 1: many others. But the four of Us and Bill because

1249
01:12:41,760 --> 01:12:45,720
Speaker 1: it's five players are going to represent fake doctors, real

1250
01:12:45,840 --> 01:12:52,680
Speaker 1: friends on Family Feud. Amazing. I'm so Daniel, Daniel, I

1251
01:12:52,800 --> 01:12:54,760
Speaker 1: know you're particularly geeked about this. Can you tell us

1252
01:12:54,760 --> 01:13:01,400
Speaker 1: what you're feeling? Don't do, Dani, Family Feud, Dude, don't look.

1253
01:13:01,680 --> 01:13:03,880
Speaker 1: I'll tell you. I'll tell you this. In my head.

1254
01:13:04,080 --> 01:13:06,640
Speaker 1: There are moments when I'm about to encounter someone that

1255
01:13:07,000 --> 01:13:09,840
Speaker 1: I admire or that I'm a really big fan of,

1256
01:13:10,280 --> 01:13:12,040
Speaker 1: and I take a second and I think about what

1257
01:13:12,080 --> 01:13:15,160
Speaker 1: I'm going to say before I get there. And you

1258
01:13:15,400 --> 01:13:18,840
Speaker 1: know that, for however long until we get on Family Feud,

1259
01:13:19,080 --> 01:13:21,920
Speaker 1: I'm going to be running through everything that I'm going

1260
01:13:21,960 --> 01:13:24,320
Speaker 1: to be saying this start before we step on that stage,

1261
01:13:24,760 --> 01:13:28,240
Speaker 1: because I am truly beyond geek. It's such a huge

1262
01:13:28,280 --> 01:13:30,639
Speaker 1: fan of game shows and watching Family Feud and all

1263
01:13:30,680 --> 01:13:33,240
Speaker 1: of that. I mean, like, you know, a story from

1264
01:13:33,240 --> 01:13:35,280
Speaker 1: the tour bus when Ian, when me and my best

1265
01:13:35,320 --> 01:13:38,240
Speaker 1: friend were on tour as Gladiator, that was what we

1266
01:13:38,280 --> 01:13:40,599
Speaker 1: would watch on the tour bus. We would watch Family

1267
01:13:40,680 --> 01:13:43,280
Speaker 1: Feud with everybody just back to back to back to back.

1268
01:13:43,479 --> 01:13:45,559
Speaker 1: It was our favorite thing. And this is like, I mean,

1269
01:13:46,400 --> 01:13:49,120
Speaker 1: I'm so thankful. I really can't even We gotta win, guys,

1270
01:13:49,320 --> 01:13:51,040
Speaker 1: and you know, you know, you know when we come

1271
01:13:51,080 --> 01:13:52,680
Speaker 1: out of the huddle, we got to be clapping and

1272
01:13:52,800 --> 01:13:55,599
Speaker 1: you notice saying, you know, you guys say good answer, answer,

1273
01:13:55,680 --> 01:14:00,320
Speaker 1: good answer, good answer? Yeah, Donald, is your good answer? Okay,

1274
01:14:00,880 --> 01:14:04,120
Speaker 1: Because I've watched Family Feud before when somebody said of

1275
01:14:04,400 --> 01:14:08,240
Speaker 1: something and everybody was supportive saying good answer, good answer,

1276
01:14:09,120 --> 01:14:11,360
Speaker 1: to be like that's a good no. But you got

1277
01:14:11,479 --> 01:14:13,080
Speaker 1: to be supportive, bro. I want to be able to

1278
01:14:13,120 --> 01:14:17,639
Speaker 1: say that's not a good answer. If somebody says something dumb,

1279
01:14:17,680 --> 01:14:19,559
Speaker 1: even if it's me, I want to be like, that's

1280
01:14:19,600 --> 01:14:22,120
Speaker 1: not a good answer. I got I'm so excited, you guys.

1281
01:14:22,200 --> 01:14:24,160
Speaker 1: When I found out this news, I was like, this

1282
01:14:24,400 --> 01:14:27,200
Speaker 1: is this is a little piece of you know, in

1283
01:14:27,280 --> 01:14:30,519
Speaker 1: this pandemic, a little jewel of something that is so

1284
01:14:30,640 --> 01:14:34,000
Speaker 1: exciting to me. We got to figure out who we're

1285
01:14:34,000 --> 01:14:38,160
Speaker 1: going to be up against. That's a I mean, well, no,

1286
01:14:38,240 --> 01:14:39,720
Speaker 1: they pitched I don't want to tell who, but they

1287
01:14:39,800 --> 01:14:41,839
Speaker 1: pitched a couple of people that are already in the slots,

1288
01:14:42,360 --> 01:14:45,479
Speaker 1: and or they said, if you have a team that

1289
01:14:45,960 --> 01:14:48,000
Speaker 1: you guys want to pitch to go up against, or

1290
01:14:48,320 --> 01:14:51,720
Speaker 1: our ears are open. So I don't know. I mean, look,

1291
01:14:51,800 --> 01:14:54,880
Speaker 1: I think the obvious choices. We go up against something

1292
01:14:54,960 --> 01:14:57,559
Speaker 1: that's very similar to scrubs. I know Office Ladies who

1293
01:14:57,560 --> 01:14:59,640
Speaker 1: have been perfect, but they've already done it. Apparently, one

1294
01:14:59,680 --> 01:15:02,479
Speaker 1: of my Instagram followers told me that the Office Ladies

1295
01:15:02,560 --> 01:15:06,040
Speaker 1: was up against Scott Foley's actual family. They were I

1296
01:15:06,160 --> 01:15:10,040
Speaker 1: watched that episode. Yeah, maybe we should we should go

1297
01:15:10,120 --> 01:15:14,040
Speaker 1: again Scott family. Scott Foley's actual family is a bunch

1298
01:15:14,040 --> 01:15:18,360
Speaker 1: of famous people. His wife, his sister in law, is

1299
01:15:18,880 --> 01:15:23,880
Speaker 1: his brother in law. Yeah, they're all they're all very good. Well,

1300
01:15:23,920 --> 01:15:25,280
Speaker 1: we want to We want to go again people that

1301
01:15:25,320 --> 01:15:27,880
Speaker 1: will be funny, because that's what make the whole show funny.

1302
01:15:28,280 --> 01:15:30,800
Speaker 1: Want we want We don't want it. We don't want

1303
01:15:30,800 --> 01:15:32,800
Speaker 1: to dud no, No, I'm not saying folly, I'm saying

1304
01:15:32,840 --> 01:15:34,360
Speaker 1: we want it. We want the other team to be

1305
01:15:34,439 --> 01:15:37,040
Speaker 1: funny because you know, most importantly, we want our episode

1306
01:15:37,080 --> 01:15:40,360
Speaker 1: to be hilarious. Right, absolutely, we want the funniest family people.

1307
01:15:40,400 --> 01:15:43,800
Speaker 1: Everybody says, right, oh, my god, I'm gonna Do you

1308
01:15:43,840 --> 01:15:47,200
Speaker 1: think Steve Harvey will let me touch his mustache? No?

1309
01:15:47,840 --> 01:15:50,280
Speaker 1: Not in times? Huh what if? What if I put

1310
01:15:50,360 --> 01:15:53,800
Speaker 1: on a glove? I do not think that's a good idea.

1311
01:15:54,160 --> 01:15:56,000
Speaker 1: If you want to pan stare, though, that's how you

1312
01:15:56,080 --> 01:15:58,160
Speaker 1: get it. That is how you get it. You touch

1313
01:15:58,200 --> 01:16:00,680
Speaker 1: it mustache. And you probably watch more episodes than any

1314
01:16:00,720 --> 01:16:02,519
Speaker 1: of us. Do you know the best way to you

1315
01:16:02,600 --> 01:16:04,760
Speaker 1: just say something outrageous to get the dead pants there?

1316
01:16:05,600 --> 01:16:09,720
Speaker 1: Usually sexual. Usually when it sexual, innuendo, bingo, there you go. Look,

1317
01:16:09,720 --> 01:16:11,240
Speaker 1: I'm gonna do my impressure on it for you guys.

1318
01:16:17,080 --> 01:16:19,040
Speaker 1: You gotta do the open mouth one too, an open

1319
01:16:19,120 --> 01:16:24,439
Speaker 1: mouth one I said when we found out. You guys listening,

1320
01:16:24,479 --> 01:16:26,280
Speaker 1: when we found out, I sent all these guys all

1321
01:16:26,320 --> 01:16:30,280
Speaker 1: my favorite Steve Harvey gifts. Incredible. Oh I'm so excited

1322
01:16:30,479 --> 01:16:32,320
Speaker 1: by the way. There's a Scrubs tie in because on

1323
01:16:32,439 --> 01:16:35,599
Speaker 1: like episode whatever is it four or something, we cut

1324
01:16:35,640 --> 01:16:38,360
Speaker 1: to when Louie Anderson was hosting, We cut we cut

1325
01:16:38,400 --> 01:16:41,800
Speaker 1: to that we were on the show for boobs. I'm

1326
01:16:41,840 --> 01:16:44,680
Speaker 1: gonna go with boobs. I wasn't on that episode. I

1327
01:16:44,880 --> 01:16:47,360
Speaker 1: wasn't that fantasy. I was I was very upset about it.

1328
01:16:47,360 --> 01:16:49,559
Speaker 1: I even spoke about it on the podcast. All right,

1329
01:16:49,600 --> 01:16:54,160
Speaker 1: so look next week, I guess Thursday for you guys,

1330
01:16:54,200 --> 01:16:59,920
Speaker 1: because this is for tuesdaysday. Thursday, we will dive into

1331
01:17:00,080 --> 01:17:03,280
Speaker 1: the episode that we were supposed to dive into today.

1332
01:17:03,760 --> 01:17:07,519
Speaker 1: All right. Otherwise, other news, don't forget to mark your

1333
01:17:07,560 --> 01:17:10,920
Speaker 1: calendars for March twenty sixth. We're gonna do a live

1334
01:17:11,000 --> 01:17:12,880
Speaker 1: show that's gonna be amazing. I had a really good

1335
01:17:12,920 --> 01:17:14,840
Speaker 1: idea for a musical guest that I'll tell you guys

1336
01:17:15,080 --> 01:17:20,760
Speaker 1: secretly Friday. Feeling too on Tuesday. Friday. Tickets for the

1337
01:17:20,840 --> 01:17:25,320
Speaker 1: live event we'll be going on sale Friday. That's exciting. Yeah. Now,

1338
01:17:25,560 --> 01:17:27,680
Speaker 1: are we going to cap the audience? This is something

1339
01:17:27,760 --> 01:17:30,760
Speaker 1: we haven't talked about. Why would we cap them? Well,

1340
01:17:30,920 --> 01:17:33,920
Speaker 1: I mean special event, man, I mean, if you if

1341
01:17:34,160 --> 01:17:36,760
Speaker 1: there's two schools of thought, one is just like, let

1342
01:17:36,840 --> 01:17:38,760
Speaker 1: anyone in the world who wants to come in, who

1343
01:17:38,800 --> 01:17:41,000
Speaker 1: wants to buy a ticket, come in. And then the

1344
01:17:41,080 --> 01:17:43,320
Speaker 1: other school of thought is like, no, let's make it

1345
01:17:43,439 --> 01:17:46,960
Speaker 1: special and limit the amount of people in the quote

1346
01:17:47,080 --> 01:17:50,400
Speaker 1: unquote theater like you would if you were touring. I

1347
01:17:50,520 --> 01:17:52,479
Speaker 1: think the great thing about a virtual tour is that

1348
01:17:52,600 --> 01:17:55,280
Speaker 1: everybody can join in. All right, so you talked to finish,

1349
01:17:55,360 --> 01:17:57,960
Speaker 1: we talked about O two and all of that stuff.

1350
01:17:58,200 --> 01:18:00,479
Speaker 1: There's no way you can do O two umbers if

1351
01:18:00,520 --> 01:18:02,960
Speaker 1: we can, but what about the supreme model of selling

1352
01:18:03,040 --> 01:18:05,320
Speaker 1: clothing where it's like, sorry, guys, we only had a

1353
01:18:05,360 --> 01:18:11,160
Speaker 1: thousand seats. But the last thing I want to do, yeah,

1354
01:18:11,240 --> 01:18:14,640
Speaker 1: the first real live show, small intimate theater. Okay, so

1355
01:18:14,720 --> 01:18:18,519
Speaker 1: maybe if we go forward we do bespoke ones. Yeah,

1356
01:18:18,560 --> 01:18:20,599
Speaker 1: I think this one. I think this is for everybody.

1357
01:18:20,960 --> 01:18:23,639
Speaker 1: All our listeners want this, and so we should give

1358
01:18:23,760 --> 01:18:26,720
Speaker 1: them the opportunity. And you know, if you don't want this,

1359
01:18:27,200 --> 01:18:31,160
Speaker 1: I I would employ you to change your mind. It's

1360
01:18:31,200 --> 01:18:34,680
Speaker 1: gonna things are gonna happen. Then, of all, things are

1361
01:18:34,720 --> 01:18:37,559
Speaker 1: gonna happen that don't happen on the show. Oh yeah,

1362
01:18:38,120 --> 01:18:42,120
Speaker 1: you think. Yeah, we're gonna have a musical guest. At

1363
01:18:42,200 --> 01:18:45,880
Speaker 1: least we're gonna interact with our fans. Okay, you're gonna

1364
01:18:45,920 --> 01:18:48,080
Speaker 1: they're gonna be able to look at our faces. Donald

1365
01:18:48,120 --> 01:18:52,240
Speaker 1: will show his melted Hershey's kisses. That's by March twenty six,

1366
01:18:52,400 --> 01:18:56,360
Speaker 1: which is one month from today. I'm hoping to have abs.

1367
01:18:56,680 --> 01:19:00,479
Speaker 1: So maybe maybe I'll show you them. Maybe if I listen,

1368
01:19:00,520 --> 01:19:03,240
Speaker 1: if I drop a few more pounds, I will show

1369
01:19:03,720 --> 01:19:05,800
Speaker 1: melt at her she's kissing you. Guys can hear you,

1370
01:19:05,880 --> 01:19:08,160
Speaker 1: guys can hear about what the what it's all about?

1371
01:19:08,200 --> 01:19:09,599
Speaker 1: You can you know what else we can do about

1372
01:19:09,760 --> 01:19:11,560
Speaker 1: As a pitch, I'll tell the audience this pitch that

1373
01:19:11,640 --> 01:19:15,800
Speaker 1: I think you might like shafter Balls. You no, he's

1374
01:19:15,800 --> 01:19:17,599
Speaker 1: speaking of Chapter Balls. This is kind of like our

1375
01:19:17,640 --> 01:19:20,120
Speaker 1: only fans. We're doing an only fans event. Yeah, but

1376
01:19:20,200 --> 01:19:22,840
Speaker 1: it's like shafter Balls, except we're not gonna show you know,

1377
01:19:23,240 --> 01:19:27,000
Speaker 1: balloon nut um. I wanted to say that maybe we

1378
01:19:27,080 --> 01:19:33,439
Speaker 1: sing guy love. No, no, no no, because we skirt

1379
01:19:33,680 --> 01:19:37,040
Speaker 1: you scured? You scured. You think I'm scared to sing

1380
01:19:37,320 --> 01:19:39,960
Speaker 1: you skured? You can sing guylove right now. It's not

1381
01:19:40,000 --> 01:19:42,120
Speaker 1: a big deal. That's for the special event. Dick neick,

1382
01:19:42,800 --> 01:19:45,320
Speaker 1: dick neck. It's not a big deal. You rub your neck.

1383
01:19:45,479 --> 01:19:48,040
Speaker 1: I'm a dick nick, so that means my face is

1384
01:19:48,160 --> 01:19:51,479
Speaker 1: the what the head the tip? Okay, rub your neck

1385
01:19:51,560 --> 01:19:53,400
Speaker 1: and you look like a giraffe when that ship grows.

1386
01:20:00,120 --> 01:20:02,439
Speaker 1: Fucking looked like et when it grows. Yeah, just saying

1387
01:20:02,760 --> 01:20:08,719
Speaker 1: when he's fucking Okay, I hope it's a little girth

1388
01:20:08,760 --> 01:20:13,439
Speaker 1: there than ets neck. Yet, Yeah, your dick neck has

1389
01:20:13,439 --> 01:20:19,160
Speaker 1: a lot more girth than Oh, there go all our sponsors.

1390
01:20:19,520 --> 01:20:23,719
Speaker 1: All right, listen, let's get out of here while we're ahead. Joelle,

1391
01:20:23,760 --> 01:20:28,479
Speaker 1: you're right. Don't wor Joel, you can unpause rebels any moment. Listen, guys,

1392
01:20:29,439 --> 01:20:32,000
Speaker 1: did you watch one division? No, I'm not caught up.

1393
01:20:32,040 --> 01:20:34,800
Speaker 1: Don't say a word. Yeah, did you watch last week?

1394
01:20:34,920 --> 01:20:39,240
Speaker 1: Did you watch it? Watched last week's haven't watched last nights? No,

1395
01:20:39,400 --> 01:20:40,720
Speaker 1: Donald's the kind of guy that gets up in the

1396
01:20:40,800 --> 01:20:44,519
Speaker 1: morning and watch it. We my wife and I watched

1397
01:20:44,560 --> 01:20:46,360
Speaker 1: it this morning because we had the kids were at

1398
01:20:46,400 --> 01:20:48,200
Speaker 1: school and we had a little bit of time before

1399
01:20:48,240 --> 01:20:53,439
Speaker 1: the podcast and and uh who sorry, I didn't mean

1400
01:20:56,720 --> 01:21:03,920
Speaker 1: leave it at that. Get your baby back on the nipple, easy, easy, there,

1401
01:21:04,040 --> 01:21:07,519
Speaker 1: It is all right. There's gonna be a kid. There's

1402
01:21:07,520 --> 01:21:09,320
Speaker 1: gonna be a kid that hears that. One day. It's

1403
01:21:09,320 --> 01:21:11,160
Speaker 1: gonna be like, I'm so troubled. It just reminds me

1404
01:21:11,240 --> 01:21:14,200
Speaker 1: of my mom's teeth. I don't know what it is

1405
01:21:14,240 --> 01:21:16,680
Speaker 1: about Zach's voice, but it reminds me of suckling on

1406
01:21:16,800 --> 01:21:19,400
Speaker 1: my mom's teeth. Oh yeah, yeah, yeah, yeah, all right,

1407
01:21:19,920 --> 01:21:22,959
Speaker 1: let's end this. That was awesome. That was such a surprise,

1408
01:21:23,640 --> 01:21:25,680
Speaker 1: and it's such a great example of how like when

1409
01:21:25,800 --> 01:21:27,439
Speaker 1: the second he said he hadn't seen the episode, I

1410
01:21:27,560 --> 01:21:30,080
Speaker 1: was like a ret row and then I was that

1411
01:21:30,200 --> 01:21:33,920
Speaker 1: was one of the most entertaining guests we've had. Um. Yeah,

1412
01:21:34,800 --> 01:21:38,240
Speaker 1: he has so many stories, man. And the next time

1413
01:21:38,240 --> 01:21:41,120
Speaker 1: we got to ask about the Clooney all his Clooney

1414
01:21:41,320 --> 01:21:46,080
Speaker 1: uh ant because he's Clooney's best friend and they and

1415
01:21:46,160 --> 01:21:48,880
Speaker 1: he and he was Clooney was best man in his wedding,

1416
01:21:49,400 --> 01:21:51,479
Speaker 1: and I'm sure they have a lot of adventures that

1417
01:21:52,040 --> 01:21:55,479
Speaker 1: will get Richard to tell I cannot stress this enough.

1418
01:21:55,640 --> 01:21:59,759
Speaker 1: The jewels that he left we're sacred, and so please,

1419
01:22:00,000 --> 01:22:03,080
Speaker 1: if you are in business and you have fear of

1420
01:22:03,400 --> 01:22:06,040
Speaker 1: walking into rooms and being in front of people, or

1421
01:22:06,120 --> 01:22:08,559
Speaker 1: if you need a new anecdote because the old one's

1422
01:22:08,600 --> 01:22:13,559
Speaker 1: not working anymore, rewind this episode. Great talk with Richard

1423
01:22:13,640 --> 01:22:16,760
Speaker 1: kind guys. Yes, all right, we love you all and

1424
01:22:17,240 --> 01:22:21,920
Speaker 1: see you next time. Seven next stories about sure we

1425
01:22:22,320 --> 01:22:28,479
Speaker 1: made about a bunch of dimes and nurses, And I said,

1426
01:22:28,479 --> 01:22:34,000
Speaker 1: he the stories never you all should know. So YadA

1427
01:22:34,080 --> 01:22:38,840
Speaker 1: around you, Here are gada around you. Here a rewatch

1428
01:22:38,920 --> 01:22:42,559
Speaker 1: you mm hmmm